(9182,75,1,1531,'The DMC-842 is both an 8-Channels AES42 interface as well as a controller for digital microphones. The unique device allows for connection and control of up to 8 digital microphones, and converting their signals to ADAT, AES/EBU, analog and (optional) MADI. Eight individually switchable hi-end sample rate converters offer a flexible clocking and further usage options, especially as the inputs are compatible to AES3 and AES/EBU too.\n\nWhen developing the DMC-842, RME worked closely with the microphone manufacturers to secure maximum compatibility and best functionality. As a result the DMC-842 is the most flexible and most compatible AES42 interface available - a true milestone for the broad acceptance of the new digital microphone technology.\n\nThe DMC-842 is fully remote controllable, via MIDI, AES and (optional) MADI. The optional I64 MADI Card provides serial pass-through capability from one DMC-842 to the next (up to 8). All up to 64 audio signals are then available at the last device on one single line. Such a way of cascading is also possible with the Micstasy and the ADI-8 QS. The signals passed through the DMC-842 are available at the analog outputs, making an expensive splitter box on stage obsolete.'),(9183,85,0,1531,'RME DMC-842 24-Bit/192kHz 8-Channel AES42 Interface for Digital Microphones'),(9184,85,1,1531,'RME DMC-842 24-Bit/192kHz 8-Channel AES42 Interface for Digital Microphones'),(9185,76,0,1531,''),(9186,76,1,1531,''),(9187,75,0,1532,'The compact Fireface UC has been uncompromisingly optimized for highest performance under Windows and Mac OS. Based on a newly developed RME Hammerfall core the Fireface UC provides revolutionary ultra-low latencies even with multiple channels. It uses two different firmware versions with different transfer methods to remove current restrictions of typical USB audio interfaces. The unit\'s operating mode Win or Mac can be changed directly at the unit at any time. Under Mac OS the Fireface\'s MIDI ports are class compliant, the operating system therefore automatically uses the included MIDI driver.\n\nUnder both Operating Systems the available latencies* are simply sensational. The smallest buffer offered under Windows has 48 samples, under Mac OS X 14 samples. With this RME provides a performance previously not available from USB audio interfaces.'),(9188,75,1,1532,'The compact Fireface UC has been uncompromisingly optimized for highest performance under Windows and Mac OS. Based on a newly developed RME Hammerfall core the Fireface UC provides revolutionary ultra-low latencies even with multiple channels. It uses two different firmware versions with different transfer methods to remove current restrictions of typical USB audio interfaces. The unit\'s operating mode Win or Mac can be changed directly at the unit at any time. Under Mac OS the Fireface\'s MIDI ports are class compliant, the operating system therefore automatically uses the included MIDI driver.\n\nUnder both Operating Systems the available latencies* are simply sensational. The smallest buffer offered under Windows has 48 samples, under Mac OS X 14 samples. With this RME provides a performance previously not available from USB audio interfaces.'),(9189,85,0,1532,'RME Fireface UC USB High Speed Audio Interface'),(9190,85,1,1532,'RME Fireface UC USB High Speed Audio Interface'),(9191,76,0,1532,''),(9192,76,1,1532,''),(9193,75,0,1533,'RME\'s M-32 AD is a 32-channel high-end AD converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art AD conversion - 32 times!\n\nThe unit\'s unique set of features includes analog limiters, three hardware reference levels up to +24 dBu, MADI and ADAT I/O up to 192 kHz, 6.3 mm TRS and D-sub inputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure. An extraordinary limiter, conceived and optimised for professional studio, stage, and broadcast applications, offers essential operational safety with its capability to limit an input\'s overload of up to 17 dB without audible distortion (max. input level + 30 dBu).\n\nThe M-32 provides multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9194,75,1,1533,'RME\'s M-32 AD is a 32-channel high-end AD converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art AD conversion - 32 times!\n\nThe unit\'s unique set of features includes analog limiters, three hardware reference levels up to +24 dBu, MADI and ADAT I/O up to 192 kHz, 6.3 mm TRS and D-sub inputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure. An extraordinary limiter, conceived and optimised for professional studio, stage, and broadcast applications, offers essential operational safety with its capability to limit an input\'s overload of up to 17 dB without audible distortion (max. input level + 30 dBu).\n\nThe M-32 provides multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9195,85,0,1533,'RME M-16 AD Interface with Analog to MADI/ADAT Converters'),(9196,85,1,1533,'RME M-16 AD Interface with Analog to MADI/ADAT Converters'),(9197,76,0,1533,''),(9198,76,1,1533,''),(9199,75,0,1534,'RME\'s M-32 DA is a 32-channel high-end DA converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art DA conversion - not less than 32 times!\n\nThe M-series converters have been conceived and optimised for professional studio, stage, and broadcast applications. Combinations of the M-16 DA and M-32 DA converters allow for setups with 16, 32, 48, or 64 channels, according to your individual application or budget. The unit\'s unique set of features includes three hardware reference levels up to +24 dBu, MADI I/O and ADAT input up to 192 kHz, 6.3mm TRS and D-sub outputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure.\n\nThe M-32 DA extends RME\'s MADI line with multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9200,75,1,1534,'RME\'s M-32 DA is a 32-channel high-end DA converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art DA conversion - not less than 32 times!\n\nThe M-series converters have been conceived and optimised for professional studio, stage, and broadcast applications. Combinations of the M-16 DA and M-32 DA converters allow for setups with 16, 32, 48, or 64 channels, according to your individual application or budget. The unit\'s unique set of features includes three hardware reference levels up to +24 dBu, MADI I/O and ADAT input up to 192 kHz, 6.3mm TRS and D-sub outputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure.\n\nThe M-32 DA extends RME\'s MADI line with multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9201,85,0,1534,'RME M-16 DA Interface with MADI/ADAT to Analog converters'),(9202,85,1,1534,'RME M-16 DA Interface with MADI/ADAT to Analog converters'),(9203,76,0,1534,''),(9204,76,1,1534,''),(9205,75,0,1535,'RME\'s M-32 AD is a 32-channel high-end AD converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art AD conversion - 32 times!\n\nThe unit\'s unique set of features includes analog limiters, three hardware reference levels up to +24 dBu, MADI and ADAT I/O up to 192 kHz, 6.3 mm TRS and D-sub inputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure. An extraordinary limiter, conceived and optimised for professional studio, stage, and broadcast applications, offers essential operational safety with its capability to limit an input\'s overload of up to 17 dB without audible distortion (max. input level + 30 dBu).\n\nThe M-32 provides multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9206,75,1,1535,'RME\'s M-32 AD is a 32-channel high-end AD converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art AD conversion - 32 times!\n\nThe unit\'s unique set of features includes analog limiters, three hardware reference levels up to +24 dBu, MADI and ADAT I/O up to 192 kHz, 6.3 mm TRS and D-sub inputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure. An extraordinary limiter, conceived and optimised for professional studio, stage, and broadcast applications, offers essential operational safety with its capability to limit an input\'s overload of up to 17 dB without audible distortion (max. input level + 30 dBu).\n\nThe M-32 provides multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9207,85,0,1535,'RME M-32 AD Interface with Analog to MADI/ADAT Converters'),(9208,85,1,1535,'RME M-32 AD Interface with Analog to MADI/ADAT Converters'),(9209,76,0,1535,''),(9210,76,1,1535,''),(9211,75,0,1536,'RME\'s M-32 DA is a 32-channel high-end DA converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art DA conversion - not less than 32 times!\n\nThe M-series converters have been conceived and optimised for professional studio, stage, and broadcast applications. Combinations of the M-16 DA and M-32 DA converters allow for setups with 16, 32, 48, or 64 channels, according to your individual application or budget. The unit\'s unique set of features includes three hardware reference levels up to +24 dBu, MADI I/O and ADAT input up to 192 kHz, 6.3mm TRS and D-sub outputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure.\n\nThe M-32 DA extends RME\'s MADI line with multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9212,75,1,1536,'RME\'s M-32 DA is a 32-channel high-end DA converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME\'s superior SteadyClock, resulting in a state-of-the-art DA conversion - not less than 32 times!\n\nThe M-series converters have been conceived and optimised for professional studio, stage, and broadcast applications. Combinations of the M-16 DA and M-32 DA converters allow for setups with 16, 32, 48, or 64 channels, according to your individual application or budget. The unit\'s unique set of features includes three hardware reference levels up to +24 dBu, MADI I/O and ADAT input up to 192 kHz, 6.3mm TRS and D-sub outputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure.\n\nThe M-32 DA extends RME\'s MADI line with multichannel conversion in reference quality - at an unbeatable price/performance ratio!'),(9213,85,0,1536,'RME M-32 DA Interface with MADI/ADAT to Analog converters'),(9214,85,1,1536,'RME M-32 DA Interface with MADI/ADAT to Analog converters'),(9215,76,0,1536,''),(9216,76,1,1536,''),(9217,75,0,1537,'Micstasy is an 8-Channel hi-end mic/line preamp and AD-converter combining typical RME features with a number of previously unseen features. It can be used analog (Mic/Line In to Line Out) and digital (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Special highlight: the device is fully remote-controllable via MIDI (also MIDI over MADI).\n\nThe Micstasy\'s innovative concept allows for amplification and digitization of ALL analog signal sources. Be it high-level stage signals, typical studio signals, lower level and high-impedance instruments, or dynamic, condenser or ribbon microphones: Micstasy understands them all - in a way that is simply thrilling.\n\nThe signals amplified by the Micstasy are available at the analog outputs for passing them on, making an expensive splitter box on stage obsolete. All functions can be remote controlled via MIDI and MIDI over MADI, allowing the device to be placed near the microphones, ensuring highest sound quality. Adding the optional MADI Card results in even more options. The I64 MADI Card provides serial pass-through capability from one Micstasy to the next (up to 8). All up to 64 audio signals are then available at the last device on one single line. Such a way of cascading is also possible between Micstasy and ADI-8 QS.'),(9218,75,1,1537,'Micstasy is an 8-Channel hi-end mic/line preamp and AD-converter combining typical RME features with a number of previously unseen features. It can be used analog (Mic/Line In to Line Out) and digital (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Special highlight: the device is fully remote-controllable via MIDI (also MIDI over MADI).\n\nThe Micstasy\'s innovative concept allows for amplification and digitization of ALL analog signal sources. Be it high-level stage signals, typical studio signals, lower level and high-impedance instruments, or dynamic, condenser or ribbon microphones: Micstasy understands them all - in a way that is simply thrilling.\n\nThe signals amplified by the Micstasy are available at the analog outputs for passing them on, making an expensive splitter box on stage obsolete. All functions can be remote controlled via MIDI and MIDI over MADI, allowing the device to be placed near the microphones, ensuring highest sound quality. Adding the optional MADI Card results in even more options. The I64 MADI Card provides serial pass-through capability from one Micstasy to the next (up to 8). All up to 64 audio signals are then available at the last device on one single line. Such a way of cascading is also possible between Micstasy and ADI-8 QS.'),(9219,85,0,1537,'RME Micstasy 24-Bit/192kHz 8-Channel Full Range Preamp & A/D converter'),(9220,85,1,1537,'RME Micstasy 24-Bit/192kHz 8-Channel Full Range Preamp & A/D converter'),(9221,76,0,1537,''),(9222,76,1,1537,''),(9223,75,0,1538,'<h2>Rupert Neve 2-Way Vertical Rack for Portico & Shelford Vertical Modules</h2>\n<span style=\"font-size: 16px;\"><i>Rack your vertical Portico and Shelford modules in this classic 2-module wood rack</i></span><br /><br />\nLooking to invest in some Rupert Neve Portico or Shelford Modules? You\'ll need somewhere to house them, and there\'s no better looking option than this classic wood rack. Fits any of Rupert Neves vertical modules including the Portico <span style=\"background-color: initial;\">5012, 5015, 5032, 5033, 5043, Shelford 5051, 5052. </span><div><br /><br /><br /></div>'),(9224,75,1,1538,'<h2>Rupert Neve 2-Way Vertical Rack for Portico & Shelford Vertical Modules</h2>\n<span style=\"font-size: 16px;\"><i>Rack your vertical Portico and Shelford modules in this classic 2-module wood rack</i></span><br /><br />\nLooking to invest in some Rupert Neve Portico or Shelford Modules? You\'ll need somewhere to house them, and there\'s no better looking option than this classic wood rack. Fits any of Rupert Neves vertical modules including the Portico <span style=\"background-color: initial;\">5012, 5015, 5032, 5033, 5043, Shelford 5051, 5052. </span><div><br /><br /><br /></div>'),(9225,85,0,1538,'Rupert Neve 2-Way Vertical Rack'),(9226,85,1,1538,'Rupert Neve 2-Way Vertical Rack'),(9227,76,0,1538,''),(9228,76,1,1538,''),(9229,75,0,1539,'<h2>Rupert Neve 5-Way +/- 24V Power Supply</h2>\n<span style=\"font-size: 16px;\"><i>The 5-Way Power Supply powers up to 5 Rupert Neve Design Portico or Shelford Modules</i></span><br /><br />\nThe 5-Way +/- 24V power supply is designed to sit in the bottom of a rack, supply exceptionally clean power, and reduce heat build-up within modules associated with DC-DC up-conversion.\n<div>\n	<br /><br /><br />\n</div>'),(9230,75,1,1539,'<h2>Rupert Neve 5-Way +/- 24V Power Supply</h2>\n<span style=\"font-size: 16px;\"><i>The 5-Way Power Supply powers up to 5 Rupert Neve Design Portico or Shelford Modules</i></span><br /><br />\nThe 5-Way +/- 24V power supply is designed to sit in the bottom of a rack, supply exceptionally clean power, and reduce heat build-up within modules associated with DC-DC up-conversion.\n<div>\n	<br /><br /><br />\n</div>'),(9231,85,0,1539,'Rupert Neve 5-Way +/- 24V Power Supply'),(9232,85,1,1539,'Rupert Neve 5-Way +/- 24V Power Supply'),(9233,76,0,1539,''),(9234,76,1,1539,''),(9235,75,0,1540,'<h2>Rupert Neve Portico 5017 Mobile Pre / DI / Compressor</h2>\n\nComprised of a rugged, portable chassis with world class Portico pre-amp, compressor and DI circuits as well as two channel operation, variphase, silk and DI/mic blending capabilities, the Portico 5017 is an innovative and powerful tool for recording or live performance. In replacing the Portico 5016 Mic Pre / Variphase DI, the 5017 Mobile DPC adds single knob compression, DI / Mic Pre blending, and a go anywhere design to a well established classic.<br><br>\nWith Portico Series custom transformers and silk mode, the Mobile DPC’s sonic signature is nothing short of legendary. It’s the 5017′s revolutionary feature set however that make it an indispensable tool for studio recording, live recording and stage performances.'),(9236,75,1,1540,'<h2>Rupert Neve Portico 5017 Mobile Pre / DI / Compressor</h2>\n\nComprised of a rugged, portable chassis with world class Portico pre-amp, compressor and DI circuits as well as two channel operation, variphase, silk and DI/mic blending capabilities, the Portico 5017 is an innovative and powerful tool for recording or live performance. In replacing the Portico 5016 Mic Pre / Variphase DI, the 5017 Mobile DPC adds single knob compression, DI / Mic Pre blending, and a go anywhere design to a well established classic.<br><br>\nWith Portico Series custom transformers and silk mode, the Mobile DPC’s sonic signature is nothing short of legendary. It’s the 5017′s revolutionary feature set however that make it an indispensable tool for studio recording, live recording and stage performances.'),(9237,85,0,1540,'Rupert Neve Portico 5017 Mobile Pre / DI / Compressor'),(9238,85,1,1540,'Rupert Neve Portico 5017 Mobile Pre / DI / Compressor'),(9239,76,0,1540,''),(9240,76,1,1540,''),(9241,75,0,1541,'<h1>Rupert Neve 5057 Orbit Summing Mixer</h1>\n<i>Built around many of the topologies and custom transformers made famous with the 5088 mixer, the 5059 is a 16×2 summing mixer designed for easy recall and seamless integration with a DAW-based workflow in a 1U, rack-mountable chassis.</i><br /><br />\nThe Rupert Neve the 5057 Orbit gives your mixes the legendary tonality, power, and wide-open soundstage that only Rupert Neve’s class-A analog summing can provide. Coupled with Rupert’s famous custom audio transformers and Silk Red & Blue circuitry for variable harmonic saturation, the Orbit launches sterile in-the-box mixes to new heights of tone, depth and clarity – without compromising the recallable convenience and repeatability of your DAW-based workflow.<br /><br /><h3>RND 5057 Orbit Features</h3><ul><li><span style=\"background-color: initial;\">16 Channel +/- 21V Class-A mix buss for massive headroom</span></li><li>Silk Red & Blue modes with Texture control to precisely dial in the desired amount of classic tone</li><li>Dual-tap output transformers create rich harmonic character without clipping the next device in the chain</li><li>Mono switches enable you to precisely center any mono mix elements like vocals, kick, snare and bass </li><li>Exceptional linearity and accuracy, better than +/-0.1dB per channel</li><li>Ultra-low crosstalk for wide open stereo imaging and sonic depth</li><li>Expandable for higher channel count via buss link to other 5057 units</li><li>Repeatable, rapid DAW-based recall while adding the rich, unrivaled sound quality of Rupert Neve Designs</li><li>Robust and compact 1U chassis design with DB25 inputs and XLR outputs</li><li>Combine with other Rupert Neve Designs summing products to create a world-class modular mix system</li></ul>'),(9242,75,1,1541,'<h1>Rupert Neve 5057 Orbit Summing Mixer</h1>\n<i>Built around many of the topologies and custom transformers made famous with the 5088 mixer, the 5059 is a 16×2 summing mixer designed for easy recall and seamless integration with a DAW-based workflow in a 1U, rack-mountable chassis.</i><br /><br />\nThe Rupert Neve the 5057 Orbit gives your mixes the legendary tonality, power, and wide-open soundstage that only Rupert Neve’s class-A analog summing can provide. Coupled with Rupert’s famous custom audio transformers and Silk Red & Blue circuitry for variable harmonic saturation, the Orbit launches sterile in-the-box mixes to new heights of tone, depth and clarity – without compromising the recallable convenience and repeatability of your DAW-based workflow.<br /><br /><h3>RND 5057 Orbit Features</h3><ul><li><span style=\"background-color: initial;\">16 Channel +/- 21V Class-A mix buss for massive headroom</span></li><li>Silk Red & Blue modes with Texture control to precisely dial in the desired amount of classic tone</li><li>Dual-tap output transformers create rich harmonic character without clipping the next device in the chain</li><li>Mono switches enable you to precisely center any mono mix elements like vocals, kick, snare and bass </li><li>Exceptional linearity and accuracy, better than +/-0.1dB per channel</li><li>Ultra-low crosstalk for wide open stereo imaging and sonic depth</li><li>Expandable for higher channel count via buss link to other 5057 units</li><li>Repeatable, rapid DAW-based recall while adding the rich, unrivaled sound quality of Rupert Neve Designs</li><li>Robust and compact 1U chassis design with DB25 inputs and XLR outputs</li><li>Combine with other Rupert Neve Designs summing products to create a world-class modular mix system</li></ul>'),(9243,85,0,1541,'Rupert Neve 5057 Orbit Summing Mixer'),(9244,85,1,1541,'Rupert Neve 5057 Orbit Summing Mixer'),(9245,76,0,1541,''),(9246,76,1,1541,''),(9247,75,0,1542,'<h1>Rupert Neve 5059 Satellite Summing Mixer</h1>\n<i>Built around many of the topologies and custom transformers made famous with the 5088 mixer, the 5059 is a 16×2+2 summing mixer designed to deliver the ultimate out of the box sonics and control in a 2U, rack-mountable chassis.</i><br /><br />\nThe Rupert Neve 5059 features 16 channels with individual level, pan, inserts, stereo-2 sends, and master texture controls, providing easy integration with outboard equipment, complete control for two separate stem mixes, and the ability to dial in analogue mojo in two modes. With the same sonic heritage as mixers used to create countless hit records, the 5059 Satellite Mixer imbues tracks with the legendary warmth and presence of a Rupert Neve design.<br /><br /><div>In the 5059, amplification is handled with fully class-A operational amplifier topologies featuring <span style=\"background-color: initial;\">Rupert’s custom transformer designs. While these circuits share a lineage with the circuits used in </span><span style=\"background-color: initial;\">Rupert’s consoles from the 70’s, and in many ways sound similar, there are refinements in noise, slew </span><span style=\"background-color: initial;\">rate, dynamic range and particularly avoidance of unpleasant high frequency distortion artifacts.<br /><br /></span><span style=\"background-color: initial;\">With proper implementation, the 5059 can redefine the sonic possibilities and streamline workflow in </span><span style=\"background-color: initial;\">the modern DAW based studio.<br /><br /></span><span style=\"background-color: initial; color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The Signature of Excellence</span></div>\nThe most important element of the 5059 is its legendary sound. The keys to the sonic prowess of the 5059 are the custom transformers and true class-A topologies found within. The +/- 24V class-A topologies in the 5059 have been fine-tuned over a number of years to provide exceptional sonic performance and completely eliminate cross-over distortion. When combined with Mr. Rupert Neve’s transformer design and implementation, the 5059 achieves a remarkable purity, while also conveying the signature warmth and larger-than-life sound reminiscent of Rupert’s classic designs.<br /><br />\n\n\n<h3>Making Connections</h3>\nOne drawback to mixing “in the box” is the inability to use high quality analogue outboard equipment. Channel inserts are provided in the 5059 to streamline interconnections with analogue outboard equipment and to allow for further expansions of the 5059’s capabilities. By connecting a second 5059 to the insert outputs of a 5059, the dual stereo outputs can be used as a way to add 4 auxes to each of the 16 channels. When used with the , the 5059 can be utilized to create and mix stems into the main stereo inputs on the 5060.<br /><br />\n\n<h3>From Clean to Colored and Everywhere in Between</h3>\nEvery mix demands its own treatment; continuously variable Texture controls with Silk and Silk+ modes allow the engineer to fine tune the harmonic ratio and tonality of each stereo send of the 5059, or leave each mix pristine. The Silk mode accentuates the transformer saturation in the high frequencies to add a “sparkle” to tracks. The Silk + mode accentuates the saturation of the low frequencies to add thickness and density to any source – especially useful for dry, somewhat anemic mixes. Unlike EQ, the texture control saturates the output transformers, and adds musical harmonics to the source material according to the amount of texture applied.<br /><br />\n\n\n<h3>Stem It or Sum It</h3>\nAside from providing aux functionality with a second 5059 module, the dual stereo outputs of the 5059 are generally used for creating stem mixes. These stem mixes can be enhanced using the Silk / Texture controls on the 5059, then processed by buss compressors or other devices, and fed into inputs of another mixer or an ADC.<br /><br />\n\nWith 16 channels of Rupert Neve designed class-A magic and numerous tonal and routing options, the 5059 Satellite mixer will elevate your DAW-based studio’s sound and performance to new heights.<br /><br />'),(9248,75,1,1542,'<h1>Rupert Neve 5059 Satellite Summing Mixer</h1>\n<i>Built around many of the topologies and custom transformers made famous with the 5088 mixer, the 5059 is a 16×2+2 summing mixer designed to deliver the ultimate out of the box sonics and control in a 2U, rack-mountable chassis.</i><br /><br />\nThe Rupert Neve 5059 features 16 channels with individual level, pan, inserts, stereo-2 sends, and master texture controls, providing easy integration with outboard equipment, complete control for two separate stem mixes, and the ability to dial in analogue mojo in two modes. With the same sonic heritage as mixers used to create countless hit records, the 5059 Satellite Mixer imbues tracks with the legendary warmth and presence of a Rupert Neve design.<br /><br /><div>In the 5059, amplification is handled with fully class-A operational amplifier topologies featuring <span style=\"background-color: initial;\">Rupert’s custom transformer designs. While these circuits share a lineage with the circuits used in </span><span style=\"background-color: initial;\">Rupert’s consoles from the 70’s, and in many ways sound similar, there are refinements in noise, slew </span><span style=\"background-color: initial;\">rate, dynamic range and particularly avoidance of unpleasant high frequency distortion artifacts.<br /><br /></span><span style=\"background-color: initial;\">With proper implementation, the 5059 can redefine the sonic possibilities and streamline workflow in </span><span style=\"background-color: initial;\">the modern DAW based studio.<br /><br /></span><span style=\"background-color: initial; color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">The Signature of Excellence</span></div>\nThe most important element of the 5059 is its legendary sound. The keys to the sonic prowess of the 5059 are the custom transformers and true class-A topologies found within. The +/- 24V class-A topologies in the 5059 have been fine-tuned over a number of years to provide exceptional sonic performance and completely eliminate cross-over distortion. When combined with Mr. Rupert Neve’s transformer design and implementation, the 5059 achieves a remarkable purity, while also conveying the signature warmth and larger-than-life sound reminiscent of Rupert’s classic designs.<br /><br />\n\n\n<h3>Making Connections</h3>\nOne drawback to mixing “in the box” is the inability to use high quality analogue outboard equipment. Channel inserts are provided in the 5059 to streamline interconnections with analogue outboard equipment and to allow for further expansions of the 5059’s capabilities. By connecting a second 5059 to the insert outputs of a 5059, the dual stereo outputs can be used as a way to add 4 auxes to each of the 16 channels. When used with the , the 5059 can be utilized to create and mix stems into the main stereo inputs on the 5060.<br /><br />\n\n<h3>From Clean to Colored and Everywhere in Between</h3>\nEvery mix demands its own treatment; continuously variable Texture controls with Silk and Silk+ modes allow the engineer to fine tune the harmonic ratio and tonality of each stereo send of the 5059, or leave each mix pristine. The Silk mode accentuates the transformer saturation in the high frequencies to add a “sparkle” to tracks. The Silk + mode accentuates the saturation of the low frequencies to add thickness and density to any source – especially useful for dry, somewhat anemic mixes. Unlike EQ, the texture control saturates the output transformers, and adds musical harmonics to the source material according to the amount of texture applied.<br /><br />\n\n\n<h3>Stem It or Sum It</h3>\nAside from providing aux functionality with a second 5059 module, the dual stereo outputs of the 5059 are generally used for creating stem mixes. These stem mixes can be enhanced using the Silk / Texture controls on the 5059, then processed by buss compressors or other devices, and fed into inputs of another mixer or an ADC.<br /><br />\n\nWith 16 channels of Rupert Neve designed class-A magic and numerous tonal and routing options, the 5059 Satellite mixer will elevate your DAW-based studio’s sound and performance to new heights.<br /><br />'),(9249,85,0,1542,'Rupert Neve 5059 Satellite Summing Mixer'),(9250,85,1,1542,'Rupert Neve 5059 Satellite Summing Mixer'),(9251,76,0,1542,''),(9252,76,1,1542,''),(9253,75,0,1543,'<h1>Rupert Neve 5060 Centerpiece 24x2 Desktop Mixer</h1>\n<span style=\"font-size:16px; font-style:italic;\">A compact, analog desktop mixer designed by the father of the recording console.</span><br /><i></i><br />The Rupert Neve Designs 5060 Centerpiece delivers the tonality and center section features of Rupert’s flagship 5088 console at your fingertips, cementing outboard together with serious custom transformers, flexible monitoring, DAW transport controls, and the raw power of a Rupert Neve-designed 24×2 mix-buss. <span style=\"background-color: initial;\">With a modular, hybrid analogue/digital mix system built around the 5060, you can outfit your studio </span><span style=\"background-color: initial;\">with exactly what you need – and nothing that you don’t. Utilizing modern DAW control technologies, </span><span style=\"background-color: initial;\">the 5060 seamlessly integrates stem outputs from the DAW with the rest of your control room, sums the </span><span style=\"background-color: initial;\">final mix, and provides 2-track outputs, source selection, and speaker feed outputs from the monitor </span><span style=\"background-color: initial;\">section.<br /></span><div>In the 5060, amplification is handled with fully class-A operational amplifier topologies featuring <span style=\"background-color: initial;\">Rupert’s custom transformer designs. While these circuits share a lineage with the circuits used in </span><span style=\"background-color: initial;\">Rupert’s consoles from the 70’s, and in many ways sound similar, there are refinements in noise, slew </span><span style=\"background-color: initial;\">rate, dynamic range and particularly avoidance of unpleasant high frequency distortion artifacts.<br /><br /></span><span style=\"background-color: initial;\">With proper implementation, the 5060 can redefine the sonic possibilities and streamline workflow in </span><span style=\"background-color: initial;\">the hybrid DAW and analogue based studio.</span></div><br /><h3><span style=\"font-weight: bold;\">Define Your Workflow</span></h3>With a modular, hybrid analogue/digital mix system built around the 5060, you can outfit your studio with exactly what you need – and nothing that you don’t. Utilizing modern DAW control technologies, the 5060 seamlessly integrates stem outputs from the DAW with the rest of your control room, sums the final mix, and provides 2-track outputs, source selection, and speaker feed outputs from the monitor section.\n<br /><br />Used in conjunction with 5059 mixers and Portico modules, the 5060 forms the core of a scalable analogue system. In this arrangement, the 5059s provide individual channel control, aux routing, and expandable channel counts, the Portico modules provide preamplification, EQ and dynamics, and the 5060 unites it all. The 5060 brings your dreams of a seamless hybrid workflow to reality.\n<br /><br /><h3><span style=\"font-weight: bold;\">Define Your Tone</span></h3>With custom transformers, a class-A mix buss and variable Silk, the 5060 can provide a wide range of tonal flavors. Drive the mix buss hard and crank the Texture knob for a rich, saturated, vintage vibe – or disengage Silk entirely for clear, wide-open sonic beauty.\n<br /><br />Silk reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Silk red mode accentuates the saturation in the high-mids and highs, while silk blue mode features more saturation in the lows and low mids.\n<br /><br />With Silk engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s class-A vintage designs. These controls add an unparalleled range of tonal options to the 5060 and should be explored creatively with a variety of different sources for best effect.\n<br /><br />Additionally, by using 5059 Satellite Mixers to feed the 5060, you can further control the tone by using different Silk & Texture settings on the dual stereo outputs,and by creating parallel processing on the stems using the insert sends into processors, and then into stereo inputs 9-24.\n<br /><br /><h3><span style=\"font-weight: bold;\">The New Analogue Standard</span></h3>While digital technologies come and go, the modular, class-A analog designs Rupert created decades ago have been proven to stand the test of time. Instead of merely cloning these “classics”, Rupert has spent recent years leading a team of engineers in crafting new designs, built on the same key principals, that take sonic performance, flexibility and ergonomics to new heights.  <br /><br />These designs embody the high voltage, class-A, discrete and transformer coupled architectures found in the 5088 console, which represent a culmination of Rupert’s vast analogue circuitry knowledge.\n<br /><br />With the 5060 Centerpiece, the primary aim is to deliver the extraordinary quality of the 5088 in a compact, modular framework. With an abundance of interconnectivity, exceptional fidelity, and the tonal versatility of Silk, the 5060 is the ideal core of the sound-conscious modern studio.'),(9254,75,1,1543,'<h1>Rupert Neve 5060 Centerpiece 24x2 Desktop Mixer</h1>\n<span style=\"font-size:16px; font-style:italic;\">A compact, analog desktop mixer designed by the father of the recording console.</span><br /><i></i><br />The Rupert Neve Designs 5060 Centerpiece delivers the tonality and center section features of Rupert’s flagship 5088 console at your fingertips, cementing outboard together with serious custom transformers, flexible monitoring, DAW transport controls, and the raw power of a Rupert Neve-designed 24×2 mix-buss. <span style=\"background-color: initial;\">With a modular, hybrid analogue/digital mix system built around the 5060, you can outfit your studio </span><span style=\"background-color: initial;\">with exactly what you need – and nothing that you don’t. Utilizing modern DAW control technologies, </span><span style=\"background-color: initial;\">the 5060 seamlessly integrates stem outputs from the DAW with the rest of your control room, sums the </span><span style=\"background-color: initial;\">final mix, and provides 2-track outputs, source selection, and speaker feed outputs from the monitor </span><span style=\"background-color: initial;\">section.<br /></span><div>In the 5060, amplification is handled with fully class-A operational amplifier topologies featuring <span style=\"background-color: initial;\">Rupert’s custom transformer designs. While these circuits share a lineage with the circuits used in </span><span style=\"background-color: initial;\">Rupert’s consoles from the 70’s, and in many ways sound similar, there are refinements in noise, slew </span><span style=\"background-color: initial;\">rate, dynamic range and particularly avoidance of unpleasant high frequency distortion artifacts.<br /><br /></span><span style=\"background-color: initial;\">With proper implementation, the 5060 can redefine the sonic possibilities and streamline workflow in </span><span style=\"background-color: initial;\">the hybrid DAW and analogue based studio.</span></div><br /><h3><span style=\"font-weight: bold;\">Define Your Workflow</span></h3>With a modular, hybrid analogue/digital mix system built around the 5060, you can outfit your studio with exactly what you need – and nothing that you don’t. Utilizing modern DAW control technologies, the 5060 seamlessly integrates stem outputs from the DAW with the rest of your control room, sums the final mix, and provides 2-track outputs, source selection, and speaker feed outputs from the monitor section.\n<br /><br />Used in conjunction with 5059 mixers and Portico modules, the 5060 forms the core of a scalable analogue system. In this arrangement, the 5059s provide individual channel control, aux routing, and expandable channel counts, the Portico modules provide preamplification, EQ and dynamics, and the 5060 unites it all. The 5060 brings your dreams of a seamless hybrid workflow to reality.\n<br /><br /><h3><span style=\"font-weight: bold;\">Define Your Tone</span></h3>With custom transformers, a class-A mix buss and variable Silk, the 5060 can provide a wide range of tonal flavors. Drive the mix buss hard and crank the Texture knob for a rich, saturated, vintage vibe – or disengage Silk entirely for clear, wide-open sonic beauty.\n<br /><br />Silk reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Silk red mode accentuates the saturation in the high-mids and highs, while silk blue mode features more saturation in the lows and low mids.\n<br /><br />With Silk engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s class-A vintage designs. These controls add an unparalleled range of tonal options to the 5060 and should be explored creatively with a variety of different sources for best effect.\n<br /><br />Additionally, by using 5059 Satellite Mixers to feed the 5060, you can further control the tone by using different Silk & Texture settings on the dual stereo outputs,and by creating parallel processing on the stems using the insert sends into processors, and then into stereo inputs 9-24.\n<br /><br /><h3><span style=\"font-weight: bold;\">The New Analogue Standard</span></h3>While digital technologies come and go, the modular, class-A analog designs Rupert created decades ago have been proven to stand the test of time. Instead of merely cloning these “classics”, Rupert has spent recent years leading a team of engineers in crafting new designs, built on the same key principals, that take sonic performance, flexibility and ergonomics to new heights.  <br /><br />These designs embody the high voltage, class-A, discrete and transformer coupled architectures found in the 5088 console, which represent a culmination of Rupert’s vast analogue circuitry knowledge.\n<br /><br />With the 5060 Centerpiece, the primary aim is to deliver the extraordinary quality of the 5088 in a compact, modular framework. With an abundance of interconnectivity, exceptional fidelity, and the tonal versatility of Silk, the 5060 is the ideal core of the sound-conscious modern studio.'),(9255,85,0,1543,'Rupert Neve 5060 Centerpiece 24x2 Desktop Mixer'),(9256,85,1,1543,'Rupert Neve 5060 Centerpiece 24x2 Desktop Mixer'),(9257,76,0,1543,''),(9258,76,1,1543,''),(9259,75,0,1544,'<h1>Rupert Neve Designs Portico II Channel</h1>\n<i>\nChannel Strip with Mic Pre, EQ, Compressor, and Texture</i><br /><br />\nThe Rupert Neve Designs Portico II Channel was created using the high voltage topologies from the 5088 to create a channel strip with the ultimate sound quality. Comprised of a fully-featured mic preamplifier, 4-band EQ, compressor-limiter, “texture” control and level metering, the Portico II Channel includes a bevy of new features including; Variable Silk with Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards empowering recording artists to realize these visions.<br /><br />\n\n<h3>Input Section</h3>\nInput signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ohm non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +/- 6dB Trim for fine adjustment. A transient-optimized HPF variable from 20-250Hz is included. Additionally, a 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range.\n<br /><br />\nInserting a plug into the DI input selects a 3M Ohm discrete FET DI circuit with a transformer-coupled topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to sound their very best. Primary Gain and Trim controls are fully operational. A “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level Trim controls.<br /><br />\n<h3>Texture</h3>\nOne of the key developments in the Portico II Channel is the new Texture section. Building on the “Silk” mode found in the original Portico Series mic preamplifiers, Texture is designed to adjust the actual amount of musical harmonic content from the source material – in effect, providing countless tonal options in one device. The texture section can vary from barely audible to dramatic, all controlled by a single knob. With that said, we have taken great care to ensure that the musical integrity of source material itself will not be compromised by these harmonic controls – these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material – and we believe they can be confidently used to fit the personality of any song, instrument or engineer.\n<br /><br />\nAs with the original Portico modules, the blue Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. This blue mode tends to affect harmonics generated by the source material’s low and low-mid frequencies, filling the sound out from the bottom up. The red “Silk +” mode provides a different level of control, enhancing harmonics generated by the source material’s high-mid and high frequencies, adding a harmonic “sparkle” to your original signal.<br /><br />\n<h3>Equalizer</h3>\nThe EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch.\n<br /><br />\n<h3>Compressor</h3>\nA further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the VCA compressor has a choice of Feed-Forward / Feed-Back modes, either providing a transparent modern response (FF) or a smoother, more vintage response (FB). Along with FF/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in Peak mode), Release from 100ms to 2.5s, and Make-Up Gain from 0 to 20dB. A link switch is provided to link the compressor action with that of an additional connected Portico II Channel for stereo processing.\n<br /><br />\nThe Portico II compressor incorporates a number of new ways to tame and enhance dynamics. “HPF to SC” inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Peak” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “peak” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings.<br /><br />\n“Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.<br /><br />\nTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.<br /><br />'),(9260,75,1,1544,'<h1>Rupert Neve Designs Portico II Channel</h1>\n<i>\nChannel Strip with Mic Pre, EQ, Compressor, and Texture</i><br /><br />\nThe Rupert Neve Designs Portico II Channel was created using the high voltage topologies from the 5088 to create a channel strip with the ultimate sound quality. Comprised of a fully-featured mic preamplifier, 4-band EQ, compressor-limiter, “texture” control and level metering, the Portico II Channel includes a bevy of new features including; Variable Silk with Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards empowering recording artists to realize these visions.<br /><br />\n\n<h3>Input Section</h3>\nInput signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ohm non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +/- 6dB Trim for fine adjustment. A transient-optimized HPF variable from 20-250Hz is included. Additionally, a 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range.\n<br /><br />\nInserting a plug into the DI input selects a 3M Ohm discrete FET DI circuit with a transformer-coupled topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to sound their very best. Primary Gain and Trim controls are fully operational. A “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level Trim controls.<br /><br />\n<h3>Texture</h3>\nOne of the key developments in the Portico II Channel is the new Texture section. Building on the “Silk” mode found in the original Portico Series mic preamplifiers, Texture is designed to adjust the actual amount of musical harmonic content from the source material – in effect, providing countless tonal options in one device. The texture section can vary from barely audible to dramatic, all controlled by a single knob. With that said, we have taken great care to ensure that the musical integrity of source material itself will not be compromised by these harmonic controls – these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material – and we believe they can be confidently used to fit the personality of any song, instrument or engineer.\n<br /><br />\nAs with the original Portico modules, the blue Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. This blue mode tends to affect harmonics generated by the source material’s low and low-mid frequencies, filling the sound out from the bottom up. The red “Silk +” mode provides a different level of control, enhancing harmonics generated by the source material’s high-mid and high frequencies, adding a harmonic “sparkle” to your original signal.<br /><br />\n<h3>Equalizer</h3>\nThe EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch.\n<br /><br />\n<h3>Compressor</h3>\nA further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the VCA compressor has a choice of Feed-Forward / Feed-Back modes, either providing a transparent modern response (FF) or a smoother, more vintage response (FB). Along with FF/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in Peak mode), Release from 100ms to 2.5s, and Make-Up Gain from 0 to 20dB. A link switch is provided to link the compressor action with that of an additional connected Portico II Channel for stereo processing.\n<br /><br />\nThe Portico II compressor incorporates a number of new ways to tame and enhance dynamics. “HPF to SC” inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Peak” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “peak” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings.<br /><br />\n“Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.<br /><br />\nTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.<br /><br />'),(9261,85,0,1544,'Rupert Neve Designs Portico II Channel'),(9262,85,1,1544,'Rupert Neve Designs Portico II Channel'),(9263,76,0,1544,''),(9264,76,1,1544,''),(9265,75,0,1545,'<h1>Rupert Neve R6 Six Space 500 Series Rack </h1>\n<span style=\"font-size: 16px;\"><i>The R6 500 Series Rack delivers peace of mind for engineers who demand a higher degree of confidence in their 500 series racks</i></span><br/><br/>\nThe Rupert Neve R6 is a 6-slot rack for 500 format modules with ample power and versatile connection possibilities. The R6 delivers mare than enough current to power even the most greedy modules. To identify and monitor problematic modules, the R6 is equipped with an LED meter displaying the amount of power being consumed. The internal power adapter is double shielded in order to prevent magnetic distortions in the modules.<br/><br/>\nThe R6 offers 8 channels with symmetrical I/O options including DB-25, XLR and jack. These features are especially useful when the user transports the unit to another location and is not sure what kind of cable selection will be available or if the connection needs to be converted (e.g. with the THRU function of the channels 7-8).<br/><br/>\nThe R6 was designed in such a way as to allow high quality 500 modules to be installed without any problems. In order to guarantee that modules that vary from the standard dimension also find a place in this rack, adjustable screw holes are equipped to simplify their installation. The link- function of the 500 series can be activated by the use of the Link-Jumper in channels 1-2, 3-4 or 5-6. The housing is constructed from solid steel and features rubber feat so that the rack can be placed horizontally as well as vertically. All of the sockets and components are of the highest quality, in order to allow the R6 to operate for years and years to come.<br/><br/>\n<h3>Rupert Neve R6 key features:</h3>\n<ul>\n	<li>500 series link function to enable pairs</li>\n	<li>Massive Connectivity - <span style=\"background-color: initial;\">Interchangeable XLR, TRS, and DB-25 I/O connections</span></li>\n	<li>Robust power supply with more than 150% the required current</li>\n	<li>Power rail LED indication</li>\n	<li>Rugged steel chassis</li>\n	<li>Channel 7-8 Thru Conversion</li>\n	<li>48V Phantom Supply</li>\n</ul>\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<br/>\n<h2>Rupert Neve R6 features In-Depth:</h2>\n<h3>Power You Can Trust</h3>\nPower-wise, the R6 has more than 150% the required current for a 6-space chassis to prevent the power rails from failing under a higher-than-expected load. To help monitor and troubleshoot problematic modules, the R6 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double-shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R6 helps your modules realize their fullest potential.\n<br/><br/>\n<h3>Connect Like Never Before</h3>\nWith a plethora of connections available, the R6 backpanel is practically a patchbay on its own. The R6 features 8 channels of balanced I/O options including DB-25, XLR and TRS that may be used interchangeably. This versatility is especially handy when you are taking the R6 with you to another environment where you are unsure of the cables available, or if you need to convert DB-25, XLR or TRS connections to another format using the THRU functionality on channels 7-8.\n<br/><br/>\n<h3>Solid Steel Construction</h3>\nThe chassis is comprised of solid steel with bumpers to support the unit in both horizontal and vertical configurations, and features a collapsable handle for portability. All connectors and fittings are of the highest quality to ensure that the R6 will hold up to many years of use.\n<br/><br/>\n<h3>A New Level of Confidence in the 500 Series</h3>\nBecause the R6 is built to 500 series specifications, it will work flawlessly with any properly-designed 500 series module you wish to include in it. To help accommodate modules that are slightly out of spec, the R6 has variable-position screw holes to help make the installation process as smooth as possible. The 500 series link function can be enabled in pairs on the R6 using the link jumpers on Channels 1-2, 3-4, or 5-6. Matching blank panels are also available to cover any empty slots.\n<br/><br/>\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br/><br/>\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br/><br/>\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br/><br/>\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br/><br/>\n<h3>If you want to get the very best performance out of your 500 series modules, the Rupert Neve Designs R6 is the rack you want. For more information, call or chat with an RSPE representative today.</h3>'),(9266,75,1,1545,'<h1>Rupert Neve R6 Six Space 500 Series Rack </h1>\n<span style=\"font-size: 16px;\"><i>The R6 500 Series Rack delivers peace of mind for engineers who demand a higher degree of confidence in their 500 series racks</i></span><br/><br/>\nThe Rupert Neve R6 is a 6-slot rack for 500 format modules with ample power and versatile connection possibilities. The R6 delivers mare than enough current to power even the most greedy modules. To identify and monitor problematic modules, the R6 is equipped with an LED meter displaying the amount of power being consumed. The internal power adapter is double shielded in order to prevent magnetic distortions in the modules.<br/><br/>\nThe R6 offers 8 channels with symmetrical I/O options including DB-25, XLR and jack. These features are especially useful when the user transports the unit to another location and is not sure what kind of cable selection will be available or if the connection needs to be converted (e.g. with the THRU function of the channels 7-8).<br/><br/>\nThe R6 was designed in such a way as to allow high quality 500 modules to be installed without any problems. In order to guarantee that modules that vary from the standard dimension also find a place in this rack, adjustable screw holes are equipped to simplify their installation. The link- function of the 500 series can be activated by the use of the Link-Jumper in channels 1-2, 3-4 or 5-6. The housing is constructed from solid steel and features rubber feat so that the rack can be placed horizontally as well as vertically. All of the sockets and components are of the highest quality, in order to allow the R6 to operate for years and years to come.<br/><br/>\n<h3>Rupert Neve R6 key features:</h3>\n<ul>\n	<li>500 series link function to enable pairs</li>\n	<li>Massive Connectivity - <span style=\"background-color: initial;\">Interchangeable XLR, TRS, and DB-25 I/O connections</span></li>\n	<li>Robust power supply with more than 150% the required current</li>\n	<li>Power rail LED indication</li>\n	<li>Rugged steel chassis</li>\n	<li>Channel 7-8 Thru Conversion</li>\n	<li>48V Phantom Supply</li>\n</ul>\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<br/>\n<h2>Rupert Neve R6 features In-Depth:</h2>\n<h3>Power You Can Trust</h3>\nPower-wise, the R6 has more than 150% the required current for a 6-space chassis to prevent the power rails from failing under a higher-than-expected load. To help monitor and troubleshoot problematic modules, the R6 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double-shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R6 helps your modules realize their fullest potential.\n<br/><br/>\n<h3>Connect Like Never Before</h3>\nWith a plethora of connections available, the R6 backpanel is practically a patchbay on its own. The R6 features 8 channels of balanced I/O options including DB-25, XLR and TRS that may be used interchangeably. This versatility is especially handy when you are taking the R6 with you to another environment where you are unsure of the cables available, or if you need to convert DB-25, XLR or TRS connections to another format using the THRU functionality on channels 7-8.\n<br/><br/>\n<h3>Solid Steel Construction</h3>\nThe chassis is comprised of solid steel with bumpers to support the unit in both horizontal and vertical configurations, and features a collapsable handle for portability. All connectors and fittings are of the highest quality to ensure that the R6 will hold up to many years of use.\n<br/><br/>\n<h3>A New Level of Confidence in the 500 Series</h3>\nBecause the R6 is built to 500 series specifications, it will work flawlessly with any properly-designed 500 series module you wish to include in it. To help accommodate modules that are slightly out of spec, the R6 has variable-position screw holes to help make the installation process as smooth as possible. The 500 series link function can be enabled in pairs on the R6 using the link jumpers on Channels 1-2, 3-4, or 5-6. Matching blank panels are also available to cover any empty slots.\n<br/><br/>\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br/><br/>\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br/><br/>\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br/><br/>\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br/><br/>\n<h3>If you want to get the very best performance out of your 500 series modules, the Rupert Neve Designs R6 is the rack you want. For more information, call or chat with an RSPE representative today.</h3>'),(9267,85,0,1545,'Rupert Neve R6 Six Space 500 Series Rack'),(9268,85,1,1545,'Rupert Neve R6 Six Space 500 Series Rack'),(9269,76,0,1545,''),(9270,76,1,1545,''),(9271,75,0,1546,'<h1>Rupert Neve Designs RNHP Precision Headphone Amplifier</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference-quality headphone amplifier from the legendary Rupert Neve</span><br /><br />\nWhether you’re tracking, mixing, or just listening to music, your headphone amplifier is as important to the final sound quality as your headphones – yet the world is full of headphone amps with compromised sonics, headroom, and power. To address these shortcomings, Rupert and his team at Rupert Neve Designs have developed the RNHP.<br /><br />\nBased on the headphone output circuit in the 5060 Centerpiece Desktop Mixer, the RNHP is a dedicated 24V reference-quality headphone amplifier with specifically-calibrated +4dBu balanced line, unbalanced RCA and 3.5mm (1/8”) inputs, housed in a rugged VESA-mountable steel chassis. With effortless, wide-open sonic performance and the ability to drive any pair of headphones without compromise, the RNHP allows you to perform, mix and enjoy your music with a new level of clarity.<br /><br />\n<h3>Dedicated vs Integrated Amplifiers</h3>\nFor much equipment, the headphone output is an afterthought. Most products with integrated headphone amps have large feature sets, small footprints, and relatively low price points. This leads to comprised power and audio quality of the headphone amplifier itself, which can lead to a number of issues in real world usage such as low headroom, unreliable performance, and a lack of focus.\n<br /><br />\nThe RNHP was made to accomplish one simple purpose: making any headphones sound their best. As a dedicated design, the RNHP is tailored to deliver extremely high quality, powerful amplification, with precise calibration for any source input. This exceptional level of quality can be the difference that inspires an artist to give their best performance, lets an engineer make better choices in mic and placement, gives a mix engineer reliable translation of EQ and dynamics adjustments, or lets a music listener appreciate the full depth and detail of a recording.<br /><br />\n<h3>Specially-Calibrated Inputs For All of Your Devices</h3>\nIn addition to being able to drive a wide variety of headphones without sacrificing performance, the RNHP is also capable of receiving a wide array of signals with its 3 inputs, calibrated for optimum level and impedance. Check the Application notes for how the RNHP can be utilized for different purposes.\n<br /><br />\nHere are some common device examples:<br /><br />\n<strong>Input A: +4dBu Line (XLR or TRS) Devices</strong>\n<ul>\n	<li>Studio Audio Interfaces (Line or Monitor Out)     </li>\n	<li>Headphone Mixers (Line Output or HP Out)          </li>\n	<li>Mixing Consoles (Line, Aux or Monitor Out)        </li>\n	<li>Professional Turntable Mixers (Line or Monitor)   </li>\n	<li>Professional Stereo Digital to Analogue Converter </li>\n	<li>Professional Cameras                              </li>\n	<li>Studio Monitor Controllers                        </li>\n</ul>\n<br />\n<strong>Input B: RCA Devices</strong>\n<ul>\n	<li>CD / DVD Players            </li>\n	<li>Stereo Tuners                           </li>\n	<li>Preamplified Turntables               </li>\n	<li>Prosumer Recording Devices / Cameras    </li>\n</ul>\n<br />\nInput C: 3.5mm (1/8”) Stereo Devices\n<ul>\n	<li>Mobile Phones               </li>\n	<li>Portable Music Players        </li>\n	<li>Computers                </li>\n	<li>DSLR Cameras                  </li>\n	<li>Handheld Recording Devices   </li>\n	<li>Any 3.5mm headphone output    </li>\n</ul>\n<br />\n<h3>Multiple-Line Feed</h3>\nIn some situations where you only have one set of outputs but need to simultaneously feed the RNHP and another device such as speakers, a second headphone amplifier, or a 2-track recorder, we recommend using splitter cables from the Left and Right line outputs to feed both devices from the same stereo pair. \n<br /><br />'),(9272,75,1,1546,'<h1>Rupert Neve Designs RNHP Precision Headphone Amplifier</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference-quality headphone amplifier from the legendary Rupert Neve</span><br /><br />\nWhether you’re tracking, mixing, or just listening to music, your headphone amplifier is as important to the final sound quality as your headphones – yet the world is full of headphone amps with compromised sonics, headroom, and power. To address these shortcomings, Rupert and his team at Rupert Neve Designs have developed the RNHP.<br /><br />\nBased on the headphone output circuit in the 5060 Centerpiece Desktop Mixer, the RNHP is a dedicated 24V reference-quality headphone amplifier with specifically-calibrated +4dBu balanced line, unbalanced RCA and 3.5mm (1/8”) inputs, housed in a rugged VESA-mountable steel chassis. With effortless, wide-open sonic performance and the ability to drive any pair of headphones without compromise, the RNHP allows you to perform, mix and enjoy your music with a new level of clarity.<br /><br />\n<h3>Dedicated vs Integrated Amplifiers</h3>\nFor much equipment, the headphone output is an afterthought. Most products with integrated headphone amps have large feature sets, small footprints, and relatively low price points. This leads to comprised power and audio quality of the headphone amplifier itself, which can lead to a number of issues in real world usage such as low headroom, unreliable performance, and a lack of focus.\n<br /><br />\nThe RNHP was made to accomplish one simple purpose: making any headphones sound their best. As a dedicated design, the RNHP is tailored to deliver extremely high quality, powerful amplification, with precise calibration for any source input. This exceptional level of quality can be the difference that inspires an artist to give their best performance, lets an engineer make better choices in mic and placement, gives a mix engineer reliable translation of EQ and dynamics adjustments, or lets a music listener appreciate the full depth and detail of a recording.<br /><br />\n<h3>Specially-Calibrated Inputs For All of Your Devices</h3>\nIn addition to being able to drive a wide variety of headphones without sacrificing performance, the RNHP is also capable of receiving a wide array of signals with its 3 inputs, calibrated for optimum level and impedance. Check the Application notes for how the RNHP can be utilized for different purposes.\n<br /><br />\nHere are some common device examples:<br /><br />\n<strong>Input A: +4dBu Line (XLR or TRS) Devices</strong>\n<ul>\n	<li>Studio Audio Interfaces (Line or Monitor Out)     </li>\n	<li>Headphone Mixers (Line Output or HP Out)          </li>\n	<li>Mixing Consoles (Line, Aux or Monitor Out)        </li>\n	<li>Professional Turntable Mixers (Line or Monitor)   </li>\n	<li>Professional Stereo Digital to Analogue Converter </li>\n	<li>Professional Cameras                              </li>\n	<li>Studio Monitor Controllers                        </li>\n</ul>\n<br />\n<strong>Input B: RCA Devices</strong>\n<ul>\n	<li>CD / DVD Players            </li>\n	<li>Stereo Tuners                           </li>\n	<li>Preamplified Turntables               </li>\n	<li>Prosumer Recording Devices / Cameras    </li>\n</ul>\n<br />\nInput C: 3.5mm (1/8”) Stereo Devices\n<ul>\n	<li>Mobile Phones               </li>\n	<li>Portable Music Players        </li>\n	<li>Computers                </li>\n	<li>DSLR Cameras                  </li>\n	<li>Handheld Recording Devices   </li>\n	<li>Any 3.5mm headphone output    </li>\n</ul>\n<br />\n<h3>Multiple-Line Feed</h3>\nIn some situations where you only have one set of outputs but need to simultaneously feed the RNHP and another device such as speakers, a second headphone amplifier, or a 2-track recorder, we recommend using splitter cables from the Left and Right line outputs to feed both devices from the same stereo pair. \n<br /><br />'),(9273,85,0,1546,'Rupert Neve Designs RNHP Precision Headphone Amplifier'),(9274,85,1,1546,'Rupert Neve Designs RNHP Precision Headphone Amplifier'),(9275,76,0,1546,''),(9276,76,1,1546,''),(9277,75,0,1547,'<h1>Rupert Neve Shelford 5051 Inductor EQ / Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Vintage-style three band EQ that captures the soul of Rupert Neve\'s classic designs, with modern capabilities</span><br/><br/>\nThe 5051 combines a classic three band EQ based on Rupert’s vintage designs with the power and flexibility of the Portico II compressor. Utilizing a fully-discrete, class-A signal path and high performance input and output transformers, the 5051 delivers the performance and musicality expected from a Rupert Neve Design.<br/><br/>\n<h3>The Equalizer</h3>\nThe EQ design on the 5051 evokes sonic similarities with some of Rupert’s classic EQs. The 5051 uses a custom tapped inductor with selected capacitors to form the mid range equalizer band, and the shelf curves are based on Rupert’s vintage modules, including very similar frequency choices. Each EQ section also uses low feedback class-A discrete electronics to prevent low level artifacts and harshness from detracting from the tonal shaping. The EQ, however, is a modern design with advantages offered by techniques that were not possible 35 years ago along with improvements in electronic components currently available, and should not be considered a clone. Let’s just say it has heritage.\n<br/><br/>\nBoth the High and Low Band can be switched from Shelf to Peak curves and offer 15 dB of boost or cut. The High can be switched from 8 kHz to 16 kHz and the Low Band selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a High Peak switch to narrow the bandwidth or increase the Q of the filter. The 5051 includes an 18 dB/octave High Pass Filter with two corner frequencies on a lit button that toggles through “OFF, 60 Hz then 120 Hz indicated by a blue or red LED respectively.<br/><br/>\nAdditionally, the EQ can be switched Pre or Post the compressor. Normally the EQ precedes the compressor but the order can be selected so that the EQ follows after the Compressor. The 5051 also has two XLR balanced inputs that can be switched from the front panel. This allows the user, for example, to have a mic preamplifier and line input from a DAW to be pre-patched and easily selectable.<br/><br/>\n<h3>The Compressor</h3>\nThe 5051 Compressor also features a discrete class A signal path proven used in the Portico Series, with individually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 5051 may be used as a transformer-coupled, high-performance line amplifier, and two 5051’s may be linked for stereo operation as well.\n<br/><br/>\n<h3>How the Compressor Works</h3>\nIn order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The Portico 5051 compressor makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.\n<br/><br/>\nA part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the “attack”, and the time frame that gain remains under the initial control, known as “release” or “recovery” and plays a large part in the way a compressor sounds.<br/><br/>\n<h3>The Power Supply</h3>\nThe 5051 is intended for 5088 consoles or 5285 vertical frames. There are two +/- 24V power supply options; The 5-way supply is designed to sit in the bottom of a rack, and the 25-way supply is a 2U enclosure. The external +/- 24V supply provides exceptionally clean power, and reduces heat build-up within modules associated with DC-DC up-conversion.\n<br/><br/>'),(9278,75,1,1547,'<h1>Rupert Neve Shelford 5051 Inductor EQ / Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Vintage-style three band EQ that captures the soul of Rupert Neve\'s classic designs, with modern capabilities</span><br/><br/>\nThe 5051 combines a classic three band EQ based on Rupert’s vintage designs with the power and flexibility of the Portico II compressor. Utilizing a fully-discrete, class-A signal path and high performance input and output transformers, the 5051 delivers the performance and musicality expected from a Rupert Neve Design.<br/><br/>\n<h3>The Equalizer</h3>\nThe EQ design on the 5051 evokes sonic similarities with some of Rupert’s classic EQs. The 5051 uses a custom tapped inductor with selected capacitors to form the mid range equalizer band, and the shelf curves are based on Rupert’s vintage modules, including very similar frequency choices. Each EQ section also uses low feedback class-A discrete electronics to prevent low level artifacts and harshness from detracting from the tonal shaping. The EQ, however, is a modern design with advantages offered by techniques that were not possible 35 years ago along with improvements in electronic components currently available, and should not be considered a clone. Let’s just say it has heritage.\n<br/><br/>\nBoth the High and Low Band can be switched from Shelf to Peak curves and offer 15 dB of boost or cut. The High can be switched from 8 kHz to 16 kHz and the Low Band selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a High Peak switch to narrow the bandwidth or increase the Q of the filter. The 5051 includes an 18 dB/octave High Pass Filter with two corner frequencies on a lit button that toggles through “OFF, 60 Hz then 120 Hz indicated by a blue or red LED respectively.<br/><br/>\nAdditionally, the EQ can be switched Pre or Post the compressor. Normally the EQ precedes the compressor but the order can be selected so that the EQ follows after the Compressor. The 5051 also has two XLR balanced inputs that can be switched from the front panel. This allows the user, for example, to have a mic preamplifier and line input from a DAW to be pre-patched and easily selectable.<br/><br/>\n<h3>The Compressor</h3>\nThe 5051 Compressor also features a discrete class A signal path proven used in the Portico Series, with individually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 5051 may be used as a transformer-coupled, high-performance line amplifier, and two 5051’s may be linked for stereo operation as well.\n<br/><br/>\n<h3>How the Compressor Works</h3>\nIn order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The Portico 5051 compressor makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.\n<br/><br/>\nA part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the “attack”, and the time frame that gain remains under the initial control, known as “release” or “recovery” and plays a large part in the way a compressor sounds.<br/><br/>\n<h3>The Power Supply</h3>\nThe 5051 is intended for 5088 consoles or 5285 vertical frames. There are two +/- 24V power supply options; The 5-way supply is designed to sit in the bottom of a rack, and the 25-way supply is a 2U enclosure. The external +/- 24V supply provides exceptionally clean power, and reduces heat build-up within modules associated with DC-DC up-conversion.\n<br/><br/>'),(9279,85,0,1547,'Rupert Neve Shelford 5051 Inductor EQ / Compressor'),(9280,85,1,1547,'Rupert Neve Shelford 5051 Inductor EQ / Compressor'),(9281,76,0,1547,''),(9282,76,1,1547,''),(9283,75,0,1548,'<h1>Rupert Neve Shelford 5052 Mic Pre / Inductor EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">Vintage-style channel strip that captures the soul of Rupert Neve\'s classic designs, with modern capabilities</span><br/><br/>\nThe Rupert Neve Shelford 5052 echoes the simple and definitive 1073 feature set with a vertically-oriented mic pre, high pass filter, and 3-band inductor EQ, while also incorporating modern capabilities like the variable Silk / Texture control from the Portico II Series and simultaneous pre / post “tape” operation. Utilizing class-A, discrete, +/- 24V topologies with custom-wound transformers and inductors, Rupert Neve designed the 5052 as a vintage-style channel strip that captures the soul of his classic designs, without the previous compromises.<br/><br/>\n<h3>The Mic Pre</h3>\nLike Rupert’s designs from his time in Shelford, the 5052 preamplifier has 72dB of discrete, class-A gain coupled with serious square-core transformers. Unlike the classics however, the output transformer features the Silk Red / Blue and Texture controls from the Portico II Series to hone the harmonic content and tonality of the output stage. By engaging these controls and sufficiently driving the output, the 5052 can produce up to 4-5% THD (primarily 2nd order, some 3rd order), bringing a richness and thickness to tracks when desired with no danger of overloading the output stage. With Silk disengaged, the output is modern and pristine, yet still retains Rupert’s signature larger-than-life transformer sound. The mic pre section also includes a sweepable 20-250Hz high-pass filter, Mic / Line selection, 48V phantom power, and polarity reverse.\n<br/><br/>\n<h3>Dual I/O Paths</h3>\nFollowing the preamplifier, the 5052 has a transformer-coupled output, which allows the 5052 to feed a tape machine or DAW directly from the mic pre while still using the EQ and Silk / Texture in a dedicated analogue mix path such as that found with a 5088, 5060 or vintage console. This output can also be used to insert a separate compressor between the mic pre and the EQ, or it can allow the 5052 to work with two separate sources. When the “TO EQ” button is engaged, the mic pre signal is routed directly into the EQ such that the mic / line input signal flows through to the main output as a single channel strip.\n<br/><br/>\n<h3>The “best of the classics” EQ</h3>\nThe 3-band, custom-tapped inductor EQ on the 5052 was inspired by RND’s favorite portions of Rupert’s vintage EQ designs. The low frequency band is primarily based on the 1064, which is renowned for its creamy, resonant bass. Unlike the 1064 however, the LF band on the 5052 can be used as either a shelf or a peak filter, adding punch, dimension, and immense control to your low end. The 5052’s inductor midrange band is based on his prized 1073 EQ, which is ideal for sweetening vocals and instruments while bringing them forward in a mix. Additionally, the mid frequency band’s proportional “Q” response makes it well-suited for minimizing problematic frequencies in a source. The 5052’s high frequency band is a hybrid vintage / modern design, blending inductor circuitry from the 1073 with capacitor-based topologies to achieve the vintage tones with enhanced control. As Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. The EQ circuit itself, however, is a decidedly modern updated design using techniques and components that were simply not available 35 years ago, and should not be considered a “clone”.\n<br/><br/>\n<h3>Power, Connections and Mounting</h3>\nThe 5052 receives +/- 24V rails from an external DC power supply using a 4-pin connection. There are currently two options available: the RND 5-way brick supply and the RND 25-way 2U rack-mount supply. The back panel of the 5052 includes three XLR-F connections for Mic In, Line In, and EQ In, and two XLR-M connections for Mic Out and Main Out. The 5052 chassis is a “half-rack” format, and can be mounted in RND’s new 2 –way and 4-way vertical racks in addition to the existing 9-way racks and the 5088 penthouse.\n<br/><br/>\n<h3>The Power Supply</h3>\nThe 5052 is intended for 5088 consoles or 5285 vertical frames. There are two +/- 24V power supply options; The 5-way supply is designed to sit in the bottom of a rack, and the 25-way supply is a 2U enclosure. The external +/- 24V supply provides exceptionally clean power, and reduces heat build-up within modules associated with DC-DC up-conversion.\n<br/><br/>'),(9284,75,1,1548,'<h1>Rupert Neve Shelford 5052 Mic Pre / Inductor EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">Vintage-style channel strip that captures the soul of Rupert Neve\'s classic designs, with modern capabilities</span><br/><br/>\nThe Rupert Neve Shelford 5052 echoes the simple and definitive 1073 feature set with a vertically-oriented mic pre, high pass filter, and 3-band inductor EQ, while also incorporating modern capabilities like the variable Silk / Texture control from the Portico II Series and simultaneous pre / post “tape” operation. Utilizing class-A, discrete, +/- 24V topologies with custom-wound transformers and inductors, Rupert Neve designed the 5052 as a vintage-style channel strip that captures the soul of his classic designs, without the previous compromises.<br/><br/>\n<h3>The Mic Pre</h3>\nLike Rupert’s designs from his time in Shelford, the 5052 preamplifier has 72dB of discrete, class-A gain coupled with serious square-core transformers. Unlike the classics however, the output transformer features the Silk Red / Blue and Texture controls from the Portico II Series to hone the harmonic content and tonality of the output stage. By engaging these controls and sufficiently driving the output, the 5052 can produce up to 4-5% THD (primarily 2nd order, some 3rd order), bringing a richness and thickness to tracks when desired with no danger of overloading the output stage. With Silk disengaged, the output is modern and pristine, yet still retains Rupert’s signature larger-than-life transformer sound. The mic pre section also includes a sweepable 20-250Hz high-pass filter, Mic / Line selection, 48V phantom power, and polarity reverse.\n<br/><br/>\n<h3>Dual I/O Paths</h3>\nFollowing the preamplifier, the 5052 has a transformer-coupled output, which allows the 5052 to feed a tape machine or DAW directly from the mic pre while still using the EQ and Silk / Texture in a dedicated analogue mix path such as that found with a 5088, 5060 or vintage console. This output can also be used to insert a separate compressor between the mic pre and the EQ, or it can allow the 5052 to work with two separate sources. When the “TO EQ” button is engaged, the mic pre signal is routed directly into the EQ such that the mic / line input signal flows through to the main output as a single channel strip.\n<br/><br/>\n<h3>The “best of the classics” EQ</h3>\nThe 3-band, custom-tapped inductor EQ on the 5052 was inspired by RND’s favorite portions of Rupert’s vintage EQ designs. The low frequency band is primarily based on the 1064, which is renowned for its creamy, resonant bass. Unlike the 1064 however, the LF band on the 5052 can be used as either a shelf or a peak filter, adding punch, dimension, and immense control to your low end. The 5052’s inductor midrange band is based on his prized 1073 EQ, which is ideal for sweetening vocals and instruments while bringing them forward in a mix. Additionally, the mid frequency band’s proportional “Q” response makes it well-suited for minimizing problematic frequencies in a source. The 5052’s high frequency band is a hybrid vintage / modern design, blending inductor circuitry from the 1073 with capacitor-based topologies to achieve the vintage tones with enhanced control. As Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. The EQ circuit itself, however, is a decidedly modern updated design using techniques and components that were simply not available 35 years ago, and should not be considered a “clone”.\n<br/><br/>\n<h3>Power, Connections and Mounting</h3>\nThe 5052 receives +/- 24V rails from an external DC power supply using a 4-pin connection. There are currently two options available: the RND 5-way brick supply and the RND 25-way 2U rack-mount supply. The back panel of the 5052 includes three XLR-F connections for Mic In, Line In, and EQ In, and two XLR-M connections for Mic Out and Main Out. The 5052 chassis is a “half-rack” format, and can be mounted in RND’s new 2 –way and 4-way vertical racks in addition to the existing 9-way racks and the 5088 penthouse.\n<br/><br/>\n<h3>The Power Supply</h3>\nThe 5052 is intended for 5088 consoles or 5285 vertical frames. There are two +/- 24V power supply options; The 5-way supply is designed to sit in the bottom of a rack, and the 25-way supply is a 2U enclosure. The external +/- 24V supply provides exceptionally clean power, and reduces heat build-up within modules associated with DC-DC up-conversion.\n<br/><br/>'),(9285,85,0,1548,'Rupert Neve Shelford 5052 Mic Pre / Inductor EQ'),(9286,85,1,1548,'Rupert Neve Shelford 5052 Mic Pre / Inductor EQ'),(9287,76,0,1548,''),(9288,76,1,1548,''),(9289,75,0,1549,'<h1>Rupert Neve Shelford Channel - Rackmount Channel Strip</h1>\n<span style=\"font-size:16px; font-style:italic;\">Rupert Neve\'s Mono Channel Strip with Transformer Gain Mic Pre, Inductor EQ, Diode Bridge Compressor</span><br /><br />\nThe Rupert Neve Shelford Channel is a 19\" rackmount, mono channel strip that takes Rupert\'s classic console modules and brings them into the modern studio. Shelford Channel is built around Rupert Neve’s first new transformer-gain, class-A microphone preamplifier in over 40 years, the “best-of-the-classics” inductor EQ section from the Shelford 5052, a tone-packed Diode bridge compressor, the analog power of variable Silk saturation, a new dual-tap transformer output stage for maintaining headroom or allowing the full driving of the Channel without clipping standard converters, and twice the operating voltage of vintage designs.<br /><br />\nWith richly-colored tonal options for making bold statements with your music, and precisely-engineered detented controls for recall, the vintage-inspired Shelford Channel maintains the soul of Rupert’s classic designs with new levels of versatility, delivering what can only be described as the combined essence of fifty years of Rupert Neve’s designs.\n<br /><br />\n<h3>Rupert Neve Shelford Channel Key Features:</h3>\n<ul>\n	<li>Input Stage and Transformer Gain Mic Pre                            </li>\n	<li>Dual Tap Transformer Output with Variable Silk                      </li>\n	<li>Hi-Z Direct Input on Front Panel                                    </li>\n	<li>Best Of The Classics EQ                                             </li>\n	<li>Diode Bridge Compressor                                             </li>\n	<li>Double Voltage Power with 100 to 240VAC Auto-Switching Power Supply </li>\n</ul>\n<h3>The Input Stage and Transformer Gain Mic Pre</h3>\nLike Rupert’s designs from his time in Little Shelford , the Shelford Channel’s preamplifier uses a directly-coupled transformer input with gain provided by the custom transformer itself – a first in over 40 years for Rupert Neve. This new custom-designed input transformer, along with its careful integration with the surrounding circuitry, is critical to the Channel’s bold and instantly recognizable character.\n<br /><br />\nWith this classic topology, the input transformer design is extraordinarily challenging, and the RN4012 transformer utilized in the Channel went through many generations before Mr. Rupert Neve was satisfied. This transformer provides the first 15dB of gain, with the rest of the 72dB of gain provided by the discrete, class-A amplifier blocks controlled by a stepped attenuator and precision trim pot. Whereas Rupert’s more modern designs (e.g. the Portico Series) utilize a combination of TLAs (Transformer-Like Amplifiers) followed by an input transformer for pristine low & high frequency detail and galvanic isolation (see comparing input topologies notes), the Shelford Channel’s design directly couples the input transformer to the microphone line. When this new transformer is combined with its surrounding class-A input amplifiers, the result is the unmistakably smooth high and low frequencies of the most famous vintage modules in the world, yet with incredibly low noise and superior isolation. The mic pre section also includes a sweepable 20-250Hz high-pass filter, Mic / Line selection, 48V phantom power, and polarity reverse.<br /><br />\n<h3>The Dual Tap Transformer Output with Variable Silk</h3>\nSimilarly to the input stage, the new output stage is designed to provide the texture and power of Rupert’s classics while allowing for significantly more versatility in tone. The dual-tap output for the Channel’s RN2042 square-core output transformer creates both high and low headroom outputs without compromising the channel’s performance.  The high headroom tap is designed capture a more pristine sound at high levels, avoiding non-linear coloration of the output stage and taking full advantage of the Shelford’s higher voltage design. The low headroom tap however is optimized to allow an engineer to drive the full voltage range of the Channel – adding  dynamic tone with these same non-linear “colorations” – without clipping most professional interfaces. On drums, vocals, guitars and other instruments, this output lets you easily hit the transformer’s “sweet-spot” of non-linear harmonic content, which can bring a recorded performance to life in a way that other effects can’t.\n<br /><br />\nAnother advantage of the output stage versus vintage modules is the addition of the variable Silk circuitry, which allows complete control over the harmonic content and saturation of the output transformer. With Silk disengaged, the output is modern and pristine, yet still retains Rupert’s signature larger-than-life transformer sound. When engaged, the harmonic content – predominantly 2nd order and 3rd order with no high order distortion – can be dialed up to several times beyond that found in his vintage units like the 1073. This is further controlled with Silk Red and Blue modes, which emphasize harmonic content generated by the source’s high frequencies (Red) or low frequencies (Blue).<br /><br />\n<h3>The Direct Input</h3>\nThe Hi-Z front panel input uses the same discrete class-A FET with transformer topology as the Rupert Neve Designs RNDI, but it utilizes the new RN4012 input transformer directly into the microphone preamp for gain. This design, made world-famous by the best-selling RNDI, delivers unmatched clarity to high-Z sources, with a substantial low-end presence and incredibly smooth high frequencies. The DI also includes a passive THRU output to feed a separate amplifier.  \n<br /><br />\n<h3>The “Best Of The Classics” EQ</h3>\nThe 3-band, custom-tapped inductor EQ on the Shelford Channel was inspired by our favorite portions of Rupert’s vintage EQ designs. The low frequency band is primarily based on the 1064 – renowned for its creamy, resonant bass. Unlike the 1064 however, the LF band on the Channel can be used as either a shelf or a peak filter; adding punch, dimension, and immense control to your low end.\n<br /><br />\nThe Shelford Channel’s inductor midrange band is based on Rupert’s 1073, ideal for sweetening vocals and instruments while bringing them ever-so-slightly forward in a mix. Additionally, the mid frequency band’s proportional “Q” response makes it well-suited for minimizing problematic frequencies in a source.<br /><br />\nThe Channel’s high frequency band is a hybrid vintage / modern design, using capacitor-based topologies to achieve richer tone with enhanced control. As Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. The EQ circuit itself, however, is a decidedly modern design using techniques and components that were simply not available 40 years ago, and should not be considered a “clone”.<br /><br />\n<h3>The Diode Bridge Compressor</h3>\nLike the Inductor EQ and Transformer Gain microphone preamp, the diode bridge compressor in the Shelford Channel is based on the same topologies found in Rupert’s vintage designs – such as the 2254 – but it expands on these early design by incorporating full-wave rectification and a slew of new control features.\n<br /><br />\nWhile Rupert’s vintage diode bridge compressors have a uniquely punchy and warm response, they were also quite limited by inflexible attack times, high noise, low headroom, & imprecise controls. With the Diode Bridge Compressor, Rupert Neve Designs is able to recapture the vibe-filled, “in your face” sound of those classics with a new level of precision and flexibility, allowing the compressor to be fully utilized on virtually any source. Where the VCA compressor found in the Portico II Master Buss Processor delivers unrivaled transparency, the Shelford Channel’s Super Diode Bridge Design is all about making a statement with compression.  <br /><br />\nThe compressor includes controls for TIMING, THRESHOLD, RATIO, BLEND, MAKE UP GAIN, FAST (attack-release modifier), HPF to Side Chain, Pre-EQ, Bypass, Side Chain Insert, and Stereo Link for the new high-performance diode bridge.<br /><br />\nTIMING is a six-position switch that affects both attack & release settings for Auto, Fast, Medium Fast, Medium, Medium Slow, Slow.  The FAST button speeds up the attack for every setting – highly useful when it becomes vital to clamp down on transients. These settings provide a vast range of attack / release combinations, all with easy auditioning & recall.\nThe RATIO control has 6 steps between 1.5:1 to 8:1 to achieve subtle or extreme reductions, and the THRESHOLD control has 31 steps detented between -25dBU and +20dBU for a wide variety of input levels. MAKE UP GAIN has 31 steps from -6dB to +20dB, and is affected by the blend setting – more on that later. The HPF to SC button moves the Swept HPF in the mic pre to the compressor side chain, reducing the impact of low frequencies in the compressor’s response. The SC INSERT allows more elaborate equalization of the side-chain signal, accessible via TS I/O on the rear panel.  \n<br /><br />\nThe BLEND control is incredibly useful on the Diode bridge compressor, because it allows an extremely colored compressor sound and massive amounts of gain reduction to be gradually mixed into the signal – giving the compressor a potential for subtlety and precision not found in its predecessors.<br /><br />\n<h3>Double Voltage Power</h3>\nThe Shelford Channel uses an internal power supply with +/- 24V rails using a standard IEC cable input versus a single 24V rail in Rupert’s vintage design. This extra voltage helps improve dynamic range and noise performance for improved sonic detail.  The power supply is auto-switching for reliable performance anywhere in the world from 100 to 240VAC, 50-60Hz.\n<br /><br />\n<h3>The Rupert Neve Shelford Channel brings Rupert’s classic console modules like the 1073, 1064, 1081 & 2254 into the 21st century studio. Call or Chat an RPE representative for more information</h3>'),(9290,75,1,1549,'<h1>Rupert Neve Shelford Channel - Rackmount Channel Strip</h1>\n<span style=\"font-size:16px; font-style:italic;\">Rupert Neve\'s Mono Channel Strip with Transformer Gain Mic Pre, Inductor EQ, Diode Bridge Compressor</span><br /><br />\nThe Rupert Neve Shelford Channel is a 19\" rackmount, mono channel strip that takes Rupert\'s classic console modules and brings them into the modern studio. Shelford Channel is built around Rupert Neve’s first new transformer-gain, class-A microphone preamplifier in over 40 years, the “best-of-the-classics” inductor EQ section from the Shelford 5052, a tone-packed Diode bridge compressor, the analog power of variable Silk saturation, a new dual-tap transformer output stage for maintaining headroom or allowing the full driving of the Channel without clipping standard converters, and twice the operating voltage of vintage designs.<br /><br />\nWith richly-colored tonal options for making bold statements with your music, and precisely-engineered detented controls for recall, the vintage-inspired Shelford Channel maintains the soul of Rupert’s classic designs with new levels of versatility, delivering what can only be described as the combined essence of fifty years of Rupert Neve’s designs.\n<br /><br />\n<h3>Rupert Neve Shelford Channel Key Features:</h3>\n<ul>\n	<li>Input Stage and Transformer Gain Mic Pre                            </li>\n	<li>Dual Tap Transformer Output with Variable Silk                      </li>\n	<li>Hi-Z Direct Input on Front Panel                                    </li>\n	<li>Best Of The Classics EQ                                             </li>\n	<li>Diode Bridge Compressor                                             </li>\n	<li>Double Voltage Power with 100 to 240VAC Auto-Switching Power Supply </li>\n</ul>\n<h3>The Input Stage and Transformer Gain Mic Pre</h3>\nLike Rupert’s designs from his time in Little Shelford , the Shelford Channel’s preamplifier uses a directly-coupled transformer input with gain provided by the custom transformer itself – a first in over 40 years for Rupert Neve. This new custom-designed input transformer, along with its careful integration with the surrounding circuitry, is critical to the Channel’s bold and instantly recognizable character.\n<br /><br />\nWith this classic topology, the input transformer design is extraordinarily challenging, and the RN4012 transformer utilized in the Channel went through many generations before Mr. Rupert Neve was satisfied. This transformer provides the first 15dB of gain, with the rest of the 72dB of gain provided by the discrete, class-A amplifier blocks controlled by a stepped attenuator and precision trim pot. Whereas Rupert’s more modern designs (e.g. the Portico Series) utilize a combination of TLAs (Transformer-Like Amplifiers) followed by an input transformer for pristine low & high frequency detail and galvanic isolation (see comparing input topologies notes), the Shelford Channel’s design directly couples the input transformer to the microphone line. When this new transformer is combined with its surrounding class-A input amplifiers, the result is the unmistakably smooth high and low frequencies of the most famous vintage modules in the world, yet with incredibly low noise and superior isolation. The mic pre section also includes a sweepable 20-250Hz high-pass filter, Mic / Line selection, 48V phantom power, and polarity reverse.<br /><br />\n<h3>The Dual Tap Transformer Output with Variable Silk</h3>\nSimilarly to the input stage, the new output stage is designed to provide the texture and power of Rupert’s classics while allowing for significantly more versatility in tone. The dual-tap output for the Channel’s RN2042 square-core output transformer creates both high and low headroom outputs without compromising the channel’s performance.  The high headroom tap is designed capture a more pristine sound at high levels, avoiding non-linear coloration of the output stage and taking full advantage of the Shelford’s higher voltage design. The low headroom tap however is optimized to allow an engineer to drive the full voltage range of the Channel – adding  dynamic tone with these same non-linear “colorations” – without clipping most professional interfaces. On drums, vocals, guitars and other instruments, this output lets you easily hit the transformer’s “sweet-spot” of non-linear harmonic content, which can bring a recorded performance to life in a way that other effects can’t.\n<br /><br />\nAnother advantage of the output stage versus vintage modules is the addition of the variable Silk circuitry, which allows complete control over the harmonic content and saturation of the output transformer. With Silk disengaged, the output is modern and pristine, yet still retains Rupert’s signature larger-than-life transformer sound. When engaged, the harmonic content – predominantly 2nd order and 3rd order with no high order distortion – can be dialed up to several times beyond that found in his vintage units like the 1073. This is further controlled with Silk Red and Blue modes, which emphasize harmonic content generated by the source’s high frequencies (Red) or low frequencies (Blue).<br /><br />\n<h3>The Direct Input</h3>\nThe Hi-Z front panel input uses the same discrete class-A FET with transformer topology as the Rupert Neve Designs RNDI, but it utilizes the new RN4012 input transformer directly into the microphone preamp for gain. This design, made world-famous by the best-selling RNDI, delivers unmatched clarity to high-Z sources, with a substantial low-end presence and incredibly smooth high frequencies. The DI also includes a passive THRU output to feed a separate amplifier.  \n<br /><br />\n<h3>The “Best Of The Classics” EQ</h3>\nThe 3-band, custom-tapped inductor EQ on the Shelford Channel was inspired by our favorite portions of Rupert’s vintage EQ designs. The low frequency band is primarily based on the 1064 – renowned for its creamy, resonant bass. Unlike the 1064 however, the LF band on the Channel can be used as either a shelf or a peak filter; adding punch, dimension, and immense control to your low end.\n<br /><br />\nThe Shelford Channel’s inductor midrange band is based on Rupert’s 1073, ideal for sweetening vocals and instruments while bringing them ever-so-slightly forward in a mix. Additionally, the mid frequency band’s proportional “Q” response makes it well-suited for minimizing problematic frequencies in a source.<br /><br />\nThe Channel’s high frequency band is a hybrid vintage / modern design, using capacitor-based topologies to achieve richer tone with enhanced control. As Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. The EQ circuit itself, however, is a decidedly modern design using techniques and components that were simply not available 40 years ago, and should not be considered a “clone”.<br /><br />\n<h3>The Diode Bridge Compressor</h3>\nLike the Inductor EQ and Transformer Gain microphone preamp, the diode bridge compressor in the Shelford Channel is based on the same topologies found in Rupert’s vintage designs – such as the 2254 – but it expands on these early design by incorporating full-wave rectification and a slew of new control features.\n<br /><br />\nWhile Rupert’s vintage diode bridge compressors have a uniquely punchy and warm response, they were also quite limited by inflexible attack times, high noise, low headroom, & imprecise controls. With the Diode Bridge Compressor, Rupert Neve Designs is able to recapture the vibe-filled, “in your face” sound of those classics with a new level of precision and flexibility, allowing the compressor to be fully utilized on virtually any source. Where the VCA compressor found in the Portico II Master Buss Processor delivers unrivaled transparency, the Shelford Channel’s Super Diode Bridge Design is all about making a statement with compression.  <br /><br />\nThe compressor includes controls for TIMING, THRESHOLD, RATIO, BLEND, MAKE UP GAIN, FAST (attack-release modifier), HPF to Side Chain, Pre-EQ, Bypass, Side Chain Insert, and Stereo Link for the new high-performance diode bridge.<br /><br />\nTIMING is a six-position switch that affects both attack & release settings for Auto, Fast, Medium Fast, Medium, Medium Slow, Slow.  The FAST button speeds up the attack for every setting – highly useful when it becomes vital to clamp down on transients. These settings provide a vast range of attack / release combinations, all with easy auditioning & recall.\nThe RATIO control has 6 steps between 1.5:1 to 8:1 to achieve subtle or extreme reductions, and the THRESHOLD control has 31 steps detented between -25dBU and +20dBU for a wide variety of input levels. MAKE UP GAIN has 31 steps from -6dB to +20dB, and is affected by the blend setting – more on that later. The HPF to SC button moves the Swept HPF in the mic pre to the compressor side chain, reducing the impact of low frequencies in the compressor’s response. The SC INSERT allows more elaborate equalization of the side-chain signal, accessible via TS I/O on the rear panel.  \n<br /><br />\nThe BLEND control is incredibly useful on the Diode bridge compressor, because it allows an extremely colored compressor sound and massive amounts of gain reduction to be gradually mixed into the signal – giving the compressor a potential for subtlety and precision not found in its predecessors.<br /><br />\n<h3>Double Voltage Power</h3>\nThe Shelford Channel uses an internal power supply with +/- 24V rails using a standard IEC cable input versus a single 24V rail in Rupert’s vintage design. This extra voltage helps improve dynamic range and noise performance for improved sonic detail.  The power supply is auto-switching for reliable performance anywhere in the world from 100 to 240VAC, 50-60Hz.\n<br /><br />\n<h3>The Rupert Neve Shelford Channel brings Rupert’s classic console modules like the 1073, 1064, 1081 & 2254 into the 21st century studio. Call or Chat an RPE representative for more information</h3>'),(9291,85,0,1549,''),(9292,85,1,1549,''),(9293,76,0,1549,''),(9294,76,1,1549,''),(9295,75,0,1550,'<h2>Roland OHRCA M-5000 Live Mixing Console</h2>\n<span style=\"font-size:16px; font-style:italic;\">128 Channel, 28 Fader, 24-bit/96 kHz Digital Live Mixing Console with OHRCA, 12\" Touchscreen Control and USB Audio Interface</span><br/><br/>\nThe Roland M-5000 Live Mixing Console is the first product based on O.H.R.C.A opening a new generation of live sound solutions for audio professionals. The M-5000 is expressly designed to conform to the needs of both the application and the operator by delivering freely definable audio paths, flexible user interface and workflow, expandable protocols, and multi-format I/O choices, all at 96 kHz sound quality. The back panel includes 16x16 analog I/O, 4x4 AES/EBU, a 16x16 USB audio interface, connection for control via an iPad connected or wireless, and control ports including footswitches, GP I/O, RS-232C and MIDI. All of this capability enables the console to see up to 300 inputs and 296 outputs, all at 96kHz and even more at 48kHz.<br/><br/>\n<h3>Roland M-5000 Series Features</h3>\n<ul>\n	<li>M-5000: 28 faders in 4 banks  -  M-5000C: 20 faders in 3 banks</li>\n	<li>Configure 128 audio paths to be input channels, mix busses, and more</li>\n	<li>Intuitive user interface centered on a 12” touch screen</li>\n	<li>Powerful processing for outstanding sonic control</li>\n	<li>Up to 300 inputs and 296 outputs at 96kHz, even more at 48kHz</li>\n	<li>Built-in I/O for small-format mixing, REAC for larger shows</li>\n	<li>Two expansion ports for Dante, MADI, SoundGrid, and more</li>\n</ul>\n<br/>\n<h3>OHRCA</h3>\nOHRCA brings adaptability to the world of live audio mixing. It conforms to the needs of both the application and the operator by delivering 128 freely definable audio paths, expandable protocols, multi-format I/O choices, and flexible user interface and workflow - all delivered at a pristine 24-bit / 96kHz sound quality.\n<br/><br/>\n<strong>Open</strong><br/>\n“Open\" refers to the console’s ability to adapt to many different formats of inputs, outputs, and protocols. This not only includes the large variety of Roland digital snakes already in the lineup but also protocols, such as Dante, MADI, Waves SoundGrid, additional REAC ports, and other formats and solutions to come.<br/><br/>\n<strong>High Resolution</strong><br/>\n“High Resolution” refers firstly to everything running at 96kHz – end to end. All of the Roland Pro A/V peripherals have been 96kHz-capable from the start. From the preamps running high-end 24-bit AD/DA converters to all the carefully selected components and processors, you can be guaranteed pristine sound that is noticeably better.<br/><br/>\n<strong>Configurable Architecture</strong><br/>\n“Configurable Architecture” is the console’s ability to adapt to the application - allowing you to essentially “build” the mixer you need. How many input channels? How many auxiliary buses, groups, matrices? All of the elements that are typically fixed in most mixers are flexible with OHRCA. How you work with faders, buttons, and knobs and screen are also adaptable to how you are used to working already.<br/><br/>\n<h3>Configurable Architecture</h3>\n<strong>128 freely definable audio paths unlock a new realm of flexibility</strong><br/>\nThe Roland M-5000 console\'s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows you to essentially \"build\" a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.<br/><br/><b><span style=\"background-color: initial;\">Create the mixer you need.</span></b>\n<div>\n	Roland has achieved a revolutionary new internal architecture that \n	<span style=\"background-color: initial;\">gives the operator free rein to define their own mixer structure. </span><span style=\"background-color: initial;\">With 128 available audio paths, mixing channels, auxes, </span><span style=\"background-color: initial;\">Matrices, subgroup buses, MIX-MINUS buses, or other input </span><span style=\"background-color: initial;\">output needs can be allocated to match the need at hand. This </span><span style=\"background-color: initial;\">enables O.H.R.C.A to accommodate a diverse array of uses, </span><span style=\"background-color: initial;\">including FOH duties, monitor mixing, theater applications, </span><span style=\"background-color: initial;\">broadcasting, and more. The versatile internal capability of </span><span style=\"background-color: initial;\">having a configurable architecture delivers the ability to adapt </span><span style=\"background-color: initial;\">to ever-changing needs and of production requirements. </span>\n</div>\n<br/>\n<h3>Extensibility</h3>\n<strong>Adaptable to numerous audio networks and I/O needs</strong><br/>\n<div>\n	Expansion options including REAC, Dante, MADI, Waves SoundGrid, SDI, SFP and DVI open the door to endless configurations and applications. \n	<span style=\"background-color: initial;\">Expansion slots also future proof the console by being ready to adapt to emerging standards. </span><span style=\"background-color: initial;\">Up to 300 inputs and 296 outputs (460 inputs and 456 outputs at 48kHz)* are managed in separate patchbays and can be used independently of the mixer. </span><span style=\"background-color: initial;\">Any input can be patched to any or multiple outputs, including control </span><span style=\"background-color: initial;\">of the gain and phantom power, without having to be patched through a mixing channel. </span><span style=\"background-color: initial;\">O.</span><span style=\"background-color: initial;\">H.R</span><span style=\"background-color: initial;\">.</span><span style=\"background-color: initial;\">C.</span><span style=\"background-color: initial;\">A makes it possible to control an enormous number of input and output channels across multiple protocols and formats.</span>\n</div>\n<br/>\n<strong>Input and output options galore</strong><br/>\nUp to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control* of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.<br/><br/>\n<h3>High Resolution</h3>\n<b>Meticulous attention to processing detail, maintaining smooth fidelity with all the warmth and sparkle of the original sound.</b><br/>\nAn uncompromising commitment to the purity and clarity of sound extends to every aspect of the internal architecture and processing. <span style=\"background-color: initial;\">As befits this flagship model, it starts with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection </span><span style=\"background-color: initial;\">and circuit architecture, separation of analog and digital sound modules, 72-bit linear summing circuit, and more. </span><span style=\"background-color: initial;\">Roland aimed for and have achieved unprecedented high sound quality through a rigorously uncompromising commitment to getting every detail right.</span>\n<br/>\n<br/>\n<h3>Flexible Workflow</h3>\n<strong>A user interface with the ability to adapt to the preferences of the engineer</strong><br/>\nThe concept behind the interface is \"freedom” - accommodating the individual workflow of the engineer to the greatest extent possible.<br/><br/>\n<strong>Operation centered on a 12” touch screen</strong><br/>\nFlat design and vector graphics for clear and vivid display of information. The 16 encoders feature rings whose colors change according to their assigned functions to match on-screen parameters. The \"touch and turn\" mechanism of touching the desired parameter and turning the selected knob achieves fast, intuitive operation.<br/><br/>\n<strong>M-5000: 28 faders in 4 banks  -  M-5000C: 20 faders in 3 banks</strong><br/>\nEach of the eight-fader bank sections is equipped with an Isolate function that enables scrolling and layer switching independently or in tandem. Different elements can be assigned to each bank, such as mix channels to one fader section and DCAs to a second fader section. “Jump” to often-used fader scrolling positions using Anchor points. Assign critical channels to the four assignable fixed faders.<br/><br/>\n<strong>User assignable controls and bright, informative displays</strong><br/>\nThe right side of the surface features an assignable section that lets the user assign key functions for quick access. Bright, full-color OEL displays offer excellent visibility in any light.<br/><br/>\n<h3>Remote Control & Live Recording</h3>\n<b>Remote Control Software (RCS)</b><br/>\nUse the M-5000 RCS program to operate the console from a computer (Mac/Windows). Connection can be made via USB or REMOTE connector, allowing operation over a LAN. The GUI for the M-5000 RCS allows multiple windows, and features support for high resolution displays and other optimizations. This enables use of a second display for viewing even more windows such as a large meter view of inputs and outputs. <br/><br/>\n<b>Built-in Engineer\'s M-48 Monitor function</b><br/>\nFor the monitor engineer using M-48 Personal Mixers, the M-5000 offers an Engineering Monitor function that mirrors the musician\'s M-48 enabling the engineer to check the mix and hear exactly what the musician is hearing. The M-5000 allows selection of the REAC A or B port for the monitor feed, and an M-48 unit can be connected directly to the M-5000\'s backup port which is equipped with Embedded Power.<br/><br/>\n<h2>If it\'s time to upgrade your FOH rig to a digital console with more power, performance and feature sets, look no further than the Roland M-5000. Call or Chat with an RSPE representative today to find out how</h2>'),(9296,75,1,1550,'<h2>Roland OHRCA M-5000 Live Mixing Console</h2>\n<span style=\"font-size:16px; font-style:italic;\">128 Channel, 28 Fader, 24-bit/96 kHz Digital Live Mixing Console with OHRCA, 12\" Touchscreen Control and USB Audio Interface</span><br/><br/>\nThe Roland M-5000 Live Mixing Console is the first product based on O.H.R.C.A opening a new generation of live sound solutions for audio professionals. The M-5000 is expressly designed to conform to the needs of both the application and the operator by delivering freely definable audio paths, flexible user interface and workflow, expandable protocols, and multi-format I/O choices, all at 96 kHz sound quality. The back panel includes 16x16 analog I/O, 4x4 AES/EBU, a 16x16 USB audio interface, connection for control via an iPad connected or wireless, and control ports including footswitches, GP I/O, RS-232C and MIDI. All of this capability enables the console to see up to 300 inputs and 296 outputs, all at 96kHz and even more at 48kHz.<br/><br/>\n<h3>Roland M-5000 Series Features</h3>\n<ul>\n	<li>M-5000: 28 faders in 4 banks  -  M-5000C: 20 faders in 3 banks</li>\n	<li>Configure 128 audio paths to be input channels, mix busses, and more</li>\n	<li>Intuitive user interface centered on a 12” touch screen</li>\n	<li>Powerful processing for outstanding sonic control</li>\n	<li>Up to 300 inputs and 296 outputs at 96kHz, even more at 48kHz</li>\n	<li>Built-in I/O for small-format mixing, REAC for larger shows</li>\n	<li>Two expansion ports for Dante, MADI, SoundGrid, and more</li>\n</ul>\n<br/>\n<h3>OHRCA</h3>\nOHRCA brings adaptability to the world of live audio mixing. It conforms to the needs of both the application and the operator by delivering 128 freely definable audio paths, expandable protocols, multi-format I/O choices, and flexible user interface and workflow - all delivered at a pristine 24-bit / 96kHz sound quality.\n<br/><br/>\n<strong>Open</strong><br/>\n“Open\" refers to the console’s ability to adapt to many different formats of inputs, outputs, and protocols. This not only includes the large variety of Roland digital snakes already in the lineup but also protocols, such as Dante, MADI, Waves SoundGrid, additional REAC ports, and other formats and solutions to come.<br/><br/>\n<strong>High Resolution</strong><br/>\n“High Resolution” refers firstly to everything running at 96kHz – end to end. All of the Roland Pro A/V peripherals have been 96kHz-capable from the start. From the preamps running high-end 24-bit AD/DA converters to all the carefully selected components and processors, you can be guaranteed pristine sound that is noticeably better.<br/><br/>\n<strong>Configurable Architecture</strong><br/>\n“Configurable Architecture” is the console’s ability to adapt to the application - allowing you to essentially “build” the mixer you need. How many input channels? How many auxiliary buses, groups, matrices? All of the elements that are typically fixed in most mixers are flexible with OHRCA. How you work with faders, buttons, and knobs and screen are also adaptable to how you are used to working already.<br/><br/>\n<h3>Configurable Architecture</h3>\n<strong>128 freely definable audio paths unlock a new realm of flexibility</strong><br/>\nThe Roland M-5000 console\'s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows you to essentially \"build\" a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.<br/><br/><b><span style=\"background-color: initial;\">Create the mixer you need.</span></b>\n<div>\n	Roland has achieved a revolutionary new internal architecture that \n	<span style=\"background-color: initial;\">gives the operator free rein to define their own mixer structure. </span><span style=\"background-color: initial;\">With 128 available audio paths, mixing channels, auxes, </span><span style=\"background-color: initial;\">Matrices, subgroup buses, MIX-MINUS buses, or other input </span><span style=\"background-color: initial;\">output needs can be allocated to match the need at hand. This </span><span style=\"background-color: initial;\">enables O.H.R.C.A to accommodate a diverse array of uses, </span><span style=\"background-color: initial;\">including FOH duties, monitor mixing, theater applications, </span><span style=\"background-color: initial;\">broadcasting, and more. The versatile internal capability of </span><span style=\"background-color: initial;\">having a configurable architecture delivers the ability to adapt </span><span style=\"background-color: initial;\">to ever-changing needs and of production requirements. </span>\n</div>\n<br/>\n<h3>Extensibility</h3>\n<strong>Adaptable to numerous audio networks and I/O needs</strong><br/>\n<div>\n	Expansion options including REAC, Dante, MADI, Waves SoundGrid, SDI, SFP and DVI open the door to endless configurations and applications. \n	<span style=\"background-color: initial;\">Expansion slots also future proof the console by being ready to adapt to emerging standards. </span><span style=\"background-color: initial;\">Up to 300 inputs and 296 outputs (460 inputs and 456 outputs at 48kHz)* are managed in separate patchbays and can be used independently of the mixer. </span><span style=\"background-color: initial;\">Any input can be patched to any or multiple outputs, including control </span><span style=\"background-color: initial;\">of the gain and phantom power, without having to be patched through a mixing channel. </span><span style=\"background-color: initial;\">O.</span><span style=\"background-color: initial;\">H.R</span><span style=\"background-color: initial;\">.</span><span style=\"background-color: initial;\">C.</span><span style=\"background-color: initial;\">A makes it possible to control an enormous number of input and output channels across multiple protocols and formats.</span>\n</div>\n<br/>\n<strong>Input and output options galore</strong><br/>\nUp to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control* of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.<br/><br/>\n<h3>High Resolution</h3>\n<b>Meticulous attention to processing detail, maintaining smooth fidelity with all the warmth and sparkle of the original sound.</b><br/>\nAn uncompromising commitment to the purity and clarity of sound extends to every aspect of the internal architecture and processing. <span style=\"background-color: initial;\">As befits this flagship model, it starts with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection </span><span style=\"background-color: initial;\">and circuit architecture, separation of analog and digital sound modules, 72-bit linear summing circuit, and more. </span><span style=\"background-color: initial;\">Roland aimed for and have achieved unprecedented high sound quality through a rigorously uncompromising commitment to getting every detail right.</span>\n<br/>\n<br/>\n<h3>Flexible Workflow</h3>\n<strong>A user interface with the ability to adapt to the preferences of the engineer</strong><br/>\nThe concept behind the interface is \"freedom” - accommodating the individual workflow of the engineer to the greatest extent possible.<br/><br/>\n<strong>Operation centered on a 12” touch screen</strong><br/>\nFlat design and vector graphics for clear and vivid display of information. The 16 encoders feature rings whose colors change according to their assigned functions to match on-screen parameters. The \"touch and turn\" mechanism of touching the desired parameter and turning the selected knob achieves fast, intuitive operation.<br/><br/>\n<strong>M-5000: 28 faders in 4 banks  -  M-5000C: 20 faders in 3 banks</strong><br/>\nEach of the eight-fader bank sections is equipped with an Isolate function that enables scrolling and layer switching independently or in tandem. Different elements can be assigned to each bank, such as mix channels to one fader section and DCAs to a second fader section. “Jump” to often-used fader scrolling positions using Anchor points. Assign critical channels to the four assignable fixed faders.<br/><br/>\n<strong>User assignable controls and bright, informative displays</strong><br/>\nThe right side of the surface features an assignable section that lets the user assign key functions for quick access. Bright, full-color OEL displays offer excellent visibility in any light.<br/><br/>\n<h3>Remote Control & Live Recording</h3>\n<b>Remote Control Software (RCS)</b><br/>\nUse the M-5000 RCS program to operate the console from a computer (Mac/Windows). Connection can be made via USB or REMOTE connector, allowing operation over a LAN. The GUI for the M-5000 RCS allows multiple windows, and features support for high resolution displays and other optimizations. This enables use of a second display for viewing even more windows such as a large meter view of inputs and outputs. <br/><br/>\n<b>Built-in Engineer\'s M-48 Monitor function</b><br/>\nFor the monitor engineer using M-48 Personal Mixers, the M-5000 offers an Engineering Monitor function that mirrors the musician\'s M-48 enabling the engineer to check the mix and hear exactly what the musician is hearing. The M-5000 allows selection of the REAC A or B port for the monitor feed, and an M-48 unit can be connected directly to the M-5000\'s backup port which is equipped with Embedded Power.<br/><br/>\n<h2>If it\'s time to upgrade your FOH rig to a digital console with more power, performance and feature sets, look no further than the Roland M-5000. Call or Chat with an RSPE representative today to find out how</h2>'),(9297,85,0,1550,'Roland M-5000 Live Mixing Console'),(9298,85,1,1550,'Roland M-5000 Live Mixing Console'),(9299,76,0,1550,''),(9300,76,1,1550,''),(9301,75,0,1551,'<h2>Roland OHRCA M-5000C Portable Live Mixing Console</h2>\n<span style=\"font-size:16px; font-style:italic;\">128 Channel, 20 Fader, 24-bit/96 kHz Digital Live Mixing Console with OHRCA, 12\" Touchscreen Control and USB Audio Interface</span><br /><br />\nThe Roland M-5000C Portable Live Mixing Console is designed to be highly portable and provides tons of mixing power where there is not a lot of space available. Mixing high channel counts is easy with four fixed assignable faders, sixteen scrollable and isolated faders that feature anchor points and DCA spill Workflows. With OHRCA at it\'s core, productions requiring as many as 128 audio channel resources and direct patching of up to 300 inputs and 288 outputs (at 96kHz; 460 inputs and 448 outputs at 48kHz) can be confident with plenty of resources to spare.<br /><br />\n<h3>Roland M-5000C Series Features</h3>\n<ul>\n	<li>M-5000C: 20 faders in 3 banks, with a small, portable footprint</li>\n	<li>Configure 128 audio paths to be input channels, mix busses, and more</li>\n	<li>Intuitive user interface centered on a 12” touch screen</li>\n	<li>Powerful processing for outstanding sonic control</li>\n	<li>Up to 300 inputs and 288 outputs at 96kHz, even more at 48kHz</li>\n	<li>Built-in I/O for small-format mixing, REAC for larger shows</li>\n</ul>\n<br />\n<h3>OHRCA</h3>\nOHRCA brings adaptability to the world of live audio mixing. It conforms to the needs of both the application and the operator by delivering 128 freely definable audio paths, expandable protocols, multi-format I/O choices, and flexible user interface and workflow - all delivered at a pristine 24-bit / 96kHz sound quality.\n<br /><br />\n<strong>Open</strong><br />\n“Open\" refers to the console’s ability to adapt to many different formats of inputs, outputs, and protocols. This not only includes the large variety of Roland digital snakes already in the lineup but also protocols, such as Dante, MADI, Waves SoundGrid, additional REAC ports, and other formats and solutions to come.<br /><br />\n<strong>High Resolution</strong><br />\n“High Resolution” refers firstly to everything running at 96kHz – end to end. All of the Roland Pro A/V peripherals have been 96kHz-capable from the start. From the preamps running high-end 24-bit AD/DA converters to all the carefully selected components and processors, you can be guaranteed pristine sound that is noticeably better.<br /><br />\n<strong>Configurable Architecture</strong><br />\n“Configurable Architecture” is the console’s ability to adapt to the application - allowing you to essentially “build” the mixer you need. How many input channels? How many auxiliary buses, groups, matrices? All of the elements that are typically fixed in most mixers are flexible with OHRCA. How you work with faders, buttons, and knobs and screen are also adaptable to how you are used to working already.<br /><br />\n<h3>Configurable Architecture</h3>\n<strong>128 freely definable audio paths unlock a new realm of flexibility</strong><br />\nThe Roland M-5000c console\'s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows you to essentially \"build\" a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.<br /><br /><b><span style=\"background-color: initial;\">Create the mixer you need.</span></b>\n<div>\n	Roland has achieved a revolutionary new internal architecture that \n	<span style=\"background-color: initial;\">gives the operator free rein to define their own mixer structure. </span><span style=\"background-color: initial;\">With 128 available audio paths, mixing channels, auxes, </span><span style=\"background-color: initial;\">Matrices, subgroup buses, MIX-MINUS buses, or other input </span><span style=\"background-color: initial;\">output needs can be allocated to match the need at hand. This </span><span style=\"background-color: initial;\">enables O.H.R.C.A to accommodate a diverse array of uses, </span><span style=\"background-color: initial;\">including FOH duties, monitor mixing, theater applications, </span><span style=\"background-color: initial;\">broadcasting, and more. The versatile internal capability of </span><span style=\"background-color: initial;\">having a configurable architecture delivers the ability to adapt </span><span style=\"background-color: initial;\">to ever-changing needs and of production requirements. </span>\n</div>\n<br />\n<h3>Extensibility</h3>\n<strong>Adaptable to numerous audio networks and I/O needs</strong><br />\n<div>\n	Expansion options including REAC, Dante, MADI, Waves SoundGrid, SDI, SFP and DVI open the door to endless configurations and applications. \n	<span style=\"background-color: initial;\">Expansion slots also future proof the console by being ready to adapt to emerging standards. </span><span style=\"background-color: initial;\">Up to 300 inputs and 288 outputs (460 inputs and 4448 outputs at 48kHz)* are managed in separate patchbays and can be used independently of the mixer. </span><span style=\"background-color: initial;\">Any input can be patched to any or multiple outputs, including control </span><span style=\"background-color: initial;\">of the gain and phantom power, without having to be patched through a mixing channel. </span><span style=\"background-color: initial;\">O.</span><span style=\"background-color: initial;\">H.R</span><span style=\"background-color: initial;\">.</span><span style=\"background-color: initial;\">C.</span><span style=\"background-color: initial;\">A makes it possible to control an enormous number of input and output channels across multiple protocols and formats.</span>\n</div>\n<br />\n<strong>Input and output options galore</strong><br />\nUp to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control* of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.<br /><br />\n<h3>High Resolution</h3>\n<b>Meticulous attention to processing detail, maintaining smooth fidelity with all the warmth and sparkle of the original sound.</b><br />\nAn uncompromising commitment to the purity and clarity of sound extends to every aspect of the internal architecture and processing. <span style=\"background-color: initial;\">As befits this flagship model, it starts with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection </span><span style=\"background-color: initial;\">and circuit architecture, separation of analog and digital sound modules, 72-bit linear summing circuit, and more. </span><span style=\"background-color: initial;\">Roland aimed for and have achieved unprecedented high sound quality through a rigorously uncompromising commitment to getting every detail right.</span>\n<br />\n<br />\n<h3>Flexible Workflow</h3>\n<strong>A user interface with the ability to adapt to the preferences of the engineer</strong><br />\nThe concept behind the interface is \"freedom” - accommodating the individual workflow of the engineer to the greatest extent possible.<br /><br />\n<strong>Operation centered on a 12” touch screen</strong><br />\nFlat design and vector graphics for clear and vivid display of information. The 16 encoders feature rings whose colors change according to their assigned functions to match on-screen parameters. The \"touch and turn\" mechanism of touching the desired parameter and turning the selected knob achieves fast, intuitive operation.<br /><br />\n<strong>M-5000: 28 faders in 4 banks  -  M-5000C: 20 faders in 3 banks</strong><br />\nEach of the eight-fader bank sections is equipped with an Isolate function that enables scrolling and layer switching independently or in tandem. Different elements can be assigned to each bank, such as mix channels to one fader section and DCAs to a second fader section. “Jump” to often-used fader scrolling positions using Anchor points. Assign critical channels to the four assignable fixed faders.<br /><br />\n<strong>User assignable controls and bright, informative displays</strong><br />\nThe right side of the surface features an assignable section that lets the user assign key functions for quick access. Bright, full-color OEL displays offer excellent visibility in any light.<br /><br />\n<h3>Remote Control & Live Recording</h3>\n<b>Remote Control Software (RCS)</b><br />\nUse the M-5000 RCS program to operate the console from a computer (Mac/Windows). Connection can be made via USB or REMOTE connector, allowing operation over a LAN. The GUI for the M-5000 RCS allows multiple windows, and features support for high resolution displays and other optimizations. This enables use of a second display for viewing even more windows such as a large meter view of inputs and outputs. <br /><br />\n<b>Built-in Engineer\'s M-48 Monitor function</b><br />\nFor the monitor engineer using M-48 Personal Mixers, the M-5000 offers an Engineering Monitor function that mirrors the musician\'s M-48 enabling the engineer to check the mix and hear exactly what the musician is hearing. The M-5000C allows selection of the REAC A or B port for the monitor feed, and an M-48 unit can be connected directly to the M-5000\'s backup port which is equipped with Embedded Power.<br /><br />\n<h2>If it\'s time to upgrade your FOH rig to a portable digital console with more power, performance and feature sets, look no further than the Roland M-5000C. Call or Chat with an RSPE representative today to find out how</h2>'),(9302,75,1,1551,'<h2>Roland OHRCA M-5000C Portable Live Mixing Console</h2>\n<span style=\"font-size:16px; font-style:italic;\">128 Channel, 20 Fader, 24-bit/96 kHz Digital Live Mixing Console with OHRCA, 12\" Touchscreen Control and USB Audio Interface</span><br /><br />\nThe Roland M-5000C Portable Live Mixing Console is designed to be highly portable and provides tons of mixing power where there is not a lot of space available. Mixing high channel counts is easy with four fixed assignable faders, sixteen scrollable and isolated faders that feature anchor points and DCA spill Workflows. With OHRCA at it\'s core, productions requiring as many as 128 audio channel resources and direct patching of up to 300 inputs and 288 outputs (at 96kHz; 460 inputs and 448 outputs at 48kHz) can be confident with plenty of resources to spare.<br /><br />\n<h3>Roland M-5000C Series Features</h3>\n<ul>\n	<li>M-5000C: 20 faders in 3 banks, with a small, portable footprint</li>\n	<li>Configure 128 audio paths to be input channels, mix busses, and more</li>\n	<li>Intuitive user interface centered on a 12” touch screen</li>\n	<li>Powerful processing for outstanding sonic control</li>\n	<li>Up to 300 inputs and 288 outputs at 96kHz, even more at 48kHz</li>\n	<li>Built-in I/O for small-format mixing, REAC for larger shows</li>\n</ul>\n<br />\n<h3>OHRCA</h3>\nOHRCA brings adaptability to the world of live audio mixing. It conforms to the needs of both the application and the operator by delivering 128 freely definable audio paths, expandable protocols, multi-format I/O choices, and flexible user interface and workflow - all delivered at a pristine 24-bit / 96kHz sound quality.\n<br /><br />\n<strong>Open</strong><br />\n“Open\" refers to the console’s ability to adapt to many different formats of inputs, outputs, and protocols. This not only includes the large variety of Roland digital snakes already in the lineup but also protocols, such as Dante, MADI, Waves SoundGrid, additional REAC ports, and other formats and solutions to come.<br /><br />\n<strong>High Resolution</strong><br />\n“High Resolution” refers firstly to everything running at 96kHz – end to end. All of the Roland Pro A/V peripherals have been 96kHz-capable from the start. From the preamps running high-end 24-bit AD/DA converters to all the carefully selected components and processors, you can be guaranteed pristine sound that is noticeably better.<br /><br />\n<strong>Configurable Architecture</strong><br />\n“Configurable Architecture” is the console’s ability to adapt to the application - allowing you to essentially “build” the mixer you need. How many input channels? How many auxiliary buses, groups, matrices? All of the elements that are typically fixed in most mixers are flexible with OHRCA. How you work with faders, buttons, and knobs and screen are also adaptable to how you are used to working already.<br /><br />\n<h3>Configurable Architecture</h3>\n<strong>128 freely definable audio paths unlock a new realm of flexibility</strong><br />\nThe Roland M-5000c console\'s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows you to essentially \"build\" a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.<br /><br /><b><span style=\"background-color: initial;\">Create the mixer you need.</span></b>\n<div>\n	Roland has achieved a revolutionary new internal architecture that \n	<span style=\"background-color: initial;\">gives the operator free rein to define their own mixer structure. </span><span style=\"background-color: initial;\">With 128 available audio paths, mixing channels, auxes, </span><span style=\"background-color: initial;\">Matrices, subgroup buses, MIX-MINUS buses, or other input </span><span style=\"background-color: initial;\">output needs can be allocated to match the need at hand. This </span><span style=\"background-color: initial;\">enables O.H.R.C.A to accommodate a diverse array of uses, </span><span style=\"background-color: initial;\">including FOH duties, monitor mixing, theater applications, </span><span style=\"background-color: initial;\">broadcasting, and more. The versatile internal capability of </span><span style=\"background-color: initial;\">having a configurable architecture delivers the ability to adapt </span><span style=\"background-color: initial;\">to ever-changing needs and of production requirements. </span>\n</div>\n<br />\n<h3>Extensibility</h3>\n<strong>Adaptable to numerous audio networks and I/O needs</strong><br />\n<div>\n	Expansion options including REAC, Dante, MADI, Waves SoundGrid, SDI, SFP and DVI open the door to endless configurations and applications. \n	<span style=\"background-color: initial;\">Expansion slots also future proof the console by being ready to adapt to emerging standards. </span><span style=\"background-color: initial;\">Up to 300 inputs and 288 outputs (460 inputs and 4448 outputs at 48kHz)* are managed in separate patchbays and can be used independently of the mixer. </span><span style=\"background-color: initial;\">Any input can be patched to any or multiple outputs, including control </span><span style=\"background-color: initial;\">of the gain and phantom power, without having to be patched through a mixing channel. </span><span style=\"background-color: initial;\">O.</span><span style=\"background-color: initial;\">H.R</span><span style=\"background-color: initial;\">.</span><span style=\"background-color: initial;\">C.</span><span style=\"background-color: initial;\">A makes it possible to control an enormous number of input and output channels across multiple protocols and formats.</span>\n</div>\n<br />\n<strong>Input and output options galore</strong><br />\nUp to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control* of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.<br /><br />\n<h3>High Resolution</h3>\n<b>Meticulous attention to processing detail, maintaining smooth fidelity with all the warmth and sparkle of the original sound.</b><br />\nAn uncompromising commitment to the purity and clarity of sound extends to every aspect of the internal architecture and processing. <span style=\"background-color: initial;\">As befits this flagship model, it starts with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection </span><span style=\"background-color: initial;\">and circuit architecture, separation of analog and digital sound modules, 72-bit linear summing circuit, and more. </span><span style=\"background-color: initial;\">Roland aimed for and have achieved unprecedented high sound quality through a rigorously uncompromising commitment to getting every detail right.</span>\n<br />\n<br />\n<h3>Flexible Workflow</h3>\n<strong>A user interface with the ability to adapt to the preferences of the engineer</strong><br />\nThe concept behind the interface is \"freedom” - accommodating the individual workflow of the engineer to the greatest extent possible.<br /><br />\n<strong>Operation centered on a 12” touch screen</strong><br />\nFlat design and vector graphics for clear and vivid display of information. The 16 encoders feature rings whose colors change according to their assigned functions to match on-screen parameters. The \"touch and turn\" mechanism of touching the desired parameter and turning the selected knob achieves fast, intuitive operation.<br /><br />\n<strong>M-5000: 28 faders in 4 banks  -  M-5000C: 20 faders in 3 banks</strong><br />\nEach of the eight-fader bank sections is equipped with an Isolate function that enables scrolling and layer switching independently or in tandem. Different elements can be assigned to each bank, such as mix channels to one fader section and DCAs to a second fader section. “Jump” to often-used fader scrolling positions using Anchor points. Assign critical channels to the four assignable fixed faders.<br /><br />\n<strong>User assignable controls and bright, informative displays</strong><br />\nThe right side of the surface features an assignable section that lets the user assign key functions for quick access. Bright, full-color OEL displays offer excellent visibility in any light.<br /><br />\n<h3>Remote Control & Live Recording</h3>\n<b>Remote Control Software (RCS)</b><br />\nUse the M-5000 RCS program to operate the console from a computer (Mac/Windows). Connection can be made via USB or REMOTE connector, allowing operation over a LAN. The GUI for the M-5000 RCS allows multiple windows, and features support for high resolution displays and other optimizations. This enables use of a second display for viewing even more windows such as a large meter view of inputs and outputs. <br /><br />\n<b>Built-in Engineer\'s M-48 Monitor function</b><br />\nFor the monitor engineer using M-48 Personal Mixers, the M-5000 offers an Engineering Monitor function that mirrors the musician\'s M-48 enabling the engineer to check the mix and hear exactly what the musician is hearing. The M-5000C allows selection of the REAC A or B port for the monitor feed, and an M-48 unit can be connected directly to the M-5000\'s backup port which is equipped with Embedded Power.<br /><br />\n<h2>If it\'s time to upgrade your FOH rig to a portable digital console with more power, performance and feature sets, look no further than the Roland M-5000C. Call or Chat with an RSPE representative today to find out how</h2>'),(9303,85,0,1551,'Roland M-5000 Live Mixing Console'),(9304,85,1,1551,'Roland M-5000 Live Mixing Console'),(9305,76,0,1551,''),(9306,76,1,1551,''),(9307,75,0,1552,'<h1>Royer R-10 Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Royer’s most affordable ribbon mic yet, derived from the well-proven R-101 and sharing all of that model’s core technology but in a smaller, simpler package.</span><br /><br />\nThe Royer R-10 is a passive mono ribbon microphone created for Studio and Live use featuring the look, sound and high-SPL-handling performance (160 dB SPL @ 1K) Royer is known for, at the most afforble price yet! The R-10 is warm, full-bodied and extremely natural sounding - a second-to-none ribbon microphone in its price range.<br /><br />\nThe R-10 is an excellent Royer for studio and live electric guitars, capturing all the low end, midrange warmth and punch the industry has come to expect from a Royer. It’s also an excellent choice for brass instruments, percussion, various drum positions and many stringed instruments – use anywhere a ribbon is called for. The R-10 also takes EQ beautifully when more highs are needed.<br /><br />The R-10’s 2.5-micron aluminum ribbon element is formed with Royer\'s patented direct-corrugation process and is protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise. <br /><br />The R-10’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability.<br /><br />The R-10 utilizes a David Royer custom designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You’ll never overload an R-10! The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats.<br /><br />The R-10 is hand-built in Royer\'s Burbank California factory and comes with a 5-year warranty and first re-ribbon free. <br /><br />\n<h3>Royer R-10 Features:</h3>\n<ul>\n	<li>Hand-built in Burbank California     </li>\n	<li>Excellent studio & live mic          </li>\n	<li>High SPL handling                    </li>\n	<li>Dave Royer custom designedtransformer</li>\n	<li>2.5-micron R-series ribbon element   </li>\n	<li>3-layer windscreen system            </li>\n	<li>Acclaimed Royer ribbon sound</li>\n</ul>\n<br />\n<h3>Patented Offset Ribbon Technology </h3>\nThe R-10 incorporates Royer\'s patented offset-ribbon technology and a low mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon transducer\'s flux-frame and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation.\n<br /><br />\nThe R-10\'s offset-ribbon transducer (Patent # 6,434,252) positions the ribbon element towards the front (logo) side of the microphone body. This proprietary arrangement gives the ribbon element more room to move within the prime magnetic field and maintain full frequency response during high SPL recordings. It\'s an integral part of the magic in all Royer R-series microphones.<br /><br />\nThe offset-ribbon transducer also gives you the option of a brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position). The back side of the mic is often preferred on vocals, acoustic guitars and other stringed instruments.<br />\n<ul>\n</ul>\n<ul>\n</ul>'),(9308,75,1,1552,'<h1>Royer R-10 Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">Royer’s most affordable ribbon mic yet, derived from the well-proven R-101 and sharing all of that model’s core technology but in a smaller, simpler package.</span><br /><br />\nThe Royer R-10 is a passive mono ribbon microphone created for Studio and Live use featuring the look, sound and high-SPL-handling performance (160 dB SPL @ 1K) Royer is known for, at the most afforble price yet! The R-10 is warm, full-bodied and extremely natural sounding - a second-to-none ribbon microphone in its price range.<br /><br />\nThe R-10 is an excellent Royer for studio and live electric guitars, capturing all the low end, midrange warmth and punch the industry has come to expect from a Royer. It’s also an excellent choice for brass instruments, percussion, various drum positions and many stringed instruments – use anywhere a ribbon is called for. The R-10 also takes EQ beautifully when more highs are needed.<br /><br />The R-10’s 2.5-micron aluminum ribbon element is formed with Royer\'s patented direct-corrugation process and is protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The ribbon transducer is wired for humbucking to reject electromagnetically induced noise. <br /><br />The R-10’s built-in windscreen provides superior protection from air blasts and plosives. It also reduces proximity effect (bass buildup from close miking) so guitar cabinets and acoustic instruments can be close-miked with less bass buildup. The R-10’s internally shockmounted ribbon transducer isolates the ribbon element from shocks and vibrations, increasing the ribbon element’s durability.<br /><br />The R-10 utilizes a David Royer custom designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You’ll never overload an R-10! The mic’s open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats.<br /><br />The R-10 is hand-built in Royer\'s Burbank California factory and comes with a 5-year warranty and first re-ribbon free. <br /><br />\n<h3>Royer R-10 Features:</h3>\n<ul>\n	<li>Hand-built in Burbank California     </li>\n	<li>Excellent studio & live mic          </li>\n	<li>High SPL handling                    </li>\n	<li>Dave Royer custom designedtransformer</li>\n	<li>2.5-micron R-series ribbon element   </li>\n	<li>3-layer windscreen system            </li>\n	<li>Acclaimed Royer ribbon sound</li>\n</ul>\n<br />\n<h3>Patented Offset Ribbon Technology </h3>\nThe R-10 incorporates Royer\'s patented offset-ribbon technology and a low mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon transducer\'s flux-frame and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation.\n<br /><br />\nThe R-10\'s offset-ribbon transducer (Patent # 6,434,252) positions the ribbon element towards the front (logo) side of the microphone body. This proprietary arrangement gives the ribbon element more room to move within the prime magnetic field and maintain full frequency response during high SPL recordings. It\'s an integral part of the magic in all Royer R-series microphones.<br /><br />\nThe offset-ribbon transducer also gives you the option of a brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position). The back side of the mic is often preferred on vocals, acoustic guitars and other stringed instruments.<br />\n<ul>\n</ul>\n<ul>\n</ul>'),(9309,85,0,1552,'Royer Labs R-10 Studio/Live Ribbon Microphone'),(9310,85,1,1552,'Royer Labs R-10 Studio/Live Ribbon Microphone'),(9311,76,0,1552,''),(9312,76,1,1552,''),(9313,75,0,1553,'<h1>Royer Labs R-121 Studio Ribbon Microphone</h1>\nThe Royer 121, originally released in 1998, is Royer\'s flagship microphone and the model that reintroduced ribbon mics to engineers around the world. Royer did away with the large, heavy, fragile \"classic\" approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. In its 10+ years in the market, thousands of R-121\'s have been sold around the world and it\'s well established as a standard for tracking electric guitar and brass.\n<br /><br />\nThe R-121 redefined ribbon microphones so completely that Recording Magazine wrote \"...the Royer R-121 is destined to become one of the classic microphones of the 21st century.\"<br /><br />\nLike many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, and a warm, realistic tone and flat frequency response. But that\'s where the similarities end. By using advanced materials and a blend of cutting edge and old-school, hand-build construction techniques, the R-121 is an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums - you name it, the R-121 will help you record it with realism you have to hear to believe.<br /><br />\nRoyer build the R-121 solid enough to give it a lifetime warranty. They expect you to own it for as long as you record, and we\'ll stand behind it the whole way.\n<br /><br /><h3>Royer R-121 <span style=\"background-color: initial;\">Features</span></h3><ul><li>High SPL Capabilities</li><li>No internal active electronics to overload or produce distortion up to maximum SPL rating</li><li>Extremely low residual noise</li><li>Ribbon element is not affected by heat or humidity</li><li>Absence of high frequency phase distortion</li><li>Equal sensitivity from front or back of element</li><li>Consistent frequency response regardless of distance</li></ul><br />\n<h3>Patented Offset Ribbon Technology</h3>\nThe R-121\'s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It\'s an integral piece of the magic of all Royer R-series microphones.\n<br /><br />'),(9314,75,1,1553,'<h1>Royer Labs R-121 Studio Ribbon Microphone</h1>\nThe Royer 121, originally released in 1998, is Royer\'s flagship microphone and the model that reintroduced ribbon mics to engineers around the world. Royer did away with the large, heavy, fragile \"classic\" approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. In its 10+ years in the market, thousands of R-121\'s have been sold around the world and it\'s well established as a standard for tracking electric guitar and brass.\n<br /><br />\nThe R-121 redefined ribbon microphones so completely that Recording Magazine wrote \"...the Royer R-121 is destined to become one of the classic microphones of the 21st century.\"<br /><br />\nLike many of the best classic ribbon mics, the R-121 has a figure-8 pattern, output level comparable to a dynamic mic, and a warm, realistic tone and flat frequency response. But that\'s where the similarities end. By using advanced materials and a blend of cutting edge and old-school, hand-build construction techniques, the R-121 is an extremely versatile and user-friendly ribbon mic that can stand up to the most demanding tasks. Cranked up electric guitars, close up brass, drums - you name it, the R-121 will help you record it with realism you have to hear to believe.<br /><br />\nRoyer build the R-121 solid enough to give it a lifetime warranty. They expect you to own it for as long as you record, and we\'ll stand behind it the whole way.\n<br /><br /><h3>Royer R-121 <span style=\"background-color: initial;\">Features</span></h3><ul><li>High SPL Capabilities</li><li>No internal active electronics to overload or produce distortion up to maximum SPL rating</li><li>Extremely low residual noise</li><li>Ribbon element is not affected by heat or humidity</li><li>Absence of high frequency phase distortion</li><li>Equal sensitivity from front or back of element</li><li>Consistent frequency response regardless of distance</li></ul><br />\n<h3>Patented Offset Ribbon Technology</h3>\nThe R-121\'s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It\'s an integral piece of the magic of all Royer R-series microphones.\n<br /><br />'),(9315,85,0,1553,'Royer Labs R-121 Ribbon Microphone'),(9316,85,1,1553,'Royer Labs R-121 Ribbon Microphone'),(9317,76,0,1553,''),(9318,76,1,1553,''),(9319,75,0,1554,'<h1>Royer Labs R-121 Live Studio Ribbon Microphone</h1>\nThe Royer 121 Live \n<span style=\"color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; background-color: initial;\">is a ruggedized version of our popular R-121 ribbon microphone. The studio R-121 is tough and has been used on the road for years, but the increased durability of the R-121 Live gives FOH engineers greater confidence in the ribbon standing up to the rigors of the road.</span>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live’s output level is comparable to a dynamic mic, and it delivers the warm, realistic tone that only a ribbon mic can. Along with its smooth, natural response, the R-121 Live virtually eliminates the shrill high-end often associated with live guitars and brass. Push up the faders and there’s the instrument in all its fullness and natural glory, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5 microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-121 Live’s exceptionally smooth high frequency response, it needs far less eq’ing than is usually required with condenser and dynamic microphones.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live is backed with Royer’s lifetime warranty to the original owner, and the first re-ribbon is free. We expect it to work as hard as you do, so we stand behind it the whole way. As with any high end microphone, proper storage during transit and careful handling during setup and breakdown is key to keeping the microphone in good working order.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span><span><span style=\"font-size: 24px;\">Figure-8’s On Stage </span></span></span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live’s pickup pattern is figure-8, which can be used to control stage bleed with great effect. Side rejection in the null points is strong – position the mics “ears” to face the offending instrument(s) and bleed will be virtually eliminated. The top and bottom of the microphone are also null points. If monitors are in close proximity to the rear side of the microphone, a positioning adjustment can place the monitors output in the mic’s null, isolating the monitor from the mic’s pickup areas.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span style=\"font-size: 24px;\">Patented Offset Ribbon Technology</span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live’s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response on high SPL applications. It’s an integral piece of the magic of all Royer R-series microphones.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span style=\"font-size: 24px;\">The Sound</span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	We’ve always said Royers “hear like your ears.” Put one up and you’ll know what we mean.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 accurately reproduces what you hear at the sound source. Most microphones add their own characteristics – they all serve a purpose and have their place on stage. But if your goal is to capture something the way it really sounds – that ripping electric guitar, that wailing trumpet, that full kit – and you’ve found that reproducing that sound was next to impossible, put up some Royer Live Series mics and get ready. The R-121’s response is flat and well balanced, with a deep, non-boomy low end, well defined and realistic mids, and a smooth and natural sounding high end response that’s never edgy or sibilant.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	When it’s time to mix the band, push up the faders and you’ll see why FOH engineers love their R-121’s on electric guitars and brass. When the instruments sound real, fitting them into the live mix is a breeze.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span style=\"font-size: 24px;\">L</span><span style=\"font-size: 24px;\">OUD GUITARS!</span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	Your guitarist likes insane levels? No problem! The R-121 Live’s maximum SPL rating is 135dB at 20 Hz and it can handle that all day, every day. In practical terms, that means you can put your R-121 in front of a souped up 100-watt Marshall and open it up without microphone distortion or damage to the ribbon. We don’t recommend trying this with other ribbon mics, but the R-121 Live was built to take it.\n</p>'),(9320,75,1,1554,'<h1>Royer Labs R-121 Live Studio Ribbon Microphone</h1>\nThe Royer 121 Live \n<span style=\"color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; background-color: initial;\">is a ruggedized version of our popular R-121 ribbon microphone. The studio R-121 is tough and has been used on the road for years, but the increased durability of the R-121 Live gives FOH engineers greater confidence in the ribbon standing up to the rigors of the road.</span>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live’s output level is comparable to a dynamic mic, and it delivers the warm, realistic tone that only a ribbon mic can. Along with its smooth, natural response, the R-121 Live virtually eliminates the shrill high-end often associated with live guitars and brass. Push up the faders and there’s the instrument in all its fullness and natural glory, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5 microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-121 Live’s exceptionally smooth high frequency response, it needs far less eq’ing than is usually required with condenser and dynamic microphones.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live is backed with Royer’s lifetime warranty to the original owner, and the first re-ribbon is free. We expect it to work as hard as you do, so we stand behind it the whole way. As with any high end microphone, proper storage during transit and careful handling during setup and breakdown is key to keeping the microphone in good working order.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span><span><span style=\"font-size: 24px;\">Figure-8’s On Stage </span></span></span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live’s pickup pattern is figure-8, which can be used to control stage bleed with great effect. Side rejection in the null points is strong – position the mics “ears” to face the offending instrument(s) and bleed will be virtually eliminated. The top and bottom of the microphone are also null points. If monitors are in close proximity to the rear side of the microphone, a positioning adjustment can place the monitors output in the mic’s null, isolating the monitor from the mic’s pickup areas.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span style=\"font-size: 24px;\">Patented Offset Ribbon Technology</span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 Live’s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response on high SPL applications. It’s an integral piece of the magic of all Royer R-series microphones.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span style=\"font-size: 24px;\">The Sound</span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	We’ve always said Royers “hear like your ears.” Put one up and you’ll know what we mean.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	The R-121 accurately reproduces what you hear at the sound source. Most microphones add their own characteristics – they all serve a purpose and have their place on stage. But if your goal is to capture something the way it really sounds – that ripping electric guitar, that wailing trumpet, that full kit – and you’ve found that reproducing that sound was next to impossible, put up some Royer Live Series mics and get ready. The R-121’s response is flat and well balanced, with a deep, non-boomy low end, well defined and realistic mids, and a smooth and natural sounding high end response that’s never edgy or sibilant.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	When it’s time to mix the band, push up the faders and you’ll see why FOH engineers love their R-121’s on electric guitars and brass. When the instruments sound real, fitting them into the live mix is a breeze.\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; letter-spacing: normal; line-height: 20px;\">\n	<span style=\"box-sizing: border-box; font-weight: 700;\"><span style=\"font-size: 24px;\">L</span><span style=\"font-size: 24px;\">OUD GUITARS!</span></span>\n</p>\n<p style=\"box-sizing: border-box; color: rgb(51, 51, 51); font-family: \'Helvetica Neue\', Helvetica, Arial, sans-serif; font-size: 14px; letter-spacing: normal; line-height: 20px;\">\n	Your guitarist likes insane levels? No problem! The R-121 Live’s maximum SPL rating is 135dB at 20 Hz and it can handle that all day, every day. In practical terms, that means you can put your R-121 in front of a souped up 100-watt Marshall and open it up without microphone distortion or damage to the ribbon. We don’t recommend trying this with other ribbon mics, but the R-121 Live was built to take it.\n</p>'),(9321,85,0,1554,'Royer Labs R-121 Live Studio Ribbon Microphone'),(9322,85,1,1554,'Royer Labs R-121 Live Studio Ribbon Microphone'),(9323,76,0,1554,''),(9324,76,1,1554,''),(9325,75,0,1555,'<h1>Royer Labs R-122 MKII Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">A phantom powered ribbon microphone that\'s very sensitive and features a faster transient response.</span><br /><br />\nThe Royer R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to Royer\'s groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications.\n<br /><br />\nThe R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble.\n<br /><br />\nThe R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent micro- phone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs.\n<br /><br />\nThe R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic perfor- mance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible.\n<br /><br />\nThe R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).\n<br /><br />\n<h3>Royer R-122 MKII FEATURES</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Active electronics provide high output capability, optimal impedance to the </span><span style=\"background-color: initial;\">ribbon element, extremely low self-noise and low output impedance</span></li>\n	<li><span style=\"background-color: initial;\">-15 dB pad and low cut filter provide greater flexibility and increased headroom</span></li>\n	<li><span style=\"background-color: initial;\">High SPL capabilities for electric guitar and percussion instruments</span></li>\n	<li><span style=\"background-color: initial;\">Absence of high frequency peaks, \"ringing\" and phase shifts</span></li>\n	<li><span style=\"background-color: initial;\">Ribbon element unaffected by impedance/load, heat or humidity</span></li>\n	<li><span style=\"background-color: initial;\">Operates on standard 48-volt phantom power</span></li>\n	<li><span style=\"background-color: initial;\">Gold plated XLR contacts</span></li>\n</ul>\n<br />\n<h3>R-122 MKII RECOMMENDED APPLICATIONS</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Close and distant miking</span></li>\n	<li><span style=\"background-color: initial;\">Electric and acoustic guitar</span></li>\n	<li><span style=\"background-color: initial;\">Vocals, commercial broadcast, voiceover</span></li>\n	<li><span style=\"background-color: initial;\">Brass, horn sections</span></li>\n	<li><span style=\"background-color: initial;\">Drum overheads, kick drum (see manual for position), room miking</span></li>\n	<li><span style=\"background-color: initial;\">Percussion instruments</span></li>\n	<li><span style=\"background-color: initial;\">Strings - solo & sections</span></li>\n	<li><span style=\"background-color: initial;\">Acoustic piano, harp</span></li>\n	<li><span style=\"background-color: initial;\">Live events - recording and sound reinforcement</span></li>\n</ul>'),(9326,75,1,1555,'<h1>Royer Labs R-122 MKII Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">A phantom powered ribbon microphone that\'s very sensitive and features a faster transient response.</span><br /><br />\nThe Royer R-122 MKII is a compact, monaural, phantom powered ribbon microphone with a switchable -15 dB pad and a low cut filter. Sonically similar to Royer\'s groundbreaking R-121, the R-122 MKII exhibits a flat frequency response and a well-balanced, panoramic soundfield, but it’s 13 dB more sensitive and has a faster transient response, giving a sense of more open highs. Like the R-121, it is capable of handling high SPL applications.\n<br /><br />\nThe R-122 MKII’s -15 dB pad is positioned before any other electronics, giving the microphone 15 dB more headroom for high SPL work. The low cut filter is configured to reduce proximity effect for close miking and vocal applications and effectively filters rumble.\n<br /><br />\nThe R-122 MKII’s active electronics produce an output comparable to studio condenser microphones and provide an optimum impedance to the ribbon element, preventing overdamping of the ribbon and assuring consistent micro- phone performance. The high gain and low output impedance of the R-122 allow it to operate with any microphone preamplifier with phantom power, and also allows for use with long cable runs.\n<br /><br />\nThe R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in a patented offset-ribbon transducer assembly. The smooth frequency response and phase linearity of the R-122 MKII, coupled with its sophisticated active electronics system, enable it to deliver a consistent natural acoustic perfor- mance with extraordinary realism. Frequency response is excellent regardless of the angle of sound striking the ribbon, and off-axis coloration is negligible.\n<br /><br />\nThe R-122’s patented offset-ribbon design positions the ribbon element toward the front of the microphone body, which allows for high SPL handling on the front (logo) side and the option of a slightly brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).\n<br /><br />\n<h3>Royer R-122 MKII FEATURES</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Active electronics provide high output capability, optimal impedance to the </span><span style=\"background-color: initial;\">ribbon element, extremely low self-noise and low output impedance</span></li>\n	<li><span style=\"background-color: initial;\">-15 dB pad and low cut filter provide greater flexibility and increased headroom</span></li>\n	<li><span style=\"background-color: initial;\">High SPL capabilities for electric guitar and percussion instruments</span></li>\n	<li><span style=\"background-color: initial;\">Absence of high frequency peaks, \"ringing\" and phase shifts</span></li>\n	<li><span style=\"background-color: initial;\">Ribbon element unaffected by impedance/load, heat or humidity</span></li>\n	<li><span style=\"background-color: initial;\">Operates on standard 48-volt phantom power</span></li>\n	<li><span style=\"background-color: initial;\">Gold plated XLR contacts</span></li>\n</ul>\n<br />\n<h3>R-122 MKII RECOMMENDED APPLICATIONS</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Close and distant miking</span></li>\n	<li><span style=\"background-color: initial;\">Electric and acoustic guitar</span></li>\n	<li><span style=\"background-color: initial;\">Vocals, commercial broadcast, voiceover</span></li>\n	<li><span style=\"background-color: initial;\">Brass, horn sections</span></li>\n	<li><span style=\"background-color: initial;\">Drum overheads, kick drum (see manual for position), room miking</span></li>\n	<li><span style=\"background-color: initial;\">Percussion instruments</span></li>\n	<li><span style=\"background-color: initial;\">Strings - solo & sections</span></li>\n	<li><span style=\"background-color: initial;\">Acoustic piano, harp</span></li>\n	<li><span style=\"background-color: initial;\">Live events - recording and sound reinforcement</span></li>\n</ul>'),(9327,85,0,1555,'Royer Labs R-122 MKII Ribbon Microphone'),(9328,85,1,1555,'Royer Labs R-122 MKII Ribbon Microphone'),(9329,76,0,1555,''),(9330,76,1,1555,''),(9331,75,0,1556,'<h1>Royer Labs R-122 MKII Live Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">A phantom powered ribbon microphone that\'s very sensitive and features a faster transient response.</span><br /><br />\n\nThe Royer R-122 MKII Live is a road-optimized version of Royer\'s phantom powered R-122 MK-ll ribbon microphone. The R-122 MKll Live’s output is on par with phantom powered condenser mics, allowing for long cable runs and the occasional sub-par mic preamps, and its switchable -15 dB pad and bass-cut filter deliver unprecedented flexibility on electric guitars, drum overheads, trumpets and other live instruments. Most importantly, it produces the warm, realistic sounds that only ribbon mics can deliver. Along with its smooth, natural response, the R-122 MKll Live virtually eliminates the shrill high-end often encountered with live guitars, brass and drum cymbals. Push up the faders and there’s the instrument in all its fullness, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting.<br /><br />\n	<h4>The Pad:</h4>\n	The R-122 MKll’s switchable -15 dB pad is positioned before the microphone’s electronics and, when engaged, eliminates headroom-related distortion or preamplifier overload on even the loudest sound sources. Wide open electric guitars are no problem. With the pad in, the R-122 MKll’s output is actually 2 dB lower than our flagship R-121.\n<br /><br />\n	<h4>The Bass Cut:</h4>\n	When switched in, the R-122 MKll’s bass cut starts filtering at 100 Hz, 6 dB per octave, effectively reducing the mic’s bass buildup due to proximity effect. This smooth filter is extremely useful on close-miked electric guitars when less bottom end is desired.\n<br /><br />\n	The R-122 MKll’s electronics are hand-wired in Royer\'s Burbank, CA factory. The microphone utilizes a special Royer-designed toroidal transformer that delivers a faster transient response then traditional ribbons. This produces a tighter, more focused low end and a sense of more open highs than with traditional ribbons, making it a first call ribbon mic for drum overheads and percussion. The R-122 MKll Live can be used on extremely long cable runs with minimal RF interference and signal loss, and the ribbon element cannot be damaged by phantom power, miswired cables or electrical glitches.\n<br /><br />\n	The R-122 MKll Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5-microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-122 MKll Live’s smooth high frequency response, it needs less eq’ing than is usually required with condenser and dynamic microphones.\n<br /><br />\n	The R-122 MKll Live is backed with Royer’s lifetime warranty to the original owner, and the first re-ribbon is free. Royer expect their microphones to work as hard as you do, so they stand behind it all the way. As with any high end microphone, proper storage during transit and careful handling during setup and breakdown is key to keeping the microphone in good working order.\n<br /><br />\n	<h3>Figure-8’s On Stage</h3>\n	The R-122 MKll Live’s pickup pattern is figure-8, which can be used to control stage bleed with great effect. Side rejection in the null points is strong – simply position the mics “ears” to face the offending instrument(s) and bleed will be virtually eliminated. The top and bottom of the microphone are also null points. If monitors are in close proximity to the rear side of the microphone, a positioning adjustment can place the monitors output in the mic’s null, isolating the monitor from the mic’s pickup areas.\n<br /><br />\n	<h3>Patented Offset Ribbon Technology</h3>\n	The R-122 MKll Live’s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response on high SPL applications. It’s an integral piece of the magic of all Royer R-series microphones.\n<br /><br />\n<h3>Royer R-122 MKII Live Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Phantom powered circuitry provides high output and impedance matching</span></li>\n	<li>-15 dB pad before the mic’s electronics gives more headroom when activated.</li>\n	<li>Bass cut filter reduces proximity effect and bass below 100 Hz when activated</li>\n	<li>High SPL Capabilities</li>\n	<li>No distortion up to maximum SPL rating</li>\n	<li>Extremely low residual noise</li>\n	<li>Ribbon element is not affected by heat or humidity</li>\n	<li>Absence of high frequency phase distortion</li>\n	<li>Equal sensitivity from front or back of element</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>Rear side of mic records slightly brighter when three feet or closer to sound source</li>\n</ul>\n<br />\n<h3>R-122 MKII Live Recommended Applications </h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Drum Overheads</span></li>\n	<li>Percussion Instruments</li>\n	<li>Electric Guitar</li>\n	<li>Acoustic Guitar</li>\n	<li>Solo Brass</li>\n	<li>Horn Sections</li>\n	<li>Solo Saxophone</li>\n</ul>'),(9332,75,1,1556,'<h1>Royer Labs R-122 MKII Live Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">A phantom powered ribbon microphone that\'s very sensitive and features a faster transient response.</span><br /><br />\n\nThe Royer R-122 MKII Live is a road-optimized version of Royer\'s phantom powered R-122 MK-ll ribbon microphone. The R-122 MKll Live’s output is on par with phantom powered condenser mics, allowing for long cable runs and the occasional sub-par mic preamps, and its switchable -15 dB pad and bass-cut filter deliver unprecedented flexibility on electric guitars, drum overheads, trumpets and other live instruments. Most importantly, it produces the warm, realistic sounds that only ribbon mics can deliver. Along with its smooth, natural response, the R-122 MKll Live virtually eliminates the shrill high-end often encountered with live guitars, brass and drum cymbals. Push up the faders and there’s the instrument in all its fullness, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting.<br /><br />\n	<h4>The Pad:</h4>\n	The R-122 MKll’s switchable -15 dB pad is positioned before the microphone’s electronics and, when engaged, eliminates headroom-related distortion or preamplifier overload on even the loudest sound sources. Wide open electric guitars are no problem. With the pad in, the R-122 MKll’s output is actually 2 dB lower than our flagship R-121.\n<br /><br />\n	<h4>The Bass Cut:</h4>\n	When switched in, the R-122 MKll’s bass cut starts filtering at 100 Hz, 6 dB per octave, effectively reducing the mic’s bass buildup due to proximity effect. This smooth filter is extremely useful on close-miked electric guitars when less bottom end is desired.\n<br /><br />\n	The R-122 MKll’s electronics are hand-wired in Royer\'s Burbank, CA factory. The microphone utilizes a special Royer-designed toroidal transformer that delivers a faster transient response then traditional ribbons. This produces a tighter, more focused low end and a sense of more open highs than with traditional ribbons, making it a first call ribbon mic for drum overheads and percussion. The R-122 MKll Live can be used on extremely long cable runs with minimal RF interference and signal loss, and the ribbon element cannot be damaged by phantom power, miswired cables or electrical glitches.\n<br /><br />\n	The R-122 MKll Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5-microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-122 MKll Live’s smooth high frequency response, it needs less eq’ing than is usually required with condenser and dynamic microphones.\n<br /><br />\n	The R-122 MKll Live is backed with Royer’s lifetime warranty to the original owner, and the first re-ribbon is free. Royer expect their microphones to work as hard as you do, so they stand behind it all the way. As with any high end microphone, proper storage during transit and careful handling during setup and breakdown is key to keeping the microphone in good working order.\n<br /><br />\n	<h3>Figure-8’s On Stage</h3>\n	The R-122 MKll Live’s pickup pattern is figure-8, which can be used to control stage bleed with great effect. Side rejection in the null points is strong – simply position the mics “ears” to face the offending instrument(s) and bleed will be virtually eliminated. The top and bottom of the microphone are also null points. If monitors are in close proximity to the rear side of the microphone, a positioning adjustment can place the monitors output in the mic’s null, isolating the monitor from the mic’s pickup areas.\n<br /><br />\n	<h3>Patented Offset Ribbon Technology</h3>\n	The R-122 MKll Live’s proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response on high SPL applications. It’s an integral piece of the magic of all Royer R-series microphones.\n<br /><br />\n<h3>Royer R-122 MKII Live Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Phantom powered circuitry provides high output and impedance matching</span></li>\n	<li>-15 dB pad before the mic’s electronics gives more headroom when activated.</li>\n	<li>Bass cut filter reduces proximity effect and bass below 100 Hz when activated</li>\n	<li>High SPL Capabilities</li>\n	<li>No distortion up to maximum SPL rating</li>\n	<li>Extremely low residual noise</li>\n	<li>Ribbon element is not affected by heat or humidity</li>\n	<li>Absence of high frequency phase distortion</li>\n	<li>Equal sensitivity from front or back of element</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>Rear side of mic records slightly brighter when three feet or closer to sound source</li>\n</ul>\n<br />\n<h3>R-122 MKII Live Recommended Applications </h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Drum Overheads</span></li>\n	<li>Percussion Instruments</li>\n	<li>Electric Guitar</li>\n	<li>Acoustic Guitar</li>\n	<li>Solo Brass</li>\n	<li>Horn Sections</li>\n	<li>Solo Saxophone</li>\n</ul>'),(9333,85,0,1556,'Royer Labs R-122 MKII Live Ribbon Microphone'),(9334,85,1,1556,'Royer Labs R-122 MKII Live Ribbon Microphone'),(9335,76,0,1556,''),(9336,76,1,1556,''),(9337,75,0,1557,'<h1>Royer Labs R-122V Tube Ribbon Microphone</h1>\nThe R-122V is the pinnacle of Royer\'s R-Series line, a world-class tube ribbon microphone exhibiting unparalleled richness, depth, and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best.\n<br /><br />\nThe R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides headroom far beyond that available from a standard phantom power supply. Sonically this translates into unmatched clarity, detail, and airiness, along with the ability to handle brute SPL levels without flinching.<br /><br />\n<h3>Royer R-122V Features:</h3>\n<ul>\n	<li>Vacuum tube electronics provide high output capability, optimal impedance to the ribbon element and low output impedance</li>\n	<li>Extremely low self-noise</li>\n	<li>Operates from a dedicated power supply</li>\n	<li>High SPL capabilities for electric guitar and percussion instruments</li>\n	<li>Absence of high-frequency peaks, \"ringing\" and phase shifts</li>\n	<li>Ribbon element unaffected by impedance/load, heat or humidity</li>\n	<li>Very low magnetic leakage</li>\n	<li>Equal sensitivity from front or back of element</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>Rear side of mic records slightly brighter when three feet or closer to sound source</li>\n</ul><br />\n<h3>The Electronics</h3>\nThe R-122V’s head amplifier consists of a low-noise, triode-connected military grade 5840 vacuum tube. Designed for a wide range of applications, the R-122V offers superb transient response and the drive capabilities only a vacuum tube head amplifier can provide. The circuit is devoid of typical vacuum tube coloration.\n<br /><br />\nThe R-122V’s triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the R-122V’s dedicated power supply, which provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone’s fully balanced output, which is electrically isolated with a special purpose Jensen output transformer.\n<br /><br />\nLike Royer\'s phantom powered R-122, the R-122V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. All of the R122V’s increased output comes from its large, specially designed toroidal transformer, so there is no additional noise associated with the microphone’s higher output.\n<br /><br />\n<h3>Patented Offset Ribbon Technology</h3>\nThe R-122’s proprietary offset ribbon transducer (Patent Number: 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone than the rear. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It’s an integral piece of the magic of all Royer R-series microphones.\n<br /><br />'),(9338,75,1,1557,'<h1>Royer Labs R-122V Tube Ribbon Microphone</h1>\nThe R-122V is the pinnacle of Royer\'s R-Series line, a world-class tube ribbon microphone exhibiting unparalleled richness, depth, and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best.\n<br /><br />\nThe R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an unprecedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides headroom far beyond that available from a standard phantom power supply. Sonically this translates into unmatched clarity, detail, and airiness, along with the ability to handle brute SPL levels without flinching.<br /><br />\n<h3>Royer R-122V Features:</h3>\n<ul>\n	<li>Vacuum tube electronics provide high output capability, optimal impedance to the ribbon element and low output impedance</li>\n	<li>Extremely low self-noise</li>\n	<li>Operates from a dedicated power supply</li>\n	<li>High SPL capabilities for electric guitar and percussion instruments</li>\n	<li>Absence of high-frequency peaks, \"ringing\" and phase shifts</li>\n	<li>Ribbon element unaffected by impedance/load, heat or humidity</li>\n	<li>Very low magnetic leakage</li>\n	<li>Equal sensitivity from front or back of element</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>Rear side of mic records slightly brighter when three feet or closer to sound source</li>\n</ul><br />\n<h3>The Electronics</h3>\nThe R-122V’s head amplifier consists of a low-noise, triode-connected military grade 5840 vacuum tube. Designed for a wide range of applications, the R-122V offers superb transient response and the drive capabilities only a vacuum tube head amplifier can provide. The circuit is devoid of typical vacuum tube coloration.\n<br /><br />\nThe R-122V’s triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the R-122V’s dedicated power supply, which provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone’s fully balanced output, which is electrically isolated with a special purpose Jensen output transformer.\n<br /><br />\nLike Royer\'s phantom powered R-122, the R-122V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. All of the R122V’s increased output comes from its large, specially designed toroidal transformer, so there is no additional noise associated with the microphone’s higher output.\n<br /><br />\n<h3>Patented Offset Ribbon Technology</h3>\nThe R-122’s proprietary offset ribbon transducer (Patent Number: 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone than the rear. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It’s an integral piece of the magic of all Royer R-series microphones.\n<br /><br />'),(9339,85,0,1557,'Royer Labs R-122V Tube Ribbon Microphone'),(9340,85,1,1557,'Royer Labs R-122V Tube Ribbon Microphone'),(9341,76,0,1557,''),(9342,76,1,1557,''),(9343,75,0,1558,'<h1>Royer Labs SF-12 Stereo Ribbon Microphone</h1>\nThe Royer SF-12 stereo coincident ribbon microphone combines high quality audio performance with outstanding stereo separation and imaging. It is a modern ribbon design with no audible diffraction effects or cavity resonance. An SF-12 is actually two matched ribbon microphones placed one above the other; each aimed 45 degrees from center in the classic Blumlein configuration. The frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.\n<br /><br />\nThe SF-12 utilizes two 1.8-micron ribbons, each weighing approximately 1/3 milligram and producing superb transient response. The two ribbon transducers are magnet/pole piece structures that produce a wide, uniform frequency response with no substantial peaks or dips. The case is ingot iron and forms part of the magnetic return circuit, an effective system with low leakage flux which accounts for the relatively high sensitivity in a trim package. The SF-12’s extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled “Upper” and “Lower,” for the upper and lower capsules of the microphone (when held vertically).<br /><br />\n<h3>Royer SF-12 Features</h3>\n<ul>\n	<li>True stereophonic (Blumlein and M-S) recording from one microphone.</li>\n	<li>High SPL capabilities.</li>\n	<li>No internal active electronics to overload or produce distortion up to maximum SPL rating.</li>\n	<li>Extremely low residual noise.</li>\n	<li>Ribbon element not affected by heat or humidity.</li>\n	<li>Absence of high frequency phase distortion.</li>\n	<li>Equal sensitivity from front or back of elements.</li>\n	<li>Consistent frequency response regardless of distance.</li>\n	<li>High efficiency, matching toroidal transformers.</li>\n	<li>Very low magnetic leakage.</li>\n</ul>\n<br />\n<h3>Recording in Stereo</h3>\nThe SF-12 is uncanny for creating “you-are-there” stereo recordings that capture not only the instrument being recorded, but, depending on positioning, the acoustic environment as well. If you pay careful attention to the sound of an instrument or ensemble in the recording environment, you will likely find a place where it sounds best to you. Position the SF-12 in that place and you will capture that sound.\n<br /><br />\nA beautiful example can be found in the Orchestra section of the Royer Demonstration CD. An engineer used one well-positioned SF-12 to create a stunning recording of the Ukrainian Radio Television Orchestra. (Initially, the conductor was not happy with the engineer’s desire to record with one microphone, but after hearing the results, the engineer has been invited back to record the orchestra a number of times, with the same one microphone, his SF-12.)<br /><br />\nThe SF-12 is an excellent choice for drum overheads, where its stereo imaging and realism help to create powerful, dynamic drum tracks. In a jazz setting, recording the kit flat provides extremely natural sounding cymbals, tom-toms and snares. In rock and pop recordings where you’d like to capture the meat of the kit but with more air on the cymbals to help them cut more aggressively, simply open the top end up with EQ. Ribbons take EQ extremely well because they generate virtually no self distortion. When you boost a frequency, even by many dB, you’ll bring up only the musical response you’re looking for without unpleasant distortion artifacts joining the party.<br /><br />\n<h3>Recording in Mono </h3>\nPhase compatibility between the two sides of the SF-12 is excellent, allowing you to combine the two channels for mono recording without creating phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the “sweet spot” of a mono microphone. Either side of the SF-12 can also be used individually as a mono microphone.\n<br /><br />'),(9344,75,1,1558,'<h1>Royer Labs SF-12 Stereo Ribbon Microphone</h1>\nThe Royer SF-12 stereo coincident ribbon microphone combines high quality audio performance with outstanding stereo separation and imaging. It is a modern ribbon design with no audible diffraction effects or cavity resonance. An SF-12 is actually two matched ribbon microphones placed one above the other; each aimed 45 degrees from center in the classic Blumlein configuration. The frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.\n<br /><br />\nThe SF-12 utilizes two 1.8-micron ribbons, each weighing approximately 1/3 milligram and producing superb transient response. The two ribbon transducers are magnet/pole piece structures that produce a wide, uniform frequency response with no substantial peaks or dips. The case is ingot iron and forms part of the magnetic return circuit, an effective system with low leakage flux which accounts for the relatively high sensitivity in a trim package. The SF-12’s extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled “Upper” and “Lower,” for the upper and lower capsules of the microphone (when held vertically).<br /><br />\n<h3>Royer SF-12 Features</h3>\n<ul>\n	<li>True stereophonic (Blumlein and M-S) recording from one microphone.</li>\n	<li>High SPL capabilities.</li>\n	<li>No internal active electronics to overload or produce distortion up to maximum SPL rating.</li>\n	<li>Extremely low residual noise.</li>\n	<li>Ribbon element not affected by heat or humidity.</li>\n	<li>Absence of high frequency phase distortion.</li>\n	<li>Equal sensitivity from front or back of elements.</li>\n	<li>Consistent frequency response regardless of distance.</li>\n	<li>High efficiency, matching toroidal transformers.</li>\n	<li>Very low magnetic leakage.</li>\n</ul>\n<br />\n<h3>Recording in Stereo</h3>\nThe SF-12 is uncanny for creating “you-are-there” stereo recordings that capture not only the instrument being recorded, but, depending on positioning, the acoustic environment as well. If you pay careful attention to the sound of an instrument or ensemble in the recording environment, you will likely find a place where it sounds best to you. Position the SF-12 in that place and you will capture that sound.\n<br /><br />\nA beautiful example can be found in the Orchestra section of the Royer Demonstration CD. An engineer used one well-positioned SF-12 to create a stunning recording of the Ukrainian Radio Television Orchestra. (Initially, the conductor was not happy with the engineer’s desire to record with one microphone, but after hearing the results, the engineer has been invited back to record the orchestra a number of times, with the same one microphone, his SF-12.)<br /><br />\nThe SF-12 is an excellent choice for drum overheads, where its stereo imaging and realism help to create powerful, dynamic drum tracks. In a jazz setting, recording the kit flat provides extremely natural sounding cymbals, tom-toms and snares. In rock and pop recordings where you’d like to capture the meat of the kit but with more air on the cymbals to help them cut more aggressively, simply open the top end up with EQ. Ribbons take EQ extremely well because they generate virtually no self distortion. When you boost a frequency, even by many dB, you’ll bring up only the musical response you’re looking for without unpleasant distortion artifacts joining the party.<br /><br />\n<h3>Recording in Mono </h3>\nPhase compatibility between the two sides of the SF-12 is excellent, allowing you to combine the two channels for mono recording without creating phase artifacts. This is particularly useful when capturing a wide sound field in mono; for instance, a singer who tends to move off the “sweet spot” of a mono microphone. Either side of the SF-12 can also be used individually as a mono microphone.\n<br /><br />'),(9345,85,0,1558,'Royer Labs SF-12 Ribbon Microphone'),(9346,85,1,1558,'Royer Labs SF-12 Ribbon Microphone'),(9347,76,0,1558,''),(9348,76,1,1558,''),(9349,75,0,1559,'<h1>Royer Labs SF-2 Active Ribbon Microphone</h1>\nThe Royer Labs SF-2 ribbon microphone is a phantom powered version of Royer\'s original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with Royer\'s exclusive active electronics for ribbon microphones. The SF-2\'s output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre\'s regardless of gain characteristics. The unique electronics and custom designed FET\'s used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB.\n<br/><br/>\nThe SF-2\'s magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible.<br/><br/>\n<h3>Royer SF-2 Features</h3>\n<ul>\n	<li>Phantom powered circuitry provides high output and impedance matching</li>\n	<li>High SPL capabilities (130 dB @ 70 Hz)</li>\n	<li>No distortion up to maximum SPL rating</li>\n	<li>Extremely low residual noise</li>\n	<li>Ribbon element not affected by heat or humidity</li>\n	<li>Absence of high frequency phase distortion.</li>\n	<li>Equal sensitivity from front and back of microphone</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>High efficiency toroidal transformer and gold plated output connector</li>\n	<li>Very low magnetic leakage</li>\n	<li>Matte Black finish reduces reflected light for live and on-camera use</li>\n</ul>\n<br/>\n<h3>Gain</h3>\nRoyer\'s Active Series ribbon mics are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording quieter sound sources like acoustic instruments, vocals, room ambiance, etc. The SF-2 contains a fully balanced, discrete head amplifier system which utilizes a specially wound toroidal transformer and ultra-low noise FET\'s to deliver a sensitivity of -38 dB. Even with extremely quiet sound sources, you\'ll have enough level to drive any recording medium.\n<br/><br/>\nThe SF-2\'s electronics create no additional self-noise. All of the SF-2\'s higher output comes from its large, specially wound toroidal transformer which provides an additional 14 dB of \'free gain.\' The phantom powered system operates at less than unity, adding no noise of its own.<br/><br/>\n<h3>Impedance Matching</h3>\nThe electronics in the SF-2 provide a perfect load to the ribbon element at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-2\'s can be used on extremely long cable runs with minimal signal loss.\n<br/><br/>\nA proper impedance match is critical to the performance of ribbon microphones. Impedance mismatching loads a ribbon element improperly, resulting in loss of low end and body, lower sensitivity, and an overall diminished performance. With Royer\'s Active Series ribbon mics, the ribbon element sees a perfect impedance at all times regardless of the preamp you choose, so its performance is never compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.<br/><br/>\n<h3>The SF-2 Story</h3>\nTwenty prototype SF-2\'s circulated in major studios and scoring stages for years before the microphone\'s release. They were extremely well received in classical circles, where they excel on choir, piano, woodwinds, strings and many other applications. They were also well received in studios focusing more on acoustic instruments, singer/songwriters, etc. We couldn\'t get most of the prototypes back...\n<br/><br/>\n<h3>Packaging</h3>\nThe SF-2 ships in an aluminum presentation case with an SFS-2 shock mount, mic sock, documentation and manual.\nThe optional SF-2 Deluxe packaging includes a beautiful Padauk wood presentation case, a Royer-made 20\' microphone cable, a premium RSM-24 shock mount, documentation and manual, all packaged in an aluminum carrying/storage case.'),(9350,75,1,1559,'<h1>Royer Labs SF-2 Active Ribbon Microphone</h1>\nThe Royer Labs SF-2 ribbon microphone is a phantom powered version of Royer\'s original SF-1 ribbon microphone. Designed primarily for classical applications and acoustic instruments, the SF-2 combines high-quality audio performance with Royer\'s exclusive active electronics for ribbon microphones. The SF-2\'s output of -38 dB puts its sensitivity on par with that of phantom powered condenser microphones, allowing it to be used with a wide variety of mic pre\'s regardless of gain characteristics. The unique electronics and custom designed FET\'s used in the SF-2 deliver ultra-quiet operation, with self-noise of lower than 18 dB.\n<br/><br/>\nThe SF-2\'s magnet/pole piece transducer structure gives a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbon element delivers superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbon and off-axis coloration is negligible.<br/><br/>\n<h3>Royer SF-2 Features</h3>\n<ul>\n	<li>Phantom powered circuitry provides high output and impedance matching</li>\n	<li>High SPL capabilities (130 dB @ 70 Hz)</li>\n	<li>No distortion up to maximum SPL rating</li>\n	<li>Extremely low residual noise</li>\n	<li>Ribbon element not affected by heat or humidity</li>\n	<li>Absence of high frequency phase distortion.</li>\n	<li>Equal sensitivity from front and back of microphone</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>High efficiency toroidal transformer and gold plated output connector</li>\n	<li>Very low magnetic leakage</li>\n	<li>Matte Black finish reduces reflected light for live and on-camera use</li>\n</ul>\n<br/>\n<h3>Gain</h3>\nRoyer\'s Active Series ribbon mics are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording quieter sound sources like acoustic instruments, vocals, room ambiance, etc. The SF-2 contains a fully balanced, discrete head amplifier system which utilizes a specially wound toroidal transformer and ultra-low noise FET\'s to deliver a sensitivity of -38 dB. Even with extremely quiet sound sources, you\'ll have enough level to drive any recording medium.\n<br/><br/>\nThe SF-2\'s electronics create no additional self-noise. All of the SF-2\'s higher output comes from its large, specially wound toroidal transformer which provides an additional 14 dB of \'free gain.\' The phantom powered system operates at less than unity, adding no noise of its own.<br/><br/>\n<h3>Impedance Matching</h3>\nThe electronics in the SF-2 provide a perfect load to the ribbon element at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-2\'s can be used on extremely long cable runs with minimal signal loss.\n<br/><br/>\nA proper impedance match is critical to the performance of ribbon microphones. Impedance mismatching loads a ribbon element improperly, resulting in loss of low end and body, lower sensitivity, and an overall diminished performance. With Royer\'s Active Series ribbon mics, the ribbon element sees a perfect impedance at all times regardless of the preamp you choose, so its performance is never compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.<br/><br/>\n<h3>The SF-2 Story</h3>\nTwenty prototype SF-2\'s circulated in major studios and scoring stages for years before the microphone\'s release. They were extremely well received in classical circles, where they excel on choir, piano, woodwinds, strings and many other applications. They were also well received in studios focusing more on acoustic instruments, singer/songwriters, etc. We couldn\'t get most of the prototypes back...\n<br/><br/>\n<h3>Packaging</h3>\nThe SF-2 ships in an aluminum presentation case with an SFS-2 shock mount, mic sock, documentation and manual.\nThe optional SF-2 Deluxe packaging includes a beautiful Padauk wood presentation case, a Royer-made 20\' microphone cable, a premium RSM-24 shock mount, documentation and manual, all packaged in an aluminum carrying/storage case.'),(9351,85,0,1559,'Royer Labs SF-2 Ribbon Microphone'),(9352,85,1,1559,'Royer Labs SF-2 Ribbon Microphone'),(9353,76,0,1559,''),(9354,76,1,1559,''),(9355,75,0,1560,'<h1>Royer Labs SF-24 Stereo Ribbon Microphone</h1>\nThe Royer Labs SF-24 stereo ribbon microphone is a phantom powered version of Royer\'s popular SF-12 stereo ribbon microphone. It combines the SF-12\'s high quality audio performance, outstanding stereo separation and imaging with Royer\'s exclusive active electronics system for ribbon microphones. The SF-24\'s output of -38 dB is a full 14 dB more sensitive than the non-powered SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET\'s used in the SF-24 allow for ultra-quiet operation, with self-noise of lower than 18 dB.\n<br /><br />\nLike an SF-12, the SF-24 is actually two matched ribbon microphones placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.<br /><br />\nThe SF-24\'s extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled \"Upper\" and \"Lower\" for the upper and lower capsules of the microphone (when held vertically).<br />\n<h3><br class=\"Apple-interchange-newline\" />\nRoyer SF-24 Features\n</h3>\n<ul>\n	<li>Phantom powered circuitry provides high output and impedance matching	</li>\n	<li>True stereophonic (Blumlein and M-S) recording from one microphone</li>\n	<li>High SPL capabilities</li>\n	<li>No distortion up to maximum SPL rating&lt;</li>\n	<li>Extremely low residual noise</li>\n	<li>Ribbon elements are not affected by heat or humidity</li>\n	<li>Absence of high frequency phase distortion</li>\n	<li>Equal sensitivity from front or back of elements</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>High efficiency, matching toroidal transformers</li>\n	<li>Very low magnetic leakage</li>\n</ul><br />\n<h3>Gain </h3>\nRoyer\'s active ribbon™ mics (SF-24 and R-122) are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording softer sound sources like acoustic instruments, vocals and room ambiance. The SF-24 contains two fully balanced, discrete head amplifier systems utilizing specially wound toroidal transformers and ultra-low noise FET\'s, each delivering a sensitivity of -38 dB. This lets you mate an SF-24 to any preamplifier with average gain characteristics. Even with quiet sound sources, you\'ll have enough level to drive any recording medium.\n<br /><br />\nIt is important to note that the SF-24\'s higher sensitivity does not create additional self-noise. All of the SF-24\'s increased level comes from its large, specially wound toroidal transformers - that wonderful thing called \"free gain.\" The level at the each of the transformers is actually hotter than what comes out of the microphone. The phantom powered system operates at less than unity, adding no noise of its own. This system took years to develop and is in patent pending status.\n<br /><br />\n<h3>Impedance Matching</h3>\nThe electronics in the SF-24 provide a perfect load to the ribbon elements at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-24\'s can also be used on extremely long cable runs with minimal signal loss.\n<br /><br />\nA good impedance match is critical to ribbon microphones. Impedance mis-matching loads a ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and an overall compromised performance. With Royer\'s Active Series ribbon mics, the ribbon element sees a perfect impedance at all times, regardless of the preamp you use, so its performance will never be compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.<br />'),(9356,75,1,1560,'<h1>Royer Labs SF-24 Stereo Ribbon Microphone</h1>\nThe Royer Labs SF-24 stereo ribbon microphone is a phantom powered version of Royer\'s popular SF-12 stereo ribbon microphone. It combines the SF-12\'s high quality audio performance, outstanding stereo separation and imaging with Royer\'s exclusive active electronics system for ribbon microphones. The SF-24\'s output of -38 dB is a full 14 dB more sensitive than the non-powered SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET\'s used in the SF-24 allow for ultra-quiet operation, with self-noise of lower than 18 dB.\n<br /><br />\nLike an SF-12, the SF-24 is actually two matched ribbon microphones placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.<br /><br />\nThe SF-24\'s extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled \"Upper\" and \"Lower\" for the upper and lower capsules of the microphone (when held vertically).<br />\n<h3><br class=\"Apple-interchange-newline\" />\nRoyer SF-24 Features\n</h3>\n<ul>\n	<li>Phantom powered circuitry provides high output and impedance matching	</li>\n	<li>True stereophonic (Blumlein and M-S) recording from one microphone</li>\n	<li>High SPL capabilities</li>\n	<li>No distortion up to maximum SPL rating&lt;</li>\n	<li>Extremely low residual noise</li>\n	<li>Ribbon elements are not affected by heat or humidity</li>\n	<li>Absence of high frequency phase distortion</li>\n	<li>Equal sensitivity from front or back of elements</li>\n	<li>Consistent frequency response regardless of distance</li>\n	<li>High efficiency, matching toroidal transformers</li>\n	<li>Very low magnetic leakage</li>\n</ul><br />\n<h3>Gain </h3>\nRoyer\'s active ribbon™ mics (SF-24 and R-122) are as sensitive as phantom powered condenser microphones, allowing you to use virtually any mic preamplifier or board pre. Conventional ribbon microphones are 15 to 30 dB less sensitive than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers when recording softer sound sources like acoustic instruments, vocals and room ambiance. The SF-24 contains two fully balanced, discrete head amplifier systems utilizing specially wound toroidal transformers and ultra-low noise FET\'s, each delivering a sensitivity of -38 dB. This lets you mate an SF-24 to any preamplifier with average gain characteristics. Even with quiet sound sources, you\'ll have enough level to drive any recording medium.\n<br /><br />\nIt is important to note that the SF-24\'s higher sensitivity does not create additional self-noise. All of the SF-24\'s increased level comes from its large, specially wound toroidal transformers - that wonderful thing called \"free gain.\" The level at the each of the transformers is actually hotter than what comes out of the microphone. The phantom powered system operates at less than unity, adding no noise of its own. This system took years to develop and is in patent pending status.\n<br /><br />\n<h3>Impedance Matching</h3>\nThe electronics in the SF-24 provide a perfect load to the ribbon elements at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-24\'s can also be used on extremely long cable runs with minimal signal loss.\n<br /><br />\nA good impedance match is critical to ribbon microphones. Impedance mis-matching loads a ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and an overall compromised performance. With Royer\'s Active Series ribbon mics, the ribbon element sees a perfect impedance at all times, regardless of the preamp you use, so its performance will never be compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or miswired cables.<br />'),(9357,85,0,1560,'Royer Labs SF-24 Stereo Ribbon Microphone'),(9358,85,1,1560,'Royer Labs SF-24 Stereo Ribbon Microphone'),(9359,76,0,1560,''),(9360,76,1,1560,''),(9361,75,0,1561,'<h1>Royer Labs SF-24V Vacuum Tube Stereo Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">A vacuum tube stereo ribbon mic that builds upon Royer\'s world-class ribbon design.</span><br /><br />\nThe SF-24V vacuum tube stereo ribbon microphone is the pinnacle of Royer\'s SF-series stereo microphones. The sound pickup is lush, smooth and natural, with outstanding stereo imaging and superb transient response. The tube electronics provide increased midrange reach, unmatched clarity and detail, and an airiness previously unheard of in ribbon mics. Utilizing the same proprietary tube electronics as in Royer\'s TEC Award winning R-122V ribbon microphones, the SF-24V delivers the ultimate in stereo ribbon miking for the true connoisseur of recorded sound.<br /><br />\nThe SF-24V’s independent tube circuits provide an output level of -38 dB, suitable for use with any professional preamplifier. With self-noise of lower than 18 dB, the SF-24V’s ultra-quiet operation is suitable for the most demanding classical and acoustic recording applications.<br /><br />\nLike an SF-12, the SF-24V is actually two matched ribbon microphones, placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.<br /><br />\n<h3>Royer SF-24V Features</h3>\n<ul>\n	<li>Vacuum tube circuitry provides high output and impedance matching            </li>\n	<li>True stereophonic (Blumlein and M-S) recording from one coincident microphone</li>\n	<li>High SPL capabilities                                                        </li>\n	<li>No distortion up to maximum SPL rating                                       </li>\n	<li>Extremely low residual noise                                                 </li>\n	<li>Ribbon elements are not affected by heat or humidity                         </li>\n	<li>Absence of high frequency phase distortion                                   </li>\n	<li>Equal sensitivity from front or back of elements                             </li>\n	<li>Consistent frequency response regardless of distance                         </li>\n	<li>High efficiency, matching toroidal transformers                              </li>\n	<li>Very low magnetic leakage                                                    </li>\n</ul>\n<br />\n<h3>Royer SF-24V Electronics</h3>\nThe SF-24V’s twin head amplifiers consist of low-noise, triode-connected military grade 5840 vacuum tubes. Designed for a wide range of applications, the SF-24V delivers -38 dB output and the drive capabilities only vacuum tube head amplifiers can provide. The circuits are devoid of typical vacuum tube coloration.\n<br /><br />\nThe SF-24V’s triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the SF-24V\'s dedicated power supply, which provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone\'s fully balanced outputs, which are electrically isolated with special purpose Jensen output transformers.<br /><br />\nThe SF-24V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. In addition, the microphone’s electronics shield the ribbon elements from any possibility of damage by phantom power, electrical glitches or miswired cables.<br /><br />\nIt is important to note that the SF-24V’s higher sensitivity creates no additional self-noise. All of the SF-24V’s increased level comes from its large, specially wound toroidal transformers, so there is no additional noise associated with the microphone\'s higher output. The tube system operates at less than unity, adding no noise of its own<br /><br />'),(9362,75,1,1561,'<h1>Royer Labs SF-24V Vacuum Tube Stereo Ribbon Microphone</h1>\n<span style=\"font-size:16px; font-style:italic;\">A vacuum tube stereo ribbon mic that builds upon Royer\'s world-class ribbon design.</span><br /><br />\nThe SF-24V vacuum tube stereo ribbon microphone is the pinnacle of Royer\'s SF-series stereo microphones. The sound pickup is lush, smooth and natural, with outstanding stereo imaging and superb transient response. The tube electronics provide increased midrange reach, unmatched clarity and detail, and an airiness previously unheard of in ribbon mics. Utilizing the same proprietary tube electronics as in Royer\'s TEC Award winning R-122V ribbon microphones, the SF-24V delivers the ultimate in stereo ribbon miking for the true connoisseur of recorded sound.<br /><br />\nThe SF-24V’s independent tube circuits provide an output level of -38 dB, suitable for use with any professional preamplifier. With self-noise of lower than 18 dB, the SF-24V’s ultra-quiet operation is suitable for the most demanding classical and acoustic recording applications.<br /><br />\nLike an SF-12, the SF-24V is actually two matched ribbon microphones, placed one above the other in a coincident pair, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet/pole piece structure of each ribbon transducer delivers a wide, uniform frequency response with no substantial peaks or dips, and the 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible.<br /><br />\n<h3>Royer SF-24V Features</h3>\n<ul>\n	<li>Vacuum tube circuitry provides high output and impedance matching            </li>\n	<li>True stereophonic (Blumlein and M-S) recording from one coincident microphone</li>\n	<li>High SPL capabilities                                                        </li>\n	<li>No distortion up to maximum SPL rating                                       </li>\n	<li>Extremely low residual noise                                                 </li>\n	<li>Ribbon elements are not affected by heat or humidity                         </li>\n	<li>Absence of high frequency phase distortion                                   </li>\n	<li>Equal sensitivity from front or back of elements                             </li>\n	<li>Consistent frequency response regardless of distance                         </li>\n	<li>High efficiency, matching toroidal transformers                              </li>\n	<li>Very low magnetic leakage                                                    </li>\n</ul>\n<br />\n<h3>Royer SF-24V Electronics</h3>\nThe SF-24V’s twin head amplifiers consist of low-noise, triode-connected military grade 5840 vacuum tubes. Designed for a wide range of applications, the SF-24V delivers -38 dB output and the drive capabilities only vacuum tube head amplifiers can provide. The circuits are devoid of typical vacuum tube coloration.\n<br /><br />\nThe SF-24V’s triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the SF-24V\'s dedicated power supply, which provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone\'s fully balanced outputs, which are electrically isolated with special purpose Jensen output transformers.<br /><br />\nThe SF-24V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. In addition, the microphone’s electronics shield the ribbon elements from any possibility of damage by phantom power, electrical glitches or miswired cables.<br /><br />\nIt is important to note that the SF-24V’s higher sensitivity creates no additional self-noise. All of the SF-24V’s increased level comes from its large, specially wound toroidal transformers, so there is no additional noise associated with the microphone\'s higher output. The tube system operates at less than unity, adding no noise of its own<br /><br />'),(9363,85,0,1561,''),(9364,85,1,1561,''),(9365,76,0,1561,''),(9366,76,1,1561,''),(9367,75,0,1562,'The thermodynamic transfer of excessive heat generated by transformer, signal conversion and vacuum tube components in the confines of a steel enclosure has traditionally been managed through caloric / entropic thermal conductivity. Sometime after the invention of the wheel, man invented venting slots. <br/><br/>\nTranslation: warm air comes out the holes (and it looks pretty cool, too). <br/><br/>\n$19 bucks in black powdercoat.<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9368,75,1,1562,'The thermodynamic transfer of excessive heat generated by transformer, signal conversion and vacuum tube components in the confines of a steel enclosure has traditionally been managed through caloric / entropic thermal conductivity. Sometime after the invention of the wheel, man invented venting slots. <br/><br/>\nTranslation: warm air comes out the holes (and it looks pretty cool, too). <br/><br/>\n$19 bucks in black powdercoat.<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9369,85,0,1562,'RSPE 500 Series Blank Module Plate Black'),(9370,85,1,1562,'RSPE 500 Series Blank Module Plate Black'),(9371,76,0,1562,''),(9372,76,1,1562,''),(9373,75,0,1563,'The thermodynamic transfer of excessive heat generated by transformer, signal conversion and vacuum tube components in the confines of a steel enclosure has traditionally been managed through caloric / entropic thermal conductivity. Sometime after the invention of the wheel, man invented venting slots. <br /><br />\n\nTranslation: warm air comes out the holes (and it looks pretty cool, too). <br /><br />\n\n$19 bucks in blue to match your Neve modules.<br /><br />\n\n<div><div style=\"background-color: rgb(255, 255, 255);\"><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"background-color: rgb(255, 255, 255);\">Don’t forget to check out <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.</p></div>'),(9374,75,1,1563,'The thermodynamic transfer of excessive heat generated by transformer, signal conversion and vacuum tube components in the confines of a steel enclosure has traditionally been managed through caloric / entropic thermal conductivity. Sometime after the invention of the wheel, man invented venting slots. <br /><br />\n\nTranslation: warm air comes out the holes (and it looks pretty cool, too). <br /><br />\n\n$19 bucks in blue to match your Neve modules.<br /><br />\n\n<div><div style=\"background-color: rgb(255, 255, 255);\"><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"background-color: rgb(255, 255, 255);\">Don’t forget to check out <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.</p></div>'),(9375,85,0,1563,'RSPE 500 Series Blank Module Plate Blue'),(9376,85,1,1563,'RSPE 500 Series Blank Module Plate Blue'),(9377,76,0,1563,''),(9378,76,1,1563,''),(9379,75,0,1564,'The thermodynamic transfer of excessive heat generated by transformer, signal conversion and vacuum tube components in the confines of a steel enclosure has traditionally been managed through caloric / entropic thermal conductivity. Sometime after the invention of the wheel, man invented venting slots. <br/><br/>\nTranslation: warm air comes out the holes (and it looks pretty cool, too). <br/><br/>\n$19 bucks in matte stainless steel.<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out <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>'),(9380,75,1,1564,'The thermodynamic transfer of excessive heat generated by transformer, signal conversion and vacuum tube components in the confines of a steel enclosure has traditionally been managed through caloric / entropic thermal conductivity. Sometime after the invention of the wheel, man invented venting slots. <br/><br/>\nTranslation: warm air comes out the holes (and it looks pretty cool, too). <br/><br/>\n$19 bucks in matte stainless steel.<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out <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>'),(9381,85,0,1564,'RSPE 500 Series Blank Module Plate Stainless'),(9382,85,1,1564,'RSPE 500 Series Blank Module Plate Stainless'),(9383,76,0,1564,''),(9384,76,1,1564,''),(9385,75,0,1565,'<h2>RTW TouchMonitor TM3-Primus Loudness Meter</h2><i>\nProfessional, Extensive Loudness Metering in an Ultra-compact and Budget-friendly Desktop Meter.</i><br /><br />\n	The RTW TM3-Primus Desktop Loudness Meter <span style=\"background-color: initial;\">provides </span><span style=\"background-color: initial;\">a full set of easy-to-read high quality instruments for multi-functional loudness measurements (analog, digital, via USB) at an entry-level price. <br /><br /></span><span style=\"background-color: initial;\">Its USB Hybrid function with RTW USB Connect plug-in allows </span><span style=\"background-color: initial;\"></span><span style=\"background-color: initial;\">direct access to and simultaneous monitoring of audio signals </span><span style=\"background-color: initial;\">from a DAW or an audio application. </span>With the innovative USB hybrid function, metering can be performed right from the DAW via RTW USB Connect software, and the TM3-Primus devices will process and visualize the information without the need for additional wiring or extensive signal routing, and without dropping the standard audio interface.<br /><br /><span style=\"background-color: initial;\">TM3-Primus is available </span><span style=\"background-color: initial;\">as table-top device (shown) or in a rack frame for rack-mounting.</span><br /><br />\n<h3>RTW TM3-Primus Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Compact unit with full feature set for multifunctional audio measurements (analog, digital, USB audio)</span></li>\n	<li>Table-top unit with display, USB connecting cable, and external USB mains adapter</li>\n	<li>4.3“ capacitive touch screen (272 x 480 pixel)</li>\n	<li>Optimized screen layout with selectable instruments</li>\n	<li>Analog 2-channel stereo input via unbal. RCA, adjustable from –22 dBu (61 mV) to +24 dBu (12.28 V)</li>\n	<li>Digital 2-channel stereo in- and output via S/PDIF (RCA)</li>\n	<li>Micro-USB connector for digital audio inputs (stereo, 5.1) and USB power supply (USB mains adapter or computer)</li>\n	<li>PPM/TruePeak meter with analog and digital scales</li>\n	<li>Moving Coil instruments with PPM, VU, and BBC modes</li>\n	<li>Loudness measurements acc. to EBU R128, ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, or CALM Act</li>\n	<li>Summing Loudness bargraph, M, S, or I value selectable</li>\n	<li>Numerical displays</li>\n	<li>LRA instrument (Loudness Range) with MagicLRA mode</li>\n	<li>Loudness Chart instrument (course over time)</li>\n	<li>2-channel Audio Vectorscope</li>\n	<li>Stereo Correlator (phase meter)</li>\n	<li>RTA</li>\n	<li>Monitoring instrument with onscreen level fader</li>\n	<li>Downmix of USB Surround signals, output via S/PDIF Out connector</li>\n	<li>Keyboard</li>\n	<li>USB hybrid function: Using RTW USB Connect software allows simultaneous monitoring and metering, e. g. right from a DAW (see tab \"USB Connect\")</li>\n	\n</ul>\n<br />\n<h2>RTW TM3-Primus In Detail</h2>\n<h3>Hardware</h3>\nEasy-to-use graphical interface, high-grade capacitive 4.3\" touch screen, power supply via USB 2.0 Micro-B connector (USB mains adapter or computer)\n<br /><br />\n<h3>Audio Interface</h3>\n<ul>\n	<li>Analog Stereo input (channels L and R) via 2 x RCA (unbalanced), with potentiometer adjustable from 61 mV to 12.28 V</li>\n	<li>\n	Digital Stereo input via RCA (S/PDIF, unbalanced, 75 ohm)</li>\n	<li>\n	Digital Stereo output via RCA (S/PDIF, unbalanced)</li>\n	<li>\n	Digital audio signals (Stereo, 5.1) via USB 2.0 Micro-B connector</li>\n</ul>\n<br />\n<h3>Software Package</h3>\nTP/PPM Bargraph, Moving Coil instruments, Loudness Sum bargraph, numerical display, Loudness Chart instrument, Loudness Range instrument (LRA), Audio Vectorscope, Real Time Analyzer, Correlator (phase meter), Monitoring instrument, and keyboard.\n<br /><br />'),(9386,75,1,1565,'<h2>RTW TouchMonitor TM3-Primus Loudness Meter</h2><i>\nProfessional, Extensive Loudness Metering in an Ultra-compact and Budget-friendly Desktop Meter.</i><br /><br />\n	The RTW TM3-Primus Desktop Loudness Meter <span style=\"background-color: initial;\">provides </span><span style=\"background-color: initial;\">a full set of easy-to-read high quality instruments for multi-functional loudness measurements (analog, digital, via USB) at an entry-level price. <br /><br /></span><span style=\"background-color: initial;\">Its USB Hybrid function with RTW USB Connect plug-in allows </span><span style=\"background-color: initial;\"></span><span style=\"background-color: initial;\">direct access to and simultaneous monitoring of audio signals </span><span style=\"background-color: initial;\">from a DAW or an audio application. </span>With the innovative USB hybrid function, metering can be performed right from the DAW via RTW USB Connect software, and the TM3-Primus devices will process and visualize the information without the need for additional wiring or extensive signal routing, and without dropping the standard audio interface.<br /><br /><span style=\"background-color: initial;\">TM3-Primus is available </span><span style=\"background-color: initial;\">as table-top device (shown) or in a rack frame for rack-mounting.</span><br /><br />\n<h3>RTW TM3-Primus Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Compact unit with full feature set for multifunctional audio measurements (analog, digital, USB audio)</span></li>\n	<li>Table-top unit with display, USB connecting cable, and external USB mains adapter</li>\n	<li>4.3“ capacitive touch screen (272 x 480 pixel)</li>\n	<li>Optimized screen layout with selectable instruments</li>\n	<li>Analog 2-channel stereo input via unbal. RCA, adjustable from –22 dBu (61 mV) to +24 dBu (12.28 V)</li>\n	<li>Digital 2-channel stereo in- and output via S/PDIF (RCA)</li>\n	<li>Micro-USB connector for digital audio inputs (stereo, 5.1) and USB power supply (USB mains adapter or computer)</li>\n	<li>PPM/TruePeak meter with analog and digital scales</li>\n	<li>Moving Coil instruments with PPM, VU, and BBC modes</li>\n	<li>Loudness measurements acc. to EBU R128, ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, or CALM Act</li>\n	<li>Summing Loudness bargraph, M, S, or I value selectable</li>\n	<li>Numerical displays</li>\n	<li>LRA instrument (Loudness Range) with MagicLRA mode</li>\n	<li>Loudness Chart instrument (course over time)</li>\n	<li>2-channel Audio Vectorscope</li>\n	<li>Stereo Correlator (phase meter)</li>\n	<li>RTA</li>\n	<li>Monitoring instrument with onscreen level fader</li>\n	<li>Downmix of USB Surround signals, output via S/PDIF Out connector</li>\n	<li>Keyboard</li>\n	<li>USB hybrid function: Using RTW USB Connect software allows simultaneous monitoring and metering, e. g. right from a DAW (see tab \"USB Connect\")</li>\n	\n</ul>\n<br />\n<h2>RTW TM3-Primus In Detail</h2>\n<h3>Hardware</h3>\nEasy-to-use graphical interface, high-grade capacitive 4.3\" touch screen, power supply via USB 2.0 Micro-B connector (USB mains adapter or computer)\n<br /><br />\n<h3>Audio Interface</h3>\n<ul>\n	<li>Analog Stereo input (channels L and R) via 2 x RCA (unbalanced), with potentiometer adjustable from 61 mV to 12.28 V</li>\n	<li>\n	Digital Stereo input via RCA (S/PDIF, unbalanced, 75 ohm)</li>\n	<li>\n	Digital Stereo output via RCA (S/PDIF, unbalanced)</li>\n	<li>\n	Digital audio signals (Stereo, 5.1) via USB 2.0 Micro-B connector</li>\n</ul>\n<br />\n<h3>Software Package</h3>\nTP/PPM Bargraph, Moving Coil instruments, Loudness Sum bargraph, numerical display, Loudness Chart instrument, Loudness Range instrument (LRA), Audio Vectorscope, Real Time Analyzer, Correlator (phase meter), Monitoring instrument, and keyboard.\n<br /><br />'),(9387,85,0,1565,'RTW TouchMonitor TM3-Primus Loudness Meter'),(9388,85,1,1565,'RTW TouchMonitor TM3-Primus Loudness Meter'),(9389,76,0,1565,''),(9390,76,1,1565,''),(9391,75,0,1566,'<h1>TM3S - TouchMonitor Loudness Meter</h1>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness Simplified: Professional Loudness, True Peak and PPM metering at an affordable price with easy and flexible preset control.</span><br/>\n<div>\n	<br/>\n</div>\n<div>\n	The compact TM3S Smart with full feature set comes with a capacitive 4.3“ touch screen and intuitive preset control at an affordable price. With its feature list, it is the ideal out-of-the box solution for editorial offices, edit suites, small control rooms, and all applications with the need of easy readable loudness-compliant level control.\n</div>\n<br/>\n<h3>The Unit</h3>\nTM3S consists of a display unit for vertical or horizontal use and a remote interface box. It handles analog or digital stereo signals (TM3S) and digital 6-channel signals (TM3S-6CH). TM3S‘s flexible user interface allows the selection of up to 10 presets quickly and simply with just a finger swipe. The contained factory presets present a cross-section of the applications, audio connections and standards and allow you to start working right out of the box.\n<br/><br/>\n<h3>The Device Software</h3>\nWhen it comes to configuring local presets using the Devicer DC1 software application (Windows® and Mac OS X® compatible), the TM3S‘s power and flexibility really shines. Existing presets easily can be personalized and adapted to individual needs. Furthermore, Devicer DC1 allows to create several configuration sets with different presets, which may be uploaded to TM3S as required. (Devicer DC1 is available for free in the Audio Monitors/TouchMonitor TM3S section of the member area). Purchase and activation of software licenses can also be managed with the Device.\n<br/><br/>\n<h3>The Instruments</h3>\nBesides PPM and True Peak instruments, the TM3S features comprehensive loudness measuring features conforming to all relevant international standards (EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB). Loudness instruments include single-channel and summing bar graphs, loudness range and numerical displays.\n<br/><br/>\n<h3>TM3S Features</h3>\n<ul>\n	<li>4.3“ Touch screen for vertical or horizontal use                            </li>\n	<li>Flexible display layout with scalable instruments                           </li>\n	<li>Separate interface box with audio I/O, USB, GPIO                            </li>\n	<li>Audio: analog balanced and unbalanced, S/PDIF, AES3                         </li>\n	<li>Stereo/6-channel operation (6-channel TM3-6CH only)                         </li>\n	<li>Retrofitable software licence for 6-channel measurements                    </li>\n	<li>Licence option for Moving Coil instruments                                  </li>\n	<li>Loudness: EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, ARIB, customer specific</li>\n	<li>Single channel and summing loudness bargraphs                               </li>\n	<li>Loudness Test Time Control                                                  </li>\n	<li>Loudness range (LRA) with MagicLRA                                          </li>\n	<li>PPM & True Peak                                                             </li>\n	<li>SPL & Dialnorm                                                              </li>\n	<li>Correlation                                                                 </li>\n	<li>Numerical display                                                           </li>\n	<li>Comprehensive set of presets                                                </li>\n	<li>Personalization with Devicer DC1                                            </li>\n	<li>(The Device Configurator software for Windows® and                          </li>\n	<li>Mac OS X® is available in the Audio Monitors/                               </li>\n	<li>TouchMonitor TM3 section of the member area).                               </li>\n</ul>\n<br/>\n<h2>Hardware</h2>\n<ul>\n	<li>Display Unit (Screen)                            </li>\n	<li>4,3\" capacitive touch screen                     </li>\n	<li>Flexible screen layout with scalable instruments </li>\n	<li>Vertical or horizontal operation                 </li>\n	<li>Fixed cable (approx. 2 m)                        </li>\n	<li>Dimensions: 82.5 x 138 x 50 mm (B x H x T)       </li>\n</ul>\n<h3>Interface Box (Connection Options) </h3>\n<ul>\n	<li>Analog Stereo input (channels L and R) via 2 x RCA (unbalanced), with potentiometers adjustable from 150 mV to 30 V or    </li>\n	<li>analog Stereo input (channels L and R) via 25-pin Sub-D (balanced), +4/+6 dBu, with software adjustable from 0 to +10 dBu </li>\n	<li>Cannot be used in parallel!                                                                                               </li>\n	<li>S/PDIF input via RCA and output via RCA (unbalanced, 75 ohm)                                                              </li>\n	<li>3 digital AES3 inputs and 3 digital outputs via 25-pin Sub-D (balanced, 110 ohm)                                          </li>\n	<li>Full speed USB 2.0 connection vis USB Mini-B socket for data exchange between TM3 and Devicer DC1                         </li>\n	<li>GPIO connection via RJ-11 (6P6C) socket                                                                                   </li>\n	<li>Locking 4-pin low voltage connector (type Binder 710) for power supply                                                    </li>\n</ul>\n<br/>\n<h2>Software (Display Options)</h2>\n<ul>\n	<li>Loudness metering acc. to EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, ARIB or customer specific</li>\n	<li>Bar graphs for single channel and summed Loudness display                                     </li>\n	<li>Loudness Range (LRA) with \"MagicLRA\"                                                          </li>\n	<li>Numerical Loudness display                                                                    </li>\n	<li>SPL meter                                                                                     </li>\n	<li>Peak, True-Peak, and correlation measurement                                                  </li>\n	<li>Comprehensive set of presets (personalizing with Devicer DC1)</li>\n</ul>'),(9392,75,1,1566,'<h1>TM3S - TouchMonitor Loudness Meter</h1>\n<span style=\"font-size:16px; font-stylRSPE Product Description Template.html\">Loudness Simplified: Professional Loudness, True Peak and PPM metering at an affordable price with easy and flexible preset control.</span><br/>\n<div>\n	<br/>\n</div>\n<div>\n	The compact TM3S Smart with full feature set comes with a capacitive 4.3“ touch screen and intuitive preset control at an affordable price. With its feature list, it is the ideal out-of-the box solution for editorial offices, edit suites, small control rooms, and all applications with the need of easy readable loudness-compliant level control.\n</div>\n<br/>\n<h3>The Unit</h3>\nTM3S consists of a display unit for vertical or horizontal use and a remote interface box. It handles analog or digital stereo signals (TM3S) and digital 6-channel signals (TM3S-6CH). TM3S‘s flexible user interface allows the selection of up to 10 presets quickly and simply with just a finger swipe. The contained factory presets present a cross-section of the applications, audio connections and standards and allow you to start working right out of the box.\n<br/><br/>\n<h3>The Device Software</h3>\nWhen it comes to configuring local presets using the Devicer DC1 software application (Windows® and Mac OS X® compatible), the TM3S‘s power and flexibility really shines. Existing presets easily can be personalized and adapted to individual needs. Furthermore, Devicer DC1 allows to create several configuration sets with different presets, which may be uploaded to TM3S as required. (Devicer DC1 is available for free in the Audio Monitors/TouchMonitor TM3S section of the member area). Purchase and activation of software licenses can also be managed with the Device.\n<br/><br/>\n<h3>The Instruments</h3>\nBesides PPM and True Peak instruments, the TM3S features comprehensive loudness measuring features conforming to all relevant international standards (EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB). Loudness instruments include single-channel and summing bar graphs, loudness range and numerical displays.\n<br/><br/>\n<h3>TM3S Features</h3>\n<ul>\n	<li>4.3“ Touch screen for vertical or horizontal use                            </li>\n	<li>Flexible display layout with scalable instruments                           </li>\n	<li>Separate interface box with audio I/O, USB, GPIO                            </li>\n	<li>Audio: analog balanced and unbalanced, S/PDIF, AES3                         </li>\n	<li>Stereo/6-channel operation (6-channel TM3-6CH only)                         </li>\n	<li>Retrofitable software licence for 6-channel measurements                    </li>\n	<li>Licence option for Moving Coil instruments                                  </li>\n	<li>Loudness: EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, ARIB, customer specific</li>\n	<li>Single channel and summing loudness bargraphs                               </li>\n	<li>Loudness Test Time Control                                                  </li>\n	<li>Loudness range (LRA) with MagicLRA                                          </li>\n	<li>PPM & True Peak                                                             </li>\n	<li>SPL & Dialnorm                                                              </li>\n	<li>Correlation                                                                 </li>\n	<li>Numerical display                                                           </li>\n	<li>Comprehensive set of presets                                                </li>\n	<li>Personalization with Devicer DC1                                            </li>\n	<li>(The Device Configurator software for Windows® and                          </li>\n	<li>Mac OS X® is available in the Audio Monitors/                               </li>\n	<li>TouchMonitor TM3 section of the member area).                               </li>\n</ul>\n<br/>\n<h2>Hardware</h2>\n<ul>\n	<li>Display Unit (Screen)                            </li>\n	<li>4,3\" capacitive touch screen                     </li>\n	<li>Flexible screen layout with scalable instruments </li>\n	<li>Vertical or horizontal operation                 </li>\n	<li>Fixed cable (approx. 2 m)                        </li>\n	<li>Dimensions: 82.5 x 138 x 50 mm (B x H x T)       </li>\n</ul>\n<h3>Interface Box (Connection Options) </h3>\n<ul>\n	<li>Analog Stereo input (channels L and R) via 2 x RCA (unbalanced), with potentiometers adjustable from 150 mV to 30 V or    </li>\n	<li>analog Stereo input (channels L and R) via 25-pin Sub-D (balanced), +4/+6 dBu, with software adjustable from 0 to +10 dBu </li>\n	<li>Cannot be used in parallel!                                                                                               </li>\n	<li>S/PDIF input via RCA and output via RCA (unbalanced, 75 ohm)                                                              </li>\n	<li>3 digital AES3 inputs and 3 digital outputs via 25-pin Sub-D (balanced, 110 ohm)                                          </li>\n	<li>Full speed USB 2.0 connection vis USB Mini-B socket for data exchange between TM3 and Devicer DC1                         </li>\n	<li>GPIO connection via RJ-11 (6P6C) socket                                                                                   </li>\n	<li>Locking 4-pin low voltage connector (type Binder 710) for power supply                                                    </li>\n</ul>\n<br/>\n<h2>Software (Display Options)</h2>\n<ul>\n	<li>Loudness metering acc. to EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, ARIB or customer specific</li>\n	<li>Bar graphs for single channel and summed Loudness display                                     </li>\n	<li>Loudness Range (LRA) with \"MagicLRA\"                                                          </li>\n	<li>Numerical Loudness display                                                                    </li>\n	<li>SPL meter                                                                                     </li>\n	<li>Peak, True-Peak, and correlation measurement                                                  </li>\n	<li>Comprehensive set of presets (personalizing with Devicer DC1)</li>\n</ul>'),(9393,85,0,1566,'RTW TouchMonitor TM3S'),(9394,85,1,1566,'RTW TouchMonitor TM3S'),(9395,76,0,1566,''),(9396,76,1,1566,''),(9397,75,0,1567,'<h1> RTW TouchMonitor TM7-Dante <span style=\"background-color: initial; letter-spacing: -0.02em;\">Desktop Audio Meter</span></h1>\n7\" Desktop TouchMonitor Audio Meter <span style=\"background-color: initial;\">for Dante Audio-Over-IP network based </span><span style=\"background-color: initial;\">Post Production, TV Broadcast and Video Editing</span><span style=\"background-color: initial;\"><br /></span><br />\nThe RTW TouchMonitor TM7-Dante is a 7 inch desktop audio meter with a 16:9 TFT touch screen display designed for Dante AoIP network based post production, TV broadcast, and video editing. TM7-Dante features 32 channel Dante™ AoiP I/O via dedicated primary and secondary RJ-45 connectors. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 12 - 24 V DC interlocking power connector Binder 710 type. Comes with Basic Software but a variety of optional software modules are available to expand feature set.<br /><br />\n<h3>RTW TM7-Dante Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">7 inch TouchMonitor desktop unit</span></li><li>32 channel Dante™ AoIP</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li><li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li><li>SW20004 Surround Sound Analyzer</li><li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM7 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor range is controlled simply by using your finger. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a comprehensive on-screen help feature supports the user, al- lowing him to make setup changes with ease.\n<br /><br />\n<h3>Space-saving</h3>\nFor environments where space is an issue, TouchMonitor TM7 is an ideal choice. Combining the simple and flexible operational concept and GUI of the TM9 with a 7\" high-grade touch screen, the TM7 lets you configure the instruments of your choice with ease. Instruments can be scaled, randomly positioned and combined for optimized use of available screen space. The modular software concept lets you purchase exactly the features you actually require.\n<br /><br />\n<h3>Different Housings</h3>\nBeside the OEM version of TouchMonitor TM7 special versions are available for a seamless integration of TM7 into 19\"/3U standard racks or into standard 19\" rack-mount cabinets for waveform monitors for video studios.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The latest firmware version expands the basic software to 4-channel display, 4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo can be measured without the need of an activated Multichannel licence. RTA provides a 1/12-octave mode, Cinema Loudness standards (LEQ(M), TASA, SAWA) have been implemented, and the Audio Vectorscope instrument allows up to 4 instances. The output routing can individually be adjusted for each preset, all presets can be exported or imported at the same time. Further details can be found in the Release Notes (included in the update package), or in the data sheet.\n</div>\n<br />\n<h3>TM7 Features:</h3>\n<ul>\n	<li>Easy and fast touch screen control with on-screen help                                                 </li>\n	<li>Highly flexible screen layout options with scalable instruments                                        </li>\n	<li>Powerful DSP platform for parallel display of multiple instruments                                     </li>\n	<li>Audio interfacing including analog, AES3, AES3id, and 3G-SDI (depending on TM7 or TM9 hardware version)</li>\n	<li>3G-SDI interface option for retrofitting into all TM9 audio interfaces                                 </li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades         </li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports                                                                  </li>\n	<li>Available as table-top or OEM units                                                                    </li>\n	<li>Adapters for mounting TM7 into 19“ environments</li></ul><br />\n<h3>Available Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from.\n<br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks).\n<br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />\nFor signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\nWith software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! ---\n<br />\nThis module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br /><br />'),(9398,75,1,1567,'<h1> RTW TouchMonitor TM7-Dante <span style=\"background-color: initial; letter-spacing: -0.02em;\">Desktop Audio Meter</span></h1>\n7\" Desktop TouchMonitor Audio Meter <span style=\"background-color: initial;\">for Dante Audio-Over-IP network based </span><span style=\"background-color: initial;\">Post Production, TV Broadcast and Video Editing</span><span style=\"background-color: initial;\"><br /></span><br />\nThe RTW TouchMonitor TM7-Dante is a 7 inch desktop audio meter with a 16:9 TFT touch screen display designed for Dante AoIP network based post production, TV broadcast, and video editing. TM7-Dante features 32 channel Dante™ AoiP I/O via dedicated primary and secondary RJ-45 connectors. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 12 - 24 V DC interlocking power connector Binder 710 type. Comes with Basic Software but a variety of optional software modules are available to expand feature set.<br /><br />\n<h3>RTW TM7-Dante Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">7 inch TouchMonitor desktop unit</span></li><li>32 channel Dante™ AoIP</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li><li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li><li>SW20004 Surround Sound Analyzer</li><li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM7 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor range is controlled simply by using your finger. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a comprehensive on-screen help feature supports the user, al- lowing him to make setup changes with ease.\n<br /><br />\n<h3>Space-saving</h3>\nFor environments where space is an issue, TouchMonitor TM7 is an ideal choice. Combining the simple and flexible operational concept and GUI of the TM9 with a 7\" high-grade touch screen, the TM7 lets you configure the instruments of your choice with ease. Instruments can be scaled, randomly positioned and combined for optimized use of available screen space. The modular software concept lets you purchase exactly the features you actually require.\n<br /><br />\n<h3>Different Housings</h3>\nBeside the OEM version of TouchMonitor TM7 special versions are available for a seamless integration of TM7 into 19\"/3U standard racks or into standard 19\" rack-mount cabinets for waveform monitors for video studios.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The latest firmware version expands the basic software to 4-channel display, 4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo can be measured without the need of an activated Multichannel licence. RTA provides a 1/12-octave mode, Cinema Loudness standards (LEQ(M), TASA, SAWA) have been implemented, and the Audio Vectorscope instrument allows up to 4 instances. The output routing can individually be adjusted for each preset, all presets can be exported or imported at the same time. Further details can be found in the Release Notes (included in the update package), or in the data sheet.\n</div>\n<br />\n<h3>TM7 Features:</h3>\n<ul>\n	<li>Easy and fast touch screen control with on-screen help                                                 </li>\n	<li>Highly flexible screen layout options with scalable instruments                                        </li>\n	<li>Powerful DSP platform for parallel display of multiple instruments                                     </li>\n	<li>Audio interfacing including analog, AES3, AES3id, and 3G-SDI (depending on TM7 or TM9 hardware version)</li>\n	<li>3G-SDI interface option for retrofitting into all TM9 audio interfaces                                 </li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades         </li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports                                                                  </li>\n	<li>Available as table-top or OEM units                                                                    </li>\n	<li>Adapters for mounting TM7 into 19“ environments</li></ul><br />\n<h3>Available Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from.\n<br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks).\n<br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />\nFor signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\nWith software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! ---\n<br />\nThis module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br /><br />'),(9399,85,0,1567,'RTW TouchMonitor TM7 Dante'),(9400,85,1,1567,'RTW TouchMonitor TM7 Dante'),(9401,76,0,1567,''),(9402,76,1,1567,''),(9403,75,0,1568,'<h1> RTW TouchMonitor TM7-Studio Desktop Audio Meter</h1>\n7\" Desktop TouchMonitor Audio Meter for Audio Production and Post Production\n<br /><br />\nThe RTW TouchMonitor TM7-Studio is a 7 inch desktop audio meter with a 16:9 TFT touch screen display designed for audio production and post production. TM7-Studio features 8 channel digital AES3-format I/O and 8 channel analog inputs both via D-sub 25p-f. Also includes VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Comes with Basic Software but a variety of optional software modules are available to expand feature set.<br /><br />\n<h3>RTW TM7-Studio Features:</h3>\n<ul>\n	<li>7 inch TouchMonitor desktop unit  </li>\n	<li>8 channel AES3 digital I/O via 25p-f d-sub  </li>\n	<li>8 channel analog inputs via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li>SW20001 Multi-channel operation</li>\n	<li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li>\n	<li>SW20004 Surround Sound Analyzer</li>\n	<li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM7 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor range is controlled simply by using your finger. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a comprehensive on-screen help feature supports the user, al- lowing him to make setup changes with ease.\n<br /><br />\n<h3>Space-saving</h3>\nFor environments where space is an issue, TouchMonitor TM7 is an ideal choice. Combining the simple and flexible operational concept and GUI of the TM9 with a 7\" high-grade touch screen, the TM7 lets you configure the instruments of your choice with ease. Instruments can be scaled, randomly positioned and combined for optimized use of available screen space. The modular software concept lets you purchase exactly the features you actually require.\n<br /><br />\n<h3>Different Housings</h3>\nBeside the OEM version of TouchMonitor TM7 special versions are available for a seamless integration of TM7 into 19\"/3U standard racks or into standard 19\" rack-mount cabinets for waveform monitors for video studios.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The latest firmware version expands the basic software to 4-channel display, 4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo can be measured without the need of an activated Multichannel licence. RTA provides a 1/12-octave mode, Cinema Loudness standards (LEQ(M), TASA, SAWA) have been implemented, and the Audio Vectorscope instrument allows up to 4 instances. The output routing can individually be adjusted for each preset, all presets can be exported or imported at the same time. Further details can be found in the Release Notes (included in the update package), or in the data sheet.\n</div>\n<br />\n<h3>TM7 Features:</h3>\n<ul>\n	<li>Easy and fast touch screen control with on-screen help                                                 </li>\n	<li>Highly flexible screen layout options with scalable instruments                                        </li>\n	<li>Powerful DSP platform for parallel display of multiple instruments                                     </li>\n	<li>Audio interfacing including analog, AES3, AES3id, and 3G-SDI (depending on TM7 or TM9 hardware version)</li>\n	<li>3G-SDI interface option for retrofitting into all TM9 audio interfaces                                 </li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades         </li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports                                                                  </li>\n	<li>Available as table-top or OEM units                                                                    </li>\n	<li>Adapters for mounting TM7 into 19“ environments                                                        </li>\n</ul><br />\n<h3>Hardware Options:</h3>\nWith the mounting adapters available as additional hardware options, the TM7 units can be adapted to different environments such like standard 19“ sub-racks or standard 19“ rack-mount cabinets for video racks.    \n<br /><br />\n<h4>Audio I/O options</h4>\nTouchMonitor TM7 and TM9 perfectly integrate with today‘s analog and digital audio and video studio environments. They handle up to 16 input signals in analog, AES3, and AES3id formats (depending on selected I/O option). 3G/HD/SD-SDI interface options in different types for TM7 and TM9 are also available increasing the number of input channels for simultaneous processing and display.\n<br /><br />\n<h4>TM7-MA3U (3U mounting adapter for 20700OEM)</h4>\nMounting kit including a 19“/3U/42HP rackmount panel (half-19“/3U) and fastening material for mounting 20700OEM into standard 19“ sub-racks.\n<br /><br />\n<h4>TM7-MAVID (VID mounting adapter for 20700OEM)</h4>\nMounting kit including a half-19“/3U plug-in panel and fastening material for mounting 20700OEM into standard 19“ rack-mount cabinets for video racks.\n<br /><br />\n<h4>TM7-MADT (Table-top mounting adapter for 20700OEM)</h4>\nMounting kit including a table-top frame, robust swivel-mounted table-stand, housing cover, and mounting material for remodeling 20700OEM to a table-top unit.\n<br /><br />\n<h3>Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from.\n<br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks).\n<br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />\nFor signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\nWith software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! ---\n<br />\nThis module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br /><br />'),(9404,75,1,1568,'<h1> RTW TouchMonitor TM7-Studio Desktop Audio Meter</h1>\n7\" Desktop TouchMonitor Audio Meter for Audio Production and Post Production\n<br /><br />\nThe RTW TouchMonitor TM7-Studio is a 7 inch desktop audio meter with a 16:9 TFT touch screen display designed for audio production and post production. TM7-Studio features 8 channel digital AES3-format I/O and 8 channel analog inputs both via D-sub 25p-f. Also includes VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Comes with Basic Software but a variety of optional software modules are available to expand feature set.<br /><br />\n<h3>RTW TM7-Studio Features:</h3>\n<ul>\n	<li>7 inch TouchMonitor desktop unit  </li>\n	<li>8 channel AES3 digital I/O via 25p-f d-sub  </li>\n	<li>8 channel analog inputs via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li>SW20001 Multi-channel operation</li>\n	<li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li>\n	<li>SW20004 Surround Sound Analyzer</li>\n	<li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM7 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor range is controlled simply by using your finger. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a comprehensive on-screen help feature supports the user, al- lowing him to make setup changes with ease.\n<br /><br />\n<h3>Space-saving</h3>\nFor environments where space is an issue, TouchMonitor TM7 is an ideal choice. Combining the simple and flexible operational concept and GUI of the TM9 with a 7\" high-grade touch screen, the TM7 lets you configure the instruments of your choice with ease. Instruments can be scaled, randomly positioned and combined for optimized use of available screen space. The modular software concept lets you purchase exactly the features you actually require.\n<br /><br />\n<h3>Different Housings</h3>\nBeside the OEM version of TouchMonitor TM7 special versions are available for a seamless integration of TM7 into 19\"/3U standard racks or into standard 19\" rack-mount cabinets for waveform monitors for video studios.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The latest firmware version expands the basic software to 4-channel display, 4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo can be measured without the need of an activated Multichannel licence. RTA provides a 1/12-octave mode, Cinema Loudness standards (LEQ(M), TASA, SAWA) have been implemented, and the Audio Vectorscope instrument allows up to 4 instances. The output routing can individually be adjusted for each preset, all presets can be exported or imported at the same time. Further details can be found in the Release Notes (included in the update package), or in the data sheet.\n</div>\n<br />\n<h3>TM7 Features:</h3>\n<ul>\n	<li>Easy and fast touch screen control with on-screen help                                                 </li>\n	<li>Highly flexible screen layout options with scalable instruments                                        </li>\n	<li>Powerful DSP platform for parallel display of multiple instruments                                     </li>\n	<li>Audio interfacing including analog, AES3, AES3id, and 3G-SDI (depending on TM7 or TM9 hardware version)</li>\n	<li>3G-SDI interface option for retrofitting into all TM9 audio interfaces                                 </li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades         </li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports                                                                  </li>\n	<li>Available as table-top or OEM units                                                                    </li>\n	<li>Adapters for mounting TM7 into 19“ environments                                                        </li>\n</ul><br />\n<h3>Hardware Options:</h3>\nWith the mounting adapters available as additional hardware options, the TM7 units can be adapted to different environments such like standard 19“ sub-racks or standard 19“ rack-mount cabinets for video racks.    \n<br /><br />\n<h4>Audio I/O options</h4>\nTouchMonitor TM7 and TM9 perfectly integrate with today‘s analog and digital audio and video studio environments. They handle up to 16 input signals in analog, AES3, and AES3id formats (depending on selected I/O option). 3G/HD/SD-SDI interface options in different types for TM7 and TM9 are also available increasing the number of input channels for simultaneous processing and display.\n<br /><br />\n<h4>TM7-MA3U (3U mounting adapter for 20700OEM)</h4>\nMounting kit including a 19“/3U/42HP rackmount panel (half-19“/3U) and fastening material for mounting 20700OEM into standard 19“ sub-racks.\n<br /><br />\n<h4>TM7-MAVID (VID mounting adapter for 20700OEM)</h4>\nMounting kit including a half-19“/3U plug-in panel and fastening material for mounting 20700OEM into standard 19“ rack-mount cabinets for video racks.\n<br /><br />\n<h4>TM7-MADT (Table-top mounting adapter for 20700OEM)</h4>\nMounting kit including a table-top frame, robust swivel-mounted table-stand, housing cover, and mounting material for remodeling 20700OEM to a table-top unit.\n<br /><br />\n<h3>Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from.\n<br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks).\n<br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />\nFor signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\nWith software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! ---\n<br />\nThis module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br /><br />'),(9405,85,0,1568,'RTW TouchMonitor TM7 Studio'),(9406,85,1,1568,'RTW TouchMonitor TM7 Studio'),(9407,76,0,1568,''),(9408,76,1,1568,''),(9409,75,0,1569,'<h1> RTW TouchMonitor TM7-Video <span style=\"background-color: initial; letter-spacing: -0.02em;\">Desktop Audio Meter</span></h1>\n7\" Desktop TouchMonitor Audio Meter for <span style=\"background-color: initial;\">Post Production, TV Broadcast </span><span style=\"background-color: initial;\">and Video Editing</span><span style=\"background-color: initial;\"><br /></span><br />\nThe RTW TouchMonitor TM7-Video is a 7 inch desktop audio meter with a 16:9 TFT touch screen display designed for post production, TV broadcast, and video editing. TM7-Video features 8 channel digital AES3-format I/O via D-sub 25p-f and 3G-SDI interface. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Comes with Basic Software but a variety of optional software modules are available to expand feature set.<br /><br />\n<h3>RTW TM7-Video Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">7 inch TouchMonitor desktop unit</span></li><li>3G-SDI - 32 channel</li><li>8 channel AES3 digital I/O via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li><li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li><li>SW20004 Surround Sound Analyzer</li><li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM7 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor range is controlled simply by using your finger. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a comprehensive on-screen help feature supports the user, al- lowing him to make setup changes with ease.\n<br /><br />\n<h3>Space-saving</h3>\nFor environments where space is an issue, TouchMonitor TM7 is an ideal choice. Combining the simple and flexible operational concept and GUI of the TM9 with a 7\" high-grade touch screen, the TM7 lets you configure the instruments of your choice with ease. Instruments can be scaled, randomly positioned and combined for optimized use of available screen space. The modular software concept lets you purchase exactly the features you actually require.\n<br /><br />\n<h3>Different Housings</h3>\nBeside the OEM version of TouchMonitor TM7 special versions are available for a seamless integration of TM7 into 19\"/3U standard racks or into standard 19\" rack-mount cabinets for waveform monitors for video studios.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The latest firmware version expands the basic software to 4-channel display, 4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo can be measured without the need of an activated Multichannel licence. RTA provides a 1/12-octave mode, Cinema Loudness standards (LEQ(M), TASA, SAWA) have been implemented, and the Audio Vectorscope instrument allows up to 4 instances. The output routing can individually be adjusted for each preset, all presets can be exported or imported at the same time. Further details can be found in the Release Notes (included in the update package), or in the data sheet.\n</div>\n<br />\n<h3>TM7 Features:</h3>\n<ul>\n	<li>Easy and fast touch screen control with on-screen help                                                 </li>\n	<li>Highly flexible screen layout options with scalable instruments                                        </li>\n	<li>Powerful DSP platform for parallel display of multiple instruments                                     </li>\n	<li>Audio interfacing including analog, AES3, AES3id, and 3G-SDI (depending on TM7 or TM9 hardware version)</li>\n	<li>3G-SDI interface option for retrofitting into all TM9 audio interfaces                                 </li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades         </li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports                                                                  </li>\n	<li>Available as table-top or OEM units                                                                    </li>\n	<li>Adapters for mounting TM7 into 19“ environments                                                        </li>\n</ul><br />\n<h3>Hardware Options:</h3>\nWith the mounting adapters available as additional hardware options, the TM7 units can be adapted to different environments such like standard 19“ sub-racks or standard 19“ rack-mount cabinets for video racks.    \n<br /><br />\n<h4>Audio I/O options</h4>\nTouchMonitor TM7 and TM9 perfectly integrate with today‘s analog and digital audio and video studio environments. They handle up to 16 input signals in analog, AES3, and AES3id formats (depending on selected I/O option). 3G/HD/SD-SDI interface options in different types for TM7 and TM9 are also available increasing the number of input channels for simultaneous processing and display.\n<br /><br />\n<h4>TM7-MA3U (3U mounting adapter for 20700OEM)</h4>\nMounting kit including a 19“/3U/42HP rackmount panel (half-19“/3U) and fastening material for mounting 20700OEM into standard 19“ sub-racks.\n<br /><br />\n<h4>TM7-MAVID (VID mounting adapter for 20700OEM)</h4>\nMounting kit including a half-19“/3U plug-in panel and fastening material for mounting 20700OEM into standard 19“ rack-mount cabinets for video racks.\n<br /><br />\n<h4>TM7-MADT (Table-top mounting adapter for 20700OEM)</h4>\nMounting kit including a table-top frame, robust swivel-mounted table-stand, housing cover, and mounting material for remodeling 20700OEM to a table-top unit.\n<br /><br />\n<h3>Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from.\n<br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks).\n<br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />\nFor signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\nWith software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! ---\n<br />\nThis module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br /><br />'),(9410,75,1,1569,'<h1> RTW TouchMonitor TM7-Video <span style=\"background-color: initial; letter-spacing: -0.02em;\">Desktop Audio Meter</span></h1>\n7\" Desktop TouchMonitor Audio Meter for <span style=\"background-color: initial;\">Post Production, TV Broadcast </span><span style=\"background-color: initial;\">and Video Editing</span><span style=\"background-color: initial;\"><br /></span><br />\nThe RTW TouchMonitor TM7-Video is a 7 inch desktop audio meter with a 16:9 TFT touch screen display designed for post production, TV broadcast, and video editing. TM7-Video features 8 channel digital AES3-format I/O via D-sub 25p-f and 3G-SDI interface. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Comes with Basic Software but a variety of optional software modules are available to expand feature set.<br /><br />\n<h3>RTW TM7-Video Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">7 inch TouchMonitor desktop unit</span></li><li>3G-SDI - 32 channel</li><li>8 channel AES3 digital I/O via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li><li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li><li>SW20004 Surround Sound Analyzer</li><li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM7 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor range is controlled simply by using your finger. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a comprehensive on-screen help feature supports the user, al- lowing him to make setup changes with ease.\n<br /><br />\n<h3>Space-saving</h3>\nFor environments where space is an issue, TouchMonitor TM7 is an ideal choice. Combining the simple and flexible operational concept and GUI of the TM9 with a 7\" high-grade touch screen, the TM7 lets you configure the instruments of your choice with ease. Instruments can be scaled, randomly positioned and combined for optimized use of available screen space. The modular software concept lets you purchase exactly the features you actually require.\n<br /><br />\n<h3>Different Housings</h3>\nBeside the OEM version of TouchMonitor TM7 special versions are available for a seamless integration of TM7 into 19\"/3U standard racks or into standard 19\" rack-mount cabinets for waveform monitors for video studios.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The latest firmware version expands the basic software to 4-channel display, 4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo can be measured without the need of an activated Multichannel licence. RTA provides a 1/12-octave mode, Cinema Loudness standards (LEQ(M), TASA, SAWA) have been implemented, and the Audio Vectorscope instrument allows up to 4 instances. The output routing can individually be adjusted for each preset, all presets can be exported or imported at the same time. Further details can be found in the Release Notes (included in the update package), or in the data sheet.\n</div>\n<br />\n<h3>TM7 Features:</h3>\n<ul>\n	<li>Easy and fast touch screen control with on-screen help                                                 </li>\n	<li>Highly flexible screen layout options with scalable instruments                                        </li>\n	<li>Powerful DSP platform for parallel display of multiple instruments                                     </li>\n	<li>Audio interfacing including analog, AES3, AES3id, and 3G-SDI (depending on TM7 or TM9 hardware version)</li>\n	<li>3G-SDI interface option for retrofitting into all TM9 audio interfaces                                 </li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades         </li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports                                                                  </li>\n	<li>Available as table-top or OEM units                                                                    </li>\n	<li>Adapters for mounting TM7 into 19“ environments                                                        </li>\n</ul><br />\n<h3>Hardware Options:</h3>\nWith the mounting adapters available as additional hardware options, the TM7 units can be adapted to different environments such like standard 19“ sub-racks or standard 19“ rack-mount cabinets for video racks.    \n<br /><br />\n<h4>Audio I/O options</h4>\nTouchMonitor TM7 and TM9 perfectly integrate with today‘s analog and digital audio and video studio environments. They handle up to 16 input signals in analog, AES3, and AES3id formats (depending on selected I/O option). 3G/HD/SD-SDI interface options in different types for TM7 and TM9 are also available increasing the number of input channels for simultaneous processing and display.\n<br /><br />\n<h4>TM7-MA3U (3U mounting adapter for 20700OEM)</h4>\nMounting kit including a 19“/3U/42HP rackmount panel (half-19“/3U) and fastening material for mounting 20700OEM into standard 19“ sub-racks.\n<br /><br />\n<h4>TM7-MAVID (VID mounting adapter for 20700OEM)</h4>\nMounting kit including a half-19“/3U plug-in panel and fastening material for mounting 20700OEM into standard 19“ rack-mount cabinets for video racks.\n<br /><br />\n<h4>TM7-MADT (Table-top mounting adapter for 20700OEM)</h4>\nMounting kit including a table-top frame, robust swivel-mounted table-stand, housing cover, and mounting material for remodeling 20700OEM to a table-top unit.\n<br /><br />\n<h3>Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from.\n<br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks).\n<br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />\nFor signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! ---\n<br />\nThis module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. \nFor signals with more than two channels software module SW20001 is required.\n<br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter.\n<br />\nWith software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! ---\n<br />\nThis module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br /><br />'),(9411,85,0,1569,'RTW TouchMonitor TM7 Video'),(9412,85,1,1569,'RTW TouchMonitor TM7 Video'),(9413,76,0,1569,''),(9414,76,1,1569,''),(9415,75,0,1570,'<h1>RTW TouchMonitor TM9-Dante Desktop Audio Meter</h1>\n<i>\n9\" Desktop TouchMonitor Audio Meter for Dante Audio-Over-IP network based Post Production, TV Broadcast and Video Editing</i><br /><br />\nThe RTW TM9-Dante Desktop Audio Meter is a 9 inch desktop TouchMonitor with a 16:9 TFT touch screen display. 32 channel Dante™ AoiP I/O via dedicated primary and secondary RJ-45 connectors. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 12 - 24 V DC interlocking power connector Binder 710 type. Standard software. Power supply.<br /><br />\n<h3>RTW TM9-Dante Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">9 inch TouchMonitor desktop unit</span></li>\n	<li>32 channel Dante™ AoIP</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li><li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li><li>SW20004 Surround Sound Analyzer</li><li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM9 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor TM9 is controlled simply by using your finger or a mouse. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing him to make setup changes with ease.<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The fully scalable, modular software concept allows flexible configuration according to your needs. The 4-channel basic software (4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo, Peak Hold, Phase Meter, Global Keyboard, Gain-Reduction) can extensively be expanded by activating optional software licences like Multichannel Mode, Loudness, RTA and others. The current firmware version provides measurements of immersive surround formats. On new devices with appropriate audio interface, these signals can also come from AoIP data streams now.\n</div>\n<br />\n<h3>TM9 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Easy and fast touch screen control with comfortable onscreen help</span></li><li>Highly flexible screen layout options with scalable instrument</li><li>Powerful DSP platform for parallel display of multiple instruments</li><li>16 channel audio interfacing including analog, AES3 and AES3id (depending on hardware version)</li><li>Optional 3G-SDI interface for audio signals of 3G/HD/SD SDI data streams</li><li>Models with Dante™ or Ravenna/AES67/ST 2110 AoIP connectivity for up to 32 channels</li><li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades</li><li>Ethernet/LAN, USB, VGA and GPIO ports</li><li>9\" touch screen 16 : 9 TFT</li><li>Table-top unit, approx. 245 x 165.5 (185.5) x 46.5 (95) mm, W x H x D (with table-stand), incl. mains adapter</li><li>Flush mount versions available (please contact our sales department)</li><li>Standard Software (4-ch. PPM, TruePeak meter, correlator, global keyboard, gain reduction)</li><li>Other software modules available as options</li></ul><br /><h3>Available Software Modules:</h3><h4>Build your meter!</h4>A totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from. <br /><br /><h4>SW20001: Multichannel Mode</h4>This module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks). <br /><br /><h4>SW20002: Loudness and SPL Display</h4>This module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required. <br /><br /><h4>SW20003: RTA - Real Time Analyzer</h4>This module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. For signals with more than two channels software module SW20001 is required. <br /><br /><h4>SW20004: SSA - Surround Sound Analyzer</h4>--- Precondition: Software module SW20002 is already installed! --- <br />This module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />For signals with more than two channels software module SW20001 is required.<br /><br /><h4>SW20005: Radar Display</h4>--- Precondition: Software module SW20002 is already installed! --- <br />This module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. For signals with more than two channels software module SW20001 is required. <br /><br /><h4>SW20006: RTW Premium PPM</h4>This module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter. <br />With software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br /><h4>SW20013: BLITS</h4>--- Precondition: Software module SW20001 is already installed! --- <br />This module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br />'),(9416,75,1,1570,'<h1>RTW TouchMonitor TM9-Dante Desktop Audio Meter</h1>\n<i>\n9\" Desktop TouchMonitor Audio Meter for Dante Audio-Over-IP network based Post Production, TV Broadcast and Video Editing</i><br /><br />\nThe RTW TM9-Dante Desktop Audio Meter is a 9 inch desktop TouchMonitor with a 16:9 TFT touch screen display. 32 channel Dante™ AoiP I/O via dedicated primary and secondary RJ-45 connectors. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 12 - 24 V DC interlocking power connector Binder 710 type. Standard software. Power supply.<br /><br />\n<h3>RTW TM9-Dante Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">9 inch TouchMonitor desktop unit</span></li>\n	<li>32 channel Dante™ AoIP</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li><li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li><li>SW20004 Surround Sound Analyzer</li><li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM9 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor TM9 is controlled simply by using your finger or a mouse. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing him to make setup changes with ease.<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The fully scalable, modular software concept allows flexible configuration according to your needs. The 4-channel basic software (4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo, Peak Hold, Phase Meter, Global Keyboard, Gain-Reduction) can extensively be expanded by activating optional software licences like Multichannel Mode, Loudness, RTA and others. The current firmware version provides measurements of immersive surround formats. On new devices with appropriate audio interface, these signals can also come from AoIP data streams now.\n</div>\n<br />\n<h3>TM9 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Easy and fast touch screen control with comfortable onscreen help</span></li><li>Highly flexible screen layout options with scalable instrument</li><li>Powerful DSP platform for parallel display of multiple instruments</li><li>16 channel audio interfacing including analog, AES3 and AES3id (depending on hardware version)</li><li>Optional 3G-SDI interface for audio signals of 3G/HD/SD SDI data streams</li><li>Models with Dante™ or Ravenna/AES67/ST 2110 AoIP connectivity for up to 32 channels</li><li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades</li><li>Ethernet/LAN, USB, VGA and GPIO ports</li><li>9\" touch screen 16 : 9 TFT</li><li>Table-top unit, approx. 245 x 165.5 (185.5) x 46.5 (95) mm, W x H x D (with table-stand), incl. mains adapter</li><li>Flush mount versions available (please contact our sales department)</li><li>Standard Software (4-ch. PPM, TruePeak meter, correlator, global keyboard, gain reduction)</li><li>Other software modules available as options</li></ul><br /><h3>Available Software Modules:</h3><h4>Build your meter!</h4>A totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from. <br /><br /><h4>SW20001: Multichannel Mode</h4>This module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks). <br /><br /><h4>SW20002: Loudness and SPL Display</h4>This module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required. <br /><br /><h4>SW20003: RTA - Real Time Analyzer</h4>This module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. For signals with more than two channels software module SW20001 is required. <br /><br /><h4>SW20004: SSA - Surround Sound Analyzer</h4>--- Precondition: Software module SW20002 is already installed! --- <br />This module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />For signals with more than two channels software module SW20001 is required.<br /><br /><h4>SW20005: Radar Display</h4>--- Precondition: Software module SW20002 is already installed! --- <br />This module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. For signals with more than two channels software module SW20001 is required. <br /><br /><h4>SW20006: RTW Premium PPM</h4>This module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter. <br />With software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br /><h4>SW20013: BLITS</h4>--- Precondition: Software module SW20001 is already installed! --- <br />This module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br />'),(9417,85,0,1570,'RTW TouchMonitor TM9-Dante'),(9418,85,1,1570,'RTW TouchMonitor TM9-Dante'),(9419,76,0,1570,''),(9420,76,1,1570,''),(9421,75,0,1571,'<h1>RTW TouchMonitor TM9-Studio Desktop Audio Meter</h1>\n<i>\n9\" Desktop TouchMonitor Audio Meter for Audio Production and Post Production</i><br /><br />\nThe RTW TM9-Studio Desktop Audio Meter is a 9 inch desktop TouchMonitor with a 16:9 TFT touch screen display. 8 channel digital AES3-format I/O and 8 channel analog inputs both via D-sub 25p-f. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Standard software. Power supply.<br /><br />\n<h3>RTW TM9-Studio Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Large 9 inch TouchMonitor desktop unit</span></li>\n	<li>8 channel AES3 digital I/O via 25p-f d-sub</li>\n	<li>8 channel analog inputs via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li>\n	<li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li>\n	<li>SW20004 Surround Sound Analyzer</li>\n	<li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM9 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor TM9 is controlled simply by using your finger or a mouse. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing him to make setup changes with ease.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The fully scalable, modular software concept allows flexible configuration according to your needs. The 4-channel basic software (4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo, Peak Hold, Phase Meter, Global Keyboard, Gain-Reduction) can extensively be expanded by activating optional software licences like Multichannel Mode, Loudness, RTA and others. The current firmware version provides measurements of immersive surround formats. On new devices with appropriate audio interface, these signals can also come from AoIP data streams now.\n</div>\n<br />\n<h3>TM9 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Easy and fast touch screen control with comfortable onscreen help</span></li>\n	<li>Highly flexible screen layout options with scalable instrument</li>\n	<li>Powerful DSP platform for parallel display of multiple instruments</li>\n	<li>16 channel audio interfacing including analog, AES3 and AES3id (depending on hardware version)</li>\n	<li>Optional 3G-SDI interface for audio signals of 3G/HD/SD SDI data streams</li>\n	<li>Models with Dante™ or Ravenna/AES67/ST 2110 AoIP connectivity for up to 32 channels</li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades</li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports</li>\n	<li>9\" touch screen 16 : 9 TFT</li>\n	<li>Table-top unit, approx. 245 x 165.5 (185.5) x 46.5 (95) mm, W x H x D (with table-stand), incl. mains adapter</li>\n	<li>Flush mount versions available (please contact our sales department)</li>\n	<li>Standard Software (4-ch. PPM, TruePeak meter, correlator, global keyboard, gain reduction)</li>\n	<li>Other software modules available as options</li>\n</ul>\n<br />\n<h3>Available Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from. <br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks). <br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />For signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter. <br />With software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! --- <br />This module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br />'),(9422,75,1,1571,'<h1>RTW TouchMonitor TM9-Studio Desktop Audio Meter</h1>\n<i>\n9\" Desktop TouchMonitor Audio Meter for Audio Production and Post Production</i><br /><br />\nThe RTW TM9-Studio Desktop Audio Meter is a 9 inch desktop TouchMonitor with a 16:9 TFT touch screen display. 8 channel digital AES3-format I/O and 8 channel analog inputs both via D-sub 25p-f. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Standard software. Power supply.<br /><br />\n<h3>RTW TM9-Studio Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Large 9 inch TouchMonitor desktop unit</span></li>\n	<li>8 channel AES3 digital I/O via 25p-f d-sub</li>\n	<li>8 channel analog inputs via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li>\n	<li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li>\n	<li>SW20004 Surround Sound Analyzer</li>\n	<li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM9 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor TM9 is controlled simply by using your finger or a mouse. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing him to make setup changes with ease.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The fully scalable, modular software concept allows flexible configuration according to your needs. The 4-channel basic software (4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo, Peak Hold, Phase Meter, Global Keyboard, Gain-Reduction) can extensively be expanded by activating optional software licences like Multichannel Mode, Loudness, RTA and others. The current firmware version provides measurements of immersive surround formats. On new devices with appropriate audio interface, these signals can also come from AoIP data streams now.\n</div>\n<br />\n<h3>TM9 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Easy and fast touch screen control with comfortable onscreen help</span></li>\n	<li>Highly flexible screen layout options with scalable instrument</li>\n	<li>Powerful DSP platform for parallel display of multiple instruments</li>\n	<li>16 channel audio interfacing including analog, AES3 and AES3id (depending on hardware version)</li>\n	<li>Optional 3G-SDI interface for audio signals of 3G/HD/SD SDI data streams</li>\n	<li>Models with Dante™ or Ravenna/AES67/ST 2110 AoIP connectivity for up to 32 channels</li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades</li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports</li>\n	<li>9\" touch screen 16 : 9 TFT</li>\n	<li>Table-top unit, approx. 245 x 165.5 (185.5) x 46.5 (95) mm, W x H x D (with table-stand), incl. mains adapter</li>\n	<li>Flush mount versions available (please contact our sales department)</li>\n	<li>Standard Software (4-ch. PPM, TruePeak meter, correlator, global keyboard, gain reduction)</li>\n	<li>Other software modules available as options</li>\n</ul>\n<br />\n<h3>Available Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from. <br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks). <br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />For signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter. <br />With software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! --- <br />This module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br />'),(9423,85,0,1571,'RTW TouchMonitor TM9-Studio'),(9424,85,1,1571,'RTW TouchMonitor TM9-Studio'),(9425,76,0,1571,''),(9426,76,1,1571,''),(9427,75,0,1572,'<h1>RTW TouchMonitor TM9-Video Desktop Audio Meter</h1>\n	<i>9\" Desktop TouchMonitor Audio Meter for Post Production, </i><i style=\"background-color: initial;\">TV Broadcast and Video Editing</i>\n<br /><br />\nThe RTW TM9-Video Desktop Audio Meter is a 9 inch desktop TouchMonitor with a 16:9 TFT touch screen display. 16 channel digital AES3-format I/O via two D-sub 25p-f and 3G-SDI interface. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Standard software. Power supply.<br /><br />\n<h3>RTW TM9-Video Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Large 9 inch TouchMonitor desktop unit</span></li>\n	<li>3G-SDI - 32 channel</li>\n	<li>16 channel AES3 digital I/O via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li>\n	<li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li>\n	<li>SW20004 Surround Sound Analyzer</li>\n	<li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM9 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor TM9 is controlled simply by using your finger or a mouse. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing him to make setup changes with ease.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The fully scalable, modular software concept allows flexible configuration according to your needs. The 4-channel basic software (4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo, Peak Hold, Phase Meter, Global Keyboard, Gain-Reduction) can extensively be expanded by activating optional software licences like Multichannel Mode, Loudness, RTA and others. The current firmware version provides measurements of immersive surround formats. On new devices with appropriate audio interface, these signals can also come from AoIP data streams now.\n</div>\n<br />\n<h3>TM9 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Easy and fast touch screen control with comfortable onscreen help</span></li>\n	<li>Highly flexible screen layout options with scalable instrument</li>\n	<li>Powerful DSP platform for parallel display of multiple instruments</li>\n	<li>16 channel audio interfacing including analog, AES3 and AES3id (depending on hardware version)</li>\n	<li>Optional 3G-SDI interface for audio signals of 3G/HD/SD SDI data streams</li>\n	<li>Models with Dante™ or Ravenna/AES67/ST 2110 AoIP connectivity for up to 32 channels</li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades</li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports</li>\n	<li>9\" touch screen 16 : 9 TFT</li>\n	<li>Table-top unit, approx. 245 x 165.5 (185.5) x 46.5 (95) mm, W x H x D (with table-stand), incl. mains adapter</li>\n	<li>Flush mount versions available (please contact our sales department)</li>\n	<li>Standard Software (4-ch. PPM, TruePeak meter, correlator, global keyboard, gain reduction)</li>\n	<li>Other software modules available as options</li>\n</ul>\n<br />\n<h3>Available Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from. <br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks). <br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />For signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter. <br />With software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! --- <br />This module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br />'),(9428,75,1,1572,'<h1>RTW TouchMonitor TM9-Video Desktop Audio Meter</h1>\n	<i>9\" Desktop TouchMonitor Audio Meter for Post Production, </i><i style=\"background-color: initial;\">TV Broadcast and Video Editing</i>\n<br /><br />\nThe RTW TM9-Video Desktop Audio Meter is a 9 inch desktop TouchMonitor with a 16:9 TFT touch screen display. 16 channel digital AES3-format I/O via two D-sub 25p-f and 3G-SDI interface. VGA video signal output, RJ-45 Ethernet connectivity, 2 USB 2.0 ports, a GPIO port and a 24 V DC interlocking power connector Binder 710 type. Standard software. Power supply.<br /><br />\n<h3>RTW TM9-Video Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Large 9 inch TouchMonitor desktop unit</span></li>\n	<li>3G-SDI - 32 channel</li>\n	<li>16 channel AES3 digital I/O via 25p-f d-sub</li>\n</ul>\n<br />\n<h4>Recommended software licenses</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">SW20001 Multi-channel operation</span></li>\n	<li>SW20002 CalmAct, ITU, EBU, Loudness and SPL display</li>\n	<li>SW20004 Surround Sound Analyzer</li>\n	<li>SW20006 Up to four audio vectorscopes, Multistandard PPM/VU moving coil emulation</li>\n</ul>\n<br />\n<h2>TM9 - TouchMonitor Audio Meter</h2>\nIn an ideal world, the human ear would be the best instrument any of us could use for quality control and impartial judgment of your daily work. However, it is just not that simple. The introduction of HD and surround sound, as well as loudness control issues have triggered an increasing demand for quality control and monitoring of audio signals. Fast perception and accurate assessment of audio levels using visual representation methods are indispensable elements of daily work. RTW\'s easy-to-use Audio Monitors are the obvious choice.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Simple and flexible</span></h3>\nThe graphical user interface used in the TouchMonitor TM9 is controlled simply by using your finger or a mouse. Instruments can be scaled, randomly positioned and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing him to make setup changes with ease.\n<br /><br />\n<h3><span style=\"background-color: initial;\">Expanded basic software and instruments</span></h3>\n<span style=\"background-color: initial;\"></span>\n<div>\n	The fully scalable, modular software concept allows flexible configuration according to your needs. The 4-channel basic software (4 x Mono, 2 x Stereo, 2 x Mono and 1 x Stereo, Peak Hold, Phase Meter, Global Keyboard, Gain-Reduction) can extensively be expanded by activating optional software licences like Multichannel Mode, Loudness, RTA and others. The current firmware version provides measurements of immersive surround formats. On new devices with appropriate audio interface, these signals can also come from AoIP data streams now.\n</div>\n<br />\n<h3>TM9 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Easy and fast touch screen control with comfortable onscreen help</span></li>\n	<li>Highly flexible screen layout options with scalable instrument</li>\n	<li>Powerful DSP platform for parallel display of multiple instruments</li>\n	<li>16 channel audio interfacing including analog, AES3 and AES3id (depending on hardware version)</li>\n	<li>Optional 3G-SDI interface for audio signals of 3G/HD/SD SDI data streams</li>\n	<li>Models with Dante™ or Ravenna/AES67/ST 2110 AoIP connectivity for up to 32 channels</li>\n	<li>Fully scalable, modular software approach for flexible configuration and easy on-site upgrades</li>\n	<li>Ethernet/LAN, USB, VGA and GPIO ports</li>\n	<li>9\" touch screen 16 : 9 TFT</li>\n	<li>Table-top unit, approx. 245 x 165.5 (185.5) x 46.5 (95) mm, W x H x D (with table-stand), incl. mains adapter</li>\n	<li>Flush mount versions available (please contact our sales department)</li>\n	<li>Standard Software (4-ch. PPM, TruePeak meter, correlator, global keyboard, gain reduction)</li>\n	<li>Other software modules available as options</li>\n</ul>\n<br />\n<h3>Available Software Modules:</h3>\n<h4>Build your meter!</h4>\nA totally modular software concept means that you have to purchase features that you actually require. This puts you in control, defining the functionality of an individual TouchMonitor that suits your needs best. New instruments and functions can be added as software modules (licenses) to the device at any time. Many display functions from RTW products well known and used for years are available to choose from. <br /><br />\n<h4>SW20001: Multichannel Mode</h4>\nThis module expands the signal routing to Mono, Stereo, 5.0 Surround, 5.1 Surround, 7.1 Surround and Multichannel (2 to 8 channels in one block, up to 2 blocks). <br /><br />\n<h4>SW20002: Loudness and SPL Display</h4>\nThis module expands the basic stereo PPM with Loudness measuring functions as described in EBU R128, ITU-R BS.1770-3/1771, ATSC A/85, and ARIB guidelines, and the LRA instrument for the graphical display of the Loudness Range. A customer-specific mode allows the user to modify parameters. In addition the module provides the SPL display mode with various weighting filters and integration times as well as reference level adjust to calculate an SPL value from an electrical signal. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20003: RTA - Real Time Analyzer</h4>\nThis module provides on 31 bands a spectral distribution display for single channels, channel pairs or groups plus HP HF band. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20004: SSA - Surround Sound Analyzer</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements (House display) corresponds to the subjective listening impression, enabling you to see the balance of a surround programme intuitively and at a glance.<br />For signals with more than two channels software module SW20001 is required.<br /><br />\n<h4>SW20005: Radar Display</h4>\n--- Precondition: Software module SW20002 is already installed! --- <br />This module provides a high resolution circular Loudness display for Momentary values and history, enhanced with numerical display of measuring time and two descriptors. The Radar Display equals the Loudness Radar Meter of TC Electronic®. For signals with more than two channels software module SW20001 is required. <br /><br />\n<h4>SW20006: RTW Premium PPM</h4>\nThis module expands the Basic Stereo PPM (standard software) with additional scales (Zoom, SMPTE, NHK, ARD+9, et al.), additional display modes (segment, classic), and moving coil instruments with different scales and functions. It also provides a 2-channel Audio Vectorscope and a separate phase meter. <br />With software module SW20001 installed also the Multichannel PPM is extended with these functions and enhanced with the Multi-Correlator (up to 10 phase meters). The Gain Reduction is added with Multi-Channel mode.<br /><br />\n<h4>SW20013: BLITS</h4>\n--- Precondition: Software module SW20001 is already installed! --- <br />This module is a tool to allow generating digital line test signals according to EBU 3304, GLITS, and BLITS definitions as well as automatic and significant analyzing of channel allocation, level, phase and delay, and polarity of received BLITS 5.1 test signals.<br />'),(9429,85,0,1572,'RTW TouchMonitor TM9-Video'),(9430,85,1,1572,'RTW TouchMonitor TM9-Video'),(9431,76,0,1572,''),(9432,76,1,1572,''),(9433,75,0,1573,'<h1>Rupert Neve 5088 Mixing Console - 16 Channel Master</h1>\n<i>Rupert Neve Designs 5088 master section featuring 16-Channel Analog mixer with Line, Tape and Buss Inputs </i><i style=\"background-color: initial;\">8 Busses, 8 Aux Sends, and 4 Stereo FX Returns. Modular design allows you to add a penthouse frame and configure your 5088 with up to 25 Portico modules to fit your studios\' needs.</i>\n<br /><br />\nThe Rupert Neve Designs 5088 is an expandable 16-channel line mixer that provides 8 group busses, 8 auxiliary sends, 4 stereo effects returns and a stereo output buss. That basic functionality of input and output routing, meters and faders provides a solid foundation on which you can build an analogue console to satisfy your own particular requirements, adding, for example, microphone preamplifiers, equalization and dynamics processing from the Portico line of modules – or even more input channels – to suit your facility’s needs.<br /><br />\n<h3>Rupert Neve 5088 Features:</h3>\n<ul>\n	<li>16 Channel line mixer with Line, Tape and Buss Inputs</li>\n	<li>8 Busses, 8 Aux Sends, 4 Stereo FX Returns</li>\n	<li>Optional Penthouse frame for Portico Modules</li>\n	<li>Configure your 5088 with any combination of Portico Series modules</li>\n	<li>Optional Meter Bridge and Penthouse</li>\n</ul>\n<br />\n<h4>The Input Channel</h4>\nBeyond its exceptional sound quality, the 5088 channel strip is designed to effectively handle multiple normalled sources, creating master, group and aux mixes with great efficiency. With 8 auxes, 8 “Groups”, “Solo”, “Mute”, “Send Follows Pan”, “Aux to Group”, a transformer coupled direct out and optional motorized fader automation on each channel, even the most complex mixes are within reach.\n<br /><br />\n<h4>The Stereo Input Channel</h4>\nIn lieu of mono input channels with selectable Line 1 / Line 2 Inputs, Stereo Input Channels can be fitted to increase the channel count without having to add an expansion chassis. The Stereo Module has all of the group sends, six auxes, stereo width control, and individual trims and pans for each channel.\n<br /><br />\n<h4>The Group Channel</h4>\nWith 4 pairs of FX returns and aux master controls, along side 100mm faders, direct outs and transformer coupled inserts for each of the 8 mix groups, the group master section provides the medium to control 4 stereo stem mixes while tying together an entire array of channel strips. If necessary, the insert returns and stereo FX returns can be used as an additional 16 inputs for summing.\n<br /><br />\n<h4>The Monitor Master</h4>\nThe monitor master section has 6 source selections, 3 transformer coupled speaker outputs, talk back, oscillator controls, 2 VU meters, stereo inserts, stereo level and control room master level. Like the channel and group modules, anodized aluminum knobs provide the solid feel and response needed for precise adjustments\n<br /><br />\n<h3>High voltage, discrete op-amp cards</h3>\nThe all-new, fully discrete analogue architecture in the 5088 represents a culmination of Rupert’s vast analogue circuitry knowledge. Custom, high voltage and discrete op-amp cards have been designed especially for the 5088 that eliminate crossover distortion entirely. The new op amp cards offer extended headroom, dynamic range, and frequency response while generating exceptionally low noise and distortion.\n<br /><br />\n“The real power of the 5088 lies hidden within the discrete, single-sided circuit topology and transformer-coupled inputs and outputs that produce 10dB greater dynamic range than any of my previous designs. The dynamic range is actually extended downwards to encompass the extremely small, often out-of-band signals – usually ignored – that go to complete our listening perspective, making sounds warmer, sweeter and fuller, apparently affecting the low and mid frequencies.<br /><br />\nThe significance of this enormous dynamic range and the frequency response that extends comfortably towards 100kHz lies in the ability of the 5088 to source, retain and mix the microscopically tiny signals that are essential to retention and enhancement of the full soundscape.”<br /><br />\n<h3>Transform your sound</h3>\nAs a staunch advocate of transformer-based designs, Rupert has included custom-designed transformers on every single input and output of the 5088, electrically isolating the console with a true floating ground while also imparting the sweet sound quality of his classic, sought-after designs.\n<br /><br />\n“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.<br /><br />\nThe value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.<br /><br />\nOf course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”<br /><br />\n<h3>Completely Modular Design</h3>\nThe modular channel architecture of the 5088 means dependability, expandability, and flexibility. The system’s modularity ensures easy maintenance and repair. It also allows custom configurations to be created with a larger input channel count, as well as the addition of Portico signal processing modules.\n<br /><br />\nAs your studio grows, your 5088 can also grow with the addition of more input channels. If the focus of your work changes over time or your audio systems evolve, you can adapt to meet the new challenges by reconfiguring the console accordingly.<br /><br />\nThe 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for functionality that you will never use. Instead of adding bells and whistles, Rupert and his team have focused on designing the most efficient, direct, and sweetest-sounding audio paths through a console that integrates seamlessly with any outboard gear in the world.<br /><br />\n<h4>Expansion Chassis</h4>\nTo increase the number of input channels, it is possible to add 5088-16 channel expansion chassis to the standard configuration. These additional chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on what is required. Internal, group, solo, aux and master busses are linked through ribbon cables.\n<br /><br />\n<h4>Penthouse Frame</h4>\nTo increase the feature set in each channel strip, one or two penthouse frames may be adjoined to a 5088 regardless of the number of input channels.\n<br /><br />\nThe standard 16-channel master section penthouse has 25 slots for vertically configured Portico modules. Depending on a studio’s needs, any combination of Mic Pre/EQs, Mic Pre/Compressors, Five Band EQs, Stereo Compressors, True Tape FX, and other modules can be added to the penthouse. For example, a studio doing exclusively mix work could configure a penthouse with 5-Band EQs on each input channel and then have a mixture of stereo compressors, Tape FX and more in the remaining slots. If you don’t need mic preamps, you don’t have to buy them.<br /><br />\nA studio that needs mic pre/compression/EQ on every input channel could integrate a double penthouse with mic pre/compressors and five band EQ’s, whereas a studio that has an existing large collection of high quality outboard equipment and doesn’t need the additional functionality can forgo the additional modules and penthouses entirely in favor of a line-only desk.<br /><br />\n<h4>Buss System</h4>\nOnce connected through a patchbay, the bussing systems in the Portico modules can be used to enhance workflow by creating normaled connections and multiple signals.\n<br /><br />\n<h4>The Meterbridge</h4>\nAs an option, any 5088 configuration may be outfitted with a VU meterbridge at an additional cost. The meterbridge features finely calibrated and extremely precise meters for all input and group channels. The meter bridge can be secured to either the top of a standard 5088 frame or the top of a penthouse rack.\n<br /><br />\n<h4>Automation</h4>\nMartin Sound’s Flying Faders or Tonelux’s Shadow Mix can be included in any 5088 configuration to add moving fader automation and DAW control functionality.\n<br /><br />\n<h3>5088 Configurations</h3>\nThe 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8-channel format.\n<br /><br />\n<h4>Master Only</h4>\nIn this configuration, the 5088 has no preamplification or effects. Outboard modules connected through a patchbay are used to feed the recording device and process the audio in the mix path.\n<br /><br />\n<h4>Master + Penthouse (inline)</h4>\nIn this configuration Portico Series modules used as mic inputs drive the recording device directly. The recording device is normalled to the 5088 channel strip modules which feed the stereo, aux and group busses.\n<br /><br />\n<h4>Master + Penthouse (Split)</h4>\nIn this configuration, one side of the 5088 is used with 5015 or 5032 preamplifier modules routed to corresponding 5088 channel inputs, which in turn feed the recording device through direct outputs. The recording device is normalled to Portico 5033 five band equalizers, which feed other bank of input modules assigned to the stereo, aux and group busses.\n<br /><br />'),(9434,75,1,1573,'<h1>Rupert Neve 5088 Mixing Console - 16 Channel Master</h1>\n<i>Rupert Neve Designs 5088 master section featuring 16-Channel Analog mixer with Line, Tape and Buss Inputs </i><i style=\"background-color: initial;\">8 Busses, 8 Aux Sends, and 4 Stereo FX Returns. Modular design allows you to add a penthouse frame and configure your 5088 with up to 25 Portico modules to fit your studios\' needs.</i>\n<br /><br />\nThe Rupert Neve Designs 5088 is an expandable 16-channel line mixer that provides 8 group busses, 8 auxiliary sends, 4 stereo effects returns and a stereo output buss. That basic functionality of input and output routing, meters and faders provides a solid foundation on which you can build an analogue console to satisfy your own particular requirements, adding, for example, microphone preamplifiers, equalization and dynamics processing from the Portico line of modules – or even more input channels – to suit your facility’s needs.<br /><br />\n<h3>Rupert Neve 5088 Features:</h3>\n<ul>\n	<li>16 Channel line mixer with Line, Tape and Buss Inputs</li>\n	<li>8 Busses, 8 Aux Sends, 4 Stereo FX Returns</li>\n	<li>Optional Penthouse frame for Portico Modules</li>\n	<li>Configure your 5088 with any combination of Portico Series modules</li>\n	<li>Optional Meter Bridge and Penthouse</li>\n</ul>\n<br />\n<h4>The Input Channel</h4>\nBeyond its exceptional sound quality, the 5088 channel strip is designed to effectively handle multiple normalled sources, creating master, group and aux mixes with great efficiency. With 8 auxes, 8 “Groups”, “Solo”, “Mute”, “Send Follows Pan”, “Aux to Group”, a transformer coupled direct out and optional motorized fader automation on each channel, even the most complex mixes are within reach.\n<br /><br />\n<h4>The Stereo Input Channel</h4>\nIn lieu of mono input channels with selectable Line 1 / Line 2 Inputs, Stereo Input Channels can be fitted to increase the channel count without having to add an expansion chassis. The Stereo Module has all of the group sends, six auxes, stereo width control, and individual trims and pans for each channel.\n<br /><br />\n<h4>The Group Channel</h4>\nWith 4 pairs of FX returns and aux master controls, along side 100mm faders, direct outs and transformer coupled inserts for each of the 8 mix groups, the group master section provides the medium to control 4 stereo stem mixes while tying together an entire array of channel strips. If necessary, the insert returns and stereo FX returns can be used as an additional 16 inputs for summing.\n<br /><br />\n<h4>The Monitor Master</h4>\nThe monitor master section has 6 source selections, 3 transformer coupled speaker outputs, talk back, oscillator controls, 2 VU meters, stereo inserts, stereo level and control room master level. Like the channel and group modules, anodized aluminum knobs provide the solid feel and response needed for precise adjustments\n<br /><br />\n<h3>High voltage, discrete op-amp cards</h3>\nThe all-new, fully discrete analogue architecture in the 5088 represents a culmination of Rupert’s vast analogue circuitry knowledge. Custom, high voltage and discrete op-amp cards have been designed especially for the 5088 that eliminate crossover distortion entirely. The new op amp cards offer extended headroom, dynamic range, and frequency response while generating exceptionally low noise and distortion.\n<br /><br />\n“The real power of the 5088 lies hidden within the discrete, single-sided circuit topology and transformer-coupled inputs and outputs that produce 10dB greater dynamic range than any of my previous designs. The dynamic range is actually extended downwards to encompass the extremely small, often out-of-band signals – usually ignored – that go to complete our listening perspective, making sounds warmer, sweeter and fuller, apparently affecting the low and mid frequencies.<br /><br />\nThe significance of this enormous dynamic range and the frequency response that extends comfortably towards 100kHz lies in the ability of the 5088 to source, retain and mix the microscopically tiny signals that are essential to retention and enhancement of the full soundscape.”<br /><br />\n<h3>Transform your sound</h3>\nAs a staunch advocate of transformer-based designs, Rupert has included custom-designed transformers on every single input and output of the 5088, electrically isolating the console with a true floating ground while also imparting the sweet sound quality of his classic, sought-after designs.\n<br /><br />\n“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.<br /><br />\nThe value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.<br /><br />\nOf course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”<br /><br />\n<h3>Completely Modular Design</h3>\nThe modular channel architecture of the 5088 means dependability, expandability, and flexibility. The system’s modularity ensures easy maintenance and repair. It also allows custom configurations to be created with a larger input channel count, as well as the addition of Portico signal processing modules.\n<br /><br />\nAs your studio grows, your 5088 can also grow with the addition of more input channels. If the focus of your work changes over time or your audio systems evolve, you can adapt to meet the new challenges by reconfiguring the console accordingly.<br /><br />\nThe 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for functionality that you will never use. Instead of adding bells and whistles, Rupert and his team have focused on designing the most efficient, direct, and sweetest-sounding audio paths through a console that integrates seamlessly with any outboard gear in the world.<br /><br />\n<h4>Expansion Chassis</h4>\nTo increase the number of input channels, it is possible to add 5088-16 channel expansion chassis to the standard configuration. These additional chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on what is required. Internal, group, solo, aux and master busses are linked through ribbon cables.\n<br /><br />\n<h4>Penthouse Frame</h4>\nTo increase the feature set in each channel strip, one or two penthouse frames may be adjoined to a 5088 regardless of the number of input channels.\n<br /><br />\nThe standard 16-channel master section penthouse has 25 slots for vertically configured Portico modules. Depending on a studio’s needs, any combination of Mic Pre/EQs, Mic Pre/Compressors, Five Band EQs, Stereo Compressors, True Tape FX, and other modules can be added to the penthouse. For example, a studio doing exclusively mix work could configure a penthouse with 5-Band EQs on each input channel and then have a mixture of stereo compressors, Tape FX and more in the remaining slots. If you don’t need mic preamps, you don’t have to buy them.<br /><br />\nA studio that needs mic pre/compression/EQ on every input channel could integrate a double penthouse with mic pre/compressors and five band EQ’s, whereas a studio that has an existing large collection of high quality outboard equipment and doesn’t need the additional functionality can forgo the additional modules and penthouses entirely in favor of a line-only desk.<br /><br />\n<h4>Buss System</h4>\nOnce connected through a patchbay, the bussing systems in the Portico modules can be used to enhance workflow by creating normaled connections and multiple signals.\n<br /><br />\n<h4>The Meterbridge</h4>\nAs an option, any 5088 configuration may be outfitted with a VU meterbridge at an additional cost. The meterbridge features finely calibrated and extremely precise meters for all input and group channels. The meter bridge can be secured to either the top of a standard 5088 frame or the top of a penthouse rack.\n<br /><br />\n<h4>Automation</h4>\nMartin Sound’s Flying Faders or Tonelux’s Shadow Mix can be included in any 5088 configuration to add moving fader automation and DAW control functionality.\n<br /><br />\n<h3>5088 Configurations</h3>\nThe 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8-channel format.\n<br /><br />\n<h4>Master Only</h4>\nIn this configuration, the 5088 has no preamplification or effects. Outboard modules connected through a patchbay are used to feed the recording device and process the audio in the mix path.\n<br /><br />\n<h4>Master + Penthouse (inline)</h4>\nIn this configuration Portico Series modules used as mic inputs drive the recording device directly. The recording device is normalled to the 5088 channel strip modules which feed the stereo, aux and group busses.\n<br /><br />\n<h4>Master + Penthouse (Split)</h4>\nIn this configuration, one side of the 5088 is used with 5015 or 5032 preamplifier modules routed to corresponding 5088 channel inputs, which in turn feed the recording device through direct outputs. The recording device is normalled to Portico 5033 five band equalizers, which feed other bank of input modules assigned to the stereo, aux and group busses.\n<br /><br />'),(9435,85,0,1573,'Rupert Neve 5088 Mixing Console - 16 Channel Master'),(9436,85,1,1573,'Rupert Neve 5088 Mixing Console - 16 Channel Master'),(9437,76,0,1573,''),(9438,76,1,1573,''),(9439,75,0,1574,'<h1>Rupert Neve Designs 5088 Mixing Console - 16 Channel with Penthouse and Meter Bridge</h1>\n<i>Rupert Neve Designs 5088 analog mixing console featuring 16-Channel Analog mixer with Line, Tape and Buss Inputs &lt;8 Busses, 8 Aux Sends, and 4 Stereo FX Returns. Includes Penthouse, Meterbridge and 16 x 5015 Mic Pre/EQ modules</i><br /><br />\n\nThe Rupert Neve Designs 5088 is an expandable 16-channel line mixer that provides 8 group busses, 8 auxiliary sends, 4 stereo effects returns and a stereo output buss. That basic functionality of input and output routing, meters and faders provides a solid foundation on which you can build an analogue console to satisfy your own particular requirements, adding, for example, microphone preamplifiers, equalization and dynamics processing from the Portico line of modules – or even more input channels – to suit your facility’s needs.<br /><br />\n<h3>Rupert Neve 5088 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">16 Channel line mixer with Line, Tape and Buss Inputs</span></li>\n	<li>8 Busses, 8 Aux Sends, 4 Stereo FX Returns</li>\n	<li>Includes Penthouse, Meterbridge and 16 x 5015 Mic Pre/Compressor modules</li>\n	<li>Can be configured with any combination of Portico Series modules</li>\n</ul>\n<br />\n<h4>The Input Channel</h4>\nBeyond its exceptional sound quality, the 5088 channel strip is designed to effectively handle multiple normalled sources, creating master, group and aux mixes with great efficiency. With 8 auxes, 8 “Groups”, “Solo”, “Mute”, “Send Follows Pan”, “Aux to Group”, a transformer coupled direct out and optional motorized fader automation on each channel, even the most complex mixes are within reach.\n<br /><br />\n<h4>The Stereo Input Channel</h4>\nIn lieu of mono input channels with selectable Line 1 / Line 2 Inputs, Stereo Input Channels can be fitted to increase the channel count without having to add an expansion chassis. The Stereo Module has all of the group sends, six auxes, stereo width control, and individual trims and pans for each channel.\n<br /><br />\n<h4>The Group Channel</h4>\nWith 4 pairs of FX returns and aux master controls, along side 100mm faders, direct outs and transformer coupled inserts for each of the 8 mix groups, the group master section provides the medium to control 4 stereo stem mixes while tying together an entire array of channel strips. If necessary, the insert returns and stereo FX returns can be used as an additional 16 inputs for summing.\n<br /><br />\n<h4>The Monitor Master</h4>\nThe monitor master section has 6 source selections, 3 transformer coupled speaker outputs, talk back, oscillator controls, 2 VU meters, stereo inserts, stereo level and control room master level. Like the channel and group modules, anodized aluminum knobs provide the solid feel and response needed for precise adjustments\n<br /><br />\n<h3>High voltage, discrete op-amp cards</h3>\nThe all-new, fully discrete analogue architecture in the 5088 represents a culmination of Rupert’s vast analogue circuitry knowledge. Custom, high voltage and discrete op-amp cards have been designed especially for the 5088 that eliminate crossover distortion entirely. The new op amp cards offer extended headroom, dynamic range, and frequency response while generating exceptionally low noise and distortion.\n<br /><br />\n“The real power of the 5088 lies hidden within the discrete, single-sided circuit topology and transformer-coupled inputs and outputs that produce 10dB greater dynamic range than any of my previous designs. The dynamic range is actually extended downwards to encompass the extremely small, often out-of-band signals – usually ignored – that go to complete our listening perspective, making sounds warmer, sweeter and fuller, apparently affecting the low and mid frequencies.<br /><br />\nThe significance of this enormous dynamic range and the frequency response that extends comfortably towards 100kHz lies in the ability of the 5088 to source, retain and mix the microscopically tiny signals that are essential to retention and enhancement of the full soundscape.”<br /><br />\n<h3>Transform your sound</h3>\nAs a staunch advocate of transformer-based designs, Rupert has included custom-designed transformers on every single input and output of the 5088, electrically isolating the console with a true floating ground while also imparting the sweet sound quality of his classic, sought-after designs.\n<br /><br />\n“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.<br /><br />\nThe value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.<br /><br />\nOf course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”<br /><br />\n<h3>Completely Modular Design</h3>\nThe modular channel architecture of the 5088 means dependability, expandability, and flexibility. The system’s modularity ensures easy maintenance and repair. It also allows custom configurations to be created with a larger input channel count, as well as the addition of Portico signal processing modules.\n<br /><br />\nAs your studio grows, your 5088 can also grow with the addition of more input channels. If the focus of your work changes over time or your audio systems evolve, you can adapt to meet the new challenges by reconfiguring the console accordingly.<br /><br />\nThe 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for functionality that you will never use. Instead of adding bells and whistles, Rupert and his team have focused on designing the most efficient, direct, and sweetest-sounding audio paths through a console that integrates seamlessly with any outboard gear in the world.<br /><br />\n<h4>Expansion Chassis</h4>\nTo increase the number of input channels, it is possible to add 5088-16 channel expansion chassis to the standard configuration. These additional chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on what is required. Internal, group, solo, aux and master busses are linked through ribbon cables.\n<br /><br />\n<h4>Penthouse Frame</h4>\nTo increase the feature set in each channel strip, one or two penthouse frames may be adjoined to a 5088 regardless of the number of input channels.\n<br /><br />\nThe standard 16-channel master section penthouse has 25 slots for vertically configured Portico modules. Depending on a studio’s needs, any combination of Mic Pre/EQs, Mic Pre/Compressors, Five Band EQs, Stereo Compressors, True Tape FX, and other modules can be added to the penthouse. For example, a studio doing exclusively mix work could configure a penthouse with 5-Band EQs on each input channel and then have a mixture of stereo compressors, Tape FX and more in the remaining slots. If you don’t need mic preamps, you don’t have to buy them.<br /><br />\nA studio that needs mic pre/compression/EQ on every input channel could integrate a double penthouse with mic pre/compressors and five band EQ’s, whereas a studio that has an existing large collection of high quality outboard equipment and doesn’t need the additional functionality can forgo the additional modules and penthouses entirely in favor of a line-only desk.<br /><br />\n<h4>Buss System</h4>\nOnce connected through a patchbay, the bussing systems in the Portico modules can be used to enhance workflow by creating normaled connections and multiple signals.\n<br /><br />\n<h4>The Meterbridge</h4>\nAs an option, any 5088 configuration may be outfitted with a VU meterbridge at an additional cost. The meterbridge features finely calibrated and extremely precise meters for all input and group channels. The meter bridge can be secured to either the top of a standard 5088 frame or the top of a penthouse rack.\n<br /><br />\n<h4>Automation</h4>\nMartin Sound’s Flying Faders or Tonelux’s Shadow Mix can be included in any 5088 configuration to add moving fader automation and DAW control functionality.\n<br /><br />\n<h3>5088 Configurations</h3>\nThe 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8-channel format.\n<br /><br />\n<h4>Master Only</h4>\nIn this configuration, the 5088 has no preamplification or effects. Outboard modules connected through a patchbay are used to feed the recording device and process the audio in the mix path.\n<br /><br />\n<h4>Master + Penthouse (inline)</h4>\nIn this configuration Portico Series modules used as mic inputs drive the recording device directly. The recording device is normalled to the 5088 channel strip modules which feed the stereo, aux and group busses.\n<br /><br />\n<h4>Master + Penthouse (Split)</h4>\nIn this configuration, one side of the 5088 is used with 5015 or 5032 preamplifier modules routed to corresponding 5088 channel inputs, which in turn feed the recording device through direct outputs. The recording device is normalled to Portico 5033 five band equalizers, which feed other bank of input modules assigned to the stereo, aux and group busses.\n<br /><br />'),(9440,75,1,1574,'<h1>Rupert Neve Designs 5088 Mixing Console - 16 Channel with Penthouse and Meter Bridge</h1>\n<i>Rupert Neve Designs 5088 analog mixing console featuring 16-Channel Analog mixer with Line, Tape and Buss Inputs &lt;8 Busses, 8 Aux Sends, and 4 Stereo FX Returns. Includes Penthouse, Meterbridge and 16 x 5015 Mic Pre/EQ modules</i><br /><br />\n\nThe Rupert Neve Designs 5088 is an expandable 16-channel line mixer that provides 8 group busses, 8 auxiliary sends, 4 stereo effects returns and a stereo output buss. That basic functionality of input and output routing, meters and faders provides a solid foundation on which you can build an analogue console to satisfy your own particular requirements, adding, for example, microphone preamplifiers, equalization and dynamics processing from the Portico line of modules – or even more input channels – to suit your facility’s needs.<br /><br />\n<h3>Rupert Neve 5088 Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">16 Channel line mixer with Line, Tape and Buss Inputs</span></li>\n	<li>8 Busses, 8 Aux Sends, 4 Stereo FX Returns</li>\n	<li>Includes Penthouse, Meterbridge and 16 x 5015 Mic Pre/Compressor modules</li>\n	<li>Can be configured with any combination of Portico Series modules</li>\n</ul>\n<br />\n<h4>The Input Channel</h4>\nBeyond its exceptional sound quality, the 5088 channel strip is designed to effectively handle multiple normalled sources, creating master, group and aux mixes with great efficiency. With 8 auxes, 8 “Groups”, “Solo”, “Mute”, “Send Follows Pan”, “Aux to Group”, a transformer coupled direct out and optional motorized fader automation on each channel, even the most complex mixes are within reach.\n<br /><br />\n<h4>The Stereo Input Channel</h4>\nIn lieu of mono input channels with selectable Line 1 / Line 2 Inputs, Stereo Input Channels can be fitted to increase the channel count without having to add an expansion chassis. The Stereo Module has all of the group sends, six auxes, stereo width control, and individual trims and pans for each channel.\n<br /><br />\n<h4>The Group Channel</h4>\nWith 4 pairs of FX returns and aux master controls, along side 100mm faders, direct outs and transformer coupled inserts for each of the 8 mix groups, the group master section provides the medium to control 4 stereo stem mixes while tying together an entire array of channel strips. If necessary, the insert returns and stereo FX returns can be used as an additional 16 inputs for summing.\n<br /><br />\n<h4>The Monitor Master</h4>\nThe monitor master section has 6 source selections, 3 transformer coupled speaker outputs, talk back, oscillator controls, 2 VU meters, stereo inserts, stereo level and control room master level. Like the channel and group modules, anodized aluminum knobs provide the solid feel and response needed for precise adjustments\n<br /><br />\n<h3>High voltage, discrete op-amp cards</h3>\nThe all-new, fully discrete analogue architecture in the 5088 represents a culmination of Rupert’s vast analogue circuitry knowledge. Custom, high voltage and discrete op-amp cards have been designed especially for the 5088 that eliminate crossover distortion entirely. The new op amp cards offer extended headroom, dynamic range, and frequency response while generating exceptionally low noise and distortion.\n<br /><br />\n“The real power of the 5088 lies hidden within the discrete, single-sided circuit topology and transformer-coupled inputs and outputs that produce 10dB greater dynamic range than any of my previous designs. The dynamic range is actually extended downwards to encompass the extremely small, often out-of-band signals – usually ignored – that go to complete our listening perspective, making sounds warmer, sweeter and fuller, apparently affecting the low and mid frequencies.<br /><br />\nThe significance of this enormous dynamic range and the frequency response that extends comfortably towards 100kHz lies in the ability of the 5088 to source, retain and mix the microscopically tiny signals that are essential to retention and enhancement of the full soundscape.”<br /><br />\n<h3>Transform your sound</h3>\nAs a staunch advocate of transformer-based designs, Rupert has included custom-designed transformers on every single input and output of the 5088, electrically isolating the console with a true floating ground while also imparting the sweet sound quality of his classic, sought-after designs.\n<br /><br />\n“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.<br /><br />\nThe value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.<br /><br />\nOf course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”<br /><br />\n<h3>Completely Modular Design</h3>\nThe modular channel architecture of the 5088 means dependability, expandability, and flexibility. The system’s modularity ensures easy maintenance and repair. It also allows custom configurations to be created with a larger input channel count, as well as the addition of Portico signal processing modules.\n<br /><br />\nAs your studio grows, your 5088 can also grow with the addition of more input channels. If the focus of your work changes over time or your audio systems evolve, you can adapt to meet the new challenges by reconfiguring the console accordingly.<br /><br />\nThe 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for functionality that you will never use. Instead of adding bells and whistles, Rupert and his team have focused on designing the most efficient, direct, and sweetest-sounding audio paths through a console that integrates seamlessly with any outboard gear in the world.<br /><br />\n<h4>Expansion Chassis</h4>\nTo increase the number of input channels, it is possible to add 5088-16 channel expansion chassis to the standard configuration. These additional chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on what is required. Internal, group, solo, aux and master busses are linked through ribbon cables.\n<br /><br />\n<h4>Penthouse Frame</h4>\nTo increase the feature set in each channel strip, one or two penthouse frames may be adjoined to a 5088 regardless of the number of input channels.\n<br /><br />\nThe standard 16-channel master section penthouse has 25 slots for vertically configured Portico modules. Depending on a studio’s needs, any combination of Mic Pre/EQs, Mic Pre/Compressors, Five Band EQs, Stereo Compressors, True Tape FX, and other modules can be added to the penthouse. For example, a studio doing exclusively mix work could configure a penthouse with 5-Band EQs on each input channel and then have a mixture of stereo compressors, Tape FX and more in the remaining slots. If you don’t need mic preamps, you don’t have to buy them.<br /><br />\nA studio that needs mic pre/compression/EQ on every input channel could integrate a double penthouse with mic pre/compressors and five band EQ’s, whereas a studio that has an existing large collection of high quality outboard equipment and doesn’t need the additional functionality can forgo the additional modules and penthouses entirely in favor of a line-only desk.<br /><br />\n<h4>Buss System</h4>\nOnce connected through a patchbay, the bussing systems in the Portico modules can be used to enhance workflow by creating normaled connections and multiple signals.\n<br /><br />\n<h4>The Meterbridge</h4>\nAs an option, any 5088 configuration may be outfitted with a VU meterbridge at an additional cost. The meterbridge features finely calibrated and extremely precise meters for all input and group channels. The meter bridge can be secured to either the top of a standard 5088 frame or the top of a penthouse rack.\n<br /><br />\n<h4>Automation</h4>\nMartin Sound’s Flying Faders or Tonelux’s Shadow Mix can be included in any 5088 configuration to add moving fader automation and DAW control functionality.\n<br /><br />\n<h3>5088 Configurations</h3>\nThe 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8-channel format.\n<br /><br />\n<h4>Master Only</h4>\nIn this configuration, the 5088 has no preamplification or effects. Outboard modules connected through a patchbay are used to feed the recording device and process the audio in the mix path.\n<br /><br />\n<h4>Master + Penthouse (inline)</h4>\nIn this configuration Portico Series modules used as mic inputs drive the recording device directly. The recording device is normalled to the 5088 channel strip modules which feed the stereo, aux and group busses.\n<br /><br />\n<h4>Master + Penthouse (Split)</h4>\nIn this configuration, one side of the 5088 is used with 5015 or 5032 preamplifier modules routed to corresponding 5088 channel inputs, which in turn feed the recording device through direct outputs. The recording device is normalled to Portico 5033 five band equalizers, which feed other bank of input modules assigned to the stereo, aux and group busses.\n<br /><br />'),(9441,85,0,1574,'Rupert Neve Designs 5088 Mixing Console - 16 Channel with Penthouse and Meter Bridge'),(9442,85,1,1574,'Rupert Neve Designs 5088 Mixing Console - 16 Channel with Penthouse and Meter Bridge'),(9443,76,0,1574,''),(9444,76,1,1574,''),(9445,75,0,1575,'<h1>Rupert Neve Designs 5088 Shelford Mixing Console - 16 Channel with Penthouse and Meter Bridge</h1>\n<i>Rupert Neve Designs 5088 Shelford analog mixing console featuring 16-Channel Analog mixer with Line, Tape and Buss Inputs </i><i style=\"background-color: initial;\">8 Busses, 8 Aux Sends, and 4 Stereo FX Returns. Includes Penthouse, Meter Bridge and 16 x 5015 Mic Pre/EQ modules. Shelford Blue</i><br /><br />\n\nThe Rupert Neve Designs 5088 is an expandable 16-channel line mixer that provides 8 group busses, 8 auxiliary sends, 4 stereo effects returns and a stereo output buss. That basic functionality of input and output routing, meters and faders provides a solid foundation on which you can build an analogue console to satisfy your own particular requirements, adding, for example, microphone preamplifiers, equalization and dynamics processing from the Portico line of modules – or even more input channels – to suit your facility’s needs.<br /><br />\n<h3>Rupert Neve 5088 Features:</h3>\n<ul>\n	<li><li>16 Channel line mixer with Line, Tape and Buss Inputs</li><li>8 Busses, 8 Aux Sends, 4 Stereo FX Returns</li><li>Includes Penthouse, Meterbridge and 16 x 5052 Shelford Mic Pre/EQ modules</li><li>Can be configured with any combination of Shelford Series modules</li></li>\n</ul>\n<br />\n<h4>The Input Channel</h4>\nBeyond its exceptional sound quality, the 5088 channel strip is designed to effectively handle multiple normalled sources, creating master, group and aux mixes with great efficiency. With 8 auxes, 8 “Groups”, “Solo”, “Mute”, “Send Follows Pan”, “Aux to Group”, a transformer coupled direct out and optional motorized fader automation on each channel, even the most complex mixes are within reach.\n<br /><br />\n<h4>The Stereo Input Channel</h4>\nIn lieu of mono input channels with selectable Line 1 / Line 2 Inputs, Stereo Input Channels can be fitted to increase the channel count without having to add an expansion chassis. The Stereo Module has all of the group sends, six auxes, stereo width control, and individual trims and pans for each channel.\n<br /><br />\n<h4>The Group Channel</h4>\nWith 4 pairs of FX returns and aux master controls, along side 100mm faders, direct outs and transformer coupled inserts for each of the 8 mix groups, the group master section provides the medium to control 4 stereo stem mixes while tying together an entire array of channel strips. If necessary, the insert returns and stereo FX returns can be used as an additional 16 inputs for summing.\n<br /><br />\n<h4>The Monitor Master</h4>\nThe monitor master section has 6 source selections, 3 transformer coupled speaker outputs, talk back, oscillator controls, 2 VU meters, stereo inserts, stereo level and control room master level. Like the channel and group modules, anodized aluminum knobs provide the solid feel and response needed for precise adjustments\n<br /><br />\n<h3>High voltage, discrete op-amp cards</h3>\nThe all-new, fully discrete analogue architecture in the 5088 represents a culmination of Rupert’s vast analogue circuitry knowledge. Custom, high voltage and discrete op-amp cards have been designed especially for the 5088 that eliminate crossover distortion entirely. The new op amp cards offer extended headroom, dynamic range, and frequency response while generating exceptionally low noise and distortion.\n<br /><br />\n“The real power of the 5088 lies hidden within the discrete, single-sided circuit topology and transformer-coupled inputs and outputs that produce 10dB greater dynamic range than any of my previous designs. The dynamic range is actually extended downwards to encompass the extremely small, often out-of-band signals – usually ignored – that go to complete our listening perspective, making sounds warmer, sweeter and fuller, apparently affecting the low and mid frequencies.<br /><br />\nThe significance of this enormous dynamic range and the frequency response that extends comfortably towards 100kHz lies in the ability of the 5088 to source, retain and mix the microscopically tiny signals that are essential to retention and enhancement of the full soundscape.”<br /><br />\n<h3>Transform your sound</h3>\nAs a staunch advocate of transformer-based designs, Rupert has included custom-designed transformers on every single input and output of the 5088, electrically isolating the console with a true floating ground while also imparting the sweet sound quality of his classic, sought-after designs.\n<br /><br />\n“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.<br /><br />\nThe value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.<br /><br />\nOf course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”<br /><br />\n<h3>Completely Modular Design</h3>\nThe modular channel architecture of the 5088 means dependability, expandability, and flexibility. The system’s modularity ensures easy maintenance and repair. It also allows custom configurations to be created with a larger input channel count, as well as the addition of Portico signal processing modules.\n<br /><br />\nAs your studio grows, your 5088 can also grow with the addition of more input channels. If the focus of your work changes over time or your audio systems evolve, you can adapt to meet the new challenges by reconfiguring the console accordingly.<br /><br />\nThe 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for functionality that you will never use. Instead of adding bells and whistles, Rupert and his team have focused on designing the most efficient, direct, and sweetest-sounding audio paths through a console that integrates seamlessly with any outboard gear in the world.<br /><br />\n<h4>Expansion Chassis</h4>\nTo increase the number of input channels, it is possible to add 5088-16 channel expansion chassis to the standard configuration. These additional chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on what is required. Internal, group, solo, aux and master busses are linked through ribbon cables.\n<br /><br />\n<h4>Penthouse Frame</h4>\nTo increase the feature set in each channel strip, one or two penthouse frames may be adjoined to a 5088 regardless of the number of input channels.\n<br /><br />\nThe standard 16-channel master section penthouse has 25 slots for vertically configured Portico modules. Depending on a studio’s needs, any combination of Mic Pre/EQs, Mic Pre/Compressors, Five Band EQs, Stereo Compressors, True Tape FX, and other modules can be added to the penthouse. For example, a studio doing exclusively mix work could configure a penthouse with 5-Band EQs on each input channel and then have a mixture of stereo compressors, Tape FX and more in the remaining slots. If you don’t need mic preamps, you don’t have to buy them.<br /><br />\nA studio that needs mic pre/compression/EQ on every input channel could integrate a double penthouse with mic pre/compressors and five band EQ’s, whereas a studio that has an existing large collection of high quality outboard equipment and doesn’t need the additional functionality can forgo the additional modules and penthouses entirely in favor of a line-only desk.<br /><br />\n<h4>Buss System</h4>\nOnce connected through a patchbay, the bussing systems in the Portico modules can be used to enhance workflow by creating normaled connections and multiple signals.\n<br /><br />\n<h4>The Meterbridge</h4>\nAs an option, any 5088 configuration may be outfitted with a VU meterbridge at an additional cost. The meterbridge features finely calibrated and extremely precise meters for all input and group channels. The meter bridge can be secured to either the top of a standard 5088 frame or the top of a penthouse rack.\n<br /><br />\n<h4>Automation</h4>\nMartin Sound’s Flying Faders or Tonelux’s Shadow Mix can be included in any 5088 configuration to add moving fader automation and DAW control functionality.\n<br /><br />\n<h3>5088 Configurations</h3>\nThe 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8-channel format.\n<br /><br />\n<h4>Master Only</h4>\nIn this configuration, the 5088 has no preamplification or effects. Outboard modules connected through a patchbay are used to feed the recording device and process the audio in the mix path.\n<br /><br />\n<h4>Master + Penthouse (inline)</h4>\nIn this configuration Portico Series modules used as mic inputs drive the recording device directly. The recording device is normalled to the 5088 channel strip modules which feed the stereo, aux and group busses.\n<br /><br />\n<h4>Master + Penthouse (Split)</h4>\nIn this configuration, one side of the 5088 is used with 5015 or 5032 preamplifier modules routed to corresponding 5088 channel inputs, which in turn feed the recording device through direct outputs. The recording device is normalled to Portico 5033 five band equalizers, which feed other bank of input modules assigned to the stereo, aux and group busses.\n<br /><br />'),(9446,75,1,1575,'<h1>Rupert Neve Designs 5088 Shelford Mixing Console - 16 Channel with Penthouse and Meter Bridge</h1>\n<i>Rupert Neve Designs 5088 Shelford analog mixing console featuring 16-Channel Analog mixer with Line, Tape and Buss Inputs </i><i style=\"background-color: initial;\">8 Busses, 8 Aux Sends, and 4 Stereo FX Returns. Includes Penthouse, Meter Bridge and 16 x 5015 Mic Pre/EQ modules. Shelford Blue</i><br /><br />\n\nThe Rupert Neve Designs 5088 is an expandable 16-channel line mixer that provides 8 group busses, 8 auxiliary sends, 4 stereo effects returns and a stereo output buss. That basic functionality of input and output routing, meters and faders provides a solid foundation on which you can build an analogue console to satisfy your own particular requirements, adding, for example, microphone preamplifiers, equalization and dynamics processing from the Portico line of modules – or even more input channels – to suit your facility’s needs.<br /><br />\n<h3>Rupert Neve 5088 Features:</h3>\n<ul>\n	<li><li>16 Channel line mixer with Line, Tape and Buss Inputs</li><li>8 Busses, 8 Aux Sends, 4 Stereo FX Returns</li><li>Includes Penthouse, Meterbridge and 16 x 5052 Shelford Mic Pre/EQ modules</li><li>Can be configured with any combination of Shelford Series modules</li></li>\n</ul>\n<br />\n<h4>The Input Channel</h4>\nBeyond its exceptional sound quality, the 5088 channel strip is designed to effectively handle multiple normalled sources, creating master, group and aux mixes with great efficiency. With 8 auxes, 8 “Groups”, “Solo”, “Mute”, “Send Follows Pan”, “Aux to Group”, a transformer coupled direct out and optional motorized fader automation on each channel, even the most complex mixes are within reach.\n<br /><br />\n<h4>The Stereo Input Channel</h4>\nIn lieu of mono input channels with selectable Line 1 / Line 2 Inputs, Stereo Input Channels can be fitted to increase the channel count without having to add an expansion chassis. The Stereo Module has all of the group sends, six auxes, stereo width control, and individual trims and pans for each channel.\n<br /><br />\n<h4>The Group Channel</h4>\nWith 4 pairs of FX returns and aux master controls, along side 100mm faders, direct outs and transformer coupled inserts for each of the 8 mix groups, the group master section provides the medium to control 4 stereo stem mixes while tying together an entire array of channel strips. If necessary, the insert returns and stereo FX returns can be used as an additional 16 inputs for summing.\n<br /><br />\n<h4>The Monitor Master</h4>\nThe monitor master section has 6 source selections, 3 transformer coupled speaker outputs, talk back, oscillator controls, 2 VU meters, stereo inserts, stereo level and control room master level. Like the channel and group modules, anodized aluminum knobs provide the solid feel and response needed for precise adjustments\n<br /><br />\n<h3>High voltage, discrete op-amp cards</h3>\nThe all-new, fully discrete analogue architecture in the 5088 represents a culmination of Rupert’s vast analogue circuitry knowledge. Custom, high voltage and discrete op-amp cards have been designed especially for the 5088 that eliminate crossover distortion entirely. The new op amp cards offer extended headroom, dynamic range, and frequency response while generating exceptionally low noise and distortion.\n<br /><br />\n“The real power of the 5088 lies hidden within the discrete, single-sided circuit topology and transformer-coupled inputs and outputs that produce 10dB greater dynamic range than any of my previous designs. The dynamic range is actually extended downwards to encompass the extremely small, often out-of-band signals – usually ignored – that go to complete our listening perspective, making sounds warmer, sweeter and fuller, apparently affecting the low and mid frequencies.<br /><br />\nThe significance of this enormous dynamic range and the frequency response that extends comfortably towards 100kHz lies in the ability of the 5088 to source, retain and mix the microscopically tiny signals that are essential to retention and enhancement of the full soundscape.”<br /><br />\n<h3>Transform your sound</h3>\nAs a staunch advocate of transformer-based designs, Rupert has included custom-designed transformers on every single input and output of the 5088, electrically isolating the console with a true floating ground while also imparting the sweet sound quality of his classic, sought-after designs.\n<br /><br />\n“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.<br /><br />\nThe value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.<br /><br />\nOf course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”<br /><br />\n<h3>Completely Modular Design</h3>\nThe modular channel architecture of the 5088 means dependability, expandability, and flexibility. The system’s modularity ensures easy maintenance and repair. It also allows custom configurations to be created with a larger input channel count, as well as the addition of Portico signal processing modules.\n<br /><br />\nAs your studio grows, your 5088 can also grow with the addition of more input channels. If the focus of your work changes over time or your audio systems evolve, you can adapt to meet the new challenges by reconfiguring the console accordingly.<br /><br />\nThe 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for functionality that you will never use. Instead of adding bells and whistles, Rupert and his team have focused on designing the most efficient, direct, and sweetest-sounding audio paths through a console that integrates seamlessly with any outboard gear in the world.<br /><br />\n<h4>Expansion Chassis</h4>\nTo increase the number of input channels, it is possible to add 5088-16 channel expansion chassis to the standard configuration. These additional chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on what is required. Internal, group, solo, aux and master busses are linked through ribbon cables.\n<br /><br />\n<h4>Penthouse Frame</h4>\nTo increase the feature set in each channel strip, one or two penthouse frames may be adjoined to a 5088 regardless of the number of input channels.\n<br /><br />\nThe standard 16-channel master section penthouse has 25 slots for vertically configured Portico modules. Depending on a studio’s needs, any combination of Mic Pre/EQs, Mic Pre/Compressors, Five Band EQs, Stereo Compressors, True Tape FX, and other modules can be added to the penthouse. For example, a studio doing exclusively mix work could configure a penthouse with 5-Band EQs on each input channel and then have a mixture of stereo compressors, Tape FX and more in the remaining slots. If you don’t need mic preamps, you don’t have to buy them.<br /><br />\nA studio that needs mic pre/compression/EQ on every input channel could integrate a double penthouse with mic pre/compressors and five band EQ’s, whereas a studio that has an existing large collection of high quality outboard equipment and doesn’t need the additional functionality can forgo the additional modules and penthouses entirely in favor of a line-only desk.<br /><br />\n<h4>Buss System</h4>\nOnce connected through a patchbay, the bussing systems in the Portico modules can be used to enhance workflow by creating normaled connections and multiple signals.\n<br /><br />\n<h4>The Meterbridge</h4>\nAs an option, any 5088 configuration may be outfitted with a VU meterbridge at an additional cost. The meterbridge features finely calibrated and extremely precise meters for all input and group channels. The meter bridge can be secured to either the top of a standard 5088 frame or the top of a penthouse rack.\n<br /><br />\n<h4>Automation</h4>\nMartin Sound’s Flying Faders or Tonelux’s Shadow Mix can be included in any 5088 configuration to add moving fader automation and DAW control functionality.\n<br /><br />\n<h3>5088 Configurations</h3>\nThe 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8-channel format.\n<br /><br />\n<h4>Master Only</h4>\nIn this configuration, the 5088 has no preamplification or effects. Outboard modules connected through a patchbay are used to feed the recording device and process the audio in the mix path.\n<br /><br />\n<h4>Master + Penthouse (inline)</h4>\nIn this configuration Portico Series modules used as mic inputs drive the recording device directly. The recording device is normalled to the 5088 channel strip modules which feed the stereo, aux and group busses.\n<br /><br />\n<h4>Master + Penthouse (Split)</h4>\nIn this configuration, one side of the 5088 is used with 5015 or 5032 preamplifier modules routed to corresponding 5088 channel inputs, which in turn feed the recording device through direct outputs. The recording device is normalled to Portico 5033 five band equalizers, which feed other bank of input modules assigned to the stereo, aux and group busses.\n<br /><br />'),(9447,85,0,1575,'Rupert Neve Designs 5088 Shelford Mixing Console - 16 Channel with Penthouse and Meter Bridge'),(9448,85,1,1575,'Rupert Neve Designs 5088 Shelford Mixing Console - 16 Channel with Penthouse and Meter Bridge'),(9449,76,0,1575,''),(9450,76,1,1575,''),(9451,75,0,1576,'<h1>Rupert Neve Designs 511 — 500-Series Preamp  </h1>\n<span style=\"font-size:16px; font-style:italic;\">A flexible preamp that combines classic Neve sonics and variable Silk/Texture saturation in an easily affordable 500-series format</span><br /><br />\nBeing the designer of the world’s most copied preamp, Mr. Rupert Neve’s biggest competitor is 1970s Rupert Neve. And while the 500-series Portico 511 preamp nods to its modular predecessors, it does so with all the wealth of experience that comes with Mr. Rupert Neve’s 80 years as the top name in recording equipment manufacture. The Rupert Neve Designs Portico 511 microphone preamp features Neve’s signature sound and the flexibility of the variable Silk/Texture control, which offers the transformer-saturation power found in RND’s flagship <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-II-Channel-p/rnd-prt2-ch.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico II Channel</a>. The 500-series RND Portico 511 also incorporates the powerful preamp of the modular <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-517-500-Series-Mic-Pre-DI-p/rnd-517-pre.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico 517</a> and sweepable high pass filter from the rackmount <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-5012-H-Duo-Mic-Pre-p/rnd-5012-h.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico 5012 preamp</a>. With all that going for it, you’d think that the 500-series Portico 511 preamp module would be rather pricey, but it’s actually the most affordable, true Neve preamp ever built. <br /><br />\n<h3>Rupert Neve Designs Portico 511 unique features:</h3>\n<ul>\n	<li>Red Silk/Texture circuit adds harmonic content reminiscent of vintage Neve designs</li>\n	<li>Can handle a balanced input signal of more than +20dBu without an input attenuator pad</li>\n	<li>A true Neve preamp anyone can afford</li>\n</ul>\n<br />\n<h3>Rupert Neve Designs Portico 511 key features:</h3>\n<ul>\n	<li>Gain from 0 to 66dB in 6dB steps</li>\n	<li>Continuously variable trim, ±6dB level control</li>\n	<li>48V phantom power on the microphone input</li>\n	<li>Push-button inverts polarity of the signal path and illuminates when engaged</li>\n	<li>Eight-segment LED bar-graph level meter</li>\n	<li>Low-pass filter rejects common mode signals and excludes frequencies above 150kHz</li>\n	<li>Balanced, ground-free output guarantees freedom from hum and radio frequency interference when connected to a balanced destination</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Rupert Neve Designs Portico 511 </h3>\nTo describe the inner workings of the Portico 511 preamp, perhaps it’s best to let Rupert Neve tell you in his own words: “While creating functional 500 series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest caliber.”\n<br /><br />\n<h3>Input Section</h3>\nThe input has a 10k-ohm, non-reactive input resistance that handles a full 22dBu signal without the need for a pad. The TLA (Transformer-Like-Amplifier) non-reactive preamp design precludes the loading of microphones with limited driving capability. A primary gain control provides 66dB of gain in 6dB increments for easy recall, with a +/- 6dB trim for fine adjustment. For condenser microphones and powered DIs, there is +48V phantom power. A transient-optimized HPF continuously covering the range from 20-250Hz is included to tame rumble and proximity effect.\n<br /><br />\n<h3>Texture</h3>\nThe Red Silk/Texture control is one of the key developments in the Portico 511. Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing wide range of tonal options for the preamplifier. Like the original Portico Silk, the Silk Red / Texture works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. With the Rupert Neve Designs Portico 511, the Texture control allows these techniques to be pushed further than previous designs, adding about 10 times the desirable THD of the original silk control at its maximum setting.\n<br /><br />\nRupert Neve Designs took great care that the Portico 511’s Silk does not compromise the musical integrity of source material by its harmonic additions (not to be confused with controls from other manufactures that may “incinerate”, “demolish,” “destroy,” or “mangle” source material). The 511’s Silk/Texture control can be used to fit the personality of any song, instrument, or engineer.<br /><br />\n<h3>Low Noise, Low Distortion Operation</h3>\nThe Portico 511 was designed to produce as little noise and non-harmonic distortion as possible. Carefully implemented signal paths and Class-A operation are a large part of the 511′s sweet, whisper-quiet performance.\n<br /><br />\n<h3>Microphone Input</h3>\nThe microphone input is balanced but not floating, being a variant of an instrumentation amplifier. Rupert Neve Design’s proven “Transformer-Like-Amplifier” (T.L.A.) configuration, which includes an accurate toroidal Common Mode Low Pass Filter, rejects common mode signals and excludes frequencies above 150 kHz. When the Mic Gain switch is set to Unity (0dB), the Portico 511 microphone preamplifier can handle a balanced input signal of more than +20dBu without an input attenuator pad! This is a unique feature that enables this input to double as a line input. \n<br /><br />\n<h3>The Line Outputs</h3>\nThe main output signal comes from the output transformer secondary, which is balanced and ground-free. A ground-free connection guarantees freedom from hum and radio frequency interference when connected to a balanced destination such as the input to another Portico module or a high quality ADC. Maximum output level is more than +20dBu, which provides a large margin over and above the likely maximum requirement of any destination equipment to which the 511 is connected. \n<br /><br />\n<h3>OUTSIDE THE BOX — Rupert Neve Designs Portico 511</h3>\n<ul>\n	<li><strong>Mic Gain:</strong> A 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps.</li>\n	<li><strong>Trim:</strong> Continuously variable +/-6 dB level control.</li>\n	<li><strong>+48V:</strong> Engages phantom power on the microphone input, as supplied by the 500 series rack.</li>\n	<li><strong>Polarity:</strong> Push button inverts the polarity of the signal path, and illuminates when engaged. The symbol “Ø” is often used to denote opposite polarity.</li>\n	<li><strong>High-pass filter:</strong> The high pass filter is continuously variable from 20-250Hz and engaged by the HPF switch, which illuminates when engaged. It is a valuable aid in any signal chain, but particularly so in a microphone preamplifier. Signals below the selected frequency are attenuated at a rate of 12dB/octave, getting rid of proximity effect, building rumble, air handling, motor hum, etc.</li>\n	<li><strong>Silk/Texture:</strong> Pushing the Silk button engages the red Silk circuit, which reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Red Silk accentuates the saturation in the mid and high frequencies, similar to that of the red silk mode on the Portico II Channel. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly 10 times the amount of coloration or distortion found in Silk from the original Portico Series. With Silk/Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s class-A vintage designs.</li>\n	<li><strong>Level Meter:</strong> An Eight-segment LED bar-graph meter displays output level (pre-Silk). The color range proceeds from green for lower level signals, yellow for intermediate signals, and red for high levels. When the 511 is clipped, the highest red LED will hold longer depending on how far above the clip threshold the signal was.</li>\n</ul>\n<br />\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br /><br />\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br /><br />\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br /><br />\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br /><br />\n<h3>The Portico 511 is a preamp with world-class Neve sound that anyone can afford. For more information, call or chat with an RSPE representative today. </h3>\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Rupert_Neve_Portico_511_500_Series_Mic_Pre_RENT_p/rnd-511-pre-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(9452,75,1,1576,'<h1>Rupert Neve Designs 511 — 500-Series Preamp  </h1>\n<span style=\"font-size:16px; font-style:italic;\">A flexible preamp that combines classic Neve sonics and variable Silk/Texture saturation in an easily affordable 500-series format</span><br /><br />\nBeing the designer of the world’s most copied preamp, Mr. Rupert Neve’s biggest competitor is 1970s Rupert Neve. And while the 500-series Portico 511 preamp nods to its modular predecessors, it does so with all the wealth of experience that comes with Mr. Rupert Neve’s 80 years as the top name in recording equipment manufacture. The Rupert Neve Designs Portico 511 microphone preamp features Neve’s signature sound and the flexibility of the variable Silk/Texture control, which offers the transformer-saturation power found in RND’s flagship <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-II-Channel-p/rnd-prt2-ch.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico II Channel</a>. The 500-series RND Portico 511 also incorporates the powerful preamp of the modular <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-517-500-Series-Mic-Pre-DI-p/rnd-517-pre.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico 517</a> and sweepable high pass filter from the rackmount <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-5012-H-Duo-Mic-Pre-p/rnd-5012-h.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico 5012 preamp</a>. With all that going for it, you’d think that the 500-series Portico 511 preamp module would be rather pricey, but it’s actually the most affordable, true Neve preamp ever built. <br /><br />\n<h3>Rupert Neve Designs Portico 511 unique features:</h3>\n<ul>\n	<li>Red Silk/Texture circuit adds harmonic content reminiscent of vintage Neve designs</li>\n	<li>Can handle a balanced input signal of more than +20dBu without an input attenuator pad</li>\n	<li>A true Neve preamp anyone can afford</li>\n</ul>\n<br />\n<h3>Rupert Neve Designs Portico 511 key features:</h3>\n<ul>\n	<li>Gain from 0 to 66dB in 6dB steps</li>\n	<li>Continuously variable trim, ±6dB level control</li>\n	<li>48V phantom power on the microphone input</li>\n	<li>Push-button inverts polarity of the signal path and illuminates when engaged</li>\n	<li>Eight-segment LED bar-graph level meter</li>\n	<li>Low-pass filter rejects common mode signals and excludes frequencies above 150kHz</li>\n	<li>Balanced, ground-free output guarantees freedom from hum and radio frequency interference when connected to a balanced destination</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Rupert Neve Designs Portico 511 </h3>\nTo describe the inner workings of the Portico 511 preamp, perhaps it’s best to let Rupert Neve tell you in his own words: “While creating functional 500 series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest caliber.”\n<br /><br />\n<h3>Input Section</h3>\nThe input has a 10k-ohm, non-reactive input resistance that handles a full 22dBu signal without the need for a pad. The TLA (Transformer-Like-Amplifier) non-reactive preamp design precludes the loading of microphones with limited driving capability. A primary gain control provides 66dB of gain in 6dB increments for easy recall, with a +/- 6dB trim for fine adjustment. For condenser microphones and powered DIs, there is +48V phantom power. A transient-optimized HPF continuously covering the range from 20-250Hz is included to tame rumble and proximity effect.\n<br /><br />\n<h3>Texture</h3>\nThe Red Silk/Texture control is one of the key developments in the Portico 511. Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing wide range of tonal options for the preamplifier. Like the original Portico Silk, the Silk Red / Texture works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. With the Rupert Neve Designs Portico 511, the Texture control allows these techniques to be pushed further than previous designs, adding about 10 times the desirable THD of the original silk control at its maximum setting.\n<br /><br />\nRupert Neve Designs took great care that the Portico 511’s Silk does not compromise the musical integrity of source material by its harmonic additions (not to be confused with controls from other manufactures that may “incinerate”, “demolish,” “destroy,” or “mangle” source material). The 511’s Silk/Texture control can be used to fit the personality of any song, instrument, or engineer.<br /><br />\n<h3>Low Noise, Low Distortion Operation</h3>\nThe Portico 511 was designed to produce as little noise and non-harmonic distortion as possible. Carefully implemented signal paths and Class-A operation are a large part of the 511′s sweet, whisper-quiet performance.\n<br /><br />\n<h3>Microphone Input</h3>\nThe microphone input is balanced but not floating, being a variant of an instrumentation amplifier. Rupert Neve Design’s proven “Transformer-Like-Amplifier” (T.L.A.) configuration, which includes an accurate toroidal Common Mode Low Pass Filter, rejects common mode signals and excludes frequencies above 150 kHz. When the Mic Gain switch is set to Unity (0dB), the Portico 511 microphone preamplifier can handle a balanced input signal of more than +20dBu without an input attenuator pad! This is a unique feature that enables this input to double as a line input. \n<br /><br />\n<h3>The Line Outputs</h3>\nThe main output signal comes from the output transformer secondary, which is balanced and ground-free. A ground-free connection guarantees freedom from hum and radio frequency interference when connected to a balanced destination such as the input to another Portico module or a high quality ADC. Maximum output level is more than +20dBu, which provides a large margin over and above the likely maximum requirement of any destination equipment to which the 511 is connected. \n<br /><br />\n<h3>OUTSIDE THE BOX — Rupert Neve Designs Portico 511</h3>\n<ul>\n	<li><strong>Mic Gain:</strong> A 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps.</li>\n	<li><strong>Trim:</strong> Continuously variable +/-6 dB level control.</li>\n	<li><strong>+48V:</strong> Engages phantom power on the microphone input, as supplied by the 500 series rack.</li>\n	<li><strong>Polarity:</strong> Push button inverts the polarity of the signal path, and illuminates when engaged. The symbol “Ø” is often used to denote opposite polarity.</li>\n	<li><strong>High-pass filter:</strong> The high pass filter is continuously variable from 20-250Hz and engaged by the HPF switch, which illuminates when engaged. It is a valuable aid in any signal chain, but particularly so in a microphone preamplifier. Signals below the selected frequency are attenuated at a rate of 12dB/octave, getting rid of proximity effect, building rumble, air handling, motor hum, etc.</li>\n	<li><strong>Silk/Texture:</strong> Pushing the Silk button engages the red Silk circuit, which reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Red Silk accentuates the saturation in the mid and high frequencies, similar to that of the red silk mode on the Portico II Channel. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly 10 times the amount of coloration or distortion found in Silk from the original Portico Series. With Silk/Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s class-A vintage designs.</li>\n	<li><strong>Level Meter:</strong> An Eight-segment LED bar-graph meter displays output level (pre-Silk). The color range proceeds from green for lower level signals, yellow for intermediate signals, and red for high levels. When the 511 is clipped, the highest red LED will hold longer depending on how far above the clip threshold the signal was.</li>\n</ul>\n<br />\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br /><br />\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br /><br />\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br /><br />\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br /><br />\n<h3>The Portico 511 is a preamp with world-class Neve sound that anyone can afford. For more information, call or chat with an RSPE representative today. </h3>\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Rupert_Neve_Portico_511_500_Series_Mic_Pre_RENT_p/rnd-511-pre-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(9453,85,0,1576,'Rupert Neve Portico 511 - 500 Series Mic Pre'),(9454,85,1,1576,'Rupert Neve Portico 511 - 500 Series Mic Pre'),(9455,76,0,1576,''),(9456,76,1,1576,''),(9457,75,0,1577,'<h1>Rupert Neve Designs 517 - 500 Series Mic Pre / DI / Compressor</h1>\n\nThe 517 provides world-class transformer-coupled mic preamp, compressor and DI circuitry, with Vari-phase, Silk and DI/mic blending capabilities.   It incorporates outstanding sonic quality with an indispensable feature set.\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">Mic Pre and Instrument Amplifier</span>\n</div>\n<div>\n	The 517′s mic pre includes 66dB gain and also incorporates a polarity reverse switch and phantom power.  The separate instrument amplifier includes 30dB of gain, a ground lift, variable phase and an instrument Thru connection.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">Blended Use</span>\n</div>\n<div>\nUsed as a single channel device for instruments, the 517 can be used to phase align, combine and compress direct and amplified signals.  The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">The Compressor</span>\n</div>\n<div>\n	Based around a new LDR (light dependent resister) design, the 517′s opto-coupler compressor has been simplified to a single threshold control with auto make up gain.  By default, the compressor is set to a fixed 2:1 ratio with fixed attack and release.  To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved.  An LED light indicates when the compressor is active.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">Vari-Phase</span>\n</div>\n<div>\n	In addition to the standard polarity reverse, the 517′s vari-phase control may be used to adjust phase incrementally. This control is useful any time two signals derived from the same source are combined.\n</div>\n<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9458,75,1,1577,'<h1>Rupert Neve Designs 517 - 500 Series Mic Pre / DI / Compressor</h1>\n\nThe 517 provides world-class transformer-coupled mic preamp, compressor and DI circuitry, with Vari-phase, Silk and DI/mic blending capabilities.   It incorporates outstanding sonic quality with an indispensable feature set.\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">Mic Pre and Instrument Amplifier</span>\n</div>\n<div>\n	The 517′s mic pre includes 66dB gain and also incorporates a polarity reverse switch and phantom power.  The separate instrument amplifier includes 30dB of gain, a ground lift, variable phase and an instrument Thru connection.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">Blended Use</span>\n</div>\n<div>\nUsed as a single channel device for instruments, the 517 can be used to phase align, combine and compress direct and amplified signals.  The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">The Compressor</span>\n</div>\n<div>\n	Based around a new LDR (light dependent resister) design, the 517′s opto-coupler compressor has been simplified to a single threshold control with auto make up gain.  By default, the compressor is set to a fixed 2:1 ratio with fixed attack and release.  To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved.  An LED light indicates when the compressor is active.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	<span style=\"font-weight: bold; \">Vari-Phase</span>\n</div>\n<div>\n	In addition to the standard polarity reverse, the 517′s vari-phase control may be used to adjust phase incrementally. This control is useful any time two signals derived from the same source are combined.\n</div>\n<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9459,85,0,1577,'Rupert Neve Portico 517 - 500 Series Mic Pre / DI / Compressor'),(9460,85,1,1577,'Rupert Neve Portico 517 - 500 Series Mic Pre / DI / Compressor'),(9461,76,0,1577,''),(9462,76,1,1577,''),(9463,75,0,1578,'<h1>Rupert Neve Designs 535 - 500 Series Diode Bridge Compressor</h1>\n<i>Punchy, thick and versatile, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor in a compact 500 Series format</i><br/><br/>\nThe Rupert Neve Designs 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 is outfitted with Rupert Neve Designs’ custom transformers and class-A output amplifiers, all tailor-made for the popular 500-series format. <br/><br/>\n<ul>\n</ul>\n<h3>Rupert Neve Designs Portico 535 key features:</h3>\n<ul>\n	<li>Gain range provided is from -6dB to +20dB</li>\n	<li>Ratio from 1:5 to 8:1</li>\n	<li>Threshold range from -25dBu to +20dBU</li>\n	<li>Six Compressor Attack and Release Times</li>\n	<ul>\n		<li>FAST – Fast Attack (750us), Fast Release (130ms)</li>\n		<li>MF – Medium Attack (2.25ms), Fast Release (130ms)</li>\n		<li>MED – Medium Attack (2.25ms), Medium Release (400ms)</li>\n		<li>MS – Medium Attack (4ms), Slow Release (725ms)</li>\n		<li>SLOW – Slow Attack (10ms), Slow Release (1S)</li>\n		<li>AUTO – Medium Attack (5ms), Dual Decay Release (T1 500ms, T2 1s)</li>\n	</ul>\n	<li>BLEND control with 31 detents allows the user to mix the uncompressed (dry) signal with compressed (wet) signal.</li>\n	<li>S/C HPF switch allows the user to insert a 12dB/octave 150Hz high-pass filter in the compressor sidechain.</li>\n	<li>Two Peak LED meters show output level and gain reduction </li>\n</ul>\n<br/>\n<h3>The Diode Bridge</h3>\nWhere the VCA compressor found in the 543 and Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix. Mr. Rupert Neve’s original diode bridge compressors like the 2254 served as an inspiration for the design of the 535. By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce the unique tone of the 2254 while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself. Delivering the powerful sound of these classic designs with enhanced flexibility for the modern age, the 535 is a dynamic tool equipped to make a statement on virtually any track. \n<br/><br/>\n<h3>Timing is Everything</h3>\nThe unified TIMING control is comprised of six selectable settings, carefully chosen for different applications – a major departure from the fixed attack of the 2254. FAST and MF settings are designed to help clamp down on more transient signals like drums, plucked string instruments and fast vocals. MED and MS have slightly slower attacks and releases which can allow more transients through while having a slightly longer recovery. Lastly, SLOW and AUTO are both significantly slower, and are designed for smoother level control.\n<br/><br/>\nFAST mode increases the speed of both attack and release for each setting, effectively doubling the number of time constants from 6 to 12. The FAST mode also allows for a dramatic increase in speed as compared to the 535’s renowned ancestors, providing significantly more tonal & operational versatility.<br/><br/>\nFaster TIMING settings will generally lead to higher peak-to-peak control voltage ripple, and therefore induce more harmonic content, translating into more color in the main audio path. Slower TIMING settings will smooth the control voltage significantly, and thereby reduce the harmonic content added to the audio path, resulting in more transparent compression. It is also worth noting that due to the nature of this topology, these time constants adapt themselves slightly depending on several factors: compression ratio, threshold, and source material. This dynamically generated timing shift and harmonic content is what gives the Diode Bridge Compressor its unique personality.<br/><br/>\n<h3>The Right Blend</h3>\nGiven the naturally colored sonic signature of the 535’s diode bridge, this built-in parallel compression ability is especially useful. The BLEND control allows the user to inject smaller amounts of extreme compression into an otherwise unaffected signal, creating an enhanced yet natural sound that maintains dynamic range with blendable color and punch.\n<br/><br/>\n<h3>Take Control</h3>\nIn addition to the TIMING control, the diode bridge compressor can be further manipulated by the RATIO, THRESHOLD, GAIN, SC HPF and LINK controls.  The RATIO control has six selectable positions on the rotary switch and allows the user to set the slope of the compressor curve, with pre-selected ratios of 1.5:1 through 8:1. The THRESHOLD control has 31 detents and allows the user to adjust the point at which compression begins, ranging from -25dBu to +20dBu. The GAIN control has 31 detents to add make-up gain ranging from -6dB to +20dB. The S/C HPF is 12dB/octave sidechain high-pass filter with a frequency set to 150Hz. This feature can be immensely useful for making the compressor respond less to the powerful – and often more sustaining – low frequencies in a mix or instrument, which may otherwise give the compressor a more “mushy” response. LINK is designed to utilize the 500-series link buss built into many 500 series racks like the R6 or R10 (check your rack’s manual for details). When both units have link engaged and connected, the control voltage is shared between them – so when one unit is triggered, it will trigger the other unit equally. This can often help maintain a solid center image in a stereo source. Note: for stereo sources, it is always worth auditioning the “unlinked” sound as well, as linking can sometimes clamp down on the effective stereo width when the compressors are triggered by one side.\n<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9464,75,1,1578,'<h1>Rupert Neve Designs 535 - 500 Series Diode Bridge Compressor</h1>\n<i>Punchy, thick and versatile, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor in a compact 500 Series format</i><br/><br/>\nThe Rupert Neve Designs 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 is outfitted with Rupert Neve Designs’ custom transformers and class-A output amplifiers, all tailor-made for the popular 500-series format. <br/><br/>\n<ul>\n</ul>\n<h3>Rupert Neve Designs Portico 535 key features:</h3>\n<ul>\n	<li>Gain range provided is from -6dB to +20dB</li>\n	<li>Ratio from 1:5 to 8:1</li>\n	<li>Threshold range from -25dBu to +20dBU</li>\n	<li>Six Compressor Attack and Release Times</li>\n	<ul>\n		<li>FAST – Fast Attack (750us), Fast Release (130ms)</li>\n		<li>MF – Medium Attack (2.25ms), Fast Release (130ms)</li>\n		<li>MED – Medium Attack (2.25ms), Medium Release (400ms)</li>\n		<li>MS – Medium Attack (4ms), Slow Release (725ms)</li>\n		<li>SLOW – Slow Attack (10ms), Slow Release (1S)</li>\n		<li>AUTO – Medium Attack (5ms), Dual Decay Release (T1 500ms, T2 1s)</li>\n	</ul>\n	<li>BLEND control with 31 detents allows the user to mix the uncompressed (dry) signal with compressed (wet) signal.</li>\n	<li>S/C HPF switch allows the user to insert a 12dB/octave 150Hz high-pass filter in the compressor sidechain.</li>\n	<li>Two Peak LED meters show output level and gain reduction </li>\n</ul>\n<br/>\n<h3>The Diode Bridge</h3>\nWhere the VCA compressor found in the 543 and Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix. Mr. Rupert Neve’s original diode bridge compressors like the 2254 served as an inspiration for the design of the 535. By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce the unique tone of the 2254 while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself. Delivering the powerful sound of these classic designs with enhanced flexibility for the modern age, the 535 is a dynamic tool equipped to make a statement on virtually any track. \n<br/><br/>\n<h3>Timing is Everything</h3>\nThe unified TIMING control is comprised of six selectable settings, carefully chosen for different applications – a major departure from the fixed attack of the 2254. FAST and MF settings are designed to help clamp down on more transient signals like drums, plucked string instruments and fast vocals. MED and MS have slightly slower attacks and releases which can allow more transients through while having a slightly longer recovery. Lastly, SLOW and AUTO are both significantly slower, and are designed for smoother level control.\n<br/><br/>\nFAST mode increases the speed of both attack and release for each setting, effectively doubling the number of time constants from 6 to 12. The FAST mode also allows for a dramatic increase in speed as compared to the 535’s renowned ancestors, providing significantly more tonal & operational versatility.<br/><br/>\nFaster TIMING settings will generally lead to higher peak-to-peak control voltage ripple, and therefore induce more harmonic content, translating into more color in the main audio path. Slower TIMING settings will smooth the control voltage significantly, and thereby reduce the harmonic content added to the audio path, resulting in more transparent compression. It is also worth noting that due to the nature of this topology, these time constants adapt themselves slightly depending on several factors: compression ratio, threshold, and source material. This dynamically generated timing shift and harmonic content is what gives the Diode Bridge Compressor its unique personality.<br/><br/>\n<h3>The Right Blend</h3>\nGiven the naturally colored sonic signature of the 535’s diode bridge, this built-in parallel compression ability is especially useful. The BLEND control allows the user to inject smaller amounts of extreme compression into an otherwise unaffected signal, creating an enhanced yet natural sound that maintains dynamic range with blendable color and punch.\n<br/><br/>\n<h3>Take Control</h3>\nIn addition to the TIMING control, the diode bridge compressor can be further manipulated by the RATIO, THRESHOLD, GAIN, SC HPF and LINK controls.  The RATIO control has six selectable positions on the rotary switch and allows the user to set the slope of the compressor curve, with pre-selected ratios of 1.5:1 through 8:1. The THRESHOLD control has 31 detents and allows the user to adjust the point at which compression begins, ranging from -25dBu to +20dBu. The GAIN control has 31 detents to add make-up gain ranging from -6dB to +20dB. The S/C HPF is 12dB/octave sidechain high-pass filter with a frequency set to 150Hz. This feature can be immensely useful for making the compressor respond less to the powerful – and often more sustaining – low frequencies in a mix or instrument, which may otherwise give the compressor a more “mushy” response. LINK is designed to utilize the 500-series link buss built into many 500 series racks like the R6 or R10 (check your rack’s manual for details). When both units have link engaged and connected, the control voltage is shared between them – so when one unit is triggered, it will trigger the other unit equally. This can often help maintain a solid center image in a stereo source. Note: for stereo sources, it is always worth auditioning the “unlinked” sound as well, as linking can sometimes clamp down on the effective stereo width when the compressors are triggered by one side.\n<br/><br/>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\"/>\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\"/></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(9465,85,0,1578,'Rupert Neve Designs 535 - 500 Series Diode Bridge Compressor'),(9466,85,1,1578,'Rupert Neve Designs 535 - 500 Series Diode Bridge Compressor'),(9467,76,0,1578,''),(9468,76,1,1578,''),(9469,75,0,1579,'<h1>Rupert Neve Designs 542 — 500-Series Tape Emulator with Silk </h1>\n<span style=\"font-size:16px; font-style:italic;\">Neve’s “True Tape” saturation simulation plus soft clip and Silk/Texture controls for greater harmonic options</span><br /><br />\nThe TEC Award-nominated Rupert Neve Designs Portico 542 is a 500-series version of the <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-5042-H-2-Ch-True-Tape-p/rnd-5042-h.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico 5042</a>. The 542 delivers the same thick, musical simulation of tape, plus it has some new features that offer additional sonic options for even greater creative control of program material. In addition to the Portico 542’s “true tape” circuitry, which is great for bringing out 3rd-order harmonics, the 542 also incorporates a soft-clip circuit that tames the harshest sources and enhances 2nd-order harmonics. The Portico 542 also has Rupert Neve Designs’ variable and versatile Silk/Texture circuit that gives you three transformer tones in one, and a wet/dry control to blend in the perfect amount of saturation. If you’re looking for the ultimate color box, add an RND Portico 542 Tape Emulator to your 500-series power rack. <br /><br />\n<h3>Rupert Neve Designs Portico 542 Tape Emulator unique features:</h3>\n<ul>\n	<li>True Tape circuitry brings out 3rd-order harmonics</li>\n	<li>Silk/Texture circuit for three transformer tones in one</li>\n	<li>Soft-clip circuit enhances 2nd-order harmonics</li>\n</ul>\n<br />\n<h3>Rupert Neve Designs Portico 542 Tape Emulator key features:</h3>\n<ul>\n	<li>Wet/dry mix control</li>\n	<li>15/30 IPS selects the pre-emphasis, de-emphasis, record, or replay tape characteristics</li>\n	<li>Trim provides ±12dB adjustment of level on incoming signal levels prior to tape circuit</li>\n	<li>Saturation controls the signal level being sent to the \"tape head\" circuit</li>\n	<li>Blend controls the mix of pre- and post-tape signals</li>\n	<li>Soft clip tames overly transient material, such as drums</li>\n	<li>Two eight-segment LED bar graph meters for output level and drive metering</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Rupert Neve Designs Portico 542 Tape Emulator</h3>\nThe Portico 542 consists of a line-driving amplifier with transformer-balanced inputs and outputs. These amplifiers are capable of enhancing the sonic quality of many signal sources via galvanic isolation and freedom from grounding problems. The sonic signature is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago.\n<br /><br />\n<h3>Getting the Most Out of the Portico 542</h3>\nIn the early days of recording, tape’s non-linearity was generally looked upon as more of a curse than a feature, and the advent of linear digital systems that has left us longing for the quirks of non-linear audio processing. Unlike linear designs, non-linear devices require the user to actively experiment with gain staging to find the “sweet spot” of the circuit. Although this requires a small amount of effort on part of the engineer, if used properly, the effect can add a dynamic aspect to performances that can enhance the impact of a song.\n<br /><br />\nThe non-linearity in the 542’s “True Tape” circuitry and Saturation control necessitate taking note of both drive and input levels. How levels are staged into the 542’s tape circuit can significantly impact tone, depending on the position of the saturation control and the drive level on the tape circuit. As saturation is increased, low-frequency compensation is decreased, and at a drive level of 5, the soft clipper enters the circuit. Finding the best balance point between low-frequency response, total harmonic distortion, and desired soft clipping, require playing with a combination of the saturation, trim, and blend controls, and may also include using dynamics processing and proper gain staging before the 542.<br /><br />\n<h3>Adding Texture</h3>\nBoth Silk modes are modified and fine-tuned by the “Texture” control. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly four times the amount of coloration found in Silk from the original Portico Series. With Silk/Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s vintage class-A designs. These controls add another realm of tonal control to the 542 and should be explored creatively in conjunction with the “True Tape” for best effect.\n<br /><br />\n<h3>OUTSIDE THE BOX — Rupert Neve Designs Portico 542 Tape Emulator</h3>\nThe Portico 542 Tape Emulator controls and their functions:\n<br /><br />\n<strong>Tape In:</strong> Sends the signal through the “True Tape” circuitry, which is affected by the saturation, blend and 15/30 IPS controls.<br /><br />\n<strong>Trim:</strong> Provides ±12dB adjustment of level on incoming signal levels, prior to the tape circuit.<br /><br />\n<strong>Saturation:</strong> Controls the signal level being sent to the \"tape head\" circuit. As the saturation level increases, the level on the “record” head rises, and the replay gain is reduced so that the overall output signal level remains more or less constant. In a real tape recorder, you would adjust the record and replay gain controls separately. However, in the 542, the record and replay gain controls are coupled so that the overall signal level only varies as the “Tape” saturation level changes. As you approach maximum saturation setting, the output signal level will drop due to the effect of extreme saturation and soft clip.<br /><br />\nAdditionally, to compensate for low-frequency loss at low “record head” levels, the saturation knob also controls a low-frequency compensation circuit that boosts low frequencies more at low saturation levels, and tapers off at higher levels. This function can be useful on many sources like bass and kick drum to find the balance between a clean, boosted low end (low saturation) and a denser, more saturated low end (high-saturation).<br /><br />\n<strong>15/30 IPS:</strong> Selects the pre-emphasis/de-emphasis, record/replay tape characteristic. The 15 IPS mode has a significant “head bump” in the low frequencies centered on 60Hz, as well as a more pronounced roll-off in the high frequencies. The 30 IPS mode is generally a flatter response through the high-end with a head bump around 120Hz. <br /><br />\n<strong>Blend:</strong> Controls the mix of pre and post tape signals, allowing the engineer to dial in a subtle amount of the tape effect to better control the amount of saturation, tone, and soft clipping in the post-blend signal. As the signal gets more saturated, dialing back the blend can be a great way to impart the feel of tape, while maintaining a similar level of detail and transparency. <br /><br />\n**Note: The blend control does not affect the Silk and Texture controls, as that circuitry is located at the physical output of the unit.<br /><br />\n<strong>Soft Clip:</strong> A soft clip engages in the “True Tape” circuitry when the drive meter hits 5 (first yellow LED), and becomes more apparent at higher levels. The soft clip can be used as a way to tame overly transient material like drums and can be controlled further by using the blend control.<br /><br />\n<strong>Silk/Texture:</strong> Pushing the Silk button engages the Silk Red circuit. Pushing it a second time introduces Silk Blue circuitry. Silk reduces the negative feedback on the output transformer adding harmonic content as the texture is increased. Silk Blue mode features more saturation in the lows and low mids, whereas Silk Red accentuates the saturation in the high mids and highs.<br /><br />\n<strong>Level/Drive Meters:</strong> Two eight-segment LED bar graph meters are fitted to the 542 for output level and drive metering. The level meter shows the output level of the 542 before the Silk circuit and the drive meter reflects the level on the “record head” when the tape effect is engaged. The soft-clip circuit is present at Drive levels above 5.<br /><br />\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br /><br />\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br /><br />\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br /><br />\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br /><br />\n<h3>If you’re looking to add some non-linear secret sauce to your linear digital recordings, put a Rupert Neve Designs Portico 542 Tape Emulator to your 500-series power rack. For more information, call or chat with an RSPE representative today.</h3>'),(9470,75,1,1579,'<h1>Rupert Neve Designs 542 — 500-Series Tape Emulator with Silk </h1>\n<span style=\"font-size:16px; font-style:italic;\">Neve’s “True Tape” saturation simulation plus soft clip and Silk/Texture controls for greater harmonic options</span><br /><br />\nThe TEC Award-nominated Rupert Neve Designs Portico 542 is a 500-series version of the <a href=\"http://www.rspeaudio.com/Rupert-Neve-Portico-5042-H-2-Ch-True-Tape-p/rnd-5042-h.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Portico 5042</a>. The 542 delivers the same thick, musical simulation of tape, plus it has some new features that offer additional sonic options for even greater creative control of program material. In addition to the Portico 542’s “true tape” circuitry, which is great for bringing out 3rd-order harmonics, the 542 also incorporates a soft-clip circuit that tames the harshest sources and enhances 2nd-order harmonics. The Portico 542 also has Rupert Neve Designs’ variable and versatile Silk/Texture circuit that gives you three transformer tones in one, and a wet/dry control to blend in the perfect amount of saturation. If you’re looking for the ultimate color box, add an RND Portico 542 Tape Emulator to your 500-series power rack. <br /><br />\n<h3>Rupert Neve Designs Portico 542 Tape Emulator unique features:</h3>\n<ul>\n	<li>True Tape circuitry brings out 3rd-order harmonics</li>\n	<li>Silk/Texture circuit for three transformer tones in one</li>\n	<li>Soft-clip circuit enhances 2nd-order harmonics</li>\n</ul>\n<br />\n<h3>Rupert Neve Designs Portico 542 Tape Emulator key features:</h3>\n<ul>\n	<li>Wet/dry mix control</li>\n	<li>15/30 IPS selects the pre-emphasis, de-emphasis, record, or replay tape characteristics</li>\n	<li>Trim provides ±12dB adjustment of level on incoming signal levels prior to tape circuit</li>\n	<li>Saturation controls the signal level being sent to the \"tape head\" circuit</li>\n	<li>Blend controls the mix of pre- and post-tape signals</li>\n	<li>Soft clip tames overly transient material, such as drums</li>\n	<li>Two eight-segment LED bar graph meters for output level and drive metering</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Rupert Neve Designs Portico 542 Tape Emulator</h3>\nThe Portico 542 consists of a line-driving amplifier with transformer-balanced inputs and outputs. These amplifiers are capable of enhancing the sonic quality of many signal sources via galvanic isolation and freedom from grounding problems. The sonic signature is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago.\n<br /><br />\n<h3>Getting the Most Out of the Portico 542</h3>\nIn the early days of recording, tape’s non-linearity was generally looked upon as more of a curse than a feature, and the advent of linear digital systems that has left us longing for the quirks of non-linear audio processing. Unlike linear designs, non-linear devices require the user to actively experiment with gain staging to find the “sweet spot” of the circuit. Although this requires a small amount of effort on part of the engineer, if used properly, the effect can add a dynamic aspect to performances that can enhance the impact of a song.\n<br /><br />\nThe non-linearity in the 542’s “True Tape” circuitry and Saturation control necessitate taking note of both drive and input levels. How levels are staged into the 542’s tape circuit can significantly impact tone, depending on the position of the saturation control and the drive level on the tape circuit. As saturation is increased, low-frequency compensation is decreased, and at a drive level of 5, the soft clipper enters the circuit. Finding the best balance point between low-frequency response, total harmonic distortion, and desired soft clipping, require playing with a combination of the saturation, trim, and blend controls, and may also include using dynamics processing and proper gain staging before the 542.<br /><br />\n<h3>Adding Texture</h3>\nBoth Silk modes are modified and fine-tuned by the “Texture” control. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly four times the amount of coloration found in Silk from the original Portico Series. With Silk/Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s vintage class-A designs. These controls add another realm of tonal control to the 542 and should be explored creatively in conjunction with the “True Tape” for best effect.\n<br /><br />\n<h3>OUTSIDE THE BOX — Rupert Neve Designs Portico 542 Tape Emulator</h3>\nThe Portico 542 Tape Emulator controls and their functions:\n<br /><br />\n<strong>Tape In:</strong> Sends the signal through the “True Tape” circuitry, which is affected by the saturation, blend and 15/30 IPS controls.<br /><br />\n<strong>Trim:</strong> Provides ±12dB adjustment of level on incoming signal levels, prior to the tape circuit.<br /><br />\n<strong>Saturation:</strong> Controls the signal level being sent to the \"tape head\" circuit. As the saturation level increases, the level on the “record” head rises, and the replay gain is reduced so that the overall output signal level remains more or less constant. In a real tape recorder, you would adjust the record and replay gain controls separately. However, in the 542, the record and replay gain controls are coupled so that the overall signal level only varies as the “Tape” saturation level changes. As you approach maximum saturation setting, the output signal level will drop due to the effect of extreme saturation and soft clip.<br /><br />\nAdditionally, to compensate for low-frequency loss at low “record head” levels, the saturation knob also controls a low-frequency compensation circuit that boosts low frequencies more at low saturation levels, and tapers off at higher levels. This function can be useful on many sources like bass and kick drum to find the balance between a clean, boosted low end (low saturation) and a denser, more saturated low end (high-saturation).<br /><br />\n<strong>15/30 IPS:</strong> Selects the pre-emphasis/de-emphasis, record/replay tape characteristic. The 15 IPS mode has a significant “head bump” in the low frequencies centered on 60Hz, as well as a more pronounced roll-off in the high frequencies. The 30 IPS mode is generally a flatter response through the high-end with a head bump around 120Hz. <br /><br />\n<strong>Blend:</strong> Controls the mix of pre and post tape signals, allowing the engineer to dial in a subtle amount of the tape effect to better control the amount of saturation, tone, and soft clipping in the post-blend signal. As the signal gets more saturated, dialing back the blend can be a great way to impart the feel of tape, while maintaining a similar level of detail and transparency. <br /><br />\n**Note: The blend control does not affect the Silk and Texture controls, as that circuitry is located at the physical output of the unit.<br /><br />\n<strong>Soft Clip:</strong> A soft clip engages in the “True Tape” circuitry when the drive meter hits 5 (first yellow LED), and becomes more apparent at higher levels. The soft clip can be used as a way to tame overly transient material like drums and can be controlled further by using the blend control.<br /><br />\n<strong>Silk/Texture:</strong> Pushing the Silk button engages the Silk Red circuit. Pushing it a second time introduces Silk Blue circuitry. Silk reduces the negative feedback on the output transformer adding harmonic content as the texture is increased. Silk Blue mode features more saturation in the lows and low mids, whereas Silk Red accentuates the saturation in the high mids and highs.<br /><br />\n<strong>Level/Drive Meters:</strong> Two eight-segment LED bar graph meters are fitted to the 542 for output level and drive metering. The level meter shows the output level of the 542 before the Silk circuit and the drive meter reflects the level on the “record head” when the tape effect is engaged. The soft-clip circuit is present at Drive levels above 5.<br /><br />\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br /><br />\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br /><br />\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br /><br />\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br /><br />\n<h3>If you’re looking to add some non-linear secret sauce to your linear digital recordings, put a Rupert Neve Designs Portico 542 Tape Emulator to your 500-series power rack. For more information, call or chat with an RSPE representative today.</h3>'),(9471,85,0,1579,'Rupert Neve Portico 542 - 500 Series Tape Emulator with Silk'),(9472,85,1,1579,'Rupert Neve Portico 542 - 500 Series Tape Emulator with Silk'),(9473,76,0,1579,''),(9474,76,1,1579,''),(9475,75,0,1580,'<h1>Rupert Neve Designs 543 — 500-Series Mono Compressor/Limiter</h1>\n<span style=\"font-size:16px; font-style:italic;\">Unobtrusive dynamic control with selectable feed-forward/feedback modes, Peak/RMS detection and a built-in sidechain high-pass filter</span><br /><br />\nThe Rupert Neve Designs Portico 543 is a 500-series version of the highly regarded Portico 5043. The Portico 543 module is a full-featured compressor-limiter that allows you select between highly accurate feed-forward operation and the sweet musicality of feedback-style compression. Drawing on the unrivaled heritage of Mr. Rupert Neve along with an impressive feature set, the 500-series Portico 543 gives you the sonic signature of Neve’s custom transformer designs, individually controllable threshold, attack, release, makeup gain, ratio, Peak/RMS detection, and a built-in sidechain high-pass filter. On top of that, with the compressor inactive, the 543 compressor can be used as a transformer-coupled, high-performance line amplifier. Plus, two Portico 543 compressors can be linked for stereo operation as well. The Portico 543 chassis is built to standard 500-series specifications, with power and I/O provided by the rack.<br /><br />\n<h3>Rupert Neve Designs Portico 543 Compressor/Limiter unique features:</h3>\n<ul>\n	<li>Selectable feedback and feed-forward operation for classic or modern VCA response</li>\n	<li>Selectable Peak/RMS operation for clip prevention or natural-sounding program compression </li>\n	<li>Selectable 250Hz sidechain high-pass filter prevents sustained bass from activating compression </li>\n	<li>Can be used as a transformer-coupled, high-performance line amplifier</li>\n</ul>\n<h3>Rupert Neve Designs Portico 543 Compressor/Limiter key features:</h3>\n<ul>\n	<li>Gain range provided is from -6dB to +20dB</li>\n	<li>Ratio from 1:1 to 40:1</li>\n	<li>Threshold range from -30dBu to +20dBU</li>\n	<li>Attack time from 20mS to 75mS</li>\n	<li>Release/Recovery Time: Range of release time is 100mS to 2.5 Sec.</li>\n	<li>Stereo link operation also allows ducking</li>\n	<li>Two Peak LED meters show output level and gain reduction </li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Rupert Neve Designs Portico 543 Compressor/Limiter</h3>\n<h3>How the Compressor Works</h3>\nIn order to control gain, the Portico 543 compressor-limiter makes use of a very accurate, low-noise, low-distortion VCA having essentially no signature of its own for sonically transparent gain reduction. \n<br /><br />\nAll Portico modules use input and output transformers and almost entirely discrete component amplifiers to produce the musical signature for which they are known. These are factors that enable the Portico 543 to work unobtrusively within the context of a very high-quality audio chain.<br /><br />\n<h3>Feedback/Feed-forward</h3>\nThe 543 also has the ability to switch between feed-forward and feedback modes. If the VCA Control voltage is taken from the 543’s output, (i.e. after the VCA) it cannot act immediately on the VCA because it has already been modified by settings of the VCA and circuits through which it has passed. This is known as a feedback compressor. The two compression characteristics are quite different; there is more overshoot and both the attack and recovery ramps are changed, providing the user with powerful choices.  In most of Mr. Rupert Neve’s earliest designs, feedback detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF/FB switch, both classic and modern VCA responses are available.\n<br /><br />\n<h3>RMS or Peak?</h3>\nOne of the more unique features of the 543 is the new Peak/RMS mode also found in the Portico II Channel. This switch allows the VCA to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, peak mode uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own.\n<br /><br />\n<h3>Ratio and Threshold</h3>\nAbove a given threshold, signals are reduced by an adjustable amount ranging from 1:1 (which is linear, or no reduction at all), to more than 40:1 which is equivalent to that of a limiter. Ratio is sometimes referred to as slope, because when depicted on a graph, the slope of the graph representing output versus input is what changes. Threshold control covers the Range from below -30dB to +22dBu. When threshold is set at a low level with a fairly high ratio, the amount of gain reduction will be considerable and it may be necessary to use some gain after the compressor to restore the apparent signal level.\n<br /><br />\n<h3>OUTSIDE THE BOX — Rupert Neve Designs Portico 543 Compressor/Limiter</h3>\n<strong>Compression:</strong> For signals below the \"threshold\" level that has been set, a compressor provides a linear path allowing signals to be amplified without the gain being adjusted in any way. When signals exceed the \"threshold\" level, the gain is reduced in a controlled manner that depends on the Ratio that has been set<br /><br />\n<strong>Gain:</strong> Gain range provided is from -6dB to +20dB. As already noted, when compression has taken place, it may be necessary to increase the overall gain to restore the apparent program level<br /><br />\n<strong>Peak:</strong> When engaged, the 543 uses a combination of peak and RMS (average) detection to determine level. When disengaged, it follows just RMS<br /><br />\n<strong>SC HPF:</strong> Introduces a HPF at 250Hz to the VCA side chain signal. This allows the compressor to disregard sustained low frequency content<br /><br />\n<strong>Ratio:</strong> Range from 1:1 to LIMIT (i.e. 40:1)<br /><br />\n<strong>Threshold:</strong> Range from -30dBu to +20dBU<br /><br />\n<strong>Attack Time:</strong> Range from 20mS to 75mS<br /><br />\n<strong>Release / Recovery Time:</strong> Range of release time is 100 mS to 2.5 Seconds.<br /><br />\n<strong>Stereo Operation:</strong> When the link switch is engaged on two 543 modules and settings are approximately the same values; gain reduction on both channels will be the same to preserve stereo balance and position. This will work properly in link buss enabled 500 series racks, or by hardwiring two 543 modules link busses together in non-compatible racks<br /><br />\n<strong>Ducking:</strong> When the link switch is engaged on two connected Portico 543 modules, the signal passing through the first module may be used to control the amplitude of a second module. For example, the level of music through channel A can be controlled by speech on channel B, i.e. reducing the music level to make a \"speech-over\" announcement<br /><br />\n<strong>Meters:</strong> Two Peak LED meters are provided that show output level and gain reduction. The output level meter covers the range from -10 to +22dBu and above which is regarded as overload. Reduction is calibrated in dB covering the range +1 to 22dBu, reading from right to left\n<br /><br />\n<h3>Who’s using Rupert Neve Designs </h3>\nSeriously?\n<br /><br />\n<h3>About Rupert Neve Designs</h3>\nIn 2005, the company acquired new premises in Wimberley, Texas to handle the increasing demand for products embodying the principles of very high musical quality that has become synonymous with Rupert Neve’s name over the years. Rupert Neve Designs announced the Portico Series in 2005 to much acclaim. The Portico Series modules are high quality analog building blocks for the front and back ends of digital systems (hence the name “Portico” as in entryway). In the years since release, the Portico Series has already garnered many important industry awards including five TEC awards, multiple PAR Excellence Awards, Mix Certified Hit Awards, and a MIPA award among others.\n<br /><br />\nThe original color scheme featured grey powder coating with a black and red inlay design available in both horizontal and vertical configurations. The first eight units were the 5012 Dual Pre, The 5042 True Tape FX, The 5032 Mic Pre EQ, The 5043 Dual Mono / Stereo Compressor, 5033 Five Band EQ, 5016 Mic Pre/DI (discontinued), 5014 Stereo Field Editor, and 5015 Mic Pre Compressor. <br /><br />\nIn 2009, the 5088 High Voltage and Discrete Mix System were released as the ultimate word in mix bus sound quality. The modular mix system is configurable to the user’s needs, and utilizes the various Portico Series modules for mic preamps and signal processing. The 90-Volt rails of the 5088 provide more than 10dB more dynamic range than any other Rupert Neve designed console, and the custom transformers on every input and output provide complete galvanic isolation. With the release of the 5088 Portico Series modules also received an update with the same style of light blue powder coating with anodized aluminum knobs.<br /><br />\n<h3>The Portico 543 Compressor-Limiter will add both classic and modern gain reduction to your 500-series collection the way only a Rupert Neve-designed compressor can. For more information, call or chat with an RSPE representative today.</h3>\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Rupert_Neve_Portico_543_RENT_p/rnd-543-cmp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),