(3241,75,0,541,'<h1>Burl Audio B32 Vancouver Summing Mixer</h1>\n<div><i>B32 VANCOUVER </i><i>32 x 2 Mix Bus.</i></div><br /><div><div><span style=\"background-color: initial;\">The Burl B32 VANCOUVER 32 channel summing mixer uses BURL AUDIO’s renowned, all discrete analog, class-A circuitry. The B32 Mix Bus employs both the transparency of the B26 ORCA, plus the switchable tonality of the proprietary BURL AUDIO BX5 output transformer.</span></div><div></div><div>In addition to the BX5, the B32 VANCOUVER introduces a new concept to the summing amplifier, GAIN BOOST. Adding GAIN BOOST to the BX5 will give your mixes that glue that you have been seeking ever since retiring your 2-track analog recorder. With 32 input channels and switchable tonality, the B32 VANCOUVER will allow your mixes to thrive in depth, warmth and clarity. Use the B32 VANCOUVER in conjunction with the B1 MIC PREs, the B80 MOTHERSHIP and the B26 ORCA and you will achieve THE COMPLETE SOLUTION.<br /></div><div>Now with BURL NextGen Analog circuitry, the B32 VANCOUVER sounds better than ever. Featuring the NEW BOPA8 op amps, the B32 will deliver tighter bass and higher definition throughout the audio spectrum. Instruments and mixes have a more 3D sound, with wider stereo image and even more depth while preserving the original shape and harmonic balance of the source. If you thought the current BURL Audio products sounded great, these new analog designs are sure to blow your mind.</div></div><br />\n<h3>Burl B32 Vancouver Features</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Discrete, class-A signal path</span></li><li><span style=\"letter-spacing: 0px;\">8 mono inputs, 24 stereo inputs</span></li><li>Audiophile 0.1% stepped attenuators</li><li>Switchable BX5 output transformer</li><li>Summing amp GAIN BOOST</li><li>Dual stereo outputs</li><li>BURL NextGen Analog circuit</li></ul><br /><h3>BURL AUDIO’s gear is designed in a commercial recording studio, by professional recording engineers, for recording engineers.. Call or Chat RSPE Audio for more information.</h3>'),(3242,75,1,541,'<h1>Burl Audio B32 Vancouver Summing Mixer</h1>\n<div><i>B32 VANCOUVER </i><i>32 x 2 Mix Bus.</i></div><br /><div><div><span style=\"background-color: initial;\">The Burl B32 VANCOUVER 32 channel summing mixer uses BURL AUDIO’s renowned, all discrete analog, class-A circuitry. The B32 Mix Bus employs both the transparency of the B26 ORCA, plus the switchable tonality of the proprietary BURL AUDIO BX5 output transformer.</span></div><div></div><div>In addition to the BX5, the B32 VANCOUVER introduces a new concept to the summing amplifier, GAIN BOOST. Adding GAIN BOOST to the BX5 will give your mixes that glue that you have been seeking ever since retiring your 2-track analog recorder. With 32 input channels and switchable tonality, the B32 VANCOUVER will allow your mixes to thrive in depth, warmth and clarity. Use the B32 VANCOUVER in conjunction with the B1 MIC PREs, the B80 MOTHERSHIP and the B26 ORCA and you will achieve THE COMPLETE SOLUTION.<br /></div><div>Now with BURL NextGen Analog circuitry, the B32 VANCOUVER sounds better than ever. Featuring the NEW BOPA8 op amps, the B32 will deliver tighter bass and higher definition throughout the audio spectrum. Instruments and mixes have a more 3D sound, with wider stereo image and even more depth while preserving the original shape and harmonic balance of the source. If you thought the current BURL Audio products sounded great, these new analog designs are sure to blow your mind.</div></div><br />\n<h3>Burl B32 Vancouver Features</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">Discrete, class-A signal path</span></li><li><span style=\"letter-spacing: 0px;\">8 mono inputs, 24 stereo inputs</span></li><li>Audiophile 0.1% stepped attenuators</li><li>Switchable BX5 output transformer</li><li>Summing amp GAIN BOOST</li><li>Dual stereo outputs</li><li>BURL NextGen Analog circuit</li></ul><br /><h3>BURL AUDIO’s gear is designed in a commercial recording studio, by professional recording engineers, for recording engineers.. Call or Chat RSPE Audio for more information.</h3>'),(3243,85,0,541,'Burl Audio B32 Vancouver Summing Mixer'),(3244,85,1,541,'Burl Audio B32 Vancouver Summing Mixer'),(3245,76,0,541,''),(3246,76,1,541,''),(3247,75,0,542,'<h1>Burl Audio B80 Mothership 80-Channel Configurable AD/DA Interface</h1>\n<div>\n	<i>The B80 Mothership takes care of any music, live sound, broadcast or film recording environment, revolutionizing pro audio as we know it!</i>\n</div>\n<br /><br />\n		The Burl B80 MOTHERSHIP has redefined digital recording. For anyone who has felt that digital recording has been lacking soul, warmth, and musicality, the B80 MOTHERSHIP is the answer. Building on the technology of the two-channel B2 BOMBERS, the B80 MOTHERSHIP was forged from BURL AUDIO’S deep dedication to analog class-A circuitry. The result is not only heard, but it is also felt. The MOTHERSHIP stands out from every other interface on the market not because it is colored, but because it does not sterilize the source.\n<br /><br />\n		Pushing the boundaries once again, the B80 MOTHERSHIP AD/DA converter has up to 80 analog channel capability. Using a card-based system, and a heavy-duty 4U chassis, the B80 MOTHERSHIP employs 10 card slots with 4 and 8 channel AD/DA cards, all with class-A, discrete electronics without any integrated circuits or capacitors in the signal path. The B80 MOTHERSHIP is the result of over 30 years of tireless research and development. The no-compromise, no BS design strategy is immediately apparent in the build quality.\n<br /><br />\n		Recording an entire band and playing back entirely through the B80 MOTHERSHIP is truly a beautiful experience. With a completely configurable AD/DA interface, a converter for any situation can be realized. If you’re a mix engineer, load up the B80 with 8 BDA8 cards and a BDA4M for 68 channels of mind-blowing fidelity. If you track live, 8 BAD8 cards will give you 64 line-level inputs, or 10 B4 Mic Pres loaded up in a single B80 Chassis will give you 40 channels of Mic Pre AND A/D conversion. Rocking!\n<br /><br />\n		Digital interconnect is also completely configurable and controlled by a swappable motherboard. BURL AUDIO offers four digital motherboards for the B80; the BMB1 (Digi-link), BMB2 (MADI), BMB3 (Dante) and BMB4 (SoundGrid).\n<br /><br />\n		The BMB1 comes standard with two DigiLink connectors for direct hookup to Pro Tools. BURL AUDIO does away with the expansion port, making both ports primary. That means you can play 64 DAC channels straight out of Pro Tools with one unit!\n<br /><br />\n		The BMB2 features two optical MADI ports for use with ASIO or CORE AUDIO PCIe MADI cards. With two optical ports, 64in/64out at 44.1k, 48k, 88.2k, 96k, and 32in/32out at 176.4k, and 192k are supported.\n<br /><br />\n		The BMB3 features two Ethernet ports for use with DANTE enabled DAWs and any DANTE enabled device, such as a digital mixing console. With two DANTE ports, 64in/64out at 44.1k, 48k, 88.2k, 96k, and 32in/32out at 176.4k, and 192k are supported.\n<br /><br />\n		The BMB4 features an Ethernet port for 64 IO channels of Waves SoundGrid connectivity. SoundGrid is an Audio-over-Ethernet networking and processing technology developed by Waves. With 6 BAD8s and 4 BDA8s, a 48×32 IO can be achieved. With 2 BAD8s and 8 BDA8s, a 16×64 IO can be achieved.\n<br /><br />\n		No more cascading units with multiple word clocks. All channels can run off of one internal master clock. Good bye word clock generator! Of course, if you do need more channels, multiple B80 chassis run flawlessly with tight clocking. With each BCLK card, add 9 additional word clock outputs per slot. 92 total word clock outputs are possible per B80 MOTHERSHIP.\n<br /><br />\n		The technology that makes this all possible is the BURL BACKBONE. The BURL BACKBONE is a high bandwidth backplane delivering incredible digital audio throughput. Master clock travels directly to each Daughter Card eliminating the need for individual PLLs.\n<br /><br />\n		Configuring a B80 MOTHERSHIP is literally a snap. Slide the Daughter Card into the card guide, snap it into the BURL BACKBONE, turn the thumbscrews, and you’re there.\n<br /><br />\n		Powering a unit like the B80 MOTHERSHIP takes some juice, so we designed the BP300 to drive the 80 channels of class-A analog circuitry. With a 300-watt continuous power capability, and +/- 24-volt rails, a multi-channel AD/DA converter is finally getting the power it deserves.\n<br /><br />\n		In this digital era, many yearn for the tone of records past, and analog tape is becoming a lost art. The B80 MOTHERSHIP clearly bridges this analog to digital gap.\n<br />\n<br />\n<h3>Burl B80 Mothership Features</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">4U main chassis</span></li>\n	<li>4 Motherboard Interface Options<ul><li>BMB1 (DigiLink) motherboard</li><li>BMB2 (MADI) motherboard</li><li>BMB3 (Dante) motherboard</li><li>BMB4 (SoundGrid) motherboard</li></ul></li>\n	\n	\n	\n	<li>1 BNC Word Clock In</li>\n	<li>2 BNC Word Clock Out</li>\n	<li>10 card slots</li>\n	<li>All slots accept AD/DA, AES and BCLK</li>\n	<li>4 and 8 channel analog cards</li>\n</ul>\n<br />\n<h3>BURL AUDIO’s gear is designed in a commercial recording studio, by professional recording engineers, for recording engineers.. Call or Chat RSPE Audio for more information.</h3>'),(3248,75,1,542,'<h1>Burl Audio B80 Mothership 80-Channel Configurable AD/DA Interface</h1>\n<div>\n	<i>The B80 Mothership takes care of any music, live sound, broadcast or film recording environment, revolutionizing pro audio as we know it!</i>\n</div>\n<br /><br />\n		The Burl B80 MOTHERSHIP has redefined digital recording. For anyone who has felt that digital recording has been lacking soul, warmth, and musicality, the B80 MOTHERSHIP is the answer. Building on the technology of the two-channel B2 BOMBERS, the B80 MOTHERSHIP was forged from BURL AUDIO’S deep dedication to analog class-A circuitry. The result is not only heard, but it is also felt. The MOTHERSHIP stands out from every other interface on the market not because it is colored, but because it does not sterilize the source.\n<br /><br />\n		Pushing the boundaries once again, the B80 MOTHERSHIP AD/DA converter has up to 80 analog channel capability. Using a card-based system, and a heavy-duty 4U chassis, the B80 MOTHERSHIP employs 10 card slots with 4 and 8 channel AD/DA cards, all with class-A, discrete electronics without any integrated circuits or capacitors in the signal path. The B80 MOTHERSHIP is the result of over 30 years of tireless research and development. The no-compromise, no BS design strategy is immediately apparent in the build quality.\n<br /><br />\n		Recording an entire band and playing back entirely through the B80 MOTHERSHIP is truly a beautiful experience. With a completely configurable AD/DA interface, a converter for any situation can be realized. If you’re a mix engineer, load up the B80 with 8 BDA8 cards and a BDA4M for 68 channels of mind-blowing fidelity. If you track live, 8 BAD8 cards will give you 64 line-level inputs, or 10 B4 Mic Pres loaded up in a single B80 Chassis will give you 40 channels of Mic Pre AND A/D conversion. Rocking!\n<br /><br />\n		Digital interconnect is also completely configurable and controlled by a swappable motherboard. BURL AUDIO offers four digital motherboards for the B80; the BMB1 (Digi-link), BMB2 (MADI), BMB3 (Dante) and BMB4 (SoundGrid).\n<br /><br />\n		The BMB1 comes standard with two DigiLink connectors for direct hookup to Pro Tools. BURL AUDIO does away with the expansion port, making both ports primary. That means you can play 64 DAC channels straight out of Pro Tools with one unit!\n<br /><br />\n		The BMB2 features two optical MADI ports for use with ASIO or CORE AUDIO PCIe MADI cards. With two optical ports, 64in/64out at 44.1k, 48k, 88.2k, 96k, and 32in/32out at 176.4k, and 192k are supported.\n<br /><br />\n		The BMB3 features two Ethernet ports for use with DANTE enabled DAWs and any DANTE enabled device, such as a digital mixing console. With two DANTE ports, 64in/64out at 44.1k, 48k, 88.2k, 96k, and 32in/32out at 176.4k, and 192k are supported.\n<br /><br />\n		The BMB4 features an Ethernet port for 64 IO channels of Waves SoundGrid connectivity. SoundGrid is an Audio-over-Ethernet networking and processing technology developed by Waves. With 6 BAD8s and 4 BDA8s, a 48×32 IO can be achieved. With 2 BAD8s and 8 BDA8s, a 16×64 IO can be achieved.\n<br /><br />\n		No more cascading units with multiple word clocks. All channels can run off of one internal master clock. Good bye word clock generator! Of course, if you do need more channels, multiple B80 chassis run flawlessly with tight clocking. With each BCLK card, add 9 additional word clock outputs per slot. 92 total word clock outputs are possible per B80 MOTHERSHIP.\n<br /><br />\n		The technology that makes this all possible is the BURL BACKBONE. The BURL BACKBONE is a high bandwidth backplane delivering incredible digital audio throughput. Master clock travels directly to each Daughter Card eliminating the need for individual PLLs.\n<br /><br />\n		Configuring a B80 MOTHERSHIP is literally a snap. Slide the Daughter Card into the card guide, snap it into the BURL BACKBONE, turn the thumbscrews, and you’re there.\n<br /><br />\n		Powering a unit like the B80 MOTHERSHIP takes some juice, so we designed the BP300 to drive the 80 channels of class-A analog circuitry. With a 300-watt continuous power capability, and +/- 24-volt rails, a multi-channel AD/DA converter is finally getting the power it deserves.\n<br /><br />\n		In this digital era, many yearn for the tone of records past, and analog tape is becoming a lost art. The B80 MOTHERSHIP clearly bridges this analog to digital gap.\n<br />\n<br />\n<h3>Burl B80 Mothership Features</h3>\n<ul>\n	<li><span style=\"letter-spacing: 0px;\">4U main chassis</span></li>\n	<li>4 Motherboard Interface Options<ul><li>BMB1 (DigiLink) motherboard</li><li>BMB2 (MADI) motherboard</li><li>BMB3 (Dante) motherboard</li><li>BMB4 (SoundGrid) motherboard</li></ul></li>\n	\n	\n	\n	<li>1 BNC Word Clock In</li>\n	<li>2 BNC Word Clock Out</li>\n	<li>10 card slots</li>\n	<li>All slots accept AD/DA, AES and BCLK</li>\n	<li>4 and 8 channel analog cards</li>\n</ul>\n<br />\n<h3>BURL AUDIO’s gear is designed in a commercial recording studio, by professional recording engineers, for recording engineers.. Call or Chat RSPE Audio for more information.</h3>'),(3249,85,0,542,'Burl Audio B80 Mothership 80-Channel Configurable AD/DA Interface'),(3250,85,1,542,'Burl Audio B80 Mothership 80-Channel Configurable AD/DA Interface'),(3251,76,0,542,''),(3252,76,1,542,''),(3253,75,0,543,'<h1>The Cargo Cult Envy Sound Design Plug-in</h1>\n<div>\n	Cargo Cult Envy is a sound design plug-in that\'s all about envelopes, stealing characteristics of one sound and applying them to another.\n	<br />	<br />\n	It\'s kinda like a morph, but it\'s really not that. It\'s part dynamics tool and part vocoder, but you won\'t use it for either of those things. It\'s officially a modulation plugin, but that doesn\'t even begin to explain what it actually does.\n	<br />	<br />\n	Envy is really a toolkit for generating unique new material, adding textures to real world recordings or mutilating sounds to create crazy sci-fi elements. It can fit a wind recording into a machine gun, add wood to foley feet, it can superimpose a drum pattern on a vacuum cleaner, or pitch dive a vocal 6 octaves just for kicks.\n	<br />	<br />\n\n<h3>Super tight dynamic envelope substitution</h3>  \nEnvy can literally fit one sound into the shape of another. The overall dynamic envelope of the source sound is aggressively forced onto the destination sound. So you can very quickly add textures to snares or horse hooves, fit dog snarls into a vocal or screams into a rocket pass-by<br />	<br />\n\n<h3>4-band Spectral Envelopes  </h3>\nLike a very broad and gentle vocoder, Envy can apply separate envelopes of 4 frequency bands. The result is that the destination sound starts to speak like the source vocal or drum pattern. The kick plays the kick-drum part, the sibilance opens up at the right times. You\'ll think you\'re hearing voices - and you are.<br />	<br />\n\n<h3>Continuously variable pitch envelopes   </h3>\nYes, you can actually draw pitch bends onto audio clips. You can make subtle intonation adjustments to dialog, or you can zoom out and draw insane 6 octave random squiggles. You can invert, reverse and undo pitch drawing. There\'s even a variable speed triangle tool for drawing vibrato that speeds up or down.<br />	<br />\n\n<h3>Harvest pitch envelopes from existing sounds   </h3>\nEnvy can actually read the pitch envelope of your source signal and apply it to other sounds. It works surprisingly well, but even when it doesn\'t, you\'re guaranteed to get something interesting, as the result is always based on real events in the source audio. So you can extract the doppler shift in a pass-by and apply it to a wind recording, or invert a bird call to flatten it out.<br />	<br />\n\n<h3>Unique Audiosuite based workflow   </h3>\nEnvy has an unusual workflow but it\'s incredibly efficient for generating new elements or layers onto your existing work. By sampling envelopes into an Audosuite plugin, Envy can render onto multiple files almost instantaneously, generating an infinite range of new material based on your original source. <br />	<br />\n\n<h3>All new pitch-shift algorithms  </h3>\nThese new pitch algorithms are designed from the ground up to work well with isolated sounds like voice, sound FX or drum loops. They\'ll sound terrible on a full mix, but that\'s not what we do most of the time. There are modes designed for dialog, transient or rhythmic sounds, and even two creative pitch modes named Bad and Worse. Bad is pretty bad but Worse really sucks. Please don\'t use Worse. <br />	<br /></div>'),(3254,75,1,543,'<h1>The Cargo Cult Envy Sound Design Plug-in</h1>\n<div>\n	Cargo Cult Envy is a sound design plug-in that\'s all about envelopes, stealing characteristics of one sound and applying them to another.\n	<br />	<br />\n	It\'s kinda like a morph, but it\'s really not that. It\'s part dynamics tool and part vocoder, but you won\'t use it for either of those things. It\'s officially a modulation plugin, but that doesn\'t even begin to explain what it actually does.\n	<br />	<br />\n	Envy is really a toolkit for generating unique new material, adding textures to real world recordings or mutilating sounds to create crazy sci-fi elements. It can fit a wind recording into a machine gun, add wood to foley feet, it can superimpose a drum pattern on a vacuum cleaner, or pitch dive a vocal 6 octaves just for kicks.\n	<br />	<br />\n\n<h3>Super tight dynamic envelope substitution</h3>  \nEnvy can literally fit one sound into the shape of another. The overall dynamic envelope of the source sound is aggressively forced onto the destination sound. So you can very quickly add textures to snares or horse hooves, fit dog snarls into a vocal or screams into a rocket pass-by<br />	<br />\n\n<h3>4-band Spectral Envelopes  </h3>\nLike a very broad and gentle vocoder, Envy can apply separate envelopes of 4 frequency bands. The result is that the destination sound starts to speak like the source vocal or drum pattern. The kick plays the kick-drum part, the sibilance opens up at the right times. You\'ll think you\'re hearing voices - and you are.<br />	<br />\n\n<h3>Continuously variable pitch envelopes   </h3>\nYes, you can actually draw pitch bends onto audio clips. You can make subtle intonation adjustments to dialog, or you can zoom out and draw insane 6 octave random squiggles. You can invert, reverse and undo pitch drawing. There\'s even a variable speed triangle tool for drawing vibrato that speeds up or down.<br />	<br />\n\n<h3>Harvest pitch envelopes from existing sounds   </h3>\nEnvy can actually read the pitch envelope of your source signal and apply it to other sounds. It works surprisingly well, but even when it doesn\'t, you\'re guaranteed to get something interesting, as the result is always based on real events in the source audio. So you can extract the doppler shift in a pass-by and apply it to a wind recording, or invert a bird call to flatten it out.<br />	<br />\n\n<h3>Unique Audiosuite based workflow   </h3>\nEnvy has an unusual workflow but it\'s incredibly efficient for generating new elements or layers onto your existing work. By sampling envelopes into an Audosuite plugin, Envy can render onto multiple files almost instantaneously, generating an infinite range of new material based on your original source. <br />	<br />\n\n<h3>All new pitch-shift algorithms  </h3>\nThese new pitch algorithms are designed from the ground up to work well with isolated sounds like voice, sound FX or drum loops. They\'ll sound terrible on a full mix, but that\'s not what we do most of the time. There are modes designed for dialog, transient or rhythmic sounds, and even two creative pitch modes named Bad and Worse. Bad is pretty bad but Worse really sucks. Please don\'t use Worse. <br />	<br /></div>'),(3255,85,0,543,'The Cargo Cult Envy Sound Design Plug-in'),(3256,85,1,543,'The Cargo Cult Envy Sound Design Plug-in'),(3257,76,0,543,''),(3258,76,1,543,''),(3259,75,0,544,'<h1>The Cargo Cult Matchbox Plug-in</h1>\n<i>\nChange Management plug-in for progressive post production professionals</i><br /><br />\nThe Cargo Cult Matchbox is a Change Management solution, aimed at anyone working in post production. It compares two versions of a reel or episode and finds every cut change, VFX tweak or dialog slip. It reveals the differences, reporting on the damage, and then retimes your sound mix, compositing work, dialog scripts, closed captions, and anything else created to picture.<br /><br />\nMatchbox inherits a lot from Conformalizer 4, our Emmy Award winning reconform tool for sound editors, but is a complete rethink of what Change Management can be. It\'s a completely new product, designed from the ground up using cutting edge tech and hand-rolled algorithms.<br /><br />\n<h3>Matchbox Key features</h3>\n<ul>\n	<li>Tracks VFX shots as they evolve</li>\n	<li>Powerful Marker system</li>\n	<li>Not reliant on pix dept. change notes</li>\n	<li>Localized in several different languages: 日本語 - 中文 - Français - Español</li>\n	<li>Export for Media Composer</li>\n	<li>Broad support for modern file formats</li>\n	<li>Tailor reconforms to each dept.</li>\n	<li>See changes in plain language</li>\n	<li>Reconform for Nuke/Hiero</li>\n</ul><br />\n<h3>Compare based on… almost anything</h3>\nIf you have any kind of handover from picture editorial, then you have enough. Matchbox can work with AAFs, EDLs, XML, change notes, as well as the actual reference video files and the guide audio.\n<br /><br />\nJust dump it all into Matchbox and ask it to Matchup anything it can find. You can search the dialog guide audio, video tracks, audio tracks, the reference movie file, or any combination in between.<br /><br />\n<h3>Audible and Visible Diffing</h3>\nMatchbox will hunt broadly, widely, even desperately to find matches for all the footage in the new reel. But then it switches gears, looking really carefully for any little differences within all those areas of matched footage.\n<br /><br />\nYou can then step through each purple Diff object, eyeballing (or earballing) each moment, and decide for yourself if it matters to you.<br /><br />\n<h3>Human friendly summaries</h3>\nSure, Matchbox can automate the reconform process, but for the humans in your crew, you first want to know what the damage is, in plain terms, and in a format you can understand at a glance.\n<br /><br />\nMatchbox will summarise the changes, even bundling up the relevant information into an email you can share with the whole post team.<br /><br />'),(3260,75,1,544,'<h1>The Cargo Cult Matchbox Plug-in</h1>\n<i>\nChange Management plug-in for progressive post production professionals</i><br /><br />\nThe Cargo Cult Matchbox is a Change Management solution, aimed at anyone working in post production. It compares two versions of a reel or episode and finds every cut change, VFX tweak or dialog slip. It reveals the differences, reporting on the damage, and then retimes your sound mix, compositing work, dialog scripts, closed captions, and anything else created to picture.<br /><br />\nMatchbox inherits a lot from Conformalizer 4, our Emmy Award winning reconform tool for sound editors, but is a complete rethink of what Change Management can be. It\'s a completely new product, designed from the ground up using cutting edge tech and hand-rolled algorithms.<br /><br />\n<h3>Matchbox Key features</h3>\n<ul>\n	<li>Tracks VFX shots as they evolve</li>\n	<li>Powerful Marker system</li>\n	<li>Not reliant on pix dept. change notes</li>\n	<li>Localized in several different languages: 日本語 - 中文 - Français - Español</li>\n	<li>Export for Media Composer</li>\n	<li>Broad support for modern file formats</li>\n	<li>Tailor reconforms to each dept.</li>\n	<li>See changes in plain language</li>\n	<li>Reconform for Nuke/Hiero</li>\n</ul><br />\n<h3>Compare based on… almost anything</h3>\nIf you have any kind of handover from picture editorial, then you have enough. Matchbox can work with AAFs, EDLs, XML, change notes, as well as the actual reference video files and the guide audio.\n<br /><br />\nJust dump it all into Matchbox and ask it to Matchup anything it can find. You can search the dialog guide audio, video tracks, audio tracks, the reference movie file, or any combination in between.<br /><br />\n<h3>Audible and Visible Diffing</h3>\nMatchbox will hunt broadly, widely, even desperately to find matches for all the footage in the new reel. But then it switches gears, looking really carefully for any little differences within all those areas of matched footage.\n<br /><br />\nYou can then step through each purple Diff object, eyeballing (or earballing) each moment, and decide for yourself if it matters to you.<br /><br />\n<h3>Human friendly summaries</h3>\nSure, Matchbox can automate the reconform process, but for the humans in your crew, you first want to know what the damage is, in plain terms, and in a format you can understand at a glance.\n<br /><br />\nMatchbox will summarise the changes, even bundling up the relevant information into an email you can share with the whole post team.<br /><br />'),(3261,85,0,544,'The Cargo Cult Matchbox Plug-in, changenote assistant, autoconform, Pro Tools'),(3262,85,1,544,'The Cargo Cult Matchbox Plug-in, changenote assistant, autoconform, Pro Tools'),(3263,76,0,544,''),(3264,76,1,544,''),(3265,75,0,545,'<h1>The Cargo Cult Slapper Delay Plug-in</h1>\n\n<i>Your favorite delay plug-in just got a big upgrade! Slapper 2 takes immersive mixing to a whole new level with support for 7.1.2 mixing.</i><br /><br />\n\nThe Cargo Cult Slapper is a multi-tap surround delay with a stunningly intuitive interface, fantastic console integration and some freakish sound design potential. You can make anything from an attic to a canyon... from a simple vocal slap to insanely complex syncopated grooves - and you\'ll do this quickly, and precisely, and with a big smile on your face.\nSlapper\'s interface is so intuitive, so ergonomically tuned, that it really is a joy to use. Whatever you do with it, it\'s always going to look exactly like it sounds.\n<br /><br />\n<h2>Slapper Features</h2>\n<h3>8 fully independent, surround-pannable delay taps  </h3>\nSo you can have very short bright delays up front with long dark echoes feeding back in the surrounds. Or a simple mono slap which slowly expands to stereo as the chorus kicks in. You can even use tape-mode to pitch warp a couple of taps while leaving the rest static.\n<br /><br />\n<h3>Fruity Sound Design with Tape-Mode varispeeding </h3>\nLike grabbing the flange of an old tape machine while feeding back into it, Slapper can varispeed a signal in realtime, as you change the delay length. The result is an incredible mind-warping speed ramp which you can directly perform using your mouse, mix surface or automation. You can even pitch dive all 8 taps at once while spinning them around the room. Just keep a bucket handy.\n<br /><br />\n<h3>Stunning object-oriented interface  </h3>\nAt The Cargo Cult we don\'t abide mimicry of ancient workflows or medieval design practices. We have carefully designed Slapper\'s interface to give the most immediate feedback, in the most intuitive way, and to give the user the most direct access possible to the objects they are hearing.\n<br /><br />\nSlapper looks exactly like it sounds... and not at all like a dusty rack mounted collection of rotary knobs and switches from 1968. <br /><br />\n<h3>Multiple filtering options  </h3>\nEach tap offers it\'s own independent damping control, under which lies a pair of filters. The HF cut is steeper while the LF cut is a little mellower. The end result is a carefully sculpted bandpass effect which gradually pushes the signal further and further into the distance as it feeds back.\n<br /><br />\nThen there are the main output filters, which present as LPF and HPF controls. These are classic 12db IIR filters which affect the overall output of the plugin, after the taps have done their work and been panned to the output channels.<br /><br />\nBy messing around with the balance between these two filtering approaches, you can achieve an incredible variety of spaces in a very short amount of time.<br /><br />\n<h3>Crazy rhythmic possibilities  </h3>\nIn combination with Sync-Mode, Slapper\'s tempo grid system opens up all kinds of wacky possibilities for timed delays. You can show and hide different grids based on tempo or prime numbers, and either snap to them or simply use them as a general guide. The result can be super precise rhythmic delays or messed up syncopated grooves that you\'ve never heard before.\n<br /><br />\nSync-Mode is also automatable so you can jump in and out of rhythmic delay mode throughout the length of your project. <br /><br />\n<h3>Massive variety and an expanding preset library  </h3>\nWe\'ve spent a lot of time playing around with Slapper and making presets and we know you\'re going to burn many hours doing the same. It\'s just so addictive that we ended up with a stack of great factory settings covering everything from tiny attics to massive exteriors and endless timed grooves. You\'ll find stuff from other users, stuff that sounds incredibly real, and stuff that sounds completely out of this world.\n<br /><br />\nAnd we\'re going to keep growing the library with each release and as more and more people share their favourite settings. So send them in and we\'ll immortalise your custom environments in the next release of Slapper. <br /><br />\n<h3>Beautiful, complex, realistic spaces, without dense reverb tails.  </h3>\nWith 8 taps and full panning freedom, Slapper is probably going to cut your reverb usage down considerably. Here at the Cargo Cult, we\'ve been reaching for the delay most of the time, and finding less and less use for traditional reverbs. Delays are discrete in both time and space, so even a small mount of Slapper can nicely define a space or a movement through the room, without getting lost in the mix.\n<br /><br />\n<h3>Fantastic console integration  </h3>\nWe\'ve put a lot of thought into the console layouts for Slapper, and we reckon you can get great results really quickly by setting up spaces on a hardware controller.\n<br /><br />\nThe layouts for the bigger consoles are incredibly intuitive, with a single channel strip representing a single tap, and the 8 taps spread across an 8-fader bucket. Even the little Artist Mix presents Slapper in a very ergonomic way, with each page covering a single tap plus the main output filters and 8 enable buttons on every page. <br /><br />\n<h3>Wide range of input/output formats  </h3>\nSlapper has a ton of different input and output combinations available, from mono thru to 7.1, so you should never be hobbled by an awkward track format. You can set up stereo aux as a delay return with a 7.1 Slapper inserted - or Audiosuite an interior room setting onto a mono FX region. \n<br /><br />\nSlapper also takes care of automatic downmixing when your presets are larger than your chosen output format, so those lush surround presets are still available when you\'re working in stereo.'),(3266,75,1,545,'<h1>The Cargo Cult Slapper Delay Plug-in</h1>\n\n<i>Your favorite delay plug-in just got a big upgrade! Slapper 2 takes immersive mixing to a whole new level with support for 7.1.2 mixing.</i><br /><br />\n\nThe Cargo Cult Slapper is a multi-tap surround delay with a stunningly intuitive interface, fantastic console integration and some freakish sound design potential. You can make anything from an attic to a canyon... from a simple vocal slap to insanely complex syncopated grooves - and you\'ll do this quickly, and precisely, and with a big smile on your face.\nSlapper\'s interface is so intuitive, so ergonomically tuned, that it really is a joy to use. Whatever you do with it, it\'s always going to look exactly like it sounds.\n<br /><br />\n<h2>Slapper Features</h2>\n<h3>8 fully independent, surround-pannable delay taps  </h3>\nSo you can have very short bright delays up front with long dark echoes feeding back in the surrounds. Or a simple mono slap which slowly expands to stereo as the chorus kicks in. You can even use tape-mode to pitch warp a couple of taps while leaving the rest static.\n<br /><br />\n<h3>Fruity Sound Design with Tape-Mode varispeeding </h3>\nLike grabbing the flange of an old tape machine while feeding back into it, Slapper can varispeed a signal in realtime, as you change the delay length. The result is an incredible mind-warping speed ramp which you can directly perform using your mouse, mix surface or automation. You can even pitch dive all 8 taps at once while spinning them around the room. Just keep a bucket handy.\n<br /><br />\n<h3>Stunning object-oriented interface  </h3>\nAt The Cargo Cult we don\'t abide mimicry of ancient workflows or medieval design practices. We have carefully designed Slapper\'s interface to give the most immediate feedback, in the most intuitive way, and to give the user the most direct access possible to the objects they are hearing.\n<br /><br />\nSlapper looks exactly like it sounds... and not at all like a dusty rack mounted collection of rotary knobs and switches from 1968. <br /><br />\n<h3>Multiple filtering options  </h3>\nEach tap offers it\'s own independent damping control, under which lies a pair of filters. The HF cut is steeper while the LF cut is a little mellower. The end result is a carefully sculpted bandpass effect which gradually pushes the signal further and further into the distance as it feeds back.\n<br /><br />\nThen there are the main output filters, which present as LPF and HPF controls. These are classic 12db IIR filters which affect the overall output of the plugin, after the taps have done their work and been panned to the output channels.<br /><br />\nBy messing around with the balance between these two filtering approaches, you can achieve an incredible variety of spaces in a very short amount of time.<br /><br />\n<h3>Crazy rhythmic possibilities  </h3>\nIn combination with Sync-Mode, Slapper\'s tempo grid system opens up all kinds of wacky possibilities for timed delays. You can show and hide different grids based on tempo or prime numbers, and either snap to them or simply use them as a general guide. The result can be super precise rhythmic delays or messed up syncopated grooves that you\'ve never heard before.\n<br /><br />\nSync-Mode is also automatable so you can jump in and out of rhythmic delay mode throughout the length of your project. <br /><br />\n<h3>Massive variety and an expanding preset library  </h3>\nWe\'ve spent a lot of time playing around with Slapper and making presets and we know you\'re going to burn many hours doing the same. It\'s just so addictive that we ended up with a stack of great factory settings covering everything from tiny attics to massive exteriors and endless timed grooves. You\'ll find stuff from other users, stuff that sounds incredibly real, and stuff that sounds completely out of this world.\n<br /><br />\nAnd we\'re going to keep growing the library with each release and as more and more people share their favourite settings. So send them in and we\'ll immortalise your custom environments in the next release of Slapper. <br /><br />\n<h3>Beautiful, complex, realistic spaces, without dense reverb tails.  </h3>\nWith 8 taps and full panning freedom, Slapper is probably going to cut your reverb usage down considerably. Here at the Cargo Cult, we\'ve been reaching for the delay most of the time, and finding less and less use for traditional reverbs. Delays are discrete in both time and space, so even a small mount of Slapper can nicely define a space or a movement through the room, without getting lost in the mix.\n<br /><br />\n<h3>Fantastic console integration  </h3>\nWe\'ve put a lot of thought into the console layouts for Slapper, and we reckon you can get great results really quickly by setting up spaces on a hardware controller.\n<br /><br />\nThe layouts for the bigger consoles are incredibly intuitive, with a single channel strip representing a single tap, and the 8 taps spread across an 8-fader bucket. Even the little Artist Mix presents Slapper in a very ergonomic way, with each page covering a single tap plus the main output filters and 8 enable buttons on every page. <br /><br />\n<h3>Wide range of input/output formats  </h3>\nSlapper has a ton of different input and output combinations available, from mono thru to 7.1, so you should never be hobbled by an awkward track format. You can set up stereo aux as a delay return with a 7.1 Slapper inserted - or Audiosuite an interior room setting onto a mono FX region. \n<br /><br />\nSlapper also takes care of automatic downmixing when your presets are larger than your chosen output format, so those lush surround presets are still available when you\'re working in stereo.'),(3267,85,0,545,''),(3268,85,1,545,''),(3269,76,0,545,''),(3270,76,1,545,''),(3271,75,0,546,'<h1>The Cargo Cult Spanner Plug-in</h1>\nThe Cargo Cult Spanner is a surround panner plug-ion d\n<span style=\"background-color: initial;\">esigned by real post audio pros to solve real world problems, Spanner has redefined sound design, editing and mixing in surround.<br /><br /></span><span style=\"background-color: initial;\">It\'s a panner, sure, but that doesn\'t even scratch the surface of what this thing can do. With complete, independent control of every channel, several industry-first features and an incredibly simple interface, it is possibly the most versatile plugin in your arsenal.</span><span style=\"background-color: initial;\"> </span><span style=\"background-color: initial;\"><br /></span><br />\n<h3>Spanner Key Features</h3>\n<ul>\n<li>True surround panning with independent control of each channel</li>\n<li>AAX DSP and Audiosuite support</li>\n<li>Movie overlay for visual panning</li>\n<li>Panner follows track selection</li>\n<li>Pre-fade LFE send</li>\n<li>Upsize and downmix - mono thru 7.1.2</li>\n<li>Low CPU overhead, zero delay and double precision math</li>\n<li>Dedicated iPad remote control app</li>\n<li>Post-pan meters in mix and edit windows</li>\n</ul><br />\n\n<h3>Upsize and downmix - mono thru 7.1.2</h3>\nSpanner can upsize or downsize, to and from all common track formats, allowing you to actually \'pan\' an LCR into the 7.0 mix bus, or temporarily send a 7.1 stem to a 5.1 output for monitoring.\n<br /><br />\nSpanner has complete, continuous control over input gain and channel position so the downmix is infinitely flexible and even realtime automatable.<br /><br />\n<h3>Spin, Rotate, Pinch, Fly-over</h3>\nSpanner offers panning options that you won\'t find anywhere else. Rotate lets ambiences follow a camera move, while spin is continuously dizzying.\n<br /><br />\nYou can automate an entire stem to shift left, then right, then collapse into the centre.<br /><br />\nOr you can engage the proprietary Balls-To-The-Wall mode which gives super discrete 3D fly-overs, minimising bleed between channels.<br /><br />\n<h3>Dedicated iOS controller app</h3>\nThe purpose built iPad remote control app opens up powerful new workflows for the edit-room, the predub or the final mix.\n<br /><br />\nIt instantly follows the currently opened pro tools spanner instance so you never have to think about loading a surround panner... it\'s just always there when you need it.<br /><br />'),(3272,75,1,546,'<h1>The Cargo Cult Spanner Plug-in</h1>\nThe Cargo Cult Spanner is a surround panner plug-ion d\n<span style=\"background-color: initial;\">esigned by real post audio pros to solve real world problems, Spanner has redefined sound design, editing and mixing in surround.<br /><br /></span><span style=\"background-color: initial;\">It\'s a panner, sure, but that doesn\'t even scratch the surface of what this thing can do. With complete, independent control of every channel, several industry-first features and an incredibly simple interface, it is possibly the most versatile plugin in your arsenal.</span><span style=\"background-color: initial;\"> </span><span style=\"background-color: initial;\"><br /></span><br />\n<h3>Spanner Key Features</h3>\n<ul>\n<li>True surround panning with independent control of each channel</li>\n<li>AAX DSP and Audiosuite support</li>\n<li>Movie overlay for visual panning</li>\n<li>Panner follows track selection</li>\n<li>Pre-fade LFE send</li>\n<li>Upsize and downmix - mono thru 7.1.2</li>\n<li>Low CPU overhead, zero delay and double precision math</li>\n<li>Dedicated iPad remote control app</li>\n<li>Post-pan meters in mix and edit windows</li>\n</ul><br />\n\n<h3>Upsize and downmix - mono thru 7.1.2</h3>\nSpanner can upsize or downsize, to and from all common track formats, allowing you to actually \'pan\' an LCR into the 7.0 mix bus, or temporarily send a 7.1 stem to a 5.1 output for monitoring.\n<br /><br />\nSpanner has complete, continuous control over input gain and channel position so the downmix is infinitely flexible and even realtime automatable.<br /><br />\n<h3>Spin, Rotate, Pinch, Fly-over</h3>\nSpanner offers panning options that you won\'t find anywhere else. Rotate lets ambiences follow a camera move, while spin is continuously dizzying.\n<br /><br />\nYou can automate an entire stem to shift left, then right, then collapse into the centre.<br /><br />\nOr you can engage the proprietary Balls-To-The-Wall mode which gives super discrete 3D fly-overs, minimising bleed between channels.<br /><br />\n<h3>Dedicated iOS controller app</h3>\nThe purpose built iPad remote control app opens up powerful new workflows for the edit-room, the predub or the final mix.\n<br /><br />\nIt instantly follows the currently opened pro tools spanner instance so you never have to think about loading a surround panner... it\'s just always there when you need it.<br /><br />'),(3273,85,0,546,'The Cargo Cult Spanner Plug-in'),(3274,85,1,546,'The Cargo Cult Spanner Plug-in'),(3275,76,0,546,''),(3276,76,1,546,''),(3277,75,0,547,'<h1>The Cargo Cult Stemcell Surround Filter Plug-in</h1>\n	The Cargo Cult Stemcell plug-in is a multichannel stem filter with an independent LPF and HPF for each channel in a surround stem.\n<br/><br/>\nIt has 2 main uses:\n<ol>\n	<li>As a cleanup filter for your stem bus, right before you record. It\'ll save you headroom on the main channels and filter the LFE at the same time.\n	</li>\n	<li>As a bass management tool for your speaker outputs. You can use the redirect buttons to take low frequencies out of the mains, and send it to the LFE.\n	</li>\n</ol>\n<h3>Key features</h3>\n<ul>\n	<li><b>Up to 10 channels of independent filtering</b> - Completely independent filter controls for each channel of a surround stem, allowing you to filter the fronts and rears differently, while cleaning up the LFE</li>\n	<li><b>5.0 thru 7.1.2</b> - Stemcell supports all the common surround formats, from 5.0 to 10 channel ATMOS beds.</li>\n	<li><b>Wide range of filter types</b> - The HPF and LPF each have a range of fixed turnover frequencies, chosen for the particular purpose of stem filtering, as well as a set of relatively steep filter slopes for gentle or extreme band-passing.</li>\n</ul>\n<h3>Manage LF to save headroom</h3>\nSound FX editors are a grubby bunch. Their pitch shifting, sub-thumping tricks can often lead to a lot of very low frequencies, or very high whines in places it doesn\'t belong. Don\'t trust them - they\'ll devour all the headroom on your center channel the moment your back is turned.\n<br/><br/>\nStemcell will mop up any lingering DC offset or sub-harmonics caused by those meddlesome sound designers.<br/><br/>\n<h3>Gently roll off the tops</h3>\nIf you feel the need, gently roll off the super high end to stop anything sounding too \'adr\' on the dialog bus. Or get even more drastic with that foley stem.\n<br/><br/>\nStemcell lets you choose different settings for each channel so you can even use it to tone-down some over-excited surround speakers.<br/><br/>\n<h3>Bass-managment for your monitors</h3>\nStemcell offers a redirect button on each channel, taking LF from the main channels and sending it to the LFE.\n<br/><br/>\nIn this mode it is effectively a monitor-chain bass-management processor, with tons of options for crossover frequency and slope.<br/><br/>\nChuck it on your output master fader and give your LCR a bit of a break.\nStemcell - clean up your act.'),(3278,75,1,547,'<h1>The Cargo Cult Stemcell Surround Filter Plug-in</h1>\n	The Cargo Cult Stemcell plug-in is a multichannel stem filter with an independent LPF and HPF for each channel in a surround stem.\n<br/><br/>\nIt has 2 main uses:\n<ol>\n	<li>As a cleanup filter for your stem bus, right before you record. It\'ll save you headroom on the main channels and filter the LFE at the same time.\n	</li>\n	<li>As a bass management tool for your speaker outputs. You can use the redirect buttons to take low frequencies out of the mains, and send it to the LFE.\n	</li>\n</ol>\n<h3>Key features</h3>\n<ul>\n	<li><b>Up to 10 channels of independent filtering</b> - Completely independent filter controls for each channel of a surround stem, allowing you to filter the fronts and rears differently, while cleaning up the LFE</li>\n	<li><b>5.0 thru 7.1.2</b> - Stemcell supports all the common surround formats, from 5.0 to 10 channel ATMOS beds.</li>\n	<li><b>Wide range of filter types</b> - The HPF and LPF each have a range of fixed turnover frequencies, chosen for the particular purpose of stem filtering, as well as a set of relatively steep filter slopes for gentle or extreme band-passing.</li>\n</ul>\n<h3>Manage LF to save headroom</h3>\nSound FX editors are a grubby bunch. Their pitch shifting, sub-thumping tricks can often lead to a lot of very low frequencies, or very high whines in places it doesn\'t belong. Don\'t trust them - they\'ll devour all the headroom on your center channel the moment your back is turned.\n<br/><br/>\nStemcell will mop up any lingering DC offset or sub-harmonics caused by those meddlesome sound designers.<br/><br/>\n<h3>Gently roll off the tops</h3>\nIf you feel the need, gently roll off the super high end to stop anything sounding too \'adr\' on the dialog bus. Or get even more drastic with that foley stem.\n<br/><br/>\nStemcell lets you choose different settings for each channel so you can even use it to tone-down some over-excited surround speakers.<br/><br/>\n<h3>Bass-managment for your monitors</h3>\nStemcell offers a redirect button on each channel, taking LF from the main channels and sending it to the LFE.\n<br/><br/>\nIn this mode it is effectively a monitor-chain bass-management processor, with tons of options for crossover frequency and slope.<br/><br/>\nChuck it on your output master fader and give your LCR a bit of a break.\nStemcell - clean up your act.'),(3279,85,0,547,'The Cargo Cult Stemcell Surround Filter Plug-in'),(3280,85,1,547,'The Cargo Cult Stemcell Surround Filter Plug-in'),(3281,76,0,547,''),(3282,76,1,547,''),(3283,75,0,548,'<h1>Celemony Melodyne 5 Assistant (Download)</h1>\n<span style=\"font-size: 16px;\"><i>Melodyne power for vocals, instruments of all kinds, and samples. Monophonic Pitch and Time Shifting Software with DNA and Formant Correction.</i></span><br /><br />\nMelodyne 5 assistant offers the complete Melodyne toolkit for pitch, timing, vibrato, phrasing, formants and dynamics. Everything you need for professional vocal editing. Melodyne 5 assistant dispenses with the editing of polyphonic audio \nmaterial and certain other functions found in the larger editions but \noffers the full Melodyne toolkit and the same outstanding sound quality.\n The price-conscious choice for monophonic and rhythmic audio material. \n<br /><br />\n\n<h3>Melodyne 5 Assistant Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">rammy Award-winning technology</span></li><li>Exceptionally musical and intuitive note-based way of working</li><li>The algorithms Melodic (with Sibilant Detection), Percussive and Universal</li><li>The complete Melodyne toolkit</li><li>Macros for optimizing intonation, timing quantization, and leveling</li><li>The Chord Track and Chord Grid with automatic chord recognition</li><li>Tempo detection</li><li>Inspectors for quick access to all parameters</li><li>Full compatibility: VST 3, AU, AAX, stand-alone</li><li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3284,75,1,548,'<h1>Celemony Melodyne 5 Assistant (Download)</h1>\n<span style=\"font-size: 16px;\"><i>Melodyne power for vocals, instruments of all kinds, and samples. Monophonic Pitch and Time Shifting Software with DNA and Formant Correction.</i></span><br /><br />\nMelodyne 5 assistant offers the complete Melodyne toolkit for pitch, timing, vibrato, phrasing, formants and dynamics. Everything you need for professional vocal editing. Melodyne 5 assistant dispenses with the editing of polyphonic audio \nmaterial and certain other functions found in the larger editions but \noffers the full Melodyne toolkit and the same outstanding sound quality.\n The price-conscious choice for monophonic and rhythmic audio material. \n<br /><br />\n\n<h3>Melodyne 5 Assistant Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">rammy Award-winning technology</span></li><li>Exceptionally musical and intuitive note-based way of working</li><li>The algorithms Melodic (with Sibilant Detection), Percussive and Universal</li><li>The complete Melodyne toolkit</li><li>Macros for optimizing intonation, timing quantization, and leveling</li><li>The Chord Track and Chord Grid with automatic chord recognition</li><li>Tempo detection</li><li>Inspectors for quick access to all parameters</li><li>Full compatibility: VST 3, AU, AAX, stand-alone</li><li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3285,85,0,548,'Celemony Melodyne 5 Assistant'),(3286,85,1,548,'Celemony Melodyne 5 Assistant'),(3287,76,0,548,''),(3288,76,1,548,''),(3289,75,0,549,'<h1>Celemony Melodyne 5 Editor (Download)</h1>\n<span style=\"font-size: 16px;\"><i>Melodyne power for vocals, instruments of all kinds, and samples. Polyphonic Pitch and Time Shifting Software with DNA and Formant Correction</i></span><br /><br />\nMelodyne 5 editor contains all the professional vocal functions. Plus the legendary DNA algorithm for polyphonic audio. With it, you can adapt any library sample to the chords of your song.\n<br /><br />\n<h3>Melodyne 5 Editor Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for optimizing intonation, timing quantization, and leveling</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3290,75,1,549,'<h1>Celemony Melodyne 5 Editor (Download)</h1>\n<span style=\"font-size: 16px;\"><i>Melodyne power for vocals, instruments of all kinds, and samples. Polyphonic Pitch and Time Shifting Software with DNA and Formant Correction</i></span><br /><br />\nMelodyne 5 editor contains all the professional vocal functions. Plus the legendary DNA algorithm for polyphonic audio. With it, you can adapt any library sample to the chords of your song.\n<br /><br />\n<h3>Melodyne 5 Editor Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for optimizing intonation, timing quantization, and leveling</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3291,85,0,549,'Celemony Melodyne 5 Editor'),(3292,85,1,549,'Celemony Melodyne 5 Editor'),(3293,76,0,549,''),(3294,76,1,549,''),(3295,75,0,550,'<h1>Celemony Melodyne 5 Essential (Download)</h1>\n<span style=\"font-size: 16px;\"><i>The easiest way to begin with Melodyne, the industry standard Pitch and Time Shifting Software.</i></span><br /><br />Melodyne 5 essential is the easiest and most affordable way to start using Melodyne. Melodyne 5 Essential contains Melodyne’s Main Tool for the basic editing\n of pitch and timing, thereby offering a particularly simple and \neconomical entry into the world of Melodyne. And if you ever need more \nfunctions, you can always upgrade to one of the larger editions simply \nby paying the difference in price.\n<br /><br />\n<h3>Melodyne 5 Essential Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive and Universal</li>\n	<li>Melodyne\'s Main Tool for editing pitch and timing</li>\n	<li>Macros for optimizing intonation, timing quantization, and leveling</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3296,75,1,550,'<h1>Celemony Melodyne 5 Essential (Download)</h1>\n<span style=\"font-size: 16px;\"><i>The easiest way to begin with Melodyne, the industry standard Pitch and Time Shifting Software.</i></span><br /><br />Melodyne 5 essential is the easiest and most affordable way to start using Melodyne. Melodyne 5 Essential contains Melodyne’s Main Tool for the basic editing\n of pitch and timing, thereby offering a particularly simple and \neconomical entry into the world of Melodyne. And if you ever need more \nfunctions, you can always upgrade to one of the larger editions simply \nby paying the difference in price.\n<br /><br />\n<h3>Melodyne 5 Essential Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive and Universal</li>\n	<li>Melodyne\'s Main Tool for editing pitch and timing</li>\n	<li>Macros for optimizing intonation, timing quantization, and leveling</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3297,85,0,550,'Celemony Melodyne 5 Essential'),(3298,85,1,550,'Celemony Melodyne 5 Essential'),(3299,76,0,550,''),(3300,76,1,550,'');
INSERT INTO `catalog_product_entity_text` VALUES (3301,75,0,551,'<h1>Celemony Melodyne 5 Studio (Download)</h1>\n<span style=\"font-size: 16px;\"><i>Melodyne 5 studio is the complete Melodyne, with all Melodyne’s unique functions and possibilities. For professional vocal editing, choirs, instruments of all kinds, and samples. And with a multi-track workflow unsurpassed in terms of ease-of-use and musicality.</i></span><br /><br />\nMelodyne 5 Studio is a Pitch/Time-Shifting software application that allows you to edit audio in a more musical way than was ever thought possible. Melodyne 5 studio offers you all Melodyne functions for both correction and creative applications on an unlimited number of tracks. You can edit the sound and musical content of your recordings in such an intuitive manner or make such far-reaching changes with no other audio tool.<br /><br />\nIn Melodyne, you work with notes, not meaningless wave forms. So you don’t just see where the music gets louder or quieter but also where notes begin and end and at what pitch they lie. You can modify each note and thereby influence directly the intonation, phrasing and dynamics – and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well.\n<br /><br />\n<h3>Melodyne 5 Studio Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>Multitrack Note Editing  – edit multiple tracks in a single Melodyne window</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for correcting intonation, timing quantization and leveling - even across tracks</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>The Sound Editor, offering unique control over tone colors</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3302,75,1,551,'<h1>Celemony Melodyne 5 Studio (Download)</h1>\n<span style=\"font-size: 16px;\"><i>Melodyne 5 studio is the complete Melodyne, with all Melodyne’s unique functions and possibilities. For professional vocal editing, choirs, instruments of all kinds, and samples. And with a multi-track workflow unsurpassed in terms of ease-of-use and musicality.</i></span><br /><br />\nMelodyne 5 Studio is a Pitch/Time-Shifting software application that allows you to edit audio in a more musical way than was ever thought possible. Melodyne 5 studio offers you all Melodyne functions for both correction and creative applications on an unlimited number of tracks. You can edit the sound and musical content of your recordings in such an intuitive manner or make such far-reaching changes with no other audio tool.<br /><br />\nIn Melodyne, you work with notes, not meaningless wave forms. So you don’t just see where the music gets louder or quieter but also where notes begin and end and at what pitch they lie. You can modify each note and thereby influence directly the intonation, phrasing and dynamics – and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well.\n<br /><br />\n<h3>Melodyne 5 Studio Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>Multitrack Note Editing  – edit multiple tracks in a single Melodyne window</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for correcting intonation, timing quantization and leveling - even across tracks</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>The Sound Editor, offering unique control over tone colors</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3303,85,0,551,'Celemony Melodyne 5 Studio'),(3304,85,1,551,'Celemony Melodyne 5 Studio'),(3305,76,0,551,''),(3306,76,1,551,''),(3307,75,0,552,'<h1>Celemony Melodyne 5 Studio - Upgrade From Melodyne 3 Studio</h1>\n<i>Upgrade from Melodyne Studio 1,2,3 and 4 to Melodyne 5 Studio - Melodyne 5 studio is the complete Melodyne, with all Melodyne’s unique functions and possibilities. For professional vocal editing, choirs, instruments of all kinds, and samples. And with a multi-track workflow unsurpassed in terms of ease-of-use and musicality.</i><br /><br />\nMelodyne 5 Studio is a Pitch/Time-Shifting software application that allows you to edit audio in a more musical way than was ever thought possible. Melodyne 5 studio offers you all Melodyne functions for both correction and creative applications on an unlimited number of tracks. You can edit the sound and musical content of your recordings in such an intuitive manner or make such far-reaching changes with no other audio tool.<br /><br />\nIn Melodyne, you work with notes, not meaningless wave forms. So you don’t just see where the music gets louder or quieter but also where notes begin and end and at what pitch they lie. You can modify each note and thereby influence directly the intonation, phrasing and dynamics – and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well.\n<br /><br />\n<h3>Melodyne 5 Studio Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>Multitrack Note Editing  – edit multiple tracks in a single Melodyne window</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for correcting intonation, timing quantization and leveling - even across tracks</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>The Sound Editor, offering unique control over tone colors</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3308,75,1,552,'<h1>Celemony Melodyne 5 Studio - Upgrade From Melodyne 3 Studio</h1>\n<i>Upgrade from Melodyne Studio 1,2,3 and 4 to Melodyne 5 Studio - Melodyne 5 studio is the complete Melodyne, with all Melodyne’s unique functions and possibilities. For professional vocal editing, choirs, instruments of all kinds, and samples. And with a multi-track workflow unsurpassed in terms of ease-of-use and musicality.</i><br /><br />\nMelodyne 5 Studio is a Pitch/Time-Shifting software application that allows you to edit audio in a more musical way than was ever thought possible. Melodyne 5 studio offers you all Melodyne functions for both correction and creative applications on an unlimited number of tracks. You can edit the sound and musical content of your recordings in such an intuitive manner or make such far-reaching changes with no other audio tool.<br /><br />\nIn Melodyne, you work with notes, not meaningless wave forms. So you don’t just see where the music gets louder or quieter but also where notes begin and end and at what pitch they lie. You can modify each note and thereby influence directly the intonation, phrasing and dynamics – and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well.\n<br /><br />\n<h3>Melodyne 5 Studio Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>Multitrack Note Editing  – edit multiple tracks in a single Melodyne window</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for correcting intonation, timing quantization and leveling - even across tracks</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>The Sound Editor, offering unique control over tone colors</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3309,85,0,552,'Celemony Melodyne 5 Studio - Upgrade From Melodyne 3 Studio'),(3310,85,1,552,'Celemony Melodyne 5 Studio - Upgrade From Melodyne 3 Studio'),(3311,76,0,552,''),(3312,76,1,552,''),(3313,75,0,553,'<h1>Celemony Melodyne 5 Studio - Upgrade From Melodyne 4 Studio</h1>\n<i>Upgrade from Melodyne Studio 4 to  Melodyne 5 Studio - Melodyne 5 studio is the complete Melodyne, with all Melodyne’s unique functions and possibilities. For professional vocal editing, choirs, instruments of all kinds, and samples. And with a multi-track workflow unsurpassed in terms of ease-of-use and musicality. - </i><br /><br />\nMelodyne 5 Studio is a Pitch/Time-Shifting software application that allows you to edit audio in a more musical way than was ever thought possible. Melodyne 5 studio offers you all Melodyne functions for both correction and creative applications on an unlimited number of tracks. You can edit the sound and musical content of your recordings in such an intuitive manner or make such far-reaching changes with no other audio tool.<br /><br />\nIn Melodyne, you work with notes, not meaningless wave forms. So you don’t just see where the music gets louder or quieter but also where notes begin and end and at what pitch they lie. You can modify each note and thereby influence directly the intonation, phrasing and dynamics – and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well.\n<br /><br />\n<h3>Melodyne 5 Studio Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>Multitrack Note Editing  – edit multiple tracks in a single Melodyne window</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for correcting intonation, timing quantization and leveling - even across tracks</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>The Sound Editor, offering unique control over tone colors</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3314,75,1,553,'<h1>Celemony Melodyne 5 Studio - Upgrade From Melodyne 4 Studio</h1>\n<i>Upgrade from Melodyne Studio 4 to  Melodyne 5 Studio - Melodyne 5 studio is the complete Melodyne, with all Melodyne’s unique functions and possibilities. For professional vocal editing, choirs, instruments of all kinds, and samples. And with a multi-track workflow unsurpassed in terms of ease-of-use and musicality. - </i><br /><br />\nMelodyne 5 Studio is a Pitch/Time-Shifting software application that allows you to edit audio in a more musical way than was ever thought possible. Melodyne 5 studio offers you all Melodyne functions for both correction and creative applications on an unlimited number of tracks. You can edit the sound and musical content of your recordings in such an intuitive manner or make such far-reaching changes with no other audio tool.<br /><br />\nIn Melodyne, you work with notes, not meaningless wave forms. So you don’t just see where the music gets louder or quieter but also where notes begin and end and at what pitch they lie. You can modify each note and thereby influence directly the intonation, phrasing and dynamics – and do this not only with vocals and monophonic instruments but with polyphonic instruments such as pianos and guitars as well.\n<br /><br />\n<h3>Melodyne 5 Studio Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Grammy Award-winning technology, including DNA Direct Note Access</span></li>\n	<li>Exceptionally musical and intuitive note-based way of working</li>\n	<li>The algorithms Melodic (with Sibilant Detection), Percussive, Universal, Polyphonic</li>\n	<li>Multitrack Note Editing  – edit multiple tracks in a single Melodyne window</li>\n	<li>The complete Melodyne toolkit</li>\n	<li>Macros for correcting intonation, timing quantization and leveling - even across tracks</li>\n	<li>The Chord Track and Chord Grid with automatic chord recognition</li>\n	<li>Tempo detection and editing</li>\n	<li>The Sound Editor, offering unique control over tone colors</li>\n	<li>Comprehensive functions for the editing of scales, tuning systems and temperaments</li>\n	<li>Inspectors for quick access to all parameters</li>\n	<li>Polyphonic audio-to-MIDI export</li>\n	<li>Full compatibility: VST 3, AU, AAX, stand-alone</li>\n	<li>Integration via ARA Audio Random Access (depending on the DAW)</li>\n</ul>\n<br />\n<h3>Vocals, now even better</h3>\nMelodyne heightens its core competence. The “Melodic” algorithm used for vocals can now distinguish the unpitched, noise-like components of a note – i.e. voiceless consonants (such as sibilants like “s”) and breath sounds – from its pitched components. Even when they coincide. And although all pitch and timing changes are implemented in the tried-and-tested manner as far as the pitched components are concerned, different rules that emulate accurately the natural behavior of the human voice govern the handling of sibilants. So now when you are working with Melodyne, you obtain the highest possible sound quality and most natural-sounding results automatically.\n<br /><br />\nPros will be relieved to discover it’s no longer necessary to isolate each individual sibilant by hand. That saves a lot of time and makes for a more meaningful display in the Note Editor. At the same time, the results sound far better, as automation works more precisely and overlaps between sibilants and pitched components are taken into account.<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.\n<br /><br />\nSibilant detection not only yields acoustic advantages but also new creative possibilities: With the Sibilant Tool, you can adjust the balance between the sibilants and the pitched components of a note. Sibilants can be attenuated, muted altogether, emphasized or even isolated – everything is possible. So, into the bargain, you get a perfect de-esser that only affects the problem areas and has no side-effects on other components of the vocal sound.<br /><br />\n<h3>Modeled on human hearing</h3>\nWhy do some notes sound out of tune and not others? Fluctuations in pitch contribute to the quality of a vocal performance, because it is through them that passion and emotional complexity find expression. They give it, in other words, its human dimension. But for their contribution to be a positive one, the nature, scope and precise timing of such fluctuations is of crucial importance.\n<br /><br />\nA note doesn’t necessarily sound sharp or flat just because it isn’t “spot on” mathematically. Just particular, often very brief segments of the note annoy us. Sometimes at the beginning, sometimes at the end, sometimes somewhere in between. It is these crucial segments that have to be perfectly in tune; if they are, the note will sound right to us. The presence of any fluctuations before or after t<br /><br />o such segments doesn’t trouble us – to the contrary, we feel they add life to the performance and sound natural.\nMelodyne now identifies these problem areas precisely, and the offset shown in the Note Inspector is calculated from the pitch of each note at the crucial moment only – not its entire lifetime. As a result, double-clicking (to set a note’s offset to zero) now yields precisely the right musical result. Also the macro profits from this new, even more musical approach: Each individual note is pitched to perfection. Yet everything still sounds natural and alive.\n<br /><br />\n<h3>The Chord Track and Chord Grid</h3>\nWork better with chords, adapt notes quickly. Melodyne 5 offers you a chord track that is linked to the Pitch Grid in the Note Editor. This makes working with chords far more enjoyable and harmonies more transparent. Because you can see at any time which pitches are compatible with the current chord and can adapt the notes accordingly with lightning speed. This is helpful when you’re altering chords, and if you want to match any sample harmonically to your music, it works like a dream.\n<br /><br />\nAutopilot for chords. Melodyne’s chord recognition technology is so advanced, it can consider tracks apart or together – even the entire mix – and identify the chords formed when their notes are combined. It analyses your recordings fast and reliably and fills in the Chord Track automatically. This makes working with chords even easier.<br /><br />\n<h3>Dynamics functions</h3>\nNote-based fades. The Fade Tool gives you highly effective control over the dynamics of your recording. For each note individually. Even within a chord. This is unique and offers totally new creative possibilities for dynamic editing. And since in Melodyne the fades belong to the notes, they are automatically preserved when the notes are moved or copied.\n<br /><br />\nControlling the dynamic range. The Leveling Macro makes loud notes quieter and quiet ones louder, it adjusts volume disparities. Even – thanks to Melodyne technology – in polyphonic recordings. So if one or more notes in a chord are too quiet and being drowned out by the rest, you can raise them effortlessly to the desired level.<br /><br />\n<h3>Further algorithm improvements</h3>\n“Percussive Pitched”. This new algorithm was developed especially for instruments like tabla, berimbau or 808-kick, the notes of which – though percussive in character – still have a recognizable pitch.\n<br /><br />\n“Robust Pitch Curve”. With this new option, you can obtain better sound quality when editing certain signals, such as those with a great deal of reverberation. When it is activated, the monophonic algorithms employ a pitch curve that has been slightly smoothed out. <br /><br />\n“Complex”. This algorithm playback type has been improved and can now be used just as flexibly as the playback type “Tonal” concerning the formants.'),(3315,85,0,553,'Celemony Melodyne 5 Studio - Upgrade From Melodyne 4 Studio'),(3316,85,1,553,'Celemony Melodyne 5 Studio - Upgrade From Melodyne 4 Studio'),(3317,76,0,553,''),(3318,76,1,553,''),(3319,75,0,554,'<span id=\"product_description\" itemprop=\"description\"><h2>Chandler Limited Curve Bender EQ</h2>\n<i>The EMI TG12345 Curve Bender is the ultimate TG equalizer issued in celebration of the 75th birthday of Abbey Road Studios. <br /></i></span><br />The Curve Bender was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd. This newest EMI equalizer continues the tradition of EMI EQs started in 1954 with the RS57, the 1969 TG12345, and the 1974 TG12412.\n\nWade turned the nine selections of the vintage version into 51 EQ points plus a multiply switch that increases the boost/cut to 15dB (as well as sharpening the Q), filters and bell/shelf selections on the high and low bands.\n\nAll TG units require and function on the PSU-1, Chandler Limited power supply.'),(3320,75,1,554,'<span id=\"product_description\" itemprop=\"description\"><h2>Chandler Limited Curve Bender EQ</h2>\n<i>The EMI TG12345 Curve Bender is the ultimate TG equalizer issued in celebration of the 75th birthday of Abbey Road Studios. <br /></i></span><br />The Curve Bender was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd. This newest EMI equalizer continues the tradition of EMI EQs started in 1954 with the RS57, the 1969 TG12345, and the 1974 TG12412.\n\nWade turned the nine selections of the vintage version into 51 EQ points plus a multiply switch that increases the boost/cut to 15dB (as well as sharpening the Q), filters and bell/shelf selections on the high and low bands.\n\nAll TG units require and function on the PSU-1, Chandler Limited power supply.'),(3321,85,0,554,'Chandler Limited Curve Bender EQ'),(3322,85,1,554,'Chandler Limited Curve Bender EQ'),(3323,76,0,554,''),(3324,76,1,554,''),(3325,75,0,555,'<h1>Chandler Limited GAV19T Guitar Amplifier</h1>\n<i>The Chandler Limited GAV19T is an all-tube, 19-watt guitar amp in the  \nvein of such vintage English classics as Selmer, Watkins, Marshall \nand Vox.  \n<br /></i><br />While this amp borrows some tones from the classics, the heart of  the GAV19T circuits are either new circuits developed by Chandler Limited or highly modified vintage circuits. The tube compliment is two  EL84s, an ECC83, ECC803, and EZ81.\nThe control panel of this amp is non-typical when compared to vintage  amps.  The GAV19T controls allow you to change the bias of the gain stage  for different character, as well as use the intensity switch to add  sustain and grit. The drive controls function in the power amp section  only and create distortion that never sounds weak or muddy.  The tone  control is a Baxendall-style eq. It functions like a treble booster  pedal that can be used to add sustain and presence. This amp is similar  to many Chandler Limited products – full of fat, vintage tone!\nAll-in-all, the GAV19T is like other Chandler products – full of fat,  vintage tone!'),(3326,75,1,555,'<h1>Chandler Limited GAV19T Guitar Amplifier</h1>\n<i>The Chandler Limited GAV19T is an all-tube, 19-watt guitar amp in the  \nvein of such vintage English classics as Selmer, Watkins, Marshall \nand Vox.  \n<br /></i><br />While this amp borrows some tones from the classics, the heart of  the GAV19T circuits are either new circuits developed by Chandler Limited or highly modified vintage circuits. The tube compliment is two  EL84s, an ECC83, ECC803, and EZ81.\nThe control panel of this amp is non-typical when compared to vintage  amps.  The GAV19T controls allow you to change the bias of the gain stage  for different character, as well as use the intensity switch to add  sustain and grit. The drive controls function in the power amp section  only and create distortion that never sounds weak or muddy.  The tone  control is a Baxendall-style eq. It functions like a treble booster  pedal that can be used to add sustain and presence. This amp is similar  to many Chandler Limited products – full of fat, vintage tone!\nAll-in-all, the GAV19T is like other Chandler products – full of fat,  vintage tone!'),(3327,85,0,555,'Chandler Limited GAV19T Guitar Amplifier'),(3328,85,1,555,'Chandler Limited GAV19T Guitar Amplifier'),(3329,76,0,555,''),(3330,76,1,555,''),(3331,75,0,556,'<h1>Chandler Limited Germ 500 MKII Preamp - 500-Series Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">500-series preamp uses classic germanium transistors in an all class-A, transformer-balanced circuit</span><br/><br/>\nThe Germ 500 MKII is an updated version of the Chandler Limited Germ 500. With an improved faceplate layout and nicer look, the Germ 500 MKII uses classic germanium transistors in all Class-A, transformer-balanced circuits. The Germ 500 MKII is Chandler\'s well-known Germanium Preamp adapted for 500 series racks, using the same transformers and amp blocks to ensure the sound is consistent between the two. The Germ 500 MKII is great for any sound source, but thanks to the Thick control, it can add extra low-end oomph to kick drum, bass, and floor tom, or adding thickness to any thin-sounding instrument. Chandler Limited also updated the power handling on the Germ 500 MKII so there are no power-up issues with known power 500-series racks and lunchboxes. <br/><br/>\n<h3>Chandler Limited Germ 500 MKII Preamp unique features:</h3>\n<ul>\n	<li>Classic germanium transistors open up a whole new sound palate</li>\n	<li>Same transformers and amp block as the rackmount Germanium preamp</li>\n	<li>Thick switch adds low frequency rise for warmth and roundness</li>\n</ul>\n<br/>\n<h3>Chandler Limited Germ 500 MKII Preamp key features:</h3>\n<ul>\n	<li>Class-A, transformer-balanced circuits</li>\n	<li>No power-up issues with current lunchboxes and rack systems</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 <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<h3>Inside The Box - Chandler Limited Germ 500 MKII Preamp </h3>\nThe use of germanium components opens up a whole new sound palate not found in any other pro audio equipment. These incredibly smooth-sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI (TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium transistor. The sound is warm and smooth as with many vintage style circuits, but you\'ll find new world of smooth here, as well as a sound that settles in perfectly to your tracks without fighting the mix. The Germ 500 MKII uses Chandler\'s new custom-wound transformers, which combine the best parts of Chandler\'s favorite St Ives and Gardners input and output transformers. \n<br/><br/>\n<h3>Outside The Box - Chandler Limited Germ 500 MKII Preamp  </h3>\nSporting the same distinctive blue face, yellow chicken knobs, and white block-style buttons as the rackmount Chandler Germanium preamps, the Chandler Limited Germ 500 MKII preamp front panel hosts the following controls:\n<ul>\n	<li><strong>Gain/Germanium Drive:</strong> The Gain rotary switch is stepped in 3dB increments. The Gain control interacts with the Feedback control to offer a variety of tones. Driving the gain tends to accent low frequencies providing a thicker tone. </li>\n	<li><strong>Feedback:</strong> The Feedback control is essential to the sound and function of the Germ 500 MKII pre amp. It affects the sound and function of the amplifier in many ways. THD, frequency response, and gain change considerably with varying feedback. Using the Feedback control in combination with the Gain control creates a wide range of tones-thick, bright, or lots of color. </li>\n	<li><strong>DI/Unbalanced In:</strong>  This is an unbalanced input for guitar, bass, samples, etc. Simply throw the toggle switch and you\'re off. Jack directly into the Class A circuit to provide a tone different than a standard direct box. </li>\n	<li><strong>Pad:</strong> Use Pad to run Gain and Feedback controls near full or increased low end and harmonic distortion. </li>\n	<li><strong>Thick:</strong> The thick adds a gentle (well maybe not so gentle) low-frequency rise for warmth and roundness. The effect varies slightly with the load on the pre amp and has a bit of life of its own. </li>\n	<li><strong>48-Volt Switching:</strong> 48-volt switches phantom power. </li>\n	<li><strong>Phase:</strong>Reverses the polarity of the pre amp\'s output. </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br/>\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br/><br/>\n<strong>Bill Stevenson</strong><br/>\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br/><br/>\n<strong>Billy Bush</strong><br/>\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br/><br/>\n<strong>Blackbird Studios</strong><br/><br/>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Blues Saraceno</strong><br/>\n<em>(Melissa Etheridge, Ziggy Marley)</em><br/><br/>\n<strong>Brad Fernquist</strong><br/>\n<em>(Goo Goo Dolls)</em><br/><br/>\n<strong>Chase Park Transduction</strong><br/>\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br/><br/>\n<strong>Chris Testa</strong><br/>\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br/><br/>\n<strong>Claudius Mittendorfer</strong><br/>\n<em>(Interpol, Glasvegas, Ash)</em><br/><br/>\n<strong>Counting Crows</strong><br/><br/>\n<strong>Critter</strong><br/>\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br/><br/>\n<strong>Dave Wood</strong><br/>\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br/><br/>\n<strong>David Kahne</strong><br/>\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br/><br/>\n<strong>Dennis Sands</strong><br/>\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br/><br/>\n<strong>Emanuel Kiriakou</strong><br/>\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br/><br/>\n<strong>Erykah Badu</strong><br/>\n<em>(Grammy Award Winner)</em><br/><br/>\n<strong>Ethan Mates</strong><br/>\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br/><br/>\n<strong>Evan Taubenfeld</strong><br/>\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br/><br/>\n<strong>Goo Goo Dolls</strong><br/><br/>\n<strong>Greg Wells</strong><br/>\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br/><br/>\n<strong>Jimmy Eat World</strong><br/><br/>\n<strong>Jimmy Messer</strong><br/>\n<em>(Kelly Clarkson)</em><br/><br/>\n<strong>Joe Barresi</strong><br/>\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br/><br/>\n<strong>John Feldmann</strong><br/>\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br/><br/>\n<strong>John Mcbride</strong><br/><br/>\n<strong>John Paterno</strong><br/>\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br/><br/>\n<strong>Matt Bayles</strong><br/>\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br/><br/>\n<strong>Matthew Sweet</strong><br/><br/>\n<strong>Michael Beinhorn</strong><br/>\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br/><br/>\n<strong>Michael James</strong><br/>\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br/><br/>\n<strong>Peter Katis</strong><br/>\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br/><br/>\n<strong>Ralph Patlan</strong><br/>\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br/><br/>\n<strong>Rammstein</strong><br/><br/>\n<strong>Ross Hogarth</strong><br/>\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br/><br/>\n<strong>Ross Robinson</strong><br/>\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br/><br/>\n<strong>Ryan Hewitt</strong><br/>\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br/><br/>\n<strong>Shawn Dealey</strong><br/>\n<em>Engineer, Counting Crows</em><br/><br/>\n<strong>Slipknot</strong><br/><br/>\n<strong>Steve Evetts</strong><br/>\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br/><br/>\n<h3>If you\'ve been looking for the mojo of a Chandler Germanium preamp in a 500-series format, put a Germ 500 MKII preamp module in your 500 rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3332,75,1,556,'<h1>Chandler Limited Germ 500 MKII Preamp - 500-Series Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">500-series preamp uses classic germanium transistors in an all class-A, transformer-balanced circuit</span><br/><br/>\nThe Germ 500 MKII is an updated version of the Chandler Limited Germ 500. With an improved faceplate layout and nicer look, the Germ 500 MKII uses classic germanium transistors in all Class-A, transformer-balanced circuits. The Germ 500 MKII is Chandler\'s well-known Germanium Preamp adapted for 500 series racks, using the same transformers and amp blocks to ensure the sound is consistent between the two. The Germ 500 MKII is great for any sound source, but thanks to the Thick control, it can add extra low-end oomph to kick drum, bass, and floor tom, or adding thickness to any thin-sounding instrument. Chandler Limited also updated the power handling on the Germ 500 MKII so there are no power-up issues with known power 500-series racks and lunchboxes. <br/><br/>\n<h3>Chandler Limited Germ 500 MKII Preamp unique features:</h3>\n<ul>\n	<li>Classic germanium transistors open up a whole new sound palate</li>\n	<li>Same transformers and amp block as the rackmount Germanium preamp</li>\n	<li>Thick switch adds low frequency rise for warmth and roundness</li>\n</ul>\n<br/>\n<h3>Chandler Limited Germ 500 MKII Preamp key features:</h3>\n<ul>\n	<li>Class-A, transformer-balanced circuits</li>\n	<li>No power-up issues with current lunchboxes and rack systems</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 <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<h3>Inside The Box - Chandler Limited Germ 500 MKII Preamp </h3>\nThe use of germanium components opens up a whole new sound palate not found in any other pro audio equipment. These incredibly smooth-sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI (TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium transistor. The sound is warm and smooth as with many vintage style circuits, but you\'ll find new world of smooth here, as well as a sound that settles in perfectly to your tracks without fighting the mix. The Germ 500 MKII uses Chandler\'s new custom-wound transformers, which combine the best parts of Chandler\'s favorite St Ives and Gardners input and output transformers. \n<br/><br/>\n<h3>Outside The Box - Chandler Limited Germ 500 MKII Preamp  </h3>\nSporting the same distinctive blue face, yellow chicken knobs, and white block-style buttons as the rackmount Chandler Germanium preamps, the Chandler Limited Germ 500 MKII preamp front panel hosts the following controls:\n<ul>\n	<li><strong>Gain/Germanium Drive:</strong> The Gain rotary switch is stepped in 3dB increments. The Gain control interacts with the Feedback control to offer a variety of tones. Driving the gain tends to accent low frequencies providing a thicker tone. </li>\n	<li><strong>Feedback:</strong> The Feedback control is essential to the sound and function of the Germ 500 MKII pre amp. It affects the sound and function of the amplifier in many ways. THD, frequency response, and gain change considerably with varying feedback. Using the Feedback control in combination with the Gain control creates a wide range of tones-thick, bright, or lots of color. </li>\n	<li><strong>DI/Unbalanced In:</strong>  This is an unbalanced input for guitar, bass, samples, etc. Simply throw the toggle switch and you\'re off. Jack directly into the Class A circuit to provide a tone different than a standard direct box. </li>\n	<li><strong>Pad:</strong> Use Pad to run Gain and Feedback controls near full or increased low end and harmonic distortion. </li>\n	<li><strong>Thick:</strong> The thick adds a gentle (well maybe not so gentle) low-frequency rise for warmth and roundness. The effect varies slightly with the load on the pre amp and has a bit of life of its own. </li>\n	<li><strong>48-Volt Switching:</strong> 48-volt switches phantom power. </li>\n	<li><strong>Phase:</strong>Reverses the polarity of the pre amp\'s output. </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br/>\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br/><br/>\n<strong>Bill Stevenson</strong><br/>\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br/><br/>\n<strong>Billy Bush</strong><br/>\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br/><br/>\n<strong>Blackbird Studios</strong><br/><br/>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Blues Saraceno</strong><br/>\n<em>(Melissa Etheridge, Ziggy Marley)</em><br/><br/>\n<strong>Brad Fernquist</strong><br/>\n<em>(Goo Goo Dolls)</em><br/><br/>\n<strong>Chase Park Transduction</strong><br/>\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br/><br/>\n<strong>Chris Testa</strong><br/>\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br/><br/>\n<strong>Claudius Mittendorfer</strong><br/>\n<em>(Interpol, Glasvegas, Ash)</em><br/><br/>\n<strong>Counting Crows</strong><br/><br/>\n<strong>Critter</strong><br/>\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br/><br/>\n<strong>Dave Wood</strong><br/>\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br/><br/>\n<strong>David Kahne</strong><br/>\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br/><br/>\n<strong>Dennis Sands</strong><br/>\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br/><br/>\n<strong>Emanuel Kiriakou</strong><br/>\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br/><br/>\n<strong>Erykah Badu</strong><br/>\n<em>(Grammy Award Winner)</em><br/><br/>\n<strong>Ethan Mates</strong><br/>\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br/><br/>\n<strong>Evan Taubenfeld</strong><br/>\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br/><br/>\n<strong>Goo Goo Dolls</strong><br/><br/>\n<strong>Greg Wells</strong><br/>\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br/><br/>\n<strong>Jimmy Eat World</strong><br/><br/>\n<strong>Jimmy Messer</strong><br/>\n<em>(Kelly Clarkson)</em><br/><br/>\n<strong>Joe Barresi</strong><br/>\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br/><br/>\n<strong>John Feldmann</strong><br/>\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br/><br/>\n<strong>John Mcbride</strong><br/><br/>\n<strong>John Paterno</strong><br/>\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br/><br/>\n<strong>Matt Bayles</strong><br/>\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br/><br/>\n<strong>Matthew Sweet</strong><br/><br/>\n<strong>Michael Beinhorn</strong><br/>\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br/><br/>\n<strong>Michael James</strong><br/>\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br/><br/>\n<strong>Peter Katis</strong><br/>\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br/><br/>\n<strong>Ralph Patlan</strong><br/>\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br/><br/>\n<strong>Rammstein</strong><br/><br/>\n<strong>Ross Hogarth</strong><br/>\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br/><br/>\n<strong>Ross Robinson</strong><br/>\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br/><br/>\n<strong>Ryan Hewitt</strong><br/>\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br/><br/>\n<strong>Shawn Dealey</strong><br/>\n<em>Engineer, Counting Crows</em><br/><br/>\n<strong>Slipknot</strong><br/><br/>\n<strong>Steve Evetts</strong><br/>\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br/><br/>\n<h3>If you\'ve been looking for the mojo of a Chandler Germanium preamp in a 500-series format, put a Germ 500 MKII preamp module in your 500 rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3333,85,0,556,'Chandler Limited Germ 500 MKII Pre Amp Module'),(3334,85,1,556,'Chandler Limited Germ 500 MKII Pre Amp Module'),(3335,76,0,556,''),(3336,76,1,556,''),(3337,75,0,557,'<h1>Chandler Limited Germanium Compressor</h1>\n<i>The Germ Comp starts with the same all class A amp found in the Germ Pre and Tone Control and is transformer balanced in and out.</i></span><br/>The Germanium series continues with the GERMANIUM Compressor.  The compression circuit uses an FET gain reduction element but with the tricks and flexibility of all the Germ units. Some of the most notable additions include a Wet/Dry mix (for “submixing” tracks within the comp), Comp Curve (which selects the knee using various diode combinations), Clean/Dirty comp and Sidechain filter. Many of the Germ Comp parameters have been purposely set by studio use and listening not by over analyzing them with test gear. The result is a musical powerhouse ready for tracking, mixing, and mastering.\nAll Germanium units require the PSU-1, Chandler Limited power supply.'),(3338,75,1,557,'<h1>Chandler Limited Germanium Compressor</h1>\n<i>The Germ Comp starts with the same all class A amp found in the Germ Pre and Tone Control and is transformer balanced in and out.</i></span><br/>The Germanium series continues with the GERMANIUM Compressor.  The compression circuit uses an FET gain reduction element but with the tricks and flexibility of all the Germ units. Some of the most notable additions include a Wet/Dry mix (for “submixing” tracks within the comp), Comp Curve (which selects the knee using various diode combinations), Clean/Dirty comp and Sidechain filter. Many of the Germ Comp parameters have been purposely set by studio use and listening not by over analyzing them with test gear. The result is a musical powerhouse ready for tracking, mixing, and mastering.\nAll Germanium units require the PSU-1, Chandler Limited power supply.'),(3339,85,0,557,'Chandler Limited Germanium Compressor'),(3340,85,1,557,'Chandler Limited Germanium Compressor'),(3341,76,0,557,''),(3342,76,1,557,''),(3343,75,0,558,'<h1>Chandler Limited Germanium Drive Guitar Pedal</h1>\n\nThe Germanium Drive is really a germanium pedal like none you’ve used before. It has all the tone and color you would expect from a germanium but none of the mud and none of the fat – only an intense colored germanium tone.<br><br>\nThis pedal was inspired by our Germanium pre amps and our work with other germanium amplifiers, but has even more to it. The five feedback selections on the Germanium Drive modify the tone, harmonic distortion and clipping of the pedal and offer a nice range of uses from tighter, lightly driven to slightly fuzzy, to full on germanium hell!<br><br>'),(3344,75,1,558,'<h1>Chandler Limited Germanium Drive Guitar Pedal</h1>\n\nThe Germanium Drive is really a germanium pedal like none you’ve used before. It has all the tone and color you would expect from a germanium but none of the mud and none of the fat – only an intense colored germanium tone.<br><br>\nThis pedal was inspired by our Germanium pre amps and our work with other germanium amplifiers, but has even more to it. The five feedback selections on the Germanium Drive modify the tone, harmonic distortion and clipping of the pedal and offer a nice range of uses from tighter, lightly driven to slightly fuzzy, to full on germanium hell!<br><br>'),(3345,85,0,558,'Chandler Limited Germanium Drive Guitar Pedal'),(3346,85,1,558,'Chandler Limited Germanium Drive Guitar Pedal'),(3347,76,0,558,''),(3348,76,1,558,''),(3349,75,0,559,'<h1>Chandler Limited Germanium Pre Amp / DI</h1>\n\nChandler’s newest series of units starts off with the GERMANIUM Pre Amp. A completely new design by Chandler Limited designer Wade Goeke, that uses classic germanium transistors in all class A, transformer balanced circuit. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured.<br /><br />\nThese incredibly smooth sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI (TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium transistor. The GERMANIUM series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth, as with many vintage style circuits, but you’ll find a whole new world of smooth here, as well as a sound that settles in perfectly to your tracks without fighting. The Germanium uses Chandler’s new custom wound transformers that combine the best parts of our favorite St Ives and Gardners input and output transformers.\nAll Germanium units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3350,75,1,559,'<h1>Chandler Limited Germanium Pre Amp / DI</h1>\n\nChandler’s newest series of units starts off with the GERMANIUM Pre Amp. A completely new design by Chandler Limited designer Wade Goeke, that uses classic germanium transistors in all class A, transformer balanced circuit. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured.<br /><br />\nThese incredibly smooth sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI (TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium transistor. The GERMANIUM series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth, as with many vintage style circuits, but you’ll find a whole new world of smooth here, as well as a sound that settles in perfectly to your tracks without fighting. The Germanium uses Chandler’s new custom wound transformers that combine the best parts of our favorite St Ives and Gardners input and output transformers.\nAll Germanium units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3351,85,0,559,'Chandler TG Channel Mk II Channel Strip'),(3352,85,1,559,'Chandler TG Channel Mk II Channel Strip'),(3353,76,0,559,''),(3354,76,1,559,''),(3355,75,0,560,'<h1>Chandler Ltd. Little Devil Compressor — 500-Series Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">500-series compressor combines two Chandler Limited compressors in one with selectable Germanium and Zener compression curves</span><br/><br/>\nThe 500-series Chandler Limited Little Devil Compressor is a mixture of all that’s Chandler with a side order of classic Neve. The Little Devil Compressor combines elements of Chandler’s LTD-2 and Germanium compressors, as well as the classic Neve 2264 and 33609 compressors into an all-new compressor for the 500 format. For flexibility as intense as its tone, the Chandler Little Devil Compressor features revolutionary controls such as selectable Germanium and Zener compression curves, wet/dry mix control, and a sidechain filter that controls low frequency processing. With classic discrete transformer sound and Chandler Limited’s renowned handmade quality, the 500-series Little Devil Compressor gives you a rack full of classic compression in a single small package. <br/><br/>\n<h3>Chandler Limited Little Devil Compressor unique features:</h3>\n<ul>\n	<li>Curve control selects between Germanium and Zener sound characteristics </li>\n	<li>Combines elements of Chandler LTD-2 and Germanium compressors plus Neve 2264 and 33609</li>\n</ul>\n<br/>\n<h3>Chandler Limited Little Devil Compressor key features:</h3>\n<ul>\n	<li>Wet/dry control mixes compressed and uncompressed signal to simulate parallel compression—preserves transients and intensity</li>\n	<li>Sidechain adjusts amount of low frequency entering compressor circuit</li>\n	<li>Hardwire bypass eliminates all circuits from signal path</li>\n	<li>No power-up issues with lunchboxes and rack systems</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 <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<h3>Inside The Box —Little Devil Compressor</h3>\nThe Little Devil Compressor is steeped in the Chandler sound with discrete amplifiers, inductors, transformers, and quality American build. You won’t find any sound-crippling surface-mount technology or ribbon cables (which have a history of failing in audio devices) in the Little Devil compressor. \n<br/><br/>\nThanks to the Curve control, the Little Devil is very much two compressors in one. Since the compression curve or knee largely dictates the sound and function of the Little Devil, the Germ and Zener selections are radically different in terms of knee, time constants, distortion, and overall sound character. The Zener curve is an extremely gentle knee, which offers a less compressed sound regardless of extreme settings. The time constants are slower than the Germ selection with less overall THD. Another characteristic of Little Devil compression is that the ratio selections change time constants. The higher the ratio, the slower the time constant, with the highest ratio sounding close to slow, variable-mu-style compression, such as that of the Altec 436 or UA 176. <br/><br/>\nThe Germ curve resembles the settings on the Chandler Germanium Compressor, except that it will generally compress a little more aggressively. It also has a smooth knee, but has just the right amount of grab to make it punchy and fun sounding. It’s faster than the Zener setting, plus its harmonically and tonally very rich and colored. In Germ mode, ratio does not affect timing as it does on the Zener curve. <br/><br/>\n<h3>Outside The Box — Chandler Ltd. Little Devil Compressor</h3>\nIn keeping with its namesake, Little Devil Compressor sports a bright red front panel with all controls are marked +/- 1 to 6 in the playful spirit of the Little Devil concept. \n<br/><br/>\n<h3>Little Devil Compressor controls:</h3>\n<ul>\n	<li><strong>Hardwire Bypass:</strong> use this switch to easily check between compressed and unprocessed sound as well as adjust unity gain</li>\n	<li><strong>FET Compressor:</strong> employs concepts from both the Chandler Germanium Comp and the 2264 Comp   </li>\n	<li><strong>Input Control:</strong> works as an attenuator (so in most cases should be set to maximum or higher positions)</li>\n	<li><strong>Mix (wet/dry control):</strong> mixes unprocessed signal with compressed to simulate parallel compression or sub-mixing right in the unit</li>\n	<li><strong>Curve:</strong> selects between Zener and Germanium diode knees </li>\n	<li><strong>Gain Make Up:</strong> works like a fader; compensates for loss of volume, Lowest setting is below unity gain </li>\n	<li><strong>Ratio:</strong> three positions, from very little to near limiting; in Zener mode, ratio and curve interact (higher ratio = slower timing)  </li>\n	<li><strong>Attack:</strong> continuously variable control purposely set to have a wide range to be musical and natural as possible </li>\n	<li><strong>Sidechain Filter:</strong> 30Hz, 60Hz, 90Hz, 150Hz, 300Hz selection </li>\n	<li><strong>Release switch:</strong> three positions; fast, med, slow </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Chris Hesse</strong><br/>\n<em>(Hoobastank)</em><br/><br/>\n<strong>Dan Auerbach</strong><br/>\n<em>(The Black Keys)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>If you’re a fan of any of the compressors that inspired it, you’ll love the Chandler Little Devil Compressor. For more information, call or chat with an RSPE representative today. </h3>\n<br/>\n<br/>This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Chandler_Limited_Little_Devil_Compressor_RENT_p/chd-dvlcomp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(3356,75,1,560,'<h1>Chandler Ltd. Little Devil Compressor — 500-Series Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">500-series compressor combines two Chandler Limited compressors in one with selectable Germanium and Zener compression curves</span><br/><br/>\nThe 500-series Chandler Limited Little Devil Compressor is a mixture of all that’s Chandler with a side order of classic Neve. The Little Devil Compressor combines elements of Chandler’s LTD-2 and Germanium compressors, as well as the classic Neve 2264 and 33609 compressors into an all-new compressor for the 500 format. For flexibility as intense as its tone, the Chandler Little Devil Compressor features revolutionary controls such as selectable Germanium and Zener compression curves, wet/dry mix control, and a sidechain filter that controls low frequency processing. With classic discrete transformer sound and Chandler Limited’s renowned handmade quality, the 500-series Little Devil Compressor gives you a rack full of classic compression in a single small package. <br/><br/>\n<h3>Chandler Limited Little Devil Compressor unique features:</h3>\n<ul>\n	<li>Curve control selects between Germanium and Zener sound characteristics </li>\n	<li>Combines elements of Chandler LTD-2 and Germanium compressors plus Neve 2264 and 33609</li>\n</ul>\n<br/>\n<h3>Chandler Limited Little Devil Compressor key features:</h3>\n<ul>\n	<li>Wet/dry control mixes compressed and uncompressed signal to simulate parallel compression—preserves transients and intensity</li>\n	<li>Sidechain adjusts amount of low frequency entering compressor circuit</li>\n	<li>Hardwire bypass eliminates all circuits from signal path</li>\n	<li>No power-up issues with lunchboxes and rack systems</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 <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<h3>Inside The Box —Little Devil Compressor</h3>\nThe Little Devil Compressor is steeped in the Chandler sound with discrete amplifiers, inductors, transformers, and quality American build. You won’t find any sound-crippling surface-mount technology or ribbon cables (which have a history of failing in audio devices) in the Little Devil compressor. \n<br/><br/>\nThanks to the Curve control, the Little Devil is very much two compressors in one. Since the compression curve or knee largely dictates the sound and function of the Little Devil, the Germ and Zener selections are radically different in terms of knee, time constants, distortion, and overall sound character. The Zener curve is an extremely gentle knee, which offers a less compressed sound regardless of extreme settings. The time constants are slower than the Germ selection with less overall THD. Another characteristic of Little Devil compression is that the ratio selections change time constants. The higher the ratio, the slower the time constant, with the highest ratio sounding close to slow, variable-mu-style compression, such as that of the Altec 436 or UA 176. <br/><br/>\nThe Germ curve resembles the settings on the Chandler Germanium Compressor, except that it will generally compress a little more aggressively. It also has a smooth knee, but has just the right amount of grab to make it punchy and fun sounding. It’s faster than the Zener setting, plus its harmonically and tonally very rich and colored. In Germ mode, ratio does not affect timing as it does on the Zener curve. <br/><br/>\n<h3>Outside The Box — Chandler Ltd. Little Devil Compressor</h3>\nIn keeping with its namesake, Little Devil Compressor sports a bright red front panel with all controls are marked +/- 1 to 6 in the playful spirit of the Little Devil concept. \n<br/><br/>\n<h3>Little Devil Compressor controls:</h3>\n<ul>\n	<li><strong>Hardwire Bypass:</strong> use this switch to easily check between compressed and unprocessed sound as well as adjust unity gain</li>\n	<li><strong>FET Compressor:</strong> employs concepts from both the Chandler Germanium Comp and the 2264 Comp   </li>\n	<li><strong>Input Control:</strong> works as an attenuator (so in most cases should be set to maximum or higher positions)</li>\n	<li><strong>Mix (wet/dry control):</strong> mixes unprocessed signal with compressed to simulate parallel compression or sub-mixing right in the unit</li>\n	<li><strong>Curve:</strong> selects between Zener and Germanium diode knees </li>\n	<li><strong>Gain Make Up:</strong> works like a fader; compensates for loss of volume, Lowest setting is below unity gain </li>\n	<li><strong>Ratio:</strong> three positions, from very little to near limiting; in Zener mode, ratio and curve interact (higher ratio = slower timing)  </li>\n	<li><strong>Attack:</strong> continuously variable control purposely set to have a wide range to be musical and natural as possible </li>\n	<li><strong>Sidechain Filter:</strong> 30Hz, 60Hz, 90Hz, 150Hz, 300Hz selection </li>\n	<li><strong>Release switch:</strong> three positions; fast, med, slow </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Chris Hesse</strong><br/>\n<em>(Hoobastank)</em><br/><br/>\n<strong>Dan Auerbach</strong><br/>\n<em>(The Black Keys)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>If you’re a fan of any of the compressors that inspired it, you’ll love the Chandler Little Devil Compressor. For more information, call or chat with an RSPE representative today. </h3>\n<br/>\n<br/>This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Chandler_Limited_Little_Devil_Compressor_RENT_p/chd-dvlcomp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(3357,85,0,560,'Chandler Limited Little Devil Compressor Module'),(3358,85,1,560,'Chandler Limited Little Devil Compressor Module'),(3359,76,0,560,''),(3360,76,1,560,''),(3361,75,0,561,'<h1>Chandler Limited Little Devil EQ — 500-Series Equalizer</h1>\n<span style=\"font-size:16px; font-style:italic;\">British console sound with huge-sounding Baxendall tone control in a hand-wired 500 package</span><br/><br/>\nThe Chandler Little Devil EQ is a 500-series equalizer module that packs a big sound into a small package. Giving you the “Chandlerized” British console sound, the Chandler Little Devil EQ has all-discrete circuits with custom transformers and an inductor-based EQ that modern gyrator circuits could never touch. The Chandler Limited Little Devil EQ also features a classic Baxendall tone control that is simply huge sounding. To preserve sound quality, reliability, and their commitment to building superior equipment that professionals can rely on, Chandler Limited will never use surface-mount components, which can compromise sound quality. All Little Devil EQs are all handmade using through-hole components and hand wiring. Like all Chandler gear, the Little Devil EQ is extremely high quality, built to give you that special vintage sound for years to come. <br/><br/>\n<h3>Chandler Limited Little Devil EQ unique features:</h3>\n<ul>\n	<li>Classic Baxandall tone circuit</li>\n	<li>All-discrete circuits with custom-wound transformers</li>\n	<li>British-style console EQ similar to vintage Neve 1081 and 33115 units </li>\n</ul>\n<br/>\n<h3>Chandler Limited Little Devil EQ key features:</h3>\n<ul>\n	<li>Capacitor and inductor-based EQ</li>\n	<li>Increased 500-series lunchbox compatibility</li>\n	<li>No power-up issues with lunchboxes and rack systems</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 <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<h3>Inside The Box — Chandler Limited Little Devil EQ</h3>\nThe Little Devil’s treble and bass controls are representative of the British circuits used in many popular recordings and equipment. The Little Devil EQ’s high- and low-shelving circuits, as developed by JP Baxandall (the real father of British EQ), are the same as those used in classic Neve 1073 and 1081 modules. Like the 1073, Chandler set the Little Devil EQ’s high frequency to 12kHz and low frequency to a selectable 60/110Hz. These are capacitor-based circuits with a distinctly different sound than modern gyrator parametric circuits. The Little Devil EQ’s treble is smooth and open sounding, while the bass is warm and round. The selectable 60Hz bass is tuned for a deep, low bass suited for drums and bass guitar. The 110Hz selection has a wide, sweeping curve that accents midrange frequencies as well as bass—excellent for filling out guitars, bass and pretty much anything else.  \n<br/><br/>\nThe midrange frequencies are also based on the highly regarded British consoles, which were used in the 1073, 1081, and 33115. The mids are inductor based, like the renowned Pultec EQs. Each mid band also has a Q switch, which sharpens or smoothens the mid band for a more mellow or pointed boost and cut. As well as changing the center point of the EQ curve, Q also changes the amount of overall boost and cut for a more musical and controlled response. <br/><br/>\nThe Little Devil EQ has a low-frequency filter with three selectable frequencies; 47Hz, 82Hz, and 150Hz, which have a wide, extended frequency response. The Little Devil EQ is sharply cut at 20Hz to keep the low end from becoming muddy. The Little Devil EQ also has a hardwire bypass with no components in the signal path to color sound in any way, enabling you to make accurate comparisons between treated and untreated sounds. <br/><br/>\n<h3>Outside The Box — Chandler Limited Little Devil EQ</h3>\nIn keeping with its namesake, Little Devil Equalizer sports a bright red front panel with all controls are marked +/- 1 to 6 in the playful spirit of the Little Devil concept.\n<ul>\n	<li>Treble and bass: Shelf +/-18db; treble is set to 12kHz while bass is selectable between 50Hz and 110Hz </li>\n	<li>High and low mid: +/-18db with high and low “Q” switching on each band; inductor-based British-style EQ with 7 selections per band</li>\n	<li>High-mid frequencies:  1.2kHz, 2.7kHZ, 3.3kHz, 4.7kHz, 5.6kHz, 6.8kHz, 8.2kHz </li>\n	<li>Lo-mid frequencies: 220Hz, 270Hz, 330Hz, 390Hz, 470Hz, 560Hz, 820Hz</li>\n	<li>Q switches for mid frequencies </li>\n	<li>Three-position filter: 47Hz, 82Hz, and 150hz.\n	</li>\n	<li>Hardwire bypass removes all circuits from the signal path </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<em>“The Little Devil EQ is ALL business!!! It has been getting a workout…. I find myself sticking it on shit that doesn’t even need any EQ just to see how much better it can get!”</em><strong>–Blues Saraceno</strong><br/><br/>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Chris Hesse</strong><br/>\n<em>(Hoobastank)</em><br/><br/>\n<strong>Dan Auerbach</strong><br/>\n<em>(The Black Keys)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>Add authentic British console EQ to your 500-series lunchbox with the Chandler Limited Little Devil EQ. For more information, call or chat with an RSPE representative today.</h3>'),(3362,75,1,561,'<h1>Chandler Limited Little Devil EQ — 500-Series Equalizer</h1>\n<span style=\"font-size:16px; font-style:italic;\">British console sound with huge-sounding Baxendall tone control in a hand-wired 500 package</span><br/><br/>\nThe Chandler Little Devil EQ is a 500-series equalizer module that packs a big sound into a small package. Giving you the “Chandlerized” British console sound, the Chandler Little Devil EQ has all-discrete circuits with custom transformers and an inductor-based EQ that modern gyrator circuits could never touch. The Chandler Limited Little Devil EQ also features a classic Baxendall tone control that is simply huge sounding. To preserve sound quality, reliability, and their commitment to building superior equipment that professionals can rely on, Chandler Limited will never use surface-mount components, which can compromise sound quality. All Little Devil EQs are all handmade using through-hole components and hand wiring. Like all Chandler gear, the Little Devil EQ is extremely high quality, built to give you that special vintage sound for years to come. <br/><br/>\n<h3>Chandler Limited Little Devil EQ unique features:</h3>\n<ul>\n	<li>Classic Baxandall tone circuit</li>\n	<li>All-discrete circuits with custom-wound transformers</li>\n	<li>British-style console EQ similar to vintage Neve 1081 and 33115 units </li>\n</ul>\n<br/>\n<h3>Chandler Limited Little Devil EQ key features:</h3>\n<ul>\n	<li>Capacitor and inductor-based EQ</li>\n	<li>Increased 500-series lunchbox compatibility</li>\n	<li>No power-up issues with lunchboxes and rack systems</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 <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<h3>Inside The Box — Chandler Limited Little Devil EQ</h3>\nThe Little Devil’s treble and bass controls are representative of the British circuits used in many popular recordings and equipment. The Little Devil EQ’s high- and low-shelving circuits, as developed by JP Baxandall (the real father of British EQ), are the same as those used in classic Neve 1073 and 1081 modules. Like the 1073, Chandler set the Little Devil EQ’s high frequency to 12kHz and low frequency to a selectable 60/110Hz. These are capacitor-based circuits with a distinctly different sound than modern gyrator parametric circuits. The Little Devil EQ’s treble is smooth and open sounding, while the bass is warm and round. The selectable 60Hz bass is tuned for a deep, low bass suited for drums and bass guitar. The 110Hz selection has a wide, sweeping curve that accents midrange frequencies as well as bass—excellent for filling out guitars, bass and pretty much anything else.  \n<br/><br/>\nThe midrange frequencies are also based on the highly regarded British consoles, which were used in the 1073, 1081, and 33115. The mids are inductor based, like the renowned Pultec EQs. Each mid band also has a Q switch, which sharpens or smoothens the mid band for a more mellow or pointed boost and cut. As well as changing the center point of the EQ curve, Q also changes the amount of overall boost and cut for a more musical and controlled response. <br/><br/>\nThe Little Devil EQ has a low-frequency filter with three selectable frequencies; 47Hz, 82Hz, and 150Hz, which have a wide, extended frequency response. The Little Devil EQ is sharply cut at 20Hz to keep the low end from becoming muddy. The Little Devil EQ also has a hardwire bypass with no components in the signal path to color sound in any way, enabling you to make accurate comparisons between treated and untreated sounds. <br/><br/>\n<h3>Outside The Box — Chandler Limited Little Devil EQ</h3>\nIn keeping with its namesake, Little Devil Equalizer sports a bright red front panel with all controls are marked +/- 1 to 6 in the playful spirit of the Little Devil concept.\n<ul>\n	<li>Treble and bass: Shelf +/-18db; treble is set to 12kHz while bass is selectable between 50Hz and 110Hz </li>\n	<li>High and low mid: +/-18db with high and low “Q” switching on each band; inductor-based British-style EQ with 7 selections per band</li>\n	<li>High-mid frequencies:  1.2kHz, 2.7kHZ, 3.3kHz, 4.7kHz, 5.6kHz, 6.8kHz, 8.2kHz </li>\n	<li>Lo-mid frequencies: 220Hz, 270Hz, 330Hz, 390Hz, 470Hz, 560Hz, 820Hz</li>\n	<li>Q switches for mid frequencies </li>\n	<li>Three-position filter: 47Hz, 82Hz, and 150hz.\n	</li>\n	<li>Hardwire bypass removes all circuits from the signal path </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<em>“The Little Devil EQ is ALL business!!! It has been getting a workout…. I find myself sticking it on shit that doesn’t even need any EQ just to see how much better it can get!”</em><strong>–Blues Saraceno</strong><br/><br/>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Chris Hesse</strong><br/>\n<em>(Hoobastank)</em><br/><br/>\n<strong>Dan Auerbach</strong><br/>\n<em>(The Black Keys)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>Add authentic British console EQ to your 500-series lunchbox with the Chandler Limited Little Devil EQ. For more information, call or chat with an RSPE representative today.</h3>'),(3363,85,0,561,'Chandler Limited Little Devil Equalizer Module'),(3364,85,1,561,'Chandler Limited Little Devil Equalizer Module'),(3365,76,0,561,''),(3366,76,1,561,''),(3367,75,0,562,'<h1>Chandler Limited Little Devil Pre Amp – 500-Series Mic Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">Unique-sounding 500-series preamp module with controllable feedback and bias</span><br/><br/>\nThe Chandler Limited Little Devil Pre Amp has already become the new favorite preamp of high-profile Chandler users. Perhaps the best piece of Chandler gear yet, the Little Devil Pre Amp has a Class-A gain stage that is unlike anything Chandler Ltd. has done. What makes the Chandler Little Devil Pre Amp so special are several unique features that contribute to its big, open sound. Nearly every parameter of the little Devil Pre Amp is changeable, including the ability to adjust both the feedback and bias of the amplifier to control harmonic content and distortion characteristics. Other features of the Little Devil Pre Amp include high- and low-input impedance; low cut filter; bright switch; and transformer-balanced line in for using the Little Devil Pre Amp to add color on tracks or entire mixes. <br/><br/>\n<h3>Chandler Limited Little Devil Pre Amp unique features:</h3>\n<ul>\n	<li>Any parameter of the sound is changeable</li>\n	<li>Adjust both Feedback and Bias of the amplifier</li>\n</ul>\n<br/>\n<h3>Chandler Limited Little Devil Pre Amp key features:</h3>\n<ul>\n	<li>High and low input impedance</li>\n	<li>Transformer-balanced line in</li>\n	<li>Low cut and bright switches</li>\n	<li>No power-up issues with lunchboxes and rack systems</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 <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<h3>Inside The Box — Chandler Limited Little Devil Pre Amp</h3>\nThe Little Devil’s feedback control increases harmonics thousands of times over the range of the control. The nature of clipping and distortion also changes, ranging from soft Class-A clipping to super soft, gushy tube distortion. The sounds range from a very colored and over-biased tone to a gently colored and in-your-face tone.   \n<br/><br/>\n<h3>How the feedback and bias works</h3>\nSome users may be familiar with Chandler’s Germanium pre amp, which incorporates variable negative feedback—possibly the first time in a preamp. On the Little Devil preamp, Chandler Limited wanted to take this a step further and allow you to change the bias of the gain stage at the same time as the feedback. So what does this mean?\n<br/><br/>\nYou can modify nearly any parameter of the sound of the Little Devil pre with the use of the feedback/bias control. It will change the frequency response of the high and low areas, harmonic distortion, nature of clipping, and the overall tonal characteristic of the pre amp. For example, with the feedback on full, the sound gets “gushy” (as users have described it). The unit will soft clip much earlier, harmonics increase exponentially, high frequencies are slightly increased, and the unit takes on a very high-voltage, over-biased, Class A personality. <br/><br/>\nWith the feedback control low you get a very colored but more tame sound. Harmonics are very low (in the range of .007%) and noise is the lowest possible with the unit, in the area of -93dB. The sound could be described as an accurate but interestingly colored Class A sound. <br/><br/>\nWith the Little Devil’s Feedback/Gain control set near the middle of its range you will get the most headroom, and what could be considered the most typical operation of a mic pre. In that position, all parameters tend to come into the norm for a Class A-style mic pre, but don\'t let that keep you from using it set there. The pre always has a great colored sound we all look for. <br/><br/>\nWith the feedback all the way down you will not get much level. This is the nature of feedback. Lots of feedback equals very little gain. Chandler Limited’s Wade Goeke designed it like that because there are very specific sounds you can get. For example, with lots of feedback (control off or counter clockwise), you get very little distortion and the noise floor is very low. It also allows you to use the pre with almost no gain for recording loud sources such as drums and guitar.<br/><br/>\n<h3>Little Devil preamp feedback/gain control settings: </h3>\n<ul>\n	<li>Control off or counter clockwise: Lots of feedback, little gain. </li>\n	<li>Control full or clockwise: Very little feedback, lots of gain. </li>\n</ul>\n<br/>\nThere are three different input types on the Devil Little 500 Pre Amp, mic, line, and DI. The mic/line switches between the transformer-balanced mic and line inputs. The Little Devil 500 preamp is more than just a mic pre; it’s also a processor. Switching to the line input processes any line-level source, such as tape or DAW tracks, bus sub-mixes, or the main stereo bus. For unbalanced sources such as bass and keyboards select the DI input. <br/><br/>\n<h3>Outside The Box — Chandler Limited Little Devil Pre Amp</h3>\nIn keeping with its namesake, Little Devil Pre Amp sports a bright red front panel with all controls are marked +/- 1 to 6 in the playful spirit of the Little Devil concept.\n<ul>\n	<li><strong>Gain:</strong> Up to 66dB </li>\n	<li><strong>Feedback/Bias:</strong> Changes the bias and negative feedback of the class A gain circuit </li>\n	<li><strong>Impedance:</strong> Selects low or high impedance for both mic and line. </li>\n	<li><strong>Mic/Line:</strong> This is more than just a mic pre, it is a processor </li>\n	<li><strong>Low Cut:</strong> Gently sloping low cut at 100Hz </li>\n	<li><strong>Output:</strong> Acts as a fader on a mixing console and is used to trim the signal </li>\n	<li><strong>Bright:</strong> Increases high frequency information on the output transformer </li>\n	<li><strong>48V:</strong> 48 volt phantom power</li>\n	<li><strong>Phase:</strong> Phase reverses the output polarity of the unit at the output transformer </li>\n	<li><strong>DI:</strong> Unbalanced direct input </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<em>I used the Devil pre on electric guitar, comparing it to 1073s, 312s and TG-2s. It sounded amazing, super open sounding, and full low end. The feedback control was awesome, added serious mojo to the sound. I am a huge fan of all of the other pres Wade makes, but this one might take the cake! I cannot wait to get my hands on another one or 4! It would make a rad channel strip combined with the Little Devil EQ and Compressor.</em><br/><br/>\n<strong>–Shawn Dealey, engineer</strong> <em>(Counting Crows)</em><br/><br/><br/>\n<em>I love the Devil! First it was the Devil EQ and compressor, now the preamp and insane boost pedal! I tried the preamp on kick and snare comparing to some of my other favorites and it came out on top by a wide margin. Everyone in the room wanted a pair. I don’t know how Wade does it, but with volumes matched between different preamps, the Devil just sounds . . . MORE! Great low end. Adjustable attitude with the feedback control . . . and that bright switch! Perfect to liven up a 57 or a ribbon mic.</em><br/><br/>\n<strong>–Ryan Hewitt</strong> <em>(Avett Brothers, Red Hot Chili Peppers)</em><br/><br/><br/>\n<em>I don’t know how you did it, but this mic pre has a superb clarity, but still tons of character and it has a great mid-range punch without losing bottom or top end, which could make it my top choice for electric guitars (right now it’s the TG-2, so it would at least stay in the family). The feedback control lets you add more harmonic content to the sound and push it way forward. The bright switch opens up a vocal track really nicely. Tried it on electric guitar and vocals so far, which is quite a spectrum for a mic pre, and it kicks butt on both. Awesome box. Man, you did it again. It’s amazing how your stuff always stands out from the crowd. Everything’s got its own distinct sound and it totally hits my taste. You are creating the “modern vintage”! Plug it in and it makes you feel better, no kidding (I used to have to listen to Back in Black to make me feel better). Great job Wade.</em><br/><br/>\n<strong>–Michael Wagener</strong> <em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em>\n<br/><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>The Chandler Limited Little Devil Pre Amp might be the best piece of Chandler Limited gear yet. For more information, call or chat with an RSPE representative today.</h3>'),(3368,75,1,562,'<h1>Chandler Limited Little Devil Pre Amp – 500-Series Mic Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">Unique-sounding 500-series preamp module with controllable feedback and bias</span><br/><br/>\nThe Chandler Limited Little Devil Pre Amp has already become the new favorite preamp of high-profile Chandler users. Perhaps the best piece of Chandler gear yet, the Little Devil Pre Amp has a Class-A gain stage that is unlike anything Chandler Ltd. has done. What makes the Chandler Little Devil Pre Amp so special are several unique features that contribute to its big, open sound. Nearly every parameter of the little Devil Pre Amp is changeable, including the ability to adjust both the feedback and bias of the amplifier to control harmonic content and distortion characteristics. Other features of the Little Devil Pre Amp include high- and low-input impedance; low cut filter; bright switch; and transformer-balanced line in for using the Little Devil Pre Amp to add color on tracks or entire mixes. <br/><br/>\n<h3>Chandler Limited Little Devil Pre Amp unique features:</h3>\n<ul>\n	<li>Any parameter of the sound is changeable</li>\n	<li>Adjust both Feedback and Bias of the amplifier</li>\n</ul>\n<br/>\n<h3>Chandler Limited Little Devil Pre Amp key features:</h3>\n<ul>\n	<li>High and low input impedance</li>\n	<li>Transformer-balanced line in</li>\n	<li>Low cut and bright switches</li>\n	<li>No power-up issues with lunchboxes and rack systems</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 <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<h3>Inside The Box — Chandler Limited Little Devil Pre Amp</h3>\nThe Little Devil’s feedback control increases harmonics thousands of times over the range of the control. The nature of clipping and distortion also changes, ranging from soft Class-A clipping to super soft, gushy tube distortion. The sounds range from a very colored and over-biased tone to a gently colored and in-your-face tone.   \n<br/><br/>\n<h3>How the feedback and bias works</h3>\nSome users may be familiar with Chandler’s Germanium pre amp, which incorporates variable negative feedback—possibly the first time in a preamp. On the Little Devil preamp, Chandler Limited wanted to take this a step further and allow you to change the bias of the gain stage at the same time as the feedback. So what does this mean?\n<br/><br/>\nYou can modify nearly any parameter of the sound of the Little Devil pre with the use of the feedback/bias control. It will change the frequency response of the high and low areas, harmonic distortion, nature of clipping, and the overall tonal characteristic of the pre amp. For example, with the feedback on full, the sound gets “gushy” (as users have described it). The unit will soft clip much earlier, harmonics increase exponentially, high frequencies are slightly increased, and the unit takes on a very high-voltage, over-biased, Class A personality. <br/><br/>\nWith the feedback control low you get a very colored but more tame sound. Harmonics are very low (in the range of .007%) and noise is the lowest possible with the unit, in the area of -93dB. The sound could be described as an accurate but interestingly colored Class A sound. <br/><br/>\nWith the Little Devil’s Feedback/Gain control set near the middle of its range you will get the most headroom, and what could be considered the most typical operation of a mic pre. In that position, all parameters tend to come into the norm for a Class A-style mic pre, but don\'t let that keep you from using it set there. The pre always has a great colored sound we all look for. <br/><br/>\nWith the feedback all the way down you will not get much level. This is the nature of feedback. Lots of feedback equals very little gain. Chandler Limited’s Wade Goeke designed it like that because there are very specific sounds you can get. For example, with lots of feedback (control off or counter clockwise), you get very little distortion and the noise floor is very low. It also allows you to use the pre with almost no gain for recording loud sources such as drums and guitar.<br/><br/>\n<h3>Little Devil preamp feedback/gain control settings: </h3>\n<ul>\n	<li>Control off or counter clockwise: Lots of feedback, little gain. </li>\n	<li>Control full or clockwise: Very little feedback, lots of gain. </li>\n</ul>\n<br/>\nThere are three different input types on the Devil Little 500 Pre Amp, mic, line, and DI. The mic/line switches between the transformer-balanced mic and line inputs. The Little Devil 500 preamp is more than just a mic pre; it’s also a processor. Switching to the line input processes any line-level source, such as tape or DAW tracks, bus sub-mixes, or the main stereo bus. For unbalanced sources such as bass and keyboards select the DI input. <br/><br/>\n<h3>Outside The Box — Chandler Limited Little Devil Pre Amp</h3>\nIn keeping with its namesake, Little Devil Pre Amp sports a bright red front panel with all controls are marked +/- 1 to 6 in the playful spirit of the Little Devil concept.\n<ul>\n	<li><strong>Gain:</strong> Up to 66dB </li>\n	<li><strong>Feedback/Bias:</strong> Changes the bias and negative feedback of the class A gain circuit </li>\n	<li><strong>Impedance:</strong> Selects low or high impedance for both mic and line. </li>\n	<li><strong>Mic/Line:</strong> This is more than just a mic pre, it is a processor </li>\n	<li><strong>Low Cut:</strong> Gently sloping low cut at 100Hz </li>\n	<li><strong>Output:</strong> Acts as a fader on a mixing console and is used to trim the signal </li>\n	<li><strong>Bright:</strong> Increases high frequency information on the output transformer </li>\n	<li><strong>48V:</strong> 48 volt phantom power</li>\n	<li><strong>Phase:</strong> Phase reverses the output polarity of the unit at the output transformer </li>\n	<li><strong>DI:</strong> Unbalanced direct input </li>\n</ul>\n<br/>\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br/><br/>\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<em>I used the Devil pre on electric guitar, comparing it to 1073s, 312s and TG-2s. It sounded amazing, super open sounding, and full low end. The feedback control was awesome, added serious mojo to the sound. I am a huge fan of all of the other pres Wade makes, but this one might take the cake! I cannot wait to get my hands on another one or 4! It would make a rad channel strip combined with the Little Devil EQ and Compressor.</em><br/><br/>\n<strong>–Shawn Dealey, engineer</strong> <em>(Counting Crows)</em><br/><br/><br/>\n<em>I love the Devil! First it was the Devil EQ and compressor, now the preamp and insane boost pedal! I tried the preamp on kick and snare comparing to some of my other favorites and it came out on top by a wide margin. Everyone in the room wanted a pair. I don’t know how Wade does it, but with volumes matched between different preamps, the Devil just sounds . . . MORE! Great low end. Adjustable attitude with the feedback control . . . and that bright switch! Perfect to liven up a 57 or a ribbon mic.</em><br/><br/>\n<strong>–Ryan Hewitt</strong> <em>(Avett Brothers, Red Hot Chili Peppers)</em><br/><br/><br/>\n<em>I don’t know how you did it, but this mic pre has a superb clarity, but still tons of character and it has a great mid-range punch without losing bottom or top end, which could make it my top choice for electric guitars (right now it’s the TG-2, so it would at least stay in the family). The feedback control lets you add more harmonic content to the sound and push it way forward. The bright switch opens up a vocal track really nicely. Tried it on electric guitar and vocals so far, which is quite a spectrum for a mic pre, and it kicks butt on both. Awesome box. Man, you did it again. It’s amazing how your stuff always stands out from the crowd. Everything’s got its own distinct sound and it totally hits my taste. You are creating the “modern vintage”! Plug it in and it makes you feel better, no kidding (I used to have to listen to Back in Black to make me feel better). Great job Wade.</em><br/><br/>\n<strong>–Michael Wagener</strong> <em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em>\n<br/><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>The Chandler Limited Little Devil Pre Amp might be the best piece of Chandler Limited gear yet. For more information, call or chat with an RSPE representative today.</h3>'),(3369,85,0,562,'Chandler Limited Little Devil Microphone Pre Module'),(3370,85,1,562,'Chandler Limited Little Devil Microphone Pre Module'),(3371,76,0,562,''),(3372,76,1,562,''),(3373,75,0,563,'<span id=\"product_description\" itemprop=\"description\"><h2>Chandler Limited Little Devil Colored Boost Guitar Pedal</h2> <i>The Little Devil Colored Boost can gently color your Fender or drive your old Marshall into oblivion. <br /> </i></span><br />It’s not a clean boost, though it’s not a fuzz either.\nThe soul of the Little Devil Colored Boost is the Class A amplifier design and the selectable Feedback/Bias control. The six presets range from slightly fuzzy to a “in your face” Plexi sound. Each preset has its own style of harmonic distortion and clipping with different effects on a sine wave signal. Soft clipping, hard clipping, clipping on the top, bottom, or both sides of a sine wave, and significant changes in frequency happen with each click of the Feedback/Bias switch. Capable of 39db of boost, the Little Devil Colored Boost can easily range from gentle sustain to screaming vintage.'),(3374,75,1,563,'<span id=\"product_description\" itemprop=\"description\"><h2>Chandler Limited Little Devil Colored Boost Guitar Pedal</h2> <i>The Little Devil Colored Boost can gently color your Fender or drive your old Marshall into oblivion. <br /> </i></span><br />It’s not a clean boost, though it’s not a fuzz either.\nThe soul of the Little Devil Colored Boost is the Class A amplifier design and the selectable Feedback/Bias control. The six presets range from slightly fuzzy to a “in your face” Plexi sound. Each preset has its own style of harmonic distortion and clipping with different effects on a sine wave signal. Soft clipping, hard clipping, clipping on the top, bottom, or both sides of a sine wave, and significant changes in frequency happen with each click of the Feedback/Bias switch. Capable of 39db of boost, the Little Devil Colored Boost can easily range from gentle sustain to screaming vintage.'),(3375,85,0,563,'Chandler Limited Little Devil Colored Boost Guitar Pedal'),(3376,85,1,563,'Chandler Limited Little Devil Colored Boost Guitar Pedal'),(3377,76,0,563,''),(3378,76,1,563,''),(3379,75,0,564,'<h1>Chandler Limited LTD-1 Equalizer / Pre Amp</h1>\nThe Chandler Limited LTD-1 is a hand wired and handmade 10-series equalizer and pre amp using parts and build techniques from the original manufacture of the modules. Grounding, wiring techniques, original transformers, transistors, and inductors have been used to attribute to the special sound in each LTD-1.<br /><br />\nIn addition to the classic 10-series sound we added all the modern functions you would expect and expanded the EQ section giving a much larger palate to choose from. Features include high impedance direct in, 48v switching, output fader, EQ in/out, phase reverse, balanced mic in, balanced line in, overbuilt power supply to ensure maximum headroom, and nine additional EQ points.<br /><br />\nAll LTD units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3380,75,1,564,'<h1>Chandler Limited LTD-1 Equalizer / Pre Amp</h1>\nThe Chandler Limited LTD-1 is a hand wired and handmade 10-series equalizer and pre amp using parts and build techniques from the original manufacture of the modules. Grounding, wiring techniques, original transformers, transistors, and inductors have been used to attribute to the special sound in each LTD-1.<br /><br />\nIn addition to the classic 10-series sound we added all the modern functions you would expect and expanded the EQ section giving a much larger palate to choose from. Features include high impedance direct in, 48v switching, output fader, EQ in/out, phase reverse, balanced mic in, balanced line in, overbuilt power supply to ensure maximum headroom, and nine additional EQ points.<br /><br />\nAll LTD units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3381,85,0,564,'Chandler Limited LTD-1 Equalizer / Pre Amp'),(3382,85,1,564,'Chandler Limited LTD-1 Equalizer / Pre Amp'),(3383,76,0,564,''),(3384,76,1,564,''),(3385,75,0,565,'<h1>Chandler Limited LTD-2 Compressor</h1>\nThe Chandler Limited LTD-2 is a hand wired and handmade 2254 / 2264 / 33609 using parts and build techniques from the original manufacture of the modules. Grounding, wiring techniques, original transformers, transistors, and much more attribute to the special sound of these units and have been painstakingly recreated in each LTD-2.<br /><br />\n\nThe LTD-2 uses the control circuit from the 80-series family of compressors, but retains the Class A amps and transformers from the 2254 and 10-series modules. A six-position attack switch was added, which none of the vintage types had. The sped up release times make the units much more versatile. The LTD-2 is warm, creamy, and valuable in many situations!\nAll LTD units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3386,75,1,565,'<h1>Chandler Limited LTD-2 Compressor</h1>\nThe Chandler Limited LTD-2 is a hand wired and handmade 2254 / 2264 / 33609 using parts and build techniques from the original manufacture of the modules. Grounding, wiring techniques, original transformers, transistors, and much more attribute to the special sound of these units and have been painstakingly recreated in each LTD-2.<br /><br />\n\nThe LTD-2 uses the control circuit from the 80-series family of compressors, but retains the Class A amps and transformers from the 2254 and 10-series modules. A six-position attack switch was added, which none of the vintage types had. The sped up release times make the units much more versatile. The LTD-2 is warm, creamy, and valuable in many situations!\nAll LTD units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3387,85,0,565,'Chandler Limited LTD-2 Compressor'),(3388,85,1,565,'Chandler Limited LTD-2 Compressor'),(3389,76,0,565,''),(3390,76,1,565,''),(3391,75,0,566,'<h1>Chandler Limited Mini Rack Mixer</h1>\nThe Chandler Limited Mini Mixer is the culmination of Chandler’s experience working with many types of vintage discrete circuits. The Mini Rack Mixer traces its lineage back to several types of these amplifiers developed in the 60s and 70s that have been Chandlerized for modern usage.<br><br>\nEach Channel of the 16×2 mixer is transformer balanced and driven by the new Chandler line amp, which borrows from Chandler’s other products but has been redesigned for use in this mixer. The Mini Mixer is jam-packed with 20 discrete amplifiers and 22 custom wound transformers, giving it a classic sound with all the punch and tone you need for today’s digital environment.<br><br>\nIn addition to the mixer section, the unit has a full featured Control Room section including Talkback, Speaker switching, Mute, Mono, Dim, External input (also used as an insert point), and separate Control Room and Stereo Buss outs. Mixers are easily expandable to 32 channels or more.<br><br>\nAll Mixer units require and function on the PSU-2, Chandler Limited power supply.<br><br>'),(3392,75,1,566,'<h1>Chandler Limited Mini Rack Mixer</h1>\nThe Chandler Limited Mini Mixer is the culmination of Chandler’s experience working with many types of vintage discrete circuits. The Mini Rack Mixer traces its lineage back to several types of these amplifiers developed in the 60s and 70s that have been Chandlerized for modern usage.<br><br>\nEach Channel of the 16×2 mixer is transformer balanced and driven by the new Chandler line amp, which borrows from Chandler’s other products but has been redesigned for use in this mixer. The Mini Mixer is jam-packed with 20 discrete amplifiers and 22 custom wound transformers, giving it a classic sound with all the punch and tone you need for today’s digital environment.<br><br>\nIn addition to the mixer section, the unit has a full featured Control Room section including Talkback, Speaker switching, Mute, Mono, Dim, External input (also used as an insert point), and separate Control Room and Stereo Buss outs. Mixers are easily expandable to 32 channels or more.<br><br>\nAll Mixer units require and function on the PSU-2, Chandler Limited power supply.<br><br>'),(3393,85,0,566,'Chandler Limited Mini Rack Mixer'),(3394,85,1,566,'Chandler Limited Mini Rack Mixer'),(3395,76,0,566,''),(3396,76,1,566,''),(3397,75,0,567,'<h1>Chandler Limited PSU-1 Power Supply</h1>\nThe Chandler Limited PSU-1 is required to power any Chandler Limited TG, LTD and Germanium series gear except the Mini Rack Mixer. Each PSU-1 can power two Chandler units.'),(3398,75,1,567,'<h1>Chandler Limited PSU-1 Power Supply</h1>\nThe Chandler Limited PSU-1 is required to power any Chandler Limited TG, LTD and Germanium series gear except the Mini Rack Mixer. Each PSU-1 can power two Chandler units.'),(3399,85,0,567,''),(3400,85,1,567,''),(3401,76,0,567,''),(3402,76,1,567,''),(3403,75,0,568,'<h1>Chandler Limited PSU-2 Power Supply for Mini Rack Mixer</h1>\nThe Chandler Limited PSU-2 Power Supply is a universal power supply designed to support the Mini Rack Mixer. The PSU-2 provides 3 amps of continuous power with a power requirement of 110\'~230\' VAC, 50/60 Hz.'),(3404,75,1,568,'<h1>Chandler Limited PSU-2 Power Supply for Mini Rack Mixer</h1>\nThe Chandler Limited PSU-2 Power Supply is a universal power supply designed to support the Mini Rack Mixer. The PSU-2 provides 3 amps of continuous power with a power requirement of 110\'~230\' VAC, 50/60 Hz.'),(3405,85,0,568,''),(3406,85,1,568,''),(3407,76,0,568,''),(3408,76,1,568,''),(3409,75,0,569,'<h1>Chandler Limited REDD.47 Pre Amp</h1>\n<span style=\"font-size: 16px;\"><i>A recreation of the original valve line amplifiers used in Abbey Road Studios’ heralded EMI REDD.51 recording consoles</i></span><br/><br/>\n<div>\n	<div>\n		The Chandler Limited REDD.47 microphone pre-amplifier brings the punchy, aggressive character of the music recorded at Abbey Road Studios into the modern era. Designed as a central component to the EMI REDD.51 recording console, the original REDD.47 line amplifier was used to amplify virtually every stage of the audio path (mic inputs, line inputs, echo sends and monitors). A recreation of the original valve line amplifiers used in Abbey Road Studios’ heralded and rare EMI REDD.51 recording consoles circa 1959-1968, the REDD.47 allows you to recreate all the tones and distortions of your favorite Abbey Road Recordings.\n	</div>\n	<div>\n		<br/>\n	</div>\n	<div>\n		Chandler Limited\'s updated REDD.47 preamp also offers many additional benefits to the original design including increased gain, allowing a range of tonal options from pristine clean sound to classic rich, saturated tone with up to 2% harmonic distortion before clipping.\n	</div>\n	<div>\n		<br/>\n	</div>\n	<div>\n		Chandler Limited’s REDD.47 tube microphone pre-amplifier delivers the legendary sound of Abbey Road Studios’ ‘Holy Grail’ preamp, with extra features to meet today’s recording studio standards.\n	</div>\n</div>\n<br/>\n<h3>Chandler Limited REDD.47 Pre Amp key features:</h3>\n<ul>\n	<li>Beautiful recreation of the original REDD.47 used in Abbey Road Studios on countless historic recordings</li>\n	<li>Maintains the punchy sound of it\'s predecessor with extra features to meet today’s recording studio standards.</li>\n	<li>Increased gain for a larger tonal range from pristine clean sound to classic rich</li>\n	<li>Saturated tone up to 2% harmonic distortion before clipping</li>\n	<li><span style=\"background-color: initial;\">Has the ability to be used as a mic pre-amp, line amplifier as well as a D/I</span></li>\n</ul>\n<h3></h3>\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br/><em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br/><br/><strong>Bill Stevenson</strong><br/><em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br/><br/><strong>Billy Bush</strong><br/><em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br/><br/><strong>Blackbird Studios</strong><br/><br/><strong>Michael Wagener</strong><br/><em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/><strong>Blues Saraceno</strong><br/><em>(Melissa Etheridge, Ziggy Marley)</em><br/><br/><strong>Brad Fernquist</strong><br/><em>(Goo Goo Dolls)</em><br/><br/><strong>Chase Park Transduction</strong><br/><em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br/><br/><strong>Chris Testa</strong><br/><em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br/><br/><strong>Claudius Mittendorfer</strong><br/><em>(Interpol, Glasvegas, Ash)</em><br/><br/><strong>Counting Crows</strong><br/><br/><strong>Critter</strong><br/><em>(Guns N\' Roses, Angels And Airwaves</em>)<br/><br/><strong>Dave Wood</strong><br/><em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br/><br/><strong>David Kahne</strong><br/><em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br/><br/><strong>Dennis Sands</strong><br/><em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br/><br/><strong>Emanuel Kiriakou</strong><br/><em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br/><br/><strong>Erykah Badu</strong><br/><em>(Grammy Award Winner)</em><br/><br/><strong>Ethan Mates</strong><br/><em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br/><br/><strong>Evan Taubenfeld</strong><br/><em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br/><br/><strong>Goo Goo Dolls</strong><br/><br/><strong>Greg Wells</strong><br/><em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br/><br/><strong>Jimmy Eat World</strong><br/><br/><strong>Jimmy Messer</strong><br/><em>(Kelly Clarkson)</em><br/><br/><strong>Joe Barresi</strong><br/><em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br/><br/><strong>John Feldmann</strong><br/><em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br/><br/><strong>John Mcbride</strong><br/><br/><strong>John Paterno</strong><br/><em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br/><br/><strong>Matt Bayles</strong><br/><em>(Soundgarden, Pearl Jam, Mastodon)</em><br/><br/><strong>Matthew Sweet</strong><br/><br/><strong>Michael Beinhorn</strong><br/><em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br/><br/><strong>Michael James</strong><br/><em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br/><br/><strong>Peter Katis</strong><br/><em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br/><br/><strong>Ralph Patlan</strong><br/><em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br/><br/><strong>Rammstein</strong><br/><br/><strong>Ross Hogarth</strong><br/><em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br/><br/><strong>Ross Robinson</strong><br/><em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br/><br/><strong>Ryan Hewitt</strong><br/><em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br/><br/><strong>Shawn Dealey</strong><br/><em>Engineer, Counting Crows</em><br/><br/><strong>Slipknot</strong><br/><br/><strong>Steve Evetts</strong><br/><em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd. Priding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level. <br/><br/>\n<h3>If you\'ve been looking for the legendary sound of Abbey Road Studios’ ‘Holy Grail’ preamp, look no further than the Chandler Limited REDD.47 Pre Amp. For more information, call or chat with an RSPE representative today.</h3>'),(3410,75,1,569,'<h1>Chandler Limited REDD.47 Pre Amp</h1>\n<span style=\"font-size: 16px;\"><i>A recreation of the original valve line amplifiers used in Abbey Road Studios’ heralded EMI REDD.51 recording consoles</i></span><br/><br/>\n<div>\n	<div>\n		The Chandler Limited REDD.47 microphone pre-amplifier brings the punchy, aggressive character of the music recorded at Abbey Road Studios into the modern era. Designed as a central component to the EMI REDD.51 recording console, the original REDD.47 line amplifier was used to amplify virtually every stage of the audio path (mic inputs, line inputs, echo sends and monitors). A recreation of the original valve line amplifiers used in Abbey Road Studios’ heralded and rare EMI REDD.51 recording consoles circa 1959-1968, the REDD.47 allows you to recreate all the tones and distortions of your favorite Abbey Road Recordings.\n	</div>\n	<div>\n		<br/>\n	</div>\n	<div>\n		Chandler Limited\'s updated REDD.47 preamp also offers many additional benefits to the original design including increased gain, allowing a range of tonal options from pristine clean sound to classic rich, saturated tone with up to 2% harmonic distortion before clipping.\n	</div>\n	<div>\n		<br/>\n	</div>\n	<div>\n		Chandler Limited’s REDD.47 tube microphone pre-amplifier delivers the legendary sound of Abbey Road Studios’ ‘Holy Grail’ preamp, with extra features to meet today’s recording studio standards.\n	</div>\n</div>\n<br/>\n<h3>Chandler Limited REDD.47 Pre Amp key features:</h3>\n<ul>\n	<li>Beautiful recreation of the original REDD.47 used in Abbey Road Studios on countless historic recordings</li>\n	<li>Maintains the punchy sound of it\'s predecessor with extra features to meet today’s recording studio standards.</li>\n	<li>Increased gain for a larger tonal range from pristine clean sound to classic rich</li>\n	<li>Saturated tone up to 2% harmonic distortion before clipping</li>\n	<li><span style=\"background-color: initial;\">Has the ability to be used as a mic pre-amp, line amplifier as well as a D/I</span></li>\n</ul>\n<h3></h3>\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br/><em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br/><br/><strong>Bill Stevenson</strong><br/><em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br/><br/><strong>Billy Bush</strong><br/><em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br/><br/><strong>Blackbird Studios</strong><br/><br/><strong>Michael Wagener</strong><br/><em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/><strong>Blues Saraceno</strong><br/><em>(Melissa Etheridge, Ziggy Marley)</em><br/><br/><strong>Brad Fernquist</strong><br/><em>(Goo Goo Dolls)</em><br/><br/><strong>Chase Park Transduction</strong><br/><em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br/><br/><strong>Chris Testa</strong><br/><em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br/><br/><strong>Claudius Mittendorfer</strong><br/><em>(Interpol, Glasvegas, Ash)</em><br/><br/><strong>Counting Crows</strong><br/><br/><strong>Critter</strong><br/><em>(Guns N\' Roses, Angels And Airwaves</em>)<br/><br/><strong>Dave Wood</strong><br/><em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br/><br/><strong>David Kahne</strong><br/><em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br/><br/><strong>Dennis Sands</strong><br/><em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br/><br/><strong>Emanuel Kiriakou</strong><br/><em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br/><br/><strong>Erykah Badu</strong><br/><em>(Grammy Award Winner)</em><br/><br/><strong>Ethan Mates</strong><br/><em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br/><br/><strong>Evan Taubenfeld</strong><br/><em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br/><br/><strong>Goo Goo Dolls</strong><br/><br/><strong>Greg Wells</strong><br/><em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br/><br/><strong>Jimmy Eat World</strong><br/><br/><strong>Jimmy Messer</strong><br/><em>(Kelly Clarkson)</em><br/><br/><strong>Joe Barresi</strong><br/><em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br/><br/><strong>John Feldmann</strong><br/><em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br/><br/><strong>John Mcbride</strong><br/><br/><strong>John Paterno</strong><br/><em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br/><br/><strong>Matt Bayles</strong><br/><em>(Soundgarden, Pearl Jam, Mastodon)</em><br/><br/><strong>Matthew Sweet</strong><br/><br/><strong>Michael Beinhorn</strong><br/><em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br/><br/><strong>Michael James</strong><br/><em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br/><br/><strong>Peter Katis</strong><br/><em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br/><br/><strong>Ralph Patlan</strong><br/><em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br/><br/><strong>Rammstein</strong><br/><br/><strong>Ross Hogarth</strong><br/><em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br/><br/><strong>Ross Robinson</strong><br/><em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br/><br/><strong>Ryan Hewitt</strong><br/><em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br/><br/><strong>Shawn Dealey</strong><br/><em>Engineer, Counting Crows</em><br/><br/><strong>Slipknot</strong><br/><br/><strong>Steve Evetts</strong><br/><em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd. Priding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level. <br/><br/>\n<h3>If you\'ve been looking for the legendary sound of Abbey Road Studios’ ‘Holy Grail’ preamp, look no further than the Chandler Limited REDD.47 Pre Amp. For more information, call or chat with an RSPE representative today.</h3>'),(3411,85,0,569,'Chandler Limited REDD.47 Pre Amp'),(3412,85,1,569,'Chandler Limited REDD.47 Pre Amp'),(3413,76,0,569,''),(3414,76,1,569,''),(3415,75,0,570,'<h1>Chandler Limited REDD Microphone</h1>\n<i>Large diaphragm condenser mic with built in REDD.47 tube preamplifier in one professional recording device. Includes Shockmount, 25ʼ Mogami microphone cable, PSU, and custom molded flight case.</i><br /><br />The Chandler Limited REDD Microphone is a large diaphragm tube condenser microphone, that features a REDD.47 mic preamplifier in a single, handcrafted professional recording device. The vacuum tube based REDD.47 Mic Amplifier circuit coupled directly to a custom handmade premium platinum membrane capsule, allows the REDD Microphone to be used with or without an external preamp.<br /><br />The proximity of the REDD Microphoneʼs custom capsule to its internal REDD.47 mic preamp circuit creates the shortest possible path between the two most important elements in the recording chain, delivering a larger than life full-bodied sound, with silky smooth top-end.<br /><br />\n	The  Chandler Limited REDD Microphone was designed to handle a variety of source material, including: vocals, strings, piano, drums, bass guitar, electric and acoustic guitars.\n<br /><br />\n	Features available from the microphone body, include: REDD.47 Mic Amplifier, providing nine gain selections, from +4 to +33db in the ‘NORM’ position, extended gain and punch in ‘DRIVE’ mode for more tonal and coloration possibilities, switchable Cardioid/Omni patterns, 10db Pad, and Phase reverse. Continuous output and low-contour control are accessible from the high-quality external power supply.\n<br /><br />\n<h3>\nREDD Features</h3>\n<ul>\n	<li>Large Diaphragm Condenser with built-in REDD.47 Mic Amplifier</li>\n	<li>Nine gain selections</li>\n	<li>+4 to +33db in the ʻNORMʼ position</li>\n	<li>Extended gain</li>\n	<li>Punch in ʻDRIVEʼ mode for more tonal and coloration possibilities</li>\n	<li>Switchable Cardioid/Omni patterns</li>\n	<li>10db Pad</li>\n	<li>Phase reverse</li>\n	<li>Continuous output control and low-contour feature are accessible from the high-quality external power supply</li>\n</ul>\n<br />\n<h3>REDD History</h3>\nIn 1958, EMI and Abbey Road Studios, through their REDD (Record Engineering Development Department) technical division, designed the REDD.47 line amplifier as a plug-in line amplifier for their new REDD.51 consoles, replacing the Telefunken/Siemens V72s used in early REDD mixing consoles. The REDD.47 line amplifier was unique, both in design and sound from the V72s.\n<br /><br />\nThe first REDD.51 console was manufactured in 1959. However, it wouldn’t be until 1964 before a REDD.51 console was installed at Abbey Road Studios’ Studio Two, home to The Beatles, leaving its exceptional sonic character on their recordings from 1964-1968.<br /><br />'),(3416,75,1,570,'<h1>Chandler Limited REDD Microphone</h1>\n<i>Large diaphragm condenser mic with built in REDD.47 tube preamplifier in one professional recording device. Includes Shockmount, 25ʼ Mogami microphone cable, PSU, and custom molded flight case.</i><br /><br />The Chandler Limited REDD Microphone is a large diaphragm tube condenser microphone, that features a REDD.47 mic preamplifier in a single, handcrafted professional recording device. The vacuum tube based REDD.47 Mic Amplifier circuit coupled directly to a custom handmade premium platinum membrane capsule, allows the REDD Microphone to be used with or without an external preamp.<br /><br />The proximity of the REDD Microphoneʼs custom capsule to its internal REDD.47 mic preamp circuit creates the shortest possible path between the two most important elements in the recording chain, delivering a larger than life full-bodied sound, with silky smooth top-end.<br /><br />\n	The  Chandler Limited REDD Microphone was designed to handle a variety of source material, including: vocals, strings, piano, drums, bass guitar, electric and acoustic guitars.\n<br /><br />\n	Features available from the microphone body, include: REDD.47 Mic Amplifier, providing nine gain selections, from +4 to +33db in the ‘NORM’ position, extended gain and punch in ‘DRIVE’ mode for more tonal and coloration possibilities, switchable Cardioid/Omni patterns, 10db Pad, and Phase reverse. Continuous output and low-contour control are accessible from the high-quality external power supply.\n<br /><br />\n<h3>\nREDD Features</h3>\n<ul>\n	<li>Large Diaphragm Condenser with built-in REDD.47 Mic Amplifier</li>\n	<li>Nine gain selections</li>\n	<li>+4 to +33db in the ʻNORMʼ position</li>\n	<li>Extended gain</li>\n	<li>Punch in ʻDRIVEʼ mode for more tonal and coloration possibilities</li>\n	<li>Switchable Cardioid/Omni patterns</li>\n	<li>10db Pad</li>\n	<li>Phase reverse</li>\n	<li>Continuous output control and low-contour feature are accessible from the high-quality external power supply</li>\n</ul>\n<br />\n<h3>REDD History</h3>\nIn 1958, EMI and Abbey Road Studios, through their REDD (Record Engineering Development Department) technical division, designed the REDD.47 line amplifier as a plug-in line amplifier for their new REDD.51 consoles, replacing the Telefunken/Siemens V72s used in early REDD mixing consoles. The REDD.47 line amplifier was unique, both in design and sound from the V72s.\n<br /><br />\nThe first REDD.51 console was manufactured in 1959. However, it wouldn’t be until 1964 before a REDD.51 console was installed at Abbey Road Studios’ Studio Two, home to The Beatles, leaving its exceptional sonic character on their recordings from 1964-1968.<br /><br />'),(3417,85,0,570,'Chandler Limited REDD Microphone'),(3418,85,1,570,'Chandler Limited REDD Microphone'),(3419,76,0,570,''),(3420,76,1,570,''),(3421,75,0,571,'<h1>Chandler Limited RS124 Compressor</h1>\n<i><span style=\"font-size: 16px;\">A modern recreation of the Legendary EMI/Abbey Road RS124 Compressor</span></i><br/><br/>\nThe Chandler Limited RS124 Compressor is a modern recreation of the legendary EMI/Abbey Road RS124, one of the most coveted audio valve compressors of all time. First designed in 1960 by Abbey Road Head of Techncial Bill Livey, Deputy Head Len Page and seasoned EMI Audio Designer Mike Batchelor, the Abbey Road RS124 compressor is one of the most coveted pieces of recording gear ever developed.<br/><br/>\nBorn out of the inadequate Altec 436Bs acquired by EMI in the late 1950s for Abbey Road Studios, the RS124 compressor is most closely associated with recordings made by The Beatles at Abbey Road Studios. Present on virtually every Beatles session, the RS124 left its remarkable signature across most of the catalog.<br/><br/>\nThe RS124’s undeniably smooth character and ability to tame transients without muffling the sound at steep compression levels, quickly became popular with Abbey Road Studios engineers and widely used throughout the now historic studio, for tracking, buss compression, mixing, and mastering. They where so integral to the recording and mixing process that a pair can be seen in almost every control room photo in Abbey Road Studios during the 60s period.<br/><br/>\nThe RS124 Compressor was built for use at Abbey Road Studios, and was never commercially available. Through the years, from incomplete information and supposition, some have tried to recreate the holy grail of tube compressors, though never fully capturing the elusive Abbey Road RS124 in all its glory.<br/><br/>\nSchematics themselves only told part of the story, and access to Abbey Road Studios’ historic units and various hand written modification notes would prove paramount towards understanding the true nature of the Abbey Road RS124 compressor and variances between units.<br/><br/>\nMany revisions were carried out since its inception, and as a result, the Abbey Road RS124 valve compressor has remained a mystery for decades, until now.<br/><br/>\nAvailable now, for the first time ever, the Chandler Limited RS124 Compressor harnesses the sound and personalities of Abbey Road Studios’ favorite historic RS124 Compressors (Ser. No’s 60070B, 60050A, and 61010B) still in use at the famed studio to this day, all in a single unit.<br/><br/>\nAlong with features traditionally found on the original counterparts, Input control, Output attenuation, ‘Recovery’ (release) control and the unique ‘HOLD’ setting, the Chandler Limited RS124 Compressor includes modern facilities such as adjustable attack, selectable output impedance, and a special twist, dubbed the ‘SuperFuse’.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Chris Hesse</strong><br/>\n<em>(Hoobastank)</em><br/><br/>\n<strong>Dan Auerbach</strong><br/>\n<em>(The Black Keys)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>Bring home the sound of a legend reimagined for the modern era, today with the Chandler Limited RS124 Compressor. For more information, call or chat with an RSPE representative today.</h3>'),(3422,75,1,571,'<h1>Chandler Limited RS124 Compressor</h1>\n<i><span style=\"font-size: 16px;\">A modern recreation of the Legendary EMI/Abbey Road RS124 Compressor</span></i><br/><br/>\nThe Chandler Limited RS124 Compressor is a modern recreation of the legendary EMI/Abbey Road RS124, one of the most coveted audio valve compressors of all time. First designed in 1960 by Abbey Road Head of Techncial Bill Livey, Deputy Head Len Page and seasoned EMI Audio Designer Mike Batchelor, the Abbey Road RS124 compressor is one of the most coveted pieces of recording gear ever developed.<br/><br/>\nBorn out of the inadequate Altec 436Bs acquired by EMI in the late 1950s for Abbey Road Studios, the RS124 compressor is most closely associated with recordings made by The Beatles at Abbey Road Studios. Present on virtually every Beatles session, the RS124 left its remarkable signature across most of the catalog.<br/><br/>\nThe RS124’s undeniably smooth character and ability to tame transients without muffling the sound at steep compression levels, quickly became popular with Abbey Road Studios engineers and widely used throughout the now historic studio, for tracking, buss compression, mixing, and mastering. They where so integral to the recording and mixing process that a pair can be seen in almost every control room photo in Abbey Road Studios during the 60s period.<br/><br/>\nThe RS124 Compressor was built for use at Abbey Road Studios, and was never commercially available. Through the years, from incomplete information and supposition, some have tried to recreate the holy grail of tube compressors, though never fully capturing the elusive Abbey Road RS124 in all its glory.<br/><br/>\nSchematics themselves only told part of the story, and access to Abbey Road Studios’ historic units and various hand written modification notes would prove paramount towards understanding the true nature of the Abbey Road RS124 compressor and variances between units.<br/><br/>\nMany revisions were carried out since its inception, and as a result, the Abbey Road RS124 valve compressor has remained a mystery for decades, until now.<br/><br/>\nAvailable now, for the first time ever, the Chandler Limited RS124 Compressor harnesses the sound and personalities of Abbey Road Studios’ favorite historic RS124 Compressors (Ser. No’s 60070B, 60050A, and 61010B) still in use at the famed studio to this day, all in a single unit.<br/><br/>\nAlong with features traditionally found on the original counterparts, Input control, Output attenuation, ‘Recovery’ (release) control and the unique ‘HOLD’ setting, the Chandler Limited RS124 Compressor includes modern facilities such as adjustable attack, selectable output impedance, and a special twist, dubbed the ‘SuperFuse’.<br/><br/>\n<h3>Who’s using Chandler Limited:</h3>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Chris Hesse</strong><br/>\n<em>(Hoobastank)</em><br/><br/>\n<strong>Dan Auerbach</strong><br/>\n<em>(The Black Keys)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today’s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\n<br/><br/>\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler’s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.<br/><br/>\n<h3>Bring home the sound of a legend reimagined for the modern era, today with the Chandler Limited RS124 Compressor. For more information, call or chat with an RSPE representative today.</h3>'),(3423,85,0,571,'Chandler Limited RS124 Compressor'),(3424,85,1,571,'Chandler Limited RS124 Compressor'),(3425,76,0,571,''),(3426,76,1,571,''),(3427,75,0,572,'<h2>Chandler Limited TG12345 MKIV EQ - 500-Series EQ Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">TG Opto is a 500 Series EQ module that draws inspiration from the classic EMI TG12413 recording consoles of the \'60s and \'70s.</span><br /><br />The Chandler Limited TG12345 MKIV equalizer is a handmade, fully discrete, mono, single space module, designed for the 500 Series format that has silky smooth character and the sweet sound of Chandler\'s flagship Curver Bender. <br /><br />\nThe TG12345 MKIV EQ for 500 Series, inherits from Chandler Limited’s TG Microphone Cassette and flagship TG12345 Curve Bender, and draws its heritage from the input and group channel equalizers found on historic EMI TG12345 recording consoles of the late ‘60s and early ‘70s.<br /><br />\nThe TG12345 MKIV control-set includes: presence and bass bands, with continuous boost/cut, and true bypass.<br /><br />\nThe presence band is switchable, featuring eight frequencies and an out position. The first seven frequencies are bell type, and the eighth is a shelf at 10 kHz.<br /><br />\nThe bass band is a shelving type, featuring two frequency options, 90 or 150 Hz.<br /><br />\nCreate an EMI TG console channel today by adding the <a href=\"/Chandler-Limited-TG12345-MKIV-p/chandler-tg-12345.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG12345 MKIV EQ</a>, <a href=\"/Chandler-Limited-TG-Opto-Compressor-p/chandler-tg-opto.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG Opto compressor</a> and <a href=\"/Chandler-Limited-TG2-500-Pre-Amp-Module-p/chd-tg2-500.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG2-500 preamp</a> to your 500 Series rack!<br /><br /><i>\nChandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios.</i><br /><br />\n<h3>TG Opto key features:</h3>\n<ul>\n	<li>True classic sound scaled down for the 500 series format</li>\n	<li>Handmade, fully discrete electronics</li>\n	<li>No power-up issues with current lunchboxes and rack systems</li>\n</ul>\n<br />\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br /><br />Any Chandler Limited module with compatibility issues to any 3rd party rack/lunchbox, can be returned to Chandler Limited for a free upgrade (parts and labor), however, just pay the shipping costs.<br /><br />\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br />\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br /><br />\n<strong>Bill Stevenson</strong><br />\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br /><br />\n<strong>Billy Bush</strong><br />\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br /><br />\n<strong>Blackbird Studios</strong><br /><br />\n<strong>Michael Wagener</strong><br />\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br /><br />\n<strong>Blues Saraceno</strong><br />\n<em>(Melissa Etheridge, Ziggy Marley)</em><br /><br />\n<strong>Brad Fernquist</strong><br />\n<em>(Goo Goo Dolls)</em><br /><br />\n<strong>Chase Park Transduction</strong><br />\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br /><br />\n<strong>Chris Testa</strong><br />\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br /><br />\n<strong>Claudius Mittendorfer</strong><br />\n<em>(Interpol, Glasvegas, Ash)</em><br /><br />\n<strong>Counting Crows</strong><br /><br />\n<strong>Critter</strong><br />\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br /><br />\n<strong>Dave Wood</strong><br />\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br /><br />\n<strong>David Kahne</strong><br />\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br /><br />\n<strong>Dennis Sands</strong><br />\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br /><br />\n<strong>Emanuel Kiriakou</strong><br />\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br /><br />\n<strong>Erykah Badu</strong><br />\n<em>(Grammy Award Winner)</em><br /><br />\n<strong>Ethan Mates</strong><br />\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br /><br />\n<strong>Evan Taubenfeld</strong><br />\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br /><br />\n<strong>Goo Goo Dolls</strong><br /><br />\n<strong>Greg Wells</strong><br />\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br /><br />\n<strong>Jimmy Eat World</strong><br /><br />\n<strong>Jimmy Messer</strong><br />\n<em>(Kelly Clarkson)</em><br /><br />\n<strong>Joe Barresi</strong><br />\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br /><br />\n<strong>John Feldmann</strong><br />\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br /><br />\n<strong>John Mcbride</strong><br /><br />\n<strong>John Paterno</strong><br />\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br /><br />\n<strong>Matt Bayles</strong><br />\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br /><br />\n<strong>Matthew Sweet</strong><br /><br />\n<strong>Michael Beinhorn</strong><br />\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br /><br />\n<strong>Michael James</strong><br />\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br /><br />\n<strong>Peter Katis</strong><br />\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br /><br />\n<strong>Ralph Patlan</strong><br />\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br /><br />\n<strong>Rammstein</strong><br /><br />\n<strong>Ross Hogarth</strong><br />\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br /><br />\n<strong>Ross Robinson</strong><br />\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br /><br />\n<strong>Ryan Hewitt</strong><br />\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br /><br />\n<strong>Shawn Dealey</strong><br />\n<em>Engineer, Counting Crows</em><br /><br />\n<strong>Slipknot</strong><br /><br />\n<strong>Steve Evetts</strong><br />\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br /><br />\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br /><br />\n<h3>Get the sound of a classic EMI / Abbey Road Limiter in your 500 Series lunchbox with the Chandler Limited TG Opto Compressor. For more information, call or chat with an RSPE representative today.</h3>\n<br /><i>\n<inline style=\"font-size: 12px;\">Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.</inline></i>'),(3428,75,1,572,'<h2>Chandler Limited TG12345 MKIV EQ - 500-Series EQ Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">TG Opto is a 500 Series EQ module that draws inspiration from the classic EMI TG12413 recording consoles of the \'60s and \'70s.</span><br /><br />The Chandler Limited TG12345 MKIV equalizer is a handmade, fully discrete, mono, single space module, designed for the 500 Series format that has silky smooth character and the sweet sound of Chandler\'s flagship Curver Bender. <br /><br />\nThe TG12345 MKIV EQ for 500 Series, inherits from Chandler Limited’s TG Microphone Cassette and flagship TG12345 Curve Bender, and draws its heritage from the input and group channel equalizers found on historic EMI TG12345 recording consoles of the late ‘60s and early ‘70s.<br /><br />\nThe TG12345 MKIV control-set includes: presence and bass bands, with continuous boost/cut, and true bypass.<br /><br />\nThe presence band is switchable, featuring eight frequencies and an out position. The first seven frequencies are bell type, and the eighth is a shelf at 10 kHz.<br /><br />\nThe bass band is a shelving type, featuring two frequency options, 90 or 150 Hz.<br /><br />\nCreate an EMI TG console channel today by adding the <a href=\"/Chandler-Limited-TG12345-MKIV-p/chandler-tg-12345.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG12345 MKIV EQ</a>, <a href=\"/Chandler-Limited-TG-Opto-Compressor-p/chandler-tg-opto.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG Opto compressor</a> and <a href=\"/Chandler-Limited-TG2-500-Pre-Amp-Module-p/chd-tg2-500.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG2-500 preamp</a> to your 500 Series rack!<br /><br /><i>\nChandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios.</i><br /><br />\n<h3>TG Opto key features:</h3>\n<ul>\n	<li>True classic sound scaled down for the 500 series format</li>\n	<li>Handmade, fully discrete electronics</li>\n	<li>No power-up issues with current lunchboxes and rack systems</li>\n</ul>\n<br />\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br /><br />Any Chandler Limited module with compatibility issues to any 3rd party rack/lunchbox, can be returned to Chandler Limited for a free upgrade (parts and labor), however, just pay the shipping costs.<br /><br />\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br />\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br /><br />\n<strong>Bill Stevenson</strong><br />\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br /><br />\n<strong>Billy Bush</strong><br />\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br /><br />\n<strong>Blackbird Studios</strong><br /><br />\n<strong>Michael Wagener</strong><br />\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br /><br />\n<strong>Blues Saraceno</strong><br />\n<em>(Melissa Etheridge, Ziggy Marley)</em><br /><br />\n<strong>Brad Fernquist</strong><br />\n<em>(Goo Goo Dolls)</em><br /><br />\n<strong>Chase Park Transduction</strong><br />\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br /><br />\n<strong>Chris Testa</strong><br />\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br /><br />\n<strong>Claudius Mittendorfer</strong><br />\n<em>(Interpol, Glasvegas, Ash)</em><br /><br />\n<strong>Counting Crows</strong><br /><br />\n<strong>Critter</strong><br />\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br /><br />\n<strong>Dave Wood</strong><br />\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br /><br />\n<strong>David Kahne</strong><br />\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br /><br />\n<strong>Dennis Sands</strong><br />\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br /><br />\n<strong>Emanuel Kiriakou</strong><br />\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br /><br />\n<strong>Erykah Badu</strong><br />\n<em>(Grammy Award Winner)</em><br /><br />\n<strong>Ethan Mates</strong><br />\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br /><br />\n<strong>Evan Taubenfeld</strong><br />\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br /><br />\n<strong>Goo Goo Dolls</strong><br /><br />\n<strong>Greg Wells</strong><br />\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br /><br />\n<strong>Jimmy Eat World</strong><br /><br />\n<strong>Jimmy Messer</strong><br />\n<em>(Kelly Clarkson)</em><br /><br />\n<strong>Joe Barresi</strong><br />\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br /><br />\n<strong>John Feldmann</strong><br />\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br /><br />\n<strong>John Mcbride</strong><br /><br />\n<strong>John Paterno</strong><br />\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br /><br />\n<strong>Matt Bayles</strong><br />\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br /><br />\n<strong>Matthew Sweet</strong><br /><br />\n<strong>Michael Beinhorn</strong><br />\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br /><br />\n<strong>Michael James</strong><br />\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br /><br />\n<strong>Peter Katis</strong><br />\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br /><br />\n<strong>Ralph Patlan</strong><br />\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br /><br />\n<strong>Rammstein</strong><br /><br />\n<strong>Ross Hogarth</strong><br />\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br /><br />\n<strong>Ross Robinson</strong><br />\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br /><br />\n<strong>Ryan Hewitt</strong><br />\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br /><br />\n<strong>Shawn Dealey</strong><br />\n<em>Engineer, Counting Crows</em><br /><br />\n<strong>Slipknot</strong><br /><br />\n<strong>Steve Evetts</strong><br />\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br /><br />\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br /><br />\n<h3>Get the sound of a classic EMI / Abbey Road Limiter in your 500 Series lunchbox with the Chandler Limited TG Opto Compressor. For more information, call or chat with an RSPE representative today.</h3>\n<br /><i>\n<inline style=\"font-size: 12px;\">Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.</inline></i>'),(3429,85,0,572,''),(3430,85,1,572,''),(3431,76,0,572,''),(3432,76,1,572,''),(3433,75,0,573,'<h1>Chandler Limited TG Microphone</h1>\n	<i>Solid-state large diaphragm condenser microphone, featuring an on-board historic EMI TG12410 mastering console Tape Equalizer, three TG amplifiers and a dedicated external power supply. Includes: microphone, 4-pin microphone cable, power supply system, shock mount suspension system, pattern select screwdriver, and wooden microphone box.</i>\n<br /><br />\nThe Chandler Limited TG Microphone is a solid-state large diaphragm condenser microphone. Continuing the rich tradition of EMI Abbey Road Studios, the TG Microphone is unique in its feature-set, isn’t a clone of any other microphone, and as the name implies, the sound is TG.\n<br /><br />\nThe TG Microphone’s unique on-board EMI ‘Tape Equalizer’ section combined with its ‘Dual Tone System’, dedicated PSU and other features create an extremely flexible microphone capable of rivaling scenarios where the FET47, C414 and U47 traditionally have found favor.\n<br /><br />\nThe Tape Equalizer is adapted from the NAB/IEC tape equalizer facility found on vintage EMI TG12410 transfer consoles or mastering consoles, and applied with great effect in the TG Microphone. Historically used to compensate for tapes played back on machines of the opposite standard, the repurposed tape equalizer allows the engineer to shape the sound at the source and mitigates the need for injecting equipment downstream.\n<br /><br />\nThe ‘Dual Tone System’ modifies the input stage of the TG Microphone and extends the versatility of the microphone to accommodate a greater array of sources. System ‘A’ is what you’d expect, TG mid forward, while the alternate ‘B’ voicing is more pristine, takes extreme SPLs and is at home wherever a FET47 would be the choice.\n<br /><br />\nThe microphone’s specialized Low-Cut filter in combination with Tape Equalizer work together to create a super-set of 5 additional tonal variations available from the mic. The Low-Cut filter is frequency selectable at 90 Hz or 50 Hz.\n<br /><br />Much like tube microphones, the TG Microphone relies on a dedicated power supply (PSU). The use of a dedicated PSU, rather than 48V phantom power is integral to the TG Microphone’s larger than solid-state sound.\n<br /><br />\nThe TG Microphone makes use of multiple TG amplifier circuits, however, unlike the heralded REDD Microphone, does not feature an internal preamp.\n<br /><br />\nOther features include: cardioid and omni patterns, and a 10 dB pad.\n<br /><br />\n<h3>TG Microphone Features</h3>\n<ul>\n	<li>Large Diaphragm Condenser with built-in REDD.47 Mic Amplifier</li>\n	<li>Nine gain selections</li>\n	<li>+4 to +33db in the ʻNORMʼ position</li>\n	<li>Extended gain</li>\n	<li>Punch in ʻDRIVEʼ mode for more tonal and coloration possibilities</li>\n	<li>Switchable Cardioid/Omni patterns</li>\n	<li>10db Pad</li>\n	<li>Phase reverse</li>\n	<li>Continuous output control and low-contour feature are accessible from the high-quality external power supply</li>\n</ul>\n<br />\n<h3>TG History</h3>\nConceived from meetings in 1967 between Abbey Road engineers and EMI’s Central Research Laboratories technical team, the EMI TG12345 desk (later known as the Mark I), would usher in a sea change in sound and flexibility at Abbey Road Studios.\n<br /><br />\nThe new transistorized EMI TG12345 recording console was modular in design, with twelve dual channel microphone cassettes. The TG desks featured expanded EQ, and for the first time ever, a compressor/limiter on every channel.<br /><br />\nInstalled in Abbey Road’s Studio Two in November 1968 and making its debut on an 8-track recording by the Shadows, the new transistor desk marked a departure from the earlier REDD valve consoles. The following year, the EMI TG12345 desk helped shape the sound of the Beatles’ final album, Abbey Road, which was markedly richer sounding to that of the band’s earlier work. The sonic qualities of classics like “Here Comes the Sun,” “Come Together” and “Something” would have been very different without the EMI TG12345.<br /><br />\nThe desk encountered many revisions throughout the ‘70s and became the main recording console used throughout the studios until 1983. The EMI TG12345 console Marks I–IV were used on everything from Pink Floyd’s The Dark Side of the Moon and Wish You Were Here to John Lennon’s Plastic Ono Band, George Harrison’s All Things Must Pass to epic film scores including Raiders of the Lost Ark.<br /><br />\nEMI TG12410 transfer consoles or mastering consoles, are still in use today at Abbey Road Studios.\n<br /><br />'),(3434,75,1,573,'<h1>Chandler Limited TG Microphone</h1>\n	<i>Solid-state large diaphragm condenser microphone, featuring an on-board historic EMI TG12410 mastering console Tape Equalizer, three TG amplifiers and a dedicated external power supply. Includes: microphone, 4-pin microphone cable, power supply system, shock mount suspension system, pattern select screwdriver, and wooden microphone box.</i>\n<br /><br />\nThe Chandler Limited TG Microphone is a solid-state large diaphragm condenser microphone. Continuing the rich tradition of EMI Abbey Road Studios, the TG Microphone is unique in its feature-set, isn’t a clone of any other microphone, and as the name implies, the sound is TG.\n<br /><br />\nThe TG Microphone’s unique on-board EMI ‘Tape Equalizer’ section combined with its ‘Dual Tone System’, dedicated PSU and other features create an extremely flexible microphone capable of rivaling scenarios where the FET47, C414 and U47 traditionally have found favor.\n<br /><br />\nThe Tape Equalizer is adapted from the NAB/IEC tape equalizer facility found on vintage EMI TG12410 transfer consoles or mastering consoles, and applied with great effect in the TG Microphone. Historically used to compensate for tapes played back on machines of the opposite standard, the repurposed tape equalizer allows the engineer to shape the sound at the source and mitigates the need for injecting equipment downstream.\n<br /><br />\nThe ‘Dual Tone System’ modifies the input stage of the TG Microphone and extends the versatility of the microphone to accommodate a greater array of sources. System ‘A’ is what you’d expect, TG mid forward, while the alternate ‘B’ voicing is more pristine, takes extreme SPLs and is at home wherever a FET47 would be the choice.\n<br /><br />\nThe microphone’s specialized Low-Cut filter in combination with Tape Equalizer work together to create a super-set of 5 additional tonal variations available from the mic. The Low-Cut filter is frequency selectable at 90 Hz or 50 Hz.\n<br /><br />Much like tube microphones, the TG Microphone relies on a dedicated power supply (PSU). The use of a dedicated PSU, rather than 48V phantom power is integral to the TG Microphone’s larger than solid-state sound.\n<br /><br />\nThe TG Microphone makes use of multiple TG amplifier circuits, however, unlike the heralded REDD Microphone, does not feature an internal preamp.\n<br /><br />\nOther features include: cardioid and omni patterns, and a 10 dB pad.\n<br /><br />\n<h3>TG Microphone Features</h3>\n<ul>\n	<li>Large Diaphragm Condenser with built-in REDD.47 Mic Amplifier</li>\n	<li>Nine gain selections</li>\n	<li>+4 to +33db in the ʻNORMʼ position</li>\n	<li>Extended gain</li>\n	<li>Punch in ʻDRIVEʼ mode for more tonal and coloration possibilities</li>\n	<li>Switchable Cardioid/Omni patterns</li>\n	<li>10db Pad</li>\n	<li>Phase reverse</li>\n	<li>Continuous output control and low-contour feature are accessible from the high-quality external power supply</li>\n</ul>\n<br />\n<h3>TG History</h3>\nConceived from meetings in 1967 between Abbey Road engineers and EMI’s Central Research Laboratories technical team, the EMI TG12345 desk (later known as the Mark I), would usher in a sea change in sound and flexibility at Abbey Road Studios.\n<br /><br />\nThe new transistorized EMI TG12345 recording console was modular in design, with twelve dual channel microphone cassettes. The TG desks featured expanded EQ, and for the first time ever, a compressor/limiter on every channel.<br /><br />\nInstalled in Abbey Road’s Studio Two in November 1968 and making its debut on an 8-track recording by the Shadows, the new transistor desk marked a departure from the earlier REDD valve consoles. The following year, the EMI TG12345 desk helped shape the sound of the Beatles’ final album, Abbey Road, which was markedly richer sounding to that of the band’s earlier work. The sonic qualities of classics like “Here Comes the Sun,” “Come Together” and “Something” would have been very different without the EMI TG12345.<br /><br />\nThe desk encountered many revisions throughout the ‘70s and became the main recording console used throughout the studios until 1983. The EMI TG12345 console Marks I–IV were used on everything from Pink Floyd’s The Dark Side of the Moon and Wish You Were Here to John Lennon’s Plastic Ono Band, George Harrison’s All Things Must Pass to epic film scores including Raiders of the Lost Ark.<br /><br />\nEMI TG12410 transfer consoles or mastering consoles, are still in use today at Abbey Road Studios.\n<br /><br />'),(3435,85,0,573,'Chandler Limited TG Microphone'),(3436,85,1,573,'Chandler Limited TG Microphone'),(3437,76,0,573,''),(3438,76,1,573,''),(3439,75,0,574,'<h1>Chandler Limited TG Microphone Cassette</h1>\n<span style=\"font-size:16px; font-style:italic;\">A full-featured mixing console channel strip in one convenient package</span><br/><br/>\nChandler Limited’s TG Microphone Cassette is a full-featured mixing console channel strip, incorporating elements of the historic EMI/Abbey Road Studios TG12345 recording and mastering desks of the late ‘60s and ‘70s.<br/><br/>\nThe Chandler Limited TG Microphone Cassette delivers the historic TG sound with modern conveniences, flexibility, and something new - the TG1 Opto Limiter. <br/><br/>\nThe three sections of the TG Microphone Cassette comprise Chandler Limited’s TG2 Pre-Amp coupled with a Curve Bender EQ section, including Treble, Bass, and Presence controls, and an independently patchable TG1 Opto Limiter.<br/><br/>\n<h3>TG2 Preamp</h3>\nThe pre-amp section of the TG Microphone Cassette makes use of the Chandler Limited TG2 pre-amplifier based on the vintage EMI TG12428. The TG2 pre-amp section includes switchable coarse and variable fine gain adjustment controls for up to +70db overall gain, selectable LINE, DI, 48V phantom power, phase reverse, and switchable rumble filter (low cut.)\n<br/><br/>\nThe TG2 pre-amp section is coupled directly to the Curve Bender equalizer section.<br/><br/>\n<h3>Curve Bender EQ</h3>\nThe TG Microphone Cassette’s equalizer section is derived from the famed and greatly expanded Chandler Limited EMI TG12345 Curve Bender EQ. The Curve Bender EQ section provides Hi and Low shelf, frequency selectable presence, output control, and bypass functionality.\n<br/><br/>\nThe Curve Bender EQ section is the second stage of the TG2 pre-amp section, and the EQ output control works as a fader would on a console.<br/><br/>\n<h3>TG1 Limiter</h3>\nThe compressor/limiter section of the TG Microphone Cassette is a special adaptation of the Chandler Limited TG1 Limiter tracing its lineage to the historic EMI TG12413 mixing and mastering console limiters. EMI technical engineers experimented with the use of optos in their audio compressors, and now for the first time ever Chandler Limited introduces the TG1 Opto Limiter.\n<br/><br/>\nThe TG1 Opto Limiter section of the TG Microphone Cassette is patchable apart from the TG pre-amp and EQ, allowing for independent use of the compressor/limiter on other sources. The TG1 Opto is stereo linkable to a second unit via a standard ¼” cable.<br/><br/>\nThe TG1 Opto Limiter’s feature-set includes: HOLD, Attack, Release, selectable sharp/rounded knee, output or makeup gain, and true bypass.<br/><br/>\n<h3>Power Supply</h3>\nAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V/230V).\n<br/><br/>\n<h3>The History of Chandler TG</h3>\nThe year was 1968 when EMI and Abbey Road Studios saw a change from the valve-driven REDD recording and mixing consoles to the transistorized TG12345 desk, a seminal moment that marked a qualitative shift in sound coming from the most famous studio in the world.\nThe remarkable sonic quality of the new EMI TG12345 transistor recording console with expanded EQ, and for the first time ever, a compressor/limiter on every channel would forever leave its mark on the Beatles “Abbey Road” and Pink Floyd’s “Dark Side of the Moon” albums, as well as recordings by Paul McCartney, John Lennon, George Harrison, and the Rolling Stones.\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br/>\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br/><br/>\n<strong>Bill Stevenson</strong><br/>\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br/><br/>\n<strong>Billy Bush</strong><br/>\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br/><br/>\n<strong>Blackbird Studios</strong><br/><br/>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Blues Saraceno</strong><br/>\n<em>(Melissa Etheridge, Ziggy Marley)</em><br/><br/>\n<strong>Brad Fernquist</strong><br/>\n<em>(Goo Goo Dolls)</em><br/><br/>\n<strong>Chase Park Transduction</strong><br/>\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br/><br/>\n<strong>Chris Testa</strong><br/>\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br/><br/>\n<strong>Claudius Mittendorfer</strong><br/>\n<em>(Interpol, Glasvegas, Ash)</em><br/><br/>\n<strong>Counting Crows</strong><br/><br/>\n<strong>Critter</strong><br/>\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br/><br/>\n<strong>Dave Wood</strong><br/>\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br/><br/>\n<strong>David Kahne</strong><br/>\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br/><br/>\n<strong>Dennis Sands</strong><br/>\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br/><br/>\n<strong>Emanuel Kiriakou</strong><br/>\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br/><br/>\n<strong>Erykah Badu</strong><br/>\n<em>(Grammy Award Winner)</em><br/><br/>\n<strong>Ethan Mates</strong><br/>\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br/><br/>\n<strong>Evan Taubenfeld</strong><br/>\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br/><br/>\n<strong>Goo Goo Dolls</strong><br/><br/>\n<strong>Greg Wells</strong><br/>\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br/><br/>\n<strong>Jimmy Eat World</strong><br/><br/>\n<strong>Jimmy Messer</strong><br/>\n<em>(Kelly Clarkson)</em><br/><br/>\n<strong>Joe Barresi</strong><br/>\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br/><br/>\n<strong>John Feldmann</strong><br/>\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br/><br/>\n<strong>John Mcbride</strong><br/><br/>\n<strong>John Paterno</strong><br/>\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br/><br/>\n<strong>Matt Bayles</strong><br/>\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br/><br/>\n<strong>Matthew Sweet</strong><br/><br/>\n<strong>Michael Beinhorn</strong><br/>\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br/><br/>\n<strong>Michael James</strong><br/>\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br/><br/>\n<strong>Peter Katis</strong><br/>\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br/><br/>\n<strong>Ralph Patlan</strong><br/>\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br/><br/>\n<strong>Rammstein</strong><br/><br/>\n<strong>Ross Hogarth</strong><br/>\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br/><br/>\n<strong>Ross Robinson</strong><br/>\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br/><br/>\n<strong>Ryan Hewitt</strong><br/>\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br/><br/>\n<strong>Shawn Dealey</strong><br/>\n<em>Engineer, Counting Crows</em><br/><br/>\n<strong>Slipknot</strong><br/><br/>\n<strong>Steve Evetts</strong><br/>\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br/><br/>\n<h3>If you\'ve been looking for the power of mixing console channel strip, look no further than the CHandler Limited TG Microphone Cassette. For more information, call or chat with an RSPE representative today.</h3>'),(3440,75,1,574,'<h1>Chandler Limited TG Microphone Cassette</h1>\n<span style=\"font-size:16px; font-style:italic;\">A full-featured mixing console channel strip in one convenient package</span><br/><br/>\nChandler Limited’s TG Microphone Cassette is a full-featured mixing console channel strip, incorporating elements of the historic EMI/Abbey Road Studios TG12345 recording and mastering desks of the late ‘60s and ‘70s.<br/><br/>\nThe Chandler Limited TG Microphone Cassette delivers the historic TG sound with modern conveniences, flexibility, and something new - the TG1 Opto Limiter. <br/><br/>\nThe three sections of the TG Microphone Cassette comprise Chandler Limited’s TG2 Pre-Amp coupled with a Curve Bender EQ section, including Treble, Bass, and Presence controls, and an independently patchable TG1 Opto Limiter.<br/><br/>\n<h3>TG2 Preamp</h3>\nThe pre-amp section of the TG Microphone Cassette makes use of the Chandler Limited TG2 pre-amplifier based on the vintage EMI TG12428. The TG2 pre-amp section includes switchable coarse and variable fine gain adjustment controls for up to +70db overall gain, selectable LINE, DI, 48V phantom power, phase reverse, and switchable rumble filter (low cut.)\n<br/><br/>\nThe TG2 pre-amp section is coupled directly to the Curve Bender equalizer section.<br/><br/>\n<h3>Curve Bender EQ</h3>\nThe TG Microphone Cassette’s equalizer section is derived from the famed and greatly expanded Chandler Limited EMI TG12345 Curve Bender EQ. The Curve Bender EQ section provides Hi and Low shelf, frequency selectable presence, output control, and bypass functionality.\n<br/><br/>\nThe Curve Bender EQ section is the second stage of the TG2 pre-amp section, and the EQ output control works as a fader would on a console.<br/><br/>\n<h3>TG1 Limiter</h3>\nThe compressor/limiter section of the TG Microphone Cassette is a special adaptation of the Chandler Limited TG1 Limiter tracing its lineage to the historic EMI TG12413 mixing and mastering console limiters. EMI technical engineers experimented with the use of optos in their audio compressors, and now for the first time ever Chandler Limited introduces the TG1 Opto Limiter.\n<br/><br/>\nThe TG1 Opto Limiter section of the TG Microphone Cassette is patchable apart from the TG pre-amp and EQ, allowing for independent use of the compressor/limiter on other sources. The TG1 Opto is stereo linkable to a second unit via a standard ¼” cable.<br/><br/>\nThe TG1 Opto Limiter’s feature-set includes: HOLD, Attack, Release, selectable sharp/rounded knee, output or makeup gain, and true bypass.<br/><br/>\n<h3>Power Supply</h3>\nAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V/230V).\n<br/><br/>\n<h3>The History of Chandler TG</h3>\nThe year was 1968 when EMI and Abbey Road Studios saw a change from the valve-driven REDD recording and mixing consoles to the transistorized TG12345 desk, a seminal moment that marked a qualitative shift in sound coming from the most famous studio in the world.\nThe remarkable sonic quality of the new EMI TG12345 transistor recording console with expanded EQ, and for the first time ever, a compressor/limiter on every channel would forever leave its mark on the Beatles “Abbey Road” and Pink Floyd’s “Dark Side of the Moon” albums, as well as recordings by Paul McCartney, John Lennon, George Harrison, and the Rolling Stones.\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br/>\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br/><br/>\n<strong>Bill Stevenson</strong><br/>\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br/><br/>\n<strong>Billy Bush</strong><br/>\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br/><br/>\n<strong>Blackbird Studios</strong><br/><br/>\n<strong>Michael Wagener</strong><br/>\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br/><br/>\n<strong>Blues Saraceno</strong><br/>\n<em>(Melissa Etheridge, Ziggy Marley)</em><br/><br/>\n<strong>Brad Fernquist</strong><br/>\n<em>(Goo Goo Dolls)</em><br/><br/>\n<strong>Chase Park Transduction</strong><br/>\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br/><br/>\n<strong>Chris Testa</strong><br/>\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br/><br/>\n<strong>Claudius Mittendorfer</strong><br/>\n<em>(Interpol, Glasvegas, Ash)</em><br/><br/>\n<strong>Counting Crows</strong><br/><br/>\n<strong>Critter</strong><br/>\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br/><br/>\n<strong>Dave Wood</strong><br/>\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br/><br/>\n<strong>David Kahne</strong><br/>\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br/><br/>\n<strong>Dennis Sands</strong><br/>\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br/><br/>\n<strong>Emanuel Kiriakou</strong><br/>\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br/><br/>\n<strong>Erykah Badu</strong><br/>\n<em>(Grammy Award Winner)</em><br/><br/>\n<strong>Ethan Mates</strong><br/>\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br/><br/>\n<strong>Evan Taubenfeld</strong><br/>\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br/><br/>\n<strong>Goo Goo Dolls</strong><br/><br/>\n<strong>Greg Wells</strong><br/>\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br/><br/>\n<strong>Jimmy Eat World</strong><br/><br/>\n<strong>Jimmy Messer</strong><br/>\n<em>(Kelly Clarkson)</em><br/><br/>\n<strong>Joe Barresi</strong><br/>\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br/><br/>\n<strong>John Feldmann</strong><br/>\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br/><br/>\n<strong>John Mcbride</strong><br/><br/>\n<strong>John Paterno</strong><br/>\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br/><br/>\n<strong>Matt Bayles</strong><br/>\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br/><br/>\n<strong>Matthew Sweet</strong><br/><br/>\n<strong>Michael Beinhorn</strong><br/>\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br/><br/>\n<strong>Michael James</strong><br/>\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br/><br/>\n<strong>Peter Katis</strong><br/>\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br/><br/>\n<strong>Ralph Patlan</strong><br/>\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br/><br/>\n<strong>Rammstein</strong><br/><br/>\n<strong>Ross Hogarth</strong><br/>\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br/><br/>\n<strong>Ross Robinson</strong><br/>\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br/><br/>\n<strong>Ryan Hewitt</strong><br/>\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br/><br/>\n<strong>Shawn Dealey</strong><br/>\n<em>Engineer, Counting Crows</em><br/><br/>\n<strong>Slipknot</strong><br/><br/>\n<strong>Steve Evetts</strong><br/>\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br/><br/>\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br/><br/>\n<h3>If you\'ve been looking for the power of mixing console channel strip, look no further than the CHandler Limited TG Microphone Cassette. For more information, call or chat with an RSPE representative today.</h3>'),(3441,85,0,574,'Chandler Limited TG Microphone Cassette'),(3442,85,1,574,'Chandler Limited TG Microphone Cassette'),(3443,76,0,574,''),(3444,76,1,574,''),(3445,75,0,575,'<h2>Chandler Limited TG Opto Compressor - 500-Series Compressor Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">TG Opto is a dual-space 500 Series Compressor module that draws inspiration from the classic EMI TG12413 Limiter</span><br /><br />\nThe Chandler Limited TG Opto compressor is a handmade, fully discrete, mono, dual space module, designed for the 500 Series format.<br /><br />\nThe TG Opto for 500 Series is a relative of the TG1 Opto, found in Chandler Limited’s TG Microphone Cassette, the TG1 Limiter and Zener Limiter, and traces its lineage to the historic EMI TG12413 limiters found on the TG12345 mixing and mastering consoles of the late ‘60s and early ‘70s.<br /><br />\nThe TG Opto compressor control-set includes: selectable sharp and rounded knees, continuous input, output (makeup gain), attack, release, and true bypass.<br /><br />\nThe attitude of the TG Opto is one of two personalities, each actuated by the selectable sharp and rounded knee types. In sharp, the TG Opto is capable of explosive drum sounds, and set to rounded, it is well suited to scenarios where the artifact of compression is required to be less obvious or gentle.<br /><br />\nThe continuous control-set affords the ability to fine-tune compression to respond to an array of sources and create a variety of tones.<br /><br />Create an EMI TG console channel today by adding the <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG12345-MKIV-p/chandler-tg-12345.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG12345 MKIV EQ</a>, <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG-Opto-Compressor-p/chandler-tg-opto.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG Opto compressor</a> and <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG2-500-Pre-Amp-Module-p/chd-tg2-500.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG2-500 preamp</a> to your 500 Series rack!<br /><br />\nChandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios.<br /><br />\n<h3>TG Opto key features:</h3>\n<ul>\n	<li>True classic sound scaled down for the 500 series format</li>\n	<li>Handmade, fully discrete electronics</li>\n	<li>No power-up issues with current lunchboxes and rack systems</li>\n</ul>\n<br />\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br /><br />Any Chandler Limited module with compatibility issues to any 3rd party rack/lunchbox, can be returned to Chandler Limited for a free upgrade (parts and labor), however, just pay the shipping costs.<br /><br />\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br />\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br /><br />\n<strong>Bill Stevenson</strong><br />\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br /><br />\n<strong>Billy Bush</strong><br />\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br /><br />\n<strong>Blackbird Studios</strong><br /><br />\n<strong>Michael Wagener</strong><br />\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br /><br />\n<strong>Blues Saraceno</strong><br />\n<em>(Melissa Etheridge, Ziggy Marley)</em><br /><br />\n<strong>Brad Fernquist</strong><br />\n<em>(Goo Goo Dolls)</em><br /><br />\n<strong>Chase Park Transduction</strong><br />\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br /><br />\n<strong>Chris Testa</strong><br />\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br /><br />\n<strong>Claudius Mittendorfer</strong><br />\n<em>(Interpol, Glasvegas, Ash)</em><br /><br />\n<strong>Counting Crows</strong><br /><br />\n<strong>Critter</strong><br />\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br /><br />\n<strong>Dave Wood</strong><br />\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br /><br />\n<strong>David Kahne</strong><br />\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br /><br />\n<strong>Dennis Sands</strong><br />\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br /><br />\n<strong>Emanuel Kiriakou</strong><br />\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br /><br />\n<strong>Erykah Badu</strong><br />\n<em>(Grammy Award Winner)</em><br /><br />\n<strong>Ethan Mates</strong><br />\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br /><br />\n<strong>Evan Taubenfeld</strong><br />\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br /><br />\n<strong>Goo Goo Dolls</strong><br /><br />\n<strong>Greg Wells</strong><br />\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br /><br />\n<strong>Jimmy Eat World</strong><br /><br />\n<strong>Jimmy Messer</strong><br />\n<em>(Kelly Clarkson)</em><br /><br />\n<strong>Joe Barresi</strong><br />\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br /><br />\n<strong>John Feldmann</strong><br />\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br /><br />\n<strong>John Mcbride</strong><br /><br />\n<strong>John Paterno</strong><br />\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br /><br />\n<strong>Matt Bayles</strong><br />\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br /><br />\n<strong>Matthew Sweet</strong><br /><br />\n<strong>Michael Beinhorn</strong><br />\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br /><br />\n<strong>Michael James</strong><br />\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br /><br />\n<strong>Peter Katis</strong><br />\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br /><br />\n<strong>Ralph Patlan</strong><br />\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br /><br />\n<strong>Rammstein</strong><br /><br />\n<strong>Ross Hogarth</strong><br />\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br /><br />\n<strong>Ross Robinson</strong><br />\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br /><br />\n<strong>Ryan Hewitt</strong><br />\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br /><br />\n<strong>Shawn Dealey</strong><br />\n<em>Engineer, Counting Crows</em><br /><br />\n<strong>Slipknot</strong><br /><br />\n<strong>Steve Evetts</strong><br />\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br /><br />\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br /><br />\n<h3>Get the sound of a classic EMI / Abbey Road Limiter in your 500 Series lunchbox with the Chandler Limited TG Opto Compressor. For more information, call or chat with an RSPE representative today.</h3><br /><i>\n<inline style=\"font-size: 12px;\">Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.</inline></i>'),(3446,75,1,575,'<h2>Chandler Limited TG Opto Compressor - 500-Series Compressor Module</h2>\n<span style=\"font-size:16px; font-style:italic;\">TG Opto is a dual-space 500 Series Compressor module that draws inspiration from the classic EMI TG12413 Limiter</span><br /><br />\nThe Chandler Limited TG Opto compressor is a handmade, fully discrete, mono, dual space module, designed for the 500 Series format.<br /><br />\nThe TG Opto for 500 Series is a relative of the TG1 Opto, found in Chandler Limited’s TG Microphone Cassette, the TG1 Limiter and Zener Limiter, and traces its lineage to the historic EMI TG12413 limiters found on the TG12345 mixing and mastering consoles of the late ‘60s and early ‘70s.<br /><br />\nThe TG Opto compressor control-set includes: selectable sharp and rounded knees, continuous input, output (makeup gain), attack, release, and true bypass.<br /><br />\nThe attitude of the TG Opto is one of two personalities, each actuated by the selectable sharp and rounded knee types. In sharp, the TG Opto is capable of explosive drum sounds, and set to rounded, it is well suited to scenarios where the artifact of compression is required to be less obvious or gentle.<br /><br />\nThe continuous control-set affords the ability to fine-tune compression to respond to an array of sources and create a variety of tones.<br /><br />Create an EMI TG console channel today by adding the <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG12345-MKIV-p/chandler-tg-12345.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG12345 MKIV EQ</a>, <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG-Opto-Compressor-p/chandler-tg-opto.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG Opto compressor</a> and <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG2-500-Pre-Amp-Module-p/chd-tg2-500.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG2-500 preamp</a> to your 500 Series rack!<br /><br />\nChandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios.<br /><br />\n<h3>TG Opto key features:</h3>\n<ul>\n	<li>True classic sound scaled down for the 500 series format</li>\n	<li>Handmade, fully discrete electronics</li>\n	<li>No power-up issues with current lunchboxes and rack systems</li>\n</ul>\n<br />\n<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br /><br />Any Chandler Limited module with compatibility issues to any 3rd party rack/lunchbox, can be returned to Chandler Limited for a free upgrade (parts and labor), however, just pay the shipping costs.<br /><br />\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br />\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br /><br />\n<strong>Bill Stevenson</strong><br />\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br /><br />\n<strong>Billy Bush</strong><br />\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br /><br />\n<strong>Blackbird Studios</strong><br /><br />\n<strong>Michael Wagener</strong><br />\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br /><br />\n<strong>Blues Saraceno</strong><br />\n<em>(Melissa Etheridge, Ziggy Marley)</em><br /><br />\n<strong>Brad Fernquist</strong><br />\n<em>(Goo Goo Dolls)</em><br /><br />\n<strong>Chase Park Transduction</strong><br />\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br /><br />\n<strong>Chris Testa</strong><br />\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br /><br />\n<strong>Claudius Mittendorfer</strong><br />\n<em>(Interpol, Glasvegas, Ash)</em><br /><br />\n<strong>Counting Crows</strong><br /><br />\n<strong>Critter</strong><br />\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br /><br />\n<strong>Dave Wood</strong><br />\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br /><br />\n<strong>David Kahne</strong><br />\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br /><br />\n<strong>Dennis Sands</strong><br />\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br /><br />\n<strong>Emanuel Kiriakou</strong><br />\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br /><br />\n<strong>Erykah Badu</strong><br />\n<em>(Grammy Award Winner)</em><br /><br />\n<strong>Ethan Mates</strong><br />\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br /><br />\n<strong>Evan Taubenfeld</strong><br />\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br /><br />\n<strong>Goo Goo Dolls</strong><br /><br />\n<strong>Greg Wells</strong><br />\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br /><br />\n<strong>Jimmy Eat World</strong><br /><br />\n<strong>Jimmy Messer</strong><br />\n<em>(Kelly Clarkson)</em><br /><br />\n<strong>Joe Barresi</strong><br />\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br /><br />\n<strong>John Feldmann</strong><br />\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br /><br />\n<strong>John Mcbride</strong><br /><br />\n<strong>John Paterno</strong><br />\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br /><br />\n<strong>Matt Bayles</strong><br />\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br /><br />\n<strong>Matthew Sweet</strong><br /><br />\n<strong>Michael Beinhorn</strong><br />\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br /><br />\n<strong>Michael James</strong><br />\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br /><br />\n<strong>Peter Katis</strong><br />\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br /><br />\n<strong>Ralph Patlan</strong><br />\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br /><br />\n<strong>Rammstein</strong><br /><br />\n<strong>Ross Hogarth</strong><br />\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br /><br />\n<strong>Ross Robinson</strong><br />\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br /><br />\n<strong>Ryan Hewitt</strong><br />\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br /><br />\n<strong>Shawn Dealey</strong><br />\n<em>Engineer, Counting Crows</em><br /><br />\n<strong>Slipknot</strong><br /><br />\n<strong>Steve Evetts</strong><br />\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br /><br />\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br /><br />\n<h3>Get the sound of a classic EMI / Abbey Road Limiter in your 500 Series lunchbox with the Chandler Limited TG Opto Compressor. For more information, call or chat with an RSPE representative today.</h3><br /><i>\n<inline style=\"font-size: 12px;\">Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.</inline></i>'),(3447,85,0,575,''),(3448,85,1,575,''),(3449,76,0,575,''),(3450,76,1,575,''),(3451,75,0,576,'<h1>Chandler Limited TG1 Limiter</h1>\n\nNow standard on all Abbey Road Special Edition TG-1′s, this option allows bypassing of the compressor/limiter threshold but leaves all circuits in the signal path, turning the unit into a powerful Harmonic Distortion generator capable of kicking out up to 2% Total Harmonic Distortion. That’s more than 2 times the amount of analog tape! And all with 100% discrete transformer balanced circuits. Adjust the input for amount of THD and the output to match level. Try running Distortion on one channel and hard limiting on the other. The ultimate in retro! This option is placed on the front panel of the unit with a toggle switch for each channel.<br><br>\nNew Input Control<br><br>\nAll TG1 units now ship with audio taper input controls. These new pots give better control of the unit at lower amounts of compression, better overall resolution of the limiter, and allows the user to get “less” gain reduction from the unit. Any early model can be upgraded for $20 plus shipping.<br><br>\nAll TG units require and function on the PSU-1, Chandler Limited power supply.<br><br>'),(3452,75,1,576,'<h1>Chandler Limited TG1 Limiter</h1>\n\nNow standard on all Abbey Road Special Edition TG-1′s, this option allows bypassing of the compressor/limiter threshold but leaves all circuits in the signal path, turning the unit into a powerful Harmonic Distortion generator capable of kicking out up to 2% Total Harmonic Distortion. That’s more than 2 times the amount of analog tape! And all with 100% discrete transformer balanced circuits. Adjust the input for amount of THD and the output to match level. Try running Distortion on one channel and hard limiting on the other. The ultimate in retro! This option is placed on the front panel of the unit with a toggle switch for each channel.<br><br>\nNew Input Control<br><br>\nAll TG1 units now ship with audio taper input controls. These new pots give better control of the unit at lower amounts of compression, better overall resolution of the limiter, and allows the user to get “less” gain reduction from the unit. Any early model can be upgraded for $20 plus shipping.<br><br>\nAll TG units require and function on the PSU-1, Chandler Limited power supply.<br><br>'),(3453,85,0,576,'Chandler Limited TG1 Limiter'),(3454,85,1,576,'Chandler Limited TG1 Limiter'),(3455,76,0,576,''),(3456,76,1,576,''),(3457,75,0,577,'<h1>Chandler Limited TG12411 Channel - Pre Amp & EQ</h1>\n\n<i>The Chandler Limited TG12411 channel, formerly known as the TG Channel MKII, is a recreation of several classic circuits. </i><br /><br />The TG12411 combines Wade Goeke\'s design of the TG2 pre amp section with an equalizer that was redesigned from a circuit used in the TG12410 Transfer Console, the mastering counterpart to the original \"Beatles desks.\"<br /><br />\n\nThe active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The TG12411\'s passive equalizer EQ is an all inductor design offering sweet high frequencies, large inductor based lows, and a very high \"Q\" mid cut section. Its sound is very comparable to Pultec and Lang program EQs. A simple description would be a TG Pultec with a TG pre amp thrown in.<br /><br />\n\nAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V/230V).<br /><br />\n\nNOTE: As of late 2016, the TG Channel MKII was renamed the TG12411; there has been no modification to the MKII circuit.<br /><br />'),(3458,75,1,577,'<h1>Chandler Limited TG12411 Channel - Pre Amp & EQ</h1>\n\n<i>The Chandler Limited TG12411 channel, formerly known as the TG Channel MKII, is a recreation of several classic circuits. </i><br /><br />The TG12411 combines Wade Goeke\'s design of the TG2 pre amp section with an equalizer that was redesigned from a circuit used in the TG12410 Transfer Console, the mastering counterpart to the original \"Beatles desks.\"<br /><br />\n\nThe active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The TG12411\'s passive equalizer EQ is an all inductor design offering sweet high frequencies, large inductor based lows, and a very high \"Q\" mid cut section. Its sound is very comparable to Pultec and Lang program EQs. A simple description would be a TG Pultec with a TG pre amp thrown in.<br /><br />\n\nAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V/230V).<br /><br />\n\nNOTE: As of late 2016, the TG Channel MKII was renamed the TG12411; there has been no modification to the MKII circuit.<br /><br />'),(3459,85,0,577,''),(3460,85,1,577,''),(3461,76,0,577,''),(3462,76,1,577,''),(3463,75,0,578,'<h1>Chandler Limited TG2-500 Pre Amp Module - 500-Series Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">500-series preamp reissue of the rare EMI pre amp used in Abbey Road consoles</span><br /><br />\nBuilding upon the popularity of the company’s acclaimed \n<a href=\"http://www.rspeaudio.com/Chandler-Limited-TG2-Pre-Amp-DI-p/chd-lim-tg2-pre.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG2 Pre Amp / DI</a>, the new TG2-500 is a 500 series recreation that delivers the classic sound of the EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles in the late 60s and early 70s.\n<br /><br />\nChandler Limited EMI Abbey Road Studios TG2-500 Pre Amp - Using the identical TG2 circuit, transistors, and transformers, the TG2-500 delivers 10 – 60 dB of gain and uses a coarse gain control and a fine gain control as found on EMI consoles. The unit provides 300 and 1200 Ohm input impedance as on the TG2, which the company’s customers have come to value.\n<br /><br />\nEqually important, the Chandler TG2-500 delivers frequency response identical to the TG2. Equally notable, the TG2-500 has the same high frequency bump and mid forward tone that users enjoy with the TG2, along with the warmth inducing distortion which contributes to its sound. The end result is a creamy, smooth tone with a surprisingly open, clear top end. The sound, as explained by many users, has the ‘warmth and punch’ of the Neve, but with a nicer, expanded top end.\n<br /><br />\nCreate an EMI TG console channel today by adding the <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG12345-MKIV-p/chandler-tg-12345.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG12345 MKIV EQ</a>, <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG-Opto-Compressor-p/chandler-tg-opto.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG Opto compressor</a> and <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG2-500-Pre-Amp-Module-p/chd-tg2-500.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG2-500 preamp</a> to your 500 Series rack!<br /><br />\n<i>Chandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios.</i><br /><br />\n<h3>Chandler Limited TG2-500 Pre Amp key features:</h3>\n<ul>\n	<li>True classic sound scaled down for the 500 series format</li>\n	<li>Class-A, transformer-balanced circuits</li>\n	<li>No power-up issues with current lunchboxes and rack systems</li>\n</ul>\n<ul>\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<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br /><br />\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br /><br />\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br />\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br /><br />\n<strong>Bill Stevenson</strong><br />\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br /><br />\n<strong>Billy Bush</strong><br />\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br /><br />\n<strong>Blackbird Studios</strong><br /><br />\n<strong>Michael Wagener</strong><br />\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br /><br />\n<strong>Blues Saraceno</strong><br />\n<em>(Melissa Etheridge, Ziggy Marley)</em><br /><br />\n<strong>Brad Fernquist</strong><br />\n<em>(Goo Goo Dolls)</em><br /><br />\n<strong>Chase Park Transduction</strong><br />\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br /><br />\n<strong>Chris Testa</strong><br />\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br /><br />\n<strong>Claudius Mittendorfer</strong><br />\n<em>(Interpol, Glasvegas, Ash)</em><br /><br />\n<strong>Counting Crows</strong><br /><br />\n<strong>Critter</strong><br />\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br /><br />\n<strong>Dave Wood</strong><br />\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br /><br />\n<strong>David Kahne</strong><br />\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br /><br />\n<strong>Dennis Sands</strong><br />\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br /><br />\n<strong>Emanuel Kiriakou</strong><br />\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br /><br />\n<strong>Erykah Badu</strong><br />\n<em>(Grammy Award Winner)</em><br /><br />\n<strong>Ethan Mates</strong><br />\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br /><br />\n<strong>Evan Taubenfeld</strong><br />\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br /><br />\n<strong>Goo Goo Dolls</strong><br /><br />\n<strong>Greg Wells</strong><br />\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br /><br />\n<strong>Jimmy Eat World</strong><br /><br />\n<strong>Jimmy Messer</strong><br />\n<em>(Kelly Clarkson)</em><br /><br />\n<strong>Joe Barresi</strong><br />\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br /><br />\n<strong>John Feldmann</strong><br />\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br /><br />\n<strong>John Mcbride</strong><br /><br />\n<strong>John Paterno</strong><br />\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br /><br />\n<strong>Matt Bayles</strong><br />\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br /><br />\n<strong>Matthew Sweet</strong><br /><br />\n<strong>Michael Beinhorn</strong><br />\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br /><br />\n<strong>Michael James</strong><br />\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br /><br />\n<strong>Peter Katis</strong><br />\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br /><br />\n<strong>Ralph Patlan</strong><br />\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br /><br />\n<strong>Rammstein</strong><br /><br />\n<strong>Ross Hogarth</strong><br />\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br /><br />\n<strong>Ross Robinson</strong><br />\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br /><br />\n<strong>Ryan Hewitt</strong><br />\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br /><br />\n<strong>Shawn Dealey</strong><br />\n<em>Engineer, Counting Crows</em><br /><br />\n<strong>Slipknot</strong><br /><br />\n<strong>Steve Evetts</strong><br />\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br /><br />\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br /><br />\n<h3>If you\'ve been looking for the classic warmth of a Chandler TG2 in a 500-series format, put a TG2-500 preamp module in your 500 rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3464,75,1,578,'<h1>Chandler Limited TG2-500 Pre Amp Module - 500-Series Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">500-series preamp reissue of the rare EMI pre amp used in Abbey Road consoles</span><br /><br />\nBuilding upon the popularity of the company’s acclaimed \n<a href=\"http://www.rspeaudio.com/Chandler-Limited-TG2-Pre-Amp-DI-p/chd-lim-tg2-pre.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">TG2 Pre Amp / DI</a>, the new TG2-500 is a 500 series recreation that delivers the classic sound of the EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles in the late 60s and early 70s.\n<br /><br />\nChandler Limited EMI Abbey Road Studios TG2-500 Pre Amp - Using the identical TG2 circuit, transistors, and transformers, the TG2-500 delivers 10 – 60 dB of gain and uses a coarse gain control and a fine gain control as found on EMI consoles. The unit provides 300 and 1200 Ohm input impedance as on the TG2, which the company’s customers have come to value.\n<br /><br />\nEqually important, the Chandler TG2-500 delivers frequency response identical to the TG2. Equally notable, the TG2-500 has the same high frequency bump and mid forward tone that users enjoy with the TG2, along with the warmth inducing distortion which contributes to its sound. The end result is a creamy, smooth tone with a surprisingly open, clear top end. The sound, as explained by many users, has the ‘warmth and punch’ of the Neve, but with a nicer, expanded top end.\n<br /><br />\nCreate an EMI TG console channel today by adding the <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG12345-MKIV-p/chandler-tg-12345.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG12345 MKIV EQ</a>, <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG-Opto-Compressor-p/chandler-tg-opto.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG Opto compressor</a> and <a href=\"https://www.rspeaudio.com/Chandler-Limited-TG2-500-Pre-Amp-Module-p/chd-tg2-500.htm\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">TG2-500 preamp</a> to your 500 Series rack!<br /><br />\n<i>Chandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios.</i><br /><br />\n<h3>Chandler Limited TG2-500 Pre Amp key features:</h3>\n<ul>\n	<li>True classic sound scaled down for the 500 series format</li>\n	<li>Class-A, transformer-balanced circuits</li>\n	<li>No power-up issues with current lunchboxes and rack systems</li>\n</ul>\n<ul>\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<h3>Chandler Limited 500-Series Compatibility</h3>\nAll Chandler 500 series units have now been tested and proven to have no power issues in the following racks:  API 500V 10-slot with L200 PSU; API 500-6B Lunchbox; API 500-6B HC “new version” Lunchbox; BAE 11-slot with power one supply; BAE 6-slot portable with power one supply; BAE 6-slot with Avedis designed supply; A-Designs 2-slot; Purple Sweet 10; and Empirical Labs 2-slot.\n<br /><br />\n<a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Equalizer-Module-p/chd-dvleq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil EQs</a> and <a href=\"http://www.rspeaudio.com/Chandler-Limited-Little-Devil-Compressor-Module-p/chd-dvlcomp.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Little Devil Compressors</a> have been upgraded to eliminate the power conflict experienced with some 3rd party racks and lunchboxes. The upgrade has been tested in the racks listed above.  Any Little Devil EQ or Little Devil Compressor with compatibility issues can be returned to Chandler Limited for a free upgrade (parts and labor), however, Chandler Limited will not cover shipping costs.<br /><br />\n<h3>Who\'s using Chandler Limited:</h3>\n<strong>Abbey Road Studios</strong><br />\n<em>Curve Bender, Zener Limiter, TG1, TG2, Channel, Germ Pre</em><br /><br />\n<strong>Bill Stevenson</strong><br />\n<em>(Black Flag, Descendants, Rise Against, The Lemonheads, Only Crime ) - TG Channel, TG2, Germ Pre, Ltd-1</em><br /><br />\n<strong>Billy Bush</strong><br />\n<em>Producer, Engineer, Mixer (Garbage, Tegan & Sara, Muse) - TG2 Pre Amp/Di, TG1 Limiter, Germanium Pre Amp/Di, Germanium Tone Control</em><br /><br />\n<strong>Blackbird Studios</strong><br /><br />\n<strong>Michael Wagener</strong><br />\n<em>(Mötley Crüe, Overkill, Accept, Great White, Poison, Alice Cooper, Extreme, Megadeth, Janet Jackson, Ozzy Osbourne, Dokken, Metallica, White Lion, Skid Row)</em><br /><br />\n<strong>Blues Saraceno</strong><br />\n<em>(Melissa Etheridge, Ziggy Marley)</em><br /><br />\n<strong>Brad Fernquist</strong><br />\n<em>(Goo Goo Dolls)</em><br /><br />\n<strong>Chase Park Transduction</strong><br />\n<em>(REM, Drive By Truckers, Queens Of The Stone Age)</em><br /><br />\n<strong>Chris Testa</strong><br />\n<em>(Jimmy Eat World, Dixie Chicks, Switchfoot, Backstreet Boys, Hoobastank, Barenaked Ladies, Pink, Matchbox 20, Edie Brickell, Audioslave)</em><br /><br />\n<strong>Claudius Mittendorfer</strong><br />\n<em>(Interpol, Glasvegas, Ash)</em><br /><br />\n<strong>Counting Crows</strong><br /><br />\n<strong>Critter</strong><br />\n<em>(Guns N\' Roses, Angels And Airwaves</em>)<br /><br />\n<strong>Dave Wood</strong><br />\n<em>(Jesse Mccartney, Marie\' Digby, Lil Wayne, Ludacris, Gladys Knight, Music Director For Hilary Duff )</em><br /><br />\n<strong>David Kahne</strong><br />\n<em>( Paul Mccartney, Stevie Nicks, Sublime, Mtv Unplugged: Tony Bennett, Sugar Ray, The Bangles )</em><br /><br />\n<strong>Dennis Sands</strong><br />\n<em>( Erin Brockovich, American Beauty, Pleasantville, Good Will Hunting )</em><br /><br />\n<strong>Emanuel Kiriakou</strong><br />\n<em>(Celine Dion, Jordin Sparks, David Archuleta, Nick Lachey, Backstreet Boys, Jesse Mccartney)</em><br /><br />\n<strong>Erykah Badu</strong><br />\n<em>(Grammy Award Winner)</em><br /><br />\n<strong>Ethan Mates</strong><br />\n<em>(Linkin Park, Korn, Black Eyed Peas, Tupac, Slipknot, Lionel Richie, Jennifer Lopez, Tom Petty, Motley Crue, Red Hot Chili Peppers, Haze, Good Charlotte, Sting)</em><br /><br />\n<strong>Evan Taubenfeld</strong><br />\n<em>(Avril Lavigne, Tyga, Mtv, Warner Bros Records, Emi Music)</em><br /><br />\n<strong>Goo Goo Dolls</strong><br /><br />\n<strong>Greg Wells</strong><br />\n<em>(Deftones, Mika, Pink, Rufus Wainwright)</em><br /><br />\n<strong>Jimmy Eat World</strong><br /><br />\n<strong>Jimmy Messer</strong><br />\n<em>(Kelly Clarkson)</em><br /><br />\n<strong>Joe Barresi</strong><br />\n<em>(Hole, Weezer, Queens Of The Stone Age, Tool)</em><br /><br />\n<strong>John Feldmann</strong><br />\n<em>(Goldfinger, Story Of The Year, Good Charlotte, Ashlee Simpson, Hilary Duff, Atreyu)</em><br /><br />\n<strong>John Mcbride</strong><br /><br />\n<strong>John Paterno</strong><br />\n<em>(Joan Osborne, Los Lobos, Faith Hill, Phil Vassar, Bonnie Raitt, Tim Mcgraw, The Black Molly\'s)</em><br /><br />\n<strong>Matt Bayles</strong><br />\n<em>(Soundgarden, Pearl Jam, Mastodon)</em><br /><br />\n<strong>Matthew Sweet</strong><br /><br />\n<strong>Michael Beinhorn</strong><br />\n<em>(Korn, Marilyn Manson, Soundgarden, Soul Asylum, Red Hot Chili Peppers, The Verve Pipe, Ozzy Osbourne, Social Distortion, Black Label Society)</em><br /><br />\n<strong>Michael James</strong><br />\n<em>(Jawbreaker, New Radicals, Janes Addiction, Chicago, Hole)</em><br /><br />\n<strong>Peter Katis</strong><br />\n<em>(Interpol, Guster, Longwave, Ours, Robbers On High Street)</em><br /><br />\n<strong>Ralph Patlan</strong><br />\n<em>(Megadeth, Jamie Foxx, Rick Derringer, Michael Schenker, Brian “Head” Welch, Chris Poland/Ohm)</em><br /><br />\n<strong>Rammstein</strong><br /><br />\n<strong>Ross Hogarth</strong><br />\n<em>(John Fogerty, Ziggy Marley, Edgar Winter, Jimmy Eat World, Lifehouse, Clay Aiken, John Mellencamp, Melissa Etheridge, Coal Chamber, Roger Waters, Jewel, Black Crowes, Mötley Crüe)</em><br /><br />\n<strong>Ross Robinson</strong><br />\n<em>(Vanilla Ice, Slipknot, At The Drive-In)</em><br /><br />\n<strong>Ryan Hewitt</strong><br />\n<em>(Red Hot Chili Peppers, The Avett Brothers, Blink-182, Tom Petty)</em><br /><br />\n<strong>Shawn Dealey</strong><br />\n<em>Engineer, Counting Crows</em><br /><br />\n<strong>Slipknot</strong><br /><br />\n<strong>Steve Evetts</strong><br />\n<em>(Dillinger Escape Plan, The Cure, He Is Legend, Sepultura, Story Of The Year, Every Time I Die, Earth Crisis And Our Last Night)</em><br /><br />\n<h3>About Chandler Limited</h3>\nBased in a small Iowa town in the middle of nowhere, Chandler Limited signal-processing equipment is highly regarded for its ability to add the warmth of analog to today\'s digital recording process. Chandler Limited works directly with EMI and Abbey Road studios to reintroduce some of the exact equipment used at Abbey Road Studios to record such bands as The Beatles and Pink Floyd.\nPriding itself on hand-wiring all their products, Chandler products have been featured prominently in albums, movies, television, and even video games. And now, Chandler Limited enters the 500 race with its new line of 500-series modules for your favorite lunch box. Using all-discrete circuits that combine Chandler\'s best designs with the hottest designs from the past; transformer balanced everything; and the American handmade quality you expect, the Chandler Limited 500-series modules will take your lunchbox or rack system to a new level.\n<br /><br />\n<h3>If you\'ve been looking for the classic warmth of a Chandler TG2 in a 500-series format, put a TG2-500 preamp module in your 500 rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3465,85,0,578,'Chandler Limited TG2-500 Pre Amp Module'),(3466,85,1,578,'Chandler Limited TG2-500 Pre Amp Module'),(3467,76,0,578,''),(3468,76,1,578,''),(3469,75,0,579,'<h1>Chandler Limited TG2 Pre Amp / DI</h1>\n\nThe Chandler Limited TG2 is a recreation of the rare EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles in the late 60s and early 70s. The sound was used on many famous recordings done at Abbey Road including The Beatles “Abbey Road” and Pink Floyd “Dark Side of the Moon.”<br /><br />\nThis pre features the same discrete transformer balanced amplifiers as the TG series limiter and offers a creamy, smooth tone with a surprisingly open, clear top end (dare we say nicer than Neve). The sound, as explained by many users, has the Neve “warmth” and punch, but with a “nicer” expanded top end. In fact the unit does have a small rise in its top end frequency response and some warmth inducing distortion which contribute to its sound.<br /><br />\nOptions: Stepped Output (Stereo)<br /><br />\n*Please note: Not all of the early Abbey Road TG-2 units have the “impedence” as a standard feature of the unit. If buying a used unit, please inquire as to whether the unit is equipped with the impedence before purchasing.\nRequires Chandler CHD-PSU-1 for operation.<br /><br />'),(3470,75,1,579,'<h1>Chandler Limited TG2 Pre Amp / DI</h1>\n\nThe Chandler Limited TG2 is a recreation of the rare EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles in the late 60s and early 70s. The sound was used on many famous recordings done at Abbey Road including The Beatles “Abbey Road” and Pink Floyd “Dark Side of the Moon.”<br /><br />\nThis pre features the same discrete transformer balanced amplifiers as the TG series limiter and offers a creamy, smooth tone with a surprisingly open, clear top end (dare we say nicer than Neve). The sound, as explained by many users, has the Neve “warmth” and punch, but with a “nicer” expanded top end. In fact the unit does have a small rise in its top end frequency response and some warmth inducing distortion which contribute to its sound.<br /><br />\nOptions: Stepped Output (Stereo)<br /><br />\n*Please note: Not all of the early Abbey Road TG-2 units have the “impedence” as a standard feature of the unit. If buying a used unit, please inquire as to whether the unit is equipped with the impedence before purchasing.\nRequires Chandler CHD-PSU-1 for operation.<br /><br />'),(3471,85,0,579,'Chandler Limited TG2 Pre Amp / DI'),(3472,85,1,579,'Chandler Limited TG2 Pre Amp / DI'),(3473,76,0,579,''),(3474,76,1,579,''),(3475,75,0,580,'<h1>Chandler Limited Zener Stereo Limiter</h1>\n\nThe Chandler Zener Stereo Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. It continues the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413. This newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a new full featured and flexible unit for modern use.<br /><br />\nThe Zener Limiter is being reissued to add features and flexibility to the powerful and vintage sounding TG limiter circuits. Wade has added many new controls including switchable input impedance for hard of soft driving of the unit, 11-position attack, 21-position release, side chain filtering, and Comp 1, Comp 2, and Limit settings.\nAll TG units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3476,75,1,580,'<h1>Chandler Limited Zener Stereo Limiter</h1>\n\nThe Chandler Zener Stereo Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. It continues the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413. This newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a new full featured and flexible unit for modern use.<br /><br />\nThe Zener Limiter is being reissued to add features and flexibility to the powerful and vintage sounding TG limiter circuits. Wade has added many new controls including switchable input impedance for hard of soft driving of the unit, 11-position attack, 21-position release, side chain filtering, and Comp 1, Comp 2, and Limit settings.\nAll TG units require and function on the PSU-1, Chandler Limited power supply.<br /><br />'),(3477,85,0,580,'Chandler Limited Zener Limiter'),(3478,85,1,580,'Chandler Limited Zener Limiter'),(3479,76,0,580,''),(3480,76,1,580,''),(3481,75,0,581,'<h2>Coles 4038 Studio Ribbon Microphone</h2>\n\nThe 4038 Studio Ribbon Microphone is of British Broadcasting design (BBC) and used for broadcasting and recording such sounds where a clear smooth wide range frequency response, absent of transient distortion and relatively high sensitivity is essential.<br /><br />\nThe 4038 has a proven reliable performance capability, being since its introduction, used by broadcasting networks throughout the world such as the BBC.<br /><br />\nThe frequency response of the 4038 is exceptionally flat from 30 to 15,000 c/s and throughout this range the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural smooth sonic quality textured response to sound signal being picked up.<br /><br />\nStudio microphones have now achieved a remarkable fidelity of reproduction. If the microphone is not close to perfection, there is no point in having expensive systems to take the sound the rest of the way to the audiences ears.<br /><br />\nIn the world of sound, the BBC has always been the leader, and is still regarded as the \'setter of standards.<br /><br />'),(3482,75,1,581,'<h2>Coles 4038 Studio Ribbon Microphone</h2>\n\nThe 4038 Studio Ribbon Microphone is of British Broadcasting design (BBC) and used for broadcasting and recording such sounds where a clear smooth wide range frequency response, absent of transient distortion and relatively high sensitivity is essential.<br /><br />\nThe 4038 has a proven reliable performance capability, being since its introduction, used by broadcasting networks throughout the world such as the BBC.<br /><br />\nThe frequency response of the 4038 is exceptionally flat from 30 to 15,000 c/s and throughout this range the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural smooth sonic quality textured response to sound signal being picked up.<br /><br />\nStudio microphones have now achieved a remarkable fidelity of reproduction. If the microphone is not close to perfection, there is no point in having expensive systems to take the sound the rest of the way to the audiences ears.<br /><br />\nIn the world of sound, the BBC has always been the leader, and is still regarded as the \'setter of standards.<br /><br />'),(3483,85,0,581,'Coles 4038 Studio Ribbon Microphone'),(3484,85,1,581,'Coles 4038 Studio Ribbon Microphone'),(3485,76,0,581,''),(3486,76,1,581,''),(3487,75,0,582,'4040 Studio Ribbon Microphone\n\nThe 4040 is the newest addition to the Coles line of ribbon microphones. With a bold look, greater output, and a wider frequency response, the Coles 4040 is sure to complement any studio microphone cabinet.\n\nThis is the first ribbon microphone that Coles have developed using the very latest magnet technology. The frequency response of the 4038 is exceptionally flat from 30 to 15,000 c/s but where the 4038 starts to drop off, the 4040 carries on past 20,000 c/s and throughout this range, like the 4038, the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural smooth sonic quality textured response to sound signal being picked up. There is also no discernible stray magnetic field, making it very easy to mount head to head in a \"Blumlein\" (crossed figure-of-eights) stereo configuration.\n\nThe 4040 has some unique features, for a start it is gold plated, but more importantly the ribbon/magnet assembly has its own in built shock mounts separating it from the main body of the microphone that can be secured for transit. Each microphone comes in a foam lined rigid plastic carrying case with an adjustable universal stand mount and a soft cloth protective bag, for safe keeping.'),(3488,75,1,582,'4040 Studio Ribbon Microphone\n\nThe 4040 is the newest addition to the Coles line of ribbon microphones. With a bold look, greater output, and a wider frequency response, the Coles 4040 is sure to complement any studio microphone cabinet.\n\nThis is the first ribbon microphone that Coles have developed using the very latest magnet technology. The frequency response of the 4038 is exceptionally flat from 30 to 15,000 c/s but where the 4038 starts to drop off, the 4040 carries on past 20,000 c/s and throughout this range, like the 4038, the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural smooth sonic quality textured response to sound signal being picked up. There is also no discernible stray magnetic field, making it very easy to mount head to head in a \"Blumlein\" (crossed figure-of-eights) stereo configuration.\n\nThe 4040 has some unique features, for a start it is gold plated, but more importantly the ribbon/magnet assembly has its own in built shock mounts separating it from the main body of the microphone that can be secured for transit. Each microphone comes in a foam lined rigid plastic carrying case with an adjustable universal stand mount and a soft cloth protective bag, for safe keeping.'),(3489,85,0,582,'Coles 4040 Microphone'),(3490,85,1,582,'Coles 4040 Microphone'),(3491,76,0,582,''),(3492,76,1,582,''),(3493,75,0,583,'Microphones for Commentators: Model 4104\n\nThe 4104 Commentators Noise Cancelling Ribbon Microphone is of British Broadcasting (BBC) design and used for reproducing high quality commentary speech from noisy surroundings by cancelling out a considerable degree of background noise.\n\nThe 4104 has a proven reliable performance capability, being since its introduction used by such broadcasting networks as the BBC, IBA, CBS and ABC.\n\nThe 4104 is not unduly affected by wind noise and can be used in air stream velocities up to 20 mph (32 km) without notable difference in speech quality. With the use of a simple windshield attachment good quality speech reproduction can also be achieved in winds ranging up to 40 mph (64 km) or more.\n\nImportantly the polar response is effectively bi-directional allowing one or more commentators to make clear individual commentary close side by side without interference from mutual cross over talk.\n\nThis microphone is generally regarded as the leader in its field. Wherever it is essential to single out a speaker\'s voice without transmitting background noise, this is the choice of buyers from all over the world.\n\nOne example application is its use in sports reporting, selecting the spoken commentary and cutting out the roar of racing cars at Brands Hatch or the screams of the little old ladies in the ringside seats at wrestling contests. News reporters broadcasting eyewitness accounts of processions and street demonstrations have also depended on this type of microphone.\n\nEqually important is its application in noisy industrial environments; prompt information and explicit instruction may be matters of life and death in a shunting yard or rolling mill, and a noise-cancelling microphone of this quality is the most vital element in such communications.'),(3494,75,1,583,'Microphones for Commentators: Model 4104\n\nThe 4104 Commentators Noise Cancelling Ribbon Microphone is of British Broadcasting (BBC) design and used for reproducing high quality commentary speech from noisy surroundings by cancelling out a considerable degree of background noise.\n\nThe 4104 has a proven reliable performance capability, being since its introduction used by such broadcasting networks as the BBC, IBA, CBS and ABC.\n\nThe 4104 is not unduly affected by wind noise and can be used in air stream velocities up to 20 mph (32 km) without notable difference in speech quality. With the use of a simple windshield attachment good quality speech reproduction can also be achieved in winds ranging up to 40 mph (64 km) or more.\n\nImportantly the polar response is effectively bi-directional allowing one or more commentators to make clear individual commentary close side by side without interference from mutual cross over talk.\n\nThis microphone is generally regarded as the leader in its field. Wherever it is essential to single out a speaker\'s voice without transmitting background noise, this is the choice of buyers from all over the world.\n\nOne example application is its use in sports reporting, selecting the spoken commentary and cutting out the roar of racing cars at Brands Hatch or the screams of the little old ladies in the ringside seats at wrestling contests. News reporters broadcasting eyewitness accounts of processions and street demonstrations have also depended on this type of microphone.\n\nEqually important is its application in noisy industrial environments; prompt information and explicit instruction may be matters of life and death in a shunting yard or rolling mill, and a noise-cancelling microphone of this quality is the most vital element in such communications.'),(3495,85,0,583,'Coles 4104 PTT Microphone'),(3496,85,1,583,'Coles 4104 PTT Microphone'),(3497,76,0,583,''),(3498,76,1,583,''),(3499,75,0,584,'Microphones for Commentators: Model 4104\n\nThe 4104 Commentators Noise Cancelling Ribbon Microphone is of British Broadcasting (BBC) design and used for reproducing high quality commentary speech from noisy surroundings by cancelling out a considerable degree of background noise.\n\nThe 4104 has a proven reliable performance capability, being since its introduction used by such broadcasting networks as the BBC, IBA, CBS and ABC.\n\nThe 4104 is not unduly affected by wind noise and can be used in air stream velocities up to 20 mph (32 km) without notable difference in speech quality. With the use of a simple windshield attachment good quality speech reproduction can also be achieved in winds ranging up to 40 mph (64 km) or more.\n\nImportantly the polar response is effectively bi-directional allowing one or more commentators to make clear individual commentary close side by side without interference from mutual cross over talk.\n\nThis microphone is generally regarded as the leader in its field. Wherever it is essential to single out a speaker\'s voice without transmitting background noise, this is the choice of buyers from all over the world.\n\nOne example application is its use in sports reporting, selecting the spoken commentary and cutting out the roar of racing cars at Brands Hatch or the screams of the little old ladies in the ringside seats at wrestling contests. News reporters broadcasting eyewitness accounts of processions and street demonstrations have also depended on this type of microphone.\n\nEqually important is its application in noisy industrial environments; prompt information and explicit instruction may be matters of life and death in a shunting yard or rolling mill, and a noise-cancelling microphone of this quality is the most vital element in such communications.'),(3500,75,1,584,'Microphones for Commentators: Model 4104\n\nThe 4104 Commentators Noise Cancelling Ribbon Microphone is of British Broadcasting (BBC) design and used for reproducing high quality commentary speech from noisy surroundings by cancelling out a considerable degree of background noise.\n\nThe 4104 has a proven reliable performance capability, being since its introduction used by such broadcasting networks as the BBC, IBA, CBS and ABC.\n\nThe 4104 is not unduly affected by wind noise and can be used in air stream velocities up to 20 mph (32 km) without notable difference in speech quality. With the use of a simple windshield attachment good quality speech reproduction can also be achieved in winds ranging up to 40 mph (64 km) or more.\n\nImportantly the polar response is effectively bi-directional allowing one or more commentators to make clear individual commentary close side by side without interference from mutual cross over talk.\n\nThis microphone is generally regarded as the leader in its field. Wherever it is essential to single out a speaker\'s voice without transmitting background noise, this is the choice of buyers from all over the world.\n\nOne example application is its use in sports reporting, selecting the spoken commentary and cutting out the roar of racing cars at Brands Hatch or the screams of the little old ladies in the ringside seats at wrestling contests. News reporters broadcasting eyewitness accounts of processions and street demonstrations have also depended on this type of microphone.\n\nEqually important is its application in noisy industrial environments; prompt information and explicit instruction may be matters of life and death in a shunting yard or rolling mill, and a noise-cancelling microphone of this quality is the most vital element in such communications.'),(3501,85,0,584,'Coles 4104B Microphone'),(3502,85,1,584,'Coles 4104B Microphone'),(3503,76,0,584,''),(3504,76,1,584,''),(3505,75,0,585,'Microphones For Broadcasters: Model 4115\n\nThe 4115 Broadcasters Noise Cancelling Ribbon Microphone is used for close indoor talking situations where good quality broadcasting and public address announcement speech is required to be reproduced in conditions with high background noise present.\n\nThe 4115 has a proven reliable performance capability, being since its introduction, used by broadcasters throughout the world.\n\nThe high degree of acoustic damping applied to the robust corrugated aluminium ribbon ensures freedom from resonance and relative immunity to handling noises and mechanical shocks.\n\nThere are many situations in which speech is partially or completely drowned out by background noise; for example in aircraft, saw mills, shunting yards, or power stations. Yet these are all places where it may be a matter of life and death to have spoken instructions heard and obeyed without a second\'s delay.\n\nThe 4115 is the microphone of choice for these circumstances.\n\nThere are two special versions for use in aircraft where, in addition to the other requirements, it needs to be compatible with the aircrafts electronics. These models are approved by the Civil Aviation Authority, adn are also the choice of aircraft manufacturers and airlines.'),(3506,75,1,585,'Microphones For Broadcasters: Model 4115\n\nThe 4115 Broadcasters Noise Cancelling Ribbon Microphone is used for close indoor talking situations where good quality broadcasting and public address announcement speech is required to be reproduced in conditions with high background noise present.\n\nThe 4115 has a proven reliable performance capability, being since its introduction, used by broadcasters throughout the world.\n\nThe high degree of acoustic damping applied to the robust corrugated aluminium ribbon ensures freedom from resonance and relative immunity to handling noises and mechanical shocks.\n\nThere are many situations in which speech is partially or completely drowned out by background noise; for example in aircraft, saw mills, shunting yards, or power stations. Yet these are all places where it may be a matter of life and death to have spoken instructions heard and obeyed without a second\'s delay.\n\nThe 4115 is the microphone of choice for these circumstances.\n\nThere are two special versions for use in aircraft where, in addition to the other requirements, it needs to be compatible with the aircrafts electronics. These models are approved by the Civil Aviation Authority, adn are also the choice of aircraft manufacturers and airlines.'),(3507,85,0,585,'Coles 4115 Microphone'),(3508,85,1,585,'Coles 4115 Microphone'),(3509,76,0,585,''),(3510,76,1,585,''),(3511,75,0,586,'<h1>Coleman Audio 7.1SW Eight-Channel Surround Switcher</h1>With the 7.1SW balanced audio switcher you can select any one of four 8 channel balanced audio inputs and route them to an 8 channel balanced output. The inputs and output are on DB25 connectors wired to the Tascam format. Any one of the inputs can be routed to the output via the push buttons on the remote. The remote comes with a 25 foot cable attached to a molded MIDI connector.<br /><br /><h3>Coleman Audio 7.1SW Features</h3><ul><li><span style=\"background-color: initial;\">Four inputs DB25 wired for 8 audio channels</span></li><li>One output DB25 connector</li><li>Remote with 25 foot cable</li><li>Completely passive switching</li><li>Bi-directional</li></ul>'),(3512,75,1,586,'<h1>Coleman Audio 7.1SW Eight-Channel Surround Switcher</h1>With the 7.1SW balanced audio switcher you can select any one of four 8 channel balanced audio inputs and route them to an 8 channel balanced output. The inputs and output are on DB25 connectors wired to the Tascam format. Any one of the inputs can be routed to the output via the push buttons on the remote. The remote comes with a 25 foot cable attached to a molded MIDI connector.<br /><br /><h3>Coleman Audio 7.1SW Features</h3><ul><li><span style=\"background-color: initial;\">Four inputs DB25 wired for 8 audio channels</span></li><li>One output DB25 connector</li><li>Remote with 25 foot cable</li><li>Completely passive switching</li><li>Bi-directional</li></ul>'),(3513,85,0,586,'Coleman Audio 7.1SW Eight-Channel Surround Switcher'),(3514,85,1,586,'Coleman Audio 7.1SW Eight-Channel Surround Switcher'),(3515,76,0,586,''),(3516,76,1,586,''),(3517,75,0,587,'<h1>Coleman Audio A/B 5.1 Surround Switcher</h1>The Coleman Audio A/B 5.1 provides precision 5.1 Surround switching for source comparison or alternate speaker selection. The unit provides completely passive relay switching for up to three, six-channel surround paths. The unit can be configured with one input and two outputs as a speaker selector, or two inputs to one output for source comparison. Interconnect with the Coleman SR5.1 is easy with 1/4 inch TRS jacks.<br /><br /><h3>Coleman Audio A/B 5.1 Features</h3><ul style=\"letter-spacing: normal;\"><li><span style=\"background-color: initial;\">Twelve balanced inputs on TRS jacks</span></li><li>Six balanced outputs on TRS jacks</li><li>Remote switching</li><li>Completely passive switching</li><li>Can be used Bi-directionally as a source select or speaker select</li></ul>'),(3518,75,1,587,'<h1>Coleman Audio A/B 5.1 Surround Switcher</h1>The Coleman Audio A/B 5.1 provides precision 5.1 Surround switching for source comparison or alternate speaker selection. The unit provides completely passive relay switching for up to three, six-channel surround paths. The unit can be configured with one input and two outputs as a speaker selector, or two inputs to one output for source comparison. Interconnect with the Coleman SR5.1 is easy with 1/4 inch TRS jacks.<br /><br /><h3>Coleman Audio A/B 5.1 Features</h3><ul style=\"letter-spacing: normal;\"><li><span style=\"background-color: initial;\">Twelve balanced inputs on TRS jacks</span></li><li>Six balanced outputs on TRS jacks</li><li>Remote switching</li><li>Completely passive switching</li><li>Can be used Bi-directionally as a source select or speaker select</li></ul>'),(3519,85,0,587,'Coleman Audio A/B 5.1 Surround Switcher'),(3520,85,1,587,'Coleman Audio A/B 5.1 Surround Switcher'),(3521,76,0,587,''),(3522,76,1,587,''),(3523,75,0,588,'<h1>Coleman Audio CMC4 Custom Monitor Controller</h1>The Coleman CMC4 monitor controller gives you the control of your sub woofer. Once a balance is set between the main speakers and the sub woofer the main level control will control both. There\'s also a mute switch to check your mix with or without the sub.<br /><br /><h3>Coleman Audio CMC4 Features</h3><ul><li><span style=\"background-color: initial;\">Four balanced stereo inputs on XLR\'s</span></li><li>Three balanced stereo outputs on XLR\'s</li><li>Main level feeds main speaker output</li><li>Sub level feedss sub woofer output</li><li>Sub output has level control and mute switch</li><li>Fixed level, feeds meters or cue system</li></ul>'),(3524,75,1,588,'<h1>Coleman Audio CMC4 Custom Monitor Controller</h1>The Coleman CMC4 monitor controller gives you the control of your sub woofer. Once a balance is set between the main speakers and the sub woofer the main level control will control both. There\'s also a mute switch to check your mix with or without the sub.<br /><br /><h3>Coleman Audio CMC4 Features</h3><ul><li><span style=\"background-color: initial;\">Four balanced stereo inputs on XLR\'s</span></li><li>Three balanced stereo outputs on XLR\'s</li><li>Main level feeds main speaker output</li><li>Sub level feedss sub woofer output</li><li>Sub output has level control and mute switch</li><li>Fixed level, feeds meters or cue system</li></ul>'),(3525,85,0,588,'Coleman Audio CMC4 Monitor Controller'),(3526,85,1,588,'Coleman Audio CMC4 Monitor Controller'),(3527,76,0,588,''),(3528,76,1,588,''),(3529,75,0,589,'<h1>Coleman Audio GT6A Instrument Router</h1>The Coleman Audio GT6A is a high quality instrument switcher / router that allows you to select between 6 inputs with the push of a button. Imagine your on stage and your tech has just helped you change guitars, and is now trying to swap the wireless output to the new guitar... Wouldn\'t it just be easier to push a button? The GT6A is the tool for just that purpose! You can select any one of 6 inputs and route it to any combination of four independent TRS outputs. There are two balanced XLR outputs that are always on and always balanced even if the input is unbalanced.<br /><h3><br />Coleman Audio GT6A Features</h3><ul><li><span style=\"background-color: initial;\">Six balanced inputs on combo jacks</span></li><li>Four selectable outputs on TRS jacks</li><li>Bypass switch makes TRS jacks passive</li><li>Outputs can be selected simultaneously</li><li>Two active balanced outputs on XLR are always on for direct/mixer feeds</li></ul>'),(3530,75,1,589,'<h1>Coleman Audio GT6A Instrument Router</h1>The Coleman Audio GT6A is a high quality instrument switcher / router that allows you to select between 6 inputs with the push of a button. Imagine your on stage and your tech has just helped you change guitars, and is now trying to swap the wireless output to the new guitar... Wouldn\'t it just be easier to push a button? The GT6A is the tool for just that purpose! You can select any one of 6 inputs and route it to any combination of four independent TRS outputs. There are two balanced XLR outputs that are always on and always balanced even if the input is unbalanced.<br /><h3><br />Coleman Audio GT6A Features</h3><ul><li><span style=\"background-color: initial;\">Six balanced inputs on combo jacks</span></li><li>Four selectable outputs on TRS jacks</li><li>Bypass switch makes TRS jacks passive</li><li>Outputs can be selected simultaneously</li><li>Two active balanced outputs on XLR are always on for direct/mixer feeds</li></ul>'),(3531,85,0,589,'Coleman Audio GT6A Instrument Router'),(3532,85,1,589,'Coleman Audio GT6A Instrument Router'),(3533,76,0,589,''),(3534,76,1,589,''),(3535,75,0,590,'<h1>Coleman Audio LS3 Line Selector</h1>The Coleman LS3 is a bi-directional line level selector that can be used as a monitor selector, signal router, or as an alternate speaker selector. As a monitor source selector a computer workstation, CD, and DAT could be the three inputs feeding to the a power amplifier or powered speakers for monitoring. As a signal router one audio input can be sent to three separate places at the push of a button. As an alternate speaker selector the input would come from a mixer or level control and feed three separate power amps or powered speakers, all speakers can be selected at the same time. The unit has passive switching and all inputs and outputs are balanced with stereo 1/4\" jacks.<br /><br /><h3>Coleman Audio LS3 Features</h3><ul><li><span style=\"background-color: initial;\">Completely passive switching</span></li><li>Stere Inputs and outputs are balanced</li><li>Can be used Bi-directionally as a speaker select or source select</li></ul>'),(3536,75,1,590,'<h1>Coleman Audio LS3 Line Selector</h1>The Coleman LS3 is a bi-directional line level selector that can be used as a monitor selector, signal router, or as an alternate speaker selector. As a monitor source selector a computer workstation, CD, and DAT could be the three inputs feeding to the a power amplifier or powered speakers for monitoring. As a signal router one audio input can be sent to three separate places at the push of a button. As an alternate speaker selector the input would come from a mixer or level control and feed three separate power amps or powered speakers, all speakers can be selected at the same time. The unit has passive switching and all inputs and outputs are balanced with stereo 1/4\" jacks.<br /><br /><h3>Coleman Audio LS3 Features</h3><ul><li><span style=\"background-color: initial;\">Completely passive switching</span></li><li>Stere Inputs and outputs are balanced</li><li>Can be used Bi-directionally as a speaker select or source select</li></ul>'),(3537,85,0,590,'Coleman Audio LS3 Line Selector'),(3538,85,1,590,'Coleman Audio LS3 Line Selector'),(3539,76,0,590,''),(3540,76,1,590,''),(3541,75,0,591,'<h1>Coleman Audio M3PH MKIII Digital Audio Workstation Monitor Controller</h1>\nThe Coleman Audio M3PH MKII Monitor Controller is designed to be the brains for audio source selecting and routing of your control room monitors. This unit\'s control room signal path is completely passive, with a four gang 47 position stepped attenuator, that tracks within ±.05dB. This ensures accurate, and repeatable stereo imaging at any level. Individual mute switches allow speaker isolation and a phase reverse switch helps you check the integrity of the audio path.<br /><br />\n	A four input source selector and three balanced outputs provide numerous monitoring options in any application.\n<br /><br />\n<h3>Coleman Audio M3PH MKIII Features</h3>\n<ul>\n	<li>Four balanced stereo inputs on XLR\'s</li>\n	<li>Three Balanced stereo outputs on XLR\'s</li>\n	<li>47 position stepped level control that tracks to ±.05dB</li>\n	<li>Mono sum with L minus R</li>\n	<li>Headphone output with level control</li>\n	<li>Output #3 can be switched to a fixed level for metering</li>\n</ul>'),(3542,75,1,591,'<h1>Coleman Audio M3PH MKIII Digital Audio Workstation Monitor Controller</h1>\nThe Coleman Audio M3PH MKII Monitor Controller is designed to be the brains for audio source selecting and routing of your control room monitors. This unit\'s control room signal path is completely passive, with a four gang 47 position stepped attenuator, that tracks within ±.05dB. This ensures accurate, and repeatable stereo imaging at any level. Individual mute switches allow speaker isolation and a phase reverse switch helps you check the integrity of the audio path.<br /><br />\n	A four input source selector and three balanced outputs provide numerous monitoring options in any application.\n<br /><br />\n<h3>Coleman Audio M3PH MKIII Features</h3>\n<ul>\n	<li>Four balanced stereo inputs on XLR\'s</li>\n	<li>Three Balanced stereo outputs on XLR\'s</li>\n	<li>47 position stepped level control that tracks to ±.05dB</li>\n	<li>Mono sum with L minus R</li>\n	<li>Headphone output with level control</li>\n	<li>Output #3 can be switched to a fixed level for metering</li>\n</ul>'),(3543,85,0,591,'Coleman Audio M3PH MKIII Digital Audio Workstation Monitor Controller'),(3544,85,1,591,'Coleman Audio M3PH MKIII Digital Audio Workstation Monitor Controller'),(3545,76,0,591,''),(3546,76,1,591,''),(3547,75,0,592,'<h1>Coleman Audio MBP2 Dual VU Meter Module</h1>The Coleman Audio MBP2 VU Meter Module has long been the standard of measurement in a stand alone package. Utilizing balanced bridging inputs to eliminate loading, this unit provides input level trims, two switch selectable operating levels, adjustable peak indicators and an internal power supply.<br /><br /><h3>Coleman Audio MBP2 Features</h3><ul><li><span style=\"background-color: initial;\">Balanced bridging inputs</span></li><li>Desk top enclosure</li><li>Meters meet ANSI specifications</li><li>Two switchable operating levels</li><li>Adjustable peak indicators</li><li>Internal Power Supply</li></ul>'),(3548,75,1,592,'<h1>Coleman Audio MBP2 Dual VU Meter Module</h1>The Coleman Audio MBP2 VU Meter Module has long been the standard of measurement in a stand alone package. Utilizing balanced bridging inputs to eliminate loading, this unit provides input level trims, two switch selectable operating levels, adjustable peak indicators and an internal power supply.<br /><br /><h3>Coleman Audio MBP2 Features</h3><ul><li><span style=\"background-color: initial;\">Balanced bridging inputs</span></li><li>Desk top enclosure</li><li>Meters meet ANSI specifications</li><li>Two switchable operating levels</li><li>Adjustable peak indicators</li><li>Internal Power Supply</li></ul>'),(3549,85,0,592,'Coleman Audio MBP2 Dual VU Meter Module'),(3550,85,1,592,'Coleman Audio MBP2 Dual VU Meter Module'),(3551,76,0,592,''),(3552,76,1,592,''),(3553,75,0,593,'<h1>Coleman Audio MBP4 Quad VU Meter Module</h1>The Coleman MBP4 Quad VU Meter is a moving coil VU meter that provides precise measurement of audio levels and has long been the standard of measurement. Coleman Audio has assembled the finest movements and combined all the necessary features in it\'s line of analog metering systems to satisfy the most discerning engineers. For calibration, duplication, and broadcast instrumentation, the Coleman line of meters excels in the most demanding applications.<br /><br /><h3>Coleman Audio MBP4 Features</h3><ul><li><span style=\"background-color: initial;\">Thru jacks on XLR\'s</span></li><li>Balanced bridging inputs</li><li>Two switchable operating levels</li><li>Adjustable peak indicators</li><li>Meters meet ANSI specifications</li><li>Two U space enclosure 10\" deep</li><li>Internal Power Supply</li></ul>'),(3554,75,1,593,'<h1>Coleman Audio MBP4 Quad VU Meter Module</h1>The Coleman MBP4 Quad VU Meter is a moving coil VU meter that provides precise measurement of audio levels and has long been the standard of measurement. Coleman Audio has assembled the finest movements and combined all the necessary features in it\'s line of analog metering systems to satisfy the most discerning engineers. For calibration, duplication, and broadcast instrumentation, the Coleman line of meters excels in the most demanding applications.<br /><br /><h3>Coleman Audio MBP4 Features</h3><ul><li><span style=\"background-color: initial;\">Thru jacks on XLR\'s</span></li><li>Balanced bridging inputs</li><li>Two switchable operating levels</li><li>Adjustable peak indicators</li><li>Meters meet ANSI specifications</li><li>Two U space enclosure 10\" deep</li><li>Internal Power Supply</li></ul>'),(3555,85,0,593,'Coleman Audio MBP4 Quad VU Meter Module'),(3556,85,1,593,'Coleman Audio MBP4 Quad VU Meter Module'),(3557,76,0,593,''),(3558,76,1,593,''),(3559,75,0,594,'<h1>Coleman Audio MS6 Six-Input Auxiliary Switcher</h1>The Coleman MS6 Auxilary Switcher adds six stereo returns to any system. This model incorporates completely passive switching and XLR connections for all inputs and outputs.<br /><br /><h3>Coleman MS6 Features</h3><ul><li><span style=\"background-color: initial;\">Six balanced stereo inputs on XLR\'s</span></li><li>One balanced stereo outputs on XLR\'s</li><li>Completely passive switching</li></ul>'),(3560,75,1,594,'<h1>Coleman Audio MS6 Six-Input Auxiliary Switcher</h1>The Coleman MS6 Auxilary Switcher adds six stereo returns to any system. This model incorporates completely passive switching and XLR connections for all inputs and outputs.<br /><br /><h3>Coleman MS6 Features</h3><ul><li><span style=\"background-color: initial;\">Six balanced stereo inputs on XLR\'s</span></li><li>One balanced stereo outputs on XLR\'s</li><li>Completely passive switching</li></ul>'),(3561,85,0,594,'Coleman Audio MS6 Six-Input Auxiliary Switcher'),(3562,85,1,594,'Coleman Audio MS6 Six-Input Auxiliary Switcher'),(3563,76,0,594,''),(3564,76,1,594,''),(3565,75,0,595,'<h1>Coleman Audio MS6A Six-Input Switcher with Monitor Controller</h1>The Coleman MS6A Speaker Switcher and Monitor Controller utilizes active balanced circuitry to preserve signal-to-noise ratio and avoid loading or signal loss. The MS6A also has a separate headphone output with independent level control for direct monitoring and a mono switch to check phase compatibility. This model incorporates XLR connections for all inputs and outputs.<br /><br /><h3>Coleman MS6A Features</h3><ul><li><span style=\"background-color: initial;\">Six balanced stereo inputs on XLR\'s</span></li><li>One balanced stereo outputs on XLR\'s</li><li>Internal trims for adjustable gain</li><li>Mono switch to check phase</li><li>Active balanced circuitry throughout</li><li>Headphone output with independent level control</li></ul>'),(3566,75,1,595,'<h1>Coleman Audio MS6A Six-Input Switcher with Monitor Controller</h1>The Coleman MS6A Speaker Switcher and Monitor Controller utilizes active balanced circuitry to preserve signal-to-noise ratio and avoid loading or signal loss. The MS6A also has a separate headphone output with independent level control for direct monitoring and a mono switch to check phase compatibility. This model incorporates XLR connections for all inputs and outputs.<br /><br /><h3>Coleman MS6A Features</h3><ul><li><span style=\"background-color: initial;\">Six balanced stereo inputs on XLR\'s</span></li><li>One balanced stereo outputs on XLR\'s</li><li>Internal trims for adjustable gain</li><li>Mono switch to check phase</li><li>Active balanced circuitry throughout</li><li>Headphone output with independent level control</li></ul>'),(3567,85,0,595,'Coleman Audio MS6A Six-Input Switcher with Monitor Controller'),(3568,85,1,595,'Coleman Audio MS6A Six-Input Switcher with Monitor Controller'),(3569,76,0,595,''),(3570,76,1,595,''),(3571,75,0,596,'<h1>Coleman Audio MS6R Alternative Speaker Switcher</h1>The Coleman Audio MS6R Speaker Switcher provides control for six stereo outputs from a single stereo input. This model incorporates completely passive switching and XLR connections for all inputs and outputs. Unselected outputs are shunted to ground to minimize line noise to amplifiers or powered monitors.<br /><h3><br />Coleman MS6R Features</h3><ul><li><span style=\"background-color: initial;\">One balanced stereo input on XLR\'s</span></li><li>Six balanced stereo outputs on XLR\'s</li><li>Completely passive switching</li></ul>'),(3572,75,1,596,'<h1>Coleman Audio MS6R Alternative Speaker Switcher</h1>The Coleman Audio MS6R Speaker Switcher provides control for six stereo outputs from a single stereo input. This model incorporates completely passive switching and XLR connections for all inputs and outputs. Unselected outputs are shunted to ground to minimize line noise to amplifiers or powered monitors.<br /><h3><br />Coleman MS6R Features</h3><ul><li><span style=\"background-color: initial;\">One balanced stereo input on XLR\'s</span></li><li>Six balanced stereo outputs on XLR\'s</li><li>Completely passive switching</li></ul>'),(3573,85,0,596,'Coleman Audio MS6R Alternative Speaker Switcher'),(3574,85,1,596,'Coleman Audio MS6R Alternative Speaker Switcher'),(3575,76,0,596,''),(3576,76,1,596,''),(3577,75,0,597,'<h1>Coleman Audio MS8A Eight-Input Stereo Monitor Switcher</h1>The Coleman MS8A Stereo Monitor Switcher follows with all the features of the MS6A, and improves the series by increasing the number of switchable sources to eight, and adding an additional passive fixed level stereo output. This path is perfect for metering or a tape feed. A mono switch allows you to check phase compatibility of a stereo source and the left input only provides mono on all outputs. This model incorporates ¼\" TRS connections for all inputs and outputs.<br /><br /><h3>Coleman Audio MS8A Features</h3><ul><li><span style=\"background-color: initial;\">Eight balanced stereo inputs on¼\" TRS jacks</span></li><li>Two balanced stereo outputs on ¼\" TRS</li><li>Internal trims for adjustable gain</li><li>Mono switch to check phase</li><li>Active balanced circuitry throughout</li><li>Headphone output with independent level control</li></ul>'),(3578,75,1,597,'<h1>Coleman Audio MS8A Eight-Input Stereo Monitor Switcher</h1>The Coleman MS8A Stereo Monitor Switcher follows with all the features of the MS6A, and improves the series by increasing the number of switchable sources to eight, and adding an additional passive fixed level stereo output. This path is perfect for metering or a tape feed. A mono switch allows you to check phase compatibility of a stereo source and the left input only provides mono on all outputs. This model incorporates ¼\" TRS connections for all inputs and outputs.<br /><br /><h3>Coleman Audio MS8A Features</h3><ul><li><span style=\"background-color: initial;\">Eight balanced stereo inputs on¼\" TRS jacks</span></li><li>Two balanced stereo outputs on ¼\" TRS</li><li>Internal trims for adjustable gain</li><li>Mono switch to check phase</li><li>Active balanced circuitry throughout</li><li>Headphone output with independent level control</li></ul>'),(3579,85,0,597,'Coleman Audio MS8A Eight-Input Stereo Monitor Switcher'),(3580,85,1,597,'Coleman Audio MS8A Eight-Input Stereo Monitor Switcher'),(3581,76,0,597,''),(3582,76,1,597,''),(3583,75,0,598,'<h1>Coleman Audio PS1A Four-Input Switcher with Monitor Controller</h1>The PS1A provides switching and monitoring control for up to four stereo devices. Easy comparison of input and output of any recording medium. This unit provides a variable level monitor output and two additional fixed outputs for metering, cue feed or master record path (ie; DAT, CD-R, or even linear magnetic media, aka... tape!). The mono switch allows you to check phase compatibility of a stereo source and only feeds the monitor output. All connections are via XLR.<br /><h3><br />Coleman PS1A Features</h3><ul><li><span style=\"background-color: initial;\">Four balanced stereo inputs on XLR\'s</span></li><li>One variable balanced stereo output on XLR\'s</li><li>Two fixed balanced stereo outputs on XLR\'s</li><li>Mono switch to check phase</li><li>Headphone output with level control</li></ul>'),(3584,75,1,598,'<h1>Coleman Audio PS1A Four-Input Switcher with Monitor Controller</h1>The PS1A provides switching and monitoring control for up to four stereo devices. Easy comparison of input and output of any recording medium. This unit provides a variable level monitor output and two additional fixed outputs for metering, cue feed or master record path (ie; DAT, CD-R, or even linear magnetic media, aka... tape!). The mono switch allows you to check phase compatibility of a stereo source and only feeds the monitor output. All connections are via XLR.<br /><h3><br />Coleman PS1A Features</h3><ul><li><span style=\"background-color: initial;\">Four balanced stereo inputs on XLR\'s</span></li><li>One variable balanced stereo output on XLR\'s</li><li>Two fixed balanced stereo outputs on XLR\'s</li><li>Mono switch to check phase</li><li>Headphone output with level control</li></ul>'),(3585,85,0,598,'Coleman Audio PS1A Four-Input Switcher with Monitor Controller'),(3586,85,1,598,'Coleman Audio PS1A Four-Input Switcher with Monitor Controller'),(3587,76,0,598,''),(3588,76,1,598,''),(3589,75,0,599,'<h1>Coleman Audio QS8MKII DAW Master Monitor</h1>\nThe Coleman QS8MKII is a control room monitor, a communications module, a cue mixer and a summing box all in a one unit. As a control room monitor the QS8MKII has a passive signal path, a 47 position stepped attenuator and alternate speaker outputs. Both the stereo cue input and the stereo Aux 3 input have their own level control and combine to make the cue mix. Aux 3 eliminates the latency issue by feeding the input signal back to the headphone mix. The talkback mic with it\'s own level control allows easy communication with the artist. The QS8MKII also sums four stereo inputs to a balanced stereo output that can be recorded as a DAW mix track.<br />\n<br />\n<h3>QS8MKII Features</h3>\n<ul style=\"\">\n	<li>Passive signal path for monitoring</li>\n	<li>47 position stepped attenuator tracks to .05db</li>\n	<li>Alternate speaker outputs</li>\n	<li>Talkback mic and remote switching available</li>\n	<li>Cue mix eliminates latency issues</li>\n	<li>Sums four stereo inputs to a stereo output</li>\n	<li>All inputs and outputs are balanced</li>\n</ul>'),(3590,75,1,599,'<h1>Coleman Audio QS8MKII DAW Master Monitor</h1>\nThe Coleman QS8MKII is a control room monitor, a communications module, a cue mixer and a summing box all in a one unit. As a control room monitor the QS8MKII has a passive signal path, a 47 position stepped attenuator and alternate speaker outputs. Both the stereo cue input and the stereo Aux 3 input have their own level control and combine to make the cue mix. Aux 3 eliminates the latency issue by feeding the input signal back to the headphone mix. The talkback mic with it\'s own level control allows easy communication with the artist. The QS8MKII also sums four stereo inputs to a balanced stereo output that can be recorded as a DAW mix track.<br />\n<br />\n<h3>QS8MKII Features</h3>\n<ul style=\"\">\n	<li>Passive signal path for monitoring</li>\n	<li>47 position stepped attenuator tracks to .05db</li>\n	<li>Alternate speaker outputs</li>\n	<li>Talkback mic and remote switching available</li>\n	<li>Cue mix eliminates latency issues</li>\n	<li>Sums four stereo inputs to a stereo output</li>\n	<li>All inputs and outputs are balanced</li>\n</ul>'),(3591,85,0,599,''),(3592,85,1,599,''),(3593,76,0,599,''),(3594,76,1,599,''),(3595,75,0,600,'<h1>The Coleman Audio RED48 Summing Console</h1><p>\nThe Coleman RED48 summing console fills the void left by the mixing console you still wish you had. It brings back the analogue console sound that’s been missing in the mixes and adds essential control room functions so your studio is easier to navigate.</p><p>\n	The RED48 consists of three sections: the control room monitor, the communications, and the mix buss.</p><p>\n	The control room monitor section has three balanced stereo input sources and the mix buss to select from. A passive stepped attenuator to adjust the level for the control room monitors or alternate speakers and a remote dim switch for those important phone calls.</p><p>\n	The communication section includes a talkback mic and level control which feeds the cue system, a separate slate output to designate tracks, remote switches for both these functions, and an extra remote jack for yet another remote talkback switch. The cue signal can be either a dedicated cue mix or the control room signal, for that quick overdub. The engineers headphone can select the control room signal or the cue signal, has it’s own level control, and also gets the talkback signal when the cue feed is selected.</p><p>\n	The mixing section has 48 balanced analogue inputs summed down to left and right. The 48 inputs are hard left and hard right so they combine to 24 stereo inputs. When working I suggest bringing signals in as stereo inputs so the pan pots of the DAW will be active in your mix. All the level control, EQ and panning is done in the DAW, or if you have a patchbay, you can get in and out of any of your analogue gear on the way to the summing inputs. There is a balanced stereo insert making it easy to put a compressor or limiter across the entire mix. If the insert is not wired it is completely bypassed. When connected into your system it has a bypass switch making it easy to A/B the mix.</p><p>\n	The remote for the RED 48 (see attachment) has a Penny and Giles stereo master fader along with function switches for slate, talkback, and dim.</p><p>\n	The mix buss feeds a balanced analogue signal out to a pair of XLR connectors to burn a CD, or to be recorded back on the DAW. Since the mix output is always present on larger tracking dates it can be used as a second cue feed so the drummer can get a click track, the horn players can get more horns, or the vocalist can get plenty of “more me” in their headphones.</p>\n	With all these functions in only 2 rack spaces the RED48 will save space in your control room, improve your work flow, and bring back that large frame console sound to your mixes.<br /><br /><h3>Coleman Audio RED48 Features</h3><ul><li><span style=\"background-color: initial; letter-spacing: 0px;\"></span><span style=\"background-color: initial; letter-spacing: 0px;\">Passive signal path for monitoring</span></li><li>Stepped attenuator tracks to .05db</li><li>Alternate speaker outputs</li><li>Talkback mic and remote switching available</li><li>Engineer headphone with TB signal</li><li>Sums 48 inputs to a stereo output</li><li>Stereo insert across mix buss</li><li>Sums 48 inputs to a stereo output</li><li>Remote with master fader and switching for Talkback Slate & Dim</li></ul>'),(3596,75,1,600,'<h1>The Coleman Audio RED48 Summing Console</h1><p>\nThe Coleman RED48 summing console fills the void left by the mixing console you still wish you had. It brings back the analogue console sound that’s been missing in the mixes and adds essential control room functions so your studio is easier to navigate.</p><p>\n	The RED48 consists of three sections: the control room monitor, the communications, and the mix buss.</p><p>\n	The control room monitor section has three balanced stereo input sources and the mix buss to select from. A passive stepped attenuator to adjust the level for the control room monitors or alternate speakers and a remote dim switch for those important phone calls.</p><p>\n	The communication section includes a talkback mic and level control which feeds the cue system, a separate slate output to designate tracks, remote switches for both these functions, and an extra remote jack for yet another remote talkback switch. The cue signal can be either a dedicated cue mix or the control room signal, for that quick overdub. The engineers headphone can select the control room signal or the cue signal, has it’s own level control, and also gets the talkback signal when the cue feed is selected.</p><p>\n	The mixing section has 48 balanced analogue inputs summed down to left and right. The 48 inputs are hard left and hard right so they combine to 24 stereo inputs. When working I suggest bringing signals in as stereo inputs so the pan pots of the DAW will be active in your mix. All the level control, EQ and panning is done in the DAW, or if you have a patchbay, you can get in and out of any of your analogue gear on the way to the summing inputs. There is a balanced stereo insert making it easy to put a compressor or limiter across the entire mix. If the insert is not wired it is completely bypassed. When connected into your system it has a bypass switch making it easy to A/B the mix.</p><p>\n	The remote for the RED 48 (see attachment) has a Penny and Giles stereo master fader along with function switches for slate, talkback, and dim.</p><p>\n	The mix buss feeds a balanced analogue signal out to a pair of XLR connectors to burn a CD, or to be recorded back on the DAW. Since the mix output is always present on larger tracking dates it can be used as a second cue feed so the drummer can get a click track, the horn players can get more horns, or the vocalist can get plenty of “more me” in their headphones.</p>\n	With all these functions in only 2 rack spaces the RED48 will save space in your control room, improve your work flow, and bring back that large frame console sound to your mixes.<br /><br /><h3>Coleman Audio RED48 Features</h3><ul><li><span style=\"background-color: initial; letter-spacing: 0px;\"></span><span style=\"background-color: initial; letter-spacing: 0px;\">Passive signal path for monitoring</span></li><li>Stepped attenuator tracks to .05db</li><li>Alternate speaker outputs</li><li>Talkback mic and remote switching available</li><li>Engineer headphone with TB signal</li><li>Sums 48 inputs to a stereo output</li><li>Stereo insert across mix buss</li><li>Sums 48 inputs to a stereo output</li><li>Remote with master fader and switching for Talkback Slate & Dim</li></ul>'),(3597,85,0,600,'Coleman Audio RED48 Summing Console'),(3598,85,1,600,'Coleman Audio RED48 Summing Console'),(3599,76,0,600,''),(3600,76,1,600,''),(3601,75,0,601,'<h1>Coleman Audio SMP5.1 Surround VU Meter System</h1>The Coleman SMP5.1 Surround VU Meter System provides precise measurement of audio levels in a surround environment, and allows easy alignment of the surround system as well as monitoring levels at a glance. Now with a peak indicator aligned for zero dBFS to alert the end of the digital scale. Coleman Audio has assembled the finest movements and combined all the necessary features in it\'s line of analog metering systems to satisfy the most discerning engineers.<br /><br /><h3>Coleman SMP5.1 Features</h3><ul><li><span style=\"background-color: initial;\">Thru jacks on XLR\'s</span></li><li>Balanced bridging inputs on combo jacks</li><li>Peak indicator aligned to 0dBFS</li><li>Two switchable operating levels</li><li>Trim controls accessible on the front panel</li><li>Meters meet ANSI specifications</li><li>Two U space enclosure 10\" deep</li><li>Internal Power Supply</li></ul>'),(3602,75,1,601,'<h1>Coleman Audio SMP5.1 Surround VU Meter System</h1>The Coleman SMP5.1 Surround VU Meter System provides precise measurement of audio levels in a surround environment, and allows easy alignment of the surround system as well as monitoring levels at a glance. Now with a peak indicator aligned for zero dBFS to alert the end of the digital scale. Coleman Audio has assembled the finest movements and combined all the necessary features in it\'s line of analog metering systems to satisfy the most discerning engineers.<br /><br /><h3>Coleman SMP5.1 Features</h3><ul><li><span style=\"background-color: initial;\">Thru jacks on XLR\'s</span></li><li>Balanced bridging inputs on combo jacks</li><li>Peak indicator aligned to 0dBFS</li><li>Two switchable operating levels</li><li>Trim controls accessible on the front panel</li><li>Meters meet ANSI specifications</li><li>Two U space enclosure 10\" deep</li><li>Internal Power Supply</li></ul>'),(3603,85,0,601,'Coleman Audio SMP5.1 Surround VU Meter System'),(3604,85,1,601,'Coleman Audio SMP5.1 Surround VU Meter System'),(3605,76,0,601,''),(3606,76,1,601,''),(3607,75,0,602,'<h1>Coleman Audio SPK5+1 Alternate Speaker Switcher</h1>The Coleman SPK5+1 Speaker Switcher provides switching for five stereo outputs and one stereo sub output from a single stereo input. The sub woofer output is always on unless the sub mute switch is pushed. This allows multiple stereo speakers to be selected with or without the sub woofer. All switching is completely passive.<br /><h3><br />Coleman SPK5+1 Features</h3><ul><li><span style=\"background-color: initial;\">One balanced stereo input on XLR\'s</span></li><li>Five balanced stereo outputs on XLR\'s</li><li>One balanced stereo sub output on XLR\'s</li><li>Sub mute switch</li><li>Completely passive switching</li></ul>'),(3608,75,1,602,'<h1>Coleman Audio SPK5+1 Alternate Speaker Switcher</h1>The Coleman SPK5+1 Speaker Switcher provides switching for five stereo outputs and one stereo sub output from a single stereo input. The sub woofer output is always on unless the sub mute switch is pushed. This allows multiple stereo speakers to be selected with or without the sub woofer. All switching is completely passive.<br /><h3><br />Coleman SPK5+1 Features</h3><ul><li><span style=\"background-color: initial;\">One balanced stereo input on XLR\'s</span></li><li>Five balanced stereo outputs on XLR\'s</li><li>One balanced stereo sub output on XLR\'s</li><li>Sub mute switch</li><li>Completely passive switching</li></ul>'),(3609,85,0,602,'Coleman Audio SPK5+1 Alternate Speaker Switcher'),(3610,85,1,602,'Coleman Audio SPK5+1 Alternate Speaker Switcher'),(3611,76,0,602,''),(3612,76,1,602,''),(3613,75,0,603,'<h1>Coleman Audio SR5.1MKIII Surround Level Control</h1>\nThe Coleman Audio SR5.1MKIII provides precision 5.1 Surround monitoring, as well as fold down to Mono, and Stereo. The control room signal path has a 47 position six gang stepped attenuator, that tracks within .05dB throughout it\'s range. Front panel channel trims and mute switches allow proper calibration and easy evaluation of signal localization. Inputs are provided on XLR / TRS combo jacks to allow easy interconnection with the A/B5.1 Surround Switcher, or other equipment, in any environment.\n<br /><br />\n<h3>SR5.1MKIII Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Six balanced inputs on combo XLR / TRS jacks</span></li>\n	<li>Six balanced outputs on XLR\'s</li>\n	<li>Stepped level control that tracks to .05dB</li>\n	<li>Stereo & Mono fold-down</li>\n	<li>Individual mute switches</li>\n	<li>Individual channel trims</li>\n</ul>\n<div>\n	<br />\n</div>'),(3614,75,1,603,'<h1>Coleman Audio SR5.1MKIII Surround Level Control</h1>\nThe Coleman Audio SR5.1MKIII provides precision 5.1 Surround monitoring, as well as fold down to Mono, and Stereo. The control room signal path has a 47 position six gang stepped attenuator, that tracks within .05dB throughout it\'s range. Front panel channel trims and mute switches allow proper calibration and easy evaluation of signal localization. Inputs are provided on XLR / TRS combo jacks to allow easy interconnection with the A/B5.1 Surround Switcher, or other equipment, in any environment.\n<br /><br />\n<h3>SR5.1MKIII Features</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Six balanced inputs on combo XLR / TRS jacks</span></li>\n	<li>Six balanced outputs on XLR\'s</li>\n	<li>Stepped level control that tracks to .05dB</li>\n	<li>Stereo & Mono fold-down</li>\n	<li>Individual mute switches</li>\n	<li>Individual channel trims</li>\n</ul>\n<div>\n	<br />\n</div>'),(3615,85,0,603,''),(3616,85,1,603,''),(3617,76,0,603,''),(3618,76,1,603,''),(3619,75,0,604,'<h1>Coleman Audio SR7.1MKII Surround Level Control</h1>\n\nThe Coleman Audio SR7.1MKII gives precise level control for eight balanced audio signals. Fold down capabilities for stereo and mono and two 5.1 formats. Individual input mutes isolate surround speakers, L & R speaker mutes isolate the stereo fold down speakers. There are two internal switches, one for the mono fold down to be routed to either L & R or the center speaker and one which allows the LFE signal to be included in the stereo fold down so the SR7.1MKII could be used as a summing box too.<br /><br />\n<h3>SR7.1MKII Features</h3><ul><li><span style=\"background-color: initial;\">47 position stepped attenuator</span></li><li>One input DB25 wired for 8 audio channels</li><li>One output DB25 wired for 8 audio channels</li><li>Fold down for two 5.1 formats</li><li>Fold down for stereo and mono</li><li>Individual input mutes and level trims</li><li>L & R speaker mutes for stereo fold down</li><li>All inputs and outputs are balanced</li></ul><div><br /></div>'),(3620,75,1,604,'<h1>Coleman Audio SR7.1MKII Surround Level Control</h1>\n\nThe Coleman Audio SR7.1MKII gives precise level control for eight balanced audio signals. Fold down capabilities for stereo and mono and two 5.1 formats. Individual input mutes isolate surround speakers, L & R speaker mutes isolate the stereo fold down speakers. There are two internal switches, one for the mono fold down to be routed to either L & R or the center speaker and one which allows the LFE signal to be included in the stereo fold down so the SR7.1MKII could be used as a summing box too.<br /><br />\n<h3>SR7.1MKII Features</h3><ul><li><span style=\"background-color: initial;\">47 position stepped attenuator</span></li><li>One input DB25 wired for 8 audio channels</li><li>One output DB25 wired for 8 audio channels</li><li>Fold down for two 5.1 formats</li><li>Fold down for stereo and mono</li><li>Individual input mutes and level trims</li><li>L & R speaker mutes for stereo fold down</li><li>All inputs and outputs are balanced</li></ul><div><br /></div>'),(3621,85,0,604,''),(3622,85,1,604,''),(3623,76,0,604,''),(3624,76,1,604,''),(3625,75,0,605,'<h1>Coleman Audio TB4M Stereo Monitor Controller with Cue & Talkback</h1>\nThe Coleman TB4M Stereo Monitor Controller, similar in design to the M3, provides facilities a control room monitor source selector & adds a host of features  like Cue and Talkback making it a studio communications control module as well. The control room signal path is completely passive, with a four gang stepped attenuator, that tracks within ±.05dB. The TB4 includes an independent cue & talkback system with independent level controls, selectable headphone monitoring, microphone & remote switching.<br /><h3></h3><h3>TB4M Features</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Four balanced stereo inputs on XLR\'s</span></li>\n	<li>Two Balanced stereo outputs on XLR\'s</li>\n	<li>Stepped level control that tracks to ±.05dB</li>\n	<li>A mono sum to check phase</li>\n	<li>Engr.\'s headphone output with level control</li>\n	<li>Stereo Cue Inputs & Outputs on ¼\" jacks</li>\n	<li>Cue source selector and master level control</li>\n	<li>Talkback Interrupt switch and level control</li>\n	<li>Slate output to ID tracks</li>\n	<li>Remote Talkback Control Jack</li>\n	<li>Talkback mic with 12 foot cable</li>\n</ul>'),(3626,75,1,605,'<h1>Coleman Audio TB4M Stereo Monitor Controller with Cue & Talkback</h1>\nThe Coleman TB4M Stereo Monitor Controller, similar in design to the M3, provides facilities a control room monitor source selector & adds a host of features  like Cue and Talkback making it a studio communications control module as well. The control room signal path is completely passive, with a four gang stepped attenuator, that tracks within ±.05dB. The TB4 includes an independent cue & talkback system with independent level controls, selectable headphone monitoring, microphone & remote switching.<br /><h3></h3><h3>TB4M Features</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Four balanced stereo inputs on XLR\'s</span></li>\n	<li>Two Balanced stereo outputs on XLR\'s</li>\n	<li>Stepped level control that tracks to ±.05dB</li>\n	<li>A mono sum to check phase</li>\n	<li>Engr.\'s headphone output with level control</li>\n	<li>Stereo Cue Inputs & Outputs on ¼\" jacks</li>\n	<li>Cue source selector and master level control</li>\n	<li>Talkback Interrupt switch and level control</li>\n	<li>Slate output to ID tracks</li>\n	<li>Remote Talkback Control Jack</li>\n	<li>Talkback mic with 12 foot cable</li>\n</ul>'),(3627,85,0,605,''),(3628,85,1,605,''),(3629,76,0,605,''),(3630,76,1,605,''),(3631,75,0,606,'<h2>Corning Thunderbolt™ Optical Cable - 33ft. / 10m</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Thinner, Lighter, Tougher and Longer than traditional copper cable. The future of device connectivity flows through Optical Cables by Corning.</span><br /><br />Thunderbolt™ Optical Cables by Corning unleash the full power of Thunderbolt technology. Corning Optical uses the brilliance of light to provide the full bandwidth of Thunderbolt in both directions over much longer distances than copper. They\'re thin, lightweight, and extremely tough, allowing them to be bent, sqeezed and tangled with minimal fear of damage. Corning Optical Thunderbolt cables provide greater flexibility of placement for your Thunderbolt devices. This gives you for more security, convenience, and noise isolation for a more productive work environment.<br /><br /><br />\n<ul>\n	<li>10 Gbit/s bi-directional, dual channel with Thunderbolt</li>\n	<li>Compatible with Thunderbolt 2, 20 Gbit/s</li>\n	<li>Data and video on a single cable</li>\n	<li>Daisy-chain up to six Thunderbolt devices</li>\n	<li>Ultra-slim, \"zero-bend\" radius cable</li>\n	<li>Hot swappable</li>\n	<li>Electrically isolated, noise-reducing design</li>\n	<li>Class 1 Laser Product</li>\n</ul>'),(3632,75,1,606,'<h2>Corning Thunderbolt™ Optical Cable - 33ft. / 10m</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Thinner, Lighter, Tougher and Longer than traditional copper cable. The future of device connectivity flows through Optical Cables by Corning.</span><br /><br />Thunderbolt™ Optical Cables by Corning unleash the full power of Thunderbolt technology. Corning Optical uses the brilliance of light to provide the full bandwidth of Thunderbolt in both directions over much longer distances than copper. They\'re thin, lightweight, and extremely tough, allowing them to be bent, sqeezed and tangled with minimal fear of damage. Corning Optical Thunderbolt cables provide greater flexibility of placement for your Thunderbolt devices. This gives you for more security, convenience, and noise isolation for a more productive work environment.<br /><br /><br />\n<ul>\n	<li>10 Gbit/s bi-directional, dual channel with Thunderbolt</li>\n	<li>Compatible with Thunderbolt 2, 20 Gbit/s</li>\n	<li>Data and video on a single cable</li>\n	<li>Daisy-chain up to six Thunderbolt devices</li>\n	<li>Ultra-slim, \"zero-bend\" radius cable</li>\n	<li>Hot swappable</li>\n	<li>Electrically isolated, noise-reducing design</li>\n	<li>Class 1 Laser Product</li>\n</ul>'),(3633,85,0,606,'Corning Thunderbolt Optical Cable 10m'),(3634,85,1,606,'Corning Thunderbolt Optical Cable 10m'),(3635,76,0,606,''),(3636,76,1,606,''),(3637,75,0,607,'<h2>Corning Thunderbolt™ Optical Cable - 98ft. / 30m</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Thinner, Lighter, Tougher and Longer than traditional copper cable. The future of device connectivity flows through Optical Cables by Corning.<br /></span><br />The 30m Thunderbolt™ Optical Cables by Corning unleash the full power of Thunderbolt technology. Corning Optical uses the brilliance of light to provide the full bandwidth of Thunderbolt in both directions over much longer distances than copper. They\'re thin, lightweight, and extremely tough, allowing them to be bent, sqeezed and tangled with minimal fear of damage. Corning Optical Thunderbolt cables provide greater flexibility of placement for your Thunderbolt devices. This gives you for more security, convenience, and noise isolation for a more productive work environment.<br /><br /><br />\n<ul>\n	<li>10 Gbit/s bi-directional, dual channel with Thunderbolt</li>\n	<li>Compatible with Thunderbolt 2, 20 Gbit/s</li>\n	<li>Data and video on a single cable</li>\n	<li>Daisy-chain up to six Thunderbolt devices</li>\n	<li>Ultra-slim, \"zero-bend\" radius cable</li>\n	<li>Hot swappable</li>\n	<li>Electrically isolated, noise-reducing design</li>\n	<li>Class 1 Laser Product</li>\n</ul>'),(3638,75,1,607,'<h2>Corning Thunderbolt™ Optical Cable - 98ft. / 30m</h2>\n\n<span style=\"font-size: 16px; font-style: italic;\">Thinner, Lighter, Tougher and Longer than traditional copper cable. The future of device connectivity flows through Optical Cables by Corning.<br /></span><br />The 30m Thunderbolt™ Optical Cables by Corning unleash the full power of Thunderbolt technology. Corning Optical uses the brilliance of light to provide the full bandwidth of Thunderbolt in both directions over much longer distances than copper. They\'re thin, lightweight, and extremely tough, allowing them to be bent, sqeezed and tangled with minimal fear of damage. Corning Optical Thunderbolt cables provide greater flexibility of placement for your Thunderbolt devices. This gives you for more security, convenience, and noise isolation for a more productive work environment.<br /><br /><br />\n<ul>\n	<li>10 Gbit/s bi-directional, dual channel with Thunderbolt</li>\n	<li>Compatible with Thunderbolt 2, 20 Gbit/s</li>\n	<li>Data and video on a single cable</li>\n	<li>Daisy-chain up to six Thunderbolt devices</li>\n	<li>Ultra-slim, \"zero-bend\" radius cable</li>\n	<li>Hot swappable</li>\n	<li>Electrically isolated, noise-reducing design</li>\n	<li>Class 1 Laser Product</li>\n</ul>'),(3639,85,0,607,'Corning Thunderbolt Optical Cable 30m'),(3640,85,1,607,'Corning Thunderbolt Optical Cable 30m'),(3641,76,0,607,''),(3642,76,1,607,''),(3643,75,0,608,'<h2>Corning Thunderbolt™ Optical Cable - 197ft. / 60m</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Thinner, Lighter, Tougher and Longer than traditional copper cable. The future of device connectivity flows through Optical Cables by Corning.</span><br /><br />The 60m Thunderbolt™ Optical Cables by Corning unleash the full power of Thunderbolt technology. Corning Optical uses the brilliance of light to provide the full bandwidth of Thunderbolt in both directions over much longer distances than copper. They\'re thin, lightweight, and extremely tough, allowing them to be bent, sqeezed and tangled with minimal fear of damage. Corning Optical Thunderbolt cables provide greater flexibility of placement for your Thunderbolt devices. This gives you for more security, convenience, and noise isolation for a more productive work environment.<br /><br /><br />\n<ul>\n	<li>10 Gbit/s bi-directional, dual channel with Thunderbolt</li>\n	<li>Compatible with Thunderbolt 2, 20 Gbit/s</li>\n	<li>Data and video on a single cable</li>\n	<li>Daisy-chain up to six Thunderbolt devices</li>\n	<li>Ultra-slim, \"zero-bend\" radius cable</li>\n	<li>Hot swappable</li>\n	<li>Electrically isolated, noise-reducing design</li>\n	<li>Class 1 Laser Product</li>\n</ul>'),(3644,75,1,608,'<h2>Corning Thunderbolt™ Optical Cable - 197ft. / 60m</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Thinner, Lighter, Tougher and Longer than traditional copper cable. The future of device connectivity flows through Optical Cables by Corning.</span><br /><br />The 60m Thunderbolt™ Optical Cables by Corning unleash the full power of Thunderbolt technology. Corning Optical uses the brilliance of light to provide the full bandwidth of Thunderbolt in both directions over much longer distances than copper. They\'re thin, lightweight, and extremely tough, allowing them to be bent, sqeezed and tangled with minimal fear of damage. Corning Optical Thunderbolt cables provide greater flexibility of placement for your Thunderbolt devices. This gives you for more security, convenience, and noise isolation for a more productive work environment.<br /><br /><br />\n<ul>\n	<li>10 Gbit/s bi-directional, dual channel with Thunderbolt</li>\n	<li>Compatible with Thunderbolt 2, 20 Gbit/s</li>\n	<li>Data and video on a single cable</li>\n	<li>Daisy-chain up to six Thunderbolt devices</li>\n	<li>Ultra-slim, \"zero-bend\" radius cable</li>\n	<li>Hot swappable</li>\n	<li>Electrically isolated, noise-reducing design</li>\n	<li>Class 1 Laser Product</li>\n</ul>'),(3645,85,0,608,'Corning Thunderbolt Optical Cable 60m'),(3646,85,1,608,'Corning Thunderbolt Optical Cable 60m'),(3647,76,0,608,''),(3648,76,1,608,''),(3649,75,0,609,'<h1>Crane Song Avocet IIA Monitor Controller</h1>\n2U Stereo Monitor Controller with remote and Quantum DA  featuring less then 1pS jitter.<br /><br />\n\nThe Crane Song Avocet IIA is designed to solve the problems of accurate monitoring and volume control as required by workstation users, studios and mastering rooms alike. It is a stereo controller with three digital inputs, three analog inputs and a headphone system. It\'s comprised of a rack mounted unit and table top remote control. Avocet has many features including; dim, mute, phase, mono, and 16 bit truncation functions, plus a speaker select switch that sends line level balanced audio to one of three outputs. The six input sources have on the fly gain trim capability and all digital signals are up-sampled and jitter reduced to ensure highest accuracy during D/A conversion.<br /><br />\n\nThe internal headphone amplifier can be fed from the program source or an external input. Provisions for a talk back function are included.<br /><br />\n\nAvocet  IIA can operate in surround up to 7.1, with the appropriate number of audio boxes in the system.<br /><br />\n\n<h3>New Quantum DAC</h3>\nThe new Quantum DAC is the 5th generation design from Crane Song and has less then 1pS jitter. The Quantum DAC uses 32 bit a converter and ASRC for jitter reduction up sampling to 211KHz. Avocet has always upsampled to 211KHz.  The reference clock has less then 1pS, 0.5pS typical 1Hz to 100KHz and a proprietary reconstruction filter for accurate time domain response.<br /><br />\n\n<h3>New in Avocet IIA</h3>\n<ul>\n<li>Direct sub woofer outputs for each of the three output have been added.</li>\n<li>The output levels are now programmable in 0.25 db steps for speaker level matching</li>\n</ul>'),(3650,75,1,609,'<h1>Crane Song Avocet IIA Monitor Controller</h1>\n2U Stereo Monitor Controller with remote and Quantum DA  featuring less then 1pS jitter.<br /><br />\n\nThe Crane Song Avocet IIA is designed to solve the problems of accurate monitoring and volume control as required by workstation users, studios and mastering rooms alike. It is a stereo controller with three digital inputs, three analog inputs and a headphone system. It\'s comprised of a rack mounted unit and table top remote control. Avocet has many features including; dim, mute, phase, mono, and 16 bit truncation functions, plus a speaker select switch that sends line level balanced audio to one of three outputs. The six input sources have on the fly gain trim capability and all digital signals are up-sampled and jitter reduced to ensure highest accuracy during D/A conversion.<br /><br />\n\nThe internal headphone amplifier can be fed from the program source or an external input. Provisions for a talk back function are included.<br /><br />\n\nAvocet  IIA can operate in surround up to 7.1, with the appropriate number of audio boxes in the system.<br /><br />\n\n<h3>New Quantum DAC</h3>\nThe new Quantum DAC is the 5th generation design from Crane Song and has less then 1pS jitter. The Quantum DAC uses 32 bit a converter and ASRC for jitter reduction up sampling to 211KHz. Avocet has always upsampled to 211KHz.  The reference clock has less then 1pS, 0.5pS typical 1Hz to 100KHz and a proprietary reconstruction filter for accurate time domain response.<br /><br />\n\n<h3>New in Avocet IIA</h3>\n<ul>\n<li>Direct sub woofer outputs for each of the three output have been added.</li>\n<li>The output levels are now programmable in 0.25 db steps for speaker level matching</li>\n</ul>'),(3651,85,0,609,'Crane Song Avocet Monitor Controller, Cranesong'),(3652,85,1,609,'Crane Song Avocet Monitor Controller, Cranesong'),(3653,76,0,609,''),(3654,76,1,609,''),(3655,75,0,610,'<h1>Crane Song Egret 8 channel D/A / Summing Mixer</h1>\n<i>Eight Channel D/A converter with stereo line level summing mixer and analog color options.</i><br /><br />\nCrane Song Egret is a highly flexible digital audio workstation back end. It contains eight channels of high quality D/A converters and a stereo line level mixer with color options to help bring analog summed digital mixes to life.<br /><br />\nEach channel of the stereo mixer has a level control, an aux send (which is post level control), a color control, and a pan control. Each channel also contains an analog / digital source button, and solo - mute buttons. The color function is adjustable from a transparent sound to a complex mix of second and third harmonic content, creating the possibility of having clean modern sounds mixed with vintage sounds.<br /><br />\nBy using the balanced direct outputs and the balanced analog inputs you can insert analog processing into individual channels. The built in Aux bus with its master level control can be used as an effects send. A balanced stereo effects return is built into the system.<br /><br />\nThe master stereo bus level control, which is a stepped attenuator, has 1 db steps for most of its range. This allows for accurate gain control, repeatability, and stereo gain matching to better than .05 db.<br /><br />\nThe headphone system allows a monitor mix to be created when Egret is being used in multi channel location recording. Thus allowing the monitoring of all channels.<br /><br />\nThe D/A converters support sample rates up to 192K and have sample rate converters on each channel for jitter reduction. There is a front panel switch to disable the SRC for cases where lower latency is required. The system is built so that the converters and the interface can be upgraded as the technology changes.<br /><br />\nThe standard interface supports AES single wire to 192KHz, ADAT, and S/MUX to 96K. The converters can also be independently operated, even at different sample rates.<br /><br />\nEgret is built so that the stereo and cue buses can be chained together to create a multiple input system. With a special cable Egret\'s stereo bus can also be tied to a Crane Song SPIDER as a way to sum additional analog inputs while working in a mix mode.<br /><br />'),(3656,75,1,610,'<h1>Crane Song Egret 8 channel D/A / Summing Mixer</h1>\n<i>Eight Channel D/A converter with stereo line level summing mixer and analog color options.</i><br /><br />\nCrane Song Egret is a highly flexible digital audio workstation back end. It contains eight channels of high quality D/A converters and a stereo line level mixer with color options to help bring analog summed digital mixes to life.<br /><br />\nEach channel of the stereo mixer has a level control, an aux send (which is post level control), a color control, and a pan control. Each channel also contains an analog / digital source button, and solo - mute buttons. The color function is adjustable from a transparent sound to a complex mix of second and third harmonic content, creating the possibility of having clean modern sounds mixed with vintage sounds.<br /><br />\nBy using the balanced direct outputs and the balanced analog inputs you can insert analog processing into individual channels. The built in Aux bus with its master level control can be used as an effects send. A balanced stereo effects return is built into the system.<br /><br />\nThe master stereo bus level control, which is a stepped attenuator, has 1 db steps for most of its range. This allows for accurate gain control, repeatability, and stereo gain matching to better than .05 db.<br /><br />\nThe headphone system allows a monitor mix to be created when Egret is being used in multi channel location recording. Thus allowing the monitoring of all channels.<br /><br />\nThe D/A converters support sample rates up to 192K and have sample rate converters on each channel for jitter reduction. There is a front panel switch to disable the SRC for cases where lower latency is required. The system is built so that the converters and the interface can be upgraded as the technology changes.<br /><br />\nThe standard interface supports AES single wire to 192KHz, ADAT, and S/MUX to 96K. The converters can also be independently operated, even at different sample rates.<br /><br />\nEgret is built so that the stereo and cue buses can be chained together to create a multiple input system. With a special cable Egret\'s stereo bus can also be tied to a Crane Song SPIDER as a way to sum additional analog inputs while working in a mix mode.<br /><br />'),(3657,85,0,610,'Crane Song Egret 8 channel D/A / Summing Mixer'),(3658,85,1,610,'Crane Song Egret 8 channel D/A / Summing Mixer'),(3659,76,0,610,''),(3660,76,1,610,''),(3661,75,0,611,'<h1>Crane Song Falcon 500-Series Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Classic sounding 500-series tube compressor with wet/dry mix control, hard and soft knee for compression or limiting, and color switch</span><br /><br />\nThe Crane Song Falcon is a 500-series-compatible tube compressor with a classic sound and modern features for extreme flexibility. Featuring selectable soft and hard knee curves for compression or limiting, wet-dry mixing for parallel compression, and stereo linking, the Crane Song Falcon has the unique ability to provide two distinct colors for its audio path. A 12AX7-driven tube circuit switchable between feedback and feed-forward operation allows the Falcon to give you either a colored, vintage LA-2A sound, or a much cleaner modern sound with optical characteristics. When two or more Falcon 500 modules are linked, the master unit controls all functions on the slave except for wet/dry mix and make-up gain. Plus, the Crane Song Falcon 500’s link system is also capable of doing 5.1-surround processing. <br /><br />\n<h3>Crane Song Falcon unique features:</h3>\n<ul>\n	<li>Switchable feedback or feed-forward tube circuit provides two different colors for the audio path </li>\n	<li>Selectable hard- and soft-knee operation for limiting or compression respectively </li>\n</ul>\n<br />\n<h3>Crane Song Falcon key features:</h3>\n<ul>\n	<li>LA-2A compression characteristics</li>\n	<li>3 attack and 3 release settings </li>\n	<li>Wet/dry mixing for parallel compression</li>\n	<li>Stereo or 5.1 linking</li>\n	<li>12AX7 tube for easy replacement and consistent control</li></ul>\n<br />\n<h3>Inside The Box — Crane Song Falcon</h3>\nThe Crane Song Falcon takes its cues from the Teletronix LA-2A-style sound, but brings it a step further with a changeable audio path. Switching the tube circuit to either negative feedback or feed-forward operation can alter the sound of the Falcon’s audio. This ability along with the optical-like quality of the compressor allows for a colored vintage sound or a much cleaner, modern sound with optical characteristics.\n<h3>Falcon 500’s feedback/feed-forward operation </h3>\nIn a feedback design the output of the compressor drives the side chain and then the gain control element. As a result the ratio changes depending on how much gain reduction is taking place. In feedback mode, the Crane Song Falcon will work like a self-adapting or self-correcting gain-control device. \n<br /><br />\nThe Falcon’s feed-forward design calculates the desired gain before gain is changed. To achieve this without unwanted artifacts requires a high degree of accuracy in the control voltage/gain reduction relationship. Back in the ’70s, David Blackmer of dbx designed a feed-forward circuit that outlasted other designs (which THAT Corporation’s VCA chip is based on). However, The Falcon’s PWM (pulse width modulation) gain control circuit design has the advantage of being able to use current technology and very high-speed parts that were not available 20 years ago (or were very costly and power hungry) for even greater accuracy and elimination of unwanted audio artifacts. <br /><br /> \nComponents that can switch between off and on in less than 1nS, which are suitable for building a switched gain control element, are now available, and employed in the Falcon. And rather than simply copying vintage designs, which does not advance the state of audio, the Crane Song’s PWM gain control circuit pushes technology to its limits. However, it can provide both the classic sound of vintage gear, as well as a modern sound—and the Crane Song Falcon does both with modern performance standards.  \n<br /><br />\n<h3>Outside The Box — Crane Song Falcon</h3>\nFeaturing the distinctive cream-colored front panel and green knobs that say, “Crane Song is in the house,” the Falcon has the following controls:\n<ul>\n	<li><strong>Attack:</strong> A three-position switch with fast, medium and slow settings. </li>\n	<li><strong>Release:</strong> This switch controls the time it takes Falcon to return to zero gain reduction. It’s a three-position switch with fast, medium, and slow settings. The Falcon’s release time is also determined by the program material. This is the optical time constant effect, sometimes called auto release or program-dependent release. </li>\n	<li><strong>Meter switch:</strong> Allows the front-panel meter to display output level or gain reduction. </li>\n	<li><strong>Limit-Compress:</strong> This switch changes the knee shape from a soft knee to a hard knee for limiter operation. </li>\n	<li><strong>Color Switch:</strong> In the top or the “100” position, the tube circuit is operated with no negative feedback for an extremely rich sound. In the lower position the tube has negative feedback, providing color choices. </li>\n	<li><strong>Wet/Dry:</strong> This is the mix between the original signal and the processed audio for parallel compression. In link mode the Wet/Dry controls operate independently. </li>\n	<li><strong>Bypass Switch:</strong> This is a three-position switch. In the Bypass position, (the bottom position), Falcon is removed from the audio path. The “In” position (middle position) Falcon is switched into the audio path. In the Link (top position), the link signals are connected between the channels. \n	<br />\n	Rather than using a 500-series power rack’s rear-panel link interconnect, the Crane Song Falcon uses a special cable (supplied by Crane Song) for master-slave operation. The Link light will be brighter on the master unit, dimmer on the slave unit, and off when there are no linked channels. In Link Mode Operation, the Gain and Wet/Dry controls operate individually, while Attack, Release, Meter Switch, Color Switch, and Threshold are controlled on the master channel. The Slave channel must be in Bypass for the Falcon 500 to work in link mode. </li>\n	<li><strong>Threshold:</strong> The threshold control governs the amount of gain reduction. </li>\n	<li><strong>Gain:</strong> The gain control will adjust the compressor gain from off to +15dB of gain. </li>\n</ul>\n<br />\n<h3>Who’s using Crane Song:</h3>\nWith a user list including Dave Pensado, Michael Wagener, Tony Maserati, Michael Brauer, Ross Hogarth, Dylan Dresdow, and many more, Crane Song Equipment, such as the Hedd 192, Trakker, Avocet, and STC-8 have achieved secret weapon status in the recording industry. Crane Song is just one of those brands that you know you need to have if you take your audio seriously.   \n<br /><br />\n<h3>About Crane Song</h3>\nCrane Song owner, founder, and design engineer Dave Hill has become one of the most respected inventors in the professional audio business. Dave has been doing studio and film sound recording since 1972. Early in the 1980\'s Dave was asked by a used equipment dealer if he could design a tube compressor that would have the sound of the older tube type devices and still be clean enough to compete with modern devices. The result was the Summit Audio TLA-100. Building on the success of that first design, Dave went on to design multiple tube devices, giving Summit a premier position in pro audio. In 1995 Dave founded Crane Song, a company offering innovative solid-state hardware and software used at the highest levels of pro audio.  \n<br /><br />\n<h3>If you’ve been looking for a more affordable way to put Crane Song compression to work for you, put a 500-series Falcon compressor in your 500 lunchbox or rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3662,75,1,611,'<h1>Crane Song Falcon 500-Series Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Classic sounding 500-series tube compressor with wet/dry mix control, hard and soft knee for compression or limiting, and color switch</span><br /><br />\nThe Crane Song Falcon is a 500-series-compatible tube compressor with a classic sound and modern features for extreme flexibility. Featuring selectable soft and hard knee curves for compression or limiting, wet-dry mixing for parallel compression, and stereo linking, the Crane Song Falcon has the unique ability to provide two distinct colors for its audio path. A 12AX7-driven tube circuit switchable between feedback and feed-forward operation allows the Falcon to give you either a colored, vintage LA-2A sound, or a much cleaner modern sound with optical characteristics. When two or more Falcon 500 modules are linked, the master unit controls all functions on the slave except for wet/dry mix and make-up gain. Plus, the Crane Song Falcon 500’s link system is also capable of doing 5.1-surround processing. <br /><br />\n<h3>Crane Song Falcon unique features:</h3>\n<ul>\n	<li>Switchable feedback or feed-forward tube circuit provides two different colors for the audio path </li>\n	<li>Selectable hard- and soft-knee operation for limiting or compression respectively </li>\n</ul>\n<br />\n<h3>Crane Song Falcon key features:</h3>\n<ul>\n	<li>LA-2A compression characteristics</li>\n	<li>3 attack and 3 release settings </li>\n	<li>Wet/dry mixing for parallel compression</li>\n	<li>Stereo or 5.1 linking</li>\n	<li>12AX7 tube for easy replacement and consistent control</li></ul>\n<br />\n<h3>Inside The Box — Crane Song Falcon</h3>\nThe Crane Song Falcon takes its cues from the Teletronix LA-2A-style sound, but brings it a step further with a changeable audio path. Switching the tube circuit to either negative feedback or feed-forward operation can alter the sound of the Falcon’s audio. This ability along with the optical-like quality of the compressor allows for a colored vintage sound or a much cleaner, modern sound with optical characteristics.\n<h3>Falcon 500’s feedback/feed-forward operation </h3>\nIn a feedback design the output of the compressor drives the side chain and then the gain control element. As a result the ratio changes depending on how much gain reduction is taking place. In feedback mode, the Crane Song Falcon will work like a self-adapting or self-correcting gain-control device. \n<br /><br />\nThe Falcon’s feed-forward design calculates the desired gain before gain is changed. To achieve this without unwanted artifacts requires a high degree of accuracy in the control voltage/gain reduction relationship. Back in the ’70s, David Blackmer of dbx designed a feed-forward circuit that outlasted other designs (which THAT Corporation’s VCA chip is based on). However, The Falcon’s PWM (pulse width modulation) gain control circuit design has the advantage of being able to use current technology and very high-speed parts that were not available 20 years ago (or were very costly and power hungry) for even greater accuracy and elimination of unwanted audio artifacts. <br /><br /> \nComponents that can switch between off and on in less than 1nS, which are suitable for building a switched gain control element, are now available, and employed in the Falcon. And rather than simply copying vintage designs, which does not advance the state of audio, the Crane Song’s PWM gain control circuit pushes technology to its limits. However, it can provide both the classic sound of vintage gear, as well as a modern sound—and the Crane Song Falcon does both with modern performance standards.  \n<br /><br />\n<h3>Outside The Box — Crane Song Falcon</h3>\nFeaturing the distinctive cream-colored front panel and green knobs that say, “Crane Song is in the house,” the Falcon has the following controls:\n<ul>\n	<li><strong>Attack:</strong> A three-position switch with fast, medium and slow settings. </li>\n	<li><strong>Release:</strong> This switch controls the time it takes Falcon to return to zero gain reduction. It’s a three-position switch with fast, medium, and slow settings. The Falcon’s release time is also determined by the program material. This is the optical time constant effect, sometimes called auto release or program-dependent release. </li>\n	<li><strong>Meter switch:</strong> Allows the front-panel meter to display output level or gain reduction. </li>\n	<li><strong>Limit-Compress:</strong> This switch changes the knee shape from a soft knee to a hard knee for limiter operation. </li>\n	<li><strong>Color Switch:</strong> In the top or the “100” position, the tube circuit is operated with no negative feedback for an extremely rich sound. In the lower position the tube has negative feedback, providing color choices. </li>\n	<li><strong>Wet/Dry:</strong> This is the mix between the original signal and the processed audio for parallel compression. In link mode the Wet/Dry controls operate independently. </li>\n	<li><strong>Bypass Switch:</strong> This is a three-position switch. In the Bypass position, (the bottom position), Falcon is removed from the audio path. The “In” position (middle position) Falcon is switched into the audio path. In the Link (top position), the link signals are connected between the channels. \n	<br />\n	Rather than using a 500-series power rack’s rear-panel link interconnect, the Crane Song Falcon uses a special cable (supplied by Crane Song) for master-slave operation. The Link light will be brighter on the master unit, dimmer on the slave unit, and off when there are no linked channels. In Link Mode Operation, the Gain and Wet/Dry controls operate individually, while Attack, Release, Meter Switch, Color Switch, and Threshold are controlled on the master channel. The Slave channel must be in Bypass for the Falcon 500 to work in link mode. </li>\n	<li><strong>Threshold:</strong> The threshold control governs the amount of gain reduction. </li>\n	<li><strong>Gain:</strong> The gain control will adjust the compressor gain from off to +15dB of gain. </li>\n</ul>\n<br />\n<h3>Who’s using Crane Song:</h3>\nWith a user list including Dave Pensado, Michael Wagener, Tony Maserati, Michael Brauer, Ross Hogarth, Dylan Dresdow, and many more, Crane Song Equipment, such as the Hedd 192, Trakker, Avocet, and STC-8 have achieved secret weapon status in the recording industry. Crane Song is just one of those brands that you know you need to have if you take your audio seriously.   \n<br /><br />\n<h3>About Crane Song</h3>\nCrane Song owner, founder, and design engineer Dave Hill has become one of the most respected inventors in the professional audio business. Dave has been doing studio and film sound recording since 1972. Early in the 1980\'s Dave was asked by a used equipment dealer if he could design a tube compressor that would have the sound of the older tube type devices and still be clean enough to compete with modern devices. The result was the Summit Audio TLA-100. Building on the success of that first design, Dave went on to design multiple tube devices, giving Summit a premier position in pro audio. In 1995 Dave founded Crane Song, a company offering innovative solid-state hardware and software used at the highest levels of pro audio.  \n<br /><br />\n<h3>If you’ve been looking for a more affordable way to put Crane Song compression to work for you, put a 500-series Falcon compressor in your 500 lunchbox or rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3663,85,0,611,'Crane Song Falcon 500 Series Compressor'),(3664,85,1,611,'Crane Song Falcon 500 Series Compressor'),(3665,76,0,611,''),(3666,76,1,611,''),(3667,75,0,612,'<h1>Crane Song Flamingo Stereo Mic Pre</h1><i>Two-channel discrete Class A Mic Pre with IRON harmonic distortion.</i><br /><br />Crane Song Flamingo is a high quality two channel discrete class A microphone pre-amp. It can be operated as a musically transparent pre-amplifier, but is capable of emulating vintage sounds as well as creating distinctive new ones.<br /><br />\n\nThe input gain is selected by a stepped switch for gain matching and repeatability. This is followed by a continuously variable attenuator to provide gain trim. Gain is adjustable in 6 db steps to 66 db gain and down to off by the attenuator. Each channel has independently switchable phase and phantom power switches. FLAMINGO also contains a two channel 22 element VU meter with an over load indicator to allow accurate monitoring and ease of level adjustment.<br /><br />\n\nUnique to FLAMINGO are three switches that allow the user to select different sounds; these are the IRON, SOUND and TONE switches. The SOUND switch changes the type of amplifier and the IRON switch puts iron in the audio path. The TONE switch, a 3 position switch, allows for standard - (the original Flamingo sound) when the switch is in the center position, when moved to the right, Flamingo operates as a transparent preamp, and when the switch is in the left most position, it has more color. Needless to say, by using these switches FLAMINGO can produce many different combinations of sounds.<br /><br />\n\nAlso added to Flamingo is an input impedance switch. Providing 2 choices, the first is the original Flamingo; the second is to match large diaphragm condenser mics as recommended by David Bock, of Bock Audio. It also has transformer-less balanced inputs and outputs.<br /><br />\n\nFlamingo is designed to be flexible and give the user a tool to solve real world recording, broadcast, and sound reinforcement problems. It can provide an artistic choice of sounds at the flip of a switch.'),(3668,75,1,612,'<h1>Crane Song Flamingo Stereo Mic Pre</h1><i>Two-channel discrete Class A Mic Pre with IRON harmonic distortion.</i><br /><br />Crane Song Flamingo is a high quality two channel discrete class A microphone pre-amp. It can be operated as a musically transparent pre-amplifier, but is capable of emulating vintage sounds as well as creating distinctive new ones.<br /><br />\n\nThe input gain is selected by a stepped switch for gain matching and repeatability. This is followed by a continuously variable attenuator to provide gain trim. Gain is adjustable in 6 db steps to 66 db gain and down to off by the attenuator. Each channel has independently switchable phase and phantom power switches. FLAMINGO also contains a two channel 22 element VU meter with an over load indicator to allow accurate monitoring and ease of level adjustment.<br /><br />\n\nUnique to FLAMINGO are three switches that allow the user to select different sounds; these are the IRON, SOUND and TONE switches. The SOUND switch changes the type of amplifier and the IRON switch puts iron in the audio path. The TONE switch, a 3 position switch, allows for standard - (the original Flamingo sound) when the switch is in the center position, when moved to the right, Flamingo operates as a transparent preamp, and when the switch is in the left most position, it has more color. Needless to say, by using these switches FLAMINGO can produce many different combinations of sounds.<br /><br />\n\nAlso added to Flamingo is an input impedance switch. Providing 2 choices, the first is the original Flamingo; the second is to match large diaphragm condenser mics as recommended by David Bock, of Bock Audio. It also has transformer-less balanced inputs and outputs.<br /><br />\n\nFlamingo is designed to be flexible and give the user a tool to solve real world recording, broadcast, and sound reinforcement problems. It can provide an artistic choice of sounds at the flip of a switch.'),(3669,85,0,612,'Crane Song Flamingo Stereo Mic Pre'),(3670,85,1,612,'Crane Song Flamingo Stereo Mic Pre'),(3671,76,0,612,''),(3672,76,1,612,''),(3673,75,0,613,'<h1>Crane Song HEDD Quantum Stereo A/D, D/A Converter</h1><i>\nStereo A/D, D/A Converter with DSP Tape and Tube color, Sub Pico Second Jitter, and clock generator.</i><br /><br />\n\nCrane Song HEDD, short for Harmonically Enhanced Digital Device, is a technological break through in signal processing. HEDD has been engineered to provide musically pleasing sound with the capability of generating tube/analog sounds within the digital domain.<br /><br />\n\nThe HEDD QUANTUM has a new clocking crystal. It’s Crane Song’s 5th generation design, like the ones used in Avocet IIA and Solaris and has less then 1pS jitter. This results in extremely accurate imaging, a very open 3d sound and detailed transient response.<br /><br />\n\nJitter is one of those “black art”, hard to explain phenomena. The artefacts caused by jitter are blurred, harsh and unfocussed sound. It also results in a loss of image stability, depth and space. Jitter, basically a time deviation in the clock timing, is caused by many factors. The main culprit being the frequency of the clock varying during the conversion\nprocess.<br /><br />\n\nThe newly developed crystal clock within the HEDD QUANTUM has reduced this jitter to the ,currently, lowest possible value, resulting in a well defined low end and clear top end. This will allow you to judge your work more accurately and will provide you with a much stabler image making panning, EQing a lot faster and truer.<br /><br />\n\nThe operational modes now allow the DAC and the ADC to be used simultaneously and at different sample rates. When set to the DIGI setting, the unit will run Digital in from one of three sources and output on all three digital outputs and the analog output at the same time. In the ANA mode the input is analog and it outputs on all three digital outputs as well as the analog output. The A/D, D/A and ASRC (Asynchronous Sample Rate Convertor) chips are high-end AKM 32-bit components, coupled with proprietary analog filtering and clocking.<br /><br />\n\nCoupled with ultra low jitter, HEDD QUANTUM gives any user who works digitally the ability to sound more analog. The HEDD QUANTUM controls allow the user to select input source, sample rate and continuously variable tape, triode and pentode sounds. The HEDD can operate as an effects device or as separate A/D and D/A convertor with the harmonic generation process applied to either convertor respectively. The signal processor performs 24 Bit Processing on digital or analog sources.<br /><br />\n\nHEDD Quantum has transformerless balanced analog inputs and outputs, transformer isolated digital inputs and outputs and uses separate power transformers and supplies for the analog and digital sections. The HEDD QUANTUM output now has a higher maximum output level +24.5 dBu whereas the original HEDD 192 was around +18.5 dBu. The max input range is adjustable from +16 dBu to +26 dBu for digital zero The unit is 1U rack space tall and operates from 110V, 115V, 230V or 240V mains.\n<br /><br />\n\nThe HEDD QUANTUM operates at sample rates from 44.1K to 192K\n<br /><br />'),(3674,75,1,613,'<h1>Crane Song HEDD Quantum Stereo A/D, D/A Converter</h1><i>\nStereo A/D, D/A Converter with DSP Tape and Tube color, Sub Pico Second Jitter, and clock generator.</i><br /><br />\n\nCrane Song HEDD, short for Harmonically Enhanced Digital Device, is a technological break through in signal processing. HEDD has been engineered to provide musically pleasing sound with the capability of generating tube/analog sounds within the digital domain.<br /><br />\n\nThe HEDD QUANTUM has a new clocking crystal. It’s Crane Song’s 5th generation design, like the ones used in Avocet IIA and Solaris and has less then 1pS jitter. This results in extremely accurate imaging, a very open 3d sound and detailed transient response.<br /><br />\n\nJitter is one of those “black art”, hard to explain phenomena. The artefacts caused by jitter are blurred, harsh and unfocussed sound. It also results in a loss of image stability, depth and space. Jitter, basically a time deviation in the clock timing, is caused by many factors. The main culprit being the frequency of the clock varying during the conversion\nprocess.<br /><br />\n\nThe newly developed crystal clock within the HEDD QUANTUM has reduced this jitter to the ,currently, lowest possible value, resulting in a well defined low end and clear top end. This will allow you to judge your work more accurately and will provide you with a much stabler image making panning, EQing a lot faster and truer.<br /><br />\n\nThe operational modes now allow the DAC and the ADC to be used simultaneously and at different sample rates. When set to the DIGI setting, the unit will run Digital in from one of three sources and output on all three digital outputs and the analog output at the same time. In the ANA mode the input is analog and it outputs on all three digital outputs as well as the analog output. The A/D, D/A and ASRC (Asynchronous Sample Rate Convertor) chips are high-end AKM 32-bit components, coupled with proprietary analog filtering and clocking.<br /><br />\n\nCoupled with ultra low jitter, HEDD QUANTUM gives any user who works digitally the ability to sound more analog. The HEDD QUANTUM controls allow the user to select input source, sample rate and continuously variable tape, triode and pentode sounds. The HEDD can operate as an effects device or as separate A/D and D/A convertor with the harmonic generation process applied to either convertor respectively. The signal processor performs 24 Bit Processing on digital or analog sources.<br /><br />\n\nHEDD Quantum has transformerless balanced analog inputs and outputs, transformer isolated digital inputs and outputs and uses separate power transformers and supplies for the analog and digital sections. The HEDD QUANTUM output now has a higher maximum output level +24.5 dBu whereas the original HEDD 192 was around +18.5 dBu. The max input range is adjustable from +16 dBu to +26 dBu for digital zero The unit is 1U rack space tall and operates from 110V, 115V, 230V or 240V mains.\n<br /><br />\n\nThe HEDD QUANTUM operates at sample rates from 44.1K to 192K\n<br /><br />'),(3675,85,0,613,'Crane Song Hedd-192 Stereo A/D, D/A'),(3676,85,1,613,'Crane Song Hedd-192 Stereo A/D, D/A'),(3677,76,0,613,''),(3678,76,1,613,''),(3679,75,0,614,'<h1>Crane Song Ibis Stereo EQ</h1><i>4-Band Stereo EQ with .2 to 4 Octaves per Band, +/- 12dB of boost/cut range, and analog \"color\"</i><br /><br />Crane Song IBIS is an analog equalizer that boldly takes equalization to a new level of musicality. Each of its four bands features switch-selectable frequencies centered on and covering musical-step intervals from 32-Hz \"C\" to 22.35-kHz \"F.\" Its four overlapping bands are labeled with note names and frequency allowing for the first time a \"translation\" between musician-speak and engineer-jargon. The bandwidth control has similar notation with adjustment from 0.2 octave to 4 octaves per band and a boost / cut range of 12 dB.<br /><br />\nThe low-cut filter is switch selectable from 20-Hz to 150-Hz with slopes of either 12-dB or 24-dB per octave. Like most Crane Song products, IBIS utilizes discrete class-A circuitry and features a truly unique and adjustable \"color\" function that can be applied to either the entire audio path or to any individual frequency band. A fully stepped mastering version is also available.<br /><br />'),(3680,75,1,614,'<h1>Crane Song Ibis Stereo EQ</h1><i>4-Band Stereo EQ with .2 to 4 Octaves per Band, +/- 12dB of boost/cut range, and analog \"color\"</i><br /><br />Crane Song IBIS is an analog equalizer that boldly takes equalization to a new level of musicality. Each of its four bands features switch-selectable frequencies centered on and covering musical-step intervals from 32-Hz \"C\" to 22.35-kHz \"F.\" Its four overlapping bands are labeled with note names and frequency allowing for the first time a \"translation\" between musician-speak and engineer-jargon. The bandwidth control has similar notation with adjustment from 0.2 octave to 4 octaves per band and a boost / cut range of 12 dB.<br /><br />\nThe low-cut filter is switch selectable from 20-Hz to 150-Hz with slopes of either 12-dB or 24-dB per octave. Like most Crane Song products, IBIS utilizes discrete class-A circuitry and features a truly unique and adjustable \"color\" function that can be applied to either the entire audio path or to any individual frequency band. A fully stepped mastering version is also available.<br /><br />'),(3681,85,0,614,'Crane Song Ibis Stereo EQ'),(3682,85,1,614,'Crane Song Ibis Stereo EQ'),(3683,76,0,614,''),(3684,76,1,614,''),(3685,75,0,615,'<h1>Crane Song Insigna — 500-Series Tube Equalizer / EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">Fat sounding 500-series tube equalizer </span><span style=\"background-color: initial; font-size: 16px;\"><i>with a 12AX7 tube, featuring 2 shelving EQs, a parametric </i></span><i style=\"font-size: 16px; background-color: initial;\">band and a low and high pass filter set.</i><span style=\"background-color: initial; font-size: 16px;\"><i><br /></i></span><br />\nThe Crane Song Insigna is a 500-series-compatible tube equalizer with a fat sound rich in second harmonic triode tube color. <span style=\"background-color: initial;\">Designed by Dave Hill, the Insigna comes from a </span><span style=\"background-color: initial;\">long line of industry standard, high quality audio hardware and features </span><span style=\"background-color: initial;\">a dual triode circuit with a 12AX7 tube, featuring 2 shelving EQs, a parametric </span><span style=\"background-color: initial;\">band and a low and high pass filter set. </span><span style=\"background-color: initial;\">The filters are both 24 dB/Octave with 7 frequencies each. </span><span style=\"background-color: initial;\">The high and low frequency bands are both shelving with 8 frequencies a piece. </span><span style=\"background-color: initial;\">The mid frequency band is a peak EQ containing 8 frequencies. </span><span style=\"background-color: initial;\">All three bands employ buffered RC circuitry in the negative feedback path around the tube amps.</span>\n<div>\n	The output stage features a shielded Lundahl high level line output transformer, all the stepped frequency \n	<span style=\"background-color: initial;\">pots are high quality Grayhill series 56 Rotary Switches and Bourn pots for the gain.</span>\n</div>\n<br />\n<h3>Crane Song <span style=\"background-color: initial;\">Insigna</span><span style=\"background-color: initial;\"> unique features:</span></h3>\n<ul>\n	<li>Dual triode circuit with a 12AX7 tube</li>\n	<li>2 shelving EQs, a parametric band and a low and high pass filter set</li>\n</ul>\n<br />\n<h3>Crane Song Insigna key features:</h3>\n<ul>\n	<li>Fat sound rich in second harmonic triode tube color</li>\n	<li>2 shelving EQs a parametric band and a low and high pass filter</li>\n	<li>Filters are both 24dB/Ocatve with 7 frequencies each</li>\n	<li>High and low frequency bands are both shelving with 8 frequencies a piece</li>\n	<li>12AX7 tube for easy replacement and consistent control</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<h3>Crane Song Insigna Frequencies</h3>\n		Let\'s have a closer look at the frequency ranges you\'ll get to work with.\n<br /><br />\nThe <b>high pass filter</b> ranges from 25 Hz to 150 Hz (25 - 40 - 50 - 60 - 90 - 120 - 150) and the <b>low pass filter</b> from 6kHz to 20 kHz (6 - 7.5 - 9 - 10.5 - 12 - 15 - 20).<br /><br />\nThe filters will give you enough power to clean up low rumble, tidy up the low end on LF centric instruments and control harshness at the top like guitars for example.<br /><br />\nOn the other side of the spectrum, the <b>LF band shelves</b> from an extremely low 10 Hz up to 200 Hz. Straddling the middle, the <b>MID peaking band</b> deals with anything from 150 Hz to 7.2 kHz and is centered around a proportional Q (bandwidth). All three bands give you +/- 12 dB boost and cut.<br /><br />\n<h3>Crane Song Insigna In Use</h3>\n<div>\n	One thing the Insigna is not, is a one trick pony! \n	<span style=\"background-color: initial;\">This EQ is an extremely versatile recording and mix EQ. </span><span style=\"background-color: initial;\">If you track with EQ in the recording chain, the Insigna is a very powerful tool to help you clean up </span><span style=\"background-color: initial;\">any low rumbles trying to sneak onto the recording through the mic stand. </span><span style=\"background-color: initial;\">The filter set is extremely effective in tidying up the low end in any low frequency emphasized instrumentation </span><span style=\"background-color: initial;\">like kick drums, floor toms, bass, piano and guitars. At the high end of the spectrum , the </span><span style=\"background-color: initial;\">low pass filter will aid in controlling any harsh content in acoustic and electric guitars and brass instruments. </span><span style=\"background-color: initial;\">When you\'re recording in lively environments, the high roll-off can come to your rescue when you\'re </span><span style=\"background-color: initial;\">trying to get those higher room frequencies under control.</span>\n</div>\n<ul>\n</ul>\n<br />\n<h3>Who’s using Crane Song:</h3>\nWith a user list including Dave Pensado, Michael Wagener, Tony Maserati, Michael Brauer, Ross Hogarth, Dylan Dresdow, and many more, Crane Song Equipment, such as the Hedd 192, Trakker, Avocet, and STC-8 have achieved secret weapon status in the recording industry. Crane Song is just one of those brands that you know you need to have if you take your audio seriously.   \n<br /><br />\n<h3>About Crane Song</h3>\nCrane Song owner, founder, and design engineer Dave Hill has become one of the most respected inventors in the professional audio business. Dave has been doing studio and film sound recording since 1972. Early in the 1980\'s Dave was asked by a used equipment dealer if he could design a tube compressor that would have the sound of the older tube type devices and still be clean enough to compete with modern devices. The result was the Summit Audio TLA-100. Building on the success of that first design, Dave went on to design multiple tube devices, giving Summit a premier position in pro audio. In 1995 Dave founded Crane Song, a company offering innovative solid-state hardware and software used at the highest levels of pro audio.  \n<br /><br />\n<h3>If you’ve been looking for a more affordable way to put Crane Song tube equalization to work for you, put a 500-series Insigna EQ in your 500 lunchbox or rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3686,75,1,615,'<h1>Crane Song Insigna — 500-Series Tube Equalizer / EQ</h1>\n<span style=\"font-size:16px; font-style:italic;\">Fat sounding 500-series tube equalizer </span><span style=\"background-color: initial; font-size: 16px;\"><i>with a 12AX7 tube, featuring 2 shelving EQs, a parametric </i></span><i style=\"font-size: 16px; background-color: initial;\">band and a low and high pass filter set.</i><span style=\"background-color: initial; font-size: 16px;\"><i><br /></i></span><br />\nThe Crane Song Insigna is a 500-series-compatible tube equalizer with a fat sound rich in second harmonic triode tube color. <span style=\"background-color: initial;\">Designed by Dave Hill, the Insigna comes from a </span><span style=\"background-color: initial;\">long line of industry standard, high quality audio hardware and features </span><span style=\"background-color: initial;\">a dual triode circuit with a 12AX7 tube, featuring 2 shelving EQs, a parametric </span><span style=\"background-color: initial;\">band and a low and high pass filter set. </span><span style=\"background-color: initial;\">The filters are both 24 dB/Octave with 7 frequencies each. </span><span style=\"background-color: initial;\">The high and low frequency bands are both shelving with 8 frequencies a piece. </span><span style=\"background-color: initial;\">The mid frequency band is a peak EQ containing 8 frequencies. </span><span style=\"background-color: initial;\">All three bands employ buffered RC circuitry in the negative feedback path around the tube amps.</span>\n<div>\n	The output stage features a shielded Lundahl high level line output transformer, all the stepped frequency \n	<span style=\"background-color: initial;\">pots are high quality Grayhill series 56 Rotary Switches and Bourn pots for the gain.</span>\n</div>\n<br />\n<h3>Crane Song <span style=\"background-color: initial;\">Insigna</span><span style=\"background-color: initial;\"> unique features:</span></h3>\n<ul>\n	<li>Dual triode circuit with a 12AX7 tube</li>\n	<li>2 shelving EQs, a parametric band and a low and high pass filter set</li>\n</ul>\n<br />\n<h3>Crane Song Insigna key features:</h3>\n<ul>\n	<li>Fat sound rich in second harmonic triode tube color</li>\n	<li>2 shelving EQs a parametric band and a low and high pass filter</li>\n	<li>Filters are both 24dB/Ocatve with 7 frequencies each</li>\n	<li>High and low frequency bands are both shelving with 8 frequencies a piece</li>\n	<li>12AX7 tube for easy replacement and consistent control</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<h3>Crane Song Insigna Frequencies</h3>\n		Let\'s have a closer look at the frequency ranges you\'ll get to work with.\n<br /><br />\nThe <b>high pass filter</b> ranges from 25 Hz to 150 Hz (25 - 40 - 50 - 60 - 90 - 120 - 150) and the <b>low pass filter</b> from 6kHz to 20 kHz (6 - 7.5 - 9 - 10.5 - 12 - 15 - 20).<br /><br />\nThe filters will give you enough power to clean up low rumble, tidy up the low end on LF centric instruments and control harshness at the top like guitars for example.<br /><br />\nOn the other side of the spectrum, the <b>LF band shelves</b> from an extremely low 10 Hz up to 200 Hz. Straddling the middle, the <b>MID peaking band</b> deals with anything from 150 Hz to 7.2 kHz and is centered around a proportional Q (bandwidth). All three bands give you +/- 12 dB boost and cut.<br /><br />\n<h3>Crane Song Insigna In Use</h3>\n<div>\n	One thing the Insigna is not, is a one trick pony! \n	<span style=\"background-color: initial;\">This EQ is an extremely versatile recording and mix EQ. </span><span style=\"background-color: initial;\">If you track with EQ in the recording chain, the Insigna is a very powerful tool to help you clean up </span><span style=\"background-color: initial;\">any low rumbles trying to sneak onto the recording through the mic stand. </span><span style=\"background-color: initial;\">The filter set is extremely effective in tidying up the low end in any low frequency emphasized instrumentation </span><span style=\"background-color: initial;\">like kick drums, floor toms, bass, piano and guitars. At the high end of the spectrum , the </span><span style=\"background-color: initial;\">low pass filter will aid in controlling any harsh content in acoustic and electric guitars and brass instruments. </span><span style=\"background-color: initial;\">When you\'re recording in lively environments, the high roll-off can come to your rescue when you\'re </span><span style=\"background-color: initial;\">trying to get those higher room frequencies under control.</span>\n</div>\n<ul>\n</ul>\n<br />\n<h3>Who’s using Crane Song:</h3>\nWith a user list including Dave Pensado, Michael Wagener, Tony Maserati, Michael Brauer, Ross Hogarth, Dylan Dresdow, and many more, Crane Song Equipment, such as the Hedd 192, Trakker, Avocet, and STC-8 have achieved secret weapon status in the recording industry. Crane Song is just one of those brands that you know you need to have if you take your audio seriously.   \n<br /><br />\n<h3>About Crane Song</h3>\nCrane Song owner, founder, and design engineer Dave Hill has become one of the most respected inventors in the professional audio business. Dave has been doing studio and film sound recording since 1972. Early in the 1980\'s Dave was asked by a used equipment dealer if he could design a tube compressor that would have the sound of the older tube type devices and still be clean enough to compete with modern devices. The result was the Summit Audio TLA-100. Building on the success of that first design, Dave went on to design multiple tube devices, giving Summit a premier position in pro audio. In 1995 Dave founded Crane Song, a company offering innovative solid-state hardware and software used at the highest levels of pro audio.  \n<br /><br />\n<h3>If you’ve been looking for a more affordable way to put Crane Song tube equalization to work for you, put a 500-series Insigna EQ in your 500 lunchbox or rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3687,85,0,615,'Crane Song Insigna 500 Series Tube Equalizer'),(3688,85,1,615,'Crane Song Insigna 500 Series Tube Equalizer'),(3689,76,0,615,''),(3690,76,1,615,''),(3691,75,0,616,'<h1>Crane Song Phoenix I Plug-in Suite</h1>\n<i>\nTDM plug-in suite for Pro Tools HD to give your tracks analog warmth, while staying in the box.</i><br/><br/>\nCrane Song PHOENIX I is a TDM plug-in suite for Pro Tools HD that is designed to put analog color into the digital domain by increasing apparent loudness without increasing gain (e.g., by modeling analog tape compression). The result is that added realism that is missing in many modeled synths, EQs and digital samplers. The five different \"flavors\" of PHOENIX can result in a much more musical and satisfying sound.\n<br/><br/>\nEach one of the five different TDM plug-ins emulate different tape characteristics. Each one also incorporates a color change button allowing three choices to modify the process per plug-in. The Gold button is the position where the color is approximately flat in frequency response, with Sapphire being a bit brighter and Opal having a warmer tonality. A level control determines the amount of the PHOENIX process integrated into the audio signal, and an input trim determines \"how hard you hit the tape.\" Because the DSP process is level dependent, reducing the input level will also cause a change in sound.\n<br/><br/>\nThe input trim can also be used to prevent clipping in the rare cases where clipping may be a problem. This can be useful on material that is hitting close to or at digital zero. When the input trim is at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input.\n<br/><br>\n<h3>The PHOENIX suite contains five separate plug-ins:</h3>\n<ul>\n	<li>Luminescent is the most neutral sounding process of the five.</li>\n	<li>Iridescent has a similar magnetic character, but with a fatter bottom and midrange. This plug-in is the most similar to the tape knob on HEDD-192.</li>\n	<li>Radiant is characterized by a more aggressive compression curve</li>\n	<li>Dark Essence is even more aggressive. (The effect is a color with a wider frequency range--when used on a vocal Dark Essence can reduce sibilance problems by increasing the apparent loudness of the rest of thesignal.)</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Luster starts more gently than the other four processes, but becomes as aggressive as Dark Essence when the process is at full scale.</span></li>\n</ul>\n<br/>\nRunning within Avid\'s multi-shell architecture, PHOENIX is very DSP efficient. It will run approximately twenty instances of a plug-in on a single DSP chip (an HD system running at a 44.1 kHz sample rate).\n<br/><br/>\nPHOENIX\'s color is dependent on signal level, program material and sample rate. A higher sample rate results in smother sounds.\n<br/><br/>\nThe PHOENIX plug-in suite provides a wide range of choices to make your digital world sound warmer, fatter, and more alive. The plug-ins can be somewhat subtle, but the cumulative affect when used on a number of tracks can bring back the warmth and richness which only analog recording has been able to provide.\n<br/><br/>\n<div>\n	Phoenix runs on all TDM Hardware: MIX, HD, Venue. PC, MAC and MAC PRO\n	<br/><br/>\n</div>'),(3692,75,1,616,'<h1>Crane Song Phoenix I Plug-in Suite</h1>\n<i>\nTDM plug-in suite for Pro Tools HD to give your tracks analog warmth, while staying in the box.</i><br/><br/>\nCrane Song PHOENIX I is a TDM plug-in suite for Pro Tools HD that is designed to put analog color into the digital domain by increasing apparent loudness without increasing gain (e.g., by modeling analog tape compression). The result is that added realism that is missing in many modeled synths, EQs and digital samplers. The five different \"flavors\" of PHOENIX can result in a much more musical and satisfying sound.\n<br/><br/>\nEach one of the five different TDM plug-ins emulate different tape characteristics. Each one also incorporates a color change button allowing three choices to modify the process per plug-in. The Gold button is the position where the color is approximately flat in frequency response, with Sapphire being a bit brighter and Opal having a warmer tonality. A level control determines the amount of the PHOENIX process integrated into the audio signal, and an input trim determines \"how hard you hit the tape.\" Because the DSP process is level dependent, reducing the input level will also cause a change in sound.\n<br/><br/>\nThe input trim can also be used to prevent clipping in the rare cases where clipping may be a problem. This can be useful on material that is hitting close to or at digital zero. When the input trim is at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input.\n<br/><br>\n<h3>The PHOENIX suite contains five separate plug-ins:</h3>\n<ul>\n	<li>Luminescent is the most neutral sounding process of the five.</li>\n	<li>Iridescent has a similar magnetic character, but with a fatter bottom and midrange. This plug-in is the most similar to the tape knob on HEDD-192.</li>\n	<li>Radiant is characterized by a more aggressive compression curve</li>\n	<li>Dark Essence is even more aggressive. (The effect is a color with a wider frequency range--when used on a vocal Dark Essence can reduce sibilance problems by increasing the apparent loudness of the rest of thesignal.)</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Luster starts more gently than the other four processes, but becomes as aggressive as Dark Essence when the process is at full scale.</span></li>\n</ul>\n<br/>\nRunning within Avid\'s multi-shell architecture, PHOENIX is very DSP efficient. It will run approximately twenty instances of a plug-in on a single DSP chip (an HD system running at a 44.1 kHz sample rate).\n<br/><br/>\nPHOENIX\'s color is dependent on signal level, program material and sample rate. A higher sample rate results in smother sounds.\n<br/><br/>\nThe PHOENIX plug-in suite provides a wide range of choices to make your digital world sound warmer, fatter, and more alive. The plug-ins can be somewhat subtle, but the cumulative affect when used on a number of tracks can bring back the warmth and richness which only analog recording has been able to provide.\n<br/><br/>\n<div>\n	Phoenix runs on all TDM Hardware: MIX, HD, Venue. PC, MAC and MAC PRO\n	<br/><br/>\n</div>'),(3693,85,0,616,'Crane Song Phoenix I Plug-in Suite'),(3694,85,1,616,'Crane Song Phoenix I Plug-in Suite'),(3695,76,0,616,''),(3696,76,1,616,''),(3697,75,0,617,'<h1>Crane Song Phoenix II Plug-in</h1>\n<i>\nAAX DSP plug-in suite for Pro Tools HDX to give your tracks analog warmth, while staying in the box.</i><br /><br />\nCrane Song Phoenix II is an update of Crane Song\'s suite of TDM plug-ins designed to emulate the unique properties of a magnetic tape machine. Phoenix II runs both NATIVE and DSP on Avid\'s PT 10 AAX format. Phoenix II uses 32 bit floating point math and has a lower noise floor than the original release.\n<br /><br />\nDesigner Dave Hill has crafted this software with the same attention to detail he used to create the electronics for ATR Service\'s much heralded \"Aria\" discrete tape recorders.  His intimate knowledge of analog electronics, as well as decades of experience as a recording engineer has spawned a very useful, musical suite of plug-ins.  The Phoenix II process not only incorporates the nonlinear saturation characteristics created by magnetic tape itself, but also includes the interrelation of an analog tape recorder\'s record/reproduce electronics and equalization curves.  Phoenix II is a ground-up application derived from HEDD technology, and specifically engineered and optimized for Avid\'s PT 10 architecture.\n<br /><br />\nPhoenix II has five different tape-analog characteristics, The type is selected with a switch for easy comparison between the types, and the brightness is also selected with a switch.  Gold is the position where the color is approximately flat in frequency response, with Sapphire being a brighter, and Opal being a warmer tonality.  A level control determines the amount of the Phoenix II process integrated into the audio signal, and an input trim determines \"how hard you hit the tape.\" Because the DSP process is level dependent, the input level trim control has been improved and an output trim control has been added.\n<br /><br />\nThe input trim can also be used to prevent clipping in the rare cases where clipping may be a problem and bringing up the level of a track for an increased amount of color.  This can be useful on material that is hitting close to or at digital zero and on material that has a low recorded level. When the input trim and output trim controls are at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input.\n<br /><br />\n<h3>PHOENIX II contains five different tape-analog characteristics:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Luminescent is the most neutral sounding process of the five.</span></li>\n	<li>Iridescent has a similar magnetic character, but with a fatter bottom and midrange. (This plug-in is the most similar to the tape knob on HEDD-192.)</li>\n	<li>Radiant is characterized by a more aggressive compression curve</li>\n	<li>Dark Essence is even more aggressive. (The effect is a color with a wider frequency range-when used on a vocal  Dark Essence can reduce sibilance problems by increasing the apparent loudness of the rest of the signal.)</li>\n	<li>Luster starts more gently than the other four processes, but becomes as aggressive as Dark Essence when the process is at full scale.</li>\n</ul>\n<br />'),(3698,75,1,617,'<h1>Crane Song Phoenix II Plug-in</h1>\n<i>\nAAX DSP plug-in suite for Pro Tools HDX to give your tracks analog warmth, while staying in the box.</i><br /><br />\nCrane Song Phoenix II is an update of Crane Song\'s suite of TDM plug-ins designed to emulate the unique properties of a magnetic tape machine. Phoenix II runs both NATIVE and DSP on Avid\'s PT 10 AAX format. Phoenix II uses 32 bit floating point math and has a lower noise floor than the original release.\n<br /><br />\nDesigner Dave Hill has crafted this software with the same attention to detail he used to create the electronics for ATR Service\'s much heralded \"Aria\" discrete tape recorders.  His intimate knowledge of analog electronics, as well as decades of experience as a recording engineer has spawned a very useful, musical suite of plug-ins.  The Phoenix II process not only incorporates the nonlinear saturation characteristics created by magnetic tape itself, but also includes the interrelation of an analog tape recorder\'s record/reproduce electronics and equalization curves.  Phoenix II is a ground-up application derived from HEDD technology, and specifically engineered and optimized for Avid\'s PT 10 architecture.\n<br /><br />\nPhoenix II has five different tape-analog characteristics, The type is selected with a switch for easy comparison between the types, and the brightness is also selected with a switch.  Gold is the position where the color is approximately flat in frequency response, with Sapphire being a brighter, and Opal being a warmer tonality.  A level control determines the amount of the Phoenix II process integrated into the audio signal, and an input trim determines \"how hard you hit the tape.\" Because the DSP process is level dependent, the input level trim control has been improved and an output trim control has been added.\n<br /><br />\nThe input trim can also be used to prevent clipping in the rare cases where clipping may be a problem and bringing up the level of a track for an increased amount of color.  This can be useful on material that is hitting close to or at digital zero and on material that has a low recorded level. When the input trim and output trim controls are at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input.\n<br /><br />\n<h3>PHOENIX II contains five different tape-analog characteristics:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Luminescent is the most neutral sounding process of the five.</span></li>\n	<li>Iridescent has a similar magnetic character, but with a fatter bottom and midrange. (This plug-in is the most similar to the tape knob on HEDD-192.)</li>\n	<li>Radiant is characterized by a more aggressive compression curve</li>\n	<li>Dark Essence is even more aggressive. (The effect is a color with a wider frequency range-when used on a vocal  Dark Essence can reduce sibilance problems by increasing the apparent loudness of the rest of the signal.)</li>\n	<li>Luster starts more gently than the other four processes, but becomes as aggressive as Dark Essence when the process is at full scale.</li>\n</ul>\n<br />'),(3699,85,0,617,'Crane Song Phoenix II Plug-in'),(3700,85,1,617,'Crane Song Phoenix II Plug-in'),(3701,76,0,617,''),(3702,76,1,617,''),(3703,75,0,618,'<h1>Crane Song Spider 8 Channel Mic Pre Mixer</h1><i>5RU 8-Channel Mic Preamplifier Mixer with 24/192 AD and external power supply.</i><br /><br />Spider is a high quality eight channel mic-preamplifier mixer with two types of digital outputs: stereo and eight channel. The stereo output is for recording engineers who do stereo or multi-channel recording and want a very flexible audio path. The eight channel output allows the system to function as an analog front end for DAWs, digital mixers, and modular digital recorders.<br /><br />\n\nIn addition, the stereo bus can be assigned to digital channels seven and eight. This allows a stereo mix of six channels to be assigned to digital outs seven and eight and leaves two channels independent. (eg. drums; kick, snare, and stereo left to right.)<br /><br />\n\nThe maximum analog level at the insert points is +25 dBm. Both the discrete class A pre-amp and the convertor modules are of a very high quality, low noise design. Applications for the Spider include (but are not limited to) live stereo recording, multi-channel recording, broadcast engineering, DAW front end, Off-line signal processing and stereo submixing.<br /><br /><h3>Crane Song Spider Features:</h3><ul><li><span style=\"background-color: initial;\"> Six to 66dB input preamp gain in 6dB steps</span></li><li> Channel level control</li><li> Pan control for stereo output bus</li><li> +48v phantom power switching</li><li>Line/Mic switch</li><li>Phase switch</li><li> Low cut filter</li><li>Stereo bus assignment switch</li><li>Fat amp switch for a fuller sound</li><li>16 segment meter peaking reading 0=clipping referenced to the A/D convertor</li><li>Clip light on the pre-amp section</li><li>Peak limiter for the A/D convertor</li><li>Channel insert point may be used as a pre-amp output</li><li>Sample rate to 192KHz</li><li>WC input and output</li><li>Switch selectable Analog Dither control, 15 to 24 bits</li><li>DSP analog tape emulation, adjustable by channel</li><li>Digital output as AES (192KHz), and ADAT Optical (96KHz)</li></ul><br />'),(3704,75,1,618,'<h1>Crane Song Spider 8 Channel Mic Pre Mixer</h1><i>5RU 8-Channel Mic Preamplifier Mixer with 24/192 AD and external power supply.</i><br /><br />Spider is a high quality eight channel mic-preamplifier mixer with two types of digital outputs: stereo and eight channel. The stereo output is for recording engineers who do stereo or multi-channel recording and want a very flexible audio path. The eight channel output allows the system to function as an analog front end for DAWs, digital mixers, and modular digital recorders.<br /><br />\n\nIn addition, the stereo bus can be assigned to digital channels seven and eight. This allows a stereo mix of six channels to be assigned to digital outs seven and eight and leaves two channels independent. (eg. drums; kick, snare, and stereo left to right.)<br /><br />\n\nThe maximum analog level at the insert points is +25 dBm. Both the discrete class A pre-amp and the convertor modules are of a very high quality, low noise design. Applications for the Spider include (but are not limited to) live stereo recording, multi-channel recording, broadcast engineering, DAW front end, Off-line signal processing and stereo submixing.<br /><br /><h3>Crane Song Spider Features:</h3><ul><li><span style=\"background-color: initial;\"> Six to 66dB input preamp gain in 6dB steps</span></li><li> Channel level control</li><li> Pan control for stereo output bus</li><li> +48v phantom power switching</li><li>Line/Mic switch</li><li>Phase switch</li><li> Low cut filter</li><li>Stereo bus assignment switch</li><li>Fat amp switch for a fuller sound</li><li>16 segment meter peaking reading 0=clipping referenced to the A/D convertor</li><li>Clip light on the pre-amp section</li><li>Peak limiter for the A/D convertor</li><li>Channel insert point may be used as a pre-amp output</li><li>Sample rate to 192KHz</li><li>WC input and output</li><li>Switch selectable Analog Dither control, 15 to 24 bits</li><li>DSP analog tape emulation, adjustable by channel</li><li>Digital output as AES (192KHz), and ADAT Optical (96KHz)</li></ul><br />'),(3705,85,0,618,'Crane Song Spider 8 Channel Mic Pre Mixer'),(3706,85,1,618,'Crane Song Spider 8 Channel Mic Pre Mixer'),(3707,76,0,618,''),(3708,76,1,618,''),(3709,75,0,619,'<h1>Crane Song STC-8 Stereo Compressor</h1><i>Two-Channel Compressor Limiter with Analog Presets</i><br /><br />The Crane Song STC-8 is a high quality compressor that delivers consistent gain control without sacrificing musical definition or harmonic richness. It utilizes a remarkably dependable peak limiter that provides overload protection that is critical to digital recording and broadcast transmitters. The STC-8 is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates analog and tube-like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. <br /><br />\n\nThe STC-8s sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain control circuit. High signal quality is maintained by utilizing the discrete class A audio path and by eliminating any VCA or optical gain control elements.<br /><br />\n\n<h3>Crane Song STC-8 Features:</h3><ul><li>Simultaneous Compression/Limiting</li><li>Discrete Class A</li><li>Balanced/Transformerless I/O</li><li>Quick & Easy Presets</li><li><span style=\"background-color: initial; letter-spacing: 0px;\">\'KI\' & \'HARA\' Sounds</span></li><li><span style=\"background-color: initial; letter-spacing: 0px;\">Transparent Overload Protection</span></li></ul>'),(3710,75,1,619,'<h1>Crane Song STC-8 Stereo Compressor</h1><i>Two-Channel Compressor Limiter with Analog Presets</i><br /><br />The Crane Song STC-8 is a high quality compressor that delivers consistent gain control without sacrificing musical definition or harmonic richness. It utilizes a remarkably dependable peak limiter that provides overload protection that is critical to digital recording and broadcast transmitters. The STC-8 is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates analog and tube-like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. <br /><br />\n\nThe STC-8s sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain control circuit. High signal quality is maintained by utilizing the discrete class A audio path and by eliminating any VCA or optical gain control elements.<br /><br />\n\n<h3>Crane Song STC-8 Features:</h3><ul><li>Simultaneous Compression/Limiting</li><li>Discrete Class A</li><li>Balanced/Transformerless I/O</li><li>Quick & Easy Presets</li><li><span style=\"background-color: initial; letter-spacing: 0px;\">\'KI\' & \'HARA\' Sounds</span></li><li><span style=\"background-color: initial; letter-spacing: 0px;\">Transparent Overload Protection</span></li></ul>'),(3711,85,0,619,'Crane Song STC-8 Stereo Compressor'),(3712,85,1,619,'Crane Song STC-8 Stereo Compressor'),(3713,76,0,619,''),(3714,76,1,619,''),(3715,75,0,620,'<h1>Crane Song Syren 500 Series Tube Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">A classic sounding 500-series tube preamp with a 12AX7 tube and dual triode circuit.</span><br /><br />The Crane Song Syren 500 Series Tube Preamp gives you a classic tube sound with a modern feature set and compact 500 series package. Syren features a dual gain stage circuit and allows overdrive effects, a switch selectable HI-z input, a low cut filter is at 90 Hz and is 24 db/octave, and the pad has -15 db and -25 db settings to allow a wide input range of signals.\n<br /><br />\nThe audio path color is changed by modifying the second stage tube circuit so it has negative feedback or does not have negative feedback. This changes the interaction between the tube stages and thus the sound of the pre-amp. With negative feedback SYREN typically has a more accurate audio path with wider frequency response. Without negative feedback it has a more open warmer sound. The OPEN setting is more desired for over drive operation.<br /><br />\nBecause SYREN was designed for color and not specs the measured values will change greatly depending on the mode of operation. Turing the negative feedback off may or may not result in higher harmonic distortion, but will result in different harmonic content. The changing interaction between the tube stages makes the result difficult to predict. Gain settings, signal level, signal frequency and source impedance all contribute to the tube stage interaction.<br /><br />\nThe over load LEDs start to light at -6db with respect the tube compression or over load. With a little practice they will become useful in judging the gain settings. The LED’s lighting a small amount does not mean distortion.<br /><br />\nThe input LED is an indicator of the drive level to the first stage, the only way to change this is with the PAD switch or changing the input signal level. The output gain LED is shows the level of the second tube stage before the OUTPUT GAIN pot. This is affected by the setting of the INPUT GAIN pot.<br /><br />\n<div>\n	The output stage features a shielded Lundahl high level line output transformer, all the stepped frequency \n	<span style=\"background-color: initial;\">pots are high quality Grayhill series 56 Rotary Switches and Bourn pots for the gain.</span>\n</div>\n<br />\n<h3>Crane Song <span style=\"background-color: initial;\">Syren</span><span style=\"background-color: initial;\"> unique features:</span></h3>\n<ul>\n	<li>Dual triode circuit with a 12AX7 tube</li>\n	<li>Open/Color switch which lets you apply negative feedback to second stage tube circuit</li>\n</ul>\n<br />\n<h3>Crane Song Syren key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Dual gain stage circuit that allows overdrive effects</span></li>\n	<li>Hi-z filter (90Hz, 24db/octave)</li>\n	<li>Front-panel DI input; Mic/DI switch</li>\n	<li>48-volt phantom power</li>\n	<li>Phase-reversal switch</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<ul>\n</ul>\n<br />\n<h3>Who’s using Crane Song:</h3>\nWith a user list including Dave Pensado, Michael Wagener, Tony Maserati, Michael Brauer, Ross Hogarth, Dylan Dresdow, and many more, Crane Song Equipment, such as the Hedd 192, Trakker, Avocet, and STC-8 have achieved secret weapon status in the recording industry. Crane Song is just one of those brands that you know you need to have if you take your audio seriously.   \n<br /><br />\n<h3>About Crane Song</h3>\nCrane Song owner, founder, and design engineer Dave Hill has become one of the most respected inventors in the professional audio business. Dave has been doing studio and film sound recording since 1972. Early in the 1980\'s Dave was asked by a used equipment dealer if he could design a tube compressor that would have the sound of the older tube type devices and still be clean enough to compete with modern devices. The result was the Summit Audio TLA-100. Building on the success of that first design, Dave went on to design multiple tube devices, giving Summit a premier position in pro audio. In 1995 Dave founded Crane Song, a company offering innovative solid-state hardware and software used at the highest levels of pro audio.  \n<br /><br />\n<h3>If you’ve been looking for a more affordable way to get the classic sound of a tube preamplifier to work for you, put a 500-series Syren Tube Preamp in your 500 lunchbox or rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3716,75,1,620,'<h1>Crane Song Syren 500 Series Tube Preamp</h1>\n<span style=\"font-size:16px; font-style:italic;\">A classic sounding 500-series tube preamp with a 12AX7 tube and dual triode circuit.</span><br /><br />The Crane Song Syren 500 Series Tube Preamp gives you a classic tube sound with a modern feature set and compact 500 series package. Syren features a dual gain stage circuit and allows overdrive effects, a switch selectable HI-z input, a low cut filter is at 90 Hz and is 24 db/octave, and the pad has -15 db and -25 db settings to allow a wide input range of signals.\n<br /><br />\nThe audio path color is changed by modifying the second stage tube circuit so it has negative feedback or does not have negative feedback. This changes the interaction between the tube stages and thus the sound of the pre-amp. With negative feedback SYREN typically has a more accurate audio path with wider frequency response. Without negative feedback it has a more open warmer sound. The OPEN setting is more desired for over drive operation.<br /><br />\nBecause SYREN was designed for color and not specs the measured values will change greatly depending on the mode of operation. Turing the negative feedback off may or may not result in higher harmonic distortion, but will result in different harmonic content. The changing interaction between the tube stages makes the result difficult to predict. Gain settings, signal level, signal frequency and source impedance all contribute to the tube stage interaction.<br /><br />\nThe over load LEDs start to light at -6db with respect the tube compression or over load. With a little practice they will become useful in judging the gain settings. The LED’s lighting a small amount does not mean distortion.<br /><br />\nThe input LED is an indicator of the drive level to the first stage, the only way to change this is with the PAD switch or changing the input signal level. The output gain LED is shows the level of the second tube stage before the OUTPUT GAIN pot. This is affected by the setting of the INPUT GAIN pot.<br /><br />\n<div>\n	The output stage features a shielded Lundahl high level line output transformer, all the stepped frequency \n	<span style=\"background-color: initial;\">pots are high quality Grayhill series 56 Rotary Switches and Bourn pots for the gain.</span>\n</div>\n<br />\n<h3>Crane Song <span style=\"background-color: initial;\">Syren</span><span style=\"background-color: initial;\"> unique features:</span></h3>\n<ul>\n	<li>Dual triode circuit with a 12AX7 tube</li>\n	<li>Open/Color switch which lets you apply negative feedback to second stage tube circuit</li>\n</ul>\n<br />\n<h3>Crane Song Syren key features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Dual gain stage circuit that allows overdrive effects</span></li>\n	<li>Hi-z filter (90Hz, 24db/octave)</li>\n	<li>Front-panel DI input; Mic/DI switch</li>\n	<li>48-volt phantom power</li>\n	<li>Phase-reversal switch</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<ul>\n</ul>\n<br />\n<h3>Who’s using Crane Song:</h3>\nWith a user list including Dave Pensado, Michael Wagener, Tony Maserati, Michael Brauer, Ross Hogarth, Dylan Dresdow, and many more, Crane Song Equipment, such as the Hedd 192, Trakker, Avocet, and STC-8 have achieved secret weapon status in the recording industry. Crane Song is just one of those brands that you know you need to have if you take your audio seriously.   \n<br /><br />\n<h3>About Crane Song</h3>\nCrane Song owner, founder, and design engineer Dave Hill has become one of the most respected inventors in the professional audio business. Dave has been doing studio and film sound recording since 1972. Early in the 1980\'s Dave was asked by a used equipment dealer if he could design a tube compressor that would have the sound of the older tube type devices and still be clean enough to compete with modern devices. The result was the Summit Audio TLA-100. Building on the success of that first design, Dave went on to design multiple tube devices, giving Summit a premier position in pro audio. In 1995 Dave founded Crane Song, a company offering innovative solid-state hardware and software used at the highest levels of pro audio.  \n<br /><br />\n<h3>If you’ve been looking for a more affordable way to get the classic sound of a tube preamplifier to work for you, put a 500-series Syren Tube Preamp in your 500 lunchbox or rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3717,85,0,620,'Crane Song Syren 500 Series Tube Preamp'),(3718,85,1,620,'Crane Song Syren 500 Series Tube Preamp'),(3719,76,0,620,''),(3720,76,1,620,''),(3721,75,0,621,'<h1>Crane Song Trakker Single Channel Compressor</h1><i>Single Channel Compressor Limiter with Analog Presets.</i><br /><br />Crane Song TRAKKER is a high quality Single Channel Discrete Class A Compressor-Limiter. It functions either as a musically transparent compressor or as a vintage compressor-limiter with selectable hard or soft knee. It can create distinct new sounds or maximize existing ones. The TRAKKER has adjustable threshold, attack, release, knee shape, and makeup gain controls. In addition to these controls, a function switch allows the selection of transparent operation or vintage operations such as optical, air optical, soft knee, and hard knee - each with four different amplifier/gain control sounds.\n<br /><br />\nThe amplifier/gain control sounds are:\n<br />\n<ul>\n	<li><span style=\"background-color: initial;\">Transparent</span></li>\n	<li>Vintage (tube or old style class A)</li>\n	<li>Transparent with VCA artifacts and</li>\n	<li>Vintage with VCA artifacts.</li>\n</ul><br />\nThe front panel contains a 22 element VU meter with over load indicator to show gain reduction and allow accurate monitoring of output levels. In the link mode the master unit controls all functions of the slave units except for make-up gain. An additional feature of the TRAKKER is the ability to link up to 8 units for surround mixing.\n<br /><br />\nTRAKKER is a maximum-versatility toolkit for solving real-world recording, broadcast, and sound reinforcement problems with the utmost attention to signal quality. From single channel operation to bus compression, TRAKKER can provide an artistic choice of sounds at the flip of a switch.<br /><br />'),(3722,75,1,621,'<h1>Crane Song Trakker Single Channel Compressor</h1><i>Single Channel Compressor Limiter with Analog Presets.</i><br /><br />Crane Song TRAKKER is a high quality Single Channel Discrete Class A Compressor-Limiter. It functions either as a musically transparent compressor or as a vintage compressor-limiter with selectable hard or soft knee. It can create distinct new sounds or maximize existing ones. The TRAKKER has adjustable threshold, attack, release, knee shape, and makeup gain controls. In addition to these controls, a function switch allows the selection of transparent operation or vintage operations such as optical, air optical, soft knee, and hard knee - each with four different amplifier/gain control sounds.\n<br /><br />\nThe amplifier/gain control sounds are:\n<br />\n<ul>\n	<li><span style=\"background-color: initial;\">Transparent</span></li>\n	<li>Vintage (tube or old style class A)</li>\n	<li>Transparent with VCA artifacts and</li>\n	<li>Vintage with VCA artifacts.</li>\n</ul><br />\nThe front panel contains a 22 element VU meter with over load indicator to show gain reduction and allow accurate monitoring of output levels. In the link mode the master unit controls all functions of the slave units except for make-up gain. An additional feature of the TRAKKER is the ability to link up to 8 units for surround mixing.\n<br /><br />\nTRAKKER is a maximum-versatility toolkit for solving real-world recording, broadcast, and sound reinforcement problems with the utmost attention to signal quality. From single channel operation to bus compression, TRAKKER can provide an artistic choice of sounds at the flip of a switch.<br /><br />'),(3723,85,0,621,'Crane Song Trakker Single Channel Compressor'),(3724,85,1,621,'Crane Song Trakker Single Channel Compressor'),(3725,76,0,621,''),(3726,76,1,621,''),(3727,75,0,622,'<h2>D16 Group ClassicBoxes Collection</h2>\n<i>The Classic Boxes Includes all D16\'s acclaimed emulations of classic vintage boxes </i><br /><br />The D16 Group Classic Boxes Collection contains all of D16\'s vintage drum machine plugins. All of the included software \nrequires a VST or AU compatible host application and can operate in 32- \nor 64-bit modes.<br /><br /><h2>D16 ClassicBoxes Collection includes:</h2><br />\n<h3>Nepheton</h3>The D16 Nepheton emulates the famous 808 drum machine. All the nuances and details of the instruments sounds are captured perfectly. The instruments models are equipped with additional controls giving you possibility to tweak the sound much better.<br /><br /><h3>Drumazon</h3>D16\'s Drumzaon emulates the famous 909 drum machine. All the instruments are synthesized in exactly the same way as the original. All the nuances and detail of the original are captured perfectly. In addition, all Drumazon instruments have enhanced controls. <br /><br />\n<h3>Nithonat</h3>The Nithonat is D16\'s fully synthesized drum machine which emulates classic 606 box. This \nperfect emulation is enhanced with extra functionality taking the little\n pocket drum machine to the new dimension.<br /><br />\n<h3>Phoscyon</h3>The D16 Group takes the classic analogue sound of the legendary 303 silver box into \nthe future. It offers an unmatched sound together with many advanced \nfeatures.<br /><span id=\"product_description\" itemprop=\"description\"><br /></span>'),