(6211,75,0,1036,'<h2>Little Labs Red Eye 3D Phantom Passive Direct Box / Re-Amp Box Expansion Splitter</h2>\n<span style=\"font-size: 16px; font-style: italic;\"></span><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"> Little Labs once again has addressed a common studio and live sound problem with a simple effective and reasonably priced solution. <br /></span></span><br />\n				<p>\nThe Red Eye 3D phantom is the new improved major revision \nof the popular Little Labs Redeye direct box / re-amp box. More people \nare re-amping now than ever before, and we at Little Labs know \nre-amping! We made this new major Redeye revision because we wanted to \nmake sure we continued to make the best sounding, most flexible, easiest\n to use, and reasonably priced re-amping and direct box product \navailable.\n				</p>\n				<p>\nFor easy accurate re-amping the Redeye 3D lets you listen thru your \nwhole recording chain, from Redeye 3D direct box, to mic pre to DAW (or \ntape machine), to Redeye 3D Re-amp, to your guitar amp. In DI (direct \nbox) mode the instrument / re-amp out on the front of the Redeye 3D \nworks as a thru signal so you can simultaneously feed your guitar amp \nwhile supplying a signal from the rear xlr to your mic pre and DAW or \ntape machine. In re-amp mode the instrument / re-amp out on the front of\n the Redeye 3D signal comes from the line level output of the DAW or \ntape machine (converted to HI z guitar level signal) to feed your guitar\n amp. This simple way of listening thru the chain (re-amp mode) and \nbeing able to bypass the mic pre and DAW or tape machine in the chain \n(DI mode) makes level adjustments a snap. This also assures you a \nre-amped guitar sound that will be exactly what was heard when laying \ndown the track.\n				</p>\n				<p>\nThe heart of the original Red Eye was a Little Labs custom wound \ntransformer. This transformer was chosen for its sonic character- istics\n and is made with the same core material and winding technique as the \nlegendary UTC transformers found in many classic pro audio devices. The \nRedeye 3D features two of these excellent transformers for simultaneous \ndirect box and re-amping use. We have also added to the Redeye direct \nbox a very high quality, hi fi, phantom powered, high impedance (1MÎ© or\n 10MÎ©) instrument buffer. When you are using the Redeye with sensitive \npassive or piezo pick ups, this high quality buffer assures no tone \nchange from loading will occur. For those who use active pick ups or \nprefer the sound of a passive direct box, you still have the option of \nplugging into the Redeye 3D direct box passively as in the original \nRedeye.\n				</p>\n				<p>\nThe Redeye 3D sounds amazing and even if you never used it for re-amping\n it is an incredible value just as a direct box. The Redeye 3D phantom -\n the now even smarter flexible audio tool to aid you in all stages of \nyour production.\n				</p>\n				<br /><br /><span id=\"product_description\" itemprop=\"description\">\n				<h3>Little Labs Red Eye 3D Features</h3>\n				</span>\n				<div style=\"margin-left: 15px; margin-right: 15px;\">\n					<ul style=\"line-height: 18px;\">\n						<li>\n						Simultaneous vintage transformer direct box and re-amping tool</li>\n						<li>\n						Phantom powered super hi fi buffered or passive direct box inputs</li>\n						<li>\n						Compare direct and re-amped signal with one button What you heard is what you will hear easy re-amping operation</li>\n						<li>\n						Easily interfaces pro gear with guitar gear and vice versa</li>\n						<li>\n						Expandable for daisy chaining redeyes to feed multiple amps or pedals</li>\n						<li>\n						Rack mountable 4 redeyes fit in a 1U</li>\n					</ul>\n<br />\n<h3>About Little Labs</h3>\nSince 1988 Little Labs has created audio tools for use in the pro audio industry, to aid the audio engineer in his quest for sonic pleasure for himself and his clients. Little Labs products specialize in addressing previously un-addressed audio applications, empowering the audio engineer with new tools, allowing new techniques to explore deeper into the control of sound.\n<br /><br />\n<h3>The Little Labs Red Eye 3D<span style=\"background-color: initial;\"> allows for easy, accurate re-amping. Contact a RSPE Sales representative to add the Little Labs </span>Red Eye 3D<span style=\"background-color: initial;\"> to your recording studio today.</span></h3>\n</div></span>'),(6212,75,1,1036,'<h2>Little Labs Red Eye 3D Phantom Passive Direct Box / Re-Amp Box Expansion Splitter</h2>\n<span style=\"font-size: 16px; font-style: italic;\"></span><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"> Little Labs once again has addressed a common studio and live sound problem with a simple effective and reasonably priced solution. <br /></span></span><br />\n				<p>\nThe Red Eye 3D phantom is the new improved major revision \nof the popular Little Labs Redeye direct box / re-amp box. More people \nare re-amping now than ever before, and we at Little Labs know \nre-amping! We made this new major Redeye revision because we wanted to \nmake sure we continued to make the best sounding, most flexible, easiest\n to use, and reasonably priced re-amping and direct box product \navailable.\n				</p>\n				<p>\nFor easy accurate re-amping the Redeye 3D lets you listen thru your \nwhole recording chain, from Redeye 3D direct box, to mic pre to DAW (or \ntape machine), to Redeye 3D Re-amp, to your guitar amp. In DI (direct \nbox) mode the instrument / re-amp out on the front of the Redeye 3D \nworks as a thru signal so you can simultaneously feed your guitar amp \nwhile supplying a signal from the rear xlr to your mic pre and DAW or \ntape machine. In re-amp mode the instrument / re-amp out on the front of\n the Redeye 3D signal comes from the line level output of the DAW or \ntape machine (converted to HI z guitar level signal) to feed your guitar\n amp. This simple way of listening thru the chain (re-amp mode) and \nbeing able to bypass the mic pre and DAW or tape machine in the chain \n(DI mode) makes level adjustments a snap. This also assures you a \nre-amped guitar sound that will be exactly what was heard when laying \ndown the track.\n				</p>\n				<p>\nThe heart of the original Red Eye was a Little Labs custom wound \ntransformer. This transformer was chosen for its sonic character- istics\n and is made with the same core material and winding technique as the \nlegendary UTC transformers found in many classic pro audio devices. The \nRedeye 3D features two of these excellent transformers for simultaneous \ndirect box and re-amping use. We have also added to the Redeye direct \nbox a very high quality, hi fi, phantom powered, high impedance (1MÎ© or\n 10MÎ©) instrument buffer. When you are using the Redeye with sensitive \npassive or piezo pick ups, this high quality buffer assures no tone \nchange from loading will occur. For those who use active pick ups or \nprefer the sound of a passive direct box, you still have the option of \nplugging into the Redeye 3D direct box passively as in the original \nRedeye.\n				</p>\n				<p>\nThe Redeye 3D sounds amazing and even if you never used it for re-amping\n it is an incredible value just as a direct box. The Redeye 3D phantom -\n the now even smarter flexible audio tool to aid you in all stages of \nyour production.\n				</p>\n				<br /><br /><span id=\"product_description\" itemprop=\"description\">\n				<h3>Little Labs Red Eye 3D Features</h3>\n				</span>\n				<div style=\"margin-left: 15px; margin-right: 15px;\">\n					<ul style=\"line-height: 18px;\">\n						<li>\n						Simultaneous vintage transformer direct box and re-amping tool</li>\n						<li>\n						Phantom powered super hi fi buffered or passive direct box inputs</li>\n						<li>\n						Compare direct and re-amped signal with one button What you heard is what you will hear easy re-amping operation</li>\n						<li>\n						Easily interfaces pro gear with guitar gear and vice versa</li>\n						<li>\n						Expandable for daisy chaining redeyes to feed multiple amps or pedals</li>\n						<li>\n						Rack mountable 4 redeyes fit in a 1U</li>\n					</ul>\n<br />\n<h3>About Little Labs</h3>\nSince 1988 Little Labs has created audio tools for use in the pro audio industry, to aid the audio engineer in his quest for sonic pleasure for himself and his clients. Little Labs products specialize in addressing previously un-addressed audio applications, empowering the audio engineer with new tools, allowing new techniques to explore deeper into the control of sound.\n<br /><br />\n<h3>The Little Labs Red Eye 3D<span style=\"background-color: initial;\"> allows for easy, accurate re-amping. Contact a RSPE Sales representative to add the Little Labs </span>Red Eye 3D<span style=\"background-color: initial;\"> to your recording studio today.</span></h3>\n</div></span>'),(6213,85,0,1036,'Little Labs Red Eye 3D Phantom Passive Direct Box / Re-Amp Box Expansion Splitter'),(6214,85,1,1036,'Little Labs Red Eye 3D Phantom Passive Direct Box / Re-Amp Box Expansion Splitter'),(6215,76,0,1036,''),(6216,76,1,1036,''),(6217,75,0,1037,'<h2 class=\"product-page-header\" itemprop=\"name\">Little Labs Mercenary Edition STD</h2>\n<span style=\"font-size: 16px; font-style: italic;\"></span><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"> Little Labs once again has addressed a common studio and live sound problem with a simple effective and reasonably priced solution. <br /></span></span><br />\n				<p>\n					The STD allows you to use long microphone cables or microphone tie \nlines to extend your guitar or any instrument cable without the loss of \ntone and increase of noise associated with long instrument cable runs. \nIt also has two outputs for splitting between two amps or between an amp\n and a direct injection box, with a selectable ground lift on one output\n to eliminate ground loop problems. The STD is the perfect solution for:\n the live player who is tired of the tone sucking wireless rigs but \nstill needs to be able to walk more than ten feet from his amp; the \nstudio player who needs his amplifier in isolation, but himself in close\n proximity to his band mates; the recording engineer using control room \nrack mounted direct injection boxes with a player located in the studio \nor isolation booth.\n				</p>\n				The single transistor unity gain buffer circuit \nutilized in the STD is mounted inside the special copper tipped phone \nplug itself. This elegantly simple buffer circuit was designed to load \nthe instrument pickup properly for a natural frequency response \nregardless of cable length and also will eliminate susceptibility of the\n cable to extraneous noise sources. The rugged cast aluminum base unit \nwhich sits next to the amp or direct injection box contains the mating \ncircuitry which utilizes high quality audio graded parts, including Elna\n Cerafine and Dale Vishay. The STD base unit is powered by two nine volt\n batteries that with regular use will last over one year.\n				<font face=\"Arial\" color=\"#000000\" size=\"2\"></font><br /><br /><span id=\"product_description\" itemprop=\"description\">\n				<h3>Little Labs Mercenary Edition STD Features</h3>\n				</span>\n				<ul>\n					<li>Extends instrument cables using mic cables and/or tie lines</li>\n					<li>Single transistor buffer technology</li>\n					<li>Reduces cable noise susceptibility while preserving tone</li>\n					<li>Sonics of a 10ft. “Boutique guitar cable” in a 80ft. run</li>\n					<li>Dual outputs for feeding two amps or an amp and a Direct box</li>\n				</ul>\n				<br />\n				<h3>About Little Labs</h3>\nSince 1988 Little Labs has created audio tools for use in the pro audio industry, to aid the audio engineer in his quest for sonic pleasure for himself and his clients. Little Labs products specialize in addressing previously un-addressed audio applications, empowering the audio engineer with new tools, allowing new techniques to explore deeper into the control of sound.\n				<br /><br />\n				<h3>The Little Labs STD<span style=\"background-color: initial;\"> allows to easily extend guitar or instrument cables without loss of tone. Contact a RSPE Sales representative to add the Little Labs </span>STD<span style=\"background-color: initial;\"> to your recording studio today.</span></h3>\n			\n		\n	\n</span>'),(6218,75,1,1037,'<h2 class=\"product-page-header\" itemprop=\"name\">Little Labs Mercenary Edition STD</h2>\n<span style=\"font-size: 16px; font-style: italic;\"></span><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"> Little Labs once again has addressed a common studio and live sound problem with a simple effective and reasonably priced solution. <br /></span></span><br />\n				<p>\n					The STD allows you to use long microphone cables or microphone tie \nlines to extend your guitar or any instrument cable without the loss of \ntone and increase of noise associated with long instrument cable runs. \nIt also has two outputs for splitting between two amps or between an amp\n and a direct injection box, with a selectable ground lift on one output\n to eliminate ground loop problems. The STD is the perfect solution for:\n the live player who is tired of the tone sucking wireless rigs but \nstill needs to be able to walk more than ten feet from his amp; the \nstudio player who needs his amplifier in isolation, but himself in close\n proximity to his band mates; the recording engineer using control room \nrack mounted direct injection boxes with a player located in the studio \nor isolation booth.\n				</p>\n				The single transistor unity gain buffer circuit \nutilized in the STD is mounted inside the special copper tipped phone \nplug itself. This elegantly simple buffer circuit was designed to load \nthe instrument pickup properly for a natural frequency response \nregardless of cable length and also will eliminate susceptibility of the\n cable to extraneous noise sources. The rugged cast aluminum base unit \nwhich sits next to the amp or direct injection box contains the mating \ncircuitry which utilizes high quality audio graded parts, including Elna\n Cerafine and Dale Vishay. The STD base unit is powered by two nine volt\n batteries that with regular use will last over one year.\n				<font face=\"Arial\" color=\"#000000\" size=\"2\"></font><br /><br /><span id=\"product_description\" itemprop=\"description\">\n				<h3>Little Labs Mercenary Edition STD Features</h3>\n				</span>\n				<ul>\n					<li>Extends instrument cables using mic cables and/or tie lines</li>\n					<li>Single transistor buffer technology</li>\n					<li>Reduces cable noise susceptibility while preserving tone</li>\n					<li>Sonics of a 10ft. “Boutique guitar cable” in a 80ft. run</li>\n					<li>Dual outputs for feeding two amps or an amp and a Direct box</li>\n				</ul>\n				<br />\n				<h3>About Little Labs</h3>\nSince 1988 Little Labs has created audio tools for use in the pro audio industry, to aid the audio engineer in his quest for sonic pleasure for himself and his clients. Little Labs products specialize in addressing previously un-addressed audio applications, empowering the audio engineer with new tools, allowing new techniques to explore deeper into the control of sound.\n				<br /><br />\n				<h3>The Little Labs STD<span style=\"background-color: initial;\"> allows to easily extend guitar or instrument cables without loss of tone. Contact a RSPE Sales representative to add the Little Labs </span>STD<span style=\"background-color: initial;\"> to your recording studio today.</span></h3>\n			\n		\n	\n</span>'),(6219,85,0,1037,'Little Labs Mercenary Edition STD'),(6220,85,1,1037,'Little Labs Mercenary Edition STD'),(6221,76,0,1037,''),(6222,76,1,1037,''),(6223,75,0,1038,'<img class=\"spacer\" src=\"http://www.rspeaudio.com/v/vspfiles/templates/RSPE/images/clear1x1.gif\" alt=\"\" height=\"1\" width=\"1\" />\n<span id=\"product_description\" itemprop=\"description\">\n<h3>Little Labs VOG - Analog Bass Resonance Tool</h3>\n<span style=\"font-size: 16px; font-style: italic;\">The VOG analog bass resonance tool is the latest creation from Little Labs, and is Little Labs first entry in the popular API 500-Series module format. </span><br /><br />\n<p>\n										The VOG was originally designed to capture the chest resonance of vocalists or voice over artists, enabling them to still have a proximity type effect without having to be so close to the mic, hence the name, VOG, or Voice of God. However, when I heard it on kick drum and bass, it became clear this would be the go to device to make these instruments sound huge. The VOG lets users sweep a sharp peak resonance from 20 to 300 Hz, while anything below the peak is rolled off at a steep -24dB per octave. This lets users focus on the low end they want, while eliminating low-end mush and unnecessary woofer excursion. \n	<br /><br />A subharmonic can be the focus, or the fundamental, or upper harmonics. On a kick drum, for example, the overall effect of turning VOGs frequency knob sounds like someone is tightening or loosening the drumhead. In a mix, VOG allows users to place the bass spectrum instruments so they do not interfere or get in the way of each other. The i-VOG is identical to the VOG, but it\'s a standalone version, no rack required. Oh, but it does add a hi quality hi Z instrument in which adds to its creative capability. This video is for the UA plug in of the VOG, but the hardware is identical, and this was well produced.<font color=\"#000000\"><b><i><br /></i></b></font></p><p></p>\n<h3>About Little Labs</h3>\nSince 1988 Little Labs has created audio tools for use in the pro audio industry, to aid the audio engineer in his quest for sonic pleasure for himself and his clients. Little Labs products specialize in addressing previously un-addressed audio applications, empowering the audio engineer with new tools, allowing new techniques to explore deeper into the control of sound.\n<br /><br />\n<h3>The Little Labs VOG<span style=\"background-color: initial;\"> gives engineers control of bass resonance in a compact 500 Series Package. Contact a RSPE Sales representative to add the Little Labs </span>VOG<span style=\"background-color: initial;\"> to your recording studio today.</span></h3>\n</span>'),(6224,75,1,1038,'<img class=\"spacer\" src=\"http://www.rspeaudio.com/v/vspfiles/templates/RSPE/images/clear1x1.gif\" alt=\"\" height=\"1\" width=\"1\" />\n<span id=\"product_description\" itemprop=\"description\">\n<h3>Little Labs VOG - Analog Bass Resonance Tool</h3>\n<span style=\"font-size: 16px; font-style: italic;\">The VOG analog bass resonance tool is the latest creation from Little Labs, and is Little Labs first entry in the popular API 500-Series module format. </span><br /><br />\n<p>\n										The VOG was originally designed to capture the chest resonance of vocalists or voice over artists, enabling them to still have a proximity type effect without having to be so close to the mic, hence the name, VOG, or Voice of God. However, when I heard it on kick drum and bass, it became clear this would be the go to device to make these instruments sound huge. The VOG lets users sweep a sharp peak resonance from 20 to 300 Hz, while anything below the peak is rolled off at a steep -24dB per octave. This lets users focus on the low end they want, while eliminating low-end mush and unnecessary woofer excursion. \n	<br /><br />A subharmonic can be the focus, or the fundamental, or upper harmonics. On a kick drum, for example, the overall effect of turning VOGs frequency knob sounds like someone is tightening or loosening the drumhead. In a mix, VOG allows users to place the bass spectrum instruments so they do not interfere or get in the way of each other. The i-VOG is identical to the VOG, but it\'s a standalone version, no rack required. Oh, but it does add a hi quality hi Z instrument in which adds to its creative capability. This video is for the UA plug in of the VOG, but the hardware is identical, and this was well produced.<font color=\"#000000\"><b><i><br /></i></b></font></p><p></p>\n<h3>About Little Labs</h3>\nSince 1988 Little Labs has created audio tools for use in the pro audio industry, to aid the audio engineer in his quest for sonic pleasure for himself and his clients. Little Labs products specialize in addressing previously un-addressed audio applications, empowering the audio engineer with new tools, allowing new techniques to explore deeper into the control of sound.\n<br /><br />\n<h3>The Little Labs VOG<span style=\"background-color: initial;\"> gives engineers control of bass resonance in a compact 500 Series Package. Contact a RSPE Sales representative to add the Little Labs </span>VOG<span style=\"background-color: initial;\"> to your recording studio today.</span></h3>\n</span>'),(6225,85,0,1038,'Little Labs VOG - Analog Bass Resonance Tool'),(6226,85,1,1038,'Little Labs VOG - Analog Bass Resonance Tool'),(6227,76,0,1038,''),(6228,76,1,1038,''),(6229,75,0,1039,'<h1>Lynx AES16e AES/EBU PCI Express Card</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-USB Interface Card.</span><br /><br />\nThe Lynx AES16e AES/EBU PCI Express Card offers 16 channels of 192 kHz AES/EBU I/O. In addition to the base model, the AES16e-SRC includes sixteen channels of sample rate conversion and AES16e-50 will provide up to 32 additional digital inputs/outputs via AES50 technology.\n<br /><br />\nThe AES16e builds on the capabilities of our industry-standard AES16 with an updated feature set and the benefits of the PCI Express interface. The architecture and higher bandwidth of PCI Express reduces bottlenecks and overhead, which provides higher performance for computer-based high end audio.\n<br /><br />\nThe AES16e x1 PCI Express card provides 16 channels of 24-bit AES/EBU digital audio at a 192 kHz sample rate in both single-wire and dual-wire AES modes. Designed to integrate digital consoles, multi-channel A/D and D/A converters, hard disk recorders, digital audio workstations and other digital audio equipment, the AES16e is compatible with Windows and Macintosh operating systems.\n<br /><br />\n<h3>AES16e features:</h3>\n<ul>\n<li>Eight stereo inputs and eight stereo outputs (16 mono I/O), AES/EBU format, 24-bit, single wire and dual wire, transformer coupled                                        </li>\n<li>Optional sixteen channels of Sample Rate Conversion. Support for conversion ratios up to 16:1 with 144 dB dynamic range and -140dB THD+N.                                 </li>\n<li>Extensive on-board digital mixer                                                                                                                                          </li>\n<li>Optional AES50 interface                                                                                                                                                  </li>\n<li>All relevant settings, such as sample rate selection, sync source selection, channel routing, and buffer size are enabled, controlled and monitored from the host computer</li>\n<li>Multi-channel support of 5.1 and 7.1 surround playback formats                                                                                                            </li>\n<li>Includes Lynx-exclusive SynchroLock™ sample clock generator for 3000:1 jitter rejection on external clock sources                                                         </li>\n<li>Supports ASIO and WDM for Windows and CoreAudio for Mac OS X</li>\n</ul><br />'),(6230,75,1,1039,'<h1>Lynx AES16e AES/EBU PCI Express Card</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-USB Interface Card.</span><br /><br />\nThe Lynx AES16e AES/EBU PCI Express Card offers 16 channels of 192 kHz AES/EBU I/O. In addition to the base model, the AES16e-SRC includes sixteen channels of sample rate conversion and AES16e-50 will provide up to 32 additional digital inputs/outputs via AES50 technology.\n<br /><br />\nThe AES16e builds on the capabilities of our industry-standard AES16 with an updated feature set and the benefits of the PCI Express interface. The architecture and higher bandwidth of PCI Express reduces bottlenecks and overhead, which provides higher performance for computer-based high end audio.\n<br /><br />\nThe AES16e x1 PCI Express card provides 16 channels of 24-bit AES/EBU digital audio at a 192 kHz sample rate in both single-wire and dual-wire AES modes. Designed to integrate digital consoles, multi-channel A/D and D/A converters, hard disk recorders, digital audio workstations and other digital audio equipment, the AES16e is compatible with Windows and Macintosh operating systems.\n<br /><br />\n<h3>AES16e features:</h3>\n<ul>\n<li>Eight stereo inputs and eight stereo outputs (16 mono I/O), AES/EBU format, 24-bit, single wire and dual wire, transformer coupled                                        </li>\n<li>Optional sixteen channels of Sample Rate Conversion. Support for conversion ratios up to 16:1 with 144 dB dynamic range and -140dB THD+N.                                 </li>\n<li>Extensive on-board digital mixer                                                                                                                                          </li>\n<li>Optional AES50 interface                                                                                                                                                  </li>\n<li>All relevant settings, such as sample rate selection, sync source selection, channel routing, and buffer size are enabled, controlled and monitored from the host computer</li>\n<li>Multi-channel support of 5.1 and 7.1 surround playback formats                                                                                                            </li>\n<li>Includes Lynx-exclusive SynchroLock™ sample clock generator for 3000:1 jitter rejection on external clock sources                                                         </li>\n<li>Supports ASIO and WDM for Windows and CoreAudio for Mac OS X</li>\n</ul><br />'),(6231,85,0,1039,'Lynx AES16e AES/EBU PCI Express Card'),(6232,85,1,1039,'Lynx AES16e AES/EBU PCI Express Card'),(6233,76,0,1039,''),(6234,76,1,1039,''),(6235,75,0,1040,'<h1>Lynx Aurora (n) 16 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 16 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li>\n	<li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li>\n	<li>Onboard 32-channel microSD recorder for direct recording and playback.</li>\n	<li>Two audiophile-grade headphone outputs with independent volume controls.</li>\n	<li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li>\n	<li>Road-ready rack-mount reinforced chassis</li>\n	<li>Designed and built in Southern California, USA  </li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6236,75,1,1040,'<h1>Lynx Aurora (n) 16 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 16 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li>\n	<li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li>\n	<li>Onboard 32-channel microSD recorder for direct recording and playback.</li>\n	<li>Two audiophile-grade headphone outputs with independent volume controls.</li>\n	<li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li>\n	<li>Road-ready rack-mount reinforced chassis</li>\n	<li>Designed and built in Southern California, USA  </li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6237,85,0,1040,'Lynx Aurora (n) 16 DNT'),(6238,85,1,1040,'Lynx Aurora (n) 16 DNT'),(6239,76,0,1040,''),(6240,76,1,1040,''),(6241,75,0,1041,'<h1>Lynx Aurora (n) 16 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 16 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.<li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li></li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6242,75,1,1041,'<h1>Lynx Aurora (n) 16 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 16 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.<li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li></li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6243,85,0,1041,'Lynx Aurora (n) 16 HD'),(6244,85,1,1041,'Lynx Aurora (n) 16 HD'),(6245,76,0,1041,''),(6246,76,1,1041,''),(6247,75,0,1042,'<h1>Lynx Aurora (n) 16 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled </span><i>LT-TB3 Thunderbolt 3 Expansion Card</i><br /><br />\nThe Lynx Aurora (n) 16 TB with Preinstalled LT-TB3 Thunderbolt 3 sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 Channel Analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt 3, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6248,75,1,1042,'<h1>Lynx Aurora (n) 16 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled </span><i>LT-TB3 Thunderbolt 3 Expansion Card</i><br /><br />\nThe Lynx Aurora (n) 16 TB with Preinstalled LT-TB3 Thunderbolt 3 sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 Channel Analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt 3, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6249,85,0,1042,'Lynx Aurora (n) 16 TB'),(6250,85,1,1042,'Lynx Aurora (n) 16 TB'),(6251,76,0,1042,''),(6252,76,1,1042,''),(6253,75,0,1043,'<h1>Lynx Aurora (n) 16 USB</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-USB USB Interface Card</span><br /><br />\nThe Aurora (n) 16 USB with Preinstalled LT-USB USB Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.<li>Includes LT-USB LSlot card for USB Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li></li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6254,75,1,1043,'<h1>Lynx Aurora (n) 16 USB</h1>\n<span style=\"font-size:16px; font-style:italic;\">16 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-USB USB Interface Card</span><br /><br />\nThe Aurora (n) 16 USB with Preinstalled LT-USB USB Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>16 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.<li>Includes LT-USB LSlot card for USB Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li></li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6255,85,0,1043,'Lynx Aurora (n) 16 USB'),(6256,85,1,1043,'Lynx Aurora (n) 16 USB'),(6257,76,0,1043,''),(6258,76,1,1043,''),(6259,75,0,1044,'<h1>Lynx Aurora (n) 24 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">24 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 24 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>24 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li>\n	<li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li>\n	<li>Onboard 32-channel microSD recorder for direct recording and playback.</li>\n	<li>Two audiophile-grade headphone outputs with independent volume controls.</li>\n	<li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li>\n	<li>Road-ready rack-mount reinforced chassis</li>\n	<li>Designed and built in Southern California, USA  </li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6260,75,1,1044,'<h1>Lynx Aurora (n) 24 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">24 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 24 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>24 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li>\n	<li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li>\n	<li>Onboard 32-channel microSD recorder for direct recording and playback.</li>\n	<li>Two audiophile-grade headphone outputs with independent volume controls.</li>\n	<li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li>\n	<li>Road-ready rack-mount reinforced chassis</li>\n	<li>Designed and built in Southern California, USA  </li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6261,85,0,1044,'Lynx Aurora (n) 24 DNT'),(6262,85,1,1044,'Lynx Aurora (n) 24 DNT'),(6263,76,0,1044,''),(6264,76,1,1044,''),(6265,75,0,1045,'<h1>Lynx Aurora (n) 24 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">24 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 24 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>24 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6266,75,1,1045,'<h1>Lynx Aurora (n) 24 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">24 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 24 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>24 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6267,85,0,1045,'Lynx Aurora (n) 24 HD'),(6268,85,1,1045,'Lynx Aurora (n) 24 HD'),(6269,76,0,1045,''),(6270,76,1,1045,''),(6271,75,0,1046,'<h1>Lynx Aurora (n) 24 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">24 Channel, 24-bit / 192 kHz Analog I/O </span><i>with Preinstalled LT-TB3 Thunderbolt 3 Expansion Card</i><br /><br />\nThe Aurora (n) 24 TB with Preinstalled LT-TB3 Thunderbolt 3 Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>24 Channel Analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6272,75,1,1046,'<h1>Lynx Aurora (n) 24 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">24 Channel, 24-bit / 192 kHz Analog I/O </span><i>with Preinstalled LT-TB3 Thunderbolt 3 Expansion Card</i><br /><br />\nThe Aurora (n) 24 TB with Preinstalled LT-TB3 Thunderbolt 3 Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>24 Channel Analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6273,85,0,1046,'Lynx Aurora (n) 24 TB'),(6274,85,1,1046,'Lynx Aurora (n) 24 TB'),(6275,76,0,1046,''),(6276,76,1,1046,''),(6277,75,0,1047,'<h1>Lynx Aurora (n) 32 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">32 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 32 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>32 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li>\n	<li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li>\n	<li>Onboard 32-channel microSD recorder for direct recording and playback.</li>\n	<li>Two audiophile-grade headphone outputs with independent volume controls.</li>\n	<li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li>\n	<li>Road-ready rack-mount reinforced chassis</li>\n	<li>Designed and built in Southern California, USA  </li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6278,75,1,1047,'<h1>Lynx Aurora (n) 32 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">32 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 32 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>32 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li>\n	<li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li>\n	<li>Onboard 32-channel microSD recorder for direct recording and playback.</li>\n	<li>Two audiophile-grade headphone outputs with independent volume controls.</li>\n	<li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li>\n	<li>Road-ready rack-mount reinforced chassis</li>\n	<li>Designed and built in Southern California, USA  </li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6279,85,0,1047,'Lynx Aurora (n) 32 DNT'),(6280,85,1,1047,'Lynx Aurora (n) 32 DNT'),(6281,76,0,1047,''),(6282,76,1,1047,''),(6283,75,0,1048,'<h1>Lynx Aurora (n) 32 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">32 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 32 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>32 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6284,75,1,1048,'<h1>Lynx Aurora (n) 32 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">32 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 32 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>32 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6285,85,0,1048,'Lynx Aurora (n) 32 HD'),(6286,85,1,1048,'Lynx Aurora (n) 32 HD'),(6287,76,0,1048,''),(6288,76,1,1048,''),(6289,75,0,1049,'<h1>Lynx Aurora (n) 32 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">32 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-TB3 Thunderbolt 3 Card</span><br /><br />\nThe Aurora (n) 32 TB with Preinstalled LT-TB3 Thunderbolt 3 Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>32 Channel Analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6290,75,1,1049,'<h1>Lynx Aurora (n) 32 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">32 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-TB3 Thunderbolt 3 Card</span><br /><br />\nThe Aurora (n) 32 TB with Preinstalled LT-TB3 Thunderbolt 3 Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>32 Channel Analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6291,85,0,1049,'Lynx Aurora (n) 32 TB'),(6292,85,1,1049,'Lynx Aurora (n) 32 TB'),(6293,76,0,1049,''),(6294,76,1,1049,''),(6295,75,0,1050,'<h1>Lynx Aurora (n) 8 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 8 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6296,75,1,1050,'<h1>Lynx Aurora (n) 8 DNT</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-DANTE Dante Interface Card</span><br /><br />\nThe Aurora (n) 8 DNT with Preinstalled LT-DANTE Dante Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-DANTE LSlot card for Dante Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6297,85,0,1050,'Lynx Aurora (n) 8 DNT'),(6298,85,1,1050,'Lynx Aurora (n) 8 DNT'),(6299,76,0,1050,''),(6300,76,1,1050,''),(6301,75,0,1051,'<h1>Lynx Aurora (n) 8 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 8 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6302,75,1,1051,'<h1>Lynx Aurora (n) 8 HD</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-HD Card for Pro Tools | HD Connectivity</span><br /><br />\nThe Aurora (n) 8 HD with Preinstalled LT-HD Card for Pro Tools | HD Connectivity sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-HD Pro Tools | HD LSlot card with 2 DigiLink Connections</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6303,85,0,1051,'Lynx Aurora (n) 8 HD'),(6304,85,1,1051,'Lynx Aurora (n) 8 HD'),(6305,76,0,1051,''),(6306,76,1,1051,''),(6307,75,0,1052,'<h1>Lynx Aurora (n) 8 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-TB3 Thunderbolt 3 Card</span><br /><br />\nThe Aurora (n) 8 TB with Preinstalled LT-TB3 Thunderbolt 3 Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 Channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6308,75,1,1052,'<h1>Lynx Aurora (n) 8 TB</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-TB3 Thunderbolt 3 Card</span><br /><br />\nThe Aurora (n) 8 TB with Preinstalled LT-TB3 Thunderbolt 3 Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 Channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-TB3 Thunderbolt 3 LSlot card with two Thunderbolt 3 Connectors</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6309,85,0,1052,'Lynx Aurora (n) 8 TB'),(6310,85,1,1052,'Lynx Aurora (n) 8 TB'),(6311,76,0,1052,''),(6312,76,1,1052,''),(6313,75,0,1053,'<h1>Lynx Aurora (n) 8 USB</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-USB USB Interface Card</span><br /><br />\nThe Aurora (n) 8 USB with Preinstalled LT-USB USB Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-USB LSlot card for USB Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6314,75,1,1053,'<h1>Lynx Aurora (n) 8 USB</h1>\n<span style=\"font-size:16px; font-style:italic;\">8 Channel, 24-bit / 192 kHz Analog I/O with Preinstalled LT-USB USB Interface Card</span><br /><br />\nThe Aurora (n) 8 USB with Preinstalled LT-USB USB Interface Card sets the standard for transparency, reliability and economy for a professional AD/DA converter and is a staple of professional recording systems worldwide. The Aurora(n)  carries on that proud legacy with a complete redesign from the bottom up. This new member of the Lynx converter family expands upon the feature set that made the original Aurora famous and integrates innovative design and programming techniques to produce a result that sounds better, is more flexible, adapts to more contexts of use, and is optimally suited to become the heart of your recording studio. The Aurora(n) was designed to provide the detailed recording and playback that you require today, along with an expandable feature set that prepares you for whatever the future holds for your studio. Lynx designed the Aurora(n) to be the last converter you will ever need. It’s better because we’ve been listening to what our customers have been asking for, and built a precision audio tool to meet their needs. <br /><br />\n<h3>Aurora (n) features:</h3>\n<ul>\n	<li>8 channel analog I/O featuring Lynx\'s redesigned Hilo Converter Technology (HCT) for analog I/O achieving significant improvements in transparency and reductions in both noise and distortion.</li><li>Includes LT-USB LSlot card for USB Connectivity</li><li>Future-proof LSlot design with swappable USB, Thunderbolt, ProTools®|HD and DANTE cards</li><li>Configurable I/O - pre-amp, AES/EBU and Line A/D/A modules available</li><li>Onboard 32-channel microSD recorder for direct recording and playback.</li><li>Two audiophile-grade headphone outputs with independent volume controls.</li><li>1-in 3-out word clock with Lynx’s second generation SynchroLock 2™ technology</li><li>Road-ready rack-mount reinforced chassis</li><li>Designed and built in Southern California, USA</li>\n</ul>\n<br />\n<h3>Transparency Matters</h3>\nSignal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.\n<br /><br />\n<h3>Discrete Converter Array</h3>\nSome manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.\n<br /><br />\n<h3>Hilo Converter Technology (HCT)</h3>\nDesign and technology borrowed from the development of the Hilo is used to significantly improve specifications and transparency over previous models while attaining stunning Hilo-like performance.\n<br /><br />\n<h3>Future-Proof Design:</h3>\nConfigurable I/O:\n<ul>\n	<li>Add Channels – Start with eight, sixteen or twenty four channels and later add additional groups of eight channels for up to thirty two total.                                    </li>\n	<li>Add Modules – Digital (AES/EBU, now shipping), Mic Pre Amp (available March 2018) & Analog Summing modules to be released in 2018. More are being designed now for future release.</li>\n	<li>Add Connection Method – Thunderbolt, DANTE, ProTools|HD or USB via LSlot Cards                                                                                                    </li>\n	<li>Add Functionality – Via firmware updates. Just as we have for Hilo and Aurora we will continue to improve the Aurora(n)’s functionality and build in new feature sets.            </li>\n</ul>\n<br />\n<h3>SynchroLock 2™</h3>\nAll new SynchroLock 2™ high-performance sample clock technology provides a whopping 300,000:1 reduction in jitter, 5 second lock time and absolute accuracy. Word clock I/O provides one input and three outputs on BNC connectors.\n<br /><br />'),(6315,85,0,1053,'Lynx Aurora (n) 8 USB'),(6316,85,1,1053,'Lynx Aurora (n) 8 USB'),(6317,76,0,1053,''),(6318,76,1,1053,''),(6319,75,0,1054,'<h1>Lynx Hilo Dante - A/D D/A Converter with Dante</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-DNT Dante Interface Card.</span><br /><br />\nLynx Hilo represents the zenith of Analog conversion, improving on Lynx’s famous Aurora converters with state-of-the-art components and design techniques. The innovative design of the analog stage and converter topology allow ultra-low noise and distortion specifications, producing an unprecedented level of clarity and depth-of-image. Much more than a “me too” stereo converter, Hilo actually features three unique sets of analog outputs, each with their own Digital-to-Analog converters, and independent routing. Main Outs, Monitor Outs and Headphone Outs all can feature a unique combination of sources with independent level controls.<br /><br />\nHilo also has an extremely generous set of Digital I/O options. Apart from AD/DA conversion tasks, Hilo is one of the most powerful digital format converters/routers on the market. Digital formats include stereo AES/EBU, Stereo S/PDIF Coaxial, Stereo Optical S/PDIF which is switchable to 8-channel ADAT light pipe, and 16 channels of communication to a host computer, via USB 2, Thunderbolt or Dante connections. Any digital input can be routed to any analog or digital output, and all digital outputs can have unique combinations of source inputs.<br /><br />\nThe unique 480 x 272 pixel LCD touch screen display makes Hilo stand out from other pro audio converters. Never before has establishing parameters and routing channels been so quick and intuitive in a high-end converter. Not only are clear and accurate meters provided, but the user can select from several meter styles. The Hilo display and features can be updated via simple computer firmware update tools, easily accessible from the Lynx website. Hilo’s feature set and display options will evolve in response to user feedback and the imagination of Lynx engineers.<br /><br />\nHilo is also a game changer in terms of flexibility. It is well suited for recording studio use, the home recordist, mastering, audio analysis, home theater/audiophiles, as well as field recording. With AC or battery-powered DC operation, Hilo can be used “for here” or “to go”. With its lightweight, portable design, no longer does the discriminating user have to choose between top rung sound quality and convenience. <br /><br />\n<h3>Hilo features:</h3>\n<ul>\n	<li>Pristine, independently coupled 2in, 6out, AD/DA conversion with digital expansion up to 32x32. </li>\n	<li>Unique touchscreen interface. Forever upgradable through free firmware updates.                 </li>\n	<li>Future-proof LSlot design with swappable USB, Thunderbolt, LT-HD and DANTE cards.               </li>\n	<li>Real-time meters and analysis tools, hyper-flexible routing and monitor control.                </li>\n	<li>Powered by mains or 9-18v DC battery packs for location recording.                              </li>\n	<li>Lynx’s class-leading transparent audio quality.                                                 </li>\n	<li>Available in black or silver</li>\n</ul>\n<br />\n<h3>LSlot connectivity options</h3>\nHilo doesn\'t restrict how you choose to connect your devices. With LSlot cards, you can change your connection whenever you need. Hilo has you covered now, and in the future when new standards are made available.\n<br /><br />\nAs of today LSlot cards are available for USB, Thunderbolt, Pro Tools HD and Dante.<br /><br />\n<h3>Included in The Box:</h3>\n<ul>\n	<li>Hilo AD/DA converter                                               </li>\n	<li>AC Power Cord                                                      </li>\n	<li>Hilo User’s Manual                                                 </li>\n</ul>\n<br />'),(6320,75,1,1054,'<h1>Lynx Hilo Dante - A/D D/A Converter with Dante</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-DNT Dante Interface Card.</span><br /><br />\nLynx Hilo represents the zenith of Analog conversion, improving on Lynx’s famous Aurora converters with state-of-the-art components and design techniques. The innovative design of the analog stage and converter topology allow ultra-low noise and distortion specifications, producing an unprecedented level of clarity and depth-of-image. Much more than a “me too” stereo converter, Hilo actually features three unique sets of analog outputs, each with their own Digital-to-Analog converters, and independent routing. Main Outs, Monitor Outs and Headphone Outs all can feature a unique combination of sources with independent level controls.<br /><br />\nHilo also has an extremely generous set of Digital I/O options. Apart from AD/DA conversion tasks, Hilo is one of the most powerful digital format converters/routers on the market. Digital formats include stereo AES/EBU, Stereo S/PDIF Coaxial, Stereo Optical S/PDIF which is switchable to 8-channel ADAT light pipe, and 16 channels of communication to a host computer, via USB 2, Thunderbolt or Dante connections. Any digital input can be routed to any analog or digital output, and all digital outputs can have unique combinations of source inputs.<br /><br />\nThe unique 480 x 272 pixel LCD touch screen display makes Hilo stand out from other pro audio converters. Never before has establishing parameters and routing channels been so quick and intuitive in a high-end converter. Not only are clear and accurate meters provided, but the user can select from several meter styles. The Hilo display and features can be updated via simple computer firmware update tools, easily accessible from the Lynx website. Hilo’s feature set and display options will evolve in response to user feedback and the imagination of Lynx engineers.<br /><br />\nHilo is also a game changer in terms of flexibility. It is well suited for recording studio use, the home recordist, mastering, audio analysis, home theater/audiophiles, as well as field recording. With AC or battery-powered DC operation, Hilo can be used “for here” or “to go”. With its lightweight, portable design, no longer does the discriminating user have to choose between top rung sound quality and convenience. <br /><br />\n<h3>Hilo features:</h3>\n<ul>\n	<li>Pristine, independently coupled 2in, 6out, AD/DA conversion with digital expansion up to 32x32. </li>\n	<li>Unique touchscreen interface. Forever upgradable through free firmware updates.                 </li>\n	<li>Future-proof LSlot design with swappable USB, Thunderbolt, LT-HD and DANTE cards.               </li>\n	<li>Real-time meters and analysis tools, hyper-flexible routing and monitor control.                </li>\n	<li>Powered by mains or 9-18v DC battery packs for location recording.                              </li>\n	<li>Lynx’s class-leading transparent audio quality.                                                 </li>\n	<li>Available in black or silver</li>\n</ul>\n<br />\n<h3>LSlot connectivity options</h3>\nHilo doesn\'t restrict how you choose to connect your devices. With LSlot cards, you can change your connection whenever you need. Hilo has you covered now, and in the future when new standards are made available.\n<br /><br />\nAs of today LSlot cards are available for USB, Thunderbolt, Pro Tools HD and Dante.<br /><br />\n<h3>Included in The Box:</h3>\n<ul>\n	<li>Hilo AD/DA converter                                               </li>\n	<li>AC Power Cord                                                      </li>\n	<li>Hilo User’s Manual                                                 </li>\n</ul>\n<br />'),(6321,85,0,1054,'Lynx Hilo Dante - A/D D/A Converter with Dante'),(6322,85,1,1054,'Lynx Hilo Dante - A/D D/A Converter with Dante'),(6323,76,0,1054,''),(6324,76,1,1054,''),(6325,75,0,1055,'<h1>Lynx Hilo Thunderbolt - A/D D/A Converter with Thunderbolt 3</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-TB3 Thunderbolt 3 Interface Card.</span><br /><br />\nLynx Hilo represents the zenith of Analog conversion, improving on Lynx’s famous Aurora converters with state-of-the-art components and design techniques. The innovative design of the analog stage and converter topology allow ultra-low noise and distortion specifications, producing an unprecedented level of clarity and depth-of-image. Much more than a “me too” stereo converter, Hilo actually features three unique sets of analog outputs, each with their own Digital-to-Analog converters, and independent routing. Main Outs, Monitor Outs and Headphone Outs all can feature a unique combination of sources with independent level controls.<br /><br />\nHilo also has an extremely generous set of Digital I/O options. Apart from AD/DA conversion tasks, Hilo is one of the most powerful digital format converters/routers on the market. Digital formats include stereo AES/EBU, Stereo S/PDIF Coaxial, Stereo Optical S/PDIF which is switchable to 8-channel ADAT light pipe, and 16 channels of communication to a host computer, via USB 2, Thunderbolt or Dante connections. Any digital input can be routed to any analog or digital output, and all digital outputs can have unique combinations of source inputs.<br /><br />\nThe unique 480 x 272 pixel LCD touch screen display makes Hilo stand out from other pro audio converters. Never before has establishing parameters and routing channels been so quick and intuitive in a high-end converter. Not only are clear and accurate meters provided, but the user can select from several meter styles. The Hilo display and features can be updated via simple computer firmware update tools, easily accessible from the Lynx website. Hilo’s feature set and display options will evolve in response to user feedback and the imagination of Lynx engineers.<br /><br />\nHilo is also a game changer in terms of flexibility. It is well suited for recording studio use, the home recordist, mastering, audio analysis, home theater/audiophiles, as well as field recording. With AC or battery-powered DC operation, Hilo can be used “for here” or “to go”. With its lightweight, portable design, no longer does the discriminating user have to choose between top rung sound quality and convenience. <br /><br />\n<h3>Hilo features:</h3>\n<ul>\n	<li>Pristine, independently coupled 2in, 6out, AD/DA conversion with digital expansion up to 32x32. </li>\n	<li>Unique touchscreen interface. Forever upgradable through free firmware updates.                 </li>\n	<li>Future-proof LSlot design with swappable USB, Thunderbolt, LT-HD and DANTE cards.               </li>\n	<li>Real-time meters and analysis tools, hyper-flexible routing and monitor control.                </li>\n	<li>Powered by mains or 9-18v DC battery packs for location recording.                              </li>\n	<li>Lynx’s class-leading transparent audio quality.                                                 </li>\n	<li>Available in black or silver</li>\n</ul>\n<br />\n<h3>LSlot connectivity options</h3>\nHilo doesn\'t restrict how you choose to connect your devices. With LSlot cards, you can change your connection whenever you need. Hilo has you covered now, and in the future when new standards are made available.\n<br /><br />\nAs of today LSlot cards are available for USB, Thunderbolt 3, Pro Tools HD and Dante.<br /><br />\n<h3>Included in The Box:</h3>\n<ul>\n	<li>Hilo AD/DA converter                                               </li>\n	<li>AC Power Cord                                                      </li>\n	<li>Hilo User’s Manual                                                 </li>\n</ul>\n<br />'),(6326,75,1,1055,'<h1>Lynx Hilo Thunderbolt - A/D D/A Converter with Thunderbolt 3</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-TB3 Thunderbolt 3 Interface Card.</span><br /><br />\nLynx Hilo represents the zenith of Analog conversion, improving on Lynx’s famous Aurora converters with state-of-the-art components and design techniques. The innovative design of the analog stage and converter topology allow ultra-low noise and distortion specifications, producing an unprecedented level of clarity and depth-of-image. Much more than a “me too” stereo converter, Hilo actually features three unique sets of analog outputs, each with their own Digital-to-Analog converters, and independent routing. Main Outs, Monitor Outs and Headphone Outs all can feature a unique combination of sources with independent level controls.<br /><br />\nHilo also has an extremely generous set of Digital I/O options. Apart from AD/DA conversion tasks, Hilo is one of the most powerful digital format converters/routers on the market. Digital formats include stereo AES/EBU, Stereo S/PDIF Coaxial, Stereo Optical S/PDIF which is switchable to 8-channel ADAT light pipe, and 16 channels of communication to a host computer, via USB 2, Thunderbolt or Dante connections. Any digital input can be routed to any analog or digital output, and all digital outputs can have unique combinations of source inputs.<br /><br />\nThe unique 480 x 272 pixel LCD touch screen display makes Hilo stand out from other pro audio converters. Never before has establishing parameters and routing channels been so quick and intuitive in a high-end converter. Not only are clear and accurate meters provided, but the user can select from several meter styles. The Hilo display and features can be updated via simple computer firmware update tools, easily accessible from the Lynx website. Hilo’s feature set and display options will evolve in response to user feedback and the imagination of Lynx engineers.<br /><br />\nHilo is also a game changer in terms of flexibility. It is well suited for recording studio use, the home recordist, mastering, audio analysis, home theater/audiophiles, as well as field recording. With AC or battery-powered DC operation, Hilo can be used “for here” or “to go”. With its lightweight, portable design, no longer does the discriminating user have to choose between top rung sound quality and convenience. <br /><br />\n<h3>Hilo features:</h3>\n<ul>\n	<li>Pristine, independently coupled 2in, 6out, AD/DA conversion with digital expansion up to 32x32. </li>\n	<li>Unique touchscreen interface. Forever upgradable through free firmware updates.                 </li>\n	<li>Future-proof LSlot design with swappable USB, Thunderbolt, LT-HD and DANTE cards.               </li>\n	<li>Real-time meters and analysis tools, hyper-flexible routing and monitor control.                </li>\n	<li>Powered by mains or 9-18v DC battery packs for location recording.                              </li>\n	<li>Lynx’s class-leading transparent audio quality.                                                 </li>\n	<li>Available in black or silver</li>\n</ul>\n<br />\n<h3>LSlot connectivity options</h3>\nHilo doesn\'t restrict how you choose to connect your devices. With LSlot cards, you can change your connection whenever you need. Hilo has you covered now, and in the future when new standards are made available.\n<br /><br />\nAs of today LSlot cards are available for USB, Thunderbolt 3, Pro Tools HD and Dante.<br /><br />\n<h3>Included in The Box:</h3>\n<ul>\n	<li>Hilo AD/DA converter                                               </li>\n	<li>AC Power Cord                                                      </li>\n	<li>Hilo User’s Manual                                                 </li>\n</ul>\n<br />'),(6327,85,0,1055,'Lynx Hilo Thunderbolt - A/D D/A Converter with Thunderbolt'),(6328,85,1,1055,'Lynx Hilo Thunderbolt - A/D D/A Converter with Thunderbolt'),(6329,76,0,1055,''),(6330,76,1,1055,''),(6331,75,0,1056,'<h1>Lynx Hilo USB - A/D D/A Converter with USB</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-USB Interface Card.</span><br /><br />\nLynx Hilo represents the zenith of Analog conversion, improving on Lynx’s famous Aurora converters with state-of-the-art components and design techniques. The innovative design of the analog stage and converter topology allow ultra-low noise and distortion specifications, producing an unprecedented level of clarity and depth-of-image. Much more than a “me too” stereo converter, Hilo actually features three unique sets of analog outputs, each with their own Digital-to-Analog converters, and independent routing. Main Outs, Monitor Outs and Headphone Outs all can feature a unique combination of sources with independent level controls.<br /><br />\nHilo also has an extremely generous set of Digital I/O options. Apart from AD/DA conversion tasks, Hilo is one of the most powerful digital format converters/routers on the market. Digital formats include stereo AES/EBU, Stereo S/PDIF Coaxial, Stereo Optical S/PDIF which is switchable to 8-channel ADAT light pipe, and 16 channels of communication to a host computer, via USB 2, Thunderbolt or Dante connections. Any digital input can be routed to any analog or digital output, and all digital outputs can have unique combinations of source inputs.<br /><br />\nThe unique 480 x 272 pixel LCD touch screen display makes Hilo stand out from other pro audio converters. Never before has establishing parameters and routing channels been so quick and intuitive in a high-end converter. Not only are clear and accurate meters provided, but the user can select from several meter styles. The Hilo display and features can be updated via simple computer firmware update tools, easily accessible from the Lynx website. Hilo’s feature set and display options will evolve in response to user feedback and the imagination of Lynx engineers.<br /><br />\nHilo is also a game changer in terms of flexibility. It is well suited for recording studio use, the home recordist, mastering, audio analysis, home theater/audiophiles, as well as field recording. With AC or battery-powered DC operation, Hilo can be used “for here” or “to go”. With its lightweight, portable design, no longer does the discriminating user have to choose between top rung sound quality and convenience. <br /><br />\n<h3>Hilo features:</h3>\n<ul>\n	<li>Pristine, independently coupled 2in, 6out, AD/DA conversion with digital expansion up to 32x32. </li>\n	<li>Unique touchscreen interface. Forever upgradable through free firmware updates.                 </li>\n	<li>Future-proof LSlot design with swappable USB, Thunderbolt, LT-HD and DANTE cards.               </li>\n	<li>Real-time meters and analysis tools, hyper-flexible routing and monitor control.                </li>\n	<li>Powered by mains or 9-18v DC battery packs for location recording.                              </li>\n	<li>Lynx’s class-leading transparent audio quality.                                                 </li>\n	<li>Available in black or silver</li>\n</ul>\n<br />\n<h3>LSlot connectivity options</h3>\nHilo doesn\'t restrict how you choose to connect your devices. With LSlot cards, you can change your connection whenever you need. Hilo has you covered now, and in the future when new standards are made available.\n<br /><br />\nAs of today LSlot cards are available for USB, Thunderbolt, Pro Tools HD and Dante.<br /><br />\n<h3>Included in The Box:</h3>\n<ul>\n	<li>Hilo AD/DA converter                                               </li>\n	<li>AC Power Cord                                                      </li>\n	<li>Hilo User’s Manual                                                 </li>\n	<li>One 6’ long Type-A to Type-B shielded USB 2.0 cable </li>\n</ul>\n<br />'),(6332,75,1,1056,'<h1>Lynx Hilo USB - A/D D/A Converter with USB</h1>\n<span style=\"font-size:16px; font-style:italic;\">Reference A/D D/A Converter with two-channel 24-bit / 192 kHz Analog I/O, Headphone Amplifier and Flexible Monitor Controller. Includes Preinstalled LT-USB Interface Card.</span><br /><br />\nLynx Hilo represents the zenith of Analog conversion, improving on Lynx’s famous Aurora converters with state-of-the-art components and design techniques. The innovative design of the analog stage and converter topology allow ultra-low noise and distortion specifications, producing an unprecedented level of clarity and depth-of-image. Much more than a “me too” stereo converter, Hilo actually features three unique sets of analog outputs, each with their own Digital-to-Analog converters, and independent routing. Main Outs, Monitor Outs and Headphone Outs all can feature a unique combination of sources with independent level controls.<br /><br />\nHilo also has an extremely generous set of Digital I/O options. Apart from AD/DA conversion tasks, Hilo is one of the most powerful digital format converters/routers on the market. Digital formats include stereo AES/EBU, Stereo S/PDIF Coaxial, Stereo Optical S/PDIF which is switchable to 8-channel ADAT light pipe, and 16 channels of communication to a host computer, via USB 2, Thunderbolt or Dante connections. Any digital input can be routed to any analog or digital output, and all digital outputs can have unique combinations of source inputs.<br /><br />\nThe unique 480 x 272 pixel LCD touch screen display makes Hilo stand out from other pro audio converters. Never before has establishing parameters and routing channels been so quick and intuitive in a high-end converter. Not only are clear and accurate meters provided, but the user can select from several meter styles. The Hilo display and features can be updated via simple computer firmware update tools, easily accessible from the Lynx website. Hilo’s feature set and display options will evolve in response to user feedback and the imagination of Lynx engineers.<br /><br />\nHilo is also a game changer in terms of flexibility. It is well suited for recording studio use, the home recordist, mastering, audio analysis, home theater/audiophiles, as well as field recording. With AC or battery-powered DC operation, Hilo can be used “for here” or “to go”. With its lightweight, portable design, no longer does the discriminating user have to choose between top rung sound quality and convenience. <br /><br />\n<h3>Hilo features:</h3>\n<ul>\n	<li>Pristine, independently coupled 2in, 6out, AD/DA conversion with digital expansion up to 32x32. </li>\n	<li>Unique touchscreen interface. Forever upgradable through free firmware updates.                 </li>\n	<li>Future-proof LSlot design with swappable USB, Thunderbolt, LT-HD and DANTE cards.               </li>\n	<li>Real-time meters and analysis tools, hyper-flexible routing and monitor control.                </li>\n	<li>Powered by mains or 9-18v DC battery packs for location recording.                              </li>\n	<li>Lynx’s class-leading transparent audio quality.                                                 </li>\n	<li>Available in black or silver</li>\n</ul>\n<br />\n<h3>LSlot connectivity options</h3>\nHilo doesn\'t restrict how you choose to connect your devices. With LSlot cards, you can change your connection whenever you need. Hilo has you covered now, and in the future when new standards are made available.\n<br /><br />\nAs of today LSlot cards are available for USB, Thunderbolt, Pro Tools HD and Dante.<br /><br />\n<h3>Included in The Box:</h3>\n<ul>\n	<li>Hilo AD/DA converter                                               </li>\n	<li>AC Power Cord                                                      </li>\n	<li>Hilo User’s Manual                                                 </li>\n	<li>One 6’ long Type-A to Type-B shielded USB 2.0 cable </li>\n</ul>\n<br />'),(6333,85,0,1056,'Lynx Hilo USB - A/D D/A Converter with USB'),(6334,85,1,1056,'Lynx Hilo USB - A/D D/A Converter with USB'),(6335,76,0,1056,''),(6336,76,1,1056,''),(6337,75,0,1057,'<h2>Maag Audio EQ2 – 500-Series EQ</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">A 2-band, single-channel 500-series equalizer with Maag Audio’s famous Air Band EQ </span><br /><br />\n\n\nThe Maag Audio EQ2 is a 2-band, single-channel 500-series equalizer module that provides top-end presence and transparent audio due to its minimal phase shift operation. Primarily designed for stereo bus chores, the EQ2 is built with the same high-quality components found in the powerhouse 6-band <a href=\"http://www.rspeaudio.com/Maag-EQ4-500-Series-EQ-p/maag-eq4.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Maag EQ4</a>. Not just for the 2-bus, the EQ2 also makes a great companion for any preamp in your rack—particularly those that have no EQ of their own. Using the Maag Audio EQ2 with your favorite preamps lets you bring out the air, and achieve greater clarity from your mics. And with ribbon mics, not only do you get their voice-of-god sound; the EQ2 gives you the air and clarity you’d get from condenser mics, only without the harshness that can come from boosting high frequencies. Plus, the EQ2’s stepped input attenuation control not only makes gain structuring easy, but when paired with a preamp it also gives you level control on high-SPL sound sources. The Maag audio EQ2 is certified VPR compliant to ensure compatibility with any 500-series power rack.  <br /><br />\n\n\n<h3>Maag Audio EQ2 unique features:</h3>\n<ul>\n<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n<li>Minimal phase shift preserves natural audio quality</li>\n</ul><br />\n\n<h3>Maag Audio EQ2 key features:</h3>\n<ul>\n<li>Selectable tight and wide bell curves for low frequencies</li>\n<li>Detent controls for easy recall-ability</li>\n<li>Stepped input attenuation control from -12.5dB to 0dB</li>\n<li>Low mid-frequency selector from 40Hz – 1.4kHz</li>\n<li>VPR Alliance certified</li>\n</ul><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p>Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p><br />\n\n\n<h3>INSIDE THE BOX — Maag Audio EQ2</h3>\n\nThe EQ2 is a no-compromise, 500-format equalizer featuring Cliff Maag’s famous Air Band high-frequency shelf EQ, plus a low mid-frequency (LMF) bell boost from Sub to 1.4 kHz. The EQ2’s LMF provides both tight or wide bell curve options to dial in the perfect amount of warmth on the 2-bus. The EQ2 also has and an Input Attenuator to control down to –12.5 dB of level control. The EQ2’s Air Band is equipped with an additional frequency selection, 15kHz, which gives you the air you need when 10kHz is a little too low to grab the air and 20kHz overshoots the highs you’re looking for—making the EQ2 useful for any situation.<br /><br />\n\nBecause of the Maag Audio EQ2’s unique design, phase shift is very minimal, which lets you maintain the integrity of the original sound and enhance the “air” frequencies, all while tonally shaping the sound from the top to bottom. The lack of phase shift plus the Air Band make the EQ2 great on anything that needs EQ shaping. <br /><br />\n\nThe Maag Audio EQ2 is VPR Alliance-certified compatible with the API 500-6B lunchbox and 500VPR rack systems—and any other 500 Series spec rack.<br /><br />\n\n\n<h3>OUTSIDE THE BOX — Maag Audio PREQ2</h3>\n\nThe front-panel controls of the sky-blue Maag EQ2 include:\n<ul>\n<li><strong>Air Band:</strong> Boost only shelf at 2.5kHz, 5kHz, 10kHz, 15kHz, 20kHz, or 40kHz. Frequencies below the shelf peaks are also affected due to the transitional slope</li>\n<li><strong>Air Band Gain:</strong> Gain control for the Air Band +12 dB (40kHz) to +17dB (2.5kHz)</li>\n<li><strong>LMF:</strong> Low Mid-Frequency selector. Bell curve boost at Sub, 40Hz, 57Hz, 65Hz, 88Hz, 150Hz, 220Hz, 250Hz, 400Hz, 1kHz, or 1.4kHz</li>\n<li><strong>LMF Gain:</strong> Gain control for the LMF +12dB (tight bell) to +15dB (wide bell)</li>\n<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n<li><strong>Signal:</strong> Green LED indicates audio signal presence. Illumination starts @ -28dBu</li>\n<li><strong>Air Band In/Out:</strong> Engages and disengages the Air Band</li>\n<li><strong>LMF In/Out:</strong> Engages and disengages the LMF</li>\n<li><strong>LMF Bell Selection:</strong> Choose between tight (Red) or broad (White) bell curves</li>\n<li><strong>Input Attn:</strong> Input attenuator (0-12.5dB)</li>\n</ul><br />\n\n<h3>Who’s using Maag Audio:</h3>\n\n\n<blockquote>“Thank god for Dave Pensado who turned me on to it (Maag EQ2P)”<br />\n<strong>James “Jimbo” Barton</strong>, Engineer-Producer <br />\n(<em>Eric Clapton, 30 Seconds to Mars, Rush, Kiss, Men At Work, and Metallica</em>)<br /><br /><br />\n\n\n\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" <br />\n\n<strong>Sean McLaughlin</strong>, Award Winning Mixer/Producer/Engineer<br />\n(<em>Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack</em>)<br /><br /><br />\n\n\n\"The Maag Air Band 2-channel EQ enhances the richness, warmth and intensity in my mixes without becoming brittle. Absolutely the best sounding EQ I’ve put across my buss – EVER!!\" <br />\n\n<strong>D. Brent Nelson</strong>, Composer / Music Director-Producer<br />\n(<em>Days of our Lives</em>)<br /><br /><br />\n\n\n\"Since I had Maag EQ in my rig, sound quality incredibly improved. For its presence and transparency, Maag is my first choice for vocals, snare and kick drum. Maag... mamma mia!! :)\"<br />\n\n<strong>Gianluca Vaccaro</strong>, Producer, Sound Engineer<br />\n(<em>Nelly Furtado, Coolio, Carmen Consoli, Fiorella Mannoia</em>...)</blockquote><br /><br />\n\n\n<h3>About Maag Audio</h3>\n\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\n\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\n\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\n\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n\n\n<h3>Open up your 500-series rack and let a little air in with the Maag Audio EQ2. For more information, call or chat with an RSPE representative today. </h3>\n<br /><br />\n<h4>Scott Wiley, owner of June Audio Recording Studios on how he uses the EQ2</h4>\n<iframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/AOyorvyk5XA\" frameborder=\"0\" allowfullscreen=\"\">\n</iframe>\n<div><br /></div>'),(6338,75,1,1057,'<h2>Maag Audio EQ2 – 500-Series EQ</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">A 2-band, single-channel 500-series equalizer with Maag Audio’s famous Air Band EQ </span><br /><br />\n\n\nThe Maag Audio EQ2 is a 2-band, single-channel 500-series equalizer module that provides top-end presence and transparent audio due to its minimal phase shift operation. Primarily designed for stereo bus chores, the EQ2 is built with the same high-quality components found in the powerhouse 6-band <a href=\"http://www.rspeaudio.com/Maag-EQ4-500-Series-EQ-p/maag-eq4.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Maag EQ4</a>. Not just for the 2-bus, the EQ2 also makes a great companion for any preamp in your rack—particularly those that have no EQ of their own. Using the Maag Audio EQ2 with your favorite preamps lets you bring out the air, and achieve greater clarity from your mics. And with ribbon mics, not only do you get their voice-of-god sound; the EQ2 gives you the air and clarity you’d get from condenser mics, only without the harshness that can come from boosting high frequencies. Plus, the EQ2’s stepped input attenuation control not only makes gain structuring easy, but when paired with a preamp it also gives you level control on high-SPL sound sources. The Maag audio EQ2 is certified VPR compliant to ensure compatibility with any 500-series power rack.  <br /><br />\n\n\n<h3>Maag Audio EQ2 unique features:</h3>\n<ul>\n<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n<li>Minimal phase shift preserves natural audio quality</li>\n</ul><br />\n\n<h3>Maag Audio EQ2 key features:</h3>\n<ul>\n<li>Selectable tight and wide bell curves for low frequencies</li>\n<li>Detent controls for easy recall-ability</li>\n<li>Stepped input attenuation control from -12.5dB to 0dB</li>\n<li>Low mid-frequency selector from 40Hz – 1.4kHz</li>\n<li>VPR Alliance certified</li>\n</ul><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p>Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p><br />\n\n\n<h3>INSIDE THE BOX — Maag Audio EQ2</h3>\n\nThe EQ2 is a no-compromise, 500-format equalizer featuring Cliff Maag’s famous Air Band high-frequency shelf EQ, plus a low mid-frequency (LMF) bell boost from Sub to 1.4 kHz. The EQ2’s LMF provides both tight or wide bell curve options to dial in the perfect amount of warmth on the 2-bus. The EQ2 also has and an Input Attenuator to control down to –12.5 dB of level control. The EQ2’s Air Band is equipped with an additional frequency selection, 15kHz, which gives you the air you need when 10kHz is a little too low to grab the air and 20kHz overshoots the highs you’re looking for—making the EQ2 useful for any situation.<br /><br />\n\nBecause of the Maag Audio EQ2’s unique design, phase shift is very minimal, which lets you maintain the integrity of the original sound and enhance the “air” frequencies, all while tonally shaping the sound from the top to bottom. The lack of phase shift plus the Air Band make the EQ2 great on anything that needs EQ shaping. <br /><br />\n\nThe Maag Audio EQ2 is VPR Alliance-certified compatible with the API 500-6B lunchbox and 500VPR rack systems—and any other 500 Series spec rack.<br /><br />\n\n\n<h3>OUTSIDE THE BOX — Maag Audio PREQ2</h3>\n\nThe front-panel controls of the sky-blue Maag EQ2 include:\n<ul>\n<li><strong>Air Band:</strong> Boost only shelf at 2.5kHz, 5kHz, 10kHz, 15kHz, 20kHz, or 40kHz. Frequencies below the shelf peaks are also affected due to the transitional slope</li>\n<li><strong>Air Band Gain:</strong> Gain control for the Air Band +12 dB (40kHz) to +17dB (2.5kHz)</li>\n<li><strong>LMF:</strong> Low Mid-Frequency selector. Bell curve boost at Sub, 40Hz, 57Hz, 65Hz, 88Hz, 150Hz, 220Hz, 250Hz, 400Hz, 1kHz, or 1.4kHz</li>\n<li><strong>LMF Gain:</strong> Gain control for the LMF +12dB (tight bell) to +15dB (wide bell)</li>\n<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n<li><strong>Signal:</strong> Green LED indicates audio signal presence. Illumination starts @ -28dBu</li>\n<li><strong>Air Band In/Out:</strong> Engages and disengages the Air Band</li>\n<li><strong>LMF In/Out:</strong> Engages and disengages the LMF</li>\n<li><strong>LMF Bell Selection:</strong> Choose between tight (Red) or broad (White) bell curves</li>\n<li><strong>Input Attn:</strong> Input attenuator (0-12.5dB)</li>\n</ul><br />\n\n<h3>Who’s using Maag Audio:</h3>\n\n\n<blockquote>“Thank god for Dave Pensado who turned me on to it (Maag EQ2P)”<br />\n<strong>James “Jimbo” Barton</strong>, Engineer-Producer <br />\n(<em>Eric Clapton, 30 Seconds to Mars, Rush, Kiss, Men At Work, and Metallica</em>)<br /><br /><br />\n\n\n\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" <br />\n\n<strong>Sean McLaughlin</strong>, Award Winning Mixer/Producer/Engineer<br />\n(<em>Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack</em>)<br /><br /><br />\n\n\n\"The Maag Air Band 2-channel EQ enhances the richness, warmth and intensity in my mixes without becoming brittle. Absolutely the best sounding EQ I’ve put across my buss – EVER!!\" <br />\n\n<strong>D. Brent Nelson</strong>, Composer / Music Director-Producer<br />\n(<em>Days of our Lives</em>)<br /><br /><br />\n\n\n\"Since I had Maag EQ in my rig, sound quality incredibly improved. For its presence and transparency, Maag is my first choice for vocals, snare and kick drum. Maag... mamma mia!! :)\"<br />\n\n<strong>Gianluca Vaccaro</strong>, Producer, Sound Engineer<br />\n(<em>Nelly Furtado, Coolio, Carmen Consoli, Fiorella Mannoia</em>...)</blockquote><br /><br />\n\n\n<h3>About Maag Audio</h3>\n\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\n\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\n\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\n\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n\n\n<h3>Open up your 500-series rack and let a little air in with the Maag Audio EQ2. For more information, call or chat with an RSPE representative today. </h3>\n<br /><br />\n<h4>Scott Wiley, owner of June Audio Recording Studios on how he uses the EQ2</h4>\n<iframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/AOyorvyk5XA\" frameborder=\"0\" allowfullscreen=\"\">\n</iframe>\n<div><br /></div>'),(6339,85,0,1057,'Maag EQ2 500 Series 2 Band Equalizer w/AIR BAND® and Input'),(6340,85,1,1057,'Maag EQ2 500 Series 2 Band Equalizer w/AIR BAND® and Input'),(6341,76,0,1057,''),(6342,76,1,1057,''),(6343,75,0,1058,'<h2>Maag Audio EQ4 – 500-Series and EQ</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Single-channel 500-series equalizer with Maag Audio’s famous AIR BAND® EQ </span><br /><br />\n\n\nThe inheritor of the Nightpro EQ3 and EQ3-D equalizer’s revered Air Band® high-shelving EQ, the 500-series Mäag Audio EQ4 is a single-channel, 6-band equalizer featuring Maag Audio’s legendary Air Band high-frequency shelf boost. Because the it operates with minimal phase shift, the EQ4 provides near-perfect sonic transparency and top-end presence while preserving the natural sound quality of your mix. Specifically designed for the 500-series Lunchbox® portable format, the Maag Audio EQ4 not only offers the Air Band, which alone is worth the price of admission, the EQ4 offers five other sonically superior band passes. Used by the top names in mixing, the Maag Audio EQ4 also features detent controls for easily recallable settings. <br /><br />\n\n\n<h3>Maag Audio EQ4 unique features:</h3>\n<ul>\n<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n<li>Minimal phase shift preserves natural audio quality</li>\n</ul><br />\n\n<h3>Maag Audio EQ4 key features:</h3>\n<ul>\n<li>40Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>2.5kHz: Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li>650Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>160Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>Sub: (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>VPR-Alliance certified</li>\n</ul><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p>Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p><br />\n\n<h3>INSIDE THE BOX — Maag Audio EQ4</h3>\n\nBecause of the Maag Audio EQ4’s unique design, phase shift is very minimal. This helps you maintain the integrity of the original sound and enhance the “Air” frequencies, while tonally shaping the sound from the top to the bottom. The lack of phase shift and the AIR BAND make the EQ4 great on anything that needs EQ shaping. <br /><br />\n\nThe EQ4’s band passes all interact with each other. Increasing the AIR BAND gain will also increase the overall gain to a small extent. This is normal and is a necessary byproduct of the design. This happens because of the interaction (summing) of the AIR BAND with all of the other band passes. This interaction is a necessary part of the design to ensure the integrity of the sound is maintained. To compensate for the added overall gain, simply turn down each of the 5 band pass knobs equal amounts. An example would be two clicks down on all 5 knobs. The EQ will remain the same shape, but the overall gain will be lowered. This compensates for the extra gain added from the interaction of the boosted band passes. <br /><br />\n\nThis is the correct way to get the desired results from the Maag Audio EQ4. Here is another way to look at it: If lifting a desired frequency, you may want to consider bringing down the level of the other band passes above and or below; always remembering the band passes interact with each other. This is a different approach from other typical equalizers. <br /><br />\n\nUnderstanding how the band passes and the AIR BAND interact in the Maag Audio EQ4, will help you better shape your sound; providing unparalleled transparency and top end presence while maintaining the true natural sound behind the source. <br /><br />\n\n\n<h3>OUTSIDE THE BOX — Maag Audio PREQ4</h3>\n\nThe front-panel controls of the sky-blue Maag EQ4 include:\n<ul>\n<li><strong>Air Band:</strong> Boost only shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz, and 40 kHz. The frequencies below the shelf peaks are also affected due to the transitional slope</li>\n<li><strong>Air Gain:</strong> Gain control for the Air Band (+15dB)</li>\n<li><strong>650Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>40Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>In/Out:</strong> Engages and disengages EQ</li>\n<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n<li><strong>Signal:</strong> Green LED indicates audio signal presence, illumination starts at -28dBu</li>\n<li><strong>2.5kHz:</strong> Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li><strong>160Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>Sub:</strong> (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n</ul><br />\n\nTo ensure compatibility with API 500-6B lunchbox and 500VPR rack systems, Maag Audio is an official member of the VPR Alliance.<br /><br />\n\n\n\n<h3>Who’s using Maag Audio:</h3>\n\n<blockquote>\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" \n\n<strong>Sean McLaughlin</strong> - Award Winning Mixer/Producer/Engineer\n<em>(Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack)</em><br /><br />\n\n\n\"The Maag Audio EQ4 is 6 bands of awesomeness. The sub is getting a lot of use on 808 kicks at my studio. The mid bands provide excellent transparency. The 2.5kHz provides very clear bite on vocals, or less if your vocals make your eyelashes bat at loud volumes. The AIR BAND is as legendary as ever! It\'s an epic 500 series unit.\"<br /><br />\n\n\"The Maag Audio PREQ4 is extremely solid and the AIR BAND is worth the price of admission by itself. Whether you want to dial in a bit more presence or a lot more air, the PREQ4 has your top end covered! The AIR BAND is by far the best top end I\'ve ever heard.\"<br />\n\n<strong>Dylan \"3-D\" Dresdow</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Usher, Michael Jackson)</em><br /><br />\n\n\n\"If Cliff Maag at Maag Audio makes it, I use it. Every hit, every #1, every Grammy mix I have EVER DONE featured his EQ. The EQ4 is my current favorite product from Maag Audio. As the improved Big Brother of the EQ3 I use it to EQ vocals, drums, acoustic instruments and of course the stereo buss. <br /><br />\n\nThe PREQ4, from Maag Audio is rapidly becoming my client\'s favorite preamp. As a mixer I love getting vocals that have been recorded with the PREQ4. There is very little left for me to do.”<br />\n\n\n<strong>Dave Pensado</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Justin Timberlake, Christina Aguilera, Pink, Destiny’s Child)</em><br /><br />\n\n\n\"The EQ4 makes me feel like I\'m running my mixes through the \"magic lamp\" of EQ\'s, I ask, and it grants the wish while retaining everything accomplished prior to running the mix through them, and the results are always musical & coherent.\"<br />\n\n<strong>Phil Greiss</strong>, Multiple international award winning producer/composer/engineer<br />\n<em>(Corneille, Zaho, Sean Paul, Idir, Khaled, Christophe Willem, Justin Nozuka)</em><br /><br />\n\n\n\"After 20+ years in the business there aren’t many things that come along that make me go WOW, but Maag Audio has done it! The EQ4 is now a part of the fiber of my being and is on every recording and mix I do.\" <br />\n\n<strong>Russ Russell</strong>, Producer, Engineer, Mixer, Musician<br />\n<em>(Napalm Death, Dimmu Borgir, Wildhearts, Exploited, Megadeth...)</em></blockquote><br /><br />\n\n\n<h3>About Maag Audio</h3>\n\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\n\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\n\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\n\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n\n\n<h3>The secret weapon of top mixers and recording engineers, the Maag Audio EQ4 will let the air out of your 500-series rack—in a very good way. For more information, call or chat with an RSPE representative today. </h3>\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Maag-EQ4-500-Series-EQ-RENT-p/maag-eq4-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(6344,75,1,1058,'<h2>Maag Audio EQ4 – 500-Series and EQ</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Single-channel 500-series equalizer with Maag Audio’s famous AIR BAND® EQ </span><br /><br />\n\n\nThe inheritor of the Nightpro EQ3 and EQ3-D equalizer’s revered Air Band® high-shelving EQ, the 500-series Mäag Audio EQ4 is a single-channel, 6-band equalizer featuring Maag Audio’s legendary Air Band high-frequency shelf boost. Because the it operates with minimal phase shift, the EQ4 provides near-perfect sonic transparency and top-end presence while preserving the natural sound quality of your mix. Specifically designed for the 500-series Lunchbox® portable format, the Maag Audio EQ4 not only offers the Air Band, which alone is worth the price of admission, the EQ4 offers five other sonically superior band passes. Used by the top names in mixing, the Maag Audio EQ4 also features detent controls for easily recallable settings. <br /><br />\n\n\n<h3>Maag Audio EQ4 unique features:</h3>\n<ul>\n<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n<li>Minimal phase shift preserves natural audio quality</li>\n</ul><br />\n\n<h3>Maag Audio EQ4 key features:</h3>\n<ul>\n<li>40Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>2.5kHz: Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li>650Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>160Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>Sub: (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>VPR-Alliance certified</li>\n</ul><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p>Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p><br />\n\n<h3>INSIDE THE BOX — Maag Audio EQ4</h3>\n\nBecause of the Maag Audio EQ4’s unique design, phase shift is very minimal. This helps you maintain the integrity of the original sound and enhance the “Air” frequencies, while tonally shaping the sound from the top to the bottom. The lack of phase shift and the AIR BAND make the EQ4 great on anything that needs EQ shaping. <br /><br />\n\nThe EQ4’s band passes all interact with each other. Increasing the AIR BAND gain will also increase the overall gain to a small extent. This is normal and is a necessary byproduct of the design. This happens because of the interaction (summing) of the AIR BAND with all of the other band passes. This interaction is a necessary part of the design to ensure the integrity of the sound is maintained. To compensate for the added overall gain, simply turn down each of the 5 band pass knobs equal amounts. An example would be two clicks down on all 5 knobs. The EQ will remain the same shape, but the overall gain will be lowered. This compensates for the extra gain added from the interaction of the boosted band passes. <br /><br />\n\nThis is the correct way to get the desired results from the Maag Audio EQ4. Here is another way to look at it: If lifting a desired frequency, you may want to consider bringing down the level of the other band passes above and or below; always remembering the band passes interact with each other. This is a different approach from other typical equalizers. <br /><br />\n\nUnderstanding how the band passes and the AIR BAND interact in the Maag Audio EQ4, will help you better shape your sound; providing unparalleled transparency and top end presence while maintaining the true natural sound behind the source. <br /><br />\n\n\n<h3>OUTSIDE THE BOX — Maag Audio PREQ4</h3>\n\nThe front-panel controls of the sky-blue Maag EQ4 include:\n<ul>\n<li><strong>Air Band:</strong> Boost only shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz, and 40 kHz. The frequencies below the shelf peaks are also affected due to the transitional slope</li>\n<li><strong>Air Gain:</strong> Gain control for the Air Band (+15dB)</li>\n<li><strong>650Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>40Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>In/Out:</strong> Engages and disengages EQ</li>\n<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n<li><strong>Signal:</strong> Green LED indicates audio signal presence, illumination starts at -28dBu</li>\n<li><strong>2.5kHz:</strong> Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li><strong>160Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>Sub:</strong> (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n</ul><br />\n\nTo ensure compatibility with API 500-6B lunchbox and 500VPR rack systems, Maag Audio is an official member of the VPR Alliance.<br /><br />\n\n\n\n<h3>Who’s using Maag Audio:</h3>\n\n<blockquote>\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" \n\n<strong>Sean McLaughlin</strong> - Award Winning Mixer/Producer/Engineer\n<em>(Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack)</em><br /><br />\n\n\n\"The Maag Audio EQ4 is 6 bands of awesomeness. The sub is getting a lot of use on 808 kicks at my studio. The mid bands provide excellent transparency. The 2.5kHz provides very clear bite on vocals, or less if your vocals make your eyelashes bat at loud volumes. The AIR BAND is as legendary as ever! It\'s an epic 500 series unit.\"<br /><br />\n\n\"The Maag Audio PREQ4 is extremely solid and the AIR BAND is worth the price of admission by itself. Whether you want to dial in a bit more presence or a lot more air, the PREQ4 has your top end covered! The AIR BAND is by far the best top end I\'ve ever heard.\"<br />\n\n<strong>Dylan \"3-D\" Dresdow</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Usher, Michael Jackson)</em><br /><br />\n\n\n\"If Cliff Maag at Maag Audio makes it, I use it. Every hit, every #1, every Grammy mix I have EVER DONE featured his EQ. The EQ4 is my current favorite product from Maag Audio. As the improved Big Brother of the EQ3 I use it to EQ vocals, drums, acoustic instruments and of course the stereo buss. <br /><br />\n\nThe PREQ4, from Maag Audio is rapidly becoming my client\'s favorite preamp. As a mixer I love getting vocals that have been recorded with the PREQ4. There is very little left for me to do.”<br />\n\n\n<strong>Dave Pensado</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Justin Timberlake, Christina Aguilera, Pink, Destiny’s Child)</em><br /><br />\n\n\n\"The EQ4 makes me feel like I\'m running my mixes through the \"magic lamp\" of EQ\'s, I ask, and it grants the wish while retaining everything accomplished prior to running the mix through them, and the results are always musical & coherent.\"<br />\n\n<strong>Phil Greiss</strong>, Multiple international award winning producer/composer/engineer<br />\n<em>(Corneille, Zaho, Sean Paul, Idir, Khaled, Christophe Willem, Justin Nozuka)</em><br /><br />\n\n\n\"After 20+ years in the business there aren’t many things that come along that make me go WOW, but Maag Audio has done it! The EQ4 is now a part of the fiber of my being and is on every recording and mix I do.\" <br />\n\n<strong>Russ Russell</strong>, Producer, Engineer, Mixer, Musician<br />\n<em>(Napalm Death, Dimmu Borgir, Wildhearts, Exploited, Megadeth...)</em></blockquote><br /><br />\n\n\n<h3>About Maag Audio</h3>\n\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\n\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\n\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\n\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n\n\n<h3>The secret weapon of top mixers and recording engineers, the Maag Audio EQ4 will let the air out of your 500-series rack—in a very good way. For more information, call or chat with an RSPE representative today. </h3>\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/Maag-EQ4-500-Series-EQ-RENT-p/maag-eq4-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(6345,85,0,1058,'Maag EQ4 500 Series 6 Band Equalizer w/AIR BAND®'),(6346,85,1,1058,'Maag EQ4 500 Series 6 Band Equalizer w/AIR BAND®'),(6347,76,0,1058,''),(6348,76,1,1058,''),(6349,75,0,1059,'<h2>Maag EQ4M 6-Band Dual Channel Mastering EQ w/AIR BAND®</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Dual-channel equalizer with Maag Audio’s famous AIR BAND® EQ </span><br /><br />\n\n\nThe inheritor of the Nightpro EQ3 and EQ3-D equalizer’s revered Air Band® high-shelving EQ, the Mäag Audio EQ4M is a dual-channel, 6-band equalizer featuring Maag Audio’s legendary Air Band high-frequency shelf boost. Because it operates with minimal phase shift, the EQ4M provides near-perfect sonic transparency and top-end presence while preserving the natural sound quality of your mix. The Maag Audio EQ4M not only offers the Air Band, which alone is worth the price of admission, the EQ4M offers five other sonically superior band passes. Used by the top names in mixing, the Maag Audio EQ4M also features detent controls for easily recallable settings. <br /><br />\n\n\n<h3>Maag Audio EQ4M unique features:</h3>\n<ul>\n<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n<li>Minimal phase shift preserves natural audio quality</li>\n</ul><br />\n\n<h3>Maag Audio EQ4M key features:</h3>\n<ul>\n<li>40Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>2.5kHz: Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li>650Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>160Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>Sub: (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n</ul><div></div><br />\n\n<h3>INSIDE THE BOX — Maag Audio EQ4M</h3>\n\nBecause of the Maag Audio EQ4M’s unique design, phase shift is very minimal. This helps you maintain the integrity of the original sound and enhance the “Air” frequencies, while tonally shaping the sound from the top to the bottom. The lack of phase shift and the AIR BAND make the EQ4M great on anything that needs EQ shaping. <br /><br />\n\nThe EQ4M’s band passes all interact with each other. Increasing the AIR BAND gain will also increase the overall gain to a small extent. This is normal and is a necessary byproduct of the design. This happens because of the interaction (summing) of the AIR BAND with all of the other band passes. This interaction is a necessary part of the design to ensure the integrity of the sound is maintained. To compensate for the added overall gain, simply turn down each of the 5 band pass knobs equal amounts. An example would be two clicks down on all 5 knobs. The EQ will remain the same shape, but the overall gain will be lowered. This compensates for the extra gain added from the interaction of the boosted band passes. <br /><br />\n\nThis is the correct way to get the desired results from the Maag Audio EQ4M. Here is another way to look at it: If lifting a desired frequency, you may want to consider bringing down the level of the other band passes above and or below; always remembering the band passes interact with each other. This is a different approach from other typical equalizers. <br /><br />\n\nUnderstanding how the band passes and the AIR BAND interact in the Maag Audio EQ4M, will help you better shape your sound; providing unparalleled transparency and top end presence while maintaining the true natural sound behind the source. <br /><br />\n\n\n<h3>OUTSIDE THE BOX — Maag Audio EQ4M</h3>\n\nThe front-panel controls of the sky-blue Maag EQ4M include:\n<ul>\n<li><strong>Air Band:</strong> Boost only shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz, and 40 kHz. The frequencies below the shelf peaks are also affected due to the transitional slope</li>\n<li><strong>Air Gain:</strong> Gain control for the Air Band (+15dB)</li>\n<li><strong>650Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>40Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>In/Out:</strong> Engages and disengages EQ</li>\n<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n<li><strong>Signal:</strong> Green LED indicates audio signal presence, illumination starts at -28dBu</li>\n<li><strong>2.5kHz:</strong> Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li><strong>160Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>Sub:</strong> (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n</ul><br />\n\n\n\n<h3>Who’s using Maag Audio:</h3>\n\n<blockquote>\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" \n\n<strong>Sean McLaughlin</strong> - Award Winning Mixer/Producer/Engineer\n<em>(Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack)</em><br /><br />\n\n\n\"The Maag Audio EQ4 is 6 bands of awesomeness. The sub is getting a lot of use on 808 kicks at my studio. The mid bands provide excellent transparency. The 2.5kHz provides very clear bite on vocals, or less if your vocals make your eyelashes bat at loud volumes. The AIR BAND is as legendary as ever! It\'s an epic 500 series unit.\"<br /><br />\n\n\"The Maag Audio PREQ4 is extremely solid and the AIR BAND is worth the price of admission by itself. Whether you want to dial in a bit more presence or a lot more air, the PREQ4 has your top end covered! The AIR BAND is by far the best top end I\'ve ever heard.\"<br />\n\n<strong>Dylan \"3-D\" Dresdow</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Usher, Michael Jackson)</em><br /><br />\n\n\n\"If Cliff Maag at Maag Audio makes it, I use it. Every hit, every #1, every Grammy mix I have EVER DONE featured his EQ. The EQ4 is my current favorite product from Maag Audio. As the improved Big Brother of the EQ3 I use it to EQ vocals, drums, acoustic instruments and of course the stereo buss. <br /><br />\n\nThe PREQ4, from Maag Audio is rapidly becoming my client\'s favorite preamp. As a mixer I love getting vocals that have been recorded with the PREQ4. There is very little left for me to do.”<br />\n\n\n<strong>Dave Pensado</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Justin Timberlake, Christina Aguilera, Pink, Destiny’s Child)</em><br /><br />\n\n\n\"The EQ4 makes me feel like I\'m running my mixes through the \"magic lamp\" of EQ\'s, I ask, and it grants the wish while retaining everything accomplished prior to running the mix through them, and the results are always musical & coherent.\"<br />\n\n<strong>Phil Greiss</strong>, Multiple international award winning producer/composer/engineer<br />\n<em>(Corneille, Zaho, Sean Paul, Idir, Khaled, Christophe Willem, Justin Nozuka)</em><br /><br />\n\n\n\"After 20+ years in the business there aren’t many things that come along that make me go WOW, but Maag Audio has done it! The EQ4 is now a part of the fiber of my being and is on every recording and mix I do.\" <br />\n\n<strong>Russ Russell</strong>, Producer, Engineer, Mixer, Musician<br />\n<em>(Napalm Death, Dimmu Borgir, Wildhearts, Exploited, Megadeth...)</em></blockquote><br /><br />\n\n\n<h3>About Maag Audio</h3>\n\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\n\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\n\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\n\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n\n\n<h3>The secret weapon of top mixers and recording engineers, the Maag Audio EQ4M will let the air out of your mixes—in a very good way. For more information, call or chat with an RSPE representative today.</h3>'),(6350,75,1,1059,'<h2>Maag EQ4M 6-Band Dual Channel Mastering EQ w/AIR BAND®</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">Dual-channel equalizer with Maag Audio’s famous AIR BAND® EQ </span><br /><br />\n\n\nThe inheritor of the Nightpro EQ3 and EQ3-D equalizer’s revered Air Band® high-shelving EQ, the Mäag Audio EQ4M is a dual-channel, 6-band equalizer featuring Maag Audio’s legendary Air Band high-frequency shelf boost. Because it operates with minimal phase shift, the EQ4M provides near-perfect sonic transparency and top-end presence while preserving the natural sound quality of your mix. The Maag Audio EQ4M not only offers the Air Band, which alone is worth the price of admission, the EQ4M offers five other sonically superior band passes. Used by the top names in mixing, the Maag Audio EQ4M also features detent controls for easily recallable settings. <br /><br />\n\n\n<h3>Maag Audio EQ4M unique features:</h3>\n<ul>\n<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n<li>Minimal phase shift preserves natural audio quality</li>\n</ul><br />\n\n<h3>Maag Audio EQ4M key features:</h3>\n<ul>\n<li>40Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>2.5kHz: Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li>650Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>160Hz: Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li>Sub: (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n</ul><div></div><br />\n\n<h3>INSIDE THE BOX — Maag Audio EQ4M</h3>\n\nBecause of the Maag Audio EQ4M’s unique design, phase shift is very minimal. This helps you maintain the integrity of the original sound and enhance the “Air” frequencies, while tonally shaping the sound from the top to the bottom. The lack of phase shift and the AIR BAND make the EQ4M great on anything that needs EQ shaping. <br /><br />\n\nThe EQ4M’s band passes all interact with each other. Increasing the AIR BAND gain will also increase the overall gain to a small extent. This is normal and is a necessary byproduct of the design. This happens because of the interaction (summing) of the AIR BAND with all of the other band passes. This interaction is a necessary part of the design to ensure the integrity of the sound is maintained. To compensate for the added overall gain, simply turn down each of the 5 band pass knobs equal amounts. An example would be two clicks down on all 5 knobs. The EQ will remain the same shape, but the overall gain will be lowered. This compensates for the extra gain added from the interaction of the boosted band passes. <br /><br />\n\nThis is the correct way to get the desired results from the Maag Audio EQ4M. Here is another way to look at it: If lifting a desired frequency, you may want to consider bringing down the level of the other band passes above and or below; always remembering the band passes interact with each other. This is a different approach from other typical equalizers. <br /><br />\n\nUnderstanding how the band passes and the AIR BAND interact in the Maag Audio EQ4M, will help you better shape your sound; providing unparalleled transparency and top end presence while maintaining the true natural sound behind the source. <br /><br />\n\n\n<h3>OUTSIDE THE BOX — Maag Audio EQ4M</h3>\n\nThe front-panel controls of the sky-blue Maag EQ4M include:\n<ul>\n<li><strong>Air Band:</strong> Boost only shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz, and 40 kHz. The frequencies below the shelf peaks are also affected due to the transitional slope</li>\n<li><strong>Air Gain:</strong> Gain control for the Air Band (+15dB)</li>\n<li><strong>650Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>40Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>In/Out:</strong> Engages and disengages EQ</li>\n<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n<li><strong>Signal:</strong> Green LED indicates audio signal presence, illumination starts at -28dBu</li>\n<li><strong>2.5kHz:</strong> Fixed boost and cut shelf (+15dB, -4.5dB)</li>\n<li><strong>160Hz:</strong> Fixed boost and cut bell (+15dB, -4.5dB)</li>\n<li><strong>Sub:</strong> (10Hz): Fixed boost and cut bell (+15dB, -4.5dB)</li>\n</ul><br />\n\n\n\n<h3>Who’s using Maag Audio:</h3>\n\n<blockquote>\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" \n\n<strong>Sean McLaughlin</strong> - Award Winning Mixer/Producer/Engineer\n<em>(Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack)</em><br /><br />\n\n\n\"The Maag Audio EQ4 is 6 bands of awesomeness. The sub is getting a lot of use on 808 kicks at my studio. The mid bands provide excellent transparency. The 2.5kHz provides very clear bite on vocals, or less if your vocals make your eyelashes bat at loud volumes. The AIR BAND is as legendary as ever! It\'s an epic 500 series unit.\"<br /><br />\n\n\"The Maag Audio PREQ4 is extremely solid and the AIR BAND is worth the price of admission by itself. Whether you want to dial in a bit more presence or a lot more air, the PREQ4 has your top end covered! The AIR BAND is by far the best top end I\'ve ever heard.\"<br />\n\n<strong>Dylan \"3-D\" Dresdow</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Usher, Michael Jackson)</em><br /><br />\n\n\n\"If Cliff Maag at Maag Audio makes it, I use it. Every hit, every #1, every Grammy mix I have EVER DONE featured his EQ. The EQ4 is my current favorite product from Maag Audio. As the improved Big Brother of the EQ3 I use it to EQ vocals, drums, acoustic instruments and of course the stereo buss. <br /><br />\n\nThe PREQ4, from Maag Audio is rapidly becoming my client\'s favorite preamp. As a mixer I love getting vocals that have been recorded with the PREQ4. There is very little left for me to do.”<br />\n\n\n<strong>Dave Pensado</strong> - Grammy award winning Mixer<br />\n<em>(Black Eyed Peas, Justin Timberlake, Christina Aguilera, Pink, Destiny’s Child)</em><br /><br />\n\n\n\"The EQ4 makes me feel like I\'m running my mixes through the \"magic lamp\" of EQ\'s, I ask, and it grants the wish while retaining everything accomplished prior to running the mix through them, and the results are always musical & coherent.\"<br />\n\n<strong>Phil Greiss</strong>, Multiple international award winning producer/composer/engineer<br />\n<em>(Corneille, Zaho, Sean Paul, Idir, Khaled, Christophe Willem, Justin Nozuka)</em><br /><br />\n\n\n\"After 20+ years in the business there aren’t many things that come along that make me go WOW, but Maag Audio has done it! The EQ4 is now a part of the fiber of my being and is on every recording and mix I do.\" <br />\n\n<strong>Russ Russell</strong>, Producer, Engineer, Mixer, Musician<br />\n<em>(Napalm Death, Dimmu Borgir, Wildhearts, Exploited, Megadeth...)</em></blockquote><br /><br />\n\n\n<h3>About Maag Audio</h3>\n\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\n\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\n\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\n\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n\n\n<h3>The secret weapon of top mixers and recording engineers, the Maag Audio EQ4M will let the air out of your mixes—in a very good way. For more information, call or chat with an RSPE representative today.</h3>'),(6351,85,0,1059,'Maag EQ4M 6-Band Dual Channel Mastering EQ w/AIR BAND®'),(6352,85,1,1059,'Maag EQ4M 6-Band Dual Channel Mastering EQ w/AIR BAND®'),(6353,76,0,1059,''),(6354,76,1,1059,''),(6355,75,0,1060,'<h2>Maag Audio Magnum-K Single Channel Compressor with AIR BAND</h2>\n<span style=\"font-size:16px; font-style:italic;\">Single-Channel Compressor with 2 Compressor Sections, Parallel EQ with Air Band, Soft Limiter, and Sidechain Input. </span><br /><br />\nThe Maag Audio MAGNUM-K is a single channel Compressor, comprised of two compressor sections (MAGNUM COMP and K COMP), a very musical Parallel EQ with Maag\'s signature AIR BAND, and a Soft Limit. <span style=\"background-color: initial;\">Maag Audio\'s Magnum-K is an 8-Function channel that controls gain and shapes tone like no other </span><span style=\"background-color: initial;\">product on the planet. It is designed for use in Tracking, Mixing, and Mastering.</span><span style=\"background-color: initial;\"><br /></span><br />\nWhether putting the finishing touches on a drum, guitar or instrument tracks or making a vocal sound bigger than life without taking your head off; the MAGNUM-K will help elevate your craft to a whole new level. The Maag Audio MAGNUM-K Compressor is an all-in-one tool that will give you BIGGER SOUND, QUICKER WORKFLOW, and OUTSTANDING CONTROL and elevate your craft.<br /><br />\n<h3>Maag Audio EQ4M features:</h3>\n<ul>\n	<li>2 compressor sections, Magnum Comp and K Comp</li>\n	<li>Musical-sounding parallel EQ with LMF and Air Band</li>\n	<li>Soft Limiter</li>\n	<li>Sidechain input </li>\n</ul>\n<br />\n<ul>\n</ul>\n<br />\n<h3>Who’s using Maag Audio:</h3>\n<blockquote>\n	\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" \n	<strong>Sean McLaughlin</strong> - Award Winning Mixer/Producer/Engineer\n	<em>(Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack)</em><br /><br />\n	\"The Maag Audio EQ4 is 6 bands of awesomeness. The sub is getting a lot of use on 808 kicks at my studio. The mid bands provide excellent transparency. The 2.5kHz provides very clear bite on vocals, or less if your vocals make your eyelashes bat at loud volumes. The AIR BAND is as legendary as ever! It\'s an epic 500 series unit.\"<br /><br />\n	\"The Maag Audio PREQ4 is extremely solid and the AIR BAND is worth the price of admission by itself. Whether you want to dial in a bit more presence or a lot more air, the PREQ4 has your top end covered! The AIR BAND is by far the best top end I\'ve ever heard.\"<br />\n	<strong>Dylan \"3-D\" Dresdow</strong> - Grammy award winning Mixer<br />\n	<em>(Black Eyed Peas, Usher, Michael Jackson)</em><br /><br />\n	\"If Cliff Maag at Maag Audio makes it, I use it. Every hit, every #1, every Grammy mix I have EVER DONE featured his EQ. The EQ4 is my current favorite product from Maag Audio. As the improved Big Brother of the EQ3 I use it to EQ vocals, drums, acoustic instruments and of course the stereo buss. <br /><br />\n	The PREQ4, from Maag Audio is rapidly becoming my client\'s favorite preamp. As a mixer I love getting vocals that have been recorded with the PREQ4. There is very little left for me to do.”<br />\n	<strong>Dave Pensado</strong> - Grammy award winning Mixer<br />\n	<em>(Black Eyed Peas, Justin Timberlake, Christina Aguilera, Pink, Destiny’s Child)</em><br /><br />\n	\"The EQ4 makes me feel like I\'m running my mixes through the \"magic lamp\" of EQ\'s, I ask, and it grants the wish while retaining everything accomplished prior to running the mix through them, and the results are always musical & coherent.\"<br />\n	<strong>Phil Greiss</strong>, Multiple international award winning producer/composer/engineer<br />\n	<em>(Corneille, Zaho, Sean Paul, Idir, Khaled, Christophe Willem, Justin Nozuka)</em><br /><br />\n	\"After 20+ years in the business there aren’t many things that come along that make me go WOW, but Maag Audio has done it! The EQ4 is now a part of the fiber of my being and is on every recording and mix I do.\" <br />\n	<strong>Russ Russell</strong>, Producer, Engineer, Mixer, Musician<br />\n	<em>(Napalm Death, Dimmu Borgir, Wildhearts, Exploited, Megadeth...)</em>\n</blockquote>\n<br /><br />\n<h3>About Maag Audio</h3>\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n<h3>The secret weapon of top mixers and recording engineers, the Maag Audio EQ4M will let the air out of your mixes—in a very good way. For more information, call or chat with an RSPE representative today.</h3>'),(6356,75,1,1060,'<h2>Maag Audio Magnum-K Single Channel Compressor with AIR BAND</h2>\n<span style=\"font-size:16px; font-style:italic;\">Single-Channel Compressor with 2 Compressor Sections, Parallel EQ with Air Band, Soft Limiter, and Sidechain Input. </span><br /><br />\nThe Maag Audio MAGNUM-K is a single channel Compressor, comprised of two compressor sections (MAGNUM COMP and K COMP), a very musical Parallel EQ with Maag\'s signature AIR BAND, and a Soft Limit. <span style=\"background-color: initial;\">Maag Audio\'s Magnum-K is an 8-Function channel that controls gain and shapes tone like no other </span><span style=\"background-color: initial;\">product on the planet. It is designed for use in Tracking, Mixing, and Mastering.</span><span style=\"background-color: initial;\"><br /></span><br />\nWhether putting the finishing touches on a drum, guitar or instrument tracks or making a vocal sound bigger than life without taking your head off; the MAGNUM-K will help elevate your craft to a whole new level. The Maag Audio MAGNUM-K Compressor is an all-in-one tool that will give you BIGGER SOUND, QUICKER WORKFLOW, and OUTSTANDING CONTROL and elevate your craft.<br /><br />\n<h3>Maag Audio EQ4M features:</h3>\n<ul>\n	<li>2 compressor sections, Magnum Comp and K Comp</li>\n	<li>Musical-sounding parallel EQ with LMF and Air Band</li>\n	<li>Soft Limiter</li>\n	<li>Sidechain input </li>\n</ul>\n<br />\n<ul>\n</ul>\n<br />\n<h3>Who’s using Maag Audio:</h3>\n<blockquote>\n	\"Maag EQ\'s have been living on my mix buss since I got them! The AIR BAND has been a game changer!\" \n	<strong>Sean McLaughlin</strong> - Award Winning Mixer/Producer/Engineer\n	<em>(Sarah Blacker, Matchbox Twenty, Queensryche, Girls Guns & Glory, OldJack)</em><br /><br />\n	\"The Maag Audio EQ4 is 6 bands of awesomeness. The sub is getting a lot of use on 808 kicks at my studio. The mid bands provide excellent transparency. The 2.5kHz provides very clear bite on vocals, or less if your vocals make your eyelashes bat at loud volumes. The AIR BAND is as legendary as ever! It\'s an epic 500 series unit.\"<br /><br />\n	\"The Maag Audio PREQ4 is extremely solid and the AIR BAND is worth the price of admission by itself. Whether you want to dial in a bit more presence or a lot more air, the PREQ4 has your top end covered! The AIR BAND is by far the best top end I\'ve ever heard.\"<br />\n	<strong>Dylan \"3-D\" Dresdow</strong> - Grammy award winning Mixer<br />\n	<em>(Black Eyed Peas, Usher, Michael Jackson)</em><br /><br />\n	\"If Cliff Maag at Maag Audio makes it, I use it. Every hit, every #1, every Grammy mix I have EVER DONE featured his EQ. The EQ4 is my current favorite product from Maag Audio. As the improved Big Brother of the EQ3 I use it to EQ vocals, drums, acoustic instruments and of course the stereo buss. <br /><br />\n	The PREQ4, from Maag Audio is rapidly becoming my client\'s favorite preamp. As a mixer I love getting vocals that have been recorded with the PREQ4. There is very little left for me to do.”<br />\n	<strong>Dave Pensado</strong> - Grammy award winning Mixer<br />\n	<em>(Black Eyed Peas, Justin Timberlake, Christina Aguilera, Pink, Destiny’s Child)</em><br /><br />\n	\"The EQ4 makes me feel like I\'m running my mixes through the \"magic lamp\" of EQ\'s, I ask, and it grants the wish while retaining everything accomplished prior to running the mix through them, and the results are always musical & coherent.\"<br />\n	<strong>Phil Greiss</strong>, Multiple international award winning producer/composer/engineer<br />\n	<em>(Corneille, Zaho, Sean Paul, Idir, Khaled, Christophe Willem, Justin Nozuka)</em><br /><br />\n	\"After 20+ years in the business there aren’t many things that come along that make me go WOW, but Maag Audio has done it! The EQ4 is now a part of the fiber of my being and is on every recording and mix I do.\" <br />\n	<strong>Russ Russell</strong>, Producer, Engineer, Mixer, Musician<br />\n	<em>(Napalm Death, Dimmu Borgir, Wildhearts, Exploited, Megadeth...)</em>\n</blockquote>\n<br /><br />\n<h3>About Maag Audio</h3>\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n<h3>The secret weapon of top mixers and recording engineers, the Maag Audio EQ4M will let the air out of your mixes—in a very good way. For more information, call or chat with an RSPE representative today.</h3>'),(6357,85,0,1060,''),(6358,85,1,1060,''),(6359,76,0,1060,''),(6360,76,1,1060,''),(6361,75,0,1061,'<h2>Maag Audio PREQ4 – 500-Series Preamp and EQ</h2>\n<span style=\"font-size:16px; font-style:italic;\">Single-channel 500-series preamp with Maag Audio’s famous AIR BAND® EQ </span><br /><br />\nThe Maag Audio PREQ4 is a one-channel, 500-series microphone preamp featuring Maag Audio’s legendary Air Band EQ. The roots of the Maag Audio PREQ4 extend back to the mythical Nightpro PreQ3, also designed by 35-year recording veteran Cliff Maag. Though Nightpro disappeared from the industry, the desire for its special sound and minimal phase-shift characteristics didn’t—and thus the Maag Audio PREQ4 was born. While preserving the natural sonics of any and all sound sources, the PREQ4 provides incredible transparency and top-end presence. Plus, the PREQ4 offers the legendary Air Band, a stepped shelf EQ that enables you to track with the clarity and “air” (reminiscent of the old Neumann U87) that we all love so much. <br /><br />\n<h3>Maag Audio PREQ4 unique features:</h3>\n<ul>\n	<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n	<li>Minimal phase shift preserves natural audio </li>\n</ul>\n<h3>Maag Audio PREQ4 key features:</h3>\n<ul>\n	<li>65dB adjustable gain</li>\n	<li>Phase reverse</li>\n	<li>70Hz high pass filter</li>\n	<li>+48V phantom power</li>\n	<li>-20dB Pad</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Maag Audio PREQ4</h3>\nThe PREQ4’s Air Band can enhance the sound of any mic and is particularly adept at bringing out air, even in dynamic mics. A boost-only, high-frequency shelf EQ, the Air Band not only brings out top-end clarity in vocals, but also, when paired with a dynamic mic on snare, the PREQ4 Air Band can really bring out the crack in a snare. Since it operates with minimal phase shift, the output sound is not radically different in its waveform makeup than the input signal—it’s the same sound only enhance, with more punch, clarity, and presence. \n<br /><br />\nAlong with the legendary Air band, the Maag Audio PREQ4 also features 65dB adjustable gain, phase reverse capability, 70Hz high pass filter, +48V phantom power, and -20dB pad.<br /><br />\n<h3>OUTSIDE THE BOX — Maag Audio PREQ4</h3>\nThe front-panel controls of the sky-blue Maag PREQ4 include:\n<ul>\n	<li><strong>Vari Air:</strong> Shelving frequency selector for the AIR BAND. The shelf peaks are set at 2.5kHz, 5kHz, 10kHz, 20kHz, and 40kHz. The frequencies below the shelf peaks are also affected due to the transitional slope</li>\n	<li><strong>Air Gain:</strong> Rotary gain control for the AIR BAND: +12dB max</li>\n	<li><strong>Gain +20:</strong> Gain +20 button increases gain to a range of 45-65dB</li>\n	<li><strong>Pad –20:</strong> Attenuates the mic signal (pre transformer) by –20dB</li>\n	<li><strong>48V Phantom Power:</strong> Supplies phantom power to mic</li>\n	<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n	<li><strong>Signal:</strong> Green LED indicates audio signal presence. Illumination starts at -28dBu</li>\n	<li><strong>Air Band:</strong> Engages the Air Band</li>\n	<li><strong>High-Pass Filter:</strong> Knee starts at 160Hz and is –3dB at 70Hz</li>\n	<li><strong>Phase Reverse:</strong> Reverses the phase of the output relative to the input</li>\n</ul>\nTo ensure the PREQ4 will be compliant with API 500-series Lunchbox™, 500VPR rack systems, and other 500 power racks, Maag Audio is an official member of the VPR Alliance.\n<br /><br />\n<h3>Who’s using Maag Audio:</h3>\n<blockquote>\n	\" . . . The (PREQ4) preamp itself combined with the Air Band certainly makes it one of the most unique sounding preamps on the market . . .\"<br />\n	<strong>Joe Chiccarelli</strong>, 6-time Grammy award winning Engineer-Mixer-Producer<br />\n	<em>(Beck, U2, Tori Amos, Elton John, Café Tacuba, Julieta Venegas, Onigo Boingo, Rufus Wainwright)</em><br /><br />\n	\"I love the Maag PREQ4 mic pre. The air band is great. I’m a smoker and I need all the air I can get\"<br />\n	<strong>Jay Joyce</strong>, Producer, recording engineer, remixer, musician, and songwriter<br />\n	<em>(Tim McGraw, Miranda Lambert, Little Big Town, LeAnn Rimes, Faith Hill)</em><br /><br />\n	\"As a producer who really focuses on vocals, it\'s critical to me to have a signal path that inspires the singer. I was simply knocked out at the new Maag pre (PREQ4). I have a pre I\'ve been in love with for 15 years and has won every A/B I\'ve ever done until now - the Maag pre simply sounded noticeably better. As if the pre wasn\'t awesome by itself, the AIR BAND is so musical and useable and the lack of phase build up is unreal.\"<br />\n	<strong>Ed Cash</strong>, 3-time GMA Producer of the Year<br />\n	<em>(Chris Tomlin, Amy Grant, Kari Jobe, Vince Gill)</em><br /><br />\n	\"I\'ve had a chance to use the Maag Audio PREQ4 on a few things... I really, really like these on vocals; the AIR BAND makes the vocal pop out and shine in the track. On acoustic instruments, the clarity of the PREQ4 is wonderful and the air helps the harmonic content sparkle. Overhead mics love this pre because the AIR BAND adds beautiful extension on top without smearing the transients.\"<br />\n	<strong>Steve Bishir</strong>, 5-time Grammy award winning Engineer, Mixer, Producer<br />\n	<em>(Amy Grant, Mercy Me, Third Day, Vince Gill, Martina McBride, Ce Ce Winans, Steve Savage, Tin Cup Gypsy, 1000 Generations, Chris Sligh, Phil Stacey, Steven Curtis Chapman, and many others...)</em><br /><br />\n	\"The Maag PREQ4 is hands-down the best new microphone preamp i have worked with. The very musical gain circuit and Air Band EQ makes my whole microphone collection capable of being vocal microphones!!! I have been using vintage RCA 77\'s and 44\'s on the quietest sources. Having a pair of these around gives infinite possibilities to the creative spirit!!!! Thanks for making great products.\"\n	<br />\n	<strong>Paul Moak</strong>, Grammy-nominated producer, engineer, mixer, and Universal Music Publishing songwriter<br />\n	<em>(One Tree Hill, Private Practice, Pretty Little Liars, and The Vampire Diaries, Mat Kearney, Third Day, Lovedrug, The Blind Boys of Alabama, Martha Wainwright, Monroe/Dabbs, Madi Diaz, House of Heroes, Jennifer Knapp, and Matthew Mayfield)</em><br /><br />\n	\"The (PREQ4) AIR BAND adds sizzle on my cymbals. The AIR BAND Pres are clean, punchy and add a nice sheen to vocals.\"<br />\n	<strong>Mark Capps</strong>, Multi-Platinum Four-Time Grammy Award Winning Engineer, Mixer, Producer<br />\n	<em>(The Isaacs, Gaither Vocal Band, Trace Adkins, Michele Wright, Oak Ridge Boys...)</em>\n</blockquote>\n<em></em><br /><br />\n<h3>About Maag Audio</h3>\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n<h3>Open up your 500-series rack and let a little air in with the Maag Audio PREQ4. For more information, call or chat with an RSPE representative today.  </h3>\n<br />'),(6362,75,1,1061,'<h2>Maag Audio PREQ4 – 500-Series Preamp and EQ</h2>\n<span style=\"font-size:16px; font-style:italic;\">Single-channel 500-series preamp with Maag Audio’s famous AIR BAND® EQ </span><br /><br />\nThe Maag Audio PREQ4 is a one-channel, 500-series microphone preamp featuring Maag Audio’s legendary Air Band EQ. The roots of the Maag Audio PREQ4 extend back to the mythical Nightpro PreQ3, also designed by 35-year recording veteran Cliff Maag. Though Nightpro disappeared from the industry, the desire for its special sound and minimal phase-shift characteristics didn’t—and thus the Maag Audio PREQ4 was born. While preserving the natural sonics of any and all sound sources, the PREQ4 provides incredible transparency and top-end presence. Plus, the PREQ4 offers the legendary Air Band, a stepped shelf EQ that enables you to track with the clarity and “air” (reminiscent of the old Neumann U87) that we all love so much. <br /><br />\n<h3>Maag Audio PREQ4 unique features:</h3>\n<ul>\n	<li>Air Band shelf boost from 2.5kHz to 40kHz via Maag’s Vari Air™</li>\n	<li>Minimal phase shift preserves natural audio </li>\n</ul>\n<h3>Maag Audio PREQ4 key features:</h3>\n<ul>\n	<li>65dB adjustable gain</li>\n	<li>Phase reverse</li>\n	<li>70Hz high pass filter</li>\n	<li>+48V phantom power</li>\n	<li>-20dB Pad</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Maag Audio PREQ4</h3>\nThe PREQ4’s Air Band can enhance the sound of any mic and is particularly adept at bringing out air, even in dynamic mics. A boost-only, high-frequency shelf EQ, the Air Band not only brings out top-end clarity in vocals, but also, when paired with a dynamic mic on snare, the PREQ4 Air Band can really bring out the crack in a snare. Since it operates with minimal phase shift, the output sound is not radically different in its waveform makeup than the input signal—it’s the same sound only enhance, with more punch, clarity, and presence. \n<br /><br />\nAlong with the legendary Air band, the Maag Audio PREQ4 also features 65dB adjustable gain, phase reverse capability, 70Hz high pass filter, +48V phantom power, and -20dB pad.<br /><br />\n<h3>OUTSIDE THE BOX — Maag Audio PREQ4</h3>\nThe front-panel controls of the sky-blue Maag PREQ4 include:\n<ul>\n	<li><strong>Vari Air:</strong> Shelving frequency selector for the AIR BAND. The shelf peaks are set at 2.5kHz, 5kHz, 10kHz, 20kHz, and 40kHz. The frequencies below the shelf peaks are also affected due to the transitional slope</li>\n	<li><strong>Air Gain:</strong> Rotary gain control for the AIR BAND: +12dB max</li>\n	<li><strong>Gain +20:</strong> Gain +20 button increases gain to a range of 45-65dB</li>\n	<li><strong>Pad –20:</strong> Attenuates the mic signal (pre transformer) by –20dB</li>\n	<li><strong>48V Phantom Power:</strong> Supplies phantom power to mic</li>\n	<li><strong>Peak:</strong> Red LED starts to illuminate when the output signal reaches 23dBu</li>\n	<li><strong>Signal:</strong> Green LED indicates audio signal presence. Illumination starts at -28dBu</li>\n	<li><strong>Air Band:</strong> Engages the Air Band</li>\n	<li><strong>High-Pass Filter:</strong> Knee starts at 160Hz and is –3dB at 70Hz</li>\n	<li><strong>Phase Reverse:</strong> Reverses the phase of the output relative to the input</li>\n</ul>\nTo ensure the PREQ4 will be compliant with API 500-series Lunchbox™, 500VPR rack systems, and other 500 power racks, Maag Audio is an official member of the VPR Alliance.\n<br /><br />\n<h3>Who’s using Maag Audio:</h3>\n<blockquote>\n	\" . . . The (PREQ4) preamp itself combined with the Air Band certainly makes it one of the most unique sounding preamps on the market . . .\"<br />\n	<strong>Joe Chiccarelli</strong>, 6-time Grammy award winning Engineer-Mixer-Producer<br />\n	<em>(Beck, U2, Tori Amos, Elton John, Café Tacuba, Julieta Venegas, Onigo Boingo, Rufus Wainwright)</em><br /><br />\n	\"I love the Maag PREQ4 mic pre. The air band is great. I’m a smoker and I need all the air I can get\"<br />\n	<strong>Jay Joyce</strong>, Producer, recording engineer, remixer, musician, and songwriter<br />\n	<em>(Tim McGraw, Miranda Lambert, Little Big Town, LeAnn Rimes, Faith Hill)</em><br /><br />\n	\"As a producer who really focuses on vocals, it\'s critical to me to have a signal path that inspires the singer. I was simply knocked out at the new Maag pre (PREQ4). I have a pre I\'ve been in love with for 15 years and has won every A/B I\'ve ever done until now - the Maag pre simply sounded noticeably better. As if the pre wasn\'t awesome by itself, the AIR BAND is so musical and useable and the lack of phase build up is unreal.\"<br />\n	<strong>Ed Cash</strong>, 3-time GMA Producer of the Year<br />\n	<em>(Chris Tomlin, Amy Grant, Kari Jobe, Vince Gill)</em><br /><br />\n	\"I\'ve had a chance to use the Maag Audio PREQ4 on a few things... I really, really like these on vocals; the AIR BAND makes the vocal pop out and shine in the track. On acoustic instruments, the clarity of the PREQ4 is wonderful and the air helps the harmonic content sparkle. Overhead mics love this pre because the AIR BAND adds beautiful extension on top without smearing the transients.\"<br />\n	<strong>Steve Bishir</strong>, 5-time Grammy award winning Engineer, Mixer, Producer<br />\n	<em>(Amy Grant, Mercy Me, Third Day, Vince Gill, Martina McBride, Ce Ce Winans, Steve Savage, Tin Cup Gypsy, 1000 Generations, Chris Sligh, Phil Stacey, Steven Curtis Chapman, and many others...)</em><br /><br />\n	\"The Maag PREQ4 is hands-down the best new microphone preamp i have worked with. The very musical gain circuit and Air Band EQ makes my whole microphone collection capable of being vocal microphones!!! I have been using vintage RCA 77\'s and 44\'s on the quietest sources. Having a pair of these around gives infinite possibilities to the creative spirit!!!! Thanks for making great products.\"\n	<br />\n	<strong>Paul Moak</strong>, Grammy-nominated producer, engineer, mixer, and Universal Music Publishing songwriter<br />\n	<em>(One Tree Hill, Private Practice, Pretty Little Liars, and The Vampire Diaries, Mat Kearney, Third Day, Lovedrug, The Blind Boys of Alabama, Martha Wainwright, Monroe/Dabbs, Madi Diaz, House of Heroes, Jennifer Knapp, and Matthew Mayfield)</em><br /><br />\n	\"The (PREQ4) AIR BAND adds sizzle on my cymbals. The AIR BAND Pres are clean, punchy and add a nice sheen to vocals.\"<br />\n	<strong>Mark Capps</strong>, Multi-Platinum Four-Time Grammy Award Winning Engineer, Mixer, Producer<br />\n	<em>(The Isaacs, Gaither Vocal Band, Trace Adkins, Michele Wright, Oak Ridge Boys...)</em>\n</blockquote>\n<em></em><br /><br />\n<h3>About Maag Audio</h3>\n<strong>— Elite professional audio gear to complement the audio engineer\'s Craft.</strong><br /><br />\nCliff Maag, who has been a recording engineer for over 35 years, founded Mäag Audio in 2009. With a strong passion for high quality sound, Cliff is an inventor of the acclaimed NTI EQ3, Nightpro PreQ3, and EQ3D. He was also the President of Research and Development during the early years of NTI and Nightpro. The Air Band is still known to this day as an unsurpassed element of the original NTI and Nightpro gear. The Air Band is vow available in the new EQ4 and PREQ4 500 Series gear from Mäag Audio.<br /><br />\nThe Mäag Audio team has worked hard to make the technology sound and function even better than the original gear. The need and desire for the best possible sound is what has driven Cliff and the Mäag Audio team over the last 35 years and is the catalyst behind Maag Audio. Committed to excellence Maag Audio’s goal is to provide all audio engineers cutting edge technology that they need to compete in their industry.<br /><br />\nOnly the finest components are used in Mäag Audio gear. Build quality is among the highest in the professional audio industry. You can rest assured your Mäag Audio gear will perform at sonically superior levels, every day.<br /><br />\n<h3>Open up your 500-series rack and let a little air in with the Maag Audio PREQ4. For more information, call or chat with an RSPE representative today.  </h3>\n<br />'),(6363,85,0,1061,'Maag PREQ4 500 Series Microphone Preamplifier w/AIR BAND®'),(6364,85,1,1061,'Maag PREQ4 500 Series Microphone Preamplifier w/AIR BAND®'),(6365,76,0,1061,''),(6366,76,1,1061,''),(6367,75,0,1062,'<h1>Mackie 1202VLZ4 12-channel Compact Mixer</h1>\n<i>\nThe Mackie 1202VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i><br /><br />\nThe 12-channel 1202VLZ4 features the proven performance of Mackie\'s flagship Onyx mic preamps in a desk-friendly, ultra-compact design, perfect for professional applications with a lower input need.<br /><br />\nFrom every input to every output, the 1202VLZ4 gives you the industry-proven performance you expect from a VLZ mixer.<br /><br />\nAnd with features like instrument level inputs, phantom power and level metering, the 1202VLZ4 offers a true step-up in flexibility and performance that\'s ideal for your professional application.<br /><br />\n<h3>Mackie 1202VLZ4 Key Features</h3>\n<ul>\n	<li>12-channel mixer featuring Mackie’s signature high-headroom, low-noise design</li>\n	<li>4 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n	</ul>\n	</li>\n	<li>Improved RF rejection, perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>12 high-headroom line inputs</li>\n	<li>3-band EQ (80 Hz, 2.5 kHz, 12 kHz)</li>\n	<li>18 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Aux send, level, pan and PFL solo on each channel</li>\n	<li>Stereo return for connecting FX processor or other stereo source</li>\n	<li>ALT ¾ stereo bus for added routing flexibility</li>\n	<li>Control room/ phones source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control-resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design using an optional rack ear kit</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n</ul><br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1202VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>\n<br />'),(6368,75,1,1062,'<h1>Mackie 1202VLZ4 12-channel Compact Mixer</h1>\n<i>\nThe Mackie 1202VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i><br /><br />\nThe 12-channel 1202VLZ4 features the proven performance of Mackie\'s flagship Onyx mic preamps in a desk-friendly, ultra-compact design, perfect for professional applications with a lower input need.<br /><br />\nFrom every input to every output, the 1202VLZ4 gives you the industry-proven performance you expect from a VLZ mixer.<br /><br />\nAnd with features like instrument level inputs, phantom power and level metering, the 1202VLZ4 offers a true step-up in flexibility and performance that\'s ideal for your professional application.<br /><br />\n<h3>Mackie 1202VLZ4 Key Features</h3>\n<ul>\n	<li>12-channel mixer featuring Mackie’s signature high-headroom, low-noise design</li>\n	<li>4 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n	</ul>\n	</li>\n	<li>Improved RF rejection, perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>12 high-headroom line inputs</li>\n	<li>3-band EQ (80 Hz, 2.5 kHz, 12 kHz)</li>\n	<li>18 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Aux send, level, pan and PFL solo on each channel</li>\n	<li>Stereo return for connecting FX processor or other stereo source</li>\n	<li>ALT ¾ stereo bus for added routing flexibility</li>\n	<li>Control room/ phones source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control-resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design using an optional rack ear kit</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n</ul><br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1202VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>\n<br />'),(6369,85,0,1062,'Mackie 1202VLZ4 12-channel Compact Mixer'),(6370,85,1,1062,'Mackie 1202VLZ4 12-channel Compact Mixer'),(6371,76,0,1062,''),(6372,76,1,1062,''),(6373,75,0,1063,'<h1>Mackie 1402VLZ4 14-channel Compact Mixer</h1>\n<i>The Mackie 1402VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nThe 14-channel 1402VLZ4 brings the proven performance of Mackie’s Onyx preamps in a professional compact mixer design great for applications that demand flexibility.<br /><br />\n<i>From every input to every output, the 1402VLZ4 is designed to provide the highest headroom and lowest noise possible for maximum signal integrity. Plus, it is truly “Built-Like-A-Tank” with a ridiculously rugged solid-steel chassis plus high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nAnd with features like a dedicated control room section and smooth, accurate fader control, the 1402VLZ4 is the premium choice for anybody who demands the professional performance\n<br /><br />\n<h3>Mackie 1402VLZ4 Key Features</h3>\n<ul>\n	<li>14-channel mixer featuring Mackie’s signature high-headroom, low-noise design</li>\n	<li>Six boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n		<li>Improved RF rejection, perfect for broadcast applications</li>\n	</ul>\n	</li>\n	<li>Phantom power for condenser mics</li>\n	<li>14 high-headroom line inputs with +4/–10 operation control</li>\n	<li>3-band EQ (80 Hz, 2.5 kHz, 12 kHz)</li>\n	<li>18 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Two aux sends, level, pan and PFL solo on each channel</li>\n	<li>60 mm long-wearing log-taper faders</li>\n	<li>Two stereo returns for connecting FX processor or other stereo source</li>\n	<li>ALT ¾ stereo bus for added routing flexibility</li>\n	<li>Control room / phones source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control-resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder –coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design using an optional rack ear kit</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n</ul><br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1402VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>\n<p>\n</p>'),(6374,75,1,1063,'<h1>Mackie 1402VLZ4 14-channel Compact Mixer</h1>\n<i>The Mackie 1402VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nThe 14-channel 1402VLZ4 brings the proven performance of Mackie’s Onyx preamps in a professional compact mixer design great for applications that demand flexibility.<br /><br />\n<i>From every input to every output, the 1402VLZ4 is designed to provide the highest headroom and lowest noise possible for maximum signal integrity. Plus, it is truly “Built-Like-A-Tank” with a ridiculously rugged solid-steel chassis plus high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nAnd with features like a dedicated control room section and smooth, accurate fader control, the 1402VLZ4 is the premium choice for anybody who demands the professional performance\n<br /><br />\n<h3>Mackie 1402VLZ4 Key Features</h3>\n<ul>\n	<li>14-channel mixer featuring Mackie’s signature high-headroom, low-noise design</li>\n	<li>Six boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n		<li>Improved RF rejection, perfect for broadcast applications</li>\n	</ul>\n	</li>\n	<li>Phantom power for condenser mics</li>\n	<li>14 high-headroom line inputs with +4/–10 operation control</li>\n	<li>3-band EQ (80 Hz, 2.5 kHz, 12 kHz)</li>\n	<li>18 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Two aux sends, level, pan and PFL solo on each channel</li>\n	<li>60 mm long-wearing log-taper faders</li>\n	<li>Two stereo returns for connecting FX processor or other stereo source</li>\n	<li>ALT ¾ stereo bus for added routing flexibility</li>\n	<li>Control room / phones source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control-resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder –coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design using an optional rack ear kit</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n</ul><br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1402VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>\n<p>\n</p>'),(6375,85,0,1063,'Mackie 1402VLZ4 14-channel Compact Mixer'),(6376,85,1,1063,'Mackie 1402VLZ4 14-channel Compact Mixer'),(6377,76,0,1063,''),(6378,76,1,1063,''),(6379,75,0,1064,'<h1>Mackie 1604VLZ4 16-channel Compact 4-bus Mixer</h1>\n<i>The Mackie 1604VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nA legend in compact mixer design, the 1604VLZ4 now combines the proven performance of Onyx preamps with the no-compromise high-headroom / low- noise design that made the1604 an industry mainstay. \n\n<br /><br />\nAll 16 channels feature an Onyx mic pre, line input and insert in a compact 4-bus design built for application flexibility and professional performance. Plus, it is truly “Built-Like-A-Tank” with a ridiculously rugged solid-steel chassis that includes high-contrast controls for ultimate tactile control.\n<br /><br />\nFound in countless professional broadcast and post facilities and easily the most proven band-friendly analog mixer ever, the 1604 stands alone in the world of compact mixing.\n\n<br /><br />\n<h3>Mackie 1604VLZ4 Key Features</h3>\n<ul>\n	<li>16-channel mixer featuring Mackie’s signature high-headroom, low-noise design</li>\n	<li>16 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n	</ul>\n	</li>\n	<li>Improved RF rejection, perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>16 high-headroom line inputs with +4/–10 operation control</li>\n	<li>16 balanced inserts perfect for integrating outboard gear</li>\n	<li>3-band EQ with sweepable midrange</li>\n	<li>118 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Four aux sends, level, pan and solo and overload/mute LEDs on each channel</li>\n	<li>Four stereo returns, eight direct outs and four group/ bus outputs</li>\n	<li>60 mm long-wearing log-taper faders</li>\n	<li>Control room/ phones multi-input source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder –coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design with three physical configurations via Rotopod accessory (sold separately)</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n</ul>\n<br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1604VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>'),(6380,75,1,1064,'<h1>Mackie 1604VLZ4 16-channel Compact 4-bus Mixer</h1>\n<i>The Mackie 1604VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nA legend in compact mixer design, the 1604VLZ4 now combines the proven performance of Onyx preamps with the no-compromise high-headroom / low- noise design that made the1604 an industry mainstay. \n\n<br /><br />\nAll 16 channels feature an Onyx mic pre, line input and insert in a compact 4-bus design built for application flexibility and professional performance. Plus, it is truly “Built-Like-A-Tank” with a ridiculously rugged solid-steel chassis that includes high-contrast controls for ultimate tactile control.\n<br /><br />\nFound in countless professional broadcast and post facilities and easily the most proven band-friendly analog mixer ever, the 1604 stands alone in the world of compact mixing.\n\n<br /><br />\n<h3>Mackie 1604VLZ4 Key Features</h3>\n<ul>\n	<li>16-channel mixer featuring Mackie’s signature high-headroom, low-noise design</li>\n	<li>16 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n	</ul>\n	</li>\n	<li>Improved RF rejection, perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>16 high-headroom line inputs with +4/–10 operation control</li>\n	<li>16 balanced inserts perfect for integrating outboard gear</li>\n	<li>3-band EQ with sweepable midrange</li>\n	<li>118 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Four aux sends, level, pan and solo and overload/mute LEDs on each channel</li>\n	<li>Four stereo returns, eight direct outs and four group/ bus outputs</li>\n	<li>60 mm long-wearing log-taper faders</li>\n	<li>Control room/ phones multi-input source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder –coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design with three physical configurations via Rotopod accessory (sold separately)</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n</ul>\n<br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1604VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>'),(6381,85,0,1064,'Mackie 1604VLZ4 16-channel Compact 4-bus Mixer'),(6382,85,1,1064,'Mackie 1604VLZ4 16-channel Compact 4-bus Mixer'),(6383,76,0,1064,''),(6384,76,1,1064,''),(6385,75,0,1065,'<h1>Mackie 1642VLZ4 16-channel Compact 4-Bus Mixer</h1>\n<i>The Mackie 1642VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nThe 16-channel 1642VLZ4 delivers the proven performance of Onyx preamps in a compact 4-bus mixer design, perfect for bands, clubs and more.\n<br /><br />\nFrom every input to every output, the 1642VLZ4 is designed to provide the highest headroom and lowest noise possible for maximum signal integrity. Plus, it is truly “Built-Like-A-Tank” with a ridiculously rugged solid-steel chassis that includes high-contrast controls for ultimate tactile control.\n<br /><br />\nAnd with features like an expanded return section for no-hassle system integration, plus a dedicated control room section, the 1642VLZ4 is the go-to mixer choice for any application that demands flexibility and professional performance.\n<br /><br />\n<h3>Mackie 1604VLZ4 Key Features</h3>\n<ul>\n\n	<li>16-channel mixer featuring our signature high-headroom, low-noise design</li>\n	<li>10 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n	</ul>\n	</li><li>Improved RF rejection, perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>16 high-headroom line inputs with +4/–10 operation control</li>\n	<li>3-band EQ (80 Hz, 2.5 kHz, 12kHz)</li>\n	<li>18 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Four aux sends, level, pan and PFL solo on each channel</li>\n	<li>Four stereo returns for connecting FX processor or other stereo source</li>\n	<li>60 mm long-wearing log-taper faders</li>\n	<li>ALT ¾ stereo bus for added routing flexibility</li>\n	<li>Control room / phones source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design using optional rack ear kit</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n	\n</ul>\n<br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1642VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>'),(6386,75,1,1065,'<h1>Mackie 1642VLZ4 16-channel Compact 4-Bus Mixer</h1>\n<i>The Mackie 1642VLZ4 Mixer, it truly is \"Built-Like-A-Tank\" with a ridiculously rugged solid steel chassis and high-contrast controls for ultimate tactile control. </i>\n<br /><br />\nThe 16-channel 1642VLZ4 delivers the proven performance of Onyx preamps in a compact 4-bus mixer design, perfect for bands, clubs and more.\n<br /><br />\nFrom every input to every output, the 1642VLZ4 is designed to provide the highest headroom and lowest noise possible for maximum signal integrity. Plus, it is truly “Built-Like-A-Tank” with a ridiculously rugged solid-steel chassis that includes high-contrast controls for ultimate tactile control.\n<br /><br />\nAnd with features like an expanded return section for no-hassle system integration, plus a dedicated control room section, the 1642VLZ4 is the go-to mixer choice for any application that demands flexibility and professional performance.\n<br /><br />\n<h3>Mackie 1604VLZ4 Key Features</h3>\n<ul>\n\n	<li>16-channel mixer featuring our signature high-headroom, low-noise design</li>\n	<li>10 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60 dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20 Hz – 50 kHz)</li>\n	</ul>\n	</li><li>Improved RF rejection, perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>16 high-headroom line inputs with +4/–10 operation control</li>\n	<li>3-band EQ (80 Hz, 2.5 kHz, 12kHz)</li>\n	<li>18 dB/oct 75 Hz low-cut filter on mic input channels</li>\n	<li>Four aux sends, level, pan and PFL solo on each channel</li>\n	<li>Four stereo returns for connecting FX processor or other stereo source</li>\n	<li>60 mm long-wearing log-taper faders</li>\n	<li>ALT ¾ stereo bus for added routing flexibility</li>\n	<li>Control room / phones source matrix</li>\n	<li>High-resolution 12-segment stereo meters</li>\n	<li>Sealed rotary control resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n	<li>Rack-mountable design using optional rack ear kit</li>\n	<li>Multi-voltage power supply for worldwide use</li>\n	\n</ul>\n<br />\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br /><br />\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br /><br />\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br />\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br /><br />\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br />\n<h4>The Mackie 1642VLZ4 packs a lot of power and features in a compact, extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>'),(6387,85,0,1065,'Mackie 1642VLZ4 16-channel Compact 4-bus Mixer'),(6388,85,1,1065,'Mackie 1642VLZ4 16-channel Compact 4-bus Mixer'),(6389,76,0,1065,''),(6390,76,1,1065,''),(6391,75,0,1066,'<h1>Mackie 402VLZ4 4-Channel Ultra Compact Mixer</h1>\nUltra Compact 4-Channel Mixer with 2 Onyx mic preamps, Phantom power, and 2-Band EQ housed in a rugged, portable steel chassis.\n<br/><br/>\nThe Mackie 402VLZ4 Mixer is a compact, extremely rugged 4-channel mixer that features 2 of Mackie\'s flagship Onyx mic preamps in an ultra-compact design that is an industry-leading performer ideal for professional low-input applications. <br/><br/>\nFrom every input to every output, the 402VLZ4 is designed to provide the highest headroom and lowest noise possible for maximum signal integrity. <br/><br/>\nAnd with features like instrument level inputs, phantom power and level metering, the 402VLZ4 is the premier mixer choice for anybody who\'s big on performance, but light on inputs.<br/><br/>\n<h3>Mackie 402VLZ4 Key Features</h3>\n<ul>\n	<li>2 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20Hz – 50kHz)</li>\n	</ul>\n	</li>\n	<li>Improved RF rejection perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>4 high-headroom line inputs</li>\n	<li>Selectable instrument inputs on first two channels – no DI box needed</li>\n	<li>2-band EQ (80Hz, 12kHz)</li>\n	<li>18 dB/oct 100Hz low-cut filter on mic input channels</li>\n	<li>High-resolution 8-segment stereo meters</li>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n</ul>\n<br/>\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br/><br/>\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br/><br/>\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br/>\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br/><br/>\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br/>\n<h4>The Mackie 402VLZ4 packs a lot of power and features in a small extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>\n<br/>'),(6392,75,1,1066,'<h1>Mackie 402VLZ4 4-Channel Ultra Compact Mixer</h1>\nUltra Compact 4-Channel Mixer with 2 Onyx mic preamps, Phantom power, and 2-Band EQ housed in a rugged, portable steel chassis.\n<br/><br/>\nThe Mackie 402VLZ4 Mixer is a compact, extremely rugged 4-channel mixer that features 2 of Mackie\'s flagship Onyx mic preamps in an ultra-compact design that is an industry-leading performer ideal for professional low-input applications. <br/><br/>\nFrom every input to every output, the 402VLZ4 is designed to provide the highest headroom and lowest noise possible for maximum signal integrity. <br/><br/>\nAnd with features like instrument level inputs, phantom power and level metering, the 402VLZ4 is the premier mixer choice for anybody who\'s big on performance, but light on inputs.<br/><br/>\n<h3>Mackie 402VLZ4 Key Features</h3>\n<ul>\n	<li>2 boutique-quality Onyx mic preamps\n	<ul>\n		<li>Ultra-wide 60dB gain range</li>\n		<li>128.5 dB dynamic range</li>\n		<li>+22 dBu line input handling</li>\n		<li>Extended frequency response</li>\n		<li>Distortion under 0.0007% (20Hz – 50kHz)</li>\n	</ul>\n	</li>\n	<li>Improved RF rejection perfect for broadcast applications</li>\n	<li>Phantom power for condenser mics</li>\n	<li>4 high-headroom line inputs</li>\n	<li>Selectable instrument inputs on first two channels – no DI box needed</li>\n	<li>2-band EQ (80Hz, 12kHz)</li>\n	<li>18 dB/oct 100Hz low-cut filter on mic input channels</li>\n	<li>High-resolution 8-segment stereo meters</li>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>“Built-Like-A-Tank” rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback</li>\n</ul>\n<br/>\n<h3>Mackie VLZ4 Series Analog Mixers</h3>\nMackie’s VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra-compact 402VLZ4 for desktop applications to the tour-friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.\n<br/><br/>\n<h3>Maximum Usability</h3>\nThe new VLZ4\'s feature a sleek black powder coat finish and cockpit-inspired controls. Colorful high-contrast knobs optimizes the VLZ4\'s usability in low-light scenarios as well as feature a radical, ergonomic taper that provides all the tactile control you need all while keeping the mixer footprint as small as possible. \n<br/><br/>\n<h3>Onyx Preamps</h3>\n<ul>\n	<li>Ultra-wide 60dB gain range</li>\n	<li>128.5 dB dynamic range</li>\n	<li>+22 dBu line input handling</li>\n	<li>Extended frequency response</li>\n	<li>Distortion under 0.0007% (20Hz - 20kHz)</li>\n</ul>\n<br/>\n<h3>High Headroom & Low Noise</h3>\nStrict attention to component quality has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture\n<br/><br/>\n<h3>Built Like A Tank</h3>\n<ul>\n	<li>Sealed rotary controls resist dust and grime</li>\n	<li>\"Built-Like-A-Tank\" rugged steel chassis with powder-coat finish</li>\n	<li>High-visibility, high-contrast controls</li>\n</ul>\n<br/>\n<h4>The Mackie 402VLZ4 packs a lot of power and features in a small extremely rugged package, perfect for any almost any situation, from live sound to your desktop. Call or chat with a RSPE representative today for more information.</h4>\n<br/>'),(6393,85,0,1066,'Mackie 402VLZ4 4-channel Compact Mixer'),(6394,85,1,1066,'Mackie 402VLZ4 4-channel Compact Mixer'),(6395,76,0,1066,''),(6396,76,1,1066,''),(6397,75,0,1067,'<h2>Mackie Big Knob Studio+ Monitor Controller | Interface</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Big Knob is a simple yet powerful desktop audio control center that lets musicians and engineers get right to the business of making music. </span><br /><br />The Mackie Big Knob is your signal routing and monitoring solution for your DAW-based studio. Big Knob provides a control room matrix and the basic features of an expensive mixer, but tailored for the requirements of your DAW (Digital Audio Workstation) environment.<br /><br />These features include selecting up to four separate stereo input sources, monitoring through three different speakers for A/B/C comparisons, providing a separate headphone mix and a studio output for the talent, and a built-in talkback mic for slate-to-tape<br />and headphone cueing. In other words, it gives you everything you need from a mixer, without the stuff you don\'t need!<br /><br />Listening from multiple sources through multiple sets of monitors is the norm in professional studio. Managing all this can be a time-consuming and often a noise-ridden, confusing mess. With the Big Knob, you have complete control of all your sources and monitors without the annoying problems. Easily select from various sources and sets of monitors at the push of a button and control your level from one (big) knob.<br /><div><br />\n</div>\n<h3><inline style=\"font-size: 24px;\">Big Knob Studio+ Key Features</inline></h3>\n<ul><li>Tabletop level control / monitor switcher / source selector & talkback box </li><li>Big, convenient volume knob for precise level adjustments </li><li>Switch amongst 3 sets of studio monitors </li><li>Built-in Talkback microphone for easy communication with musicians </li><li>Monitor 4 independent Stereo inputs including one for your </li><li>Dual Headphone outputs with independent volume controls and headphone mix bus </li><li>Phono preamp for direct turntable connection </li><li>High-end studio sound quality and robust construction </li><li>Perfect for computer-based studios </li><li>Humorous product name ensures years of off-color studio humor  </li></ul>\n<br /><p> <b><inline style=\"font-size: 24px;\">Precise Level Control<br /></inline></b><br /> Using a big, convenient volume \nknob, Big Knob lets you adjust volume levels the way our ancient audio \nancestors (Analogus Engineerus) did - with a simple, intuitive knob, not\n with a mouse and screen. The end result is a higher degree of precision\n and much quicker level adjustments. </p> <p> <b><inline style=\"font-size: 24px;\">Monitor Selection<br /></inline></b><br />\n  When it comes to mixing, pros know it’s best to get a second, and \nthird, opinion. So Big Knob lets you quickly switch between 3 pairs of \nstudio monitors, or 2 studio monitors and a subwoofer, or studio \nmonitors and a home stereo, or any other combination of powered \nspeakers. </p> <p> <b><inline style=\"font-size: 24px;\">Source Selection<br /></inline></b><br /> On the input side, Big \nKnob lets you connect up to 4 stereo input sources at once. This means \nyou can simultaneously connect to your computer/DAW outputs, CD player, \ncassette deck and even a turntable using the premium onboard RIAA \npreamp. You can even connect keyboards, guitars, drum machines, samplers\n - anything you’d like to hear - through your monitors. This makes Big \nKnob great for comparing your mixes-in-progress to your favorite CDs, \nfor archiving your old LPs, jamming along to your favorite tune, and \nlots more. </p> <p> <b><inline style=\"font-size: 24px;\">Talkback Section & Headphone Control<br /></inline></b><br /> \nWith its built-in Talkback mic and spring-loaded activation switches, \nBig Knob lets you quickly communicate with musicians in both the studio \nand tracking room - no more hand signals through the glass! Big Knob \nalso sports two high-powered headphone outputs with a discrete headphone\n mix bus, solving the communications needs of most computer-based \nstudios. </p> <p> <b><inline style=\"font-size: 24px;\">All the Right Connections<br /></inline></b><br /> Although its \nshiny silver knob is a head-turning feature, Big Knob\'s rear panel is \nequally impressive. There you’ll find three distinct Monitor outputs \nwith individual level control; 2-Track A and 2-Track B stereo outputs \nwith level selection switches; a DAW stereo output for your computer; a \nStudio output with level control; a Phones Mix input with level \nselection switch; 2-Track A and 2-Track B Stereo Source inputs with \nlevel control; a DAW Mix input from your computer with level control; \nand even a Phono input with level control for direct connection to your \nturntable. </p> <p> <b><inline style=\"font-size: 24px;\">Sound Quality</inline><br /></b><br /> Because Big Knob plays a \ncrucial link between recording output(s) and studio monitors, we placed \nthe utmost importance on pristine, no-compromise sound quality. For this\n reason, Big Knob features ultra low-noise op amps, extremely \nlow-tolerance components and state-of-the-art surface mount technology. \nAll of this ensures superb sound in critical listening environments and \nlong-term reliability - even under daily, and nightly, studio use. </p><b><inline style=\"font-size: 24px;\">The Mackie brand is used on professional music and recording \nequipment, such as mixing consoles, loudspeakers, studio monitors and \nDAW control surfaces, digital recording equipment and more. Call or chat\n with a RSPE representative today for more information.</inline></b>'),(6398,75,1,1067,'<h2>Mackie Big Knob Studio+ Monitor Controller | Interface</h2>\n<span style=\"font-size: 16px; font-style: italic;\">The Big Knob is a simple yet powerful desktop audio control center that lets musicians and engineers get right to the business of making music. </span><br /><br />The Mackie Big Knob is your signal routing and monitoring solution for your DAW-based studio. Big Knob provides a control room matrix and the basic features of an expensive mixer, but tailored for the requirements of your DAW (Digital Audio Workstation) environment.<br /><br />These features include selecting up to four separate stereo input sources, monitoring through three different speakers for A/B/C comparisons, providing a separate headphone mix and a studio output for the talent, and a built-in talkback mic for slate-to-tape<br />and headphone cueing. In other words, it gives you everything you need from a mixer, without the stuff you don\'t need!<br /><br />Listening from multiple sources through multiple sets of monitors is the norm in professional studio. Managing all this can be a time-consuming and often a noise-ridden, confusing mess. With the Big Knob, you have complete control of all your sources and monitors without the annoying problems. Easily select from various sources and sets of monitors at the push of a button and control your level from one (big) knob.<br /><div><br />\n</div>\n<h3><inline style=\"font-size: 24px;\">Big Knob Studio+ Key Features</inline></h3>\n<ul><li>Tabletop level control / monitor switcher / source selector & talkback box </li><li>Big, convenient volume knob for precise level adjustments </li><li>Switch amongst 3 sets of studio monitors </li><li>Built-in Talkback microphone for easy communication with musicians </li><li>Monitor 4 independent Stereo inputs including one for your </li><li>Dual Headphone outputs with independent volume controls and headphone mix bus </li><li>Phono preamp for direct turntable connection </li><li>High-end studio sound quality and robust construction </li><li>Perfect for computer-based studios </li><li>Humorous product name ensures years of off-color studio humor  </li></ul>\n<br /><p> <b><inline style=\"font-size: 24px;\">Precise Level Control<br /></inline></b><br /> Using a big, convenient volume \nknob, Big Knob lets you adjust volume levels the way our ancient audio \nancestors (Analogus Engineerus) did - with a simple, intuitive knob, not\n with a mouse and screen. The end result is a higher degree of precision\n and much quicker level adjustments. </p> <p> <b><inline style=\"font-size: 24px;\">Monitor Selection<br /></inline></b><br />\n  When it comes to mixing, pros know it’s best to get a second, and \nthird, opinion. So Big Knob lets you quickly switch between 3 pairs of \nstudio monitors, or 2 studio monitors and a subwoofer, or studio \nmonitors and a home stereo, or any other combination of powered \nspeakers. </p> <p> <b><inline style=\"font-size: 24px;\">Source Selection<br /></inline></b><br /> On the input side, Big \nKnob lets you connect up to 4 stereo input sources at once. This means \nyou can simultaneously connect to your computer/DAW outputs, CD player, \ncassette deck and even a turntable using the premium onboard RIAA \npreamp. You can even connect keyboards, guitars, drum machines, samplers\n - anything you’d like to hear - through your monitors. This makes Big \nKnob great for comparing your mixes-in-progress to your favorite CDs, \nfor archiving your old LPs, jamming along to your favorite tune, and \nlots more. </p> <p> <b><inline style=\"font-size: 24px;\">Talkback Section & Headphone Control<br /></inline></b><br /> \nWith its built-in Talkback mic and spring-loaded activation switches, \nBig Knob lets you quickly communicate with musicians in both the studio \nand tracking room - no more hand signals through the glass! Big Knob \nalso sports two high-powered headphone outputs with a discrete headphone\n mix bus, solving the communications needs of most computer-based \nstudios. </p> <p> <b><inline style=\"font-size: 24px;\">All the Right Connections<br /></inline></b><br /> Although its \nshiny silver knob is a head-turning feature, Big Knob\'s rear panel is \nequally impressive. There you’ll find three distinct Monitor outputs \nwith individual level control; 2-Track A and 2-Track B stereo outputs \nwith level selection switches; a DAW stereo output for your computer; a \nStudio output with level control; a Phones Mix input with level \nselection switch; 2-Track A and 2-Track B Stereo Source inputs with \nlevel control; a DAW Mix input from your computer with level control; \nand even a Phono input with level control for direct connection to your \nturntable. </p> <p> <b><inline style=\"font-size: 24px;\">Sound Quality</inline><br /></b><br /> Because Big Knob plays a \ncrucial link between recording output(s) and studio monitors, we placed \nthe utmost importance on pristine, no-compromise sound quality. For this\n reason, Big Knob features ultra low-noise op amps, extremely \nlow-tolerance components and state-of-the-art surface mount technology. \nAll of this ensures superb sound in critical listening environments and \nlong-term reliability - even under daily, and nightly, studio use. </p><b><inline style=\"font-size: 24px;\">The Mackie brand is used on professional music and recording \nequipment, such as mixing consoles, loudspeakers, studio monitors and \nDAW control surfaces, digital recording equipment and more. Call or chat\n with a RSPE representative today for more information.</inline></b>'),(6399,85,0,1067,'Mackie Big Knob Studio+ Monitor Controller | Interface'),(6400,85,1,1067,'Mackie Big Knob Studio+ Monitor Controller | Interface'),(6401,76,0,1067,''),(6402,76,1,1067,''),(6403,75,0,1068,'<h1>Mackie DL32R - 32-channel Wireless Digital Live Sound Mixer w/ iPad Control</h1>\n<i>Control Everything From Anywhere.</i><br /><br />\nThe Mackie DL32R<sup>™</sup> delivers 32-channels of powerful digital mixing controlled wirelessly from the extremely intuitive Master Fader<sup>™</sup> iPad<sup>®</sup>\napp. With total wireless control over everything, including \nfully-loaded DSP and direct-to-disk multi-track recording/playback, \nDL32R frees you to get in the mix like never before.\n<br /><br />\n	The DL32R \nfeatures flexible, professional I/O in an incredibly compact design. So \nyou can place it anywhere and it\'s \"Built-Like-A-Tank\", so it\'ll stand \nup to life on the road. Recallable Onyx+\n	<sup>™</sup> mic pres provide \nunmatched clarity and control. DL32R has outputs galore with 14 \nassignable XLR outputs, stereo AES, phones out, and 1/4” monitor output.\n The optional DL Dante Expansion Card gives you 32x32 channels of \nnetworked audio compatible with hundreds of Dante equipped devices.\n<br /><br />\n	DL32R is also part of the Mackie AXIS Digital Mixing System,\n which delivers an ultra-fast workflow through unmatched visual feedback\n and customization for professional production and system integration. \nWith full Dante® interoperability, the modular AXIS system combines the \npower of the 32-channel DL32R™ digital mixer and innovative DC16™ \ncontrol surface to deliver a forward-thinking, modular digital mixing \nsolution with more features per price than any other digital mixer \navailable.\n<br /><br />\n<h5>32-Channel Wireless Digital Mixer</h5>\n<ul>\n	<li>32 Onyx+™ recallable mic pres with wireless control</li>\n	<li>14 fully-assignable XLR outputs</li>\n	<li>Stereo AES digital output</li>\n	<li>Total recall of all settings</li>\n	<li>3U rackmount design ready for road or install</li>\n	<li>Card slot for Dante expansion card*</li>\n</ul>\n<p>\n	<strong>WIRELESS MIXING<sup>*</sup></strong>\n</p>\n<ul>\n	<li>Complete control from your iPad<sup>®</sup></li>\n	<li>No set FOH position – mix from anywhere</li>\n	<li>Personal monitor mixing via iPad, iPhone<sup>®</sup> or iPod touch<sup>®</sup></li>\n	<li>Supports iPad Pro<sup><span style=\"font-size: 19.2px;\">®</span></sup><span style=\"font-size: 19.2px;\"> to show more channels, bigger controls and even finer resolution</span></li>\n	<li>Supports up to 20 separate iOS devices at once</li>\n	<li>Multiple engineers can work from a single mixer</li>\n	<li>Ditch the snake – place the mixer anywhere</li>\n</ul>\n<p>\n	<strong>MULTI-TRACK RECORDING & PLAYBACK</strong>\n</p>\n<ul>\n	<li>32x32 USB 2.0 audio interface for Mac or PC</li>\n	<li>32x32 recording/playback direct to USB 2.0 hard drive</li>\n	<li>Wireless control over all direct-to-disk recording/playback functions</li>\n	<li>Record the show for later mixdown</li>\n	<li>Play back intermission music and backing tracks</li>\n	<li>Perform a virtual soundcheck</li>\n	<li>Easy exporting using iOS system sharing</li>\n	<li>Amazing recording interface for the studio</li>\n	<li>Utilize Mac or PC audio plug-ins in a live environment</li>\n</ul>\n<p>\n	<strong>FULLY-LOADED DSP</strong>\n</p>\n<ul>\n	<li>36 input channels with 4-band PEQ + HPF, gate, compression and RTA/Spectrograph\n	<ul style=\"list-style-type:circle;\">\n		<li>32 stereo-linkable input channels</li>\n		<li>4 stereo-linkable return channels*</li>\n	</ul>\n	</li>\n	<li>28 output busses with 4-band PEQ + HPF/LPF, 31-band GEQ, comp/limiter, alignment delay and RTA/Spectrograph\n	<ul style=\"list-style-type:circle;\">\n		<li>14 stereo-linkable aux sends</li>\n		<li>6 stereo-linkable matrix busses</li>\n		<li>6 stereo-linkable subgroups*</li>\n		<li>Main L/R busses</li>\n	</ul>\n	</li>\n	<li>6 VCAs and 6 mute groups</li>\n	<li>3 stereo FX processors with dedicated sends and returns</li>\n	<li>Full I/O routing with A/B sources per channel</li>\n	<li>Assignable oscillator including pink/white noise and sine waves</li>\n	<li>Modern and Vintage options per processor</li>\n</ul>\n<p>\n	<strong>MASTER FADER CONTROL APP</strong>\n</p>\n<ul>\n	<li>Intuitive and easy to master</li>\n	<li>Fast navigation with view groups and overview</li>\n	<li>Quick setup with tons of factory and user-definable presets</li>\n	<li>Access Limiting allows flexible customization of user interface and prevents unwanted adjustments from other users</li>\n	<li>Export presets, shows and complete system backups via Dropbox, email and more using iOS system sharing</li>\n	<li>Complete offline operation</li>\n	<li>Easy and frequent updates via App Store\n	<p>\n		<em><br />* Dante expansion card sold separately. Wi-Fi router and iPad \nrequired. Wi-Fi router, iPad, iPhone and/or iPod touch not included. \nReturn channels and subgroups feature PEQ and compression. \n		</em>\n	</p>\n	</li>\n</ul>\n<h4 class=\"green\">DL Dante Expansion Card</h4>\n<h5>Optional for DL32R</h5>\n<ul>\n	<li>32x32 48 kHz digital audio interface connecting the Mackie DL32R to a Dante network using Cat5e</li>\n	<li>Route any signal to the Dante network from the DL32R using Master Fader control software</li>\n	<li>Dual etherCON ports for Dante daisy-chaining or redundant Dante mode</li>\n	<li>Dedicated Wi-Fi control port eliminates need for Ethernet switch in many applications</li>\n	<li>Automatic device discovery and custom channel naming with easy one click routing using Dante Controller software for Mac and PC</li>\n	<li>Extremely stable, glitch-free low-latency design</li>\n	<li>Includes Dante Virtual Soundcard for recording and playback of up to 64x64 channels via Mac or PC</li>\n	<li>Use simultaneously with DL32R USB I/O for total routing and recording control</li>\n	<li>Simple two-screw user installation</li>\n</ul>\n<br />\n<p>\n</p>'),(6404,75,1,1068,'<h1>Mackie DL32R - 32-channel Wireless Digital Live Sound Mixer w/ iPad Control</h1>\n<i>Control Everything From Anywhere.</i><br /><br />\nThe Mackie DL32R<sup>™</sup> delivers 32-channels of powerful digital mixing controlled wirelessly from the extremely intuitive Master Fader<sup>™</sup> iPad<sup>®</sup>\napp. With total wireless control over everything, including \nfully-loaded DSP and direct-to-disk multi-track recording/playback, \nDL32R frees you to get in the mix like never before.\n<br /><br />\n	The DL32R \nfeatures flexible, professional I/O in an incredibly compact design. So \nyou can place it anywhere and it\'s \"Built-Like-A-Tank\", so it\'ll stand \nup to life on the road. Recallable Onyx+\n	<sup>™</sup> mic pres provide \nunmatched clarity and control. DL32R has outputs galore with 14 \nassignable XLR outputs, stereo AES, phones out, and 1/4” monitor output.\n The optional DL Dante Expansion Card gives you 32x32 channels of \nnetworked audio compatible with hundreds of Dante equipped devices.\n<br /><br />\n	DL32R is also part of the Mackie AXIS Digital Mixing System,\n which delivers an ultra-fast workflow through unmatched visual feedback\n and customization for professional production and system integration. \nWith full Dante® interoperability, the modular AXIS system combines the \npower of the 32-channel DL32R™ digital mixer and innovative DC16™ \ncontrol surface to deliver a forward-thinking, modular digital mixing \nsolution with more features per price than any other digital mixer \navailable.\n<br /><br />\n<h5>32-Channel Wireless Digital Mixer</h5>\n<ul>\n	<li>32 Onyx+™ recallable mic pres with wireless control</li>\n	<li>14 fully-assignable XLR outputs</li>\n	<li>Stereo AES digital output</li>\n	<li>Total recall of all settings</li>\n	<li>3U rackmount design ready for road or install</li>\n	<li>Card slot for Dante expansion card*</li>\n</ul>\n<p>\n	<strong>WIRELESS MIXING<sup>*</sup></strong>\n</p>\n<ul>\n	<li>Complete control from your iPad<sup>®</sup></li>\n	<li>No set FOH position – mix from anywhere</li>\n	<li>Personal monitor mixing via iPad, iPhone<sup>®</sup> or iPod touch<sup>®</sup></li>\n	<li>Supports iPad Pro<sup><span style=\"font-size: 19.2px;\">®</span></sup><span style=\"font-size: 19.2px;\"> to show more channels, bigger controls and even finer resolution</span></li>\n	<li>Supports up to 20 separate iOS devices at once</li>\n	<li>Multiple engineers can work from a single mixer</li>\n	<li>Ditch the snake – place the mixer anywhere</li>\n</ul>\n<p>\n	<strong>MULTI-TRACK RECORDING & PLAYBACK</strong>\n</p>\n<ul>\n	<li>32x32 USB 2.0 audio interface for Mac or PC</li>\n	<li>32x32 recording/playback direct to USB 2.0 hard drive</li>\n	<li>Wireless control over all direct-to-disk recording/playback functions</li>\n	<li>Record the show for later mixdown</li>\n	<li>Play back intermission music and backing tracks</li>\n	<li>Perform a virtual soundcheck</li>\n	<li>Easy exporting using iOS system sharing</li>\n	<li>Amazing recording interface for the studio</li>\n	<li>Utilize Mac or PC audio plug-ins in a live environment</li>\n</ul>\n<p>\n	<strong>FULLY-LOADED DSP</strong>\n</p>\n<ul>\n	<li>36 input channels with 4-band PEQ + HPF, gate, compression and RTA/Spectrograph\n	<ul style=\"list-style-type:circle;\">\n		<li>32 stereo-linkable input channels</li>\n		<li>4 stereo-linkable return channels*</li>\n	</ul>\n	</li>\n	<li>28 output busses with 4-band PEQ + HPF/LPF, 31-band GEQ, comp/limiter, alignment delay and RTA/Spectrograph\n	<ul style=\"list-style-type:circle;\">\n		<li>14 stereo-linkable aux sends</li>\n		<li>6 stereo-linkable matrix busses</li>\n		<li>6 stereo-linkable subgroups*</li>\n		<li>Main L/R busses</li>\n	</ul>\n	</li>\n	<li>6 VCAs and 6 mute groups</li>\n	<li>3 stereo FX processors with dedicated sends and returns</li>\n	<li>Full I/O routing with A/B sources per channel</li>\n	<li>Assignable oscillator including pink/white noise and sine waves</li>\n	<li>Modern and Vintage options per processor</li>\n</ul>\n<p>\n	<strong>MASTER FADER CONTROL APP</strong>\n</p>\n<ul>\n	<li>Intuitive and easy to master</li>\n	<li>Fast navigation with view groups and overview</li>\n	<li>Quick setup with tons of factory and user-definable presets</li>\n	<li>Access Limiting allows flexible customization of user interface and prevents unwanted adjustments from other users</li>\n	<li>Export presets, shows and complete system backups via Dropbox, email and more using iOS system sharing</li>\n	<li>Complete offline operation</li>\n	<li>Easy and frequent updates via App Store\n	<p>\n		<em><br />* Dante expansion card sold separately. Wi-Fi router and iPad \nrequired. Wi-Fi router, iPad, iPhone and/or iPod touch not included. \nReturn channels and subgroups feature PEQ and compression. \n		</em>\n	</p>\n	</li>\n</ul>\n<h4 class=\"green\">DL Dante Expansion Card</h4>\n<h5>Optional for DL32R</h5>\n<ul>\n	<li>32x32 48 kHz digital audio interface connecting the Mackie DL32R to a Dante network using Cat5e</li>\n	<li>Route any signal to the Dante network from the DL32R using Master Fader control software</li>\n	<li>Dual etherCON ports for Dante daisy-chaining or redundant Dante mode</li>\n	<li>Dedicated Wi-Fi control port eliminates need for Ethernet switch in many applications</li>\n	<li>Automatic device discovery and custom channel naming with easy one click routing using Dante Controller software for Mac and PC</li>\n	<li>Extremely stable, glitch-free low-latency design</li>\n	<li>Includes Dante Virtual Soundcard for recording and playback of up to 64x64 channels via Mac or PC</li>\n	<li>Use simultaneously with DL32R USB I/O for total routing and recording control</li>\n	<li>Simple two-screw user installation</li>\n</ul>\n<br />\n<p>\n</p>'),(6405,85,0,1068,'Mackie DL32R - 32-channel Wireless Digital Live Sound Mixer w/ iPad Control'),(6406,85,1,1068,'Mackie DL32R - 32-channel Wireless Digital Live Sound Mixer w/ iPad Control'),(6407,76,0,1068,''),(6408,76,1,1068,''),(6409,75,0,1069,'<h1>Mackie HR624 MK2 - 6\" 2-Way High Resolution Active Studio Monitor</h1>\n<i>The HR624 MK2s have been redesigned with modern components for improved accuracy and an extended low-frequency response. <br /><br /></i>\nThe Mackie HR624 MK2 Studio Monitors are high-resolution, two-way, bi-amplified, active monitors employing a 6th-order Butterworth system with a built-in rear-firing mass-loaded passive radiator.\n<br /><br />\nThere are many benefits to integrating an active crossover, power amplifiers, and drivers into single cabinet, and Mackie has taken full advantage of these benefits in the design of the HR624 MK2. The crossover point is designed so that the high- and low-frequency drivers are fed only the frequencies they are best able to reproduce. <br /><br />\nThe amplifiers are designed to provide maximum acoustic output from the speakers, yet minimize the danger of speaker damage due to over driving. In addition, the amplifiers’ gain and frequency responses are individually hand-trimmed to compensate for typical manufacturing tolerances between the drivers and produce a smooth frequency response from 45 Hz to 20 kHz. <br /><br />\nThe connecting wires between the amplifier outputs and the drivers are kept to an absolute minimum, so the damping factor of the amplifier isn’t compromised by the resistance of long speaker cables.<br /><br />\nThe acoustic sum of the outputs from the two drivers are optimized electronically, as well as physically, so the amplitude response is unity and the phase difference is minimal\n<br /><br />\n<h3>Mackie HR624 MK2 Features </h3>\n<ul>\n	<li>High resolution Active studio reference monitor</li>\n	<li>Ultra-linear frequency response for accurate mix translation</li>\n	<li>6.7-inch high-precision, low-distortion LF transducer</li>\n	<li>1-inch titanium dome, ferrofluid cooled tweeter</li>\n	<li>Optimized Waveguide for wide, even sweet zone</li>\n</ul>\n<br />\n<h3>Zero-edge Baffle™</h3>\nThe one-piece cast aluminum Zero Edge Baffle™ features precisely engineered curvature that minimizes diffraction for a crystal clear image of your mix, and effectively controls sound waves so you get detailed lows, full, articulate mids, and shimmering highs.\n<br /><br />\n<h3>Passive Radiator</h3>\nThe passive radiator replaces the port found on most speaker systems. One primary advantage of a passive radiator is that it can reproduce low frequencies with lower distortion and at a higher sound pressure level (SPL) than a simple port or duct.\n<br /><br />\n<h3>Precision Amplification</h3>\nThe HRmk2 Series monitors contain separate onboard amplifiers for each driver, plus onboard active crossovers and time-correction circuitry, which helps ensure highs and lows reach your ears at the same time. The HRmk2s also have protection circuitry built in to protect from damaging input levels. \n<br /><br />\n<h3>Cabinet Design</h3>\nThe HRmk2 monitors feature a wood cabinet, with custom internal bracing to increase its strength and rigidity in desired locations. To absorb internal reflections and dampen standing waves inside the cabinet, an open-cell adiabatic foam material is placed strategically inside the box.\n<br /><br />\n<h3>Unparalleled Quality</h3>\nWe go to elaborate lengths to ensure each HRmk2 sounds as good as our experts intended. Each one we manufacture is subject to rigorous testing and pre-screening during the production process, then calibrated and tuned with an environmentally controlled test chamber before final packaging.\n<br /><br />\n<h3>Power and Overload Led</h3>\nOur LED power indicator is a tasty shade of white and red for when things get pushed a little too hard. We took care to make sure the brightness is just right, too. The light shines bright enough so you can see it just fine in a well-lit room, and in a dark environment, it won’t distract or blind you.\n<br /><br />\n<h3>Rotatable Logo</h3>\nDue to their ultra-wide sweet zone, our HRmk2 monitors can be oriented vertically or horizontally, so we made our Mackie logo rotate-able. No matter which way you orient your HRmk2s, they’re always right-side up!\n<br /><br />\n<h4>The Mackie HR624 MK2 builds upon the legend of the originals form the 90\'s adding more features to give you ultra-accurate monitoring for your studio. Call or chat with a RSPE representative today for more information.</h4>'),(6410,75,1,1069,'<h1>Mackie HR624 MK2 - 6\" 2-Way High Resolution Active Studio Monitor</h1>\n<i>The HR624 MK2s have been redesigned with modern components for improved accuracy and an extended low-frequency response. <br /><br /></i>\nThe Mackie HR624 MK2 Studio Monitors are high-resolution, two-way, bi-amplified, active monitors employing a 6th-order Butterworth system with a built-in rear-firing mass-loaded passive radiator.\n<br /><br />\nThere are many benefits to integrating an active crossover, power amplifiers, and drivers into single cabinet, and Mackie has taken full advantage of these benefits in the design of the HR624 MK2. The crossover point is designed so that the high- and low-frequency drivers are fed only the frequencies they are best able to reproduce. <br /><br />\nThe amplifiers are designed to provide maximum acoustic output from the speakers, yet minimize the danger of speaker damage due to over driving. In addition, the amplifiers’ gain and frequency responses are individually hand-trimmed to compensate for typical manufacturing tolerances between the drivers and produce a smooth frequency response from 45 Hz to 20 kHz. <br /><br />\nThe connecting wires between the amplifier outputs and the drivers are kept to an absolute minimum, so the damping factor of the amplifier isn’t compromised by the resistance of long speaker cables.<br /><br />\nThe acoustic sum of the outputs from the two drivers are optimized electronically, as well as physically, so the amplitude response is unity and the phase difference is minimal\n<br /><br />\n<h3>Mackie HR624 MK2 Features </h3>\n<ul>\n	<li>High resolution Active studio reference monitor</li>\n	<li>Ultra-linear frequency response for accurate mix translation</li>\n	<li>6.7-inch high-precision, low-distortion LF transducer</li>\n	<li>1-inch titanium dome, ferrofluid cooled tweeter</li>\n	<li>Optimized Waveguide for wide, even sweet zone</li>\n</ul>\n<br />\n<h3>Zero-edge Baffle™</h3>\nThe one-piece cast aluminum Zero Edge Baffle™ features precisely engineered curvature that minimizes diffraction for a crystal clear image of your mix, and effectively controls sound waves so you get detailed lows, full, articulate mids, and shimmering highs.\n<br /><br />\n<h3>Passive Radiator</h3>\nThe passive radiator replaces the port found on most speaker systems. One primary advantage of a passive radiator is that it can reproduce low frequencies with lower distortion and at a higher sound pressure level (SPL) than a simple port or duct.\n<br /><br />\n<h3>Precision Amplification</h3>\nThe HRmk2 Series monitors contain separate onboard amplifiers for each driver, plus onboard active crossovers and time-correction circuitry, which helps ensure highs and lows reach your ears at the same time. The HRmk2s also have protection circuitry built in to protect from damaging input levels. \n<br /><br />\n<h3>Cabinet Design</h3>\nThe HRmk2 monitors feature a wood cabinet, with custom internal bracing to increase its strength and rigidity in desired locations. To absorb internal reflections and dampen standing waves inside the cabinet, an open-cell adiabatic foam material is placed strategically inside the box.\n<br /><br />\n<h3>Unparalleled Quality</h3>\nWe go to elaborate lengths to ensure each HRmk2 sounds as good as our experts intended. Each one we manufacture is subject to rigorous testing and pre-screening during the production process, then calibrated and tuned with an environmentally controlled test chamber before final packaging.\n<br /><br />\n<h3>Power and Overload Led</h3>\nOur LED power indicator is a tasty shade of white and red for when things get pushed a little too hard. We took care to make sure the brightness is just right, too. The light shines bright enough so you can see it just fine in a well-lit room, and in a dark environment, it won’t distract or blind you.\n<br /><br />\n<h3>Rotatable Logo</h3>\nDue to their ultra-wide sweet zone, our HRmk2 monitors can be oriented vertically or horizontally, so we made our Mackie logo rotate-able. No matter which way you orient your HRmk2s, they’re always right-side up!\n<br /><br />\n<h4>The Mackie HR624 MK2 builds upon the legend of the originals form the 90\'s adding more features to give you ultra-accurate monitoring for your studio. Call or chat with a RSPE representative today for more information.</h4>'),(6411,85,0,1069,'Mackie HR624 MK2 - 6\" 2-Way High Resolution Active Studio Monitor'),(6412,85,1,1069,'Mackie HR624 MK2 - 6\" 2-Way High Resolution Active Studio Monitor'),(6413,76,0,1069,''),(6414,76,1,1069,''),(6415,75,0,1070,'<h1>Mackie HR824 MK2 - 8\" 2-Way High Resolution Active Studio Monitor</h1>\n<i>The HR824 MK2s have been redesigned with modern components for improved accuracy and an extended low-frequency response. </i><br /><br />\n\nThe HR824 MK2 Studio Monitors are high-resolution, two-way, bi-amplified, active monitors employing a 6th-order Butterworth system with a built-in rear-firing mass-loaded passive radiator.<br /><br />\n\nThere are many benefits to integrating an active crossover, power amplifiers, and drivers into single cabinet, and Mackie has taken full advantage of these benefits in the design of the HR824 MK2. The crossover point is designed so that the high- and low-frequency drivers are fed only the frequencies they are best able to reproduce. \n<br /><br />\n\nThe amplifiers are designed to provide maximum acoustic output from the speakers, yet minimize the danger of speaker damage due to over driving. In addition, the amplifiers’ gain and frequency responses are individually hand-trimmed to compensate for typical manufacturing tolerances between the drivers and produce a smooth frequency response from 45 Hz to 20 kHz. <br /><br />\n\nThe connecting wires between the amplifier outputs and the drivers are kept to an absolute minimum, so the damping factor of the amplifier isn’t compromised by the resistance of long speaker cables.<br /><br />\n\nThe acoustic sum of the outputs from the two drivers are optimized electronically, as well as physically, so the amplitude response is unity and the phase difference is minimal.\n<br /><br />\n<h3>Mackie HR624 MK2 Features </h3>\n<ul>\n	<li>High resolution Active studio reference monitor</li>\n	<li>Ultra-linear frequency response for accurate mix translation</li>\n	<li>8.75-inch high-precision, low-distortion LF transducer</li>\n	<li>1-inch titanium dome, ferrofluid cooled tweeter</li>\n	<li>Optimized Waveguide for wide, even sweet zone</li>\n	\n</ul>\n<br />\n<h3>Zero-edge Baffle™</h3>\nThe one-piece cast aluminum Zero Edge Baffle™ features precisely engineered curvature that minimizes diffraction for a crystal clear image of your mix, and effectively controls sound waves so you get detailed lows, full, articulate mids, and shimmering highs.\n<br /><br />\n<h3>Passive Radiator</h3>\nThe passive radiator replaces the port found on most speaker systems. One primary advantage of a passive radiator is that it can reproduce low frequencies with lower distortion and at a higher sound pressure level (SPL) than a simple port or duct.\n<br /><br />\n<h3>Precision Amplification</h3>\nThe HRmk2 Series monitors contain separate onboard amplifiers for each driver, plus onboard active crossovers and time-correction circuitry, which helps ensure highs and lows reach your ears at the same time. The HRmk2s also have protection circuitry built in to protect from damaging input levels. \n<br /><br />\n<h3>Cabinet Design</h3>\nThe HRmk2 monitors feature a wood cabinet, with custom internal bracing to increase its strength and rigidity in desired locations. To absorb internal reflections and dampen standing waves inside the cabinet, an open-cell adiabatic foam material is placed strategically inside the box.\n<br /><br />\n<h3>Unparalleled Quality</h3>\nWe go to elaborate lengths to ensure each HRmk2 sounds as good as our experts intended. Each one we manufacture is subject to rigorous testing and pre-screening during the production process, then calibrated and tuned with an environmentally controlled test chamber before final packaging.\n<br /><br />\n<h3>Power and Overload Led</h3>\nOur LED power indicator is a tasty shade of white and red for when things get pushed a little too hard. We took care to make sure the brightness is just right, too. The light shines bright enough so you can see it just fine in a well-lit room, and in a dark environment, it won’t distract or blind you.\n<br /><br />\n<h3>Rotatable Logo</h3>\nDue to their ultra-wide sweet zone, our HRmk2 monitors can be oriented vertically or horizontally, so we made our Mackie logo rotate-able. No matter which way you orient your HRmk2s, they’re always right-side up!\n<br /><br />\n<h4>The Mackie HR824 MK2 builds upon the legend of the originals form the 90\'s adding more features to give you ultra-accurate monitoring for your studio. Call or chat with a RSPE representative today for more information.</h4>'),(6416,75,1,1070,'<h1>Mackie HR824 MK2 - 8\" 2-Way High Resolution Active Studio Monitor</h1>\n<i>The HR824 MK2s have been redesigned with modern components for improved accuracy and an extended low-frequency response. </i><br /><br />\n\nThe HR824 MK2 Studio Monitors are high-resolution, two-way, bi-amplified, active monitors employing a 6th-order Butterworth system with a built-in rear-firing mass-loaded passive radiator.<br /><br />\n\nThere are many benefits to integrating an active crossover, power amplifiers, and drivers into single cabinet, and Mackie has taken full advantage of these benefits in the design of the HR824 MK2. The crossover point is designed so that the high- and low-frequency drivers are fed only the frequencies they are best able to reproduce. \n<br /><br />\n\nThe amplifiers are designed to provide maximum acoustic output from the speakers, yet minimize the danger of speaker damage due to over driving. In addition, the amplifiers’ gain and frequency responses are individually hand-trimmed to compensate for typical manufacturing tolerances between the drivers and produce a smooth frequency response from 45 Hz to 20 kHz. <br /><br />\n\nThe connecting wires between the amplifier outputs and the drivers are kept to an absolute minimum, so the damping factor of the amplifier isn’t compromised by the resistance of long speaker cables.<br /><br />\n\nThe acoustic sum of the outputs from the two drivers are optimized electronically, as well as physically, so the amplitude response is unity and the phase difference is minimal.\n<br /><br />\n<h3>Mackie HR624 MK2 Features </h3>\n<ul>\n	<li>High resolution Active studio reference monitor</li>\n	<li>Ultra-linear frequency response for accurate mix translation</li>\n	<li>8.75-inch high-precision, low-distortion LF transducer</li>\n	<li>1-inch titanium dome, ferrofluid cooled tweeter</li>\n	<li>Optimized Waveguide for wide, even sweet zone</li>\n	\n</ul>\n<br />\n<h3>Zero-edge Baffle™</h3>\nThe one-piece cast aluminum Zero Edge Baffle™ features precisely engineered curvature that minimizes diffraction for a crystal clear image of your mix, and effectively controls sound waves so you get detailed lows, full, articulate mids, and shimmering highs.\n<br /><br />\n<h3>Passive Radiator</h3>\nThe passive radiator replaces the port found on most speaker systems. One primary advantage of a passive radiator is that it can reproduce low frequencies with lower distortion and at a higher sound pressure level (SPL) than a simple port or duct.\n<br /><br />\n<h3>Precision Amplification</h3>\nThe HRmk2 Series monitors contain separate onboard amplifiers for each driver, plus onboard active crossovers and time-correction circuitry, which helps ensure highs and lows reach your ears at the same time. The HRmk2s also have protection circuitry built in to protect from damaging input levels. \n<br /><br />\n<h3>Cabinet Design</h3>\nThe HRmk2 monitors feature a wood cabinet, with custom internal bracing to increase its strength and rigidity in desired locations. To absorb internal reflections and dampen standing waves inside the cabinet, an open-cell adiabatic foam material is placed strategically inside the box.\n<br /><br />\n<h3>Unparalleled Quality</h3>\nWe go to elaborate lengths to ensure each HRmk2 sounds as good as our experts intended. Each one we manufacture is subject to rigorous testing and pre-screening during the production process, then calibrated and tuned with an environmentally controlled test chamber before final packaging.\n<br /><br />\n<h3>Power and Overload Led</h3>\nOur LED power indicator is a tasty shade of white and red for when things get pushed a little too hard. We took care to make sure the brightness is just right, too. The light shines bright enough so you can see it just fine in a well-lit room, and in a dark environment, it won’t distract or blind you.\n<br /><br />\n<h3>Rotatable Logo</h3>\nDue to their ultra-wide sweet zone, our HRmk2 monitors can be oriented vertically or horizontally, so we made our Mackie logo rotate-able. No matter which way you orient your HRmk2s, they’re always right-side up!\n<br /><br />\n<h4>The Mackie HR824 MK2 builds upon the legend of the originals form the 90\'s adding more features to give you ultra-accurate monitoring for your studio. Call or chat with a RSPE representative today for more information.</h4>'),(6417,85,0,1070,'Mackie HR824 MK2 - 8\" 2-Way High Resolution Active Studio Monitor'),(6418,85,1,1070,'Mackie HR824 MK2 - 8\" 2-Way High Resolution Active Studio Monitor'),(6419,76,0,1070,''),(6420,76,1,1070,''),(6421,75,0,1071,'<h1>Mackie MCU Pro 8-channel Control Surface</h1>\n<i>The easily expandable Mackie Control Universal Pro control surface completes your music production software to give you ultimate hands-on control of your mix.</i>\nWith MCU Pro, you get deep, intuitive control of mix and plug-in parameters, real-time visual feedback and set up is plug-and-play — without anyMIDI mapping whatsoever! Streamline mixing in your project studio or scale up with multiple MCU XTs to mix major projects. With the push of a button, writing automation on dozens of tracks in a large music project or even mixing for film and television is now effortless. <br /><br />\nModern DAW software has given us virtually unlimited possibilities for manipulating audio, but sacrifices the organic feel of faders and knobs at our fingertips. Reclaim that experience without losing the power of software with the expandable MCU Pro control surface. With simple USB plug-and-play setup with nearly any DAW, you will be mixing like a pro with real motorized touch-sensitive faders, buttons and assignable V-pots in no time. <br /><br />\n<h3>Mackie MCU Pro Key Features</h3>\n<ul>\n	<li>Proprietary Mackie communication protocol for seamless music production software integration</li>\n	<li>100mm touch-sensitive optical Alps motorized faders</li>\n	<li>V-Pot control over software, plug-in effects and virtual instruments</li>\n	<li>More than 50 dedicated push-buttons for fine control of software parameters</li>\n	<li>Tape-style transport controls</li>\n</ul><br />\n<h3>Visual Feedback</h3>\nWe equipped the Mackie Control Universal Pro with a generous two-line, 55-character backlit LCD to display parameters like track name, channel metering, I/O assignments, plug-ins, EQ, dynamics or anything our various software partners want you to see. \n<br /><br />\n<h3>Software Friendly</h3>\nWhile MCU Pro is compatible with all major music production software, it is also designed to specifically work with your application — just access your software’s parameters in the master section and you can get right down to action. We even supply pre-labeled Lexan overlays for popular applications. \n<br /><br />\n<h3>Channels, Faders and Banks</h3>\nEquipped with nine 100mm motorized touch-sensitive faders from Alps® — one for each channel, plus a master fader and support for an unlimited number of banks. Each fader channel also has a V-Pot, surrounded by an  LED collar to indicate the current value, and dedicated buttons for record ready, solo, mute, channel select, and signal present LED. \n<br /><br />\n<h3>Expandability</h3>\nThe MCU XT Pro is an eight-channel control surface extension for MCU Pro. The XT Pro has all the channel strip features of the MCU Pro — without the master section. Depending on your music production software support, multiple Extender units can be used together with a MCU Pro to emulate a large-scale control surface. \n<br /><br />\n<h4>The Mackie MCU Pro gives you get deep, intuitive control of mix and plug-in parameters, real-time visual feedback and set up is plug-and-play. Call or chat with a RSPE representative today for more information.</h4>'),(6422,75,1,1071,'<h1>Mackie MCU Pro 8-channel Control Surface</h1>\n<i>The easily expandable Mackie Control Universal Pro control surface completes your music production software to give you ultimate hands-on control of your mix.</i>\nWith MCU Pro, you get deep, intuitive control of mix and plug-in parameters, real-time visual feedback and set up is plug-and-play — without anyMIDI mapping whatsoever! Streamline mixing in your project studio or scale up with multiple MCU XTs to mix major projects. With the push of a button, writing automation on dozens of tracks in a large music project or even mixing for film and television is now effortless. <br /><br />\nModern DAW software has given us virtually unlimited possibilities for manipulating audio, but sacrifices the organic feel of faders and knobs at our fingertips. Reclaim that experience without losing the power of software with the expandable MCU Pro control surface. With simple USB plug-and-play setup with nearly any DAW, you will be mixing like a pro with real motorized touch-sensitive faders, buttons and assignable V-pots in no time. <br /><br />\n<h3>Mackie MCU Pro Key Features</h3>\n<ul>\n	<li>Proprietary Mackie communication protocol for seamless music production software integration</li>\n	<li>100mm touch-sensitive optical Alps motorized faders</li>\n	<li>V-Pot control over software, plug-in effects and virtual instruments</li>\n	<li>More than 50 dedicated push-buttons for fine control of software parameters</li>\n	<li>Tape-style transport controls</li>\n</ul><br />\n<h3>Visual Feedback</h3>\nWe equipped the Mackie Control Universal Pro with a generous two-line, 55-character backlit LCD to display parameters like track name, channel metering, I/O assignments, plug-ins, EQ, dynamics or anything our various software partners want you to see. \n<br /><br />\n<h3>Software Friendly</h3>\nWhile MCU Pro is compatible with all major music production software, it is also designed to specifically work with your application — just access your software’s parameters in the master section and you can get right down to action. We even supply pre-labeled Lexan overlays for popular applications. \n<br /><br />\n<h3>Channels, Faders and Banks</h3>\nEquipped with nine 100mm motorized touch-sensitive faders from Alps® — one for each channel, plus a master fader and support for an unlimited number of banks. Each fader channel also has a V-Pot, surrounded by an  LED collar to indicate the current value, and dedicated buttons for record ready, solo, mute, channel select, and signal present LED. \n<br /><br />\n<h3>Expandability</h3>\nThe MCU XT Pro is an eight-channel control surface extension for MCU Pro. The XT Pro has all the channel strip features of the MCU Pro — without the master section. Depending on your music production software support, multiple Extender units can be used together with a MCU Pro to emulate a large-scale control surface. \n<br /><br />\n<h4>The Mackie MCU Pro gives you get deep, intuitive control of mix and plug-in parameters, real-time visual feedback and set up is plug-and-play. Call or chat with a RSPE representative today for more information.</h4>'),(6423,85,0,1071,'Mackie MCU Pro 8-channel Control Surface'),(6424,85,1,1071,'Mackie MCU Pro 8-channel Control Surface'),(6425,76,0,1071,''),(6426,76,1,1071,''),(6427,75,0,1072,'<h2>Magix Sound Forge Pro Mac 3</h2>\n<i>Audio Recording, Editing, Processing and Mastering for Mac OS<br /></i><br />Sound Forge Pro Mac 3 has the ability to record at 24-bit/192kHz, expect astounding audio clarity. With the ability to edit down to the sample level, expect absolute audio precision. Audio mastering engineers around the world depend on the award-winning Sound Forge Pro Mac to generate flawless audio.<br /><br /><h3>Magix Sound Forge Pro Features:</h3><ul><li>High-Resolution Recording<ul><li>Precise Editing</li><li>Loudness metering</li><li>Interoperability with SpectraLayers Pro 4 Interoperability with SpectraLayers</li></ul></li><li>Mastering for music and dialog<ul><li>Disc-at-Once CD Burning</li><li>File Conversion Automation</li></ul></li><li>Processing Power</li><li>Flexible and Customizable Workspace</li><li>Multiple Edit Modes <span id=\"clipboardHelper\"></span><ul><li><span id=\"clipboardHelper\">Time Mode\n\nPerfect  </span></li><li><span id=\"clipboardHelper\">Event Mode <br /></span></li></ul></li><li><span id=\"clipboardHelper\">Normalize</span><ul><li><span id=\"clipboardHelper\">Channel Converter</span></li></ul></li><li><span id=\"clipboardHelper\">Native processors</span></li><li><span id=\"clipboardHelper\">Post Processing</span><ul><li><span id=\"clipboardHelper\">Bit depth conversion  </span></li><li><span id=\"clipboardHelper\">Sample rate conversion </span></li></ul></li><li><span id=\"clipboardHelper\">Timestretch </span></li><li><span id=\"clipboardHelper\"></span>Synthesis </li><li>Wave Hammer</li></ul><br />'),(6428,75,1,1072,'<h2>Magix Sound Forge Pro Mac 3</h2>\n<i>Audio Recording, Editing, Processing and Mastering for Mac OS<br /></i><br />Sound Forge Pro Mac 3 has the ability to record at 24-bit/192kHz, expect astounding audio clarity. With the ability to edit down to the sample level, expect absolute audio precision. Audio mastering engineers around the world depend on the award-winning Sound Forge Pro Mac to generate flawless audio.<br /><br /><h3>Magix Sound Forge Pro Features:</h3><ul><li>High-Resolution Recording<ul><li>Precise Editing</li><li>Loudness metering</li><li>Interoperability with SpectraLayers Pro 4 Interoperability with SpectraLayers</li></ul></li><li>Mastering for music and dialog<ul><li>Disc-at-Once CD Burning</li><li>File Conversion Automation</li></ul></li><li>Processing Power</li><li>Flexible and Customizable Workspace</li><li>Multiple Edit Modes <span id=\"clipboardHelper\"></span><ul><li><span id=\"clipboardHelper\">Time Mode\n\nPerfect  </span></li><li><span id=\"clipboardHelper\">Event Mode <br /></span></li></ul></li><li><span id=\"clipboardHelper\">Normalize</span><ul><li><span id=\"clipboardHelper\">Channel Converter</span></li></ul></li><li><span id=\"clipboardHelper\">Native processors</span></li><li><span id=\"clipboardHelper\">Post Processing</span><ul><li><span id=\"clipboardHelper\">Bit depth conversion  </span></li><li><span id=\"clipboardHelper\">Sample rate conversion </span></li></ul></li><li><span id=\"clipboardHelper\">Timestretch </span></li><li><span id=\"clipboardHelper\"></span>Synthesis </li><li>Wave Hammer</li></ul><br />'),(6429,85,0,1072,''),(6430,85,1,1072,''),(6431,76,0,1072,''),(6432,76,1,1072,''),(6433,75,0,1073,'<h2>Magix SpectraLayers Pro 4</h2>\n<i>Sound design in the full sense of the word<br /></i><br />SpectraLayers Pro 4 allow you to work with the individual sounds in an audio file fully visually. Transpose, extract and optimize sounds in ways never imagined thanks to the unique layers concept for the frequency spectrum. <br /><br /> SpectraLayers Pro transforms sound into a unique visual world of multidimensional audio data. Outstanding program design, a high performance audio engine and seamless integration with other DAWs make SpectraLayers Pro one of the world’s most revolutionary spectral editing platforms.<br /><br /><h3>Magix Sound Forge Pro Features:</h3><ul><li>Mixing with Spectral Casting Precise Editing</li><li>Sound design with Spectral Molding </li><li>Cleaning with acoustic fingerprints</li></ul>'),(6434,75,1,1073,'<h2>Magix SpectraLayers Pro 4</h2>\n<i>Sound design in the full sense of the word<br /></i><br />SpectraLayers Pro 4 allow you to work with the individual sounds in an audio file fully visually. Transpose, extract and optimize sounds in ways never imagined thanks to the unique layers concept for the frequency spectrum. <br /><br /> SpectraLayers Pro transforms sound into a unique visual world of multidimensional audio data. Outstanding program design, a high performance audio engine and seamless integration with other DAWs make SpectraLayers Pro one of the world’s most revolutionary spectral editing platforms.<br /><br /><h3>Magix Sound Forge Pro Features:</h3><ul><li>Mixing with Spectral Casting Precise Editing</li><li>Sound design with Spectral Molding </li><li>Cleaning with acoustic fingerprints</li></ul>'),(6435,85,0,1073,''),(6436,85,1,1073,''),(6437,76,0,1073,''),(6438,76,1,1073,''),(6439,75,0,1074,'<h2>Magix Vegas Pro Suite</h2>\n<i>Video & audio editing, disc authoring & high-end plug-ins <br /></i><br />Vegas Pro allows you to edit without limits. Work with video shot with your mobile device, a professional 4K camera, and anything in between. VEGAS Pro takes it all in stride and moves from one format to another with ease. The same with audio. Work with low-resolution audio or pristine 24-bit, 192kHz high-resolution audio and everything in between; mono, stereo, or 5.1 surround sound. Mix formats on the same timeline. VEGAS Pro automatically matches all media to the project settings and plays them all back in real-time. No pre-rendering or transcoding. Just start editing.<br /><br />Vegas Pro gives you endless creative options. Start with the all the native filters and effects in VEGAS Pro and add to that an impressive collection of plug-ins from the industry’s leading developers—Boris FX, HitFilm, and NewBlueFX. Then the creative possibilities really get exciting.<br /><br /><h3>Magix Vegas Pro Suite Features:</h3><div id=\"c48328\" class=\"gridWrapper grid-6-6 \n\">\n<div id=\"slantedImg48328\" class=\"notSlantedImg\">\n<div class=\"colWrapper\">\n<div class=\"row gridContent\">\n<div class=\"content col-sm-6 col-pos-20 bgcolor-\">\n<div class=\"ceText\"><ul><li>Major user interface innovations</li><li>Picture-in-Picture and Crop OFX plug-ins with real-time controls on the Video Preview</li><li>Lookup Table (LUT) OFX plug-in</li><li>Powerful hardware acceleration technologies</li><li>ACES 1.0 support</li><li>Selectively paste event attributes</li><li>VEGAS DVD Architect for DVD and Blu-ray Disc authoring</li><li>NewBlueFX Filters 5 Ultimate and Titler Pro 5</li><li>HitFilm Movie Essentials</li><li>Boris FX Sapphire Render Unit<a href=\"http://www.vegascreativesoftware.com/us/vegas-pro-suite/#c48293\"></a></li></ul></div></div><div class=\"content col-sm-6 col-pos-21 bgcolor-\">\n</div>\n</div>\n</div>\n</div>\n</div><ul></ul>'),(6440,75,1,1074,'<h2>Magix Vegas Pro Suite</h2>\n<i>Video & audio editing, disc authoring & high-end plug-ins <br /></i><br />Vegas Pro allows you to edit without limits. Work with video shot with your mobile device, a professional 4K camera, and anything in between. VEGAS Pro takes it all in stride and moves from one format to another with ease. The same with audio. Work with low-resolution audio or pristine 24-bit, 192kHz high-resolution audio and everything in between; mono, stereo, or 5.1 surround sound. Mix formats on the same timeline. VEGAS Pro automatically matches all media to the project settings and plays them all back in real-time. No pre-rendering or transcoding. Just start editing.<br /><br />Vegas Pro gives you endless creative options. Start with the all the native filters and effects in VEGAS Pro and add to that an impressive collection of plug-ins from the industry’s leading developers—Boris FX, HitFilm, and NewBlueFX. Then the creative possibilities really get exciting.<br /><br /><h3>Magix Vegas Pro Suite Features:</h3><div id=\"c48328\" class=\"gridWrapper grid-6-6 \n\">\n<div id=\"slantedImg48328\" class=\"notSlantedImg\">\n<div class=\"colWrapper\">\n<div class=\"row gridContent\">\n<div class=\"content col-sm-6 col-pos-20 bgcolor-\">\n<div class=\"ceText\"><ul><li>Major user interface innovations</li><li>Picture-in-Picture and Crop OFX plug-ins with real-time controls on the Video Preview</li><li>Lookup Table (LUT) OFX plug-in</li><li>Powerful hardware acceleration technologies</li><li>ACES 1.0 support</li><li>Selectively paste event attributes</li><li>VEGAS DVD Architect for DVD and Blu-ray Disc authoring</li><li>NewBlueFX Filters 5 Ultimate and Titler Pro 5</li><li>HitFilm Movie Essentials</li><li>Boris FX Sapphire Render Unit<a href=\"http://www.vegascreativesoftware.com/us/vegas-pro-suite/#c48293\"></a></li></ul></div></div><div class=\"content col-sm-6 col-pos-21 bgcolor-\">\n</div>\n</div>\n</div>\n</div>\n</div><ul></ul>'),(6441,85,0,1074,''),(6442,85,1,1074,''),(6443,76,0,1074,''),(6444,76,1,1074,''),(6445,75,0,1075,'<h2>Magma ExpressBox 1T - One Slot Thunderbolt™ to PCIe Expansion</h2>\n\n<span style=\"font-size:16px; font-style:talic;\">The ExpressBox 1T is the most user friendly Thunderbolt PCIe expansion chassis for connecting one PCIe card.</span><br /><br />\n\n\nTwice the speed of USB 3.0 and 12x faster than Firewire - ExpressBox 1T is the fastest and easiest solution for connecting a PCIe card using the power of Thunderbolt Technology\n<ul>\n<li>Supports (1) half-length / full-height PCI Express card (max length 7.75\") </li>\n<li>Thunderbolt features speeds up to 10 Gbps bi-directional                   </li>\n<li>Daisy-chain up to six Thunderbolt devicesExpressBox 1T on MacBook          </li>\n<li>User controlled fan speed and noise                                        </li>\n<li>External 65W power supply                                                  </li>\n</ul>\n\n<h3>Power, Performance, Portability</h3>\nEnhance the power of your Thunderbolt equipped computer with the Magma ExpressBox 1T and harness lightning-fast throughput over a single cable via Thunderbolt technology. ExpressBox 1T enables serious professionals to use specialty PCIe cards with any Thunderbolt-equipped computer, so that you can achieve high performance wherever your work takes you. Add a PCIe card to ExpressBox 1T and your computer turns into a powerful workstation capable of HD video capture and editing, media transcoding, audio processing, data processing, or high-speed storage and networks.<br /><br />\n \nExpressBox 1T offers the largest card length slot (7.75\") among all half-length 1-slot Thunderbolt chassis on the market, giving your Mac the power to achieve maximum performance with any compatible PCIe card. Whether your mission involves professional video capture, audio interface, SAS & SATA HBA, 8Gb Fibre Channel, 10 Gigabit Ethernet, or a RAID controller card, Magma\'s family of Thunderbolt products provide the perfect outside-the-box solution for your project.<br /><br />\n \n<h3>Designed with Studios in Mind</h3>\nNeed a quiet work environment for your recording or video projects? ExpressBox 1T features quiet ventilated cooling with two user-controlled fans, allowing you to adjust fan speed and noise level based on your working environment needs.<br /><br />\n \n<h3>The Most User-Friendly Expansion Chassis Ever</h3>\nExpressBox 1T offers quick and easy installation for its users. Open the chassis with two thumbscrews, no tools required. The card carriage slides right out, providing quick access to the PCIe slots and easy installation of cards. We designed our products with optimal ease of access so that you can be up and running in seconds.<br /><br />\n \n<h3>Benefits</h3>\n<ul>\n<li>Attach a PCIe card to Thunderbolt equipped mobile and all-in-one computers                                                                                      </li>\n<li>Transfer data at up to 10 Gbps. That’s 2x faster than USB 3.0 and 12x faster than FireWire 800!                                                                 </li>\n<li>Daisy-chain up to six Thunderbolt devices                                                                                                                       </li>\n<li>Use any compatible half-length PCIe card for HD video capture, audio interface, SAS/SATA HBA10 Gigabit Ethernet, 8Gb Fibre Channel, SSD data transfer, and more!</li>\n<li>Connect to high-resolution display, such as DisplayPort, mDP, HDMI, and VGA monitors                                                                            </li>\n</ul><br />\n\n<h3>Features</h3>\n<ul>\n<li>Easy Plug and Play installation                     </li>\n<li>Supports any compatible x1, x4, x8 or x16 PCIe card </li>\n<li>Two Thunderbolt connectors                          </li>\n<li>Two cooling fans with speed control                 </li>\n<li>Rugged extruded aluminum enclosure                  </li>\n<li>External 65W Power Supply                           </li>\n</ul>\n \n<h3>Superior Engineering. Rock Solid Innovation.</h3>\nExpressBox 1T protects your valuable PCI Express cards in a heavy duty chassis while providing lightweight portability, so you can take high performance anywhere your work requires. The extruded aluminum shell provides a strong, protective housing while also removing heat from the cards inside. The sleek design of the ExpressBox 1T matches elegantly with your Thunderbolt equipped Mac, ensuring that you stay classy with a Magma chassis. Magma’s expertise in developing products that extend PCI and PCI Express signals over a cable and outside the computer provides a reliable foundation for producing rock solid products that offer the highest performance even in the most demanding configurations.'),(6446,75,1,1075,'<h2>Magma ExpressBox 1T - One Slot Thunderbolt™ to PCIe Expansion</h2>\n\n<span style=\"font-size:16px; font-style:talic;\">The ExpressBox 1T is the most user friendly Thunderbolt PCIe expansion chassis for connecting one PCIe card.</span><br /><br />\n\n\nTwice the speed of USB 3.0 and 12x faster than Firewire - ExpressBox 1T is the fastest and easiest solution for connecting a PCIe card using the power of Thunderbolt Technology\n<ul>\n<li>Supports (1) half-length / full-height PCI Express card (max length 7.75\") </li>\n<li>Thunderbolt features speeds up to 10 Gbps bi-directional                   </li>\n<li>Daisy-chain up to six Thunderbolt devicesExpressBox 1T on MacBook          </li>\n<li>User controlled fan speed and noise                                        </li>\n<li>External 65W power supply                                                  </li>\n</ul>\n\n<h3>Power, Performance, Portability</h3>\nEnhance the power of your Thunderbolt equipped computer with the Magma ExpressBox 1T and harness lightning-fast throughput over a single cable via Thunderbolt technology. ExpressBox 1T enables serious professionals to use specialty PCIe cards with any Thunderbolt-equipped computer, so that you can achieve high performance wherever your work takes you. Add a PCIe card to ExpressBox 1T and your computer turns into a powerful workstation capable of HD video capture and editing, media transcoding, audio processing, data processing, or high-speed storage and networks.<br /><br />\n \nExpressBox 1T offers the largest card length slot (7.75\") among all half-length 1-slot Thunderbolt chassis on the market, giving your Mac the power to achieve maximum performance with any compatible PCIe card. Whether your mission involves professional video capture, audio interface, SAS & SATA HBA, 8Gb Fibre Channel, 10 Gigabit Ethernet, or a RAID controller card, Magma\'s family of Thunderbolt products provide the perfect outside-the-box solution for your project.<br /><br />\n \n<h3>Designed with Studios in Mind</h3>\nNeed a quiet work environment for your recording or video projects? ExpressBox 1T features quiet ventilated cooling with two user-controlled fans, allowing you to adjust fan speed and noise level based on your working environment needs.<br /><br />\n \n<h3>The Most User-Friendly Expansion Chassis Ever</h3>\nExpressBox 1T offers quick and easy installation for its users. Open the chassis with two thumbscrews, no tools required. The card carriage slides right out, providing quick access to the PCIe slots and easy installation of cards. We designed our products with optimal ease of access so that you can be up and running in seconds.<br /><br />\n \n<h3>Benefits</h3>\n<ul>\n<li>Attach a PCIe card to Thunderbolt equipped mobile and all-in-one computers                                                                                      </li>\n<li>Transfer data at up to 10 Gbps. That’s 2x faster than USB 3.0 and 12x faster than FireWire 800!                                                                 </li>\n<li>Daisy-chain up to six Thunderbolt devices                                                                                                                       </li>\n<li>Use any compatible half-length PCIe card for HD video capture, audio interface, SAS/SATA HBA10 Gigabit Ethernet, 8Gb Fibre Channel, SSD data transfer, and more!</li>\n<li>Connect to high-resolution display, such as DisplayPort, mDP, HDMI, and VGA monitors                                                                            </li>\n</ul><br />\n\n<h3>Features</h3>\n<ul>\n<li>Easy Plug and Play installation                     </li>\n<li>Supports any compatible x1, x4, x8 or x16 PCIe card </li>\n<li>Two Thunderbolt connectors                          </li>\n<li>Two cooling fans with speed control                 </li>\n<li>Rugged extruded aluminum enclosure                  </li>\n<li>External 65W Power Supply                           </li>\n</ul>\n \n<h3>Superior Engineering. Rock Solid Innovation.</h3>\nExpressBox 1T protects your valuable PCI Express cards in a heavy duty chassis while providing lightweight portability, so you can take high performance anywhere your work requires. The extruded aluminum shell provides a strong, protective housing while also removing heat from the cards inside. The sleek design of the ExpressBox 1T matches elegantly with your Thunderbolt equipped Mac, ensuring that you stay classy with a Magma chassis. Magma’s expertise in developing products that extend PCI and PCI Express signals over a cable and outside the computer provides a reliable foundation for producing rock solid products that offer the highest performance even in the most demanding configurations.'),(6447,85,0,1075,'Magma ExpressBox 1T - One Slot Thunderbolt™ to PCIe Expansion'),(6448,85,1,1075,'Magma ExpressBox 1T - One Slot Thunderbolt™ to PCIe Expansion'),(6449,76,0,1075,''),(6450,76,1,1075,''),(6451,75,0,1076,'<h2>Used Magma Chassis PE6R4-I PCIe to PCIx REV B</h2>\n<i>This Magma Chassis came from our client\'s meticulous, working studio and is in near-perfect condition!  <br /><br /></i>\n<div>\n	The Magma PCI Express-to-PCI Expansion System provides a simple, cost-effective solution for expanding the capability of your PCI Express based computer. As computer manufacturers migrate to PCI Express, the number of available PCI slots has been reduced or completely eliminated. However, many companies have invested a substantial amount of capital on solutions built around conventional PCI and PCI-X hardware. The Magma PCIe to PCI-X expansion system provides a \"migration path\" to PCI Express while protecting your PCI hardware investment.\n	<br /><br />\n</div>\n<div>\n	<b>\n	Where PCI meets PCI Express\n	</b>\n</div>\n<div>\n	The Magma PCI Express-to-PCI Expansion System is designed to match the through-put required by the majority of PCI cards on the market today. The expansion chassis contains six PCI-X slots which are connected to the host computer through a 8 lane (x8) PCI Express host interface card and a high-performance cable\n</div>\n<br />\n<h3>Item Includes:</h3>\n<ul>\n	<li>6 slot Magma PE6R4i Chassis</li>\n	<li>PCI-e Host Card</li>\n	<li>1 Infinband cable</li>\n	<li>Power cord</li>\n</ul>\n<br /><br />\n<h3>RSPE Platinum Support</h3>\nWhen you purchase from RSPE Audio and Video , you can make your purchase with CONFIDENCE. RSPE Audio has been in business for over 22 years and we have built our reputation on consistent and personalized customer service and expert advise. \n<br /><br />\nRSPE Platinum Warranty for Pre-Owned Equipment covers return ground freight to you PLUS parts and labor for 30 days on this item.<br /><br />\nThis warranty covers normal use only. Damage from mis-use or loss is not covered under the Platinum coverage.<br /><br />'),(6452,75,1,1076,'<h2>Used Magma Chassis PE6R4-I PCIe to PCIx REV B</h2>\n<i>This Magma Chassis came from our client\'s meticulous, working studio and is in near-perfect condition!  <br /><br /></i>\n<div>\n	The Magma PCI Express-to-PCI Expansion System provides a simple, cost-effective solution for expanding the capability of your PCI Express based computer. As computer manufacturers migrate to PCI Express, the number of available PCI slots has been reduced or completely eliminated. However, many companies have invested a substantial amount of capital on solutions built around conventional PCI and PCI-X hardware. The Magma PCIe to PCI-X expansion system provides a \"migration path\" to PCI Express while protecting your PCI hardware investment.\n	<br /><br />\n</div>\n<div>\n	<b>\n	Where PCI meets PCI Express\n	</b>\n</div>\n<div>\n	The Magma PCI Express-to-PCI Expansion System is designed to match the through-put required by the majority of PCI cards on the market today. The expansion chassis contains six PCI-X slots which are connected to the host computer through a 8 lane (x8) PCI Express host interface card and a high-performance cable\n</div>\n<br />\n<h3>Item Includes:</h3>\n<ul>\n	<li>6 slot Magma PE6R4i Chassis</li>\n	<li>PCI-e Host Card</li>\n	<li>1 Infinband cable</li>\n	<li>Power cord</li>\n</ul>\n<br /><br />\n<h3>RSPE Platinum Support</h3>\nWhen you purchase from RSPE Audio and Video , you can make your purchase with CONFIDENCE. RSPE Audio has been in business for over 22 years and we have built our reputation on consistent and personalized customer service and expert advise. \n<br /><br />\nRSPE Platinum Warranty for Pre-Owned Equipment covers return ground freight to you PLUS parts and labor for 30 days on this item.<br /><br />\nThis warranty covers normal use only. Damage from mis-use or loss is not covered under the Platinum coverage.<br /><br />'),(6453,85,0,1076,'Magma Chassis PE6R4-I PCIe to PCIx REV B [USED]'),(6454,85,1,1076,'Magma Chassis PE6R4-I PCIe to PCIx REV B [USED]'),(6455,76,0,1076,''),(6456,76,1,1076,''),(6457,75,0,1077,'<h1>Manley CORE Reference Channel Strip</h1>\n<span style=\"font-size:16px; font-style:italic;\">An innovative channel strip that combines the technology of Manley\'s greatest gear into a single, affordable, easy-to-use, and most importantly, awesome-sounding unit! </span><br /><br />\nThe Manley CORE is an innovative channel strip that combines Manley’s Greatest Hits with fresh technology. The remarkably intuitive front panel combines musical and forgiving circuitry that allows the musician to concentrate on his performance instead of being lost in a sea of knobs. Ease of use and intelligently chosen operating points make it virtually impossible to cut a bad sounding track!<br /><br />\nManley’s experience and insight working with the industry’s top recording engineers and musicians culminates in the CORE. At this price, there is no other channel-strip with higher headroom or more seductive sound than the CORE. Handcrafted in the USA, built like a tank, built to endure, the epicenter of your recorded art will be the Manley CORE.<br /><br />\nThe Manley CORE is an innovative and affordable mic preamplifier, compressor, equalizer, and limiter combo-unit that combines the greatest hits of the Manley product line with fresh technology.  The intuitive design incorporates musical and forgiving circuitry that allows the user to concentrate on performance rather than be lost in a sea of knobs.  No other channel strip at this price point offers higher headroom or higher end sound than the CORE, which is, like all Manley products, handcrafted in Southern California.  <br /><br />\n“As more musicians are contributing to a project remotely, coached by the recording engineer over the telephone, we saw the need to provide an affordable and easy-to-use, excellent sounding recording channel for these guys. They aren’t engineers, they are musicians!” commented EveAnna Manley, president of Manley Labs.  “The CORE is feature-laden without being confusing. Its whole purpose is to give the musician the tools he needs to turn in a great sounding track.”<br /><br />\n<h3>CORE Specifications</h3>\n<h4>FRONT PANEL CONTROLS</h4>\n<ul>\n	<li>48V Phantom power switch                                </li>\n	<li>120Hz High Pass Filter switch                           </li>\n	<li>Phase Invert switch                                     </li>\n	<li>Input Attenuator (Variable Pad)                         </li>\n	<li>Mic Pre Selectable Gain 40dB or 60dB (Total Gain &gt;70dB) </li>\n	<li>Line Amp Selectable Gain 20dB or 40dB                   </li>\n</ul>\n<h4>MIC / LINE PREAMPLIFIER</h4>\nThe signal enters through our renowned handwound MANLEY IRON® input transformer with nickel laminations in a mu-metal can. The tube amplifying stage is the latest implementation of our famous Class A circuit topology found in the VOXBOX® and Manley Dual Mono & Mono Microphone Preamplifiers. This all-triode vacuum tube circuit runs on a regulated 300 Volt B+ supply yielding huge headroom and relentless output drive capability.\n<br /><br />\n<h4>¼” DIRECT INPUT</h4>\n<ul>\n	<li>Similar to the DI in the Manley SLAM!®, this all-discrete solid-state circuit with 10 Meg Ohm input impedance is perfect for guitars, bass, keyboards, etc.</li>\n</ul>\n<h4>COMPRESSOR</h4>\n<ul>\n	<li>Featuring our successful ELOP® technology also found in our famous Manley VOXBOX®   </li>\n	<li>Compressor is uniquely before the Mic Preamp making it virtually impossible to clip </li>\n	<li>Ratio 3:1                                                                           </li>\n	<li>Continuously variable Attack, Release, and Threshold controls                       </li>\n	<li>Silent Bypass switch                                                                </li>\n</ul>\n<h4>EQUALIZER</h4>\n<ul>\n	<li>Low and High Baxandall Shelves (80Hz and 12kHz) with ± 12dB range              </li>\n	<li>Sweepable Midrange Bell EQ (100Hz – 1kHz) or (1kHz – 10kHz) with ±10dB range   </li>\n</ul>\n<h4>LIMITER</h4>\n<ul>\n	<li>Fast attack FET “brickwall” limiter                  </li>\n	<li>Continuously Variable Threshold and Release controls </li>\n	<li>Peak Limit LED indicator                             </li>\n	<li>10dB range output gain control                       </li>\n</ul>\n<h4>METER</h4>\n<ul>\n	<li>Large illuminated analog display                                                                               </li>\n	<li>3-way meter-select switch shows Compressor Gain Reduction, Micpre Output Level, and Main Output audio levels.  </li>\n</ul>\n<h4>INPUTS AND OUTPUTS</h4>\n<ul>\n	<li>Balanced XLR Mic Input                                        </li>\n	<li>Balanced XLR Line Input                                       </li>\n	<li>Front Panel Direct Instrument ¼” Input                        </li>\n	<li>Insert point between Mic Preamp and EQ/Limiter via ¼” TRS jack</li>\n	<li>Balanced XLR Direct Output (after Preamp/Compressor section)  </li>\n	<li>Balanced XLR Main Output                                      </li>\n</ul><br />'),(6458,75,1,1077,'<h1>Manley CORE Reference Channel Strip</h1>\n<span style=\"font-size:16px; font-style:italic;\">An innovative channel strip that combines the technology of Manley\'s greatest gear into a single, affordable, easy-to-use, and most importantly, awesome-sounding unit! </span><br /><br />\nThe Manley CORE is an innovative channel strip that combines Manley’s Greatest Hits with fresh technology. The remarkably intuitive front panel combines musical and forgiving circuitry that allows the musician to concentrate on his performance instead of being lost in a sea of knobs. Ease of use and intelligently chosen operating points make it virtually impossible to cut a bad sounding track!<br /><br />\nManley’s experience and insight working with the industry’s top recording engineers and musicians culminates in the CORE. At this price, there is no other channel-strip with higher headroom or more seductive sound than the CORE. Handcrafted in the USA, built like a tank, built to endure, the epicenter of your recorded art will be the Manley CORE.<br /><br />\nThe Manley CORE is an innovative and affordable mic preamplifier, compressor, equalizer, and limiter combo-unit that combines the greatest hits of the Manley product line with fresh technology.  The intuitive design incorporates musical and forgiving circuitry that allows the user to concentrate on performance rather than be lost in a sea of knobs.  No other channel strip at this price point offers higher headroom or higher end sound than the CORE, which is, like all Manley products, handcrafted in Southern California.  <br /><br />\n“As more musicians are contributing to a project remotely, coached by the recording engineer over the telephone, we saw the need to provide an affordable and easy-to-use, excellent sounding recording channel for these guys. They aren’t engineers, they are musicians!” commented EveAnna Manley, president of Manley Labs.  “The CORE is feature-laden without being confusing. Its whole purpose is to give the musician the tools he needs to turn in a great sounding track.”<br /><br />\n<h3>CORE Specifications</h3>\n<h4>FRONT PANEL CONTROLS</h4>\n<ul>\n	<li>48V Phantom power switch                                </li>\n	<li>120Hz High Pass Filter switch                           </li>\n	<li>Phase Invert switch                                     </li>\n	<li>Input Attenuator (Variable Pad)                         </li>\n	<li>Mic Pre Selectable Gain 40dB or 60dB (Total Gain &gt;70dB) </li>\n	<li>Line Amp Selectable Gain 20dB or 40dB                   </li>\n</ul>\n<h4>MIC / LINE PREAMPLIFIER</h4>\nThe signal enters through our renowned handwound MANLEY IRON® input transformer with nickel laminations in a mu-metal can. The tube amplifying stage is the latest implementation of our famous Class A circuit topology found in the VOXBOX® and Manley Dual Mono & Mono Microphone Preamplifiers. This all-triode vacuum tube circuit runs on a regulated 300 Volt B+ supply yielding huge headroom and relentless output drive capability.\n<br /><br />\n<h4>¼” DIRECT INPUT</h4>\n<ul>\n	<li>Similar to the DI in the Manley SLAM!®, this all-discrete solid-state circuit with 10 Meg Ohm input impedance is perfect for guitars, bass, keyboards, etc.</li>\n</ul>\n<h4>COMPRESSOR</h4>\n<ul>\n	<li>Featuring our successful ELOP® technology also found in our famous Manley VOXBOX®   </li>\n	<li>Compressor is uniquely before the Mic Preamp making it virtually impossible to clip </li>\n	<li>Ratio 3:1                                                                           </li>\n	<li>Continuously variable Attack, Release, and Threshold controls                       </li>\n	<li>Silent Bypass switch                                                                </li>\n</ul>\n<h4>EQUALIZER</h4>\n<ul>\n	<li>Low and High Baxandall Shelves (80Hz and 12kHz) with ± 12dB range              </li>\n	<li>Sweepable Midrange Bell EQ (100Hz – 1kHz) or (1kHz – 10kHz) with ±10dB range   </li>\n</ul>\n<h4>LIMITER</h4>\n<ul>\n	<li>Fast attack FET “brickwall” limiter                  </li>\n	<li>Continuously Variable Threshold and Release controls </li>\n	<li>Peak Limit LED indicator                             </li>\n	<li>10dB range output gain control                       </li>\n</ul>\n<h4>METER</h4>\n<ul>\n	<li>Large illuminated analog display                                                                               </li>\n	<li>3-way meter-select switch shows Compressor Gain Reduction, Micpre Output Level, and Main Output audio levels.  </li>\n</ul>\n<h4>INPUTS AND OUTPUTS</h4>\n<ul>\n	<li>Balanced XLR Mic Input                                        </li>\n	<li>Balanced XLR Line Input                                       </li>\n	<li>Front Panel Direct Instrument ¼” Input                        </li>\n	<li>Insert point between Mic Preamp and EQ/Limiter via ¼” TRS jack</li>\n	<li>Balanced XLR Direct Output (after Preamp/Compressor section)  </li>\n	<li>Balanced XLR Main Output                                      </li>\n</ul><br />'),(6459,85,0,1077,'Manley CORE Reference Channel Strip'),(6460,85,1,1077,'Manley CORE Reference Channel Strip'),(6461,76,0,1077,''),(6462,76,1,1077,''),(6463,75,0,1078,'<h1>Manley Dual Mono Mic Preamp 30th Anniversary Limited Edition </h1>\n	<i>30th Anniversary limited edition of Manley\'s classic Dual Mono Microphone Preamplifiers</i><i style=\"background-color: initial;\"> featuring custom faceplate & insert coloring and engraving, and ships with a signed Certificate of Authenticity and a letter from EveAnna Manley.</i>\n<br /><br />\n	The Manley Dual Mono Mic Preamplifier is an all-tube micpre primarily intended for use with condenser microphones. Now, 40 to 60 dBs of gain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount of overall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and \"tubey-er\" through to faster, punchier and more aggressive. See \"Notes on Variable Feedback\" for more info.\n<br /><br />\n	Tube complement per channel: 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Each unit is painstakingly hand wired using silver solder and audiophile-grade componentry. Double shielded custom-built power transformers and custom-built high capacity reservoir capacitors demonstrate our modern power supply design approach.\n<br /><br />The front panel 1/4\" DIRECT INPUT jack makes these preamplifiers serve double duty as a pure tube line stage for instruments such as bass, drum machines, and keyboards when you need to get your tunes through some tubes before hitting a sterile digital recorder. Total gain in this mode becomes 20dB less than indicated on the GAIN switch. Both transformer coupled balanced and direct (via humongous metalized film MultiCaps) capacitor coupled unbalanced outputs are provided giving you the choice of audiophile-purist or big iron sounds. Perennial shoot-out winners, our single-ended preamp designs have become favorites among top engineers and home recordists alike looking for \"that rich Manley sound with the tight bass and the top end that goes on forever\" which begs to go direct to tape.\n<br /><br />\n<h3>Dual Mono Mic Preamp Features</h3>\n<ul>\n	<li>Flat frequency response from 10Hz-60KHz</li>\n	<li>Mic input PHASE REVERSE switch</li>\n	<li>2400 Ohm mic input Z; 48V phantom power built-in</li>\n	<li>Hi-Z (100 kOhm) 1/4\" DIRECT INPUT</li>\n	<li>Noiseless conductive plastic INPUT attenuators</li>\n	<li>&lt;0.05% THD @ 1kHz S/N ratio: 80dB</li>\n	<li>EIN: -125dB</li>\n	<li>Adjustable FEEDBACK / GAIN switch selects 5dB steps between 40 to 60 dB of gain</li>\n	<li>Hi-current drive &lt;50 Ohm LO-Z 1/4\" & XLR outputs</li>\n	<li>AUTO MUTE w/ warm-up delay for power up/down</li>\n	<li>Max. input (with input pad fully open): 450mV</li>\n	<li>Max. output: +32dBu</li>\n	<li>Max. output (into 600 Ohm load): (+15dBm)</li>\n	<li>Power consumption: 36 watts</li>\n	<li>Operating mains voltage: Units are purpose built for original destination country\'s mains voltage: 100V, 120V, or 220-240VAC as indicated on the serial number badge. Power transformer must be replaced in order to change mains operating voltage. 120VAC units may NOT be rewired to put the primaries of the power transformer in series for 220-240V operation or a large radiated field of hum will develop. If changing locations/voltages, the power transformer must be replaced with the dedicated one for the voltage at which it will operate.</li>\n	<li>Mains Voltage Frequency: 50~ 60Hz</li>\n	<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n	<li>Shipping Weight: 12 lbs.</li>\n</ul>\n<ul>\n	<br />\n</ul>'),(6464,75,1,1078,'<h1>Manley Dual Mono Mic Preamp 30th Anniversary Limited Edition </h1>\n	<i>30th Anniversary limited edition of Manley\'s classic Dual Mono Microphone Preamplifiers</i><i style=\"background-color: initial;\"> featuring custom faceplate & insert coloring and engraving, and ships with a signed Certificate of Authenticity and a letter from EveAnna Manley.</i>\n<br /><br />\n	The Manley Dual Mono Mic Preamplifier is an all-tube micpre primarily intended for use with condenser microphones. Now, 40 to 60 dBs of gain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount of overall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and \"tubey-er\" through to faster, punchier and more aggressive. See \"Notes on Variable Feedback\" for more info.\n<br /><br />\n	Tube complement per channel: 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Each unit is painstakingly hand wired using silver solder and audiophile-grade componentry. Double shielded custom-built power transformers and custom-built high capacity reservoir capacitors demonstrate our modern power supply design approach.\n<br /><br />The front panel 1/4\" DIRECT INPUT jack makes these preamplifiers serve double duty as a pure tube line stage for instruments such as bass, drum machines, and keyboards when you need to get your tunes through some tubes before hitting a sterile digital recorder. Total gain in this mode becomes 20dB less than indicated on the GAIN switch. Both transformer coupled balanced and direct (via humongous metalized film MultiCaps) capacitor coupled unbalanced outputs are provided giving you the choice of audiophile-purist or big iron sounds. Perennial shoot-out winners, our single-ended preamp designs have become favorites among top engineers and home recordists alike looking for \"that rich Manley sound with the tight bass and the top end that goes on forever\" which begs to go direct to tape.\n<br /><br />\n<h3>Dual Mono Mic Preamp Features</h3>\n<ul>\n	<li>Flat frequency response from 10Hz-60KHz</li>\n	<li>Mic input PHASE REVERSE switch</li>\n	<li>2400 Ohm mic input Z; 48V phantom power built-in</li>\n	<li>Hi-Z (100 kOhm) 1/4\" DIRECT INPUT</li>\n	<li>Noiseless conductive plastic INPUT attenuators</li>\n	<li>&lt;0.05% THD @ 1kHz S/N ratio: 80dB</li>\n	<li>EIN: -125dB</li>\n	<li>Adjustable FEEDBACK / GAIN switch selects 5dB steps between 40 to 60 dB of gain</li>\n	<li>Hi-current drive &lt;50 Ohm LO-Z 1/4\" & XLR outputs</li>\n	<li>AUTO MUTE w/ warm-up delay for power up/down</li>\n	<li>Max. input (with input pad fully open): 450mV</li>\n	<li>Max. output: +32dBu</li>\n	<li>Max. output (into 600 Ohm load): (+15dBm)</li>\n	<li>Power consumption: 36 watts</li>\n	<li>Operating mains voltage: Units are purpose built for original destination country\'s mains voltage: 100V, 120V, or 220-240VAC as indicated on the serial number badge. Power transformer must be replaced in order to change mains operating voltage. 120VAC units may NOT be rewired to put the primaries of the power transformer in series for 220-240V operation or a large radiated field of hum will develop. If changing locations/voltages, the power transformer must be replaced with the dedicated one for the voltage at which it will operate.</li>\n	<li>Mains Voltage Frequency: 50~ 60Hz</li>\n	<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n	<li>Shipping Weight: 12 lbs.</li>\n</ul>\n<ul>\n	<br />\n</ul>'),(6465,85,0,1078,'Manley Dual Mono Mic Preamp 30th Anniversary Limited Edition'),(6466,85,1,1078,'Manley Dual Mono Mic Preamp 30th Anniversary Limited Edition'),(6467,76,0,1078,''),(6468,76,1,1078,''),(6469,75,0,1079,'<h1>Manley ELOP+ Vacuum Tube Limiter Compressor</h1>\nThe Manley ELOP+ stereo electro-optical limiter is an updated and improved new version of the cherished Manley ELOP from the 90s. ELOP+ has been completely re-engineered from the ground-up, now featuring Manley\'s highest \nperformance vacuum tube line amplifier and White Follower output stage. \n<br /><br /><span style=\"background-color: initial;\">Due to its inherently quick attack, the ELOP+ is a skilled soldier for tracking vocals or individual instruments. </span><span style=\"background-color: initial;\">The useful side-chain high-pass filter and 3:1 Compressor makes this piece of equipment a versatile and useful </span><span style=\"background-color: initial;\">tool in the studio. Each ELOP+ features hand wound MANLEY IRON® transformers and large easy to read </span><span style=\"background-color: initial;\">amber back lit VU Meters, which can monitor the Output Level or Gain Reduction.</span> <br />\n<br />\n	<h3>ELOP+ Features</h3>\n	<ul>\n		<li>10:1 Limiter and 3:1 Compressor ratios</li>\n		<li>All-tube audio path uses 5751 and 6922 dual triodes</li>\n		<li>Balanced Manley IRON® transformer-coupled XLR Inputs</li>\n		<li>XLR impedance-balanced outputs</li>\n		<li>BYPASS switches and AUTOMUTE with warm-up delay</li>\n		<li>Large illuminated VU meters read Gain Reduction or Output levels</li>\n		<li>STEREO LINK</li>\n		<li>Side-Chain High-Pass Filter</li>\n		<li>Universal internal power supply operates worldwide 90-250V~AC 50/60Hz</li>\n	</ul>\n<br />\n<h3>New & Improved ELOP</h3>\nSince the early 1990’s, the Manley ELOP® stereo electro-optical limiter has been a tracking hero effortlessly controlling dynamics on countless records around the globe, delivering the coveted classic, all-tube sound that Manley Labs is known for. So how do you improve on something this good? <br /><br />\n\nWell, for starters, Manley have now added a 3:1 compression ratio feature which opens up the doors to greater versatility, especially for 2-buss applications. The 2016 ELOP+ has been completely re-engineered from the ground-up, beginning with a new amazing modern high voltage switching power supply purpose-designed for Manley\'s vacuum tube audio circuits. With careful reference to their sonic past, Manley have deployed their highest performance vacuum tube line amplifier and White Follower output stage in this new version all housed in a build-efficient chassis behind a drop-dead gorgeous precision-CNC-milled faceplate, all proudly made in America, of course. The new Manley ELOP+ is everything you love about our legendary ELOP, plus!<br /><br /><br /><br />'),(6470,75,1,1079,'<h1>Manley ELOP+ Vacuum Tube Limiter Compressor</h1>\nThe Manley ELOP+ stereo electro-optical limiter is an updated and improved new version of the cherished Manley ELOP from the 90s. ELOP+ has been completely re-engineered from the ground-up, now featuring Manley\'s highest \nperformance vacuum tube line amplifier and White Follower output stage. \n<br /><br /><span style=\"background-color: initial;\">Due to its inherently quick attack, the ELOP+ is a skilled soldier for tracking vocals or individual instruments. </span><span style=\"background-color: initial;\">The useful side-chain high-pass filter and 3:1 Compressor makes this piece of equipment a versatile and useful </span><span style=\"background-color: initial;\">tool in the studio. Each ELOP+ features hand wound MANLEY IRON® transformers and large easy to read </span><span style=\"background-color: initial;\">amber back lit VU Meters, which can monitor the Output Level or Gain Reduction.</span> <br />\n<br />\n	<h3>ELOP+ Features</h3>\n	<ul>\n		<li>10:1 Limiter and 3:1 Compressor ratios</li>\n		<li>All-tube audio path uses 5751 and 6922 dual triodes</li>\n		<li>Balanced Manley IRON® transformer-coupled XLR Inputs</li>\n		<li>XLR impedance-balanced outputs</li>\n		<li>BYPASS switches and AUTOMUTE with warm-up delay</li>\n		<li>Large illuminated VU meters read Gain Reduction or Output levels</li>\n		<li>STEREO LINK</li>\n		<li>Side-Chain High-Pass Filter</li>\n		<li>Universal internal power supply operates worldwide 90-250V~AC 50/60Hz</li>\n	</ul>\n<br />\n<h3>New & Improved ELOP</h3>\nSince the early 1990’s, the Manley ELOP® stereo electro-optical limiter has been a tracking hero effortlessly controlling dynamics on countless records around the globe, delivering the coveted classic, all-tube sound that Manley Labs is known for. So how do you improve on something this good? <br /><br />\n\nWell, for starters, Manley have now added a 3:1 compression ratio feature which opens up the doors to greater versatility, especially for 2-buss applications. The 2016 ELOP+ has been completely re-engineered from the ground-up, beginning with a new amazing modern high voltage switching power supply purpose-designed for Manley\'s vacuum tube audio circuits. With careful reference to their sonic past, Manley have deployed their highest performance vacuum tube line amplifier and White Follower output stage in this new version all housed in a build-efficient chassis behind a drop-dead gorgeous precision-CNC-milled faceplate, all proudly made in America, of course. The new Manley ELOP+ is everything you love about our legendary ELOP, plus!<br /><br /><br /><br />'),(6471,85,0,1079,'Manley ELOP+ Vacuum Tube Limiter Compressor'),(6472,85,1,1079,'Manley ELOP+ Vacuum Tube Limiter Compressor'),(6473,76,0,1079,''),(6474,76,1,1079,''),(6475,75,0,1080,'<h1>Manley Enhanced Pultec EQ</h1>\n<i>Manley’s modern take on the Pultec EQ with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Manley\'s Pultec EQ is like magic on kick drum, and killer on guitars.</i><br /><br />\nThe MANLEY ENHANCED PULTEC EQP-1A is Manley\'s own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. These Manley Pultec units employ their own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.\nEQ may be set to \'flat\' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. \n<br /><br />The single rack unit monoblocks occupy one-third of the space of the \'antique Pultecs\', an important consideration for allocation of outboard rack space. And if you notice, we\'ve added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4\" jack) may be selected in that switch\'s middle position.\nThe originals had three transformers in the signal path whereas this one can be used completely transformerless. The Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. The line amp is known to be killer-sounding. The components we use today just weren\'t available in the 1960\'s. \n<br /><br />The MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like the 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.\nKick drum? Bring on the Pultecs and all the iron you can muster! \n<br /><br />Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You\'ll see. There\'s no substitute for a what a Manley Pultec EQ can do!\n<br /><br />\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<h4>Enhanced Pultec EQ Features</h4>\n	<ul>\n		<li>MANLEY input transformer with nickel laminations potted in mu-metal case. 3K Ohm input Z</li>\n		<li>PHASE REVERSE switch for balanced XLR input</li>\n		<li>Alternate transformerless 1/4\" HI-Z (5K Ohm) input</li>\n		<li>BYPASS switch & AUTO-MUTE w/warmup delay</li>\n		<li>Silent conductive plastic BOOST & CUT controls</li>\n		<li>Sealed gold-contact Greyhill frequency select switches</li>\n		<li>Vacuum Tubes: 1 x 12AX7WA (gain) and 1 x 6414 (or 5965) White Follower</li>\n		<li>Hi-current drive &lt;50 Ohm LO-Z XLR & 1/4\" outputs</li>\n		<li>Balanced Transformer-Coupled XLR Outputs via MANLEY 9611</li>\n		<li>Flat frequency response from 10Hz-70KHz</li>\n		<li>&lt;0.01% THD @ 1kHz</li>\n		<li>S/N Ratio: 116 dB</li>\n		<li>Adjustable FEEDBACK / GAIN: Unity ±5 dB</li>\n		<li>Max. output: +30 dBv</li>\n		<li>Power consumption: 18 watts</li>\n		<li>Operating mains voltage: Units are purpose built \nfor original destination country\'s mains voltage: 100V, 120V, or \n220-240VAC as indicated on the serial number badge. Power transformer \nmust be replaced in order to change mains operating voltage. 120VAC \nunits may NOT be rewired to put the primaries of the power transformer \nin series for 220-240V operation or a large radiated field of hum will \ndevelop. If changing locations/voltages, the power transformer must be \nreplaced with the dedicated one for the voltage at which it will \noperate.\n		</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n		<li>Shipping weight: 12 lbs.</li>\n	</ul>\n</div>'),(6476,75,1,1080,'<h1>Manley Enhanced Pultec EQ</h1>\n<i>Manley’s modern take on the Pultec EQ with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Manley\'s Pultec EQ is like magic on kick drum, and killer on guitars.</i><br /><br />\nThe MANLEY ENHANCED PULTEC EQP-1A is Manley\'s own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. These Manley Pultec units employ their own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.\nEQ may be set to \'flat\' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. \n<br /><br />The single rack unit monoblocks occupy one-third of the space of the \'antique Pultecs\', an important consideration for allocation of outboard rack space. And if you notice, we\'ve added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4\" jack) may be selected in that switch\'s middle position.\nThe originals had three transformers in the signal path whereas this one can be used completely transformerless. The Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. The line amp is known to be killer-sounding. The components we use today just weren\'t available in the 1960\'s. \n<br /><br />The MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like the 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.\nKick drum? Bring on the Pultecs and all the iron you can muster! \n<br /><br />Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You\'ll see. There\'s no substitute for a what a Manley Pultec EQ can do!\n<br /><br />\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<h4>Enhanced Pultec EQ Features</h4>\n	<ul>\n		<li>MANLEY input transformer with nickel laminations potted in mu-metal case. 3K Ohm input Z</li>\n		<li>PHASE REVERSE switch for balanced XLR input</li>\n		<li>Alternate transformerless 1/4\" HI-Z (5K Ohm) input</li>\n		<li>BYPASS switch & AUTO-MUTE w/warmup delay</li>\n		<li>Silent conductive plastic BOOST & CUT controls</li>\n		<li>Sealed gold-contact Greyhill frequency select switches</li>\n		<li>Vacuum Tubes: 1 x 12AX7WA (gain) and 1 x 6414 (or 5965) White Follower</li>\n		<li>Hi-current drive &lt;50 Ohm LO-Z XLR & 1/4\" outputs</li>\n		<li>Balanced Transformer-Coupled XLR Outputs via MANLEY 9611</li>\n		<li>Flat frequency response from 10Hz-70KHz</li>\n		<li>&lt;0.01% THD @ 1kHz</li>\n		<li>S/N Ratio: 116 dB</li>\n		<li>Adjustable FEEDBACK / GAIN: Unity ±5 dB</li>\n		<li>Max. output: +30 dBv</li>\n		<li>Power consumption: 18 watts</li>\n		<li>Operating mains voltage: Units are purpose built \nfor original destination country\'s mains voltage: 100V, 120V, or \n220-240VAC as indicated on the serial number badge. Power transformer \nmust be replaced in order to change mains operating voltage. 120VAC \nunits may NOT be rewired to put the primaries of the power transformer \nin series for 220-240V operation or a large radiated field of hum will \ndevelop. If changing locations/voltages, the power transformer must be \nreplaced with the dedicated one for the voltage at which it will \noperate.\n		</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n		<li>Shipping weight: 12 lbs.</li>\n	</ul>\n</div>'),(6477,85,0,1080,'Manley Enhanced Pultec EQ'),(6478,85,1,1080,'Manley Enhanced Pultec EQ'),(6479,76,0,1080,''),(6480,76,1,1080,''),(6481,75,0,1081,'<h1>Manley FORCE Four Channel Vacuum Tube Mic Preamp</h1>\n<span style=\"font-size: 16px;\"><i>Four channels of vacuum tube microphone preamplifiers, housed in a single 2U chassis, hand-crafted in California.</i></span><br /><br />\nThe Manley FORCE  is a four channel vacuum tube microphone preamplifier housed in an exquisitely gorgeous chassis, meticulously hand-crafted, purposefully and efficiently in California. Extracted from the hugely popular and award winning Manley CORE®, The FORCE gives you the fantastic tube sound that Manley has become famous for, at a price that\'s unheard of. That\'s right. FOUR channels of real High Voltage vacuum tube mic preamps for under $2500!<br /><br />\n<h3>A FORCE of Nature</h3>\nYour relationship with the FORCE begins with the ergonomic facia through its thoughtfully organized controls, silky and bulletproof rotary potentiometers, positive latching feature switches, and convenient Direct Input 1/4\" jacks. Seven-way LED metering for each channel provides instant visible feedback for audio levels which are enhanced with a double-inlay CNC-milled accent. A feast for the eyes, yeah, we know. This is investment grade audio equipment that you will be as proud to showcase in your studio as we are to handcraft it here in Southern California.\n<br /><br />\n<h3>A Sonic Tour de FORCE</h3>\nYour microphone signals enter through gold-plated XLR connectors straight into the MANLEY IRON® Mic input transformer. Your line level or instrument level guitars and keyboards come in via the front panel 1/4\" Hi-Z 10 megOhm jacks before hitting the input level control which also acts as a Variable Input Pad. Phase Reverse and 120Hz High Pass filters can be invoked here in the circuit and then we\'re into the 12AX7 dual triode amplifying stage operating in pure Class A, of course. The amount of GAIN for each channel can be selected as 40dB or 50dB via the front panel switches. An additional 10dB of gain is available via internal jumpers. The output stage \"can drive a truck\" as we like to brag.\n<br /><br />\n<h3>A Powerful FORCE</h3>\nThe power supply is an innovative design developed specifically for Manley Labs, specifically for High Voltage vacuum tubes, and specifically for audio by the world expert team in this technology led by Bruno Putzeys. Proven reliable and sonically superior in the Manley CORE, this power supply provides 300 Volt DC rails to run the vacuum tubes, beefy 6 Volt lines to power them up, along with several other voltage rails for the phantom power and various solid-state control voltages. High Voltage = High Headroom, folks. You will not get near this sonic performance with in any 500-series design. Trust us. This is Full FORCE audio excellence which starts with this superior power supply. All lines are importantly regulated, low impedance, efficient, and super-quiet in this low radiating high frequency design. The universal mains input accepts any voltage or frequency from anywhere in the world making travel with the FORCE a breeze.\n<br /><br />\n<h3>A FORCE to be Reckoned With</h3>\nHow did Manley deliver all this for just $2500? By prioritizing what really matters: that strong Manley sound, the proven componentry and rugged overbuilt construction, presented in an inspiring package. But engineered to build efficiently and by really paying attention to how it all goes together, proudly built by Manley’s American workFORCE.\n<br /><br />\n<h3>Manley Force - Each Channel Features:</h3>\n<ul>\n	<li>48V Phantom power switch                         </li>\n	<li>120Hz High Pass Filter switch                    </li>\n	<li>Phase Invert switch                              </li>\n	<li>Input Attenuator (Variable Pad)                  </li>\n	<li>GAIN Selectable Gain LOW vs HIGH                 </li>\n	<li>Silent Input Level Control (Variable Input Pad)  </li>\n	<li>7-Segment LED Peak Metering                      </li>\n	<li>1/4\" DIRECT INPUT  - Similar to the DI in the Manley SLAM!®, and exactly the same as found in the Manley CORE®, this all-discrete solid-state circuit with 10 Meg Ohm input impedance is perfect for guitars, bass, keyboards, etc.                              </li>\n</ul>\n<br />'),(6482,75,1,1081,'<h1>Manley FORCE Four Channel Vacuum Tube Mic Preamp</h1>\n<span style=\"font-size: 16px;\"><i>Four channels of vacuum tube microphone preamplifiers, housed in a single 2U chassis, hand-crafted in California.</i></span><br /><br />\nThe Manley FORCE  is a four channel vacuum tube microphone preamplifier housed in an exquisitely gorgeous chassis, meticulously hand-crafted, purposefully and efficiently in California. Extracted from the hugely popular and award winning Manley CORE®, The FORCE gives you the fantastic tube sound that Manley has become famous for, at a price that\'s unheard of. That\'s right. FOUR channels of real High Voltage vacuum tube mic preamps for under $2500!<br /><br />\n<h3>A FORCE of Nature</h3>\nYour relationship with the FORCE begins with the ergonomic facia through its thoughtfully organized controls, silky and bulletproof rotary potentiometers, positive latching feature switches, and convenient Direct Input 1/4\" jacks. Seven-way LED metering for each channel provides instant visible feedback for audio levels which are enhanced with a double-inlay CNC-milled accent. A feast for the eyes, yeah, we know. This is investment grade audio equipment that you will be as proud to showcase in your studio as we are to handcraft it here in Southern California.\n<br /><br />\n<h3>A Sonic Tour de FORCE</h3>\nYour microphone signals enter through gold-plated XLR connectors straight into the MANLEY IRON® Mic input transformer. Your line level or instrument level guitars and keyboards come in via the front panel 1/4\" Hi-Z 10 megOhm jacks before hitting the input level control which also acts as a Variable Input Pad. Phase Reverse and 120Hz High Pass filters can be invoked here in the circuit and then we\'re into the 12AX7 dual triode amplifying stage operating in pure Class A, of course. The amount of GAIN for each channel can be selected as 40dB or 50dB via the front panel switches. An additional 10dB of gain is available via internal jumpers. The output stage \"can drive a truck\" as we like to brag.\n<br /><br />\n<h3>A Powerful FORCE</h3>\nThe power supply is an innovative design developed specifically for Manley Labs, specifically for High Voltage vacuum tubes, and specifically for audio by the world expert team in this technology led by Bruno Putzeys. Proven reliable and sonically superior in the Manley CORE, this power supply provides 300 Volt DC rails to run the vacuum tubes, beefy 6 Volt lines to power them up, along with several other voltage rails for the phantom power and various solid-state control voltages. High Voltage = High Headroom, folks. You will not get near this sonic performance with in any 500-series design. Trust us. This is Full FORCE audio excellence which starts with this superior power supply. All lines are importantly regulated, low impedance, efficient, and super-quiet in this low radiating high frequency design. The universal mains input accepts any voltage or frequency from anywhere in the world making travel with the FORCE a breeze.\n<br /><br />\n<h3>A FORCE to be Reckoned With</h3>\nHow did Manley deliver all this for just $2500? By prioritizing what really matters: that strong Manley sound, the proven componentry and rugged overbuilt construction, presented in an inspiring package. But engineered to build efficiently and by really paying attention to how it all goes together, proudly built by Manley’s American workFORCE.\n<br /><br />\n<h3>Manley Force - Each Channel Features:</h3>\n<ul>\n	<li>48V Phantom power switch                         </li>\n	<li>120Hz High Pass Filter switch                    </li>\n	<li>Phase Invert switch                              </li>\n	<li>Input Attenuator (Variable Pad)                  </li>\n	<li>GAIN Selectable Gain LOW vs HIGH                 </li>\n	<li>Silent Input Level Control (Variable Input Pad)  </li>\n	<li>7-Segment LED Peak Metering                      </li>\n	<li>1/4\" DIRECT INPUT  - Similar to the DI in the Manley SLAM!®, and exactly the same as found in the Manley CORE®, this all-discrete solid-state circuit with 10 Meg Ohm input impedance is perfect for guitars, bass, keyboards, etc.                              </li>\n</ul>\n<br />'),(6483,85,0,1081,'Manley FORCE Four Channel Mic Preamp'),(6484,85,1,1081,'Manley FORCE Four Channel Mic Preamp'),(6485,76,0,1081,''),(6486,76,1,1081,''),(6487,75,0,1082,'<h1>Manley Massive Passive Stereo Tube EQ</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal!</span><br /><br />The Manley MASSIVE PASSIVE Stereo Tube Eq is a two channel, four band equalizer, with additional high pass and low pass filters. \"Passive\" refers to the tone shaping part of this clever new EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. \"Massive\".... it\'s a fitting word for this beast. You\'ll need to experience this.\nCreating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. \n<br /><br />Manley knows that recording and mastering equalizers are used by artists for artistic goals and we balanced this design with a little more art than science. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure. We could attempt to use dozens of superlatives to describe the sounds, but really, you have to experience it yourself. Words cannot do it justice. This combo could just be the ultimate processing chain. \n<br /><br />\n<h3>THE FILTERS</h3>\nThere are 5 High Pass Passive Filters and bypass, plus 5 Low Pass Passive Filters with bypass. We made them extra steep. Why? So you can remove the garbage and not mess up your music. The way these filters interface with the parametric EQ bands simply sound beautiful. The highest Low Pass filters get even steeper. Attack drums, guitar stacks, and other tough jobs. Make \"telephone\" voice sounds for special effects.\nHigh Pass Filters = 22, 39, 68, 120, 220 Hz, OFF\nLow Pass Filters = 6 kHz, 7K5, 9 kHz, 12 kHz, 18 kHz, OFF\n<br /><br />\n<h3>Parametric Frequencies</h3>\nLOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K\nLM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9\nHM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K\nHI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 16K, 27K\n• Each band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a center detent not guaranteeing flat response.\n• Each band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clipping\n• Steep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. Low Pass Filters get progressively steeper as the frequency point rises. All of the High Pass Filters, and the Low Pass 6K, 7K5, and 9KHz Filter slopes are 18 dB/octave, the Low Pass 12kHz filter has a 24dB/octave slope and the 18kHz filter has a 60 dB per octave slope.\n• Modular design that allows future upgrades and special functions. The Massive Passive is an \"EQ platform\" with room to grow.\n• Transformer balanced floating outputs for ease of installation and a touch of desirable flavor. These too were custom designed for the Massive Passive to accommodate the huge boosts possible.\n• Manley quality, Manley engineering, and the \"Manley Sound\".\n<br /><br />\n<h4>Massive Passive Stereo Tube EQ</h4>\n<ul>\n	<li>All-Passive tone sculpting circuitry</li>\n	<li>Unique Shelf curves use the \"bandwidth\" control</li>\n	<li>Overlapping and Interleaved Frequency choices</li>\n	<li>Every band switchable to shelf or bell</li>\n	<li>Vacuum tube make-up gain and line drivers</li>\n	<li>Parallel symmetrical topology</li>\n	<li>Premium components throughout</li>\n	<li>HP and LP Filters plus gain trims</li>\n	<li>Metal Manley mechanically detented GAIN and BANDWIDTH control knobs</li>\n</ul>'),(6488,75,1,1082,'<h1>Manley Massive Passive Stereo Tube EQ</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal!</span><br /><br />The Manley MASSIVE PASSIVE Stereo Tube Eq is a two channel, four band equalizer, with additional high pass and low pass filters. \"Passive\" refers to the tone shaping part of this clever new EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. \"Massive\".... it\'s a fitting word for this beast. You\'ll need to experience this.\nCreating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. \n<br /><br />Manley knows that recording and mastering equalizers are used by artists for artistic goals and we balanced this design with a little more art than science. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure. We could attempt to use dozens of superlatives to describe the sounds, but really, you have to experience it yourself. Words cannot do it justice. This combo could just be the ultimate processing chain. \n<br /><br />\n<h3>THE FILTERS</h3>\nThere are 5 High Pass Passive Filters and bypass, plus 5 Low Pass Passive Filters with bypass. We made them extra steep. Why? So you can remove the garbage and not mess up your music. The way these filters interface with the parametric EQ bands simply sound beautiful. The highest Low Pass filters get even steeper. Attack drums, guitar stacks, and other tough jobs. Make \"telephone\" voice sounds for special effects.\nHigh Pass Filters = 22, 39, 68, 120, 220 Hz, OFF\nLow Pass Filters = 6 kHz, 7K5, 9 kHz, 12 kHz, 18 kHz, OFF\n<br /><br />\n<h3>Parametric Frequencies</h3>\nLOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K\nLM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9\nHM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K\nHI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 16K, 27K\n• Each band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a center detent not guaranteeing flat response.\n• Each band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clipping\n• Steep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. Low Pass Filters get progressively steeper as the frequency point rises. All of the High Pass Filters, and the Low Pass 6K, 7K5, and 9KHz Filter slopes are 18 dB/octave, the Low Pass 12kHz filter has a 24dB/octave slope and the 18kHz filter has a 60 dB per octave slope.\n• Modular design that allows future upgrades and special functions. The Massive Passive is an \"EQ platform\" with room to grow.\n• Transformer balanced floating outputs for ease of installation and a touch of desirable flavor. These too were custom designed for the Massive Passive to accommodate the huge boosts possible.\n• Manley quality, Manley engineering, and the \"Manley Sound\".\n<br /><br />\n<h4>Massive Passive Stereo Tube EQ</h4>\n<ul>\n	<li>All-Passive tone sculpting circuitry</li>\n	<li>Unique Shelf curves use the \"bandwidth\" control</li>\n	<li>Overlapping and Interleaved Frequency choices</li>\n	<li>Every band switchable to shelf or bell</li>\n	<li>Vacuum tube make-up gain and line drivers</li>\n	<li>Parallel symmetrical topology</li>\n	<li>Premium components throughout</li>\n	<li>HP and LP Filters plus gain trims</li>\n	<li>Metal Manley mechanically detented GAIN and BANDWIDTH control knobs</li>\n</ul>'),(6489,85,0,1082,'Manley Massive Passive Stereo Tube EQ, Equalizer'),(6490,85,1,1082,'Manley Massive Passive Stereo Tube EQ, Equalizer'),(6491,76,0,1082,''),(6492,76,1,1082,''),(6493,75,0,1083,'<h1>Manley Mastering Version Massive Passive Stereo Tube EQ</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The Massive Passive is a passive design and not a \"true parametric\"!</span><br/><br/>This is the Mastering Version of the Massive Passive with innovative \nrepeatable, mechanically detented knobs of their own design. Range is \nclamped down for focus where mastering engineers live and breathe. \nFilters go higher and lower for solving problems in the mastering stage. \n<br/><br/>A \ntrue parametric implies non-interacting controls. In the Massive \nPassive, the \"GAIN\" and \"BANDWIDTH\" controls DO interact (on purpose). Manley could not create a \"GAIN\" switch that is set up for \"consistent\" 1/2 dB \nsteps. When you change the \"BANDWIDTH\" the step size must and will \nchange. On the regular version, you get a full 20dB boost or cut only \nwhen: the bandwidth is fully clockwise (narrow) in bell mode or fully \ncounter-clockwise in shelf mode. Here on the Mastering Version, this \nmaximum boost or cut is 11dB. Conversely at the widest bell, the maximum\n boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A \nsimilar situation is also true for the bandwidth detents. So in this new\n Mastering Version, do not expect a certain dB change per step as it \nwill vary according to where the bandwidth is set. But whatever the step\n sizes are, they will be repeatably 16 steps. The FREQUENCY select is \nalready detented as it is and always has been a Grayhill switch. It also\n interacts in shelf mode.\n<br/><br/>\n<h4>Mastering Version Massive Passive Stereo Tube EQ Features</h4>\n<ul>\n	<li>All-Passive tone sculpting circuitry</li>\n	<li>Unique Shelf curves use the \"bandwidth\" control</li>\n	<li>Overlapping and Interleaved Frequency choices</li>\n	<li>Every band switchable to shelf or bell</li>\n	<li>Vacuum tube make-up gain and line drivers</li>\n	<li>Parallel symmetrical topology</li>\n	<li>Premium components throughout</li>\n	<li>HP and LP Filters plus gain trims</li>\n	<li>Metal Manley mechanically detented GAIN and BANDWIDTH control knobs</li>\n</ul>'),(6494,75,1,1083,'<h1>Manley Mastering Version Massive Passive Stereo Tube EQ</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The Massive Passive is a passive design and not a \"true parametric\"!</span><br/><br/>This is the Mastering Version of the Massive Passive with innovative \nrepeatable, mechanically detented knobs of their own design. Range is \nclamped down for focus where mastering engineers live and breathe. \nFilters go higher and lower for solving problems in the mastering stage. \n<br/><br/>A \ntrue parametric implies non-interacting controls. In the Massive \nPassive, the \"GAIN\" and \"BANDWIDTH\" controls DO interact (on purpose). Manley could not create a \"GAIN\" switch that is set up for \"consistent\" 1/2 dB \nsteps. When you change the \"BANDWIDTH\" the step size must and will \nchange. On the regular version, you get a full 20dB boost or cut only \nwhen: the bandwidth is fully clockwise (narrow) in bell mode or fully \ncounter-clockwise in shelf mode. Here on the Mastering Version, this \nmaximum boost or cut is 11dB. Conversely at the widest bell, the maximum\n boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A \nsimilar situation is also true for the bandwidth detents. So in this new\n Mastering Version, do not expect a certain dB change per step as it \nwill vary according to where the bandwidth is set. But whatever the step\n sizes are, they will be repeatably 16 steps. The FREQUENCY select is \nalready detented as it is and always has been a Grayhill switch. It also\n interacts in shelf mode.\n<br/><br/>\n<h4>Mastering Version Massive Passive Stereo Tube EQ Features</h4>\n<ul>\n	<li>All-Passive tone sculpting circuitry</li>\n	<li>Unique Shelf curves use the \"bandwidth\" control</li>\n	<li>Overlapping and Interleaved Frequency choices</li>\n	<li>Every band switchable to shelf or bell</li>\n	<li>Vacuum tube make-up gain and line drivers</li>\n	<li>Parallel symmetrical topology</li>\n	<li>Premium components throughout</li>\n	<li>HP and LP Filters plus gain trims</li>\n	<li>Metal Manley mechanically detented GAIN and BANDWIDTH control knobs</li>\n</ul>'),(6495,85,0,1083,'Manley Mastering Version Massive Passive Stereo Tube EQ, Equalizer'),(6496,85,1,1083,'Manley Mastering Version Massive Passive Stereo Tube EQ, Equalizer'),(6497,76,0,1083,''),(6498,76,1,1083,''),(6499,75,0,1084,'<h1>Manley MicMAID 4x4 Mic/Micpreamp Matrix-Switcher</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The Manley MicMAID Matrix-Switcher was designed for auditioning combinations of four microphones with four\n microphone preamps through a fast-acting matrix system!\n<br /></span><br />The Manley MicMAID Matrix-Switcher features four inputs for both microphones and preamps, while dedicated \nreturns and direct outputs are offered for each micpre. The front panel \nhas four sections including instrument input, phase control, routing \nmatrix, and monitor control.\n<p>\nThe instrument input offers a dedicated DI with thru-output and a ground\n lift, as well as a 1/4\" TRS input for inserting a fader for controlling\n the Mon/Rec level output for real-time fader rides while tracking \nvocals or instruments.\n</p>\n<p>\nThe phase section offers phase reversal, variable phase control and a \nrange button, which switches between low and full-bandwidth frequencies.\n The variable phase knob allows you to fine-tune the phase relationship \nbetween two of your mic signals, or between your direct signal and your \nmic signals.\n</p>\n<p>\nThe routing matrix offers four horizontal buttons for selecting \nmicrophones, while the four vertical buttons engage the four preamps. \nThe microphone selection is routed to the selected preamp, while the \npreamp selection routes signal through the Mon/Rec output. The lock \nbutton lights up red when selected and prevents any other mic or preamp \nfrom using the current paired combination. The instrument button \nswitches from microphone A input to the DI input.\n</p>\n<p>\nThe monitor section features a gain trim for matching levels of \ndifferent combinations, which may be saved to any of 9 user presets for \ninstant recall. There is also a pickle remote, which connects via RJ45 \ncable and features a momentary switch for cycling through presets. \nHand-made in the USA, the unit is housed in a 2U chassis with a CNC \nmachined 1/4\" steel faceplate that is also inlaid with laser engraved \ninserts. The MicMAID ships with an IEC power cable.\n</p>\n<h4>MicMAID 4x4 Mic/Micpreamp Matrix-Switcher Features</h4>\n<ul>\n	<li class=\"spec\">FOUR Microphones A/B/C/D matrix to FOUR external Microphone preamplifiers 1/2/3/4\n	</li>\n	<li class=\"spec\">LOCK each selection combination for comparison\n	</li>\n	<li class=\"spec\">Front-panel 1/4\" Direct Input with Variable Phase circuit and Ground Lift switch\n	</li>\n	<li class=\"spec\">THRU: mirrored output of the Direct Input\n	</li>\n	<li class=\"spec\">Low/High range select for Variable Phase all-pass filter\n	</li>\n	<li class=\"spec\">Remote Fader jack for manual gain riding\n	</li>\n	<li class=\"spec\">Polarity Switch flips phase 180degrees for selected Matrix path\n	</li>\n	<li class=\"spec\">MONITOR SECTION has ±19.5 dB gain trim for each signal path\n	</li>\n	<li class=\"spec\">STORE and RECALL settings for gain, mic & pre combinations\n	</li>\n	<li class=\"spec\">Phantom Power selection for each microphone A/B/C/D\n	</li>\n	<li class=\"spec\">DIRECT OUTPUT provided for each micpreamp return\n	</li>\n	<li class=\"spec\">Pickle Remote can step through each microphone or each preamplfier for \"sweet spot\" selection\n	</li>\n	<li class=\"spec\">Variable illumination brightness user-selectable in three levels\n	</li>\n	<li class=\"spec\">High-quality, gold-contact sealed relays used throughout\n	</li>\n	<li class=\"spec\">Neutrik gold-contact XLR jacks \n	</li>\n</ul>'),(6500,75,1,1084,'<h1>Manley MicMAID 4x4 Mic/Micpreamp Matrix-Switcher</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The Manley MicMAID Matrix-Switcher was designed for auditioning combinations of four microphones with four\n microphone preamps through a fast-acting matrix system!\n<br /></span><br />The Manley MicMAID Matrix-Switcher features four inputs for both microphones and preamps, while dedicated \nreturns and direct outputs are offered for each micpre. The front panel \nhas four sections including instrument input, phase control, routing \nmatrix, and monitor control.\n<p>\nThe instrument input offers a dedicated DI with thru-output and a ground\n lift, as well as a 1/4\" TRS input for inserting a fader for controlling\n the Mon/Rec level output for real-time fader rides while tracking \nvocals or instruments.\n</p>\n<p>\nThe phase section offers phase reversal, variable phase control and a \nrange button, which switches between low and full-bandwidth frequencies.\n The variable phase knob allows you to fine-tune the phase relationship \nbetween two of your mic signals, or between your direct signal and your \nmic signals.\n</p>\n<p>\nThe routing matrix offers four horizontal buttons for selecting \nmicrophones, while the four vertical buttons engage the four preamps. \nThe microphone selection is routed to the selected preamp, while the \npreamp selection routes signal through the Mon/Rec output. The lock \nbutton lights up red when selected and prevents any other mic or preamp \nfrom using the current paired combination. The instrument button \nswitches from microphone A input to the DI input.\n</p>\n<p>\nThe monitor section features a gain trim for matching levels of \ndifferent combinations, which may be saved to any of 9 user presets for \ninstant recall. There is also a pickle remote, which connects via RJ45 \ncable and features a momentary switch for cycling through presets. \nHand-made in the USA, the unit is housed in a 2U chassis with a CNC \nmachined 1/4\" steel faceplate that is also inlaid with laser engraved \ninserts. The MicMAID ships with an IEC power cable.\n</p>\n<h4>MicMAID 4x4 Mic/Micpreamp Matrix-Switcher Features</h4>\n<ul>\n	<li class=\"spec\">FOUR Microphones A/B/C/D matrix to FOUR external Microphone preamplifiers 1/2/3/4\n	</li>\n	<li class=\"spec\">LOCK each selection combination for comparison\n	</li>\n	<li class=\"spec\">Front-panel 1/4\" Direct Input with Variable Phase circuit and Ground Lift switch\n	</li>\n	<li class=\"spec\">THRU: mirrored output of the Direct Input\n	</li>\n	<li class=\"spec\">Low/High range select for Variable Phase all-pass filter\n	</li>\n	<li class=\"spec\">Remote Fader jack for manual gain riding\n	</li>\n	<li class=\"spec\">Polarity Switch flips phase 180degrees for selected Matrix path\n	</li>\n	<li class=\"spec\">MONITOR SECTION has ±19.5 dB gain trim for each signal path\n	</li>\n	<li class=\"spec\">STORE and RECALL settings for gain, mic & pre combinations\n	</li>\n	<li class=\"spec\">Phantom Power selection for each microphone A/B/C/D\n	</li>\n	<li class=\"spec\">DIRECT OUTPUT provided for each micpreamp return\n	</li>\n	<li class=\"spec\">Pickle Remote can step through each microphone or each preamplfier for \"sweet spot\" selection\n	</li>\n	<li class=\"spec\">Variable illumination brightness user-selectable in three levels\n	</li>\n	<li class=\"spec\">High-quality, gold-contact sealed relays used throughout\n	</li>\n	<li class=\"spec\">Neutrik gold-contact XLR jacks \n	</li>\n</ul>'),(6501,85,0,1084,'Manley MicMAID 4x4 Mic/Micpreamp Matrix-Switcher'),(6502,85,1,1084,'Manley MicMAID 4x4 Mic/Micpreamp Matrix-Switcher'),(6503,76,0,1084,''),(6504,76,1,1084,''),(6505,75,0,1085,'<h1>Manley Mid Frequency EQ</h1>\n<span style=\"font-size: 16px; font-style: italic;\">This single channel Mid Frequency EQ is the secret weapon for vocal, \nguitar, snare and all the other midrange instruments that are the meat \nof the mix!\n<br/></span><br/>The Manley Mid Frequency EQ is specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID FREQUENCY ENHANCED PULTEC EQ (MEQ-5 type) shares the same features and specifications as our \'EQP-1A\' version. The differences lie in the passive EQ section: In the MID EQ, the DIP and PEAK controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes this unit indispensable for mastering engineers. <br/><br/>The MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering.\n<br/><br/>\n<h4>Mid Frequency EQ Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>MANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K Ohm input Z</li>\n		<li>PHASE REVERSE switch for balanced XLR input</li>\n		<li>Alternate transformerless 1/4\" HI-Z (5K Ohm) input</li>\n		<li>BYPASS switch & AUTO-MUTE w/warmup delay</li>\n		<li>Silent conductive plastic PEAK & SHELF controls</li>\n		<li>Sealed gold-contact Greyhill frequency select switches</li>\n		<li>Hi-current drive &lt;50 Ohm LO-Z XLR & 1/4\" outputs</li>\n		<li>Balanced Transformer Coupled XLR Outputs</li>\n		<li>Flat frequency response from 10Hz-70KHz</li>\n		<li>&lt;0.01% THD @ 1kHz</li>\n		<li>S/N Ratio: 116 dB</li>\n		<li>Adjustable FEEDBACK / GAIN: Unity ±5 dB</li>\n		<li>Max. output: +30 dBv</li>\n		<li>Power consumption: 18 watts</li>\n		<li>Operating mains voltage: Units are purpose built for original \ndestination country\'s mains voltage: 100V, 120V, or 220-240VAC as \nindicated on the serial number badge. Power transformer must be replaced\n in order to change mains operating voltage. 120VAC units may NOT be \nrewired to put the primaries of the power transformer in series for \n220-240V operation or a large radiated field of hum will develop. If \nchanging locations/voltages, the power transformer must be replaced with\n the dedicated one for the voltage at which it will operate.\n		</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n		<li>Shipping weight: 12 lbs.</li>\n	</ul>\n</div>\n<br/>'),(6506,75,1,1085,'<h1>Manley Mid Frequency EQ</h1>\n<span style=\"font-size: 16px; font-style: italic;\">This single channel Mid Frequency EQ is the secret weapon for vocal, \nguitar, snare and all the other midrange instruments that are the meat \nof the mix!\n<br/></span><br/>The Manley Mid Frequency EQ is specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID FREQUENCY ENHANCED PULTEC EQ (MEQ-5 type) shares the same features and specifications as our \'EQP-1A\' version. The differences lie in the passive EQ section: In the MID EQ, the DIP and PEAK controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes this unit indispensable for mastering engineers. <br/><br/>The MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering.\n<br/><br/>\n<h4>Mid Frequency EQ Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>MANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K Ohm input Z</li>\n		<li>PHASE REVERSE switch for balanced XLR input</li>\n		<li>Alternate transformerless 1/4\" HI-Z (5K Ohm) input</li>\n		<li>BYPASS switch & AUTO-MUTE w/warmup delay</li>\n		<li>Silent conductive plastic PEAK & SHELF controls</li>\n		<li>Sealed gold-contact Greyhill frequency select switches</li>\n		<li>Hi-current drive &lt;50 Ohm LO-Z XLR & 1/4\" outputs</li>\n		<li>Balanced Transformer Coupled XLR Outputs</li>\n		<li>Flat frequency response from 10Hz-70KHz</li>\n		<li>&lt;0.01% THD @ 1kHz</li>\n		<li>S/N Ratio: 116 dB</li>\n		<li>Adjustable FEEDBACK / GAIN: Unity ±5 dB</li>\n		<li>Max. output: +30 dBv</li>\n		<li>Power consumption: 18 watts</li>\n		<li>Operating mains voltage: Units are purpose built for original \ndestination country\'s mains voltage: 100V, 120V, or 220-240VAC as \nindicated on the serial number badge. Power transformer must be replaced\n in order to change mains operating voltage. 120VAC units may NOT be \nrewired to put the primaries of the power transformer in series for \n220-240V operation or a large radiated field of hum will develop. If \nchanging locations/voltages, the power transformer must be replaced with\n the dedicated one for the voltage at which it will operate.\n		</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n		<li>Shipping weight: 12 lbs.</li>\n	</ul>\n</div>\n<br/>'),(6507,85,0,1085,'Manley Mid Frequency EQ'),(6508,85,1,1085,'Manley Mid Frequency EQ'),(6509,76,0,1085,''),(6510,76,1,1085,''),(6511,75,0,1086,'<h1>Manley Nu Mu Stereo Limiter Compressor</h1>\n<span style=\"font-size: 16px; font-style: italic;\">All-tube, all transformer, an all-American legend! </span><br /><br />The Manley Nu Mu merges the esoteric \n“T-Bar mod” all-tube front end from the legendary Manley Variable Mu® \nand makes it standard followed by a new solid state audio chain for the \nsmoothest dynamics action coupled to the punchiest sonic path. Featuring Manley’s new HIP function, the Nu Mu finesses dynamic \ncontrol to bring up lower level details without knocking the life out of\n exciting transients. Smartly engineered to build efficiently and \nesthetically designed to elicit ravishing compliments from your clients,\n both visually and ergonomically, the Manley Nu Mu breaks new ground in \nperformance and value, all proudly handbuilt in California, of course!\n<p>\n</p>\n<div class=\"page\" title=\"Page 2\">\n	<div class=\"section\">\n		<div class=\"layoutArea\">\n			<div class=\"column\">\n				<p>\n				</p>\n				<h3>“HIP” Control</h3>\n				<p>\n				</p>\n				<p>\n					The “HIP” control allows compression to happen at lower volumes (lower in the dynamic range spectrum), but leaves\n					the louder dynamics alone while still compressing the overall signal. \nYou get louder soft sections and original dynamics of the louder \nsections.\n				</p>\n				<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n					<p>\n					</p>\n					<h4>Nu Mu Stereo Limiter Compressor Features:</h4>\n					<p>\n					</p>\n					<ul>\n						<li>Manley IRON<strong><sup>® </sup></strong>input transformers</li>\n						<li>4 x hand-matched 6BA6 vacuum tubes</li>\n						<li>Balanced XLR inputs & outputs</li>\n						<li>Manley HIP function raises soft dynamics without squashing louder passages</li>\n						<li>High Voltage Switched Mode Power Supply custom designed for our vacuum tube audio circuits</li>\n					</ul>\n					<p>\n					</p>\n					<p>\n					</p>\n					<h4>Controls and Switches:</h4>\n					<p>\n					</p>\n					<ul>\n						<li>Input Level Preset 3-way switches</li>\n						<li>Continuously variable Output level controls</li>\n						<li>Variable Attack: 25msec-70msec</li>\n						<li>Recovery switch 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.</li>\n						<li>Continuously variable Threshold controls</li>\n						<li>Hardwired Relay Bypass Switch</li>\n						<li>Ratio Mode switches between Limit(4:1 to 20:1) or Compress (1.5 to 1)</li>\n						<li>HP SC: High Pass Side Chain Filter -3dB @ 100Hz</li>\n						<li>Stereo Link establishes Left-Master dynamic control</li>\n						<li>Beautiful illuminated stereo VU meters read Gain Reduction or Output Level</li>\n						<li>Universal internal power supply operates worldwide 90-250V~AC 50/60Hz</li>\n					</ul>\n				</div>\n			</div>\n		</div>\n	</div>\n</div>'),(6512,75,1,1086,'<h1>Manley Nu Mu Stereo Limiter Compressor</h1>\n<span style=\"font-size: 16px; font-style: italic;\">All-tube, all transformer, an all-American legend! </span><br /><br />The Manley Nu Mu merges the esoteric \n“T-Bar mod” all-tube front end from the legendary Manley Variable Mu® \nand makes it standard followed by a new solid state audio chain for the \nsmoothest dynamics action coupled to the punchiest sonic path. Featuring Manley’s new HIP function, the Nu Mu finesses dynamic \ncontrol to bring up lower level details without knocking the life out of\n exciting transients. Smartly engineered to build efficiently and \nesthetically designed to elicit ravishing compliments from your clients,\n both visually and ergonomically, the Manley Nu Mu breaks new ground in \nperformance and value, all proudly handbuilt in California, of course!\n<p>\n</p>\n<div class=\"page\" title=\"Page 2\">\n	<div class=\"section\">\n		<div class=\"layoutArea\">\n			<div class=\"column\">\n				<p>\n				</p>\n				<h3>“HIP” Control</h3>\n				<p>\n				</p>\n				<p>\n					The “HIP” control allows compression to happen at lower volumes (lower in the dynamic range spectrum), but leaves\n					the louder dynamics alone while still compressing the overall signal. \nYou get louder soft sections and original dynamics of the louder \nsections.\n				</p>\n				<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n					<p>\n					</p>\n					<h4>Nu Mu Stereo Limiter Compressor Features:</h4>\n					<p>\n					</p>\n					<ul>\n						<li>Manley IRON<strong><sup>® </sup></strong>input transformers</li>\n						<li>4 x hand-matched 6BA6 vacuum tubes</li>\n						<li>Balanced XLR inputs & outputs</li>\n						<li>Manley HIP function raises soft dynamics without squashing louder passages</li>\n						<li>High Voltage Switched Mode Power Supply custom designed for our vacuum tube audio circuits</li>\n					</ul>\n					<p>\n					</p>\n					<p>\n					</p>\n					<h4>Controls and Switches:</h4>\n					<p>\n					</p>\n					<ul>\n						<li>Input Level Preset 3-way switches</li>\n						<li>Continuously variable Output level controls</li>\n						<li>Variable Attack: 25msec-70msec</li>\n						<li>Recovery switch 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.</li>\n						<li>Continuously variable Threshold controls</li>\n						<li>Hardwired Relay Bypass Switch</li>\n						<li>Ratio Mode switches between Limit(4:1 to 20:1) or Compress (1.5 to 1)</li>\n						<li>HP SC: High Pass Side Chain Filter -3dB @ 100Hz</li>\n						<li>Stereo Link establishes Left-Master dynamic control</li>\n						<li>Beautiful illuminated stereo VU meters read Gain Reduction or Output Level</li>\n						<li>Universal internal power supply operates worldwide 90-250V~AC 50/60Hz</li>\n					</ul>\n				</div>\n			</div>\n		</div>\n	</div>\n</div>'),(6513,85,0,1086,'Manley Nu Mu Stereo Limiter Compressor'),(6514,85,1,1086,'Manley Nu Mu Stereo Limiter Compressor'),(6515,76,0,1086,''),(6516,76,1,1086,''),(6517,75,0,1087,'<h1>Manley Reference Mono Gold Microphone - Multi-Pattern Tube Mic</h1>\n<i>Multi-pattern tube microphone with CK12-style American-made capsule, open grille, and continually adjustable pickup pattern - hear deep into a room, capturing nuances and subtleties.</i><br /><br />The Manley Reference Mono Gold Microphone is a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ Manley\'s own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, \"air\", and superb ultra-high frequency response you have only dreamt about.\n<br /><br />\nThe all-tube electronics in the Manley Gold Reference Multi-Pattern Microphone are built around two triodes in cascade forming an entire gain-block. Manley switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. The output is coupled through a MANLEY output transformer of unparalleled quality and substantial physical size employing nickel laminations with \"hum bucking\" bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic’s versatility. \n<br /><br />\n<h4>Gold Reference Multi-Pattern Microphone Features</h4>\n<ul>\n	<li>All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)</li>\n	<li>-10 dB switchable pad</li>\n	<li>Frequency response: 10Hz-30KHz</li>\n	<li>Sensitivity: 17mV/Pa</li>\n	<li>Noise typically -120dB EIN</li>\n	<li>Max SPL: 150dB</li>\n	<li>Actual output impedance 200 Ohms</li>\n	<li>Weight: 2.25 lbs (mic)</li>\n	<li>Weight: 2.5 lbs (PSU)</li>\n	<li>Size: 4.5\" x 9.7\" x 4.5\" (mic)</li>\n	<li>Size: 5\" x 8.2\" x 3.4\" (PSU)</li>\n	<li>Shipping weight: 15 lbs</li>\n	<li>Selected matched pairs available</li>\n	<li>Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n	<li>Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change.</li>\n	<li>Mains Voltage Frequency: 50~ 60Hz</li>\n	<li>Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation</li>\n	<li>Power Consumption: 70mA @ 120V = 8.4 Watts</li>\n</ul>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n</div>'),(6518,75,1,1087,'<h1>Manley Reference Mono Gold Microphone - Multi-Pattern Tube Mic</h1>\n<i>Multi-pattern tube microphone with CK12-style American-made capsule, open grille, and continually adjustable pickup pattern - hear deep into a room, capturing nuances and subtleties.</i><br /><br />The Manley Reference Mono Gold Microphone is a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ Manley\'s own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, \"air\", and superb ultra-high frequency response you have only dreamt about.\n<br /><br />\nThe all-tube electronics in the Manley Gold Reference Multi-Pattern Microphone are built around two triodes in cascade forming an entire gain-block. Manley switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. The output is coupled through a MANLEY output transformer of unparalleled quality and substantial physical size employing nickel laminations with \"hum bucking\" bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic’s versatility. \n<br /><br />\n<h4>Gold Reference Multi-Pattern Microphone Features</h4>\n<ul>\n	<li>All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)</li>\n	<li>-10 dB switchable pad</li>\n	<li>Frequency response: 10Hz-30KHz</li>\n	<li>Sensitivity: 17mV/Pa</li>\n	<li>Noise typically -120dB EIN</li>\n	<li>Max SPL: 150dB</li>\n	<li>Actual output impedance 200 Ohms</li>\n	<li>Weight: 2.25 lbs (mic)</li>\n	<li>Weight: 2.5 lbs (PSU)</li>\n	<li>Size: 4.5\" x 9.7\" x 4.5\" (mic)</li>\n	<li>Size: 5\" x 8.2\" x 3.4\" (PSU)</li>\n	<li>Shipping weight: 15 lbs</li>\n	<li>Selected matched pairs available</li>\n	<li>Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n	<li>Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change.</li>\n	<li>Mains Voltage Frequency: 50~ 60Hz</li>\n	<li>Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation</li>\n	<li>Power Consumption: 70mA @ 120V = 8.4 Watts</li>\n</ul>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n</div>'),(6519,85,0,1087,''),(6520,85,1,1087,''),(6521,76,0,1087,''),(6522,76,1,1087,''),(6523,75,0,1088,'<h1>Manley Reference Silver Microphone - Multi-Pattern Tube Mic</h1>\n<i>Inspired by the Sony C-37A, the Manley Reference Silver Microphone features an American built capsule, mic grade 5670 vacuum tube, Manley IRON® transformers, and a low-noise switch mode power supply, making the Manley Reference Silver Microphone a studio workhorse. </i><br/><br/>\nThe Manley Reference Silver Microphoneis inspired by the 1950s classic Sony C-37a microphone, and features a fantastic recreation of the C-37’s C-3 capsule by California capsule maker David Josephson. This new capsule features an adjustable acoustic chamber on the rear of the capsule for the user to switch between Cardioid and Omni pickup patterns. This distinctive capsule is the heart of the rich and creamy tone that the Manley Reference Silver Mic delivers today, and reliably with a five year factory warranty. The old SONY mics are super-rare at this point, if you can find a decent working example of one!<br/><br/>\nInside the mic, Manley are utilizing a different circuit from their other two microphones. The fragile high impedance signal from the capsule first hits a FET sitting underneath the mic grade 5670 vacuum tube’s cathode which then amplifies the signal into a more robust voltage that a hand-wound Manley IRON® microphone output transformer sends out to your microphone preamplifier. <br/><br/>\nSonic character of the Reference Silver is on the rich and warm side. You\'ll find this microphone stunning with female vocals and saxophones, with a round character that is never sibilant or boxy. A brass section will sound rich and cohesive. This microphone with its bountiful and warm middle tonality also is a natural for drum overheads where you might have too much brightness off the cymbals from other microphones. It is a very classic sounding microphone, which is to be expected since its innovative capsule design harkens back to the 1950s. Use the Manley Reference Silver Microphone where you might be thinking about a ribbon, and use it with confidence!<br/><br/>\nThe trailblazing power supply is a brand-new derivative of Manley\'s wildly successful SMPS already in use in the Manley CORE® Reference Channel Strip, Manley FORCE® 4-channel microphone preamplifier, and Manley Nu Mu and ELOP+ Stereo Limiter Compressors. This power supply was designed for Manley, designed for vacuum tubes, and designed especially for audio fidelity. Numerous listening comparisons again prove the sonic superiority of this power supply. All lines are regulated, all rails come out at super-low impedance, and there is zero 50/60 Hz ripple component present in the chassis as the module runs at a much higher frequency well above the audible range. It is an efficient design in the high 90th percentile, and it functions it any mains input voltage from 90 to 250 V AC meaning no reconfiguration is necessary when traveling around the world. Just plug it in! It is a well-smart invention light years ahead of older linear power supply designs.<br/><br/>\nManley\'s proprietary precision suspension system is provided with each Reference Microphone (the capsule itself is mounted onto a rubber shock-mount.) Because the entire working \"guts\" of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removed from the suspension. There is also a very useful swivel design with every REFERENCE MICROPHONE; its T-bar handle and locking clutch action require no tools to adjust. And no MANLEY microphone would be complete without a genuine leather capsule protector which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Each REFERENCE MICROPHONE is packaged complete in a rugged carrying-case.<br/><br/>\nLike the other Manley Reference Microphones, all of the metalworking and construction is hand-assembled in the USA by Manley\'s experienced staff in their Chino, California factory, located just 35 miles east of Los Angeles. We are sure you’ll love the organic nature of the intriguing artistic finish of the Silver Microphone as it will remind you about how natural and alluring the sound of this microphone is.<br/><br/>\n<h4>Manley Reference Silver Multi-Pattern Microphone Features</h4>\n<ul>\n	<li>Condenser Microphone Transducer</li>\n	<li>USA Hand Made Capsule by Josephson Audio</li>\n	<li>Capsule is based on the Vintage Sony C-37A</li>\n	<li>Single-Sided Large Diaphragm Capsule</li>\n	<li>5 Micron Evaporated Gold Diaphragm</li>\n	<li>Dual Pattern Cardioid or Omni Directional</li>\n	<li>Adjustable Vent on the Backplate Changes the Pattern</li>\n	<li>5670 Internal Vacuum Tube Head Amplifier</li>\n	<li>Constant Current Source for Tube Minimizes Noise and Tube Selection</li>\n	<li>Hand Wound Nickel Core Manley Iron Output Transformer</li>\n	<li>Custom Designed Outboard Switched Mode PSU</li>\n	<li>Supplied with Manley X-Cradle Suspension </li>\n</ul>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n</div>'),(6524,75,1,1088,'<h1>Manley Reference Silver Microphone - Multi-Pattern Tube Mic</h1>\n<i>Inspired by the Sony C-37A, the Manley Reference Silver Microphone features an American built capsule, mic grade 5670 vacuum tube, Manley IRON® transformers, and a low-noise switch mode power supply, making the Manley Reference Silver Microphone a studio workhorse. </i><br/><br/>\nThe Manley Reference Silver Microphoneis inspired by the 1950s classic Sony C-37a microphone, and features a fantastic recreation of the C-37’s C-3 capsule by California capsule maker David Josephson. This new capsule features an adjustable acoustic chamber on the rear of the capsule for the user to switch between Cardioid and Omni pickup patterns. This distinctive capsule is the heart of the rich and creamy tone that the Manley Reference Silver Mic delivers today, and reliably with a five year factory warranty. The old SONY mics are super-rare at this point, if you can find a decent working example of one!<br/><br/>\nInside the mic, Manley are utilizing a different circuit from their other two microphones. The fragile high impedance signal from the capsule first hits a FET sitting underneath the mic grade 5670 vacuum tube’s cathode which then amplifies the signal into a more robust voltage that a hand-wound Manley IRON® microphone output transformer sends out to your microphone preamplifier. <br/><br/>\nSonic character of the Reference Silver is on the rich and warm side. You\'ll find this microphone stunning with female vocals and saxophones, with a round character that is never sibilant or boxy. A brass section will sound rich and cohesive. This microphone with its bountiful and warm middle tonality also is a natural for drum overheads where you might have too much brightness off the cymbals from other microphones. It is a very classic sounding microphone, which is to be expected since its innovative capsule design harkens back to the 1950s. Use the Manley Reference Silver Microphone where you might be thinking about a ribbon, and use it with confidence!<br/><br/>\nThe trailblazing power supply is a brand-new derivative of Manley\'s wildly successful SMPS already in use in the Manley CORE® Reference Channel Strip, Manley FORCE® 4-channel microphone preamplifier, and Manley Nu Mu and ELOP+ Stereo Limiter Compressors. This power supply was designed for Manley, designed for vacuum tubes, and designed especially for audio fidelity. Numerous listening comparisons again prove the sonic superiority of this power supply. All lines are regulated, all rails come out at super-low impedance, and there is zero 50/60 Hz ripple component present in the chassis as the module runs at a much higher frequency well above the audible range. It is an efficient design in the high 90th percentile, and it functions it any mains input voltage from 90 to 250 V AC meaning no reconfiguration is necessary when traveling around the world. Just plug it in! It is a well-smart invention light years ahead of older linear power supply designs.<br/><br/>\nManley\'s proprietary precision suspension system is provided with each Reference Microphone (the capsule itself is mounted onto a rubber shock-mount.) Because the entire working \"guts\" of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removed from the suspension. There is also a very useful swivel design with every REFERENCE MICROPHONE; its T-bar handle and locking clutch action require no tools to adjust. And no MANLEY microphone would be complete without a genuine leather capsule protector which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Each REFERENCE MICROPHONE is packaged complete in a rugged carrying-case.<br/><br/>\nLike the other Manley Reference Microphones, all of the metalworking and construction is hand-assembled in the USA by Manley\'s experienced staff in their Chino, California factory, located just 35 miles east of Los Angeles. We are sure you’ll love the organic nature of the intriguing artistic finish of the Silver Microphone as it will remind you about how natural and alluring the sound of this microphone is.<br/><br/>\n<h4>Manley Reference Silver Multi-Pattern Microphone Features</h4>\n<ul>\n	<li>Condenser Microphone Transducer</li>\n	<li>USA Hand Made Capsule by Josephson Audio</li>\n	<li>Capsule is based on the Vintage Sony C-37A</li>\n	<li>Single-Sided Large Diaphragm Capsule</li>\n	<li>5 Micron Evaporated Gold Diaphragm</li>\n	<li>Dual Pattern Cardioid or Omni Directional</li>\n	<li>Adjustable Vent on the Backplate Changes the Pattern</li>\n	<li>5670 Internal Vacuum Tube Head Amplifier</li>\n	<li>Constant Current Source for Tube Minimizes Noise and Tube Selection</li>\n	<li>Hand Wound Nickel Core Manley Iron Output Transformer</li>\n	<li>Custom Designed Outboard Switched Mode PSU</li>\n	<li>Supplied with Manley X-Cradle Suspension </li>\n</ul>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n</div>'),(6525,85,0,1088,''),(6526,85,1,1088,''),(6527,76,0,1088,''),(6528,76,1,1088,''),(6529,75,0,1089,'<h1>Manley Reference Cardioid Tube Microphone</h1>\n<span style=\"font-size: 16px; font-style: italic;\">All the high-quality electronics of Manley\'s </span><i>Gold Reference Series, but with a center-fixed cardioid-only capsule and a thicker gauge gold sputtered diaphragm.</i><br /><br />The Manley Reference Cardioid Microphone shares the same electronic attributes as the Gold Reference Series, but has a center-fixed cardioid-only capsule with a thicker gauge (6 micron) gold sputtered diaphragm. With the similar film thickness and construction, similar high frequency resonance (a little edge), similar proximity effect and pretty good immunity from pops and sibilance problems, the Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new. <br /><br />Its rich tonal balance and liquid character is consistently admired for instruments such as guitars, drum overheads, saxophone, and especially vocals. With your present mic, if you find yourself leaning on your compressors and boosting 5 or 10K to score a bit more testosterone, then the Reference Cardioid just might be the mic you’re looking for to cure what ails ya. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then probably the Reference Gold would be the safest bet.\n<br /><br />\n<h4>Reference Cardioid Microphone Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)</li>\n		<li>-10 dB switchable pad</li>\n		<li><strong>Frequency response:</strong> 10Hz-30KHz</li>\n		<li><strong>Sensitivity:</strong> 17mV/Pa</li>\n		<li>Noise typically -120dB EIN</li>\n		<li><strong>Max SPL:</strong> 150dB</li>\n		<li>Actual output impedance 200 Ohms</li>\n		<li><strong>Weight:</strong> 2.25 lbs (mic)</li>\n		<li><strong>Weight:</strong> 2.5 lbs (PSU)</li>\n		<li><strong>Size:</strong> 4.5\" x 9.7\" x 4.5\" (mic)</li>\n		<li><strong>Size:</strong> 5\" x 8.2\" x 3.4\" (PSU)</li>\n		<li><strong>Shipping weight: </strong>15 lbs</li>\n		<li>Selected matched pairs available</li>\n		<li>Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n		<li>Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change.</li>\n		<li><strong>Mains Voltage Frequency: 50~ 60Hz</strong></li>\n		<li><strong>Mains Fuse:</strong> 250mA @ 100~120V; 125mA @ 220~240V operation</li>\n		<li><strong>Power Consumption:</strong> 70mA @ 120V = 8.4 Watts</li>\n	</ul>\n</div>'),(6530,75,1,1089,'<h1>Manley Reference Cardioid Tube Microphone</h1>\n<span style=\"font-size: 16px; font-style: italic;\">All the high-quality electronics of Manley\'s </span><i>Gold Reference Series, but with a center-fixed cardioid-only capsule and a thicker gauge gold sputtered diaphragm.</i><br /><br />The Manley Reference Cardioid Microphone shares the same electronic attributes as the Gold Reference Series, but has a center-fixed cardioid-only capsule with a thicker gauge (6 micron) gold sputtered diaphragm. With the similar film thickness and construction, similar high frequency resonance (a little edge), similar proximity effect and pretty good immunity from pops and sibilance problems, the Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new. <br /><br />Its rich tonal balance and liquid character is consistently admired for instruments such as guitars, drum overheads, saxophone, and especially vocals. With your present mic, if you find yourself leaning on your compressors and boosting 5 or 10K to score a bit more testosterone, then the Reference Cardioid just might be the mic you’re looking for to cure what ails ya. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then probably the Reference Gold would be the safest bet.\n<br /><br />\n<h4>Reference Cardioid Microphone Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)</li>\n		<li>-10 dB switchable pad</li>\n		<li><strong>Frequency response:</strong> 10Hz-30KHz</li>\n		<li><strong>Sensitivity:</strong> 17mV/Pa</li>\n		<li>Noise typically -120dB EIN</li>\n		<li><strong>Max SPL:</strong> 150dB</li>\n		<li>Actual output impedance 200 Ohms</li>\n		<li><strong>Weight:</strong> 2.25 lbs (mic)</li>\n		<li><strong>Weight:</strong> 2.5 lbs (PSU)</li>\n		<li><strong>Size:</strong> 4.5\" x 9.7\" x 4.5\" (mic)</li>\n		<li><strong>Size:</strong> 5\" x 8.2\" x 3.4\" (PSU)</li>\n		<li><strong>Shipping weight: </strong>15 lbs</li>\n		<li>Selected matched pairs available</li>\n		<li>Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n		<li>Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change.</li>\n		<li><strong>Mains Voltage Frequency: 50~ 60Hz</strong></li>\n		<li><strong>Mains Fuse:</strong> 250mA @ 100~120V; 125mA @ 220~240V operation</li>\n		<li><strong>Power Consumption:</strong> 70mA @ 120V = 8.4 Watts</li>\n	</ul>\n</div>'),(6531,85,0,1089,''),(6532,85,1,1089,''),(6533,76,0,1089,''),(6534,76,1,1089,''),(6535,75,0,1090,'<h1>Manley SLAM! Stereo Limiter and Mic Preamp</h1>\n<span style=\"font-size: 16px; font-style: italic;\">SLAM! stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters! </span><br/><br/>Manley had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it\'ll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.\n<br/><br/>When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? Manley combined their favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, \"it just works\" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it.<br/><br/>\n<h4>SLAM!® Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias</li>\n		<li>Output Tubes: 2 x 6414W NOS USA dual triodes</li>\n		<li>I/O: MANLEY transformer coupled Balanced Inputs and Outputs</li>\n		<li>Micpre: Selectable 48V phantom power and PHASE REVERSE</li>\n		<li>Gain: 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain</li>\n		<li>Input Impedance: 2000Ω Micpre, 1MegΩ DI</li>\n		<li>FET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1</li>\n		<li>ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1</li>\n		<li>Frequency Response: 5Hz to 60KHz</li>\n		<li>Maximum Output: +32dBm, +30dBm (into 1KΩ load)</li>\n		<li>THD+N: &lt;.05% @ 1KHz</li>\n		<li>Dynamic Range: 115dB typical</li>\n		<li>Output Impedance: 200Ω</li>\n		<li>Power Consumption Slam! Analog:\n		<ul>\n			<li>0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts\n			</li>\n		</ul>\n		</li>\n	</ul>\n	<ul>\n		<li>Outboard Power Supply: factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n		<li>Operating Mains Voltage: changeable with power transformer re-wiring via switch and fuse value change.</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Size: 19” X 12” X 3.5” (occupies 2u)</li>\n		<li>Shipping Weight: 25 lbs.</li>\n	</ul>\n</div>\n<br/>'),(6536,75,1,1090,'<h1>Manley SLAM! Stereo Limiter and Mic Preamp</h1>\n<span style=\"font-size: 16px; font-style: italic;\">SLAM! stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters! </span><br/><br/>Manley had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it\'ll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.\n<br/><br/>When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? Manley combined their favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, \"it just works\" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it.<br/><br/>\n<h4>SLAM!® Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias</li>\n		<li>Output Tubes: 2 x 6414W NOS USA dual triodes</li>\n		<li>I/O: MANLEY transformer coupled Balanced Inputs and Outputs</li>\n		<li>Micpre: Selectable 48V phantom power and PHASE REVERSE</li>\n		<li>Gain: 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain</li>\n		<li>Input Impedance: 2000Ω Micpre, 1MegΩ DI</li>\n		<li>FET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1</li>\n		<li>ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1</li>\n		<li>Frequency Response: 5Hz to 60KHz</li>\n		<li>Maximum Output: +32dBm, +30dBm (into 1KΩ load)</li>\n		<li>THD+N: &lt;.05% @ 1KHz</li>\n		<li>Dynamic Range: 115dB typical</li>\n		<li>Output Impedance: 200Ω</li>\n		<li>Power Consumption Slam! Analog:\n		<ul>\n			<li>0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts\n			</li>\n		</ul>\n		</li>\n	</ul>\n	<ul>\n		<li>Outboard Power Supply: factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n		<li>Operating Mains Voltage: changeable with power transformer re-wiring via switch and fuse value change.</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Size: 19” X 12” X 3.5” (occupies 2u)</li>\n		<li>Shipping Weight: 25 lbs.</li>\n	</ul>\n</div>\n<br/>'),(6537,85,0,1090,'Manley SLAM! Stereo Limiter and Mic Preamp'),(6538,85,1,1090,'Manley SLAM! Stereo Limiter and Mic Preamp'),(6539,76,0,1090,''),(6540,76,1,1090,''),(6541,75,0,1091,'<h1>Manley SLAM! Stereo Limiter and Mic Preamp Mastering Version</h1>\n<span style=\"font-size: 16px; font-style: italic;\">SLAM! stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters! </span><br /><br />The Mastering Version of the SLAM! incorporating detented and logable 1/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production.\nDifferences and Features, yes there are some differences and features:\nFirst off: no microphone preamps. You mastering engineers certainly don\'t need those. The mic pre and input select switch are removed and the switches become dedicated \"mode\" switches one each for the ELOP and the FET limiters.\n1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. \n<br /><br />This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.\n2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP.\nThe \"50%\" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain \'reads\' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.\nThe \"LP Lim\" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.\n<br /><br />The \"CLIP\" setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage \"CLIP\" generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).\nFinally, the \"BOTH\" setting on the FET limiter engages both the \"LP Limit\" and the \"CLIP\" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The \"BOTH\" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.\n3) The LEFT blue erstwhile-\"limit\" button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).\n4) The Right blue button becomes the DAC select switch (stereo).\n5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4\" jack input select in this new mastering version.\n6) There are no pots on the faceplate of the Mastering Version of the SLAM! All of the knobs in the Mastering Version are discrete detented switches in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be.\nMore than that, we really like the way it works and sounds and we generally prefer it to the non-mastering version for stereo tracks. There is a lot less fiddling involved to maintain L/R balances and the new modes are subtle but fun. It is easy to make just about anything sound better.\n<br /><br />\n<p>\n</p>\n<h4>SLAM!® Features</h4>\n<br />\n<ul>\n	<li><strong>Input Tubes:</strong> 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias</li>\n	<li><strong>Output Tubes:</strong> 2 x 6414W NOS USA dual triodes</li>\n	<li><strong>I/O:</strong> MANLEY transformer coupled Balanced Inputs and Outputs</li>\n	<li><strong>Micpre:</strong> Selectable 48V phantom power and PHASE REVERSE</li>\n	<li><strong>Gain:</strong> 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain</li>\n	<li><strong>Input Impedance:</strong> 2000Ω Micpre, 1MegΩ DI</li>\n	<li><strong>FET Limiter:</strong> Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1</li>\n	<li><strong>ELOP Limiter:</strong> Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1</li>\n	<li><strong>Frequency Response:</strong> 5Hz to 60KHz</li>\n	<li><strong>Maximum Output:</strong> +32dBm, +30dBm (into 1KΩ load)</li>\n	<li><strong>THD+N:</strong> &lt;.05% @ 1KHz</li>\n	<li><strong>Dynamic Range:</strong> 115dB typical</li>\n	<li><strong>Output Impedance:</strong> 200Ω</li>\n	<li><strong>Power Consumption Slam! Analog:</strong>\n	<ul>\n		<li><strong></strong>0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts</li>\n		<li> 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts</li>\n	</ul>\n	</li>\n</ul>\n<ul>\n	<li><strong>Outboard Power Supply:</strong> factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n	<li><strong>Operating Mains Voltage:</strong> changeable with power transformer re-wiring via switch and fuse value change.</li>\n	<li><strong>Mains Voltage Frequency:</strong> 50~ 60Hz</li>\n	<li><strong>Size:</strong> 19” X 12” X 3.5” (occupies 2u)</li>\n	<li><strong>Shipping Weight:</strong> 25 lbs.</li>\n</ul>'),(6542,75,1,1091,'<h1>Manley SLAM! Stereo Limiter and Mic Preamp Mastering Version</h1>\n<span style=\"font-size: 16px; font-style: italic;\">SLAM! stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters! </span><br /><br />The Mastering Version of the SLAM! incorporating detented and logable 1/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production.\nDifferences and Features, yes there are some differences and features:\nFirst off: no microphone preamps. You mastering engineers certainly don\'t need those. The mic pre and input select switch are removed and the switches become dedicated \"mode\" switches one each for the ELOP and the FET limiters.\n1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. \n<br /><br />This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.\n2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP.\nThe \"50%\" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain \'reads\' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.\nThe \"LP Lim\" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.\n<br /><br />The \"CLIP\" setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage \"CLIP\" generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).\nFinally, the \"BOTH\" setting on the FET limiter engages both the \"LP Limit\" and the \"CLIP\" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The \"BOTH\" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.\n3) The LEFT blue erstwhile-\"limit\" button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).\n4) The Right blue button becomes the DAC select switch (stereo).\n5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4\" jack input select in this new mastering version.\n6) There are no pots on the faceplate of the Mastering Version of the SLAM! All of the knobs in the Mastering Version are discrete detented switches in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be.\nMore than that, we really like the way it works and sounds and we generally prefer it to the non-mastering version for stereo tracks. There is a lot less fiddling involved to maintain L/R balances and the new modes are subtle but fun. It is easy to make just about anything sound better.\n<br /><br />\n<p>\n</p>\n<h4>SLAM!® Features</h4>\n<br />\n<ul>\n	<li><strong>Input Tubes:</strong> 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias</li>\n	<li><strong>Output Tubes:</strong> 2 x 6414W NOS USA dual triodes</li>\n	<li><strong>I/O:</strong> MANLEY transformer coupled Balanced Inputs and Outputs</li>\n	<li><strong>Micpre:</strong> Selectable 48V phantom power and PHASE REVERSE</li>\n	<li><strong>Gain:</strong> 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain</li>\n	<li><strong>Input Impedance:</strong> 2000Ω Micpre, 1MegΩ DI</li>\n	<li><strong>FET Limiter:</strong> Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1</li>\n	<li><strong>ELOP Limiter:</strong> Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1</li>\n	<li><strong>Frequency Response:</strong> 5Hz to 60KHz</li>\n	<li><strong>Maximum Output:</strong> +32dBm, +30dBm (into 1KΩ load)</li>\n	<li><strong>THD+N:</strong> &lt;.05% @ 1KHz</li>\n	<li><strong>Dynamic Range:</strong> 115dB typical</li>\n	<li><strong>Output Impedance:</strong> 200Ω</li>\n	<li><strong>Power Consumption Slam! Analog:</strong>\n	<ul>\n		<li><strong></strong>0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts</li>\n		<li> 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts</li>\n	</ul>\n	</li>\n</ul>\n<ul>\n	<li><strong>Outboard Power Supply:</strong> factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n	<li><strong>Operating Mains Voltage:</strong> changeable with power transformer re-wiring via switch and fuse value change.</li>\n	<li><strong>Mains Voltage Frequency:</strong> 50~ 60Hz</li>\n	<li><strong>Size:</strong> 19” X 12” X 3.5” (occupies 2u)</li>\n	<li><strong>Shipping Weight:</strong> 25 lbs.</li>\n</ul>'),(6543,85,0,1091,'Manley SLAM! Stereo Limiter and Mic Preamp Mastering Version'),(6544,85,1,1091,'Manley SLAM! Stereo Limiter and Mic Preamp Mastering Version'),(6545,76,0,1091,''),(6546,76,1,1091,''),(6547,75,0,1092,'<h1>Manley Stereo Pultec EQ</h1><i>\nManley’s modern take on the Pultec EQ - in stereo! - with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Manley\'s Pultec EQ is magic on drums, and killer on guitars.</i><br /><br />The MANLEY ENHANCED PULTEC EQP-1A is Manley\'s own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. These Manley Pultec units employ a simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.\nEQ may be set to \'flat\' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life.\n<br /><br /> The single rack unit monoblocks occupy one-third of the space of the \'antique Pultecs\', an important consideration for allocation of outboard rack space. Manley has added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4\" jack) may be selected in that switch\'s middle position.\n<br /><br />The Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Manley\'s line amp is known to be killer-sounding. The components used today just weren\'t available in the 1960\'s. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!\nThe MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.\nKick drum? Bring on the Pultecs and all the iron you can muster! You\'ll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. \n<br /><br />\n<h4>Stereo Pultec EQ Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>MANLEY input transformer with nickel laminations potted in mu-metal case. 3K Ohm input Z</li>\n		<li>PHASE REVERSE switch for balanced XLR input</li>\n		<li>Alternate transformerless 1/4\" HI-Z (5K Ohm) input</li>\n		<li>BYPASS switch & AUTO-MUTE w/warmup delay</li>\n		<li>Silent conductive plastic BOOST & CUT controls</li>\n		<li>Sealed gold-contact Greyhill frequency select switches</li>\n		<li>Vacuum Tubes: 1 x 12AX7WA (gain) and 1 x 6414 (or 5965) White Follower</li>\n		<li>Hi-current drive &lt;50 Ohm LO-Z XLR & 1/4\" outputs</li>\n		<li>Balanced Transformer-Coupled XLR Outputs via MANLEY 9611</li>\n		<li>Flat frequency response from 10Hz-70KHz</li>\n		<li>&lt;0.01% THD @ 1kHz</li>\n		<li>S/N Ratio: 116 dB</li>\n		<li>Adjustable FEEDBACK / GAIN: Unity ±5 dB</li>\n		<li>Max. output: +30 dBv</li>\n		<li>Power consumption: 18 watts</li>\n		<li>Operating mains voltage: Units are purpose built \nfor original destination country\'s mains voltage: 100V, 120V, or \n220-240VAC as indicated on the serial number badge. Power transformer \nmust be replaced in order to change mains operating voltage. 120VAC \nunits may NOT be rewired to put the primaries of the power transformer \nin series for 220-240V operation or a large radiated field of hum will \ndevelop. If changing locations/voltages, the power transformer must be \nreplaced with the dedicated one for the voltage at which it will \noperate.\n		</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n		<li>Shipping weight: 12 lbs.</li>\n	</ul>\n</div>'),(6548,75,1,1092,'<h1>Manley Stereo Pultec EQ</h1><i>\nManley’s modern take on the Pultec EQ - in stereo! - with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Manley\'s Pultec EQ is magic on drums, and killer on guitars.</i><br /><br />The MANLEY ENHANCED PULTEC EQP-1A is Manley\'s own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. These Manley Pultec units employ a simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.\nEQ may be set to \'flat\' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life.\n<br /><br /> The single rack unit monoblocks occupy one-third of the space of the \'antique Pultecs\', an important consideration for allocation of outboard rack space. Manley has added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4\" jack) may be selected in that switch\'s middle position.\n<br /><br />The Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Manley\'s line amp is known to be killer-sounding. The components used today just weren\'t available in the 1960\'s. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!\nThe MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.\nKick drum? Bring on the Pultecs and all the iron you can muster! You\'ll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. \n<br /><br />\n<h4>Stereo Pultec EQ Features</h4>\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>MANLEY input transformer with nickel laminations potted in mu-metal case. 3K Ohm input Z</li>\n		<li>PHASE REVERSE switch for balanced XLR input</li>\n		<li>Alternate transformerless 1/4\" HI-Z (5K Ohm) input</li>\n		<li>BYPASS switch & AUTO-MUTE w/warmup delay</li>\n		<li>Silent conductive plastic BOOST & CUT controls</li>\n		<li>Sealed gold-contact Greyhill frequency select switches</li>\n		<li>Vacuum Tubes: 1 x 12AX7WA (gain) and 1 x 6414 (or 5965) White Follower</li>\n		<li>Hi-current drive &lt;50 Ohm LO-Z XLR & 1/4\" outputs</li>\n		<li>Balanced Transformer-Coupled XLR Outputs via MANLEY 9611</li>\n		<li>Flat frequency response from 10Hz-70KHz</li>\n		<li>&lt;0.01% THD @ 1kHz</li>\n		<li>S/N Ratio: 116 dB</li>\n		<li>Adjustable FEEDBACK / GAIN: Unity ±5 dB</li>\n		<li>Max. output: +30 dBv</li>\n		<li>Power consumption: 18 watts</li>\n		<li>Operating mains voltage: Units are purpose built \nfor original destination country\'s mains voltage: 100V, 120V, or \n220-240VAC as indicated on the serial number badge. Power transformer \nmust be replaced in order to change mains operating voltage. 120VAC \nunits may NOT be rewired to put the primaries of the power transformer \nin series for 220-240V operation or a large radiated field of hum will \ndevelop. If changing locations/voltages, the power transformer must be \nreplaced with the dedicated one for the voltage at which it will \noperate.\n		</li>\n		<li>Mains Voltage Frequency: 50~ 60Hz</li>\n		<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n		<li>Shipping weight: 12 lbs.</li>\n	</ul>\n</div>'),(6549,85,0,1092,'Manley Stereo Pultec EQ, Equalizer, Manley, Eq'),(6550,85,1,1092,'Manley Stereo Pultec EQ, Equalizer, Manley, Eq'),(6551,76,0,1092,''),(6552,76,1,1092,''),(6553,75,0,1093,'<h1>Manley TNT - 2 Channel Microphone Preamplifer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Two distinctly different channels: On the left, tubes ‘n’ transformers \nfrom the SLAM!’s mic preamp circuit. On the right, an immaculate \nsolid-state mic preamp! \n<br /></span><br />The MANLEY TNT is a remarkable and desirable tube preamp on one side and its equivalent in solid-state on the other side. These are not simulations, not samples, nor are they a clone or a toy. It is really good ol\' analog done right.\nThe first request for this preamp and what started the project, was two-part: 1) Provide the SLAM! Mic Pre, by itself at a great price and 2) don\'t abandon the concept of a basic preamp where \"one just plugs in a mic and it sounds great\" (without needing to adjust 6 controls). \n<br /><br />The solid-state side helps keep the price reasonable while providing a much bigger range of colors and options and while there a few more knobs and switches, their action tends to be subtle and intuitive while difficult to dial in a bad setting. You don\'t have to tweak, but if you want to, it\'s there without much possibility of going wrong. Now there is a challenge: Give me a really useful range of colors because I don\'t want to buy 6 preamps, yet it\'s gotta be fast and safe to operate, and not too expensive, please, but you had better give me Manley quality.\nOf course, all the usual front panel features: phantom power, phase switch, HP filters, LED overload and level indicators, and instrument inputs are there. Phantom is soft-switched and shunt regulated for lowest noise. (There are 6 low noise shunt regulators, and 5 standard regulators in the solid-state side). \n<br /><br />The High Pass Filter is a new approach, but suffice it to say that with it bypassed, the preamp is designed to have almost DC response (.01Hz) at all gain settings. The LED meter is set up to indicate first and second stage clipping, even though the output is capable of greater than +30 dBu (70 volts peak to peak into 50 Ohms from the solid-state side actually!). While we are tossing out numbers, both the current mode and voltage mode preamps sport EIN numbers of 130dB, very close to the theoretical minimum noise possible. So this thing is gravely quiet!\nAnd for the true connoisseurs, the preamps don\'t suffer at the highest (80 dB) or lowest (10 dB) gain settings, however you connoisseurs might be disappointed that this level of performance won\'t be exclusive and only available for the elite or very wealthy. \n<br /><br />\n<h4>TNT Features</h4>\n<ul>\n	<li>Power consumption: 30 watts</li>\n	<li>Operating mains voltage: Units\' power transformers are wired for \noriginal destination country\'s mains voltage: 100V, 120V, or 220-240VAC \nas indicated on the serial number badge. Power transformer must be \nrewired on the pcb in order to change mains operating voltage. Fuse must\n be changed to appropriate value.\n	</li>\n	<li>Mains Voltage Frequency: 50~ 60Hz</li>\n	<li>Fuse Values S/N up to MTNT142: @ 100 - 120V operation: 1A; @ 220 - 240V operation: 500mA</li>\n	<li>Fuse Values S/N after MTNT142: @ 100 - 120V operation: 500mA; @ 220 - 240V operation: 250mA</li>\n	<li>Fuse Size: 1/4\" x 1 1/4\" MDL or MDA SLO-BLO (time delay) type</li>\n	<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n	<li>Unit Weight: 11 lbs. Shipping Weight: 16 lbs. in a 22.5\" x 14.5\" x 8\" BOX</li>\n</ul>'),(6554,75,1,1093,'<h1>Manley TNT - 2 Channel Microphone Preamplifer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Two distinctly different channels: On the left, tubes ‘n’ transformers \nfrom the SLAM!’s mic preamp circuit. On the right, an immaculate \nsolid-state mic preamp! \n<br /></span><br />The MANLEY TNT is a remarkable and desirable tube preamp on one side and its equivalent in solid-state on the other side. These are not simulations, not samples, nor are they a clone or a toy. It is really good ol\' analog done right.\nThe first request for this preamp and what started the project, was two-part: 1) Provide the SLAM! Mic Pre, by itself at a great price and 2) don\'t abandon the concept of a basic preamp where \"one just plugs in a mic and it sounds great\" (without needing to adjust 6 controls). \n<br /><br />The solid-state side helps keep the price reasonable while providing a much bigger range of colors and options and while there a few more knobs and switches, their action tends to be subtle and intuitive while difficult to dial in a bad setting. You don\'t have to tweak, but if you want to, it\'s there without much possibility of going wrong. Now there is a challenge: Give me a really useful range of colors because I don\'t want to buy 6 preamps, yet it\'s gotta be fast and safe to operate, and not too expensive, please, but you had better give me Manley quality.\nOf course, all the usual front panel features: phantom power, phase switch, HP filters, LED overload and level indicators, and instrument inputs are there. Phantom is soft-switched and shunt regulated for lowest noise. (There are 6 low noise shunt regulators, and 5 standard regulators in the solid-state side). \n<br /><br />The High Pass Filter is a new approach, but suffice it to say that with it bypassed, the preamp is designed to have almost DC response (.01Hz) at all gain settings. The LED meter is set up to indicate first and second stage clipping, even though the output is capable of greater than +30 dBu (70 volts peak to peak into 50 Ohms from the solid-state side actually!). While we are tossing out numbers, both the current mode and voltage mode preamps sport EIN numbers of 130dB, very close to the theoretical minimum noise possible. So this thing is gravely quiet!\nAnd for the true connoisseurs, the preamps don\'t suffer at the highest (80 dB) or lowest (10 dB) gain settings, however you connoisseurs might be disappointed that this level of performance won\'t be exclusive and only available for the elite or very wealthy. \n<br /><br />\n<h4>TNT Features</h4>\n<ul>\n	<li>Power consumption: 30 watts</li>\n	<li>Operating mains voltage: Units\' power transformers are wired for \noriginal destination country\'s mains voltage: 100V, 120V, or 220-240VAC \nas indicated on the serial number badge. Power transformer must be \nrewired on the pcb in order to change mains operating voltage. Fuse must\n be changed to appropriate value.\n	</li>\n	<li>Mains Voltage Frequency: 50~ 60Hz</li>\n	<li>Fuse Values S/N up to MTNT142: @ 100 - 120V operation: 1A; @ 220 - 240V operation: 500mA</li>\n	<li>Fuse Values S/N after MTNT142: @ 100 - 120V operation: 500mA; @ 220 - 240V operation: 250mA</li>\n	<li>Fuse Size: 1/4\" x 1 1/4\" MDL or MDA SLO-BLO (time delay) type</li>\n	<li>Dimensions: 19\" x 1 3/4\" x 10\" (occupies 1u)</li>\n	<li>Unit Weight: 11 lbs. Shipping Weight: 16 lbs. in a 22.5\" x 14.5\" x 8\" BOX</li>\n</ul>'),(6555,85,0,1093,'Manley TNT - 2 Channel Microphone Preamplifer'),(6556,85,1,1093,'Manley TNT - 2 Channel Microphone Preamplifer'),(6557,76,0,1093,''),(6558,76,1,1093,''),(6559,75,0,1094,'<h1>Manley Stereo Variable Mu Limiter/Compressor</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been Manley\'s best selling product for many years!<br /> </span><br />The MANLEY VARIABLE MU® LIMITER COMPRESSOR is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. \"Mu\" is tube-speak for gain, and Variable Mu® is Manley\'s registered trademark for this limiter compressor. It works by using the \"remote cut-off\" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.\n<br /><br />\nThe COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression.<br /><br />\nYou might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.”<br /><br />\n<h4>Stereo Variable Mu® Limiter/Compressor Features</h4>\n<br />\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz</li>\n		<li>BALANCED INPUTS & OUTPUTS (600 Ohms)</li>\n		<li>Fully differential ALL-TUBE circuitry using one each 5670, 5751 (or 12AX7), 7044 (or 5687), & 12AL5 per channel</li>\n		<li>Independently regulated B+ and Heater supplies</li>\n		<li>Hard-wire BYPASS switch</li>\n		<li>Stepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)</li>\n		<li>RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.</li>\n		<li>Variable ATTACK: 25msec-70msec</li>\n		<li>Continuously variable THRESHOLD</li>\n		<li>LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)</li>\n		<li>HP SC: High Pass Side Chain Filter -3dB @ 100Hz</li>\n		<li>Large ILLUMINATED Sifam METERS (older units before serial number \nMSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley\'s \nPart Number: VAR016B) Order spare bulbs using our parts order form. \n(newest units after serial number MSLC61642 shipped after 12/2003 use \nwhite LED lighting)\n		</li>\nSTEREO LINK SWITCH\n		<li>Several units can be linked for Surround (custom order )</li>\n		<li>Maximum gain: 35dB</li>\n		<li>Max. output: +30dBu (26Vrms) 26dB Headroom</li>\n		<li>&lt;0.1% THD @ 1KHz Noise floor: -85dB typical</li>\n		<li>Power Consumption (120/240VAC): 80 watts</li>\n		<li>Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n		<li>Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.</li>\n		<li>Mains Fuse Value for 100~120VAC operation:replace with 1.25A as of 10/2011</li>\n		<li>Mains Fuse Value for 220~240VAC operation: replace with 0.6A (600mA) as of 10/2011</li>\n		<li>Mains Fuse Type: MDA or MDL SLO-BLO Time delay 1 1/4\" x 1/4\"</li>\n		<li>Mains Voltage Frequency: 50~60Hz</li>\n		<li>Dimensions: 19” x 3 1/2” x 10” (chassis occupies 2u) Power transformer protrudes 3.5\" out the back of the chassis.</li>\n		<li>Shipping Weight: 23 lbs.</li>\n	</ul>\n</div>'),(6560,75,1,1094,'<h1>Manley Stereo Variable Mu Limiter/Compressor</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been Manley\'s best selling product for many years!<br /> </span><br />The MANLEY VARIABLE MU® LIMITER COMPRESSOR is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. \"Mu\" is tube-speak for gain, and Variable Mu® is Manley\'s registered trademark for this limiter compressor. It works by using the \"remote cut-off\" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.\n<br /><br />\nThe COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression.<br /><br />\nYou might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.”<br /><br />\n<h4>Stereo Variable Mu® Limiter/Compressor Features</h4>\n<br />\n<div style=\"display: block;\" id=\"content_tab3\" class=\"tab_content\">\n	<ul>\n		<li>MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz</li>\n		<li>BALANCED INPUTS & OUTPUTS (600 Ohms)</li>\n		<li>Fully differential ALL-TUBE circuitry using one each 5670, 5751 (or 12AX7), 7044 (or 5687), & 12AL5 per channel</li>\n		<li>Independently regulated B+ and Heater supplies</li>\n		<li>Hard-wire BYPASS switch</li>\n		<li>Stepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)</li>\n		<li>RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.</li>\n		<li>Variable ATTACK: 25msec-70msec</li>\n		<li>Continuously variable THRESHOLD</li>\n		<li>LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)</li>\n		<li>HP SC: High Pass Side Chain Filter -3dB @ 100Hz</li>\n		<li>Large ILLUMINATED Sifam METERS (older units before serial number \nMSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley\'s \nPart Number: VAR016B) Order spare bulbs using our parts order form. \n(newest units after serial number MSLC61642 shipped after 12/2003 use \nwhite LED lighting)\n		</li>\nSTEREO LINK SWITCH\n		<li>Several units can be linked for Surround (custom order )</li>\n		<li>Maximum gain: 35dB</li>\n		<li>Max. output: +30dBu (26Vrms) 26dB Headroom</li>\n		<li>&lt;0.1% THD @ 1KHz Noise floor: -85dB typical</li>\n		<li>Power Consumption (120/240VAC): 80 watts</li>\n		<li>Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country\'s mains voltage.</li>\n		<li>Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.</li>\n		<li>Mains Fuse Value for 100~120VAC operation:replace with 1.25A as of 10/2011</li>\n		<li>Mains Fuse Value for 220~240VAC operation: replace with 0.6A (600mA) as of 10/2011</li>\n		<li>Mains Fuse Type: MDA or MDL SLO-BLO Time delay 1 1/4\" x 1/4\"</li>\n		<li>Mains Voltage Frequency: 50~60Hz</li>\n		<li>Dimensions: 19” x 3 1/2” x 10” (chassis occupies 2u) Power transformer protrudes 3.5\" out the back of the chassis.</li>\n		<li>Shipping Weight: 23 lbs.</li>\n	</ul>\n</div>'),(6561,85,0,1094,'Manley Stereo Variable Mu Limiter/Compressor'),(6562,85,1,1094,'Manley Stereo Variable Mu Limiter/Compressor'),(6563,76,0,1094,''),(6564,76,1,1094,''),