(7772,75,1,1296,'<h2>Neumann KH 120 A - Active Studio Monitor</h2>\n<span style=\"font-size:16px; font-style:italic;\">Active, bi-amplified two-way nearfield monitor, 5.25\" + 1\" driver with aluminum cabinet</span><br /><br />\n<div>\n	The KH 120 A studio monitor is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. The KH 120 A represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible. It has a Mathematically Modeled Dispersion waveguide (MMD (TM), flexible acoustical controls, analog class-AB amplifiers, a large headroom analog input and an extensive mounting hardware range. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment, and physical locations.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	The KH 120 is perfect for tracking, mixing and mastering in music, broadcast, project and post-production studios.\n</div>\n<br />\n<h3>KH 120 A Features:</h3>\n<ul>	\n	<li>Powerful titanium fabric dome                                                        </li>\n 	<li>Elliptical Mathematically Modelled Dispersion™                                       </li>\n 	<li>Composite sandwich cone                                                              </li>\n 	<li>Long throw bass driver                                                               </li>\n 	<li>Two-color + dimmable Neumann logo                                                    </li>\n 	<li>Robust metal grille                                                                  </li>\n 	<li>Large front panel ports                                                              </li>\n 	<li>Compact aluminum cabinet (magnetically shielded)                                     </li>\n 	<li>Wide horizontal dispersion                                                           </li>\n 	<li>Narrow vertical dispersion                                                           </li>\n 	<li>One-piece front panel with no discontinuities                                        </li>\n 	<li>Powerful analog amplifiers with large headroom                                       </li>\n 	<li>Production consistency                                                               </li>\n 	<li>4-position bass, low-mid and treble acoustical controls                              </li>\n 	<li>Wide range input gain and output level controls                                      </li>\n 	<li>New mounting hardware options                                                        </li>\n 	<li>Display dimmer                                                                       </li>\n 	<li>Ground lift                                                                          </li>\n 	<li>Universal switched-mode power supply (100 … 240 V)                                   </li>\n 	<li>Separate woofer and tweeter electronic peak limiters and thermal-protection circuitry</li>\n</ul>'),(7773,85,0,1296,'Neumann KH 120 A - Active Studio Monitor'),(7774,85,1,1296,'Neumann KH 120 A - Active Studio Monitor'),(7775,76,0,1296,''),(7776,76,1,1296,''),(7777,75,0,1297,'<h2>Neumann KH 310 A - Active Studio Monitor</h2>\n<font size=\"3\"><i>Active, tri-amplified three-way midfield studio monitor, 1\" / 3\" / 8.25\" </i></font><span style=\"font-size: 16px; font-style: italic;\">drivers with aluminum cabinet</span><br /><br />\n\nThe KH 310 three-way active tri-amplified monitor features a Mathematically Modeled Dispersion™ Waveguide (MMD™), flexible acoustical controls, various input options and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse acoustical conditions, with any source equipment and in a wide variety of physical locations. The KH 310 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.\n<br /><br />\nThe KH 310 is designed for use as a near-field monitor, as a front loudspeaker in mid-sized multi-channel systems, or as a rear loudspeaker in a larger multi-channel system. It can be used in project, music, broadcast centers, OB vans, and post production studios for tracking, mixing, and mastering. <br /><br />\n<h3>KH 310 A Features:</h3>\n<ul>\n	<li>Powerful alloy fabric dome                                                                                                            </li>\n	<li>Elliptical Mathematically Modeled Dispersion™ (MMD™) waveguide, with wide horizontal and narrow vertical dispersion                   </li>\n	<li>New in-house simulated drivers                                                                                                        </li>\n	<li>Fabric dome, neodymium magnet, midrange driver                                                                                        </li>\n	<li>Long throw composite sandwich cone bass driver with Extremely Linear Force Factor™ (ELFF™) and ribbed surround                        </li>\n	<li>Two-color + dimmable Neumann logo                                                                                                     </li>\n	<li>Compact sealed three-way cabinet design (magnetically shielded)                                                                       </li>\n	<li>One-piece front panel with no discontinuities                                                                                         </li>\n	<li>Powerful analog class AB amplifiers with large headroom                                                                               </li>\n	<li>Independent thermo limiters for woofer, midrange dome and tweeter to protect the voice coils. Woofer soft clip and excursion limiters </li>\n	<li>Production consistency due to individual hand-alignment in final test                                                                 </li>\n	<li>4-position bass, low-mid and treble acoustical controls                                                                               </li>\n	<li>Wide range input gain and output level controls                                                                                       </li>\n	<li>Ground lift                                                                                                                           </li>\n	<li>Universal switched-mode power supply (100 … 240 V)                                                                                    </li>\n	<li>Extensive mounting hardware options                                                                                                   </li>\n	<li>Optional robust metal grille                                                                                                          </li>\n	<li>Optional transportation accessories                                                                                                   </li>\n</ul>'),(7778,75,1,1297,'<h2>Neumann KH 310 A - Active Studio Monitor</h2>\n<font size=\"3\"><i>Active, tri-amplified three-way midfield studio monitor, 1\" / 3\" / 8.25\" </i></font><span style=\"font-size: 16px; font-style: italic;\">drivers with aluminum cabinet</span><br /><br />\n\nThe KH 310 three-way active tri-amplified monitor features a Mathematically Modeled Dispersion™ Waveguide (MMD™), flexible acoustical controls, various input options and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse acoustical conditions, with any source equipment and in a wide variety of physical locations. The KH 310 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.\n<br /><br />\nThe KH 310 is designed for use as a near-field monitor, as a front loudspeaker in mid-sized multi-channel systems, or as a rear loudspeaker in a larger multi-channel system. It can be used in project, music, broadcast centers, OB vans, and post production studios for tracking, mixing, and mastering. <br /><br />\n<h3>KH 310 A Features:</h3>\n<ul>\n	<li>Powerful alloy fabric dome                                                                                                            </li>\n	<li>Elliptical Mathematically Modeled Dispersion™ (MMD™) waveguide, with wide horizontal and narrow vertical dispersion                   </li>\n	<li>New in-house simulated drivers                                                                                                        </li>\n	<li>Fabric dome, neodymium magnet, midrange driver                                                                                        </li>\n	<li>Long throw composite sandwich cone bass driver with Extremely Linear Force Factor™ (ELFF™) and ribbed surround                        </li>\n	<li>Two-color + dimmable Neumann logo                                                                                                     </li>\n	<li>Compact sealed three-way cabinet design (magnetically shielded)                                                                       </li>\n	<li>One-piece front panel with no discontinuities                                                                                         </li>\n	<li>Powerful analog class AB amplifiers with large headroom                                                                               </li>\n	<li>Independent thermo limiters for woofer, midrange dome and tweeter to protect the voice coils. Woofer soft clip and excursion limiters </li>\n	<li>Production consistency due to individual hand-alignment in final test                                                                 </li>\n	<li>4-position bass, low-mid and treble acoustical controls                                                                               </li>\n	<li>Wide range input gain and output level controls                                                                                       </li>\n	<li>Ground lift                                                                                                                           </li>\n	<li>Universal switched-mode power supply (100 … 240 V)                                                                                    </li>\n	<li>Extensive mounting hardware options                                                                                                   </li>\n	<li>Optional robust metal grille                                                                                                          </li>\n	<li>Optional transportation accessories                                                                                                   </li>\n</ul>'),(7779,85,0,1297,'Neumann KH 310 A - Active Studio Monitor'),(7780,85,1,1297,'Neumann KH 310 A - Active Studio Monitor'),(7781,76,0,1297,''),(7782,76,1,1297,''),(7783,75,0,1298,'The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model\'s now legendary predecessors, the U 47 and the M 49. \n\nFollowing the capsule is a tube that functions as an impedance converter. The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic. \n\nThe M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish. \n\nThe microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price.\n\nApplications\nThe famous capsule, together with complimenting tube characteristics, makes the M 147 Tube especially well suited as a vocal mic. In addition, it is a superb spot mic for all types of musical instruments. The extremely low self-noise of its tube circuitry makes the mic perfectly suited for use in modern recording chains, analog and digital.\n\nAcoustic features\nThe M 147 Tube is addressed from the side, where the microphone body has the diamond-shaped Neumann company logo. The black color identifies tube microphones. The capsule is equivalent to the one used in the U 47, and is the deciding factor in determining the sound characteristic. It has a flat frequency response to the upper midrange, and a boost of up to 3 dB above 2 kHz. The headgrille design is a smaller version of the U 47. It protects the capsule effectively against popping and wind noise.\n\nPolar pattern\nThe M147 Tube has a cardioid characteristic, leaning more toward super-cardioid due to its distinctive capsule design. At higher frequencies the pattern becomes more directional. This is very similar to the model after which this new tube microphone was patterned, the U 47 and the successor, the U 47 fet.\nElectrical features\nWhen compared to other microphones, the impedance converter used in the M 147 Tube is distinguished by its extremely low self-noise level of only 12 dB-A / 24 dB CCIR weighted.\n\nSimilar to the recently introduced M 149 Tube, the new M 147 Tube combines a specifically selected vacuum tube (triode) with modern circuitry. This technique takes full advantage of the special transfer characteristics of the tube and passes the processed audio signal of the capsule to the microphone output, without any coloration or unwanted side effects.\n\nThe tube amplifies the capsule\'s signal by approximately 10 dB, thus preventing any possible influences from subsequent electronics. The M 147 Tube delivers a high output voltage, and therefore can feed microphone cables up to 300 m length without signal degradation. \n\nThe ideal operating conditions (anode current, heater voltage) of the tube are maintained throughout its life expectancy. A sensor lead detects any voltage drop that occurs through the microphone cable and compensates for it in the N 149 A power supply. The tube warms up gradually using inverse current limiting to guarantee long life.\n\nFilter\nThe electronic circuitry of the M 147 Tube mic has a flat frequency response from 20 Hz to well above 20 kHz. Only the attributes of the capsule determine the typical sound characteristics of the microphone.\n\nOperational Stability\nBoth, the capsule and the entire circuitry are shock mounted to prevent any structure-borne noise. Because of its wide operating range, the M 147 Tube can reproduce extremely low frequency signals without distortion. \n\nThis implies that the microphone may also be sensitive to unwanted LF interference by structure-borne noise, or wind noise. To avoid possible signal degradation, we offer the EA 1 elastic suspension and the WS 87 windscreen as accessories. During close miking of vocals we recommend using the PS 15 or PS 20a pop screen.\n\nN 149 A Power Supply\nThe N 149 A universal power supply works with all mains AC voltages from 100 V to 240 V, 50 or 60 Hz. Mains power is connected through a standard IEC 320 mains socket. The only difference between the three available versions of the M 147 Tube set is the power cord supplied. Note: The N 149 V power supply is fully compatible with the M 147 Tube microphone.'),(7784,75,1,1298,'The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model\'s now legendary predecessors, the U 47 and the M 49. \n\nFollowing the capsule is a tube that functions as an impedance converter. The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic. \n\nThe M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish. \n\nThe microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price.\n\nApplications\nThe famous capsule, together with complimenting tube characteristics, makes the M 147 Tube especially well suited as a vocal mic. In addition, it is a superb spot mic for all types of musical instruments. The extremely low self-noise of its tube circuitry makes the mic perfectly suited for use in modern recording chains, analog and digital.\n\nAcoustic features\nThe M 147 Tube is addressed from the side, where the microphone body has the diamond-shaped Neumann company logo. The black color identifies tube microphones. The capsule is equivalent to the one used in the U 47, and is the deciding factor in determining the sound characteristic. It has a flat frequency response to the upper midrange, and a boost of up to 3 dB above 2 kHz. The headgrille design is a smaller version of the U 47. It protects the capsule effectively against popping and wind noise.\n\nPolar pattern\nThe M147 Tube has a cardioid characteristic, leaning more toward super-cardioid due to its distinctive capsule design. At higher frequencies the pattern becomes more directional. This is very similar to the model after which this new tube microphone was patterned, the U 47 and the successor, the U 47 fet.\nElectrical features\nWhen compared to other microphones, the impedance converter used in the M 147 Tube is distinguished by its extremely low self-noise level of only 12 dB-A / 24 dB CCIR weighted.\n\nSimilar to the recently introduced M 149 Tube, the new M 147 Tube combines a specifically selected vacuum tube (triode) with modern circuitry. This technique takes full advantage of the special transfer characteristics of the tube and passes the processed audio signal of the capsule to the microphone output, without any coloration or unwanted side effects.\n\nThe tube amplifies the capsule\'s signal by approximately 10 dB, thus preventing any possible influences from subsequent electronics. The M 147 Tube delivers a high output voltage, and therefore can feed microphone cables up to 300 m length without signal degradation. \n\nThe ideal operating conditions (anode current, heater voltage) of the tube are maintained throughout its life expectancy. A sensor lead detects any voltage drop that occurs through the microphone cable and compensates for it in the N 149 A power supply. The tube warms up gradually using inverse current limiting to guarantee long life.\n\nFilter\nThe electronic circuitry of the M 147 Tube mic has a flat frequency response from 20 Hz to well above 20 kHz. Only the attributes of the capsule determine the typical sound characteristics of the microphone.\n\nOperational Stability\nBoth, the capsule and the entire circuitry are shock mounted to prevent any structure-borne noise. Because of its wide operating range, the M 147 Tube can reproduce extremely low frequency signals without distortion. \n\nThis implies that the microphone may also be sensitive to unwanted LF interference by structure-borne noise, or wind noise. To avoid possible signal degradation, we offer the EA 1 elastic suspension and the WS 87 windscreen as accessories. During close miking of vocals we recommend using the PS 15 or PS 20a pop screen.\n\nN 149 A Power Supply\nThe N 149 A universal power supply works with all mains AC voltages from 100 V to 240 V, 50 or 60 Hz. Mains power is connected through a standard IEC 320 mains socket. The only difference between the three available versions of the M 147 Tube set is the power cord supplied. Note: The N 149 V power supply is fully compatible with the M 147 Tube microphone.'),(7785,85,0,1298,'Neumann M 147 Tube Condenser Microphone'),(7786,85,1,1298,'Neumann M 147 Tube Condenser Microphone'),(7787,76,0,1298,''),(7788,76,1,1298,''),(7789,75,0,1299,'The M 149 Tube is a variable dual-diaphragm microphone. The K 49 capsule – well-known from the legendary U 47 and M 49 microphones – is followed by a tube functioning as an impedance converter. In contrast to earlier concepts – utilizing a transformer – the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration.\n\nTwo slide switches are located below the large, acoustically very open headgrille. The switch at the front allows selection one of nine directional patterns. The slide switch at the rear operates a seven-step high pass filter. It allows a very fine adjustment of the cut-off frequency.\n\nApplications\nThere are nine polar patterns to choose from, making this microphone an ideal choice for a wide range of recording situations.\n\nAs its ancestors, the M 149 Tube is a superb vocalist microphone, not only because of the capsule, but also due to its modern circuitry, characterized by extremely low noise level.\n\nAcoustic features\nThe M 149 Tube is addressed from the front, marked with the Neumann logo. Also on the front is the switch for the selection of the polar patterns.\n\nThe capsule is mounted elastically inside the headgrille to eliminate structure borne noise. The surface below the capsule is shaped like a cone to disperse any reflected sound from the acoustic upper half space. This avoids any interference with the primary sound arriving at the capsule directly. \n\nA large headgrille surrounds the capsule. It is acoustically very open and therefore increases the sonic realism.\n\nPolar patterns\nThe polar pattern switch selects one of nine directional patterns: omnidirectional, wide-angle-cardioid, cardioid, hypercardioid, figure-8, and one additional intermediate pattern between each major position.\n\nElectrical features\nThe circuit of the M 149 Tube microphone has been developed to exceed traditional designs. We have selected a modern tube (triode) and combined its exceptional transmission characteristics with the advantages of our proven transformerless output circuit.\n\nThe aim was to provide a more controlled environment for the audio signal on its path from the capsule to the output section. \n\nThe final stage is an integrated amplifier, especially designed for such applications. It features very low distortion (THD &lt; 0.002 % at ± 10 V), very low self-noise, and high output current capability. \n\nAs a result, the tube circuit is completely decoupled from the microphone output and its characteristic response curve will be unaffected by very high signal levels or varying load conditions. \n\nThe lower output impedance and higher output current capability allow cable lengths up to 300 m (1000 feet) without any degradation of the audio signal.\n\nThe tube amplifier changes the high impedance of the capsule and adds 10 dB of gain to the audio signal, providing optimum operating specifications. The wide dynamic range is impressive, as peak output can be ±10 V, at 20 mA.\n\nThe ideal operating point of the tube is maintained throughout its entire life expectancy. Plate current and filament voltage are constantly regulated. A sensor circuit monitors and compensates for any voltage drop across the microphone cable. The tube is heated up slowly through inverse current limiting to guarantee long life. Optimum operating conditions are reached within a very short time.\n\nFilter\nA seven-position slide switch is located on the back of the microphone. It selects a high-pass filter, advancing in half-octave steps between 20 Hz and 160 Hz (-3dB). This filter is useful to suppress rumble from air-conditioning and in windy situations. \n\nIn addition, the filter provides an effective tool to control the audio signal when the microphone is used at close distance and therefore proximity effect alters the program material.\n\nDelivery Range\nThe specifically designed N 149 A power supply unit feeds the M 149 Tube through an 8-core cable. The output connector for the audio signal is a 3-pin XLR. The output signal is balanced. \n\nThe microphone comes as a set in an attractive aluminium case, together with the 8-core microphone connecting cable, the N 149 A power supply with plug-in mains unit, the EA 170 full elastic microphone suspension and a dust cover.'),(7790,75,1,1299,'The M 149 Tube is a variable dual-diaphragm microphone. The K 49 capsule – well-known from the legendary U 47 and M 49 microphones – is followed by a tube functioning as an impedance converter. In contrast to earlier concepts – utilizing a transformer – the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration.\n\nTwo slide switches are located below the large, acoustically very open headgrille. The switch at the front allows selection one of nine directional patterns. The slide switch at the rear operates a seven-step high pass filter. It allows a very fine adjustment of the cut-off frequency.\n\nApplications\nThere are nine polar patterns to choose from, making this microphone an ideal choice for a wide range of recording situations.\n\nAs its ancestors, the M 149 Tube is a superb vocalist microphone, not only because of the capsule, but also due to its modern circuitry, characterized by extremely low noise level.\n\nAcoustic features\nThe M 149 Tube is addressed from the front, marked with the Neumann logo. Also on the front is the switch for the selection of the polar patterns.\n\nThe capsule is mounted elastically inside the headgrille to eliminate structure borne noise. The surface below the capsule is shaped like a cone to disperse any reflected sound from the acoustic upper half space. This avoids any interference with the primary sound arriving at the capsule directly. \n\nA large headgrille surrounds the capsule. It is acoustically very open and therefore increases the sonic realism.\n\nPolar patterns\nThe polar pattern switch selects one of nine directional patterns: omnidirectional, wide-angle-cardioid, cardioid, hypercardioid, figure-8, and one additional intermediate pattern between each major position.\n\nElectrical features\nThe circuit of the M 149 Tube microphone has been developed to exceed traditional designs. We have selected a modern tube (triode) and combined its exceptional transmission characteristics with the advantages of our proven transformerless output circuit.\n\nThe aim was to provide a more controlled environment for the audio signal on its path from the capsule to the output section. \n\nThe final stage is an integrated amplifier, especially designed for such applications. It features very low distortion (THD &lt; 0.002 % at ± 10 V), very low self-noise, and high output current capability. \n\nAs a result, the tube circuit is completely decoupled from the microphone output and its characteristic response curve will be unaffected by very high signal levels or varying load conditions. \n\nThe lower output impedance and higher output current capability allow cable lengths up to 300 m (1000 feet) without any degradation of the audio signal.\n\nThe tube amplifier changes the high impedance of the capsule and adds 10 dB of gain to the audio signal, providing optimum operating specifications. The wide dynamic range is impressive, as peak output can be ±10 V, at 20 mA.\n\nThe ideal operating point of the tube is maintained throughout its entire life expectancy. Plate current and filament voltage are constantly regulated. A sensor circuit monitors and compensates for any voltage drop across the microphone cable. The tube is heated up slowly through inverse current limiting to guarantee long life. Optimum operating conditions are reached within a very short time.\n\nFilter\nA seven-position slide switch is located on the back of the microphone. It selects a high-pass filter, advancing in half-octave steps between 20 Hz and 160 Hz (-3dB). This filter is useful to suppress rumble from air-conditioning and in windy situations. \n\nIn addition, the filter provides an effective tool to control the audio signal when the microphone is used at close distance and therefore proximity effect alters the program material.\n\nDelivery Range\nThe specifically designed N 149 A power supply unit feeds the M 149 Tube through an 8-core cable. The output connector for the audio signal is a 3-pin XLR. The output signal is balanced. \n\nThe microphone comes as a set in an attractive aluminium case, together with the 8-core microphone connecting cable, the N 149 A power supply with plug-in mains unit, the EA 170 full elastic microphone suspension and a dust cover.'),(7791,85,0,1299,'Neumann M 149 Tube Condenser Microphone'),(7792,85,1,1299,'Neumann M 149 Tube Condenser Microphone'),(7793,76,0,1299,''),(7794,76,1,1299,''),(7795,75,0,1300,'Since the 1950s, the Neumann M 50 has been heralded as the ideal microphone for orchestral recording and string scoring. With its phenomenal transient response and unique directional characteristic, this classic mic has endeared many fans, both in the control room and on the soundstage. \n\nThe new M 150 Tube takes many of the features from the original M 50 and incorporates them in a very modern microphone. With low self noise, a Titanium membrane and capsule, transformerless tube amplifier and sophisticated power supply, the M 150 Tube is not a reissue but an entirely new microphone in its own right.\n\nAcoustical features\nThe Titanium diaphragm of the pressure capsule is 12 mm in diameter and is exceedingly thin. Although Titanium has been known to have unique and desirable characteristics for some time, it has, until very recently, been very difficult to procure in the quality necessary for use in a microphone of this type. \n\nThe headgrille is shaped just like that on the original M 50, as requested by various top engineers in the recording industry. Due to mounting the pressure capsule with the diaphragm flush to the surface of a small (40 mm) sphere, the directional characteristic of the M 150 Tube is entirely unique. \n\nAt the lowest frequencies, this system is a pure omnipressure transducer with a perfectly circular polar pattern. However, in the mid- and upper frequencies, the pickup pattern becomes more narrow. The M 150 Tube is an ideal microphone for any stereo, 5.1 or 7.1 surround recording, particularly DECCA Tree technique.\n\nElectrical features\nThe dynamic range of the M 150 Tube is 119 dB, allowing reproduction of the full musical expression, without restraint. \n\nWith a low self noise of 15 dB-A, more gain can be used without risk of adding noise to the final product. The transformerless output circuit of this microphone allows for extremely fine reproduction of small signals and low frequency information. Also, long cable runs can be used with no loss of signal quality.'),(7796,75,1,1300,'Since the 1950s, the Neumann M 50 has been heralded as the ideal microphone for orchestral recording and string scoring. With its phenomenal transient response and unique directional characteristic, this classic mic has endeared many fans, both in the control room and on the soundstage. \n\nThe new M 150 Tube takes many of the features from the original M 50 and incorporates them in a very modern microphone. With low self noise, a Titanium membrane and capsule, transformerless tube amplifier and sophisticated power supply, the M 150 Tube is not a reissue but an entirely new microphone in its own right.\n\nAcoustical features\nThe Titanium diaphragm of the pressure capsule is 12 mm in diameter and is exceedingly thin. Although Titanium has been known to have unique and desirable characteristics for some time, it has, until very recently, been very difficult to procure in the quality necessary for use in a microphone of this type. \n\nThe headgrille is shaped just like that on the original M 50, as requested by various top engineers in the recording industry. Due to mounting the pressure capsule with the diaphragm flush to the surface of a small (40 mm) sphere, the directional characteristic of the M 150 Tube is entirely unique. \n\nAt the lowest frequencies, this system is a pure omnipressure transducer with a perfectly circular polar pattern. However, in the mid- and upper frequencies, the pickup pattern becomes more narrow. The M 150 Tube is an ideal microphone for any stereo, 5.1 or 7.1 surround recording, particularly DECCA Tree technique.\n\nElectrical features\nThe dynamic range of the M 150 Tube is 119 dB, allowing reproduction of the full musical expression, without restraint. \n\nWith a low self noise of 15 dB-A, more gain can be used without risk of adding noise to the final product. The transformerless output circuit of this microphone allows for extremely fine reproduction of small signals and low frequency information. Also, long cable runs can be used with no loss of signal quality.'),(7797,85,0,1300,'Neumann M 150 Tube Condenser Microphone'),(7798,85,1,1300,'Neumann M 150 Tube Condenser Microphone'),(7799,76,0,1300,''),(7800,76,1,1300,''),(7801,75,0,1301,'<h1>Neumann TLM 102 Condenser Microphone</h1>\n<i>Large diaphragm cardioid condenser microphone, delivering true Neumann sound at an affordable price. Big sound in a small package.</i><br /><br />\n\n\nThe Neumann TLM 102 is a large diaphragm cardioid condenser microphone designed for vocal and instrumental recordings. Its finely tuned sound signature especially accents the area of 8 to 12 kilohertz which is crucial for human voices. The recordings get a silky elegance which is typical for large diaphragm microphones; the voice gets a noble presence in the overall mix. Suddenly, there’s a natural, organic separation between your vocal and your acoustic guitar, for example. Nevertheless, the TLM 102 remains easy to handle and deals masterfully with critical consonants or sibilants: It has an integrated pop shield.\n<br /><br />\n<h3>Neumann TLM 102 Features</h3>\n<ul>\n	<li>Easy handling for vocal and instrumental recordings</li>\n	<li>Distortion-free sound even at extreme sound pressure levels</li>\n	<li>Slight treble boost for silky vocals (independent of music genre)</li>\n	<li>Built-in pop shield</li>\n	<li>Neumann quality at an affordable price</li>\n</ul>\n<br />\n \n\n<h3>High Volume? No Problem.</h3>\nThe TLM 102 also processes extreme volume and jumps in dynamics without distortion. That makes it an excellent choice for miking loud amps and drums. TLM 102 reproduces sound pressure levels of up to 144 dB (e.g. very loud trumpet at a distance of 10 cm) with great clarity: open, detailed, with powerful bass and refined treble.<br /><br />\n\n<h3>Neumann Sound on a Budget</h3>\nThe TLM 102 stands for legendary sound at an unheard of price. Neumann remodeled the production and omitted rarely used functions (such as pattern, pad, and low cut switches). When you hear the TLM 102, you’ll immediately notice what they did not omit: the Neumann sound, which remains faithful to its big role models.<br /><br />\n\n<h3>TLM: Clear Sound, Powerful Bass</h3>\nNeumann\'s TLM series works with a transformerless output stage. This means: a clean and direct sound, very “close” to the acoustic source, and a powerful bass transmission all the way down to the lowest frequencies. Its transformerless output stage also makes the microphone resistant to electromagnetic fields and minimizes transmission losses.'),(7802,75,1,1301,'<h1>Neumann TLM 102 Condenser Microphone</h1>\n<i>Large diaphragm cardioid condenser microphone, delivering true Neumann sound at an affordable price. Big sound in a small package.</i><br /><br />\n\n\nThe Neumann TLM 102 is a large diaphragm cardioid condenser microphone designed for vocal and instrumental recordings. Its finely tuned sound signature especially accents the area of 8 to 12 kilohertz which is crucial for human voices. The recordings get a silky elegance which is typical for large diaphragm microphones; the voice gets a noble presence in the overall mix. Suddenly, there’s a natural, organic separation between your vocal and your acoustic guitar, for example. Nevertheless, the TLM 102 remains easy to handle and deals masterfully with critical consonants or sibilants: It has an integrated pop shield.\n<br /><br />\n<h3>Neumann TLM 102 Features</h3>\n<ul>\n	<li>Easy handling for vocal and instrumental recordings</li>\n	<li>Distortion-free sound even at extreme sound pressure levels</li>\n	<li>Slight treble boost for silky vocals (independent of music genre)</li>\n	<li>Built-in pop shield</li>\n	<li>Neumann quality at an affordable price</li>\n</ul>\n<br />\n \n\n<h3>High Volume? No Problem.</h3>\nThe TLM 102 also processes extreme volume and jumps in dynamics without distortion. That makes it an excellent choice for miking loud amps and drums. TLM 102 reproduces sound pressure levels of up to 144 dB (e.g. very loud trumpet at a distance of 10 cm) with great clarity: open, detailed, with powerful bass and refined treble.<br /><br />\n\n<h3>Neumann Sound on a Budget</h3>\nThe TLM 102 stands for legendary sound at an unheard of price. Neumann remodeled the production and omitted rarely used functions (such as pattern, pad, and low cut switches). When you hear the TLM 102, you’ll immediately notice what they did not omit: the Neumann sound, which remains faithful to its big role models.<br /><br />\n\n<h3>TLM: Clear Sound, Powerful Bass</h3>\nNeumann\'s TLM series works with a transformerless output stage. This means: a clean and direct sound, very “close” to the acoustic source, and a powerful bass transmission all the way down to the lowest frequencies. Its transformerless output stage also makes the microphone resistant to electromagnetic fields and minimizes transmission losses.'),(7803,85,0,1301,'Neumann TLM 102 Condenser Microphone'),(7804,85,1,1301,'Neumann TLM 102 Condenser Microphone'),(7805,76,0,1301,''),(7806,76,1,1301,''),(7807,75,0,1302,'<h1>Neumann TLM 103 Large-Diaphragm Condenser Microphone</h1>The Neumann TLM 103 is a large diaphragm cardioid condenser microphone based on the classic K67/87 capsule of the legendary Neumann U 87. However, the TLM 103 has a slightly more modern voicing with a wide presence boost for frequencies above 5 kHz. Its very direct yet refined sound is perfect for vocals, and solo instruments that pop out of the mix without effort. Of course, the TLM 103 also has the famous authoritative midrange that has become the hallmark of Neumann microphones and made them the number one choice in studios around the world. A unique feature of the TLM 103 is its impressively deep yet controlled low end, perfect for sonorous voices and powerful bass instruments.<br /><br /><h3>TLM 103 features</h3><ul style=\"letter-spacing: normal;\"><li>Large diaphragm capsule derived from the classic U 87 microphone</li><li>Balanced sound with enhanced presence</li><li>Cardioid pattern</li><li>Transformerless circuitry with high SPL capability</li><li>Extremely low self-noise: only 7 dB-A</li></ul><br /><h3>TLM 103 Performance</h3>The TLM 103 has set new standards for technical performance, too. With an incredibly low self-noise of only 7 dB-A , it is among the quietest microphones available. And its high sensitivity of 23 mV/Pa, ensures ultra low noise even with budget preamps and audio interfaces or vintage tube equipment. At the same time, the TLM 103 can handle enormous sound pressure levels of up to 138 dB without the need for preattenuation. Its vast dynamic range of 131 dB makes the TLM 103 a very easy to use studio microphone as it will capture anything from a soft whisper to a thunderous bass drum without adding noise or distortion.<br /><br />As a member of Neumann’s TLM series, the TLM 103 works with a transformerless output stage, which minimizes transmission losses and ensures a very immediate, uncolored sound, true to the original, as well as a clear, powerful bass response, even at highest signal levels.<br /><br /><h3>TLM 103 Application</h3>The TLM 103 was primarily designed for project studios and broadcast use, but due to its outstanding performance was soon embraced by renowned studios as a more modern sounding alternative to the U87 e.g. for speech, vocals, drums, guitar amps, and piano. The TLM 103 is also often used as a spot mic in classical recordings e.g. for cello and double bass.<br />overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. \n\nDue to its price and flexible field of application, the TLM 102 is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority.'),(7808,75,1,1302,'<h1>Neumann TLM 103 Large-Diaphragm Condenser Microphone</h1>The Neumann TLM 103 is a large diaphragm cardioid condenser microphone based on the classic K67/87 capsule of the legendary Neumann U 87. However, the TLM 103 has a slightly more modern voicing with a wide presence boost for frequencies above 5 kHz. Its very direct yet refined sound is perfect for vocals, and solo instruments that pop out of the mix without effort. Of course, the TLM 103 also has the famous authoritative midrange that has become the hallmark of Neumann microphones and made them the number one choice in studios around the world. A unique feature of the TLM 103 is its impressively deep yet controlled low end, perfect for sonorous voices and powerful bass instruments.<br /><br /><h3>TLM 103 features</h3><ul style=\"letter-spacing: normal;\"><li>Large diaphragm capsule derived from the classic U 87 microphone</li><li>Balanced sound with enhanced presence</li><li>Cardioid pattern</li><li>Transformerless circuitry with high SPL capability</li><li>Extremely low self-noise: only 7 dB-A</li></ul><br /><h3>TLM 103 Performance</h3>The TLM 103 has set new standards for technical performance, too. With an incredibly low self-noise of only 7 dB-A , it is among the quietest microphones available. And its high sensitivity of 23 mV/Pa, ensures ultra low noise even with budget preamps and audio interfaces or vintage tube equipment. At the same time, the TLM 103 can handle enormous sound pressure levels of up to 138 dB without the need for preattenuation. Its vast dynamic range of 131 dB makes the TLM 103 a very easy to use studio microphone as it will capture anything from a soft whisper to a thunderous bass drum without adding noise or distortion.<br /><br />As a member of Neumann’s TLM series, the TLM 103 works with a transformerless output stage, which minimizes transmission losses and ensures a very immediate, uncolored sound, true to the original, as well as a clear, powerful bass response, even at highest signal levels.<br /><br /><h3>TLM 103 Application</h3>The TLM 103 was primarily designed for project studios and broadcast use, but due to its outstanding performance was soon embraced by renowned studios as a more modern sounding alternative to the U87 e.g. for speech, vocals, drums, guitar amps, and piano. The TLM 103 is also often used as a spot mic in classical recordings e.g. for cello and double bass.<br />overall mix. Up to 6 kHz the frequency response is extremely linear, ensuring minimal coloration and a clearly defined bass range. The capsule has an elastic suspension for the suppression of structure-borne noise. A pop screen integrated into the grille serves to suppress plosives in vocal and speech recording. \n\nDue to its price and flexible field of application, the TLM 102 is ideal for the home recording and project studio sector, as well as for the broadcasting area, especially when clear lines of sight to the speakers are a priority.'),(7809,85,0,1302,'Neumann TLM 103 Condenser Microphone'),(7810,85,1,1302,'Neumann TLM 103 Condenser Microphone'),(7811,76,0,1302,''),(7812,76,1,1302,''),(7813,75,0,1303,'The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range. \n\nFive directional characteristics are selectable by means of a rotary switch. In the sixth position, marked \"R\", the directional patterns can be controlled remotely with the N 248 power supply. There is no special cable necessary for this purpose. \n\nThe microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.\nApplications\nThe TLM 170 R condenser microphone is a large diaphragm microphone with multiple polar patterns. Its sound has a very transparent characteristic, in contrast to some of our other microphones that have a distinct personality.\n\nTherefore, this microphone is used for many diverse applications in professional recording studios, in broadcasting, film and television, and for semiprofessional productions. The polar patterns can be selected either at the microphone itself, or controlled remotely through the special N 248 power supply.\n\nAcoustic features\nThe microphone is addressed from the front, marked with the Neumann logo. The large diaphragm capsule inside the headgrille has a very smooth frequency response for all polar patterns over a wide acceptance angle. The curves are flat and parallel to the 0° frequency curve up to 10 kHz within an angle of ± 100°. \n\nAs a result the TLM 170 R has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment, as more reflections arrive at the microphone from different directions. The acoustic information is not affected in its tonal quality when recorded by the microphone. This characteristic is achieved without resorting to corrective resonance effects. \n\nTherefore, the microphone maintains an excellent impulse response reproducing all transient phenomena of music and speech without any coloration. The capsule is elastically mounted to avoid any structure borne noise that could interfere with its operation.\n\nPolar patterns\nIn addition to the usual directional polar patterns: omnidirectional, cardioid, and figure-8, we have added a hypercardioid and wide-angle cardioid characteristic. When compared to the standard cardioid pattern, the hypercardioid characteristic suppresses sound from the side more efficiently. The wide-angle polar pattern is especially useful to record large sound sources.\n\nRemote control\nThe N 248 controls the polar pattern remotely by varying the phantom voltage. The range is ± 3 V of the nominal 48 V value. (According to DIN standard a range of ± 4 V is permissible.) \n\nThe rotary switch on the microphone must be in the position R (= remote control). In this switch position the TLM 170 R microphone analyses the absolute value of the phantom power and selects the corresponding polar pattern. A standard 3-pin microphone cable is used, similar to the microphone\'s conventional operation. Cable lengths may be up to 300 m (1000 feet).\n\nElectrical features\nThe letters TLM stand for \"transformerless microphone\". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference, that may influence the balanced audio signal.\n\nUse on tripods\nThe TLM 170 R is provided with a tilting side bracket to attach the microphone to booms or stands. The bracket is equipped with rubber elements that effectively protect the microphone from mechanical shock. If necessary, it can be mounted on the other side of the microphone as well. \n\nWhen using the IC 4 cable (for example to suspend the microphone from the ceiling with the MNV 87 auditorium hanger), the bracket and its holder need to be removed. The microphone can then be connected to the swivel mount connector of the cable.\n\nFilter and attenuation\nThe TLM 170 R microphone has a 10 dB attenuation switch to prevent the input of the following unit from being overloaded. A second switch at the rear allows to attenuate the frequency response below 100 Hz to suppress undesired structure borne noise.\n\nOperational safety\nAll exposed surfaces of the capsule, including the diaphragms, are at ground potential. This technology makes them highly immune to electrical and atmospheric interference and contamination through dust particles.'),(7814,75,1,1303,'The TLM 170 R was the first microphone to use the successful fet 100 technology. Along with a balanced, transformerless output stage it features extremely low self-noise and an impressive dynamic range. \n\nFive directional characteristics are selectable by means of a rotary switch. In the sixth position, marked \"R\", the directional patterns can be controlled remotely with the N 248 power supply. There is no special cable necessary for this purpose. \n\nThe microphone has at its rear a 10 dB attenuation switch for extremely high sound pressure levels, and a high-pass filter to suppress structure born noise.\nApplications\nThe TLM 170 R condenser microphone is a large diaphragm microphone with multiple polar patterns. Its sound has a very transparent characteristic, in contrast to some of our other microphones that have a distinct personality.\n\nTherefore, this microphone is used for many diverse applications in professional recording studios, in broadcasting, film and television, and for semiprofessional productions. The polar patterns can be selected either at the microphone itself, or controlled remotely through the special N 248 power supply.\n\nAcoustic features\nThe microphone is addressed from the front, marked with the Neumann logo. The large diaphragm capsule inside the headgrille has a very smooth frequency response for all polar patterns over a wide acceptance angle. The curves are flat and parallel to the 0° frequency curve up to 10 kHz within an angle of ± 100°. \n\nAs a result the TLM 170 R has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment, as more reflections arrive at the microphone from different directions. The acoustic information is not affected in its tonal quality when recorded by the microphone. This characteristic is achieved without resorting to corrective resonance effects. \n\nTherefore, the microphone maintains an excellent impulse response reproducing all transient phenomena of music and speech without any coloration. The capsule is elastically mounted to avoid any structure borne noise that could interfere with its operation.\n\nPolar patterns\nIn addition to the usual directional polar patterns: omnidirectional, cardioid, and figure-8, we have added a hypercardioid and wide-angle cardioid characteristic. When compared to the standard cardioid pattern, the hypercardioid characteristic suppresses sound from the side more efficiently. The wide-angle polar pattern is especially useful to record large sound sources.\n\nRemote control\nThe N 248 controls the polar pattern remotely by varying the phantom voltage. The range is ± 3 V of the nominal 48 V value. (According to DIN standard a range of ± 4 V is permissible.) \n\nThe rotary switch on the microphone must be in the position R (= remote control). In this switch position the TLM 170 R microphone analyses the absolute value of the phantom power and selects the corresponding polar pattern. A standard 3-pin microphone cable is used, similar to the microphone\'s conventional operation. Cable lengths may be up to 300 m (1000 feet).\n\nElectrical features\nThe letters TLM stand for \"transformerless microphone\". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference, that may influence the balanced audio signal.\n\nUse on tripods\nThe TLM 170 R is provided with a tilting side bracket to attach the microphone to booms or stands. The bracket is equipped with rubber elements that effectively protect the microphone from mechanical shock. If necessary, it can be mounted on the other side of the microphone as well. \n\nWhen using the IC 4 cable (for example to suspend the microphone from the ceiling with the MNV 87 auditorium hanger), the bracket and its holder need to be removed. The microphone can then be connected to the swivel mount connector of the cable.\n\nFilter and attenuation\nThe TLM 170 R microphone has a 10 dB attenuation switch to prevent the input of the following unit from being overloaded. A second switch at the rear allows to attenuate the frequency response below 100 Hz to suppress undesired structure borne noise.\n\nOperational safety\nAll exposed surfaces of the capsule, including the diaphragms, are at ground potential. This technology makes them highly immune to electrical and atmospheric interference and contamination through dust particles.'),(7815,85,0,1303,'Neumann TLM 170 R Condenser Microphone'),(7816,85,1,1303,'Neumann TLM 170 R Condenser Microphone'),(7817,76,0,1303,''),(7818,76,1,1303,''),(7819,75,0,1304,'The TLM 193 is a large diaphragm microphone with a cardioid polar pattern. With this microphone Neumann continues its long tradition, and is offering high end technology at an affordable price for musicians and the home recording studio. \n\nThe microphone uses a transformerless circuit, featuring extremely low self noise and large dynamic range. \n\nThe polar response is very linear over a wide incidence angle. Thus, even signals coming from the side are reproduced faithfully and without coloration. The exposed surface of the microphone capsule is at ground potential, making it immune to typical interference and contamination. The microphone is supplied with a swivel mount.\n\nApplications\nThe TLM 193 is a microphone with cardioid characteristic for professional recording and live applications. It is the ideal microphone for professional productions, for musicians and project studios.\n\nPolar pattern\nThe TLM 193 has a large diaphragm capsule with cardioid characteristic.\n\nAcoustic features\nThe TLM 193 is addressed from the front, marked with the Neumann logo. The large diaphragm capsule inside the headgrille has a very smooth frequency response for all polar patterns over a wide acceptance angle. The curves are flat and parallel to the 0° frequency curve up to 10 kHz within a pickup angle of ± 100°. \n\nThe TLM 193 differs from omnidirectional pressure transducers, where, due to physical reasons, the diffuse-field and free-field responses never agree. This microphone has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment, as more reflections arrive at the microphone from different directions. \n\nThe acoustic information is not affected in its tonal quality when recorded by the microphone. This characteristic is achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response reproducing all transient phenomena of music and speech without coloration.\nElectrical features\nThe letters TLM stand for \"transformerless microphone\". With TLM technology the usual output transformer is replaced by an electronic circuit. \n\nAs with traditional transformers, it ensures good common mode rejection, and prevents RF interference, that may influence the balanced audio signal. \n\nCompared to other microphones the self noise level of the TLM 193 is considerably reduced. As it is capable of handling sound pressure levels up to 140 dB without distortion, the TLM 193 provides a dynamic range of 130 dB (A-weighted).\n\nOperational safety\nAll exposed surfaces of the microphone capsule, including the diaphragms, are at ground potential. This technology makes them highly immune to electrical and atmospheric interference and contamination through microscopic dust particles. \n\nThe capsule is elastically mounted to avoid any structure borne noise that could interfere with its operation. \n\nThe frequency response of the TLM 193 amplifier is linear down to 20 Hz. Even very low bass signals are reproduced without coloration. \n\nThis implies that the microphone becomes more sensitive to subsonic frequencies, from structure borne noise or pop and wind noise. \n\nTo avoid any LF interference, we recommend to use the EA 1 elastic suspension, the PS 15 pop screen, or the WS 89 windscreen.'),(7820,75,1,1304,'The TLM 193 is a large diaphragm microphone with a cardioid polar pattern. With this microphone Neumann continues its long tradition, and is offering high end technology at an affordable price for musicians and the home recording studio. \n\nThe microphone uses a transformerless circuit, featuring extremely low self noise and large dynamic range. \n\nThe polar response is very linear over a wide incidence angle. Thus, even signals coming from the side are reproduced faithfully and without coloration. The exposed surface of the microphone capsule is at ground potential, making it immune to typical interference and contamination. The microphone is supplied with a swivel mount.\n\nApplications\nThe TLM 193 is a microphone with cardioid characteristic for professional recording and live applications. It is the ideal microphone for professional productions, for musicians and project studios.\n\nPolar pattern\nThe TLM 193 has a large diaphragm capsule with cardioid characteristic.\n\nAcoustic features\nThe TLM 193 is addressed from the front, marked with the Neumann logo. The large diaphragm capsule inside the headgrille has a very smooth frequency response for all polar patterns over a wide acceptance angle. The curves are flat and parallel to the 0° frequency curve up to 10 kHz within a pickup angle of ± 100°. \n\nThe TLM 193 differs from omnidirectional pressure transducers, where, due to physical reasons, the diffuse-field and free-field responses never agree. This microphone has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment, as more reflections arrive at the microphone from different directions. \n\nThe acoustic information is not affected in its tonal quality when recorded by the microphone. This characteristic is achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response reproducing all transient phenomena of music and speech without coloration.\nElectrical features\nThe letters TLM stand for \"transformerless microphone\". With TLM technology the usual output transformer is replaced by an electronic circuit. \n\nAs with traditional transformers, it ensures good common mode rejection, and prevents RF interference, that may influence the balanced audio signal. \n\nCompared to other microphones the self noise level of the TLM 193 is considerably reduced. As it is capable of handling sound pressure levels up to 140 dB without distortion, the TLM 193 provides a dynamic range of 130 dB (A-weighted).\n\nOperational safety\nAll exposed surfaces of the microphone capsule, including the diaphragms, are at ground potential. This technology makes them highly immune to electrical and atmospheric interference and contamination through microscopic dust particles. \n\nThe capsule is elastically mounted to avoid any structure borne noise that could interfere with its operation. \n\nThe frequency response of the TLM 193 amplifier is linear down to 20 Hz. Even very low bass signals are reproduced without coloration. \n\nThis implies that the microphone becomes more sensitive to subsonic frequencies, from structure borne noise or pop and wind noise. \n\nTo avoid any LF interference, we recommend to use the EA 1 elastic suspension, the PS 15 pop screen, or the WS 89 windscreen.'),(7821,85,0,1304,'Neumann TLM 193 Condenser Microphone'),(7822,85,1,1304,'Neumann TLM 193 Condenser Microphone'),(7823,76,0,1304,''),(7824,76,1,1304,''),(7825,75,0,1305,'The TLM 49 is a large-diaphragm studio microphone with a cardioid directional characteristic and a warm sound which is especially optimized for vocal performance. It is supplied as a set, with an elastic suspension.\n\nThe design is inspired by that of the legendary M 49 and M 50 microphones of the 1950s. Naturally the TLM 49 has the typical Neumann fine matte nickel finish. The “sound design” is also oriented toward that of the M 49 and the U 47. \n\nBy combining its retro look with proven Neumann transformerless circuit technology, this microphone ensures low self-noise and the use of high gain levels.\n\nApplications\nDuring the development phase, the sound was adjusted in extensive practical tests, so as to make the TLM 49 ideal particularly for vocal and speech recording. However, in addition, it is also suitable for instrumental applications in professional production studios and demanding home recordings.\n\nPolar pattern\nThe large-diaphragm capsule of the TLM 49 provides a cardioid directional characteristic with a tendency toward supercardioid, due to the special capsule construction. Following the example of the M 49, high frequencies are more directional. The capsule diameter is 34 mm.\n\nThe front of the microphone is indicated by the red Neumann logo on the microphone body. The capsule is oriented so that the microphone is addressed from the front.\n\nAcoustic features\nThe TLM 49 uses the famous K 47 capsule, which was also used in the M 49 and the U 47. The capsule has a linear frequency response up to the upper mid-range. Above 2 kHz there is a gentle presence boost up to 3 dB.\n\nThe capsule is enclosed by a large microphone headgrille, which is acoustically very open and is hence neutral with regard to the sound.\n\nElectrical features\nThe letters TLM stand for “transformerless microphone”. With TLM technology the usual output transformer is replaced by an electronic circuit. \n\nAs with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.\n\nNoise signals which affect the balanced modulation line are therefore effectively suppressed. The microphone can operate at sound pressure levels of up to 129 dB without distortion, and provides a dynamic range of 117 dB (A-weighted).\n\nOperational safety\nThe entire interior structure is mounted elastically, to prevent the transmission of structure-borne noise. In addition, the capsule is mounted with a rubber shock mount. \n\nDue to the wide frequency response, the TLM 49 can also transmit extremely low-frequency signals without coloration. Of course this means that the microphone is also sensitive to noise signals such as vibration noise and wind noise in this frequency range. The TLM 49 is therefore supplied with the elastic suspension EA 3, which effectively protects the microphone from structure-borne noise. If the microphone is addressed at extremely close range, pop screen PS 15 or PS 20 a can be used in front of the microphone to provide protection against plosive sounds.'),(7826,75,1,1305,'The TLM 49 is a large-diaphragm studio microphone with a cardioid directional characteristic and a warm sound which is especially optimized for vocal performance. It is supplied as a set, with an elastic suspension.\n\nThe design is inspired by that of the legendary M 49 and M 50 microphones of the 1950s. Naturally the TLM 49 has the typical Neumann fine matte nickel finish. The “sound design” is also oriented toward that of the M 49 and the U 47. \n\nBy combining its retro look with proven Neumann transformerless circuit technology, this microphone ensures low self-noise and the use of high gain levels.\n\nApplications\nDuring the development phase, the sound was adjusted in extensive practical tests, so as to make the TLM 49 ideal particularly for vocal and speech recording. However, in addition, it is also suitable for instrumental applications in professional production studios and demanding home recordings.\n\nPolar pattern\nThe large-diaphragm capsule of the TLM 49 provides a cardioid directional characteristic with a tendency toward supercardioid, due to the special capsule construction. Following the example of the M 49, high frequencies are more directional. The capsule diameter is 34 mm.\n\nThe front of the microphone is indicated by the red Neumann logo on the microphone body. The capsule is oriented so that the microphone is addressed from the front.\n\nAcoustic features\nThe TLM 49 uses the famous K 47 capsule, which was also used in the M 49 and the U 47. The capsule has a linear frequency response up to the upper mid-range. Above 2 kHz there is a gentle presence boost up to 3 dB.\n\nThe capsule is enclosed by a large microphone headgrille, which is acoustically very open and is hence neutral with regard to the sound.\n\nElectrical features\nThe letters TLM stand for “transformerless microphone”. With TLM technology the usual output transformer is replaced by an electronic circuit. \n\nAs with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.\n\nNoise signals which affect the balanced modulation line are therefore effectively suppressed. The microphone can operate at sound pressure levels of up to 129 dB without distortion, and provides a dynamic range of 117 dB (A-weighted).\n\nOperational safety\nThe entire interior structure is mounted elastically, to prevent the transmission of structure-borne noise. In addition, the capsule is mounted with a rubber shock mount. \n\nDue to the wide frequency response, the TLM 49 can also transmit extremely low-frequency signals without coloration. Of course this means that the microphone is also sensitive to noise signals such as vibration noise and wind noise in this frequency range. The TLM 49 is therefore supplied with the elastic suspension EA 3, which effectively protects the microphone from structure-borne noise. If the microphone is addressed at extremely close range, pop screen PS 15 or PS 20 a can be used in front of the microphone to provide protection against plosive sounds.'),(7827,85,0,1305,'Neumann TLM 49 Condenser Microphone'),(7828,85,1,1305,'Neumann TLM 49 Condenser Microphone'),(7829,76,0,1305,''),(7830,76,1,1305,''),(7831,75,0,1306,'In the world of studio microphones, the numbers “47”, “67” and “87” have associations that inspire enthusiasm among professionals in the field. It is of course no coincidence that the name of the new TLM 67* contains the number “67”. In many respects, the TLM 67 is based on the “workhorse” of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.\n\nThe TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation and high-pass filter permit detailed adjustments to be made, depending upon the specific recording situation.\n\nExterior design\nThe TLM 67 is a large-diaphragm condenser microphone in the classic Neumann style, with a unique dual-color design. The stylish pearl-gray of the microphone body combined with the classic Neumann nickel lends the microphone a touch of distinctive individuality.\n\nThe legendary, frequently imitated design of the Neumann U 67 was the first to be developed by Neumann employees in collaboration with the famous German designer, Wilhelm Braun-Feldweg. The design of the TLM 67 represents a contemporary development of that of the U 67, transferring its positive impact to the present era. The enhanced exterior design thus links past and future microphone design trends.\n\nOn the occasion of its 80th anniversary, the Neumann company is honoring its founder, Georg Neumann, with a three-dimensional metal emblem on the front of the TLM 67. The distinctive Neumann attraction is conveyed in every detail of the microphone.\n\nApplications\nDue to its extensive control features, the TLM 67 is suitable for a wide range of applications. In addition to its primary role as a vocal microphone for all types of music and spoken voice, in orchestral recordings the TLM 67 can be used as a main microphone and as a spot microphone for individual instruments.\nAcoustic features\nThe microphone is addressed from the side on which the Neumann logo is located.\n\nA large wire mesh grille encloses the elastically mounted double diaphragm capsule. The directional characteristics omnidirectional, cardioid or figure-8 can be selected via a switch below the grille. The selected setting is indicated by a symbol shown in a window above the switch.\nElectrical features\n\nThe letters “TLM” stand for “transformerless microphone”. In the TLM 67, an electronic circuit is used rather than a conventional output transformer. Like a transformer, the circuit ensures good common mode rejection, effectively suppressing interference signals that affect the balanced modulation line. The microphone can operate at sound pressure levels of up to 105 dB without distortion, and has a dynamic range of 94 dB (A-weighted), without the use of the pre-attenuation switch.\n\nFilter and pre-attenuation\nThe pre-attenuation switch on the back of the microphone can be used to reduce transmission levels by approx. 10 dB. It should be used only when there is a risk of overloading following devices due to very high sound pressure levels. Use of the switch does not increase the dynamic range of the microphone, but rather shifts it by 10 dB, to higher sound pressure levels. The other switch on the back of the microphone can be used to change the cutoff frequency of the built-in high-pass filter, so as to suppress the effects of impact sound and wind noise, or to compensate for the proximity effect.\n\nOperational reliability\nElastic mounting of the capsule supplies protection from the transmission of structure-borne noise. If required, the EA 87 elastic suspension and WS 87 windscreen are available as accessories, for further suppression of structure-borne and wind noise. The PS 15 or PS 20 a popscreen can be used if the microphone is to be addressed at close range.');
INSERT INTO `catalog_product_entity_text` VALUES (7832,75,1,1306,'In the world of studio microphones, the numbers “47”, “67” and “87” have associations that inspire enthusiasm among professionals in the field. It is of course no coincidence that the name of the new TLM 67* contains the number “67”. In many respects, the TLM 67 is based on the “workhorse” of the 1960s, the legendary U 67. Like the U 67, the TLM 67 incorporates the K 67 capsule. In addition, the special new circuit design closely reproduces the sound characteristics of the classic U 67, without the use of tubes. Similar Neumann circuit technology has already proved very successful in the TLM 49.\n\nThe TLM 67 is extremely versatile. Its three switchable directional characteristics (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation and high-pass filter permit detailed adjustments to be made, depending upon the specific recording situation.\n\nExterior design\nThe TLM 67 is a large-diaphragm condenser microphone in the classic Neumann style, with a unique dual-color design. The stylish pearl-gray of the microphone body combined with the classic Neumann nickel lends the microphone a touch of distinctive individuality.\n\nThe legendary, frequently imitated design of the Neumann U 67 was the first to be developed by Neumann employees in collaboration with the famous German designer, Wilhelm Braun-Feldweg. The design of the TLM 67 represents a contemporary development of that of the U 67, transferring its positive impact to the present era. The enhanced exterior design thus links past and future microphone design trends.\n\nOn the occasion of its 80th anniversary, the Neumann company is honoring its founder, Georg Neumann, with a three-dimensional metal emblem on the front of the TLM 67. The distinctive Neumann attraction is conveyed in every detail of the microphone.\n\nApplications\nDue to its extensive control features, the TLM 67 is suitable for a wide range of applications. In addition to its primary role as a vocal microphone for all types of music and spoken voice, in orchestral recordings the TLM 67 can be used as a main microphone and as a spot microphone for individual instruments.\nAcoustic features\nThe microphone is addressed from the side on which the Neumann logo is located.\n\nA large wire mesh grille encloses the elastically mounted double diaphragm capsule. The directional characteristics omnidirectional, cardioid or figure-8 can be selected via a switch below the grille. The selected setting is indicated by a symbol shown in a window above the switch.\nElectrical features\n\nThe letters “TLM” stand for “transformerless microphone”. In the TLM 67, an electronic circuit is used rather than a conventional output transformer. Like a transformer, the circuit ensures good common mode rejection, effectively suppressing interference signals that affect the balanced modulation line. The microphone can operate at sound pressure levels of up to 105 dB without distortion, and has a dynamic range of 94 dB (A-weighted), without the use of the pre-attenuation switch.\n\nFilter and pre-attenuation\nThe pre-attenuation switch on the back of the microphone can be used to reduce transmission levels by approx. 10 dB. It should be used only when there is a risk of overloading following devices due to very high sound pressure levels. Use of the switch does not increase the dynamic range of the microphone, but rather shifts it by 10 dB, to higher sound pressure levels. The other switch on the back of the microphone can be used to change the cutoff frequency of the built-in high-pass filter, so as to suppress the effects of impact sound and wind noise, or to compensate for the proximity effect.\n\nOperational reliability\nElastic mounting of the capsule supplies protection from the transmission of structure-borne noise. If required, the EA 87 elastic suspension and WS 87 windscreen are available as accessories, for further suppression of structure-borne and wind noise. The PS 15 or PS 20 a popscreen can be used if the microphone is to be addressed at close range.'),(7833,85,0,1306,'Neumann TLM 67 Condenser Microphone'),(7834,85,1,1306,'Neumann TLM 67 Condenser Microphone'),(7835,76,0,1306,''),(7836,76,1,1306,''),(7837,75,0,1307,'<h2>Neumann U 47 fet Collector\'s Edition Condenser Microphone</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">The legendary Neumann U 47 fet is back, built according to original porduction documents and schematics!</span><br /><br />\n\nThe original Neumann U 47 fet was first manufactured from 1972 to 1986, and since then the legendary mic has become a collector\'s item, used by nearly all well-known studios. The U 47 fet Collectors Edition is a new edition of this classic. Neumann has resumed production of this classic mic, according to the original production documents and schematics. It is supplied with a high-quality wooden case with sophisticated special packaging, and an individual certificate with the serial number of the microphone.<br /><br />\n\nIn terms of technical design, the U 47 fet is a condenser microphone with a cardioid directional characteristic and fet 80 circuit technology. Among other things this technology, also used in the U 87, is characterized particularly by a wide dynamic range. The K 47 double large-diaphragm capsule was already employed in the U 47, the legendary tube-based predecessor of the U 47 fet. The K 47 provides a slight boost in the range above 2 kHz.<br /><br />\n\nIf required, a switchable low-cut filter raises the lower cutoff frequency electronically from 40 Hz to 140 Hz, thus suppressing undesirable low frequencies (such as impact sound and wind noise), or serving to compensate for the proximity effect. Switchable attenuation can reduce transmission levels by 10 dB, facilitating the processing of very high sound pressure levels of up to 147 dB. In addition, to prevent overloading of the connected preamp, the output signal can be reduced by 6 dB via a switch on the bottom of the microphone.<br /><br />\n\nIn order to ensure stable positioning, the microphone is swivel-mounted on an integrated bracket. The bracket stand connector has 5/8\"-27 internal thread, with an adapter for 1/2\" and 3/8\" threads. The microphone cable can be secured at the side of the stand connector, by using the knurled nut to fasten it in the slot (for cable diameters of up to 5 mm). \n\nThe U 47 fet Collectors Edition is available in classic nickel and comes with a wooden box, Collectors Edition carton box, and Collectors Edition Certificate of Authenticity.<br /><br />\n\n\n<h3>The original Neumann U 47 fet</h3>\nThe 1960s and 1970s are considered to be one of the most innovative periods in the history of music. Many sound concepts of this pioneering time are currently being rediscovered and are regarded as a great enrichment – particularly in the digital audio world. The interplay among studio technologies of different generations forms the basis of unprecedented freedom for new sound experiments.<br /><br />\n\nAn icon of that era which was decisive in helping to shape the sound of the 1970s is the Neumann U 47 fet. As the transistorized successor of the U 47, it permitted the processing of very high sound pressure levels for the first time, for instance allowing positioning directly in front of loud amps. Due to this feature, and the capsule sound derived from its famous tube-based predecessor, the U 47 fet contributed to many legendary recordings of the time.<br /><br />'),(7838,75,1,1307,'<h2>Neumann U 47 fet Collector\'s Edition Condenser Microphone</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">The legendary Neumann U 47 fet is back, built according to original porduction documents and schematics!</span><br /><br />\n\nThe original Neumann U 47 fet was first manufactured from 1972 to 1986, and since then the legendary mic has become a collector\'s item, used by nearly all well-known studios. The U 47 fet Collectors Edition is a new edition of this classic. Neumann has resumed production of this classic mic, according to the original production documents and schematics. It is supplied with a high-quality wooden case with sophisticated special packaging, and an individual certificate with the serial number of the microphone.<br /><br />\n\nIn terms of technical design, the U 47 fet is a condenser microphone with a cardioid directional characteristic and fet 80 circuit technology. Among other things this technology, also used in the U 87, is characterized particularly by a wide dynamic range. The K 47 double large-diaphragm capsule was already employed in the U 47, the legendary tube-based predecessor of the U 47 fet. The K 47 provides a slight boost in the range above 2 kHz.<br /><br />\n\nIf required, a switchable low-cut filter raises the lower cutoff frequency electronically from 40 Hz to 140 Hz, thus suppressing undesirable low frequencies (such as impact sound and wind noise), or serving to compensate for the proximity effect. Switchable attenuation can reduce transmission levels by 10 dB, facilitating the processing of very high sound pressure levels of up to 147 dB. In addition, to prevent overloading of the connected preamp, the output signal can be reduced by 6 dB via a switch on the bottom of the microphone.<br /><br />\n\nIn order to ensure stable positioning, the microphone is swivel-mounted on an integrated bracket. The bracket stand connector has 5/8\"-27 internal thread, with an adapter for 1/2\" and 3/8\" threads. The microphone cable can be secured at the side of the stand connector, by using the knurled nut to fasten it in the slot (for cable diameters of up to 5 mm). \n\nThe U 47 fet Collectors Edition is available in classic nickel and comes with a wooden box, Collectors Edition carton box, and Collectors Edition Certificate of Authenticity.<br /><br />\n\n\n<h3>The original Neumann U 47 fet</h3>\nThe 1960s and 1970s are considered to be one of the most innovative periods in the history of music. Many sound concepts of this pioneering time are currently being rediscovered and are regarded as a great enrichment – particularly in the digital audio world. The interplay among studio technologies of different generations forms the basis of unprecedented freedom for new sound experiments.<br /><br />\n\nAn icon of that era which was decisive in helping to shape the sound of the 1970s is the Neumann U 47 fet. As the transistorized successor of the U 47, it permitted the processing of very high sound pressure levels for the first time, for instance allowing positioning directly in front of loud amps. Due to this feature, and the capsule sound derived from its famous tube-based predecessor, the U 47 fet contributed to many legendary recordings of the time.<br /><br />'),(7839,85,0,1307,'Neumann U 47 fet Collector\'s Edition Condenser Microphone'),(7840,85,1,1307,'Neumann U 47 fet Collector\'s Edition Condenser Microphone'),(7841,76,0,1307,''),(7842,76,1,1307,''),(7843,75,0,1308,'<h2>Neumann U 87 Ai Condenser Microphone</h2>\n<i>Large-diaphragm Condenser Microphone with 3 Switchable Polar Patterns</i><br /><br />The readers of the SOUND ON SOUND magazine have voted: U 87 Ai - the BEST MICROPHONE, announced during the Winter NAMM show 2012 in Anaheim, California. <br /><br />\nThe SOS award went to products, that \"have made our lives in the studio all the more enjoyable\". It is a further evidence for the reputation of the U 87 Ai as the world famous, professional standard studio condenser microphone. Until today the U 87 sets the mark in the microphone industry by which all others are measured. <br /><br />\nThe U 87 presents a wide range of features and versatility that make it to one of the most desirable mics available. Our users are recognising the microphone immediately by its distinctive design. Well-known for its warm and well balanced characteristics - your perfect choice as vocal microphone for all types of music and speech. The usage as main microphone for orchestra recordings or as spot mic for single instruments make it the most general-purpose microphone - in studios, for broadcasting, film and television. <br /><br />\nThe U 87 is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille. <br /><br />\nA 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. <br /><br />\nFurthermore, the low frequency response can be reduced to compensate for proximity effect.<br /><br />\n<h3>Applications</h3>\nThe U 87 Ai condenser microphone is a large diaphragm microphone with three polar patterns and a unique frequency and transient response characteristic. \n<br /><br />\nUsers recognize the microphone immediately by its distinctive design. It is a good choice for most general purpose applications in studios, for broadcasting, film and television. <br /><br />\nThe U 87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal microphone for all types of music and speech.<br /><br />\n<h3>Acoustic features</h3>\nThe U 87 Ai is addressed from the front, marked with the Neumann logo. The frequency response of the cardioid and figure-8 directional characteristics are very flat for frontal sound incidence, even in the upper frequency range. The microphone can be used very close to a sound source without the sound becoming unnaturally harsh. By means of a high-pass filter interferences through subsonic and low frequencies are reduced remarkably.\n<br /><br />\n<h3>Polar patterns</h3>\nThe dual-diaphragm capsule is elastically mounted and protected by a large headgrille. A switch below the headgrille selects the three directional patterns: omnidirectional, cardioid and figure-8. A window above this switch shows the symbol of the selected characteristic.\n<br /><br />\n<h3>\nElectrical features</h3>\nThe letter A in the name indicates a more recent generation, as compared to the U 87 i microphones that were built from 1967 to 1986. Modifications apply to the electronic components of the microphone only; the capsule remained unchanged. \nThe present-day circuitry increases the operational headroom of the U 87 Ai by supplying the bias voltages for the capsule through a reduced resistance. The result is a higher sensitivity of 10 dB for identical sound pressure levels, and an improved S/N ratio of 3 dB.\n<br /><br />\n<h3>Filter and attenuation</h3>\nA switch located at the rear attenuates the sensitivity by 10 dB. When this switch is activated, the microphone accepts sound pressure levels up to 127 dB (equivalent to a sound pressure of 45 Pa) without distortion. \n<br /><br />\nAn additional switch at the rear allows to change the microphone\'s cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier. <br /><br />\nThis setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect). <br /><br />\nThe cardioid characteristic maintains a smooth frequency response at a distance of 30 to 40 cm, the figure-8 characteristic even at a distance of 15 to 20 cm.<br /><br />'),(7844,75,1,1308,'<h2>Neumann U 87 Ai Condenser Microphone</h2>\n<i>Large-diaphragm Condenser Microphone with 3 Switchable Polar Patterns</i><br /><br />The readers of the SOUND ON SOUND magazine have voted: U 87 Ai - the BEST MICROPHONE, announced during the Winter NAMM show 2012 in Anaheim, California. <br /><br />\nThe SOS award went to products, that \"have made our lives in the studio all the more enjoyable\". It is a further evidence for the reputation of the U 87 Ai as the world famous, professional standard studio condenser microphone. Until today the U 87 sets the mark in the microphone industry by which all others are measured. <br /><br />\nThe U 87 presents a wide range of features and versatility that make it to one of the most desirable mics available. Our users are recognising the microphone immediately by its distinctive design. Well-known for its warm and well balanced characteristics - your perfect choice as vocal microphone for all types of music and speech. The usage as main microphone for orchestra recordings or as spot mic for single instruments make it the most general-purpose microphone - in studios, for broadcasting, film and television. <br /><br />\nThe U 87 is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille. <br /><br />\nA 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. <br /><br />\nFurthermore, the low frequency response can be reduced to compensate for proximity effect.<br /><br />\n<h3>Applications</h3>\nThe U 87 Ai condenser microphone is a large diaphragm microphone with three polar patterns and a unique frequency and transient response characteristic. \n<br /><br />\nUsers recognize the microphone immediately by its distinctive design. It is a good choice for most general purpose applications in studios, for broadcasting, film and television. <br /><br />\nThe U 87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal microphone for all types of music and speech.<br /><br />\n<h3>Acoustic features</h3>\nThe U 87 Ai is addressed from the front, marked with the Neumann logo. The frequency response of the cardioid and figure-8 directional characteristics are very flat for frontal sound incidence, even in the upper frequency range. The microphone can be used very close to a sound source without the sound becoming unnaturally harsh. By means of a high-pass filter interferences through subsonic and low frequencies are reduced remarkably.\n<br /><br />\n<h3>Polar patterns</h3>\nThe dual-diaphragm capsule is elastically mounted and protected by a large headgrille. A switch below the headgrille selects the three directional patterns: omnidirectional, cardioid and figure-8. A window above this switch shows the symbol of the selected characteristic.\n<br /><br />\n<h3>\nElectrical features</h3>\nThe letter A in the name indicates a more recent generation, as compared to the U 87 i microphones that were built from 1967 to 1986. Modifications apply to the electronic components of the microphone only; the capsule remained unchanged. \nThe present-day circuitry increases the operational headroom of the U 87 Ai by supplying the bias voltages for the capsule through a reduced resistance. The result is a higher sensitivity of 10 dB for identical sound pressure levels, and an improved S/N ratio of 3 dB.\n<br /><br />\n<h3>Filter and attenuation</h3>\nA switch located at the rear attenuates the sensitivity by 10 dB. When this switch is activated, the microphone accepts sound pressure levels up to 127 dB (equivalent to a sound pressure of 45 Pa) without distortion. \n<br /><br />\nAn additional switch at the rear allows to change the microphone\'s cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier. <br /><br />\nThis setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect). <br /><br />\nThe cardioid characteristic maintains a smooth frequency response at a distance of 30 to 40 cm, the figure-8 characteristic even at a distance of 15 to 20 cm.<br /><br />'),(7845,85,0,1308,'Neumann U 87 Ai Condenser Microphone'),(7846,85,1,1308,'Neumann U 87 Ai Condenser Microphone'),(7847,76,0,1308,''),(7848,76,1,1308,''),(7849,75,0,1309,'<h2>Neumann U 87 Ai Set Z Condenser Microphone</h2>\n<i>Large-diaphragm Condenser Microphone with Elastic Shockmount, Windscreen, and Cable</i><br /><br />The readers of the SOUND ON SOUND magazine have voted: U 87 Ai - the BEST MICROPHONE, announced during the Winter NAMM show 2012 in Anaheim, California. <br /><br />\nThe SOS award went to products, that \"have made our lives in the studio all the more enjoyable\". It is a further evidence for the reputation of the U 87 Ai as the world famous, professional standard studio condenser microphone. Until today the U 87 sets the mark in the microphone industry by which all others are measured. <br /><br />\nThe U 87 presents a wide range of features and versatility that make it to one of the most desirable mics available. Our users are recognising the microphone immediately by its distinctive design. Well-known for its warm and well balanced characteristics - your perfect choice as vocal microphone for all types of music and speech. The usage as main microphone for orchestra recordings or as spot mic for single instruments make it the most general-purpose microphone - in studios, for broadcasting, film and television. <br /><br />\nThe U 87 is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille. <br /><br />\nA 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. <br /><br />\nFurthermore, the low frequency response can be reduced to compensate for proximity effect.<br /><br />\n<h3>Applications</h3>\nThe U 87 Ai condenser microphone is a large diaphragm microphone with three polar patterns and a unique frequency and transient response characteristic. \n<br /><br />\nUsers recognize the microphone immediately by its distinctive design. It is a good choice for most general purpose applications in studios, for broadcasting, film and television. <br /><br />\nThe U 87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal microphone for all types of music and speech.<br /><br />\n<h3>Acoustic features</h3>\nThe U 87 Ai is addressed from the front, marked with the Neumann logo. The frequency response of the cardioid and figure-8 directional characteristics are very flat for frontal sound incidence, even in the upper frequency range. The microphone can be used very close to a sound source without the sound becoming unnaturally harsh. By means of a high-pass filter interferences through subsonic and low frequencies are reduced remarkably.\n<br /><br />\n<h3>Polar patterns</h3>\nThe dual-diaphragm capsule is elastically mounted and protected by a large headgrille. A switch below the headgrille selects the three directional patterns: omnidirectional, cardioid and figure-8. A window above this switch shows the symbol of the selected characteristic.\n<br /><br />\n<h3>\nElectrical features</h3>\nThe letter A in the name indicates a more recent generation, as compared to the U 87 i microphones that were built from 1967 to 1986. Modifications apply to the electronic components of the microphone only; the capsule remained unchanged. \nThe present-day circuitry increases the operational headroom of the U 87 Ai by supplying the bias voltages for the capsule through a reduced resistance. The result is a higher sensitivity of 10 dB for identical sound pressure levels, and an improved S/N ratio of 3 dB.\n<br /><br />\n<h3>Filter and attenuation</h3>\nA switch located at the rear attenuates the sensitivity by 10 dB. When this switch is activated, the microphone accepts sound pressure levels up to 127 dB (equivalent to a sound pressure of 45 Pa) without distortion. \n<br /><br />\nAn additional switch at the rear allows to change the microphone\'s cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier. <br /><br />\nThis setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect). <br /><br />\nThe cardioid characteristic maintains a smooth frequency response at a distance of 30 to 40 cm, the figure-8 characteristic even at a distance of 15 to 20 cm.<br /><br />'),(7850,75,1,1309,'<h2>Neumann U 87 Ai Set Z Condenser Microphone</h2>\n<i>Large-diaphragm Condenser Microphone with Elastic Shockmount, Windscreen, and Cable</i><br /><br />The readers of the SOUND ON SOUND magazine have voted: U 87 Ai - the BEST MICROPHONE, announced during the Winter NAMM show 2012 in Anaheim, California. <br /><br />\nThe SOS award went to products, that \"have made our lives in the studio all the more enjoyable\". It is a further evidence for the reputation of the U 87 Ai as the world famous, professional standard studio condenser microphone. Until today the U 87 sets the mark in the microphone industry by which all others are measured. <br /><br />\nThe U 87 presents a wide range of features and versatility that make it to one of the most desirable mics available. Our users are recognising the microphone immediately by its distinctive design. Well-known for its warm and well balanced characteristics - your perfect choice as vocal microphone for all types of music and speech. The usage as main microphone for orchestra recordings or as spot mic for single instruments make it the most general-purpose microphone - in studios, for broadcasting, film and television. <br /><br />\nThe U 87 is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille. <br /><br />\nA 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. <br /><br />\nFurthermore, the low frequency response can be reduced to compensate for proximity effect.<br /><br />\n<h3>Applications</h3>\nThe U 87 Ai condenser microphone is a large diaphragm microphone with three polar patterns and a unique frequency and transient response characteristic. \n<br /><br />\nUsers recognize the microphone immediately by its distinctive design. It is a good choice for most general purpose applications in studios, for broadcasting, film and television. <br /><br />\nThe U 87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal microphone for all types of music and speech.<br /><br />\n<h3>Acoustic features</h3>\nThe U 87 Ai is addressed from the front, marked with the Neumann logo. The frequency response of the cardioid and figure-8 directional characteristics are very flat for frontal sound incidence, even in the upper frequency range. The microphone can be used very close to a sound source without the sound becoming unnaturally harsh. By means of a high-pass filter interferences through subsonic and low frequencies are reduced remarkably.\n<br /><br />\n<h3>Polar patterns</h3>\nThe dual-diaphragm capsule is elastically mounted and protected by a large headgrille. A switch below the headgrille selects the three directional patterns: omnidirectional, cardioid and figure-8. A window above this switch shows the symbol of the selected characteristic.\n<br /><br />\n<h3>\nElectrical features</h3>\nThe letter A in the name indicates a more recent generation, as compared to the U 87 i microphones that were built from 1967 to 1986. Modifications apply to the electronic components of the microphone only; the capsule remained unchanged. \nThe present-day circuitry increases the operational headroom of the U 87 Ai by supplying the bias voltages for the capsule through a reduced resistance. The result is a higher sensitivity of 10 dB for identical sound pressure levels, and an improved S/N ratio of 3 dB.\n<br /><br />\n<h3>Filter and attenuation</h3>\nA switch located at the rear attenuates the sensitivity by 10 dB. When this switch is activated, the microphone accepts sound pressure levels up to 127 dB (equivalent to a sound pressure of 45 Pa) without distortion. \n<br /><br />\nAn additional switch at the rear allows to change the microphone\'s cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier. <br /><br />\nThis setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect). <br /><br />\nThe cardioid characteristic maintains a smooth frequency response at a distance of 30 to 40 cm, the figure-8 characteristic even at a distance of 15 to 20 cm.<br /><br />'),(7851,85,0,1309,'Neumann U 87 Ai Set Z Condenser Microphone'),(7852,85,1,1309,'Neumann U 87 Ai Set Z Condenser Microphone'),(7853,76,0,1309,''),(7854,76,1,1309,''),(7855,75,0,1310,'The U 89 is a studio microphone for universal applications. The headgrille protects a dual-diaphragm capsule. A rotary switch below the headgrille selects from five different polar patterns. Therefore the microphone can be adapted easily to large sound sources, and those that are spread wide apart, or to sound sources to be recorded at a greater distance. \n\nThe amplifier accepts sound pressure levels up to 134 dB without distortion. This figure can be increased to 140 dB. An additional rotary switch activates a filter that changes the low frequency response either below 80 Hz or 160 Hz frequency.\n\nApplications\nThe U 89 i is similar in appearance to the U 87. It is of smaller size, and lighter weight. It features five instead of three directional characteristics and a higher maximum sound pressure level which make this microphone easier adaptable to different applications.\n\nPolar patterns\nIn addition to the usual directional polar patterns: omnidirectional, cardioid, and figure-8, we have added a hypercardioid and wide-angle cardioid characteristic. When compared to the standard cardioid pattern, the hypercardioid characteristic suppresses sound from the side more efficiently. The wide-angle polar pattern is especially useful to record large sound sources.\n\nAcoustic features\nThe microphone is addressed from the front, marked with the Neumann logo. The large diaphragm capsule has a very smooth frequency response for all polar patterns over a wide acceptance angle. The frequency response curves are flat up to 10 kHz within a pickup angle of ± 100°. \n\nAs a result the U 89 i has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment when more reflections arrive at the microphone capsule. The acoustic information is not affected in its tonal quality when recorded by the microphone. \n\nThis characteristic is achieved without resorting to corrective resonance effects. \n\nThe capsule it is elastically mounted to avoid any structure borne noise that could interfere with its operation.\nFilter and attenuation\nThe amplifier handles sound pressure levels up to 134 dB without distortion. With a self noise level of 17 dB (A-weighted) the total dynamic range is 117 dB. Maximum sound pressure level is 140 dB when the - 6 dB rotary switch is in the ON position. \n\nA low frequency roll-off at 80 Hz or 160 Hz can be activated with another rotary switch below the headgrille. This filter suppresses low frequency interference, yet maintains an even frequency response for close-up sound sources, for example, when proximity effect could adversely affect the program material. \n\nA steep high-pass filter in the LIN position prevents the output transformer of the microphone from being overloaded due to undesired subsonic frequencies.\n\nOperational safety\nAll exposed surfaces of the microphone capsule, including the diaphragms, are at ground potential. This technology makes them highly immune to electrical and atmospheric interference and contamination through microscopic dust particles.'),(7856,75,1,1310,'The U 89 is a studio microphone for universal applications. The headgrille protects a dual-diaphragm capsule. A rotary switch below the headgrille selects from five different polar patterns. Therefore the microphone can be adapted easily to large sound sources, and those that are spread wide apart, or to sound sources to be recorded at a greater distance. \n\nThe amplifier accepts sound pressure levels up to 134 dB without distortion. This figure can be increased to 140 dB. An additional rotary switch activates a filter that changes the low frequency response either below 80 Hz or 160 Hz frequency.\n\nApplications\nThe U 89 i is similar in appearance to the U 87. It is of smaller size, and lighter weight. It features five instead of three directional characteristics and a higher maximum sound pressure level which make this microphone easier adaptable to different applications.\n\nPolar patterns\nIn addition to the usual directional polar patterns: omnidirectional, cardioid, and figure-8, we have added a hypercardioid and wide-angle cardioid characteristic. When compared to the standard cardioid pattern, the hypercardioid characteristic suppresses sound from the side more efficiently. The wide-angle polar pattern is especially useful to record large sound sources.\n\nAcoustic features\nThe microphone is addressed from the front, marked with the Neumann logo. The large diaphragm capsule has a very smooth frequency response for all polar patterns over a wide acceptance angle. The frequency response curves are flat up to 10 kHz within a pickup angle of ± 100°. \n\nAs a result the U 89 i has a very even diffuse-field response for all polar patterns. This is important in a reverberant environment when more reflections arrive at the microphone capsule. The acoustic information is not affected in its tonal quality when recorded by the microphone. \n\nThis characteristic is achieved without resorting to corrective resonance effects. \n\nThe capsule it is elastically mounted to avoid any structure borne noise that could interfere with its operation.\nFilter and attenuation\nThe amplifier handles sound pressure levels up to 134 dB without distortion. With a self noise level of 17 dB (A-weighted) the total dynamic range is 117 dB. Maximum sound pressure level is 140 dB when the - 6 dB rotary switch is in the ON position. \n\nA low frequency roll-off at 80 Hz or 160 Hz can be activated with another rotary switch below the headgrille. This filter suppresses low frequency interference, yet maintains an even frequency response for close-up sound sources, for example, when proximity effect could adversely affect the program material. \n\nA steep high-pass filter in the LIN position prevents the output transformer of the microphone from being overloaded due to undesired subsonic frequencies.\n\nOperational safety\nAll exposed surfaces of the microphone capsule, including the diaphragms, are at ground potential. This technology makes them highly immune to electrical and atmospheric interference and contamination through microscopic dust particles.'),(7857,85,0,1310,'Neumann U 89 i Condenser Microphone'),(7858,85,1,1310,'Neumann U 89 i Condenser Microphone'),(7859,76,0,1310,''),(7860,76,1,1310,''),(7861,75,0,1311,'<h1>Neumann U67 Large-Diaphragm Condenser Microphone</h1>\n<i>The legendary microphone from the 60\'s has returned! This reissued U67 is way more than just a reissue, it\'s built to the exact specifications of the Vintage U67, including the capsule and electronic design.</i><br/><br/>\nThe Neumann U67 Tube Condenser Microphone has returned! Neumann is once again building the legendary U67, built to the exact specifications of the vintage U67 made from 1960–1971. It uses the same capsule and electronic design. Key parts, such as the BV 12 output transformer, are meticulously reproduced according to original documentation. EF86 tubes are carefully selected for optimal characteristics and lowest noise in a dedicated measurement facility. The power supply was redesigned to meet today’s strict safety requirements and to accommodate the slightly higher filament current of newer premium grade tubes. The new power supply NU 67 V is fully compatible with older U67 microphones.<br/><br/>\nThe U 67 was the first microphone equipped with the famous K 67 capsule, which has since become associated with “the Neumann sound” and continues to be used in its successor, the U 87 A. No less important is the U 67’s masterful tube circuit featuring a clever pre-emphasis/de-emphasis scheme to minimize tube hiss. The U 67 was also the first microphone to address modern recording techniques such as close miking. Its switchable low cut filter compensates for the proximity effect occurring at short recording distances. Using its preattenuation, the U 67 can handle high sound pressure levels of up to 124 dB without distortion (and much more if you don’t mind a bit of “tube grit”).\n<br/><br/>As timeless as its sound and technical design is its outer appearance. The U 67’s cone-shaped body and the tapered headgrille have since become iconic for the Neumann brand; the same elegant design would grace its solid state successor, the U 87, for the next 50+ years.\n<br/><br/>\nThe Neumann U67 features three selectable polar patterns and advanced tube circuitry, including low cut and pad switches. The original Neumann U67 was well-equipped for virtually any recording task. It still is: To this day, many top level engineers would choose the U 67 as their “desert island” microphone for its extraordinary versatility and unmatched sound quality\n<br/><br/>\n<h3>Neumann U67 Features</h3>\n<ul>\n	<li>Reissue of the legendary Neumann U 67</li>\n	<li>Superb vocal microphone for male and female singers</li>\n	<li>Versatile microphone for all kinds of instruments</li>\n	<li>Made to original specifications using archived documentation</li>\n	<li>New power supply NU 67 V automatically adapts to the local mains voltage</li>\n	<li>Handmade and hand soldered in Germany</li>\n</ul>\n<br/>\n<h3>Neumann U67 Applications</h3>\nThe U 67 is a universal studio microphone suitable for all applications. Its smooth top-end with a subtle tube shimmer makes the U 67 an outstanding vocal microphone. Due to its essentially linear response in three polar patterns – omni, cardioid, and figure-8 – the U 67 is also a very versatile microphone for all kinds of instruments such as strings, woodwinds, brass, piano, drums, acoustic and electric guitar, bass guitar and upright bass.\n<br/><br/>\n<h3>U67 Includes</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">U67 Microphone</span></li>\n	<li>Z 48 elastic suspension</li>\n	<li>NU 67 V power supply</li>\n	<li>UC 5 microphone cable</li>\n	<li>Vintage-style Neumann case</li>\n</ul>\n<br/>\n<h3>The Neumann U67 is more than a reissue, It\'s the exact microphone that Neumann built in the 60\'s. Get the vintage \"Neumann\" sound with the peace of mind of a brand-new capsule and electronics with the new Neumann U67 Microphone. Call or chat a RSPE specialist for more information.</h3>'),(7862,75,1,1311,'<h1>Neumann U67 Large-Diaphragm Condenser Microphone</h1>\n<i>The legendary microphone from the 60\'s has returned! This reissued U67 is way more than just a reissue, it\'s built to the exact specifications of the Vintage U67, including the capsule and electronic design.</i><br/><br/>\nThe Neumann U67 Tube Condenser Microphone has returned! Neumann is once again building the legendary U67, built to the exact specifications of the vintage U67 made from 1960–1971. It uses the same capsule and electronic design. Key parts, such as the BV 12 output transformer, are meticulously reproduced according to original documentation. EF86 tubes are carefully selected for optimal characteristics and lowest noise in a dedicated measurement facility. The power supply was redesigned to meet today’s strict safety requirements and to accommodate the slightly higher filament current of newer premium grade tubes. The new power supply NU 67 V is fully compatible with older U67 microphones.<br/><br/>\nThe U 67 was the first microphone equipped with the famous K 67 capsule, which has since become associated with “the Neumann sound” and continues to be used in its successor, the U 87 A. No less important is the U 67’s masterful tube circuit featuring a clever pre-emphasis/de-emphasis scheme to minimize tube hiss. The U 67 was also the first microphone to address modern recording techniques such as close miking. Its switchable low cut filter compensates for the proximity effect occurring at short recording distances. Using its preattenuation, the U 67 can handle high sound pressure levels of up to 124 dB without distortion (and much more if you don’t mind a bit of “tube grit”).\n<br/><br/>As timeless as its sound and technical design is its outer appearance. The U 67’s cone-shaped body and the tapered headgrille have since become iconic for the Neumann brand; the same elegant design would grace its solid state successor, the U 87, for the next 50+ years.\n<br/><br/>\nThe Neumann U67 features three selectable polar patterns and advanced tube circuitry, including low cut and pad switches. The original Neumann U67 was well-equipped for virtually any recording task. It still is: To this day, many top level engineers would choose the U 67 as their “desert island” microphone for its extraordinary versatility and unmatched sound quality\n<br/><br/>\n<h3>Neumann U67 Features</h3>\n<ul>\n	<li>Reissue of the legendary Neumann U 67</li>\n	<li>Superb vocal microphone for male and female singers</li>\n	<li>Versatile microphone for all kinds of instruments</li>\n	<li>Made to original specifications using archived documentation</li>\n	<li>New power supply NU 67 V automatically adapts to the local mains voltage</li>\n	<li>Handmade and hand soldered in Germany</li>\n</ul>\n<br/>\n<h3>Neumann U67 Applications</h3>\nThe U 67 is a universal studio microphone suitable for all applications. Its smooth top-end with a subtle tube shimmer makes the U 67 an outstanding vocal microphone. Due to its essentially linear response in three polar patterns – omni, cardioid, and figure-8 – the U 67 is also a very versatile microphone for all kinds of instruments such as strings, woodwinds, brass, piano, drums, acoustic and electric guitar, bass guitar and upright bass.\n<br/><br/>\n<h3>U67 Includes</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">U67 Microphone</span></li>\n	<li>Z 48 elastic suspension</li>\n	<li>NU 67 V power supply</li>\n	<li>UC 5 microphone cable</li>\n	<li>Vintage-style Neumann case</li>\n</ul>\n<br/>\n<h3>The Neumann U67 is more than a reissue, It\'s the exact microphone that Neumann built in the 60\'s. Get the vintage \"Neumann\" sound with the peace of mind of a brand-new capsule and electronics with the new Neumann U67 Microphone. Call or chat a RSPE specialist for more information.</h3>'),(7863,85,0,1311,'Neumann U67 Large-Diaphragm Condenser Microphone'),(7864,85,1,1311,'Neumann U67 Large-Diaphragm Condenser Microphone'),(7865,76,0,1311,''),(7866,76,1,1311,''),(7867,75,0,1312,'<h1>Neve 1073 Mic Preamp & Equalizer Module</h1>\nLaunched in 1970, the 1073 is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical.<br /><br />\nHandcrafted and completely hand-wired by Neve’s dedicated professionals in Burnley, England, the modern-day 1073 is produced to the exact specifications of the original modules. Considerable resources have been devoted to the acquisition of the original components to ensure the sound remains true.<br /><br />\nThe Class A design 1073 microphone preamplifier features 3 bands of EQ, with one fixed high frequency band, two switchable bands with cut and boost capability, and a high pass filter. All Neve channel amplifiers are designed to accept signals from a wide range of microphone and line sources.<br /><br />\nThe Neve 1073 mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and more effectively captures a precise image. That’s why the 1073 mic preamp is considered by many to be the very essence of the Neve sound.<br /><br />'),(7868,75,1,1312,'<h1>Neve 1073 Mic Preamp & Equalizer Module</h1>\nLaunched in 1970, the 1073 is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical.<br /><br />\nHandcrafted and completely hand-wired by Neve’s dedicated professionals in Burnley, England, the modern-day 1073 is produced to the exact specifications of the original modules. Considerable resources have been devoted to the acquisition of the original components to ensure the sound remains true.<br /><br />\nThe Class A design 1073 microphone preamplifier features 3 bands of EQ, with one fixed high frequency band, two switchable bands with cut and boost capability, and a high pass filter. All Neve channel amplifiers are designed to accept signals from a wide range of microphone and line sources.<br /><br />\nThe Neve 1073 mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and more effectively captures a precise image. That’s why the 1073 mic preamp is considered by many to be the very essence of the Neve sound.<br /><br />'),(7869,85,0,1312,'Neve 1073 Mic Preamp & Equalizer, AMS Neve'),(7870,85,1,1312,'Neve 1073 Mic Preamp & Equalizer, AMS Neve'),(7871,76,0,1312,''),(7872,76,1,1312,''),(7873,75,0,1313,'<h1>Neve 1073DPA Stereo Mic Preamp</h1>\n\nA superb addition to the Neve outboard range, providing two of our world-famous Class A Neve 1073 microphone preamplifiers in a single rackspace. The 1073 is the mic preamp of choice for numerous leading producers and artists, delivering the unique Neve sound featured on some of the most famous recordings of the past 40 years.<br /><br />\nThe big, punchy sound of the 1073 compliments any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073DPA, the highly sought-after 1073 mic amp sound is now available in a cost-effective 1U stereo rackmount solution, without the additional EQ found on the classic 1073 unit.<br /><br />\nThe 1073DPA provides the legendary sound of Neve in a remarkably simple format. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. This stereo unit is the perfect solution for studios looking to bring in the very essence of the legendary Neve 1073 sound.<br /><br />'),(7874,75,1,1313,'<h1>Neve 1073DPA Stereo Mic Preamp</h1>\n\nA superb addition to the Neve outboard range, providing two of our world-famous Class A Neve 1073 microphone preamplifiers in a single rackspace. The 1073 is the mic preamp of choice for numerous leading producers and artists, delivering the unique Neve sound featured on some of the most famous recordings of the past 40 years.<br /><br />\nThe big, punchy sound of the 1073 compliments any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073DPA, the highly sought-after 1073 mic amp sound is now available in a cost-effective 1U stereo rackmount solution, without the additional EQ found on the classic 1073 unit.<br /><br />\nThe 1073DPA provides the legendary sound of Neve in a remarkably simple format. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. This stereo unit is the perfect solution for studios looking to bring in the very essence of the legendary Neve 1073 sound.<br /><br />'),(7875,85,0,1313,'Neve 1073DPA Stereo Mic Preamp'),(7876,85,1,1313,'Neve 1073DPA Stereo Mic Preamp'),(7877,76,0,1313,''),(7878,76,1,1313,''),(7879,75,0,1314,'<h1>Neve 1073DPD Stereo Mic Preamp</h1>\nThe Neve 1073DPD combines two of their world-famous Class A Neve 1073 microphone preamplifiers with flexible 192kHz digital output capabilities, for modern recording environments – all in a single rackspace. This classic design is the consummate mic pre for capturing vocals and musical instruments, with the added convenience of direct output to hard disk recorders or computers, thanks to the high-quality Neve-designed analogue-to-digital converters.<br /><br />\nFor those who don’t already know its legacy, the big, punchy sound of the mic 1073 preamp complements any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and all acoustic instruments.<br /><br />\nWith the 1073DPD, two Neve 1073 mic preamplifiers are complemented by superb Neve-designed analogue-to-digital converters that can capture a performance in any required format. In addition to Neve\'s famous Class A analogue, outputs are a series of digital options, including all standard PCM sampling rates up to 192kHz, selectable via convenient front-panel controls. A unique feature is the Neve DSD (Direct Stream Digital) output, providing unsurpassed quality beyond PCM technology.<br /><br />\nDespite its power, the 1073DPD is remarkably simple to operate. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. Analogue insert points are provided ahead of the A/D converters, ensure the classic Neve sound is retained.<br /><br />\nThe combination of legendary analogue circuitry and superior digital quality makes the 1073DPD the obvious choice as a front-end for recording to digital workstations.<br /><br />'),(7880,75,1,1314,'<h1>Neve 1073DPD Stereo Mic Preamp</h1>\nThe Neve 1073DPD combines two of their world-famous Class A Neve 1073 microphone preamplifiers with flexible 192kHz digital output capabilities, for modern recording environments – all in a single rackspace. This classic design is the consummate mic pre for capturing vocals and musical instruments, with the added convenience of direct output to hard disk recorders or computers, thanks to the high-quality Neve-designed analogue-to-digital converters.<br /><br />\nFor those who don’t already know its legacy, the big, punchy sound of the mic 1073 preamp complements any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and all acoustic instruments.<br /><br />\nWith the 1073DPD, two Neve 1073 mic preamplifiers are complemented by superb Neve-designed analogue-to-digital converters that can capture a performance in any required format. In addition to Neve\'s famous Class A analogue, outputs are a series of digital options, including all standard PCM sampling rates up to 192kHz, selectable via convenient front-panel controls. A unique feature is the Neve DSD (Direct Stream Digital) output, providing unsurpassed quality beyond PCM technology.<br /><br />\nDespite its power, the 1073DPD is remarkably simple to operate. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. Analogue insert points are provided ahead of the A/D converters, ensure the classic Neve sound is retained.<br /><br />\nThe combination of legendary analogue circuitry and superior digital quality makes the 1073DPD the obvious choice as a front-end for recording to digital workstations.<br /><br />'),(7881,85,0,1314,'Neve 1073DPD Stereo Mic Preamp'),(7882,85,1,1314,'Neve 1073DPD Stereo Mic Preamp'),(7883,76,0,1314,''),(7884,76,1,1314,''),(7885,75,0,1315,'<h1>Neve 1073DPX Dual Mic Preamp and EQ</h1>\n<i>2 independent, genuine Neve 1073® transformer-coupled mic pre / EQ circuits, in a single 2U 19″ rack mount enclosure</i><br /><br />\nThe Neve 1073DPX is dual mic preamp and EQ designed and built in England to the exact specifications of the original 1073 with matched components to ensure the sound remains true.<br /><br />\nThe 1073DPX has two channels of Neve 1073® Class A design microphone preamplifiers, each with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter, adding warmth and depth to recordings, bringing out subtle ambience, maintaining spatial positioning, and capturing a more precise image – embodying, think many engineers and producers, the essence of the genuine Neve sound.<br /><br />\nBuilding on the Neve 1073® classic module features, the 1073DPX introduces extra functionality with integrated DI input, phantom power, selectable Insert feature, level meters, selectable headphone monitoring and front input connectors on each channel for easy and direct connection of microphones and instruments. The 19” rack-mount 2U unit includes an external multi-voltage PSU<br /><br />\nAn optional Digital I/O module can be fitted into the 1073DPX and provides AES and FireWire digital connectivity at a range of sample rates.  Mastering-grade converters are used and the simple configuration and convenience of digital connectivity make the 1073DPX the ultimate front-end for capturing the best possible recordings\n<br /><br />\n<h3>Neve 1073DPX Features:</h3>\n<ul style=\"\">\n	<li>2 independent, genuine Neve 1073® transformer-coupled microphone preamplifier / EQ circuits, in a single 2U 19″ rack mount enclosure</li>\n	<li>Exclusive Neve Marinair™ transformers used on each input and output stage.</li>\n	<li>Convenient connections for Mic, Line & DI inputs on front of unit, with switchable mic/line input connections on the rear of the unit</li>\n	<li>Switchable +48v Phantom Power, Hi/Lo impedence, -20dB pad and DI ground lift on the input stage</li>\n	<li>Switchable Phase, and EQ in/out</li>\n	<li>Insert send and return loop feature allows external equipment to be connected easily to the 1073DPX audio chain, such as mono/stereo limiter/compressors;\n	<ul>\n		<li>Pre-EQ insert send/return – a line level send is available from the mic-preamp output stage and a return just before the EQ stage</li>\n		<li>Post-EQ insert send/return – a line level send is available from the post-EQ stage and a return just before the main output stage</li>\n	</ul>\n	</li>\n	<li>Independent channel output level controls</li>\n	<li>7-stage LED signal level meters for each channel – can show mic/line/DI input-stage level, EQ-stage level or output-stage level up to +24dB</li>\n	<li>Headphone output with adjustable volume control, can listen to channel 1, channel 2 or both channels combined</li>\n	<li>External multi-voltage PSU</li>\n	<li>Optional Digital I/O module</li>\n</ul>\n<br /><br />'),(7886,75,1,1315,'<h1>Neve 1073DPX Dual Mic Preamp and EQ</h1>\n<i>2 independent, genuine Neve 1073® transformer-coupled mic pre / EQ circuits, in a single 2U 19″ rack mount enclosure</i><br /><br />\nThe Neve 1073DPX is dual mic preamp and EQ designed and built in England to the exact specifications of the original 1073 with matched components to ensure the sound remains true.<br /><br />\nThe 1073DPX has two channels of Neve 1073® Class A design microphone preamplifiers, each with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter, adding warmth and depth to recordings, bringing out subtle ambience, maintaining spatial positioning, and capturing a more precise image – embodying, think many engineers and producers, the essence of the genuine Neve sound.<br /><br />\nBuilding on the Neve 1073® classic module features, the 1073DPX introduces extra functionality with integrated DI input, phantom power, selectable Insert feature, level meters, selectable headphone monitoring and front input connectors on each channel for easy and direct connection of microphones and instruments. The 19” rack-mount 2U unit includes an external multi-voltage PSU<br /><br />\nAn optional Digital I/O module can be fitted into the 1073DPX and provides AES and FireWire digital connectivity at a range of sample rates.  Mastering-grade converters are used and the simple configuration and convenience of digital connectivity make the 1073DPX the ultimate front-end for capturing the best possible recordings\n<br /><br />\n<h3>Neve 1073DPX Features:</h3>\n<ul style=\"\">\n	<li>2 independent, genuine Neve 1073® transformer-coupled microphone preamplifier / EQ circuits, in a single 2U 19″ rack mount enclosure</li>\n	<li>Exclusive Neve Marinair™ transformers used on each input and output stage.</li>\n	<li>Convenient connections for Mic, Line & DI inputs on front of unit, with switchable mic/line input connections on the rear of the unit</li>\n	<li>Switchable +48v Phantom Power, Hi/Lo impedence, -20dB pad and DI ground lift on the input stage</li>\n	<li>Switchable Phase, and EQ in/out</li>\n	<li>Insert send and return loop feature allows external equipment to be connected easily to the 1073DPX audio chain, such as mono/stereo limiter/compressors;\n	<ul>\n		<li>Pre-EQ insert send/return – a line level send is available from the mic-preamp output stage and a return just before the EQ stage</li>\n		<li>Post-EQ insert send/return – a line level send is available from the post-EQ stage and a return just before the main output stage</li>\n	</ul>\n	</li>\n	<li>Independent channel output level controls</li>\n	<li>7-stage LED signal level meters for each channel – can show mic/line/DI input-stage level, EQ-stage level or output-stage level up to +24dB</li>\n	<li>Headphone output with adjustable volume control, can listen to channel 1, channel 2 or both channels combined</li>\n	<li>External multi-voltage PSU</li>\n	<li>Optional Digital I/O module</li>\n</ul>\n<br /><br />'),(7887,85,0,1315,''),(7888,85,1,1315,''),(7889,76,0,1315,''),(7890,76,1,1315,''),(7891,75,0,1316,'<h1>Neve 1073LB Mic Pre Module 500 Series </h1>\n<span style=\"font-size:16px; font-style:italic;\">A compact version of the classic 1073 mic preamp, the 1073LB Mic Pre rack module brings authentic Neve sound to the more affordable 500-series format</span><br /><br />\nWhile the Neve 1073LB is a 500-series modular preamp, Neve is no stranger to modular design. The original Neve 10 series, which included the 1073, 1066, 1081, and 1084, were designed as input modules for the Neve 80-series consoles. First launched in 1970, the 1073 mic pre, noted for it’s big, punchy, larger-than-life sound, still remains the first-choice of leading producers and artists. And now, the Neve 1073LB 500-series module delivers the same unique Neve sound—found on some of the most famous recordings of the past 40 years—to the more affordable 500 series format. From rock to pop, hip-hop to rap, thrash to classical, the AMS Neve 1073LB Mic Pre Module complements any and all musical genres.<br /><br />\n<h3></h3>\n<h3>1073LB Mic Pre Module unique features:</h3>\n<ul>\n	<li>Front combi-XLR connector with intelligent switching of phantom power</li>\n	<li>Audio Processing Insert design allows processing from adjacent Neve 500 modules, such as the <a href=\"http://www.rspeaudio.com/Neve-1073LBEQ-Mono-EQ-module-p/nve-1073lb-eq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB EQ</a> and <a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">2264A LB</a> to be inserted into the 1073LB\'s pre-output stage</li>\n</ul>\n<h3>1073LB Mic Pre Module key features:</h3>\n<ul>\n	<li>Classic transformer microphone preamp amp (Class A design)                            </li>\n	<li>Neve-designed, hand-wound transformers                                                </li>\n	<li>Both Mic and Line inputs are transformer balanced and earth free                      </li>\n	<li>Gain knob with Signal Presence LED                                                    </li>\n	<li>+5/-20dB level Trim control with integrated phantom power on/off switch               </li>\n	<li>Phase, impedance and front input selector switches                                    </li>\n	<li>Microphone Input: Gain -80db to -20dB in 5dB steps                                    </li>\n	<li>Line Input: Input impedance 4k ohms bridging, gain -20dB to +10dB in 5dB steps        </li>\n	<li>Output is transformer balanced and earth free                                         </li>\n	<li>Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) </li>\n	<li>Freq Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz                                    </li>\n	<li>Crafted in England by Neve engineers</li>\n</ul>\n<br />\n<h2>Inside The Box</h2>\nBuilt by Neve engineers to exacting specifications in a purpose-built facility in England, the 1073LB Mic Pre module retains the sonic characteristics of the original 1073 classic microphone pre-amplifier by using the same architecture, matching components, and original hand-wound transformers. In order to maintain the integrity of the original Neve 1073 design for the 500-series format, Neve divided the 1073 into two modules, the 1073LB, which is a preamp only, and the \n<a href=\"http://www.rspeaudio.com/Neve-1073LBEQ-Mono-EQ-module-p/nve-1073lb-eq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB EQ</a>, which is the EQ section of the 1073. When combined, you get the full functionality and sound of the classic 1073, plus some very useful new features, such as a fine Trim control; switchable microphone input impedance; signal presence LED; and intelligent-protected switching of front XLR/TRS combi-jack input connector. <br /><br />\nThe 1073LB also features Neve\'s Audio Processing Insert* design, where processing from adjacent modules in the same lunchbox can be inserted into the 1073LB\'s pre-output stage. This means, for example, that a 1073LB EQ module can become a true insert, rather than simply forming the end of an audio chain. The 1073LB Mic Pre takes your 500-series Lunchbox to the next level.<br /><br />\n* Note — The Neve 1073LB has two versions: Issue 1 and Issue 2. Setting up an older Issue 1 1073LB for insert processing requires opening the side panel and soldering a connecting cable. Issue 2 1073LB can be set to insert processing by setting a rear-panel DIP switch. <br /><br />\n<h2>Outside The Box</h2>\nPhysically smaller than the old 10-series 1073, the 500-series 1073LB flies the classic Neve colors. The front panel controls include a two-color signal LED, which indicates input signal level. It lights green between -25dB and +26dB and red at +26dB or higher. Gain for line input ranges from -20dB to +10dB in 5dB steps, while the mic input gain runs from -20dB to -80dB for the mic input (with a center position between the 50dB and 55dB steps). If the Gain control is set to a Mic Gain position with phantom power applied, and later switched to Line Gain setting, the phantom power will automatically be switched off. Phantom power is not available when the gain control is set to a Line Gain value.\n<br /><br />\nThere are three buttons on the front panel, which include Lo-Z, Phase, and FR I/P. The Lo-Z button (transformer-coupled stage) selects between 1200 ohm (Hi-Z) or 300 ohm (Lo-Z) input impedance. With this button pressed, the adjacent LED will light yellow and low impedance will be applied to the incoming mic signal. The Phase button inverts the phase of the signal. The third front-panel button, labeled FR I/P, selects the input signal from the front connector of the unit to be used (Mic or Line) rather than the input on the rear of the Lunchbox unit. Its LED indicator will light green when the Front Input is selected.  Selecting (or de-selecting) FR I/P will also turn off the phantom power if it is active at the time. Phantom power is turned on or off by pressing the Trim control. The +48v LED, which is just below the green FR I/P LED, will light red to show when phantom power is in the circuit. And finally, the Trim control is a -20dB/+5dB pot with a 0dB center detent. Trim affects both the Mic and Line input. Its signal is fed into a transformer-balanced Class A output stage. <br /><br />\nThe rear panel of the 1073LB has two unique features, which are the INS Link (Insert link) connector and Switch Block. The Insert Link is used when a 1073LB Mic Pre module uses an adjacent AMS Neve module as a true audio insert across it (for example, the 1073LB EQ [Link]) and both modules are set to work in Insert mode. A cable that links the two modules together is supplied with the module you wish to use as the insert. The Switch Block (found on Issue 2 units only) sets the module for insert use. \nWhile there are many imitators, there is only one Neve, and the 1073LB is one of the most cost-effective ways to add the classic, authentic Neve sound to your system. Plus, you can always add EQ later. And with new features, such as variable input impedance, and combi-XLR connector, Neve has delivered a preamp that raises the bar for the 500 Series format. \n<br /><br />\n<h3>Who’s Using Neve:</h3>\nSeriously? There are only two kinds of people in pro audio: Those who use Neve, and those who wish they could. \n<br /><br />\n<h3>About AMS Neve</h3>\nWith a reputation for creating the world’s sweetest sounding and longest-lasting analog and digital consoles, the most discerning artists, producers, and facility owners regard AMS Neve products as number one for desirability on their equipment list, and have done for the past fifty years.\n<br /><br />\nAMS Neve is a dedicated, engineering-led and privately owned company whose continuing mission is to provide the best possible sound, capability, and operational experience for the most creative people in the world—whether for film, recorded music, or TV and broadcast. All AMS Neve products are designed and built in England in a purpose-built, integrated facility. <br /><br />\nRecognized by all the premier bodies in the various fields of music, TV, and film, Neve products and their designers have been honored by two Scientific and Engineering Academy Awards, an Emmy, and a Grammy, amongst many others. <br /><br />\nAMS Neve has pioneered a very large number of groundbreaking techniques in the industry, including hard disk editing, digital console technology, digital audio for film, microprocessor-controlled effects units, and standards such as MADI. In the transient world of short product life cycles, AMS Neve’s products stand the test of time. <br /><br />\n<h3>Put a Neve 1073LB into an empty slot in your compatible 500-series rack, connect your microphone or line level device, and inject the legendary Neve sound into your audio creations. 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/Neve_1073LB_Mono_Mic_Preamp_module_RENT_p/nve-1073lb-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(7892,75,1,1316,'<h1>Neve 1073LB Mic Pre Module 500 Series </h1>\n<span style=\"font-size:16px; font-style:italic;\">A compact version of the classic 1073 mic preamp, the 1073LB Mic Pre rack module brings authentic Neve sound to the more affordable 500-series format</span><br /><br />\nWhile the Neve 1073LB is a 500-series modular preamp, Neve is no stranger to modular design. The original Neve 10 series, which included the 1073, 1066, 1081, and 1084, were designed as input modules for the Neve 80-series consoles. First launched in 1970, the 1073 mic pre, noted for it’s big, punchy, larger-than-life sound, still remains the first-choice of leading producers and artists. And now, the Neve 1073LB 500-series module delivers the same unique Neve sound—found on some of the most famous recordings of the past 40 years—to the more affordable 500 series format. From rock to pop, hip-hop to rap, thrash to classical, the AMS Neve 1073LB Mic Pre Module complements any and all musical genres.<br /><br />\n<h3></h3>\n<h3>1073LB Mic Pre Module unique features:</h3>\n<ul>\n	<li>Front combi-XLR connector with intelligent switching of phantom power</li>\n	<li>Audio Processing Insert design allows processing from adjacent Neve 500 modules, such as the <a href=\"http://www.rspeaudio.com/Neve-1073LBEQ-Mono-EQ-module-p/nve-1073lb-eq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB EQ</a> and <a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">2264A LB</a> to be inserted into the 1073LB\'s pre-output stage</li>\n</ul>\n<h3>1073LB Mic Pre Module key features:</h3>\n<ul>\n	<li>Classic transformer microphone preamp amp (Class A design)                            </li>\n	<li>Neve-designed, hand-wound transformers                                                </li>\n	<li>Both Mic and Line inputs are transformer balanced and earth free                      </li>\n	<li>Gain knob with Signal Presence LED                                                    </li>\n	<li>+5/-20dB level Trim control with integrated phantom power on/off switch               </li>\n	<li>Phase, impedance and front input selector switches                                    </li>\n	<li>Microphone Input: Gain -80db to -20dB in 5dB steps                                    </li>\n	<li>Line Input: Input impedance 4k ohms bridging, gain -20dB to +10dB in 5dB steps        </li>\n	<li>Output is transformer balanced and earth free                                         </li>\n	<li>Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) </li>\n	<li>Freq Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz                                    </li>\n	<li>Crafted in England by Neve engineers</li>\n</ul>\n<br />\n<h2>Inside The Box</h2>\nBuilt by Neve engineers to exacting specifications in a purpose-built facility in England, the 1073LB Mic Pre module retains the sonic characteristics of the original 1073 classic microphone pre-amplifier by using the same architecture, matching components, and original hand-wound transformers. In order to maintain the integrity of the original Neve 1073 design for the 500-series format, Neve divided the 1073 into two modules, the 1073LB, which is a preamp only, and the \n<a href=\"http://www.rspeaudio.com/Neve-1073LBEQ-Mono-EQ-module-p/nve-1073lb-eq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB EQ</a>, which is the EQ section of the 1073. When combined, you get the full functionality and sound of the classic 1073, plus some very useful new features, such as a fine Trim control; switchable microphone input impedance; signal presence LED; and intelligent-protected switching of front XLR/TRS combi-jack input connector. <br /><br />\nThe 1073LB also features Neve\'s Audio Processing Insert* design, where processing from adjacent modules in the same lunchbox can be inserted into the 1073LB\'s pre-output stage. This means, for example, that a 1073LB EQ module can become a true insert, rather than simply forming the end of an audio chain. The 1073LB Mic Pre takes your 500-series Lunchbox to the next level.<br /><br />\n* Note — The Neve 1073LB has two versions: Issue 1 and Issue 2. Setting up an older Issue 1 1073LB for insert processing requires opening the side panel and soldering a connecting cable. Issue 2 1073LB can be set to insert processing by setting a rear-panel DIP switch. <br /><br />\n<h2>Outside The Box</h2>\nPhysically smaller than the old 10-series 1073, the 500-series 1073LB flies the classic Neve colors. The front panel controls include a two-color signal LED, which indicates input signal level. It lights green between -25dB and +26dB and red at +26dB or higher. Gain for line input ranges from -20dB to +10dB in 5dB steps, while the mic input gain runs from -20dB to -80dB for the mic input (with a center position between the 50dB and 55dB steps). If the Gain control is set to a Mic Gain position with phantom power applied, and later switched to Line Gain setting, the phantom power will automatically be switched off. Phantom power is not available when the gain control is set to a Line Gain value.\n<br /><br />\nThere are three buttons on the front panel, which include Lo-Z, Phase, and FR I/P. The Lo-Z button (transformer-coupled stage) selects between 1200 ohm (Hi-Z) or 300 ohm (Lo-Z) input impedance. With this button pressed, the adjacent LED will light yellow and low impedance will be applied to the incoming mic signal. The Phase button inverts the phase of the signal. The third front-panel button, labeled FR I/P, selects the input signal from the front connector of the unit to be used (Mic or Line) rather than the input on the rear of the Lunchbox unit. Its LED indicator will light green when the Front Input is selected.  Selecting (or de-selecting) FR I/P will also turn off the phantom power if it is active at the time. Phantom power is turned on or off by pressing the Trim control. The +48v LED, which is just below the green FR I/P LED, will light red to show when phantom power is in the circuit. And finally, the Trim control is a -20dB/+5dB pot with a 0dB center detent. Trim affects both the Mic and Line input. Its signal is fed into a transformer-balanced Class A output stage. <br /><br />\nThe rear panel of the 1073LB has two unique features, which are the INS Link (Insert link) connector and Switch Block. The Insert Link is used when a 1073LB Mic Pre module uses an adjacent AMS Neve module as a true audio insert across it (for example, the 1073LB EQ [Link]) and both modules are set to work in Insert mode. A cable that links the two modules together is supplied with the module you wish to use as the insert. The Switch Block (found on Issue 2 units only) sets the module for insert use. \nWhile there are many imitators, there is only one Neve, and the 1073LB is one of the most cost-effective ways to add the classic, authentic Neve sound to your system. Plus, you can always add EQ later. And with new features, such as variable input impedance, and combi-XLR connector, Neve has delivered a preamp that raises the bar for the 500 Series format. \n<br /><br />\n<h3>Who’s Using Neve:</h3>\nSeriously? There are only two kinds of people in pro audio: Those who use Neve, and those who wish they could. \n<br /><br />\n<h3>About AMS Neve</h3>\nWith a reputation for creating the world’s sweetest sounding and longest-lasting analog and digital consoles, the most discerning artists, producers, and facility owners regard AMS Neve products as number one for desirability on their equipment list, and have done for the past fifty years.\n<br /><br />\nAMS Neve is a dedicated, engineering-led and privately owned company whose continuing mission is to provide the best possible sound, capability, and operational experience for the most creative people in the world—whether for film, recorded music, or TV and broadcast. All AMS Neve products are designed and built in England in a purpose-built, integrated facility. <br /><br />\nRecognized by all the premier bodies in the various fields of music, TV, and film, Neve products and their designers have been honored by two Scientific and Engineering Academy Awards, an Emmy, and a Grammy, amongst many others. <br /><br />\nAMS Neve has pioneered a very large number of groundbreaking techniques in the industry, including hard disk editing, digital console technology, digital audio for film, microprocessor-controlled effects units, and standards such as MADI. In the transient world of short product life cycles, AMS Neve’s products stand the test of time. <br /><br />\n<h3>Put a Neve 1073LB into an empty slot in your compatible 500-series rack, connect your microphone or line level device, and inject the legendary Neve sound into your audio creations. 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/Neve_1073LB_Mono_Mic_Preamp_module_RENT_p/nve-1073lb-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(7893,85,0,1316,'Neve 1073LB Mono Mic Preamp module'),(7894,85,1,1316,'Neve 1073LB Mono Mic Preamp module'),(7895,76,0,1316,''),(7896,76,1,1316,''),(7897,75,0,1317,'<h1>Neve 1073LB EQ 500-Series EQ Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The companion EQ to the Neve 1073LB 500-series preamp, with the classic 1073 3-band EQ and insert functionality</span><br /><br />\nIf anyone has earned the moniker, “Father of British EQ” (apart from Peter Baxandall), the title should go to Mr. Rupert Neve for the EQ found in the 1073 preamp he designed to populate the early Neve recording consoles. And now the EQ section of the classic 1073 is available for your 500-series rack with the 1073LB EQ. Crafted in England by Neve engineers, the mono 1073LB EQ equalizer module retains the unique sonic characteristics of the original 1073 EQ by using the same circuit architecture and matching components. Revered for its larger-than-life sound and high-end sheen, the Neve 1073 remains the reigning monarch of audio royalty since its introduction in 1970—and the 1073LB EQ carries that tradition forward into the 500-series format.  <br /><br />\n<h3>1073LB EQ 500-Series EQ Module features:</h3>\n<ul>\n	<li>Legendary 3-band EQ design                                                                                                                                                                   </li>\n	<li>Rotary controls provide accurate adjustment of the 1073 3-band EQ and High Pass filter                                                                                                       </li>\n	<li>Signal presence LED illuminates green from a level of -25dB and red from a level of +24dB                                                                                                    </li>\n	<li>Switch for EQ In/Out function, with LED indicator                                                                                                                                            </li>\n	<li>Electronically balanced circuits used in Line Input and Line Output stages for standalone module use                                                                                         </li>\n	<li>Audio Processing Insert design allows the audio to/from the 1073LB EQ module to be inserted into the audio path of a 1073LB Mic Pre module (must be fitted in the same 500-series power rack)</li>\n	<li>Fully screened module, packaged in Mu-metal casing helps eliminate stray electromagnetic fields from lunchbox™ PSU or other module types                                                     </li>\n</ul>\nThe Neve 1073 had its origins in 1970, when Mr. Rupert Neve designed mic/pre/EQ modules to populate the Neve 80-series consoles. To maintain sonic integrity across the console, he married the same preamp to a selection of modules, each with marginal differences in EQ curves for a wider sonic palette. From that concept, the 1066, 1073, 1081, and 1084 preamp/EQ modules were born. They share the same mic/line amplifier, but differ in terms of available EQ shelves and frequency selections. Of all the modules, the 1073, with its 12kHz high-frequency shelf spoke the loudest to makers of rock and pop music, and has been the hands-down favorite for decades. \n<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h2>Inside The Box</h2>\nThe 1073LB EQ mono EQ module retains the unique sonic characteristics of the original 1073 classic EQ by using the same EQ circuit architecture and matching components. With new features, such as a signal-presence LED and Neve’s Audio Processing Insert design, the 1073LB EQ takes your 500-series rack to the next level. Simply install into an empty slot in your compatible 500-series rack, connect your line level signals, and you’ll be able to infuse your recordings with the legendary Neve EQ sound. And it\'s the perfect pairing for the incredible Neve \n<a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre Module. The 1073LB EQ module can be inserted between the input and output stages of the 1073LB module, creating a true 1073 classic audio path. Revolutionary.<br /><br />\n<h2>Outside The Box</h2>\nFlying the traditional Neve colors, the front panel of the 1073LB EQ has three dual-concentric knobs for EQ frequency selection and gain. The inner knob of the top control is high-frequency cut and boost with +/-16dB of smooth shelving at a fixed frequency of 12kHz (yes, the same 12kHz shelf that made the 1073 famous). The top control’s outer blue dial is a high-pass filter with an 18dB per octave slope and selectable threshold of 50Hz, 80Hz, 160Hz or 300Hz. This control is a different color in relation to the other outer control dials to indicate it bears no direct relationship to its inner knob. \n<br /><br />\nAbove the high-frequency controls and high-pass filter, is a three-state LED indicator showing outgoing signal level:\n<ul>\n	<li>Off below -26dB </li>\n	<li>Lights green between -25dB and +23dB</li>\n	<li>Lights red at +24dB or higher       </li>\n</ul>\nThe middle inner knob is, not un-coincidentally, the Mid Frequency Cut and Boost knob and Mid Frequency Selector. It provides +/-18dB of even boost and cut with a fixed Q and selectable center. The midrange frequency control, which is the middle outer dial, selects the following frequencies: 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz, or 7.2kHz.\n<br /><br />\nAnd as expected, the control at the bottom of the front panel is Low Frequency Cut and Boost (bottom, inner knob). It’s a +/-16dB shelving control with a fixed Q and selectable center. The bottom outer dial lets you select low frequencies, including 35Hz, 60Hz, 110Hz, or 220Hz. Below the low-frequency controls are the EQ In/Out button and LED indicator. The LED lights green when the EQ button is pressed and in-circuit, and unlit when deselected and bypassed.<br /><br />\nThe rear panel of the 1073LB EQ has two unique features, which are the INS Link connector and Switch Block. Set to insert mode, the 1073LB EQ module acts as a true audio insert on an adjacent <a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre module. This involves connecting both of the units together with the supplied cable, and setting both of the 1073LB EQ and 1073LB Mic Pre modules to work in Insert mode.<br /><br />\nIn Standalone mode, the audio signals will pass through the electronically balanced input and output of the 1073LB EQ module. Whether you use the 1073LB EQ in Standalone Mode or 1073LB Mic Pre Insert Mode, the front-panel operation is identical.<br /><br />\nLaunched in 1970, the original Neve 1073 module is perhaps the world’s most famous and desirable microphone preamp and EQ for recording vocals and instruments of all types. The first choice of countless leading producers and artists, the 1073 delivers the unique Neve sound featured on many of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 classic complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical.<br /><br />\n<h3>Who’s Using Neve:</h3>\nSeriously? There are only two kinds of people in pro audio: Those who use Neve, and those who wish they could. \n<br /><br />\n<h3>About AMS Neve</h3>\nWith a reputation for creating the world’s sweetest sounding and longest-lasting analog and digital consoles, the most discerning artists, producers, and facility owners regard AMS Neve products as number one for desirability on their equipment list, and have done for the past fifty years.\n<br /><br />\nAMS Neve is a dedicated, engineering-led and privately owned company whose continuing mission is to provide the best possible sound, capability, and operational experience for the most creative people in the world—whether for film, recorded music, or TV and broadcast. All AMS Neve products are designed and built in England in a purpose-built, integrated facility. <br /><br />\nRecognized by all the premier bodies in the various fields of music, TV, and film, Neve products and their designers have been honored by two Scientific and Engineering Academy Awards, an Emmy, and a Grammy, amongst many others. <br /><br />\nAMS Neve has pioneered a very large number of groundbreaking techniques in the industry, including hard disk editing, digital console technology, digital audio for film, microprocessor-controlled effects units, and standards such as MADI. In the transient world of short product life cycles, AMS Neve’s products stand the test of time. <br /><br />\n<h3>Neve EQ has arguably crafted the sonic texture of more signature sounds and hit vocals in the history of recorded music than any other. Put a Neve 1073LB EQ to work in your 500-series rack. 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/Neve_1073LBEQ_Mono_EQ_module_RENT_p/nve-1073lb-eq-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(7898,75,1,1317,'<h1>Neve 1073LB EQ 500-Series EQ Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The companion EQ to the Neve 1073LB 500-series preamp, with the classic 1073 3-band EQ and insert functionality</span><br /><br />\nIf anyone has earned the moniker, “Father of British EQ” (apart from Peter Baxandall), the title should go to Mr. Rupert Neve for the EQ found in the 1073 preamp he designed to populate the early Neve recording consoles. And now the EQ section of the classic 1073 is available for your 500-series rack with the 1073LB EQ. Crafted in England by Neve engineers, the mono 1073LB EQ equalizer module retains the unique sonic characteristics of the original 1073 EQ by using the same circuit architecture and matching components. Revered for its larger-than-life sound and high-end sheen, the Neve 1073 remains the reigning monarch of audio royalty since its introduction in 1970—and the 1073LB EQ carries that tradition forward into the 500-series format.  <br /><br />\n<h3>1073LB EQ 500-Series EQ Module features:</h3>\n<ul>\n	<li>Legendary 3-band EQ design                                                                                                                                                                   </li>\n	<li>Rotary controls provide accurate adjustment of the 1073 3-band EQ and High Pass filter                                                                                                       </li>\n	<li>Signal presence LED illuminates green from a level of -25dB and red from a level of +24dB                                                                                                    </li>\n	<li>Switch for EQ In/Out function, with LED indicator                                                                                                                                            </li>\n	<li>Electronically balanced circuits used in Line Input and Line Output stages for standalone module use                                                                                         </li>\n	<li>Audio Processing Insert design allows the audio to/from the 1073LB EQ module to be inserted into the audio path of a 1073LB Mic Pre module (must be fitted in the same 500-series power rack)</li>\n	<li>Fully screened module, packaged in Mu-metal casing helps eliminate stray electromagnetic fields from lunchbox™ PSU or other module types                                                     </li>\n</ul>\nThe Neve 1073 had its origins in 1970, when Mr. Rupert Neve designed mic/pre/EQ modules to populate the Neve 80-series consoles. To maintain sonic integrity across the console, he married the same preamp to a selection of modules, each with marginal differences in EQ curves for a wider sonic palette. From that concept, the 1066, 1073, 1081, and 1084 preamp/EQ modules were born. They share the same mic/line amplifier, but differ in terms of available EQ shelves and frequency selections. Of all the modules, the 1073, with its 12kHz high-frequency shelf spoke the loudest to makers of rock and pop music, and has been the hands-down favorite for decades. \n<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h2>Inside The Box</h2>\nThe 1073LB EQ mono EQ module retains the unique sonic characteristics of the original 1073 classic EQ by using the same EQ circuit architecture and matching components. With new features, such as a signal-presence LED and Neve’s Audio Processing Insert design, the 1073LB EQ takes your 500-series rack to the next level. Simply install into an empty slot in your compatible 500-series rack, connect your line level signals, and you’ll be able to infuse your recordings with the legendary Neve EQ sound. And it\'s the perfect pairing for the incredible Neve \n<a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre Module. The 1073LB EQ module can be inserted between the input and output stages of the 1073LB module, creating a true 1073 classic audio path. Revolutionary.<br /><br />\n<h2>Outside The Box</h2>\nFlying the traditional Neve colors, the front panel of the 1073LB EQ has three dual-concentric knobs for EQ frequency selection and gain. The inner knob of the top control is high-frequency cut and boost with +/-16dB of smooth shelving at a fixed frequency of 12kHz (yes, the same 12kHz shelf that made the 1073 famous). The top control’s outer blue dial is a high-pass filter with an 18dB per octave slope and selectable threshold of 50Hz, 80Hz, 160Hz or 300Hz. This control is a different color in relation to the other outer control dials to indicate it bears no direct relationship to its inner knob. \n<br /><br />\nAbove the high-frequency controls and high-pass filter, is a three-state LED indicator showing outgoing signal level:\n<ul>\n	<li>Off below -26dB </li>\n	<li>Lights green between -25dB and +23dB</li>\n	<li>Lights red at +24dB or higher       </li>\n</ul>\nThe middle inner knob is, not un-coincidentally, the Mid Frequency Cut and Boost knob and Mid Frequency Selector. It provides +/-18dB of even boost and cut with a fixed Q and selectable center. The midrange frequency control, which is the middle outer dial, selects the following frequencies: 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz, or 7.2kHz.\n<br /><br />\nAnd as expected, the control at the bottom of the front panel is Low Frequency Cut and Boost (bottom, inner knob). It’s a +/-16dB shelving control with a fixed Q and selectable center. The bottom outer dial lets you select low frequencies, including 35Hz, 60Hz, 110Hz, or 220Hz. Below the low-frequency controls are the EQ In/Out button and LED indicator. The LED lights green when the EQ button is pressed and in-circuit, and unlit when deselected and bypassed.<br /><br />\nThe rear panel of the 1073LB EQ has two unique features, which are the INS Link connector and Switch Block. Set to insert mode, the 1073LB EQ module acts as a true audio insert on an adjacent <a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre module. This involves connecting both of the units together with the supplied cable, and setting both of the 1073LB EQ and 1073LB Mic Pre modules to work in Insert mode.<br /><br />\nIn Standalone mode, the audio signals will pass through the electronically balanced input and output of the 1073LB EQ module. Whether you use the 1073LB EQ in Standalone Mode or 1073LB Mic Pre Insert Mode, the front-panel operation is identical.<br /><br />\nLaunched in 1970, the original Neve 1073 module is perhaps the world’s most famous and desirable microphone preamp and EQ for recording vocals and instruments of all types. The first choice of countless leading producers and artists, the 1073 delivers the unique Neve sound featured on many of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 classic complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical.<br /><br />\n<h3>Who’s Using Neve:</h3>\nSeriously? There are only two kinds of people in pro audio: Those who use Neve, and those who wish they could. \n<br /><br />\n<h3>About AMS Neve</h3>\nWith a reputation for creating the world’s sweetest sounding and longest-lasting analog and digital consoles, the most discerning artists, producers, and facility owners regard AMS Neve products as number one for desirability on their equipment list, and have done for the past fifty years.\n<br /><br />\nAMS Neve is a dedicated, engineering-led and privately owned company whose continuing mission is to provide the best possible sound, capability, and operational experience for the most creative people in the world—whether for film, recorded music, or TV and broadcast. All AMS Neve products are designed and built in England in a purpose-built, integrated facility. <br /><br />\nRecognized by all the premier bodies in the various fields of music, TV, and film, Neve products and their designers have been honored by two Scientific and Engineering Academy Awards, an Emmy, and a Grammy, amongst many others. <br /><br />\nAMS Neve has pioneered a very large number of groundbreaking techniques in the industry, including hard disk editing, digital console technology, digital audio for film, microprocessor-controlled effects units, and standards such as MADI. In the transient world of short product life cycles, AMS Neve’s products stand the test of time. <br /><br />\n<h3>Neve EQ has arguably crafted the sonic texture of more signature sounds and hit vocals in the history of recorded music than any other. Put a Neve 1073LB EQ to work in your 500-series rack. 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/Neve_1073LBEQ_Mono_EQ_module_RENT_p/nve-1073lb-eq-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(7899,85,0,1317,'Neve 1073LBEQ Mono EQ module'),(7900,85,1,1317,'Neve 1073LBEQ Mono EQ module'),(7901,76,0,1317,''),(7902,76,1,1317,''),(7903,75,0,1318,'<h1>Neve 1073N Standalone Mono Mic Preamp and EQ Module</h1>\n\nLaunched in 1970, the Neve 1073 Classic soon became the first choice mic preamp for leading producers and artists.\nFound on some of the most famous recordings of the past 40 years, the big, punchy sound of the 1073 complements any musical genre – from rock to rap to classical.  The quality is legendary.<br /><br />\nDesigned and built in England, the modern-day 1073N is produced to the exact specifications of the original, matching components to ensure the sound remains true.  The Class A design 1073N microphone preamplifier has 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and a high pass filter. The Neve 1073N mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and captures a more precise image – embodying, think many engineers and producers, the essence of the Neve sound.<br /><br />\nBuilding on the 1073 classic module features, the 1073N introduces extra functionality with an integrated DI input, I/O connectors for direct connection of microphones and instruments and other equipment, phantom power for powered microphones and a PSU for standalone use. It can also be fitted into compatible racks/housings or retrofit into 80 Series Neve Classic consoles.  Neve – no question.<br /><br />'),(7904,75,1,1318,'<h1>Neve 1073N Standalone Mono Mic Preamp and EQ Module</h1>\n\nLaunched in 1970, the Neve 1073 Classic soon became the first choice mic preamp for leading producers and artists.\nFound on some of the most famous recordings of the past 40 years, the big, punchy sound of the 1073 complements any musical genre – from rock to rap to classical.  The quality is legendary.<br /><br />\nDesigned and built in England, the modern-day 1073N is produced to the exact specifications of the original, matching components to ensure the sound remains true.  The Class A design 1073N microphone preamplifier has 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and a high pass filter. The Neve 1073N mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and captures a more precise image – embodying, think many engineers and producers, the essence of the Neve sound.<br /><br />\nBuilding on the 1073 classic module features, the 1073N introduces extra functionality with an integrated DI input, I/O connectors for direct connection of microphones and instruments and other equipment, phantom power for powered microphones and a PSU for standalone use. It can also be fitted into compatible racks/housings or retrofit into 80 Series Neve Classic consoles.  Neve – no question.<br /><br />'),(7905,85,0,1318,'Neve 1073N Standalone Mono Mic Preamp and EQ Module'),(7906,85,1,1318,'Neve 1073N Standalone Mono Mic Preamp and EQ Module'),(7907,76,0,1318,''),(7908,76,1,1318,''),(7909,75,0,1319,'<h1>Neve 1073OPX 8-Channel Mic/Line Preamp</h1>\n<i>\nEight Legendary 1073® remote-controlled Preamps with Marinair® Transformers in a 2U rack, can be outfitted with Optional Digital Card to provide a USB and Dante AD/DA interface.</i><br/><br/>\nThe Neve 1073OPX continues the 1073® pedigree, packing eight legendary preamps into a 2U rack unit. The 1073OPX is an eight-channel Microphone, Line,and Instrument preamplifier featuring Marinair® transformer-coupled microphone preamplifiers. Housed in a 2 unit 19\" rackmount enclosure with an optional digital interface, the 1073OPX is the ideal preamp for any studio setup, allowing engineers, producers, and artists to expand their recording capabilities and access the legendary Neve sound once only achievable at the world’s premier studios.<br/><br/>\nThe 1073OPX DI Input is a transformer-less Class-A design offering +30 to +60dB of gain with front-mounted dual concentric inputs for instrument connection.<br/><br/>\nThis fully digitally controlled preamplifier has Total Recall™ capability via the proprietary 1073OPX remote control software. All of the 1073OPX settings and controls can be adjusted directly from the front panel or remotely byusing the Neve® Remote-Control software installed onto a connected MAC or PC computer. This provides a simple and elegant solution for users of DAW, Broadcast, or Live sound reinforcement systems.<br/><br/>\nUp to eight 1073OPX units can be connected to the remote-control computer, giving up to 64Mic Preamplifiers, Line Level,or DI inputs, all controlled from a single point. The unit always powers up with all settings, levels and states as they were at power-down.<br/><br/>\nThe optional Digital Card enables the device to be used as a Dante enabled Audio-over-IP preamplifier with both Primary and Secondary network capability. The optional digital I/O card comes with Neve’s industry-revered mastering-grade converters with up to 192kHz/24-Bit A/D conversion over USB connection for use as a Primary Audio Interface to any connected DAW-enabled computer.<br/><br/>\nA unique feature of the 1073OPX is its analogue and digital monitor return path. This feature allows the device to be used as an analogue monitoring system feeding studio loudspeakers, cue mix systems as a primary audio interface with complete I/O for any MAC/PC DAW enabled computer. The 1073OPX’s analogue and digital monitor signal path allows use as a complete standalone I/O interface or as a live room remote preamp with a full, latency-free monitoring cue mix signal path. <br/><br/>\n<h3>Neve 1073OPX Features</h3>\n<ul>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.  </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Exclusive Neve® Marinair® transformers on Microphone input.</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Class-A transformer-less DI input</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Automatic Total Recall™ of all settings.</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Front Mic/Line combi input</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Rear Mic/Line D-Type connection</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">80Hz High pass filter</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">-25dB pad</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Phase flip</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Smart Phantom Power control</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Hi/Lo Impedance selector from 300Ω to 1.3KΩ</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Separate stereo monitor path with Independent level control</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Latency-free monitoring of all signal sources</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Eight front D.I inputs for instrument tracking</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Front mounted Headphone output</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Digital Option containing:</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">USB connection for use as standalone primary audio interface/core audio device.   </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Dante Primary and Secondary connection for Audio-over-IP application. </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Word Clock Sync In/Out </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">electable Headroom from +18, +24, +26dB </span></font></li>\n</ul><br>'),(7910,75,1,1319,'<h1>Neve 1073OPX 8-Channel Mic/Line Preamp</h1>\n<i>\nEight Legendary 1073® remote-controlled Preamps with Marinair® Transformers in a 2U rack, can be outfitted with Optional Digital Card to provide a USB and Dante AD/DA interface.</i><br/><br/>\nThe Neve 1073OPX continues the 1073® pedigree, packing eight legendary preamps into a 2U rack unit. The 1073OPX is an eight-channel Microphone, Line,and Instrument preamplifier featuring Marinair® transformer-coupled microphone preamplifiers. Housed in a 2 unit 19\" rackmount enclosure with an optional digital interface, the 1073OPX is the ideal preamp for any studio setup, allowing engineers, producers, and artists to expand their recording capabilities and access the legendary Neve sound once only achievable at the world’s premier studios.<br/><br/>\nThe 1073OPX DI Input is a transformer-less Class-A design offering +30 to +60dB of gain with front-mounted dual concentric inputs for instrument connection.<br/><br/>\nThis fully digitally controlled preamplifier has Total Recall™ capability via the proprietary 1073OPX remote control software. All of the 1073OPX settings and controls can be adjusted directly from the front panel or remotely byusing the Neve® Remote-Control software installed onto a connected MAC or PC computer. This provides a simple and elegant solution for users of DAW, Broadcast, or Live sound reinforcement systems.<br/><br/>\nUp to eight 1073OPX units can be connected to the remote-control computer, giving up to 64Mic Preamplifiers, Line Level,or DI inputs, all controlled from a single point. The unit always powers up with all settings, levels and states as they were at power-down.<br/><br/>\nThe optional Digital Card enables the device to be used as a Dante enabled Audio-over-IP preamplifier with both Primary and Secondary network capability. The optional digital I/O card comes with Neve’s industry-revered mastering-grade converters with up to 192kHz/24-Bit A/D conversion over USB connection for use as a Primary Audio Interface to any connected DAW-enabled computer.<br/><br/>\nA unique feature of the 1073OPX is its analogue and digital monitor return path. This feature allows the device to be used as an analogue monitoring system feeding studio loudspeakers, cue mix systems as a primary audio interface with complete I/O for any MAC/PC DAW enabled computer. The 1073OPX’s analogue and digital monitor signal path allows use as a complete standalone I/O interface or as a live room remote preamp with a full, latency-free monitoring cue mix signal path. <br/><br/>\n<h3>Neve 1073OPX Features</h3>\n<ul>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.  </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Exclusive Neve® Marinair® transformers on Microphone input.</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Class-A transformer-less DI input</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Automatic Total Recall™ of all settings.</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Front Mic/Line combi input</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Rear Mic/Line D-Type connection</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">80Hz High pass filter</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">-25dB pad</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Phase flip</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Smart Phantom Power control</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Hi/Lo Impedance selector from 300Ω to 1.3KΩ</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Separate stereo monitor path with Independent level control</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Latency-free monitoring of all signal sources</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Eight front D.I inputs for instrument tracking</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Front mounted Headphone output</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Digital Option containing:</span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">USB connection for use as standalone primary audio interface/core audio device.   </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Dante Primary and Secondary connection for Audio-over-IP application. </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Word Clock Sync In/Out </span></font></li>\n	<li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">electable Headroom from +18, +24, +26dB </span></font></li>\n</ul><br>'),(7911,85,0,1319,'Neve 1073OPX 8-Channel Mic/Line Preamp'),(7912,85,1,1319,'Neve 1073OPX 8-Channel Mic/Line Preamp'),(7913,76,0,1319,''),(7914,76,1,1319,''),(7915,75,0,1320,'<h1>Neve 1073OPX Digital Option Card</h1>\n<i>1073OPX optional Digital Card provides eight channels of A/D and two channels of D/A conversion Via Dante and USB connection.</i><br /><br />\nThe Neve 1073OPX Digital Option Card provides a USB and Dante AD/DA interface with eight channels of analogue to digital conversion for each 1073OPX preamp output and two channels of Digital to Analogue conversion for the digital monitor return signal path. The USB connection allows the 1073OPX to be connected to a DAW enabled PC/MAC computer to be used as a Primary/Core audio interface. In addition to the USB connection,  Primary and Secondary Dante connections  allow for  the 1073OPX to be connected to any Dante Audio-Over-Ip network as a Dante enabled preamp. The Digital card can be retrofitted easily to any existing 1073OPX unit.  <br /><br />\n<h3>Neve 1073OPX Digital Option Card Features</h3>\n<ul>\n	<li>USB connection for use as standalone primary audio interface/core audio device.</li>\n	<li>Dante Primary and Secondary connection for Audio-over-IP application.</li>\n	<li>Word Clock Sync In/Out</li>\n</ul>'),(7916,75,1,1320,'<h1>Neve 1073OPX Digital Option Card</h1>\n<i>1073OPX optional Digital Card provides eight channels of A/D and two channels of D/A conversion Via Dante and USB connection.</i><br /><br />\nThe Neve 1073OPX Digital Option Card provides a USB and Dante AD/DA interface with eight channels of analogue to digital conversion for each 1073OPX preamp output and two channels of Digital to Analogue conversion for the digital monitor return signal path. The USB connection allows the 1073OPX to be connected to a DAW enabled PC/MAC computer to be used as a Primary/Core audio interface. In addition to the USB connection,  Primary and Secondary Dante connections  allow for  the 1073OPX to be connected to any Dante Audio-Over-Ip network as a Dante enabled preamp. The Digital card can be retrofitted easily to any existing 1073OPX unit.  <br /><br />\n<h3>Neve 1073OPX Digital Option Card Features</h3>\n<ul>\n	<li>USB connection for use as standalone primary audio interface/core audio device.</li>\n	<li>Dante Primary and Secondary connection for Audio-over-IP application.</li>\n	<li>Word Clock Sync In/Out</li>\n</ul>'),(7917,85,0,1320,'Neve 1073OPX Digital Option Card'),(7918,85,1,1320,'Neve 1073OPX Digital Option Card'),(7919,76,0,1320,''),(7920,76,1,1320,''),(7921,75,0,1321,'<h1>Neve 1081 Mic Preamp & EQ Module</h1>\nDesigned in 1972, the 1081 was originally conceived as a combined mic/line preamp and equalizer section for the Neve modular consoles. A glance through the credits on today’s platinum-selling albums reveals that these vintage consoles are still widely used to great effect, confirming the 1081’s status as a truly classic component in a recording front-end or mixing environment. We are still hand-building 1081 modules in Burnley, UK much the same way as the original modules, using the original components, hand-wound transformers, and time-honed construction methods.<br /><br />\nThe 1081 provides remarkable sensitivity, fast and musical response to transients, plus inimitable Neve equalization featuring effective high- and low-pass filters designed to separate unwanted signal outside the passband. This gives users a flexible tool with which to shape new sounds and control any part of the audio spectrum. The curves and slopes have been carefully tailored to enable users to exercise maximum technical and artistic skill.<br /><br />\nOver three decades of engineers have found the 1081 an indispensable tool for recording and mixing drums, bass and percussion. As with all Neve outboard gear, users are assured the highest quality signal acquisition, thanks to uncompromising Class AB circuitry, hand-wound Neve-designed transformers, and unrivalled attention to every last component and construction detail.<br /><br />'),(7922,75,1,1321,'<h1>Neve 1081 Mic Preamp & EQ Module</h1>\nDesigned in 1972, the 1081 was originally conceived as a combined mic/line preamp and equalizer section for the Neve modular consoles. A glance through the credits on today’s platinum-selling albums reveals that these vintage consoles are still widely used to great effect, confirming the 1081’s status as a truly classic component in a recording front-end or mixing environment. We are still hand-building 1081 modules in Burnley, UK much the same way as the original modules, using the original components, hand-wound transformers, and time-honed construction methods.<br /><br />\nThe 1081 provides remarkable sensitivity, fast and musical response to transients, plus inimitable Neve equalization featuring effective high- and low-pass filters designed to separate unwanted signal outside the passband. This gives users a flexible tool with which to shape new sounds and control any part of the audio spectrum. The curves and slopes have been carefully tailored to enable users to exercise maximum technical and artistic skill.<br /><br />\nOver three decades of engineers have found the 1081 an indispensable tool for recording and mixing drums, bass and percussion. As with all Neve outboard gear, users are assured the highest quality signal acquisition, thanks to uncompromising Class AB circuitry, hand-wound Neve-designed transformers, and unrivalled attention to every last component and construction detail.<br /><br />'),(7923,85,0,1321,'Neve 1081 Mic Preamp & Equalizer, AMS Neve'),(7924,85,1,1321,'Neve 1081 Mic Preamp & Equalizer, AMS Neve'),(7925,76,0,1321,''),(7926,76,1,1321,''),(7927,75,0,1322,'<h1>Neve 1084 Mic Preamplifier & EQ Module</h1>\nOccupying a special place in the imagination of engineers and producers, the 1084 delivers an incredibly fat, smooth sound. While the 1084 builds on the same basic design of the world-famous 1073, it offers a significantly different palette of frequency selections. The 1084 also features a \"Q\" switch, allowing the user to choose between two different Q types, either narrow or wide with respect to the parametric band. These added features and the 1084’s extended versatility make it a preference over the 1073.<br /><br />\nThe 1084’s three EQ bands provide selectable frequency, with cut and boost capability, and a mid-frequency band which benefits from a High Q Presence switch. The high pass filter can be switched between 45Hz, 70Hz, 160Hz & 360Hz, and the low pass filter between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz. Both boast 18dB per octave slopes.<br /><br />\nHandcrafted and completely hand wired in Burnley, UK by Neve’s dedicated professionals, the 1084 reissue has been reproduced to the exact specifications of the original modules. <br /><br />\nWhere innovation has improved on previous technology, Neve has welcomed such improvements. However, not all things lend themselves to enhancement. Example: audio transformers. While other manufacturers use replacements, AMS Neve alone has access to the original hand-wound transformers. This is an important factor when you consider that an analog preamp is only as good as its transformer. That is why only a Neve sounds like a Neve.<br /><br />\nAll Neve mic preamplifiers are designed to accept signals from a wide range of microphone and line sources. <br /><br />Uncompromisingly low noise and distortion with generous overload performance are noteworthy hallmarks of all Neve products.'),(7928,75,1,1322,'<h1>Neve 1084 Mic Preamplifier & EQ Module</h1>\nOccupying a special place in the imagination of engineers and producers, the 1084 delivers an incredibly fat, smooth sound. While the 1084 builds on the same basic design of the world-famous 1073, it offers a significantly different palette of frequency selections. The 1084 also features a \"Q\" switch, allowing the user to choose between two different Q types, either narrow or wide with respect to the parametric band. These added features and the 1084’s extended versatility make it a preference over the 1073.<br /><br />\nThe 1084’s three EQ bands provide selectable frequency, with cut and boost capability, and a mid-frequency band which benefits from a High Q Presence switch. The high pass filter can be switched between 45Hz, 70Hz, 160Hz & 360Hz, and the low pass filter between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz. Both boast 18dB per octave slopes.<br /><br />\nHandcrafted and completely hand wired in Burnley, UK by Neve’s dedicated professionals, the 1084 reissue has been reproduced to the exact specifications of the original modules. <br /><br />\nWhere innovation has improved on previous technology, Neve has welcomed such improvements. However, not all things lend themselves to enhancement. Example: audio transformers. While other manufacturers use replacements, AMS Neve alone has access to the original hand-wound transformers. This is an important factor when you consider that an analog preamp is only as good as its transformer. That is why only a Neve sounds like a Neve.<br /><br />\nAll Neve mic preamplifiers are designed to accept signals from a wide range of microphone and line sources. <br /><br />Uncompromisingly low noise and distortion with generous overload performance are noteworthy hallmarks of all Neve products.'),(7929,85,0,1322,'Neve 1084 Mic Preamplifier & Equalizer, AMS Neve'),(7930,85,1,1322,'Neve 1084 Mic Preamplifier & Equalizer, AMS Neve'),(7931,76,0,1322,''),(7932,76,1,1322,''),(7933,75,0,1323,'<h1>Neve 2254/R Mono Limiter/Compressor</h1>\n\nDesigned in 1969, the original Neve 2254 mono Limiter/Compressor unit quickly became a legend. Discrete, Class A design and transformer-coupled circuits – used in the input, innovative bridge-driver design, sidechain and output stages ensured a totally unique sound. The original 2254 units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment.<br /><br />\nForty years on, the 2254\'s successor, the Neve 2254/R mono limiter/compressor represents another milestone.\nNot only does it retain the original 2254\'s unique sonic characteristics – using the same architecture, matching components and original hand-wound transformers – but enhances it with the features that modern-day producers and engineers have asked for. Whereas the original, developed before outboard designs had been standardized, was roughly cubic in shape, the new 2254/R comes in 1U 19” rack-mount form. And the new model allows settings to be saved and recalled using Neve Total RecallTM software via USB.<br /><br />\nThere’s also manual adjustment of Fast Attack Time, continuously variable between 100µS and 2mS. Plus enhancement of the signal presence LED, which changes from green to red to warn of imminent clipping.<br /><br />'),(7934,75,1,1323,'<h1>Neve 2254/R Mono Limiter/Compressor</h1>\n\nDesigned in 1969, the original Neve 2254 mono Limiter/Compressor unit quickly became a legend. Discrete, Class A design and transformer-coupled circuits – used in the input, innovative bridge-driver design, sidechain and output stages ensured a totally unique sound. The original 2254 units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment.<br /><br />\nForty years on, the 2254\'s successor, the Neve 2254/R mono limiter/compressor represents another milestone.\nNot only does it retain the original 2254\'s unique sonic characteristics – using the same architecture, matching components and original hand-wound transformers – but enhances it with the features that modern-day producers and engineers have asked for. Whereas the original, developed before outboard designs had been standardized, was roughly cubic in shape, the new 2254/R comes in 1U 19” rack-mount form. And the new model allows settings to be saved and recalled using Neve Total RecallTM software via USB.<br /><br />\nThere’s also manual adjustment of Fast Attack Time, continuously variable between 100µS and 2mS. Plus enhancement of the signal presence LED, which changes from green to red to warn of imminent clipping.<br /><br />'),(7935,85,0,1323,'Neve 2254/R Mono Limiter/Compressor'),(7936,85,1,1323,'Neve 2254/R Mono Limiter/Compressor'),(7937,76,0,1323,''),(7938,76,1,1323,''),(7939,75,0,1324,'<h1>Neve 2264A Classic Mono Limiter/Compressor Module</h1>\nOriginally designed in 1974, the Neve 2264A mono Limiter/Compressor unit quickly became a legend. Delivering similar facilities and performance as the earlier 2254 Limiter/Compressor type, it did so despite being packaged in a more compact form-factor. Discreet, Class A/B design and transformer-coupled circuits ­used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. The original 2264A units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment.<br /><br />\nNow crafted in England by Neve engineers, the classic 2264A is available again.<br /><br />\nNot only does it retain the original 2264A’s unique sonic characteristics by using the same architecture, matching components and original hand-wound transformers ­as its historic counterpart, but it is also available in both vertical and horizontal orientations. Being electrically and mechanically the same D.L.1 format as the Neve 1073 and 1084 Mic/Pre modules, the 2264A can be inserted into any compliant console or rack that houses the 1073 or 1084 module types.<br /><br />'),(7940,75,1,1324,'<h1>Neve 2264A Classic Mono Limiter/Compressor Module</h1>\nOriginally designed in 1974, the Neve 2264A mono Limiter/Compressor unit quickly became a legend. Delivering similar facilities and performance as the earlier 2254 Limiter/Compressor type, it did so despite being packaged in a more compact form-factor. Discreet, Class A/B design and transformer-coupled circuits ­used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. The original 2264A units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment.<br /><br />\nNow crafted in England by Neve engineers, the classic 2264A is available again.<br /><br />\nNot only does it retain the original 2264A’s unique sonic characteristics by using the same architecture, matching components and original hand-wound transformers ­as its historic counterpart, but it is also available in both vertical and horizontal orientations. Being electrically and mechanically the same D.L.1 format as the Neve 1073 and 1084 Mic/Pre modules, the 2264A can be inserted into any compliant console or rack that houses the 1073 or 1084 module types.<br /><br />'),(7941,85,0,1324,'Neve 2264A Classic Mono Limiter/Compressor'),(7942,85,1,1324,'Neve 2264A Classic Mono Limiter/Compressor'),(7943,76,0,1324,''),(7944,76,1,1324,''),(7945,75,0,1325,'<h1>AMS Neve 2264A LB Mono Limiter/Compressor Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The renowned Neve 2264A Limiter/Compressor is now 500-series compatible </span><br /><br />\nThe Neve 2264A LB Limiter/Compressor is one of a very few audio processors that have the unique ability to improve a sound simply by running signal through it. Originally designed in 1974, the Neve 2264A mono Limiter/Compressor quickly achieved secret-weapon status among studio professionals, thanks to its unique sound and functionality. Crafted in England by Neve engineers, the new 500-series 2264A LB retains the original 2264A’s sonic characteristics by using the same architecture, matching components, and original hand-wound transformers. The 2264A LB Limiter/Compressor is designed for use in recording studios and for broadcast, where high-quality control of program dynamic range is essential. The Neve 2264A LB Limiter/Compressor can also be used to protect transmitters from overloading.<br /><br />\n<h3>Neve 2264A LB Limiter/Compressor module unique features:</h3>\n<ul>\n	<li>Independent Limiter and Compressor In/Out selectors</li>\n	<li>Audio Processing Insert design allows the audio to/from the 2264ALB module to be inserted into the audio path of a Neve 1073LB in the same 500 power rack</li>\n</ul>\n<h3>Neve 2264A LB Limiter/Compressor module features:</h3>\n<ul>\n	<li>Classic mono Limiter/Compressor, available in a 500-series format                                                                     </li>\n	<li>Transformer-coupled circuits used in input, bridge-driver, sidechain, and output stages                                               </li>\n	<li>Bypass switch connects input terminals directly to output terminals                                                                   </li>\n	<li>Slow Attack switch changes between classic 2264A attack settings and new slow attack setting for bus compression work                 </li>\n	<li>Digital LED meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction                                             </li>\n	<li>Fully screened module, packaged in Mu-metal case helps eliminate stray electromagnetic fields from Lunchbox™ PSU or other module types</li>\n</ul>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out \n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h2>Inside The Box</h2>\nDiscrete, Class A/B design; transformer-coupled input; and innovative bridge-driver design, sidechain, and output stages, are responsible for the totally unique sound of the original Neve 2264A and its latest incarnation, the 2264ALB. \nThe controls and performance of the 2264A LB Limiter/Compressor are similar to those of the Neve 2254/R Limiter Compressor. The main advantages of the 2264A LB are its smaller size and compatibility with 500-series power racks, plus it uses a more advanced circuit technique, which produces a more precise response curve than the 2254/R. The 2264A LB also it has a switchable Slow Attack feature for applications such as bus compression. \nThe 2264A LB uses single control element, which comprises a balanced diode bridge that passes signal to a transformer, which in turn sends to a Neve BA283 output amplifier, the same as the one used in the classic 1073. The control element is capable of 50dB gain change with low distortion and low noise. This element is driven by two independent sidechains; one acts a limiter and the other acts as a compressor. Each of these sidechain functions operates in a closed loop and may be used in isolation or together. \n<br /><br />\nThe Compressor sidechain samples the program level before the output line amplifier, thus enabling make-up gain to be provided where necessary. A series of shaping networks are employed to yield five different compression ratios—and by controlling the effective sidechain gain, the threshold may be varied over a wide range. The Limiter sidechain samples the line amplifier output and thus controls the absolute limit of the program material. \nAnother main component of the 2264A LB’s sound are its transformers. A staunch advocate of transformer-based designs, Rupert Neve has included custom-designed transformers on both inputs and outputs since his earliest designs. Properly designed and implemented transformers provide total galvanic isolation, freeing circuits from ground loops and RF interference. According to Mr. Neve, “Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.” Transformers are the reason Neve’s original consoles have stood the test of time and are still in use today. \n<br /><br />\nThe 2264A LB Limiter/Compressor may be used as a linear amplifier when both the LIMIT and COMPRESS switches are set to OUT –this is the secret of how the 2264A LB adds body to signal just passing through it, without any other controls engaged. <br /><br />\n<h3>Neve 2264A LB Limiting Operation</h3>\nThe 2264A LB has a limiting attack time of 4msec. This slow attack time is used on program material of moderately percussive nature, such as a solo piano.\nWith this attack time, a very narrow dynamic range can be achieved by feeding high levels into the limiter while using a low limit level. A fast attack time is desirable for example, when the unit is used for driving a transmitter.\nWhen recording, fast attack times should be used with care. \n<br /><br />\n<h3>Insert Mode Configuration Examples</h3>\nOne of the 2264A LB’s unique features is its ability to be used as in insert with the Neve \n<a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre module and <a href=\"http://www.rspeaudio.com/Neve-1073LBEQ-Mono-EQ-module-p/nve-1073lb-eq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB EQ</a> module. There are four possible configurations possible when using multiple AMS Neve units in Insert Mode. Either a 2-way or 3-way INS cable* is required depending on the configuration. The signal processing order is changed by physically moving the units within the rack.<br /><br />\nThe four insert configurations are:\n<ol>\n	<li>1073LB with 1073LB EQ wired as insert; signal flow - 1073LB &gt;1073LB EQ &gt; 1073LB</li>\n	<li>1073LB with 2264A LB wired as insert; signal flow - 1073LB &gt; 2264A LB &gt; 1073LB</li>\n	<li>1073LB with 1073LB EQ then 2264A LB wired as insert; signal flow - 1073LB &gt; 1073LB EQ &gt; 2264A LB &gt; 1073LB</li>\n	<li>1073LB with 2264A LB then 1073LB EQ wired as insert; signal flow - 1073LB &gt; 2264A LB &gt; 1073LB EQ &gt; 1073LB</li>\n</ol>\n* Note:  The 2-way Insert Cable (p/n NN5749) was previously supplied with 1073LB EQ Modules, but has subsequently been replaced with the 3-way Insert Cable and Loopback Plug (p/n NN5790). The 3-way Insert Cable and Loopback Plug is supplied with the 2264A LB Module. To make sure you have the right cable or to order extra cables, please contact your RSPE representative. \n<br /><br />\n<h2>Outside The Box</h2>\nAt the top of the 2264A LB front panel is an LED gain-reduction meter with three dual-concentric knobs controlling the limiter and compressor sections. The meter LEDs show the amount of Gain Reduction being applied to the signal, and have an approximate PPM characteristic.\n<br /><br />\n<h3>Limiter section</h3>\nThe limiter section is labeled LIM THR, REC, and LIM I/O. This is a 3-function group of controls comprising the following functions:\n<ol>\n	<li>Limit Threshold (LIM THR): is the inner grey knob, variable from +4dBm to +15dBm. It controls the threshold at which the limiting effect takes place.</li>\n	<li>Limit Recovery (REC): is the outer metal knob, a switched attenuator with notched settings from 50ms to 800ms. REC controls the recovery time of the Limiter. There are also two Auto settings, A1 and A2. A range of recovery times for the limiting action is provided by the LIM REC control, which may be selected according to the nature of the program material.</li>\n	<li>Limit In/Out (LIM I/O): is selected by pushing the inner grey knob to place the Limiter in/out of circuit. The LIM I/O LED lights when the Limiter is in circuit.</li>\n</ol>\n<h3>Compressor section</h3>\nThe next set of dual-concentric knobs in the middle of the 2264A LB front panel is the compressor section, labeled: COMP THR, REC, and COMP I/O. This is a 3-function group of controls comprising the following functions:\n<ol>\n	<li>Compressor Threshold (COMP THR): is the inner grey knob, variable from -20dBm to +10dBm. It controls the threshold at which the compression effect takes place.</li>\n	<li>Compressor Recovery (REC): is the outer metal knob, which is a switched attenuator with notched settings from 100ms to 1500ms. REC controls the recovery time of the Compressor. There are also two Auto settings, A1 and A2.</li>\n	<li>Compressor In/Out (COMP I/O:  Push the inner grey knob to place the Compressor in/out of circuit. The COMP I/O LED lights when the compressor is in circuit.</li>\n</ol>\nThe lower dual-concentric knobs are also part of the compressor section and control gain, ration, and stereo link functions. This section is labeled, COMP GAIN, RATIO, and LINK. This is also a 3-function group of controls comprising the following functions:\n<ol>\n	<li>Compressor Gain (COMP GAIN): is the inner grey knob, variable from 0dB to +20dB. It controls the make-up gain to compensate for level lost due to the compression process.</li>\n	<li>Compression Ratio (RATIO): is the outer metal knob, which is a switched attenuator that runs from 1.5:1 to 6:1 in notched increments, controlling the ratio of the Compressor section.</li>\n	<li>Control Voltage Link: (LINK: Push the inner grey knob to select whether the control voltage is derived internally or externally via Pin 6 of the Lunchbox™ rack bus to allow linking with other 2264A LB units. The LINK LED lights when external control is selected.</li>\n</ol>\n<h3>Bypass and Slow Attack</h3>\nAt the very bottom of the 2264A LB front panel are two-position switches for Bypass and Slow Attack. The Bypass is labeled BYPASS and IN. When switched to Bypass, it connects the input directly to the output, in effect bypassing all of the unit\'s circuitry. When set to the IN position, the unit is in circuit.\n<br /><br />\nSlow Attack is labeled SA and SIG. When this switch is in the SA (Slow Attack) position, the attack time of the Compressor section is slowed for applications such as bus compression. When the switch is not in the SA position the attack time is reverted to the standard 2264A setting. In the SIG (Signal Presence) position, its LED lights when a signal is detected at the input to the unit.<br /><br />\nSimply install into an empty slot in your compatible 500-series rack, connect your line level signals and inject the legendary Neve dynamic sound into your audio creations. And it\'s the perfect pairing for the incredible Neve <a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre Module. The 2264ALB module can be inserted between the input and output stages of the 1073LB module, creating an all-new Neve classic audio path; classic . . . and Revolutionary.<br /><br />\n<h3>Who’s Using Neve:</h3>\nSeriously? There are only two kinds of people in pro audio: Those who use Neve, and those who wish they could. \n<br /><br />\n<h3>About AMS Neve</h3>\nWith a reputation for creating the world’s sweetest sounding and longest-lasting analog and digital consoles, the most discerning artists, producers, and facility owners regard AMS Neve products as number one for desirability on their equipment list, and have done for the past fifty years.\n<br /><br />\nAMS Neve is a dedicated, engineering-led and privately owned company whose continuing mission is to provide the best possible sound, capability, and operational experience for the most creative people in the world—whether for film, recorded music, or TV and broadcast. All AMS Neve products are designed and built in England in a purpose-built, integrated facility.<br /><br />\nRecognized by all the premier bodies in the various fields of music, TV, and film, Neve products and their designers have been honored by two Scientific and Engineering Academy Awards, an Emmy, and a Grammy, amongst many others. <br /><br />\nAMS Neve has pioneered a very large number of groundbreaking techniques in the industry, including hard disk editing, digital console technology, digital audio for film, microprocessor-controlled effects units, and standards such as MADI. In the transient world of short product life cycles, AMS Neve’s products stand the test of time. <br /><br />\n<h3>Decades after production stopped, the original 2264A units are still sought after, and remain one of the milestone pieces of studio equipment. With the arrival of the Neve 2264ALB for the 500 series, your search has ended. Call or chat with an RSPE representative and order yours today!</h3>'),(7946,75,1,1325,'<h1>AMS Neve 2264A LB Mono Limiter/Compressor Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">The renowned Neve 2264A Limiter/Compressor is now 500-series compatible </span><br /><br />\nThe Neve 2264A LB Limiter/Compressor is one of a very few audio processors that have the unique ability to improve a sound simply by running signal through it. Originally designed in 1974, the Neve 2264A mono Limiter/Compressor quickly achieved secret-weapon status among studio professionals, thanks to its unique sound and functionality. Crafted in England by Neve engineers, the new 500-series 2264A LB retains the original 2264A’s sonic characteristics by using the same architecture, matching components, and original hand-wound transformers. The 2264A LB Limiter/Compressor is designed for use in recording studios and for broadcast, where high-quality control of program dynamic range is essential. The Neve 2264A LB Limiter/Compressor can also be used to protect transmitters from overloading.<br /><br />\n<h3>Neve 2264A LB Limiter/Compressor module unique features:</h3>\n<ul>\n	<li>Independent Limiter and Compressor In/Out selectors</li>\n	<li>Audio Processing Insert design allows the audio to/from the 2264ALB module to be inserted into the audio path of a Neve 1073LB in the same 500 power rack</li>\n</ul>\n<h3>Neve 2264A LB Limiter/Compressor module features:</h3>\n<ul>\n	<li>Classic mono Limiter/Compressor, available in a 500-series format                                                                     </li>\n	<li>Transformer-coupled circuits used in input, bridge-driver, sidechain, and output stages                                               </li>\n	<li>Bypass switch connects input terminals directly to output terminals                                                                   </li>\n	<li>Slow Attack switch changes between classic 2264A attack settings and new slow attack setting for bus compression work                 </li>\n	<li>Digital LED meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction                                             </li>\n	<li>Fully screened module, packaged in Mu-metal case helps eliminate stray electromagnetic fields from Lunchbox™ PSU or other module types</li>\n</ul>\n<div>\n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n	<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n</div>\n<p>\n	Don’t forget to check out \n	<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n</p>\n<br />\n<h2>Inside The Box</h2>\nDiscrete, Class A/B design; transformer-coupled input; and innovative bridge-driver design, sidechain, and output stages, are responsible for the totally unique sound of the original Neve 2264A and its latest incarnation, the 2264ALB. \nThe controls and performance of the 2264A LB Limiter/Compressor are similar to those of the Neve 2254/R Limiter Compressor. The main advantages of the 2264A LB are its smaller size and compatibility with 500-series power racks, plus it uses a more advanced circuit technique, which produces a more precise response curve than the 2254/R. The 2264A LB also it has a switchable Slow Attack feature for applications such as bus compression. \nThe 2264A LB uses single control element, which comprises a balanced diode bridge that passes signal to a transformer, which in turn sends to a Neve BA283 output amplifier, the same as the one used in the classic 1073. The control element is capable of 50dB gain change with low distortion and low noise. This element is driven by two independent sidechains; one acts a limiter and the other acts as a compressor. Each of these sidechain functions operates in a closed loop and may be used in isolation or together. \n<br /><br />\nThe Compressor sidechain samples the program level before the output line amplifier, thus enabling make-up gain to be provided where necessary. A series of shaping networks are employed to yield five different compression ratios—and by controlling the effective sidechain gain, the threshold may be varied over a wide range. The Limiter sidechain samples the line amplifier output and thus controls the absolute limit of the program material. \nAnother main component of the 2264A LB’s sound are its transformers. A staunch advocate of transformer-based designs, Rupert Neve has included custom-designed transformers on both inputs and outputs since his earliest designs. Properly designed and implemented transformers provide total galvanic isolation, freeing circuits from ground loops and RF interference. According to Mr. Neve, “Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.” Transformers are the reason Neve’s original consoles have stood the test of time and are still in use today. \n<br /><br />\nThe 2264A LB Limiter/Compressor may be used as a linear amplifier when both the LIMIT and COMPRESS switches are set to OUT –this is the secret of how the 2264A LB adds body to signal just passing through it, without any other controls engaged. <br /><br />\n<h3>Neve 2264A LB Limiting Operation</h3>\nThe 2264A LB has a limiting attack time of 4msec. This slow attack time is used on program material of moderately percussive nature, such as a solo piano.\nWith this attack time, a very narrow dynamic range can be achieved by feeding high levels into the limiter while using a low limit level. A fast attack time is desirable for example, when the unit is used for driving a transmitter.\nWhen recording, fast attack times should be used with care. \n<br /><br />\n<h3>Insert Mode Configuration Examples</h3>\nOne of the 2264A LB’s unique features is its ability to be used as in insert with the Neve \n<a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre module and <a href=\"http://www.rspeaudio.com/Neve-1073LBEQ-Mono-EQ-module-p/nve-1073lb-eq.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB EQ</a> module. There are four possible configurations possible when using multiple AMS Neve units in Insert Mode. Either a 2-way or 3-way INS cable* is required depending on the configuration. The signal processing order is changed by physically moving the units within the rack.<br /><br />\nThe four insert configurations are:\n<ol>\n	<li>1073LB with 1073LB EQ wired as insert; signal flow - 1073LB &gt;1073LB EQ &gt; 1073LB</li>\n	<li>1073LB with 2264A LB wired as insert; signal flow - 1073LB &gt; 2264A LB &gt; 1073LB</li>\n	<li>1073LB with 1073LB EQ then 2264A LB wired as insert; signal flow - 1073LB &gt; 1073LB EQ &gt; 2264A LB &gt; 1073LB</li>\n	<li>1073LB with 2264A LB then 1073LB EQ wired as insert; signal flow - 1073LB &gt; 2264A LB &gt; 1073LB EQ &gt; 1073LB</li>\n</ol>\n* Note:  The 2-way Insert Cable (p/n NN5749) was previously supplied with 1073LB EQ Modules, but has subsequently been replaced with the 3-way Insert Cable and Loopback Plug (p/n NN5790). The 3-way Insert Cable and Loopback Plug is supplied with the 2264A LB Module. To make sure you have the right cable or to order extra cables, please contact your RSPE representative. \n<br /><br />\n<h2>Outside The Box</h2>\nAt the top of the 2264A LB front panel is an LED gain-reduction meter with three dual-concentric knobs controlling the limiter and compressor sections. The meter LEDs show the amount of Gain Reduction being applied to the signal, and have an approximate PPM characteristic.\n<br /><br />\n<h3>Limiter section</h3>\nThe limiter section is labeled LIM THR, REC, and LIM I/O. This is a 3-function group of controls comprising the following functions:\n<ol>\n	<li>Limit Threshold (LIM THR): is the inner grey knob, variable from +4dBm to +15dBm. It controls the threshold at which the limiting effect takes place.</li>\n	<li>Limit Recovery (REC): is the outer metal knob, a switched attenuator with notched settings from 50ms to 800ms. REC controls the recovery time of the Limiter. There are also two Auto settings, A1 and A2. A range of recovery times for the limiting action is provided by the LIM REC control, which may be selected according to the nature of the program material.</li>\n	<li>Limit In/Out (LIM I/O): is selected by pushing the inner grey knob to place the Limiter in/out of circuit. The LIM I/O LED lights when the Limiter is in circuit.</li>\n</ol>\n<h3>Compressor section</h3>\nThe next set of dual-concentric knobs in the middle of the 2264A LB front panel is the compressor section, labeled: COMP THR, REC, and COMP I/O. This is a 3-function group of controls comprising the following functions:\n<ol>\n	<li>Compressor Threshold (COMP THR): is the inner grey knob, variable from -20dBm to +10dBm. It controls the threshold at which the compression effect takes place.</li>\n	<li>Compressor Recovery (REC): is the outer metal knob, which is a switched attenuator with notched settings from 100ms to 1500ms. REC controls the recovery time of the Compressor. There are also two Auto settings, A1 and A2.</li>\n	<li>Compressor In/Out (COMP I/O:  Push the inner grey knob to place the Compressor in/out of circuit. The COMP I/O LED lights when the compressor is in circuit.</li>\n</ol>\nThe lower dual-concentric knobs are also part of the compressor section and control gain, ration, and stereo link functions. This section is labeled, COMP GAIN, RATIO, and LINK. This is also a 3-function group of controls comprising the following functions:\n<ol>\n	<li>Compressor Gain (COMP GAIN): is the inner grey knob, variable from 0dB to +20dB. It controls the make-up gain to compensate for level lost due to the compression process.</li>\n	<li>Compression Ratio (RATIO): is the outer metal knob, which is a switched attenuator that runs from 1.5:1 to 6:1 in notched increments, controlling the ratio of the Compressor section.</li>\n	<li>Control Voltage Link: (LINK: Push the inner grey knob to select whether the control voltage is derived internally or externally via Pin 6 of the Lunchbox™ rack bus to allow linking with other 2264A LB units. The LINK LED lights when external control is selected.</li>\n</ol>\n<h3>Bypass and Slow Attack</h3>\nAt the very bottom of the 2264A LB front panel are two-position switches for Bypass and Slow Attack. The Bypass is labeled BYPASS and IN. When switched to Bypass, it connects the input directly to the output, in effect bypassing all of the unit\'s circuitry. When set to the IN position, the unit is in circuit.\n<br /><br />\nSlow Attack is labeled SA and SIG. When this switch is in the SA (Slow Attack) position, the attack time of the Compressor section is slowed for applications such as bus compression. When the switch is not in the SA position the attack time is reverted to the standard 2264A setting. In the SIG (Signal Presence) position, its LED lights when a signal is detected at the input to the unit.<br /><br />\nSimply install into an empty slot in your compatible 500-series rack, connect your line level signals and inject the legendary Neve dynamic sound into your audio creations. And it\'s the perfect pairing for the incredible Neve <a href=\"http://www.rspeaudio.com/Neve-2264ALB-Mono-Limiter-Compressor-module-p/nve-2264alb.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">1073LB</a> Mic Pre Module. The 2264ALB module can be inserted between the input and output stages of the 1073LB module, creating an all-new Neve classic audio path; classic . . . and Revolutionary.<br /><br />\n<h3>Who’s Using Neve:</h3>\nSeriously? There are only two kinds of people in pro audio: Those who use Neve, and those who wish they could. \n<br /><br />\n<h3>About AMS Neve</h3>\nWith a reputation for creating the world’s sweetest sounding and longest-lasting analog and digital consoles, the most discerning artists, producers, and facility owners regard AMS Neve products as number one for desirability on their equipment list, and have done for the past fifty years.\n<br /><br />\nAMS Neve is a dedicated, engineering-led and privately owned company whose continuing mission is to provide the best possible sound, capability, and operational experience for the most creative people in the world—whether for film, recorded music, or TV and broadcast. All AMS Neve products are designed and built in England in a purpose-built, integrated facility.<br /><br />\nRecognized by all the premier bodies in the various fields of music, TV, and film, Neve products and their designers have been honored by two Scientific and Engineering Academy Awards, an Emmy, and a Grammy, amongst many others. <br /><br />\nAMS Neve has pioneered a very large number of groundbreaking techniques in the industry, including hard disk editing, digital console technology, digital audio for film, microprocessor-controlled effects units, and standards such as MADI. In the transient world of short product life cycles, AMS Neve’s products stand the test of time. <br /><br />\n<h3>Decades after production stopped, the original 2264A units are still sought after, and remain one of the milestone pieces of studio equipment. With the arrival of the Neve 2264ALB for the 500 series, your search has ended. Call or chat with an RSPE representative and order yours today!</h3>'),(7947,85,0,1325,'Neve 2264ALB Mono Limiter/Compressor module'),(7948,85,1,1325,'Neve 2264ALB Mono Limiter/Compressor module'),(7949,76,0,1325,''),(7950,76,1,1325,''),(7951,75,0,1326,'<h1>Neve 4081 Quad Microphone Preamp</h1>\n\nThe 4081 Quad Mic Preamp builds on the incredible success of the 1081 and 1081R modules and provides both powerful control and legendary Neve sound.  Perfect for vocals, ADR and Foley Recording, the 4081\'s features make it the number one choice for any studio, OB truck or live stage environment.<br /><br />\nEvery function of the 4081 can be controlled directly from the front panel or by remote control using a Mac or PC with Neve Remote Control software. This provides a simple and elegant solution for users of ProTools, Nuendo, Cubase and similar DAW systems. Multiple 4081 units can be linked together to create up to 64 independent channels of Mic Preamps or Line Level inputs – all controlled from a single computer.<br /><br />\nAnd now with Version 2.00 software, metering information is displayed within the Remote Mic Control window, which is passed back from the 4081 unit(s) to the Remote Mic Control software running on the computer being used for remote control.<br /><br />'),(7952,75,1,1326,'<h1>Neve 4081 Quad Microphone Preamp</h1>\n\nThe 4081 Quad Mic Preamp builds on the incredible success of the 1081 and 1081R modules and provides both powerful control and legendary Neve sound.  Perfect for vocals, ADR and Foley Recording, the 4081\'s features make it the number one choice for any studio, OB truck or live stage environment.<br /><br />\nEvery function of the 4081 can be controlled directly from the front panel or by remote control using a Mac or PC with Neve Remote Control software. This provides a simple and elegant solution for users of ProTools, Nuendo, Cubase and similar DAW systems. Multiple 4081 units can be linked together to create up to 64 independent channels of Mic Preamps or Line Level inputs – all controlled from a single computer.<br /><br />\nAnd now with Version 2.00 software, metering information is displayed within the Remote Mic Control window, which is passed back from the 4081 unit(s) to the Remote Mic Control software running on the computer being used for remote control.<br /><br />'),(7953,85,0,1326,'Neve 4081 Quad Microphone Preamp'),(7954,85,1,1326,'Neve 4081 Quad Microphone Preamp'),(7955,76,0,1326,''),(7956,76,1,1326,''),(7957,75,0,1327,'<h1>Neve 8051 5.1 Surround Compressor Unit</h1>\nThe Neve 8051 is an analogue compressor with six transformer balanced audio paths, complemented by two side chains and a key input. Based on six 2254 compression circuits – using the same feedback topology as our legendary 33609 stereo compressor – the 8051 delivers the famous Neve sound in spades. Flexible side chain routing, trimming and filtering make this a powerful and responsive tool for surround mixing and mastering.'),(7958,75,1,1327,'<h1>Neve 8051 5.1 Surround Compressor Unit</h1>\nThe Neve 8051 is an analogue compressor with six transformer balanced audio paths, complemented by two side chains and a key input. Based on six 2254 compression circuits – using the same feedback topology as our legendary 33609 stereo compressor – the 8051 delivers the famous Neve sound in spades. Flexible side chain routing, trimming and filtering make this a powerful and responsive tool for surround mixing and mastering.'),(7959,85,0,1327,'Neve 8051 Surround Compressor'),(7960,85,1,1327,'Neve 8051 Surround Compressor'),(7961,76,0,1327,''),(7962,76,1,1327,''),(7963,75,0,1328,'<h1>Neve 8801 Channel Strip</h1>\nThe Neve 8801 Channel Strip is like having a complete channel from the legendary Neve 88R console – widely considered among the best-sounding analog music consoles ever developed. Contained in a single rackmount unit, the 8801 combines a classic Neve mic preamplifier and equalization circuitry with an incredible 88R-style dynamics processor. Completely hand-built and hand-wired by Neve, this ground breaking Channel Strip delivers a front-end with all the quality and versatility that has become synonymous with the Neve name.<br /><br />\nThe 8801’s signal path consists of our extremely high-quality Neve mic preamp, high and low pass filters, four bands of highly musical equalization, a compressor, gate, dynamics side chain and an insert point. The order of the signal path can be easily modified as the producer requires.<br /><br />\nThe filter section and/or the equalization section can even be routed to the dynamics side chain to tailor the dynamics response of any input signal. An optional Neve-designed analog-to-digital converter accommodates all standard sample rates up to 192kHz, as well as direct-to-DSD conversion. In listening tests, many engineers and producers preferred the sound of these Neve-designed converters to standalone converters costing more than the entire 8801 unit.<br /><br />\nNeve\'s proprietary Recall software (Mac/PC-compatible) allows seamless integration with workstations, providing instantaneous recall of all external device settings. An essential tool for creativity, Recall combines the flexibility of a computer-based system with the power and sound quality of genuine Neve design. Quite simply, the 8801 is the most convenient way to give any serious studio the ultimate Neve analog sound.<br /><br />'),(7964,75,1,1328,'<h1>Neve 8801 Channel Strip</h1>\nThe Neve 8801 Channel Strip is like having a complete channel from the legendary Neve 88R console – widely considered among the best-sounding analog music consoles ever developed. Contained in a single rackmount unit, the 8801 combines a classic Neve mic preamplifier and equalization circuitry with an incredible 88R-style dynamics processor. Completely hand-built and hand-wired by Neve, this ground breaking Channel Strip delivers a front-end with all the quality and versatility that has become synonymous with the Neve name.<br /><br />\nThe 8801’s signal path consists of our extremely high-quality Neve mic preamp, high and low pass filters, four bands of highly musical equalization, a compressor, gate, dynamics side chain and an insert point. The order of the signal path can be easily modified as the producer requires.<br /><br />\nThe filter section and/or the equalization section can even be routed to the dynamics side chain to tailor the dynamics response of any input signal. An optional Neve-designed analog-to-digital converter accommodates all standard sample rates up to 192kHz, as well as direct-to-DSD conversion. In listening tests, many engineers and producers preferred the sound of these Neve-designed converters to standalone converters costing more than the entire 8801 unit.<br /><br />\nNeve\'s proprietary Recall software (Mac/PC-compatible) allows seamless integration with workstations, providing instantaneous recall of all external device settings. An essential tool for creativity, Recall combines the flexibility of a computer-based system with the power and sound quality of genuine Neve design. Quite simply, the 8801 is the most convenient way to give any serious studio the ultimate Neve analog sound.<br /><br />'),(7965,85,0,1328,'Neve 8801 Channel Strip, AMS Neve'),(7966,85,1,1328,'Neve 8801 Channel Strip, AMS Neve'),(7967,76,0,1328,''),(7968,76,1,1328,''),(7969,75,0,1329,'<h1>Neve 8803 Dual Channel EQ</h1>\n\nPart of the exclusive Neve 88 Series, the 8803 is a dual channel equalizer and filter. Like the other units in the 88 series collection, the 8803 is hand-made and hand-wired in Burnley, England, and delivers legendary Neve sound with digitally recallable settings via USB connection to Mac or PC. This is an outstanding tool for creative flexibility, allowing Neve’s legendary analogue processing to be used as never before in collaboration with computer workstations.\n<br><br>\nDesigned to deliver the inimitable sound of the flagship Neve 88RS console, the 8803 Dual Equalizer’s circuitry is based on the classic Neve 8108 topology. Balanced inputs and ±20dB trim are followed by two 12dB per octave filters. The High-Pass Filter has a variable corner frequency from 25Hz to 300Hz, and the Low-Pass Filter has a range of 3kHz-15kHz. The four bands of equalization offer selectable shelving and switchable Q on the high and low bands, with continuously variable Q on the mid frequency bands. Frequency selection is variable on all bands within the ranges 33Hz-440Hz, 120Hz-2kHz, 0.8kHz-9kHz and 1.5kHz-18kHz.<br><br>\nFor modern producers and engineers looking to shape and develop sounds with unrivalled sonic purity and musicality, the 8803 Dual Channel Equalizer is the preeminent choice.<br><br>'),(7970,75,1,1329,'<h1>Neve 8803 Dual Channel EQ</h1>\n\nPart of the exclusive Neve 88 Series, the 8803 is a dual channel equalizer and filter. Like the other units in the 88 series collection, the 8803 is hand-made and hand-wired in Burnley, England, and delivers legendary Neve sound with digitally recallable settings via USB connection to Mac or PC. This is an outstanding tool for creative flexibility, allowing Neve’s legendary analogue processing to be used as never before in collaboration with computer workstations.\n<br><br>\nDesigned to deliver the inimitable sound of the flagship Neve 88RS console, the 8803 Dual Equalizer’s circuitry is based on the classic Neve 8108 topology. Balanced inputs and ±20dB trim are followed by two 12dB per octave filters. The High-Pass Filter has a variable corner frequency from 25Hz to 300Hz, and the Low-Pass Filter has a range of 3kHz-15kHz. The four bands of equalization offer selectable shelving and switchable Q on the high and low bands, with continuously variable Q on the mid frequency bands. Frequency selection is variable on all bands within the ranges 33Hz-440Hz, 120Hz-2kHz, 0.8kHz-9kHz and 1.5kHz-18kHz.<br><br>\nFor modern producers and engineers looking to shape and develop sounds with unrivalled sonic purity and musicality, the 8803 Dual Channel Equalizer is the preeminent choice.<br><br>'),(7971,85,0,1329,'Neve 8803 Dual Channel Equalizer'),(7972,85,1,1329,'Neve 8803 Dual Channel Equalizer'),(7973,76,0,1329,''),(7974,76,1,1329,''),(7975,75,0,1330,'<h1>Neve 8804 Fader Pack for 8816</h1>\nThe overwhelming reception for Neve’s 8816 Summing Mixer gave rise to one regular question: ‘can I add faders?’ The answer is the Neve 8804 Fader Pack, the perfect companion to the 8816.<br /><br />\nDesigned for rackmount or table top use, the 8804 features 16 long-throw channel faders with associated mute switches and two long throw master output faders. Veteran engineers will appreciate the feel of the faders under their hands as they ride levels and make sensitive adjustments to the mix. Connection to the 8816 is straightforward analog audio, and the sound is pristine. <br /><br />\nThe Neve 8804 not only adds fader control to the 8816, it provides expanded functionality. Each 8804 channel fader has a direct output, and these can be set to pre- or post-fader. These direct outputs can then be used to feed effects units, to make separate recordings of individual elements of a mix, or for multi-track recording of signals from the 8816. The channel level pot on the 8816 becomes a dedicated auxiliary send for an outboard reverb unit, letting users add that extra touch of class to the mix.<br /><br />\nThe 8804 is equipped with our proprietary Recall utility program for flexible use alongside a computer-based system. Recall enables your Mac or PC to store and recall all of the 8804’s settings, boosting your productivity. Put simply, this is Neve engineering at its best.<br /><br />'),(7976,75,1,1330,'<h1>Neve 8804 Fader Pack for 8816</h1>\nThe overwhelming reception for Neve’s 8816 Summing Mixer gave rise to one regular question: ‘can I add faders?’ The answer is the Neve 8804 Fader Pack, the perfect companion to the 8816.<br /><br />\nDesigned for rackmount or table top use, the 8804 features 16 long-throw channel faders with associated mute switches and two long throw master output faders. Veteran engineers will appreciate the feel of the faders under their hands as they ride levels and make sensitive adjustments to the mix. Connection to the 8816 is straightforward analog audio, and the sound is pristine. <br /><br />\nThe Neve 8804 not only adds fader control to the 8816, it provides expanded functionality. Each 8804 channel fader has a direct output, and these can be set to pre- or post-fader. These direct outputs can then be used to feed effects units, to make separate recordings of individual elements of a mix, or for multi-track recording of signals from the 8816. The channel level pot on the 8816 becomes a dedicated auxiliary send for an outboard reverb unit, letting users add that extra touch of class to the mix.<br /><br />\nThe 8804 is equipped with our proprietary Recall utility program for flexible use alongside a computer-based system. Recall enables your Mac or PC to store and recall all of the 8804’s settings, boosting your productivity. Put simply, this is Neve engineering at its best.<br /><br />'),(7977,85,0,1330,'Neve 8804 Fader Pack for 8816, AMS Neve'),(7978,85,1,1330,'Neve 8804 Fader Pack for 8816, AMS Neve'),(7979,76,0,1330,''),(7980,76,1,1330,''),(7981,75,0,1331,'<h1>Neve 8816 Summing Mixer</h1>\n<span style=\"font-size:16px; font-style:italic;\">The Legendary Sound of Neve, now available for computer-based producers</span><br /><br />\nThe sound of Neve has been the audio recording benchmark for generations of leading engineers, musicians and producers. Wherever sound matters – from a full orchestral recording for a blockbuster film to a lone singer, from a rock drummer to an R’n’B vocal – Neve provides the warmth, punch and definition so sought after by virtually anyone who has touched a fader. With the new 8816 Summing Mixer, the legendary sound of Neve now becomes available to computer-based producers.<br /><br />\nHand-built and hand-wired at the Neve factory in Burnley, England, the 8816 allows engineers and producers to mix their music on a true, albeit diminutive, Neve summing mixer. The unit provides 16 input channels with +15dB gain, level, pan, cut/solo and cue controls. Additionally, a post-insert mix function can be used for mixing in a separate stem, or blending the mix with a special effect.<br /><br />\nWith four monitor sources, two sets of speakers, independent monitor level control, talkback mic, cue send and headphone outs, the 8816 effectively upgrades a digital audio workstation to a professional mixing facility. And an onboard USB connector allows snapshots of the 8816 to be saved to a PC or Mac and recalled ready for remix.<br /><br />\nBut what about the sound? Glad you asked. The 8816 uses the same transformer mixing topology as the classic 80 Series console, with two custom Carnhill transformers on the stereo mix bus output, plus a unique \'Stereo Width\' control as found in professional mastering studios. And what all this means is that the unit delivers the open, punchy mixes for which Neve consoles have long been renowned.<br /><br />\nIn the words of Hugh Robjohns at Sound on Sound magazine, \'The critical issue is what [the 8816] sounds like. The answer is simple: it sounds fabulous and sublime. Its huge headroom and the classic transformer mixing topology endow the mix with an effortlessly silky quality that just screams \'analog\' at the listener.\'<br /><br />\nFor those requiring digital output, the 8816’s analog-to-digital conversion option supports standard sample rates to 192kHz and direct conversion to DSD (Direct Stream Digital). This Neve-designed ADC has been compared quite favorably to dedicated professional A/D conversion units costing as much or more than the entire 8816 mixer. If sixteen inputs aren’t enough for your mix, multiple 8816 units can be cascaded together via a dedicated 2-track bus. And the unit can be paired with the 8804 Fader Pack, which provides 18 long-throw faders for hands-on control.<br /><br />\nBut most importantly, it’s the classic Neve sound that keeps producers coming back to the 8816.'),(7982,75,1,1331,'<h1>Neve 8816 Summing Mixer</h1>\n<span style=\"font-size:16px; font-style:italic;\">The Legendary Sound of Neve, now available for computer-based producers</span><br /><br />\nThe sound of Neve has been the audio recording benchmark for generations of leading engineers, musicians and producers. Wherever sound matters – from a full orchestral recording for a blockbuster film to a lone singer, from a rock drummer to an R’n’B vocal – Neve provides the warmth, punch and definition so sought after by virtually anyone who has touched a fader. With the new 8816 Summing Mixer, the legendary sound of Neve now becomes available to computer-based producers.<br /><br />\nHand-built and hand-wired at the Neve factory in Burnley, England, the 8816 allows engineers and producers to mix their music on a true, albeit diminutive, Neve summing mixer. The unit provides 16 input channels with +15dB gain, level, pan, cut/solo and cue controls. Additionally, a post-insert mix function can be used for mixing in a separate stem, or blending the mix with a special effect.<br /><br />\nWith four monitor sources, two sets of speakers, independent monitor level control, talkback mic, cue send and headphone outs, the 8816 effectively upgrades a digital audio workstation to a professional mixing facility. And an onboard USB connector allows snapshots of the 8816 to be saved to a PC or Mac and recalled ready for remix.<br /><br />\nBut what about the sound? Glad you asked. The 8816 uses the same transformer mixing topology as the classic 80 Series console, with two custom Carnhill transformers on the stereo mix bus output, plus a unique \'Stereo Width\' control as found in professional mastering studios. And what all this means is that the unit delivers the open, punchy mixes for which Neve consoles have long been renowned.<br /><br />\nIn the words of Hugh Robjohns at Sound on Sound magazine, \'The critical issue is what [the 8816] sounds like. The answer is simple: it sounds fabulous and sublime. Its huge headroom and the classic transformer mixing topology endow the mix with an effortlessly silky quality that just screams \'analog\' at the listener.\'<br /><br />\nFor those requiring digital output, the 8816’s analog-to-digital conversion option supports standard sample rates to 192kHz and direct conversion to DSD (Direct Stream Digital). This Neve-designed ADC has been compared quite favorably to dedicated professional A/D conversion units costing as much or more than the entire 8816 mixer. If sixteen inputs aren’t enough for your mix, multiple 8816 units can be cascaded together via a dedicated 2-track bus. And the unit can be paired with the 8804 Fader Pack, which provides 18 long-throw faders for hands-on control.<br /><br />\nBut most importantly, it’s the classic Neve sound that keeps producers coming back to the 8816.'),(7983,85,0,1331,'Neve 8816 Summing Mixer, AMS Neve'),(7984,85,1,1331,'Neve 8816 Summing Mixer, AMS Neve'),(7985,76,0,1331,''),(7986,76,1,1331,''),(7987,75,0,1332,'<h1>Neve 88RLB Mono Mic Preamp 500 Series Module</h1>\nWhen the world’s top musicians, composers and engineers get together to record, it’s got to be Neve all the way.<br /><br />\nNot everyone has room for the world’s greatest recording console - the Neve 88RS – but now there’s no need to settle for anything other than the absolute best when it comes to capturing the beauty, energy and excitement of your recording…<br /><br />\nIntroducing the Neve 88RLB - the same sound of greatness, but in the palm of your hand.<br /><br />\nThe incredible sounding audio technology from Neve’s two-ton flagship 88RS console is now available to you in a 500-series format module. With extra features like the REGenerate function, a sweepable high-pass filter, intelligent phantom power control and a DI input, true Neve magic has never been more accessible or convenient.<br /><br /><div>\n</div>'),(7988,75,1,1332,'<h1>Neve 88RLB Mono Mic Preamp 500 Series Module</h1>\nWhen the world’s top musicians, composers and engineers get together to record, it’s got to be Neve all the way.<br /><br />\nNot everyone has room for the world’s greatest recording console - the Neve 88RS – but now there’s no need to settle for anything other than the absolute best when it comes to capturing the beauty, energy and excitement of your recording…<br /><br />\nIntroducing the Neve 88RLB - the same sound of greatness, but in the palm of your hand.<br /><br />\nThe incredible sounding audio technology from Neve’s two-ton flagship 88RS console is now available to you in a 500-series format module. With extra features like the REGenerate function, a sweepable high-pass filter, intelligent phantom power control and a DI input, true Neve magic has never been more accessible or convenient.<br /><br /><div>\n</div>'),(7989,85,0,1332,'Neve 88RLB Mono Mic Preamp Module'),(7990,85,1,1332,'Neve 88RLB Mono Mic Preamp Module'),(7991,76,0,1332,''),(7992,76,1,1332,''),(7993,75,0,1333,'<h1>Neve BCM10/2 Mk2 10-Channel Analogue Console </h1>\n<i>The BCM10/2 is powered by Neve 1073 mic pre’s and EQ along with its 1272 summing mixers it’s guaranteed to delight the most demanding ear.</i><br /><br /><div><div>The classic and legendary Neve BCM10 console has become a connoisseur’s favorite in recent years for use as a sidecar for larger studios. Powered as it is by Neve 1073 mic pre’s and EQ along with its 1272 summing mixers it’s guaranteed to delight the most demanding ear.</div><div>Given the scarcity of these treasured classic consoles and their suitability for up to the minute techniques of recording with workstations, the BCM10 is an ideal partner as a main console in such a set-up.</div><div>Therefore Neve designers are proud to announce the BCM10/2 MK2 with all the revered design, genuine Neve modules and sound, yet with additional convenience features for modern day recording and utilizing the new 1952 switching unit – all adding up to a blissful recording experience.</div>\n</div>\n<div>\n</div>\n<font color=\"#000000\" size=\"5\"><b>Neve BCM10/2 Mk2 key features:<br /></b></font>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Neve classic sound using Class A topology</span></li>\n	<li>Console sizes: 10,16,24 or 32 channels</li>\n	<li>1073N microphone preamp and EQ module in each channel</li>\n	<li>Classic voltage mixing using 1272 balanced mixing topology</li>\n	<li>2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the Mix Bus</li>\n	<li>Direct outputs on every channel selectable pre or post channel insert</li>\n	<li>Simple Input to each channel doubles the mix inputs when mixing and also allows monitor and cue mixes</li>\n	<li>4x Auxes, 1x Stereo Cue, 1x Stereo Main Mix Bus</li>\n	<li>Stereo and 5.1 monitor with passive 24 position gold plated monitor level control</li>\n	<li>3x Stereo & 1x 5.1 selectable loudspeaker output sets</li>\n	<li>Comprehensive Solo system with destructive and safe/isolate modes</li>\n	<li>2x Stereo reverb returns with width, mono and balance controls & 2x mono DI to bus inputs</li>\n	<li>Main Mix output insertion selectable pre or post fade with IMR (Insert Mix Return) parallel processing controls</li>\n	<li>25-way D-sub connectivity for easy installation into home or studio environments</li>\n	<li>Optional side car stand on castors</li>\n	\n</ul>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 20px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">AMS Neve BCM10/2 Mk2—Beneath the Surface</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2—and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you’re looking for a no-frills, “just the fact’s ma’am” type of console with the world’s best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can’t compete with.</p>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">BCM10/2 Mk2 options</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:\n</p>\n<ul>\n	<li>10, 16, 24 or 32 channel configurations</li><li><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\">Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels</span></li><li><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\"></span><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\">Pair of loudspeaker shelves – mount on top of the console</span></li><li><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\"></span><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\">Sidecar stand with lockable castors (32-fader stand has fixed feet)</span></li></ul><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\"></span><p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	 <span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">PAD For the Record</span>—<em style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif;\">The simple truth is that analog consoles can do things that can’t be done by mouse or control surface. One such function is riding input faders—the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it’s risky, but that’s what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.</em>\n</p>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what’s the difference?</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	<em style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif;\">In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.</em>\n</p>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">Hybrid mixing with the BCM10/2 Mk2—the best of both worlds</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it’s still much easier to recall a mix than if you did everything in the analog domain—and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.\n</p>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	Another benefit of going through a console is that you don’t have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you’re not losing your tops, watch levels going back into the DAW, and Bob’s your uncle.\n</p>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	At the end of the day, it’s sound quality, emotion, and human interaction that makes great music—something that crunching numbers in a no-risk environment just can’t stand up to. If you want to make records the way records should be made, there’s no substitute for a great-sounding console and the ability to mix like you’re playing an instrument.\n</p>\n<div>\n</div>\n<h3>The Neve BCM10/2 can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3>'),(7994,75,1,1333,'<h1>Neve BCM10/2 Mk2 10-Channel Analogue Console </h1>\n<i>The BCM10/2 is powered by Neve 1073 mic pre’s and EQ along with its 1272 summing mixers it’s guaranteed to delight the most demanding ear.</i><br /><br /><div><div>The classic and legendary Neve BCM10 console has become a connoisseur’s favorite in recent years for use as a sidecar for larger studios. Powered as it is by Neve 1073 mic pre’s and EQ along with its 1272 summing mixers it’s guaranteed to delight the most demanding ear.</div><div>Given the scarcity of these treasured classic consoles and their suitability for up to the minute techniques of recording with workstations, the BCM10 is an ideal partner as a main console in such a set-up.</div><div>Therefore Neve designers are proud to announce the BCM10/2 MK2 with all the revered design, genuine Neve modules and sound, yet with additional convenience features for modern day recording and utilizing the new 1952 switching unit – all adding up to a blissful recording experience.</div>\n</div>\n<div>\n</div>\n<font color=\"#000000\" size=\"5\"><b>Neve BCM10/2 Mk2 key features:<br /></b></font>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Neve classic sound using Class A topology</span></li>\n	<li>Console sizes: 10,16,24 or 32 channels</li>\n	<li>1073N microphone preamp and EQ module in each channel</li>\n	<li>Classic voltage mixing using 1272 balanced mixing topology</li>\n	<li>2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the Mix Bus</li>\n	<li>Direct outputs on every channel selectable pre or post channel insert</li>\n	<li>Simple Input to each channel doubles the mix inputs when mixing and also allows monitor and cue mixes</li>\n	<li>4x Auxes, 1x Stereo Cue, 1x Stereo Main Mix Bus</li>\n	<li>Stereo and 5.1 monitor with passive 24 position gold plated monitor level control</li>\n	<li>3x Stereo & 1x 5.1 selectable loudspeaker output sets</li>\n	<li>Comprehensive Solo system with destructive and safe/isolate modes</li>\n	<li>2x Stereo reverb returns with width, mono and balance controls & 2x mono DI to bus inputs</li>\n	<li>Main Mix output insertion selectable pre or post fade with IMR (Insert Mix Return) parallel processing controls</li>\n	<li>25-way D-sub connectivity for easy installation into home or studio environments</li>\n	<li>Optional side car stand on castors</li>\n	\n</ul>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 20px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">AMS Neve BCM10/2 Mk2—Beneath the Surface</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2—and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you’re looking for a no-frills, “just the fact’s ma’am” type of console with the world’s best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can’t compete with.</p>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">BCM10/2 Mk2 options</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:\n</p>\n<ul>\n	<li>10, 16, 24 or 32 channel configurations</li><li><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\">Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels</span></li><li><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\"></span><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\">Pair of loudspeaker shelves – mount on top of the console</span></li><li><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\"></span><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\">Sidecar stand with lockable castors (32-fader stand has fixed feet)</span></li></ul><span style=\"font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;\"></span><p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	 <span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">PAD For the Record</span>—<em style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif;\">The simple truth is that analog consoles can do things that can’t be done by mouse or control surface. One such function is riding input faders—the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it’s risky, but that’s what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.</em>\n</p>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what’s the difference?</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	<em style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif;\">In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.</em>\n</p>\n<h2 style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;\"><span style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;\">Hybrid mixing with the BCM10/2 Mk2—the best of both worlds</span></h2>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it’s still much easier to recall a mix than if you did everything in the analog domain—and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.\n</p>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	Another benefit of going through a console is that you don’t have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you’re not losing your tops, watch levels going back into the DAW, and Bob’s your uncle.\n</p>\n<p style=\"box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;\">\n	At the end of the day, it’s sound quality, emotion, and human interaction that makes great music—something that crunching numbers in a no-risk environment just can’t stand up to. If you want to make records the way records should be made, there’s no substitute for a great-sounding console and the ability to mix like you’re playing an instrument.\n</p>\n<div>\n</div>\n<h3>The Neve BCM10/2 can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3>'),(7995,85,0,1333,'Neve BCM10/2 Mk2 10-Channel Analogue Console'),(7996,85,1,1333,'Neve BCM10/2 Mk2 10-Channel Analogue Console'),(7997,76,0,1333,''),(7998,76,1,1333,''),(7999,75,0,1334,'<h1>Neve Genesys Analogue Design Console with DAW Control</h1>\n<i>16-Fader Ananlog Console with 16 mic/line preamps, 16 channels of  DAW mixing, and 32 channels of analog summing at mixdown.</i><br /><br /> The AMS Neve Genesys, hand-built in Neve\'s UK factory, combines superb analogue design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it’s modular, meaning you don’t have to wait until you can afford the full 64-fader system to become a Neve-equipped studio. In its basic 16-fader configuration you get 16 channels of mic/line preamps plus 16 channels of DAW mixing and 32-channel analogue summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring.\n<div>\n	<br />There’s a ‘classic Neve’ look and feel to the controls, but take a closer look and you’ll see they’re ultra modern too: every switch is ‘soft’. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analogue EQ and dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you’re juggling multiple projects in your studio.<br /><br />\n</div>\n<div>\n</div>\n<font color=\"#000000\" size=\"5\"><b>Neve Genesys key features:</b></font>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">16 channels of Neve 1073 mic pre/line amplifiers</span></li>\n	<li>16 channel DAW monitoring</li>\n	<li>Total Reset & Total Recall</li>\n	<li>Motorized faders with Encore Automation</li>\n	<li>Remote mic amp control</li>\n	<li>6 Auxes (4 mono and 2 stereo)</li>\n	<li>8 groups</li>\n	<li>2 main outs</li>\n	<li>4 effects returns</li>\n	<li>16ch, 8t, 2t and monitor metering</li>\n	<li>5.1 mixing & monitoring</li>\n	<li>2 cue mixes</li>\n	<li>Full talkback capability</li>\n	<li>Internal PSU</li>\n	<li>USB stick store, load & reset</li>\n	<li>Hands-on DAW control for Pro Tools, etc.</li>\n</ul>\n<br />\n<div>\n</div>\n<h3>The Neve Genesys can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3>'),(8000,75,1,1334,'<h1>Neve Genesys Analogue Design Console with DAW Control</h1>\n<i>16-Fader Ananlog Console with 16 mic/line preamps, 16 channels of  DAW mixing, and 32 channels of analog summing at mixdown.</i><br /><br /> The AMS Neve Genesys, hand-built in Neve\'s UK factory, combines superb analogue design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it’s modular, meaning you don’t have to wait until you can afford the full 64-fader system to become a Neve-equipped studio. In its basic 16-fader configuration you get 16 channels of mic/line preamps plus 16 channels of DAW mixing and 32-channel analogue summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring.\n<div>\n	<br />There’s a ‘classic Neve’ look and feel to the controls, but take a closer look and you’ll see they’re ultra modern too: every switch is ‘soft’. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analogue EQ and dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you’re juggling multiple projects in your studio.<br /><br />\n</div>\n<div>\n</div>\n<font color=\"#000000\" size=\"5\"><b>Neve Genesys key features:</b></font>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">16 channels of Neve 1073 mic pre/line amplifiers</span></li>\n	<li>16 channel DAW monitoring</li>\n	<li>Total Reset & Total Recall</li>\n	<li>Motorized faders with Encore Automation</li>\n	<li>Remote mic amp control</li>\n	<li>6 Auxes (4 mono and 2 stereo)</li>\n	<li>8 groups</li>\n	<li>2 main outs</li>\n	<li>4 effects returns</li>\n	<li>16ch, 8t, 2t and monitor metering</li>\n	<li>5.1 mixing & monitoring</li>\n	<li>2 cue mixes</li>\n	<li>Full talkback capability</li>\n	<li>Internal PSU</li>\n	<li>USB stick store, load & reset</li>\n	<li>Hands-on DAW control for Pro Tools, etc.</li>\n</ul>\n<br />\n<div>\n</div>\n<h3>The Neve Genesys can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3>'),(8001,85,0,1334,'Neve Genesys Analogue Design Console with DAW Control'),(8002,85,1,1334,'Neve Genesys Analogue Design Console with DAW Control'),(8003,76,0,1334,''),(8004,76,1,1334,''),(8005,75,0,1335,'<h1>Neve Genesys Black G16 - 24 Fader, 8 Analog Channel Recording Console with Integrated DAW Display</h1>\n<span style=\"font-size: 16px; font-style: italic; color: rgb(51, 51, 51);\">Give your recordings the legendary Neve sound, with the digitally controlled Genesys Black Recording Console.</span><br /><br />The Neve Genesys Black is a digitally controlled analogue recording console with total integration with the studio environment and the digital audio workstations of your choice. Including legendary microphone preamplifiers and highly revered analogue circuit design, the extensive digital control and connectivity puts Genesys Black at the creative heart of your studio. To start, Genesys Black offers 8 channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring, hands-on DAW control for Pro Tools, Nuendo and more, 8 channels of Neve digitally controlled analogue 4-band EQ and channel A/D/D/A conversion via MADI, AES and FireWire formats.<br /><br />\nA central integrated DAW display, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an integrated footprint with internal power supply provides all the power you need.<br /><br />\n<h3>Genesis Black G16 Configuration</h3>\n<ul>\n	<li>8 channels of Neve 1073 mic pre/line amplifiers</li>\n	<li>16 channel DAW monitoring</li>\n	<li>Dedicated DAW control section with integrated DAW display (touch-HD or adjustable QHD)</li>\n	<li>Total Reset & Total Recall</li>\n	<li>Motorized Analogue/DAW control faders</li>\n	<li>8 channels of Neve 88R-style, 4-band EQ</li>\n	<li>8 channels of A/D/D/A (FireWire/AES/MADI)</li>\n	<li>8 Auxes (4 mono and 2 stereo)</li>\n	<li>8 groups, 2 main outs</li>\n	<li>4 stereo effects returns</li>\n	<li>Channel, DAW, 8t, 2t and monitor metering</li>\n	<li>5.1 mixing & monitoring</li>\n	<li>2 cue mixes</li>\n	<li>Full talkback capability</li>\n	<li>Internal PSU</li>\n	<li>USB stick store, load & reset</li>\n</ul>\n<br />\n<h3>Genesys Black In Depth</h3>\nGenesys Black, hand-built in Neve\'s UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it\'s modular, meaning you don\'t have to wait until you can afford the full 48-fader system to become a Neve-equipped studio. In its basic 8-channel configuration you get 8 channels of mic/line preamps plus 16 channels of DAW control and 16-channel analog summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring.\n<br /><br />\nThere\'s a \'classic Neve\' look and feel to the controls, but take a closer look and you\'ll see they\'re ultra modern too: every switch is \'soft\'. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. You can also instantly recall the settings of the fitted digitally controlled, analogue Neve EQ (88RS 4-band or optional Neve 1084 EQ) and optional Neve VCA-style dynamics too. Just think of the reconfiguration time that saves when you\'re juggling multiple projects in your studio.<br /><br />\n<h3>Scalability Options</h3>\nWant more? As your business expands (as it surely will – just mention Neve) so can your Genesys Black, all the way up to a 48-fader, 96-input powerhouse. Other options include upgrading to digitally controlled, analogue Neve1084 Classic EQ, VCA-style digital control of analogue dynamics and Neve A/D/D/A converters for the monitoring section.\n<br /><br />\n<ul>\n	<li>Scalability Options</li>\n	<li>Expandable to 48 channels (96 inputs)</li>\n	<li>A/D and D/A input/output for Monitor section</li>\n	<li>Upgrade to digitally controlled, analogue Neve Classic 1084 EQ</li>\n	<li>Digitally controlled, analogue Dynamics (VCA style)</li>\n	<li>700mm wide Producer\'s section</li>\n</ul>\n<br />'),(8006,75,1,1335,'<h1>Neve Genesys Black G16 - 24 Fader, 8 Analog Channel Recording Console with Integrated DAW Display</h1>\n<span style=\"font-size: 16px; font-style: italic; color: rgb(51, 51, 51);\">Give your recordings the legendary Neve sound, with the digitally controlled Genesys Black Recording Console.</span><br /><br />The Neve Genesys Black is a digitally controlled analogue recording console with total integration with the studio environment and the digital audio workstations of your choice. Including legendary microphone preamplifiers and highly revered analogue circuit design, the extensive digital control and connectivity puts Genesys Black at the creative heart of your studio. To start, Genesys Black offers 8 channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring, hands-on DAW control for Pro Tools, Nuendo and more, 8 channels of Neve digitally controlled analogue 4-band EQ and channel A/D/D/A conversion via MADI, AES and FireWire formats.<br /><br />\nA central integrated DAW display, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an integrated footprint with internal power supply provides all the power you need.<br /><br />\n<h3>Genesis Black G16 Configuration</h3>\n<ul>\n	<li>8 channels of Neve 1073 mic pre/line amplifiers</li>\n	<li>16 channel DAW monitoring</li>\n	<li>Dedicated DAW control section with integrated DAW display (touch-HD or adjustable QHD)</li>\n	<li>Total Reset & Total Recall</li>\n	<li>Motorized Analogue/DAW control faders</li>\n	<li>8 channels of Neve 88R-style, 4-band EQ</li>\n	<li>8 channels of A/D/D/A (FireWire/AES/MADI)</li>\n	<li>8 Auxes (4 mono and 2 stereo)</li>\n	<li>8 groups, 2 main outs</li>\n	<li>4 stereo effects returns</li>\n	<li>Channel, DAW, 8t, 2t and monitor metering</li>\n	<li>5.1 mixing & monitoring</li>\n	<li>2 cue mixes</li>\n	<li>Full talkback capability</li>\n	<li>Internal PSU</li>\n	<li>USB stick store, load & reset</li>\n</ul>\n<br />\n<h3>Genesys Black In Depth</h3>\nGenesys Black, hand-built in Neve\'s UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it\'s modular, meaning you don\'t have to wait until you can afford the full 48-fader system to become a Neve-equipped studio. In its basic 8-channel configuration you get 8 channels of mic/line preamps plus 16 channels of DAW control and 16-channel analog summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring.\n<br /><br />\nThere\'s a \'classic Neve\' look and feel to the controls, but take a closer look and you\'ll see they\'re ultra modern too: every switch is \'soft\'. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. You can also instantly recall the settings of the fitted digitally controlled, analogue Neve EQ (88RS 4-band or optional Neve 1084 EQ) and optional Neve VCA-style dynamics too. Just think of the reconfiguration time that saves when you\'re juggling multiple projects in your studio.<br /><br />\n<h3>Scalability Options</h3>\nWant more? As your business expands (as it surely will – just mention Neve) so can your Genesys Black, all the way up to a 48-fader, 96-input powerhouse. Other options include upgrading to digitally controlled, analogue Neve1084 Classic EQ, VCA-style digital control of analogue dynamics and Neve A/D/D/A converters for the monitoring section.\n<br /><br />\n<ul>\n	<li>Scalability Options</li>\n	<li>Expandable to 48 channels (96 inputs)</li>\n	<li>A/D and D/A input/output for Monitor section</li>\n	<li>Upgrade to digitally controlled, analogue Neve Classic 1084 EQ</li>\n	<li>Digitally controlled, analogue Dynamics (VCA style)</li>\n	<li>700mm wide Producer\'s section</li>\n</ul>\n<br />'),(8007,85,0,1335,'Neve Genesys Black G16 - 16 Channel Recording Console'),(8008,85,1,1335,'Neve Genesys Black G16 - 16 Channel Recording Console'),(8009,76,0,1335,''),(8010,76,1,1335,''),(8011,75,0,1336,'<h1>Neve Genesys Black G32 - 32 Fader, 16 Analog Channel Recording Console with Integrated DAW Display</h1>\n<span style=\"font-size: 16px; font-style: italic; color: rgb(51, 51, 51);\">Give your recordings the legendary Neve sound, with the digitally controlled Genesys Black Recording Console.</span><br /><br />The Neve Genesys Black is a digitally controlled analogue recording console with total integration with the studio environment and the digital audio workstations of your choice. Including legendary microphone preamplifiers and highly revered analogue circuit design, the extensive digital control and connectivity puts Genesys Black at the creative heart of your studio. To start, Genesys Black offers 16 channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring, hands-on DAW control for Pro Tools, Nuendo and more, 16 channels of Neve digitally controlled analogue 4-band EQ and channel A/D/D/A conversion via MADI, AES and FireWire formats.<br /><br />\nA central integrated DAW display, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an integrated footprint with internal power supply provides all the power you need.<br /><br />\n<h3>Genesis Black G16 Configuration</h3>\n<ul>\n	<li>16 channels of Neve 1073 mic pre/line amplifiers</li>\n	<li>16 channel DAW monitoring</li>\n	<li>Dedicated DAW control section with integrated DAW display (touch-HD or adjustable QHD)</li>\n	<li>Total Reset & Total Recall</li>\n	<li>Motorized Analogue/DAW control faders</li>\n	<li>16 channels of Neve 88R-style, 4-band EQ</li>\n	<li>8 channels of A/D/D/A (FireWire/AES/MADI)</li>\n	<li>8 Auxes (4 mono and 2 stereo)</li>\n	<li>8 groups, 2 main outs</li>\n	<li>4 stereo effects returns</li>\n	<li>Channel, DAW, 8t, 2t and monitor metering</li>\n	<li>5.1 mixing & monitoring</li>\n	<li>2 cue mixes</li>\n	<li>Full talkback capability</li>\n	<li>Internal PSU</li>\n	<li>USB stick store, load & reset</li>\n</ul>\n<br />\n<h3>Genesys Black In Depth</h3>\nGenesys Black, hand-built in Neve\'s UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it\'s modular, meaning you don\'t have to wait until you can afford the full 48-fader system to become a Neve-equipped studio. In its basic 8-channel configuration you get 8 channels of mic/line preamps plus 16 channels of DAW control and 16-channel analog summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring.\n<br /><br />\nThere\'s a \'classic Neve\' look and feel to the controls, but take a closer look and you\'ll see they\'re ultra modern too: every switch is \'soft\'. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. You can also instantly recall the settings of the fitted digitally controlled, analogue Neve EQ (88RS 4-band or optional Neve 1084 EQ) and optional Neve VCA-style dynamics too. Just think of the reconfiguration time that saves when you\'re juggling multiple projects in your studio.<br /><br />\n<h3>Scalability Options</h3>\nWant more? As your business expands (as it surely will – just mention Neve) so can your Genesys Black, all the way up to a 48-fader, 96-input powerhouse. Other options include upgrading to digitally controlled, analogue Neve1084 Classic EQ, VCA-style digital control of analogue dynamics and Neve A/D/D/A converters for the monitoring section.\n<br /><br />\n<ul>\n	<li>Scalability Options</li>\n	<li>Expandable to 48 channels (96 inputs)</li>\n	<li>A/D and D/A input/output for Monitor section</li>\n	<li>Upgrade to digitally controlled, analogue Neve Classic 1084 EQ</li>\n	<li>Digitally controlled, analogue Dynamics (VCA style)</li>\n	<li>700mm wide Producer\'s section</li>\n</ul>\n<br />'),(8012,75,1,1336,'<h1>Neve Genesys Black G32 - 32 Fader, 16 Analog Channel Recording Console with Integrated DAW Display</h1>\n<span style=\"font-size: 16px; font-style: italic; color: rgb(51, 51, 51);\">Give your recordings the legendary Neve sound, with the digitally controlled Genesys Black Recording Console.</span><br /><br />The Neve Genesys Black is a digitally controlled analogue recording console with total integration with the studio environment and the digital audio workstations of your choice. Including legendary microphone preamplifiers and highly revered analogue circuit design, the extensive digital control and connectivity puts Genesys Black at the creative heart of your studio. To start, Genesys Black offers 16 channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring, hands-on DAW control for Pro Tools, Nuendo and more, 16 channels of Neve digitally controlled analogue 4-band EQ and channel A/D/D/A conversion via MADI, AES and FireWire formats.<br /><br />\nA central integrated DAW display, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an integrated footprint with internal power supply provides all the power you need.<br /><br />\n<h3>Genesis Black G16 Configuration</h3>\n<ul>\n	<li>16 channels of Neve 1073 mic pre/line amplifiers</li>\n	<li>16 channel DAW monitoring</li>\n	<li>Dedicated DAW control section with integrated DAW display (touch-HD or adjustable QHD)</li>\n	<li>Total Reset & Total Recall</li>\n	<li>Motorized Analogue/DAW control faders</li>\n	<li>16 channels of Neve 88R-style, 4-band EQ</li>\n	<li>8 channels of A/D/D/A (FireWire/AES/MADI)</li>\n	<li>8 Auxes (4 mono and 2 stereo)</li>\n	<li>8 groups, 2 main outs</li>\n	<li>4 stereo effects returns</li>\n	<li>Channel, DAW, 8t, 2t and monitor metering</li>\n	<li>5.1 mixing & monitoring</li>\n	<li>2 cue mixes</li>\n	<li>Full talkback capability</li>\n	<li>Internal PSU</li>\n	<li>USB stick store, load & reset</li>\n</ul>\n<br />\n<h3>Genesys Black In Depth</h3>\nGenesys Black, hand-built in Neve\'s UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it\'s modular, meaning you don\'t have to wait until you can afford the full 48-fader system to become a Neve-equipped studio. In its basic 8-channel configuration you get 8 channels of mic/line preamps plus 16 channels of DAW control and 16-channel analog summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring.\n<br /><br />\nThere\'s a \'classic Neve\' look and feel to the controls, but take a closer look and you\'ll see they\'re ultra modern too: every switch is \'soft\'. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. You can also instantly recall the settings of the fitted digitally controlled, analogue Neve EQ (88RS 4-band or optional Neve 1084 EQ) and optional Neve VCA-style dynamics too. Just think of the reconfiguration time that saves when you\'re juggling multiple projects in your studio.<br /><br />\n<h3>Scalability Options</h3>\nWant more? As your business expands (as it surely will – just mention Neve) so can your Genesys Black, all the way up to a 48-fader, 96-input powerhouse. Other options include upgrading to digitally controlled, analogue Neve1084 Classic EQ, VCA-style digital control of analogue dynamics and Neve A/D/D/A converters for the monitoring section.\n<br /><br />\n<ul>\n	<li>Scalability Options</li>\n	<li>Expandable to 48 channels (96 inputs)</li>\n	<li>A/D and D/A input/output for Monitor section</li>\n	<li>Upgrade to digitally controlled, analogue Neve Classic 1084 EQ</li>\n	<li>Digitally controlled, analogue Dynamics (VCA style)</li>\n	<li>700mm wide Producer\'s section</li>\n</ul>\n<br />'),(8013,85,0,1336,'Neve Genesys Black G32 - 32 Fader, 16 Analog Channel Recording Console'),(8014,85,1,1336,'Neve Genesys Black G32 - 32 Fader, 16 Analog Channel Recording Console'),(8015,76,0,1336,''),(8016,76,1,1336,''),(8017,75,0,1337,'<h2>Neyrinck SoundCode for Dolby Digital 2 Plug-in Suite</h2>\n\nThe Neyrinck SoundCode For Dolby Digital plug-in suite provides mastering-quality workflow tools that enable you to preview, encode, and decode Dolby Digital (AC-3) audio directly within Pro Tools software, without the need for dedicated Dolby hardware. Whether you are mixing in surround for television, delivering surround audio for DVD video, decoding audio from a DVD video within Pro Tools, or creating a DVD reference disk, SoundCode provides a range of powerful features to help you accomplish your goals, all within the industry-standard Pro Tools environment.<br /><br />\n\n\n<h3>New In Version 2</h3>\nSoundCode For Dolby Digital 2 provides a new AAX Native plug-in called Dolby Digital Preview. Just place it on your 5.1 mix bus and you can hear exactly what a consumer hears from a set-top box, streaming media player, DVD, or Blu-ray system.<br /><br />\n\nIt provides AC3 metadata authoring, adjustable AC3 decoding features, and real-time DRC metering that shows you exactly what the dynamic range processing is doing, for truely professional AC3 monitoring.<br /><br />\n\n<h3>Encode</h3>\nThe encoder is implemented as an AudioSuite plug-in. Open the plug-in window by selecting it from the AudioSuite menu in Pro Tools. The plug-in is located in the Sound Field category.<br /><br />\n\nThe user interface is divided into two sections. The ENCODE section controls the metadata and preprocessing settings used by the encoder. These settings can be saved as presets using the Pro Tools plug-in preset features. The OUTPUT section controls how and where the encoded data will be written. These control settings cannot be saved as presets. Instead, these control settings are persistent and are saved in a preferences file that is read when the plug-in window is opened. When the window is closed, the current settings are saved to the preferences file. The preferences file is associated with the currently logged in user of the computer. Each user account has a separate preferences file.<br /><br />\n\n<h3>Decode</h3>\nThe decoder plug-in operates as a real time AAX Native 32/64 plug-in or as a non-real time AudioSuite plugin. The plug-in types are located in the Sound Field category of Pro Tools lists of plug-ins. Open the AudioSuite plug-in window by selecting it from the AudioSuite menu in Pro Tools and includes these real time types: stereo to-mono, stereo-to stereo, and stereo-to-5.1. Open them by clicking a Pro Tools channel insert and navigating the multchannel popup menu.<br /><br />\n\nOpen them by clicking a Pro Tools channel insert and navigating the plug-in multchannel popup menu. The plug-in is not available in the multi-mono list.<br /><br />\n\n<h3>SoundCode for Dolby Digital 2 Workflows</h3>\n\nHere are some of the workflows available with SoundCode for Dolby Digital 2 Plug-ins…<br /><br />\n\n<strong>Mix For Consumer Home Theater</strong><br />\nIn this scenario, you are mixing a 5.1 audio soundtrack that will be delivered by set-top box, media streaming player, DVD, or Blu-ray. Place the Dolby Digital Preview plug-in on your 5.1 mix bus. Now you can adjust AC3 metadata and decoding to hear exactly what the consumer will hear.<br /><br />\n\n<strong>Mix For DVD Video</strong><br />\nIn this scenario, you are mixing the audio soundtrack for a DVD and need to deliver a Dolby Digital AC3 file for a DVD.<br /><br />\n\n<strong>Quality Assurance Test A Dolby Digital File</strong><br />\nIn this scenario, you would like to listen to an AC3 file synchronized to Pro Tools video playback.<br /><br />\n\n<strong>Decoding Audio From A DVD Player</strong><br />\nIn this scenario, you would like to listen to a DVD decoded for playback in your Pro Tools system or monitor its metadata. For example, you are mixing the audio soundtrack for a DVD and you want to compare your mix to one on a popular DVD. Another example is that you have burned a DVD with a Dolby Digital soundtrack and you want to listen to it on your Pro Tools system. The SoundCode decoder makes it easy to decode and listen to a Dolby Digital DVD in your Pro Tools system. This is done by connecting the optical or SPDIF output of a consumer DVD player to a Pro Tools digital input. The stereo bitstream is then routed to a stereo Aux track. A SoundCode Dolby Digital 2 Decoder is placed on the aux track and decodes the audio.<br /><br />\n\n<strong>Deliver A Dolby Digital Bitstream Via an AES Out</strong><br />\nIn this scenario, you would like to output a Dolby Digital AC3 file to a Pro Tools AES, SPDIF, or Optical output. This is accomplished by importing an AC3 file into a stereo track, routing the track to a digital output using the non-dithered mixer, and pressing play on the Pro Tools transport.<br /><br />\n\n<strong>Make A DVD Ref Disk</strong><br />\nIn this scenario, you would like to make a DVD to watch and listen to it on various consumer playback systems. This is done by encoding an AC3 file and then using it with DVD authoring software to make a DVD.<br /><br />\n\n<strong>Make A Surround Audio CD Ref Disk</strong><br />\nIn this scenario, you would like to listen to a surround music mix on a consumer playback system that has a Dolby Digital decoder. This is done by encoding a WAV file, burning an audio CD with the WAV file on it, connecting a consumer CD/DVD player’s digital bitstream output to a Dolby Digital decoder, and playing the CD with CD/DVD player.<br /><br />\n\n<h3>SoundCode For Dolby Digital 2 Specifications</h3>\n<strong>AAX Plug-ins For Pro Tools 10.3.7 and later</strong><br /><br />\n\n<strong>Dolby Digital Preview</strong>\n<ul>\n<li>Realtime preview monitoring a 5.1 encoded/decoded mix                            </li>\n<li>Reproduces the consumer set-top box / home theater / streaming / disc experience </li>\n<li>Adjustable AC3 metadata and AC3 decoding features                                </li>\n<li>Realtime metering shows exactly what the dynamic range processing is doing       </li>\n<li>AAX Native 32/64 plug-in                                                         </li>\n</ul>\n<strong>Dolby Digital Encode</strong>\n<ul>\n<li>Fast – Faster-than-real-time AudioSuite encoding                                                                             </li>\n<li>Punch In/Out – Save time when re-encoding with Punch In/Out                                                                  </li>\n<li>Timecode – Outputs timecode file formats at all frame rates                                                                  </li>\n<li>BSI Extensions – Surround EX flag lets you work with Dolby Surround EX encoded audio                                         </li>\n<li>Pro Tools LE/M-Powered: Use Pro Tools LE/M-Powered to implement low-cost encoding workstations                               </li>\n<li>Latency Compensation: Surround phase shift latency compensation for sample accurate sync                                     </li>\n<li>Integrated Help: Forgot what dialnorm is? Click on the text label beneath the control and a text box pops up with information</li>\n</ul>\n<strong>Dolby Digital Decode</strong>\n<ul>\n<li>Import – Import AC3 bitstream into timeline                                                                    </li>\n<li>Synchronization – Decode synchronized to Pro Tools timeline and video                                          </li>\n<li>Simulate Decoders: Decoding and dynamic range compression modes to simulate laptop computer and hi-fi decoders </li>\n<li>Simulate Environments: Downmix and Listening modes to simulate consumer listening environments                 </li>\n<li>DRC Metering: See how much dynamic range compression has been encoded                                          </li>\n<li>Bitstream Out: Pass bitstream out to use an external consumer decoder                                          </li>\n<li>Metadata – Extensive metadata display                                                                          </li>\n<li>Meters – Output level metering                                                                                 </li>\n<li>Live Decode:Decode live bitstream input from external DVD player                                               </li>\n</ul>\n<strong>Licensing</strong>\n<ul>\n<li>iLok license required                                 </li>\n<li>14-day full trial available                           </li>\n<li>Trial license requires internet connection and an iLok</li>\n</ul>\n<strong>System Requirements</strong>\n<ul>\n<li>Pro Tools 10.3.7 and later</li>\n<li>Mac OSX or Windows        </li>\n</ul>'),(8018,75,1,1337,'<h2>Neyrinck SoundCode for Dolby Digital 2 Plug-in Suite</h2>\n\nThe Neyrinck SoundCode For Dolby Digital plug-in suite provides mastering-quality workflow tools that enable you to preview, encode, and decode Dolby Digital (AC-3) audio directly within Pro Tools software, without the need for dedicated Dolby hardware. Whether you are mixing in surround for television, delivering surround audio for DVD video, decoding audio from a DVD video within Pro Tools, or creating a DVD reference disk, SoundCode provides a range of powerful features to help you accomplish your goals, all within the industry-standard Pro Tools environment.<br /><br />\n\n\n<h3>New In Version 2</h3>\nSoundCode For Dolby Digital 2 provides a new AAX Native plug-in called Dolby Digital Preview. Just place it on your 5.1 mix bus and you can hear exactly what a consumer hears from a set-top box, streaming media player, DVD, or Blu-ray system.<br /><br />\n\nIt provides AC3 metadata authoring, adjustable AC3 decoding features, and real-time DRC metering that shows you exactly what the dynamic range processing is doing, for truely professional AC3 monitoring.<br /><br />\n\n<h3>Encode</h3>\nThe encoder is implemented as an AudioSuite plug-in. Open the plug-in window by selecting it from the AudioSuite menu in Pro Tools. The plug-in is located in the Sound Field category.<br /><br />\n\nThe user interface is divided into two sections. The ENCODE section controls the metadata and preprocessing settings used by the encoder. These settings can be saved as presets using the Pro Tools plug-in preset features. The OUTPUT section controls how and where the encoded data will be written. These control settings cannot be saved as presets. Instead, these control settings are persistent and are saved in a preferences file that is read when the plug-in window is opened. When the window is closed, the current settings are saved to the preferences file. The preferences file is associated with the currently logged in user of the computer. Each user account has a separate preferences file.<br /><br />\n\n<h3>Decode</h3>\nThe decoder plug-in operates as a real time AAX Native 32/64 plug-in or as a non-real time AudioSuite plugin. The plug-in types are located in the Sound Field category of Pro Tools lists of plug-ins. Open the AudioSuite plug-in window by selecting it from the AudioSuite menu in Pro Tools and includes these real time types: stereo to-mono, stereo-to stereo, and stereo-to-5.1. Open them by clicking a Pro Tools channel insert and navigating the multchannel popup menu.<br /><br />\n\nOpen them by clicking a Pro Tools channel insert and navigating the plug-in multchannel popup menu. The plug-in is not available in the multi-mono list.<br /><br />\n\n<h3>SoundCode for Dolby Digital 2 Workflows</h3>\n\nHere are some of the workflows available with SoundCode for Dolby Digital 2 Plug-ins…<br /><br />\n\n<strong>Mix For Consumer Home Theater</strong><br />\nIn this scenario, you are mixing a 5.1 audio soundtrack that will be delivered by set-top box, media streaming player, DVD, or Blu-ray. Place the Dolby Digital Preview plug-in on your 5.1 mix bus. Now you can adjust AC3 metadata and decoding to hear exactly what the consumer will hear.<br /><br />\n\n<strong>Mix For DVD Video</strong><br />\nIn this scenario, you are mixing the audio soundtrack for a DVD and need to deliver a Dolby Digital AC3 file for a DVD.<br /><br />\n\n<strong>Quality Assurance Test A Dolby Digital File</strong><br />\nIn this scenario, you would like to listen to an AC3 file synchronized to Pro Tools video playback.<br /><br />\n\n<strong>Decoding Audio From A DVD Player</strong><br />\nIn this scenario, you would like to listen to a DVD decoded for playback in your Pro Tools system or monitor its metadata. For example, you are mixing the audio soundtrack for a DVD and you want to compare your mix to one on a popular DVD. Another example is that you have burned a DVD with a Dolby Digital soundtrack and you want to listen to it on your Pro Tools system. The SoundCode decoder makes it easy to decode and listen to a Dolby Digital DVD in your Pro Tools system. This is done by connecting the optical or SPDIF output of a consumer DVD player to a Pro Tools digital input. The stereo bitstream is then routed to a stereo Aux track. A SoundCode Dolby Digital 2 Decoder is placed on the aux track and decodes the audio.<br /><br />\n\n<strong>Deliver A Dolby Digital Bitstream Via an AES Out</strong><br />\nIn this scenario, you would like to output a Dolby Digital AC3 file to a Pro Tools AES, SPDIF, or Optical output. This is accomplished by importing an AC3 file into a stereo track, routing the track to a digital output using the non-dithered mixer, and pressing play on the Pro Tools transport.<br /><br />\n\n<strong>Make A DVD Ref Disk</strong><br />\nIn this scenario, you would like to make a DVD to watch and listen to it on various consumer playback systems. This is done by encoding an AC3 file and then using it with DVD authoring software to make a DVD.<br /><br />\n\n<strong>Make A Surround Audio CD Ref Disk</strong><br />\nIn this scenario, you would like to listen to a surround music mix on a consumer playback system that has a Dolby Digital decoder. This is done by encoding a WAV file, burning an audio CD with the WAV file on it, connecting a consumer CD/DVD player’s digital bitstream output to a Dolby Digital decoder, and playing the CD with CD/DVD player.<br /><br />\n\n<h3>SoundCode For Dolby Digital 2 Specifications</h3>\n<strong>AAX Plug-ins For Pro Tools 10.3.7 and later</strong><br /><br />\n\n<strong>Dolby Digital Preview</strong>\n<ul>\n<li>Realtime preview monitoring a 5.1 encoded/decoded mix                            </li>\n<li>Reproduces the consumer set-top box / home theater / streaming / disc experience </li>\n<li>Adjustable AC3 metadata and AC3 decoding features                                </li>\n<li>Realtime metering shows exactly what the dynamic range processing is doing       </li>\n<li>AAX Native 32/64 plug-in                                                         </li>\n</ul>\n<strong>Dolby Digital Encode</strong>\n<ul>\n<li>Fast – Faster-than-real-time AudioSuite encoding                                                                             </li>\n<li>Punch In/Out – Save time when re-encoding with Punch In/Out                                                                  </li>\n<li>Timecode – Outputs timecode file formats at all frame rates                                                                  </li>\n<li>BSI Extensions – Surround EX flag lets you work with Dolby Surround EX encoded audio                                         </li>\n<li>Pro Tools LE/M-Powered: Use Pro Tools LE/M-Powered to implement low-cost encoding workstations                               </li>\n<li>Latency Compensation: Surround phase shift latency compensation for sample accurate sync                                     </li>\n<li>Integrated Help: Forgot what dialnorm is? Click on the text label beneath the control and a text box pops up with information</li>\n</ul>\n<strong>Dolby Digital Decode</strong>\n<ul>\n<li>Import – Import AC3 bitstream into timeline                                                                    </li>\n<li>Synchronization – Decode synchronized to Pro Tools timeline and video                                          </li>\n<li>Simulate Decoders: Decoding and dynamic range compression modes to simulate laptop computer and hi-fi decoders </li>\n<li>Simulate Environments: Downmix and Listening modes to simulate consumer listening environments                 </li>\n<li>DRC Metering: See how much dynamic range compression has been encoded                                          </li>\n<li>Bitstream Out: Pass bitstream out to use an external consumer decoder                                          </li>\n<li>Metadata – Extensive metadata display                                                                          </li>\n<li>Meters – Output level metering                                                                                 </li>\n<li>Live Decode:Decode live bitstream input from external DVD player                                               </li>\n</ul>\n<strong>Licensing</strong>\n<ul>\n<li>iLok license required                                 </li>\n<li>14-day full trial available                           </li>\n<li>Trial license requires internet connection and an iLok</li>\n</ul>\n<strong>System Requirements</strong>\n<ul>\n<li>Pro Tools 10.3.7 and later</li>\n<li>Mac OSX or Windows        </li>\n</ul>'),(8019,85,0,1337,'Neyrinck SoundCode for Dolby Digital Plug-in Suite'),(8020,85,1,1337,'Neyrinck SoundCode for Dolby Digital Plug-in Suite'),(8021,76,0,1337,''),(8022,76,1,1337,''),(8023,75,0,1338,'<h2>Neyrinck SoundCode for Dolby E - Encode, Decode Bundle</h2>\n\nNeyrinck SoundCode For Dolby E is a suite of software tools that makes Dolby E encoding and decoding fast and easy on Mac or Windows, SoundCode For Dolby E works for traditional tape-based workflows and emerging file-based workflows. SoundCode realtime monitoring detects and displays any CRC errors so you can deliver Dolby E streams with 100% confidence.<br /><br />\n\n<h3>Encode</h3>\nThe SoundCode for Dolby E Encoder for Mac or PC, includes a standalone application, an Audio Suite Pro Tools plug-in and a Final Cut Pro plug-in.<br /><br />\n\nThere are several encode options, including encode from film and SMPTE track order, 1 or 2 frame input offset, Dolby E 16-bit, 20-bit and PCM, together with standard Dolby E metadata settings. Encode up to 8 tracks with over 20 different Dolby E program configurations including 5.1 + Stereo, and LCRS + Stereo.<br /><br />\n\nThe encode process is faster than real-time and includes tape and file based workflows.<br /><br />\n\n<h3>Decode</h3>\nSoundCode for Dolby E Decoder for Mac and PC, includes a standalone decoder application, Pro Tools AAX plug-in and a audio unit decoder plug-in.<br /><br />\n\nThe standalone application allows faster than real time decode of Dolby E files. Within Pro Tools simply place the Dolby E WAV file on a track and select the SoundCode Dolby E Decoder plug-in. In Final Cut Pro use the audio unit decoder with the included N-Mon application to decode the Dolby E file in Pro Tools to the computer’s audio outputs in real time.<br /><br />\n\n<h3>Monitor with N-Mon</h3>\nN-Mon is a Core Audio application that comes bundled with SoundCode for Dolby E Encoder.<br /><br />\n\nIt connects the audio output of an application such as Final Cut Pro to the Core Audio computer audio output and includes a decoding window to allow real time monitoring of Dolby E playback from Final Cut Pro.<br /><br />\n\n<h3>SoundCode for Dolby E Bundle Specifications</h3>\n\n<strong>Standalone Application<br />\nPro Tools Plug-Ins<br />\nFinal Cut 7 Plug-Ins<br />\nOS X Core Audio Plug-In<br /></strong><br />\n<ul>\n<li>Windows and Mac OS X Support                                                       </li>\n<li>Standalone Application, Pro Tools AAX Plug-In                                      </li>\n<li>Final Cut Encoder Plug-In                                                          </li>\n<li>Audio Unit Decoder Plug-In                                                         </li>\n<li>Dolby E Encode and Dolby E Decode                                                  </li>\n<li>Encode and Decode Dolby E Streams at your workstation faster-then-realtime         </li>\n<li>Realtime Dolby E Confidence Monitoring                                             </li>\n<li>Realtime Dolby E File Auditioning                                                  </li>\n<li>Unsurpassed Pro Tools Integration                                                  </li>\n<li>Extensive Metadata Display                                                         </li>\n<li>Direct File Decode™                                                                </li>\n<li>Tape-Based and File-Based workflows                                                </li>\n<li>Deliver a Dolby E Decode to a video facility as a file                             </li>\n<li>Embed Dolby Metadata in a WAV file where it belongs                                </li>\n<li>Implement File-Based workflows that carry Dolby Metadata with the Audio            </li>\n<li>Import and Export interleaved, SMPTE ordered WAV files larger than 2GB in Pro Tools</li>\n<li>Combine multiple audio programs into single audio file                             </li>\n<li>Compatible with Dolby DP600 workflows                                              </li>\n</ul>'),(8024,75,1,1338,'<h2>Neyrinck SoundCode for Dolby E - Encode, Decode Bundle</h2>\n\nNeyrinck SoundCode For Dolby E is a suite of software tools that makes Dolby E encoding and decoding fast and easy on Mac or Windows, SoundCode For Dolby E works for traditional tape-based workflows and emerging file-based workflows. SoundCode realtime monitoring detects and displays any CRC errors so you can deliver Dolby E streams with 100% confidence.<br /><br />\n\n<h3>Encode</h3>\nThe SoundCode for Dolby E Encoder for Mac or PC, includes a standalone application, an Audio Suite Pro Tools plug-in and a Final Cut Pro plug-in.<br /><br />\n\nThere are several encode options, including encode from film and SMPTE track order, 1 or 2 frame input offset, Dolby E 16-bit, 20-bit and PCM, together with standard Dolby E metadata settings. Encode up to 8 tracks with over 20 different Dolby E program configurations including 5.1 + Stereo, and LCRS + Stereo.<br /><br />\n\nThe encode process is faster than real-time and includes tape and file based workflows.<br /><br />\n\n<h3>Decode</h3>\nSoundCode for Dolby E Decoder for Mac and PC, includes a standalone decoder application, Pro Tools AAX plug-in and a audio unit decoder plug-in.<br /><br />\n\nThe standalone application allows faster than real time decode of Dolby E files. Within Pro Tools simply place the Dolby E WAV file on a track and select the SoundCode Dolby E Decoder plug-in. In Final Cut Pro use the audio unit decoder with the included N-Mon application to decode the Dolby E file in Pro Tools to the computer’s audio outputs in real time.<br /><br />\n\n<h3>Monitor with N-Mon</h3>\nN-Mon is a Core Audio application that comes bundled with SoundCode for Dolby E Encoder.<br /><br />\n\nIt connects the audio output of an application such as Final Cut Pro to the Core Audio computer audio output and includes a decoding window to allow real time monitoring of Dolby E playback from Final Cut Pro.<br /><br />\n\n<h3>SoundCode for Dolby E Bundle Specifications</h3>\n\n<strong>Standalone Application<br />\nPro Tools Plug-Ins<br />\nFinal Cut 7 Plug-Ins<br />\nOS X Core Audio Plug-In<br /></strong><br />\n<ul>\n<li>Windows and Mac OS X Support                                                       </li>\n<li>Standalone Application, Pro Tools AAX Plug-In                                      </li>\n<li>Final Cut Encoder Plug-In                                                          </li>\n<li>Audio Unit Decoder Plug-In                                                         </li>\n<li>Dolby E Encode and Dolby E Decode                                                  </li>\n<li>Encode and Decode Dolby E Streams at your workstation faster-then-realtime         </li>\n<li>Realtime Dolby E Confidence Monitoring                                             </li>\n<li>Realtime Dolby E File Auditioning                                                  </li>\n<li>Unsurpassed Pro Tools Integration                                                  </li>\n<li>Extensive Metadata Display                                                         </li>\n<li>Direct File Decode™                                                                </li>\n<li>Tape-Based and File-Based workflows                                                </li>\n<li>Deliver a Dolby E Decode to a video facility as a file                             </li>\n<li>Embed Dolby Metadata in a WAV file where it belongs                                </li>\n<li>Implement File-Based workflows that carry Dolby Metadata with the Audio            </li>\n<li>Import and Export interleaved, SMPTE ordered WAV files larger than 2GB in Pro Tools</li>\n<li>Combine multiple audio programs into single audio file                             </li>\n<li>Compatible with Dolby DP600 workflows                                              </li>\n</ul>'),(8025,85,0,1338,'Neyrinck SoundCode for Dolby E'),(8026,85,1,1338,'Neyrinck SoundCode for Dolby E'),(8027,76,0,1338,''),(8028,76,1,1338,''),(8029,75,0,1339,'<h2>Neyrinck SoundCode LtRt Tools</h2>\nThe Neyrinck SoundCode LtRt Tools is a set of Pro Tools AAX plug-ins designed for post-production studios, TV mixers, film mixers, video game mixers, and broadcasters that monitor or deliver LtRt encoded audio compatible with Pro Logic™ decoders.\n<br /><br />\n<h3>Decode Pro Logic LtRt track in Pro Tools</h3>\nSoundCode LtRt Tools now includes a Pro Logic IIx decoder licensed from Dolby Laboratories Inc.  It provides 7.1, 5.1, and LCRS decoding so mixers can simulate consumer system playback environments.<br /><br />\n<h3>Integrated Stereo Down Mixing</h3>\nSoundCode LtRt Tools makes it simple to add down mix processing to a Pro Tools session for many types of applications.\n<br /><br />\nSoundCode LtRt Tools is a Pro Tools 10 AAX DSP, Native, and Audiosuite plug-in that can simply be inserted on a Pro Tools track. Because it is a plug-in, it is compatible with powerful Pro Tools features such as control surface operation, automation, and preset management.<br /><br />\n<strong>Down Mix Compatibility Checking</strong><br />\nSoundCode LtRt Tools can be used to check how a surround mix will down mix to stereo.<br /><br />\nSoundCode LtRt Tools features a “Down Mix” control that can be used to enable/disable down mixing while mixing with a surround speaker system. When enabled, the surround mix is down mixed to stereo and output on the left and right channels of the surround speaker system. Also, SoundCode LtRt Tools can be used to feed a dedicated, alternate stereo speaker system.<br /><br />\n<h3>Stereo LtRt Program Delivery</h3>\nSoundCode LtRt Tools can be used to matrix encode and down mix a surround mix to stereo LtRt for stereo LtRt mix delivery.\n<br /><br />\nMany broadcasterʼs require both surround mixes and stereo LtRt mixes. SoundCode LtRt Tools makes it simple to do so.<br /><br />\nThe matrix encoding can be set for PL2 or PL1 mode which are compatible with Dolby Pro Logic I and Dolby Pro Logic II decoders.<br /><br />\n<h3>Edit & Monitor On Any Pro Tools System</h3>\nSoundCode LtRt Tools makes it easy to edit surround audio projects using a Pro Tools system connected to a stereo speaker system. Just insert SoundCode LtRt Tools on the surround mix bus and all audio channels will be mixed to stereo so an editor hears everything with just two speakers or headphones.\n<br /><br />\n<strong>Pro Tools LE Monitoring</strong><br />\nThe Pro Tools Complete Production Toolkit allows Pro Tools LE to open Pro Tools HD surround projects. But Pro Tools LE hardware such as MBox Micro can only output two audio channels. SoundCode LtRt Tools can be used by Pro Tools LE systems to make a stereo monitor mix when working with surround projects.<br /><br />\n<h3>Neyrinck SoundCode LtRt Tools Specifications</h3>\n<strong>Pro Tools 10.0 and later, Native and HDX<br /></strong><br />\n<strong>SoundCode LtRt Encoder</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64, and Audiosuite         </li>\n	<li>Pro Logic™ II compatible matrix encoding                </li>\n	<li>Pro Logic™ I compatible matrix encoding                 </li>\n	<li>Lo Ro non-matrixed down mixing                          </li>\n	<li>Mute and Phase controls to isolate down mixing problems </li>\n	<li>Mix level controls                                      </li>\n	<li>Brick-wall limiting                                     </li>\n	<li>AudioSuite processing for ultra-fast downmixes          </li>\n</ul>\n<strong>SoundCode LtRt Decoder</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64, and Audiosuite </li>\n	<li>Dolby Pro Logic IIx Licensed Decoding           </li>\n	<li>7.1, 5.1, LCRS Dolby modes                      </li>\n	<li>Optional mono and stereo downmixing             </li>\n	<li>Mute and solo channel controls                  </li>\n</ul>\n<strong>SoundCode LtRt Monitor</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64       </li>\n	<li>Simple LtRt encode/decode monitoring  </li>\n</ul>\n<strong>SoundCode LtRt Tools Specifications</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64, and Audiosuite Plug-Ins</li>\n</ul>\n<strong>Licensing</strong>\n<ul>\n	<li>iLok license required  </li>\n	<li>2-day trial included   </li>\n</ul>\n<strong>System Requirements</strong>\n<ul>\n	<li>Pro Tools 10.0 and later</li>\n	<li>Mac OS X and Windows    </li>\n</ul>'),(8030,75,1,1339,'<h2>Neyrinck SoundCode LtRt Tools</h2>\nThe Neyrinck SoundCode LtRt Tools is a set of Pro Tools AAX plug-ins designed for post-production studios, TV mixers, film mixers, video game mixers, and broadcasters that monitor or deliver LtRt encoded audio compatible with Pro Logic™ decoders.\n<br /><br />\n<h3>Decode Pro Logic LtRt track in Pro Tools</h3>\nSoundCode LtRt Tools now includes a Pro Logic IIx decoder licensed from Dolby Laboratories Inc.  It provides 7.1, 5.1, and LCRS decoding so mixers can simulate consumer system playback environments.<br /><br />\n<h3>Integrated Stereo Down Mixing</h3>\nSoundCode LtRt Tools makes it simple to add down mix processing to a Pro Tools session for many types of applications.\n<br /><br />\nSoundCode LtRt Tools is a Pro Tools 10 AAX DSP, Native, and Audiosuite plug-in that can simply be inserted on a Pro Tools track. Because it is a plug-in, it is compatible with powerful Pro Tools features such as control surface operation, automation, and preset management.<br /><br />\n<strong>Down Mix Compatibility Checking</strong><br />\nSoundCode LtRt Tools can be used to check how a surround mix will down mix to stereo.<br /><br />\nSoundCode LtRt Tools features a “Down Mix” control that can be used to enable/disable down mixing while mixing with a surround speaker system. When enabled, the surround mix is down mixed to stereo and output on the left and right channels of the surround speaker system. Also, SoundCode LtRt Tools can be used to feed a dedicated, alternate stereo speaker system.<br /><br />\n<h3>Stereo LtRt Program Delivery</h3>\nSoundCode LtRt Tools can be used to matrix encode and down mix a surround mix to stereo LtRt for stereo LtRt mix delivery.\n<br /><br />\nMany broadcasterʼs require both surround mixes and stereo LtRt mixes. SoundCode LtRt Tools makes it simple to do so.<br /><br />\nThe matrix encoding can be set for PL2 or PL1 mode which are compatible with Dolby Pro Logic I and Dolby Pro Logic II decoders.<br /><br />\n<h3>Edit & Monitor On Any Pro Tools System</h3>\nSoundCode LtRt Tools makes it easy to edit surround audio projects using a Pro Tools system connected to a stereo speaker system. Just insert SoundCode LtRt Tools on the surround mix bus and all audio channels will be mixed to stereo so an editor hears everything with just two speakers or headphones.\n<br /><br />\n<strong>Pro Tools LE Monitoring</strong><br />\nThe Pro Tools Complete Production Toolkit allows Pro Tools LE to open Pro Tools HD surround projects. But Pro Tools LE hardware such as MBox Micro can only output two audio channels. SoundCode LtRt Tools can be used by Pro Tools LE systems to make a stereo monitor mix when working with surround projects.<br /><br />\n<h3>Neyrinck SoundCode LtRt Tools Specifications</h3>\n<strong>Pro Tools 10.0 and later, Native and HDX<br /></strong><br />\n<strong>SoundCode LtRt Encoder</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64, and Audiosuite         </li>\n	<li>Pro Logic™ II compatible matrix encoding                </li>\n	<li>Pro Logic™ I compatible matrix encoding                 </li>\n	<li>Lo Ro non-matrixed down mixing                          </li>\n	<li>Mute and Phase controls to isolate down mixing problems </li>\n	<li>Mix level controls                                      </li>\n	<li>Brick-wall limiting                                     </li>\n	<li>AudioSuite processing for ultra-fast downmixes          </li>\n</ul>\n<strong>SoundCode LtRt Decoder</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64, and Audiosuite </li>\n	<li>Dolby Pro Logic IIx Licensed Decoding           </li>\n	<li>7.1, 5.1, LCRS Dolby modes                      </li>\n	<li>Optional mono and stereo downmixing             </li>\n	<li>Mute and solo channel controls                  </li>\n</ul>\n<strong>SoundCode LtRt Monitor</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64       </li>\n	<li>Simple LtRt encode/decode monitoring  </li>\n</ul>\n<strong>SoundCode LtRt Tools Specifications</strong>\n<ul>\n	<li>AAX DSP 32/64, AAX Native 32/64, and Audiosuite Plug-Ins</li>\n</ul>\n<strong>Licensing</strong>\n<ul>\n	<li>iLok license required  </li>\n	<li>2-day trial included   </li>\n</ul>\n<strong>System Requirements</strong>\n<ul>\n	<li>Pro Tools 10.0 and later</li>\n	<li>Mac OS X and Windows    </li>\n</ul>'),(8031,85,0,1339,'Neyrinck SoundCode LtRt Tools'),(8032,85,1,1339,'Neyrinck SoundCode LtRt Tools'),(8033,76,0,1339,''),(8034,76,1,1339,''),(8035,75,0,1340,'<h2>Neyrinck SoundCode Broadcast Supreme Bundle</h2>\nThe Neyrinck SoundCode Broadcast Supreme Bundle is a suite of software tools making it easy to mix, encode, decode, and deliver audio for TV broadcast. It provides LtRt, Dolby Pro Logic IIx, Dolby Digital, and Dolby E technologies so you can meet delivery specifications for broadcasters worldwide.<br /><br />\nBroadcast Supreme BundleIncludes:\n<ul>\n	<li>SoundCode Dolby E Encoder                          </li>\n	<li>SoundCode Dolby E Decoder                          </li>\n	<li>SoundCode Stereo LtRt Encoder                      </li>\n	<li>SoundCode Stereo LtRt Decoder (Dolby Pro Logic IIx)</li>\n	<li>SoundCode Dolby Digital Preview                    </li>\n	<li>SoundCode Dolby Digital Encoder                    </li>\n	<li>SoundCode Dolby Digital Decoder                    </li>\n</ul>\n<br />\n<h3>Neyrinck SoundCode for Dolby Digital 2 Plug-in Suite</h3>\nThe Neyrinck SoundCode For Dolby Digital plug-in suite provides mastering-quality workflow tools that enable you to preview, encode, and decode Dolby Digital (AC-3) audio directly within Pro Tools software, without the need for dedicated Dolby hardware. Whether you are mixing in surround for television, delivering surround audio for DVD video, decoding audio from a DVD video within Pro Tools, or creating a DVD reference disk, SoundCode provides a range of powerful features to help you accomplish your goals, all within the industry-standard Pro Tools environment.\n<br /><br />\n<h3>Neyrinck SoundCode for Dolby E - Encode, Decode Bundle</h3>\nNeyrinck SoundCode For Dolby E is a suite of software tools that makes Dolby E encoding and decoding fast and easy on Mac or Windows, SoundCode For Dolby E works for traditional tape-based workflows and emerging file-based workflows. SoundCode realtime monitoring detects and displays any CRC errors so you can deliver Dolby E streams with 100% confidence.\n<br /><br />\n<h3>Neyrinck SoundCode LtRt Tools</h3>\nThe Neyrinck SoundCode LtRt Tools is a set of Pro Tools AAX plug-ins designed for post-production studios, TV mixers, film mixers, video game mixers, and broadcasters that monitor or deliver LtRt encoded audio compatible with Pro Logic™ decoders. \n<br /><br />'),(8036,75,1,1340,'<h2>Neyrinck SoundCode Broadcast Supreme Bundle</h2>\nThe Neyrinck SoundCode Broadcast Supreme Bundle is a suite of software tools making it easy to mix, encode, decode, and deliver audio for TV broadcast. It provides LtRt, Dolby Pro Logic IIx, Dolby Digital, and Dolby E technologies so you can meet delivery specifications for broadcasters worldwide.<br /><br />\nBroadcast Supreme BundleIncludes:\n<ul>\n	<li>SoundCode Dolby E Encoder                          </li>\n	<li>SoundCode Dolby E Decoder                          </li>\n	<li>SoundCode Stereo LtRt Encoder                      </li>\n	<li>SoundCode Stereo LtRt Decoder (Dolby Pro Logic IIx)</li>\n	<li>SoundCode Dolby Digital Preview                    </li>\n	<li>SoundCode Dolby Digital Encoder                    </li>\n	<li>SoundCode Dolby Digital Decoder                    </li>\n</ul>\n<br />\n<h3>Neyrinck SoundCode for Dolby Digital 2 Plug-in Suite</h3>\nThe Neyrinck SoundCode For Dolby Digital plug-in suite provides mastering-quality workflow tools that enable you to preview, encode, and decode Dolby Digital (AC-3) audio directly within Pro Tools software, without the need for dedicated Dolby hardware. Whether you are mixing in surround for television, delivering surround audio for DVD video, decoding audio from a DVD video within Pro Tools, or creating a DVD reference disk, SoundCode provides a range of powerful features to help you accomplish your goals, all within the industry-standard Pro Tools environment.\n<br /><br />\n<h3>Neyrinck SoundCode for Dolby E - Encode, Decode Bundle</h3>\nNeyrinck SoundCode For Dolby E is a suite of software tools that makes Dolby E encoding and decoding fast and easy on Mac or Windows, SoundCode For Dolby E works for traditional tape-based workflows and emerging file-based workflows. SoundCode realtime monitoring detects and displays any CRC errors so you can deliver Dolby E streams with 100% confidence.\n<br /><br />\n<h3>Neyrinck SoundCode LtRt Tools</h3>\nThe Neyrinck SoundCode LtRt Tools is a set of Pro Tools AAX plug-ins designed for post-production studios, TV mixers, film mixers, video game mixers, and broadcasters that monitor or deliver LtRt encoded audio compatible with Pro Logic™ decoders. \n<br /><br />'),(8037,85,0,1340,'Neyrinck SoundCode Broadcast Supreme Bundle'),(8038,85,1,1340,'Neyrinck SoundCode Broadcast Supreme Bundle'),(8039,76,0,1340,''),(8040,76,1,1340,''),(8041,75,0,1341,'<h2>Neyrinck V-Mon Surround Monitoring for HD Accel</h2>\n<font size=\"3\"><i></i></font><br /><font size=\"3\"><i></i></font><font size=\"3\"><i>V-Mon is a powerful surround monitoring plug-in system for Pro Tools HDX and HD Accel systems.</i></font><br /><br />\nV-Mon flexibly monitors and meters up to ten 5.1 inputs, eight stereo aux inputs, four talk back inputs, and two listen back inputs. V-Mon provides extensive output control for up to four 7.1 speaker systems, one stereo downmix, eight cues, one stem meter for external hardware metering, and one stereo meter for external hardware metering. V-Mon provides four talk back busses for flexible global and individual talk back and slate communication.<br /><br />\nV-Mon provides two listen back inputs and outputs with cough control. V-Mon is compatible with the Tac Systems VMC-101 remote controller for convenient, hands-on control of the V-Mon system.<br /><br />\n<h3>Surround Stem and Aux Monitoring</h3>\nV-Mon provides ten 5.1 stem-input plug-ins and aux input plug-ins that can be simply inserted on any mix, submix, recorder return, or other audio track you would like to monitor.\nThese input plug-ins simply pass the audio through so your mix is unaffected while simultaneously sending the audio to the V-Mon monitoring system.\nEach channel of an input plug-in features gain trim and channel re-assignment for flexibilty in professional environments.\n<br /><br />\n<h3>Calibrated Speaker Outputs</h3>\nV-Mon provides four speaker output plug-ins that can be configured for stereo or surround monitoring. V-Mon provides a volume control so you can connect directly to digital or analog speakers.\nOr if you prefer, you can set up V-Mon to connect to an external volume control such as Digidesign X-Mon.\nDelay and gain trims are provided for each channel for precise system calibration.\nEach speaker output has a delay mode setting up to 150 ms to compensate for video display latencies.\nAnd each channel can be delayed up to 20 msec for speaker location alignment.\n<br /><br />\n<h3>Integrated Stereo Downmixing</h3>\nV-Mon features two stereo downmixers. The first is dedicated to monitoring and is used in two ways.\nFirst, it is used to feed stereo speaker setups and second, it is used to quickly check a stereo downmix while monitoring with surround speakers.\nThe second downmixer is dedicated to downmixing the main stem mix for output to an external recorder or to a bounce.\nThe downmixing equations can be configured in the V-Mon setup panel.\n<br /><br />\n<h3>V-Mon Main - Flexible Monitoring Control</h3>\nThe V-Mon Main Stem plug-in provides the main user interface to control V-Mon. All stem and aux inputs can be chosen in any combination using solo mode or sum mode.\nEach channel of the monitor bus can be soloed or muted. Stereo pairs can be soloed and routed to the front speakers. Downmix and mono buttons allow for fast mix checking. Each speaker output can be selected.\nThe delay mode button will quickly enable/disable the delay mode setting of the selected speaker output.\nThe LOCK button disables the volume control.\nThe REF button quickly sets the volume to the reference level set in the setup page.\nThe DIM and MUTE buttons are large and easy to select.\n<br /><br />\n<h3>Send and Return</h3>\nThe V-Mon Surround Send and Return plug-ins allow V-Mon to use external processing in the monitor chain.\nThis allows a mixer to insert separate systems such as the Dolby DP570 or DMU.\n<br /><br />\n<h3>Talk Back, Listen Back, and Slate</h3>\nV-Mon provides four talk back buses.\nThree buses can be used for communication from control room to talent with up to four microphone inputs. The fourth bus is dedicate to Slate.\nV-Mon provides one listen back bus for communications from talent back to the control room.\nTwo listen back inputs can be used and each has separate \"cough\" controls so talent can mute/unmute the input during recording and live broadcasting.\n<br /><br />\n<h3>Extensive Cue Monitoring</h3>\nV-Mon provides up to eight cue output plug-ins. Each cue output can select any combination of the eight aux inputs, downmix monitor out, track input, and four talk back busses.\nEach cue output has an adjustable \'dim\' gain used when talk back is active.\nAnd each cue output has an adjustable output gain up to +10 dB.\n<br /><br />\n<h3>Remote Capability</h3>\nV-Mon is compatible with the Tac Systems VMC-101 remote control surface. The VMC-101 connects using RS-422 or USB.\nThe VMC-101 features GPIO pins to integrate with other hardware.\nV-Mon is also controllable using the Pro Tools plug-in control surfaces such in D-Control, Command-8, and C-24.\n<br /><br />\n<h3>Extensive Metering</h3>\nV-Mon provides a metering system unlike anything else seen in Pro Tools.\nV-Mon displays up to seventeen meter panels simultaneously where each panel can be one of the many surround and stereo inputs and output within V-Mon.\nV-Mon provides two meter output plug-ins so you can send any of the surround and stereo inputs and outputs to external metering hardware.\nV-Mon provides simultaneous peak and average metering with selectable VU and PPM response, selectable reference point, and selectable peak hold mode.\n<br /><br />\n<h3>7.1 Monitoring</h3>\nBlu-ray DVD is making 7.1 surround the new standard and V-Mon is ready.\nV-Mon provides for 7.1 monitoring using either the SDDS mode or the DTS-HD mode that uses two back speakers.\nAnd when using a DTS-HD speaker setup, V-Mon can output the rear center channel of a LCRS mix or 6.1 mix to the two rear speakers and adjusted by -3 dB.'),(8042,75,1,1341,'<h2>Neyrinck V-Mon Surround Monitoring for HD Accel</h2>\n<font size=\"3\"><i></i></font><br /><font size=\"3\"><i></i></font><font size=\"3\"><i>V-Mon is a powerful surround monitoring plug-in system for Pro Tools HDX and HD Accel systems.</i></font><br /><br />\nV-Mon flexibly monitors and meters up to ten 5.1 inputs, eight stereo aux inputs, four talk back inputs, and two listen back inputs. V-Mon provides extensive output control for up to four 7.1 speaker systems, one stereo downmix, eight cues, one stem meter for external hardware metering, and one stereo meter for external hardware metering. V-Mon provides four talk back busses for flexible global and individual talk back and slate communication.<br /><br />\nV-Mon provides two listen back inputs and outputs with cough control. V-Mon is compatible with the Tac Systems VMC-101 remote controller for convenient, hands-on control of the V-Mon system.<br /><br />\n<h3>Surround Stem and Aux Monitoring</h3>\nV-Mon provides ten 5.1 stem-input plug-ins and aux input plug-ins that can be simply inserted on any mix, submix, recorder return, or other audio track you would like to monitor.\nThese input plug-ins simply pass the audio through so your mix is unaffected while simultaneously sending the audio to the V-Mon monitoring system.\nEach channel of an input plug-in features gain trim and channel re-assignment for flexibilty in professional environments.\n<br /><br />\n<h3>Calibrated Speaker Outputs</h3>\nV-Mon provides four speaker output plug-ins that can be configured for stereo or surround monitoring. V-Mon provides a volume control so you can connect directly to digital or analog speakers.\nOr if you prefer, you can set up V-Mon to connect to an external volume control such as Digidesign X-Mon.\nDelay and gain trims are provided for each channel for precise system calibration.\nEach speaker output has a delay mode setting up to 150 ms to compensate for video display latencies.\nAnd each channel can be delayed up to 20 msec for speaker location alignment.\n<br /><br />\n<h3>Integrated Stereo Downmixing</h3>\nV-Mon features two stereo downmixers. The first is dedicated to monitoring and is used in two ways.\nFirst, it is used to feed stereo speaker setups and second, it is used to quickly check a stereo downmix while monitoring with surround speakers.\nThe second downmixer is dedicated to downmixing the main stem mix for output to an external recorder or to a bounce.\nThe downmixing equations can be configured in the V-Mon setup panel.\n<br /><br />\n<h3>V-Mon Main - Flexible Monitoring Control</h3>\nThe V-Mon Main Stem plug-in provides the main user interface to control V-Mon. All stem and aux inputs can be chosen in any combination using solo mode or sum mode.\nEach channel of the monitor bus can be soloed or muted. Stereo pairs can be soloed and routed to the front speakers. Downmix and mono buttons allow for fast mix checking. Each speaker output can be selected.\nThe delay mode button will quickly enable/disable the delay mode setting of the selected speaker output.\nThe LOCK button disables the volume control.\nThe REF button quickly sets the volume to the reference level set in the setup page.\nThe DIM and MUTE buttons are large and easy to select.\n<br /><br />\n<h3>Send and Return</h3>\nThe V-Mon Surround Send and Return plug-ins allow V-Mon to use external processing in the monitor chain.\nThis allows a mixer to insert separate systems such as the Dolby DP570 or DMU.\n<br /><br />\n<h3>Talk Back, Listen Back, and Slate</h3>\nV-Mon provides four talk back buses.\nThree buses can be used for communication from control room to talent with up to four microphone inputs. The fourth bus is dedicate to Slate.\nV-Mon provides one listen back bus for communications from talent back to the control room.\nTwo listen back inputs can be used and each has separate \"cough\" controls so talent can mute/unmute the input during recording and live broadcasting.\n<br /><br />\n<h3>Extensive Cue Monitoring</h3>\nV-Mon provides up to eight cue output plug-ins. Each cue output can select any combination of the eight aux inputs, downmix monitor out, track input, and four talk back busses.\nEach cue output has an adjustable \'dim\' gain used when talk back is active.\nAnd each cue output has an adjustable output gain up to +10 dB.\n<br /><br />\n<h3>Remote Capability</h3>\nV-Mon is compatible with the Tac Systems VMC-101 remote control surface. The VMC-101 connects using RS-422 or USB.\nThe VMC-101 features GPIO pins to integrate with other hardware.\nV-Mon is also controllable using the Pro Tools plug-in control surfaces such in D-Control, Command-8, and C-24.\n<br /><br />\n<h3>Extensive Metering</h3>\nV-Mon provides a metering system unlike anything else seen in Pro Tools.\nV-Mon displays up to seventeen meter panels simultaneously where each panel can be one of the many surround and stereo inputs and output within V-Mon.\nV-Mon provides two meter output plug-ins so you can send any of the surround and stereo inputs and outputs to external metering hardware.\nV-Mon provides simultaneous peak and average metering with selectable VU and PPM response, selectable reference point, and selectable peak hold mode.\n<br /><br />\n<h3>7.1 Monitoring</h3>\nBlu-ray DVD is making 7.1 surround the new standard and V-Mon is ready.\nV-Mon provides for 7.1 monitoring using either the SDDS mode or the DTS-HD mode that uses two back speakers.\nAnd when using a DTS-HD speaker setup, V-Mon can output the rear center channel of a LCRS mix or 6.1 mix to the two rear speakers and adjusted by -3 dB.'),(8043,85,0,1341,'Neyrinck V-Mon Surround Monitoring for HD Accel'),(8044,85,1,1341,'Neyrinck V-Mon Surround Monitoring for HD Accel'),(8045,76,0,1341,''),(8046,76,1,1341,''),(8047,75,0,1342,'<h1>Neyrinck V-Control Pro Bundle Full License</h1>\n<i>V-Control Pro gives you advanced DAW control on a phone or tablet and Connects Digidesign Control|24 and ProControl to Pro Tools (10.3 or newer), Logic Pro X, Cubase, Nuendo, Studio One (Mac OS 10.10/Windows 7 and later).</i><br/><br/>\n\nRecord, edit, and mix with V-Control Pro. Use beautiful hardware faders or move anywhere with apps on your tablet or phone.\n<br/><br/>\nRecord and control your DAW remotely while playing your instrument. Mix with multi-touch control from a 16-fader V-Console app.\n<br/><br/>\nConnect Control|24 and ProControl to the latest versions of Pro Tools. Connect C|24, Control|24, and ProControl to Logic Pro X, Cubase, Nuendo, and Studio One. (Requires Mac OS 10.10 / Windows 7 or later)\n<br/><br/>\n<h3>V-Control Pro Bundle Includes</h3>\n<ul>\n	<li><b>V-Control Pro Software </b>– Connects your favorite DAWs and Video edit applications to controller apps on mobile tablets, smartphones, browsers, and MIDI hardware controllers</li>\n	<li><b>V-Console App –</b> 8 or 16 fader controller with multiple skins for most DAW/Video Editors, and V-Window for controlling plug-ins</li>\n	<li><b>V-Panner App </b>– Surround Panning and Dolby Atmos plug-in control screens</li>\n	<li><b>V-PlugIn App</b> – Directly control the Neyrinck Spill plug-in for Pro Tools on iPhones and iPads</li>\n	<li>Enables Digidesign Control|24 and Digidesign ProControl to work with Pro Tools 11, 12, 2018, 2019, Logic Pro X, Cubase, Nuendo, Studio One</li>\n</ul>\n<br/>\n<h3>V-Control Pro Connects C|24, Control|24 and ProControl To Modern DAWs</h3>\nMix with beautiful faders in Pro Tools (11, 12, 2018, 2019), Logic Pro X, Cubase, Nuendo, and Studio One with C|24, Control|24 or ProControl. 32 faders are supported that can be banked to access an unlimited number of channels / tracks. V-Control Pro runs on your Pro Tools computer (Mac or PC) and uses a direct Ethernet connection to C|24, Control|24, or ProControl. Mac OS 10.10 / Windows 7 and later are supported.\n<br/><br/>\nControl features include:\n<ul>\n	<li>Faders .1 dB resolution</li>\n	<li>Pan, Mute, Solo, Record</li>\n	<li>Track Select</li>\n	<li>Sends</li>\n	<li>Sends Flip To Fader</li>\n	<li>Plug-in editing</li>\n</ul>\n<br/>\n<h3>Simple Setup</h3>\nV-Control Pro software runs as a menu-bar application on your Mac or Windows computer. It automatically connects media applications such as Pro Tools, Cubase, and Logic Pro to controller apps and devices.\n<br/><br/>\nThe Setups window shows all your devices, applications, and connected setups. It also provides powerful custom configuration for MIDI controllers. You can see setup guides for all media applications. You can also configure multiple devices for up to 32 tracks of mix control.<br/><br/>\n<h3>MIDI Controller Mapping In Pro Tools</h3>\nV-Control Pro provides powerful MIDI features that let you control Pro Tools from MIDI hardware.\n<br/><br/>\nFor example, you can set up recording and playback to be mapped to buttons on a MIDI controller.<br/><br/>\n<h3>V-Control Pro with Pro Tools and Avid Surfaces</h3>\nThis information applies to using V-Control Pro simultaneously with an Avid surface that is supported by Pro Tools. This information does not apply to using Pro Control or Control 24 in Pro Tools 11 and later which are not supported by Pro Tools. See above for how V-Control Pro instead supports Pro Control and Control 24 for use with Pro Tools 11 and later.\n<br/><br/>\nPro Tools supports using V-Control Pro simultaneous with a supported ethernet controller such as S6, D-Command, C|24. But the two controllers are always banked to the same channels and V-Control Pro is banked to the left eight channels of the ethernet controller. Also, the plug-in editing in V-Control Pro will be disabled.<br/><br/>\nPro Tools does not transmit metering to V-Control when an ethernet surface is configured in Pro Tools. Avid has verified that Pro Tools does not send metering to secondary controllers. Also, C|24 only allows one additional MIDI peripheral to be used simultaneous. This means you can either set V-Control as one HUI controller or one surround pan controller.<br/><br/>\nTo make V-Control Pro operate as an independent controller you can temporarily disable the Ethernet controller in Pro Tools.<br/><br/>'),(8048,75,1,1342,'<h1>Neyrinck V-Control Pro Bundle Full License</h1>\n<i>V-Control Pro gives you advanced DAW control on a phone or tablet and Connects Digidesign Control|24 and ProControl to Pro Tools (10.3 or newer), Logic Pro X, Cubase, Nuendo, Studio One (Mac OS 10.10/Windows 7 and later).</i><br/><br/>\n\nRecord, edit, and mix with V-Control Pro. Use beautiful hardware faders or move anywhere with apps on your tablet or phone.\n<br/><br/>\nRecord and control your DAW remotely while playing your instrument. Mix with multi-touch control from a 16-fader V-Console app.\n<br/><br/>\nConnect Control|24 and ProControl to the latest versions of Pro Tools. Connect C|24, Control|24, and ProControl to Logic Pro X, Cubase, Nuendo, and Studio One. (Requires Mac OS 10.10 / Windows 7 or later)\n<br/><br/>\n<h3>V-Control Pro Bundle Includes</h3>\n<ul>\n	<li><b>V-Control Pro Software </b>– Connects your favorite DAWs and Video edit applications to controller apps on mobile tablets, smartphones, browsers, and MIDI hardware controllers</li>\n	<li><b>V-Console App –</b> 8 or 16 fader controller with multiple skins for most DAW/Video Editors, and V-Window for controlling plug-ins</li>\n	<li><b>V-Panner App </b>– Surround Panning and Dolby Atmos plug-in control screens</li>\n	<li><b>V-PlugIn App</b> – Directly control the Neyrinck Spill plug-in for Pro Tools on iPhones and iPads</li>\n	<li>Enables Digidesign Control|24 and Digidesign ProControl to work with Pro Tools 11, 12, 2018, 2019, Logic Pro X, Cubase, Nuendo, Studio One</li>\n</ul>\n<br/>\n<h3>V-Control Pro Connects C|24, Control|24 and ProControl To Modern DAWs</h3>\nMix with beautiful faders in Pro Tools (11, 12, 2018, 2019), Logic Pro X, Cubase, Nuendo, and Studio One with C|24, Control|24 or ProControl. 32 faders are supported that can be banked to access an unlimited number of channels / tracks. V-Control Pro runs on your Pro Tools computer (Mac or PC) and uses a direct Ethernet connection to C|24, Control|24, or ProControl. Mac OS 10.10 / Windows 7 and later are supported.\n<br/><br/>\nControl features include:\n<ul>\n	<li>Faders .1 dB resolution</li>\n	<li>Pan, Mute, Solo, Record</li>\n	<li>Track Select</li>\n	<li>Sends</li>\n	<li>Sends Flip To Fader</li>\n	<li>Plug-in editing</li>\n</ul>\n<br/>\n<h3>Simple Setup</h3>\nV-Control Pro software runs as a menu-bar application on your Mac or Windows computer. It automatically connects media applications such as Pro Tools, Cubase, and Logic Pro to controller apps and devices.\n<br/><br/>\nThe Setups window shows all your devices, applications, and connected setups. It also provides powerful custom configuration for MIDI controllers. You can see setup guides for all media applications. You can also configure multiple devices for up to 32 tracks of mix control.<br/><br/>\n<h3>MIDI Controller Mapping In Pro Tools</h3>\nV-Control Pro provides powerful MIDI features that let you control Pro Tools from MIDI hardware.\n<br/><br/>\nFor example, you can set up recording and playback to be mapped to buttons on a MIDI controller.<br/><br/>\n<h3>V-Control Pro with Pro Tools and Avid Surfaces</h3>\nThis information applies to using V-Control Pro simultaneously with an Avid surface that is supported by Pro Tools. This information does not apply to using Pro Control or Control 24 in Pro Tools 11 and later which are not supported by Pro Tools. See above for how V-Control Pro instead supports Pro Control and Control 24 for use with Pro Tools 11 and later.\n<br/><br/>\nPro Tools supports using V-Control Pro simultaneous with a supported ethernet controller such as S6, D-Command, C|24. But the two controllers are always banked to the same channels and V-Control Pro is banked to the left eight channels of the ethernet controller. Also, the plug-in editing in V-Control Pro will be disabled.<br/><br/>\nPro Tools does not transmit metering to V-Control when an ethernet surface is configured in Pro Tools. Avid has verified that Pro Tools does not send metering to secondary controllers. Also, C|24 only allows one additional MIDI peripheral to be used simultaneous. This means you can either set V-Control as one HUI controller or one surround pan controller.<br/><br/>\nTo make V-Control Pro operate as an independent controller you can temporarily disable the Ethernet controller in Pro Tools.<br/><br/>'),(8049,85,0,1342,'Neyrinck V-Control Pro Bundle Full License'),(8050,85,1,1342,'Neyrinck V-Control Pro Bundle Full License'),(8051,76,0,1342,''),(8052,76,1,1342,''),(8053,75,0,1343,'<h2>Native Instruments Komplete 11<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">The World\'s Leading Production Suite <br /><br /></span></span>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style>KOMPLETE 11 is the world’s leading collection for music production, performance, and sound design. All the tools you need – any production task, any type of music, anything you can imagine. Delve into an enormous collection of 45 inspiring and innovative virtual instruments and effects. Radical synthesizers, classic drums, larger-than-life sampled instruments, and avant-garde sound design plus the world’s leading sampling and synthesis platforms REAKTOR and KONTAKT. All at a fraction of the combined cost of the individual components.<br /><br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"></span><h4>Features</h4>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul style=\"margin-top:0in\" type=\"disc\"><li>Orchestral and Cinematic </li><li>Synthesized and Electronic  </li><li>Sampled and Acoustic </li><li>Creative and Studio Effects </li></ul><h4>Requirements</h4><ul><li>Mac OS X 10.10 or 10.11 (latest update), Intel Core 2 Duo</li><li>Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2</li><li>4 GB RAM (6 GB recommended for large KONTAKT Instruments)</li><li>10 GB free disk space (122 GB for complete installation).</li></ul><br />An internet connection is required to install and activate the products in this KOMPLETE bundle. Once installed, all products can be used offline. Certain products may require additional free downloads. Changes in compatibility with third-party products may depend on restrictions Native Instruments cannot influence.<br /><br /><h4>Additional Info</h4><ul><li>10 GB free disk space / 122 GB for complete installation. Speciﬁc requirements vary depending on the individual program.</li><li>The\n applications require 6 GB of free disk space, the libraries of all \nsample instruments in this bundle require 116 GB. Note that the total \nuncompressed size of all libraries is 155 GB. Most libraries are \ninstalled in a compressed form using advanced KONTAKT Lossless Sample \nCompression. They only expand to their full size during use and thus \ntake up less space on your hard drive when inactive.</li></ul><div class=\"text-left\">\n</div>\n\n\n\n\n\n<div id=\"c843287\"><div id=\"c843187\">\n<div class=\"text theme-default text-center text-below padding-20-100\">\n<div class=\"container\">\n<div class=\"row\">\n<div class=\"col-xs-12\">\n<div class=\"text-left\">\n<ul><li>This product runs in demo mode after installation and must be activated before full functionality is available.</li><li>All\n products included within a single edition of a KOMPLETE 11 bundle are \npart of one user license and can only be used as a single entity. A \nmaximum of three installations on three machines are allowed as long as \nonly one installation is used at any given time. The individual products\n cannot be resold separately.</li></ul>\n</div>\n</div>\n</div>\n</div>\n</div>\n</div></div><h2>Bundle Includes:<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span style=\"font-family: Tahoma;\"></span><h3>SYMPHONY ESSENTIALS </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Five meticulously sampled orchestral instruments, including brass, strings, and woodwinds. They deliver the same professional recordings and signature interface as the acclaimed SYMPHONY SERIES with a streamlined set of articulations.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>FORM </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p> A creative synthesizer that enables you to transform samples into anything you can imagine. Move beyond traditional synthesis – FORM offers a refreshing approach to sound creation that delivers beautifully organic and powerful results.<br /><br /><h3>REAKTOR 6 </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The ultimate creative toolkit for deep sound exploration, featuring cutting-edge DSP and high-fidelity sound. Build custom synths and effects. Experiment with modular patching. And discover 70+ included instruments plus thousands of sounds.<br /></span><br /><h3>KONTAKT 5.6  </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The world’s leading software sampler, with a sophisticated sound engine, wide array of effects, powerful modulation possibilities, and advanced scripting. The latest 5.6 update* provides a new look and a host of new builder features.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>UNA CORDA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nAn inspiring instrument that faithfully captures the sound of a custom-made piano with one string per key – created by David Klavins with composer Nils Frahm. Discover evocative tones from a full range of distinct sound characters.<br /><br /><h3>SESSION GUITARIST – STRUMMED ACOUSTIC</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Your always-on-call, professional session guitarist, delivering perfectly strummed and recorded patterns, vivid sound, and real-time performance control.<br /><br /></span><h3>DISCOVERY SERIES: INDIA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nA unique collection of superbly sampled percussion and melodic instruments that delivers every nuance of traditional Indian music with supreme authenticity and advanced playability.<br /><br /><h3> KINETIC METAL </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">An inspiring instrument that draws from unconventional metal sources. Create anything from ethereal textures to tonal percussion, and apply ‘Auto-Motion’ to produce constantly evolving soundscapes.<br /></span><br /><h3>REPLIKA </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">This studio effect packs two professional-quality delays and a powerful diffusion algorithm into a sleek, streamlined interface. Rich and versatile, for anything from subtle slapback to warped sheets of noise.</span><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br /><h2>Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. Call or chat with a RSPE representative today.</h2><span style=\"font-family: Tahoma;\"></span><ul></ul>'),(8054,75,1,1343,'<h2>Native Instruments Komplete 11<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">The World\'s Leading Production Suite <br /><br /></span></span>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style>KOMPLETE 11 is the world’s leading collection for music production, performance, and sound design. All the tools you need – any production task, any type of music, anything you can imagine. Delve into an enormous collection of 45 inspiring and innovative virtual instruments and effects. Radical synthesizers, classic drums, larger-than-life sampled instruments, and avant-garde sound design plus the world’s leading sampling and synthesis platforms REAKTOR and KONTAKT. All at a fraction of the combined cost of the individual components.<br /><br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"></span><h4>Features</h4>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul style=\"margin-top:0in\" type=\"disc\"><li>Orchestral and Cinematic </li><li>Synthesized and Electronic  </li><li>Sampled and Acoustic </li><li>Creative and Studio Effects </li></ul><h4>Requirements</h4><ul><li>Mac OS X 10.10 or 10.11 (latest update), Intel Core 2 Duo</li><li>Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2</li><li>4 GB RAM (6 GB recommended for large KONTAKT Instruments)</li><li>10 GB free disk space (122 GB for complete installation).</li></ul><br />An internet connection is required to install and activate the products in this KOMPLETE bundle. Once installed, all products can be used offline. Certain products may require additional free downloads. Changes in compatibility with third-party products may depend on restrictions Native Instruments cannot influence.<br /><br /><h4>Additional Info</h4><ul><li>10 GB free disk space / 122 GB for complete installation. Speciﬁc requirements vary depending on the individual program.</li><li>The\n applications require 6 GB of free disk space, the libraries of all \nsample instruments in this bundle require 116 GB. Note that the total \nuncompressed size of all libraries is 155 GB. Most libraries are \ninstalled in a compressed form using advanced KONTAKT Lossless Sample \nCompression. They only expand to their full size during use and thus \ntake up less space on your hard drive when inactive.</li></ul><div class=\"text-left\">\n</div>\n\n\n\n\n\n<div id=\"c843287\"><div id=\"c843187\">\n<div class=\"text theme-default text-center text-below padding-20-100\">\n<div class=\"container\">\n<div class=\"row\">\n<div class=\"col-xs-12\">\n<div class=\"text-left\">\n<ul><li>This product runs in demo mode after installation and must be activated before full functionality is available.</li><li>All\n products included within a single edition of a KOMPLETE 11 bundle are \npart of one user license and can only be used as a single entity. A \nmaximum of three installations on three machines are allowed as long as \nonly one installation is used at any given time. The individual products\n cannot be resold separately.</li></ul>\n</div>\n</div>\n</div>\n</div>\n</div>\n</div></div><h2>Bundle Includes:<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span style=\"font-family: Tahoma;\"></span><h3>SYMPHONY ESSENTIALS </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Five meticulously sampled orchestral instruments, including brass, strings, and woodwinds. They deliver the same professional recordings and signature interface as the acclaimed SYMPHONY SERIES with a streamlined set of articulations.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>FORM </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p> A creative synthesizer that enables you to transform samples into anything you can imagine. Move beyond traditional synthesis – FORM offers a refreshing approach to sound creation that delivers beautifully organic and powerful results.<br /><br /><h3>REAKTOR 6 </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The ultimate creative toolkit for deep sound exploration, featuring cutting-edge DSP and high-fidelity sound. Build custom synths and effects. Experiment with modular patching. And discover 70+ included instruments plus thousands of sounds.<br /></span><br /><h3>KONTAKT 5.6  </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The world’s leading software sampler, with a sophisticated sound engine, wide array of effects, powerful modulation possibilities, and advanced scripting. The latest 5.6 update* provides a new look and a host of new builder features.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>UNA CORDA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nAn inspiring instrument that faithfully captures the sound of a custom-made piano with one string per key – created by David Klavins with composer Nils Frahm. Discover evocative tones from a full range of distinct sound characters.<br /><br /><h3>SESSION GUITARIST – STRUMMED ACOUSTIC</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Your always-on-call, professional session guitarist, delivering perfectly strummed and recorded patterns, vivid sound, and real-time performance control.<br /><br /></span><h3>DISCOVERY SERIES: INDIA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nA unique collection of superbly sampled percussion and melodic instruments that delivers every nuance of traditional Indian music with supreme authenticity and advanced playability.<br /><br /><h3> KINETIC METAL </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">An inspiring instrument that draws from unconventional metal sources. Create anything from ethereal textures to tonal percussion, and apply ‘Auto-Motion’ to produce constantly evolving soundscapes.<br /></span><br /><h3>REPLIKA </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">This studio effect packs two professional-quality delays and a powerful diffusion algorithm into a sleek, streamlined interface. Rich and versatile, for anything from subtle slapback to warped sheets of noise.</span><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br /><h2>Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. Call or chat with a RSPE representative today.</h2><span style=\"font-family: Tahoma;\"></span><ul></ul>'),(8055,85,0,1343,'Native Instruments Komplete 11'),(8056,85,1,1343,'Native Instruments Komplete 11'),(8057,76,0,1343,''),(8058,76,1,1343,''),(8059,75,0,1344,'<h2>Native Instruments Komplete 11- Select<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Your New Sound Starts Here <br /><br /></span></span>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style>KOMPLETE 11 SELECT is a wide-ranging music production suite that can drive any type of music. With a carefully chosen selection of products, from drums to synths and everything in between, it’s also great value – less than 20% of the combined cost of the individual products. KOMPLETE SELECT is a wide-ranging music production suite for all genres – the perfect gateway to the world of KOMPLETE. <br /><br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"></span><h4>Features</h4>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul style=\"margin-top:0in\" type=\"disc\"><li>Orchestral and Cinematic </li><li>Synthesized and Electronic  </li><li>Sampled and Acoustic </li><li>Creative and Studio Effects </li></ul><h4>Requirements</h4><ul><li>Mac OS X 10.10 or 10.11 (latest update), Intel Core 2 Duo</li><li>Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2</li><li>4 GB RAM (6 GB recommended for large KONTAKT Instruments)</li><li>2 GB free disk space (18 GB for complete installation).</li></ul><br />An internet connection is required to install and activate the products in this KOMPLETE bundle. Once installed, all products can be used offline. Certain products may require additional free downloads. Changes in compatibility with third-party products may depend on restrictions Native Instruments cannot influence.<br /><br /><h4>Additional Info</h4><ul><li>2 GB free disk space / 18 GB for complete installation. Speciﬁc requirements vary depending on the individual program.</li><li>The\n applications require 2 GB of free disk space, the libraries of all \nsample instruments in this bundle require 16 GB. Note that the total \nuncompressed size of all libraries is 25 GB. Most libraries are \ninstalled in a compressed form using advanced KONTAKT Lossless Sample \nCompression. They only expand to their full size during use and thus \ntake up less space on your hard drive when inactive.</li><li>This product runs in demo mode after installation and must be activated before full functionality is available.</li><li>All\n products included within a single edition of a KOMPLETE 11 bundle are \npart of one user license and can only be used as a single entity. A \nmaximum of three installations on three machines are allowed as long as \nonly one installation is used at any given time. The individual products\n cannot be resold separately.</li></ul><div id=\"c843299\"><div id=\"c843187\"><div class=\"text theme-default text-center text-below padding-20-100\"><div class=\"container\"><div class=\"row\"><div class=\"col-xs-12\"><div class=\"text-left\">\n</div>\n</div>\n</div>\n</div>\n</div>\n</div></div><br /><h2>Bundle Includes:<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span style=\"font-family: Tahoma;\"></span><h3>MASSIVE </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Heavyweight synthesizer combining analog architecture with wavetable synthesis. Perfect for heavy basses and piercing leads.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3 class=\" text-left\">REAKTOR PRISM\n</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 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Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Classic piano that delivers balanced tone, a wide dynamic range, and a beautiful, lush sound. Your new standard vintage upright.<br /></span><br /><h3 class=\" text-left\">SOLID BUS COMP\n</h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Inspired by a legendary bus compressor from a famous British console. Delivers power and punch without sacrificing clarity.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>SCARBEE MARK 1  </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nThe sound of an iconic electric piano, beautifully sampled and perfectly preserved in all its brilliance.<br /><br /><h3>MONARK</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Uncompromising software version of the holy grail of analog monosynths. Every nuance has been meticulously studied to recreate the spirit of this legend in definitive detail.<br /><br /></span><h3>VINTAGE ORGANS</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nAccess the sounds of the golden age. Based on high-quality recordings of classic organs, VINTAGE ORGANS is full of charm and character<br /><br /><h3>DRUMLAB </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Create moving, big-screen melodies with authentic legato string phrases and arpeggios. Turn your ideas into scoring gold with 28 GB of live-recorded lines. <br /></span><br /><h3>RETRO MACHINES MK2 </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">16 legendary vintage instruments from the 70s and 80s, lovingly sampled and refined. Retro analog sound with all the benefits of modern software technology.<br /><br /></span><h3>DISCOVERY SERIES: INDIA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nA unique collection of superbly sampled percussion and melodic \ninstruments that delivers every nuance of traditional Indian music with \nsupreme authenticity and advanced playability.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br /></span><h3 class=\" text-left\">\n										REPLIKA </h3>Two studio-quality delays and a powerful diffusion algorithm in a sleek interface.<br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br /><h2>Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. Call or chat with a RSPE representative today.</h2><span style=\"font-family: Tahoma;\"></span><ul></ul>'),(8060,75,1,1344,'<h2>Native Instruments Komplete 11- Select<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Your New Sound Starts Here <br /><br /></span></span>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style>KOMPLETE 11 SELECT is a wide-ranging music production suite that can drive any type of music. With a carefully chosen selection of products, from drums to synths and everything in between, it’s also great value – less than 20% of the combined cost of the individual products. KOMPLETE SELECT is a wide-ranging music production suite for all genres – the perfect gateway to the world of KOMPLETE. <br /><br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"></span><h4>Features</h4>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul style=\"margin-top:0in\" type=\"disc\"><li>Orchestral and Cinematic </li><li>Synthesized and Electronic  </li><li>Sampled and Acoustic </li><li>Creative and Studio Effects </li></ul><h4>Requirements</h4><ul><li>Mac OS X 10.10 or 10.11 (latest update), Intel Core 2 Duo</li><li>Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2</li><li>4 GB RAM (6 GB recommended for large KONTAKT Instruments)</li><li>2 GB free disk space (18 GB for complete installation).</li></ul><br />An internet connection is required to install and activate the products in this KOMPLETE bundle. Once installed, all products can be used offline. Certain products may require additional free downloads. Changes in compatibility with third-party products may depend on restrictions Native Instruments cannot influence.<br /><br /><h4>Additional Info</h4><ul><li>2 GB free disk space / 18 GB for complete installation. Speciﬁc requirements vary depending on the individual program.</li><li>The\n applications require 2 GB of free disk space, the libraries of all \nsample instruments in this bundle require 16 GB. Note that the total \nuncompressed size of all libraries is 25 GB. Most libraries are \ninstalled in a compressed form using advanced KONTAKT Lossless Sample \nCompression. They only expand to their full size during use and thus \ntake up less space on your hard drive when inactive.</li><li>This product runs in demo mode after installation and must be activated before full functionality is available.</li><li>All\n products included within a single edition of a KOMPLETE 11 bundle are \npart of one user license and can only be used as a single entity. A \nmaximum of three installations on three machines are allowed as long as \nonly one installation is used at any given time. The individual products\n cannot be resold separately.</li></ul><div id=\"c843299\"><div id=\"c843187\"><div class=\"text theme-default text-center text-below padding-20-100\"><div class=\"container\"><div class=\"row\"><div class=\"col-xs-12\"><div class=\"text-left\">\n</div>\n</div>\n</div>\n</div>\n</div>\n</div></div><br /><h2>Bundle Includes:<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span style=\"font-family: Tahoma;\"></span><h3>MASSIVE </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Heavyweight synthesizer combining analog architecture with wavetable synthesis. Perfect for heavy basses and piercing leads.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3 class=\" text-left\">REAKTOR PRISM\n</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 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1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 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Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Classic piano that delivers balanced tone, a wide dynamic range, and a beautiful, lush sound. Your new standard vintage upright.<br /></span><br /><h3 class=\" text-left\">SOLID BUS COMP\n</h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Inspired by a legendary bus compressor from a famous British console. Delivers power and punch without sacrificing clarity.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>SCARBEE MARK 1  </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nThe sound of an iconic electric piano, beautifully sampled and perfectly preserved in all its brilliance.<br /><br /><h3>MONARK</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Uncompromising software version of the holy grail of analog monosynths. Every nuance has been meticulously studied to recreate the spirit of this legend in definitive detail.<br /><br /></span><h3>VINTAGE ORGANS</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nAccess the sounds of the golden age. Based on high-quality recordings of classic organs, VINTAGE ORGANS is full of charm and character<br /><br /><h3>DRUMLAB </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Create moving, big-screen melodies with authentic legato string phrases and arpeggios. Turn your ideas into scoring gold with 28 GB of live-recorded lines. <br /></span><br /><h3>RETRO MACHINES MK2 </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">16 legendary vintage instruments from the 70s and 80s, lovingly sampled and refined. Retro analog sound with all the benefits of modern software technology.<br /><br /></span><h3>DISCOVERY SERIES: INDIA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nA unique collection of superbly sampled percussion and melodic \ninstruments that delivers every nuance of traditional Indian music with \nsupreme authenticity and advanced playability.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br /></span><h3 class=\" text-left\">\n										REPLIKA </h3>Two studio-quality delays and a powerful diffusion algorithm in a sleek interface.<br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br /><h2>Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. Call or chat with a RSPE representative today.</h2><span style=\"font-family: Tahoma;\"></span><ul></ul>'),(8061,85,0,1344,'Native Instruments Komplete 11- Select'),(8062,85,1,1344,'Native Instruments Komplete 11- Select'),(8063,76,0,1344,''),(8064,76,1,1344,''),(8065,75,0,1345,'<h2>Native Instruments Komplete 11- Ultimate<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">11 new instruments and effects to expand your sonic horizon and speed up creativity.<br /><br /></span></span>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style>KOMPLETE 11 ULTIMATE is the supreme music production suite – the ultimate resource for professional production, scoring, performance, and sound design. It’s everything you need to create, with an unparalleled collection of 87 inspiring instruments and effects. Cutting-edge synthesizers, carefully sampled acoustic instruments, rich orchestral libraries, and innovative sound design tools, plus the world’s leading sampling and synthesis platforms REAKTOR and KONTAKT. And you get it all at a small fraction of the combined cost of the individual products.<br /><br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"></span><h4>Features</h4>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul style=\"margin-top:0in\" type=\"disc\"><li>Orchestral and Cinematic </li><li>Synthesized and Electronic  </li><li>Sampled and Acoustic </li><li>Creative and Studio Effects </li></ul><h4>Requirements</h4><ul><li>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMac OS X 10.10 or 10.11 (latest update), Intel Core 2 Duo</li><li>\n Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2</li><li>\n4 GB RAM (6 GB recommended for large KONTAKT Instruments) </li><li>15 GB free disk space (363 GB for complete installation).</li></ul><div id=\"c843175\"><div class=\"text theme-default text-center text-below padding-20-100\"><div class=\"container\"><div class=\"row\"><div class=\"col-xs-12\"><div class=\"text-left\">\n<br />\nAn internet connection is required to install and activate the products \nin this KOMPLETE bundle. Once installed, all products can be used \noffline. Certain products may require additional free downloads. Changes\n in compatibility with third-party products may depend on restrictions \nNative Instruments cannot influence.\n<br /><br /><div id=\"c843185\">\n<div class=\"text theme-default text-center text-below padding-20-20\">\n<div class=\"container\">\n<div class=\"row\">\n<div class=\"col-xs-12\">\n<h2 class=\" text-left\">\n		\n				</h2><h4>ADDITIONAL INFO </h4><div class=\"text-left\">\n<ul><li>15 GB free disk space / 363 GB for complete installation. Speciﬁc requirements vary depending on the individual program.</li><li>\n The applications require 7 GB of free disk space, the libraries of all \nsample instruments in this bundle require 356 GB. Note that the total \nuncompressed size of all libraries is 500 GB. Most libraries are \ninstalled in a compressed form using advanced KONTAKT Lossless Sample \nCompression. They only expand to their full size during use and thus \ntake up less space on your hard drive when inactive.</li></ul>\n</div>\n</div>\n</div>\n</div>\n</div>\n</div>\n<div id=\"c843187\">\n<div class=\"text theme-default text-center text-below padding-20-100\">\n<div class=\"container\">\n<div class=\"row\">\n<div class=\"col-xs-12\">\n<div class=\"text-left\">\n<ul><li>This product runs in demo mode after installation and must be activated before full functionality is available.</li><li>All\n products included within a single edition of a KOMPLETE 11 bundle are \npart of one user license and can only be used as a single entity. A \nmaximum of three installations on three machines are allowed as long as \nonly one installation is used at any given time. The individual products\n cannot be resold separately.</li></ul>\n</div>\n</div>\n</div>\n</div>\n</div>\n</div></div>\n</div>\n</div>\n</div>\n</div>\n</div><br /><h2>Bundle Includes:<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span style=\"font-family: Tahoma;\"></span><h3>SYMPHONY ESSENTIALS </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Five meticulously sampled orchestral instruments, including brass, strings, and woodwinds. They deliver the same professional recordings and signature interface as the acclaimed SYMPHONY SERIES with a streamlined set of articulations.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>FORM </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p> A creative synthesizer that enables you to transform samples into anything you can imagine. Move beyond traditional synthesis – FORM offers a refreshing approach to sound creation that delivers beautifully organic and powerful results.<br /><br /><h3>REAKTOR 6 </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The ultimate creative toolkit for deep sound exploration, featuring cutting-edge DSP and high-fidelity sound. Build custom synths and effects. Experiment with modular patching. And discover 70+ included instruments plus thousands of sounds.<br /></span><br /><h3>KONTAKT 5.6  </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The world’s leading software sampler, with a sophisticated sound engine, wide array of effects, powerful modulation possibilities, and advanced scripting. The latest 5.6 update* provides a new look and a host of new builder features.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>UNA CORDA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nAn inspiring instrument that faithfully captures the sound of a custom-made piano with one string per key – created by David Klavins with composer Nils Frahm. Discover evocative tones from a full range of distinct sound characters.<br /><br /><h3>SESSION GUITARIST – STRUMMED ACOUSTIC</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Your always-on-call, professional session guitarist, delivering perfectly strummed and recorded patterns, vivid sound, and real-time performance control.<br /><br /></span><h3>DISCOVERY SERIES: INDIA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nA unique collection of superbly sampled percussion and melodic instruments that delivers every nuance of traditional Indian music with supreme authenticity and advanced playability.<br /><br /><h3>EMOTIVE STRINGS</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Create moving, big-screen melodies with authentic legato string phrases and arpeggios. Turn your ideas into scoring gold with 28 GB of live-recorded lines. <br /></span><br /><h3>FLESH  </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The latest creation by producer, musician, and inventor Tim Exile is a fun, innovative performance synth that turns anything you feed it into an electronic symphony. Made for hands-on performance – in the studio and on stage.<br /><br /></span><h3 class=\" text-left\">\n										REPLIKA XT\n</h3>A creative multi-mode delay that lets you access pure inspiration with five vivid delay modes plus advanced sound-shaping options. Tap into studio-quality delay with vast sonic flexibility.<br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br /><h2>Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. Call or chat with a RSPE representative today.</h2><span style=\"font-family: Tahoma;\"></span><ul></ul>'),(8066,75,1,1345,'<h2>Native Instruments Komplete 11- Ultimate<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">11 new instruments and effects to expand your sonic horizon and speed up creativity.<br /><br /></span></span>\n\n\n\n\n\n\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n--></style>KOMPLETE 11 ULTIMATE is the supreme music production suite – the ultimate resource for professional production, scoring, performance, and sound design. It’s everything you need to create, with an unparalleled collection of 87 inspiring instruments and effects. Cutting-edge synthesizers, carefully sampled acoustic instruments, rich orchestral libraries, and innovative sound design tools, plus the world’s leading sampling and synthesis platforms REAKTOR and KONTAKT. And you get it all at a small fraction of the combined cost of the individual products.<br /><br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"></span><h4>Features</h4>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul style=\"margin-top:0in\" type=\"disc\"><li>Orchestral and Cinematic </li><li>Synthesized and Electronic  </li><li>Sampled and Acoustic </li><li>Creative and Studio Effects </li></ul><h4>Requirements</h4><ul><li>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMac OS X 10.10 or 10.11 (latest update), Intel Core 2 Duo</li><li>\n Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2</li><li>\n4 GB RAM (6 GB recommended for large KONTAKT Instruments) </li><li>15 GB free disk space (363 GB for complete installation).</li></ul><div id=\"c843175\"><div class=\"text theme-default text-center text-below padding-20-100\"><div class=\"container\"><div class=\"row\"><div class=\"col-xs-12\"><div class=\"text-left\">\n<br />\nAn internet connection is required to install and activate the products \nin this KOMPLETE bundle. Once installed, all products can be used \noffline. Certain products may require additional free downloads. Changes\n in compatibility with third-party products may depend on restrictions \nNative Instruments cannot influence.\n<br /><br /><div id=\"c843185\">\n<div class=\"text theme-default text-center text-below padding-20-20\">\n<div class=\"container\">\n<div class=\"row\">\n<div class=\"col-xs-12\">\n<h2 class=\" text-left\">\n		\n				</h2><h4>ADDITIONAL INFO </h4><div class=\"text-left\">\n<ul><li>15 GB free disk space / 363 GB for complete installation. Speciﬁc requirements vary depending on the individual program.</li><li>\n The applications require 7 GB of free disk space, the libraries of all \nsample instruments in this bundle require 356 GB. Note that the total \nuncompressed size of all libraries is 500 GB. Most libraries are \ninstalled in a compressed form using advanced KONTAKT Lossless Sample \nCompression. They only expand to their full size during use and thus \ntake up less space on your hard drive when inactive.</li></ul>\n</div>\n</div>\n</div>\n</div>\n</div>\n</div>\n<div id=\"c843187\">\n<div class=\"text theme-default text-center text-below padding-20-100\">\n<div class=\"container\">\n<div class=\"row\">\n<div class=\"col-xs-12\">\n<div class=\"text-left\">\n<ul><li>This product runs in demo mode after installation and must be activated before full functionality is available.</li><li>All\n products included within a single edition of a KOMPLETE 11 bundle are \npart of one user license and can only be used as a single entity. A \nmaximum of three installations on three machines are allowed as long as \nonly one installation is used at any given time. The individual products\n cannot be resold separately.</li></ul>\n</div>\n</div>\n</div>\n</div>\n</div>\n</div></div>\n</div>\n</div>\n</div>\n</div>\n</div><br /><h2>Bundle Includes:<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span style=\"font-family: Tahoma;\"></span><h3>SYMPHONY ESSENTIALS </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Five meticulously sampled orchestral instruments, including brass, strings, and woodwinds. They deliver the same professional recordings and signature interface as the acclaimed SYMPHONY SERIES with a streamlined set of articulations.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>FORM </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n\n\n<p></p> A creative synthesizer that enables you to transform samples into anything you can imagine. Move beyond traditional synthesis – FORM offers a refreshing approach to sound creation that delivers beautifully organic and powerful results.<br /><br /><h3>REAKTOR 6 </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p><style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Calibri;\n	panose-1:2 15 5 2 2 2 4 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-520092929 1073786111 9 0 415 0;}\n@font-face\n	{font-family:\"Myriad Pro\";\n	panose-1:2 11 5 3 3 4 3 2 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:536871559 1 0 0 415 0;}\n@font-face\n	{font-family:Tahoma;\n	panose-1:2 11 6 4 3 5 4 4 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin-top:0in;\n	margin-right:0in;\n	margin-bottom:6.0pt;\n	margin-left:0in;\n	text-align:justify;\n	line-height:115%;\n	mso-pagination:widow-orphan;\n	font-size:10.0pt;\n	font-family:\"Myriad Pro\";\n	mso-fareast-font-family:\"Times New Roman\";\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-language:EN-US;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-size:10.0pt;\n	mso-ansi-font-size:10.0pt;\n	mso-bidi-font-size:10.0pt;\n	font-family:Calibri;\n	mso-ascii-font-family:Calibri;\n	mso-hansi-font-family:Calibri;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The ultimate creative toolkit for deep sound exploration, featuring cutting-edge DSP and high-fidelity sound. Build custom synths and effects. Experiment with modular patching. And discover 70+ included instruments plus thousands of sounds.<br /></span><br /><h3>KONTAKT 5.6  </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The world’s leading software sampler, with a sophisticated sound engine, wide array of effects, powerful modulation possibilities, and advanced scripting. The latest 5.6 update* provides a new look and a host of new builder features.</span><br /><br /><span style=\"font-family: Tahoma;\"></span><h3>UNA CORDA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nAn inspiring instrument that faithfully captures the sound of a custom-made piano with one string per key – created by David Klavins with composer Nils Frahm. Discover evocative tones from a full range of distinct sound characters.<br /><br /><h3>SESSION GUITARIST – STRUMMED ACOUSTIC</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Your always-on-call, professional session guitarist, delivering perfectly strummed and recorded patterns, vivid sound, and real-time performance control.<br /><br /></span><h3>DISCOVERY SERIES: INDIA </h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n\n\nA unique collection of superbly sampled percussion and melodic instruments that delivers every nuance of traditional Indian music with supreme authenticity and advanced playability.<br /><br /><h3>EMOTIVE STRINGS</h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n</p><p class=\"MsoNormal\" style=\"text-align:left\" align=\"left\">\n\n\n\n\n\n\n\n\n\n\n\n\n</p>\n\n\n\n\n<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">Create moving, big-screen melodies with authentic legato string phrases and arpeggios. Turn your ideas into scoring gold with 28 GB of live-recorded lines. <br /></span><br /><h3>FLESH  </h3><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\">The latest creation by producer, musician, and inventor Tim Exile is a fun, innovative performance synth that turns anything you feed it into an electronic symphony. Made for hands-on performance – in the studio and on stage.<br /><br /></span><h3 class=\" text-left\">\n										REPLIKA XT\n</h3>A creative multi-mode delay that lets you access pure inspiration with five vivid delay modes plus advanced sound-shaping options. Tap into studio-quality delay with vast sonic flexibility.<br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br /><h2>Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. Call or chat with a RSPE representative today.</h2><span style=\"font-family: Tahoma;\"></span><ul></ul>'),(8067,85,0,1345,'Native Instruments Komplete 11 Ultimate'),(8068,85,1,1345,'Native Instruments Komplete 11 Ultimate'),(8069,76,0,1345,''),(8070,76,1,1345,''),(8071,75,0,1346,'<h1>NUGEN Audio Focus Bundle</h1>\n<i>Reliable, full-frequency stereo enhancement, correction and bass management. Focus features three NUGEN Audio Plug-ins: Stereoizer, Monotfilter and Stereoplacer.</i><br /><br />\nRapid, intuitive access to the big sound professionals strive for. Take complete control of your stereo panorama with three powerful tools offering incredible flexibility in a highly accessible and configurable combination.\n<br /><br />\nWith these award-winning plug-ins you can naturally widen or reduce the stereo image, focus and define low frequencies, and move specific captured spectra within the stereo soundfield. All three plug-ins are highly mono-compatible, using unique algorithms that maintain the original character of the source audio without introducing strange phase, reverb or delay related artefacts.\n<br /><br />\n<h3>Focus Bundle Features</h3>\n<ul>\n	<li>Artifact-free expansion</li>\n	<li>Highly mono compatible</li>\n	<li>Retain original character</li>\n	<li>Fix low frequency power</li>\n	<li>Sharper bass</li>\n	<li>Stereo image reconstruction</li>\n	<li>Dynamic visual feedback</li>\n	<li>Frequency banded effect</li>\n</ul>\n<br />\n\n<h3>For music production</h3>\nUse Focus in your music production to enhance and fix numerous situations for a better sounding mix.\n<br /><br />\nTry Monofilter on synth lines where inbuilt FX integral to the sound are causing low-end smear, or place it on broad band FX returns (like reverb) to tighten up the low frequencies while retaining a full sense of space.\n<br /><br />\nUse Stereoizer to naturally widen sounds that lack final polish, or zone in on specific frequencies to enhance, without upsetting the inherent balance of the sound.\n<br /><br />\nExperiment with Stereoplacer on samples and original recordings where access to the mix is not possible, or try it on mono sources to add life and interest to a flat sound.\n<br /><br />\n\n\n<h3>For post and broadcast</h3>\n\nPost production audio has it\'s unique challenges, especially as it\'s often difficult to go back to the source and record a better original take.\n<br /><br />\nTry Monofilter on TV, radio and internet productions for better low frequency power distribution to ensure a clear low end.\n<br /><br />\nUse Stereoplacer to fix or re-align specific elements in a recording, or automate stereo position to follow on-screen action where overhead booms track to the side.\n<br /><br />\nStereoizer is a gift for subtle enhancement of ambiences to clear space for dialog in the centre or for injecting life into mono recordings.\n<br /><br />\n<h2>NUGEN Focus Bundle Includes:</h2>\n<h3>Stereoizer - Powerful stereo enhancement</h3>\nStereoizer is a stereo widening and enhancement plug-in with a clear difference - your mix will still sound great in mono. Add natural sounding width and depth to any recording, mono or stereo, leaving the character of the source intact – or go super wide – the choice is yours.\n<br /><br />\nGet a more coherent sound with polish and spatial balance without adding artificial reverb, chorusing or delay. Total mono compatibility with no unwanted artifacts.<br /><br />\n<h3>Monofilter - Essential bass management</h3>\nUse Monofilter to grab hold of the bass and root it solidly within your mix to create a solid foundation. Sending low frequencies wide can muddy the bass, resulting in a weak, unfocused low end. Adding stereo FX or using multiple mic set-ups in the studio can introduce phase inconsistencies leading to ‘weak’, ‘hollow’ or ‘flat’ sounds. Now you can sharpen, define, align and anchor your bass for the tightest mix.\n<br /><br />\nQuickly anchor the power, and retain the essential character and perceived spatial characteristics of the original sound. Align and balance low frequencies with minimum effort, for a louder and better defined mix. Improve performance on systems with separate low-frequency handling, such as club PAs, live rigs, HiFi, and 2.1 gaming systems. Monofilter anchors your bass with ease.<br /><br />\n<h3>Stereoplacer - 21st century pan control</h3>\nStereoplacer is a plug-in with precise stereo-positioning control that takes you beyond the traditional mix setup. Focus in on the frequencies you want to move using the solo controls and then tweak, fix or align them in the stereo panorama without affecting any other regions - all with total mono compatibility. Reposition complex audio, reconstruct a mono image, or correct poor recording - mix with confidence.\n<br /><br />\nFine-tune and get dynamic visual feedback with advanced parametric balancing controls. Just choose the position you want and let Stereoplacer take care of the rest.<br /><br />'),(8072,75,1,1346,'<h1>NUGEN Audio Focus Bundle</h1>\n<i>Reliable, full-frequency stereo enhancement, correction and bass management. Focus features three NUGEN Audio Plug-ins: Stereoizer, Monotfilter and Stereoplacer.</i><br /><br />\nRapid, intuitive access to the big sound professionals strive for. Take complete control of your stereo panorama with three powerful tools offering incredible flexibility in a highly accessible and configurable combination.\n<br /><br />\nWith these award-winning plug-ins you can naturally widen or reduce the stereo image, focus and define low frequencies, and move specific captured spectra within the stereo soundfield. All three plug-ins are highly mono-compatible, using unique algorithms that maintain the original character of the source audio without introducing strange phase, reverb or delay related artefacts.\n<br /><br />\n<h3>Focus Bundle Features</h3>\n<ul>\n	<li>Artifact-free expansion</li>\n	<li>Highly mono compatible</li>\n	<li>Retain original character</li>\n	<li>Fix low frequency power</li>\n	<li>Sharper bass</li>\n	<li>Stereo image reconstruction</li>\n	<li>Dynamic visual feedback</li>\n	<li>Frequency banded effect</li>\n</ul>\n<br />\n\n<h3>For music production</h3>\nUse Focus in your music production to enhance and fix numerous situations for a better sounding mix.\n<br /><br />\nTry Monofilter on synth lines where inbuilt FX integral to the sound are causing low-end smear, or place it on broad band FX returns (like reverb) to tighten up the low frequencies while retaining a full sense of space.\n<br /><br />\nUse Stereoizer to naturally widen sounds that lack final polish, or zone in on specific frequencies to enhance, without upsetting the inherent balance of the sound.\n<br /><br />\nExperiment with Stereoplacer on samples and original recordings where access to the mix is not possible, or try it on mono sources to add life and interest to a flat sound.\n<br /><br />\n\n\n<h3>For post and broadcast</h3>\n\nPost production audio has it\'s unique challenges, especially as it\'s often difficult to go back to the source and record a better original take.\n<br /><br />\nTry Monofilter on TV, radio and internet productions for better low frequency power distribution to ensure a clear low end.\n<br /><br />\nUse Stereoplacer to fix or re-align specific elements in a recording, or automate stereo position to follow on-screen action where overhead booms track to the side.\n<br /><br />\nStereoizer is a gift for subtle enhancement of ambiences to clear space for dialog in the centre or for injecting life into mono recordings.\n<br /><br />\n<h2>NUGEN Focus Bundle Includes:</h2>\n<h3>Stereoizer - Powerful stereo enhancement</h3>\nStereoizer is a stereo widening and enhancement plug-in with a clear difference - your mix will still sound great in mono. Add natural sounding width and depth to any recording, mono or stereo, leaving the character of the source intact – or go super wide – the choice is yours.\n<br /><br />\nGet a more coherent sound with polish and spatial balance without adding artificial reverb, chorusing or delay. Total mono compatibility with no unwanted artifacts.<br /><br />\n<h3>Monofilter - Essential bass management</h3>\nUse Monofilter to grab hold of the bass and root it solidly within your mix to create a solid foundation. Sending low frequencies wide can muddy the bass, resulting in a weak, unfocused low end. Adding stereo FX or using multiple mic set-ups in the studio can introduce phase inconsistencies leading to ‘weak’, ‘hollow’ or ‘flat’ sounds. Now you can sharpen, define, align and anchor your bass for the tightest mix.\n<br /><br />\nQuickly anchor the power, and retain the essential character and perceived spatial characteristics of the original sound. Align and balance low frequencies with minimum effort, for a louder and better defined mix. Improve performance on systems with separate low-frequency handling, such as club PAs, live rigs, HiFi, and 2.1 gaming systems. Monofilter anchors your bass with ease.<br /><br />\n<h3>Stereoplacer - 21st century pan control</h3>\nStereoplacer is a plug-in with precise stereo-positioning control that takes you beyond the traditional mix setup. Focus in on the frequencies you want to move using the solo controls and then tweak, fix or align them in the stereo panorama without affecting any other regions - all with total mono compatibility. Reposition complex audio, reconstruct a mono image, or correct poor recording - mix with confidence.\n<br /><br />\nFine-tune and get dynamic visual feedback with advanced parametric balancing controls. Just choose the position you want and let Stereoplacer take care of the rest.<br /><br />'),(8073,85,0,1346,'NUGEN Audio Focus Bundle'),(8074,85,1,1346,'NUGEN Audio Focus Bundle'),(8075,76,0,1346,''),(8076,76,1,1346,''),(8077,75,0,1347,'<h2>NUGEN Audio Halo Upmix and Halo Downmix Combo With 3D Immersive Extension</h2><h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Stereo to 5.1, 7.1 and 3D upmixer with precision downmix and surround re-balancing. <br /><br /></span></span>Halo Upmix is naturally extracted and expanded soundscapes to full cinematic big-stage\n enhancement, Halo upmix delivers with intuitive ease, all the control \nyou need to fine-tune your surround mix to perfection. With unique \ncentre channel management, including switchable dialog extraction, Halo \nis perfect for all types of production from archive restoration and TV \nthrough to the full 7.1 Feature Film experience.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br />Halo Downmix </span>gives you precise surround control, versatile downmix balancing\n and mix monitoring for accelerating and enhancing your surround \nproductivity. Halo Downmix is the glue that brings your workflow \ntogether, allowing you to deliver in surround and stereo with ease and \nwithout compromise.<br /><br /><p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The\n 3D Immersive Extension introduces additional vertical controls via an \nexpanded user interface including control over Ltm and Rtm placement for\n Dolby Atmos compatible placement. An additional real-time analysis view\n is also included for the vertical dimension, showing energy \ndistribution of the output audio.</span></p>\n            <p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The\n enhanced upmix algorithm allows for simultaneous use of all the \noriginal features including dialog isolation and individual channel \noutput control.</span></p>\n            <p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The\n Halo 3D option is suitable for numerous applications including sound \ndesign, film score, restoration & archive, music and atmospheric \nsoundscape production.</span></p>\n            <p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The Halo Upmix 3D Immersive Extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.</span></p><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><h4>Halo Upmix Features</h4><ul><li>Highly downmix compatible</li><li>Perfect for stems and full mixes</li><li>Neural Network dialog isolation</li><li>Natural directional projection</li><li>Full panoramic distribution</li><li>TV & Film mix compatible</li></ul>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<h4>Halo Downmix Features</h4>\n<ul><li>Standard and custom surround to stereo downmixing</li><li>Surround re-balancing</li><li>Simultaneous surround/stereo workflow</li><li>Immediate and versatile surround/downmix monitoring</li><li>Downmix rescue</li><li>Surround restoration</li></ul><h4><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">3D Immersive Extension</span> Features</h4>\n<ul><li>Stem and group upmixing</li><li>7.1 cinematic sound stage enhancement</li><li>TV stereo to surround upmixing with hard centre</li><li>Re-purposing of original stereo for cinematic release</li><li>TV archive enhancement for 5.1 broadcast</li><li>Natural extension of original stereo panoramas and atmospheres</li><li>Upmix to Dolby Atmos compatible 7.1.2 bed tack (3D extension required)</li><li>Upmix to 1st order Ambisonic (AmbiX format) for VR applications  (3D extension required)</li></ul><br /><h4></h4><h4>Requirements</h4><strong>Available formats</strong>\n<p>We support AAX, VST, VST3, AU and AudioSuite in both 64-bit and 32-bit versions. RTAS is also available as 32-bit only.</p>\n\n<p>Note: The AAX surround support requires Protools HD </p>\n<p> <strong>Minimum System Specification</strong></p>\n<p>Mac OSX 10.7.x, 512 MB RAM</p>\n<p>Windows (64 bit) Vista or above, 512 MB RAM</p>\n\n<p>Surround capable DAW/NLE.</p>\n<p>Halo 9.1 upmix extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.</p><h2>Halo Upmix Includes</h2><h2>Natural Extension</h2>\n<p>Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.</p>\n<h2>Downmix Compatibility</h2>\n<p>Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.</p>\n<h2>Big sound</h2>\n<p>For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.</p><h2>Halo Downmix Includes</h2><h2>Expert Surround-to-Stereo </h2>Halo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.</p>\n<p>Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.</p>\n<p>Typical applications include:</p>\n<p>• Stereo Mix production for Television within a Surround workflow.<br />\n• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n• Generating a stereo mix from surround where no stereo recording exists.<br />\n• Producing stereo interim listening mixes in a surround workflow. </p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible. </p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.</p>\n<p>This workflow allows for rapid A/B listening checks between surround and stereo downmix.</p>\n<p>Applications include:</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)<br />\n• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n• Harmonising surround and stereo to produce a modified surround mix and stereo downmix</p><h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.</h2><span style=\"font-family: Tahoma;\"></span>'),(8078,75,1,1347,'<h2>NUGEN Audio Halo Upmix and Halo Downmix Combo With 3D Immersive Extension</h2><h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Stereo to 5.1, 7.1 and 3D upmixer with precision downmix and surround re-balancing. <br /><br /></span></span>Halo Upmix is naturally extracted and expanded soundscapes to full cinematic big-stage\n enhancement, Halo upmix delivers with intuitive ease, all the control \nyou need to fine-tune your surround mix to perfection. With unique \ncentre channel management, including switchable dialog extraction, Halo \nis perfect for all types of production from archive restoration and TV \nthrough to the full 7.1 Feature Film experience.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br />Halo Downmix </span>gives you precise surround control, versatile downmix balancing\n and mix monitoring for accelerating and enhancing your surround \nproductivity. Halo Downmix is the glue that brings your workflow \ntogether, allowing you to deliver in surround and stereo with ease and \nwithout compromise.<br /><br /><p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The\n 3D Immersive Extension introduces additional vertical controls via an \nexpanded user interface including control over Ltm and Rtm placement for\n Dolby Atmos compatible placement. An additional real-time analysis view\n is also included for the vertical dimension, showing energy \ndistribution of the output audio.</span></p>\n            <p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The\n enhanced upmix algorithm allows for simultaneous use of all the \noriginal features including dialog isolation and individual channel \noutput control.</span></p>\n            <p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The\n Halo 3D option is suitable for numerous applications including sound \ndesign, film score, restoration & archive, music and atmospheric \nsoundscape production.</span></p>\n            <p class=\"western\" style=\"margin-bottom: 0.26cm; border: none; padding: 0cm; orphans: 1;\"><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">The Halo Upmix 3D Immersive Extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.</span></p><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><h4>Halo Upmix Features</h4><ul><li>Highly downmix compatible</li><li>Perfect for stems and full mixes</li><li>Neural Network dialog isolation</li><li>Natural directional projection</li><li>Full panoramic distribution</li><li>TV & Film mix compatible</li></ul>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<h4>Halo Downmix Features</h4>\n<ul><li>Standard and custom surround to stereo downmixing</li><li>Surround re-balancing</li><li>Simultaneous surround/stereo workflow</li><li>Immediate and versatile surround/downmix monitoring</li><li>Downmix rescue</li><li>Surround restoration</li></ul><h4><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">3D Immersive Extension</span> Features</h4>\n<ul><li>Stem and group upmixing</li><li>7.1 cinematic sound stage enhancement</li><li>TV stereo to surround upmixing with hard centre</li><li>Re-purposing of original stereo for cinematic release</li><li>TV archive enhancement for 5.1 broadcast</li><li>Natural extension of original stereo panoramas and atmospheres</li><li>Upmix to Dolby Atmos compatible 7.1.2 bed tack (3D extension required)</li><li>Upmix to 1st order Ambisonic (AmbiX format) for VR applications  (3D extension required)</li></ul><br /><h4></h4><h4>Requirements</h4><strong>Available formats</strong>\n<p>We support AAX, VST, VST3, AU and AudioSuite in both 64-bit and 32-bit versions. RTAS is also available as 32-bit only.</p>\n\n<p>Note: The AAX surround support requires Protools HD </p>\n<p> <strong>Minimum System Specification</strong></p>\n<p>Mac OSX 10.7.x, 512 MB RAM</p>\n<p>Windows (64 bit) Vista or above, 512 MB RAM</p>\n\n<p>Surround capable DAW/NLE.</p>\n<p>Halo 9.1 upmix extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.</p><h2>Halo Upmix Includes</h2><h2>Natural Extension</h2>\n<p>Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.</p>\n<h2>Downmix Compatibility</h2>\n<p>Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.</p>\n<h2>Big sound</h2>\n<p>For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.</p><h2>Halo Downmix Includes</h2><h2>Expert Surround-to-Stereo </h2>Halo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.</p>\n<p>Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.</p>\n<p>Typical applications include:</p>\n<p>• Stereo Mix production for Television within a Surround workflow.<br />\n• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n• Generating a stereo mix from surround where no stereo recording exists.<br />\n• Producing stereo interim listening mixes in a surround workflow. </p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible. </p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.</p>\n<p>This workflow allows for rapid A/B listening checks between surround and stereo downmix.</p>\n<p>Applications include:</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)<br />\n• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n• Harmonising surround and stereo to produce a modified surround mix and stereo downmix</p><h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.</h2><span style=\"font-family: Tahoma;\"></span>'),(8079,85,0,1347,'NUGEN Audio Halo Upmix and Halo Downmix Combo With 3D Immersive Extension'),(8080,85,1,1347,'NUGEN Audio Halo Upmix and Halo Downmix Combo With 3D Immersive Extension'),(8081,76,0,1347,''),(8082,76,1,1347,''),(8083,75,0,1348,'<h2>NUGEN Audio Halo Downmix<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Precision downmix and surround re-balancing plug-in. <br /><br /></span></span>\nHalo Downmix completes your surround toolset enabling precise surround balancing, mix monitoring and sophisticated stereo fold-down. The glue that brings your workflow together, allowing you to deliver in surround and stereo with ease and without compromise.<br /><br />\nProduce better downmixes and enhance the downmix compatibility of your surround mixes. 5.1, 7.1, advanced and compact interfaces perfectly designed for the task in hand, maximising screen real estate. Multiple monitoring modes, quick mute and solo controls promote rapid assessment and critical listening tests. Halo Downmix is the ideal complement to any surround workflow.<br /><br />\nWork in 3D immersive Audio such as Dolby Atmos? Check out <a href=\"https://www.rspeaudio.com/NUGEN-Audio-Halo-Downmix-3D-Extension-p/nugen-halo-downmix-combo-3d.htm\">NUGEN Audio Halo Downmix With 3D Immersive Extension</a>.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br />\n<h4>Halo Downmix Features</h4>\n<ul>\n	<li>Standard and custom surround to stereo downmixing</li>\n	<li>Surround re-balancing</li>\n	<li>Simultaneous surround/stereo workflow</li>\n	<li>Immediate and versatile surround/downmix monitoring</li>\n	<li>Downmix rescue</li>\n	<li>Surround restoration</li>\n</ul>\n<br />\n<h4></h4>\n<h4></h4>\n<h2>Halo Downmix Includes</h2>\n<h2>Expert Surround-to-Stereo </h2>\nHalo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>\n	A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.\n</p>\n<p>\n	Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.\n</p>\n<p>\n	Typical applications include:\n</p>\n<p>\n	• Stereo Mix production for Television within a Surround workflow.\n	<br />\n	• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n	• Generating a stereo mix from surround where no stereo recording exists.<br />\n	• Producing stereo interim listening mixes in a surround workflow.\n</p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>\n	Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible.\n</p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>\n	Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.\n</p>\n<p>\n	This workflow allows for rapid A/B listening checks between surround and stereo downmix.\n</p>\n<p>\n	Applications include:\n</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)\n	<br />\n	• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n	• Harmonising surround and stereo to produce a modified surround mix and stereo downmix\n</p>\n<h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(8084,75,1,1348,'<h2>NUGEN Audio Halo Downmix<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Precision downmix and surround re-balancing plug-in. <br /><br /></span></span>\nHalo Downmix completes your surround toolset enabling precise surround balancing, mix monitoring and sophisticated stereo fold-down. The glue that brings your workflow together, allowing you to deliver in surround and stereo with ease and without compromise.<br /><br />\nProduce better downmixes and enhance the downmix compatibility of your surround mixes. 5.1, 7.1, advanced and compact interfaces perfectly designed for the task in hand, maximising screen real estate. Multiple monitoring modes, quick mute and solo controls promote rapid assessment and critical listening tests. Halo Downmix is the ideal complement to any surround workflow.<br /><br />\nWork in 3D immersive Audio such as Dolby Atmos? Check out <a href=\"https://www.rspeaudio.com/NUGEN-Audio-Halo-Downmix-3D-Extension-p/nugen-halo-downmix-combo-3d.htm\">NUGEN Audio Halo Downmix With 3D Immersive Extension</a>.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><br />\n<h4>Halo Downmix Features</h4>\n<ul>\n	<li>Standard and custom surround to stereo downmixing</li>\n	<li>Surround re-balancing</li>\n	<li>Simultaneous surround/stereo workflow</li>\n	<li>Immediate and versatile surround/downmix monitoring</li>\n	<li>Downmix rescue</li>\n	<li>Surround restoration</li>\n</ul>\n<br />\n<h4></h4>\n<h4></h4>\n<h2>Halo Downmix Includes</h2>\n<h2>Expert Surround-to-Stereo </h2>\nHalo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>\n	A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.\n</p>\n<p>\n	Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.\n</p>\n<p>\n	Typical applications include:\n</p>\n<p>\n	• Stereo Mix production for Television within a Surround workflow.\n	<br />\n	• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n	• Generating a stereo mix from surround where no stereo recording exists.<br />\n	• Producing stereo interim listening mixes in a surround workflow.\n</p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>\n	Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible.\n</p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>\n	Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.\n</p>\n<p>\n	This workflow allows for rapid A/B listening checks between surround and stereo downmix.\n</p>\n<p>\n	Applications include:\n</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)\n	<br />\n	• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n	• Harmonising surround and stereo to produce a modified surround mix and stereo downmix\n</p>\n<h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(8085,85,0,1348,'NUGEN Audio Halo Downmix'),(8086,85,1,1348,'NUGEN Audio Halo Downmix'),(8087,76,0,1348,''),(8088,76,1,1348,''),(8089,75,0,1349,'<h2>NUGEN Audio Halo Downmix With 3D Immersive Extension</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Precision downmix and surround re-balancing from 5.1, 7.1 or Dolby Atmos.</span> <br /><br />\n\nHalo Downmix completes your surround toolset enabling precise surround balancing, mix monitoring and sophisticated stereo fold-down. The glue that brings your workflow together, allowing you to deliver in surround and stereo with ease and without compromise.<br /><br />\n\nProduce better downmixes and enhance the downmix compatibility of your surround mixes. 5.1, 7.1, advanced and compact interfaces perfectly designed for the task in hand, maximising screen real estate. Multiple monitoring modes, quick mute and solo controls promote rapid assessment and critical listening tests. Halo Downmix is the ideal complement to any surround workflow.<br /><br />\n\n\nThe\n 3D Immersive Extension introduces additional vertical controls via an \nexpanded user interface including control over Ltm and Rtm placement for\n Dolby Atmos compatible placement. An additional real-time analysis view\n is also included for the vertical dimension, showing energy \ndistribution of the output audio.\n<br /><br />\nThe\n enhanced upmix algorithm allows for simultaneous use of all the \noriginal features including dialog isolation and individual channel \noutput control.\n<br /><br />\nThe\n Halo 3D option is suitable for numerous applications including sound \ndesign, film score, restoration & archive, music and atmospheric \nsoundscape production.\n	<br /><br />\nThe Halo Upmix 3D Immersive Extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.\n<br /><br />\n<h4>Halo Downmix Features</h4>\n<ul>\n	<li>Standard and custom surround to stereo downmixing</li>\n	<li>Surround re-balancing</li>\n	<li>Simultaneous surround/stereo workflow</li>\n	<li>Immediate and versatile surround/downmix monitoring</li>\n	<li>Downmix rescue</li>\n	<li>Surround restoration</li>\n</ul>\n<h4><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">3D Immersive Extension</span> Features</h4>\n<ul>\n	<li>Stem and group upmixing</li>\n	<li>7.1 cinematic sound stage enhancement</li>\n	<li>TV stereo to surround upmixing with hard centre</li>\n	<li>Re-purposing of original stereo for cinematic release</li>\n	<li>TV archive enhancement for 5.1 broadcast</li>\n	<li>Natural extension of original stereo panoramas and atmospheres</li>\n	<li>Upmix to Dolby Atmos compatible 7.1.2 bed tack (3D extension required)</li>\n	<li>Upmix to 1st order Ambisonic (AmbiX format) for VR applications  (3D extension required)</li>\n</ul>\n<br />\n<h4></h4>\n<h2>Halo Downmix Includes</h2>\n<h2>Expert Surround-to-Stereo </h2>\nHalo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>\n	A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.\n</p>\n<p>\n	Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.\n</p>\n<p>\n	Typical applications include:\n</p>\n<p>\n	• Stereo Mix production for Television within a Surround workflow.<br />\n	• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n	• Generating a stereo mix from surround where no stereo recording exists.<br />\n	• Producing stereo interim listening mixes in a surround workflow.\n</p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>\n	Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible.\n</p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>\n	Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.\n</p>\n<p>\n	This workflow allows for rapid A/B listening checks between surround and stereo downmix.\n</p>\n<p>\n	Applications include:\n</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)\n	<br />\n	• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n	• Harmonising surround and stereo to produce a modified surround mix and stereo downmix\n</p>\n<h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(8090,75,1,1349,'<h2>NUGEN Audio Halo Downmix With 3D Immersive Extension</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Precision downmix and surround re-balancing from 5.1, 7.1 or Dolby Atmos.</span> <br /><br />\n\nHalo Downmix completes your surround toolset enabling precise surround balancing, mix monitoring and sophisticated stereo fold-down. The glue that brings your workflow together, allowing you to deliver in surround and stereo with ease and without compromise.<br /><br />\n\nProduce better downmixes and enhance the downmix compatibility of your surround mixes. 5.1, 7.1, advanced and compact interfaces perfectly designed for the task in hand, maximising screen real estate. Multiple monitoring modes, quick mute and solo controls promote rapid assessment and critical listening tests. Halo Downmix is the ideal complement to any surround workflow.<br /><br />\n\n\nThe\n 3D Immersive Extension introduces additional vertical controls via an \nexpanded user interface including control over Ltm and Rtm placement for\n Dolby Atmos compatible placement. An additional real-time analysis view\n is also included for the vertical dimension, showing energy \ndistribution of the output audio.\n<br /><br />\nThe\n enhanced upmix algorithm allows for simultaneous use of all the \noriginal features including dialog isolation and individual channel \noutput control.\n<br /><br />\nThe\n Halo 3D option is suitable for numerous applications including sound \ndesign, film score, restoration & archive, music and atmospheric \nsoundscape production.\n	<br /><br />\nThe Halo Upmix 3D Immersive Extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.\n<br /><br />\n<h4>Halo Downmix Features</h4>\n<ul>\n	<li>Standard and custom surround to stereo downmixing</li>\n	<li>Surround re-balancing</li>\n	<li>Simultaneous surround/stereo workflow</li>\n	<li>Immediate and versatile surround/downmix monitoring</li>\n	<li>Downmix rescue</li>\n	<li>Surround restoration</li>\n</ul>\n<h4><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">3D Immersive Extension</span> Features</h4>\n<ul>\n	<li>Stem and group upmixing</li>\n	<li>7.1 cinematic sound stage enhancement</li>\n	<li>TV stereo to surround upmixing with hard centre</li>\n	<li>Re-purposing of original stereo for cinematic release</li>\n	<li>TV archive enhancement for 5.1 broadcast</li>\n	<li>Natural extension of original stereo panoramas and atmospheres</li>\n	<li>Upmix to Dolby Atmos compatible 7.1.2 bed tack (3D extension required)</li>\n	<li>Upmix to 1st order Ambisonic (AmbiX format) for VR applications  (3D extension required)</li>\n</ul>\n<br />\n<h4></h4>\n<h2>Halo Downmix Includes</h2>\n<h2>Expert Surround-to-Stereo </h2>\nHalo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>\n	A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.\n</p>\n<p>\n	Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.\n</p>\n<p>\n	Typical applications include:\n</p>\n<p>\n	• Stereo Mix production for Television within a Surround workflow.<br />\n	• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n	• Generating a stereo mix from surround where no stereo recording exists.<br />\n	• Producing stereo interim listening mixes in a surround workflow.\n</p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>\n	Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible.\n</p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>\n	Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.\n</p>\n<p>\n	This workflow allows for rapid A/B listening checks between surround and stereo downmix.\n</p>\n<p>\n	Applications include:\n</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)\n	<br />\n	• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n	• Harmonising surround and stereo to produce a modified surround mix and stereo downmix\n</p>\n<h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(8091,85,0,1349,'NUGEN Audio Halo Downmix With 3D Immersive Extension'),(8092,85,1,1349,'NUGEN Audio Halo Downmix With 3D Immersive Extension'),(8093,76,0,1349,''),(8094,76,1,1349,''),(8095,75,0,1350,'<span id=\"product_description\" itemprop=\"description\"><h2>NUGEN Audio Halo Upmix<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Stereo to 5.1 and 7.1 upmixer<br /><br /></span></span>The Halo Upmix is naturally extracted and expanded soundscapes to full cinematic big-stage\n enhancement, Halo upmix delivers with intuitive ease, all the control \nyou need to fine-tune your surround mix to perfection. With unique \ncentre channel management, including switchable dialog extraction, Halo \nis perfect for all types of production from archive restoration and TV \nthrough to the full 7.1 Feature Film experience.<br /><br />Work in 3D immersive Audio such as Dolby Atmos, check out <a href=\"https://www.rspeaudio.com/NUGEN-Audio-Halo-Upmix-With-3D-Immersive-Extension-p/nugen-halo-upmix-3d.htm\">NUGEN Audio Halo Upmix With 3D Immersive Extension</a>.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br /></span><h4>Features</h4><ul><li>Highly downmix compatible</li><li>Perfect for stems and full mixes</li><li>Neural Network dialog isolation</li><li>Natural directional projection</li><li>Full panoramic distribution</li><li>TV & Film mix compatible</li></ul><br />\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<h4></h4><h2>Natural Extension</h2>\n<p>Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.</p>\n<h2>Downmix Compatibility</h2>\n<p>Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.</p>\n<h2>Big sound</h2>\n<p>For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.</p><h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.</h2></span>'),(8096,75,1,1350,'<span id=\"product_description\" itemprop=\"description\"><h2>NUGEN Audio Halo Upmix<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Stereo to 5.1 and 7.1 upmixer<br /><br /></span></span>The Halo Upmix is naturally extracted and expanded soundscapes to full cinematic big-stage\n enhancement, Halo upmix delivers with intuitive ease, all the control \nyou need to fine-tune your surround mix to perfection. With unique \ncentre channel management, including switchable dialog extraction, Halo \nis perfect for all types of production from archive restoration and TV \nthrough to the full 7.1 Feature Film experience.<br /><br />Work in 3D immersive Audio such as Dolby Atmos, check out <a href=\"https://www.rspeaudio.com/NUGEN-Audio-Halo-Upmix-With-3D-Immersive-Extension-p/nugen-halo-upmix-3d.htm\">NUGEN Audio Halo Upmix With 3D Immersive Extension</a>.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br /></span><h4>Features</h4><ul><li>Highly downmix compatible</li><li>Perfect for stems and full mixes</li><li>Neural Network dialog isolation</li><li>Natural directional projection</li><li>Full panoramic distribution</li><li>TV & Film mix compatible</li></ul><br />\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<h4></h4><h2>Natural Extension</h2>\n<p>Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.</p>\n<h2>Downmix Compatibility</h2>\n<p>Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.</p>\n<h2>Big sound</h2>\n<p>For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.</p><h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.</h2></span>'),(8097,85,0,1350,'NUGEN Audio Halo Upmix'),(8098,85,1,1350,'NUGEN Audio Halo Upmix'),(8099,76,0,1350,''),(8100,76,1,1350,''),(8101,75,0,1351,'<h2>NUGEN Audio Halo Upmix With 3D Immersive Extension</h2>\n<span style=\"font-size: 16px; font-style: italic;\"></span>\nNugen Audio Halo Upmix delivers all the control you need to fine-tune your surround mix to perfection, from naturally extracted and expanded soundscapes to full cinematic big-stage enhancement. With unique centre channel management, including switchable dialog extraction, Halo Upmix is perfect for all types of production from archive restoration and TV through to the full 7.1 feature film experience. <br /><br />\n\nThis optional 3D extension adds Dolby Atmos bed track (7.1.2) and Auro 3D (7.1.4) compatibility, and Ambisonic outputs. <br /><br />\n\nThe Halo Upmix algorithms produce a natural, coherent spatial upmix, preserving the character of the original audio without adding any artificial reverb, chorus or delays. <br /><br />\n\nWith the \'Exact\' control engaged, Halo Upmix can be used with confidence that the original source integrity is precisely preserved in the downmix. <br /><br />\n\nThe 3D Immersive Extension introduces additional vertical controls via an expanded user interface including control over Ltm and Rtm placement for Dolby Atmos compatible placement. An additional real-time analysis view is also included for the vertical dimension, showing energy distribution of the output audio. <br /><br />\n\nThe enhanced upmix algorithm allows for simultaneous use of all the original features including dialog isolation and individual channel output control. <br /><br />\n\nThe Halo 3D option is suitable for numerous applications including sound design, film score, restoration & archive, music and atmospheric soundscape production. <br /><br />\n\nThe Halo Upmix 3D Immersive Extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX. <br /><br />\n\n\n<h4>Halo Upmix Features</h4>\n<ul>\n	<li>Highly downmix compatible</li>\n	<li>Perfect for stems and full mixes</li>\n	<li>Neural Network dialog isolation</li>\n	<li>Natural directional projection</li>\n	<li>Full panoramic distribution</li>\n	<li>TV & Film mix compatible</li>\n</ul>\n<br />\n<h4><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">3D Immersive Extension</span> Features</h4>\n<ul>\n	<li>Stem and group upmixing</li>\n	<li>7.1 cinematic sound stage enhancement</li>\n	<li>TV stereo to surround upmixing with hard centre</li>\n	<li>Re-purposing of original stereo for cinematic release</li>\n	<li>TV archive enhancement for 5.1 broadcast</li>\n	<li>Natural extension of original stereo panoramas and atmospheres</li>\n	<li>Upmix to Dolby Atmos compatible 7.1.2 bed tack (3D extension required)</li>\n	<li>Upmix to 1st order Ambisonic (AmbiX format) for VR applications  (3D extension required)</li>\n</ul>\n<br />\n<h4></h4>\n<h2>Halo Upmix Includes</h2>\n<h2>Natural Extension</h2>\n<p>\n	Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.\n</p>\n<h2>Downmix Compatibility</h2>\n<p>\n	Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.\n</p>\n<h2>Big sound</h2>\n<p>\n	For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.\n</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>\n	Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.\n</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>\n	Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.\n</p>\n<br />\n<h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(8102,75,1,1351,'<h2>NUGEN Audio Halo Upmix With 3D Immersive Extension</h2>\n<span style=\"font-size: 16px; font-style: italic;\"></span>\nNugen Audio Halo Upmix delivers all the control you need to fine-tune your surround mix to perfection, from naturally extracted and expanded soundscapes to full cinematic big-stage enhancement. With unique centre channel management, including switchable dialog extraction, Halo Upmix is perfect for all types of production from archive restoration and TV through to the full 7.1 feature film experience. <br /><br />\n\nThis optional 3D extension adds Dolby Atmos bed track (7.1.2) and Auro 3D (7.1.4) compatibility, and Ambisonic outputs. <br /><br />\n\nThe Halo Upmix algorithms produce a natural, coherent spatial upmix, preserving the character of the original audio without adding any artificial reverb, chorus or delays. <br /><br />\n\nWith the \'Exact\' control engaged, Halo Upmix can be used with confidence that the original source integrity is precisely preserved in the downmix. <br /><br />\n\nThe 3D Immersive Extension introduces additional vertical controls via an expanded user interface including control over Ltm and Rtm placement for Dolby Atmos compatible placement. An additional real-time analysis view is also included for the vertical dimension, showing energy distribution of the output audio. <br /><br />\n\nThe enhanced upmix algorithm allows for simultaneous use of all the original features including dialog isolation and individual channel output control. <br /><br />\n\nThe Halo 3D option is suitable for numerous applications including sound design, film score, restoration & archive, music and atmospheric soundscape production. <br /><br />\n\nThe Halo Upmix 3D Immersive Extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX. <br /><br />\n\n\n<h4>Halo Upmix Features</h4>\n<ul>\n	<li>Highly downmix compatible</li>\n	<li>Perfect for stems and full mixes</li>\n	<li>Neural Network dialog isolation</li>\n	<li>Natural directional projection</li>\n	<li>Full panoramic distribution</li>\n	<li>TV & Film mix compatible</li>\n</ul>\n<br />\n<h4><span style=\"font-family: Arial,Helvetica,sans-serif; color: rgb(51, 51, 51);\">3D Immersive Extension</span> Features</h4>\n<ul>\n	<li>Stem and group upmixing</li>\n	<li>7.1 cinematic sound stage enhancement</li>\n	<li>TV stereo to surround upmixing with hard centre</li>\n	<li>Re-purposing of original stereo for cinematic release</li>\n	<li>TV archive enhancement for 5.1 broadcast</li>\n	<li>Natural extension of original stereo panoramas and atmospheres</li>\n	<li>Upmix to Dolby Atmos compatible 7.1.2 bed tack (3D extension required)</li>\n	<li>Upmix to 1st order Ambisonic (AmbiX format) for VR applications  (3D extension required)</li>\n</ul>\n<br />\n<h4></h4>\n<h2>Halo Upmix Includes</h2>\n<h2>Natural Extension</h2>\n<p>\n	Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.\n</p>\n<h2>Downmix Compatibility</h2>\n<p>\n	Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.\n</p>\n<h2>Big sound</h2>\n<p>\n	For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.\n</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>\n	Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.\n</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>\n	Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.\n</p>\n<br />\n<h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(8103,85,0,1351,'NUGEN Audio Halo Upmix and Halo Downmix Combo With 3D Immersive Extension'),(8104,85,1,1351,'NUGEN Audio Halo Upmix and Halo Downmix Combo With 3D Immersive Extension'),(8105,76,0,1351,''),(8106,76,1,1351,''),(8107,75,0,1352,'<h2>NUGEN Audio Halo Upmix and Halo Downmix Combo<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Stereo to 5.1, 7.1 and 3D upmixer with precision downmix and surround re-balancing. <br /><br /></span></span>Halo Upmix is naturally extracted and expanded soundscapes to full cinematic big-stage\n enhancement, Halo upmix delivers with intuitive ease, all the control \nyou need to fine-tune your surround mix to perfection. With unique \ncentre channel management, including switchable dialog extraction, Halo \nis perfect for all types of production from archive restoration and TV \nthrough to the full 7.1 Feature Film experience.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br />Halo Downmix </span>gives you precise surround control, versatile downmix balancing\n and mix monitoring for accelerating and enhancing your surround \nproductivity. Halo Downmix is the glue that brings your workflow \ntogether, allowing you to deliver in surround and stereo with ease and \nwithout compromise.<br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><h4>Halo Upmix Features</h4><ul><li>Highly downmix compatible</li><li>Perfect for stems and full mixes</li><li>Neural Network dialog isolation</li><li>Natural directional projection</li><li>Full panoramic distribution</li><li>TV & Film mix compatible</li></ul>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<h4>Halo Downmix Features</h4>\n<ul><li>Standard and custom surround to stereo downmixing</li><li>Surround re-balancing</li><li>Simultaneous surround/stereo workflow</li><li>Immediate and versatile surround/downmix monitoring</li><li>Downmix rescue</li><li>Surround restoration</li></ul><h4></h4><h4>Requirements</h4><strong>Available formats</strong>\n<p>We support AAX, VST, VST3, AU and AudioSuite in both 64-bit and 32-bit versions. RTAS is also available as 32-bit only.</p>\n\n<p>Note: The AAX surround support requires Protools HD </p>\n<p> <strong>Minimum System Specification</strong></p>\n<p>Mac OSX 10.7.x, 512 MB RAM</p>\n<p>Windows (64 bit) Vista or above, 512 MB RAM</p>\n\n<p>Surround capable DAW/NLE.</p>\n<p>Halo 9.1 upmix extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.</p><h2>Halo Upmix Includes</h2><h2>Natural Extension</h2>\n<p>Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.</p>\n<h2>Downmix Compatibility</h2>\n<p>Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.</p>\n<h2>Big sound</h2>\n<p>For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.</p><h2>Halo Downmix Includes</h2><h2>Expert Surround-to-Stereo </h2>Halo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.</p>\n<p>Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.</p>\n<p>Typical applications include:</p>\n<p>• Stereo Mix production for Television within a Surround workflow.<br />\n• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n• Generating a stereo mix from surround where no stereo recording exists.<br />\n• Producing stereo interim listening mixes in a surround workflow. </p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible. </p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.</p>\n<p>This workflow allows for rapid A/B listening checks between surround and stereo downmix.</p>\n<p>Applications include:</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)<br />\n• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n• Harmonising surround and stereo to produce a modified surround mix and stereo downmix</p><h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.</h2><span style=\"font-family: Tahoma;\"></span>'),(8108,75,1,1352,'<h2>NUGEN Audio Halo Upmix and Halo Downmix Combo<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\"><br /></span></span></h2><span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Stereo to 5.1, 7.1 and 3D upmixer with precision downmix and surround re-balancing. <br /><br /></span></span>Halo Upmix is naturally extracted and expanded soundscapes to full cinematic big-stage\n enhancement, Halo upmix delivers with intuitive ease, all the control \nyou need to fine-tune your surround mix to perfection. With unique \ncentre channel management, including switchable dialog extraction, Halo \nis perfect for all types of production from archive restoration and TV \nthrough to the full 7.1 Feature Film experience.<span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /><br />Halo Downmix </span>gives you precise surround control, versatile downmix balancing\n and mix monitoring for accelerating and enhancing your surround \nproductivity. Halo Downmix is the glue that brings your workflow \ntogether, allowing you to deliver in surround and stereo with ease and \nwithout compromise.<br /><span style=\"font-family: Tahoma; color: rgb(34, 34, 34);\"><br /></span><h4>Halo Upmix Features</h4><ul><li>Highly downmix compatible</li><li>Perfect for stems and full mixes</li><li>Neural Network dialog isolation</li><li>Natural directional projection</li><li>Full panoramic distribution</li><li>TV & Film mix compatible</li></ul>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<h4>Halo Downmix Features</h4>\n<ul><li>Standard and custom surround to stereo downmixing</li><li>Surround re-balancing</li><li>Simultaneous surround/stereo workflow</li><li>Immediate and versatile surround/downmix monitoring</li><li>Downmix rescue</li><li>Surround restoration</li></ul><h4></h4><h4>Requirements</h4><strong>Available formats</strong>\n<p>We support AAX, VST, VST3, AU and AudioSuite in both 64-bit and 32-bit versions. RTAS is also available as 32-bit only.</p>\n\n<p>Note: The AAX surround support requires Protools HD </p>\n<p> <strong>Minimum System Specification</strong></p>\n<p>Mac OSX 10.7.x, 512 MB RAM</p>\n<p>Windows (64 bit) Vista or above, 512 MB RAM</p>\n\n<p>Surround capable DAW/NLE.</p>\n<p>Halo 9.1 upmix extension currently supports Avid Protools (AAX) & Steinberg Nuendo (VST3) for Windows and OSX.</p><h2>Halo Upmix Includes</h2><h2>Natural Extension</h2>\n<p>Powerful real-time analysis of the original stereo material \nidentifies and extracts locational cues, to naturally extend the \npanorama - without the introduction of any artificial reverberation, \nchorusing or delay into the downmix - leaving the inherent character of \nthe original source intact.</p>\n<h2>Downmix Compatibility</h2>\n<p>Because Halo generates a coherent spatial sound, you can be assured \nof a high-quality downmix. The \'exact\' mode function ensures ultimate \ndownmix performance where, as in TV re-purposing for instance, \nmaintaining the relationship between the original, upmixed and downmixed\n versions is imperative.</p>\n<h2>Big sound</h2>\n<p>For those situations that require an immersive cinematic dynamic, \nfull control is available of all the relative surround balances, \nallowing any surround upmix to be crafted for a perfect blend into the \ncomplete 7.1 panorama.</p>\n<h2>Detailed Centre Channel Control</h2>\n<p>Centre channel extraction and control is provided for in a separate \n\'advanced\' panel for use when dealing with intricate mixes, where no \naccess to the original stems is available, offering unparalleled control\n - including neural network based dialogue extraction.</p>\n<h2>Powerful Spatial Analysis</h2>\n<p>Halo also includes a powerful spatial analysis view, intuitively \nshowing the energy distribution of the upmixed panorama. Colour can \nadditionally be used to indicate the speaker source for audio in any \nposition, clearly indicating cases including phantom vs hard centre \npredominance etc.</p><h2>Halo Downmix Includes</h2><h2>Expert Surround-to-Stereo </h2>Halo Downmix provides a highly creative solution for precise \ndownmixing of feature-film or 5.1 mixes to stereo. Intuitive, visual \ncontrols for relative levels,\ntiming, and direct vs. ambient sound balance allow uprecedented \nfine-tuning,\ndelivering accurate downmixes that are no longer limited by typical \nin-the-box\ncoefficients-based processes.\n<p>A standard downmix is usually generated by simply mixing together the\n surround output according to standard downmix coefficients, however, \nthis can often lead to unsatisfactory results, particularly if legacy \nupmix practices have been used to generate the original surround mix. \nHalo Downmix can be quickly employed to mitigate these issues eg. \ncontrolling excessive diffuse sound from added artificial reverberation,\n or removal of delay artefacts introduced in the rear channels.</p>\n<p>Halo Downmix can be quickly deployed to produce a more controlled, coherent stereo mix.</p>\n<p>Typical applications include:</p>\n<p>• Stereo Mix production for Television within a Surround workflow.<br />\n• Rapidly producing a controlled, precise stereo downmix of a 7.1 feature film.<br />\n• Generating a stereo mix from surround where no stereo recording exists.<br />\n• Producing stereo interim listening mixes in a surround workflow. </p>\n<h2>\nFine Tune Existing Surround material\n</h2>\n<p>Adjust existing 5.1 or 7.1 mixes in surround-to-surround mode. Levels\n of individual channels, and balance of direct vs. diffuse sound can be \nadjusted to\nfine tune or re-balance existing surround audio where access to the \noriginal\nmix is not possible. </p>\n<h2>\nParallel Surround/Stereo Downmix workflow\n</h2>\n<p>Halo Downmix can also be used in conjunction with the included Receive plug-in to enable a parallel surround/stereo workflow.</p>\n<p>This workflow allows for rapid A/B listening checks between surround and stereo downmix.</p>\n<p>Applications include:</p>\n<p>\n• Optimising a surround mix for better stereo downmix (standard coefficients)<br />\n• Harmonising surround and stereo experiences, delivering a separate downmix<br />\n• Harmonising surround and stereo to produce a modified surround mix and stereo downmix</p><h2>NUGEN Audio creates innovative, intuitive \nprofessional audio tools for high-end music producers, post-production \nengineers and broadcasters. Call or chat with a RSPE representative \ntoday.</h2><span style=\"font-family: Tahoma;\"></span>'),(8109,85,0,1352,'NUGEN Audio Halo Upmix and Halo Downmix Combo'),(8110,85,1,1352,'NUGEN Audio Halo Upmix and Halo Downmix Combo'),(8111,76,0,1352,''),(8112,76,1,1352,''),(8113,75,0,1353,'<h1>NUGEN Audio ISL Precision True Peak Limiter</h1>\n<i>Surround sound precision true peak limiter capable up to 7.1 for Post & Movie production</i><br /><br />\n<div>\n	<div>Nugen Audio ISL is a transparent look-ahead limiter designed to allow you to get on with creative audio production while it takes care of True Peak compliance for you.\n		<br /><br /><span style=\"background-color: initial;\">ISL uses the standardized True Peak algorithms of ITU-R B.S. 1770 and related standards (including Apple ‘afclip’ true-peak detection), and is suitable for the control of audio for post production, music mastering and broadcast applications. True Peak limiting can also be used to ensure that downstream codecs (mp3, AAC etc.) do not introduce distortion into the signal.</span>\n	</div>\n</div>\n<br />\n<h3>Nugen ISL Features</h3>\n<ul>\n	<li>Broadcast compliant</li>\n	<li>Protect AAC, MP3 etc.</li>\n	<li>Master for online delivery</li>\n	<li>Surround capable</li>\n	<li>ITU-R B.S. 1770-4</li>\n	<li>Apple Afclip</li>\n	<li>Auto release</li>\n	<li>TPmax limit</li>\n</ul>\n<br />\n<h3>For music production</h3>\n	Let ISL take care of your mastering for today\'s music delivery services (Apple Music, Spotify, Tidal etc.) The risk of distortion from down-stream codec conversion (mp3, AAC etc.) is eliminated with ISL on the master bus.\n<br /><br />Mix and master with confidence that your audio will be delivered the way you intend, without downstream distortions introduced by inter-sample clip reconstruction errors.<br /><br />\n<h3>For post and broadcast</h3>\nWorld class, broadcast quality limiting is an essential requirement for any broadcast production, and the latest standards also demand true-peak compliance. ISL delivers both, giving you superb sound with complete confidence when meeting True Peak delivery criteria.\n<br /><br />\nWith ITU-R B.S. 1170-4 compliance and a dedicated brick-wall TPlim setting, you can produce with confidence, leaving ISL to transparently take care of the compliance.<br /><br />\n<h3>Powerful processing</h3>\nUnlike traditional limiters, ISL provides a TPlim control, automatically adjusting transfer curve parameters for minimally invasive brick-wall protection.\n<br /><br />\nAuto-release monitors incoming audio for low frequency content, dynamically adapting to prevent distortions and deliver transparent audio in the most demanding of situations.\n<br /><br />\n<h3>Innovative visualisations</h3>\nWith unique steering and ducking meters, ISL guides you to the perfect settings. Whether you are preserving directional integrity or atmospheric ambience, ISL gives you the information and control you need to achieve your objective with ease. New processing enhancements assess the incoming audio for frequency content and automatically take care of those minor adjustments required when LF content drives the limiter, delivering increased transparency whilst maintaining our renowned reputation of intuitive operation.\n<br /><br />'),(8114,75,1,1353,'<h1>NUGEN Audio ISL Precision True Peak Limiter</h1>\n<i>Surround sound precision true peak limiter capable up to 7.1 for Post & Movie production</i><br /><br />\n<div>\n	<div>Nugen Audio ISL is a transparent look-ahead limiter designed to allow you to get on with creative audio production while it takes care of True Peak compliance for you.\n		<br /><br /><span style=\"background-color: initial;\">ISL uses the standardized True Peak algorithms of ITU-R B.S. 1770 and related standards (including Apple ‘afclip’ true-peak detection), and is suitable for the control of audio for post production, music mastering and broadcast applications. True Peak limiting can also be used to ensure that downstream codecs (mp3, AAC etc.) do not introduce distortion into the signal.</span>\n	</div>\n</div>\n<br />\n<h3>Nugen ISL Features</h3>\n<ul>\n	<li>Broadcast compliant</li>\n	<li>Protect AAC, MP3 etc.</li>\n	<li>Master for online delivery</li>\n	<li>Surround capable</li>\n	<li>ITU-R B.S. 1770-4</li>\n	<li>Apple Afclip</li>\n	<li>Auto release</li>\n	<li>TPmax limit</li>\n</ul>\n<br />\n<h3>For music production</h3>\n	Let ISL take care of your mastering for today\'s music delivery services (Apple Music, Spotify, Tidal etc.) The risk of distortion from down-stream codec conversion (mp3, AAC etc.) is eliminated with ISL on the master bus.\n<br /><br />Mix and master with confidence that your audio will be delivered the way you intend, without downstream distortions introduced by inter-sample clip reconstruction errors.<br /><br />\n<h3>For post and broadcast</h3>\nWorld class, broadcast quality limiting is an essential requirement for any broadcast production, and the latest standards also demand true-peak compliance. ISL delivers both, giving you superb sound with complete confidence when meeting True Peak delivery criteria.\n<br /><br />\nWith ITU-R B.S. 1170-4 compliance and a dedicated brick-wall TPlim setting, you can produce with confidence, leaving ISL to transparently take care of the compliance.<br /><br />\n<h3>Powerful processing</h3>\nUnlike traditional limiters, ISL provides a TPlim control, automatically adjusting transfer curve parameters for minimally invasive brick-wall protection.\n<br /><br />\nAuto-release monitors incoming audio for low frequency content, dynamically adapting to prevent distortions and deliver transparent audio in the most demanding of situations.\n<br /><br />\n<h3>Innovative visualisations</h3>\nWith unique steering and ducking meters, ISL guides you to the perfect settings. Whether you are preserving directional integrity or atmospheric ambience, ISL gives you the information and control you need to achieve your objective with ease. New processing enhancements assess the incoming audio for frequency content and automatically take care of those minor adjustments required when LF content drives the limiter, delivering increased transparency whilst maintaining our renowned reputation of intuitive operation.\n<br /><br />'),(8115,85,0,1353,'NUGEN Audio ISL Precision True Peak Limiter'),(8116,85,1,1353,'NUGEN Audio ISL Precision True Peak Limiter'),(8117,76,0,1353,''),(8118,76,1,1353,''),