(3728,75,1,622,'<h2>D16 Group ClassicBoxes Collection</h2>\n<i>The Classic Boxes Includes all D16\'s acclaimed emulations of classic vintage boxes </i><br /><br />The D16 Group Classic Boxes Collection contains all of D16\'s vintage drum machine plugins. All of the included software \nrequires a VST or AU compatible host application and can operate in 32- \nor 64-bit modes.<br /><br /><h2>D16 ClassicBoxes Collection includes:</h2><br />\n<h3>Nepheton</h3>The D16 Nepheton emulates the famous 808 drum machine. All the nuances and details of the instruments sounds are captured perfectly. The instruments models are equipped with additional controls giving you possibility to tweak the sound much better.<br /><br /><h3>Drumazon</h3>D16\'s Drumzaon emulates the famous 909 drum machine. All the instruments are synthesized in exactly the same way as the original. All the nuances and detail of the original are captured perfectly. In addition, all Drumazon instruments have enhanced controls. <br /><br />\n<h3>Nithonat</h3>The Nithonat is D16\'s fully synthesized drum machine which emulates classic 606 box. This \nperfect emulation is enhanced with extra functionality taking the little\n pocket drum machine to the new dimension.<br /><br />\n<h3>Phoscyon</h3>The D16 Group takes the classic analogue sound of the legendary 303 silver box into \nthe future. It offers an unmatched sound together with many advanced \nfeatures.<br /><span id=\"product_description\" itemprop=\"description\"><br /></span>'),(3729,85,0,622,''),(3730,85,1,622,''),(3731,76,0,622,''),(3732,76,1,622,''),(3733,75,0,623,'<h1>D16 Group Silverline Collection</h1>\n<i>A collection of D16 amazing effect processors including a multi-band & tube distortion, brutal bit-crusher, \'70s phaser, swirling chorus, lush reverb, and dizzying flange. </i><br /><br />The D16 Group SilverLine Collection, gives you all of D16\'s effects processors in one bundle! You\'ll get 7 amazing effects plug-ins including a multi-band & tube distortion, brutal bit-crusher, \'70s phaser, swirling chorus, lush reverb, and dizzying flange. Add new layers of excitement and depth to your mixes and sound design, with the D16 Group SilverLine Collection plug-in bundle.<br /><br />\n<h2>D16 Silverline Collection includes:</h2>\n<br />\n<h3>Toraverb2</h3>\nD16 Toraverb2 is a concept algorithm reverb. It allows the user to create practically ANY type of reverb.<br /><br />\n\n<h3>Tekturon</h3>\nD16 Tekturon is a tap-delay effect with 16 independent high quality delay lines, where the taps are arranged in a sequence of taps equally delayed from each other, whereby working with the plug-in strongly resembles using a step sequencer.<br /><br />\n\n<h3>Decimort2</h3>\nD16 Decimort2 is a premium grade bit crusher with complex and advanced signal processing algorithms within Decimort simulate the behaviour of the whole sampling path which exists in every AD/DA converter.<br /><br />\n\n<h3>Devastator2</h3>\nD16 Devastator2 is a remarkable Multiband Distortion Unit. It is an enhanced version of the distortion unit from our famous Phoscyon synthesizer.<br /><br />\n\n<h3>Antresol</h3>\nD16 Antresol is an iconic stomp box flanger resurrected with exquisite attention to sonic detail and so much more!<br /><br />\n\n<h3>Syntorus</h3>\nD16 Syntorus is a chorus effecting unit with a double delay line. It\'s capable of emulating almost every classic unit available.<br /><br />\n\n<h3>Redeptor</h3>\nD16 Redeptor is a distortion modeling plug-in with an exact emulation of a tube\'s circuits.<br /><br />\n\n<h3>Fazortan</h3>\nD16 Fazortan is a 70\'s style phaser plug-in created with the most advanced analog modeling techniques.'),(3734,75,1,623,'<h1>D16 Group Silverline Collection</h1>\n<i>A collection of D16 amazing effect processors including a multi-band & tube distortion, brutal bit-crusher, \'70s phaser, swirling chorus, lush reverb, and dizzying flange. </i><br /><br />The D16 Group SilverLine Collection, gives you all of D16\'s effects processors in one bundle! You\'ll get 7 amazing effects plug-ins including a multi-band & tube distortion, brutal bit-crusher, \'70s phaser, swirling chorus, lush reverb, and dizzying flange. Add new layers of excitement and depth to your mixes and sound design, with the D16 Group SilverLine Collection plug-in bundle.<br /><br />\n<h2>D16 Silverline Collection includes:</h2>\n<br />\n<h3>Toraverb2</h3>\nD16 Toraverb2 is a concept algorithm reverb. It allows the user to create practically ANY type of reverb.<br /><br />\n\n<h3>Tekturon</h3>\nD16 Tekturon is a tap-delay effect with 16 independent high quality delay lines, where the taps are arranged in a sequence of taps equally delayed from each other, whereby working with the plug-in strongly resembles using a step sequencer.<br /><br />\n\n<h3>Decimort2</h3>\nD16 Decimort2 is a premium grade bit crusher with complex and advanced signal processing algorithms within Decimort simulate the behaviour of the whole sampling path which exists in every AD/DA converter.<br /><br />\n\n<h3>Devastator2</h3>\nD16 Devastator2 is a remarkable Multiband Distortion Unit. It is an enhanced version of the distortion unit from our famous Phoscyon synthesizer.<br /><br />\n\n<h3>Antresol</h3>\nD16 Antresol is an iconic stomp box flanger resurrected with exquisite attention to sonic detail and so much more!<br /><br />\n\n<h3>Syntorus</h3>\nD16 Syntorus is a chorus effecting unit with a double delay line. It\'s capable of emulating almost every classic unit available.<br /><br />\n\n<h3>Redeptor</h3>\nD16 Redeptor is a distortion modeling plug-in with an exact emulation of a tube\'s circuits.<br /><br />\n\n<h3>Fazortan</h3>\nD16 Fazortan is a 70\'s style phaser plug-in created with the most advanced analog modeling techniques.'),(3735,85,0,623,'D16 Group Silverline Collection'),(3736,85,1,623,'D16 Group Silverline Collection'),(3737,76,0,623,''),(3738,76,1,623,''),(3739,75,0,624,'<h2>D16 Group Total Bundle</h2>\n<i>The Total Bundle from D16 Group gathers all the D16 plug-ins ever made.</i><br /><br />The bundle features vintage Roland\'s classic emulations, SilverLines effects, Sigmund and Repeater quality delay units as well as their flagship syntesizer; the LuSH-101 polyphonic synthesizer.<br /><br />\n<h2>D16 Total Bundle includes:</h2>\n<h3>Toraverb2</h3>D16\'s Toraverb2, space modulated reverb, concept algorithm reverb. It allows the user to create practically ANY type of reverb.\n<br /><br /><h3>Tekturon</h3>D16\'s Tekturon is a tap-delay effect with 16 independent high quality delay lines, where the taps are arranged in a sequence of taps equally delayed from each other, whereby working with the plug-in strongly resembles using a step sequencer. <br /><br />\n<h3>Repeater</h3>The D16 Repeater is a vintage modeled delay which adds space, depth, and excitement to your music. A dual delay powerhouse that features 23 unique authentically modeled devices. <br /><br />\n<h3>PunchBOX</h3>The D16 PunchBOX is a virtual instrument designed for creating high-quality kick\n drum sounds including vast and exquisite factory content delivered by \nindustry-standard sound designers Sounds of Revolution and CFA-Sound.<br /><br /><h3>LuSH-101</h3>D16\'s LuSH-101, multimbral polyphonic synthesizer, which basic simplicity combined with its multi1layer architecture turns it into an easy-to-use but extremely powerful instrument that can be programmed and tweaked quickly, almost effortlessly leveraging its maximum potential.<br /><br />\n<h3>Nepheton</h3>The D16 Nepheton emulates the famous 808 drum machine. All the nuances and details of the instruments sounds are captured perfectly. The instruments models are equipped with additional controls giving you possibility to tweak the sound much better.<br /><br />\n<h3>Decimort2</h3>The D16 Decimort2 is a premium grade bit crusher with complex and advanced signal processing algorithms within Decimort simulate the behavior of the whole sampling path which exists in every AD/DA converter.<br /><br /><h3>Drumazon</h3>D16\'s Drumzaon emulates the famous 909 drum machine. All the instruments are synthesized in exactly the same way as the original. All the nuances and detail of the original are captured perfectly. In addition, all Drumazon instruments have enhanced controls. <br /><br />\n<h3>Devastor2</h3>The D16 Devastor2 is a remarkable Multiband Distortion Unit. It is an enhanced version of the distortion unit from our famous Phoscyon synthesizer.<br /><br />\n<h3>Sigmund</h3>D16\'s Sigmund is far from just another delay: it consists of four discrete delay units, \neach with its own, independent set of parameters offering an incredible \ndegree of sound-shaping freedom.<br /><br /><h3>Syntorus</h3>D16\'s Syntorus has a chorus effecting unit with a double delay line. It\'s capable of emulating almost every classic unit available. <br /><br />\n<h3>Redoptor</h3>The D16 Redoptor is a vintage tube distortion with an exact emulation of a tube\'s circuits.<br /><br />'),(3740,75,1,624,'<h2>D16 Group Total Bundle</h2>\n<i>The Total Bundle from D16 Group gathers all the D16 plug-ins ever made.</i><br /><br />The bundle features vintage Roland\'s classic emulations, SilverLines effects, Sigmund and Repeater quality delay units as well as their flagship syntesizer; the LuSH-101 polyphonic synthesizer.<br /><br />\n<h2>D16 Total Bundle includes:</h2>\n<h3>Toraverb2</h3>D16\'s Toraverb2, space modulated reverb, concept algorithm reverb. It allows the user to create practically ANY type of reverb.\n<br /><br /><h3>Tekturon</h3>D16\'s Tekturon is a tap-delay effect with 16 independent high quality delay lines, where the taps are arranged in a sequence of taps equally delayed from each other, whereby working with the plug-in strongly resembles using a step sequencer. <br /><br />\n<h3>Repeater</h3>The D16 Repeater is a vintage modeled delay which adds space, depth, and excitement to your music. A dual delay powerhouse that features 23 unique authentically modeled devices. <br /><br />\n<h3>PunchBOX</h3>The D16 PunchBOX is a virtual instrument designed for creating high-quality kick\n drum sounds including vast and exquisite factory content delivered by \nindustry-standard sound designers Sounds of Revolution and CFA-Sound.<br /><br /><h3>LuSH-101</h3>D16\'s LuSH-101, multimbral polyphonic synthesizer, which basic simplicity combined with its multi1layer architecture turns it into an easy-to-use but extremely powerful instrument that can be programmed and tweaked quickly, almost effortlessly leveraging its maximum potential.<br /><br />\n<h3>Nepheton</h3>The D16 Nepheton emulates the famous 808 drum machine. All the nuances and details of the instruments sounds are captured perfectly. The instruments models are equipped with additional controls giving you possibility to tweak the sound much better.<br /><br />\n<h3>Decimort2</h3>The D16 Decimort2 is a premium grade bit crusher with complex and advanced signal processing algorithms within Decimort simulate the behavior of the whole sampling path which exists in every AD/DA converter.<br /><br /><h3>Drumazon</h3>D16\'s Drumzaon emulates the famous 909 drum machine. All the instruments are synthesized in exactly the same way as the original. All the nuances and detail of the original are captured perfectly. In addition, all Drumazon instruments have enhanced controls. <br /><br />\n<h3>Devastor2</h3>The D16 Devastor2 is a remarkable Multiband Distortion Unit. It is an enhanced version of the distortion unit from our famous Phoscyon synthesizer.<br /><br />\n<h3>Sigmund</h3>D16\'s Sigmund is far from just another delay: it consists of four discrete delay units, \neach with its own, independent set of parameters offering an incredible \ndegree of sound-shaping freedom.<br /><br /><h3>Syntorus</h3>D16\'s Syntorus has a chorus effecting unit with a double delay line. It\'s capable of emulating almost every classic unit available. <br /><br />\n<h3>Redoptor</h3>The D16 Redoptor is a vintage tube distortion with an exact emulation of a tube\'s circuits.<br /><br />'),(3741,85,0,624,''),(3742,85,1,624,''),(3743,76,0,624,''),(3744,76,1,624,''),(3745,75,0,625,'<h1>Daking Comp II Compressor-Limiter</h1>\n<i>\nStereo Compressor/Limiter with a unique design utilizing a VCA with feedback gain reduction, a peak detector, and an all-discrete Class A follower. Includes outboard power supply.</i><br /><br />\n\n	The Daking COMP II is a handmade compressor/limiter designed to be easy to use and sound like much more expensive comp/limiters. Built right here in the USA, it offers better sounding compression on all kinds of sources in the studio. Whether in the hands of a highly experienced engineer who needs fast workflow, or a novice who is not sure how to best set up a compressor, the COMP II gives professional results without a big learning curve.\n<br /><br />\n	With big old-style analog meters and a simple setup, the COMP II is easy to understand and easy to use. Designed carefully by Geoff Daking and Dave Thibodeau to behave well on a variety of real in-studio applications, it may challenge your notions of how good a two-knob compressor can be.\n<br /><br />\nThe two channel, electronically balanced COMP II, can operate in dual mono or stereo linked mode for a beautiful stereo image. In dual mono it acts like two independent mono compressors for use on two different - perhaps unrelated - sources. There is no master channel in stereo mode. Each channel retains its independent control.\n<br /><br />\n<h3>A Unique Compressor</h3>\nThe Daking Comp II is a complex design that employs a unique method of gain reduction using a VCA like a FET. This maintains the unique Daking sound of their legacy compressors. Unlike most VCA designs, Comp II uses feedback gain reduction, a peak detector and an all-discrete Class A follower.\n<br /><br />\n\n	The outboard power supply makes sure this unit is quiet and usable around the world on any voltage. Switches are illuminated, making it easy to see what’s “on” in a dark room. The rear panel offers XLR electronically balanced inputs and electronically balanced XLR/¼” TRS outputs.\n<br /><br />\n	Purely analog, it’s so easy to get a sound you love. This compressor may easily become your favorite.\n<br /><br />\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli \n<br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. \n<br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3746,75,1,625,'<h1>Daking Comp II Compressor-Limiter</h1>\n<i>\nStereo Compressor/Limiter with a unique design utilizing a VCA with feedback gain reduction, a peak detector, and an all-discrete Class A follower. Includes outboard power supply.</i><br /><br />\n\n	The Daking COMP II is a handmade compressor/limiter designed to be easy to use and sound like much more expensive comp/limiters. Built right here in the USA, it offers better sounding compression on all kinds of sources in the studio. Whether in the hands of a highly experienced engineer who needs fast workflow, or a novice who is not sure how to best set up a compressor, the COMP II gives professional results without a big learning curve.\n<br /><br />\n	With big old-style analog meters and a simple setup, the COMP II is easy to understand and easy to use. Designed carefully by Geoff Daking and Dave Thibodeau to behave well on a variety of real in-studio applications, it may challenge your notions of how good a two-knob compressor can be.\n<br /><br />\nThe two channel, electronically balanced COMP II, can operate in dual mono or stereo linked mode for a beautiful stereo image. In dual mono it acts like two independent mono compressors for use on two different - perhaps unrelated - sources. There is no master channel in stereo mode. Each channel retains its independent control.\n<br /><br />\n<h3>A Unique Compressor</h3>\nThe Daking Comp II is a complex design that employs a unique method of gain reduction using a VCA like a FET. This maintains the unique Daking sound of their legacy compressors. Unlike most VCA designs, Comp II uses feedback gain reduction, a peak detector and an all-discrete Class A follower.\n<br /><br />\n\n	The outboard power supply makes sure this unit is quiet and usable around the world on any voltage. Switches are illuminated, making it easy to see what’s “on” in a dark room. The rear panel offers XLR electronically balanced inputs and electronically balanced XLR/¼” TRS outputs.\n<br /><br />\n	Purely analog, it’s so easy to get a sound you love. This compressor may easily become your favorite.\n<br /><br />\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli \n<br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. \n<br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3747,85,0,625,'Daking Comp II Compressor-Limiter'),(3748,85,1,625,'Daking Comp II Compressor-Limiter'),(3749,76,0,625,''),(3750,76,1,625,''),(3751,75,0,626,'<h1>Daking Comp IIT Compressor-Limiter</h1>\n<i>\nStereo Compressor/Limiter with Jensen transformers on all inputs and outputs, giving you lower distortion, add subtle color and provide that much sought after analog “glue” to your recordings.</i><br /><br />\n\n	The Daking<span style=\"background-color: initial;\"> COMP IIT is a handmade compressor/limiter designed to be easy to use and sound like much more expensive comp/limiters. Built right here in the USA, it offers better sounding compression on all kinds of sources in the studio. The COMP IIT features Jensen transformers on both the input and output which feature lower distortion, adding subtle color and providing that much sought after analog “glue” when used on stereo sources. Whether in the hands of a highly experienced engineer who needs fast workflow, or a novice who is not sure how to best set up a compressor, the COMP IIT gives professional results without a big learning curve.<br /></span><div>With big old-style analog meters and a simple setup, the COMP IIT is easy to understand and easy to use. Designed carefully by Geoff Daking and Dave Thibodeau to behave well on a variety of real in-studio applications, it may challenge your notions of how good a two-knob compressor can be.<br /></div><div>The two channel COMP IIT can operate in dual mono or stereo linked mode for a beautiful stereo image. In dual mono it acts like two independent mono compressors for use on two different - perhaps unrelated - sources. There is no master channel in stereo mode. Each channel retains its independent control.<br /></div>\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli \n<br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. \n<br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3752,75,1,626,'<h1>Daking Comp IIT Compressor-Limiter</h1>\n<i>\nStereo Compressor/Limiter with Jensen transformers on all inputs and outputs, giving you lower distortion, add subtle color and provide that much sought after analog “glue” to your recordings.</i><br /><br />\n\n	The Daking<span style=\"background-color: initial;\"> COMP IIT is a handmade compressor/limiter designed to be easy to use and sound like much more expensive comp/limiters. Built right here in the USA, it offers better sounding compression on all kinds of sources in the studio. The COMP IIT features Jensen transformers on both the input and output which feature lower distortion, adding subtle color and providing that much sought after analog “glue” when used on stereo sources. Whether in the hands of a highly experienced engineer who needs fast workflow, or a novice who is not sure how to best set up a compressor, the COMP IIT gives professional results without a big learning curve.<br /></span><div>With big old-style analog meters and a simple setup, the COMP IIT is easy to understand and easy to use. Designed carefully by Geoff Daking and Dave Thibodeau to behave well on a variety of real in-studio applications, it may challenge your notions of how good a two-knob compressor can be.<br /></div><div>The two channel COMP IIT can operate in dual mono or stereo linked mode for a beautiful stereo image. In dual mono it acts like two independent mono compressors for use on two different - perhaps unrelated - sources. There is no master channel in stereo mode. Each channel retains its independent control.<br /></div>\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli \n<br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. \n<br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3753,85,0,626,'Daking Comp IIT Compressor-Limiter'),(3754,85,1,626,'Daking Comp IIT Compressor-Limiter'),(3755,76,0,626,''),(3756,76,1,626,''),(3757,75,0,627,'<h1>Daking FET III Stereo Compressor</h1><i>\nStereo Daking FET Compressor with Variable control set, built in variable HP filter in the Sidechain, variable stereo linking, back lit VU meters, Auto release modes, and outboard power supply.</i><br /><br />\n\n\n Daking FET III is a dual channel limiter from Geoff Daking, built in the US with the same audio path and detector circuits as the highly successful single channel Daking FET II limiter. The FET III compressor circuitry and gain stages are all discrete and fully Class “A” with sound quality that will be at the very top of the scale. The previous single channel FET II was known for its speed, high performance and its unique ability to sound great on an extraordinary variety of sources. The FET III will equal this benchmark plus add several unique features to improve user control.\n<br /><br />\nFET II includes new variable High Pass Filters from 0 to 200Hz are added to the detector stage of each limiter channel to improve and customize limiter behavior. The HPF’s tell the limiter NOT to trigger limiting based on content below the set HPF frequency. This is extremely helpful on bass heavy material. This greatly widens the units potential application set and the ability of the user to set this new behavior “on the fly”.<br /><br />\nVariable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together to greater or lesser degrees. The Stereo Link is continuously variable from 0 to ∞.<br /><br />\nAll controls except “Ratio” are pots. The new variable pots add the ability to fine tune behaviors in the studio. Mastering engineers may prefer the repeatability of switches, such as those on the FET II, which will continue in the Daking product line.<br /><br />\nThe FET II’s relied on control voltage summing for the stereo linking. Because the FET III is two independent units in one box, it uses audio summing, which is much more accurate.<br /><br />\nThe Daking FET III uses THAT CORP differential amps in and out (electronically balanced). The FET II has transformers in and out but they are 1:1 input to output so they do not “color” the sound. (A mic input transformer at 1:10 ratio in a mic pre would color the sound significantly.) The common mode rejection in FET III is equal to that of FET II. The FET III output level is +24 while the FET II can be as high as +30.<br /><br />\n<h3>Daking FET III Features</h3>\n<ul>\n	<li>Ultra Flexible and Easy to Use</li>\n	<li>Fast Transparent Compression</li>\n	<li>Variable Filter in the Detector Circuit</li>\n	<li>High Headroom +24 In and Out</li>\n	<li>Easy to Read Illuminated VU Meters</li>\n	<li>Continuously Variable Stereo Linking</li>\n	<li>Attack 250uS to 64MS</li>\n	<li>Release .5 Sec to Auto Dual Time Constant</li>\n	<li>Ratios from 1.5:1 to 20:1</li>\n</ul><br /><h3>Who’s using Daking?</h3>“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli <br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br /><h3>About Daking Audio:</h3>Geoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. <br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3758,75,1,627,'<h1>Daking FET III Stereo Compressor</h1><i>\nStereo Daking FET Compressor with Variable control set, built in variable HP filter in the Sidechain, variable stereo linking, back lit VU meters, Auto release modes, and outboard power supply.</i><br /><br />\n\n\n Daking FET III is a dual channel limiter from Geoff Daking, built in the US with the same audio path and detector circuits as the highly successful single channel Daking FET II limiter. The FET III compressor circuitry and gain stages are all discrete and fully Class “A” with sound quality that will be at the very top of the scale. The previous single channel FET II was known for its speed, high performance and its unique ability to sound great on an extraordinary variety of sources. The FET III will equal this benchmark plus add several unique features to improve user control.\n<br /><br />\nFET II includes new variable High Pass Filters from 0 to 200Hz are added to the detector stage of each limiter channel to improve and customize limiter behavior. The HPF’s tell the limiter NOT to trigger limiting based on content below the set HPF frequency. This is extremely helpful on bass heavy material. This greatly widens the units potential application set and the ability of the user to set this new behavior “on the fly”.<br /><br />\nVariable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together to greater or lesser degrees. The Stereo Link is continuously variable from 0 to ∞.<br /><br />\nAll controls except “Ratio” are pots. The new variable pots add the ability to fine tune behaviors in the studio. Mastering engineers may prefer the repeatability of switches, such as those on the FET II, which will continue in the Daking product line.<br /><br />\nThe FET II’s relied on control voltage summing for the stereo linking. Because the FET III is two independent units in one box, it uses audio summing, which is much more accurate.<br /><br />\nThe Daking FET III uses THAT CORP differential amps in and out (electronically balanced). The FET II has transformers in and out but they are 1:1 input to output so they do not “color” the sound. (A mic input transformer at 1:10 ratio in a mic pre would color the sound significantly.) The common mode rejection in FET III is equal to that of FET II. The FET III output level is +24 while the FET II can be as high as +30.<br /><br />\n<h3>Daking FET III Features</h3>\n<ul>\n	<li>Ultra Flexible and Easy to Use</li>\n	<li>Fast Transparent Compression</li>\n	<li>Variable Filter in the Detector Circuit</li>\n	<li>High Headroom +24 In and Out</li>\n	<li>Easy to Read Illuminated VU Meters</li>\n	<li>Continuously Variable Stereo Linking</li>\n	<li>Attack 250uS to 64MS</li>\n	<li>Release .5 Sec to Auto Dual Time Constant</li>\n	<li>Ratios from 1.5:1 to 20:1</li>\n</ul><br /><h3>Who’s using Daking?</h3>“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli <br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br /><h3>About Daking Audio:</h3>Geoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. <br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3759,85,0,627,'Daking FET III Stereo Compressor'),(3760,85,1,627,'Daking FET III Stereo Compressor'),(3761,76,0,627,''),(3762,76,1,627,''),(3763,75,0,628,'<h1>Daking Mic Pre EQ MKII Channel Strip</h1>\n<i>Daking vintage console input strip featuring Jensen transformer mic input, ¼ in DI, 70dB gain, 4 band inductor console EQ, input trim and output gain, Discrete Class A circuitry, and outboard power supply,1U.</i><br /><br />\nThe Daking Mic Pre / EQ is a single channel high end, all discrete Class A transformer balanced (input and output) unit that combines a great mic pre and world class EQ in one single rack unit. Separate mic and line inputs can be selected from the front panel “line” switch without changing wires in back. Both inputs are combo XLR/ 1/4 in TRS. High gain of 70dB handles all types of mics from ribbons to dynamics and condensers. Switched phantom enables secure ribbon mic use and 20dB pad switch prevents overload on high output condensers mics. Front panel Phase switch for inverting input phase and large overall mute button and bypass button help the work flow.<br /><br />\n<h3>Daking Mic Pre EQ Features:</h3>\n<ul>\n	<li>Transformer Balanced Inputs and Output</li>\n	<li>All Discrete transistor circuitry</li>\n	<li>Class “A” amplifiers</li>\n	<li>Four Band EQ with hard bypass</li>\n	<li>Continuously variable boost and cut: +-16dB</li>\n	<li>Stepped frequencies:<ul>\n	<li>High Shelving 8-10-12-15k-20k</li>\n	<li>Upper Mids 1.5-3-5-7-9K</li>\n	<li>Lower Mids 125hZ-250hZ-500hZ-1K-2K</li>\n	<li>Low Shelving 30-50-80-100-150hZ</li>\n	<li>High & Low Pass Filters 25hZ & 15KhZ</li></ul></li>\n	<li>All relay switching w/gold bi-furcated contacts</li>\n	<li>Switched +48v Phantom power</li>\n	<li>Remoteable Mute and Bypass</li>\n	<li>20dB pad on mic input</li>\n	<li>Stainless steel construction for noise immunity</li>\n	<li>Aluminum knobs</li>\n	<li>Output level control before last stage of gain</li>\n</ul><br />\nGeoff Daking’s famous Mic Pre EQ has Four (4) individual EQ bands and Five (5) Stepped frequencies per band with frequencies specially chosen for effective results. This is thought to be some of the best EQ available for tracking, mixing or mastering. Continuously variable EQ boost or cut of 15dB. 25Hz High Pass 6 db/octave filter for getting rid of low end rumble that ruins tracks and 12dB per octave Low Pass filter at 15kHz helps get rid of extreme top end edginess. Separate overall output level control makes up gain lost in extensive EQ cuts. All relay switching with gold bi-furcated contacts for long term life. Steel construction for strength and noise immunity. An outboard “in line” universal power supply remotes the power to keep the noise floor low.\n<br /><br /><h3>Who’s using Daking?</h3>“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli <br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br /><h3>About Daking Audio:</h3>Geoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. <br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio. <br /><br /><br /><br />'),(3764,75,1,628,'<h1>Daking Mic Pre EQ MKII Channel Strip</h1>\n<i>Daking vintage console input strip featuring Jensen transformer mic input, ¼ in DI, 70dB gain, 4 band inductor console EQ, input trim and output gain, Discrete Class A circuitry, and outboard power supply,1U.</i><br /><br />\nThe Daking Mic Pre / EQ is a single channel high end, all discrete Class A transformer balanced (input and output) unit that combines a great mic pre and world class EQ in one single rack unit. Separate mic and line inputs can be selected from the front panel “line” switch without changing wires in back. Both inputs are combo XLR/ 1/4 in TRS. High gain of 70dB handles all types of mics from ribbons to dynamics and condensers. Switched phantom enables secure ribbon mic use and 20dB pad switch prevents overload on high output condensers mics. Front panel Phase switch for inverting input phase and large overall mute button and bypass button help the work flow.<br /><br />\n<h3>Daking Mic Pre EQ Features:</h3>\n<ul>\n	<li>Transformer Balanced Inputs and Output</li>\n	<li>All Discrete transistor circuitry</li>\n	<li>Class “A” amplifiers</li>\n	<li>Four Band EQ with hard bypass</li>\n	<li>Continuously variable boost and cut: +-16dB</li>\n	<li>Stepped frequencies:<ul>\n	<li>High Shelving 8-10-12-15k-20k</li>\n	<li>Upper Mids 1.5-3-5-7-9K</li>\n	<li>Lower Mids 125hZ-250hZ-500hZ-1K-2K</li>\n	<li>Low Shelving 30-50-80-100-150hZ</li>\n	<li>High & Low Pass Filters 25hZ & 15KhZ</li></ul></li>\n	<li>All relay switching w/gold bi-furcated contacts</li>\n	<li>Switched +48v Phantom power</li>\n	<li>Remoteable Mute and Bypass</li>\n	<li>20dB pad on mic input</li>\n	<li>Stainless steel construction for noise immunity</li>\n	<li>Aluminum knobs</li>\n	<li>Output level control before last stage of gain</li>\n</ul><br />\nGeoff Daking’s famous Mic Pre EQ has Four (4) individual EQ bands and Five (5) Stepped frequencies per band with frequencies specially chosen for effective results. This is thought to be some of the best EQ available for tracking, mixing or mastering. Continuously variable EQ boost or cut of 15dB. 25Hz High Pass 6 db/octave filter for getting rid of low end rumble that ruins tracks and 12dB per octave Low Pass filter at 15kHz helps get rid of extreme top end edginess. Separate overall output level control makes up gain lost in extensive EQ cuts. All relay switching with gold bi-furcated contacts for long term life. Steel construction for strength and noise immunity. An outboard “in line” universal power supply remotes the power to keep the noise floor low.\n<br /><br /><h3>Who’s using Daking?</h3>“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli <br /><br />\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br /><h3>About Daking Audio:</h3>Geoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. <br /><br />Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio. <br /><br /><br /><br />'),(3765,85,0,628,'Daking Mic Pre EQ'),(3766,85,1,628,'Daking Mic Pre EQ'),(3767,76,0,628,''),(3768,76,1,628,''),(3769,75,0,629,'<h1>Daking Mic Pre II</h1>\n<i>\nTwo channel Daking preamp featuring 2X Jensen transformer mic inputs, ¼ in DI, 70dB gain, LED meter, variable HP filter (20 to 200Hz), Discrete Class A circuitry, and outboard power supply. 1U.\n<br /></i><br />\nThe Daking Mic Pre II combines two of Daking’s celebrated stand-alone Mic Pre One units in a single rack space form factor for a surprisingly affordable price. Like the Mic Pre One, the Mic Pre EQ, and the Mic Pre IV, the Daking Mic Pre II circuitry is based on a classic console design of the ’80s with some upgrades: Variable High Pass Filters on each channel, Jensen input transformers, class “A” amplification, extremely high headroom (+24) and a single-sided 48V power supply.<br /><br />\nThe Mic Pre II’s high pass filter is continuously variable from 10-200Hz, and drops at 12dB per octave. It seems to have a magical ability to clean up the muck while making what remains sound even better. It is extremely helpful to DAW users who inadvertently record subsonics that muddy up tracks and mixes. \n<br /><br />\n<h3>Daking Mic Pre II Features:</h3>\n<ul>\n	<li>70dB of gain</li>\n	<li>switchable polarity</li>\n	<li>20 segment combo VU and “peak hold” LED meter</li>\n	<li>20dB pad with constant reflected impedance</li>\n	<li>switchable phantom power</li>\n	<li>direct 1/4″ instrument inputs on the front panel</li>\n	<li>balanced XLR and 1/4″ outputs.</li>\n</ul>\n<br />\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli \n<br /><br />\n\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. \n<br /><br />\nBack in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />\nUsing only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.<br /><br />'),(3770,75,1,629,'<h1>Daking Mic Pre II</h1>\n<i>\nTwo channel Daking preamp featuring 2X Jensen transformer mic inputs, ¼ in DI, 70dB gain, LED meter, variable HP filter (20 to 200Hz), Discrete Class A circuitry, and outboard power supply. 1U.\n<br /></i><br />\nThe Daking Mic Pre II combines two of Daking’s celebrated stand-alone Mic Pre One units in a single rack space form factor for a surprisingly affordable price. Like the Mic Pre One, the Mic Pre EQ, and the Mic Pre IV, the Daking Mic Pre II circuitry is based on a classic console design of the ’80s with some upgrades: Variable High Pass Filters on each channel, Jensen input transformers, class “A” amplification, extremely high headroom (+24) and a single-sided 48V power supply.<br /><br />\nThe Mic Pre II’s high pass filter is continuously variable from 10-200Hz, and drops at 12dB per octave. It seems to have a magical ability to clean up the muck while making what remains sound even better. It is extremely helpful to DAW users who inadvertently record subsonics that muddy up tracks and mixes. \n<br /><br />\n<h3>Daking Mic Pre II Features:</h3>\n<ul>\n	<li>70dB of gain</li>\n	<li>switchable polarity</li>\n	<li>20 segment combo VU and “peak hold” LED meter</li>\n	<li>20dB pad with constant reflected impedance</li>\n	<li>switchable phantom power</li>\n	<li>direct 1/4″ instrument inputs on the front panel</li>\n	<li>balanced XLR and 1/4″ outputs.</li>\n</ul>\n<br />\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli \n<br /><br />\n\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. \n<br /><br />\nBack in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br /><br />\nUsing only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.<br /><br />'),(3771,85,0,629,'Daking Mic Pre II'),(3772,85,1,629,'Daking Mic Pre II'),(3773,76,0,629,''),(3774,76,1,629,''),(3775,75,0,630,'<h1>Daking Mic Pre IIT 2-Channel Mic Pre</h1>\n<i>The 2 Channel Daking Mic Pre IIT adds Jensen transformers on both the input and output for a nice touch of color that Jensens are known for.</i><br /><br />\nThe Daking Mic Pre IIT combines two of Daking’s celebrated stand-alone Mic Pre One units in a single rack space form factor for a surprisingly affordable price. Like the Mic Pre One, the Mic Pre EQ MkII, and the Mic Pre IV MkII, the Daking Mic Pre IIT circuitry is based on a classic console design of the ’80s with some upgrades: Variable High Pass Filters on each channel, class “A” amplification, extremely high headroom (+24) and a single-sided 48V power supply.\n<div>\n	<br />The Daking Mic Pre IIT ’s high pass filter is continuously variable from 10-200Hz, and drops at 12dB per octave. It seems to have a magical ability to clean up the muck while making what remains sound even better. It is extremely helpful to DAW users who inadvertently record subsonics that muddy up tracks and mixes.\n</div>\n<br />\n<h3>Daking Mic IIT Features:</h3>\n<ul>\n	<li style=\"box-sizing: border-box;\">70dB of gain</li>\n	<li style=\"box-sizing: border-box;\">+24dB of headroom</li>\n	<li style=\"box-sizing: border-box;\">Jensen input and output transformers</li>\n	<li style=\"box-sizing: border-box;\">Class A amplification</li>\n	<li style=\"box-sizing: border-box;\">Variable high-pass filter</li>\n	<li style=\"box-sizing: border-box;\">Switchable polarity</li>\n	<li style=\"box-sizing: border-box;\">20 segment combo VU and “peak hold” LED meter</li>\n	<li style=\"box-sizing: border-box;\">20dB pad with constant reflected impedance</li>\n	<li style=\"box-sizing: border-box;\">Switchable phantom power</li>\n	<li style=\"box-sizing: border-box;\">Direct 1/4″ instrument inputs on the front panel</li>\n	<li style=\"box-sizing: border-box;\">Made in USA</li>\n</ul>\n<br />\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli<br /><br />\n\n\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment.\n<br /><br />\nBack in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history.\n<br /><br />\nUsing only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.<br /><br />'),(3776,75,1,630,'<h1>Daking Mic Pre IIT 2-Channel Mic Pre</h1>\n<i>The 2 Channel Daking Mic Pre IIT adds Jensen transformers on both the input and output for a nice touch of color that Jensens are known for.</i><br /><br />\nThe Daking Mic Pre IIT combines two of Daking’s celebrated stand-alone Mic Pre One units in a single rack space form factor for a surprisingly affordable price. Like the Mic Pre One, the Mic Pre EQ MkII, and the Mic Pre IV MkII, the Daking Mic Pre IIT circuitry is based on a classic console design of the ’80s with some upgrades: Variable High Pass Filters on each channel, class “A” amplification, extremely high headroom (+24) and a single-sided 48V power supply.\n<div>\n	<br />The Daking Mic Pre IIT ’s high pass filter is continuously variable from 10-200Hz, and drops at 12dB per octave. It seems to have a magical ability to clean up the muck while making what remains sound even better. It is extremely helpful to DAW users who inadvertently record subsonics that muddy up tracks and mixes.\n</div>\n<br />\n<h3>Daking Mic IIT Features:</h3>\n<ul>\n	<li style=\"box-sizing: border-box;\">70dB of gain</li>\n	<li style=\"box-sizing: border-box;\">+24dB of headroom</li>\n	<li style=\"box-sizing: border-box;\">Jensen input and output transformers</li>\n	<li style=\"box-sizing: border-box;\">Class A amplification</li>\n	<li style=\"box-sizing: border-box;\">Variable high-pass filter</li>\n	<li style=\"box-sizing: border-box;\">Switchable polarity</li>\n	<li style=\"box-sizing: border-box;\">20 segment combo VU and “peak hold” LED meter</li>\n	<li style=\"box-sizing: border-box;\">20dB pad with constant reflected impedance</li>\n	<li style=\"box-sizing: border-box;\">Switchable phantom power</li>\n	<li style=\"box-sizing: border-box;\">Direct 1/4″ instrument inputs on the front panel</li>\n	<li style=\"box-sizing: border-box;\">Made in USA</li>\n</ul>\n<br />\n<h3>Who’s using Daking?</h3>\n“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli<br /><br />\n\n\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br /><br />\n\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment.\n<br /><br />\nBack in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history.\n<br /><br />\nUsing only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.<br /><br />'),(3777,85,0,630,'Daking Mic IIT 2-Channel Mic PreAmp'),(3778,85,1,630,'Daking Mic IIT 2-Channel Mic PreAmp'),(3779,76,0,630,''),(3780,76,1,630,''),(3781,75,0,631,'<h1>Daking Mic Pre One</h1>\n<i>Single channel Daking preamp featutring a Jensen transformer mic input, ¼ in DI, 70dB gain, LED meter, variable HP filter (20 to 200Hz), Discrete Class A circuitry, and outboard power supply.</i>\n<br/><br/>\nThe Daking Mic-Pre One is a single channel mic preamp that we originally designed with the home recordist who only needs one input in mind. Because of it’s high performance and robust mechanical design, it has also become first choice of many professionals when doing small remotes. They just throw two or three in a suitcase and off they go!\n<br/><br/>\nThe Mic-Pre One’s great performance comes from our existing popular Daking designs, the Mic Pre EQ, Mic Pre IV, and console modules. All of these preamps use the same unique preamp circuit which features a Jensen input transformer and a Class “A” discrete transistor preamp with a single sided power supply.\n<br/><br/>\nThe Mic-Pre One has a freestanding ‘DI-style’ aluminum enclosure, ensuring both strength and noise immunity.<br/><br/>\n<h3>Daking Mic Pre One Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">70db of gain</span></li>\n	<li>20 segment tri color meter with VU and peak indications</li>\n	<li>Switchable Polarity</li>\n	<li>20db pad with constant reflected impedance</li>\n	<li>Switchable Phantom Power</li>\n	<li>Direct 1/4″ instrument input on the front panel.</li>\n	<li>Balanced XLR Output</li>\n	<li>Balanced 1/4″ TRS output which can be used with unbalanced devices with no deterioration of signal.</li>\n</ul>\n<br/>\n<h3>High Pass Filter</h3>\nIn addition, because the home recordist faces challenges that the professional studio owner does not, the Mic-Pre One features a powerful continuously variable high-pass filter with a range of 10-200Hz @ 12db per octave\n<br/><br/><span style=\"background-color: initial;\">Big studios have big monitors, good isolation and quiet air conditioning. Also, if you are recording to tape at 30ips, you cannot record below 40Hz.<br/><br/>\nSmall studios usually have small monitors that don’t reproduce very low frequencies well, have little or no isolation and poor ventilation. Modern digital recorders will easily record 10Hz. Because of this, many home recordings are filled with low frequency rubbish that clouds, clutters and takes up space in the mix.<br/><br/>\nThe High Pass Filter in the Mic-Pre One is a powerful tool. The Filter allows the recordist to eliminate unwanted low frequency trash before it enters the signal chain without affecting the program material. This can be a giant step toward making the home record more professional.<br/><br/></span><span style=\"background-color: initial; color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">Who’s using Daking?</span><span style=\"background-color: initial;\"><br/></span>“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli <br/><br/>\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br/><br/>\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. <br/><br/>Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br/><br/>Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3782,75,1,631,'<h1>Daking Mic Pre One</h1>\n<i>Single channel Daking preamp featutring a Jensen transformer mic input, ¼ in DI, 70dB gain, LED meter, variable HP filter (20 to 200Hz), Discrete Class A circuitry, and outboard power supply.</i>\n<br/><br/>\nThe Daking Mic-Pre One is a single channel mic preamp that we originally designed with the home recordist who only needs one input in mind. Because of it’s high performance and robust mechanical design, it has also become first choice of many professionals when doing small remotes. They just throw two or three in a suitcase and off they go!\n<br/><br/>\nThe Mic-Pre One’s great performance comes from our existing popular Daking designs, the Mic Pre EQ, Mic Pre IV, and console modules. All of these preamps use the same unique preamp circuit which features a Jensen input transformer and a Class “A” discrete transistor preamp with a single sided power supply.\n<br/><br/>\nThe Mic-Pre One has a freestanding ‘DI-style’ aluminum enclosure, ensuring both strength and noise immunity.<br/><br/>\n<h3>Daking Mic Pre One Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">70db of gain</span></li>\n	<li>20 segment tri color meter with VU and peak indications</li>\n	<li>Switchable Polarity</li>\n	<li>20db pad with constant reflected impedance</li>\n	<li>Switchable Phantom Power</li>\n	<li>Direct 1/4″ instrument input on the front panel.</li>\n	<li>Balanced XLR Output</li>\n	<li>Balanced 1/4″ TRS output which can be used with unbalanced devices with no deterioration of signal.</li>\n</ul>\n<br/>\n<h3>High Pass Filter</h3>\nIn addition, because the home recordist faces challenges that the professional studio owner does not, the Mic-Pre One features a powerful continuously variable high-pass filter with a range of 10-200Hz @ 12db per octave\n<br/><br/><span style=\"background-color: initial;\">Big studios have big monitors, good isolation and quiet air conditioning. Also, if you are recording to tape at 30ips, you cannot record below 40Hz.<br/><br/>\nSmall studios usually have small monitors that don’t reproduce very low frequencies well, have little or no isolation and poor ventilation. Modern digital recorders will easily record 10Hz. Because of this, many home recordings are filled with low frequency rubbish that clouds, clutters and takes up space in the mix.<br/><br/>\nThe High Pass Filter in the Mic-Pre One is a powerful tool. The Filter allows the recordist to eliminate unwanted low frequency trash before it enters the signal chain without affecting the program material. This can be a giant step toward making the home record more professional.<br/><br/></span><span style=\"background-color: initial; color: rgb(0, 0, 0); font-size: 24px; font-weight: bold;\">Who’s using Daking?</span><span style=\"background-color: initial;\"><br/></span>“…. Over the last few years I’ve used Daking mic pres and compressors on recording for artists such as Carole King, Tracy Bonham, Jane Siberry, Hanson, Michelle Branch, Rufus Wainright, Cafe Tacuba, Julieta Venegas, Juanes and many others…” — Joe Chiccarelli <br/><br/>\"If you\'re looking for that vintage sound of a Trident A Range, and you want to add warmth to the digital recording chain, look no further: the Daking mic preamps add a distinctive sonic character that really make your recordings come alive!\" — Butch Vig<br/><br/>\n<h3>About Daking Audio:</h3>\nGeoff Daking started his career as a drummer for the band, The Blues Magoos, who toured with The Who in the ’60s. With two hits under his belt, Daking transitioned to the other side of the glass and engineered records for artists such as Eric Clapton, Hall & Oates, Rod Stewart, Meatloaf, Steve Stills, Cat Stevens, Kenny Loggins, Cyndi Lauper, Joan Osborne, James Brown, Luther Vandross, and many more. Since the ’70s, Daking has built over 20 studios, including facilities for Cyndi Lauper, Joan Osborne, and most recently, a multi-million-dollar facility for Big3 Entertainment. <br/><br/>Back in 1993, audio engineers quickly realized that the new recording equipment didn’t sound nearly as good as the older gear. Geoff Daking decided to do something about it. He approached Phil Wagner at Trident (whose A-Range console designed by Malcolm Toft and Barry Porter is still considered to be the best sounding console for rock & roll) and told Wagner that if Trident produced their preamps and EQs in rackmount form, people would buy them. In turn, Wagner suggested that Daking do it, since Trident had no interest in producing such units. Proving his perceptions correct, Geoff Daking bought the original Trident schematics, borrowed a racked Trident preamp from Lenny Kravitz for reference, and the rest is history. <br/><br/>Using only the finest, best-sounding components, Geoff Daking’s design philosophy is based on the concept of “get home early.” That is to say, Daking products are not loaded down with unnecessary, complex features—just what you need to get the job done right and quickly. Daking Audio makes very musical, solid, high-quality equipment that is very easy to use and cost effective. It’s equally important to recognize that there’s nothing like recording equipment built by someone who not only understands how the electronics work to make the most musical sound, but also has used it to record some of the greatest artists the world has known—and that defines Daking Audio.'),(3783,85,0,631,'Daking Mic Pre One'),(3784,85,1,631,'Daking Mic Pre One'),(3785,76,0,631,''),(3786,76,1,631,''),(3787,75,0,632,'<h2>DiGiGrid D Desktop Interface</h2>\n<span style=\"font-size: 16px;\"><i>Dynamic. Powerful. Practical.</i></span><br /><br /><br />DiGiGrid D delivers style on every level, enhanced by its multi-layer \nmetallic paint finish, custom soft touch controls and polycarbonate \noverlay – design, quality and precision at every stage. With four inputs rather than two, as well as six outputs, DiGiGrid D provides great flexibility in all applications. Inputs 1 & 2 are mic/line, while 3 & 4 are line/instrument. There are two outputs with level control that are ideal for monitoring, and two further fixed-level line outputs.<br /><br />At home, in the studio or out on location, you can monitor with headphones or speakers, and enhance your favorite DAW to expand your recording capabilities.<br /><br />As with the entire range, further expansion is simple: D integrates seamlessly with other DiGiGrid products to provide the user with mountains of extra I/O and overall functionality.<br /><br />DiGiGrid D is powered by a twist-lock 12V DC power supply (provided as standard), and Power-over-Ethernet (PoE) for maximum flexibility and easy setup, anywhere you want it.<br /><br /><div style=\"display: block;\" class=\"tab overview hidden\" data-name=\"overview\">\n	<div class=\"tab-content margin-top-15\">\n\n<div class=\"right-box-content\">\n<p class=\"page-desc\">\nDiGiGrid D is easy to set up and use in any studio environment; whatever\n is ahead of you, be confident of achieving consistent results thanks to\n DiGiGrid’s exacting standards. Gain the professional edge when \ncombining your writing and composing with recording and monitoring, and \nembrace DiGiGrid’s sonic purity every time you get creative. \n</p>\n<p class=\"page-desc\">\n</p>\n<p class=\"page-desc\">\nWith just one simple Ethernet connection to your Mac or PC, you now have\n a simple standalone high-quality audio interface that you can use with \nany DAW. DiGiGrid D can even be connected to multiple computers and DAWs\n at the same time. \n</p>\n<p class=\"page-desc\">\nUse DiGiGrid D in conjunction with DiGiGrid S<a href=\"http://www.waves.com/hardware/digigrid-s\" title=\"\" class=\"blue9-link\"><inline style=\"color: rgb(63, 63, 63);\"><inline style=\"color: rgb(38, 38, 38);\"><inline style=\"color: rgb(0, 0, 0);\"></inline></inline></inline></a>,\n and you will easily be able to network up to four DiGiGrid devices, up \nto 75 meters/245 feet apart. As your system grows, you can connect more \nI/O and DSP from the rack-mounted series.</p></div></div></div><br />\n<h3>Waves DiGiGrid D Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Compact 4-input, 6-output 96 kHz advanced audio interface </li><li>Use as a standalone device or as an interface to a larger DiGiGrid system</li><li>Analog controls for pure sonic performance</li><li>Designed for all applications: studio, educational, home studio and live </li><li>Enhance your DAW and expand your recording capabilities </li><li>Professional-quality network audio interface for PC and Mac</li><li>High-resolution input and output meters </li><li>Cat 5 port for the SoundGrid network connection</li></ul>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, the DiGiGrid D Desktop Interface is designed in much the same way as DiGiGrid M & DiGiGrid Q, the \nDiGiGrid D is the more expansive option, allowing the user to get even \nmore creative with this clever little desktop interface. Talk with an RSPE representative for more information.</h3>'),(3788,75,1,632,'<h2>DiGiGrid D Desktop Interface</h2>\n<span style=\"font-size: 16px;\"><i>Dynamic. Powerful. Practical.</i></span><br /><br /><br />DiGiGrid D delivers style on every level, enhanced by its multi-layer \nmetallic paint finish, custom soft touch controls and polycarbonate \noverlay – design, quality and precision at every stage. With four inputs rather than two, as well as six outputs, DiGiGrid D provides great flexibility in all applications. Inputs 1 & 2 are mic/line, while 3 & 4 are line/instrument. There are two outputs with level control that are ideal for monitoring, and two further fixed-level line outputs.<br /><br />At home, in the studio or out on location, you can monitor with headphones or speakers, and enhance your favorite DAW to expand your recording capabilities.<br /><br />As with the entire range, further expansion is simple: D integrates seamlessly with other DiGiGrid products to provide the user with mountains of extra I/O and overall functionality.<br /><br />DiGiGrid D is powered by a twist-lock 12V DC power supply (provided as standard), and Power-over-Ethernet (PoE) for maximum flexibility and easy setup, anywhere you want it.<br /><br /><div style=\"display: block;\" class=\"tab overview hidden\" data-name=\"overview\">\n	<div class=\"tab-content margin-top-15\">\n\n<div class=\"right-box-content\">\n<p class=\"page-desc\">\nDiGiGrid D is easy to set up and use in any studio environment; whatever\n is ahead of you, be confident of achieving consistent results thanks to\n DiGiGrid’s exacting standards. Gain the professional edge when \ncombining your writing and composing with recording and monitoring, and \nembrace DiGiGrid’s sonic purity every time you get creative. \n</p>\n<p class=\"page-desc\">\n</p>\n<p class=\"page-desc\">\nWith just one simple Ethernet connection to your Mac or PC, you now have\n a simple standalone high-quality audio interface that you can use with \nany DAW. DiGiGrid D can even be connected to multiple computers and DAWs\n at the same time. \n</p>\n<p class=\"page-desc\">\nUse DiGiGrid D in conjunction with DiGiGrid S<a href=\"http://www.waves.com/hardware/digigrid-s\" title=\"\" class=\"blue9-link\"><inline style=\"color: rgb(63, 63, 63);\"><inline style=\"color: rgb(38, 38, 38);\"><inline style=\"color: rgb(0, 0, 0);\"></inline></inline></inline></a>,\n and you will easily be able to network up to four DiGiGrid devices, up \nto 75 meters/245 feet apart. As your system grows, you can connect more \nI/O and DSP from the rack-mounted series.</p></div></div></div><br />\n<h3>Waves DiGiGrid D Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Compact 4-input, 6-output 96 kHz advanced audio interface </li><li>Use as a standalone device or as an interface to a larger DiGiGrid system</li><li>Analog controls for pure sonic performance</li><li>Designed for all applications: studio, educational, home studio and live </li><li>Enhance your DAW and expand your recording capabilities </li><li>Professional-quality network audio interface for PC and Mac</li><li>High-resolution input and output meters </li><li>Cat 5 port for the SoundGrid network connection</li></ul>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, the DiGiGrid D Desktop Interface is designed in much the same way as DiGiGrid M & DiGiGrid Q, the \nDiGiGrid D is the more expansive option, allowing the user to get even \nmore creative with this clever little desktop interface. Talk with an RSPE representative for more information.</h3>'),(3789,85,0,632,'DiGiGrid D Desktop Interface'),(3790,85,1,632,'DiGiGrid D Desktop Interface'),(3791,76,0,632,''),(3792,76,1,632,''),(3793,75,0,633,'<h2>DiGiGrid DLI Audio Interface for Pro Tools™ Systems</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid I/Os for Pro Tools hardware and other Digilink devices provide extraordinary processing power with seamless integration for legacy and newer systems alike.</i></span><br/><br/>\nAn ideal upgrade for Pro Tools hardware, the DiGiGrid DLI is a networking hub that bridges Pro Tools systems and SoundGrid. With two DigiLink ports delivering up to 64 inputs and outputs, the DLI lets you get more from your existing setup.\n<br/><br/>\n<b>DLI works in one of two modes, I/O and SGP:</b>\n<br/><br/>\n• In I/O mode, the DLI bridges Pro Tools systems with SoundGrid I/Os and DSP servers. In this mode, the HD/HDX or HD Native system remains your playback engine, while the DLI appears as individual I/O units from which you can expand your studio by connecting additional SoundGrid I/Os and by offloading your plugin processing to additional SoundGrid servers.<br/><br/>\n• In SGP mode, the DLI enables you to control a variety of DigiLink-enabled I/Os, bridge your favorite DAW (Logic, Cubase, Nuendo, Ableton, Pro Tools Native, etc.) with SoundGrid applications and ASIO/Core Audio drivers, and offload your plugin processing to a SoundGrid server.\n<br/><br/>In both modes, you can connect additional SoundGrid-compatible components to your system using a single Cat 5e or Cat 6 Ethernet cable.\n<br/><br/>\nDiGiGrid DLI comes with the complete SoundGrid Studio System software (the SoundGrid Studio Application, StudioRack, and the eMotion ST mixer). By adding a SoundGrid DSP server along with the DLI, you will enjoy unequaled processing power, with new options for real-time tracking, monitoring and mixing. With full plugin integration inside your DAW, you can run hundreds of Waves and third-party SoundGrid-compatible plugins with an incredible low latency of only 0.8 milliseconds. Keep your workflow flowing without missing a beat!\n<br/><br/>\n<h3>Waves DiGiGrid DLI Key Features:</h3>\n<ul>\n	<li>2 DigiLink ports allowing as many as 64 digital inputs and outputs</li>\n	<li>Bridges Pro Tools HD/HDX and HD Native systems with SoundGrid</li>\n	<li>Allows seamless use of various DigiLink-compatible I/Os with any native DAW</li>\n	<li>Compatible with the SoundGrid Studio ASIO/Core Audio driver</li>\n	<li>Compatible with MultiRack</li>\n	<li>Connects via a single Ethernet cable (Cat 5e or Cat 6)</li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid DLI Audio Interface for Pro Tools™ Systems brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3794,75,1,633,'<h2>DiGiGrid DLI Audio Interface for Pro Tools™ Systems</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid I/Os for Pro Tools hardware and other Digilink devices provide extraordinary processing power with seamless integration for legacy and newer systems alike.</i></span><br/><br/>\nAn ideal upgrade for Pro Tools hardware, the DiGiGrid DLI is a networking hub that bridges Pro Tools systems and SoundGrid. With two DigiLink ports delivering up to 64 inputs and outputs, the DLI lets you get more from your existing setup.\n<br/><br/>\n<b>DLI works in one of two modes, I/O and SGP:</b>\n<br/><br/>\n• In I/O mode, the DLI bridges Pro Tools systems with SoundGrid I/Os and DSP servers. In this mode, the HD/HDX or HD Native system remains your playback engine, while the DLI appears as individual I/O units from which you can expand your studio by connecting additional SoundGrid I/Os and by offloading your plugin processing to additional SoundGrid servers.<br/><br/>\n• In SGP mode, the DLI enables you to control a variety of DigiLink-enabled I/Os, bridge your favorite DAW (Logic, Cubase, Nuendo, Ableton, Pro Tools Native, etc.) with SoundGrid applications and ASIO/Core Audio drivers, and offload your plugin processing to a SoundGrid server.\n<br/><br/>In both modes, you can connect additional SoundGrid-compatible components to your system using a single Cat 5e or Cat 6 Ethernet cable.\n<br/><br/>\nDiGiGrid DLI comes with the complete SoundGrid Studio System software (the SoundGrid Studio Application, StudioRack, and the eMotion ST mixer). By adding a SoundGrid DSP server along with the DLI, you will enjoy unequaled processing power, with new options for real-time tracking, monitoring and mixing. With full plugin integration inside your DAW, you can run hundreds of Waves and third-party SoundGrid-compatible plugins with an incredible low latency of only 0.8 milliseconds. Keep your workflow flowing without missing a beat!\n<br/><br/>\n<h3>Waves DiGiGrid DLI Key Features:</h3>\n<ul>\n	<li>2 DigiLink ports allowing as many as 64 digital inputs and outputs</li>\n	<li>Bridges Pro Tools HD/HDX and HD Native systems with SoundGrid</li>\n	<li>Allows seamless use of various DigiLink-compatible I/Os with any native DAW</li>\n	<li>Compatible with the SoundGrid Studio ASIO/Core Audio driver</li>\n	<li>Compatible with MultiRack</li>\n	<li>Connects via a single Ethernet cable (Cat 5e or Cat 6)</li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid DLI Audio Interface for Pro Tools™ Systems brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3795,85,0,633,'DiGiGrid DLI Audio Interface for Pro Tools™ Systems'),(3796,85,1,633,'DiGiGrid DLI Audio Interface for Pro Tools™ Systems'),(3797,76,0,633,''),(3798,76,1,633,''),(3799,75,0,634,'<h2>DiGiGrid DLS Pro Tools™ I/O with SoundGrid DSP Server</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid I/Os for Pro Tools hardware and other Digilink devices provide extraordinary processing power with seamless integration for legacy and newer systems alike.</i></span><br /><br />\nThe perfect upgrade for your Pro Tools system, the DiGiGrid DLS interface is a comprehensive, all-in-one processing and networking hub. With two DigiLink ports delivering up to 64 inputs and outputs, a built-in SoundGrid DSP server and a network switch, the DLS is designed to give you more processing power by bridging Pro Tools systems with SoundGrid.<br /><br /><b>\nDLS works in one of two modes, I/O and SGP:</b><br /><br />\n• In I/O mode, the DLS is designed to act as a bridge between Pro Tools systems and the DLS\'s built-in DSP server. In this mode, the HD/HDX or HD Native system remains your playback engine, while the DLS appears as individual I/O units from which you can expand your studio by offloading your plugin processing to the built-in server and by connecting to additional SoundGrid I/Os.<br /><br />\n• In SGP mode, the DLS enables you to control a variety of DigiLink enabled I/Os, bridge your favorite DAW (Logic, Cubase, Nuendo, Ableton, Pro Tools Native, etc.) with SoundGrid applications and ASIO/Core Audio drivers, and offload your plugin processing to the built-in DSP server.<br /><br />\nIn both modes, you can connect additional SoundGrid-compatible components to your system with a single Cat 5e/Cat 6 Ethernet cable.\nDiGiGrid DLS comes with the complete SoundGrid Studio System software (the SoundGrid Studio Application, StudioRack, and the eMotion ST mixer). Used in combination with this software, the DLS, with its built-in SoundGrid server, gives you unequaled processing power. With full plugin integration inside your DAW, the DLS enables you to monitor and mix using hundreds of SoundGrid-compatible Waves and third-party plugins in real time, with super-low latency of only 0.8 milliseconds.\n<br /><br />\n<h3>Waves DiGiGrid DLS Key Features:</h3>\n<ul>\n	<li>Built-in SoundGrid DSP server and network switch</li>\n	<li>Two DigiLink ports delivering as many as 64 digital inputs and outputs</li>\n	<li>Bridges Pro Tools HD/HDX and HD Native systems with SoundGrid</li>\n	<li>Enables seamless use of various DigiLink-compatible I/Os with any native DAW</li>\n	<li>Compatible with the SoundGrid ASIO/Core Audio driver</li>\n	<li>Compatible with MultiRack</li>\n	<li>Connects via a single Ethernet cable (Cat 5e or Cat 6)</li>\n</ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, the DiGiGrid DLS Pro Tools™ I/O with SoundGrid DSP Server brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3800,75,1,634,'<h2>DiGiGrid DLS Pro Tools™ I/O with SoundGrid DSP Server</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid I/Os for Pro Tools hardware and other Digilink devices provide extraordinary processing power with seamless integration for legacy and newer systems alike.</i></span><br /><br />\nThe perfect upgrade for your Pro Tools system, the DiGiGrid DLS interface is a comprehensive, all-in-one processing and networking hub. With two DigiLink ports delivering up to 64 inputs and outputs, a built-in SoundGrid DSP server and a network switch, the DLS is designed to give you more processing power by bridging Pro Tools systems with SoundGrid.<br /><br /><b>\nDLS works in one of two modes, I/O and SGP:</b><br /><br />\n• In I/O mode, the DLS is designed to act as a bridge between Pro Tools systems and the DLS\'s built-in DSP server. In this mode, the HD/HDX or HD Native system remains your playback engine, while the DLS appears as individual I/O units from which you can expand your studio by offloading your plugin processing to the built-in server and by connecting to additional SoundGrid I/Os.<br /><br />\n• In SGP mode, the DLS enables you to control a variety of DigiLink enabled I/Os, bridge your favorite DAW (Logic, Cubase, Nuendo, Ableton, Pro Tools Native, etc.) with SoundGrid applications and ASIO/Core Audio drivers, and offload your plugin processing to the built-in DSP server.<br /><br />\nIn both modes, you can connect additional SoundGrid-compatible components to your system with a single Cat 5e/Cat 6 Ethernet cable.\nDiGiGrid DLS comes with the complete SoundGrid Studio System software (the SoundGrid Studio Application, StudioRack, and the eMotion ST mixer). Used in combination with this software, the DLS, with its built-in SoundGrid server, gives you unequaled processing power. With full plugin integration inside your DAW, the DLS enables you to monitor and mix using hundreds of SoundGrid-compatible Waves and third-party plugins in real time, with super-low latency of only 0.8 milliseconds.\n<br /><br />\n<h3>Waves DiGiGrid DLS Key Features:</h3>\n<ul>\n	<li>Built-in SoundGrid DSP server and network switch</li>\n	<li>Two DigiLink ports delivering as many as 64 digital inputs and outputs</li>\n	<li>Bridges Pro Tools HD/HDX and HD Native systems with SoundGrid</li>\n	<li>Enables seamless use of various DigiLink-compatible I/Os with any native DAW</li>\n	<li>Compatible with the SoundGrid ASIO/Core Audio driver</li>\n	<li>Compatible with MultiRack</li>\n	<li>Connects via a single Ethernet cable (Cat 5e or Cat 6)</li>\n</ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, the DiGiGrid DLS Pro Tools™ I/O with SoundGrid DSP Server brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3801,85,0,634,'DiGiGrid DLS Pro Tools™ I/O with SoundGrid DSP Server'),(3802,85,1,634,'DiGiGrid DLS Pro Tools™ I/O with SoundGrid DSP Server'),(3803,76,0,634,''),(3804,76,1,634,''),(3805,75,0,635,'<h2>DiGiGrid IOC Control Room I/O for SoundGrid Systems</h2>\n<span style=\"font-size: 16px;\"><i>2 mic/line inputs with broadcast-grade preamps, 8 line inputs/outputs, 16 AES inputs/outputs, an ADAT input/output, plus two powerful headphone outputs.</i></span><br/><br/>\nPerfect for the control room, the DiGiGrid IOC audio interface offers a range of connectivity options, including 2 mic/line inputs with broadcast-grade preamps, 8 line inputs/outputs, and 16 AES and ADAT inputs/outputs, plus two powerful headphone outputs. With the IOC and a dedicated SoundGrid DSP server on your network, you will be able to run hundreds of SoundGrid-compatible Waves and third-party plugins, all fully integrated within your DAW of choice. Just plug the IOC into your SoundGrid network using a single Ethernet cable, and you will enter a new world of real-time tracking, mixing and monitoring, with extremely low latency of only 0.8 milliseconds.<br/><br/>\n<h3>Waves DiGiGrid IOC Key Features:</h3>\n<ul>\n	<li>Audio I/O for Native DAWs</li>\n	<li>2 mic/line inputs with broadcast-grade preamps</li>\n	<li>8 line ins/outs, 16 AES ins/outs, ADAT in/out</li>\n	<li>Quick-view front panel metering</li>\n	<li>High-definition 192kHz ADC conversion</li>\n	<li>Super-low latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/Cat 6)  </li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP server sold separately)</li>\n	<li>ASIO- and Core Audio-compliant </li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid IOC Control Room I/O for SoundGrid Systems brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3806,75,1,635,'<h2>DiGiGrid IOC Control Room I/O for SoundGrid Systems</h2>\n<span style=\"font-size: 16px;\"><i>2 mic/line inputs with broadcast-grade preamps, 8 line inputs/outputs, 16 AES inputs/outputs, an ADAT input/output, plus two powerful headphone outputs.</i></span><br/><br/>\nPerfect for the control room, the DiGiGrid IOC audio interface offers a range of connectivity options, including 2 mic/line inputs with broadcast-grade preamps, 8 line inputs/outputs, and 16 AES and ADAT inputs/outputs, plus two powerful headphone outputs. With the IOC and a dedicated SoundGrid DSP server on your network, you will be able to run hundreds of SoundGrid-compatible Waves and third-party plugins, all fully integrated within your DAW of choice. Just plug the IOC into your SoundGrid network using a single Ethernet cable, and you will enter a new world of real-time tracking, mixing and monitoring, with extremely low latency of only 0.8 milliseconds.<br/><br/>\n<h3>Waves DiGiGrid IOC Key Features:</h3>\n<ul>\n	<li>Audio I/O for Native DAWs</li>\n	<li>2 mic/line inputs with broadcast-grade preamps</li>\n	<li>8 line ins/outs, 16 AES ins/outs, ADAT in/out</li>\n	<li>Quick-view front panel metering</li>\n	<li>High-definition 192kHz ADC conversion</li>\n	<li>Super-low latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/Cat 6)  </li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP server sold separately)</li>\n	<li>ASIO- and Core Audio-compliant </li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid IOC Control Room I/O for SoundGrid Systems brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3807,85,0,635,'DiGiGrid IOC Control Room I/O for SoundGrid Systems'),(3808,85,1,635,'DiGiGrid IOC Control Room I/O for SoundGrid Systems'),(3809,76,0,635,''),(3810,76,1,635,''),(3811,75,0,636,'<h2>DiGiGrid IOS High-Definition Native I/O with SoundGrid DSP Server</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid audio interfaces pump up your plugin power with full integration for all popular Native DAW hosts including Logic, Cubase, Nuendo, Ableton Live and more.</i></span><br /><br />\nDiGiGrid IOS XL is a premium SoundGrid audio interface with award-winning preamps, ideal for professional and personal production studios. Features 8 ins, 8 outs, and a built-in SoundGrid DSP server for real-time plugin processing<div><br /></div><div>Featuring 8 mic/line inputs with premium preamps, 8 line outputs, 2 headphone outputs, MIDI I/O, S/PDIF and AES inputs and outputs and an integrated SoundGrid DSP server, the DiGiGrid IOS-XL is the perfect centerpiece for the studio.</div><div><br /></div><div>Building on the popular DiGiGrid IOS, the DiGiGrid IOS-XL comes with the complete SoundGrid Studio System software (the SoundGrid Studio Application, StudioRack, and the eMotion ST mixer). Used in combination with this software, the IOS-XL lets you mix and monitor in real time using up to hundreds of your favorite SoundGrid-compatible Waves and third-party plugins, with super-low latency of only 0.8 milliseconds.</div><div><br /></div><div>Need more I/O? A single Ethernet cable is all you need to connect additional SoundGrid components to your network via the built-in network switch.</div><br />\n<h3>Waves DiGiGrid IOS XL Key Features:</h3>\n<ul>\n	<li>SoundGrid audio interface with built-in DSP server</li><li>8 mic/line inputs, 8 line outputs</li><li>2 independent headphone outputs</li><li>Built-in Extreme i7 SoundGrid DSP server</li><li>Software-controlled award-winning preamps</li><li>ASIO/Core Audio-compatible</li><li>MIDI, S/PDIF, and AES/EBU inputs and outputs</li><li>Connects via a single Ethernet cable</li><li>Quick-view front panel metering and status indicators</li><li>High-definition ADC/DAC conversion</li>\n</ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, the DiGiGrid IOS Audio Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3812,75,1,636,'<h2>DiGiGrid IOS High-Definition Native I/O with SoundGrid DSP Server</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid audio interfaces pump up your plugin power with full integration for all popular Native DAW hosts including Logic, Cubase, Nuendo, Ableton Live and more.</i></span><br /><br />\nDiGiGrid IOS XL is a premium SoundGrid audio interface with award-winning preamps, ideal for professional and personal production studios. Features 8 ins, 8 outs, and a built-in SoundGrid DSP server for real-time plugin processing<div><br /></div><div>Featuring 8 mic/line inputs with premium preamps, 8 line outputs, 2 headphone outputs, MIDI I/O, S/PDIF and AES inputs and outputs and an integrated SoundGrid DSP server, the DiGiGrid IOS-XL is the perfect centerpiece for the studio.</div><div><br /></div><div>Building on the popular DiGiGrid IOS, the DiGiGrid IOS-XL comes with the complete SoundGrid Studio System software (the SoundGrid Studio Application, StudioRack, and the eMotion ST mixer). Used in combination with this software, the IOS-XL lets you mix and monitor in real time using up to hundreds of your favorite SoundGrid-compatible Waves and third-party plugins, with super-low latency of only 0.8 milliseconds.</div><div><br /></div><div>Need more I/O? A single Ethernet cable is all you need to connect additional SoundGrid components to your network via the built-in network switch.</div><br />\n<h3>Waves DiGiGrid IOS XL Key Features:</h3>\n<ul>\n	<li>SoundGrid audio interface with built-in DSP server</li><li>8 mic/line inputs, 8 line outputs</li><li>2 independent headphone outputs</li><li>Built-in Extreme i7 SoundGrid DSP server</li><li>Software-controlled award-winning preamps</li><li>ASIO/Core Audio-compatible</li><li>MIDI, S/PDIF, and AES/EBU inputs and outputs</li><li>Connects via a single Ethernet cable</li><li>Quick-view front panel metering and status indicators</li><li>High-definition ADC/DAC conversion</li>\n</ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, the DiGiGrid IOS Audio Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3813,85,0,636,'DiGiGrid IOS XL High-Definition Native I/O with SoundGrid DSP Server'),(3814,85,1,636,'DiGiGrid IOS XL High-Definition Native I/O with SoundGrid DSP Server'),(3815,76,0,636,''),(3816,76,1,636,''),(3817,75,0,637,'<h2>DiGiGrid IOX Expansion Audio Interface for SoundGrid® Systems</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid IOX is a high-count I/O interface featuring 12 mic/line inputs with broadcast/studio-quality preamps and 6 line outputs.</i></span><br/><br/>\nDiGiGrid IOX is the perfect high-count I/O interface for your studio\'s performance/recording room. This advanced audio interface features 12 mic/line inputs with broadcast/studio-quality preamps and 6 line outputs. The IOX delivers high-resolution monitoring in the studio and the control room alike, with four headphone outputs allowing independent mixes for each musician. With your IOX and a dedicated SoundGrid DSP server, you can run hundreds of SoundGrid-compatible Waves and third-party plugins, all fully integrated within your DAW of choice.<br/><br/>\nUse a single Ethernet cable to plug the IOX into your SoundGrid network, and you will instantly tap into a world of real-time tracking, mixing and monitoring, with incredibly low latency of only 0.8 milliseconds.\n<br/><br/>\n<h3>Waves DiGiGrid IOX Key Features:</h3>\n<ul>\n	<li>Audio I/O for Native DAWs</li>\n	<li>12 mic/line inputs with broadcast/studio-quality preamps</li>\n	<li>6 line outputs, 4 headphone outputs</li>\n	<li>Full plugin integration</li>\n	<li>Quick-view front panel metering</li>\n	<li>High-definition 192kHz ADC conversion</li>\n	<li>Super-low latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/Cat 6)</li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP server sold separately)</li>\n	<li>ASIO- and Core Audio-compliant </li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid IOX Audio Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3818,75,1,637,'<h2>DiGiGrid IOX Expansion Audio Interface for SoundGrid® Systems</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid IOX is a high-count I/O interface featuring 12 mic/line inputs with broadcast/studio-quality preamps and 6 line outputs.</i></span><br/><br/>\nDiGiGrid IOX is the perfect high-count I/O interface for your studio\'s performance/recording room. This advanced audio interface features 12 mic/line inputs with broadcast/studio-quality preamps and 6 line outputs. The IOX delivers high-resolution monitoring in the studio and the control room alike, with four headphone outputs allowing independent mixes for each musician. With your IOX and a dedicated SoundGrid DSP server, you can run hundreds of SoundGrid-compatible Waves and third-party plugins, all fully integrated within your DAW of choice.<br/><br/>\nUse a single Ethernet cable to plug the IOX into your SoundGrid network, and you will instantly tap into a world of real-time tracking, mixing and monitoring, with incredibly low latency of only 0.8 milliseconds.\n<br/><br/>\n<h3>Waves DiGiGrid IOX Key Features:</h3>\n<ul>\n	<li>Audio I/O for Native DAWs</li>\n	<li>12 mic/line inputs with broadcast/studio-quality preamps</li>\n	<li>6 line outputs, 4 headphone outputs</li>\n	<li>Full plugin integration</li>\n	<li>Quick-view front panel metering</li>\n	<li>High-definition 192kHz ADC conversion</li>\n	<li>Super-low latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/Cat 6)</li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP server sold separately)</li>\n	<li>ASIO- and Core Audio-compliant </li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid IOX Audio Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3819,85,0,637,'DiGiGrid IOX Expansion Audio Interface for SoundGrid Systems'),(3820,85,1,637,'DiGiGrid IOX Expansion Audio Interface for SoundGrid Systems'),(3821,76,0,637,''),(3822,76,1,637,''),(3823,75,0,638,'<h2>DiGiGrid M Desktop Interface</h2>\n<span style=\"font-size: 16px;\"><i>Musical. Powerful. Practical.</i></span><br /><br />Introducing DiGiGrid M – the musician’s choice. Perfect for use at home,\n in the studio, or in any musical environment, this stylish unit boasts \ntwo inputs and two outputs. It is super-easy to use: just plug and play,\n with simultaneous monitoring and recording capabilities through two \ndedicated I/O. <br /><br />Input 1 is a dedicated mic/line input, while \ninput 2 is instrument/ line, allowing many musical combinations. Audio \ncapture is also of the highest order thanks to DiGiGrid M’s top-quality \nconverters and industry-proven mic preamps. When you listen back, a \ndedicated high-powered headphone output guarantees a classic warm analog\n control path in a fun and easy-to-use package. <br /><br />Should you need \nto expand, the possibilities are practically endless: DiGiGrid M \nintegrates seamlessly with any other DiGiGrid product to provide you \nwith mountains of extra I/O and overall functionality, all connectible \nthrough the device’s Cat 5 SoundGrid network port. <br /><br />DiGiGrid M \nbenefits from a non-slip base and an optional mic-stand adaptor plate. \nIt is powered by a twist-lock 12V DC power supply (provided as standard)\n or Power-over-Ethernet (PoE) for maximum flexibility and easy setup, \nanywhere you want it. <br /><br />\n<h3>Waves DiGiGrid M Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Compact 4-input, 6-output 96 kHz advanced audio interface </li><li>Use as a standalone device or as an interface to a larger DiGiGrid system</li><li>Analog controls for pure sonic performance</li><li>Designed for all applications: studio, educational, home studio and live </li><li>Enhance your DAW and expand your recording capabilities </li><li>Professional-quality network audio interface for PC and Mac</li><li>High-resolution input and output meters </li><li>Cat 5 port for the SoundGrid network connection</li></ul>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, DiGiGrid M \nbenefits from a non-slip base and an optional mic-stand adaptor plate. \nIt is powered by a twist-lock 12V DC power supply (provided as standard)\n or Power-over-Ethernet (PoE) for maximum flexibility and easy setup, \nanywhere you want it. Talk with an RSPE representative for more information.</h3>'),(3824,75,1,638,'<h2>DiGiGrid M Desktop Interface</h2>\n<span style=\"font-size: 16px;\"><i>Musical. Powerful. Practical.</i></span><br /><br />Introducing DiGiGrid M – the musician’s choice. Perfect for use at home,\n in the studio, or in any musical environment, this stylish unit boasts \ntwo inputs and two outputs. It is super-easy to use: just plug and play,\n with simultaneous monitoring and recording capabilities through two \ndedicated I/O. <br /><br />Input 1 is a dedicated mic/line input, while \ninput 2 is instrument/ line, allowing many musical combinations. Audio \ncapture is also of the highest order thanks to DiGiGrid M’s top-quality \nconverters and industry-proven mic preamps. When you listen back, a \ndedicated high-powered headphone output guarantees a classic warm analog\n control path in a fun and easy-to-use package. <br /><br />Should you need \nto expand, the possibilities are practically endless: DiGiGrid M \nintegrates seamlessly with any other DiGiGrid product to provide you \nwith mountains of extra I/O and overall functionality, all connectible \nthrough the device’s Cat 5 SoundGrid network port. <br /><br />DiGiGrid M \nbenefits from a non-slip base and an optional mic-stand adaptor plate. \nIt is powered by a twist-lock 12V DC power supply (provided as standard)\n or Power-over-Ethernet (PoE) for maximum flexibility and easy setup, \nanywhere you want it. <br /><br />\n<h3>Waves DiGiGrid M Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Compact 4-input, 6-output 96 kHz advanced audio interface </li><li>Use as a standalone device or as an interface to a larger DiGiGrid system</li><li>Analog controls for pure sonic performance</li><li>Designed for all applications: studio, educational, home studio and live </li><li>Enhance your DAW and expand your recording capabilities </li><li>Professional-quality network audio interface for PC and Mac</li><li>High-resolution input and output meters </li><li>Cat 5 port for the SoundGrid network connection</li></ul>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br />\n<h3>Put simply, DiGiGrid M \nbenefits from a non-slip base and an optional mic-stand adaptor plate. \nIt is powered by a twist-lock 12V DC power supply (provided as standard)\n or Power-over-Ethernet (PoE) for maximum flexibility and easy setup, \nanywhere you want it. Talk with an RSPE representative for more information.</h3>'),(3825,85,0,638,'DiGiGrid M Desktop Interface'),(3826,85,1,638,'DiGiGrid M Desktop Interface'),(3827,76,0,638,''),(3828,76,1,638,''),(3829,75,0,639,'<h2>DiGiGrid MGB Coaxial MADI Interface</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid MADI-to-SoundGrid interfaces give you the power to connect any MADI-enabled device to the Waves SoundGrid networking and processing platform.</i></span><br/><br/>\nCompact and portable, the DiGiGrid MGB interface lets you plug any coaxial MADI-enabled device into the power of the Waves SoundGrid networking and processing platform. Record, process and playback up to 128 audio channels, using literally hundreds of Waves and third-party plugins, with super-low latency, clocking in at only 0.8 milliseconds! You can even record to two computers simultaneously: One for virtual soundcheck, the other for backup. So if you’re on the tour bus, in your hotel room, at the airport – wherever – you can quickly and conveniently setup your next show, using only your laptop.<br/><br/>\nWith a DiGiGrid MGB MADI-to-SoundGrid interface, real-time low-latency networking and processing is only an Ethernet cable away.<br/><br/>\nPlug the MGB straight into your computer to record up to 128 channels with simultaneous playback of 128 channels. Add a SoundGrid DSP server and DiGiGrid SWI network switch plus Waves MultiRack SoundGrid host application, and your MADI-compatible live or broadcast console now has real-time low-latency processing capabilities. And if you require a higher level of audio quality, a simple configuration change switches the MGB to 96kHz, for 64 channels of recording and 64 channels of simultaneous playback.<br/><br/>\n<h3>Waves DiGiGrid MGB Key Features:</h3>\n<ul>\n	<li>Coaxial (BNC) MADI-to-SoundGrid Interface</li>\n	<li>Up to 128 channels</li>\n	<li>Record to two computers simultaneously</li>\n	<li>Super low-latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/6)</li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP Server and 1GB switch sold separately)</li>\n	<li>ASIO & Core Audio compliant</li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid MGB Optical MADI Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3830,75,1,639,'<h2>DiGiGrid MGB Coaxial MADI Interface</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid MADI-to-SoundGrid interfaces give you the power to connect any MADI-enabled device to the Waves SoundGrid networking and processing platform.</i></span><br/><br/>\nCompact and portable, the DiGiGrid MGB interface lets you plug any coaxial MADI-enabled device into the power of the Waves SoundGrid networking and processing platform. Record, process and playback up to 128 audio channels, using literally hundreds of Waves and third-party plugins, with super-low latency, clocking in at only 0.8 milliseconds! You can even record to two computers simultaneously: One for virtual soundcheck, the other for backup. So if you’re on the tour bus, in your hotel room, at the airport – wherever – you can quickly and conveniently setup your next show, using only your laptop.<br/><br/>\nWith a DiGiGrid MGB MADI-to-SoundGrid interface, real-time low-latency networking and processing is only an Ethernet cable away.<br/><br/>\nPlug the MGB straight into your computer to record up to 128 channels with simultaneous playback of 128 channels. Add a SoundGrid DSP server and DiGiGrid SWI network switch plus Waves MultiRack SoundGrid host application, and your MADI-compatible live or broadcast console now has real-time low-latency processing capabilities. And if you require a higher level of audio quality, a simple configuration change switches the MGB to 96kHz, for 64 channels of recording and 64 channels of simultaneous playback.<br/><br/>\n<h3>Waves DiGiGrid MGB Key Features:</h3>\n<ul>\n	<li>Coaxial (BNC) MADI-to-SoundGrid Interface</li>\n	<li>Up to 128 channels</li>\n	<li>Record to two computers simultaneously</li>\n	<li>Super low-latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/6)</li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP Server and 1GB switch sold separately)</li>\n	<li>ASIO & Core Audio compliant</li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid MGB Optical MADI Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3831,85,0,639,'DiGiGrid MGB Coaxial MADI Interface'),(3832,85,1,639,'DiGiGrid MGB Coaxial MADI Interface'),(3833,76,0,639,''),(3834,76,1,639,''),(3835,75,0,640,'<h2>DiGiGrid MGO Optical MADI Interface</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid MADI-to-SoundGrid interfaces give you the power to connect any MADI-enabled device to the Waves SoundGrid networking and processing platform.</i></span><br/><br/>\nThe DiGiGrid MGO interface gives you the ability to connect any optical MADI-enabled device to Waves SoundGrid, for networking and processing. Use hundreds of Waves and third-party plugins to record, process and playback up to 128 audio channels, with super-low latency of only 0.8 milliseconds. This compact and portable MADI interface even lets you record to two computers at the same time, so you can use one for virtual soundcheck, the other for backup. Whether you’re in a hotel room, on the tour bus or between flights, you can get to work setting up your next show – on your laptop.\n<br/><br/>\nWith a DiGiGrid MGO MADI-to-SoundGrid interface and an Ethernet cable, real-time low-latency networking and processing is at your fingertips.\n<br/><br/>In its most basic mode, connect the MGO straight to your laptop or desktop: You can now record up to 128 channels through your computer’s 1GB Ethernet port, with simultaneous playback of 128 channels.<br/><br/>\nAdd a SoundGrid DSP server and SWI plus Waves MultiRack SoundGrid host application, and now any MADI-compatible live or broadcast console has instant access to real-time low-latency processing.<br/><br/>\nDoes your application demand a higher level of audio quality? A simple configuration change switches the unit over to 96kHz, with 64 channels of recording and 64 channels of simultaneous playback.<br/><br/>\nAnd if longer distance optical fiber cable runs are required, simply upgrade either or both of the MGO’s standard dual mode transceivers to optional single mode transceivers.<br/><br/>\n<h3>Waves DiGiGrid MGO Key Features:</h3>\n<ul>\n	<li>Optical MADI-to-SoundGrid Interface</li>\n	<li>LC connectors</li>\n	<li>Up to 128 channels</li>\n	<li>Record to two computers simultaneously</li>\n	<li>Super low-latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/Cat 6)</li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP Server and 1GB switch sold separately)</li>\n	<li>Optional single-mode transceiver available</li>\n	<li>ASIO & Core Audio compliant</li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid MGO Optical MADI Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3836,75,1,640,'<h2>DiGiGrid MGO Optical MADI Interface</h2>\n<span style=\"font-size: 16px;\"><i>DiGiGrid MADI-to-SoundGrid interfaces give you the power to connect any MADI-enabled device to the Waves SoundGrid networking and processing platform.</i></span><br/><br/>\nThe DiGiGrid MGO interface gives you the ability to connect any optical MADI-enabled device to Waves SoundGrid, for networking and processing. Use hundreds of Waves and third-party plugins to record, process and playback up to 128 audio channels, with super-low latency of only 0.8 milliseconds. This compact and portable MADI interface even lets you record to two computers at the same time, so you can use one for virtual soundcheck, the other for backup. Whether you’re in a hotel room, on the tour bus or between flights, you can get to work setting up your next show – on your laptop.\n<br/><br/>\nWith a DiGiGrid MGO MADI-to-SoundGrid interface and an Ethernet cable, real-time low-latency networking and processing is at your fingertips.\n<br/><br/>In its most basic mode, connect the MGO straight to your laptop or desktop: You can now record up to 128 channels through your computer’s 1GB Ethernet port, with simultaneous playback of 128 channels.<br/><br/>\nAdd a SoundGrid DSP server and SWI plus Waves MultiRack SoundGrid host application, and now any MADI-compatible live or broadcast console has instant access to real-time low-latency processing.<br/><br/>\nDoes your application demand a higher level of audio quality? A simple configuration change switches the unit over to 96kHz, with 64 channels of recording and 64 channels of simultaneous playback.<br/><br/>\nAnd if longer distance optical fiber cable runs are required, simply upgrade either or both of the MGO’s standard dual mode transceivers to optional single mode transceivers.<br/><br/>\n<h3>Waves DiGiGrid MGO Key Features:</h3>\n<ul>\n	<li>Optical MADI-to-SoundGrid Interface</li>\n	<li>LC connectors</li>\n	<li>Up to 128 channels</li>\n	<li>Record to two computers simultaneously</li>\n	<li>Super low-latency: 0.8 milliseconds</li>\n	<li>Connect with one Ethernet cable (Cat 5e/Cat 6)</li>\n	<li>Run hundreds of real-time plugins (SoundGrid DSP Server and 1GB switch sold separately)</li>\n	<li>Optional single-mode transceiver available</li>\n	<li>ASIO & Core Audio compliant</li>\n</ul>\n<br/>\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br/><br/>\n<h3>Put simply, the DiGiGrid MGO Optical MADI Interface brings the DSP plugin power and DAW integration that studio owners dream of. Talk with an RSPE representative for more information.</h3>'),(3837,85,0,640,'DiGiGrid MGO Optical MADI Interface'),(3838,85,1,640,'DiGiGrid MGO Optical MADI Interface'),(3839,76,0,640,''),(3840,76,1,640,''),(3841,75,0,641,'<h2>DiGiGrid Q Headphone Amplifier</h2>\n<span style=\"font-size: 16px;\"><i>It may be small – but looks can be deceptive.</i></span><br /><br />The DiGiGrid Q Headphone Amplifier is one of DiGiGrid’s new series of \nhigh-end audio interfaces, and is as powerful as it is sleek. This smart\n little box has been designed to drive headphones at serious volume \nlevels, and is fully controllable to suit any audio application: from \nhome recording projects to creative rehearsals, to major studio sessions\n and audiophile headphone listening – in fact, all audio applications \nwhere precise monitoring is required. <br /><br />DiGiGrid Q features \n1/4-inch and 3.5 mm outputs, so it can accommodate any headphones up to \n600 ohm. It has four input options to suit all users: XLR for \nprofessional use, Ethernet/Cat 5 to connect to a SoundGrid network, \nanalog for consumer audiophiles, and Bluetooth for a fun and fast \nexperience working directly with your digital music collection.<br /><br />Should\n you need to expand, the possibilities are practically endless: the \ninterface integrates seamlessly with any other DiGiGrid product, \nproviding you with mountains of extra I/O and overall functionality. <br /><br /><br />\n<h3>Waves DiGiGrid Q Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Compact 4-input, 6-output 96 kHz advanced audio interface </li><li>Use as a standalone device or as an interface to a larger DiGiGrid system</li><li>Analog controls for pure sonic performance</li><li>Designed for all applications: studio, educational, home studio and live </li><li>Enhance your DAW and expand your recording capabilities </li><li>Professional-quality network audio interface for PC and Mac</li><li>High-resolution input and output meters </li><li>Cat 5 port for the SoundGrid network connection</li></ul>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br /><h3>Put simply, DiGiGrid\n Q also benefits from a non-slip base and optional mic-stand adaptor \nplate. It is powered by a twist-lock 12V DC power supply (provided as \nstandard), or Power-over-Ethernet (PoE) for maximum flexibility and easy\n setup, anywhere you want it. , \nanywhere you want it. Talk with an RSPE representative for more information.</h3>'),(3842,75,1,641,'<h2>DiGiGrid Q Headphone Amplifier</h2>\n<span style=\"font-size: 16px;\"><i>It may be small – but looks can be deceptive.</i></span><br /><br />The DiGiGrid Q Headphone Amplifier is one of DiGiGrid’s new series of \nhigh-end audio interfaces, and is as powerful as it is sleek. This smart\n little box has been designed to drive headphones at serious volume \nlevels, and is fully controllable to suit any audio application: from \nhome recording projects to creative rehearsals, to major studio sessions\n and audiophile headphone listening – in fact, all audio applications \nwhere precise monitoring is required. <br /><br />DiGiGrid Q features \n1/4-inch and 3.5 mm outputs, so it can accommodate any headphones up to \n600 ohm. It has four input options to suit all users: XLR for \nprofessional use, Ethernet/Cat 5 to connect to a SoundGrid network, \nanalog for consumer audiophiles, and Bluetooth for a fun and fast \nexperience working directly with your digital music collection.<br /><br />Should\n you need to expand, the possibilities are practically endless: the \ninterface integrates seamlessly with any other DiGiGrid product, \nproviding you with mountains of extra I/O and overall functionality. <br /><br /><br />\n<h3>Waves DiGiGrid Q Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Compact 4-input, 6-output 96 kHz advanced audio interface </li><li>Use as a standalone device or as an interface to a larger DiGiGrid system</li><li>Analog controls for pure sonic performance</li><li>Designed for all applications: studio, educational, home studio and live </li><li>Enhance your DAW and expand your recording capabilities </li><li>Professional-quality network audio interface for PC and Mac</li><li>High-resolution input and output meters </li><li>Cat 5 port for the SoundGrid network connection</li></ul>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br /><h3>Put simply, DiGiGrid\n Q also benefits from a non-slip base and optional mic-stand adaptor \nplate. It is powered by a twist-lock 12V DC power supply (provided as \nstandard), or Power-over-Ethernet (PoE) for maximum flexibility and easy\n setup, anywhere you want it. , \nanywhere you want it. Talk with an RSPE representative for more information.</h3>'),(3843,85,0,641,'DiGiGrid Q Headphone Amplifier'),(3844,85,1,641,'DiGiGrid Q Headphone Amplifier'),(3845,76,0,641,''),(3846,76,1,641,''),(3847,75,0,642,'<h2>DiGiGrid S Power Over Ethernet Switch</h2>\n<span style=\"font-size: 16px;\"><i>It may be small – but looks can be deceptive.</i></span><br /><br />DiGiGrid S is the ultimate in fixed power sources over Ethernet.  Being both SoundGrid- and Dante-compatible, DiGiGrid S is the perfect complement to your growing networked audio system, both now and in the future.<br /><br /><br />\n<h3>Waves DiGiGrid S Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Gigabit Ethernet switch</li><li>One upstream (non-PoE) port, four downstream PoE ports</li><li>Connect to four additional DiGiGrid devices</li><li>SoundGrid- and Dante-compatible</li></ul>\n</div>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br /><h3>Put simply, This sleek and compact Gigabit Ethernet switch features one upstream \n(non-PoE) port and four downstream PoE ports, allowing connection to \nfour additional DiGiGrid and SoundGrid-compatible devices. Talk with an RSPE representative for more information.</h3>'),(3848,75,1,642,'<h2>DiGiGrid S Power Over Ethernet Switch</h2>\n<span style=\"font-size: 16px;\"><i>It may be small – but looks can be deceptive.</i></span><br /><br />DiGiGrid S is the ultimate in fixed power sources over Ethernet.  Being both SoundGrid- and Dante-compatible, DiGiGrid S is the perfect complement to your growing networked audio system, both now and in the future.<br /><br /><br />\n<h3>Waves DiGiGrid S Key Features:</h3>\n<ul></ul><div class=\"item-features\">\n<div class=\"item-features\">\n<ul class=\"list-arrows\"><li>Gigabit Ethernet switch</li><li>One upstream (non-PoE) port, four downstream PoE ports</li><li>Connect to four additional DiGiGrid devices</li><li>SoundGrid- and Dante-compatible</li></ul>\n</div>\n</div><ul></ul>\n<br />\n<h3>About DiGiGrid</h3>\nWaves, the world’s leading developer of audio plugins, and DiGiCo, the world’s leading manufacturer of professional mixing consoles, have joined forces to create DiGiGrid: advanced audio interfaces that give you the freedom to connect multiple DAWs and hardware devices, using award-winning preamps and giving your system more power to run hundreds of plugins in real time.<br /><br /><h3>Put simply, This sleek and compact Gigabit Ethernet switch features one upstream \n(non-PoE) port and four downstream PoE ports, allowing connection to \nfour additional DiGiGrid and SoundGrid-compatible devices. Talk with an RSPE representative for more information.</h3>'),(3849,85,0,642,'DiGiGrid S Power Over Ethernet (POE) Switch'),(3850,85,1,642,'DiGiGrid S Power Over Ethernet (POE) Switch'),(3851,76,0,642,''),(3852,76,1,642,''),(3853,75,0,643,'<h1>Dolby Media Meter V2 Plug-in - Upgrade From V1</h1>\n<div>\n	Dolby® Media Meter 2, like the original Dolby Media Meter software tool, accurately and objectively measures loudness as viewers subjectively experience it. New features include user-selectable measurement algorithms and a high-quality peak limiter. It is available as an inclusive package or as an update to the original version.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	As with the original, Dolby Media Meter 2 features user-selectable Dialogue Intelligence™ technology that detects and measures loudness only during the presence of speech. Dolby Media Meter 2 users can also select measurement options that include Leq(m) for cinema trailers and commercials Leq(A), True Peak, and Dialogue Range, as well as ITU-R BS.1770-1. Other new features include level meters; a highquality, user-adjustable peak limiter; a warning setting with user selectable function and threshold; and a real-time graphing function. Dolby Media Meter 2 runs as a Mac® or Windows® stand-alone application, as a Digidesign® Pro Tools® AudioSuite or RTAS plug-in, and as a VST plug-in for such popular programs as Pyramix, Nuendo, and Fairlight. It can also run as a Mac-only AU for Apple® software. Dolby Media Meter 2 supports measurement of Dolby Digital, Dolby Digital Plus, Dolby TrueHD, Dolby E, and PCM audio formats. All versions of Media Meter 2 can produce and save log files.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	As a stand-alone product or a Digidesign AudioSuite plug-in, Dolby Media Meter 2 is a faster-than-real-time, file-based measurement application.1 This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities. As a Pro Tools RTAS or VST plug-in, Dolby Media Meter 2 measures loudness in real time, so that users can track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Differences in audio levels between programs and channels or between programs and commercials are a major annoyance to TV viewers. While obvious to the viewer, these loudness differences have proven difficult to measure with conventional methods and equipment.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Dolby Media Meter runs as an Apple® Macintosh® or a Microsoft® Windows® stand-alone application and as a plug-in for the following platforms:\n</div>\n<div>\n	<ul>\n		<li>Avid® Pro Tools® AAX</li>\n		<li>Avid Pro Tools AudioSuite</li>\n		<li>Avid Pro Tools RTAS®</li>\n		<li>VST</li>\n	</ul>\n</div>\n<div>\n	All versions can produce and save log files.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Used as a stand-alone product or an AudioSuite plug-in, Dolby Media Meter offers faster-than-real-time, file-based measurement (speed is hardware-dependent). This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	As an AAX or RTAS plug-in for Avid Pro Tools, or as a VST plug-in for applications such as Steinberg® Nuendo® or Sony® Sound Forge™, Dolby Media Meter measures loudness in real time, allowing you to track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Supported audio formats include:\n</div>\n<div>\n	<ul>\n		<li>Dolby Digital</li>\n		<li>Dolby Digital Plus™</li>\n		<li>Dolby TrueHD</li>\n		<li>Dolby E</li>\n		<li>PCM</li>\n	</ul>\n</div>'),(3854,75,1,643,'<h1>Dolby Media Meter V2 Plug-in - Upgrade From V1</h1>\n<div>\n	Dolby® Media Meter 2, like the original Dolby Media Meter software tool, accurately and objectively measures loudness as viewers subjectively experience it. New features include user-selectable measurement algorithms and a high-quality peak limiter. It is available as an inclusive package or as an update to the original version.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	As with the original, Dolby Media Meter 2 features user-selectable Dialogue Intelligence™ technology that detects and measures loudness only during the presence of speech. Dolby Media Meter 2 users can also select measurement options that include Leq(m) for cinema trailers and commercials Leq(A), True Peak, and Dialogue Range, as well as ITU-R BS.1770-1. Other new features include level meters; a highquality, user-adjustable peak limiter; a warning setting with user selectable function and threshold; and a real-time graphing function. Dolby Media Meter 2 runs as a Mac® or Windows® stand-alone application, as a Digidesign® Pro Tools® AudioSuite or RTAS plug-in, and as a VST plug-in for such popular programs as Pyramix, Nuendo, and Fairlight. It can also run as a Mac-only AU for Apple® software. Dolby Media Meter 2 supports measurement of Dolby Digital, Dolby Digital Plus, Dolby TrueHD, Dolby E, and PCM audio formats. All versions of Media Meter 2 can produce and save log files.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	As a stand-alone product or a Digidesign AudioSuite plug-in, Dolby Media Meter 2 is a faster-than-real-time, file-based measurement application.1 This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities. As a Pro Tools RTAS or VST plug-in, Dolby Media Meter 2 measures loudness in real time, so that users can track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Differences in audio levels between programs and channels or between programs and commercials are a major annoyance to TV viewers. While obvious to the viewer, these loudness differences have proven difficult to measure with conventional methods and equipment.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Dolby Media Meter runs as an Apple® Macintosh® or a Microsoft® Windows® stand-alone application and as a plug-in for the following platforms:\n</div>\n<div>\n	<ul>\n		<li>Avid® Pro Tools® AAX</li>\n		<li>Avid Pro Tools AudioSuite</li>\n		<li>Avid Pro Tools RTAS®</li>\n		<li>VST</li>\n	</ul>\n</div>\n<div>\n	All versions can produce and save log files.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Used as a stand-alone product or an AudioSuite plug-in, Dolby Media Meter offers faster-than-real-time, file-based measurement (speed is hardware-dependent). This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	As an AAX or RTAS plug-in for Avid Pro Tools, or as a VST plug-in for applications such as Steinberg® Nuendo® or Sony® Sound Forge™, Dolby Media Meter measures loudness in real time, allowing you to track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n</div>\n<div>\n	<br />\n</div>\n<div>\n	Supported audio formats include:\n</div>\n<div>\n	<ul>\n		<li>Dolby Digital</li>\n		<li>Dolby Digital Plus™</li>\n		<li>Dolby TrueHD</li>\n		<li>Dolby E</li>\n		<li>PCM</li>\n	</ul>\n</div>'),(3855,85,0,643,'Dolby Media Meter V2 Plug-in Upgrade From V1'),(3856,85,1,643,'Dolby Media Meter V2 Plug-in Upgrade From V1'),(3857,76,0,643,''),(3858,76,1,643,''),(3859,75,0,644,'<h1>Dolby Atmos Mastering Suite</h1>\n<i>Dolby Atmos Mastering Suite is the software necessary to Create, Edit, Mix, Master and Deliver Dolby Atmos content. Mastering Suite requires the </i><a href=\"https://www.rspeaudio.com/Dolby-Atmos-Mastering-System-p/dolby-atmos-mastering-system.htm\" style=\"font-size: 16px; font-style: italic; color: rgb(0, 0, 153); font-weight: bold; text-decoration: underline;\">Dolby Home Theater RMU</a><i> or qualified Mac or PC workstation to run the renderer software. </i><br /><br />\n\nThe Dolby Atmos Mastering Suite provides audio professionals all the software tools needed to create, edit, mix, and master high-quality Dolby Atmos content for television, 4K Ultra HD Blu-ray Discs, music, and gaming. It provides all the necessary software for a facility to run a home theater rendering and mastering unit (Home Theater RMU) on approved hardware, as well as enable edit and pre-mix rooms to work with Dolby Atmos content that feeds into the main mix room.<br /><br />\n\nThe Dolby Atmos Mastering Suite offers all of the features of the Dolby Atmos Production Suite in addition to certain advanced controls and features. The key differentiator of the Dolby Atmos Mastering Suite is that the Renderer is intended to run on a dedicated Mac or Windows computer (called a rendering and mastering workstation), whereas the DAW runs on a separate computer.<br /><br />\n\nThis suite is for engineers, sound designers, and others who use Dolby Atmos Renderer software for creating and monitoring content on a multiple-computer system that supports full equalization (EQ) calibration and includes a dedicated rendering and mastering workstation for power on demand.<br /><br />\n\nAtmos Mastering Suite includes one copy of Dolby Atmos HT-RMU Rendering and Mastering Software (Mac & Windows), three copies of Dolby Atmos Production Suite (Mac only) and Dolby Atmos Conversion tool.\n<br /><br />\n\n<h3>Dolby Atmos Mastering Suite Key Features:</h3>\n<ul>\n	<li>Allows a user to run their own Home Theater rendering and mastering workstation on approved hardware, for the ultimate in Dolby Atmos mastering workflow</li>\n	<li>Master high-value content for Blu-ray and digital delivery, without any restrictions caused by rendering on the same computer as you DAW</li>\n	<li>Work with multiple source/recorder machines for ultimate flexibility, and with any existing Dolby Atmos panning client</li>\n	<li>Includes 3 copies of the Dolby Atmos Production Suite, to enable edit and pre-mix rooms that feed into a main mix room</li>\n</ul>\n<br />\n<h3>Powerful Tools</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li><b>Dolby Atmos Renderer:</b> Dolby Atmos Renderer software monitors, records, and plays back Dolby Atmos content. This software runs on a qualified Mac® or PC-based workstation to transform it into a dedicated rendering and mastering workstation. It renders up to 128 inputs (made up of audio beds and objects with metadata) to your defined monitoring configuration, as well as rendering to standard channel-based layouts for both monitoring and deliverable creation.</li>\n	<li><b>Dolby Atmos Production Suite: </b>Three copies of the Dolby Atmos Production Suite (Mac only). When combined with the Dolby Audio Bridge and send/return plug-ins (included with the software) the Dolby Atmos Production Suite provides an in-the-box solution for editors, sound designers, composers, and others to perform editing and pre-mixing.</li>\n	<li><b>Dolby Atmos Conversion Tool:</b> The Dolby Atmos Conversion Tool for additional control over your Dolby Atmos master file deliverables with head/tail trimming, stitching, concatenation, and frame/sample rate conversion.</li>\n</ul>\n<br />\n<h3>Dolby Atmos Workflow</h3>\nDolby Atmos brings two key innovations to deliver an exceptional, immersive entertainment experience. The first is a pair of overhead bed channels, resulting in a 7.1.2 surround mix. The second key development is the introduction of audio objects — individual sources that can be placed anywhere in the room, independent of the surround beds, informed by metadata that places them based on X, Y, Z coordinates and the number of speakers available in the room.\n<br /><br />\nWhether you’re mixing in Pro Tools or Nuendo, the native integrations allow for easy routing and panning of sources to either the multichannel beds or to object busses, which are readily available in the I/O dropdown selection.<br /><br />\nThe 7.1.2 bed audio, object audio, and metadata are routed from your audio workstation to the Dolby Atmos Renderer, which can monitor, record, and play back Dolby Atmos content. This will render the audio and metadata to your defined speaker configuration for monitoring, as well as rendering to standard channel-based layouts for both monitoring and deliverable creation. The Dolby Atmos Renderer also records Dolby Atmos master files used for encoding for 4K Ultra HD Blu-ray Discs and can export to ADM BWF, commonly used for encoding by streaming services.<br /><br />\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3><br /><h4>Do I need the Dolby RMU to run Dolby Mastering Suite? Learn more at <a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><span style=\"color: rgb(0, 0, 0);\">\"Demystifying Dolby Atmos\"</span></a></h4>\n<a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><img src=\"/v/vspfiles/assets/images/demystifying-atmos-rmu-banner.jpg\" width=\"100%\" /></a><br />\n<ul>\n</ul>'),(3860,75,1,644,'<h1>Dolby Atmos Mastering Suite</h1>\n<i>Dolby Atmos Mastering Suite is the software necessary to Create, Edit, Mix, Master and Deliver Dolby Atmos content. Mastering Suite requires the </i><a href=\"https://www.rspeaudio.com/Dolby-Atmos-Mastering-System-p/dolby-atmos-mastering-system.htm\" style=\"font-size: 16px; font-style: italic; color: rgb(0, 0, 153); font-weight: bold; text-decoration: underline;\">Dolby Home Theater RMU</a><i> or qualified Mac or PC workstation to run the renderer software. </i><br /><br />\n\nThe Dolby Atmos Mastering Suite provides audio professionals all the software tools needed to create, edit, mix, and master high-quality Dolby Atmos content for television, 4K Ultra HD Blu-ray Discs, music, and gaming. It provides all the necessary software for a facility to run a home theater rendering and mastering unit (Home Theater RMU) on approved hardware, as well as enable edit and pre-mix rooms to work with Dolby Atmos content that feeds into the main mix room.<br /><br />\n\nThe Dolby Atmos Mastering Suite offers all of the features of the Dolby Atmos Production Suite in addition to certain advanced controls and features. The key differentiator of the Dolby Atmos Mastering Suite is that the Renderer is intended to run on a dedicated Mac or Windows computer (called a rendering and mastering workstation), whereas the DAW runs on a separate computer.<br /><br />\n\nThis suite is for engineers, sound designers, and others who use Dolby Atmos Renderer software for creating and monitoring content on a multiple-computer system that supports full equalization (EQ) calibration and includes a dedicated rendering and mastering workstation for power on demand.<br /><br />\n\nAtmos Mastering Suite includes one copy of Dolby Atmos HT-RMU Rendering and Mastering Software (Mac & Windows), three copies of Dolby Atmos Production Suite (Mac only) and Dolby Atmos Conversion tool.\n<br /><br />\n\n<h3>Dolby Atmos Mastering Suite Key Features:</h3>\n<ul>\n	<li>Allows a user to run their own Home Theater rendering and mastering workstation on approved hardware, for the ultimate in Dolby Atmos mastering workflow</li>\n	<li>Master high-value content for Blu-ray and digital delivery, without any restrictions caused by rendering on the same computer as you DAW</li>\n	<li>Work with multiple source/recorder machines for ultimate flexibility, and with any existing Dolby Atmos panning client</li>\n	<li>Includes 3 copies of the Dolby Atmos Production Suite, to enable edit and pre-mix rooms that feed into a main mix room</li>\n</ul>\n<br />\n<h3>Powerful Tools</h3>\n<ul style=\"letter-spacing: normal;\">\n	<li><b>Dolby Atmos Renderer:</b> Dolby Atmos Renderer software monitors, records, and plays back Dolby Atmos content. This software runs on a qualified Mac® or PC-based workstation to transform it into a dedicated rendering and mastering workstation. It renders up to 128 inputs (made up of audio beds and objects with metadata) to your defined monitoring configuration, as well as rendering to standard channel-based layouts for both monitoring and deliverable creation.</li>\n	<li><b>Dolby Atmos Production Suite: </b>Three copies of the Dolby Atmos Production Suite (Mac only). When combined with the Dolby Audio Bridge and send/return plug-ins (included with the software) the Dolby Atmos Production Suite provides an in-the-box solution for editors, sound designers, composers, and others to perform editing and pre-mixing.</li>\n	<li><b>Dolby Atmos Conversion Tool:</b> The Dolby Atmos Conversion Tool for additional control over your Dolby Atmos master file deliverables with head/tail trimming, stitching, concatenation, and frame/sample rate conversion.</li>\n</ul>\n<br />\n<h3>Dolby Atmos Workflow</h3>\nDolby Atmos brings two key innovations to deliver an exceptional, immersive entertainment experience. The first is a pair of overhead bed channels, resulting in a 7.1.2 surround mix. The second key development is the introduction of audio objects — individual sources that can be placed anywhere in the room, independent of the surround beds, informed by metadata that places them based on X, Y, Z coordinates and the number of speakers available in the room.\n<br /><br />\nWhether you’re mixing in Pro Tools or Nuendo, the native integrations allow for easy routing and panning of sources to either the multichannel beds or to object busses, which are readily available in the I/O dropdown selection.<br /><br />\nThe 7.1.2 bed audio, object audio, and metadata are routed from your audio workstation to the Dolby Atmos Renderer, which can monitor, record, and play back Dolby Atmos content. This will render the audio and metadata to your defined speaker configuration for monitoring, as well as rendering to standard channel-based layouts for both monitoring and deliverable creation. The Dolby Atmos Renderer also records Dolby Atmos master files used for encoding for 4K Ultra HD Blu-ray Discs and can export to ADM BWF, commonly used for encoding by streaming services.<br /><br />\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3><br /><h4>Do I need the Dolby RMU to run Dolby Mastering Suite? Learn more at <a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><span style=\"color: rgb(0, 0, 0);\">\"Demystifying Dolby Atmos\"</span></a></h4>\n<a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><img src=\"/v/vspfiles/assets/images/demystifying-atmos-rmu-banner.jpg\" width=\"100%\" /></a><br />\n<ul>\n</ul>'),(3861,85,0,644,''),(3862,85,1,644,''),(3863,76,0,644,''),(3864,76,1,644,''),(3865,75,0,645,'<h1>Dolby Atmos Mastering Suite + Dell RMU + MADI & Sync Cards </h1>\n<span style=\"font-size: 16px; font-style: italic;\">Give your studio the power to Create, Edit, Mix, Master and Deliver Dolby Atmos content with Dolby Atmos Mastering Suite</span><br /><br />\nThe <a href=\"https://www.rspeaudio.com/Dolby-Atmos-Mastering-Suite-p/dolby-atmos-mastering-suite.htm\">Dolby Atmos Mastering Suite</a> provides audio professionals all the tools needed to create, edit, mix, and master high-quality Dolby Atmos content for Blu-ray and Digital Delivery. It provides all the necessary software for a facility to run a home theater rendering and mastering unit (Home Theater RMU) on approved hardware, as well as enable edit and pre-mix rooms to work with Dolby Atmos content that feeds into the main mix room.<br /><br />\nThe Dolby Atmos Mastering Suite is based on the same powerful tools used for creating cinema soundtracks, so audio professionals can now deliver the Dolby Atmos experience in just about any medium, including episodic television, Blu-ray™, gaming, and VR.<br /><br />\nAtmos Mastering Suite includes one copy of Dolby Atmos HT-RMU Rendering and Mastering Software (Mac & Windows), three copies of Dolby Atmos Production Suite (Mac only) and Dolby Atmos Conversion tool.<br /><br /><h2>The Dolby Atmos Mastering System includes:</h2>\n\n<ul><li>Dolby Atmos Mastering Suite Software </li><li>Official Dell/Dolby RMU server</li><li>(2) RME HDSPe MADI Cards </li><li>RME TCO-HDSP Sync Card</li></ul>\n<h4><span><br /></span>Do I need the Dolby RMU to run Dolby Mastering Suite? Learn more at <a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><span style=\"color: rgb(0, 0, 0);\">\"Demystifying Dolby Atmos\"</span></a></h4>\n<a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><img src=\"/v/vspfiles/assets/images/demystifying-atmos-rmu-banner.jpg\" width=\"100%\" /></a><br />\n<br />\n<h3>Dolby Atmos Mastering Suite Key Features:</h3>\n<ul>\n	<li>Allows a user to run their own  Home Theater RMU on approved hardware, for the ultimate in Dolby Atmos mastering workflow         </li>\n	<li>Master high-value content for Blu-ray and digital delivery, without any restrictions caused by rendering on the same computer as you DAW                               </li>\n	<li>Work with multiple source/recorder machines for ultimate flexibility, and with any existing Dolby Atmos panning client                                                 </li>\n	<li>Includes 3 copies of the Dolby Atmos Production Suite, to enable edit and pre-mix rooms that feed into a main mix room                                                 </li>\n</ul>\n<br />\n<h3>Powerful Tools</h3>\n<ul>\n	<li><b>Dolby Atmos Renderer:</b> Run the Renderer software for home theater on a supported CPU for the full power of a Dolby Atmos mastering workflow.</li>\n	<li><b>Re-render output matrix: </b>Create all your channel-based deliverables from your Dolby Atmos mix.</li>\n	<li><b>Dolby Atmos Panner plug-in:</b> Position audio objects in a 3D space and set playback metadata.</li>\n	<li><b>Dolby Atmos Monitor:</b> Get visual feedback about your mix with input metering, output metering, and a 3D room view.</li>\n</ul>\n<br />\n<h3>Atmos Mastering Suite Includes:</h3>\n<ul>\n	<li>One seat of Dolby Atmos Home Theater Renderer software on a Dolby Atmos RMU</li>\n	<li>Three copies of the Dolby Atmos Production Suite for Mac</li>\n	<li>Dolby Atmos Conversion Tool</li>\n</ul>\n<br />\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3>'),(3866,75,1,645,'<h1>Dolby Atmos Mastering Suite + Dell RMU + MADI & Sync Cards </h1>\n<span style=\"font-size: 16px; font-style: italic;\">Give your studio the power to Create, Edit, Mix, Master and Deliver Dolby Atmos content with Dolby Atmos Mastering Suite</span><br /><br />\nThe <a href=\"https://www.rspeaudio.com/Dolby-Atmos-Mastering-Suite-p/dolby-atmos-mastering-suite.htm\">Dolby Atmos Mastering Suite</a> provides audio professionals all the tools needed to create, edit, mix, and master high-quality Dolby Atmos content for Blu-ray and Digital Delivery. It provides all the necessary software for a facility to run a home theater rendering and mastering unit (Home Theater RMU) on approved hardware, as well as enable edit and pre-mix rooms to work with Dolby Atmos content that feeds into the main mix room.<br /><br />\nThe Dolby Atmos Mastering Suite is based on the same powerful tools used for creating cinema soundtracks, so audio professionals can now deliver the Dolby Atmos experience in just about any medium, including episodic television, Blu-ray™, gaming, and VR.<br /><br />\nAtmos Mastering Suite includes one copy of Dolby Atmos HT-RMU Rendering and Mastering Software (Mac & Windows), three copies of Dolby Atmos Production Suite (Mac only) and Dolby Atmos Conversion tool.<br /><br /><h2>The Dolby Atmos Mastering System includes:</h2>\n\n<ul><li>Dolby Atmos Mastering Suite Software </li><li>Official Dell/Dolby RMU server</li><li>(2) RME HDSPe MADI Cards </li><li>RME TCO-HDSP Sync Card</li></ul>\n<h4><span><br /></span>Do I need the Dolby RMU to run Dolby Mastering Suite? Learn more at <a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><span style=\"color: rgb(0, 0, 0);\">\"Demystifying Dolby Atmos\"</span></a></h4>\n<a href=\"https://www.rspeaudio.com/demystifying-dolby-atmos-rmu-a/370.htm\"><img src=\"/v/vspfiles/assets/images/demystifying-atmos-rmu-banner.jpg\" width=\"100%\" /></a><br />\n<br />\n<h3>Dolby Atmos Mastering Suite Key Features:</h3>\n<ul>\n	<li>Allows a user to run their own  Home Theater RMU on approved hardware, for the ultimate in Dolby Atmos mastering workflow         </li>\n	<li>Master high-value content for Blu-ray and digital delivery, without any restrictions caused by rendering on the same computer as you DAW                               </li>\n	<li>Work with multiple source/recorder machines for ultimate flexibility, and with any existing Dolby Atmos panning client                                                 </li>\n	<li>Includes 3 copies of the Dolby Atmos Production Suite, to enable edit and pre-mix rooms that feed into a main mix room                                                 </li>\n</ul>\n<br />\n<h3>Powerful Tools</h3>\n<ul>\n	<li><b>Dolby Atmos Renderer:</b> Run the Renderer software for home theater on a supported CPU for the full power of a Dolby Atmos mastering workflow.</li>\n	<li><b>Re-render output matrix: </b>Create all your channel-based deliverables from your Dolby Atmos mix.</li>\n	<li><b>Dolby Atmos Panner plug-in:</b> Position audio objects in a 3D space and set playback metadata.</li>\n	<li><b>Dolby Atmos Monitor:</b> Get visual feedback about your mix with input metering, output metering, and a 3D room view.</li>\n</ul>\n<br />\n<h3>Atmos Mastering Suite Includes:</h3>\n<ul>\n	<li>One seat of Dolby Atmos Home Theater Renderer software on a Dolby Atmos RMU</li>\n	<li>Three copies of the Dolby Atmos Production Suite for Mac</li>\n	<li>Dolby Atmos Conversion Tool</li>\n</ul>\n<br />\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3>'),(3867,85,0,645,''),(3868,85,1,645,''),(3869,76,0,645,''),(3870,76,1,645,''),(3871,75,0,646,'<h1>Dolby Media Meter V2 Loudness Plug-in</h1>\n<span style=\"font-size:16px; font-style:italic;\">Dolby Media Meter is an innovative software tool that accurately measures loudness for broadcast, packaged media, cinema trailers, video on demand (VOD), and video games.</span><br /><br />\n\n	Dolby® Media Meter 2, like the original Dolby Media Meter software tool, accurately and objectively measures loudness as viewers subjectively experience it. New features include user-selectable measurement algorithms and a high-quality peak limiter. It is available as an inclusive package or as an update to the original version.\n<br /><br />\nAs with the original, Dolby Media Meter 2 features user-selectable Dialogue Intelligence™ technology that detects and measures loudness only during the presence of speech. Dolby Media Meter 2 users can also select measurement options that include Leq(m) for cinema trailers and commercials Leq(A), True Peak, and Dialogue Range, as well as ITU-R BS.1770-1. Other new features include level meters; a highquality, user-adjustable peak limiter; a warning setting with user selectable function and threshold; and a real-time graphing function. Dolby Media Meter 2 runs as a Mac® or Windows® stand-alone application, as a Digidesign® Pro Tools® AudioSuite or RTAS plug-in, and as a VST plug-in for such popular programs as Pyramix, Nuendo, and Fairlight. It can also run as a Mac-only AU for Apple® software. Dolby Media Meter 2 supports measurement of Dolby Digital, Dolby Digital Plus, Dolby TrueHD, Dolby E, and PCM audio formats. All versions of Media Meter 2 can produce and save log files.\n<br /><br />\nAs a stand-alone product or a Digidesign AudioSuite plug-in, Dolby Media Meter 2 is a faster-than-real-time, file-based measurement application.1 This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities. As a Pro Tools RTAS or VST plug-in, Dolby Media Meter 2 measures loudness in real time, so that users can track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n<br /><br />\nDifferences in audio levels between programs and channels or between programs and commercials are a major annoyance to TV viewers. While obvious to the viewer, these loudness differences have proven difficult to measure with conventional methods and equipment.\n<br /><br />\nDolby Media Meter runs as an Apple® Macintosh® or a Microsoft® Windows® stand-alone application and as a plug-in for the following platforms:<br />\n<ul>\n	<li>Avid® Pro Tools® AAX</li>\n	<li>Avid Pro Tools AudioSuite</li>\n	<li>Avid Pro Tools RTAS®</li>\n	<li>VST</li>\n</ul>\n<br />\nAll versions can produce and save log files.\n<br /><br />\nUsed as a stand-alone product or an AudioSuite plug-in, Dolby Media Meter offers faster-than-real-time, file-based measurement (speed is hardware-dependent). This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities.\n<br /><br />\nAs an AAX or RTAS plug-in for Avid Pro Tools, or as a VST plug-in for applications such as Steinberg® Nuendo® or Sony® Sound Forge™, Dolby Media Meter measures loudness in real time, allowing you to track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n<br /><br />\nSupported audio formats include:<br />\n<ul>\n	<li>Dolby Digital</li>\n	<li>Dolby Digital Plus™</li>\n	<li>Dolby TrueHD</li>\n	<li>Dolby E</li>\n	<li>PCM</li>\n</ul>\n<br />'),(3872,75,1,646,'<h1>Dolby Media Meter V2 Loudness Plug-in</h1>\n<span style=\"font-size:16px; font-style:italic;\">Dolby Media Meter is an innovative software tool that accurately measures loudness for broadcast, packaged media, cinema trailers, video on demand (VOD), and video games.</span><br /><br />\n\n	Dolby® Media Meter 2, like the original Dolby Media Meter software tool, accurately and objectively measures loudness as viewers subjectively experience it. New features include user-selectable measurement algorithms and a high-quality peak limiter. It is available as an inclusive package or as an update to the original version.\n<br /><br />\nAs with the original, Dolby Media Meter 2 features user-selectable Dialogue Intelligence™ technology that detects and measures loudness only during the presence of speech. Dolby Media Meter 2 users can also select measurement options that include Leq(m) for cinema trailers and commercials Leq(A), True Peak, and Dialogue Range, as well as ITU-R BS.1770-1. Other new features include level meters; a highquality, user-adjustable peak limiter; a warning setting with user selectable function and threshold; and a real-time graphing function. Dolby Media Meter 2 runs as a Mac® or Windows® stand-alone application, as a Digidesign® Pro Tools® AudioSuite or RTAS plug-in, and as a VST plug-in for such popular programs as Pyramix, Nuendo, and Fairlight. It can also run as a Mac-only AU for Apple® software. Dolby Media Meter 2 supports measurement of Dolby Digital, Dolby Digital Plus, Dolby TrueHD, Dolby E, and PCM audio formats. All versions of Media Meter 2 can produce and save log files.\n<br /><br />\nAs a stand-alone product or a Digidesign AudioSuite plug-in, Dolby Media Meter 2 is a faster-than-real-time, file-based measurement application.1 This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities. As a Pro Tools RTAS or VST plug-in, Dolby Media Meter 2 measures loudness in real time, so that users can track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n<br /><br />\nDifferences in audio levels between programs and channels or between programs and commercials are a major annoyance to TV viewers. While obvious to the viewer, these loudness differences have proven difficult to measure with conventional methods and equipment.\n<br /><br />\nDolby Media Meter runs as an Apple® Macintosh® or a Microsoft® Windows® stand-alone application and as a plug-in for the following platforms:<br />\n<ul>\n	<li>Avid® Pro Tools® AAX</li>\n	<li>Avid Pro Tools AudioSuite</li>\n	<li>Avid Pro Tools RTAS®</li>\n	<li>VST</li>\n</ul>\n<br />\nAll versions can produce and save log files.\n<br /><br />\nUsed as a stand-alone product or an AudioSuite plug-in, Dolby Media Meter offers faster-than-real-time, file-based measurement (speed is hardware-dependent). This is useful for DVD and Blu-ray Disc™ mastering, and for program creation and quality control applications in audio production, postproduction, and broadcast facilities.\n<br /><br />\nAs an AAX or RTAS plug-in for Avid Pro Tools, or as a VST plug-in for applications such as Steinberg® Nuendo® or Sony® Sound Forge™, Dolby Media Meter measures loudness in real time, allowing you to track levels during the mixing process to help meet network delivery requirements. Real-time versions can simultaneously display short- and long-term loudness levels with or without Dialogue Intelligence.\n<br /><br />\nSupported audio formats include:<br />\n<ul>\n	<li>Dolby Digital</li>\n	<li>Dolby Digital Plus™</li>\n	<li>Dolby TrueHD</li>\n	<li>Dolby E</li>\n	<li>PCM</li>\n</ul>\n<br />'),(3873,85,0,646,'Dolby Media Meter V2 Loudness Software'),(3874,85,1,646,'Dolby Media Meter V2 Loudness Software'),(3875,76,0,646,''),(3876,76,1,646,''),(3877,75,0,647,'<h1>Dolby Media Producer Suite v2 Encoding/Decoding Software</h1>\n<span style=\"font-size:16px; font-style:italic;\">The latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming.</span><br /><br />\n\nThe Dolby® Media Producer Suite v2.0 covers all facets of encoding and decoding disc and digital delivery audio and includes the latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming. Cost-effective and flexible, the suite provides your facility with complete functionality for any Blu-ray audio production work. Dolby Atmos® is now supported by the Dolby Media Producer applications in this suite. The suite provides professional, non-real-time encoding for Dolby TrueHD, Dolby Digital Plus™, Dolby Digital, and MLP Lossless™ for DVD Audio. The Dolby Media Producer Decoder decodes all consumer-encoded files that are used to author Blu-ray Disc™ as well as the Dolby Digital Plus files that current file-based deliveries require.<br /><br />\n<h3>Dolby Media Producer Suite Key Features:</h3>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Simplified Workflow</b><span style=\"background-color: initial; letter-spacing: 0px;\"> - Applications perfectly complement each other, sharing the same basic GUI and working seamlessly together while eliminating needless repetitive steps.</span></li>\n	<li><b>Solution for Any Size Facility</b> - Applications can work on a single computer or together with the Dolby Media Encoder Server over a LAN, whether your post house is big or small.</li>\n	<li><b>Less Time and Money</b> - Make Blu-ray™ production more efficient and save processing time with everything you need for complete control over the audio content for disc and online, all in one place.</li>\n</ul>\n<br />\n<h3>Media Producer Suite Includes:</h3>\n<ul>\n	<li>Dolby Media Decoder</li>\n	<li>Dolby Media Encoder</li>\n</ul>\n<br />\n<h3>Dolby Media Encoder Client</h3>\nThe Dolby Media Encoder Client is a software application that lets you encode from audio source files or a Dolby Atmos master file set to a supported Dolby audio format in preparation for delivery on various media targets. Depending on the source material, the encoder supports encoding to Dolby TrueHD, Dolby Digital Plus, Dolby Digital, and MLP Lossless. \n<br /><br />\nDepending on the format, the encoder supports encodes targeted for Blu-ray Discs, UHD, streaming and downloadable media, DVD-Video, and DVD-Audio. The encoder application is included in Dolby Media Producer Suite v.2.0.<br /><br />\nThe Dolby Media Encoder Client application accesses and sends jobs to a Dolby Media Encoder Server application, either on the same machine running the encoder, or a separate machine running the Dolby Media Encoder Server on a LAN. The Dolby\nMedia Encoder Server application does the actual work of encoding. It runs as a background process on a local machine or a remote server.\n<br /><br />\nIn this release, Dolby Media Encoder adds support for encoding from a Dolby Atmos master file set (home theater master), to create a Dolby True HD or Dolby Digital Plus bitstream with Dolby Atmos, or a Dolby TrueHD, Dolby Digital Plus, or Dolby Digital bitstream.<br /><br />\n<h3>Dolby® Media Decoder</h3>\nThe Dolby® Media Decoder is a software application that plays files encoded in any of the Dolby audio formats used for optical or online media delivery. The decoder application is included in Dolby Media Producer Suite v.2.0.\n<br /><br />\nThe Dolby Media Decoder provides users with a complete emulation of the playback possibilities that a consumer may\nexperience. All Dolby audio codecs are supported, including Dolby TrueHD and Dolby Digital Plus with Dolby Atmos. For\ncomplete quality-control confidence, the decoder provides monitoring of metadata settings, extensive downmix/upmix selections, and playback of video using Apple® QuickTime®. The decoder also lets you decode back to PCM files from the Dolby channel based codecs. Additionally, the decoder includes file loading conveniences to speed the user’s workflow.\n<br /><br />\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3>'),(3878,75,1,647,'<h1>Dolby Media Producer Suite v2 Encoding/Decoding Software</h1>\n<span style=\"font-size:16px; font-style:italic;\">The latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming.</span><br /><br />\n\nThe Dolby® Media Producer Suite v2.0 covers all facets of encoding and decoding disc and digital delivery audio and includes the latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming. Cost-effective and flexible, the suite provides your facility with complete functionality for any Blu-ray audio production work. Dolby Atmos® is now supported by the Dolby Media Producer applications in this suite. The suite provides professional, non-real-time encoding for Dolby TrueHD, Dolby Digital Plus™, Dolby Digital, and MLP Lossless™ for DVD Audio. The Dolby Media Producer Decoder decodes all consumer-encoded files that are used to author Blu-ray Disc™ as well as the Dolby Digital Plus files that current file-based deliveries require.<br /><br />\n<h3>Dolby Media Producer Suite Key Features:</h3>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Simplified Workflow</b><span style=\"background-color: initial; letter-spacing: 0px;\"> - Applications perfectly complement each other, sharing the same basic GUI and working seamlessly together while eliminating needless repetitive steps.</span></li>\n	<li><b>Solution for Any Size Facility</b> - Applications can work on a single computer or together with the Dolby Media Encoder Server over a LAN, whether your post house is big or small.</li>\n	<li><b>Less Time and Money</b> - Make Blu-ray™ production more efficient and save processing time with everything you need for complete control over the audio content for disc and online, all in one place.</li>\n</ul>\n<br />\n<h3>Media Producer Suite Includes:</h3>\n<ul>\n	<li>Dolby Media Decoder</li>\n	<li>Dolby Media Encoder</li>\n</ul>\n<br />\n<h3>Dolby Media Encoder Client</h3>\nThe Dolby Media Encoder Client is a software application that lets you encode from audio source files or a Dolby Atmos master file set to a supported Dolby audio format in preparation for delivery on various media targets. Depending on the source material, the encoder supports encoding to Dolby TrueHD, Dolby Digital Plus, Dolby Digital, and MLP Lossless. \n<br /><br />\nDepending on the format, the encoder supports encodes targeted for Blu-ray Discs, UHD, streaming and downloadable media, DVD-Video, and DVD-Audio. The encoder application is included in Dolby Media Producer Suite v.2.0.<br /><br />\nThe Dolby Media Encoder Client application accesses and sends jobs to a Dolby Media Encoder Server application, either on the same machine running the encoder, or a separate machine running the Dolby Media Encoder Server on a LAN. The Dolby\nMedia Encoder Server application does the actual work of encoding. It runs as a background process on a local machine or a remote server.\n<br /><br />\nIn this release, Dolby Media Encoder adds support for encoding from a Dolby Atmos master file set (home theater master), to create a Dolby True HD or Dolby Digital Plus bitstream with Dolby Atmos, or a Dolby TrueHD, Dolby Digital Plus, or Dolby Digital bitstream.<br /><br />\n<h3>Dolby® Media Decoder</h3>\nThe Dolby® Media Decoder is a software application that plays files encoded in any of the Dolby audio formats used for optical or online media delivery. The decoder application is included in Dolby Media Producer Suite v.2.0.\n<br /><br />\nThe Dolby Media Decoder provides users with a complete emulation of the playback possibilities that a consumer may\nexperience. All Dolby audio codecs are supported, including Dolby TrueHD and Dolby Digital Plus with Dolby Atmos. For\ncomplete quality-control confidence, the decoder provides monitoring of metadata settings, extensive downmix/upmix selections, and playback of video using Apple® QuickTime®. The decoder also lets you decode back to PCM files from the Dolby channel based codecs. Additionally, the decoder includes file loading conveniences to speed the user’s workflow.\n<br /><br />\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3>'),(3879,85,0,647,''),(3880,85,1,647,''),(3881,76,0,647,''),(3882,76,1,647,''),(3883,75,0,648,'<h1>Dolby Media Producer Suite v2.0 - Upgrade from v1.0</h1>\n<i>Upgrade to latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming.</i><br /><br />Upgrade to Dolby® Media Producer Suite v2.0 from v1.0 covers all facets of encoding and decoding disc and digital delivery audio and includes the latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming. Cost-effective and flexible, the suite provides your facility with complete functionality for any Blu-ray audio production work. Dolby Atmos® is now supported by the Dolby Media Producer applications in this suite. The suite provides professional, non-real-time encoding for Dolby TrueHD, Dolby Digital Plus™, Dolby Digital, and MLP Lossless™ for DVD Audio. The Dolby Media Producer Decoder decodes all consumer-encoded files that are used to author Blu-ray Disc™ as well as the Dolby Digital Plus files that current file-based deliveries require.<br /><br />\n<h3>Dolby Media Producer Suite Key Features:</h3>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Simplified Workflow</b><span style=\"background-color: initial; letter-spacing: 0px;\"> - Applications perfectly complement each other, sharing the same basic GUI and working seamlessly together while eliminating needless repetitive steps.</span></li>\n	<li><b>Solution for Any Size Facility</b> - Applications can work on a single computer or together with the Dolby Media Encoder Server over a LAN, whether your post house is big or small.</li>\n	<li><b>Less Time and Money</b> - Make Blu-ray™ production more efficient and save processing time with everything you need for complete control over the audio content for disc and online, all in one place.</li>\n	\n</ul>\n<br />\n<h3>Media Producer Suite Includes:</h3>\n<ul>\n	<li>Dolby Media Decoder</li>\n	<li>Dolby Media Encoder</li>\n	\n</ul>\n<br />\n<h3>Dolby Media Encoder Client</h3>\nThe Dolby Media Encoder Client is a software application that lets you encode from audio source files or a Dolby Atmos master file set to a supported Dolby audio format in preparation for delivery on various media targets. Depending on the source material, the encoder supports encoding to Dolby TrueHD, Dolby Digital Plus, Dolby Digital, and MLP Lossless. <br /><br />\n\nDepending on the format, the encoder supports encodes targeted for Blu-ray Discs, UHD, streaming and downloadable media, DVD-Video, and DVD-Audio. The encoder application is included in Dolby Media Producer Suite v.2.0.<br /><br />\n\nThe Dolby Media Encoder Client application accesses and sends jobs to a Dolby Media Encoder Server application, either on the same machine running the encoder, or a separate machine running the Dolby Media Encoder Server on a LAN. The Dolby\nMedia Encoder Server application does the actual work of encoding. It runs as a background process on a local machine or a remote server.<br /><br />\n\nIn this release, Dolby Media Encoder adds support for encoding from a Dolby Atmos master file set (home theater master), to create a Dolby True HD or Dolby Digital Plus bitstream with Dolby Atmos, or a Dolby TrueHD, Dolby Digital Plus, or Dolby Digital bitstream.<br /><br />\n\n<h3>Dolby® Media Decoder</h3>\nThe Dolby® Media Decoder is a software application that plays files encoded in any of the Dolby audio formats used for optical or online media delivery. The decoder application is included in Dolby Media Producer Suite v.2.0.<br /><br />\n\nThe Dolby Media Decoder provides users with a complete emulation of the playback possibilities that a consumer may\nexperience. All Dolby audio codecs are supported, including Dolby TrueHD and Dolby Digital Plus with Dolby Atmos. For\ncomplete quality-control confidence, the decoder provides monitoring of metadata settings, extensive downmix/upmix selections, and playback of video using Apple® QuickTime®. The decoder also lets you decode back to PCM files from the Dolby channel based codecs. Additionally, the decoder includes file loading conveniences to speed the user’s workflow.\n<br /><br />\n\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3>'),(3884,75,1,648,'<h1>Dolby Media Producer Suite v2.0 - Upgrade from v1.0</h1>\n<i>Upgrade to latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming.</i><br /><br />Upgrade to Dolby® Media Producer Suite v2.0 from v1.0 covers all facets of encoding and decoding disc and digital delivery audio and includes the latest Encoder and Decoder applications for encoding Dolby Atmos for Blu-ray Disc, UHD, and OTT streaming. Cost-effective and flexible, the suite provides your facility with complete functionality for any Blu-ray audio production work. Dolby Atmos® is now supported by the Dolby Media Producer applications in this suite. The suite provides professional, non-real-time encoding for Dolby TrueHD, Dolby Digital Plus™, Dolby Digital, and MLP Lossless™ for DVD Audio. The Dolby Media Producer Decoder decodes all consumer-encoded files that are used to author Blu-ray Disc™ as well as the Dolby Digital Plus files that current file-based deliveries require.<br /><br />\n<h3>Dolby Media Producer Suite Key Features:</h3>\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Simplified Workflow</b><span style=\"background-color: initial; letter-spacing: 0px;\"> - Applications perfectly complement each other, sharing the same basic GUI and working seamlessly together while eliminating needless repetitive steps.</span></li>\n	<li><b>Solution for Any Size Facility</b> - Applications can work on a single computer or together with the Dolby Media Encoder Server over a LAN, whether your post house is big or small.</li>\n	<li><b>Less Time and Money</b> - Make Blu-ray™ production more efficient and save processing time with everything you need for complete control over the audio content for disc and online, all in one place.</li>\n	\n</ul>\n<br />\n<h3>Media Producer Suite Includes:</h3>\n<ul>\n	<li>Dolby Media Decoder</li>\n	<li>Dolby Media Encoder</li>\n	\n</ul>\n<br />\n<h3>Dolby Media Encoder Client</h3>\nThe Dolby Media Encoder Client is a software application that lets you encode from audio source files or a Dolby Atmos master file set to a supported Dolby audio format in preparation for delivery on various media targets. Depending on the source material, the encoder supports encoding to Dolby TrueHD, Dolby Digital Plus, Dolby Digital, and MLP Lossless. <br /><br />\n\nDepending on the format, the encoder supports encodes targeted for Blu-ray Discs, UHD, streaming and downloadable media, DVD-Video, and DVD-Audio. The encoder application is included in Dolby Media Producer Suite v.2.0.<br /><br />\n\nThe Dolby Media Encoder Client application accesses and sends jobs to a Dolby Media Encoder Server application, either on the same machine running the encoder, or a separate machine running the Dolby Media Encoder Server on a LAN. The Dolby\nMedia Encoder Server application does the actual work of encoding. It runs as a background process on a local machine or a remote server.<br /><br />\n\nIn this release, Dolby Media Encoder adds support for encoding from a Dolby Atmos master file set (home theater master), to create a Dolby True HD or Dolby Digital Plus bitstream with Dolby Atmos, or a Dolby TrueHD, Dolby Digital Plus, or Dolby Digital bitstream.<br /><br />\n\n<h3>Dolby® Media Decoder</h3>\nThe Dolby® Media Decoder is a software application that plays files encoded in any of the Dolby audio formats used for optical or online media delivery. The decoder application is included in Dolby Media Producer Suite v.2.0.<br /><br />\n\nThe Dolby Media Decoder provides users with a complete emulation of the playback possibilities that a consumer may\nexperience. All Dolby audio codecs are supported, including Dolby TrueHD and Dolby Digital Plus with Dolby Atmos. For\ncomplete quality-control confidence, the decoder provides monitoring of metadata settings, extensive downmix/upmix selections, and playback of video using Apple® QuickTime®. The decoder also lets you decode back to PCM files from the Dolby channel based codecs. Additionally, the decoder includes file loading conveniences to speed the user’s workflow.\n<br /><br />\n\n<h3>RSPE is your Dolby Atmos Certified Dealer for Sales, Upgrade And Installation. Call or Chat RSPE, we can help your studio make the upgrade to Dolby Atmos.</h3>'),(3885,85,0,648,''),(3886,85,1,648,''),(3887,76,0,648,''),(3888,76,1,648,''),(3889,75,0,649,'<h1>Drawmer DS101 - 500 Series Noise Gate</h1><i>\nThe Industry-Standard High-End Noise-Gate comes to the 500 Series!\n</i><br /><br />\nThe DS101 is the first noise gate designed specifically for the 500 Series rack system and takes its place alongside the Drawmer family of industry standard Noise Gates, such as the DS201, DS501 and DS404. Anyone familiar with those units will immediately be at home with the DS101.\n<br /><br />\nBased on a single-channel of the DS201 the DS101 is a sophisticated noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, such as variable high and lowpass filters for “frequency conscious gating.”\n<br /><br />\nOther features include comprehensive envelope control, attack, hold, decay, and range, plus a whole host of other features, all adding up to one amazing processor.\n<br /><br />\nWhen placed side by side in a 500 series rack two or more gates can be linked using the new infra red triggering mechanism employed on the DS101. This means that any number of gates can be linked with each having their own envelope shaping whilst the trigger pulse passes through unchanged, this opens up a whole world of “envelope follower” effects limited only by your imagination.<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(3890,75,1,649,'<h1>Drawmer DS101 - 500 Series Noise Gate</h1><i>\nThe Industry-Standard High-End Noise-Gate comes to the 500 Series!\n</i><br /><br />\nThe DS101 is the first noise gate designed specifically for the 500 Series rack system and takes its place alongside the Drawmer family of industry standard Noise Gates, such as the DS201, DS501 and DS404. Anyone familiar with those units will immediately be at home with the DS101.\n<br /><br />\nBased on a single-channel of the DS201 the DS101 is a sophisticated noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, such as variable high and lowpass filters for “frequency conscious gating.”\n<br /><br />\nOther features include comprehensive envelope control, attack, hold, decay, and range, plus a whole host of other features, all adding up to one amazing processor.\n<br /><br />\nWhen placed side by side in a 500 series rack two or more gates can be linked using the new infra red triggering mechanism employed on the DS101. This means that any number of gates can be linked with each having their own envelope shaping whilst the trigger pulse passes through unchanged, this opens up a whole world of “envelope follower” effects limited only by your imagination.<br /><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>'),(3891,85,0,649,'Drawmer DS101 - Noise Gate'),(3892,85,1,649,'Drawmer DS101 - Noise Gate'),(3893,76,0,649,''),(3894,76,1,649,''),(3895,75,0,650,'A disc encoded with DTS-HD Master Audio delivers ALL of the information from the original master recording — bit-for-bit, it\'s identical to what the sound engineers laid down. Audio doesn\'t get any better than this.\n7.1 channels, for more intense movies and music\n\nDTS-HD is capable of 7.1 channels of sound, totally immersing you in movies and music. (Remember, a typical 5.1-channel system consists of two front and two rear speakers, a center-channel speaker, and a subwoofer / bass management channel, which is the .1) By using two additional channels — for side surround speakers at your left and right — sound can be more accurately placed in your listening room. This means that special effects pans, like jet-fighter flyovers or arrows whizzing past you, will be more dramatic and life like.\n\nDTS-HD Audio in 7.1 channels is amazing when listening to music, too — it\'s like being in the front row of a concert hall, with instruments and voices placed in different locations in your listening room.\n\nCompatibility and a boost in quality\n\nDTS-HD encoded content contains a DTS surround sound \"core\", plus an \"extension\" that delivers even higher quality. When you play a DTS-HD encoded disc through an older DTS-capable receiver, the DTS-HD extension is simply ignored and only the DTS core is decoded — but not at ordinary quality levels. Your older receiver will play back DTS-HD material with DTS surround audio at twice the data rate of other DVD video surround formats. Meaning? You get immediate compatibility and a boost in quality.'),(3896,75,1,650,'A disc encoded with DTS-HD Master Audio delivers ALL of the information from the original master recording — bit-for-bit, it\'s identical to what the sound engineers laid down. Audio doesn\'t get any better than this.\n7.1 channels, for more intense movies and music\n\nDTS-HD is capable of 7.1 channels of sound, totally immersing you in movies and music. (Remember, a typical 5.1-channel system consists of two front and two rear speakers, a center-channel speaker, and a subwoofer / bass management channel, which is the .1) By using two additional channels — for side surround speakers at your left and right — sound can be more accurately placed in your listening room. This means that special effects pans, like jet-fighter flyovers or arrows whizzing past you, will be more dramatic and life like.\n\nDTS-HD Audio in 7.1 channels is amazing when listening to music, too — it\'s like being in the front row of a concert hall, with instruments and voices placed in different locations in your listening room.\n\nCompatibility and a boost in quality\n\nDTS-HD encoded content contains a DTS surround sound \"core\", plus an \"extension\" that delivers even higher quality. When you play a DTS-HD encoded disc through an older DTS-capable receiver, the DTS-HD extension is simply ignored and only the DTS core is decoded — but not at ordinary quality levels. Your older receiver will play back DTS-HD material with DTS surround audio at twice the data rate of other DVD video surround formats. Meaning? You get immediate compatibility and a boost in quality.'),(3897,85,0,650,'DTS Professional DTS-HD Master Audio Suite'),(3898,85,1,650,'DTS Professional DTS-HD Master Audio Suite'),(3899,76,0,650,''),(3900,76,1,650,''),(3901,75,0,651,'A disc encoded with DTS-HD Master Audio delivers ALL of the information from the original master recording — bit-for-bit, it\'s identical to what the sound engineers laid down. Audio doesn\'t get any better than this.\n7.1 channels, for more intense movies and music\n\nDTS-HD is capable of 7.1 channels of sound, totally immersing you in movies and music. (Remember, a typical 5.1-channel system consists of two front and two rear speakers, a center-channel speaker, and a subwoofer / bass management channel, which is the .1) By using two additional channels — for side surround speakers at your left and right — sound can be more accurately placed in your listening room. This means that special effects pans, like jet-fighter flyovers or arrows whizzing past you, will be more dramatic and life like.\n\nDTS-HD Audio in 7.1 channels is amazing when listening to music, too — it\'s like being in the front row of a concert hall, with instruments and voices placed in different locations in your listening room.\n\nCompatibility and a boost in quality\n\nDTS-HD encoded content contains a DTS surround sound \"core\", plus an \"extension\" that delivers even higher quality. When you play a DTS-HD encoded disc through an older DTS-capable receiver, the DTS-HD extension is simply ignored and only the DTS core is decoded — but not at ordinary quality levels. Your older receiver will play back DTS-HD material with DTS surround audio at twice the data rate of other DVD video surround formats. Meaning? You get immediate compatibility and a boost in quality.'),(3902,75,1,651,'A disc encoded with DTS-HD Master Audio delivers ALL of the information from the original master recording — bit-for-bit, it\'s identical to what the sound engineers laid down. Audio doesn\'t get any better than this.\n7.1 channels, for more intense movies and music\n\nDTS-HD is capable of 7.1 channels of sound, totally immersing you in movies and music. (Remember, a typical 5.1-channel system consists of two front and two rear speakers, a center-channel speaker, and a subwoofer / bass management channel, which is the .1) By using two additional channels — for side surround speakers at your left and right — sound can be more accurately placed in your listening room. This means that special effects pans, like jet-fighter flyovers or arrows whizzing past you, will be more dramatic and life like.\n\nDTS-HD Audio in 7.1 channels is amazing when listening to music, too — it\'s like being in the front row of a concert hall, with instruments and voices placed in different locations in your listening room.\n\nCompatibility and a boost in quality\n\nDTS-HD encoded content contains a DTS surround sound \"core\", plus an \"extension\" that delivers even higher quality. When you play a DTS-HD encoded disc through an older DTS-capable receiver, the DTS-HD extension is simply ignored and only the DTS core is decoded — but not at ordinary quality levels. Your older receiver will play back DTS-HD material with DTS surround audio at twice the data rate of other DVD video surround formats. Meaning? You get immediate compatibility and a boost in quality.'),(3903,85,0,651,'DTS Professional DTS-HD Master Audio Suite Upgrade from SAS'),(3904,85,1,651,'DTS Professional DTS-HD Master Audio Suite Upgrade from SAS'),(3905,76,0,651,''),(3906,76,1,651,''),(3907,75,0,652,'Neural UpMix is a groundbreaking plug-in for the post-production and mixing communities. Combining precision and creative flexibility, it can output 5.1 or 7.1 multi-channel stems from stereo or 5.1 source material and is intended for projects where the original source elements for a conventional upmix are not available. It is especially useful for catalog films, TV series, documentaries, menus, deleted scenes, and featurettes.\n\nUnlike other technologies, audio stems processed with Neural UpMix properly downmix in the consumer environment. This is essential in preserving the intent and quality of the original mix. Neural UpMix is also far from a \"set-and-forget\" plug-in, providing creative controls for soundfield width and depth, channel layout, output levels, LFE filtering and a final limiter.'),(3908,75,1,652,'Neural UpMix is a groundbreaking plug-in for the post-production and mixing communities. Combining precision and creative flexibility, it can output 5.1 or 7.1 multi-channel stems from stereo or 5.1 source material and is intended for projects where the original source elements for a conventional upmix are not available. It is especially useful for catalog films, TV series, documentaries, menus, deleted scenes, and featurettes.\n\nUnlike other technologies, audio stems processed with Neural UpMix properly downmix in the consumer environment. This is essential in preserving the intent and quality of the original mix. Neural UpMix is also far from a \"set-and-forget\" plug-in, providing creative controls for soundfield width and depth, channel layout, output levels, LFE filtering and a final limiter.'),(3909,85,0,652,'DTS Professional Neural UpMix Plug-in'),(3910,85,1,652,'DTS Professional Neural UpMix Plug-in'),(3911,76,0,652,''),(3912,76,1,652,''),(3913,75,0,653,'DTS Surround Audio Suite is the standard definition version of DTS-HD Master Audio Suite, offering both DVD and DTS Music Disc encoding modes. It includes the DTS Encoder and the DTS-HD StreamPlayer for encoding and quality control.\n\nEncoding Made Easy\nWith dramatically faster than real-time encoding, drag-and-drop, auto-import, and Folder-Based Encoding, the DTS Encoder makes encoding a snap.\n\nPre-Authoring Player Emulation\nSimulate all consumer playback scenarios of encoded DTS-HD and DTS audio streams, including downmix auditioning, speaker remapping, and real-time Primary and Secondary Audio mixing for Blu-ray Disc quality control.'),(3914,75,1,653,'DTS Surround Audio Suite is the standard definition version of DTS-HD Master Audio Suite, offering both DVD and DTS Music Disc encoding modes. It includes the DTS Encoder and the DTS-HD StreamPlayer for encoding and quality control.\n\nEncoding Made Easy\nWith dramatically faster than real-time encoding, drag-and-drop, auto-import, and Folder-Based Encoding, the DTS Encoder makes encoding a snap.\n\nPre-Authoring Player Emulation\nSimulate all consumer playback scenarios of encoded DTS-HD and DTS audio streams, including downmix auditioning, speaker remapping, and real-time Primary and Secondary Audio mixing for Blu-ray Disc quality control.'),(3915,85,0,653,'DTS Professional Surround Audio Suite Plug-in'),(3916,85,1,653,'DTS Professional Surround Audio Suite Plug-in'),(3917,76,0,653,''),(3918,76,1,653,''),(3919,75,0,654,'<h1>Dynaudio 18S Dual 9 Inch Active Subwoofer</h1><i>500 Watt Subwoofer with Dual 9in MSP+ Hybrid Drive long-throw woofers and Advnaced DSP with presets for a variety of Dynaudio Studio Monitors.</i><br /><br />The Dynaudio 18S subwoofer features dual 9\" woofers and advanced DSP modeling technology that acoustically matches 18S to any Dynaudio Pro Studio Monitor from BM Classic, LYD and upwards, turning two-way systems into three-way set-ups. Its punch is delivered by two of our brand-new MSP+ Hybrid Drive units and a 500W amp for absolute control and power.\n<br /><br />\n	Getting the 18S to match seamlessly with Dynaudio\'s professional monitors is key for absolute accuracy when mixing and mastering. That has meant assessing the acoustic characteristics of each of their popular high-end studio speakers and creating custom performance maps for each one. And it’s future-proof: when they add new studio speakers to the line-up, they’ll release a firmware update for the 18S to add their performance maps – so it can grow along with your needs and equipment.\n<br /><br />\n	With this information at its disposal, the 18S’s display and menu system lets you select the specific Dynaudio speakers you’re using in your monitoring setup. This means the roll-off can be tailored perfectly to suit. And, if you combine a LYD 48 stereo or surround setup, you’ll essentially have a full-blown four-way monitoring system at your disposal.\n<br /><br />\n	The 18S has a selection of RCA or XLR connections for flexibility with your studio setup, and comes with a number of handy features to help more advanced systems too. This includes the ability to set a time delay to ensure the sub and speakers are working perfectly in sync: all you need to do is enter the distance from the sub to the speakers and the sub adjusts itself automatically using both time and phase delays.\n<br /><br />\n	There’s also a full three-filter parametric EQ to easily defeat room modes that could affect the accuracy of your final recording.\n<br /><br />\n	<h3>Dynaudio 9S Features:</h3>\n	<ul style=\"letter-spacing: normal;\">\n		<li>500-watt state-of-the-art Class D amplifier module</li>\n		<li>Dual 9in MSP+ Hybrid Drive long-throw woofers for accurate low-end frequency reproduction</li>\n		<li>Advanced DSP with presets for a wide range of Dynaudio Pro studio monitors</li>\n		<li>Preset speaker crossover filters</li>\n		<li>Time alignment for adjusting according to position</li>\n		<li>Three-band, built-in Parametric EQ</li>\n		<li>Dual opposing driver design principle</li>\n		<li>16-230Hz frequency range</li>\n		<li>Master/Slave feature for daisy-chaining multiple subwoofers</li>\n	</ul>\n<br />\n<h3>MSP+ Hybrid Drive</h3>\n	Dynaudio designed a brand-new driver for the 18S. This one is made from aluminium rather than their standard Magnesium Silicate Polymer material. It has paper backing and an MSP dust-cap on the front. Why the sandwich? Because a subwoofer requires a different balance between stiffness, lightness and damping than standard speaker drivers.\n<br /><br />\n	The new MSP+ Hybrid Drive units have been designed specifically with subwoofers in mind for the best performance possible. Adding 18S to your monitors will open up a new world of performance that lets you mix and master with painstaking accuracy… and deliver tracks that translate beautifully to any playback system.\n<br /><br />\n	The 18S comes with presets designed to work with these monitors…\n\n<ul>\n	<li>BM6 Classic</li>\n	<li>BM15 Classic</li>\n	<li>LYD 5</li>\n	<li>LYD 7</li>\n	<li>LYD 8</li>\n	<li>LYD 48</li>\n	<li>M5P</li>\n</ul>\n<ul>\n	<br />\n</ul>'),(3920,75,1,654,'<h1>Dynaudio 18S Dual 9 Inch Active Subwoofer</h1><i>500 Watt Subwoofer with Dual 9in MSP+ Hybrid Drive long-throw woofers and Advnaced DSP with presets for a variety of Dynaudio Studio Monitors.</i><br /><br />The Dynaudio 18S subwoofer features dual 9\" woofers and advanced DSP modeling technology that acoustically matches 18S to any Dynaudio Pro Studio Monitor from BM Classic, LYD and upwards, turning two-way systems into three-way set-ups. Its punch is delivered by two of our brand-new MSP+ Hybrid Drive units and a 500W amp for absolute control and power.\n<br /><br />\n	Getting the 18S to match seamlessly with Dynaudio\'s professional monitors is key for absolute accuracy when mixing and mastering. That has meant assessing the acoustic characteristics of each of their popular high-end studio speakers and creating custom performance maps for each one. And it’s future-proof: when they add new studio speakers to the line-up, they’ll release a firmware update for the 18S to add their performance maps – so it can grow along with your needs and equipment.\n<br /><br />\n	With this information at its disposal, the 18S’s display and menu system lets you select the specific Dynaudio speakers you’re using in your monitoring setup. This means the roll-off can be tailored perfectly to suit. And, if you combine a LYD 48 stereo or surround setup, you’ll essentially have a full-blown four-way monitoring system at your disposal.\n<br /><br />\n	The 18S has a selection of RCA or XLR connections for flexibility with your studio setup, and comes with a number of handy features to help more advanced systems too. This includes the ability to set a time delay to ensure the sub and speakers are working perfectly in sync: all you need to do is enter the distance from the sub to the speakers and the sub adjusts itself automatically using both time and phase delays.\n<br /><br />\n	There’s also a full three-filter parametric EQ to easily defeat room modes that could affect the accuracy of your final recording.\n<br /><br />\n	<h3>Dynaudio 9S Features:</h3>\n	<ul style=\"letter-spacing: normal;\">\n		<li>500-watt state-of-the-art Class D amplifier module</li>\n		<li>Dual 9in MSP+ Hybrid Drive long-throw woofers for accurate low-end frequency reproduction</li>\n		<li>Advanced DSP with presets for a wide range of Dynaudio Pro studio monitors</li>\n		<li>Preset speaker crossover filters</li>\n		<li>Time alignment for adjusting according to position</li>\n		<li>Three-band, built-in Parametric EQ</li>\n		<li>Dual opposing driver design principle</li>\n		<li>16-230Hz frequency range</li>\n		<li>Master/Slave feature for daisy-chaining multiple subwoofers</li>\n	</ul>\n<br />\n<h3>MSP+ Hybrid Drive</h3>\n	Dynaudio designed a brand-new driver for the 18S. This one is made from aluminium rather than their standard Magnesium Silicate Polymer material. It has paper backing and an MSP dust-cap on the front. Why the sandwich? Because a subwoofer requires a different balance between stiffness, lightness and damping than standard speaker drivers.\n<br /><br />\n	The new MSP+ Hybrid Drive units have been designed specifically with subwoofers in mind for the best performance possible. Adding 18S to your monitors will open up a new world of performance that lets you mix and master with painstaking accuracy… and deliver tracks that translate beautifully to any playback system.\n<br /><br />\n	The 18S comes with presets designed to work with these monitors…\n\n<ul>\n	<li>BM6 Classic</li>\n	<li>BM15 Classic</li>\n	<li>LYD 5</li>\n	<li>LYD 7</li>\n	<li>LYD 8</li>\n	<li>LYD 48</li>\n	<li>M5P</li>\n</ul>\n<ul>\n	<br />\n</ul>'),(3921,85,0,654,'Dynaudio 18S Subwoofer Speaker'),(3922,85,1,654,'Dynaudio 18S Subwoofer Speaker'),(3923,76,0,654,''),(3924,76,1,654,''),(3925,75,0,655,'<h1>Dynaudio 9S 9 Inch Active Subwoofer</h1><i>Compact, 300 Watt Subwoofer with 9in long throw MSP woofer and adjustable lowpass filter to set crossover frequency.</i><br /><br />The Dynaudio 9S subwoofer is designed to complement LYD and other Dynaudio Pro studio monitors, including the classic BM range.\n<br /><br />\nStudio-quality components and construction make the 9S, with its double front baffle and brand-new 9in long-throw driver, the ideal subwoofer for your mixing and mastering projects. Dynaudio made it a priority to make the 9S compact while ensuring that you get the utmost sonic accuracy. In terms of size, it resembles the BM 9S II that it replaces, but when it comes to performance, it’s actually more comparable to the larger BM 14S II.\n<br /><br />\nThe 9S will expand any studio monitor setup regardless of whether you’re working in stereo or surround. Its massive yet tight low-end takes the burden off your monitors – letting them focus on delivering the frequency range above 50-150Hz, depending on how you set the crossover filter.\n<br /><br />\nA long-throw driver ensures the necessary movement to reproduce super low-end frequencies all the way down to 22Hz in great detail. Running the show is a 300W Class D amplifier module that significantly outperforms the previous BM 9S II.<br /><br />\n<h3>Dynaudio 9S Features:</h3>\n<ul>\n	<li>300-watt state-of-the-art Class D amplifier module</li>\n	<li>9in long-throw MSP woofer for accurate low-end frequency reproduction</li>\n	<li>22-175 Hz frequency range</li>\n	<li>Sealed, black-vinyl cabinet</li>\n	<li>37mm front baffle</li>\n	<li>Master/Slave feature for daisy-chaining multiple subwoofers</li>\n	<li>Adjustable lowpass filter to set the perfect crossover frequency</li>\n	<li>SAT output with defeatable highpass filter</li>\n</ul>'),(3926,75,1,655,'<h1>Dynaudio 9S 9 Inch Active Subwoofer</h1><i>Compact, 300 Watt Subwoofer with 9in long throw MSP woofer and adjustable lowpass filter to set crossover frequency.</i><br /><br />The Dynaudio 9S subwoofer is designed to complement LYD and other Dynaudio Pro studio monitors, including the classic BM range.\n<br /><br />\nStudio-quality components and construction make the 9S, with its double front baffle and brand-new 9in long-throw driver, the ideal subwoofer for your mixing and mastering projects. Dynaudio made it a priority to make the 9S compact while ensuring that you get the utmost sonic accuracy. In terms of size, it resembles the BM 9S II that it replaces, but when it comes to performance, it’s actually more comparable to the larger BM 14S II.\n<br /><br />\nThe 9S will expand any studio monitor setup regardless of whether you’re working in stereo or surround. Its massive yet tight low-end takes the burden off your monitors – letting them focus on delivering the frequency range above 50-150Hz, depending on how you set the crossover filter.\n<br /><br />\nA long-throw driver ensures the necessary movement to reproduce super low-end frequencies all the way down to 22Hz in great detail. Running the show is a 300W Class D amplifier module that significantly outperforms the previous BM 9S II.<br /><br />\n<h3>Dynaudio 9S Features:</h3>\n<ul>\n	<li>300-watt state-of-the-art Class D amplifier module</li>\n	<li>9in long-throw MSP woofer for accurate low-end frequency reproduction</li>\n	<li>22-175 Hz frequency range</li>\n	<li>Sealed, black-vinyl cabinet</li>\n	<li>37mm front baffle</li>\n	<li>Master/Slave feature for daisy-chaining multiple subwoofers</li>\n	<li>Adjustable lowpass filter to set the perfect crossover frequency</li>\n	<li>SAT output with defeatable highpass filter</li>\n</ul>'),(3927,85,0,655,'Dynaudio 9S Subwoofer Speaker'),(3928,85,1,655,'Dynaudio 9S Subwoofer Speaker'),(3929,76,0,655,''),(3930,76,1,655,''),(3931,75,0,656,'<h1>Dynaudio BM15A Studio Monitor Speaker</h1>\n\nThe Dynaudio BM15A is a revolutionary nearfield monitor offering exceptionally high performance. Its full range extended bass response makes it the perfect nearfield monitor, particularly for commercial studios, project studios and post production facilities.<br /><br />\nThe BM15A is a relatively large 2-way active system comprising of a large 240mm (10\") woofer, a special version of the Dynaudio ESOTEC soft dome tweeter and an electronic phase-aligned crossover, which feeds the build-in dual, high performance discrete MOSFET amplifiers. <br /><br />\nThe ESOTEC HF driver spells quality and headroom due to a dynamic headroom of 1000W, and the 240mm (10\") bass driver is world-renowned for its 100mm (4\") aluminium alloy voice coil, which outperforms most 300mm (12\") drivers in terms of power output and sheer punch. <br /><br />\nThe electronics offer complex protection circuitry helping to prevent accidental damage to the drivers, while still providing maximum transient response. <br /><br />\nThe BM15A monitor is front ported for powerful and extended low frequency response, and the elegant matte cabinet has radius edges on the front baffle to reduce boundary effects and improve the overall sound quality.<br /><br /><h3>Dynaudio BM15A Features:</h3><ul><li><span style=\"background-color: initial;\">Handcrafted aluminum drivers </span></li><li>High-resolution 1.1\" soft dome tweeter,  pure aluminum voice  coil</li><li>10\" woofer, 4\" pure aluminum voice  coil</li><li>2 channel  high grade 100/200Watt RMS amplifiers</li><li>124dB SPL peak power output </li><li>Frequency response of 40Hz to 22kHz </li><li>HF & LF analog trim filters</li></ul>'),(3932,75,1,656,'<h1>Dynaudio BM15A Studio Monitor Speaker</h1>\n\nThe Dynaudio BM15A is a revolutionary nearfield monitor offering exceptionally high performance. Its full range extended bass response makes it the perfect nearfield monitor, particularly for commercial studios, project studios and post production facilities.<br /><br />\nThe BM15A is a relatively large 2-way active system comprising of a large 240mm (10\") woofer, a special version of the Dynaudio ESOTEC soft dome tweeter and an electronic phase-aligned crossover, which feeds the build-in dual, high performance discrete MOSFET amplifiers. <br /><br />\nThe ESOTEC HF driver spells quality and headroom due to a dynamic headroom of 1000W, and the 240mm (10\") bass driver is world-renowned for its 100mm (4\") aluminium alloy voice coil, which outperforms most 300mm (12\") drivers in terms of power output and sheer punch. <br /><br />\nThe electronics offer complex protection circuitry helping to prevent accidental damage to the drivers, while still providing maximum transient response. <br /><br />\nThe BM15A monitor is front ported for powerful and extended low frequency response, and the elegant matte cabinet has radius edges on the front baffle to reduce boundary effects and improve the overall sound quality.<br /><br /><h3>Dynaudio BM15A Features:</h3><ul><li><span style=\"background-color: initial;\">Handcrafted aluminum drivers </span></li><li>High-resolution 1.1\" soft dome tweeter,  pure aluminum voice  coil</li><li>10\" woofer, 4\" pure aluminum voice  coil</li><li>2 channel  high grade 100/200Watt RMS amplifiers</li><li>124dB SPL peak power output </li><li>Frequency response of 40Hz to 22kHz </li><li>HF & LF analog trim filters</li></ul>'),(3933,85,0,656,'Dynaudio BM15A Studio Monitor Speakers'),(3934,85,1,656,'Dynaudio BM15A Studio Monitor Speakers'),(3935,76,0,656,''),(3936,76,1,656,''),(3937,75,0,657,'<h1>Dynaudio BM6A Studio Monitor Speaker</h1>\n\nThe Dyanudio BM 6A studio monitor is a near-filed monitor that features an electronic 4th order phase-aligned crossover with a crossover point at 2.2kHz, which feeds two high performance discrete MOSFET amplifiers rated at 100W each.<br /><br />\n\nThe low frequency section is driven by a low frequency equalizer offering a choice between extended, critical damped response or more conventional higher Qt response for more level but less low frequency output. Included in the electronics is a complex protection circuit, which helps to prevent accidental damage to the drivers, yet still providing maximum transient response.<br /><br />\n\nThe BM 6A is housed with an elegant matte cabinet with radius edged construction on the front baffle to reduce boundary effects and improve overall sound quality.<br /><br />\n\n<h3>Dynaudio BM6A Features:</h3><ul><li><span style=\"background-color: initial;\">Two high performance discrete MOSFET amplifiers</span></li><li>4th order phase-aligned crossover</li><li>Handcrafted drivers with aluminum voice coils</li><li>Made in Denmark</li></ul>'),(3938,75,1,657,'<h1>Dynaudio BM6A Studio Monitor Speaker</h1>\n\nThe Dyanudio BM 6A studio monitor is a near-filed monitor that features an electronic 4th order phase-aligned crossover with a crossover point at 2.2kHz, which feeds two high performance discrete MOSFET amplifiers rated at 100W each.<br /><br />\n\nThe low frequency section is driven by a low frequency equalizer offering a choice between extended, critical damped response or more conventional higher Qt response for more level but less low frequency output. Included in the electronics is a complex protection circuit, which helps to prevent accidental damage to the drivers, yet still providing maximum transient response.<br /><br />\n\nThe BM 6A is housed with an elegant matte cabinet with radius edged construction on the front baffle to reduce boundary effects and improve overall sound quality.<br /><br />\n\n<h3>Dynaudio BM6A Features:</h3><ul><li><span style=\"background-color: initial;\">Two high performance discrete MOSFET amplifiers</span></li><li>4th order phase-aligned crossover</li><li>Handcrafted drivers with aluminum voice coils</li><li>Made in Denmark</li></ul>'),(3939,85,0,657,'Dynaudio BM6A Studio Monitor Speakers'),(3940,85,1,657,'Dynaudio BM6A Studio Monitor Speakers'),(3941,76,0,657,''),(3942,76,1,657,''),(3943,75,0,658,'<h1>Dynaudio Core 47 Active Studio Monitor</h1>\nThe Dynaudio Core 47 is the mid-size model of Dynaudio\'s flagship professional reference monitor series. \n<span style=\"background-color: initial;\">This compact three-way monitor features an eyebrow-raising 500W + 500W + 150W of Class-D power from Pascal amplification, as well as sophisticated digital signal processing and a flat bass response down to 44Hz at -3dB, and 37Hz at -6dB with a gentle roll-off. And it reaches all the way up to 31kHz – never let it be said monitoring can’t give you a real high.</span><span style=\"background-color: initial;\"><br /></span><br />\n<h3>Dynaudio Core 47 Features:</h3>\n<ul>\n	<li><b>High-quality amplification - </b>500 watts each for the mid/woofer and 150 watts for the tweeter</li>\n	<li><b>All-new drivers - </b>Designed and made in Denmark using Dynaudio\'s world-class Jupiter measuring facility</li>\n	<li><b>Advanced DSP - </b>Simple to use, powerful to listen to: it lets you tailor Core 47 for any listening environment</li>\n</ul>\n<br />\n<h3>No more second-guessing</h3>\nDynaudio studio monitors have always been famous for their revealing detail. The all-new Esotar Pro tweeter takes the word ‘revealing’ to a new level. It’s the culmination of Dynaudio engineers’ obsessive attention to driver detail, and uses innovative airflow technology (as well as a powerful neodymium magnet) to ensure that what went in, comes out.\n<br /><br />\nAdvanced manufacturing techniques and extensive measuring in Dynaudio\'s Jupiter testing facility have resulted in the ingenious Hexis inner dome. It sits just behind the tweeter diaphragm and optimizes airflow to improving thermal response and eliminating unwanted internal resonances. The result is the best imaging, transient detail, and effortless high frequency response. It’s the kind of tweeter you can listen to long into the night during marathon mix sessions. Full detail and clarity, but no fatigue.<br /><br />\nThe 4in midrange driver provides staggering detail. It uses Dynaudio\'s proprietary MSP (Magnesium Silicate Polymer) material in its one-piece cone for the perfect balance of lightness, stiffness and damping. That, coupled with an aluminum voice-coil and neodymium magnet system, means an incredibly fast response and authoritative control. With crossover points at 475Hz and 5.25kHz, Core 47 delivers so much more of the critical vocal range in one driver than typical designs, ensuring your mix decisions on vocal balances and dialogue subtleties are made with confidence.\n<br /><br />\nCore 47 and Core 7 share the same woofer. However, in a three-way design, this driver can focus on delivering deeper bass since midrange duties are handled by the 4in driver. This helps deliver the lower frequencies deliver awesome clarity, while the amplifier’s power and gentle roll-off let your ears (and your recordings) take full advantage of all the depth on offer. And, most importantly, all this deep energy is tonally accurate, letting you equalize bass instruments, kick drums, and all those subwoofer “booms” in the movies.\n<br /><br />\nAnd because each driver is handmade in Dyanudio\'s factory in Denmark, they can maintain incredibly small tolerances and deliver exceptional imaging. This consistency in each driver means you can use Core monitors in multiple studios and have them all sound and perform at the same high level – everything you need to hear, everywhere you go.\n<br /><br />\n<h3>Under the hood: brains as well as brawn</h3>\nThe Dynaudio AIR series was famous for its advanced DSP system. But times have changed, and Dynaudio\'s acoustic engineers are restless folk… so they’ve spent the intervening 18 years innovating. That’s resulted in some great leaps in DSP sophistication – but also in the way it’s applied in everyday use. Users wanted something easier to use, and that’s exactly what you’ve got – with even better performance.\n<br /><br />\nDynaudio have given Core 47 the power to optimize itself for differing acoustic environments. There are three settings: Anechoic, for when the monitors are placed on stands in rooms that have sufficient dampening treatment (such as recording studios and dubbing stages); Desk, for when they’re on a workstation or meter bridge; and Soffit, for when they’re mounted in properly designed wall soffits as part of an overall architectural acoustic design. And that’s not all: you can also set boundary filters that compensate for walls or corners where low-frequency room modes can be triggered.\n<br /><br />\nDynaudio marked the speakers ‘left’ and ‘right’, but tweeter position depends on your room. Core 47 can be used tweeters-in or tweeters-out, depending on the room and listening position.\n<br /><br />\nUsers can also alter the overall presentation. Core 47 uses the same concept as the LYD series Sound Balance filter – a different design from the typical tweeter and woofer adjustments found on most active monitors. Instead of simply adjusting the level of the tweeter up or down, which will affect phase response, Core 47 uses a full-spectrum band-pass filter that tilts depending on the desired tonal response. In the ‘Dark’ setting, the entire frequency response is tilted so that 20kHz is down -1.5dB while 20Hz is up +1.5dB. In the bright setting, the tilt is reversed (+1.5dB at 20kHz and -1.5dB at 20Hz). This gentle filter, unlike traditional shelving EQs, maintains the proper phase response between the drivers while providing the tone that meet your tastes.\n<br /><br />\n<h3>Input sensitivity tailored to your studio</h3>\nThe noise-floor and signal resolution of any monitoring system is critical to its performance. Whether you’re using the analogue or digital inputs, you need to be able to control the gain staging between the monitor controller and the speaker system. Dynaudio provided a range of 0dBu to +24dBu to match the input sensitivity to the output level. Once optimized, Core 47 processes all analog signals at a 192kHz sampling rate for the greatest degree of mathematical precision from the advanced DSP processor.\n<br /><br />\nWhen using the AES digital inputs, there are two settings: one to determine which channel (L or R) of the AES stream is used for that monitor, and a second to determine the maximum output SPL. If you want maximum output SPL, set this to 112dB (124dB peak for a pair half space). If you work mostly at lower levels, choose a lower SPL setting to optimise the bit resolution of the AES input for the best linearity.\n<br /><br />\nWhen using the AES input, Core 47’s DSP operates at the incoming sample rate and either locks to the AES clock or incoming word clock to maintain the most accurate signal possible. That means if you work in 48K, for example, you can send the signal straight to your speakers in 48K. It’s as simple as that. Unlike other competitors there is no sample-rate conversion. You give it 192, it does 192.\n<br /><br />\n<h3>Placement options: nothing left to chance</h3>\nDynaudio made sure Core 47’s cabinet is stiff and inert, so all the vibration energy goes where it’s supposed to. That’s why they\'ve given it a super-thick 44mm bezel, which contributes to its excellent linearity across the spectrum and means you can place it anywhere for a wide range of uses. Dynaudio call them left and right, but you can use them tweeters-in or tweeters-out depending on your room and positioning. As with all Core speakers, they’ve put versatility high on the priority list.\n<br /><br />\nSince every application is unique and monitors need to be placed in a variety of environments – either on their sides, vertically or sometimes even inverted with the woofer above the tweeter – Dynaudio designed Core 47 with indentations on all four sides. They’ve even developed special isolation pads that can be placed in order to protect the cabinet’s finish and halt vibrations from the mounting surface.\n<br /><br />\nThat goes for multi-channel set-ups, too: they’ve also designed special brackets have to mount Core 47 in orientations suitable for surround sound, immersive audio and other custom configurations.\n<br /><br />\n<h3>Designed for every type of studio</h3>\nAs the global success of Dynaudio\'s LYD 48 series has shown, there’s great demand for compact three-way studio monitors. Rooms might be getting smaller, but we all remember how it was mixing on big three-way mains…\n<br /><br />\nCore 47 is designed for maximum flexibility and performance where its compact size and superb midrange detail are desirable. This includes music recording studios, TV dub stages, edit suites, broadcast trucks, ADR facilities, and game authoring suites. It also makes an excellent surround monitor in broadcast and theatrical dub stages – including multi-channel immersive-audio rooms and custom installations.\n<br /><br />\nAnd because its compact size doesn’t diminish its performance either in frequency response or output SPL, it’s incredibly easy to integrate with other Core series monitors in calibrated, multi-channel monitoring systems.\n<br /><br />\nCore 47 is a no-compromise three-way professional monitor that delivers the best modern DSP-optimized performance, effortless power, and classic Dynaudio heritage in a compact enclosure designed for every audio professional. This is what performance sounds like.<br /><br />'),(3944,75,1,658,'<h1>Dynaudio Core 47 Active Studio Monitor</h1>\nThe Dynaudio Core 47 is the mid-size model of Dynaudio\'s flagship professional reference monitor series. \n<span style=\"background-color: initial;\">This compact three-way monitor features an eyebrow-raising 500W + 500W + 150W of Class-D power from Pascal amplification, as well as sophisticated digital signal processing and a flat bass response down to 44Hz at -3dB, and 37Hz at -6dB with a gentle roll-off. And it reaches all the way up to 31kHz – never let it be said monitoring can’t give you a real high.</span><span style=\"background-color: initial;\"><br /></span><br />\n<h3>Dynaudio Core 47 Features:</h3>\n<ul>\n	<li><b>High-quality amplification - </b>500 watts each for the mid/woofer and 150 watts for the tweeter</li>\n	<li><b>All-new drivers - </b>Designed and made in Denmark using Dynaudio\'s world-class Jupiter measuring facility</li>\n	<li><b>Advanced DSP - </b>Simple to use, powerful to listen to: it lets you tailor Core 47 for any listening environment</li>\n</ul>\n<br />\n<h3>No more second-guessing</h3>\nDynaudio studio monitors have always been famous for their revealing detail. The all-new Esotar Pro tweeter takes the word ‘revealing’ to a new level. It’s the culmination of Dynaudio engineers’ obsessive attention to driver detail, and uses innovative airflow technology (as well as a powerful neodymium magnet) to ensure that what went in, comes out.\n<br /><br />\nAdvanced manufacturing techniques and extensive measuring in Dynaudio\'s Jupiter testing facility have resulted in the ingenious Hexis inner dome. It sits just behind the tweeter diaphragm and optimizes airflow to improving thermal response and eliminating unwanted internal resonances. The result is the best imaging, transient detail, and effortless high frequency response. It’s the kind of tweeter you can listen to long into the night during marathon mix sessions. Full detail and clarity, but no fatigue.<br /><br />\nThe 4in midrange driver provides staggering detail. It uses Dynaudio\'s proprietary MSP (Magnesium Silicate Polymer) material in its one-piece cone for the perfect balance of lightness, stiffness and damping. That, coupled with an aluminum voice-coil and neodymium magnet system, means an incredibly fast response and authoritative control. With crossover points at 475Hz and 5.25kHz, Core 47 delivers so much more of the critical vocal range in one driver than typical designs, ensuring your mix decisions on vocal balances and dialogue subtleties are made with confidence.\n<br /><br />\nCore 47 and Core 7 share the same woofer. However, in a three-way design, this driver can focus on delivering deeper bass since midrange duties are handled by the 4in driver. This helps deliver the lower frequencies deliver awesome clarity, while the amplifier’s power and gentle roll-off let your ears (and your recordings) take full advantage of all the depth on offer. And, most importantly, all this deep energy is tonally accurate, letting you equalize bass instruments, kick drums, and all those subwoofer “booms” in the movies.\n<br /><br />\nAnd because each driver is handmade in Dyanudio\'s factory in Denmark, they can maintain incredibly small tolerances and deliver exceptional imaging. This consistency in each driver means you can use Core monitors in multiple studios and have them all sound and perform at the same high level – everything you need to hear, everywhere you go.\n<br /><br />\n<h3>Under the hood: brains as well as brawn</h3>\nThe Dynaudio AIR series was famous for its advanced DSP system. But times have changed, and Dynaudio\'s acoustic engineers are restless folk… so they’ve spent the intervening 18 years innovating. That’s resulted in some great leaps in DSP sophistication – but also in the way it’s applied in everyday use. Users wanted something easier to use, and that’s exactly what you’ve got – with even better performance.\n<br /><br />\nDynaudio have given Core 47 the power to optimize itself for differing acoustic environments. There are three settings: Anechoic, for when the monitors are placed on stands in rooms that have sufficient dampening treatment (such as recording studios and dubbing stages); Desk, for when they’re on a workstation or meter bridge; and Soffit, for when they’re mounted in properly designed wall soffits as part of an overall architectural acoustic design. And that’s not all: you can also set boundary filters that compensate for walls or corners where low-frequency room modes can be triggered.\n<br /><br />\nDynaudio marked the speakers ‘left’ and ‘right’, but tweeter position depends on your room. Core 47 can be used tweeters-in or tweeters-out, depending on the room and listening position.\n<br /><br />\nUsers can also alter the overall presentation. Core 47 uses the same concept as the LYD series Sound Balance filter – a different design from the typical tweeter and woofer adjustments found on most active monitors. Instead of simply adjusting the level of the tweeter up or down, which will affect phase response, Core 47 uses a full-spectrum band-pass filter that tilts depending on the desired tonal response. In the ‘Dark’ setting, the entire frequency response is tilted so that 20kHz is down -1.5dB while 20Hz is up +1.5dB. In the bright setting, the tilt is reversed (+1.5dB at 20kHz and -1.5dB at 20Hz). This gentle filter, unlike traditional shelving EQs, maintains the proper phase response between the drivers while providing the tone that meet your tastes.\n<br /><br />\n<h3>Input sensitivity tailored to your studio</h3>\nThe noise-floor and signal resolution of any monitoring system is critical to its performance. Whether you’re using the analogue or digital inputs, you need to be able to control the gain staging between the monitor controller and the speaker system. Dynaudio provided a range of 0dBu to +24dBu to match the input sensitivity to the output level. Once optimized, Core 47 processes all analog signals at a 192kHz sampling rate for the greatest degree of mathematical precision from the advanced DSP processor.\n<br /><br />\nWhen using the AES digital inputs, there are two settings: one to determine which channel (L or R) of the AES stream is used for that monitor, and a second to determine the maximum output SPL. If you want maximum output SPL, set this to 112dB (124dB peak for a pair half space). If you work mostly at lower levels, choose a lower SPL setting to optimise the bit resolution of the AES input for the best linearity.\n<br /><br />\nWhen using the AES input, Core 47’s DSP operates at the incoming sample rate and either locks to the AES clock or incoming word clock to maintain the most accurate signal possible. That means if you work in 48K, for example, you can send the signal straight to your speakers in 48K. It’s as simple as that. Unlike other competitors there is no sample-rate conversion. You give it 192, it does 192.\n<br /><br />\n<h3>Placement options: nothing left to chance</h3>\nDynaudio made sure Core 47’s cabinet is stiff and inert, so all the vibration energy goes where it’s supposed to. That’s why they\'ve given it a super-thick 44mm bezel, which contributes to its excellent linearity across the spectrum and means you can place it anywhere for a wide range of uses. Dynaudio call them left and right, but you can use them tweeters-in or tweeters-out depending on your room and positioning. As with all Core speakers, they’ve put versatility high on the priority list.\n<br /><br />\nSince every application is unique and monitors need to be placed in a variety of environments – either on their sides, vertically or sometimes even inverted with the woofer above the tweeter – Dynaudio designed Core 47 with indentations on all four sides. They’ve even developed special isolation pads that can be placed in order to protect the cabinet’s finish and halt vibrations from the mounting surface.\n<br /><br />\nThat goes for multi-channel set-ups, too: they’ve also designed special brackets have to mount Core 47 in orientations suitable for surround sound, immersive audio and other custom configurations.\n<br /><br />\n<h3>Designed for every type of studio</h3>\nAs the global success of Dynaudio\'s LYD 48 series has shown, there’s great demand for compact three-way studio monitors. Rooms might be getting smaller, but we all remember how it was mixing on big three-way mains…\n<br /><br />\nCore 47 is designed for maximum flexibility and performance where its compact size and superb midrange detail are desirable. This includes music recording studios, TV dub stages, edit suites, broadcast trucks, ADR facilities, and game authoring suites. It also makes an excellent surround monitor in broadcast and theatrical dub stages – including multi-channel immersive-audio rooms and custom installations.\n<br /><br />\nAnd because its compact size doesn’t diminish its performance either in frequency response or output SPL, it’s incredibly easy to integrate with other Core series monitors in calibrated, multi-channel monitoring systems.\n<br /><br />\nCore 47 is a no-compromise three-way professional monitor that delivers the best modern DSP-optimized performance, effortless power, and classic Dynaudio heritage in a compact enclosure designed for every audio professional. This is what performance sounds like.<br /><br />'),(3945,85,0,658,'Dynaudio Core 47 Active Studio Monitor'),(3946,85,1,658,'Dynaudio Core 47 Active Studio Monitor'),(3947,76,0,658,''),(3948,76,1,658,''),(3949,75,0,659,'<h1>Dynaudio Core 59 Active Studio Monitor</h1>\nThe Dynaudio Core 59 Active Studio Monitor is the flagship of Dynaudio\'s high-end professional reference monitor series. This three-way speaker features uncompromising class-D amplification, cutting-edge digital signal processing, a super-inert 32mm-thick baffle and a flat bass response down to 36Hz at -6dB.\n<br /><br />\nIt’s a serious system designed for serious audio professionals. Core 59 has been made for the highest-demand environments that recording engineers, mixers, producers, and editors work in – and has been specifically designed to solve many of the monitoring issues that career professionals face every day.<br />\n<h3><br class=\"Apple-interchange-newline\" />\nDynaudio Core 59 Features:</h3>\n<ul>\n	<li><b>Hand-crafted - </b>Designed, developed, tested and made in Denmark. All the drivers are hand-made at Dynaudio HQ, and each speaker is individually calibrated before it leaves our factory</li>\n	<li><b>Advanced DSP - </b>Simple to use… but incredibly powerful. Core’s DSP optimises performance for positioning, sound balance and bass extension</li>\n	<li><b>Power to spare - </b>Each driver has its own dedicated class-D amplifier: 500W each for the woofer and midrange drivers, and a 150W amp for the tweeter. That’s some serious headroom</li>\n	<li><b>Esotar Pro tweeter - </b>Dynaudio’s already legendary high-frequency driver has been redesigned and re-engineered for high-performance professional use</li>\n</ul>\n<br />\n<h3>Listen all day (and all night) without fatigue</h3>\nListener fatigue is the thorn in the side of every studio engineer. Once it sets in, you’re done for the day. Core 59’s all-new Esotar Pro tweeter has been created to keep fatigue at bay so you won’t be finished before the mix is.\n<br /><br />\nDynaudio has long been known for their sweet-sounding soft-dome tweeters. They provide hours of pinpoint imaging and detail without the tiring quality that’s common to other designs. The Esotar Pro builds on this heritage with the ingenious Hexis device. It’s an inner dome that sits just behind the diaphragm and optimizes airflow, smooths the frequency response and eliminates unwanted internal resonances. The result is outstanding imaging, transient detail, and effortless high frequency response.\n<br /><br />\nThe speaker’s 5in midrange driver provides staggering detail. It uses Dynaudio\'s proprietary MSP (Magnesium Silicate Polymer) material in its cone for the best combination of lightness, stiffness and damping and, coupled with an aluminum voice-coil, has an incredibly fast response and authoritative control from its neodymium magnet system. With crossover points at 385Hz and 5kHz, Core 59 delivers so much more of the critical vocal range in one driver than typical designs, ensuring your mix decisions on vocal balances and dialogue subtleties are made with total confidence. \n<br /><br />\nCore 59’s new bass driver has emerged from over 18 months of intensive study into subwoofer driver technology, including Dynaudio\'s 18S subwoofer, which dives all the way down to 16Hz. The outcome of that research is a new copper voice-coil and glass-fibre former, pushed by ceramic magnets and a 500W class-D Pascal amplifier. It gives the 9in long-excursion woofer even more grip on the bottom without sacrificing a deep frequency response.\n<br /><br />\nAnd because each driver is handmade in Dynaudio\'s factory in Denmark, they can maintain incredible consistency. That means you can use Core monitors in multiple studios and have them all sound and perform at the same high level – everything you need to hear, everywhere you go. Should you need to replace a driver, you can either do it yourself and calibrate it to within 0.2dB as on the AIR series, or have your service centre do a full factory-level calibration.\n<br /><br />\n<h3>Ultra-flexible positioning and the Orbit baffle</h3>\nWhen Dynaudio revolutionized studio monitoring with their AIR series, they also revolutionized speaker positioning. Literally. AIR made it possible to use a three-way speaker in multiple orientations without compromising the midrange driver and tweeter’s phase response by using sealed midrange and tweeter assemblies that can be rotated in the cabinet.\n<br /><br />\nCore 59’s Orbit baffle rotates too, so you can use it in left, right, or centre-channel orientation. You can even position the woofer above the tweeter/midrange assembly to accommodate placement in front of a console in an LCR array.\n<br /><br />\nSince every application is unique and monitors may need to be placed in a variety of environments – on their sides, vertically or sometimes even inverted – Dynaudio have given Core 59 indentations on all four sides. Just fit the special Dynaudio pads to protect the cabinet\'s finish and stabilize it on the mounting surface.\n<br /><br />\nCore 59 is also compatible with standard VESA mounting brackets or custom K&M brackets should you want to mount them on walls or the ceiling as part of a multichannel or immersive-audio reference system such as Dolby ATMOS.\n<br /><br />\n<h3>Sophisticated DSP that’s surprisingly easy to use</h3>\nThe AIR series was famous for its advanced DSP system. But Dynaudio\'s acoustic engineers don’t believe laurels are for resting on, so they’ve constantly been looking for better and more innovative ways of doing it. That work has resulted in some great leaps in DSP sophistication – but also in the way it’s applied in everyday use. Users wanted something easier to use, and that’s exactly what you get with Core – with even better performance.\n<br /><br />\nPositioning is critical when installing a monitor system. That’s why each Core 59 has two DSP filter switches to address its position and boundary locations. For example, if you place the monitors on the meter bridge of a large-format mixing console, set them to ‘Desk’. This will help compensate for the first reflection created by the mixing surface. On the other hand, if you put the monitors into a purpose-built wall, setting the Position 1 filter to ‘Soffit’ will compensate for the increased bass response.\n<br /><br />\nBoundary effects created by placing a monitor close to walls or a ceiling can be compensated for by adjusting the Position 2 filter between ‘Wall’ or ‘Corner’. These filters help compensate for the reflections created by the boundary walls, especially in the lower frequencies. There’s also a low-frequency 80Hz Linkwitz-Riley cutoff that can be engaged if you’re using Core 59 with a subwoofer to extend the low frequency response.\n<br /><br />\nUsers can also alter the overall presentation. Core 59 uses the same concept as the LYD series Sound Balance filter – a different design to typical shelving-EQ tweeter and woofer adjustments found on most active monitors. Instead of simply fine-tuning the tweeter level up or down, which will affect phase response, Core 59 uses a full-spectrum band-pass filter that tilts depending on the desired tonal response. In the ‘Dark’ setting, the entire frequency response is tilted so that 20kHz is down -1.5dB, while 20Hz is up +1.5dB. In ‘Bright’, the tilt is reversed (+1.5dB at 20kHz and -1.5dB at 20Hz). This gentle filter maintains the proper phase response between the drivers while providing the tone that meet your tastes. The changes are subtle, but often this little tweak is enough to make the sound balance just right.\n<br /><br />\n<h3>Input sensitivity the way you want it</h3>\nThe noise-floor and signal resolution of any monitoring system is critical to its performance. Whether you’re using the analogue or digital inputs, you need to be able to control the gain staging between the monitor controller and the speaker system. Dynaudio have provided a range of 0dBu to +24dBu to match the analogue input sensitivity to the output level. Once optimized, Core 59 processes all analogue signals at a 192kHz sampling rate and 64-bit resolution in the DSP (from the 24-bit analogue-to-digital converter) for the greatest degree of mathematical precision.\n<br /><br />\nThere’s a switch to determine the maximum output SPL with the greatest bit-depth in the DSP. If you want the maximum level, set this to 112dB. If you work mostly at lower levels, choose a lower SPL setting to optimize the bit-depth of the DSP for both inputs.\n<br /><br />\nWhen using the AES digital inputs, you must determine which channel (left or right) of the AES stream is used for that monitor. Core 59’s DSP operates at the incoming sample rate and either locks to the digital audio clock or word clock to maintain the most accurate signal possible.\n<br /><br />\n<h3>The beating heart of your studio</h3>\nDynaudio designed Core 59 to be used however and wherever you need it – whether that’s for near-field, mid-field or main monitoring, or in soffit-mounted set-ups. It’s made for music mastering, mixing, and recording; theatrical re-mixing; editorial and sound design for games or anywhere else you need an uncompromising critical monitoring system.\n<br /><br />\nCore 59 is ready to be installed in high-SPL immersive audio and other multi-channel environments with both analogue and digital connectivity, DSP controlled acoustic response, and versatile positioning. That means complete tonal consistency whatever your monitoring needs.'),(3950,75,1,659,'<h1>Dynaudio Core 59 Active Studio Monitor</h1>\nThe Dynaudio Core 59 Active Studio Monitor is the flagship of Dynaudio\'s high-end professional reference monitor series. This three-way speaker features uncompromising class-D amplification, cutting-edge digital signal processing, a super-inert 32mm-thick baffle and a flat bass response down to 36Hz at -6dB.\n<br /><br />\nIt’s a serious system designed for serious audio professionals. Core 59 has been made for the highest-demand environments that recording engineers, mixers, producers, and editors work in – and has been specifically designed to solve many of the monitoring issues that career professionals face every day.<br />\n<h3><br class=\"Apple-interchange-newline\" />\nDynaudio Core 59 Features:</h3>\n<ul>\n	<li><b>Hand-crafted - </b>Designed, developed, tested and made in Denmark. All the drivers are hand-made at Dynaudio HQ, and each speaker is individually calibrated before it leaves our factory</li>\n	<li><b>Advanced DSP - </b>Simple to use… but incredibly powerful. Core’s DSP optimises performance for positioning, sound balance and bass extension</li>\n	<li><b>Power to spare - </b>Each driver has its own dedicated class-D amplifier: 500W each for the woofer and midrange drivers, and a 150W amp for the tweeter. That’s some serious headroom</li>\n	<li><b>Esotar Pro tweeter - </b>Dynaudio’s already legendary high-frequency driver has been redesigned and re-engineered for high-performance professional use</li>\n</ul>\n<br />\n<h3>Listen all day (and all night) without fatigue</h3>\nListener fatigue is the thorn in the side of every studio engineer. Once it sets in, you’re done for the day. Core 59’s all-new Esotar Pro tweeter has been created to keep fatigue at bay so you won’t be finished before the mix is.\n<br /><br />\nDynaudio has long been known for their sweet-sounding soft-dome tweeters. They provide hours of pinpoint imaging and detail without the tiring quality that’s common to other designs. The Esotar Pro builds on this heritage with the ingenious Hexis device. It’s an inner dome that sits just behind the diaphragm and optimizes airflow, smooths the frequency response and eliminates unwanted internal resonances. The result is outstanding imaging, transient detail, and effortless high frequency response.\n<br /><br />\nThe speaker’s 5in midrange driver provides staggering detail. It uses Dynaudio\'s proprietary MSP (Magnesium Silicate Polymer) material in its cone for the best combination of lightness, stiffness and damping and, coupled with an aluminum voice-coil, has an incredibly fast response and authoritative control from its neodymium magnet system. With crossover points at 385Hz and 5kHz, Core 59 delivers so much more of the critical vocal range in one driver than typical designs, ensuring your mix decisions on vocal balances and dialogue subtleties are made with total confidence. \n<br /><br />\nCore 59’s new bass driver has emerged from over 18 months of intensive study into subwoofer driver technology, including Dynaudio\'s 18S subwoofer, which dives all the way down to 16Hz. The outcome of that research is a new copper voice-coil and glass-fibre former, pushed by ceramic magnets and a 500W class-D Pascal amplifier. It gives the 9in long-excursion woofer even more grip on the bottom without sacrificing a deep frequency response.\n<br /><br />\nAnd because each driver is handmade in Dynaudio\'s factory in Denmark, they can maintain incredible consistency. That means you can use Core monitors in multiple studios and have them all sound and perform at the same high level – everything you need to hear, everywhere you go. Should you need to replace a driver, you can either do it yourself and calibrate it to within 0.2dB as on the AIR series, or have your service centre do a full factory-level calibration.\n<br /><br />\n<h3>Ultra-flexible positioning and the Orbit baffle</h3>\nWhen Dynaudio revolutionized studio monitoring with their AIR series, they also revolutionized speaker positioning. Literally. AIR made it possible to use a three-way speaker in multiple orientations without compromising the midrange driver and tweeter’s phase response by using sealed midrange and tweeter assemblies that can be rotated in the cabinet.\n<br /><br />\nCore 59’s Orbit baffle rotates too, so you can use it in left, right, or centre-channel orientation. You can even position the woofer above the tweeter/midrange assembly to accommodate placement in front of a console in an LCR array.\n<br /><br />\nSince every application is unique and monitors may need to be placed in a variety of environments – on their sides, vertically or sometimes even inverted – Dynaudio have given Core 59 indentations on all four sides. Just fit the special Dynaudio pads to protect the cabinet\'s finish and stabilize it on the mounting surface.\n<br /><br />\nCore 59 is also compatible with standard VESA mounting brackets or custom K&M brackets should you want to mount them on walls or the ceiling as part of a multichannel or immersive-audio reference system such as Dolby ATMOS.\n<br /><br />\n<h3>Sophisticated DSP that’s surprisingly easy to use</h3>\nThe AIR series was famous for its advanced DSP system. But Dynaudio\'s acoustic engineers don’t believe laurels are for resting on, so they’ve constantly been looking for better and more innovative ways of doing it. That work has resulted in some great leaps in DSP sophistication – but also in the way it’s applied in everyday use. Users wanted something easier to use, and that’s exactly what you get with Core – with even better performance.\n<br /><br />\nPositioning is critical when installing a monitor system. That’s why each Core 59 has two DSP filter switches to address its position and boundary locations. For example, if you place the monitors on the meter bridge of a large-format mixing console, set them to ‘Desk’. This will help compensate for the first reflection created by the mixing surface. On the other hand, if you put the monitors into a purpose-built wall, setting the Position 1 filter to ‘Soffit’ will compensate for the increased bass response.\n<br /><br />\nBoundary effects created by placing a monitor close to walls or a ceiling can be compensated for by adjusting the Position 2 filter between ‘Wall’ or ‘Corner’. These filters help compensate for the reflections created by the boundary walls, especially in the lower frequencies. There’s also a low-frequency 80Hz Linkwitz-Riley cutoff that can be engaged if you’re using Core 59 with a subwoofer to extend the low frequency response.\n<br /><br />\nUsers can also alter the overall presentation. Core 59 uses the same concept as the LYD series Sound Balance filter – a different design to typical shelving-EQ tweeter and woofer adjustments found on most active monitors. Instead of simply fine-tuning the tweeter level up or down, which will affect phase response, Core 59 uses a full-spectrum band-pass filter that tilts depending on the desired tonal response. In the ‘Dark’ setting, the entire frequency response is tilted so that 20kHz is down -1.5dB, while 20Hz is up +1.5dB. In ‘Bright’, the tilt is reversed (+1.5dB at 20kHz and -1.5dB at 20Hz). This gentle filter maintains the proper phase response between the drivers while providing the tone that meet your tastes. The changes are subtle, but often this little tweak is enough to make the sound balance just right.\n<br /><br />\n<h3>Input sensitivity the way you want it</h3>\nThe noise-floor and signal resolution of any monitoring system is critical to its performance. Whether you’re using the analogue or digital inputs, you need to be able to control the gain staging between the monitor controller and the speaker system. Dynaudio have provided a range of 0dBu to +24dBu to match the analogue input sensitivity to the output level. Once optimized, Core 59 processes all analogue signals at a 192kHz sampling rate and 64-bit resolution in the DSP (from the 24-bit analogue-to-digital converter) for the greatest degree of mathematical precision.\n<br /><br />\nThere’s a switch to determine the maximum output SPL with the greatest bit-depth in the DSP. If you want the maximum level, set this to 112dB. If you work mostly at lower levels, choose a lower SPL setting to optimize the bit-depth of the DSP for both inputs.\n<br /><br />\nWhen using the AES digital inputs, you must determine which channel (left or right) of the AES stream is used for that monitor. Core 59’s DSP operates at the incoming sample rate and either locks to the digital audio clock or word clock to maintain the most accurate signal possible.\n<br /><br />\n<h3>The beating heart of your studio</h3>\nDynaudio designed Core 59 to be used however and wherever you need it – whether that’s for near-field, mid-field or main monitoring, or in soffit-mounted set-ups. It’s made for music mastering, mixing, and recording; theatrical re-mixing; editorial and sound design for games or anywhere else you need an uncompromising critical monitoring system.\n<br /><br />\nCore 59 is ready to be installed in high-SPL immersive audio and other multi-channel environments with both analogue and digital connectivity, DSP controlled acoustic response, and versatile positioning. That means complete tonal consistency whatever your monitoring needs.'),(3951,85,0,659,'Dynaudio Core 59 Active Studio Monitor'),(3952,85,1,659,'Dynaudio Core 59 Active Studio Monitor'),(3953,76,0,659,''),(3954,76,1,659,''),(3955,75,0,660,'<h1>Dynaudio Core 7 Active Studio Monitor</h1>\nThe Dynaudio Core 7 Active Studio Monitor is the most compact model in Dynaudio\'s range of high-end professional reference monitor systems. This no-compromise two-way design features two class-D amplifiers (one 500W amp for the mid/woofer and a 150W unit for the tweeter), plus the best of modern DSP technology and a flat bass response down to 38Hz – 31kHz +/- 6dB and 45Hz – 27kHz +/- 3dB.\n<br /><br />\nIt’s been specifically designed and engineered to meet the challenges of high-demand environments that recording engineers, mixers, producers, and editors work in all day, every day.\n<br /><br />\n<h3>Dynaudio Core 7 Features:</h3>\n<ul>\n	<li><b>High-quality amplification - </b>A 500W class-D amp for the mid/woofer, and 150W for the tweeter</li>\n	<li><b>All-new drivers - </b>Designed and made in Denmark using Dynaudio\'s world-class Jupiter measuring facility</li>\n	<li><b>Advanced DSP - </b>Simple to use, powerful to listen to: it lets you tailor Core 7 for any listening environment</li>\n</ul>\n<br />\n<h3>Consistent performance with no fatigue</h3>\nEach driver unit is handmade at Dynaudio\'s factory in Denmark and can ensure extreme consistency. That makes it possible to use Core monitors in multiple studios and have them all sound and perform at the same high level – giving you everything you need to hear, everywhere you use them.<br /><br />\nDynaudio is known for their soft-dome tweeters. They provide hours of pinpoint imaging and detail without the listener fatigue common to other designs. Core 7 builds on this heritage with the brand-new Esotar Pro tweeter – the latest breakthrough in Dynaudio engineers’ obsessive attention to driver detail. New advanced manufacturing techniques and Dynaudio\'s astonishing Jupiter testing facility, have let their designers take tweeter design to a new level with the revolutionary Hexis system. Hexis optimises airflow, smooths frequency response and eliminates unwanted internal resonances. The result? Jaw-dropping imaging and transient detail, and effortless high-frequency response.<br /><br />\nBut they weren’t happy to leave it there: Core 7’s mid/woofer driver is another leap forward. They’ve taken their proprietary MSP (Magnesium Silicate Polymer) cone material along with aluminium voice coils, glass-fibre formers and advanced magnet designs to produce drivers capable of the kind of accuracy and honesty you’d never thought possible. MSP provides the best combination of lightness, stiffness and damping – making it capable of producing deep, accurate bass while also delivering natural midrange detail, all in one driver for the best imaging and point-source delivery.<br /><br />\n<h3>Under the hood: how to set up Core 7 for your studio</h3>\nThe active Dynaudio AIR series was famous for its advanced digital signal processing. Dynaudio\'s acoustic engineers continued this forward-thinking approach by taking the past 18 years’ worth of DSP innovation and applying it in a simple, easy to use system with the Core series. Make no mistake, though: under the hood is a sophisticated system that makes light work of challenging studio environments.\n<br /><br />\nPositioning is critical when installing a monitor system. That’s why each Core 7 has two DSP filter switches to address its position and boundary locations. For example, if you place the monitors on the meter bridge of a large-format mixing console, set them to ‘Desk’. This will help compensate for the first reflection created by the mixing surface. On the other hand, if you put the monitors into a purpose-built wall, setting the Position 1 filter to ‘Soffit’ will compensate for the increased bass response.<br /><br />\nBoundary effects created by placing a monitor close to walls or a ceiling can be compensated for by adjusting the Position 2 filter between ‘Wall’ or ‘Corner’. These filters help compensate for the reflections created by the boundary walls, especially in the lower frequencies. There’s also a low-frequency 80Hz Linkwitz-Riley cutoff that can be engaged if you’re using Core 7 with a subwoofer to extend the low frequency response.<br /><br />\nUsers can also alter the overall presentation. Core 7 uses the same concept as the LYD series Sound Balance filter – a different design to typical shelving-EQ tweeter and woofer adjustments found on most active monitors. Instead of simply fine-tuning the tweeter level up or down, which will affect phase response, Core 7 uses a full-spectrum band-pass filter that tilts depending on the desired tonal response. In the ‘Dark’ setting, the entire frequency response is tilted so that 20kHz is down -1.5dB, while 20Hz is up +1.5dB. In ‘Bright’, the tilt is reversed (+1.5dB at 20kHz and -1.5dB at 20Hz). This gentle filter maintains the proper phase response between the drivers while providing the tone that meet your tastes. The changes are subtle, but often this little tweak is enough to make the sound balance just right.<br /><br />\n<h3>Input sensitivity the way you want it</h3>\nThe noise-floor and signal resolution of any monitoring system is critical to its performance. Whether you’re using the analogue or digital inputs, you need to be able to control the gain staging between the monitor controller and the speaker system. Dynaudio have provided a range of 0dBu to +24dBu to match the analogue input sensitivity to the output level. Once optimized, Core 7 processes all analogue signals at a 192kHz sampling rate and 64-bit resolution in the DSP (from the 24-bit analogue-to-digital converter) for the greatest degree of mathematical precision.\n<br /><br />\nThere’s a switch to determine the maximum output SPL with the greatest bit-depth in the DSP. If you want the maximum level, set this to 112dB. If you work mostly at lower levels, choose a lower SPL setting to optimize the bit-depth of the DSP for both inputs.<br /><br />\nWhen using the AES digital inputs, you must determine which channel (left or right) of the AES stream is used for that monitor. Core 7’s DSP operates at the incoming sample rate and either locks to the digital audio clock or word clock to maintain the most accurate signal possible.<br /><br />\n<h3>Placement options: all of them</h3>\nDynaudio made sure Core 7’s cabinet is as stiff and inert as they could make it – hence the 32mm thick baffle, which contributes to its excellent linearity across the spectrum. Since every application is unique and monitors need to be placed in a variety of environments – either on their sides, vertically or sometimes even inverted with the woofer above the tweeter – they’ve designed Core 7 with indentations on all four sides. They even developed special pads that can be placed in order to protect the cabinet\'s finish and stabilize the cabinet on the surface.\n<br /><br />\nThat goes for multi-channel set-ups, too: they also have custom K&M brackets to mount Core 7 in orientations suitable for surround sound, immersive audio (such as Dolby ATMOS) and other custom configurations.<br /><br />\n<h3>One speaker, every type of studio</h3>\nCore 7 is designed for maximum flexibility and performance where its compact size is desirable. This includes recording studios, edit suites, broadcast trucks, mobile facilities, broadcast and theatrical dub stages, immersive audio mixing rooms and custom installations. And because its size doesn’t diminish its performance either in frequency response or output SPL, it plays seamlessly with Core 59 monitors in calibrated multi-channel monitoring systems.\n<br /><br />'),(3956,75,1,660,'<h1>Dynaudio Core 7 Active Studio Monitor</h1>\nThe Dynaudio Core 7 Active Studio Monitor is the most compact model in Dynaudio\'s range of high-end professional reference monitor systems. This no-compromise two-way design features two class-D amplifiers (one 500W amp for the mid/woofer and a 150W unit for the tweeter), plus the best of modern DSP technology and a flat bass response down to 38Hz – 31kHz +/- 6dB and 45Hz – 27kHz +/- 3dB.\n<br /><br />\nIt’s been specifically designed and engineered to meet the challenges of high-demand environments that recording engineers, mixers, producers, and editors work in all day, every day.\n<br /><br />\n<h3>Dynaudio Core 7 Features:</h3>\n<ul>\n	<li><b>High-quality amplification - </b>A 500W class-D amp for the mid/woofer, and 150W for the tweeter</li>\n	<li><b>All-new drivers - </b>Designed and made in Denmark using Dynaudio\'s world-class Jupiter measuring facility</li>\n	<li><b>Advanced DSP - </b>Simple to use, powerful to listen to: it lets you tailor Core 7 for any listening environment</li>\n</ul>\n<br />\n<h3>Consistent performance with no fatigue</h3>\nEach driver unit is handmade at Dynaudio\'s factory in Denmark and can ensure extreme consistency. That makes it possible to use Core monitors in multiple studios and have them all sound and perform at the same high level – giving you everything you need to hear, everywhere you use them.<br /><br />\nDynaudio is known for their soft-dome tweeters. They provide hours of pinpoint imaging and detail without the listener fatigue common to other designs. Core 7 builds on this heritage with the brand-new Esotar Pro tweeter – the latest breakthrough in Dynaudio engineers’ obsessive attention to driver detail. New advanced manufacturing techniques and Dynaudio\'s astonishing Jupiter testing facility, have let their designers take tweeter design to a new level with the revolutionary Hexis system. Hexis optimises airflow, smooths frequency response and eliminates unwanted internal resonances. The result? Jaw-dropping imaging and transient detail, and effortless high-frequency response.<br /><br />\nBut they weren’t happy to leave it there: Core 7’s mid/woofer driver is another leap forward. They’ve taken their proprietary MSP (Magnesium Silicate Polymer) cone material along with aluminium voice coils, glass-fibre formers and advanced magnet designs to produce drivers capable of the kind of accuracy and honesty you’d never thought possible. MSP provides the best combination of lightness, stiffness and damping – making it capable of producing deep, accurate bass while also delivering natural midrange detail, all in one driver for the best imaging and point-source delivery.<br /><br />\n<h3>Under the hood: how to set up Core 7 for your studio</h3>\nThe active Dynaudio AIR series was famous for its advanced digital signal processing. Dynaudio\'s acoustic engineers continued this forward-thinking approach by taking the past 18 years’ worth of DSP innovation and applying it in a simple, easy to use system with the Core series. Make no mistake, though: under the hood is a sophisticated system that makes light work of challenging studio environments.\n<br /><br />\nPositioning is critical when installing a monitor system. That’s why each Core 7 has two DSP filter switches to address its position and boundary locations. For example, if you place the monitors on the meter bridge of a large-format mixing console, set them to ‘Desk’. This will help compensate for the first reflection created by the mixing surface. On the other hand, if you put the monitors into a purpose-built wall, setting the Position 1 filter to ‘Soffit’ will compensate for the increased bass response.<br /><br />\nBoundary effects created by placing a monitor close to walls or a ceiling can be compensated for by adjusting the Position 2 filter between ‘Wall’ or ‘Corner’. These filters help compensate for the reflections created by the boundary walls, especially in the lower frequencies. There’s also a low-frequency 80Hz Linkwitz-Riley cutoff that can be engaged if you’re using Core 7 with a subwoofer to extend the low frequency response.<br /><br />\nUsers can also alter the overall presentation. Core 7 uses the same concept as the LYD series Sound Balance filter – a different design to typical shelving-EQ tweeter and woofer adjustments found on most active monitors. Instead of simply fine-tuning the tweeter level up or down, which will affect phase response, Core 7 uses a full-spectrum band-pass filter that tilts depending on the desired tonal response. In the ‘Dark’ setting, the entire frequency response is tilted so that 20kHz is down -1.5dB, while 20Hz is up +1.5dB. In ‘Bright’, the tilt is reversed (+1.5dB at 20kHz and -1.5dB at 20Hz). This gentle filter maintains the proper phase response between the drivers while providing the tone that meet your tastes. The changes are subtle, but often this little tweak is enough to make the sound balance just right.<br /><br />\n<h3>Input sensitivity the way you want it</h3>\nThe noise-floor and signal resolution of any monitoring system is critical to its performance. Whether you’re using the analogue or digital inputs, you need to be able to control the gain staging between the monitor controller and the speaker system. Dynaudio have provided a range of 0dBu to +24dBu to match the analogue input sensitivity to the output level. Once optimized, Core 7 processes all analogue signals at a 192kHz sampling rate and 64-bit resolution in the DSP (from the 24-bit analogue-to-digital converter) for the greatest degree of mathematical precision.\n<br /><br />\nThere’s a switch to determine the maximum output SPL with the greatest bit-depth in the DSP. If you want the maximum level, set this to 112dB. If you work mostly at lower levels, choose a lower SPL setting to optimize the bit-depth of the DSP for both inputs.<br /><br />\nWhen using the AES digital inputs, you must determine which channel (left or right) of the AES stream is used for that monitor. Core 7’s DSP operates at the incoming sample rate and either locks to the digital audio clock or word clock to maintain the most accurate signal possible.<br /><br />\n<h3>Placement options: all of them</h3>\nDynaudio made sure Core 7’s cabinet is as stiff and inert as they could make it – hence the 32mm thick baffle, which contributes to its excellent linearity across the spectrum. Since every application is unique and monitors need to be placed in a variety of environments – either on their sides, vertically or sometimes even inverted with the woofer above the tweeter – they’ve designed Core 7 with indentations on all four sides. They even developed special pads that can be placed in order to protect the cabinet\'s finish and stabilize the cabinet on the surface.\n<br /><br />\nThat goes for multi-channel set-ups, too: they also have custom K&M brackets to mount Core 7 in orientations suitable for surround sound, immersive audio (such as Dolby ATMOS) and other custom configurations.<br /><br />\n<h3>One speaker, every type of studio</h3>\nCore 7 is designed for maximum flexibility and performance where its compact size is desirable. This includes recording studios, edit suites, broadcast trucks, mobile facilities, broadcast and theatrical dub stages, immersive audio mixing rooms and custom installations. And because its size doesn’t diminish its performance either in frequency response or output SPL, it plays seamlessly with Core 59 monitors in calibrated multi-channel monitoring systems.\n<br /><br />'),(3957,85,0,660,'Dynaudio Core 7 Active Studio Monitor'),(3958,85,1,660,'Dynaudio Core 7 Active Studio Monitor'),(3959,76,0,660,''),(3960,76,1,660,''),(3961,75,0,661,'<h1>Dynaudio LYD 48 Professional Studio Monitor Speaker</h1>\nThe Dynaudio LYD 48 Professional Studio Monitor is a 3-way near- to midfield monitor that reaches eyebrow-raising levels of accuracy thanks to a new soft-dome tweeter and Dynaudio’s proprietary Magnesium Silicate Polymer midrange and woofers.\n<br/><br/>\nEach of its three drivers are fueled by a powerful, state-of-the-art Class-D amplifier that features a 96 kHz / 24 bit signal way.<br/><br/>\nFinally, with its advanced DSP, LYD 48 lets you extend or curtail the low frequency response by 10 Hz where needed, while Position and Sound Balance ensure optimal performance in any environment.<br/><br/>\n<h3>Dynaudio LYD48 Features:</h3>\n<ul>\n	<li>Near- to midfield monitor with 4 in midrange and 8 in woofer</li>\n	<li>Handcrafted personal reference monitor</li>\n	<li>Tri-amped speaker design with state-of-the-art Class-D amplification</li>\n	<li>Bass Extension to extend or curtail the low end frequency response</li>\n	<li>Position Switch for better sound when monitors are placed close to a wall</li>\n	<li>Sound Balance to influence the overall response of the speaker</li>\n	<li>Made in Denmark</li>\n</ul>'),(3962,75,1,661,'<h1>Dynaudio LYD 48 Professional Studio Monitor Speaker</h1>\nThe Dynaudio LYD 48 Professional Studio Monitor is a 3-way near- to midfield monitor that reaches eyebrow-raising levels of accuracy thanks to a new soft-dome tweeter and Dynaudio’s proprietary Magnesium Silicate Polymer midrange and woofers.\n<br/><br/>\nEach of its three drivers are fueled by a powerful, state-of-the-art Class-D amplifier that features a 96 kHz / 24 bit signal way.<br/><br/>\nFinally, with its advanced DSP, LYD 48 lets you extend or curtail the low frequency response by 10 Hz where needed, while Position and Sound Balance ensure optimal performance in any environment.<br/><br/>\n<h3>Dynaudio LYD48 Features:</h3>\n<ul>\n	<li>Near- to midfield monitor with 4 in midrange and 8 in woofer</li>\n	<li>Handcrafted personal reference monitor</li>\n	<li>Tri-amped speaker design with state-of-the-art Class-D amplification</li>\n	<li>Bass Extension to extend or curtail the low end frequency response</li>\n	<li>Position Switch for better sound when monitors are placed close to a wall</li>\n	<li>Sound Balance to influence the overall response of the speaker</li>\n	<li>Made in Denmark</li>\n</ul>'),(3963,85,0,661,'Dynaudio LYD 48 Professional Studio Monitor'),(3964,85,1,661,'Dynaudio LYD 48 Professional Studio Monitor'),(3965,76,0,661,''),(3966,76,1,661,''),(3967,75,0,662,'<h1>Dynaudio LYD 5 Professional Studio Monitor Speaker</h1><i>\nCompact nearfield personal monitors for incredible precision in smaller spaces – even at low volumes</i><br /><br />The Dynaudio LYD 5, with its low-volume precision, is the ideal complement for any small studio set-up. It uses the same lightweight aluminium voice-coils in its handmade 5in MSP drive-units as our high-end hi-fi speakers, and pairs them with cutting-edge Class-D amplification as well as a 24-bit/96kHz signal path with advanced DSP.<br /><br /><br />\n<h3>Dynaudio LYD 5 Features</h3>\n<ul>\n	<li>Near-field monitor with 5 in woofer</li>\n	<li>Handcrafted personal reference monitors</li>\n	<li>Bi-amped speaker design with state-of-the-artClass-D amplification</li>\n	<li>Bass Extension to extend or curtail the low end frequency response</li>\n	<li>Position Switch for better sound when monitors are</li>\n	<li>placed close to a wall</li>\n	<li>Sound Balance to influence the overall response of the speaker</li>\n	<li>Made in Denmark</li>\n</ul>'),(3968,75,1,662,'<h1>Dynaudio LYD 5 Professional Studio Monitor Speaker</h1><i>\nCompact nearfield personal monitors for incredible precision in smaller spaces – even at low volumes</i><br /><br />The Dynaudio LYD 5, with its low-volume precision, is the ideal complement for any small studio set-up. It uses the same lightweight aluminium voice-coils in its handmade 5in MSP drive-units as our high-end hi-fi speakers, and pairs them with cutting-edge Class-D amplification as well as a 24-bit/96kHz signal path with advanced DSP.<br /><br /><br />\n<h3>Dynaudio LYD 5 Features</h3>\n<ul>\n	<li>Near-field monitor with 5 in woofer</li>\n	<li>Handcrafted personal reference monitors</li>\n	<li>Bi-amped speaker design with state-of-the-artClass-D amplification</li>\n	<li>Bass Extension to extend or curtail the low end frequency response</li>\n	<li>Position Switch for better sound when monitors are</li>\n	<li>placed close to a wall</li>\n	<li>Sound Balance to influence the overall response of the speaker</li>\n	<li>Made in Denmark</li>\n</ul>'),(3969,85,0,662,'Dynaudio LYD 5 Professional Studio Monitor Speaker'),(3970,85,1,662,'Dynaudio LYD 5 Professional Studio Monitor Speaker'),(3971,76,0,662,''),(3972,76,1,662,''),(3973,75,0,663,'<h1>Dynaudio LYD 7 Professional Studio Monitor Speaker</h1>\n<i>Legendary professional reference monitor knowhow, packed into a pair of compact near field monitors</i>\n<br /><br />\n\nThe Dynaudio LYD 7 is a 7in personal reference monitor, designed from the ground-up to bring supreme precision to your mixes.<br /><br />\n	This monitor uses sophisticated DSP to extend or its curtail low-frequency response by 10Hz, while Position and Sound Balance controls let you fine-tune for total neutrality in your environment. Its larger 7in woofer helps extend bass, while the low-mass aluminium voice-coil, vented ferrite magnet and MSP driver take care of precision.\n<br /><br />\n<h3>Dynaudio LYD 7 Features</h3>\n<ul>\n	<li>Nearfield Monitor with 7\" Woofer</li>\n	<li>Bi-amped speaker design with 2 x 50W and state-of-the-art Class-D amplification</li>\n	<li>Bass extension to extend or curtail the low end frequency response</li>\n	<li>Two different tunings: one for free standing and one designed for speakers within 50 cm of wall</li>\n	<li>Sound balance to influence the overall response of the speaker</li>\n	<li>Comes in both White and Black finishes</li>\n	<li>Made in Denmark</li>\n</ul>'),(3974,75,1,663,'<h1>Dynaudio LYD 7 Professional Studio Monitor Speaker</h1>\n<i>Legendary professional reference monitor knowhow, packed into a pair of compact near field monitors</i>\n<br /><br />\n\nThe Dynaudio LYD 7 is a 7in personal reference monitor, designed from the ground-up to bring supreme precision to your mixes.<br /><br />\n	This monitor uses sophisticated DSP to extend or its curtail low-frequency response by 10Hz, while Position and Sound Balance controls let you fine-tune for total neutrality in your environment. Its larger 7in woofer helps extend bass, while the low-mass aluminium voice-coil, vented ferrite magnet and MSP driver take care of precision.\n<br /><br />\n<h3>Dynaudio LYD 7 Features</h3>\n<ul>\n	<li>Nearfield Monitor with 7\" Woofer</li>\n	<li>Bi-amped speaker design with 2 x 50W and state-of-the-art Class-D amplification</li>\n	<li>Bass extension to extend or curtail the low end frequency response</li>\n	<li>Two different tunings: one for free standing and one designed for speakers within 50 cm of wall</li>\n	<li>Sound balance to influence the overall response of the speaker</li>\n	<li>Comes in both White and Black finishes</li>\n	<li>Made in Denmark</li>\n</ul>'),(3975,85,0,663,'Dynaudio LYD 7 Professional Studio Monitor Speaker'),(3976,85,1,663,'Dynaudio LYD 7 Professional Studio Monitor Speaker'),(3977,76,0,663,''),(3978,76,1,663,''),(3979,75,0,664,'<h1>Dynaudio LYD 8 Professional Studio Monitor Speaker</h1>\n<span style=\"font-size: 16px; font-style: italic;\">High Definition nearfield monitors featuring an 8\" woofer, DSP, and Bi-Amped Class-D Amplification. </span><br /><br />The Dynaudio LYD 8 is the biggest 2-way monitor in the LYD series. With its 8in MSP woofer and state-of-the-art DSP, LYD 8 provides the kind of performance, precision and bass heft that dreams (and maybe hit albums) are made of. Like the rest of the range, these nearfield monitors let you tune their sound for their position in the room, feature handmade drivers, and contain advanced Class-D amps.<br /><br />\n<h3>Dynaudio LYD 8 Features</h3>\n\n<ul>\n	<li>Nearfield Monitor with 8\" Woofer</li>\n	<li>Bi-amped speaker design with 50W HF/80W LF and state-of-the-art Class-D amplification</li>\n	<li>Bass extension to extend or curtail the low end frequency response</li>\n	<li>Two different tunings: one for free standing and one designed for speakers within 50 cm of wall</li>\n	<li>Sound balance to influence the overall response of the speaker</li>\n	<li><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\">Comes in both White and Black finishes</span></span></li>\n	<li><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\">Made in Denmark</span></span></li>\n</ul>'),(3980,75,1,664,'<h1>Dynaudio LYD 8 Professional Studio Monitor Speaker</h1>\n<span style=\"font-size: 16px; font-style: italic;\">High Definition nearfield monitors featuring an 8\" woofer, DSP, and Bi-Amped Class-D Amplification. </span><br /><br />The Dynaudio LYD 8 is the biggest 2-way monitor in the LYD series. With its 8in MSP woofer and state-of-the-art DSP, LYD 8 provides the kind of performance, precision and bass heft that dreams (and maybe hit albums) are made of. Like the rest of the range, these nearfield monitors let you tune their sound for their position in the room, feature handmade drivers, and contain advanced Class-D amps.<br /><br />\n<h3>Dynaudio LYD 8 Features</h3>\n\n<ul>\n	<li>Nearfield Monitor with 8\" Woofer</li>\n	<li>Bi-amped speaker design with 50W HF/80W LF and state-of-the-art Class-D amplification</li>\n	<li>Bass extension to extend or curtail the low end frequency response</li>\n	<li>Two different tunings: one for free standing and one designed for speakers within 50 cm of wall</li>\n	<li>Sound balance to influence the overall response of the speaker</li>\n	<li><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\">Comes in both White and Black finishes</span></span></li>\n	<li><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\">Made in Denmark</span></span></li>\n</ul>'),(3981,85,0,664,'Dynaudio LYD 5 Professional Studio Monitor Speaker'),(3982,85,1,664,'Dynaudio LYD 5 Professional Studio Monitor Speaker'),(3983,76,0,664,''),(3984,76,1,664,''),(3985,75,0,665,'<h2>EAR Yoshino 660 Tube Compressor / Limiter</h2>\n<span style=\"font-size:16px; font-style:italic;\">A high-quality, hand-built tube compressor-limiter that can add thickness and clarity to your tracks.</span><br /><br />\nThe EAR Yoshino 660 valve limiter / compressor is inspired by the classic Fairchild Limiter-Compressor but with significant improvements in signal handling and stability. It is designed to limit or compress the signal with the least possible interference below the threshold, with a much more satisfactory operation at high signal levels.<br /><br />\n\nThe selection of attack and release times is similar to other limiters / compressors, but it is the characteristics of this unit around the knee of the attack envelope / release that contribute to its excellent performance. The audio circuit complies with the principles of EAR in terms of simplicity and subjective \"transparency\", with low distortion at all normal signal levels. The start of the limitation is soft enough not to draw attention to itself, although in fact the unit will react very quickly to overload conditions when required. <br /><br />\n\nThe build quality is second to none. Massive handwound output transformers, carefully matched vacuum tubes and all wiring is handwired point-to-point, using only the highest quality wire.<br /><br />\n<h3>EAR 660 Sepcifications</h3>\n<ul>\n	<li>Impedance input and output: 600 nominal, balanced and floating ohm.         </li>\n	<li>Gain (maximum): 20dB                                                        </li>\n	<li>Input and output level normal operation: + 4dBm                             </li>\n	<li>output level Up (distortion 1%): + 16dBm linear                             </li>\n	<li>Attack Time: 0.2 to 0.8ms Variable                                          </li>\n	<li>Time Release: 0.3 to 5s Variable                                            </li>\n	<li>Time Release (Classical music setting): up to 25s for high sustained levels.</li>\n	<li>Compression Ratio: 1: 1 to 10: 1 adjustable                                 </li>\n</ul>\n<br />'),(3986,75,1,665,'<h2>EAR Yoshino 660 Tube Compressor / Limiter</h2>\n<span style=\"font-size:16px; font-style:italic;\">A high-quality, hand-built tube compressor-limiter that can add thickness and clarity to your tracks.</span><br /><br />\nThe EAR Yoshino 660 valve limiter / compressor is inspired by the classic Fairchild Limiter-Compressor but with significant improvements in signal handling and stability. It is designed to limit or compress the signal with the least possible interference below the threshold, with a much more satisfactory operation at high signal levels.<br /><br />\n\nThe selection of attack and release times is similar to other limiters / compressors, but it is the characteristics of this unit around the knee of the attack envelope / release that contribute to its excellent performance. The audio circuit complies with the principles of EAR in terms of simplicity and subjective \"transparency\", with low distortion at all normal signal levels. The start of the limitation is soft enough not to draw attention to itself, although in fact the unit will react very quickly to overload conditions when required. <br /><br />\n\nThe build quality is second to none. Massive handwound output transformers, carefully matched vacuum tubes and all wiring is handwired point-to-point, using only the highest quality wire.<br /><br />\n<h3>EAR 660 Sepcifications</h3>\n<ul>\n	<li>Impedance input and output: 600 nominal, balanced and floating ohm.         </li>\n	<li>Gain (maximum): 20dB                                                        </li>\n	<li>Input and output level normal operation: + 4dBm                             </li>\n	<li>output level Up (distortion 1%): + 16dBm linear                             </li>\n	<li>Attack Time: 0.2 to 0.8ms Variable                                          </li>\n	<li>Time Release: 0.3 to 5s Variable                                            </li>\n	<li>Time Release (Classical music setting): up to 25s for high sustained levels.</li>\n	<li>Compression Ratio: 1: 1 to 10: 1 adjustable                                 </li>\n</ul>\n<br />'),(3987,85,0,665,''),(3988,85,1,665,''),(3989,76,0,665,''),(3990,76,1,665,''),(3991,75,0,666,'<h2>Earthworks 521 ZDT Zero Distortion Preamplifier - 500-Series Mic Preamp</h2>\n<font size=\"3\"><i>The exacting standards of the Earthworks Zero Distortion Technology preamplifiers in the convenient 500 series format.</i></font><br /><br />\n<div><div>The Earthworks 521 ZDT brings the Earthworks ZDT Zero Distortion Preamplifiers™ technology, designed by David Blackmer, to the convenient 500 series format, giving you an extremely clean, uncolored mic pre.</div><div><br /></div><div>The solid state 521 features switchable phantom power, polarity invert, and peak amplitude clip detection, just as in the original 1021 single channel ZDT Preamp. The transformerless output stage of 521 ZDT easily drive long cable runs without loss of quality, making it ideal for long cable runs. Transparent gain is switchable from 5dB to 60dB in 5dB steps.</div><div><br /></div><div>The Earthworks microphone preamplifier topology provides outstanding common mode rejection, excellent overload margin and an incredibly low noise floor, combined with the ultra wide bandwidth of the ZDT Preamps and distortion of less than 1 part per million. This exceptional level of performance is maintained over an extensive range of impedances applied to the input making the 521 suitable for practically any microphone – ribbon, dynamic or condenser.</div></div>\n<br />\n<h3>Earthworks 521 ZDT Zero Distortion Preamplifier key features:</h3><ul><li>Clean, uncolored 500 series preamp</li><li>Solid-state, transformerless</li><li>Switchable 48V phantom power</li><li>Polarity invert switch</li><li>Peak amplitude clip detection</li><li>Transparent gain switchable from 5dB to 60dB in 5dB steps</li><li>Ultra-low noise floor</li><li>Ultra-wide bandwidth</li><li>Suitable for most ribbon, dynamic or condenser microphones</li></ul><ul>\n</ul>\n<br /><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p>Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p><br />\n<h3>Who\'s using Earthworks:</h3><br /><div><i>“It’s the purest piano mic pickup that I’ve ever heard. Like does not describe how good I feel about the PM40 PianoMic System.”<br /></i><b>- Stevie Wonder<br /></b><i><br /><br />“There have always been a number of ways to mic a piano with the lid closed, but prior to the PM40, I never felt any of them sounded particularly good. Regardless of whether I close the lid or leave it open, the Earthworks PM40 has a special quality that is heads above anything else I’ve ever used.\"<br /><b>- John Harris</b>, Music Mixer for the Grammy Awards<br /><br /><br />“Earthworks microphones have delivered to me a consistent and reliable natural tone of each vocalist using it. I am extremely proud of my vocal mixes. Earthworks microphones have delivered the goods. Natural tone with nothing missing.”  <br /><b>- Brian J. Simon</b>, FOH Engineer for Foreigner</i></div><br />\n<h3>About Earthworks</h3>David Blackmer’s originally founded Earthworks Audio to design and manufacture audiophile loudspeakers. The goal when starting the company was to make the best sounding speakers on the planet. In order to achieve this goal, Blackmer realized he needed to create his own measurement tools, built to a much higher standard. The first of which was an omnidirectional microphone, and led to the manufacture the OM1. David now thought that he could get back to designing his “dream” loudspeaker. His colleagues, however, persuaded him to design other microphones and preamplifiers. These products would soon set a new world standard for realism in the art of recording music. While they no longer make loudspeakers, they still apply the same strict design principles to the microphones and preamplifiers they are now famous for. And it is all made right here in the USA!<br /><br />\n<h3>If you\'ve been looking for the clean, uncolored sound of Earthworks Zero Distortion Preamplifiers, put a 521 preamp module in your 500 rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3992,75,1,666,'<h2>Earthworks 521 ZDT Zero Distortion Preamplifier - 500-Series Mic Preamp</h2>\n<font size=\"3\"><i>The exacting standards of the Earthworks Zero Distortion Technology preamplifiers in the convenient 500 series format.</i></font><br /><br />\n<div><div>The Earthworks 521 ZDT brings the Earthworks ZDT Zero Distortion Preamplifiers™ technology, designed by David Blackmer, to the convenient 500 series format, giving you an extremely clean, uncolored mic pre.</div><div><br /></div><div>The solid state 521 features switchable phantom power, polarity invert, and peak amplitude clip detection, just as in the original 1021 single channel ZDT Preamp. The transformerless output stage of 521 ZDT easily drive long cable runs without loss of quality, making it ideal for long cable runs. Transparent gain is switchable from 5dB to 60dB in 5dB steps.</div><div><br /></div><div>The Earthworks microphone preamplifier topology provides outstanding common mode rejection, excellent overload margin and an incredibly low noise floor, combined with the ultra wide bandwidth of the ZDT Preamps and distortion of less than 1 part per million. This exceptional level of performance is maintained over an extensive range of impedances applied to the input making the 521 suitable for practically any microphone – ribbon, dynamic or condenser.</div></div>\n<br />\n<h3>Earthworks 521 ZDT Zero Distortion Preamplifier key features:</h3><ul><li>Clean, uncolored 500 series preamp</li><li>Solid-state, transformerless</li><li>Switchable 48V phantom power</li><li>Polarity invert switch</li><li>Peak amplitude clip detection</li><li>Transparent gain switchable from 5dB to 60dB in 5dB steps</li><li>Ultra-low noise floor</li><li>Ultra-wide bandwidth</li><li>Suitable for most ribbon, dynamic or condenser microphones</li></ul><ul>\n</ul>\n<br /><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p>Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p><br />\n<h3>Who\'s using Earthworks:</h3><br /><div><i>“It’s the purest piano mic pickup that I’ve ever heard. Like does not describe how good I feel about the PM40 PianoMic System.”<br /></i><b>- Stevie Wonder<br /></b><i><br /><br />“There have always been a number of ways to mic a piano with the lid closed, but prior to the PM40, I never felt any of them sounded particularly good. Regardless of whether I close the lid or leave it open, the Earthworks PM40 has a special quality that is heads above anything else I’ve ever used.\"<br /><b>- John Harris</b>, Music Mixer for the Grammy Awards<br /><br /><br />“Earthworks microphones have delivered to me a consistent and reliable natural tone of each vocalist using it. I am extremely proud of my vocal mixes. Earthworks microphones have delivered the goods. Natural tone with nothing missing.”  <br /><b>- Brian J. Simon</b>, FOH Engineer for Foreigner</i></div><br />\n<h3>About Earthworks</h3>David Blackmer’s originally founded Earthworks Audio to design and manufacture audiophile loudspeakers. The goal when starting the company was to make the best sounding speakers on the planet. In order to achieve this goal, Blackmer realized he needed to create his own measurement tools, built to a much higher standard. The first of which was an omnidirectional microphone, and led to the manufacture the OM1. David now thought that he could get back to designing his “dream” loudspeaker. His colleagues, however, persuaded him to design other microphones and preamplifiers. These products would soon set a new world standard for realism in the art of recording music. While they no longer make loudspeakers, they still apply the same strict design principles to the microphones and preamplifiers they are now famous for. And it is all made right here in the USA!<br /><br />\n<h3>If you\'ve been looking for the clean, uncolored sound of Earthworks Zero Distortion Preamplifiers, put a 521 preamp module in your 500 rack/PSU. For more information, call or chat with an RSPE representative today.</h3>'),(3993,85,0,666,'Earthworks 521 ZDT 500 Series Microphone Preamp'),(3994,85,1,666,'Earthworks 521 ZDT 500 Series Microphone Preamp'),(3995,76,0,666,''),(3996,76,1,666,''),(3997,75,0,667,'<h1>Earthworks C30/C Cardioid Hanging Choir Microphone</h1>\n<i>\nHanging gooseneck condenser microphone with 30′ (9m) cable designed for installation in churches and other venues</i><br /><br />The Earthworks C30 ChoirMic™ is a hanging gooseneck condenser microphone with 30’ (9m) cable designed for installation in churches and other venues.<br /><br />\nThe C30 ChoirMic™ is the ultimate problem solver for miking choirs and other venues with high ceilings.<br /><br />\nWith its wide pickup pattern at all frequencies, you can easily cover large groups with just a few microphones. The C30 will reproduce the sound of the choir with incredible articulation and no spotlighting, so no one voice outshines the rest. Instead, the choir will sound like a unified voice. With over 30dB of rear rejection, the C30 has more gain before feedback while picking up almost no sound from the rear of the microphone.<br /><br />\nThe C30 features a small microphone head attached to a flexible mini gooseneck, which allows quick and precise positioning of the microphone. The 30’ (9m) attached Canare® Star Quad cable resists twisting due to temperature and humidity changes, so you can rest assured that the microphone will stay put once it has been properly aimed. Measuring just .86 inches (22mm)  in diameter at its largest point, the C30 practically disappears from view when installed, providing a low profile miking solution.\n<br /><br />\n<h3>C30/C Features</h3>\n<ul>\n	<li>30kHz frequency response optimized for vocals</li>\n	<li>Near-perfect polar pattern with high rejection of sounds from the rear of the microphone</li>\n	<li>Cardioid polar pattern</li>\n	<li>No spotlighting</li>\n	<li>Uniform frequency response on or off axis</li>\n	<li>More gain before feedback</li>\n	<li>Electronics housed in microphone</li>\n	<li>Prevents RFI</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Comes with 30 foot balanced, twisted pair Canare cable</li>\n	<li>Available in black and white</li>\n	<li>Custom cable lengths available</li>\n	<li>Does not come with XLR (order accessory C30-XLR for installed male XLR)</li>\n</ul>\n<br />\n<h3>Options</h3>\nThe C30 includes a 30′ (9m) unterminated cable. The C30-XLR accessory is available for purchase to terminate with an XLR. Standard cable length is 30′ (9m), but can be customized when ordering using accessory C30-CCL. Available in black or white. Available in cardioid or hypercardioid.\n<br />'),(3998,75,1,667,'<h1>Earthworks C30/C Cardioid Hanging Choir Microphone</h1>\n<i>\nHanging gooseneck condenser microphone with 30′ (9m) cable designed for installation in churches and other venues</i><br /><br />The Earthworks C30 ChoirMic™ is a hanging gooseneck condenser microphone with 30’ (9m) cable designed for installation in churches and other venues.<br /><br />\nThe C30 ChoirMic™ is the ultimate problem solver for miking choirs and other venues with high ceilings.<br /><br />\nWith its wide pickup pattern at all frequencies, you can easily cover large groups with just a few microphones. The C30 will reproduce the sound of the choir with incredible articulation and no spotlighting, so no one voice outshines the rest. Instead, the choir will sound like a unified voice. With over 30dB of rear rejection, the C30 has more gain before feedback while picking up almost no sound from the rear of the microphone.<br /><br />\nThe C30 features a small microphone head attached to a flexible mini gooseneck, which allows quick and precise positioning of the microphone. The 30’ (9m) attached Canare® Star Quad cable resists twisting due to temperature and humidity changes, so you can rest assured that the microphone will stay put once it has been properly aimed. Measuring just .86 inches (22mm)  in diameter at its largest point, the C30 practically disappears from view when installed, providing a low profile miking solution.\n<br /><br />\n<h3>C30/C Features</h3>\n<ul>\n	<li>30kHz frequency response optimized for vocals</li>\n	<li>Near-perfect polar pattern with high rejection of sounds from the rear of the microphone</li>\n	<li>Cardioid polar pattern</li>\n	<li>No spotlighting</li>\n	<li>Uniform frequency response on or off axis</li>\n	<li>More gain before feedback</li>\n	<li>Electronics housed in microphone</li>\n	<li>Prevents RFI</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Comes with 30 foot balanced, twisted pair Canare cable</li>\n	<li>Available in black and white</li>\n	<li>Custom cable lengths available</li>\n	<li>Does not come with XLR (order accessory C30-XLR for installed male XLR)</li>\n</ul>\n<br />\n<h3>Options</h3>\nThe C30 includes a 30′ (9m) unterminated cable. The C30-XLR accessory is available for purchase to terminate with an XLR. Standard cable length is 30′ (9m), but can be customized when ordering using accessory C30-CCL. Available in black or white. Available in cardioid or hypercardioid.\n<br />'),(3999,85,0,667,'Earthworks C30/C Cardioid Hanging Choir Microphone'),(4000,85,1,667,'Earthworks C30/C Cardioid Hanging Choir Microphone'),(4001,76,0,667,''),(4002,76,1,667,''),(4003,75,0,668,'<h1>Earthworks C30/HC Hypercardioid Hanging Choir Microphone</h1>\n<i>\nHanging gooseneck condenser microphone with 30′ (9m) cable designed for installation in churches and other venues</i><br /><br />The Earthworks C30 ChoirMic™ is a hanging gooseneck condenser microphone with 30’ (9m) cable designed for installation in churches and other venues.<br /><br />\nThe C30 ChoirMic™ is the ultimate problem solver for miking choirs and other venues with high ceilings.<br /><br />\nWith its wide pickup pattern at all frequencies, you can easily cover large groups with just a few microphones. The C30 will reproduce the sound of the choir with incredible articulation and no spotlighting, so no one voice outshines the rest. Instead, the choir will sound like a unified voice. With over 30dB of rear rejection, the C30 has more gain before feedback while picking up almost no sound from the rear of the microphone.<br /><br />\nThe C30 features a small microphone head attached to a flexible mini gooseneck, which allows quick and precise positioning of the microphone. The 30’ (9m) attached Canare® Star Quad cable resists twisting due to temperature and humidity changes, so you can rest assured that the microphone will stay put once it has been properly aimed. Measuring just .86 inches (22mm)  in diameter at its largest point, the C30 practically disappears from view when installed, providing a low profile miking solution.\n<br /><br />\n<h3>C30/C Features</h3>\n<ul>\n	<li>30kHz frequency response optimized for vocals</li>\n	<li>Near-perfect polar pattern with high rejection of sounds from the rear of the microphone</li>\n	<li>Hypercardioid polar pattern</li>\n	<li>No spotlighting</li>\n	<li>Uniform frequency response on or off axis</li>\n	<li>More gain before feedback</li>\n	<li>Electronics housed in microphone</li>\n	<li>Prevents RFI</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Comes with 30 foot balanced, twisted pair Canare cable</li>\n	<li>Available in black and white</li>\n	<li>Custom cable lengths available</li>\n	<li>Does not come with XLR (order accessory C30-XLR for installed male XLR)</li>\n</ul>\n<br />\n<h3>Options</h3>\nThe C30 includes a 30′ (9m) unterminated cable. The C30-XLR accessory is available for purchase to terminate with an XLR. Standard cable length is 30′ (9m), but can be customized when ordering using accessory C30-CCL. Available in black or white. Available in cardioid or hypercardioid.\n<br />'),(4004,75,1,668,'<h1>Earthworks C30/HC Hypercardioid Hanging Choir Microphone</h1>\n<i>\nHanging gooseneck condenser microphone with 30′ (9m) cable designed for installation in churches and other venues</i><br /><br />The Earthworks C30 ChoirMic™ is a hanging gooseneck condenser microphone with 30’ (9m) cable designed for installation in churches and other venues.<br /><br />\nThe C30 ChoirMic™ is the ultimate problem solver for miking choirs and other venues with high ceilings.<br /><br />\nWith its wide pickup pattern at all frequencies, you can easily cover large groups with just a few microphones. The C30 will reproduce the sound of the choir with incredible articulation and no spotlighting, so no one voice outshines the rest. Instead, the choir will sound like a unified voice. With over 30dB of rear rejection, the C30 has more gain before feedback while picking up almost no sound from the rear of the microphone.<br /><br />\nThe C30 features a small microphone head attached to a flexible mini gooseneck, which allows quick and precise positioning of the microphone. The 30’ (9m) attached Canare® Star Quad cable resists twisting due to temperature and humidity changes, so you can rest assured that the microphone will stay put once it has been properly aimed. Measuring just .86 inches (22mm)  in diameter at its largest point, the C30 practically disappears from view when installed, providing a low profile miking solution.\n<br /><br />\n<h3>C30/C Features</h3>\n<ul>\n	<li>30kHz frequency response optimized for vocals</li>\n	<li>Near-perfect polar pattern with high rejection of sounds from the rear of the microphone</li>\n	<li>Hypercardioid polar pattern</li>\n	<li>No spotlighting</li>\n	<li>Uniform frequency response on or off axis</li>\n	<li>More gain before feedback</li>\n	<li>Electronics housed in microphone</li>\n	<li>Prevents RFI</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Comes with 30 foot balanced, twisted pair Canare cable</li>\n	<li>Available in black and white</li>\n	<li>Custom cable lengths available</li>\n	<li>Does not come with XLR (order accessory C30-XLR for installed male XLR)</li>\n</ul>\n<br />\n<h3>Options</h3>\nThe C30 includes a 30′ (9m) unterminated cable. The C30-XLR accessory is available for purchase to terminate with an XLR. Standard cable length is 30′ (9m), but can be customized when ordering using accessory C30-CCL. Available in black or white. Available in cardioid or hypercardioid.\n<br />'),(4005,85,0,668,'Earthworks C30/HC Hypercardioid Hanging Choir Microphone'),(4006,85,1,668,'Earthworks C30/HC Hypercardioid Hanging Choir Microphone'),(4007,76,0,668,''),(4008,76,1,668,''),(4009,75,0,669,'<h1>Earthworks CMK4 CloseMic Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">4-Microphone Close Miking Tom & Snare Kit</span><br /><br />The CMK4 CloseMic™ Kit is designed for close miking tom and snare. The microphones are housed in a high impact case that will withstand the rigors of the road and store each  microphone with the RM1 attached, thus saving time in setup and teardown.<br /><br />\n<h3>CMK4 Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 30 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 4 DP30/C tom and snare mics, 4 LevelPads, 4 windscreens & 4 RimMounts+</li>\n</ul>\n<br />\n<h3>Performance</h3>\n<span style=\"font-weight: 400;\">Whether onstage or in the studio, the \nDM20 captures a drum sound that is larger than life. Onstage the DM20 \ndelivers sound so detailed and natural that the sound coming out of the \nPA sounds like the drummer is right in front of you. For recording, it \nwill reproduce your toms and snare with incredible detail and pristine \nsound, faithfully reproducing their true character.  \n</span><br /><br />\nIts near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DM20 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DM20 DrumMic™, which can handle up to 150dB SPL.    <br /><br />\n<h3>Construction</h3>\n<span style=\"font-weight: 400;\">Designed to withstand the rigors of the \nroad while still delivering the sound quality Earthworks is known for, \nthe DM20 DrumMic™ provides the best of both worlds. Capable of \nwithstanding a stray stick hit, the DM20 removes the worry of close \nmiking snare and toms. Its right angle microphone head lets you easily \nand precisely position the microphone to get the best drum sound. \nFeaturing a stiff yet flexible gooseneck, the microphone will stay put \nonce you have found its sweet spot.\n</span><br /><br />\n<h3>Mounting</h3>\n<span style=\"font-weight: 400;\">Included with the DM20 is an RM1 \nRimMount™ for mounting the microphone directly on the rim of a snare or \ntoms, eliminating the need for mic stands. Plus, save time on setup and \nteardown by storing the DM20 with the RM1 still attached in its carrying\n case.\n</span><br /><br />'),(4010,75,1,669,'<h1>Earthworks CMK4 CloseMic Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">4-Microphone Close Miking Tom & Snare Kit</span><br /><br />The CMK4 CloseMic™ Kit is designed for close miking tom and snare. The microphones are housed in a high impact case that will withstand the rigors of the road and store each  microphone with the RM1 attached, thus saving time in setup and teardown.<br /><br />\n<h3>CMK4 Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 30 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 4 DP30/C tom and snare mics, 4 LevelPads, 4 windscreens & 4 RimMounts+</li>\n</ul>\n<br />\n<h3>Performance</h3>\n<span style=\"font-weight: 400;\">Whether onstage or in the studio, the \nDM20 captures a drum sound that is larger than life. Onstage the DM20 \ndelivers sound so detailed and natural that the sound coming out of the \nPA sounds like the drummer is right in front of you. For recording, it \nwill reproduce your toms and snare with incredible detail and pristine \nsound, faithfully reproducing their true character.  \n</span><br /><br />\nIts near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DM20 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DM20 DrumMic™, which can handle up to 150dB SPL.    <br /><br />\n<h3>Construction</h3>\n<span style=\"font-weight: 400;\">Designed to withstand the rigors of the \nroad while still delivering the sound quality Earthworks is known for, \nthe DM20 DrumMic™ provides the best of both worlds. Capable of \nwithstanding a stray stick hit, the DM20 removes the worry of close \nmiking snare and toms. Its right angle microphone head lets you easily \nand precisely position the microphone to get the best drum sound. \nFeaturing a stiff yet flexible gooseneck, the microphone will stay put \nonce you have found its sweet spot.\n</span><br /><br />\n<h3>Mounting</h3>\n<span style=\"font-weight: 400;\">Included with the DM20 is an RM1 \nRimMount™ for mounting the microphone directly on the rim of a snare or \ntoms, eliminating the need for mic stands. Plus, save time on setup and \nteardown by storing the DM20 with the RM1 still attached in its carrying\n case.\n</span><br /><br />'),(4011,85,0,669,''),(4012,85,1,669,''),(4013,76,0,669,''),(4014,76,1,669,''),(4015,75,0,670,'<h1>Earthworks CMK5 CloseMic Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">5-Microphone Close Miking Tom & Snare Kit<br /></span><br />The CMK5 CloseMic™ Kit is designed for close miking tom and snare. The microphones are housed in a high impact case that will withstand the rigors of the road and store each  microphone with the RM1 attached, thus saving time in setup and teardown.<br /><br />\n<h3>CMK5 Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 30 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 5 DP30/C tom and snare mics, 5 LevelPads, 5 windscreens & 5 RimMounts</li>\n</ul>\n<br />\n<h3>Performance</h3>\n<span style=\"font-weight: 400;\">Whether onstage or in the studio, the \nDM20 captures a drum sound that is larger than life. Onstage the DM20 \ndelivers sound so detailed and natural that the sound coming out of the \nPA sounds like the drummer is right in front of you. For recording, it \nwill reproduce your toms and snare with incredible detail and pristine \nsound, faithfully reproducing their true character.  \n</span><br /><br />\nIts near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DM20 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DM20 DrumMic™, which can handle up to 150dB SPL.    <br /><br />\n<h3>Construction</h3>\n<span style=\"font-weight: 400;\">Designed to withstand the rigors of the \nroad while still delivering the sound quality Earthworks is known for, \nthe DM20 DrumMic™ provides the best of both worlds. Capable of \nwithstanding a stray stick hit, the DM20 removes the worry of close \nmiking snare and toms. Its right angle microphone head lets you easily \nand precisely position the microphone to get the best drum sound. \nFeaturing a stiff yet flexible gooseneck, the microphone will stay put \nonce you have found its sweet spot.\n</span><br /><br />\n<h3>Mounting</h3>\n<span style=\"font-weight: 400;\">Included with the DM20 is an RM1 \nRimMount™ for mounting the microphone directly on the rim of a snare or \ntoms, eliminating the need for mic stands. Plus, save time on setup and \nteardown by storing the DM20 with the RM1 still attached in its carrying\n case.\n</span><br /><br />'),(4016,75,1,670,'<h1>Earthworks CMK5 CloseMic Kit</h1>\n<span style=\"font-size: 16px; font-style: italic;\">5-Microphone Close Miking Tom & Snare Kit<br /></span><br />The CMK5 CloseMic™ Kit is designed for close miking tom and snare. The microphones are housed in a high impact case that will withstand the rigors of the road and store each  microphone with the RM1 attached, thus saving time in setup and teardown.<br /><br />\n<h3>CMK5 Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 30 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 5 DP30/C tom and snare mics, 5 LevelPads, 5 windscreens & 5 RimMounts</li>\n</ul>\n<br />\n<h3>Performance</h3>\n<span style=\"font-weight: 400;\">Whether onstage or in the studio, the \nDM20 captures a drum sound that is larger than life. Onstage the DM20 \ndelivers sound so detailed and natural that the sound coming out of the \nPA sounds like the drummer is right in front of you. For recording, it \nwill reproduce your toms and snare with incredible detail and pristine \nsound, faithfully reproducing their true character.  \n</span><br /><br />\nIts near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DM20 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DM20 DrumMic™, which can handle up to 150dB SPL.    <br /><br />\n<h3>Construction</h3>\n<span style=\"font-weight: 400;\">Designed to withstand the rigors of the \nroad while still delivering the sound quality Earthworks is known for, \nthe DM20 DrumMic™ provides the best of both worlds. Capable of \nwithstanding a stray stick hit, the DM20 removes the worry of close \nmiking snare and toms. Its right angle microphone head lets you easily \nand precisely position the microphone to get the best drum sound. \nFeaturing a stiff yet flexible gooseneck, the microphone will stay put \nonce you have found its sweet spot.\n</span><br /><br />\n<h3>Mounting</h3>\n<span style=\"font-weight: 400;\">Included with the DM20 is an RM1 \nRimMount™ for mounting the microphone directly on the rim of a snare or \ntoms, eliminating the need for mic stands. Plus, save time on setup and \nteardown by storing the DM20 with the RM1 still attached in its carrying\n case.\n</span><br /><br />'),(4017,85,0,670,''),(4018,85,1,670,''),(4019,76,0,670,''),(4020,76,1,670,''),(4021,75,0,671,'<h1>Earthworks DK25/L Live Performance Drum Mic Kit</h1>\n<i>The DK25/L is for live performance and has three SR25s: two for overheads and one for kick drum, a KickPad™ and a windscreen. The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback.</i><br /><br />\nThe Earthworks DK25/L DrumKit™ is 3 microphone kit for live performance comprised of 2-SR25 cardioids for miking overheads and 1-SR25 cardioid for miking kick drum with the inline EQ KickPad™.\n<br /><br />\nWhen looking for that larger than life sound from drums, the DK25/L delivers. Sonic timbre and frequency response stay uniform across the entire front of the microphone capsule, helping you capture the true sound of your drums.\n<br /><br />\nIts polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The microphones in the DK25/L have a transient response that is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DK25/L DrumKit™, which can handle high sound pressure levels.  \n<br /><br />\nWith an extended frequency response, the result is a more accurate representation of the original sound. The SR25’s transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br /><br />\nWith a whopping SPL rating of 145dB the SR25s have plenty of headroom for miking overheads, so there is no need to worry about distortion, even with the loudest drummers. And there is no proximity effect, so you can get the SR25 as close as you want to the sound source.\n<br /><br />\nA good kick drum microphone needs to be designed and optimized for that specific purpose. This means the microphone is great for kick drum and nothing else. Therefore we designed the kick drum optimization in an external XLR package – the KickPad™. Just plug the KickPad™ into the mic line going to the SR25 microphone for incredible results. With the KickPad™ removed, you can use the same SR25 for most anything.\n<br /><br />\nAll three high quality Earthworks microphones in the DK25/L DrumKit™ will provide stunning results on a wide variety of instruments and vocals. As an added bonus, the KickPad™ will improve the sound of other popular microphones used for kick drum.\n<br /><br />\n<h3>DK25/L Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 25 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Ideal three-mic choice for live performance or recording in less than ideal acoustic environments</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 3 SR25s (two for overheads and one for kick drum), 1 KickPad™, 1 windscreen</li>\n	<li>The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback</li>\n</ul>\n<br />'),(4022,75,1,671,'<h1>Earthworks DK25/L Live Performance Drum Mic Kit</h1>\n<i>The DK25/L is for live performance and has three SR25s: two for overheads and one for kick drum, a KickPad™ and a windscreen. The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback.</i><br /><br />\nThe Earthworks DK25/L DrumKit™ is 3 microphone kit for live performance comprised of 2-SR25 cardioids for miking overheads and 1-SR25 cardioid for miking kick drum with the inline EQ KickPad™.\n<br /><br />\nWhen looking for that larger than life sound from drums, the DK25/L delivers. Sonic timbre and frequency response stay uniform across the entire front of the microphone capsule, helping you capture the true sound of your drums.\n<br /><br />\nIts polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The microphones in the DK25/L have a transient response that is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DK25/L DrumKit™, which can handle high sound pressure levels.  \n<br /><br />\nWith an extended frequency response, the result is a more accurate representation of the original sound. The SR25’s transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br /><br />\nWith a whopping SPL rating of 145dB the SR25s have plenty of headroom for miking overheads, so there is no need to worry about distortion, even with the loudest drummers. And there is no proximity effect, so you can get the SR25 as close as you want to the sound source.\n<br /><br />\nA good kick drum microphone needs to be designed and optimized for that specific purpose. This means the microphone is great for kick drum and nothing else. Therefore we designed the kick drum optimization in an external XLR package – the KickPad™. Just plug the KickPad™ into the mic line going to the SR25 microphone for incredible results. With the KickPad™ removed, you can use the same SR25 for most anything.\n<br /><br />\nAll three high quality Earthworks microphones in the DK25/L DrumKit™ will provide stunning results on a wide variety of instruments and vocals. As an added bonus, the KickPad™ will improve the sound of other popular microphones used for kick drum.\n<br /><br />\n<h3>DK25/L Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 25 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Ideal three-mic choice for live performance or recording in less than ideal acoustic environments</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 3 SR25s (two for overheads and one for kick drum), 1 KickPad™, 1 windscreen</li>\n	<li>The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback</li>\n</ul>\n<br />'),(4023,85,0,671,'Earthworks DK25/L Live Performance Drum Mic Kit'),(4024,85,1,671,'Earthworks DK25/L Live Performance Drum Mic Kit'),(4025,76,0,671,''),(4026,76,1,671,''),(4027,75,0,672,'<h1>Earthworks DK25/R Recording Drum Mic Kit</h1>\n<i>The DK25/R is for recording and has two TC25 omnis for overheads, an SR25 cardioid for kick drum, a KickPad™ and a windscreen. This model is ideal for use in an enclosed acoustic environment or in a drum room/booth.</i><br/><br/>\nThe Earthworks DK25/R DrumKit™ is 3 microphone kit for recording comprised of 2-TC25 omnis for miking overheads and 1-SR25 cardioid for miking kick drum with the inline EQ KickPad™.\n<br/><br/>\nIts polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The microphones in the DK25/R have a transient response that is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DK25/R DrumKit™, which can handle high sound pressure levels.  \n<br/><br/>\nWith an extended ruler-flat frequency response, the result is a more accurate representation of the original sound. Each microphone’s transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br/><br/>\nWith a whopping SPL rating of 150dB the TC25s have plenty of headroom for miking overheads, so there is no need to worry about distortion, even with the loudest drummers. And there is no proximity effect, so you can get the TC25 as close as you want to the sound source.\n<br/><br/>\nA good kick drum microphone needs to be designed and optimized for that specific purpose. This means the microphone is great for kick drum and nothing else. Therefore we designed the kick drum optimization in an external XLR package – the KickPad™. Just plug the KickPad™ into the mic line going to the SR25 microphone for incredible results. With the KickPad™ removed, you can use the same SR25 for most anything.\n<br/><br/>\nAll three high quality Earthworks microphones in the DK25/R DrumKit™ will provide stunning results on a wide variety of instruments and vocals. As an added bonus, the KickPad™ will improve the sound of other popular microphones used for kick drum.<br/><br/>\n<h3>DK25/R Features</h3>\n<ul>\n	<li>Drum microphones for recording</li>\n	<li>Includes 2 TC25 microphones, 1, SR25 microphone, 1 KP1 KickPad™, 3 microphone clips and rugged carrying case</li>\n	<li>TC25 overhead microphones handle up to 150dB SPL without distortion</li>\n	Improved impulse response for faster and more accurate transients\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 25kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Fast setup and teardown</li>\n</ul>'),(4028,75,1,672,'<h1>Earthworks DK25/R Recording Drum Mic Kit</h1>\n<i>The DK25/R is for recording and has two TC25 omnis for overheads, an SR25 cardioid for kick drum, a KickPad™ and a windscreen. This model is ideal for use in an enclosed acoustic environment or in a drum room/booth.</i><br/><br/>\nThe Earthworks DK25/R DrumKit™ is 3 microphone kit for recording comprised of 2-TC25 omnis for miking overheads and 1-SR25 cardioid for miking kick drum with the inline EQ KickPad™.\n<br/><br/>\nIts polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The microphones in the DK25/R have a transient response that is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DK25/R DrumKit™, which can handle high sound pressure levels.  \n<br/><br/>\nWith an extended ruler-flat frequency response, the result is a more accurate representation of the original sound. Each microphone’s transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br/><br/>\nWith a whopping SPL rating of 150dB the TC25s have plenty of headroom for miking overheads, so there is no need to worry about distortion, even with the loudest drummers. And there is no proximity effect, so you can get the TC25 as close as you want to the sound source.\n<br/><br/>\nA good kick drum microphone needs to be designed and optimized for that specific purpose. This means the microphone is great for kick drum and nothing else. Therefore we designed the kick drum optimization in an external XLR package – the KickPad™. Just plug the KickPad™ into the mic line going to the SR25 microphone for incredible results. With the KickPad™ removed, you can use the same SR25 for most anything.\n<br/><br/>\nAll three high quality Earthworks microphones in the DK25/R DrumKit™ will provide stunning results on a wide variety of instruments and vocals. As an added bonus, the KickPad™ will improve the sound of other popular microphones used for kick drum.<br/><br/>\n<h3>DK25/R Features</h3>\n<ul>\n	<li>Drum microphones for recording</li>\n	<li>Includes 2 TC25 microphones, 1, SR25 microphone, 1 KP1 KickPad™, 3 microphone clips and rugged carrying case</li>\n	<li>TC25 overhead microphones handle up to 150dB SPL without distortion</li>\n	Improved impulse response for faster and more accurate transients\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 25kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Fast setup and teardown</li>\n</ul>'),(4029,85,0,672,'Earthworks DK25/R Recording Drum Mic Kit'),(4030,85,1,672,'Earthworks DK25/R Recording Drum Mic Kit'),(4031,76,0,672,''),(4032,76,1,672,''),(4033,75,0,673,'<h1>Earthworks DK50/R Premium Recording Drum Mic Kit</h1>\n	<i>3 microphone kit for live performance comprised of 2-QTC50 omnis for miking overheads and 1-SR30 cardioid for miking kick drum with the inline EQ KickPad™.</i>\n<br /><br />\nThe DK50/R is a premium three-microphone system provide a more cohesive and unified drum sound. You’ll hear more attack, more subtle detail and a more pristine quality in the sound than with any other microphones. The Earthworks drum microphones capture every nuance of sound from each piece of the drum set with such an exceptional clarity and cohesiveness, which make it sound like a live set of drums, not a bunch of pieces.\n<br /><br />\nIts polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The microphones in the DK50/R have a transient response that is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br /><br />\nWith an extended 3Hz – 50kHz frequency response, the QTC50s reproduce a more accurate representation of the original sound. The microphones’ transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br /><br />\nA good kick drum microphone needs to be designed and optimized for that specific purpose. This means the microphone is great for kick drum and nothing else. Therefore we designed the kick drum optimization in an external XLR package – the KickPad™. Just plug the KickPad™ into the mic line going to the SR30 microphone for incredible results. With the KickPad™ removed, you can use the same SR30 for most anything.<br /><br />\n\nAll three high quality Earthworks microphones in the DK50/R DrumKit™ will provide stunning results on a wide variety of instruments and vocals. As an added bonus, the KickPad™ will improve the sound of other popular microphones used for kick drum.<br /><br />\n<h3>DK50/R Features</h3>\n<ul>\n	<li>Premium drum microphones for recording</li><li>Includes 2 QTC50 microphones, 1 SR30 microphone, 1 KP1 KickPad™, 3 LP20 LevelPads™, 1 SRW2 stainless steel windscreen, 3 microphone clips and rugged carrying case</li><li>Improved impulse response for faster and more accurate transients</li><li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li><li>Extended frequency response to capture a crisper and more realistic image</li><li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li><li>More cohesive and unified drum sound</li><li>Hear more attack and subtle detail</li><li>Increased detail and dynamic range</li><li>Versatile, multi-use mics</li><li>Mics are protected in a high impact case</li><li>Fast setup and teardown</li><li>Comes housed in a Zero/Halliburton carrying case</li>\n</ul>'),(4034,75,1,673,'<h1>Earthworks DK50/R Premium Recording Drum Mic Kit</h1>\n	<i>3 microphone kit for live performance comprised of 2-QTC50 omnis for miking overheads and 1-SR30 cardioid for miking kick drum with the inline EQ KickPad™.</i>\n<br /><br />\nThe DK50/R is a premium three-microphone system provide a more cohesive and unified drum sound. You’ll hear more attack, more subtle detail and a more pristine quality in the sound than with any other microphones. The Earthworks drum microphones capture every nuance of sound from each piece of the drum set with such an exceptional clarity and cohesiveness, which make it sound like a live set of drums, not a bunch of pieces.\n<br /><br />\nIts polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The microphones in the DK50/R have a transient response that is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br /><br />\nWith an extended 3Hz – 50kHz frequency response, the QTC50s reproduce a more accurate representation of the original sound. The microphones’ transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing.\n<br /><br />\nA good kick drum microphone needs to be designed and optimized for that specific purpose. This means the microphone is great for kick drum and nothing else. Therefore we designed the kick drum optimization in an external XLR package – the KickPad™. Just plug the KickPad™ into the mic line going to the SR30 microphone for incredible results. With the KickPad™ removed, you can use the same SR30 for most anything.<br /><br />\n\nAll three high quality Earthworks microphones in the DK50/R DrumKit™ will provide stunning results on a wide variety of instruments and vocals. As an added bonus, the KickPad™ will improve the sound of other popular microphones used for kick drum.<br /><br />\n<h3>DK50/R Features</h3>\n<ul>\n	<li>Premium drum microphones for recording</li><li>Includes 2 QTC50 microphones, 1 SR30 microphone, 1 KP1 KickPad™, 3 LP20 LevelPads™, 1 SRW2 stainless steel windscreen, 3 microphone clips and rugged carrying case</li><li>Improved impulse response for faster and more accurate transients</li><li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li><li>Extended frequency response to capture a crisper and more realistic image</li><li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li><li>More cohesive and unified drum sound</li><li>Hear more attack and subtle detail</li><li>Increased detail and dynamic range</li><li>Versatile, multi-use mics</li><li>Mics are protected in a high impact case</li><li>Fast setup and teardown</li><li>Comes housed in a Zero/Halliburton carrying case</li>\n</ul>'),(4035,85,0,673,'Earthworks DK50/R Premium Recording Drum Mic Kit'),(4036,85,1,673,'Earthworks DK50/R Premium Recording Drum Mic Kit'),(4037,76,0,673,''),(4038,76,1,673,''),(4039,75,0,674,'<h1>Earthworks DK7 Drum Kit Microphone System</h1>\n<i>Premium condenser microphone drum kit for capturing your full drum set</i><br /><br />\nThe Earthworks DK7 Drum Kit System is 7 microphone kit comprised of 4 DM20 precision engineered cardioid condenser microphones designed for close miking toms and snare, plus 2 SR25 cardioids for miking overheads, and 1 specially engineered SR20LS (low sensitivity) for kick drum that can be deployed in both live performance and studio recording environments.<br /><br />\n<h3>DM7 Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 25 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Ideal three-mic choice for live performance or recording in less than ideal acoustic environments</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 3 SR25s (two for overheads and one for kick drum), 1 KickPad™, 1 windscreen</li>\n	<li>The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback</li>\n</ul>\n<br />\n<h3>DM7 Includes</h3>\n<ul style=\"\">\n	<li>(4) DM20 Microphones </li>\n	<li>(2) SR25 Microphones </li>\n	<li>(1) SR20LS (low sensitivity) Microphone </li>\n	<li>(4) RM1 RimMount™</li>\n	<li>(3) MC1 Microphone Clip </li>\n	<li>(4) PW1 Foam Windscreen </li>\n	<li>(3) SRW3 Foam Windscreen </li>\n	<li>(1) Rugged Case  </li>\n</ul>\n<br />\n<h3>Performance</h3>\n<div>\n	Whether onstage or in the studio, the DK7 captures a drum sound that is larger than life. Onstage the DK7 delivers sound so detailed and natural that the sound coming out of the PA sounds like the drummer is right in front of you. For recording, it will reproduce your drum kit with incredible detail and pristine sound, faithfully reproducing its true character.\n<br /><br />\n	Its near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DK7 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DK7 DrumMic™, which can handle high sound pressure levels.\n<br /><br />\n<h3>Construction</h3>\nDesigned to withstand the rigors of the road while still delivering the sound quality Earthworks is known for, the DK7 Drum FullKit™ provides the best of both worlds. Capable of withstanding a stray stick hit, the DM20 DrumMic™ removes the worry of close miking toms and snare. Its right angle microphone head lets you easily and precisely position the microphone to get the best drum sound. Featuring a stiff yet flexible gooseneck, the microphone will stay put once you have found its sweet spot. Machined\n<br /><br />\n<h3>Mounting</h3>\nIncluded with the DK7 is an RM1 RimMount™ for mounting the DM20 tom and snare microphones directly on the rim of a snare or toms, reducing the number of mic stands required. Plus, save time on setup and teardown by storing the DK7 with the mic clips still attached in its carrying case.\n<br /><br /></div>'),(4040,75,1,674,'<h1>Earthworks DK7 Drum Kit Microphone System</h1>\n<i>Premium condenser microphone drum kit for capturing your full drum set</i><br /><br />\nThe Earthworks DK7 Drum Kit System is 7 microphone kit comprised of 4 DM20 precision engineered cardioid condenser microphones designed for close miking toms and snare, plus 2 SR25 cardioids for miking overheads, and 1 specially engineered SR20LS (low sensitivity) for kick drum that can be deployed in both live performance and studio recording environments.<br /><br />\n<h3>DM7 Features</h3>\n<ul>\n	<li>Improved impulse response for faster and more accurate transients</li>\n	<li>Shorter diaphragm settling time to prevent quieter attacks from being blurred by earlier loud attacks</li>\n	<li>Extended frequency response to 25 kHz to capture a crisper and more realistic image</li>\n	<li>Near perfect polar patterns that remain even across all frequencies and at any position within the pattern</li>\n	<li>More cohesive and unified drum sound</li>\n	<li>Hear more attack and subtle detail</li>\n	<li>Increased detail and dynamic range</li>\n	<li>Versatile, multi-use mics</li>\n	<li>Mics are protected in a high impact case</li>\n	<li>Ideal three-mic choice for live performance or recording in less than ideal acoustic environments</li>\n	<li>Fast setup and teardown</li>\n	<li>Comes with 3 SR25s (two for overheads and one for kick drum), 1 KickPad™, 1 windscreen</li>\n	<li>The patented cardioid pattern on the SR25 provides a more uniform off-axis response and has less susceptibility to acoustic feedback</li>\n</ul>\n<br />\n<h3>DM7 Includes</h3>\n<ul style=\"\">\n	<li>(4) DM20 Microphones </li>\n	<li>(2) SR25 Microphones </li>\n	<li>(1) SR20LS (low sensitivity) Microphone </li>\n	<li>(4) RM1 RimMount™</li>\n	<li>(3) MC1 Microphone Clip </li>\n	<li>(4) PW1 Foam Windscreen </li>\n	<li>(3) SRW3 Foam Windscreen </li>\n	<li>(1) Rugged Case  </li>\n</ul>\n<br />\n<h3>Performance</h3>\n<div>\n	Whether onstage or in the studio, the DK7 captures a drum sound that is larger than life. Onstage the DK7 delivers sound so detailed and natural that the sound coming out of the PA sounds like the drummer is right in front of you. For recording, it will reproduce your drum kit with incredible detail and pristine sound, faithfully reproducing its true character.\n<br /><br />\n	Its near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DK7 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DK7 DrumMic™, which can handle high sound pressure levels.\n<br /><br />\n<h3>Construction</h3>\nDesigned to withstand the rigors of the road while still delivering the sound quality Earthworks is known for, the DK7 Drum FullKit™ provides the best of both worlds. Capable of withstanding a stray stick hit, the DM20 DrumMic™ removes the worry of close miking toms and snare. Its right angle microphone head lets you easily and precisely position the microphone to get the best drum sound. Featuring a stiff yet flexible gooseneck, the microphone will stay put once you have found its sweet spot. Machined\n<br /><br />\n<h3>Mounting</h3>\nIncluded with the DK7 is an RM1 RimMount™ for mounting the DM20 tom and snare microphones directly on the rim of a snare or toms, reducing the number of mic stands required. Plus, save time on setup and teardown by storing the DK7 with the mic clips still attached in its carrying case.\n<br /><br /></div>'),(4041,85,0,674,''),(4042,85,1,674,''),(4043,76,0,674,''),(4044,76,1,674,''),(4045,75,0,675,'<h1>Earthworks DM20 DrumMic</h1>\n<span style=\"font-size:16px; font-style:italic;\">Cardioid condenser microphone designed for close miking tom and snare</span><br /><br />\nThe Earthworks DM20 DrumMic™ is a precision engineered cardioid condenser microphone designed for close miking snare and toms in live performance and studio recording environments.<br /><br />\n<h3>DM20 Features</h3>\n<ul>\n	<li>Extended frequency response from 50Hz-20kHz to capture more detail and dynamics of your playing                                                                          </li>\n	<li>Ultra fast impulse response makes this microphone ideal for reproducing the full detail of the attack (note: impulse response has little to do with low frequency sounds)</li>\n	<li>Shorter diaphragm settling time prevents subtle details from being blurred by earlier loud attacks                                                                       </li>\n	<li>Near-perfect cardioid polar pattern reproduces all specified frequencies uniformly at any position within the pattern                                                    </li>\n	<li>With 32dB of rear rejection, it is ideal for live performances or recording environments where there may be bleed from surrounding instruments                           </li>\n	<li>High gain before feedback                                                                                                                                                </li>\n	<li>150dB SPL capability ensures the mic will not overload from the loudest of drum attacks                                                                                  </li>\n	<li>A right angle mic head is mounted to the gooseneck for easy positioning                                                                                                  </li>\n	<li>The microphone head  housing is designed to protect the microphone capsule and withstand a direct hit from a drumstick                                                   </li>\n	<li>Stiff mini-gooseneck that will not move when the drums are hit hard                                                                                                      </li>\n	<li>Heavy stainless steel construction is able to withstand the punishment of touring                                                                                        </li>\n	<li>RM1 RimMount™ is included for mounting the DM20 on rim of snare or toms                                                                                                  </li>\n</ul>\n<br />\n<h3>Performance</h3>\nWhether onstage or in the studio, the DM20 captures a drum sound that is larger than life. Onstage the DM20 delivers sound so detailed and natural that the sound coming out of the PA sounds like the drummer is right in front of you. For recording, it will reproduce your toms and snare with incredible detail and pristine sound, faithfully reproducing their true character.\n<br /><br />\nIts near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DM20 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DM20 DrumMic™, which can handle up to 150dB SPL.    <br /><br />\n<h3>Construction</h3>\nDesigned to withstand the rigors of the road while still delivering the sound quality Earthworks is known for, the DM20 DrumMic™ provides the best of both worlds. Capable of withstanding a stray stick hit, the DM20 removes the worry of close miking snare and toms. Its right angle microphone head lets you easily and precisely position the microphone to get the best drum sound. Featuring a stiff yet flexible gooseneck, the microphone will stay put once you have found its sweet spot.\n<br /><br />\n<h3>Mounting</h3>\nIncluded with the DM20 is an RM1 RimMount™ for mounting the microphone directly on the rim of a snare or toms, eliminating the need for mic stands. Plus, save time on setup and teardown by storing the DM20 with the RM1 still attached in its carrying case.\n<br /><br />'),(4046,75,1,675,'<h1>Earthworks DM20 DrumMic</h1>\n<span style=\"font-size:16px; font-style:italic;\">Cardioid condenser microphone designed for close miking tom and snare</span><br /><br />\nThe Earthworks DM20 DrumMic™ is a precision engineered cardioid condenser microphone designed for close miking snare and toms in live performance and studio recording environments.<br /><br />\n<h3>DM20 Features</h3>\n<ul>\n	<li>Extended frequency response from 50Hz-20kHz to capture more detail and dynamics of your playing                                                                          </li>\n	<li>Ultra fast impulse response makes this microphone ideal for reproducing the full detail of the attack (note: impulse response has little to do with low frequency sounds)</li>\n	<li>Shorter diaphragm settling time prevents subtle details from being blurred by earlier loud attacks                                                                       </li>\n	<li>Near-perfect cardioid polar pattern reproduces all specified frequencies uniformly at any position within the pattern                                                    </li>\n	<li>With 32dB of rear rejection, it is ideal for live performances or recording environments where there may be bleed from surrounding instruments                           </li>\n	<li>High gain before feedback                                                                                                                                                </li>\n	<li>150dB SPL capability ensures the mic will not overload from the loudest of drum attacks                                                                                  </li>\n	<li>A right angle mic head is mounted to the gooseneck for easy positioning                                                                                                  </li>\n	<li>The microphone head  housing is designed to protect the microphone capsule and withstand a direct hit from a drumstick                                                   </li>\n	<li>Stiff mini-gooseneck that will not move when the drums are hit hard                                                                                                      </li>\n	<li>Heavy stainless steel construction is able to withstand the punishment of touring                                                                                        </li>\n	<li>RM1 RimMount™ is included for mounting the DM20 on rim of snare or toms                                                                                                  </li>\n</ul>\n<br />\n<h3>Performance</h3>\nWhether onstage or in the studio, the DM20 captures a drum sound that is larger than life. Onstage the DM20 delivers sound so detailed and natural that the sound coming out of the PA sounds like the drummer is right in front of you. For recording, it will reproduce your toms and snare with incredible detail and pristine sound, faithfully reproducing their true character.\n<br /><br />\nIts near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, virtually eliminating phasing issues and ensuring more gain before feedback. The DM20 transient response is lightning fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. Even the loudest drummer cannot overload the DM20 DrumMic™, which can handle up to 150dB SPL.    <br /><br />\n<h3>Construction</h3>\nDesigned to withstand the rigors of the road while still delivering the sound quality Earthworks is known for, the DM20 DrumMic™ provides the best of both worlds. Capable of withstanding a stray stick hit, the DM20 removes the worry of close miking snare and toms. Its right angle microphone head lets you easily and precisely position the microphone to get the best drum sound. Featuring a stiff yet flexible gooseneck, the microphone will stay put once you have found its sweet spot.\n<br /><br />\n<h3>Mounting</h3>\nIncluded with the DM20 is an RM1 RimMount™ for mounting the microphone directly on the rim of a snare or toms, eliminating the need for mic stands. Plus, save time on setup and teardown by storing the DM20 with the RM1 still attached in its carrying case.\n<br /><br />'),(4047,85,0,675,''),(4048,85,1,675,''),(4049,76,0,675,''),(4050,76,1,675,''),(4051,75,0,676,'<h1>Earthworks M23 23kHz Measurement Microphone</h1>\n<i>\nThe M23 is a cost effective reference microphone for SMAART, MLSSA, Spectrafoo software, TEF and RTA, and all “audio band” measurements. It has a flat frequency response, fast impulse response and exceptional polar characteristics.</i><br /><br />\n\nThe Earthwork M23 is a precision engineered 23kHz omnidirectional measurement microphone ideally suited for acoustical measurements including loudspeaker design and quality control, sound system setup and troubleshooting, room acoustics, or any application where an accurate free-field measurement microphone is required.<br /><br />\n\nKnown for its reliable performance, the M23 delivers unparalleled audio results at an affordable cost. It has a flat frequency response that extends from 3Hz to 23kHz, an exceptionally consistent omnidirectional polar response, 140dB SPL rating without distortion and no handling noise.<br /><br />\n\nImmune to most temperature and atmospheric fluctuations, the M23 delivers reliable and repeatable results in any environment.  <br /><br />\n\nExtremely fast impulse response and linear phase response make the M23 ideal for use with high-quality FFT-based real-time audio system measurement software like SMAART™, SIM™, REW™, Electroacoustics Toolbox™, FuzzMeasure™ and others, as well as for use in PA system alignment and loudspeaker design.<br /><br />\n\nEvery M23 is individually hand-tuned and tested and is delivered with its own printed frequency response chart. An Electronic Calibration File (ECF) is generated for each microphone during final testing, and can be downloaded free of charge after product registration.\n<br /><br />\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>M23 Features</h3>\n<ul>\n	<li>3Hz – 23kHz flat frequency response</li><li>Omnidirectional polar pattern</li><li>Handles up to 140dB SPL without distortion</li><li>Cost effective measurement microphone</li><li>Improved version of the SMAARTMIC™ previously offered by EAW</li><li>Ideally suited for acoustical measurements sound system setup and troubleshooting, room acoustics, or any application where an accurate free-field measurement microphone is required</li><li>Flat frequency response, fast impulse response and exceptional polar characteristics</li><li>Used by SMAART™, MLSSA™, Spectrafoo™, TEF™ and RTA in addition to acoustic measurement systems manufactured by dbx, DEQX and others</li><li>Meets or exceeds ANSI Type 1 and applicable IEC 61094 requirements</li><li>Each M Series microphone is delivered with its own calibration chart providing its individually measured open-circuit sensitivity and the frequency response curve</li><li>Electronic Calibration File available</li><li>Operating Temp Range: -20 deg C to +60 deg C ( -4 deg. F to 140 deg. F)</li><li>Storage Temp Range: -40 deg C to +80 deg C ( -40 deg. F to 176 deg. F)</li><li>Humidity: Up to 90%</li><li>Re-calibration recommended every five (5) years</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4052,75,1,676,'<h1>Earthworks M23 23kHz Measurement Microphone</h1>\n<i>\nThe M23 is a cost effective reference microphone for SMAART, MLSSA, Spectrafoo software, TEF and RTA, and all “audio band” measurements. It has a flat frequency response, fast impulse response and exceptional polar characteristics.</i><br /><br />\n\nThe Earthwork M23 is a precision engineered 23kHz omnidirectional measurement microphone ideally suited for acoustical measurements including loudspeaker design and quality control, sound system setup and troubleshooting, room acoustics, or any application where an accurate free-field measurement microphone is required.<br /><br />\n\nKnown for its reliable performance, the M23 delivers unparalleled audio results at an affordable cost. It has a flat frequency response that extends from 3Hz to 23kHz, an exceptionally consistent omnidirectional polar response, 140dB SPL rating without distortion and no handling noise.<br /><br />\n\nImmune to most temperature and atmospheric fluctuations, the M23 delivers reliable and repeatable results in any environment.  <br /><br />\n\nExtremely fast impulse response and linear phase response make the M23 ideal for use with high-quality FFT-based real-time audio system measurement software like SMAART™, SIM™, REW™, Electroacoustics Toolbox™, FuzzMeasure™ and others, as well as for use in PA system alignment and loudspeaker design.<br /><br />\n\nEvery M23 is individually hand-tuned and tested and is delivered with its own printed frequency response chart. An Electronic Calibration File (ECF) is generated for each microphone during final testing, and can be downloaded free of charge after product registration.\n<br /><br />\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>M23 Features</h3>\n<ul>\n	<li>3Hz – 23kHz flat frequency response</li><li>Omnidirectional polar pattern</li><li>Handles up to 140dB SPL without distortion</li><li>Cost effective measurement microphone</li><li>Improved version of the SMAARTMIC™ previously offered by EAW</li><li>Ideally suited for acoustical measurements sound system setup and troubleshooting, room acoustics, or any application where an accurate free-field measurement microphone is required</li><li>Flat frequency response, fast impulse response and exceptional polar characteristics</li><li>Used by SMAART™, MLSSA™, Spectrafoo™, TEF™ and RTA in addition to acoustic measurement systems manufactured by dbx, DEQX and others</li><li>Meets or exceeds ANSI Type 1 and applicable IEC 61094 requirements</li><li>Each M Series microphone is delivered with its own calibration chart providing its individually measured open-circuit sensitivity and the frequency response curve</li><li>Electronic Calibration File available</li><li>Operating Temp Range: -20 deg C to +60 deg C ( -4 deg. F to 140 deg. F)</li><li>Storage Temp Range: -40 deg C to +80 deg C ( -40 deg. F to 176 deg. F)</li><li>Humidity: Up to 90%</li><li>Re-calibration recommended every five (5) years</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4053,85,0,676,'Earthworks M23 Measurement Microphone'),(4054,85,1,676,'Earthworks M23 Measurement Microphone'),(4055,76,0,676,''),(4056,76,1,676,''),(4057,75,0,677,'<h1>Earthworks M50 50kHz Measurement Microphone</h1>\n<i>The M50 is a professional measurement microphone intended for large room calibration. The ultra wide frequency response of 3Hz to 50kHz is flat throughout the entire spectrum and results in accurate room calibration using Smaart, MLSSA, SIMM and TEF based systems.</i><br /><br />\nThe Earthwork M50 is a precision engineered 50kHz omnidirectional measurement microphone ideally suited for acoustical measurements including high-end loudspeaker design and quality control, scientific research, measurements of ultrasonic or subsonic transducers, or any application where an extremely accurate free-field measurement microphone is required.<br /><br />\n\nKnown for its accuracy, reliability and consistency, the M50 is the top of the line measurement microphone with extraordinary impulse response for those who have stringent requirements and demand the very best.<br /><br />\n\nThe M50’s audio performance is unparalleled. It has an ultra wide flat frequency response that extends from 3Hz to 50kHz and is flat throughout the entire spectrum. Its omnidirectional polar response exceptionally consistent, providing an even coherent response a the direct and off-axis sections of the microphone capsule.<br /><br />\n\nThe M50 has a 140dB SPL rating without distortion and no handling noise.<br /><br />\n\nWith temperature compensated electronics, the M50 was built to deliver repeatable results no matter what the environment.  <br /><br />\n\nLightning fast impulse response and linear phase response make the M50 ideal for use with high-quality FFT-based real-time audio system measurement software like SMAART™, SIM™, REW™, Electroacoustics Toolbox™, FuzzMeasure™ and others, as well as for use in PA system alignment and loudspeaker design.<br /><br />\n\nEvery M50 is individually hand-tuned and tested and is delivered with its own printed frequency response chart. An Electronic Calibration File (ECF) is generated for each microphone during final testing, and can be downloaded free of charge after product registration.<br /><br />\n<h3>M50 Features</h3>\n<ul>\n	<li>3Hz – 50kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 140dB SPL without distortion</li>\n	<li>Ideally suited for acoustical measurements that require extended frequency response, including high-end loudspeaker design and quality control, scientific research, measurements of ultrasonic or subsonic transducers, or any application where an extremely accurate free-field measurement microphone is required</li>\n	<li>Our top of the line measurement microphone with extraordinary impulse response for those who have stringent requirements and demand the very best</li>\n	<li>Provides laboratory grade accuracy</li>\n	<li>Flat frequency response, fast impulse response and exceptional polar characteristics</li>\n	<li>Used by SMAART™, MLSSA™, Spectrafoo™, TEF™ and RTA in addition to acoustic measurement systems manufactured by dbx, DEQX and others</li>\n	<li>Meets or exceeds ANSI Type 1 and applicable IEC 61094 requirements</li>\n	<li>Each M Series microphone is delivered with its own calibration chart providing its individually measured open-circuit sensitivity and the frequency response curve</li>\n	<li>Electronic Calibration File available</li>\n	<li>Operating Temp Range: -20 deg C to +60 deg C ( -4 deg. F to 140 deg. F)</li>\n	<li>Storage Temp Range: -40 deg C to +80 deg C ( -40 deg. F to 176 deg. F)</li>\n	<li>Humidity: Up to 90%</li>\n	<li>Re-calibration recommended every five (5) years</li>\n	\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4058,75,1,677,'<h1>Earthworks M50 50kHz Measurement Microphone</h1>\n<i>The M50 is a professional measurement microphone intended for large room calibration. The ultra wide frequency response of 3Hz to 50kHz is flat throughout the entire spectrum and results in accurate room calibration using Smaart, MLSSA, SIMM and TEF based systems.</i><br /><br />\nThe Earthwork M50 is a precision engineered 50kHz omnidirectional measurement microphone ideally suited for acoustical measurements including high-end loudspeaker design and quality control, scientific research, measurements of ultrasonic or subsonic transducers, or any application where an extremely accurate free-field measurement microphone is required.<br /><br />\n\nKnown for its accuracy, reliability and consistency, the M50 is the top of the line measurement microphone with extraordinary impulse response for those who have stringent requirements and demand the very best.<br /><br />\n\nThe M50’s audio performance is unparalleled. It has an ultra wide flat frequency response that extends from 3Hz to 50kHz and is flat throughout the entire spectrum. Its omnidirectional polar response exceptionally consistent, providing an even coherent response a the direct and off-axis sections of the microphone capsule.<br /><br />\n\nThe M50 has a 140dB SPL rating without distortion and no handling noise.<br /><br />\n\nWith temperature compensated electronics, the M50 was built to deliver repeatable results no matter what the environment.  <br /><br />\n\nLightning fast impulse response and linear phase response make the M50 ideal for use with high-quality FFT-based real-time audio system measurement software like SMAART™, SIM™, REW™, Electroacoustics Toolbox™, FuzzMeasure™ and others, as well as for use in PA system alignment and loudspeaker design.<br /><br />\n\nEvery M50 is individually hand-tuned and tested and is delivered with its own printed frequency response chart. An Electronic Calibration File (ECF) is generated for each microphone during final testing, and can be downloaded free of charge after product registration.<br /><br />\n<h3>M50 Features</h3>\n<ul>\n	<li>3Hz – 50kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 140dB SPL without distortion</li>\n	<li>Ideally suited for acoustical measurements that require extended frequency response, including high-end loudspeaker design and quality control, scientific research, measurements of ultrasonic or subsonic transducers, or any application where an extremely accurate free-field measurement microphone is required</li>\n	<li>Our top of the line measurement microphone with extraordinary impulse response for those who have stringent requirements and demand the very best</li>\n	<li>Provides laboratory grade accuracy</li>\n	<li>Flat frequency response, fast impulse response and exceptional polar characteristics</li>\n	<li>Used by SMAART™, MLSSA™, Spectrafoo™, TEF™ and RTA in addition to acoustic measurement systems manufactured by dbx, DEQX and others</li>\n	<li>Meets or exceeds ANSI Type 1 and applicable IEC 61094 requirements</li>\n	<li>Each M Series microphone is delivered with its own calibration chart providing its individually measured open-circuit sensitivity and the frequency response curve</li>\n	<li>Electronic Calibration File available</li>\n	<li>Operating Temp Range: -20 deg C to +60 deg C ( -4 deg. F to 140 deg. F)</li>\n	<li>Storage Temp Range: -40 deg C to +80 deg C ( -40 deg. F to 176 deg. F)</li>\n	<li>Humidity: Up to 90%</li>\n	<li>Re-calibration recommended every five (5) years</li>\n	\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4059,85,0,677,'Earthworks M50 Measurement Microphone'),(4060,85,1,677,'Earthworks M50 Measurement Microphone'),(4061,76,0,677,''),(4062,76,1,677,''),(4063,75,0,678,'<h1>Earthworks P30/C Cardioid Periscope Microphone</h1>\n<i>Cardioid Periscope Microphone with flexible gooseneck capsule for easy microphone positioning and placement</i><br /><br />\nThe Earthworks P30/C Periscope is an instrument gooseneck microphone designed for live performance and studio recording environments.\n<br /><br />\nDesigned to provide an ultra flexible miking option, the P30/C is ideal for a wide range of acoustic and electric instruments, as well as orchestra and choir.<br /><br />\nThanks to its flexible gooseneck, the P30/C provides extra simplicity when trying to find that sweet spot. Instead of having to reposition the whole microphone or mic stand, simply flex the gooseneck to quickly reposition the microphone. Its uniquely designed small microphone head also allows you to get into difficult places, such as under the strings of an acoustic string bass.<br /><br />\nThe P30/C’s near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones. With over 30dB of rear rejection the P30/C  is ideal for live performances or recording environments where there may be bleed from surrounding instruments.<br /><br />\nIt handles transients with ease, reproducing every detail no matter how sharp or subtle. Handling up to 139dB SPL without distortion, it’s nearly impossible to overload the P30/C, even with the loudest instruments.<br /><br />\n<h3>P30/C Features</h3>\n<ul>\n	<li>20Hz – 30kHz frequency response</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Easily mic guitars and other instruments, then re-position the microphone without moving the stand or boom</li>\n	<li>Uniform frequency response on or off-axis</li>\n	<li>More gain before feedback</li>\n	<li>Picks up almost no sound from the rear of the microphone</li>\n	<li>Near perfect polar response allows them to be placed closer to a choir with no spotlighting</li>\n	<li>Can be used for stringed, woodwind and percussion instruments</li>\n</ul>\n<span style=\"background-color: initial;\"><br />Available in black and white. </span>Available as a matched pair. Call or Chat for details.'),(4064,75,1,678,'<h1>Earthworks P30/C Cardioid Periscope Microphone</h1>\n<i>Cardioid Periscope Microphone with flexible gooseneck capsule for easy microphone positioning and placement</i><br /><br />\nThe Earthworks P30/C Periscope is an instrument gooseneck microphone designed for live performance and studio recording environments.\n<br /><br />\nDesigned to provide an ultra flexible miking option, the P30/C is ideal for a wide range of acoustic and electric instruments, as well as orchestra and choir.<br /><br />\nThanks to its flexible gooseneck, the P30/C provides extra simplicity when trying to find that sweet spot. Instead of having to reposition the whole microphone or mic stand, simply flex the gooseneck to quickly reposition the microphone. Its uniquely designed small microphone head also allows you to get into difficult places, such as under the strings of an acoustic string bass.<br /><br />\nThe P30/C’s near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones. With over 30dB of rear rejection the P30/C  is ideal for live performances or recording environments where there may be bleed from surrounding instruments.<br /><br />\nIt handles transients with ease, reproducing every detail no matter how sharp or subtle. Handling up to 139dB SPL without distortion, it’s nearly impossible to overload the P30/C, even with the loudest instruments.<br /><br />\n<h3>P30/C Features</h3>\n<ul>\n	<li>20Hz – 30kHz frequency response</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Easily mic guitars and other instruments, then re-position the microphone without moving the stand or boom</li>\n	<li>Uniform frequency response on or off-axis</li>\n	<li>More gain before feedback</li>\n	<li>Picks up almost no sound from the rear of the microphone</li>\n	<li>Near perfect polar response allows them to be placed closer to a choir with no spotlighting</li>\n	<li>Can be used for stringed, woodwind and percussion instruments</li>\n</ul>\n<span style=\"background-color: initial;\"><br />Available in black and white. </span>Available as a matched pair. Call or Chat for details.'),(4065,85,0,678,'Earthworks P30/C Cardioid Periscope Microphone'),(4066,85,1,678,'Earthworks P30/C Cardioid Periscope Microphone'),(4067,76,0,678,''),(4068,76,1,678,''),(4069,75,0,679,'<h1>Earthworks P30/HC Hypercardioid Periscope Microphone</h1>\n<i>Cardioid Periscope Microphone with flexible gooseneck capsule for easy microphone positioning and placement</i><br /><br />\nThe Earthworks P30/HC Periscope is an instrument gooseneck microphone designed for live performance and studio recording environments.<br /><br />\nDesigned to provide an ultra flexible miking option, the P30/HC is ideal for a wide range of acoustic and electric instruments, as well as orchestra and choir.\n<br /><br />\nThanks to its flexible gooseneck, the P30/HC provides extra simplicity when trying to find that sweet spot. Instead of having to reposition the whole microphone or mic stand, simply flex the gooseneck to quickly reposition the microphone. Its uniquely designed small microphone head also allows you to get into difficult places, such as under the strings of an acoustic string bass.<br /><br />\n\nThe P30/HC’s near-perfect hypercardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones. With over 30dB of rear rejection the P30/HC  is ideal for live performances or recording environments where there may be bleed from surrounding instruments.<br /><br />\n\nIt handles transients with ease, reproducing every detail no matter how sharp or subtle. Handling up to 139dB SPL without distortion, it’s nearly impossible to overload the P30/HC, even with the loudest instruments.<br /><br />\n<h3>P30/HC Features</h3>\n<ul>\n	<li>20Hz – 30kHz frequency response</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Easily mic guitars and other instruments, then re-position the microphone without moving the stand or boom</li>\n	<li>Uniform frequency response on or off-axis</li>\n	<li>More gain before feedback</li>\n	<li>Picks up almost no sound from the rear of the microphone</li>\n	<li>Near perfect polar response allows them to be placed closer to a choir with no spotlighting</li>\n	<li>Can be used for stringed, woodwind and percussion instruments</li>\n</ul>\n<span style=\"background-color: initial;\"><br />Available in black and white. </span>Available as a matched pair. Call or Chat for details.'),(4070,75,1,679,'<h1>Earthworks P30/HC Hypercardioid Periscope Microphone</h1>\n<i>Cardioid Periscope Microphone with flexible gooseneck capsule for easy microphone positioning and placement</i><br /><br />\nThe Earthworks P30/HC Periscope is an instrument gooseneck microphone designed for live performance and studio recording environments.<br /><br />\nDesigned to provide an ultra flexible miking option, the P30/HC is ideal for a wide range of acoustic and electric instruments, as well as orchestra and choir.\n<br /><br />\nThanks to its flexible gooseneck, the P30/HC provides extra simplicity when trying to find that sweet spot. Instead of having to reposition the whole microphone or mic stand, simply flex the gooseneck to quickly reposition the microphone. Its uniquely designed small microphone head also allows you to get into difficult places, such as under the strings of an acoustic string bass.<br /><br />\n\nThe P30/HC’s near-perfect hypercardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones. With over 30dB of rear rejection the P30/HC  is ideal for live performances or recording environments where there may be bleed from surrounding instruments.<br /><br />\n\nIt handles transients with ease, reproducing every detail no matter how sharp or subtle. Handling up to 139dB SPL without distortion, it’s nearly impossible to overload the P30/HC, even with the loudest instruments.<br /><br />\n<h3>P30/HC Features</h3>\n<ul>\n	<li>20Hz – 30kHz frequency response</li>\n	<li>Mini-gooseneck allows quick and easy positioning</li>\n	<li>Easily mic guitars and other instruments, then re-position the microphone without moving the stand or boom</li>\n	<li>Uniform frequency response on or off-axis</li>\n	<li>More gain before feedback</li>\n	<li>Picks up almost no sound from the rear of the microphone</li>\n	<li>Near perfect polar response allows them to be placed closer to a choir with no spotlighting</li>\n	<li>Can be used for stringed, woodwind and percussion instruments</li>\n</ul>\n<span style=\"background-color: initial;\"><br />Available in black and white. </span>Available as a matched pair. Call or Chat for details.'),(4071,85,0,679,'Earthworks P30/HC Hypercardioid Periscope Microphone'),(4072,85,1,679,'Earthworks P30/HC Hypercardioid Periscope Microphone'),(4073,76,0,679,''),(4074,76,1,679,''),(4075,75,0,680,'<h1>Earthworks PM40 PianoMic System</h1>\n<i>Piano miking system designed to revolutionize piano miking and achieve an incredible improvement in piano sound for live and recording applications with no mic stands or booms</i><br/><br/>\nThe Earthworks PM40 PianoMic™ System is a revolutionary solution for miking grand pianos with no mic stands or booms. The PM40 PianoMic™ provides the best of both worlds. A simple piano miking system that takes just minutes to setup and provides incredible results for live performances and studio recordings.\n<br/><br/>\nEngineered to allow open or closed lid miking, the PianoMic™ is ideal for a wide range of miking situations. In a recording studio with no other instruments, the PianoMic™ shines with the lid open. When in more crowded settings such as on a concert stage shared with other instruments, merely close the piano lid to isolate the piano and minimize leakage. In both scenarios the PianoMic ™will capture the piano with incredible detail.\n<br/><br/>\nAt the heart of the PianoMic™ are two random incidence omnidirectional microphones, specifically designed for use inside of a piano, which is a diffuse sound field. This means that sound is coming at the microphones from multiple sources and multiple directions. A random-incidence microphone is designed to be placed within such a diffuse sound field and pick up sounds uniformly, whether they arrive at the front, the sides or the rear of the microphone. The PianoMic™ System achieves much of its remarkable performance through the use of specially designed, 40kHz random-incidence High Definition Microphones™.\n<br/><br/>\nBecause of the near-perfect omnidirectional polar response of the microphones and extraordinarily tight impulse response, the PianoMic™ picks up every note with consistently. So, the full range of the piano including the high and low strings will be reproduced with no hot spots.\n<br/><br/>\nIn addition, the microphones exhibit no proximity effect, regardless of their distance from the piano strings or soundboard. The mics, when positioned close to the sound source, also provide incredible gain before feedback and can handle up to 148dB SPL.\n<br/><br/>\n<h3>Construction</h3>\nDesigned for minimal visibility, the PM40 PianoMic™ system mounts within the piano. The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired.\n<br/><br/>\nSet on flexible goosenecks, the microphone capsules can be easily repositioned for optimal microphone placement.\n<br/><br/>\nA separate output stage box features a 5-pin XLR input and two 3-pin XLR outputs. A leather case with a strap allows the box to be mounted onto a piano leg, so the microphone remains nearly invisible from outside the piano or with the lid closed.\n<br/><br/>\n<h3>PM40 Features</h3>\n<ul>\n	<li>Cannot be seen from outside of the piano (needs no stands or mic booms)</li>\n	<li>Superb sound with the piano lid either up or down</li>\n	<li>Virtually no leakage from sounds outside the piano</li>\n	<li>Incredible gain before feedback</li>\n	<li>Recording studios can now record piano with other instruments in the same room</li>\n	<li>Handles sound pressure levels up to 148dB</li>\n	<li>Quick, Simple and Easy Setup</li>\n	<li>40kHz Random Incidence Omnis</li>\n	<li>Hear the full range of the piano including the high and low strings with no hot spots</li>\n	<li>The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired</li>\n</ul>\n<br/>'),(4076,75,1,680,'<h1>Earthworks PM40 PianoMic System</h1>\n<i>Piano miking system designed to revolutionize piano miking and achieve an incredible improvement in piano sound for live and recording applications with no mic stands or booms</i><br/><br/>\nThe Earthworks PM40 PianoMic™ System is a revolutionary solution for miking grand pianos with no mic stands or booms. The PM40 PianoMic™ provides the best of both worlds. A simple piano miking system that takes just minutes to setup and provides incredible results for live performances and studio recordings.\n<br/><br/>\nEngineered to allow open or closed lid miking, the PianoMic™ is ideal for a wide range of miking situations. In a recording studio with no other instruments, the PianoMic™ shines with the lid open. When in more crowded settings such as on a concert stage shared with other instruments, merely close the piano lid to isolate the piano and minimize leakage. In both scenarios the PianoMic ™will capture the piano with incredible detail.\n<br/><br/>\nAt the heart of the PianoMic™ are two random incidence omnidirectional microphones, specifically designed for use inside of a piano, which is a diffuse sound field. This means that sound is coming at the microphones from multiple sources and multiple directions. A random-incidence microphone is designed to be placed within such a diffuse sound field and pick up sounds uniformly, whether they arrive at the front, the sides or the rear of the microphone. The PianoMic™ System achieves much of its remarkable performance through the use of specially designed, 40kHz random-incidence High Definition Microphones™.\n<br/><br/>\nBecause of the near-perfect omnidirectional polar response of the microphones and extraordinarily tight impulse response, the PianoMic™ picks up every note with consistently. So, the full range of the piano including the high and low strings will be reproduced with no hot spots.\n<br/><br/>\nIn addition, the microphones exhibit no proximity effect, regardless of their distance from the piano strings or soundboard. The mics, when positioned close to the sound source, also provide incredible gain before feedback and can handle up to 148dB SPL.\n<br/><br/>\n<h3>Construction</h3>\nDesigned for minimal visibility, the PM40 PianoMic™ system mounts within the piano. The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired.\n<br/><br/>\nSet on flexible goosenecks, the microphone capsules can be easily repositioned for optimal microphone placement.\n<br/><br/>\nA separate output stage box features a 5-pin XLR input and two 3-pin XLR outputs. A leather case with a strap allows the box to be mounted onto a piano leg, so the microphone remains nearly invisible from outside the piano or with the lid closed.\n<br/><br/>\n<h3>PM40 Features</h3>\n<ul>\n	<li>Cannot be seen from outside of the piano (needs no stands or mic booms)</li>\n	<li>Superb sound with the piano lid either up or down</li>\n	<li>Virtually no leakage from sounds outside the piano</li>\n	<li>Incredible gain before feedback</li>\n	<li>Recording studios can now record piano with other instruments in the same room</li>\n	<li>Handles sound pressure levels up to 148dB</li>\n	<li>Quick, Simple and Easy Setup</li>\n	<li>40kHz Random Incidence Omnis</li>\n	<li>Hear the full range of the piano including the high and low strings with no hot spots</li>\n	<li>The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired</li>\n</ul>\n<br/>'),(4077,85,0,680,'Earthworks PM40 PianoMic System'),(4078,85,1,680,'Earthworks PM40 PianoMic System'),(4079,76,0,680,''),(4080,76,1,680,''),(4081,75,0,681,'<h1>Earthworks PM40T Touring PianoMic System</h1>\n<i>Touring piano miking system housed in a compact airline friendly carry-on case designed to revolutionize piano miking and achieve an incredible improvement in piano sound with no mic stands or booms</i><br /><br />\nThe Earthworks PM40T Touring PianoMic™ System is a revolutionary solution for miking grand pianos with no mic stands or booms. The PM40T PianoMic™ provides the best of both worlds. A simple piano miking system that takes just minutes to setup and provides incredible results for live performances.\n<br /><br />\nEngineered to allow open or closed lid miking, the PianoMic™ is ideal for a wide range of miking situations. In a recording studio with no other instruments, the PianoMic™ shines with the lid open. When in more crowded settings such as on a concert stage shared with other instruments, merely close the piano lid to isolate the piano and minimize leakage. In both scenarios the PianoMic ™will capture the piano with incredible detail.\n<br /><br />\nAt the heart of the PianoMic™ are two random incidence omnidirectional microphones, specifically designed for use inside of a piano, which is a diffuse sound field. This means that sound is coming at the microphones from multiple sources and multiple directions. A random-incidence microphone is designed to be placed within such a diffuse sound field and pick up sounds uniformly, whether they arrive at the front, the sides or the rear of the microphone. The PianoMic™ System achieves much of its remarkable performance through the use of specially designed, 40kHz random-incidence High Definition Microphones™.\n<br /><br />\nBecause of the near-perfect omnidirectional polar response of the microphones and extraordinarily tight impulse response, the PianoMic™ picks up every note with consistently. So, the full range of the piano including the high and low strings will be reproduced with no hot spots.\n<br /><br />\nIn addition, the microphones exhibit no proximity effect, regardless of their distance from the piano strings or soundboard. The mics, when positioned close to the sound source, also provide incredible gain before feedback and can handle up to 148dB SPL.\n<br /><br />\n<h3>Construction</h3>\nDesigned with touring environments in mind, the PM40T takes the incredible performance of the original PM40 PianoMic and houses it in a compact airline friendly carrying case. The telescoping bar detaches in the center, making the PM40T much more compact for travel.\n<br /><br />\nThe PM40T PianoMic™ system mounts within the piano for minimum visibility on stage. The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired.\n<br /><br />\nSet on flexible goosenecks, the microphone capsules can be easily repositioned for optimal microphone placement.\n<br /><br />\nA separate output stage box features a 5-pin XLR input and two 3-pin XLR outputs. A leather case with a strap allows the box to be mounted onto a piano leg, so the microphone remains nearly invisible from outside the piano or with the lid closed.\n<br /><br />\n<h3>PM40T Features</h3>\n<ul>\n	<li>Touring Model of the PM40 PianoMic System</li><li>Cannot be seen from outside of the piano (needs no stands or mic booms)</li><li>Superb sound with the piano lid either up or down</li><li>Virtually no leakage from sounds outside the piano</li><li>Incredible gain before feedback</li><li>Recording studios can now record piano with other instruments in the same room</li><li>Handles sound pressure levels up to 148dB</li><li>Quick, Simple and Easy Setup</li><li>40kHz Random Incidence Omnis</li><li>Hear the full range of the piano including the high and low strings with no hot spots</li><li>The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired</li>\n</ul>\n<br />'),(4082,75,1,681,'<h1>Earthworks PM40T Touring PianoMic System</h1>\n<i>Touring piano miking system housed in a compact airline friendly carry-on case designed to revolutionize piano miking and achieve an incredible improvement in piano sound with no mic stands or booms</i><br /><br />\nThe Earthworks PM40T Touring PianoMic™ System is a revolutionary solution for miking grand pianos with no mic stands or booms. The PM40T PianoMic™ provides the best of both worlds. A simple piano miking system that takes just minutes to setup and provides incredible results for live performances.\n<br /><br />\nEngineered to allow open or closed lid miking, the PianoMic™ is ideal for a wide range of miking situations. In a recording studio with no other instruments, the PianoMic™ shines with the lid open. When in more crowded settings such as on a concert stage shared with other instruments, merely close the piano lid to isolate the piano and minimize leakage. In both scenarios the PianoMic ™will capture the piano with incredible detail.\n<br /><br />\nAt the heart of the PianoMic™ are two random incidence omnidirectional microphones, specifically designed for use inside of a piano, which is a diffuse sound field. This means that sound is coming at the microphones from multiple sources and multiple directions. A random-incidence microphone is designed to be placed within such a diffuse sound field and pick up sounds uniformly, whether they arrive at the front, the sides or the rear of the microphone. The PianoMic™ System achieves much of its remarkable performance through the use of specially designed, 40kHz random-incidence High Definition Microphones™.\n<br /><br />\nBecause of the near-perfect omnidirectional polar response of the microphones and extraordinarily tight impulse response, the PianoMic™ picks up every note with consistently. So, the full range of the piano including the high and low strings will be reproduced with no hot spots.\n<br /><br />\nIn addition, the microphones exhibit no proximity effect, regardless of their distance from the piano strings or soundboard. The mics, when positioned close to the sound source, also provide incredible gain before feedback and can handle up to 148dB SPL.\n<br /><br />\n<h3>Construction</h3>\nDesigned with touring environments in mind, the PM40T takes the incredible performance of the original PM40 PianoMic and houses it in a compact airline friendly carrying case. The telescoping bar detaches in the center, making the PM40T much more compact for travel.\n<br /><br />\nThe PM40T PianoMic™ system mounts within the piano for minimum visibility on stage. The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired.\n<br /><br />\nSet on flexible goosenecks, the microphone capsules can be easily repositioned for optimal microphone placement.\n<br /><br />\nA separate output stage box features a 5-pin XLR input and two 3-pin XLR outputs. A leather case with a strap allows the box to be mounted onto a piano leg, so the microphone remains nearly invisible from outside the piano or with the lid closed.\n<br /><br />\n<h3>PM40T Features</h3>\n<ul>\n	<li>Touring Model of the PM40 PianoMic System</li><li>Cannot be seen from outside of the piano (needs no stands or mic booms)</li><li>Superb sound with the piano lid either up or down</li><li>Virtually no leakage from sounds outside the piano</li><li>Incredible gain before feedback</li><li>Recording studios can now record piano with other instruments in the same room</li><li>Handles sound pressure levels up to 148dB</li><li>Quick, Simple and Easy Setup</li><li>40kHz Random Incidence Omnis</li><li>Hear the full range of the piano including the high and low strings with no hot spots</li><li>The telescoping bar allows the PianoMic™ to be quickly and easily installed in nearly all grand pianos and to place the microphones close to or away from the dampers and get the exact sound desired</li>\n</ul>\n<br />'),(4083,85,0,681,'Earthworks PM40T Touring PianoMic System'),(4084,85,1,681,'Earthworks PM40T Touring PianoMic System'),(4085,76,0,681,''),(4086,76,1,681,''),(4087,75,0,682,'<h1>Earthworks QTC30 Omni Condenser Microphone</h1>\nThe Earthworks QTC30 brings recordings to life and delivers a truly accurate snapshot of your sound.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nWith an extended 3Hz – 30kHz ruler-flat frequency response (with no frequencies exaggerated or attenuated) the result is a more accurate representation of the original sound.\n<br /><br />\nThe QTC30 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nWith an SPL rating of 140dB the QTC30 has plenty of headroom, so there is no need to worry about the microphone distorting. And there is no proximity effect, you can get the QTC30 as close as you want to the sound source.<br /><br />\nIdeal for for recording quieter sources such as vocals, strings and distant miked orchestras or choirs, these low noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments, and foley.<br /><br />\n<h3>QTC30 Features</h3>\n<ul>\n	<li>3Hz – 30kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 140dB SPL without distortion, proximity effect or handling noise</li>\n	<li>With a frequency response to 30kHz and excellent impulse response, it will reproduce sounds with incredible detail that are true and life-like, making it an ideal and affordable choice for recording applications</li>\n	<li>Intended for detailed sources</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Flat frequency response, fast impulse response and exceptional polar characteristics</li>\n	<li>Accurate and uncolored</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4088,75,1,682,'<h1>Earthworks QTC30 Omni Condenser Microphone</h1>\nThe Earthworks QTC30 brings recordings to life and delivers a truly accurate snapshot of your sound.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nWith an extended 3Hz – 30kHz ruler-flat frequency response (with no frequencies exaggerated or attenuated) the result is a more accurate representation of the original sound.\n<br /><br />\nThe QTC30 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nWith an SPL rating of 140dB the QTC30 has plenty of headroom, so there is no need to worry about the microphone distorting. And there is no proximity effect, you can get the QTC30 as close as you want to the sound source.<br /><br />\nIdeal for for recording quieter sources such as vocals, strings and distant miked orchestras or choirs, these low noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments, and foley.<br /><br />\n<h3>QTC30 Features</h3>\n<ul>\n	<li>3Hz – 30kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 140dB SPL without distortion, proximity effect or handling noise</li>\n	<li>With a frequency response to 30kHz and excellent impulse response, it will reproduce sounds with incredible detail that are true and life-like, making it an ideal and affordable choice for recording applications</li>\n	<li>Intended for detailed sources</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Flat frequency response, fast impulse response and exceptional polar characteristics</li>\n	<li>Accurate and uncolored</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4089,85,0,682,'Earthworks QTC30 Omni Condenser Microphone'),(4090,85,1,682,'Earthworks QTC30 Omni Condenser Microphone'),(4091,76,0,682,''),(4092,76,1,682,''),(4093,75,0,683,'<h1>Earthworks QTC40 Omni Condenser Microphone</h1>\nThe Earthworks QTC40 brings recordings to life and delivers a truly accurate snapshot of your sound.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nWith an extended 3Hz – 40kHz ruler-flat frequency response (with no frequencies exaggerated or attenuated) the result is a more accurate representation of the original sound.\n<br /><br />\nThe QTC40 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nWith an SPL rating of 140dB the QTC40 has plenty of headroom, so there is no need to worry about the microphone distorting. And there is no proximity effect, you can get the QTC40 as close as you want to the sound source.<br /><br />\n\nIdeal for for recording quieter sources such as vocals, strings and distant miked orchestras or choirs, these low noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments, and foley.<br /><br />\n<h3>QTC40 Features</h3>\n<ul>\n	<li>3Hz – 40kHz flat frequency response</li><li>Omnidirectional polar pattern</li><li>Handles up to 140dB SPL without distortion, proximity effect or handling noise</li>\n	<li>With a frequency response to 40kHz and excellent impulse response, it will reproduce sounds with incredible detail that are true and life-like, making it an ideal and affordable choice for recording applications</li><li>Perfect for recording the accuracy and full detail of instruments in the studio yet robust and subtle enough to record bird sounds in the jungle</li><li>Intended for detailed sources</li><li>Flat frequency response, fast impulse response and exceptional polar characteristics</li><li>Accurate and uncolored</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4094,75,1,683,'<h1>Earthworks QTC40 Omni Condenser Microphone</h1>\nThe Earthworks QTC40 brings recordings to life and delivers a truly accurate snapshot of your sound.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nWith an extended 3Hz – 40kHz ruler-flat frequency response (with no frequencies exaggerated or attenuated) the result is a more accurate representation of the original sound.\n<br /><br />\nThe QTC40 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nWith an SPL rating of 140dB the QTC40 has plenty of headroom, so there is no need to worry about the microphone distorting. And there is no proximity effect, you can get the QTC40 as close as you want to the sound source.<br /><br />\n\nIdeal for for recording quieter sources such as vocals, strings and distant miked orchestras or choirs, these low noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments, and foley.<br /><br />\n<h3>QTC40 Features</h3>\n<ul>\n	<li>3Hz – 40kHz flat frequency response</li><li>Omnidirectional polar pattern</li><li>Handles up to 140dB SPL without distortion, proximity effect or handling noise</li>\n	<li>With a frequency response to 40kHz and excellent impulse response, it will reproduce sounds with incredible detail that are true and life-like, making it an ideal and affordable choice for recording applications</li><li>Perfect for recording the accuracy and full detail of instruments in the studio yet robust and subtle enough to record bird sounds in the jungle</li><li>Intended for detailed sources</li><li>Flat frequency response, fast impulse response and exceptional polar characteristics</li><li>Accurate and uncolored</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4095,85,0,683,'Earthworks QTC40 Omni Condenser Microphone'),(4096,85,1,683,'Earthworks QTC40 Omni Condenser Microphone'),(4097,76,0,683,''),(4098,76,1,683,''),(4099,75,0,684,'<h1>Earthworks QTC50 Omni Condenser Microphone</h1>\nThe Earthworks QTC50 brings recordings to life and delivers a truly accurate snapshot of your sound.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nWith an extended 3Hz – 50kHz ruler-flat frequency response (with no frequencies exaggerated or attenuated) the result is a more accurate representation of the original sound.\n<br /><br />\nThe QTC50 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nWith an SPL rating of 140dB the QTC50 has plenty of headroom, so there is no need to worry about the microphone distorting. And there is no proximity effect, you can get the QTC50 as close as you want to the sound source.<br /><br />\n\nIdeal for for recording quieter sources such as vocals, strings and distant miked orchestras or choirs, these low noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments, and foley.<br /><br />\n<h3>QTC50 Features</h3>\n<ul>\n	<li>3Hz – 50kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 140dB SPL without distortion, proximity effect or handling noise</li><li>Captures sounds with incredible precision</li>\n	<li>With a frequency response to 50kHz and excellent impulse response</li>\n	<li>Intended for detailed sources</li>\n	<li>Flat frequency response, fast impulse response and exceptional polar characteristics</li>\n	<li>Accurate and uncolored</li>\n	\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4100,75,1,684,'<h1>Earthworks QTC50 Omni Condenser Microphone</h1>\nThe Earthworks QTC50 brings recordings to life and delivers a truly accurate snapshot of your sound.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nWith an extended 3Hz – 50kHz ruler-flat frequency response (with no frequencies exaggerated or attenuated) the result is a more accurate representation of the original sound.\n<br /><br />\nThe QTC50 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nWith an SPL rating of 140dB the QTC50 has plenty of headroom, so there is no need to worry about the microphone distorting. And there is no proximity effect, you can get the QTC50 as close as you want to the sound source.<br /><br />\n\nIdeal for for recording quieter sources such as vocals, strings and distant miked orchestras or choirs, these low noise omnis are also an excellent choice for drum overheads, close-miked wind and percussion instruments, and foley.<br /><br />\n<h3>QTC50 Features</h3>\n<ul>\n	<li>3Hz – 50kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 140dB SPL without distortion, proximity effect or handling noise</li><li>Captures sounds with incredible precision</li>\n	<li>With a frequency response to 50kHz and excellent impulse response</li>\n	<li>Intended for detailed sources</li>\n	<li>Flat frequency response, fast impulse response and exceptional polar characteristics</li>\n	<li>Accurate and uncolored</li>\n	\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4101,85,0,684,'Earthworks QTC50 Omni Condenser Microphone'),(4102,85,1,684,'Earthworks QTC50 Omni Condenser Microphone'),(4103,76,0,684,''),(4104,76,1,684,''),(4105,75,0,685,'<h2>Earthworks SR20 Cardioid Condenser Microphone</h2>\n<i>20kHz Multi-Purpose Instrument & Vocal Microphone</i><br/><br/>\nThe Earthworks SR20 is a multi-purpose vocal & instrument microphone designed for live performance and studio recording environments.\n<br/><br/>\nThe ultimate workhorse microphone, the SR20 is designed to seamlessly transition from tracking vocals in the studio to miking acoustic guitar onstage and everything in between.\n<br/><br/>\nThe SR20’s near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones.\n<br/><br/>\nIt handles transients with ease, reproducing every detail no matter how sharp or subtle. Capable of handling sound pressure levels of up to 139dB without distortion, the SR20 can handle nearly any instrument.\n<br/><br/>\nFeaturing a screw-on metal mesh windscreen, the SR20 is a world-class vocal microphone that captures the subtle details of your performance. Its clean on-axis response provides maximum intelligibility of vocals up to 90 degrees off-axis, while rejecting off-axis noise and feedback from ambiance, surrounding instruments and nearby stage monitors thanks to its massive rear rejection.\n<br/><br/>\nThis performance also makes the SR20 a stellar choice for presentations, press conferences, meeting halls and more. When every word counts, the SR20 will deliver.\n<br/><br/>\nUnscrewing the SR20’s windscreen reveals an instrument microphone that is equally at home miking acoustic guitar, brass, woodwinds, drums, guitar amp, and more.\n<br/><br/>\n<h3>SR20 Features</h3>\n<ul>\n	<li>20kHz frequency response</li>\n	<li>Cardioid polar pattern</li>\n	<li>Handles up to 139dB SPL without distortion</li>\n	<li>Will accurately capture a voice with the same precision and quality up to 90 degrees off-axis, providing the same pristine sound quality at the front and side of the microphone</li>\n	<li>Up close the SR20 is warm, not boomy, while its unique windscreen assembly eliminates the popping of P’s</li>\n	<li>Patented design and uniform polar response provide more gain before feedback than other microphones</li>\n	<li>Unscrewing the windscreen of the SR20 allows it to become an instrument mic for piano, guitar, drums, brass, woodwinds and other instruments</li>\n	<li>Textbook perfect cardioid polar pattern with natural on and off-axis performance</li>\n	<li>Provides excellent results for both live performance and recording applications</li>\n	<li>Extreme accuracy in the time domain for faithful reproduction and no smearing or distortion</li>\n	<li>No “smearing” of low-level signals</li>\n</ul>\n<br/>'),(4106,75,1,685,'<h2>Earthworks SR20 Cardioid Condenser Microphone</h2>\n<i>20kHz Multi-Purpose Instrument & Vocal Microphone</i><br/><br/>\nThe Earthworks SR20 is a multi-purpose vocal & instrument microphone designed for live performance and studio recording environments.\n<br/><br/>\nThe ultimate workhorse microphone, the SR20 is designed to seamlessly transition from tracking vocals in the studio to miking acoustic guitar onstage and everything in between.\n<br/><br/>\nThe SR20’s near-perfect cardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones.\n<br/><br/>\nIt handles transients with ease, reproducing every detail no matter how sharp or subtle. Capable of handling sound pressure levels of up to 139dB without distortion, the SR20 can handle nearly any instrument.\n<br/><br/>\nFeaturing a screw-on metal mesh windscreen, the SR20 is a world-class vocal microphone that captures the subtle details of your performance. Its clean on-axis response provides maximum intelligibility of vocals up to 90 degrees off-axis, while rejecting off-axis noise and feedback from ambiance, surrounding instruments and nearby stage monitors thanks to its massive rear rejection.\n<br/><br/>\nThis performance also makes the SR20 a stellar choice for presentations, press conferences, meeting halls and more. When every word counts, the SR20 will deliver.\n<br/><br/>\nUnscrewing the SR20’s windscreen reveals an instrument microphone that is equally at home miking acoustic guitar, brass, woodwinds, drums, guitar amp, and more.\n<br/><br/>\n<h3>SR20 Features</h3>\n<ul>\n	<li>20kHz frequency response</li>\n	<li>Cardioid polar pattern</li>\n	<li>Handles up to 139dB SPL without distortion</li>\n	<li>Will accurately capture a voice with the same precision and quality up to 90 degrees off-axis, providing the same pristine sound quality at the front and side of the microphone</li>\n	<li>Up close the SR20 is warm, not boomy, while its unique windscreen assembly eliminates the popping of P’s</li>\n	<li>Patented design and uniform polar response provide more gain before feedback than other microphones</li>\n	<li>Unscrewing the windscreen of the SR20 allows it to become an instrument mic for piano, guitar, drums, brass, woodwinds and other instruments</li>\n	<li>Textbook perfect cardioid polar pattern with natural on and off-axis performance</li>\n	<li>Provides excellent results for both live performance and recording applications</li>\n	<li>Extreme accuracy in the time domain for faithful reproduction and no smearing or distortion</li>\n	<li>No “smearing” of low-level signals</li>\n</ul>\n<br/>'),(4107,85,0,685,'Earthworks SR20 Cardioid Condenser Microphone'),(4108,85,1,685,'Earthworks SR20 Cardioid Condenser Microphone'),(4109,76,0,685,''),(4110,76,1,685,''),(4111,75,0,686,'<h1>Earthworks SR314 Handheld Vocal Condenser Mic</h1>\r\n<i>Handheld vocal condenser mic housed in a sleek and durable stainless steel body featuring a tight cardioid polar pattern and 145dB SPL handling, plus an extended 20Hz-30kHz frequency response.</i><br /><br /><div>The Earthworks SR314 High Definition Handheld Vocal Microphone is a precision-engineered cardioid condenser microphone designed from the ground up to deliver a fresh approach to vocal miking in live performance environments. The SR314 <span style=\"background-color: initial;\">utilizes a pre-polarized condenser element coupled to a dedicated </span><span style=\"background-color: initial;\">wideband transformerless preamplifier that requires standard 24- </span><span style=\"background-color: initial;\">48V Phantom Power. The SR314 features an exceptionally flat 20Hz </span><span style=\"background-color: initial;\">to 30kHz frequency response, fast impulse response, low handling </span><span style=\"background-color: initial;\">noise, a uniform cardioid polar pattern and high SPL handling capabilities. It provides excellent uncolored rejection of sounds arriving off-axis and yields more gain before feedback than conventional </span><span style=\"background-color: initial;\">vocal microphones. <br /><br /></span>Uncompromising Earthworks performance within a bold stainless steel chassis that perfectly blends retro and futuristic, the SR314 is for vocalists who expect as much from their instruments as they do from themselves. </div><br />\r\n	Key features of the SR314 include rich open natural sound captured in a tight cardioid polar pattern that is consistent throughout the full frequency range. 145dB SPL handling and an extended 20Hz-30kHz frequency response are the footnotes on a vocal microphone as brilliant and striking as the rest of the instruments onstage.\r\n<br /><br />\r\n	The SR314 ships with a mic clip for stand mounting and a protective fabric bag included. <br /><br />\r\n<h3>SR314 Features</h3>\r\n<ul>\r\n	<li>Stainless steel chassis</li><li>Cardioid condenser microphone</li><li>Rich open natural sound</li><li>145dB SPL handling</li><li>20Hz-30kHz frequency response</li>\r\n</ul>\r\n<br />'),(4112,75,1,686,'<h1>Earthworks SR314 Handheld Vocal Condenser Mic</h1>\n<i>Handheld vocal condenser mic housed in a sleek and durable stainless steel body featuring a tight cardioid polar pattern and 145dB SPL handling, plus an extended 20Hz-30kHz frequency response.</i><br /><br /><div>The Earthworks SR314 High Definition Handheld Vocal Microphone is a precision-engineered cardioid condenser microphone designed from the ground up to deliver a fresh approach to vocal miking in live performance environments. The SR314 <span style=\"background-color: initial;\">utilizes a pre-polarized condenser element coupled to a dedicated </span><span style=\"background-color: initial;\">wideband transformerless preamplifier that requires standard 24- </span><span style=\"background-color: initial;\">48V Phantom Power. The SR314 features an exceptionally flat 20Hz </span><span style=\"background-color: initial;\">to 30kHz frequency response, fast impulse response, low handling </span><span style=\"background-color: initial;\">noise, a uniform cardioid polar pattern and high SPL handling capabilities. It provides excellent uncolored rejection of sounds arriving off-axis and yields more gain before feedback than conventional </span><span style=\"background-color: initial;\">vocal microphones. <br /><br /></span>Uncompromising Earthworks performance within a bold stainless steel chassis that perfectly blends retro and futuristic, the SR314 is for vocalists who expect as much from their instruments as they do from themselves. </div><br />\n	Key features of the SR314 include rich open natural sound captured in a tight cardioid polar pattern that is consistent throughout the full frequency range. 145dB SPL handling and an extended 20Hz-30kHz frequency response are the footnotes on a vocal microphone as brilliant and striking as the rest of the instruments onstage.\n<br /><br />\n	The SR314 ships with a mic clip for stand mounting and a protective fabric bag included. <br /><br />\n<h3>SR314 Features</h3>\n<ul>\n	<li>Stainless steel chassis</li><li>Cardioid condenser microphone</li><li>Rich open natural sound</li><li>145dB SPL handling</li><li>20Hz-30kHz frequency response</li>\n</ul>\n<br />'),(4113,85,0,686,''),(4114,85,1,686,''),(4115,76,0,686,''),(4116,76,1,686,''),(4117,75,0,687,'<h1>Earthworks SR40V Hypercardioid Condenser Microphone</h1>\n<i>World-class handheld vocal microphone designed for live performance.  </i><br /><br />The SR40V is a handheld vocal microphone that delivers a natural clarity of sound with unmatched presence and depth for vocals. Featuring revolutionary circuitry that is hand-matched to its capsule for flawless sonic performance, the SR40V delivers natural clarity of sound and unmatched presence and depth for vocals.<br /><br /><span style=\"background-color: initial;\">The SR40V’s near-perfect hypercardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones. Singers can also maintain freedom of movement and still maintain pristine sound quality and plenty of gains.<br /><br /></span><span style=\"background-color: initial;\">Its clean on-axis response provides maximum intelligibility of vocals up to 90 degrees off-axis while rejecting off-axis noise and feedback from the ambiance, surrounding instruments and nearby stage monitors thanks to its more than 30dB of rear rejection.<br /><br /></span><span style=\"background-color: initial;\">Capable of handling sound pressure levels of up to 145dB without distortion, the SR40V can handle nearly any vocalist.<br /><br /></span><span style=\"background-color: initial;\">Designed for the road, the SR40V lightning-fast transient response extended frequency range, and tight hypercardioid pickup pattern reproduces breathtaking vocals that bring studio-quality sound to the stage.</span><br /><br />\n<h3>SR40V Features</h3>\n<ul>\n</ul>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Frequency range spanning from 20Hz – 40kHz</span></li>\n	<li>Hand-tuned and tested</li>\n	<li>Reproduces subtle details other vocals microphones, miss</li>\n	<li>No need for excessive EQ or effects</li>\n	<li>Textbook perfect hypercardioid polar pattern with natural on and off-axis performance</li>\n	<li>Fastest transient response of any vocal microphone on the market</li>\n	<li>Extreme accuracy in the time domain for faithful reproduction and no smearing or distortion</li>\n	<li>Low handling noise</li>\n	<li>Circuitry is handcrafted to match each capsule for optimum performance</li></ul>\n<h3></h3>'),(4118,75,1,687,'<h1>Earthworks SR40V Hypercardioid Condenser Microphone</h1>\n<i>World-class handheld vocal microphone designed for live performance.  </i><br /><br />The SR40V is a handheld vocal microphone that delivers a natural clarity of sound with unmatched presence and depth for vocals. Featuring revolutionary circuitry that is hand-matched to its capsule for flawless sonic performance, the SR40V delivers natural clarity of sound and unmatched presence and depth for vocals.<br /><br /><span style=\"background-color: initial;\">The SR40V’s near-perfect hypercardioid polar pattern is consistent across all frequencies, simplifying mic placement, ensuring more gain before feedback and virtually eliminating phasing issues when using multiple microphones. Singers can also maintain freedom of movement and still maintain pristine sound quality and plenty of gains.<br /><br /></span><span style=\"background-color: initial;\">Its clean on-axis response provides maximum intelligibility of vocals up to 90 degrees off-axis while rejecting off-axis noise and feedback from the ambiance, surrounding instruments and nearby stage monitors thanks to its more than 30dB of rear rejection.<br /><br /></span><span style=\"background-color: initial;\">Capable of handling sound pressure levels of up to 145dB without distortion, the SR40V can handle nearly any vocalist.<br /><br /></span><span style=\"background-color: initial;\">Designed for the road, the SR40V lightning-fast transient response extended frequency range, and tight hypercardioid pickup pattern reproduces breathtaking vocals that bring studio-quality sound to the stage.</span><br /><br />\n<h3>SR40V Features</h3>\n<ul>\n</ul>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Frequency range spanning from 20Hz – 40kHz</span></li>\n	<li>Hand-tuned and tested</li>\n	<li>Reproduces subtle details other vocals microphones, miss</li>\n	<li>No need for excessive EQ or effects</li>\n	<li>Textbook perfect hypercardioid polar pattern with natural on and off-axis performance</li>\n	<li>Fastest transient response of any vocal microphone on the market</li>\n	<li>Extreme accuracy in the time domain for faithful reproduction and no smearing or distortion</li>\n	<li>Low handling noise</li>\n	<li>Circuitry is handcrafted to match each capsule for optimum performance</li></ul>\n<h3></h3>'),(4119,85,0,687,''),(4120,85,1,687,''),(4121,76,0,687,''),(4122,76,1,687,''),(4123,75,0,688,'<h2>Earthworks SV33 Large-Diaphragm Cardioid Condenser Microphone</h2>\n<i>Large-Diaphragm Cardioid Condenser Microphone that features a 14mm capsule and delivers outstanding clarity and transparency.</i><br /><br />The Earthworks SV33 Large-Diaphragm Cardioid Condenser Microphone is Earthworks\' flagship studio vocal microphone and delivers the outstanding clarity, detail, and transparency that makes Earthworks famous. SV33 features a 14mm capsule that delivers warmth coupled with extremely precise audio performance. A true cardioid polar pattern provides 140 degrees of freedom with an enormous sweet spot and incredible rear rejection, maintaining complete sonic accuracy for vocal performances.<span style=\"background-color: rgb(158, 158, 158); font-size: 11.44px; height: 22.1px; width: 22.1px; margin-right: 9.1px;\" class=\"icon-wrapper circle-yes\"></span><br /><br />\n<h3>SV33 Features</h3>\n<ul>\n	<li>Front Address</li>\n	<li>14mm Capsule</li>\n	<li>True cardioid pattern</li>\n	<li>30Hz – 33kHz</li>\n	<li>Handles up to 145dB SPL</li>\n	<li>Hand-tuned precision</li>\n	<li>Crisp, clear and authentic reproduction</li>\n	<li>Nextel® Dark Black finish for low reflectivity and durability</li>\n</ul>\n<br />\n<h3>Freedom</h3>\nNever has there been a vocal microphone that gives you this much freedom. Freedom to express, to move, to take risks and capture every essence of the vocal performance. The SV33 eliminates limitations found in other high end studio microphones and infuses ease into the process for both the vocalist and the engineer. With 140 degrees of freedom across the frontal hemisphere every moment of joy, longing, pain or elation will come through with breathtaking lifelike clarity.\n<br /><br />\n<h3>You—Front and Center</h3>\nThe SV33 excels at delivering crystal clear vocals full of detail and nuance; effortlessly positioned forward in the mix with incredible low end, smooth midrange and high frequency detail. The openness and the air, it’s all there. Giving you a big vocal track full of vibrant presence with incredible intimacy.\n<br /><br />\n<h3>Purest Sound</h3>\nIts discrete Class A circuitry means that your signal path will remain uncompromised, delivering the purest sound possible. With the SV33 you will achieve unmatched sonic clarity and world-class performance for every recording session.\n<br /><br />\n<h3>True Cardioid Polar Pattern</h3>\nThe SV33’s wide cardioid pickup pattern behaves incredibly well on-axis, maintaining the integrity of your vocals and allowing more freedom to move in front of the microphone. Off-axis it excels at rejecting unwanted sounds, so in the unlikely event of bleed, the sound will remain uncolored and pure.<br /><br />'),(4124,75,1,688,'<h2>Earthworks SV33 Large-Diaphragm Cardioid Condenser Microphone</h2>\n<i>Large-Diaphragm Cardioid Condenser Microphone that features a 14mm capsule and delivers outstanding clarity and transparency.</i><br /><br />The Earthworks SV33 Large-Diaphragm Cardioid Condenser Microphone is Earthworks\' flagship studio vocal microphone and delivers the outstanding clarity, detail, and transparency that makes Earthworks famous. SV33 features a 14mm capsule that delivers warmth coupled with extremely precise audio performance. A true cardioid polar pattern provides 140 degrees of freedom with an enormous sweet spot and incredible rear rejection, maintaining complete sonic accuracy for vocal performances.<span style=\"background-color: rgb(158, 158, 158); font-size: 11.44px; height: 22.1px; width: 22.1px; margin-right: 9.1px;\" class=\"icon-wrapper circle-yes\"></span><br /><br />\n<h3>SV33 Features</h3>\n<ul>\n	<li>Front Address</li>\n	<li>14mm Capsule</li>\n	<li>True cardioid pattern</li>\n	<li>30Hz – 33kHz</li>\n	<li>Handles up to 145dB SPL</li>\n	<li>Hand-tuned precision</li>\n	<li>Crisp, clear and authentic reproduction</li>\n	<li>Nextel® Dark Black finish for low reflectivity and durability</li>\n</ul>\n<br />\n<h3>Freedom</h3>\nNever has there been a vocal microphone that gives you this much freedom. Freedom to express, to move, to take risks and capture every essence of the vocal performance. The SV33 eliminates limitations found in other high end studio microphones and infuses ease into the process for both the vocalist and the engineer. With 140 degrees of freedom across the frontal hemisphere every moment of joy, longing, pain or elation will come through with breathtaking lifelike clarity.\n<br /><br />\n<h3>You—Front and Center</h3>\nThe SV33 excels at delivering crystal clear vocals full of detail and nuance; effortlessly positioned forward in the mix with incredible low end, smooth midrange and high frequency detail. The openness and the air, it’s all there. Giving you a big vocal track full of vibrant presence with incredible intimacy.\n<br /><br />\n<h3>Purest Sound</h3>\nIts discrete Class A circuitry means that your signal path will remain uncompromised, delivering the purest sound possible. With the SV33 you will achieve unmatched sonic clarity and world-class performance for every recording session.\n<br /><br />\n<h3>True Cardioid Polar Pattern</h3>\nThe SV33’s wide cardioid pickup pattern behaves incredibly well on-axis, maintaining the integrity of your vocals and allowing more freedom to move in front of the microphone. Off-axis it excels at rejecting unwanted sounds, so in the unlikely event of bleed, the sound will remain uncolored and pure.<br /><br />'),(4125,85,0,688,''),(4126,85,1,688,''),(4127,76,0,688,''),(4128,76,1,688,''),(4129,75,0,689,'<h1>Earthworks TC20 Omni Condenser Microphone</h1>\nThe Earthworks TC20 is an omnidirectional microphone designed for recording louder sources such as drums, percussion, amplified instruments and loud sound effects without overloading the preamplifier.<br /><br />\nWith a whopping SPL rating of 150dB the TC20 has plenty of headroom, so there is no need to worry about distortion, even with the loudest instruments. And there is no proximity effect, so you can get the TC20 as close as you want to the sound source.\n<br /><br />\nWith a 9Hz – 20kHz ruler-flat frequency response, the result is a more accurate representation of the original sound. Its transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. The TC20 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>TC20 Features</h3>\n<ul>\n	<li>Cost effective general-purpose omni with 9Hz – 20kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 150dB SPL without distortion</li><li>Ideal for a wide variety of instruments and vocals, including acoustic guitar, string instruments and piano</li><li>For live sound the TC20 can be used for close miking instrument amps, drums or brass</li><li>Accurate and uncolored</li><li>Fast impulse response and diaphragm settling time</li><li>Exceptional flat frequency response and are time coherent, so they sound natural and uncolored</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4130,75,1,689,'<h1>Earthworks TC20 Omni Condenser Microphone</h1>\nThe Earthworks TC20 is an omnidirectional microphone designed for recording louder sources such as drums, percussion, amplified instruments and loud sound effects without overloading the preamplifier.<br /><br />\nWith a whopping SPL rating of 150dB the TC20 has plenty of headroom, so there is no need to worry about distortion, even with the loudest instruments. And there is no proximity effect, so you can get the TC20 as close as you want to the sound source.\n<br /><br />\nWith a 9Hz – 20kHz ruler-flat frequency response, the result is a more accurate representation of the original sound. Its transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. The TC20 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.\n<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.\n<br /><br />\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>TC20 Features</h3>\n<ul>\n	<li>Cost effective general-purpose omni with 9Hz – 20kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Handles up to 150dB SPL without distortion</li><li>Ideal for a wide variety of instruments and vocals, including acoustic guitar, string instruments and piano</li><li>For live sound the TC20 can be used for close miking instrument amps, drums or brass</li><li>Accurate and uncolored</li><li>Fast impulse response and diaphragm settling time</li><li>Exceptional flat frequency response and are time coherent, so they sound natural and uncolored</li>\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4131,85,0,689,'Earthworks TC20 Omni Condenser Microphone'),(4132,85,1,689,'Earthworks TC20 Omni Condenser Microphone'),(4133,76,0,689,''),(4134,76,1,689,''),(4135,75,0,690,'<h1>Earthworks TC25 Omni Condenser Microphone</h1>\nThe Earthworks TC25 is an omnidirectional microphone designed for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.\n<br /><br />\nWith a whopping SPL rating of 150dB the TC25 has plenty of headroom, so there is no need to worry about distortion, even with the loudest instruments. And there is no proximity effect, so you can get the TC25 as close as you want to the sound source.<br /><br />\nWith an extended 9Hz – 25kHz ruler-flat frequency response, the result is a more accurate representation of the original sound. Its transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. The TC25 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.<br /><br />\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>TC25 Features</h3>\n<ul>\n	<li>9Hz – 25kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Effortlessly handle high sound pressure levels up to 150dB SPL while simultaneously capturing subtle details</li>\n	<li>Ideal for a wide variety of instruments and vocals, including acoustic guitar, string instruments and piano</li>\n	<li>For live sound the TC25 can be used for close miking instrument amps, drums or brass</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Accurate and uncolored</li>\n	<li>Fast impulse response and diaphragm settling time</li>\n	<li>Exceptional flat frequency response and are time coherent, so they sound natural and uncolored</li>\n</ul><br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4136,75,1,690,'<h1>Earthworks TC25 Omni Condenser Microphone</h1>\nThe Earthworks TC25 is an omnidirectional microphone designed for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.\n<br /><br />\nWith a whopping SPL rating of 150dB the TC25 has plenty of headroom, so there is no need to worry about distortion, even with the loudest instruments. And there is no proximity effect, so you can get the TC25 as close as you want to the sound source.<br /><br />\nWith an extended 9Hz – 25kHz ruler-flat frequency response, the result is a more accurate representation of the original sound. Its transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. The TC25 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.<br /><br />\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.<br /><br />\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>TC25 Features</h3>\n<ul>\n	<li>9Hz – 25kHz flat frequency response</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Effortlessly handle high sound pressure levels up to 150dB SPL while simultaneously capturing subtle details</li>\n	<li>Ideal for a wide variety of instruments and vocals, including acoustic guitar, string instruments and piano</li>\n	<li>For live sound the TC25 can be used for close miking instrument amps, drums or brass</li>\n	<li>Omnidirectional polar pattern</li>\n	<li>Accurate and uncolored</li>\n	<li>Fast impulse response and diaphragm settling time</li>\n	<li>Exceptional flat frequency response and are time coherent, so they sound natural and uncolored</li>\n</ul><br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4137,85,0,690,'Earthworks TC25 Omni Condenser Microphone'),(4138,85,1,690,'Earthworks TC25 Omni Condenser Microphone'),(4139,76,0,690,''),(4140,76,1,690,''),(4141,75,0,691,'<h1>Earthworks TC30 Omni Condenser Microphone</h1>\nThe Earthworks TC30 is an omnidirectional microphone designed for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.\n<br /><br />\nWith a whopping SPL rating of 150dB the TC30 has plenty of headroom, so there is no need to worry about distortion, even with the loudest instruments. And there is no proximity effect, so you can get the TC30 as close as you want to the sound source.<br /><br />\n\nWith an extended 9Hz – 30kHz ruler-flat frequency response, the result is a more accurate representation of the original sound. Its transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. The TC30 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.<br /><br />\n\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.<br /><br />\n\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>TC30 Features</h3>\n<ul>\n	<li>9Hz – 30kHz flat frequency response</li><li>Omnidirectional polar pattern</li><li>Effortlessly handle high sound pressure levels up to 150dB SPL while simultaneously capturing subtle details</li><li>Ideal for a wide variety of instruments and vocals, including acoustic guitar, string instruments and piano</li><li>Fast, clean impulse performance yields a remarkably transparent sound</li><li>Accurate and uncolored</li><li>No handling noise, no proximity effect and is very forgiving in terms of placement</li><li>Fast impulse response and diaphragm settling time</li><li>Exceptional flat frequency response and are time coherent, so they sound natural and uncolored</li>\n	\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4142,75,1,691,'<h1>Earthworks TC30 Omni Condenser Microphone</h1>\nThe Earthworks TC30 is an omnidirectional microphone designed for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.\n<br /><br />\nWith a whopping SPL rating of 150dB the TC30 has plenty of headroom, so there is no need to worry about distortion, even with the loudest instruments. And there is no proximity effect, so you can get the TC30 as close as you want to the sound source.<br /><br />\n\nWith an extended 9Hz – 30kHz ruler-flat frequency response, the result is a more accurate representation of the original sound. Its transient response is ultra fast, handling sharp attacks with ease, while still picking up all of the subtle nuances and softest dynamics of your playing. The TC30 is time coherent, precisely capturing high and low frequency sounds with no phase errors, which will smear transients and create other time related distortions.<br /><br />\n\nIts near-perfect omnidirectional polar pattern is uniform across all specified frequencies, letting the microphone capture rich and consistent detail at any position around the capsule.<br /><br />\n\nDesigned for recording louder sources such as drums, percussion, amplified instruments and loud sound effects.<br /><br />\n<h3>TC30 Features</h3>\n<ul>\n	<li>9Hz – 30kHz flat frequency response</li><li>Omnidirectional polar pattern</li><li>Effortlessly handle high sound pressure levels up to 150dB SPL while simultaneously capturing subtle details</li><li>Ideal for a wide variety of instruments and vocals, including acoustic guitar, string instruments and piano</li><li>Fast, clean impulse performance yields a remarkably transparent sound</li><li>Accurate and uncolored</li><li>No handling noise, no proximity effect and is very forgiving in terms of placement</li><li>Fast impulse response and diaphragm settling time</li><li>Exceptional flat frequency response and are time coherent, so they sound natural and uncolored</li>\n	\n</ul>\n<br />\n<b>Also Available as a matched pair. Please call or chat for pricing</b>'),(4143,85,0,691,'Earthworks TC30 Omni Condenser Microphone'),(4144,85,1,691,'Earthworks TC30 Omni Condenser Microphone'),(4145,76,0,691,''),(4146,76,1,691,''),(4147,75,0,692,'<h2>Earthworks WL40V Wireless Microphone Capsule</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Wireless capsule features fast impulse response, wide frequency response and high SPL handling</span><br /><br />The WL40V wireless capsule features fast impulse response, wide frequency response and high SPL handling. The WL40V utilizes a conventional 3-ring concentric connector with the outer ring as common-, middle ring as power+ and center ring as audio +. Please verify that your wireless transmitter has the same 3-ring concentric ring configuration as described above to insure proper functionality of the capsule.<br /><br /><h3>WL40V Compatible With</h3><ul><li>Lectrosonics: HH</li><li>Line 6: XD-V55, XD-V75</li><li>Shure: LX2, PGX2, SLX2, T2, U2, UC2, ULX2, UR2, UT2</li><li>Sony: DWM-02, ZTX-M01</li></ul><br />\n\n<h3>WL40V Features</h3><ul></ul><ul><li>Frequency range spanning from 50Hz – 40kHz</li><li>Hypercardioid polar pattern</li><li>Interchangeable with any screw-on-type handheld transmitters that receive a 1.25″/28 thread pitch (31.3mm/pitch 1.0mm threading)</li>Frequency range spanning from 30Hz - 40kHz<li>Hand-tuned and tested</li><li>Delivers detailed and realistic vocal sound that requires little to no EQ</li><li>Natural on- and off-axis performance</li><li>Benchmark levels of clarity and detail</li><li>Hardened against 2.4GHz</li><li>More gain before feedback</li><li>Excels at distance capture\n										  \n										 \n\n				         \n				    \n				    \n		      </li></ul><h3>Performance</h3><span style=\"font-weight: 400;\">Engineered to deliver studio quality \nperformance to the wireless world, the hand-tuned WL40V features fast \nimpulse response, wide frequency response and high SPL handling. It \nexcels at distance capture, making it ideal for broadcast, corporate, \nand live performance applications.</span>\n<p><span style=\"font-weight: 400;\">Its near-perfect hypercardioid polar \nresponse and 50Hz-40kHz extended flat frequency response translate to a \nnatural on and off-axis performance coupled with benchmark levels of \nsonic clarity and presence. The capsule’s ultra-fast impulse response \ndelivers a highly accurate reproduction of the nuanced details of \nvocals.</span></p>\n<p><span style=\"font-weight: 400;\">The WL40V’s near-perfect \nhypercardioid polar pattern is consistent across all frequencies, \nsimplifying mic placement, ensuring more gain before feedback and \nvirtually eliminating phasing issues when using multiple microphones. \nSingers can also maintain freedom of movement  and still maintain \npristine sound quality and plenty of gain.</span></p>\n<p><span style=\"font-weight: 400;\">Interchangeable with any \nscrew-on-type handheld transmitters that receive a 31.3mm/pitch 1.0mm \nthreading, the electret-based WL40V works with transmitters from \nLectrosonics®, Line 6®, Shure® and Sony®.</span></p>'),(4148,75,1,692,'<h2>Earthworks WL40V Wireless Microphone Capsule</h2>\n<span style=\"font-size: 16px; font-style: italic;\">Wireless capsule features fast impulse response, wide frequency response and high SPL handling</span><br /><br />The WL40V wireless capsule features fast impulse response, wide frequency response and high SPL handling. The WL40V utilizes a conventional 3-ring concentric connector with the outer ring as common-, middle ring as power+ and center ring as audio +. Please verify that your wireless transmitter has the same 3-ring concentric ring configuration as described above to insure proper functionality of the capsule.<br /><br /><h3>WL40V Compatible With</h3><ul><li>Lectrosonics: HH</li><li>Line 6: XD-V55, XD-V75</li><li>Shure: LX2, PGX2, SLX2, T2, U2, UC2, ULX2, UR2, UT2</li><li>Sony: DWM-02, ZTX-M01</li></ul><br />\n\n<h3>WL40V Features</h3><ul></ul><ul><li>Frequency range spanning from 50Hz – 40kHz</li><li>Hypercardioid polar pattern</li><li>Interchangeable with any screw-on-type handheld transmitters that receive a 1.25″/28 thread pitch (31.3mm/pitch 1.0mm threading)</li>Frequency range spanning from 30Hz - 40kHz<li>Hand-tuned and tested</li><li>Delivers detailed and realistic vocal sound that requires little to no EQ</li><li>Natural on- and off-axis performance</li><li>Benchmark levels of clarity and detail</li><li>Hardened against 2.4GHz</li><li>More gain before feedback</li><li>Excels at distance capture\n										  \n										 \n\n				         \n				    \n				    \n		      </li></ul><h3>Performance</h3><span style=\"font-weight: 400;\">Engineered to deliver studio quality \nperformance to the wireless world, the hand-tuned WL40V features fast \nimpulse response, wide frequency response and high SPL handling. It \nexcels at distance capture, making it ideal for broadcast, corporate, \nand live performance applications.</span>\n<p><span style=\"font-weight: 400;\">Its near-perfect hypercardioid polar \nresponse and 50Hz-40kHz extended flat frequency response translate to a \nnatural on and off-axis performance coupled with benchmark levels of \nsonic clarity and presence. The capsule’s ultra-fast impulse response \ndelivers a highly accurate reproduction of the nuanced details of \nvocals.</span></p>\n<p><span style=\"font-weight: 400;\">The WL40V’s near-perfect \nhypercardioid polar pattern is consistent across all frequencies, \nsimplifying mic placement, ensuring more gain before feedback and \nvirtually eliminating phasing issues when using multiple microphones. \nSingers can also maintain freedom of movement  and still maintain \npristine sound quality and plenty of gain.</span></p>\n<p><span style=\"font-weight: 400;\">Interchangeable with any \nscrew-on-type handheld transmitters that receive a 31.3mm/pitch 1.0mm \nthreading, the electret-based WL40V works with transmitters from \nLectrosonics®, Line 6®, Shure® and Sony®.</span></p>'),(4149,85,0,692,''),(4150,85,1,692,''),(4151,76,0,692,''),(4152,76,1,692,''),(4153,75,0,693,'<h1>EastWest The Dark Side</h1>\nTHE DARK SIDE is the first of its kind: an unconventional, 40 Gigabyte, hip and exciting collection of virtual instruments<br/><br/>\n  THE DARK SIDE provides inspiration for all composers and artists looking for something unique and different, and of course, if you work in film, TV, and game music production, this will give you an edge to separate you from your competitors.<br/><br/>THE DARK SIDE includes a vast, 40 Gigabyte collection, including dark and eerie instruments, and highly processed drums and percussion, basses, guitars, ethnic, keyboard, strings, and effected instruments, all organized into instrumental groups so you can create complete tracks.<br/>The Dark Side MIPA award<br/><br/>To produce THE DARK SIDE, Rogers partnered with Grammy Award-Winning record producer David Fridmann, whose unconventional (and successful) work with the likes of MGMT, The Flaming Lips, Weezer, Mercury Rev, Saxon Shore, Ammonia, Ed Harcourt, Sparklehorse, Café Tacuba, Elf Power, Mogwai, Thursday, The Delgados, Low, Phantom Planet, Gemma Hayes, Goldrush, Tapes \'n Tapes, Hopewell, Black Moth Super Rainbow, Number Girl, Zazen Boys, Sleater-Kinney, Clap Your Hands Say Yeah, OK Go, and Tame Impala etc. he had long admired.<br/><br/>Producer DOUG ROGERS was awarded the 2011 MIPA Award for THE DARK SIDE at the Frankfurt Musikmesse. Over 100 international magazines selected the winner. This is the second MIPA Award for Rogers in the last 4 years, having won it for FAB FOUR in 2008. The MIPA has become the \"Grammy\" of the Musical Instrument industry.<br/><br/>\n<h3>The Dark Side Key Features</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Produced by multiple Award-Winning producer DOUG ROGERS and \nGrammy Award-Winning producer DAVID FRIDMANN (MGMT, Flaming Lips etc.)\n	</li>\n	<li>Many instruments have been purposely—and skillfully!—mangled, \ndistorted, or effected out of all recognition (plus a selection of dark \nand eerie instruments).\n	</li>\n	<li>Easy to use browser displays all of your instruments. Interface automatically changes to display current instrument.</li>\n	<li>Included are 40GBs of highly processed drums and percussion, \nbasses, guitars, ethnic, keyboard, strings, and FX instruments and \nsounds, all organized into instrumental groups\n	</li>\n</ul>\n<br/> Doug Rogers partnered with Grammy Award-Winning record producer David Fridmann. Fridmann\'s \"no rules\" style of production was exactly what Rogers was looking for to help produce THE DARK SIDE instruments.<br/><br/>Once they got started, they were like bulls in a china shop: mass aural destruction was the name of the game. They turned traditional instruments into highly processed drums, percussion, basses, guitars, ethnic, keyboards, strings, and FX, all organized into instrument groups for easy audition and recall.<br/><br/>Rogers and Fridmann not only tapped into a wealth of recording and producing experience for THE DARK SIDE, but had the gear to match. Many individual instruments were processed through 5 or 6 effects units, some of the vintage and esoteric tube variety owned by the pair.<br/><br/>THE DARK SIDE distorted and mangled instruments are designed to stand out in a mix, or to disturb the senses. With today\'s brick-wall limiting, distorted instruments may be the only production trick left to highlight instruments, a successful technique used often by Radiohead, Muse, Nine Inch Nails, etc. <br/><br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4154,75,1,693,'<h1>EastWest The Dark Side</h1>\nTHE DARK SIDE is the first of its kind: an unconventional, 40 Gigabyte, hip and exciting collection of virtual instruments<br/><br/>\n  THE DARK SIDE provides inspiration for all composers and artists looking for something unique and different, and of course, if you work in film, TV, and game music production, this will give you an edge to separate you from your competitors.<br/><br/>THE DARK SIDE includes a vast, 40 Gigabyte collection, including dark and eerie instruments, and highly processed drums and percussion, basses, guitars, ethnic, keyboard, strings, and effected instruments, all organized into instrumental groups so you can create complete tracks.<br/>The Dark Side MIPA award<br/><br/>To produce THE DARK SIDE, Rogers partnered with Grammy Award-Winning record producer David Fridmann, whose unconventional (and successful) work with the likes of MGMT, The Flaming Lips, Weezer, Mercury Rev, Saxon Shore, Ammonia, Ed Harcourt, Sparklehorse, Café Tacuba, Elf Power, Mogwai, Thursday, The Delgados, Low, Phantom Planet, Gemma Hayes, Goldrush, Tapes \'n Tapes, Hopewell, Black Moth Super Rainbow, Number Girl, Zazen Boys, Sleater-Kinney, Clap Your Hands Say Yeah, OK Go, and Tame Impala etc. he had long admired.<br/><br/>Producer DOUG ROGERS was awarded the 2011 MIPA Award for THE DARK SIDE at the Frankfurt Musikmesse. Over 100 international magazines selected the winner. This is the second MIPA Award for Rogers in the last 4 years, having won it for FAB FOUR in 2008. The MIPA has become the \"Grammy\" of the Musical Instrument industry.<br/><br/>\n<h3>The Dark Side Key Features</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Produced by multiple Award-Winning producer DOUG ROGERS and \nGrammy Award-Winning producer DAVID FRIDMANN (MGMT, Flaming Lips etc.)\n	</li>\n	<li>Many instruments have been purposely—and skillfully!—mangled, \ndistorted, or effected out of all recognition (plus a selection of dark \nand eerie instruments).\n	</li>\n	<li>Easy to use browser displays all of your instruments. Interface automatically changes to display current instrument.</li>\n	<li>Included are 40GBs of highly processed drums and percussion, \nbasses, guitars, ethnic, keyboard, strings, and FX instruments and \nsounds, all organized into instrumental groups\n	</li>\n</ul>\n<br/> Doug Rogers partnered with Grammy Award-Winning record producer David Fridmann. Fridmann\'s \"no rules\" style of production was exactly what Rogers was looking for to help produce THE DARK SIDE instruments.<br/><br/>Once they got started, they were like bulls in a china shop: mass aural destruction was the name of the game. They turned traditional instruments into highly processed drums, percussion, basses, guitars, ethnic, keyboards, strings, and FX, all organized into instrument groups for easy audition and recall.<br/><br/>Rogers and Fridmann not only tapped into a wealth of recording and producing experience for THE DARK SIDE, but had the gear to match. Many individual instruments were processed through 5 or 6 effects units, some of the vintage and esoteric tube variety owned by the pair.<br/><br/>THE DARK SIDE distorted and mangled instruments are designed to stand out in a mix, or to disturb the senses. With today\'s brick-wall limiting, distorted instruments may be the only production trick left to highlight instruments, a successful technique used often by Radiohead, Muse, Nine Inch Nails, etc. <br/><br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4155,85,0,693,'EastWest The Dark Side'),(4156,85,1,693,'EastWest The Dark Side'),(4157,76,0,693,''),(4158,76,1,693,''),(4159,75,0,694,'<h1>EastWest Fab Four</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">FAB FOUR is a virtual instrument inspired by the sounds of the Beatles, using the same kind of period instruments and authentic rare EMI recording equipment the Beatles used to create their music.<br/><br/></span></span> FAB FOUR sound engineer KEN SCOTT worked on five Beatles albums, including \"A Hard Days Night\", \"Help\", \"Rubber Soul\", \"Magical Mystery Tour\" (engineer), and \"The Beatles\" (engineer) - also known as the \"White Album\". Drummer DENNY SEIWELL and Guitarist LAURENCE JUBER were both members of Paul McCartney and Wings.<br/><br/>No expense was spared finding the same kind of period instruments and rare authentic EMI and other recording equipment the Beatles used to create their sounds to produce this collection, much of which, ironically, will end up in EASTWEST Studios, where the Beach Boys \"Pet Sounds\" was recorded, the inspiration for the Beatles \"Sgt. Pepper\'s Lonely Hearts Club Band\" album, according to Paul McCartney.<br/><br/>Well over a million dollars worth of instruments, amplifiers, microphones, recording desks (including very rare EMI REDD tube and TG12345 desks), outboard equipment (including Fairchild limiters and EMI RS124 modified Altec compressors), and Studer J-37 tube multi-tracks were used in this production. If you are a film/tv/game composer, or a musician/producer looking for sounds not found in other collections, this is it. <br/>\n<h3> Fab Four Key Features</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Produced by DOUG ROGERS</li>\n	<li>Engineered by KEN SCOTT (Beatles/David Bowie/Elton John/Supertramp etc.)</li>\n	<li>Includes authentic rare period guitars (acoustic and electric), basses, drums, keyboards, stringed and other misc instruments</li>\n	<li>The same kind of microphones were used to record all instruments (Neumann/AKG/Cole/STC)</li>\n	<li>The same kind of period amplifiers - Fender Tan Showman (1963), \nFender Bassman (1963), Vox AC30 (1963), Vox AC50 (1965), Vox Defiant \n(1966), Vox 730 (1966), Vox 7120 (1966), Fender Showman (1967), Fender \nDeLuxe (1967) - were used with the electric guitars\n	</li>\n	<li>The same kind of recording desks and preamps, including a very \nrare EMI REDD tube desk, EMI TG12345 desk (the same kind of desk used to\n record \"Abbey Road\" and Pink Floyd\'s \"Dark Side of the Moon\"), and EMI \nREDD47 preamps, were used to record all instruments\n	</li>\n	<li>The same kind of limiters (Fairchild) and compressors (rare EMI RS124 modified Altec) were used for dynamics control</li>\n	<li>The same kind of Studer J-37 tube 4-track was used to record everything</li>\n</ul>\n<h3>INSTRUMENTS:</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Guitars (some costing over $200,000 each) played by LAURENCE JUBER\n (Paul McCartney and Wings) include Gretsch Firebird (1959), Gretsch \nTennessean (1963), Rickenbacker 360-12 (1965), Martin D-28 (1966), \nFender Stratocaster (1956), Epiphone Casino (1965), Fender Telecaster \n(1951), Gibson SG (1960), Les Paul Goldtop (1957), Gibson J200 (1966), \nHofner 500 Bass (1963) and Rickenbacker 4001S Bass (1964). \n	</li>\n	<li>Guitars were sampled with up and down strokes, multiple velocities and picking styles, some with chords and effects </li>\n	<li>Most of the sounds would be impossible to create without all of \nthe above equipment. For example, the \"revostortion\" guitar sound was \ncreated by feeding a Epiphone Casino guitar into one EMI REDD 47 preamp,\n and the output into a second EMI REDD 47 preamp, which is exactly how \nit was created originally by the EMI/Abbey Road engineers\n	</li>\n	<li>Drums played by DENNY SEIWELL (Paul McCartney and Wings) include a\n rare 1960 Ludwig downbeat kit with Zildjian cymbals (snare 5 x 14/toms 9\n x 13/16 x 16/kick 22 x 14/zildjan 20\" crash ride/18\" crash medium/14\" \nHi-Hat) \n	</li>\n	<li>Drums are all multi-sampled with up to 16 velocity layers, left \nand right hand. The sounds were all matched to a particular style (e.g. A\n Day in the Drums, Ticket to Drums, Yer Drums). We even recorded some \nheavily modulated cymbals through a Fairchild limiter for authenticity\n	</li>\n	<li>Keyboards include Baldwin Electric Harpsichord (Because I\'m a \nHarpsichord), Clavioline (Baby I\'m a Clavioline), Lucy in the Lowery, \nStrawberry Flutes, We Can Work a Harmonium, and other stringed \ninstruments including Swarmandel Forever\n	</li>\n</ul>\n<h3>EFFECTS:</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>FAB FOUR includes a software version of ADT (artificial double \ntracking) with built-in tape simulator, created and programmed specially\n for this project. The software includes the smoothest filters you\'ll \never hear, delay, and multiple high quality reverb choices.\n	</li>\n</ul>\n<h2>EASTWEST has led the industry for more than 27 \nyears and provides professionals with the very best music creation tools\n available. Call or chat with a RSPE representative today.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(4160,75,1,694,'<h1>EastWest Fab Four</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">FAB FOUR is a virtual instrument inspired by the sounds of the Beatles, using the same kind of period instruments and authentic rare EMI recording equipment the Beatles used to create their music.<br/><br/></span></span> FAB FOUR sound engineer KEN SCOTT worked on five Beatles albums, including \"A Hard Days Night\", \"Help\", \"Rubber Soul\", \"Magical Mystery Tour\" (engineer), and \"The Beatles\" (engineer) - also known as the \"White Album\". Drummer DENNY SEIWELL and Guitarist LAURENCE JUBER were both members of Paul McCartney and Wings.<br/><br/>No expense was spared finding the same kind of period instruments and rare authentic EMI and other recording equipment the Beatles used to create their sounds to produce this collection, much of which, ironically, will end up in EASTWEST Studios, where the Beach Boys \"Pet Sounds\" was recorded, the inspiration for the Beatles \"Sgt. Pepper\'s Lonely Hearts Club Band\" album, according to Paul McCartney.<br/><br/>Well over a million dollars worth of instruments, amplifiers, microphones, recording desks (including very rare EMI REDD tube and TG12345 desks), outboard equipment (including Fairchild limiters and EMI RS124 modified Altec compressors), and Studer J-37 tube multi-tracks were used in this production. If you are a film/tv/game composer, or a musician/producer looking for sounds not found in other collections, this is it. <br/>\n<h3> Fab Four Key Features</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Produced by DOUG ROGERS</li>\n	<li>Engineered by KEN SCOTT (Beatles/David Bowie/Elton John/Supertramp etc.)</li>\n	<li>Includes authentic rare period guitars (acoustic and electric), basses, drums, keyboards, stringed and other misc instruments</li>\n	<li>The same kind of microphones were used to record all instruments (Neumann/AKG/Cole/STC)</li>\n	<li>The same kind of period amplifiers - Fender Tan Showman (1963), \nFender Bassman (1963), Vox AC30 (1963), Vox AC50 (1965), Vox Defiant \n(1966), Vox 730 (1966), Vox 7120 (1966), Fender Showman (1967), Fender \nDeLuxe (1967) - were used with the electric guitars\n	</li>\n	<li>The same kind of recording desks and preamps, including a very \nrare EMI REDD tube desk, EMI TG12345 desk (the same kind of desk used to\n record \"Abbey Road\" and Pink Floyd\'s \"Dark Side of the Moon\"), and EMI \nREDD47 preamps, were used to record all instruments\n	</li>\n	<li>The same kind of limiters (Fairchild) and compressors (rare EMI RS124 modified Altec) were used for dynamics control</li>\n	<li>The same kind of Studer J-37 tube 4-track was used to record everything</li>\n</ul>\n<h3>INSTRUMENTS:</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Guitars (some costing over $200,000 each) played by LAURENCE JUBER\n (Paul McCartney and Wings) include Gretsch Firebird (1959), Gretsch \nTennessean (1963), Rickenbacker 360-12 (1965), Martin D-28 (1966), \nFender Stratocaster (1956), Epiphone Casino (1965), Fender Telecaster \n(1951), Gibson SG (1960), Les Paul Goldtop (1957), Gibson J200 (1966), \nHofner 500 Bass (1963) and Rickenbacker 4001S Bass (1964). \n	</li>\n	<li>Guitars were sampled with up and down strokes, multiple velocities and picking styles, some with chords and effects </li>\n	<li>Most of the sounds would be impossible to create without all of \nthe above equipment. For example, the \"revostortion\" guitar sound was \ncreated by feeding a Epiphone Casino guitar into one EMI REDD 47 preamp,\n and the output into a second EMI REDD 47 preamp, which is exactly how \nit was created originally by the EMI/Abbey Road engineers\n	</li>\n	<li>Drums played by DENNY SEIWELL (Paul McCartney and Wings) include a\n rare 1960 Ludwig downbeat kit with Zildjian cymbals (snare 5 x 14/toms 9\n x 13/16 x 16/kick 22 x 14/zildjan 20\" crash ride/18\" crash medium/14\" \nHi-Hat) \n	</li>\n	<li>Drums are all multi-sampled with up to 16 velocity layers, left \nand right hand. The sounds were all matched to a particular style (e.g. A\n Day in the Drums, Ticket to Drums, Yer Drums). We even recorded some \nheavily modulated cymbals through a Fairchild limiter for authenticity\n	</li>\n	<li>Keyboards include Baldwin Electric Harpsichord (Because I\'m a \nHarpsichord), Clavioline (Baby I\'m a Clavioline), Lucy in the Lowery, \nStrawberry Flutes, We Can Work a Harmonium, and other stringed \ninstruments including Swarmandel Forever\n	</li>\n</ul>\n<h3>EFFECTS:</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>FAB FOUR includes a software version of ADT (artificial double \ntracking) with built-in tape simulator, created and programmed specially\n for this project. The software includes the smoothest filters you\'ll \never hear, delay, and multiple high quality reverb choices.\n	</li>\n</ul>\n<h2>EASTWEST has led the industry for more than 27 \nyears and provides professionals with the very best music creation tools\n available. Call or chat with a RSPE representative today.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(4161,85,0,694,'EastWest Fab Four'),(4162,85,1,694,'EastWest Fab Four'),(4163,76,0,694,''),(4164,76,1,694,''),(4165,75,0,695,'<h1>EastWest Steven Wilson\'s Ghostwriter</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Ghostwriter is a beautifully sinister collection of sonic colors.<br/><br/></span></span>\nFor the first time ever, this new instrument presents some of Steven\'s \nmost innovative sounds, as well as a selection of especially created \ninstruments and replications of some instantly recognizable classic \nsounds originally created by other legendary producers and engineers. \nThese organic and inspirational sounds can be used as part of the fabric\n of complex music productions, or as the basis for cinematic \nsoundtrack-based music, providing a ready-made selection of sonic \nbuilding blocks with years of expertise and sonic innovation already \nembedded in them. In addition some more straightforward and raw \ninstruments are included, which can be manipulated via the powerful \nGhostwriter instrument interface to create your own unique sounds.\n<br/><br/>Steven Wilson has been writing, recording, and producing music continuously since the early nineties. Album releases and touring as leader of his band Porcupine Tree, and more recently as a solo artist, saw him gain a reputation for his songwriting, experimentation, and sonic excellence, resulting in many invitations to work with other artists. Among many things he has produced several albums for Grammy Award-winning Swedish metal band Opeth and he sung on UK drum and bass band Pendulum\'s UK number one album \"Immersion\". He started a solo career in 2009, and his most recent solo album \"The Raven that Refused to Sing\" was recorded at EASTWEST Studios with legendary recording engineer Alan Parsons at the helm. Wilson has become known for his 5.1 surround sound mixes, starting with his own projects, but more recently for remixing the catalogues of King Crimson, Jethro Tull, Roxy Music, XTC, and Yes, among others. His surround sound mixes have been Grammy nominated on four occasions, and he has twice won \"Album of the Year\" at the Surround Music Awards. Wilson is seen by many as the predominant progressive rock musician in the world today, and in 2012 he won \"Guiding Light\" at the \"Progressive Music Awards\" 2012, following this in 2013 with another win for best album for \"The Raven that Refused to Sing\".<br/><br/><br/>\n<h3>Ghostwriter Key Features</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Produced by STEVEN WILSON and DOUG ROGERS</li>\n	<li>Includes over 800 Multi-Sampled Instruments and Presets (60 GB)</li>\n	<li>Includes Basses, Drums, Guitars, Keyboards, Misc, and Vocals</li>\n	<li>Designed for Music, Film, Games, and TV Composers</li>\n	<li>Includes many \"live\" presets that can be adjusted by the user in the software</li>\n	<li>Musicians: Steven Wilson, Marco Minnemann, and Laurence Juber</li>\n	<li>Recorded in the world famous EASTWEST studios</li>\n	<li>Includes PLAY 4 64-bit/32-bit software on both MAC and PC</li>\n	<li>The software includes many new advanced sound \nshaping tools, a new EastWest AMP Simulator with 80 Amp Presets, classic\n Echoplex EP-1 Delay, Solid State Logic EQ & Dynamics Channel, \nconsisting of: Filter, EQ, Compressor and Noise Gate/Expander, Solid \nState Logic Transient Shaper, the legendary Solid State Logic Stereo \nCompressor, and EastWest Expanded Convolution Reverb with 726 Additional\n Reverb Presets.\n	</li>\n</ul>\n<br/>\n<h3>WHY GHOSTWRITER?</h3>\n A ghostwriter is a composer who writes music that will be officially credited to another person. The concept of ghostwriting goes back centuries: Wolfgang Amadeus Mozart was a well-known composer paid to ghostwrite music for wealthy patrons. These days the sound design aspect of composing music has become as important as the notes, chords and rhythms, particularly in the creation of film, game, and television soundtracks, so while Ghostwriter won\'t write the music for you, it has been designed to be a \"ghost\" collaborator in the compositional process, an invaluable and inspirational tool for creating your music.<br/><br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4166,75,1,695,'<h1>EastWest Steven Wilson\'s Ghostwriter</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">Ghostwriter is a beautifully sinister collection of sonic colors.<br/><br/></span></span>\nFor the first time ever, this new instrument presents some of Steven\'s \nmost innovative sounds, as well as a selection of especially created \ninstruments and replications of some instantly recognizable classic \nsounds originally created by other legendary producers and engineers. \nThese organic and inspirational sounds can be used as part of the fabric\n of complex music productions, or as the basis for cinematic \nsoundtrack-based music, providing a ready-made selection of sonic \nbuilding blocks with years of expertise and sonic innovation already \nembedded in them. In addition some more straightforward and raw \ninstruments are included, which can be manipulated via the powerful \nGhostwriter instrument interface to create your own unique sounds.\n<br/><br/>Steven Wilson has been writing, recording, and producing music continuously since the early nineties. Album releases and touring as leader of his band Porcupine Tree, and more recently as a solo artist, saw him gain a reputation for his songwriting, experimentation, and sonic excellence, resulting in many invitations to work with other artists. Among many things he has produced several albums for Grammy Award-winning Swedish metal band Opeth and he sung on UK drum and bass band Pendulum\'s UK number one album \"Immersion\". He started a solo career in 2009, and his most recent solo album \"The Raven that Refused to Sing\" was recorded at EASTWEST Studios with legendary recording engineer Alan Parsons at the helm. Wilson has become known for his 5.1 surround sound mixes, starting with his own projects, but more recently for remixing the catalogues of King Crimson, Jethro Tull, Roxy Music, XTC, and Yes, among others. His surround sound mixes have been Grammy nominated on four occasions, and he has twice won \"Album of the Year\" at the Surround Music Awards. Wilson is seen by many as the predominant progressive rock musician in the world today, and in 2012 he won \"Guiding Light\" at the \"Progressive Music Awards\" 2012, following this in 2013 with another win for best album for \"The Raven that Refused to Sing\".<br/><br/><br/>\n<h3>Ghostwriter Key Features</h3>\n<ul class=\"fancy-bulleted-list\">\n	<li>Produced by STEVEN WILSON and DOUG ROGERS</li>\n	<li>Includes over 800 Multi-Sampled Instruments and Presets (60 GB)</li>\n	<li>Includes Basses, Drums, Guitars, Keyboards, Misc, and Vocals</li>\n	<li>Designed for Music, Film, Games, and TV Composers</li>\n	<li>Includes many \"live\" presets that can be adjusted by the user in the software</li>\n	<li>Musicians: Steven Wilson, Marco Minnemann, and Laurence Juber</li>\n	<li>Recorded in the world famous EASTWEST studios</li>\n	<li>Includes PLAY 4 64-bit/32-bit software on both MAC and PC</li>\n	<li>The software includes many new advanced sound \nshaping tools, a new EastWest AMP Simulator with 80 Amp Presets, classic\n Echoplex EP-1 Delay, Solid State Logic EQ & Dynamics Channel, \nconsisting of: Filter, EQ, Compressor and Noise Gate/Expander, Solid \nState Logic Transient Shaper, the legendary Solid State Logic Stereo \nCompressor, and EastWest Expanded Convolution Reverb with 726 Additional\n Reverb Presets.\n	</li>\n</ul>\n<br/>\n<h3>WHY GHOSTWRITER?</h3>\n A ghostwriter is a composer who writes music that will be officially credited to another person. The concept of ghostwriting goes back centuries: Wolfgang Amadeus Mozart was a well-known composer paid to ghostwrite music for wealthy patrons. These days the sound design aspect of composing music has become as important as the notes, chords and rhythms, particularly in the creation of film, game, and television soundtracks, so while Ghostwriter won\'t write the music for you, it has been designed to be a \"ghost\" collaborator in the compositional process, an invaluable and inspirational tool for creating your music.<br/><br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4167,85,0,695,'EastWest Steven Wilson\'s Ghostwriter'),(4168,85,1,695,'EastWest Steven Wilson\'s Ghostwriter'),(4169,76,0,695,''),(4170,76,1,695,''),(4171,75,0,696,'<h1>EastWest Goliath</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">GOLIATH is the only complete collection that delivers professional quality instruments and sounds from the multi award-winning EASTWEST/QUANTUM LEAP production team.<br/></span></span><br/> GOLIATH includes the advanced EASTWEST PLAY software, the easiest to use, and most powerful sample playback software available including both 64-bit and 32-bit support so you can load many more instruments than current systems. There is no learning curve involved. Once installed you will be able to use GOLIATH instantly and the results will blow you away.<br/><br/>GOLIATH is the only HIGH QUALITY complete sound set in one package ever created, and includes over 180 instruments!<br/><br/>GOLIATH is a massive 40 Gigabyte (not Megabyte) Virtual Instrument that covers all of the basic musical genres, the way a keyboard workstation attempts to, except GOLIATH offers much higher quality instruments and dynamics than any keyboard available today.<br/><br/>GOLIATH is an indispensable tool that you will reach for time and time again when nothing else works, it will become your Swiss army knife of composing, plus it’s GM compatible! You can expect the usual EASTWEST/QUANTUM LEAP exceptional quality in GOLIATH. Even if you own some of these instruments, you will love this collection. A good example is the Fender Rhodes. Despite the fact the Rhodes has been sampled many times, GOLIATH includes a unique vintage sounding Rhodes you won’t find anywhere else. GOLIATH includes 15 Gigs of new sounds, a new award-winning 2 Gig Bosendorfer piano recorded in Europe, and 15 Gigs from the award-winning range of EASTWEST/QUANTUM LEAP titles (EW/QL Symphonic Orchestra, EW Steinway B Piano, QL Stormdrum, QL Guitar and Bass, QL 56 Strat, QL Hardcore Bass, QL RA, QL Brass, QL Voices of the Apocalypse), all newly programmed with superior sound quality.<br/><br/>Programming is kept very simple, and programs that utilize the mod-wheel are labeled appropriately. All programs have CC11 as an additional volume control. Many programs utilize auto sample alternation for added realism.<br/><br/>For touring musicians, this is the ultimate instrument to have on the road or in a club. GOLIATH has incredible instruments of every type (check out the complete list at the bottom of this page), for song-writing, film-scoring, multi-media production, in the studio, or on stage, GOLIATH is an indispensable production tool that has you completely covered. <br/><br/>\n<h3>Goliath Key Features</h3>\n<ul>\n	<li>Produced by DOUG ROGERS and NICK PHOENIX</li>\n	<li>Includes the entire content of <strong>COLOSSUS</strong> PLUS 8 GBs from the latest EASTWEST/QUANTUM LEAP collections.</li>\n	<li>Includes the full version of the <strong>EASTWEST/PMI BOSENDORFER 290 PIAN</strong></li>\n	<li>Includes 40 GB of content including 180 instruments, and over 600 patches of instruments, soundscapes and textures.</li>\n	<li>Powered by the advanced EASTWEST PLAY engines.</li>\n</ul>\n<br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4172,75,1,696,'<h1>EastWest Goliath</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">GOLIATH is the only complete collection that delivers professional quality instruments and sounds from the multi award-winning EASTWEST/QUANTUM LEAP production team.<br/></span></span><br/> GOLIATH includes the advanced EASTWEST PLAY software, the easiest to use, and most powerful sample playback software available including both 64-bit and 32-bit support so you can load many more instruments than current systems. There is no learning curve involved. Once installed you will be able to use GOLIATH instantly and the results will blow you away.<br/><br/>GOLIATH is the only HIGH QUALITY complete sound set in one package ever created, and includes over 180 instruments!<br/><br/>GOLIATH is a massive 40 Gigabyte (not Megabyte) Virtual Instrument that covers all of the basic musical genres, the way a keyboard workstation attempts to, except GOLIATH offers much higher quality instruments and dynamics than any keyboard available today.<br/><br/>GOLIATH is an indispensable tool that you will reach for time and time again when nothing else works, it will become your Swiss army knife of composing, plus it’s GM compatible! You can expect the usual EASTWEST/QUANTUM LEAP exceptional quality in GOLIATH. Even if you own some of these instruments, you will love this collection. A good example is the Fender Rhodes. Despite the fact the Rhodes has been sampled many times, GOLIATH includes a unique vintage sounding Rhodes you won’t find anywhere else. GOLIATH includes 15 Gigs of new sounds, a new award-winning 2 Gig Bosendorfer piano recorded in Europe, and 15 Gigs from the award-winning range of EASTWEST/QUANTUM LEAP titles (EW/QL Symphonic Orchestra, EW Steinway B Piano, QL Stormdrum, QL Guitar and Bass, QL 56 Strat, QL Hardcore Bass, QL RA, QL Brass, QL Voices of the Apocalypse), all newly programmed with superior sound quality.<br/><br/>Programming is kept very simple, and programs that utilize the mod-wheel are labeled appropriately. All programs have CC11 as an additional volume control. Many programs utilize auto sample alternation for added realism.<br/><br/>For touring musicians, this is the ultimate instrument to have on the road or in a club. GOLIATH has incredible instruments of every type (check out the complete list at the bottom of this page), for song-writing, film-scoring, multi-media production, in the studio, or on stage, GOLIATH is an indispensable production tool that has you completely covered. <br/><br/>\n<h3>Goliath Key Features</h3>\n<ul>\n	<li>Produced by DOUG ROGERS and NICK PHOENIX</li>\n	<li>Includes the entire content of <strong>COLOSSUS</strong> PLUS 8 GBs from the latest EASTWEST/QUANTUM LEAP collections.</li>\n	<li>Includes the full version of the <strong>EASTWEST/PMI BOSENDORFER 290 PIAN</strong></li>\n	<li>Includes 40 GB of content including 180 instruments, and over 600 patches of instruments, soundscapes and textures.</li>\n	<li>Powered by the advanced EASTWEST PLAY engines.</li>\n</ul>\n<br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4173,85,0,696,'EastWest Goliath'),(4174,85,1,696,'EastWest Goliath'),(4175,76,0,696,''),(4176,76,1,696,''),(4177,75,0,697,'<h1>EastWest Hollywood Orchestra</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">HOLLYWOOD ORCHESTRA is the most detailed and comprehensive orchestral virtual instrument collection available.<br/></span></span><br/>HOLLYWOOD ORCHESTRA is from ACADEMY AWARD, C.A.S. (Cinema Audio Society), BAFTA, and EMMY award-winning sound engineer SHAWN MURPHY, who has recorded and mixed the scores for more than 300 feature films including Indiana Jones and the Kingdom of the Crystal Skull, Star Wars: Episode II - Attack of the Clones, Star Wars: Episode III - Revenge of the Sith, Star Wars: A Musical Journey, Jurassic Park, Jurassic Park The Lost World, Harry Potter and the Prisoner of Azkaban, Titanic, etc.; and multiple award-winning EASTWEST/QUANTUM LEAP virtual (software) instrument producers DOUG ROGERS and NICK PHOENIX; and composer and orchestrator THOMAS BERGERSEN, HOLLYWOOD ORCHESTRA is the culmination of over five years of recording, editing, and programming of 24-bit orchestral instruments, offering unprecedented control over each instrument, and is a must have compositional tool for serious composers. Recording for HOLLYWOOD ORCHESTRA took place at the famous EASTWEST STUDIO 1, the same studio where many Hollywood soundtracks and television themes were recorded with a live orchestra.<br/><br/>Truly the holy grail of orchestral virtual instruments HOLLYWOOD ORCHESTRA was released in sections over a five year period as each section of the orchestra was completed, and has already received multiple major awards from the international press for it’s unprecedented detail, superior true legato, sound quality, and sound control with five user-controllable mic positions, including main pickup (Decca tree), mid pickup, close pickup, surround pickup, and an alternate vintage circa 1945 RCA ribbon room pickup.<br/><br/><br/>\n<h3>Hollywood Orchestra Key Features</h3>\n<ul>\n	<li>Unprecedented\n control over sound and instruments, including up to 5 mic positions for\n all instruments, a must have compositional tool for serious composers.\n	</li>\n	<li>For the first time use an iLok security key or machine (electronic) license placed on your computer.</li>\n	<li>Includes\n PLAY 4 32-bit/64-bit software, powerful scripting for ease of use, and \nmore user control than any other collection — all recorded in the famous\n EASTWEST Studio 1, the home of major Hollywood Soundtracks and \nTelevision Themes.\n	</li>\n</ul>\n<br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4178,75,1,697,'<h1>EastWest Hollywood Orchestra</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">HOLLYWOOD ORCHESTRA is the most detailed and comprehensive orchestral virtual instrument collection available.<br/></span></span><br/>HOLLYWOOD ORCHESTRA is from ACADEMY AWARD, C.A.S. (Cinema Audio Society), BAFTA, and EMMY award-winning sound engineer SHAWN MURPHY, who has recorded and mixed the scores for more than 300 feature films including Indiana Jones and the Kingdom of the Crystal Skull, Star Wars: Episode II - Attack of the Clones, Star Wars: Episode III - Revenge of the Sith, Star Wars: A Musical Journey, Jurassic Park, Jurassic Park The Lost World, Harry Potter and the Prisoner of Azkaban, Titanic, etc.; and multiple award-winning EASTWEST/QUANTUM LEAP virtual (software) instrument producers DOUG ROGERS and NICK PHOENIX; and composer and orchestrator THOMAS BERGERSEN, HOLLYWOOD ORCHESTRA is the culmination of over five years of recording, editing, and programming of 24-bit orchestral instruments, offering unprecedented control over each instrument, and is a must have compositional tool for serious composers. Recording for HOLLYWOOD ORCHESTRA took place at the famous EASTWEST STUDIO 1, the same studio where many Hollywood soundtracks and television themes were recorded with a live orchestra.<br/><br/>Truly the holy grail of orchestral virtual instruments HOLLYWOOD ORCHESTRA was released in sections over a five year period as each section of the orchestra was completed, and has already received multiple major awards from the international press for it’s unprecedented detail, superior true legato, sound quality, and sound control with five user-controllable mic positions, including main pickup (Decca tree), mid pickup, close pickup, surround pickup, and an alternate vintage circa 1945 RCA ribbon room pickup.<br/><br/><br/>\n<h3>Hollywood Orchestra Key Features</h3>\n<ul>\n	<li>Unprecedented\n control over sound and instruments, including up to 5 mic positions for\n all instruments, a must have compositional tool for serious composers.\n	</li>\n	<li>For the first time use an iLok security key or machine (electronic) license placed on your computer.</li>\n	<li>Includes\n PLAY 4 32-bit/64-bit software, powerful scripting for ease of use, and \nmore user control than any other collection — all recorded in the famous\n EASTWEST Studio 1, the home of major Hollywood Soundtracks and \nTelevision Themes.\n	</li>\n</ul>\n<br/>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4179,85,0,697,'EastWest Hollywood Orchestra'),(4180,85,1,697,'EastWest Hollywood Orchestra'),(4181,76,0,697,''),(4182,76,1,697,''),(4183,75,0,698,'<h1>EastWest Ministry of Rock 1</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">It\'s\n a screeching, howling, booming, clanging, clattering, bashing \nnoise-fest that will fool your neighbours into thinking you have a tame \ndeath-metal band lurking in your studio. \n<br/></span></span><br/> MINISTRY\n OF ROCK is a HUGE 20 Gigabyte collection of Rock Drums, Basses and \nGuitars recorded in the famous EASTWEST Studio 2, and the ultimate \nproduction toolbox for rock producers.\n<br/><br/>MINISTRY OF ROCK is a \nmodern day rock toolkit that covers a myriad of styles. Songwriters, \nfilm, TV and game composers as well as drummers and guitarists will love\n this library. Sound quality and playability is superior to anything \nelse available.\n<br/><br/>MINISTRY OF ROCK features sounds used in todays \nmusic and the entire library was created with one goal in mind: to \ncreate a virtual instrument capable of producing sounds that could \nactually produce a hit record or filmscore without any live drum, bass \nor guitar overdubs. Articulations and programming were all reverse \nengineered from actual performances. \n<br/><br/>\n<h3> Ministry of Rock 1 Key Features</h3>\n<ul>\n	<li>Legato Bass and Guitar Samples </li>\n	<li>Legato and Staccato Repetitions</li>\n	<li>Truly playable rhythm guitars and leads, clean and distorted </li>\n	<li>Release samples </li>\n	<li>Guitars and basses recorded in dual amp configurations and software allows user to choose amp, or mix the sound from both amps</li>\n	<li>Dynamic bass that can play everything from ballads to the most hardcore music imaginable </li>\n	<li>Round robin bass drums, snares, toms and hats. performance drum hits extracted from live playing</li>\n	<li>The world famous EASTWEST STUDIO 2 rock drum sound featured on countless gold and platinum records</li>\n	<li>Drumkits also optimized for use with Roland VDrums.</li>\n	<li>Drums utilize PLAY\'s easy replacement feature.</li>\n</ul>\n<br/>\n<div class=\"text-section fl\">\n	<h3>Instruments</h3>\n	<div>\n		<h3>Drumkits</h3>\n		<ul class=\"bulleted\">\n			<li>Octaplus (9 Toms)</li>\n			<li>Ayotte</li>\n			<li>Ludwig </li>\n			<li>Gretch (the actual kit used to make Metallica\'s \"Black\" record</li>\n		</ul>\n	</div>\n	<div>\n		<h3>Basses</h3>\n		<ul class=\"bulleted\">\n			<li>Fender P-Bass Custom</li>\n			<li>Fender 5 String</li>\n			<li>Specter</li>\n			<li>Kubiki </li>\n			<li>Musicman</li>\n		</ul>\n		<p class=\"footnote\">\n			All recorded thru an Ampeg SVT rig and an Ashdown rig\n		</p>\n	</div>\n	<div>\n		<h3>Guitars</h3>\n		<ul class=\"bulleted\">\n			<li>Fender Telecaster </li>\n			<li>Fender Stratocaster</li>\n			<li>Gibson Les Paul Standard</li>\n			<li>Gibson Les Paul Deluxe</li>\n			<li>Ibanez Universe 7</li>\n			<li>PRS</li>\n		</ul>\n		<p class=\"footnote\">\n			All recorded thru Marshall, Fender, Bogner, Vox and Budda amps\n		</p>\n	</div>\n</div>\n<h2>EASTWEST has led the industry for more than 27 \nyears and provides professionals with the very best music creation tools\n available. Call or chat with a RSPE representative today.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(4184,75,1,698,'<h1>EastWest Ministry of Rock 1</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">It\'s\n a screeching, howling, booming, clanging, clattering, bashing \nnoise-fest that will fool your neighbours into thinking you have a tame \ndeath-metal band lurking in your studio. \n<br/></span></span><br/> MINISTRY\n OF ROCK is a HUGE 20 Gigabyte collection of Rock Drums, Basses and \nGuitars recorded in the famous EASTWEST Studio 2, and the ultimate \nproduction toolbox for rock producers.\n<br/><br/>MINISTRY OF ROCK is a \nmodern day rock toolkit that covers a myriad of styles. Songwriters, \nfilm, TV and game composers as well as drummers and guitarists will love\n this library. Sound quality and playability is superior to anything \nelse available.\n<br/><br/>MINISTRY OF ROCK features sounds used in todays \nmusic and the entire library was created with one goal in mind: to \ncreate a virtual instrument capable of producing sounds that could \nactually produce a hit record or filmscore without any live drum, bass \nor guitar overdubs. Articulations and programming were all reverse \nengineered from actual performances. \n<br/><br/>\n<h3> Ministry of Rock 1 Key Features</h3>\n<ul>\n	<li>Legato Bass and Guitar Samples </li>\n	<li>Legato and Staccato Repetitions</li>\n	<li>Truly playable rhythm guitars and leads, clean and distorted </li>\n	<li>Release samples </li>\n	<li>Guitars and basses recorded in dual amp configurations and software allows user to choose amp, or mix the sound from both amps</li>\n	<li>Dynamic bass that can play everything from ballads to the most hardcore music imaginable </li>\n	<li>Round robin bass drums, snares, toms and hats. performance drum hits extracted from live playing</li>\n	<li>The world famous EASTWEST STUDIO 2 rock drum sound featured on countless gold and platinum records</li>\n	<li>Drumkits also optimized for use with Roland VDrums.</li>\n	<li>Drums utilize PLAY\'s easy replacement feature.</li>\n</ul>\n<br/>\n<div class=\"text-section fl\">\n	<h3>Instruments</h3>\n	<div>\n		<h3>Drumkits</h3>\n		<ul class=\"bulleted\">\n			<li>Octaplus (9 Toms)</li>\n			<li>Ayotte</li>\n			<li>Ludwig </li>\n			<li>Gretch (the actual kit used to make Metallica\'s \"Black\" record</li>\n		</ul>\n	</div>\n	<div>\n		<h3>Basses</h3>\n		<ul class=\"bulleted\">\n			<li>Fender P-Bass Custom</li>\n			<li>Fender 5 String</li>\n			<li>Specter</li>\n			<li>Kubiki </li>\n			<li>Musicman</li>\n		</ul>\n		<p class=\"footnote\">\n			All recorded thru an Ampeg SVT rig and an Ashdown rig\n		</p>\n	</div>\n	<div>\n		<h3>Guitars</h3>\n		<ul class=\"bulleted\">\n			<li>Fender Telecaster </li>\n			<li>Fender Stratocaster</li>\n			<li>Gibson Les Paul Standard</li>\n			<li>Gibson Les Paul Deluxe</li>\n			<li>Ibanez Universe 7</li>\n			<li>PRS</li>\n		</ul>\n		<p class=\"footnote\">\n			All recorded thru Marshall, Fender, Bogner, Vox and Budda amps\n		</p>\n	</div>\n</div>\n<h2>EASTWEST has led the industry for more than 27 \nyears and provides professionals with the very best music creation tools\n available. Call or chat with a RSPE representative today.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(4185,85,0,698,'EastWest Ministry of Rock 1'),(4186,85,1,698,'EastWest Ministry of Rock 1'),(4187,76,0,698,''),(4188,76,1,698,''),(4189,75,0,699,'<h1>EastWest Ministry Of Rock 2</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">It\'s\n a screeching, howling, booming, clanging, clattering, bashing \nnoise-fest that will fool your neighbours into thinking you have a tame \ndeath-metal band lurking in your studio. \n<br /></span></span><br />  Ministry Of Rock 2 was put together with one goal in mind: to create a virtual (software) instrument capable of producing sounds that could actually produce a hit record or film score without any live drum, bass, or guitar overdubs. The articulations and programming were all reverse engineered from actual performances. The 57 gigabyte collection features LIVE technology that enables multi-sampled drums to sound like a live performance.<br /><br />Produced by Nick Phoenix and recorded at the Legendary EASTWEST Studios by Phoenix, Doug Rogers, and Rhys Moody, Ministry Of Rock 2 features some of the industries top players like Shane Gibson, guitarist with KoRn/Stork/Schwarzenator; Greg Suran, guitarist with Goo Goo Dolls/Avril Lavigne/Glee; Doug Rappaport, guitartist with Edgar Winter/Potent; and Tal Bergman, drummer with Billy Idol, LL Cool J, Rod Stewart, Terence Trent Darby, Joe Zawinul.<br /><br />The drums for Ministry Of Rock 2 were recorded in EASTWEST Studio 1 on three large rock kits from DW, Gretsch, and Ludwig, along with 6 additional snares. Top vintage and modern gear from Neve, Neumann, Telefunken, AKG, Manley, Fairchild, Royer, Chandler and Meitner were employed for a legendary sound. Repetition samples were recorded for everything as well as extreme dynamics and three mic positions for drums (close + room, or close + compressed room) to dial in the desired sound and an ultra-realistic performance. Any drum from any kit can be selected to create a custom kit, plus there are 6 additional snare drums to choose from.<br /><br />Ministry Of Rock 2 guitars were recorded on Fender Jaguar, Fender Telecaster Thinline, Carvin 7 String, Baritone, Gibson Les Paul, and Schecter 7 String through Fender, Divided By Thirteen, Marshall, Mesa Boogie, Bogner and Vox Amps. Samples feature round robin, hammer on and pull off legato, sliding legato and dozens of other techniques. Dual channel recordings let you pick a wicked real amp sound or use the direct signal with popular plug-ins.<br /><br />Ministry Of Rock 2 also includes all of the remastered content from Hardcore Bass and Hardcore Bass XP plus an all-new 5 string Musicman Stingray bass with 7000 samples and true legato. Fender, Hofner, Gibson, Silvertone, Rickenbacker, Musicman and Lakland basses were recorded through large bass rigs.<br /><br />\n<h3> Ministry of Rock 2 Key Features</h3>\n<h3 style=\"margin-top:10px\">Drums</h3>\n<ul class=\"bulleted\">\n	<li>3 large rock kits (DW, Gretsch, Ludwig) recorded in East West Studio 1, plus 6 additional snares</li>\n	<li>Any drum from any kit can be selected to create a custom kit, plus there are 6 additional snare drums to choose from</li>\n	<li>New LIVE technology enables multi-sampled drums to sound like a live performance.</li>\n	<li>Repetition samples for everything and extreme dynamics</li>\n	<li>Multiple mic positions let you dial in the right room sound</li>\n	<li>Legendary sound using Neve, Neumann, Telefunken, AKG, Manley, Fairchild, Royer, Chandler and Meitner gear</li>\n</ul>\n<h3>Guitars</h3>\n<ul class=\"bulleted\">\n	<li>Fender Jaguar, Fender Telecaster Thinline, Carvin 7 String, Baritone, Gibson Les Paul, Schecter 7 String</li>\n	<li>Fantastic tones inspired by classic and modern recordings</li>\n	<li>All guitars feature round robin, hammer on and pull off legato, sliding legato and dozens of techniques</li>\n	<li>Dual channel recordings let you pick a wicked real amp sound or use the direct signal with your favorite plugins</li>\n	<li>Fender, Divided By Thirteen, Marshall, Mesa Boogie, Bogner and Vox Amps</li>\n</ul>\n<h3>Basses</h3>\n<p>\n	MOR 2 includes all the remastered content from Hardcore Bass and Hardcore Bass XP plus an all new 5 string Musicman Stingray.\n</p>\n<ul class=\"bulleted\">\n	<li>Fender, Hofner, Gibson, Silvertone, Rickenbacker, Musicman and Lakland basses</li>\n	<li>PLUS an all new 5 string Musicman Stingray bass with 7000 samples and true legato</li>\n	<li>All basses recorded through large bass rigs</li>\n	<li>No wimpy dry sounds</li>\n</ul>\n<h2>EASTWEST has led the industry for more than 27 \nyears and provides professionals with the very best music creation tools\n available. Call or chat with a RSPE representative today.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(4190,75,1,699,'<h1>EastWest Ministry Of Rock 2</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">It\'s\n a screeching, howling, booming, clanging, clattering, bashing \nnoise-fest that will fool your neighbours into thinking you have a tame \ndeath-metal band lurking in your studio. \n<br /></span></span><br />  Ministry Of Rock 2 was put together with one goal in mind: to create a virtual (software) instrument capable of producing sounds that could actually produce a hit record or film score without any live drum, bass, or guitar overdubs. The articulations and programming were all reverse engineered from actual performances. The 57 gigabyte collection features LIVE technology that enables multi-sampled drums to sound like a live performance.<br /><br />Produced by Nick Phoenix and recorded at the Legendary EASTWEST Studios by Phoenix, Doug Rogers, and Rhys Moody, Ministry Of Rock 2 features some of the industries top players like Shane Gibson, guitarist with KoRn/Stork/Schwarzenator; Greg Suran, guitarist with Goo Goo Dolls/Avril Lavigne/Glee; Doug Rappaport, guitartist with Edgar Winter/Potent; and Tal Bergman, drummer with Billy Idol, LL Cool J, Rod Stewart, Terence Trent Darby, Joe Zawinul.<br /><br />The drums for Ministry Of Rock 2 were recorded in EASTWEST Studio 1 on three large rock kits from DW, Gretsch, and Ludwig, along with 6 additional snares. Top vintage and modern gear from Neve, Neumann, Telefunken, AKG, Manley, Fairchild, Royer, Chandler and Meitner were employed for a legendary sound. Repetition samples were recorded for everything as well as extreme dynamics and three mic positions for drums (close + room, or close + compressed room) to dial in the desired sound and an ultra-realistic performance. Any drum from any kit can be selected to create a custom kit, plus there are 6 additional snare drums to choose from.<br /><br />Ministry Of Rock 2 guitars were recorded on Fender Jaguar, Fender Telecaster Thinline, Carvin 7 String, Baritone, Gibson Les Paul, and Schecter 7 String through Fender, Divided By Thirteen, Marshall, Mesa Boogie, Bogner and Vox Amps. Samples feature round robin, hammer on and pull off legato, sliding legato and dozens of other techniques. Dual channel recordings let you pick a wicked real amp sound or use the direct signal with popular plug-ins.<br /><br />Ministry Of Rock 2 also includes all of the remastered content from Hardcore Bass and Hardcore Bass XP plus an all-new 5 string Musicman Stingray bass with 7000 samples and true legato. Fender, Hofner, Gibson, Silvertone, Rickenbacker, Musicman and Lakland basses were recorded through large bass rigs.<br /><br />\n<h3> Ministry of Rock 2 Key Features</h3>\n<h3 style=\"margin-top:10px\">Drums</h3>\n<ul class=\"bulleted\">\n	<li>3 large rock kits (DW, Gretsch, Ludwig) recorded in East West Studio 1, plus 6 additional snares</li>\n	<li>Any drum from any kit can be selected to create a custom kit, plus there are 6 additional snare drums to choose from</li>\n	<li>New LIVE technology enables multi-sampled drums to sound like a live performance.</li>\n	<li>Repetition samples for everything and extreme dynamics</li>\n	<li>Multiple mic positions let you dial in the right room sound</li>\n	<li>Legendary sound using Neve, Neumann, Telefunken, AKG, Manley, Fairchild, Royer, Chandler and Meitner gear</li>\n</ul>\n<h3>Guitars</h3>\n<ul class=\"bulleted\">\n	<li>Fender Jaguar, Fender Telecaster Thinline, Carvin 7 String, Baritone, Gibson Les Paul, Schecter 7 String</li>\n	<li>Fantastic tones inspired by classic and modern recordings</li>\n	<li>All guitars feature round robin, hammer on and pull off legato, sliding legato and dozens of techniques</li>\n	<li>Dual channel recordings let you pick a wicked real amp sound or use the direct signal with your favorite plugins</li>\n	<li>Fender, Divided By Thirteen, Marshall, Mesa Boogie, Bogner and Vox Amps</li>\n</ul>\n<h3>Basses</h3>\n<p>\n	MOR 2 includes all the remastered content from Hardcore Bass and Hardcore Bass XP plus an all new 5 string Musicman Stingray.\n</p>\n<ul class=\"bulleted\">\n	<li>Fender, Hofner, Gibson, Silvertone, Rickenbacker, Musicman and Lakland basses</li>\n	<li>PLUS an all new 5 string Musicman Stingray bass with 7000 samples and true legato</li>\n	<li>All basses recorded through large bass rigs</li>\n	<li>No wimpy dry sounds</li>\n</ul>\n<h2>EASTWEST has led the industry for more than 27 \nyears and provides professionals with the very best music creation tools\n available. Call or chat with a RSPE representative today.\n</h2>\n<span style=\"font-family: Tahoma;\"></span>'),(4191,85,0,699,'EastWest Ministry of Rock 2'),(4192,85,1,699,'EastWest Ministry of Rock 2'),(4193,76,0,699,''),(4194,76,1,699,''),(4195,75,0,700,'<h1>EastWest ProDrummer 1 & 2</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">ProDrummer offers the sound quality, impressively detailed sampling and a level of control required to shape your drum track in the sorts of ways that you might in a top-level recording studio.<br/></span></span><br/>EastWest\'s ProDrummer™ not only includes professional drum sounds; the producers, who record and mix the biggest artists in the music business, have included pre-mixed drum kits for use in your compositions using the \'state of the art\' tools included in the ProDrummer software.<br/><br/>Also included in each volume are over 14,000 MIDI drum grooves in different styles. Search for the right grooves for your song with our groove \'search engine\' and assemble your song right inside ProDrummer with the built-in sequencer (or drag to your DAW). Use our built-in Velocity Processor to control the dynamic power of the drums. Export the song to your favorite DAW to build the rest of your track, it couldn\'t be easier!<br/><br/>\n<h3>ProDrummer 1 & 2 Key Features</h3>\n<ul>\n	<li>104 drum kits in both volumes</li>\n	<li>Over 100GBs of perfectly tuned drums performed \nby Steven Sidelnyk (Madonna, Seal, Massive Attack), and Matt Chamberlain\n (Peter Gabriel, Bruce Springsteen, Pear Jam).\n	</li>\n	<li>Recorded by the #1 mixer in the music business, \nMark ‘Spike\' Stent, 10-time Grammy winning producer Joe Chiccarelli, and\n co-produced by EastWest’s multiple-award winning producer Doug Rogers.\n	</li>\n	<li>Includes Pre-mixed user adjustable Drum Kits from the producers so the drums are ready to be mixed into your track.</li>\n	<li>Includes over 14,000 MIDI grooves categorized by style, length, and tempo.</li>\n	<li>16 channel mixer enables complete control of each drum kit, bleed and room mics</li>\n	<li>Recorded in 5 studios from dry to very wet.</li>\n	<li>The ONLY drum collection to include authentic SSL EQ, Compression, Transient Designer, and Stereo Bus compressor.</li>\n	<li>Includes Ohmicide to create EDM or synthesize the drum sounds.</li>\n	<li>Includes an Amp Simulator for further drum processing.</li>\n	<li>Includes a State of the Art Reverb and 726 presets.</li>\n	<li>Includes a Songbuilder sequencer to arrange complete drum tracks inside of the ProDrummer software.</li>\n	<li>Includes Sync to DAW to match the groove tempo in your track.</li>\n	<li>Includes Drag and Drop to copy drums tracks to your DAW.</li>\n	<li>Includes a Drum Velocity Processor and velocity graph to add punch.</li>\n	<li>Includes the ability to swap individual drums within a kit, tune them and stack them (2 snares stacked for example).</li>\n	<li>Sold separately or in a bundle at an unbeatable price!!</li>\n</ul>\n<br/>\n<div class=\"text-section fl\">\n	<h3>PRODRUMMER VOLUME 1</h3>\n	<p>\n		ProDrummer Volume 1 includes approx. 40 Gigabytes of \nDrum Kits and MIDI drum grooves produced by Joe Chiccarelli and \nmulti-award winning EastWest producer Doug Rogers, with drums played by \nMatt Chamberlain (Pearl Jam, Bruce Springsteen, Peter Gabriel, etc.).\n	</p>\n	<p>\n		ProDrummer Volume 1 includes Craviotto, Ludwig, Tama, \nSlingerland, Gretsch, Istanbul and Zildjian, drums, hi-hats and cymbals \nrecorded in 3 different rooms. The sound shaping options in the \nProDrummer Mixer are unparalleled with the usual high quality you expect\n from EASTWEST. All drums have their own channels with individual \nprocessing and routing.\n		<br/><br/>\n	</p>\n	<div class=\"text-section fr\">\n		<h3>PRODRUMMER VOLUME 2</h3>\n		<p>\n			ProDrummer Volume 2 includes approx. 60 Gigabytes of \nDrum Kits and MIDI drum grooves produced by Mark \"Spike\" Stent and \nmulti-award winning EastWest producer Doug Rogers, with drums played by \nSteven Sidelnyk (Madonna, Seal, Massive Attack).\n		</p>\n		<p>\n			ProDrummer Volume 2 includes Drum Workshop, \nSlingerland, Gretsch, Ludwig, Yamaha, Orange County, Zildjian drums, \nhi-hats and cymbals recorded in 5 different rooms. The sound shaping \noptions in the ProDrummer Mixer are unparalleled with the usual high \nquality you expect from EASTWEST. All drums have their own channels with\n individual processing and routing.\n		</p>\n	</div>\n	<p>\n	</p>\n</div>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4196,75,1,700,'<h1>EastWest ProDrummer 1 & 2</h1>\n<span id=\"product_description\" itemprop=\"description\"><span style=\"font-size: 16px; font-style: italic;\">ProDrummer offers the sound quality, impressively detailed sampling and a level of control required to shape your drum track in the sorts of ways that you might in a top-level recording studio.<br/></span></span><br/>EastWest\'s ProDrummer™ not only includes professional drum sounds; the producers, who record and mix the biggest artists in the music business, have included pre-mixed drum kits for use in your compositions using the \'state of the art\' tools included in the ProDrummer software.<br/><br/>Also included in each volume are over 14,000 MIDI drum grooves in different styles. Search for the right grooves for your song with our groove \'search engine\' and assemble your song right inside ProDrummer with the built-in sequencer (or drag to your DAW). Use our built-in Velocity Processor to control the dynamic power of the drums. Export the song to your favorite DAW to build the rest of your track, it couldn\'t be easier!<br/><br/>\n<h3>ProDrummer 1 & 2 Key Features</h3>\n<ul>\n	<li>104 drum kits in both volumes</li>\n	<li>Over 100GBs of perfectly tuned drums performed \nby Steven Sidelnyk (Madonna, Seal, Massive Attack), and Matt Chamberlain\n (Peter Gabriel, Bruce Springsteen, Pear Jam).\n	</li>\n	<li>Recorded by the #1 mixer in the music business, \nMark ‘Spike\' Stent, 10-time Grammy winning producer Joe Chiccarelli, and\n co-produced by EastWest’s multiple-award winning producer Doug Rogers.\n	</li>\n	<li>Includes Pre-mixed user adjustable Drum Kits from the producers so the drums are ready to be mixed into your track.</li>\n	<li>Includes over 14,000 MIDI grooves categorized by style, length, and tempo.</li>\n	<li>16 channel mixer enables complete control of each drum kit, bleed and room mics</li>\n	<li>Recorded in 5 studios from dry to very wet.</li>\n	<li>The ONLY drum collection to include authentic SSL EQ, Compression, Transient Designer, and Stereo Bus compressor.</li>\n	<li>Includes Ohmicide to create EDM or synthesize the drum sounds.</li>\n	<li>Includes an Amp Simulator for further drum processing.</li>\n	<li>Includes a State of the Art Reverb and 726 presets.</li>\n	<li>Includes a Songbuilder sequencer to arrange complete drum tracks inside of the ProDrummer software.</li>\n	<li>Includes Sync to DAW to match the groove tempo in your track.</li>\n	<li>Includes Drag and Drop to copy drums tracks to your DAW.</li>\n	<li>Includes a Drum Velocity Processor and velocity graph to add punch.</li>\n	<li>Includes the ability to swap individual drums within a kit, tune them and stack them (2 snares stacked for example).</li>\n	<li>Sold separately or in a bundle at an unbeatable price!!</li>\n</ul>\n<br/>\n<div class=\"text-section fl\">\n	<h3>PRODRUMMER VOLUME 1</h3>\n	<p>\n		ProDrummer Volume 1 includes approx. 40 Gigabytes of \nDrum Kits and MIDI drum grooves produced by Joe Chiccarelli and \nmulti-award winning EastWest producer Doug Rogers, with drums played by \nMatt Chamberlain (Pearl Jam, Bruce Springsteen, Peter Gabriel, etc.).\n	</p>\n	<p>\n		ProDrummer Volume 1 includes Craviotto, Ludwig, Tama, \nSlingerland, Gretsch, Istanbul and Zildjian, drums, hi-hats and cymbals \nrecorded in 3 different rooms. The sound shaping options in the \nProDrummer Mixer are unparalleled with the usual high quality you expect\n from EASTWEST. All drums have their own channels with individual \nprocessing and routing.\n		<br/><br/>\n	</p>\n	<div class=\"text-section fr\">\n		<h3>PRODRUMMER VOLUME 2</h3>\n		<p>\n			ProDrummer Volume 2 includes approx. 60 Gigabytes of \nDrum Kits and MIDI drum grooves produced by Mark \"Spike\" Stent and \nmulti-award winning EastWest producer Doug Rogers, with drums played by \nSteven Sidelnyk (Madonna, Seal, Massive Attack).\n		</p>\n		<p>\n			ProDrummer Volume 2 includes Drum Workshop, \nSlingerland, Gretsch, Ludwig, Yamaha, Orange County, Zildjian drums, \nhi-hats and cymbals recorded in 5 different rooms. The sound shaping \noptions in the ProDrummer Mixer are unparalleled with the usual high \nquality you expect from EASTWEST. All drums have their own channels with\n individual processing and routing.\n		</p>\n	</div>\n	<p>\n	</p>\n</div>\n<h2>EASTWEST has led the industry for more than 27 years and provides professionals with the very best music creation tools available. Call or chat with a RSPE representative today.</h2>\n<span style=\"font-family: Tahoma;\"></span>\n<ul>\n</ul>'),(4197,85,0,700,'EastWest ProDrummer 1 & 2'),(4198,85,1,700,'EastWest ProDrummer 1 & 2'),(4199,76,0,700,''),(4200,76,1,700,''),(4201,75,0,701,'<h1>EastWest Voices Of Opera</h1>\n<i>A powerful sample-based collection of opera vocals featuring soprano Larisa Martinez and tenor Carlton Moe, pristinely recorded at EastWest Studios.</i><br /><br />\n	EastWest Voices of Opera is a sensational virtual instrument featuring the pristine vocals of soprano Larisa Martinez (Andrea Bocelli) and tenor Carlton Moe (Phantom of the Opera).\n<br /><br />\n	Voices of Opera is perfect for any composer looking to add a pristine operatic sound and fits in perfectly with EastWest\'s recent slate of award-winning vocal products HOLLYWOOD CHOIRS, VOICES OF THE EMPIRE, and VOICES OF SOUL.\n<br /><br />\nVoices Of Opera is a 40 GB collection of 229 multi-sampled vocal instruments across various categories, including:\n<ul>\n	<li><b>Sustain: </b>10 vocal instruments for both Soprano and Tenor consisting of single syllable vowels - Ah, Ee, Eh, Oh, Oo</li>\n	<li><b>Staccato:</b> 32 vocal instruments with a variety of short, single syllables. For Soprano: Bra, Cher, Ci, Don, Fa, Goh, Joh, Ki, Kom, Lu, Na, Oo, Prey, Ra, Te, Toh, Voh. For Tenor: Bra, Cher, Ci, Don, Fa, Goh, Joh, Ki, Kon, Lu, Na, Oo, Prey, Te, Toh, Voh.</li>\n	<li><b>Legato:</b> 4 vocal instruments that playback true legato intervals up to an octave in either direction when playing in a legato fashion (connected notes) and a sustain sample layer when playing in a non-legato fashion (separation between notes). For both Soprano and Tenor, there is Ah Legato and Oh Legato.</li>\n	<li><b>Combo:</b> 8 vocal instruments that combine multiple articulations into a single instrument and use either the Mod Wheel or Round Robin programming techniques to determine how each play back. These include Sustain MOD, Legato MOD, and Staccato Combo RR.</li>\n	<li><b>Words: </b>42 vocal instruments with performances of specific Italian words mapped chromatically across the keyboard. For both Soprano and Tenor, these include: Addio, Amore, Bravissimo, Cara, Caro, Cielo, Dolore, Donna, Ella, Fiore, Fortuna, Forza, Gloria, Insieme, Mai, Morte, Nobilta, Potere, Sacro, Signore, Vincero.</li>\n	<li><b>Phrases:</b> 36 full phrases and 84 sub-phrases from popular opera arias from the works of Verdi, Puccini, Mozart, Rossini, Bizet and more. There are 43 phrases and sub-phrases for Soprano, 40 phrases and sub-phrases for Tenor, and 37 Duet phrases and sub-phrases. Phrases were recorded in multiple keys. Sub-phrases, which are separate parts that make up a full phrase, can be switched using the Mod Wheel.</li>\n	<li><b>Keyswitch:</b> 9 instruments that combine multiple articulations into a single instrument and uses keyswitches to activate the desired articulation.</li>\n</ul>\n<br />\n<h3>World-Renowned Singers</h3>\n<h4>Larisa Martinez</h4>\nLarisa Martinez has established a strong and unique presence in the classical performance world. She’s currently performing with opera titan Andrea Bocelli as his principal soprano on his world tour. She is a winner of the Metropolitan Opera National Council Audition PR district 2016, where she also received the Angel Ramos Foundation Award and Audience Prize. She earned raved reviews as Musetta in Loft Opera’s critically acclaimed production of La Bohéme and for her other leading roles in Verdi’s Rigoletto, Gounod’s Roméo et Juliette, Rossini’s Adina, Floyd’s Susannah, and Donizetti’s Don Pasquale and Lucia di Lammermoor.<br /><br />\n\n<h4>Carlton Moe</h4>\nHeralded by the New York Times as an \"ardent tenor,\" Carlton Moe is currently performing as Ubaldo Piangi in Andrew Lloyd Webber’s Phantom of the Opera, the longest running show on Broadway. His opera credits include Lakmé (Gerald), I Capuletti e I Montecchi (Tebaldo), The Mother of Us All (John Adams), Ernest Bloch\'s Macbeth (Malcolm), and Roméo et Juliette (Tybalt). He has also performed as a soloist in major works such as Verdi’s Requiem, Beethoven’s 9th Symphony, Mozart’s Requiem, and Handel’s Messiah.<br /><br />\n\n\"I have always loved opera\", said co-producer Doug Rogers \"at its best, it can send shivers down your spine. And that\'s what happened when I saw Andrea Bocelli and Larisa Martinez performing together at the Hollywood Bowl. Larisa agreed to work with us on VOICES OF OPERA. The recording sessions were sensational. She has the voice of an angel, her pitch is perfect, her range and vocal power unsurpassed. Then the opportunity arose to add tenor Carlton Moe (Phantom of the Opera) to the project. He just has this incredibly rich tone. It was truly a labor of love.\"<br /><br />\n\n<h3>Pristine Recording Techniques</h3>\nThe same pristine recording techniques that make all of our products sound so rich and detailed went into the recording of Voices of Opera. Choose and create your own mix from multiple mic positions including Front, Rear, and Room. The Front mic is a Telefunken 251, a famous vocal mic that captures incredible warmth and detail. For the duet phrases, a Neumann U67 was added to fully capture the sound of both singers. The Rear includes a pair of vintage Cole 4038s that add more depth and space. The Room mix includes a Decca tree made up of Neumann M50s and a pair of AKG C12 outriggers, replicating the mic set-up of a classical stage. These are all rare vintage tube mics. All recordings were made at EastWest Studios, our world famous recording studios known for producing more Grammy nominations than any other studio in the world, 121 in the last 7 years.<br /><br />\n<h3>VOICES OF OPERA is a must-have collection to add some vocal magic to your next project or add a unique texture to any style of music. Call or Chat with an RSPE Specialist to learn more.</h3>'),