-- Table structure for table `catalog_product_entity_media_gallery_value_to_entity`
--

CREATE TABLE `catalog_product_entity_media_gallery_value_to_entity` (
  `value_id` int unsigned NOT NULL COMMENT 'Value media Entry ID',
  `entity_id` int unsigned NOT NULL COMMENT 'Product Entity ID',
  UNIQUE KEY `CAT_PRD_ENTT_MDA_GLR_VAL_TO_ENTT_VAL_ID_ENTT_ID` (`value_id`,`entity_id`),
  KEY `CAT_PRD_ENTT_MDA_GLR_VAL_TO_ENTT_ENTT_ID_CAT_PRD_ENTT_ENTT_ID` (`entity_id`),
  CONSTRAINT `CAT_PRD_ENTT_MDA_GLR_VAL_TO_ENTT_ENTT_ID_CAT_PRD_ENTT_ENTT_ID` FOREIGN KEY (`entity_id`) REFERENCES `catalog_product_entity` (`entity_id`) ON DELETE CASCADE ON UPDATE RESTRICT,
  CONSTRAINT `FK_A6C6C8FAA386736921D3A7C4B50B1185` FOREIGN KEY (`value_id`) REFERENCES `catalog_product_entity_media_gallery` (`value_id`) ON DELETE CASCADE ON UPDATE RESTRICT
) ENGINE=InnoDB DEFAULT CHARSET=utf8mb3 COMMENT='Link Media value to Product entity table';

--
-- Dumping data for table `catalog_product_entity_media_gallery_value_to_entity`
--

INSERT INTO `catalog_product_entity_media_gallery_value_to_entity` VALUES 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--
-- Table structure for table `catalog_product_entity_media_gallery_value_video`
--

CREATE TABLE `catalog_product_entity_media_gallery_value_video` (
  `value_id` int unsigned NOT NULL COMMENT 'Media Entity ID',
  `store_id` smallint unsigned NOT NULL DEFAULT '0' COMMENT 'Store ID',
  `provider` varchar(32) DEFAULT NULL COMMENT 'Video provider ID',
  `url` text COMMENT 'Video URL',
  `title` varchar(255) DEFAULT NULL COMMENT 'Title',
  `description` text COMMENT 'Page Meta Description',
  `metadata` text COMMENT 'Video meta data',
  UNIQUE KEY `CAT_PRD_ENTT_MDA_GLR_VAL_VIDEO_VAL_ID_STORE_ID` (`value_id`,`store_id`),
  KEY `CAT_PRD_ENTT_MDA_GLR_VAL_VIDEO_STORE_ID_STORE_STORE_ID` (`store_id`),
  CONSTRAINT `CAT_PRD_ENTT_MDA_GLR_VAL_VIDEO_STORE_ID_STORE_STORE_ID` FOREIGN KEY (`store_id`) REFERENCES `store` (`store_id`) ON DELETE CASCADE ON UPDATE RESTRICT,
  CONSTRAINT `FK_6FDF205946906B0E653E60AA769899F8` FOREIGN KEY (`value_id`) REFERENCES `catalog_product_entity_media_gallery` (`value_id`) ON DELETE CASCADE ON UPDATE RESTRICT
) ENGINE=InnoDB DEFAULT CHARSET=utf8mb3 COMMENT='Catalog Product Video Table';

--
-- Dumping data for table `catalog_product_entity_media_gallery_value_video`
--


--
-- Table structure for table `catalog_product_entity_text`
--

CREATE TABLE `catalog_product_entity_text` (
  `value_id` int NOT NULL AUTO_INCREMENT COMMENT 'Value ID',
  `attribute_id` smallint unsigned NOT NULL DEFAULT '0' COMMENT 'Attribute ID',
  `store_id` smallint unsigned NOT NULL DEFAULT '0' COMMENT 'Store ID',
  `entity_id` int unsigned NOT NULL DEFAULT '0' COMMENT 'Entity ID',
  `value` mediumtext COMMENT 'Value',
  PRIMARY KEY (`value_id`),
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INSERT INTO `catalog_product_entity_text` VALUES (1,75,0,1,'<h1>A-Designs 503HR - 3-Slot Horizontal 500 Series Rack</h1>\nThe A-Designs 503HR is a horizontal, three space, 1RU rack for 500 Series modules. The 503HR has a robust external power supply with an LED display. This displays the amount of power being consumed or if the units in the 503HR are drawing too much power. But, the robust power supply can handle the demand. There is a 3-LED array on the face plate which displays the +16V, -16V and +48V.<br /><br />\n\nSome 503HR features include: All metal construction, XLR in and out, as well as a “FEED” switch on the front. This allows you to come into slot 1 and out slot 3. It also allows you to just feed 1 and 2 or none. The “Feed” switch is a 3-position switch used for: Slots 1 and 2 or “Off” or “All”. This reduces the need to use six (6) XLR cables for a channel strip. But, if you are inclined to do so, you still have that option. When using the 503 with the “Feed” switch, all that is needed are two (2) XLR cables - Male and Female. The input, as an example, would go to Slot 1 and the output to Slot 3, when the “Feed” switch is in the “ALL” position.<br /><br />\n\nThis is very useful for live applications. For example, you may only require the 503HR (with a 500 series Pre, Compressor, EQ), a power amp and a cabinet. Place the “Feed” switch to position “All.” The connections would be as follows: Assign the output of Slot 2 for FOH (Front of House) and the output of Slot 3 for your amp.<br /><br />\n\nUsed as a Channel Strip for Bass or Guitar [Preamp, Compressor and EQ], your 500 series Pre-amp would go into the 500 series Compressor, Compressor out to the FOH and your 500 series EQ to your power amp then to your cabinet. This works extremely well.<br /><br />'),(2,75,1,1,'<h1>A-Designs 503HR - 3-Slot Horizontal 500 Series Rack</h1>\nThe A-Designs 503HR is a horizontal, three space, 1RU rack for 500 Series modules. The 503HR has a robust external power supply with an LED display. This displays the amount of power being consumed or if the units in the 503HR are drawing too much power. But, the robust power supply can handle the demand. There is a 3-LED array on the face plate which displays the +16V, -16V and +48V.<br /><br />\n\nSome 503HR features include: All metal construction, XLR in and out, as well as a “FEED” switch on the front. This allows you to come into slot 1 and out slot 3. It also allows you to just feed 1 and 2 or none. The “Feed” switch is a 3-position switch used for: Slots 1 and 2 or “Off” or “All”. This reduces the need to use six (6) XLR cables for a channel strip. But, if you are inclined to do so, you still have that option. When using the 503 with the “Feed” switch, all that is needed are two (2) XLR cables - Male and Female. The input, as an example, would go to Slot 1 and the output to Slot 3, when the “Feed” switch is in the “ALL” position.<br /><br />\n\nThis is very useful for live applications. For example, you may only require the 503HR (with a 500 series Pre, Compressor, EQ), a power amp and a cabinet. Place the “Feed” switch to position “All.” The connections would be as follows: Assign the output of Slot 2 for FOH (Front of House) and the output of Slot 3 for your amp.<br /><br />\n\nUsed as a Channel Strip for Bass or Guitar [Preamp, Compressor and EQ], your 500 series Pre-amp would go into the 500 series Compressor, Compressor out to the FOH and your 500 series EQ to your power amp then to your cabinet. This works extremely well.<br /><br />'),(3,85,0,1,'A-Designs 503HR - 3-Slot Horizontal 500 Series Rack'),(4,85,1,1,'A-Designs 503HR - 3-Slot Horizontal 500 Series Rack'),(5,76,0,1,''),(6,76,1,1,''),(7,75,0,2,'<h1>A-Designs EM-Blue 500-Series Preamp Module</h1>\n\nThe A-Designs EM-Blue 500 Series Preamp Module is the brightest sounding of the EM Series, equipped with a nickel custom-wound output transformer for accentuated highs. It produces a much more airy, top-end-present tone than its EM-Series brothers and sisters. Many aspects of recording can be counter-intuitive, and in many cases, you’ll want to pair opposites. For example, when used with a dark-sounding microphone or an alto vocalist, the brighter EM-Blue can produce a heavenly sound.<br /><br />\nYou will also find this pre useful for providing a crisp “crack” when recording a snare drum. And if you use the DI you just might fall in love with what an electric guitar sounds like going thru its nickel transformers. As with all of A-Designs’ 500-Series preamps, the EM-Blue has a -20dB pad that enables you to get down and dirty with an electric guitar. Just switch in the pad and crank the gain for a slight growl.<br /><br />'),(8,75,1,2,'<h1>A-Designs EM-Blue 500-Series Preamp Module</h1>\n\nThe A-Designs EM-Blue 500 Series Preamp Module is the brightest sounding of the EM Series, equipped with a nickel custom-wound output transformer for accentuated highs. It produces a much more airy, top-end-present tone than its EM-Series brothers and sisters. Many aspects of recording can be counter-intuitive, and in many cases, you’ll want to pair opposites. For example, when used with a dark-sounding microphone or an alto vocalist, the brighter EM-Blue can produce a heavenly sound.<br /><br />\nYou will also find this pre useful for providing a crisp “crack” when recording a snare drum. And if you use the DI you just might fall in love with what an electric guitar sounds like going thru its nickel transformers. As with all of A-Designs’ 500-Series preamps, the EM-Blue has a -20dB pad that enables you to get down and dirty with an electric guitar. Just switch in the pad and crank the gain for a slight growl.<br /><br />'),(9,85,0,2,'A-Designs EM-Blue Preamp Module'),(10,85,1,2,'A-Designs EM-Blue Preamp Module'),(11,76,0,2,''),(12,76,1,2,''),(13,75,0,3,'<h1>A-Designs EM-Gold 500-Series Preamp Module</h1><br />The A-Designs EM-Gold 500-Series Preamp Module is a combination of EM-Silver and EM-Red transformers which makes for the perfect sounding floor tom. It’s also the preamp you should reach for when you want that speaker-moving, low-mid thump from heavy guitars. <br /><br />\nThe EM-Gold is ideal for fattening up thin-sounding sources; on mics lacking low mids or upper bass warmth; and mid transients, such as percussion and drums. It also shines on vocals, bass, and even drum machines. If you’re going to move air (the secret of a big sound), go for the Gold—the A-Designs Audio EM-Gold.'),(14,75,1,3,'<h1>A-Designs EM-Gold 500-Series Preamp Module</h1><br />The A-Designs EM-Gold 500-Series Preamp Module is a combination of EM-Silver and EM-Red transformers which makes for the perfect sounding floor tom. It’s also the preamp you should reach for when you want that speaker-moving, low-mid thump from heavy guitars. <br /><br />\nThe EM-Gold is ideal for fattening up thin-sounding sources; on mics lacking low mids or upper bass warmth; and mid transients, such as percussion and drums. It also shines on vocals, bass, and even drum machines. If you’re going to move air (the secret of a big sound), go for the Gold—the A-Designs Audio EM-Gold.'),(15,85,0,3,'A-Designs EM-Gold 500-Series Preamp Module'),(16,85,1,3,'A-Designs EM-Gold 500-Series Preamp Module'),(17,76,0,3,''),(18,76,1,3,''),(19,75,0,4,'<h1>A-Designs EM-PEQ 500-Series EQ Module</h1><br />The A-Designs EM-PEQ is a 500-Series module that captures the essence of the classic Pultec EQP-1A sound. One of the most venerated equalizers of all time, the all-tube Pultec EQP-1A has been cherished by recording and mastering engineers for its almost magical ability to improve the sound of nearly any signal running through it. Now, after considerable research and development, the A-Designs Audio EM-PEQ has captured the essence of the highly revered Pultec EQP-1A and placed it in the compact and popular 500-Series form*—with no compromise in sonics or build quality. <br /><br />\r\nAlong with modern performance enhancements, the A-Designs Audio EM-PEQ meticulously maintains the EQ-section design and control layout of the original Pultec EQP-1A, as well as its wonderfully smooth musicality. It also has the same frequency settings and inductors that made the Pultec a must-have for capturing the bottom end. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s immensely popular solid-state Pacifica mic preamp—putting a slightly unique and modern twist on the classic design of yesteryear. <br /><br />\r\nThe EM-PEQ’s controls attenuate high band at 5k, 10k, 20kHz; vary bandwidth AND boost mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and boost or attenuate the low band at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation range from 0dB to ±10dB. <br /><br />\r\nAdditional features of the EM-PEQ include a nickel-core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard-wired bypass. Plus, instead of using common off-the-shelf chokes, A-Designs uses a custom tapped inductor, wound to the original values as the original Pultec. Along with the classic EQ circuitry, layout, and exceptionally musical sound of the classic Pultec, the EM-PEQ offers fully balanced, noise-free performance and modern impedance specs for easy operation and fast studio integration. <br /><br />\r\nIn the world of pro audio recording, there are two types of equalizers: those that you don’t want to hear in action (“surgical or corrective EQ), and those that you do (“color, or character” EQ). The EM-PEQ is one you most definitely do. Unlike any other 500-Series equalizer, the A-Designs EM-PEQ sits on the extreme end of the “character” bench. It focuses on “correcting” that which cannot be fixed by so-called surgical EQs: the enhancement of tone and musicality. <br /><br />\r\nThe EM-PEQ is also available as the EM-EQ2, a 2-channel, 2U rackmount version offered at the same price as two EM-PEQs and a 500HR power rack. Whether you prefer to work with the 500-Series form factor or standard rackmount format, both the EM-PEQ and EM-EQ2 are identical in both sound quality and functionality.<br />'),(20,75,1,4,'<h1>A-Designs EM-PEQ 500-Series EQ Module</h1><br />The A-Designs EM-PEQ is a 500-Series module that captures the essence of the classic Pultec EQP-1A sound. One of the most venerated equalizers of all time, the all-tube Pultec EQP-1A has been cherished by recording and mastering engineers for its almost magical ability to improve the sound of nearly any signal running through it. Now, after considerable research and development, the A-Designs Audio EM-PEQ has captured the essence of the highly revered Pultec EQP-1A and placed it in the compact and popular 500-Series form*—with no compromise in sonics or build quality. <br /><br />\nAlong with modern performance enhancements, the A-Designs Audio EM-PEQ meticulously maintains the EQ-section design and control layout of the original Pultec EQP-1A, as well as its wonderfully smooth musicality. It also has the same frequency settings and inductors that made the Pultec a must-have for capturing the bottom end. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s immensely popular solid-state Pacifica mic preamp—putting a slightly unique and modern twist on the classic design of yesteryear. <br /><br />\nThe EM-PEQ’s controls attenuate high band at 5k, 10k, 20kHz; vary bandwidth AND boost mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and boost or attenuate the low band at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation range from 0dB to ±10dB. <br /><br />\nAdditional features of the EM-PEQ include a nickel-core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard-wired bypass. Plus, instead of using common off-the-shelf chokes, A-Designs uses a custom tapped inductor, wound to the original values as the original Pultec. Along with the classic EQ circuitry, layout, and exceptionally musical sound of the classic Pultec, the EM-PEQ offers fully balanced, noise-free performance and modern impedance specs for easy operation and fast studio integration. <br /><br />\nIn the world of pro audio recording, there are two types of equalizers: those that you don’t want to hear in action (“surgical or corrective EQ), and those that you do (“color, or character” EQ). The EM-PEQ is one you most definitely do. Unlike any other 500-Series equalizer, the A-Designs EM-PEQ sits on the extreme end of the “character” bench. It focuses on “correcting” that which cannot be fixed by so-called surgical EQs: the enhancement of tone and musicality. <br /><br />\nThe EM-PEQ is also available as the EM-EQ2, a 2-channel, 2U rackmount version offered at the same price as two EM-PEQs and a 500HR power rack. Whether you prefer to work with the 500-Series form factor or standard rackmount format, both the EM-PEQ and EM-EQ2 are identical in both sound quality and functionality.<br />'),(21,85,0,4,'A-Designs EM-PEQ 500-Series EQ Module'),(22,85,1,4,'A-Designs EM-PEQ 500-Series EQ Module'),(23,76,0,4,''),(24,76,1,4,''),(25,75,0,5,'<h1>A-Designs EM-Red 500-Series Preamp Module</h1><br />The A-Designs Audio EM-Red 500-Series Preamp Module is the “mid-forward” preamp of the EM family. Its sound derives from the combination of an A-Designs proprietary input transformer featuring a unique winding, and a 50/50 steel/nickel-wound output transformer (also a proprietary A-Designs alloy). <br /><br />\nThe EM-Red has the extra kick you need when you have a mic that lacks present mids (such as the mid-scooped Chinese capsules), or if you want to bring an instrument forward in the mix. The upfront mids of the EM-Red make it ideal for drums, guitar, bass guitar, and acoustic instruments. In fact, you will find the EM-Red particularly useful when recording acoustic guitar with a condenser microphone. It’s also great for bringing out the resonance and character of rack toms and floor toms.<br />'),(26,75,1,5,'<h1>A-Designs EM-Red 500-Series Preamp Module</h1><br />The A-Designs Audio EM-Red 500-Series Preamp Module is the “mid-forward” preamp of the EM family. Its sound derives from the combination of an A-Designs proprietary input transformer featuring a unique winding, and a 50/50 steel/nickel-wound output transformer (also a proprietary A-Designs alloy). <br /><br />\nThe EM-Red has the extra kick you need when you have a mic that lacks present mids (such as the mid-scooped Chinese capsules), or if you want to bring an instrument forward in the mix. The upfront mids of the EM-Red make it ideal for drums, guitar, bass guitar, and acoustic instruments. In fact, you will find the EM-Red particularly useful when recording acoustic guitar with a condenser microphone. It’s also great for bringing out the resonance and character of rack toms and floor toms.<br />'),(27,85,0,5,'A-Designs EM-Red 500-Series Preamp Module'),(28,85,1,5,'A-Designs EM-Red 500-Series Preamp Module'),(29,76,0,5,''),(30,76,1,5,''),(31,75,0,6,'<h1>A-Designs EM-Silver 500-Series Preamp Module</h1><br />The A-Designs Audio EM-Silver 500-Series Preamp Module has a darker tone than the P-1, EM-Red, and EM-Blue. Its sound is based on a custom-wound steel output transformer, which makes it an excellent match for ribbon microphones since steel transformers were widely used in the early days of recording and broadcast. It was the combination of steel transformer and ribbon mic that gave broadcasters and singers that “voice of god” sound that has defined vocal recording and the amplified spoken word for decades.<br /><br />\nThe EM-Silver is a great preamp for bass guitar and keyboards. And in the world of percussion, it’s a great choice for kick drum. For brighter sound sources, the EM-Silver is the preamp of choice when you want less top end or a vintage-type sound. For a true vintage sound, use the EM-Silver with ribbon mics, or on modern, brighter condensers to smooth out top end. If you like vintage Neve, you’ll love the EM-Silver.<br /><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br /></a></div>'),(32,75,1,6,'<h1>A-Designs EM-Silver 500-Series Preamp Module</h1><br />The A-Designs Audio EM-Silver 500-Series Preamp Module has a darker tone than the P-1, EM-Red, and EM-Blue. Its sound is based on a custom-wound steel output transformer, which makes it an excellent match for ribbon microphones since steel transformers were widely used in the early days of recording and broadcast. It was the combination of steel transformer and ribbon mic that gave broadcasters and singers that “voice of god” sound that has defined vocal recording and the amplified spoken word for decades.<br /><br />\nThe EM-Silver is a great preamp for bass guitar and keyboards. And in the world of percussion, it’s a great choice for kick drum. For brighter sound sources, the EM-Silver is the preamp of choice when you want less top end or a vintage-type sound. For a true vintage sound, use the EM-Silver with ribbon mics, or on modern, brighter condensers to smooth out top end. If you like vintage Neve, you’ll love the EM-Silver.<br /><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br /></a></div>'),(33,85,0,6,'A-Designs EM-Silver 500-Series Preamp Module'),(34,85,1,6,'A-Designs EM-Silver 500-Series Preamp Module'),(35,76,0,6,''),(36,76,1,6,''),(37,75,0,7,'<h1>A-Designs Hammer 2 EQ - Dual Channel Tube EQ</h1>\r\n<i>World-Class Dual-Mono Tube EQ at home on the mix bus as well as individual instruments.</i>\r\n<br /><br />\r\nThe A-Designs Hammer 2 EQ is a dual-mono, three- band equalizer that\'s most at home on the main mix outputs, but is also an outstanding tool for tracking. It\'s one of a very select few audio tools that enhances sound simply by running signal through it, thanks in part to an ingenious filtering system that passes musical 2nd order tube harmonics while eliminating unwanted noise - just the heating blanket your DAW needs. It\'s also ideal for adding \"air\" to vocals, carefully crafted punch to instruments or just the right texture to an overall mix; plus, a major benefit of its innovative design is the ability to push it as hard as you like - it\'s nearly impossible to make it sound bad.<br /><br />\r\nThe HAMMER 2 couldn\'t be easier to use. Its overall frequency range covers 30Hz to 40kHz. Each channel features six detented rotary controls: three frequency selector knobs (Lo, Mid, Hi) which are stepped switches for easy recall, each with an accompanying gain knob providing continuously variable boost or cut of 12dB. Each band has a selectable center frequency, and overlaps with the other bands in such a way that makes for a seamless transition throughout the entire spectrum. Each channel also features individual toggle switches for EQ In/Out as well as Lo Cut (84Hz) and Hi Cut (8kHZ), filters that allow engineers to perform utilitarian EQ chores while still being able to bring the full power of The Hammer\'s three bands to bear. Mainly intended as a \"broad stroke\" equalizer, the HM2EQ\'s bandwidth (Q) is self-adjusting (floating), based on a combination of the amount of gain applied and the dynamics and frequency content of the program material.<br /><br />\r\nThe Hammer\'s unique ability to have its Q \"move with the music\" is one the keys to its incredible musical performance, and is another reason why it\'s difficult to make the Hammer sound bad at any frequency or gain setting. Along with its innovative tube-harmonic filtering circuit, a pair of carefully selected 12AT7 tubes (offering the most consistent control of any tube) and a custom heavy duty toroidal power transformer add the final touches to the Hammer\'s signal path.<br /><br />\r\nLike its twin - the A-Designs \"Nail\" compressor - the Hammer features a black, custom-milled, brushed faceplate sporting custom-milled aluminum control knobs, a heavy-duty Carling toggle power switch, and a big blue jewel power indicator lamp- overall, a stunning combination of modern-retro looks that jump out of the rack.<br /><br />\r\nThe Hammer is an inspired design whose sonic signature is far greater than the sum of its components. Perfectly happy in tracking applications or as an insert effect on individual channels, it is the ultimate full-range finishing device for sub-mixes and master outputs. After all, what audio toolbox would be complete without a Hammer?<br /><br />\r\n<h3>Hammer 2 EQ features</h3>\r\n<ul>\r\n	<li>\r\n	</li><li>World-class, three-band, dual-mono tube/hybrid equalizer.</li>\r\n	<li>Designed to sound highly musical for larger EQ functions typically found on expensive mastering.</li>\r\n	<li>Smooth, super-fidelity EQ, suitable for very high-end applications.</li>\r\n	<li>Beautiful-sounding broad EQ-shaping across several octaves with no adverse effect on tone.</li>\r\n	<li>Clean and airy high end.</li>\r\n	<li>Warmth, transparency, and quality sound.</li>\r\n	<li>Detened boost and cut controls.</li>\r\n	<li>Fixed frequency settings with highly musical overlapping bands and floating \'\'Q\'\'.</li>\r\n	<li>Low-cut and high-cut filters and bypass.</li>\r\n	<li>Transformer-less 12AT7 output tubes.</li>\r\n	<li>Custom-milled aluminum knobs and faceplate with EQ in/out, low-cut, and high-cut toggle switches.</li>\r\n	<li>Heavy-duty Carling power toggle switch.</li>\r\n	\r\n</ul>'),(38,75,1,7,'<h1>A-Designs Hammer 2 EQ - Dual Channel Tube EQ</h1>\n<i>World-Class Dual-Mono Tube EQ at home on the mix bus as well as individual instruments.</i>\n<br /><br />\nThe A-Designs Hammer 2 EQ is a dual-mono, three- band equalizer that\'s most at home on the main mix outputs, but is also an outstanding tool for tracking. It\'s one of a very select few audio tools that enhances sound simply by running signal through it, thanks in part to an ingenious filtering system that passes musical 2nd order tube harmonics while eliminating unwanted noise - just the heating blanket your DAW needs. It\'s also ideal for adding \"air\" to vocals, carefully crafted punch to instruments or just the right texture to an overall mix; plus, a major benefit of its innovative design is the ability to push it as hard as you like - it\'s nearly impossible to make it sound bad.<br /><br />\nThe HAMMER 2 couldn\'t be easier to use. Its overall frequency range covers 30Hz to 40kHz. Each channel features six detented rotary controls: three frequency selector knobs (Lo, Mid, Hi) which are stepped switches for easy recall, each with an accompanying gain knob providing continuously variable boost or cut of 12dB. Each band has a selectable center frequency, and overlaps with the other bands in such a way that makes for a seamless transition throughout the entire spectrum. Each channel also features individual toggle switches for EQ In/Out as well as Lo Cut (84Hz) and Hi Cut (8kHZ), filters that allow engineers to perform utilitarian EQ chores while still being able to bring the full power of The Hammer\'s three bands to bear. Mainly intended as a \"broad stroke\" equalizer, the HM2EQ\'s bandwidth (Q) is self-adjusting (floating), based on a combination of the amount of gain applied and the dynamics and frequency content of the program material.<br /><br />\nThe Hammer\'s unique ability to have its Q \"move with the music\" is one the keys to its incredible musical performance, and is another reason why it\'s difficult to make the Hammer sound bad at any frequency or gain setting. Along with its innovative tube-harmonic filtering circuit, a pair of carefully selected 12AT7 tubes (offering the most consistent control of any tube) and a custom heavy duty toroidal power transformer add the final touches to the Hammer\'s signal path.<br /><br />\nLike its twin - the A-Designs \"Nail\" compressor - the Hammer features a black, custom-milled, brushed faceplate sporting custom-milled aluminum control knobs, a heavy-duty Carling toggle power switch, and a big blue jewel power indicator lamp- overall, a stunning combination of modern-retro looks that jump out of the rack.<br /><br />\nThe Hammer is an inspired design whose sonic signature is far greater than the sum of its components. Perfectly happy in tracking applications or as an insert effect on individual channels, it is the ultimate full-range finishing device for sub-mixes and master outputs. After all, what audio toolbox would be complete without a Hammer?<br /><br />\n<h3>Hammer 2 EQ features</h3>\n<ul>\n	<li>\n	</li><li>World-class, three-band, dual-mono tube/hybrid equalizer.</li>\n	<li>Designed to sound highly musical for larger EQ functions typically found on expensive mastering.</li>\n	<li>Smooth, super-fidelity EQ, suitable for very high-end applications.</li>\n	<li>Beautiful-sounding broad EQ-shaping across several octaves with no adverse effect on tone.</li>\n	<li>Clean and airy high end.</li>\n	<li>Warmth, transparency, and quality sound.</li>\n	<li>Detened boost and cut controls.</li>\n	<li>Fixed frequency settings with highly musical overlapping bands and floating \'\'Q\'\'.</li>\n	<li>Low-cut and high-cut filters and bypass.</li>\n	<li>Transformer-less 12AT7 output tubes.</li>\n	<li>Custom-milled aluminum knobs and faceplate with EQ in/out, low-cut, and high-cut toggle switches.</li>\n	<li>Heavy-duty Carling power toggle switch.</li>\n	\n</ul>'),(39,85,0,7,'A-Designs Hammer 2 EQ - Dual Channel Tube EQ'),(40,85,1,7,'A-Designs Hammer 2 EQ - Dual Channel Tube EQ'),(41,76,0,7,''),(42,76,1,7,''),(43,75,0,8,'<h2>A-Designs HM2 Nail Compressor/Limiter</h2>\r\n<span style=\"font-size:16px; font-style:italic;\">A 2-channel, solid state/tube hybrid compressor offering infinite sound-shaping possibilities plus the ability to enhance any signal simply by passing through it. </span><br /><br />\r\nThe A-Designs Audio HM2 NAIL Compressor/Limiter has three unique features that set it apart from ordinary compressors: Hard Threshold, Filter, and Mix. But that’s not where it ends. The NAIL’s tube circuitry and components were specifically chosen and designed to impart the rich, euphonic sound of analog to digital recording—enabling it to confidently “ride” the 2-bus in a place of prominence. And while the NAIL can add character to any sound, it can also work transparently in the background—all at the engineer’s digression. Not just for the 2-bus, its ability to switch from linked stereo to dual mono makes it a great tracking compressor as well. Better still, on a stereo mix, using dual mono offers the added bonus of making the mix sound wider, as though it extends beyond the left/right boundaries of the speakers.<br /><br /><h3>A-Design HM2 Features</h3><ul><li><span style=\"background-color: initial;\">Solid state/tube hybrid design combines high performance with rich sound.</span></li><li>Dual channel with switchable stereo link or dual mono modes.</li><li>Mix control lets you blend wet/dry signal for parallel compression.</li><li>Hard Threshold and Filter let you select amount of compression and frequency (to 250Hz) to prevent mix from being “dragged down” by LF energy.</li><li>Awarded “Mix Certified Hit” by Mix magazine.</li><li>Custom-milled aluminum knobs.</li><li>Custom-milled aluminum faceplate.</li><li>LED Indicators switchable to stereo.</li><li>Gain-reduction switch for meters.</li><li>2U rackmount.</li><li>Balanced XLR outputs.</li><li>Carling toggle power switch.</li><li>Red jewel power indicator.</li></ul><div></div>\r\n<h3>Threshold, Hard Threshold and Variable Sidechain Filter:</h3>\r\nUpon inspecting the NAIL’s highly attractive custom-milled aluminum knobs and faceplate, you’ll notice the absence of a ratio control. In its place are Threshold and Hard Threshold. With Hard Threshold turned off, Threshold acts much like an LA-2A by increasing gain reduction. Attack and release controls become somewhat irrelevant in this mode and the NAIL becomes a model of simplicity; set its threshold and gain, and let the NAIL work its magic. For those who like to dig deeper, Hard Threshold opens up a world of compression-/envelope-shaping possibilities. Like the hard knee of a traditional compressor, Hard Threshold works in conjunction with the Filter, which is a variable high-pass filter continuously controllable from 8Hz to 250Hz. Once the Hard Threshold is crossed, the NAIL will apply desired compression above the selected frequency, and less to the frequencies below. This prevents the greater energy of bass from triggering unwanted compression and ducking the entire mix. Filter also lets you enhance bottom end for bass-heavy music without throwing the mix’s entire frequency spectrum out of whack, as a multi-band compressor often does. Put simply, the combination of Threshold, Hard Threshold, and Filter allow you to dial in amount of compression, at what level it will engage, and above which frequencies it will act. Ratio is always self-adjusting in response to program material. \r\n<br /><br />\r\n<h3>Attack, Release, Gain and Metering:</h3>\r\nThe HM2 NAIL’s remaining continuously variable controls include Attack, Release, and Gain, which function as expected. However, Attack and Release are dependent on the settings of the Hard Threshold and also respond dynamically to program material, making for a more forgiving and musical response than traditional “once size fits all” attack/release circuits. Other functions include compressor In/Out for quick A/B comparison; Stereo Link/Dual Mono; and Gain Reduction/Level for metering, all controlled via toggle switch. Speaking of meters, the NAIL’s LED meter was chosen for it’s ultra fast response and the ability to see it clearly from across a dark-lit control room.\r\n<br /><br />\r\n<h3>Mix Control:</h3>\r\nThe HM2 NAIL’s Mix knob offers continuously variable control between direct (dry) and compressed signal. Particularly useful for DAW mixing, Mix enables you to apply parallel compression to a submix without losing two channels of A/D/A for an aux send/return. And of course, you can also use it on an overall mix to add size and depth, or during tracking. As its name suggests, when it comes to putting the finishing touches on a final mix, the A-Designs HM2 Compressor Nails it!'),(44,75,1,8,'<h2>A-Designs HM2 Nail Compressor/Limiter</h2>\n<span style=\"font-size:16px; font-style:italic;\">A 2-channel, solid state/tube hybrid compressor offering infinite sound-shaping possibilities plus the ability to enhance any signal simply by passing through it. </span><br /><br />\nThe A-Designs Audio HM2 NAIL Compressor/Limiter has three unique features that set it apart from ordinary compressors: Hard Threshold, Filter, and Mix. But that’s not where it ends. The NAIL’s tube circuitry and components were specifically chosen and designed to impart the rich, euphonic sound of analog to digital recording—enabling it to confidently “ride” the 2-bus in a place of prominence. And while the NAIL can add character to any sound, it can also work transparently in the background—all at the engineer’s digression. Not just for the 2-bus, its ability to switch from linked stereo to dual mono makes it a great tracking compressor as well. Better still, on a stereo mix, using dual mono offers the added bonus of making the mix sound wider, as though it extends beyond the left/right boundaries of the speakers.<br /><br /><h3>A-Design HM2 Features</h3><ul><li><span style=\"background-color: initial;\">Solid state/tube hybrid design combines high performance with rich sound.</span></li><li>Dual channel with switchable stereo link or dual mono modes.</li><li>Mix control lets you blend wet/dry signal for parallel compression.</li><li>Hard Threshold and Filter let you select amount of compression and frequency (to 250Hz) to prevent mix from being “dragged down” by LF energy.</li><li>Awarded “Mix Certified Hit” by Mix magazine.</li><li>Custom-milled aluminum knobs.</li><li>Custom-milled aluminum faceplate.</li><li>LED Indicators switchable to stereo.</li><li>Gain-reduction switch for meters.</li><li>2U rackmount.</li><li>Balanced XLR outputs.</li><li>Carling toggle power switch.</li><li>Red jewel power indicator.</li></ul><div></div>\n<h3>Threshold, Hard Threshold and Variable Sidechain Filter:</h3>\nUpon inspecting the NAIL’s highly attractive custom-milled aluminum knobs and faceplate, you’ll notice the absence of a ratio control. In its place are Threshold and Hard Threshold. With Hard Threshold turned off, Threshold acts much like an LA-2A by increasing gain reduction. Attack and release controls become somewhat irrelevant in this mode and the NAIL becomes a model of simplicity; set its threshold and gain, and let the NAIL work its magic. For those who like to dig deeper, Hard Threshold opens up a world of compression-/envelope-shaping possibilities. Like the hard knee of a traditional compressor, Hard Threshold works in conjunction with the Filter, which is a variable high-pass filter continuously controllable from 8Hz to 250Hz. Once the Hard Threshold is crossed, the NAIL will apply desired compression above the selected frequency, and less to the frequencies below. This prevents the greater energy of bass from triggering unwanted compression and ducking the entire mix. Filter also lets you enhance bottom end for bass-heavy music without throwing the mix’s entire frequency spectrum out of whack, as a multi-band compressor often does. Put simply, the combination of Threshold, Hard Threshold, and Filter allow you to dial in amount of compression, at what level it will engage, and above which frequencies it will act. Ratio is always self-adjusting in response to program material. \n<br /><br />\n<h3>Attack, Release, Gain and Metering:</h3>\nThe HM2 NAIL’s remaining continuously variable controls include Attack, Release, and Gain, which function as expected. However, Attack and Release are dependent on the settings of the Hard Threshold and also respond dynamically to program material, making for a more forgiving and musical response than traditional “once size fits all” attack/release circuits. Other functions include compressor In/Out for quick A/B comparison; Stereo Link/Dual Mono; and Gain Reduction/Level for metering, all controlled via toggle switch. Speaking of meters, the NAIL’s LED meter was chosen for it’s ultra fast response and the ability to see it clearly from across a dark-lit control room.\n<br /><br />\n<h3>Mix Control:</h3>\nThe HM2 NAIL’s Mix knob offers continuously variable control between direct (dry) and compressed signal. Particularly useful for DAW mixing, Mix enables you to apply parallel compression to a submix without losing two channels of A/D/A for an aux send/return. And of course, you can also use it on an overall mix to add size and depth, or during tracking. As its name suggests, when it comes to putting the finishing touches on a final mix, the A-Designs HM2 Compressor Nails it!'),(45,85,0,8,'A-Designs HM2 Nail Compressor/Limiter'),(46,85,1,8,'A-Designs HM2 Nail Compressor/Limiter'),(47,76,0,8,''),(48,76,1,8,''),(49,75,0,9,'<h1>A-Designs Mix Factory Summing Mixer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Mix Factory, a 16 Channel Stereo Summing Mixer</span><br /><br />\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1791491579 18 0 131231 0;}\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Cambria;\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1073743103 0 0 415 0;}\n@font-face\n	{font-family:\"Adobe Garamond Pro\";\n	panose-1:2 2 5 2 6 5 6 2 4 3;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:7 1 0 0 147 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin:0in;\n	margin-bottom:.0001pt;\n	mso-pagination:widow-orphan;\n	font-size:12.0pt;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">The A-Designs Mix Factory summing mixer </span><span style=\"font-size: 12.5pt; font-family: Helvetica;\">has 16 channels\n(which are 2 D sub inputs summing to a stereo XLR out). All 16 channels have a\ncontinuous Gain Knob, Pan (center detent), and Mute that acts as a signal\nindicator with an audio sensitive LED. The LED indicator glows when signal is\npassing into the channel and intensifies when the signal is stronger. The same\nMute button changes color from Red, when used as a mute, to Green when signal\nis passing through the channel.\n	</span>\n</p>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">There\nare (2) Eight Channel groups: 1-8 and 9-16. Each group has an Insert for a\nCompressor or EQ. There is also a Master Insert for all 16 Channels, along with\n3 Mute buttons for each Insert. And we aren’t done, yet!\n	</span>\n</p>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">The\nMix Factory\n	</span><span style=\"font-size: 12.5pt; font-family: &quot;Adobe Garamond Pro&quot;;\">\n	</span><span style=\"font-size: 12.5pt; font-family: Helvetica;\">has a push button\noption to go from clean (the standard setup bypassing the transformers) to\ntonal, using the custom-made output transformers made by Cinemag. The difference\nbetween transformers and no transformers is night and day. This gives you an\noption for analog tone and/or color.\n	</span>\n</p>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">The\nMix Factory\n	</span><span style=\"font-size: 12.5pt; font-family: &quot;Adobe Garamond Pro&quot;;\">\n	</span><span style=\"font-size: 12.5pt; font-family: Helvetica;\">is also linkable! This\nmeans you can have 64 or more channels...it’s like having a console in two 2RU\nRack. And there is an external power supply to insure a perfect sounding unit\nevery time. This is a \n	<span> </span>switchable Power\nSupply, which can be used for domestic (US) 120v and export 230v. The Power\nSupply is hefty enough \n	<span> </span>to handle any\nneeds you may require from the Mix Factory</span></p>'),(50,75,1,9,'<h1>A-Designs Mix Factory Summing Mixer</h1>\n<span style=\"font-size: 16px; font-style: italic;\">Mix Factory, a 16 Channel Stereo Summing Mixer</span><br /><br />\n<style>\n<!--\n /* Font Definitions */\n@font-face\n	{font-family:\"ＭＳ 明朝\";\n	mso-font-charset:78;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1791491579 18 0 131231 0;}\n@font-face\n	{font-family:\"Cambria Math\";\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n	{font-family:Cambria;\n	panose-1:2 4 5 3 5 4 6 3 2 4;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:-536870145 1073743103 0 0 415 0;}\n@font-face\n	{font-family:\"Adobe Garamond Pro\";\n	panose-1:2 2 5 2 6 5 6 2 4 3;\n	mso-font-charset:0;\n	mso-generic-font-family:auto;\n	mso-font-pitch:variable;\n	mso-font-signature:7 1 0 0 147 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n	{mso-style-unhide:no;\n	mso-style-qformat:yes;\n	mso-style-parent:\"\";\n	margin:0in;\n	margin-bottom:.0001pt;\n	mso-pagination:widow-orphan;\n	font-size:12.0pt;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n	{mso-style-type:export-only;\n	mso-default-props:yes;\n	font-family:Cambria;\n	mso-ascii-font-family:Cambria;\n	mso-ascii-theme-font:minor-latin;\n	mso-fareast-font-family:\"ＭＳ 明朝\";\n	mso-fareast-theme-font:minor-fareast;\n	mso-hansi-font-family:Cambria;\n	mso-hansi-theme-font:minor-latin;\n	mso-bidi-font-family:\"Times New Roman\";\n	mso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n	{size:8.5in 11.0in;\n	margin:1.0in 1.25in 1.0in 1.25in;\n	mso-header-margin:.5in;\n	mso-footer-margin:.5in;\n	mso-paper-source:0;}\ndiv.WordSection1\n	{page:WordSection1;}\n-->\n</style>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">The A-Designs Mix Factory summing mixer </span><span style=\"font-size: 12.5pt; font-family: Helvetica;\">has 16 channels\n(which are 2 D sub inputs summing to a stereo XLR out). All 16 channels have a\ncontinuous Gain Knob, Pan (center detent), and Mute that acts as a signal\nindicator with an audio sensitive LED. The LED indicator glows when signal is\npassing into the channel and intensifies when the signal is stronger. The same\nMute button changes color from Red, when used as a mute, to Green when signal\nis passing through the channel.\n	</span>\n</p>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">There\nare (2) Eight Channel groups: 1-8 and 9-16. Each group has an Insert for a\nCompressor or EQ. There is also a Master Insert for all 16 Channels, along with\n3 Mute buttons for each Insert. And we aren’t done, yet!\n	</span>\n</p>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">The\nMix Factory\n	</span><span style=\"font-size: 12.5pt; font-family: &quot;Adobe Garamond Pro&quot;;\">\n	</span><span style=\"font-size: 12.5pt; font-family: Helvetica;\">has a push button\noption to go from clean (the standard setup bypassing the transformers) to\ntonal, using the custom-made output transformers made by Cinemag. The difference\nbetween transformers and no transformers is night and day. This gives you an\noption for analog tone and/or color.\n	</span>\n</p>\n<p class=\"MsoNormal\">\n	<span style=\"font-size: 12.5pt; font-family: Helvetica;\">The\nMix Factory\n	</span><span style=\"font-size: 12.5pt; font-family: &quot;Adobe Garamond Pro&quot;;\">\n	</span><span style=\"font-size: 12.5pt; font-family: Helvetica;\">is also linkable! This\nmeans you can have 64 or more channels...it’s like having a console in two 2RU\nRack. And there is an external power supply to insure a perfect sounding unit\nevery time. This is a \n	<span> </span>switchable Power\nSupply, which can be used for domestic (US) 120v and export 230v. The Power\nSupply is hefty enough \n	<span> </span>to handle any\nneeds you may require from the Mix Factory</span></p>'),(51,85,0,9,'A-Designs Mix Factory Summing Mixer'),(52,85,1,9,'A-Designs Mix Factory Summing Mixer'),(53,76,0,9,''),(54,76,1,9,''),(55,75,0,10,'<h1>A-Designs MP-2A Stereo Tube Microphone Preamp</h1>\n<i>\nStereo tube microphone preamplifier and D.I. with all discrete circuitry, point-to-point wiring, as well as input and output transformers.</i><br /><br />\n\nThe A-Designs MP-2A Stereo Tube Microphone Preamp is built to audiophile-quality standards with a price tag well below other boutique preamps in or near its class. The MP-2A has no integrated circuits in the signal path - it relies solely on discrete components: the perfect combination of tubes (EF86 for  the inputs, 6N1-P on the outputs), Audience capacitors, and custom Cinemag Output transformers, and is meticulously hand  crafted with point to point wiring. Each channel sports a -20dB pad, a pair of Tone switches providing four distinctive possible  sonic signatures on each channel, and up to 60dB gain for use with even the most power-hungry ribbon mics.  Cinemag  input transformers coupled with custom-wound output transformers ensure the low noise top-quality performance expected  from a top shelf preamp. Additional features include balanced Neutrik XLR inputs, true VU metering, 48v phantom power,  polarity switches, and front-panel Hi-Z input jacks.\n<br /><br />\n	Many preamps tend to have only one narrow range, or “sweet spot”.  Move past it…and the magic is gone. The problem with  a small sweet spot is that you can’t always run the preamp there, since the strength of the input signal can vary dramatically  from sound source to sound source. Not so with the MP-2A - its fixed-gain amplifier/output attenuator combo performs with a  very high degree of consistency, delivering “the magic” across a much greater range of input signals. Polarity switches allow  recording a stereo sound source out of phase in order to enhance stereo imaging, or taming undesirable bass via  cancellation. Factor in the unique tone switches that deliver a sonic palette of four unique flavors on each channel (what  other preamp offers that???), and you can easily see what we mean when we say you could make an entire record with just  this one incredibly versatile device.\n<br /><br />\n	Whether you’re looking for clarity and transparency, or the rich, euphonic sound of input tubes, the MP-2A delivers all that in  spades, and more!\n<br /><br />\n<h3>A-Designs MP-2A Features</h3>\n<ul>\n	<li>\n	</li><li><span style=\"background-color: initial; letter-spacing: 0px;\">All-tube design.</span></li>\n	<li>Selectable tone switches offer four sounds per channel.</li>\n	<li>60dB gain allows use of next-generation ribbon mics.</li>\n	<li>EF86 input tubes / 6N1P output tubes.</li>\n	<li>Cinemag input transformers and custom-wound output transformers.</li>\n	<li>True VU meters.</li>\n	<li>Dual level controls.</li>\n	<li>-20dB pad switch (per channel).</li>\n	<li>Polarity switch (per channel).</li>\n	<li>Toroidal power transformer.</li>\n	\n</ul>'),(56,75,1,10,'<h1>A-Designs MP-2A Stereo Tube Microphone Preamp</h1>\n<i>\nStereo tube microphone preamplifier and D.I. with all discrete circuitry, point-to-point wiring, as well as input and output transformers.</i><br /><br />\n\nThe A-Designs MP-2A Stereo Tube Microphone Preamp is built to audiophile-quality standards with a price tag well below other boutique preamps in or near its class. The MP-2A has no integrated circuits in the signal path - it relies solely on discrete components: the perfect combination of tubes (EF86 for  the inputs, 6N1-P on the outputs), Audience capacitors, and custom Cinemag Output transformers, and is meticulously hand  crafted with point to point wiring. Each channel sports a -20dB pad, a pair of Tone switches providing four distinctive possible  sonic signatures on each channel, and up to 60dB gain for use with even the most power-hungry ribbon mics.  Cinemag  input transformers coupled with custom-wound output transformers ensure the low noise top-quality performance expected  from a top shelf preamp. Additional features include balanced Neutrik XLR inputs, true VU metering, 48v phantom power,  polarity switches, and front-panel Hi-Z input jacks.\n<br /><br />\n	Many preamps tend to have only one narrow range, or “sweet spot”.  Move past it…and the magic is gone. The problem with  a small sweet spot is that you can’t always run the preamp there, since the strength of the input signal can vary dramatically  from sound source to sound source. Not so with the MP-2A - its fixed-gain amplifier/output attenuator combo performs with a  very high degree of consistency, delivering “the magic” across a much greater range of input signals. Polarity switches allow  recording a stereo sound source out of phase in order to enhance stereo imaging, or taming undesirable bass via  cancellation. Factor in the unique tone switches that deliver a sonic palette of four unique flavors on each channel (what  other preamp offers that???), and you can easily see what we mean when we say you could make an entire record with just  this one incredibly versatile device.\n<br /><br />\n	Whether you’re looking for clarity and transparency, or the rich, euphonic sound of input tubes, the MP-2A delivers all that in  spades, and more!\n<br /><br />\n<h3>A-Designs MP-2A Features</h3>\n<ul>\n	<li>\n	</li><li><span style=\"background-color: initial; letter-spacing: 0px;\">All-tube design.</span></li>\n	<li>Selectable tone switches offer four sounds per channel.</li>\n	<li>60dB gain allows use of next-generation ribbon mics.</li>\n	<li>EF86 input tubes / 6N1P output tubes.</li>\n	<li>Cinemag input transformers and custom-wound output transformers.</li>\n	<li>True VU meters.</li>\n	<li>Dual level controls.</li>\n	<li>-20dB pad switch (per channel).</li>\n	<li>Polarity switch (per channel).</li>\n	<li>Toroidal power transformer.</li>\n	\n</ul>'),(57,85,0,10,'A-Designs MP-2A Stereo Tube Microphone Preamp'),(58,85,1,10,'A-Designs MP-2A Stereo Tube Microphone Preamp'),(59,76,0,10,''),(60,76,1,10,''),(61,75,0,11,'<h1>A-Designs P-1 500-Series Preamp Module</h1>\n\nThe A-Designs P-1 500 Series Preamp Module has the highest fidelity of all the A-Designs Audio 500 preamps, capturing the mojo of its older and larger sibling, the extremely popular Pacifica. While not an exact replica, it sounds as close to Pacifica as is possible for its smaller size. It has a big low end, slightly forward midrange, and extended highs. \n<br /><br />\nIf you’re a fan of Quad Eight or API, you’ll love the A-Designs Audio P-1.The P-1 shines on vocals, instruments, room mics, piano, and on instruments with sharp transients, such as drums and various percussion instruments. And if you’re building a lunchbox with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit along with the sizzle of the cymbals.<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>'),(62,75,1,11,'<h1>A-Designs P-1 500-Series Preamp Module</h1>\n\nThe A-Designs P-1 500 Series Preamp Module has the highest fidelity of all the A-Designs Audio 500 preamps, capturing the mojo of its older and larger sibling, the extremely popular Pacifica. While not an exact replica, it sounds as close to Pacifica as is possible for its smaller size. It has a big low end, slightly forward midrange, and extended highs. \n<br /><br />\nIf you’re a fan of Quad Eight or API, you’ll love the A-Designs Audio P-1.The P-1 shines on vocals, instruments, room mics, piano, and on instruments with sharp transients, such as drums and various percussion instruments. And if you’re building a lunchbox with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit along with the sizzle of the cymbals.<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>'),(63,85,0,11,'A-Designs P-1 500-Series Preamp Module'),(64,85,1,11,'A-Designs P-1 500-Series Preamp Module'),(65,76,0,11,''),(66,76,1,11,''),(67,75,0,12,'<h1>A-Designs Pacifica Microphone Preamp / D.I.</h1>\n<i>Designed, built, and extensively \"ear-tested\" by long-time recording industry veterans, the A-Designs Pacifica takes its sonic signature and name from the revered Quad Eight mixing console and adds a sound and character all its own.</i><br /><br />The A-Designs Pacifica is a stereo Mic Preamp/Di that pays homage to the color scheme of the Quad Eight Pacifica console. The hand-crafted A Designs Pacifica sports a rich, cream-colored finish with solid feeling red metal gain knobs, a red +48V phantom power push button with red LED indicator, and grey push buttons for phase reverse and –20dB pad - all giving the Pacifica a look reminiscent of California girls, beach boys, and classic Woodies.  <br /><br />\nIt also has two front-panel Hi-Z instrument inputs, but - just like a classic Woody - it’s what’s under the Pacifica’s hood that gives the Direct Inputs their distinctive sound. Unlike other preamps, Pacifica’s DIs are routed through the input transformer, passing signal through two transformers for added depth and richer tone….and these aren’t just any transformers! They’re custom-designed input and output transformers built by Tom Reichenbach of Cinemag (whose father Ed built the transformers for the original Quad Eight desks). The output transformers are custom wound and share the same design as those found in the original Quad Eight.  The input transformers, however, are pure, proprietary A-Designs. <br /><br />\nAnother major component of Pacifica’s stellar sound is its extreme bandwidth, ranging from way down at 9Hz all the way up to 101kHz with  &lt;1% distortion! Along with the custom transformers, the linear response down below 10Hz provides the big, punchy sound for which the Pacifica has become a contemporary classic. It also provides harmonic content well above the range of human hearing, reducing in-band phase shift for more realism, along with the added benefit of delivering more harmonic information to work with...turning your EQ into a creative tool rather than a corrective one.  <br /><br />\nWhile some may believe the glory days of recording are over, Pacifica is living proof that they’ve never left us, and better days are still ahead! Put an A-Designs Audio Pacifica in your rack, and hear the difference.<br /><br />\n<h3> PACIFICA FEATURES:</h3>\n<ul>\n	<li>Two-channel, solid state preamp with two front-panel Hi-Z inputs. </li>\n	<li>Captures the sound quality of the legendary Quad Eight Pacifica console with even more presence and high-end.</li>\n	<li>Very warm and full tone without being dark; wide bandwidth with a sweet top end.                             </li>\n	<li>Custom-wound Cinemag input and output transformers.                                                          </li>\n	<li>Input transformer: A-Designs proprietary input transformer with unique winding.                              </li>\n	<li>Output Transformer: A-Designs proprietary alloy using the same massive design as the original Quad Eight.    </li>\n	<li>72dB of quiet gain, great for use with ribbon mics.                                                          </li>\n	<li>Unique DI design sends signal through the input transformer for two transformers in the signal path.         </li>\n	<li>Balanced XLR I/O.                                                                                            </li>\n	<li>Phase reversal (each channel).                                                                               </li>\n	<li>-20dB pad (each channel).                                                                                    </li>\n	<li>+48V phantom power (each channel).                                                                           </li>\n	<li>Solid construction, handmade in the USA.</li>\n</ul>'),(68,75,1,12,'<h1>A-Designs Pacifica Microphone Preamp / D.I.</h1>\n<i>Designed, built, and extensively \"ear-tested\" by long-time recording industry veterans, the A-Designs Pacifica takes its sonic signature and name from the revered Quad Eight mixing console and adds a sound and character all its own.</i><br /><br />The A-Designs Pacifica is a stereo Mic Preamp/Di that pays homage to the color scheme of the Quad Eight Pacifica console. The hand-crafted A Designs Pacifica sports a rich, cream-colored finish with solid feeling red metal gain knobs, a red +48V phantom power push button with red LED indicator, and grey push buttons for phase reverse and –20dB pad - all giving the Pacifica a look reminiscent of California girls, beach boys, and classic Woodies.  <br /><br />\nIt also has two front-panel Hi-Z instrument inputs, but - just like a classic Woody - it’s what’s under the Pacifica’s hood that gives the Direct Inputs their distinctive sound. Unlike other preamps, Pacifica’s DIs are routed through the input transformer, passing signal through two transformers for added depth and richer tone….and these aren’t just any transformers! They’re custom-designed input and output transformers built by Tom Reichenbach of Cinemag (whose father Ed built the transformers for the original Quad Eight desks). The output transformers are custom wound and share the same design as those found in the original Quad Eight.  The input transformers, however, are pure, proprietary A-Designs. <br /><br />\nAnother major component of Pacifica’s stellar sound is its extreme bandwidth, ranging from way down at 9Hz all the way up to 101kHz with  &lt;1% distortion! Along with the custom transformers, the linear response down below 10Hz provides the big, punchy sound for which the Pacifica has become a contemporary classic. It also provides harmonic content well above the range of human hearing, reducing in-band phase shift for more realism, along with the added benefit of delivering more harmonic information to work with...turning your EQ into a creative tool rather than a corrective one.  <br /><br />\nWhile some may believe the glory days of recording are over, Pacifica is living proof that they’ve never left us, and better days are still ahead! Put an A-Designs Audio Pacifica in your rack, and hear the difference.<br /><br />\n<h3> PACIFICA FEATURES:</h3>\n<ul>\n	<li>Two-channel, solid state preamp with two front-panel Hi-Z inputs. </li>\n	<li>Captures the sound quality of the legendary Quad Eight Pacifica console with even more presence and high-end.</li>\n	<li>Very warm and full tone without being dark; wide bandwidth with a sweet top end.                             </li>\n	<li>Custom-wound Cinemag input and output transformers.                                                          </li>\n	<li>Input transformer: A-Designs proprietary input transformer with unique winding.                              </li>\n	<li>Output Transformer: A-Designs proprietary alloy using the same massive design as the original Quad Eight.    </li>\n	<li>72dB of quiet gain, great for use with ribbon mics.                                                          </li>\n	<li>Unique DI design sends signal through the input transformer for two transformers in the signal path.         </li>\n	<li>Balanced XLR I/O.                                                                                            </li>\n	<li>Phase reversal (each channel).                                                                               </li>\n	<li>-20dB pad (each channel).                                                                                    </li>\n	<li>+48V phantom power (each channel).                                                                           </li>\n	<li>Solid construction, handmade in the USA.</li>\n</ul>'),(69,85,0,12,'A-Designs Pacifica Microphone Preamp / D.I.'),(70,85,1,12,'A-Designs Pacifica Microphone Preamp / D.I.'),(71,76,0,12,''),(72,76,1,12,''),(73,75,0,13,'<h1>A-Designs Reddi All Tube Direct Box</h1>\r\n<span style=\"font-size:16px; font-style:italic;\">Thought you’d always need your amp for a great tone? Well the REDDI is your standalone solution for a world class bass sound.</span><br /><br />\r\nA bold statement, yes, but one of many just like it said of The A-Design’s Audio REDDI all-tube DI by an ever increasing number of professional bassists and recording professionals (see below). Designed and built by former career studio bassists, the REDDI has been hailed by engineer and bassist alike as the best-sounding DI around. Inspired by the glorious sound of the Ampeg B-15 tube bass amp, its 6N1-P tube-driven amplifier feeds signal directly into a hefty custom output transformer, which is key to providing a harmonically rich tone. Its wide-bandwidth design from 20Hz to 60kHz reduces in-band phase shift, which results in greater detail and realism in the audible spectrum. Another big plus of its wide-bandwidth design is the prevention of LF phase shifts by maintaining a linear response extending below the audible bass range, which is the secret to achieving a big, full sound.<br /><br />\r\nComplementing its distinctive bright red steel chassis, the A-Designs Audio REDDI has a front-panel Neutrik XLR/1/4? combo input jack, balanced XLR output, and a 1/4? thru-put, for those who desire the reassurance of sending signal to a bass amp (before they wind up discarding the miked track and go with the REDDI track alone). There is also a 0-16dB-gain control on the front panel as well. Take note, the REDDI is not a high-gain device. Gain has been carefully designed and controlled in order to avoid the slightest compromise to sound quality. Finishing up the front panel is an extremely bright blue LED power indicator. The exceptional brightness of the LED was intentionally provided for easy visual confirmation that the REDDI is powered on, and also to temporarily blind annoying A&R reps lingering in the control room. On the back panel are toggle switches for power and ground lift, along with the REDDI’s IEC power connector.<br /><br />\r\nNot just for bass, the REDDI’s all-tube circuitry can enhance the character of any instrument run through it; with an airy top end to go with the full, rich mids and bass it also imparts. That’s why Grammy-winning producer Ted Perlman (Chicago, Bob Dylan, Burt Bacharach, Elton John) runs all his guitars through the REDDI. And as long as we’re on the subject, the ever-increasing list of world-class bassists and engineers who rely on the REDDI includes notable bass players, such as Reggie Hamilton, Justin Meldal-Johnsen, Viktor Krauss, Jamiroquai’s Paul Turner, Steve Bailey, Don Boyette, Carlitos del Puerto, and Millard Powers of Counting Crows; along with producer-engineers such as Tony Sheppard, Dylan Dresdow, Ross Hogarth, Billy Bush, Ronan Chris Murphy, and Russ Long.<br /><br />'),(74,75,1,13,'<h1>A-Designs Reddi All Tube Direct Box</h1>\n<span style=\"font-size:16px; font-style:italic;\">Thought you’d always need your amp for a great tone? Well the REDDI is your standalone solution for a world class bass sound.</span><br /><br />\nA bold statement, yes, but one of many just like it said of The A-Design’s Audio REDDI all-tube DI by an ever increasing number of professional bassists and recording professionals (see below). Designed and built by former career studio bassists, the REDDI has been hailed by engineer and bassist alike as the best-sounding DI around. Inspired by the glorious sound of the Ampeg B-15 tube bass amp, its 6N1-P tube-driven amplifier feeds signal directly into a hefty custom output transformer, which is key to providing a harmonically rich tone. Its wide-bandwidth design from 20Hz to 60kHz reduces in-band phase shift, which results in greater detail and realism in the audible spectrum. Another big plus of its wide-bandwidth design is the prevention of LF phase shifts by maintaining a linear response extending below the audible bass range, which is the secret to achieving a big, full sound.<br /><br />\nComplementing its distinctive bright red steel chassis, the A-Designs Audio REDDI has a front-panel Neutrik XLR/1/4? combo input jack, balanced XLR output, and a 1/4? thru-put, for those who desire the reassurance of sending signal to a bass amp (before they wind up discarding the miked track and go with the REDDI track alone). There is also a 0-16dB-gain control on the front panel as well. Take note, the REDDI is not a high-gain device. Gain has been carefully designed and controlled in order to avoid the slightest compromise to sound quality. Finishing up the front panel is an extremely bright blue LED power indicator. The exceptional brightness of the LED was intentionally provided for easy visual confirmation that the REDDI is powered on, and also to temporarily blind annoying A&R reps lingering in the control room. On the back panel are toggle switches for power and ground lift, along with the REDDI’s IEC power connector.<br /><br />\nNot just for bass, the REDDI’s all-tube circuitry can enhance the character of any instrument run through it; with an airy top end to go with the full, rich mids and bass it also imparts. That’s why Grammy-winning producer Ted Perlman (Chicago, Bob Dylan, Burt Bacharach, Elton John) runs all his guitars through the REDDI. And as long as we’re on the subject, the ever-increasing list of world-class bassists and engineers who rely on the REDDI includes notable bass players, such as Reggie Hamilton, Justin Meldal-Johnsen, Viktor Krauss, Jamiroquai’s Paul Turner, Steve Bailey, Don Boyette, Carlitos del Puerto, and Millard Powers of Counting Crows; along with producer-engineers such as Tony Sheppard, Dylan Dresdow, Ross Hogarth, Billy Bush, Ronan Chris Murphy, and Russ Long.<br /><br />'),(75,85,0,13,'A-Designs MP-2A Stereo Tube Microphone Preamp'),(76,85,1,13,'A-Designs MP-2A Stereo Tube Microphone Preamp'),(77,76,0,13,''),(78,76,1,13,''),(79,75,0,14,'<h2>A-Designs Ventura SE Microphone Preamp / EQ / D.I.</h2>\n<font size=\"3\"><i>Mono Solid State Mic Pre with 3-Band EQ, DI, Pad, and 48v Phantom Power</i></font><br /><br />\nThe A-Designs Ventura SE is a tone shaping input device inspired by the electronics of the renowned Quad Eight consoles.  Hand-built in the US, Ventura SE features three inputs – microphone, instrument and EQ/insert – which can be used together or independently. The unit is also equipped with a highly musical three-band parametric EQ as well as separate high and low pass filters.<br /><br />\n<h3>Ventura Features:</h3>\n<ul>\n	<li>Three separate discrete Inputs for each section</li>\n	<li>Three separate discrete Outputs for each section</li>\n	<li>Hi/Low Gain Switch for the Instrument section</li>\n	<li>Black texture coat finish Faceplate</li>\n	<li>Independent Microphone Preamp/Equalizer/Instrument Preamp</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Specially Designed Discrete Operational Amplifiers</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Jensen Microphone Input Transformer</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Insert Points Between Mic Preamp, Instrument Preamp and Equalizer</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Metal Film Resistors, Polypropylene, C0G and Bipolar Capacitors</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">ilver Contact Toggle Switches (No Relays)</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Cinemag Transformer Balanced Outputs – Main and Direct/Mult</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">External Switchable Line Power from 110VAC to 220VAC</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Neutrik XLR Connectors</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">1RU Steel Chassis</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Aluminum Knobs</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Made In The USA</span></li>\n</ul>\n<br />\n<h3>Microphone Preamplifier</h3>\nThe microphone preamp is a balanced single-stage discrete opamp, transformer coupled design. It includes switches for: phase reverse, -20 dB pad, +48V phantom power with LED indicator and a gain control knob.\n<br /><br />\nWith the \"Source Switch\" set to Mic – the signal is fed to both the input of the EQ section/main output and the transformer output mult simultaneously. This gives two separate outputs at one time and is useful in feeding signal to FOH and/or external FX, power amps, etc.<br /><br />\nRunning at normal levels – a very clear and transparent signal with all the detail, air and extended bass you’d expect from a very high quality discrete analog design. Push it a little harder and the output transformers will saturate giving a more colored character while still retaining clarity.<br /><br />\n<h3>Three Band Parametric EQ</h3>\nThe Ventura SE features a 3-band modified Quad Eight style Parametric Equalizer featuring 33 frequencies. There are three bands of overlapping ranges from 50Hz to 15 KHz. Both the frequency selection and the boost/cut controls are stepped for precise recallable settings. Each band has its own Q switch with three fixed positions of Sharp, Wide and Narrow. The low and high bands are a peak/dip type with switches to change their characteristic to a shelf type. The shelving switches disable the Q feature on high and low bands only.\n<br /><br />\nEQ Input - Insert Return Jack - provides a direct balanced input to the EQ. This bypasses both the mic-preamp and instrument preamp and allows for independent access to the EQ making the Ventura very flexible.<br /><br />\n<h3>Instrument Input Preamplifier</h3>\nNo need for a Direct Box/DI. This is a high-impedance unbalanced preamplifier designed for guitar/bass pickups and keyboards such as vintage synthesizers. Independent from the mic-pre, the instrument preamplifier section uses a single-stage discrete opamp.  It includes a front-panel 1/4″ TS Switchcraft input jack with a gain pot and on the back panel a Hi/Low gain switch. Also featured is the addition of a separate unbalanced instrument direct output jack that breaks the signal feed to the Output Mult and EQ sections. This allows the Instrument section to be truly independent. The Source Switch has no effect when using this output jack.\n<br /><br />\nWith the “Source Switch “set to Instrument - this also feeds both the input to the EQ section/main output and the transformer output mult simultaneously giving two separate outputs at one time. This is very useful in feeding FOH and/or external FX, power amps, etc.<br /><br />\nHigh and Low Pass filters- The high and low pass filters are a fixed second order 12dB per octave type with the knees at 9 kHz and 150 Hz. Both filter switches work whether the EQ switch is in or out and are post the EQ which affects the Main/EQ Output only.<br /><br />\nDirect Out Mult- The Output Mult gives you a 600 ohm, +4dbm transformer balanced output that does not disturb the signal being feed to the EQ section. This allows the Instrument or Microphone signal to be sent to two different places at once. Send a pre-EQ signal to FOH or an effect, i.e. compressor, delay, power amp, digital I/O etc and also through the EQ to the Main Output simultaneously.<br /><br />\nInsert Return/EQ Input - allows for the use of external Compressors and/or Effects to be directly added back into the signal path through the EQ to the main output.<br /><br />'),(80,75,1,14,'<h2>A-Designs Ventura SE Microphone Preamp / EQ / D.I.</h2>\n<font size=\"3\"><i>Mono Solid State Mic Pre with 3-Band EQ, DI, Pad, and 48v Phantom Power</i></font><br /><br />\nThe A-Designs Ventura SE is a tone shaping input device inspired by the electronics of the renowned Quad Eight consoles.  Hand-built in the US, Ventura SE features three inputs – microphone, instrument and EQ/insert – which can be used together or independently. The unit is also equipped with a highly musical three-band parametric EQ as well as separate high and low pass filters.<br /><br />\n<h3>Ventura Features:</h3>\n<ul>\n	<li>Three separate discrete Inputs for each section</li>\n	<li>Three separate discrete Outputs for each section</li>\n	<li>Hi/Low Gain Switch for the Instrument section</li>\n	<li>Black texture coat finish Faceplate</li>\n	<li>Independent Microphone Preamp/Equalizer/Instrument Preamp</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Specially Designed Discrete Operational Amplifiers</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Jensen Microphone Input Transformer</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Insert Points Between Mic Preamp, Instrument Preamp and Equalizer</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Metal Film Resistors, Polypropylene, C0G and Bipolar Capacitors</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">ilver Contact Toggle Switches (No Relays)</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Cinemag Transformer Balanced Outputs – Main and Direct/Mult</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">External Switchable Line Power from 110VAC to 220VAC</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Neutrik XLR Connectors</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">1RU Steel Chassis</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Aluminum Knobs</span></li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Made In The USA</span></li>\n</ul>\n<br />\n<h3>Microphone Preamplifier</h3>\nThe microphone preamp is a balanced single-stage discrete opamp, transformer coupled design. It includes switches for: phase reverse, -20 dB pad, +48V phantom power with LED indicator and a gain control knob.\n<br /><br />\nWith the \"Source Switch\" set to Mic – the signal is fed to both the input of the EQ section/main output and the transformer output mult simultaneously. This gives two separate outputs at one time and is useful in feeding signal to FOH and/or external FX, power amps, etc.<br /><br />\nRunning at normal levels – a very clear and transparent signal with all the detail, air and extended bass you’d expect from a very high quality discrete analog design. Push it a little harder and the output transformers will saturate giving a more colored character while still retaining clarity.<br /><br />\n<h3>Three Band Parametric EQ</h3>\nThe Ventura SE features a 3-band modified Quad Eight style Parametric Equalizer featuring 33 frequencies. There are three bands of overlapping ranges from 50Hz to 15 KHz. Both the frequency selection and the boost/cut controls are stepped for precise recallable settings. Each band has its own Q switch with three fixed positions of Sharp, Wide and Narrow. The low and high bands are a peak/dip type with switches to change their characteristic to a shelf type. The shelving switches disable the Q feature on high and low bands only.\n<br /><br />\nEQ Input - Insert Return Jack - provides a direct balanced input to the EQ. This bypasses both the mic-preamp and instrument preamp and allows for independent access to the EQ making the Ventura very flexible.<br /><br />\n<h3>Instrument Input Preamplifier</h3>\nNo need for a Direct Box/DI. This is a high-impedance unbalanced preamplifier designed for guitar/bass pickups and keyboards such as vintage synthesizers. Independent from the mic-pre, the instrument preamplifier section uses a single-stage discrete opamp.  It includes a front-panel 1/4″ TS Switchcraft input jack with a gain pot and on the back panel a Hi/Low gain switch. Also featured is the addition of a separate unbalanced instrument direct output jack that breaks the signal feed to the Output Mult and EQ sections. This allows the Instrument section to be truly independent. The Source Switch has no effect when using this output jack.\n<br /><br />\nWith the “Source Switch “set to Instrument - this also feeds both the input to the EQ section/main output and the transformer output mult simultaneously giving two separate outputs at one time. This is very useful in feeding FOH and/or external FX, power amps, etc.<br /><br />\nHigh and Low Pass filters- The high and low pass filters are a fixed second order 12dB per octave type with the knees at 9 kHz and 150 Hz. Both filter switches work whether the EQ switch is in or out and are post the EQ which affects the Main/EQ Output only.<br /><br />\nDirect Out Mult- The Output Mult gives you a 600 ohm, +4dbm transformer balanced output that does not disturb the signal being feed to the EQ section. This allows the Instrument or Microphone signal to be sent to two different places at once. Send a pre-EQ signal to FOH or an effect, i.e. compressor, delay, power amp, digital I/O etc and also through the EQ to the Main Output simultaneously.<br /><br />\nInsert Return/EQ Input - allows for the use of external Compressors and/or Effects to be directly added back into the signal path through the EQ to the main output.<br /><br />'),(81,85,0,14,'A-Designs Ventura SE Microphone Preamp / EQ / D.I.'),(82,85,1,14,'A-Designs Ventura SE Microphone Preamp / EQ / D.I.'),(83,76,0,14,''),(84,76,1,14,''),(85,75,0,15,'<h2>Ableton Push 2 Software Controller Instrument</h2>\r\n<span style=\"font-size:16px; font-style:italic;\">Push 2 is a MIDI controller and step sequencer designed to be perfectly integrated with Ableton Live</span><br />\r\n<br />Ableton Push is an Software Controller Instrument that features a MIDI Controller and step sequencer designed to perfectly integrate with Ableton Live. Push 2 is completely designed and  engineered by Ableton and features a bright, colorful display, soft silicone velocity pads, high resolution encoders and buttons, all housed in a rugged, anodized aluminum shell.<br /><br />Push 2 allows you to play and program beats, melodies and harmonies. Use new sampling workflows to slice samples across the pads, play single hits, or play back time stretched samples. Quickly browse, preview and load anything from your library of sounds and instruments. And with smoother, more responsive pads and a multicolor display that adapts to show exactly what you need, Push now brings a new level of playability.<br />\r\n<br />\r\n<h3>Ableton Push 2 Key Features:</h3>\r\n<ul>\r\n	<li><span style=\"background-color: initial;\">Hardware instrument for hands-on playability with Ableton Live</span></li>\r\n	<li>New sampling workflows: slice, play and manipulate samples from Push</li>\r\n	<li>Play or step sequence beats, notes, chords and automation</li>\r\n	<li>Large multicolor display adapts to show what you need</li>\r\n	<li>8 touch-sensitive encoders for controlling mixer, devices and instruments, and Live browser navigation</li>\r\n	<li>Includes Ableton Live Intro</li>\r\n</ul>\r\n<br />\r\n<h3>Improved Pads</h3>\r\n	Ableton has upped their game when it comes to the velocity pads on Push 2. The soft silicon pads are \"carefully calibrated to respond perfectly at any velocity\" - and are smoother to play than on the original Push.\r\n<br /><br />\r\n<h3>Color LCD Display</h3>\r\n	The large color display has a number of different modes that really blow away the original Push - from waveform breakdowns when cutting up samples, to VU meters in mixer mode, it makes all the difference in being able to ignore your laptop screen.\r\n<br /><br />\r\n<h3>Sampling Workflow</h3>\r\n	Coupled with Ableton Live\'s new Simpler modes, the Push has become the ideal interface for chopping, slicing, arranging, and performing sample-based tracks in Ableton Live.\r\n<br /><br />'),(86,75,1,15,'<h2>Ableton Push 2 Software Controller Instrument</h2>\n<span style=\"font-size:16px; font-style:italic;\">Push 2 is a MIDI controller and step sequencer designed to be perfectly integrated with Ableton Live</span><br />\n<br />Ableton Push is an Software Controller Instrument that features a MIDI Controller and step sequencer designed to perfectly integrate with Ableton Live. Push 2 is completely designed and  engineered by Ableton and features a bright, colorful display, soft silicone velocity pads, high resolution encoders and buttons, all housed in a rugged, anodized aluminum shell.<br /><br />Push 2 allows you to play and program beats, melodies and harmonies. Use new sampling workflows to slice samples across the pads, play single hits, or play back time stretched samples. Quickly browse, preview and load anything from your library of sounds and instruments. And with smoother, more responsive pads and a multicolor display that adapts to show exactly what you need, Push now brings a new level of playability.<br />\n<br />\n<h3>Ableton Push 2 Key Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial;\">Hardware instrument for hands-on playability with Ableton Live</span></li>\n	<li>New sampling workflows: slice, play and manipulate samples from Push</li>\n	<li>Play or step sequence beats, notes, chords and automation</li>\n	<li>Large multicolor display adapts to show what you need</li>\n	<li>8 touch-sensitive encoders for controlling mixer, devices and instruments, and Live browser navigation</li>\n	<li>Includes Ableton Live Intro</li>\n</ul>\n<br />\n<h3>Improved Pads</h3>\n	Ableton has upped their game when it comes to the velocity pads on Push 2. The soft silicon pads are \"carefully calibrated to respond perfectly at any velocity\" - and are smoother to play than on the original Push.\n<br /><br />\n<h3>Color LCD Display</h3>\n	The large color display has a number of different modes that really blow away the original Push - from waveform breakdowns when cutting up samples, to VU meters in mixer mode, it makes all the difference in being able to ignore your laptop screen.\n<br /><br />\n<h3>Sampling Workflow</h3>\n	Coupled with Ableton Live\'s new Simpler modes, the Push has become the ideal interface for chopping, slicing, arranging, and performing sample-based tracks in Ableton Live.\n<br /><br />'),(87,85,0,15,'Ableton Push Software Controller Instrument'),(88,85,1,15,'Ableton Push Software Controller Instrument'),(89,76,0,15,''),(90,76,1,15,''),(211,75,0,36,'Connecting to the outputs of your DAW or the buses of your console, the ASP510 integrates easily with your system to provide comprehensive monitoring control of multiple surround sound formats including: 5.1, LCRS, Dolby Surround, DVD-Video, DVD-Audio, DTS, and SACD.\n\nThe ASP510 consists of a 19” rack unit that houses the inputs and outputs and a remote that has all of the key functions required for hands-on control of your monitoring. A single cable links the two units together, hiding all of the audio cabling behind your racking.'),(212,75,1,36,'Connecting to the outputs of your DAW or the buses of your console, the ASP510 integrates easily with your system to provide comprehensive monitoring control of multiple surround sound formats including: 5.1, LCRS, Dolby Surround, DVD-Video, DVD-Audio, DTS, and SACD.\n\nThe ASP510 consists of a 19” rack unit that houses the inputs and outputs and a remote that has all of the key functions required for hands-on control of your monitoring. A single cable links the two units together, hiding all of the audio cabling behind your racking.'),(213,85,0,36,'Audient ASP510 Surround Sound Monitor Controller'),(214,85,1,36,'Audient ASP510 Surround Sound Monitor Controller'),(215,76,0,36,''),(216,76,1,36,''),(217,75,0,37,'<h2>Audient ASP880 8 Channel Microphone Preamplifier and ADC</h2>\n<span style=\"font-size:16px; font-style:italic;\">ASP880 combines the sweet sound of Audient console mic pres with a pristine converter, all in a 1RU space!</span><br/><br/>\nAudient\'s ASP880, the perfect addition to your set-up, is an 8-channel microphone preamplifier & ADC that will transform your sessions into world class recordings. ASP880 provides eight of Audient\'s renowned console mic pres, pristine converter technology and a versatile feature set that includes Variable Impedance and Variable High Pass Filters. All in a 1RU rack!<br/><br/>\nThe ASP 880 allows you to bypass the mic pres and converters in your current interface and achieve the same audio excellence as the top studios with proven Audient technology. Audient’s renowned console Class-A mic pre outshines the competition and gives you the same sonic quality of products costing three or four times the price. Capture the detail and excitement of your audio sources, all with a hint of analogue coloration that will sound stunning on any project! <br/><br/>\nDeveloped by design legend David Dearden, Audient\'s mic pre is used by thousands of professional studios around the world. With its versatile nature and accurate translation, the ASP880 will quickly become your ‘go to’ mic pre. ASP880 provides you with the highest grade converters from Burr Brown, the leaders in converter technology. The integral ADC guarantees you will have the best conversion possible. This isn’t just the best converter in a mic pre either, it stands up against dedicated converters too. You can focus on the music and let ASP880 take care of the rest.<br/><br/>\n<h3>Audient ASP880 Features At a Glance:</h3>\n<ul>\n	<li>World Class Fron End - 8 x Audient console, Class-A microphone preamplifiers</li>\n	<li>Pristine A/D Conversion - Upgrade your interface with pristine converter technology</li>\n	<li>Variable Impedance - 3 x input impedance options, perfect for ribbon mics</li>\n	<li>Variable High Pass Filter - deal with rumble, proximity & tighten up your low end</li>\n	<li>Instrument Inputs -plug & play; perfect for keys, drum machines & guitars! </li>\n	<li>Balanced Insert - simply insert any analogue processor before the converters</li>\n</ul>\n<br/>\n<h3>Discrete Class-A Design</h3>\n8 x class-a mic preamplifiers - with 60dB of gain available it will handle any signal you can throw at it.\n<br/><br/>\n<h3>Pristine A/D Conversion</h3>\nPristine a/d conversion offering up to 24 bit / 96 khz resolution through aes/adaT connections.\n<br/><br/>\n<h3>2 x Instrument Inputs</h3>\nSimply plug-in and play - perfect for guitars, drum machines and keys. enjoy the best d.i available.\n<br/><br/>\n<h3>Variable Impedance</h3>\nOffering impedances of up to 5000 ohms - three tones at the flick of a switch!\n<br/><br/>\n<h3>Variable High Pass Filter</h3>\nTake control of your signal - remove rumble and tighten up your low end with a range of 25hz to 250hz.\n<br/><br/>\n<h3>Balanced Inserts</h3>\nThe A-D button allows ASP880 to function as an 8 channel mic pre while you use the converters separately in stand-alone mode.\n<br/><br/>\n<h3>For more information or to find out how ASP880 integrates with your studio, call or chat with an RSPE sales representative today.</h3>'),(218,75,1,37,'<h2>Audient ASP880 8 Channel Microphone Preamplifier and ADC</h2>\n<span style=\"font-size:16px; font-style:italic;\">ASP880 combines the sweet sound of Audient console mic pres with a pristine converter, all in a 1RU space!</span><br/><br/>\nAudient\'s ASP880, the perfect addition to your set-up, is an 8-channel microphone preamplifier & ADC that will transform your sessions into world class recordings. ASP880 provides eight of Audient\'s renowned console mic pres, pristine converter technology and a versatile feature set that includes Variable Impedance and Variable High Pass Filters. All in a 1RU rack!<br/><br/>\nThe ASP 880 allows you to bypass the mic pres and converters in your current interface and achieve the same audio excellence as the top studios with proven Audient technology. Audient’s renowned console Class-A mic pre outshines the competition and gives you the same sonic quality of products costing three or four times the price. Capture the detail and excitement of your audio sources, all with a hint of analogue coloration that will sound stunning on any project! <br/><br/>\nDeveloped by design legend David Dearden, Audient\'s mic pre is used by thousands of professional studios around the world. With its versatile nature and accurate translation, the ASP880 will quickly become your ‘go to’ mic pre. ASP880 provides you with the highest grade converters from Burr Brown, the leaders in converter technology. The integral ADC guarantees you will have the best conversion possible. This isn’t just the best converter in a mic pre either, it stands up against dedicated converters too. You can focus on the music and let ASP880 take care of the rest.<br/><br/>\n<h3>Audient ASP880 Features At a Glance:</h3>\n<ul>\n	<li>World Class Fron End - 8 x Audient console, Class-A microphone preamplifiers</li>\n	<li>Pristine A/D Conversion - Upgrade your interface with pristine converter technology</li>\n	<li>Variable Impedance - 3 x input impedance options, perfect for ribbon mics</li>\n	<li>Variable High Pass Filter - deal with rumble, proximity & tighten up your low end</li>\n	<li>Instrument Inputs -plug & play; perfect for keys, drum machines & guitars! </li>\n	<li>Balanced Insert - simply insert any analogue processor before the converters</li>\n</ul>\n<br/>\n<h3>Discrete Class-A Design</h3>\n8 x class-a mic preamplifiers - with 60dB of gain available it will handle any signal you can throw at it.\n<br/><br/>\n<h3>Pristine A/D Conversion</h3>\nPristine a/d conversion offering up to 24 bit / 96 khz resolution through aes/adaT connections.\n<br/><br/>\n<h3>2 x Instrument Inputs</h3>\nSimply plug-in and play - perfect for guitars, drum machines and keys. enjoy the best d.i available.\n<br/><br/>\n<h3>Variable Impedance</h3>\nOffering impedances of up to 5000 ohms - three tones at the flick of a switch!\n<br/><br/>\n<h3>Variable High Pass Filter</h3>\nTake control of your signal - remove rumble and tighten up your low end with a range of 25hz to 250hz.\n<br/><br/>\n<h3>Balanced Inserts</h3>\nThe A-D button allows ASP880 to function as an 8 channel mic pre while you use the converters separately in stand-alone mode.\n<br/><br/>\n<h3>For more information or to find out how ASP880 integrates with your studio, call or chat with an RSPE sales representative today.</h3>'),(219,85,0,37,'Audient ASP880 8 Channel Microphone Preamplifier and ADC'),(220,85,1,37,'Audient ASP880 8 Channel Microphone Preamplifier and ADC'),(221,76,0,37,''),(222,76,1,37,''),(223,75,0,38,'iD22 will transform your DAW into a world-class recording system by connecting directly to your microphones, computer and monitors.\n\niD22 provides two classic audient microphone preamplifiers, ALL NEW pristine AD/DA convertors that have been designed to deliver impeccable detail and impressive depth during both tracking & mixing. iD22 is expandable via ADAT i/o - perfect for partnering with an ASP008 for 10-ch recording [total 10-in, 12-out + headphones]. Our console-style monitor controller functionality and USB2.0 connectivity complete the ergonomic desktop package.'),(224,75,1,38,'iD22 will transform your DAW into a world-class recording system by connecting directly to your microphones, computer and monitors.\n\niD22 provides two classic audient microphone preamplifiers, ALL NEW pristine AD/DA convertors that have been designed to deliver impeccable detail and impressive depth during both tracking & mixing. iD22 is expandable via ADAT i/o - perfect for partnering with an ASP008 for 10-ch recording [total 10-in, 12-out + headphones]. Our console-style monitor controller functionality and USB2.0 connectivity complete the ergonomic desktop package.'),(225,85,0,38,'Audient iD22 HIGH PERFORMANCE AD/DA INTERFACE & MONITORING SYSTEM'),(226,85,1,38,'Audient iD22 HIGH PERFORMANCE AD/DA INTERFACE & MONITORING SYSTEM'),(227,76,0,38,''),(228,76,1,38,''),(229,75,0,39,'Mico is a compact, feature packed twin microphone preamplifier with built-in ultra-high quality analogue digital conversion, making it an ideal front-end for desk-top users. The front-end design is Audient\'s renowned balanced discrete Class A design which is also used in the ASP008 and the ASP8024 mixing console - guaranteeing outstanding sonic transparency and detail.\n\nMico also features one channel of the unique HMX harmonic sculpting technology from the Audient Black Preamplifier making the creation of vintage style character and complexity as simple as turning one knob. For recording a single source with twin mics or mic+DI, the Variphase control on Mico\'s second channel allows precise phase alignment (or creative misalignment) of the two signal paths.'),(230,75,1,39,'Mico is a compact, feature packed twin microphone preamplifier with built-in ultra-high quality analogue digital conversion, making it an ideal front-end for desk-top users. The front-end design is Audient\'s renowned balanced discrete Class A design which is also used in the ASP008 and the ASP8024 mixing console - guaranteeing outstanding sonic transparency and detail.\n\nMico also features one channel of the unique HMX harmonic sculpting technology from the Audient Black Preamplifier making the creation of vintage style character and complexity as simple as turning one knob. For recording a single source with twin mics or mic+DI, the Variphase control on Mico\'s second channel allows precise phase alignment (or creative misalignment) of the two signal paths.'),(231,85,0,39,'Audient MiCO Dual Microphone Preamplifier'),(232,85,1,39,'Audient MiCO Dual Microphone Preamplifier'),(233,76,0,39,''),(234,76,1,39,''),(235,75,0,40,'<h1>AEA KU4 Unidirectional Ribbon Microphone</h1>\n<i>The KU4’s supercardioid polar pattern enables it to capture direct sound from a vocalist or instrument without room tone.</i><br /><br />AEA’s KU4 is one of the most useful and unique ribbon microphones in the\n world. Its supercardioid polar pattern rejects bleed from other \ninstruments and reflections in the room while retaining matchless \ntop-end clarity. As the brightest mic in the AEA line, it retains the \nfull spectrum sonic range that has made ribbon mics a staple in most of \nthe world’s great recording studios. \n<br /><br />\nThe KU4’s minimal proximity effect and accented mid-range make it an \nexceptional vocal mic that captures the presence and detail of a \nperformance. Its near-field nature also lends to the close range \nrecording of kick drums, strings, and woodwinds, providing a welcome \nbrightness and balance in the mix.              <br /><br />The KU4’s supercardioid polar pattern enables it to capture direct sound from a vocalist or instrument without room tone. This is an advantage when tracking musicians live in the same room or when used live on stage. With most figure-of-eight patterned ribbons, mic positioning can require a finesse to avoid other sources using the microphone’s nulls. The KU4 has none of these limitations.<br /><br />Being a near-field ribbon microphone, the microphone was designed to be positioned between one and 18 inches from the source. The mic’s proximity effect kicks in six inches away from the sound source. It can be placed close to an instrument while retaining a balanced frequency response.<br /><br />Unlike most traditional ribbon mics, think the KU4’s placement should be thought in terms of inches instead of feet. Of course, the KU4 can also be positioned at some distance from the sound source. It will just have a more balanced sound from up close.<br /><br />The KU4 can handle 140+ dB SPL at 1 kHz. That means it will not be hurt by loud sound sources.<br /><br />\n<h3>AEA KU4 Mic Features:</h3><ul><li>Supercardioid polar pattern, rejecting bleed and ambient room reflections</li><li>Extended top end with classic ribbon smoothness</li><li>Near-field ribbon mic with reduced proximity effect for close-miking</li><li>AEA’s redesign of RCA’s legendary KU3A</li><li>Made in the USA</li></ul>'),(236,75,1,40,'<h1>AEA KU4 Unidirectional Ribbon Microphone</h1>\n<i>The KU4’s supercardioid polar pattern enables it to capture direct sound from a vocalist or instrument without room tone.</i><br /><br />AEA’s KU4 is one of the most useful and unique ribbon microphones in the\n world. Its supercardioid polar pattern rejects bleed from other \ninstruments and reflections in the room while retaining matchless \ntop-end clarity. As the brightest mic in the AEA line, it retains the \nfull spectrum sonic range that has made ribbon mics a staple in most of \nthe world’s great recording studios. \n<br /><br />\nThe KU4’s minimal proximity effect and accented mid-range make it an \nexceptional vocal mic that captures the presence and detail of a \nperformance. Its near-field nature also lends to the close range \nrecording of kick drums, strings, and woodwinds, providing a welcome \nbrightness and balance in the mix.              <br /><br />The KU4’s supercardioid polar pattern enables it to capture direct sound from a vocalist or instrument without room tone. This is an advantage when tracking musicians live in the same room or when used live on stage. With most figure-of-eight patterned ribbons, mic positioning can require a finesse to avoid other sources using the microphone’s nulls. The KU4 has none of these limitations.<br /><br />Being a near-field ribbon microphone, the microphone was designed to be positioned between one and 18 inches from the source. The mic’s proximity effect kicks in six inches away from the sound source. It can be placed close to an instrument while retaining a balanced frequency response.<br /><br />Unlike most traditional ribbon mics, think the KU4’s placement should be thought in terms of inches instead of feet. Of course, the KU4 can also be positioned at some distance from the sound source. It will just have a more balanced sound from up close.<br /><br />The KU4 can handle 140+ dB SPL at 1 kHz. That means it will not be hurt by loud sound sources.<br /><br />\n<h3>AEA KU4 Mic Features:</h3><ul><li>Supercardioid polar pattern, rejecting bleed and ambient room reflections</li><li>Extended top end with classic ribbon smoothness</li><li>Near-field ribbon mic with reduced proximity effect for close-miking</li><li>AEA’s redesign of RCA’s legendary KU3A</li><li>Made in the USA</li></ul>'),(237,85,0,40,'AEA KU4 Unidirectional Ribbon Microphone'),(238,85,1,40,'AEA KU4 Unidirectional Ribbon Microphone'),(239,76,0,40,''),(240,76,1,40,''),(241,75,0,41,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA NUVO N22 Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The NUVO N22 is a modern near-field and active ribbon mic with a rugged lightweight design, extended top-end clarity, and reduced proximity effect making it perfect for close miking of instruments.</i><br /><br />The AEA Near-field NUVO\n N22 is a modern ribbon mic that challenges expectations of traditional \nribbon technology and can reframe the way you record with ribbons.\n<br /><br />\nIt delivers clarity and balance in frequency response, even when \npositioned just inches from the source, and can stand alone in a mix \nwithout the need for the blending additional mic signals due to its \nextended top-end.<br /><br /><div class=\"columns\">\n          <p>The N22 can be positioned inches away from an instrument \nand retain a balanced sound with extended top end while avoiding the \nroom tone that can cause problems in smaller spaces or iso booths. This \nis what makes the N22 special.</p>\n<p>It exhibits a high-frequency bump at 3kHz making it ideal for recording vocals, electric guitar, bass cabs, kick drum, acoustic guitar, and percussion. It is best to think of the N22’s placement in terms of inches instead of feet.</p>\n<p>The N22 naturally reduces proximity effect while also avoiding the \nroom tone that can cause problems in smaller spaces or iso booths. \nNaturally rolling off the low-end before it hits the ribbon creates a \nmuch different sound than using electronic equalization to roll off the \nlow-end in post.</p>\n        </div><br />\n<h3>AEA N22 Mic Features:</h3><ul><li>Extended top end with a ribbon’s classic warmth</li><li>Near-field ribbon mic with reduced proximity effect </li><li>Balanced frequency response at 1 to 18 inches from the source</li><li>Compact, lightweight design with rugged durability</li><li>Active electronics and custom transformer optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(242,75,1,41,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA NUVO N22 Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The NUVO N22 is a modern near-field and active ribbon mic with a rugged lightweight design, extended top-end clarity, and reduced proximity effect making it perfect for close miking of instruments.</i><br /><br />The AEA Near-field NUVO\n N22 is a modern ribbon mic that challenges expectations of traditional \nribbon technology and can reframe the way you record with ribbons.\n<br /><br />\nIt delivers clarity and balance in frequency response, even when \npositioned just inches from the source, and can stand alone in a mix \nwithout the need for the blending additional mic signals due to its \nextended top-end.<br /><br /><div class=\"columns\">\n          <p>The N22 can be positioned inches away from an instrument \nand retain a balanced sound with extended top end while avoiding the \nroom tone that can cause problems in smaller spaces or iso booths. This \nis what makes the N22 special.</p>\n<p>It exhibits a high-frequency bump at 3kHz making it ideal for recording vocals, electric guitar, bass cabs, kick drum, acoustic guitar, and percussion. It is best to think of the N22’s placement in terms of inches instead of feet.</p>\n<p>The N22 naturally reduces proximity effect while also avoiding the \nroom tone that can cause problems in smaller spaces or iso booths. \nNaturally rolling off the low-end before it hits the ribbon creates a \nmuch different sound than using electronic equalization to roll off the \nlow-end in post.</p>\n        </div><br />\n<h3>AEA N22 Mic Features:</h3><ul><li>Extended top end with a ribbon’s classic warmth</li><li>Near-field ribbon mic with reduced proximity effect </li><li>Balanced frequency response at 1 to 18 inches from the source</li><li>Compact, lightweight design with rugged durability</li><li>Active electronics and custom transformer optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(243,85,0,41,''),(244,85,1,41,''),(245,76,0,41,''),(246,76,1,41,''),(247,75,0,42,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA N8 Ribbon Microphone</h1></span></span></span></h1>The AEA NUVO N8 is a modern ribbon mic that records the live, natural\n sound of instruments within a space as it would sound in-person, with \nall subtlety and nuance present. It effortlessly captures complex \nsources like drums, strings, piano, and other instruments that can \nproduce intricate transients, harsh highs, and bellowing lows.<br /><br />The N8 captures a space as it sounds live and in person, with all the \npresent subtlety and nuance. Its expansive frequency response and \nbalanced low end make it superbly effective when capturing the full \nbreadth of sound from the back of a room, above a drum set, or overhead a\n string section. \n<br /><br />\nIt boasts the widest frequency range of any mic in the AEA lineup and \neffortlessly manages more complex source audio like drums, strings, \npiano, and other instruments that produce intricate transients, harsh \nhighs, and bellowing lows. The full potential of the N8 is perhaps best \nrealized when configured in a stereo array, as it draws on the same \nsuccessful sonic concepts as the  AEA R88.              <br /><br />\n<h3>AEA N8 Mic Features:</h3><ul><li>Open and natural sound</li><li>Far-field ribbon mic that retains low end and top end from a distance</li><li>Same design philosophy as the AEA R88 stereo ribbon mic</li><li>Compact, lightweight, and low-profile design</li><li>Features active electronics and custom transformer optimized for all preamps</li><li>Made in the U.S.A.</li></ul><ul></ul>'),(248,75,1,42,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA N8 Ribbon Microphone</h1></span></span></span></h1>The AEA NUVO N8 is a modern ribbon mic that records the live, natural\n sound of instruments within a space as it would sound in-person, with \nall subtlety and nuance present. It effortlessly captures complex \nsources like drums, strings, piano, and other instruments that can \nproduce intricate transients, harsh highs, and bellowing lows.<br /><br />The N8 captures a space as it sounds live and in person, with all the \npresent subtlety and nuance. Its expansive frequency response and \nbalanced low end make it superbly effective when capturing the full \nbreadth of sound from the back of a room, above a drum set, or overhead a\n string section. \n<br /><br />\nIt boasts the widest frequency range of any mic in the AEA lineup and \neffortlessly manages more complex source audio like drums, strings, \npiano, and other instruments that produce intricate transients, harsh \nhighs, and bellowing lows. The full potential of the N8 is perhaps best \nrealized when configured in a stereo array, as it draws on the same \nsuccessful sonic concepts as the  AEA R88.              <br /><br />\n<h3>AEA N8 Mic Features:</h3><ul><li>Open and natural sound</li><li>Far-field ribbon mic that retains low end and top end from a distance</li><li>Same design philosophy as the AEA R88 stereo ribbon mic</li><li>Compact, lightweight, and low-profile design</li><li>Features active electronics and custom transformer optimized for all preamps</li><li>Made in the U.S.A.</li></ul><ul></ul>'),(249,85,0,42,'AEA N8 Ribbon Microphone'),(250,85,1,42,'AEA N8 Ribbon Microphone'),(251,76,0,42,''),(252,76,1,42,''),(253,75,0,43,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA R44C Museum-Quality Reproduction Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The AEA R44C is an exact replica of the vintage RCA 44BX ribbon microphone, considered the most musical sounding microphone ever built.</i><br /><br />The AEA R44 maintains an iconic legacy of great ribbon mics by delivering a rich sound full of character and color. Many of the 20th century’s most iconic recordings were recorded by the R44. Effective on a broad range of instruments and rooms, the R44 bolsters mids and lows while smoothing harsh high frequencies to produce a multi-dimensional sound unlike that of any microphone the world over.<br /><br />Used on everything from crooning vocalists to full orchestras, the R44 is the ideal choice to capture the tone of any voice or instrument while imparting its legendary ribbon character. <br /><br />\n<h3>AEA R44C Mic Features:</h3><ul><li>Unparalleled warmth and legendary character </li><li>Full and rich tonality with generous low end and proximity effect</li><li>Faithful reproduction of the RCA R44BX with new old stock RCA ribbon material</li><li>Economy exterior R44CE exhibits same, classic sound</li><li>Active A440 upgrade has 18dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul><ul></ul>'),(254,75,1,43,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA R44C Museum-Quality Reproduction Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The AEA R44C is an exact replica of the vintage RCA 44BX ribbon microphone, considered the most musical sounding microphone ever built.</i><br /><br />The AEA R44 maintains an iconic legacy of great ribbon mics by delivering a rich sound full of character and color. Many of the 20th century’s most iconic recordings were recorded by the R44. Effective on a broad range of instruments and rooms, the R44 bolsters mids and lows while smoothing harsh high frequencies to produce a multi-dimensional sound unlike that of any microphone the world over.<br /><br />Used on everything from crooning vocalists to full orchestras, the R44 is the ideal choice to capture the tone of any voice or instrument while imparting its legendary ribbon character. <br /><br />\n<h3>AEA R44C Mic Features:</h3><ul><li>Unparalleled warmth and legendary character </li><li>Full and rich tonality with generous low end and proximity effect</li><li>Faithful reproduction of the RCA R44BX with new old stock RCA ribbon material</li><li>Economy exterior R44CE exhibits same, classic sound</li><li>Active A440 upgrade has 18dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul><ul></ul>'),(255,85,0,43,'AEA R84A Active Ribbon Microphone'),(256,85,1,43,'AEA R84A Active Ribbon Microphone'),(257,76,0,43,''),(258,76,1,43,''),(259,75,0,44,'<h1>AEA R44CE Ribbon Microphone</h1>\n<i>The AEA R44CE is a hand-crafted Cost-Effective RCA 44 reproduction with Black transformer case and one-piece cushion mount - satin nickel grill and formed steel yoke with a satin nickel finish.</i><br /><br />The 44 was RCA’s best microphone from the 1930s into the ‘50s.  Is AEA’s R44 that good?  Both listeners and measurements say that the AEA R44 is better.  AEA starts by using ribbon material originally manufactured for RCA.  Next, AEA uses modern magnet technology, which is much more robust than period magnets. They also combined the original American undamped ribbon design with the later British RCA 44 innovations that lower the weight and hum sensitivity.<br /><br />The R44 design runs contrary to all current ribbon microphone manufacturing.  It is large and heavy when other microphones are smaller and lighter. The internal ribbon element is by far the longest, and its resonance tuning the lowest, of today’s ribbon microphones. It is a pure undamped ribbon design, an approach that had been out of production for over 50 years, while remaining in continuous studio use. It is different, and its sound is unique.<br /><br />The R44 sounds good on everything. Leave it out and use it whenever you need to do a quick take. Bruce Swedien particularly likes them on vocals, Joe Chicarelli on sax, Allen Sides on electric guitar. Everyone has a favorite use, and everyone finds they sound good anywhere: brass, woodwinds, percussion, strings or voice work.<br /><br />\n<h3>AEA R44CE Mic Features:</h3><ul><li>Unparalleled warmth and legendary character </li><li>Full and rich tonality with generous low end and proximity effect</li><li>Faithful reproduction of the RCA R44BX with new old stock RCA ribbon material</li><li>Economy exterior R44CE exhibits same, classic sound</li><li>Active A440 upgrade has 18dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(260,75,1,44,'<h1>AEA R44CE Ribbon Microphone</h1>\n<i>The AEA R44CE is a hand-crafted Cost-Effective RCA 44 reproduction with Black transformer case and one-piece cushion mount - satin nickel grill and formed steel yoke with a satin nickel finish.</i><br /><br />The 44 was RCA’s best microphone from the 1930s into the ‘50s.  Is AEA’s R44 that good?  Both listeners and measurements say that the AEA R44 is better.  AEA starts by using ribbon material originally manufactured for RCA.  Next, AEA uses modern magnet technology, which is much more robust than period magnets. They also combined the original American undamped ribbon design with the later British RCA 44 innovations that lower the weight and hum sensitivity.<br /><br />The R44 design runs contrary to all current ribbon microphone manufacturing.  It is large and heavy when other microphones are smaller and lighter. The internal ribbon element is by far the longest, and its resonance tuning the lowest, of today’s ribbon microphones. It is a pure undamped ribbon design, an approach that had been out of production for over 50 years, while remaining in continuous studio use. It is different, and its sound is unique.<br /><br />The R44 sounds good on everything. Leave it out and use it whenever you need to do a quick take. Bruce Swedien particularly likes them on vocals, Joe Chicarelli on sax, Allen Sides on electric guitar. Everyone has a favorite use, and everyone finds they sound good anywhere: brass, woodwinds, percussion, strings or voice work.<br /><br />\n<h3>AEA R44CE Mic Features:</h3><ul><li>Unparalleled warmth and legendary character </li><li>Full and rich tonality with generous low end and proximity effect</li><li>Faithful reproduction of the RCA R44BX with new old stock RCA ribbon material</li><li>Economy exterior R44CE exhibits same, classic sound</li><li>Active A440 upgrade has 18dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(261,85,0,44,'AEA R44CE Ribbon Microphone'),(262,85,1,44,'AEA R44CE Ribbon Microphone'),(263,76,0,44,''),(264,76,1,44,''),(265,75,0,45,'<h1>AEA R44CX Ribbon Microphone</h1>\n<i>The AEA R44CXE has a X-Motor Mod: High-Output version (6dBmore than the original) of R44CE. Distinguished by one-piece cushion mount and formed steel yoke with a satin nickel finish and red accent</i><br /><br />The AEA R44-series microphones all share the authentic sound, feel and look of the 1936-38 RCA 44BX. The R44 series microphones are all detailed, hand-crafted replicas, using parts that are made to be interchangeable with an original RCA 44. They even feature ribbon material originally manufactured for RCA. The original 44 microphones were constantly updated during their twenty years of production, and after carefully looking at some of the technical modifications, we at AEA decided to adopt the British engineering from RCA that reduces the mic\'s weight and hum sensitivity. <br /><br />The R44C was designed to meet or exceed the output of a brand-new RCA 44. It is a museum-quality replica, featuring a bronze investment cast yoke, superior to the original zinc yokes by RCA (which tend to corrode over time), a hand-polished cushion mount and a cloth-covered Accusound Silver Studio Pro cable. The R44CX is a high-output, red-badge version of the R44C, specially designed for scoring and other applications demanding a wide dynamic range with the \"classic 44\" sound.<br /><br />\n<h3>AEA R44CX Mic Features:</h3><div class=\"bullet_list\">\n<ul><li><span style=\"font-size: 12pt;\">Museum grade reproduction of the RCA 44B/BX</span></li><li><span style=\"font-size: 12pt;\">New-old stock (NOS) RCA ribbon material</span></li><li><span style=\"font-size: 12pt;\">Legendary character with more than 80 years of studio history</span></li><li><span style=\"font-size: 12pt;\">Full and rich sound; smooth highs and warm lows</span></li><li><span style=\"font-size: 12pt;\">‘X’ motor option delivers 6 dB more dynamic range for film scoring</span></li><li>Made in the U.S.A.</li></ul></div>'),(266,75,1,45,'<h1>AEA R44CX Ribbon Microphone</h1>\n<i>The AEA R44CXE has a X-Motor Mod: High-Output version (6dBmore than the original) of R44CE. Distinguished by one-piece cushion mount and formed steel yoke with a satin nickel finish and red accent</i><br /><br />The AEA R44-series microphones all share the authentic sound, feel and look of the 1936-38 RCA 44BX. The R44 series microphones are all detailed, hand-crafted replicas, using parts that are made to be interchangeable with an original RCA 44. They even feature ribbon material originally manufactured for RCA. The original 44 microphones were constantly updated during their twenty years of production, and after carefully looking at some of the technical modifications, we at AEA decided to adopt the British engineering from RCA that reduces the mic\'s weight and hum sensitivity. <br /><br />The R44C was designed to meet or exceed the output of a brand-new RCA 44. It is a museum-quality replica, featuring a bronze investment cast yoke, superior to the original zinc yokes by RCA (which tend to corrode over time), a hand-polished cushion mount and a cloth-covered Accusound Silver Studio Pro cable. The R44CX is a high-output, red-badge version of the R44C, specially designed for scoring and other applications demanding a wide dynamic range with the \"classic 44\" sound.<br /><br />\n<h3>AEA R44CX Mic Features:</h3><div class=\"bullet_list\">\n<ul><li><span style=\"font-size: 12pt;\">Museum grade reproduction of the RCA 44B/BX</span></li><li><span style=\"font-size: 12pt;\">New-old stock (NOS) RCA ribbon material</span></li><li><span style=\"font-size: 12pt;\">Legendary character with more than 80 years of studio history</span></li><li><span style=\"font-size: 12pt;\">Full and rich sound; smooth highs and warm lows</span></li><li><span style=\"font-size: 12pt;\">‘X’ motor option delivers 6 dB more dynamic range for film scoring</span></li><li>Made in the U.S.A.</li></ul></div>'),(267,85,0,45,'AEA R44CX Ribbon Microphone'),(268,85,1,45,'AEA R44CX Ribbon Microphone'),(269,76,0,45,''),(270,76,1,45,''),(271,75,0,46,'<h1>AEA R44CXE Ribbon Microphone</h1>\n<i>The AEA R44CXE has a X-Motor Mod: High-Output version (6dBmore than the original) of R44CE. Distinguished by one-piece cushion mount and formed steel yoke with a satin nickel finish and red accent</i><br /><br />The AEA R44CXE is the high output version of the R44CE combining the economical finish with the higher output of the R44CX. The cost-effective R44CXE features the exact same ribbon, transformer, and luscious sound as the R44CE, but with a simpler, economical exterior trim.<br /><br />The R44 design runs contrary to all current ribbon microphone manufacturing.  It is large and heavy when other microphones are smaller and lighter. The internal ribbon element is by far the longest, and its resonance tuning the lowest, of today’s ribbon microphones. It is a pure undamped ribbon design, an approach that had been out of production for over 50 years, while remaining in continuous studio use. It is different, and its sound is unique.<br /><br />The R44 sounds good on everything. Leave it out and use it whenever you need to do a quick take. Bruce Swedien particularly likes them on vocals, Joe Chicarelli on sax, Allen Sides on electric guitar. Everyone has a favorite use, and everyone finds they sound good anywhere: brass, woodwinds, percussion, strings or voice work.<br /><br />\n<h3>AEA R44CXE Mic Features:</h3><ul><li>Unparalleled warmth and legendary character </li><li>Full and rich tonality with generous low end and proximity effect</li><li>Faithful reproduction of the RCA R44BX with new old stock RCA ribbon material</li><li>Economy exterior R44CE exhibits same, classic sound</li><li>Active A440 upgrade has 18dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(272,75,1,46,'<h1>AEA R44CXE Ribbon Microphone</h1>\n<i>The AEA R44CXE has a X-Motor Mod: High-Output version (6dBmore than the original) of R44CE. Distinguished by one-piece cushion mount and formed steel yoke with a satin nickel finish and red accent</i><br /><br />The AEA R44CXE is the high output version of the R44CE combining the economical finish with the higher output of the R44CX. The cost-effective R44CXE features the exact same ribbon, transformer, and luscious sound as the R44CE, but with a simpler, economical exterior trim.<br /><br />The R44 design runs contrary to all current ribbon microphone manufacturing.  It is large and heavy when other microphones are smaller and lighter. The internal ribbon element is by far the longest, and its resonance tuning the lowest, of today’s ribbon microphones. It is a pure undamped ribbon design, an approach that had been out of production for over 50 years, while remaining in continuous studio use. It is different, and its sound is unique.<br /><br />The R44 sounds good on everything. Leave it out and use it whenever you need to do a quick take. Bruce Swedien particularly likes them on vocals, Joe Chicarelli on sax, Allen Sides on electric guitar. Everyone has a favorite use, and everyone finds they sound good anywhere: brass, woodwinds, percussion, strings or voice work.<br /><br />\n<h3>AEA R44CXE Mic Features:</h3><ul><li>Unparalleled warmth and legendary character </li><li>Full and rich tonality with generous low end and proximity effect</li><li>Faithful reproduction of the RCA R44BX with new old stock RCA ribbon material</li><li>Economy exterior R44CE exhibits same, classic sound</li><li>Active A440 upgrade has 18dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(273,85,0,46,'AEA R44CXE Ribbon Microphone'),(274,85,1,46,'AEA R44CXE Ribbon Microphone'),(275,76,0,46,''),(276,76,1,46,''),(277,75,0,47,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA R84 Passive Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The R84 series’ balanced and manageable proximity effect bolsters the low-end of vocals, drums, and brass, from just feet away.</i><br /><br />The AEA R84 is one of the most flexible ribbon microphones in use today. Designed as a lighter, more compact, and lower cost version of the R44, this Swiss Army knife of ribbon mics fits a wide range of applications.<br /><br />Though passive ribbon mics like the R84 have always been known for their incredible sound, they also come with certain requirements needed to reach their full sonic potential. This mainly involves using a very high-gain, high-impedance mic preamp — characteristics that many older and even modern preamps lack.<br /><br />Passive ribbons generally have low output level and require preamps that supply a high level of gain. If the preamp you use doesn’t have enough gain, the mic signal may seem too soft or noisy. This can be apparent when recording quiet acoustic guitars or strings, especially at a distance or with long cable runs. In addition, if the preamp paired with a passive ribbon does not have a high enough impedance, it can negatively affect the low end, top end, and transient response of the microphone. <br /><br />\n<h3>AEA R84 Mic Features:</h3><ul><li>Warm, smooth and detailed classic ribbon sound</li><li>Full and rich tonality with generous highs and lows</li><li>Sonically similar to the legendary R44 Series, with less proximity effect</li><li>Versatile in close-range or ambient applications</li><li>Active R84A version has 12dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(278,75,1,47,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA R84 Passive Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The R84 series’ balanced and manageable proximity effect bolsters the low-end of vocals, drums, and brass, from just feet away.</i><br /><br />The AEA R84 is one of the most flexible ribbon microphones in use today. Designed as a lighter, more compact, and lower cost version of the R44, this Swiss Army knife of ribbon mics fits a wide range of applications.<br /><br />Though passive ribbon mics like the R84 have always been known for their incredible sound, they also come with certain requirements needed to reach their full sonic potential. This mainly involves using a very high-gain, high-impedance mic preamp — characteristics that many older and even modern preamps lack.<br /><br />Passive ribbons generally have low output level and require preamps that supply a high level of gain. If the preamp you use doesn’t have enough gain, the mic signal may seem too soft or noisy. This can be apparent when recording quiet acoustic guitars or strings, especially at a distance or with long cable runs. In addition, if the preamp paired with a passive ribbon does not have a high enough impedance, it can negatively affect the low end, top end, and transient response of the microphone. <br /><br />\n<h3>AEA R84 Mic Features:</h3><ul><li>Warm, smooth and detailed classic ribbon sound</li><li>Full and rich tonality with generous highs and lows</li><li>Sonically similar to the legendary R44 Series, with less proximity effect</li><li>Versatile in close-range or ambient applications</li><li>Active R84A version has 12dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(279,85,0,47,'AEA R84 Passive Ribbon Microphone'),(280,85,1,47,'AEA R84 Passive Ribbon Microphone'),(281,76,0,47,''),(282,76,1,47,''),(283,75,0,48,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA R84A Active Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The R84 series’ balanced and manageable proximity effect bolsters the low-end of vocals, drums, and brass, from just feet away.</i><br /><br />R84 series ribbon microphones deliver the classic tonality of the \nlegendary R44, with extended top-end and reduced proximity effect for \nmid-range and close-range recording. The R84A is an active version of \nthe passive R84 that allows compatibility with a wider range of \npreamplifiers.<br />The R84 series quickly endears itself to engineers and musicians due to \nits remarkably expansive frequency range, complete with sweeping highs \nand booming lows. A ribbon mic \nas multi-purpose, lightweight, and maneuverable as the R84 is \nwell-suited for both close-range and ambient mic applications.<br /><br />\n\nThe R84A retains the same sonic character of the R84 but offers an \nadditional 12dB of output and a stable impedance that allows flexibility\n when recording quiet sources through any preamp.\n              <br /><br />\n<h3>AEA R84A Mic Features:</h3><ul><li>Warm, smooth and detailed classic ribbon sound</li><li>Full and rich tonality with generous highs and lows</li><li>Sonically similar to the legendary R44 Series, with less proximity effect</li><li>Versatile in close-range or ambient applications</li><li>Active R84A version has 12dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(284,75,1,48,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA R84A Active Ribbon Microphone</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The R84 series’ balanced and manageable proximity effect bolsters the low-end of vocals, drums, and brass, from just feet away.</i><br /><br />R84 series ribbon microphones deliver the classic tonality of the \nlegendary R44, with extended top-end and reduced proximity effect for \nmid-range and close-range recording. The R84A is an active version of \nthe passive R84 that allows compatibility with a wider range of \npreamplifiers.<br />The R84 series quickly endears itself to engineers and musicians due to \nits remarkably expansive frequency range, complete with sweeping highs \nand booming lows. A ribbon mic \nas multi-purpose, lightweight, and maneuverable as the R84 is \nwell-suited for both close-range and ambient mic applications.<br /><br />\n\nThe R84A retains the same sonic character of the R84 but offers an \nadditional 12dB of output and a stable impedance that allows flexibility\n when recording quiet sources through any preamp.\n              <br /><br />\n<h3>AEA R84A Mic Features:</h3><ul><li>Warm, smooth and detailed classic ribbon sound</li><li>Full and rich tonality with generous highs and lows</li><li>Sonically similar to the legendary R44 Series, with less proximity effect</li><li>Versatile in close-range or ambient applications</li><li>Active R84A version has 12dB level increase and is optimized for all preamps</li><li>Made in the U.S.A.</li></ul>'),(285,85,0,48,'AEA R84A Active Ribbon Microphone'),(286,85,1,48,'AEA R84A Active Ribbon Microphone'),(287,76,0,48,''),(288,76,1,48,''),(289,75,0,49,'<h1>AEA R88mk2 Stereo Ribbon Microphone</h1>\n<i>The R88 effortlessly records \ncomplex sources like drums, strings, piano, and other instruments that \nproduce intricate transients, harsher highs, and bellowing lows.\n</i><br /><br />The stereo R88 captures a space as it sounds live and in person, with \nall the present subtlety and nuance. Its expansive frequency response \nand balanced low end make it superbly effective when capturing the full \nbreadth of sound from the back of a room or above a drum set. \n<br /><br />\nAlongside the mono AEA N8,\n it boasts the widest frequency range of any mic in the AEA lineup and \neffortlessly manages more complex source audio like drums, strings, \npiano, and other instruments that produce intricate transients, harsher \nhighs, and bellowing lows. The Blumlein\n configuration of the ribbons allows for a sweeping range of \nperspective, so an entire ensemble and room can be captured by the R88 \nalone.              \n<br /><br />\nThe R88mk2 is the engineer’s secret weapon, offering a \nlevel of detail and balance in recording like no other microphone \navailable. Packaged in a sleek, five-pound black shell designed for \nquick setup, it’s an excellent choice for remote recording.\n<br /><br />\nParticularly well suited for the rock, roots, classical, Americana \nand jazz genres, the R88mk2 has such versatility that engineers like \nJohn Cuniberti use it as their one mic\n to capture an entire band performing live in the same room. There is a \nreason that legendary Blackbird Studios in Nashville owns five R88s.\n<br /><br />\n<h3>AEA R88mk Mic Features:</h3>\n<ul>\n	<li>Features two Big Ribbons™ in a fixed Blumlein and mid-side configuration</li>\n	<li>Astonishingly open and natural sound</li>\n	<li>Far-field ribbon mic designed to retain low end and top end at a distance</li>\n	<li>Stereo version of the AEA N8</li>\n	<li>Made in the U.S.A.</li>\n</ul>'),(290,75,1,49,'<h1>AEA R88mk2 Stereo Ribbon Microphone</h1>\n<i>The R88 effortlessly records \ncomplex sources like drums, strings, piano, and other instruments that \nproduce intricate transients, harsher highs, and bellowing lows.\n</i><br /><br />The stereo R88 captures a space as it sounds live and in person, with \nall the present subtlety and nuance. Its expansive frequency response \nand balanced low end make it superbly effective when capturing the full \nbreadth of sound from the back of a room or above a drum set. \n<br /><br />\nAlongside the mono AEA N8,\n it boasts the widest frequency range of any mic in the AEA lineup and \neffortlessly manages more complex source audio like drums, strings, \npiano, and other instruments that produce intricate transients, harsher \nhighs, and bellowing lows. The Blumlein\n configuration of the ribbons allows for a sweeping range of \nperspective, so an entire ensemble and room can be captured by the R88 \nalone.              \n<br /><br />\nThe R88mk2 is the engineer’s secret weapon, offering a \nlevel of detail and balance in recording like no other microphone \navailable. Packaged in a sleek, five-pound black shell designed for \nquick setup, it’s an excellent choice for remote recording.\n<br /><br />\nParticularly well suited for the rock, roots, classical, Americana \nand jazz genres, the R88mk2 has such versatility that engineers like \nJohn Cuniberti use it as their one mic\n to capture an entire band performing live in the same room. There is a \nreason that legendary Blackbird Studios in Nashville owns five R88s.\n<br /><br />\n<h3>AEA R88mk Mic Features:</h3>\n<ul>\n	<li>Features two Big Ribbons™ in a fixed Blumlein and mid-side configuration</li>\n	<li>Astonishingly open and natural sound</li>\n	<li>Far-field ribbon mic designed to retain low end and top end at a distance</li>\n	<li>Stereo version of the AEA N8</li>\n	<li>Made in the U.S.A.</li>\n</ul>'),(291,85,0,49,'AEA R88mk2 Stereo Ribbon Microphone'),(292,85,1,49,'AEA R88mk2 Stereo Ribbon Microphone'),(293,76,0,49,''),(294,76,1,49,''),(295,75,0,50,'<h1>AEA R92 Ribbon Microphone</h1>\n<i>AEA\'s R92 Ribbon Mic has a thick low-end and hefty midrange, the dual-toned and near-field R92 \nribbon mic is an exceptional tool when building a classic sound.\n</i><br /><br />The AEA R92 a classic ribbon character in the form of a near-field, the dual-tone \nR92 functions as a versatile creative tool with innumerable \npossibilities. Similar in sound to the AEA R84, but with a more \npronounced midrange and minimized proximity effect, the R92 performs \nbrilliantly when up close to brass, guitar amps, kick drum, and \npercussion.\n<br /><br />\nOne side of the R92 yields a tonality distinct from the other, \nessentially providing two mics in one giving options on different \nsources. When supplemented with a brighter mic signal, the R92 serves to\n balance the scales in a mix with its low-end clarity and warm midrange.\n<br /><br />\n<h3>AEA R92 Mic Features:</h3>\n<ul>\n	<li>Rich low-end, warm detailed mid-range and a smooth top-end</li>\n	<li>Different tonality on front and back sides, giving users a sonic choice</li>\n	<li>Has a similar character to the classic R84 with less proximity effect</li>\n	<li>Near-field ribbon mic with reduced proximity effect </li>\n	<li>Made in the U.S.A.</li>\n</ul>'),(296,75,1,50,'<h1>AEA R92 Ribbon Microphone</h1>\n<i>AEA\'s R92 Ribbon Mic has a thick low-end and hefty midrange, the dual-toned and near-field R92 \nribbon mic is an exceptional tool when building a classic sound.\n</i><br /><br />The AEA R92 a classic ribbon character in the form of a near-field, the dual-tone \nR92 functions as a versatile creative tool with innumerable \npossibilities. Similar in sound to the AEA R84, but with a more \npronounced midrange and minimized proximity effect, the R92 performs \nbrilliantly when up close to brass, guitar amps, kick drum, and \npercussion.\n<br /><br />\nOne side of the R92 yields a tonality distinct from the other, \nessentially providing two mics in one giving options on different \nsources. When supplemented with a brighter mic signal, the R92 serves to\n balance the scales in a mix with its low-end clarity and warm midrange.\n<br /><br />\n<h3>AEA R92 Mic Features:</h3>\n<ul>\n	<li>Rich low-end, warm detailed mid-range and a smooth top-end</li>\n	<li>Different tonality on front and back sides, giving users a sonic choice</li>\n	<li>Has a similar character to the classic R84 with less proximity effect</li>\n	<li>Near-field ribbon mic with reduced proximity effect </li>\n	<li>Made in the U.S.A.</li>\n</ul>'),(297,85,0,50,'AEA R92 Ribbon Microphone'),(298,85,1,50,'AEA R92 Ribbon Microphone'),(299,76,0,50,''),(300,76,1,50,''),(301,75,0,51,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA RPQ2 2-Channel Microphone Preamp</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The RPQ2 is the tool of choice for all microphones whenever a true and pristine signal path is desired. </i><br /><br /><p>The AEA RPQ2 preamp and EQ provide two channels of high-output, high-impedance, and low-noise gain with a rich and natural sound that brings out the full potential of your microphones.<br /><br />The AEA RPQ2 Ribbon Preamp and EQ provide two channels of \nhigh-output, high-impedance, and low-noise gain with a rich and natural \nsound that brings out the full potential of your microphones.</p>\n<p>Specifically designed for ribbon microphones, the RPQ2 excels at \ndrawing out the warmth and lush sound that ribbons are uniquely known \nfor.<br /><br />The RPQ2 is a powerhouse that provides unparalleled high gain with \nlow-noise. With 81db of JFET output, the RPQ2 gives you enough juice to \nrecord soft sources without ever having to worry about noise.\n</p><br /><h3>AEA RPQ2 Features:</h3><ul><li>Two channels with 81dB of sweet and quiet JFET gain</li><li>High-frequency CurveShaper™ EQ and low frequency proximity control</li><li>63k ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity</li><li>High-resolution, high-impedance front-panel 1/4\" DIs</li><li>Mic/Line mode with Post-Mic and Pre-EQ Inserts for convenient routing options</li><li>Switchable phantom-power and polarity reverse</li><li>Made in the U.S.A.</li></ul><ul></ul>'),(302,75,1,51,'<h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"><h1>AEA RPQ2 2-Channel Microphone Preamp</h1></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemtype=\"http://schema.org/Organization\" itemscope=\"itemscope\" itemprop=\"brand\"><span itemprop=\"name\"><span id=\"product_description\" itemprop=\"description\"></span></span></span><span itemprop=\"name\"></span></h1><h1 class=\"product__name\"><span itemprop=\"name\"></span></h1>\n<i><br />The RPQ2 is the tool of choice for all microphones whenever a true and pristine signal path is desired. </i><br /><br /><p>The AEA RPQ2 preamp and EQ provide two channels of high-output, high-impedance, and low-noise gain with a rich and natural sound that brings out the full potential of your microphones.<br /><br />The AEA RPQ2 Ribbon Preamp and EQ provide two channels of \nhigh-output, high-impedance, and low-noise gain with a rich and natural \nsound that brings out the full potential of your microphones.</p>\n<p>Specifically designed for ribbon microphones, the RPQ2 excels at \ndrawing out the warmth and lush sound that ribbons are uniquely known \nfor.<br /><br />The RPQ2 is a powerhouse that provides unparalleled high gain with \nlow-noise. With 81db of JFET output, the RPQ2 gives you enough juice to \nrecord soft sources without ever having to worry about noise.\n</p><br /><h3>AEA RPQ2 Features:</h3><ul><li>Two channels with 81dB of sweet and quiet JFET gain</li><li>High-frequency CurveShaper™ EQ and low frequency proximity control</li><li>63k ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity</li><li>High-resolution, high-impedance front-panel 1/4\" DIs</li><li>Mic/Line mode with Post-Mic and Pre-EQ Inserts for convenient routing options</li><li>Switchable phantom-power and polarity reverse</li><li>Made in the U.S.A.</li></ul><ul></ul>'),(303,85,0,51,'AEA RPQ2 2-Channel Microphone Preamp'),(304,85,1,51,'AEA RPQ2 2-Channel Microphone Preamp'),(305,76,0,51,''),(306,76,1,51,''),(307,75,0,52,'<h2>AEA RPQ500 - 500 Series Preamp</h2>\n\nThe AEA RPQ500 module is designed after the successful RPQ preamp and is a perfect mic pre and optimized for ribbon microphones. It provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack. The preamp delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The input impedance of 10,000 Ω means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance.<br /><br />\n\nThe CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application. The Line/Mic switch bypasses the microphone gain stage and allows the EQ to be used for tracking with other preamps or during mixdown. Add the output level control and the RPQ500 becomes a high-quality processing tool that can be used for mixing and mastering when combined with summing racks and mixers such as the Purple Audio Moiyn or the Roll Music Folcrom.<br /><br />\n\nThe original RPQ with CurveShaper™ was designed to fully capture every nuance of ribbon microphones: vintage or modern, passive or phantom-powered. Engineers have discovered that the RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed.'),(308,75,1,52,'<h2>AEA RPQ500 - 500 Series Preamp</h2>\n\nThe AEA RPQ500 module is designed after the successful RPQ preamp and is a perfect mic pre and optimized for ribbon microphones. It provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack. The preamp delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The input impedance of 10,000 Ω means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance.<br /><br />\n\nThe CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application. The Line/Mic switch bypasses the microphone gain stage and allows the EQ to be used for tracking with other preamps or during mixdown. Add the output level control and the RPQ500 becomes a high-quality processing tool that can be used for mixing and mastering when combined with summing racks and mixers such as the Purple Audio Moiyn or the Roll Music Folcrom.<br /><br />\n\nThe original RPQ with CurveShaper™ was designed to fully capture every nuance of ribbon microphones: vintage or modern, passive or phantom-powered. Engineers have discovered that the RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed.'),(309,85,0,52,'AEA RPQ500 - 500 Series Preamp'),(310,85,1,52,'AEA RPQ500 - 500 Series Preamp'),(311,76,0,52,''),(312,76,1,52,''),(313,75,0,53,'One of the most famous tube microphones in the history of recording was the legendary AKG C 12. In spite of vast changes in microphone engineering, these microphones in good condition are still very much sought after and extremely expensive. Therefore, studio engineers vigorously demanded a rerun.\n\nThe C 12 VR is an exact replica of the original C 12, from the cap-sule sound to the original 6072A vacuum tube. The only difference is that its self noise and some components were optimized to meet the current state of the art. No less than nine remotely selectable polar patterns, the legendary large-diaphragm capsule, and an original 6072A vacuum tube provide a sound that is simply beyond words.\n\nThe C 12 VR comes complete with an aluminum carrying case, power supply, cable, windscreen, and spider type shock mount.'),(314,75,1,53,'One of the most famous tube microphones in the history of recording was the legendary AKG C 12. In spite of vast changes in microphone engineering, these microphones in good condition are still very much sought after and extremely expensive. Therefore, studio engineers vigorously demanded a rerun.\n\nThe C 12 VR is an exact replica of the original C 12, from the cap-sule sound to the original 6072A vacuum tube. The only difference is that its self noise and some components were optimized to meet the current state of the art. No less than nine remotely selectable polar patterns, the legendary large-diaphragm capsule, and an original 6072A vacuum tube provide a sound that is simply beyond words.\n\nThe C 12 VR comes complete with an aluminum carrying case, power supply, cable, windscreen, and spider type shock mount.'),(315,85,0,53,'AKG C12 VR Tube Condenser Microphone'),(316,85,1,53,'AKG C12 VR Tube Condenser Microphone'),(317,76,0,53,''),(318,76,1,53,''),(319,75,0,54,'The C 414 XL II is the successor of the famous C 414 B-TL II. It shows the unique sonic signature of the highly sought after AKG C 12 which enables lead vocals and solo instruments to be placed even in a dense mix. The unrivalled up-front sound is also well-known for distant miking applications like classic music recording or drum ambience miking.\n\nThe XL II version differs from the XLS version in one major respect - the capsule. Both, the slight presence boost and the impressive spatial reproduction is similar to the legendary C 12 microphones.\n\nFor over 60 years, leading musicians and engineers have used legendary AKG microphones to capture their sound so their audience hears every nuance. The C 414 family has been one of the world’s most widely-used and respected studio and stage microphones in audio history. AKG has continually set new benchmarks for useful features, improved technical specifications and ease of use to answer requests from ever-demanding recording studios, broadcast stations and audio engineers.\n\nThe new models C 414 XLS and C 414 XLII offer nine pickup patterns which enable to choose the perfect setting for every application. For live-sound applications and permanent installations all controls can be disabled easily for trouble-free use. A Peak Hold LED displays even shortest overload peaks.\n\nThe C 414 comes complete with carrying case, pop filter, windscreen, and spider-type shock mount.'),(320,75,1,54,'The C 414 XL II is the successor of the famous C 414 B-TL II. It shows the unique sonic signature of the highly sought after AKG C 12 which enables lead vocals and solo instruments to be placed even in a dense mix. The unrivalled up-front sound is also well-known for distant miking applications like classic music recording or drum ambience miking.\n\nThe XL II version differs from the XLS version in one major respect - the capsule. Both, the slight presence boost and the impressive spatial reproduction is similar to the legendary C 12 microphones.\n\nFor over 60 years, leading musicians and engineers have used legendary AKG microphones to capture their sound so their audience hears every nuance. The C 414 family has been one of the world’s most widely-used and respected studio and stage microphones in audio history. AKG has continually set new benchmarks for useful features, improved technical specifications and ease of use to answer requests from ever-demanding recording studios, broadcast stations and audio engineers.\n\nThe new models C 414 XLS and C 414 XLII offer nine pickup patterns which enable to choose the perfect setting for every application. For live-sound applications and permanent installations all controls can be disabled easily for trouble-free use. A Peak Hold LED displays even shortest overload peaks.\n\nThe C 414 comes complete with carrying case, pop filter, windscreen, and spider-type shock mount.'),(321,85,0,54,'AKG C414 XLII Large-Diaphragm Condenser Microphone'),(322,85,1,54,'AKG C414 XLII Large-Diaphragm Condenser Microphone'),(323,76,0,54,''),(324,76,1,54,''),(325,75,0,55,'Realistic stereo recordings require microphones with outstanding performance and excellent quality. They also require performance consistency and accurate localisation from the pair of microphones. Therefore, every factory-matched pair has been created from thousands of individual microphones selected by AKG\'s sophisticated computer-aided matching method. The result is the highest possible correlation over the whole frequency range and virtually identical sensitivity for stunning, three-dimensional recordings.\n\nThe matched pairs consist of two microphones that are within 1 dB to each other in sensitivity and also within 1 dB to each other in the range of 300 Hz to 8,000 Hz of the individual frequency response when used in cardioid mode. The microphones are selected from a large quantity of individual microphones according to the described criteria by using a proprietary computer program.\n\nUsing this matched pair for stereo recordings in various techniques will provide a good and stable balance without frequency-dependent shifting of the stereo panorama.\n\nThe kit includes all the standard accessories of the deluxe package (excluding the PF 80) along with a stereo bar and proof of performance charts in an attractive carrying case (large Soundtool case).'),(326,75,1,55,'Realistic stereo recordings require microphones with outstanding performance and excellent quality. They also require performance consistency and accurate localisation from the pair of microphones. Therefore, every factory-matched pair has been created from thousands of individual microphones selected by AKG\'s sophisticated computer-aided matching method. The result is the highest possible correlation over the whole frequency range and virtually identical sensitivity for stunning, three-dimensional recordings.\n\nThe matched pairs consist of two microphones that are within 1 dB to each other in sensitivity and also within 1 dB to each other in the range of 300 Hz to 8,000 Hz of the individual frequency response when used in cardioid mode. The microphones are selected from a large quantity of individual microphones according to the described criteria by using a proprietary computer program.\n\nUsing this matched pair for stereo recordings in various techniques will provide a good and stable balance without frequency-dependent shifting of the stereo panorama.\n\nThe kit includes all the standard accessories of the deluxe package (excluding the PF 80) along with a stereo bar and proof of performance charts in an attractive carrying case (large Soundtool case).'),(327,85,0,55,'AKG C414 XL II/ST Condenser Microphone Pair'),(328,85,1,55,'AKG C414 XL II/ST Condenser Microphone Pair'),(329,76,0,55,''),(330,76,1,55,''),(331,75,0,56,'AKG’s legendary C 414 needs no introduction – it is a tool found in most recording studios and has been used on thousands of hit records; it’s been on stage with artists of every musical genre and is also used by leading broadcast facilities the world over.\n\nFor over 60 years, leading musicians and engineers have used legendary AKG microphones to capture their sound so their audience hears every nuance. The C 414 family has been one of the world’s most widely-used and respected studio and stage microphones in audio history. AKG has continually set new benchmarks for useful features, improved technical specifications and ease of use to answer requests from ever-demanding recording studios, broadcast stations and audio engineers.\n\nThe new models C 414 XLS and C 414 XL II offer nine pickup patterns which enable to choose the perfect setting for every application. For live-sound applications and permanent installations all controls can be disabled easily for trouble-free use. A Peak Hold LED displays even shortest overload peaks.\n\nThe C 414 XLS maintains the sonic character of the legendary C 414 B-ULS, the longest-lived C 414 model. Engineered for highest linearity and neutral sound, it is the most universal and versatile large diaphragm microphone for decades. Widely used for accurate, beautifully detailed pickup of any acoustic instrument the new C 414 XLS combines proven reference quality, leading-edge technology and state-of-the-art components.\n\nThe C 414 comes complete with carrying case, pop filter, windscreen, and spider-type shock mount.'),(332,75,1,56,'AKG’s legendary C 414 needs no introduction – it is a tool found in most recording studios and has been used on thousands of hit records; it’s been on stage with artists of every musical genre and is also used by leading broadcast facilities the world over.\n\nFor over 60 years, leading musicians and engineers have used legendary AKG microphones to capture their sound so their audience hears every nuance. The C 414 family has been one of the world’s most widely-used and respected studio and stage microphones in audio history. AKG has continually set new benchmarks for useful features, improved technical specifications and ease of use to answer requests from ever-demanding recording studios, broadcast stations and audio engineers.\n\nThe new models C 414 XLS and C 414 XL II offer nine pickup patterns which enable to choose the perfect setting for every application. For live-sound applications and permanent installations all controls can be disabled easily for trouble-free use. A Peak Hold LED displays even shortest overload peaks.\n\nThe C 414 XLS maintains the sonic character of the legendary C 414 B-ULS, the longest-lived C 414 model. Engineered for highest linearity and neutral sound, it is the most universal and versatile large diaphragm microphone for decades. Widely used for accurate, beautifully detailed pickup of any acoustic instrument the new C 414 XLS combines proven reference quality, leading-edge technology and state-of-the-art components.\n\nThe C 414 comes complete with carrying case, pop filter, windscreen, and spider-type shock mount.'),(333,85,0,56,'AKG C414 XLS Large-Diaphragm Condenser Microphone'),(334,85,1,56,'AKG C414 XLS Large-Diaphragm Condenser Microphone'),(335,76,0,56,''),(336,76,1,56,''),(337,75,0,57,'Realistic stereo recordings require microphones with outstanding performance and excellent quality. They also require performance consistency and accurate localisation from the pair of microphones. Therefore, every factory-matched pair has been created from thousands of individual microphones selected by AKG\'s sophisticated computer-aided matching method. The result is the highest possible correlation over the whole frequency range and virtually identical sensitivity for stunning, three-dimensional recordings.\n\nThe matched pairs consist of two microphones that are within 1 dB to each other in sensitivity and also within 1 dB to each other in the range of 300 Hz to 8,000 Hz of the individual frequency response when used in cardioid mode. The microphones are selected from a large quantity of individual microphones according to the described criteria by using a proprietary computer program.\n\nUsing this matched pair for stereo recordings in various techniques will provide a good and stable balance without frequency-dependent shifting of the stereo panorama.\n\nThe kit includes all the standard accessories of the deluxe package (excluding the PF 80) along with a stereo bar and proof of performance charts in an attractive carrying case (large Soundtool case).'),(338,75,1,57,'Realistic stereo recordings require microphones with outstanding performance and excellent quality. They also require performance consistency and accurate localisation from the pair of microphones. Therefore, every factory-matched pair has been created from thousands of individual microphones selected by AKG\'s sophisticated computer-aided matching method. The result is the highest possible correlation over the whole frequency range and virtually identical sensitivity for stunning, three-dimensional recordings.\n\nThe matched pairs consist of two microphones that are within 1 dB to each other in sensitivity and also within 1 dB to each other in the range of 300 Hz to 8,000 Hz of the individual frequency response when used in cardioid mode. The microphones are selected from a large quantity of individual microphones according to the described criteria by using a proprietary computer program.\n\nUsing this matched pair for stereo recordings in various techniques will provide a good and stable balance without frequency-dependent shifting of the stereo panorama.\n\nThe kit includes all the standard accessories of the deluxe package (excluding the PF 80) along with a stereo bar and proof of performance charts in an attractive carrying case (large Soundtool case).'),(339,85,0,57,'AKG C414 XLS/ST Condenser Microphone Pair'),(340,85,1,57,'AKG C414 XLS/ST Condenser Microphone Pair'),(341,76,0,57,''),(342,76,1,57,''),(343,75,0,58,'Responding to growing demand, AKG decided to make the C 451 B with the same acoustic performance as the popular original C 451 EB + CK 1, with dramatically improved specifications. Using an extremely light diaphragm, the new C 451 B is almost totally insensitive to handling noise. Other features include an all-metal body for excellent protection from RF interference and high reliability for excellent results under almost all conditions.\n\nThe C 451 B is an excellent tool for accurately capturing signals rich in transients such as drums, instruments with a percussive sound, acoustic guitar, or for overhead miking.\n\nAlso available as a matched stereo pair C 451 B/ST with complete accessories in a carrying case (Soundtool case, middle size).'),(344,75,1,58,'Responding to growing demand, AKG decided to make the C 451 B with the same acoustic performance as the popular original C 451 EB + CK 1, with dramatically improved specifications. Using an extremely light diaphragm, the new C 451 B is almost totally insensitive to handling noise. Other features include an all-metal body for excellent protection from RF interference and high reliability for excellent results under almost all conditions.\n\nThe C 451 B is an excellent tool for accurately capturing signals rich in transients such as drums, instruments with a percussive sound, acoustic guitar, or for overhead miking.\n\nAlso available as a matched stereo pair C 451 B/ST with complete accessories in a carrying case (Soundtool case, middle size).'),(345,85,0,58,'AKG C451 B Small-Diaphragm Condenser Microphone'),(346,85,1,58,'AKG C451 B Small-Diaphragm Condenser Microphone'),(347,76,0,58,''),(348,76,1,58,''),(349,75,0,59,'Matched pair of C 451 B\n\nThe matched pairs consist of two microphones that are within 1 dB to each other in sensitivity and also within 1 dB to each other in the range of 200 Hz to 15,000 Hz of the individual frequency response when used in cardioid mode and are selected from a large quantity of individual microphones using the described criteria by using a proprietary computer program.\n\nUsing this matched pair for stereo recordings utilizing various techniques will provide for a good and stable balance without frequency-dependent shifting of the stereo panorama.\n\nThe kit includes all the standard accessories of the individual package along with a stereo bar and proof of performance charts in an attractive carrying case (Soundtool case, middle size).'),(350,75,1,59,'Matched pair of C 451 B\n\nThe matched pairs consist of two microphones that are within 1 dB to each other in sensitivity and also within 1 dB to each other in the range of 200 Hz to 15,000 Hz of the individual frequency response when used in cardioid mode and are selected from a large quantity of individual microphones using the described criteria by using a proprietary computer program.\n\nUsing this matched pair for stereo recordings utilizing various techniques will provide for a good and stable balance without frequency-dependent shifting of the stereo panorama.\n\nThe kit includes all the standard accessories of the individual package along with a stereo bar and proof of performance charts in an attractive carrying case (Soundtool case, middle size).'),(351,85,0,59,'AKG C451 B/ST Condenser Microphone Pair'),(352,85,1,59,'AKG C451 B/ST Condenser Microphone Pair'),(353,76,0,59,''),(354,76,1,59,''),(355,75,0,60,'AKG KM 210/9 black Tripod is the combination of the popular KM201A/2 and boom KM211/1 boom arm.\nThis model comes in CHROME and BLACK.'),(356,75,1,60,'AKG KM 210/9 black Tripod is the combination of the popular KM201A/2 and boom KM211/1 boom arm.\nThis model comes in CHROME and BLACK.'),(357,85,0,60,'AKG KM 210/9 black Tripod w/ boom'),(358,85,1,60,'AKG KM 210/9 black Tripod w/ boom'),(359,76,0,60,''),(360,76,1,60,''),(361,75,0,61,'The Roominators D108L offers you all the components you need to attack the acoustics of a smaller Project Studio, and gives you a very professional appearance. The 1\' x 1\' panels allow you to spread absorption throughout the room in some fantastic patterns. The D108L is also excellent for smaller Home Theaters and can give you an elegant look that will impress even your non-musical friends. Two D108L Kits may be appropriate for medium-sized studios and home theaters, as well as live rooms and rehearsal spaces.'),(362,75,1,61,'The Roominators D108L offers you all the components you need to attack the acoustics of a smaller Project Studio, and gives you a very professional appearance. The 1\' x 1\' panels allow you to spread absorption throughout the room in some fantastic patterns. The D108L is also excellent for smaller Home Theaters and can give you an elegant look that will impress even your non-musical friends. Two D108L Kits may be appropriate for medium-sized studios and home theaters, as well as live rooms and rehearsal spaces.'),(363,85,0,61,'Auralex Alpha-DST Kit'),(364,85,1,61,'Auralex Alpha-DST Kit'),(365,76,0,61,''),(366,76,1,61,''),(367,75,0,62,'Now you can actually hear (and record) ONLY the source and NOT what\'s bouncing off the walls and ceiling. You\'ll achieve better sound out of your existing equipment and get more enjoyment out of your room!\n\nThe Alpha-DST Kit is designed primarily for rooms with a floor square footage of <100 ft/sq. The shortest room dimension should be 6-8 feet.'),(368,75,1,62,'Now you can actually hear (and record) ONLY the source and NOT what\'s bouncing off the walls and ceiling. You\'ll achieve better sound out of your existing equipment and get more enjoyment out of your room!\n\nThe Alpha-DST Kit is designed primarily for rooms with a floor square footage of <100 ft/sq. The shortest room dimension should be 6-8 feet.'),(369,85,0,62,'Auralex Alpha-DST Kit'),(370,85,1,62,'Auralex Alpha-DST Kit'),(371,76,0,62,''),(372,76,1,62,''),(373,75,0,63,'MAX-Wall™. Auralex offers a wide variety of stand-mounted, interconnecting, expandable, acoustical treatment systems through our MAX-Wall series. MAX-Wall panels are 48\'\' wide by 20\'\' high by 4.25\'\' thick acoustical panels that can be mounted to standard microphone stands. Each panel has a male and a female end-lock that allows interconnectivity between panels. MAX-Stands are included with most MAX-Wall Kits. The stands include extenders that allow you to mount up to four (4) panels on each stand and clamps that allow you to adjust the height of the panels up to roughly eight feet.'),(374,75,1,63,'MAX-Wall™. Auralex offers a wide variety of stand-mounted, interconnecting, expandable, acoustical treatment systems through our MAX-Wall series. MAX-Wall panels are 48\'\' wide by 20\'\' high by 4.25\'\' thick acoustical panels that can be mounted to standard microphone stands. Each panel has a male and a female end-lock that allows interconnectivity between panels. MAX-Stands are included with most MAX-Wall Kits. The stands include extenders that allow you to mount up to four (4) panels on each stand and clamps that allow you to adjust the height of the panels up to roughly eight feet.'),(375,85,0,63,'Auralex MAX-Wall 211 Gobo'),(376,85,1,63,'Auralex MAX-Wall 211 Gobo'),(377,76,0,63,''),(378,76,1,63,''),(379,75,0,64,'MoPADs are affordable, easy to implement and really effective at decoupling your monitors from your room and all its contents. You\'ve gotta get some! Until you do, you\'ll never know what your recordings really sound like.'),(380,75,1,64,'MoPADs are affordable, easy to implement and really effective at decoupling your monitors from your room and all its contents. You\'ve gotta get some! Until you do, you\'ll never know what your recordings really sound like.'),(381,85,0,64,'Auralex MoPad'),(382,85,1,64,'Auralex MoPad'),(383,76,0,64,''),(384,76,1,64,''),(385,75,0,65,'For larger rooms (15\'x20\'x8\' or smaller), the Pro Plus is a one-package solution.  Studiofoam wedge panels help address mid-high frequency reflection, LENRD bass Traps help smooth low frequency response, and T\'Fusors diffuse sound for a wider sweet spot and more natural acoustic control (adhesive included).\n\nThe Pro Plus acoustic sound control kit is designed primarily for rooms with a floor square footage of 250-400 ft/sq. The shortest room dimension should be 12-16 feet.'),(386,75,1,65,'For larger rooms (15\'x20\'x8\' or smaller), the Pro Plus is a one-package solution.  Studiofoam wedge panels help address mid-high frequency reflection, LENRD bass Traps help smooth low frequency response, and T\'Fusors diffuse sound for a wider sweet spot and more natural acoustic control (adhesive included).\n\nThe Pro Plus acoustic sound control kit is designed primarily for rooms with a floor square footage of 250-400 ft/sq. The shortest room dimension should be 12-16 feet.'),(387,85,0,65,'Auralex Alpha-DST Kit'),(388,85,1,65,'Auralex Alpha-DST Kit'),(389,76,0,65,''),(390,76,1,65,''),(391,75,0,66,'<h1>Amphion Amp100 Stereo Amplifier 2 x 100W</h1>\n<i>Amphion’s Amp100 power amp provides distortion-free and background noise-free amplification at its best. It ensures perfect transparency and great musicality for the most accurate mixing and mastering results.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion Amp100 stereo amplifier packs 100W of power per channel and is the ideal companion for Amphion One12, One15 and One18 series of studio monitors. Amp100’s top-shelf electronics and precision manufacturing unlock the best performance from these speakers, revealing all the clarity, depth and consistent output expected from an amplifier with the Amphion name on it.<br /><br />\n<h3>Amphion Amp100 Features</h3>\n<ul>\n	<li>Noisless and distortion-free amplification for optimum transparency and musicality</li>\n	<li>Stable power ensured by Adaptive Modulation Servo Technology.</li>\n	<li>2 x 120W RMS BTL into 6Ω</li><li>2 x 50W RMS into 4Ω</li></ul>'),(392,75,1,66,'<h1>Amphion Amp100 Stereo Amplifier 2 x 100W</h1>\n<i>Amphion’s Amp100 power amp provides distortion-free and background noise-free amplification at its best. It ensures perfect transparency and great musicality for the most accurate mixing and mastering results.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion Amp100 stereo amplifier packs 100W of power per channel and is the ideal companion for Amphion One12, One15 and One18 series of studio monitors. Amp100’s top-shelf electronics and precision manufacturing unlock the best performance from these speakers, revealing all the clarity, depth and consistent output expected from an amplifier with the Amphion name on it.<br /><br />\n<h3>Amphion Amp100 Features</h3>\n<ul>\n	<li>Noisless and distortion-free amplification for optimum transparency and musicality</li>\n	<li>Stable power ensured by Adaptive Modulation Servo Technology.</li>\n	<li>2 x 120W RMS BTL into 6Ω</li><li>2 x 50W RMS into 4Ω</li></ul>'),(393,85,0,66,'Amphion Amp100 Stereo Amplifier 2 x 100W'),(394,85,1,66,'Amphion Amp100 Stereo Amplifier 2 x 100W'),(395,76,0,66,''),(396,76,1,66,''),(397,75,0,67,'<h1>Amphion Amp700 Stereo Amplifier 2 x 700W</h1>\n<i>Amphion’s Amp700 stereo amplifier provides 700W per channel for distortion-free and background noise-free amplification. It ensures perfect transparency and great musicality for the most accurate mixing and mastering results.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion <span style=\"background-color: initial;\">Amp700 delivers rock-solid control and tight, fast, high-resolving power to get maximum performance from your monitors. Amp700 provides 2 x 350 W for 8 ohm, and 2 x 700 W for 4 ohm load, which gives plenty of headroom for the highest level of performance.</span>\n<br /><br />\n	To reach the needed performance level, we developed a buffer-stage, which improved the sonics further by adding a subtle touch of class A sound to D class topology. Three step adjustment (0 dB, -12dB, -24dB) of the amplifiers input sensitivity allows finding suitable settings for each speaker model / application, which makes Amp700 a perfect partner to all Amphion models.\n<br /><br />\n<h3>Amphion Amp700 Features</h3>\n<ul>\n	<li>700W per channel for excellent control and definite resolution across the whole frequency spectrum.</li><li>Added buffer-stage, which improves the sonics further by adding a subtle touch of A-class sound to D-class topology.</li><li>Three-step input sensitivity adjustment (0 dB, -12dB, -24dB) allows finding suitable settings for each speaker model / application.</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">2 x 700W, 4Ω</span></li>\n	<li>2 x 350W, 8Ω</li>\n</ul>'),(398,75,1,67,'<h1>Amphion Amp700 Stereo Amplifier 2 x 700W</h1>\n<i>Amphion’s Amp700 stereo amplifier provides 700W per channel for distortion-free and background noise-free amplification. It ensures perfect transparency and great musicality for the most accurate mixing and mastering results.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion <span style=\"background-color: initial;\">Amp700 delivers rock-solid control and tight, fast, high-resolving power to get maximum performance from your monitors. Amp700 provides 2 x 350 W for 8 ohm, and 2 x 700 W for 4 ohm load, which gives plenty of headroom for the highest level of performance.</span>\n<br /><br />\n	To reach the needed performance level, we developed a buffer-stage, which improved the sonics further by adding a subtle touch of class A sound to D class topology. Three step adjustment (0 dB, -12dB, -24dB) of the amplifiers input sensitivity allows finding suitable settings for each speaker model / application, which makes Amp700 a perfect partner to all Amphion models.\n<br /><br />\n<h3>Amphion Amp700 Features</h3>\n<ul>\n	<li>700W per channel for excellent control and definite resolution across the whole frequency spectrum.</li><li>Added buffer-stage, which improves the sonics further by adding a subtle touch of A-class sound to D-class topology.</li><li>Three-step input sensitivity adjustment (0 dB, -12dB, -24dB) allows finding suitable settings for each speaker model / application.</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">2 x 700W, 4Ω</span></li>\n	<li>2 x 350W, 8Ω</li>\n</ul>'),(399,85,0,67,'Amphion Amp700 Stereo Amplifier'),(400,85,1,67,'Amphion Amp700 Stereo Amplifier'),(401,76,0,67,''),(402,76,1,67,''),(403,75,0,68,'<h1>Amphion BaseOne25 System - BaseOne25 LF Extension Towers with BaseAmp500 Crossover/Amplifier Module</h1>\n<i>Powered subwoofer system with 2 x subwoofer towers and BaseAmp500 amplifier/crossover.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion BaseOne25 bass extension system offers a complete solution to seamlessly transform studio monitors into a true stereo full-range monitoring system. The BaseOne25 extends all the way down to 20Hz while simultaneously improving dynamic range and minimizing distortion by handling most of the heavy-lifting at the low end of the sound spectrum.<br /><br />\n\nThe BaseOne25 is designed to pair with either One18 or Two18 studio monitors, depending on your needs, room size and its acoustics. The bass extension is a perfect fit to a mixing or mastering studio, or even to a music-composing setup.<br /><br />\n\nDriven by Amphion’s meticulously developed BaseAmp500 crossover/amplifier module, the BaseOne25 LF extension towers sit directly under the existing studio monitors. This makes physical integration and phase/time alignment much easier to achieve. Full range/monitor only  -views into your music are available at the touch of a button (or a foot switch).\n<br /><br />\nThe result is a breathtaking 3D soundscape so accurate that you’ll swear the musicians are playing right in front of you … even with your eyes open!\n<br /><br />\n<h3>Amphion BaseOne25 Features</h3>\n<ul>\n	<li>BaseOne25 transforms studio monitors into a true stereo, full-range, monitoring system.</li>\n	<li>Life-like, natural, bass response with perfect phase coherence when paired with Amphion monitors</li>\n	<li>Dual 10” (250mm) aluminum drivers effortlessly delivering solid, full bass as low as 20Hz.</li>\n	\n</ul>'),(404,75,1,68,'<h1>Amphion BaseOne25 System - BaseOne25 LF Extension Towers with BaseAmp500 Crossover/Amplifier Module</h1>\n<i>Powered subwoofer system with 2 x subwoofer towers and BaseAmp500 amplifier/crossover.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion BaseOne25 bass extension system offers a complete solution to seamlessly transform studio monitors into a true stereo full-range monitoring system. The BaseOne25 extends all the way down to 20Hz while simultaneously improving dynamic range and minimizing distortion by handling most of the heavy-lifting at the low end of the sound spectrum.<br /><br />\n\nThe BaseOne25 is designed to pair with either One18 or Two18 studio monitors, depending on your needs, room size and its acoustics. The bass extension is a perfect fit to a mixing or mastering studio, or even to a music-composing setup.<br /><br />\n\nDriven by Amphion’s meticulously developed BaseAmp500 crossover/amplifier module, the BaseOne25 LF extension towers sit directly under the existing studio monitors. This makes physical integration and phase/time alignment much easier to achieve. Full range/monitor only  -views into your music are available at the touch of a button (or a foot switch).\n<br /><br />\nThe result is a breathtaking 3D soundscape so accurate that you’ll swear the musicians are playing right in front of you … even with your eyes open!\n<br /><br />\n<h3>Amphion BaseOne25 Features</h3>\n<ul>\n	<li>BaseOne25 transforms studio monitors into a true stereo, full-range, monitoring system.</li>\n	<li>Life-like, natural, bass response with perfect phase coherence when paired with Amphion monitors</li>\n	<li>Dual 10” (250mm) aluminum drivers effortlessly delivering solid, full bass as low as 20Hz.</li>\n	\n</ul>'),(405,85,0,68,'Amphion BaseOne25 System'),(406,85,1,68,'Amphion BaseOne25 System'),(407,76,0,68,''),(408,76,1,68,''),(409,75,0,69,'<h1>Amphion BaseTwo25 System</h1>\n<span style=\"background-color: initial;\"><i>Powered low-frequency extension system with two </i></span><i><span style=\"background-color: initial;\">BaseTwo25 LF extension towers </span><span style=\"background-color: initial;\"></span></i><span style=\"background-color: initial; font-style: italic;\">and a BaseAmp1200 crossover/</span><span style=\"background-color: initial; font-style: italic;\">amplifier module</span><i><span style=\"background-color: initial;\"><br /></span></i><br />\nThe Amphion BaseTwo25 is a state-of-the-art monitoring solution converting any Amphion two-way studio monitor into a full-range, time and phase coherent, three-way system. These full-range towers extend all the way down to 20Hz. Each BaseTwo25 has 2 x 25 cm woofers (top) and matching 2 x 25 cm radiators (below) mounted in back to back force-canceling mode on both sides of the cabinet. The system is driven by 2 x 900W amplifier, and controlled by Amphion’s signature filtering module with a variable-level attenuator.\n<br /><br />\nBaseTwo25 low-frequency extension system fits equally well in any composing, mixing, or mastering setup, where correct reproduction and appreciation of the lowest octave is critical. Amphion’s innovative approach to low-frequency monitoring provides producers, sound engineers and artists with a completely new perspective to the base.\n<br /><br />\nIn addition to providing tight, tuneful bass, BaseTwo25 improves midrange clarity and increases the midrange power-handling abilities of the paired monitors. This is achieved by gradually transferring the low-end frequencies from the monitors to the base extenders.\n<br /><br />\n<h3>Amphion BaseTwo25 Features</h3>\n<ul>\n	<li>Perfectly integrated time and phase coherent, three-way system, extending all the way down to 20Hz.</li>\n	<li>Extremely robust 25 cm (10”) woofers with matching 25 cm passive radiators mounted in back to back force canceling mode on both sides of the cabinet.</li>\n	<li>Driven by 2 x 900W amplifiers housed in a 2U rack chassis and a stand-alone 1U filtering module with variable-volume control.</li>\n</ul>'),(410,75,1,69,'<h1>Amphion BaseTwo25 System</h1>\n<span style=\"background-color: initial;\"><i>Powered low-frequency extension system with two </i></span><i><span style=\"background-color: initial;\">BaseTwo25 LF extension towers </span><span style=\"background-color: initial;\"></span></i><span style=\"background-color: initial; font-style: italic;\">and a BaseAmp1200 crossover/</span><span style=\"background-color: initial; font-style: italic;\">amplifier module</span><i><span style=\"background-color: initial;\"><br /></span></i><br />\nThe Amphion BaseTwo25 is a state-of-the-art monitoring solution converting any Amphion two-way studio monitor into a full-range, time and phase coherent, three-way system. These full-range towers extend all the way down to 20Hz. Each BaseTwo25 has 2 x 25 cm woofers (top) and matching 2 x 25 cm radiators (below) mounted in back to back force-canceling mode on both sides of the cabinet. The system is driven by 2 x 900W amplifier, and controlled by Amphion’s signature filtering module with a variable-level attenuator.\n<br /><br />\nBaseTwo25 low-frequency extension system fits equally well in any composing, mixing, or mastering setup, where correct reproduction and appreciation of the lowest octave is critical. Amphion’s innovative approach to low-frequency monitoring provides producers, sound engineers and artists with a completely new perspective to the base.\n<br /><br />\nIn addition to providing tight, tuneful bass, BaseTwo25 improves midrange clarity and increases the midrange power-handling abilities of the paired monitors. This is achieved by gradually transferring the low-end frequencies from the monitors to the base extenders.\n<br /><br />\n<h3>Amphion BaseTwo25 Features</h3>\n<ul>\n	<li>Perfectly integrated time and phase coherent, three-way system, extending all the way down to 20Hz.</li>\n	<li>Extremely robust 25 cm (10”) woofers with matching 25 cm passive radiators mounted in back to back force canceling mode on both sides of the cabinet.</li>\n	<li>Driven by 2 x 900W amplifiers housed in a 2U rack chassis and a stand-alone 1U filtering module with variable-volume control.</li>\n</ul>'),(411,85,0,69,'Amphion BaseTwo25 System'),(412,85,1,69,'Amphion BaseTwo25 System'),(413,76,0,69,''),(414,76,1,69,''),(415,75,0,70,'<h1>Amphion FlexBase25 System - FlexBase LF Extension Tower with FlexAmp700</h1>\n<span style=\"background-color: initial;\"><i>Stereo bass-extension and management system with a separate LFE-channel input and a 700W amplifier<br /></i></span><br />\n<p>The Amphion FlexBase is a single box, stereo subwoofer, which is placed in the center line between the main speakers. Wide adjustment possibilities over crossover frequency (35-260 Hz), subwoofer level, as well as the mono-stereo spread, allow FlexBase to address the needs of a rapidly changing landscape of modern music-making. With a turn of a few dials, the system can be adapted to what best works for the project an engineer is working on.</p><p>\n	FlexBase can be fat, fun, and vibey when writing and producing. It will be precise, correct, and analytical when putting the finishing touches on a song or a film score. The system will allow you to continue to use your monitors for a narrower midrange view, as FlexBase can be bypassed. FlexBase works with all Amphion products. Pair it with One12, One15, Two15 or One18 for a smaller room full range system or place it with behind the console while keeping your One18, Two15 or Two18 on the meter bridge.\n</p><p>\n\nA single mono subwoofer is part of a movie format, but Amphion does not believe it is good enough to be used in music production. In music, it is necessary to keep the stereo information throughout the whole frequency band. Amphion’s FlexBase25 presents you with an unconventional approach to subwoofer design that should fit especially well with the rapidly changing landscape of modern music-making and will satisfy even the most demanding producers or sound engineers.\n</p>\n<h3>Amphion FlexBase25 Features</h3>\n<ul>\n	<li>Variable crossover frequency allows changing the flavor of the system to match the specifics of the various production tasks.</li>\n	<li>Mono/stereo spread adjustment to ensure precise system-integration, even when higher crossover points are used.</li>\n	<li>Fast and simple-to-set-up, easily adapting to a large variety of projects and acoustic environments.</li>\n</ul>'),(416,75,1,70,'<h1>Amphion FlexBase25 System - FlexBase LF Extension Tower with FlexAmp700</h1>\n<span style=\"background-color: initial;\"><i>Stereo bass-extension and management system with a separate LFE-channel input and a 700W amplifier<br /></i></span><br />\n<p>The Amphion FlexBase is a single box, stereo subwoofer, which is placed in the center line between the main speakers. Wide adjustment possibilities over crossover frequency (35-260 Hz), subwoofer level, as well as the mono-stereo spread, allow FlexBase to address the needs of a rapidly changing landscape of modern music-making. With a turn of a few dials, the system can be adapted to what best works for the project an engineer is working on.</p><p>\n	FlexBase can be fat, fun, and vibey when writing and producing. It will be precise, correct, and analytical when putting the finishing touches on a song or a film score. The system will allow you to continue to use your monitors for a narrower midrange view, as FlexBase can be bypassed. FlexBase works with all Amphion products. Pair it with One12, One15, Two15 or One18 for a smaller room full range system or place it with behind the console while keeping your One18, Two15 or Two18 on the meter bridge.\n</p><p>\n\nA single mono subwoofer is part of a movie format, but Amphion does not believe it is good enough to be used in music production. In music, it is necessary to keep the stereo information throughout the whole frequency band. Amphion’s FlexBase25 presents you with an unconventional approach to subwoofer design that should fit especially well with the rapidly changing landscape of modern music-making and will satisfy even the most demanding producers or sound engineers.\n</p>\n<h3>Amphion FlexBase25 Features</h3>\n<ul>\n	<li>Variable crossover frequency allows changing the flavor of the system to match the specifics of the various production tasks.</li>\n	<li>Mono/stereo spread adjustment to ensure precise system-integration, even when higher crossover points are used.</li>\n	<li>Fast and simple-to-set-up, easily adapting to a large variety of projects and acoustic environments.</li>\n</ul>'),(417,85,0,70,'Amphion FlexBase25 System'),(418,85,1,70,'Amphion FlexBase25 System'),(419,76,0,70,''),(420,76,1,70,''),(421,75,0,71,'<h1>Amphion MobileOne12 Studio Monitor System - One12 Studio Monitors, Amp100 Mono Amplifiers, and Speaker Cables in a Wooden Travel Case</h1>\n<span style=\"background-color: initial;\"><i>A high-quality portable monitoring kit housed in a rugged wooden travel case, so you can take the superior sound of your Amphion monitors with you on the road.<br /></i></span><br />\nThe Amphion MobileOne12 allows audio engineers and producers to take the Amphion sound with them anywhere they go.\n<br /><br />\nThe portable system features the compact One12 studio monitors along with a pair of Amp100 monoblock amplifiers and Amphion’s professional grade speaker cables – all housed in a sturdy wooden travel case padded to ensure easy and safe transportation.\n<br /><br />\nThe One12 studio monitors provide a stunning translation to much bigger mixing and mastering studio systems, home audio setups and even large PA systems. Many other monitors fall apart at low listening volume, but One12 sounds equally well at any volume. This allows them to be used in any acoustic environment, being a studio or a hotel room, while keeping it out of the equation.\n<br /><br />\nMobileOne12 makes a perfect fit for artists and producers on-the-go who strive to keep the sound quality of their production. The system makes also a good fit to home studios, small post-production edit bays, mobile trucks or FOH where space is a precious commodity.\n<br /><br />\n<h3>Amphion MobileOne12 Features</h3>\n<ul>\n	<li>Handy portability, offering studio-quality monitoring in any remote-from-studio location.</li>\n	<li>Standalone 2nd reference set solution for engineers|producers, or creative tool for composers.</li>\n	<li>Developed to fit the home studio, edit bay, FOH, mobile truck where space is at a premium.</li>\n	\n</ul>'),(422,75,1,71,'<h1>Amphion MobileOne12 Studio Monitor System - One12 Studio Monitors, Amp100 Mono Amplifiers, and Speaker Cables in a Wooden Travel Case</h1>\n<span style=\"background-color: initial;\"><i>A high-quality portable monitoring kit housed in a rugged wooden travel case, so you can take the superior sound of your Amphion monitors with you on the road.<br /></i></span><br />\nThe Amphion MobileOne12 allows audio engineers and producers to take the Amphion sound with them anywhere they go.\n<br /><br />\nThe portable system features the compact One12 studio monitors along with a pair of Amp100 monoblock amplifiers and Amphion’s professional grade speaker cables – all housed in a sturdy wooden travel case padded to ensure easy and safe transportation.\n<br /><br />\nThe One12 studio monitors provide a stunning translation to much bigger mixing and mastering studio systems, home audio setups and even large PA systems. Many other monitors fall apart at low listening volume, but One12 sounds equally well at any volume. This allows them to be used in any acoustic environment, being a studio or a hotel room, while keeping it out of the equation.\n<br /><br />\nMobileOne12 makes a perfect fit for artists and producers on-the-go who strive to keep the sound quality of their production. The system makes also a good fit to home studios, small post-production edit bays, mobile trucks or FOH where space is a precious commodity.\n<br /><br />\n<h3>Amphion MobileOne12 Features</h3>\n<ul>\n	<li>Handy portability, offering studio-quality monitoring in any remote-from-studio location.</li>\n	<li>Standalone 2nd reference set solution for engineers|producers, or creative tool for composers.</li>\n	<li>Developed to fit the home studio, edit bay, FOH, mobile truck where space is at a premium.</li>\n	\n</ul>'),(423,85,0,71,'Amphion MobileOne12'),(424,85,1,71,'Amphion MobileOne12'),(425,76,0,71,''),(426,76,1,71,''),(427,75,0,72,'<h1>Amphion One12 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Ultra compact near-field monitor with excellent resolution, imaging and sweet-spot width in a small but powerful package</i><br /><br />\nThe Amphion One12 studio monitor is a compact 2-way passive studio monitor that utilizes a 1″ (25mm) titanium dome tweeter set in a Corian waveguide. The tweeter is meticulously aligned with a 4.5” (115mm) woofer, delivering surprisingly tight and even lows for speakers with such a small footprint. This approach, together with a very low crossover at 1600 Hz, ensures a rock-solid “phantom” center image, exceptional time and phase coherence, spectacular 3D soundstage and imaging, and an extremely wide and deep sweet spot.<br /><br />\nThese small One12 monitors provide an amazingly correct translation to much bigger mixing and mastering studio systems, home audio setups, or even large PA systems. Many other monitors fall apart at low listening volume, but the One12 sounds equally solid at any volume.<br /><br />\nThe One12 monitors are a perfect fit for home studios, small post-production edit bays, mobile trucks, or FOH where space is a precious commodity. Designed for any pro audio application, in the studio, or on-the-go, these extreme-nearfields take the room out of the equation and allow you to listen to the pure music – and not affected by the surrounding acoustics. One12 studio monitors are like a large pair of high-resolution headphones which are very comfortable to wear all day long but also allow sharing the experience with the whole production team.<br /><br />\n<h3>Amphion One12 Features</h3>\n<ul>\n	<li>First-class resolution, imaging, sweet spot width, and depth in a small but powerful package</li>\n	<li>Compact studio monitors that are created for low-volume performance and superb imaging</li>\n	<li>Translation at its best – from bedroom studios to commercial studios to PA monitoring</li><li>Handmade in Finland by Amphion</li>\n	\n</ul>\n<br />'),(428,75,1,72,'<h1>Amphion One12 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Ultra compact near-field monitor with excellent resolution, imaging and sweet-spot width in a small but powerful package</i><br /><br />\nThe Amphion One12 studio monitor is a compact 2-way passive studio monitor that utilizes a 1″ (25mm) titanium dome tweeter set in a Corian waveguide. The tweeter is meticulously aligned with a 4.5” (115mm) woofer, delivering surprisingly tight and even lows for speakers with such a small footprint. This approach, together with a very low crossover at 1600 Hz, ensures a rock-solid “phantom” center image, exceptional time and phase coherence, spectacular 3D soundstage and imaging, and an extremely wide and deep sweet spot.<br /><br />\nThese small One12 monitors provide an amazingly correct translation to much bigger mixing and mastering studio systems, home audio setups, or even large PA systems. Many other monitors fall apart at low listening volume, but the One12 sounds equally solid at any volume.<br /><br />\nThe One12 monitors are a perfect fit for home studios, small post-production edit bays, mobile trucks, or FOH where space is a precious commodity. Designed for any pro audio application, in the studio, or on-the-go, these extreme-nearfields take the room out of the equation and allow you to listen to the pure music – and not affected by the surrounding acoustics. One12 studio monitors are like a large pair of high-resolution headphones which are very comfortable to wear all day long but also allow sharing the experience with the whole production team.<br /><br />\n<h3>Amphion One12 Features</h3>\n<ul>\n	<li>First-class resolution, imaging, sweet spot width, and depth in a small but powerful package</li>\n	<li>Compact studio monitors that are created for low-volume performance and superb imaging</li>\n	<li>Translation at its best – from bedroom studios to commercial studios to PA monitoring</li><li>Handmade in Finland by Amphion</li>\n	\n</ul>\n<br />'),(429,85,0,72,'Amphion One12 Passive Nearfield Studio Monitor'),(430,85,1,72,'Amphion One12 Passive Nearfield Studio Monitor'),(431,76,0,72,''),(432,76,1,72,''),(433,75,0,73,'<h1>Amphion One15 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Ultra compact near-field monitor with excellent resolution, imaging and sweet-spot width in a small but powerful package</i><br /><br />\nThe Amphion One15 studio monitors are pure and authentic across the whole frequency spectrum. They offer an impressive stereo image, keeping the accurate balance even at low listening levels. These monitors translate perfectly to any other playback system, saving you time from additional checks and amendments.\n<br /><br />\nBe it for tracking, mixing or mastering, One15 studio monitors are the optimum affordable nearfield monitors. Providing clear and transparent mids, smooth highs, and an incredibly honest bass response, the One15 can easily fit in any musician’s set up, even in those, demanding extra clarity in the low-frequency spectrum.\n<br /><br />\nAny pro-monitoring setup could benefit from Amphion One15s. These high-end passive monitors employ custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound needed to make critical mixing decisions.\n<br /><br />\nEvery tool a sound engineer or producer uses, either helps to make the final product better or allows working quicker. But with the One15 studio monitors, you can do both. Make better decisions faster no matter if you are composing, tracking or mixing. The One15 nearfield monitors are equally suited to the commercial or home studio environment.<br /><br />\n<h3>Amphion One15 Features</h3>\n<ul>\n	<li>Compact nearfield monitor with all the power for any monitoring situation or setup</li><li>Powerful ability to resolve sonic details combined with an incredible neutral tonal balance</li><li>Delivers trustworthy and transparent translation in an affordable nearfield package</li><li>Handmade in Finland by Amphion</li>\n</ul>\n<br />'),(434,75,1,73,'<h1>Amphion One15 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Ultra compact near-field monitor with excellent resolution, imaging and sweet-spot width in a small but powerful package</i><br /><br />\nThe Amphion One15 studio monitors are pure and authentic across the whole frequency spectrum. They offer an impressive stereo image, keeping the accurate balance even at low listening levels. These monitors translate perfectly to any other playback system, saving you time from additional checks and amendments.\n<br /><br />\nBe it for tracking, mixing or mastering, One15 studio monitors are the optimum affordable nearfield monitors. Providing clear and transparent mids, smooth highs, and an incredibly honest bass response, the One15 can easily fit in any musician’s set up, even in those, demanding extra clarity in the low-frequency spectrum.\n<br /><br />\nAny pro-monitoring setup could benefit from Amphion One15s. These high-end passive monitors employ custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound needed to make critical mixing decisions.\n<br /><br />\nEvery tool a sound engineer or producer uses, either helps to make the final product better or allows working quicker. But with the One15 studio monitors, you can do both. Make better decisions faster no matter if you are composing, tracking or mixing. The One15 nearfield monitors are equally suited to the commercial or home studio environment.<br /><br />\n<h3>Amphion One15 Features</h3>\n<ul>\n	<li>Compact nearfield monitor with all the power for any monitoring situation or setup</li><li>Powerful ability to resolve sonic details combined with an incredible neutral tonal balance</li><li>Delivers trustworthy and transparent translation in an affordable nearfield package</li><li>Handmade in Finland by Amphion</li>\n</ul>\n<br />'),(435,85,0,73,'Amphion One15 Passive Nearfield Studio Monitor'),(436,85,1,73,'Amphion One15 Passive Nearfield Studio Monitor'),(437,76,0,73,''),(438,76,1,73,''),(439,75,0,74,'<h1>Amphion One18 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Compact 2-Way near-field monitor with excellent resolution, imaging and sweet-spot width delivering unparalleled sonic clarity and sound image</i><br /><br />\nThe Amphion One18 studio monitors offer a wide sweet spot and pinpoint-accurate imaged sound. This allows for fast and accurate creative decisions. Whether you are writing music, recording, or mixing, the One18 loudspeakers can be your creative weapon-of-choice. Thanks to their natural tone and balanced frequency response you can enjoy 12-hour-long sessions, with no ear fatigue.\n<br /><br />\nExtremely detailed but not bright or harsh, the One18 studio monitors allow you to achieve great results quicker and without any doubt. Their perfect translation to any other listening system or environment brings no surprises when auditioning your work outside of your studio.\n<br /><br />\nWhile being remarkably accurate, One18 monitors are strikingly musical and able to translate not only the finest mixing details but also the most delicate acoustic emotions. This results in an effective and deeply enjoyable music-creating process.\n<br /><br />\nThe Amphion One18 studio monitor offers premium performance for critical monitoring sessions. These high-end passive monitors employ a custom-designed 6.5″ (180mm) woofer, a fast-response titanium tweeter, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound you need to make critical mixing decisions.<br /><br />\n<h3>Amphion One18 Features</h3>\n<ul>\n	<li>The new studio-standard for nearfield monitors delivering an exquisite sonic performance</li><li>The One18s Cost-Performance alone make these a vital addition to any studio – large or small</li><li>This muscular monitor workhorse produces unparalleled sonic clarity and sound image</li><li>Handmade in Finland by Amphion</li>\n</ul>\n<br />'),(440,75,1,74,'<h1>Amphion One18 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Compact 2-Way near-field monitor with excellent resolution, imaging and sweet-spot width delivering unparalleled sonic clarity and sound image</i><br /><br />\nThe Amphion One18 studio monitors offer a wide sweet spot and pinpoint-accurate imaged sound. This allows for fast and accurate creative decisions. Whether you are writing music, recording, or mixing, the One18 loudspeakers can be your creative weapon-of-choice. Thanks to their natural tone and balanced frequency response you can enjoy 12-hour-long sessions, with no ear fatigue.\n<br /><br />\nExtremely detailed but not bright or harsh, the One18 studio monitors allow you to achieve great results quicker and without any doubt. Their perfect translation to any other listening system or environment brings no surprises when auditioning your work outside of your studio.\n<br /><br />\nWhile being remarkably accurate, One18 monitors are strikingly musical and able to translate not only the finest mixing details but also the most delicate acoustic emotions. This results in an effective and deeply enjoyable music-creating process.\n<br /><br />\nThe Amphion One18 studio monitor offers premium performance for critical monitoring sessions. These high-end passive monitors employ a custom-designed 6.5″ (180mm) woofer, a fast-response titanium tweeter, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound you need to make critical mixing decisions.<br /><br />\n<h3>Amphion One18 Features</h3>\n<ul>\n	<li>The new studio-standard for nearfield monitors delivering an exquisite sonic performance</li><li>The One18s Cost-Performance alone make these a vital addition to any studio – large or small</li><li>This muscular monitor workhorse produces unparalleled sonic clarity and sound image</li><li>Handmade in Finland by Amphion</li>\n</ul>\n<br />'),(441,85,0,74,'Amphion One18 Passive Nearfield Studio Monitor'),(442,85,1,74,'Amphion One18 Passive Nearfield Studio Monitor'),(443,76,0,74,''),(444,76,1,74,''),(445,75,0,75,'<h1>Amphion One18 <span style=\"letter-spacing: -0.02em;\">+ Amp100</span><span style=\"letter-spacing: -0.02em;\"> Studio Monitor Bundle </span></h1>\n<span style=\"font-size: 18px;\"><i>Passive Amphion studio monitoring system featuring a pair of One18 monitors and Amp100 stereo monitor to deliver natural, transparent, un-hyped sound. </i><span style=\"background-color: initial;\"><i>Add optional </i></span><a href=\"https://www.rspeaudio.com/Amphion-Speaker-Cable-p/amphion-speaker-cable.htm\">Amphion Speaker cables</a></span><span style=\"background-color: initial;\"><i><span style=\"font-size: 18px;\"> to complete the system.</span></i></span><div><br />\nThe Amphion One18 studio monitors offer a wide sweet spot and pinpoint-accurate imaged sound. This allows for fast and accurate creative decisions. Whether you are writing music, recording, or mixing, the One18 loudspeakers can be your creative weapon-of-choice. Thanks to their natural tone and balanced frequency response you can enjoy 12-hour-long sessions, with no ear fatigue.\n<br /><br />\nExtremely detailed but not bright or harsh, the One18 studio monitors allow you to achieve great results quicker and without any doubt. Their perfect translation to any other listening system or environment brings no surprises when auditioning your work outside of your studio.\n<br /><br />\nWhile being remarkably accurate, One18 monitors are strikingly musical and able to translate not only the finest mixing details but also the most delicate acoustic emotions. This results in an effective and deeply enjoyable music-creating process.\n<br /><br />\nThe Amphion One18 studio monitor offers premium performance for critical monitoring sessions. These high-end passive monitors employ a custom-designed 6.5″ (180mm) woofer, a fast-response titanium tweeter, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound you need to make critical mixing decisions.<br /><br />\n<h3>Amphion One18 Features</h3>\n<ul>\n	<li>The new studio-standard for nearfield monitors delivering an exquisite sonic performance</li><li>The One18s Cost-Performance alone make these a vital addition to any studio – large or small</li><li>This muscular monitor workhorse produces unparalleled sonic clarity and sound image</li><li>Handmade in Finland by Amphion</li>\n</ul>\n<br /></div>'),(446,75,1,75,'<h1>Amphion One18 <span style=\"letter-spacing: -0.02em;\">+ Amp100</span><span style=\"letter-spacing: -0.02em;\"> Studio Monitor Bundle </span></h1>\n<span style=\"font-size: 18px;\"><i>Passive Amphion studio monitoring system featuring a pair of One18 monitors and Amp100 stereo monitor to deliver natural, transparent, un-hyped sound. </i><span style=\"background-color: initial;\"><i>Add optional </i></span><a href=\"https://www.rspeaudio.com/Amphion-Speaker-Cable-p/amphion-speaker-cable.htm\">Amphion Speaker cables</a></span><span style=\"background-color: initial;\"><i><span style=\"font-size: 18px;\"> to complete the system.</span></i></span><div><br />\nThe Amphion One18 studio monitors offer a wide sweet spot and pinpoint-accurate imaged sound. This allows for fast and accurate creative decisions. Whether you are writing music, recording, or mixing, the One18 loudspeakers can be your creative weapon-of-choice. Thanks to their natural tone and balanced frequency response you can enjoy 12-hour-long sessions, with no ear fatigue.\n<br /><br />\nExtremely detailed but not bright or harsh, the One18 studio monitors allow you to achieve great results quicker and without any doubt. Their perfect translation to any other listening system or environment brings no surprises when auditioning your work outside of your studio.\n<br /><br />\nWhile being remarkably accurate, One18 monitors are strikingly musical and able to translate not only the finest mixing details but also the most delicate acoustic emotions. This results in an effective and deeply enjoyable music-creating process.\n<br /><br />\nThe Amphion One18 studio monitor offers premium performance for critical monitoring sessions. These high-end passive monitors employ a custom-designed 6.5″ (180mm) woofer, a fast-response titanium tweeter, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound you need to make critical mixing decisions.<br /><br />\n<h3>Amphion One18 Features</h3>\n<ul>\n	<li>The new studio-standard for nearfield monitors delivering an exquisite sonic performance</li><li>The One18s Cost-Performance alone make these a vital addition to any studio – large or small</li><li>This muscular monitor workhorse produces unparalleled sonic clarity and sound image</li><li>Handmade in Finland by Amphion</li>\n</ul>\n<br /></div>'),(447,85,0,75,'Amphion One18 + Amp100 Studio Monitor Bundle'),(448,85,1,75,'Amphion One18 + Amp100 Studio Monitor Bundle'),(449,76,0,75,''),(450,76,1,75,''),(451,75,0,76,'<h1>Amphion Speaker Cable - Single</h1>\n<i>Complete your Amphion studio monitor system with proprietary Amphion cables. High Quality, custom braided cables featuring silver-coated, copper conductor and chord banana connectors.</i><br /><br />Don\'t let your speaker wire bring down the rest of your system–connect your loudspeakers with high quality Amphion speaker cables. Specially braided silver coated copper conductor and chord banana connectors. Length 2,5 m. In black and orange.<br /><br />\n<h4>Amphion Speaker Cable Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">2.5 m / 8.2 ft (custom lengths available)</span></li><li>Specially braided silver-coated copper conductor</li><li>Chord banana connectors</li><li>Available in orange or black</li>\n</ul>\n<br /><ul>\n</ul>'),(452,75,1,76,'<h1>Amphion Speaker Cable - Single</h1>\n<i>Complete your Amphion studio monitor system with proprietary Amphion cables. High Quality, custom braided cables featuring silver-coated, copper conductor and chord banana connectors.</i><br /><br />Don\'t let your speaker wire bring down the rest of your system–connect your loudspeakers with high quality Amphion speaker cables. Specially braided silver coated copper conductor and chord banana connectors. Length 2,5 m. In black and orange.<br /><br />\n<h4>Amphion Speaker Cable Features</h4>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">2.5 m / 8.2 ft (custom lengths available)</span></li><li>Specially braided silver-coated copper conductor</li><li>Chord banana connectors</li><li>Available in orange or black</li>\n</ul>\n<br /><ul>\n</ul>'),(453,85,0,76,'Amphion Speaker Cable - Single'),(454,85,1,76,'Amphion Speaker Cable - Single'),(455,76,0,76,''),(456,76,1,76,''),(457,75,0,77,'<h1>Amphion Two15 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Near-field 2-way monitor with dual 5¼” LF/MF drivers and passive radiators to provide excellent resolution, imaging and sweet-spot width.</i><br /><br />\nThe Amphion Two15 is a passive nearfield monitor with exceptionally low levels of distortion, tonal balance, and neutrality–allowing you to spend more time creating and less time re-mixing. With Amphion Two15 studio monitors you do not need to check your mixes on various other systems anymore. Two15 loudspeakers ensure that your mixes sound identical outside the studio as they do in your own.<br /><br />\nNo matter if you are composing or mixing, Two15 deliver you the musical detail you need in order to make the right creative decision. These speakers are able to draw out the finest spatial details without masking the big picture. Two15 studio monitors present dynamic, frequency and transient content in extreme resolution.\nTwo15 loudspeakers truthfully reproduce the material with all engineering nuances while retaining the musical emotions present and vivid. This allows for highly effective, fast and intuitive work, which still keeps the fun as a part of the process.<br /><br />\nThe dual LF/MF drivers of Two15 studio monitors work together in perfect phase alignment to reproduce a wide sonic range with exceptional accuracy. These high-end passive speakers employ custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound you need to make critical mixing decisions.\n<br /><br />\n<h3>Amphion Two15 Features</h3>\n<ul>\n	<li>Two15s are celebrated for their exceptionally low levels of distortion, tonal balance, neutrality</li>\n	<li>Two15s remain, for many composers and producers, the creative tool-of-choice in the studio</li>\n	<li>For mix/mastering engineers requiring bass without hype and no room/desire for subwoofers</li><li>Handmade in Finland by Amphion</li>\n	\n</ul>\n<br />'),(458,75,1,77,'<h1>Amphion Two15 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Near-field 2-way monitor with dual 5¼” LF/MF drivers and passive radiators to provide excellent resolution, imaging and sweet-spot width.</i><br /><br />\nThe Amphion Two15 is a passive nearfield monitor with exceptionally low levels of distortion, tonal balance, and neutrality–allowing you to spend more time creating and less time re-mixing. With Amphion Two15 studio monitors you do not need to check your mixes on various other systems anymore. Two15 loudspeakers ensure that your mixes sound identical outside the studio as they do in your own.<br /><br />\nNo matter if you are composing or mixing, Two15 deliver you the musical detail you need in order to make the right creative decision. These speakers are able to draw out the finest spatial details without masking the big picture. Two15 studio monitors present dynamic, frequency and transient content in extreme resolution.\nTwo15 loudspeakers truthfully reproduce the material with all engineering nuances while retaining the musical emotions present and vivid. This allows for highly effective, fast and intuitive work, which still keeps the fun as a part of the process.<br /><br />\nThe dual LF/MF drivers of Two15 studio monitors work together in perfect phase alignment to reproduce a wide sonic range with exceptional accuracy. These high-end passive speakers employ custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound you need to make critical mixing decisions.\n<br /><br />\n<h3>Amphion Two15 Features</h3>\n<ul>\n	<li>Two15s are celebrated for their exceptionally low levels of distortion, tonal balance, neutrality</li>\n	<li>Two15s remain, for many composers and producers, the creative tool-of-choice in the studio</li>\n	<li>For mix/mastering engineers requiring bass without hype and no room/desire for subwoofers</li><li>Handmade in Finland by Amphion</li>\n	\n</ul>\n<br />'),(459,85,0,77,'Amphion Two15 Passive Nearfield Studio Monitor'),(460,85,1,77,'Amphion Two15 Passive Nearfield Studio Monitor'),(461,76,0,77,''),(462,76,1,77,''),(463,75,0,78,'<h1>Amphion Two18 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Near-field 2-way monitor with dual 6½”  LF/MF drivers and passive radiators to provide </i><span style=\"background-color: initial;\"><i>the natural, transparent, un-hyped sound you </i></span><i style=\"background-color: initial;\">need to make critical mixing decisions.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion Two18 passive studio monitors are the number 1 choice for a number of A-list composers, sound engineers, and producers. The Two18 monitors bring them the confidence that their work will translate accurately to the outside world. These loudspeakers provide a neutral presentation, with a phase-accuracy and imaging that is second to none.\n<br /><br />\nWhether you are composing, tracking, mixing, or mastering, the Two18 studio monitors are the perfect tool to assist you finishing your work both faster as well as achieving premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal tastes, or music genre.\n<br /><br />\nThe Two18 monitor provides very clear definition – particularly space and sonic placement, and even frequency response and dynamic changes. They remain full and sonically constant at lower listening levels, making them ideal for long-haul mix or mastering sessions. The Two18 studio monitors provide exceptionally precise imaging and a wide sweet spot, keeping the sound well-balanced even when you move around the room.\n<br /><br />\nAmphion’s Two18 is a high-end passive monitor that employs custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide sonic range with exceptional accuracy.\n<br /><br />\n<h3>Amphion Two18 Features</h3>\n<ul>\n	<li>Amphion\'s Flagship monitor with 6½”  LF/MF drivers, 1\" titanium tweeter and passive raditors</li>\n	<li>Delivers unsurpassed levels of detail, 3D depth, stereo width, phase/frequency response</li>\n	<li>Delivers consistent mix translation, removing insecurities regarding frequency or end-results</li><li>Handmade in Finland by Amphion</li>\n	\n</ul>\n<br />'),(464,75,1,78,'<h1>Amphion Two18 Passive Nearfield Studio Monitor (Single)</h1>\n<i>Near-field 2-way monitor with dual 6½”  LF/MF drivers and passive radiators to provide </i><span style=\"background-color: initial;\"><i>the natural, transparent, un-hyped sound you </i></span><i style=\"background-color: initial;\">need to make critical mixing decisions.</i><span style=\"background-color: initial;\"><i><br /></i></span><br />\nThe Amphion Two18 passive studio monitors are the number 1 choice for a number of A-list composers, sound engineers, and producers. The Two18 monitors bring them the confidence that their work will translate accurately to the outside world. These loudspeakers provide a neutral presentation, with a phase-accuracy and imaging that is second to none.\n<br /><br />\nWhether you are composing, tracking, mixing, or mastering, the Two18 studio monitors are the perfect tool to assist you finishing your work both faster as well as achieving premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal tastes, or music genre.\n<br /><br />\nThe Two18 monitor provides very clear definition – particularly space and sonic placement, and even frequency response and dynamic changes. They remain full and sonically constant at lower listening levels, making them ideal for long-haul mix or mastering sessions. The Two18 studio monitors provide exceptionally precise imaging and a wide sweet spot, keeping the sound well-balanced even when you move around the room.\n<br /><br />\nAmphion’s Two18 is a high-end passive monitor that employs custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide sonic range with exceptional accuracy.\n<br /><br />\n<h3>Amphion Two18 Features</h3>\n<ul>\n	<li>Amphion\'s Flagship monitor with 6½”  LF/MF drivers, 1\" titanium tweeter and passive raditors</li>\n	<li>Delivers unsurpassed levels of detail, 3D depth, stereo width, phase/frequency response</li>\n	<li>Delivers consistent mix translation, removing insecurities regarding frequency or end-results</li><li>Handmade in Finland by Amphion</li>\n	\n</ul>\n<br />'),(465,85,0,78,'Amphion Two18 Passive Nearfield Studio Monitor'),(466,85,1,78,'Amphion Two18 Passive Nearfield Studio Monitor'),(467,76,0,78,''),(468,76,1,78,''),(469,75,0,79,'<h1>Amphion Two18 + Used Bryston 4BE Studio Monitor Bundle</h1>\n<i><span style=\"font-size: 18px;\">Amphion + Bryston = the perfect pairing. While supplies last, buy a new pair of Amphion Two18 studio monitors and bundle it with a USED Bryston 4BE for only $350 more. Don\'t wait–only one Bryston left!</span></i><br /><br />Bryston Amp comes fully tested and refurbished by Bryston and include a 6-month RSPE Platinum Warranty. Good physical condition and in perfect working order. Add optional <a href=\"https://www.rspeaudio.com/Amphion-Speaker-Cable-p/amphion-speaker-cable.htm\">Amphion Speaker cables</a> to complete the system.<br /><br />\n<h3>Amphion Two18 Studio Monitor</h3>\nThe Amphion Two18 passive studio monitors are the number 1 choice for a number of A-list composers, sound engineers, and producers. The Two18 monitors bring them the confidence that their work will translate accurately to the outside world. These loudspeakers provide a neutral presentation, with a phase-accuracy and imaging that is second to none.\n<br /><br />\nWhether you are composing, tracking, mixing, or mastering, the Two18 studio monitors are the perfect tool to assist you finishing your work both faster as well as achieving premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal tastes, or music genre.\n<br /><br />\nThe Two18 monitor provides very clear definition – particularly space and sonic placement, and even frequency response and dynamic changes. They remain full and sonically constant at lower listening levels, making them ideal for long-haul mix or mastering sessions. The Two18 studio monitors provide exceptionally precise imaging and a wide sweet spot, keeping the sound well-balanced even when you move around the room.\n<br /><br />\nAmphion’s Two18 is a high-end passive monitor that employs custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide sonic range with exceptional accuracy.\n<br /><br />\n<h4>Amphion Two18 Features</h4>\n<ul>\n	<li>Amphion\'s Flagship monitor with 6½”  LF/MF drivers, 1\" titanium tweeter and passive raditors</li>\n	<li>Delivers unsurpassed levels of detail, 3D depth, stereo width, phase/frequency response</li>\n	<li>Delivers consistent mix translation, removing insecurities regarding frequency or end-results</li>\n	<li>Handmade in Finland by Amphion</li>\n</ul>\n<br />\n<h3>Classic Bryston 4BE Stereo Amplifier</h3>\n<div>\n	<i>Coming from one of our top clients, this rare Bryston 4Be amp is the beginning of the NRB series - \"The First of it\'s Kind\".</i>\n<br /><br />\n	At 250w per channel this professional quality amplifier will be able to drive just about any speakers with authority and precision. Bryston is known for making amps equally suitable for home or studio which says a lot about their accuracy and dependability, two of the most important aspects when choosing an amplifier for the recording studio. On the back of the unit are selectors for mono/stereo operation, balanced single ended inputs and ground lift. On the front end there is a power switch, rack handles, rack ears and left/right channel indicator LEDs.\n<br /><br />\n<h4>Bryston 4BE Features:</h4><ul>\n	<li>Solid-state stereo power amplifier</li>\n	<li>Output power: 250W continuous into 8 ohms (24dBW), 400Wpc rms continuous into 4 ohms (23dBW); 800W continuous into 8 ohms in bridged mode (29dBW)</li>\n	<li>Current delivery: 16A continuous, 48A peak, per channel</li>\n	<li>Frequency response: 1Hz–100kHz, ±3dB for 1W output</li>\n	<li>S/N Ratio: hum and noise, 108dB below rated output, 90dB IHF</li>\n	<li>Input sensitivity: 1.4V for 250Wpc into 8 ohms</li>\n	<li>Voltage gain: 30dB. THD+noise: 20Hz–20kHz, 0.01%</li>\n	<li>IM distortion (60Hz+7kHz, 4:1, SMPTE method): less than 0.01% at rated power</li>\n	<li>Damping factor: greater than 500 at 20Hz, at 8 ohms (equivalent to an output impedance of less than 0.016 ohms)</li>\n	<li>Input impedance: 50k ohms unbalanced, 30k ohms balanced</li>\n	<li>Polarity: non-inverting</li>\n</ul></div>'),(470,75,1,79,'<h1>Amphion Two18 + Used Bryston 4BE Studio Monitor Bundle</h1>\n<i><span style=\"font-size: 18px;\">Amphion + Bryston = the perfect pairing. While supplies last, buy a new pair of Amphion Two18 studio monitors and bundle it with a USED Bryston 4BE for only $350 more. Don\'t wait–only one Bryston left!</span></i><br /><br />Bryston Amp comes fully tested and refurbished by Bryston and include a 6-month RSPE Platinum Warranty. Good physical condition and in perfect working order. Add optional <a href=\"https://www.rspeaudio.com/Amphion-Speaker-Cable-p/amphion-speaker-cable.htm\">Amphion Speaker cables</a> to complete the system.<br /><br />\n<h3>Amphion Two18 Studio Monitor</h3>\nThe Amphion Two18 passive studio monitors are the number 1 choice for a number of A-list composers, sound engineers, and producers. The Two18 monitors bring them the confidence that their work will translate accurately to the outside world. These loudspeakers provide a neutral presentation, with a phase-accuracy and imaging that is second to none.\n<br /><br />\nWhether you are composing, tracking, mixing, or mastering, the Two18 studio monitors are the perfect tool to assist you finishing your work both faster as well as achieving premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal tastes, or music genre.\n<br /><br />\nThe Two18 monitor provides very clear definition – particularly space and sonic placement, and even frequency response and dynamic changes. They remain full and sonically constant at lower listening levels, making them ideal for long-haul mix or mastering sessions. The Two18 studio monitors provide exceptionally precise imaging and a wide sweet spot, keeping the sound well-balanced even when you move around the room.\n<br /><br />\nAmphion’s Two18 is a high-end passive monitor that employs custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide sonic range with exceptional accuracy.\n<br /><br />\n<h4>Amphion Two18 Features</h4>\n<ul>\n	<li>Amphion\'s Flagship monitor with 6½”  LF/MF drivers, 1\" titanium tweeter and passive raditors</li>\n	<li>Delivers unsurpassed levels of detail, 3D depth, stereo width, phase/frequency response</li>\n	<li>Delivers consistent mix translation, removing insecurities regarding frequency or end-results</li>\n	<li>Handmade in Finland by Amphion</li>\n</ul>\n<br />\n<h3>Classic Bryston 4BE Stereo Amplifier</h3>\n<div>\n	<i>Coming from one of our top clients, this rare Bryston 4Be amp is the beginning of the NRB series - \"The First of it\'s Kind\".</i>\n<br /><br />\n	At 250w per channel this professional quality amplifier will be able to drive just about any speakers with authority and precision. Bryston is known for making amps equally suitable for home or studio which says a lot about their accuracy and dependability, two of the most important aspects when choosing an amplifier for the recording studio. On the back of the unit are selectors for mono/stereo operation, balanced single ended inputs and ground lift. On the front end there is a power switch, rack handles, rack ears and left/right channel indicator LEDs.\n<br /><br />\n<h4>Bryston 4BE Features:</h4><ul>\n	<li>Solid-state stereo power amplifier</li>\n	<li>Output power: 250W continuous into 8 ohms (24dBW), 400Wpc rms continuous into 4 ohms (23dBW); 800W continuous into 8 ohms in bridged mode (29dBW)</li>\n	<li>Current delivery: 16A continuous, 48A peak, per channel</li>\n	<li>Frequency response: 1Hz–100kHz, ±3dB for 1W output</li>\n	<li>S/N Ratio: hum and noise, 108dB below rated output, 90dB IHF</li>\n	<li>Input sensitivity: 1.4V for 250Wpc into 8 ohms</li>\n	<li>Voltage gain: 30dB. THD+noise: 20Hz–20kHz, 0.01%</li>\n	<li>IM distortion (60Hz+7kHz, 4:1, SMPTE method): less than 0.01% at rated power</li>\n	<li>Damping factor: greater than 500 at 20Hz, at 8 ohms (equivalent to an output impedance of less than 0.016 ohms)</li>\n	<li>Input impedance: 50k ohms unbalanced, 30k ohms balanced</li>\n	<li>Polarity: non-inverting</li>\n</ul></div>'),(471,85,0,79,'Amphion Two18 + Bryston 4BE Studio Monitor Bundle'),(472,85,1,79,'Amphion Two18 + Bryston 4BE Studio Monitor Bundle'),(473,76,0,79,''),(474,76,1,79,''),(475,75,0,80,'<h1>Amphion Two18 + Used Hafler P500 Studio Monitor Bundle</h1>\n<i><span style=\"font-size: 18px;\">While supplies last, buy a new pair of Amphion Two18 studio monitors and bundle it with a USED Hafler for only $150 more. Don\'t wait–only one Hafler amp left!</span></i><br /><br />The Amphion Two18 passive studio monitors are Amphion\'s flagship monitors and feature custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. Pair the Two18s with a used Hafler P500 and you have an unbelievable monitoring system at a great price!<br /><br />\n<h3>Amphion Two18 Studio Monitor</h3>\nThe Amphion Two18 passive studio monitors are the number 1 choice for a number of A-list composers, sound engineers, and producers. The Two18 monitors bring them the confidence that their work will translate accurately to the outside world. These loudspeakers provide a neutral presentation, with a phase-accuracy and imaging that is second to none.\n<br /><br />\nWhether you are composing, tracking, mixing, or mastering, the Two18 studio monitors are the perfect tool to assist you finishing your work both faster as well as achieving premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal tastes, or music genre.\n<br /><br />\nThe Two18 monitor provides very clear definition – particularly space and sonic placement, and even frequency response and dynamic changes. They remain full and sonically constant at lower listening levels, making them ideal for long-haul mix or mastering sessions. The Two18 studio monitors provide exceptionally precise imaging and a wide sweet spot, keeping the sound well-balanced even when you move around the room.\n<br /><br />\nAmphion’s Two18 is a high-end passive monitor that employs custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide sonic range with exceptional accuracy.\n<br /><br />\n<h4>Amphion Two18 Features</h4>\n<ul>\n	<li>Amphion\'s Flagship monitor with 6½”  LF/MF drivers, 1\" titanium tweeter and passive raditors</li>\n	<li>Delivers unsurpassed levels of detail, 3D depth, stereo width, phase/frequency response</li>\n	<li>Delivers consistent mix translation, removing insecurities regarding frequency or end-results</li>\n	<li>Handmade in Finland by Amphion</li>\n</ul>\n<br />\n<h3>Classic Hafler P500 Professional Power Amplifier</h3>\n<div><i>This used amplifier works perfectly, has been fully tested and approved by our technician. Cosmetically it shows signs of it\'s years of hard work. Please see photos for scuffs & wear, as well as some rack rash. Inquire for additional photos.<br /></i><br />The Hafler P500 is a high power two channel audio amplifier intended for professional sound installations of the highest caliber. Its level of performance and reliability have been amply demonstrated in the success of its counterpart in the consumer market, the DH-500, for more than 2 years, and the number of those amplifiers which have been chosen by sound professionals. The P500 adds notable convenience, versatility, and improved serviceability in an even more rugged package. The rated continuous power output from each channel is 400 watts into 4 ohms. The short term continuous power is in excess of 500 watts per channel into 2 ohms. This is more than enough to disable most loudspeakers if improperly applied. Moreover, the conservative rating method Hafler uses, and the design factors which contribute to its excellent sound and superior low impedance drive capabilities, necessitate a word of caution about its peak power potential. Peak power outputs can be more than double continuous ratings. Each channel is capable of delivering more than 20 amps into a short circuit! And, in monophonic applications, the P500 can deliver in excess of 800 watts continuous power into 8 ohms. Such reserves of power must be treated with understanding and utmost care.<br /><br />\n<h4>P500 Specifications:</h4><ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Power output: 255 watts per channel into 8Ω (stereo), 800 watts into 8Ω (mono)</span></li><li>Frequency response: 8Hz to 85kHz</li><li>Total harmonic distortion: 0.025%</li><li>Damping factor: 200</li><li>Input sensitivity: 1.55V</li><li>Signal to noise ratio: 95dB</li><li>Semiconductors: 33 x transistors, 12 x MOSFet, 35 x diodes, 6 x zener diodes, 7 x IC, 6 x LED, 1 x diode bridge</li><li>Dimensions: 7 x 19 x 13 inches</li><li>Weight: 53lbs</li>\n</ul></div>'),(476,75,1,80,'<h1>Amphion Two18 + Used Hafler P500 Studio Monitor Bundle</h1>\n<i><span style=\"font-size: 18px;\">While supplies last, buy a new pair of Amphion Two18 studio monitors and bundle it with a USED Hafler for only $150 more. Don\'t wait–only one Hafler amp left!</span></i><br /><br />The Amphion Two18 passive studio monitors are Amphion\'s flagship monitors and feature custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. Pair the Two18s with a used Hafler P500 and you have an unbelievable monitoring system at a great price!<br /><br />\n<h3>Amphion Two18 Studio Monitor</h3>\nThe Amphion Two18 passive studio monitors are the number 1 choice for a number of A-list composers, sound engineers, and producers. The Two18 monitors bring them the confidence that their work will translate accurately to the outside world. These loudspeakers provide a neutral presentation, with a phase-accuracy and imaging that is second to none.\n<br /><br />\nWhether you are composing, tracking, mixing, or mastering, the Two18 studio monitors are the perfect tool to assist you finishing your work both faster as well as achieving premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal tastes, or music genre.\n<br /><br />\nThe Two18 monitor provides very clear definition – particularly space and sonic placement, and even frequency response and dynamic changes. They remain full and sonically constant at lower listening levels, making them ideal for long-haul mix or mastering sessions. The Two18 studio monitors provide exceptionally precise imaging and a wide sweet spot, keeping the sound well-balanced even when you move around the room.\n<br /><br />\nAmphion’s Two18 is a high-end passive monitor that employs custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide sonic range with exceptional accuracy.\n<br /><br />\n<h4>Amphion Two18 Features</h4>\n<ul>\n	<li>Amphion\'s Flagship monitor with 6½”  LF/MF drivers, 1\" titanium tweeter and passive raditors</li>\n	<li>Delivers unsurpassed levels of detail, 3D depth, stereo width, phase/frequency response</li>\n	<li>Delivers consistent mix translation, removing insecurities regarding frequency or end-results</li>\n	<li>Handmade in Finland by Amphion</li>\n</ul>\n<br />\n<h3>Classic Hafler P500 Professional Power Amplifier</h3>\n<div><i>This used amplifier works perfectly, has been fully tested and approved by our technician. Cosmetically it shows signs of it\'s years of hard work. Please see photos for scuffs & wear, as well as some rack rash. Inquire for additional photos.<br /></i><br />The Hafler P500 is a high power two channel audio amplifier intended for professional sound installations of the highest caliber. Its level of performance and reliability have been amply demonstrated in the success of its counterpart in the consumer market, the DH-500, for more than 2 years, and the number of those amplifiers which have been chosen by sound professionals. The P500 adds notable convenience, versatility, and improved serviceability in an even more rugged package. The rated continuous power output from each channel is 400 watts into 4 ohms. The short term continuous power is in excess of 500 watts per channel into 2 ohms. This is more than enough to disable most loudspeakers if improperly applied. Moreover, the conservative rating method Hafler uses, and the design factors which contribute to its excellent sound and superior low impedance drive capabilities, necessitate a word of caution about its peak power potential. Peak power outputs can be more than double continuous ratings. Each channel is capable of delivering more than 20 amps into a short circuit! And, in monophonic applications, the P500 can deliver in excess of 800 watts continuous power into 8 ohms. Such reserves of power must be treated with understanding and utmost care.<br /><br />\n<h4>P500 Specifications:</h4><ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Power output: 255 watts per channel into 8Ω (stereo), 800 watts into 8Ω (mono)</span></li><li>Frequency response: 8Hz to 85kHz</li><li>Total harmonic distortion: 0.025%</li><li>Damping factor: 200</li><li>Input sensitivity: 1.55V</li><li>Signal to noise ratio: 95dB</li><li>Semiconductors: 33 x transistors, 12 x MOSFet, 35 x diodes, 6 x zener diodes, 7 x IC, 6 x LED, 1 x diode bridge</li><li>Dimensions: 7 x 19 x 13 inches</li><li>Weight: 53lbs</li>\n</ul></div>'),(477,85,0,80,'Amphion Two18 + Used Hafler P500 Studio Monitor Bundle'),(478,85,1,80,'Amphion Two18 + Used Hafler P500 Studio Monitor Bundle'),(479,76,0,80,''),(480,76,1,80,''),(481,75,0,81,'<h1>Antares Auto-Key</h1>\n<i>Auto-Key  allows you to quickly and easily find the key and scale of your music with Automatic Key and Scale Detection</i><br /><br /><div>Antares Auto-Key is an automatic key and scale detection plug-in, designed to enhance your Auto-Tune workflow and save valuable time in the studio.<br /><br /><span style=\"background-color: initial;\">Choosing the correct key and scale for your music is an essential part of effective pitch correction, and Auto-Key makes this quick and easy. It’s also useful for choosing samples and loops that match the key of your project.<br /><br /></span><span style=\"background-color: initial;\">Place Auto-Key on a track to analyze your music in real time, or upload an audio file for faster than real-time analysis. Auto-Key automatically detects and displays the key and scale of your music, as well as the tuning reference frequency. The onscreen keyboard also lights up to show detected pitches.<br /><br /></span><span style=\"background-color: initial;\">Click the “Send to Auto-Tune” button, and compatible versions of Auto-Tune are automatically updated with the correct key and scale settings.<br /><br /></span><span style=\"background-color: initial;\">Even if you already know the key and scale of your music, Auto-Key will streamline your workflow by allowing you to conveniently set the key and scale for multiple instances of Auto-Tune with a single click.</span></div><br />\n\n<h3>Key and Scale Detection</h3><div>Auto-Key makes it quick and easy to find the key and scale of your music. Just place it on an instrument track or master bus and begin playback.<br /><br /><span style=\"background-color: initial;\">Auto-Key will analyze the audio in real time and display the key and scale after a few seconds of playback analysis. You can also upload an audio file to analyze an entire song in seconds.<br /><br /></span><span style=\"background-color: initial;\">In addition to key and scale, Auto-Key also tells you the reference frequency of your music. Most modern music is tuned so that A is equal to 440 Hz, but this is not always the case. If your music or samples are tuned to a different reference frequency, Auto-Key will show you what it is, so you can make the necessary adjustments when applying pitch correction or selecting samples.</span></div>'),(482,75,1,81,'<h1>Antares Auto-Key</h1>\n<i>Auto-Key  allows you to quickly and easily find the key and scale of your music with Automatic Key and Scale Detection</i><br /><br /><div>Antares Auto-Key is an automatic key and scale detection plug-in, designed to enhance your Auto-Tune workflow and save valuable time in the studio.<br /><br /><span style=\"background-color: initial;\">Choosing the correct key and scale for your music is an essential part of effective pitch correction, and Auto-Key makes this quick and easy. It’s also useful for choosing samples and loops that match the key of your project.<br /><br /></span><span style=\"background-color: initial;\">Place Auto-Key on a track to analyze your music in real time, or upload an audio file for faster than real-time analysis. Auto-Key automatically detects and displays the key and scale of your music, as well as the tuning reference frequency. The onscreen keyboard also lights up to show detected pitches.<br /><br /></span><span style=\"background-color: initial;\">Click the “Send to Auto-Tune” button, and compatible versions of Auto-Tune are automatically updated with the correct key and scale settings.<br /><br /></span><span style=\"background-color: initial;\">Even if you already know the key and scale of your music, Auto-Key will streamline your workflow by allowing you to conveniently set the key and scale for multiple instances of Auto-Tune with a single click.</span></div><br />\n\n<h3>Key and Scale Detection</h3><div>Auto-Key makes it quick and easy to find the key and scale of your music. Just place it on an instrument track or master bus and begin playback.<br /><br /><span style=\"background-color: initial;\">Auto-Key will analyze the audio in real time and display the key and scale after a few seconds of playback analysis. You can also upload an audio file to analyze an entire song in seconds.<br /><br /></span><span style=\"background-color: initial;\">In addition to key and scale, Auto-Key also tells you the reference frequency of your music. Most modern music is tuned so that A is equal to 440 Hz, but this is not always the case. If your music or samples are tuned to a different reference frequency, Auto-Key will show you what it is, so you can make the necessary adjustments when applying pitch correction or selecting samples.</span></div>'),(483,85,0,81,'Antares Auto-Key'),(484,85,1,81,'Antares Auto-Key'),(485,76,0,81,''),(486,76,1,81,''),(487,75,0,82,'<h1>Antares Auto-Tune 7 TDM/RTAS</h1>\n<font size=\"3\"><i>The Worldwide Standard in Professional Pitch and Time Correction Software in TDM/RTAS for Pro Tools Legacy Systems</i></font><br /><br />\nAntares Auto-Tune is the industry-standard software for Pitch and Time Correction. Auto-Tune corrects intonation and timing problems in vocals or solo instruments, without distortion or artifacts, while preserving all of the expressive nuance of the original performance – with audio quality so pristine that the only difference between what goes in and what comes out is the intonation and timing. All with a user-interface that is a model of clarity, speed and ease-of-use.\n<br /><br />\nAuto-Tune is used daily by thousands of audio professionals around the world. Whether to save studio and editing time, ease the frustration of endless retakes, or save that otherwise once-in-a-lifetime performance, Auto-Tune is the overwhelming tool of choice.\n<br /><br />\n<h2>Auto-Tune 7 Features</h2>\n<h3>Work in Automatic or Graphical Mode</h3>\nWhether you want to quickly touch up a few questionable notes or meticulously polish every element of a performance using Pro Tools legacy systems, Auto-Tune 7 TDM/RTAS is the perfect solution.<br /><br />\nAuto-Tune 7 TDM/RTAS works in two modes: Automatic Mode, designed to be intuitive for users of all abilities and a more technical Graphical Mode for advanced refining.\n<br /><br />\nFor most common pitch problems, Automatic Mode detects input pitch and instantaneously adjusts it to the closest pitch in a user-specified scale (including major, minor, chromatic and 26 historical and microtonal scales). The Retune Speed control lets you match the retune rate to virtually any performance style as well as create the iconic Auto-Tune Vocal Effect.\n<br /><br />\nFor meticulous pitch and time editing, Graphical Mode displays the performance’s detected pitch envelope and allows you to modify pitch and timing with a variety of easy-to-use graphics tools. This mode gives complete control over the correction or modification of the most elaborate pitch and rhythmic gestures.<br /><br />\n<h3>Integrated Time Correction and Manipulation</h3>\nAuto-Tune 7 TDM/RTAS time control capabilities combine an extremely high-quality time shifting algorithm with an exceedingly intuitive user interface designed to make it quick and easy to correct timing errors or exercise your creative imagination. Its time manipulation functions include the ability to move a point in time within a selected range as well as move a range in time within a larger range. The time functions have their own Undo/Redo controls independent of the pitch correction controls and an Enable button that allows you to instantly switch between your original audio and your time shifted audio.<br /><br />\n\n<h3>Evo™ Voice Processing Technology</h3>\nIn 2008, Auto-Tune EVO introduced Antares’ seriously evolved EVO Voice Processing Technology, setting a new standard in pitch detection, pitch shifting, and formant processing performance. In the intervening years, EVO Voice Processing Technology has been integrated into Antares’ full line of vocal processing tools. With Auto-Tune 7 TDM/RTAS, we are introducing the second generation of EVO Voice Processing Technology, offering even more natural (if you want it to be) pitch shifting and throat modeling over a wider transposition range.<br /><br />'),(488,75,1,82,'<h1>Antares Auto-Tune 7 TDM/RTAS</h1>\n<font size=\"3\"><i>The Worldwide Standard in Professional Pitch and Time Correction Software in TDM/RTAS for Pro Tools Legacy Systems</i></font><br /><br />\nAntares Auto-Tune is the industry-standard software for Pitch and Time Correction. Auto-Tune corrects intonation and timing problems in vocals or solo instruments, without distortion or artifacts, while preserving all of the expressive nuance of the original performance – with audio quality so pristine that the only difference between what goes in and what comes out is the intonation and timing. All with a user-interface that is a model of clarity, speed and ease-of-use.\n<br /><br />\nAuto-Tune is used daily by thousands of audio professionals around the world. Whether to save studio and editing time, ease the frustration of endless retakes, or save that otherwise once-in-a-lifetime performance, Auto-Tune is the overwhelming tool of choice.\n<br /><br />\n<h2>Auto-Tune 7 Features</h2>\n<h3>Work in Automatic or Graphical Mode</h3>\nWhether you want to quickly touch up a few questionable notes or meticulously polish every element of a performance using Pro Tools legacy systems, Auto-Tune 7 TDM/RTAS is the perfect solution.<br /><br />\nAuto-Tune 7 TDM/RTAS works in two modes: Automatic Mode, designed to be intuitive for users of all abilities and a more technical Graphical Mode for advanced refining.\n<br /><br />\nFor most common pitch problems, Automatic Mode detects input pitch and instantaneously adjusts it to the closest pitch in a user-specified scale (including major, minor, chromatic and 26 historical and microtonal scales). The Retune Speed control lets you match the retune rate to virtually any performance style as well as create the iconic Auto-Tune Vocal Effect.\n<br /><br />\nFor meticulous pitch and time editing, Graphical Mode displays the performance’s detected pitch envelope and allows you to modify pitch and timing with a variety of easy-to-use graphics tools. This mode gives complete control over the correction or modification of the most elaborate pitch and rhythmic gestures.<br /><br />\n<h3>Integrated Time Correction and Manipulation</h3>\nAuto-Tune 7 TDM/RTAS time control capabilities combine an extremely high-quality time shifting algorithm with an exceedingly intuitive user interface designed to make it quick and easy to correct timing errors or exercise your creative imagination. Its time manipulation functions include the ability to move a point in time within a selected range as well as move a range in time within a larger range. The time functions have their own Undo/Redo controls independent of the pitch correction controls and an Enable button that allows you to instantly switch between your original audio and your time shifted audio.<br /><br />\n\n<h3>Evo™ Voice Processing Technology</h3>\nIn 2008, Auto-Tune EVO introduced Antares’ seriously evolved EVO Voice Processing Technology, setting a new standard in pitch detection, pitch shifting, and formant processing performance. In the intervening years, EVO Voice Processing Technology has been integrated into Antares’ full line of vocal processing tools. With Auto-Tune 7 TDM/RTAS, we are introducing the second generation of EVO Voice Processing Technology, offering even more natural (if you want it to be) pitch shifting and throat modeling over a wider transposition range.<br /><br />'),(489,85,0,82,'Antares Auto-Tune 7'),(490,85,1,82,'Antares Auto-Tune 7'),(491,76,0,82,''),(492,76,1,82,''),(493,75,0,83,'<h1>Antares Auto-Tune Access</h1>\n<i>The Easiest and Most Affordable Way to Access the Essential Auto-Tune Features</i><br /><br />\n\nAuto-Tune Access is the easiest and most affordable way to start using Auto-Tune. It delivers the core Auto-Tune features with a simple and intuitive interface.\n<br /><br />\nIts light CPU footprint and professional quality processing also make it a convenient option for more advanced users working with larger projects.\n<br /><br />\nThree-position Retune Speed and Humanize knobs allow for a variety of tuning applications, from subtle and natural-sounding pitch correction to the most extreme Auto-Tune Effect.\n<br /><br />\nLow latency processing lets you perform through Auto-Tune Access in real time on stage or in the studio, without worrying about distracting delay.\n<br /><br />\nCompatibility with Auto-Key (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune Access with a single click.\n<br /><br />\n\n<h3>Pitch Correction and Auto-Tune Effect</h3>\nAuto-Tune Access delivers the same core Auto-Tune technology that professional artists and producers have relied on for years, in a more affordable and easy-to-use package.\nRetune Speed and Humanize controls allow you to choose the desired effect for your track. Turn up Humanize for a more natural sound, or crank the Retune Speed for the full Auto-Tune Effect.<br /><br />\n\n\n<h3>Low Latency</h3>\nThanks to its low latency processing you can sing or play through Auto-Tune Access and listen to your tuned performance in real time, without distracting delay.<br /><br />\n\n<h3>Auto-Key Compatibility</h3>\nChoosing the correct key and scale for your music is an essential part of effective pitch correction. Auto-Tune Access works with the Auto-Key plug-in (sold separately) to make this quick and easy.<br /><br />\nJust place Auto-Key on an instrumental or master track, and it will determine the correct key and scale. Then send that information to Auto-Tune Access with a single click.<br /><br />'),(494,75,1,83,'<h1>Antares Auto-Tune Access</h1>\n<i>The Easiest and Most Affordable Way to Access the Essential Auto-Tune Features</i><br /><br />\n\nAuto-Tune Access is the easiest and most affordable way to start using Auto-Tune. It delivers the core Auto-Tune features with a simple and intuitive interface.\n<br /><br />\nIts light CPU footprint and professional quality processing also make it a convenient option for more advanced users working with larger projects.\n<br /><br />\nThree-position Retune Speed and Humanize knobs allow for a variety of tuning applications, from subtle and natural-sounding pitch correction to the most extreme Auto-Tune Effect.\n<br /><br />\nLow latency processing lets you perform through Auto-Tune Access in real time on stage or in the studio, without worrying about distracting delay.\n<br /><br />\nCompatibility with Auto-Key (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune Access with a single click.\n<br /><br />\n\n<h3>Pitch Correction and Auto-Tune Effect</h3>\nAuto-Tune Access delivers the same core Auto-Tune technology that professional artists and producers have relied on for years, in a more affordable and easy-to-use package.\nRetune Speed and Humanize controls allow you to choose the desired effect for your track. Turn up Humanize for a more natural sound, or crank the Retune Speed for the full Auto-Tune Effect.<br /><br />\n\n\n<h3>Low Latency</h3>\nThanks to its low latency processing you can sing or play through Auto-Tune Access and listen to your tuned performance in real time, without distracting delay.<br /><br />\n\n<h3>Auto-Key Compatibility</h3>\nChoosing the correct key and scale for your music is an essential part of effective pitch correction. Auto-Tune Access works with the Auto-Key plug-in (sold separately) to make this quick and easy.<br /><br />\nJust place Auto-Key on an instrumental or master track, and it will determine the correct key and scale. Then send that information to Auto-Tune Access with a single click.<br /><br />'),(495,85,0,83,'Antares Auto-Tune Access'),(496,85,1,83,'Antares Auto-Tune Access'),(497,76,0,83,''),(498,76,1,83,''),(499,75,0,84,'<h1>Antares Auto-Tune Artist</h1>\n<font size=\"3\"><i>The industry standard for pitch correction and vocal effects – optimized for real-time tracking and live performance</i></font><br /><br />\nAntares Auto-Tune Artist (formerly Auto-Tune Live) is designed to meet the demanding needs of working musicians, producers, and live sound engineers. It includes all of the advanced real-time pitch correction features of Auto-Tune Pro, and is optimized for low latency performance on stage or in the studio.\n<br /><br />\nAuto-Tune Artist is also packed with powerful new features and enhancements, starting with a sleek new interface, redesigned for ease-of-use and optimal workflow. We’ve added Basic and Advanced Views so you can find the tools you need, when you need them.\n<br /><br />\nWe’ve also added Flex-Tune for more natural and transparent pitch correction, Classic Mode for the “Auto-Tune 5 sound,” and Transpose for real-time pitch shifting. Compatibility with the Auto-Key plug-in (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune Artist with a single click.\n<br /><br />\nAuto-Tune Artist also features Humanize to preserve subtle pitch variations on sustained notes, automatic Formant Correction, adjustable Throat Modeling, real-time MIDI Control, and advanced Vibrato Controls.\n<br /><br />\n<h2>Auto-Tune Pro Features</h2>\n<h3>Pitch Correction and the Auto-Tune Effect</h3><div><span style=\"background-color: initial;\">Auto-Tune Artist offers the transparent and natural-sounding pitch correction required for professional quality audio production, and the classic effects that have become a staple of top-charting hits.</span></div><div>Use Flex-Tune and Humanize to bring a vocal perfectly into tune without sacrificing the soul of the performance, or crank the Retune Speed for the legendary Auto-Tune Effect.</div><br />\n<h3>Classic Mode</h3><div>Classic Mode is the return of the celebrated “Auto-Tune 5 sound.” As we’ve added new features to Auto-Tune, the algorithm has evolved, and its sonic qualities have undergone subtle changes, with each Auto-Tune version having its own slightly different character.</div><div>Over the years, the sound of Auto-Tune 5 has developed a strong following among pro audio engineers, musicians and producers. After repeated requests from the professional music-making community, we’ve made the sound of Auto-Tune 5 easily accessible via Classic Mode in Auto-Tune Artist</div><br />\n<h3>Streamlined User Interface</h3><div>Auto-Tune Artist features a sleek, all-new interface, redesigned for ease-of-use and optimal production workflow, with two unique screen views. Basic View gives you convenient access to the most popular Auto-Tune features, and Advanced View unlocks the powerful MIDI, scale editing and vibrato tools.</div><br />\n<h3>Auto-Key Compatibility</h3><div>Auto-Tune Artist is fully compatible with the Auto-Key plug-in (sold separately). Auto-Key is designed to save you countless hours in the studio by automatically detecting the key and scale of your music, and sending that information to Auto-Tune Artist with a single click.</div><div>Even if you already know the key and scale of your tracks, Auto-Key will streamline your workflow by allowing you to conveniently set the Key and Scale parameters for all of your Auto-Tune plugins within the project simultaneously.</div><br />'),(500,75,1,84,'<h1>Antares Auto-Tune Artist</h1>\n<font size=\"3\"><i>The industry standard for pitch correction and vocal effects – optimized for real-time tracking and live performance</i></font><br /><br />\nAntares Auto-Tune Artist (formerly Auto-Tune Live) is designed to meet the demanding needs of working musicians, producers, and live sound engineers. It includes all of the advanced real-time pitch correction features of Auto-Tune Pro, and is optimized for low latency performance on stage or in the studio.\n<br /><br />\nAuto-Tune Artist is also packed with powerful new features and enhancements, starting with a sleek new interface, redesigned for ease-of-use and optimal workflow. We’ve added Basic and Advanced Views so you can find the tools you need, when you need them.\n<br /><br />\nWe’ve also added Flex-Tune for more natural and transparent pitch correction, Classic Mode for the “Auto-Tune 5 sound,” and Transpose for real-time pitch shifting. Compatibility with the Auto-Key plug-in (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune Artist with a single click.\n<br /><br />\nAuto-Tune Artist also features Humanize to preserve subtle pitch variations on sustained notes, automatic Formant Correction, adjustable Throat Modeling, real-time MIDI Control, and advanced Vibrato Controls.\n<br /><br />\n<h2>Auto-Tune Pro Features</h2>\n<h3>Pitch Correction and the Auto-Tune Effect</h3><div><span style=\"background-color: initial;\">Auto-Tune Artist offers the transparent and natural-sounding pitch correction required for professional quality audio production, and the classic effects that have become a staple of top-charting hits.</span></div><div>Use Flex-Tune and Humanize to bring a vocal perfectly into tune without sacrificing the soul of the performance, or crank the Retune Speed for the legendary Auto-Tune Effect.</div><br />\n<h3>Classic Mode</h3><div>Classic Mode is the return of the celebrated “Auto-Tune 5 sound.” As we’ve added new features to Auto-Tune, the algorithm has evolved, and its sonic qualities have undergone subtle changes, with each Auto-Tune version having its own slightly different character.</div><div>Over the years, the sound of Auto-Tune 5 has developed a strong following among pro audio engineers, musicians and producers. After repeated requests from the professional music-making community, we’ve made the sound of Auto-Tune 5 easily accessible via Classic Mode in Auto-Tune Artist</div><br />\n<h3>Streamlined User Interface</h3><div>Auto-Tune Artist features a sleek, all-new interface, redesigned for ease-of-use and optimal production workflow, with two unique screen views. Basic View gives you convenient access to the most popular Auto-Tune features, and Advanced View unlocks the powerful MIDI, scale editing and vibrato tools.</div><br />\n<h3>Auto-Key Compatibility</h3><div>Auto-Tune Artist is fully compatible with the Auto-Key plug-in (sold separately). Auto-Key is designed to save you countless hours in the studio by automatically detecting the key and scale of your music, and sending that information to Auto-Tune Artist with a single click.</div><div>Even if you already know the key and scale of your tracks, Auto-Key will streamline your workflow by allowing you to conveniently set the Key and Scale parameters for all of your Auto-Tune plugins within the project simultaneously.</div><br />'),(501,85,0,84,'Antares Auto-Tune Artist'),(502,85,1,84,'Antares Auto-Tune Artist'),(503,76,0,84,''),(504,76,1,84,''),(505,75,0,85,'<h1>Antares Auto-Tune EFX+</h1>\n<i>Auto-Tune plus over 100 Effects Presets and Auto-Motion in Real-Time.</i><br /><br />\nAntares <span style=\"background-color: initial;\">Auto-Tune EFX+ is a versatile new vocal production tool, which combines the core features of Auto-Tune with the powerful Auto-EFX multi-effects rack, and Auto-Motion pitch-shifting melodic pattern generator.<br /><br /></span><span style=\"background-color: initial;\">It includes professional quality Auto-Tune pitch correction with low latency processing for real-time performance on stage or in the studio.<br /><br /></span><span style=\"background-color: initial;\">Fully adjustable Retune Speed and Humanize parameters let you fine-tune the desired effect for your tracks, from transparent pitch correction to the iconic Auto-Tune Effect.<br /><br /></span><span style=\"background-color: initial;\">And compatibility with Auto-Key (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune EFX+ with a single click.<br /></span><br />\n<h3>Pitch Correction </h3>\n<div>\n	Auto-Tune EFX+ delivers the same industry-standard Auto-Tune technology that professional artists and producers have relied on for years, in an affordable and easy-to-use package.\n	<br /><br /><span style=\"background-color: initial;\">The variable Retune Speed control lets you fine tune the desired effect for your track, from transparent pitch correction to the full Auto-Tune Effect.<br /><br /></span><span style=\"background-color: initial;\">The Humanize function ensures that short notes are effectively corrected while sustained notes preserve their subtle pitch variations for the most natural, realistic pitch correction.</span>\n</div>\n<br />\n<h3>Low Latency</h3>\nThanks to its low latency processing you can sing or play through Auto-Tune EFX+ and listen to your tuned performance in real time, without distracting delay.		\n<br /><br />\n<h3>Auto-EFX: Multi-Effects Rack</h3>\nNew to Auto-Tune EFX+ is an extensive multi-effects rack that opens up a world of creative possibilities, from subtle enhancements to extreme vocal mutations and transformations. It includes six different effects modules, an XY Pad for real-time parameter control, and a library of multi-effect patches designed by industry leading producers, composers, and sound designers: Mike Dean, Jeff Rona, and Richard Devine.\n<br /><br />\n\n<b>Included effects:</b>\n<ul>\n	<li>Pitch and Throat: for real-time pitch shifting and throat modeling</li>\n	<li>Duet: for realistic doubling, with adjustable pitch and timing variation</li>\n	<li>Vocode: for vintage analog vocoder emulations</li>\n	<li>Tube Amp: for analog tube distortion modeling</li>\n	<li>Mutate: for ring modulated audio mutation</li>\n	<li>Filter: a high-pass filter for EQ and special effects</li>\n</ul>\n<br />\n<h3>Auto-Motion: Melodic Pattern Generator</h3>\n<div>\n	The Auto-Motion melodic pattern generator lets you create new melodic patterns and hooks by automatically pitch-shifting your original vocal or instrumental tracks. Included is an extensive library of melodic patterns that intelligently adapt to match the key and tempo of your project.\n</div>\n<div>\n	Auto-Motion has been greatly improved since EFX 3. Patterns can now be automatically triggered in real time when vocal or instrumental input is detected, delivering hands-free operation that makes it easier than ever before to pitch shift and arpeggiate your voice on the fly during live performance.\n	<br /><br />\n	<h3>Auto-Key Compatibility</h3>\n	Choosing the correct key and scale for your music is an essential part of effective pitch correction. Auto-Tune EFX+ works with the Auto-Key plug-in (sold separately) to make this quick and easy.\n	<br /><br />\n	Just place Auto-Key on an instrumental or master track, and it will determine the correct key and scale. Then send that information to Auto-Tune EFX+ with a single click.<br /><br />\n</div>'),(506,75,1,85,'<h1>Antares Auto-Tune EFX+</h1>\n<i>Auto-Tune plus over 100 Effects Presets and Auto-Motion in Real-Time.</i><br /><br />\nAntares <span style=\"background-color: initial;\">Auto-Tune EFX+ is a versatile new vocal production tool, which combines the core features of Auto-Tune with the powerful Auto-EFX multi-effects rack, and Auto-Motion pitch-shifting melodic pattern generator.<br /><br /></span><span style=\"background-color: initial;\">It includes professional quality Auto-Tune pitch correction with low latency processing for real-time performance on stage or in the studio.<br /><br /></span><span style=\"background-color: initial;\">Fully adjustable Retune Speed and Humanize parameters let you fine-tune the desired effect for your tracks, from transparent pitch correction to the iconic Auto-Tune Effect.<br /><br /></span><span style=\"background-color: initial;\">And compatibility with Auto-Key (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune EFX+ with a single click.<br /></span><br />\n<h3>Pitch Correction </h3>\n<div>\n	Auto-Tune EFX+ delivers the same industry-standard Auto-Tune technology that professional artists and producers have relied on for years, in an affordable and easy-to-use package.\n	<br /><br /><span style=\"background-color: initial;\">The variable Retune Speed control lets you fine tune the desired effect for your track, from transparent pitch correction to the full Auto-Tune Effect.<br /><br /></span><span style=\"background-color: initial;\">The Humanize function ensures that short notes are effectively corrected while sustained notes preserve their subtle pitch variations for the most natural, realistic pitch correction.</span>\n</div>\n<br />\n<h3>Low Latency</h3>\nThanks to its low latency processing you can sing or play through Auto-Tune EFX+ and listen to your tuned performance in real time, without distracting delay.		\n<br /><br />\n<h3>Auto-EFX: Multi-Effects Rack</h3>\nNew to Auto-Tune EFX+ is an extensive multi-effects rack that opens up a world of creative possibilities, from subtle enhancements to extreme vocal mutations and transformations. It includes six different effects modules, an XY Pad for real-time parameter control, and a library of multi-effect patches designed by industry leading producers, composers, and sound designers: Mike Dean, Jeff Rona, and Richard Devine.\n<br /><br />\n\n<b>Included effects:</b>\n<ul>\n	<li>Pitch and Throat: for real-time pitch shifting and throat modeling</li>\n	<li>Duet: for realistic doubling, with adjustable pitch and timing variation</li>\n	<li>Vocode: for vintage analog vocoder emulations</li>\n	<li>Tube Amp: for analog tube distortion modeling</li>\n	<li>Mutate: for ring modulated audio mutation</li>\n	<li>Filter: a high-pass filter for EQ and special effects</li>\n</ul>\n<br />\n<h3>Auto-Motion: Melodic Pattern Generator</h3>\n<div>\n	The Auto-Motion melodic pattern generator lets you create new melodic patterns and hooks by automatically pitch-shifting your original vocal or instrumental tracks. Included is an extensive library of melodic patterns that intelligently adapt to match the key and tempo of your project.\n</div>\n<div>\n	Auto-Motion has been greatly improved since EFX 3. Patterns can now be automatically triggered in real time when vocal or instrumental input is detected, delivering hands-free operation that makes it easier than ever before to pitch shift and arpeggiate your voice on the fly during live performance.\n	<br /><br />\n	<h3>Auto-Key Compatibility</h3>\n	Choosing the correct key and scale for your music is an essential part of effective pitch correction. Auto-Tune EFX+ works with the Auto-Key plug-in (sold separately) to make this quick and easy.\n	<br /><br />\n	Just place Auto-Key on an instrumental or master track, and it will determine the correct key and scale. Then send that information to Auto-Tune EFX+ with a single click.<br /><br />\n</div>'),(507,85,0,85,'Antares Auto-Tune EFX+ Plug-in'),(508,85,1,85,'Antares Auto-Tune EFX+ Plug-in'),(509,76,0,85,''),(510,76,1,85,''),(511,75,0,86,'<h1>Antares Auto-Tune Hybrid - For Avid DSP Systems</h1>\n<font size=\"3\"><i>Auto-Tune Hybrid is specially designed for Avid’s Hybrid Engine technology, so you can move seamlessly between DSP and native processing in Pro Tools when recording, editing, and mixing. </i></font><br/><br/>\nAuto-Tune Hybrid is the ultimate real-time tuning solution for Pro Tools and Avid DSP hardware, including Pro Tools | Carbon interfaces, HDX systems, and VENUE | S6L live sound systems. It delivers the professional quality of Auto-Tune pitch correction and vocal effects, optimized for lightning fast, DSP powered performance, and also works on native Pro Tools systems. Record with DSP power for near zero latency monitoring, then switch over to native processing and take your sessions on the road.<br/><br/>\nAuto-Tune Hybrid also includes Classic Mode, delivering the iconic “Auto-Tune 5 sound” that’s essential for modern hip hop production, plus real-time MIDI Control, and advanced Vibrato Controls. Flex-Tune offers more transparent and natural-sounding tuning, and Humanize preserves subtle pitch variations on sustained notes.<br/><br/>\nBasic and Advanced views help you find he tools you need, when you need them. Stick with Basic View for streamlined access to the most commonly used controls, or pop over to Advanced View to unlock powerful MIDI, vibrato, and custom scale features.\n<br/><br/>\nCompatibility with the Auto-Key plug-in (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune Hybrid with a single click, streamlining your workflow and saving valuable time in the studio.<br/><br/>\nWhether performing on stage or tracking real-time in the studio, Auto-Tune Hybrid gives you professional quality tuning and effects, delivered with lightning-fast performance, all without taxing your computer’s CPU.<br/><br/>\n<h3>Auto-Tune Hybrid Features</h3>\n<ul>\n	<li>Exclusively for Pro Tools</li>\n	<li>Optimized for low-latency tracking on Avid DSP hardware, including:	</li>\n	<ul>\n	<li>Carbon interfaces</li>\n	<li>HDX systems</li>\n	<li>VENUE | S6L live sound systems</li>\n	</ul>\n	<li>Basic and Advanced real-time pitch correction</li>\n	<li>Classic mode for the “Auto-Tune 5 sound”</li>\n	<li>MIDI control of pitch and other parameters</li>\n	<li>Compatible with Auto-Key plug-in (sold separately)</li>\n	<li>Does not require hardware key</li>\n</ul>\n<br/>'),(512,75,1,86,'<h1>Antares Auto-Tune Hybrid - For Avid DSP Systems</h1>\n<font size=\"3\"><i>Auto-Tune Hybrid is specially designed for Avid’s Hybrid Engine technology, so you can move seamlessly between DSP and native processing in Pro Tools when recording, editing, and mixing. </i></font><br/><br/>\nAuto-Tune Hybrid is the ultimate real-time tuning solution for Pro Tools and Avid DSP hardware, including Pro Tools | Carbon interfaces, HDX systems, and VENUE | S6L live sound systems. It delivers the professional quality of Auto-Tune pitch correction and vocal effects, optimized for lightning fast, DSP powered performance, and also works on native Pro Tools systems. Record with DSP power for near zero latency monitoring, then switch over to native processing and take your sessions on the road.<br/><br/>\nAuto-Tune Hybrid also includes Classic Mode, delivering the iconic “Auto-Tune 5 sound” that’s essential for modern hip hop production, plus real-time MIDI Control, and advanced Vibrato Controls. Flex-Tune offers more transparent and natural-sounding tuning, and Humanize preserves subtle pitch variations on sustained notes.<br/><br/>\nBasic and Advanced views help you find he tools you need, when you need them. Stick with Basic View for streamlined access to the most commonly used controls, or pop over to Advanced View to unlock powerful MIDI, vibrato, and custom scale features.\n<br/><br/>\nCompatibility with the Auto-Key plug-in (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune Hybrid with a single click, streamlining your workflow and saving valuable time in the studio.<br/><br/>\nWhether performing on stage or tracking real-time in the studio, Auto-Tune Hybrid gives you professional quality tuning and effects, delivered with lightning-fast performance, all without taxing your computer’s CPU.<br/><br/>\n<h3>Auto-Tune Hybrid Features</h3>\n<ul>\n	<li>Exclusively for Pro Tools</li>\n	<li>Optimized for low-latency tracking on Avid DSP hardware, including:	</li>\n	<ul>\n	<li>Carbon interfaces</li>\n	<li>HDX systems</li>\n	<li>VENUE | S6L live sound systems</li>\n	</ul>\n	<li>Basic and Advanced real-time pitch correction</li>\n	<li>Classic mode for the “Auto-Tune 5 sound”</li>\n	<li>MIDI control of pitch and other parameters</li>\n	<li>Compatible with Auto-Key plug-in (sold separately)</li>\n	<li>Does not require hardware key</li>\n</ul>\n<br/>'),(513,85,0,86,'Antares Auto-Tune Hybrid -For Avid DSP Systems'),(514,85,1,86,'Antares Auto-Tune Hybrid -For Avid DSP Systems'),(515,76,0,86,''),(516,76,1,86,''),(517,75,0,87,'<h1>Antares Auto-Tune Live</h1>\n<font size=\"3\"><i>Ultra Low Latency Pitch Correction and Auto-Tune Vocal Effect optimized for tracking and live performance.</i></font><br /><br />\nWhether you’re performing on stage or tracking vocals in the studio, Auto-Tune Live brings you genuine Auto-Tune technology optimized for real-time pitch correction and effects, including Formant Correction, natural and artificial Vibrato Controls, and our unique Throat Modeling technology.\n<br /><br />\nThanks to its extremely Low Latency , Auto-Tune Live allows virtually instant response in performance or when tracking in the studio. The Humanize control ensures that short notes are effectively corrected while sustained notes are allowed to preserve their subtle pitch variations for the most natural sounding pitch correction.\n<br /><br />\nAnd with Auto-Tune Live’s MIDI capabilities, you can choose your target pitches, and control all of Auto-Tune Live’s key performance parameters in real time with your MIDI controller.<br /><br />\n<h2>Auto-Tune Live Features</h2><h3><ul><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Ultra low latency performance for virtually instant response on stage or when tracking in the studio</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Real-time MIDI control of Auto-Tune Live’s key performance parameters</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">MIDI control of target notes lets you define target pitches in real time during performance</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">A Humanize function for pitch correction that is even more natural and realistic</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Natural Vibrato control that lets you modify (in real time) the depth of any vibrato that is present in the original performance</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Formant correction and Antares’ unique Throat Modeling technology for unmatched creative control of vocal timbre</span></font></li></ul></h3>'),(518,75,1,87,'<h1>Antares Auto-Tune Live</h1>\n<font size=\"3\"><i>Ultra Low Latency Pitch Correction and Auto-Tune Vocal Effect optimized for tracking and live performance.</i></font><br /><br />\nWhether you’re performing on stage or tracking vocals in the studio, Auto-Tune Live brings you genuine Auto-Tune technology optimized for real-time pitch correction and effects, including Formant Correction, natural and artificial Vibrato Controls, and our unique Throat Modeling technology.\n<br /><br />\nThanks to its extremely Low Latency , Auto-Tune Live allows virtually instant response in performance or when tracking in the studio. The Humanize control ensures that short notes are effectively corrected while sustained notes are allowed to preserve their subtle pitch variations for the most natural sounding pitch correction.\n<br /><br />\nAnd with Auto-Tune Live’s MIDI capabilities, you can choose your target pitches, and control all of Auto-Tune Live’s key performance parameters in real time with your MIDI controller.<br /><br />\n<h2>Auto-Tune Live Features</h2><h3><ul><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Ultra low latency performance for virtually instant response on stage or when tracking in the studio</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Real-time MIDI control of Auto-Tune Live’s key performance parameters</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">MIDI control of target notes lets you define target pitches in real time during performance</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">A Humanize function for pitch correction that is even more natural and realistic</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Natural Vibrato control that lets you modify (in real time) the depth of any vibrato that is present in the original performance</span></font></li><li><font color=\"#303847\"><span style=\"font-size: 16px; font-weight: 400;\">Formant correction and Antares’ unique Throat Modeling technology for unmatched creative control of vocal timbre</span></font></li></ul></h3>'),(519,85,0,87,'Antares Auto-Tune Live'),(520,85,1,87,'Antares Auto-Tune Live'),(521,76,0,87,''),(522,76,1,87,''),(523,75,0,88,'<h1>Antares Auto-Tune Pro</h1>\n<font size=\"3\"><i>The Worldwide Standard in Professional Pitch and Time Correction Software.</i></font><br /><br />\nAntares Auto-Tune Pro is the most complete and advanced edition of Auto-Tune, the long-time professional standard for pitch correction, and the tool of choice for the most iconic vocal effect in popular music. It includes both Auto Mode, for real-time pitch correction and effects, and Graph Mode, for detailed pitch and time editing.<br /><br />\nFor over twenty years, Auto-Tune has been the professional standard for pitch correction, and the tool of choice for the most iconic vocal effect in popular music.<br /><br />\nNow, with the introduction of Auto-Tune Pro, it’s more versatile and easy to use than ever before, thanks to a totally redesigned interface and powerful new processing, editing, and navigation features.<br /><br />\nAntares have added automatic key detection with the new Auto-Key plug-in (included with Auto-Tune Pro purchase), Classic Mode for the “Auto-Tune 5 sound,” real-time MIDI Control, and ARA for closer integration with supported DAWs.<br /><br />\nBoth the Auto Mode and Graph Mode interfaces have been redesigned to offer the most efficient, flexible, and intuitive workflow for professional users and beginners alike.\n<br /><br />\nAuto-Tune Pro also includes Flex-Tune and Humanize for more transparent and natural-sounding tuning, and Low Latency mode so you can perform in real time without distracting delay.<br /><br />\nIt also features Time Correction for non-destructive time editing, as well as Formant Correction, Vibrato Controls, and Throat Length Modeling.\n<br /><br />\nWhether you want to quickly touch up a few questionable notes or meticulously polish an entire performance, Auto-Tune Pro offers the professional pitch correction and classic effects you’re looking for.<br /><br />\n<h2>Auto-Tune Pro Features</h2>\n<h3>New, Streamlined User Interface</h3>\nAuto-Tune Pro features a sleek, all-new interface in both Auto Mode and Graph Mode, redesigned for ease of use and efficient workflow.\n<br /><br />\nAuto Mode now includes two unique screen views: Basic View which gives you quick and easy access to the core features of Auto Mode, and Advanced View which unlocks the powerful MIDI, scale editing and vibrato features.<br /><br />\nThe Graph Mode interface has be redesigned from the ground up. In addition to a much larger Main Graph, the new Graph Mode features greater zoom resolution, user assignable zoom presets, and controls reconfigured to optimize workflow efficiency.<br /><br />\n\n<h3>Classic Mode</h3>\nClassic Mode is the much-requested return of the celebrated “Auto-Tune 5 sound.”\n<br /><br />\nAs Antares added new features to Auto-Tune (such as Formant Correction, Throat Modeling, and Flex-Tune) the Auto-Tune algorithm has evolved, and its sonic qualities have undergone subtle changes, with each Auto-Tune version having its own slightly different character.<br /><br />\nOver the years, the sound of Auto-Tune 5 has developed something of a cult following among musicians, audio engineers and producers, perhaps due in part to its use on many iconic pop recordings. Due to popular demand, Antares made the Auto-Tune 5 sound available in Auto-Tune Pro via the new Classic Mode.<br /><br />\n<h3>Auto-Key: Automatic Key and Scale Detection</h3>\nAuto-Key is a brand new plug-in, included with your Auto-Tune Pro purchase, which automatically detects the key and scale of your music and sends that information to one or more instances of Auto-Tune Pro. If you already know the key and scale of your tracks, you may also find Auto-Key useful for simultaneously setting the Key and Scale parameters of multiple instances of Auto-Tune Pro from a single location.\n<br /><br />\n<h3>ARA: Audio Random Access</h3>\nAuto-Tune Pro now supports ARA (Audio Random Access.) ARA is a technology that allows for closer integration and exchange of information between audio plugins and host applications (digital audio workstations). When used with ARA-compatible DAWs such as Studio One and Mixcraft, it’s now possible to edit in Auto-Tune Pro’s Graph Mode without first playing through the selection to track the audio into Auto-Tune.\n<br /><br />\n<h3>MIDI Parameter Control</h3>\nMany of Auto-Tune Pro’s key parameters can now be controlled in real time with a MIDI controller, including Retune Speed, Flex-Tune, Humanize, Throat Length and all of the Vibrato functions. Assign the parameters to the controls on your MIDI device, and perform dramatic effects in real time on stage or in the studio.\n<br /><br />'),(524,75,1,88,'<h1>Antares Auto-Tune Pro</h1>\n<font size=\"3\"><i>The Worldwide Standard in Professional Pitch and Time Correction Software.</i></font><br /><br />\nAntares Auto-Tune Pro is the most complete and advanced edition of Auto-Tune, the long-time professional standard for pitch correction, and the tool of choice for the most iconic vocal effect in popular music. It includes both Auto Mode, for real-time pitch correction and effects, and Graph Mode, for detailed pitch and time editing.<br /><br />\nFor over twenty years, Auto-Tune has been the professional standard for pitch correction, and the tool of choice for the most iconic vocal effect in popular music.<br /><br />\nNow, with the introduction of Auto-Tune Pro, it’s more versatile and easy to use than ever before, thanks to a totally redesigned interface and powerful new processing, editing, and navigation features.<br /><br />\nAntares have added automatic key detection with the new Auto-Key plug-in (included with Auto-Tune Pro purchase), Classic Mode for the “Auto-Tune 5 sound,” real-time MIDI Control, and ARA for closer integration with supported DAWs.<br /><br />\nBoth the Auto Mode and Graph Mode interfaces have been redesigned to offer the most efficient, flexible, and intuitive workflow for professional users and beginners alike.\n<br /><br />\nAuto-Tune Pro also includes Flex-Tune and Humanize for more transparent and natural-sounding tuning, and Low Latency mode so you can perform in real time without distracting delay.<br /><br />\nIt also features Time Correction for non-destructive time editing, as well as Formant Correction, Vibrato Controls, and Throat Length Modeling.\n<br /><br />\nWhether you want to quickly touch up a few questionable notes or meticulously polish an entire performance, Auto-Tune Pro offers the professional pitch correction and classic effects you’re looking for.<br /><br />\n<h2>Auto-Tune Pro Features</h2>\n<h3>New, Streamlined User Interface</h3>\nAuto-Tune Pro features a sleek, all-new interface in both Auto Mode and Graph Mode, redesigned for ease of use and efficient workflow.\n<br /><br />\nAuto Mode now includes two unique screen views: Basic View which gives you quick and easy access to the core features of Auto Mode, and Advanced View which unlocks the powerful MIDI, scale editing and vibrato features.<br /><br />\nThe Graph Mode interface has be redesigned from the ground up. In addition to a much larger Main Graph, the new Graph Mode features greater zoom resolution, user assignable zoom presets, and controls reconfigured to optimize workflow efficiency.<br /><br />\n\n<h3>Classic Mode</h3>\nClassic Mode is the much-requested return of the celebrated “Auto-Tune 5 sound.”\n<br /><br />\nAs Antares added new features to Auto-Tune (such as Formant Correction, Throat Modeling, and Flex-Tune) the Auto-Tune algorithm has evolved, and its sonic qualities have undergone subtle changes, with each Auto-Tune version having its own slightly different character.<br /><br />\nOver the years, the sound of Auto-Tune 5 has developed something of a cult following among musicians, audio engineers and producers, perhaps due in part to its use on many iconic pop recordings. Due to popular demand, Antares made the Auto-Tune 5 sound available in Auto-Tune Pro via the new Classic Mode.<br /><br />\n<h3>Auto-Key: Automatic Key and Scale Detection</h3>\nAuto-Key is a brand new plug-in, included with your Auto-Tune Pro purchase, which automatically detects the key and scale of your music and sends that information to one or more instances of Auto-Tune Pro. If you already know the key and scale of your tracks, you may also find Auto-Key useful for simultaneously setting the Key and Scale parameters of multiple instances of Auto-Tune Pro from a single location.\n<br /><br />\n<h3>ARA: Audio Random Access</h3>\nAuto-Tune Pro now supports ARA (Audio Random Access.) ARA is a technology that allows for closer integration and exchange of information between audio plugins and host applications (digital audio workstations). When used with ARA-compatible DAWs such as Studio One and Mixcraft, it’s now possible to edit in Auto-Tune Pro’s Graph Mode without first playing through the selection to track the audio into Auto-Tune.\n<br /><br />\n<h3>MIDI Parameter Control</h3>\nMany of Auto-Tune Pro’s key parameters can now be controlled in real time with a MIDI controller, including Retune Speed, Flex-Tune, Humanize, Throat Length and all of the Vibrato functions. Assign the parameters to the controls on your MIDI device, and perform dramatic effects in real time on stage or in the studio.\n<br /><br />'),(525,85,0,88,'Antares Auto-Tune Pro'),(526,85,1,88,'Antares Auto-Tune Pro'),(527,76,0,88,''),(528,76,1,88,''),(529,75,0,89,'<h1>Antares Auto-Tune Vocal Studio Plug-In Bundle</h1>\n<span style=\"font-size:16px; font-style:italic;\">The complete Antares Auto Tune Collection. Auto-Tune 7 + AVOX 4. Everything You Need for World-Class Vocal Tracks</span>\n<br /><br />\nAntares Auto-Tune Vocal Studio combines Auto-Tune 8, the worldwide standard in professional pitch and time correction, with AVOX 4, the latest generation of the Antares Vocal Toolkit. Together, this 12 plug-in bundle provide a comprehensive suite of tools for producing world-class vocal tracks. At a price that represents meaningful savings over the prices of Auto-Tune 8 and AVOX 4 purchased separately. For individual product details, please refer to the Auto-Tune 8 and AVOX 4 product pages.<br /><br />\n<h3>Antares Auto Tune Vocal Studio Includes:</h3>\n<h2> Antares Auto Tune 8</h2>\nAuto-Tune is the world standard for professional pitch correction (and more recently, time correction), and the tool of choice for the signature vocal effect of modern popular music. Today, it’s used daily by thousands of audio professionals around the world to save studio and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime performance, or to create what has become the signature vocal effect of modern popular music.\n<br /><br />\n<h2>Antares AVOX 4</h2>\nThe AVOX 4 Vocal Toolkit combines 11 state-of-the-art vocal processing plug-ins to give you the power you need to create stunning vocal tracks in any musical style, and design unique vocal effects for audio post-production applications. All at a substantial savings over purchasing the plug-ins separately.\n<br /><br /><b>\nAvox 4 Includes:\n</b>\n<ul>\n	<li>Harmony Engine EVO - Vocal Modeling Harmony Generator</li>\n	<li>Mic Mod EFX - Classic Microphone Modeler</li>\n	<li>MUTATOR EVO - Extreme Voice Designer</li>\n	<li>ARTICULATOR EVO - Digital Talk Box</li>\n	<li>WARM EVO - Tube Saturation Generator</li>\n	<li>ASPIRE EVO - Aspiration Noise Processor</li>\n	<li>THROAT EVO - Physical Modeling Vocal Designer</li>\n	<li>DUO EVO - Vocal Modeling Auto-Doubler</li>\n	<li>CHOIR EVO - Vocal Multiplier</li>\n	<li>PUNCH EVO - Vocal Impact Enhancer</li>\n	<li>SYBIL EVO - Variable Frequency De-Esser</li>\n</ul>'),(530,75,1,89,'<h1>Antares Auto-Tune Vocal Studio Plug-In Bundle</h1>\n<span style=\"font-size:16px; font-style:italic;\">The complete Antares Auto Tune Collection. Auto-Tune 7 + AVOX 4. Everything You Need for World-Class Vocal Tracks</span>\n<br /><br />\nAntares Auto-Tune Vocal Studio combines Auto-Tune 8, the worldwide standard in professional pitch and time correction, with AVOX 4, the latest generation of the Antares Vocal Toolkit. Together, this 12 plug-in bundle provide a comprehensive suite of tools for producing world-class vocal tracks. At a price that represents meaningful savings over the prices of Auto-Tune 8 and AVOX 4 purchased separately. For individual product details, please refer to the Auto-Tune 8 and AVOX 4 product pages.<br /><br />\n<h3>Antares Auto Tune Vocal Studio Includes:</h3>\n<h2> Antares Auto Tune 8</h2>\nAuto-Tune is the world standard for professional pitch correction (and more recently, time correction), and the tool of choice for the signature vocal effect of modern popular music. Today, it’s used daily by thousands of audio professionals around the world to save studio and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime performance, or to create what has become the signature vocal effect of modern popular music.\n<br /><br />\n<h2>Antares AVOX 4</h2>\nThe AVOX 4 Vocal Toolkit combines 11 state-of-the-art vocal processing plug-ins to give you the power you need to create stunning vocal tracks in any musical style, and design unique vocal effects for audio post-production applications. All at a substantial savings over purchasing the plug-ins separately.\n<br /><br /><b>\nAvox 4 Includes:\n</b>\n<ul>\n	<li>Harmony Engine EVO - Vocal Modeling Harmony Generator</li>\n	<li>Mic Mod EFX - Classic Microphone Modeler</li>\n	<li>MUTATOR EVO - Extreme Voice Designer</li>\n	<li>ARTICULATOR EVO - Digital Talk Box</li>\n	<li>WARM EVO - Tube Saturation Generator</li>\n	<li>ASPIRE EVO - Aspiration Noise Processor</li>\n	<li>THROAT EVO - Physical Modeling Vocal Designer</li>\n	<li>DUO EVO - Vocal Modeling Auto-Doubler</li>\n	<li>CHOIR EVO - Vocal Multiplier</li>\n	<li>PUNCH EVO - Vocal Impact Enhancer</li>\n	<li>SYBIL EVO - Variable Frequency De-Esser</li>\n</ul>'),(531,85,0,89,'Antares Auto-Tune Vocal Studio'),(532,85,1,89,'Antares Auto-Tune Vocal Studio'),(533,76,0,89,''),(534,76,1,89,''),(535,75,0,90,'<h1>Antares AVOX 4 - Vocal Toolkit Plug-in</h1>\nAntares AVOX 4 - the Antares Vocal Toolkit features Antares\' seriously evolved Evo Voice Processing Technology, and combines 11 state-of-the-art vocal processing modules to give you the power you need to create stunning vocal tracks in any musical style as well as design unique vocal effects for audio post-production applications. <br /><br />\n<h3>The AVOX Antares Vocal Toolkit includes:</h3>\n<h2>Harmony Engine Evo Vocal Modeling Harmony Generator</h2>\nHarmony Engine Evo is a real-time harmony generating plug-in that puts professional-quality vocal harmony arrangements within reach of any songwriter, producer, musician or engineer. \nWith four independent harmony voices, a variety of powerful harmony generating modes, humanization features for natural sounding performances, five integrated channels of CHOIR Vocal Multiplier, and a flexible real-time preset system for harmony and vocal type, Harmony Engine Evo provides incredibly easy-to-use tools to quickly and easily produce virtually any vocal arrangement you can imagine. \n<br /><br />\nWhether you\'re an experienced vocal arranger, a songwriter looking for that perfect backup vocal, or a composer experimenting with unique vocal effects, Harmony Engine Evo gives you entirely new ways to create the harmony parts you hear in your head. In fact, experimenting with different harmonies is so easy (and, dare we suggest, fun), you may find yourself using Harmony Engine to explore harmonic alternatives you may have never otherwise considered. <br /><br />\n<h2>Mic Mod EFX </h2>\nClassic Microphone Modeler - lets the mics you own sound like the mics you wish you owned<br /><br /><br />\n<h2>MUTATOR Evo Extreme Voice Designer</h2>\nMUTATOR Evo provides a combination of tools for creating unusual, weird, or downright wacky voices. With high-quality pitch shifting, throat modeling, pitch-tracking ring modulator-based “mutation,” and a mind-bending tempo-synced Alienization function, MUTATOR Evo is the perfect tool for unique special vocal effects and post-production sound design. \n<br /><br />\n<h2>CHOIR Evo Vocal Multiplier</h2>\nNeither a harmonizer nor a conventional chorus effect, CHOIR Evo is a unique processor that actually turns a single voice into 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing and vibrato variations. The voices can, if desired, be spread across the stereo spectrum. Assign an instance of CHOIR Evo to each of four voices singing four-part harmony and voilà, instant choir. \n<br /><br />\n<h2>PUNCH Evo Vocal Impact Enhancer</h2>\nPUNCH Evo is a unique processor that, as its name implies, lets you quickly and easily give your vocal more dynamic impact, allowing it to cut through a dense mix with clarity and power. Combining advanced dynamic processing with an incredibly easy-to-use interface, PUNCH Evo gives professional results while letting you focus on your music. \n<br /><br />\n<h2>SYBIL Evo Variable Frequency De-Esser</h2>\nSYBIL Evo tames vocal sibilance with threshold, ratio, attack and decay controls as well as a variable sidechain high pass frequency to match any vocal performance.\n<br /><br />\n<h2>ARTICULATOR Evo Digital Talk Box</h2>\nA modern-day version of the venerable talk box, ARTICULATOR Evo lets you extract the formant and amplitude information from a vocal (or other dynamic source) and apply it to any other audio track or to a built-in broadband noise generator. Perfect for talking guitars, singing synths, and a wide range of special effects.\n<br /><br />\n<h2>WARM Tube Saturation Generator</h2>\nBased on Antares’ legendary Tube plug-in, WARM warms up vocals with Antares\' world-renown analog tube modeling technology, while being so processing-efficient that you can put an instance on pretty much every track in a project and still barely see your CPU meter twitch.\n<br /><br />\nWith two tube models, a variable Drive control to set just the right amount of dynamic saturation, and an innovative OmniTube™ function to apply the tube effect to the entire signal (as opposed to just the transients), WARM is a great-sounding, incredibly easy-to-use tool for giving your vocals the benefits of a wide range of modeled analog tube effects.<br /><br />\n<h2>ASPIRE Evo Aspiration Noise Processor</h2>\nASPIRE Evo is the world\'s first tool for modifying a voice\'s breathiness independently of its harmonic content. Whether reducing a bit of vocal rasp or adding a bit of smokiness, ASPIRE Evo allows modification of the amount and quality of a voice’s aspiration noise without otherwise affecting the vocal’s harmonic characteristics.\n<br /><br />\nWhen you speak or sing, air from your lungs is forced through your vocal chords, causing them to vibrate. The resulting waveform is propagated through the throat, the mouth and out through the lips. It is the shape of these structures that create the resonant characteristics that define a unique vocal identity.\n<br /><br />\nBut going into a bit more detail, the vocal waveform is actually a combination of two different components. One, the one we usually think of as the primary element of vocal timbre, is the harmonic content generated by the process described above. However, there is a second component that is generated by the turbulence of the air rushing past the vocal chords. This component, aspiration noise, does not have harmonic content and can roughly be thought of as “breathiness.”\nAspiration noise presents itself in a variety of ways, from a subtle bit of breathiness to a full-blown rasp. Of course, whether it’s a problem or not depends on the amount of noise and the style of a performance. A whole lot of roughness that would work well for screaming punk or roots blues might well be a problem for mainstream pop or a smooth ballad (of course, it also might not). Up to now, there wasn’t much you could do about it. Now, with ASPIRE Evo, there is.\n<br /><br />\n<h2>THROAT Evo Physical Modeling Vocal Designer</h2>\nTHROAT Evo is a revolutionary new vocal tool that lets you process a vocal through a meticulously crafted physical model of the human vocal tract. THROAT Evo begins by neutralizing the effect of the original singer’s vocal tract and then gives you the ability to specify the characteristics of the modeled vocal tract.\n<br /><br />\nTHROAT Evo’s controls allow you to modify the voice’s glottal waveform as well as globally stretch, shorten, widen or constrict the modeled vocal tract. For even more detailed control, THROAT Evo’s graphical Throat Shaping display allows you to individually adjust the position and width of five points in the vocal tract model, from the vocal chords, through the throat, mouth and out to the lips. THROAT Evo’s Breathiness controls let you add variable frequency noise to the model, resulting in a range of vocal effects from subtle breathiness, to raspiness, to a full whisper. Finally, THROAT Evo allows you to shift the pitch of the voice up or down an octave to create a wide range of alternative vocal characters.\n<br /><br />\nWhile THROAT Evo has been designed to allow subtle modifications to a voice’s vocal quality, the range of the controls also allows the creation of vocal tract models well beyond the limits of physical human anatomy, offering the possibility of vocal characteristics that are simply unattainable by any other means.<br /><br />\n<h2>DUO Evo Vocal Modeling Auto-Doubler</h2>\nDUO Evo automatically generates a doubled vocal part from an existing vocal. In addition to allowing programmable variation in pitch, timing and vibrato depth, for even more realism, DUO Evo also includes a simplified version of THROAT Evo’s vocal modeling to provide timbral variation for the doubled part. DUO Evo’s output section gives you independent control of the level and stereo position of the original and doubled voices.'),(536,75,1,90,'<h1>Antares AVOX 4 - Vocal Toolkit Plug-in</h1>\nAntares AVOX 4 - the Antares Vocal Toolkit features Antares\' seriously evolved Evo Voice Processing Technology, and combines 11 state-of-the-art vocal processing modules to give you the power you need to create stunning vocal tracks in any musical style as well as design unique vocal effects for audio post-production applications. <br /><br />\n<h3>The AVOX Antares Vocal Toolkit includes:</h3>\n<h2>Harmony Engine Evo Vocal Modeling Harmony Generator</h2>\nHarmony Engine Evo is a real-time harmony generating plug-in that puts professional-quality vocal harmony arrangements within reach of any songwriter, producer, musician or engineer. \nWith four independent harmony voices, a variety of powerful harmony generating modes, humanization features for natural sounding performances, five integrated channels of CHOIR Vocal Multiplier, and a flexible real-time preset system for harmony and vocal type, Harmony Engine Evo provides incredibly easy-to-use tools to quickly and easily produce virtually any vocal arrangement you can imagine. \n<br /><br />\nWhether you\'re an experienced vocal arranger, a songwriter looking for that perfect backup vocal, or a composer experimenting with unique vocal effects, Harmony Engine Evo gives you entirely new ways to create the harmony parts you hear in your head. In fact, experimenting with different harmonies is so easy (and, dare we suggest, fun), you may find yourself using Harmony Engine to explore harmonic alternatives you may have never otherwise considered. <br /><br />\n<h2>Mic Mod EFX </h2>\nClassic Microphone Modeler - lets the mics you own sound like the mics you wish you owned<br /><br /><br />\n<h2>MUTATOR Evo Extreme Voice Designer</h2>\nMUTATOR Evo provides a combination of tools for creating unusual, weird, or downright wacky voices. With high-quality pitch shifting, throat modeling, pitch-tracking ring modulator-based “mutation,” and a mind-bending tempo-synced Alienization function, MUTATOR Evo is the perfect tool for unique special vocal effects and post-production sound design. \n<br /><br />\n<h2>CHOIR Evo Vocal Multiplier</h2>\nNeither a harmonizer nor a conventional chorus effect, CHOIR Evo is a unique processor that actually turns a single voice into 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing and vibrato variations. The voices can, if desired, be spread across the stereo spectrum. Assign an instance of CHOIR Evo to each of four voices singing four-part harmony and voilà, instant choir. \n<br /><br />\n<h2>PUNCH Evo Vocal Impact Enhancer</h2>\nPUNCH Evo is a unique processor that, as its name implies, lets you quickly and easily give your vocal more dynamic impact, allowing it to cut through a dense mix with clarity and power. Combining advanced dynamic processing with an incredibly easy-to-use interface, PUNCH Evo gives professional results while letting you focus on your music. \n<br /><br />\n<h2>SYBIL Evo Variable Frequency De-Esser</h2>\nSYBIL Evo tames vocal sibilance with threshold, ratio, attack and decay controls as well as a variable sidechain high pass frequency to match any vocal performance.\n<br /><br />\n<h2>ARTICULATOR Evo Digital Talk Box</h2>\nA modern-day version of the venerable talk box, ARTICULATOR Evo lets you extract the formant and amplitude information from a vocal (or other dynamic source) and apply it to any other audio track or to a built-in broadband noise generator. Perfect for talking guitars, singing synths, and a wide range of special effects.\n<br /><br />\n<h2>WARM Tube Saturation Generator</h2>\nBased on Antares’ legendary Tube plug-in, WARM warms up vocals with Antares\' world-renown analog tube modeling technology, while being so processing-efficient that you can put an instance on pretty much every track in a project and still barely see your CPU meter twitch.\n<br /><br />\nWith two tube models, a variable Drive control to set just the right amount of dynamic saturation, and an innovative OmniTube™ function to apply the tube effect to the entire signal (as opposed to just the transients), WARM is a great-sounding, incredibly easy-to-use tool for giving your vocals the benefits of a wide range of modeled analog tube effects.<br /><br />\n<h2>ASPIRE Evo Aspiration Noise Processor</h2>\nASPIRE Evo is the world\'s first tool for modifying a voice\'s breathiness independently of its harmonic content. Whether reducing a bit of vocal rasp or adding a bit of smokiness, ASPIRE Evo allows modification of the amount and quality of a voice’s aspiration noise without otherwise affecting the vocal’s harmonic characteristics.\n<br /><br />\nWhen you speak or sing, air from your lungs is forced through your vocal chords, causing them to vibrate. The resulting waveform is propagated through the throat, the mouth and out through the lips. It is the shape of these structures that create the resonant characteristics that define a unique vocal identity.\n<br /><br />\nBut going into a bit more detail, the vocal waveform is actually a combination of two different components. One, the one we usually think of as the primary element of vocal timbre, is the harmonic content generated by the process described above. However, there is a second component that is generated by the turbulence of the air rushing past the vocal chords. This component, aspiration noise, does not have harmonic content and can roughly be thought of as “breathiness.”\nAspiration noise presents itself in a variety of ways, from a subtle bit of breathiness to a full-blown rasp. Of course, whether it’s a problem or not depends on the amount of noise and the style of a performance. A whole lot of roughness that would work well for screaming punk or roots blues might well be a problem for mainstream pop or a smooth ballad (of course, it also might not). Up to now, there wasn’t much you could do about it. Now, with ASPIRE Evo, there is.\n<br /><br />\n<h2>THROAT Evo Physical Modeling Vocal Designer</h2>\nTHROAT Evo is a revolutionary new vocal tool that lets you process a vocal through a meticulously crafted physical model of the human vocal tract. THROAT Evo begins by neutralizing the effect of the original singer’s vocal tract and then gives you the ability to specify the characteristics of the modeled vocal tract.\n<br /><br />\nTHROAT Evo’s controls allow you to modify the voice’s glottal waveform as well as globally stretch, shorten, widen or constrict the modeled vocal tract. For even more detailed control, THROAT Evo’s graphical Throat Shaping display allows you to individually adjust the position and width of five points in the vocal tract model, from the vocal chords, through the throat, mouth and out to the lips. THROAT Evo’s Breathiness controls let you add variable frequency noise to the model, resulting in a range of vocal effects from subtle breathiness, to raspiness, to a full whisper. Finally, THROAT Evo allows you to shift the pitch of the voice up or down an octave to create a wide range of alternative vocal characters.\n<br /><br />\nWhile THROAT Evo has been designed to allow subtle modifications to a voice’s vocal quality, the range of the controls also allows the creation of vocal tract models well beyond the limits of physical human anatomy, offering the possibility of vocal characteristics that are simply unattainable by any other means.<br /><br />\n<h2>DUO Evo Vocal Modeling Auto-Doubler</h2>\nDUO Evo automatically generates a doubled vocal part from an existing vocal. In addition to allowing programmable variation in pitch, timing and vibrato depth, for even more realism, DUO Evo also includes a simplified version of THROAT Evo’s vocal modeling to provide timbral variation for the doubled part. DUO Evo’s output section gives you independent control of the level and stereo position of the original and doubled voices.'),(537,85,0,90,'Antares AVOX 4 Vocal Toolkit Plug-in'),(538,85,1,90,'Antares AVOX 4 Vocal Toolkit Plug-in'),(539,76,0,90,''),(540,76,1,90,''),(541,75,0,91,'<h1>Antares Harmony Engine Evo</h1>\nHarmony Engine Evo is a Vocal Modeling Harmony Generator that is t\n<span style=\"background-color: initial;\">he quickest, easiest tool for creating realistic vocal harmonies.<br /><br />\nAntares Harmony Engine EVO gives you new ways to create the harmony parts you hear in your head, using a variety of innovative Harmony Control modes, from fully automatic to individual control of every note.<br /><br />\nHarmony Engine EVO features four high-quality, formant-corrected harmony voices with independent vocal character, vibrato, and pan settings, and five channels of our unique CHOIR Vocal Multiplier, to let you turn each harmony voice into 2, 4, or 8 individual unison voices.<br /><br />\nOur Throat Modeling technology that lets you process each harmony voice through a physical model of the human vocal tract, and individual humanizing functions provide selectable amounts of variation to each voice for realistic, natural sounding results.<br /><br />\nHarmony Engine EVO provides all the tools you need to produce lush and convincing harmonies, whether you’re looking to meticulously craft your own vocal arrangement note-by-note, perform your harmonies in real time with your MIDI controller, toggle between your own Harmony Presets , or simply choose chords or scales used in your arrangement and let Harmony Engine do the rest.<br /></span>\n<h3><span style=\"background-color: initial;\"><br /></span><span style=\"background-color: initial;\">Harmony Engine Evo </span><span style=\"background-color: initial;\">Features</span></h3>\n<span style=\"background-color: initial;\">\n<ul>\n	<li><b>Antares’ groundbreaking Evo™ Voice Processing Technology</b> for faster, more accurate pitch detection and smoother, artifact-free pitch shifting.</li>\n	<li><b>Four high-quality, formant-corrected harmony voices</b> with independent vocal character, vibrato, and pan settings</li>\n	<li><b>Five channels of our unique CHOIR Vocal Multiplier</b>, to let you turn each voice into 2, 4, or 8 individual unison voices, perfect for creating jaw-droppingly amazing choirs out of a single vocal line</li>\n	<li><b>Antares Throat Modeling technology</b> that lets you process each harmony voice through a physical model of the human vocal tract</li>\n	<li><b>A variety of innovative Harmony Control modes</b>, from fully automatic to individual control of every note:</li>\n	<ul>\n		<li><b>Fixed or Scale Intervals</b>: Simply set the key and harmony voice intervals and let Harmony Engine Evo do the rest</li>\n		<li><b>Chord Degrees or Chord Name</b>: Define your harmony chord-by-chord, complete with inversions and variable vocal ranges</li>\n		<li><b>Chord by MIDI</b>: Define your harmony in real time via a MIDI controller or pre-recorded MIDI track</li>\n		<li><b>MIDI Omni</b>: Directly “play” the four harmony voices as if they were voices of a synth or sampler</li>\n		<li><b>MIDI Channel</b>: Use four separate MIDI channels for absolute control over each note of your vocal arrangement</li>\n	</ul>\n	<li><b>Spread and Register controls</b> that allow you to quickly and intuitively set the pitch range and harmony style of your vocal arrangement</li>\n	<li><b>Humanize functions</b> that provide selectable amounts of variation to each harmony voice for realistic, natural sounding results</li>\n	<li><b>A Freeze function</b> that allows a unique variety of backup vocal effects by letting you instantly freeze pitch and/or formant articulation</li>\n	<li><b>A Harmony Preset matrix</b> that lets you create up to 15 complete harmony settings and instantaneously recall them in real time or via automation</li>\n	<li><b>A Voice Parameter Preset matrix</b> that lets you create and instantly recall up to 6 different “vocal groups”</li>\n</ul>\n<br />\n</span>'),(542,75,1,91,'<h1>Antares Harmony Engine Evo</h1>\nHarmony Engine Evo is a Vocal Modeling Harmony Generator that is t\n<span style=\"background-color: initial;\">he quickest, easiest tool for creating realistic vocal harmonies.<br /><br />\nAntares Harmony Engine EVO gives you new ways to create the harmony parts you hear in your head, using a variety of innovative Harmony Control modes, from fully automatic to individual control of every note.<br /><br />\nHarmony Engine EVO features four high-quality, formant-corrected harmony voices with independent vocal character, vibrato, and pan settings, and five channels of our unique CHOIR Vocal Multiplier, to let you turn each harmony voice into 2, 4, or 8 individual unison voices.<br /><br />\nOur Throat Modeling technology that lets you process each harmony voice through a physical model of the human vocal tract, and individual humanizing functions provide selectable amounts of variation to each voice for realistic, natural sounding results.<br /><br />\nHarmony Engine EVO provides all the tools you need to produce lush and convincing harmonies, whether you’re looking to meticulously craft your own vocal arrangement note-by-note, perform your harmonies in real time with your MIDI controller, toggle between your own Harmony Presets , or simply choose chords or scales used in your arrangement and let Harmony Engine do the rest.<br /></span>\n<h3><span style=\"background-color: initial;\"><br /></span><span style=\"background-color: initial;\">Harmony Engine Evo </span><span style=\"background-color: initial;\">Features</span></h3>\n<span style=\"background-color: initial;\">\n<ul>\n	<li><b>Antares’ groundbreaking Evo™ Voice Processing Technology</b> for faster, more accurate pitch detection and smoother, artifact-free pitch shifting.</li>\n	<li><b>Four high-quality, formant-corrected harmony voices</b> with independent vocal character, vibrato, and pan settings</li>\n	<li><b>Five channels of our unique CHOIR Vocal Multiplier</b>, to let you turn each voice into 2, 4, or 8 individual unison voices, perfect for creating jaw-droppingly amazing choirs out of a single vocal line</li>\n	<li><b>Antares Throat Modeling technology</b> that lets you process each harmony voice through a physical model of the human vocal tract</li>\n	<li><b>A variety of innovative Harmony Control modes</b>, from fully automatic to individual control of every note:</li>\n	<ul>\n		<li><b>Fixed or Scale Intervals</b>: Simply set the key and harmony voice intervals and let Harmony Engine Evo do the rest</li>\n		<li><b>Chord Degrees or Chord Name</b>: Define your harmony chord-by-chord, complete with inversions and variable vocal ranges</li>\n		<li><b>Chord by MIDI</b>: Define your harmony in real time via a MIDI controller or pre-recorded MIDI track</li>\n		<li><b>MIDI Omni</b>: Directly “play” the four harmony voices as if they were voices of a synth or sampler</li>\n		<li><b>MIDI Channel</b>: Use four separate MIDI channels for absolute control over each note of your vocal arrangement</li>\n	</ul>\n	<li><b>Spread and Register controls</b> that allow you to quickly and intuitively set the pitch range and harmony style of your vocal arrangement</li>\n	<li><b>Humanize functions</b> that provide selectable amounts of variation to each harmony voice for realistic, natural sounding results</li>\n	<li><b>A Freeze function</b> that allows a unique variety of backup vocal effects by letting you instantly freeze pitch and/or formant articulation</li>\n	<li><b>A Harmony Preset matrix</b> that lets you create up to 15 complete harmony settings and instantaneously recall them in real time or via automation</li>\n	<li><b>A Voice Parameter Preset matrix</b> that lets you create and instantly recall up to 6 different “vocal groups”</li>\n</ul>\n<br />\n</span>'),(543,85,0,91,'Antares HARMONY ENGINE Evo Plug-in'),(544,85,1,91,'Antares HARMONY ENGINE Evo Plug-in'),(545,76,0,91,''),(546,76,1,91,''),(547,75,0,92,'<h2>Antelope Audio Isochrone 10MX Rubidium Atomic Word Clock</h2>\n<span style=\"font-size: 16px; font-style: italic;\">A no-compromise, high precision, laboratory-grade atomic master clock for audio and video equipment</span><br /><br />\nThe Antelope 10MX Atomic Clock is the newest and the premier member of the Isochrone family. It features technologies from two of Antelope\'s legendary products. The atomic precision of the 10M and the sophisticated jitter-management algorithm of Trinity are combined in a futuristic, 1U rack space enclosure, providing the world\'s most stable and musical clocking.<br /> <br />\n\n10MX is a fusion of proven technologies and contemporary industrial design, where no compromises are allowed and both build-quality, and performance-excellence are top priority. The new Rubidium Atomic Clock is an epiphany of more than 20 years’ expertise in the digital audio world, bringing out the clarity, depth, width and 3-dimensionality distinctive of the analog sound.<br /> <br />\n\n10MX is perfectly suited for recording, mixing and mastering environments. Its form factor, occupying only 1U of rack space, makes it ideal for live sound application where rack slots are precious commodity.<br /> <br />\n\nThe multiple atomic outputs allow up to 10 devices to be clocked simultaneously over BNC outputs of 10MHz. The unit can also be used as a master clock with 4 outputs, supporting the outstanding sampling rate of up to 768 kHz via BNC. Two more clocking outputs are available via AES and two via S/PDIF.<br /> <br />\n\nThe new Rubidium Atomic Clock is equally easy manageable either from the front panel or the intuitive software control panel available for OS X and Windows, connecting via a USB port.<br /> <br />\n<h3>Antelope Audio Isochrone 10MX Rubidium Atomic Clock unique features:</h3>\n<ul>\n	<li>Rubidium core with accuracy of 0.05 ppb (parts per BILLION)</li>\n	<li>4th generation Acoustically Focused Clocking (AFCTM ), employing 64-bit DSP</li>\n	<li>Perfect match for Antelope OCX, OCX-V, and Trinity clocks</li>\n</ul>\n<br />\n<h3>Antelope Audio Isochrone 10MX Rubidium Atomic Clock key features:</h3>\n<ul>\n	<li>Master clocking up to 768 kHz over 4 WC</li>\n	<li>2 x S/PDIF and 2 x AES/EBU master clocking outputs up to 192 kHz</li>\n	<li>Atomic clocking compatible with any device that accepts 10MHz reference</li>\n	<li>Utmost ease of operation, just connect it and power it on</li>\n	<li>PC/Mac connection via USB, allowing remote control and firmware upgrades</li>\n	<li>Intuitive Software Control Panel</li>\n	<li>Extremely sturdy mechanical construction</li>\n</ul>\n<br /><br />\n<h3>The Antelope Audio Isochrone 10MX is an indispensable tool for discerning audio professionals who will spare no expense to achieve the highest resolution, analog-quality sound for digital recording. Call RSPE today and speak with a representative, or chat online.  </h3>'),(548,75,1,92,'<h2>Antelope Audio Isochrone 10MX Rubidium Atomic Word Clock</h2>\n<span style=\"font-size: 16px; font-style: italic;\">A no-compromise, high precision, laboratory-grade atomic master clock for audio and video equipment</span><br /><br />\nThe Antelope 10MX Atomic Clock is the newest and the premier member of the Isochrone family. It features technologies from two of Antelope\'s legendary products. The atomic precision of the 10M and the sophisticated jitter-management algorithm of Trinity are combined in a futuristic, 1U rack space enclosure, providing the world\'s most stable and musical clocking.<br /> <br />\n\n10MX is a fusion of proven technologies and contemporary industrial design, where no compromises are allowed and both build-quality, and performance-excellence are top priority. The new Rubidium Atomic Clock is an epiphany of more than 20 years’ expertise in the digital audio world, bringing out the clarity, depth, width and 3-dimensionality distinctive of the analog sound.<br /> <br />\n\n10MX is perfectly suited for recording, mixing and mastering environments. Its form factor, occupying only 1U of rack space, makes it ideal for live sound application where rack slots are precious commodity.<br /> <br />\n\nThe multiple atomic outputs allow up to 10 devices to be clocked simultaneously over BNC outputs of 10MHz. The unit can also be used as a master clock with 4 outputs, supporting the outstanding sampling rate of up to 768 kHz via BNC. Two more clocking outputs are available via AES and two via S/PDIF.<br /> <br />\n\nThe new Rubidium Atomic Clock is equally easy manageable either from the front panel or the intuitive software control panel available for OS X and Windows, connecting via a USB port.<br /> <br />\n<h3>Antelope Audio Isochrone 10MX Rubidium Atomic Clock unique features:</h3>\n<ul>\n	<li>Rubidium core with accuracy of 0.05 ppb (parts per BILLION)</li>\n	<li>4th generation Acoustically Focused Clocking (AFCTM ), employing 64-bit DSP</li>\n	<li>Perfect match for Antelope OCX, OCX-V, and Trinity clocks</li>\n</ul>\n<br />\n<h3>Antelope Audio Isochrone 10MX Rubidium Atomic Clock key features:</h3>\n<ul>\n	<li>Master clocking up to 768 kHz over 4 WC</li>\n	<li>2 x S/PDIF and 2 x AES/EBU master clocking outputs up to 192 kHz</li>\n	<li>Atomic clocking compatible with any device that accepts 10MHz reference</li>\n	<li>Utmost ease of operation, just connect it and power it on</li>\n	<li>PC/Mac connection via USB, allowing remote control and firmware upgrades</li>\n	<li>Intuitive Software Control Panel</li>\n	<li>Extremely sturdy mechanical construction</li>\n</ul>\n<br /><br />\n<h3>The Antelope Audio Isochrone 10MX is an indispensable tool for discerning audio professionals who will spare no expense to achieve the highest resolution, analog-quality sound for digital recording. Call RSPE today and speak with a representative, or chat online.  </h3>'),(549,85,0,92,'Antelope Audio Isochrone 10MX Rubidium Atomic Word Clock'),(550,85,1,92,'Antelope Audio Isochrone 10MX Rubidium Atomic Word Clock'),(551,76,0,92,''),(552,76,1,92,''),(553,75,0,93,'<h2>Antelope Audio Amári 2-Channel Mastering AD/DA</h2>\n\n<i>Reference-grade USB AD/DA Converter & Headphone Amplifier</i><br /><br />Amari is a hi-end 384kHz PCM / DSD256 AD/DA Converter. Its majestic sound will suit mixing engineers, mastering gurus and the most dedicated audiophiles. The beautifully designed desktop unit is equipped with a slick touchscreen display. Amari offers 1 pair of Analog outs (either on XLR or TRS connectors), 1 pair of analog inputs (either on Combo XLR or RCA), and 2 high power headphone (HP) outputs with dedicated volume control and adjustable output impedance. <br /><br />\n\n\n<h3>Amári features:</h3><ul><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\"> High-End 24-bit 384kHz for play back and recording</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\">A/D – Dual AK5578 ADC chips. Dynamic Range 128dB</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\">D/A -Eight CS43198 DAC chips. Dynamic range of 138dB</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\">DSD64, DSD128 and DSD256 formats supported (DSD over PCM a.k.a. DoP)  playback</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">2 headphone outputs with dedicated volume control for each output with user-selectable output resistance (a.k.a. headphone membrane weight compensation) that can be switched to balanced mode.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\"> Standard and Balanced mode for Headphones</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">4th Generation 64-Bit Acoustically Focused Clocking.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">10M Atomic Clock Input and Word Clock Input for better system integration and improved audio clarity</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">2 pairs of Analog Ins on combo XLR and RCA </span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">2 pairs of Analog Outs on combo XLR and TRS </span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">AES/EBU, S/PDIF and TOSLINK I/O.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">Large touchscreen display to ease the advanced functions control and visualization</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">USB 3.1 Connection for playback and recording.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">Software Control Panel for flexibility and advanced functionality both on MAC and PC.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\"> Stunning design</span></li></ul>'),(554,75,1,93,'<h2>Antelope Audio Amári 2-Channel Mastering AD/DA</h2>\n\n<i>Reference-grade USB AD/DA Converter & Headphone Amplifier</i><br /><br />Amari is a hi-end 384kHz PCM / DSD256 AD/DA Converter. Its majestic sound will suit mixing engineers, mastering gurus and the most dedicated audiophiles. The beautifully designed desktop unit is equipped with a slick touchscreen display. Amari offers 1 pair of Analog outs (either on XLR or TRS connectors), 1 pair of analog inputs (either on Combo XLR or RCA), and 2 high power headphone (HP) outputs with dedicated volume control and adjustable output impedance. <br /><br />\n\n\n<h3>Amári features:</h3><ul><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\"> High-End 24-bit 384kHz for play back and recording</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\">A/D – Dual AK5578 ADC chips. Dynamic Range 128dB</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\">D/A -Eight CS43198 DAC chips. Dynamic range of 138dB</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\">DSD64, DSD128 and DSD256 formats supported (DSD over PCM a.k.a. DoP)  playback</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">2 headphone outputs with dedicated volume control for each output with user-selectable output resistance (a.k.a. headphone membrane weight compensation) that can be switched to balanced mode.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\"> Standard and Balanced mode for Headphones</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">4th Generation 64-Bit Acoustically Focused Clocking.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">10M Atomic Clock Input and Word Clock Input for better system integration and improved audio clarity</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">2 pairs of Analog Ins on combo XLR and RCA </span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">2 pairs of Analog Outs on combo XLR and TRS </span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">AES/EBU, S/PDIF and TOSLINK I/O.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">Large touchscreen display to ease the advanced functions control and visualization</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">USB 3.1 Connection for playback and recording.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\">Software Control Panel for flexibility and advanced functionality both on MAC and PC.</span></li><li><span style=\"letter-spacing: 0px;\"></span><span style=\"letter-spacing: 0px;\"> Stunning design</span></li></ul>'),(555,85,0,93,'Antelope Audio Amari 2-Channel Mastering AD/DA'),(556,85,1,93,'Antelope Audio Amari 2-Channel Mastering AD/DA'),(557,76,0,93,''),(558,76,1,93,''),(559,75,0,94,'<h1>Antelope Audio Discrete 4 - Microphone Preamp and Thunderbolt/USB Interface With Premium FX Package</h1>\n<span style=\"font-size:16px; font-style:italic;\">14-in/20-out Thunderbolt/USB Audio Interface with 4 Discrete Microphone Preamps, Mic & Preamp Modeling, and Built-in FPGA FX</span><br /><br />\n<div>\n	The Antelope Audio Discrete 4 Microphone Preamp and Audio Interface comes with 4 console grade 6-transistor discrete preamps, 121 db dynamic range conversion and rock solid clocking. \n	<br /><br />Discrete 4 features the Antelope Audio premier real-time FPGA FX modeling iconic gear from BAE, Lang, Gyraf Audio and FET. <span style=\"background-color: initial;\">Discrete 4 also includes Accusonic 3D microphone and preamp models, guitar amps, transformer and tube FX, and a huge selection of classic vintage gear, now accessible in any DAW thanks to the freshly introduced Antelope Connect AFX Plugin.<br /></span><div><i><br /></i></div><div><span style=\"background-color: initial;\"><i>This version of Antelope Audio\'s Discrete 4 includes the Premium AFX Collection, which allows you to use 4 channel strips with 4 instances of FGPA FX processing on each</i></span><i>. Contact your RSPE sales specialist for more information.</i></div></div>\n<br />\n<h3>Antelope Discrete 4 Key Features:</h3>\n<ul>\n	<li>4 Console-grade 6-transistor discrete microphone preamps</li>\n	<li>Mic and Mic Pre Modeling emulates classic Tube, Transformer and FET based circuitry in real-time</li>\n	<li>Built-in FPGA FX deliver real-time models of vintage gear</li>\n	<li>Antelope\'s famous 64-bit Acoustically Focused Clocking (AFC) technology</li>\n	<li>Complete monitoring section with up to 4 custom monitor mixes to Headphone or Monitor outs, plus built-in Talkback</li>\n	<li>Discrete 4 iOS app provides remote control of your parameters</li>\n</ul>\n<br />\n<h3>An Entire Signal Path of Customizable Sonic Excellence</h3>\nDiscrete 4 was developed after an extensive research of legendary microphone preamp circuitry. The Antelope Audio FPGA engine transforms its already expensive sounding Accusonic preamps into several classic units. It’s all happening real-time and with as authentic responsiveness as possible.\n<br /><br />\nThe real-time FPGA platform offers a complete professional studio experience – Microphones, Preamps, Conversion, Compressors, EQs, Reverb and latency free Monitoring. All this backed up by Antelope\'s signature Clocking combined into one unified system with instantly recallable Presets. You can even load AFX Presets from VIP Masters with their favorite combinations of FPGA FX that are used daily on their own award-winning mixes.<br /><br />\nDiscrete 4 is designed to work with any microphone, but it really shines with Antelope’s new <a href=\"/Antelope-Audio-Edge-p/antelope-edge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Edge</a> and <a href=\"/Antelope-Audio-Verge-p/antelope-verge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Verge</a><a></a> mics.<br /><br />\nEdge & Verge were designed to match the unit’s discrete preamp architecture.\n<br /><br />\n<h3>Authentic Vintage Sounds powered by FPGA FX</h3>\n<div>\n	<span style=\"background-color: initial;\">The Antelope Audio real-time FPGA platform is now extended to a complete professional studio experience – Microphones, Preamps, Conversion, Compressors, EQs, and Reverb. Use them within the Discrete 4 EasyPanel or in your preferred DAW via the new ConnectAFX Plugin. Perform and record either with FX or process in post-production. The Discrete 4 ReAmp outputs will allow you to use any outboard gear and route the resulting sound back in your DAW of choice.</span>\n</div>\n<br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Guitar Amps:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Burnsphere (DE)  </li>\n	<li>Marcus II (US)   </li>\n	<li>Overange 120 (UK)</li>\n	<li>Tweed Deluxe     </li>\n	<li>Top30            </li>\n	<li>Darkface         </li>\n	<li>Modern           </li>\n	<li>Plexi 59         </li>\n	<li>Rock 75          </li>\n	<li>Rock 22.10       </li>\n</ul>\n<h4>EQ Legends:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>VEQ-55b        </li>\n	<li>VEQ-STU 089    </li>\n	<li>VEQ-STU 169    </li>\n	<li>VEQ-STU 900    </li>\n	<li>VEQ HA32C      </li>\n	<li>BAE 1023       </li>\n	<li>BAE 1084       </li>\n	<li>NEU-W492       </li>\n	<li>NEU-W495       </li>\n	<li>NEU-PEV        </li>\n	<li>VEQ-4K Series  </li>\n	<li>VEQ-4K Black   </li>\n	<li>VEQ-4K Brown   </li>\n	<li>VEQ-4K Pink    </li>\n	<li>VEQ-4K  Orange </li>\n	<li>BAE-1073       </li>\n	<li>VEQ-HLF        </li>\n	<li>VEQ-1A         </li>\n	<li>VMEQ-5         </li>\n	<li>VEQ-55A        </li>\n	<li>Lang PEQ2      </li>\n	<li>UK-69          </li>\n	<li>ClearQ         </li>\n</ul>\n<h4>Vintage Compressors:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>903                    </li>\n	<li>VCA160                 </li>\n	<li>Gyraf Gyratec X        </li>\n	<li>Tube176                </li>\n	<li>Grove Hill Liverpool   </li>\n	<li>FET-A76                </li>\n	<li>FET-A78                </li>\n	<li>ALT-436C               </li>\n	<li>BA-6A                  </li>\n	<li>SMT-100A               </li>\n	<li>Stay-Levin             </li>\n	<li>TubeChild670           </li>\n	<li>Power EX               </li>\n	<li>Power Gate             </li>\n	<li>Feedforward Compressor </li>\n</ul>\n<h4>Reverb:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>AuraVerb</li>\n</ul>\n<br />\n<h3>Clocking Is The Center Of The Antelope Universe</h3>\nFor 25 years, Igor Levin has led the world in pro audio clocking technologies. His proprietary clocking techniques and secret jitter management algorithms have been at the core of the Antelope sound in all of their products. \nThe Discrete 4 is no exception. In fact, this mic preamp interface is a professional clocking solution in its own right. It features Antelope’s 4th Generation 64-bit Acoustically Focused Clocking (AFC) technology from the highly acclaimed Trinity, OCX HD, LiveClock, Pure2, Goliath, Orion, and Zen products. Discrete 4 comes with a Word Clock (WC) Input that can de-jitter and distribute an external clock signal. Three WC outputs allow you to distribute clock to your other digital gear and mic preamps in your setup connected via ADAT and S/PDIF. Discrete 4 will make sure all your gear is perfectly synced.\n<br /><br />\n<h3>Expert Monitoring With Ease For Both Pros and Beginners</h3>\nDiscrete 4 has a comprehensive and easy to set up Monitoring and Talkback section. A band can have up to 4 individual monitoring mixes with FPGA FX included sent to Headphones or Monitor Outputs. The engineer can make custom headphone mixes for each performer. Effects can be included to allow artists to hear sound closer to what will be on the record.\n<br /><br />\nUsers can create custom presets to easily setup various tracking scenarios in a snap. The front panel features a monitor volume knob and dedicated HP knobs for each output. The Talkback mic is also built into the front panel right above the Talkback button. Additionally, Talkback can be engaged via the assignable footswitch on the back, in the EasyPanel software or via the IOS/Android App. Metering is viewable on the front panel display, inside the EasyPanel and also via the remote App.<br /><br />\n<h3>A Rapidly Growing Audio Interface Platform</h3>\nDiscrete 4 can save and load AFX presets and exchange settings with the entire Antelope line of FPGA equipped pro audio interfaces. This means that you can share your own FX settings with other Antelope users and load professionally programmed stacks of FX from the Pros. This makes Discrete 4 a great option for both new users and existing Antelope owners, who use a second rig for touring or travel. This helps users leave their current studio untouched when on the road or doing session work outside their own facility.\n<br /><br />\n<h3>Remote Control via IOS and Android Phones or Tablets</h3>\nUse the Discrete 4 downloadable remote App to adjust all microphone input levels, Talkback levels, as well as Monitoring and Headphone volumes remotely. Musicians can control their own headphone volume with their phones and the engineer can check input levels from the tracking room.\n<br /><br />\n<h3>Get ultra-realistic real-time modeling and 4 console grade mic preamps in one package with the Antelope Discrete 4. Call or Live chat RSPE for more information.</h3>'),(560,75,1,94,'<h1>Antelope Audio Discrete 4 - Microphone Preamp and Thunderbolt/USB Interface With Premium FX Package</h1>\n<span style=\"font-size:16px; font-style:italic;\">14-in/20-out Thunderbolt/USB Audio Interface with 4 Discrete Microphone Preamps, Mic & Preamp Modeling, and Built-in FPGA FX</span><br /><br />\n<div>\n	The Antelope Audio Discrete 4 Microphone Preamp and Audio Interface comes with 4 console grade 6-transistor discrete preamps, 121 db dynamic range conversion and rock solid clocking. \n	<br /><br />Discrete 4 features the Antelope Audio premier real-time FPGA FX modeling iconic gear from BAE, Lang, Gyraf Audio and FET. <span style=\"background-color: initial;\">Discrete 4 also includes Accusonic 3D microphone and preamp models, guitar amps, transformer and tube FX, and a huge selection of classic vintage gear, now accessible in any DAW thanks to the freshly introduced Antelope Connect AFX Plugin.<br /></span><div><i><br /></i></div><div><span style=\"background-color: initial;\"><i>This version of Antelope Audio\'s Discrete 4 includes the Premium AFX Collection, which allows you to use 4 channel strips with 4 instances of FGPA FX processing on each</i></span><i>. Contact your RSPE sales specialist for more information.</i></div></div>\n<br />\n<h3>Antelope Discrete 4 Key Features:</h3>\n<ul>\n	<li>4 Console-grade 6-transistor discrete microphone preamps</li>\n	<li>Mic and Mic Pre Modeling emulates classic Tube, Transformer and FET based circuitry in real-time</li>\n	<li>Built-in FPGA FX deliver real-time models of vintage gear</li>\n	<li>Antelope\'s famous 64-bit Acoustically Focused Clocking (AFC) technology</li>\n	<li>Complete monitoring section with up to 4 custom monitor mixes to Headphone or Monitor outs, plus built-in Talkback</li>\n	<li>Discrete 4 iOS app provides remote control of your parameters</li>\n</ul>\n<br />\n<h3>An Entire Signal Path of Customizable Sonic Excellence</h3>\nDiscrete 4 was developed after an extensive research of legendary microphone preamp circuitry. The Antelope Audio FPGA engine transforms its already expensive sounding Accusonic preamps into several classic units. It’s all happening real-time and with as authentic responsiveness as possible.\n<br /><br />\nThe real-time FPGA platform offers a complete professional studio experience – Microphones, Preamps, Conversion, Compressors, EQs, Reverb and latency free Monitoring. All this backed up by Antelope\'s signature Clocking combined into one unified system with instantly recallable Presets. You can even load AFX Presets from VIP Masters with their favorite combinations of FPGA FX that are used daily on their own award-winning mixes.<br /><br />\nDiscrete 4 is designed to work with any microphone, but it really shines with Antelope’s new <a href=\"/Antelope-Audio-Edge-p/antelope-edge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Edge</a> and <a href=\"/Antelope-Audio-Verge-p/antelope-verge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Verge</a><a></a> mics.<br /><br />\nEdge & Verge were designed to match the unit’s discrete preamp architecture.\n<br /><br />\n<h3>Authentic Vintage Sounds powered by FPGA FX</h3>\n<div>\n	<span style=\"background-color: initial;\">The Antelope Audio real-time FPGA platform is now extended to a complete professional studio experience – Microphones, Preamps, Conversion, Compressors, EQs, and Reverb. Use them within the Discrete 4 EasyPanel or in your preferred DAW via the new ConnectAFX Plugin. Perform and record either with FX or process in post-production. The Discrete 4 ReAmp outputs will allow you to use any outboard gear and route the resulting sound back in your DAW of choice.</span>\n</div>\n<br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Guitar Amps:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Burnsphere (DE)  </li>\n	<li>Marcus II (US)   </li>\n	<li>Overange 120 (UK)</li>\n	<li>Tweed Deluxe     </li>\n	<li>Top30            </li>\n	<li>Darkface         </li>\n	<li>Modern           </li>\n	<li>Plexi 59         </li>\n	<li>Rock 75          </li>\n	<li>Rock 22.10       </li>\n</ul>\n<h4>EQ Legends:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>VEQ-55b        </li>\n	<li>VEQ-STU 089    </li>\n	<li>VEQ-STU 169    </li>\n	<li>VEQ-STU 900    </li>\n	<li>VEQ HA32C      </li>\n	<li>BAE 1023       </li>\n	<li>BAE 1084       </li>\n	<li>NEU-W492       </li>\n	<li>NEU-W495       </li>\n	<li>NEU-PEV        </li>\n	<li>VEQ-4K Series  </li>\n	<li>VEQ-4K Black   </li>\n	<li>VEQ-4K Brown   </li>\n	<li>VEQ-4K Pink    </li>\n	<li>VEQ-4K  Orange </li>\n	<li>BAE-1073       </li>\n	<li>VEQ-HLF        </li>\n	<li>VEQ-1A         </li>\n	<li>VMEQ-5         </li>\n	<li>VEQ-55A        </li>\n	<li>Lang PEQ2      </li>\n	<li>UK-69          </li>\n	<li>ClearQ         </li>\n</ul>\n<h4>Vintage Compressors:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>903                    </li>\n	<li>VCA160                 </li>\n	<li>Gyraf Gyratec X        </li>\n	<li>Tube176                </li>\n	<li>Grove Hill Liverpool   </li>\n	<li>FET-A76                </li>\n	<li>FET-A78                </li>\n	<li>ALT-436C               </li>\n	<li>BA-6A                  </li>\n	<li>SMT-100A               </li>\n	<li>Stay-Levin             </li>\n	<li>TubeChild670           </li>\n	<li>Power EX               </li>\n	<li>Power Gate             </li>\n	<li>Feedforward Compressor </li>\n</ul>\n<h4>Reverb:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>AuraVerb</li>\n</ul>\n<br />\n<h3>Clocking Is The Center Of The Antelope Universe</h3>\nFor 25 years, Igor Levin has led the world in pro audio clocking technologies. His proprietary clocking techniques and secret jitter management algorithms have been at the core of the Antelope sound in all of their products. \nThe Discrete 4 is no exception. In fact, this mic preamp interface is a professional clocking solution in its own right. It features Antelope’s 4th Generation 64-bit Acoustically Focused Clocking (AFC) technology from the highly acclaimed Trinity, OCX HD, LiveClock, Pure2, Goliath, Orion, and Zen products. Discrete 4 comes with a Word Clock (WC) Input that can de-jitter and distribute an external clock signal. Three WC outputs allow you to distribute clock to your other digital gear and mic preamps in your setup connected via ADAT and S/PDIF. Discrete 4 will make sure all your gear is perfectly synced.\n<br /><br />\n<h3>Expert Monitoring With Ease For Both Pros and Beginners</h3>\nDiscrete 4 has a comprehensive and easy to set up Monitoring and Talkback section. A band can have up to 4 individual monitoring mixes with FPGA FX included sent to Headphones or Monitor Outputs. The engineer can make custom headphone mixes for each performer. Effects can be included to allow artists to hear sound closer to what will be on the record.\n<br /><br />\nUsers can create custom presets to easily setup various tracking scenarios in a snap. The front panel features a monitor volume knob and dedicated HP knobs for each output. The Talkback mic is also built into the front panel right above the Talkback button. Additionally, Talkback can be engaged via the assignable footswitch on the back, in the EasyPanel software or via the IOS/Android App. Metering is viewable on the front panel display, inside the EasyPanel and also via the remote App.<br /><br />\n<h3>A Rapidly Growing Audio Interface Platform</h3>\nDiscrete 4 can save and load AFX presets and exchange settings with the entire Antelope line of FPGA equipped pro audio interfaces. This means that you can share your own FX settings with other Antelope users and load professionally programmed stacks of FX from the Pros. This makes Discrete 4 a great option for both new users and existing Antelope owners, who use a second rig for touring or travel. This helps users leave their current studio untouched when on the road or doing session work outside their own facility.\n<br /><br />\n<h3>Remote Control via IOS and Android Phones or Tablets</h3>\nUse the Discrete 4 downloadable remote App to adjust all microphone input levels, Talkback levels, as well as Monitoring and Headphone volumes remotely. Musicians can control their own headphone volume with their phones and the engineer can check input levels from the tracking room.\n<br /><br />\n<h3>Get ultra-realistic real-time modeling and 4 console grade mic preamps in one package with the Antelope Discrete 4. Call or Live chat RSPE for more information.</h3>'),(561,85,0,94,''),(562,85,1,94,''),(563,76,0,94,''),(564,76,1,94,''),(565,75,0,95,'<h1>Antelope Audio Discrete 4 Synergy Core</h1>\n	<i>THUNDERBOLT AND USB AUDIO INTERFACE </i><i style=\"background-color: initial;\">WITH SYNERGY CORE FPGA + DSP FX PROCESSING & 36 INCLUDED ANTELOPE FX PLUG-INS</i>\n<br /><br />\n	The Antelope Audio Discrete 4 Synergy Core Audio Interface gives you Antelope Audio\'s pristine AD/DA conversion and massive effects processing power on your desktop. A hot-rodded upgrade to Antelope\'s popular Discrete 4 audio interface, the Discrete 4 Synergy Core gives you dual DSP chips plus an FPGA processor working in harmony to run Antelope\'s expansive library of effects, as well as 3rd-party effects joining the Synergy Core platform. The Antelope Audio Discrete 4 Synergy Core interface offers 4 console-grade discrete mic preamps, 14 total inputs and 16 outputs, renowned Antelope digital clocking, and both Thunderbolt and USB connectivity for your Mac or PC. Best of all, the Discrete 4 Synergy Core comes with $3,000+ of Antelope\'s top effects plug-ins included free, so you can record, monitor, mix, and master your projects with world-class sound from start to finish.<br /><br />\n		With a price-to-performance ratio that goes toe-to-toe with any Thunderbolt or USB audio interface available, the Antelope Audio Discrete 4 is ideal for musicians, artists and producers who need a compact, road-ready recording setup that unlocks unprecedented power to create.\n<br /><br />\n<h3>Discrete 4 Synergy Core Key Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Synergy Core - New Milestone Technology & Future-proof FX processing platform</span></li>\n	<li>Best-in-class AD/DA conversion with 121 dB dynamic range</li>\n	<li>36 Synergy Core effects plug-ins included -- a $3,000+ value</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Sub-millisecond round-trip latency</span></li>\n	<li>Antelope clocking technology on board with Word Clock output to keep your studio in sync</li>\n	<li>Desktop USB/Thunderbolt audio interface with 4 console-grade mic preamps</li>\n	<li>4 XLR-1/4\" combi inputs for mic/line/instrument sources</li>\n	<li>L/R Monitor TRS 1/4\" line outputs plus 4 TRS 1/4\" line outs</li>\n	<li>Expandable via S/PDIF and ADAT</li>\n	<li>35 effects expansions available separately, including AFX2DAW Bridge</li>\n	<li>All effects can be automated in DAW without CPU load, thanks to AFX2DAW Bridge (Mac only)</li>\n	<li>Hand-built in a road-worthy metal case</li>\n</ul>\n<br />\n<h3>Synergy Core Processing: Future-Proof Your DAW</h3>\nUnder the hood, the Discrete 4 Synergy Core is loaded with twin DSP chips plus an FPGA processor that work together to run Antelope Audio\'s vast collection of vintage-inspired effects plug-ins -- without sapping power from your host Mac or PC. Synergy Core increases your recording rig\'s stability by offloading audio effects processing to your Discrete interface\'s dedicated chips. Adding the Discrete 4 Synergy Core to your system means your DAW can make more efficient use of available CPU power -- extending the life cycle of your existing Mac or PC, so you don\'t have to upgrade to a latest-spec computer just to run all your favorite plug-ins. With Antelope effects running on Antelope hardware, your system is optimized right out of the box -- allowing you to shorten your audio buffer size, reduce latency, eliminate clicks and pops, and free up your host computer to run CPU-heavy VST synths, samplers, and native time-based effects.\n<br /><br />\n<h3>1 FPGA + 2 DSP = More Effects, More Variety</h3>\nAntelope Audio\'s industry-leading FPGA audio processing platform gives you lower latency in effects chains, allowing you to stack effects while adding mere microseconds, not milliseconds, to your signal. The Discrete 4 Synergy Core fuses both FPGA + DSP chips in one Antelope audio interface, harnessing the parallel processing power of FPGA alongside the latest-generation state-of-the-art ARM DSP chips developed for cloud computing and mobile tech -- processors that deliver a faster clock rate than other DSP chips used in the audio interface market. This exclusive hybrid architecture offers computing power synergies unique to Antelope Audio, greatly expanding the variety of Antelope effects that can be developed -- including time-based delays, choruses, flangers, and beyond. Your Discrete 4 Synergy Core arrives loaded with 36 Antelope FX included free -- classic compressors, studio EQs, must-have reverbs, tube guitar amp models based on iconic vintage gear -- and all the processing power you need to run them!\n<br /><br />\n<h3>Uncompromising Analog-to-Digital and Digital-to-Analog Conversion Quality</h3>\nA-to-D and D-to-A converters are at the heart of every DAW-based audio recording and playback system -- and your converters can make or break your studio. That\'s why the Antelope Audio Discrete 4 Synergy Core is loaded with proven, best-in-class AD/DA with 121 dB of dynamic range on the analog inputs and monitor outputs -- so you can capture and monitor your sound with Antelope clarity at up to 192 kHz/24-bit resolution.\n<br /><br />\n<h3>Comprehensive I/O in a Portable Desktop Audio Interface</h3>\nThe Discrete 4 Synergy Core offers all the same I/O as Antelope\'s hit original Discrete 4 interface. With both USB and Thunderbolt I/O, the Discrete 4 Synergy Core lets you choose how you want to connect to your Mac or Windows PC. On the front panel, you\'ll find two XLR-1/4\" combi inputs with switchable mic/line/instrument preamps, and four independent headphone outputs -- enough for you and all the artists you\'re recording. Take a look at the back panel, and you\'ll see two more XLR-1/4\" combi inputs, two 1/4\" outputs to feed your monitors plus 4 more line outs to connect to outboard gear, ADAT and S/PDIF digital I/O via optical TOSlink, and two Word Clock outputs to get your studio in sync with Antelope\'s legendary digital clocking. Hand-built by Antelope engineers to give you extensive analog and digital I/O in a robust, compact unit, the Discrete 4 Synergy Core gives you serious bang for your I/O buck.\n<br /><br />\n<h3>Antelope Audio\'s Proven Clocking Technology</h3>\nTop recording studios, film and broadcast facilities, and massive live productions rely on Antelope Audio master clocks like the OCX HD and Pure2 to maintain stability and sonic integrity in PCM digital audio. A reliable master clock lies at the heart of every pro studio, and the Discrete 4 Synergy Core wouldn\'t be an Antelope Audio interface if it didn\'t offer rock-solid clocking. Loaded with Antelope\'s 4th-Generation 64-bit Acoustically Focused Clocking (AFC) jitter management algorithm, the Discrete 4 Synergy Core offers two 75-ohm BNC Word Clock outputs so you can expand your studio with more digital gear and clock it all to the Discrete 4 Synergy Core. Add Antelope\'s industry-leading digital clocking to your studio, and capture recordings with greater clarity, dimension and detail.\n<br />\n<h3><br class=\"Apple-interchange-newline\" />\nSynergy Core Emulations of Classic Gear</h3>\n<h4>Outboard Gear:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Gyraf Gyratec IX</span></li>\n	<li>VCA160</li>\n	<li>Stay-Levin</li>\n	<li>FET-A76</li>\n	<li>VEQ-1A</li>\n	<li>VMEQ-5</li>\n	<li>X903</li>\n	<li>FeedForward Antelope Compressor</li>\n	<li>Clear Q</li>\n	<li>Power EX</li>\n	<li>VEQ-HLF</li>\n	<li>Auraverb</li>\n	<li>BA-31</li>\n	<li>Power Gate</li>\n</ul>\n<h4>Tube Guitar Amps:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Plexi 59 (UK)</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<h4>Guitar Cabinets:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Darkface 65 2x12</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<br /><br />\n<h3>Get ultra-realistic Synergy Core effects and 4 console grade mic preamps in one package with the Antelope Discrete 4 Synergy Core. Call or Live chat RSPE for more information.</h3><br />'),(566,75,1,95,'<h1>Antelope Audio Discrete 4 Synergy Core</h1>\n	<i>THUNDERBOLT AND USB AUDIO INTERFACE </i><i style=\"background-color: initial;\">WITH SYNERGY CORE FPGA + DSP FX PROCESSING & 36 INCLUDED ANTELOPE FX PLUG-INS</i>\n<br /><br />\n	The Antelope Audio Discrete 4 Synergy Core Audio Interface gives you Antelope Audio\'s pristine AD/DA conversion and massive effects processing power on your desktop. A hot-rodded upgrade to Antelope\'s popular Discrete 4 audio interface, the Discrete 4 Synergy Core gives you dual DSP chips plus an FPGA processor working in harmony to run Antelope\'s expansive library of effects, as well as 3rd-party effects joining the Synergy Core platform. The Antelope Audio Discrete 4 Synergy Core interface offers 4 console-grade discrete mic preamps, 14 total inputs and 16 outputs, renowned Antelope digital clocking, and both Thunderbolt and USB connectivity for your Mac or PC. Best of all, the Discrete 4 Synergy Core comes with $3,000+ of Antelope\'s top effects plug-ins included free, so you can record, monitor, mix, and master your projects with world-class sound from start to finish.<br /><br />\n		With a price-to-performance ratio that goes toe-to-toe with any Thunderbolt or USB audio interface available, the Antelope Audio Discrete 4 is ideal for musicians, artists and producers who need a compact, road-ready recording setup that unlocks unprecedented power to create.\n<br /><br />\n<h3>Discrete 4 Synergy Core Key Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Synergy Core - New Milestone Technology & Future-proof FX processing platform</span></li>\n	<li>Best-in-class AD/DA conversion with 121 dB dynamic range</li>\n	<li>36 Synergy Core effects plug-ins included -- a $3,000+ value</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Sub-millisecond round-trip latency</span></li>\n	<li>Antelope clocking technology on board with Word Clock output to keep your studio in sync</li>\n	<li>Desktop USB/Thunderbolt audio interface with 4 console-grade mic preamps</li>\n	<li>4 XLR-1/4\" combi inputs for mic/line/instrument sources</li>\n	<li>L/R Monitor TRS 1/4\" line outputs plus 4 TRS 1/4\" line outs</li>\n	<li>Expandable via S/PDIF and ADAT</li>\n	<li>35 effects expansions available separately, including AFX2DAW Bridge</li>\n	<li>All effects can be automated in DAW without CPU load, thanks to AFX2DAW Bridge (Mac only)</li>\n	<li>Hand-built in a road-worthy metal case</li>\n</ul>\n<br />\n<h3>Synergy Core Processing: Future-Proof Your DAW</h3>\nUnder the hood, the Discrete 4 Synergy Core is loaded with twin DSP chips plus an FPGA processor that work together to run Antelope Audio\'s vast collection of vintage-inspired effects plug-ins -- without sapping power from your host Mac or PC. Synergy Core increases your recording rig\'s stability by offloading audio effects processing to your Discrete interface\'s dedicated chips. Adding the Discrete 4 Synergy Core to your system means your DAW can make more efficient use of available CPU power -- extending the life cycle of your existing Mac or PC, so you don\'t have to upgrade to a latest-spec computer just to run all your favorite plug-ins. With Antelope effects running on Antelope hardware, your system is optimized right out of the box -- allowing you to shorten your audio buffer size, reduce latency, eliminate clicks and pops, and free up your host computer to run CPU-heavy VST synths, samplers, and native time-based effects.\n<br /><br />\n<h3>1 FPGA + 2 DSP = More Effects, More Variety</h3>\nAntelope Audio\'s industry-leading FPGA audio processing platform gives you lower latency in effects chains, allowing you to stack effects while adding mere microseconds, not milliseconds, to your signal. The Discrete 4 Synergy Core fuses both FPGA + DSP chips in one Antelope audio interface, harnessing the parallel processing power of FPGA alongside the latest-generation state-of-the-art ARM DSP chips developed for cloud computing and mobile tech -- processors that deliver a faster clock rate than other DSP chips used in the audio interface market. This exclusive hybrid architecture offers computing power synergies unique to Antelope Audio, greatly expanding the variety of Antelope effects that can be developed -- including time-based delays, choruses, flangers, and beyond. Your Discrete 4 Synergy Core arrives loaded with 36 Antelope FX included free -- classic compressors, studio EQs, must-have reverbs, tube guitar amp models based on iconic vintage gear -- and all the processing power you need to run them!\n<br /><br />\n<h3>Uncompromising Analog-to-Digital and Digital-to-Analog Conversion Quality</h3>\nA-to-D and D-to-A converters are at the heart of every DAW-based audio recording and playback system -- and your converters can make or break your studio. That\'s why the Antelope Audio Discrete 4 Synergy Core is loaded with proven, best-in-class AD/DA with 121 dB of dynamic range on the analog inputs and monitor outputs -- so you can capture and monitor your sound with Antelope clarity at up to 192 kHz/24-bit resolution.\n<br /><br />\n<h3>Comprehensive I/O in a Portable Desktop Audio Interface</h3>\nThe Discrete 4 Synergy Core offers all the same I/O as Antelope\'s hit original Discrete 4 interface. With both USB and Thunderbolt I/O, the Discrete 4 Synergy Core lets you choose how you want to connect to your Mac or Windows PC. On the front panel, you\'ll find two XLR-1/4\" combi inputs with switchable mic/line/instrument preamps, and four independent headphone outputs -- enough for you and all the artists you\'re recording. Take a look at the back panel, and you\'ll see two more XLR-1/4\" combi inputs, two 1/4\" outputs to feed your monitors plus 4 more line outs to connect to outboard gear, ADAT and S/PDIF digital I/O via optical TOSlink, and two Word Clock outputs to get your studio in sync with Antelope\'s legendary digital clocking. Hand-built by Antelope engineers to give you extensive analog and digital I/O in a robust, compact unit, the Discrete 4 Synergy Core gives you serious bang for your I/O buck.\n<br /><br />\n<h3>Antelope Audio\'s Proven Clocking Technology</h3>\nTop recording studios, film and broadcast facilities, and massive live productions rely on Antelope Audio master clocks like the OCX HD and Pure2 to maintain stability and sonic integrity in PCM digital audio. A reliable master clock lies at the heart of every pro studio, and the Discrete 4 Synergy Core wouldn\'t be an Antelope Audio interface if it didn\'t offer rock-solid clocking. Loaded with Antelope\'s 4th-Generation 64-bit Acoustically Focused Clocking (AFC) jitter management algorithm, the Discrete 4 Synergy Core offers two 75-ohm BNC Word Clock outputs so you can expand your studio with more digital gear and clock it all to the Discrete 4 Synergy Core. Add Antelope\'s industry-leading digital clocking to your studio, and capture recordings with greater clarity, dimension and detail.\n<br />\n<h3><br class=\"Apple-interchange-newline\" />\nSynergy Core Emulations of Classic Gear</h3>\n<h4>Outboard Gear:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Gyraf Gyratec IX</span></li>\n	<li>VCA160</li>\n	<li>Stay-Levin</li>\n	<li>FET-A76</li>\n	<li>VEQ-1A</li>\n	<li>VMEQ-5</li>\n	<li>X903</li>\n	<li>FeedForward Antelope Compressor</li>\n	<li>Clear Q</li>\n	<li>Power EX</li>\n	<li>VEQ-HLF</li>\n	<li>Auraverb</li>\n	<li>BA-31</li>\n	<li>Power Gate</li>\n</ul>\n<h4>Tube Guitar Amps:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Plexi 59 (UK)</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<h4>Guitar Cabinets:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Darkface 65 2x12</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<br /><br />\n<h3>Get ultra-realistic Synergy Core effects and 4 console grade mic preamps in one package with the Antelope Discrete 4 Synergy Core. Call or Live chat RSPE for more information.</h3><br />'),(567,85,0,95,''),(568,85,1,95,''),(569,76,0,95,''),(570,76,1,95,''),(571,75,0,96,'<h1>Antelope Audio Discrete 8 Microphone Preamp and Thunderbolt/USB Interface  and Premium FX Pack</h1>\n<i>26-in/32-out Thunderbolt/USB Audio Interface with 8 Discrete Microphone Preamps, Mic & Preamp Modeling, and Built-in FPGA FX</i><br /><br />\nThe Antelope Audio Discrete 8 Microphone Preamp and Audio Interface features 8 console grade 6-transistor discrete preamps, 121 db dynamic range conversion and rock solid clocking. Discrete 8 is a 26in/32out interface featuring 8 analog ins, 8 analog outs on DB25, a pair of monitor outs, 2 Headphone outs and 2 ReAmps. Additional digital connectivity comes on S/PDIF, 2-ADAT’s.<br /><br />\nDiscrete 8 features all of the Antelope Audio premier real-time FPGA FX, including authentic models of iconic gear from BAE, Lang, Gyraf Audio and many more. The Antelope AFX platform is based on a rapidly expanding hardware modeling engine. Discrete 8 includes Accusonic microphone and preamp models, guitar amps, transformer and tube FX, and a huge selection of classic vintage gear, which are now accessible in the DAW via the new ConnectAFX Plugin. <br /><br /><i>This version of Antelope Audio\'s Discrete 8 includes the Premium AFX Collection, which allows you to use 8 channel strips with 4 instances of FGPA FX processing on each.. Contact your RSPE sales specialist for more information.</i><br /><br />\n<h3>Antelope Discrete 8 Key Features:</h3>\n<ul>\n	<li>8 Console-grade 6-transistor discrete microphone preamps</li>\n	<li>Mic and Mic Pre Modeling emulates classic Tube, Transformer and FET based circuitry in real-time</li>\n	<li>Built-in FPGA FX deliver real-time models of vintage gear</li>\n	<li>Antelope\'s famous 64-bit Acoustically Focused Clocking (AFC) technology</li>\n	<li>Complete monitoring section with up to 4 custom monitor mixes to Headphone or Monitor outs, plus built-in Talkback</li>\n	<li>Discrete 8 iOS app provides remote control of your parameters</li>\n</ul>\n<br />\n<h3>An Entire Signal Path of Customizable Sonic Excellence</h3>\nDiscrete 8 was developed after an extensive research of legendary microphone preamp circuitry. Its console-grade and fully discrete preamps were hand designed to offer world-class sound. The powerful Antelope Audio FPGA engine can transform these already expensive sounding Accusonic preamps into several classic units via Tube, Transformer and FET based circuitry and it\'s all happening real-time.\n<br /><br />\nBoth the engineer and the performer can instantly hear the authentic blends of 10 different mic preamps without any latency or annoying comb filtering. The microphone source can be recorded with and without Accusonic modeling. This allows the engineer to choose between preamp models during mixing. The entire signal path was designed for optimal sound with any microphone and it really shines with Antelope’s new Edge and Verge microphones. These new microphones were specially designed for the Discrete 8 preamps and feature matching discrete electronics.<br /><br />\nThe real-time FPGA platform offers a complete professional studio experience – Microphones, Preamps, Conversion, Compressors, EQs, Reverb and latency free Monitoring. All this backed up by Antelope\'s signature Clocking combined into one unified system with instantly recallable Presets. You can even load AFX Presets from VIP Masters with their favorite combinations of FPGA FX that are used daily on their own award-winning mixes.<br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Guitar Amps:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Burnsphere (DE)  </li>\n	<li>Marcus II (US)   </li>\n	<li>Overange 120 (UK)</li>\n	<li>Tweed Deluxe     </li>\n	<li>Top30            </li>\n	<li>Darkface         </li>\n	<li>Modern           </li>\n	<li>Plexi 59         </li>\n	<li>Rock 75          </li>\n	<li>Rock 22.10       </li>\n</ul>\n<h4>EQ Legends:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>VEQ-55b        </li>\n	<li>VEQ-STU 089    </li>\n	<li>VEQ-STU 169    </li>\n	<li>VEQ-STU 900    </li>\n	<li>VEQ HA32C      </li>\n	<li>BAE 1023       </li>\n	<li>BAE 1084       </li>\n	<li>NEU-W492       </li>\n	<li>NEU-W495       </li>\n	<li>NEU-PEV        </li>\n	<li>VEQ-4K Series  </li>\n	<li>VEQ-4K Black   </li>\n	<li>VEQ-4K Brown   </li>\n	<li>VEQ-4K Pink    </li>\n	<li>VEQ-4K  Orange </li>\n	<li>BAE-1073       </li>\n	<li>VEQ-HLF        </li>\n	<li>VEQ-1A         </li>\n	<li>VMEQ-5         </li>\n	<li>VEQ-55A        </li>\n	<li>Lang PEQ2      </li>\n	<li>UK-69          </li>\n	<li>ClearQ         </li>\n</ul>\n<h4>Vintage Compressors:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>903                    </li>\n	<li>VCA160                 </li>\n	<li>Gyraf Gyratec X        </li>\n	<li>Tube176                </li>\n	<li>Grove Hill Liverpool   </li>\n	<li>FET-A76                </li>\n	<li>FET-A78                </li>\n	<li>ALT-436C               </li>\n	<li>BA-6A                  </li>\n	<li>SMT-100A               </li>\n	<li>Stay-Levin             </li>\n	<li>TubeChild670           </li>\n	<li>Power EX               </li>\n	<li>Power Gate             </li>\n	<li>Feedforward Compressor </li>\n</ul>\n<h4>Reverb:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>AuraVerb</li>\n</ul>\n<br />\n<h3>A Breakthrough Discrete Microphone Preamp Design</h3>\nTraditionally, interface preamps are comprised of only 2 transistors, which makes them a hybrid between transistors and IC chips. Antelope Audio incorporates a fully discrete design consisting of 6 accurately matched transistors, yet maintaining the advantages of digital control and repeatability of gain levels. Field effect transistors add an expensive-sounding touch of warmth and naturalness to the sound. Bipolar transistors keep THD and noise extremely low, which is quite uncommon in a discrete design.\n<br /><br />\nAntelope’s console grade 6-transistor discrete preamp is exceptionally unique. The Discrete 8 mic preamps were the first step of the device design process. Unlike other units where mic preamps are added to the interface, the Discrete 8 preamps are actually what the device is centered around.<br /><br />\nDiscrete 8 is designed to work with any microphone, but it really shines with Antelope’s new <a href=\"/Antelope-Audio-Edge-p/antelope-edge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Edge</a> and <a href=\"/Antelope-Audio-Verge-p/antelope-verge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Verge</a><a></a> mics.<br /><br />\nEdge & Verge were designed to match the unit’s discrete preamp architecture.\n<br /><br />\n<h3>Clocking Is The Center Of The Antelope Universe</h3>\nFor 25 years, Igor Levin has led the world in pro audio clocking technologies. His proprietary clocking techniques and secret jitter management algorithms have been at the core of the Antelope sound in all of their products. \nThe Discrete 8 is no exception. In fact, this mic preamp interface is a professional clocking solution in its own right. It features Antelope’s 4th Generation 64-bit Acoustically Focused Clocking (AFC) technology from the highly acclaimed Trinity, OCX HD, LiveClock, Pure2, Goliath, Orion, and Zen products. Discrete 8 comes with a Word Clock (WC) Input that can de-jitter and distribute an external clock signal. Three WC outputs allow you to distribute clock to your other digital gear and mic preamps in your setup connected via ADAT and S/PDIF. Discrete 8 will make sure all your gear is perfectly synced.\n<br /><br />\n<h3>Expert Monitoring With Ease For Both Pros and Beginners</h3>\nDiscrete 8 has a comprehensive and easy to set up Monitoring and Talkback section. A band can have up to 4 individual monitoring mixes with FPGA FX included sent to Headphones or Monitor Outputs. The engineer can make custom headphone mixes for each performer. Effects can be included to allow artists to hear sound closer to what will be on the record.\n<br /><br />\nUsers can create custom presets to easily setup various tracking scenarios in a snap. The front panel features a monitor volume knob and dedicated HP knobs for each output. The Talkback mic is also built into the front panel right above the Talkback button. Additionally, Talkback can be engaged via the assignable footswitch on the back, in the EasyPanel software or via the IOS/Android App. Metering is viewable on the front panel display, inside the EasyPanel and also via the remote App.<br /><br />\n<h3>A Rapidly Growing Audio Interface Platform</h3>\nDiscrete 8 can save and load AFX presets and exchange settings with the entire Antelope line of FPGA equipped pro audio interfaces. This means that you can share your own FX settings with other Antelope users and load professionally programmed stacks of FX from the Pros. This makes Discrete 8 a great option for both new users and existing Antelope owners, who use a second rig for touring or travel. This helps users leave their current studio untouched when on the road or doing session work outside their own facility.\n<br /><br />\n<h3>Remote Control via IOS and Android Phones or Tablets</h3>\nUse the Discrete 8 downloadable remote App to adjust all microphone input levels, Talkback levels, as well as Monitoring and Headphone volumes remotely. Musicians can control their own headphone volume with their phones and the engineer can check input levels from the tracking room.\n<br /><br />\n<h3>Get ultra-realistic real-time modeling and 8 console grade mic preamps in one package with the Antelope Discrete 8. Call or Live chat RSPE for more information.</h3>'),(572,75,1,96,'<h1>Antelope Audio Discrete 8 Microphone Preamp and Thunderbolt/USB Interface  and Premium FX Pack</h1>\n<i>26-in/32-out Thunderbolt/USB Audio Interface with 8 Discrete Microphone Preamps, Mic & Preamp Modeling, and Built-in FPGA FX</i><br /><br />\nThe Antelope Audio Discrete 8 Microphone Preamp and Audio Interface features 8 console grade 6-transistor discrete preamps, 121 db dynamic range conversion and rock solid clocking. Discrete 8 is a 26in/32out interface featuring 8 analog ins, 8 analog outs on DB25, a pair of monitor outs, 2 Headphone outs and 2 ReAmps. Additional digital connectivity comes on S/PDIF, 2-ADAT’s.<br /><br />\nDiscrete 8 features all of the Antelope Audio premier real-time FPGA FX, including authentic models of iconic gear from BAE, Lang, Gyraf Audio and many more. The Antelope AFX platform is based on a rapidly expanding hardware modeling engine. Discrete 8 includes Accusonic microphone and preamp models, guitar amps, transformer and tube FX, and a huge selection of classic vintage gear, which are now accessible in the DAW via the new ConnectAFX Plugin. <br /><br /><i>This version of Antelope Audio\'s Discrete 8 includes the Premium AFX Collection, which allows you to use 8 channel strips with 4 instances of FGPA FX processing on each.. Contact your RSPE sales specialist for more information.</i><br /><br />\n<h3>Antelope Discrete 8 Key Features:</h3>\n<ul>\n	<li>8 Console-grade 6-transistor discrete microphone preamps</li>\n	<li>Mic and Mic Pre Modeling emulates classic Tube, Transformer and FET based circuitry in real-time</li>\n	<li>Built-in FPGA FX deliver real-time models of vintage gear</li>\n	<li>Antelope\'s famous 64-bit Acoustically Focused Clocking (AFC) technology</li>\n	<li>Complete monitoring section with up to 4 custom monitor mixes to Headphone or Monitor outs, plus built-in Talkback</li>\n	<li>Discrete 8 iOS app provides remote control of your parameters</li>\n</ul>\n<br />\n<h3>An Entire Signal Path of Customizable Sonic Excellence</h3>\nDiscrete 8 was developed after an extensive research of legendary microphone preamp circuitry. Its console-grade and fully discrete preamps were hand designed to offer world-class sound. The powerful Antelope Audio FPGA engine can transform these already expensive sounding Accusonic preamps into several classic units via Tube, Transformer and FET based circuitry and it\'s all happening real-time.\n<br /><br />\nBoth the engineer and the performer can instantly hear the authentic blends of 10 different mic preamps without any latency or annoying comb filtering. The microphone source can be recorded with and without Accusonic modeling. This allows the engineer to choose between preamp models during mixing. The entire signal path was designed for optimal sound with any microphone and it really shines with Antelope’s new Edge and Verge microphones. These new microphones were specially designed for the Discrete 8 preamps and feature matching discrete electronics.<br /><br />\nThe real-time FPGA platform offers a complete professional studio experience – Microphones, Preamps, Conversion, Compressors, EQs, Reverb and latency free Monitoring. All this backed up by Antelope\'s signature Clocking combined into one unified system with instantly recallable Presets. You can even load AFX Presets from VIP Masters with their favorite combinations of FPGA FX that are used daily on their own award-winning mixes.<br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Guitar Amps:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Burnsphere (DE)  </li>\n	<li>Marcus II (US)   </li>\n	<li>Overange 120 (UK)</li>\n	<li>Tweed Deluxe     </li>\n	<li>Top30            </li>\n	<li>Darkface         </li>\n	<li>Modern           </li>\n	<li>Plexi 59         </li>\n	<li>Rock 75          </li>\n	<li>Rock 22.10       </li>\n</ul>\n<h4>EQ Legends:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>VEQ-55b        </li>\n	<li>VEQ-STU 089    </li>\n	<li>VEQ-STU 169    </li>\n	<li>VEQ-STU 900    </li>\n	<li>VEQ HA32C      </li>\n	<li>BAE 1023       </li>\n	<li>BAE 1084       </li>\n	<li>NEU-W492       </li>\n	<li>NEU-W495       </li>\n	<li>NEU-PEV        </li>\n	<li>VEQ-4K Series  </li>\n	<li>VEQ-4K Black   </li>\n	<li>VEQ-4K Brown   </li>\n	<li>VEQ-4K Pink    </li>\n	<li>VEQ-4K  Orange </li>\n	<li>BAE-1073       </li>\n	<li>VEQ-HLF        </li>\n	<li>VEQ-1A         </li>\n	<li>VMEQ-5         </li>\n	<li>VEQ-55A        </li>\n	<li>Lang PEQ2      </li>\n	<li>UK-69          </li>\n	<li>ClearQ         </li>\n</ul>\n<h4>Vintage Compressors:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>903                    </li>\n	<li>VCA160                 </li>\n	<li>Gyraf Gyratec X        </li>\n	<li>Tube176                </li>\n	<li>Grove Hill Liverpool   </li>\n	<li>FET-A76                </li>\n	<li>FET-A78                </li>\n	<li>ALT-436C               </li>\n	<li>BA-6A                  </li>\n	<li>SMT-100A               </li>\n	<li>Stay-Levin             </li>\n	<li>TubeChild670           </li>\n	<li>Power EX               </li>\n	<li>Power Gate             </li>\n	<li>Feedforward Compressor </li>\n</ul>\n<h4>Reverb:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>AuraVerb</li>\n</ul>\n<br />\n<h3>A Breakthrough Discrete Microphone Preamp Design</h3>\nTraditionally, interface preamps are comprised of only 2 transistors, which makes them a hybrid between transistors and IC chips. Antelope Audio incorporates a fully discrete design consisting of 6 accurately matched transistors, yet maintaining the advantages of digital control and repeatability of gain levels. Field effect transistors add an expensive-sounding touch of warmth and naturalness to the sound. Bipolar transistors keep THD and noise extremely low, which is quite uncommon in a discrete design.\n<br /><br />\nAntelope’s console grade 6-transistor discrete preamp is exceptionally unique. The Discrete 8 mic preamps were the first step of the device design process. Unlike other units where mic preamps are added to the interface, the Discrete 8 preamps are actually what the device is centered around.<br /><br />\nDiscrete 8 is designed to work with any microphone, but it really shines with Antelope’s new <a href=\"/Antelope-Audio-Edge-p/antelope-edge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Edge</a> and <a href=\"/Antelope-Audio-Verge-p/antelope-verge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Verge</a><a></a> mics.<br /><br />\nEdge & Verge were designed to match the unit’s discrete preamp architecture.\n<br /><br />\n<h3>Clocking Is The Center Of The Antelope Universe</h3>\nFor 25 years, Igor Levin has led the world in pro audio clocking technologies. His proprietary clocking techniques and secret jitter management algorithms have been at the core of the Antelope sound in all of their products. \nThe Discrete 8 is no exception. In fact, this mic preamp interface is a professional clocking solution in its own right. It features Antelope’s 4th Generation 64-bit Acoustically Focused Clocking (AFC) technology from the highly acclaimed Trinity, OCX HD, LiveClock, Pure2, Goliath, Orion, and Zen products. Discrete 8 comes with a Word Clock (WC) Input that can de-jitter and distribute an external clock signal. Three WC outputs allow you to distribute clock to your other digital gear and mic preamps in your setup connected via ADAT and S/PDIF. Discrete 8 will make sure all your gear is perfectly synced.\n<br /><br />\n<h3>Expert Monitoring With Ease For Both Pros and Beginners</h3>\nDiscrete 8 has a comprehensive and easy to set up Monitoring and Talkback section. A band can have up to 4 individual monitoring mixes with FPGA FX included sent to Headphones or Monitor Outputs. The engineer can make custom headphone mixes for each performer. Effects can be included to allow artists to hear sound closer to what will be on the record.\n<br /><br />\nUsers can create custom presets to easily setup various tracking scenarios in a snap. The front panel features a monitor volume knob and dedicated HP knobs for each output. The Talkback mic is also built into the front panel right above the Talkback button. Additionally, Talkback can be engaged via the assignable footswitch on the back, in the EasyPanel software or via the IOS/Android App. Metering is viewable on the front panel display, inside the EasyPanel and also via the remote App.<br /><br />\n<h3>A Rapidly Growing Audio Interface Platform</h3>\nDiscrete 8 can save and load AFX presets and exchange settings with the entire Antelope line of FPGA equipped pro audio interfaces. This means that you can share your own FX settings with other Antelope users and load professionally programmed stacks of FX from the Pros. This makes Discrete 8 a great option for both new users and existing Antelope owners, who use a second rig for touring or travel. This helps users leave their current studio untouched when on the road or doing session work outside their own facility.\n<br /><br />\n<h3>Remote Control via IOS and Android Phones or Tablets</h3>\nUse the Discrete 8 downloadable remote App to adjust all microphone input levels, Talkback levels, as well as Monitoring and Headphone volumes remotely. Musicians can control their own headphone volume with their phones and the engineer can check input levels from the tracking room.\n<br /><br />\n<h3>Get ultra-realistic real-time modeling and 8 console grade mic preamps in one package with the Antelope Discrete 8. Call or Live chat RSPE for more information.</h3>'),(573,85,0,96,''),(574,85,1,96,''),(575,76,0,96,''),(576,76,1,96,''),(577,75,0,97,'<h1>Antelope Audio Discrete 8 Synergy Core</h1>\n\n	<i>THUNDERBOLT AND USB AUDIO INTERFACE </i><i style=\"background-color: initial;\">WITH SYNERGY CORE FPGA + DSP FX PROCESSING & 36 INCLUDED ANTELOPE FX PLUG-INS</i>\n<br /><br />\n	The Antelope Audio Discrete 8 Synergy Core Audio Interface gives you ultra-flexible effects processing power, renowned digital clocking, and pro-level conversion quality to your project studio. The next generation of Antelope\'s hit Discrete 8 Thunderbolt/USB interface, the Discrete 8 Synergy Core is loaded with dual DSP chips and an FPGA processor working together to run award-winning Antelope FX, as well as 3rd-party effects joining the Synergy Core platform. Ideal for mid-sized studios, the Discrete 8 Synergy Core features Thunderbolt and USB connectivity, 8 console-grade microphone preamps, 26 total inputs and 30 outputs -- including two dedicated ReAmp outputs. There\'s even a footswitch jack to speed up your workflow. And with 36 top Antelope effects plug-ins included free, the Discrete 8 Synergy Core gives you a sharp set of creative tools to take your projects from inspiration to final master.\n<br /><br />\n<h3>Discrete 8 Synergy Core Key Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Synergy Core - New Milestone Technology & Future-proof FX processing platform</span></li>\n	<li>Pristine AD/DA conversion with 130 dB of dynamic range on monitor outputs</li>\n	<li>36 Synergy Core effects plug-ins included -- a $3,000 value</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Sub-millisecond round-trip latency</span></li>\n	<li>Antelope\'s 4th-Generation Acoustically Focused Clocking and Word Clock I/O</li>\n	<li>USB/Thunderbolt audio interface with 8 console-grade mic preamps</li>\n	<li>26 total inputs and 30 outputs, including 2 dedicated ReAmp outputs</li>\n	<li>Footswitch jack</li>\n	<li>35 effects expansions available separately, including AFX2DAW Bridge</li>\n	<li>All effects can be automated in DAW without CPU load, thanks to AFX2DAW Bridge (Mac only)</li>\n	\n</ul>\n<br />\n<h3>Synergy Core Processing: Future-Proof Your DAW</h3>\nWith two DSP chips and an FPGA chip under the hood, the Discrete 8 Synergy Core can run all your Antelope FX -- stabilizing your DAW by offloading effects processing to dedicated chips, without bogging down your host CPU. With the Discrete 8 Synergy Core in your rack, you don\'t need a latest-spec computer to run your favorite plugs. Antelope effects running on Antelope hardware means you can shorten buffer size, reduce latency, and free up your host Mac or PC to run CPU-hogging VST synths and native time-based effects.\n<br /><br />\n<h3>1 FPGA + 2 DSP = More Effects, More Variety</h3>\nAntelope\'s unique Synergy Core platform combines FPGA + DSP in one interface. With the Discrete 8 Synergy Core, you get state-of-the-art ARM DSPs with faster clock rates than chips found in lesser interfaces, plus Antelope\'s proven FPGA platform that delivers lower latency in FX chains. This exclusive hybrid architecture enables a wider variety of Antelope effects than ever -- time-based delays, choruses, flangers, and more. Your Discrete 8 Synergy Core comes with $3,000 of plug-ins: compressors, EQs, reverbs, amp models based on iconic vintage gear -- and all the processing power you need to run them!\n<br /><br />\n<h3>Uncompromising A/D and D/A Conversion Quality</h3>\nAnalog-to-digital and digital-to-analog converters are at the heart of every DAW-based studio -- and your converters can make or break your sound. That\'s why the Antelope Audio Discrete 8 Synergy Core offers pristine AD/DA with 121 dB dynamic range on the analog inputs and class-leading 130 dB dynamic range on the monitor outputs, so you can capture and play back your audio with Antelope clarity.\n<br /><br />\n<h3>More I/O for Your Growing Studio</h3>\nThe Discrete 8 Synergy Core is hand-built by Antelope engineers to deliver impressive analog and digital I/O in one rack space. Plug into two front-panel XLR-1/4\" inputs with switchable mic/line/Hi-Z preamps. On the back, you\'ll find 6 mic/line inputs, monitor line outputs, dedicated ReAmp outputs, 8 more line outputs on a DB25 connector, two banks of ADAT I/O, and S/PDIF I/O.\n<br /><br />\n<h3>Antelope Audio\'s Proven Clocking Technology</h3>\nPro recording studios rely on Antelope  master clocks to maintain stability and sonic integrity in PCM digital audio. The Discrete 8 Synergy Core wouldn\'t be an Antelope Audio interface if it didn\'t offer rock-solid clocking, with Antelope\'s 4th-Generation 64-bit Acoustically Focused Clocking (AFC) jitter management algorithm, three 75-ohm BNC Word Clock outputs, and Word Clock input. Add Antelope\'s industry-leading digital clocking to your studio, and capture recordings with greater clarity, dimension and detail.\n<br />\n<h3><br class=\"Apple-interchange-newline\" />\nSynergy Core Emulations of Classic Gear</h3>\n<h4>Outboard Gear:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Gyraf Gyratec IX</span></li>\n	<li>VCA160</li>\n	<li>Stay-Levin</li>\n	<li>FET-A76</li>\n	<li>VEQ-1A</li>\n	<li>VMEQ-5</li>\n	<li>X903</li>\n	<li>FeedForward Antelope Compressor</li>\n	<li>Clear Q</li>\n	<li>Power EX</li>\n	<li>VEQ-HLF</li>\n	<li>Auraverb</li>\n	<li>BA-31</li>\n	<li>Power Gate</li>\n</ul>\n<h4>Tube Guitar Amps:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Plexi 59 (UK)</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<h4>Guitar Cabinets:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Darkface 65 2x12</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<br /><br />\n<h3>Get ultra-realistic Synergy Core effects and 8 console grade mic preamps in one package with the Antelope Discrete 8 Synergy Core. Call or Live chat RSPE for more information.</h3><br />'),(578,75,1,97,'<h1>Antelope Audio Discrete 8 Synergy Core</h1>\n\n	<i>THUNDERBOLT AND USB AUDIO INTERFACE </i><i style=\"background-color: initial;\">WITH SYNERGY CORE FPGA + DSP FX PROCESSING & 36 INCLUDED ANTELOPE FX PLUG-INS</i>\n<br /><br />\n	The Antelope Audio Discrete 8 Synergy Core Audio Interface gives you ultra-flexible effects processing power, renowned digital clocking, and pro-level conversion quality to your project studio. The next generation of Antelope\'s hit Discrete 8 Thunderbolt/USB interface, the Discrete 8 Synergy Core is loaded with dual DSP chips and an FPGA processor working together to run award-winning Antelope FX, as well as 3rd-party effects joining the Synergy Core platform. Ideal for mid-sized studios, the Discrete 8 Synergy Core features Thunderbolt and USB connectivity, 8 console-grade microphone preamps, 26 total inputs and 30 outputs -- including two dedicated ReAmp outputs. There\'s even a footswitch jack to speed up your workflow. And with 36 top Antelope effects plug-ins included free, the Discrete 8 Synergy Core gives you a sharp set of creative tools to take your projects from inspiration to final master.\n<br /><br />\n<h3>Discrete 8 Synergy Core Key Features:</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Synergy Core - New Milestone Technology & Future-proof FX processing platform</span></li>\n	<li>Pristine AD/DA conversion with 130 dB of dynamic range on monitor outputs</li>\n	<li>36 Synergy Core effects plug-ins included -- a $3,000 value</li>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Sub-millisecond round-trip latency</span></li>\n	<li>Antelope\'s 4th-Generation Acoustically Focused Clocking and Word Clock I/O</li>\n	<li>USB/Thunderbolt audio interface with 8 console-grade mic preamps</li>\n	<li>26 total inputs and 30 outputs, including 2 dedicated ReAmp outputs</li>\n	<li>Footswitch jack</li>\n	<li>35 effects expansions available separately, including AFX2DAW Bridge</li>\n	<li>All effects can be automated in DAW without CPU load, thanks to AFX2DAW Bridge (Mac only)</li>\n	\n</ul>\n<br />\n<h3>Synergy Core Processing: Future-Proof Your DAW</h3>\nWith two DSP chips and an FPGA chip under the hood, the Discrete 8 Synergy Core can run all your Antelope FX -- stabilizing your DAW by offloading effects processing to dedicated chips, without bogging down your host CPU. With the Discrete 8 Synergy Core in your rack, you don\'t need a latest-spec computer to run your favorite plugs. Antelope effects running on Antelope hardware means you can shorten buffer size, reduce latency, and free up your host Mac or PC to run CPU-hogging VST synths and native time-based effects.\n<br /><br />\n<h3>1 FPGA + 2 DSP = More Effects, More Variety</h3>\nAntelope\'s unique Synergy Core platform combines FPGA + DSP in one interface. With the Discrete 8 Synergy Core, you get state-of-the-art ARM DSPs with faster clock rates than chips found in lesser interfaces, plus Antelope\'s proven FPGA platform that delivers lower latency in FX chains. This exclusive hybrid architecture enables a wider variety of Antelope effects than ever -- time-based delays, choruses, flangers, and more. Your Discrete 8 Synergy Core comes with $3,000 of plug-ins: compressors, EQs, reverbs, amp models based on iconic vintage gear -- and all the processing power you need to run them!\n<br /><br />\n<h3>Uncompromising A/D and D/A Conversion Quality</h3>\nAnalog-to-digital and digital-to-analog converters are at the heart of every DAW-based studio -- and your converters can make or break your sound. That\'s why the Antelope Audio Discrete 8 Synergy Core offers pristine AD/DA with 121 dB dynamic range on the analog inputs and class-leading 130 dB dynamic range on the monitor outputs, so you can capture and play back your audio with Antelope clarity.\n<br /><br />\n<h3>More I/O for Your Growing Studio</h3>\nThe Discrete 8 Synergy Core is hand-built by Antelope engineers to deliver impressive analog and digital I/O in one rack space. Plug into two front-panel XLR-1/4\" inputs with switchable mic/line/Hi-Z preamps. On the back, you\'ll find 6 mic/line inputs, monitor line outputs, dedicated ReAmp outputs, 8 more line outputs on a DB25 connector, two banks of ADAT I/O, and S/PDIF I/O.\n<br /><br />\n<h3>Antelope Audio\'s Proven Clocking Technology</h3>\nPro recording studios rely on Antelope  master clocks to maintain stability and sonic integrity in PCM digital audio. The Discrete 8 Synergy Core wouldn\'t be an Antelope Audio interface if it didn\'t offer rock-solid clocking, with Antelope\'s 4th-Generation 64-bit Acoustically Focused Clocking (AFC) jitter management algorithm, three 75-ohm BNC Word Clock outputs, and Word Clock input. Add Antelope\'s industry-leading digital clocking to your studio, and capture recordings with greater clarity, dimension and detail.\n<br />\n<h3><br class=\"Apple-interchange-newline\" />\nSynergy Core Emulations of Classic Gear</h3>\n<h4>Outboard Gear:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Gyraf Gyratec IX</span></li>\n	<li>VCA160</li>\n	<li>Stay-Levin</li>\n	<li>FET-A76</li>\n	<li>VEQ-1A</li>\n	<li>VMEQ-5</li>\n	<li>X903</li>\n	<li>FeedForward Antelope Compressor</li>\n	<li>Clear Q</li>\n	<li>Power EX</li>\n	<li>VEQ-HLF</li>\n	<li>Auraverb</li>\n	<li>BA-31</li>\n	<li>Power Gate</li>\n</ul>\n<h4>Tube Guitar Amps:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Plexi 59 (UK)</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<h4>Guitar Cabinets:</h4>\n<ul style=\"columns: auto 3;\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Darkface 65 2x12</span></li>\n	<li>Bass SuperTube VR</li>\n	<li>Darkface 65 (US)</li>\n	<li>Top30 (UK) Bright</li>\n	<li>Tweed Deluxe (US)</li>\n	<li>Overange 120 (UK)</li>\n	<li>BurnSphere (DE) Lead</li>\n	<li>Marcus II (US) Lead</li>\n	<li>Modern (US) CH3</li>\n	<li>Rock 75 (UK)</li>\n	<li>Rock 22.10 (UK)</li>\n</ul>\n<br /><br />\n<h3>Get ultra-realistic Synergy Core effects and 8 console grade mic preamps in one package with the Antelope Discrete 8 Synergy Core. Call or Live chat RSPE for more information.</h3><br />'),(579,85,0,97,''),(580,85,1,97,''),(581,76,0,97,''),(582,76,1,97,''),(583,75,0,98,'<h1>Antelope Audio Edge Duo Modeling Microphone</h1>\n<i>Dual-membrane large-diaphragm condenser microphone for authentic multi-pattern vintage mic emulation</i><br /><br />\n<div>\n	<div>\n		Antelope Audio Edge is a large diaphragm condenser mic that features dual edge-terminated capsules for a smooth/natural sound reproducing the expressiveness and character of expensive classic microphones. Edge matches \n		<span style=\"background-color: initial;\">groundbreaking fully discrete electronics and h</span><span style=\"background-color: initial;\">and selected capsules encased in a carefully crafted enclosure with contours and shape for optimal sonic performance. Edge is an exquisite large diaphragm microphone with excellent transient response and capable of multiple polar patterns.</span>\n	</div>\n</div>\n<br />\n<h3>Antelope Edge Duo Key Features:</h3>\n<ul>\n	<li>Powerful mic modeling engine</li><li>Duosonic / Stereosonic microphone</li><li>Output split into two independent audio channels for maximum control</li><li>Large double-membrane condenser capsule</li><li>Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between</li><li>Ultra-low resonance headbasket and body construction</li><li>Extensive library of vintage mic emulations</li><li>Shock mount with pop filter and special oxygen-free copper Y-cable included</li>\n</ul>\n<br />\n<h3>The ultimate microphone to complete your mic locker</h3>\nТhis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones.<br /><br />\n\n<h3>A legendary library </h3>\nEdge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below.<br /><br />\n\n<h3>Unique design</h3>\nHoused in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording.<br /><br />\n\n<h3>Multi-dimensional mic modeling</h3>\nEdge Duo’s dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling.<br /><br />\n\n<h3>High compatibility</h3>\nThe Edge emulations are designed to work hand-in-hand with Antelope’s own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.<br /><br />\nHowever, Edge Duo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.<br /><br /><i>\n\n*iLok 2 or 3 required. Not included in the pack.\n\n\n</i><br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Berlin 47 FT</li><li>Berlin 49T</li><li>Berlin 57</li><li>Berlin 87</li><li>Berlin 67</li><li>Berlin M103</li><li>Vienna 12</li><li>Vienna 414</li><li>Tokyo 800T</li><li>Oxford 4038</li><li>Sacramento 121R</li><li>Berlin K86</li><li>Berlin 47 TU</li><li>Berlin V563</li><li>Berlin/Halske M25</li><li>Berlin M251</li><li>Minnesota 20</li><li>Illinois 7B</li><li></li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Duo microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(584,75,1,98,'<h1>Antelope Audio Edge Duo Modeling Microphone</h1>\n<i>Dual-membrane large-diaphragm condenser microphone for authentic multi-pattern vintage mic emulation</i><br /><br />\n<div>\n	<div>\n		Antelope Audio Edge is a large diaphragm condenser mic that features dual edge-terminated capsules for a smooth/natural sound reproducing the expressiveness and character of expensive classic microphones. Edge matches \n		<span style=\"background-color: initial;\">groundbreaking fully discrete electronics and h</span><span style=\"background-color: initial;\">and selected capsules encased in a carefully crafted enclosure with contours and shape for optimal sonic performance. Edge is an exquisite large diaphragm microphone with excellent transient response and capable of multiple polar patterns.</span>\n	</div>\n</div>\n<br />\n<h3>Antelope Edge Duo Key Features:</h3>\n<ul>\n	<li>Powerful mic modeling engine</li><li>Duosonic / Stereosonic microphone</li><li>Output split into two independent audio channels for maximum control</li><li>Large double-membrane condenser capsule</li><li>Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between</li><li>Ultra-low resonance headbasket and body construction</li><li>Extensive library of vintage mic emulations</li><li>Shock mount with pop filter and special oxygen-free copper Y-cable included</li>\n</ul>\n<br />\n<h3>The ultimate microphone to complete your mic locker</h3>\nТhis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones.<br /><br />\n\n<h3>A legendary library </h3>\nEdge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below.<br /><br />\n\n<h3>Unique design</h3>\nHoused in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording.<br /><br />\n\n<h3>Multi-dimensional mic modeling</h3>\nEdge Duo’s dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling.<br /><br />\n\n<h3>High compatibility</h3>\nThe Edge emulations are designed to work hand-in-hand with Antelope’s own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.<br /><br />\nHowever, Edge Duo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.<br /><br /><i>\n\n*iLok 2 or 3 required. Not included in the pack.\n\n\n</i><br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Berlin 47 FT</li><li>Berlin 49T</li><li>Berlin 57</li><li>Berlin 87</li><li>Berlin 67</li><li>Berlin M103</li><li>Vienna 12</li><li>Vienna 414</li><li>Tokyo 800T</li><li>Oxford 4038</li><li>Sacramento 121R</li><li>Berlin K86</li><li>Berlin 47 TU</li><li>Berlin V563</li><li>Berlin/Halske M25</li><li>Berlin M251</li><li>Minnesota 20</li><li>Illinois 7B</li><li></li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Duo microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(585,85,0,98,'Antelope Audio Edge Duo Modeling Microphone'),(586,85,1,98,'Antelope Audio Edge Duo Modeling Microphone'),(587,76,0,98,''),(588,76,1,98,''),(589,75,0,99,'<h1>Antelope Audio Edge Go USB Modeling Mic</h1>\n<i>A portable, bus-powered USB microphone that features dual large diaphragm capsules, and built in Mic Pre, A/D Converter and FPGA processing chip for an all-in-one studio on the go.</i><br /><br />\nAntelope Audio Edge Go is a bus-powered USB Modeling Microphone that features a built-in mic preamp, A/D converter and FPGA processing chip. Fully powered over USB-C (though still Type-A compatible), Edge Go uses the same capsule and thus provides the same fidelity and build quality of the Edge Duo large-diaphragm modeling condenser mic. Edge Go adds other Antelope technology, such as a discrete mic preamp, upscale AD converters, and Antelope\'s FPGA FX platform for low-latency microphone and effects modeling all housed in the microphone itself.<br /><br />\nEdge Go comes with a selection of ready-made presets that contain effects chains built out of vintage EQ and compressor models, de-essing, gating, tape saturation, and reverb, providing professional-sounding results quickly and not at the expense of CPU power.<br /><br />\nEdge Go includes the modeling microphone, a desktop mic stand, professional pop filter, custom shockmount, USB-C cable, and hard shell carrying case. \n<br /><br />\n<h3>Antelope Edge Go Key Features:</h3>\n<ul>\n	<li>Studio-grade dual-diaphragm condenser microphone with 192 kHz/24-bit USB output</li>\n	<li>High Quality A/D converter built in the microphone body</li>\n	<li>Includes Edge Go software with 11 microphone emulations and 22 studio effects, with easy presets for dialing in your sound fast</li>\n	<li>FPGA FX processor built in to the microphone for all-in-one mobile mic modeling</li>\n	<li>1/8\" stereo headphone output on the microphone for zero-latency monitoring</li>\n	<li>Straightforward and easy to use</li>\n	<li>Impressive dynamic range and frequency response</li>\n	<li>Ultra-low resonance headbasket and body construction</li>\n	<li>Comes with hard case, shock mount, metal pop filter, desktop mic stand, and USB-C to USB-A cable</li>\n	<li>No need for an external audio interface, preamp, power supply, or DSP accelerator</li>\n	<li>Ideal go-anywhere recording rig for musicians, podcasters, vloggers, voiceover artists, and content creators</li>\n</ul>\n<br />\n<h3>Included Mic Emulations:</h3>\n<ul>\n	<li>Berlin 47 FT</li>\n	<li>Berlin 49T</li>\n	<li>Berlin 57</li>\n	<li>Berlin 87</li>\n	<li>Berlin 67</li>\n	<li>Berlin M103</li>\n	<li>Vienna 12</li>\n	<li>Vienna 414</li>\n	<li>Tokyo 800T</li>\n	<li>Oxford 4038</li>\n	<li>Sacramento 121R</li>\n</ul>\n<br />\n<h3>Included FPGA Effects:</h3>\n<ul>\n	<li>Auraverb</li>\n	<li>Reel to Reel</li>\n	<li>PowerGate</li>\n	<li>PowerEx</li>\n	<li>VEQ-1A</li>\n	<li>VEQ-HLF</li>\n	<li>BAE-1073</li>\n	<li>VEQ-55A</li>\n	<li>Lang-PEQ2</li>\n	<li>VEQ-4K BLACK</li>\n	<li>Master De-esser</li>\n	<li>BA-6A</li>\n	<li>FET-A76</li>\n	<li>VCA160</li>\n	<li>Liverpool</li>\n	<li>Stay-Levin</li>\n	<li>ALT-436C</li>\n	<li>Gyratec IX</li>\n	<li>VPA 76</li>\n	<li>BAE-1073MP</li>\n	<li>RD-47</li>\n	<li>BA-31</li>\n</ul>\n<br />\n<h3>Plug’n’play & USB Bus Powered</h3>\nUnlike the other modeling microphones in the Edge series, Go features USB connection and headphone monitor built into the mic itself. This makes it very easy to use and extremely portable. Simply take it out of its case, plug it in, pick one of the 18 available emulations and start tracking. All you need to make studio quality recording on the go is this microphone and a laptop.\n<br /><br />\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n</ul>\n<h3>Get powerful, studio quality recording on the go with the portable, bus-powered Antelope Edge Go Modeling Microphone.</h3>'),(590,75,1,99,'<h1>Antelope Audio Edge Go USB Modeling Mic</h1>\n<i>A portable, bus-powered USB microphone that features dual large diaphragm capsules, and built in Mic Pre, A/D Converter and FPGA processing chip for an all-in-one studio on the go.</i><br /><br />\nAntelope Audio Edge Go is a bus-powered USB Modeling Microphone that features a built-in mic preamp, A/D converter and FPGA processing chip. Fully powered over USB-C (though still Type-A compatible), Edge Go uses the same capsule and thus provides the same fidelity and build quality of the Edge Duo large-diaphragm modeling condenser mic. Edge Go adds other Antelope technology, such as a discrete mic preamp, upscale AD converters, and Antelope\'s FPGA FX platform for low-latency microphone and effects modeling all housed in the microphone itself.<br /><br />\nEdge Go comes with a selection of ready-made presets that contain effects chains built out of vintage EQ and compressor models, de-essing, gating, tape saturation, and reverb, providing professional-sounding results quickly and not at the expense of CPU power.<br /><br />\nEdge Go includes the modeling microphone, a desktop mic stand, professional pop filter, custom shockmount, USB-C cable, and hard shell carrying case. \n<br /><br />\n<h3>Antelope Edge Go Key Features:</h3>\n<ul>\n	<li>Studio-grade dual-diaphragm condenser microphone with 192 kHz/24-bit USB output</li>\n	<li>High Quality A/D converter built in the microphone body</li>\n	<li>Includes Edge Go software with 11 microphone emulations and 22 studio effects, with easy presets for dialing in your sound fast</li>\n	<li>FPGA FX processor built in to the microphone for all-in-one mobile mic modeling</li>\n	<li>1/8\" stereo headphone output on the microphone for zero-latency monitoring</li>\n	<li>Straightforward and easy to use</li>\n	<li>Impressive dynamic range and frequency response</li>\n	<li>Ultra-low resonance headbasket and body construction</li>\n	<li>Comes with hard case, shock mount, metal pop filter, desktop mic stand, and USB-C to USB-A cable</li>\n	<li>No need for an external audio interface, preamp, power supply, or DSP accelerator</li>\n	<li>Ideal go-anywhere recording rig for musicians, podcasters, vloggers, voiceover artists, and content creators</li>\n</ul>\n<br />\n<h3>Included Mic Emulations:</h3>\n<ul>\n	<li>Berlin 47 FT</li>\n	<li>Berlin 49T</li>\n	<li>Berlin 57</li>\n	<li>Berlin 87</li>\n	<li>Berlin 67</li>\n	<li>Berlin M103</li>\n	<li>Vienna 12</li>\n	<li>Vienna 414</li>\n	<li>Tokyo 800T</li>\n	<li>Oxford 4038</li>\n	<li>Sacramento 121R</li>\n</ul>\n<br />\n<h3>Included FPGA Effects:</h3>\n<ul>\n	<li>Auraverb</li>\n	<li>Reel to Reel</li>\n	<li>PowerGate</li>\n	<li>PowerEx</li>\n	<li>VEQ-1A</li>\n	<li>VEQ-HLF</li>\n	<li>BAE-1073</li>\n	<li>VEQ-55A</li>\n	<li>Lang-PEQ2</li>\n	<li>VEQ-4K BLACK</li>\n	<li>Master De-esser</li>\n	<li>BA-6A</li>\n	<li>FET-A76</li>\n	<li>VCA160</li>\n	<li>Liverpool</li>\n	<li>Stay-Levin</li>\n	<li>ALT-436C</li>\n	<li>Gyratec IX</li>\n	<li>VPA 76</li>\n	<li>BAE-1073MP</li>\n	<li>RD-47</li>\n	<li>BA-31</li>\n</ul>\n<br />\n<h3>Plug’n’play & USB Bus Powered</h3>\nUnlike the other modeling microphones in the Edge series, Go features USB connection and headphone monitor built into the mic itself. This makes it very easy to use and extremely portable. Simply take it out of its case, plug it in, pick one of the 18 available emulations and start tracking. All you need to make studio quality recording on the go is this microphone and a laptop.\n<br /><br />\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n</ul>\n<h3>Get powerful, studio quality recording on the go with the portable, bus-powered Antelope Edge Go Modeling Microphone.</h3>'),(591,85,0,99,'Antelope Audio Edge Go USB Modeling Mic'),(592,85,1,99,'Antelope Audio Edge Go USB Modeling Mic'),(593,76,0,99,''),(594,76,1,99,''),(595,75,0,100,'<h1>Antelope Audio Edge Quadro Modeling Microphone</h1>\n<i>Dual-head, quad-channel modeling microphone for 360° recording and Antelope’s vintage mic emulations</i><br /><br />\nAntelope Audio Edge Quadro is the most advanced modeling microphone by Antelope Audio. This stereo mic features two large dual-membrane condenser capsules and a rotatable head. Delivering four channels for independent processing will allow for stereo techniques like M/S, X/Y, Blumlein, and even 3D sound. Edge Quadro is the only microphone you’ll need for stereo and 360° sound recording.\n<br /><br />\n<h3>Antelope Edge Quadro Key Features:</h3>\n<ul>\n	<li>Powerful mic modeling engine</li>\n	<li>Duosonic / Stereosonic microphone</li>\n	<li>Output split into two independent audio channels for maximum control</li>\n	<li>Large double-membrane condenser capsule</li>\n	<li>Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between</li>\n	<li>Ultra-low resonance headbasket and body construction</li>\n	<li>Extensive library of vintage mic emulations</li>\n	<li>Shock mount with pop filter and special oxygen-free copper Y-cable included</li>\n\n</ul>\n<br />\n\n<h3>A legendary library </h3>\nEdge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below.\n<br /><br />\n<h3>Unique design</h3>\nHoused in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording.\n<br /><br />\n<h3>Multi-dimensional mic modeling</h3>\nEdge Duo’s dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling.\n<br /><br />\n<h3>High compatibility</h3>\nThe Edge emulations are designed to work hand-in-hand with Antelope’s own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.<br /><br />\nHowever, Edge Duo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.\n\n\n<br /><br /><i>\n*iLok 2 or 3 required. Not included in the pack.\n</i><br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Berlin 47 FT</li>\n	<li>Berlin 49T</li>\n	<li>Berlin 57</li>\n	<li>Berlin 87</li>\n	<li>Berlin 67</li>\n	<li>Berlin M103</li>\n	<li>Vienna 12</li>\n	<li>Vienna 414</li>\n	<li>Tokyo 800T</li>\n	<li>Oxford 4038</li>\n	<li>Sacramento 121R</li>\n	<li>Berlin K86</li>\n	<li>Berlin 47 TU</li>\n	<li>Berlin V563</li>\n	<li>Berlin/Halske M25</li>\n	<li>Berlin M251</li>\n	<li>Minnesota 20</li>\n	<li>Illinois 7B</li>\n	<li></li>\n	\n	<li></li>\n	<li></li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Quadro microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(596,75,1,100,'<h1>Antelope Audio Edge Quadro Modeling Microphone</h1>\n<i>Dual-head, quad-channel modeling microphone for 360° recording and Antelope’s vintage mic emulations</i><br /><br />\nAntelope Audio Edge Quadro is the most advanced modeling microphone by Antelope Audio. This stereo mic features two large dual-membrane condenser capsules and a rotatable head. Delivering four channels for independent processing will allow for stereo techniques like M/S, X/Y, Blumlein, and even 3D sound. Edge Quadro is the only microphone you’ll need for stereo and 360° sound recording.\n<br /><br />\n<h3>Antelope Edge Quadro Key Features:</h3>\n<ul>\n	<li>Powerful mic modeling engine</li>\n	<li>Duosonic / Stereosonic microphone</li>\n	<li>Output split into two independent audio channels for maximum control</li>\n	<li>Large double-membrane condenser capsule</li>\n	<li>Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between</li>\n	<li>Ultra-low resonance headbasket and body construction</li>\n	<li>Extensive library of vintage mic emulations</li>\n	<li>Shock mount with pop filter and special oxygen-free copper Y-cable included</li>\n\n</ul>\n<br />\n\n<h3>A legendary library </h3>\nEdge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below.\n<br /><br />\n<h3>Unique design</h3>\nHoused in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording.\n<br /><br />\n<h3>Multi-dimensional mic modeling</h3>\nEdge Duo’s dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling.\n<br /><br />\n<h3>High compatibility</h3>\nThe Edge emulations are designed to work hand-in-hand with Antelope’s own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio’s mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.<br /><br />\nHowever, Edge Duo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.\n\n\n<br /><br /><i>\n*iLok 2 or 3 required. Not included in the pack.\n</i><br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Berlin 47 FT</li>\n	<li>Berlin 49T</li>\n	<li>Berlin 57</li>\n	<li>Berlin 87</li>\n	<li>Berlin 67</li>\n	<li>Berlin M103</li>\n	<li>Vienna 12</li>\n	<li>Vienna 414</li>\n	<li>Tokyo 800T</li>\n	<li>Oxford 4038</li>\n	<li>Sacramento 121R</li>\n	<li>Berlin K86</li>\n	<li>Berlin 47 TU</li>\n	<li>Berlin V563</li>\n	<li>Berlin/Halske M25</li>\n	<li>Berlin M251</li>\n	<li>Minnesota 20</li>\n	<li>Illinois 7B</li>\n	<li></li>\n	\n	<li></li>\n	<li></li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Quadro microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(597,85,0,100,'Antelope Audio Edge Quadro Modeling Microphone'),(598,85,1,100,'Antelope Audio Edge Quadro Modeling Microphone'),(599,76,0,100,''),(600,76,1,100,''),(601,75,0,101,'<h1>Antelope Audio Edge Solo Modeling Microphone</h1>\n<i>Single capsule large-diaphragm condenser microphone for Antelope’s vintage mic emulations</i><br /><br />\nAntelope Audio Edge Solo is a high-quality single-capsule large-diaphragm condenser microphone, which combined with Antelope’s cutting-edge modeling technology, allows users to emulate 18 of the world’s most iconic vintage microphones with uncanny accuracy.  The Edge Solo features modeling that was performed in one of the most respected facilities in Germany using an exquisitely preserved collection of classic microphones.  Find the full list of Edge Solo emulations below.\n<br /><br />\n<h3>Antelope Edge Solo Key Features:</h3>\n<ul>\n	<li>Stunningly accurate and lifelike mic modeling</li>\n	<li>Straightforward and easy to use</li>\n	<li>Impressive dynamic range and frequency response</li>\n	<li>Monosonic large-diaphragm single capsule microphone</li>\n	<li>Fixed cardioid characteristics</li>\n	<li>Ultra-low resonance headbasket and body construction</li>\n	<li>Ever-expanding library of the world’s most renowned microphones (cardioid pattern only)</li>\n	\n</ul>\n<br />\n<h3>High-performance custom design</h3>\nEdge Solo was specifically designed as the perfect source to model any vintage cardioid-pattern microphone. Antelope’s Edge microphones are in a class of their own thanks to extensive testing and a design philosophy that ensures an accurate yet natural sounding result.\nDesigned and built in Europe, Edge Solo features a 6-micron gold-sputtered membrane, low-resonance body and low-reflection headbasket. Edge Solo also boasts custom electronics designed by Antelope’s award-winning engineers, and it delivers exceptional dynamic range and frequency response, resulting in an excellent microphone even before choosing your favorite vintage mic flavor.\n<br /><br />\n<h3>Plug’n’play</h3>\nUnlike the multi-capsule modeling microphones in the Edge series, Solo features a fixed cardioid pickup pattern and feeds a single mono XLR input channel on your interface. This makes it very easy to use. Simply take it out of its case, plug it in, pick one of the 18 available emulations and start tracking.\n<br /><br />\n<h3>Compatible with any system</h3>\nThe Edge emulations are optimized to perform with Antelope’s precision mic preamps and converters for maximum accuracy. Antelope Audio’s mic preamp-equipped interfaces feature built-in FPGA processing capabilities that allow real-time vintage mic emulation.\n<br /><br />\nEdge Solo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.\n<br /><br /><i>\n*iLok 2 or 3 required. Not included in the pack.\n</i><br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Berlin 47 FT</li><li>Berlin 49T</li><li>Berlin 57</li><li>Berlin 87</li><li>Berlin 67</li><li>Berlin M103</li><li>Vienna 12</li><li>Vienna 414</li><li>Tokyo 800T</li><li>Berlin V563 cardioid capsule</li><li>Illinois 57</li><li>Illinois 7B</li><li>Minnesota 20</li><li>Vienna 112</li><li>Berlin K86</li><li>Berlin 47 TU</li><li>Berlin M251</li><li>Hamburg 441</li><li></li>\n	<li></li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Solo microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(602,75,1,101,'<h1>Antelope Audio Edge Solo Modeling Microphone</h1>\n<i>Single capsule large-diaphragm condenser microphone for Antelope’s vintage mic emulations</i><br /><br />\nAntelope Audio Edge Solo is a high-quality single-capsule large-diaphragm condenser microphone, which combined with Antelope’s cutting-edge modeling technology, allows users to emulate 18 of the world’s most iconic vintage microphones with uncanny accuracy.  The Edge Solo features modeling that was performed in one of the most respected facilities in Germany using an exquisitely preserved collection of classic microphones.  Find the full list of Edge Solo emulations below.\n<br /><br />\n<h3>Antelope Edge Solo Key Features:</h3>\n<ul>\n	<li>Stunningly accurate and lifelike mic modeling</li>\n	<li>Straightforward and easy to use</li>\n	<li>Impressive dynamic range and frequency response</li>\n	<li>Monosonic large-diaphragm single capsule microphone</li>\n	<li>Fixed cardioid characteristics</li>\n	<li>Ultra-low resonance headbasket and body construction</li>\n	<li>Ever-expanding library of the world’s most renowned microphones (cardioid pattern only)</li>\n	\n</ul>\n<br />\n<h3>High-performance custom design</h3>\nEdge Solo was specifically designed as the perfect source to model any vintage cardioid-pattern microphone. Antelope’s Edge microphones are in a class of their own thanks to extensive testing and a design philosophy that ensures an accurate yet natural sounding result.\nDesigned and built in Europe, Edge Solo features a 6-micron gold-sputtered membrane, low-resonance body and low-reflection headbasket. Edge Solo also boasts custom electronics designed by Antelope’s award-winning engineers, and it delivers exceptional dynamic range and frequency response, resulting in an excellent microphone even before choosing your favorite vintage mic flavor.\n<br /><br />\n<h3>Plug’n’play</h3>\nUnlike the multi-capsule modeling microphones in the Edge series, Solo features a fixed cardioid pickup pattern and feeds a single mono XLR input channel on your interface. This makes it very easy to use. Simply take it out of its case, plug it in, pick one of the 18 available emulations and start tracking.\n<br /><br />\n<h3>Compatible with any system</h3>\nThe Edge emulations are optimized to perform with Antelope’s precision mic preamps and converters for maximum accuracy. Antelope Audio’s mic preamp-equipped interfaces feature built-in FPGA processing capabilities that allow real-time vintage mic emulation.\n<br /><br />\nEdge Solo also includes Antelope’s native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope’s native AFX plug-ins* provide everything we’ve come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.\n<br /><br /><i>\n*iLok 2 or 3 required. Not included in the pack.\n</i><br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>Berlin 47 FT</li><li>Berlin 49T</li><li>Berlin 57</li><li>Berlin 87</li><li>Berlin 67</li><li>Berlin M103</li><li>Vienna 12</li><li>Vienna 414</li><li>Tokyo 800T</li><li>Berlin V563 cardioid capsule</li><li>Illinois 57</li><li>Illinois 7B</li><li>Minnesota 20</li><li>Vienna 112</li><li>Berlin K86</li><li>Berlin 47 TU</li><li>Berlin M251</li><li>Hamburg 441</li><li></li>\n	<li></li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Solo microphone and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(603,85,0,101,'Antelope Audio Edge Solo Modeling Microphone'),(604,85,1,101,'Antelope Audio Edge Solo Modeling Microphone'),(605,76,0,101,''),(606,76,1,101,''),(607,75,0,102,'<h1>Antelope Audio Edge Strip Microphone Modeling System</h1>\n<i>Edge Duo Microphone and Discrete MP Bundle - Stereo Large-diaphragm Condenser Microphone with 2-channel Mic Preamp, Software Bundle, and XLR Cable</i><br /><br />\n			The Antelope Audio Edge Strip is a mic modeling system that delivers an all-in-one solution for high-quality studio recordings with vintage analog sound. This compact package delivers the same audio quality as a locker full of vintage mics and a rack full of outboard gear.\n<br /><br />\n			The Edge Strip is designed to model a variety of vintage microphones, preamps, and even signal processors such as EQs and compressors. It contains Antelope Audio’s renowned Edge Duo Modeling Microphone — a dual-capsule condenser large-diaphragm microphone, specifically designed to reproduce the expressiveness and character of expensive classic microphones.\n<br /><br />\n			It also includes the Discrete MP — an all-analog dual-channel microphone pre-amplifier, designed to deliver Antelope’s signature pristine audio quality.\n<br /><br />\n			Edge Strip also comes with a bundle of free native effects plug-ins.\n<br /><br />\n<h3>Antelope Edge Strip Key Features:</h3>\n<ul>\n	<li>Edge Duo Large-diaphragm condenser modeling microphone</li>\n	<li>Discrete MP 2-channel microphone preamplifier</li>\n	<li>Free Bundle of native effects plug-ins and mic emulations</li>\n	<li>Combines with your FPGA-equipped interface\'s comp and EQ emulations to form a killer channel strip</li>\n	<li>Gives you complete control over proximity effect, positional axis, and polar patterns</li>\n</ul>\n<br />\n<h3>FPGA Accusonic 3D modeling </h3>\nInside the FPGA Accusonic 3D modeling engine you can transform both Edge and \n<a href=\"/Antelope-Audio-Verge-p/antelope-verge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Verge</a> into vintage replicas giving you complete control over proximity effect, off-axis response and even allow you to change polar patterns during or after recording. Choose from a collection of classic and expensive microphones and track the results as you monitor live, bringing out a musician’s best possible performance.<br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>AKG C12/C12VR</li>\n	<li>AKG C414</li>\n	<li>Coles 4038</li>\n	<li>Neumann U 47</li>\n	<li>Neumann U 67</li>\n	<li>Neumann U 87</li>\n	<li>Neumann M 49</li>\n	<li>Neumann M 149</li>\n	<li>Neumann UM 57</li>\n	<li>Neumann TLM 103</li>\n	<li>Royer R-122</li>\n	<li>Sony C-800G</li>\n	<li>Telefunken ELA M 251</li>\n	<li>Telefunken AK47</li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Strip microphone system and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(608,75,1,102,'<h1>Antelope Audio Edge Strip Microphone Modeling System</h1>\n<i>Edge Duo Microphone and Discrete MP Bundle - Stereo Large-diaphragm Condenser Microphone with 2-channel Mic Preamp, Software Bundle, and XLR Cable</i><br /><br />\n			The Antelope Audio Edge Strip is a mic modeling system that delivers an all-in-one solution for high-quality studio recordings with vintage analog sound. This compact package delivers the same audio quality as a locker full of vintage mics and a rack full of outboard gear.\n<br /><br />\n			The Edge Strip is designed to model a variety of vintage microphones, preamps, and even signal processors such as EQs and compressors. It contains Antelope Audio’s renowned Edge Duo Modeling Microphone — a dual-capsule condenser large-diaphragm microphone, specifically designed to reproduce the expressiveness and character of expensive classic microphones.\n<br /><br />\n			It also includes the Discrete MP — an all-analog dual-channel microphone pre-amplifier, designed to deliver Antelope’s signature pristine audio quality.\n<br /><br />\n			Edge Strip also comes with a bundle of free native effects plug-ins.\n<br /><br />\n<h3>Antelope Edge Strip Key Features:</h3>\n<ul>\n	<li>Edge Duo Large-diaphragm condenser modeling microphone</li>\n	<li>Discrete MP 2-channel microphone preamplifier</li>\n	<li>Free Bundle of native effects plug-ins and mic emulations</li>\n	<li>Combines with your FPGA-equipped interface\'s comp and EQ emulations to form a killer channel strip</li>\n	<li>Gives you complete control over proximity effect, positional axis, and polar patterns</li>\n</ul>\n<br />\n<h3>FPGA Accusonic 3D modeling </h3>\nInside the FPGA Accusonic 3D modeling engine you can transform both Edge and \n<a href=\"/Antelope-Audio-Verge-p/antelope-verge.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Verge</a> into vintage replicas giving you complete control over proximity effect, off-axis response and even allow you to change polar patterns during or after recording. Choose from a collection of classic and expensive microphones and track the results as you monitor live, bringing out a musician’s best possible performance.<br /><br />\n<h3>Hardware Based Emulations of Classic Gear</h3>\n<h4>Microphone Models Include:</h4>\n<ul style=\"columns: 3; -webkit-columns: 3;-moz-columns: 3;\">\n	<li>AKG C12/C12VR</li>\n	<li>AKG C414</li>\n	<li>Coles 4038</li>\n	<li>Neumann U 47</li>\n	<li>Neumann U 67</li>\n	<li>Neumann U 87</li>\n	<li>Neumann M 49</li>\n	<li>Neumann M 149</li>\n	<li>Neumann UM 57</li>\n	<li>Neumann TLM 103</li>\n	<li>Royer R-122</li>\n	<li>Sony C-800G</li>\n	<li>Telefunken ELA M 251</li>\n	<li>Telefunken AK47</li>\n</ul>\n<br />\n<h3>Get the vintage sound of a fully stocked mic locker with the power of Antelope Audio\'s Edge Strip microphone system and FPGA powered Accusonic Monitoring. Call or Live chat RSPE for more information.</h3>'),(609,85,0,102,''),(610,85,1,102,''),(611,76,0,102,''),(612,76,1,102,''),(613,75,0,103,'<h1>Antelope Audio Galaxy 64 Synergy Core - 64-Channel AD/DA, HDX, Dante, and Thunderbolt 3 Interface </h1>\n<i>All-in-one Audio Interface featuring 64 channels of analog I/O, Thunderbolt 3, Dante, HDX and Onboard DSP processing, equipped to handle all audio going in and out of your production facility or live sound rig.</i><br />\n<br />\n	Antelope Audio Galaxy 64 Synergy Core is a high-end recording system that connects your entire studio within a 2U rack space while providing high-fidelity audio and onboard effects processing for your most demanding projects. With Dante, HDX and Thunderbolt connectivity, the world’s first 64-channel AD/DA converter offers unbeatable flexibility when moving sound around your high-profile production facility, live stage, broadcast, or other enterprise applications.<br /><br /><h3 style=\"font-size: 16px;\">Galaxy 64 Synergy Core Features</h3><ul style=\"letter-spacing: normal;\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">12x DSP + 2x FPGA Synergy Core low-latency effects and audio engine processors</span></li><li>Improved AD/DA conversion – up to 130dB DNR, on par with Orion Studio Synergy Core</li><li>64 channels of analog inputs over 8 x D-SUB 25</li><li>64 channels of analog outputs over 8 x D-SUB 25</li><li>2 Dante ports - audio over IP - up to 64 channels</li><li>2 Thunderbolt 3 ports - up to 64 channels</li><li>4 HDX ports for Pro Tools integration - up to 128 channels</li><li>Support for new Synergy Core-exclusive effects like Auto-Tune Synergy, Opto-2A, MES-432C, Comp-4K-Bus and others</li><li>Daisy-chain support over Dante, Thunderbolt 3 & Optical MADI</li></ul><br />\n<h3>Synergy Core Technology</h3>\n	Galaxy 64 is a Synergy Core interface that runs ARM DSP + FPGA chips in custom configurations to process tens of input/output audio streams and hundreds of low-latency studio effects without burdening your computer. With 12x ARM DSP + 2x FPGA units on-board, a single Galaxy 64 can handle large sessions with hundreds of FX instances applied per each individual channel.\n<br /><br />\n<h3>Truly Universal</h3>\n	Designed for recording, post-production, live events, broadcast, large-scale scoring recordings, and the enterprise sector, Galaxy 64 fits 64 channels of all-encompassing connectivity, cutting-edge signal processing and rock-solid reliability inside a single 2U rackmount unit.\n<br /><br />\n<h3>Made for Critical Listening</h3>\n	Galaxy 64 employs high-quality converters providing the lowest Total Harmonic Distortion and Signal-To-Noise ratio in units of its kind. It also boasts a generous 124dB of dynamic range on the AD stage, 128dB at the DA stage and 130dB at the monitor outputs. The converters achieve precise and transparent conversion with accurate transient reproduction. The Galaxy 64 does not require external converters for monitoring and facilitates critical listening without added coloration by virtue of its mastering-grade monitor outputs. <br /><ul style=\"\">\n</ul>'),(614,75,1,103,'<h1>Antelope Audio Galaxy 64 Synergy Core - 64-Channel AD/DA, HDX, Dante, and Thunderbolt 3 Interface </h1>\n<i>All-in-one Audio Interface featuring 64 channels of analog I/O, Thunderbolt 3, Dante, HDX and Onboard DSP processing, equipped to handle all audio going in and out of your production facility or live sound rig.</i><br />\n<br />\n	Antelope Audio Galaxy 64 Synergy Core is a high-end recording system that connects your entire studio within a 2U rack space while providing high-fidelity audio and onboard effects processing for your most demanding projects. With Dante, HDX and Thunderbolt connectivity, the world’s first 64-channel AD/DA converter offers unbeatable flexibility when moving sound around your high-profile production facility, live stage, broadcast, or other enterprise applications.<br /><br /><h3 style=\"font-size: 16px;\">Galaxy 64 Synergy Core Features</h3><ul style=\"letter-spacing: normal;\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">12x DSP + 2x FPGA Synergy Core low-latency effects and audio engine processors</span></li><li>Improved AD/DA conversion – up to 130dB DNR, on par with Orion Studio Synergy Core</li><li>64 channels of analog inputs over 8 x D-SUB 25</li><li>64 channels of analog outputs over 8 x D-SUB 25</li><li>2 Dante ports - audio over IP - up to 64 channels</li><li>2 Thunderbolt 3 ports - up to 64 channels</li><li>4 HDX ports for Pro Tools integration - up to 128 channels</li><li>Support for new Synergy Core-exclusive effects like Auto-Tune Synergy, Opto-2A, MES-432C, Comp-4K-Bus and others</li><li>Daisy-chain support over Dante, Thunderbolt 3 & Optical MADI</li></ul><br />\n<h3>Synergy Core Technology</h3>\n	Galaxy 64 is a Synergy Core interface that runs ARM DSP + FPGA chips in custom configurations to process tens of input/output audio streams and hundreds of low-latency studio effects without burdening your computer. With 12x ARM DSP + 2x FPGA units on-board, a single Galaxy 64 can handle large sessions with hundreds of FX instances applied per each individual channel.\n<br /><br />\n<h3>Truly Universal</h3>\n	Designed for recording, post-production, live events, broadcast, large-scale scoring recordings, and the enterprise sector, Galaxy 64 fits 64 channels of all-encompassing connectivity, cutting-edge signal processing and rock-solid reliability inside a single 2U rackmount unit.\n<br /><br />\n<h3>Made for Critical Listening</h3>\n	Galaxy 64 employs high-quality converters providing the lowest Total Harmonic Distortion and Signal-To-Noise ratio in units of its kind. It also boasts a generous 124dB of dynamic range on the AD stage, 128dB at the DA stage and 130dB at the monitor outputs. The converters achieve precise and transparent conversion with accurate transient reproduction. The Galaxy 64 does not require external converters for monitoring and facilitates critical listening without added coloration by virtue of its mastering-grade monitor outputs. <br /><ul style=\"\">\n</ul>'),(615,85,0,103,'Antelope Galaxy 64 Synergy Core'),(616,85,1,103,'Antelope Galaxy 64 Synergy Core'),(617,76,0,103,''),(618,76,1,103,''),