Invitation à un événement présenté par Dedo Weigert, Sonotechnique et l’IATSE 514

31 octobre 2014

Directeur photo reconnu à travers le monde et créateur de la Dedolight, Dedo Weigert sera à Montréal les 17 et 18 novembre 2014 dans le cadre d’une série d’activités à ne pas manquer!

Ayant lieu au centre de formation IATSE 514, les participants inscrits pourront assister à des présentations portant sur les dernières technologies Dedolight, un atelier sur le studio d’éclairage mobile ainsi qu’une compétition. L’inscription est obligatoire et gratuite. Les places sont limitées.

Réservez dès maintenant auprès de Gilles Fillion au gfillion@sonotechnique.ca !

 

Plus d’information

Dream AD-2

16 octobre 2014

The Dream AD-2 is the definitive music A/D converter, providing the most accurate rendition of an audio event whether it be early music, classical, jazz, big band, a club mix or hard rock. The AD-2 conversion system provides an audio stream of such exceptional quality that it will be relied upon for years to come as the definitive source for productions on CD, DVD, Super Audio CD or other formats as they become available. It offers a wealth of sophisticated features as well as high-performance, multi-rate A/D conversion for the most exacting applications in sound recording, mastering and broadcast.

User’s Manual

 

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Dream DA-2

16 octobre 2014

The Dream DA-2 is the definitive music D/A converter, providing the most accurate rendition of an audio event whether it be early music, classical, jazz, big band, a club mix or hard rock. The DA-2 conversion system provides an audio stream of such exceptional quality that will be relied upon for years to come as the definitive source for productions on CD, DVD, Super Audio CD or other formats as they become available.

User’s Manual

 

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MDS-2

15 octobre 2014

The MDS-2 is a dual mono, linkable, high frequency limiter. It is housed in a 1U 19″ rack mount alloy case. It is primarily intended for use as a de-esser, reducing unattractive high frequencies, with minimum coloration and loss of clarity.

Automatic time constants and optimisation techniques for the gain reduction minimises the number of controls. The advantage is not only simple operation but also increased performance for highly dynamic and inconsistent materials without the need for continuous readjustments.

With wide input range, up to +29dBu input and low noise, the MDS-2 can be used in many different applications.

The side chain can be switched to M-S, which can be used to ìzoomî in on high frequencies in the centre of the stereo image. With this function switched in the threshold is 6dB lower for the centre image compared to extreme left and right. The M-S function does not affect the actual audio path.

 

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MPL-2

15 octobre 2014

The MPL-2 is housed in a 1U 19″ rack mount alloy case.

A minimum of controls is used due to automatic time constants and optimisation techniques for the gain reduction. The advantage is not only simple operation but also increased performance for highly dynamic and inconsistent materials without the need for continuous readjustments.

The input gain does not reduce the wide dynamic range of the limiter. It can be used at its maximum setting with no increased risk of distortion. This eliminates the need for excessive levels, which could cause clipping in equipment feeding the input of the limiter. A further benefit is that the maximum peak output level (set with the threshold) is independent of different gain settings.

High Frequency Limiting is primarily intended for use as a de-esser, reducing unattractive high frequencies. Part of the high frequency limiter circuit is also used to reduce distortion from the wide-band limiter.

Users of the MPL-2 will notice the removal of spurious peaks, and an increase of subjective levels, without the coloration and increased distortion so often associated with soft clippers and other ultra fast limiters.

 

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MLA-4

15 octobre 2014

The MLA-4 is a Triband Compressor and Expander, developed from the popular MLA-3 with added expander functions.

The input signal is split into three frequency-bands. Each band is passed through a stereo compressor / expander, where gain and processing can be altered. The outputs of the compressors / expanders are then re-combined and fed to the outputs.

There are four different frequencies for each of the two crossovers that can be separately selected for the low-to-mid and the mid-to-high bands.

The three frequency-band compressors / expanders have separate controls so that different parts of the audio spectrum can be adjusted and tuned. With separate gain controls for each frequency-band, the MLA-4 can also be used as an equalizer. You can always adjust the controls for the separate frequency bands to different settings. There is no technical reason why they should be the same for all frequencies.

Separate Input and Output gain controls, make the MLA-4 easy to use for different operating levels.

 

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MLA-3

15 octobre 2014

The input signal is split into three frequency-bands. Each band is passed through a stereo compressor where gain and compression can be altered. The outputs of the compressors are then re-combined and fed to the outputs.

There are four different frequencies for each of the two crossovers that can be separately selected for the low-to-mid and the mid-to-high bands.

The three frequency-band compressors have separate controls so that different parts of the audio spectrum can be adjusted and tuned.

With separate gain controls for each frequency-band, the MLA-3 can be used as an equalizer. You can always adjust the controls for the separate frequency bands to different settings. There is no technical reason why they should be the same for all frequencies.

Overall Input and Output gain controls make it easy to set up for different operating levels.

 

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Maselec

14 octobre 2014

STAC VIP

19 septembre 2014

VoIP (Voice over IP) technology has taken the telephone industry by storm due to its flexibility and low costs. It’s time for radio broadcasters to reap the benefits of this change. STAC VIP smoothly integrates legacy POTS lines with VoIP technology to deliver a new way to manage telephone calls for talk shows, interviews and contests. STAC VIP can take traditional POTS calls, but breaks new ground by handling calls from « HD Voice »-capable telephones and Smartphones apps. Complete with the STAC IP Call Screening and Control Interface, the STAC VIP Caller Management system will even integrate with your VoIP PBX system. STAC VIP leads the charge in migrating old-fashioned on-air telephones to dramatically clearer wideband audio quality – just another reason to put Comrex on the line.

 

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STAC

19 septembre 2014

The telephone has always been essential to live broadcast. Studio Telephone Access Center (STAC) puts you in control of your talk shows, call-ins and phoners with great sound, ease of operation and scalable configuration.

STAC incorporates a pair of Comrex high-performance digital hybrids with automatic audio level control. The result is the most natural sounding telephone audio, even when conferencing multiple callers. A compact, rack-mounting mainframe houses the hybrids, the multiline controller and all telephone and audio connections.

The attractive, ergonomic control surfaces offer two operational modes, selectable with a flip of a switch:

  • Studio/Producer Mode provides both pre-air and on-air caller management.
  • Screener Mode simplifies the task of screening and queuing callers.
  • Powerful call management can be quickly mastered with minimal training. A single control surface is included for basic operation. For more demanding programming, up to four control surfaces may be used.

 

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LiveShot

19 septembre 2014

Comrex LiveShot™ delivers live video and audio over a range of IP networks. LiveShot is used by TV stations and networks to deliver high quality, low latency video from anywhere Internet access is available, ideal for ENG. LiveShot leverages the success of Comrex ACCESS audio IP codecs and uses the same technology to smooth out the « bumps » on the public Internet to allow broadcast-quality live video and audio streaming. LiveShot is especially optimized to perform well on challenging IP networks like 3G, 4G and satellite-based links.

 

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BRIC-Link

19 septembre 2014

The Comrex BRIC-Link is a low-cost, high-performance solution for audio-to-IP conversion. Leveraging many of the core technical aspects of Comrex’s successful remote broadcast ACCESS product line, BRIC-Link provides for an elegant way of moving linear or compressed audio with very low delay. BRIC-Link is very simple to use, and can be used over a wide range of IP links. While it carries an entry-level cost, BRIC-Link maintains superb audio specifications and hardware reliability, making the system suitable for STLs and other mission-critical functions without the expense required of more full-featured codecs.

 

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ACCESS Rack & Portable 2USB

19 septembre 2014

The Comrex ACCESS Stereo BRIC IP Audio codec has set the standard for reliable remote broadcast. The new ACCESS 2USB redefines that standard. Now with two USB ports and support for select 4G Wireless cellular data service modems, ACCESS 2USB provides even more flexibility to meet the demands of on-the-go broadcasters for ENG. ACCESS codecs now ship with AAC Coding Algorithms included as well as BRUTE (BRIC UDP Transmission Enhancement) to provide users with a complete complement of tools to help get your remote broadcast on the air.

 

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Comrex

19 septembre 2014

BBI-CUB01

20 août 2014

Built for Sanken CUB-01

Available in black or grey.

 

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BBI-L04-WH

20 août 2014

Built for microphones with a diameter of 8-13 mm
Sanken: COS-11 (with large metal windscreen)
Countryman: EMW
DPA: 4060 (with metal windscreen)
Sennheiser: ME 4, ME 102, ME 104 (with metal MZW 2 windshield)

 

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BBI-L04-GY

20 août 2014

Built for microphones with a diameter of 8-13 mm
Sanken: COS-11 (with large metal windscreen)
Countryman: EMW
DPA: 4060 (with metal windscreen)
Sennheiser: ME 4, ME 102, ME 104 (with metal MZW 2 windshield)

 

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BBI-L04-BR

20 août 2014

Built for microphones with a diameter of 8-13 mm
Sanken: COS-11 (with large metal windscreen)
Countryman: EMW
DPA: 4060 (with metal windscreen)
Sennheiser: ME 4, ME 102, ME 104 (with metal MZW 2 windshield)

 

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BBI-L04-BK

20 août 2014

Built for microphones with a diameter of 8-13 mm
Sanken: COS-11 (with large metal windscreen)
Countryman: EMW
DPA: 4060 (with metal windscreen)
Sennheiser: ME 4, ME 102, ME 104 (with metal MZW 2 windshield)

 

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BBI-L03-WH

20 août 2014

Built for microphones with a diameter of 5-9 mm
Sanken: COS-11 (with metal windscreen)
Countryman: EMW
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2 (without MZW 2 windshield)

 

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BBI-L03-GY

20 août 2014

Built for microphones with a diameter of 5-9 mm
Sanken: COS-11 (with metal windscreen)
Countryman: EMW
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2 (without MZW 2 windshield)

 

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BBI-L03-BR

20 août 2014

Built for microphones with a diameter of 5-9 mm
Sanken: COS-11 (with metal windscreen)
Countryman: EMW
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2 (without MZW 2 windshield)

 

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BBI-L03-BK

20 août 2014

Built for microphones with a diameter of 5-9 mm
Sanken: COS-11 (with metal windscreen)
Countryman: EMW
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2 (without MZW 2 windshield)

 

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BBI-L02-WH

20 août 2014

Built for microphones with a diameter of 5-8 mm
Sanken: COS-11 (with metal windscreen)
Countryman: B3
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2

 

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BBI-L02-GY

20 août 2014

Built for microphones with a diameter of 5-8 mm
Sanken: COS-11 (with metal windscreen)
Countryman: B3
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2

 

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BBI-L02-BR

20 août 2014

Built for microphones with a diameter of 5-8 mm
Sanken: COS-11 (with metal windscreen)
Countryman: B3
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2

 

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BBI-L02-BK

20 août 2014

Built for microphones with a diameter of 5-8 mm
Sanken: COS-11 (with metal windscreen)
Countryman: B3
DPA: 4060 (without metal windscreen)
Sennheiser: MKE 2

 

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BBI-L01-WH

20 août 2014

Built for microphones with a diameter of 3-4 mm
Sanken: COS-11 (without metal windscreen)
Countryman: B6, B2D, E6
Sennheiser: MKE 1

 

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BBI-L01-GY

20 août 2014

Built for microphones with a diameter of 3-4 mm
Sanken: COS-11 (without metal windscreen)
Countryman: B6, B2D, E6
Sennheiser: MKE 1

 

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BBI-L01-BR

20 août 2014

Built for microphones with a diameter of 3-4 mm
Sanken: COS-11 (without metal windscreen)
Countryman: B6, B2D, E6
Sennheiser: MKE 1

 

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BBI-L01-BK

20 août 2014

Built for microphones with a diameter of 3-4 mm
Sanken: COS-11 (without metal windscreen)
Countryman: B6, B2D, E6
Sennheiser: MKE 1

 

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Bubblebee

20 août 2014

SGH-6

8 août 2014

Our optional SGH-6 shotgun capsule adds a professional-quality hyper-directional (that is, highly directional) microphone to the H6, making it the perfect audio recorder for anyone working in film, video or live theater, or for ENG (electronic news gathering) applications. 

Thanks to the three internal mics with digital signal processing ability, the SGH-6 achieves a frequencyindependent super-cardioid polar pattern. Compared to ordinary shotgun microphones using an acoustic tube method, the SGH-6 maintains a highly directional pickup at about half the length.

 

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EXH-6

8 août 2014

If you need more inputs, simply plug in the optional EXH-6 Dual XLR/TRS Combo capsule. It allows you to connect up to six discrete signals from external microphones, instruments, mixers or portable music players, making the H6 the smallest six-track recorder on the planet!

 

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APH-6

8 août 2014

We now also offer a special accessory package for H6 Handy Recorder. The APH-6 package includes a windscreen that provides a professional level of wind noise prevention, a remote controller with REC, PLAY, STOP and other functions and an USB-type AC power adapter.

 

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APH-4n

8 août 2014

We now also offer a special accessory package for DSLR users. The APH-4n package includes a windscreen that provides a professional level of wind noise prevention, a hot shoe mount to attach the H4n to a camera, a remote controller with REC, PLAY, STOP and other functions, an attenuator cable for connecting the H4n line output to the camera mic input and a splitter cable to allow simultaneous headphone monitoring.

 

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R8

8 août 2014

Zoom takes the turbocharged design of the R24 and scales it down for an ultra-portable music production solution. Like its predecessor, the R8 combines four production tools in one versatile device. In addition to being an 8-track recorder that utilizes SD memory, the R8 is an audio interface, a DAW control surface and a sampler complete with drum pads and a rhythm machine.

 

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H2n

8 août 2014

Representing a new generation of portable recording, the H2n is Zoom’s most innovative handheld recorder to date. We’ve packed groundbreaking features into an ultra-portable device that allows you to record pristine audio anywhere you go. From film and broadcast, to journalism, podcasting, musical performance, songwriting and rehearsal, the H2n provides amazing recording quality. No matter the application, the H2n brings the very best in stereo recording to a convenient, user-friendly package that fits in your pocket. Zoom H2n Handy Recorder. The new standard in portable recording.

 

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H4n

8 août 2014

The H4n features onboard true X/Y stereo microphones to pick up clear, natural sound without phase shifting. The mics can be rotated to select a 90° or 120° recording pattern for terrific versatility. The digitally-controlled preamp, combined with the high-quality microphones, allows you to capture Linear PCM audio at rates up to 24-bit/96kHz. The recorder captures audio to SD or SDHC cards with capacities up to 32GB. A USB 2.0 port allows you to quickly transfer files to a Mac or PC, or use the H4n as a live audio interface.

For connecting your own microphones or instruments, the H4n features XLR/TRS combo input jacks with phantom capability. A 3.5mm line output is provided, and a reference speaker is built-in for quickly reviewing your recordings. The unit operates on a pair of standard AA batteries, and features a Stamina mode to provide up to 11 hours of continuous recording at 16-bit/44.1kHz. Other useful features of the H4n include variable playback speed, automatic and pre-record functions, a low-cut filter and limiter for improving the sound quality of recordings, time stamping, a metronome and tuner, and more. The backlit LCD screen and intuitive controls are easy to use, even for the recording novice. A collection of accessories are included so you can start recording right out of the box.

 

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H6

7 août 2014

Four interchangeable input capsules—X/Y, MS, Shotgun, and Dual XLR/TRS Combo—make the H6 the ultimate chameleon of the audio world, and its advanced preamps make it the best-sounding one too.

Whatever your application—live recording, professional film/video work, or broadcast ENG (electronic news gathering), etc.—the H6 can handle it with ease.

 

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Zoom

7 août 2014

TAB-IPMOB2

7 août 2014

Review story boards, video feed, scripts and emails under the improved visibility of the TAB-IPMOB2’s fold-out sun visor. This new 2nd-generation case is designed to tilt the iPad or tablet computer back at the user for improved visibility and ease of use. A vinyl screen cover zippers and protects the tablet from rain and dust while maintaining the functionality of the touch-screen. There’s also a front zippered pocket for storing small accessories.  A comfortable HB-15 carrying strap is included.

The TAB-IPMOB2 iPad case simply folds up and turns into a protective carrying case.

 

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TLQB-41XTOR

6 août 2014

The TLQB-41XTOR Quick Tripod/Light Case has off-road wheels that roll smoothly over almost any surface.  The durable solid steel wheel system allows the wheels to be quickly removed for snag-free shipping and air travel.

The case is made of abrasion-resistant 1000-denier Cordura® nylon and has a padded interior. It is designed to carry light stands and a 2-3 head lighting outfit or a tripod up to 40.5″ long with a head and accessories. It has a wide mouth opening for easy access to the equipment. The case has interior reinforcing bars to keep it rigid. Light heads and stands can remain assembled within the case allowing for quick set-up and use.

There’s a large exterior pocket that provides space for accessories. The case has a tie-down strap for the tripod or stands and a rigid foam padded bottom for protection. It can be carried using the suede-leather handles or pulled on wheels.

The TLQB-41XTOR has a full-width front zippered pocket with ID window, full width rear mesh pocket for cables or documents, and 2 interior hanging zippered slip pockets.

 

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LPB-LED4

6 août 2014

LP-LED2 and LP-LED4 Carrying Cases are designed to carry 2 (LED2) or 4 (LED4) Lite Panel 1X1′s or similar LED lights. Each case is made using 1000-denier Cordura® material that is foam-padded to protect the light panels during transport. There is a thick, foam-padded « U » shape at the base of the case for extra protection against drops.

The top-loading zipper design gives you quick access to your light panel during setup. A comfortable suede leather shoulder strap is included for carrying the cases and light over your shoulder.

 

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PB-2550E

6 août 2014

Our hard cases are watertight, have a pressure relief valve, easy to operate latches, and a comfortable hand grip. They are constructed with a high-performance hard-resin material reinforced at the corners. Portabrace Hard Cases are ideal for video, audio, and photographic equipment transportation and protection. They are lighter than many comparable brands and save you shipping costs.

 

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LP-LP1X1

6 août 2014

The LP-LP1X1 carrying case is designed to carry the Lite Panels® 1X1 and similarly-sized light panels.  The case is made using durable and water-resistant 1000-denier Cordura® material that is foam-padded to protect the light panel during transport. There is an thick, foam-padded « U » shape at the base of the case for extra protection against drops.

The top-loading zipper design gives you quick access to your light panel during setup. A comfortable suede leather shoulder strap is included for carrying the case and light over your shoulder.

Have 2 light panels? No problem, 2 LP-LP1X1′s can be attached together and carried as a single case, or try the LP-LED2 2-panel case or LP-LED4 4-panel case.

 

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AO-1X

6 août 2014

The PortaBrace AO series organizer  is a  large, self contained case made for audio field mixers and recorders. The larger dimensions of the bag offer plenty of storage options and also ample room for multiple receivers. The main structure of this Portabrace bag is made from hard plastic paneling covered in durable padded Cordura fabric, this combination of materials create a strong and ridged frame that offers great protection to the users equipment. Any extra equipment can be stored in the large front pocket of the case. Both sides of the AO series bag are fully detachable side panels that allow easy access to all mixer inputs and outputs. Located on both exterior sides of the bag are transmitter hop pouches and also one large zip able flask holder. This bag is the perfect solution for large multiple receiver situations.

 

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LPB-LED2

6 août 2014

LP-LED2 and LP-LED4 Carrying Cases are designed to carry 2 (LED2) or 4 (LED4) Lite Panel 1X1′s or similar LED lights. Each case is made using 1000-denier Cordura® material that is foam-padded to protect the light panels during transport. There is a thick, foam-padded « U » shape at the base of the case for extra protection against drops.

The top-loading zipper design gives you quick access to your light panel during setup. A comfortable suede leather shoulder strap is included for carrying the cases and light over your shoulder.

 

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AO-4WT/664

6 août 2014

The Audio Organizer (AO) is a 1000-denier Cordura® nylon case with a rigid plastic frame and interior padding in the main section and pocket. It is designed to carry a mixer, wireless microphones, transmitters, batteries, cables, connectors, and other equipment.

Zip-off side panels provide access for cables. The case is completely reversible so the mixer can be positioned anywhere and the hinged top can be removed and positioned front to back. It moves the entry either closer or further away. The case has cable ports on each side so cables can be routed into all exterior pockets for snag free wiring versatility.

The Audio Organizer has a receiver/transmitter pocket on each side of the case, a microphone power supply pocket, and a padded main outside pocket, which is sewn in to prevent sagging. There is a layer of anti-skid, waterproof Slip-Not® material on the bottom of the case. A comfortable suede leather shoulder strap is included for carrying the case over the shoulder or around the neck. The case can also be used with an optional Portabrace Audio Harness.

The AO-4WT/664 is wider and taller than the standard AO-4, designed specifically to fit the Sound Devices 664 with or without the CL6.

 

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AO-633

6 août 2014

The AO-633 Audio Organizer Case is a 1000 denier Cordura nylon case with a rigid plastic frame and interior padding in the main section and pocket. It is designed to carry the Sound Devices 633, wireless microphones, transmitters, batteries, cables, connectors, and other equipment.

There are velcro side openings for complete access to cables. The case has cable ports on each side so cables can be routed into all exterior pockets for snag free wiring versatility.

The case is transported by suede leather-covered carry handles or an HB-1040 suede-leather-covered, adjustable, removable shoulder strap. It has multiple « D » ring attachment points for optimized balance.

 

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AH-2B

6 août 2014

The AH-2 harness belt combines with the portabrace AH-2 shoulder harness (sold separately), to provide a strong and effective system for carrying any field audio mixer.

Small Belt: 38″

Medium Belt: 40″

Large Belt: 50″

 

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AH-2H

5 août 2014

The AH-2 is a rugged, compact and efficient harness that works with all field audio mixers. This popular harness and is lightweight and comfortable. The shoulder straps on the AH-2 are lightly padded and fully adjustable. The Harness also provides strong metal clips that attach securely to the field mixer bag. This harness is also a popular choice for audio mixers, recorders and also viewing monitors.

 

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CAR-2

5 août 2014

The popular CARGO CASE has three large outside pockets, multiple slip pockets and has a wide double zippered top cover, for easy access to the interior. Constructed with a rigid frame and dividers to protect and organize equipment; (mini-dv cameras, batteries, lights). This case comes with the distinctive Porta-Brace leather handles and a divider Kit.

 

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MXC-664CLX

5 août 2014

This new style Audio Mixer Combination Case is a protective carrying case, custom-fit to the Sound Devices 664 mixer. This new MXC bag combines both the mixer and receiver compartments to form one ridged structural design. The new style of MXC provides a much stronger frame and offers much improved support. The bag has two large pockets either side, perfect for an NP1 type battery or left and right transmitter sends. Located within these pockets there are also additional transmitter attachment points.  The bag has a movable Velcro loop strap/shelf that can be positioned to utilize the space under the CL6. This Velcro loop provides a strong anchor point for an additional NP1 type battery which is often required with a fully equipped bag. Extra storage space has been created within the double layered  Vinyl window. This allows the user to store some small convenient items or frequency chart information. The MXC-664CLX can also be used without the CL6 attached. The bag is designed to allow the user to compress the outer section of the bag and create a smaller and more compact case.

 

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Portabrace

5 août 2014

AT4050

4 août 2014

Meet the studio condenser that captures every nuance. With three switchable polar patterns, the large-diaphragm Audio-Technica AT4050 exhibits a remarkable combination of qualities: high-SPL capability with transparent and airy uppers/mids complemented by rich low-end qualities. Its dual large diaphragms are gold-vaporized and aged for consistent, outstanding performance. A precision-machined, nickel-plated brass acoustic element baffle provides rock-solid element stability and exceptional sensitivity.

Ideal for studio use and live sound productions with vocals, piano, strings, drum overheads, guitar amps, and more.

 

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d:screet 4060

4 août 2014

The New d:screet™ 4060 Miniature Microphones are the versatile workhorses that adapts to your needs. With eminent sound quality, a large range of accessories, and adapters available for all pro wireless systems, the d:screet Miniature Mics are the obvious choice for any application requiring a big sound and a small footprint. 

Originally designed for use with wireless systems in theater, television and close-miked instrument applications, the d:screet™ 4060 Miniature Omnidirectional Microphone is highly unobtrusive. Because of it’s small size, these tiny condensers exhibit an exceedingly accurate omnidirectional pattern and therefore do not need to be aimed directly at the sound source to achieve quality pickup.

The d:screet™ 4060 Miniature Omnidirectional Microphones are available in four colors: black, brown, beige and white.

 

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COS-11D

4 août 2014

Superb Sound in a New Generation Ultra-miniature Lavalier Mic

・ Overcomes digital transmitter RFI
・ Water Resistant
・ Durable Design
・ Great Clear and Rich Sound
・ 4 Color Choices
・ Improved Moisture Resistance
・ Original Vertical Diaphragm Design
・ Optimized for the Human Voice

Sanken has introduced the COS-11D, which overcomes RFI (radio frequency interference) from the digital transmitter. In today’s wireless transmission systems the microphone must remain unaffected by new forms of digital transmitter signals. They present new challenges in the area of emission protection. In many cases, noise levels increase and the S/N ratio is deteriorated by the interference of digital transmitters. Sanken has designed the COS-11D specifically to diminish the instances where interference is an issue.

Four colors are available in the COS-11D series: Black, Gray, Beige and White.

 

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PRO 2900

4 août 2014

The black PRO 2900 includes all latest Ultrasone technologies and promises sound professionalism.

Due to its open-back design the most airy and transparent sound is guaranteed for everybody who does not wish a closed-back system. The PRO 2900 offers also speed-switch ear pads and detachable cables.

  • S-Logic™ Natural Surround Sound Plus

  • Dynamic principle, open

  • Frequency range 6-42.000 Hz

  • Impedance 40 Ohm

  • Sound pressure level 96 dB

  • MU Metal bufferboard, reduced field emissions in accordance with ULE (=Ultra Low Emission) standard

  • Driver 40 mm titanium-plated

  • Weight 295 g (without cord)

 

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Ultrasone

4 août 2014

K240 Studio

4 août 2014

The K240 Studio professional over-ear, semi-open studio headphones are designed for professional applications such as mixing, mastering and playback. The advanced XXL transducers with Varimotion diaphragms deliver a wide dynamic range, increased sensitivity and high sound levels. The semi-open design provides a solid bass range and extremely clear highs. The over-ear pads envelop the ears nicely making them extremely comfortable to wear.

The K240 Studio features a professional mini XLR connector, allowing for quick replacement of the cable. The 3 m cable included provides a convertible jack plug for easily connecting portable equipment.

 

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MDR7506

4 août 2014

The MDR-7506 is a large diaphragm foldable headphone designed for professional studio and live/broadcast applications.

Features:

  • 40mm Driver Unit
  • Closed-Ear Design
  • Folding Construction
  • Stereo Unimatch Plug
  • Gold Connectors and OFC Cord
  • Supplied Soft Case

 

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DT 770

1 août 2014

The DT 770 PRO is a closed dynamic headphone which has been designed for critical music and sound monitoring. The single-sided cable makes the handling of the headphone easy.

DT 770 PRO, 32 ohms: for mobile applications
DT 770 PRO, 80 ohms: for recording applications within the studio
DT 770 PRO, 250 ohms: for mixing applications in the studio



Characteristics:

▲ Closed diffuse-field studio headphone
▲ « Bass reflex » technology for improved bass response
▲ Comfortable fit due to rugged, adjustable, soft padded headband construction
▲ Robust, easy serviceable construction as all parts are replaceable
▲ Velour, circumaural and replaceable ear pads
▲ 3.0 m (9.8 ft.) coiled cable (single-sided)
▲ Including drawstring bag

 

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HD 650

1 août 2014

Le HD 650 repousse encore plus loin les limites de la fidélité et du naturel de reproduction. Il surpasse même la référence établie par le HD 600. Certains audiophiles experts, parmi les plus réputés, n’hésitent pas à le comparer au mythique casque électrostatique Sennheiser Orphéus ! Héritier de toutes les qualités du HD 600, il bénéficie de subtiles améliorations lui permettant d’offrir une restitution musicale confondante de naturel et de vie. Fermez les yeux… les musiciens sont là, l’émotion est palpable, chaque source sonore est à sa place, en largeur et profondeur, avec “l’air autour”. Les aigus s’expriment avec une liberté dynamique rare et le grave affirme sa profondeur sans artifice. Les microinformations sont totalement restituées, donnant cette subtile impression de vérité difficile à décrire.

Spécifications

  • Un casque audiophile
    Transducteurs sélectionnés à la main et appairés selon des tolérances très strictes (± 1 dB), circuits magnétiques néodyme optimisés par ordinateur afin de réduire les distorsions au minimum mesurable (harmonique et par intermodulation).

  • Le casque dynamique qui a le son d’un statique
    Bobines mobiles en aluminium extrêmement légères qui assurent précision et rapidité des transitoires.

  • Élimination des ondes stationnaires
    Des éléments amortisseurs sophistiqués opèrent un contrôle acoustique précis de la surface des membranes Duofol, tout effet de masque est éradiqué.

  • Réponse en fréquence étendue et linéaire
    De l’extrême grave à l’extrême aigu, l’image sonore est parfaitement définie et équilibrée, sans aucune coloration. Le médium s’exprime avec une vérité et un naturel qui se remarque immédiatement sur les voix parlées ou chantées.

  • Image sonore naturelle et spatialisée
    Aucune sensation de “son dans la tête”… les musiciens sont devant vous et l’acoustique de la salle de concert clairement perçue, donne l’impression de l’écoute vivante.

  • Câble haute définition (cuivre OFC)
    Le confort de port a été étudié pour que les plus longues séances d’écoute restent un pur plaisir.

  • Connectique haut de gamme
    Aucune perte de micro-informations, toutes les subtilités du signal sont transmises. Renforcé de Kevlar, il est insensible aux bruits de manipulation.

  • Ergonomie et élégante finition
    Avec une finition argent/titane et la richesse des matériaux utilisés, le HD 650 offre une esthétique à la hauteur de ses prestations musicales.

 

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Spirit Professional

1 août 2014

Le casque Spirit Professional a été spécialement développé pour les environnements Studios, Home Studios et  Broadcast.

L’attention extrême portée au design du transducteur en alliage Mylar – Titane permet d’allier rigidité, légèreté et amortissement afin de préserver toute la dynamique du signal audio, assurer une neutralité sonore remarquable, le tout sans distorsion. La reproduction extrêmement précise des basses fréquences révèle les moindres défauts des mixs, tout en s’affranchissant des contraintes acoustiques liées à l’espace de travail. Spirit Professional est un casque fermé offrant une excellente isolation acoustique pour répondre aux contraintes des environnements potentiellement bruyants tant dans le milieu Broadcast que le Home Studio.

 

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Focal

1 août 2014

ATH-M50x

1 août 2014

Voici le modèle le plus apprécié de la série M, salué par les meilleurs ingénieurs du son et la critique, année après année. L’ATH-M50x possède la même signature sonore reconnue, et propose désormais un câble détachable. Avec ses transducteurs à large ouverture, ses coupelles d’isolation sonore et sa construction robuste, le M50x procure une expérience unique aux professionnels du son les plus exigeants.

Aussi disponible en blanc (ATH-M50xWH) et en bleu (édition limitée) (ATH-M50xBL).

 

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DT 250

1 août 2014

The DT 250 is a lightweight, low profile design, closed dynamic headphone offering good ambient noise isolation. It’s suitable for various applications in broadcast and recording studios. The powerful neodymium magnet systems provide high-fidelity reproduction and a balanced sound. The headband and earphone cushioning system have been carefully designed for maximum comfort and unobtrusive style. DT 252 as single-ear version.

 

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Beyerdynamic

1 août 2014

HD 25-1 II

1 août 2014

Le HD 25-1 II est un casque de contrôle professionnel, ultime évolution d’un modèle devenu légendaire. Outre une qualité d’écoute de référence, il assure une atténuation efficace des bruits ambiants. D’une grande robustesse, le HD 25-1 II peut générer des niveaux de pression sonore très élevés, avec tous les types de sources audio.

Son comportement dans des environnements bruyants est exceptionnel : il est par exemple idéal en studio, en reportage, en test d’appareil audio, etc. Ses oreillettes pivotantes permettent l’écoute d’une seule oreille, ce qui fait du HD 25-1 II un casque de contrôle idéal pour les cadreurs et les DJ.

 

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HD 280 PRO

31 juillet 2014

Le HD 280 Pro est un casque de monitoring de type fermé, destiné aux professionnels. Avec des oreillettes conçues pour offrir une isolation exceptionnelle vis-à-vis des bruits ambiants, ce casque est idéal pour les DJ ou pour les retransmissions en extérieur en milieu bruyant. Comme pour le HD 280 Silver, une conception compacte favorise le rangement. La plupart des pièces se remplacent facilement, ce qui assure au HD 280 Pro une grande longévité.

 

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Mic Arm TV Black

31 juillet 2014
  • Customized design for TV broadcasts
  • Available in M-size only
  • Sturdy aluminium tube construction
  • Interior coil spring system supports microphones up to 2 kg (4.5 lbs)
  • Adjustable friction joints
  • Fully compatible with m!ka MMS elements
  • Hidden wiring through tubes and joints
  • Open ended cable tails
  • Various mounting possibilities
  • Superior quality
  • Renowned German craftmanship

 

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Mic Arm TV Aluminium

31 juillet 2014
  • Customized design for TV broadcasts
  • Available in M-size only
  • Sturdy aluminium tube construction
  • Interior coil spring system supports microphones up to 2 kg (4.5 lbs)
  • Adjustable friction joints
  • Fully compatible with m!ka MMS elements
  • Hidden wiring through tubes and joints
  • Open ended cable tails
  • Various mounting possibilities
  • Superior quality
  • Renowned German craftmanship

 

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Standard Dark Grey Model

31 juillet 2014
  • Dark grey model available in M-size only
  • Sturdy aluminium tube construction
  • Interior coil spring system supports microphones up to 2 kg (4.5 lbs)
  • Adjustable friction joints
  • Fully compatible with m!ka MMS elements
  • Hidden wiring through tubes and joints
  • Open ended cable tails
  • Various mounting possibilities
  • Superior quality
  • Renowned German craftmanship

 

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‘On Air’ Dark Grey Model

31 juillet 2014
  • Bright LED “On-Air” signal
  • Available in M-size only
  • Sturdy aluminum tube construction
  • Interior coil spring system supports microphones weighing up to 2kg (4.5lbs)
  • Adjustable friction joints
  • Fully compatible with m!ka MMS elements
  • Wiring concealed by tubes and joints
  • Open-ended cable tails
  • Various mounting possibilities
  • Superior quality
  • Renowned German craftsmanship

 

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Standard Mic Arm

31 juillet 2014
  • Available in XL and M size
  • Sturdy aluminum tube construction
  • Durable, silk-mat anodized finish
  • Interior coil spring system supports microphones weighing up to 2kg (4.5lbs)
  • Adjustable friction joints
  • Fully compatible with m!ka MMS elements
  • Wiring concealed by tubes and joints
  • Open-ended cable tails
  • Various mounting possibilities
  • Superior quality
  • Renowned German craftsmanship

 

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‘On Air’ Mic Arm

31 juillet 2014
  • Bright LED “On-Air” signal
  • XL, M and XS sizes for every desktop requirement
  • Sturdy aluminum tube construction
  • Durable, silk-mat anodized finish
  • Interior coil spring system supports microphones weighing up to 2kg (4.5lbs)
  • Adjustable friction joints
  • Fully compatible with m!ka MMS elements. Learn more!
  • Wiring concealed by tubes and joints
  • Open-ended cable tails
  • Various mounting possibilities
  • Superior quality
  • Renowned German craftsmanship

 

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Scoop 5 IP

28 juillet 2014
  • Grand choix d’algorithmes de codage incluant l’AAC
  • Transmission audio sur IP sous SIP
  • Compatible UER Tech 3326 (N/ACIP)
  • Page web embarquée avec plus de fonctions
  • Entrées/sorties AES
  • Audio de qualité broadcast
  • Duplication de paquets pour compenser les pertes
  • Pilotable via IP ou port série
  • Plateforme faible consommation sur architecture Linux
  • Option alimentation 12V continu
  • Appareil compact (1U) et silencieux (sans ventilateur)

 

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Scoop 5

28 juillet 2014
  • Grand choix d’algorithmes de codage incluant l’AAC
  • Compatible Voix HD avec codage AMR-WB
  • Transmission audio sur IP sous SIP
  • Compatible UER Tech 3326 (N/ACIP)
  • Page Web embarquée avec plus de fonctions
  • Entrées/sorties AES
  • Audio qualité broadcast
  • Duplication de paquets pour éviter les pertes
  • Plateforme faible consommation sur architecture Linux
  • Option alimentation 12V continu
  • Appareil compact (1U) et silencieux (sans ventilateur)

 

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ScoopFone R

28 juillet 2014
scoopfone_r_269x247
  • Insert téléphonique sans fil professionnel en version rack
  • Jusqu’à 3 unités dans un rack 1U
  • Supporte la voix HD et le GSM
  • Ecran OLED
  • Interfaces Audio Pro
  • Traitement audio: Filtres Passe-haut, gains ajustables
  • Télécommande à distance par Ethernet
  • Très facile d’utilisation
  • Envoi de tonalités DTMF
  • Disponible en 2 versions: Ethernet ou Relais (GPIO)

 

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SCOOPY+ LTE

28 juillet 2014
  • Grand choix d’algorithmes de codage
  • Transmission audio sur IP avec SIP
  • Compact et intégré
  • Utilisation intuitive
  • Section audio haute qualité
  • Compatible UER Tech 3326 (N/ACIP)
  • Application Inmarsat BGAN
  • Fonctions d’enregistrement
  • Page Web embarquée avec plus de fonctions
  • Interface audio pour PC sur USB

 

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SCOOPY+ HD

28 juillet 2014
  • Grand choix d’algorithmes de codage, incluant l’AAC
  • Compatible service Voix HD avec AMR-WB
  • Transmission audio sur IP avec SIP
  • Compatible UER Tech 3326 (N/ACIP)
  • Compact et intégré
  • Module GSM/3G/3G+ intégré
  • Extension 4G/LTE via USB
  • Robuste et autonome
  • Utilisation intuitive
  • Section audio de haute qualité
  • Application Inmarsat BGAN intégrée
  • Fonctions d’enregistrement
  • Interface audio pour PC sur USB
  • Gestion de coordination (modèle GSM 3G)

 

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SCOOPY+

28 juillet 2014
  • Prise en charge des principaux algorithmes de codage
  • Transmission audio sur IP avec SIP
  • Compatible UER Tech 3326 (N/ACIP)
  • Compact et intégré
  • Extension 4G/LTE via USB
  • Robuste et autonome
  • Utilisation intuitive
  • Section audio haute qualité
  • Application Inmarsat BGAN
  • Fonctions d’enregistrement
  • Interface audio pour PC sur USB

 

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ScoopFone HD

28 juillet 2014

Le ScoopFone HD, facile d’utilisation, est conçu pour les journalistes dans le feu de l’action. Il peut également trouver sa place en voie d’ordre sans fil pour la TV et pour toute transmission longue distance en direct où la qualité est une préoccupation.

La Voix HD, permettant une qualité audio en 7 kHz devient la signature de votre reporter, augmente et fidélise le nombre de vos auditeurs.

En branchant deux antennes pour réseaux mobiles, vous augmentez considérablement les performances en cas de mauvaise couverture.

Les entrées ligne et micro peuvent être mixées. ScoopFone HD vous permet de brancher n’importe quel micro y compris votre micro préféré!

Grâce à ses batteries rechargeables et à leur autonomie de plus de 5 heures, ScoopFone HD est la combinaison idéale entre mobilité, qualité audio et qualité de service.

 

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Aeta Audio Systems

28 juillet 2014

AC7-OLED-SDI

4 juillet 2014

Features

  • 7.7-inch monitor
  • 1280×800 resolution
  • 8-bit color depth
  • HDMI, Component, Composite
  • Focus Assist, DSLR Scale, Frame Guides and more…
  • OLED Display Technology
  • SDI Input (3G/HD/SD)

 

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AC7-SDI

4 juillet 2014

Features

  • 7-inch monitor
  • 1280×800 resolution
  • 8-bit color depth
  • HDMI, Component, Composite
  • Focus Assist, DSLR Scale, Frame Guides and more…
  • SDI Input (3G/HD/SD)

 

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AC7-OLED

4 juillet 2014

Features

  • 7.7-inch monitor
  • 1280×800 resolution
  • 8-bit color depth
  • HDMI, Component, Composite
  • Focus Assist, DSLR Scale, Frame Guides and more…
  • OLED Display Technology

 

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AC7

4 juillet 2014

Features

  • 7-inch monitor
  • 1280×800 resolution
  • 8-bit color depth
  • HDMI, Component, Composite
  • Focus Assist, DSLR Scale, Frame Guides and more…

 

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DP4-EVF

4 juillet 2014

The DP4 has been designed to function from the ground-up as a standalone 4.3” field monitor and as an electronic viewfinder with the click-on EVF attachment, critical when the budget—and luggage space—is tight. The EVF configuration offers the camera operator a cinematic-like view of the screen; great for eliminating distractions and for critical focusing when using the DP4’s built-in focus assist and peaking features.

Even after choosing to use the DP4 as an EVF, switching back to field monitor mode is nothing more than flipping the EVF out of the way, which is then held firmly in place by high-powered magnets.

HDMI, Component and Composite inputs answer the call of
compatibility; GoPros, DSLRs, ENG Cameras, large sensor camcorders,
RED, Alexa and nearly anything in between, the DP4 plays nice.

 

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DP4

4 juillet 2014

The DP4 is equiped with pro software featuring Focus Assist Plus, False Color, and DSLR Scale Mode. Housed in a strong yet lightweight frame, the 4.3” monitor adds production value without adding the bulk.

Acceptance of high-bitrate signals such as 1080p is not a given on every EVF or small monitor on the market but is done painlessly on the DP4.

The DP4 has been built with a high emphasis on strength and durability. By using milled aluminum for its frame and support points for internal components, the result is one extremely rugged field monitor.

 

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DP7-PRO High Bright

4 juillet 2014

The DP7-PRO High Bright Field Monitor features a 1500 nit, 720p IPS LCD which is 3x brighter than traditional LCD displays. Having a screen this bright makes it easy to monitor outdoors—especially if the camera operator is unable to utilize a sun hood (i.e. Steadicam rig).

Features

  • 7” 1280×800 8-bit IPS LCD
  • Daylight Viewable (1500 nits)
  • 24 Quick-access ‘Smart-Keys’
  • Full-screen Waveform & Scopes
  • 2-way Cross Conversion (SDI / HDMI)
  • Custom Look Support (3D-LUTs)

Inputs

  • 2x SDI
  • 1x HDMI
  • Composite (CVBS)

Outputs

  • 1x SDI
  • 1x HDMI

 

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DP7-PRO OLED

4 juillet 2014

Features

  • 7.7” 1280×800 OLED Display
  • Custom Look Support (3D-LUTs)
  • High Color Gamut via OLED Technology
  • True Black Point / High Contrast
  • 24 Quick-access ‘Smart-Keys’
  • Full-screen Waveform & Scopes
  • 2-way Cross Conversion (SDI / HDMI)

Inputs

  • 2x SDI
  • 1x HDMI
  • Composite (CVBS)

Outputs

  • 1x SDI
  • 1x HDMI

 

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DP7-PRO LCD

4 juillet 2014

Features

  • 7” 1280×800 8-bit IPS LCD
  • 24 Quick-access ‘Smart-Keys’
  • Full-screen Waveform & Scopes
  • 2-way Cross Conversion
  • Custom Look Support (3D-LUTs)

Inputs

  • 1x SDI
  • 1x HDMI
  • Composite (CVBS)

Outputs

  • 1x SDI
  • 1x HDMI

 

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SmallHD

4 juillet 2014

MADIface USB

3 juillet 2014

The compact MADIface USB provides MADI I/O over USB 2.0 while supporting the format’s full 64 channels for recording and playback, under Mac and Windows. Both inputs can be used for full redundancy operation. Optionally both MADI I/Os can be operated simultaneously for full 128 channel input and output access, mixed and routed by TotalMix. Even without computer the small box delivers extraordinary bi-directional format converter and active repeater functionality.

Its sturdy and bus-powered design makes it as easy to use as reliable in operation. MADIface USB is both MADI portability at its best as also a perfect desktop solution to connect MADI equipment to any Mac and PC. A real gem in flexibility, usefullness and trouble-free operation – as you expect it from RME.

 

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Lyra USB

25 juin 2014

The Lyra family of audio interfaces offers Prism Sound performance at its most affordable ever. They are based on the Orpheus audio path and clock circuitry, but in a smaller package for those who don’t need eight channels of analogue I/O. There are two models Lyra 1 and Lyra 2. 

Lyra is based on the new ARM Cortex-based processor design which offers class-compliant USB and Ethernet AVB interfacing, plus DSP and local mixing capacity beyond that of the present Orpheus platform.

 

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Atlas

25 juin 2014

Atlas is a USB multi-track audio interface for personal recording and sound production, for professional musicians, songwriters, engineers and producers as well as recording studios, post production facilities and scoring stages. Atlas is ideal for music and sound recording, mixing, multitracking, overdubbing, stem-based mastering, analogue summing and critical listening applications.


Atlas provides Prism Sound’s renowned performance, sound quality and state-of-the-art clock technology in a dedicated unit compatible with both Windows (Vista, 7 and 8, 32 and 64 bit, ASIO as well as MAC OS X 10.4.11 and later (Intel). Once configured with a computer, Atlas can also operate stand-alone using its ADAT, S/PDIF or AES3 I/O.

 

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Titan

25 juin 2014

Titan is a USB multi-track audio interface for personal recording and sound production, for professional musicians, songwriters, engineers and producers as well as recording studios, post production facilities and scoring stages. Titan is ideal for music and sound recording, mixing, multitracking, overdubbing, stem-based mastering, analogue summing and critical listening applications. 

Titan provides Prism Sound’s renowned performance, sound quality and state-of-the-art clock technology in a dedicated unit compatible with both Windows (Vista, 7 and 8, 32 and 64 bit, ASIO as well as MAC OS X 10.4.11 and later (Intel). Once configured with a computer, Titan can also operate stand-alone using its ADAT, S/PDIF or AES3 I/O.

 

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m920

25 juin 2014

The m920 High Resolution Monitoring System – Impeccable, pedigreed audio performance for discerning audio professionals and connoisseurs. The m920 stands on the shoulders of its predecessors then jumps to new territory in digital and analog audio performance. Using the latest 32Bit Sabre DAC technology, it delivers up to 384kHz PCM and 64x and 128x DSD playback. The m920 provides state of the art DAC performance in our award winning compact, do everything utility design. For home or studio, this is truly the ultimate, high resolution monitoring system.

 

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RB-VHDMA8

20 juin 2014

The RB-VHDMA8 is an 8 channel analogue de-embedder contained in a single 19-inch rack unit. The unit can selectively de-embed up to 8 channels within any audio group of an SDI video signal, to any of the analogue outputs. After which, the video becomes two independent paths, where the audio groups can be selectively deleted or passed through and then sent to the re-clocked SDI outputs.

The de-embedding channel routing is controlled via the front panel buttons and indicators. There is also LED indication for SDI input status and audio group presence.

The unit can be remote controlled via Ethernet or serial port connections using the Sonifex SCi software.

 

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RB-VHDA8

20 juin 2014

The RB-VHDA8 is a high performance, reliable eight way digital video distribution amplifier for re-clocking and distributing a 3G, HD (high definition) or SD (standard definition) SDI source to eight outputs. The unit provides automatic input detection, re-clocking and cable equalisation of the input signal to 100/350 meters (HD/SD) of coax cable.

The full range of 3G, SD and HD standards are supported by the unit allowing PAL and NTSC signals up to 1080p 60Hz to be distributed. Each output is individually buffered providing separately driven outputs for greater reliability. As well as an AC power input, the unit also has a 12V DC input for use, for example, in outside broadcast vehicles.

Both power inputs can be used to give a dual redundant power supply; whichever voltage is higher will be used.

 

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RB-VHCMD16

20 juin 2014

The RB-VHCMD16 is a 16-channel de-embedder and 16 channel embedder combined into a single 19-inch rack unit. The unit can selectively de-embed any channel within any audio group of an SDI video signal, to any of the digital outputs. After which, the video becomes two independent paths where the audio groups can be selectively deleted or passed through. The unit then embeds any of the digital input channels to available groups within each of the two video paths, which are then sent to the re-clocked SDI outputs.

 

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RB-UL4

20 juin 2014

The RB-UL4 is a 1U rack-mount quad stereo unit for interfacing domestic or semi-professional unbalanced equipment to professional balanced line levels.

All connections are on the rear panel. The eight RCA unbalanced inputs have an impedance of 10kΩ and 
are routed to eight balanced XLR-3 outputs with an output impedance of <50Ω.The output gain can be individually adjusted for left and right channels by using pre-set potentiometers accessible through the rear panel.

 

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RB-TGHD

20 juin 2014

The RB-TGHD is an 8 channel audio tone generator that provides line identification for multi-channel audio systems, including 5.1 and 7.1 surround sound typically used in high definition television broadcasts. By using a range of widely accepted industry standard tone sequences such as the EBU R49, GLITS and BLITS tones, channel identification and associated levels can be determined easily. Correct channel configuration in fold-down mixes can also be highlighted when a broadcaster needs to mix several audio channels into a stereo feed.

 

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RB-SS10

20 juin 2014

The RB-SS10 10 way stereo analogue source selector/mixer is a 1U rack-mount unit that produces a stereo analogue audio output from 10 selectable stereo analogue sources. There are 10 illuminated front panel push-buttons, which select and indicate the current channel selection. The selection and indication is also available through a remote connector on the rear panel. To stop accidental front panel selection there is a remote input to inhibit the front panel buttons.

 

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RB-SM1

20 juin 2014

The RB-SM1 converts a stereo input to a fully buffered and balanced mono line output, e.g. to supply cue in broadcast environments or to feed a mono PA system.

The connections, which are on the rear panel, are of an XLR-3 type. The input is electronically balanced with an impedance of 20kΩ bridging. This can be wired unbalanced to accept an output from domestic equipment.

The output is electronically balanced with an output impedance of <50Ω. The output can be wired unbalanced by grounding the non-phase signal, allowing you to feed both balanced and unbalanced equipment.

Output gain adjustment using a pre-set potentiometer for the converter allows a normalised mono output from domestic stereo equipment. This potentiometer is accessible through the rear panel.

 

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RB-SD1

20 juin 2014

The RB-SD1 silence detection unit is a 1U rack-mount device used to monitor an unattended stereo studio feed and in the event of the signal going “quiet” after a given period the unit will switch through an alternative stereo audio signal. This signal could be a recorded message (e.g. “normal service will be resumed”, etc), a feed from a CD player or minidisc machine, or an alternative recorded programme. Controls are provided to start external equipment and to provide remote status indication.

It has 2 balanced stereo audio inputs with the maximum input level being +28dBu. Each input is user-defined as either the main source or auxiliary source and both sources are monitored for failure, each having a remote failure alarm. In the event of the main source dropping below a pre-set level for a pre-determined amount of time, the unit will automatically switch through to the auxiliary signal. The silence detect level is adjustable between -60dBu and -15dBu in 3dB steps via a 16 position rotary switch on the rear panel. The silence interval can be adjusted between 2 seconds to 30 seconds in 2 second steps, or, alternatively, set to 2 minutes 5 seconds also via a 16 position rotary switch on the rear panel. The audio outputs use stereo professional balanced XLR-3 male connectors.

 

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RB-MTV1

20 juin 2014

The RB-MTV1 contribution voiceover monitor is a 1U rack-mount designed to be used in voice-over booths, news booths, commentary locations, for continuity announcements and for any other similar applications where voice needs to be added to programme content and then monitored. Programme feeds, auxiliary feeds and a talkback feed can be taken and monitored.

 

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RB-LU4

20 juin 2014

The RB-LU4 is a 1U rack-mount quad stereo unit for interfacing professional balanced line levels to domestic or semi-pro unbalanced equipment, e.g. for connecting a pro satellite receiver to a consumer 
hi-fi system. All connections are on the rear panel. The eight balanced XLR-3 inputs have an impedance of 20kΩ and are routed to eight unbalanced RCA outputs with an output impedance of <50Ω.

The output gain can be individually adjusted for left and right channels by using pre-set potentiometers accessible through the rear panel. A LED power indicator on the front panel displays the power supply connection.

 

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RB-HD1

20 juin 2014

The RB-HD1 is a 1U rack-mount stereo headphone amplifier for driving up to two pairs of professional stereo headphones from a single stereo or mono input. One headphone socket is on the front panel with one on the rear. The main stereo input uses electronically balanced XLR-3 connectors on the rear panel, which can be wired un-balanced. The output volume for the headphones can be controlled either by a pot situated on the front panel or a VCA signal supplied externally via the remote connector.

A mono input can be mixed into the main headphone feed, for example, for mixing in talkback to the headphones. This has an input level control via a recessed adjustable potentiometer. The mono mix input can also be controlled remotely. A stereo/mono switch is recessed on the rear panel to prevent accidental knocking. With mono selected, audio is sent to both left and right ear pieces. A LED power indicator on the front panel displays the power supply connection.

 

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RB-DDA6W

20 juin 2014

The RB-DDA6W word clock distribution amplifier distributes a word clock BNC input signal to 6 word clock BNC outputs re-conditioned. It is used to distribute reference clocks for digital audio systems.

It has a single female BNC audio input which is distributed to 6 female BNC outputs. The units primary application is to distribute a master TTL word clock source to multiple pieces of equipment that need to be synchronised from the master.

 

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RB-DDA6A3

20 juin 2014

The RB-DDA6A3 digital distribution amplifier is used for distributing AES3id digital audio, repeating both the audio data and the status information of the input whilst re-normalising to standard digital audio levels. It has a single BNC AES3id audio input which is distributed to 6 BNC AES3id audio outputs.

Applications include distributing audio from a BluRay player to recorders, or feeding multiple studios with an output from a master clock.
It can accept input sample rates in the range of 30kHz – 100kHz, and bit rates of 16, 20 and 24 bit

 

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RB-DA6G

20 juin 2014

The RB-DA6G is a 1U rack-mount high performance 6 way stereo distribution amplifier for splitting a source into a number of different outputs. It is identical to the RB-DA6 with the addition of individual output gain adjustment, instead of global stereo gain adjustment.

 

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RB-DA6

20 juin 2014

The RB-DA6 is a 1U rack-mount high performance 6 way stereo distribution amplifier for splitting a source into a number of different outputs.

The RB-DA6 has 1 stereo input and 6 stereo outputs. It can also be configured so that 1 mono input can be distributed to 12 outputs by use of a switch which is recessed on the front panel to prevent it being accidentally knocked.

The XLR-3 inputs and outputs are electronically balanced and can be wired unbalanced. Each output is individually buffered so that a short circuit on one output won’t affect the others.The left and right input gain controls (normalising) are pre-set potentiometers accessible through the front panel.

The output gain may be varied from -8dB to 18dB which is useful for normalising consumer and professional signals to give outputs of -15dBu and 0dBu respectively.

 

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RB-DA4x5

20 juin 2014

The RB-DA4x5 is a 1U rack-mount combined distribution amplifier and mixer. It has 4 mono analogue audio inputs on female XLR and 4 groups of 5 outputs on 15 way D-type connectors. Each output group has a five way front-panel DIP switch assigned to it which is used to select the input(s) to send to the output group. This enables each of the four inputs, or a 1kHz 0dBu tone, to be mixed to the output group.

  • 4 input, 20 output distribution amplifier.
  • Audio prescence LED’s for inputs or outputs.
  • Balanced I/O that can be wired unbalanced.
  • Outputs a 1kHz test tone e.g to check transmission lines.

 

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RB-BL2

20 juin 2014

The RB-BL2 is a bi-directional stereo unit for interfacing domestic or semi-pro unbalanced equipment to professional balanced line levels, and vice-versa.

The two XLR-3 electronically balanced inputs have an impedance of 20kΩ bridging and are routed to two unbalanced RCA (phono) outputs with an output impedance of <50Ω. 

The two RCA unbalanced inputs have an impedance of 20kΩ and are routed to two balanced XLR-3 outputs with an output impedance of <50Ω. All connections are on the rear panel. 

The output gain can be adjusted for left and right channels by using pre-set potentiometers accessible through the rear panel.

 

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RB-ADDA

19 juin 2014

The RB-ADDA A/D and D/A converter is a 1U rack-mount which produces an AES/EBU or S/PDIF level digital audio output from a balanced XLR or unbalanced phono stereo audio input. It also produces a stereo balanced XLR or unbalanced phono output from an incoming AES/EBU or S/PDIF digital input signal. The unit operates in four modes: master mode, slave mode, auto mode and auto lock mode.

 

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MPX Tool/Modulation Analyzer

19 juin 2014

MPX Tool/Modulation Analyzer brings all of the modulation analysis tools from our acclaimed Omnia.9 processor to a stand-alone platform, including an over-sampled digital oscilloscope, RTA (real time analyzer), and FFT spectrum analyzer to provide you with everything you need to take a critical look at your station’s modulation and transmission characteristics.

 

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Omnia.9/XE

19 juin 2014

When you need to remove distortion while selectively undoing the over-compression so common in mastering today, look no further than Omnia 9/XE.

Omnia 9/XE optimizes sound quality of low bit rates by literally removing distortion components so that they do not waste bits during encode.

  • Software only, no special cards required

  • Supports multiple ASIO and WDM (Wave/Direct- Sound/Kernel Streaming) audio interfaces simultaneously.

  • Runs as a Windows service in the background, no need to log in

  • Up to 32 fully independent stereo processors on one machine. Pay only for what you need.

  • Flexible remote control application with touch screen support, comprehensive instrumentation, and remote audio streaming

  • Simultaneous MP3/AAC/aacPlus/MP2/WMA encoding, compatible with Shoutcast, Icecast, Wowza and Windows Media servers.

  • Separately adjustable sample rate (high quality conversion) and gain control per encoded stream.

  • Extremely high audio quality, efficient CPU usage and low memory footprint.

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    PCMM10

    17 juin 2014

    The PCM-M10 (Matt Black Color) is a 96 kHz/24-bit capable recorder with electret condenser stereo microphones, 4 GB of internal flash memory and a microSD/Memory Stick Micro™ (M2™) Slot for expanded memory. Key features of the PCM-M10 recorder include a built-in speaker, cross-memory recording, digital pitch and key control, digital limiter, low-cut filter, track mark functions, a 5-second pre-recording buffer and A-B repeat capability. The recorder includes a USB high-speed port for simple uploading and downloading of native .WAV or .MP3 format recorded files to and from Windows® PC or Macintosh® computers. The M10 offers durable construction and long battery life using conventional AA alkaline batteries.

     

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    Sony

    17 juin 2014

    Litt

    3 juin 2014

    With litt, we developed an innovative, high-tech LED signaling device that brings convenience and flexibility to almost any kind of signaling application. Programmable light and flash patterns, ultra-bright LED technology, sleek design and an easy assembly system coalesce to create a new class of lighting design.

     

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    Yellowtec

    3 juin 2014

    4big Quadra USB 3.0

    22 mai 2014

    Conçu pour les pros. Performances et sécurité pour tous.

    • Vitesse de l’USB 3.0 : Jusqu’à 245 Mo/s
    • Interface multiple pour PC/Mac
    • RAID 5 et disques permutables à chaud pour performance et sécurité
    • Boîtier en aluminium et fonctionnement silencieux
    • Disponible en versions 8 To, 12 To, 16 To et 20 To

     

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    2big Quadra USB 3.0

    22 mai 2014
    2bigquadra_538x494

    Universel. Flexible. Fiable.

    • Vitesse de l’USB 3.0 : jusqu’à 210 Mo/s*
    • Quadruple Interface pour PC/Mac
    • RAID et disques permutables à chaud pour performance ou sécurité
    • Boîtier en aluminium et fonctionnement silencieux
    • Disponible en versions 4 To, 6 To et 8 To

     

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    Rugged Triple USB 3.0

    22 mai 2014

    Plus d’interfaces. Plus de rapidité.

    • Vitesse et connectivité améliorées
    • Protection par cryptage AES 256 bits
    • Résistant aux chutes jusqu’à 2 mètres
    • Disponible en versions 500 Go, 500 Go (7200 rpm), 1 To, 1.5 To ou 2 To

     

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    LaCie

    22 mai 2014

    D2 Quadra USB 3.0

    22 mai 2014
    d2quadra_538x494

    Rapide et fiable :
    le d2 Quadra passe à l’USB 3.0

    • Connectivité et compatibilité universelles
    • Standards professionnels : Interface 5 Gb/s, disques durs 7 200 tr/min
    • Ergonomique : empilé ou monté en rack
    • Mode de veille automatique pour des économies d’énergie
    • Disponible en versions 2 To, 3 To, 4 To et 5 To

     

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    IFB200

    21 mai 2014

    The IFB200 can be used as either a transmitter or receiver.  As a transmitter, it sends IFB audio, timecode and remote control commands to our TRX digital recording wireless transmitters and ERX receivers.  It can also be used to monitor audio from a QRX or any other ZaxNet transmitter.  The signals are carried on a single RF channel over a 2.4 GHz signal and can be used license-free in almost every country with an IFB audio range of approximately 100 feet and an IFB timecode and remote control range of approximately 400 feet.

    The front has a graphic LCD screen showing timecode and transmitter status.  The IFB200 has a built-in 2-channel mixer for combining two separate channels into a mono transmission signal.

    The IFB200 can be used in an array of applications – sound cart, sound bag, studio or on the side of your video camera.

     

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    MICPLEXER

    21 mai 2014

    The Micplexer is an antenna distribution amplifier for diversity wireless microphone systems. The micplexer connects to 2 antennas and distributes the signals to up to 4 wireless microphone receivers. Each of the 2 RF channels has 8 dB of RF gain.  The channel gain can increase the usable distance of the wireless microphone receiver depending on the ambient RF noise floor at the location the micplexer is used.

    Each of the 2 RF distribution channels in the micplexer are bandwidth limited to a 40 MHz range. The Micplexer must be ordered in a specific frequency block from 500MHz to 850 MHz, it can only be operated within the block it is built for.

     

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    BLUEFIN ANTENNA

    21 mai 2014

    Zaxcom’s BlueFin is an aerodynamic 8dB high gain directional antenna for use between the frequencies of 500 and 750 MHz. It provides a low VSWR for use as a receiving or transmitting antenna.  The BlueFin supplies 8dB of forward gain and attenuates interfering signals that are coming from directions greater than 45 degrees off the front of the antenna.

     

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    QRX235

    21 mai 2014

    The QRX235 is exactly like the QRX100 but with significantly enhanced distance and range.

    There are three components that give the QRX235 its enhanced distance / range.

    • New digital modulation
    • Enhanced receiver design giving it maximum sensitivity while lowering its noise floor
    • The elimination in any difference between single and dual mode

    The QRX235 receives up to 4 channels of 100% digital audio from up to 2 transmitters.

    Audio out of the QRX235 can either be an analog signal or as an AES digital signal.

    the ZaxNet QIFB option is available in the QRX235 – The QIFB allows you to send or receive ZaxNet audio and timecode, as well as TRX commands from your QRX235.

     

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    QRX200

    21 mai 2014

    The QRX200 is a 200 MHz wide ENG receiver. A tunable tracking front end filter is featured in the QRX200 so you can receive any frequency in any block from 20 through 27 or 512 – 698 MHz while still filtering out unwanted RF.

    There are three components that give the QRX200 its enhanced distance / range

    • New digital modulation
    • Enhanced receiver design giving it maximum sensitivity while lowering its noise floor
    • The elimination in any difference between single and dual mode

    Receives up to 4 channels of 100% digital audio from 2 transmitters.

     

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    ERX2TCD

    21 mai 2014

    The ERX2TCD receives high quality encrypted digital audio, timecode from any ZaxNet source. There’s an LCD display for showing timecode, user bits, current Scene and Take metadata in real time with a hold button to freeze the display.

    An adjustable delay can be set to match audio to monitors with various video lag due to video signal processing.

    Mounted on a camera or slate the ERX2TCD can provide frame accurate timecode with no drift since it is constantly receiving and updating its timecode from the source.

    There is also a 1kHz notch filter to eliminate the transmission of tone that is sometimes sent from the mixing console. The notch filter frequency is adjustable and using it won’t affect the quality of your IFB audio.

     

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    TRXLT2

    20 mai 2014

    The TRXLT2 is a brand new version of our smallest talent transmitter, the TRX900LT. The LT2
    was totally re-designed on the inside with a brand new proprietary digital modulation giving it
    enhanced transmission distance and a wider tuneable frequency range.

    Cover four blocks with one transmitter. The TRXLT2.5 which covers blocks 20 through 23 (512-614MHz) and the TRXLT2.6 covers blocks 23 through 26 (596 – 698 MHz).

    The LT2 features internal timecode stamped recording and ZaxNet in a tiny low-cost system for all productions.

    Designed to be lightweight and durable, the LT2 is housed in a high strength, impact resistant
    nylon polymer casing that provides protection from both corrosion and water damage.

    100% digital transmission for audio quality that rivals a hard-wired system and are fully
    encrypted to eliminate the possibility of production audio interception and theft.

    Like all Zaxcom wireless the LT2′s are fully compatible with all Zaxcom wireless receivers and IFB transmitters.

    The LT2 works with ZaxNet, Zaxcom’s 2.4-GHz RF network that distributes remote control
    commands, timecode and IFB audio. With ZaxNet, one can remotely control transmitter settings such as gain, frequency channel, transport controls and output power levels. When paired with an IFB100/200 and Deva or Fusion the units can also replay audio via a timecode reference giving production sound mixers the ability to replay and remix audio, creating a virtual multi-track playback and re-record system.

     

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    TRXLA2

    20 mai 2014

    The TRXLA2 is a brand new version of our most popular talent transmitter, the TRX900LA.

    Totally re-designed on the inside the LA2 has a brand new proprietary digital modulation giving it enhanced transmission distance and a wider tuneable frequency range.

    The LA2 utilizes Zaxcom’s battery saving feature PowerRoll™. PowerRoll™ automatically adjusts the transmitter output power based on the record status as sent via ZaxNet boosting the output power level up to 125 mW while rolling and powering down to 25 mW while on standby.

    Cover four blocks with just one transmitter. The TRXLA2.5 covers blocks 20 through 23 (512-614MHz) and the TRXLA2.6 covers blocks 23 through 26 (596 – 698 MHz).

    Designed to be lightweight and durable, the LA2 is housed in a high strength, impact resistant
    nylon polymer casing that provides protection from both corrosion and water damage.

     

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    TRX942

    20 mai 2014

    The TRX942 is an encrypted digital wireless transceiver for boom / parabolic use that accepts both traditional analog 48v phantom powered microphone and AES42 digital microphones, like the Schoeps Super CMIT.

    The TRX942 is your all-in-one solution for wireless boom and parabolic microphone applications. It performs the functions of a wireless transmitter, an audio monitor channel receiver, a backup recorder and phantom power supply – all with ample battery power in a fully machined aluminum case.

     

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    TRX900CL

    20 mai 2014

    The TRX900CL Camera Link is total sound bag solution for the transmission of audio and
    timecode to both a camera mounted QRX receivers and ERX series monitor receivers. The camera link sends a two-channel of audio with embedded timecode via UHF to camera.

    The Camera Link also has a built in two-channel timecode stamped recorder, a full ZaxNet 2.4
    GHz IFB / timecode transmitter and an IFB transceiver.

    Extra detail was considered in the Camera Link’s design to optimize it for use in sound bags in order to eliminate spurious radiation that can affect adjacent receivers.

    The unit has both stereo line level balanced inputs as well as sample rate converting AES
    inputs.

    The Camera Link is compatible with all Zaxcom receivers, but works optimally with the QRX235 outfitted with QIFB option and the ERX2TCD receiver because of their ability to receive and output both audio and timecode.

     

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    TRX742

    20 mai 2014

    The TRX742 is a plug-on style digital wireless microphone with interchangeable cones to support all professional microphone varieties – mono analog, stereo analog, AES and AES42 – making it an ideal choice for wireless transmission directly from boom poles or handheld microphones.

    TRX742 comes standard with a built-in recorder, timecode reader / generator and the ability to receive timecode and remote control commands via ZaxNet. Its body is constructed from a combination of high strength nylon polymer and aluminum.

     

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    Octamic XTC

    14 mai 2014

    RME proudly presents a new generation of top-class microphone, line and instrument preamp, hi-end A/D converter, digital patchbay and format converter, monitoring device, and last but not least the flexible frontend for Apple’s iPad® – the OctaMic XTC!

    With the OctaMic XTC eight microphone and line inputs, four switchable to Hi-Z mode, meet an unrivaled variety of digital connection protocols – from common ADAT and AES/EBU to sophisticated 64-channel MADI optical.

    Analog signals are converted with RME’s newest converter technology. Maintaining the excellent sound and frequency response that RME converters are known for, this preamp excels in an extraordinary gain range, extremely low latencies and stunning EIN and signal to noise ratios.

    With the help of the full color TFT display, the quickly accessible setup options reveal another truely unique feature: all analog and digital inputs, including up to 64 MADI channels and 8 AES/EBU audio channels, can be freely patched to any output – including the 24 channels of its Class Compliant USB 2.0 audio interface format.

    When attached by MIDI (DIN, MIDI over MADI, or USB) to an RME audio interface running TotalMix FX, the OctaMic XTC can be remote controlled directly within the input channel strips of TotalMix. An example is the combination of the renowned Fireface UFX with an XTC on top, connected via ADAT, adding 8 analog inputs and 4 analog outputs to RME’s flagship interface.

     

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    Micstasy

    14 mai 2014

    Micstasy is an 8-Channel hi-end mic/line preamp and AD-converter combining typical RME features with a number of previously unseen features. It can be used analog (Mic/Line In to Line Out) and digital (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Special highlight: the device is fully remote-controllable via MIDI (also MIDI over MADI).

    The Micstasy’s innovative concept allows for amplification and digitization of ALL analog signal sources. Be it high-level stage signals, typical studio signals, lower level and high-impedance instruments, or dynamic, condenser or ribbon microphones: Micstasy understands them all – in a way that is simply thrilling.

    The signals amplified by the Micstasy are available at the analog outputs for passing them on, making an expensive splitter box on stage obsolete. All functions can be remote controlled via MIDI and MIDI over MADI, allowing the device to be placed near the microphones, ensuring highest sound quality. Adding the optional MADI Card results in even more options. The I64 MADI Card provides serial pass-through capability from one Micstasy to the next (up to 8). All up to 64 audio signals are then available at the last device on one single line. Such a way of cascading is also possible between Micstasy and ADI-8 QS.

    Overview of the Micstasy’s most important features:

    • 8 balanced XLR mic/line inputs with 85 dB gain range
    • Analog input level from -56.5 dBu up to +30 dBu
    • High-end circuitry with 4 relays per channel, super low-noise microphone front-end
    • Near click-free gain changes in steps of 0.5 dB
    • Large frequency range (200 kHz) with special EMI input filtering
    • 8 balanced TRS line / instrument inputs with Hi-Z option
    • 8 balanced XLR line outputs, maximum level +27 dBu
    • 4 x AES/EBU Out via D-sub, 8 channels @ 192 kHz
    • 2 x ADAT Out, 8 channels @ 96 kHz (SMUX and SMUX4)
    • Optional MADI I/O (I64 MADI Card) with serial cascading and digital return path
    • Symmetrical hi-pass (Lo Cut) with super-low THD, 18 dB/oct
    • LED level meter with 13 LEDs per channel
    • M/S de-/encoding for the digital output
    • AutoSet: Automatic gain reduction with multiple linking
    • Current state can be stored to 8 user presets
    • Fully remote controllable

     

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    M-32 DA / M-16 DA

    14 mai 2014

    RME’s M-32 DA is a 32-channel high-end DA converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME’s superior SteadyClock, resulting in a state-of-the-art DA conversion – not less than 32 times!

    The M-series converters have been conceived and optimised for professional studio, stage, and broadcast applications. Combinations of the M-16 DA and M-32 DA converters allow for setups with 16, 32, 48, or 64 channels, according to your individual application or budget. The unit’s unique set of features includes three hardware reference levels up to +24 dBu, MADI I/O and ADAT input up to 192 kHz, 6.3mm TRS and D-sub outputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure.

    The M-32 DA extends RME’s MADI line with multichannel conversion in reference quality – at an unbeatable price/performance ratio!

    Highlights

    • 32-channel* DA converter, double balanced output, 118 dBA
    • 19″ enclosure with only 2 units height
    • 1 x MADI I/O, 32 Kanäle @ 96 kHz, 16 Kanäle @ 192 kHz
    • 4 x ADAT In, 16 Kanäle @ 96 kHz, 8 Kanäle @ 192 kHz
    • Zero Delay MADI I/O: no delay compensation necessary when stacking units
    • 32* LED level meters with 6 LEDs each
    • SteadyClock(TM) – pristine sound quality independently from the quality of the external clock signal
    • SyncCheck® – unique technology to check clock synchronization
    • Noise suppression on power-on and power-off at the analog outputs
    • All settings are stored permanently
    • Fully remote controllable via MIDI and MIDI over MADI

    *The M-16 DA is fully identical to the M-32 DA, with these exceptions:

    • only one 16-channel DA board fitted
    • no fan
    • lower power consumption, 40 Watts

     

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    M-32 AD / M-16 AD

    14 mai 2014

    RME’s M-32 AD is a 32-channel high-end AD converter, easy to operate yet having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME’s superior SteadyClock, resulting in a state-of-the-art AD conversion – 32 times!

    The unit’s unique set of features includes analog limiters, three hardware reference levels up to +24 dBu, MADI and ADAT I/O up to 192 kHz, 6.3 mm TRS and D-sub inputs, remote control via MIDI, and operation across a wide range of mains voltages, all packed into a 2U enclosure. An extraordinary limiter, conceived and optimised for professional studio, stage, and broadcast applications, offers essential operational safety with its capability to limit an input’s overload of up to 17 dB without audible distortion (max. input level + 30 dBu).

    The M-32 provides multichannel conversion in reference quality – at an unbeatable price/performance ratio!

    Highlights

    • 32-channel* AD converter, fully symmetrical design, 116 dBA
    • 19″ enclosure with only 2 units height
    • 1 x MADI I/O, 32 chanels @ 96 kHz, 16 channels @ 192 kHz
    • 4 x ADAT Out, 16 channels @ 96 kHz, 8 channels @ 192 kHz
    • Zero Delay MADI I/O: no delay compensation necessary when stacking units
    • Analog limiter can be activated
    • 32* LED level meters with 5 LEDs each
    • 32* LEDs to display the Limiter state per channel
    • SteadyClock(TM) – pristine sound quality independently from the quality of the external clock signal
    • SyncCheck® – unique technology to check clock synchronization
    • All settings are stored permanently
    • Fully remote controllable via MIDI and MIDI over MADI

    The M-16 AD is fully identical to the M-32 AD, with these exceptions:

    • only one 16-channel AD board fitted
    • no fan
    • lower power consumption, 40 Watts

     

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    ADI-6432R BNC

    14 mai 2014

    The ADI-6432R BNC provides 64 channels of format conversion from MADI to AES-3id and vice versa.

    Based on RME’s highly successful bidirectional MADI-AES/AES-MADI converter ADI-6432, the newly developed ADI-6432R BNC offers broadcasters ease of integration and fail-safe operation through the utilization of industry standard BNC connectors and dual redundant power supplies, while offering 64 channels of I/O capability. The BNC version targets broadcast and professional users who require AES-3id connections – coaxial 75 Ohm cables with up to 300m length.

    Typical applications include two ADI-6432R used as digital multicore, or one unit used as AES-3id frontend for the HDSPe MADI card. Up to 192 kHz at 24 bits is supported. Built in 2 height units the ADI-6432R BNC provides enough space for all connectors and control elements. Of course the unit includes lots of typical RME features:

    • Support for up to 192 kHz with MADI and AES
    • Unique status displays for MADI and AES
    • SteadyClock for maximum jitter reduction and clock regeneration
    • Completely remote controlable via MIDI
    • Transfer of MIDI data via MADI
    • Transfer of RS232 data via MADI
    • Redundant power supply

     

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    MADIface XT

    14 mai 2014

    RME’s MADIface XT is the world’s first USB3 audio interface – and the world’s smallest portable interface that provides access to hundreds of audio channels in such a small package. For highest usability and connectivity the XT can also be used with USB 2.0 (computer I/O limited to 70 channels). Its unique PCI Express port connects to External PCI Express cards as well as adapters to Thunderbolt, providing all the fastest interfacing technologies available for maximum channel count and lowest latency in one unit.

     

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    MADI Router

    14 mai 2014

    Building on the eight year success of the MADI Bridge and the MADI Converter, RME presents a newly designed device that is a worthy successor of both – in fact, its innovative core will redefine and inspire MADI systems for years to come.

    The MADI Router is a compact device designed to link MADI devices of any manufacturer with unprecedented flexibility in signal routing. It provides this flexibility by serving as a format converter between optical and electrical signals, as a signal repeater, and as a distributor and merger of several MADI signals, all at the same time. The MADI Router combines many advantages of point-to-point audio connections, such as low latency and fast recovery time from signal line interruptions, with the flexibility of networked audio connections in which any device has access to any channel available on the network of connected devices.

    At the simplest level input signals are passed on to the desired output unaltered. This type of connection is beneficial when manufacturers have embedded additional status or remote control data information in the MADI stream.

     

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    R1a

    7 mai 2014
    • Preset frequency can be set without power or transmitter signal
    • Scan mode stores up to five additional frequencies
    • Multi-color LED and rotary control for programming and operation
    • High sensitivity for extended operating range indoors or outdoors
    • Rugged machined aluminum housing
    • Attached battery door
    • 8 hours battery life (alkaline)
    • 20 hours battery life (lithium)
    • 256 frequencies in 100 kHz increments
    • Microprocessor controlled
    • Pilot tone squelch
    • Compandor noise reduction

    Wireless IFB (interruptible fold back) systems are used for talent cueing and crew communications in broadcast and motion picture production. In other cases, the IFB system is used by directors and other management to monitor program audio during a production. The IFB R1a receiver provides simplicity and flexibility in a package that is intuitive for untrained users to operate.

     

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    T4

    7 mai 2014
    • Digital Hybrid Wireless™ technology
    • 256 UHF frequencies in 100kHz steps
    • Microprocessor controlled operation
    • 250 mW power output for long range use
    • Pilot tone squelch control
    • Multi-use XLR input jack
    • Built-in microphone preamp
    • DIP switch programmable intercom input
    • Tx mute for frequency scrolling
    • Multi-function LCD display
    • Compact size for use anywhere
    • Rugged machined aluminum construction

    The Lectrosonics IFBT4 UHF transmitter was designed for use in broadcast, motion picture, theater, and stage applications where extended operating range and high quality audio are essential. The IFBT4 can be used as a stand-alone device or patched directly into popular intercom systems.

     

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    M175 & M175LS

    7 mai 2014
    • Input limiter for low distortion and high signal to noise ratio
    • Continuously variable input gain
    • Machined aluminum housing and external parts
    • Spring-loaded, aluminum belt clip
    • Highly accurate battery status indicator
    • Self-adjusting battery compartment accommodates all makes of 9 volt alkaline batteries

    The M175 sets a new standard for mechanical design. Every external part on the transmitter is machined aluminum—including the battery door and belt-clip. The result is an extremely durable package. The precise fit and action of these mechanical parts makes handling and operating the M175 a genuine pleasure.

    Battery compartments are often a source of problems in most wireless transmitters. The battery compartment in the M175 automatically adjusts to accommodate the wide variety of available 9 volt alkaline batteries. The floating polarity barrier provides positive protection against inserting the battery backward, and spring loaded contacts assure a solid electrical contact with the battery. The machined aluminum battery door is of a unique design which rotates open smoothly and “snaps” closed providing a secure fit for the battery.

     

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    H187

    7 mai 2014
    • Adapts any microphone with an XLR jack to wireless operation
    • Accepts audio from dynamic mic level up to moderate line levels
    • Ultra-flat frequency response preserves the tonal quality of whatever mic is used
    • Durable machined aluminum construction.
    • Simple changing of microphones with a firm, noise-free fit.
    • Modulation level LEDs allow quick and precise gain adjustment.
    • Precision battery compartment accepts any make of alkaline 9 V battery.
    • 14 hours operating time on an alkaline battery.

    The H187 plug-on transmitter adapts microphones with XLR connectors to wireless operation. The spring-loaded, rotating input coupler is easy to operate, yet provides a firm, noise-free fit with a wide variety of different microphones. The transmitter housing and the body of the attached microphone form an efficient dipole antenna configuration, with an insulator between the input coupler and the lower section of the transmitter housing separating the two halves of the antenna.

     

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    UMCWB

    7 mai 2014

    The UMCWB provides a mechanical rack mount with power and RF signal distribution for four diversity compact receivers in a single rack space. The wideband design allows the multi-coupler to be used with receivers in all frequency blocks from 21 through 29. This provides flexibility, however, the antennas used with this system must also cover the range of the installed receivers.

    Selective filtering in the front end attenuates RF signals above and below the passband to suppress intermodulation and noise. Following the filters is a low noise RF amplifier with gain matched to compensate for the losses in the splitter that follows.

     

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    UMC16B

    7 mai 2014

    The UMC16B multi-coupler combines ceramic filtering with low noise, high intercept point RF distribution to provide outstanding performance and flexibility. Up to eight diversity receivers or up to 16 non-diversity receivers can be utilized in up to a 230 MHz passband.

    The UMC16B can be powered from an external supply, 12 to 18 VDC for mobile applications, or from 90 to 240 VAC for installations using the regulated power supply furnished with the unit. A locking connector on the rear panel secures the power connection.

     

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    Octopack

    7 mai 2014
    • Modular configuration accommodates up to four SRa Series compact receivers
    • High performance antenna multicoupler with isolated outputs
    • Switchable antenna power for remote coaxial RF amplifiers
    • Discrete power distribution with individual protective fusing
    • External DC or onboard battery powering
    • Automatic power source switching triggered by voltage comparator
    • Machined aluminum chassis for sound cart or portable bag use

    To address an increasing demand for more wireless channels in location production, the Octopack combines up to four SRa Series compact receivers into a lightweight, rugged assembly with self-contained power supply and antenna signal distribution. This powerful production tool provides up to eight audio channels in a tiny package ready to work in applications from production cart to a portable mixing bag.

     

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    Quadpack

    7 mai 2014
    • Accepts two SR Series receivers
    • Uses 25-pin Unislot adapter
    • Balanced XLR audio outputs
    • Balanced TA3M audio outputs
    • Output jack panels can be reversed
    • Locking coaxial DC power connector
    • 4-pin Hirose DC power connector
    • Powder coated aluminum housing

    Designed for portable field production, the Quadpack simplifies the mounting and interconnection of two SRa Series compact receivers. Lightweight and rugged, it is perfectly at home in bag systems containing mixer, recorder and wireless transmitters used for audio feed to cameras. One set of audio outputs is used to feed the recorder and the other set to feed wireless transmitters.

     

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    TM400

    7 mai 2014
    • Replaces long cable between calibrated microphone and test equipment
    • 24-bit, 88.2 kHz digital signal handling for compandor-free audio
    • 256 synthesized UHF frequencies for wide choice of tunings to avoid interference
    • Rugged all-metal construction
    • Receiver:
      • Low noise, robust RF front end
      • Balanced XLR audio output
      • SmartTuning™ with graphic display for easy selection of clear RF frequencies
    • Transmitter:
      • Converts microphones with XLR jacks to wireless operation
      • Selectable 5, 18, 48 Volt powering
      • 100 mW RF output power for long range
      • Membrane switch control panel with LCD display

    The TM400 system was designed to provide the ideal link between calibrated test microphones and measurement equipment such as SIM®, SIA SMAART Live®, TEF® or other systems. By using a radio link, long cables can be eliminated thus saving time and providing opportunities for additional measurements to increase accuracy. The microphone can even be moved around in the venue while the audience is present – something that is impossible with a cabled measurement microphone.

    *System does not include microphone

     

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    IS400

    7 mai 2014

    The IS400 and Digital Hybrid Wireless set new standards for wireless instrument systems. Flat frequency response, low distortion and compandor-free operation provides the closest thing to using a high-quality, short instrument cable. The graph shows that the IS400 reproduces the lowest fundamental from a 5-string bass (low B) at 32Hz up to the very highest overtones and harmonics.

     

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    D4 System (D4T & D4R)

    7 mai 2014

    Digital Wireless System

     

    • DTV-free unlicensed ISM band 902-928 MHz
    • Digital or analog inputs; digital or analog outputs
    • 24-bit, 48 kHz audio
    • 2 or 4 channel operation
    • Extended operating range
    • Channel pairing for stereo monitoring
    • Powered by 9 to 16 VDC

    The D4 digital 4-channel wireless system was designed as a special purpose system for location production in film and television.

    A typical application for this system is in television production as part of what is commonly called a “bag system.” A portable mixer and several wireless microphone receivers are carried in an over-shoulder carrying case. The D4T transmitter is connected to the outputs of the mixer to transmit up to four audio channels to one or more D4R receivers mounted on video cameras.

    The system is designed for line level analog audio signals and AES/EBU digital audio signals and can be set up as a 2-channel or 4-channel system with options that provide:

    • Digital in/Digital out (< 1 mS latency)
    • Digital in/Analog out
    • Analog in/Digital out
    • Analog in/Analog out (2.2 mS latency)

     

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    R400a

    2 mai 2014

    The R400a is a high performance, triple-conversion, frequency synthesized, UHF receiver fully compatible with all Lectrosonics 400 series transmitters, and a number of analog models. The proprietary audio processing includes a DSP (digital signal processor) for very low distortion and a superior signal to noise ratio. The DSP eliminates a compandor and its artifacts to provide exceptional audio quality when operating in its native hybrid mode. Special DSP algorithms also provide compatibility modes for use with Lectrosonics 100 and 200 Series analog transmitters.

    The R400a features a powerful menu-driven LCD graphic display operated with a push-button switch and a dual function rotary encoder control as a convenient means of viewing and altering settings. The LCD main window displays the pilot tone indicator, diversity antenna activity, RF and audio levels, operating frequency, transmitter frequency switch settings and transmitter battery status. Settings can be changed using the MENU functions. A built-in RF spectrum analyzer is included to conduct site surveys to find interference-free operating frequencies. The analyzer quickly tunes the receiver across its 256 frequencies and records a marker on the LCD indicating the strength of any RF signals picked up. Within less than a minute, a complete display is generated showing the RF activity across the entire tuning range of the receiver. An area with little or no RF activity is then easy to locate and select.

     

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    SMQV

    2 mai 2014

    Dual Battery – UHF Belt Pack Transmitters

    • Digital Hybrid Wireless™ Technology*
      (U.S. Patent #7,225,135)
    • Variable, selectable power output:
      • SMQV: 50mW, 100mW, 250mW
    • Membrane switch control panel with LCD display
    • 256 synthesized UHF frequencies
    • Wide input dynamic range
    • DSP based pilot-tone signal
    • Circulator/Isolator output stage
    • Splash-proof, machined aluminum housing
    • Non-corrosive, super-hard finish

    To meet the demand for both extended operating range and extended battery life, the « V » series SM transmitters offer selectable output power of 100 or 250 mW. A third selection at 50 mW is provided for some theatrical applications where the system design specifies lower transmitter power.

     

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    MS-3000US Cart

    25 avril 2014

    Maximize value, and save your wallet! Use the 12V-powered MS-3000US in the studio or roll it into the van and take it anywhere! Datavideo can supply the cart a-la-carte (pun intended), the cart with the SE-3000 Switcher, or the cart equipped and wired to your own specifications. The MS-3000US is made in two configurations — one that lays against the wall in the 2011 Mercedes Sprinter Van, with room to stand over the wheel wells, and one that is a top-only version for tabletop setups.

     

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    TVS-1000 Virtual Studio

    25 avril 2014

    With one little green screen studio, you can tell stories that look like they were shot in a huge production lot of several buildings, each with their own set. Webcasts about market intelligence, internet talk shows, or student produced news casts are easy to make. Corporate productions or in house company-wide webcasts that are streamed to employee computers and archived for video-on-demand replay are practical and affordable. The Datavideo Trackless Virtual Studio will help you produce a variety of cost effective and memorable videos that communicate your messages.

     

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    TLM-404H Monitor

    25 avril 2014

    Datavideo’s TLM-404H is a 19-inch rack mountable bank of four 4″ LCD monitors with robust steel and aluminum construction. Each monitor has individual adjustments for contrast, brightness, color, and tint (NTSC mode only). Includes 3 color LED tally light indication per screen and Composite video input with self terminated loop-through. An Ideal companion for SE-800 Mixer and suitable for OB Van or Studio use.

     

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    TLM-434H Monitor

    25 avril 2014

    The TLM-434H has a 4 x 4.3″ TFT LCD display and is rack mountable with four monitors. With each monitor having HD-SDI video input with loop-through output the TLM-434H is ideal for professionals who insist on superior performance. Robust steel and aluminum construction. Each monitor has individual adjustments for contrast, brightness and color & tint (NTSC mode only).

     

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    TLM-433 Monitor

    25 avril 2014

    Datavideo’s TLM-433 is a 19 inch rack-mountable bank of three 4.3 inch LCD monitors. Made with a robust steel and aluminum construction, each monitor has individual adjustments for contrast, brightness and color / tint (NTSC mode only). It also features an LED tally light indicator above each screen and composite video input with loop-through. It’s an ideal companion for the SE-1000 Mixer.

     

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    TLM-702HD Monitor

    25 avril 2014

    Datavideo’s TLM-702HD is a dual 7″ LCD TFT monitor bank in a standard 19″ 3U rack-mountable design, with a wide range of both High Definition and Standard Definition connections including HD & SD-SDI, HD & SD YUV, and HDMI & Composite Video Input for each monitor. The TLM-702HD monitor provide a range of advanced features that includes, audio indicator when working with SDI and HDMI, safe area indicators (80%, 90% OFF), VITC time code display, auto detection of NTSC/PAL, aspect ratio: 16:9 / 4:3 / 15:9 switchable and dual color tally indication. Each monitor has individual adjustments for brightness, contrast, color tint (Tint NTSC only).Built in internal color bar and blue only function, enables perfect and precise calibration of the monitor.

     

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    TLM-702 Monitor

    25 avril 2014

    Datavideo’s TLM-702 is comprised of two 7″ LCDs in one rack-mount panel. The unit is NTSC and PAL compatible and has a BNC composite video input and output for each monitor. Features such as NSTC/PAL auto-detection and 16:9/4:3 make the TLM-702 a capable solution.

     

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    TLM-700HD Monitor

    25 avril 2014

    Datavideo’s TLM-700HD 7-inch HD/SD-SDI Monitor is a high definition or standard definition-ready color field monitor. This unit features HDMI, HD/SD-SDI, component and composite inputs, making it extremely versatile. The unit comes fully equipped with a standard V-mount, giving you the option to power the monitor using a universal battery from a range of manufacturers. We’ve added a sunshade to the package, making it a flexible solution for in-the-field or in-studio applications. The NTSC/PAL auto-detect feature is great for smooth workflow, and we’ve included more adjustment features for even more precise image control: an internal color bar, color temperature, color select and the “blue-only” mode. They are all perfect for calibrating your picture for the best image possible. With its rugged metal design and range of connections, the TLM-700HD is a huge value packed into a small package.

     

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    TLM-700 Monitor

    25 avril 2014

    Datavideo’s TLM-700 7-inch LCD Monitor is an external color field monitor, capable of being used with a portable camera rack system where enhanced monitoring is necessary. The unit comes fully equipped with an added sunshade, making it an ideal solution for both the field and the studio. For added convenience, the monitor automatically detects which standard (NTSC/PAL) it is being fed without having to push a button, flip a switch or access a menu option. The TLM-700 has front panel picture adjustments for color, contrast, tint, and brightness for accurate image control. The control dials are recessed to avoid unintended manipulation. It’s a great addition to any on-location or in-studio production

     

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    TLM-170HM/HR HD-SDI Monitor

    23 avril 2014

    Datavideo’s TLM-170HM / HR are 17.3-inch, HD-SDI high-quality reference monitors. They are designed to be a rack-mounted pull-out unit, and takes up 1-U (TLM-170HM) or 7-U (TLM-170HR) rack space. These monitors are ideal for program output monitoring during production. The professional quality high resolution of 1600 x 900 and added feature of built-in speakers makes it a valuable option in any rack system. The TLM-170HM/HR are also great for rack mount cases with limited RU space, and is an easy addition to most of the Datavideo Mobile Studios. There is also the option to get this model in a desk-top version (TLM-170H) for studio applications.

     

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    TLM-170H HD-SDI Monitor

    23 avril 2014

    Datavideo’s TLM-170H is a 17.3-inch, HD-SDI high-quality reference desktop monitor and part of the TLM-170H series monitors. These monitors are ideal for program output monitoring during production. The professional quality high resolution of 1600 x 900 and LED life time of 12000 hrs makes these monitors a valuable option in any rack system. The TLM-170H (HM & HR Models) are also great for rack mount cases with limited RU space, and is an easy addition to most of the Datavideo Mobile Studios.

     

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    TLM-170P 3G/HD/SD-SDI Monitor

    23 avril 2014

    Datavideo’s TLM-170P is a 17.3-inch, 3G/HD/SD-SDI high-quality reference desktop monitor and part of the TLM-170 series of monitors. The TLM-170P is capable of displaying incredible 1080p video and accepts a wide range of video resolutions. As in all monitors from the 170-series, the TLM-170P is ideal for program output monitoring during production.

     

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    RMC-180 Camera Controller

    23 avril 2014

    Want a full desktop control panel for the PTC-100 Camera? The RMC-180 is an expanded version of the already-included “tv remote” which offers ergonomic, convenient controls for those who want a bit more feel.

     

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    PTC-100 Remote Video Camera

    23 avril 2014

    Not enough room in your space for cameras, tripods, and operators? Not enough operators for every camera? The PTC-100 is a pint-sized (1/2 liter) camera that can be mounted on a wall, ceiling, floor, or a table top. Fully controllable with its “tv remote,” users can operate camera functions for pan, zoom, and more with one hand or two cameras at the same time with two hands (just joking). It has a wide gamma range and high sensitivity, so it also works well in situations without much light. Conveniently, each PTC-100 stores several presets for planning shoots. Its ability to store the camera’s aim to multiple locations, even at different zoom sizes, makes the PTC-100 a versatile time-saver. Whether you’re an experienced camera operator or a one-person video crew, the PTC-100 is for you!

     

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    MCU-200

    16 avril 2014

    Control up to 4 Panasonic or Sony video cameras remotely using the MCU-100 (Hand-Held) or MCU-200 (Rack-Mounted) Multi-Camera Controller. The controller allows a distance of up to 1000 meters between the cameras and the MCU-100/200 using the included AD-1 Adapters. The interface between the controller & AD-1 is a RS-422 differential line. You can also use CAT-5e/6 cable up to 3280.84 feet (1000 meters). 

    Save tons of time adjusting cameras with the MCU-100/200 Camera Controller.Imagine this — You’re almost ready to shoot. It’s time to make sure each camera is configured properly. But wait, how will you check the cameras’ outputs on the multi-view and adjust them at the same time? If you’re by yourself, you can look at your multi-view monitor, then walk to the camera, make an adjustment, and walk back to the multi-view. You COULD do this many times until all the cameras match each other perfectly on the screen. After the fifth trip to your sixth camera, you’re finally done, but you’ve already spent at least an hour doing adjustments. But what if you have a crew? You could have one of your staff members walk to each camera while you stay at the multi-view, giving him or her directions by intercom. That would be a bit faster. BUT wouldn’t it be GREAT if you could do all the camera adjustments yourself without having to leave your multi-view monitor? Now you can, with the MCU-100/200 Camera Controller.

     

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    MCU-100

    16 avril 2014

    Control up to 4 Panasonic or Sony video cameras remotely using the MCU-100 (Hand-Held) or MCU-200 (Rack-Mounted) Multi-Camera Controller. The controller allows a distance of up to 1000 meters between the cameras and the MCU-100/200 using the included AD-1 Adapters. The interface between the controller & AD-1 is a RS-422 differential line. You can also use CAT-5e/6 cable up to 3280.84 feet (1000 meters). 

    Save tons of time adjusting cameras with the MCU-100/200 Camera Controller.Imagine this — You’re almost ready to shoot. It’s time to make sure each camera is configured properly. But wait, how will you check the cameras’ outputs on the multi-view and adjust them at the same time? If you’re by yourself, you can look at your multi-view monitor, then walk to the camera, make an adjustment, and walk back to the multi-view. You COULD do this many times until all the cameras match each other perfectly on the screen. After the fifth trip to your sixth camera, you’re finally done, but you’ve already spent at least an hour doing adjustments. But what if you have a crew? You could have one of your staff members walk to each camera while you stay at the multi-view, giving him or her directions by intercom. That would be a bit faster. BUT wouldn’t it be GREAT if you could do all the camera adjustments yourself without having to leave your multi-view monitor? Now you can, with the MCU-100/200 Camera Controller.

     

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    HS-2800

    16 avril 2014

    The HS-2800 is a compact, lightweight SE-2800-based Mobile Studio. The HS-2800 utilizes the SE-2800 Switcher and includes an integrated 17″ Monitor and the ITC-100 Intercom/Tally System. The ITC-100 comes with 4 belt packs, headsets, and tally lights — enough equipment for up to 4 camera operators. In addition, the HS-2800 can be controlled remotely by PC, through the local network, or over the internet using Datavideo’s Remote & Net Setup Software.

     

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    DAC-8P

    16 avril 2014

    Datavideo’s DAC-8P Converter is a standalone unit that converts HD/SD-SDI video and audio sources to HDMI. With the DAC-8P, you can easily connect to LCD and Plasma televisions as well as video projectors. As an added feature, the DAC-8P can also embed HDMI audio in the SDI stream. The converter signal can be sent with up to a 200 meter link to your digital video display or projector. For distances up to 300’ between the source and the display, SDI coaxial cable is a cost-effective, more durable, and easier to use than in comparison to an HDMI cable. 

    If used in combination with Datavideo’s DAC-9P, HDMI to HD/SD-SDI converter, users now have an affordable solution for distributing HDMI signal over long distances, without compromising quality.

     

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    DAC-70

    16 avril 2014

    DAC-70 is an up/down cross-converter that converts between SD, HD, and 3G formats. It accepts VGA, SDI, and HDMI video inputs. It automatically converts to the selected output format, even when the video input changes. The DAC-70 is compatible with 3GB/s SDI, and the converter includes a built-in mini-USB connection for updating to support future video formats.

     

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    Datavideo

    16 avril 2014

    PIX 270i

    11 avril 2014

    The PIX 270i file-based video deck delivers the performance, quality, and reliability required for fast-paced studio, live sports, event, and mobile multi-camera production. It seamlessly replaces tape-based and disc-based video decks and provides a cost-effective and compact alternative to complex video servers. Extensive network connectivity and multi-unit synchronization support grouping multiple PIX recorders over Ethernet for simultaneous frame-accurate multicam recording and playback.

    The PIX 270i can group with other PIX 270i recorders, as well as PIX 260i, with all of the recorders functioning as a single system. The grouped recorders can controlled two ways: directly through the PIX hardware interface or via a browser accessing the embedded built-in web-based control panel.

     

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    PIX 250i

    11 avril 2014

    The rack-mounted PIX 250i is a file-based video recorder/player that seamlessly replaces tape-based video decks in production and post-production environments. It offers Apple ProRes andAvid DNxHD recording to two attached drives, simultaneously. Its extensive audio capabilities include 16 tracks of audio over analog, AES digital, embedded audio over SDI and HDMI. Powerful network control capabilities include browser-based Ethernet machine control and drag-and-drop network file transfer.

     

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    970

    11 avril 2014

    Sound Devices model 970 is a robust, 64-track Dante and MADI-equipped multi-track audio recorder. The half rack, 2U device simplifies applications requiring high-track-count, high-quality audio recordings.

     

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    eSRARX-OUT

    11 avril 2014

    Power cable for Lectrosonics SRa and SRb wireless receivers

    Custom power cable with locking right angle connector. Plugs directly on any of our smart batteries (eSMART Li-45Wh and 89Wh). Cable length : 8′.  Custom right angle Switchcraft S760K connector. Special lengths on request.

     

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    eZAXRX-OUT

    11 avril 2014

    Power cable for Zaxcom RX900 and QRX100

    Custom power cable with locking right angle connector. Plugs directly on any of our smart batteries (eSMART Li-45Wh and 89Wh). Cable length : 8′.  Custom right angle Switchcraft 761K connector. Special lengths on request.

     

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    eCOIL-OUT

    11 avril 2014

    3′ 2-conductor coiled cable (extends to 5′) with molded battery connector. Delivered without connector.

     

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    eCON-OUT

    11 avril 2014

    Battery output cable

    • 3′ 5-conductor straight cable with molded battery connector. End connector not included

     

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    eXLR4-OUT

    11 avril 2014

    Battery output cable

    • 24″ / 60cm straight cable with battery connector.
    • Neutrik XLR4F end connector

     

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    eHRS4-OUT

    11 avril 2014

    Battery output cable

    • 24″ / 60cm straight cable with molded battery connector.
    • Hirose 4pin male end connector

     

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    eHRS4-HRS4

    11 avril 2014

    Power output cable

    • 60 cm power cable
    • 4 pin Hirose male connector on both ends

     

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    eXLR4-760

    11 avril 2014

    Power output cable

    • 60 cm power cable
    • 4 pin XLR female connector on one end
    • 760k switchcraft locking connector on the other end

     

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    eXLR-HRS4

    11 avril 2014

    Power output cable

    • 60 cm power cable
    • 4 pin XLR female connector on one end
    • 4 pin Hirose connector on the other end

     

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    eHRS4-760

    11 avril 2014

    Power output cable

    • 60 cm power cable
    • 4 pin Hirose male connector on one end
    • 760k Switchcraft locking connector on the other end

     

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    eXLR4-XLR4

    11 avril 2014

    Power output cable

    • 60 cm power cable
    • 4 pin XLR connectors on both ends (male and female)

     

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    tLEMO5

    11 avril 2014

    AUDIOROOT tLEMO5 TIMECODE CABLE

    5 pin LEMO to 5 pin LEMO. 3 feet. Other lengths on request.

    Compatible with many audio recorders and cameras (Sound Devices, AATON, Red, ALEXA, etc…)

     

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    eHRS4RA-OUT

    11 avril 2014

    Battery output cable – HRS4 right angle version

    • 24″ straight cable with molded battery connector.

    • Hirose right angle 4 pin male end connector

     

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    JL-2PLUS

    9 avril 2014

    The JL-2PLUS will sequentially charge both Li-ion and Ni-Cd NP-style batteries. It will charge the first battery connected to either channel, automatically charging the second battery after the first is fully charged. With the advantage of an integrated 4-pin XLR DC (60W@ 13.8V) power supply, additional equipment such as lighting and other ancillary equipment can also be safely powered when the charge function is not in use. Its’ multiple chemistry charging capability makes the JL-2PLUS the perfect charger for Ni-Cd users to upgrade to Li-ion technology.

     

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    NP-L7S

    9 avril 2014

    NP-L7S is part of the lightest and most powerful NP battery range in the industry, with 4.6Ah and 68Wh of Lithium Ion power weighing just 1.01 lbs. The internal circuit board and battery cells are protected by a tough but stylishly molded exterior, making the NP-L7S the complete battery for a variety of broadcast, audio and electronic equipment. The NP-L7S is identical to the NP-L7 in terms of performance. « S » model has fewer LED displays and no Digi-View capability.

     

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    IDX

    9 avril 2014

    24 Volt Power Supply for Nagra Recorders

    9 avril 2014

    Specifications:

    • 60W 24v DC Power Adapter
    • 6-pin male Tuchel connector, for use with Nagra Models IV-L, 4.2, IV-S, IV-SJ, and IV-STC
      Removable three prong AC power cord
    • Accepts input voltage of 100-240v, 50-60 Hz
    • DC output voltage is de-coupled from AC ground as required for these positive-gound Nagra recorders
    • Dimensions: 3″ x 5″ x 1.3″

     

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    12V 5 Amp Power Supply

    9 avril 2014

    Specifications:

    • AC/DC power supply.
    • AC wall plug to XLR4F.
    • 12VDC output. 5A maximum current.
    • 10 ft. overall length.
    • Replaces PS12V2.5A.

     

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    12V 1.5 Amp Power Supply

    9 avril 2014

    Specifications:

    • 12 Volt, 1.5 Amp low profile power supply
    • 2.1mm coaxial connector
    • Center Pin + (positive)
    • for use with all SPEAKEASYs
    • Dimensions: 2.75″ x 1.75″ x 1.5″

     

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    Power Supply for Sound Devices Mixers

    9 avril 2014

    Remote Audio AC Adapter for Sound Devices 442, 302 and Mix Pre.

    Specifications:

    • Input: 120VAC, 60hZ, 9W
    • Output 12VDC, 400mA on 4-pin HRS

     

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    Power supply for Hotbox/Hotstrip

    9 avril 2014

    Power supply for Hotbox, Hotstrip. 13.6 volts DC at 13.5 amps output.

     

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    Shunt Box

    9 avril 2014

    The Shunt Box is another unique power management device in Remote Audio’s MEON line. It can be used by itself, or made even more versatile used with the addition of the RM(Remote Meter) or RS (Remote Switch).

    The Shunt Box has several functions. It is an ON/OFF switch, a resettable breaker for short circuit and overload protection (18 Amps), and it protects against and indicates harmful reversed polarity that can be caused by miswired batteries and cables. When used with the optional RM remote meter, it can be turned OFF and ON remotely, and function as a volt/amp meter.

     

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    RM

    9 avril 2014

    The RM is a compact Volt meter, Amp meter, and ON/OFF controller that works with the BDSMEONv2, MEON LiFe, Hot Strip and Shunt Box. The RM can be conveniently mounted so that the equipment operator can see the meter (volts and amps) and remotely turn the attached equipment on and off.

     

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    Meon LiFe

    9 avril 2014

    XLR Outputs

    The Meon LiFe provides 12VDC power to ten 4-pin XLR outputs. Three outputs are rated to 9A and the remaining seven are rated to 5A. Each output has built-in overload and short-circuit protection.

     

    USB Power

    Since smartphones and tablets have become ubiquitous on set, the Meon LiFe is equipped with two 5VDC USB charging ports on the front panel. These ports are capable of providing up to 2A of charging current and are optimized to quickly charge Apple devices.

     

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    EXTRA LiFe 20

    9 avril 2014

    The EXTRA LiFe™ 20 (EL20) supplemental battery module contains a 20Amp-hour Lithium-Iron-Phosphate (LiFePO4) battery and is designed for use with the MEON LiFe™ cart power system. Once combined, the battery capacity of the system doubles providing twice the battery run-time of a stand-alone MEON LiFe.

     

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    Hot Box v2

    9 avril 2014

    The Hot Box v2 is the latest revision of Remote Audio’s popular DC power distribution box, and the newest member of the MEON series of power management devices. Like its « Hot Box » predecessor, the Hot Box v2 features 6A self-resetting breakers on each of its XLR4F output connectors and a master on/off switch. Maximum current handling capability is 24A for the entire box.

    Hot Box v2 adds reverse-polarity protection and a much smaller physical footprint with all connectors entering and exiting on the same side of the unit. It is simple to mount in a cart.

     

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    BDSv4 and BDSv4u

    9 avril 2014

    Remote Audio’s BDS system consists of a reverse-polarity protected and overload protected distribution box with illuminated bi-color on/off switch, six standard outlets, a power source (typically a rechargeable battery such as the NP-1), an input cable, and output cables to the devices being powered. BDSv4u also has a USB power outlet and a 6-pin port for remote accessories.

    The primary purpose of the BDS system is to enable multiple pieces of equipment to be powered by a single source, and simultaneously turn them on and off with a single switch. For this basic function, the BDSv4u may be used exactly like the earlier BDS versions that it replaces. The input and output connections are the same, so all previous BDS input and output cables manufactured by Remote Audio are compatible with the BDSv4u and BDSv4.

     

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    Remote Audio

    9 avril 2014

    GLE-8W

    9 avril 2014

    Isolated DC/DC converter. Ideal for 12V regulation and ground loops removal. Input and output on industry standard Hirose 4 pin connectors.

    • Input voltage range : 9 – 18V
    • Output current (max) : 665mA
    • Typical effiency : 88%
    • Isolation voltage : 1000 VDC
    • Switching frequency : 300 Khz
    • Input current (no load) : 20 mA
    • Input current (full load) : 820 mA

     

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    GLE-12W

    9 avril 2014

    12V / 12 watts DC/DC converter – ground loop eliminator

    Isolated DC/DC converter. Ideal for 12V regulation and ground loops removal. Input and output on industry standard Hirose 4 pin connectors.

    • Input voltage range : 9 – 18V
    • Output current (max) : 1000mA
    • Typical effiency : 86%
    • Isolation voltage : 1000 VDC
    • Switching frequency : 400 Khz
    • Input current (no load) : 20 mA
    • Input current (full load) : 1250 mA

     

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    eUSBmini-HRS4

    9 avril 2014

    9-18V Hirose USB power converter/adapter

    Input voltage : 9-18V
    Output voltage/current : 5V/600mA
    Input connector : Hirose 4 pin
    Output connector : mini USB

     

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    eUSB-HRS4

    9 avril 2014

    9-18V Hirose USB power converter/adapter

    Input voltage : 9-18V
    Output voltage/current : 5V/600mA
    Input connector : Hirose 4 pin
    Output connector : USB A FEMALE

     

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    eSMART BG-DH MKII

    9 avril 2014

    The Audioroot eSMART BG-DH MKII is an ultra-small, DC power distribution box with 4 fused outputs, 2 non fused auxillary outputs and a colorfull fuel gauge designed for ENG sound bags. All cables enter and exit from the bottom of the box yielding a much smaller footprint in your bag. The BG-DH MKII has a smart DC input cable and six DC outs all on rugged Hirose locking connectors. The first 4 outputs are protected with a 2.5 amp resettable fuse.

     

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    vmDBOX

    9 avril 2014

    The Audioroot vmDBOX is an ultra-small, DC power distribution box with 6 protected outputs and an integrated DC voltmeter designed for ENG sound bags. All cables enter and exit from the bottom of the box yielding a much smaller footprint in your bag. The vmDBOX has a DC input connector and 6 DC outs all on Switchcraft 760 locking connectors. Each output is protected with a 2.5 amp resettable fuse.

     

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    vmDBOX-HRS

    9 avril 2014

    The Audioroot vmDBOX-HRS is an ultra-small, DC power distribution box with 6 protected outputs and an integrated DC voltmeter designed for ENG sound bags. All cables enter and exit from the bottom of the box yielding a much smaller footprint in your bag. The vmDBOX-HRS has a DC input connector and 6 DC outs all on rugged Hirose locking connectors. Each output is protected with a 2.5 amp resettable fuse.

     

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    eSMART BG-DU

    9 avril 2014

    The eSMART BG-DU is a compact and lightweight powering box with 8 protected outputs, 3 locking switches and a full featured fuel gauge.

    This product was designed for use in large sound bags or small location carts. The power distributor can be connected to any battery type (SLA, NI-MH or LI-ION) and the fuel gauge provides all the informations required to monitor the battery’s state of charge (voltage, current, power, etc…).

    The eSMART BG-DU uses an internal coulomb counter and a calibration routine to measure the battery’s true capacity and display it’s remaining capacity in real time. This power distributor is also fully compatible with our full line of Li-XXwh smart batteries.

     

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    eSMART BG-DU-REG

    9 avril 2014

    The eSMART BG-DU-REG is a compact and lightweight powering box with 8 protected outputs, 3 locking switches, a full featured fuel gauge and power regulators.

    This product was designed for use in large sound bags or small location carts. The power distributor can be connected to any battery type (SLA, NI-MH or LI-ION) and the fuel gauge provides all the informations required to monitor the battery’s state of charge (voltage, current, power, etc…).

    The eSMART BG-DU-REG uses an internal coulomb counter and a calibration routine to measure the battery’s true capacity and display it’s remaining capacity in real time. This power distributor is also fully compatible with our full line of Li-XXwh smart batteries.

     

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    eSMArt BPA

    9 avril 2014

    Power adapter for the eSMART lithium battery

    • 4 power outputs on Switchcraft connectors switchable 2 by 2

    • Serial output for optional eSMART BG fuel gauge

    • 2.5A resetable fuses on each output

    • Delivered with 2 Switchcraft 760K mating connectors

     

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    eSMART K-ART

    9 avril 2014

    The AUDIOROOT eSMART K-ART is a low footprint power distribution box with a total of 16 direct DC power outputs and 4 x USB 5V ground isolated outputs. The K-ART includes 10 led illuminated power switches, a main power switch and 2 battery fuel gauges. Like it’s little brother eSMART BG-DU the K-ART is fully compatible with any type of battery ranging from 9 to 18V. When used with our eSMART batteries the K-ART provides full battery informations without any calibration routine.

     

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    eLC-PO10

    9 avril 2014

    This Smart Charger is designed to charge 12.8V(4 Cells) LiFePO4 batteries with a capacity > 20Ah. It features a three stages charging method ( Constant Current, Constant Voltage , Trickle charge mode) without overcharging the battery . An XLR4 male connector is fitted to mate directly with our LiFePo4 batteries. An Internal Resettable fuse is installed inside the charger : there is no need to change the fuse after en over-load current cut-off. This charging unit is actively cooled with a small fan that is integrated in the charger’s enclosure.

    This charger is fully compatible with our  eSMART LiFe-512Wh

     

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    eLC-PO4

    9 avril 2014

    This Smart Charger is designed to charge 12.8V(4 Cells) LiFePO4 batteries with a capacity > 4Ah. It features a three stages charging method ( Constant Current, Constant Voltage , Trickle charge mode) without overcharging the battery . An XLR4 male connector is fitted to mate directly with our LiFePo4 batteries. An Internal Resettable fuse is installed inside the charger : there is no need to change the fuse after en over-load current cut-off.

    This charger is fully compatible with the LiFePo4 battery range : eSMART LiFe-115Wh, LiFe-256Wh and LiFe-512Wh

     

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    eSMART DUAL CHARGER

    9 avril 2014

    NEW VERSION of our dual battery bay desktop charger. Lighter, smaller and smarter. The charger is now built in a rugged and lightweight aluminium housing. The fan has been removed for silent operation and a bright OLED screen has been added to provide battery information to the user. This charger will charge our smart batteries in under 3 hours.

     

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    eSMART MONO CHARGER

    9 avril 2014

    NEW VERSION of our desktop charger. Lighter, smaller and smarter. The charger is now built in a rugged and lightweight aluminium housing. The fan has been removed for silent operation and a bright OLED screen has been added to provide battery information to the user. This charger will charge our smart batteries in under 3 hours.

     

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    eSMART MONO CHARGER

    9 avril 2014

    NEW VERSION of our desktop charger. Lighter, smaller and smarter. The charger is now built in a rugged and lightweight aluminium housing. The fan has been removed for silent operation and a bright OLED screen has been added to provide battery information to the user. This charger will charge our smart batteries in under 3 hours.

     

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    eLC-SMB

    9 avril 2014

    The eLC-SMB is a fast, reliable and secure charger for li-ion smart batteries. It charges a 45 or 89Wh battery in 3 hours.

    The charger is composed of a power unit compatible from 100 to 240VAC and a slot-in receptacle built in a rugged anodised aluminum enclosure which holds the electronics of the charging controller. The charger is 100% Compliant (Rev. 1.1) SMBus and programmed by the battery each time it is inserted in the charger’s receptacle to determine the charging current and voltage. A SafetySignal on the battery being charged is monitored for temperature, connectivity and battery type information for improved system safety and reliability.

    Replaces the eLC-AMP which is discontinued.

     

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    eSMART LiFe-512Wh

    9 avril 2014

    LiFePo4 batteries can replace SLA (lead acid) batteries with many benefits. The LiFePO4 battery uses a lithium-ion-derived chemistry and shares many of its advantages and disadvantages with other lithium ion battery chemistries. The key advantage for LiFePO4 when compared with LiCoO2 is higher current or peak-power rating.

    While LiFePO4 cells have lower voltage and energy density than LiCoO2 Li-ion cells, this disadvantage is offset over time by the slower rate of capacity loss (aka greater calendar-life) of LiFePO4 when compared with other lithium-ion battery chemistries (such as LiCoO2 cobalt or LiMn2O4 manganese spinel based lithium-ion polymer batteries or lithium-ion batteries).

     

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    eSMART LiFe-256Wh

    9 avril 2014

    LiFePo4 batteries can replace SLA (lead acid) batteries with many benefits. The LiFePO4 battery uses a lithium-ion-derived chemistry and shares many of its advantages and disadvantages with other lithium ion battery chemistries. The key advantage for LiFePO4 when compared with LiCoO2 is higher current or peak-power rating.

    While LiFePO4 cells have lower voltage and energy density than LiCoO2 Li-ion cells, this disadvantage is offset over time by the slower rate of capacity loss (aka greater calendar-life) of LiFePO4 when compared with other lithium-ion battery chemistries (such as LiCoO2 cobalt or LiMn2O4 manganese spinel based lithium-ion polymer batteries or lithium-ion batteries).

     

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    eSMART LiFe-115Wh

    9 avril 2014

    LiFePo4 batteries can replace SLA (lead acid) batteries with many benefits. The LiFePO4 battery uses a lithium-ion-derived chemistry and shares many of its advantages and disadvantages with other lithium ion battery chemistries. The key advantage for LiFePO4 when compared with LiCoO2 is higher current or peak-power rating.

    While LiFePO4 cells have lower voltage and energy density than LiCoO2 Li-ion cells, this disadvantage is offset over time by the slower rate of capacity loss (aka greater calendar-life) of LiFePO4 when compared with other lithium-ion battery chemistries (such as LiCoO2 cobalt or LiMn2O4 manganese spinel based lithium-ion polymer batteries or lithium-ion batteries).

     

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    eSMART Li-89Wh

    9 avril 2014

    Each AUDIOROOT battery embeds a micro controler which handles and records the main parameters of the battery such as : identification, type of elements, cycle count, build date, serial numbers and many other parameters. The micro controller monitors the battery’s status and behaviour (power consumption, temperature, voltage, etc…) and communicates with the charger to improve the charging process and therefore battery life.

    • Capacity : 6.2 Ah
    • Chemistry : Lithium Ion
    • Voltage : 14.4 V
    • Maximum voltage : 16.6V – Please check compatibility with your equipment

     

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    eSMART Li-45Wh

    4 avril 2014

    Each AUDIOROOT battery embeds a micro controler which handles and records the main parameters of the battery such as : identification, type of elements, cycle count, build date, serial numbers and many other parameters. The micro controller monitors the battery’s status and behaviour (power consumption, temperature, voltage, etc…) and communicates with the charger to improve the charging process and therefore battery life.

    • Capacity : 3.1Ah
    • Chemistry : Lithium Ion
    • Nominal voltage : 14.4 V
    • Maximum voltage : 16.6V – Please check compatibility with your equipment

     

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    Audioroot

    4 avril 2014

    FC-9V4LN – 9V Battery Fast Smart Charger

    4 avril 2014

    Li-Polymer (Li-ion) Batteries Charging mode:
    4 channels independent charging each 9V battery.
    Super fast charge Li-ion 9V battery in 1 hour.
    Auto detection, auto protection and auto stop.
    Dual color LED display (Charging: Red, Full: Green)

    Ni-MH (Ni-CD) Batteries Charging mode:
    4 channels independent charging each 9V battery.
    Negative Delta V and Zero Delta V program control.
    Auto protection with voltage and timer control.
    Auto detection and charging 7.2V / 8.4V / 9.6V battery.
    Super Fast Charging Ni-MH & Ni-CD 9V battery in 2 hours.

     

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    IP9V-500 – 9V 500mAh Li-Polymer Rechargeable Battery

    4 avril 2014

    Special design with Li-Polymer cell, capacity up to 500mAh.
    Lithium-Polymer material, Working voltage 8.4V~6.5V, 
    Standard output current 1~500mA, 
    Hi-rate continue output 750mA, 
    Max. Transient current up to 1500mA/5 sec.
    Build-in Protection IC to control over-current and voltage.
    More safety and long lasting power.

     

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    iPowerUS

    4 avril 2014

    MH-C204FA

    4 avril 2014

    The Powerex MH-C204FA AA / AAA NiMH or NiCD Battery Charger will charge 2 or 4 AA or AAA nickel-metal hydride or (NiMH) or nickel-cadmium (NiCD) batteries. AA batteries take about 2-4 hr to charge, while AAA’s take 1-2 hr. Charge your batteries anywhere around the world via the included 100-240VAC universal power adapter. A user-activated deep cycle rejuvenator conditions your batteries in order to keep them at maximum capacity.

     

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    MH-C401FS

    4 avril 2014

    The Maha MH-C401FS 100 Min Cool Charger with Car Adapter from Powerex charges 1-4 AA or AAA NiMH or NiCD batteries in approximately 100 (AA) or 60 (AAA) minutes, while keeping them cool. As an alternative to this rapid charge method, it allows for a slower, 5-hour gentle charge to keep batteries extra-cool when charging time is not a critical issue. The gentle charge also extends overall battery life.

     

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    MH-C204W

    4 avril 2014

    The Powerex MH-C204W 1-Hour Worldwide Travel Conditioning Charger for AA / AAA NiMH Batteries charges up to 4 AA or AAA nickel-metal hydride (NiMH) rechargeable batteries. You can charge 2 batteries in approximately 1 hr, or 4 in about 2 hr. The charger does not require an external power adapter, as it has a universal power adapter built in. This fact, combined with the charger’s compact size–comparable to a consumer digital camera–makes it easy to transport virtually anywhere.

     

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    MH-C490F 9V charger

    2 avril 2014

    The MH-C490F Stealth Two-Hour Compact 4-Bank 9V NiMH Battery Charger from Powerex is a small (2.5 x 3″ / 6.4 x 7.6 cm) charger for 1-4 7.2V, 8.4V or 9.6V NiMH rechargeable batteries. It has a Delta-V based microprocessor, which charges batteries to their full potential. The microprocessor automatically switches from rapid charge to trickle charge after the batteries are fully charged to ensure that they maintain their total capacity. Additionally, FLEX pulse charging conditions and enhances battery performance during charging.

    The MH-C490F charges batteries in 120-160 minutes–so you need not wait overnight for a full charge. Rejuvenate your batteries quickly when you’re on-the-go–even in the car (requires optional car kit, sold separately).

     

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    MH-C801D

    2 avril 2014

    The Powerex MH-C801D 8-Cell 1-Hour Charger for AA / AAA NiMH / NiCD Batteries charges up to 8 AA or AAA nickel-metal hydride (NiMH) or nickel-cadmium (NiCD) batteries in approximately 1 hr. Charge your batteries anywhere around the world via the included 100-240V, 50/60Hz universal AC adapter with a removable, interchangeable power cord. This power supply features a rugged DIN connector to ensure reliable contact.

     

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    MH-C800S

    2 avril 2014

    The Powerex MH-C800S 8-Cell Smart Charger for AA / AAA NiMH / NiCD Batteries charges up to 8 AA or AAA nickel-metal hydride (NiMH) or nickel-cadmium (NiCD) batteries in approximately 1-2 hr. Charge your batteries anywhere around the world via the included 100-240V, 50/60Hz universal AC adapter. This power supply features a rugged DIN connector to ensure reliable contact.

     

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    MH-C1090F 9V Charger

    2 avril 2014

    The MH-C1090F Pro 10-Bank Rapid 9V NiMH Battery Charger from Powerex provides up to 10 rechargeable 7.2V, 8.4V, or 9.6V nickel-metal hydride (NiMH) batteries with a full charge–in 2-3 hr. Each battery is charged to its full potential without the risk of overcharging. This is accomplished via a microprocessor, which automatically switches from rapid to trickle charge once the batteries are done charging, ensuring that they maintain their charge. FLEX pulse charging conditions and enhances your batteries’ performance during charging.

    Individual LEDs for each charging channel indicate when charging is complete by switching from a red light to a green one. The charger can even revive older 9V batteries that are no longer accepting a charge.

     

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    MH-C9000

    2 avril 2014

    The MH-C9000 WizardOne Charger-Analyzer for 4 AA / AAA NiMH / NiCD Batteries from Powerex charges 1-4 AA or AAA NiMH or NiCD batteries via 4 independent slots. It supports batteries with capacities of 100-20,000mAh. The large, backlit LCD screen displays capacity, voltage, elapsed time and current. The charger provides 29 selectable charge and discharge rates, including 19 charging currents from 0.2-2.0A (200-2000mA) and 10 discharging currents from 0.1-1.0A (100-1000mA) in increments of 0.1A.

    The MH-C9000 has 5 operational modes: Charge, Refresh & Analyze, Break-In, Discharge and Cycle. Charge mode recharges your batteries at the selected rate, and is suitable for frequently-used batteries

     

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    Imedion 9.6V 230mAh

    2 avril 2014

    The Powerex MHR9VI IMEDION « Ready When You Are! » Rechargeable NiMH Battery (9.6V, 230mAh) is a nickel-metal hydride battery compatible with Powerex’s MH-C1090F 10-Bank Charger or MH-C490F Stealth Charger. It is rated at a voltage of 9.6V and a capacity of 230mAh, with a minimum capacity of 210mAh. It has the ability to outperform a standard 9V battery due to its slightly higher voltage. The battery is capable of being stored for an extended period of time and still retaining a full or nearly full charge. After a year, for instance, it will retain 85% of its capacity. The battery comes pre-charged. The purchase of an NiMH battery like this one saves you money, since you won’t need to buy endless supplies of non-rechargeable alkaline batteries.

     

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    Imedion 8.4V 250mAh

    2 avril 2014

    The Powerex MHR84VI IMEDION « Ready When You Are! » Rechargeable NiMH Battery (8.4V, 250mAh) is a nickel-metal hydride battery compatible with Powerex’s MH-C1090F 10-Bank Charger or MH-C490F Stealth Charger. It is rated at a voltage of 8.4V and a capacity of 250mAh, with a minimum capacity of 230mAh. The battery is capable of being stored for an extended period of time and still retaining a full or nearly full charge. After a year, for instance, it will retain 85% of its capacity. The battery comes pre-charged. The purchase of an NiMH battery like this one saves you money, since you won’t need to buy endless supplies of non-rechargeable alkaline batteries.

     

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    Imedion AAA 950mAh (4-Pack)

    2 avril 2014

    The Powerex IMEDION « Ready When You Are! » Rechargeable AA NiMH Batteries (1.2V, 2400mAh) – 4-Pack is a package of 4 AA nickel-metal hydride (NiMH) batteries. They have a voltage of 1.2V and a capacity of 2400mAh. The batteries are capable of being stored for an extended period of time and still retaining a full or nearly full charge. After a year, for instance, they will retain 85% of their capacity. The batteries come pre-charged and can be recharged up to 1000 times. The purchase of NiMH batteries like these saves you money, since you won’t need to buy endless supplies of non-rechargeable alkaline batteries. A battery carrying case is included.

     

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    Imedion AA 2400mAh (4-Pack)

    2 avril 2014

    The Powerex IMEDION « Ready When You Are! » Rechargeable AA NiMH Batteries (1.2V, 2400mAh) – 4-Pack is a package of 4 AA nickel-metal hydride (NiMH) batteries. They have a voltage of 1.2V and a capacity of 2400mAh. The batteries are capable of being stored for an extended period of time and still retaining a full or nearly full charge. After a year, for instance, they will retain 85% of their capacity. The batteries come pre-charged and can be recharged up to 1000 times. The purchase of NiMH batteries like these saves you money, since you won’t need to buy endless supplies of non-rechargeable alkaline batteries. A battery carrying case is included.

     

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    Powerex 9.6V 230mAh

    2 avril 2014

    The Powerex MHR9V Rechargeable NiMH Battery (9.6V, 230mAh) is a nickel-metal hydride battery compatible with Powerex’s MH-C1090F 10-Bank Charger or MH-C490F Stealth Charger. It has a voltage of 9.6V and a capacity of 230mAh. It has the ability to outperform a standard 9V battery due to its slightly higher voltage. The MHR9V is free of memory effect, a condition which can cause batteries to hold less charge over time, meaning it will retain its full charge without conditioning. The battery is rechargeable up to 1000 times. The purchase of an NiMH battery like this one saves you money, since you won’t need to buy endless supplies of non-rechargeable alkaline batteries.

     

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    Powerex 8.4V 300mAh

    2 avril 2014

    The Powerex MHR84V Rechargeable NiMH Battery (8.4V, 300mAh) is a nickel-metal hydride battery compatible with Powerex’s MH-C1090F 10-Bank Charger or MH-C490F Stealth Charger. It has a voltage of 8.4V and a capacity of 300mAh. The MHR84V is free of memory effect, a condition which can cause batteries to hold less charge over time, meaning it will retain its full charge without conditioning. The battery is rechargeable up to 1000 times. The purchase of an NiMH battery like this one saves you money, since you won’t need to buy endless supplies of non-rechargeable alkaline batteries.

     

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    Powerex AAA 1000mAh (4-pack)

    2 avril 2014

    The Powerex MHRAAA4 Rechargeable AAA NiMH Batteries (1.2V, 1000mAh) – 4-Pack is a package of 4 AAA nickel-metal hydride (NiMH) batteries. They have a voltage of 1.2V and a capacity of 1000mAh. The batteries can be recharged hundreds of times, and because they have memory-free operation, they will not develop memory effect, which can cause batteries to hold less charge. These batteries will retain a charge at or near their full capacities even after hundreds of charges.

     

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    Powerex AA 2700mAh (4-pack)

    2 avril 2014

    The Powerex MHRAA4 Rechargeable AA NiMH Batteries (1.2V, 2700mAh) – 4-Pack is a package of 4 AA nickel-metal hydride (NiMH) batteries. They have a voltage of 1.2V and a capacity of 2700mAh. The batteries can be recharged hundreds of times, and because they have memory-free operation, they will not develop memory effect, which can cause batteries to hold less charge. These batteries will retain a charge at or near their full capacities even after hundreds of charges. A battery carrying case is included.

     

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    Powerex

    2 avril 2014

    DLSR60

    28 mars 2014

    Speedring for DLED2 soft box, fits DLED2 accessory slot.

    DLPS12-30

    28 mars 2014

    Bloc d’alimentation pour DLED2.1.

    Felloni

    28 mars 2014

    LED High-Performance Light Daylight, Tungsten or Bicolor

    In Comparison to the Main Competitive Product:

    • 30 % more light in Standard version; even more in High-Output version
    • 50 % less power consumption: 24 W instead of 50 W
    • Improved color rendition: CRI up to 84 instead of 74
    • Distance diffuser (1) reduces glare noticeably; identical light output with this diffuser in  
    comparison to the main competitive product without diffuser
    • AC Adapter (1)
    • Magnetic front frame for filter holder strips 
    • Rainproof
    • Power Input:
      Felloni Standard: AC 100 - 240 VAC, V - Mount, D-Tap and Sony NP-F or optional for
    Anton/Bauer Mount (TP-LONI-ABM).   
    Felloni High output: AC 100 - 240 VAC, V - Mount, D-Tap or optional for Anton/Bauer 
    Mount (TP-LONI-ABM). On High output and Bicolor NP-F mount is deactivated due to   
    higher consumption than NP-F battery can provide. 
    • Standard dimmer module (on board). Removable for use with 2.5 m / 8’ cable (1) as hand 
    dimmer.
    • Can be upgraded with LCD or DMX module. A wireless dimming module is available.

     

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    DLED2.1-D

    28 mars 2014

    The tiny but powerful DLED2.1 can be:

    • a multifunctional on-board light

    • a perfect accent and special effects light

    • a versatile member of a tiny interview and documentary kit

    • a useful companion to our Felloni multi-LED panel

    • a daylight, tungsten and tunable bicolor light for easy adaptation to many location lighting
    situations (also in combination with a Felloni bicolor panel)

     

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    DT4.0-1 Power supply

    28 mars 2014

    AC power supply for DLED4.0 tungsten and daylight light heads. Allows worldwide use from 100V to 240V AC. 50/60 cycle plus continuous dimming.

     

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    DLED4.0

    28 mars 2014

    State-of-the-art LED light source for daylight, tungsten and bicolor.

    Bicolor version allows a continuous change from daylight to tungsten.

    Separate dimming adjusts the intensity with no color change. Focuses like a true dedolight from wide 60° to extremely narrow 4° Clean beam – no stray light, lets you put the light exactly where you want it without causing any extra unwanted shadows. Works with all dedolight light shaping accessories and aspheric wide angle attachments (85° max. and still controllable focus) including DP1.1, DP2.1 and DP3.1 imagers which are similar to the well known dedolight projection attachments but with new dual condenser optics for higher transmission and perfect light distribution.

     

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    DLED2.0-BI

    28 mars 2014

    DLED2.0-BI Bicolor Light Head

     

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    DLH4x150S – Tungsten Soft Light

    28 mars 2014

    Projecteur de lumière diffuse idéal pour les plateaux de longs métrages ou de séries télévisées.

    Ce projecteur Softlight est équipé de quatre lampes de 150 W avec réflecteurs, produisant ainsi une luminosité comparable à celle d’une boîte de lumière montée à l’avant d’une lentille de Fresnel de 2 K. Utilisée avec des boîtes S, M ou L, l’intensité lumineuse à une distance donnée reste la même, bien que la surface de diffusion soit très différente.

     

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    DLH1x150S – Tungsten Soft Light

    28 mars 2014

    Ne jugez pas ce projecteur à sa petite taille et à sa faible puissance!

    Grâce au réflecteur supplémentaire et à la luminositéde la lampe basse tension dont il est équipé, ses performances sont idéales pour l’éclairage d’entrevues ou comme éclairage d’appoint.

    Ce projecteur Soft light a été conçu pour fonctionner avec le transformateur/gradateur éléctronique individuel DT24-1. Il fonctionne également sur batterie avec une lampe de 12 V.

     

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    DBD2 – Super coupe-flux

    28 mars 2014

    Coupe-flux conçu pour un travail de précision.

    Système breveté unique où chaque volet peut être tourné indépendamment des autres pour créer ainsi des formes trapézoïdales pour l’éclairage désaxé d’objets rectangulaires.

     

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    DPGH – Porte-gobo

    26 mars 2014

    Pour le DP1 seulement.

    Porte-gobo en deux parties pour les gobos métalliques ronds standard de taille M.

     

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    DP3 – Nez optique de projection

    26 mars 2014

    Permet la projection de gobos ou de diapositives, équipé d’un système intégré de refroidissement par air et d’un système de réglage du plan de l’image. Ses qualités optiques et caractéristiques de projection sont identiques à celles du nez optique universel DP1, y compris la possibilité d’utiliser des objectifs interchangeables pour modifier la taille de l’image et travailler à différentes distances.

     

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    DP2 – Nez optique de projection

    26 mars 2014

    Toutes les qualités optiques de ce nez de projection sont identiques à celle du nez optique universel DP1. Le DP2 n’accepte pas d’accessoires tels qu’un iris, un porte gobo ou un porte diapositives, mais il est compatible avec le DPEYESET.

     

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    DP1 – Nez optique de projection

    26 mars 2014

    Le nez optique DP1 est extrêmement polyvalent puisqu’il est équipé d’un porte-accessoires à ressort permettant d’insérer une grande variété d’accessoires.

     

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    Dedolight

    26 mars 2014

    DSPX-FM

    21 mars 2014

    It is no wonder that the DSPX-FM is among the world’s most popular FM broadcast processors, thanks to its great sound, easy configuration and dual-path operation that enable processing of a single program for both analogue and digital broadcast. The DSPX-FM gives you a competitive edge-and builds listenership and revenue-by enabling you to achieve the tailored sound and loudness needed to make your station distinctive. 

    The four-band and wideband AGCs, both with intelligent gating, along with a four-band, program-dependent limiter, are enabled by a processing core employing 16 DSPs. Parametric and shelf bass enhancement, along with composite clipping with pilot protection, contribute further to keeping your station’s sound consistently loud and artefact free.

     

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    DSPXmini-ST

    21 mars 2014

    Thanks to pre/de-emphasis and FM style clipping the stations talent gets the loud processed signal that they are used to but with an ultra-low delay of 4ms, meaning complaints of an echo in their headphones are a thing of the past. 

    Originally designed for the BBC, the DSPXmini-ST is now available for general sale and is in stock right now. Benefiting from BW Broadcasts vast experience in audio processing, the DSPXmini ST is not only the perfect solution for on air monitoring without the delay, it is also substantially more affordable than anything that has come before it.

     

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    SRP 350

    21 mars 2014

    The SRP 350 is the starting reference. In a world where majority of music is experienced via multimedia, this SRP serves as an ideal reference. It is also an excellent solution for high quality multichannel audio in premium spaces. The enclosure is pressure die cast aluminum that maximizes rigidity and lends it a unique form. The tweeter is a silk dome. The 3″ glass fibre cone woofer produces impressive LF and transient response. A new 20 + 20 watt biamplifier  drives the transducers optimally while providing adequate headroom and dynamics. Room compensation HF and LF tilts are available on the rear alongwith a power switch and level control. Tapped inserts at the rear and bottom allow for various mounting options. The SRP 350 accepts XLR balanced and RCA unbalanced inputs and is available in the following durable powder coat finishes: rich black, charcoal grey or snow white.

     

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    SRP 400

    21 mars 2014

    The SRP 400 is the most compact active reference monitor in the new SRP line. It is an excellent reference to understand how mixes translate to smaller speakers. The enclosure is pressure die cast aluminum that maximizes rigidity and lends it a unique form. The silk dome tweeter is nested in a custom waveguide to produce on and off axis linearity and a wide, detailed soundstage. The 4.5″ CURV cone woofer produces impressive bass and transient response. A new 25 + 25 watt biamplifier  drives the transducers optimally while providing adequate headroom and dynamics. The maximum SPL measures in at an impressive 100dB. Room compensation HF and LF tilts are available at the rear. On the front is a level control ranging from mute to +6dB with centre detent at 0dB. Tapped inserts at the rear and bottom allow for various mounting options. The SRP 400 accepts XLR and TRS balanced inputs and is available in the following durable powder coat finishes: rich black, charcoal grey or snow white.

     

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    SRP 500

    21 mars 2014

    The SRP 500 is a new compact near field active reference monitor. This SRP excels at monitoring effects and other such subtleties in the mix. The enclosure is pressure die cast aluminum that maximizes rigidity and lends it a unique form. The silk dome tweeter is nested in a custom waveguide to produce on and off axis linearity and a wide, detailed soundstage. The 5.25″ kevlar woofer produces deep bass and exceptional transient response. A new 50 + 50 watt biamplifier  drives the transducers optimally while providing adequate headroom and dynamics. The maximum SPL measures in at an impressive 104dB. DSP based internal processing with high quality ADC and DAC is employed for the crossover and also provides the 0.75dB step calibrated HF and LF room compensation EQs at the rear.  On the front is a level control ranging from mute to +6dB with centre detent at 0dB. Tapped inserts at the rear and bottom allow for various mounting options. The SRP 500 accepts both XLR and TRS balanced inputs and is available in the following durable powder coat finishes: rich black, charcoal grey or snow white.

     

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    SRP 600

    21 mars 2014

    The SRP 600 is a new near field active reference monitor. This SRP adds loudness, clarity and bottom end to the compact SRP 500. The enclosure is pressure die cast aluminum that maximizes rigidity and lends it a unique form. The silk dome tweeter is nested in a custom waveguide to produce on and off axis linearity and a wide, detailed soundstage. The 6.5″ kevlar woofer produces deep bass and exceptional transient response. A new 80 + 50 watt biamplifier drives the transducers optimally while providing adequate headroom and dynamics. The maximum SPL measures in at an impressive 108dB. DSP based internal processing with high quality ADC and DAC is employed for the crossover and also provides the 0.75dB step calibrated HF and LF room compensation EQs at the rear. On the front is a level control ranging from mute to +6dB with centre detent at 0dB. Tapped inserts at the rear and bottom allow for various mounting options. The SRP 600 accepts both XLR and TRS balanced inputs and is available in the following durable powder coat finishes: rich black, charcoal grey or snow white.

     

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    SRP 800

    21 mars 2014

    The SRP 800 is a new high power active reference monitor. This SRP is excellent for loud monitoring without any audible loss in detail. The enclosure is pressure die cast aluminum that maximizes rigidity and lends it a unique form. The silk dome tweeter is nested in a custom waveguide to produce on and off axis linearity and a wide, detailed soundstage. The 8  » kevlar woofer produces deep bass and exceptional transient response. A new 175 + 100 watt biamplifier  drives the transducers optimally while providing adequate headroom and dynamics. The maximum SPL measures in at an impressive 112dB. DSP based internal processing with high quality ADC and DAC is employed for the crossover and also provides the 0.75dB step calibrated HF and LF room compensation EQs at the rear.  On the front is a level control ranging from mute to +6dB with centre detent at 0dB. Tapped inserts at the rear and bottom allow for various mounting options. The SRP 800 accepts XLR balanced inputs and is available in the following durable powder coat finishes: rich black, charcoal grey or snow white.

     

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    VXT8

    19 mars 2014

    Drawing upon the design characteristics of our Expose E8B, the new VXT Series of monitors consists of three models, the VXT4, VXT6, and VXT8. With a visually striking enclosure design that is equally functional, providing low resonance, improved structural integrity and extended low-end, slotted ports for reduced port turbulence, plus a sleek curvature that provides excellent imaging characteristics and a widersweet spot the VXT monitors achieve a new level of precision.

     

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    KRK Systems

    19 mars 2014

    STUDIO REMOTE MK4

    19 mars 2014

    The Studio Remote is designed to be the remote and communication interface between the mixing console and the announcer or guest.

    It has a built in headphone amp, 2 channel mixer and an remote switches with RED/GREEN LED indication.

    The Studio Remote Unit is the perfect solution for headphones amplifier and  CHOUGH/COMMUNICATION button for announcer and/or guest.

    There are 2 models, one for the D&R AirLab, AIRMATE and one for the AXUM/AIRMAX mixers.

     

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    TB-6D

    19 mars 2014

    The TB-6D and TB-6R are used for general talkback between studios and use DC signalling, also known as ground lifting or ground signalling, to communicate with each other. These units can be installed in various locations throughout a studio complex and linked to one another, with each unit being able to talkback to up to 6 others connected together. Most other talkback systems in general operation also use DC signalling, so you should be able to add these units into an existing installation.

     

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    iTestMic

    19 mars 2014

    iTestMic is the test and measurement microphone that works with iPhone 4, iPod touch 4, and iPad.

    iTestMic plugs directly into the 30-pin connector, and is powered from the iOS device. It auto-calibrates, uses very little power, and provides excellent performance.

    Upgrade your AudioTools app to accurately test and setup subwoofers, measure much lower noise levels, and measure sound levels up to 120 dB SPL.

     

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    R-05

    13 mars 2014

    The compact R-05 is easy to use, affordable, and packed with big-ticket features that raise the bar in its price class. Experience crystal-clear 24/96 capture, enhanced recording and editing features, and extended battery life (over 16 hours per charge). On stage, in rehearsal, at school, on the street, in the boardroom — whenever inspiration strikes, let the R-05 capture the moment with convenience and quality.

     

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    Roland

    13 mars 2014

    RB-PD2

    21 février 2014

    The RB-PD2 is a stereo audio profanity delay used for live broadcast programs to prevent unwanted or obscene material from being transmitted. It features an automatic audio stretch algorithm that allows between 2 and 55 (*) seconds of delay to be built up live whilst “on air”, whilst maintaining the correct pitch. The delay can also be acquired whilst playing a pre-selected audio file on a Compact Flash™ memory card. When the program is complete, the audio stretch algorithm seamlessly reduces the delay to zero.

     

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    RDS2+

    21 février 2014

    The RDS2 encoder has all the features you would ever need from an RDS encoder at a fantastic price. As well as the basic RDS features supported by the RDS1, the RDS2+ supports almost all RDS functions available today. Delivering your RDS to your listeners is easy and highly informative with the RDS2+. 

    The RDS2+ also has a real-time clock and memory to support 8000 characters of text allowing a wealth of extra text transmission possibilities including scrolling text and scheduled/timed text lists. 

    Programming is simple with the supplied Windows program which can be used directly or remotely via satellite. After initial programming the RDS2 will operate without any PC connection required. The RDS2+ can also be setup to display track information from a radio automation system via an RS232 connection to a PC.

     

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    FMB80

    21 février 2014
    fmb80_538x494

    The world leader in RDS/RBDS, Audemat is a pioneer in this technology and has played an active role in the RDS forum since its inception. Our RDS encoders are used on every continent and are the most accepted brand throughout the world. With more than 20 years of RDS experience and over 12,000 units sold, we can guarantee our encoders will be the most efficient RDS solution for your station.

     

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    Audemat

    21 février 2014

    SmartGen 3.1

    21 février 2014

    SmartGen 3.1 Encoder is a quick and inexpensive way to have an RDS/RBDS included. The SmartGen 3.1 is able to transmit basic RDS information such as the Program Service name(PS), Program Identification(PI), Alternative Frequencies(AF), Program Type(PTY). Decoder Information and Music / Speech flag are also supported. USB connectivity makes it easy to program the non-volatile memory using any PC and the supplied Windows® software. After programming, the unit should be disconnected and re-installed on the transmitter site. Though it is not capable of « dynamic » messaging of the song titles, SmartGen 3.1 will identify your station by format and will display your station’s « street name », continuously transmitting any station promo or advertising messages to your listeners.

     

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    SmartGen 4.1

    21 février 2014

    The SmartGen 4.1 is a full-fledged RDS/RBDS encoder that supports both European CENELEC and United States NRSC standards. It supports all service IDs and offers simultaneous scrolling-PS and RadioText messaging. SmartGen 4.1 is fully compatible with the latest UECP EBU SPB490 Version 7.05. The interactive function RT+ for song tagging is fully supported without a compromise. Based on the latest RDS technology, the SmartGen 4.1 is fully digitally designed for 24/7/365 operation. The SmartGen 4.1 is the most cost-effective solution for sending of TMC and EWS Services. 

    SmartGen 4.1 gives dynamic, on-the-fly programming access with its built-in USB, TCP/IP, UDP/IP interfaces. This connectivity permits full integration of RDS/RBDS transmissions with the station’s other networked functions, including message streaming for digital radio and Webcasting. The SmartGen 4.1 encoder provides a full loopt-hrough interface for connection to your existing broadcast chain. The SmartGen 4.1 can ‘parse’ scrolling text, automatically breaking the phrases into word groups.

     

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    SmartGen 5

    21 février 2014

    The SmartGen 5 encoder has all the features you would ever need from an RDS encoder and it comes at a fantastic price. SmartGen 5 supports all RDS Applications in conformity with European CENELEC and United States NRSC standards and it is fully compatible with UECP EBU SPB490 Version 7.05

    The interactive function RT+ for song tagging is fully supported without compromise. The SmartGen 5 can ‘parse’ scrolling text, automatically breaking phrases into word groups. Based on the latest RDS technology, the SmartGen 5 is fully digitally designed for 24/7/365 operation. The SmartGen 5 is a cost-effective solution for sending of TMC and EWS Services. The front-panel LCD displays setup parameters without the need of an on-site computer, and also shows the incoming raw data from station automation as well as exactly what the listener sees displayed on his radio.

     

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    LX-75

    19 février 2014

    Le LX-75 est un émetteur FM basse puissance de qualité professionnelle opérant dans la bande FM commerciale (88.1 – 107.5 MHz).  Il est tout désigné pour la diffusion à l’intérieur   de grands espaces (grandes églises, grands auditoriums et salles de spectacles, centres de congrès, arénas et stades) ou la diffusion à moyenne portée à l’extérieur (sites historiques et touristiques, cinéparcs, stationnements de centres commerciaux) pour différentes applications d’aide à l’audition, de traduction simultanée, d’information ou de sonorisation.  Ses remarquables performances RF et audio, sa solidité, sa fiabilité, sa versatilité et sa puissance RF accrue placent le LX-75 dans une classe à part, surpassant toute compétition pour les applications demandant une couverture supérieure à ce que les systèmes d’aide à l’audition conventionnels offrent.

     

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    FM-800 / FM-850

    19 février 2014

    Le FM-800 et le FM-850 sont des émetteurs FM basse puissance de qualité professionnelle opérant dans la bande FM commerciale (87.9 – 107.9 MHz).  Ils sont parfaits pour les petites stations de radio communautaires, les radios universitaires, les stations de radio religieuses, la diffusion d’événements spéciaux, les sites touristiques, les grands stades, etc.  Ils peuvent aussi servir d’excitatrice pour alimenter un ampli de puissance RF dans le but d’obtenir une plus grande puissance, et donc une meilleure couverture.  Leurs remarquables performances RF et audio, leur solidité, leur fiabilité, leur versatilité, leur facilité d’utilisation et leur puissance RF accrue font des FM-800 et FM-850 nos modèles haut de gamme, et le choix par excellence de tous les professionnels du son.

     

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    Decade

    19 février 2014

    NBC UTILISE LE SYSTÈME OVATION DE MERGING POUR LES OLYMPIQUES DE SOCHI

    19 février 2014

    Useful links

    Sochi, Février 2014: Ovation a fait beaucoup d’adeptes dans la communauté des metteurs en ondes de l’Amérique du Nord au cours des deux dernières années. Un des premiers acquéreurs fut le réseau NBCSN pour leur centre de sports à Stanford dans le Connecticut. La commande initiale de quatre systèmes Ovation et quatre unités Horus s’est avéré être une solution avantageuse pour la gestion des évènements audio. La liste d’équipement pour la couverture des Olympiques de Sochi de la NBC comptait trois systèmes Ovation et trois unités Horus de plus. La suite complète de digital I/O et la commande à distance RAVENNA du routage et de la configuration des unités Horus permet une installation facile et un rendement de haute qualité.

    TX300 V2

    19 février 2014

    The most popular 300W FM transmitter in the world, the TX300 V2 can be found in LPFM stations, community stations, emergency broadcast kits, military applications and as a truly reliable back-up transmitter or exciter for national broadcasters. Whatever the application, the TX300 V2 will take it in its stride. Now with built in 4-band DSPX audio processing, Ethernet control and FSK IDer.

     

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    TX50 V2

    19 février 2014

    Introducing the answer to your LPFM problem. This 50w 1RU FM transmitter is the perfect piece of equipment for you. Built in 4-band DSPX audio processing, Ethernet control and FSK IDer eliminates the need for any additional equipment – so sound great right out of the box!

     

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    BW Broadcast

    19 février 2014

    C4500 BC

    19 février 2014

    The C4500 BC large-diaphragm condenser microphone in front-addressed format is specially designed for on-air broadcast work. It provides a cardioid pickup with voice-friendly tuning and a low proximity effect, as well as high RF/EMI insensitivity. The exceptional low self-noise (8dB-A) and its 165dB maximum SPL capability also make the C4500 BC a great tool for close-miking of loud instruments like bass drums, brass instruments and guitar amps.

    The C4500 BC comes complete with an H85 spider-type shock mount and the W4000 windscreen.

     

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    C414 XLS

    19 février 2014

    The C414 XLS multipattern condenser microphone offers a choice of nine polar patterns for the perfect sonic capture for every application. A peak hold LED displays even the shortest overload peaks. For live-sound applications and permanent installations, all controls can easily be disabled for trouble-free use.

    The C414 XLS maintains the sonic character of the legendary C414 B-ULS, the most popular AKG C414 version since 1971. Engineered for highest linearity and neutral sound, it has been the most versatile large-diaphragm microphone for decades.

     

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    MK 4

    19 février 2014

    The MK 4 is a large-diaphragm true condenser microphone for professional studio recordings. Featuring fine resolution and outstanding sound quality, the MK 4 is easy to handle and excellent value for money, making it an ideal choice for professional project studios and home recordists. It features a 1″ true condenser capsule based on the acoustics of the e 965 high-end vocal mic, optimised for recording. The MK 4 is made in Germany, its transducer being manufactured in the same clean room as all high-end Sennheiser condenser capsules.

     

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    iQ

    19 février 2014

    Presenting iQ. It’s the answer to « what’s next? » It’s Axia’s newest IP console, and it’s the easiest way yet to get an IP-Audio studio up and running. If you can chew gum and walk, then you can set this up, pronto.

    iQ is much more than just a pretty face – it’s a control surface with mixing engine, audio I/O, machine-control logic and Ethernet switch, all rolled into an easy-to-deploy package. Connect the iQ control surface to the iQ Core with a single cable, add audio inputs using Cat-5 cable, perform some fast Web-based configuration and, presto! your new iQ console is ready to broadcast.

    Self-motivated, but plays well with others. Can a genius be a social butterfly too? iQ can. It’s perfectly happy working as a self-contained, standalone console in an individual studio. Each iQ studio is self-contained; you don’t need to have a network connection (unless you want to). But when you want to, that’s easy too: iQ Simple Networking lets you daisy-chain up to 4 iQ Cores without the need for an external Ethernet switch. You grow, it grows with you.

    More smart stuff: iQ remembers. Four Show Profile memory positions let you set, save and recall snapshots of console settings for later use. High-resolution Organic LED meters are built in, and OLED displays on every fader show source assignments, pan & balance settings, fader options and more — no additional monitors or mice to clutter up your studio. (Now, that’s very smart.)

    The brawn behind the brains.

    What’s that cool-looking black box? It’s the iQ Core integrated console engine. More than an engine, really; it’s a mighty powerhouse with onboard I/O, GPIO and an Ethernet switch. With 3-band EQ for voice inputs that is automatically applied when the source loads. In fact, there’s more than enough mixing muscle to support consoles from 8 to 24 faders large. I/O?

    Yep, and plenty of it:

    • 4 mic inputs with selectable Phantom power
    • 16 Analog inputs
    • 2 AES/EBU inputs
    • 8 Analog outputs
    • 2 AES/EBU outputs
    • 8 GPIO machine-control logic ports,
      each with 5 opto-isolated inputs and 5 outputs
    • Integrated Ethernet switch
    • 6 Livewire 100Base-T ports (4 with PoE)
    • 2 Gigabit ports (RJ-45 & SFP)
    • 4 CANBus ports for console frames and accessory panels

    That’s plenty of juice to run the show, don’t you think? But if you need more, no worries. iQ knows where it comes from. It recognizes and works with any piece of Axia gear, so you can instantly add IO just by plugging in Axia Audio Nodes. Or plug into existing IP-Audio networks just by connecting it to the network switch. When Axia equipment hooks up together in a studio, it’s like a big group hug.

     

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    MKH 416

    19 février 2014

    The MKH 416 is a short gun interference tube microphone. Its excellent directivity and compact design, high consonant articulation and feedback rejection make the MKH 416 a superb all-round microphone for film, radio and television, especially for outside broadcast applications.

     

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    NTG1

    19 février 2014

    The RØDE NTG1 is a lightweight condenser shotgun microphone, designed for professional applications within the film, video, television and production industries.

    Its full frequency response, low noise and audio transparency make it an ideal film, video, and voice over microphone, while its low weight (105gm/3.7oz) makes it an ideal boom microphone.

    In addition to the native 20Hz-20kHz frequency response a selectable high-pass filter at 80Hz is available, which will prevent low end noise such as air conditioners and traffic from being recorded.

     

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    CMIT 5 U

    19 février 2014

    Dès son apparition, le CMIT a défini une nouvelle norme de référence en matière de microphones-canons. Sa directivité, qui augmente d’une manière particulièrement régulière avec la fréquence, lui confère une sonorité équilibrée singulière. En outre, de part et d’autre de l’axe 0°, la diminution de niveau est particulièrement douce et indépendante de la fréquence. Cette propriété permet de capter des événements sonores localisés sans influer sur sa sonorité et de pardonner des erreurs bénignes du perchiste. La directivité du CMIT 5 est supérieure à celle qu’on pourrait attendre d’un microphone de cette longueur. On l’utilise aussi pour la prise de son musicale, par exemple à l’opéra, lorsqu’une directivité plus forte est nécessaire (p. ex. si l’espace est réduit).

     

  • décoloration du son incident latéral remarquablement faible
  • convient aussi à la prise de son musicale
  • diagramme polaire symétrique en rotation
  • moins sensible au vent que la supercardioïde SCHOEPS
  • corps en métal très léger
  •  

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    Maxx

    19 février 2014

    The four input channels can be mixed to a two-channel output bus over two sets of output connectors that can be individually configured as line, mic and consumer output levels.  There is also a two-channel balanced monitor return and Mono & Tape outputs.

    The mixer will run at all broadcast sample rates up to 192 KHz.  Each input channel has a high pass filter, two variable notch filters, variable delay, and a soft knee compressor.The AES input provides you with four sample rate converting inputs (2 x AES/AES42 pair) allowing the Maxx can mix eight inputs onto the stereo output buss.

     

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    633

    19 février 2014

    The 633 is a compact, six-input mixer with integrated 10-track recorder featuring PowerSafe technology. It offers six analog inputs and records to SD and CompactFlash memory cards. The 633 is designed for audio professionals requiring go-anywhere portability, without compromising recording or mixing capability.

     

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    OnAir 1500

    14 février 2014
    On_Air_1500_538x494

    The OnAir 1500 – a 12-channel, 6-fader console (expandable to 12 faders), is designed as a flexible hybrid solution for radio broadcasting and production. It’s ideal for studios needing an additional professional grade fader unit and additional I/O or a compact and cost effective mixing console for a production room or studio. Integrated USB playback and record functions make the OnAir 1500 a very compact yet complete mixer.


    Key Features:

    • 12-channel, 6-fader console with Studer NANO SCORE DSP and I/O Engine, 100 mm faders
    • 6-fader add-on expansion module, 100mm faders
    • Super slim design for ergonomic table top installation
    • Flush-mount and 19″ rack-mount options available
    • Full channel processing, including four-band EQ, compressor, limiter, expander, gate and de-esser
    • Comprehensive monitoring and talkback with unique headphone split mode and internal speaker
    • OLEDs (Organic LED) in fader strips and central module provide clearest displays.
    • Ergonomic, easy-to-learn Touch ‘n’ Action™ user interface.
    • USB jingle playback and bus recording facilities
    • I/O Expansion through standard Studer D21m card slots
    • Complete integration with Radio Automation Systems, Studer’s Call Management System, and RELINK our I/O sharing technology
    • Advanced timer functionality
    • USB user identifier for easy user rights assignment
    • Standard I/O: 
      - Inputs: 16 Mic/Line, 4 stereo AES (with SRC), D21m card slot, USB 
      - Outputs: 16 Line Out, 4 stereo AES, D21m card slot, USB
      - Control: 8 x GPI, 8 x GPO, Ethernet
      - Busses: 1 stereo PGM, 1 stereo RECORD, 1 stereo PFL, 4 N–1 busses (AUX), 1 Audition, CR and ST monitoring (stereo)

    With simple point-to-point connectivity, the OnAir 1500 can be easily moved around as a backup or secondary unit, with a recommended maximum distance of 60 m away from its core when connected via high-quality Cat5 cabling.

    Flexibility is increased with addition of the 6-fader extension bay, creating either a 12 fader surface, or 6 faders can be remotely placed in a producer’s bay or used as a redundant surface. The system can bridge the gap between on-air and production needs, offering an all inclusive design of features and function to improve ease and efficiency of executing great programming in either setting, all of the time.

     

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    Studer

    14 février 2014

    Axia

    14 février 2014

    XB-14-2

    14 février 2014

    XB-14-2 offers a host of specialised broadcast features that normally come at a much higher price, including telephone communication (telco) channels, mic channel ON switch sensing, stereo channel start/cue outputs for playback device control, automatic muting of speaker outputs and much more.

    XB-14-2 incorporates new features and styling based on feedback from the many broadcasters who have built their operations around the original XB-14. With a wealth of routing options, dual stereo channels for up to 7 stereo sources, and the addition of a dedicated Audition bus, enhanced microphone preamps and stereo channel gain range, XB-14-2 satisfies the demands of small radio and internet broadcasters as well as larger studios with multiple rooms. With no less than 27 logic I/O for remote control and 15 configuration switches, XB-14-2 is a highly flexible solution.


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    Allen & Heath

    14 février 2014

    Studio Six Digital

    22 octobre 2013

    C1 Pro-Rig

    4 octobre 2013

    SYSTÈME POUR différentes caméras: RED, SONY F3-5, 55, C300-500 (et plusieurs autres)

    Support d’épaule réglable très confortable pour de nombreuses « rig ».  Le meilleur coussinet dans l’industrie, cette « rig » peut s’adapter à plusieurs configurations en restant équilibrée et stable.

    Cinemecanix

    4 octobre 2013

    Vlado Pavicic

    27 juin 2013

    iD22

    24 mai 2013

    iD22 will transform your DAW into a world-class recording system by connecting directly to your microphones, computer and monitors.

    iD22 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.

     

    Features include:

    • 2-in, 6-out high performance 24-bit/96kHz AD/DA converters
    • 2 superb class-A mic preamplifiers & 1 discrete JFET instrument input
    • Fully balanced insert points for integrating outboard gear
    • High current headphone amplifier fed by an independant DAC
    • Main and alternative stereo outputs
    • User defined monitoring functionality with hardware control
    • USB2.0 class compliant connectivity with integrated DSP mixer

     

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    DR-100MKII

    24 mai 2013

    The rugged TASCAM DR-100mkII offers high-end recording features for musicians and engineers who demand more from their portable recorder. It features four built-in microphones – two cardioid and two omnidirectional – for great sounding recordings. A pair of XLR connectors accept microphone level signals with +48V phantom power for pro-grade condenser microphones, or balanced line-level signals (a new feature on the mkII). The mkII version also adds a S/PDIF digital input, locking connectors and more.

     

    Main Features

    • Balanced MIC or LINE inputs via XLR jacks
    • XLR jacks have locking latches for secure connectivity
    • Improved quality cardioid and omnidirectional microphones over the original DR-100
    • Mic pre amps have also been improved with higher gain and lower noise
    • Up to 96kHz/24-bit WAV recording
    • 32 to 320kbps MP3 recording
    • XLR or 3.5mm stereo (1/8”) LINE input jack
    • 3.5mm stereo (1/8″) LINE output jack
    • S/PDIF digital input (3.5mm stereo to RCA digital conversion cable included)
    • Wired/wireless remote control included (RC-10)
    • Limiter and low cut filter
    • Back panel dedicated switches
    • Rugged aluminum case
    • VSA changes playback speed from -50% to +16%
    • Records to SD or SD-HC card (2GB card included)
    • Cable with mini USB 2.0 jack Included
    • Large thumbwheel individual gain control
    • Built-in speaker
    • Tripod mount
    • Li-Ion battery, windscreen and carrying case also included
    • Dual battery power feature (AA plus rechargeable Li-Ion) with seamless transition for many hours of operation

     

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    RE20

    24 mai 2013

    The RE20 dynamic cardioid microphone is truly an industry standard, a firm favorite among broadcasters and sound engineers worldwide. Its popularity also extends into music production as a premium grade instrument microphone. Its Variable-D™ design and heavy-duty internal pop filter excel for close-in voice work, while an internal element shock-mount reduces vibration-induced noise.

     

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    AT2020

    24 mai 2013
    at2020_269x247
    • Un des meilleurs rapports qualité/prix dans la technologie du microphone à condensateur de studio à capture latérale

    • Idéal pour les applications en studio

    • Niveau de pression acoustique admissible élevé et gamme dynamique exceptionnelle rendant le microphone particulièrement polyvalent

    • Diaphragme de faible masse 16 mm fabriqué sur mesure fournissant une réponse en fréquence étendue et une réponse transitoire supérieure

    • Directivité cardioïde pour une meilleure isolation de la source sonore et une réduction de la prise de son latérale et arrière

    • Fixation pour pied filetée et pivotante assurant une fixation solide et un positionnement du microphone aisé et précis

     

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    Broadcaster

    24 mai 2013

    The RØDE Broadcaster is a large diaphragm, end address condenser microphone designed for broadcast voice applications.

    Its response has been tailored to give a rich, full, broadcast quality with an emphasised proximity effect, making it an ideal ‘on air’ radio microphone, equally fitting for voice over applications for film and television.

    The Broadcaster features an internal pop filter, designed to minimise plosives sounds that can overload the microphone capsule and distort the audio output.

    In addition to the Broadcaster’s native 20Hz-20kHz response a selectable high-pass filter at 75Hz is available, which will prevent low end noise such as air conditioners and traffic from being recorded.

    The Broadcaster features an innovative ‘On-Air’ indicator on the body that can be wired for external activation by the ‘Channel On/Mute’ function on many consoles. If not connected to a console or switch, the indicator will remain lit whenever the microphone has power. For more information please see the user manual.

    The RØDE Broadcaster microphone is covered by RØDE Microphones’ industry leading 10 year warranty.

     

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    Procaster

    24 mai 2013

    The RØDE Procaster is a professional broadcast quality dynamic microphone, specifically designed to offer no-compromise performance for voice applications in the broadcast environment.

    Featuring a tight polar pattern and tailored-for-voice frequency response, the Procaster is perfect for every application where a great sounding, robust microphone with superior ambient noise rejection is demanded.

    The Procaster features an internal pop filter, designed to minimise plosives sounds that can overload the microphone capsule and distort the audio output.

    Its high output dynamic capsule and balanced low impedance output make it an ideal broadcast and voice over microphone.

    The Procaster includes a sturdy RM2 microphone ring mount. For professional applications the optional PSM1 shock mount and PSA1 boom arm are highly recommended.

    The RØDE Procaster broadcast dynamic microphone is covered by RØDE Microphones’ industry leading 10 year warranty.

     

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    Rode

    24 mai 2013

    SM7B

    24 mai 2013

    The SM7B dynamic microphone has a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications. It features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices.

    The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications.

     

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    MD 421 II

    17 mai 2013

    The MD 421 II is one of the best known microphones in the world. Its excellent sound qualities enable it to cope with the most diverse recording conditions and broadcasting applications. The five position bass control enhances its ‘all-round’ qualities. Colour: black, sound inlet basket: refined steel, black.

    Features

    • Rugged professional microphone
    • Five position bass roll-off switch
    • Effective feedback rejection
    • Clear sound reproduction
    • Easy handling due to pronounced directivity

     

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    BCM 705

    17 mai 2013

    L’émotion transportée par la perfection technique. Les microphones Neumann de la gamme Broadcast ont été conçus pour atteindre cet idéal. Ils ont été optimisés en fonction des besoins des studios broadcast professionnels, et leur conception fonctionnelle optimisée assure qu’il s’agit de microphones de caractère. Le BCM 705 est le premier microphone dynamique signé Neumann. Son corps et sa grille sont identiques à ceux du modèle statique BCM 104 ; seule la couleur verte du logo indique qu’il s’agit d’une nouveauté pour Neumann. La capsule dynamique a été conçue selon un principe de réduction à l’essentiel ; elle est de directivité hypercardioïde, et spécifiquement conçue pour la prise de son de voix en grande proximité. Plusieurs niveaux d’isolation par rapport aux bruits transmis par voie solidienne assurent une parfaite insensibilité aux interférences, même dans un environnement de studio vivant.

    Caractéristiques mécaniques

    La grille du microphone se dévisse facilement, pour un nettoyage rapide. Neumann propose, en option, des grilles à code couleur permettant à chaque animateur, pour des raisons d’hygiène, d’utiliser sa propre grille. Les microphones de la gamme Broadcast Line possèdent également une suspension interne absorbant les bruits transmis par le pied, assurant la compatibilité avec les pieds de micro articulés spécifiques aux applications broadcast.

    Caractéristiques acoustiques

    La courbe de réponse présente une légère accentuation dans les aigus, dans une région du spectre comprise entre 2 et 9 kHz, pour une meilleure intelligibilité sur la voix. La réponse dans les fréquences basses est optimisée pour éviter toute suraccentuation des graves due à l’effet de proximité.

     

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    BCM 104

    16 mai 2013

    L’émotion transportée par la perfection technique. Les microphones Neumann de la gamme Broadcast ont été conçus pour atteindre cet idéal. Ils ont été optimisés en fonction des besoins des studios broadcast professionnels, et leur conception fonctionnelle optimisée assure qu’il s’agit de microphones de caractère.

    Avec sa capsule statique de grand diamètre et sa directivité cardioïde, le BCM 104 est idéal pour une reproduction fidèle de la parole et de la musique. Il le doit notamment à une réponse en fréquence plane jusqu’à 3 kHz, remontant ensuite progressivement dans les aigus. Si nécessaire, des sélecteurs internes permettent de compenser l’effet de proximité ou de réduire la sensibilité de 14 dB. Le BCM 104 est un microphone universel, convenant à des applications très diverses : news, tables rondes, dramatiques radiophoniques, enregistrements musicaux…

    Caractéristiques mécaniques

    La grille du microphone se dévisse facilement, pour un nettoyage rapide. Neumann propose, en option, des grilles à code couleur permettant à chaque animateur, pour des raisons d’hygiène, d’utiliser sa propre grille. Devant la capsule, monté sur un cadre-support, une gaze très fine sert d’écran anti-pop incorporé. Les microphones de la gamme Broadcast Line possèdent également une suspension interne absorbant les bruits transmis par le pied, assurant la compatibilité avec les pieds de micro articulés spécifiques aux applications broadcast.

    Caractéristiques acoustiques

    La grille du microphone abrite la capsule à grande membrane K 04, possédant une courbe de réponse plane jusqu’à 3 kHz. Dans les aigus, la bosse de présence atteint les 2 dB. Comme les caractéristiques mentionnées sont obtenues sans utiliser d’effet de résonance, le microphone assure une excellente réponse sur les transitoires, et transmet tous les phénomènes acoustiques (musique ou parole) sans aucune coloration.

     

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    Airmate-USB

    16 mai 2013
    airmate-usb_269x247

    We designed the Airmate-USB to fulfil the requirements for a high grade low cost radio production mixer. Built around well proven low noise circuitry, this console is the reliable workhorse for the self-op production D.J. that needs an internal Telephone Hybrid (2x) and USB connection to the PC (e.q. for streaming to the web). A heavy duty 19″ rack mounted RF shielded chassis houses 8 vertical triple input modules giving flexibility rarely found in a mixer of this type. Six input channels with high quality balanced microphone inputs on XLR and two stereo line level inputs on Cinch (RCA) connectors. Every Mic input has an insert for signal processors. And… every line level line B input can be converted into a phono (grammophone) channel by simply fitting an optional stereo R.I.A.A. equalized phono pre-amp.

     

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    Airence

    10 mai 2013

    With the AIRENCE-USB ON-AIR mixer you can own a modern, split version type of radio production mixer. A smart mixer with an integrated USB based control section. Built with well proven low noise circuitry, this console is the reliable workhorse for the self-op production D.J. Built in Telephone Hybrids (2x), 4 channels USB and 4 Mic inputs. Ideal for streaming to the web and sending and accepting 4 stereo channels from your Play-out software. 
    A heavy duty (19″ rack) RF shielded chassis, that can be used as a drop through in your furniture, houses all the vertically mounted input modules. Extension units with six triple input channels with high end quality Mic inputs on XLR and two stereo line level inputs on Cinch (RCA) connectors can be connected to the main unit. The result is a modern split drop through 12 (or 18/24) fader radio console.

     

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    Airlab MK2

    10 mai 2013

    The AIRLAB MK2 radio ON-AIR console is an extremely reliable solution for applications where features and functions has to be weighed up against operational simplicity. It’s analog, digitally controlled signal path is the best solution of both worlds to achieve a reliable workhorse under any condition. 
    With over 600 units in the field, the Airlab MK2 has proven to be a successful centerpiece of your ON-Air studio.

    A simple direct accessible control surface combined with intelligent instantly reset able digital functions enables 
    customizing to station requirements and even to personal requirements because of the use of a personalized chip card 
    holding all important functional data. Purchasing choices are straightforward: the welded steel frame will accommodate 
    a maximum of 16 triple input modules, which could include an unlimited number of Telco modules (up to 16 of course) 
    plus the master section with script space. The main outputs are electronically balanced and the majority of 
    connectors are on balanced XLRs.

     

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    S2

    10 mai 2013

    S2 is a new breed of radio broadcast mixer. Using the latest technology components, S2 offers digital audio quality with analogue reliability in a modular format. S2 has both digital and analogue input channels, together with simultaneous analogue and digital outputs.

    Following on from the Sovereign range of audio mixers, S2 combines all the features needed of a radio broadcast mixer in a stylish, flush-mounting chassis : a wide range of input and output channels, PFL/cue, fader-start operation of equipment, automatic monitor muting on mic-live, light controlling remote outputs, optional EQ on input modules, gram amp input options and 2 main audio buses, allowing you to broadcast on the PRG bus while recording on the AUD bus, with bus output selection on each module.

     

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    S1

    10 mai 2013
    s1_269x247

    The S1 has an amazing feature set and offers a proper broadcast solution to community, educational and student radio stations that need a versatile, reliable radio broadcast mixer. It has a ‘no compromise on quality’ approach with excellent mic amps, comprehensive facilities & simple, reliable operation.

    The Sonifex S1 mixer is a high performance compact, low cost, fixed format mixing console designed for on-air radio use. It can be fitted flush into a desk-top or can be rack-mounted by the addition of optional rack ears.

    The rear connectivity panel can be rotated 90˚ onto the base of the unit providing easier connection to the unit when it is rack-mounted. It has an integral universal switch mode power supply, which uses an IEC inlet.

     

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    S0

    10 mai 2013
    s0_538x494

    The S0 is a high quality yet simple to operate radio broadcast mixer ideally suited to community radio stations, for educational purposes and for internet radio. Easy to understand, the S0 includes a telephone hybrid for making and recording telephone calls and a 3.5mm stereo jack for plugging in an mp3 player. The addition of a USB port allows for recording to a PC and for playing a PC automation system directly through the mixer. The headphone outputs have a built in limiter to offer hearing protection and the studio speakers mute when a microphone fader is open, with automatic mic live sign switching.  The S0 allows presenters and DJs to be up and running quickly with a fully featured radio studio mixer.

     

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    François Wermenlinger

    7 mai 2013

    Le TM7 Touchmonitor de RTW gagne le prix iF Product Design Award 2013 !

    29 avril 2013

    La société RTW, leader mondial de mesure et de surveillance en production et diffusion vidéo, sort gagnante d’un prix iF Product Design Award (International Forum Design) pour la toute nouvelle version d’une moitié de 19 pouces du module branchable 20700VID à écran tactile du TM7 Touch Monitor de RTW, spécifiquement conçue pour une intégration parfaite dans des modules de surveillance des formes d’ondes généralement utilisés dans les studios vidéo, qui sont souvent difficiles à intégrer dans des espaces restreints. La société a également remporté un prix semblable en 2011 pour la série TM7 et pour le TM9 à écran tactile.

    Pour en savoir plus:

    Radio Explorer

    19 avril 2013

    The Radio Explorer is a multifunctional, easy to use tool, designed to evaluate FM broadcast band congestion and to measure and store all important radio broadcast parameters in a Log file. This is a stand-alone solution for running surveys – no other additional tools are needed. You can setup for observation up to 50 preselected channels. All you need to do is to get Radio Explorer in the vehicle and go. When your campaign is over just use the supplied free of charge Windows software to convert the log files into KMZ format and visualize the stored data in Google Earth. Thus you can « get the picture » of what really happens in the field, to outline the coverage of every station compared to competitors’. Such functionality is irreplaceable when you need to analyze and tune your broadcast equipment and antenna. The Log file can be exported also as a transitional format for future analysis or could be kept in record.

     

    FEATURES:

    • FM Band 87÷108 MHz Basic Spectrum Analyzer
    • Selectable wide/narrow IF bandwidth
    • MPX, PILOT & RDS deviation meters
    • Built-in Stereo decoder; Stereo Presence Detection
    • LEFT and RIGHT demodulated audio level meters
    • Built-in 50-channels GPS Receiver
    • Measurement results visualisation in Google Earth
    • Accurate front-panel metering for local use
    • Headphones audio output with volume control
    • RDS and RBDS decoder
    • FM/RDS/RBDS Data Logger
    • RDS/RBDS Stream BER meter
    • Metal Case for high RF immunity
    • Full control and monitoring via USB connection
    • RF and RDS Measurements (real time & average)
    • Very Intuitive Application Interface

     

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    DB5000

    19 avril 2013

    The DB5000 recovers the additional inaudible RDS information which is transmitted by FM radio broadcasting stations and operates in accordance with all the European RDS and The American RBDS standards and specifications. The device is made up of two sections: Purely digital RDS demodulator module with cascaded antialiasing and 8th order bandpass filter for precise RDS band selection. The demodulating section performs the extraction of RDS data stream coming from the MPX composite and direct 57kHz input and built-in FM Stereo tuner module with own RDS/RBDS decoder for off-air reception. The DB5000 can be used as a very simple spectrum analyzer for remote investigation of the FM Band via Internet. The composite port is suitable for connection to any MPX output of any FM receiver or modulation monitor.

    The RDS data is displayed on a superb 2×40 character LCD. It shows the program service name, format and program IDs, alternative frequencies, RDS clock, TP and TA flag status, scrolling 64-characters-long radio texts and in-house messages, traffic and emergency alerts. A rear-panel TCP/IP port allows remote using of the unit and further analysis or archiving of the received data. The DB5000 meets all the European CENELEC and American NRSC standards.

     

    FEATURES:

    • Full feature RDS and RBDS decoder
    • FM Band 87-108 MHz Basic Spectrum Analyzer
    • Very high RDS Demodulation Quality
    • High Performance 8th order 57 KHz Bandpass Filter
    • Purely Digital RDS Demodulation
    • Accurate digital readout of subcarrier injection level
    • Front-panel LCD screen
    • COM & USB Connectors for Local Connectivity
    • TCP/IP Connector for Remote Connectivity
    • Front-panel Keyboard for Local Setup
    • External composite MPX and RDS input
    • Built-in Tuner
    • E-mail Notifications on low RDS/RF Level
    • Any Web Browser becomes a remote station
    • Easy installation and operation

     

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    DB44

    19 avril 2013

    Compact, Robust, Reliable and Clever – This is just a small part of all the advantages of our DB44 FM Radio Monitoring Receiver and Basic Modulation Analyzer. Based on the latest technology, the DB44′s core is DSP based digital design for 24/7/365 operation. 

    After demodulating the FM signal, the MPX signal is digitalized and all signal processing is then made through calculations. The signal being digitalized, at the input the equipment acquires measurement reproducibility over time. The digital filters’ accuracy, put into use in this equipment, enables the FM multiplex signal’s components to be accurately and repeatedly reproduced from one device to another, i.e. the same signal applied to two devices would give the same result. The processing power of this equipment enables all measurements to be refreshed simultaneously and synchronously, thereby allowing for detailed readings of all the Multiplex FM signal components.

    FEATURES:

    • Fully DSP based core
    • Built-in Oscilloscope allowing Left, Right and MPX display
    • MPX Power measurement with data history
    • RF Spectrum analyzer allowing to check the RF Carrier parameters
    • MPX Spectrum analyzer for Left, Right and MPX measurements
    • Selectable De-emphasis – 50µs and 75µs
    • Built-in Stereo Decoder; Stereo Presence Detection
    • Date & Time Settings with various formats
    • LAN port for full TCP/IP remote control and monitoring
    • Up to 90dBµV direct RF Antenna Input
    • Adjustable alarms for RF, Deviation, Pilot and RDS signal
    • Firmware update for future-proof operation
    • Parameters Factory Restore Option
    • FM Band 87 – 108 MHz Basic Spectrum Analyzer
    • MPX, PILOT & RDS deviation meters
    • LEFT and RIGHT demodulated audio level meters
    • Headphones audio output
    • RDS and RBDS decoder with BER meter
    • Intuitive Application Interface
    • Alarm dispatch via E-mail, SMS, SNMP
    • Channel status reporting via SMS
    • RF and RDS Measurements
    • Remote Listening via optional GSM modem
    • Real Time Audio Program Streaming
    • Attractive price and very good price-performance ratio
    • Very Intuitive Embedded WEB server for interactive supervision
    • Proved and reliable hardware for 24/7/365 operating
    • Easy Installation and Setup
    • SNTP for automatic synchronization of the built-in clock
    • Compact and Robust Aluminum Case for high RF immunity

     

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    DB3000

    19 avril 2013

    The DB3000 FM Modulation Analyzer is a digital FM demodulator and modulation analyzer. The RF (IF) and MPX signal is digitalized as soon as it enters the device, and all signal processing is then made through calculations. The signal being digitalized at the input, the equipment acquires measurement reproducibility over time. Digital filters’ accuracy, used in this equipment, enables the FM multiplex signal’s components to be accurately and repeatedly reproduced from one device to another, i.e. the same signal applied to two devices would give the same result. The processing power of this equipment enables all measurements to be refreshed simultaneously and synchronously, thereby allowing for detailed readings of all the Multiplex FM signal components. 

    DB3000 incorporates easy to read, high-resolution bargraph displays that allow reading the main signal parameters at a glance. The built-in DB3000 Oscilloscope represents the observed signal change over time, and enables you to visualize the most important signal components involved in the process of demodulating and stereo decoding. The Spectrum analyzer likewise the Oscilloscope mode, is a mode for spectral analysis of the input signal and part of DB3000 features. The Spectral components of the selected signal are determined on the basis of Fast Fourier Transform. MPX Power measurement, supporting measurement history data is yet another DB3000’s impressive feature. Additionally to the list of DB3000′s features, RDS information that is contained in the processed MPX signal is easily visualized and represented as RDS/RBDS Data and RDS/RBDS Statistics.

     

    FEATURES:

    • Fully DSP based core
    • Bright, accurate bargraph LED metering of the Modulation and Pilot Levels
    • Total and independent Positive and Negative deviation bargraph
    • Left, Right, L+R, L-R bargraph LED audio level meters
    • Accurate « floating dot » program peak marker
    • Easy to ready LED display for selected frequency
    • Very Intuitive Navigational Menu
    • Built-in Oscilloscope allowing IF, MPX, Pilot, Subcarriers, Left, Right, Left+Right and Left–Right display
    • MPX Power measurement with data history
    • RF Spectrum analyzer allowing to check the RF Carrier parameters
    • MPX Spectrum analyzer for Pilot, SCA, L/R, L+R and L–R measurements
    • Direct MPX Input for external composite signal measurement
    • Selectable De-emphasis – Off, 50µs and 75µs
    • Quick Station access via 15 Presets
    • Built-in Stereo Decoder and Selectable Forced Mono mode
    • Protected access to the device settings
    • Date & Time Settings with various formats
    • Level Adjustable Balanced Analog Audio Outputs on XLR Connectors
    • Professional AES/EBU Digital audio output on XLR connector
    • LAN port for full TCP/IP remote control and monitoring
    • Headphone output with front panel level control
    • Up to 90dBµV direct RF Antenna Input
    • Adjustable MIN/MAX alarms for Carrier Loss, Multipath, Deviation, Pilot signal, Subcarriers, Analog Audio Loss
    • USB, and RS232 communication interfaces
    • Alarm tally outputs for remote fault indicators
    • Easy and intuitive Windows Application
    • Firmware update for future-proof operation
    • Parameters Factory Restore option
    • Operating voltage range 110-120V or 220-250V AC
    • 19″ Professional Case for high RF immunity

     

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    DB4004

    19 avril 2013
    db4004_538x494

    The DB4004 is our second generation digital FM Radio Modulation Analyzer. It combines our long-term experience in FM Radio Monitoring and FM radio measurement “know how.” The RF (IF) signal is digitalized as soon as it enters the device and all signal processing is then made through DSP algorithms. The signal being digitalized in this way, at the input, the equipment acquires measurement reproducibility over time. The powerful accuracy of the digital filters used in this equipment enables the FM multiplex signal components to be accurately and repeatedly reproduced from one device to another. The incredible processing power of the device enables all measurements to be refreshed simultaneously and synchronously, thereby allowing for detailed readings of all the Multiplex FM signal components. The DB4004 has an easy to read, high-resolution OLED graphical display and ultra-bright bargraph LED 60 segment indicators that allow reading the main signal parameters at a glance. The built-in DB4004 Oscilloscope represents the observed signal change, over time and helps you visualize the most important signals participating in the process of demodulating and stereo decoding. Complimenting the Oscilloscope mode, the Spectrum analyzer mode allows spectral analysis of the input signal and some of DB4004 features likewise. Spectral components of the selected signal are determined on the basis of Fast Fourier Transform. MPX Power and all other level measurements are supported by measurement history data. In addition to the list of DB4004 features, RDS information contained in the processed MPX signal is easily visualized and represented as RDS/RBDS Data and detailed RDS/RBDS Statistics.

     

    FEATURES:

    • FM Band 87 – 108 MHz Basic Spectrum Analyzer
    • Dual antenna ports with built-in RF attenuator
    • Up to 100 dBµV direct RF Antenna Input
    • Selectable wide range IF filter bandwidth
    • Fully DSP-based core
    • Bright, accurate bar graph LED metering of the Modulation and Pilot Levels
    • Total and independent Positive and Negative deviation bar graph
    • Left, Right, L+R, L-R bar graph LED audio level meters
    • Wide angle, easy to read OLED display
    • Very Intuitive Navigational Menu
    • Built-in Oscilloscope for IF, MPX, Pilot, RDS, Left & Right display
    • Levels measurement with data history
    • Spectrum analyzer allowing checking of the RF Carrier and MPX
    • Selectable De-emphasis – Off, 50µs and 75µs
    • Quick Station access via 4 Presets
    • Built-in Stereo Decoder
    • Real Time Audio Program Streaming
    • Remote Listening via optional GSM modem
    • Built-in 50 channel Data logger
    • Built-in WEB and FTP server
    • Easy to use WEB interface
    • Apple and Android devices support
    • SNTP for automatic synchronization of the built-in clock
    • RDS and RBDS decoder with BER meter
    • Alarm dispatch via E-mail, SMS, SNMP and GPO
    • Complete status reporting with SMS via optional GSM modem
    • Protected access to the device settings
    • Level Adjustable, Balanced Analog Audio Outputs on XLR Connectors
    • Professional AES/EBU, SPDIF and Optical Digital audio outputs
    • LAN port for full TCP/IP remote control and monitoring
    • Adjustable MIN/MAX alarms for RF, Pilot Left & Right Audio Levels
    • Adjustable MIN/MAX alarms for MPX, MPX Power & RDS
    • USB communication interface for local connectivity
    • Headphone output with front panel level control
    • Firmware updates will ensure improved operation
    • Accurate front-panel metering for local use
    • Restore Factory Parameters option
    • Easy Installation and Setup
    • Wide operating voltage range: 100-240V AC
    • 19″ Professional Case for high RF immunity

     

     

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    Deva Broadcast

    19 avril 2013

    TSL PPL nomme Sonotechnique comme son distributeur canadien

    25 mars 2013

    Useful links

    Nouvelle importante que cette annonce d’une entente de distribution de la gamme de produits de TSL, un fabricant de solutions pour l’industrie de la radiodiffusion, de l’acquisition jusqu’à la livraison, y compris la surveillance audio, le traitement et la prise de son, les systèmes de pointage et de solutions de gestion d’énergie qui sont heureux d’annoncer qu’ils ont choisi Sonotechnique comme leur distributeur canadien !

    Pour en savoir plus:

    OSIX 1

    22 février 2013

    OSIX 1 a été conçue pour un microphone NEUMANN de la série KM 100, composé d’un corps 48 V et d’une capsule de la série 120 à 150. 

    Il est possible d’adapter toute une gamme de bonnettes anti-vent, y compris une W 20 Schoeps modifiée (sans la protection à poils).

    Isolateur avant: C3
    Isolateur arrière: D3

     

    Plus d’information sur ce produit

    Cinela

    22 février 2013

    SX-R4

    22 février 2013

    6 analog / 8 digital inputs compact light-weighted hard disk audio recorder

    8 recording tracks on hard disk and either 2 recording tracks or Mirroring on CF Card. The ideal companion for on location multi-track recording, documentaries, classical music. Perfect Gain control and advanced linking capabilities.

    Recording capabilities: 44,1 up to 192kHz @ 24bits and 16 bits ( dithering )
    File format: *.WAV  with BWF chunk and iXML metadata
    File structure: Mono – Stereo – Polyphonic

    8 Recording tracks on the HD, 2 Recording tracks or mirroring on the CF Card.
    Comprehensive Cross-matrix system for easy routing and mixing
    User configurable Monitoring

    Small and robust construction
    Friendly user interface, comprehensive and intuitive menu structure
    Battery or external DC operated

    KEY FEATURES

    • 4x electronically balanced Mic/Line Input with RF Filter, XLR connectors
    • Low noise, large bandwidth  semi-discreet microphone preamplifier
    • 48V Phantom for Mic powering
    • Pre LF Cut for rough wind conditions, PAD, Phase reversal
    • High quality Limiter on each input, Led level indicators
    • Channel linking ( on gain ) : 1 to 2 or 4 / 2 to 3 or 4 / 3 to 4
      ideal for one or two stereo pairs or M/S pair and even Soundfield B-Format
    • 1x stereo unbalanced adjustable Line input on TA3 connector
    • 4 x AES Digital input ( 8 digital channels )
    • Sampling rate from 44,1 up to 192kHz at 24bits, including NTSC Pull Up / Pull Down 0.1%
    • TimeCode In & Out, all formats, follow the pull up/down
    • Wordclock In & Out, Video Sync In all format including Tri-level & Bi-level sync
    • Unbalanced Stereo/Mono pre-mix Line Outputs user configurable, on TA3 and Mini Jack for camera Link, wireless feeds or additional monitoring
    • Headphone out on 1/4″ Stereo Jack

    Machined aluminum housing
    Powered by six AA ( LR6 ) batteries or external 6 – 18 VDC

    Dimensions 180 x 140 x 50 mm / 7,09″ x 5,5″ x 1,96″
    Weight 800 grams (1,75 lbs) without batteries
    990 grams ( 2,18 lbs ) with 6 AA rechargeable batteries

     

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    MINIR82

    22 février 2013

    4 analog / 8 digital inputs compact light-weighted hard disk digital audio recorder


    8 recording tracks on hard disk and either 2 recording tracks or Mirroring on CF Card. The ideal companion for on location multi-track recording, documentaries, classical music. 

    Recording capabilities: 44,1 up to 192kHz @ 24bits and 16 bits ( dithering )
    File format: *.WAV with BWF chunk and iXML metadata
    File structure: Mono – Stereo – Polyphonic

    8 Recording tracks on the HD, 2 Recording tracks or mirroring on the CF Card.
    Comprehensive Cross-matrix system for easy routing and mixing
    User configurable Monitoring

    Extremely Small and robust construction
    Friendly user interface, comprehensive and intuitive menu structure
    Battery or external DC operated

    KEY FEATURES

    • 2 balanced MIC/LINE inputs using high end mic preamp technology on 7 pins miniature connectors
    • MIC/LINE input gain individually adjustable on the front panel by two potentiometer
    • 1 stereo analog line input adjustable in the setup menu from -20 to +12 dBu
    • 48V Phantom for Mic powering
    • 4 x AES Digital input ( 8 digital channels )
    • Sampling rate from 44,1 up to 192kHz at 24bits, including NTSC Pull Up / Pull Down 0.1%
    • TimeCode In & Out, all formats, follow the pull up/down
    • Wordclock In & Out, Video Sync In all format including Tri-level & Bi-level sync
    • Headphone out on 3.5mm stereo jack

     

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    SX-PR

    22 février 2013

    SONOSAX SX-PR is the smallest and most lightweight stereo mixer available today. All that is needed for powering are 3 C-cell alkaline batteries of 1.5V or NiCad accumulators.

    An ingenious feature of this modular system is its adaptability to right or left-handed users. The master module with the modulometer may be installed on either side of the mixer.

    Like all other SONOSAX manufactures instruments, SX-PR has been built using only professional components (conductive plastic potentiometers, switches and connectors with goldplated contacts, etc.) to ensure unparalleled levels of quality, performance and reliability. In addition, the switches and potentiometers are air-tight and thus dust protected.

    All these features, together with very demanding SONOSAX standards, have resulted in this mixer that meets the needs of News reporting (ENG/EFP) where reliability, size and weight make all the difference whether recording indoors or outdoors.

    And, to top it all, thanks to the updated electronic characteristics of modern techniques, this tiny little mixer is ALL SET FOR DIGITAL RECORDING!

    Connected with an R-DAT recorder this equipment enables stereo sound recording of an extremely high quality.

     

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    SX-VT

    22 février 2013

    Modular 12 to 48 channels mixer/recorder with 8 main busses

    The SONOSAX SX-ST or SX-VT Series are the most compact modular mixing consoles on the market. Meanwhile their reduced size, they offer a maximum of possibilities to suit each user needs, with unequalled characteristics.
    As with all SONOSAX products, the SX-ST and SX-VT series are built without any compromise in quality. Our 25 years of experience have helped us to develop and build this mixer which is designed to last a minimum of 12 to 15 years. The reliability of the SONOSAX SX-ST or SX-VT is due to a high-tech design, the choice of the best components available, a meticulous hand assembly and a severe quality control. 
    Each stage of the modules has been extensively studied to give the highest in quality and performances. The result of the research and development is an ergonomic mixing console with extraordinary characteristics.

    Key Features

    - Compact and fully modular construction 
    - Un-compromised choice of components 
    - Ultra-low noise mic preamps with +48V phantom power available on all input channels 
    - Electronically balanced, transformer less inputs and outputs 
    - Wide bandwidth10Hz to 200kHz, suitable for SACD and next converters generations 
    - High dynamic range and large headroom 
    - Direct Outputs selectable Pre-EQ, Post-EQ or Post Fader 
    - 8 Groups individually selectable Pre or Post Pan
    - 4 Auxiliaries individually selectable Pre or Post Fader 
    - Limiter on each input channel 
    - High quality conductive plastic linear fader
    - Dual peak meters on each input for Pre and Post Fader level indications 
    - Triple Monitoring section with 2 Private Lines for communications 
    - Large scale level-meter indicators switch able to level and phase correlation meter 
    - Internal 8 channels of high quality A to D converter ( optional ) 
    - Integrated 8 track Hard disk and Compact flash Card recorder ( optional ) 
    - Compact size and low weight 
    - Low consumption

     

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    SX-ST

    22 février 2013

    Compact modular 8 to 12 channels mixer/recorder with 8 main busses

    After the highly acclaimed SONOSAX SX-S, we are pleased to announce the launch of our SONOSAX SX-ST/VT Series.

    Considered as a cinema industry standard for recording (more than 60% of the worldwide movie production is using our consoles), the SONOSAX SX-S was designed in 1983 and twenty years of careful listening from our clients have allowed us to present this new product today, enlarging our existing SONOSAX SX-S range.
    Thanks to our clients and the feedback from faithful users, and also thanks to the new technologies available today, we are now proud to present the most advanced analogue mixer ever manufactured, using the same mechanical design from 1983, a successful collaboration between our company and the “Ateliers du Nord in Lausanne.

    This new range includes 8/10/12/16/24/32 inputs (stereo input optional), 8 main busses, 4 auxiliary busses, a complete monitoring section with 5 LED-meters, a complete communication system with 2 private lines.

    The SONOSAX SX-ST is available in 8 and 10 channels, or 8 channels with 8 DIGITAL outputs. Powered from batteries, or external 12 to 18V.

    The SONOSAX SX-VT is available on 12, 16,24 and 32 channels, with main power.

    Unlike equipment based on cheap manufacturing, low cost and short life, each piece of component is carefully selected upon its performances and long life duration, with no compromise in order to save on the costs.

     

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    SX-ES64/84

    22 février 2013

    The SX-ES64 and SX-ES84 offers the essential communication system for on-location recording, OB facilities, or any mobile or studio applications. Its ergonomy has been carefully designed for convenience and ease of operation. Its small size and lightweight makes it easy to carry, even as cabin luggage.

    APPLICATIONS

    • Video, TV and cinematography productions
    • Mobiles or stationary Post-production facilities or recording studios
    • OB Van, Live Broadcasting, sports events
    • Analogue or digital recording of acoustical music
    • High end installations in concert halls or theatres
    • Home studios



    KEY FEATURES

    • Small sized and lightweight 6 channels (ES64) or 8 channels (ES84) audio mixer with 4 groups and dual monitoring
    • Electronically balanced, transformer less inputs and outputs
    • Large audio bandwidth and high dynamic range
    • High quality potentiometers, faders and switches, resistant to water projection (IP45)
    • Ultra low noise microphone preamplifier based on semi-discrete technology
    • Primary passive LF-Cut (Pre-LF Cut) to protect the microphone preamplifier
    • 48V Phantom power, phase reversal and individual limiter on each input channel
    • Channel’s direct output configurable either Pre-EQ, Post-EQ or Post Fader
    • 3 band semi-parametric Equalizer, available as an option
    • 4 mix groups individually assignable Pre-Pan / Post-Pan or Pre-Fader / Post-Pan
    • High quality conductive plastic linear fader
    • LED Meter on each input for level metering, overload and limiter activity indications
    • 4 master groups and dual monitoring section with private line for off line communication
    • Reference tone oscillator and integrated slate/com  microphone
    • Choice of optional connectors for camera’s send/return with confidence monitoring
    • Analogue to Digital Converter available as an option, for channel’s direct outputs and main 1&2
    • Powered either from internal batteries or external DC voltage 6 to 18Volt
    • Low power consumption, lightweight and small footprint

     

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    SX42

    22 février 2013

    Already selected by the International forum design!

    The result of a collaboration between Philippe Cahen, Antoine Cahen (ADN Design, Switzerland) and Jacques Sax.

    The SONOSAX SX-42 is a ENG/EFP mixer of the last generation.

    Thanks to 25 years of experience, Sonosax was able to develop and build this mixer, which was designed to have a minimum life-span of 10 years, despite an intensive use under the worst conditions. It can be used under the rain and is resistant to water splashes. It also corresponds to the IP45 standard. 
    The case is in eloxed aluminium, the potentiometers are watertight IP45, the « reed » type switches are watertight and airtight. All capacitors are of professional type, with lo indipendence and a long life-span.

    After having presented the SX42 and discussed with some of our clients, we also decided to add M/S possibilities, not only on the monitoring but also on the main outputs. 
    As a result, the inputs 1 (M) and 2 (S), and respectively 3 (M) and 4 (S) will include a switchable M/S matrix. So that, if faders are linked, the stereo width will be fixed, and if they’re not, the stereo width can be adjusted by using the faders independently.

    To fulfil some of our customers’ requests, we have also decided to offer the possibility to add an equalizer on one or two channels. This option is accessible at the bottom of the SX42 and includes: 
    - Lo frequency equalizer: 4dB/oct, ±12dB at 80Hz, ±15dB at 40 Hz 
    - Hi frequency equalizer: 4dB/oct, ±12dB at 8kHz, ±15dB at 16kHz 
    - Mid sweep equalizer: 6dB/oct, ±11dB, 200Hz to 8kHz 
    This option limits the inside space and then the possibility to include other accessories like a transmiter or a receiver. Check carefully with Sonosax what kind of options you want to include.

    Modulation indicators : 2 indicators with mobile coil, large range of -32dB to +12dB, selectable inside in mode VU or Peak, compensated in temperature and closed at the front by tempered glasses.

    Internal power supply : 4 alkaline batteries 1,5V size D, 
    NiCd 1,2V-4Ah, or NiMH 1,2V-7Ah accumulator 
    Autonomy : 10 to 15 hours

    Dimensions 260 x 160 x 50 mm / 10,2″ x 6,2″ x 1,9″
    Weight 2100 grams (4,6 lbs) with batteries

     

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    SX-M32

    15 février 2013

    3 channels/stereo mixer with digital output

    Compact and Leight Weight High Quality 3 channels Stereo ENG/EFP Mixer

    Ideal companion for News – ENG – small Documentaries – Folley’s – Music
    Small and robust construction, Low Power consumption

     

    KEY FEATURES

    • Electronically balanced Mic/Line Input, XLR connectors
    • 48V Phantom for Mic power
    • Pre LF Cut for rough wind conditions – PAD – Phase reversal
    • Input trim on the front panel for easy Mic Gain adjustment, retractable
    • Individual Input Limiters
    • Sweep LF Cut, retractable
    • Mix routing L-C-R
    • Stereo and MS linking of channel 1 and 2
    • M/S Decoder
    • PFL for rapid channel monitoring in headphones
    • Stereo Bus Input for external link
    • Switchable Limiter on the Mix
    • Comprehensive Monitoring selector with M/S decoder
    • LED peak-meters with fast ballistics
    • Electronically balanced Line Outputs, XLR connectors
    • Stereo Sub-Out, Line/Mic level on TA3 connector
    • Mono Line/Mic level output for wireless link to camera on TA3 connector
    • Adjustable Return input for monitoring, assignable to the Mix
    • AES Digital Out, 48 and 96kHz@24bits / choice for 48/16 or 192/24
    • Choices of Right side panel: Standard or with channels Direct Outs Pre & Post
    • Optional multiway connectors

    Machined aluminum housing

    Dimensions 176 x 138 x 46 mm / 6,93″ x 5,43″ x 1,75″
    Weight 800 grams (1,76 lbs) with batteries


    Powered by 6x AA batteries or external 6 – 18 VDC

     

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    SX62R

    15 février 2013

    An Offroad multipurposes Mixer/Recorder

    The SONOSAX SX62R is a portable 6 channels high quality Analogue Mixing console with a true stereo mix bus and an advanced Monitoring & Communication system combined with an integrated 8 Tracks Digital Recorder on SSD Drive and CompactFlash card.

    Built in a Compact and Light Weight housing the SONOSAX SX62R is based on a new ergonomic concept; standard functions are immediately accessible on the front panel,  all other features and configurations are easily accessible through an intuitive menu simply by touching the large colour screen.

    Main connections being located on the recessed rear panel the connectors and cables are not only well protected but their weight is evenly distributed in the center instead of being unevenly spread sidewise.

    The SONOSAX SX62R mixer provides with most of the features found in larger mixer such as the SONOSAX SX-ES64 or the SONOSAX SX-ST while the integated digital recorder offers all functionalities required for today’s productions workflow, providing a full implementation of BWF and iXLM metadatas and many users friendly  features.

    APPLICATIONS

    • Field Productions
    • Documentaries, TV series, Reality show
    • Feature Film
    • Music Recording
    • OB Van, sports event
    • Recording of Surround sounds or multichannels microphone systems

     

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    VR Field

    12 février 2013

    Battery-Powered Modular Receiver Systems

     

    Wideband Low   222 MHz Bandwidth

    • Chassis Models:
      • VRFIELDWBL – 222 MHz bandwidth (Wideband Low)
    • Digital Hybrid Wireless® system
    • Ultra portable and self-contained
    • Six-channel modular configuration
    • “NP1” style battery power
    • 3 different diversity reception schemes
    • 256 synthesized UHF frequencies per receiver module
    • DSP modes for use with analog wireless systems
    • LCD interface for setup and monitoring
    • USB and RS-232 computer interface for control and programming with included software

     

    VRS and VRT Modules

    The VR Field Receiver system is a modular UHF design that operates with Digital Hybrid Wireless® transmitters and a variety of analog transmitters. It consists of a Venue Field wideband receiver (VRFIELD), one to six plug-in receiver modules and a built-in antenna multi-coupler. LecNet2 software is included for setup, monitoring and control. Each individual receiver can be used by itself for phase switched diversity reception, with one audio channel per receiver. For more robust diversity reception, adjacent receivers can be paired and used for ratio diversity or frequency diversity reception. A battery compartment in the assembly accepts standard “NP” style batteries. Batteries must be charged outside of the VR Field with chargers designed for the specific battery type in use.

     

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    Venue Series

    12 février 2013

    WIDEBAND   230 MHZ BANDWIDTH

     

    3 RANGES: LOW (470.1-691.1 MHZ), MID (537.6-767.9 MHZ), HIGH (640.0-861.9 MHZ)

     

    • Chassis Models:
      • VRMWB – 230 MHz bandwidth (Wideband)
    • Receiver Modules:
      • VRS – Standard Receiver
      • VRT – With Tracking Front End
    • Digital Hybrid Wireless® system
    • Six-channel modular configuration
    • SmartTune™ for auto frequency selection
    • Standard Module (Fixed Bandwidth) for most situations
    • Tracking Module (with Frequency Tracking Filters) for congested and hostile RF environments
    • Built in zero-gain antenna amplifiers allow RF signal “loop through” to additional Venue Receiver systems
    • OptiBlend™ (Ratio Diversity), SmartDiversity™ (Antenna Phase Diversity) or Frequency Diversity
    • 256 synthesized UHF frequencies per receiver module
    • DSP based pilot tone
    • DSP emulation modes for compatibility with analog wireless systems in addition to the Digital Hybrid mode
    • LCD interface for setup and monitoring
    • USB and RS-232 computer interface and VRpanel software (part of LecNet2™)

    The Venue Series Receiver Systems are of a modular UHF design that operates with Digital Hybrid Wireless® transmitters, and a variety of analog transmitters. Each unit consists of a master host assembly and up to six plug-in receiver modules. The system includes an antenna multi-coupler, computer communications interface and the mechanical rack mounting for the receiver modules.

    The design offers a tremendous degree of flexibility. For example, each of the three pairs of receiver modules can be combined and used for ratio diversity or frequency diversity reception. Each individual receiver module can be used by itself for phase switched diversity reception. Combinations of reception techniques can be used at the same time.

    LICENSING INFORMATION:
    Licensing: A ministerial license to operate this equipment may be required in certain areas. Consult your national authority for possible requirements. Changes or modifications not expressly approved could void your authority to operate the equipment. Licensing of wireless microphone equipment is the user’s responsibility, and licensability depends on the user’s classification and application, and on the selected frequency. The user is strongly urged to contact the appropriate telecommunications authority concerning proper licensing, and before choosing and ordering frequencies.

     

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    UCR411a

    12 février 2013

    Digital Hybrid Wireless™ Compact Receiver

    • Digital Hybrid Wireless® (U.S. Patent #7,225,135)
    • SmartSquelch™
    • SmartDiversity™
    • 256 selectable UHF frequencies
    • Auto-tracking front-end filters
    • DSP-based pilot tone
    • Graphics type backlit LCD display
    • Balanced XLR audio output
    • Internal batteries or external DC powering options
    • Compatiblity modes for use with analog transmitters

    The UCR411A receiver provides professional performance and a versatile feature set in a compact design for field and location production. All settings are made from the front panel with a powerful LCD interface, making the unit ideal for use in Quad Paks, on sound carts, in portable bags and in rack mount multi-couplers. To alleviate interference problems in an increasingly congested RF spectrum, an RF spectrum analyzer is built into the receiver. The receiver tunes across its 25.6 MHz tuning range and records RF activity with markers on the LCD screen. Finding clear operating frequencies is a quick, simple process. The UCR411A is compatible with all 400 Series Lectrosonics wireless transmitters (and some other transmitter types) and can be powered with internal 9V batteries or external DC.

    The mechanical design of the receiver combines field proven features developed over many years of experience in motion picture and television production markets. The machined aluminum housing and panels are surfaced with electrostatic powder coated and anodized finishes with laser etched markings to withstand the rigors of field production.

     

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    UCR100

    12 février 2013

    UHF Belt-Pack Receiver

    • Ideal for compact DV camcorders
    • 256 selectable UHF frequencies
    • High sensitivity for extended range
    • Dual-band compandor
    • Ultra rugged tempered alloy antenna
    • 9 Volt battery powered
    • Machined aluminum construction
    • Electrostatic powder coated and anodized finish

    The Lectrosonics 100 system was designed to operate with the new generation of DV camcorders, offering an ultra-compact receiver and modest cost, yet preserving the performance that has become the hallmark of Lectrosonics.

    The system offers 256 selectable frequencies over a 25.6 MHz band to avoid interference from local RF sources. The UCR100 receiver is highly sensitive and the matching transmitters provide a full 100mW of output power. The result is exceptional operating range and freedom from drop outs.

     

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    SR Series

    12 février 2013

    Dual-Channel Slot Mount 
    ENG Receivers

     

    Two-channel slot-mount Digital Hybrid Wireless® diversity receivers. The SR receiver offers two independent channels and fits into the standard video camera slots found on professional cameras. The two audio channels can feed separate inputs or can be mixed internally to feed a single input.

    NOTE: Not all cameras have two audio channels enabled in the slot.

    The SRa5P variant is equipped with an external audio output for cameras that only have one audio input in the slot. Both audio channels can be connected with external cable (MCSR/SPXLR2).

    Note: An SR or SRa may be converted to an SRa5P by an authorized Lectrosonics Service Center. Contact your dealer for details.

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    WM

    8 février 2013

    Watertight Beltpack Transmitter

    • Selectable output power to maximize battery life or operating range
    • Machined aluminum, corrosion resistant housing
    • Water resistant seals for use in wet environments
    • LCD interface with lockout option
    • Programmable compatibility modes for use with a wide variety
      of different receivers
    • Servo Bias input circuitry with selectable voltage

    Designed for wet or dusty environments, the WM transmitter features O-ring sealed battery compartments and input jack, a compression sealed antenna port and gasket sealed control panel and back cover. Dual AA batteries provide twice the operating time of earlier watertight transmitter designs. Larger membrane switches and control panel and a highly visible, backlit LCD enhance the user interface.

     

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    UM400a

    8 février 2013

    Digital Hybrid Wireless® UHF Belt Pack Transmitter

     

    • 256 synthesized UHF frequencies
    • 100 mW output power
    • DSP controlled dual envelope input limiter
    • DSP emulations for analog compatibility
    • Servo bias input preamp
    • DSP based pilot-tone signal
    • Circulator/Isolator output stage
    • Adjustable low frequency roll-off

    The UM400a implements the latest Digital Hybrid Wireless® technology in a classic Lectrosonics belt-pack transmitter. A 5-pin input jack provides taps for low impedance dynamic mics, electret lavalier mics with positive or negative bias and line level inputs. Input gain is adjustable over a 43 dB range to perfectly match the audio input level for optimum modulation, minimum distortion and maximum signal to noise ratio. Input levels are accurately indicated by two LEDs on the control panel.

    The innovative servo bias input on the standard 5-pin connector provides a programmable, regulated voltage to accommodate a wide variety of electret microphones.

     

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    SMV

    8 février 2013

    Single Battery – UHF Belt Pack Transmitters

    • Digital Hybrid Wireless™ Technology*
      (U.S. Patent #7,225,135)
    • Variable, selectable power output:
    • SMV: 50mW, 100mW, 250mW
    • Membrane switch control panel with LCD display
    • 256 synthesized UHF frequencies
    • Wide input dynamic range
    • DSP based pilot-tone signal
    • Circulator/Isolator output stage
    • Splash-proof, machined aluminum housing
    • Non-corrosive, super-hard finish

    To meet the demand for both extended operating range and extended battery life, the « V » series SM transmitters offer selectable output power of 100 or 250 mW. A third selection at 50 mW is provided for some theatrical applications where the system design specifies lower transmitter power.

    The input section features the unique servo bias input circuitry with a standard TA5M type jack for use with electret lavaliere mics, dynamic mics, or line level signals. A DSP-controlled analog audio limiter is employed before the A-D converter. The limiter has a range of more than 30 dB for excellent overload protection and a dual release envelope that makes the limiter acoustically transparent while maintaining low distortion. The limiter recovers quickly from brief transients, with no audible side effects, and also recovers slowly from sustained high levels to keep audio distortion low while preserving short term dynamics.

     

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    MM400C

    8 février 2013

    Water-Resistant Digital Hybrid Wireless™ Miniature Transmitter

    • Waterproof Power/Mute switch
    • Water resistant, rugged, machined aluminum housing with noncorrosive, superhard finish
    • Digital Hybrid Wireless™ system
    • 256 synthesized UHF frequencies
    • 100 mW output power
    • Dual bicolor LEDs indicate four different levels for accurate gain adjustment
    • DSP based pilot-tone signal eliminates squelch problems
    • Backward compatible to earlier technologies

    The rugged, water resistant MM400C is based on Digital Hybrid Wireless® technology, a revolutionary new design that combines 24-bit digital audio with an analog FM radio link. The result is outstanding audio quality plus the extended operating range of the best analog wireless systems in a package that can withstand the most extreme moisture and temperature environments.

    The MM400C is conveniently powered by a single AA battery, with internal switching power supplies providing constant voltages to the transmitter circuits from the beginning (1.5 volts) to the end (0.85 volts) of battery life. The 100 mW output with an RF circulator/isolator in the output stage provides excellent operating range while virtually eliminating intermodulation problems common in multichannel environments. The 4.5 hour battery life (lithium) is comparable to standard transmitter models operating on 9 V batteries. 

     

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    HM

    8 février 2013

    Digital Hybrid Wireless® UHF Plug-on Transmitter

    • Digital Hybrid Wireless® Technology
    • Membrane switch control panel with LCD display
    • Converts microphones with XLR jacks to wireless operation
    • Selectable 5, 18 and 48 volt phantom power plus off position for dynamic microphones
    • Adjustable low frequency roll-off
    • Powered by two AA batteries
    • 256 synthesized UHF frequencies
    • 100 mW output power
    • Rugged machined aluminum housing

    The HM Digital Hybrid® UHF plug-on transmitter features a DSP-based design that allows the transmitter to operate in its native Digital Hybrid Wireless® mode, Lectrosonics 200 Series, 100 Series, IFB product groups, plus two modes for compatibility with analog receivers from other manufacturers. A unique multi-voltage phantom power feature allows the transmitter to be used with virtually any microphone, including high-current condenser types, expanding its usefulness in high-end applications such as motion picture production.

     

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    HH

    8 février 2013

    Digital Hybrid Wireless®
    Handheld Transmitter

    • Digital Hybrid Wireless® Technology
    • Standard thread-on capsules
    • Membrane switch and LCD interface
    • AA battery power
    • Selectable RF power at 50 and 100 mW
    • Talkback feature
    • Capsule sold separately

    The HH Digital Hybrid Wireless handheld transmitter represents an elegant solution for a variety of wireless microphone applications including live performance, broadcast, AV rental and houses of worship. The HH incorporates many advanced features to provide high quality speech and vocal reinforcement. Along with providing peerless audio quality with wide frequency response and dynamic range in native 400 Series mode, the technology used in the HH includes compatibility modes for Lectrosonics 200 Series, 100 Series and IFB receivers, and some systems from other top manufacturers. (Contact Lectrosonics for details.)

     

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    WMS-5

    7 février 2013

    Double M-S 5.0 Surround Microphone

    ・ 5 surround outputs from one microphone (L, C, R, LS, RS)
    ・ Compact size: 235mm(length), 235g(weight)
    ・ Precise phase coherent M, S, M capsule layout
    ・ MS to LR Matrix circuitry in the microphone body
    ・ Ideal 5.0 sound localization
    ・ Various accessories available for outdoor operation


    The WMS-5 is the world’s first 5-channel Surround microphone self-contained in one mic body. As the newest model in a comprehensive line of the highest quality microphones for audio recording, HDTV broadcast and film, the breakthrough Sanken WMS-5 utilizes extensive M-S stereo research conducted in conjunction with Japan’s NHK. The WMS-5 is the ideal microphone for on location multichannel audio recording. 

    Surround sound for broadcast and film has become quite popular, but creating realistic multi-channel soundtracks in post-production from traditional microphone sources has proven problematic, time consuming, and unnatural. The WMS-5 delivers realistic surround sound with minimal setup time, and is easily mounted on a camera, boom pole, or pistol grip.

    The Sanken WMS-5, an exclusive Sanken design based on the well known M-S method of recording, provides 5 surround outputs signals. The front “M” capsule is used for both “C” and front L, R. The “S” signal is for both front L, R and rear LS, RS. The rear “M” capsule is used for LS and RS. In order to keep precise phase coherence, capsules are set vertically on the same axis. The front “C” capsule has shotgun directivity.
    Stereo angle is 120 degree (L-R, LS-RS).

     

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    CUB-01

    7 février 2013

    The Boundary Microphone with Front Side of Hemisphere Cardiod Directivity

    ・ Clear and rich sound
    ・ Small size, easy to set up
    ・ Front side of hemisphere cardioid directivity


    The SANKEN CUB-01 offers an exclusive design which overcomes the limitations of previous boundary microphones, producing an extremely rich and full-bodied sound. Although small (32.5mm diameter, 14mm height, 45g weight) the sound is comparable with much larger microphones. The CUB-01 is designed for use in many situations, from TV and film field shooting to broadcast studio production and conference table recording. Because of its small size it is easy to conceal from the camera, and can be positioned in a variety of environments, for example, attached to the ceiling of a car with two-sided sticky tape.

    Using Sanken’s advanced technology, the CUB-01 has a unique square-shaped capsule housing the diaphragm. With this proprietary design, the effective area of the diaphragm is significantly enlarged. Due to the CUB-01′s cardioid directional characteristics, human narration and dialogue are clearly recorded while eliminating unnecessary background noise.
    The CUB-01 is available in gray or beige.
    The Sanken CUB-01 offers a totally new design that overcomes the limitations of previous boundary microphones. Generally speaking, most boundary microphones have almost the same sound characteristics, heard as « thin, » « solid, » and « metallic. » Using Sanken’s advanced technology, the CUB-01 has resolved this problem with its unique square-shaped cardioid capsule. This proprietary design significantly enlarges the effective area of the diaphragm, resulting in a boundary microphone whose sound is rich and natural, with a flat response to 70Hz. Now it is possible to capture a « full bodied » and « clear » sound ? human narration and dialogue are clearly caught while excluding unnecessary background noise

     

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    CMS-10

    7 février 2013

    ・ Switchable very sharp mono-shotgun and stereo mic
    ・ Very short length (210.5mm) and light weight (170g) 
    ・ Using PPS diaphragm, it maintains high durability and quality even in high humidity environments. 
    ・ By use of a specially designed suspension holder, it can isolate camera motor noise in camera mount use.
    ・ Basic design is M-S, but it includes M-S to L-R circuitry, and allows a direct L-R signal
    .

    The CMS-10 provides extremely high-resolution audio to match today’s advanced picture quality. This versatile microphone is switchable between a very sharp directional Mono and rich Stereo in environmental imaging. Stereo angle is 127°.

    Unlike conventional shotgun microphones, the CMS-10 uses a unique second-order pressure gradient design, enabling precision directional response through multiple cardioid elements in a front-back array. The capsules combine line microphone performance and second-order gradient response in a single compact system. 

    Stereophonic localization depends primarily on signal accuracy and channel separation in the 400Hz to 3kHz range. Pattern control of the CMS-10 has been optimized in this range. Very low and very high frequency response has been optimized along the frontal axis so that the « target » on-axis sounds are clearly delineated.

     

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    CSS-5

    7 février 2013

    Wide Stereo, Stereo and Mono, Three Mode Operation Shotgun Microphone

    World’s First Stereo Shotgun —- with Three Modes of Operation

    ・ MONO, Normal STEREO and Wide STEREO 3 MODE switchable
    ・ Superb rear rejection at 180 degrees even in low frequencies 
    ・ MONO-STEREO compatibility. Mono and phantom center have the same sound characteristics


    MONO
    In the MONO mode, sharp directivity is maintained over a wide frequency range for the aimed frontal sound sources, using the combination of a second gradient microphone and a line microphone. It is significant that the CSS-5 picks up the chosen sound source very clearly even in a noisy ambient situation or in a long reverberation space.

    NORMAL
    In the NORMAL mode, the CSS-5 clearly picks up the targeted sound as well as extremely accurate stereo localization. STEREO angle is 120°.

    WIDE 
    The WIDE mode is designed for stereo recording of sound effects and environmental information where dialogue will be dubbed in at a later date. This mode allows a wider 140 degree stereo width.

    Mono-Stereo Compatibility
    In stereo recordings, the frequency response of the MONO summed output often exhibits interference, or comb filtering. This phenomenon is caused by phase differences between the Left and Right signals. This does not occur in single point recording

     

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    CS-3e

    7 février 2013

    Location and Studio Shotgun Featuring Exceptional Off-axis Rejection

    ・ Location and studio shotgun featuring exceptional off-axis rejection
    ・ Unique design combination of line mic array and second pressure gradient method
    ・ Very sharp pinpoint directivity
    ・ Provides rich human voice characteristics


    The CS-3e stands out among shotgun microphones because it maintains directivity over an extremely wide frequency range, especially in the low frequencies. Because of its unique design, the CS-3e is an excellent choice for use in difficult applications, such as close-to-ceiling positions or locations near a noisy camera. Even in such challenging situations, the excellent side and rear rejection of the CS-3e helps to capture only the targeted dialogue without ambient reverberation problems. The CS-3e delivers sharp directional sound even in the lower frequencies. Sanken’s original design results in a low proximity effect which facilitates working in a scene close-up and wide, while producing little change in sound character.
    In the CS-3e, three directional capsules are arranged in a front-back array to combine line microphone performance and second-order pressure gradient response in a single system. With this unique design, the CS-3e achieves phenomenal supercardioid directivity in the lowest frequencies and throughout the full range in a microphone only 27cm (10 inches) in length. It is significant that the CS-3e picks up the targeted frontal sound sources with exceptional clarity over a wide frequency range – even in noisy ambient environments or in long reverberation spaces – by rejecting undesired noise and sounds coming from the rear and sides.

     

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    CS-2

    7 février 2013

    Long Distance Shotgun Pickup with a Rich, Natural Tone


    120mm long acoustic tube in a standard 250 mm length / 19mm diameter body, with the proprietary Sanken rectangular capsule for supersharp directivity.

    Greater directivity and extended reach over greater distances. A rich, natural sound makes the CS-2 ideal for a wide range of uses, such as for outdoor location sound, interviews, sports, drama, variety shows, and many more.

    The “high boost switch automatically compensates for the attenuation of high frequencies when the mic is used with a windscreen/windjammer for outdoor use. As a result, the full, natural sound is maintained.

     

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    CS-1e

    7 février 2013

    Short Shotgun Microphone For Boompole and Camera Mount

    ・Very sharp directivity in a 181.5mm length body.
    ・We have evolved the CS-1 which is very popular in the market as its compactness and high quality performance.
    ・This renewal short shot gun mic ‘ CS-1e ‘ is ideal for the camcorder mount and boom pole operations.
    ・Though its total length is only 181.5mm, it has very sharp direction and makes longer reach recording possible.
    ・Only 80g weight makes easier for operators to work in the field. 

    The CS-1e is Sanken’s solution to a large demand from many engineers in the video and film Industries. This shotgun mic is easily hidden from the camera’s view because of its short length. Although only 181.5mm, the CS-1e has very sharp directivity and provides excellent sound in a wide variety of professional engineering applications. The CS-1e is very effective on boom poles, and also works extremely well with various kinds of camera mounts for one-man ENG operations. Affordably priced, the CS-1e is ideal for today’s highly mobile operators.

     

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    Du soccer en surround

    7 février 2013

    Le nouveau DSF-2 de Soundfield était le microphone surround  »officiel » pour la diffusion en direct 5.1 surround HDTV durant la dernière Coupe du Monde de Soccer, le premier événement au monde a avoir planifié et livré sa diffusion en haute définition 1080i avec une image format 16:9 et un son  »live » en 5.1 pour chaque match !

    Pour en savoir plus

    COS-11D PT-RM-1.8/3.0

    7 février 2013

    Lavalier Microphone with 1.8m cable stripped end, no connector. 9dB attenuated sensitivity.

    ・ Overcomes digital transmitter RFI
    ・ Water Resistant
    ・ Durable Design
    ・ Great Clear and Rich Sound
    ・ 4 Color Choices
    ・ Improved Moisture Resistance
    ・ Original Vertical Diaphragm Design
    ・ Optimized for the Human Voice


    Sanken has introduced the COS-11D, which overcomes RFI (radio frequency interference) from the digital transmitter. In today’s wireless transmission systems the microphone must remain unaffected by new forms of digital transmitter signals. They present new challenges in the area of emission protection. In many cases, noise levels increase and the S/N ratio is deteriorated by the interference of digital transmitters. Sanken has designed the COS-11D specifically to diminish the instances where interference is an issue.

    Four colors are available in the COS-11D series: Black, Gray, Beige and White.

     

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    COS-11D PT-1.8/3.0

    7 février 2013

    Superb Sound in a New Generation Ultra-miniature Lavalier Mic

    ・ Overcomes digital transmitter RFI
    ・ Water Resistant
    ・ Durable Design
    ・ Great Clear and Rich Sound
    ・ 4 Color Choices
    ・ Improved Moisture Resistance
    ・ Original Vertical Diaphragm Design
    ・ Optimized for the Human Voice


    Sanken has introduced the COS-11D, which overcomes RFI (radio frequency interference) from the digital transmitter. In today’s wireless transmission systems the microphone must remain unaffected by new forms of digital transmitter signals. They present new challenges in the area of emission protection. In many cases, noise levels increase and the S/N ratio is deteriorated by the interference of digital transmitters. Sanken has designed the COS-11D specifically to diminish the instances where interference is an issue.

    Four colors are available in the COS-11D series: Black, Gray, Beige and White.

     

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    Le nouveau blogue Sonotechnique!

    18 décembre 2012

    Voici notre nouveau blog maintenant disponible autant sur le web qu’en version mobile pour partager encore plus de photos, de vidéos, de rapports pour nos activités et événements, les réalisations de projets, des photos et vidéos des plus récents produits nouvellement arrivés chez Sonotechnique.

    Déjà, vous pouvez lire des articles et visionner de nouvelles vidéos sur le ProRig C1 de Cinemecanix et le nouvel enregistreur mélangeur Sound Devices 664 !

    http://sonotechnique.blogspot.ca/

    Bienvenue au PixelHub Montréal 2012

    14 novembre 2012

    Du 29 novembre au 1er décembre 2012, Montréal accueillera la première édition du Pixel Hub MontréalSommet de l’image en mouvement. Cet évènement réunira les différents secteurs de l’industrie du cinéma et de la télévision. Des conférences et ateliers seront donnés par des professionnels d’expérience des États-Unis, d’Europe, d’Asie et du Québec sur les dernières innovations technologiques dans la chaine de production.

    De la préproduction à la diffusion/distribution, en passant par la postproduction, venez découvrir les nouvelles normes d’aujourd’hui et de demain. Au cours du Sommet, des résultats d’études seront également présentés. Tous les secteurs d’activité et métiers seront présents dans une ambiance dynamique exclusivement réservée aux professionnels.

    On y présentera notamment les nouveautés de Cinemecanix, Dedolight et Sound Devices, tous sous la bannière de Sonotechnique.

    Un rendez-vous à ne pas manquer!

    www.pixelhubmontreal.com

    Omnia ONE Studio Pro

    11 octobre 2012

    Combining the magic of our legacy Omnia processors with the most sought after features in a pre-processor, the Omnia ONE Studio Pro fulfills the needs that our clients have been clamoring for: a lower delay processor for applications that require minimal delay and do not require absolute peak limiting. The Omnia ONE Studio Pro is the first studio processor to include a four-band compressor/limiter. The flexibility offered by the Omnia ONE Studio Pro’s compressor/limiter allows you precise and accurately defined individual control while pre-processing music, commercials, remote feeds, or sweetening audio. Recording studios, mastering labs, TV stations … the Omnia ONE Studio Pro can be used anywhere for just about any application where signal processing is needed. Omnia ONE Studio Pro features:

    • Four Bands of AGC.
    • Four Bands of limiting.
    • New « Bypass » settings for the final look-ahead limiter and Bass EQ sections.
    • Time-aligned, dynamically flat crossovers.
    • Selectable phase rotator.
    • Analog, AES3 and Livewire™ I/O
    • Automatic input fail-over on loss of audio.
    • Full remote control via Ethernet port using built-in web interface.

    You can also mix n’ match production sound as much as your ear desires with the Omnia ONE Studio Pro’s set-ups, which can be used separately or together for almost unlimited possibilities. They include:

    • Wide-Band Automatic Gain Control.
    • Four-Band Limiter.
    • Four-Band Compressor.
    • Bass Enhancement.

     

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    Omnia ONE Multicast

    11 octobre 2012

    The OmniaONE Multicast- Omnia’s new second generation audio processor for coded audio, featuring the exclusive SENSUS audio conditioning technology. Most likely, multicasting is either happening at your station now or is in your near future. A whole new way to get your message out there! But just think about how little bandwidth each channel will get.

    If this concerns you (and it should), you need to consider Omnia Multicast.

    We designed Omnia Multicast with exclusive SENSUS technology to minimize artifacts as well as restore the fullness and depth that bit-reduction steals Our DSP gurus teamed up with the codec experts at Telos, the folks who introduced broadcasters to MP3 and MPEG AAC, and together, they developed SENSUS, a unique way of processing your audio to pre-condition it for HD Radio multicasting, specifically tailoring it for the bitrate that you will be using.

    Like all Omnia processors, OmniaONE Multicast gives you maximum flexibility to create your exact signature sound, even under the limitations of bit reduction.

    Sporting a brand new platform with more power than its predecessor and only a single rack-space in height, the OmniaONE Multicast features a Widebank gain rider followed by Four Bands of AGC, Four Bands of limiting, SENSUS and Omnia’s proven low-distortion look-ahead Final Limiter. Other tech features include time-aligned, dynamically flat crossovers, selectable phase rotator, analog, AES3 and Livewire I/O, automatic input failover on loss of audio, Ethernet, RS-232 modem and GPIO remote control. Multicasting isn’t the only bit-reduced stream that can benefit from OmniaONE Multicast. Satellite uplinks, Internet broadcasting, cellcasting – anyone producing realtime audio for coded channels can benefit from the audience-grabbing sound that’s made Omnia the first choice of broadcasters everywhere.

     

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    Omnia SG

    11 octobre 2012

    Omnia.SG lets you keep the on-air processor at the studio, where it’s convenient, while keeping stereo generation at the transmitter, where it belongs.

    Designed to compliment your existing audio processing, Omnia.SG is modeled after the same stereo generator used in Omnia audio processors Omnia.SG provides stereo generation and includes a selectable composite clipper and base-band filter for crisp, clean loudness.

    It’s the best of both worlds: clear, digital stereo generation and the convenience of locating your processing at the studio.

     

    OMNIA.SG WITH CLOCK SYNC OPTION

    As an option, Omnia.SG can now be ordered with a built-in GPS clock sync, designed to assist with the synchronization of stations that are on the same frequency, or on closely-spaced adjacent frequencies.

    This synchronization is achieved through the use of a GPS receiver with a 10Mhz clock input, easily deployed at each station’s transmitter site.

    The GPS clock sync is used, for example, when a station puts a booster on the same frequency to fill behind a mountain or tall buildings which block the main transmitter, but is in the primary service area. Unless the stereo encoders are precisely synchronized at both transmitter sites, there could be distortion, noise, and the stereo pilot detector may switch back and forth between the two stations noisily, along with other potentially annoying behavior when a listener is in a spot where both signals are received equally. The Omnia.SG with clock sync option eliminates this problem by synchronizing the sites precisely via GPS. Omnia.SG users can update to include the GPS clock sync option. Contact Omnia Audio for details.

     

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    Omnia ONE AM

    11 octobre 2012

    Omnia introduces the latest addition to their line of Omnia ONE audio processors.

    Now you don’t have to compromise AM audio performance if your budget doesn’t allow for a top-of-the-line processor. Utilizing the latest advances in DSP hardware and manufacturing techniques, Omnia ONE AM brings a full four-band AM processor in a single rack space package!

    Omnia ONE AM features the same processing topology that made Omnia processing famous, a Wideband AGC / Leveler followed by a four-band AGC and separate (not integrated) four-band limiter section utilizing a shared precision linear crossover.

    Rounding out the processing is Omnia’s advanced NRSC compliant, distortion-managed final limiter / clipper, including selectable Low Pass Filter frequencies that support AM HD transmission installations……the same as used in the Omnia One’s bigger siblings. It separates Omnia from any “copycat” competition.

    Omnia ONE AM features:

    • Livewire connectivity.
    • Web Browser remote interface.
    • Wideband AGC provides smooth, “hand on the pot” gain riding.
    • Selectable phase rotator.
    • Time-aligned, dynamically flat crossover.
    • Four-Band AGC to add dynamic EQ enhancement for consistency and to build density before the limiter stages.
    • Four-Band peak limiter using feedback limiters for the lower two bands (optimized for bass punch and lower mid-range warmth) and feed-forward limiters for the upper two bands. (optimized for sparkling upper mids and highs)
    • Advanced, fully distortion-controlled pre-emphasized final limiter / clipper.
    • Selectable Low Pass Filters suitable for NRSC, HD AM, or any ITU installation.

     

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    Omnia ONE FM

    11 octobre 2012

    Omnia ONE features the same processing topology that made the original Omnia processors famous, but at a price which is remarkably affordable. Available for FM, AM or Multicast applications. Application can be changed with simple software download, so your investment is ready for present and future utilization.

    Omnia ONE FM features:

    • Wide-band AGC for smooth, “hand on the pot” gain riding.
    • Four-Band AGC to add dynamic EQ enhancement for consistency and to build density before the limiter stages.
    • Five-Band peak limiter using feedback limiters for the lower two bands (optimized for bass punch and lower mid-range warmth) and feed-forward limiters for the upper two bands. (optimized for sparkling upper mids and highs)
    • Time-aligned, dynamically flat crossover.
    • Selectable phase rotator.
    • Advanced, fully distortion-controlled pre-emphasized final limiter / clipper.
    • Integrated digital stereo generator with advanced peak control, two composite MPX outputs, SCA input and 19kHz output.

     

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    Omnia.9

    11 octobre 2012

    For possibly the first time, there will be no need to compromise a service or a set of services to inferior audio processing and management due to space and/or budget limitations. So, let’s take a look. As you can see, Omnia.9 is jam packed with feature after feature, not available until now, in a single unit:

    • Simultaneous separate processing cores for FM and HD and (Optional) HD2 and HD3.
    • Each processing core is separately fully adjustable and has selectable 4, 5, 6 or 7 bands
    • Psychoacoustic Composite Embedder allows up to 140% audio peaks in stereo at 100% total modulation.
    • Contains exclusive “Undo” technology, a source declipping algorithm and program-adaptive multiband expander which removes distortion from source material. This corrects over-processed CDs, so common in today’s contemporary music.
    • Multiband downward expansion (source noise reduction)
    • 3-stage wideband AGC with adjustable sidechain equalization
    • Program-dependent multiband compression
    • Multiband look-ahead limiting
    • Adjustable dynamic bass clipping (future feature)
    • Selectable phase linear high pass filter, 15, 30 or 45 Hz
    • (For Digital) Two-band final look-ahead limiting
    • Selectable phase linear (high latency) or low latency (talent air monitoring capable) modes
    • Fully automatic program-dependent declipper and multiband expander for damaged content such as loud CDs
    • Streaming encoding built in for Primary Digital (HD) and (Optional) Secondary (HD2) and Tertiary (HD3). Supports encoding to MP3 (Mpeg-1 Layer 3), MP2 (Mpeg-1 Layer 2), AAC, HE-AAC (including RTSP/3G for streaming to mobile phones), Ogg Vorbis, WMA and WMA Pro.
    • 7 inch front panel touch screen
    • Full remote control.
    • On-screen keyboard with several layouts (QWERTY, QWERTZ, AZERTY, Dvorak and ABC sequential) for easy setup and preset name typing
    • RDS encoder, dynamically updateable
    • Selectable SSB (Single Sideband) stereo encoder
    • HTTP push support for automation, such as dynamic RDS and streaming song titles, preset recall
    • Dayparting (scheduled preset selection) (future feature)
    • Studio Output with very low latency for talent monitoring
    • Dual independent power supplies
    • Composite pass-through (relay bypass) for your backup processor

     

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    Omnia

    11 octobre 2012

    Omnia.11

    11 octobre 2012

    From the very beginning, the developers of the Omnia.11 were determined to create a processor which would stand head and shoulders above the legendary Omnia 06.

    So, Team Omnia started with a fresh canvas.

    Everything from the firmware platform, the GUI, to every algorithm was re-thought, and in most cases completely re-engineered or re-designed.  The result is unlike any existing product of its kind to date.   Omnia.11 has literally defined the new state-of-the-art for FM audio processing, as evidenced by a trifecta of awards from the three leading industry publications:  2010 Cool Stuff Award from Radio World Magazine; 2010 Pick Hit from Radio Magazine; 2010 TechInk Award for Innovation by Radio Ink Magazine.

    For the first time, listeners will hear the programming, not the processor.   Effortlessly loud.   Thunderous bottom end, sparkling highs, and crisp, clear voice reproduction.  All with that trademark punch and clarity which made Omnia the required audio processor of the highest-rated radio stations in the world.

    So dramatic is the advancement of Omnia.11, that initial tests have revealed that many early adopters were genuinely startled by the lack of a traditional “processor sound” when the unit was first deployed.  The low level distortion and artifacts, long accepted as part of the fundamentals of processing, are now almost completely gone and certainly not perceptible to the ear.

    The firmware in Omnia.11 takes advantage of software capabilities never before possible.  The results are dynamics algorithms that were once only a dream of the processing enthusiast.   AGCs, Compressors, and Limiters analyze music in real time and adjust internal parameters for optimum performance across a broad range of material.

    Available in two models:

    Omnia FMHD: Featuring dual, independently controlled processing paths for FM and HD/DRM

    Omnia FM: Without HD/DRM capability, but can be upgraded to FMHD at a later date.

     

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    Zephyr Xstream

    10 octobre 2012

    Presenting Zephyr Xstream, the newest member of the famous Zephyr family of ISDN transceivers. Since its groundbreaking marriage of MPEG Layer-3 and ISDN technology  in 1993, Telos Zephyr has become perhaps the most successful digital broadcast product ever. Today Zephyr is the standard for high-quality audio transmission at broadcast facilities worldwide… from California to Canberra, from Munich to Madrid, and everywhere between.

    Zephyr Xstream introduces MPEG4 AAC-LD coding, the newest compression algorithm from MP3 inventor Fraunhofer Labs, for Layer-3 audio quality with transmission times reduced up to 80 percent. True two-way high-fidelity remotes over ISDN are finally a reality! And of course Zephyr Xstream is fully backward-compatible with our original Zephyr.

     

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    ProFiler

    10 octobre 2012

    Meet ProFiler: the automatic audio logger that handles three chores at once:
    • It’s a program audio logger,
    • It’s an aircheck skimmer,
    • it’s a remote listening application for consultants or Group PDs.

    ProFiler uses real Fraunhofer MP3 compression for great-sounding logged audio. Get rid of those clunky tape machines and walls of tape storage: ProFiler runs on a standard PC with Windows 2000 or  XP Professional. Archive to space-efficient CD-ROMs; share audio files with anyone.

    ProFiler comes with a high-quality balanced-I/O audio card that records one stereo or two mono audio streams.Additional channels of program audio may be logged by adding more audio cards to the ProFiler installation. ProFiler records one stereo audio channel, expandable to as many as four stereo or eight mono channels per PC.

    ProFiler’s uses are endless:

    • Radio stations legally required to log program content

    • Production directors who assemble audio composites

    • Program hosts who want to archive their broadcasts for rebroadcast or Internet streaming

    • Commercial and program content verification

    • Log live events and contest lines

    • Record and analyze your competition for counter-programming

     

     

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    ProSTREAM

    10 octobre 2012

    You need a box to process it, another to encode it, yet another to stream it. Why can’t one device do it all?

    Your wish has been granted: Telos ProSTREAM is the streaming solution for web audio that you’ve been waiting for.

    Telos is the codec expert, and ProSTREAM puts all of our expertise into a single, integrated streaming appliance. Forget no-name encoders; ProSTREAM uses genuine MPEG encoding algorithms from FhG, the inventors of MP3, to ensure the most artifact-free sound quality at whatever bit rate you choose. You can encode directly to MP3 or MPEG-AAC and feed any Shoutcast-compatible media server, or a Wowza server for streaming to Flash clients.

    And, to make your audio really sing, ProSTREAM comes with sweetening from Omnia Audio, the world leaders in audio processing for broadcast.

    The best part: Telos ProSTREAM is neatly self-contained in a 1RU box. Just slide it into a rack and it’s ready to go – no running your mission-critical audio over crash-prone PC hardware and operating systems.

     

    ProSTREAM puts you in total control of your audio streams. The intuitive web interface provides remote control of all functions including creation and editing of processing presets with an easy-to-use preset editor. Because it’s web-based, you can access these functions from any browser-equipped computer on your network — no other software required. But there are convenient front-panel controls too, so you can manage your most-frequently needed functions right from the rack.

    Adjust the audio input levels, define a metadata source, select a processing preset, codec, and bitrate. Even select a target media server. There’s also a built-in headphone amp with ¼ » jack and volume control for monitoring input or output audio.

    ProSTREAM comes standard with studio-grade analog inputs and outputs, which can be changed to AES/EBU with an optional card. On the input side, you can use Livewire IP-Audio as an audio source. And on the output side, ProSTREAM delivers fully processed, unencoded audio as well as encoded audio, giving you another source for processed sound. Full network connectivity is provided via two Ethernet jacks, one for the LAN (including Livewire) and the other for the WAN and streaming.

    No matter what your audio source or how you stream, ProSTREAM delivers flawlessly optimized audio that sounds terrific. Pure. Free of artifacts. And alive with character.

     

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    Z/IP ONE

    9 octobre 2012

    Z/IP ONE is the newest addition to the Zephyr family — an affordable, 1 RU codec designed to help you get the best possible quality from public IP networks and mobile phone data services, even from connections behind NATs and firewalls. Agile Connection Technology (ACT), a Telos exclusive, is the foundation for the Z/IP’s excellent performance on real-world networks. It delivers reliable audio despite varying network conditions, and without the need for user intervention. The Z/IP dynamically adapts to the network, minimizing the effects of packet loss and jitter.

    When the network is well behaved, you will benefit from the lowest possible delay and the highest possible fidelity. Should network conditions become challenging, the Z/IP ONE automatically responds by lowering the bitrate and increasing the buffer length, doing everything possible to ensure audio makes it to your studio reliably.

    Z/IP ONE extracts excellent quality from even not-so-excellent IP connections, thanks to a new codec based on low delay AAC: Advanced Audio Coding-Enhanced Low Delay (AAC-ELD), which gives excellent fidelity at low bitrates with nearly inaudible loss concealment and very little delay.

    And of course, Z/IP ONE speaks fluent Livewire; in addition to standard I/O, the Livewire connection lets it connect to any Axia IP-Audio network using just a CAT-5 cable.

     

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    Hx6 Six-Line Talkshow System

    9 octobre 2012

    Meet Hx6, the latest six-line Talkshow system from Telos. Equipped with advanced Telos hybrids and a full suite of audio processing capabilities, including Telos’ renowned Digital Dynamic EQ, Hx6 extracts excellent caller audio from even the most unruly far-end connections.

    Hx6 works with POTS or ISDN phone lines, and comes equipped with dual hybrids for high-quality conferencing — the same advanced technology used in the best-selling Telos Hx1 and Hx2 telephone hybrids.

    With its huge feature set and superior sound quality, Hx6 gives an instant audio upgrade to broadcasters with phone-centric programming.

    Hx6 Front
    Hx6 Front

    Hx6 incorporates two advanced Telos digital hybrids, each with independent AGC, noise gate, and call ducking dynamics, optimized using carefully-tuned DSP algorithms.

    Each hybrid also benefits from famous Telos Digital Dynamic EQ (DDEQ), a sophisticated multi-band equalizer that analyzes and adjusts caller audio so that calls sound smooth and consistent every time, whether the far end is calling on POTS, VoIP, a cell-phone — whatever. There’s also special echo cancellation as well as adaptation routines and a subtle, inaudible pitch shifter that reduces the possibility of feedback when calls are taken in open-speaker situations.

    Around back, you’ll find I/O and Telco connections. Hx6 works with either analog or digital telephone lines; specify POTS or ISDN when you order. Hx6 connects directly to 6 incoming POTS lines, or 3 ISDN BRI lines (which provide 6 caller channels). Separate analog I/O is provided for each hybrid; AES/EBU is optional. There’s also a Program-On-Hold input, GPIO connections for speaker muting, ring tallies, et cetera,

    There’s also an Axia Livewire Ethernet port on the back panel. Through that jack, Hx6 puts audio, hybrid control and mix-minus for all six phone lines onto one single skinny CAT-5 cable. Setup is simple: plug it into your Axia network, do some fast web-based configuration, and your talent can control Hx6 right from your Axia iQ console. The Ethernet jack also provides access for remote call-screening applications that run on your producer’s PC.

     

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    VX Broadcast VoIP System

    9 octobre 2012
    telos-vx-fanless-group-538x494

    VX is the world’s first VoIP (Voice over IP) talkshow system. It’s incredibly powerful, incredibly flexible, and highly scalable — a powerful whole-plant broadcast phone system that’s also economical enough for stations with just two or three studios. VX connects to traditional POTS and ISDN telephone lines via standard Telco gateways. But it can also connect to VoIP-based PBX systems and modern SIP Trunking services to take advantage of low-cost Internet-delivered phone services. Using standard Ethernet as its data backbone, VX significantly eases the cost of phone system installation, maintenance and cabling, while making it easier than ever for talent to take control of their phone system. VX is truly the future of broadcast phones.

    With VX, we’ve wedded the capability of modern networking to the remarkable power of today’s digital processing to bring the benefits of the resulting synergy to broadcast facilities. With VX, you can move and share lines between studios at the touch of a button. VX is naturally scalable, capable of serving even the largest of facilities — while remaining surprisingly cost-effective for even single stations with more modest needs. To make the most of this networked environment, we’ve built VX around the VoIP standard.

    VX uses Ethernet as its network backbone, a powerful yet simple way to share phone lines among studios and connect system components. VX plugs right into Axia IP-Audio networks, connecting multiple channels of audio and control via a single Ethernet RJ-45. If you don’t have an IP-Audio network yet, VX works with Axia nodes to provide analog or AES audio and GPIO connections.

     

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    Telos

    9 octobre 2012

    TM3-3G

    5 octobre 2012

    The TouchMonitor TM3-3G is a compact and versatile solution for metering, deembedding and monitoring of 3G-SDI audio signals using a 4.3“ touch screen for vertical or horizontal use. The TM3-3G‘s flexible user interface allows for quick and simple preset selection as well as setting the monitoring level (optional licence). 

    The Unit
    The compact TouchMonitor TM3-3G consists of a display unit for vertical or horizontal use and a remote interface box. With its integrated 3G-SDI deembedder interface, the TM3-3G displays level and loudness of any eight 3G-SDI audio channels. Independently from this, up to 16 SDI audio signals can be sent to eight AES3 outputs (optional license). TM3-3G‘s flexible user interface allows the selection of presets quickly and simply with just a finger swipe. The contained comprehensive set of factory presets present a cross-section of the applications, audio connections and standards and allow you to start working right out of the box.

    The Devicer Software
    Presets can be configured in detail using the Devicer DC1 for Mac OS X® or Windows®. The Devicer’s GUI lets you select, configure and position the instruments you need in a convenient way. The screen layout can be previewed any time so that you always see how your preset will look like on the TM3-3G. Furthermore, Devicer DC1 allows to create several configuration sets with different presets, which may be uploaded to TM3-3G as required. (Devicer DC1 for TM3-3G will be available for free in the Audio Monitors/TouchMonitor TM3-3G section of the member area with beginning of shipment).

    The Instruments
    Besides PPM and True Peak instruments, the TM3-3G features comprehensive loudness measuring features conforming to all relevant international standards (EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB). Loudness instruments include single-channel and summing bargraphs, loudness range and numerical displays. With the optional Monitoring licence an onscreen level fader is available. And with the optional Timecode reader licence an external or SDI timecode can be decoded and dipslayed.

     

    Features

    • 4.3“ Touch screen for vertical or horizontal use
    • Flexible display layout with scalable instruments
    • Separate 3G-SDI interface box with audio I/O, USB, GPIO
    • 8-channel level & loudness display
    • Loudness: EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, ARIB, customer specific
    • Monitoring controller with onscreen level fader (optional licence)
    • Stereo Line Out and stereo headphone out
    • 16-channel 3G-SDI deembedder with 8 x AES3 out (optional licence)
    • Timcode reader (optional licence)
    • Single channel and summing loudness bargraphs
    • Loudness range (LRA) with MagicLRA
    • PPM & True Peak
    • SPL & Dialnorm
    • Correlation
    • Numerical display
    • Comprehensive set of presets
    • Personalization with Devicer DC1
    • (The Device Configurator software for Windows® and
    • Mac OS X® is available in the Audio Monitors/
    • TouchMonitor TM3-3G section of the member area with beginning of shipment).

     

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    SmartMeter V3

    5 octobre 2012

    Smart System

    The SmartMeter is a software option based on Trinnov Audio stereo and multichannel monitoring platforms, designed to offer as much flexibility as possible.

    Multiple Sources

    The SmartMeter V3 supports multiple software sources with individual measurement and input format.

    The number of sources is only limited by the number of physical inputs and the processing power of the platform.

    Industry standards from mono to 7.1 are supported as well as custom formats up to 24 channels.

    Time Code Synchronization

    When a LTC input is enabled and detected at 100% +/-5% playback speed, the system automatically starts the measurement. Numerous information are  recorded and time stamped.

    The measurement instantly stops if the operator rewinds, shuttles or jogs through the project and is resumed as soon as the play speed is back at 100%, providing accurate values all along different mixing stages, including Integrated Loudness and Loudness range which both rely on a constant knowledge of the entire program content.

    Session Recall

    As a direct consequence of the Time Code synchronisation, measurements actually remain consistents with all the other elements of the project.

    As for video, audio or console automation, Trinnov implemented sessions recall.

    The whole project, including every sources measurements, alerts and user settings can be saved and recalled to resume mixing in another room and/or at a different time.

    Dynamic Alert Engine

    Session-specific thresholds can be chosen from the standard alert profiles (EBU R128, ATSC A/85, CST RT17, ARIB TR B32…) or user-defined to comply with delivery requirements of most organisations and companies.

    Overrunning these thresholds trigger visual alerts and real-time event logging. The event log is constantly updated and can be filtered to display the alerts of a specific source and/or type of alert. Users are notified about LTC drops and therefore potential measurement errors.

    Complete PDF reports are saved with the session, providing project informations, the compliance status of each source with regards to the selected alert profile and the list of alerts with their respective time codes.

    Alerts can also be transmitted to a server as SNMP traps.

    Custom Layout

    The Multiview-Mode is a customizable display for MC Processors that gives the user great flexibility on how to arrange and access any of the 15 instruments and/or menus on a 4×4 split interface optimized for touch screens.

    Except for the DRC module, every instruments can have four independant instances simultaneously displayed in the four views.

    Layouts can be customized and saved in presets.

     

    Instruments

    The SmartMeter V3 includes a comprehensive set of Loudness metering instruments implementing momentaryshort termintegrated loudness measurements, as well as loudness range and True Peak, as specified in theEBU R128 recommendation. It also complies with USA CALM act Requirements.

    Most instruments of the SmartMeter V3 share the following features:

    • Source selection panel if the instrument is activated for multiple sources
    • Real-Time alerts according to the session-thresholds – as values are rewritten, visual alerts and event logs are updated
    • Loudness instruments display the current gating status of each source
    • Time Code, locking status and LTC drop alarms
    • Multiple independent instances in MultiView display

    Ultimate Loudness Metering Suite

    The Loudness Timeline, the Loudness Meter and the Loudness Overview offer different views to monitor loudness levels.

    Please note: all measurements can be performed as specified in ITU-R BS.1770-2, which the EBU R-128 extends even further or without Gating for specific “Anchor” section measurement.

     

    The Loudness Timeline specifically displays the Short Them Loudness in the form of an history graph and allows zooming and different scrolling modes. Gated areas are highlighted when the measurement is paused.

    The Loudness Meters combines bar graphs and numeric values.

    The Loudness Overview provides measurements as numeric values for up to 5 independent sources in a single window. 20 sources can be monitored using the MultiView display.

    The Loudness Statistics instrument displays and updates the distribution of momentary Loudness values of the program in real-time in the form of an histogram. The Target and current Integrated Loudness levels are overlayed as vertical lines and color codes are the same as in the Timeline. The M Stats includes a range selection tool that highlights corresponding values in the Timeline, providing the most helpful instrument to adjust a mix and comply with recommendations without loudness leveling.

    True Peak, PPM, QPPM

    The SmartMeter offers a variety of peak-metering Tools:
    •   A True Peak Meter (EBU R128)
    •   A Peak Program Meter (sample-peak)
    •   A Quasi-Peak Program Meter (DIN 45406)

    Vectorscope, Surround Analyser

    The SmartMeter provides a Surround Analyser to control multichannel audio signals amplitude and correlations.

    The Vectorscope is 2-channel audio phasemeter including a stereo correlator and a true peak meter

    Monitoring Control

    SmartMeter v3 includes a Monitoring Controller with volume control, solo and mute of any output.

    It also includes source switching, each associated with DRC and/or Downmix profiles.

    GPIO commands can be sent to third-party equipment.

     

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    ACL 204

    4 octobre 2012

    The ACL204 is the first in a new generation of Clockit products which will fully utilise theAmbient Clockit Network System.

    By listening to practical feedback from our customers we have added functions to make this the most sophisticated portable timecode syncbox we have ever built. Surpassing the already comprehensive facilities of its predecessor it not only covers all timecode rates and sync formats but it also allows the user to apply an offset to the TC output to allow for the processing delay created in some HD cameras.

    3D camera rigs can be made lighter and neater by utilising the 2nd TC output, and the sync OP which can be switched to drive a dual load.

     

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    Tiny Lockit

    4 octobre 2012

    First of all, it has Clockit Time Code generator of course.
    Except for the sync signal output, it comprises the full functionality of its big brother, including ACN (Ambient Clockit Network) support, metadata transfer and logging. This network capabilities also allow the Tiny Lockit to be a fully functional Timecode Transceiver. Therefor it is combining the stability of an Ambient Clockit Generator with the flexibility of a wireless TC system but without the fear of dropouts.
    In addition it also has most features of the ALL601, such as variable time code output level for recording TC on audio track and time code conversion between LTC / MTC / LANC-TC.

     

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    CL-6

    2 octobre 2012

    Input Expander for 664 Field Production Mixer

    • Adds six balanced, line-level inputs (via the 664 Direct Output connectors)
    • Adds six full-sized tactile-touch fader knobs
    • Sunlight-viewable LED metering
    • Arm indication of L, R, X1 and X2 buses
    • Big, backlit Record and Stop controls
    • PFL / solo toggle switch per input
    • Hi-pass filter per input
    • Trim level per input
    • Output routing to L, R, X1 and X2 buses

     

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    664

    2 octobre 2012

    The 664 Field Production Mixer is the new flagship in Sound Devices’ line of portable audio mixers. Building on the foundation of the popular 552 mixer, the intuitive 664 has six inputs channels and four output buses. All inputs and outputs are recordable to both CF and SD cards. This unprecedented amount of I/O connectivity and recording capability makes the 664 perfect for any production application

     

    664 Key Features List

    • Six high-bandwidth, low noise microphone preamplifiers with phantom, limiters, high-pass, pan, and direct outputs per channel
    • Four output buses, Left, Right and Aux 1, Aux 2; transformer-balanced for freedom from ground loops; multiple output connectors, including dual multi-pin
    • Built-in production recorder, records all inputs and output buses: 10 tracks total. With CL-6 attached: 16 tracks total.
    • Broadcast WAV recording to dual memory card slots, CF and SD
    • Record different track combinations and to each card type
    • High-precision, Ambient Recording-based time code generator/reader with auto-recharging of internal TC battery
    • Time code compare tool to measure offset from internal and external time code
    • Quick, intuitive interface via sunlight readable, transflective LCD menu control
    • Main controls on dedicated knobs and switches
    • Two AES42/AES3 digital inputs (input connectors 1 and 6)
    • AES3 output selection, up to eight channels of AES out (XLR, multi-pin)
    • Expanded return monitoring capabilities, with three camera returns
    • Dedicated communication circuit (PL)
    • Built-in slate microphone and external slate microphone input connector
    • Powered by AA-battery x5 or isolated (floating) external DC, 10-18V
    • Metalized, gasketed carbon-fiber chassis panels for light weight and durability

     

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    PIX 260i

    2 octobre 2012

    PIX 260i Production Video Recorder

    Winner of DV Magazine's Black Diamond Award at NAB 2012

    The rack-mounted PIX 260i is a file-based video recorder/player that seamlessly replaces tape-based video decks in production and post-production environments.

    The 2012 NAB show was a great success for Sound Devices. We received a Black Diamond award from DV Magazine for the PIX 260.

     

    Industry Standard Codecs

    Industry Standard Codecs  ProRes and DNxHD

    Using the Apple ProRes or Avid DNxHD codecs, the PIX 260i records and plays files up to 220 Mbps in high-quality 10-bit 4:2:2 video as well as 32 tracks of 48 kHz audio. Files from the PIX 260i are ready for direct import into Avid and Final Cut editing environments, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260i for real time applications.

     

    Video Scalers

    Cross Conversion among HD rates

    PIX recorders offer powerful, hardware-based video scalers. Realtime conversion among video formats, including 1080i, 1080p, and 720p, are set with a simple menu selection. Conversion between interlaced and progressive, as well as frame rate conversion is available in realtime. For instance, some cameras set to record 24ps send 1080i 60 over HDMI or HD-SDI. PIX recorders can be set to convert the 1080i 60 stream back to 24p with no loss in quality.

    • Up/Down/Cross Conversion of 480i, 525i, 720p, 1080i, 1080p
    • 3:2 Pull Down Removal to Record 24p from 60i Signal

     

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    Gem Audio Labs

    1 octobre 2012

    AIR12

    29 juin 2012

    Powerful two-way nearfield monitor, 8″ woofer and 1.1″ soft dome tweeter AIR12 suits all sizes of control rooms and OB vans and its high precision amp/driver system (+/- 0.2 dB accuracy) ensures complete consistency with the entire AIR family in a variety of stereo and 5.1 setups – remote controllable via the AIR Remote or the included Air Soft application.

    DSP room adaption allows for perfect customization for any room construction and its inter-monitor level calibration feature ensures consistent levels in all sessions.

     

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    AIR6

    29 juin 2012

    Two-way active nearfield monitor – 6.9″ woofer and 1.1″ soft dome tweeter AIR6 is developed for both stereo and multichannel monitoring in any demanding environment. Post production facilities and music recording and mixing studios will benefit greatly from the technology and clear monitoring that AIR6 provides. Installing an AIR6 system will be equally advantageous when it comes to small film editing rooms and OB vans.

    DSP room adaption allows for perfect customization for any room construction and its inter-monitor level calibration feature ensures consistent levels in all sessions.

     

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    BM14S

    12 juin 2012

    With a substantial 300 watts of power coming from the 12″ woofer and an impressive low frequency limit of 18 Hz, this subwoofer is the perfect match for the BM and M series monitors.

    With an auto On/Off function, energy usage shuts off after minutes of no input signal, thereby saving energy when the subwoofer is idle. As soon as an input is detected, the auto sensing circuit enables the subwoofer to come back to life.

     

    A satellite filter feature is provided by the BM14S, enabling adjustment of low-pass corner frequencies from 50 to 150Hz of the monitor source signal. The subwoofer will thus take care of the lower and power consuming frequencies, and thereby adding to the performance and clarity of the monitors in the system. This is due to the high-pass filtering feature that the BM14S comes with. If the need arises to daisy-chain more subwoofers to the same system, the low level LFE output gives you exactly that choice.

     

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    BM9S

    12 juin 2012

    The BM9S is designed according to the strict BM series specifications. With a 10″ woofer and 200 Watts of power, and virtually minute dimensions, this sub is tailor-made to take care of even the most comprehensive challenges where space is scarce. Being every bit as versatile as the rest of the BM series, BM9S is a very competent partner for smaller stereo and multichannel setups, giving a very powerful system for even the most demanding users across the globe.

     

    The Auto On/Off function, provides a minimized idle energy usage by shutting off after minutes of no input signal. The auto sensing circuit enables BM9S to automatically come to life when input signal is detected.

    The satellite filters that this sub sports, provides high-pass filtering of the monitor source signal allowing 60Hz or 80Hz corner frequencies.

    This is a huge advantage for the monitor performance, as the satellites do not need to deal with power consuming lower frequencies. This leaves all the satellite power to greatly accelerate performance and precision.

     

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    BM15A

    12 juin 2012

    The BM15A is a revolutionary nearfield monitor offering exceptionally high performance. Its full range extended bass response makes it the perfect nearfield monitor, particularly for commercial studios, project studios and post production facilities.

    The BM15A is a relatively large 2-way active system comprising of a large 240mm (10″) woofer, a special version of the Dynaudio ESOTEC soft dome tweeter and an electronic phase-aligned crossover, which feeds the build-in dual, high performance discrete MOSFET amplifiers.

    The ESOTEC HF driver spells quality and headroom due to a dynamic headroom of 1000W, and the 240mm (10″) bass driver is world-renowned for its 100mm (4″) aluminium alloy voice coil, which outperforms most 300mm (12″) drivers in terms of power output and sheer punch.

    The electronics offer complex protection circuitry helping to prevent accidental damage to the drivers, while still providing maximum transient response.

    The BM15A monitor is front ported for powerful and extended low frequency response, and the elegant matte cabinet has radius edges on the front baffle to reduce boundary effects and improve the overall sound quality.

     

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    BM12A

    29 mai 2012

    Two-way full analog active nearfield monitor – 8″ neodymium magnet woofer and 1.1″ soft dome neodymium tweeter This medium-sized nearfield monitor delivers the worldrenowned Dynaudio clarity and transparency, building on the latest Dynaudio Professional neodymium driver technology.

    The onboard placement and subwoofer adaptation filters allows BM12A to blend seamlessly into a large range of applications such as OB vans, project studios, post production facilities etc.

     

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    BM6A MKII

    29 mai 2012

    Two-way full analog active nearfield monitor – 6.9″ woofer and 1.1″ soft dome tweeter. The BM6A MKII delivers the distinctive Dynaudio Professional objectivity and accuracy exposing every audible detail to the critical and demanding engineer – be it in music monitoring, mixing, broadcasting, OB vans, editing suites, post production facilities and project studios.

    Onboard LF/MF/HF placement filters as well as subwoofer high-pass filters allow optimal adaptation in any application including a powerful combination with the BM14S.

     

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    DBM50

    29 mai 2012

    DBM50 is the only choice when it comes to desktop monitoring.

    From the handcrafted Dynaudio drivers to its beautiful exterior, DBM50 is specifically engineered to perfectly reproduce your desktop mix and truly represents a revolutionary new angle in desktop mixing.

    From the innovative wave guide around the tweeter to the optional addition of the level controller that never compromises the allimportant level interrelationship between speakers, DBM50 is the perfect partner in situations where the only thing that counts is perfection.

     

    Take Complete Control

    DBM50 comes with the option of adding a sleek controller that puts you squarely at the helm of volume control in any situation.

    Set and control levels with precision and ease, completely independent of your computer or workstation. The DBM50 controller provides perfect tracking, which guarantees spot-on stereo imaging with unprecedented precision.

     

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    BM5A MKII

    28 mai 2012

    The BM5A MKII imparts all of the quality and power that you’ve come to expect from Dynaudio Professional but they have been re-engineered to take nearfield monitoring to new levels of performance. New features include our handmade drivers that offer the best in quality and accuracy. The woofer offers longer excursions so stays linear for longer, resulting in a cleaner, tighter bass response.

    This louder and more accurate bass is matched at the top end with a high-resolution soft dome tweeter that delivers an unparalleled response. The added waveguide ensures less acoustical reflections and a more accurate sweet spot for the listener, resulting in a much better monitoring experience.

    We’ve matched the drivers perfectly to the BM 5A MKII’s custom designed dual amps to deliver maximum 117dB SPL while maintaining extraordinary sensitivity, resulting in a louder, cleaner and more accurate sound.

    The three integrated analog room filters allow you adjustment and compensation of the acoustical monitor placement at both Low, Mid and High frequencies e.g. adjusting for the bass boost at corner or wall placement as well as the potential high frequency console reflections.

     

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    BM5A Compact

    15 mai 2012

    The BM5A Compact is an extremely small yet surprisingly powerful monitor, designed for professional film & post production and broadcast applications.

    Extensive research has made it possible to fit an impressive 2 x 50 watt amplification into a cabinet that is as small as 170 x 260 x 235 mm / 6.7″ x 10.2″ x 9.3″. OB vans, editing suites and film & post production facilities will benefit greatly from this monitor, which provides loads of power in virtually no space.

    Combined with the BM9S it will make up an excellent multichannel system of minute dimensions.

     

    Features

    • Handcrafted aluminum drivers
    • High-resolution soft dome tweeter
    • Extended excursion 5.7″ woofer
    • 2 channel 50-Watt RMS high grade
    • 117dB SPL peak power output
    • Frequency response of 55Hz to 21kHz
    • HF, MF, LF analog room filters
    • High pass filters at 60/80Hz for perfect subwoofer adaption

     

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    Sub A225-M

    14 mai 2012

    An exceptional piece of acoustic design, the A225-M sub-woofer/bass extension is equally suited to use as a mono sub-woofer in a surround sound application or as a bass extension in a stereo system. Designed to work in harmony with the A225-M Sub, all PSI Audio ‘A’ series speakers feature a frequency response roll-off function that, when combined with the A225-M Sub, extends the frequency range down to an incredible 24 Hz, whilst maintaining a flat response.
    The powerful class G outputs feature PSI Audio‘s unique “AOI” output stages, giving the A225-M an unprecedented impulse behavior. Each driver and amplifier unit is secured by a protection circuit, which is monitored by a red LED on the front panel.
    The electronics are housed in a unit mechanically isolated from the speaker cabinet to avoid resonance at high sound pressure levels. To provide stability and avoid cabinet resonance A225-M is built with a double-box design, combining two cabinets into a single beautifully finished unit.

     

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    A215-M

    14 mai 2012

    The evolution of mastering and multichannel techniques, as well as the arise of personal studios, lead us to think that a new shape of monitors could begin a new trend.
    The innovative architecture of PSI Audio A215-M produces a outstanding performances for mastering, with a subwoofer. This floorstanding monitor benefits from perfectly coincident sources.
    It has been optimized for a listening in sitting or standing position and reproduces the sonic space with a remarkable precision. Moreover, the A215-M features all the most advanced technological innovations of the brand : high-yield G class amplification, CPR, AOI, ALG and PSC that make PSI Audio monitors so specific.
    The A215-M is designed to be integrated in harmony with all the rest of the M series monitor range. The A215-M can easily be used in stereo or in surround systems.

     

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    A214-M

    11 mai 2012

    PSI Audio A214-M is mainly designed as a « centre » speaker for surround monitoring applications. However, the unit may also be used as a basic component for all monitoring requirements.

    The A214-M employs two woofers of 147mm and one tweeter of 100mm, for a programme power-handling of 160W. The speaker has sufficient acoustical output to satisfy the requirements of post-production and film mixing suites, as well as for other mixing applications.

    PSI active loudspeakers feature CPR (Compensated Phase Response) and AOI (Adaptive Output Impedance) technology that is a hallmark of the company. A major advantage is that it allows monitor systems to be made up from different models, without any detriment to the overall phase response of the system.

    The shallow height of the A214-M (less than 200mm) allows the speaker to be easily incorporated into surround installations where space is an important factor.

     

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    A25-M

    11 mai 2012

    The pinnacle of current PSI Audio system development, the A25-M main / mid-field reference monitor features a staggering precision of +/- 1.5 dB tolerance between 38Hz and 20KHz.
    The tweeter unit is hand-crafted in-house in order to ensure performance and accuracy. These highly optimised features make the A25-M unique. A true reference speaker for stereo and surround sound applications where ultimate precision is required. The powerful tri-amplified output stages features the unique “AOI” output stages and has a protection circuit, which can be monitored via the red LED on the front panel. The active crossover, with integrated “CPR”, gives the A25-M unprecedented impulse behavior – with excellent stereo imaging.
    The crossover is also optimized for maximum phase coherence, which allows for a very broad horizontal and vertical ideal listening area. Tilting the mid-high range unit by 90° maintains the directivity accuracy when using the speaker horizontally. The A25-M’s electronics are housed in a unit mechanically isolated from the speaker cabinet to avoid resonance at high sound pressure levels.
    Designed to work in harmony with the full range of A series monitors the A25-M also makes ideal front speakers in a surround sound setup, or can be developed in to a more powerful system by adding the pair A225-M sub – thus providing an upgrade path and protecting your investment.

     

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    A21-M

    11 mai 2012

    The A21-M high power near / mid-field precision monitor covers a broad frequency spectrum, allowing the user to be in full control of their audio production. Its unique and highly optimised assets make it perfect for near, mid-field and surround sound applications where ultimate precision is required.
    The powerful bi-amplified output stages features the unique “AOI” output stages and has a protection circuit, which can be monitored via the red LED on the front panel.
    The active crossover, with integrated “CPR”, gives the A21-M unprecedented impulse behavior – with excellent stereo imaging. The crossover is also optimized for maximum phase coherence, projecting a wide horizontal and vertical ideal listening area.
    The electronics are housed in a unit mechanically isolated from the speaker cabinet to avoid resonance at high sound pressure levels.
    Designed to work in harmony with the full range of A series monitors the A21-M also makes ideal front speakers in a surround sound setup, or can be developed in to a more powerful system by adding the A225-M sub – thus protecting your investment.

     

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    A17-M

    11 mai 2012

    A classic near-field precision monitor, the A17-M is the ideal entry model to the PSI Audio range. Perfectly suited for surround sound and near-field applications, the A17-M is ideal for studio application where the ultimate in precision is required. Its compact form incorporates the full range of PSI Audio’s outstanding technologies.

    The powerful bi-amplified output features the unique “AOI” output stages, while the active crossover, with integrated “CPR”, delivers unprecedented impulse behavior – with excellent stereo imaging. The crossover is also optimized for maximum phase coherence, projecting a wide horizontal and vertical ideal listening area.

    Designed to work in harmony with the full range of A series monitors the A17-M also makes ideal rear speakers in a surround sound setup, or can be developed in to a more powerful system by adding the A225-M sub – thus protecting your investment.

     

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    A14-M

    9 mai 2012

    The A14-M full range speaker is the smallest member of the PSI Audio A-Series professional studio monitor range. Housed in an extremely compact cabinet, the A14-M is designed to implement highest possible SPL and broad bandwidth. The A14-M is ideal for studio application where the ultimate in precision and portability is required. Packed into its compact dimensions, is all the technology of its larger brothers. The powerful bi-amplified output features the unique « AOI » output stages, while the active crossover, with integrated « CPR », delivers unprecedented impulse behavior with excellent stereo imaging. The crossover is also optimized for maximum phase coherence, projecting a wide horizontal and vertical ideal listening area. Designed to work in harmony with the full range of A series monitors the A14-M also makes ideal rear speakers in a surround sound setup, or can be developed in to a more powerful system by adding the A225-M sub thus protecting your investment.

     

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    PCX924HR

    2 mai 2012

    The PCX924HR stereo sound card benefits from the characteristics of Digigram’s new HR (High resolution) series of PCX sound cards.

    The HR series is the new industry standard for the most demanding applications in broadcast. State of the art sound quality, more features, more processing power, and greater flexibility for custom developments make the new generation the Number 1 choice for pro audio manufacturers and independent software vendors.

     

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    PCX22HR

    2 mai 2012

    A playback-only card, Digigram PCX22HR, provides a basic feature set that includes 24 bit/192 kHz converters, a balanced analog and AES/EBU or SPDIF output, an external AES/EBU synchronization input, and a headphone jack. It also benefits from the characteristics of Digigram’s new HR (High resolution) series of PCX sound cards.

    The HR series is the new industry standard for the most demanding applications in broadcast. State of the art sound quality, more features, more processing power, and greater flexibility for custom developments make the new generation the Number 1 choice for pro audio manufacturers and independent software vendors.

     

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    PCX1222HR

    2 mai 2012
    nspired by the widely deployed PCX822v2 sound card, the PCX1222HR takes mission-critical live-assist systems from four to six stereo outputs in a short-length PCI format. 
    The card is part of Digigram’s new High Resolution series, which sets a new standard for the broadcast industry.

     

    With only one PCI slot occupied in the host computer, it is possible to feed six different stereo signals, for example three different play-lists, advertising, jingles, and a cue output, to the production console, while recording simultaneously the program to harddisk. The PCX1222HR supports the simultaneous play-out of two 5.1-surround signals.

     

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    VX882HR

    2 mai 2012

    The VX882HR multichannel sound card is one of the first to benefit from the characteristics of Digigram’s new HR (High resolution) series of VX sound cards.

    The HR series is the new industry standard for the most demanding applications in broadcast such as production, on-air, permanent playback, and logging. State of the art sound quality, more features, and greater flexibility for custom developments make the new generation the Number 1 choice for pro audio manufacturers and independent software vendors.

     

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    VX822HR

    2 mai 2012

    Main hardware features

    • 2 balanced analog mono line inputs, with software programmable analog and digital gain

    • 8 servo-balanced analog mono line outputs, with software programmable analog and digital gain

    • 192 kHz / 24-bit converters

    • Maximum level on analog inputs and outputs: +24 dBu

    • 1 AES/EBU stereo input, with hardware sample rate converters (up to 192 kHz on VX822e, 96 kHz on VX822HR)

    • 4 AES/EBU stereo outputs (up to 192 kHz)

    • 1 AES/EBU stereo sync input (up to 192 kHz)

    • 1 standard Word Clock input (up to 96 kHz)

    • 1 standard Word Clock output (up to 96 kHz)

    • 1 video sync input

    • 1 SMPTE/LTC (Linear Time Code) input

     

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    VX222HR-Mic

    2 mai 2012

    Stereo sound card that extends the feature set of the VX222HR with a high-quality phantom-powered microphone pre-amplifier.

    This stereo sound card extends the feature set of the VX222HR, bringing new possibilities to

    • integrated voice tracking
    • voice over and
    • other editing applications.

    A high-quality phantom-powered microphone pre-amplifier, combined with an analog compressor-limiter-expander, enables mix of voice and another audio source without the need of adding expensive external devices.

     

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    VX222HR

    2 mai 2012

    Succeeding the best-selling VX222v2, it benefits from the characteristics of Digigram’s new HR (High resolution) series of VX sound cards.

    High quality, versatile sound card
    The VX222HR brings Digigram’s outstanding audio quality and famous reliability to demanding professional audio applications such as

    • broadcast
    • post-production
    • music production
    • live performance.

     

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    VX1222HR

    2 mai 2012

    The VX1222HR takes linear-audio-based live-assist systems from four to six stereo outputs in a short-length PCI format.

    The VX1222HR takes linear-audio-based live-assist systems from four to six stereo outputs in a short-length PCI format. Benefiting from the key features of Digigram’s new High Resolution series, this multichannel sound card provides Digigram audio quality and reliability to professional users working with software based on standard WDM DirectSound, ASIO, WAVE, or Digigram np interfaces.

     

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    MKV Microphone System

    26 avril 2012

    The MKV consists of two basic parts that work only together, a microphone and a SoundField Processor/Preamp. The microphonete consisting of a tetrahedral capsule array, combined with the SoundField Processor/Preamp, delivers a three dimensional representation of acoustical events with all 3 dimensions originating from the same central point. This is the core difference between SoundField and other stereo or multi-mike set-ups, in that all other microphone set-ups (other than a single mono mike) capture audio from different points in space. The 3 dimensional representation delivered by a SoundField is defined by X (front to back), Y (left to right), Z (up and down) and W (absolute pressure, like an omni). Collectively these four components are called « B-Format » and are delivered across four audio channels. While B-Format may be new to you, it is extremely important to the SoundField process, because B-Format requires that W/X/Y/Z all must begin from a central point in space to be phase accurate. Once in B-Format, the central point is defined, and all output variations (mono, stereo, Mid/Side) are derived using the same central point. Past problems such as stereo to mono summing revealing high frequency differences due to phase cancellation are gone.

     

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    ST450 Portable Microphone System

    26 avril 2012

    The portable, battery-powered ST450 microphone system is aimed at location recording film and TV sound specialists everywhere, and builds on the success of SoundField’s previous ST250 and ST350 portable microphone systems. In line with SoundField tradition, the design of the ST450 has benefited from a great deal of practical feedback gleaned from users of both previous models.

     

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    SPS200 Software Controlled Microphone

    26 avril 2012

    The new SPS200 Software Controlled Microphone brings the advantages of SoundField Technology to a wider audience and provides the perfect ‘front end’ to capture both stereo and 5.1 surround. It is ideally suited to those working in the field on laptop based recording systems or in the studio on fully fledged Digital Audio Workstations.

     

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    CANCUN 442-mic

    13 avril 2012

    Built on a long tradition of no-compromise sound cards, offering no less than 2×500 MIPS dual-core processing power finely crafted and embedded into an ultra-robust yet stylish casing, Digigram CANCUN 442-mic is the tool that serious reporters and on-the-go audio professionals have been waiting for.

     

     

     

    CANCUN 222-mic

    13 avril 2012

    Built on a long tradition of no-compromise sound cards, offering no less than 2×500 MIPS dual-core processing power finely crafted and embedded into an ultra-robust yet stylish casing, Digigram CANCUN 222-mic is the tool that serious reporters and on-the-go audio professionals have been waiting for.

     

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    IQOYA *LINK/IC

    13 avril 2012

    The IQOYA *LINK/IC is a single-unit rack mount codec dedicated to intercom applications, coordination circuits and voice commentary along video live contributions.

    It is a trimmed down version of the IQOYA *LINK flagship codec, focusing on Intercom features.

    • Dual channel full-duplex IP audio device
    • G711 and G722 audio codecs
    • Back-to-back latency of under 30ms
    • Management of the equipment via user-friendly HTML pages or SNMP

     

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    PYKO-out

    13 avril 2012

    Play audio from standard MP3 or PCM IP streams or locally stored MP3 files.

    • balanced audio I/Os on terminal block connectors
    • 8 GPIOs, RS232
    • Internal and external USB host ports

     

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    PYKO-in

    13 avril 2012

    Convert analog audio sources to high quality MP3 or PCM IP streams. 2 modes (easy switching though firmware update) :

    • 1 stereo input device
    • 1 mono input & 1 mono output device – full-duplex (perfect for intercom applications)

     

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    IQOYA *LINK/LE

    13 avril 2012

    A cost-effective version of the full-featured IQOYA *LINK codec. With its decode-only approach, simplified ergonomics and features targeted at unattended transmitter sites, the *LINK /LE is the ideal choice for serious broadcasters looking for a perfect mix of 24/7 reliability, audio format choices (the decode-only AAC codec package is included as standard, Enhanced apt-X is optional) and affordability.

     

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    IQOYA *LINK

    12 avril 2012

    IQOYA *LINK, a 2-channel IP Audio codec for STL (Studio to Transmitter Links) or SSL (Studio to Studio) applications, offers more fail-over options than any other codec on the market.

    IQOYA *LINK is built on a rock-solid specialized hardware platform combined with Visiblu including FluidIP, an IP audio codec engine you can trust.

     

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    PYKO IP audio range

    12 avril 2012

    IP audio networks for transportation, industrial, broadcast STL links, public address and background music.
    The PYKO ecosystem of professional IP audio devices will help you deploy and manage multizone IP audio networks efficiently.

    • PYKO-in converts mic (with phantom power) or line analog audio sources to high quality MP3 or PCM IP streams. This device can also be used in mono-in, mono-out mode for intercom in PCM or G711.
    • PYKO-out plays audio from standard MP3 or PCM IP streams or locally stored MP3 files. 

      Both devices can be configured easily through simple html pages.

     

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    IQOYA *SERV/LINK

    12 avril 2012

    IQOYA *SERV/LINK is a multiple stereo or multichannel (e.g. 5.1 or 7.1) IP audio distribution codec for STL/SSL IP audio distribution applications.

    When multiple Studio to Transmitter links (STL) or Studio to Studio links (SSL) are required from a single point, IQOYA *SERV/LINK leverages on a single processing device hardware resources, thus facilitating deployments and keeping costs at a reasonable level, compared to several stacked stereo « boxes ».

     

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    IQOYA *MOBILE

    12 avril 2012

    The perfect iPhone App for remote Audio-over-IP field contribution.

    IQOYA *MOBILE effectively transforms an iPhone into a high quality MPEG-2 L2 and AAC recorder/editor, mobile IP codec. 
    Armed with just an iPhone, journalists can now record audio, edit, add content and send to the studio either live audio over IP or through FTP file transfer. All that is needed is an internet connection, 3G or WiFi. IQOYA *MOBILE constitutes an instant professional grade “contribution” solution to set up a full-duplex connection between a reporter on the field and a newsroom or studio.

     

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    IQOYA V*CALL

    12 avril 2012

    V*CALL brings an instant Audio-over-IP codec functionality to any PC-based radio workstation for contribution, automation or logging applications.

    By installing V*CALL and an audio interface on a PC-based radio workstation, it is extremely simple to implement a professional-grade “contribution” codec to set-up a full-duplex connection between a reporter and a newsroom or studio. 

    The unique Ulink feature will directly bridge any DirectSound applications to/from V*CALL for playback and recording: 

    • Send a program directly from a DirectSound application to a distant IP device
    • Recover an IP stream directly from within a DirectSound recording application

     

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    IQOYA V*MOTE

    12 avril 2012

    V*MOTE is an Audio-over-IP “SIP” software solution for remote contributions.

    • Simply install V*MOTE on a laptop PC to turn it into a professional “contribution” codec.
    • V*MOTE is extremely simple to set up and handle thanks to advanced ergonomics.
    • Establish a full-duplex connection with a newsroom or a studio in a breeze.


    V*MOTE can establish an IP audio link to/from any N/ACIP (EBU Tech 3326) compliant codec and I3P (EBU Tech 3347) IP Production Intercom installed in the studio, including third party codecs and IQOYA codecs. 
    In order to face mobile networks with poor SIP interoperability, V*MOTE 2.0 includes a Manual mode to overcome tricky NAT traversal situations.

     

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    IQOYA *CALL/LE

    12 avril 2012

    IQOYA *CALL/LE is a cost-effective and versatile addition to the IQOYA range of AoIP codecs for professional IP audio contribution.

     

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    IQOYA *CALL

    12 avril 2012

    QOYA *CALL is an audio over IP solution for the management of remote contributions. It brings professional quality to establish a full-duplex connection between a reporter and a newsroom or a studio. If the remote equipment is a IQOYA V*MOTE product, it can even be controlled directly through IQOYA *CALL.

     

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    MicMAID 4×4 Mic/Micpre Matrix-Switcher

    11 avril 2012

    Any mic, any pre, any time. Plug your four favorite mics and micpreamps into the MicMAID, and pick the best combination for every session. With its convenient level-matching capabilities and user-programmable routing schemes, this is the ultimate tool for auditioning and comparing your finest equipment. Get ready to find the sound you’re looking for faster (and easier) than ever. Start cleaning up YOUR workflow with a MicMAID. The MicMAID was designed to fill a particular niche in the business that has never really been addressed: auditioning and selecting microphones and microphone preamplifiers. Proper pairing of mics and preamps has always been (and always will be!) a vital step in the tracking process, but there has never been a simple, accurate way of doing this. Since we are in the business of providing tools to professional sound engineers, we saw this obstacle as an opportunity to flex our design muscles and create something that could finally fill this void.

     

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    Mastering Version Variable Mu®

    11 avril 2012

    It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. « Mu » is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the « remote cut-off » or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.

    The Mastering Version of our Variable Mu® Limiter Compressor incorporating detented and logable steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is available.

     

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    BACKBONE Mastering Insert Switcher

    11 avril 2012

    The MANLEY BACKBONE accepts up to three balanced SOURCE INPUTS, selectable on the left side. LEFT & RIGHT can be reversed and ABSOLUTE POLARITY can be flipped. The 24 position INPUT & OUTPUT GAINS can be switched active or left passive. Up to EIGHT INSERTS can be switched in or bypassed. A SUM – DIFFERENCE MS MATRIX can be addressed between inserts 2 and 3. The order of inserts 4 & 5 can be SWAPPED. There is an injection point between inputs 7 & 8 to allow for several functions on the 3-Function MIX – FADE output control. You can mix in the DIFFERENCE signal from the input. This mixes in some out of phase signal from the input to the output in order to widen the image if desired. OR you can mix in a parallel signal in between inserts 7 & 8. A lot of folks run a reverb or parallel compressor in this fashion. OR you can use the knob as a FADER to make smooth and accurate level fades with the Penny & Giles rotary fader.

     

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    Gold Reference Stereo Microphone

    10 avril 2012

    The STEREO version of our GOLD REFERENCE microphone is identical in every respect to the MONO GOLD REFERENCE but with two complete and carefully matched systems installed in one case with the upper capsule being fixed and the lower capsule being continuously ROTATABLE through 90° for M-S and X-Y BLUMLEIN-STYLE coincident pair recording technique. Each capsule has its own continuously variable PATTERN control and individual -10dB PAD switch.

     

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    Gold Reference Multi Pattern Microphone

    10 avril 2012

    The MANLEY GOLD REFERENCE MULTI-PATTERN MICROPHONES are a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ our own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, « air », and superb ultra-high frequency response you have only dreamt about.

     

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    Reference Cardioid Microphone

    10 avril 2012

    The Reference Cardioid Microphone shares the same electronic attributes as the Gold Reference Series, but has a center-fixed cardioid-only capsule with a thicker gauge (6 micron) gold sputtered diaphragm. With the similar film thickness and construction, similar high frequency resonance (a little edge), similar proximity effect and pretty good immunity from pops and sibilance problems, our Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new. Its rich tonal balance and liquid character is consistently admired for instruments such as guitars, drum overheads, saxophone, and especially vocals. With your present mic, if you find yourself leaning on your compressors and boosting 5 or 10K to score a bit more testosterone, then the Reference Cardioid just might be the mic you’re looking for to cure what ails ya. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then probably the Reference Gold would be the safest bet.

     

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    SLAM! Mastering Version

    10 avril 2012

    The SLAM! starts with tube Mic Preamps on both channels with selectable phase reverse, high pass filter, and switchable phantom power (on the back panel). We’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1/4″ cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out halfway and it becomes 20 megOhms which reduces pickup loading and allows all the highs to get through.

    Differences and Features:

    First off: no microphone preamps. You mastering engineers certainly don’t need those. The mic pre and input select switch are removed and the switches become dedicated « mode » switches one each for the ELOP and the FET limiters.

    1) The ELOP limiter gets more Ratios – 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.

    2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP.

    The « 50% » setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain ‘reads’ off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.

    The « LP Lim » setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to – hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.

    The « CLIP » setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage « CLIP » generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).

    Finally, the « BOTH » setting on the FET limiter engages both the « LP Limit » and the « CLIP » functions at the same time. This might be appropriate for metal and projects demanding intense volume. The « BOTH » mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.

    3) The LEFT blue erstwhile- »limit » button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).

    4) The Right blue button becomes the DAC select switch (stereo).

    5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4″ jack input select in this new mastering version.

    6) There are no pots on the faceplate of the Mastering Version of the SLAM! All of the knobs in the Mastering Version are discrete detented switches in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be.

     

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    SLAM! Stereo Limiter and Mic Pre

    10 avril 2012

    The SLAM! starts with tube Mic Preamps on both channels with selectable phase reverse, high pass filter, and switchable phantom power (on the back panel). We’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1/4″ cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out halfway and it becomes 20 megOhms which reduces pickup loading and allows all the highs to get through. Come on in!

     

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    Manley ELOP® – Stereo Electro-Optical Limiter

    5 avril 2012

    Set it and forget it! Our ELOP® Limiters make your job easy. The principle of operation is based around using a rectified sample of the audio to shine an LED (Light Emitting Diode) onto an LDR (Light Dependent Resistor). The photo-resistor in combination with a fixed resistor simply act as a changing voltage divider to attenuate the signal– like a smart volume control. A similar principle was found in the older **Teletronix & Urei **LA-2A, LA-3, and LA-4 units which used a slower electro-luminescent panel-light on a conventional LDR encased in a light-tight enclosure. Ours uses modern VACTROL technology (but with a trick!) for exact sample-to-sample tracking and no high frequency loss while digging deep into limiting– problems commonly associated with older LA-series limiters and other opto-based units.

     

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    Manley Variable MU Stereo Limiter/Compressor

    5 avril 2012

    The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. « Mu » is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the « remote cut-off » or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.

     

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    Manley Mastering Version Massive Passive EQ

    5 avril 2012

    The Massive Passive is a passive design and not a « true parametric ». A true parametric implies non-interacting controls. In the Massive Passive, the « GAIN » and « BANDWIDTH » controls DO interact (on purpose). We cannot create a « GAIN » switch that is set up for « consistent » 1/2 dB steps. When you change the « BANDWIDTH » the step size must and will change. On the regular version, you get a full 20dB boost or cut only when: the bandwidth is fully clockwise (narrow) in bell mode or fully counter-clockwise in shelf mode. Here on the Mastering Version, this maximum boost or cut is 11dB. Conversely at the widest bell, the maximum boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A similar situation is also true for the bandwidth detents. So in this new Mastering Version, do not expect a certain dB change per step as it will vary according to where the bandwidth is set. But whatever the step sizes are, they will be repeatably 16 steps. The FREQUENCY select is already detented as it is and always has been a Grayhill switch. It also interacts in shelf mode.

     

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    Manley Massive Passive Stereo Tube EQ

    4 avril 2012

    Craig ‘HUTCH’ Hutchison designed these monsters… The MASSIVE PASSIVE is a two channel, four band equalizer, with additional high pass and low pass filters. « Passive » refers to the tone shaping part of this clever new EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. « Massive »…. it’s a fitting word for this beast. You’ll need to experience this.

     

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    Manley All Tube Mid Frequency EQ

    4 avril 2012

    Specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID FREQUENCY ENHANCED PULTEC EQ (MEQ-5 type) shares the same features and specifications as our ‘EQP-1A’ version. The differences lie in the passive EQ section: In the MID EQ, the DIP and PEAK controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes this unit indispensable for mastering engineers. The MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering.

     

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    Manley Enhanced Mono & Stereo Pultec EQP-1A’s

    4 avril 2012

    The MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.

    EQ may be set to ‘flat’ positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Our single rack unit monoblocks occupy one-third of the space of the ‘antique Pultecs’, an important consideration for allocation of outboard rack space. And if you notice, we’ve added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4″ jack) may be selected in that switch’s middle position.

     

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    Manley Tube Direct Mono & Dual Mono DI’s

    3 avril 2012

    The Manley TUBE DIRECT INTERFACE models feature exceptionally clean and quiet tube circuits which will warm up any electric guitar, bass, violin, and especially those sterile sounding synths. Unique with the Manley Tube DI’s is the added 5-position high pass shelf EQ, there to fight unwanted resonances. As splitter devices, the transformer-coupled balanced XLR output can be sent directly to a mic level input, such as through your console channel, while the 1/4″ output drives the guitar amplifier cabinet which can be miked and mixed with the direct feed. Low impedance outputs, Ground lift and Console Out Boost switches make these units both versatile and compatible. Keep your Manley DI close at hand to get that noisy high impedance guitar cable into quiet lo-Z territory fast!

     

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    Langevin Dual Mono Mic Preamp With EQ

    3 avril 2012

    This dual-channel microphone preamplifier is our refined version of the historic Langevin AM-4 console channel. We developed our own discrete gain stage to provide for balanced outputs to bring the Langevin brand into the modern age while still retaining that desirable tone that discrete circuitry delivers. No IC’s in this unit, please! We also added 1/4″ DIRECT INPUTS addressable from the rear panel. The continuously variable plus and minus 10dB shelf EQ’s switched turnover points have been chosen carefully at 40 or 80Hz (L.F.) and 8 or 12KHz (H.F.). All EQ can be completely switched out or set to ‘flat’ positions. Up to 53dB of gain is available to accommodate a wide range of microphones and high-current 48 volt phantom powering is built in. Because the most single influential component in a mic pre has to be the input transformer, this unit features our precision MANLEY mic input transformers which are wound right here in our factory, for that natural sound with a touch of brawn good iron provides.

     

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    Manley All Tube Mono Mic Preamp

    29 mars 2012

    Tube complements are common to both mono and dual mono models: 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Each unit is painstakingly hand wired using silver solder and audiophile-grade componentry. Double shielded custom-built power transformers and custom-built high capacity reservoir capacitors demonstrate our modern power supply design approach.

     

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    Manley All Tube Dual Mono Mic Preamp

    29 mars 2012

    The MANLEY all-tube microphone preamplifiers are available in 2-channel or single channel versions, primarily intended for use with modern capacitor (condenser) microphones. Now, 40 to 60 dBs of gain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount of overall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and « tubey-er » through to faster, punchier and more aggressive.

     

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    Manley TNT – 2 Channel Mic Preamplifer

    29 mars 2012

    Here is a twist: two different and discrepant mic preamps in one box for two different colors. By popular demand, one channel is the exact same micpre as in our SLAM! with tubes and transformers. The second preamp is a fresh « No Tubes » design from Hutch and is inspired by old British console preamps with a tasty combination of « No Tubes » design with transformers.

     

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    Manley 16 x2 Mixer

    16 mars 2012
    m_16x2_black_269x247

    The 16×2 comes in 3 flavors:


    1) The LINE version has 16 line inputs, with one aux send per channel. The LINE version is intended for workstations and allows users to avoid the digital mix buss which is often less than great sounding. Folks with huge expensive keyboard rigs who have inexpensive mixers that just ain’t cutting it have also been grabbing up the Manley 16×2 LINE version mixers.

    Line Channel View Pictured Above.

    2) The MIC version has very low noise mic preamps with up to 60 dB of gain selectable on a rotary switch which replaces the aux knob. The XLR has the appropriate 2400 Ohm impedance and switches to 68K for the 1/4″ plugs. (so yes you can run line level signals into it.) The MIC version also has phase reverse and inserts on every channel.

    Mic Channel View Pictured Above.

    3) The 8+8 version mixes it up, with 8 mic channels and 8 line channels (shown above). Great for location recording, keyboard rigs and general purpose tasks. The reviews are coming in stellar!

    8+8 Meter/Monitor Section Pictured Above.

    Rear Panel Detail of a 16×2 (8+8) Pictured Above.

    Above is a rear view of a Manley 16×2 (8+8) Mixer.

    The top 1-8 channels are MIC channels. So if you had a 16x2MIC, all 16 channels would look like that with your Direct Outs and Inserts. And your phantom power switching on each bank of four.

    The bottom 9-16 channels are LINE channels. They have Direct outs but no Insert as there’s nowhere to insert anything in between in a LINE channel…

    Note the SOLO binding post for linking bunches of Manley 16×2′s together.

    Then on the 2-Buss section pictured below here on the left, you have your R&L Main mix outputs, Main and Mini Monitor outputs, Tape playback L&R, as well as your pair of External Inputs.

    And there’s your AUX send for the LINE channels….

     

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    TC-Maxi Studio Time Code Reader

    15 mars 2012

    The TC Maxi Studio Time Code Readers display SMPTE/EBU time code with large four inch LEDs. Units feature well formed numbers and will read longitudinal time code from 1/20 to 50 times speed.

     

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    TC-JR Time Code Reader/Logger

    15 mars 2012

    The TC-JR is a self contained, battery operated Time Code Reader. It is designed to keep track of take numbers with the built in take counter, and can be used with an optional printer to create accurate time code logs. Stand alone operation is achieved when the TC-JR is jam set from external code. The incoming frame rate is displayed so you always know what code you are using. The compact, flat package makes it perfect for script logging.

     

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    TS-1/2

    15 mars 2012

    The Denecke Dcode® TS-1/2 Time Code Slate reads and displays SMPTE/EBU time code for film and video production.

     

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    TS-3 / TS-3 EL

    15 mars 2012

    Reads and displays SMPTE/EBU Time Code.  Internally mounted SB-2 Syncbox Time Code Generator.  Jams to all standard frame rates, including 30 df.  User bits jam automatically when the time is set.  The high stability crystal ensures low drift and now comes standard with the TCXO option for extreme temperature ranges.  The EL backlit display is particularly useful during night shoots and on dimly lit stages. Your choice of black and white or color clapper sticks.

     

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    SB-T Time Code + Video Sync Generator

    15 mars 2012

    The Dcode SB-T is the latest addition to the Denecke Line of Time Code Generators. The SB-T reads, generates and jams to all the standard frame rates including 23.976 for High Definition Video. The outputs include Time Code and Video Sync in PAL and NTSC, as well as Trilevel for HD shoots. The Temperature Compensated Crystal Oscillator (TCXO) ensures low drift. High stability and ease of use makes it a welcome addition to any Hi Def or Standard Def shoot!

     

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    SB-3 Syncbox Time Code Generator

    15 mars 2012

    The Dcode® SB-3 is designed to replace the Dcode SB-2A in the Denecke line of Time Code Generators. The SB-3 reads, generates and jams to all the standard frame rates including 23.976 for High Definition shoots. The outputs include Time Code and Word Clock. The Temperature Compensated Crystal Oscillator (TCXO)
    ensures low drift and very low Word Clock jitter.

     

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    GR-2 Master Clock

    15 mars 2012

    The GR-2 is a precision time code generator / reader designed for production sound recording. Low power consumption with back lighting assures users of long battery life in a small reliable package.

     

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    TS-C

    14 mars 2012

    The Denecke TS-C is a compact full featured smart slate, capable of reading, generating and displaying SMPTE/EBU time code. Its new compact size makes the TS-C ideal for documentary work, insert shots, or anywhere a big slate is too cumbersome. The TS-C jams to all standard frame rates, including 23.976 for HD. The TS-C reads and displays off speed time code used in special situations such as music video playback. The time code reader mode works with both ascending and descending time code.  The TS-C is the first Denecke product to support Aaton serial communication! The precision TCXO combined with a 16 BIT microprocessor ensure extremely low drift and high accuracy. The standard EL backlit face plate is helpful in low light situations. The new Denecke TS-C compact slate is affordably priced. Your choice of black and white or color clapper sticks.

     

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    Denecke

    14 mars 2012

    Preceptor (model-A)

    28 février 2012
    • Massive sound
    • Hand made and calibrated
    • Pure analog design
    • 3U rack space
    • Internal PSU 115V/230V
    • Special power transformer
    • Two independent mono blocks
    • Ultra stable power supply
    • 16 matched  Zener diodes in the signal path
    • Internal and external sidechain
    • Classic Carnhill transformers
    • Input Z switchable (2k5Ω or 10kΩ)
    • Stereo or dual mono operation
    • Hard relay bypass
    • Sidechain HPF
    • Blend function (parallel compression)
    • Retro panel meters
    • Only gold contact stepped attenuators and toggle switches (no potentiometers!)
    • Easy-settings repeatability
    • Highest functionality!

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    Preceptor (model-T)

    28 février 2012
    • Massive sound
    • Hand made and calibrated
    • Pure analog design
    • 3U rack space
    • Internal PSU 115V/230V
    • Special power transformer
    • Two independent mono blocks
    • Ultra stable power supply
    • 16 matched  Zener diodes in the signal path
    • Internal and external sidechain
    • Classic Carnhill transformers
    • Input Z switchable (2k5Ω or 10kΩ)
    • Stereo or dual mono operation
    • Hard relay bypass
    • Sidechain HPF
    • Blend function (parallel compression)
    • Retro panel meters
    • Only gold contact stepped attenuators and toggle switches (no potentiometers!)
    • Easy-settings repeatability
    • Highest functionality!

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    Compactor

    28 février 2012
    • Inputs: Electronically balanced XLR
    • Outputs: Electronically balanced XLR
    • Bypass: hard relay bypass
    • Input impedance: 48kΩ
    • Output impedance: < 50Ω
    • Frequency response: 20-22.000Hz
    • Maximum input level : + 21 dBu @ sensitivity +4 dBu
    • Maximum output level: +23 dBu
    • S/N ratio (A-weighted) : better than 85dBu
    • Meter: 0 to -20dB gain reduction
    • Signal path: Class-A, discrete
    • Gain reduction made by: a transistor in the differential amplifier circuit with Zener diodes stabilization
    • Dynamic modes: limiter, compressor
    • Action modes: hard, soft
    • Attack: 1ms, 2ms, 5ms, 8ms ,12ms ,30ms
    • Release: 50ms, 100ms, 250ms, 500ms, 1sec, 2sec
    • Sidechain filtering (HPF) : OFF, 80 Hz, 200 Hz, 320 Hz

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    PIX 220i

    28 février 2012

    Sound Devices PIX 220i features an IPS (In-Plane Switching) display. This new technology yields a brighter, sharper image with improved color accuracy and excellent off-axis performance. This attractive display provides immediate confirmation of recording, playback, audio metering, and Setup Menu selections. Monitor brightness, contrast and chroma adjustments are available for customized viewing needs.

    Simplifying Production

    The PIX 220i adds Quicktime recording using Apple ProRes or Avid DNxHD to any HDMI or HD-SDI equipped high-definition video camera. The portable PIX 240i records Quicktime files to CompactFlash cards or removable 2.5-inch solid-state hard drives.

    Apple ProRes and Avid DNxHD video formats have emerged as industry standards. These I-frame codecs offer the best in picture quality, processing efficiency, and data storage requirements. They are ideal for editing, on-the-fly color grading, and video processing. Files recorded in the field on a PIX recorder are ready for the most popular editorial workflows.

     

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    TM3

    28 février 2012
    TM3_269x247

    The compact TouchMonitor TM3 comes with a capacitive 4.3“ touch screen and intuitive preset control at an affordable price. With its feature list, it is the ideal solution for editorial offices, edit suites, small control rooms, and all applications with the need of easy readable loudness-compliant level control.

    The Unit
    TM3 consists of a display unit for vertical or horizontal use and a remote interface box. It handles analog or digital stereo signals (TM3) and digital 6-channel signals (TM3-6CH). TM3‘s flexible user interface allows the selection of up to 10 presets quickly and simply with just a finger swipe. The contained factory presets present a cross-section of the applications, audio connections and standards and allow you to start working right out of the box.

    The Devicer Software
    When it comes to configuring local presets using the Devicer DC1 software application (Windows® and Mac OS X® compatible), the TM3‘s power and flexibility really shines. Existing presets easily can be personalized and adapted to individual needs. Furthermore, Devicer DC1 allows to create several configuration sets with different presets, which may be uploaded to TM3 as required. (Devicer DC1 is available for free in the Audio Monitors/TouchMonitor TM3 section of the member area).

    The Instruments
    Besides PPM and True Peak instruments, the TM3 features comprehensive loudness measuring features conforming to all relevant international standards (EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, and ARIB). Loudness instruments include single-channel and summing bargraphs, loudness range and numerical displays.

     

    Features

    • 4.3“ Touch screen for vertical or horizontal use
    • Flexible display layout with scalable instruments
    • Separate interface box with audio I/O, USB, GPIO
    • Audio: analog balanced and unbalanced, S/PDIF, AES3
    • Stereo/6-channel operation (6-channel TM3-6CH only)
    • Retrofitable software license for 6-channel measurements
    • Loudness: EBU R128, ITU-R BS.1770-2/1771, ATSC A/85, ARIB, customer specific
    • Single channel and summing loudness bargraphs
    • Loudness range (LRA) with MagicLRA
    • PPM & True Peak
    • SPL & Dialnorm
    • Correlation
    • Numerical display
    • Comprehensive set of presets
    • Personalization with Devicer DC1 (The Device Configurator software for Windows® and Mac OS X® is available in the Audio Monitors/TouchMonitor TM3 section of the member area).

     

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    Sonodyne @ NAMM 2012

    4 février 2012

    Lors du NAMM 2012, Sonodyne Reference a présenté deux nouveaux produits: Le haut-parleur de sous-graves préamplifié SLF 210 V2 avec gestion des basses et le moniteur de studio 3 voies tri-amplifié, le SM 300.

    Pour plus de détails sur ces produits, consultez www.sonodyne.com.

    SoundField

    31 janvier 2012

    SP451

    31 janvier 2012

    The SP451 offers a rugged 1U rackmount hardware alternative to the Surround Zone plug-in (see bottom of page). It is favoured by those wishing to bypass computers and DAW’s and commit up to eight tracks of surround sound directly to digital recorders ‘live’ as the performance takes place. It can also be used ‘stand alone’ in post-production where from pre-recorded B-Format material it will output a 5.1 surround mix and stereo mix simultaneously. It generates up to three surround mic arrays with differing polar pattern combinations for instant comparison. Front panel controls include individual 5.1 channel levels and metering with variable Front Width, Rear Width and Rear Pattern for each mic array. The SP451 has B-Format inputs (W, X, Y & Z) and eight surround outputs. Input/outputs are balanced XLR at line level.

    User’s Manual

     

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    SPS422B

    31 janvier 2012

    The SPS422B is a multi-capsule microphone and calibrated 1U processor capable of generating mono, stereo, M/S and surround. All mic parameters are adjustable via the processor’s front panel which can be situated up to 100m away. These include Gain, End Fire, Invert, High-Pass, Polar Patterns, Stereo Width and Headphone monitoring. All outputs are at line level on balanced XLR’s.

    User’s Manual

     

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    UPM-1

    31 janvier 2012

    A 1U, 19-inch rack hardware processor with an all-digital signal path, the UPM-1 offers a simple upmix solution for creating natural-sounding 5.1 surround from a stereo signal. The UPM-1 uses a unique algorithm to perform detailed real-time analysis of the stereo source material, identifying and separating the ambience from the direct sound.

    User’s Manual

     

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    DSF-3

    31 janvier 2012
    dsf3_269x247

    A 1U, 19-inch rack hardware processor with an all-digital signal path, the DSF-3 allows decoding of SoundField microphone or B-format signals to digital 5.1 surround or stereo audio (or both simultaneously) at any sample rate. Five-segment LED displays on the left side of the front panel act as input level meters, and each 5.1 channel’s output level control has separate green ‘signal present’ and red Clip LEDs for further peace of mind.

    User’s Manual

     

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    DSF-2

    31 janvier 2012

    The DSF-2 Broadcast Microphone System has been specifically developed to simultaneously provide both the surround and stereo soundscape at large scale outside broadcast events such as football stadiums and concert hall venues. Its advantage over alternative methods is that the multichannel audio it generates from a ‘single point’ source is completely phase coherent. This enables the broadcaster to collapse the surround to stereo or mono for TV and radio feeds without loss of information, frequency imbalance or any of the other phase problems associated with spaced microphones or multi capsule ‘dummy head’ arrangements.

    User’s Manual

     

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    VM1

    18 janvier 2012

    The VM1 was the fulfillment of Dirk Brauner’s dream to build his vision of the perfect sounding tube microphone. A microphone that captures the spirit of the classic vintage tube microphones and at the same time, meets the high technical standards of today’s modern microphones. The VM1 was awarded the SSAIR Award in 1998, marking the beginning of a tradition of excellence in design philosophy, engineering and precision.

    In Brauner’s humble opinion, no other microphone has played a greater role in the renaissance of the tube microphone. As the archetype of all Brauner microphones it continues to serve as the inspiration for all Brauner products. The VM1 has a completely natural, modern sound with the highest resolution of sonic detail. Its transparent open character is predestined for vocal and instrumental recordings and is the first choice microphone of top artists and sound engineers all over the world.

    The power supply of the VM1 allows infinite adjustments of the directional characteristics as well as a 10 dB reduction through a switchable attenuator.

    Technical Data:

    Equivalent Noise < 11 dB A (IEC651)

    Signal to Noise > 83 dB (1 Pa/1 kHz-Cardioid)

    Sensitivity 28 mV / Pa-Cardioid

    Pattern all, infinitely variable

    Frequency Range 18 Hz – 24 kHz

    Maximum SPL 142 dB SPL @ 0,3 % THD

    Power Supply 115 V or 230 V

     

    USBPre 2

    18 janvier 2012

    Sound Devices’ USBPre® 2 is a high-resolution, portable hardware interface for Mac- and Windows-based digital audio. The USBPre 2 is the industry’s highest performance and most flexible portable interface, connecting professional microphones, line-level sources, consumer audio electronics, and S/PDIF digital sources with Mac OS and Windows computers via USB.

     

    • Extended bandwidth, low-noise microphone preamplifiers with 48 V phantom, limiters, high-pass filters, and 15 dB pad.
    • Dynamic range greater than 114 dB (in 24-bit operation).
    • Flat 10 Hz to 40 kHz (@96 kHz SR) audio bandwidth with very low distortion characteristics.
    • Each input individually selectable between microphone, line, and aux level signals (both channels selected simultaneously for S/PDIF connections).
    • Precision, 23-segment, multicolor LED peak/VU meter, selectable between input and output sources.
    • High-output headphone amplifier can drive a wide range of headphones.
    • Balanced outputs on XLR connectors with dedicated level control can be used to drive line- or mic-level inputs.
    • Mix control enables zero-delay monitoring of source audio, computer audio, or a mix of both source and computer audio for multitrack recording or computer telephony.
    • Phono (RCA) jacks connect Aux Output to external loudspeakers or preamplifiers.
    • Bus powering via USB for convenient, single-cable connection to the computer.
    • In Stand-Alone mode the USBPre 2 operates as a microphone preamplifier and analog-to-digital converter.
    • Hardware loop-through for test & measurement to send computer audio directly back to an input.
    • High-strength extruded aluminum chassis.
    • Mac® OS X 10.4+, Windows®XP/Vista/7, and Linux, class-compliant audio device.
    • Additional features controlled by hardware DIP switches on the back panel; no software-only features and no control panel.

     

     

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    UpMix

    18 janvier 2012

    DTS Neural Surround UpMix was ranked #1 in double-blind listening tests, outperforming all other surround decoders in channel discreteness, envelopment, and original spatial location.The DTS UpMix transforms any stereo signal into a surround sound experience. Audio that was encoded using the DTS DownMix algorithm can be restored with the correct information in each of the 5.1 surround channels.

    User’s Manual

     

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    UCR401

    18 janvier 2012

    Digital Hybrid Wireless™ Compact Receiver

    • Digital Hybrid Wireless®
    • SmartSquelch™ for noiseless muting
    • SmartDiversity™ for enhanced RF reception
    • 256 selectable UHF frequencies
    • DSP-based pilot tone squelch
    • LCD display with spectrum scanner
    • Balanced XLR audio output
    • Two AA batteries or DC power
    • Compatiblity with analog transmitters

    The UCR401 is a high performance compact UHF wireless microphone receiver for mobile applications such as ENG and film production. The compact size, battery and external power and rugged attached antennas are ideal for video camera mounted use. Unique DSP algorithms in the design provide full compatibility with all Lectrosonics 400 Series Digital Hybrid Wireless™ transmitters and variety of analog transmitters from Lectrosonics and some other manufacturers. Power is provided by two AA batteries, typically NiMH rechargeable types, or external DC supplied via a jack on the rear panel.

    Microprocessor control enables SmartSquelch™ and SmartDiversity™ advanced reception techniques to minimize noise and dropouts in all conditions. The receiver differentiates between close and distant operation and adjusts the squelch threshold automatically. In environments with significant RF reflections, the diversity switching activity optimizes the antenna combining based upon an analysis of RF level and audio content.

    Finding a clear operating channel is simplified with a choice of 256 frequencies across a 25.6 MHz bandwidth. A built-in RF spectrum analyzer scans the entire tuning range of the receiver and displays RF activity on the built-in LCD. Signal strength of other signals in the vicinity is indicated and empty sections of the spectrum are quickly identified with the graphical display. The analyzer will scan the entire spectrum and display the results in about 25 seconds, so it is very convenient to find a clear frequency in each new location.

     

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    Trinnov ST2-HiFi Optimizer

    18 janvier 2012

    Trinnov’s ST2-HiFi solves the acoustic equation.  It takes your high-end system to a whole new level of accuracy, from high-fidelity to acoustic-fidelity.

    The ST2-HiFi is today’s most advanced loudspeaker/room optimizer. It offers Trinnov’s patented digital room correction technologies in a package specifically customized for Hi-Fi enthusiasts.

    Click here to view a larger image.

     

    In a nutshell, the ST2-HiFi offers the following benefits:

    • Easy Setup in 4 steps
    • Powerful Algorithms: Multi-point measurements, time-frequency analysis, comprehensive graphs and much more…
    • Flexible fine-tuning to meet your personal taste for sound balance
    • High Performance Audio boards, designed and manufactured by Trinnov
    • Multiple Remote Control options, from Infra-Red to Smart-phones

     

    Trinnov Optimizer: what’s new in V3.0

    • Multipoint Measurements: measure multiple points in your room, using one or moremicrophones. The Optimizer Multi-Point algorithms take into account every point according to the weights you specify.

    • New Graphscompare multiple loudspeakers or measurement points on the same graphs. Analyze impulse responses, group delay, and the filters generated by the Optimizer.

    • Modular Architecture: choose the features you need. The Optimizer Runtime allows you to use the Optimizer as a “black box”. The Optimizer Toolbox includes all the measurement and analysis functionnality to calibrate your loudspeakers.

     

    Trinnov Optimizer ST2

    18 janvier 2012

    Stereo Loudspeaker Processor

    The ST2-Pro is based on new hardware specifically designed for audio professionals. The silent 2U chassis features a rear panel with XLR connectors, and a special attention has been given to the AD/DA converters, designed by Trinnov to meet the requirements of the most demanding sound engineers. In fact, the whole chassis and electronics have been redesigned, both outside and inside: the new Trinnov audio interfaces, the « AES4″ and the « ADA4″, are connected to the new Trinnov Core, a high performance digital audio engine.


    Click here to see a larger image


    Trinnov’s unique software modules, the Processor, the Optimizer and the SmartMeter (optional) can run simultaneously on top of the ST2-Pro:

    • The Processor manages the core loudspeaker processing functionality, such as routing, delays, gains, crossovers and manual EQs (graphic and parametric).
    • The Optimizer module offers unique room EQ features with Multi-point Measurements, Target Curves and Automatic Phase Optimization.
    • The Smart Meter is a fully featured Multi-Meter (Loudness, Peak and Quasi-Peak) and Monitor Controller

    The ST2-Pro can be controlled via a touch-screen, via a monitor + mouse, from any computer (PC or Mac) via a VNC client, through the network, or via the optional GPIO interface. 

    « With this major improvement to our flagship stereo processor, we remain committed to helping audio professionals improve the quality and consistency of their productions in terms of tonal balance and stereo image » says business development director Felipe Avila-Reyes. « And our new Loudness Meter option only adds more value to the ST2-Pro ».

     

    Technical specifications in brief:

    • 4 balanced analog inputs via 4 XLR connectors
    • 4 balanced analog outputs via 4 XLR connectors
    • 4 digital inputs (2 AES3 inputs) via 2 XLR connectors
    • 4 digital outputs (2 AES3 outputs) via 2 XLR connectors
    • Word clock in & out via 2 BNC connectors
    • 4 processing channels
    • 64-bit floating point processing
    • User interface through VGA output and mouse, or from a VNC client (PC or Mac) through the network
    • GPIO option (SubD-25 connector) Volume knob option (USB)
    • Integrated power supply silent, low-speed fan
    • 2U 19″ rackmount
    • Dimensions (W x H x D) : 444 x 88,5 x 357 mm

     

    Trinnov Optimizer: what’s new in V3.0

    • Multipoint Measurements: measure multiple points in your room, using one or moremicrophones. The Optimizer Multi-Point algorithms take into account every point according to the weights you specify.

    • New Graphscompare multiple loudspeakers or measurement points on the same graphs. Analyze impulse responses, group delay, and the filters generated by the Optimizer.

    • Modular Architecture: choose the features you need. The Optimizer Runtime allows you to use the Optimizer as a “black box”. The Optimizer Toolbox includes all the measurement and analysis functionnality to calibrate your loudspeakers.

     

    Trinnov Optimizer MC

    18 janvier 2012

    Multichannel loudspeaker processor

    The room’s problems have been identified, and are taken into account while recording or mixing. But as long as the room’s acoustics are distorting the mix, how will it translatein other rooms?

    Trinnov has applied the results of breakthrough research in the area of loudspeaker/room acoustics to create a new generation of loudspeaker processors, setting a new benchmark for accurate sound reproduction. The Trinnov Optimizer takes mix translation to the next level.

    Click here to see a larger image

    Technical specifications in brief:
    • Up to 10 Analog, 12 ADAT, 16 AES or 24 MADI I/O;
    • Up to 24 DSP channels at 96kHz,  8 DSP channels at 192kHz;
    • Supports all formats, from stereo to 22.2, on any loudspeaker arrangement;
    • Biamp / triamp / quadriamp operation;
    • 2U, 3U or 4U rack mount;
    • Touchscreen option.

     

    Trinnov Optimizer: what’s new in V3.0

    • Multipoint Measurements: measure multiple points in your room, using one or moremicrophones. The Optimizer Multi-Point algorithms take into account every point according to the weights you specify.

    • New Graphscompare multiple loudspeakers or measurement points on the same graphs. Analyze impulse responses, group delay, and the filters generated by the Optimizer.

    • Modular Architecture: choose the features you need. The Optimizer Runtime allows you to use the Optimizer as a “black box”. The Optimizer Toolbox includes all the measurement and analysis functionnality to calibrate your loudspeakers.

     

    TM9

    18 janvier 2012

    The all-new TouchMonitor range is RTW‘s answer to growing requirements in today‘s production, post-production, and broadcast world. Equipped with high-grade 7“ or 9“ touch screens and an easy-to-use GUI, TouchMonitor enters a new level of professional audio metering in terms of precision, performance, efficiency and flexibility.

    More About this Product

     

    TM7

    18 janvier 2012

    For environments where space is an issue, TouchMonitor TM7 is an ideal choice. Combining the simple and flexible operational concept and GUI of the TM9 with a 7″ high-grade touch screen, the TM7 lets you configure the instruments of your choice with ease. Instruments can be scaled, randomly positioned and combined for optimized use of available screen space. The modular software concept lets you purchase exactly the features you actually require.

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    Tarkan

    18 janvier 2012

    Installed in a laptop or netbook (Mac or Windows), and connected to Cantar through Ethernet, Tarkan controls all of the Cantar’s audio signals and in/out routings. It edits the metadata and generates PDF/CSV sound reports.

    User’s Manual

     

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    Sporty

    18 janvier 2012

    Extremely small & light, the Sporty Portable Reporter Codec can transmit from anywhere, to anywhere, whilst simultaneously recording to USB Sticks or SD Cards. Built to the same demanding standards as the Flashman II, Sporty is a robust, portable studio with two new, state-of-the-art audio formats, MPEG 4 HEv2 and MPEG 4 AAC ELD; providing one touch “High Quality” & “Low Latency”. And thanks to MAYAH’s still unique FlashCast technology, Sporty is able to automatically recognise, and connect to almost any audio codec & format available. Ideal for situations where the destination codec is not known.

     

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    Sonodyne SM 50AkM

    18 janvier 2012

    Overview

    The SM 50Akm is a derivative of the SM 50Ak in that it utilises a metal (aluminum) dome HF driver (as apposed to to the silk dome of the SM 50Ak).

    Download the technical specifications.

     

    Sonodyne SM 50Ak

    18 janvier 2012

    Overview

    Our journey into studio sound began with the SM 50Ak. India, in the wake of embracing a global economy in 2005, issued several hundred FM licenses. This, in conjunction with a thriving cinema industry in Mumbai (Bollywood), prompted the introduction of a new range of cost effective yet high performance studio monitors. Experienced sound engineers, upon hearing the SM 50Ak, remarked that it was among the best small monitors they had ever monitored on.

    The SM 50Ak is ideal for not only desktop editing but also serious audio monitoring. It provides a well articulated yet full bodied response from its compact enclosure. The highs are open, the mids well resolved, and the bass, detailed and tight. Magnetically shielded, it may be placed beside video monitors. It has facility for both console and wall mount. Floor stands are optional accessories.

    Download the technical specifications.

     

    Sonodyne SM 300A

    18 janvier 2012

    Overview

    With serious home studios and smaller pro studios, the need arises for a compact speaker that can deliver detailed sound at high db levels and over an extended frequency bandwidth. 

    The following innovations in the SM 300A help overcome most of the challenges in the design process:

     

    • Aluminum extruded sides provide a rigid build; curved edges help minimize standing waves
    • Double MDF front, top, bottom resulting in a compact, rigid enclosure that minimizes extraneous noises
    • Aluminum die cast waveguide for HF and MF drivers to achieve wide dispersion without affecting linearity.
    • 3 class AB amplifiers rated at LF: 150, MF: 75, HF: 75 watts. These 3 amplifiers are designed to closely match the speakers’ response and thus deliver the best possible combined response
    • 8” high excursion Kevlar woofer with 4” glass fibre cone midrange and 1” silk dome tweeter provide a detailed  response  from 35 Hz ~ 25 kHz
    • DSP controlled (4) EQs, and (2) bass roll- offs to aid in room compensation

    Available Fall 2011

    Download the technical specifications.

     

    Sonodyne SM 200Ak

    18 janvier 2012

    Overview

    The New SM 200Ak is 2 way studio reference monitor with exceptional frequency bandwidth and sound pressure level making it an ideal solution for broadcast, and professional studios.

    The SM 200Ak enclosure combines the best of two worlds: wood and aluminum. The sturdy aluminum die cast baffle ensures that the 8″ Kevlar LF and the 1″ metal dome HF are firmly mounted and vibration is minimized. Additionally the curved edges of this solid baffle also minimizes diffraction. This baffle also features an integral waveguide for the HF, resulting in precise imaging and exceptional on and off axis response.

    The inbuilt low distortion amplifier module continuously provides 150 watt to the HF and 100 watt to the HF and feature room compensating bass and treble tilts useful in difficult acoustical environments.

    The SM 200Ak has both wall mount and stand mount options, and has lockable XLR input and link.

    Download the technical specifications.

     

    Sonodyne SM 100Ak

    18 janvier 2012

    Overview

    The SM 100Ak has an extended LF response compared to the SM 50Ak and also a wider sweet spot. This, in conjunction with a higher SPL, readies it for the more demanding applications like multi-channel audio monitoring in larger rooms.

    We have also found that many musician-engineers prefer the tonal quality and ‘musicality’ of these rock-solid speakers. Magnetically shielded it may be placed beside video monitors. It has facility for both console and wall mount.

    Download the technical specifications.

     

    Sonodyne SLF 210 V2

    18 janvier 2012

    Overview

    The SLF 210 V2 adds some exciting, new features to the proven workhorse subwoofer, the SLF 210. These new features are: 2.1 channel bass management, discrete phase control from 0 ~ 180 degrees, polarity switch, ground lift switch, and the kicker – external (foot-switch) controlled bass management. So experience the SLF 210 V2 today and enter a new realm of .1 monitoring!

     

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    Sonodyne BMS 205

    18 janvier 2012

    Overview

    The BMS 205 is a unique bass management system. At a slim 1U, it houses an innovative feature to setup the SMs and SLF in 2.1 or 5.1 modes. The BMS 205 allows you to activate one of 2 HPF for the main channels or play them in full range mode. In 2.1 mode the LFE signal can be derived from a summed L, R. Another exciting feature is the mute / solo option that allows you to mute or solo individual channels. To top it off is the stunning new wired remote control (BMS 205r) that sits neatly on your desktop and allows you to control master level and mute.

    Download the technical specifications.

     

     

    Sonifex Video Embedders/De-Embedders

    18 janvier 2012

    Still in the familiar Redbox chassis offering rackmounting as standard and a universal AC power supply, these new video Redboxes use latest technology components to offer embedding and de-embedding for analogue and digital audio signals into and out of all 3G, HD and SD-SDI video signals, respectively. With simple front panel controls, standard BNC connectivity and remote operation on serial and ethernet ports, there are currently 4 products in the range. RB-VHDMA8 RB-VHEMA8 RB-VHCMA4 RB-VHCMD16 More About these Products

    Sonifex Reference Monitor Meters

    18 janvier 2012

    The new Reference Monitor Meters are a range of freestanding and 1U 
    rack-mount precision meters offering accurate, high resolution metering of between 1 and 4 stereo audio sources.

    RM-M1F53

    RM-M1R53

    RM-M2F53

    RM-M2R53

    RM-M4R53

    RM-M1F106

    RM-M1R106

    RM-M2R106

     

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    Sonifex Reference Monitor Controllers

    18 janvier 2012

    The new Reference Monitor Controllers are a range of 1U rack-mount audio production control units, for providing source selection, volume, DIM and CUT controls for external analogue monitors, together with light controls for the Sonifex SignalLED range of studio signs, or similar.

    RM-MC1L

    RM-MC4L

    RM-MC51L

    RM-MCL

     

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    sb-30 & sb-66

    18 janvier 2012

    The Spacebar microphone positioner allows for precise and repeatable setting of microphone capsule spacing, angle of incidence, and rotation around the x axis. With precision scales for angle and distance engraved on the Spacebar components, it becomes easy to make perfectly measured and repeatable stereo microphone setups.

    User’s manual

     

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    RM-4C8

    18 janvier 2012

    With 4 x bright high-resolution 26 segment meter displays and separate left and right source selectors, the RM-4C8 is ideal for monitoring audio channels in an SDI group, or groups of de-embedded AES/EBU channels.

    More About this Product

     

    RB-DS2

    18 janvier 2012

    The RB-DS2 is a stereo audio delay synchroniser used for resynchronising audio to video following delay processes such as standards conversion, transmission delay, logo insertion, video aspect ratio conversion and network delays. It can be used for fixed installations to correct a permanent audio delay, or on an intermittent basis to provide occasional correction, for example for live links. Accepting digital audio signals up to 96kHz, 24 bit, the sonic quality of the RB-DS2 is superb and silent switching is used to provide the smoothest, cleanest audio delay available.

    More About this Product

     

    R-121 Studio Ribbon Microphone

    18 janvier 2012

    Released in 1998, the award-winning R-121 is Royer’s flagship microphone; the world’s first radically re-engineered ribbon microphone and the model that reintroduced ribbon mics to engineers around the world. We did away with the large, heavy, fragile « classic » approach to ribbon microphones and went in a completely new direction. The R-121 gives all of the warmth and natural sound that experienced engineers have long turned to ribbon mics for, but in a compact, light-weight, high output and tough-as-nails package that was unheard of in a ribbon mic before the R-121. In its 10+ years in the market, thousands of R-121′s have been sold around the world and it’s well established as a standard for tracking electric guitar and brass.

    Technical Data

    • Acoustic Operating Principle: Electrodynamic pressure gradient
    • Polar Pattern: Figure-8
    • Generating Element: 2.5-micron aluminum ribbon
    • Magnets: Rare Earth Neodymium
    • Frequency Response: 30 -15,000 Hz +/- 3dB
    • Sensitivity: -50 dBv Re. 1v/pa
    • Output Impedance: 300 Ohms @ 1K (nominal)
    • Rated Load Impedance: >1500 Ohms @ 300 Ohms
    • Maximum SPL: >135dB @ 20 Hz
    • Output Connector: Male XLR 3 pin (Pin 2 Hot)
    • Dimensions: 58mm L, 25mm W (6.13″ L, 1″ W) Weight: 244g (8.6 oz) Finish: Dull Satin Nickel/Matte Black Chrome optional

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    PRM-4200 Professional Reference Monitor

    18 janvier 2012

    We believe there should be no compromise when it comes to the quality of your creative content. That’s why we designed the Dolby® PRM-4200 Professional Reference Monitor to be the no-compromise monitoring solution. It provides the highest level of image quality, true blacks, exceptional dark detail, and 12-bit color accuracy without dithering.

    The award-winning Professional Reference Monitor was used on numerous high-profile projects this past year, including the 4K remastering of Apocalypse Now and the making of an Oscar®-nominated feature film.

     

    The No-Compromise Replacement for the CRT

    The Professional Reference Monitor’s 12-bit dual-modulation display technology provides support and flexibility throughout the content creation cycle:

    • Supports not only today’s 10-bit video formats, but also emerging 12-bit formats without dithering or down-scaling of the color gamut.
    • Emulates virtually any other display device, replacing an entire collection of monitors that may currently be used for color correction, mastering, and quality control.
    • Accurately displays DCI P3, all high-definition formats over HD-SDI, and 2K video content.
    • Approximates the full gamut of film, making digital intermediate color grading possible without using a digital projector.
    • Supports 3D LUTS, allowing it to be calibrated to perfectly match digital screening environments and to emulate the response of film-print stocks during the digital intermediate color correction process. On the set, it displays color looks and previsualization with 1D and 3D LUTs.

    For a more complete list of capabilities and specifications, download our product brochure.

     

    Intuitive Access and Add-Ons

    The monitor includes an external remote controller that handles all functions, giving you off-screen, intuitive access to all features, functions, and parameters via simple, easy-to-use menus. The remote can be rackmounted or used on the desktop.

     

    Professional Reference Monitor Remote Controller

     

    For added ease of use, Dolby partnered with Harris to build the PRM-AUDIOSYNC AES Audio Synchronizer, which automatically matches the audio delay to the monitor’s video delay, removing the need for manual changes to audio delay when switching modes or formats.

     

    Dolby: Innovation at Its Best

    A trusted partner to content creators for decades, Dolby worked closely with colorists and cinematographers to perfect the Dolby Professional Reference Monitor.

    You can count on exceptional reliability, thanks to the lengthy lifespan of LCDs and the more than 100,000-hour lifespan of typical of LEDs. Plus, the monitor ensures color stability because the 1,500 RGB LEDs are burned and tested prior to assembly. R, G, and B gain controls allow manual fine-tuning of the color balance to fit your viewing conditions.

    More informations

     

    PIX 240i

    18 janvier 2012

    Sound Devices PIX 240i features an IPS (In-Plane Switching) display. This new technology yields a brighter, sharper image with improved color accuracy and excellent off-axis performance. This attractive display provides immediate confirmation of recording, playback, audio metering, and Setup Menu selections. Monitor brightness, contrast and chroma adjustments are available for customized viewing needs.

    Simplifying Production

    The PIX 240i adds Quicktime recording using Apple ProRes or Avid DNxHD to any HDMI or HD-SDI equipped high-definition video camera. The portable PIX 240i records Quicktime files to CompactFlash cards or removable 2.5-inch solid-state hard drives.

    Apple ProRes and Avid DNxHD video formats have emerged as industry standards. These I-frame codecs offer the best in picture quality, processing efficiency, and data storage requirements. They are ideal for editing, on-the-fly color grading, and video processing. Files recorded in the field on a PIX recorder are ready for the most popular editorial workflows.

     

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    Overkiller barrel limiter

    18 janvier 2012
    ok_pair_269x247

    An Over-Killer is a soft-clipping limiter barrel to let you get more level on your digital copy by limiting the level of a balanced analogue signal to +18dBu. The OVER-KILLER, with its unique super soft clip circuit, stays soft even when large overloads are present and does not become hard like less sophisticated systems.

    More About this Product

     

    Orpheus

    18 janvier 2012

    Orpheus is a FireWire multi-track audio interface for personal recording and sound production, for professional musicians, songwriters, engineers and producers as well as recording studios, post production facilities and scoring stages. Orpheus is ideal for music and sound recording, multitracking, overdubbing, stem-based mastering, analogue summing and critical listening applications. 

    Orpheus provides Prism Sound’s renowned performance, sound quality and state-of-the-art clock technology in a dedicated FireWire unit compatible with both Windows (XP, Vista (32 and 64bit) & Windows 7 (32 and 64 bit), ASIO & WDM) as well as MAC OS X 10.4.11 and later (Intel & PPC). Once configured with a computer, Orpheus can also operate stand-alone using its S/PDIF or AES3 I/O. 

    For computers without FireWire, Orpheus can also be used with Thunderbolt equipped computers via a third party Thunderbolt to FireWire adaptor.

    Orpheus has line, microphone and instrument inputs, selectable RIAA Equalization for turntables, a built-in premium-quality monitoring mixer for each output providing for performer foldback and surround monitoring, concurrent ADAT and switchable S/PDIF or AES3 digital I/O plus support for outboard MIDI devices. Microphone inputs include MS matrix processing. High-performance digital sampling-rate conversion (SRC) is available for digital inputs or outputs. Dual headphone outputs are provided each with its own volume control, both monitoring the same headphone feed.

     

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    NLC5.1ST

    18 janvier 2012

    The number one complaint of television viewers is inconsistent audio loudness – “why are the commercials so loud.” These differences in audio levels between TV programs, or between programs and commercials, are a constant annoyance to viewers. DaySequerra’s second-generation loudness control, the NLC5.1ST, gives broadcasters a 1RU solution to maintain their desired loudness level across all audio programming and minimize viewer complaints.

    More About this Product

     

    NLC4ST

    18 janvier 2012

    The DaySequerra NLC4ST provides the ability to independently process four stereo channels of audio simultaneously and apply loudness correction, all while occupying only one rack unit of space. NLC4ST is well suited for use in large facilities were space, power and heating constraints require a higher-density solution.

    More About this Product

     

    Neural UpMix by DTS

    18 janvier 2012

    Neural UpMix is a groundbreaking plug-in for the post-production and mixing communities. Combining precision and creative flexibility, it can output 5.1 or 7.1 multi-channel stems from stereo or 5.1 source material and is intended for projects where the original source elements for a conventional upmix are not available. It is especially useful for catalog films, TV series, documentaries, menus, deleted scenes, and featurettes.

    More About this Product

     

    MultiMerge2

    18 janvier 2012

    DaySequerra MultiMerge2 provides surround sound for HDTV viewers as well as stereo sound for SDTV transmission whether the original content is stereo or discrete 5.1 surround. Combining the features of our popular DownMix and UpMix products, MultiMerge2 will up-mix stereo or encoded stereo content to surround sound using the DTS Neural Surround UpMix process, as well as rendering a Lt/Rt output of 5.1 discrete audio using the DTS Neural Surround DownMix process.

    More About this Product

     

    MP-1

    18 janvier 2012

    The MP-1 is a portable, single channel, battery powered microphone preamplifier with 20 Hz – 50 kHz bandwidth and >120 dB dynamic range. Features include 48-volt and 12-volt phantom power, high pass filter, limiter, transformer-balanced input and output. Powered by 2 AA batteries.

    More About this Product

     

    Mono2Stereo

    18 janvier 2012

    Dealing with mono content in today’s live sports surround sound environment presents a number of problems for engineers who are working to deliver the highest quality mixes. Simple mono sound sources just don’t always cut it. DaySequerra’s four-channel synthesizer uses a DTS proprietary algorithm developed to produce an artifact-free, wide soundstage with natural, spectrally balanced stereo from mono content.

    User’s Manual

     

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    Model 8900

    18 janvier 2012

    Twenty-two years of progressive research into loudness perception resulted in a limiter/compressor unlike any other. The 8900 Dynamic Range Controller was intrinsically developed to react to loudness (rather than voltage) like our ears do. The 8900’s psycho-acoustic approach uses multiple true-RMS detectors, remarkably accurate log converters, and fast peak detectors to respond intelligently to real signal energy, not just electrical level. This innovative design employs unique controls, like Crest Factor, Timing, and Release Hysteresis to precisely control the dynamic features of musical performances; one would ordinarily change out the entire unit to gain this flexibility. Familiar features such as Stereo Link, Soft/Hard Knee, Ratio, Output Level, as well as the comprehensive 40-segment tricolor Gain/Loss metering have been carefully optimized for flexible, creative control over a wide dynamic range with a noticeable lack of audible artifacts. A Side Chain Input permits external frequency shaping to be introduced into the detection circuitry. The entire audio path is all-discrete, including the custom-built VCA, for unsurpassed transparency and low-level resolution. The 8900 is a 2U, two-channel unit which requires the 9015 power supply.

    More About this Product

     

    MM-1

    18 janvier 2012

    The MM-1 combines two essential production functions — microphone preamplification and headphone monitoring — in one compact product. The MM-1 is a no-compromise, studio-quality microphone preamplifier with phantom power, high-pass filter, and built-in limiter. With its monitoring function providing fold-back of preamp audio and external monitor audio, the MM-1 is at home in the most complex broadcast remotes, theatrical productions, and intercom setups. User Guide Fact Sheet More About this Product

    MKH 800 P48

    18 janvier 2012

    Description

    The MKH 800 condenser microphone is the first microphone to fully utilise the wider frequency response and dynamic range of the new high bitrate standard of advanced digital recording systems (for example SACD). Featuring five switchable pick-up patterns, the MKH 800 is a superior microphone for any recording application, offering high clarity and the absolute minimum colouration.

    Features

    • Extended frequency response up to 50 kHz
    • Wide, flat frequency response
    • Exceptionally low inherent self-noise, wide dynamic range
    • Switchable pre-attenuation, switchable roll-off filter and switchable treble emphasis
    • Transformerless and fully floating balanced output
    • LED for on-axis alignment
    • Anodised light metal body

     

    Technical Data

    Pick-up pattern omni-directional…cardioid…fig. eight
    Sensitivity in free field, no load (1kHz) 40 mV/Pa +- 1 dB
    Nominal impedance 150 Ohm
    Min. terminating impedance 2000 Ohm
    Equivalent noise level 10 dB
    Equivalent noise level weighted as per CCIR 468-3 20 dB
    Power supply 48 +- 4 VPhantom
    Current consumption 3 mA
    Dimensions d 27 x 176 mm
    Weight 135 g

     

    MKH 40 P48

    18 janvier 2012

    Description

    The MKH 40 has a large number of applications, for example as a main microphone, especially in lightly reverberant or acoustically less perfect rooms, with instrumental groups or for speech applications. Its wide-angled, neutral directional characteristics and high level of reverse attenuation ensure an exceptionally balanced sound.

    Features

    • Maximum front-to-back ratio
    • Exceptionally low inherent self-noise
    • Symmetrical transducer technology ensures extremely low distortion
    • Transformerless and fully floating balanced output
    • Switchable roll-off filter to compensate for proximity effects at a distance of approx. 0.5 m
    • Switchable pre-attenuation
    • Black, anodised light metal body

     

    Technical Data

    Transducer principle (Microphone) RF condenser microphone
    Pick-up pattern cardioid
    Frequency response (microphone) 40 – 20000 Hz
    Sensitivity in free field, no load (1kHz) 25 (8) mV/Pa +- 1 dB
    Nominal impedance 150 Ohm
    Min. terminating impedance 1000 Ohm
    Equivalent noise level 12 (18) dB
    Equivalent noise level weighted as per CCIR 468-3 21 (27) dB
    Maximum sound pressure level (passiv) 134 (142) dB / 1 kHz
    Battery Specification 48 +- 4 V Phantom
    Current consumption 2 mA
    Dimensions d 25 x 153 mm

     

    MKH 20 P48

    18 janvier 2012

    Description

    The MKH 20 is usually used as a main microphone for orchestras and solo instruments, and picks up the natural acoustics of the room, though it does have a much wider range of applications as omni-directional microphones do not suffer from ‘proximity effect’.

    Features

    • Exceptionally flat frequency response, switchable for near and diffuse field applications
    • High-frequency response can be accentuated by means of a pressure build-up ring
    • Slightly increasing directivity at high frequencies to adjust tonal balance
    • Exceptionally low inherent self-noise
    • Transformerless and fully floating balanced output
    • Switchable pre-attenuation
    • Black, anodised light metal body

     

    Technical Data

    Pick-up pattern omni-directional
    Sensitivity in free field, no load (1kHz) 25 mV/Pa +- 1 dB
    Nominal impedance 150 Ohm
    Min. terminating impedance 1000 Ohm
    Equivalent noise level 10 (18) dB
    Equivalent noise level weighted as per CCIR 468-3 20 (28) dB
    Power supply 48 +- 4 VPhantom
    Current consumption 2 mA
    Dimensions d 25 x 153 mm
    Weight ca. 100 g

     

     

    MixPre

    18 janvier 2012

    The MixPre is great for use with small format digital cameras for superior audio quality! Feature packed, portable, two-channel microphone preamp/mixer. With pan switches, 1 kHz tone oscillator, and slate mic. Includes 48-volt phantom, high performance metering and headphone monitoring. Powered from 2 AA or external DC.

    More About this Product

     

    MHTV4ST

    18 janvier 2012

    The DaySequerra MHTV4ST mobile loudness control has been designed to improve dialogue intelligibility and provide effective audio dynamic range on mobile devices.  Using a specially-tuned proprietary DTS NLM (Neural Loudness Measure) algorithm that provides an accurate perceptual loudness measurement, the MHTV4ST then makes corrections in the program loudness to keep dialog intelligible and playback at a consistent loudness levels on the mobile device without users constantly adjusting their volume control.

    User’s Manual

     

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    Maselec MMA-4XR

    18 janvier 2012

    The MMA-4XR is an audiophile microphone pre-amplifier offering the highest standards of performance. Design objectives included consistently good sound over the whole range of gain settings, a high level of transparency and ultra-low noise and distortion.

     

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    Maselec MLA-2 mastering compressor limiter

    18 janvier 2012

    The MLA-2 is a stereo or 2-channel compressor with stepped drive (input gain), ratio, attack and release time and output gain controls. For optimum transparency and freedom from noise the MLA-2 employs a non-VCA design.

    User’s Manual

     

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    Maselec MEA-2 mastering equalizer

    18 janvier 2012

    The MEA-2 is a stereo or 2-channel, four-band precision analogue equalizer with stepped Q/shelf, frequency and cut/boost controls on each band. It is designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required.

    User’s Manual

     

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    Manley Gold Reference Multi Pattern Microphone

    18 janvier 2012

    The Gold Reference Series employ Manley’s own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, « air », and superb ultra-high frequency response you have only dreamt about.

    Features & Specifications

    • All Tube design using 12AT7 dual triode. (Previous versions used 6072 or 12AX7.)
    • -10dB switchable PAD
    • Sensitivity: 17mV/Pa
    • Noise: typically -120 dB EIN
    • Max SPL: 150dB
    • Actual output impedance 200 ohms
    • Weight: 2.25 lbs (mic)
    • Weight: 2.5 lbs (PSU)
    • Size: 4.5″ x 9.7″ x 4.5″ (mic)
    • Size: 5″ x 8.2″ x 3.4″ (PSU)
    • Shipping weight: 15 lbs
    • Selected matched pairs available
    • Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country’s mains voltage.
    • Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change.
    • Mains Voltage Frequency: 50~ 60Hz

    More informations

     

    Majax

    18 janvier 2012

    Majax plays Cantar recorded files and performs the many tasks sound recordists and post-production technicians must manage.

    User’s Manual

     

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    m904 & m904b

    18 janvier 2012

    While 5.1 surround has become well established in film and HD production, stereo is still king and remains the standard for producing and delivering music. Accordingly, we offer our monitor controller in stereo only versions – the m904 (and m904b).

    Users Manual

     

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    m903

    18 janvier 2012


    The m903 keeps everything great about its predecessors, adds some useful new features, and ups the ante with even more breathtaking audio performance. A new volume control provides higher headroom and lower distortion and noise. New generation DAC’s and ultra-low noise balanced current to voltage converter yields even more musical performance compared to the m902. Improved s-lock PLL circuitry delivers even lower phase noise and jitter. An improved power supply isolates headphone amplifiers, line amplifiers, DAC’s and digital logic, resulting in lower noise and distortion.

    More About this Product

     

    m802

    18 janvier 2012

    The core is a high fidelity 8 channel microphone preamplifier designed to be extremely transparent and musical. But that’s just the beginning. The m802 is fully remote controllable. With our full featured stand alone hardware RCU (optional), up to 64 channels (a system of 8 m802’s) can be addressed and controlled seamlessly from up to 1000’ away. All preamplifier functions, including gain, phase, 48V phantom are instantly accessible and adjustable. These settings can then all be stored into preset locations and instantly recalled.

    User’s Manual

     

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    m801

    18 janvier 2012

    Introduced in 1995, the model 801 microphone preamplifier was slightly ahead of its time. But as digital audio workstations soon flooded the industry, an accompanying high performance 8 channel mic preamplifier suddenly made perfect sense. So the model 801 quickly became an industry standard, which remains inimitable and unsurpassed.

    User’s Manual

     

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    M7 Reverb

    18 janvier 2012

    The Bricasti Design Model 7 provides the highest level of musicality and ease of control inimaginable in a processor dedicated to the task of reverberation. A modern high resolution digital design, utilizing a stunning array of the latest DSP processors, provides a platform for the long overdue next step in reverb processing algorithms.

    M7 User Guide

    M7 Midi Application Guide

     

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    m201

    18 janvier 2012

    During its 12 years in production, the model 201 mic preamplifier found its way into countless recording facilities around the world, gathering a considerable amount of critical acclaim along the way. Now our classic two channel mic preamplifier has been completely redesigned and transformed into the m201.

    User’s Manual

     

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    M16

    18 janvier 2012

    Introducing the next generation of digital audio mixers from Renegade Labs: The M16. This powerful mixer pairs a new sophisticated 16 fader control surface with the standalone 3RU 328|MXE chassis. The M16 accepts up to 32 input channels where you decide upon the formats required by your application: Analog, mic, AES, and even SD/HD SDI. Eight Analog and Digital outputs are included in the base system, and an additional set of eight outputs can be optionally added in either Analog, Digital, or SD/HD SDI embedding.

    User’s Manual


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    m103

    18 janvier 2012

    It starts with the tried and true m101 microphone preamplifier circuity. For many engineers, the m101 is an introduction to what quality mic preamplification is all about, and the perfect starting point for a channel strip – musical, transparent and pure. Headroom, detail, clarity – its all there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V phantom.

    User’s Manual

     

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    m101

    18 janvier 2012

    The m101 is equipped with our new universal switching power supply, which is dead quiet and accepts input voltages from 100 to 240VAC. The front panel is a tough black anodized / laser etched black, which ensures legibility and usability in varying light conditions. And all preamp functions have a dedicated indicator LED, including the 48V phantom power and HPF switch.

    User’s Manual

     

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    M 149

    18 janvier 2012

    The M 149 Tube* is a variable dual-diaphragm microphone. The K 49 capsule – well-known from the legendary U 47 and M 49 microphones – is followed by a tube functioning as an impedance converter. In contrast to earlier concepts – utilizing a transformer – the tube is complemented with a transformerless output circuit design. The M 149 Tube can thus feed long microphone cables without any coloration.

    Two slide switches are located below the large, acoustically very open headgrille. The switch at the front allows selection one of nine directional patterns. The slide switch at the rear operates a seven-step high pass filter. It allows a very fine adjustment of the cut-off frequency.

    Technical Data

    Acoustical operating principle Pressure gradient transducer
    Directional pattern Omnidirectional, wide angle cardioid, cardioid, hypercardioid, figure-8 plus one intermediate position each
    Frequency range 20 Hz … 20 kHz
    Sensitivity at 1 kHz into 1 kohm 34/47/62 mV/Pa1)
    Rated impedance 50 ohms
    Rated load impedance 1 kohms
    Equivalent noise level, CCIR2) 28/25/23 dB1)
    Equivalent noise level, A-weighted2) 16/13/11 dB-A1)
    Signal-to-noise ratio, CCIR2) (rel. 94 dB SPL) 66/69/71 dB1)
    Signal-to-noise ratio, A-weighted2)(rel. 94 dB SPL) 78/81/83 dB1)
    Typical SPL (tube characteristic)3) K < 0,5 %: 120 dB, K < 5 %: 136 dB
    Maximum output voltage 18 dBu
    Dynamic range of the microphone amplifier (A-weighted) for < 0,5% THD (for < 5% THD) 101 (121) dB
    Powering Power supply N 149 A
    Matching connectors Microphone DIN8F, Power supply XLR3F
    Weight 730 g
    Diameter 70 mm
    Length 201 mm

     

    LMa

    18 janvier 2012

    Digital Hybrid UHF Belt Pack Transmitter

    • Digital Hybrid Wireless® technology (US patent 7,225,135)
    • Multi-mode compatibility with Digital Hybrid and analog receivers
    • 256 synthesized frequencies
    • DSP based pilot-tone signal
    • DSP controlled, dual envelope input limiter
    • 5-pin input jack for mic and line level signals
    • Rugged machined aluminum construction

    The LMa transmitter brings Digital Hybrid Wireless® technology to a moderate cost level while preserving superb performance and maximum flexibility.

    A unique benefit of the LMa design is multi-mode compatibility with several different hybrid and analog receivers. Best performance is achieved when the LM transmitter is used with a hybrid receiver, however, the DSP also provides emulation of an analog compandor so the unit can be switched for use with 100 and 200 Series Lectrosonics receivers.

     

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    LANC Logger

    18 janvier 2012

    Built around a powerful ARM processor the Lanc Logger was designed to fit unobtrusively onto even the smallest consumer grade cameras.

    Bridging between SMPTE, LANC and MIDI time code formats it allows of complete integration of equipment without native TC capabilities into a professional, time code based production workflow. 
    Being able to create a EDL log file referring LANC or record run TC to Time of Day on the set makes import, alignment and file administration a breeze saving not only time and money but allowing projects hardly thinkable of before. Final Cut Pro users can now fully automatize batch processing and import with the new available AuxApp application.

    Features

    • Highly accurate Clockit time code generator, reader, and converter.
    • Logging of LANC or LTC record-run time code, start and stop time against free-run TC.
    • Converts LANC > LTC / MTC, LTC > MTC, MTC > LTC with selectable offset.
    • Comprehensive interfacing with 5 pin Lemo LTC, mini jack audio TC, LANC in/outputs and USB.
    • Audio TC adjustable from mike to line level for recording time code to audio track.
    • MIDI time code via generic USB audio driver on PC and MAC
    • TC interface with generator for Silicon Imaging SI2K camera and DVR software.
    • Download of log file and firmware updates though USB in mass storage mode.
    • Six button keypad and OLED display for easy configuration and manual logging.
    • 2 coloured OLED display for full status control.
    • External powering through LANC and USB.
    • 2 x AAA cells for autonomous power and backup.
    • Power saving standby mode.

     

    InDawPass

    18 janvier 2012

    The InDaw workstation made a name for itself by speeding-up image and sound syncing that SD dailies required. IndawPass now handles ALL video formats in tape to tape sessions.

    User’s Manual (Windows 2000 & XP)

     

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    iLM8

    18 janvier 2012

    Differences in audio levels between TV programs, or between programs and commercials, are a constant annoyance to viewers. DaySequerra’s iLM8 permits broadcasters to maintain their desired loudness level across all audio programming and minimize viewer complaints.

    More About this Product

     

    302

    18 janvier 2012

    The 302 is stunning in size, flexibility, control and performance; it is the most compact and cost-effective battery-powered professional audio mixer in its class. With important features to accommodate nearly any over-the-shoulder production, the 302 interfaces with any professional microphone, wireless system, and camera / recorder input.

    More About this Product

     

    iLM4ST

    17 janvier 2012

    The DaySequerra iLM4ST Intelligent Stereo Loudness Monitor was designed to make it easier for radio and television broadcasters and cable networks to deliver an audio experience that won’t have viewers scanning stations or reaching for the mute button.

    More About this Product

     

    HX-3

    17 janvier 2012

    The HX-3 Headphone Amplifier allows you to add headphone outputs to any piece of gear. It quickly and simply provides three high-current stereo headphone feeds with individual level controls. Great for radio, television, and film production applications.

    More About this Product

     

    HD Lockit

    17 janvier 2012

    ACL 203 TRILEVEL SYNC LOCKIT

    In the last few years Hi-Definition video has emerged to the de facto standard on everyday productions due to superior, crisp picture quality and resolution. Meanwhile, respecting cameras have become economically priced and the portfolio is continuously expanded with new HDV models, the Panasonic P2 series, and formats with 2K(+) resolutions as found on the Red One or the ARRI D21. Adding to that HD is currently massively pushed as the future broadcast standard on a global scale.

    The Lockit ACL 203 stays abreast of this development including the complete variety of current HD video formats as well as Word Clock and AES3 black audio with sample rates up to 192 KHz for syncing audio recorders. 
    The 3 functional blocks, sync format, sync frequency, and time code frame rate are 
    each controlled with a dedicated rotary encoder. This allows for quick and straightforward dialing through even the most exotic variants as pull up/down or cross jam modes. Despite the extensive enhancements it was possible to maintain the original footprint of the predecessor by using latest surface mount 
    components and technology.

    Thus, with extensive sync modes and an unrivalled accuracy of 0.2ppm in a highly portable package the Lockit continues being the prime choice for sophisticated synchronisation demands on the go, offering significantly less drift than a single frame per day between fully autonomous units on the set.

    Supported settings

    720P 23.98, 24, 25, 29.97, 30, 59.94, 50, 60
    1080i / PsF 23.98, 24, 25(50i), 29.97(59.94i), 30(60i)
    1080P 23.98,  24, 25, 29.97, 30
    PAL 25 Fps
    NTSC 29.97, 30 Fps
    Word Clock 32, 44.1, 48, 88.2, 96, 176.4, 192 KHz, pull-up / pull-down
    Black Audio AES3 24 Bit, sample rates as above

     

    EA916 Journalist unit

    17 janvier 2012

    USB audio module, microphone and line input, Line out and headphones amplifier. Integrated telephone hybrid in one U 19″ rack unit.

    The ideal tool for a reporter to record and edit a telephone interview in the radio broadcast environment. Also some call centers that playback or record audio can benefit of this unit.

    Easy to install just connect the telephone, headphone, microphone and a simple USB cableto any modern Windows or Apple Mac computer. The unit is plug an play so no separate drivers to install.

    Manual

     

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    HD Audio Monitors

    17 janvier 2012

    The finest quality HD audio monitors available with a no compromise approach to the facilities required in the broadcast environment. All HD monitors provide auto-selection of 3G, HD and SD SDI bitstreams as standard, making operation extremely user-friendly.

    BM-A1-2SHD (User’s Manual)

    BM-A2-4SHD (User’s Manual)

    BM-A2-8SHD (User’s Manual)

    BM-A2-E8SHD (User’s Manual)

    BM-A2-E8SHD+ (User’s Manual)

     

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    Gray|328

    17 janvier 2012

    With the increasing prevalence of NLE edit systems, there has been little focus and almost no development of an audio mixer able to handle the new requirements of the linear edit suite for HD. Some existing solutions are still available, but their price, maturity level and physical size get in the way of practicality. To answer this problem, Renegade Labs presents the Gray|328 Digital Audio Mixer.

    User’s Manual

    Jumpstart Guide

     

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    DTS-HD Master Audio Suite

    17 janvier 2012

    The DTS-HD Master Audio Suite is the most advanced audio production toolset for Blu-ray Disc™. With 7.1 DTS-HD Master Audio™ encoding at up to 48x faster than real-time, flexible quality control, playback, and post-encode editing tools, DTS-HD Master Audio Suite is the ultimate audio solution for Blu-ray Disc, DVD, and DTS® music disc production. The latest release, v2.6, introduces compatible encoded streams for digital delivery services, delivering flexible audio solutions for both streaming and downloadable content.

    More About this Product

     

    DTS Surround Audio Suite

    17 janvier 2012

    DTS Surround Audio Suite is the standard definition version of DTS-HD Master Audio Suite™, offering both DVD and DTS® Music Disc encoding modes. It includes the DTS Encoder™ and the DTS-HD StreamPlayer™ for encoding and quality control.

     

    DP600

    17 janvier 2012

    The Dolby® DP600 Program Optimizer base configuration provides automated file-based loudness analysis and correction for cable, satellite, IPTV, terrestrial broadcast, and postproduction facilities.

    Dolby_DP600_Program Optimizer

    Dolby DP600 Program Optimizer Installation and User’s Manual

     

    More About this Product

     

    DP572

    17 janvier 2012

    Decodes Dolby E bitstreams for use in DTV program production and broadcast distribution infrastructure.

    User’s Manual

    Quick start guide

    Quick Start Guide (Professional Encoder/Decode)

     

    More About this Product

     

    DP571

    17 janvier 2012

    Encodes up to eight channels of digital audio and metadata for use in DTV program production and broadcast distribution.

    User’s Manual

    Quick start guide

    Quick Start Guide (Professional Encoder/Decoder)

     

    More About this Product

     

    DP570

    17 janvier 2012

    Used with Dolby Digital and Dolby E codecs for DVD and DTV surround sound production, metadata authoring, and confidence monitoring.

    User’s Manual

     

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    DP569

    17 janvier 2012

    Encodes Dolby® Digital (up to 5.1 channels) for DTV transmissions, digital radio services, and mastering audio files for DVD media.

    User’s Manual

    Quick start guide

     

    More About this Product

     

    DP568

    17 janvier 2012

    The Dolby® DP568 Professional Reference Decoder provides comprehensive QC and monitoring for Dolby audio formats in broadcast applications. Additional capabilities include video decoding, loudness measurement, and an emulation mode for Dolby technologies in consumer set-top boxes.

    More About this Product

     

    DP564

    17 janvier 2012

    Decodes and monitors programs in Dolby Digital (up to 5.1 channels), Dolby Surround Pro Logic®, Dolby Pro Logic II, Dolby Digital Surround EX™, and PCM soundtracks.

    User’s Manual

    Quick start guide

     

    More About this Product

     

    DownMix

    17 janvier 2012

    The DTS Neural Surround DownMix encodes 5.1 surround sound to a stereo mix that accurately represents the 5.1 original. Unlike standard summing methods, the DTS Neural Surround DownMix creates stereo that contains surround steering information. This stereo audio can be stored, mixed, transported and monitored just like any other (Lt/Rt or Lo/Ro) stereo mix.

    User’s Manual

     

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    Dolby Media Tools

    17 janvier 2012

    A software utility program for repairing and updating previously encoded files without reencoding, Dolby Media Tools enables metadata editing, file trimming, timecode striping, file joining, file splitting, and file verification. It is optimized to run locally on a single computer.

    More About this Product

     

    Dolby Media Producer Suite (Network Bundle)

    17 janvier 2012

    Dolby® Media Producer brings a new approach to mastering audio content for today’s disc media formats such as Blu-ray Disc™, DVD-Video, and DVD-Audio. It builds on the history of Dolby encoders and decoders while offering additional Dolby technologies and tools in a software package. Dolby Media Producer supports multichannel non-real-time encoding and real-time file decoding of Dolby Digital, Dolby Digital Plus, Dolby TrueHD, and MLP Lossless™ formats via an intuitive user interface.

     

    More About this Product

     

    Dolby Media Meter 2

    17 janvier 2012

    Dolby® Media Meter 2 is a software tool that measures loudness in programming for broadcast, packaged media, cinema trailers, VOD, and games, and adds features and flexibility to the original Dolby Media Meter.

    More About this Product

     

    Dolby Media Encoder SE

    17 janvier 2012

    The Dolby Media Encoder SE (Stand-alone Edition) software encoder is the cost-effective single-computer software encoding solution designed for smaller facilities.  It offers professional non-real-time software encoding for mastering Dolby Digital, Dolby Digital Plus, Dolby TrueHD, and MLP Lossless files for DVD-Video, DVD-Audio, and Blu-ray Disc formats, including Dolby Digital Plus secondary audio for Blu-ray Disc Bonus View with TrueHD seamless connection capability.

    More About this Product

     

    Dolby Media Encoder Client

    17 janvier 2012

    Dolby Media Encoder Client adds one additional client seat to access and send jobs over a network to a centralized server running Dolby Media Encoder.

    More About this Product

     

    Dolby Media Decoder

    17 janvier 2012

    Dolby Media Decoder is a professional software reference decoder that provides decoding and monitoring of Dolby Digital, Dolby Digital Plus, Dolby TrueHD, and MLP Lossless formats for use in mastering files for DVD-Video, DVD-Audio, and Blu-ray Disc formats.

    More About this Product

     

    Dalet Enterprise Edition

    17 janvier 2012

    A highly customizable Media Asset Management (MAM) platform, Dalet Enterprise Edition enables broadcasters and content producers to integrate multiple workflows and formats – news, sports, programs, VOD, archives in SD and HD – under one fluid system. Built-in production tools manage ingest, logging, production, distribution and archiving across systems and workgroups.

    More About this Product

     

    Dalet 5.1

    17 janvier 2012

    Comprehensive, end-to-end solution for radio stations seeking a digital production and playout system.

    More About this Product

     

    D3 Digital

    17 janvier 2012

    Compact all digital « universal » mixing desk. Designed for modern broadcast applications with all the facilities you can think of but still surprisingly intuitive to operate. And most important the D3 is available at a very competitive price.

    More About this Product

     

    Confidence monitor

    16 janvier 2012

    The BCR range of confidence monitors offer a cost effective option for audio rack monitoring. Offering more features at a lower price than competitive units, the BCR range is particularly suitable for applications requiring multiple units as the lower price becomes important.

    BCR-A1

    BCR-A8 (User’s Manual)

    BCR-A4-4 (User’s Manual)

     

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    CM-TLL Line Powered Telephone Line Listen Unit

    16 janvier 2012

    The CM-TLL provides a low-loss interface to receive audio from a telephone line. The line-powered unit is compatible with all analogue direct exchange lines and includes an LED indication of incoming calls. The unit is intended to be used with an earpiece amplifier to receive an audio feed by telephone from a studio.

    More About this Product

     

    CM-TBU Line Powered Telephone Balance Unit

    16 janvier 2012

    The CM-TBU line-powered telephone balance unit is compatible with all analogue direct exchange lines and provides a 4-wire communications system to interface with the telephone network.

    More About this Product

     

    Cantarem

    16 janvier 2012

    Cantarem is a slim portable control panel offering eight linear actuators that can be assigned to any of Cantar’s nine input preamps and six mixdown faders. Two Cantarem can be ganged to form a sixteen channel distant controller. Solos are activated by built-in keys which also allow the actuators to be assigned on the fly. Cantarem’s very low profile prevents wrist discomfort, it can be placed in front of Cantar without hindering access to the front panel push-buttons or hiding the displays.

    User’s Manual

     

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    Cantar-X2

    16 janvier 2012

    Aaton’s ergonomics applied to Digital Audio Recording gave birth to Cantar, the Stradivarius of multi-track digital sound recorders. The operator has permanent access to mechanical faders, each devoted to only one function: nine rotary analog faders, plus six linear mixer sliders, no other recorder offers such luxury. They are positioned so the operator’s hands rest on them in a perfectly natural position, whether Cantar is on the shoulder or the cart. ‘Cantar Sound’ has become a reference among recordists: they have never encountered such a small machine producing such a big sound.

    User’s Manual

     

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    Blue|328 Digital Audio Mixer

    16 janvier 2012

    Over the last few years there has been a growing need for a small digital audio mixer designed specifically for use in NLE edit suites, mobile trucks and OB vans, and Telecine bays. Small analog consoles lack the ability first to handle digital audio, but are also lacking in the features required in a video edit suite. The need to save and recall memory setups instantly. The ability to handle both analog and digital audio formats, including AES and SDI embedded audio. The requirement that the mixer integrate audio seamlessly into the video workflow, with a video-centric control surface and the ability to lock to house sync. And, that does all that with an audio quality equal to the standards demanded by video professionals. Large digital consoles may provide some of the necessary tools for the video professional, but they are lost in menus, on a complex control surface, that is just too difficult to operate in most video applications. You have told us that it should not be necessary to work through this complexity to perform the most basic of audio for video functions. The physical size of these larger mixers is also a negative factor in many NLE edit suites. There just isn’t enough room for a large audio mixer on the desk. At less than one cubic foot in size (16517cc) the Blue|328 is a perfect fit.

    User’s Manual

    Jumpstart Guide

     

    More About this Product

     

    Audio/Video Monitors

    16 janvier 2012

    The finest quality in-rack video and audio monitors available with a no compromise approach to the facilities required in the broadcast environment. These 2U units provide a cost effective and space efficient way to monitor audio and video signals.

    BM-AV1-16SHD

    BM-AV1-E16SHD

     

    BM-AV2 (User’s Manual)

    BM-AV2S (User’s Manual)

    BM-AV2SL (User’s Manual)

    BM-AV3S (User’s Manual)

    BM-AV2-8SHD (User’s Manual)

     

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    Bel Audio Monitors

    16 janvier 2012

    The finest quality in-rack audio monitors available with a no compromise approach to the facilities required in the broadcast environment. A closer technical inspection of the BM-A1 range reveals an attention to detail that would even impress the competition.

    BM-A1 (User Manual)

    BM-A1S (User Manual)

    BM-A1SD (User Manual)

    BM-A2-4SD (User Manual)

     

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    Audio Delays

    16 janvier 2012

    Bel audio delay lines are a recognised standard in many of the world’s most influential broadcasting companies. The current delay range is a result of the various incarnations and customer needs over the years. If you need to delay audio, this finely tuned range will accommodate you.

    5110 (User’s Manual)

    7150 (User’s Manual)

    8150 (User’s Manual)

     

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    Arcan

    16 janvier 2012

    Installed on a Windows Mobile-5 PDA such as an i-MATE Jasjar or a DELL Axim-51, Arcan controls Cantar through its Bluetooth transmitter. It displays eight channel modulometer bargraphs, prefader and postfader gains and mic preamp settings. It sets the Monitoring and Inputs-to-Track routings, and enters the scene/take, tracknames and comments in the audio files.

    User’s Manual

     

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    AMAS

    16 janvier 2012

    The camRade audioMaster is a 1000 denier Cordura nylon bag designed to carry and protect many audio mixers or recorders. It has a padded foam interior with reinforced plastic sided. The bag has 3 pockets for accessories. Main compartment holds the audio mixer or recorder and there are ports between the compartments to pass the cable through. There are clear vinyl covers with a touch fastener on top of the bag that protects the equipment, while allowing view of the controls.

    The bag is carried by a removable, adjustable schoulder strap or an optional audio harness. There are rings on top for the shoulder strap or harness and rings on the bottom to fix the harness-belt.

    Internal dimensions

    Length (mm) : 305
    Width (mm) : 50
    Height(mm) : 210

    Length (inch) : 12
    Width (inch) : 2

    Height (inch) : 8,3

    External dimensions

    Length (mm) : 500 
    Width (mm) : 200
    Height(mm) : 230

    Length (inch) : 19,7
    Width (inch) : 7,9
    Height (inch) : 9

    Weight: 1,2 Kg/ 2,6 lb

    1 large outside-pocket for headphones and cables, 2 pockets for HF-units and battery.

    AMAS carries: SD442, SD744, SD552, AD-261, SQN 4/5, CS104

     

    ADA-8XR

    16 janvier 2012

    The ADA-8XR is a multi-channel AD/DA converter that can be configured in numerous ways using plug-in modules to suit a very wide variety of applications. It can be a 16 channel AD converter, a 16 Channel DA converter or an 8 channel AD/DA converter. It can be a multi-channel FireWire interface, or an AES/EBU / AES3 / SPDIF Digital to Analogue or Analogue to Digital converter. It can act as a high resolution Pro Tools Interface for recording or post-production. Similarly it can work with a wide range of other popular Digital Audio Workstations (DAWs) including Logic, Cubase, Nuendo and others. In fact, there’s not a lot it can’t do when it comes to digital audio conversion.

     

    User’s Manual

     

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    722

    16 janvier 2012

    The 722 is the ultimate DAT upgrade. The two-track 722 breaks limitations of 16-bit DAT and opens up the world of high-resolution 24 bit, 192 kHz (sampling) audio recording. The 722 records to its internal 160 GB hard drive, removable Compact Flash cards, external FireWire drives, or any combination of the three. The sub-three pound 722 is powered from standard Li-on camcorder batteries or external 10–18 VDC.

    More About this Product

     

    702T

    16 janvier 2012

    The full-featured time code implementation of the 702T is designed specifically for dual-system film and video productions where audio needs to be master. Plug in an external keyboard using the CL-1 and be equally at home in the bag or on the cart. The 702T records to removable Compact Flash or to external FireWire drives. The two pound 702T is powered from standard Li-on camcorder batteries or external 10–18 VDC.

    More About this Product

     

    ACD301RF

    16 janvier 2012

    Radio Master Slate  & TC Radio Link

    The RF version ACD301RF additionally features a built in transceiver module and an external transceiver in a slim aluminium box for bi-directional wireless TC transmission.
    While in « Reader » mode, the internal transceiver works as receiver to display time code coming from an audio recorder, camera or playback, in « Generator » mode it transmits the generated time code. The external transceiver is configured respectively by a switch in the battery compartment. Burst and continuous transmission from the slate are a great aid for script and can be used to remotely trigger other equipment.

     

    ACD 301

    16 janvier 2012

    With Clockit TC generator, a reader capable of low and high speed TC, camera strobe speed and TC diversion check, battery voltage read-out and a selectable offset of up to +/- 7 frames the ACD301 has built up a name of being a real “smart” slate. In the latest revision, MK III more features have been added to stand up for this reputation: Power consumption was optimized for the use of only 6 AA cells with improved lifetime. The 2 super bright LEDs can now externally be selected to flash either at second transition to mark frame “00” for Telecine or clapped frame. Also, the slate can display external TC and internally generated
    on clapping for improved playback operation with multiple cameras.

     

    AB SD 02

    16 janvier 2012

    Internal dimensions

    Length (mm) : 230
    Width (mm) : 100
    Height(mm) : 280

    Length (inch) : 9
    Width (inch) : 4

    Height (inch) : 11

    External dimensions

    Length (mm) : 360 
    Width (mm) : 190
    Height(mm) : 295

    Length (inch) : 14,2
    Width (inch) : 7,5
    Height (inch) : 11,6

    Weight: 0,9 Kg/ 2 lb

    Battery storage below audio compartment, fixed HF-outside pocket.

    ABSD 02 carries : SD 302-style mixer with small recorder/and other small mixers.

     

    AB SD 01

    16 janvier 2012

    Internal dimensions

    Length (mm) : 210
    Width (mm) : 45
    Height(mm) : 210

    Length (inch) : 8,3
    Width (inch) : 1,8

    Height (inch) : 8,3

    External dimensions

    Length (mm) : 360 
    Width (mm) : 140
    Height(mm) : 230

    Length (inch) : 14,2
    Width (inch) : 5,5
    Height (inch) : 9

    Weight: 0,7 Kg/ 1,5 lb

    Storage of battery below compartment, fixed HF-outside pocket.

    ABSD 01 carries: SD302 and other small mixers.

     

    788T / 788T-SSD

    16 janvier 2012

    The 788T and 788T-SSD are eight input, twelve-track digital audio recorders designed for production sound. Its eight pristine analog inputs accept microphone or line-level signals, provide 48 V phantom power, offer peak limiters for microphone signals, and adjustable high-pass filters. For additional flexibility, the 788T accommodates eight channels of balanced AES3 digital input and six channels of balanced analog line-level and AES3 digital output. Support for AES42 digital microphones is also available.

    788T Key Features List

    • Eight mic/line inputs, each controlled with front panel, pop-out gain controls
    • 12-track recording, to record iso’s, stereo mix track, and two-track aux, Aux1, Aux2
    • Each input has solo headphone monitoring, 48 V phantom, limiter, polarity reverse, high-pass, and selectable delay
    • Selectable sampling rate converters on each digital input
    • Sampling rate selectable up to 96 kHz
    • AES42 digital microphone support
    • Backlit LCD display viewable in any environment
    • 8 x 13-segment Peak/VU meters with arm LED
    • Word clock in and out with tri-level video sync support
    • Time code generator supports all data rates; holds time code for four hours with no power sources attached
    • Internal 160 GB, 2.5-inch SATA hard drive; 256 GB SSD in the 788T-SSD
    • CompactFlash slot with UDMA support
    • Powered by removable Li-ion rechargeable batteries
    • External DC power input operates unit and charges Li-ion battery
    • Back panel multi-pin connector for one-cable connection to digital mixing board (AES input/output, power, switch closure in/out)
    • FireWire 400/800 and USB 2.0 connections for ultra-fast file tranfer between 788T’s CF and HDD to computer
    • USB keyboard input for control
    • Aluminum & stainless-steel chassis for exceptional durability and light weight
    • Designed for the same operational environmental extremes as Sound Devices field mixers

     

     

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    702

    16 janvier 2012

    The two-track 702 opens the doors to portable high-resolution, 24 bit, high sampling rate, file-based audio recording. The 702 records to removable CompactFlash or external FireWire drives. Its field-tested all-metal chassis weights about two pounds. It is powered from standard Li-ion camcorder batteries or external 10–18 VDC.

    More About this Product

     

    552

    16 janvier 2012

    Sound Devices presents the 552 Production Mixer, the most technologically advanced portable audio mixer ever made. Using the best analog and digital technologies, along with advanced mechanical construction, the 552 gives professionals a superb sounding, compact, lightweight and power-efficient mixer that is equally at home in simple run-and-gun applications or in complex multi-input, multi-output production setups.

     

    • Five high-performance microphone inputs with two-stage gain control, limiter, variable high-pass, and solo monitoring
    • Pre- or post-fader direct outputs per input
    • Multiple, balanced output connections, including XLR, Hirose 10-pin, and TA3
    • AES/EBU output option, on either XLR or 10-pin multi-pin, two connections for four channels of digital output, sampling rates up to 96 kHz
    • Integrated digital recorder with simple control records to SD or SDHC media
    • Records two tracks of uncompressed Broadcast WAV up to 96 kHz sampling, or compressed MP3 files
    • Accepts time code input to time-stamp recorded audio files
    • Flexible metering modes, including zoom metering for high precision near 0 dBfs
    • Voice-confirmation appear in headphones for critical operational information and when navigating Setup Menu
    • Lightweight design uses metalized, molded carbon fiber top and bottom panels for durability and strength
    • Front panel is gasketed for protection from weather
    • Powered by four-AA batteries or external 10-18 VDC

     

     

    More About this Product

    4006-TL Omni Microphone

    16 janvier 2012

    4006-TL Omni Microphone, P48, Transformerless

    • detailed and natural reproduction
    • high sensitivity and low noise-floor
    • excellent for concert halls and spot miking for acoustical instruments

    DPA 4006 is one of the most popular types in the DPA microphone range and is a worldwide reference thanks to its precise, detailed and natural reproduction. For more than 20 years it has impressed studio owners and broadcasters as well as musicians and engineers thanks to its transparent sound quality. It is one of the most sought after studio microphones in the industry – and the one that gives you the most value for your money.

    In striving to achieve an even cleaner sound, the 4006-TL is equipped with a state-of-the-art transformerless preamplifier and is powered via a standard 48 V Phantom Power supply. This design increases the sensitivity and provides an extended low-frequency handling capability (15 Hz to 20 kHz ±2 dB). All components in this construction are very carefully selected to fulfil the demand for optimal neutrality, accuracy and extremely low distortion even at very high sound pressure levels and at complex passages in the music.

    The applications of 4006-TL are numerous: AB stereo pair for symphonic concert hall recordings, close mic on instruments such as grand piano, guitar, double bass, percussion and speech/vocals, just to mention a few examples where a 4006-TL will give more detail and more open resolution.

    With the acoustic modification accessories it is possible to gain 7 different frequency responses and directional characteristics with just one 4006-TL. You simply change a grid or mount an element over the capsule and it will influence the sound field acoustically without any phase shift, noise or distortion, that any electrical filter will introduce.

    4006-TL is a product for sound engineers with demands for high quality. The precise reproduction, total transparency and natural-sounding clarity of this microphone will provide you with a lifetime of satisfying listening.

    If you have a 4006, you can upgrade to 4006-TL. The upgrade includes a factory-based retrofitting to the DPA 4006-TL with transformerless preamplifier, close-miking grid, DPA 4006-TL type ring, calibration chart and new mic case.

    More informations

     

    328|MXE

    16 janvier 2012

    The 328 line of audio mixers has distinguished Renegade Labs as a leader in audio for video. These compact mixers seemed to have everything you would need in your edit suite, mobile truck, or Telecine bay. But you told us that we missed something rather important; sometimes you prefer to leave your audio cables and sync connection out of the control room. You often like to leave them in the machine room so the control room is quiet, uncluttered, and much easier to manage in an engineering sense. We listened, and introduced the 328|MXE at NAB 2007. The 328|MXE product line uses the familiar 328 control surface but moves the audio processing to a separate electronics chassis. This solution utilizes the same input flexibility you’ve come to expect from our current mixers, accepting analog, mic, AES and SD/HD SDI inputs. The 328|MXE rack-mount engine contains the power supply, DSP processor and audio I/O. Four input module slots and one optional output module slot (for a total of three possible 8 channel outputs) allow for complete flexibility in configuring a system to specifically meet your application requirements.

    Gray 328|MXE User’s Manual

    Blue 328|MXE User’s Manual

     

    More About this Product

     

    31960

    16 janvier 2012

    SurroundControl is our flagship product line for controlling, analyzing and monitoring stereo, surround sound and multichannel programs. It combines the metering functions of the RTW surround display devices and the control functions of an eight-channel monitoring controller – a true high performance system.

    More About this Product

     

    SurroundControl 31900 Series

    16 janvier 2012
    sc_31900_dt_01_269x247

    SurroundControl is our flagship product line for controlling, analyzing and monitoring stereo, surround sound and multichannel programs. It combines the metering functions of the RTW surround display devices and the control functions of an eight-channel monitoring controller – a true high performance system.

    More About this Product

     

    744T

    16 janvier 2012
    744t

    The 744T is a compact, high-resolution four-track digital audio recorder with time code. The 744T records to its internal 160 GB hard drive, removable Compact Flash cards, external FireWire drives, or any combination of the three. With sample rates between 32 kHz and 192 kHz plus full read/write time code, the 744T is the perfect tool for any critical recording environment — from over-the-shoulder to cart-based production.

    More About this Product

     

    Flux

    20 septembre 2011

    Sonotechnique devient le distributeur canadien de la gamme de produits WinMedia

    1 septembre 2011

    Sonotechnique est ravie d’annoncer un important partenariat commercial avec WinMedia, un leader dans la gestion professionnelle et les solutions d’automatisation pour la radiodiffusion, avec plus de 2400 stations installées à travers le monde entier. Leurs solutions simples, adaptables, mais autant puissantes, sont disponibles clé en main ou sur mesure afin de répondre plus précisément aux besoins des diffuseurs.

    L’alliance WinMedia – Sonotechnique assurera des solutions de radiffusion de pointe et un service à la clientèle hors pair.

    François Beaumier, président au WinMedia Software Inc déclare: « Avec les solutions WinMedia, les stations de radio plaisent à leur auditoire avec une meilleure qualité audio, de programmation, et de mixes et ils plaisent à leurs clients avec des rapports de diffusion instantanées et des certificats pour un meilleur contrôle des temps de diffusion et de conciliation des commerciaux. Les radiodiffuseurs peuvent ainsi améliorer leur flux de travail interne en devenant plus rapides et plus réactifs, se permettant de se concentrer sur le cœur de leur métier, qui consiste à construire de meilleurs programmes pour leur auditoire ciblée. »

    À propos de WinMedia

    Fondée en France en 1995, l’éditeur WinMedia Group développe et commercialise des solutions logicielles de Broadcast et d’Archivage.

    Son produit principal, la suite logicielle WinMedia Software©, répond à tous les besoins de la chaine de production Broadcast: Enregistrement, édition, planification musique, routage publicitaire, assistants de la mise en onde et pige.

    A ce jour, plus de 2400 systèmes sont en fonctionnement dans le monde.

    La société, avec 17 personnes permanentes, a ses bureaux au Canada, en Amérique du Sud, en Europe et en Asie.

    Depuis 2000, WinMedia Group à travers ses filiales est également présent sur de nombreux salons internationaux professionnels: le NAB de Las Vegas, Broadcast Asia à Singapour, IBC Amsterdam, Latin American Broadcast Show Miami… et ce afin de faire connaître ses produits et renforcer sa position sur les marchés étrangers.

    WinMedia Group est aussi depuis septembre 2006 le premier éditeur de logiciels Broadcast à avoir obtenu la certification ISO 9001.2000 pour ses activités de « Conception, Ventes, Installation et support de la suite logicielle Broadcast WinMedia Software© ».

    Pour toute l’équipe c’est une reconnaissance de l’efficacité de son Système de Management de la Qualité et de sa capacité à s’inscrire dans une démarche permanente de progrès et d’amélioration de ses processus et produits, afin de toujours donner satisfaction à ses clients.

    Rycote

    31 août 2011

    Rupert Neve Designs

    31 août 2011

    Millennia

    31 août 2011

    Avalon

    31 août 2011

    Chandler

    31 août 2011

    Tannoy

    31 août 2011

    QSC

    31 août 2011

    MK Sound

    31 août 2011

    JBL

    31 août 2011

    Blue Sky

    31 août 2011

    Holophone

    30 août 2011

    König & Meyer

    30 août 2011

    Enhanced Audio

    30 août 2011

    Electrovoice

    30 août 2011

    Earthworks

    30 août 2011

    Audix

    30 août 2011

    Dynaudio Acoustics

    29 août 2011

    Audient

    29 août 2011

    Tascam

    29 août 2011

    Shure

    29 août 2011

    Sanken

    29 août 2011

    Audio-Technica

    29 août 2011

    Bryston

    29 août 2011

    Solid State Logic

    29 août 2011

    RME

    29 août 2011

    Mytek Digital

    29 août 2011

    Lynx Studio Technology

    29 août 2011

    Apogee

    29 août 2011

    Minnetonka

    26 août 2011

    Fostex

    26 août 2011

    Digigram

    26 août 2011

    Petrol

    26 août 2011

    Studio Technologies

    26 août 2011

    Harrison

    26 août 2011

    TC Electronic

    11 août 2011

    Sonosax

    10 août 2011

    Sonodyne

    10 août 2011

    AKG

    10 août 2011

    Louis Constantineau

    14 juin 2011

    Gary Osborne

    30 mai 2011

    Bel Digital

    24 mai 2011

    Aaton

    24 mai 2011

    Brauner microphones

    19 mai 2011

    Sound Devices

    18 mai 2011

    Crane Song

    18 mai 2011

    D&R

    18 mai 2011

    DTS

    18 mai 2011

    DaySequerra

    18 mai 2011

    Eela Audio

    18 mai 2011

    GML

    18 mai 2011

    Grace Design

    18 mai 2011

    KK Audio Labs

    18 mai 2011

    Martinsound

    18 mai 2011

    Mayah

    18 mai 2011

    Prism Sound

    18 mai 2011

    Psi Audio

    18 mai 2011

    Renegade Labs

    18 mai 2011

    RTW

    18 mai 2011

    Zaxcom

    18 mai 2011

    Bricasti Design

    18 mai 2011

    Schoeps

    18 mai 2011

    Ambient

    18 mai 2011

    Lectrosonic

    18 mai 2011

    Camrade

    18 mai 2011

    Royer Labs

    17 mai 2011

    Neumann

    17 mai 2011

    Manley Laboratories

    17 mai 2011

    Sennheiser

    17 mai 2011

    DPA

    17 mai 2011

    Société Radio-Canada choisis le Sonifex RB-DS2 pour diffuser sur 4 fuseaux horaires

    17 mai 2011

    La Société Radio-Canada diffuse des émissions radiophonique partout au canada. Pour ce faire, elle doit compenser le changement de fuseau horaire en introduisant un delai dans la transmission d’une période qui varie de 1 heure a 4 heures selon la province de destination. La SRC as choisi le RB-DS2 de Sonifex pour accomplir cette tache. La SRC as equipé son centre de diffusion de Montréal avec 20 RB-DS2.

     

    PAUL DELISLE SUPPORT

    15 mai 2011

    ALEXANDRE GRANDMONT SUPPORT

    15 mai 2011

    JOCELYN GUÉVREMONT

    15 mai 2011

    Paul Delisle

    20 avril 2011

    Lucie Bérard

    20 avril 2011

    GTV-DIGAUD-2-AAUD

    7 janvier 2011

    Digital Audio Transformed to Analog Audio — Effortlessly and Simply

    The Digital To Analog Audio converter box takes your coaxial/optical (S/PDIF or TOSLink) digital audio source and converts it to standard analog left/right audio, available for connection to an external device such as an amplifier or recording deck via standard RCA-style jacks. Now you can bridge your legacy sound system with digital sources such as DVD and CD players that don’t have RCA-style analog outputs.

    How It Works

    Simply run a short extension cable from an available digital audio output jack on your digital source device to the same type of digital input on the Converter. Select which kind of digital signal (coaxial or optical) is being input with the selector switch on the converter, then hook up your analog RCA-style left and right cables to the Converter’s analog RCA jack outputs and power up all equipment. That’s all there is to it!

    Note:
    This product does not support encoded Dolby Digital audio. Verify you can turn off Dolby Digital in the source you will be connecting to this converter.

    Nathalie Durocher

    6 janvier 2011

    Alexandre Grandmont

    6 janvier 2011

    Angela Sonca

    6 janvier 2011

    552 Mixeur cinq canaux portatif

    29 décembre 2010
    sounddevices_552_1t

    The 552 succeeds the 442 mixer with its five analog inputs, pre/post fader direct outputs and four assignable AES/EBU outputs on two XLR connectors. In addition, it incorporates a built-in two-channel recorder, recording to SD/SDHC card media all in the same size chassis and weighing less than the 442! Battery (4AA) or external DC powered. Most of the cables, mixer bags and accessories used with the 442 will work with the 552 as well.

    Superior Performance and Control

    Sound Devices presents the 552 Production Mixer, the most technologically advanced portable audio mixer ever made. Using the best analog and digital technologies, along with advanced mechanical construction, the 552 gives professionals a superb sounding, compact, lightweight and power-efficient mixer that is equally at home in simple run-and-gun applications or in complex multi-input, multi-output production setups.

    The 552 contains five precision high-dynamic-range transformer-balanced microphone inputs with expanded gain and headroom. Each input accepts audio sources of various types and levels. Inputs have their own limiter, sweepable high-pass filter, and pre-or-post-fade direct output.

    Recording

    The 552 has an integrated digital audio recorder writing industry-standard Broadcast Wave files to SD and SDHC media. A simple joystick controller is used to take command of recording functions. Push up to begin recording. Either WAV or MP3 files can be recorded. Recordings can be either 24 or 16 bit, with WAV files having sampling rates from 32 kHz up to 96 kHz.

    Flexible Outputs

    With its three sets of balanced master outputs (plus numerous unbalanced connections), the 552 provides complete connectivity for multi-camera and complex production setups. Additionally, a digital output option is available for the XLR master outputs. When selected in the Setup Menu, the master XLR outputs can output four channels or 24-bit (or 16-bit) AES/EBU signals, the source of which is selected in the Setup Menu.

    Mechanicals

    The 552, like all Sound Devices professional audio products, are designed to withstand the physical and environmental extremes of field production. The 552 uses molded, metalized carbon fiber top and bottom chassis panels for increased durability and weight reduction. Additionally, its front panel is gasketed for improved resistance to moisture.

    Key Features

    • Inputs: Five high-performance microphone inputs with two-stage gain control, limiter, variable high-pass, and solo monitoring
    • Pre- or post-fader direct outputs per input
    • Multiple, balanced output connections, including XLR, Hirose 10-pin, and TA3
    • AES/EBU output option, two connections for four channels of digital output, sampling rates up to 96 kHz
    • Integrated digital recorder with simple control records to SD or SDHC media
    • Records uncompressed Broadcast WAV up to 96 kHz sampling or MP3 files
    • Accepts time code input to time-stamp recorded audio files
    • Flexible metering modes, including zoom metering for high precision near 0 dBfs
    • Voice-confirmation appear in headphones for critical operational information and when navigating Setup Menu
    • Lightweight design uses metalized, molded carbon fiber top and bottom panels for durability and strength
    • Front panel is gasketed for protection from weather
    • Powered by four-AA batteries or external 10-18 VDC

    Patrice Delhaes

    2 décembre 2010

    Éditeur Audio-Numérique Pyramyx

    2 décembre 2010

    ÉDITEUR AUDIO-NUMÉRIQUE PYRAMIX



    -37 rem

    Philippe Bouvrette

    1 décembre 2010

    Luc Fontaine

    1 décembre 2010

    USBPre 2 Interface Microphone USB

    1 décembre 2010
    usbpre2-425px-1

    Sound Devices’ USBPre® 2 is a high-resolution, portable hardware interface for Mac- and Windows-based digital audio. The USBPre 2 is the industry’s highest performance and most flexible portable interface, connecting professional microphones, line-level sources, consumer audio electronics, and S/PDIF digital sources with Mac OS and Windows computers via USB.

    Precision Microphone Preamplifiers

    InputsUSBPre 2 includes two discrete-transistor microphone preamps with 24-bit converters and sampling rates up to 192 kHz. These preamplifiers provide the highest performance in any portable interface. Their topology is shared with Sound Devices award-winning 744T Digital Audio Recorder. Peak limiters, high-pass filters, and a 15 dB pad add overload protection. All analog-to-digital and digital-to-analog conversion is performed by the USBPre 2 for superior audio performance.

    Computer Connectivity

    MeterUSBPre 2 is a class-compliant audio device. This allows for simple plug-and-play connection to computers running Mac OS, Windows, and Linux. There are no drivers to install for the USBPre 2 and there are no software-only features. All additional controls and settings are available on back panel DIP switches. The USB port also provides power to the unit, both when connected as an audio interface and when used in Stand-Alone operation.

    Output Connectivity Flexibility

    MeterTo interconnect with sound systems big and small, the USBPre 2 includes numerous output connection types, including balanced mic- or line-level on XLR, unbalanced consumer line-level on RCA, S/PDIF coaxial (RCA) and optical (Toslink). The outputs have their own, dedicated front-panel level control. Use the balanced line-level signals to connect to powered loudspeakers. Use the optical S/PDIF to connect to hi-fi systems. Use the coaxial S/PDIF output in Stand-Alone mode for a portable microphone preamplifer with digital output for any production application.

    Informative Metering

    MeterAccurate signal level metering is essential for any sound engineer. The USBPre 2 includes a 23-segment, multicolor LED meter for precise level indication. The meter is switchable between input signal metering and output signal metering. The meter indicates both VU and peak (PPM) ballistics.

    Stand-Alone Operation

    The USBPre 2 can be used in Stand-Alone mode where it operates as a high-quality, portable microphone preamplifier and analog-to-digital converter. Digital signals connected to the USBPre 2 are converted to analog and available at the headphone, XLR, and RCA outputs. Stand-Alone operation requires the unit to be connected to a USB power source. Stand-Alone mode is a great option when an additional microphone preamplifer, A-D converter, or D-A converter is required.

    Field-Tested Reliability

    Like all of Sound Devices products, the USBPre 2 is designed to stand up to the most demanding environments. Its extruded aluminum chassis and aluminum panels, machined knobs, metal connectors, and laser-etched nomenclature are designed to hold up to years of abuse.

    Video Overview


     

    Video Overview

     

     

     

     

    Specifications

     

    Key Features

    • Extended bandwidth, low-noise microphone preamplifiers with 48 V phantom, limiters, high-pass filters, and 15 dB pad.
    • Dynamic range greater than 114 dB (in 24-bit operation).
    • Flat 10 Hz to 40 kHz (@96 kHz SR) audio bandwidth with very low distortion characteristics.
    • Each input individually selectable between microphone, line, and aux level signals (both channels selected simultaneously for S/PDIF connections).
    • Precision, 23-segment, multicolor LED peak/VU meter, selectable between input and output sources.
    • High-output headphone amplifier can drive a wide range of headphones.
    • Balanced outputs on XLR connectors with dedicated level control can be used to drive line- or mic-level inputs.
    • Mix control enables zero-delay monitoring of source audio, computer audio, or a mix of both source and computer audio for multitrack recording or computer telephony.
    • Phono (RCA) jacks connect Aux Output to external loudspeakers or preamplifiers.
    • Bus powering via USB for convenient, single-cable connection to the computer.
    • In Stand-Alone mode the USBPre 2 operates as a microphone preamplifier and analog-to-digital converter.
    • Hardware loop-through for test & measurement to send computer audio directly back to an input.
    • High-strength extruded aluminum chassis.
    • Mac® OS X 10.4+, Windows®XP/Vista/7, and Linux, class-compliant audio device.
    • Additional features controlled by hardware DIP switches on the back panel; no software-only features and no control panel.
    • Available October 2010

    Useful Links

     

     

    702 Enregistreuse Numérique Portable

    1 décembre 2010
    t_740_01

    Portable, High-Resolution Audio Recorder

    The two-channel 702 is a powerful file-based digital audio recorder. The compact device records and plays back audio to cost-effective, removable Compact Flash cards and/or external FireWire drives, making field recording simple and fast. It writes and reads uncompressed PCM audio at 16 or 24 bits with sampling rates between 32 kHz and 192 kHz. Compressed (MP3) audio playback is also supported.

    The 702 implements a no-compromise audio path that includes Sound Devices’ next generation microphone preamplifiers. Designed specifically for high bandwidth, high bit rate digital recording, these preamps set a new standard for frequency response linearity, low distortion performance, and low noise.

    No other recorder on the market matches its size or feature set. In addition, its learning curve is quite short—powerful does not mean complicated. While the 702 is a very capable recorder by itself, it truly excels when used in conjunction with an outboard audio mixer such as Sound Devices’ own 442 or 302.

    Its Compact Flash storage is a highly-reliable industry standard. The removable, rechargeable battery is a standard Sony-compatible Li-ion camcorder cell. The Compact Flash card appears as a removable storage device when connected by FireWire to Mac OS or Windows computers.

    Key Features

    • Two-channels of Sound Devices next generation microphone preamps with phantom, limiters, and high-pass filters
    • Records to removable Compact Flash cards for convenient file audio file storage; can also record directly to external FireWire drives
    • AES3 (XLR) or AES3id (unbalanced AES on BNC) digital inputs and AES3id outputs
    • Programmable, sunlight-viewable LED level metering
    • WAV format, mono or poly files, uncompressed PCM audio
    • 24-bit or 16-bit (with or without dither) and sampling at 32 kHz-192 kHz
    • MP3, MP2 decoder, 64 to 320 kb/s stereo file
    • FLAC file recording and playback
    • FireWire (IEEE-1394) port for high-speed computer access to the Compact Flash card
    • 6-pin modular C. Link serial input and output for unit linking and control with the CL-1
    • Removable Li-on rechargeable battery compatible with Sony M- and L-mount Li-on batteries
    • 10–18 VDC external input powers and charges on-board battery
    • Aluminum & stainless-steel chassis for exceptional durability and light weight
    • Class-defining compact size
    • Designed for the same operational environmental extremes as Sound Devices field mixers

    Panel Views

    702 Left Panel

    702 Left Panel

    702 Right Panel

    702 Right Panel

    722 Enregistreuse Numérique Portable

    1 décembre 2010
    t_740_01

    Portable, High-Resolution Audio Recorder

    The two-channel 722 is a powerful file-based digital audio recorder. The super-compact device records and plays back audio to internal hard drive, CompactFlash cards, or external FireWire drives. It records and plays uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz. Compressed (MP3) audio recording and lossless FLAC recording are also supported.

    The 722 implements a no-compromise audio path that includes Sound Devices’ next generation microphone preamplifiers. Designed specifically for high bandwidth, high bit rate digital recording, these preamps set a new standard for frequency response linearity, low distortion performance, and low noise.

    No other recorder on the market matches its size or feature set. In addition, its learning curve is quite short—powerful does not mean complicated. While the 722 is a very capable recorder by itself, it truly excels when used in conjunction with an outboard audio mixer such as Sound Devices’ own 442 or 302.

    Its two internal drives (hard drive and Compact Flash) are highly reliable, industry standard, and easily obtainable. The removable, rechargeable battery is a standard Sony-compatible Li-ion camcorder cell. The 722 interconnects with Windows and Mac OS computers for convenient data transfer and backup.

    Key Features

    • Two-channels of Sound Devices next generation microphone preamps with phantom, limiters, and high-pass filters
    • Records to internal 160 GB hard drive, removable Compact Flash, external FireWire drives, or all simultaneously
    • AES3 (XLR) or AES3id (unbalanced AES on BNC) digital inputs and AES3id outputs
    • Programmable, sunlight-viewable LED level metering
    • WAV format, mono or poly files, uncompressed PCM audio
    • 24-bit or 16-bit (with or without dither) and sampling at 32 kHz-192 kHz
    • MP3 encode and decode, 32 to 320 kb/s stereo file
    • FireWire (IEEE-1394) port for high-speed data transfer to computers
    • FireWire port for attaching external hard drive or DVD-RAM drives for additional file storage
    • 6-pin modular C. Link serial input and output for unit linking and future control and expansion
    • Removable Li-on rechargeable battery compatible with Sony M- and L-mount Li-on batteries
    • 10–18 VDC external input powers and charges on-board battery
    • Aluminum & stainless-steel chassis for exceptional durability and light weight
    • Class-defining compact size
    • Designed for the same operational environmental extremes as Sound Devices field mixers

    Panel Views

    702 Left Panel

    722 Left Panel

    702 Right Panel

    722 Right Panel

    Specifications

    Sampling Frequency:
    internal: 32, 44.1, 48, 48.048, 88.2, 96, 96.096, 176.4, 192 kHz; external: 32–192 kHz via word clock input

    Internal Data Path and Processing:
    32 bit, 192 dB dynamic range

    A/D, D/A Converters:
    24 bit, 192 kHz sample rate maximum

    A/D Dynamic Range:
    114 dB, A-weighted bandwidth 
    110 dB, 20 Hz – 22 kHz bandwidth

    D/A Dynamic Range:
    112 dB, A-weighted bandwidth 
    108 dB, 20 Hz–22 kHz bandwidth

    Frequency Res. Mic or Line:
    10 Hz–40 kHz, +0.1, -0.5 (gain controls centered), Fs 96 kHz

    Equivalent Input Noise:
    Mic: -133 dBu max (-135 dBV), 50 ohm source, A-weighted filter 
    Mic: -131 dBu max (-133 dBV) max, 50 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up 
    Mic: -130 dBu max (-132 dBV), 150 ohm source, A-weighted filter 
    Mic: -128 dBu max (-130 dBV), 150 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up

    THD + Noise:
    Mic: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, -15 dBu input); line: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, +16 dBu input)

    Gain: (input dBu to -20 dBFS)
    mic (normal gain mode): 25 to 70 dB; mic (low gain mode): 10 to 55 dB; line: -6 to 18 dB, 0.1 dB increments

    Input Clipping Level:
    Mic input: -5 dBu minimum (normal gain mode, gain control fully down); mic input: +10 dBu minimum (low gain mode, gain control fully down); line input: +26 dBu minimum (gain control fully down)

    High-Pass Filters:
    40, 80, 160, 240 Hz @ 12/18/24 dB/oct (all menu selectable)

    Mic Powering:
    (each XLR selectable): 48 V phantom through 6.8k resistors, 10 mA per mic available, menu-selected per channel in mic or line level positions

    Mic Input Limiters:
    analog (pre-A/D converter), dual-stage optocoupler and FET, 
    -4 dBFS threshold, 20:1 limiting ratio, 5 mS attack time, 200 mS release time

    Analog Line Output Clipping Level:
    +24 dBu minimum, 10k ohm load 
    Attenuation & Resolution 0 to 40 dB, 1 dB increments

    I/O – Digital:
    AES3-id 75 ohm, 0.5 V p-p, S/PDIF compatible with RCA adapter

    Digital Storage:
    internal hard drive ATA-5 interface 1.8-in or 2.5-in hard drive 4200–7200 RPM supported, FAT32 formatted,; Compact Flash CF type I, II, and + (microdrive) compatible, FAT32 formatted; file types: WAV, mono or polyphonic; MP3 @ 64, 96, 128, 240, or 320 kb/s stereo; utilities: format, speed test, and repair utility for internal HD and CF volumes

    Data Transfer / Control:
    FireWire peripheral-mode,IEEE-1394a compliant, 6-pin FireWire, Windows 2000, XP, Mac OS X only: C. Link 6-pin modular input and output, RS-232 machine control, word clock, time code transfer

    Metering:
    76-segment (4 x 19), sunlight-viewable, selectable peak, VU, or peak (with or without peak hold) with VU ballistics, variable brightness

    Powering:
    operating cell, removable 7.2 V (nominal) Sony M- or L-type Li-on, operational from 6 – 8 V; time code battery, 1.2 V AA nickel metal-hydride; power supply (external) 10–18 V, 1 A minimum, via locking 4-pin Hirose connector, use Hirose #HR10-7P-4P (DigiKey# HR100-ND) for locking mating DC connector; pin-4 = (+), pin-1 = (-) or pin-3 = (+) and pin-2=(-).

    Environmental:
    operation and storage: ambient temperature 5–55° C, relative humidity (non-condensing) <80%

    Other: 
    LCD Display 202 x 32 pixel, extended temperature, backlit display; tone oscillator 100 Hz–10 kHz, variable output, assigned to tracks or outputs (menu-selectable);

    Dimensions and Weight:
    45 mm x 209 mm x 125 mm (H x W x D) 1.8” x 8.2” x 4.9” mass unpackaged: 1.2 kg, (2.6 lbs) without battery

    Gefen

    1 décembre 2010

    Sonifex

    1 décembre 2010

    Dalet

    1 décembre 2010

    Merging

    1 décembre 2010

    Trinnov

    1 décembre 2010

    Dimension de l’ecran

    30 novembre 2010

    Useful links

    Screen Size
    The Impact on Picture & Sound
    By Ioan Allen,
    VP, Dolby Laboratories

    Over the years, the film industry has seen cyclical changes in the range of
    screen sizes, some dictated by film format, and some by exhibition economics.
    The small screens of the 1930s were eclipsed by the large-format screens of the
    1950s; today, the “pillbox” screens of the 1970s are being supplanted by
    relatively huge screens for 35 mm film projection. The impact of large screens
    for audience involvement is obviously beneficial, but there can be significant
    technical trade-offs. Perhaps surprisingly, not only picture but also sound quality
    can be affected by screen size; the following material discusses the impact of
    screen size on various presentation parameters including acoustics and image
    contrast.

    Volume Dolby

    30 novembre 2010

    Useful links

    As home entertainment options have increased—more channels, more media,
    more content—so have inconsistencies in perceived volume levels. Listeners must
    constantly readjust their volume controls to maintain consistent playback levels
    as they choose from among their many program options. Even content within the
    same program can vary in level, often dramatically, requiring even more volume
    control adjustments. And with content from the Internet and social media becoming
    part of the traditional home entertainment experience, volume inconsistencies are
    likely to increase further.

    Terminologie Audio Enregistrement

    30 novembre 2010

    Bandwidth
    The band of frequencies (difference between the lowest and the highest frequency in a signal) that pass through a device with a loss of less than 3dB, expressed in Hertz or in musical octaves. Described this way, the term is more or less synonymous to frequency range. This term is also used today to denote the maximum transfer capability of a digital connection or within a digital system. Used in this way, a computer network or Internet connection has a certain bandwidth, which denotes the maximum speed (rate) at which information can be transferred from one point to another or from input to output in a computer system/process.

    Frequency Response
    The measured accuracy within db limits of a piece of audio equipment. It states how much a piece of gear will respond in gain at precised frequencies. In fact, it doesn’t really make sense to use this specification when no indication of deviation in gain is precised with the frequency response since a piece of gear could respond to some frequencies but at a so low level in gain that it’s almost unnoticeable. The more frequencies are used during the measurement, the more the specification is precised. For instance, hi-fi loudspeaker manufacturers specify the tolerance limits (usually +/-3dB) of each model alongside the operating frequency range (typically 50Hz – 20kHz).

    Phase Response
    The phase response of a devise under test is quite similar to the frequency response except that instead of looking for change in gain of a signal at various frequencies, we are looking for change in phase. We measure it by comparing the input a devise under test to its output at various frequencies. The result of it is plotted on a graph similarly as the frequency response on a semi-log graph, with frequencies on the x-axis and phases on the y-axis.

    Total Harmonic Distortion
    This measurement specifies the total RMS value of the harmonic components of the output signal, excluding the fundamental, that is added to the audio signal by the equipment under given conditions. This measure is expressed as a percentage of the RMS value of the fundamental. The THD value is therefore quite a good measure on the unit’s quality. At low THD values – say at fractions of a percent, the THD added by the unit is not likely to be heard by any listener.

    Total Harmonic Distortion + Noise
    This measurement is quite similar to the total harmonic distortion specification except that this time, noise is being considered in the measurement. A single sine wave frequency of known harmonic purity is passed through the unit under test, and then patched back into the distortion measuring instrument. A measurement level is set; the instrument notches out the frequency used for the test (fundamental tone), and passes the result through a set of band-limiting filters adjusted for the bandwidth of interest (usually human threshold of hearing » 20Hz-20kHz). What remains is noise (generated by the devise under test, including AC line hum for example) and all harmonics generated by the unit. This composite signal is measured using a true RMS detector voltmeter, and the results displayed. Often a resultant curve is created by stepping through each frequency from 20 Hz to 20kHz, at some specified level (often +4 dBu), and bandwidth (usually 20 kHz; sometimes 80 kHz, which allows measurement of any 20 kHz early harmonics). THD+N is expressed as a percentage of the RMS value of the fundamental. THD+N is totally meaningless expressed by itself. To be meaningful, the frequency, level and measurement bandwidth must be specified.

    Common Mode Rejection Ratio
    The common-mode rejection ratio (CMRR) of a device (or other device) measures the tendency of the device to reject input signals common to both input leads. A high CMRR is important in applications where the signal of interest is represented by a small voltage fluctuation superimposed on a voltage offset, or when relevant information is contained in the voltage difference between two signals.

    Ideally, a differential amplifier takes the voltages V + and V − on its two inputs and produces an output voltage Vo = Ad(V + − V − ), where Ad is the differential gain. However, the output of a real differential amplifier is better described as

     

    where Acm is the common-mode gain, which is typically much smaller than the differential gain.

    The CMRR is defined as the ratio of the powers of the differential gain over the common-mode gain, measured in positive decibels (thus using the 20 log rule):

     

    As differential gain should exceed common-mode gain, this will be a positive number, and the higher the better.

    The CMRR is a very important specification, as it indicates how much of the common-mode signal will appear in your measurement. The value of the CMRR often depends on signal frequency as well, and must be specified as a function thereof.

    Gain 
    The measure of how much a circuit amplifies a signal. Gain may be stated as a ratio of input to output values, such as a voltage gain of 4, or a power gain of 1.5(expressed as a multiplier), or it can be expressed in decibels, such as a line amplifier with a gain of 10dB. An example of the former(as a multiplier) would be : 
    Input signal: 10kHz sine tone at 5mVrms
    Output signal: 10kHz sine tone at 50mVrms
    Gain (Out/In) = 50/5 = 10
    An example of the latter (in dB) would be :
    20 log (Out/In) = 20 log (50/5) = 20 log (10) = Gain of 20dB

    Input Impedance
    The input impedance is the combinaison of the resistance and of the reactance that a devise presents at its input, then acting as a load. This is optained by measuring the level of a sine tone (1kHz often used) generated by a function generator with a known output impedance, usually 600W . For example, if the level at the output of the function generator is 1VRMS (0dBV) and once we’ve connected any other piece of gear the output level drops by 6.02dB, we know that the input impedance of that piece of gear is 600W . The input impedance tends to be quite high.

    Output Impedance
    The output impedance of a devise is the combinaison of the resistance and of the reactance that it presents at its output to a load. To measure it we have first to send a signal of a specific frequency (let’s say 1kHz) to the devise under test and then get the level out of it. Let’s assume that the output is 2VRMS. If we do it again but this time adding a resistance of 500W across the output and then measure the level at the output. If the level is at 1VRMS, that means that the devise under test has an output impedance of 500W at 1kHz. The less the output drops we add the resistor, the lower the impedance. Output impedance are usually low, in the order of 50W .

    Intermodulation Distortion
    Intermodulation distortion (IMD) is the unwanted amplitude modulation of signals containing two or more different frequencies in a system with nonlinearities. The intermodulation between each frequency component will form additional signals at frequencies that are not, in general, at harmonic frequencies of either, but instead often at sum and difference frequencies of the original frequencies.

    Slew Rate
    This is a term used to define the maximum rate of change of an amplifier’s output voltage with respect to its input voltage. Slew rate is usually measured in V / msec. In essence, slew rate is a measure of an amplifier’s ability to follow its input signal. We measure it by applying a large amplitude step function (a signal starting at 0 volts and « instantaneously » jumping to some large level, creating a step-like look on an oscilloscope) to the amplifier under test and measuring the slope of the output waveform. For a very fast change at the input (often called « perfect » step input, i.e., one with a rise time at least 100 times faster than the amplifier under test), the output will not be vertical; it will exhibit a pronounced slope. The slope is caused by the amplifier having a finite amount of current available to charge and discharge its internal compensation capacitor.

    Crosstalk
    Crosstalk is a kind of interference caused by two signals becoming partially superimposed on each other due to electromagnetic (inductive) or electrostatic (capacitive) coupling between the conductors carrying the signals. A common example of crosstalk is when two cables(or wires) being close(parallel) together interfere with each other. In fact, what happens is that the magnetic field from changing current flow in one wire induces current in the other one. Crosstalk occurs a lot on magnetic tapes when elements on one track often tends to spread on an adjacent track. Crosstalk can be reduced by using shielded cables and increasing the distance between conductors. In stereo, the term relates to the breakthrough between channels measured as separation (in decibels) between the wanted sounds of the desired channel and the unwanted sounds from the second channel.

    Clipping
    Occurs when the input stage of an audio system is not capable to successfully handle the incoming signal due to the signal being too strong (too high in amplitude). Seen on an oscilloscope, the audio peaks appear clipped off. An analogue audio system has a certain capacity to handle signal overload by clipping in a way that is more acceptable to the human ear. An A/D converter in a digital audio system, however, has a maximum value it can handle. If the input signal exceeds this maximum value, the registered value will no longer be connected to reality , and the signal is therefore « clipped ». A clipped signal will almost always sound unnatural due to clipping. A clipped signal in a digital audio system is very likely to sound horrible, not just slightly distorted. To avoid distortion, reduce the system gain in or before the gain stage in which the clipping occurs.

    Gain Linearity
    In theory, a devise under test should have the same gain on a signal irrespective of the level of the input. So, if we set a gain of 4 on a sine tone of 1kHz, then the gain should be of 4 at all the other amplitude levels of any sine tone of 1kHz. (It can change for other frequencies though). If it’s the case, then this devise under test is said to be have a linear gain response. This is usually not the case and in fact, the measurement is done at various amplitudes at its input. The results of these measurements can easily be graphed on an X-Y plot, where the input amplitude is represented on the x-axis and the deviation from the nominal gain is represented on the Y-axis.

    Equivalent Input Noise
    Let’s say you want to measure the input noise of a mic preamplifier. This noise level is usually too low to be measured accurately. The way to get it properly is by boosting it via the gain of the preamplifier and measure the noise from its output. Then the last operation would be to substract the gain from our noise measurement to calculate what is the gain at the input. The term « equivalent » relates to the fact that we are actually calculating it rather than measuring it. It typically ranges from –125 to –129.5dBm (» -120dBu).

    Maximum Output Level
    The maximum output level of a devise under test is the point when the signal gets either 0.1% or 1% distortion, (occuring before starting to clip) although this will change depending on the manufacturer. So it’s not really the maximum level before clipping. Usually, when a maximum output voltage is given, the percentage of distortion will be included to tell you what the company in question means by the word « maximum. » The maximum output of the device is independent of its gain. It’s a maximum level of the output signal.

    Wow and Flutter
    Measure of the deviation of frequency resulting from irregular motion(speed instability) in the recording or from deformation of the recording medium. It occurs a lot in turntables, tape recorders and cassette decks.

    788T Enregistreuse Multipiste Numérique

    29 novembre 2010

    The 788T: Portable, Eight Input, Twelve-Track Recorder with Time Code

    788T Input Close UpThe 788T and 788T-SSD are powerful eight input, twelve-track digital audio recorders designed for production sound. Building on the success of the proven 7-Series architecture, the 788T offers greatly expanded input and output connectivity while continuing the 7-Series heritage of extensive control in a compact package.

    Routing InputsIts eight full-featured inputs ensure superb audio quality. They accept either microphone or line-level signals, provide 48 V phantom power for condenser microphones, offer peak limiters for microphone inputs, and fully adjustable high-pass filters. Support for AES42 digital microphones is also available. Extensive routing flexibility allows each input to be routed to left/right mixed tracks, isolated tracks, or aux tracks. With optional CL-8 Controller, the 788T is even easier to use, making the combination a flexible mixer/recorder, with lots of operational flexibility.

    788T with CL-8 Controller, Keyboard, and External Hard DriveThe 788T has three options for recording media, internal 160 GB SATA hard drive (256 GB SSD in the 788T-SSD), CompactFlash media with UDMA support, or an external FireWire hard drive or DVD-RAM (with bus powering). Any or all of these can be used simultaneously. Additionally, when connected to Mac OS, or Windows computers with high-speed USB or FireWire 400/800, the 788T functions as a high-speed mass storage device.

    To 788T with CL-8 Showing Output Panelsimplify interconnection with mixers and cameras with AES3 connectivity, the 788T has eight channels of balanced AES3 digital input and six channels of balanced AES3 output. The 788T can be clocked from external word clock or from video sync. The 788T has a high-accuracy time code reader/generator on board. It includes auto-record features to chase external rec-run video sources. To simplify metadata entry the 788T directly accepts USB keyboards. Keyboard shortcuts can be programmed to control menu items and machine transport. The extensive power of the 788T simplifies any production sound setup.

    Useful Links

    788T in CS-4 Production Bag

    Key Features

    • Eight mic/line inputs, each controlled with front panel, pop-out gain controls
    • 12-track recording, to record iso’s, stereo mix track, and two-track aux, Aux1, Aux2
    • Each input has solo headphone monitoring, 48 V phantom, limiter, polarity reverse, high-pass, and selectable delay
    • Selectable sampling rate converters on each digital input
    • Sampling rate selectable up to 96 kHz
    • AES42 digital microphone support
    • Backlit LCD display viewable in any environment
    • 8 x 13-segment Peak/VU meters with arm LED
    • Word clock in and out with tri-level video sync support
    • Time code generator supports all data rates; holds time code for four hours with no power sources attached
    • Internal 160 GB, 2.5-inch SATA hard drive; 256 GB SSD in the 788T-SSD
    • CompactFlash slot with UDMA support
    • Powered by removable Li-ion rechargeable batteries
    • External DC power input operates unit and charges Li-ion battery
    • Back panel multi-pin connector for one-cable connection to digital mixing board (AES input/output, power, switch closure in/out)
    • FireWire 400/800 and USB 2.0 connections for ultra-fast file tranfer between 788T’s CF and HDD to computer
    • USB keyboard input for control
    • Aluminum & stainless-steel chassis for exceptional durability and light weight
    • Designed for the same operational environmental extremes as Sound Devices field mixers

    SUITE RADIO HD de DALET a RADIO-CANADA

    28 novembre 2010

    Location: 48 sites in Canada
    Application: Audio news and program production and broadcast automation – media asset management (MAM)
    Overview: CBC Radio is Canada’s premier radio broadcaster with network hubs in Toronto and Montreal, several regional hubs and many standalone locations stretching from the largest cities to small, remote locations. The public broadcaster delivers Canadian-produced news, cultural and public affairs and entertainment programming. Always forward thinking, CBC leverages technology advances to improve productivity while delivering high-quality content.

    Dolby

    26 novembre 2010

    La page de Dolby en Français

    La SETTE choisis la solution MAM de DALET

    25 novembre 2010

    La SETTE choisis la solution MAM de DALET

    Digital Media Systems will provide a sneak preview of new Dalet Enterprise Edition functionalities at the NAB 2010 exhibition, held in Las Vegas, NV from April 12 – 15 (stand SL4720). The special technology demonstration will showcase Dalet’s flagship News and Media Asset Management (MAM) solution with a brand new Workflow Engine built on Business Process Management (BPM). The new Dalet Workflow Engine orchestrates human tasks and automated processes. Dalet’s next generation platform will also leverage Web 3.0 semantic and social web technologies, enhancing collaborative content production by enriching data collection from multiple platforms.
    “BPM is a widely utilized technology in large industries such as automotive. It is well known for increasing productivity, collaboration, agility, and visibility. We will bring these types of technology and benefits to the broadcast market,” says Kevin Savina, Director of Product Management at Dalet.“Extremely open and SOA compliant, the new Dalet Workflow Engine will provide all of the tools needed for workflow design and optimization: user task management, back office automated processes management; including QC, conversion, media exchanges and transfers. It will also enable comprehensive reporting to measure performances.”
    Dalet is also showcasing semantic tools that analyze assets stored in the Dalet MAM. The tools automatically connect stories, video content, web links, pictures and other multimedia content to constantly enrich assets and provide a richer experience for end users.
    “The broadcast industry is moving quickly towards IT friendly solutions, optimizing new technologies and opportunities. Dalet’s open MAM platform revolutionizes the way broadcasters produce, publish and share content, streamlining workflows across every department,” says Raoul Cospen, Director of Marketing. “Our technology path puts Dalet as the first collaboration platform with extensive business management capabilities and built-in production tools.”

    About Dalet

    Dalet solutions enable broadcasters and content professionals to create, manage and distribute media for traditional and new media channels including interactive web and mobile networks. Dalet Enterprise Edition combines a MAM platform and workflow engine to manage News, Sports, Programs, Entertainment and Archives. Purpose-built media production tools are natively integrated, optimizing access to media, collaboration and streamlining production workflows. At the core is an open and flexible MAM platform that tracks metadata from ingest to archive, ensuring media assets are indexed and searchable across the workflow. Delivered with Dalet Professional and Integration services, Dalet provides complete solutions that improve production speed, quality, and value of media assets.

    Dalet Brio Une nouvelle en français

    24 novembre 2010

    Traduction de Dalet Brio

     

    Gerry Eschweiler

    24 novembre 2010

    Jocelyn Guévremont

    24 novembre 2010

    702T Enregistreur Numerique HD avec Time Code

    4 novembre 2010
    702t-369px

    Portable, High-Resolution Audio Recorder with Time Code

    The two-channel 702T is a powerful two-track file-based digital audio recorder with time code. The super-compact device records and plays back to convenient, removable Compact Flash cards, making field recording simple and fast. It writes and reads uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz. Compressed (MP3) audio playback is also supported. The time code implementation makes the 702T perfect for any dual-system video or film production application.

    The 702T implements a no-compromise audio path that includes Sound Devices’ next generation microphone preamplifiers. Designed specifically for high bandwidth, high bit rate digital recording, these preamps set a new standard for frequency response linearity, low distortion performance, and low noise.

    No other recorder on the market matches its size or feature set. In addition, its learning curve is quite short—powerful does not mean complicated. While the 702T is a very capable recorder by itself, it truly excels when used in conjunction with an outboard audio mixer such as Sound Devices’ own 442 or 302.

    Its Compact Flash storage is a highly-reliable industry standard. The removable, rechargeable battery is the popular Sony-compatible Li-ion camcorder cell. The 702T interconnects with Windows and Mac OS computers for convenient data transfer and backup.

    702 Left Panel

    702T Left Panel

    702 Right Panel

    702T Right Panel

    Key Features

    • Two-channels of Sound Devices next generation microphone preamps with phantom, limiters, and high-pass filters
    • Records to convenient, removable Compact Flash storage
    • Full-function, ultra-stable Ambient time code functionality,, tuneable to <0.2 PPM accuracy with all relevant TC rates
    • AES3 (XLR) or AES3id (unbalanced AES on BNC) digital inputs and AES3id outputs
    • Programmable, sunlight-viewable LED level metering
    • WAV format, mono or poly files, uncompressed PCM audio
    • 24-bit or 16-bit (with or without dither) and sampling at 32 kHz-192 kHz
    • MP3/ MP2 file playback
    • FireWire (IEEE-1394) port for high-speed data transfer to computers
    • 6-pin modular C. Link serial input and output for unit linking and control and expansion using the CL-1
    • Removable Li-on rechargeable battery compatible with Sony M- and L-mount Li-on batteries
    • 10–18 VDC external input powers and charges on-board battery
    • Aluminum & stainless-steel chassis for exceptional durability and light weight
    • Class-defining compact size
    • Designed for the same operational environmental extremes as Sound Devices field mixers

    AC-3: Perception d’encodage des Flux Numériques de Transmission et de Stockage

    5 novembre 2009

    Useful links

    Dolby AC-3 is a flexible audio data compression technology capable of encoding a range of audio channel formats into a low rate bit stream. Channel formats range from monophonic to 5.1 channels, and may include a number of associated audio services. Based on a transform filter bank and psychoacoustics, AC-3 includes the novel features of transmission of a variable frequency resolution spectral envelope and hybrid backward/forward adaptive bit allocation.