Small diaphragm electret-condenser microphone The MCE 530 is a cardioid condenser microphone suitable for both project studios and semiprofessionals. It consists of a lightweight, but rugged, plastic casing strengthened with carbon fibres. Its small and short design permits flexible and unobtrusive positioning.The microphone is powered by phantom power between 11 and 48 V. The frequency response of the MCE 530 has been optimised for miking instruments and choirs. Using the WS 53 wind screen the MCE 530 is an ideal speaker´s microphone in churches and halls. Features Cardioid polar pattern High SPL capability slim, unobstrusive design Plastic castin strenghtened with carbon fibres Phantom powering 11 - 52 V Technical data Price category Entry level Transducer type Electret condenser Polar pattern microphone Cardioid Microphone frequency response 30 - 20,000 Hz Dimensions 100 mm x 19.5 mm Net weight without packaging 79 g Downloads SPEC SHEET DAT_MCE530_EN.pdf (168.84 KB) USER MANUAL MAN_MCE530_DE-EN-FR.pdf (102.75 KB)

Softbox OCF-a su namenjeni Profotovim blic glavama i dizajnirani su da budu brzi i jednostavni za korišćenje na lokaciji

• 16 x Audient Mic Preamps • 40 Faders • 48 Inputs at mix • 16 x Record Buses • 8 x Subgroups • 42 x Inputs • 6 x Auxes, 2 x Cue Sends • In-line Architecture – twin inputs on each channel • 4 x Stereo Monitor Outputs • Advanced Monitor Control • 4 Band Splittable EQ • Stereo VCA Mix Bus Compressor • Footswitch for Talkback Control Weight: 60Kg Dimensions: 1090mm (w) 995mm (d) 335mm (h)

THE SOUND OF AN ICON TOP FEATURES The most important features at a glance The sound of Alicia Keys' own personal Yamaha C3 Neo piano: Almost 3,000 individual samples on 12 discrete velocity layers with and without pedal — equivalent to 17GB of uncompressed WAV files! Sampled from Alicia Keys' own playing, recorded in her studio with her own engineer Developed with the artist and tailor-made for her recording and performance needs Meticulous sampling technique including the noise of the finger hitting the keys (optional) Sampled sustain and release phases with authentic implementation of the sustain pedal All-new sympathetic resonance system for harmonics in undampened strings Exceptionally clean quality, yet featuring adjustable microphone noise for old-school sound Natural mechanical release noises for each of the 88 keys and pedal noises Integrated convolution reverb for tweaking the sound directly in the instrument Easy user interface providing integrated documentation of all settings FROM ALICIA'S STUDIO TO YOURS Together with Danish sample specialist Thomas Skarbye (better known by his company name Scarbee) and impulse response expert Ernest Cholakis, Alicia Keys has created a virtual piano that meets her professional standards and embodies the soulful sound that has become her trademark as a superstar. This is the piano sound that has helped Miss Keys win multiple Grammys and reach the top of the charts. ALICIA'S KEYS was sampled from her own playing, recorded in the artist's own studio under the supervision of her trusted engineer, Ann Mincieli. Watch the exclusive Alicia Keys Video Watch the Product Features Video Listen to the sound examples ALICIA'S VERY OWN KEYS The instrument samples come from Alicia Keys' very own Yamaha­™ C3 Neo grand piano. This unique and highly-sought after instrument was built to celebrate Yamaha's 100th anniversary in 2002 and represents the very top of the Conservatory Collection line. The exquisite and unique sound of the C3 Neo were painstakingly captured by Thomas Skarbye, Kontakt script wizard Nils Liberg, and Grammy-award winning engineer Ann Mincieli - making this exclusive instrument available to everyone. Using vintage microphones and preamps and through detailed analysis of Alicia's playing, the team succeeded in capturing the warm, soulful and inspiring sound of the C3 Neo all the way down to the finest nuances. Alicia herself says: "I feel confident that we came up with the best virtual piano you've ever heard and I am excited to introduce it to you! Ann, Thomas and Nils are a brilliant team!" KEEPING IT TRUE Great effort was put into making ALICIA'S KEYS as authentic as possible. Designed with incredible precision, and incorporating subtle details such as mechanical release noises, a specially developed sympathetic resonance and release system, and even the sound of fingers hitting keys (optional), this unique instrument delivers plenty of lively realism. So much in fact, that Alicia Keys herself used it exclusively on her latest album The Element of Freedom. Find out more about Alicia Keys Current Tour Dates Alicia Keys Artist Website AT A GLANCE: ALICIA'S KEYS Product type: KOMPLETE Instrument For use with: FreeKONTAKT 5 PLAYER (included in freeKOMPLETE 8 PLAYERS), or KONTAKT 5 Sound Category: Piano Size: 6.9 GB (almost 3,000 individual samples in 12 velocity layers equivalent to 17 GB of uncompressed WAV audio) System requirements FREE KONTAKT 5 PLAYER or KONTAKT 5 Please also see theKONTAKT 5 PLAYER system requirements and theKONTAKT 5 PLAYER FAQ Mac: Intelmac only, no PPC support PC: needs SSE2 (CPU supplementary instruction set) Downloads: Manual Wallpapers Screensaver: PC MAC Miss Keys would also like to thank: Miki Tsutsumi (Assistant Engineer), Wouri Vice (Stylist), Ashunta Sheriff (Makeup), Tippi Shorter (Hair), Randal Slavin (Artwork Photography), Coleman Rogers (Piano Photography), Barret Wertz, (Associate Stylist), All for Epiphany Artist Group SPECIFICATIONS SYSTEM REQUIREMENTS Windows Windows 7 or Windows 8 (latest Service Pack, 32/64-bit), Intel Core 2 Duo or AMD Athlon 64 X2, 2 GB RAM (4 GB recommended) Mac Mac OS X 10.7 or 10.8 (latest update), Intel Core 2 Duo, 2 GB RAM (4 GB recommended) SUPPORTED INTERFACES Stand-alone VST Audio Units AAX Native (Pro Tools 10) RTAS ASIO CoreAudio WASAPI NOTE This product runs in the freeKONTAKT 5 PLAYER and inKONTAKT 5. ADDITIONAL INFORMATION 7 GB free disk space is required for complete installation. PRESS VIEWS Reviews of ALICIA'S KEYS AUDIOFANZINE.COM "Alicia's Keys can be considered the ideal piano for pop and rock as well as some jazz and fusion styles: it sounds dynamic and clear, and has an authentic personality and a very particular attack." Audiofanzine.com, FR, 04/2011 COMPUTER MUSIC "Alicia's Keys delivers an excellently produced piano sound, with plenty of tone and behaviour-shaping flexibility." Computer Music, UK, 07/2010 MICRO MART "If you're looking for a realistic, expressive and pleasurable piano, invest in Alicia's Keys." Micro Mart, UK, 01/2011 CLAVIERCOMPANION.COM "For pianists who are Keys fans and want to really play her instrument, this is a must-have. Other pianists who want to make recordings on a quality virtual instrument will also be pleased with what they can produce with this palette of sounds." Claviercompanion.com, US, 02/2011 KEYBOARD "Alicia's Keys really does invite an emotional response. If you're that kind of composer or songwriter, the inspiration factor alone — especially for the price — is more than enough to earn it a home on your hard drive." Keyboard, US, 06/2010 DATATRANSMISSION.CO.UK "You won't find a more convincing and hassle-free piano solution for the price that has so much skill gone into making it, and you'll never have to search for that perfect piano sound again. Whether it's just a few chords you're using or some live freestyle stuff, it's a must for anyone who loves the keys." Datatransmission.co.uk, UK, 05/2010 MUSIC TECH "Given the affordability and attention to detail delivered by Alicia's Keys, we'd wholeheartedly recommend the product, both for first-time users and for aynone looking to expand an existing set of virtual piano sounds." Music Tech, UK, 09/2010 SOUNDSANDGEAR.COM "The sound in this library really gives something different when compared to other libraries on the market. I can instantly find use for it in an urban/electronic setting, without much tweaking needed, as it’s organic and smooth…it just slides right in." Soundsandgear.com, US, 08/2010

The 3RU console has 4 stereo inputs and 4 stereo sources, with 2 stereo recording outputs, as well as 3 stereo and 2 mono speaker outputs that can be expanded with the new MC16 controller. The new DMC console operates on the same unequaled 120V DC audio rail like each of the other SPL Mastering Series processors. Inputs Max. Input Level: +32.5 dBu Input Impedance: 20 kOhm (balanced) CMRR (at 0 dBu): › 82 dBu Outputs (Speaker Output) Max. Output Level: +32.5 dBu Output Impedance: ‹ 100 Ohm Frequency Range: 10 Hz-200 kHz 10 Hz  = -0.12 dB;  100 kHz  = -0.3 dB; 200 kHz = -1.2 dB Noise (unweighted, at 24dBu): -101.4 dBu Noise (A-weighted, at 24dBu): -103.9 dBu Noise (CCIR, at 24dBu): -94.9 dBu THD & N (at 24dBu): › 108 dB Outputs (Recording Output, Insert active) Max. Output Level: +32.5 dBu Output Impedance: ‹ 100 Ohm Frequency Range: 10 Hz-200 kHz 10 Hz  = -0.12 dB;  100 kHz  = -0.6 dB; 200 kHz = -2.3 dB Noise (unweighted, at 24dBu): -98.4 dBu Noise (A-weighted, at 24dBu): -101.6 dBu Noise (CCIR, at 24dBu): -92.2 dBu THD & N (at 24dBu): › 112 dB Power Consumption: 0.22 Amp, 230V/50Hz, 35 Watt, 53 VA 0.44 Amp, 115V/60Hz, 35 Watt, 53 VA Fuses: 230V/50Hz: 1 Amp 115V/60Hz: 2 Amp Dimensions & Weight W x H x D: 482mm x 132mm x 340mm; 19" x 5.2" x 13.36" Standard EIA 19" Housing/3HE) Weight: 10.6kg / 23.369lb

Gemini also provides the possibility to work on the stereo panorama. With the Balance control you can position the mid signal within the stereo panorama. With the Trim control, you can adjust the level of the mid signal in relation to the side signal. In connection with the Stereo Width control, the mixing ratio of both channels can be adjusted. An Elliptical Filter, which can cut low frequency ratios of the side band is also provided. M/S with Gemini & Hermes Hermes and Gemini operate in their complete range of functions as stand-alone devices. A pairing of Hermes and Gemini enables lots of further possibilities. If the M/S Encoder and Decoder stages of Gemini are each paired with an insert of Hermes, it is possible to freely choose a position for the M/S Encoder and Decoder within the processing chain. This way, it is possible (see image below) to place the M/S Encoder on the third position, an equalizer on the fourth to use it for separate processing of the mid and side signal and then use the M/S Decoder stage of the Gemini on the fifth position to generate an L/R stereo signal. If you now like to additionally use a compressor, as a further device for M/S processing, you can place it on position 5 and the M/S Decoder stage would thus move to position 6. Inputs Max. Input Level: +32,5 dBu Input Impedance: 20 kOhms (bal.) Outputs Max. Output Level: +32,5 dBu Output Impedance: ‹ 100 Ohms (bal.) Noise (A-weighted, Insert, Balance & Trim, Filter & Width = active): -98,2 dBu THD & N (at +20dBu): › -110 dB Common-Mode-Rejection (at 0 dBu): -79 dB Transmission Bandwidth: 10 Hz-150 kHz Power Consumption: 0,11 Amp, 230V/50Hz, 24 Watt, 32 VA 0,22 Amp, 115V/60Hz, 24 Watt, 32 VA Fuses: 230V/50Hz: 0,5 Amp 115V/60Hz: 1 Amp Dimensions Standard EIA 19 Inch Housing/1U: 482 x 44 x 300 mm / ca. 19" x 1.73" x 11.8" (front panel excl.) Weight: 5kg / 11 lb

In addition, Hermes has two integrated parallel mix stages that work with any of the eight processors allowing for comparison of two compressors with different parallel mix settings. The parallel mix stages are stored with the processing chains. Hermes routing is entirely passive using gas-capsuled and gold-plated high-end relays. All active electronics like the I/O stages and the Parallel Mixes use SPL's proprietary and unequaled 120V Technology. Hermes speeds up the workflow in mastering in ways that were previously extremely difficult, and makes the most out of your existing mastering gear. Repatching to hear a simple change is a thing of the past with Hermes – you can change processor sequences on the fly, store them, and compare settings instantly. All with real switches, relays and no software application. Inputs Max. Input Level: +32,5 dBu Max. Input Level (Parallel Mix, Gain active): +28 dBu Input Impedance: 20 kOhm (bal.) Outputs (Speaker Output) Max. Output Level: +32,5 dBu Output Impedance: ‹ 600 Ohm Noise (A-weighted): -121 dBu Noise (A-weighted, Parallel Mix active): -104 dBu Noise (A-weighted, Parallel Mix, Gain active): -102 dBu Crosstalk (at 1 kHz at 0 dBu): -130 dB Crosstalk (at 1 kHz at 0 dBu Parallel Mix active): -110 dB Crosstalk (at 1 kHz at 0 dBu Parallel Mix, Gain active): -80 dB THD & N (at +20dBu): › -112 dBu Common-Mode-Rejection (at 0 dBu): -75 dB Transmission Bandwidth: 10 Hz-200 kHz 10 Hz = -0,12 dB; 100 kHz = -0,3 dB; 200 kHz = -1,2 dB Power Consumption: 0,17 Amp, 230V/50Hz, 30 Watt, 37,6 VA 0,34 Amp, 115V/60Hz, 30 Watt, 37,6 VA Fuses: 230V/50Hz: 1 Amp 115V/60Hz: 2 Amp Dimensions Standard EIA 19 Inch Housing/2U: 482 x 88 x 300 mm / ca. 19" x 3,5" x 11,8" (front panel excl.) Weight: 9kg/ 19,84 lb

Furthermore we have exchanged capacitor arrays in the filters by custom-made single capacitors and optimized the bandwidth per frequency range. This evolution is a sonic revolution. The first generation Passeq was the first passive equalizer that offered high, mid and low band with individual boost and cut and with 12 selectable frequencies per band. Passeq was the most powerful passive EQ system ever made with a total of 36 boost and 36 cut frequencies. The sheer amount of possible frequency curves or shapes is close to 3 million. Now, here is the 2nd generation: the new PASSEQ Mastering Equalizer. It features the same amount of boost and cut frequencies, though the choice of frequencies is altered and the Q-factor is more musically adjusted for each selectable frequency. The components in a passive filter such a variable resistor, capacitor and coil deliver a special sonic character. An important part of the sound is played by coil and capacitor loading and saturation characteristics. The resulting inertia in contrast to the fast reaction of active filters is the reason for the pleasing sound that we get from passive designs. We tend to perceive these attributes in terms of an increased suppleness and transparency, with perceptibly improved, silky highs and warm and punchy basses. Each boost and cut frequency now got an individual optimized Q factor. Especially the mid bands are more harmonious for working on program material. When we were fine-tuning, through component selection, within countless listening sessions, the focus was on receiving musically sounding curves, which are clearly on par with legendary devices like the Pulteq EQ from the decades of the 1950s and 60s, but without all disadvantages of a 60-year-old original, like a high noise level and most of all a very limited choice of frequencies. The Mid Range Cut band is expanded to lower frequencies and now starts at 200Hz already. This was a request from many mastering engineers and to achieve this we got bigger coils custom-made. Another highlight of the new PASSEQ is the HF+ Band, which is expanded upwards with the frequencies: 25kHz and 35kHz. They lift the ceiling in any recording and sound incredibly good, open, wide and natural. Thanks to the big detended output control, you can increase or attenuate the output level by 10dB, to drive the following devices with the perfect desired level. This is important especially in mastering. This feature was on the wishlist of many mastering engineers for a new version of the Passeq. Boost/Cut, Q (HF +) and Output are adjusted with stepped potentiometers (ALPS RK27 "big blue") with 41 detentions. All frequencies are set with 12-position switches. Thanks to these switches and detented potentiometers a precise recall is very easy to do. Like all new SPL Mastering devices, the PASSEQ features Auto Bypass. Of course each of the two channels can be manually activated and deactivated with big illuminated pushbuttons, but thanks to Auto Bypass switching is done by the PASSEQ to let you focus on the sonic comparison solely while your judgment is not compromized by the act of switching. The Interval control sets the switching period. Inputs Max. Input Level: + 32.5 dBu Input Inpedance: 20 kOhms (balanced) Outputs Max. Output Level: + 32.5 dBu Output Inpedance: ‹ 600 Ohms (balanced) Harmonic Distortion: at -30 dBu: 0.076% at -20 dBu: 0.026% at 0 dBu: 0.026% at +10 dBu: 0.0086% at +30 dBu: 0.0012% Noise (unweighted, (Gain +0 dBu, EQ = 0dB B/C): - 91.8 dBu Noise (A-weighted, (Gain +0 dBu, EQ = 0dB B/C): - 95.2 dBu Noise CCIR, (Gain +0 dBu, EQ = 0dB B/C): -86.2 dBu THD & N (Gain +0 dBu, EQ = 0dB B/C): › 102 dB Common-Mode-Rejection: › -60 dBu (bei 1 kHz, Gain +0 dBu, EQ = 0dB B/C) Transmission Bandwidth (-3 dB): 10 Hz - 200 kHz Frequency Range: 10 Hz - 35 kHz Power Consumption: 0.06 Amp, 230V/50Hz, 9.5 Watt, 13.6 VA 0.09 Amp, 115V/60Hz, 9.5 Watt, 13.6  VA Fuses: 230 V/50 Hz: 0.5 Amp 115 V/60 Hz: 1  Amp Dimensions: Standard EIA 19 Inch Housing/4U, 482 x 177 x 311.5 mm / ca. 19" x 7" x 12,25" Weight: 10.2 kg / 22.5 lb

You can handle the PQ in a sovereign and natural manner. Just like having all the reserves of the world. And somehow this is true. (...) In case anyone still wonders – in my opinion the PQ belongs to the world-classics among all Mastering Equalizers. Studio Magazin The PQ Mastering Equalizer is a fully parametric, dual-channel five-band equalizer. Both units are based on our 120V Rail Technology. The new PQ features the same high-quality characteristics as the previous model. Each channel can completely be activated or deactivated, thanks to Auto-Bypass, even automated in a freely selectable time frame. Thanks to the 1/4 Gain-Switch, you can reduce a maximum increase or attenuation of the amplitude by the factor 3/4, which regulates the potentiometer from max +/-20 dB to +/-5 dB cut. This gives you the possibility to perform small corrections, as common in Mastering or higher amplitudes in Proportional-Q mode. The PQ Mastering Equalizer – Model 1540/1544 is a new revised edition of the well-known SPL PQ Mastering Equalizer – Model 2050. All five bands can each be activated or deactivated and you got the possibility (for every single band) to separately switch between Constant Q and Proportional Q. This kind of circuit has not yet been achieved in any other equalizer. Bypass of each band and constant Q of the left side can be controlled by the right side in Link mode. Thanks to the detented potentiometers, a precise recall is very easy to realize. You can also adjust parameters Gain, Frequency and Q in 41 steps with the detented potentiometers. Frequency Range: 10Hz - 40kHz CMRR (1 kHz, +34 dBu, Band 1-5 ON, B/C = 0 : › -82dB Transmission Bandwidth: (3 dB, Band 1-5 ON, B/C = 0): 10 Hz-100 kHz THD & N (@ 24dBu, Constant-Q) › 107dB THD & N (@ 24dBu, Proportional-Q) › 106dB Noise (unweighted, at 24 dBu, Band 1-5 ON, B/C = 0) - 91dBu Noise (A-weighted, at 24 dBu, Band 1-5 ON, B/C = 0) - 94dBu Noise (CCIR, at 24 dBu, Band 1-5 ON, B/C = 0) - 86dBu Harmonic Distortion: 0,2% @ 1kHz/-30dBu 0,05% @ 1kHz/-20 dBu 0,01% @ 1kHz/0 dB 0,002% @ 1kHz/+10 dBu 0,0005% @ 1kHz/+30 dBu Input Inpedance: 20kOhm Max. Input Level: + 32,5dBu Output Inpedance: ‹ 600Ohm Max. Output Level: + 32,5dBu Power Consumption: max. 61W Fuses 230 V/50 Hz: 3,15 Amp 115 V/60 Hz: 6,3 Amp Dimensions: 482 x 177 x 311,5 mm / approx. 19“ x 7“ x 12,25“ Weight: 15,2 kg / 33,5 lb

The T8V impresses with a multitude of features that bring real benefits to the user: The U-ART tweeter’s 4:1 velocity transfer ratio, in combination with the new Class D amplifiers’ high dynamic range, yield respective max. peak SPL of 118 dB per pair. The tweeter, which extends up to 25 kHz, works as a team with the HPS Waveguide. This allows an optimal radiation of the high frequencies, which means the advantage of a more controlled, larger usable sweet spot during monitoring. With a bass extension down to 33 Hz, the T8V is especially suitable for users who produce bass-heavy music. The T8V is the perfect studio speaker for those who have always wanted to work with an 8“ monitor from ADAM Audio, but where budgets have been insufficient. The 5-year warranty gives users additional security and the certainty of having purchased a quality product. STATE OF THE ART TECHNOLOGY ADAM Audio monitors have earned a worldwide reputation as the preeminent tool for sound engineers based on technological innovations that we’ve established in the field of loudspeaker technology. TECHNICAL DATA WOOFER Number 1 Basket Ø 8" (203 mm) Cone Material Polypropylene TWEETER Number 1 Type U-ART Diaphragm Area 4 inch² (2420 mm²) Equiv. Diaphragm Ø 1.9" (48 mm) Velocity Transform Ratio 4:1 Diaphragm Weight 0.17 g Waveguide HPS BUILT-IN AMPLIFIERS Number 2 Woofer 1 Type PWM Amp. Power RMS 70 W Tweeter 1 Type PWM Amp. Power RMS 20 W CONTROL OPTIONS Input Sensitivity Switchable +4 dBu / -10 dBV Gain Yes High-Shelf - 2 dB, 0 dB, +2 dB Low-Shelf - 2 dB, 0 dB, +2 dB INPUT CONNECTORS Analog XLR, RCA Input Impedance 10 kOhm / 20 kOhm GENERAL DATA Panel Rear Frequency Response 33 Hz - 25 kHz THD > 80 Hz 0.5 % Max. SPL per pair at 1 m ≥118 dB Crossover Frequency 2.6 kHz Max. Power Consumption 150 W Weight 21.6 lb (9.8 kg) Height x Width x Depth 15.8" x 9.8 “ x 13.2“ (400 mm x 250 mm x 335 mm) Warranty 5 years (2 years warranty plus 3 years optional with product registration) Delivery Contents Power cord, Quick Start Guide

The new MC16 sports the world’s first 16-gang precision potentiometer which was specially designed for SPL. To seamlessly integrate multi-channel monitoring into a stereo mastering environment we developed a way of pairing the MC16 with our new DMC stereo mastering console. The combination of DMC and MC16 allows mastering studios to work in all current audio playback formats at the same quality level, all without reconnecting any speakers. Inputs Max. Input Level: +32,5 dBu Input Impedance: 20 kOhm (sym.) Outputs Max. Output Level: +32,5 dBu Output Impedance: ‹ 600 Ohm (sym.) Noise (unweighted): -97,3 dBu Noise (A-weighted): -102,4 dBu Noise (CCIR): -100,8 dBu THD & N (bei 24dBu): › 112 dB Common-Mode-Rejection (at 0 dBu): › -82 dBu Crosstalk (adjacent channels, at 1kHz): › -100 dBu Transmission Bandwidth: 10 Hz-200 kHz 10 Hz  = -0,12 dB;  100 kHz  = -0,42 dB; 200 kHz = -1,3 dB Power Consumption: 0,29 Amp, 230V/50Hz, 50 Watt, 65,7 VA 0,58 Amp, 115V/60Hz, 50 Watt, 65,7  VA Fuses: 230V/50Hz: 1 Amp 115V/60Hz: 2 Amp Dimensions & Weight Standard EIA 19 Inch Housing/3U: 482 x 132 x 34 mm Weight: 8,4kg

Uz fiksni kardioidni patern, mikrofon STC-20 sa velikom dijafragmom će dati impresivne rezultate na širokom spektru izvora, uključujući muški i ženski vokal, akustičnu gitaru i druge instrumente, gitaru, pojačala, udaraljke, set bubnjeva, klavir i druge akustičke instrumente . Takođe smo dobili fidbek od mnogih ljudi koji ga koriste sa velikim uspehom za govornu reč, tako da je ovo takođe idealan mikrofon za rad za voiceover, podkaste i emitovanja. "STC-20 zaista laska vokalima i nudi jasan, blistav top end. Izvrstan je i na akustičnoj gitari ... zvuči masivno, ali uz onaj vrhunski svetlucav zvuk koji čini da bilo koja gitara zvuči mnogo skuplje nego što jeste!" SIMON CROFT, pevač/autor pesama STC-20 mikrofon ima veliku otvorenu rešetku u kojoj se nalazi ista pozlaćena kapsula od jednog inča ista kao što postoji kod našeg popularnog modela STC-2. Dolazi sa brojnim neophodnim elementima dodatne opreme, što znači da možete da se priključite i počnete da snimate u nekoliko minuta. U paketu ćete naći STC-20 mikrofon zajedno sa… • šok mauntom u obliku pauka (sa 2 još dva elastična) • štitnik za mikrofon od najlona koji se kači na šok maunt • XLR kabl od 5 metara • plastična torbica za mikrofon sa rajsferšlusom "Fantastično je zvučao na izgovorenoj reči, muškom i ženskom otpevanom vokalu, akustičnoj gitari i kao daljinski mikrofon na električnoj gitari. Sve za šta sam ga koristio, jednostavno je funkcionisalo odmah - to je verovatno jedan od najboljih mikrofona koje sam ikada koristio. Ukrako: odličan je, želim ga!" ANDI PICKER, kritičar (iGuitar časopis) Uprkos neverovatno povoljnoj ceni, Sontronics STC-20 daje sjajne rezultate bez obzira na to za šta ga koristite, bilo da započinjete sa malim setapom u spavaćoj sobi ili tražite pouzdanost za korišćenje u studiju iz različitih izvora. STC-20 Pack je ujedno i najprodavaniji mikrofon u obrazovanju, gde njegova jednostavna upotreba i karakterističan čist, realističan zvuk osiguravaju da će vaš snimak svaki put biti uredno u miksu. "Ovo je paket vrhunske vrednosti - sa dobro izbalansiranim, kondenzatorski mikrofon transparentnog zuvuka, a tu je i gomila obavezne dodatne opreme da biste mogli odmah da snimite. Za snimanje ili emitovanje, nudi izuzetno uravnotežen vokal" PAUL MORRISSEY, pevač/autor pesama & kritičar (iDJ Magazine) Dizajniran da bude pristupačan ulazak u Sontronics liniju, STC-20 mikrofon vam daje isti karakterističan i gladak roll-off visokih frekvencija kao što je to slučaj kod svih naših kondenzatorskih mikrofona, a u poređenju sa drugim mikrofonima u istom cenovnom rangu, zaista neće verovati tvojim ušima. Ako smatrate da vam treba nešto više fleksibilnosti u pogledu kontrole pedova i filtera, pogledajte naš STC-2 mikrofon (na osnovu kojeg je baziran STC-20), koji ima ped i filter kontrole, kao i šok maunt i kofer. Za još veću svestranost, naš STC-3X Pack dolazi sa istom opremom kao i STC-20 Pack i nudi tri polarna paterna: kardioidni, svestrani i oblik osmice. NAJVAŽNIJE KARAKTERISTIKE kondenzatorski mikrofon sa velikom dijafragmom • fiksni kardioidni patern • fantastičan za vokale, akustičnu gitaru, klavir, gitarska pojačala, bubnjeve, podkast i druge akustične instrumente • dolazi sa šok mauntom, štitnikom, torbicom za mikrofon i XLR kablom od 5m PREPORUČEN ZA… • vokale (pevajuće i govorne) • akustičnu gitaru i druge žičane instrumente • gitarska pojačala • klavir i druge akustične instrumente • perkusije i bubnjeve • podkaste SPECIFIKACIJE Polar patern: kardioidni Frekventni odziv: 20Hz - 20kHz Osetljivost: 16mV/Pa -36dB ±1.5dB (0dB = 1V/Pa @ 1,000Hz) Impedansa: ≤200 Ohms Ekvivalentni nivo šuma: 18dB (A-otežani) Maksimalni SPL (for 0.5% THD @ 1kHz): 125dB Napajanje: Potrebno fantomsko napajanje od 48V Konektor: 3-pin XLR Dimenzije: 194 x 53 x 53mm Težina: 610g (810g sa šok mauntom) Oprema: šok maunt, 2 dodatna elastična, štitnik od najlona, torbica za mikrofon sa rajsferšlusom, XLR kabl od 5m

Izgrađen na osnovu 60 godina iskustva izrade audio uređaja kompanije Universal Audio, Apollo Twin X samouvereno nadmašuje sve u svojoj klasi sa 127 dB D/A dinamičkog opsega, zajedno sa uključenim UAD analognim emulacijskim plug-inovima i LUNA Recording System-om, koji vam pruža kompletno opremljeni analogni studio na vašem desktopu. Snimajte i miksujte sa prvoklasnom A/D i D/A konverzijom — sa najširim dinamičkim opsegom i najnižim nivoom šuma u odnosu na bilo koji desktop interfejs. Dva pretpojačala sa Unison tehnologijom— snimajte numere sa skoro nultom latencijom sa emulacijama pretpojačala od Helios, Neve, API, Manley i ostalih* Onboard UAD obrada omogućava vam da stvarate numere i miksujete u realnom vremenu sa uključenim Teletronix LA‑2A i 1176 kompresorima, Pultec EQs, 610‑B cevnim pretpojačalom i još toga Sadrži LUNA Recording System — u potpunosti integrisanu i inspirišuću aplikaciju za muzičku produkciju Dva Unison pretpojačala: Dobićete autentični zvuk Neve®, Helios, API, Manley i još toga Apollo Twin X ima dva Unison-enabled mikrofonska pretpojačala, što vam omogućava da pravite numere zahvaljujući emulacijama mikrofonskih pretpojačala Neve®, Helios, API, Manley, Universal Audio i mnogih drugih. Ekskluzivna kod UA Audio interfejsa, Unison tehnologija pogađa ton ovih traženih cevnih i solid state mikrofonskih pretpojačala — uključujući njihovu ulaznu impedansu, “sweet spot-ove,” na bini i ponašanja kola na nivou komponenti originalnog hardvera. Tajna Unison tehnologije leži u njenoj integraciji hardvera i softvera između Apollo mikrofonskih pretpojačala i njene onboard UAD-2 DUO Core DSP akceleracije. Jednostavno stavite Unison plug-in za pretpojačalo u vaš mikrofonski ulaz u in Apollo Console softver i on fizički rekonfiguriše Apollo interfejs impedansu — tako da možete da utonete u klasične zvukove svetski najsnimanijih mikrofonskih pretpojačala. Pogledajte Unison Shoot Out (hardver vs. softver) video Prvoklasna A/D i D/A konverzija Sa hiljadama hit pesama i stotinama albuma koji su osvojili Grammy nagrade, Apollo interfejsi se koriste za svakodnevno stvaranje izuzetnih zvučnih zapisa. Kako bi poboljšali prethodnu generaciju Apollo interfejsa koji su vodeći u klasi audio konverzije, UA inženjeri redizajnirali su Twin audio konverziju kako bi isporučili upečatljivih 127 dB dinamičkog opsega i -117 dB THD + N, dajući Apollo TWIN X prostrani, organski zvuk koji lako staje rame uz rame sa high end konvertorima. Apollo: Izbor New-School profesionalaca Apollo je potvrđen izbor profesionalaca koji prave hitove, koji su navikli da snimaju najpoznatije albume Kendrick Lamar-a (DAMN.), Chris Stapleton-a (Iz A sobe: Volume 1), Arcade Fire (Everything Now), Post Malone (Beerbongs & Bentleys), i mnogih drugih. Apollo linija interfejsa dobila je nekoliko nagrada od Sound on Sound, Future Music, i Electronic Musician — kao i prestižnu TEC nagradu za kompjuterski audio hardver tokom pet uzastopnih godina. Komplet klasičnih analognih plug-inova Direktno iz kutije, Apollo Twin X ima kolekciju neverovatnih emulacijskih plug-inova uključujući svetski jedini autentični Teletronix LA-2A, 1176LN, Pultec EQs, i UA 610-B cevno pretpojačalo i ekvilajzer. Razvijen od strane svetski priznatih algoritamskih inženjera Universal Audia, ovi analogni klasični plug-inovi u realnom vremenu uspostavljaju standard na osnovu koga se sve ostale hardverske emulacije procenjuju. Od toplote cevi Pultec EQ-a na gitarama, do nežnog limitiranja LA-2A na vokalima, vaši snimci će odskočiti u bogat, zvučno kompleksan analogni zvuk. Pogledajte Plug-Inove | Pogledajte live tracking video Uđite u svet UAD Plug-Inova Pored uključenih analognih klasičnih plug-inova u realnom vremenu, Apollo Twin USB Vam omogućava da koristite celu biblioteku nagrađivanih UAD plug-inova — uključujući vintage ekvilajzere, kompresore, reverbe, tejp mašine i još toga — sa skoro nultom latencijom, bez obzira na veličinu bafera vašeg audio softvera i bez opterećivanja procesora na vašem računaru. Sa ekskluzivnim emulacijama Neve, Studer, Manley, API, Ampex, Lexicon, Fender, i još toga,† to je kao da imate beskonačni anlogni studio, direktno na vašem desktopu. A za razliku od konkurentskih interfejsa, ovi DSP plug-inovi su takođe dostupni na vašem DAW-u za miksovanje. Snimajte sa vintage pojačalima Novinu kod Apollo Twin USB predstavlja Unison tehnologija kod ulaza za instrument na prednjoj strani koja vam omogućava emulacije gitarskih i bas pojačala kao što je Fender '55 Tweed Deluxe, Marshall Plexi Super Lead 1959 i Ampeg B-15N Bas pojačalo. LUNA sistem za snimanje Deep Apollo integracija sa brzim, prirodnim procesom rada Apollo X serija interfejsa radi sa svim većim DAW-ovima. Ali oni postaju u potpunosti integrisani sistem sa LUNA-om, inovativnom aplikacijom za muzičku produkciju za Mac od Universal Audio. Koristite LUNA-in ubrzani nadzor nad realnim vremenom ™ i napajajte svoj radni tok mnoštvom ugrađenih funkcija i opcionalnih proširenja - od originalnog Neve zbrajanja i integrisane trake Studer, do inspirativnog LUNA instrumenata i još više. Dodatna povezivanja i ugrađeni Talkback Sa svoja dva onboard pretpojačala opremljena Unison tehnologijom, dva izlaza i optičkim ADAT/SPDIF ulazom— kao i daljinsko upravljanje posvećenim monitorom i ugrađeim Talkback mikrofonom —10 x 6 Apollo Twin X pruža Vam I/O koji Vam je potreban za numere i mikseve. Napravite Networked Studio Korisnici bilo kojeg Apollo interfejsa opremljenog Thunderboltom mogu da kombinuju do četiri Apollo-a i ukupno 6 UAD-2 uređaja - dodajući I / O i DSP kako studio raste. Jednom kada proširite svoj studio pomoću Apollo x6, x8, x8p ili x16 ugradive jedinice, možete da koristite Apollo Twin X kao desktop monitor, a da i dalje dodirnete dodatnu I / O i DSP snagu. *Apollo Twin X uključuje “Realtime Analog Classics” UAD plug-in-ove. Ostali UAD plug-inovi se odvojeno prodaju na www.uaudio.com. OSNOVNE KARAKTERISTIKE Desktop 10 x 6 Thunderbolt 3 audio interface za Mac i Windows sa prvoklasnom A/D i D/A konverzijom nasleđenom direktno od čuvenih Apollo X interfejsa sa rackmountom. 2 mikrofonska pretpojačala sa Unison tehnologijom nude fantastične modele klasičnih cevnih mikrofonskih pretpojačala i gitarskih pojačala zasnovanih na transformatoru. UAD-2 DUO ili QUAD Core obrada za rad uz pomoć vintage kompresora, ekvilajzera, tejp mašina, mikrofonskih pretpojačala i plag-inova za gitarska pojačala za skoro nultom latencijom. Stvarajte sa LUNA Recording Sistemom — u potpunosti integrisanom aplikacijom za snimanje napravljenom za Apollo (Mac/Thunderbolt) Front-panel sa ulazom za Hi-Z instrument opremljenim Unison™ tehnologijom i izlazom za slušalice Ugrađeni Talkback mikrofon za komunikaciju za studijom i snimanjem cue-ova Poboljšana monitorska funkcionalnost uključujući funkcije kojima se upravlja na daljinu Mono, Mute, DIM i ALT monitor kontrole Do 8 kanala dodatnog digitalnog ulaza putem Optical ADAT ili S/PDIF Uključuje "Realtime Analog Classics" UAD plag-inove koji imaju Teletronix LA-2A i 1176 kompresore, Pultec ekvilajzere UA 610-B cevno pretpojačalo i ekvilajzer i još mnogo toga. Ostali UAD plaginovi se prodaju posebno Pokreće UAD plug inove uz pomoć VST, RTAS, i AAX 64 u svim boljim DAW-ovima Beskompromisni analogni dizajn, superiorne komponente i prvoklasni kvalitet izrade Free, industry-leading technical support — on the phone and online — from knowledgeable audio engineers Sistemski zahtevi Apollo X serije SVI: Thunderbolt 3 kabl (nije uključen) Internet veza za preuzimanje softvera i autorizaciju UAD plug-inova 6 gigabajta raspoloživog prostora Quad Core i7 ili bolji processor preporučen Za dodatne informacije o kompatibilnosti, posetite help.uaudio.com MAC: Dostupan Thunderbolt 1, 2, ili 3 port Thunderbolt 1 i 2 povezivanja zahtevaju Apple Thunderbolt 3 na Thunderbolt 2 Adapter (nije uključen) macOS 10.12 Sierra, 10.13 High Sierra, 10.14 Mojave, ili 10.15 Catalina PC: Dostupan Thunderbolt 3 port Windows 10 (64-Bit izdanje) UKLJUČENI PLUG-INOVI Realtime Analog Classics Sa Realtime Analog Classics plag-inovima, dobićete legendarne kompresore kao što je Teletronix® LA-2A i ekvilajzere kao što je Pultec® EQP-1A, fantastične emulacije gitarskih i bas pojačala, kao i UA poznato 610-B cevno pretpojačalo i EQ plug-in. UA 610-B Tube Preamp and EQ Impart your tracks with the iconic warmth and character of the classic hardware used to track everyone from Duke Ellington to Coldplay. By emulating the entire signal path, including tube amplifiers, transformers, and circuit nonlinearities, the 610-B Tube Preamp and EQ plug-in injects organic detail and saturation to any signal — whether you’re re-amping or tracking through the 610-B via Universal Audio’s Unison™ technology. UA 610-B cevno pretpojačalo i EQ Obogatite svoje zapise ikonskom toplinom i karakterom klasičnog hardvera koji se koristi kod svih, od Duke Ellingtona do Coldplay-a. Emulirajući ceo signalnu putanju, uključujući cevna pojačala, transformatore i nelinearnosti kola, 610-B cevno pretpojačalo i EQ dodatak ubrizgavaju organske detalje i zasićenost bilo kojem signalu - bilo da ponovo pojačavate ili pratite kroz 610- B putem Unison ™ tehnologije Universal Audio. Marshall® Plexi klasično pojačalo Nesporan gospodar rokenrola i gitarskih pojačala, Marshall “Plexi” pojačalo je legendarno kao i muzika koju je pomogao da se stvori. Od Džimija Hendriksa, Džimija Pejdža, Duan Almana do Erika Kleptona, Plexi mešavina režanja, sustain-a, glatkoće i prostote definisala je rok zvuk. Razvijen od strane Softube-a, Marshall Plexi plug-in klasičnog pojačala omogućava zvuk ovog čuvenog pojačala sa savršeno pozicioniranim mikrofonom od inženjera Tonija Plata koji je snimio Back in Black i Highway to Hell od AC/DC. Teletronix® LA-2A klasično leveling pojačalo (cevni optički kompresor) (Legacy) Sa svojom nežnom programski zavisnom optičkom kompresijom i precizno dizajniranim cevnim pojačalom, LA-2A je pravi kompresor za prefesionalne mikseve širom sveta — naročito za vokale. Peak smanjenje i gain kontrole neverovatno lake za korišćenje daju vam idealnu optičku kompresiju zvuka za gitaru, bas, bubnjeve i još toga. 1176SE/LN® klasična pojačala sa limiterima (Legacy) Dobijte klasičnu ultra brzu FET kompresiju od svetski najpriznatijeg kompresor-a. 1176 će obogatiti punch-om, prisustvom i karakterom kao i autentičnom distorzijom na bubnjevima, vokalima, gitarama i basevima. 1176LN se može čuti na bezbroj pesama, od Led Zeppelin-a, do White Stripes i Michael-a Jackson-a. Pultec® Pro Ekvilajzeri (Legacy) Miksujte sa dva najtraženija hardverska EQ ikad napravljena — MEQ-5 ekvilajzerom srednjeg opsega i EQP-1A programskim ekvilajzerom. Obe ove ikone zasnovane na cevima isporučuju glatke i svilenkaste EQ krive sa mnogo toplog analognog karaktera. Ampeg® SVT-VR klasično bas pojačalo Predstavljen 1969. godine, Ampeg SVT bas pojačalo je još uvek suvereni vladar cevnog bas zvuka sa velikom snagom. Razvijen od strane Brainworx, plug-in Ampeg SVT-VR klasičnog bas pojačala savršeno hvata sirovu snagu i udare koji su napravili ovo svestrano pojačalo za rok, fank i soul muzičare. Snimajte u realnom vremenu koristeći Unison™ tehnologiju pretpojačala za zvuk, osećaj i dodir pravog SVT bas pojačala, ili transformišite DI numere sa gromoglasnim klasičnim tonom. Precision Mix Rack kolekcija S obzirom da ima Precision Channel strip, Precision Reflection Engine, i Precision Delay Modulation plug-inove, Precision Mix Rack kolekcija pruža četiri moderna, visoko pouzdana plug-ina za snimanje i miksovanje. Moćna i intuitivna, Precision Mix Rack kolekcija omogućava vam impresivni komplet — savršen za početnike i profesionalce. Sirova distorzija Oblikovana na osnovu Pro Co Rat vintage modela iz ranih -’80s, sirova distorzija isporučuje svu krupnu dinamiku legendarnog stompbox-a. A sa Unison™ tehnologijom, možete da se uključite u Apollo Twin, 8, ili u 8p-ovu prednju stranu Hi-Z instrument jack i iskusiti istu interakciju kola, gain opseg i clip tačke za pravi zvuk, osećaj i odgovor originalnog hardvera. RealVerb Pro Omogućujući vam da dizajnirate sobu onako kako to čujete, RealVerb Pro nadilazi jednostavno velike / male ili tamne / svetle, pružajući vašim izvorima glatku kontrolu difuzije bez izobličenja i ultra dugačak reverb rep.

KOMPLETAN STUDIO ZA SNIMANJE OD KUĆE Scarlettov najprodavaniji audio interfejs, million muzičara koriste 2i2 za zapisivanje i snimaje svakog dana. Kombinujući pretpojačala za mikrofone treće generacije koji zvuče prirodno i Air modalitet, koji se ugleda na naša originalna ISA pretpojačala, 2i2 pruža muzičarima maksimum od njihovih mikrofona, na bilo kom mestu, u bilo kom trenutku. To je kao snimanje u studiju. NAJBOLJI ZVUK, NA LAK NAČIN Easy Start je spreman za snimanje u nekoliko minuta. Vaš CM25 MkIII mikrofon snima svaki detalj. VašeHP60 MkIII slušalice znače jasno i udobno miskovanje i monitoring. Pretpojačala za mikrofon treće generacije, ulazni priključci za instrumente sa visokim hedrumom i sada već čuveni Gain Halos znače da je postignut sjajan zvuk. Mi smo se pobrinuli za tehnologiju, a Vi se možete fokusirati na muziku. VAŠI SNIMCI SE RAZVIJAJU VEĆ 30 GODINA Mi proizvodimo pretpojačala za mikrofone već 30 godina, a pretpojačala treće generacije su najbolja za koje je Scarlett ikad čuo. 24-bitni/192kHz konverteri omogućavaju da Vaši snimci budu jasni i precizni. Air modalitet unosi živost u vokale, dodavajući jedinstvene precizne detalje. Decenije našeg iskustva znače da Scarlett zvuči baš kao i Vi. NAŠA TEHNOLOGIJA JE ZVUK Neverovatno pouzdan, Focusrite hardver Vas neće izneveriti. Ukoliko pak naiđete na problem, možete se osloniti na naš globalni tim za podršku i dvogodišnu garanciju kako bi se problem rešio. Zvuk. SVI ALATI KOJI SU VAM POTREBNI ZA PRODUKCIJU, NA PRAVI NAČIN, ODMAH Zajedno sa CM25 MkIII mikrofonom i HP60 MkIII slušalicama, Vaš 2i2 audio interfejs dolazi sa celokupnim asortimanom softvera za snimanje, zvukovima i priključcima koje možete odabrati: Avid® Pro Tools® | First Focusrite Creative Pack: stotine virtuelnih instrumentalnih zvukova, 500MB lupova, i efekata sjajnog zvuka Ableton® Live Lite™: vodeći softver za snimanje muzike u industriji Tromesečna Splice Sounds pretplata: Pristupite milionima snimaka, lupova i zvučnih preseta visokog kvaliteta, bez plaćanja autorskih prava, sa svakodnevnim novim izdanjima XLN Audio Addictive Keys: Pristupite jednoj od četiri virtuelne tastature kada registrujete vaš prvi Focusrite ili Novation hardver. Softube Time and Tone Bundle: tri od Softube eha svetske klase, priključaka za odlaganje i distorziju kao i mastering alatka laka za upotrebu Focusrite Crveni Plug-in Suite: precizno oblikuje naš klasični Red 2 ekvilajzer i Red 3 kompresor DETALJNE SPECIFIKACIJE Uvek navodimo vrednosti performansi 'iz stvarnog sveta' (merene prema AES17 standardu). Neke kompanije navode čipset performanse, što može dovesti do zabune, a evo i zašto. Da biste provetili podržane operativne sisteme, kliknite ovde. PODRŽANE FREKVENCE UZORKOVANJA 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz ULAZI ZA MIKROFON Frekventni odziv 20Hz - 20kHz ± 0.1dB Dinamički opseg 111dB (A-weighted) THD+N <0.0012% Buka EIN -128dBu (A-weighted) Maksimalna ulazna jačina 9dBu (pri minimalnoj jačini) Opseg jačine 56dB Impedansa 3kΩ LINIJSKI ULAZI Frekventni odziv 20Hz - 20kHz ± 0.1dB Dinamički opseg 110.5dB (A-weighted) THD+N <0.002% Makisimalna ulazna jačina 22dBu (pri minimalnoj jačini) Opseg jačine 56dB Impedansa 60kΩ ULAZI ZA INSTRUMENTE Frekventni odziv 20Hz - 20kHz ± 0.1dB Dinamički opseg 110dB (A-weighted) THD+N <0.03% Maksimalna ulazna jačina 12.5dBu (pri minimalnoj jačini) Opseg jačine 56dB Impedansa 1.5MΩ LINIJSKI/IZLAZI ZA MONITORE Dinamički opseg (linijski izlazi) 108dB THD+N <0.002% Maksimalna izlazna jačina (0 dBFS) 15.5dBu Impedansa 430Ω IZLAZI ZA SLUŠALICE Dinamički opseg 104dB (A-weighted) THD+N <0.002% Maksimalna izlazna jačina 7dBu Impedansa <1Ω

KEY FEATURES Clear, low-distortion audio with fast-attacking bass: Recreate club-style sound High-quality components Every VM series speaker includes a Class D amplifier with 96 kHz sampling DSP to enable wide-bandwidth audio reproduction. Its highly efficient performance results in low distortion and high-energy sound. The 4-mm-thick rigid aluminum front baffle further suppresses resonance and vibrations, delivering sound that’s authentic to the original source. Aramid fiber woofer cones and Vortex Bass Accelerator Aramid fiber woofer cones provide outstanding punch that you’ll feel in the bass and low-mid frequencies. These newly developed cones are 30 percent lighter than conventional paper-lined Aramid cones, making them stronger with deeper sound. The Vortex Bass Accelerator ensures that low-end audio is tight and free from unwanted vibrations, as ribs in the bass reflex port mean that air flows freely from the speaker to deliver pure sound. Constant directivity horn Mid and high-frequency sounds are delivered with power thanks to the constant directivity horn, which also creates a broad, uniform listening space. The shape of the horn and the woofer edge are specially designed so the flat playback frequency crosses over to the tweeter easily, resulting in a natural sound. Easily adjust the sound to suit your room DSP control All VM series speakers are voiced flat to ensure you hear the natural sound of the music. To help you tweak the output and find the sound that’s perfect for the room you’re working in, each speaker includes DSP settings. On the rear panel, you’ll find 2 knobs: Low EQ and High EQ. Without needing to look, you can click the knobs into 4 different positions each, giving you 16 possible EQ settings that are simple to engage. Choose the one that sounds best for DJing or producing music in your home or studio, depending on the shape, size, and construction of the room. LOW EQ Use this to adjust the bass, depending on the location of your speaker and the kind of sound you want for DJing or producing music. L1: ROOM 1 – This setting reduces the bass (6 dB HPF applied at 63 Hz) and is effective when your speaker is near a wall or at times when you don’t want heavy bass, e.g. late at night. L2: FLAT – Flat frequency response for a true sound. This is the most popular setting for producing music in an acoustically treated room. L3: ROOM 2 – This setting increases the bass (2.5 dB boost using a bell EQ at 50 Hz) and is ideal to use when you need some extra punch, e.g. in a large space. L4: CLUB BASS – More power in the bass (5 dB boost using a bell EQ at 50 Hz, and 2 dB boost using a bell EQ at 200 Hz), for a club-like sound. This setting is the best to use when you want as much bass as possible, e.g. for parties. HIGH EQ Use this to adjust the treble, depending on the location of your speaker and the kind of sound you want for DJing or producing music. H1: ROOM 1 – This setting reduces the volume of high frequencies (3 dB reduction using a high shelf EQ from 3.5 kHz to 12 kHz) and is effective when the room is reverberant and the high frequencies are overpowering. H2: FLAT – Flat frequency response for a true sound. This is the most popular setting for producing music in an acoustically treated room. H3: ROOM 2 – This setting increases the volume of high frequencies (3 dB boost using a high shelf EQ at 7 kHz) and is ideal for generating brighter sounds in a room or space where the treble seems to be lost. H4: BRIGHT TREBLE – This setting can produce a clearer sound (thanks to a 1.5 dB boost using a bell EQ at 4 kHz and a 3.5 dB boost using a bell EQ at 8 kHz) and help the details of individual musical instruments to stand out. For example, the outlines of the sound of guitars, cymbals, trumpets, etc. can be heard more clearly. Enhance the look and sound of your setup Fresh, professional design The brand-new design of the hexagonal aluminum front baffle brings a fresh look, as well as improved sound quality and durability. It cuts down unwanted vibrations for lower distortion while the tweeter protective guard reduces the risk of damage to the high-frequency diaphragm. And the Alumite treated brushed texture gives the speakers a professional finish so they look right at home next to Pioneer DJ gear. Specifications Main Features Type Bi-amp 2-way active speaker Tweeter 1-inch (25 mm) SILK soft dome Woofer 8-inch (203 mm) ARAMID cone Auto Standby Yes What's in the Box VM-80 x 1 (not sold as a pair) Power cable x 1 Cushioned feet pads x 1 (4pcs/1 sheet) Precautions for Use Instruction Manual Warranty (for some regions) Specifications Maximum Sound Pressure 115 dB Width 267 mm Height 400 mm Depth 325 mm Weight 9.7 kg Frequency Range 34 Hz - 36 kHz Hz Power Supply AC 100-240 V, 50 Hz / 60Hz Amplifier Output Class D with 96kHz DSP LF: 90 W / 4 Ω HF: 30 W / 4 Ω Impedance 10 kΩ High EQ 4 selective EQs Low EQ 4 selective EQs Cross Over Frequency 3 kHz Enclosure Bass reflex Enclosure material MDF vinyl laminate Baffle material HIPS with 4mm Aluminum Plate Terminals Inputs XLR/TRS combo x 1 (balanced input) RCA x 1 (unbalanced input)

FEATURES • Closed diffuse field studio headphones • Innovative bass reflex system • Robust spring steel headband • Single-sided cable • Soft headband pad • Gold plated mini stereo jack plug (3.5 mm) & 1/4" adapter (6.35 mm) APPLICATIONS The DT 770 PRO is a closed, dynamic headphone for professional use as a monitoring headphone in studios. Its design has been tailored for use in a studio. The single-sided cable makes it easier to handle the headphones when they have to be constantly put on and taken off. The robust spring steel construction gives the headphones a secure fit and the mechanical reliability needed for daily use. Soft, adjustable ear cups and a single-sided cable contribute to a high level of long-term comfort. The connecting cable is fitted with a gold-plated mini stereo jack plug (3.5 mm) with a 1/4" adapter (6.35 mm) and can therefore be connected to all common headphone outputs. With its impulse behaviour, the DT 770 PRO comes close to electrostatic headphones and delivers a natural and balanced sound. Even the deepest bass is reproduced with clarity and punch. High frequencies are converted into an analytical, clear and differentiated sound that does not produce screaming or shrieking even with powerful treble sounds. VERSIONS DT 770 PRO Dynamic headphones, 32 Ω . . . . . . . . . . . . . . . . . . . . . . . . Order # 483.664 DT 770 PRO Dynamic headphones, 80 Ω. . . . . . . . . . . . . . . . . . . . . . . . Order # 474.746 DT 770 PRO Dynamic headphones, 250 Ω. . . . . . . . . . . . . . . . . . . . . . . Order # 459.046 TECHNICAL SPECIFICATIONS Transducer type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dynamic Operating principle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed Nominal frequency response. . . . . . . . . . . . . . . . . . 5 - 35,000 Hz Nominal impedance. . . . . . . . . . . . . . . . . . . . 32 Ω / 80 Ω / 250 Ω Nominal SPL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 dB Nominal T.H.D.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.2% Power handling capacity. . . . . . . . . . . . . . . . . . . . . . . . . . . 100 mW Sound coupling to ear. . . . . . . . . . . . . . . . . . . . . . . . . Circumaural Ambient noise isolation 32 Ω version. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . approx. 20 dBA 80 Ω / 250 Ω version. . . . . . . . . . . . . . . . . . . . . . . . approx. 18 dBA Nominal headband pressure . . . . . . . . . . . . . . . . . approx. 3.5 N Weight 32 Ω version. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 g 80 Ω version. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 g 250 Ω version. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 g Length and type of cable. . . . . . 1.6 m / straight cable (32 Ω) 3 m / straight cable (80 Ω) 3 m / coiled cable (250 Ω) Connection. . . . . . . . . . . . . . . . . . . . . . . Gold plated mini stereo jack plug (3.5 mm) & 1/4" adapter (6.35 mm)

The APH-4nSP/PRO Includes: Hairy windscreen Splitter cable Attenuator cable USB Cable AD-14 AC adapte

The DM series speakers deliver balanced, punchy bass sound and they can pump out extra power thanks to the new Class D amplifier and 5-inch woofer in each unit. Flick the switch to change from DJ mode to Production mode and the DSP settings will automatically create the best sound for each application. Main Features Type 2-way bass reflex, active monitor speakers Tweeter 3/4” (19 mm) soft dome Woofer 5" (127 mm) fiberglass cones Accessories DM-50D-BT-W Power cord Audio converter cable (3.5 mm stereo mini plug to RCA) Speaker cord Bottom cushion Quick Start Guide Precautions for Use Warranty Specifications Dimensions (W x H x D) Lch: 175 x 262 x 257 mm / 6.89” x 10.32” x 10.12” Rch: 175 x 262 x 247 mm / 6.89” x 10.32” x 9.72” Weight Lch: 3.9 kg / 8.6 lbs. Rch: 3.5 kg / 7.7 lbs. Amplifier Output Lch: 25 W / 4 Ω Rch: 25 W / 4 Ω Impedance 10 kΩ Enclosure Bass reflex Enclosure material MDF vinyl laminate Terminals Inputs 1/4” TRS jack x 1 (balanced input) RCA pin jack x 1 (unbalanced input) 3.5 mm stereo mini jack x 1 (Unbalanced input) Outputs 3.5 mm stereo mini jack x 1

Free field frequency response ±3 dB: 44 Hz ... 21 kHz Self-generated noise at 10 cm (with input gain set to 100 dB SPL for 0 dBu): <20 dB(A) SPL Max. SPL calc. in half space at 3% THD at 1 m (averaged between 100 Hz and 6 kHz): 116.8 dB SPL Acoustical Principle: Bassreflex, Ports at the front Analog input(s): XLR: analog electronically balanced Analog input impedance: 24k Ohms Digital input(s): KH 120 II / KH 120 II W: RCA (75 Ω): S/PDIF KH 120 II AES67 / KH 120 II W AES67: RCA (75 Ω): S/PDIF, Ethernet Input gain control (sensitivity): 0 dB ... -15 dB Output level control (output level in 1 m based on 0 dBu input level): 94; 100; 108; 114 dB SPL Equalization: Bass: 0; -2; -4; -6 dB Equalization: Low-Mid: 0; -2; -4; -6 dB Equalization: Treble: +1; 0; -1; -2 dB Control: Local; Network Crossover frequency: 1.7 kHz FIR phase correction: Linear phase (120 Hz ... 16 kHz; +/- 45°) Protection circuitry: Independent soft clip, peak and thermo limiters for woofer and tweeter; Woofer excursion limiter; thermo limiter for the electronics and amplifiers AES67 Audio-over-IP Interface: KH 120 II AES67 / KH 120 II W AES67: Fully redundant AES67 ST2110 compliant audio network interface; 2 Fast Ethernet 100Base-TX (IEEE 802.3) RJ-45 connectors; Physical redundant network (ST 2022-7) AES67 Audio-over-IP input word length: KH 120 II AES67 / KH 120 II W AES67: 24 bits AES67 Audio-over-IP input sampling rate: KH 120 II AES67 / KH 120 II W AES67: 44.1 / 48 / 88.2 / 96 kHz AES67 Audio-over-IP input connection management: KH 120 II AES67 / KH 120 II W AES67: RAVENNA, NMOS IS-04 (Discovery & Registration) and NMOS IS-05 (Connection Management) Output power woofer amplifier (THD+N with limiter deactivated: 10%): 145 W Output power tweeter amplifier (THD+N with limiter deactivated: 10%): 100 W Woofer: KH 120 II / KH 120 II AES67: 130 mm (5.25") with protecting metal grille, black KH 120 II W; KH 120 II W AES67: 130 mm (5.25") with protecting metal grille, white Tweeter: KH 120 II / KH 120 II AES67: 25 mm (1") with protecting metal grille, black KH 120 II W; KH 120 II W AES67: 25 mm (1") with protecting metal grille, white Product dimensions (height x width x depth): 287 x 182 x 227 mm (11.3 " x 7.16 " x 8.94") Product weight: 5.4 kg (11 lbs 14 oz)

Free field frequency response ±3 dB: 44 Hz ... 21 kHz Self-generated noise at 10 cm (with input gain set to 100 dB SPL for 0 dBu): <20 dB(A) SPL Max. SPL calc. in half space at 3% THD at 1 m (averaged between 100 Hz and 6 kHz): 116.8 dB SPL Acoustical Principle: Bassreflex, Ports at the front Analog input(s): XLR: analog electronically balanced Analog input impedance: 24k Ohms Digital input(s): KH 120 II / KH 120 II W: RCA (75 Ω): S/PDIF KH 120 II AES67 / KH 120 II W AES67: RCA (75 Ω): S/PDIF, Ethernet Input gain control (sensitivity): 0 dB ... -15 dB Output level control (output level in 1 m based on 0 dBu input level): 94; 100; 108; 114 dB SPL Equalization: Bass: 0; -2; -4; -6 dB Equalization: Low-Mid: 0; -2; -4; -6 dB Equalization: Treble: +1; 0; -1; -2 dB Control: Local; Network Crossover frequency: 1.7 kHz FIR phase correction: Linear phase (120 Hz ... 16 kHz; +/- 45°) Protection circuitry: Independent soft clip, peak and thermo limiters for woofer and tweeter; Woofer excursion limiter; thermo limiter for the electronics and amplifiers AES67 Audio-over-IP Interface: KH 120 II AES67 / KH 120 II W AES67: Fully redundant AES67 ST2110 compliant audio network interface; 2 Fast Ethernet 100Base-TX (IEEE 802.3) RJ-45 connectors; Physical redundant network (ST 2022-7) AES67 Audio-over-IP input word length: KH 120 II AES67 / KH 120 II W AES67: 24 bits AES67 Audio-over-IP input sampling rate: KH 120 II AES67 / KH 120 II W AES67: 44.1 / 48 / 88.2 / 96 kHz AES67 Audio-over-IP input connection management: KH 120 II AES67 / KH 120 II W AES67: RAVENNA, NMOS IS-04 (Discovery & Registration) and NMOS IS-05 (Connection Management) Output power woofer amplifier (THD+N with limiter deactivated: 10%): 145 W Output power tweeter amplifier (THD+N with limiter deactivated: 10%): 100 W Woofer: KH 120 II / KH 120 II AES67: 130 mm (5.25") with protecting metal grille, black KH 120 II W; KH 120 II W AES67: 130 mm (5.25") with protecting metal grille, white Tweeter: KH 120 II / KH 120 II AES67: 25 mm (1") with protecting metal grille, black KH 120 II W; KH 120 II W AES67: 25 mm (1") with protecting metal grille, white Product dimensions (height x width x depth): 287 x 182 x 227 mm (11.3 " x 7.16 " x 8.94") Product weight: 5.4 kg (11 lbs 14 oz)

Free field frequency response ±6 dB: 36 Hz ... 21 kHz Free field frequency response ±3 dB: 39 Hz ... 20.4 kHz Free field frequency linearity deviation between 100 Hz and 10 kHz: ±0.8 dB Self-generated noise at 10 cm (with input gain set to 100 dB SPL for 0 dBu): Sine wave output with a THD < 0.5 % at 1 m in half space: 95 dB SPL (>75 Hz) Max. SPL calc. in half space at 3% THD at 1m (averaged between 100 Hz and 6 kHz): 118.7 dB SPL Max. SPL in full space at 3% THD at 1m (averaged between 100 Hz and 6 kHz): Bass capability: Max. SPL in half space at 3% THD at 1m (averaged between 50 Hz and 100 Hz): 107.5 dB SPL Max. short term SPL with IEC-weighted noise (IEC 60268-5) at 1 m, in typical listening conditions: 108 dB(C) SPL Max. short term SPL with music material at 2.3 m in typical listening conditions (pair / full range): 100 dB(C) SPL Max. short term SPL with music material at 2.3 m, in typical listening conditions (pair with subwoofer): 106 dB(C) SPL Max. long term SPL with pink noise at 2.3 m, in typical listening conditions (single / pair full range): 88 / 94 dB(C) SPL Dolby D.A.R.D.T. Max SPL fullrange: 114 dB Dolby D.A.R.D.T. Max SPL bass managed: 120 dB Recommended Listening Distance: 1.0 … 2.5 m; (3'… 8') Feasible Listening Distance: 0.75 … 6.0 m; (2'6"… 18') Acoustic principle: Bassreflex, Ports at the front Analog input(s): LR: analog electronically balanced Analog input impedance: kOhms Analog input(s): LR: analog electronically balanced Analog input impedance: kOhms Max. input level: 4 dBu for 94 dB SPL setting; +14 dBu for 100 dB SPL setting; +9 dBu for 108 dB SPL setting; -1 dBu for 156 dB @ 15kHz Volume controlvia: MA 1 software Volume control range; resolution: 0 … -∞ dB; 0.1 dB Analog dynamic range; THD+N: 118 dB, A-weighted, 90 dB Signal routing modes: analog, S/PDIF L, S/PDIF R, S/PDIF mono Digital input(s): RCA (75 Ω): S/PDIF Digital output(s): RCA (75 Ω): S/PDIF Max. Input: Level; pk-pk, unbalanced / balanced 1.2 V Digital converter: resolution; design: 24 Bit Digital converter: sampling rate: 32 kHz..200 kHz Digital internal sampling rate: 48 kHz Output sample rate: identical to input sample rate Latency ADA / DA: Analog Input: 2.6 ms; SPDIF Input: 2.1 ms Delay: User adjustable delay range: 0 … 120 ms Delay: Resolution: time; distance: 20.8 µs Delay: Max. frames Audio-video synchronisation (lip sync): 0 … 120 ms for TOF=0ms, depends on APP implementation Delay: Time-of-flight maximum distance: 0 … 120 ms for lipsync=0ms, depends on APP implmentation Input gain control (sensitivity): 0 dB ... -15 dB Output level control (output level in 1 m based on 0 dBu input level): 94; 100; 108; 114 dB SPL Equalization: Bass: 0; -2; -4; -6 dB Equalization: Low-Mid: 0; -2; -4; -6 dB Equalization: Treble: +1; 0; -1; -2 dB Input selector: Analog; S/PDIF L; S/PDIF R; Mono Ground Lift: Yes Control: Local; Network Mains Switch: Yes Mains Voltage Select: Universal Power Supply 100 V~ … 240 V~ Controller design: Digital; active Crossover frequency: 1700 Hz Crossover slope: 24 dB / octave Equalization: via Neumann.Control software: No Automatic room calibration via MA 1: Yes FIR phase correction: Linear phase (105 Hz ... 16 kHz; +/- 45°) Protection circuitry: Independent soft clip, peak and thermo limiters for woofer and tweeter; Woofer excursion limiter; thermo limiter for the electronics and amplifiers Infrasonic filter: frequency; slope: 38 Hz; 12 dB / octave Remote control: MA 1 software via an RJ45 connector carrying standard IP data Display: On; Normal Operation: Neumann logo “White” Display: Identification: Neumann logo “Rosé” Display: Limit / Clip / Errors / Protection /Boot Mute / Shut Down Mute: Neumann logo “Red” Logo Brightness: via MA 1 software Output power woofer amplifier (THD+N with limiter deactivated: 10%): 145 W Output power tweeter amplifier (THD+N with limiter deactivated: 10%): 100 W Output power woofer amplifier (THD+N with limiter deactivated: 0.1%): 120 W Output power tweeter amplifier (THD+N with limiter deactivated: 0.1%): 80 W Mains Power Supply: input voltage; frequency: 100-240 V; 50/60 Hz Power consumption (230 V / 100 V): Standby: 0.3 W Power consumption (230 V / 100 V): Idle: 15 W Power consumption (230 V / 100 V): Full output: 320 W Standby: automatic, 90 mins (default); user defined in software Cabinet material: Composite polycarbonate front and rear, wooden sleeve Cabinet surface finish; color (front / back): Painted; metallic anthracite (RAL 7021) / Black (RAL 9005) Operating conditions: ° C (+50° F to +104° F); <75% RH, non-condensing Transport/storage conditions: -25° C to +60° C (-13° F to 140° F); <90% RH; non-condensing Woofer: 165 mm; (6.5") with protecting black metal grille Tweetef: 25 mm; (1") with protecting black metal grille Mounting points: 2 x M6 threaded inserts with 70 mm spacing on back panel; thread depth 15 mm; (5/8”) Product dimensions (height x width x depth): 345 x 225 x 273 mm; (13.58" x 8.86" x 10.75") Internal net volume: 12.6 l External net volume: 20.4 l Packed dimensions (height x width x depth), mm (inches): 480 x 303 x 403 mm; (18.9" x 11.9" x 15.9") Product weight: 8.0 kg; (17 lbs 10 oz) Packed weight: 9.4 kg; (20 lbs 12 oz) Packaging weight inc. Cables and manuals: 1.41 kg; (3 lbs)

Free field frequency response ±6 dB: 16 … 800 Hz THD+N: analog, digital: < -100 dB; < -90 dB Free field frequency response ±3 dB: 18 … 750 Hz Self-generated noise at 10 cm (with input gain set to 100 dB SPL for 0 dBu): <20 dB(A) SPL Sine wave output with a THD < 0.5 % at 1 m in half space: 95 dB SPL (>70 Hz) Bass capability: Max. SPL in half space at 3% THD at 1m (averaged between 50 Hz and 100 Hz): 105.0 dB SPL Crosstalk (1 kHz), level matching: < -90 dB; ±0.1 dB Analog output(s): 2 x XLR; analog electronically balanced Dynamic range A-D-A: >120 dB(A) Dynamic range D-A: >123 dB(A) Digital sensitivity: -18 dBFS = 100 dB SPL at 1 m Latency: 1.5 ms (A-D-A linear phase); 1.2 ms (D-A linear phase) Phase: 0; 45; 90; 135 und 0/180 deg Display: Bass Management on: Green LED Analog input(s): 2 x XLR: analog electronically balanced Analog input impedance: >13k Ohms Max. input level: < +24 dBu Common mode rejection ratio (CMRR): > 56 dB @ 15 kHz Volume control: via Neumann.Control software Volume control range; resolution: 0 … -∞ dB; 0.1 dB Analog dynamic range; THD+N: 119 dB(A); <0.003% (-90 dB) Signal routing modes: Right; External Bass Management; 2 x LFE Digital input(s): BNC (75 Ω): AES3; S/P-DIF Digital output(s): BNC (75 Ω): AES3 Digital converter: resolution; design: 16 … 24-bit DAC; Δ∑ Digital converter: sampling rate: 22.05; 24; 32; 44.1; 48; 64; 88.2; 96; 176.4; 192 kHz Delay: User adjustable delay range: 0 ... 100 ms and 2 x 0 ... 20.8 ms Delay: Resolution: time; distance: 0.1 ms; 3.44 cm (1 3/8”) Delay: Max. frames Audio-video synchronisation (lip sync): 2.5 (40 ms) frames; 3 (33 ms) frames Delay: Time-of-flight maximum distance: 2 x 7.16 m (23' 5") Input gain control (sensitivity): +2 ... -12 dB Output level control (output level in 1 m based on 0 dBu input level): 94; 100; 108; 114 dB SPL Controller design: Digital; active Crossover frequency: 80 Hz Crossover slope: 24 dB/oct; 4th order Equalization: via Neumann.Control software: 8 x full parametric IIR + low / high shelf global balance FIR phase correction: For connected analog loudspeakers: Linear phase (170 Hz ... 16 kHz; +/- 45°) Protection circuitry: Driver (thermo limiter); Electronics (temperature limiter); Amplifier (peak limiter, temperature limiter, temperature protection and overcurrent protection); Power supply (temperature limiter and overcurrent protection) Infrasonic filter: frequency; slope: 17.5 Hz; 12 dB/oct. Remote control: Neumann.Control software via an RJ45 connector carrying standard IP data Display: On; Normal Operation: Green LED Display: Identification: Amber LED Display: Limit / Clip / Errors / Protection /Boot Mute / Shut Down Mute: Red LED AES67 Audio-over-IP Interface: Fully redundant AES67 ST2110 compliant audio network interface; 2 Fast Ethernet 100Base-TX (IEEE 802.3) RJ-45 connectors; Physical redundant network (ST 2022-7) AES67 Audio-over-IP input word length: 24 bits AES67 Audio-over-IP input sampling rate: 44.1 / 48 / 88.2 / 96 kHz AES67 Audio-over-IP input connection management: RAVENNA, NMOS IS-04 (Discovery & Registration) and NMOS IS-05 (Connection Management) Output power woofer amplifier (THD+N with limiter deactivated: 10%): 256 W Mains Power Supply: input voltage; frequency: 100-240V; 50/60 Hz Power consumption (230 V / 100 V): Standby: <300 mW Power consumption (230 V / 100 V): Idle: 18 W Power consumption (230 V / 100 V): Full output: 410 W In-rush current (Peak): 30 A @230 VAC Standby: Disabled; 90 mins (default); user defined in software Cabinet material: Wood cabinet, aluminum electronics panel Cabinet surface finish; color (front / back): Painted; metallic anthracite (RAL 7021) / black (RAL 9005) Operating conditions: +10° C to +40° C (+50° F to +104° F); <90% RH, non-condensing Transport/storage conditions: -25° C to +70° C (-13° F to 158° F); <90% RH; non-condensing Woofer: 265 mm (10") with protecting black metal grille Product dimensions (height x width x depth): 383 x 330 x 383 mm (15 1/8" x 13" x 15 1/8") External net volume: 48.4 liters Product weight: 19.5 kg (43 lbs)

Avengerov D200B (u crnoj boji) ima stotine funkcija. Za razliku od bilo koje druge glave za hvatanje, D200 koristi seriju podložaka za dodatni obrtni moment za zaključavanje i kvalitet diskova kočionih pločica automobila za dodatnu sigurnost. Šifra: 18762

Ezybox Pro Strip Softbox poseduje idealan oblik za osvetljavanje ivica, za odvajanje subjekta od pozadine ili za korišćenje iznad glave uz pomoć boom-a. Ovaj softbox koristi RapidExoframe spoljašnji sistem držanja na koji se lako kači.

Technicial Specifications Converters 24-bit Sample Rates 44.1, 48, 88.2, 96kHz Analog In 1 x XLR mic input with preamp 1 x 1/4" hi-Z guitar 2 x 1/4" TRS phone (balanced/unbalanced) 1 x 1/8" stereo "mini" (unbalanced) Analog Outputs 2 x 1/4" balanced TRS main out 1 x 1/8" stereo "mini" line out (unbalanced) 1 x 1/4" TRS headphone Digital Input - none - Digital Output 1 x RCA coaxial S/PDIF Computer I/O 1 x USB 2.0 "High-speed" Sync Out S/PDIF Headphone Output 1 x 1/4" TRS phone with volume control Phantom Power +48V Power Supply 1 x Micro-B USB Top panel 2 x 3-segment ladder LEDs • main outs 1 x 4-segment LEDs • mic in 1 x 4-segment LEDs • guitar in 1 x 3-segment LEDs • line in 1 x 3-segment LEDs • line out 1 x LED • 48V phantom power 1 x LED • -20 dB pad 2 x LEDs • main/phone vol 1 x digital rotary encoder • mic trim 1 x digital rotary encoder • main/phone volume Power Specifications USB bus power (computer) USB-to-AC power adapter (iPad) (USB cable and AC wall adapter included) Dimensions Length: 5 ½ in / 14 cm Width: 3 ⅝ in / 9.2 cm Height: 1 ¼ in / 3.2 cm Mac System Requirements Any Mac with an Intel processor 4 GB RAM or more Mac OS X version 10.6.8 or later Available high-speed USB 2.0 port A large hard drive (preferably at least 250 GB) Windows System Requirements Pentium 4 CPU (or equivalent) 1 GHz or faster 4 GB RAM or more Windows 10, 8, or 7 Available high-speed USB 2.0 port A large hard drive (preferably at least 250 GB) iOS Requirements iOS 7 or later Included software CueMix FX AudioDesk Operating Systems Mac OS X version 10.11, 10.10, 10.9, 10.8, 10.7, 10.6 (10.6.8 or later required) Windows 10, 8, or 7 64-bit operation Available for Mac OS X version 10.6.8 or later Available for 64-bit versions of Windows 7 (or later) Requires a 64-bit CPU (and host application for plug-in versions) Compatible Mac software The MicroBook IIc ships with standard Core Audio drivers for Mac OS X for compatibility with virtually all Core Audio-compatible apps, including: MOTU Digital Performer Avid Pro Tools (version 9 or later) Apple Logic Pro Apple Logic Express Apple Garage Band Apple SoundTrack Pro Ableton Live Propellerhead Record & Reason Steinberg Cubase Cockos Reaper Native Instruments Kontakt Waves stand-alone apps (and plug-ins, via compatible host) Compatible Windows software The MicroBook IIc ships with standard Wave and ASIO drivers for Windows 10, 8, and 7 for compatibility with virtually all Wave-compatible audio apps, including: MOTU Digital Performer Avid Pro Tools (version 9 or later) Ableton Live Cakewalk Sonar Steinberg Cubase Propellerhead Record & Reason Image Line FL Studio Sony Vegas Pro Sony Sound Forge Sony Acid Cockos Reaper Native Instruments Kontakt Waves stand-alone apps (and plug-ins, via compatible host) Feature Highlights 4-input, 6-output bus-powered "plug-and-play" high-speed USB 2.0 audio interface for Mac and Windows. 6 x 8 physical inputs and outputs. Support for Apple® iPad® and other iOS devices with camera connection kit (sold separately). 8-bus digital mixer to route and mix live inputs with computer tracks. Pre-amp equipped mic input with Precision Digital Trim™ 48V phantom power, and -20 dB pad. Hi-Z guitar input with -20 dB pad Precision Digital Trim. Stereo line level analog input (balanced TRS quarter-inch or stereo mini). Stereo balanced TRS quarter-inch line level main outs. Stereo eighth-inch "mini" line level out. S/PDIF digital out (duplicates main out). Headphones output on quarter-inch stereo jack with independent volume control. Digitally controlled analog trim for all analog inputs. Digital trim for all outputs. Output volume digital rotary encoder. Push to cycle among three modes: main out, phones, or both. Mic input digital rotary encoder for adjusting trim level, 48V and pad. Dedicated 3- or 4-segment LED meters for all inputs and outputs. Support for recording and playback at 2x sample rates (88.2 and 96 kHz) CueMix™ FX no-latency mixing and monitoring with EQ and dynamics processing. 7-band parametric EQ and compression. Instrument tuner. Test tone and white/pink noise generator. Advanced audio analysis software tools, including FFT display, spectrogram "waterfall" display, oscilloscope, X-Y plot, and phase torch. 100% compatible with all host-based effects processing in today's popular audio programs. Industry standard Mac and Windows audio drivers (Core Audio, Wave, and ASIO) for across-the-board compatibility. Compatible with all current and recent generation Macs and PCs. Includes AudioDesk™ full-featured audio workstation software for Mac OS X and Windows. USB cable included. Micro-USB cable with AC power adapter included for iOS operation.