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FiiO E5 is a Portable Headphone Amplifier designed to improve the sound quality and volume of any portable audio source such as MP3 players, iPods, personal media players, mobile phones, laptops, notebooks/netbooks, or portable CD players. The E5 retains all of the advantages of the popular E3 while adding many new features and a substantial boost in performance, all inside a very small and slim a…

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Few things are more essential to recording or live performance than dynamic microphones. The Behringer XM8500 Dynamic Vocal Microphone has the crucial features and durability to come through for your sound again and again, live or in the studio. Behringer XM8500 Dynamic Vocal Microphone Features Dynamic vocal microphone with smooth mid-frequency presence rise for excellent voice projection Ultra-w…

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Featuring HD Audio decoding, the Yamaha RXV671BL A/V Digital Receiver has 7 HDMI ports (6 inputs including one on front panel/1 output) with 3D and Audio Return Channel and front panel USB input. Also, the Yamaha RXV671BL A/V Digital Receiver has on-screen GUI, Cinema DSP 3D surround without Front Presence Speakers, yAired / iPod/iPhone and Bluetooth compatibility, YPAO, SCENE buttons, plus much,…

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Pyle PT560AU AM/FM Receiver PT560AU Stereo Receivers…

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Update your audio equipment with PylePro 16-channel power mixerDJ equipment features 16 mono input channels with gold plated XLR balanced inputsUltra low noise discrete mic preamps with +48 v phantom power

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The Apogee 8 Mic Preamp Module is part of the Symphony I/O Interface system. The Mic Preamp Module upgrades the functionality of any Analog I/O Module by adding 8 mic preamps to the existing line inputs. A direct connection between the Mic Preamp Module and the Analog I/O Module inserts a mic preamp stage before the line inputs. This impressive module offers 8 Mic preamps with 4 instrument inputs and 8 insert points.MIC PREAMPS8 digitally controlled, 85dB microphone preampsUpgrades functionality of Analog I/O Module by adding mic preamps to the existing line inputsCreates a direct connection between the Mic Preamp Module and the Analog I/O Module by inserting a mic preamp stage before the line inputsINPUTS4 Hi-Z 1/4″ instrument inputs capable of handling high level instruments. Instrument inputs may be assigned to any of the 8 mic preamps.INSERTS8 fully balanced insert pointsSend 1-8 and Return 1-8 on 2 DSUB 25-pin connectors

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The Daking Mic-Pre IV offers four channels of high performance, Class A preamplifiers in a single rack space unit with outboard power supply. Configured for four microphone inputs or four line inputs from XLR/TRS Neutrik combo jacks on the back, plus four line inputs (+10 to -50) or 1/4″ hi-z instrument inputs on the front, the Mic-Pre IV utilizes all discrete Class A circuitry with transformer-balanced inputs and outputs. The new Mic-Pre IV from Geoffrey Daking & Co. is the latest example of exemplary audio quality and craftsmanship in the tradition of the great console manufacturers such as Neve, Trident, and API. The latest addition to the company’s range of professional recording studio products, the Daking Mic-Pre IV is a highly cost-effective solution for high-end preamps to be used in studio or live applications. Used standalone or in conjunction with a console, each input offers a stepped (5dB) increments) gain control for repeatability, that feature Daking’s signature aluminum knobs, a 20-segment LED level meter with +24db peak indicator, switchable mic/line or hi-z instrument, switchable +48V phantom power, switchable input phase and switchable 20dB pad. The Daking Mic-Pre IV is housed in a robust all stainless steel enclosure with an outboard DC power supply in a separate housing, offering not only durability but immunity from noise and RF interference. The attention to detail extends to the internal components, which include gold bifurcated contacts on all relay switching. The preamp is supplied by a universal power supply that can operate at any voltage for use worldwide. Notable users of Daking preamps and compressors: Includes Grammy winners Joe Chicarelli (Tori Amos, Counting Crows, U2) and Ted Perlman (Chicago, Bob Dylan, Elton John), Butch Vig (Nirvana, Smashing Pumpkins, Garbage) Steve Albini (Nirvana, PJ Harvey, Cheap Trick), master mixers Chris and Tom Lord-Alge (everybody else from James Brown to the Rolling Stones), and William Wittman (Cindy Lauper, Joan Osbourne, The Outfield, The Fixx), who has made entire records with just Daking preamps.All discrete transistor circuitry transformer balanced inputs and outputs 30dB headroom Class “A” amplifiers All relay switching with gold bi-furcated contacts Switchable phantom power 20dB pad on mic input Steel construction for strength and noise immunity Three inputs, Mic-Line-Instrument

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The Focusrite ISA-828 eight-channel microphone pre-amplifier provides eight original ISA transformer-based pre amps in a single robust 2U chassis. Offers you the Focusrite signature sound at its lowest cost-per-channel to date.The eight ISA-series transformer-based microphone pre amps, with switchable impedance and direct instrument inputs, are complemented by eight line inputs, eight line outputs, and an optional eight-channel 192kHz ADC. The preamps feature exactly the same vintage microphone preamplifier design as the original ISA110 module from Focusrite’s critically acclaimed Forte console (including the original Lundahl L1538 transformer and bespoke zobel network). Thanks to its convenient 25-pin D-Type connectors, the ISA828 integrates quickly and seamlessly with ProTools HD, as well as other popular hard disc recorders and mixing desks.The microphone input stage includes a variable impedance circuit, allowing the user to switch between four carefully selected input impedance settings. The original ISA 110 setting is supplemented by three further impedance settings to either perfectly match the pre amp with any microphone, thus maximizing level, or to use different settings creatively to shape the sound of the microphone being used.The four front panel instrument inputs also feature high and low impedance options to provide a comprehensive and accessible DI solution. Insert points are also featured on every channel, should the need arise to place extra processing between the pre amp and converter, Vintage design high pass filters are also provided on every channel, ideal for eliminating unwanted low frequencies without affecting the rest of the audio signal.The ISA828′s optional eight-channel 192kHz ADC is the first audio ADC to utilize Texas Instruments Burr-Brown Pro Audio Amplifiers and Flagship Analog to Digital Converter PCM4220 chips. This cutting-edge technology is encompassed within Focusrite’s own custom analogue circuitry to provide eight channels of unparalleled A/D conversion, delivering a dynamic range of 122dB and jitter at < 250 picoseconds.Finally, every channel features a six LED input meter, complete with precise meter trim. Metering has been designed to utilize the same reference points as Digidesign's HD system and provides clear and accurate input metering independent of the DAW.8-channel microphone pre-amp8 original ISA transformer-based preamps in a single robust 2U chassisSwitchable impedance and direct instrument inputs8 line inputs8 line outputsAn optional 8-channel 192kHz ADC25-pin D-Type connectorsIntegrates quickly and seamlessly with ProTools HD and other hard disc recorders and mixing desksThe microphone input stage includes a variable impedance circuit, allowing the user to switch between four input impedance settings, including the original ISA 110 setting, to suit any microphone4 front panel direct instrument inputs feature high and low impedance options to provide a comprehensive and accessible DI solutio

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The Focusrite ISA-828 eight-channel microphone pre-amplifier provides eight original ISA transformer-based pre amps in a single robust 2U chassis. Offers you the Focusrite signature sound at its lowest cost-per-channel to date.The eight ISA-series transformer-based microphone pre amps, with switchable impedance and direct instrument inputs, are complemented by eight line inputs, eight line outputs, and an optional eight-channel 192kHz ADC. The preamps feature exactly the same vintage microphone preamplifier design as the original ISA110 module from Focusrite’s critically acclaimed Forte console (including the original Lundahl L1538 transformer and bespoke zobel network). Thanks to its convenient 25-pin D-Type connectors, the ISA828 integrates quickly and seamlessly with ProTools HD, as well as other popular hard disc recorders and mixing desks.The microphone input stage includes a variable impedance circuit, allowing the user to switch between four carefully selected input impedance settings. The original ISA 110 setting is supplemented by three further impedance settings to either perfectly match the pre amp with any microphone, thus maximizing level, or to use different settings creatively to shape the sound of the microphone being used.The four front panel instrument inputs also feature high and low impedance options to provide a comprehensive and accessible DI solution. Insert points are also featured on every channel, should the need arise to place extra processing between the pre amp and converter, Vintage design high pass filters are also provided on every channel, ideal for eliminating unwanted low frequencies without affecting the rest of the audio signal.The ISA828′s optional eight-channel 192kHz ADC is the first audio ADC to utilize Texas Instruments Burr-Brown Pro Audio Amplifiers and Flagship Analog to Digital Converter PCM4220 chips. This cutting-edge technology is encompassed within Focusrite’s own custom analogue circuitry to provide eight channels of unparalleled A/D conversion, delivering a dynamic range of 122dB and jitter at < 250 picoseconds.Finally, every channel features a six LED input meter, complete with precise meter trim. Metering has been designed to utilize the same reference points as Digidesign's HD system and provides clear and accurate input metering independent of the DAW.8-channel microphone pre-amp8 original ISA transformer-based preamps in a single robust 2U chassisSwitchable impedance and direct instrument inputs8 line inputs8 line outputsAn optional 8-channel 192kHz ADC25-pin D-Type connectorsIntegrates quickly and seamlessly with ProTools HD and other hard disc recorders and mixing desksThe microphone input stage includes a variable impedance circuit, allowing the user to switch between four input impedance settings, including the original ISA 110 setting, to suit any microphone4 front panel direct instrument inputs feature high and low impedance options to provide a comprehensive and accessible DI solutio

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The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry’s most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher – Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses ‘Burr-Brown’op amps for a silkier sound – and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one’s threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel. 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost 2 soft-knee tube compressors with variable threshold, attack, release and output gain True stereo link operation with BIGposition for retaining bass frequencies Side chain access and side chain listen facility VU metering of gain reduction and output levels Individual +4dB/-10dB inserts Balanced +4dB XLR input/output connectors

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The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry’s most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher – Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses ‘Burr-Brown’op amps for a silkier sound – and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one’s threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel. 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost 2 soft-knee tube compressors with variable threshold, attack, release and output gain True stereo link operation with BIGposition for retaining bass frequencies Side chain access and side chain listen facility VU metering of gain reduction and output levels Individual +4dB/-10dB inserts Balanced +4dB XLR input/output connectors

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The JM-3001 from A-Designs Audio is equally ideal for both studio recording and live sound use. Hand-built in the US, the new A-Designs JM30001 features three inputs: microphone, instrument and EQ/insert, which may be used together or independently. The product is also equipped with a highly musical three-band parametric EQ, high/low filters, and two independent transformer-balanced outputs (microphone and EQ).The heart of the JM-3001 is its C12X discrete-transistor operational amplifier designed by Carl Johnson. Operating on 30VDC rails, the C12X is a high-gain, fast-slew, stable audio block with virtually no DC offset over the audio spectrum, and is capable of driving a 50 ohm load at 50Hz with very little current draw. It is used in the microphone preamp, instrument input amp, and main output/EQ output stages of the product.According to A Designs’ Peter Montessi, The JM-3001s preamp is an original design with depth and detail for miles, while the EQ is a full parametric with its own transformer, so you can use it with or without the pre. The freq settings are highly reminiscent of classic console filters and musically complement any source you run through them. The instrument input is totally separate from the pre and EQ and sounds amazing on its own as well.” The JM-3001s microphone preamplifier is a single-stage, transformer-coupled and balanced I/O design benefitting from the C12X for ultra-transparent audio. This section feeds the EQ and preamp output mult simultaneously and includes phase reverse, a -20dB pad, +48V phantom power with LED indicator and a plastic conductive gain control pot.The instrument input preamplifier is a single-stage, single-ended, high impedance input designed primarily with guitar and bass pickups in mind. Similarly utilizing a C12X discrete op amp, this section is separate from the mic pre and includes a 1/4-inch phone jack and gain pot on the front panel. Like the mic preamp, this section also feeds the EQ and preamp output mult simultaneously.The equalizer input/insert return is a direct-coupled, balanced input that is post the mic pre and the instrument input. Inserting a TRS 1/4″ phone jack into this connection allows for direct input to the equalizer, bypassing both the mic pre and instrument input.The JM-3001s three-band parametric equalizer is a unique design featuring 33 frequencies with three bands of overlapping ranges covering from 50Hz to 15KHz. Both the frequency selection and the 12 dB equalization controls are step-type switches for precise and repeatable settings. Each band has a Q switch with three fixed positions: sharp (S), wide (W) and narrow (N). The low and high bands are normally of a peak/dip type, but flipping the shelf switch to the up position on those bands changes the characteristic to shelf type. The shelving switch disables the Q feature on high and low bands only.When in the up position, the high/low filters insert the fixed 12dB/octave high- and low-cut filters. These filters work

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Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding “soft knee” vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title ‘Threshold’ has been retained for the “amount of compression” control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

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The Universal Audio 710 Twin-Finity is a radically different UA preamp design which combines the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The UA 710 microphone preamp and DI was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.The key to the UA Twin-Finity 710 preamp’s sonic flexibility lies in its innovative circuit design. The unit’s solid-state transimpedance input amp simultaneously drives separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output. The mix between the 310-volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the Blend Knob. Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.Like all Universal Audio preamp designs, the 710 Twin-Finity features dual gain-stage controls (Gain/Level), which can radically vary the amount of coloration and distortion by allowing you to crank up the input, gain like a guitar amp. The VU meter features a unique Drive mode allowing you to see how hard you are driving the input stage.Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity is designed and built at UA headquarters in California, and includes a 19″ rack-kit for mounting one or two units.Solid-state transimpedance inputPhase-aligned tube and solid-state gain stagesSingle outputBlend knobDual gain stage controlsVU meterJFET DI input circuit

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The ISA One microphone preamplifier delivers Focusrite’s prestigious ISA transformer-based preamp in a rugged and portable chassis, at a groundbreaking price. ISA One features the classic vintage microphone preamplifier topology from the original ISA110 module, including the Lundahl L1538 transformer and bespoke zobel network. (The original 110 pre amp formed the cornerstone of each channel of Focusrite’s legendary Forte console.) The pre-amp is complemented by a line input (XLR and TRS Jack) and an independent DI channel, complete with dedicated gain control, active or passive impedance switch, a TRS Jack output for routing to an amp and an independent XLR output on the rear. This flexible independent DI makes the ISA One ideal both for engineers wishing to blend a DI’d guitar signal with a mic’d guitar cabinet, and for demanding performers who require a single classic solution for both guitar and vocals. A variable impedance circuit has been added, allowing the user to switch between four carefully selected input impedance settings. In addition to the original ISA110 impedance, three further impedance settings allow perfect matching, or creative mismatching of the pre amp with any microphone. ISA One also features an insert point, should the need arise to place extra processing between the preamp or DI, and the optional converter. Phantom power, phase reverse and a 75Hz, 18dB/octave high-pass filter are also available from the angled front fascia. Independent input metering for both channels is provided in the form of a moving-coil VU meter with variable calibration to suit analog and digital recording media, alongside two six-LED peak meters; inputs can be metered either pre- or post-insert. The meter calibrations utilize all the same reference points as Digidesign’s Pro Tools HD system, allowing effortless line-up. ISA One’s headphone output features a dedicated volume control, which delivers an external stereo cue mix, (a simple click track, or a stereo mix feed from an interface or a live console,) fed to the headphones via two TRS jack inputs on the rear of the unit. An optional state-of-the-art stereo A/D converter is also available (the same card as used with the ISA430 Mk II), embodying cutting-edge conversion technology seated within Focusrite’s custom analogue circuitry. This optional card can be retrofitted at any time and provides two channels of 24 bit/192kHz A-D conversion with a dynamic range of 119dB. The ISA microphone preamplifier was first introduced back in 1985. This transformer-based preamplifier formed the first half of the ISA110 mic-pre and EQ module on Focusrite’s critically acclaimed Forte console. This console, and the later Studio console were hailed by many as the finest sounding consoles ever built. The ISA microphone preamplifier went on to form the cornerstone of all ISA and RED Focusrite products. The topology has never changed, except for the addition of a variable impedance circuit, allowing ISA users

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The ISA One microphone preamplifier delivers Focusrite’s prestigious ISA transformer-based preamp in a rugged and portable chassis, at a groundbreaking price. ISA One features the classic vintage microphone preamplifier topology from the original ISA110 module, including the Lundahl L1538 transformer and bespoke zobel network. (The original 110 pre amp formed the cornerstone of each channel of Focusrite’s legendary Forte console.) The pre-amp is complemented by a line input (XLR and TRS Jack) and an independent DI channel, complete with dedicated gain control, active or passive impedance switch, a TRS Jack output for routing to an amp and an independent XLR output on the rear. This flexible independent DI makes the ISA One ideal both for engineers wishing to blend a DI’d guitar signal with a mic’d guitar cabinet, and for demanding performers who require a single classic solution for both guitar and vocals. A variable impedance circuit has been added, allowing the user to switch between four carefully selected input impedance settings. In addition to the original ISA110 impedance, three further impedance settings allow perfect matching, or creative mismatching of the pre amp with any microphone. ISA One also features an insert point, should the need arise to place extra processing between the preamp or DI, and the optional converter. Phantom power, phase reverse and a 75Hz, 18dB/octave high-pass filter are also available from the angled front fascia. Independent input metering for both channels is provided in the form of a moving-coil VU meter with variable calibration to suit analog and digital recording media, alongside two six-LED peak meters; inputs can be metered either pre- or post-insert. The meter calibrations utilize all the same reference points as Digidesign’s Pro Tools HD system, allowing effortless line-up. ISA One’s headphone output features a dedicated volume control, which delivers an external stereo cue mix, (a simple click track, or a stereo mix feed from an interface or a live console,) fed to the headphones via two TRS jack inputs on the rear of the unit. An optional state-of-the-art stereo A/D converter is also available (the same card as used with the ISA430 Mk II), embodying cutting-edge conversion technology seated within Focusrite’s custom analogue circuitry. This optional card can be retrofitted at any time and provides two channels of 24 bit/192kHz A-D conversion with a dynamic range of 119dB. The ISA microphone preamplifier was first introduced back in 1985. This transformer-based preamplifier formed the first half of the ISA110 mic-pre and EQ module on Focusrite’s critically acclaimed Forte console. This console, and the later Studio console were hailed by many as the finest sounding consoles ever built. The ISA microphone preamplifier went on to form the cornerstone of all ISA and RED Focusrite products. The topology has never changed, except for the addition of a variable impedance circuit, allowing ISA users

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Using patented Spectral Shaping Tool technology, Antares have created precise digital models of a wide variety of historical classic and exotic microphones. Simply tell Mic Mod EFX what microphone you are actually using and what microphone you’d like it to sound like. It’s as simple as that. With over 125 microphones models included in Mic Mod EFX, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you’re looking for. Or use it in live performance to get the sound of mics you’d never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mic’s specific options. Does the mic have a low cut filter? If so, it’s in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation. Source Mic and Modeled Mic Simply select the mic you’re using (or used during your original recording) and the mic you want it to sound like. ProximityProximity Effect is a bass boost that results from placing a directional mic in close proximity to a signal source (e.g., a singer’s lips). With Mic Mod EFX’s Proximity controls, you can actually create the effects of different mic distances based on the specific physical properties of each individual modeled mic. Low Cut Filter If your source mic has a low cut filter, enter its setting in the Source Mic Low Cut menu. If your selected modeled mic has a low cut filter, you can model the effects of any of its settings with the Modeled Mic Low Cut menu. Pickup Pattern If your source mic has variable pickup patterns, enter the selected pattern in the Source Mic Pattern menu. If your selected modeled mic has variable pickup patterns, you can experiment with the effects of any of its patterns with the Modeled Mic Pattern menu. Tube SaturationBased on the same technology as Antares’ famed WARM Tube Saturation Generator, the Tube Saturation control lets you give your track the warmth of a high-quality tube pre-amp. Mic Mod EFX is available as a plug-in for RTAS (Mac & PC), VST (Mac & PC) and Audio Units. At a fraction of the cost of even a modestly lust-worthy mic.

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Using patented Spectral Shaping Tool technology, Antares have created precise digital models of a wide variety of historical classic and exotic microphones. Simply tell Mic Mod EFX what microphone you are actually using and what microphone you’d like it to sound like. It’s as simple as that. With over 125 microphones models included in Mic Mod EFX, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you’re looking for. Or use it in live performance to get the sound of mics you’d never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mic’s specific options. Does the mic have a low cut filter? If so, it’s in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation. Source Mic and Modeled Mic Simply select the mic you’re using (or used during your original recording) and the mic you want it to sound like. ProximityProximity Effect is a bass boost that results from placing a directional mic in close proximity to a signal source (e.g., a singer’s lips). With Mic Mod EFX’s Proximity controls, you can actually create the effects of different mic distances based on the specific physical properties of each individual modeled mic. Low Cut Filter If your source mic has a low cut filter, enter its setting in the Source Mic Low Cut menu. If your selected modeled mic has a low cut filter, you can model the effects of any of its settings with the Modeled Mic Low Cut menu. Pickup Pattern If your source mic has variable pickup patterns, enter the selected pattern in the Source Mic Pattern menu. If your selected modeled mic has variable pickup patterns, you can experiment with the effects of any of its patterns with the Modeled Mic Pattern menu. Tube SaturationBased on the same technology as Antares’ famed WARM Tube Saturation Generator, the Tube Saturation control lets you give your track the warmth of a high-quality tube pre-amp. Mic Mod EFX is available as a plug-in for RTAS (Mac & PC), VST (Mac & PC) and Audio Units. At a fraction of the cost of even a modestly lust-worthy mic.Modeled Microphones The following is the list of the models that are included with Mic Mod EFX. Please Note: All trademarks appearing below are the property of their respective owners. The following manufacturer names and model designations are used solely to identify the microphones analysed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. AEA R44C AKG C12A; C414; C414B/ULS Limited Edition Gold; C414B/ULS Modified by Audio Upgrades; 460B/C

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The Daking Mic Pre One is a free-standing single-channel preamplifier that uses the same circuitry found in Daking’s 4-channel Mic-Pre IV, a favorite among top producers and engineers such as Butch Vig (Nirvana, Green Day, Smashing Pumpkins), David Pensado (Mary J Blige, Beyonce, Brian McKnight), and both Chris and Tom Lord-Alge (who haven’t they mixed?). Built in the tradition of the great console manufacturers such as Neve and API, Daking preamps feature bulletproof construction and marvelous sound, reminiscent of the coveted classic pres. While sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the Mic Pre One adds a unique variable high-pass filter and comes in a freestanding ‘DI-style’ steel enclosure, ensuring both durability and immunity from noise. Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1/4″ front panel Hi-Z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain between 25dB and 70dB. A 20-segment LED bargraph display provides accurate metering. Another LED signifies when power is supplied to the Mic-Pre One. Rear-panel connections include a transformer-isolated input for a microphone, plus line outputs on 1/4″ jack and XLR. Class A amplifier, all-discrete solid state design Jensen transformer-isolated mic input Variable high-pass filter (0-200Hz) 20dB pad Inputs for mic, line, and instrument-level signals Front-panel Hi-Z instrument input Phase reversal switch +48V phantom power Full-width 20-segment, bi-color LED meter Balanced XLR output and 1/4″ line output External power supply for noise-free operation and longer component live Rohs Compliant

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Daking Mic Pre One 500: Geoff Daking, a designer of audio gear in the tradition of the greats; Neve, API, and Trident, has turned his considerable expertise on both sides of the control-room glass into a premier line of preamps, compressors, and custom consoles used by engineers and producers the likes of Joe Chiccarelli and Butch Vig. His latest creation is the Mic Pre One 500, a modular 500-series* preamp based on his popular Mic Pre One. The Mic Pre One 500 features switchable phase, 20dB mic input pad, +48V phantom power, and a selectable 1/4″ line/Hi-Z instrument input.Like the Mic-Pre One, the Mic Pre 500 shares the gain structure and Class A, fully-discrete transistor circuitry design of Daking’s popular Mic Pre IV. The front panel controls include a variable high-pass filter (with a range of 10-200Hz @ 12db per octave) as well as continuously variable input gain. It also includes an eight-segment tri-color LED meter with simultaneous VU and Peak. In addition, because the home recordist faces challenges that the professional studio owner does not, the Mic-Pre One 500 features a powerful continuously variable high-pass filter with a range of 10-200Hz @ 12db per octaveThe Mic Pre One 500 gives you both the punchy and exciting sound of its prime inspiration, the Trident A Range console (considered to be the best sounding console for rock by Daking himself, and numerous platinum producers), and the convenience of a 500-series module, which gives you the ability to add more great Daking channels as your budget allows.*Note: In order to operate, 500-series units require a VPR**-compliant power suppy, or “lunchbox” such as the Radial Workhorse (#H74107), A Designs Audio 500HR Rackmount Frame (#241582), or Empirical Labs EL 500 (#H72812).** What is the VPR Alliance?Initiated by API Audio, the VPR Alliance is a program of standardization and consistency guidelines for manufacturers wishing to make products designed to fit into API’s 500 series rack format. The program provides complete design specifications for manufacturers interested in producing third party products that physically fit and electronically conform to API’s rack specifications.The creation of the VPR Alliance has been encouraged by the overwhelming popularity of API’s 500 series racks, including the ten-space 500VPR and the six-space lunchbox, which has led to a proliferation of third party modules to fit the API format. Typically installed into API racks, these third party modules have raised issues of warranty and interaction with API-manufactured modules in the same rack.Because of the variables related to those third party modules, API has previously been forced to declare that including third-party modules into a 500VPR or lunchbox simply voids the warranty of the API rack. Through the VPR Alliance, API is able to eliminate confusion as to which third party products void the API warranty and which do not. This straightforward resolution saves the company both time and money, a

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Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding “soft knee” vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title ‘Threshold’ has been retained for the “amount of compression” control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

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