These were some of the first mics in my HS mic locker
Purchased in 1978 at Radio Shack

Push the button to talk
Push the button to mute
That is all

Microphone Type: Condenser
Mono/Stereo: Stereo Pair
Polar Pattern: Cardioid
Frequency Response: 20Hz-20kHz
Max SPL: 138dB
Output Impedance: 50 ohms
Signal to Noise Ratio: 81dB (A weighted)
Self Noise: 13dB (A weighted)
Color: Matte Black
Connector: XLR
Weight: 0.18 lbs

Microphone Type: Condenser
Polar Pattern: Cardioid
Diaphragm Size: 1” (25.4mm)
Frequency Response: 20Hz-20kHz (+3dB)
Max SPL: 125 dB SPL (0.5% THD @ 1kHz)
Output Impedance: 550 ohms
Sensitivity: -39 dB re. 1V/pa
Self Noise: 14dB A weighted
Color: Vintage Gray
Connector: XLR
Power Source: 48V phantom power
Dimensions: 7.6” x 2”
Weight: 1 lbs.
Manufacturer Part Number: MA-201VG

Complete Details from Mojave’s website

Microphone Type: Condenser
Polar Pattern: Cardioid
Diaphragm Size: 1” (25.4mm)
Frequency Range: 20Hz-20kHz
Max SPL: 125dB SPL, 145dB (with pad)
Output Impedance: 50 ohms
Signal to Noise Ratio: 82dB (A weighted)
Self Noise: 12dB (A weighted)
Low Cut Filter: 80Hz, 160Hz (6dB/octave)
Pads: -10dB, -20dB
Color: Black
Connector: XLR
Power Source: 48V phantom power
Included Accessories: Shockmount
Manufacturer Part Number: SEE-2200

Acoustic Operating Principle: Electrodynamic pressure gradient
Polar Pattern: Figure-8
Generating Element: 2.5-micron aluminum ribbon
Magnets: Rare Earth Neodymium
Frequency Response: 30 -15,000Hz +/- 3dB
Sensitivity: -48dB (re. 1v/pa)
Output Impedance: 300 Ohms @ 1kHz (nominal)
Maximum SPL: 135dB @ 30Hz
Rated Load Impedance: 1500 Ohms (or greater)
Output Connector: Male XLR 3-pin (Pin 2 Hot).
Dimensions: 200mm L X 36mm W (7.9” L X 1.4” W)
Weight: 483g (17 oz)
Finish: Matte Black
Accessories: Shock mount, carrying case, mic sock
Optional Accessories: Pop screen
Microphone Warranty: Lifetime to original owner (repair or replace at Royer’s option)
Ribbon Element Warranty: One Year

Microphone Type: Condenser
Polar Pattern: Cardioid
Frequency Response: 30Hz-15kHz
Max SPL: 141dB
Output Impedance: 200 ohms
Signal to Noise Ratio: 65dB
Connector: XLR
Weight: 0.1 lbs.
Manufacturer Part Number: PRO37

Microphone Type: Condenser
Polar Pattern: Cardioid, Omni, Figure-8
Diaphragm Size: 0.84” (21.4mm)
Frequency Response: 20Hz-18kHz
Max SPL: 149dB (159dB w/10dB Pad)
Output Impedance: 100 ohms
Signal to Noise Ratio: 77dB
Self Noise: 17dB
Low Cut Filter: 80Hz (-12dB/octave)
Pads: -10dB
Color: Black
Connector: XLR
Weight: 1.12 lbs.
Included Accessories: Shock Mount, Dust Cover, Carry Case
Manufacturer Part Number: AT4050

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 20Hz-17kHz
Output Impedance: 210 ohms
Color: Black
Connector: XLR
Manufacturer Part Number: 2220X00040

Cardioid: (18 mV/Pa; 50 to 20,000 Hz)
Pad: -10 dB (Via Switch)
Filter: -12 dB/oct @ 300 Hz (Via Switch)
Capsule Dimensions Impedance SPL/Noise:
Diaphragm diameter: 25mm
200 Ohms (Low) Max SPL: 145 dB
Self-noise: 16.0 dB(A)
Weight Length Max Diameter Interface(s): 525g (18.52oz) 160mm (6.30’‘) 53mm (2.09’‘)
3-pin XLR male (1)

Read more

Microphone Type: Condenser
Polar Pattern: Cardioid
Diaphragm Size: 0.5” (12.5mm)
Frequency Response: 20Hz-20kHz
Max SPL: 143dB
Output Impedance: 100 ohms
Signal to Noise Ratio: 78dB (A weighted)
Self Noise: 16dB (A weighted)
Connector: XLR
Weight: 0.22 lbs.
Manufacturer Part Number: NT5

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 50Hz-20kHz
Output Impedance: 150 ohms
Color: Black
Connector: XLR
Weight: 1.69 lbs.
Included Accessories: Windscreen
Manufacturer Part Number: SM7B

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 40Hz-15kHz
Output Impedance: 150 ohms
Color: Black
Connector: XLR
Weight: 0.63 lbs.
Included Accessories: Mic clip
Manufacturer Part Number: SM57-LC

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 50Hz-15kHz
Output Impedance: 150 ohms
Color: Black
Connector: XLR
Weight: 0.66 lbs.
Manufacturer Part Number: SM58-LC

Microphone Type: Dynamic
Polar Pattern: Cardioid
Frequency Response: 30Hz-17kHz
Output Impedance: 200 ohms
Color: Black
Connector: XLR
Weight: 0.85 lbs.
Included Accessories: Mic clip
Manufacturer Part Number: 000984

Type: Tube-Type True Condenser Microphone
Capsule: Dual-sided 32mm center-terminated gold-sputtered Mylar (6 micron)
Polar Patterns: 9 patterns selectable at PS-12 power supply
Frequency Response: 20Hz - 20kHz +/- 3dB
Output Impedance: 250 Ohms / transformer isolated
Maximum SPL: 136dB (0.5% THD @1000Hz) 146dB with pad engaged
Equivalent noise level: 17dB
S/N Ratio: 78dB
Sensitivity: -35dB
Output Connector: Male XLR 7 pin w/ special power supply and cables
Tube Type: 6072A
High-Pass Switch: 80 Hz 6dB/octave Switch
Attenuation Switch: -10dB Switch
Power Requirements: Dedicated PS-12 Power Supply w/ selectable 115/230 VAC capability
Finish: Polished Nickel trim / Metallic Cabernet Red Body
Weight: .8 kgs / 1.8 lbs
Dimensions: 237mm x 46mm / 9.5” x 1.8”

Microphone Type: Ribbon
Ribbon Type: 1.8-micron Aluminum (4.7mm x 59.7mm)
Polar Pattern: Figure-8
Frequency Response: 20Hz-20kHz
Max SPL: 165dB
Output Impedance: 270 ohms
Connector: XLR
Weight: 3 lbs.
Included Accessories: Case
Manufacturer Part Number: R84

Drawing inspiration from some of yesterday’s most revered microphones (specifically the Telefunken 251), TECHNICAL GRAMMY® Award-Winning microphone designer David Royer has created a thoroughly modern tube microphone that features an original new old-stock 5840 tube, 251-style capsule, and custom designed transformer built by Coast Magnetics. The result? A sweet, airy top end, “you-are-there” realism in the mids and an accurate yet authoritative bottom end.

The Signature Series has been exhaustively field tested against microphones often costing $20K or more – universally evoking the same “Wow” response usually reserved for only the most prized vintage mics. Push up the fader and say “Ahhh!” With performance, reliability, and quality like this, we are sure you’ll agree that Mojave’s new Signature Series microphone is a New American Classic.

Features:
Original new old-stock 5840 tube
251-style capsule
Custom designed transformer by Coast Magnetics
Remotely controlled, continuously variable polar
pattern selector, located on power supply
Switchable 15dB pad
Switchable Bass Roll-off
Internal switchable power supply voltage
American Classic Design
Comes with Sling-Shock® licenced from Royer Labs
Premium Cable made with Mogami Cable
and Neutrik connectors

Recommended Applications:
Vocals and Voice-overs
Broadcast
Acoustic Instruments
Piano
Drum Overheads, Drum Rooms
Orchestral Recording
Choral Recording

TECHNICAL DATA
TRANSDUCER TYPE: Externally polarized, pressure gradient capacitor - double diaphragm.
DIAPHRAGM: 1-inch diameter, gold sputtered
DIAPHRAGM THICKNESS: 3-microns
POLAR PATTERN: Continuously variable from omnidirectional to figure-eight.
FREQUENCY RESPONSE: 20 Hz to 20KHz ∓3 dB
SENSITIVITY: Omni -37.5 dB, Cardioid -36.0 dB, Figure-8 -34.0 dB re. 1V/pa
MAXIMUM SPL: 120 dB with pad off, 135 dB with pad on.
DISTORTION: < 1% @ 117 dB SPL , < 3% @ 125 dB SPL with pad off
< 1% @ 132 dB SPL, < 3% @ 140 dB SPL with pad on
SELF NOISE: 14dB nominal, not to exceed 16dB (A weighted)
PAD: 15 dB
BASS CUT: 6 dB per octave below 100 hertz.
IMPEDANCE: 200 Ω
POWER REQUIREMENT: 6 VDC @ 150 mA. 125 VDC @ .7 mA
(from dedicated power supply)
DIMENSIONS AND WEIGHT:
Carrying case with microphone, power supply, shock mount and cables: 13 lbs. (5.9Kg)
Microphone: 7 5/8” X 2” (194mm x 51mm), 1 lb. (0.45Kg)

Microphone Type: Dynamic
Polar Pattern: Supercardioid
Frequency Response: 20Hz-10kHz
Output Impedance: 150 ohms
Color: Black
Connector: XLR
Weight: 1.33 lbs.
Manufacturer Part Number: BETA 52A

Microphone Type: FET Transformerless Condenser
Polar Pattern: Cardioid, Figure-8, Omidirectional
Diaphragm Size: Dual large diaphragm
Frequency Range: 20Hz-20kHz
Max SPL: 147dB SPL, 157dB with pad
Output Impedance: 100 ohms
Signal to Noise Ratio: 85dB (A weighted)
Self Noise: 9dB (A weighted)
Low Cut Filter: 70Hz
Pads: -10dB
Color: Silver
Connector: XLR
Power Source: 48V phantom power
Dimensions: 8.2” x 2.04”
Weight: 1.1 lbs.
Included Accessories: Shockmount
Manufacturer Part Number: WA47Jr

Warm Audio’s WA-2A set its target high: the most iconic tube compressor in history. How does Warm do it? Through economies of scale, mostly. They don’t cut corners on components (the WA-2A employs a custom optical photocell and genuine US-made Cinemag transformers), but they do order parts and build in quantity, which helps to keep costs down. Like the original classic unit, the WA-2A gives you a completely discrete signal path and the same arrangement of controls. And yes, it replicates the original’s coveted warm sound and forgiving nature. Elevate your studio to the next level with the Warm Audio WA-2A.

Type: Tube/Optical
Number of Channels: 1
Controls: Limit/Compress, Output Gain, Peak Reduction, Gain Reduction
Frequency Response: 15Hz to 20kHz
Inputs: 1 x XLR, 1 x 1/4”
Outputs: 1 x XLR, 1 x 1/4”
Rack Spaces: 2U
Height: 3.5”
Depth: 7”
Width: 19”
Weight: 12 lbs.
Manufacturer Part Number: WA2A

Preamp Type: Solid State
Number of Channels: 1
Frequency Response: 20Hz-40kHz (±0.5dB)
Phantom Power: Yes
Pads: -20dB
Polarity Switch: Yes
Module Slot Size: Single
Power Usage: ±16V DC, 55mA
Height: 5.25”
Depth: 6.75”
Width: 1.5”
Weight: 1.5 lbs.
Manufacturer Part Number: 312

Number of Slots: 8
I/O Connections: 8 x XLR (in), 8 x XLR (out), 1 x DB-25 (in), 1 x DB-25 (out), TT/Bantam patchbay
Module Power: 16V DC 400mA per slot (1.6A per rail, 1.8A noncontinuous), +48V DC 140mA
Power Supply: 100-240 VAC operating voltage
Height: 5.25”
Width: 19”
Depth: 12.9”
Manufacturer Part Number: PBR8

Type: FET Limiter
Number of Channels: Single channel
Controls: Attack, Release, Mix, Input, Output
Ratio: 4:1, 8:1, 12:1, 20:1
Inputs: 1 x XLR
Outputs: 1 x XLR
Other I/O: 1 x RCA (stereo link)
Rack Spaces: 2U
Power Source: Standard IEC AC cable
Manufacturer Part Number: Bluey

Computer Connectivity: Thunderbolt 3
Form Factor: Rackmount
Simultaneous I/O: 18 x 24
A/D Resolution: 24-bit/192kHz
Built In DSP/FX: 6 x UAD DSP Cores
Number of Preamps: 4 x mic, 2 x instrument
Phantom Power: Yes
Analog Inputs: 4 x XLR (mic/line), 2 x 1/4” (Hi-Z), 8 x 1/4” (line)
Analog Outputs: 2 x 1/4” (monitor), 8 x 1/4” (alt/7.1 surround)
Digital Inputs: 1 x Coax (S/PDIF), 2 x Optical Toslink (ADAT/SMUX)
Digital Outputs: 1 x Coax (S/PDIF), 2 x Optical Toslink (ADAT/SMUX)
Headphones: 2 x 1/4”
Thunderbolt: 2 x USB-C (Thunderbolt 3)
Clock I/O: In/Out (75 ohm termination switch)
Software: HEXA Core UAD Plug-in processing, Unison Preamp Emulations, Realtime Analog Classics Plus Plug-ins
OS Requirements - Mac: macOS 10.12 or later, Quad Core i7 Processor or higher
OS Requirements - PC: Windows 10 64-bit Anniversary update or later, Quad Core i7 Processor or higher, Thunderbolt 3 port required
Rack Spaces: 1U
Power Supply: 12V DC power supply
Height: 1.75”
Width: 19”
Manufacturer Part Number: APX8

Unique Compression Curves

All eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.

Distortion (Color) Modes

Another large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors & limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.

Go Stereo

For many Distressor owners, one is never enough – in fact, one extremely successful engineer has twelve of them! For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together. If you want the Brit Mod and Image Link options, an EL8X-S package is also available.

British Mode - EL8-X

The concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.

Image Link - EL8-X

The original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer/engineers want to maintain absolute left/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options – the original “phase” link, the new Image Link and the combination of the two, phase and image linking – something never before offered on any compressors or limiters.

Number of Channels: 2
Controls: Ratio (Button), Input, Attack, Release, Output
Ratio: 1:1 to 20:1 (And “Nuke”)
Frequency Response: 2Hz-160kHz (-3 dB)
Inputs: 2 x XLR, 2 x 1/4”, 2 x 1/4” (Stereo Link)
Outputs: 2 x XLR, 2 x 1/4”, 2 x 1/4” (Stereo Link)
Rack Spaces: 1U
Height: 3.5”
Depth: 10”
Width: 19”
Manufacturer Part Number: EL8X-S

Processor Type: 500 Series Stereo Buss Compressor
Number of Channels: Stereo
Controls: Threshold, Ratio, Attack, Release, Blend, Gain, Filters, Variable Release
Threshold: -20dB to +20dB
Ratio: 1.5:1 to 10:1
Frequency Response: 20Hz-20kHz (±0.11dB)
Sidechain I/O: 1 x 1/4” (key input)
Side Chain Inserts: 60Hz, 90Hz, 120Hz, Boost Mode, Slope Mode
Features: Quad VCA Gain Reduction
Bypass: True bypass
Module Slot Size: Double
Power Usage: ±16V DC
Manufacturer Part Number: SB4001

MIC
• Frequency response: 20Hz - 20kHz +/- 0.1 dB.
• Maximum input level (Gain at Minimum): +16dBu.
• THD+N: 0.001% (measured at 1kHz with a 20Hz/22kHz bandpass filter).
• Noise: EIN > 125dB (128dB analogue to digital): measured at ~60dB of gain with 150 Ohm termination (20Hz/22kHz
bandpass filter). LINE
• Frequency response: 20Hz - 20kHz +/- 0.1dB.
• THD+N

< 0.001% (measured with 0dBFS input and 22Hz/22kHz bandpass filter).
• Noise: -90dBu (22Hz/22kHz bandpass filter).

INSTRUMENT
• Frequency response: 20Hz - 20kHz +/- 0.1dB.
• THD+N: 0.004% (measured with 0dBu input and 20Hz/22kHz bandpass filter).
• Noise: -87dBu (20Hz/22kHz bandpass filter).

DIGITAL PERFORMANCE
• Clock sources: Internal clock.
Sync to word clock Input.
Sync to ADAT Input (ADAT 1 input only).
• A/D dynamic range 110dB ‘A-weighted’ (all inputs).
• D/A dynamic range 110dB ‘A-weighted’ (all outputs).
• JetPLLTM PLL technology providing superb jitter reduction for class leading converter performance.
• Clock jitter

< 250 pico seconds.
• Sample rates: 44.1kHz to 96kHz.
• Sample rate clock accuracy: +/-20PPM.

ANALOGUE INPUTS
• Mic / line inputs on XLR combo with auto-switching between mic (XLR) and line / instrument (TRS).
• Mic / line / instrument 1 & 2: 2 x XLR Combo on rear panel.
• Mic / line 3-8: 6 x XLR combo.
• Instrument: As above, switched to instrument (inputs 1 & 2 only).
• Mic gain: +10dB to + 55dB.
• Line 1-8 gain: -10dB to +36dB.
• Instrument gain: +10dB to +55dB.
• Phantom power switched in 4 channel groups on mic 1-4 and 5-8.
• Mic and instrument maximum input level +16dBu.
• Line maximum input level +26dBu.

COMPRESSORS
• Threshold range: -44dBFS (Max setting) to -4dBFS (Min setting).
• Compression ratio: Normal - 2:1, More: 4:1.
• Auto make-up gain: 4dB (min setting), 18dB (max setting).
• Attack time: 1.2ms, release time: 28ms (-3.5dB method).
• Compression curve: classic focusrite soft knee.
• THD+N (maximum at any compression threshold, input < +16dBu, gain at minimum): < 0.18%
13

ANALOGUE OUTPUTS
• Line level 8 x 1/4” TRS Jack.
• Nominal output level 0dBFS = 16dBu, balanced.
• Frequency response: 20Hz – 20kHz +/- 0.2dB.
• THD+N < 0.0010% (-100dB) (measured with 0dBFS input 22Hz/22kHz bandpass filter, un-weighted).
• Switching to enable monitoring of A/D inputs or ADAT inputs with ADDA switch.

DIGITAL I/O
• ADAT Out 1 & 2: 8 channels (44.1 / 48kHz), 4 channels SMUX (88.2 / 96kHz, 8 channels total).
• ADAT In 1 & 2: 8 channels (44.1 / 48kHz, ADAT 1 only), 4 channels SMUX (88.2 / 96kHz, 8 channels total).

POWER
• Internal universal input PSU. FRONT PANEL INDICATORS
• Metering of analogue inputs (channels 1-8), 5 segment (-42, -18, -6, -3 and 0dBFS).
• 4 sample rate LED’s (44.1k, 48k, 88.2k & 96k).
• 3 sync source LED’s (Internal, Word Clock and ADAT).
• ‘Lock’ indicator LED.
• ADDA switch for analogue output source selection (A/D’s or ADAT inputs).

Key Features
• Next-generation Apollo A/D and D/A conversion for professional music production
• 16 x 16 analog I/O via DB-25 connectors — ideal for pairing with mixing consoles, outboard preamps, etc.
• Onboard UAD-2 QUAD Core DSP allows Realtime UAD Processing
• 18 x 20 Thunderbolt 2 audio interface with powerful Console 2.0 software control
• Cascade up to 4 Apollo interfaces and 6 UAD devices total over Thunderbolt
• Includes “Realtime Analog Classics Plus” UAD plug-in bundle
• World class UA analog design, superior components, and premium build quality

Audio Interface
• Sample rates up to 192 kHz at 24-bit word length
• 16 x 18 simultaneous analog input/output channels:
• 16 channels of analog-to-digital conversion via line inputs on dual DB25 connectors
• 18 channels of digital-to-analog conversion:
• 16 line outputs via dual DB25 connectors
• Stereo monitor outputs via dual XLR connectors
• Adjustable reference levels for all analog I/O (+4 dBu or -10 dBV)
• Two channels of AES/EBU digital I/O with optional sample rate conversion on input
• Front panel pre-fader metering of analog signal input or output levels
• Two Thunderbolt 2 ports for daisy-chaining other Thunderbolt devices

Monitoring
• Independently-addressable stereo monitor outputs (in addition to 16 line outputs)
• Digitally-controlled analog monitor outputs maintains highest fidelity
• Front panel control of monitor levels and muting
• Front panel pre-fader metering of monitor bus levels
• Digital AES/EBU outputs can mirror the analog monitor outputs

Key Features
• Worldwide standard in professional A/D and D/A conversion for music production
• Onboard UAD-2 QUAD Core DSP allows Realtime UAD Processing — record through plug-ins from Neve,
Lexicon, Studer, Marshall, Ampex, and more*
• 4 Unison-enabled mic preamps for tracking through preamp emulations from Neve, API, and Universal Audio*
• 18 x 24 FireWire audio interface for Mac and Windows
• Cascade two Apollos for 16 analog I/O channels and 12 digital I/O channels
• Includes “Realtime Analog Classics Plus” UAD plug-in bundle with 610-B Tube Preamp & EQ, Raw Distortion, Softube Amp Rooms, legacy LA-2A, 1176, and Fairchild compressors, Pultec EQs, and more
• Upgradeable to Thunderbolt via Thunderbolt 2 Option Card (sold separately)
• World class UA analog design, superior components, and premium build quality
* All trademarks are recognized as property of their respective owners. Individual UAD Powered Plug-Ins sold separately.

Audio Interface
• Sample rates up to 192 kHz at 24-bit word length
• 18 x 24 simultaneous input/output channels:
• Eight channels of analog-to-digital conversion via mic, line, or high-impedance inputs
• 14 channels of digital-to-analog conversion via:
• Eight mono line outputs
• Stereo monitor outputs
• Two stereo headphone outputs
• 10 channels of digital I/O via:
• Eight channels ADAT Optical I/O with S/MUX for high sample rates
• Two channels coaxial S/PDIF I/O with sample rate conversion
• Two FireWire 800 ports for daisy-chaining other FireWire devices Microphone Preamplifiers
• Four high-resolution, ultra-transparent, digitally-controlled analog mic preamps
• Front panel and software control of all preamp parameters
• Switchable low cut filter, 48V phantom power, pad, polarity, and stereo linking
• UnisonTM technology for deep integration with UAD preamp and pedal plug-ins

Monitoring
• Stereo monitor outputs (independent of eight line outputs)
• Digitally-controlled analog monitor outputs maintains highest fidelity
• Front panel control of monitor levels and muting
• Two stereo headphone outputs with independent mix buses
• Independent front panel analog volume controls for headphone outputs
• Front panel pre-fader metering of monitor bus levels
• S/PDIF outputs can be set to mirror the monitor outputs

Preamp Type: Solid State
Number of Channels: Single channel
Frequency Response: 22Hz-22kHz
Phantom Power: Yes
Polarity Switch: Yes
EQ: Variable Highpass Filter, Silk/Texture Control
Module Slot Size: Single
Power Usage: ±16V DC
Manufacturer Part Number: 511

Processor Type: Multi-FX
Number of Channels: 2
Presets - Factory: 255
Presets - User: 99
Analog Inputs: 2 x TRS
Analog Outputs: 2 x TRS
Digital Inputs: 1 x S/PDIF (Coax)
Digital Outputs: 1 x S/PDIF (Coax)
MIDI I/O: In/Out
Rack Spaces: 1U
Height: 1.75”
Width: 19”
Depth: 4.2”
Weight: 3.3 lbs.
Manufacturer Part Number: 965200011

1—GAIN: clockwise rotation yields an increase in input signal amplitude, counterclockwise rotation yields a decrease in input signal amplitude
2—48v: engage to turn phantom power on, disengage to turn phantom power off
3—PHASE (Ø): engage to adjust input signal polarity by 180°, disengage to leave input signal polarity unchanged
4—PAD: engage to reduce input signal amplitude by 13dBu, disengage to leave input signal amplitude unchanged
5—Hi-Z: engage to use front panel Hi-Z IN as preamp source, disengage to use 500 rack XLR input as preamp source

Preamp Type: Solid State 500 Series
Number of Channels: 1
Phantom Power: Yes
Pads: -13dB
Polarity Switch: Yes
Analog Inputs: 1 x 1/4” (Hi-Z)
Module Slot Size: Single
Power Usage: ±16V DC, 60mA
Height: 5.25”
Depth: 6.5”
Width: 1.5”
Weight: 0.8 lbs.
Manufacturer Part Number: AuteurMK2500

1—GAIN (stepped, 12-position switch): clockwise rotation yields an increase in input signal amplitude, counterclockwise rotation yields a decrease in input signal amplitude
2—48V: engage to turn phantom power on, disengage to turn phantom power off
3—PHASE (Ø): engage to adjust input signal polarity by 180°, disengage to leave input signal polarity unchanged
4—OUT LEVEL: clockwise rotation yields less attenuation, counterclockwise rotation yields more attenuation (for beginners, it’s best to leave the output level fully clockwise and increase Gain as needed so as not to saturate the input transformer)
5—Hi-Z: engage to select faceplate TS jack as input source, disengage to select XLR input jack on 500 series rack as input source (GAIN does not adjust signal level, however, OUT LEVEL does attenuate the signal)

Preamp Type: Solid State
Number of Channels: 1
Frequency Response: 10Hz-30kHz (bandwidth)
Phantom Power: Yes
Polarity Switch: Yes
Analog Inputs: 1 x 1/4” (Hi-Z)
Module Slot Size: Single
Height: 5.25”
Depth: 6.5”
Width: 1.5”
Weight: 1.2 lbs.
Manufacturer Part Number: B173500

Gain range = 0dB to 60dB in 10dB steps.
EIN (equivalent input noise) = -128dB measured at 60dB of gain with 150 Ohm terminating impedance and 20Hz/22kHz bandpass filter.
Noise at main output with gain at unity (0dB) = -97dBu measured with a 20Hz/22kHz bandpass filter.
Signal to noise ratio relative to max headroom (28dBu) = 125dB
Signal to noise ratio relative to 0dBfs (+22dBu) = 119dB
THD at medium gain (30dB) = 0.001% measured with a 1KHz -20dBu input signal and with a 20Hz/22kHz bandpass filter.
Frequency response at minimum gain (0dB) = -0.25dB down at 20Hz and –3dB down at 120kHz.
Frequency response at maximum gain (60dB) = –2.5dB down at 20Hz and –3dB down 120kHz.
CMRR at full gain (60dB) = 80dB

ISA 428 SOS Review

Supported Sample Rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz

MICROPHONE INPUTS:

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 111dB (A-weighted)
THD+N:

<0.0012%

Noise EIN: -128dB (A-weighted)
Maximum Input Level: 9dBu (at minimum gain)
Gain Range: 56dB
Impedance: 3kΩ

LINE INPUTS 1-2 (VARIABLE GAIN):

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 110.5dB (A-weighted)
THD+N:

<0.002%

Maximum Input Level: 22dBu (at minimum gain)
Gain Range: 56dB
Impedance: 60kΩ

LINE INPUTS 3-4 (FIXED GAIN):

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 110dB (A-weighted)
THD+N:

<0.002%

Maximum Input Level: 18dBu (at minimum gain)
Impedance: 44Ω

INSTRUMENT INPUTS:

Frequency Response: 20Hz - 20kHz ± 0.1dB
Dynamic Range: 110dB (A-weighted)
THD+N:

<0.03%

Maximum Output Level (0 dBFS): 12.5dBu (at minimum gain)
Gain Range: 56dB
Impedance: 1.5MΩ

LINE/MONITOR OUTPUTS:

Dynamic Range (Line Outputs): 108dB
THD+N:

<0.002%

Maximum Output Level (0 dBFS): 15.5dBu
Impedance: 430Ω

HEADPHONE OUTPUTS:

Dynamic Range: 104dB (A-weighted)
THD+N:

<0.002%

Maximum Output Level: 7dBu

Impedance:

<1Ω

Number of Channels: 1
Controls: Input, Output, Attack, Release, Ratio (Buttons)
Ratio: 4:1, 8:1, 12:1, 20:1
Frequency Response: 20Hz-20kHz
Inputs: 1 x XLR, 1 x 1/4” TRS
Outputs: 1 x XLR, 1 x 1/4” TRS
Rack Spaces: 2U
Power Source: Standard IEC AC cable
Height: 3.5”
Width: 19”
Manufacturer Part Number: WA76

MICROPHONE INPUT: XLR input 3kohm approx. to suit 200 ohm microphones. Current Sense Impedance matching. Switchable 48V phantom. Input level from-70dB to 0dB.

LINE INPUTS: 10K I/O impedance floating balanced. Instrument input 150K impedance unbalanced. Mix input 10K impedance unbalanced.

OVERLOAD MARGIN: 30dB on mic and line inputs in normal operation.

GAIN: Line in -6dB to 24dB
      Instrument in 0dB to 35dB
      Mic in 15dB to 70dB
      Insert gain 0dB
      Mix in gain 0dB

NOISE: Line in 80dB below operating level
        Mic in 125.5dB below input at 50dB gain 20Hz to 20khz.

HARMONIC DISTORTION: Generally within 0.02% rising to approx. 0.14% at 4dB above nominal output level. 2nd harmonic predominant.

AMPLITUDE FREQUENCY RESPONSE: Line in 6Hz to 20khz within 0.5dB
              Mic in 8Hz to 20khz within 1dB
              High pass filter 3dB down at 25Hz, 12dB per octave.

FILTER: High pass filter switch. Operates at 25Hz at 12dB per octave.

OUTPUTS: High level balanced 50 ohm + 4dBu for 0VU (variable)
            Max. Output approx. + 26dBu XLR Low level TRANSFORMER balanced 200 ohm -20dBu Insert, Tip and Ring jack socket. 400 ohm -10dBu output 22K ohm input.

COMPRESSOR: Photoresistive servo operated
                Ratio minimum approx. 1.5 to 1
                Ratio maximum approx. 8 to 1 variable.
                Attack time 1mS min. 7mS max. (variable).
                Release time 200mS min 3.5S max. (variable).

ENHANCER: Performance details not released.
POWER: 3.4 Watts. IEC socket for power cable.
HOUSING: 2U rack mounting totally enclosed aluminum case.

==============================================
PATCHBAY (A)EROSMITH
==============================================
TOP: Tielines from Live Room
—NORMAL TO—
BOTTOM: Midas XLR input

==============================================
PATCHBAY (Z)APPA
==============================================
TOP: Midas Channel Insert Sends
—NORMAL TO—
BOTTOM: Midas Channel Insert Returns

==============================================
PATCHBAY (B)OSTON
==============================================
TOP: Midas Channels Direct Outs
—NORMAL TO—
BOTTOM: Apollo A-D converter inputs

==============================================
PATCHBAY (C)RANBARRIES
==============================================
TOP: Apollo D-A converter outputs
—NORMAL TO—
BOTTOM: MTR-90 Tape Machine inputs [RECORDING]

==============================================
PATCHBAY (D)EVO
==============================================
TOP: MTR-90 Tape Machine outputs [PLAYBACK]
—NORMAL TO—
BOTTOM: Midas MIX Channels

==============================================
PATCHBAY (F)OGHAT
==============================================
TOP & BOTTOM: Access to off board gear

There are several advantages to recording to analog tape, one of which is the warming effect it can have on the overall frequencies of the recorded audio. This effect is often described as adding a “roundness” or “fullness” to the sound, and is particularly noticeable in the low end or bass frequencies. The warmth of analog tape can give recorded music a more natural, organic sound compared to digital recording techniques.

Another advantage of recording to analog tape is the boost it can give to the low end frequencies. This can be especially useful for music with a lot of bass as it can provide more punch and impact.

Recording to analog tape lends itself to capturing more holistic performance. This can lead to a recording that feels more cohesive and unified, as the different instruments and sounds blend together in a more natural way.

This is in contrast to digital recording techniques, which often allow for greater separation and isolation of individual sounds within a recording. While this can be useful for certain applications, it can also lead to a more disjointed and artificial sounding recording.

Overall, the warmth and cohesion of analog tape can make it particularly well-suited for capturing the energy and performance of a live musical performance.

While analog tape recording has its advantages, it is not always the most practical or convenient format for modern music production. Fortunately, it is possible to transfer recordings from analog tape to a digital format, such as a WAV or MP3 file. This process is known as tape transfer, and it allows the recorded audio to be edited and manipulated in a digital audio workstation (DAW) like Pro Tools, Ableton Live or our DAW of choice, Logic Pro.

Tape transfer can be particularly useful for preserving and remastering older recordings that were originally made on analog tape. These recordings can then be remixed and reworked in a DAW, allowing for greater flexibility and control in the production process.

Realgrey Records offers tape transfer services, allowing clients to take advantage of the unique character and warmth of analog tape recordings while still being able to work with the convenience and flexibility of modern digital audio production techniques.

Realgrey Records uses an Otari MTR90 II tape machine from the 80s for its analog recording needs. This is a high-quality tape machine that is known for its reliability and sound quality. By using an older tape machine, Realgrey Records is able to take advantage of the unique character and warmth that analog tape can bring to recorded music.

At the heart of the 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics. The bottom line is this: a new VCA working in conjunction with world class design makes the dbx 1066 perform better than compressors selling for hundreds more.

State-of-the-technology VCA’s, meticulous component selection, and scrupulous testing procedures are just a few more reasons that the new dbx 1066 is the latest in a long line of pedigreed dbx signal processors.

Overview Video

Features
- Selectable auto (classic dbx®) or manual (variable Attack and Release) compression
- Contour switch removes unwanted low frequency information from detector circuit
- Selectable Overeasy® or Hard Knee compression modes
- PeakStopPlus™ limiting for setting maximum allowable level with minimal distortion
- SC Ext and SC Mon for setting up and monitoring external devices for gating function
- True differentially balanced gold-plated XLR and 1/4” inputs and outputs
- True RMS level detection
- Precision metering of input level, output level, and gain reduction
- True stereo or dual mono operation
- Switchable +4dBu or -10dBV operation per channel

Neotek Élite
+ 24 channels
+ 16 sub channels
+  Stereo output

Description
Neotek Élite consoles provide contemporary multipurpose studios with outstanding flexibility, superlative sonic performance, and ordering options which allow each console to be configured for maximum productivity in its specific working environment. The Élite offers audiophile performance microphone preamplifiers and completely transformerless, high speed circuit design for exceptional integrity when tracking. In mixing mode, engineering creativity and ease of use is maximized by full command of a large number of input channels, the availability of powerful equalizers, comprehensive routing, and audio system integrity that maintains the subtle qualities of each signal within a complex mix. In addition, the Élite can be ordered with custom options that adapt it to leading edge broadcast production and post production applications.

Élite performance is the sound of success
When work leaves your facility, the way it sounds is what really counts. That’s why the Élite’s design is focused on outstanding audio performance. The Élite offers audiophile quality microphone preamplifiers and high speed circuit design to give you exceptional signal integrity. Critical stages in the minimum path signal chain are specially designed hybrid circuits which transcend the performance of integrated operational amplifiers. Unparalleled circuit design is one reason why the Élite is one of the very few consoles worldwide that has been accepted according to the demanding standards IRT Pflichtenheft 3/5 and Nordic N-10. The Élite’s wide bandwidth and brilliant transparency give you absolute confidence that the material you release is exactly what you intend.

Features ahead of its class, features that mean real value
We’ve focused the Élite on features that offer engineers and facility owners real benefits. The Élite gives you the power of in-line monitoring plus extra signal routing possibilities from its dual-channel architecture. In mixing, its monitor fader becomes an additional input. This doubles the size of your console to provide the capacity needed in modern studios, and you can create up to 32 auxiliary sends as well as mono or stereo subgroups with their own aux mixes. The Élite gives you three mute groups and four solo modes; highly regarded four-band multi-mode EQ with state variable topology, plus sweep high pass filter; stereo modules; and a broad selection of fader module options. And its high-resolution bargraph meters have true VU and peak ballistics to give you an accurate measure of signal levels—with N-9 and DIN meters as options. The Élite’s flexibility and ease of use mean you’ll spend more time creating, less time correcting.

Construction quality sends the right message
The classic build quality of the Élite sets it apart. Its solid construction is designed to stand up to the rigors of remote trucks. Patchbays use shielded cable and long-frame metal jacks. And when you lift the hood and check the modules you’ll see advanced circuit designs and the best quality components throughout. The Élite is built for the long run, and it holds its value and high performance year after year. Your clients will understand that your console, your facility, and your work are fully professional.

A complete choice of options to customize your Élite
There are a number of ordering options for your Élite, including your choice of factory installed moving fader automation systems. You can select internal or external desks; internal, side car, or remote patchbays; and special versions for film-style post production and multi-studio broadcast production. Contact Sytek and we’ll send you additional brochures on ordering options, frame sizes, technical specifications, and a more detailed system description. With its outstanding build quality, professional features, and exceptional sonic integrity, the Élite in your facility will produce work with the quality and impact you would expect from the highest performance consoles being made today.

Resource:  https://sytek-audio-systems.com/products/consoles/elite2/

Focal Twin6 Be 6.5” Active 3-way Studio Monitor Features:
Focal’s best-selling studio reference monitor
Hallmark-Focal inverted-dome tweeter, for high efficiency, precision, and energy
Employs a rigid Beryllium tweeter, for Focal’s best-in-range tweeter performance
“W” composite sandwich cone permits optimization of the frequency response curve

Focal Twin6 Be 6.5” Active 3-way Studio Monitor Specifications:

Frequency response: 40Hz-40kHz
Maximum SPL: 115dB SPL (peak @ 1m)
Input Type/Impedance: symmetrical/10 kOhms
Input Connector: XLR
Sensitivity: Adjustable, +4dBu or -10dBV
Bass/mid-range: 2x150W rms, BASH technology
Treble: 100W rms, AB class
Electric supply: 230V (2A fuse), 115V (4A fuse), Removable IEC supply wire
Input-sensitivity selector
Mid-range speaker selector (right/left)
Adjustable tweeter and woofer levels by potentiometer
Power on/off
Voltage selector
Power on LED
Woofer: 2x6W4370B Focal “W” composite sandwich cone 6-1/2” (16.5cm) speaker
Tweeter: TB871, Focal inverted dome tweeter in Beryllium
Transducer shielding: Integral through cancellation magnets or by magnet design
Box: 7-1/2” (19mm) MDF panels
Finish: Dark red natural veneering side panels, black body
Dimensions (HxWxD): 9-13/16 x 19-11/16 x 13-3/8 ” (250x500x340mm)
Weight: 30.8lb (14kg)

Powered: Yes
Power Configuration: Bi-amped
LF Driver Size: 6.5”
LF Driver Type: Cone
HF Driver Size: 1”
HF Driver Type: Inverted Dome
LF Driver Power Amp: 150W
HF Driver Power Amp: 100W
Total Power: 250W
Frequency Range: 40Hz-40kHz (-3 dB)
Maximum Peak SPL: 113 dB
Input Types: 1 x XLR
Enclosure Type: Ported
Height: 13”
Width: 9.44”
Depth: 11.44”
Weight: 24.2 lbs.
Manufacturer Part Number: #FOPRO-SOLO6BE

Frequency Response
20-120Hz +/-3dB

Sensitivity
92dB 2.83V/1m

Amplifier Power
Built in 600W

Woofer
(2) 12” Active/Passive

Enclosure
MDF (Medium-Density Fibreboard)

Finishes
Studio Black

Width
14.96 in (379.98 mm)

Depth
20.55 in (521.97 mm)

Height
15.59 in (395.99 mm)

Review on the EMB-1200

Input Channels: 8
Output Channels: 8
Analog Inputs: 2 x XLR, 1 x DB-25
Analog Outputs: 1 x XLR (cue amp out), 1 x XLR (slate out), 1 x DB-25
Headphones: 1 x 1/4”
Other I/O: 1 x Ethernet (remote)
Talkback: 1 x 1/4” (remote mic), 1 x XLR (TB remote)
Form Factor: Rackmount
Height: 1.75”
Width: 19”
Depth: 9.5”
Weight: 16 lbs.
Manufacturer Part Number: MONITOR ST

A basic Hear Back system consists of a Hub and personal Mixers connected using standard CAT5E cables. A single Hub supplies signal and power to a maximum of eight Mixers. That’s one for you and everybody in the band. If that’s not enough, the Hubs can be daisy-chained using the HearBus In and Out for virtually unlimited system size. The Hear Back Hub can accept analog input signals from audio mixers, auxiliary, matrix, monitor, and/or direct outputs. The ADAT input can come from digital audio workstations, digital recorders, or digital mixers. For front of house or remotely located digital mixers, we also have the Extreme Extender ADAT In/Out that converts ADAT optical, which has very limited distance, to the HearBus for transmission of up to 500 feet.

Frequency Response (-3dB) (1): 60Hz - 30kHz
Rated Maximum SPL (2): 111dB
Distortion:

<0.5%

Dispersion (-6dB): 90 degrees
Drive Unit LF/ Mid: 130mm (6”) multi fibre pulp paper cone
Drive Unit HF: 25mm (1”) soft dome with neodymium magnet system
Magnetic Shielding: No

Notes:
(1 ) ± 3dB measured at 1m in an anechoic chamber.
(2) Peak SPL at mix position for 1 pair driven.
Electronic Section

Input Impedance:
XLR balanced & unbalanced/dd>
Jack 10 kOhms
Input Sensitivity: 0.775V RMS for full output
Crossover Frequency: 2.3kHz
Amplifier Output Power: LF 60W RMS, HF 30W RMS
User Controls:
Power On/ Off, Input Sensitivity/dd>
HF Trim ± 1.5dB
Power Supply:
100- 120V, 200- 240V/dd>
Switchable, 50 “ 60Hz
Power Consumption: 180W Maximum
Fuse:
100- 120V, T800mAL 250V/dd>
220- 240V, T400mAL 250V
Cabinet
Low Frequency Alignment: Optimized front reflex loaded
Cabinet Construction: MDF cabinet with injection molded
front baffle
Cabinet Finish: Black fine texture
Cabinet Dimensions (H x W x D): 13.4” x 8.3” x 10.7”, (340 x 210 x 272mm)
Cabinet Weight: 17.5lb. (7.9kg)
Shipping Dimensions: (H x W x D): 18.4” x 11.9” x 14.4”, (466 x 302 x 366mm)
Shipping Weight: 19.6lb. (8.9kg)

Powered: Yes
Speaker Size: 10”
Driver Type: Glass Composite Cone
Total Power: 250W
Frequency Range: 20Hz-200Hz
Crossover Frequency: 50Hz
Maximum Peak SPL: 113dB
Input Types: 2 x XLR, 2 x 1/4”, 1 x Dual RCA Stereo
Output Types: 2 x XLR (L/R), 1 x XLR (sub out), 2 x 1/4” (L/R)
Other I/O: 1 x 1/4” (sub bypass footswitch)
Height: 15.75”
Width: 12.60”
Depth: 15.75”
Weight: 39.46 lbs.
Manufacturer Part Number: T10

Enclosure Type: Superport vented
Powered/Unpowered: Unpowered
Frequency Response (Hz-kHz): 45 Hz-18 kHz
Sensitivity (dB): 88 dB
Crossover Frequency (kHz): 2.5 kHz
Woofer Size/Type: 6.5” polypropylene cone
Tweeter Size/Type: 1” silk dome
Magnetic Shielding: Yes
Cabinet Dimensions (HxWxD in inches): 15x8.5x10
Weight (lbs.): 15

Tandy 4” Auratone style monitors

Specifications

Power (mW): 500.
Impedance (Ohm): ...
Sensitivity (dB / W / m): 102.
Frequency Response: 60Hz - 16kHz.
Driver Diameter (mm): ...
Mass (g) (excluding cable): 145.

2 Sets are the original M-50s, 2 Sets are the newer M-50x which have a detachable cable

Fit Style: Circumaural (Around the Ear)
Driver Size: 45mm
Noise Attenuation: Passive Noise Isolating
Frequency Response: 15Hz-28kHz
Impedance: 38 ohms
Cable Type: 2 x Straight, Coiled
Cable Length: 9.8’, 3.9’
Replaceable Cable: Yes
Plug Size: 1/8”, 1/4” adapter
Features: Drawstring Bag
Foldable: Yes
Color: Black
Weight: 0.625 lbs. (without cable and connector)
Manufacturer Part Number: ATH-M50x

Type: Wired
Open/Closed: Closed
Fit Style: Circumaural (Around the Ear)
Noise Attenuation: Passive Noise Isolating
Frequency Response: 8Hz-25kHz
Impedance: 64 ohms
Cable Type: Coiled
Cable Length: 9.8’
Plug Size: 1/8”, 1/4” adapter
Foldable: Yes
Color: Black
Weight: 0.49 lbs.
Manufacturer Part Number: 506845

The PhantomFocus™ System is the acclaimed custom turnkey tuning protocol for professional studio monitor optimization for those who demand the highest level of monitoring accuracy and performance, whether it be in a bedroom or world-class mix room. Hardware includes dual subwoofer modules, the PhantomFocus Processor, PhantomFocus monitor stands, and the PhantomFocus eChair™ ensemble, rendering the ultimate monitoring experience.

Utilizing an amalgam of techniques, proprietary protocols, hardware and software, the PhantomFocus™ System is a powerful tool in optimizing monitor systems. Based on physics, without using any sort of psychoacoustic DSP, it concentrates first on “reach out and touch the vocalist” imaging where pinpoint detail is spread out before the listener in an almost holographic panorama. Secondly, full and accurate frequency response is achieved by incorporating several elements that can include: speaker/listener position calculations; proper speakers stands; damping and isolation devices; subwoofer systems; laser alignment; 360 degree phase control (all- pass filter); crossovers; and corrective equalization. The success of the system will only be limited by the room acoustics evaluation that must precede the process.

Sporting 2 PFM ICE Cube-12 Master Reference Subwoofers which anchor the foundational sonic footprint of the PhantomFocus System. Two years in development, it is the first subwoofer to display the PFM moniker and the finest ever to be implemented into the acclaimed PhantomFocus System™ (PFS™).

For more information:
Carl Tatz Design
6666 Brookmont Terrace Suite 1109 | Nashville, TN 37205 | (615) 400-5479
carl@carltatzdesign.com

Attack Proflex1 DHNO clear batter side, Attack Proflex1 DHNO black front side

Attack Proflex1 DHNO clear batter side, Attack Proflex1 DHNO black front side

Proflex2 coated batter side
Attack Snare Side thin clear (all)
Attack Proflex1 coated batter side available

Attack Blastbeat coated batter side
Attack Snare Side thin clear
Attack Proflex1 coated batter side available

Attack Blastbeat coated batter side
Attack Snare Side thin clear
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Used in as remote for Logic Pro
Tuner
Metronome
Event Sign-in

Dimensions 240 x 169.5 x 7.5 mm (9.45 x 6.67 x 0.30 in)
Weight 469 g (Wi-Fi) / 478 g (LTE) (1.03 lb)
Build Glass front, aluminum back, aluminum frame
SIM Nano-SIM, eSIM
DISPLAY Type IPS LCD
Size 9.7 inches, 291.4 cm2 (~71.6% screen-to-body ratio)
Resolution 1536 x 2048 pixels, 4:3 ratio (~264 ppi density)
Protection Scratch-resistant glass, oleophobic coating
PLATFORM OS iOS 10.3, upgradable to iPadOS 14.6
Chipset Apple A9 (14 nm)
CPU Dual-core 1.84 GHz (Twister)
GPU PowerVR GT7600 (six-core graphics)
Internal 32GB 2GB RAM, 128GB 2GB RAM
MAIN CAMERA Single 8 MP, f/2.4, 31mm (standard), 1.12µm, AF
Features HDR
Video 1080p@30fps, 720p@120fps, HDR, stereo sound rec.
SELFIE CAMERA Single 1.2 MP, f/2.2, 31mm (standard)
Features Face detection, HDR, panorama
Video 720p@30fps
SOUND Loudspeaker Yes, with stereo speakers
3.5mm jack Yes
COMMS WLAN Wi-Fi 802.11 a/b/g/n/ac, dual-band, hotspot
Bluetooth 4.2, A2DP, EDR, LE
GPS Yes, with A-GPS, GLONASS (Wi‑Fi + Cellular model only)
USB Lightning, USB 2.0
FEATURES Sensors Fingerprint (front-mounted), accelerometer, gyro, compass, barometer
Siri natural language commands and dictation
BATTERY Type Li-Po 8827 mAh, non-removable (32.9 Wh)

1. POWER: engage to turn unit on, disengage to turn unit off
2. DISPLAY CONTRAST: engage to dim display, disengage to brighten display
3. FREQUENCY (kHz): rotate three clicks at a moderate speed to unlock and cycle through output frequencies as indicated on the display

The Micro Clock MKIII XB is the most accurate word clock Black Lion has developed to date. With only 0.6pS RMS of jitter at the BNC outputs, it has less than one third of the jitter of the standard Micro Clock MKIII. It boasts incredibly accurate crystal oscillators and superior quality galvanic isolation, both of which contribute to the extraordinarily low jitter measurement.

Jitter:
0.6pS RMS (BNC outputs)

Outputs:
6 BNC, 1 XLR AES, 1 RCA S/PDIF, 1 Optical S/PDIF (recommended max. cable length = 1,000ft of high quality, 75Ω coaxial cable)
BNC: 75Ω, 5V unterminated
RCA S/PDIF: 75 Ω, unbalanced
AES XLR: 110 Ω, balanced

Clock Frequencies:
BNC (kHz) – 44.1, 48, 88.2, 96, 176.4, 192, 352.8, 384
RCA S/PDIF & AES (kHz) – 44.1, 48, 88.2, 96, 176.4, 192
Optical S/PDIF (kHz) – 44.1, 48, 88.2, 96

2.2 GHz Intel Core i7 / 16 GB 1600 MHz DDR3 /  Intel Iris Pro 1536 MB

Processor and memory
3.06GHz Intel Core i3 processor with 4MB level 3 cache; supports Hyper-Threading
4GB (two 2GB SO-DIMMs) of 1333MHz DDR3 SDRAM; four SO-DIMM slots support up to 16GB

Size and weight
Height: 17.75 inches (45.1 cm)
Width: 20.8 inches (52.8 cm)
Depth: 7.42 inches (18.85 cm)
Weight: 20.5 pounds (9.3 kg)1

Connections and expansion
One FireWire 800 port; 7 watts
Four USB 2.0 ports
SDXC card slot

Communications
AirPort Extreme 802.11n Wi-Fi wireless networking;2 IEEE 802.11a/b/g compatible
Bluetooth 2.1 + EDR (Enhanced Data Rate) wireless technology
10/100/1000BASE-T Gigabit Ethernet (RJ-45 connector)

Audio
Built-in stereo speakers
Two internal 17-watt high-efficiency amplifiers
Headphone/optical digital audio output (minijack)
Audio line in/optical digital audio input (minijack)
Built-in microphone
Support for Apple iPhone headset with microphone

Environmental Status Report
iMac is designed with the following features to reduce its environmental impact:
Arsenic-free display glass
BFR-free
PVC-free3
Highly recyclable aluminum and glass enclosures
Meets ENERGY STAR 5.0 requirements
Rated EPEAT Gold4

Model: Mac Pro
Operating System: MacOS Mojave
CPU: 2.7 GHz 12 Core Intel Xeon E5
Graphics/Video: 2 x AMD FirePro D500 GPUs
Maximum Resolution: 4K
Memory: 64GB DDR3 ECC
Memory - Max: 64GB (4x16GB)
Storage - Included: 256GB PCIe-based Flash storage
Thunderbolt Ports: 6 x Thunderbolt 2
USB Ports: 4 x USB 3.0
Video Ports: 1 x HDMI 1.4 UltraHD
Ethernet: 2 x Gigabit Ethernet
WiFi: 802.11ac
Bluetooth: Bluetooth 4.0
Audio Outputs: Combined optical/digital audio output/analog line out minijack; Headphone minijack with headset support
Height: 9.9”
Width: 6.6”
Depth: 6.6”
Weight: 11 lbs.
Manufacturer Part Number: MD878LL/A

Description
Get enhanced smart capabilities with the TU6985. Crystal Processor 4K automatically upscales your favorite movies, TV shows and sports events to 4K. Smart TV powered by Tizen lets you find content and navigate streaming services easily. PurColor fine tunes colors while HDR steps up to millions of shades of color that go beyond what HDTV can offer.

Features
Crystal Processor 4K
Intelligent, ultra-fast optimization of 4K content.

HDR
Unveils shades of color that go beyond HDTV.

Direct Lit
Rows of LEDs fine tune the contrast between blacks and whites.

PurColor
Millions of shades of color reveal a vibrant, lifelike picture that HDTV can’t create.

60Hz
Never miss a beat with low lag rates and minimized blur even in the fastest of scenes making these TV’s perfect for both gaming and cinematic experiences.

Smart TV Powered by Tizen
Access your favorite apps and streaming services right from your TV.

Type: MIDI Interface
Ports: 8 x 12
MIDI I/O: 8 x 5-pin DIN (In), 12 x 5-pin DIN (Out), 10 x USB Type A, 1 x Ethernet (RTP-MIDI)
USB: 10 x Type A, 1 x Type B
Computer Connectivity: USB, Ethernet
Software: iConnectivity Auracle 2.0 (Windows/Mac)
Compatibility - Mac: OS X 10.11 or later, iOS (camera connection kit / Ethernet adapter required)
Compatibility - Windows: Windows 7 SP1 or later
Power: 12V DC power supply (included)
Height: 1.75”
Width: 19”
Depth: 5.725”
Weight: 4.18 lbs.
Manufacturer Part Number: mioXL

Keyboard models included with Keyscape:
LA Custom C7 Grand Piano
Wing Upright Piano
Wing Tack Piano
Rhodes — LA Custom “E”
Rhodes — Classic Mark I
Wurlitzer 140B
Wurlitzer 200A
Yamaha CP-70
Vintage Vibe Electric Piano
Hohner Pianet M
Hohner Pianet N
Hohner Pianet T
Weltmeister Claviset
Hohner Clavinet C
Hohner Clavinet-Pianet DUO
Vintage Vibe Vibanet
Celeste
Chimeatron
Dulcitone
Clavichord
Dolceola
Electric Harpsichord
Mini Student Butterfly Piano
Rhodes 1946 Pre-Piano
Toy Piano — Classic
Toy Piano — Glock
Toy Piano — Grand
Toy Piano — Saucer Bell
Rhodes Piano Bass
Vintage Vibe Tine Bass
Weltmeister Basset I
Weltmeister Basset II
JD-800 Crystal Rhodes
MK-80 Digital Rhodes
MKS-20 Digital Piano
Harmochord

Functions
Multi-tracking and Multitrack Note Editing – See and edit multiple tracks simultaneously
Sound Editor – Change the timbre by adjusting the balance between partials
Tempo detection/Tempo Editor – Map and edit tempo changes within a recording
Note Assignment Mode – Correct any note detection errors
Cut, copy and paste – Rearrange material using clipboard functions
Macros for pitch and timing – Automatic, intelligent correction and optimization of notes
Audio-to-MIDI – Save audio notes as MIDI
Scale correction – Move or quantize notes in accordance with the selected scale
Edit scales – Alter scales or create your own
Scale Detective – Extract scales from audio
Quantize to reference track – Carry over the timing of one track to another

Pedal Type: Reverb, Delay
Analog/Digital: Digital
Max Delay Time: 1.5 seconds
Inputs: 1 x 1/4”
Outputs: 1 x 1/4”
True Bypass: Yes
Power Source: 9V DC transformer-isolated power supply required (sold separately)
Power Usage: 60mA
Height: 2.25”
Width: 2.5”
Depth: 4.75”
Weight: 1.1 lbs.
Manufacturer Part Number: EQDDMV3

Number of Keys: 61
Type of Keys: Semi-weighted
Aftertouch: Yes
Pads: 8
Other Controllers: 9 x Assignable Buttons, Mod, Pitch wheels
Encoders/Pots: 8
Faders: 9
Dedicated Transport Control: Yes
Pedal Inputs: 1 x Sustain, 1 x Expression
MIDI I/O: In/Out/USB
USB: 1 x Type B
Hardware Requirements - Mac: Dual Core processor or higher, 4GB RAM minimum
Hardware Requirements - PC: Dual Core processor or higher, 4GB RAM minimum
OS Requirements - Mac: OS X 10.7 or later
OS Requirements - PC: Windows 7 or later
Power Supply: USB Bus Powered, AC-DC USB Adapter
Height: 3.94”
Width: 40.24”
Depth: 13.07”
Weight: 14.33 lbs.
Manufacturer Part Number: AMS-IMPULSE-61

Korg’s 01/W workstation synthesizer debuted in 1991 as the follow-up to the popular M1. The 01/W was the second chapter in Korg’s workstation legacy, which goes on to this day with the Triton and Oasys series. The 01/W was geared towards beginning home studio enthusiasts that wanted to take a step further into a more professional realm. Compared with the M1, the 01/W featured many enhancements including a more dynamic 16-track sequencer (the M1 only had 8-tracks), 254 real world sampled instruments to the M1’s 100, polyphony was doubled from 16 to 32 voices, and greater overall control.

Number of Keys: 73
Type of Keys: Weighted
Presets: 36
Polyphony: 80 Notes
Effects: Yes
Audio Inputs: 2 x TS
Audio Outputs: 2 x TS, 2 x XLR, 1 x TRS (Headphones)
USB: 1 x Type B
MIDI I/O: In/Out/USB
Pedal Inputs: 3
Height: 6.1”
Width: 45”
Depth: 13.66”
Weight: 38.5 lbs.
Manufacturer Part Number: SV173BK

Body Type: Solidbody
Body Shape: Les Paul
Left-/Right-handed: Right-handed
Number of Strings: 6
Body Material: Mahogany
Body Finish: Satin
Color: Pitch Black
Neck Material: Mahogany, Set
Neck Shape: C
Radius: 12”
Fingerboard Material: Rosewood
Fingerboard Inlay: XII (12th Fret)
Number of Frets: 22, Medium Jumbo
Scale Length: 24.75”
Nut Width: 1.6875”
Nut Material: Plastic
Bridge/Tailpiece: Tune-o-Matic/Stopbar
Tuners: Sealed
Neck Pickup: Alnico V Humbucker
Bridge Pickup: Alnico V Humbucker
Controls: 2 x volume, 2 x tone, 3-way pickup selector
Strings: D’Addario, .010-.046+
Manufacturer Part Number: ENL1PBBH1

Model C2 style cabinet with variable vibrato (V1, V2, V3, C1, C2, C3) with a 122 Leslie.  Tonewheel organs generate sound by shaped mechanical wheels, that rotate in front of electromagnetic pickups. Each tonewheel assembly creates tones with low harmonic content, close to a sine wave. Inside the coil is a permanent magnet. As the profile of the tonewheel pass by, the strength of the magnetism changes—when the highest part is closest to the tip of the magnet, the magnetism is strongest. As the magnetism varies, that induces an alternating current (AC) in the coil, which becomes one of the frequencies used in harmonic synthesis.

Rhodes Mark I Suitcase 73 Keys with Vintage Vibe External power supply.

Stereo preamp with vibrato intensity and speed controls along with front panel treble and bass controls, 1/4 insert jacks for those tasty fx pedals. 

The Rhodes piano (also known as the Fender Rhodes piano) is an electric piano invented by Harold Rhodes, which became popular in the 1970s. Like a conventional piano, the Rhodes generates sound with keys and hammers, but instead of strings, the hammers strike thin metal tines, which vibrate next to an electromagnetic pickup. The signal is then sent through a cable to an external keyboard amplifier and speaker.

The instrument evolved from Rhodes’s attempt to manufacture pianos while teaching recovering soldiers during World War II. Development continued after the war and into the following decade. In 1959, Fender began marketing the Piano Bass, a cut-down version; the full-size instrument did not appear until after Fender’s sale to CBS in 1965. CBS oversaw mass production of the Rhodes piano in the 1970s, and it was used extensively through the decade, particularly in jazz, pop, and soul music. It was less used in the 1980s because of competition with polyphonic and digital synthesizers such as the Yamaha DX7 and an inconsistent quality control caused by cost-cutting.

—Wikipedia
https://en.wikipedia.org/wiki/Rhodes_piano

The K1r is a rackmount version of the Kawai K1 synthesizer.

Year Released: 1988

Polyphony: 16 notes

Multitimbral: 8 parts

User Patches: 64

User Performances: 32

ROM: 256 8-bit PCM waveforms (204 additive waveforms, 52 acoustic samples)

Screen: 16x2 character display

Weight: 2 kg

Boost pedal based on the preamp stage of the classic EP-3 echo effects processor
Up to 20dB of boost for adding volume or sending your amp into overdrive
Internal Dip switches for adjusting boost frequencies and EQ
True bypass switching removes the effect from your signal path when disengaged

Built-in BonaFide Buffer preserves your tone for long cable runs
Switchable true bypass option puts you in charge of your signal path
Alternate tuning modes make it fast and easy to explore open/slide tunings
Always On option (Buffer mode only) provides continuous tuning feedback as you play
Save time tuning all strings at once*, or tune string by string — PolyTune 3 adjusts automatically
Precise strobe tuner is accurate to within 0.1 cents — great for double-tracking
Fast chromatic tuner (+/- 0.5 cents) automatically detects the note you’re playing
Auto-dimming LED display is easy to read on dark stages or in direct sunlight
3-year manufacturer warranty makes the PolyTune 3 a smart investment
Designed and engineered in Denmark

Crams Wampler’s classic British-style stack in a box into a micro-sized enclosure
Gain knob unleashes everything from mild breakup to heavy metal crunch
Tone knob takes your drive from a thunderous growl to a throaty bite
Volume knob controls the output of the effect
Bass toggle for calling up extra low-end thump
Mids toggle provides a harmonic-tickling midrange boost

The TX816 is eight DX7 sound engines in a 4U rack unit.  Each TF1 module consists of a 16-voice, 6-operator digital FM synth engine; totalling 128 voices and 48 operators.  It is capable of dense mulitimbral FM sounds through mixing the different TF1 voice modules or control each TF1 independantly to create full multi-part arrangements.  Each module can be controlled from the global MIDI input or controlled independantly by it’s individual MIDI in/out in the rear.  Only MIDI settings, patch selection, tuning, sysex and utility functions can be accessed from the front panel and require a software editor and sysex librarian to edit and arrange patches.  This can achieved easily with VSTs such as FM7 or Dexed and a MIDI utility program such as MIDI OX.

Polyphony - 128-voices via eight 16-voice TF1 module cards
Oscillators - Digital FM synthesizer with 6 Operators and 32 algorithms per TF1 module
LFO - Yes
Filter - None
Effects - None
Keyboard - None
Memory - 256 patches (32 x 8)
Control - MIDI 1 IN/OUT per TF1 card, 1 global IN/OUT (up to 9 I/O total) with 8-parts multitimbral
Date Produced - 1984

Attack Proflex1 DHNO clear batter side, Attack Proflex1 DHNO black front side

Attack Proflex1 DHNO clear batter side, Attack Proflex1 DHNO black front side

Proflex2 coated batter side
Attack Snare Side thin clear (all)
Attack Proflex1 coated batter side available

Attack Blastbeat coated batter side
Attack Snare Side thin clear
Attack Proflex1 coated batter side available

Attack Blastbeat coated batter side
Attack Snare Side thin clear
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Attack Proflex2 coated batter side, Proflex1 clear resonate side installed
Attack Proflex1 coated batter side available

Our Carriage House Recording Studio —Brief History

1914
They moved “Our Carriage House” ... said an 85 year old little girl, who announced, “I was born in this house.” Her father “Mr. Steel” originally built the carriage house on the back of the property and used it as a workshop while building the house.  It provided shelter for the horse and buggy, his daily driver of sorts.  According to Mr. Steel’s daughter, the carriage house was moved to it’s current location by a subsequent owner.  Our guess is, that all shook down around the mid 1950s when it was used as a garage and storage. 

2014
100 years later,  we converted this century building into what is known as “Our Carriage House Recording Studio” ... we kept the name too and went to great lengths to preserve all the century timbers.  We wanted the “work horse” genesis of the building to be maintained.  The ethos of providing an inspirational space for artists seems to have been enhanced since moving into the our updated recording facility.

Our Carriage House Recording Studio is the production home of Realgrey Records.

Originally located on the back of the property in 1914, the carriage house was moved to it’s current location.  Our guess is that all shook down around the mid 1950s when it was used as a garage and storage.  When we converted this century building into what is known as “Our Carriage House Recording Studio”, we went to great lengths to preserve all the century timbers and reused them.  We wanted the “work horse” genesis of the building to be maintained.  The ethos of providing an inspirational space for artist seems to have been enhanced since moving into the our updated recording facility.

COVID has been a challenge, but it’s also offered a good time to move ahead with studio expansion.

1—The attachment of the house to the studio (Breezeway), currently in progress, will provide shared space between the house and studio.
2—Converting the live room into a Carl Tatz PFS control space (shown above).  Our hope is to have that in place spring of 2021.
3—Convert the current control room to a space conducive for vocals, acoustic and electric guitars.

Next door to the studio is a century home where we have lines run underground from the living room to the control room.  We use this space for recording the hammond and occasionally vocals, any part requiring isolation.  We use closed circuit video monitors to tie the experience together so musicians in the studio have visual reference with those in the house.

Home to our Otari Mtr 90 MKII 2” 24 track tape machine

Our live room has a 12’  ceiling and measured roughly 21’ x 18’.  It’s suitable for live recording.  Inside the live room is the hammond, our drum cove, which is open to the live room, 2 lofts for storage.  In the south loft is a cabinet closet for isolating up to a 4 x 12 cabinet.  Adjacent to the live room is the vocal iso room with glass doors that open into the live room.  The front entry airlock and the back machine room airlock.

The Control Room is host to a 40x24x2 Neotek Elite recording console complemented by a Carl Tatz Design PhantomFocus monitoring System fronted by our Focal Twin6 be near-fields.