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Notes: The MKII Moth record cleaning machine is based upon the well proven and accepted record cleaner that has been available from Moth for a number of years. The MKII version of the machine allows for bi-directional operation of the turntable in both the fluid application 'Wash' cycle and in the vacuum 'Drying' phase. The vacuum tube has been modified to allow for the new two way movement and to offer a more efficient vacuum system. A full size dark acrylic lid is fitted to the MKII Moth record cleaning machine. A version of the Moth RCM MKII will be made available in the very popular Kit form, complete in all parts with the exception of the enclosure. Plans are provided for the construction of the housing from 15mm plastic laminated construction board. The Moth Record Cleaning machine will continue to be made available in its original form in both built and in Kit versions. Upgrade kits are available to allow earlier versions of the Moth RCM to be modified to MKII specification. Moth are vinyl enthusiasts and have been importing specialist recordings and Hi-Fi equipment from around the world for some ten years.

As much as we love the LP format we know from experience that it is not without its problems: it was clicks, pops, hiss and static etc. that led us to investigate imported record cleaning machines for our own collections and professional use. The results were stunning. At last the LP format reached it's full potential, freeing itself from the unseen restraints of mould release agents and general grime. Keen to share our success we quickly became the UK's biggest supplier and authority on record cleaning machines. The Moth MKII's striving to improve the specification of other manufacturers designs and lower retail costs of imported products led us to design a machine of our own from the ground up. The Moth record cleaning machine is a wet cleaning/vacuum removal device with powered turntable and drainable internal reservoir. Fluid is applied by hand to a rotating record, scrubbed, and drawn off by a high efficiency vacuum system into a drainable reservoir. The unit is housed in a 16swg. Steel enclosure and finished off by a high quality injection moulded smoked lid. The machine has been designed to be rugged enough for both the professional cleaning service and the domestic private user.

Collections of 1000+ records by enthusiasts are common, and the purchase of second hand records in large batches is increasing, as new records become less obtainable. Record cleaning machines have long been accepted as the most efficient way of cleaning and renovating vinyl LPs singles and 78's and few companies can claim to have a greater knowledge of them than Moth.

Notes: The MKII Moth record cleaning machine is based upon the well proven and accepted record cleaner that has been available from Moth for a number of years. The MKII version of the machine allows for bi-directional operation of the turntable in both the fluid application 'Wash' cycle and in the vacuum 'Drying' phase.

The vacuum tube has been modified to allow for the new 2 way movement and to offer a more efficient vacuum system. A full size dark acrylic lid is fitted to the MKII Moth record cleaning machine. The Moth record cleaning machine is a wet cleaning/vacuum removal device with powered turntable and drainable internal reservoir. Fluid is applied by hand to a rotating record, scrubbed, and drawn off by a high efficiency vacuum system into a drainable reservoir. The unit is housed in a 16swg. Steel enclosure and finished off by a high quality injection moulded smoked lid.

The machine has been designed to be rugged enough for both the professional cleaning service and the domestic private user. Collections of 1000+ records by enthusiasts are common, and the purchase of second hand records in large batches is increasing, as new records become less obtainable. Record cleaning machines have long been accepted as the most efficient way of cleaning and renovating vinyl LPs singles and 78's and few companies can claim to have a greater knowledge of them than Moth.

Notes: Waldorf are back in the game, with the mighty Blofeld keyboard. This synthesizer offers all the unique qualities that made Waldorf a truly legendary brand. The engine inside the heavy duty, full metal chassis of the Waldorf Blofeld delivers the same fat and rich sound that so many Waldorf users worldwide love when they play their Pulse, q, q+, Micro q, Microwave, Microwave ii/xt, or even the flagship wave. Yes, you've heard it right.

The Blofeld is not only capable of producing beautifully warm, organic analogue sounds known from the q synthesizer line, it also sports a wavetable engine like its predecessors with wave in their names. This unique synthesis system is based upon the revolutionary ppg Wave synthesizers of the early 80s. So when you listen to the Waldorf Blofeld for the first time, you will instantly recognize those edgy, hard-hitting and bell-like timbres that have been an integral part of so many world hits from the ppg era on, and become increasingly popular once more. In fact it is amazing to realize that nowadays this complex technology fits into such a slim and elegant device. And for a price no-one would have imagined a couple of years ago. The Blofeld has a gorgeous user interface with a huge graphic display giving you precise visual feedback. Seven endless rotaries plus a volume knob all made of steel invite you to explore the depth and power of Blofeld. Simply amazing.

Notes: Since 1954 Rodec have been known for its high quality professional mixers & amplifiers.

The Scratchbox does not disappoint. With the reputation of producing the sturdiest mixers in the world, Rodec became the standard in many fixed and mobile music systems in the entertainment industry. In 2003 they got the idea to create the ultimate scratch mixer. A team of professional scratch DJs tested every available scratch mixer on the market and Rodec's goal was to improve every available feature and component. Quality, sound, headroom and equalizer have all been maximised for the Scratchbox. After more than 2 years of development the result is the ultimate scratch mixer without unnecessary bells & whistles. Check it out.

The Rodec Scratchbox features a super smooth infinium crossfader with tension adjustment, lag control, reverse and full curve control. All 3 faders are replaceable and can be replaced with analogue or digital faders. There is a effects send return loop with a wet/dry fader for adding an effects unit and a 3 position transform switch per channel which can be configured allowing you to perform lightning double speed transform scratches.

Notes: One of the most innovative effects processors in recent times, the Restyler is the result of great collaboration between 2 high-end analogue equipment manufacturers, Rodec & Sherman. Not comparable to any existing processor, the Restyler redefines the dynamics, punch, groove and sound of your music. Essentially a combination of a filter, oscillator and dynamic processor, the Restyler is ideal for use in dj sets, yet it can add a freakish dimension to productions too, all with premium analogue sound quality.

Various controls allow you to adjust the level and frequencies at which the Restyler kicks into action. 3 independent filters can be assigned or adjusted according to your requirements, each with a fader to determine level of effect. Then, with resonance, frequency modulation, attack and make-up gain controls, audio can be manipulated to pump and excite like you've never heard before with tight frequency sweeps with hot & punchy dynamics and a smooth analogue resonance. With a selection inputs, it is compatible with all DJ mixers, audio interfaces and mixing desks, so integration into any audio set-up is guaranteed. This processor adds a uniquely creative twist you music. To label this device an effects processor would be an understatement.

A Restyler is genuinely a quite apt term.

http://www.youtube.com/watch?v=-t_LhkTKUOg&feature=player_embedded
http://www.youtube.com/watch?feature=player_embedded&v=vQtysv-DT6A

Notes: The Ultralite-mk3 Hybrid is MOTU's most compact and versatile audio interface, featuring hybrid FireWire/USB2 connectivity to your Mac or Windows computer, on-board mixing and effects, superb sound and reliable performance. As the first-ever hybrid audio interface of its kind, the UltraLite-mk3 Hybrid provides flexible and mobile operation via FireWire or Hi-speed USB2 connectivity to a Mac or PC computer, with professional audio quality at samples rates up to 192 kHz and plenty of I/O, including 2 mic/instrument inputs, 6 line-level analog inputs, 10 channels of analog output, stereo S/PDIF and a stereo headphone output.

Housed in a rugged, compact half-rack enclosure you can take anywhere, the UltraLite-mk3 Hybrid is equally well-suited for studio and stage, with or without a computer. As an interface or standalone mixer, the UltraLite-mk3 Hybrid provides 10 separate inputs and 14 separate outputs.Connect all of your studio gear, including microphones, guitars, synths, keyboards, drum machines, effects processors and even MIDI devices. Record, monitor, route and process all of these live inputs using the professional on-board CueMix FX digital mixer i with no latency and no processor strain on your computer. Apply hardware DSP-driven effects processing to inputs, outputs, and busses independent of your host computer. Add Classic Reverb with lengths up to 60 seconds. Further sculpt your sound with 7-band parametric EQ featuring filter types carefully modeled after British analog console EQs. Choose between two forms of compression: a conventional compressor and the Leveler, an accurate model of the legendary LA-2A optical compressor that provides vintage, musical automatic gain control.

The included CueMix FX cross-platform mixing software provides attractive graphic mixing, graphic editing of parametric EQ, and a convenient tabbed interface for quick access to all features in one window. Advanced signal analysis tools include a full-screen real-time FFT display, spectrogram "waterfall" display, oscilloscope, X-Y plot and linear or polar phase analysis. After programming the on-board mixing in the studio, unplug the UltraLite-mk3 Hybrid from the computer and take it on the road for operation as a stand-alone mixer with effects. All mixing and effects parameters are adjustable using the front panel backlit LCD. The UltraLite-mk3 Hybrid provides cross-platform compatibility with Mac and Windows and all of your favorite audio software and host-based effects via WDM/ASIO/Core Audio drivers. Or you can use the included AudioDesk workstation software for Mac, with 24bit recording/editing and 32-bit mixing/processing/mastering.

Notes: As a hybrid audio interface, the 828mk3 provides flexible connectivity to any Mac or PC via FireWire or high-speed USB 2.0, with 10 channels of pristine 192 kHz analog recording and playback, combined with 16 channels of ADAT digital I/O and stereo S/PDIF. Expand your system by connecting additional MOTU audio interfaces or the 8pre mic input expander.

The 828mk3 is equally well-suited for studio and stage, with or without a computer. As an interface or standalone mixer, the 828mk3 provides 28 separate inputs and 30 separate outputs, including dedicated main outs on XLRs and two front panel headphone outs.

Connect all of your studio gear, including microphones, guitars, synths, keyboards, drum machines and even effects processors. Record, monitor, route and process all of these live inputs using the professional on-board CueMix FX digital mixer, with no latency and no processor strain on your computer. Apply hardware DSP-driven compression, EQ and reverb to every input and output, independent of your host computer. When recording from the mic/guitar inputs, the 828mk3's signal overload protection gives you an extra 12 dB of headroom above zero with no digital clipping or harsh artifacts.

Analyze and scope your audio with advanced diagnostic tools, including a full-screen real-time FFT display, spectrogram waterfall display, full-featured oscilloscope, X-Y plot, and linear/polar phase analysis graphs.

After programming the on-board mixing in the studio, unplug the 828mk3 from the computer and take it on the road for operation as a stand-alone mixer with effects. All mixing and effects parameters are adjustable using the front panel backlit LCD.

The 828mk3 provides cross-platform compatibility with Mac and Windows and all of your favorite audio software and host-based effects via WDM/ASIO/Core Audio drivers. Or you can use the included AudioDesk workstation software for Mac, with 24bit recording/editing and 32bit mixing/processing/mastering.

Notes: Back in the 90s, Mackie's HR series studio reference monitors revolutionised studio monitoring. With incredible sound quality and affordability, they earned a wide and loyal following, fast became the industry standard. It was through Mackie's innovation and commitment to great sound, that Mackie managed to redefine the studio monitor. With that same ingenuity at work, Mackie have reinvented HR series to bring you the HRMK2 High Resolution Studio Reference Monitors.

The HRMK2 surpass the legendary performance of Mackie's classic HRs to deliver even better sound quality, in a stunning new package. The precisely engineered contours of the cast aluminum Zero Edge Baffle minimize diffraction for a crystal clear image of your mix, and control sound waves so you get detailed lows, full, articulate mids and shimmering highs whether you're on axis or off. Working in concert with the baffle's contours, the unique passive radiator design delivers astonishing bass extension that's super-tight and always distortion-free. Wide, even dispersion of all frequencies, as well as incredible depth of field, allow you to accurately hear your mix, transforming your studio's sweet spot into a full-on sweet zone. Also the high-gloss piano black wood cabinet not only looks hot, but adds just enough warmth so your sound is true, not sterile.

Mackie's HRMK2s were created with high definition audio in mind. With such unbelievable sound quality, there's little wonder why the HRMK2 series was approved for THX pm3 compliance on its initial trial. THX pm3 certification means that the HRMK2s have met the stringent standards set by THX Ltd. for outstanding performance, and that these monitors can be used with confidence by anyone seeking THX certification for their studio, or striving to maintain THX standards.

Building on and evolving from our classic HR monitors legacy of excellence, HRMK2s deliver superior performance and design, making them a truly pro monitoring solution for today's studio.

Notes: The compact RME Fireface UC has been uncompromisingly optimized for highest performance under Windows and Mac OS. Based on a newly developed RME Hammerfall core, the Fireface UC audio interface provides revolutionary ultra-low latencies even with multiple channels. It uses two different firmware versions with different transfer methods to remove current restrictions of typical USB audio interfaces. The unit's operating mode Win or Mac can be changed directly at the unit at any time. Under Mac OS, the Fireface's MIDI ports are class compliant, the operating system therefore automatically uses the included MIDI driver.

Under both operating systems, the available latencies are simply sensational. The smallest buffer offered under Windows has 48 samples, under Mac OS X 14 samples. With this RME provides a performance comparable to PCI express interfaces under USB 2.0.

Notes: It was through Mackie's innovation and commitment to great sound, that Mackie managed to redefine the studio monitor. With high ingenuity at work, Mackie have reinvented their HR series to bring you the new HR624mk2 high resolution active studio reference monitor.

The HR624mk2 delivers better sound quality in a stunning new package. The precisely engineered contours of the cast aluminum Zero Edge Baffle minimize diffraction for a crystal clear image of your mix and control sound waves so you get detailed lows, full and articulate mids as well as shimmering highs whether you're on axis or off. Working in concert with the baffle's contours, the unique passive radiator design delivers astonishing bass extension that''s super-tight and always distortion-free. Wide, even dispersion of all frequencies as well as incredible depth of field allow you to accurately hear your mix, transforming your studio's sweet spot into a full-on sweet zone. In addition, the high-gloss piano black wood cabinet not only looks hot, but also adds just enough warmth so your sound is true, not sterile.

The Mackie HR624mk2 was created with high definition audio in mind with such unbelievable sound quality, there's little wonder why the HR624mk2 was approved for THX pm3 compliance on its initial trial. THX pm3 certification means that the HR624mk2 has met the stringent standards set by THX for outstanding performance and that this monitor can be used with confidence by anyone seeking THX certification for their studio or striving to maintain THX standards.

The Mackie HR624mk2 delivers superior performance and design, making itself a truly pro monitoring solution for today's studio.

Notes: The MOTU 896mk3 audio interface delivers advanced design, high-end performance, superb sound and universal hybrid FireWire/USB 2.0 connectivity to your Mac or Windows computer.

As a hybrid audio interface, the 896mk3 provides flexible connectivity to any Mac or PC via FireWire or high-speed USB 2.0, with 8 channels of pristine 24bit/192 kHz analog recording and playback, combined with 16 channels of optical digital I/O, stereo AES/EBU, S/PDIF and separate analog main outs. Expand your system by connecting the 8pre mic input expander or other MOTU audio interfaces.

As an interface or standalone mixer, the 896mk3 provides 28 separate inputs and 32 separate outputs, including dedicated main outputs on XLRs and 2 front panel headphone outputs. Connect all of your studio gear, including microphones, guitars, synths, keyboards, drum machines and even effects processors. Record, monitor, route and process all of these live inputs using the professional on-board CueMix FX digital mixer, with no latency and no processor strain on your computer.

Apply hardware DSP-driven effects processing to inputs, outputs and busses independent of your host computer. Add classic reverb with lengths up to 60 seconds. Further sculpt your sound with 7-band parametric EQ featuring filter types carefully modeled after British analog console EQs. Choose between 2 forms of compression: a conventional compressor and the leveler, an accurate model of the legendary LA-2A optical compressor that provides vintage, musical automatic gain control.

Notes: The Minitaurr is an inconspicuously compact, subharmonic bass machine designed to effortlessly integrate into any performance and computer-based music solution. Just as its progenitors, the Minitaur effortlessly does one thing above all others... wall splitting analog BASS.

For over 40 years, the Moog Taurus has been the secret weapon of artists and producers around the globe for generating earth-shaking bass.

The Minitaur is the newest addition to the Taurus family of Analog Bass Synthesizers. It is an inconspicuously compact, subharmonic bass machine designed to integrate seamlessly into any performance or computer-based music workflow . Just as its progenitors, the Minitaur effortlessly does one thing above all others... wall splitting analog BASS.

The solid steel enclosure of the Minitaur is deceptively simple - offering immediate access to critical sound design and performance controls only. This makes Minitaur extremely fast and easy to use--but just under the surface lies a vast expanse of dynamic and inspirational power that is instantly accessible from almost any laptop or MIDI controller.

The free Minitaur Editor software truly unlocks Minitaur's power and flexibility by making DAW integration and control completely seamless on both Mac and Windows machines. Load and save up to 128 presets onto your Minitaur, select from 6 different modulation waveshapes , engage Hard Sync, access full ADSR envelopes, MIDI sync the LFO, reset oscillator waveform cycles, polychain with other Moog synthesizers and more. Every feature can be manipulated, automated and recalled instantly.

Minitaur v2.2
The new Minitaur v2.2 update expands this powerful analog bass synthesizer with a host of new performance elements and user requested features, including front-panel access to new LFO wave-shapes, oscillator hard-sync and much more--and Minitaur's new Librarian/Editor Software makes DAW integration seamless between your synthesizer and Mac or Windows machine.

SPECS
SOUND ENGINE
Analog
PRESETS
128 Presets
POLYPHONY
Monophonic (Can be poly-chained)
EXTERNAL CONTROLLER RESPONSE
Keyboard, Pitch Bend, Mod Wheel, After Pressure and Velocity
SOUND SOURCES
2 Waveshape Oscillators with Square and Saw waveshapes

Notes: ***B-STOCK: Box opened, product in perfect working order***


The Minitaur is a compact analog bass synthesizer that features a classic one knob per function layout. It is the first instrument in the Taurus family that does not have foot pedals.

The Minitaur has all the growl, snarl and body associated with the Taurus family of bass synthesizers. Moog are really excited to be able to offer this in such a compact package that is both immediately playable as an extremely versatile analog synth and also integrates seamlessly into the world of MIDI and USB control environments, says Cyril Lance, Chief Engineer of Moog Music.

The Taurus Bass Pedals enjoy a nearly 40-year history and have made a seismic impact in the music world since their introduction in the mid-Seventies. The Taurus opened up so many possibilities for me, it also opened up a whole way of looking at what I do, says Geddy Lee, of the multi-platinum band Rush.

In 2009, Moog Music released the Taurus 3 Bass Pedals, a modern reinterpretation of the classic Taurus Bass Pedals. The Taurus 3 is currently used by artists such as The Black Keys, Animal Collective, Jean Michel Jarre, Yes, Weezer, Rush and The Dave Matthews Band.

Since the inception of Moog Music, Bob Moog tested his ideas, instruments and sounds on musicians as a key part of the product development process. In keeping with this tradition, Minitaur has been presented to a broad array of producers, artists and songwriters including Geddy Lee of Rush, techno legend Derrick May, Flying Lotus, Moby, the renowned record producer Nick Raskulinecz as a part of the final product development process. The enthusiastic response from these artists marks the beginning of the next generation in the Taurus Bass Synthesizer line.

In keeping with this tradition, Minitaur has been presented to a broad array of producers, artists and songwriters including Geddy Lee of Rush, techno legend Derrick May, Flying Lotus, Moby, Holy F*ck and renowned record producer Nick Raskulinecz as a part of the final product development process. The enthusiastic response from these artists marks the beginning of the next generation in the Taurus Bass Synthesizer line.

Notes: The ZED-12FX is ideal for groups who need to travel light. Even with its small footprint, the 12FX squeezes in 4 auxiliary channels and swept semi-parametric EQ on top of the already impressive feature set including configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED-12FX is super-flexible and super-easy. No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it.

USB AUDIO FLEXIBILITY
Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

RETURN OPTIONS
1) To Stereo 3 channel

MUSIQ
ZED-12FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

ZED-12FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Our DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point - this quality and integration is only available from the ZED-FX. ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing - in fact, it's just as easy as using effects pedals. To alter effects parameters, the TAP button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on PLATE, or the depth on CHORUS.

Based on the proven pre-amps from the hugely successful PA series, ZED-12FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a
higher input impedance.

Notes: The Rode K2 is the result of designing and building 1000's of valve microphones.

The K2's HF-1 capsule is the pinnacle of transducer technology. The sound quality combines modern high-end specifications with the character and subtleties of the legendary 50's mics. Infinitely variable control of the K2's polar patterns provides the freedom and flexibility to excel in any recording situation. The K2 is another example of Rode's commitment to building quality studio microphones to meet the exacting standards demanded by today's professionals.

Notes: The Avantone MixCubes are shielded, full-range mini reference monitors. Their design is inspired by the legacy of the 5C Sound Cubes used in virtually all-major studios for the last 25 years.

Studios primarily use 2-way & 3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of high definition audio, there is still a need to also hear what your mix will sound like when played back over small bass-challenged systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R&D comparative listening & tweaking went into the voicing of the Avantone MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character.

The original 5C Sound Cubes were made of 1/2" particleboard covered with a glue-on wood grain contact paper. Avantone chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. Avantone started with a 165mm (6 1/2") sealed cube design with radiused edges. Avantone then chose an elegant polyurethane high gloss retro-cream finish. The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. Avantone upgraded to high-end nickel plated, machined solid metal binding posts (dual banana spacing) mounted on a black anodized, milled and silk-screened aluminum terminal plate. Next Avantone added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, Avantone recessed an industry standard 5/8"-27 mic stand mount into the base.

The originals were a basic 5" stamped frame design. Avantone designed a proprietary 5.25" die cast aluminum frame driver/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designed & crafted using the finest New Zealand pulp with mica fibers added for lighter weight & rigidity. The cloth surround is made in Japan to exacting uniform thickness tolerances. The top plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 grade (MIL-spec) yielding a 43oz. High power-low distortion motor structure.

Avantone designed the amp module from the ground up to be a true professional-grade amplifier. It incorporates overkill concepts in component selection as well as safety. The result is a no-compromise amp with robust headroom characteristics that will rival the performance of much higher priced studio rack mount amps.

Notes: The MOTU Track16 is a 16x14, FireWire/USB 2.0 studio interface with a compact desktop form factor. It offers a range of inputs and outputs, as well as effects, mixing, and monitoring. It's equipped with 8 channels of analog ins and outs including mic, line, and high-impedance instrument inputs. The analog connectors come on a 44" breakout cable, which gives you flexibility for setup and connections (an optional breakout box is also available). For digital I/O, the unit's optical ports support either eight channels of ADAT, 4 channels of SMUX optical, or 2 channels of TOSlink. MIDI in and Out jacks are also included.

Housed in a durable aluminum-alloy chassis, the Track16 supports professional-quality 24bit recording at sampling rates up to 192 kHz, and is designed with a simple and intuitive user interface. The large knob in the center of the unit can be set to control levels for any of the inputs or outputs with just a single tap on one of the front panel buttons. User-assignable LED meters make it easy to see levels from any of the units inputs or outputs.

The Track16 gives you the choice of either USB 2.0 or FireWire connection. If you choose the latter, the unit can be powered via the FireWire bus. The Track16 is compatible with Mac OS X and Windows 7/Vista, as well as any audio software that supports WDM, ASIO, and Core Audio.

The included MOTU CueMix FX software gives you low-latency hardware monitoring, and lets you create up to eight separate monitor mixes. You get reverb, modeled analog EQ, and modeled vintage compression, all of which can be used strictly for the monitor mix or printed into your host software. Talkback and Listenback features make it easy to communicate from the control room to musicians in the live room. CueMix FX also offers comprehensive metering for all the inputs and outputs.

Notes: The MX2200 is the absolute newcomer of the new Rodec Progressive series. It is built up in an identical manner as all other Progressive Range models, but with a different approach as to the specific demands of the set-up.

This Rodec progressive range raises Rodec's sound quality to the highest level of immaculate studio sound. The core philosophy of solid construction, reliability, modular design and the unique Rodec analogue sound all feature in the progressive range.

The Rodec brand stands for the highest quality in audio today, designed and manufactured in Belgium, Europe.

High connectivity and sheer performance make the MX2200 the ideal choice for large club installation, festivals, events & sound professionals world wide.

Notes: Introducing the new Waldorf Blofeld keyboard synthesizer.

The little villain grows up. Not only on the outside did he gain weight, also his inner qualities have seen a remarkable step-up: besides the virtual-analog synth and the classic wavetables it now sports a whopping 60 megabytes of sample memory.

Just imagine adding a vocal-like noise spectrum to a typical Wavetable pad, spice-up a virtual-analog solo sound with a strong attack sample or just process any other sample with the countless oscillator and filter modulations.

Play your sound creations on the high-quality keyboard with velocity and aftertouch. Pitchbend and modulation wheel are at your disposal and, as a matter of course, you can connect a sustain pedal.

All this is packaged in a sleek metal enclosure with a big graphic display, endless stainless steel rotaries and an internal power supply.

And although it comes for an unbeatable price tag, Waldorf add something very special.

Notes: Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, TimeFactor fits on your pedalboard or in your gigbag.

Top recording studios worldwide use Eventide effects on hit after hit. The TimeFactor includes Eventide's best delay effects from the last 39 years without compromising quality or flexibility.

Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.

Easy to upgrade; download new software from the Internet and install via USB.

Notes: Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, the ModFactor fits on your pedalboard or in your gigbag.

Premier recording studios worldwide use Eventide on hit after hit. The ModFactor features Eventide's 29 best modulation effects without compromising quality or flexibility.

Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.

Easy to upgrade; download new software from the Internet and install via USB.

29 of Eventide's signature stereo or mono effects:
Liquid chorus
Shimmer chorus
Organic chorus
Classic chorus
Negative phaser
Postive phaser
BiPhase phaser
Feedback phaser
PhaseX0 phaser
WahWah Q-Wah
Voc-Wah Q-Wah
Positive flanger
Negative flanger
Jet flanger
Thru-o flanger
Lowpass modfilter
HiPass modfilter
BandPass modfilter
Standard rotary
Giant rotary
Bias tremolo
Opto tremolo
Modern vibrato
Vintage vibrato
Retro vibrato
Pitch undulator.
Feedback Undulator
Ring (DC) Ringmod
String (AC) Ringmod
Studio quality sound

Notes: Never before has there been a more dazzling collection of reverb algorithms combined with delays, pitch shifting, tremolo, modulation, and special effects in such a compact and affordable package.

The Space features 12 of Eventide's signature reverb combination effects culled from the H8000FW and the Eclipse V4 along with some startling new magic. The Space includes 100 x presets, including presets crafted by Flood and Alan Moulder (The Killers, Nine Inch Nails, Smashing Pumpkins, My Bloody Valentine, 30 Seconds to Mars, PJ Harvey and Them Crooked Vultures), Justin Meldal-Johnsen (Beck, Nine Inch Nails), Richard Devine (sound designer, synthesist, performer, remixer), Vernon Reid (Living Colour), Amedeo Pace (Blonde Redhead), Alex Somers and Jonsi Birgisson (Jonsi and Alex, Sigur Ros), Amadeo Pace (Blonde Redhead) and John Agnello (Patti Smith, Sonic Youth, Dinosaur Jr., and Kurt Vile). These unique effects, previously available only in Eventide rack processors, are now available in a compact, roadworthy package. Never before has there been a more dazzling collection of reverb algorithms combined with delays, pitch shifting, tremolo, modulation, and spatial effects in such a compact and affordable package.

12 of Eventide's signature Reverb Combo Algorithms:
Room
Plate
Spring
Hall
Reverse
Shimmer
ModEchoVerb
DualVerb
Blackhole
MangledVerb
TremoloVerb
DynaVerb.

Notes: Responding to growing demand, AKG decided to make the C 451 B with the same acoustic performance as the popular original C 451 EB + CK 1, with dramatically improved specifications. Using an extremely light diaphragm, the new C 451 B is almost totally insensitive to handling noise. ideal for capturing high frequency content and fast transients such as those on acoustic guitars or overheads. Other features include an all-metal body for excellent protection from RF interference and high reliability for excellent results under almost all conditions.

The AKG C451 B/ST is a matched stereo pair of C 451 B/ST with complete accessories in a carrying case (Soundtool case, middle size).

Notes: One of our favourite small live/studio mixers, shown here in 16-channel form with built-in digital effects. Clean sound, decent three-band semi-parametric EQ and built-in audio interface. Very impressive.

Supplier notes:
The ZED-16FX is ideal for groups who need to travel light. It gives musicians, venues and hire companies access to 10 full mono channels, 3 stereo channels and a high quality effects unit in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on the ZED is super-flexible and super-easy: No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your Zed, select the USB routing on the mixer and the device on your computer and that's it. CD quality audio to and from your PC or Mac.

The ZED-16FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ, with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, the ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge, 69dB of range to be exact, and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

The ZED-16FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Allen & Heath's DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point, this quality and integration is only available from the ZED-FX. The ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing, in fact, it's just as easy as using effects pedals. To alter effects parameters, the Tap button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on Plate Reverb, or the depth on Chorus.

Based on the proven pre-amps from the hugely successful PA series, ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: The SCX25A is a professional studio condenser microphone with an elegant design and a patented capsule suspension system. Uniquely shock-mounted within an intricate machined brass ring, the capsule is completely isolated from the mic body and electronics. By successfully minimizing acoustic reflections and diffractions, the SCX25A delivers a pure, open air sound with exceptional detail and realism.

The SCX25A is consistent when responding to on and off-axis signals. This mic exhibits outstanding phase coherence and minimal proximity effect. With a wide cardioid polar pattern, the SCX25A enables the sound engineer to blend the sound of the instrument or vocal with the sound of the room. The SCX25A will handle SPLs in excess of 135 dB and provides up to 20 dB of ambient noise rejection.

The SCX25A is perfectly suited to capture the sound of acoustic instruments such as pianos, guitars, vibes, woodwinds, brass, percussion toys, drums, orchestra and symphony sections.
Supplied accessories include heavy duty snap to fit nylon clip and foam lined wood case.

http://vimeo.com/42589077

Notes: The Tascam SSR100 Solid State Recorder serves up an impressive set of recording and playback features in a compact single-rack unit that's great for installations. Whether you're recording important meetings, capturing audio in your house of worship, or want a great solution for live performances, the SSR100 gives you the flexibility you need. This unit records in WAV or MP3 formats. You get unbalanced RCA inputs & outputs, as well as S/PDIF or AES/EBU coaxial digital ins and outs. Get high-quality results when you record with the SSR100.

Notes: Live or in the studio, the ZED60-14FX is a compact, portable mixer that is ideal for small bands.

This mixer is a guitarist's dream. Two of the 8 mono channels have high impedance jack inputs that can take a normal line level or a low level input from a guitar pickup, so guitars can be plugged straight into the mixer without the need for DI boxes. These inputs have been crafted to recreate the sound of a classic tube preamp in a combo or head amp for incredible definition and warmth. Two stereo inputs are provided for MP3/CD players or keyboards.

The ZED60-14FX comes with a configurable USB audio in/out, making it easy to capture a stereo recording at the gig or in the studio. The mixer is also equipped with professional XLR main stereo outputs, a flexible monitoring section with headphone and speaker feed outputs and 16 stunning FX.

Most important of all, the ZED60-14FX lives up to the audio and build quality standards that have made Allen & Heath one of the most trusted names in professional audio for more than 40 years.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS:
1) Main Mix Left + Right (Post master Level)

2) Aux + FX bus (Aux is a pre-fade send, FX is a post-fade send)

3) Record Bus Left + Right (Separate stereo bus to Main Mix)

RETURN OPTIONS:
1) To Playback input (through jack socket break contacts)

2) To Stereo 2 channel (through jack socket break contacts)

ZED60-14FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

ZED60-14FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Our DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point - this quality and integration is only available from the ZED-FX. ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing - in fact, it's just as easy as using effects pedals. To alter effects parameters, the TAP button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on PLATE, or the depth on CHORUS.

ZED60-14FX's pre-amps are similar in design to our MixWizard range of mixers, but with a twist! Inputs 7 & 8 have a high impedance jack input capable of taking either a normal line level or a low level input from a guitar pickup. These newly designed inputs have been crafted with the aim of replicating the sound of a classic guitar or instrument tube pre-amp in a combo or head amp. An extremely high input impedance ensures loading on pick-ups is minimal and a Class A FET (field effect transistor) circuit powered from 48V is employed to give the valve-like gain stage. There is a gain "Boost" switch associated with the guitar inputs which boosts gain by 26dB to cater for instruments with very low level outputs and the overdrive characteristics of the guitar inputs are very similar to a valve (tube) circuit, being asymmetric and soft. All this makes for a wonderfully natural sound to be reproduced from the instrument, full of warmth and character.

Notes: Korg's MS-20 monophonic synthesizer, first introduced in 1978, is still a coveted instrument to this day, thanks to its thick, robust sound, its powerful, iconic analog filter, and its versatile patching options. Over 300,000 people have enjoyed the distinct MS-20 sounds from the original, from Korg's MS-20 plugin synth, or the iMS-20 iPad app.

Today, the sounds of the MS-20 have been reborn in hardware, as the MS-20 Mini. The same engineers who developed the original MS-20 have perfectly reproduced its circuitry and fit into a body that's been shrunk to 86% of the original size, yet retains the distinctive look of the original.

The MS-20 mini will amaze you with its absolutely authentic analog synth sound.

The Korg MS-20 Mini features 2 improved lower noise voltage controlled oscillators with selectable waveforms including ring modulation and noise, 2 voltage controlled high and low pass filters, 2 voltage controlled amplifiers, 2 envelope generators and an LFO. Part of the appeal of the original was its self oscillating, resonant filters that could be driven into distortion. They remain popular to this day and can also be found in the recent monotron and monotribe units as well as on the new MS-20 Mini.

Part of the versatility of the original Korg MS-20 was its flexible patching system, making it semi modular, and this has been recreated for the MS-20 Mini. It allows users to create uniquely complex, evolving, organic sounds by using patch cables to access and change the internal synth architecture, with the front panel flow chart guiding easy operation straight out of the box. Users can even patch external sources via the external signal processor to be processed in the same way as an oscillator, as well as benefitting from the rich harmonics added by the circuitry and filters.

This reissue of a modern classic will be an extremely welcome addition to Korg's current synth line and, with fantastic sound, versatility and ease of use, the MS-20 Mini is sure to win over many fans old and new.

Notes: The Genelec 8040BPM studio monitor is a major upgrade from their 8040A model, adding ISS power management to an already amazing nearfield monitor. Boasting performance comparable to much larger systems, but in a compact package, the bi-amplified Genelec 8040BPM is ideal for use in many situations where a wide frequency response is needed but space is limited. Whether you're building your project studio, outfitting your mobile rig, or upgrading your editing suite, you're going to be glad you chose the Genelec 8040BPM studio monitors.

The 8040BPM features Genelec's MDE (Minimum Diffraction Enclosure) with rounded edges and gently curved front and sides. This allows the 8040BPM to achieve a very smooth frequency response and superb imaging qualities with minimised cabinet edge diffraction.

Like all Genelec 8000 Series monitors, the 8040BPM also features the advanced Genelec DCW (Directivity Control Waveguide). The revolutionary DCW has been further enhanced to provide extremely accurate control of the 8040BPM's directivity. Genelec designed this specially shaped, very smooth surface and integrated it with the enclosure. Its area has been maximised to achieve an astoundingly flat on- and off axis frequency response. As a result, the 8040BPM has an astoundingly wide, flat frequency response both on and off axis. This also gives the 8040BPM superb imaging qualities and reduces listening fatigue.

To increase the 8040BPM woofer's low frequency extension and SPL capacity, Genelec designed an ingenious flow optimised reflex port. The long, curved tube maximises airflow, so the 8040BPM can reproduce deep bass without compression. The tube terminates with a wide flare, minimising port noises and providing excellent bass articulation. An optimised die cast aluminium structure with extremely durable semi matte finish and acoustically optimised metal grilles add to the 8040BPM's acoustic excellence.

Genelec's low distortion drivers (6.5" bass speakers and 3/4" metal dome tweeters) are driven by the 8040BPM's dedicated 90 watt bass and treble amplifiers after sophisticated filtering. Magnetic shielding, overload protection circuitry, and versatile room response controls are standard.

Thanks to Genelec's ISS (Intelligent Signal Sensing) power management system, you never have to remember to shut down your 8040BPM monitors again. ISS constantly checks for input signal. After a while, if ISS doesn't detect anything, it switches your 8040BPM over to a low power sleep state, safeguarding your gear and sparing you the wasted electricity.

The versatile mounting features on the 8040BPM include integrated rear support points for wall and floor stands plus a further M10 thread for mounting on the cabinet base. In addition, every Genelec 8040BPM monitor comes with a standard IsoPod (Isolation Positioner/Decoupler). The IsoPod is a clever mounting stand, which allows the 8040BPM to perform in either the vertical or horizontal position. The IsoPod also enables the acoustic axis of the monitor to be aimed at the listener while acoustically and mechanically decoupling the monitor from the surface it is resting on.

Notes: Boasting performance comparable to much larger systems, but in a compact package, the biamplified Genelec 8040B WM is ideal for use in many situations where a wide frequency response is needed but space is limited. Uses include nearfield monitoring, project/home studios, workstations, broadcast and TV control rooms and mobile production vehicles.

The ingenious, flow optimised, reflex port achieves clear deep bass articulation with no compression or port noises. Combined with the advanced Genelec DCW (Directivity Control Waveguide) and the rounded edges and gently curved front and sides of the MDE (Minimum Diffraction Enclosure), the result is an astoundingly wide, flat frequency response both on and off axis. Other benefits include superb imaging qualities and less listening fatigue.

Carefully designed crossover filters with steep roll off feed dedicated amplifiers for each of the low distortion drivers. The 8040B WM includes magnetic shielding, overload protection circuitry and versatile room response controls as standard.

Each 8040B WM comes with an Iso-Pod (Isolation Positioner/Decoupler) which eliminates coloration of the sound by decoupling the monitor from its mounting surface. The Iso-Pod also allows the speaker to be angled so that its acoustic axis points directly at the listener. For ideal mounting in differing environments, the 8040B WM includes integrated rear support points for floor and wall stands, with an additional M10 threaded mounting hole on the enclosure base.

Genelec's ISS (Intelligent Signal Sensing) feature, reduces power consumption to less than 0.5 watts by automatically switching the active monitor to standby, when no audio signal has been detected for some time. When it receives an audio signal again, the loudspeaker turns back on. ISS is fully compliant with the latest EU requirements and the ErP 2013 Directive for electronic devices.

Notes: Do you need to hear a tight and full frequency bass in your mixes but don't want to invest in a subwoofer just yet? Then the SC208 is probably for you. It's the largest in eve audio's two way system series, starting with the smaller SC204.

It features the same ease of use and detailed timbre reproduction of all other two way monitors. But with a larger woofer and more powerful amplifiers, the SC208 will probably be used as a main speaker in a lot of professional and home studios.

If you're looking for a capable and detailed set of above average size monitors try the SC208. You will probably be surprised!

With the SC208, you will be able to extend your bass frequency response down to 36Hz. Our custom made 8" SilverCone woofer driven by Eve audio's 1.5" voice coil will guarantee that you will not run out of bass response when it comes to the critical listening and comparison of your mixes. The result is a very tight and dynamic bass, along with the usual greater linear excursion provided in every other Eve Audio model.

Eve audio's PWM amplifier, with protection limiting, is able to deliver a short term output power of 150W for a maximum output level of 112dB (SPL @ 1m). So you can be sure that there will be plenty of power to make critical and precise judgements over your mixes.

The SC208 also uses our proprietary AMT (Air Motion Transformer) RS2. The RS2 stands for Ribbon System 2, meaning it has a bigger front plate and a larger magnet driving the motion with the utmost efficiency.

As with every other Eve Audio speaker, you get both balanced XLR inputs and unbalanced RCA inputs for greater convenience.

With every Eve Audio speaker, you also get high resolution DSP electronics. One push knob operation and you will have access to accurate volume control and several different filter settings that will help you tailor your monitors to the way you work.

If you always avoid digital processing, we've got you covered. The DSP engine is supported with a high quality A/D converter from Burr-Brown, which delivers a pristine signal to the DSP section. And since the PWM amplifiers are directly connected to the DSP, no additional conversion is necessary. Please visit The Eve audio DSP page to learn more about their DSP philosophy - (http://www.eve-audio.com/index.php?page=dsp).

It's all in the geometry. One of the downsides of port compression is bass distortion. As you turn up the volume, the efficiency of the port reduces and distortion will increase. Eve audio have opted for a large rear rectangular port with no hard edges for our bass port designs. That's one of the reasons their monitors have a high efficiency on the lower frequencies.

The results are high sound pressures with tight and punchy bass frequencies that don't cause port distortion. Crank up the volume, and Eve will deliver a round bass. And with no holes to look at every time you glance at your speakers.

Notes: The DA-3000 is perfectly designed for stereo PCM/DSD recordings at high sampling frequencies suitable for archival masters. This magnificent unit is capable of recording analog and digital signals up to 192kHz PCM or 5.6MHz DSD. The unit records to both SDHC cards and UDMA supported CF cards.

The variety of inputs and outputs enable connection with all types of studio equipment, including audio interfaces and mic preamps. The analog inputs and outputs include both XLR and RCA jacks. The digital connections include S/PDIF RCA coaxial and XLR jacks to support AES/EBU. The BNC SDIF-3 inputs and outputs support DSD digital connections.

With the goal of making a high-quality audio recorder and ADDA converter easy to use, we designed the front panel with all of the necessary external controls and included long, brightly lit meters and display. The 128x64 OEL display allows you to check necessary information quickly, and the 24 dot level meters allows you to confidently monitor levels at all times.

You can synchronize the operation of multiple DA-3000 units by interconnecting their digital inputs and outputs. Files that have been recorded in sync will have sample-level synchronization as well. In addition to stereo DSD recording of Jazz and classical music, this also makes simple DSD multitrack recording of bands possible.

Use of a dual mono structure for the output circuit eliminates interference between the left and right channels and achieves high audio quality by maximizing the performance of the components. Two high quality mono circuits are built into the unit. The left/right channels each use one highly-acclaimed BurrBrown PCM1795 D/A converter chip.
The TASCAM DA-45HR, which is still used in many studios, uses a dual mono structure with NE5532 ope amps and BurrBrown D/A converters. By using an equivalent output circuit structure including DA converters of even higher quality that support DSD, the DA-3000 provides a portable high-quality monitoring system.

The internal circuit uses a fully-balanced structure that is completely resistant to noise from the inputs and outputs. This has a great effect on the output and input stage impacting the recorded audio. The input audio is digitalized by the BurrBrown PCM4202 ADC after it passes through the analog input circuit.

Operational amplifiers have a great impact on audio quality, so we carefully selected the NJM2114 and NE5532. In addition, we selected low-impedance capacitors featuring low resistance, low noise and high precision to emphasize audio quality.

In order to assure high-quality audio input and output, a stable power supply is indispensable. The EI core transformer incorporated into this unit has separate coils - one for the digital circuits and control panels and one for the analog circuits - making it possible to capture even higher-quality signals by suppressing noise. In addition, for the clock generator, we have used a temperature-compensated crystal oscillator (TCXO) that boasts 1-ppm precision.

Cooling fans inside equipment generate noise and can cause loss of accuracy when monitoring at low volume levels. With the DA-3000, we have achieved high performance in a fanless design, allowing you to maintain a comfortable monitoring environment that is free of fan noise.

Notes: Each generation of VLZ mixers benefits from a reinvestment in performance, all without raising prices. By continuing to ignore the "race to the bottom," VLZ4 benefits from generations of performance improvements like transparent EQ, class-leading negative summing bus architecture and custom-designed op-amps to ensure signal integrity from every input to every output. The result is a mixer that is at the peak of performance and is the obvious go-to compact analog mixer for engineers who demand professional results.

The performance of Mackie's Onyx mic preamps is more than proven. Just check all the amazing reviews and customer testimonials. Their boutique quality sound and unmatched performance rival any high priced, boutique preamp on the market. Adding these flagship preamps to our VLZ4 Series compact mixers underlines our commitment to continually improving the performance of the VLZ line with each generation.

The VLZ4 design goal was simple: every VLZ4 mixer must have the highest headroom and lowest noise possible. Strict attention to component quality and tolerances has led to innovations like our custom M80 op-amps and class leading negative summing bus architecture that add yet another level of assurance that a Mackie VLZ4 mixer is the right choice for your professional audio application.

Mackie VLZ mixers are truly built like a tank. From beer spills to drops from moving vehicles, the testimonials are as endless as the applications Mackie mixers serve. The VLZ4 series is certainly no exception. With a nearly indestructible steel wrap around chassis and features like grime resistant rotary sealed pots, you can be sure that buying a Mackie VLZ4 mixer is a solid investment.
VLZ4's new black powder coat finish, cockpit inspired controls and high contrast knobs not only optimise your mixer's usability in low light scenarios, it also means your mixer looks as good as it performs.

Mackie's VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra compact 402VLZ4 for desktop applications to the tour friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs

Notes: Offering sophisticated EQ, crossover, dynamics processing and system protection, the Mackie SP260 2x6 Speaker Processor provides complete system optimization for both passive and powered systems. Five different operating modes cover a wide range of systems. Each input and output is loaded with a huge range of processing including flexible EQ, crossover, delay and limiting solutions. It delivers everything you need to professionally optimize loudspeaker systems of nearly any size. The SP260 utilizes high-end 24-bit AKMr AD/DA converters with 120dB dynamic range for class-leading sound quality. With 24 user-definable presets and flexible I/O for simple routing and configuration, the SP260 is an ultra-flexible processor, ideal for a wide range of portable and permanent applications.

The Mackie SP260 has two inputs that instantly connect your mix into a whole host of processing and routing capabilities. Your input signal will never be the same. It will be better thanks to the SP260. Each input features a mute switch and variable gain control. Now, you can easily control the whole system regardless of how many boxes you have. Turn these down and the entire system turns down. Easy, right? But, that's just where it starts. The Mackie SP260 features 5-band EQ on both inputs. You can choose between parametric or hi/lo shelving, providing an extremely flexible approach to room tuning that is sure to please any professional engineer. There's even a 600ms delay available on each input. This is great when using multiple Mackie SP260s to drive delay stacks in really big venues. Or, you could go crazy and time align the stage with the main speakers. No one is watching and I am sure it will make all the difference in the world. If you are like us, this is what you would be doing.

There are six individual outputs on the Mackie SP260 providing a wide range of possible connections, depending on your system. To start, each output features a mute switch and individual gain adjustment. This allows you to turn up the subs for a bit of more low end or get a little more volume to another zone without having to walk out and adjust the power amps.

Each output also features a dedicated 7-band EQ, complete with selectable parametric or shelving control per band. This feature is critical for properly voicing a loudspeaker for the program material being presented or for the venue it is in. Adjusting the voicing with this comprehensive EQ control allows you dial in the perfect response curve for the system and application at hand.

Notes: Stereo spring reverberation for highest standards

Stereo and more
Our DSR-3, Dual Spring Reverb, was developed to deliver stereophonic spring reverberation for professional users. Furthermore, we couldn't resist adding creative potential to the unit by including additional operating modes for parallel and serial use.

Matched Pairs
Just like in our valve-based ReTubeVerb, the classic VSR 3.2 and the adventurous Retroverb Lancet, DSR-3 relies on the exceptional sound quality of AccuBell springs (formerly Accutronics). To ensure perfect stereo sound, the springs of DSR-3 are manually checked, selected and matched with great care.

Each channel offers a two band equalizer with BASS and TREBLE controls being carefully matched to the specific frequency range of the springs. Hereby, the effect can be adjusted to your specific needs easily and with great flexibility.

High-level-communication
Besides 6.3mm in- and outputs in jack-format (TS), DSR-3 additionally offers balanced XLR- in- and outputs. Output balancing is carried out by custom-designed transformers with excellent sonic characteristics. As a benefit, DSR-3 becomes a first-class DI-box this way.

Productivity and creativity
Both spring channels can be combined in three operating modes or used independently:

STEREO processes stereophonic audio sources. To ensure perfect matching of the settings, the first SPRING REVERB channel controls all parameters being sonically relevant.
DUAL MONO processes two independent sound sources. Each channel acts independently as if it was a single unit.
SERIAL for experimental spring reverberation effects. The reverberated signal of channel one is routed into the second channel, making long reverb tails possible.

DSR-3 is assembled with loving care in our electroacoustic manufactory in Erlbach, Germany - the so called Vogtland. Using VERMONA's DSR-3 allows creating highest quality lush and full reverberation effects with depth and vintage charm of days gone by.

Specifications:

Spring Tank
2x AccuBell, type 9, selected
reverbration time: between 1.75 s and 3 s

Inputs

1/4"-jack input, front
unbalanced
max. input level: +18 dBu
impedance: 1 MO

1/4"-jack inputs, rear
unbalanced
max. input level: +18 dBu
impedance: 100 kO

XLR-inputs, rear
balanced
max. input level: +18 dBu
impedance: 10 kO

Outputs
max. output level: +17 dBu
impedance: < 600 O

Signal-to-Noise Ration (XLR)
direct: >= 94 dB
effect: >= 70 dB

Equalizer
bass: 50 Hz / i 13 dB
treble: 7 kHz / i 22 dB

Miscellaneous
power supply: internal PSU (90 V~ bis 240 V~)
dimensions: 19", 2 u, 24.7 cm deep (from rear of front panel)
weight: 7 kg

Notes: The Allen & Heath ZED-24 has an incredibly advanced feature. It has 23 independent sources to the mix, 10 independent outputs and 4 aux sends. Configurable USB audio input/output makes it easy to capture stereo recordings, playback and effects, a unique dual stereo input capability and some very advanced monitoring facilities. In fact, the ZED-24 mixer is so packed full of great features that you'd think it would cost much, much more.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on the ZED-24 is super-flexible and super-easy. No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED-24, select the USB routing on the mixer and the device on your computer and that's it.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

Send options:
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

Return options:
1) To Stereo 3 channel

ZED-24 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-24 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Mackie SRM 1600W High-Definition Powered Loudspeakers deliver a new level of SRM ruggedness, output, clarity and simplicity. With two powerful full-range boxes and a chest-pounding subwoofer, SRM loudspeakers deliver the modern output, amazing sound and proven durability you demand from your system.

With SRM, you get all the latest modern tools to make your show sound amazing without the headache you'll get from sorting through endless menus during the show. SRM Series 1600W High-Definition Powered Loudspeakers are packed with complex and DSP-intensive acoustic optimization that is ready to rock with just a press of a button. Like the game-changing Mackie SRM450, which brought studio-quality sound to the masses 15 years ago, the new all-wood SRM models deliver premium, high-definition sound to the everyday portable PA.

True to Mackie's legendary "Built-Like-A-Tank" design history, SRM Series 1600W Powered Loudspeakers deliver the raw power and unmatched durability you demand. After all, your speakers are an investment and you work them hard. Each SRM loudspeaker can pump out 1600 watts of unadulterated power via custom high-output transducers, delivering gig-level volumes with room to spare. The professional grade cabinets feature an extremely tough, all-wood design with substantial internal bracing that not only adds natural character to your sound, it ensures your speaker will survive night after night. Add to that the steel front grille that just begs to be stomped and you've got a speaker that not only delivers the power you crave, but is also "Built-Like-A-Tank" because we know what it's like to gig.

Flexibility is critical with a portable PA system. That's why SRM loudspeakers feature an integrated 2-channel mixer than can handle anything you can throw at it. Each channel sports Mackie's Wide-Z inputs that are custom-designed to handles anything from mics to guitars to mixers with a single twist of a knob plus a stereo RCA input perfect for smartphones or laptops.

You can stick a full range SRM speaker on a tripod or connect it to an SRM subwoofer with a standard speaker pole. Perfect for use as stage monitors, SRM top boxes not only have a specific monitor speaker mode, they also reach a 60-degree angle when placed on the side. This directs the sound at the musician's ears, not their belt buckle. And, installs are no problem, since SRM full-range loudspeakers are flyable via standard M10 rigging points.

Notes: Mackie SRM 1600W High-Definition Powered Loudspeakers deliver a new level of SRM ruggedness, output, clarity and simplicity. With two powerful full-range boxes and a chest-pounding subwoofer, SRM loudspeakers deliver the modern output, amazing sound and proven durability you demand from your system.

True to Mackie's legendary "Built like a tank" design history, SRM Series 1600W Powered Loudspeakers deliver the raw power and unmatched durability you demand. After all, your speakers are an investment and you work them hard. Each SRM loudspeaker can pump out 1600 watts of unadulterated power via custom high output transducers, delivering gig-level volumes with room to spare. The professional grade cabinets feature an extremely tough, all wood design with substantial internal bracing that not only adds natural character to your sound, it ensures your speaker will survive night after night. Add to that the steel front grille that just begs to be stomped and you've got a speaker that not only delivers the power you crave, but is also "Built like a tank" because we know what it's like to gig.

Flexibility is critical with a portable PA system. That's why SRM loudspeakers feature an integrated 2-channel mixer than can handle anything you can throw at it. Each channel sports Mackie's Wide-Z inputs that are custom-designed to handles anything from mics to guitars to mixers with a single twist of a knob plus a stereo RCA input perfect for smartphones or laptops.

You can stick a full range SRM speaker on a tripod or connect it to an SRM subwoofer with a standard speaker pole. Perfect for use as stage monitors, SRM top boxes not only have a specific monitor speaker mode, they also reach a 60-degree angle when placed on the side. This directs the sound at the musician's ears, not their belt buckle. And, installs are no problem, since SRM full-range loudspeakers are flyable via standard M10 rigging points.

With SRM, you get all the latest modern tools to make your show sound amazing without the headache you'll get from sorting through endless menus during the show. SRM Series 1600W High-Definition Powered Loudspeakers are packed with complex and DSP intensive acoustic optimization that is ready to rock with just a press of a button. Like the game-changing Mackie SRM450, which brought studio-quality sound to the masses 15 years ago, the new all-wood SRM models deliver premium, high-definition sound to the everyday portable PA.

Notes: ZED-18 has an incredibly advanced feature-set for a mixer at this level - it gives musicians, venues and hire companies access to 10 full mono channels and 4 stereo channels in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

RETURN OPTIONS
1) To Stereo 3 channel

ZED-18 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-18 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Live sound sometimes seems like a wild, uncaged animal - very hard to control. With the SRM Series Portable Active Loudspeakers, we came up with the technology to help tame the beast, so you could focus on your performance, instead of being distracted by constant EQ and level tweaks. Now, with the SRM450v2, live sound is whipped completely into submission, giving you more control over your shows than ever.

Thanks to its all-new design - from adding new amps and transducers to a new lightweight power supply - the SRM450v2 surpasses the performance of the original SRM450 to deliver pure studio monitor sound at more powerful, full-on loudspeaker levels. We kept it affordable, too - even though the SRM450v2 is a complete redesign from inside out, we retained the musician-friendly price tag.

With the SRM450v2, live never sounded so good - or behaved so well.

Notes: With the proven performance of Mackie Onyx mic preamps, the uncompromising quality of Cirrus Logic AD/DA converters and all the right I/O, DL Series mixers deliver rock-solid results professionals demand.

DL Series mixer feature high-end 24-bit Cirrus Logic AD/DA converters, offering a remarkable 114dB dynamic range. We align our Onyx preamps precisely with the converters to provide you with the most headroom and the lowest noise and distortion possible - resulting in brilliant sound quality from a vocal whisper to a wailing guitar solo.

There are plenty of 1/4? aux outputs available, each perfect for driving a monitor wedge. There's a pair of main outputs for your system and a decidated headphone output for listening to soloed tracks or getting a close-up view of your mix.

Mackie DL Series mixers come loaded with studio-quality Onyx mic preamps that deliver depth, headroom and immense detail to your live mix. Plus, with a choice of XLR or combo mic/line input, connecting mics and instruments is quick and easy. Includes global phantom power for condenser mics.

DL Series mixers are big on security. The PadLock feature locks down your iPad for permanent installs, while the Kensington lock - the industry standard in protecting technological equipment - secures the mixer to guard it from theft.

DL Series mixers can be mounted into a standard rack with our rackmount kit. There is also a sleek and durable mixer bag available that houses everything you need for your gig.

Notes: As Thunderbolt becomes more widely adopted, Hi-speed USB 2.0 provides across the board compatibility with virtually all laptops and desktops on both Mac and Windows. Since USB 2.0 devices are compatible with USB 3.0 equipped hosts, your 828x interface is a future proof investment in your studio.

Motu pack it in like no one else can: two combo-style mic/guitar inputs with preamps, 8 balanced analog in/out, XLR main outs, 16 channels of ADAT optical (8 channels at 96 kHz), plus S/PDIF, word clock and MIDI. Connect all of your studio gear, including microphones, guitars, synths, keyboards, drum machines and even effects processors.

Now in its fifth generation, the 828 has become a benchmark for the industry, setting the bar by which others are judged. How has this level of respect been earned? Through consistent design integrity and intelligent use of current-generation parts and design technologies.

Do you work with outboard EQs and compressors? Each 828x mic input offers a pre-converter send for mono or stereo mic channel outboard processing. The 828x's unique V-Limit hardware limiter employs a proprietary design to offer an additional 12 dB of headroom over digital zero with no digital clipping or harsh artifacts, for that added protection in dynamic recording situations. The 828x's preamps are clean and neutral, allowing you to use your favorite plug-ins and host software to colour the sound just the way you want for each recording application.

Record, monitor, route and process all live inputs using the professional on-board CueMix FX digital mixer - with no latency and no processor strain on your computer. Apply DSP-driven compression, EQ and reverb to every input and output, independent of your host computer.

After programming the on-board mixing in the studio, unplug the 828x from the computer and take it on the road for operation as a stand-alone mixer with effects. All mixing and effects parameters are adjustable using the front panel backlit LCD.

We still get calls and Facebook posts from happy users of the original 828, introduced more than 10 years ago! Like all MOTU interfaces, the 828x's aluminium alloy chassis is lightweight, yet incredibly sturdy and durable, and designed to withstand the rigors of the studio, stage, and road. In a world awash with cheap plastic, the cool feeling of the 828x's metal exterior in your hands is a reassuring reminder that you are holding quality engineering and construction.

The 828x provides time-tested drivers for Mac OS X and Windows (8, 7 and Vista) for cross-platform compatibility with virtually all audio software via WDM, ASIO, and Core Audio drivers.

Notes: Mackie SRM 1600W High-Definition Powered Loudspeakers deliver a new level of SRM ruggedness, output, clarity and simplicity. With two powerful full-range boxes and a chest-pounding subwoofer, SRM loudspeakers deliver the modern output, amazing sound and proven durability you demand from your system.

With SRM, you get all the latest modern tools to make your show sound amazing without the headache you'll get from sorting through endless menus during the show. SRM Series 1600W High-Definition Powered Loudspeakers are packed with complex and DSP-intensive acoustic optimization that is ready to rock with just a press of a button. Like the game-changing Mackie SRM450, which brought studio-quality sound to the masses 15 years ago, the new all-wood SRM models deliver premium, high-definition sound to the everyday portable PA.

True to Mackie's legendary "Built-Like-A-Tank" design history, SRM Series 1600W Powered Loudspeakers deliver the raw power and unmatched durability you demand. After all, your speakers are an investment and you work them hard. Each SRM loudspeaker can pump out 1600 watts of unadulterated power via custom high-output transducers, delivering gig-level volumes with room to spare. The professional grade cabinets feature an extremely tough, all-wood design with substantial internal bracing that not only adds natural character to your sound, it ensures your speaker will survive night after night. Add to that the steel front grille that just begs to be stomped and you've got a speaker that not only delivers the power you crave, but is also "Built-Like-A-Tank" because we know what it's like to gig.

Flexibility is critical with a portable PA system. That's why SRM loudspeakers feature an integrated 2-channel mixer than can handle anything you can throw at it. Each channel sports Mackie's Wide-Z inputs that are custom-designed to handles anything from mics to guitars to mixers with a single twist of a knob plus a stereo RCA input perfect for smartphones or laptops.

You can stick a full range SRM speaker on a tripod or connect it to an SRM subwoofer with a standard speaker pole. Perfect for use as stage monitors, SRM top boxes not only have a specific monitor speaker mode, they also reach a 60-degree angle when placed on the side. This directs the sound at the musician's ears, not their belt buckle. And, installs are no problem, since SRM full-range loudspeakers are flyable via standard M10 rigging points.

Notes: With the proven performance of Mackie Onyx mic preamps, the uncompromising quality of Cirrus Logic AD/DA converters and all the right I/O, DL Series mixers deliver rock-solid results professionals demand.

DL Series mixer feature high-end 24-bit Cirrus Logic AD/DA converters, offering a remarkable 114dB dynamic range. We align our Onyx preamps precisely with the converters to provide you with the most headroom and the lowest noise and distortion possible - resulting in brilliant sound quality from a vocal whisper to a wailing guitar solo.

There are plenty of 1/4? aux outputs available, each perfect for driving a monitor wedge. There's a pair of main outputs for your system and a decidated headphone output for listening to soloed tracks or getting a close-up view of your mix.

Mackie DL Series mixers come loaded with studio-quality Onyx mic preamps that deliver depth, headroom and immense detail to your live mix. Plus, with a choice of XLR or combo mic/line input, connecting mics and instruments is quick and easy. Includes global phantom power for condenser mics.

DL Series mixers are big on security. The PadLock feature locks down your iPad for permanent installs, while the Kensington lock - the industry standard in protecting technological equipment - secures the mixer to guard it from theft.

DL Series mixers can be mounted into a standard rack with our rackmount kit. There is also a sleek and durable mixer bag available that houses everything you need for your gig.

Notes: You mostly monitor on near-fields, but occasionally switch to big main speakers or a second set of near-fields. You need to be able to switch between multiple sources and want to hear what your mix sounds like with and without subwoofer. You want to monitor straight from digital sources as well as analog. And you don't want cables cluttering your workspace in order to achieve all that.

Central Station PLUS is one of Presonus' most popular products for professional studios because it provides the perfect combination of stereo inputs, outputs, and recording-communication functions, allowing you to easily manage multiple sources and monitor speakers.

With Central Station, you can easily switch between three sets of stereo, analog input sources. Two stereo S/PDIF digital sources connect via one coax and one Toslink optical port. You can audition these sources with up to three pairs of speakers, with individual trim pots for each speaker recessed to avoid accidents.

You also get a pair of line-level main outputs, a pair of line-level cue outputs, and two screaming-loud headphone amplifiers with individual level controls. And because Central Station is a 1U rack-mount device, with only one multi-conductor cable running to the remote control on your desktop, all of the cabling is in the back of your rack, where it belongs.

The pros know that for critical listening, a monitor-control system must be as sonically transparent as possible. That's why Presonus have given the Central Station an audiophile-quality, passive signal path, with no op-amps or ICs, and equipped the S/PDIF inputs with high-definition, 24bit, 192 kHz D/A converters.

Being from southeast Louisiana, Presonus are big fans of The Meters (Art Neville, Leo Nocentelli, George Porter, Jr., and Joseph Modeliste). Being audio professionals, They're into extremely accurate metering.
To enable you to watch your input levels, the Central Station sports dual 30-segment, tri-colored, fast-acting, peak-hold LED meters, which can display dBu and dBfs. A handy Clear switch lets you clear the peak-hold.
Unlike The Meters, these meters are anything but funky!

Because Central Station PLUS is a professional tool, Presonus have included all of the key features you'll need to manage monitors in a commercial or project studio. Speak to the musicians over the headphone and cue buses using the onboard talkback microphone or connect a dynamic mic to the XLR talkback input.

The cue signal is automatically dimmed when you use the talkback mic, and a jack admits a footswitch for hands-free talkback operation. A Mono switch sums the stereo source so you can check for phase problems, and a Dim switch lets you reduce the speaker output by 16 dB.
Of course, you can mute the speakers as well.
Finally, with the included CSR-1, you can remote-control the Central Station's main volume, input select, output select, talkback, mute, dim, and mono functions.

With pristine audio quality; the ability to switch between multiple analog and digital sources and three sets of speakers; fast, accurate metering; and all of the extras that make your studio work easier and more efficient, it's obvious why the Central Station PLUS is the professional engineer's choice for monitor control.

Notes: Each generation of VLZ mixers benefits from a reinvestment in performance, all without raising prices. By continuing to ignore the "race to the bottom," VLZ4 benefits from generations of performance improvements like transparent EQ, class-leading negative summing bus architecture and custom-designed op-amps to ensure signal integrity from every input to every output. The result is a mixer that is at the peak of performance and is the obvious go-to compact analog mixer for engineers who demand professional results.

The performance of Mackie's Onyx mic preamps is more than proven. Just check all the amazing reviews and customer testimonials. Their boutique quality sound and unmatched performance rival any high priced, boutique preamp on the market. Adding these flagship preamps to our VLZ4 Series compact mixers underlines our commitment to continually improving the performance of the VLZ line with each generation.

The VLZ4 design goal was simple: every VLZ4 mixer must have the highest headroom and lowest noise possible. Strict attention to component quality and tolerances has led to innovations like our custom M80 op-amps and class leading negative summing bus architecture that add yet another level of assurance that a Mackie VLZ4 mixer is the right choice for your professional audio application.

Mackie VLZ mixers are truly built like a tank. From beer spills to drops from moving vehicles, the testimonials are as endless as the applications Mackie mixers serve. The VLZ4 series is certainly no exception. With a nearly indestructible steel wrap around chassis and features like grime resistant rotary sealed pots, you can be sure that buying a Mackie VLZ4 mixer is a solid investment.
VLZ4's new black powder coat finish, cockpit inspired controls and high contrast knobs not only optimise your mixer's usability in low light scenarios, it also means your mixer looks as good as it performs.

Mackie's VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra compact 402VLZ4 for desktop applications to the tour friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs

Notes: The new Yamaha MG20XU USB mixing desk has a full array of features for the professional band or music producer. Boasting 20 channels, a group of 24 effects, internal USB interface and 2 bus groups, this Yamaha mixer has everything you could need. Featuring faders instead of knobs of other versions, this MG20XU is more visual and easier to control. The included Cubase AI software also enables studio production straight out of the box.

The Yamaha MG Series of mixers feature a design and construction that will handle the standard wear and tear of the active musician. Featuring the steel chassis that is impact resistant and powder coated, this mixer will take any bumps and scratches without it getting damaged or looking old. The sleek design does not compromise any part of the finished product. A state of the art design allows for convection cooling, meaning your power unit will not overheat your unit after continuous use. Separating the power supply from the analog circuitry inside the mixer allows for near silent background noise, allowing for a serious and high quality output sound. As well as this, the knob placement has been put above the chassis of the console, thus not damaging circuitry underneath should the device ever be dropped or mishandled.

Rather than the standard MG Series mixers, a select number of mixers also feature the XU functions. This includes a built in USB interface, which allows a stereo output to be sent straight from the mixer and can be plugged in to any computer or laptop ready for recording. The bonus with this Yamaha mixer is the USB In feature, which allows one of the stereo tracks to be used in order to playback any recording through the mixer once recorded. This is a great tool for those who want to plug all their equipment in through one desk. On top of that, recording is possible straight away with the included version of Cubase AI. Lastly, the XU range of MG mixers has an in built SPX range of digital effects ranging from reverbs to phasers and pitch shifting.

Notes: The 12 channel Onyx 1220i delivers stunning performance in a size that is decidedly desk friendly. Premium analog features like boutique-quality Onyx mic pres, smooth 60mm channel faders and the proven tone-sculpting capability of Perkins EQ allows for performance that is unmatched in this category. The 16x2 built in FireWire interface will simultaneously deliver all 12 channels, all auxes and the master L/R signal straight to your favorite DAW with zero routing. How easy is that? You can even return a couple of channels from the DAW right back into a channel strip for mix integration. It's easy, it's professional...it's the Onyx 1220i.

The Onyx-i Series features deeper FireWire integration than any other mixer out there and offers immensely powerful routing capabilities:
- Every channel on the mixer can be routed pre or post EQ to the computer, allowing you to choose whether to implement 'EQ to tape' or not.
- All aux sends are routable to the computer, allowing you to utilize your computer as a powerful FX engine by implementing your favorite plug-ins in a live scenario.
- Master L/R is routable to the computer for recording your analog mix. Burn and sell CDs of the mix at the end of the gig!
- Stereo return from the computer can be routed to either the control room for instant monitoring or to a stereo channel for mix integration.
- Having a "real" mixer has its benefits. Latency-free overdubs are simple since you are using an analog mixer. No more wasted time dealing with the complicated "DSP" mixers commonly used on standalone interfaces.

The 1220i delivers seamless, routing free FireWire connection to your favorite DAW. All channels, auxes and (of course) the master L/R are simultaneously available to your DAW, with zero routing. The Onyx-i FireWire connection has amazing bandwidth, and the 1220i takes full advantage.

When it comes to the high pressure environment of a recording session or live performance, you simply cannot beat the stability and reliability of an analog mixer. With features honed over 20 years of design by some of the legends in the industry, the Onyx-i Series mixers are simply the best sounding full-featured analog mixing boards available to the modern sound engineer.

The 1220i has a plethora of analog features that are sure to please. First off, there are four Onyx mic preamps which have been proven as some of the best boutique quality preamps available today. That is, without having to remortgage your house in order to pay for all the inputs you need. Then there's the Perkins EQ, which offers highly musical Q filter without sacrificing the precise control that Mackie EQs are known for. Four mono mic/line channels feature 3-band Perkins EQ with a sweepable mid and the additional stereo line channels have 3-band EQ. So, regardless of the type of signal you need to input, there is sure to be a channel with the right EQ for the application. Other analog tools include two aux sends with pre/post fader assignment, allowing for monitor mixes, effects loops or additional headphone mixes. There are built-in DIs on the first two channels for direct connection of guitars or bass and a dedicated talkback section with a built-in mic that lets you easily communicate with band members while on stage or recording. With all these proven, great-sounding analog features, it is easier than ever to create a memorable mix.