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AUDIO-FOR-VIDEO • BROADCAST • GAMES AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING 

AUDIOMEDIA 

THE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE 

THE INTERNATIONAL GUIDE 

Professional 

Audio Equipment 

A NEWBAY MEDIA PUBLICATION 

9 7 7 0 9 6 0 7 4 7 1 2 3 

0 8 

WORLDWIDE EDITION 

ISSUE 225 •AUGUST 2009 • UK £3.80 

2009–2010

contents 

I S S U E 2 2 5 • A U G U S T 2 0 0 9 

PROCESSORS 6 

Dynamics; EQ Only; Pre-amps and Channels; Digital Effects Processors. 

CONSOLES 18 

Analogue Recording/Post; Digital Recording/Post; Broadcast and On Air; Location 

and Portable; Live Sound/Sound Reinforcement. 

CONVERTERS & CONNECTIONS 28 

AD/DA; Format Conversion; Codecs; Networked Audio. 

DAWS 35 

Core Software and Systems; Soundcards and I/O; Plug-in Effects; Utilities; 

Authoring Tools; Hardware Controllers. 

MICROPHONES 48 

Powered, Wired, Single-Channel; Stereo/Multi-Channel; Dynamic; Wireless 

Microphone Systems. 

RECORDERS 63 

Location; Multi-Track; Two-Track. 

STUDIO MONITORING 68 

Full Range Monitors; Sub-Woofers; Multi-Channel Systems; Monitoring Control. 

DIRECTORY 77 

Manufacturer and key UK distributor contact details. 

AUDIO MEDIA is a Sustaining Member of the Audio Engineering Society. 

AUDIO MEDIA 

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Managing Director 

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Associate Group Publisher 

Nick Humbert 

n.humbert@audiomedia.com 

Editor In Chief 

Paul Mac 

p.mac@audiomedia.com 

Design & Production Manager 

John-Paul Shirreffs 

jp.shirreffs@audiomedia.com 

General E-mail: mail@audiomedia.com - Press Release E-mail: pr@audiomedia.com 

www.nbmedia.com 

Production Editor 

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l.marshall@audiomedia.com 

News/AMSR Editor 

pr@audiomedia.com 

Regional Sales Manager 

Bob Kennedy 

bkennedy@imaspub.com 

+44 (0)1279 861264 

Circulations Manager/ 

Administration 

Jo Perriss 

mail@audiomedia.com 

Subscriptions 

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Payable in Sterling through UK bank 

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, is 

expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but 

neither IMAS Publishing (UK) Limited nor the Editor can be held responsible for its contents. The views expressed are those of the contributors and not 

necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. 

© 2009 IMAS Publishing (UK) Limited. All rights reserved. 

*Within Broadcast & Production 

leader 

If you wrote a book, and soon after publishing found that 

someone had scanned it in and was giving it away for 

free, you'd likely be upset. If you'd spent six months on 

an album only to have it stolen, duplicated, and sold with 

no royalty payable, no one could blame you for being a 

little annoyed. And if, after a two-year R&D cycle your 

new microphone was reverse engineered and started 

rolling off a Chinese production line only a month after 

release, it would understandably be somewhat galling. 

The reason mechanical and intellectual copyright theft is upsetting is not only 

that it's illegal. In our current economic, political, and social environment, it's 

immoral. When that changes, and everything you create, think, and do belongs by 

instinctive and moral imperative to every fellow being, then I'll be one of the first 

to celebrate. Though that's probably not going to happen anytime soon… is it? 

If you want a nice grey area to discuss down the pub, try the second-hand 

market. Is this any kind of moral violation? One could argue that copyright should 

be paid for on a per-consumer basis, which would render the send-hand market 

a sinful apparition. But what time is implicated in the value of a product? For 

example, if you bought an album on CD for £10, listened to it, but over a period of 

six months got a little bored of it and sold it on for £5. The producer has effectively 

got £5 per consumer. Can we assume that to be the real value of that album? Maybe 

it isn't quite as good as the band's first one. At every subsequent sale of that CD, 

its true value dwindles slightly – dividing that initial £10 by the number of owners. 

Hence, value is naturally reflected by a product's resale journey. 

Then along come software licensing and digital rights management in all their 

forms. If you prevent the value adjustment that naturally occurs through the 

second-hand market, can products ever achieve their real value? You can't send 

a song back to iTunes if it's not very good, but you could sell the CD on if it just 

didn't do it for you. If you curtail the evolution of value, don't you breed contempt 

in the consumer? If the value of your product does not match the expectations 

of consumers over a reasonable time, then maybe copyright protectionism as a 

moral act develops, at the very least, a crack in its foundation? The democratising 

promises of digital distribution could turn out to be an under-hand attack on a 

consumer's right to value – without the consumer noticing. 

Maybe this is not a significant discussion? After-all, competition in the market 

conquers all, doesn't it? Hardly… That's like saying no one ever cheats, or copies, 

or steals an unfair advantage. I think the lesson is that while producers may 

justifiably plead poverty of property as we negotiate the difficult course of digital 

consumerism, we should also keep a close eye on the moral deal that every 

consumer has a right to… lest consumers choose to change the rules completely. 

Paul Mac, Editor 

Price Banding In This Guide 

BAND £ GBP € EURO $ US DOLLAR 

A. . . £0 - £500 . . . . . . . . . . . . . 0 - 590 . . . . . . . . . . . . . . . 0 - 850 

B . . . £500 - £1,000 . . . . . . . . . 590 - 1,180 . . . . . . . . . . . 850 - 1,700 

C . . . £1,000 - £2,000 . . . . . . . . 1,180 - 2,360 . . . . . . . . . 1,700 - 3,400 

D . . £2,000 - £5,000 . . . . . . . . 2,360 - 5,900 . . . . . . . . . 3,400 - 8,500 

E . . . £5,000 - £10,000 . . . . . . 5,900 - 11,800 . . . . . . . . 8,500 - 17,000 

F . . . £10,000 - £20,000 . . . . . 11,800 - 23,600 . . . . . . . 17,000 - 34,000 

G . . £20,000 - £50,000 . . . . . 23,600 - 59,000 . . . . . . . 34,000 - 85,000 

H . . £50,000 - £100,000 . . . . 59,000 - 118,000 . . . . . 85,000 - 170,000 

I . . . £100,000 - No Limit . . . 118,000 - No Limit . . . . 170,000 - No Limit 

X . . . Price On Application / Unavailable 

Euro and US Dollar equivalent pricing was calculated on 

exchange rates of 1.18 and 1.7 respectively. 

Please Note: The price bands are an 

approximate guide only. Some are 

sourced from outside Europe and so 

exchange rate variation, import charges, 

and tax considerations can have a 

significant effect. Where a range of pricing 

for one product exists, we have quoted 

the lowest entry price. Where price band 

‘X’ is quoted either the manufacturer has 

asked we state ‘price on application’ or 

the price was unavailable at the time we 

went to press. Always check with your 

dealer, distributor, or the manufacturer 

for definitive pricing. 

About the descriptions 

The product descriptions in this guide are 

subject to a character limit, and therefore 

are not comprehensive - simply a ‘guide’. 

Do not consider the descriptions as wholly 

inclusive guides to facilities, functionality, 

or options associated with any product. 

Omissions And Errors 

While we make every effort to ensure that 

the information in this guide is accurate, 

there may be errors and omissions. 

We therefore request that any 

manufacturer representatives contact us 

if any error occurs and we will of course 

correct it immediately. For addendum’s or 

corrections, please visit the Audio Media 

website at www.audiomedia.com 

Information Sources 

In most cases, the products listed and their 

descriptions have been updated, checked, 

and approved by the manufacturers or 

their appointed representatives - this 

accounts for over 90 percent of the guide. 

In cases where manufacturers have not 

responded to requests for information 

we have either included the appropriate 

listing from the 2007/2008 edition of the 

guide or have omitted that manufacturer’s 

listing in part or in full. 

AUDIO MEDIA AUGUST 2009 4

MORE 

IS REQUIRED 

Read the Intolerance Manifesto at http://ap.com/intolerance 

High performance is non-negotiable. Which is why the engineers at 

Audio Precision produce test equipment that is recognized as the industry 

standard. However, they continue to press for new and better ways to do 

things for one simple reason. Being “good” is never enough.

Processors processors Dynamic xxxxxxxx Processors 

Drawmer S3 

6 

Dynamic Processors 

Al.So 

Dynax2 Wide range of effects, from the smoothest 

compression to the harshest sound designs. D 

AMS-Neve 

33609 Classic two-channel compressor. D 

8051 Six-channel surround sound compressor. E 

Apex 

dBC-8 Eight-channel compressor/limiter. B 

dBG-8 Eight-channel frequency-selective gate. B 

Aphex Systems 

240 Dual logic gate compressor. A 

320a Dual mono/stereo compressor and leveller. C 

323a Single-ch compressor/limiter w/aural exciter. B 

622 Logic assisted expander/gate dual-channel. B 

661 Single-channel valve compressor/limiter with 

Tubessence and Easyrider, auto/manual modes 

and stereo link facility. C 

720 Dominator II stereo multi-band peak limiter. C 

722 Dominator, switchable pre- and de-emphasis. D 

API 

2500 Stereo compressor. Several sound changing 

capabilities, soft ‚hard ‚ medium knee. C 

ART 

Pro VLA Two-channel optical compressor, 12AT7 tubes, 

VU/LED meters, var. input/output controls,. A 

Audient 

Black Comp 

Analogue compressor for Black Series. A 

Avalon Design 

AD2044 Pure Class A, dual mono opto/compressor. C 

VT-747sp Tube stereo opto-compressor w/six-band 

graphic EQ. C 

BSS 

DPR402 Two-ch compressor/limiter, high frequency 

de-esser, wide band de-esser w/peak limiting, 

adj speed, dynamics program manipulation. C 

DPR404 Four-ch compressor w/high freq de-essing. Inc. 

threshold control, below threshold metering, 

ratio control, gain control, linking. C 

Buzz Audio 

DCS 2.2 Dual-mono optical and FET compressor. C 

Essence Mono optical compressor for API 500 series. B 

MIA DI Passive DI box. A 

Potion Mono FET compressor for API 500 series. B 

SOC 1.1 Dual-mono optical compressor. C 

Chandler 

Germanium Compressor 

Wet/dry mix control; comp curve; clean/dirty 

comp; adj. amp Feedback; variable sidechain. B 

Little Devil Compressor 

FET controlled 500-series compressor; concepts 

from Germanium Compressor and 2264. B 

LTD-2 Mono Compressor 

Neve-inspired 2254+, hand-wired, attack times, 

six release times, auto/threshold controls. B 

TG-1 Limiter/Compressor 

Classic 60s-style stereo compression/limiting, 

output, make-up gain, recovery, hold controls. C 

Zener Limiter 

EMI desk-based, switchable input impedance; 

11-pos attack; 21-pos release; sidechain filtering; 

Comp 1/Comp 2/Limit settings. D 

CharterOak Acoustic Devices 

PEQ 1 Solid-State discrete EQ. C 

Crane Song 

STC8 Dual mono discrete class A compressor/limiter, 

presets: vocal, bass, program, manual mode. D 

Trakker Mono discrete class A compressor/limiter. 

Optimised presets and full manual mode. C 

D.A.V. ELECTRONICS 

BG No 4 Two-channel mastering limiter/comp. C 

BG No 6 Two-channel limiter/comp. B 

Daking 

FET Compressor II 

Class A, threshold, ratio, attack, release controls, 

switchable VU, XLR, 1/4-inch connections. B 

dbx 

1046 Quad compressor/limiter. Four independent 

channels, linkable in pairs. PeakStopPlus limiting 

control. OverEasy or hard knee compression. 

Balanced XLR and TRS I/O. B 

1066 Compressor/limiter/gate. Dual channel. 

Selectable auto or manual compression with 

OverEasy and hard knee modes. External 

sidechain. Balanced XLR and TRS I/O. A 

1074 Quad noise gate. Four independent channels of 

gating with stereo coupling mode. Independent 

key filtering. True RMS level detection. Balanced 

XLR and TRS I/O. B 

160A Single ch. compressor w/overeasy or hard 

knee compression. Infinity+ allows for neg 

compression. Linkable to second unit. A 

160SL Stereo compressor. AutoVelocity circuit, auto/ 

manual modes. Hard Knee/OverEasy switchable. 

127dB dynamic range. D 

162SL Stereo compressor. Super-fast manual attack 

and release. High-drive Jensen transformers. 

Hard Knee/OverEasy switchable. Ultra low 

distortion compression. D 

166XL Dual compressor/gate. Smooth, musical 

compressor. Program-adaptive gate. Stereo 

link. Side chain insert. Classic dbx Auto mode. 

Balanced XLR and TRS I/O. A 

266XL Dual ch compressor/limiter/gate. Programadaptive 

gate. Stereo link. Side chain insert. 

Classic dbx Automode. Balanced XLR/TRS I/O. A 

Drawmer 

1968 Mercenary Edition 

Two-channel tube compressor. B 

DA6 One stereo in/six stereo out or two mono in/12 

mono out balanced distribution amplifier. A 

DL241 Two-channel compressor with auto/manual 

attack/release, expander/gate. A 

DL251 Two-channel auto-compressor with dynamic 

spectral enhancement on each channel. B 

DL441 Four-channel auto-compressor. B 

DS201 Two-channel frequency-conscious gate. A 

DS404 Four-ch frequency-conscious noise gate. B 

DS501 Two-channel frequency-conscious noise gate 

with ‘peak punch’ on each channel. A 

LA12 One stereo in/12 stereo out line dist amp. A 

MX30 Two-channel gate/compressor/limiter. A 

MX40 Four-channel quad noise gate w/peak punch. A 

MX50 Two-channel vocal de-esser. A 

S2 Full band two-ch tracking tube compressor. D 

S3 Three-band, all-tube optical multi-band 

compressor. D 

Six-Pack Six-ch expander/gate/compressor/limiter C 

SP2120 Two-channel speaker protection system. A 

Tube Station 2 

Two-ch tube comp., opt. 24-bit digi output. A 

DW Fearn 

VT7 Stereo tube compressor. D 

Earthworks Audio Products 

KickPad An in-line XLR connector with present 

filter settings for kick drums. A 

elysia 

alpha compressor 

M/S processing, parallel compression, flexible 

filters, 100% discrete, permanent class-A. E 

mpressor The creative compressor: Auto Fast, Anti 

Log, negative ratios, limiters, 100% discrete, 

permanent class-A mode and more. D 

AUDIO MEDIA AUGUST 2009 

Empirical Labs 

DerrEsser EL-DS 

A multi -function dynamic filtering device, in an 

API 500 series module format. A 

Distressor EL8 

Single-channel, digitally controlled analogue 

compressor/limiter with distortion. C 

Distressor EL8S 

Stereo pair distressors (two mono units factory 

calibrated, including stereo link cables). D 

Distressor EL8XM 

Mono distressor, British mode and stereo image 

link options. C 

Distressor EL8XS 

Stereo pair distressors (two mono units factory 

calibrated), inc British mode & stereo link. D 

Fatman 

2 Fat Mono pre-amp and preset tube compressor, 

19-inch rack format, optional digital output. A 

Focusrite 

Compounder 

Dual mono VCA-based compressor/gate. A 

GML 

2030 Mastering dynamic range Controller. D 

8900 Limiter/compressor. D 

Joe Meek 

FloorQ Opitcal compressor instrument pedal. A 

Klark Teknik 

DN530 Creative quad gate. B 

DN540 Creative quad compressor. B 

Kush Audio 

UBK Fatso Multi-functioning dynamics processor. C 

LA Audio 

C400 Four-channel auto compressor. B 

Langevin 

ELOP Stereo limiter (all-discrete electro-optical). B 

Little Labs 

IBP Analogue phase-alignment tool. A 

IBP Junior Basic version IBP Analogue phase-alignment. A 

Redcloud Balanced attenuator pack. A 

Manley Laboratories 

ELOP Stereo Limiter 

ELOP limiter with tube make-up gain. C 

Mastering SLAM! (Analogue) 

Stereo mastering ELOP+FET limiters. D 

Mastering SLAM! (w/ Digital I/O) 

Stereo mastering ELOP+FET limiters w/ 24/96 

AD/DA card. E 

Stereo Variable Mu Lim/Com Mastering Version 

Manley Stereo var. MU lim/com mastering. D 

Stereo Variable Mu Limiter/Compressor 

Stereo tube compressor/limiter. D 

Millennia Media 

TCL-2 Two-ch opto-compressor/limiter offering Class 

A-biased, J-FET solid-state operation or Class 

A-biased, all-triode tube operation. C 

Pendulum 

ES-8 Remote cut-off tube limiter. Classic remotecutoff 

feedback compression. D 

OCL-2 Electro-optical compressor/limiter. Fast optical 

attenuator with an all tube class A signal path. D 

PL-2 JFET/MOSFET peak limiter. Stand-alone two ch 

version of Quartet II’s solid-state peak limiter. D 

PreSonus 

ACP88 Eight-channel compressor/limiter/gate with 

sidechain and stereo linking facilities. B 

COMP16 Mono compressor/limiter with 16 presets, 

bypass, VU meter plus XLR and TRS conns. A 

Prism Sound 

MLA-2 Dual-channel compressor w/stepped controls, 

input/output gains, ratio, attack/release times. D

Lexicon Reinvents Reverb 

The PCM96 Stereo Reverb/Effects Procesor - 28 new and legendary 

Lexicon reverbs and effects delivered by powerful hardware processors, 

controlled and automated by your DAW. 

What The Press Say 

“This is an impressive-sounding, and impressively flexible 

reverb machine...Overall, I found that the operating experience 

was just like having the best reverb plug-in in the world.” 

Sound On Sound 

“The PCM96 offers the ease of plug-in integration but a sound 

that’s leagues above what any software-based reverb can deliver 

... a sound that flatters almost anything passing through it.” 

MusicTech 

“The classic bloom of the reverb that comes from every algorithm 

is quite definitely amazing and something to behold if you’ve 

never used a high end reverb before.” 

Audio Media 

TECHNOLOGY 

Distributed in the UK and Eire by Sound Technology Ltd | 01462 480000 | www.soundtech.co.uk 

Get the full story at www.lexiconpro.com 

and www.soundtech.co.uk/lexicon 

A Harman International Company

Processors Dynamics - EQ Only Universal Audio 1176 

RANE 

DC 22S 1U two-channel compressor/limiter/gate. A 

Rupert Neve Designs 

Portico 5043 

Two-ch compressor-limiter w/feed-forward/ 

feed-back VCA modes, dual mono/stereo. C 

Portico 5043 

Two-ch compressor-limiter w/feed-forward/ 

feed-Back VCA modes, dual mono/stereo. C 

Safe Sound Audio 

Dynamics Toolbox 

Dual channel compressor/limiter with 

sidechain EQ plus parallel compression. B 

Samson 

S Com Dual-channel compressor/limiter with 

expander/gate and enhancer. A 

S Com 4 Four-channel compressor/limiter with gate. A 

S Com Plus Dual-channel compressor/limiter w/de-esser. A 

SM Pro Audio 

OC-8 E Eight-channel optical compressor. A 

Solid State Logic 

X-Rack Dynamics Module 

X-Rack/Mynx channel dynamics with separate 

compressor and gate/expander, link function 

allows multiple modules to behave ensemble. A 

X-Rack E Series Dynamics Module 

Classic SSL SL4000 E series compressor and 

gate/expander in X-Rack/Mynx format. A 

X-Rack Stereo Bus Compressor Module 

G-Series centre comp in X-Rack/Mynx format, 

true stereo side-chain, link function allows 

multiple unit combo for multi-channel work. C 

XLogic G Series Compressor 

1U stereo compressor utilising SSL G Series 

centre compressor design elements. C 

SPL 

DynaMaxx Dual ch set and forget compressor/limiter/noise 

gate. Musical signal-dependent automation, 

double VCA, de-compression mode. A 

Kultube Stereo compressor, manually adj auto option for 

attack/release, discrete gain cells/tube output. C 

Transient Designer 2 

Control attack and sustain of any signal. Dualchannel 

version, unbalanced TRS I/Os. A 

Transient Designer 4 

Control attack and sustain of any signal. Fourchannel 

version with balanced XLR I/Os. B 

Summit Audio Inc. 

DCL-200 Dual Tube Compressor 

Tube compressor. Live/studio, var gain thresh 

slope attack release, dual VU meters, bypass. C 

TLA-100A Tube Leveling Amplifier 

Vocal processor for live & studio use, a huge 

clear sound for vox, bass, drums & more. C 

TLA-50 Mini Tube Leveler 

Get the sound of Summit Audio TLA for your 

vocals/bass. 1/2 rack space size. Multiple I/O. A 

Tegeler Audio Manufaktur 

Magnetismus 2 

Transient processor, stereo, snappy VCA 

compressor plus transient shaping processor. C 

RFZ-Audio V713 Kompressor 

Vintage East German compressor, transformer 

balanced, vintage transistor sound. C 

Vari Tube Compressor 

Stereo and dual-channel vari-mu mastering 

compressor, smooth compression, soft-knee. C 

Thermionic Culture 

Pheonix Side Chain 

A twin channel ‘vari-mu’ device. D 

8 

Phoenix All-tube stereo compressor, Vari-Mu comp. No 

pcb/custom Sowter transformers. D 

Phoenix Mastering 

All-tube stereo compressor with Vari-Mu. Hand 

built, hand wired, no pcb and custom Sowter 

transformers. Mastering version available. D 

TL Audio 

Classic C1 High-end dual-valve compressor w/ cont. 

variable controls and onboard pre-amps. C 

Ivory 5021 Dual-valve compressor featuring hard and soft 

knee modes, four attack and release times; an 

improved optical gate design. B 

Ivory 5060 Dual-channel preset valve compressor with a 

high-quality discrete mic pre-amp, plus stereo 

line and instrument inputs. A 

Toft Audio Designs 

DC-2 Stereo FET compressor. A 

Tonelux 

TXC Compressor module. B 

Tube Tech 

CL-1B 3U, single-channel tube compressor with attack, 

release, gain, ratio and threshold controls; low 

distortion gain reduction element. C 

CL-2A Dual Compressor 

Two-channel optical compressor with side chain 

and a 5Hz to 80kHz frequency response. D 

CM-1A Module, single-channel tube compressor with 

attack, release, gain, ratio and threshold controls; 

low distortion gain reduction element. C 

LCA 2B Two-channel tube compressor limiter with 

separate compressor and limiter functions per 

channel, Fairchild 670 attack/release presets D 

SMC 2B Al-tube two-ch, three-band opto-compressor. 

Gain, threshold, attack and release controls per 

ban, variable crossover points. D 

SMC 2BM All-tube stereo multi-band compressor with 

three independent optical compressors and 

variable crossover points. Mastering version. E 

Universal Audio 

1176LN Classic mono FET limiting amplifier based on 

original blackface D and E revisions. Ultra fast 

attack time, class A transformer output. C 

2-1176 The sound of the 1176 limiter in stereo. D 

2-LA-2 Two channels of tube-amplified, stereo matched 

optical gain reduction. D 

LA-2A Optical style compressor; Lag/distortion free 

optical attenuator system; Distortion less than 

0.5% THD; Class A line level out. C 

LA-3A Classic solid-state Opto-compressor; custom UA 

Transformers & T4 cell; discrete amplifier, rear 

panel Gain Mod; designed by Dennis Fink. B 

EQ Only 

AMS-Neve 

8803 Dual channel two filter, four band EQ. X 

Apex 

dBQ-zero 2x30 band Graphic constant-Q equaliser (with 

notch, shelving, and high-pass filters). B 

GX-130 Ref. single 30-band constant-Q graphic EQ. B 

GX-215 Ref. dual 15-band constant-Q graphic EQ. B 

GX-230 Ref. dual 30-band constant-Q graphic EQ. B 

PE-133 MKII 

Ref single ParaGraphic 30-band contant-Q EQ. C 

PE-232 MKII 

Ref. dual ParaGraphic 30-band constant-Q EQ. C 

API 

5500 Stereo EQ. Four independent bands of EQ, Lo, 

Lo-mid, Hi-mid, Hi ‚ 30Hz to 20kHz. C 

HD-231 High-definition dual 31-band graphic EQ. A 

ART 

HQ-231 Dual 31-band EQ with feedback detection. A 


XL231 Dual 31-band professional graphic EQ. A 

Audient 

Black EQ Black series analogue EQ : Tilt, Glo, Overtones. A 

Avalon Design 

AD2055 Dual mono, pure class A parametric EQ. D 

AD2077 Dual mono, four-band, stepped, pure class A 

mastering EQ. E 

BSS 

FCS960 Two-ch 30-band graphic equaliser, dual mode 

switching Normal/Fine filter width. Constant 

Q-filters , filter-bypass cnt.taps/45mm faders. C 

FCS966 Dual 30-band graphic EQ. Constant Q Filters 

with +/-15dB gain. 45mm fader. Eight-segment 

LED meter. B 


MPE 1.1 Mono parametric EQ. B 

REQ 2.2 Dual-mono parametric EQ. D 

Tonic Mono parametric EQ for API 500 series. B 

Chandler 

Curve Bender EQ 

TG equaliser that turns nine of the vintage 

selections into 51 modern EQ points. D 

Germanium Tone Control EQ 

Uses active/passive EQ circuits with Germanium 

amp incorps feedback/drive controls. B 

Little Devil Equalizer 

500-series English-style console EQ. B 

Crane Song 

Ibis Fully parametric EQ. Unique colour control per 

band/channel. D 


BG No 3 Two-channel mastering equaliser. C 

dbx 

1215 Dual 15 band graphic EQ. ±6/±15 cut/boost. RF 

filtered I/O on XLR, TRS, barrier strip. Input gain 

control. 18dB/octave 40Hz low cut filter. A 

1231 Dual 31 band graphic EQ. ±6/±15 cut/boost. RF 

filtered I/O on XLR, TRS and barrier strip. Input 

gain control. 18dB/octave 40Hz low cut filter. A 

2031 Single 31-band graphic EQ. Type III Noise 

Reduction circuit, inc. S/N ratio to 20dB. PeakPlus 

limiter. Two four-segment LED meters. B 

2215 Dual 15-band graphic EQ. Type III Noise 

Reduction circuit, increases S/N ratio by up to 

20dB. PeakPlus. Two four-seg. LED meters. B 

2231 Dual 31-band graphic EQ. Type III Noise 

Reduction circuit, inc. S/N ratio up to 20dB. 

PeakPlus limiter. Two four-seg LED meters. B 

IEQ15 Intelligent dual 15-band digital graphic EQ. 

Advanced feedback suppression. Type V Noise 

Reduction. PeakStopPlus limiting. Constant Q 

frequency bands. ±6/15 cut/boost ranges. B 

IEQ31 Intelligent dual 31-band digital graphic EQ. 

Advanced feedback suppression. Type V Noise 

Reduction. PeakStopPlus limiting. Constant Q 

frequency bands. ±6/15 cut/boost ranges. B 

DW Fearn 

VT-5 Stereo tube EQ. D 

VT4 Mono tube EQ. D 

elysia 

museq The musical equaliser: 2x 5 bands, low and high 

cut with resonance, warm mode, 100% discrete, 

permanent class-A mode and more. D 


Lil FrEQ Parametric eight-band mono EQ. C 

Esoteric Audio Research 

EAR 822 Mono tube Pultec-type EQ with low pass, high 

pass, band pass and high or low frequency shelf 

with variable Q and turnover frequency. C 

EAR 823 Mono tube Pultec-type EQ, midband use, 

frequencies set closer together. C

JUST ADD TALENT... 

Whether you’re cutting tracks for fun or producing a groundbreaking record, Unity Audio has the best front end analogue and plugin 

tools for the job. Professional producers, studios and artists choose our products, as they’re most favourite and indispensable 

tools for their daily work. Such as producer/engineer Cenzo Townsend (Kaiser Chiefs, The Zutons, The Feeling, Razor Light), Steve 

‘Dub’ Jones (The Chemical Brothers, Primal Scream, Audio Bullies), Steve Osborne (Kt Tunstall), Ben Hillier (Depeche Mode, 

Doves, Elbow), Mark ‘Spike’ Stent (Madonna, Oasis, No Doubt, Gwen Stefani), Groove Armada, The Prodigy, Chemical Brothers. 

Little Labs Multi Z PIP 

The Swiss Army knife of DI’s. Precision 

Pre-Amp/DI, multi impedance options for 

optimum instrument coupling, re-amp, 

guitar cab splits – this box does the lot. 

Telefunken U47 

The ultimate U47 complete with recreated 

VF14K metal valve. 


Culture Vulture Limited Edition 

Anniversary Model 

To celebrate Thermionic Cultures 11th year 

in business a limited edition model of the 

Culture Vulture with high gain Mullard and 

Philips valves and a new 10 position 

distortion type selector has been design. 

Limited production run of 80 units only. 

The Rock 

True Fidelity Stands The Test Of Time 

New 2 way active reference monitor with 

50kHz folded ribbon tweeter, 6.5" woofer, 

Birch Wood Ply Cabinet Cabinet with Corian 

front baffle, True 100 watt Custom Discrete 

Amplifier by Esoteric Audio Research. 

Earthworks PM40 Pianomic 

Incredible high definition, quick easy setup. 

Incredible gain before feedback, superb 

sound with the piano lid either up or down. 

Chandler TG Channel MKII 

A recreation of several classic EMI circuits, 

combines a TG2 pre amp with a redesigned 

EQ from the EMI TG12410 mastering 

console, which is the mastering counterpart to 

the original ‘Beatles desks’. The TG Channel 

MKII version has been remade using original 

information provided by Abbey Road to 

ensure extreme authenticity. 

the pro-audio specialists 


Phoenix S/C Side Chain 

The best stereo valve compressor just 

got better. 

Audioease Speakerphone 2 

It’s a plug-in, but not as we know it! 

Cabinets for guitar re-amping. Megaphones 

for windy protest marches. Phones and radios 

for hip hop and post pro. Trent Raznor in the 

trunk of a Volvo on a moonlit parking lot. 

BURL B2 Bomber 

The B2 Bomber ADC from BURL Audio is 

the most significant piece of audio gear in 

your studio, and you don’t even own it yet. 

You’ve spent a fortune on great mics, great 

mic pres, and a kick ass DAW, but 

unfortunately you are missing one key 

component; an ADC with an audio path 

worthy of your recordings. 

GREAT TALENT DESERVES GREAT TOOLS 

tel: 01440 785843 fax: 01440 785845 web: www.unityaudio.co.uk email: sales@unityaudio.co.uk

Processors EQ Only - Pre-amps & Channel Strips 

EAR 825 Passive five-band stereo Pultec-type EQ with 

tube input and output buffers. D 

Focusrite 

Red 3 Dual triple VCA-based compressor/limiter. D 

GML 

8200 Dual-channel parametric equaliser. D 

9500 Mastering EQ. D 

Great River 

EQ-1NV A one channel digitally-controlled, analoguedriven 

equaliser. C 

EQ-2NV A two channel version of the EQ-1NV. D 

MAQ-2NV A stereo mastering parametric equaliser. D 

Klark Teknik 

DN360 Two-channel, 30-band, 1/3 octave GEQ. B 

DN370 Dual 1/3 octave analogue GEQ with high-/lowpass 

and notch filters. C 

Square ONE Graphic 

Dual 30-band graphic EQ, HP and LP filters. B 


EQ231-G Dual 31-band 1/3 octave graphic EQ (45mm 

faders). B 

EQ231-GSP Dual 31-band 1/3 octave graphic EQ with 

dynamics (45mm faders). B 

Langevin 

Mini Massive 

Solid-state high and low bands of massive 

passive stereo EQ. C 

Pultec EQ All-discrete version of passive Pultec EQ. B 


Enhanced Pultec EQP1-A 

Single-channel Pultec EQP1-A tube EQ. C 

Massive Passive Stereo EQ 

Stereo four-band tube passive EQ with filters. D 

Mastering Massive Passive Stereo EQ 

Mastering version of Massive Passive. D 

Mastering MID EQ 

Mastering mid-frequency EQ. C 

Mastering Pultec EQ 

Single-channel mastering Pultec EQ P1-A. C 

MID EQ Mid-Frequency EQ monoblock. B 

Mini Massive 

Discrete EQ based on the Massive Passive. C 

Stereo Pultec EQP-1A 

Stereo Pultec EQP-1A tube EQ. C 

Meyer Sound 

CP-10 Stereo parametric equaliser. D 

CP-10S Stereo parametric equaliser; tamper-proof 

screwdriver adjustments. D 

VX-1 Stereo programmeme equaliser. C 


NSEQ-2 Dual mono, four-band parametric EQ offering 

fully Class-A operation via discrete J-FET 

transistor amplifiers or all-triode tubes. C 

PreSonus 

EQ3B Mono three-band parametric EQ with bypass, 

high pass filter (80Hz), XLR and TRS conns. A 


MEA-2 Precision dual-channel equaliser; stepped 

controls; four overlapping bands. D 

Raindirk Audio 

HELIOS69B Seven-inch black vertical passive EQ and mic 

amp, line level control, 48V phantom switch. B 

LM4 4U with 16 LI modules, dual microphone input 

module, plus master and PSU. D 

MEQ4mixer 

4U mixing system. X 

10 

RANE 

ME 15S 1U 2-channel 2/3-octave micrographic EQ. B 




Portico 5033 

Five band EQ with swept HF and LF shelving 

filters, three fully parametric mid bands. C 


X-Rack Channel EQ Module 

Classic SSL SuperAnalogue four band parametric 

EQ, all in a X-Rack/Mynx format. A 

X-Rack E Series EQ Module 

Classic SSL SL4000 E console EQ in X-Rack/Mynx 

format. ‘Black-242’ and ‘Brown-02’ EQ design. A 

SPL 

Passeq Passive dual-ch, three-band EQ, 144 passive coil 

filters, 120V make-up gain stgs, transf. I/Os. D 

PQ Mastering Edition 

Dual-channel five-band mastering EQ on 120V 

rails, constant and proportional Qs, motorised 

controls, digital storability, total recall. E 

PQ Recording Edition 

Dual-channel five-band mastering EQ on 

120V rails, constant and proportional Q modes 

selectable per band. D 

Qure Dual-channel, parametric, three-band EQ ideally 

suited for tonal shaping of instruments, vocals 

and other complex musical signals. C 

Stereo Vitalizer MK2T 

Audio enhancer. Dual tube version of MK2. A 

Tube Vitalizer 

Mastering and restoration enhancer. C 


EQF-100 Tube Parametric Equalizer 

Single ch mastering/mixing/tracking EQ passive 

LC circuit w/tubes for make-up gain. Four bands 

plus HPF&LPF, switch freqs swept gain & BW. C 

EQP-200B Dual Tube Program EQ 

Passive LC circuit EQ. Pultec-style with Summit 

Audio magic. Two channel LF shelf bypass. For 

tracking, mixing, mastering. C 

FeQ-50 Passive Tube/Solid State EQ 

The fantastic sound of Passive LC EQ w/ both 

tube and solid state outputs available. Four 

bands switched freqs +/-14dB HPF. A 


Classic Tube Equalizer 

Full range passive pultec-style tube equaliser. C 

RFZ-Audio W734 Equalizer 

Vintage East German equaliser, transformer 

balanced, vintage transistor sound, low, mid & 

high boost & cut. C 


Pullet 

Mini passive inductor stereo equaliser. Utilises 

any mic pre-amp stage. Individual simultaneous 

boost and cut controls, Pultec style. B 


Classic EQ2 Dual parametric valve equaliser with variable 

high- and low-cut filters and mic pre-amps. C 

Ivory 5013 Dual valve equaliser feat. peaking/shelving 

option on LF/HF bands, Fat contour switch. B 

Klark Teknik SquareONE 

Tonelux 

EQ4P Four-band parametric EQ module. B 

Equalux Parametric equaliser. C 

Tube Tech 

EM-1A MODULE, single channel tube EQ. Separate 

frequency boost and attenuation controls, 

bandwidth control. C 

EQ 1AM Single channel tube EQ. Three-band EQ, high-, 

low-cut filters, high-, low-shelving Frequency 

response: 5Hz-60kHz. Mastering version. E 

EQ-1A Tube equaliser. Single-channel, tube operation, 

three-band EQ, high-, low-cut filters, high-, lowshelving, 

gain controls. D 


ME-1B Mid-range equaliser. Studio, live sound. Singlech, 

tube operation; low-, high-frequency boost, 

mid freq attenuation. Original Pultec circuit C 

PE 1C Single channel tube EQ. Separate frequency 

boost and attenuation controls; bandwidth 

control. Original Pultec circuit. C 

Wharfedale Pro 

Q-130 Single channel constant Q 1/3 octave graphic 

equaliser with switchable 6db/12db fader range 

and 1/4-inch TRS/XLR inputs/outputs. A 

Q-215 Dual channel constant Q 2/3 octave graphic 



Q-230 Dual channel constant Q 1/3 octave graphic 



XTA Electronics 

GQ600 Graphic equaliser. Two-channel; 30-band; 1/3 

octave; high-pass filter; trim controls; bypass; 

gorgeous sound; 45mm faders. C 

Yamaha 

Q2031B Stereo 31 band graphic EQ, six or 12dB of boost 

or cut, at ISO 1/3 octave frequencies from 

20Hz-20kHz, with XLR connectors. A 

Pre-Amps & Channel Strips 

A Designs 

EM-Blue For 500 series type frames. Nickel custom 

wound output transformer. Includes DI input, 

+48v phantom power, and -20dB pad. A 

EM-Red For 500 series. 50/50 nickle/steel transformers. Di 

Input, +48v phantom power, -20dB pad. A 

EM-Silver For 500 series frames. Custom wound steel 

output transformer. DI input, +48v phantom 

power, -20dB pad. A 

MP1A Single channel tube mic pre with custom 

transformers and tone switches. B 

MP2A Dual channel tube mic pre with custom 

transformers and tone switches. C 

P-1 Single channel mic pre/ DI for use with 

500 series type frames. Input and output 

transformers, 70db of gain, -20dB pad. A 

Pacifica Dual channel mic pre/DI with heavy duty 

transformers and warm, punchy sound. C 

AMS-Neve 

1073 Mono classic pre and EQ. D 

1073 DPA Two-channel vintage mic pre. C 

1073 DPD Two-channel vintage mic pre, digital outs. C 

1081 Mono 1081 Pre. E 

1081R 12-channel remote control vintage pre with any 

combination of 1081, Air, and 1073 modules. F 

1084 Mono classic pre and EQ. D 

8801 Channel strip based on the Neve 88R console. C 

Aphex Systems 

1100 MkII Two-ch tube-based pre-amp/A/D converter. C 

1788 Eight-ch remote/local mic pre-amp. D 

1788-RC Remote controller for up to 16 Model 1788 mic 

pres; MIDI, RS232, RS422 interface. B 

1788dig Digital option for the 1788. B 

1788m Multi-channel mic-pre, R/C, w/up to 16 units 

from one dedicated controller or PC software. D 

1788r Remote for 1788 multi-channel mic pre. C 

207D Dual valve mic pre-amp. A 

230 Ultimate voice channel strip. B 

API 

3124+ Four API 312 pres in a 1U rack. Each channel has 

phase, 48V, pad, meter, DI (470K ohm), and gain. 

19-inch +four balanced XLR outputs. 1U. C 

7600 A channel from the API Legacy console with mic 

pre, EQ, compressor. four groups, four aux sends 

(pre/post), mute, solo, and more. C 

A2D A pair of signature 312 mic preamps with high 

quality stereo digital output. C

Apogee 

MiniDAC Inputs include AES, Optical (ADAT, SMUX, SPDIF) 

coax, USB. Analogue out volume control. B 

ART 

Digital MPA 

Pro two-channel mic pre with digital out. B 

DPSII Pre-amp with variable valve voicing. A 

MPA Gold Two-channel pre, variable impedance. B 

Pro Channel 

Tube mic pre-amp/compressor/EQ. B 

Tube fire 8 Eight-channel valve pre with FireWire. A 

Tube MP Original 

Tube mic pre with 48V phantom power. A 

Tube MP Project Series 

Pro tube mic pre-amp, filter, limiter, phase inv. A 

Tube MP Project USB 

USB valve pre-amp. A 

Tube MP Studio V3 

Tube mic pre with variable valve voicing. A 

Tube PAC Tube mic pre-amp/compressor. A 

ATI Audio Technologies Inc. 

AMM200 Stereo preamplifier, metered with headphone 

monitor‚ XLR and RCA I/O (external PSU). A 

DMA103 1X3 microphone distribution amplifier, +22dBm 

XLR I/O (incl. external power supply). A 

L1000-XLR Two-ch line amplifier +22dBm transformer 

output ‚ XLR I/O. A 

L200 Two-ch line amplifier +24dBm ‚ XLR I/O (incl. 

external power supply). A 

M100 UltiMike ‚ 1 ch high performance mic amp. A 

ML200 Two-ch mic toline and line amplifier XLR I/O. A 

MLA400-1 Four-ch line amp ‚ transformer bal. outputs. A 

MLA400-2 Four-ch line amp ‚ active balanced outputs. A 

MLA800-1 Eight-ch line amp ‚ transformer bal outputs. 

Transformer XLR I/O and metered versions. A 

MLA800-2 Eight-ch line amp ‚ active balanced outputs. 

Transformer XLR I/O and metered versions. A 

MMA400-1 Four-ch mic to line amp, +24dBm, transformer 

balanced out, Phoenix I/O. 15V and 48V 

phantom power options. A 

MMA400-2 Four-ch mic to Line amp, +24dBm, active 


phantom power options available. A 

MMA800-1 Four-ch mic to line amp, +24dBm, transformer 


phantom power options. B 

MMA800-2 Four-ch mic to line amp, +24dBm, active bal 

output, Phoenix I/O. 15V and 48V options. A 

P1000-1 Stereo phon pre +22dBm transformer out. A 

P1000-2 Stereo phono preamp +22dBm output. A 

Audient 

ASP008 Eight-ch mic pre with variable input impedance. 

AES/EBU, ADAT, S/MUX output options. B 

Black Pre Analogue pre for Black Series racks feat. HMX. A 

Mico Dual ch mic pre with HMX, Variphase, ADC. A 

Avalon Design 

AD2022 Pure class A dual mono mic pre-amp with fine 

trim and DI inputs. C 

M5 Pure class A mono mic pre-amp with DI 

instrument input and 2dB step gain. B 

U5 Pure class A mono instrument DI pre-amp with 

six-bank tone/EQ. A 

VT-737sp Mono mic pre-amp/opto-compressor/fourband, 

class A EQ with four tubes. C 

Benchmark 

BM-MPA1 Two ch mic-pre with stepped-resistor gain 

control/HP2A headphone amplifier built-in. C 

PRE420 Four-ch mic-pre w/stereo mix and stereo/mono 

solo busses; max transparency, RF immune 

wide bandwidth, low-noise/distortion. D 

Focusrite ISA One Pre-amps & Channel Strips Processors 

Blue Microphones 

Robbie Class-A discrete tube mic/instrument preamp, 

no ICs, discrete components input to output. B 

Burl 

B1 Mic preamp for the API500 module series, 

designed to complement the B2. B 


ARC1.1 Mono mic pre-amp/compressor/EQ. C 

Elixir Mono mic pre-amp for API 500 series. B 

MA2.2 Dual-mono mic pre-amp. C 

SSA1.1 Dual mono mic pre-amp. B 

Centrance 

MicPort Pro 

Driverless USB mic pre-amps with 48V phantom 

power and zero latency headphone output. A 

Chandler 

Germanium Preamp/DI 

Resolution Made Jakob with classic Ad 04/06/09 Germanium transistors. 10:31 Side B 1 

“ 

s ound engineering 

JAKOB WINTHER 

Vibe Factory | Copenhagen 

Studio Owner & Engineer 

LYDKRAFT 


LTD-1 Mic Preamp/EQ 

EQ/pre-amp. Hand wired Neve cards. Double 

EQ, DI input, 48 volt, phase, output controls. C 

TG Channel MKII 

EMI ch path. Mic/line/DI input, three-band EQ. C 

TG-2 Mic Preamp 

Stereo mic pre-amp from 60s/70s custom 

consoles. Warm open tone, 5-75dB gain, DI 

input, 48 volt, output control. C 

Crane Song 

Flamingo High quality two-channel discrete class A mic 

pre-amp, can sound transparent or vintage. C 

Spider Eight mic pres, eight limiters, eight fat buttons, 

var. per track saturation effect ‚ digital outs. D 


BG 501 Mic pre-amp w/DI (for API 500 Lunchbox). A 

BG No 1 Two-channel microphone pre-amplifier. A 

BG No 1U Two-channel mic pre-amplifier with DI. B 

BG No 2 Four-channel microphone pre-amplifier. B 

YOUNG TALENT AND CLASSIC QUALITY 

Whenever I'm mixing or recording, my TUBE-TECH gear is in use constantly. 

These blue machines gives me everything I want from analog equipment; 

warmth, fatness and character. This is modern equipment combined with 

the beloved quality of the classics! Already at an age of 17 I learned from 

the internet, that these units were the ones to get hold of for professional 

production, and I have never regretted that decision. 

TUBE-TECH VALVE QUALITY 

FOR SOUND LOVERS 

” 

...hear the difference 

MP1A Mic Pre/DI 

CL1B Compessor 

ME1B Midrange EQ 

PE1C Program EQ 

NEW WEBSITE | WWW.TUBE-TECH.COM 

11

Processors Pre-amps & Channel Strips Grace Design M904 

BG No 5 Channel strip with DI. B 

BG No 7 Micpre-amp with DI and limiter/comp. B 

BG No 8 Eight-channel microphone pre-amplifier (1U). C 

BG No 9 Mic preamp (Channel 1). DI on channel 2. A 

DACS 

HeadLite 2 Four-in four-out headphone amp, six position 

self cleaning monitor select for each amp A 

HeadMaster 

DAW monitoring control with Crookwood 

D-A (AES & SPDIF), bal and unbal analogue in, 

independent headphone out, two switchable 

loudspeaker outputs, direct out from digital. B 

MicAmp 2 Clear, uncoloured, detailed and complete sound; 

with input stage and optional in line pad. C 

Daking 

Mic Pre 1 Single ch mic/pre, adjustable high pass filter. A 

Mic-Pre EQ 52270 

Single-channel mic/pre EQ with 48V phantom 

power, phase reverse, pad, gain, output level 

controls, four-band EQ, plus shelving filters. B 

Mic-Pre IV Class A, four-ch mic/pre EQ, 20dB pad, phase 

reverse, Hi-Z input, LED meter. C 

dbx 

286A Mic preamp/compressor. OverEasy compression, 

de-essing, enhancing, expanding and gating. 

+48V phantom power and 80Hz low cut filter. A 

376 Tube ch strip. Valve mic preamp, three-band 

parametric EQ, compressor, de-esser. Hi-Z 

instrument input. AES/EBU, S/PDIF outputs. B 

386 Dual ch valve mic preamp. Hi-Z instrument 

input. AES/EBU and S/PDIF outputs with 

selectable output (up to 24-bit, 96kHz). B 

Drawmer 

1960 Two-channel mic/line/instrument pre-amp/tube 

compressor. C 

1961 Two-channel vacuum tube equaliser. C 

1969 Special Mercenary Edition 

Two-channel mic/line/instrument pre-amp. C 

MX60 Front End One 

Mic/line/instrument pre-amp with full dynamics 

EQ and multi-band tube saturation. A 

DW Fearn 

LP1 Line pad. A 

PDB Passive DI Box. A 

VT1 Mono tube mic pre-amp. C 

VT15 Mono tube channel strip. D 

VT2 Dual mono tube mic pre-amp. C 


1021 Single-ch mic preamp, 48V phantom power, 

phase reverse, gain controls. 2Hz-100kHz. B 

1022 Two-channel mic preamp with 48V phantom 

power, XLR and 1/4-inch connectors, phase 

reverse and gain controls. C 

1024 Four-ch mic preamp w/140dB dynamic range. D 


EL9 Mike-E Digitally controlled mic pre, warming/softening 

features, excellent compressor/limiter. C 

Equipson 

SP MAX Serie by WORK 

SP range evolution, 2U chassis, built-in class H 

circuits; manages low impedance (2O) loads. A 

WXP Series by WORK 

Switching power series (high-quality 

components). Four models:1000W to 3000W. A 

Fatman 

Fat Funker Mono valve guitar front end channel, EQ, 

Compressor, pre-amp, optional digital out. A 

Focusrite 

ISA 220 Session Pack 

Ch.strip feat. transformer pre-amp, EQ, 

compressor, de-esser, limiter, stereo ADC opt. C 

ISA 428 Pre Pack 

Four-ch transformer-based pre-amp with var 

impedance and eight-ch 192kHz ADC option. C 

ISA 430 MKII Producer Pack 

Channel strip featuring multiple processors, plus 

a stereo 192kHz ADC option. C 

ISA 828 Eight-ch transformer-based pre-amp w/variable 

impedance, eight-ch192kHz ADC option. C 

ISA One Single-ch mic pre-amp with Independent DI. A 

Liquid 4PRE 

Four channel Liquid pre-amp with remote 

control over Ethernet. D 

OctoPre Eight-channel mic pre and dynamics with 

comprehensive ADC options. B 

OctoPre LE Eight-ch mic pre with ADAT ADC/DAC option. A 

Red 1 Four-ch transformer-based classic pre-amp. D 

Red 7 Channel strip featuring transformer-based preamp, 

compressor, de-esser and exciter. D 

Red 8 Two-channel transformer-based pre-amp. C 

The Liquid Channel 

Channel strip featuring Liquid technology and 

analogue front end. C 

TrakMaster Pro 

Mono channel strip with mic pre, compressor, 

EQ, and ADC option. A 

TwinTrak Pro 

Latency-free stereo tracking device with DAC. A 

VoiceMaster Pro 

Voice-optimised channel strip, ADC option. A 

GML 

2020 High-resolution discrete input channel 

combining the 8300 mic-pre, 8200 parametric 

EQ, and the GML Dynamic Range Controller. D 

2032 Single-channel with 48V phantom power, phase 

reverse, gain control, gain trim, high-pass filter 

(40Hz, 100Hz) for pre-amp, and more. C 

8302 Two-channel 8300 mic pre-amp. C 

8304 Four-channel 8300 mic pre-amp. C 

Grace Design 

Lunatec V3 Portable high fidelity two channel mic pre with 

24/192 AD converters. Six or 12VDC operation. 

HPF, M+S matrix, ANSRtm dithering standard. B 

m101 Single ch high fidelity mic preamp with DI. 

Features include ribbon mic mode, HPF, 48V 

phantom, precision gain switching. A 

m201 Two-ch high fideltity mic preamp with Ribbon 

Mic mode, Hi-Z inputs, built in M+S matrix, 

optional reference 24/192 AD converters C 

m801 Eight-ch high fid mic amp w/Ribbon Mic Mode, 

dual balanced outputs, phase, 48V, precision 24 

position gold contact gain switches D 

m802 Eight-ch remote controlled mic pre with Ribbon 

Mic Mode, ProTools HD compatibility and 

optional 24/192 reference AD converter card D 

Great River 

ME-1NV Single channel mic preamp for vintage sound. C 

MEQ-1NV A combination of the EQ-1NV and the ME-1NV. 

Routed via patch loop jack on the ME-1NV. D 

MP-2NV A two channel version of the ME-1NV. C 

MP-500NV A 500 series version of the ME-1NV. B 

Joe Meek 

OneQ 1U deluxe channel strip. A 

SixQ 1U channel strip. A 

ThreeQ Half-rack channel strip. A 

TwinQ 2U dual mono channel strip. A 

Langevin 

Dual Mono Mic Pre with EQ 

All-discrete stereo mic pre-amp with EQ. B 

Dual Vocal Combo 

Stereo mic pre-amp with EQ. C 

Little Labs 

LMNO Pre Unique mic pre, fully discrete gain stage, 74dB of 

gain with a maximum level out of 31dB. A 

12 AUDIO MEDIA AUGUST 2009 

Multi Z PIP The Multi Z PIP 3.0 is a completely updated, 

refined replacement for the now classic Little 

Labs Multi Z Direct Box. A 

PCP High quality guitar splitter/line level DI box. B 

Red Eye A passive direct box/re-amp box with unique 

expansion capabilities. A 

STD Merc Edition 

A guitar/instrument cord line driver. A 

M-Audio 

Audio Buddy 

Dual mic pre/DI box with phantom power. A 

DMP3 Two-ch pre-amp/DI Box, level controls, phase 

reverse, low-cut filter, VU meters. A 


Dual Mono Mic Pre 

Dual-mono mic pre-amp (two-channel). C 

MIC/EQ 500 

Fully-differential mic pre and passive EQ. C 

Mono Mic Pre 

Mono tube mic pre-amp. B 

Mono Tube Direct Interface w/ EQ 

Mono tube direct interface with EQ. A 

SLAM! (Analogue) 

Stereo mic pre/DI/ELOP+FET limiters. D 

SLAM! (w/ Digital I/O) 

Stereo mic pre/DI/ELOP+FET limiters, with 24/96 

AD/DA card. D 

Stereo Tube Direct Interface w/ EQ 

Stereo tube direct interface with EQ. A 

TNT Two-channel mic pre-amp (TUBE channel + NO 

TUBE channel). C 

VOXBOX Mic preamp, compressor, EQ, limiter, de-esser. D 

Martinsound 

Martech MSS-01 

Natural-sounding DI interface. X 

Martech MSS-10 

Natural-sounding microphone pre-amplifier. C 

Midas 

XL42 Two-channel XL4 mic pre-amp with creative 

equalisation. C 

XL88 8x8 matrix mixer. D 


HV-3C Two ch’s of HV-3 mic pre-amps in 1U rack. C 

HV-3D HV-3 mic pre-amps in four- and eight-channel 

2U racks. D 

HV-3D HV-3 mic pre-amps in four- and eight-channel 

2U racks. D 

HV-3R Pro Tools-compatible, remote-controllable 

HV-3D/8 with Ethernet and MIDI protocol. D 

LOC Archive phono pre-amp with universal playback 

equaliser, and reference RIAA playback EQ. E 

LPE-2 Archive phono pre-amp with universal playback 

equaliser, and reference RIAA playback EQ. E 

M-2B Two-ch, high-voltage, transformerless, Class-A 

biased, all-vacuum tube stereo mic pre-amp. C 

STT-1 Pure Class-A analogue rec ch, Twin Topology mic 

pre-amps, EQ, compressor/limiter. C 

TD-1 Twin-topology, half-rack rec channel, vacuum 

tube/all-discrete solid state DI amps. B 

MindPrint 

DTC High-end, all tube-driven, two-channel strip. C 

EnVoice MK2 

Channel strip featuring a valve compressor, 

parametric EQ, and optional USB for DAWs. A 

Pendulum 

MDP-1 Mic/DI preamp. All tube, short signal 

path design w/pure Class A, high-V circuitry. D 

Quartet Four element tube rec ch. Mic/line/DI ins. Threeband 

EQ. Opto compressor/limiter. De-esser. D 

Quartet II Tube signal processor. Mic/line/DI inputs. Threeband 

passive tube EQ. Opto compressor/limiter. 

De-esser. D

RME Micstacy 

Phoenix Audio 

DRS 1 Mono class A mic pre-amp. B 

DRS 2 Dual mono class A mic pre-amp. C 

DRS Q4 Dual mono class A mic pre-amp with four band 

parametric EQ. C 

DRS Q4M Mono Class A mic pre-amp with four band 

parametric EQ. B 

Nice DI Dual mono class A DI. B 

PreSonus 

ADL600 Two-ch high-voltage class A tube pre-amp. C 

BlueTube DP 

Two-channel tube/solid state mic pre-amp/DI. 

48V, pad, phase reverse, high pass filter and VU 

metering on both channels. A 

DigiMax96K 

Eight-ch class A mic pre-amp with ADAT, SPDIF 

and AES/EBU outputs. Limiter, EQ enhance, 20dB 

pad, 48V and direct output on each channel. B 

DigiMaxD8 Eight-channel class A mic pre-amp with 

24-bit/48kHz ADAT I/O. 20dB pad, LED metering 

and balanced direct out on each channel. A 

DigiMaxFS Eight-channel class A mic pre-amp with 

24-bit/96kHz ADAT I/O. Direct out and inserts on 

each channel plus wordclock I/O. B 

DigiMaxLT Eight-channel class A mic pre-amp with ADAT 

outputs. 48V and 20dB pad on each channel. B 

Eureka Channel strip with class A mic pre-amp, soft 

knee compressor, three-band parametric EQ and 

optional 24-bit/96kHz digital output. A 

StudioChannel 

Channel strip: class A tube preamp, VCA-based 

compressor, three-band parametric equaliser. A 

TubePRE Single-ch tube mic-preamp, var. tube drive. 48V, 

20dB pad, phase reverse and high pass filter. A 


MMA-4 XR Four-ch mic pre-amp; 48V phantom; phase rev; 

stepped gain controls. Freq resp: 1Hz-200kHz. C 

Radial Engineering Ltd. 

CX8 Eight ch contractor mic splitter with direct out, 

aux out and transformer isolated out. Mounts in 

standard electrical boxes. A 

J-ISO Stereo pro +4dB to consumer -10dB interface 

1/4-inch, RCA/3.5mm outs, Jensen transformers 

for immunity to ground loop hum. A 

J+4 Stereo consumer -10dB to pro +4dB line driver. 

Active buffers and transformer isolation for low 

noise and immunity to ground loop hum. A 

J48 Phantom powered active DI with 9-volt rails for 

increased headroom. Handles high input level 

from active instruments without clipping. A 

JD6 Rackmount six ch passive DI w/Jensen 

transformers. 1/4-inch and RCA inputs. Linear 

response from 10Hz to 40kHz (+/-0.5dB). A 

JDI Passive direct box w/Jensen trans isolation: 

immunity to ground loop hum/ buzz. A 

JDX Active guitar amplifier direct box with reactive 

load and speaker emulation. Inserts between an 

amp and speaker. Outputs a mic-level signal. A 

JPC Phantom powered stereo DI for computers, 

iPODS, other -10dB consumer sources. 1/4-inch, 

RCA and 3.5mm inputs and XLR mic-level out. A 

JS2 and JS3 

Mono mic splitters with one (JS2) or two (JS3) 

isolated outs plus direct and aux outputs. Jensen 

equipped for immunity to ground loop hum. A 

JX44 Guitar and amp distribution system controls four 

guitars and four amps with two effects loops, 

re-amping and DI. Optional JR5 foot pedal. B 

OX8 and LX8 

Rackmount eight channel mic splitter (OX8) and 

line splitter (LX8). Offers direct out, aux out and 

transformer isolated out on DB-25 D-SUB. A 

Phazer Signal phase adjuster and low pass filter. A 

ProD8 Rackmount eight ch passive DI with dual 

redundant inputs for main and backup 

keyboards, drum machines, playback devices. A 

ProDI Passive direct box with custom Radial 

transformer for immunity from ground loop 

hum and buzz. Linear response from 20Hz to 

18kHz (+/-1dB). A 

ProISO Low cost stereo pro +4dB to consumer -10dB 

interface with custom Radial transformer for 

immunity to ground loop hum. A 

SGI Long haul guitar interface drives 100 meters of 

cable between a guitar (or its wireless receiver) 

and the amp for stage and studio. A 

SW4 Festival switches allows three FOH consoles 

to share one PA system. Incorporates music 

playback and mic announcements. B 

SW8 Eight channel auto signal switcher seamlessly 

switches between main and backup multi-tracks 

for live tracks. Built in direct boxes. A 

X-AMP Pro active re-amping devices allows a multitracks 

to drive guitar and bass amps for layering 

of guitar sounds or track replacement. A 


HELIOS69A Seven-inch black vertical passive EQ/mic amp. B 

MEQ Modular mic amp/EQ/limiter range D 

RANE 

MS 1S Microphone pre-amp (desktop). A 

RME 

DMC-842 M 

Multi-channel remote control AES42 digital mic 

controller with MADI connection and control. D 

Micstacy M 

Multi-channel remote control pre amp with 

MADI connectivity and control. D 

Octamic II Eight channel mic preamp, 1U, including 192kHz 

AD conversion to AES and ADAT. B 

Quadmic Four channel mic preamp, 1/2 rack. A 

Røde Microphones 

D-PowerPlug 

In-line cable mounted instrument grade preamp 

for dynamic mics. A 


Fidelice: High Voltage & Remote Quad Pre 

Quad channel, discrete, class-A and high voltage 

preamplifier, with remote control and ADC. D 

Portico 5012 

Dual-channel mic pre with silk and Rupert Neve 

designed transformers. C 

Portico 5012 

Dual-channel mic pre with silk and Rupert Neve 

designed transformers. C 

Portico 5015 

Single-channel mic pre with silk compressorlimiter 

with independent transformer coupled 

I/O for each section. C 

Portico 5015 

Single-ch mic pre, silk compressor-limiter, indpt 

transformer coupled I/O for each section. C 

Portico 5016 

Combined mic-pre and DI with silk, vari-phase, 

and Rupert Neve designed transformers. B 

Portico 5016 

Combined mic-pre and DI with silk vari-phase, 

and Rupert Neve designed transformers. B 

Portico 5032 

Single channel mic pre/three-band EQ with silk 

and Rupert Neve designed transformers. C 

Portico 5032 

Single channel mic pre/three-band EQ with silk 

and Rupert Neve designed transformers. C 

Safe Sound Audio 

P1 Audio Processor 

Mic/line/instr pre-amp + compressor, limiter/ 

zero latency monitoring. Half/full rack ver. A 

P501 Audio Processor 

500 Series pre-amp plus compressor plus limiter. 

Level and GR metering. A 


Pre-amps & Channel Strips Processors 

Shure 

FP 23 Mic preamplifier. Single-channel; gain control; 

high-pass filter (80, 100Hz); limiter; battery. A 

FP 24 Portable pre-amp. Two-ch; level controls; highpass 

filter; slate; LCR; tone generator. A 


PR-8 DS Eight-channel microphone preamp. A 


Alpha Channel 

1U console channel strip with analogue and 

digital outputs. Mic line or Inst Input, VHD circuit, 

three band parametric EQ, and hi-pass filter. B 

Alpha VHD Pre 

1U rack ch, four unique variable harmonic drive 

mic pres with line and instrument inputs. B 

Mynx Desktop chassis for two X-Rack modules (all 

X-Rack modules supported). A 

X-Rack Mic Amp Module 

X-Rack/Mynx SuperAnalogue module mic, line 

and instrument input. Variable input impedance, 

high/low pass filters, rec + mix bus routing. A 

X-Rack VHD Input Module 

Variable harmonic drive mic preamp in X-Rack/ 

Mynx format. High and low pass filters and LMC 

listen mic compressor. A 

Sonifex 

RB-DMA2 Dual digital microphone amplifier. A 

RB-MA1 Single microphone amplifier. A 

RB-MA2 Dual microphone amplifier. A 

RB-MM1 Mix-minus generator. A 

RB-MTV1 Contribution voiceover monitor w/talkback. A 

RB-TGHDB Multi-ch HD tone generator, BNC outputs. B 

RB-TGHDX Multi-ch HD tone generator, XLR outputs. B 

Sontronics 

Chimera Hybrid valve pre-amp with independent solidstate 

and valve channels. A 

Sonora Portable dual-channel, solid-state pre. A 

SPL 

Channel One 

Mono channel strip with hybrid solid state/tube 

pre-amp, de-esser, compressor/limiter, noise 

gate, three-band EQ, headphone monitor. B 

Frontliner Mono channel strip w/discrete solid state/ 

tube hybrid pre-amp, de-esser, fully featured 

compressor, EQ section, tube output stage. C 

Gainstation 1 

Discrete, 60V class A mic/instrument pre-amp 

with separate transistor and tube gain stages. B 

Gainstation 1 AD 

Discrete, 60V class A mic/instrument pre-amp 

separate transistor and tube gain stages. B 

Gainstation 8 

Eight gainStation pre-amps in a 2U package. D 

Gold Mike MK2 

Two-channel, hybrid solid state/tube mic and 

instrument pre-amp featuring tube drive, limiter 

stages and FLAIR presence enhancement. B 

Track One Mono channel strip. Mic/instrument pre-amp, 

de-esser, compressor/limiter, three-band EQ, 

PPM meter display. Optional 24/96 output. A 

Studio Projects 

SP-828 Eight-channel mic preamp incorp. latest rev of 

Burr Brown ICs. Also an 8X2 mixer. A 

VTB-1 Variable tube mic pre amp with warm 

transparent character. Great for production. A 


2BA-221 Mic and Line Preamplifier 

Var. impedance mic pre with swept tube output, 

line & Hi-Z inputs can be mixed with mic, swept 

HPF multiple in & out, great sound fast. A 

ECS-410 Everest Flagship Channel Strip 

Preamp compressor passive EQ overdrivable 

output w/TouchPatch one-touch routing. C 

13

Processors Pre-amps & Channel Strips - Other Processors TLA Ebony 

MPC-100A Tube Mic Preamp and Compressor 

Transformer/tube preamp & variable impedance 

Hi-Z in, tube comp/limiter with master output, 

multiple gain stages for finding your tone. C 

TD-100 Instrument Preamp and Direct Box 

Tube life to your instrument. XLR mic level TRS 

line level headphone direct outputs, switched 

gain variable impedance polarity ground lift. A 

TPA-200B Dual Tube Mic/Line Preamplifier 

Completely variable input and output for tones 

from silky to trashy and everything in between. 

Mic/line/Hi-Z in, great for mixing, too! C 

Symetrix 

528E Voice Processor 

Analogue channel strip, six key funcs: mic pre, 

de-essing comp/limiting, downward expansion, 

para EQ, voice symmetry alignment. A 


RFZ-Audio V781 Vorverstä§rker 

Vintage East German preamp, transformer bal, 

vintage transistor sound, phantom power. C 

RFZ-Audio V799 Kanalzug 

Combines RFZ-audio V781 preamp, W734 EQ 

and V713 compressor to a full channel strip, 

transformer bal, vintage transistor sound. C 

Vari Tube Recording Channel 

Flexible pre-amp with passive pultec-style EQ, 

vari-mu and opto compressor, also for line signal 

processing, stereo-link, full tube C 


Earlybird 1.2 

Two channel mic pre-amp, with balanced pushpull 

all valve circuit. D 

Earlybird 2.2 

Stereo tube Mic/Line pre-amp. Hand wired with 

custom Sowter transformers. On board active 

three-band lift EQ with six position bass cut. 

Dedicated line and Pullet inputs. D 

Rooster Stereo tube mic/line/DI pre-amp with EQ and 

attitude distortion. X 

Rooster Balanced 

Balanced stereo tube mic/line/DI pre-amp with 

EQ and attitude distortion. C 


Classic PA1 High-end mic dual pentode valve pre-amp 

employing an all transformer balanced front end 

with secondary triode valve stages. B 

Ebony A1 Discrete class A and tube dual mic pre/DI. B 

Ebony A3 Discrete class A and tube mono channel strip 

with compression and EQ. B 

Ivory 5001 Quad valve pre-amp offering four top quality 

valve mic pre-amps in a single 2U package. B 

Ivory 5050 Mono valve pre-amp/compressor. A 

Ivory 5051 Mono valve processor with a combined preamp, 

noise gate, compressor, and equaliser. B 

Ivory 5052 High-quality double ‘channel strip’ stereo valve 

processor; ideal system front end. C 


AFC-2 Dual mic pre/four-band EQ. A 

ATC-2 Dual mic pre/EQ/compressor. B 

EC-1 Mono mic pre/EQ/compressor A 

Tonelux 

MP1a Mic preamp module. B 

True Systems 

P-Solo Single-channel mic/pre with 48V phantom 

power, phase reverse, pad, and gain controls. A 

P-Solo Ribbon 

Single-channel mic/pre with loading and gain 

for ribbon mics. Phase reverse/gain controls. A 

P2 Analog Two-channel mic preamp with phase meter and 

M/S decoder. B 

Precision 8 Eight-ch mic preamp w/M/S decoding. C 

Tube Tech 

14 

MEC 1A Single channel tube recording channel, 

mic pre-amp/EQ/Comp. D 

MMC 1A Single ch recording ch/pre-amp with switchable 

impedance, multi-band optical compressor. D 

MP-1A Two-channel tube mic pre-amp with 48V 

phantom power; switchable impedance, 20dB 

pad, low-frequency cut filter (20, 40Hz), gain 

controls, doubles as direct box. C 

PM-1A Module single ch tube mic pre-amp w/48V 

phantom power, 20dB pad, low-freq cut filter, 

gain controls, doubles as direct box. C 


2-610S Updated version of original 2-610 preamp, mic, 

balanced line, and hi-Z input, switchable -15dB 

pad, variable input gain and output levels. C 

4110 Discrete class A, class-leading 74dB gain, threeway 

SHAPEswitch, modern/vintage/saturate, 

gain/level controls, fast transients XLR, 1/4 ins. D 

6176 Two classics in one box, ultra quiet operation, 

mic, balanced line, Hi-Z inputs, split or join mic 

pre and compressor, stereo interconnect. C 

710 Twin-Finity Mic Preamp 

Combines tube and solid-state circuits allowing 

blend of each. Dual gain controls, pad, filter, 

phase reverse, VU metering. Free-standing. A 

8110 Discrete class A, three-way ‚shape‚ switch: 

modern/vintage/saturate, gain and level 

controls, no capacitors in audio path. D 

DCS Remote Preamp 

Dual mono or stereo transimpedance mic pre/ 

DI, mid/side recording w/decoded monitoring; 

headphone amp w/ 3x cue mix, reverb, EQ. B 

LA-610 Putnam Sr. 610 Tube Mic Pre, Teletronix LA-2Astyle 

T4 Opto-compressor- vintage EQ, variable 

impedance & DI, audiophile components. B 

Solo/610 Classic Putnam 610, gain, level, and impedance 

selection, portable design, USA assembled. B 

Other Processors 

A Designs 

ATTY Stereo passive attenuator with mute switch. A 

ATTY\’2D Six channel attenuator with mute switches. 

Designed for passive surround control. A 

REDDI All tube direct box. Custom transformers. A 

AandG Soluzioni Digitali 

See Sound New way to produce 3D audio surround 

soundscapes for any kind of video. A 

TheBat Three-dimensional digital controller, enables 

settling in a pointer’s position in 3D environ. C 

X-Spat AB64 

Evolutionary multi-channel DSP expansion for 

digital audio workstations. C 

X-Spat Apogee 

Evolutionary multi-channel DSP expansion for 

digital audio workstations. C 

Allen & Heath 

GR2 Nine-input, four-output, two-zone analogue 

mixer offering the installer a host of front panel 

preset switches and trimmers to meet specific 

system requirement. B 

AMS-Neve 

8804 Fader pack for 8816. B 

8816 16-ch summing mixer with comprehensive 

monitoring, cue ad talkback features. C 

Apex 

Argos Sound level limiter. B 

dBDI-2 Dual active DI box. A 

dBZ-48 Stereo distribution mixer. A 

dBZ-48d Stereo distribution mixer with delay and filter. B 

Hera Sound level controller. B 

Leto Sound level deported display. A 

Aphex Systems 

1401 Aural Exciter and Optical Big Bottom tailored 

especially for acoustic instruments. A 



especially for bass instruments. A 


especially for guitar. A 

1404 Advanced optical compressor for guitar. A 

2020 MkIII 1U broadcast processor with dual mono; 

overshoot low-pass filter; and split-band preemphasis 

filter. X 

204 Improved version of the 104 C2 with BigBottom, 

balanced I/O and new base circuitry for lowfrequency 

processing. A 

API 

7800 Master control module allows you to mix 

individual channel strip elements together into 

a stereo mix, complete with full monitoring. C 

8200 Line mixer, easily expandable console 

configuration. Each channel has an insert, mute, 

solo, and two aux sends. C 

Audient 

BBB4 Black series four space rack unit for Black Series 

modules, inc. PSU. A 

BR10 Black series 10 space rack unit for Black Series 

modules, inc. PSU. A 

Blue Coconut Unity 

Echoverb Six-head analogue tape echo. Any combination 

of the six playback heads can be selected, 

includes a tape reverb mode. C 

BSS 

DPR504 Four-ch noise gate. Parametric key filter with key 

filter listening. Simultaneous key level/ threshold 

metering, ave./peak metering. C 

DPR901II Four-band dynamic equaliser. Frequencyselective 

compression and expansion. 

Frequency sweep, adjustable bell width, 

compress/expand control. One input/four band, 

or two input/two bands per channel. C 

Chandler 

Universal Mix Control 

Designed for two major uses (1) simple 

combining of multi-mic’ed sources such 

as guitar amps or snare drums (2) parallel 

processing without using a console. B 

Crane Song 

Avocet Stereo and surround controller with three digital 

inputs, three analogue inputs, and a headphone 

system. C 

Egret Eight ch’s of high quality D/A converters and 

a stereo line mixer with colour options to help 

bring analogue summed digital mixes to life. D 

Hedd High quality 24-bit A/D and D/A convertors, 

adjustable triode, pentode and tape sounds. C 

CRL 

Amigo AM Dual-band AGC for consistent loudness. D 

Amigo FM Dual-band AGC for consistent loudness. D 

D&R 

SiCo Talk-back remote unit for announcer. A 

TelCom Telephone Hybrid 

Active telephone hybrid. A 

Telephone Hybrid 1 

Passive telephone hybrid. A 

Telephone Hybrid 2 

Active telephone hybrid. A 

Teleporter 2 

Reporter phone assistant with keyboard and 

record out. A 

DACS 

FREQue II Analogue effects processor that few, if any, plugins 

can emulate. B 

Dangerous Music 

Dangerous Sum & Minus 

Sum and difference processor, enables separate 

processing of the center and sides of a mix. B

Tube Tech SSA 2A 

dbx 

120A Subharmonic processor. Individual control 

for two ranges of subharmonic frequencies. 

LF boost cicuit. Subwoofer output. Built in 

crossover. Balanced I/O. A 

233XL Stereo two-way/mono three-way crossover. 

LF summed output. x10 range switch and 

phase reverse on all channels. Level control 

on all outputs. 24db/oct filters. A 

234XL Stereo two/three-way/mono four-way 

crossover. LF summed output. x10 range switch 

and phase reverse on all channels. Level control 

on all outputs. 24db/oct filters. A 

Drawmer 

4X4 Portable Active Splitter 

Four-in/16-out mic/line signal splitter in selfcontained 

road proof case. B 

Three-Sum Three-band freqsplit-sum device with limiter. A 

DW Fearn 

VT3 Dual mono tube DI. C 

Izotope 

ANR-B Two channel adaptive realtime noise reduction 

unit for broadcast. D 

Klark Teknik 

DN100 Active DI box. A 

DN1248 Plus 

12-input/48-output active mic splitter. D 

DN1248 Plus-AT 

DN1248 Plus with all outputs transformer 

balanced. D 

DN1248 Plus-DP 

DN1248 Plus fitted with two PSUs. D 

DN1248 Plus-FM 

DN1248 Plus with all outputs transformer 

balanced and two PSUs. D 

Square ONE Dynamics 

Eight-ch configurable dynamics processor. B 

Square ONE Splitter 

Eight Input 24 output Splitter. B 


DA82 Distribution amp (1:8 mono or 2:4 stereo). A 

DBT Plus Dual-ch 600CE¬© output balancing interface. A 

Di2MkII Active DI box (battery and phantom power). A 

MS1224 12x four active, unity gain mic splitter (all 

outputs with transformer balancing). C 

MS1224PS Power supply/monitor unit for 4x MS1224. A 

MS424 Four x four active unity gain mic splitter 

(transformer outputs). B 

MS424X MS424 with transformer balanced inputs. B 

Legendary Audio 

Masterpiece 2 

Analogue mastering processor controls image, 

EQ, tape texture, phase and dynamics. E 


Mastering BACKBONE Insert Switcher 

Fully balanced switching for up to eight stereo 

inserts. With M/S, swap, and IP/OP gains. D 

Martinsound 

Martech EMT 140 Kit 

Upgrade kit for EMT 140 that reduces noise and 

increases headroom while retaining the classic 

EMT echo plate sound and EQ curves. A 

Orban 

Orban Optimod-AM 9300 

All-digital audio processor. D 

Radial Engineering Ltd. 

Phazer Bank 

Four ch rackmount version of the Phazer for 

aligning the phase repsonse of four sources. 

Perfect for tuning drum sounds in the studio. A 

Other Processors - Multi-E� ects & Digital Processors Processors 


DI Active DI Active. A 

DI Passive DI Passive. A 


Portico 5014 

Stereo field editor with width, depth, 

differenetial EQ, and differential insert. C 

Portico 5014 

Stereo field editor with width, depth, 

differenetial EQ and differential insert. C 

Portico 5042 

Two-channel true tape emulation and line 

driver. Genuine tape drive circuitry. Can also be 

used as a transformer-coupled line amp. C 

Portico 5042 

Two-channel true tape emulation and line 

driver. Genuine tape drive circuitry. Can also be 

used as a transformer-coupled line amp. C 

Samson 

S Gate 4 Fully featured four-channel gate/ducker. A 

S Phone Four-channel headphone amplifier. Three 

outputs per channel. Aux in and EQ. A 

Schoeps 

DSP-4 KFM 360 

Surround processor for KFM 360 sphere mic. D 


HP-6 E Six-channel headphone amp. A 

MPatch 2 Desktop patch bay. A 

P-Control Stand-alone phase control. A 

PM-8 Eight-channel passive mixer. A 


X-Rack 4U chassis for up to eight X-Rack modules. 

Includes PSU and total recall system with 

capacity to store 32 snapshots. B 

Sonifex 

RB-DS2 Stereo delay synchroniser & time-zone delay 

(1U). B 

RB-DSD1 Digital silence detection unit (1U). B 

RB-ML2 Stereo microphone and line level limiter. A 

RB-OA3 Three studio on-air switcher. A 

RB-OA3C Expansion unit cable kit for RB-OA3. A 

RB-OA3R Remote switch panel for RB-OA3. A 

RB-PD2 Stereo profanity delay (1U). C 

RB-SD1 Silence detection unit (1U). A 

RB-SL2 Twin mono, or stereo, limiter. A 

RB-SSML1 Mic/line source selector with compressor/ 

limiter. A 

SPL 

Cabulator Power soak, speaker sim and DI out. A 

Charisma 2 Two-ch tube effects processor creating tube 

distortion and limiting effects. A 

De-Esser De-esser based on phase cancellation for 

removing unwanted sibilance. A 

MixDream 60V, class A, 16:2 summing and insert box 

featuring master limiter, stereo expander, and 

switchable transformer outputs. C 

MixDream XP 

Straight 60V class A summing mixer (16:2), also 

to expand the MixDream w/further 16 chs. B 

Phonitor Fully analogue, 120V reference headphone 

monitoring amplifier with room sound 

parameters to simulate speaker monitoring. C 

RackPack Allows for free configuration of an analogue 

rack fully loaded with all SPL specialties. X 

Transducer Analogue guitar cab and miking simulator. B 

Symetrix 

Symetrix Integrator Series Room Combine 788. 

Configures complete room combining 

solutions for hotels, halls, schools, conference 

centres. C 


Tube Summing Mixer 

32-channel summing mixer, active transformers 

& tube stage, adjustable output level with 3DB 

steps, all inputs usable as mono inputs. C 


Culture Vulture 

Stereo tube distortion with dual mono 

operation, odd or even harmonic distortion, or 

combination of both (all-tube design). C 

Culture Vulture Mastering 

Stereo tube distortion with dual mono 

operation, odd or even harmonic distortion, or 

combination of both (all-tube design). C 


Classic VP1 Mono valve processor. C 

Ebony A2 Discrete class A and tube stereo processor with 

compressor and EQ. B 

Tube Tech 

RM 8 Table top frame for eight modules with internal 

PSU. C 

SSA 2B Stereo summing amp; 20:2 down-mix unit for 

high-quality mix down of DAW/console out. D 


XO-204 Two input high quality analogue crossover for 

bi-amped sound reinforcement with balanced 

TRS inputs and outputs. A 

XO-206 Two input high quality analogue crossover for 

tri-amped sound reinforcement with balanced 

TRS inputs and outputs. A 


DS800 Mic split/distribution System; eight-in/32-out; 

transparent, signal distribution. C 

Multi-Effects & Digital 

Processors 

AandG Soluzioni Digitali 

X-Spat Box Multi-channel DSP expansion for DAWs. C 

Allen & Heath 

iDR 16x16 matrix mix processor and accompanying 

series of wall plates for building into integrated 

systems that are set up using software. C 

Apex 

Intelli-Q 22 Real-time system optimiser. C 

Intelli-X 48 Real-time speaker management system. D 

Aphex Systems 

320D Compellor 

Compressor/leveller/limiter with process 

balance, output and threshold per channel. B 

Audionics 

SD3 AES Silence Detectors 

AES silence detection system based around 

silence detector cards with programmable fail 

level, time to fail, and time to restore. D 

Bricasti Design Ltd 

Model 10 Remote for M7 reverb. C 

Model 7 High-precision stereo reverb processor. D 

CEDAR Audio Ltd 

ADA 24-bit/96kHz A/D and D/A. A 

CEDAR Duo DDC declickle 

1U de-click and de-crackle processor. D 

CEDAR Duo DDH auto dehiss 

1U broadband auto-de-hisser designed to 

minimise noise reduction artefacts. D 

DNS1500 Dialogue Noise Suppressor 

Dual-channel dialogue noise suppressor with 

near-zero latency for film production, dubbing, 

OB (remote) and studio noise suppression. D 


Processors Multi-E� ects & Digital Processors Bricasti Design M7 


Dual-channel dialogue noise suppressor 

processor in 1U rackmount format, automated 

and controlled by a Pro Tools RTAS plug-in. D 


Automated dual-channel dialogue noise 

suppressor processor offering on-board scenes, 

memories and moving faders. D 


EL7 Fatso Digital processing unit inc. distortion generation, 

HF saturation, transformer and tapehead 

emulation and classic knee compression. D 

Eventide 

BD600 Broadcast delay with up 80 seconds of delay. 

Buffer length can be adjusted from four seconds 

upwards. Dump and Sneeze modes provided. D 

BD960 Broadcast delay with eight second fully 

adjustable delay. One button delete mode; 

Autofill built-in filler playback. C 

DSP4000B+ Complex broadcast and post effects made easy, 

featuring 385 ready-to-use preset-algorithms 

and four times the power of the 4000B. D 

ECLIPSE Dual-engine multi-effects, 90 of Eventide’s best 

algorithms, optimised for live performance. C 

EVE/NET Remote control for H7600 and H8000 models. C 

H7600 Inc. 1100 classic Eventide presets, inc. a 

172-second sampler/delay.. D 

H8000FW 1,800 presets, inc. 80+ 5.1 reverb and effects up 

to 96kHz, four channels of AES/EBU, ADAT, SPDIF, 

four channels analogue I/O, FireWire interface. D 

ModFactor Modulation effects stompbox with 25 stereo or 

dual mono modulation effects, including phaser, 

flanger, chorus, and tremolo. A 

PitchFactor Harmoniser pitch and delay stompbox with up 

to 1.5 seconds of stereo delay and up to four 

voices of diatonic pitch shifting. X 

Reverb 2016 

Dedicated controls for each parameter with 

LED status indicators, includes reverbs from the 

SP2016 and new HD versions. C 

TimeFactor 

Twin-delay stompbox with two independent 

three-second delays; 10 stereo/dual mono delay 

effects; 27 user presets, real time control. A 

Focusrite 

Liquid Mix EQ and compression Liquid plug-in with 

external DSP and controller (32 instances). A 

Liquid Mix 16 

EQ and compression Liquid plug-in with 

external DSP and controller (16 instances). A 

Liquid Mix expansion card 

DSP expansion card for Liquid Mix. A 

Junger Audio 

B41 Four-channel digital brickwall limiter with 

adaptive controlled processing algorithms and 

optional SD/HD-SDI interface. C 

B42 Four-channel digital dynamics processor, 

including expander, de-esser, compressor, 

and brickwall limiter; adaptive processing; and 

optional SD/HD-SDI interface. D 

B46 Level Magic 

Four-channel digital audio level processor, 

including Level Magic and brickwall limiter, 

adaptive controlled processing algorithms, and 

optional SD/HD-SDI interface. D 

d02 Two-channel digital dynamics processor, 

including expander, compressor and brickwall 

limiter, analogue and digital I/O. C 

d06 Level Magic 

Two-channel digital audio level processor, 


analogue, and digital I/O, web interface. C 

LT Level Magic 

Two-channel digital audio level processor, 


analogue and digital I/O, and web interface. C 

16 

Klark Teknik 

Helix DN9331 Rapide 

Motorised fader bank for Klark Teknik Helix and 

Midas digital console. D 

Helix DN9340E 

Two-ch graphic/parametric/dynamic EQ, delay 

and high-speed Ethernet communications. D 

Helix DN9344E 

Four-ch graphic/parametric/dynamic EQ, delay 

and high-speed Ethernet communications. D 

Helix DN9848E 

Digital system controller: four analogue inputs 

and four digital inputs, eight outputs, with fullyfeatured 

matrix mixing and Ethernet comms. D 


CAN-D Stereo headphone delay. A 

DLX240 Two-in/four-out DSP system management. B 

DLX260 Two-in/six-out DSP system management. B 

PC90 Phase checker system. A 

Lexicon 

MX200 Sixteen reverbs, delays and modulation effects. 

dbx dynamics. Dual processor design with four 

routing configurations. USB hardware plug-in 

feature with VST and AU software. A 

MX300 Multi effects processor, two-in, two-out config. 

Sixteen reverbs, delays, modulation effects. dbx 

dynamics and de-essing. USB hardware plug-in 

feature with VST and AU software. A 

MX400 Multi effects processor. Quad processor design. 

Seventeen reverbs, delays, modulation effects. 

dbx dynamics and de-essing. USB hardware 

plug-in feature with VST and AU software. A 

PCM96 Twenty eight reverbs, delay and modulation 

effects ‘Hardware Plug-in’ feature with Mac 

VST and AU software and DAW automation. 

Analogue and AES/EBU I/O, MIDI, Wordclock, 

Ethernet and Firewire connectivity. D 

PCM96 Surround 

Surround version of PCM96. Surround sound 

algorithms. Parallel/stereo configs. Hardware 

plug-in feature. AES only, or analogue & AES. D 

Omnia 

Omnia-CD Mastering processor. 96 kHz, 24-bit resolution. 

Six band limiter, five AGC bands, wideband AGC. 

Twin color displays. Adjustable AGC crossovers. 

limiter algorithms designed for CD, and more. E 

Orban 

Orban Optimod 6300 

Processor for digital radio/TV, netcasts, STL/ 

satellite uplink protection, digital mastering. D 

Orban Optimod-AM 9400 

No-compromise all-in-one processing for 

analogue AM and digital radio channels. D 

Orban Optimod-FM 5300 

Puts coveted five-band and two-band Optimod 

processing into a single rack unit package. D 

Orban Optimod-FM 8500 

Five-band and two-band processing for both 

analogue and digital radio. E 

Orban Optimod-PC 1101 

Broadcast-quality digital signal processing 

on-board suitable for both live streaming and 

on-demand programming. B 

Orban Optimod-TV 8585 

Achieves highest audience satisfaction in digital 

audio broadcasting, digital TV, and netcasting. E 

Peavey 

Dual DeltaFex 

Dual 1/4, input/output jacks; series mode (mixed 

input, stereo output). A 

RANE 

C4 Four-ch digital compressor w/sidechain filters. B 

DEQ 60 2U dual-channel 1/3-octave DSP graphic EQ. B 

DEQ 60L 3U dual-channel 1/3-octave DSP graphic EQ. B 

G4 Four channel digital gate w/sidechain filters. B 


PEQ 55 Dual channel five-band DSP parametric EQ. B 

Samson 

D1500 Digital RTA/SIg Gen with extensive metering. 

Net protocol links D Class units for integrated 

control/metering up to 15 EQ units. A 

D2500 Dual channel 31-band digital graphic EQ with 

feedback suppression, limiter, gate and time 

delay. NET interface to link to D1500. A 

D3500 Digital 30 filter fully parametric EQ and feedback 

management system with limiter, gate and 

delay. Links to D1500 RTA via Net. A 

Seven Woods Audio 

Ursa Major SST-206 

Combines the reissue of the Ursa Major Space 

Station, a classic reverb and effects unit, with a 

powerful modern reverberation system. B 

Shure 

DFR11EQ Version 5 

PC-controlled, 24-bit, fully-programmable 

feedback reducer/equaliser with 48kHz sample 

rate, ten notch filters, ten-band parametric EQ. A 

DFR22 1U Windows-controlled, 24-bit, fullyprogrammable 

system processor; two I/Os; 

48kHz sample rate; ten-band parametric EQ. A 

DP11EQ Dynamics processor with Windows software, 

compressor/gate/expander/limiter/parametric 

EQ/delay, nine-band parametric EQ. A 

Symetrix 

322 DSP Engine 

Half rack space, two-channel multi-purpose DSP. 

Installed Sound, Broadcast, Studio. A 

371 SPL Computer 

Half rack space, ambient noise compensator. 

Airports, night clubs, retail locations. A 

AirTools 6100 Broadcast Audio Delay 

HD-comp. 24-bit digital delay: live broadcast. C 

AirTools Voice Processor 2x 

Two independently programmable ch’s of ultralow 

latency digi mic processing. B 

Symetrix Integrator Series Deuce 722 

Mono/stereo signal processing for live sound, 

broadcast, digital media, installed sound. A 

Symetrix Integrator Series Zone Mix 760 

Paging/music management zone mixer. B 

SymNet 8x8 DSP 

Open architecture, hardware/software solution 

for routing/processing audio. D 

TC Electronic 

C300 Studio/PA Dual Stereo gate/compressor. A 

C400XL Dual stereo Gate/Compresser with balanced 

analogue XLR and balanced digital (AES/EBU). A 

D-Two Studio/PA Multitap Rhythm Delay Processor. A 

D22 Seamless delay update with AES/EBU, S/PDIF, 

Wordclock BNC 75ohm, 5200 ms delay per 

channel, and four-bit A/D-D/A converters. C 

DB4 Eight-ch digi TV transmission processor, two 

engines inc. AGC, five-band dynamics, ISP 

limiter, PC editor. E 

DB8 Eight-ch digi TV transmission processor; AGC, 

five-band dynamics, ISP Limiter, PC Editor. E 

DBMax Stereo digital broadcast maximizer w/five-band 

dynamics, AGC, Delay, EQ, brickwall limiter. D 

EQ Station-8 Digital 

Eight-channel digital, including parametric, 

graphic snf dynamic EQ, delay and limiter. 2U. D 

Finalizer 96K 

Studio Mastering Processor with EQ, and 

multiband comp/lim/exp. C 

Finalizer Express 

Direct Access Mastering Processor with 

multiband compression/limiting. B 

FireWorx Studio multi-effects processor w/ wordclock. B 

G-Force Guitar Multi Effects Processor. B 

G-Major Guitar Multi Effects Processor. A

Lexicon PCM96 

G-Sharp Dual Engine Guitar Effects Processor. A 

G-System Integ. effects and management guitar system. B 

Gold Channel 

Digitally-enhanced dual mic pre-amp, including 

total recall. C 

M3000 Dual-engine VSS3 reverb and multi-effects. C 

M350 Dual reverb and multi-effects processor. A 

Mastering 6000 

Eight channels of AES/EBU I/O, stereo and multichannel 

dynamics, EQ, and monitor matrix, plus 

TC ICON hardware remote. E 

MoneXL Studio/PA Dual Reverb Multi Effects Processor. A 

P2 Stereo Dynamic Processor, inc. five-band 

dynamics, EQ, AGC, ISP limiter, and PC editor. D 

Nova Repeater 

Delay effects pedal. A 

Nova Delay 

Delay effects pedal. A 

Nova Drive 

Overdrive and distortion pedal. A 

Nova Dynamics 

Dynamics effect pedal. A 

Nova Modulator 

Guitar effects pedal. A 

Nova Reverb 

Guitar effects pedal. A 

Reverb 4000 

Single engine stereo version Reverb 6000, 

including VSS4, EMT250 sim, Reverb4, VSS3. C 

Reverb 6000 

Eight ch’s of AES/EBU I/O, stereo/multi-ch 

reverb/delay, plus TC Icon hardware remote. E 

XO24 Two-in/four-out speaker management. A 

TC-Helicon 

VoiceDoubler 

Automatic double-tracking with up to four 

virtual overdubs. B 

VoiceLive Vocal harmony, effects, and pitch correction for 

live performance. B 

VoiceLive 2 Floor-based vocal processor. B 

VoicePro Pitch shifting, FlexTime, voice modelling, 

harmonizer, and character, plus TC multiFX. C 

VoiceTone Synth 

Vocal processing in a pedal. A 

VoiceWorks 

Voice harmony, compression and EQ, pitch 

correction, mic pre, and TC effects. A 

VoiceWorksPlus 

Interchangeable voice modeling/fourth-gen 

harmony w/adv. harmony control. B 

Waves 

Igtr Personal guitar processor. A 

Maxx BCL New digital limiter with MaxxBass and 

Renaisance Compressor built in. C 

Maxxbass 101 and 102 

Offer MaxxBass psycho-acoustic bass extension 

without exceeding driver excursion limits, or 

increased power consumption. A 

Y96K Waves Mini YGDAI plug in card compatible with 

Yamaha digital mixers and workstations. B 

Weiss 

DNA1 Stereo digital (44.1kHz to 96kHz) de-noiser, 

declicker, ambience enhancer. D 

DS1 Digital compressor/de-esser/limiter, stereo, 

44.1kHz to 96kHz. D 

EQ1 Stereo, seven-band digital parametric EQ. D 


C2 1U two-channel digital compressor/limiter with 

threshold, ratio, attack and release compressor 

controls; make-up gain, side chain EQ. C 

D2 1U digital equaliser/compressor with threeband 

EQ,threshold and ratio compressor 

controls, and LED meters. C 

DP324 SIDD 

Two-input, four-output, 24-bit EQ, delay, 

compressor, limiter and gate/expander with 

SiDDcore software. C 

DP424 Two-input/four-output audio management 

system for studio monitoring and sound 

reinforcement. PC software control. C 

DP426 Two-input/six-output audio management 



DP444 Four-input/four-output audio management 



DP446 Four-input/six-output audio management 


reinforcement. PC software control. D 

Orpheus 

Multi-E� ects & Digital Processors Processors 

new_rec_ad_AM_JUNIOR.qxd 4/3/09 1:09 PM Page 1 

Studio E - Metropolis Studios, London, UK owners of more than 

20 ADA-8 and ADA-8XR interfaces. 

FireWire multi-track audio interface 

ADA-8XR MMA-4XR 

Multi-Channel AD/DA Interface for Pro-Tools HD with 

optional FireWire, AES, SPDIF and DSD interfacing 

To arrange a free demo or talk about your requirements contact us now. 

sales@prismsound.com | www.prismsound.com 

The Old School | High Street | Stretham | Cambs CB6 3LD | +44 (0)1353 648888 

NOTE: Pro-Tools | HD is a trademark of Digidesign, a division of Avid Technology Inc 

DP448 Four-input/eight-output audio management 


reinforcement. PC software control. D 

E2 1U four-band parametric EQ with frequency and 

level controls per band,high- and low-shelving 

filters, high- and low-pass filters. C 

G2 1U dual/stereo gate. Look-ahead gate, sidechain 

EQ, HPF/LPF, listen and expander mode. C 

Yamaha 

SPX2000 New-generation 24-bit/96kHz multi-effects unit 

with 96kHz audio DSP. B 

YELLOWTEC 

VIP/digital V.4 

Unique digital voice processor with personal 

SmartCard. Synonym for voice processing. C 

RECORD | MIX | MASTER 

Prism Sound has been supplying successful 

high quality analogue and digital studio 

products for 22 years and has continued to 

lead the way in technical excellence and 

personal customer service. The near fanatical 

loyalty of Prism Sound users is a testament to 

the success of its product range. Whether it be 

Multi-track recording, mixing, cd-mastering or 

on location Prism Sound products deliver 

robust, reliable performance every time. 

Audiophile microphone pre-amplifier 


Consoles Analogue Recording/Post - Digital Recording/Post 

Analogue Recording/Post 

Al.So 

M26 26 x 2 Summing Module. C 

M2B Four stereo inputs to one stereo master ouput 

module. B 

MD12 Dual DI single lot module. B 

Module Portable eight-slot 500 series compatible 

chassis. B 

MP1 60db mic/line preamp module. B 

MP2 Dual mic pre single slot module. B 

AMS-Neve 

8804 Fader pack for 8816. B 

8816 Sixteen channel summing mixer with 

comprehensive monitoring, cue ad talkback. C 

88RS Scoring and music recording console with 

channel strip and scoring panel options. X 

Encore for V Series 

Encore automation retrofit for classic Neve 

console range. F 

API 

1608 16 channel analogue mixer. G 

Audient 

ACS8024 24-bus recording console with integrated digital 

control surface. X 

ASP8024 24-bus in-line recording console. X 

Zen 16-channel high resolution mixing console with 

DAW powered moving fader automation. E 

D&R 

Cinemix 2 5.1, LCRS surround sound console with 

automated joystick panners, stereo returns, 

PowerVCA automation, and optional PowerFade 

motorised faders. G 

Octagon 7.1, LCRS surround sound console with 60- to 

84-input frames with four-band parametric EQ, 

high- and low-pass filtering,12 aux sends. H 


Dangerous Master 

Mastering transfer console with three inserts, 

Dangerous Sum & minus processing, pre/post 

level offset, and .5 dB stepped attenuators. D 


16x2 Mixer Series 

Manley 16x2 versions: line, mic pre, mic/line. D 

Martinsound 

Automatic Console Expander 

Modular; trim controls; four-band EQ with swept 

mids; variable high, LPFs; four aux sends; pan; 

direct outs; inserts; solo; mute; Flying Faders. G 

Flying Faders II 

Console moving fader and automation 

technology, Windows Vista/USB Interface. X 


Nicerizer 16 

16-channel analogue summing amp. C 

Nicerizer 8 Eight-channel analogue summing amp. C 


MEQFDR/16 

8U, 16 five-band EQ modules, mic pres, LED 

bar graph, 60mm fader, pan, AFL/SOLO, master 

module, metering. D 

MEQFDR/8 8U, eight five-band EQ, mic pres; LED bar graph, 

60mm fader, pan, AFL/SOLO, master module. D 


5088 Fully Discrete Analogue Mixer 

Discrete and modular analogue mixer with 

custom transformers on every input and output, 

90V rails, and optional automation. G 

5088 Fully Discrete Analogue Mixer 

Discrete and modular analogue mixer with 

custom transformers on every input and output, 

90V rails, and optional automation. G 

18 


AWS 900+ Combination of a compact analogue mixing 

console and comprehensive DAW controller. G 

Duality Large-format analogue console that integrates 

DAW control/integration with C Series-derived 

TFT displays and analogue‚ DNA. X 

Matrix Sixteen-channel 32-line input mixer, stereo 

aux send and four mono sends, multiple DAW 

control, logictivity browser. F 

X-Desk Sixteen-input SuperAnalogue console with 

stereo cue & two aux sends and comprehensive 

master section. Can be cascaded to expand up 

to 160 inputs on mixdown. C 

X-Rack Eight Input Module 

Eight SuperAnalogue line inputs in X-Rack/ 

Mynx format, mono/stereo switching, insert 

points first two pairs, indpt on/off switches. A 

X-Rack Four Channel Input Module 

X-Rack/Mynx module with four line inputs with 

independent pan and level controls and inserts. 

Separate route to mix or rec busses. A 

X-Rack Master Bus Module 

Turns the X-Rack or Mynx into an SSL mixer, two 

speaker outs with level dim and cut, master 

level and metering, headphone out. B 

XL 9000 K Large-format production console, provides the 

dual benefits of full 5.1 surround architecture/ 

increased bandwidth/res for DVD-A/SACD. X 

Soundcraft 

EFX Series Combines all the features of the Soundcraft 

EPM mixer with a built-in 24-bit, digital Lexicon 

effects processor. Eight or 12 mono inputs. A 

EPM Series Low-cost high-performance multi-purpose 

mixers. Six, eight or 12 mono inputs. Two stereo 

inputs. Two configurable auxiliary buses. Threeband 

EQ with swept mid. A 

MFXi Series 

Same features as the MPMi series but with the 

addition of an on-board 24-bit Lexicon effects 

Available in eight, 12, and 20 frame sizes. B 

MPMi Series 

Multi-purpose mixers. Two or 20 mono inputs. 

Two stereo inputs. Two-track input and output. 

Three aux busses. GB30 mic preamps. Threeband 

EQ with swept mids. Mix and group 

routing. Headphone and control room outputs 

with level control. B 

Speck Electronics 

Lilo 16 16-channel analogue mixer. E 

Lilo 24 24-channel analogue mixer. E 

X-Sum 32-channel analogue summing amp. B 

Xtra Mix Analogue mixer. D 

SPL 

DMC 120V dual-channel mastering console. Speaker 

management, sources/returns connectivity, I/O 

trimming, master and monitor level control. E 

MasterBay 2and8 

Automated, 8x8- or 8x2-channel patchbay as an 

option for MMC2 and DMC. E 

MMC 1 120V M-ch. Mastering console. Speaker 

management, source connectivity, metering, 

track assignment, master/monitor level, 

automated inserts. H 

MMC 2 120V Multi-channel mastering console. Speaker 

management, sources/returns connectivity, I/O 

trimming, master and monitor level control. F 


Little Bustard 

Six-stereo channel tube summing mixer with 

fixed gain at unity level with on/off switches, 

four mono inputs w/mute switches, pan pots 

can be defeated by another switch. D 

Fat Bustard 

Twelve-channel tube mixer. Passive inputs as 

four stereo and four mono, pan controls. Stereo 

section: EQ, width, depth, and attitude. D 


Ebony A4 Summer 

Discrete class A/tube 16-ch summing mixer. B 


SSL Matrix 

Fat Track Tube Production Suite 

Tracking, summing,monitoring in one unit. Two 

rec ch strips plus 10-channel summing mixer. C 

M1F Tubetracker 12 

12-ch modular valve mixer, digital interfacing. D 

M1F Tubetracker 8 

Eight-channel modular valve mixer with digital 

interfacing options. D 

M4 16 16-channel mixing console with highperformance 

valve circuitry. E 

M4 24 24-channel mixing console using high 

performance valve circuitry. E 

M4 32 32-channel mixing console using highperformance 

valve circuitry. E 


valve circuitry. F 


valve circuitry. F 

VTC 16 16-channel/32-input/eight-bus in-line multitrack 

valve technology mixing console. E 


valve technology mixing console. F 






valve technology mixing console. G 


valve technology mixing console. G 

VTC 8 Eight-channel/16-input/eight-bus in-line multitrack 

valve technology mixing console. E 


ATB 32a 32-channel audio mixer. D 

ATB-16a 16-channel audio mixer. D 

ATB-24a 24-channel audio mixer. D 

Tonelux 

AUX1 BUS access module. A 

CR2 Control room module. B 

FD1 Mono fader module. A 

FD2 Stereo fader module. A 

FX2 Dual mono line mixer module. A 

FX2+ Dual mono line mixer module w/aux master. A 

LFE Low frequency effects module. A 

MX2 Stereo line mixer module. A 

MX5.1 5.1 surround line mixermodule. A 

SM1 Mono summing mixer. A 

SM2 Stereo summing mixer. B 

TB1 Talkback module. A 

TR8 BUS assigning module. A 

TR8+ BUS assigning module with BUS master. A 

V8 Roadster 

Portable eight-slot rack unit. B 

Vrack Rack mountable 16 slot unit. A 

VU4 VU meter module. A 

Digital Recording/Post 

Allen & Heath 

ZED-R16 Analogue recording mixer, FireWire soundcard, 

MIDI controls, and home-studio routing. C 

AMS-Neve 

88D Fully featured digital console for music 

recording, production and broadcast. I 

88D DSD 88D console with DSD mix engine. I 

DFC Gemini 

Film mixing and post-production console. I 

DFC PS/1 PowerStation 

Powerful small frame console for film mixing 

and post production. H 

MMC 300 Flexible AFU based multimedia and postproduction 

digital console. H 

MMC 400 Flexible channel strip based multimedia and 

post-production digital console. H

Consoles Digital Recording/Post - Broadcast & On-Air Euphonix Fusion 

Cakewalk, Inc. 

SONAR V-Studio 700 

Software/hardware integration and control. D 

Digidesign 

ICON D-Command ES 

Medium-format integrated console system with 

advanced automation capabilities, full recall. X 

ICON D-Control 

Large-format integrated console system with 


ICON D-Control ES 

Large-format integrated console system with 


Edirol 

M-10DX 10-channel digital mixer. A 

M-10MX Portable 10-channel mixer with a range of 

analogue and digital inputs. A 

M-16DX 16-channel digital mixer. A 

Euphonix 

S5 Fusion Allows console surface to control own DSP 

channels from multiple external DAWs. H 

System 5 Digital audio mixing system for post and music. 

Ergonomic surface modules and DSP SuperCore 

to add new features and enhance operation. I 

System 5 EuCon Hybrid Option 

System 5 with EuCon hybrid option. I 

System 5 HDTV Surround Audio Post 

System 5 for HDTV surround/audio post. I 

System 5-MC 

Tightly integrates via Ethernet with Nuendo and 

Pyramix, Pro Tools, Logic, DP, and Final Cut. X 

Fairlight 

Anthem Large format multi-configurable audio system. 

CC-1 engine can mix up to 230 channels of 

audio with full processing (EQ and dynamics) 

into several mix formats simultaneously. X 

Constellation 

Fully automated integrated mixer/editor 

presented as a large format mixing console. Up 

to 230 channel surround mixing system/i192track 

disk recorder, integrated HD/SD video. X 

Harrison Consoles 

MPC4-D Film Console 

MPC film console: 500+ channels, inline 

waveforms, film-specific plug-ins, joysticks, DAW 

control, and native 64-bit DSP. X 

Trion Post / Recording Console 

Features: unlimited channels, waveforms, plugins, 

joysticks, DAW control, native 64-bit DSP. X 

LAWO 

mc256 Full mc2 power and functionality, handling by 

console + touchscreen, compact layout, frames 

from 32-80 faders. H 

mc266 512 DSP, 384 fully featured channels, highest 

quality; dynamic automation; Iso Bay Access. I 

mc290 Maximum flexibility, colour coded fader strips, 

200 physical faders, intuitive user interface. I 


NRV10 Firewire/Analogue Mixer 

8x2 analogue mixer and 10x10 24-bit/96kHz 

digital audio interface. A 

PreSonus 

StudioLive 16.4.2 

16-ch digital mixer: live and studio apps. 22x18 

FireWire interfacing, DSP effects. X 

Smart AV 

P48 Mix 16 ARC 

16-fader, 48-channel pro series Smart console 

system, up to 144 chs using traditional ARC. F 

P48 Mix 16 MonARC 

16-fader, 48-channel Professional Series Smart 

Console system for ergonomically mixing up to 

240 channels using the new MonARC. F 

20 

P48 Mix 8 ARC 

Small footprint pro series Smart console for 

mixing 144 channels using traditional ARC. F 


Small footprint Pro series Smart console for 

mixing 240 channels using new MonARC. F 

P72 Mix 24 ARC 

24-fader, 72-channel professional series Smart 

console system for ergonomically mixing up to 

216 channels using the traditional ARC. G 

P72 Mix 24 MB 

24-fader, 72-channel pro series Smart console 

system with the new in-line channel display 

meter bridge plus the new MonARC built in. G 


24-fader, 72-channel professional series Smart 

console system for ergonomically mixing up to 

240 channels using the new MonARC. G 

Tango Eight fader (extendable to 48) 240-ch Intelligent 

work station controller combining touchscreen 

with in built MonARC technology. D 


C200 Digital production console, discrete surface 

specifically suited to 5.1 audio production and 

multi-purpose studio applications. X 

C300 Multi-format, multi-operator digital console 

for the full spectrum of production and postproduction 

applications. X 

Soundman 

DR2 One of the world’s smallest digital recorders. A 

Stagetec 

Aurus Digital console. Modular config from 16 to 96 

channel strips and up to 300 audio channels. 

Unique direct access control surface. Fully 

integrated into NEXUS audio routers. X 

Studer 

Vista 7 Digital Vistonics console for TV post production 

and theatres. X 

TASCAM/TEAC Profesional 

DM3200 Digital mixer and DAW controller. D 

DM4800 Digital mixing desk and DAW controller. D 

Yamaha 

01V96VCM 40-input digital mixer, full 96kHz operation, DAW 

integration, Studio Manager software, 12 mic 

pre-amps and scene memory. C 

02R96VCM 56-mix channel digital production console with 

full 96kHz operation, surround monitoring, four 

effects processors and DAW integration. E 

DM1000VCM 

Compact 48-channel digital console with full 

96kHz operation, surround monitoring, DAW 

integration, DSP, and Studio Manager. E 

DM2000VCM 

96-channel digital production console with full 

96kHz operation, surround monitoring, eight 

effects processors, and DAW integration. F 

N12 16-in/16-out digital mixing studio. 8x ‘N’ mic 

preamps, morphing compressors, REV-X reverb, 

remote control, professional spec’d monitoring 

section, Cubase AI4 DAW included. C 

N8 12-in/12-out digital mixing studio. 4x ‘N’ mic 

preamps, morphing compressors, REV-X reverb, 

remote control, Cubase AI4 DAW included. B 

Broadcast & On-Air 

AEQ 

AEQ ARENA 

Digital audio modular console ARENA for 

broadcast. Works with BC 2000D, 512X512. F 

Allen & Heath 

XB-14 Compact broadcast mixer with four mic/line, 

four stereo, two Telco channels, with an aux, 

fader start and clean bus feed capabilities. B 


AMS-Neve 

88D Digital console for music-to-air, music recording, 

and fixed install live applications. I 

88RSB Analogue on-air broadcast console version of 

the 88RS. H 

88RSM Analogue on-air console for OB trucks, mobile 

version of the 88RS. H 

BTC Analogue console for live broadcast, OB, and 

fixed install live applications. H 

Audio Engine 

Mosaic Modular control surface with up to 24 faders. F 

Remora Compact control surface, 4-22 fader-configs. E 

vMix PC-based console. C 

Axia Audio 

Element Modular Broadcast Console 

Modular console, two-40 faders, single or splitframe 

configs. Works with Axia IP-Audio. E 

Calrec 

Alpha with Bluefin 

Digital console, 480 ch processing paths on a 

single DSP card; 96 dual layer channel faders. X 

Apollo Digital console; 1020 channel processing paths 

on one DSP card, up to 320 faders. 128 program 

busses, 96 track outputs, 48 auxes. Integral 8192 

cross-point router. X 

Hydra Gigabit Ethernet-based infrastructure to share 

I/O between Calrec digital consoles; fixed and 

modular format I/O boxes. X 

Omega with Bluefin 

Digital console with 160 channel processing 

paths as 48 stereo and 64 mono channels on 

one DSP card; up to 56 channel faders. X 

Sigma with Bluefin 

Digital console with 320 channel processing 

paths on a single DSP card, enabling 52x full 5.1 

channels; up to 64 dual layer channel faders. X 

X2 Available with six, 12, 18, or 24 faders, an alldigital 

self-op radio or Grams console designed 

for on-air operation. X 

Zeta Digital console with up to 112-channel 

processing paths and up to 48 dual layer faders; 

fully-redundant DSP and control processors. X 

D&R 

Airlab Modular on-air, 16 fader programmable 

broadcast mixer. D 

Airmate Self-operation eight-channel on-air or 

production mixer. B 

AirMax Modular on-air, 12 fader digitally controlled 

analogue broadcast mixer. B 

AXUM Modular, network based digi on-air broadcast 

mixer. 4 to 48 faders and 1280x1280 matrix. F 

Lyra Compact 4-8 faders digital broadcast system 

with web based programming. D 

Sirius Modular, digital on-air broadcast console. F 

Dan Dugan Sound Design 

Model E-1 Auto mixing controller for multiple live mics. C 

DHD 

52/MX One- to 48-fader-configurable mixing console 

for on-air and pre-production. Single-fader 

modules and touch sensitive TFT displays. F 

RM2200D Modular digital broadcast mixer. Up to 16 faders 

and modular DSP frame, price-optimised for 

on-air, small OB van, and pre-production. E 

RM4200D Modular digital broadcast mixing and routing 

system for on-air, OB van, video post-production, 

router and networked systems. F 

Euphonix 

System 5 B Digital broadcast console specifically configured 

for live and live-to-tape production. I 

System 5-BP 

On-Air, Live-To-Tape Production, Audio Post- 

Production. Can be fitted with 300+ chs. I

We sell Pro Tools 

systems to 

post-production 

customers 

We also sell: 

Call: 0870 730 6953 

www.JigsawBroadcast.com

Consoles Broadcast & On-Air - Location & Portable 

Harris 

Airwave Digital 

Digital broadcast console; easy to use, flexible, 

cost effective. E 

BMX Digital 

Emphasis on functionality, modularity, durability, 

contemporary styling in a fully digital console. F 

Expresso The industry’s first full-featured 10- to 

14-channel digital/analogue on-air console. D 

Impulse Fully-loaded digital on-air console. Internal 

assemblies field replaceable elements. Digital or 

analogue sources via input cards. E 

Legacy Legacy many primary and secondary mix 

buses for unmatched broadcast versatility, plus 

modularity, durability, performance and style. E 

RMX Digital Digital version of PR&E Radiomixer console with 

features of BMX Digital and Legacy consoles. E 


Air 24/7 On-Air Console 

Compact surface for on-air broadcast: facilitywide 

routing, waveforms, plug-ins, DAW control, 

and native 64-bit DSP. X 

22 

Junger Audio 

MIX4 Four-fader digital desktop mixer with various 

I/O interfaces, including SD/HD-SDI, 1RU audio 

processor box, and desktop remote control. D 

Klotz Digital 

AEON Console 

Cost-effective modular on-air mixing console 

based on ultra-slim modules with separate 

audio router for audio networking. E 

DECENNIUM 5.1 - DEC HD 

Console equipped with motorised faders. Offers 

the capability to mix surround sound sources. G 

DECENNIUM Console 

Customisable digital audio console for large 

broadcast centres with audio networking and 

full control network capabilities. F 

VADIS D.C.II Console 

Fully-modular and customisable solutions for 

complex radio centres with audio networking 

and full control network capabilities. X 

XENON Console 

All-in-one digital mixing console, integrated 

audio router, EQ, voice processing, GPIs. D 

LAWO 

crystal Ergonomic design, up to 16 faders, compact 

system core with various I/O modules, 

networking, adaptable standard configs. D/E 

mc256 Full mc2 power and functionality, handling by 

console + touchscreen, compact layout, frames 

from 32-80 faders. H 

mc266 512 DSP, routing 8192 mono channels; 

sophisticated redundancy; Iso Bay Access. I 

mc290 Maximum flexibility, double redundancy incl. 

control system, up to 200 physical faders and a 

intuitive user control interface. I 

zirkon Compact, modular surface with up to 40 faders, 

workflow-adaptive by freely configurable 

functionality, multi-layer and surround 

operation, networking. F 

zirkonXL Compact, modular surface with up to 40 faders, 

ergonomically designed for direct access, multilayer 

and surround operation, networking, 

remote-control of Pro Tools. G 

Logitek Electronic Systems 

Artisan Router-based audio console for television and 

small performance group mixing G 

JetStream IP audio router and I/O for Logitek digital 

consoles C 

Pilot Router-based audio console for small broadcast 

applications C 


C100 Digital broadcast console for on-air/live-to-tape 

production apps, freelance-friendly operation. X 

C100 HD Range 

A range of digital broadcast consoles for on-air 

and live-to-tape production applications with 

freelance-friendly, reliable operation. X 

Sonifex 

RB-DSS10 Ten way stereo digital source selector. A 

RB-PMX4 Ten input, four output analogue pre-set 

mixer (1U). A 

RB-SS10 Ten way stereo analogue selector/mixer. A 

S2 S2 analogue/digital hybrid radio 

broadcast mixer. B 

Soundcraft 

B800 Specialised yet flexible modular broadcast mixer. 

Five frame sizes, accepting up to 48 inputs. X 

BB100 Cost effective, compact eight-bus audio mixing 

console, hard disc front end and transfer 

applications. 8-40 channel chassis sizes X 

RM100 Fully modular on-air console. Eight, 12 or 20 

input channel frames. Mono, stereo, telco, 

source select input modules. Alp faders. 

Meterbridge provides VU or PPM options, with 

PFL speaker and digital timer. X 

RM1d Combines all-digital signal path with the 

simplicity of control of analogue consoles. Sixfader, 

12-fader-plus-script-tray frames. Alps or 

P&G fader. VU meterbridge with PPM options. X 

Series 10 Fully modular on-air mixing console. Total 

operational flexibility, wide choice of configs. 16 

or 24 module frames comprise mono, stereo, 

telco, source select mods. VU‚ PPM metering. X 

Series 15 Fully modular mixer for on-air and broadcast 

production, offering four stereo groups, insert 

points, comprehensive monitoring facilities. 

Choice of dual mic, stereo line and mono/stereo 

telco input modules. 24/32 module frames. X 

Stagetec 

Aurus Digital console. Modular configuration from 

16 to 96 channel strips and up to 300 audio 

channels. Unique direct access control surface. 

Fully integrated into NEXUS audio routers. X 

Studer 

OnAir 2500 

Digital Radio on-air console, 12, 18, 24 faders. F 

OnAir 2500 Modulo 

Modular version of OnAir production console. F 

OnAir 3000 For medium to upper radio market‚ completely 

modular or fixed frame desks, new DSP engine. 

Networked versions available. X 

OnAir 500 Digital self-op radio console, six-ch faders. E 

OnAir 500 Modulo 

Modular version of OnAir 500, six, or 

12-channel faders. E 

Vista 5 Multi-purpose live broadcast desk in a very 

compact and portable, 32-fader or 42-fader 

format, 5.1 channels. Static automation. X 

Vista 8 Multi-purpose live broadcast desk. Extends 

broadcast features of Vista 6 with dynamic 

automation of the Vista 7, smaller footprint and 

5.1 channel suitable for OB. X 

YELLOWTEC 

Intellimix V.3 

Digital three-fader desktop audio mixer for use 

in journalist cubicles, newsrooms, sports or 

ingest. Ideal for edit workstations with easy-tooperate 

requirements. C 

Location & Portable Mixers 

Allen & Heath 

PA12 Portable live sound mixer, eight mono/two dual 

stereo chs, padless pre-amp, four-band EQ. A 

PA12-CP Portable live sound powered mixer giving full 

500W RMS per side into either 4Œ© or 8Œ©. B 

PA20 Portable live sound mixer, 16 mono/two dual 

stereo chs, padless pre-amp, four-band EQ. B 

PA20-CP Portable live sound powered mixer giving full 

500W RMS per side into either 4Œ© or 8Œ©. B 


Calrec Apollo 

PA28 Portable live sound mixer, 24 mono/two dual 

stereo chs, padless pre-amp, four-band EQ. B 


MX100 Three-ch input, mic/line I/O, mono output 

mixer. A 

MX100C Three-ch input, mic/line I/O, mono output mixer 

with switchable peak limiter. A 

MX101 Three-ch input, mic/line I/O, full featured mono 

output mixer (incl. external power supply). A 

MX200 Three-ch input, mic/line I/O, stereo output mixer 

(incl. external power supply). A 

MX200C Three-ch input, mic/line I/O, stereo output Mixer 

with switchable peak limiter. A 

MXS100 Three-ch input, mic/line I/O, full featured stereo 

output mixer for ENG and field production. B 

PB2X8 Two in mic to line mixer/16 out distrib. amp, 

parallel 8 XLR @ +4/8 TRS @ -10 XFMR out. B 

XP100 Four-ch mono input expander for MX. A 

XPS100 Four-ch input panned stereo input expander for 

MX and MXS (incl. external power supply). A 

XPS200 Two stereo ch input expander for MX and MXS 

(incl. external power supply). A 

Audio Developments 

AD 144 Portable field mixer individually configured for 

between 12 to 24 inputs with M/S decoding, 

inserts, direct outputs and limiter. E 

AD 146 Four-track mixer; six different frames (six to 18 

inputs); 12V and 24V phantom power, M/S, four 

output busses, limiter and analogue meters. D 

AD 147 Six-, eight- ten- and 12-channel versions 

featuring M/S decoding, 48V phantom, 12V T 

power, phase reverse, HP filter; EQ. D 

AD 149 Six to 12 inputs, three-band EQ, send/returns, 

slate, M/S decoding, limiter, analogue meters. E 

AD 245 Pico Mixers 

Field mixer available with six to eight inputs, 

featuring analogue meters, battery or mains 

power, limiter, 48V phantom and 12V T power. D 

AD 261 ENG Mixer 

Portable mixer with four mic/line inputs, 48V 

phantom and 12V T power, PFL, M/S decoding, 

talkback function, limiter, analogue meters. D 


WM85 Workstation Mixer 

Wide range of applications, including edit suites, 

commentary, sub mixing, and foldback. B 


SONAR V-Studio 100 

DAW controller, SD WAV recorder, mixer, and 

DAW, all in one portable, affordable package. 

Use it with or without a computer. A 

Chandler 

Mini Rack Mixer 

16x2 rack mixer, control room section including 

talkback, speaker switching, mute, mono, dim, 

external input and stereo buss outs. D 

LAWO 

z4 Intuitive handling; compact; integration in 

modern broadcast infrastructure; networkcapable; 

reliable; central configuring and 

servicing of several systems possible. D 

Mackie 

1202-VLZ3 12-channel compact mixer. A 


1604-VLZ3 16-channel/four-bus compact mixer. Sixteen 

premium XDR2 mic preamps, rich feature set; for 

live sound or project and recording studios. B 

1642-VLZ3 16-Channel/four-bus compact mixer. Premium 

XDR2 mic preamps and a rich feature set, for live 

sound or project and recording studios. B 

402-VLZ3 Four-channel mic/line mixer. A 

802-VLZ3 Eight-channel mic/line mixer. A

Lawo MC2 

CFX.mk2II Series Compact Effect Mixers 

iDR0 2U rack unit, all the processing features of the 

32-bit EMAC digital FX, stereo nine-band 

iLive system for networked audio systems. D 

graphic EQ, and high-headroom, low-noise iLive digital system 

preamps. A 

Digital mixing system: iDR10 DSP stage rack and 

Onyx 4-Bus Series 

a choice of iLive-80, 112, 144, 176. F 

Includes Onyx mic preamps, Perkins EQ, built-in iLive-T digital system 

compression, and more. C 

Digital mixing system, iDR MixRack (iDR-32 or 

Sound Devices 

302 The 302 is a compact, battery-powered, fullfeature 

professional audio mixer. B 

442 The 442 field mixer incorporates a complete 

feature-set into a compact, functional design. C 

MixPre Two-channel, portable, stereo microphone 

mixer that combines rugged construction, 

compact size, and high-quality components. A 

iDR-48) conn to iLive-T80 or iLive-T112 Control 

Surface using A&H’s proprietary ACE link F 

ML3000 Eight aux, 8x4 matrix live VCA console, available 

in frame sizes from 24+2 to 48+ two channels, 

with B option for more stereo channels. D 

ML4000 12 aux, 12x4 matrix live sound VCA console, 

frame sizes ranging from 24+2 to 48+2 

channels, sidecar exp to 96+2 channels. E 

ML5000 16 aux, 12x8 matrix live sound VCA console, 

Yamaha 

EMX212S 12-in powered (2x 200W) mixer, three-band 

channel EQ, feedback channel locator, sevenband 

graphic EQ. A 

EMX312SC 12-in powered (2x 300W) mixer with threeband 

channel EQ, feedback locator, one-knob 

compression, and seven-band graphic EQ. A 

EMX5014C 14-in powered (2x 500W) mixer with three-band 

channel EQ, feedback channel locator, oneknob 

compression, nine-band graphic EQ. B 

frame sizes from 32+4 to 48+4 channels, with 

sidecar expansion to 96+4 channels. F 

WZ3 12:2 Multi-purpose compact console with latest preamp 

design, tailored EQ frequencies, dedicated 

mono output fader, and control of aux subs. B 

WZ3 12M Dedicated monitor mixer with 16 mono mic/ 

line inputs and 12 mix outputs, assignable as 

either mono or stereo pairs. C 

WZ3 14:4:2 Multi-purpose compact console with pre-amp, 

tailored EQ frequencies, and 6x2 matrix. B 

EMX5016CF 

16-in powered (2x 500W) mixer, dual SPX 

effects, nine-band graphic EQ, room correction 

dsp, feedback supressor, and out bus limiter. B 

EMX512SC 12-in powered (2x 500W) mixer, three-band 

channel EQ, feedback channel locator, oneknob 

compression, seven-band graphic EQ. A 

WZ3 16:2 Multi-purpose compact console with latest preamp 

design, tailored EQ frequencies, dedicated 

mono output fader, and control of aux subs. B 

WZ3 20S Stereo source compact console for small 

broadcast outfits, keyboard fanatics, and hire 

companies with lots of stereo sources to mix. B 

Xone:02 Scratch mixer with two dual stereo channels, 

dual mic channel, three-band EQ, rotatable 

Live Sound Consoles 

transform switches, and reversible VCA faders. A 

Xone:22 Two-channel DJ mixer with VCF system, 3-band 

EQ, FX loop, and pro-standard headroom. A 

Allen & Heath 

Xone:32 DJ mixer with three dual stereo channels, VCF 

GL2400 Six aux, 7x4 matrix live sound console, 16 to 40 

filters, Penny & Giles crossfader, three-band EQ, 

channels, inc. two dual stereo channels. C 

tap-programmable low-frequency oscillator. A 

GL2800 10 aux, 12x4 matrix live sound console, from 24 Xone:42 Four-channel DJ/club mixer with USB, X-FX 

to 56 channels, inc. two dual stereo channels. D 

control, VCF filters, and three-band EQ. B 

GL2800M Dedicated monitor mixer with built-in mic 

Xone:464 Club/studio mixer with four mono and six dual 

splitter providing up to 16 mixes, plus dual- 

stereo channels, analogue filters, four-band 

output engineer’s wedge/IEM monitoring. D 

asymmetric EQ, and four mic/line inputs. C 

GL3800 10 aux, 12x4 matrix live sound console, from 24 Xone:62 DJ/club mixer with six dual stereo channel 

to 48 channels, choice of stereo configs. D 

mixer, VCF filters, and four-band EQ. B 

GL4800 10 aux, 11x4 matrix live sound console, from 24 Xone:92 DJ/club mixer (rotary or linear fader versions) 

Audio Media Sports to 48 channels, Jul 08 choice 28/7/08 of stereo configs. 13:37 E Page 1 with six dual stereo channels, two independent 

VCFs, four-band EQ, and MIDI output. B 

There’s no more demanding environment than outside broadcast, so it’s not surprising that demanding production 

companies consistently choose Calrec consoles, time after time. 

Whatever the competition, Calrec is the runaway leader in the field of sport. In EMEA countries and in the US, there 

are more Calrec consoles in HD trucks than any other make. And our reputation for reliability is second to none. 

From Premier League football to lawn tennis, athletics to motor racing, cricket, rugby and horse racing…we’ve got 

it covered. And thanks to our award-winning Bluefin HDSP, it’s all in glorious, fully controllable 5.1 surround sound. 

If you share our passion for sport, find out more at calrec.com 

Location and Portable - Live Sound Consoles 

Xone:S2 4U mixer (linear or rotary fader), with four stereo 

dual-input channels, two mono mic/stereo line 

channels, and USB audio interface. C 

ZED-12FX USB mixer with six mono + three dual stereo 

channels, four aux sends, in-house designed 

effects, bundled with SONAR software. A 

ZED-22FX USB mixer with 16 mono + three dual stereo 

channels, four aux sends, in-house designed 

effects, bundled with SONAR software. B 

ZED-24 USB mixer, 16 mono + four stereo channels, four 

aux sends, bundled with SONAR software. A 

ZED-420 USB mixer with 16 mono + four stereo channels, 

six aux sends, four band EQ, four sub groups, 

bundled with SONAR software. B 



bundled with SONAR software. C 



bundled with SONAR software. C 

ZED-14 USB mixer, six mono + four stereo channels, four 

aux sends, bundled with SONAR software. A 

Audient 

Aztec Live performance console. X 

Cadac 

J-Type Live Production Console 

Musical theatre’s industry standard, with up to 

four mixer frames and 256 channels in a single 

system, plus Cadac’s plug anywhere frame. I 

R-Type Live Production Console 

Comprehensive facilities for touring FOH and 

monitor mixing; compact and re-configurable 

with slimline modules (35mm/1.4 inches). I 

S-Digital Looks and behaves like an analogue desk with 

a minimum spec of 72-input channels, 66-mix 

busses, and three stereo listen busses. I 

D&R 

Vision Modular live sound/recording console with 

four-band EQ, eight aux sends, eight busses, 

variable high-pass filter, and LED meters. C 

DiGiCo 

D1 Live Features of the D5 Live, but smaller/lighter with 

a new MADI card providing a fully-digital link 

from stage to FOH for runs of up to 100m. G 

D5 Live Flight-cased digital mixing system with 

swappable power supplies, intuitive control 

surface, four TFT touchscreens, integral 

dynamics and optional effects package. H 

WHEREVER THERE’S SPORT 

CALREC AUDIO IS THE BIG PLAYER 

Come and see 

Calrec at IBC 

Booth 8.B81 

calrec.com 

Putting Sound in the Picture

Consoles Live Sound 

D5 T 72-bus DSP engine, 32x32 matrix, 41-fader 

surface, and up to 128 channels with full 

dynamics processing or 96 channels with 

onboard effects. X 

SD7 The power of DiGiCo’s Stealth Digital Processing 

in a small package. 256 processing paths 

@96khz, 128 busses, 32x32 output Matrix, 48x8 

monitor matrix, 1392 I/O routing, 32x32 band 

graphic EQs, multi-band dynamics, and more. I 

SD8 The power of DiGiCo’s Stealth Digital Processing 

in a small package. 60 mono or stereo 

processing paths, 24 mono or stereo busses, 

12 x 12 output Matrix, 12x32 band graphic EQs, 

dynamics, onboard effects, and more. G 

Digidesign 

VENUE D-Show 

Modular system: D-Show mixing console, FOH 

mix engine with extensive plug-ins, Stage Rack 

I/O unit, plus Pro Tools recording option. X 

VENUE D-Show Profile 

Modular system comprising the D-Show Profile 

mixing console, FOH mix engine with extensive 

plug-ins, Stage Rack I/O unit, plus Pro Tools 

recording option. X 

Equipson 

ATOM Serie by WORK 

Mixing console group with four output groups 

fully selectables. Three refs: ATOM 12 (12 chs), 

ATOM 16 (16ch), ATOM 24 (24 chs). A 

Fatman 

Fat Fiddler Professional valve DJ mixer, four high quality 

stereo channels, dedicated mic channel with 

TL Audio pre-amp, three band swept EQ, eight 

valve stages, plus much more. C 

FBT 

Pickup 18X 18-channel; three-band EQ; effects send; 48V 

phantom power; pan, gain; inserts; monitor 

section; rackmountable; 60mm ALPS faders. B 

Pickup 44a Eight-channel; three-band EQ; 24-bit effects 

with 16 presets; effects send; phantom. A 

Pickup 44e Eight-channel; three-band EQ; onboard 24-bit 

digital effects processors with 16 presets each; 

pan, gain controls; two effects send. A 

Fostex 

LM16 16/4/2 live mixer with CAT5 connected stage 

box. C 

Hear Technologies 

Mixback 16x12x2x2 monitor mixer. C 

InnovaSON 

Sy48 Digital live console: 48 faders, 72 ch mix, 40 

busses, 48 onboard I/O + I/O via optional 

remote digital stage boxes. G 

Sy80 Digital live console: 80 faders, 104 ch mix, 48 

bus, 64 ch I/O (local rack) + I/O via optional 

remote digital stage boxes. H 

LAWO 

mc256 Full mc2 power and functionality, fast handling 

by console + touchscreen, compact layout, 

frames from 32-80 faders. H 

mc266 512 DSP, 384 full processed channels, highest 

demands on audio quality; perfect visualisation 

of level and bus assignment; Iso Bay Access. I 

Mackie 



1604-VLZ3 16-channel/four-bus compact mixer. Sixteen 

premium XDR2 mic preamps and a rich feature 

set; for live sound or project and recording 

studios. B 

1642-VLZ3 16-channel/four-bus compact mixer. Premium 

XDR2 mic preamps and a rich feature set, for 

live sound or project and recording studios. B 

402-VLZ3 Four-channel mic/line mixer. A 

802-VLZ3 Eight-channel mic/line mixer. A 

24 

CFX.mk2II Series Compact Effect Mixers 

32-bit EMAC digi FX, stereo nine-band graphic 

EQ, high-headroom, low-noise preamps. A 

Onyx 4-Bus Series 

Includes Onyx mic preamps, Perkins EQ, built-in 

compression, and more. C 

Onyx 80 Series Premium Large Format Consoles 

Onyx mic preamps, Perkins EQ. D 

Midas 

Heritage 1000 

Tour package (with second PSU and flight 

case): ten aux, ten groups, 8x8 matrix, ten VCAs, 

snapshot automation, and SIS, image control. X 

Heritage 2000 

Tour package (with second PSU and flight 

case): 12 aux, 12 groups, 8x8 matrix, ten VCAs, 


Heritage 2000 

16-channel extender with 16 mono inputs and 

one PSU. X 

Heritage 3000 

Tour package (with second PSU and flight case), 

featuring 24 aux/mix, 8x8 matrix, ten VCAs, 


Heritage 3000 

16-channel extender with 16 mono inputs and 

one PSU. X 

Heritage 4000 

Tour package (with second PSU and flight case): 

24 aux/mix, eight stereo aux, 8x8 matrix, ten 

VCAs, automation. X 

Legend 3000 

Tour package (with 2x L3750 PSU in a 2U rack 

and touring flight case): 12 aux/foldback, eight 

groups, ten VCAs, six matrixes, automation. X 

PRO6 Live Audio System: control centre, DSP engine 

and a module I/O box in a standard sytem. X 

Siena 240 Tour package with one internal PSU and flight 

case (external PSU required for redundancy). X 

Siena 320 Tour package with two internal PSUs and flight 

case. X 

Siena 400 Tour package with two internal PSUs and flight 

case. X 

Siena 480 Tour package with two internal PSUs and 

touring flight case. X 

Siena 560 Tour package with two internal PSUs and 


Venice 160 12 mono and four stereo line inputs. X 



Verona 240 Tour package with one internal PSU and flight 

case (external PSU required for redundancy). X 

Verona 320 Tour package: two internal PSUs, flight case. X 

Verona 400 Tour package: two internal PSUs, flight case. X 

Verona 480 Tour package with two internal PSUs and 


Verona 560 Tour package with two internal PSUs and 


XL8 Live Performance System: control centre, ten 

DSP engines, two signal routers, five module I/ 

Os, four input splitters, and one Helix Rapide in 

a standard system. X 

Outline 

Micra II SP Self-powered speaker with built in 250W 

digital amplifier. X 

Pro 405 Four mic/line/phono stereo inputs, one 

balanced DJ/mic input (with talkover), 

crossfader, linking facility. B 

Pro 408 Mk IV/vintage vers. Mixer, six unbal stereo chs, 

crossfader. Two bal mic/line ins, dynamics. C 

RSS by Roland 

M-400 V-Mixer 

48-ch digital console, use with S-1608, S-4000. 

With 8-Matrix, 16-Aux, 8-DCA, onboard FX and 

dynamics, GEQ, USB Rec/Play and scene recall. E 


DiGiCo SD8 

M-48 Personal monitor & mixer, 16 groups or 

channels with EQ, ambient mic, limiter, reverb, 

power over Cat5 with S4000D compatible with 

M-400, S-1608 & S4000 B 

Shure 

AuxPander 8x8 Matrix Mixer/Console Expander. Live sound, 

studio. 8x8; inserts; direct inputs; balance, level 

controls per channel. Response: 20Hz-20kHz. B 

FP 33 Three into Two Mixer.Three inputs; two outputs; 

input controls per channel; 12V or 48V phantom 

power; low-cut filters; tone generator. C 

SCM262 Mixer. Two mic inputs; three stereo line inputs; 

12V phantom power; bass, treble controls; 

ducking feature. RCA, 1/4-inch. A 

Soundcraft 

GB2 Series 16+2, 24+2, or 32+2-channel 4-bus live sound 

console. GB30 preamps. Four-band EQ with 

semi-parametric mids. Six aux sends. Four sub 

groups with stereo width control. 6x2 matrix. C 

GB4 Series 16, 24, 32, 40 ch frame sizes. GB30 mic preamps. 

Four-band EQ. Four-segment LED meters per 

ch. Two stereo channels. Eight aux sends. Four 

sub groups. Four mute groups. FOH/monitor 

modes. 7x4 output matrix. L, R and C outputs. D 

GB8 Series 24, 32, 40, and 48-ch frame sizes. GB30 mic 

preamps. Four-band EQ. Four-segment LED 

meters on every channel. Four stereo channels. 

Eight aux sends. Eight sub groups. Four mute 

groups. FOH/monitor modes. 11x4 output 

matrix. L, R and C outputs. D 

LX7ii Sixteen, 24, 32-ch four-bus live sound console. 

GB30 preamps/four-band EQ, semi-parametric 

mids. Six aux. Master section w/talkback, two 

stereo rtns, group, master LED meters. C 

MH2 Series Dual purpose console. MH3/4 mic amp design 

50dB range. Four-band parametric EQ. 10 aux 

sends. Eight groups. LCR panning. Eight VCAs. 

Six mute groups. 24+4, 32+4, 40+4, and 48+4. E 

MH3 Series Semi-modular live sound console. Eight group 

busses, 12 aux busses in FOH. 12 monitor 

busses (12 mono, eight mono + two stereo) in 

monitor mode. Integral 12x4 matrix. Eight VCA 

groups, eight mute groups. 24-56 ch frames. F 

MH4 Series The MH4 has become widely adopted because 

of its ability to handle the most demanding 

live sound mixing. Eight group busses with 12 

aux busses (FOH mode). 16 monitor busses 

(monitor mode). Eight VCA groups and eight 

mute groups. 40-56 frame sizes. G 

Si2 Digital live sound console. 48 inputs, 24 faders, 

four stereo inputs, 24 bus outputs. Eight matrix 

outputs, 12 VCAs, eight mute groups. Fourband 

fully parametric EQ. On-board dynamics. 

Four Lexicon processors. A physical output 

and meter for every bus. Eight analogue insert 

connections to allow outboard processing. X 

Si3 Digital live sound console. 64 inputs, 32 faders, 

four stereo inputs, 24 bus outputs. Eight matrix 

outputs, 12 VCAs, eight mute groups. Fourband 

fully parametric EQ. On-board dynamics. 

Four Lexicon processors. A physical output 

and meter for every bus. Eight analogue insert 

connections to allow outboard processing. X 

Vi4 Functionality and facilities of the Vi6, but in a 

smaller, more compact footprint more suited for 

space-conscious applications. 48 inputs on 24 

faders, with a total of 27 output busses available 

for use as masters, groups, auxes or matrixes. X 

Vi6 Large-format digital mixing console. Vistonics II 

user interface. Touch-screen colour TFT monitor 

screens, integral rotary controls/switches. 64 

mono inputs into 35 outputs. 32 Grp/Aux/ 

Matrix, main LCR Mix and LR Solo busses. Cat5 

or fibre optical interface. X 

Stagetec 

Aurus Digital console. Modular configuration with 

16 to 96 channel strips and up to 300 audio 

channels, unique ‚ direct access‚ control surface, 

and full integraton with NEXUS audio routers. X

IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK 

Tel: +44 (0) 20 7832 4100 Fax: +44 (0) 20 7832 4130 Email: info@ibc.org 

Why visit 

IBC2009? 

• 

• 

• 

• 

• 

• 

• 

• 

• 

• 

Network with over 1,400 exhibitors 

Attracts 49,000+ actual attendees, from over 130 countries 

Industry led conference programme 

FREE - Hands-on in the Production Village - NEW for 2009 

FREE - Participate in the Show Floor Training areas 

FREE - IBC2009 Zones: IPTV, Mobile and Digital Signage 

FREE - Business Briefing Sessions 

FREE - The IBC Big Screen Experience 

FREE - New Technology Campus 

FREE - The prestigious IBC Awards ceremony 

the content 

creation • management • delivery 

experience 

Conference 10 - 14 September 

Exhibition 11 - 15 September 

RAI Amsterdam 

www.ibc.org 

2009 registration is now open – 

www.ibc.org/register

Consoles Live Sound 

Studer 

Vista 5 SR Digital Vistonics console for tour and high-end 

installations. X 

Symetrix 

Symetrix Integrator Series Automix Matrix 780. 

Fully-optioned 12-channel Automixer with 

eight submixes for courtrooms, government 

chambers, corporate boardrooms, and more. C 


EZ-m 10x2 Compact live console with two pairs of 

balanced/unbalanced stereo line inputs, twoband 

EQ and one mic pre. A 

EZ-m 16x2 Compact live console with four pairs of 


EQ and two mic pres. A 

EZ-m 20x2 Compact live console with four pairs of 


EQ and four mic pres. A 

R-1604 Live console with four pairs of balanced/ 

unbalanced stereo line inputs, three-band EQ, 

mic mic pres, and two aux sends. A 

R-1604FX Live console with four pairs of balanced/ 


four mic pres, two aux sends, and digital FX. A 

R-200 Live console with two pairs of balanced/ 


four mic pres, one aux send, and one effect 

send. A 

R-2004 Live console with four pairs of balanced/ 


eight mic pres, and two aux sends. A 

R-2004FX Live console with four pairs of balanced/ 


eight mic pres, two aux sends, and digital FX. A 

26 

Yamaha 

LS9-16 Compact digital mixing console with up to 

32-input channels. D 

LS9-32 Compact digital mixing console with up to 

64-input channels. E 

M7CL-32 Two-ch. digital live console with detachable 

meter bridge and redundant power supply. F 

M7CL-48 48-channel digital live console with detachable 

meter bridge and redundant power supply. F 

MG24/14FX 

24:14 analogue mixer with 16 balanced low 

noise mic inputs, phantom power, insert points, 

six aux sends, plus two stereo aux returns. B 

MG32/14FX 

30:14 analogue mixer. 24 balanced low noise 

mic inputs, phantom power, insert points six 

aux sends plus two stereo aux returns. B 

PM1DV2 Large-format live digital console with built-in 

800x600 colour LCD monitor available in two 

different configurations. H 

PM5000 28, 36, 52-channel frames, 48V phantom power, 

phase reverse, pad, variable high-pass filter, 

four-band parametric EQ. G 

PM5D 56-input live digital console for FOH and 

monitor applications. G 

PM5D-RH 56-input live digital console for FOH and 

monitor apps with recallable mic pre-amps. G 

MG102C 10:2 analogue desktop mixer. Four balanced mic 

inputs & four stereo line inputs,one aux send 

and stereo aux return, 48V phantom power, plus 

three-band EQ and channel compressors. A 

MG124C 12:4 analogue mixer. Six balanced mic inputs. 

Insert points on mono channels. Two aux sends 

and one stereo aux return. 48V phantom power. 

Three-band EQ and channel compression. A 


Midas PRO 6 

MG124CX 12:4 analogue mixer. Six balanced mic ins, 

insert points on mono channels, two aux 

sends and one stereo auxilliary return, 48V 

phantom power, three-band EQ and channel 

compression, plus SPX effects. A 

MG166C 16:6 analogue mixer, ten balanced mic inputs, 

+48V phantom power, insert points,three aux 

sends plus one stereo aux return Three-band 

EQ and channel compression A 

MG166C-USB 

16:6 analogue mixer, ten balanced mic inputs, 

+48V phantom power, insert points, three aux 

sends plus one stereo aux return. Three-band 

EQ and channel compression plus USB audio 

interface and Cubase AI4 DAW software A 

MG166CX 16:6 analogue mixer, ten balanced mic inputs, 

+48V phantom power, insert points, two aux 

sends plus one stereo aux return Three-band 

EQ and channel compression plus SPX effects A 

MG166CX-USB 

16:6 analogue mixer, ten balanced mic inputs, 

+48V phantom power, insert points, two aux 

sends plus one stereo aux return. Three-band 

EQ, channel compression SPX effects, USB audio 

interface and Cubase AI4 DAW software. A 

MG206C 20:6 analogue mixer with 16 balanced mic 

inputs, +48V phantom power, insert points, four 

aux sends plus two stereo aux return. Threeband 

EQ and channel compression A 

MG206C-USB 

20:6 analogue mixer, 16 balanced mic inputs, 

+48V phantom-p, insert points, four aux sends 

two stereo aux return. Three-band EQ, channel 

compression, USB audio i/f, Cubase AI4. B 

MG82CX 8:2 analogue desktop mixer. Four ba. mic inputs, 

four stereo line inputs, one aux send and stereo 

aux return, 48V phantom power, three-band EQ, 

channel compressors, SPX effects. A 

M-48 

Breakthrough 

Personal Mixing and Monitoring 

REAC : Capture, Distribute, Mix and Record pristine 24-bit Multi-channel Audio over Cat5e and Fibre 

The M-48 offers performers flexible control over exactly what they want 

to listen to, providing the highest level of sound quality for headphones 

or IEMS (In-ear monitors), wedge and powered monitors. A unique 

Ambient Microphone puts you in control of the mix while individual 

16-channel and global EQ, limiter, local aux input and reverb make it 

ideal for tour, stage, broadcast and studio. Fully compatible with REAC 

Digital Snakes or M-400 V-Mixing solutions. www.rolandsg.co.uk or 

call 01792 702701 

M-400 V-Mixer Record with Sonar S-0816 / Cat5E / S-1608 S-4000 Digital Snake

Converters & Connections A/D & D/A Benchmark ADC 1-USB 

A/D & D/A 

Aphex Systems 

Model 141 Eight channel ADAT to analogue converter. A 

Model 142 Eight channel analogue to ADAT converter. A 

Apogee 

AD16X Standard 192kHz sampling rates; C777 clock 

technology; optional Symphony, Pro Tools HD 

and FireWire expansion cards. C 

Big Ben AES, SPDIF, optical I/O, word clock/video in; six 

word clock outs; optional video expansion card; 

real-time conversion; C777 clock technology. B 

DA16X Standard 192kHz sampling rates; C777 clock 

technology; and optional Symphony, Pro Tools 

HD and FireWire expansion cards. C 

Duet Two mic pres, two I/O Apogee AD/DA. 

96kHz sample rates. A 

Ensemble Four mic pres, eight I/O Apogee AD/DA. 

192kHz sample rates. B 

ONE One mic pre, two channel D/A, one internal 

condenser microphone. 48kHz sample rates. A 

Rosetta 200 

Two-channel A/D D/A; 192k sampling rates; 

optional Symphony, Pro Tools HD, and FireWire 

expansion cards; UV22HR, and SoftLimit. B 

Rosetta 800-192 

A/D D/A; 192k sampling rates (standard); 

optional Symphony, Pro Tools HD, and FireWire 

expansion cards; UV22HR, and SoftLimit. C 

Symphony 64 PCIe 

Host card for Rosetta series and X-series. 

64 I/O AD/DA, two cards per MacPro. A 

Symphony Mobile 

Host card for Rosetta series and X-series. 

32 I/O AD/DA. A 

X-DIGI-HD Digidesign HD/HD Accel X series and Rosetta 

series expansion card. A 

X-FIREWIRE 

FireWire IEEE ‘B’ X series and Rosetta series 

expansion card. A 

X-Symphony 

Symphony X-series and Rosetta series 

expansion card. A 

X-VIDEO Video card for Big Ben. A 


ADAC-2 24-bit 192kHz D-to-A/24-bit 96kHz A-to-D audio 

converter w/sample rate converter. B 

DM200 Stereo 24-bit/96kHz D-to-A Conv, AES/EBU, 

SPDIF In, metered w/balanced XLR stereo out. A 

DM500 Digital audio monitor, with portable carry case 

and battery pack. A 

DM500-1 Digital Audio Monitor, desktop mounting. A 

DM500-2 Digital Audio Monitor, desktop mounting. A 

UADC-1 Analogue to Digital Audio Converter/Switch. A 

Audient 

Black ADC Two channel analogue to digital converter‚ for 

Black Series racks, supports sample rates of up to 

192kHz and 24-bit. A 

Black Time Machine 

Master word clock generator for Black Series 

racks ‚ low jitter up to 192kHz. A 

Audio Design Reading Ltd 

DMA-2 Two-ch digital mic amplifier w/RS232 R/C. A 

EuroRack System 

Four AES channel router/mixer and level 

manager; A/D and D/A converters; SRC AES 

distribution amp; and GPI controller. C 

Probox 8 2x5 AES distribution amplifier. A 


DA210D Digital Distribution Amplifier 

AES digital distribution amp w/sample rate 

conversions, RE framing to an external REF 

signal, convenient analogue monitor output. B 

28 

DA210E and DA210T Distribution Amplifiers 

Five stereo output, electronically-balanced 

analogue DA. B 

Benchmark 

BM-ADC1 Two-channel 24-bit 192kHz A to D converter. C 

BM-ADC1/USB 

Two-channel 24-bit 192kHz A to D converter 

with USB audio connectivity. C 

BM-DAC1 Two-channel 24-bit 192kHz D to A converter. B 

BM-DAC1/USB 

Two-channel 24-bit 192kHz D to A converter 

with USB audio connectivity. B 

BM-DAC1HDR 

R/C’d DAC1PRE two-channel pre amp with 

24-bit 192kHz D to A conv, USB connectivity. C 

BM-DAC1PRE 

Two channel pre amp with 24-bit 192kHz D to A 

converter and USB connectivity. C 


Icicle XLR to USB converter and preamp. A 

Burl 

B2 Bomber ADC: hybrid circuit with a proprietary 

transformer, Burl Audio BX1, discrete class-A, 

zero feedback, zero capacitor signal path. D 

D&R 

Sycos 24-bit/96kHz A/D to D/A convertor. C 

DAD Digital Audio Denmark 

AX 24 Modular two- to eight-channel A/D to D/A conv; 

44.1kHz to 384kHz/DSD/DXD; line or mic; preamp; 

AES, MADI, SPDIF, TDIF and SDIF3. D 


Dangerous DAC-ST 

Mastering quality stereo D/A converter 

expansion module for monitor ST. Digital input 

switching of four digital inputs via ST Remote. B 

dCS 

dCS 905 Two-channel, 24-bit, DSD-compatible A/D 

converter with 32 to 192kHz sample rates. D 

dCS 955 D/A conv with up to 192kHz sampling rates, 

DSD, mute, phase, de-emphasis, onboard ARC, 

output level trim and digital volume control. D 

dCS 974 DSD-comp. D/D sample rate conv w/11.025 to 

192kHz sample rates, AES/EBU, SPDIF. D 

Digital Audio Denmark 

AX24 Modular two, four, six, eight channels, AD and 

DA converters, mic or line input in a single 2U 

unit. PCM 44.1Khz to 192kHz 24 bit and DXD/ 

DSD for SACD production. Digital I/O options 

MADI, AES, SDIF , Protools HD. D 

Drawmer 

DMS-3 A2D2 

Dual output A/D converter. B 

DMS-4 M-Clock Lite 

AES Grade 1 master clock. B 

DMS-5 M-Clock Plus 

Master clock/dual sample rate converter. B 

Focusrite 

ISA 220 ADC 

Stereo ADC option for ISA 220 Session Pack. A 

ISA 430 MKII ADC 

Stereo ADC option for ISA 430 MK II 

Producer Pack. A 

ISA 828 A/D Card 

Eight-channel 192kHz ADC option for ISA428 

and ISA828. A 

OctoPre LE Lightpipe-only A/D Card 

Optional retrofit A/D-D/A (CODEC) converter for 

OctoPre LE. A 

OctoPre Lightpipe-only A/D Card 

Optional retrofit A/D ADAT lightpipe converter 

card for OctoPre. A 


OctoPre Lightpipe/AES/SPDIF A/D Card 

Optional retrofit A/D converter card with 

multiple output options for OctoPre. A 

Pro-Series A/D Card 

Optional retrofit A/D converter for TrakMaster 

Pro, VoiceMaster Pro and TwinTrak Pro. A 

Gefen 

GefenTV Analog to Digital Audio Adapter 

Converts analogue left/right RCA-style audio 

conn’s to digital S/PDIF or TOSLink outputs. A 

GefenTV Digital Audio Decoder 

Allows any programme in 5.1 Dolby digital to be 

decoded, output in analogue two-channel. A 

GefenTV Digital Audio to Analog Audio Adapter 

Converts coaxial/optical digital audio to 

standard analogue left/right audio. A 

Genelec 

AD9200A Eight-channel 24-bit/192kHz A-D converter 

providing eight analogue inputs and 4x AES 

stereo outputs for the 7200 series. B 

Graham Patten Systems 

ADAT-1 Eight input, 20-bit line analogue to ADAT optical; 

44.1 and 48kHz sample rates and WC. B 

ADAT-2 Eight input, 44.1/48kHz, 20-bit line level 

analogue to ADAT optical converter. B 

ADAT-3/A0 AES digital to ADAT converter featuring four XLR 

inputs, 30Hz to 50kHz sample rate chase, 9-pin 

D-sub control port, WC and LED meters. A 


inputs, twin sample rate converters, 30 to 50kHz 

sample rate chase, WC and LED meters. B 


inputs, four sample rate converters, 30 to 50kHz 

sample rate chase, WC and LED meters. B 

ADAT-3/B0 AES digital to ADAT converter featuring four BNC 

inputs, 30 to 50kHz sample rate chase, 9-pin 

D-sub control port, plus WC and LED meters. A 

ADAT-3/B2 AES digital to ADAT converter with four BNC 

inputs, twin sample rate converters, 30 to 50kHz 

sample rate chase, plus WC and LED meters. B 

ADAT-3/B4 AES digital to ADAT converter. Four BNC inputs; 

four sample rate converters; 30Hz to 50kHz 

sample rate chase; WC, LED meters. B 

ADAT-4/A ADAT to AES converter: ADAT optical input, four 

XLR AES3 outs, 30Hz to 50kHz sample rate chase 

and word clock (Part of the SoundPals series.) A 

ADAT-4/B ADAT to AES converter featuring ADAT optical 

input, four BNC AES3-ID outputs, 30 to 50kHz 

sample rate chase support and word clock. A 

ADC-20/44 A/D converter featuring 20-bit, 44.1kHz sample 

rate and sample rate chase (30 to 50kHz). Battery 

or mains operable. A 

ADC-20/48 A/D converter featuring 20-bit, 48kHz sample 

rate, 90dB dynamic range, and sample rate 

chase (30Hz-50kHz). Battery or AC powered. A 

DAC-20 20-bit D/A conv, 48kHz sample rate, 30-50kHz 

sample chase, vol control, headphone jack. A 

iZ Technology 

ADA - AD/DA converters 

Eight, 16, or 24 channels of Nyquist A/D and D/A 

conversion ‚ optional direct interface with Logic, 

ProTools, Nuendo, REAPER, and other DAWs. D 

ADA Classic 

Digital converter, MADI config, up to 24-in and 

24-out in any combination of eight channels. E 

ADA Nyquist 

Digital converter MADI config, up to 24-in and 

24 out in any combination of eight channels. E 

ADA S-Nyquist 

Digital converter with MADI config up to 24-in 

and 24-out in any comb. of eight channels. E 

Lynx Studio Technology 

Aurora 16 16-channel, 24-bit/192kHz, single/dual wire A/D 

and D/A converter with expansion port, remote 

control options, MIDI I/O, and AES/EBU. C

HEADLINE SPONSORS 

MEDIA PARTNERS: 

09 

SPONSORED BY: 

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Your votes will go forward to an 

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finalise the winners of The Conch 

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The Winner will be announced at a 

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The online voting system is now open so 

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Voting closes on 13th July

Converters & Connections A/D & D/A - Format Conversion 

Aurora 16-VT 

Variable trim model Aurora 16 16-channel, 

24-bit/192kHz, single/dual wire A/D and D/A 

converter w/expansion port, remote control 

options, MIDI I/O, and AES/EBU. C 

Aurora 8 Eight-channel, 24-bit/192kHz, single/dual 

wireA/D and D/A conv with expansion port, 

remote control options, MIDI I/O, AES/EBU. C 

LT-ADAT LSlot expansion card for Aurora 8 and Aurora 16 

with 16 ADAT I/O channels, dual Lightpipe I/O, 

and sample-accurate sync. A 

LT-FW FireWire400 interface for Lynx Aurora AD/DA 

converters that allows 32 channels of analogue 

and digital I/O at sample rates up to 96kHz (or 

16 channels at 192kHz). A 

LT-HD ProTools|HD LSlot expansion card for Aurora 

8 and Aurora 16 with up to 32 I/O channels at 

sample rates to 192kHz that allows interface and 

control via all versions of Pro Tools|HD. A 

LT-MADI MADI LSlot expansion card for Aurora 8 and 

Aurora 16 with up to 64 I/O channels with 

Optical I/O and Coaxial I/O. A 


CO2 Coaxial SPDIF-SPDIF optical with routing, 

5Hz to 50kHz freq resp, RCA and TOSLink. A 


The WAVE DAC/pre-amp for mastering. D 

Merging Technologies 

Sphynx 2 High end modular two, four, six, or eight 

channels AD and DA conv. Specified PCM 48, 

96, 192kHz and DXD/DSD for SACD production. 

Digital I/O options MADI, AES, SDIF. D 

Mytek Digital 

8X96 ADC 2U eight-channel 24-bit, 96kHz, A/D converter 

including AES/EBU connectors (optional ADAT, 

TDIF, and Sonic I/O available). C 

8X96 DAC 2U eight ch, 24-bit, 96kHz D/A converter feat. 

AES/EBU connectors w/optional ADAT, TDIF, 

Sonic I/O. C 

Stereo 96 ADC 

1U battery-operable, eight-channel, 24-bit, 

96kHz A/D featuring word clock and XLR, BNC, 

AES/EBU and SPDIF I/O. B 

Stereo 96 DAC 

Battery-operable, eight-channel, 24-bit D/A 

supporting 44.1 to 96kHz with XLR, BNC, 1/4inch, 

AES/EBU and SPDIF I/O. B 


AD-2 Four noise shaping curves, simultaneous 

96kHz/24-bit and 44.1kHz/16-bit outputs; 

memory; AES-3 digital interface; DRE hi-bit 

recording. D 

DA-2 24-bit with up to 96kHz sample rates; AES 

3 interface; high jitter attenuation; and DRE 

decoding for hi-bit DAT recording. D 

RME 

ADI-2 Two-channel AD/DA converter, 32-192kHz 

sample rate, analogue, ADAT, SPDIF AES/EBU. A 

ADI8-DS 24-bit eight-channel A/D and D/A converter 

with 44.1,48 and 96kHz sample rates, word clock 

and Yamaha O2R bit-splitting function. B 

ADI8-QS M 24-bit eight-channel A/D and D/A converter 

with up to 192 kHz rate and MADI I/O as well as 

ADAT and AES/EBU, remote controllable. C 


ADDA 192 Analogue/digital converter. A 


Alpha Link MADI AX 

MADI to ADAT and AD DA converter. C 

Alpha Link MADI SX 

MADI to AES/EBU and AD/DA converter. C 

Delta Link MADI HD 

HD to MADI interface. Delta Link MADI HD can 

take the place of up to four 192 digital I/Os. D 

30 

Sonic Core 

A16 Ultra 24-bit, 16-ch word clock with SMUX, FireWire 

port, VU meters, LED meters, plus 1/4-inch, 

TOSlink, BNC, FireWire, ADAT connectors. B 

Sonifex 

RB-ADDA Combined A/D and D/A converter (24-bit, 

96kHz capable) (1U). A 

RB-ADDA2 Combined A/D and D/A converter (24-bit, 

192kHz capable) (1U). B 

RB-DAC1 Digital to analogue converter. A 

Stagetec 

Nexus Modular routing system handling between four 

and 4096 I/Os supporting virtually all audio 

formats. Audio-format conversion, A/D and D/A, 

audio processing, data transmission. X 

Nexus Modular routing system handling between 4 

and 4096 I/Os supporting virtually all audio 

formats. Audio-format conversion, A/D and D/A, 

audio processing, data transmission. X 

Symetrix 

Lucid 88192 A/D and D/A Converter. 

Eight channel, analogue to digital/digital to 

analogue, multi-format converter. Applications: 

studio, broadcast, post-production. C 


DO-2 Mono/stereo digital output card, 24-bit 

48-96KHz, SPDIF coaxial. A 

DO-4 Four channel digital output card, 24-bit 

48-96KHz, SPDIF coaxial. A 

DO-8 Eight channel ADAT interface card, 24-bit, up to 

96kHz, wordclock. A 

DO-F FAT Firewire interface for Fat Track. A 

DO-F M1F Firewire interface for M1F 8, M1F 12. B 


2192 Master Audio Interface 

Ultra low noise 44.1-192kHz, discrete class-A 

signal path,realtime transcoding between 

digital formats‚ AES/EBU, S/PDIF, ADAT. C 


ADC2 Stereo 24-bit (44.1kHz to 192kHz) A/D converter, 

mic pres and digital compressor. D 

DAC1 Class A stereo 24-bit (44.1kHz to 192kHz) D/A 

converter. D 

DAC2 Firewire stereo 24-bit (44.1kHz to 192kHz) D/A 

converter. D 

Yamaha 

AD8HR Eight-channel 24-bit A/D converter with eight 

remote control mic pre-amps with phantom 

power. C 

DA824 Eight-channel 24-bit D/A converter. B 

Format Conversion 

AMS-Neve 

8816 ADC 96kHz and DSD output option for 8816 

summing mixer. A 

AES960 56-channel, 96kHz, bi-directional AES/EBU-to- 

MADI converter. E 

MIOS ADC High quality 16-channel 96kHz ADC module. C 

MIOS AES 16-channel AES I/O with SRC. C 

MIOS DAC High quality 16 channel 96kHz DAC module. C 

MIOS MIC Four-channel mic pre module. C 

MIOS SHD ADC 

382kHz eight-channel ADC module. C 

MIOS SHD DAC 

Super high definition 382kHz 8-channel DAC 

module. C 

TDIF-MADI Bi-directional, 16-/24-bit 6x8 TDIF-to-MADI 

converter. D 

Aphex Systems 

Model 144 Eight-channel bi-directional AES/ADAT 

converter. A 


Sonifex RB-LU4 

Model 148 Active digital AES audio splitter, eight channels 

in to 32 channels out. A 


BI400 Four-ch bi-directional balanced XLR to 

unbalanced RCA converter, XLR and RCA I/O on 

rear (incl. external power supply). A 

BU400B Four-ch balanced XLR to unbalanced RCA 

converter, XLR and RCA I/O on rear. A 

DMM100 Four-ch digital MatchMaker ‚SPDIF 75Œ© BNC/ 

RCA, TOSLINK and AES/EBU 110Œ© XLR format 

converter (incl. external power supply). A 

DMM100-BAT 

Four-ch digital MatchMaker DMM100 with 

internal battery power. A 

DMM104 1X4 digital DA MatchMaker ‚ AES/EBU, SPDIF 

or Toslink Inputs /4 - 75Œ© RCA and 1 Toslink 

outputs (incl. external power supply). A 

DMM104-BAT 

1x4 digital DA MatchMaker DMM104 with 

internal battery power. A 

DP100 Two-ch unbalanced RCA to balanced XLR 

converter ‚ transformer isolated outputs. A 

MM100 Four-ch bi-dir balanced XLR and unbalanced 

RCA converter ‚ transformer isolated outputs. A 

UB400B Four-ch unbal RCA to bal XLR converter, XLR 

RCA I/O on rear (incl. external power supply). A 

AVMedia 

AVTransfer Add/extract to/from AES 31, OMF version 1/2, 

AIFF, AAF, WAV, BWAV, Pro Tools 4/5, Open TL, 

DAR, Fairlight ML4, discreet edit, DSP Media. B 

DAD Digital Audio Denmark 

HD IO 64-ch DigiLink to Madi coax conv. Format 

converter/ IO replacement for Pro Tools HD. D 

Drawmer 

DMS-2 D-Clock 

Word clock distribution and measurement. A 

Genelec 

DI8A Eight-ch active balancer: convert an unbalanced 

line signal (RCA) to a balanced line signal (XLR) 

with +6dB switch to increase signal level. B 

MUTEC GmbH 

MC-1 Uni-directional digital audio format converter 

for AES/EBU and S/PDIF optical + coaxial at 

clock rates up to 192kHz. A 

MC-1.1 Bi-dir digital audio format conv:AES/EBU/ S/PDIF 

optical + coaxial at clock rates up to 192kHz. A 

MC-4 Bi-directional multi-channel digital audio format 

and sampling rate converter for ADAT + AES/ 

EBU at clock rates up to 192kHz. A 

MC-6 Bi-directional digital audio format and sampling 

rate converter for AES/EBU, AES/EBUid, S/PDIF 

optical + coaxial at clock rates up to 192kHz. A 

PreSonus 

FireStudio LightPipe 

32-channel ADAT to FireWire converter. 

24-bit/96kHz operation with 34x4 zero latency 

software mixer. Balanced stereo output, MIDI 

I/O, Wordclock I/O and headphone output. A 

ProAVM 

ProAVM DA-ITR 

One input, four output stereo distribution 

amplifier rackmount. A 

ProAVM DA-ITR4x16 

Four input, 16 output matrix routing distribution 

amp rackmount. A 

ProAVM FR-ADC 

Flexrack analogue to digital converter. A 

ProAVM FR-DAC 

Flexrack digital to analogue converter. A 

ProAVM FR-DSS 

Flexrack dual silence sensor. A 

ProAVM FR-GB6 

Flexrack six-way matching dist.gain/ mix unit. A

NO O COMPROMISES 

...BECAUSE YOUR SOUND IS ON THE LINE 

Benchmark develops audio tools that never compromise, just 

like the award-winning engineers and producers that use them 

every day. 

Benchmark mic-preamps and converters deliver stunning 

sound quality, unvarying performance and unwavering 

dependability. Benchmark users rely on our products so that 

they can focus on the sound, not on the gear. 

“Benchmark digital converters 

are the perfect companions 

to my analog signal path 

because they maintain 

the analog feel that 

my clients love.” 

Gavin Lurssen 

3-time GRAMMY-winning 

Mastering Engineer 

Including 2009 Album of the Year 

‘Raising Sand’ 

by Robert Plant and Alison Krauss 

The signal chain used by GRAMMY Award-winning mastering 

engineer Gavin Lurssen begins and ends with Benchmark 

converters. Digital source files are converted to analog via the 

DAC1 and sent through his analog signal chain. After Gavin 

applies his touch in the analog stages, the audio is digitally 

captured with the ADC1 A-to-D converter. Gavin monitors the 

final capture from the ADC1 using an additional DAC1. 

...the measure of excellence! 

BenchmarkMedia.com 800-262-4675

Converters & Connections Format Conversion - Codecs - Networked Audio 

ProAVM FR-RK1 

Flexrack chassis including FR-PSU. A 

ProAVM LIM-IT 

Stereo or dual mono line level limiter. A 

ProAVM LINE-IT 

Multi-functional line level amplifier. A 

ProAVM MATCH-IT 

Stereo matching unit ‚ record and replay. A 

ProAVM MATCH-IT2 

Dual stereo matching unit ‚ dual replay. A 

ProAVM MIC-IT 

Dual microphone pre-amplifier. A 

ProAVM MICLIM-IT 

Mic/Line limiter. A 

RME 

ADI-192DD Triple fmt/sample rate conv. 24-bit/192kHz. B 

ADI-4DD 24-bit/96kHz eight-ch AES/EBUADAT conv. A 

ADI-642 Eight-ch AES/EBU to MADI conv, 24-bit/192kHz, 

MADI cross matrix, headphone out. C 

ADI-6432 64-ch AES/EBU to MADI conv, MIDI, R.C 

24-bit/192kHz. 75Œ© variant available. C 

ADI-648 128-channel ADAT ‚ MADI, and MADI ‚ ADAT. C 

BOB-32 Universal AES/EBU breakout box, 25-pin to XLR 

I/O, Tascam and Yamaha pin outs accepted. A 

MADI Converter 

2x6 channel MADI Optical to Coax converter, 

plus 1x3 MIDI thru. C 


MADI Opti-Coax 

Copper Co-Ax to optical fibre MADI converter. X 

Sonifex 

RB-BL2 Single stereo bi-dir. matching converter. A 

RB-BL4 Dual stereo bi-dir. matching converter (1U). A 

RB-DA4x5 Four input, 4x5 output distribution amplifier/ 

mixer (1U). A 

RB-DA6 Six-way stereo distribution amplifier (1U). A 

RB-DA6G Six-way stereo distribution amplifier with output 

gain control (1U). A 

RB-DDA6A Six-way stereo AES/EBU digital distribution 

amplifier (24-bit, 96kHz capable). A 

RB-DDA6S Six-way stereo S/PDIF digital distribution 

amplifier (24-bit, 96kHz capable). A 

RB-DDA6W Six-way word clock distribution amplifier. A 

RB-LC3 Three-way light/power controller. A 

RB-LI2 Stereo line isolation unit. A 

RB-LU4 Quad stereo bal. to unbal. converter (1U). A 

RB-PA2 Dual stereo RIAA phono amplifier. A 

RB-PLI6 Six-way mono passive line isolation unit. A 

RB-SC1 Sample rate converter (24-bit, 96kHz capable). A 

RB-SC2 Dual sample rate converter (24-bit, 192kHz 

capable). A 

RB-SM1 Single stereo to mono converter. A 

RB-SM2 Dual stereo to mono converter. A 

RB-SP1 Digital splitter and combiner. A 

RB-SYA Analogue video sync board for RB-SC2 (PAL, 

NTSC, SECAM). A 

RB-SYD Digital video sync board for RB-SC2 (HD-SDI, 

SD-SDI). A 

RB-SYE AES/EBU sync board for RB-TGHD (B or X). A 

RB-SYW Word clock sync board. A 

RB-UL1 Single stereo unbal. to bal.converter. A 

RB-UL2 Dual stereo unbalanced to balanced 

converter. A 

RB-UL4 Quad stereo unbalanced to balanced 

converter (1U). A 

RB-VHDA8 3G/HD/SD-SDI one input, eight output 

distribution amplifier. A 


LA-40MK3 Line amplifier bal-unbal/unbal-bal. A 

LA-80 MK2 Line amplifier unbalanced-balanced. A 

LA-81 MK2 Line amplifier balanced-unbalanced. A 

32 

Violet Audio 

D8XI and D8XO 

Analogue D-sub 25-pin eight XLR breakouts. X 


AFI1 24 channel Firewire Interface, 8ch AES/EBU, 

16ch ADAT. A 

HYDRA Two-wire/one-wire double sampling AES/EBU 

interface with de-jittering capability. A 

POW-R POW-R Type re-dithering. C 

SARACON Sampling Rateconverter software for PC / MAC, 

with optional DSD support. X 

SFC2 Dual stereo samp. rate conv (44.1kHz-96kHz). C 

Codecs 

APT Ltd. 

WorldCast Eclipse 

Perfect for STLs, this most flexible stereo IP audio 

codec offers linear audio and all the major audio 

algorithms over IP, ISDN & X.21/V.35. D 

WorldCast Equinox 

Stereo audio codec: multi-algorithm audio 

across IP & ISDN links on pro grade platform. D 

WorldCast Horizon 

Popular and affordable IP audio codec offering 

professional broadcast quality & reliability. 

Delivers linear audio & Enhanced apt-X over IP. C 

WorldCast Meridian 

Multi-algorithm, fully duplex, stereo audio 

codec; audio over IP and X.21/V.35 links. D 

WorldNet Oslo 

A modular, multiple ch multiplexer: transport 

quality audio, video, voice, data on T1, E1, IP. D 

Audio Design Reading/Prodys 

ProntoNet LC+ Audio Codec 

ISDN, IP & X21 Codec, G711, G722, MPEG Layer 

II/III PCM (16, 20 & 24bits), Aux data, Analogue & 

AES I/O, GPIO. D 

CCS Musicam 

CCS Prima LT 

Prima LT audio codec, MPEG l2/3, with built-in 

terminal adapter. D 

CCS Team TM-B 

TEAM rack-base multi-format codec system. D 

Minnetonka Audio Software 

SurCode for CD-DTS 

Fully licensed and certified standalone software 

encoder and confidence monitor for DTS-CD. A 

SurCode for Dolby Digital 

Fully licensed and certified standalone software 

encoder and decoder for Dolby Digital. B 

SurCode for Dolby E 

Fully licensed and certified multi-platform 

software encoder and decoder for Dolby E. D 

SurCode for Dolby Pro Logic II 

Licensed and certified multi-platform software 

encoder and decoder for Dolby Pro Logic II. B 

SurCode for DTS-HD 

Fully licensed and certified Apple Compressor 

software encoder and decoder for DTS-HD . A 

SurCode for DVD-DTS 

Licensed/certified standalone software encoder 

and confidence monitor for DTS-DVD. A 

SurCode MLP Encoder 

Licensed/certified standalone software encoder 

for Meridian Lossless Packing (MLP). C 

Prodys 

Kronos 19-inch 4U Module Frame, Multiple Audio 

Codec, E1/T1, Ip Control, optional Aptx. D 

Nereus 3U Rack frame Multiple Audio IP, ISDN, X.21 

Codec, G722, MPEG Layer II/III, MPEG 2/4, AAC 

LC/LD/HE, Enhanced apt-X. D 


Audio Precision 525 

Nomada IP Portable Audio Codec 

Portable ‚ three input/two output Channel IP 

Audio Codec, G711,G722, Mpeg Layer II & III, 

PCM. D 

ProntoNet IP Audio Codec 

IP,ISDN & X21 Codec, G722, Mpeg Layer II & III 

Mpeg2/4 Aac Lc/Ld, Apt-X, Enhanced Apt-X D 

Sonifex 

DHY-03 Single automatic digital TBU (tel balance unit). B 

HY-03 Automatic analogue TBU (tel balance unit). B 

YELLOWTEC 

b-line Digital dual hybrid, ISDN or POTS with adaptive 

echo cancelling. Control via DTMF, TTL/Relais, 

Talkmaster software or external keypad. C 

You/Com Audiocommunicatie BV 

MXTS multio-programm DVB/MPEG/AAC Audio Encoder 

Multi-program DVB/MPEG audio encoder. 

Converts audio signals inc. MP2, AAC, MP3, 

WMA (IP) into ASI TS stream for DVB-C, -S, -T. F 

PARROT Wireless ENG Flashrecorder and Codec 

ENG MP3 flash recorder and communication 

device. GSM network for live reports and to 

send top quality audio files to the studio. B 

WebRadio (Internet) Receiver for Closed Usergroups 

Apps: in-store music, in-house distribution of 

radio programs, expatriate radio, hotel radio, 

community hotel radio, community radio. A 

Networked Audio 

Aphex Systems 

Model 824 Anaconda ‚ distribution hub with four 

transmitters. C 

Model 828 Anaconda ‚ 64 channel bi-dir. digital snake. D 

Audio Design Reading Ltd 

NetClock Broadcast and studio real-time clock operating 

directly from a LAN NTP server. Including 

programable back timer. A 


eMM88 - LAN Enabled 8x8 Audio Combiner 

1U, LAN-controlled unit for mixing eight stereo 

analogue inputs to eight outputs. C 

eMX88 - LAN Enabled 8x8 Audio Router 

1U, 19-inch rackmount unit for routing eight 

stereo analogue inputs to any or all of eight 

stereo analogue outputs. C 

eWM88 - LAN Enabled 8-Channel Audio Mixer 

1U, 19-inch rackmount unit. Eight channels of 

gain control with add. master mix output. C 

Aviom 

6416dio 2U digital I/O module. 16 AES3 digital inputs, 16 

AES3 digital outputs to a Pro64 audio network. 

DB25 or BNC connectors available. X 

6416i 2U A/D input module; converts 16 bal line-level 

analogue inputs (XLR) to a Pro64 audio network. 

16 bal line-level analogue thrus (DB25). X 

6416m 3U R/C mic input module; 16 state-of-the-art 

mic-level inputs (XLR) for a Pro64 network. X 

6416o 2U output module. Provides 16 balanced mic- 

or line-level outputs from a Pro64 network. X 

6416o v.2 2U output module. 16 balanced mic- or linelevel 

outputs (+24dBu, +18dBu, +4dBu) from 

Pro64 network. Per ch output level switches. X 

6416Y2 Mini-YGDAI format card. Fits into Yamaha digital 

console slots to input/output 16 channels of 

digital audio in a Pro64 network. X 

A-16CS Optional R/C surface for A-16R rack-mount 

mixer. Includes same features as the A-16II. X 

A-16D Half-rack sized Pro16 A-Net Distributor; features 

one A-Net In and eight A-Net Outs. X 

A-16D Pro 2U Pro16 A-Net distributor that also supplies 

DC power to Aviom personal mixer products; 

features one A-Net In and eight A-Net Outs, all 

with Neutrik EtherCon connectors. X

A-16II Personal mixer w/channel volume, grouping, 

pan, stereo spread, master volume controls, 16 

custom mix memories. X 

A-16R Rack-mounted personal mixer. All features of 

A-16II personal mixer, bal outputs, stereo bal 

insert points, and stereo auxiliary mix input. X 

AN-16/i 1U Pro16 A/D input module; converts 16 linelevel 

analogue channels into uncompressed, full 

bandwidth, 24-bit digital data. X 

AN-16/i-M 3U Pro16 mic input module. 16 mic/line-level 

ins (XLR/TRS combo jacks): audio distribution, 

digital multi-core, and Personal Mixers. X 

AN-16/o 1U Pro16 D/A line-level output module: two 

DB25 outputs, three digital network conns. X 

AN-16SBR 1U system bridge with four A-Net ports and 1 

Bridge port. Combines up to four Pro16 A-Net 

streams onto a single Cat-5e cable. X 

ASI 1U A-Net Systems Interface. Allows Pro16 Series 

Personal Mixers and output devices to interface 

with a Pro64 audio network. X 

AV-M8 1U A/D mic input module. Six mic-level and two 

bal line-/mic-level inputs to Pro16 system, ADAT 

In and ADAT Out for cascading two modules. X 

AV-P2 Provides two analogue outputs from a Pro16 

digital audio stream. Rotary channel selection 

switch with selectable output levels. X 

AVIOM16/o-Y1 

Mini-YGDAI format card. Fits into Yamaha 

digital console expansion slots to assign/send 

16 channels of digital audio to Pro16 Personal 

Mixers or output modules. X 

MCS Mic Control Surface. Real-time control of 

multiple 6416m modules; control selected 

channel’s gain, phase, mute, pad, +48V 

phantom power, and low cut filter. X 

MH10 1U 10-port Merger Hub. Supports bidirectional 

parallel connections in a Pro64 network. Three 

channel-routing configurations; supports 

redundant cable paths. X 

MH10f 1U 10-port Merger Hub. Supports bi-dir. parallel 

Pro64 conns w/integ. fibre optic connectivity. X 

RCI 1U Remote Control Interface for Pro64 networks. 

With the MCS it offers remote control of up to 64 

channels of 6416m inputs. X 


Axia IP-Audio Nodes 

Axia Audio Nodes interface with digital and 

analogue audio sources to route broadcastquality 

audio + logic via standard Ethernet. C 

DHD 

52/CR 112x112 compact router with analogue and 

digital I/Os, XLR, and HD-SDI modules. E 

52/MB MADI breakout system/stagebox with HD-SDI 

modules and remote analogue gain control 

from router, mixer, or software. E 

52/XR 4096x4096 fully-redundant MADI router with 

powerful routing and scheduling software, DSP 

and logic functions, and hardware panels. F 

Focusrite 

Liquid 4PRE Ethersound Card 

Ethersound output card for Liquid 4PRE. B 

Gefen 

1:16 Audio Distribution Amplifier 

Splits analogue audio and distributes it to up to 

16 devices with extension up to 1,000 feet. A 


Can send one analogue signal to four separate 

locations with extension to 1,000 feet. A 


Splits one analogue audio signal and distributes 

it to as many as eight separate audio devices.. A 

Analog Audio Cables 

Mini stereo audio cables (up to 50 feet). A 

Audio Extender 

Extends your audio up to 1,000 feet (300 meters) 

from your computer over one CAT-5 cable. A 

Digital Audio Cables 

Glyph GT062 

TOSLINK and S/PDIF cables (up to 15 feet). A 

Digital Audio Extender 

Extends S/PDIF and TOSlink digital audio devices 

up to 100m (330 feet) over one CAT-5e cable. A 

GefenTV Digital Audio Splitter 

The GefenTV 1:2 Digital Audio Splitter takes 

one TOSLINK signal and splits it into two digital 

audio outputs, at a very affordable price. A 

GefenTV Digital Audio Switcher 

Switch any two TOSLINK digital audio sources or 

add a second one to your audio system. A 


Xrange I/O Routing via gigabit Ethernet and MADI; MADI 

conversion to/from analogue or AES; 64-bit 

audio paths, graphical save/recall. X 


Hear Back 4PAK 

Hub, 4x Mixers, 4x 50ft CAT5e cables and D-sub 

to TRS Loom. C 

Hear Back Hub 

Hub for Hear Back Personal Monitor Mixer. B 

Networked Audio Converters & Connections 

THE SYMPHONY SYSTEM 

The Most Powerful Audio Workstation Available 


Hear Back Mixer 

Mixer for Hear Back Personal Monitor Mixer. A 

XTENDIN ADAT In ‚ Extend ADAT Optical cables up to 

500ft. A 

XTENDOUT ADAT Out ‚ Extend ADAT Optical cables up to 

500ft. A 

Klotz Digital 

OCTO-BUS Audio Network 

Digital CAT5 audio network solution for 

expanding the VADIS system with daisy-chained 

eight-channel breakout boxes. X 

VADIS LCD Free programmable control panel with LCD 

buttons used to control the VADIS system. X 

VADIS Router 

Family of modular routers for audio routing, 

audio processing, and audio format conv. X 

Listen Technologies 

Wireless Audio Distribution 

Wireless audio products used in auditory 

assistance and language interpretation. A 

The Symphony System combines Apogee’s legendary X-Series and Rosetta Series converters with 

Apple’s revolutionary Mac Pro and Logic Pro audio workstation using the 32-channel Symphony 

PCI card. 

BEST SOUNDING 

The most sonically advanced audio hardware 

interfaces combined with the most advanced 

music creation and production tool. 

HIGHEST PERFORMANCE 

1.6 milliseconds at 96k and up to 192 

simultaneous channels of audio. 

GREATEST VALUE 

A fraction of the cost of popular card-based, 

DSP systems. 

The Total Package 

Introducing Logic Studio 

A suite of powerful, easy-to-use music 

creation and production tools, Logic Studio 

gives musicians everything they need to 

write, record, edit, mix and perform. 

Symphony PCIE Card 

32-Channels of I/O per 

card & up to 96 channels 

per system. 

33

Converters & Connections Networked Audio 

Little Labs 

Digital Audio Router 

Convolution reverb for Mac OSx and WinXP. C 

NetCIRA 

ES-1 Receiver module. Single parallel channel. A 

ES-1 Pro Prof receiver module. Single parallel channel. A 

ES-1A Amplified receiver module. Single 20W/8 Œ© 

amplified channel. A 

ES-2 Receiver module. Dual independent channel. A 

ES-2 Pro Pro receiver module. Dual independent ch. A 

ES-2A Amplified receiver module. Dual 10W/8Œ© 

amplified channel. A 

ES6300 Receiver module SP system. A 

I/O-1C AES/EBU digital I/O card for MS-88. A 

I/O-2C Analogue I/O card for MS-88. A 

LR-1 Local remote control. A 

MI-1 AES/EBU digital input card (XLR). A 

MI-2 Balanced analogue line input card (XLR). A 

MI-3 Unbalanced analogue line input card (RCA). A 

MI-4 ADAT input card. A 

MI-5 Balanced analogue lne input card. A 

MS-8 Eight-channel master/slave unit. B 

MS-88 Eight-channel master/slave unit/bi-dir. B 

SO-1 AES/EBU digital output card (XLR). A 

SO-2 Balanced analogue line output card (XLR). A 

SO-3 Unbalanced analogue line output card. A 

SO-4 ADAT output card. A 

SO-5 Balanced analogue line output card. 

Neutrik 

etherCON Ruggadised and lockable RJ45 connector 

A 

system. CAT 5 or CAT6. 

opticalCON Neutrik opticalCON is a ruggedised and dirt 

A 

protected fibre optic connector system. A 

34 

Phono (RCA) 

The Profi RCA connectors make ground before 

signal contact and break signal before ground: 

No disturbing noise/broken speaker cones. A 

Plugs Neutrik’s plugs serve all applications such 

as guitar applications, audio cables, snakes, 

speakers, amplifiers and mixing desks. A 

powerCON Lockable, robust and reliable 3- pole equipment 

(AC) connector with high current capacity. A 

speakON Speaker connectors. Industry-standard 

connectors for amplifier/loudspeakers. A 

XLR Connectors 

XLR connectors inc. a unisex cable connector 

and special versions for enhanced RF screening, 

heavy duty and high end applications. A 

RANE 

Mongoose 32x32 network audio converter/router. B 

Riedel Communication 

Riedel RockNet 300 

Digital audio network. Distributes 160 digital 

broadcast quality audio channels over a 

redundant CAT-5 ring topology. D 

RME 

MADI Bridge 

8x64 ch MADI Switcher/router/patchbay. C 

RSS by Roland 

S-0816 Digital Snake FOH/SPLIT 

Sixteen output, eight input, 24-bit audio transfer 

via cat5 featuring remote-control preamps, use 

with S-1608 stagebox and S-4000SP for splits. C 

S-1608 Digital Snake Stagebox 

Sixteen input, eight return, 24-bit audio transfer 

via cat5 featuring remote-control preamps, use 

with one or more S-0816 FOH unit. C 


RSS by Roland 

S1608 Digital Snake 

S-4000 Modular Digital Snake 

40-channel 24-bit digital audio transfer system 

via cat5, remote-control preamps, configurable 

I/O with analogue and AES/EBU options. E 

S-4000H Fixed FOH Digital Snake 

40-channel 24-bit digital audio transfer system 

via cat5, remote-control preamps, fixed 32-in/8out 

on Dsub to XLR tails (SCA41 cable set). X 

S-4000R Remote Control 

Control individual digital snake channel gain, 

phantom and pad from FOH or stage. Feat. 1db 

gain steps, channel meter, 10 scene memory. C 

S-4000SP Splitter 

Dual five-port gigabit switching hubs fea. 1U 

rackmount and dual power supply for use with 

S-4000, S-1608, S0816, and M-400 systems. C 

S4000D REAC splitter w/embedded power, REAC in/out, 

eight splits w/embedded power over cat5. C 

Source Elements 

Source-Connect Pro 

High quality audio over the Net between any 

DAW, direct-to-the-timeline recording. B 

Source-Connect Standard 

RTAS/AU/VST plug-in: high quality audio over 

the Net to any DAW with direct to the timeline 

recording and Remote Transport Sync A 

Source-Live 

RTAS/VST plug-in for real-time remote reviewing 

of high-quality audio over the Internet. A 

Source-Talkback 

Allows you to avoid feedback through your 

monitors when receiving audio. A 

Stagetec 

Nexus Modular routing system handling between four 

and 4096 I/Os. Audio-format conversion, A/D 

and D/A, audio processing, data transmission. X 

Studer 

Route 6000 Hi-capacity audio routing/processing system. X 

Symetrix 

Symetrix 581E Distribution Amplifier 

Single rack space 4X4 distribution amplifier. 

Applications: broadcast, installed sound. X 

Symetrix ARC Wall Panel Remote Controls 

Product line of wall mount remote controls for 

Symetrix DSP products. A 

Symetrix RC Series of Standard Remote Controls 

Product line of wall mount and table top remote 

controls for Symetrix products. A 

SymNet BreakIn12 

Analogue audio input channel expander for 

SymLink hardware. Twelve mic/line-selectable 

inputs and no onboard DSP. C 

SymNet BreakOut12 

Analogue audio output channel expander for 

SymLink hardware. Featuring twelve balanced 

line level outputs and no onboard DSP. C 

SymNet CobraLink 

Bridge SymLink hardware to industry standard 

CobraNet (audio over Ethernet). C 

SymNet Control I/O 

Single rack space unit expands SymNet’s ability 

to control/be controlled externally. A 

SymNet Express 12x4 Cobra 

Integrated, open architecturesolution for routing 

and processing commercial audio. D 


CobraNet integrated, open architecture solution 

for routing and processing audios. C 



for routing and processing audio. C 



for routing and processing audio. C 


D32IO-A Digital audio snake terminal. X

Core Software/Systems 

Merging Technologies Ramses 

Ableton 

Ableton Live 7 LE 

A focused feature set. Just the essential tools 

and basic sound content for making music. A 

Ableton Live 8 

Making music; for composition, songwriting, 

recording, production, remixing and live. A 

Ableton Suite 8 

All of the features in Live 8 plus SOUND, with a 

new Library and a wealth of useful resources. A 

Adobe 

Audition3 All-in-one toolset for music, radio spots, and 

audio resotration. Integrates audio and video. A 

Soundbooth CS3 

On-clip controls for fast edits and intuitive, taskbased 

tools to clean up recordings, voice-overs,, 

modify sound effects and more. A 

AMS-Neve 

AudioFile SC/X 

96-track recorder/editor, dedicated controller. G 

Apple 

ExpansionPack for GarageBand 

A diverse collection of top-quality instruments 

to fill out your GarageBand library. A 

Final Cut Studio 

Final Cut Pro 6, Motion 3, Soundtrack Pro 2, 

Color, Compressor 3, and DVD Studio Pro 4. B 

GarageBand Jam Packs: 

Loops, samples, and instruments. A 

Logic Express 

Music composition/production software, audio/ 

MIDI tools, software instruments/effects. A 

Logic Pro Sequencing/audio app with a comprehensive 

set of software instruments and plug-ins. A 

Arturia 

CS-80V 1.5 2 new oscillators, new Settings window, Ring 

Modulator improvements on Chorus. A 

Mini Moog V 1.5 

Improvements to the audio engine and strives, 

improved filter and envelope, reshaped Saw- 

Ramp and Triangle waveforms. A 

Moog Modular V 2.0 

New ergonomics, new audio possibilities. A 

Storm 3 New features include choose instruments, 

effects, samples, or other Rewire applications 

from the Resources Browser. A 

BIAS 

BIAS Studio 

Bundle with Peak, Deck, and Vbox. B 

BIAS Studio LE 

Bundle with Peak LE and Deck LE. A 

Deck 3.5 Multi-track DAW for Mac, with mastering tools 

for 5.1 and post-production for audio/video. A 

Deck 3.5 LE Introductory multi-track DAW for Mac OS X. A 

Peak 6 LE Impressively powerful, with all of Peak’s essential 

tools at an affordable price. A 

Peak Pro 6 For Final Cut Pro, iMovie, iDVD, DVD Studio Pro, 

other video or DVD authoring applications. A 

Peak Pro 6 XT 

Stereo audio editor for Mac OS X, bundled with 

Jam 6 and Sound FX Machine LT. B 


SONAR 8 Producer Edition 

Everything you need for recording, composing, 

editing, mixing, and mastering your music. A 


CEDAR Cambridge Film System 

Eight-ch real-time noise suppression system: 

restoring/re-mastering dialogue and M&E. G 

CEDAR Cambridge Forensic System 

Filtering and noise suppression system for 

speech enhancement in audio forensics. G 

CEDAR Cambridge Mastering System 

An 8-channel real-time audio restoration system 

for mastering and re-mastering. G 

CEDAR Cambridge Series III 

8-core CEDAR Cambridge host system: multi-TB 

storage and advanced server capabilities. E 

Celemony 

Melodyne Analyses pitch and time of audio files and 

facilitates changes based on musical criteria. . A 

Cycling 74 

Max/MSP Interactive, visual programming environment for 

real-time audio synthesis/DSP. A 

Max/MSP/Jitter 

Interactive, visual programming environment; 

real-time audio synthesis and DSP; video, matrix, 

and 3D graphics objects. A 

Digidesign 

003 Factory 

FireWire audio/MIDI interface with integrated 

control surface, Pro Tools|LE and plug-ins. C 

003 Rack Factory 

Rackmountable FireWire audio/MIDI interface 

with Pro Tools|LE and extra plug-in bundle. C 

003 Rack+ Factory 

Rackmountable FireWire audio/MIDI interface 

with 8 mic pre-amplifiers and Pro Tools|LE. C 

Avid Mojo SDI 

Video interface for integrating Avid video files 

and sequences with Pro Tools. C 

Digidesign PCIe to PCIe Expansion Chassis 

4U rack with seven available PCIe slots that 

offers an easy and efficient way to expand the 

power of a Pro Tools|HD system. D 

Mbox 2 Compact USB audio interface with MIDI I/O, 

analogue and digital I/O (4x2 simultaneous 

channels), bundled Pro Tools|LE software. A 

Mbox 2 Factory 

Mbox 2 with an additional software plug-in 

bundle and iLok USB smart key. A 

Mbox 2 Micro 

24-bit/48 kHz USB-powered Pro Tools LE with 

headphone /speaker out and volume wheel A 

Mbox 2 Mini 

USB-powered analogue interface (2x2 channels 

of I/O), bundled with Pro Tools|LE software. A 

Mbox 2 Pro 24-bit/96kHz FireWire Pro Tools LE audio/MIDI 

DAW with analogue and digital I/O. B 

Mbox 2 Pro Factory 

Mbox 2 Pro with additional software plug-in 

bundle and iLok USB smart key. B 

Pro Tools|HD 1 

One HD Core card, supporting up to 32 

channels of I/O and up to 96 simultaneous 

audio tracks (Add HD Accel cards to expand). D 

Pro Tools|HD 2 Accel 

Features one HD Core card and one HD Accel 

Process Card with support for 64 I/O channels 

and up to 192 simultaneous audio tracks. E 

Pro Tools|HD 3 Accel 

Features one HD Core card and 2 HD Accel 

Process Cards with support for 96 I/O channels 

and up to 192 simultaneous audio tracks. E 

Fairlight 

CC-1 Engine (Crystal Core) 

An FPGA processor architected into a media 

processing engine on a PCIe card. A single CC-1 

engine can support up to 220 physical audio I/ 

Os in either analogue or digital. X 

FXpansion 

BFD 2 Updated version of the acoustic drum module 

containing 55GB of acoustic drum samples 

recorded at Air Lyndhurst studios. A 

BFD BOMB Orchestral marching band expansion for BFD 

and BFD2. A 

BFD Deluxe 

Expansion for BFD and BFD2. A 

Core Software & Systems DAWs 

BFD Jazz and Funk 

Expansion for BFD and BFD2. A 

BFD Percussion 

Percussion Expansion for BFD and BFD2. A 


Xdubber Film Stem Recorder 

64 floating-point channels of tape-style 

destructive BWAV recording with video sync. . X 

Izotope 

Ozone 4 Complete professional mastering system using 

64-bit analogue modelled processing. A 


Pro Tools M-Powered 8 

For M-Audio interfaces. Elastic Time in v.7.4. A 

Mackie 

Tracktion 3 Audio recording and midi sequencing software 

with plug-in bundle. A 


Luxor Media server storage system for audio and video 

production networks, including push/pull/ 

streaming to Merging/third-party DAWs. E 

Ovation Live Playout media server. Cue audio and video 

media using hot keys or playlists. Trigger MIDI, 

GPI/O, and DMX events. Touch screen control. D 

Pyramix Native V6 

Pyramix V6 software only packages offering 96 

track capability up to 192kHz sample rate for 

broadcast, music, post and mastering. A 

Pyramix VS V6 MassCore 

Recording, editing, mixing system.Config. up to 

256 I/O with software/hardware packages. E 

VCube LE and SE 

Hard disk video record/player for use in film/TV 

audio post-prod: standalone or multi-system, 

multi-streaming centralised video network. D 

VCube SD and HD 

Cost-effective HD video record/players, both SD 

and HD configs for film/TV post-production D 


FastEdit 4.0 

Stereo/Mono Recorder and Editor. Supports 16, 

24 and 32-bit audio up to 96 kHz. A 

MOTU 

Digital Performer 6 

Mac OS X-comp: six new virtual instruments, 

track folders, meter bridge, film scoring. A 

Native Instruments 

Absynth 4 Semi-modular synth combining multiple 

synthesis techniques and granular sampling. A 

Akoustik Piano 

High-quality sample based software piano with 

4 piano models and convolution reverb. A 

Battery 3 Drum and percussion software sampler with 

vast library of high-quality percussion sounds. A 

Elektrik Piano 1.5 

Vintage piano emulation with four models and 

special authentic instrument presets. A 

FM8 Modern FM-synth with easy-access user 

interface and semi-modular effects concept. A 

Komplete 5 

Absynth 4, Massive, Guitar Rig 3, Reaktor 5, B4 

II, FM8, PRO-53, Kontakt 3, Battery 3, Akoustik 

Piano, Elektrik Piano B 

Kontakt 3 Semi-modular software sampler with 

comprehensive library. A 

Kore 2 Software host platform with integrated 

hardware controller and unified browser. A 

Kore Electronic Experience 

Six Kore Soundpacks with electronic sounds A 

Maschine Groove production studio combining hardware 

workflow and software flexibility A 

Massive Next-gen wave-scanning SW synth with 

comprehensive modulation capabilities. A 

Reaktor 5 Real-time synthesis, sampling and effects 

processing modular sound design studio. A 


DAWs Core Software & Systems - Soundcards & I/O SADiE LRX2 

Notion Music 

Notion 2.0 Notation-based composition and performance 

system with samples of the LSO. A 

Progression Notation and tabliture composition solution for 

guitarists. A 

Protégé 2.0 Notation-based composition and performance 

system with samples of the LSO. A 

RSS by Roland 

SONAR PRODUCER REAC PACK 

SONAR Producer Edition & REAC drivers to allow 

recording of up to 40 channels direct from 

M-400, S1608 or S4000 via Cat5. B 

SADiE 

PCM H8 & H16 

A powerful and extremely fast non destructive 

editing system. Configurable for 8 or 16 I/O 

these are rack-mount PC ‘turnkey’ solutions. E 

PCM-H64 Series 

Available from 64 to 128 channel versions, as 4U 

MADI only, or 7U expanded. Options of AES I/O, 

analogue line I/O and Mic I/P. F 

PCM2 USB desktop prod unit for SADiE Series 5. C 

PCM4/8 Fast non destructive editing system. 4 or 8 I/O - 

self contained, 4U PC ‘turnkey solutions. D 

Sonic Core 

SCOPE home v4.5 

Three-chip DSP and I/O system with dedicated 

software and plug-ins, up to 72 ch I/O. B 

SCOPE professional v4.5 

14-chip DSP processing and I/O system 

complete with dedicated software and plug-ins, 

plus more software than the Project Package. B 

SCOPE project v4.5 

Six-chip DSP processing and I/O system 

complete with dedicated software and plug-ins, 

plus more software than the Home Package. B 

scopeFX Six-chip DSP processing and I/O system similar 

to Scope Project without synthesis plug-ins. B 

Sonic Studio 

soundBlade 

Complete pre-mastering: source/destination 

editing/support for recording and plug-ins. C 

Sony 

Acid Pro 7 Audio, MIDI, loop sequencing, and recording. A 

Cinescore Score writing SW, auto music generation. A 

Sound Forge 9.0 

Professional multi-channel audio editor with 

32-bit/192kHz support. A 

Vegas Pro 9.0 

Video editing/DVD authoring, surr.mixing. A 

Steinberg 

Cubase 5 Advanced music production system, Mac 

and PC with new VariAudio, REVerence, VST 

Expression, beat creation tools and more. A 

Cubase iC Free remote controller app for iPhone and iPod 

Touch for Cubase 5 and Cubase Studio 5. A 

Cubase Studio 5 

Offers many Cubase 5 features at an attractive 

price incl. Groove Agent ONE, Beat Designer. A 

Cuibase Essential 5 

Personal music production system streamlined 

for mobile systems and smaller studios.. A 

Groove Agent 3 

Virtual drummer with huge sound library, 

intelligent player technologies. A 

HALion 3 VST sampler with 256 voices, ReWire support, 

disk streaming, wide format support, more. A 

HALion Player 

Ultra-compact HALion 3 technology at a low 

price for newcomers to virtual sampling. A 

HALion Symphonic Orchestra 

Orchestral library w/integrated player, detailed 

content spanning 27GB. A 

Nuendo Next-gen audio/post prod environment for post 

prod, broadcast, studio prod, live recording. C 

36 

The Grand 3 

Ultimate virtual piano suite across 88GB 

with five pianos inc. Steinway, Yamaha, and 

Bösendorfer, optimized VST3 audio engine. A 

WaveLab 6 Audio editing and mastering suite with full 

surround support, DVD-A, Red Book, full FX and 

restoration tools. A 

WaveLab Essential 6 

Personal audio editing system for smaller 

recording environments, and mobile setups. A 

WaveLab Studio 6 

Streamlined workflow combined with many 

WaveLab technologies for project studios. A 

TC Electronic 

PowerCore Compact 

Portable Firewire DSP card with 12 plug-ins. B 

PowerCore Express 

PCI Express-based DSP Processor for PC and Mac 

with 14 included plug-ins. B 

PowerCore FireWire 

PCI-based DSP processor with 14 plug-ins. B 

PowerCore PCI mkII 

PCI-connected DSP card with 14 plug-ins. B 

PowerCore Unplugged 

PCI-based DSP processor for PC and Mac. A 

Virtual Katy 

VK CNA Combines VK conformer with algorhythms for 

conforming using Avid change notes. B 

VK Compare 

Creates its own change plan by comparing a 

‘before’ and ‘after’ version of a project via 2 video 

EDLs, then conforms the session. B 

VK Conformer 

Basic conforming utility which is the ‘engine’ of 

the other products. Useful for simple cut-downs 

of audio based on Cut Lists (single EDL). A 

VK Connect 

Complete audio asset management database. 

Organises projects and versions, includes 

scheduling and project management. C 

VK Premium Collection 

Includes all the functionality of VK’s other 

conforming products, and adds the ability to 

conform using AAF files. C 

Soundcards & I/O 

AMS-Neve 

MIOS Intelligent, routable modular I/O system, 

analogue, AES/EBU (44.1-192kHz with SRC). E 

ART 

USB PhonoPLUS 

USB audio interface. A 


Axia IP-Audio Driver for Windows Multi-Stream 

16-in/out version of IP-Audio Driver, available 

from Axia Delivery System Partners. Works 

directly with playout systems. C 

Axia IP-Audio Driver for Windows Single Stream 

Transfers PC audio directly to the network via 

Ethernet. Single I/O version. A 

Centrance 

AxePort Pro 

USB guitar preamp with headphone out. A 

MicPort Pro 

USB mic pre with phantom power and zero 

latency headphone output. A 

Digidesign 

192 A/D Expansion Card 

8-channel analogue input card for 192 I/O. B 

192 D/A Expansion Card 

8-channel analogue output card for 192 I/O. B 

192 Digital Expansion Card 

8-channel digital I/O card for 192 I/O. B 


192 Digital I/O 

High-def I/O for digital I/O from various sources 

into Pro Tools|HD Accel. C 

192 I/O Flagship I/O for the HD Accel system with up to 

16 channels of I/O (up to 24-bit/192kHz). D 

96 I/O 16-channel interface for Pro Tools|HD (8-channel 

analogue, 8-channel ADAT optical, 2-channel 

AES/EBU and S/PDIF, and word clock I/O). C 

96i I/O Interface for Pro Tools|HD,16 ins, 2 outs (TRS), 

2-ch 24-bit S/PDIF I/O, to 96kHz. C 

PRE 8-channel mic-pre with all common functions 

controllable from within Pro Tools. C 

SYNC HD Sync device for Pro Tools|HD Accel. LTC, VITC, 

Bi-phase, Word, Video Reference, and more. C 

Digigram 

BOB12 2U rackmount breakout box with Neutrik 

XLR, BNC and RCA connections for use with 

VX1222HR and VX1221HR. A 

BOB8 2U breakout box with Neutrik XLR, BNC and RCA 

for use with VX882HR and VX881HR. A 

UAX220 2-channel I/O USB pro audio card. Balanced XLR, 

built-in headphone amp, and driverless USB. A 

UAX220mic 

2-ch I/O USB pro audio card with balanced XLR, 

headphone amp, mic pre, ph. power. A 

VX1221HR High-resolution (24-bit/192kHz) PCI or PCIe pro 

audio card with twelve-channel AES/EBU I/O. C 

VX1222HR 24-bit/192kHz PCI or PCIe pro audio card with 

12-channel XLR and 8-channel AES/EBU I/O. C 

VX222HR 2-channel contact closure I/O. 24-bit/192kHz 

PCI or PCIe with balanced XLR and AES/EBU. A 

VX222HRmic 

2-ch contact closure I/O. 24-bit/192kHz PCI or 

PCIe audio card with XLR and AES/EBU. B 

VX442 4-channel I/O PCI professional audio card with 

balanced XLR and AES/EBU. B 

VX822HR 224-bit/192kHz PCI or PCIe pro audio card 

with 8 balanced XLR and AES/EBU outputs, 2 

balanced XLR and AES/EBU inputs. C 

VX881HR High-resolution (24-bit/192kHz) PCI or PCIe pro 

audio card with 8-channel AES/EBU I/O. C 

VX882HR High resolution (24-bit/192kHz) PCI or PCIe 

professional audio card with 8-channel 

balanced XLR and 8-channel AES/EBU I/O. C 

VXpocket 440 

4-channel I/O (with LTC) PCMCIA pro audio card 

with balanced XLR and S/PDIF. B 

VXpocket v2 

2-channel I/O (with LTC) PCMCIA pro audio card 

with balanced XLR and S/PDIF. A 

Echo 

Gina 24 2 balanced 1/4-inch analogue inputs, 8 

balanced 1/4-inch analogue outputs. A 

Indigo 2 stereo 1/8-inch connectors (duplicating stereo 

output signal).10Hz-22kHz. A 

Indigo DJ 2 independent stereo 1/8-inch analogue 

outputs; high-quality headphone amp. A 

Indigo I/O One stereo 1/8-inch analogue input; one stereo 

1/8-inch analogue output; Supports full duplex 

2-channel I/O; headphone amp. A 

Layla 24 8 balanced 1/4-inch analogue inputs; 8 

balanced 1/4-inch analogue outputs. B 

Mia MIDI 2 balanced 1/4-inch analogue inputs, 2 

balanced 1/4-inch analogue outputs. A 

Edirol 

FA-101 10-channel audio interface. Firewire, 2 mic preamps 

with phantom, S/PDIF, ASIO2. A 

FA-66 Six channel audio interface. Firewire, 2 mic preamps, 

limiter, guitar jack in, S/PDIF, ASIO2. A 

UA-101 10-channel audio interface. USB2, 2 mic preamps 

with phantom, S/PDIF, ASIO2. A 

UA-1EX Audio capture USB cable-interface. 24bit/96kHz, 

phones jack, S/PDIF, ASIO2. A 

UA-25 Audio capture USB recording interface. 2 mic 

pre-amps, limiter, guitar jack in, S/PDIF, ASIO2. A 

UA-4FX Audio capture USB recording interface. 2 mic 

pre-amps, COSM, guitar jack in, S/PDIF, ASIO2. A

Mulit-Track Recorder 

16-track playback and 8-track 

simultaneous recording with 

Secure Digital (SD) memory 

Zoom UK, 15 Weston Barns, 

Hitchin Road, Weston, Hertfordshire, 

SG4 7AX, UNITED KINGDOM 

USB Audio Interface 

High-definition 24-bit/ 96kHz 

recording capability using 

digital audio software 

Surface Controller 

Control each function of your 

favorite DAW software from 

the R16 via USB for easy mixing 

Zoom R16 Recorder:Interface:Controller 

• High-definition 24-bit/48kHz linear PCM recording in WAV format • Built-in stereo condenser microphones • Includes 1GB SD Card and 

supports cards up to 32GB SDHC card • Up to 108 hours 12minutes recording with 16bit/ 44.1kHz linear PCM format • Battery operation for 

remote recording • USB power for studio operation • Mackie control emulation for popular DAW software including Cubase, Live, Logic, Digital 

Performer & More • 8 Mic inputs/ 2 Outputs (8 x 2) • 8 balanced combination XLR 1/4" inputs • Built-in effects on R16 can be used as outboard 

effects as well • 1 Hi-Z input for direct connection of guitar or bass • 48V phantom power on 2 channels • Over 100 built-in effects coming from 

advanced DSP • Connect 2x R16s via USB for synchronized operation and 16 tracks of simultaneous recording capability 

TEL: +44-1462-791100 www.zoom.co.jp FAX: +44-1462-791117 

£429.99 rrp 

Zoom Corporation, 2F, ITOHPIA Iwamotocho 

2-chome Bldg., 2-11-2 Iwamoto-cho, 

Chiyoda-ku, Tokyo 101-0032, JAPAN

DAWs Soundcards & I/O Edirol Cakewalk Sonar V Studio 

UM-1EX One in x one out MIDI cable interface. FPT 

enhanced driver. A 

UM-2EX One in x 2 out MIDI cable interface. FPT 

enhanced driver. A 

UM-3EX One in x three out MIDI interface. OUT/THRU 

select switch, FPT enhanced driver. A 

Focusrite 

Saffire PRO 24 

16-in, 8 out Firewire interface, comprehensive 

control software and ‘loop-back’. A 

Saffire PRO 24 DSP 

16-in, 8 out Firewire interface with DSP 

dynamics reverb and VRM system. A 


20-in, 20-out Firewire interface, comprehensive 

control software and ‘loop-back’ A 


28-in, 28-out Firewire interface with 2 liquid mic 

pres for classic and vintage sounds. B 

Lexicon 

I-ONIX FW810S 

Firewire interface. 8 XLR/TRS combi inputs, 8 TRS 

out. dbx mic pres, dynamics all channels. B 

I-ONIX U22 USB audio interface. 2 inputs with dbx mic 

preamps. Hi-Z instrument input. 2 analogue TRS 

outputs. MIDI I/O. Pantheon II reverb plug-in. A 

I-ONIX U42S 

USB. 4 inputs with dbx mic pres. 2 Hi-Z inst. 

ins. 2 analogue TRS outs. S/PDIF I/O, MIDI I/O. 2 

headphone outs. Pantheon II reverb plug-in. A 

I-ONIX U82S 

USB interface. 8 ins with dbx mic pres. 2 Hi-Z 

inst ins. 2 analogue TRS outs. S/PDIF, MIDI I/O. 2 

headphone outputs. Lexicon reverb plug-in. B 


AES16 16-ch, 24-bit/192kHz, AES/EBU I/O, PCI, digital 

mixer, low-jitter WC, and expansion port. A 

AES16-SRC AES16 with 8 channels of sample rate 

conversion and 2 DB26-to-XLR cables. B 

AES16-XLR AES16 w/2 DB26-to-XLR breakout cables. A 

AES16e 16-ch, 24-bit/192kHz, AES/EBU I/O PCI card with 

zero-latency monitoring, digital mixer, low-jitter 

WC, and expansion port (for Win/Mac OS X). A 

AES16e-50 AES16e with AES50 for up to 48 I/O via Cat5E/6 

cable. 16-ch, 24-bit/192kHz, AES/EBU I/O, 16 ch 

SRC, digital mix, low-jitter WC, expansion port. A 

AES16e-SRC 

16-ch, 24-bit/192kHz, AES/EBU I/O PCI Express 

with 16 channels SRC, zero-latency monitoring, 

digital mix, low-jitter WC, and expansion port. A 

LS-ADAT-INT 

LStream expansion card with 16ch ADAT I/O, 

dual Lightpipe I/O, sample-accurate sync, 

daughter card for L22, LynxTWO, and AES16. A 

LS-AES-INT SPDIF- compatible LStream expansion card. 8 

AES/EBU I/O, 96kHz SRC, and daughter card for 

L22 and LynxTWO, plus cables. A 

Lynx L22 2-ch 196kHz analogue I/O (2-ch 96kHz digital 

I/O AES/EBU, SPDIF with conversion). LStream 

expansion card with word clock and cables. A 

LynxTWO-A 4-in/4-out 196kHz analogue I/O, 2 ch 96kHz 

digital I/O (AES/EBU, SPDIF) with conversion, 

SMPTE, LStream Expansion, and WC. B 

LynxTWO-B Two-in/six-out 196kHz analogue I/O, 2-channel 

96kHz digital I/O (AES/EBU, SPDIF) conversion, 

SMPTE, LStream Expansion; Word Clock. B 

LynxTWO-C 6-in/2-out 196kHz analogue I/O, 2-ch 96kHz 

digital I/O (AES/EBU, SPDIF) with conversion, 

SMPTE, LStream expansion; WC; cables. B 


Delta 1010 24-bit/96kHz PCI slot breakout box with Linux 

drivers (ASIO, EASI, GSIF, and DirectX). A 

Delta 1010 LT 

10x10 24-bit/96khz PCI card with 2 mic preamps, 

SPDIF, and word clock/MIDI I/O. A 

38 

Delta 44 4 analogue I/O, 24-bit/96kHz PCI card with Break 

Out Box included. A 

Delta 66 24-bit/96kHz PCI slot breakout box (ASIO, EASI, 

GSIF, DirectX) and mixing software. A 

Delta Audiophile 192 

24-bit/192kHz 2-in/4-out interface analogue/ 

MIDI/SPDIF. A 

Delta Audiophile 2496 

Stereo analogue/stereo digital 24-bit/96kHz 

card with MIDI interface, ideal for mastering. A 

Fast Track XLR mic/1/4-inch jack guitar in/stereo out, plus 

headphones interface (ASIO). A 

Fast Track Pro 

4x4 I/O, 24-bit /44.1kHz audio interface with S/ 

PDIF coaxial; MIDI I/O. A 

Fast Track Ultra 

USB 2.0 Interface, MX Core DSP, 8x8 24-bit/ 

96kHz audio, 4 pre-amps w/M-Audio Octane. A 

Fast Track Ultra 8R 

High-speed 8x8 USB 2.0 Interface with 8 preamps 

and MX Core DSP, with 24-bit/96kHz 

professional audio on all I/O simultaneously. A 

FireWire Solo 

XLR/guitar input, stereo analogue I/O, SPDIF. A 

MobilePre USB 

16-bit, USB-powered, 2-in/-out all-in-one Mac/ 

PC laptop audio interface. A 

ProFire 2626 

26-in/out FireWire interface, Octane preamps, 

26x26 analogue/digital I/O, DSP mixer. A 

Profire Lightbridge 

24-bit/96kHz 34-in/36-out Firewire lightpipe 

interface with word clock and MIDI I/O. A 

Transit USB 24-bit stereo analogue and digital I/O with 

TOSlink out for AC-3 and DTS pass-through. A 

Metric Halo 

Mobile I/O 2882/2D 

18-in/20-out, 24-bit/96kHz DC bus-powered 

FireWire Interface. 8 ch balanced analogue, 

stereo digital, and Optical I/O. 2D DSP power. C 

Mobile I/O 2882/2D+DSP 

1U 18-in/20-out, 24-bit/96kHz FireWire interface 

with DSP, A/D/A convertors, plus onboard router 

and mixer. Now with 2D DSP power. C 

Mobile I/O ULN-2/2D 

4-in/8-out 24-bit/96kHz DC bus-powered 

FireWire audio I/O with 2 pre-amps, stereo 

digital (AES, SPDIF). With 2D DSP power. B 

Mobile I/O ULN-2/2D+DSP 

1U 4-in/8-out 24-bit/96kHz FireWire interface 

with DSP, A/D/A, router/mixer for studio, 

portable, live. With 2D DSP power. C 

Mobile I/O ULN-8 

8 channel digital audio processor. D 

MindPrint 

T.R.I.O. SPDIF 

Total recording I/O: speaker switching, EQ, mic 

pre, DAW interface, talkback, and more. A 

T.R.I.O. USB USB version of the T.R.I.O. A 

MOTU 

2408mk3 24 I/O channels, expandable to 96 channels, and 

across-the-board software compatibility. A 

24io 24 channels of analogue I/O w/five-segment 

LED bar graphs (exp. to 96 channels of 96kHz). B 

828mk3 Firewire HD recording with built-in mixing: 2 

mic ins, 8 TRS in/out, 16-ch optical I/O, and 

SPDIF I/O. DSP Reverb, compressor and EQ. A 

896mk3 Firewire interface, up to 24-bit/192kHz with 8 

on-board mic pres, 16-ch optical I/O, SPDIF I/O. 

Internal DSP Reverb, compressor and EQ. A 

8pre 16x12 Firewire audio interface for Mac and PC 

with 8 mic inputs, plus an analogue-to-optical 

converter with 8 mic inputs. A 

Express 128 Expandable, bus-powered Mac-/PC, 8I/O USB 

MIDI interface with 128-channel operation. A 


FastLane-USB 

Expandable, bus-powered, 2-in/2-out USB MIDI 

interface with 32-channel operation. A 

HD192 12 ins/outs on balanced XLR conns at 192kHz 

(exp. to 48 chans) w/120dB S/N, plus AES/EBU. B 

micro express 

Mac/PC 4-in/six-out, 96-channel USB MIDI 

interface/patchbay/merger/router with full 

SMPTE read write in all formats. A 

micro lite Mac/PC five-in/five-out, 80-channel operation 

bus-powered USB MIDI half-rack interface. A 

MIDI Express XT 

Mac/PC 8-in/8-out, 128-channel USB MIDI 

interface/patchbay/merger/router with full 

SMPTE read write in all formats. A 

MIDI Timepiece AV 

8-in/8-out, 128-channel operation USB MIDI 

interface with full SMPTE read write in all 

formats, word clock, and video sync. A 

Traveler Bus-powered, highly-portable Firewire interface 

that operates at up to 24-bit/192kHz with 4 

on-board mic pre-amps. A 

UltraLite Bus-powered half-rack Firewire interface with 2 

on-board mic pres, 6 analogue TRS in, ten TRS 

analogue out, SPDIF, MIDI. A 


Audio 4 DJ 4-in/4-out 24-bit/96kHz USB 2.0 audio interface 

with 2 phono inputs. A 

Audio 8 DJ 8-in/8-out 24-bit/96kHz USB 2.0 audio interface 

with 2 phono inputs. A 

Audio Kontrol 1 

2-in/4-out 24-bit/192kHz USB 2.0 audio 

interface with pre-amp and control surface. A 

Guitar Rig Mobile 

Ultra-portable 24-bit/192kHz audio I/O with 

Guitar Rig LE (three amps, 12 effects) A 

Guitar Rig Session 

Compact guitar and bass recording setup 

with audio interface, six amps, and 21 effects A 

Novation 

Nio 2/4 2 in/4-out USB interface, zero latency effects. A 

PreSonus 

Audiobox 2x2 USB bus-powered audio I/O with two mic/ 

inst ins, 2 balanced TRS outs, headphone out, 

MIDI I/O. Inc Steinberg Cubase LE4 & ProPak. X 

Firebox 6x10 FW I/O, 24-bit/96kHz, 2 class A pres, SPDIF 

and MIDI I/O. With Cubase LE4 & ProPak SW. A 

FireStudio 2626 

26x26 FireWire I/O with eight class A mic pres, 

ADAT, SPDIFand MIDI I/O. 36x18 DSP matrix 

mixer software, Cubase LE4 and ProPak suite. B 

FireStudio Project 

10x10 FireWire I/O, 24-bit/96kHz, eight class A 

mic pre-amps, SPDIF, MIDI and Wordclock I/O. 

Bundled with Cubase LE4 & ProPak suite. A 

FireStudio Tube 

16x8 FireWire I/O, 24-bit/96kHz, 16 ins, 8 outs 

(analogue), 2 Tube ‘SuperChannels’. FireControl 

mix SW, Cubase LE4 and ProPak suite. B 

Inspire 4x4 FireWire I/O, 24-bit/96kHz conversion and 2 

class A mic/inst pres with limiters. Line or phono 

ins. Steinberg Cubase LE4 & ProPak suite. A 


ADA-8 XR 8-ch 24-bit/192kHz modular conv/processor 

opt. AES, ProTools Mix/HD, Firewire, DSD I/O. E 

Orpheus 18I/20O Firewire I/O including four mic pres, 2 

instrument, RIAA. Low latency mixing, MIDI, Mac 

or PC. Exceptional quality. D 

RME 

CARDBUS PCMCIA card, for use with Multiface II (8 chan 

analogue and one ADAT I/O) or Digiface 

(threexADAT I/O). A 

ExpressCard 

NEW Express 34 card, for use with Multiface II (8 

chan analogue and one ADAT I/O) or Digiface 

(threexADAT I/O). A

PCM-H Series 

Multi-track recorder and post-production software 

LRX2 PCM2 

RECORD | EDIT | MIX 

Multi-channel location work station Radio production desktop editing system 

A Prism Sound Business 

The near fanatical loyalty of SADiE users is 

testament to the success of a product range that 

provides all the tools needed on location, in a 

mobile truck, recording studio or production office. 

For multi-track editing, mixing, working to picture 

or in CD mastering, SADiE delivers consistent lowlatency, 

bit-accurate, phase-aligned recording and 

playback every time. SADiE has the slickest, fastest 

and most user-friendly interface for editing. Now 

part of the Prism Sound family, SADiE will continue 

developing products with the Prism Sound 

philosophy of focusing on performance, technical 

excellence and customer service. 

21 Pine Street | Rockaway | NJ 07866 | +1 973 983 9577 

The Old School | Stretham | Cambs CB6 3LD | +44 (0)1353 648888 | sales@sadie.com | www.sadie.com

Fireface 400 36-ch rec I/O, FireWire 400 192kHz. B 

Fireface 800 56-channel recording I/O, FireWire 400 and 

2xFireWire 800 ports, 192kHz. B 

HDSP AES-32 

PCI 32-channel AES/EBU I/O system, 24/192. A 

HDSP MADI PCI 128-channel MADI I/O, DSP-powered. B 

HDSP9632 PCI 2 analogue I/Os, headphone output, MIDI, 

SPDIF ADAT I/O, DSP powered 192kHz. A 

HDSP9652 PCI 24-ch I/O ADAT SPDIF DSP-powered. A 

HDSPe AES-32 

NEW PCIe 32-channel AES/EBU I/O system, 

24-bit/192kHz. B 

HDSPe AIO NEW PCIe 24-bit/192 kHz 4 analogue I/Os, 

headphone output, MIDI I/O, SPDIF ADAT I/O.. A 

HDSPe MADI 

NEW PCIe 128-ch MADI I/O, DSP-powered. B 

HDSPe RayDAT 

NEW PCIe 24 bit/96 kHz 4xADAT I/O card, with 

SP/DIF/AES and 2xMIDI. A 

Madiface NEW Express 34 MADI I/O for laptops, 

24-bit/192kHz, 128 chan I/O with In/Out 

breakout box. B 


MADI Xtreme 128 

128-channel PCIe to MADI I/O. B 

MADI Xtreme 64 

64-channel PCIe to MADI I/O. A 

MX4 128-ch MADI digital audio I/O w/ DSP 

processing/multi-client SSL software mixer. C 

Steinberg 

MR816CSX/X 

Advanced Integration FireWire I/O with 8 Class 

A mic pres, DSP, true integrated monitoring, no 

latency recording, Quick Connect, plug&play. B 


US122L Bus-pow. audio/Midi USB I/O, mic line inputs. A 

US144 Bus powered audio/Midi USB I/O with analogue 

and digital I/O. A 

US1641 16-input audio I/O with Midi I/O and 14 

analogue and 2 digital I/O. A 

TC Electronic 

Digital Konnekt X32 

Flexible digital patchbay/format converter, 

16x16 ch I/O, DAW integ, Integrator plug-in. B 

Konnekt 24D 

Audio I/O, Fabrik DSP effects, 14/14 I/O, 2 mic/ 

inst/line, 2 line ins, 4 line outs, 8 ADAT, 2 SPDIF. A 

Konnekt 8 Audio I/O with 2 mic/inst/line, 2 balanced line 

outputs, SPDIF, and a stereo auxiliary input. A 

Konnekt Live 

Audio I/O with built-in Fabrik DSP effects, 14/14 

I/O, 2 mic/inst/line, 2 line inputs, and 4 line 

outputs, 8 ADAT and 2 SPDIF. A 

Terretac 

DMX6Fire USB 

USB I/O with 4-ch In and 6-ch out with phono, 

SPDIF, headphone out, mic, and MIDI I/O. A 

Phase 24FW Firewire audio card with balanced TRS 2-ch-in/4ch-out 

with 24-bit/192kHz, and MIDI I/O. A 

Phase 24XFW 

Firewire audio card, bal XLR 2-ch In, 4-channel 

TRS out with 24/192 support. A 

YELLOWTEC 

PUC2 Pro USB soundcard, stereo, digital and analogue 

audio I/Os. Plug and play, 24-bit /192kHz. A 

Plug-In Effects 

Abaltat 

Abaltat Beat 

Beat calculator for your video plus creates drum 

tracks to match selected beats. A 

40 

DAWs Soundcards & I/O - Plug-in E� ects 

Abaltat Express 2.0 

Software that allows the user compose original 

royalty free music to match video. A 

Abaltat Muse 2.0 

A software application that composes original 

royalty free music to match your video. A 

AMS-Neve 

DFC Dynamics 

Dynamics from DFC film mixing console as a 

plug-in for AudioFile. A 

DFC/Capricorn EQ 

EQs from DFC and Capricorn consoles as a plugin 

for AudioFile. A 

Oxymoron Multi-delay plug-in for AudioFile. A 

Super TimeFlex and Pitch Change 

Time and pitch plug-in for AudioFile. A 

Antares 

Auto-Tune Evo Native 

Automatic and graphical pitch correction. A 

Auto-Tune Evo TDM 

Automatic and graphical pitch correction. A 

AVOX2 Voice modelling software. A 

AVOX2 AT Native 

Bundle of AVOX2 and Auto-Tune 5 Native. A 

AVOX2 AT TDM 

Bundle of AVOX2 and Auto-Tune 5 TDM. A 

Harmony Engine 

Real-time harmony generating plug-in. A 

Arboretum Systems 

Harmony Mac OS 9 

Standalone format pitch correction, pitch 

shifting, and 8-part Harmoniser. A 

HyperEngine-AV Mac OS X 

Multi-media authoring software with unlimited 

video, audio and text tracks. A 

Hyperprism DX PC 

34 effects, including vocoder, formant pitch 

shifter, distortion, tube/tape saturator hyperverb, 

reverbs, and ring modulation. A 

Hyperprism Gold Mac OS X 

44 effects: Hyperprism Silver, plus dispersion, 

inharmoniques, makka-delay, spectral distortion, 

granu delay, and more. A 

Hyperprism SAL Mac OS 9 

44 real-time effects, including bass maximiser, 

echotranz, formant pitch shifter, hyperverb, 

parametric EQ, harmonic exciter, z-morph. A 

Hyperprism Silver Mac OS X 

24 effects: freq. shifter, chorus, flanger, pitch 

changer, reverbs, ring modulation, filters. A 

Hyperprism TDM Mac 

25 effects package for TDM/AudioSuite. A 

Ionizer DX PC 

Real-time noise reduction, 512-band EQ/ 

dynamics, EQ morphing, audio restoration. A 

Ionizer Mac OS 9 

AudioSuite, Premiere, SAL formats real-time 

noise reduction, 512-band EQ, dynamics, EQ 

morphing, and audio restoration. A 

Ray Gun (Mac or PC) 

Noise Zapper programme for removing hum, 

hiss, pops, clicks, and other unwanted audio 

with enhancement module. A 

Restoration-NR PC 

Audio restoration and noise reduction. A 

Audioease 

All In Bundle 

Altiverb 6, Speakerphone 2, Rocket Science, 

Nautilus & Snapper for Mac OS. B-C 

Altiverb 6 Convolution Reverb for Mac OSxand WinXP. A-B 

Cabinet Guitar Tone Finalizer with five legendary 

speakers/cabinets for Mac OSx and WinXP. A 

Nautilus Effects & Synth bundle including RiverRun, 

PeriScope, and Deep Phase Nine for Mac Osx. A 


Prism Orpheus 

Rocket Science 

Effects bundle inc. Rodger, Follo, and Orbit. A 

Snapper Audio clipping and slicing tool. A 

Speakerphone 2 

Authentic speakers and environments FX plugin 

for Mac OSx and WinXP. A 

BIAS 

Mastering Perfection Suite 

Mastering suite of plug-ins: EQ, multiband 

compression, autotune, and audio analysis. A 

Bomb Factory 

BF Classic Compressor Bundle 

Bomb Factory BF-2A, BF-3A, Purple Audio MC77, 

Fairchild 660 and 670 (TDM/RTAS/AudioSuite). A 

BF Cosmonaut Voice 

Special effects include distortion, noise, squelch, 

and even an authentic tone culled from recently 

declassified Russian space footage (RTAS). A 

BF JOEMEEK Bundle 

Inc. JOEMEEK SC2 Photo Optical Compressor, 

VC5 Me equaliser (TDM/RTAS/AudioSuite). A 

BF Moogerfooger Bundle 

Analogue designs from Bob Moog, Bomb 

Factory technology (TDM/RTAS/AudioSuite). A 

BF Pultec Bundle 

Digital equalisers that look, sound, and behave 

like real analogue EQ (TDM/RTAS/AudioSuite). A 

BF Slightly Rude Compressor 

Bomb Factory’s first completely custom 

compressor design (TDM/RTAS/AudioSuite). A 

BF Tel-Ray Variable Delay 

Add an echo to any voice or instrument (TDM/ 

RTAS/AudioSuite). A 

BF Voce Bundle 

Vintage spin and chorus/reverb classic 

simulation effects (TDM/RTAS/AudioSuite). A 

BRAINWORX Germany 

bx_boom! Attenuate or boost the impact of your bass 

drum sound ‚ in a final mix or a complete stereo 

drum-loop. M/S inside. A 

bx_bundle 8 hi-end M/S tools and EQs from Brainworx. 

bx_boom!, bx_control, bx_digital, bx_hybrid, 

bx_solo, bx_dynEQ (TDM, RTAS, VST, AU). B 

bx_control bx_control is a control listening tool and an M/S 

matrix with built-in mono maker & stereo width 

control (TDM, RTAS, VST, AU). A 

bx_digital The original M/S EQ, a modern classic. M/S rec 

and mastering modes (TDM, RTAS, VST, AU). A 

bx_dynEQ A new dynamic EQ that comes in mono, stereo, 

and M/S versions (TDM, RTAS, VST, AU). A 

bx_hybrid Mono and stereo EQs with sophisticated auto 

listen modes and joysticks. 11 bands of EQ. A 

bx_solo / FREEWARE 

Freeware tool with Solo buttons for L/R/M/S and 

a basic stereo spreader (TDM, RTAS, VST, AU). A 

TT Dynamic Range Meter 

Freeware hi-res metering with built-in loudness 

metering. Cooperation with Algorithmix, SPL, 

and Tischmeyer Tech (VST, RTAS, AU). A 


CEDAR for AMS Neve 

De-click, de-crackle, and de-hiss for AMS 

Audiofile SC and SC/X. C 

CEDAR for NOA 

CEDAR restoration processes optimised for 

handling large quantities of audio in NOA 

Audio’s digitising and archiving systems. C 

CEDAR for Pyramix 

A suite of audio restoration processes hosted by 

the Pyramix range of DAWs, inc Retouch v3. C 

CEDAR for SADiE 

A suite of audio restoration processes hosted by 

the SADiE range of DAWs; inc Retouch V3. C

Audioease Speakerphone 2 Plug-in E� ects DAWs 

CEDAR Tools 

A suite of seven restoration processes for Pro 

Tools PC; suitable for use on Pro Tools LE/HD. C 

Chandler 

Abbey Road TG12413 Limiter Plugin 

Authentic emulation of compressor/ limiter from 

the legendary EMI TG12345 mixing console. A 

Cycling 74 

M updated version of the composition program 

originally published in the mid 1980s. A 

Octirama Dynamics plug-in for 5.1 with DSP technology 

that preserves the surround image. A 

Digidesign 

Bruno/Reso Powerful plug-in duo that creatively synthesises 

existing audio in real time (TDM). A 

DINR Intelligent noise reduction plug-in offering 

wide- and narrow-band noise removal with 

graphic interface (TDM/AudioSuite). B 

DINR LE IDINIR for AudioSuite only. A 

Eleven Hyper-realistic guitar amp emulations for Pro 

Tools|HD Accel, Avid, and VENUE systems. B 

Eleven LE Eleven for RTAS and AudioSuite Only. A 

Hybrid Software synth that combines classic analogue 

waveforms with digital wavetables (RTAS). A 

Impact Console-style mix bus compression plug-in with 

4 selectable compression ratios, plus variable 

attack, release, and more (TDM-Accel only). A 

Reel Tape Suite 

Three analogue tape effect plug-ins: Saturation, 

Delay, Flanger (TDM/RTAS/AudioSuite). A 

Reverb One Reverb plug-in with dynamics, chorus section. B 

ReVibe Full-featured mono, stereo, and surround roommodelling 

reverb plug-in (TDM-Accel only). B 

Smack! Pro compressor/limiter plug-in designed for 

musical apps (TDM/RTAS/AudioSuite). A 

Smack! LE Professional compressor/limiter plug-in 

designed for musical apps (RTAS/AudioSuite). A 

SoundReplacer 

Replace or mix an existing audio track with 

new samples; up to three separate samples can 

blend with or replace an original (AudioSuite). A 

Strike Virtual drummer/pro drum module (RTAS). A 

Structure Pro sampler exclusively for Pro Tools, inc, libraries 

from EastWest and A.I.R (RTAS). A 

Synchronic Comprehensive beat and audio manipulation 

tool for DJs, live musicians, and others (RTAS). A 

Transfuser Ultimate groove creator to quickly and easily 

manipulate and perform loop-and-rhythm 

based music on the fly (RTAS). A 

Velvet Powerful instrument plug-in, delivers realistic 

emulations of electric pianos (RTAS). A 

Venue All-Access Pack 

25 plug-ins for live sound (TDM VENUE). E 

X-Form Time-stretching and formant-correct pitchshifting 

plug-in (AudioSuite). A 

Eventide 

E-Control RTAS control plug-in for H7600, Eclipse, and the 

H8000 series. B 

Eventide Anthology II 

Nine plug-ins: H3000 Factory, H3000 Band 

Delays, Reverb, Octavox, H910, H949, Instant 

Phaser, Instant Flanger, and Omnipressor. B 

GRM Tools 

Classic RTAS Bundle 

RTAS bundle inc. band pass, comb filters, delays, 

doppler, freeze, reson, pitch accum, shuffling. A 

Classic TDM Bundle 

TDM bundle inc. band pass, comb filters, delays, 


Classic VST Bundle 

VST bundle inc. band pass, comb filters, delays, 


ST Native Bundle 

RTAS & VST bundle including contrast, equalise, 

freqshift and freqwarmth. A 

ST RTAS Bundle 

Contrast, equalise, freqshift and freqwarmth. A 

ST VST Bundle 

Contrast, equalise, freqshift/warmth. A 

IK Multimedia 

Ampeg SVX 

Ampeg’s signature tones. Bass-rig plug-in with 

multiple amps, cabinets, stomps and tuner. A 

Amplitube 2 

Guitar processing/amp sim. Five modules,14 

pre-amps and EQs, 7 power amps, 16 cabinets, 

six mics, 21 stomp effects, and 11 rack effects. A 

AmpliTube 2 Live 

Guitar amp modelling solution and effects 

powerhouse with accurate models. A 

AmpliTube Fender 

Highly acclaimed guitar modelling package 

entirely dedicated to Fender amps, effects and 

pedal. Officially Fender approved product. A 

AmpliTube Fender Studio 

StealthPlug + AmpliTube Fender LE. Guitar/Bass 

USB Audio I/O Cable + amp and effects A 

AmpliTube Jimi Hendrix 

Software recreation of the complete guitar amp 

and effects rig of Jimi Hendrix. A 

AmplITube Metal 

Guitar amp and fx modelling software entirely 

dedicated to heavy metal gear. Modern/vintage 

amps, cabs, stomp boxes and rack effects. A 

www.merging.com 

Pyramix voted best DAW of the year 

Resolution magazine Awards 2009

DAWs Plug-In E� ects 

AmpliTube X-GEAR 

Shell-host to open, in stand-alone/plug-in mode, 

any current. Powered by AmpliTube product. A 

ARC System Advanced solution to acoustical problems 

for any DAW-based studio. Calibrated mic, 

standalone SW, multi-platform plug-in. A 

CSR: Classik Studio Reverb 

Musical digital reverb processor modelled on a 

classic high-end studio reverb sound. A 

Miroslav Philharmonik 

An orchestra and choir virtual instrument. A 

Miroslav Philharmonik CE 

Full-featured orchestral virtual instrument 

covering solo instruments and ensembles. A 

SampleMoog 

Vintage and modern Moog synths spanning the 

entire Moog history, as a plug-in for most DAWs 

and a standalone PC/Mac application. A 

SampleTank 2.5 L 

Sample workstation with multi-sampled sounds. 

2GB of samples. Three synth engines. A 

SampleTank 2.5 XL 

Includes large array of natural, electric, electronic 

sounds and loops available. A 

SampleTron 

Authentic recreation of Tron sounds such as 

Mellotrons, Chamberlins, Optians and more. A 

Sonik Synth 2 

Over 5,000 sounds and 8.0GB of modern and 

vintage instruments. A 

StealthPedal 

Floor based audio I/O and controller pedal with 

modelling and recording software A 

StealthPedal Deluxe 

Floor based audio I/O and controller pedal. Inc 

full versions of AmpliTube 2 and Ampeg SVX. A 

StealthPlug StealthPlug + AmpliTube 2 Live. Guitar/Bass USB 

Audio I/O Cable + amp and effects modelling. A 

StompIO Advanced USB floor controller and audio I/O for 

guitarists and bassists. A 

T-RackS 3 Deluxe 

Mastering and mixing package inc. 9 processing 

modules, emulations of Pultec/Fairchild gear X 

T-RackS 3 Deluxe Singles packs 

Plug-in modules from T-RackS’ 3 Deluxe pack. X 

T-RackS 3 Standard 

Mastering/mixing with 4 processing modules. X 

Total Studio 2 Bundle 

Collection of plug-ins to record, compose, 

produce, and master. More than 8,000 (21.5GB) 

sounds covering every instrument category. A 

Total Workstation 2 Bundle 

A collection of three virtual instrument 

workstations covering every style of music. A 

Izotope 

Radius Natural time and pitch control for Apple 

Logic Pro. A 

Spectron Manipulate audio in the frequency domain with 

spectral delay, pan and morph. A 

Trash 64-bit modelling of classic amps, distortions, 

delays and filters. A 

McDSP 

4020 Retro EQ 

4-band EQ and filter set. The HF and LF bands 

are shelving EQ, 2 parametric EQs at the HMF 

and LMF bands. Operates on a unique gain 

dependent variable slope/Q system. A 

4030 Retro Compressor 

New dynamic range control topology coupled 

with a wet/dry mix control to balance 

compressed and uncompressed signals. A 

4040 Retro Limiter 

Combines look-ahead brick wall limiter function 

with several subjective treatments to make the 

limiting action subtle, and yet vintage. A 

42 

Analog Channel 

Emulates sounds of high-end analogue tape 

machines, tape, channel amplifiers. A 

Channel G Big board sound with flexibility. B 

Channel G Compact 

Channel G with a smaller DSP footprint. A 

Channel G Surround 

Channel G Surround delivers the big board 

sound with unprecedented flexibility. A 

Chrome Tone 

Custom guitar amps, boutique outboard gear, 

and pedal effects inside your DAW. A 

Classic Pack HD 

McDSP Classic Pack bundle:Analog Channel, 

CompressorBank, FilterBank, and MC2000. B 

CompressorBank 

The sounds of vintage and modern compressors, 

with complete control of dynamic compression 

(TDM/RTAS/AudioSuite, Mac/PC). A 

DE555 New generation of de-essing, providing 

transparent, precise de-essing with unique 

flexibility (TDM/RTAS/AudioSuite, Mac/PC). A 

Emerald Pack HD 

Bundle: Analog Channel, Channel G, Chrome 

Tone, CompressorBank, DE555, FilterBank, 

FutzBox, MC2000, ML4000, NF575, Revolver, 

Synthesiser One (TDM/RTAS/AudioSuite). C 

FilterBank High-end equaliser plug-in designed to emulate 

the sounds of vintage and modern equalisers 

and filters (TDM/RTAS/AudioSuite, Mac/PC). A 

FutzBox Distortion and noise gen plug-in for low fidelity 

audio signals (TDM/RTAS/AudioSuite). A 

Live Pack HD 

Live sound bundle. Channel G Compact, Chrome 

Tone, DE555, FutzBox, MC2000, ML4000 and 

NF575 (TDM/RTAS/AudioSuite, Mac/PC). B 

MC2000 Multi-band compressor designed to emulate the 

sounds of vintage and modern compressors. A 

ML4000 High-resolution limiter and multi-band dynamics 

processor designed for music, mastering, post, 

and live sound (TDM/RTAS/AudioSuite). A 

NF575 High res filter set – remove variety of noise types 

from audio (TDM/RTAS/AudioSuite, Mac/PC). A 

Project Studio LE 

Analogue Channel LE, Chrome Tone LE, 

CompressorBank LE, FilterBank LE, ML4000 LE, 

Revolver LE and Synthesiser One LE. A 

Retro Pack HD 

Vintage style designs bundle. 4020 Retro EQ, 

4030 Retro Compressor, 4040 Retro Limiter. A 

Revolver Convolution reverb. Impulse response control, 

routable EQ, 2 sync-able delay lines, a reverb 

decay crossover network. (RTAS/AudioSuite). A 

Synthesizer One 

Combines wave table and analogue oscillators, 

modular, flexible filtering, dedicated effects. A 

Metric Halo 

ChannelStrip-Native 

Console-style channel strip plug-in for AU, VST, 

MAS, and RTAS. Six-band EQ, gate, compression 

and sample delay, more than 100 presets. A 

ChannelStrip-TDM 

Console-style channel strip plug-in for TDM and 

RTAS with six-band EQ, gate, compression and 

sample delay, plus more than 100 presets. A 

SpectraFoo Complete metering and audio analysis suite, 

optimised for production. A 

SpectraFoo Complete 

Complete metering and audio analysis suite, for 

studio production/live sound applications. A 

MOTU 

Electric Keys Cross-platform virtual instrument that delivers 

authentic sounds of 50 classic, vintage electric 

keyboard instruments from the last 40 years. A 


McDSP ML4000 

Ethno Instrument 

Cross-platform ethnic/world instrument offers 

4GB of instruments, plus 4GB of loops and 

phrases in one easy-to-use window. A 

MachFive 2 Surround-supporting 192kHz cross-platform 

sampler. All major plug-in formats. A 

MX4 Multi-synth plug-in for MAS, AU and RTAS with 

hundreds of presets, flexible and powerful 

modulation, built-in effects, more besides. A 

Symphonic Instrument 

Cross-platform orchestral instrument that 

supports all major plug-in formats with 8GB of 

sounds via an easy-to-use interface. A 


Guitar Rig 3 Complete solution for guitar sound and effects 

processing, including Dynamic Tube Response, 

and Rig Kontrol 3 floorboard. A 

Guitar Rig 3 Software Edition 

Complete guitar amp and effects modulation 

solution with 12 amplifiers and 44 effects. A 

Novation 

Bass station VST and AU virtual analogue bass synth, based 

on the classic Novation Bass Station. A 

V-Station VST, AU, powercore virtual analogue synth. A 

Roger Nichols Digital 

Digital Pro Bundle 

Plug-in bundle. Uniquel-izer, Uniquel-izer LE, 

Finis, Dynam-izer, and Frequal-izer. A 

Serato 

Pitch LE Pitch shifting and time stretching RTAS and Logic 

Pro plug-in for professionals. A 

Pitch Pro Pitch shifting and time stretching Pro Tools plugin 

for professionals. B 


Ursa Major Space Station TDM Plug-In 

Enables Pro Tools users to experience the unique 

effects of the original Space Station. A 

Softube 

Acoustic Feedback 

Screaming guitar feedback simulation. A 

Acoustic Feedback Deluxe 

Screaming guitar feedback simulation, with 

added harmonic selectors. A 

Amp Room Bundle 

Vintage, metal, and bass amp room. A 

Bass Amp Room 

Bass amp sim with D.I. and limiter/comp. A 

Effect Bundle 

Acoustic feedback, tube delay, and spring reverb 

in a bundle. A 

FET Compressor 

Emulation of famous solid state compressor. A 

Metal Amp Room 

Brutal, evil, and aggressive guitar sound. A 

Spring Reverb 

Vintage style spring reverb simulation. A 

Tube Delay Valve pre-amps and digital delay. A 

Vintage Amp Room 

High-end guitar amp simulator. A 


Drumstrip Clarity, punch and power plug-in tools for drums 

and percussion. A 

Duende Mini 

16 channel DSP-powered SSL processing in a 

desktop format. Includes channel plug-in. A 

Duende PCIe 

32 ch of DSP-powered SSL on PCIe card. Inc 

channel and stereo bus compressor plug-ins. A 

LMC-1 Faithful recreation of the Listen Mic Compressor 

from SSL’s ‘E’ Series console (FREE!). A 

Vocalstrip Powerful, versatile, tools crafted to enhance vocal 

performances. A 

X-Comp Frequency dependent compression. A

Sonnox SuprEsser 

X-EQ Mastering grade 10-band parametric EQ. A 

Sonalksis Ltd 

Sonalksis Creative Elements 

Creative and intuitive tools for tweaking and 

experimentation. A 

Sonalksis Essentials 

Compression, EQ and gating plug-ins. A 

Sonalksis Mastering Suite 

Multi-band limiter, maximising limiter, stereo 

imaging and advanced dithering plug-ins. A 

Sonalksis Multiband Dynamics 

Dynamics and frequency based processing - 

multi-band compander and dynamic EQ. A 

Sonic Core 

Dynatube Guitar Amps 

Guitar amplifier and speaker emulations. B 

Mix Master Pack 

Plug-in bundle for Creamware DSP comprising 

Masterverb Pro, OptiMaster, Psy Q, Vinco, Graph 

EQs, Vocodizer, and mixer package. B 

osirisXP Restoration plug-ins for SCOPE. De-clicking, 

de-crackling and de-noising. B 

Synth Sampler Pack 

Plug-in bundle for CreamWare DSP: STS-5000 

Sampler, Minimax, Vectron, SB-404, EDS-16i. B 

Sonnox 

GML Upgrade for Oxford EQ (HD only) 

GML 8200 EQ emulation ‚ optional extra bandtype 

for Oxford R3-EQ. A 

Oxford Dynamics (Pro Tools HD, PowerCore, or native) 

Compressor, limiter, gate, expander, 2-band 

side-chain EQ and warmth control. A 

Oxford EQ (Pro Tools HD, PowerCore, or native) 

Five-band parametric EQ plus high- and lowpass 

filters. A 

Oxford Inflator (Native) 

Creates increased loudness enhancement and 

warmth in real time without overload. A 

Oxford Inflator (Pro Tools HD, PowerCore, or native) 

Creates increased loudness enhancement and 

warmth in real time without overload. A 

Oxford Limiter (Pro Tools HD, PowerCore) 

Stereo programme Limiter with unique enhance 

function and variable noise-shaped dither. A 

Oxford Reverb (Pro Tools HD, PowerCore, or native) 

Highly flexible stereo reverb generator with built 

in five-band EQ. B 

Oxford SuprEsser (Native only) 

Professional de-esser and highly flexible 

dynamic EQ plug-in. A 

Sonnox ELITE (Native) 

Full bundle encompassing the entire range of 

Oxford plug-ins for Native platforms. B 

Sonnox ELITE (Pro Tools HD) 

Full bundle encompassing the entire range of 

Oxford plug-ins for Pro Tools HD. C 

Sonnox Enhance (Pro Tools HD, or Native) 

Bundle of Oxford plug-ins including ‚ inflator, 

transient modulator and Oxford limiter. B 

Sonnox Essential (Pro Tools HD, or Native) 

Bundle of Oxford plug-ins including ‚ EQ, 

Dynamics, reverb and SuprEsser. B 

Sonnox PowerCore Bundle 

Five-plug-in bundle (includes EQ, dynamics, 

inflator, transMod, limiter). B 


Plug-In E� ects DAWs 

Transient Modulator 

Allows transients to be dramatically 

accentuated or softened on individual tracks or 

full mixes. A 

Sound Toys 

Crystallizer Granular echo synth (RTAS, AS and HTDM). A 

Echoboy Echo machine (RTAS, HTDM, AU, VST). A 

Filterfreak Analogue-style one- and 2-band creative 

resonant filter (RTAS, Audiosuite and HTDM). A 

PhaseMistress 

Analogue-style phasing (RTAS, AS, HTDM). A 

Pitch Doctor 

The ultimate high quality pitch correction plugin 

for Pro Tools (PCI/Mix/HD). A 

Pure Pitch High quality vocal pitch shifting available for 

TDM Pro Tools (PCI/Mix/HTDM). A 

Sound Toys TDM 

TDM bundle including all nine soundtoys 

plugins (RTAS, Audiosuite, and HTDM). B 

Sound Toys VST 

Native bundle including EchoBoy, FilterFreak, 

Speed, PhaseMistress, Tremolator, and more. A 

SoundBlender 

Multi-effects for Pro Tools (PCI/Mix/HTDM). A 

Speed OS9 and OSX Audiosuite Mac high quality 

polyphonic tempo and pitch change, exclusive 

vari tempo (PT and 001 compatible). A 

Tremolator Create smooth pulsing rhythms or hard edged 

tremelo (RTAS, Audiosuite, and HTDM). A 

SoundField 

The Surround Zone 

Surround sound post-prod software for Pro 

Tools HD, SADiE Series 5, Nuendo platforms. A 

43

DAWs Plug-in E� ects 

SPL 

Analog Code EQ Rangers Plug-in 

EQ plug-in. A 

Analog Code MicroPlugs 

Single function plug-ins. A 

Analog Code TwinTube plug-in 

Tube effects plug-in. A 

Analog Code Transient Designer 

Dynamic processor plug-in. A 

SRS Labs 

SRS TDM-02 Pro Tools surround encoder/decoder. 6.1 to any 

stereo transmission or storage device. A 

SRS VST-02 Surround encoder and decoder for VST. Up 

to 6.1 encoding to any stereo transmission or 

storage device with real-time monitoring. A 

Synchro Arts Limited 

VocALign Pro V4 

Syncs one audio signal to another. AS Plug-in. A 

VocALign Project 

Syncs one audio signal to another. Stand-alone 

SW interfaces to DP and other DAWs. A 

VocALign Project for Digidesign Pro Tools 

Synchronises one audio signal to another 

automatically. Ideal for dialogue replacement, 

vocal parts and instruments. A 

TC Electronic 

Assimilator EQ-curve matching plug-in. B 

Character Plug-in for sound-enhancement and adding 

character to audio tracks. A 

DVR2 Digital Vintage Reverb 

Vintage reverb algorithm from Reverb 6000. A 

DVR2 for TDM/ProTools 

Vintage reverb algorithm from Reverb 6000. A 

Dynamic EQ 

Combination of EQ and dynamics tool. A 

Fabrik C Channel Strip 

High-resolution channel EQ, De-Esser, and 

Compressor in one single plug-in. A 

Fabrik R Reverb 

4 new TC reverbs in a single plug-in. A 

MD3 for TDM/ProTools 

Mastering multiband dynamics and brickwall 

limiter from 950. B 

MD3 Mastering 

Mastering plug-in with multiband dynamics 

and brickwall limiter. B 

Nonlin2 Stereo Effects Reverb 

Non-linear reverb from Reverb 6000. A 

Nonlin2 Stereo for TDM/ProTools 

Non-linear stereo effects reverb algorithm from 

System 6000. A 

Restoration Suite 2.0 

Descratching, Denoising, Declicking, DeCrackle, 

DeThump. B 

TC Thirty Virtual guitar amp based on VOX Guitar Amp. A 

Tubetech CL 1B (PowerCore or TDM) 

30dB gain, variable ratio, advanced metering, 

flexible attack/release controls. A 

UnWrap (PowerCore or TDM) 

Transparent up-conversion from stereo to 5.1, 

and from LtRt to 5.1. B 

V-Station PowerCore 

Virtual synth based on the Novation synth. A 

Virus PowerCore 

Virtual synth and multi-FX processor from 

Access (Basic version). A 

VSS3 for TDM/ProTools 

Stereo source reverb from Reverb 6000. B 

VSS3 Stereo Source Reverb for PowerCore 

Stereo source reverb from Reverb 6000. A 

44 

TC-Helicon 

Harmony4 for PowerCore 

Intelligent harmony algorithms from VoicePro. A 

Harmony4 for ProTools 

Intelligent harmony algorithms from VoicePro. B 

Intonator HS 

Pitch correction plug-in for PowerCore. A 

Voice Modeler 

Voice modelling plug-in for PowerCore. A 

VoiceDoubler for PowerCore 

Instant unison stacking of a single vocal track 

with up to 4 additional overdub voices . A 

VoiceDoubler for TDM 

Unison stacking of a single vocal track with up 

to 4 additional overdub voices. B 

The Sound Guy, Inc. 

Backwards Machine 

Simulates an ongoing backwards effect in real 

time by reversing and overlapping audio. A 

ReSpatializer 

Panning, surround, and spatialisation plug-in. 

Binaural HRTF effects for headphone mixes. A 

SFX Machine Pro 

Multi-effects plug-in with over 300 presets. 

Includes preset editor, tempo Sync. A 

SFX Machine Pro for RTAS 

As above, in RTAS format for Pro Tools. A 

SFX Machine RT 

Multi-effects plug-in with over 250 effects. 

The Randomize button lets you explore. A 

Trillium Lane Labs 

TL Aggro Vintage analogue FET compression to the Pro 

Tools environment (TDM/RTAS). A 

TL Auto Pan Stereo and surround processing for panning 

effects, graphic metering of output and pan 

position for control of panning effects. A 

TL Drum Rehab 

Tools to enhance or replace drum recordings 

automatically, and in real time (RTAS). A 

TL Everyphase 

Analogue phaser effects from mod and tremolo 

to extreme filtered feedback (TDM/RTAS). A 

TL Space Native 

Convolution reverb for music and post. Mono 

and stereo formats (RTAS/AudioSuite). A 

TL Space TDM 

As above, for TDM. B 


1176LN/SE Fast attack; analogue friendly ‘warmth’, FET gain 

reduction emulation, supports all buttons. A 

Cambridge EQ 

Five band EQ, 17 high/low pass filter types, three 

types Q/resonant shelf, one click switching. A 

Cooper Time Cube 

Unique delay featuring two independent delay 

lines with delay, decay, pan, and volume. A 

DreamVerb 21 selectable room shapes; 48 selectable 

surface materials, seven selectable types of air, 

blend room shapes, sizes, and surface. A 

Fairchild 670 

Modelled after Ocean Way’s famous golden 

unit, sidechain link stereo operation. A 

Helios Type 69 

Passive EQ. High shelf, parametric mid and bass 

peak/shelf EQ. Unique and distinct tone. A 

LA-2A Lag-free, distortion-free, optical attenuator, 

frequency-dependent compression behaviour, 

limit/compress function switch, automation. A 

LA-3A Optical gain reduction, with faster attack and 

release characteristics than LA-2A. A 


TC PowerCore 6000 

Moog Multi-mode Filter 

Sophisticated low/high/bandpass filtering w/ 

self oscillation, saturation, zero artifacts. A 

NEVE 1073 Revered 3-band Wessex A88/8014 EQ, DSP Lite 

hi-instance 1073SE, orig RAF cosmetics. A 

NEVE 1081 Exclusively Neve licensed/UA modelled, 4-band 

8048 console EQ, parametric high/low mid. A 

Neve 33609 Exclusive Neve license/UA modelled. Prog. 

dependent qualities and more. A 

Neve 88RS Four-band parametric EQ with filters. Flexible 

limiter/compressor & expander/gate sections. A 

Plate 140 Highly prized smooth and natural plate sound, 

three unique plates, decay, 2-band EQ. A 

Precision Buss Compressor 

Single-band gain control for busses and inserts. 

Auto release, auto fade, and mix control. A 

Precision De-esser 

Dynamic sibilance processor. Bandpass, 

highpass, and split modes. A 

Precision Enhancer 

Enhancement tool with five modes to ensure 

versatility on a wide range of material. A 

Precision EQ 

Classic filters and control arr.; upsamples to 

192kHz; two sets of frequency ranges per ch. A 

Precision Limiter 

Look-ahead, brick-wall limiter, colourless, no 

upsampling, RMS and peak metering. A 

Precision Maximizer 

Maximises perceived mix volume with minimal 

gain or dynamic range change. A 

Precision Multiband Mastering 

Five bands compression, exp/gate, gain, ratio, 

threshold, attack, release and bandwidth, 

filterbank modes: linear/min phase. A 

Pultec EQ Unique simul low-band boost and cut, 

extreme settings without harshness. A 

Roland Chorus 

Analogue modelling, accurate model of original 

CE-1 and dimension D. A 

Roland RE-201 

Model of original Roland RE-201, tape oscillation 

effects and spring reverb emulation. A 

SPL Transient Designer 

Processes the transients of percussive sources. A 

UAD-1 Flexi Pak 

UAD1 PCI DSP card with 14 UA plug-ins 

(plus $500 plug-in voucher). A 

UAD-1 Project Pak 

UAD1 PCI DSP card with 14 UA plug-ins. A 

UAD-1 Ultra Pak 

UAD1 PCI DSP card with 24 UA plug-ins. B 

UAD-1 Xpander Xpert Pak 

UAD1 Express,14 UA plug-ins, $1000 voucher. B 

UAD-1 Xpander Xpress Pak 

UAD1 Express, 14 UA plug-ins, $500 voucher. B 

UAD-1 Xpander Xtreme Pak 

UAD1 Express with full suite of 32 UA plug-ins. C 

UAD-1e Expert Pak 

UAD1 PCIe, 14 UA plug-ins, $750 voucher. B 

UAD-1e Express Pak 

UAD1 PCIe, 14 UA plug-ins, $100 voucher. A 

UAD-1e Extreme Pak 

UAD1 PCIe DSP card w/32 UA plug-ins. C 

UAD-1e Nevana X2 

Bundle of 2x UAD1 PCIe DSP cards with 

Neve 1073, 1081, 33609 and 88RS plug-ins. C 

UAD-2 Duo PCIe card, x5 the power of original UAD-1. Mix 

Essentials II plug-in, $50 plug-in voucher. B 

UAD-2 Duo Flexi 

PCIe powered plug-ins platform, x5 power of 

UAD-1. Mix Essentials II plug-in, $500 voucher. C

Waves H Comp 

UAD-2 Duo Omni 

PCIe powered plug-ins platform, x5 power of 

UAD-1. Suite of 34 UA plug-ins, $50 voucher. D 

UAD-2 Nevana 128 

PCIe, x10 power of UAD-1. All Neve plug-ins, Mix 

Essentials II plug-in, $100 plug-in voucher. C 


PCIe x2.5 the power of UAD-1. Neve 88RS, Mix 

Essentials II plug-in, $100 plug-in voucher. B 


PCIe, x5 power of UAD-1. All Neve plug-ins, Mix 

Essentials II plug-in, $100 plug-in voucher. C 

UAD-2 Quad 

PCIe, x10 power of UAD-1. With Mix Essentials II 

plug-in suite and $50 plug-in voucher. C 

UAD-2 Quad Flexi 

PCIe DSP card, x10 power of UAD-1. With Mix 

Essentials II plug-in suite, $500 voucher. C 

UAD-2 Quad Omni 

PCIe DSP card, x10 the power of UAD-1. Suite of 

34 UA plug-ins and $50 plug-in voucher. D 

UAD-2 Solo 

PCIe DSP card, x2.5 the power of UAD-1. Mix 

Essentials II plug-in suite,$50 plug-in voucher. A 

UAD-2 Solo Flexi 

PCIe, x2.5 power of UAD-1. Mix Essentials II plugin 

suite, $500 plug-in voucher. B 

UAD-2 Solo Laptop 

ExpressCard plug-in platform: x2.5 power of 

UAD-1. Mix Essentials II plug-in, $50 voucher. A 

VCA VU Emulation of DBX 160 VCA. Threshold, 

compression, output controls, VU meter. A 

Virtuasonic 

COMBSCAPE 

VST effect that features comb-filters, delays, state 

variable filters and stereo panorama. A 

Didj’tizer VST effect plug-in that can emulate the sound of 

a didgeridoo and different types of pipe. A 

SI-1 Spatial processor for stereo image balancing. 

Remix centre and side information. A 

Synaesthesis 

A collection of over 1,000 experimental impulse 

responses for sound design. A 

Wave Arts 

Master Restoration Suite 

Comprehensive set of restoration plug-ins for 

cleaning up tape, vinyl, acoustic recordings. A 

Power Suite 5 

Suite of essential plug-ins covering sound 

design, tracking, mixing, and mastering. A 

Waves 

API Series Bundle 

550A three-band EQ, the 550B 4-band EQ, the 

560 graphic EQ, and the 2500 stereo comp. C 

Broadcast and Production Bundle 

Renaissance Maxx, Masters, and Restoration. B 

Center Processor that separates phantom centre 

content from side (L/R) content. A 

Diamond Bundle 

Platinum, Restoration, Transform bundles. D 

Dorrough Meter Collection 

Pro audio metering plug-in. Precise modelling of 

the hardware Dorrough meters. A 

Gold Bundle 

Virtual outboard rack including mastering, 

tracking, mixing, sound design, and more. B 

Grand Masters 

Set of precision processors: Masters bundle (L2, 

LinEQ, LinMB) plus ten new plug-ins. C 

GTR Solo Guitar Amp modeling software. A 

GTR3 New guitar processing software with ultra high 

end DI box. Huge modelling capability. A 

H-Comp Hybrid Compressor 

Dynamics processor plug-in; modelled 

transformers, tubes, and transistors. A 

Plug-in E� ects - Utilities DAWs 

H-Delay Hybrid Delay 

Effects like filtering, flanging, phasing, to slapback 

echo, ping-pong delay, tempo-sync. A 

IR-1 A convolution reverb with classic controls of 

the key parameters. . B 

L3 and L3.16 Series 

Limiter and multi-band limiter plug ins. B 

Live Over 30 plugs for EQ, reverb, and modulation 

to compression, gating, and limiting. B 

Masters Bundle 

Linear EQ, Linear Multi-band, and L2 

Ultramaximizer. B 

Mercury Bundle 

Diamond bundle plus API, GTR3, V Series, 

IR360, Tune, L3-16. Everything except SSL! E 

Musicians Bundle 

Renaissance Axx and Voxx, Doubler, Meta 

Flanger and SuperTap. A 

Platinum Bundle 

Gold/Masters/Rnss. Maxx bundle processors. C 

Q-Clone New sampling EQ algorithm. B 

Renaissance Maxx 

Seven vintage processors: EQ, Comp, reverb, 

Ren Vox, de-esser, Bass, and Channel. B 

Restoration Bundle 

X-Noise, X-Click, X-Crackle, and X-Hum. C 

Soundshifter 

Parametric, graphic, real time pitch shifting. A 

SSL G Master Bus Compressor, G 292 EQ,E channel 

strip (expander/gate compressor/limiter),with 

the 242 ‘black knob’ EQ & filters. C 

Studio Classic Collection Bundle 

Includes V-Series, SSL 4000 Collection and the 

API Collection. D 

TDM Bundle/Native Power Pack 

L1 Ultramaximizer, Q10-Paragraphic EQ, 

C1-Compr/Gate, S1- Imager, TrueVerb, 

De-Esser, and two-tap SuperTap. A 

Tony Maserati 

Six app-specific audio plug-ins, created in 

collaboration with Tony Maserati. A 

Transform Bundle 

SoundShifter, Morphoder, TransX, Doubler. B 

Tune Pitch transforming. A 

V Series Bundle 

Vintage series; 2254, 1066, 1073 and 108. D 

Vocal Bundle 

Suite of Waves vocal processing tools. B 

Waves 360° Surround Toolkit 

Surround mixing, distance panning, reverb, 

dynamics, calibration, Mixdown. Pro Tools. C 

Z Noise Auto wide band noise remover. A 

Wholegrain Digital Systems LLC 

Quartet DynPEQ 

Four-band dynamic EQ for mastering. B 

Zoom 

Zoom ZFX C5 

Zoom ZFX control plug-in software. A 

Zoom ZFX S2T 

Zoom ZFX Stack plug-in software. A 

zplane.development 

Elastique Pitch Plugin 

High quality real-time pitch shifting plug-in for 

Pro Tools. A 

vielklang Four voiced choirs and brass sections for your 

audio-sequencer. A 

Utilities 

Algorithmix 

Classic PEQ DirectX/VST plug-in, parametric equalisers. B 

easyreNOVAtor 

Modified version of reNOVAtor optimised for 

time-effective workflow. B 

AUDIO MEDIA AUGUST 2009

DAWs Utilities - Controllers & Misc. Hardware 

K-Stereo High resolution VST processor. B 

Linear Phase EQ 

DirectX/VST 10-band linear-phase para EQ. B 

Linear Phase Split Compressor 

Creative dynamic tool. C 

NoiseFree DirectX/VST: removes broadband noise. C 

reNOVAtor High res audio repair processor. D 

ScratchFree 

DirectX/VST; lose clicks, crackles and more. C 

AMS-Neve 

Media Tool Box 

Media trans, file mngmt, network gateway. C 

Audio Core 

Media Magic 

Mac-based file exchange utility (Pro Tools, 

Fairlight, Akai, Tascam, OMF, AES31, more). B 

Sonic Magic 

Mac-based file exchange utility.. B 

Virtual Video Deck 

PC-based, non-linear video for audio post 

system, 9-pin master/slave. B 

BIAS 

Soundsoap 2 

Vinyl and DV noise reduction tool. A 

Soundsoap Pro 

Pro audio restoration software plug-ins. A 

Cycling 74 

Cycles Audio source libraries. CDs available are 

Sustained Encounters, Unnatural Rhythm, 

Incidental Gesture, Momentary Incursions. A 


Dangerous Uniswitch 

Uses RS-232 standard to switch keyboard/video/ 

mouse, HDMI or DVI sources, etc. A 

Digidesign 

Complete Production Toolkit 

Collection of plug-ins, MP3 option, multitrack 

Beat Detective, increased track count, 

Digitranslator 2.0, mixing to 7.1 surr/sound. C 

DigiTranslator v2.0 

Converts OMF/AAF/MXF to/from Pro Tools. A 

DV Toolkit 2 

Post-pro bundle for PT LE: Plug-ins: track count, 

editing/automation/session management. B 

46 

Store in a cool place.. 

www.glyphtech.com 

+49 2157 8702232 

Europe 

MachineControl 

Integration of serial nine-pin protocols for Pro 

Tools that also offers track-arming. B 

Music Production Toolkit 

Pro Tools LE/M-Power. Plug-ins, MP3 option, 

multi track Beat Detective, upped track count. A 

Genelec 

GLM + MIC Genelec loudspeaker manager software with 

measurement mic for setting up Genelec 

8200/7200 range of DSP systems. A 

GLM.SE + MIC 

Genelec loudspeaker manager for small 

environments software w/measurement mic. A 

Izotope 

pHATmatik PRO 

Make and manipulate loops individually by 

applying filter, pitch and volume modulation. A 

RX Restoration suite feat. hum removal, declipper, 

denoiser, declicker, spectral repair. A 


AudioTools AWE Audio Workflow Engine 

Auto processing environment for audio tasks. B 

AudioTools AWE Dolby Digital Plug-in Encoder 

Plug-in for AWE with Minnetonka Audio 

SurCode for Dolby Digital Encoder. A 

AudioTools AWE MasterBundle 

Plug in for AWE with Minnetonka Audio 

TimeStretch and PitchShift, and more. A 

AudioTools AWE Server Audio Workflow Engine Server 

Multi-machine/muti-processor server for 

multiple seat AWE installation. C 

Ms Pinky 

I.W.S. Set Programmable digital DJ vinyl inc. software. A 

mSoft Inc. 

mSoft MusicCue 

Hard-disk music search system for music library 

users with licensed libraries pre-loaded. X 

Neyrinck 

Mix 51 5.1 surround panner and mixer for PT LE. A 

SoundCode For Dolby Digital 

Pro Tools AC3 encode/decode plug-in A 

SoundCode For Dolby E 

Dolby E encode/decode Pro Tools plug-in and 

standalone application. C 

two years free data recovery 

Accidental deletion, data corruption, or hard drive failure can happen. How 

will the manufacturer help you? Most drive vendors simply re-format returned 

drives. Glyph takes the opposite approach with your data: we make every effort 

to keep it safe. Using hardware and software tools, we’ll do our best to 

recover data on your Glyph drive, and move it to a replacement drive, 

FOR FREE, in the first two years of warranty - It’s our policy, 

that’s what we do. 


Fairlight Xynergi 

SoundCode For DTS 

Pro Tools Pro DTS encode/decode plug-in. A 

SoundCode Stereo LtRt 

Pro Logic II and Pro Logic I compatible surround 

encoding downmixer plug-in for Pro Tools. A 

V-Mon Surround monitoring controller and SW (PT). D 

Novation 

Automap 3PRO 

Expanded version of Automap. A 


Pro Convert 

Audio project translation software. A 

Controllers & Misc. 

Hardware 

Allen & Heath 

Xone:1D MIDI USB controller for leading DJ software. A 

Xone:2D Four stereo channel USB soundcard and MIDI 

controller that connects to existing analogue 

mixers to integrate leading DJ software. B 

Xone:4D High performance DJ mixer, multi-channel USB 

soundcard, and MIDI control surface. C 


Dangerous 2-Bus 

2U 16x2 summing amp, stepped o/p, mono/ 

stereo pairs, +6 dB gain switches on each pair. C 

Dangerous 2-Bus LT 

1U 16x2 analogue summing amplifier with 

output level control and mono/stereo pairs. B 

Digidesign 

C|24 24-channel control surface for direct hands-on 

control of Pro Tools mixing, rec, and editing. 

Analogue inputs, and 5.1 monitor section. E 

Command|8 

USB-based control surface for Pro Tools HD and 

LE with eight touch sensitive faders and eight 

automatable rotary encoders. B 

Edirol 

PC-50 49-keys USB/MIDI controller. A 

PCR-300 32-keys, 50 assignable controls (USB/MIDI). A 



PCR-M1 Ultra-thin 25-key, 25 controllers (USB/MIDI). A 

“can you recover my data?” 

Choosing a storage system is not only 

about speed and capacity... it’s about the 

support you’ll get when you need it most.

Tascam FW 1082 

Eowave 

Eobody 2 USB Sensorbox 

USB interface. Use sensors with sequencer. A 

Euphonix 

MC Media Application Controller 

Controls Music ‚ Pro Tools, Nuendo, etc. E 

The Artist Series MC Control 

Studio controller: editing/mixing. Customisable 

touchscreen and ergonomic controls. B 

The Artist Series MC Mix 

Control and power of Euphonix’s pro consoles 

in a personal studio mixer with DAW control. B 

The Artist Series MC Transport 

Personal video controller: navigation/editing of 

media apps, especially Final Cut Pro. A 

Fairlight 

Xynergi Media Production Centre 

Digital DAW interface. All media processing tools 

needed for audio for video production. X 

Frontier Design 

Alpha Track USB, single-fader controller and transport. A 

Tranzport Infrared remote transport control. A 

JazzMutant 

Dexter Multi-touch control surface for DAWs. C 

Lemur Modular control surface for audio and media. C 

Korg 

microKONTYROL 

37 Keys , four-way Joystick (with switch), 16 pads 

(velocity or fixed value) eight rotary. A 

nanoKERY USB MIDI 25 note keyboard, laptop type keys, 

velocity sens, oct, pitch, mod switches. A 

Distribution in the UK by EDIROL (Europe) Ltd. 

Studio Demo facility by appointment only at Power Road Studios, London W4 

Tel. 020 8747 5949 www.edirol.co.uk www.sonarvstudio.com 

nanoKONTROL 

USB MIDI controller, nine-channel w/rotory, 

slide/two buttons per ch. Transport controls. A 

nanoPAD USB MIDI controller, 12 touch response pads 

with X/Y pad, roll/flam function, 4 scene. A 

padKONTROL 

USB MIDI controller with 16 velocity sensity 

pads, X-Y pad, two rotory controllers. A 


ProjectMix IO 

Control: motorised faders,18x14 interface. B 

Mackie 

Mackie Control Extender Pro 

eight-fader expandsion for Mackie Control 

Universal Pro control surface. B 

Mackie Control Universal Pro 

Production software control surface. B 


Isis Tactile surface for Pyramix editing, recording and 

mixing functions; connects via Ethernet. C 

Ramses MSC 

Pyramix integrated console control surface. D 

Novation 

25SL MkII Two octave midi controller w/Automap. A 

49SL MkII Four octave midi controller w/Automap. A 

61SL MkII Five octave midi controller w/Automap. A 

Nocturn Intelligent plug-in controller w/Automap. A 

RMT 25 SL Compact 

Two octave midi controller w/Automap. A 

RMT 49 SL Compact 

Four octave midi controller w/Automap. A 

X Station 25 Two octave synth, Audio USB MIDI controller, 

The ultimate solution for 

music production 

Controllers & Misc. Hardware DAWs 

and effects processor. A 

X Station 49 Four octave synth, Audio USB MIDI controller, 


X Station 61 Five octave synth, Audio USB MIDI controller, 


Xio 25 Two octave synth, USB MIDI cntrl.keyboard. A 

Xio 49 Four octave synth, USB MIDI cntrl. keyboard. A 

ZeRO SL MkII 

Keyless midi controller feat. Automap. A 

PreSonus 

FaderPort DAW USB automation and transport controller. 

100mm motorised fader. A 

V-Fire Converts Roland’s R-BUS into FireWire. A 

Smart AV 

Tango DAW controller. Pyramix, Protools, Nuendo, 

Cubase, Logic, 8, 20, 32 fader configs. X 

Steinberg 

CC121 Advanced integration controller for Cubase/ 

Nuendo with one 100mm touch sensitive fader, 

assignable controls, AI Knob and more. A 

Nuendo SyncStation 

Dedicated synchroniser hardwar. D 

Symetrix 

Lucid GENx192 Studio Master Clock. 

Ultra low jitter studio master clock. Apps: studio, 

broadcast, post-production, live sound. C 


FW 1884 Audio/Midi interface/mixer with DAW control. 

Analogue and digital I/O + 4 Midi I/O. B 

FW-1082 Audio/Midi interface with DAW controller. B 

M-164 16 channel analogue mixer. A 

M-164FX 16 channel analogue mixer with FX. A 

Introducing the next generation V-Studio, the SONAR V-Studio 700 provides the ultimate 

solution for creative music production through a complete offering of fi nely-tuned and 

tightly-integrated hardware and software. 

Roland and Cakewalk, two music technology leaders, have combined the best of their 

engineering talent to address the growing needs of modern music professionals. 

SONAR V-Studio 700 offers the modern music producer a variety of unique features, 

professional quality components and unparalleled support that will transform the way 

you work. 

The SONAR V-Studio 700 puts you in control. 

It’s your music after all. 

UK Authorised Resellers: 

Digital Village 

dv247.com 

Dolphin Music 

dolphinmusic.com 

Red Dog Music 

reddogmusic.co.uk 

Stage Electrics 

stage-electrics.co.uk 


Microphones Powered, Wired, Single-Channel 

Powered, Wired, Single-Channel 

ADK Microphones 

A-51 LD Class A FET Condenser Microphone. A 

A-51TC LD Cardioid Class A Valve (Tube). B 

A6 LD Class A FET Condenser Microphone. A 

CS-1 Hand-Made in USA 9-Polar Valve (Tube). B 

Hamburg II-AU 

Hand-Made in USA Class A Cardioid FET. B 

S-51 LD Class A FET with Pad and High-Pass. A 

S-7 LD Class A FET Super-HIGH SPL Mic. A 

S-7B LD Super-HIGH SPL ‚ Mellow Version. A 

S-7C LD Super-HIGH SPL ‚ Brilliant Version. A 

TC-AU TC‚ Upgraded Aussie-Design Capsule. B 

TT LD 9 Polar-Pattern Class A Valve (Tube). B 

TT-AU TT- Upgraded Aussie-Design Capsule. B 

Vienna II-AU 

Hand-Made in USA Class A Cardioid FET. B 

AEA‚ Audio Engineering Associates 

AEA A440 High performance phantom powered ribbon 

microphone in the 44 tradition. D 

AEA R44C High performance ribbon mic in 44 tradition. X 

AEA R84 Big Ribbon multi-purpose microphone. B 

AEA R92 Big ribbon instrument mic ‚ ideal for guitar. A 

Aevox Audio 

Aevox Audio Stetho 

Electret condenser stethoscope mic. A 

AKG 

C 1000 S Small diaphragm condenser mic. Polar pattern 

converter changes response between cardioid 

and hypercardioid. Presence boost adaptor adds 

3-5dB high frequency enhancement. A 

C 12 VR Replica of the original C 12, from the capsule 

sound to the original 6072A vacuum tube. Nine 

remotely selectable polar patterns. D 

C 2000 B Fixed cardioid polar pattern for many apps. High 

SPL capability. Smooth frequency response. A 

C 214 AKG ’s legendary one-inch edge-terminated 

large diaphragm sound. Outstanding dynamic 

range. Rugged double mesh grille. A 

C 3000 Updated version of popular C3000B. Fixed 

cardioid polar pattern. High SPL capability. 

Switchable 10dB attenuation pad. A 

C 4000 B Multi-pattern large diaphragm condenser 

mic. High SPL capability. Switchable 10dB 

attenuation pad. Switchable bass cut filter. A 

C 414B XLII Classic mic, distinctive timbre, rec solo vocals/ 

instruments. Three switchable bass cut filters, 

three attenuation pads. Five polar patterns. B 

C 414B XLS Reference-quality mic especially for accurate, 

beautifully-detailed pickup of any acoustic 

instrument. Five switchable polar patterns. B 

C 4500 B-BC 

End-address large diaphragm condenser for 

broadcast work. A 

C 451 B Integrated cardioid condenser. Same acoustic 

performance as the popular original C451EB + 

CK1 but with improved specifications. A 

C 5 Handheld condenser mic. Cardioid polar pattern 

gives maximum gain before feedback. Dentresistant 

steel grille and zinc-alloy housing. A 

C 516 M Cardioid instrument mic w/mounting bracket. 

Ideal for piano, guitar, keyboard amps. A 

C 518 M Clamp-on miniature condenser mic, ideal for 

drums and percussion. Adj. vice clamp fixes mic 

securely to instruments. A 

C 519 M Miniature condenser mic for wind instruments 

and percussion. Cardioid pattern reduces spill. 

Clips on the to the bell of any instrument. A 

C 577 WR V.small omni-directional lavalier mic. Dualdiaphragm 

protects transducer from moisture 

and phase cancels mechanical/cable noise. A 

Perception 820 Tube 

Dual one-inch large diaphragms, true 

condenser. ECC83 dual-triode tube circuitry. R/C 

unit allows selection of nine pickup patterns. B 

48 

Audio-Technica 

AT2010 20 Series cardioid condenser handheld mic. A 

AT2020 20 Series cardioid condenser mic. A 

AT2020USB 

20 Series USB cardioid condenser micr. A 

AT2035 20 Series cardioid condenser microphone. A 

AT2050 Multi-pattern condenser microphone. A 

MB/DK5 Midnight Blues 5 microphones drum pack. A 

MB/DK7 Midnight Blues 7 microphones drum pack. A 

MB4K Cardioid condenser studio microphone. A 

AE2500 Dual-element cardioid microphone. B 

AE3000 Side-fire cardioid condenser microphone. A 

AE3300 Cardioid condenser mic, 80Hz HPF switch and 

10dB pad. A 

AE5100 End-fire cardioid condenser microphone. A 

AE5400 Large diaphragm true condenser microphone 

with 80Hz HPF switch and 10dB pad. A 

AT4021 Cardioid condenser microphone. A 

AT4022 Omnidirectional condenser microphone. A 

AT4033aSM 

Cardioid condenser mic with shock mount. A 

AT4040 Cardioid condenser mic with shock mount. A 

AT4040SC Cardioid condenser mic with stand clamp. A 

AT4041 Pressure gradient capacitor microphone with 

transformerless circuitry. A 

AT4047SVSC 

Cardioid condenser w/AT8430 stand clamp. B 

AT4047SVSM 

Pure studio capacitor microphone designed for 

professional recording with AT8449SV. B 

AT4049B Modular omni-directional condenser mic. A 

AT4050/SC Multi-pattern studio mic with stand clamp. B 

AT4050/SM Multi-pattern studio mic with shockmount. B 

AT4051B Modular cardioid condenser microphone. A 

AT4053B Modular hypercardioid condenser mic. A 

AT8015 460mm-long line and gradient mic. A 

AT8035 369mm line & gradient condenser mic. A 

AT829CW Cardioid condenser lavalier mic, HRS plug. A 

AT831AW Cardioid condenser mic, HRS plug. A 

AT831R Miniature phantom cardioid condenser mic. A 

AT875R 178mm line & gradient condenser mic. A 

AT889CW Sub-miniature omnidirectional condenser 

microphone terminated with an HRS plug. A 

AT891R UniPlate plate mic with press-to-talk switch. A 

AT892C Omni-directional condenser headworn mic 

with 2.5mm capsule size and bare end cable. A 

AT892C-TH Beige omni-directional condenser headworn 

mic, 2.5mm capsule size and bare end cable. A 

AT892CW Omni-directional condenser headworn mic 

2.5mm capsule size, terminated with an HRS. A 

AT892CW-TH 

Beige omni-directional condenser headworn 

mic w/2.5mm capsule, terminated with HRS. A 

AT897 279mm short shotgun microphone. A 

AT898 Subminiature cardioid condenser mic. A 

AT898c Unterminated version of AT898. A 

AT899 Subminiature omni-dir condenser mic. A 

AT899c Unterminated subminiature omni-directional 

condenser microphone. A 

AT899c-TH Ivory-finished, unterminated subminiature 

omni-directional condenser microphone. A 

ATM250 Hypercardioid dynamic instrument mic. A 

ATM250DE Dual-element instrument microphone. A 

ATM350 Cardioid condenser clip-on microphone. A 

ATM410 Cardioid dynamic vocal microphone. A 

ATM450 Cardioid condenser instrument microphone. A 

ATM610 Hypercardioid dynamic vocal microphone. A 

ATM650 Hypercardioid dynamic instrument mic A 

ATM710 High-fidelity handheld condenser mic. A 

ATM73a Cardioid condenser headworn microphone. A 

ATM73ac Same as ATM73a but unterminated. A 

ATM73CW Discreet condenser headband mount 

microphone, terminated with an HRS plug. A 


Audio Technica 4022 

ATM75 Cardioid condenser headworn microphone. A 

ATM75 Condenser headband mount mic w/pre-amp. A 

ATM75c Same as ATM75. A 

ATR35S Sub-miniature lavalier mic, battery pack. A 

ATR55 Condenser microphone offering a telescopic 

choice of pick-up patterns. A 

ATR97 Low-profile omnidirectional boundary mic. A 

ES915/C Cardioid condenser with XLR mount (including 

XLR-to-AM adaptor) and double gooseneck. A 

ES915/H Hypercardioid condenser with XLR mount 

(including XLR-to-AM adaptor) and double 

gooseneck with adjustable length. A 

ES915/ML Microline condenser with XLR mount (including 

XLR-to-AM adaptor) and double gooseneck. A 

ES915/O Omni-directional condenser with XLR mount 

(including XLR-to-AM adaptor) and double 

gooseneck with adjustable length. A 

ES917S/C Fixed length (443mm) cardioid condenser with 

XLR mount (including XLR-to-AM adaptor), 

mute switch/LED, and double gooseneck. A 

ES917S/H Fixed length (443mm) hypercardioid condenser 

with XLR mount (including XLR-to-AM adaptor), 


ES917S/ML Fixed length (562mm) microline condenser 

with XLR mount (including XLR-to-AM adaptor), 


ES917S/O Fixed length (443mm) omnidirectional 

condenser, XLR mount (including XLR-to-AM), 


ES933/H Miniature hypercardioid condenser mic. A 

ES933/ML Miniature microline condenser hanging mic. A 

ES933/O Miniature omnidirectional condenser mic. A 

ES935/C Fixed length (191mm) cardioid condenser with 

XLR mount (including XLR-to-AM adaptor). A 

ES935/H Fixed length (191mm) hypercardioid condenser 

with XLR mount (and XLR-to-AM adaptor). A 

ES935/ML Fixed length (310mm) microline condenser with 


ES935/O Fixed length (191mm) omni condenser with 


ES935S/C Fixed length (191mm) omnidirectional 

condenser with XLR mount (including XLR-to- 

AM adaptor) and mute switch/LED. A 

ES935S/H Fixed length (191mm) hypercardioid condenser 

with XLR mount and mute switch/LED. A 

ES935S/ML Fixed length (310mm) microline condenser with 

XLR mount and mute switch/LED. A 

ES935S/O Fixed length (191mm) omnidirectional 

condenser with XLR mount (including XLR-to- 

AM adaptor) and mute switch/LED. A 

ES943/C Cardioid condenser clip-on microphone. A 

ES943/O Omni-directional condenser clip-on mic. A 

ES945 Omni-directional condenser microphone for 

fixed mounting on ceiling, wall, or table. A 

ES945W White-finished omnidirectional condenser mic 

for fixed mounting on ceiling, wall or table. A 

ES947 Cardioid condenser mic for fixed mounting. A 

ES947W White-finished cardioid condenser microphone 

for fixed mounting on ceiling, wall, or table. A 

ES961 Cardioid condenser microphone. A 

ES961P Cardioid condenser mic with 1/4-inch plug. A 

ES961W White-finished cardioid condenser mic. A 

MT838B Miniature condenser mic with free end cable. A 

MT838CW Miniature condenser mic, HRS plug. A 

PRO24 Stereo condenser microphone. A 

PRO24CM Stereo condenser microphone. A 

PRO35 Miniature clip-on microphone. A 

PRO35XCW Miniature clip-on mic with an HRS plug. A 

PRO37 Small-diaphragm cardioid condenser mic. A 

PRO47T Threaded double-gooseneck condenser. A 

PRO47TL 408mm-long PRO47T. A 

PRO49Q 332mm dbl-gooseneck mini condenser mic. A 

PRO49QL 418mm-long PRO49Q. A 

PRO7 Mini electret condenser mic for clip-on apps. A 

U841A OmniPlate condenser plate microphone. A 

U841AW Omni-directional boundary layer microphone 

terminated with an HRS plug (RFI immune). A

Blue Bottle Rcket Stage One 

U851A UniPlate unidirectional condenser plate 

microphone (RFI immune). A 

U851CW Cardioid boundary layer microphone terminated 

with an HRS plug (RFI immune). A 

U853A Miniature cardioid condenser microphone. A 

U853R Phantom-only U853A (RFI immune). A 

U853RW White-finished U853A (RFI immune). A 

U857AL 420mm-long cardioid condenser adaptermount 

gooseneck (RFI immune). A 

U857Q 365mm-long quick-mount cardioid condenser 

gooseneck microphone (RFI immune). A 

U857QU 487mm-long uniline condenser quick-mount 

gooseneck (RFI immune). A 

U859QL 480mm-long quick-mount gooseneck 

condenser microphone. A 

Audix 

AX-ADX10 Miniature cardioid lavalier with 3-ft cable, 3-pin 

mini-XLRf. Black. A 

AX-ADX10FL 

Mini-instrument cardioid mic with shock 

absorbent clip designed specifically for flute. A 

AX-ADX20I High level instrument clip on mic. A 

AX-ADX212 

Quality cardioid/hyper cardioid 12-inch 

gooseneck, XLR, electronics in base. A 

AX-ADX218 

Same as ADX112 with 18-inch gooseneck. A 

AX-ADX40 High level hanging choir mic with 30ft cable, 

black or white, cardioid, or hyper cardioid. A 

AX-ADX5 Micro omnidirectional lavalier with 3’ cable, 

3-pin mini-XLRf. Black. A 

AX-ADX51 Cardioid 40Hz-18kHz. Switchable 10dB pad & 

150Hz bass roll off. A 

AX-ADX60 Boundary plate microphone with high quality 

cardioid capsule, inc. APS910 PSU. A 

AX-CX112 Large diaphragm condenser mic with 10dB pad, 

roll-off and flight case. A 

AX-CX112MP 

Matched pair of CX112. B 

AX-CX212 Large dual diaphragm condenser mic, cardioid, 

omni, fig-of-eight, bass roll-off, shock mount. A 

AX-CX212MP 

Matched pair of CX212. B 

AX-HT2 Headset, super cardioid, 48v. 3-pin mini XLR. A 

AX-HT5 Headset, Hyper cardioid, 48v.Terminates in 3-pin 

mini XLR, in black or beige. A 

AX-M1244 Micro size condenser, cardioid/hyper cardioid 

capsule, 45mm long, hi SPL version. A 

AX-M1250 Micro size condenser with cardioid, hyper, omni, 

shotgun capsule, 90mm, integrated preamp. A 

AX-M1255 Micro size condenser, cardioid, hyper, omni, 

shotgun capsule, 55mm, integ. preamp. A 

AX-M1280 Micro size condenser with cardioid, hyper, omni, 

shotgun capsule, 90mm, integrated preamp. A 

AX-MB1250 

50-inch carbonfibre boom with M1250 

microphone with integrated preamp. A 

AX-MB1280 

50-inch carbonfibre boom with M1280 

microphone with integrated preamp. A 

AX-MICROD 

Miniature instrument mic: drums/percussion. A 

AX-SCX1 Cardioid, Omni, or Hypercardioid condenser, 

48-52 volt phantom power. A 

AX-SCX1/MP 

Matched pair of SCX1. B 

AX-SCX25 1U studio condenser with isolated shock mount 

capsule design. B 

AX-SCX25MP 

Matched pair of SCX25, ±1dB (20Hz-20kHz). C 

AdWarranty(AudioMedia 186x129mm).qxd:Mise en page 1 25/06/09 16:25 Page 1 


Powered, Wired, Single-Channel Microphones 

AX-SCX25PS 

Piano recording pack, as above with 2x Dflex 

clamps and 2x 20ft cables in aluminium case. C 

AX-TR40 Test and recording mic. omni capsule, 20-20k. A 

AX-TR40MP Test and recording mic. omni capsule, 20-20k. 

Matched pair. A 

AX-UEM81C 

Lo Z, cardioid mic: instrument/group vocal. A 

AX-UEM81S 

Shotgun Set. As above, w/shotgun capsule. A 

AX-USB12 USB podium mic with 12-inch gooseneck. A 

AX-VX10 Condenser vocal mic: live stage/broadcast. A 

AX-VX5 Condenser vocal mic: live stage/broadcast. A 

Avantone 

AV-CK1 Condenser pencil mic, cardioid, omni, hyper 

cardioid caps, shock mount, wooden mic box. A 

AV-CK6 Condenser FET mic, inc. shock mount, wooden 

mic box and metal case. A 

AV-CK7 Condenser multi-pattern FET mic, inc shock 

mount, wooden mic box and metal case. A 

AV-CR14 Dual ribbon mic, inc shock mount, wooden mic 

box and metal carry case. A 

AV-CV12 Tube condenser mic, inc. shock mount, wooden 

mic box, PSU and metal carry case. A 

AV-CV28 Tube condenser mic: cardioid, omni, hypercardioid 

caps. Inc. wood mic box, PSU, case. A 

Berliner Microphones 

U77 Hand crafted, large diaphragm high end classic 

tube mic with three polar patterns. Germanmade 

M7 capsule. C 

beyerdynamic 

CK 930 Cardioid condenser mic with remote preamplifier, 

15dB pad, roll-off filter (6dB at 250 Hz), 

40Hz to 20kHz response. A 

Nothing lasts forever 

...or does it? 

Audio-Technica is so proud of their Artist Elite, Artist Series and 

40 Series ranges of microphones that they now come with a 

comprehensive Lifetime Warranty*. 

We may not be able to give you any guarantees when it comes to 

your love life, but why not start a lifelong relationship with some of 

the world’s best loved microphones instead. 

*Terms and conditions apply. 

Visit www.audio-technica.com/warranty for full details. 

www.audio-technica.com 

49

Microphones Powered, Wired, Single-Channel Brauner Phanthera 

CK 950 Supercardioid condenser mic, remote pre-amp, 

15dB pad, roll-off filter, 40Hz to 20kHz resp. A 

MC 834 Large-diaphragm, condenser mic (cardioid), 

switchable pre-attenuation and roll-off-filter, 

internal pop filter, 150dB SPL, 20Hz, to 20kHz. B 

MC 836/MC 837 

Lobe/cardioid (MC 836) and cardioid (MC 837) 

shotgun-style condenser mics with bass roll-off 

and integrated footfall insulation. B 

MC 840 Large-diaphragm condenser mic, five switchable 

patterns, gold vaporised double membrane, 

10/20dB pad; bass roll-off. B 

MC 910 Omni-directional pattern mic with condenser 

element, 15dB pad, bass roll-off filter (250Hz), 

30Hz to 20kHz frequency response. A 

MC 930 Cardioid pattern mic with condenser element, 

15dB pad, bass roll-off filter (250Hz), 40Hz to 

20kHz frequency response. A 

MC 950 Supercardioid pattern mic with condenser 

element, 15dB pad, bass roll-off filter (250Hz), 

40Hz to 20kHz frequency response. A 

MCE 10 Phantom-powered, small hypercardioid lavalier 

mic for Opus-series radio mic systems. A 

MCE 5 Miniature, omni-directional, lapel microphone 

with a response tailored for clear speech. A 

MCE 530 Cardioid pattern mic with condenser electret 

element, 30Hz to 20kHz. A 

MCE 530 Stereo Set 

Matched pair MCE 530 electret condenser mics, 

stereo bracket, clamps, windscreens, case. A 

MCE 55 Miniature, omni-directional, lapel microphone, 

water resistant, adjustable gooseneck. A 

MCE 58 Omni-directional electret condenser for ENG 

and field recording, internal shockmount, 

internal pop filter, scratch-resistant finish. A 

MCE 60 Phantom-p, small omni-directional, lavalier mic 

for use with Opus-series radio mic systems. A 

MCE 86.2 Phantom-powered, high-sensitivity, short, 

shotgun, hypercardioid condenser microphone 

with a video camera hotshow mount. A 

MCE 86S.2 Phantom- or battery powered, high-sens, short, 

shotgun, hypercardioid condenser mic. A 

MCE 86S.2 CAM 

Phantom- or battery powered, high-sensitivity, 

short, shotgun, hypercardioid condenser mic, 

with a video camera hotshoe mount. A 

Opus 51 Phantom-powered boundary condenser mic; 

half spherical pattern and a linear response. A 

Opus 53 Instrument mic, electret condenser element 

(cardioid), carbonfibre barrel, 30Hz to 20kHz. A 

Opus 54 Cardioid hands-free (neck-worn) vocal mic with 

condenser element, rust-resistant bendable 

head frame, gooseneck extension. A 

Opus 55 Omni-directional neck-worn mic with condenser 

element, water resistant, for theatre, musical, 

presentations, sports and education. A 

Opus 81 Cardioid condenser voca/instrument mic good 

gain-before-feedback‚ capability, integ. filter. A 

Opus 82 Clip-on electret condenser mic (cardioid) for 

wind instruments, flexible gooseneck with 

substantial clip, 30Hz to 20kHz. A 

Opus 83 Instrument mic with electret condenser element 

(cardioid), 40Hz to 20kHz, 138dB SPL, and 

190Œ© impendance. A 

Opus 86 Electret condenser mic (cardioid) for accordians 

and bandoneons, flexible gooseneck, with 

special mount, 30Hz to 20kHz. A 

Opus 87 Electret condenser drum mic (cardioid), flexible 

gooseneck, shockmount, internal pre-amp. A 

Opus 88 Electret condenser drum mic (cardioid), flexible 

gooseneck, horizontal swivel joint, shockmount 

clamp, internal pre-amp, 30Hz to 20kHz. A 

TG-X 930 True condenser live vocal microphone, 20Hz to 

20kHz, 4mV/PA, 150dB SPL, multi-layer gauze 

pop screen, highest off-axis rejection A 


Baby Bottle 

Solid-state, class A discrete condenser mic, goldsputtered 

capsule in a lollipop spherical grille. A 

50 

Blueberry Large capsule class-A condenser mic delivering 

vintage sound and presence. B 

Bluebird A versatile large-diaphragm cardioid condenser, 

utilising a class A discrete circuit. A 

Bottle Hand-built mic with a system of eight optional 

interchangeable capsules utilising a handselected 

EF86 pentode vacuum tube. D 

Bottle Rocket Stage One 

Solid state mic w/eight interchangeable caps. A 

Bottle Rocket stage Two 

Tube mic body and power supply with a system 

of eight optional interchangeable capsules. C 

Cactus A nine-pattern condenser mic with a vintage 

sound. Hand-tuned and tested. C Dragonfly 

Solid-state discrete class A mic. B 

Kiwi High-end transformerless solid-state mic with 

nine patterns and discrete class A electronics. C 

Mouse Hand-made large capsule condenser mic with 

high and low frequency boosts for presence. B 

OmniMouse 

Small diaphragm perspex omni condenser mic, 

rotating capsule enclosed in spherical grille. B 

Snowball A dual capsule (cardioid/omni) USB microphone 

for direct plug and play desktop recording. A 

Snowflake Portable USB mic, built-in case/laptop clip. A 

Snowflake Dual capsule USB mic with desktop stand. A 

Woodpecker 

Hand made powered ribbon mic with class-A 

electronics and exotic wood and brass finish. B 

Bock Audio 

151 Tube cardioid condenser mic with vintage/ 

normal switch. Made in USA. C 

195 Large diaphragm cardioid condenser mic with 

FAT, PAD, low cut switches. Made in USA. A 

251 Tube multi-pattern premium quality condenser 

mic based on the E LAM 251. Made in USA. D 

5-ZERO-7 Tube multi-pattern premium quality condenser 

mic with unique patented elliptical capsule and 

electronics similar to the Neumann U47. D 

Brauner 

Phanthera Studio ref FET mic, cardioid only (spider, case, 

VOVOX link direct S sound conductor 5.0m). C 

Phanthera NF (Basic) 

Studio reference FET microphone, pattern: 

cardioid only (incl. stand mount, card box). B 

Phanthera V 

Studio ref FET mic, pattern: omni, cardioid, figof-eight 

(incl. spider, case and VOVOX link). C 

Phantom Studio reference FET microphone, pattern: 

cardioid only (incl. spider, case and VOVOX link 

direct S sound conductor 5.0m). C 

Phantom NF (Basic) 

Studio reference FET microphone, pattern: 

cardioid only (incl. stand mount, card box). B 

Phantom V Studio reference FET mic, pattern: omni, cardioid 

fig-of-eight (incl. spider, case and VOVOX link. C 

Valvet Studio reference valve microphone, pattern: 

omni and cardioid (incl. psu, spider, VOVOX tube 

link sound conductor 7.5m, case). C 

Valvet X (pure cardioid) 

Studio reference valve microphone, pure 

cardioid (incl. psu, spider, VOVOX tube link 

sound conductor 7.5m, case). C 

VM1 Studio reference valve mic, all patterns cont. 

variable (incl. psu, spider, windscreen, VOVOX 

tube link cable 7.5m, case and manual). D 

VM1 C (pure cardioid) 

Studio reference valve mic, pure cardioid (incl. 

psu, spider, windscreen, VOVOX tube link cable 

7.5m, case, manual). D 

VMA Dual mode studio ref valve mic, all patterns cont. 


tube link cable 7.5m, case, manual). E 

VMX Studio reference valve mic, all patterns cont. 


tube link cable 7,5m, case and manual). D 


VMX C (pure cardioid) 

Studio reference valve microphone, pure 

cardioid (incl. psu, spider, windscreen, VOVOX 

tube link cable 7,5m, case and manual). D 

CAD 

GXL2400 Large one-inch diameter fixed cardioid pattern 

condenser. High sensitivity and low distortion. 

30Hz-20kHz. Includes shock mount. A 

M177 Cardioid condenser. 1.1-inch diameter capsule. 

Pad and Hi-pass filter. 10Hz-20kHz. A 

M177VP Bundle 

M177 cardioid mic, MZM-5 shock mount, EPF-15 

pop filter. A 

M179 Variable pattern condenser. 1.1-inch diameter 

capsule. Pad and Hi-pass filter. 10Hz-20kHz. A 

M9 Valve cardioid condenser. 1.1-inch diameter 

capsule. 10Hz-20kHz. Pad and Hi-pass filter. Inc 

flight case, PSU, shockmount, case. A 

VX2 Dual valve condenser, inc. suspension, case, PSU, 

lead, alternative capsule. Dual 1.25-inch capsule. 

Cardioid, omni, figure-of-eight pad, and filter. C 


E700 1.22-inch dual-diaphragm, Solid-State 

condenser with pure Class A electronics. A 

M900 Solid-State small-diaphragm condenser with 

sensitivity and bass roll-off switches; ships with 

cardiod, hypercardioid, and omni capsules. A 

M900T Tube small-diaphragm condenser with 

sensitivity and bass roll-off switches; ships with 

cardioid, hypercardioid, and omni capsules. B 

PF1 Pop filter. A 

S600 Front address cardioid tube condenser sold in 

pairs; for drum sets, piano, bass, bright guitars. A 

S700 Broadcast condenser microphone. B 

SA538 Large, dual-diaphragm tube condenser; 

particularly balanced sound, ideal for everything 

from voice to acoustic instruments. B 

SA538B Variation of the flagship SA538; suited for vocals 

and many other studio applications with a rich 

sound, detail, clarity, and a smooth top end. B 

SSC Small studio collection of Charter Oak mics, 

contains SA538, E700 and a pair of M900s. C 

DPA Microphones 

3541 Large-diaphragm, high-end mic kit with 4041: 

solid state- or tube, PSU, high-voltage amp. D 

4003 Omni-dir mic: 130V version of 4006 recording 

mic; natural and authentic, lots of headroom. C 

4004 130V ref mic: specialist close mikng; very high 

SPL handling; 10Hz-40kHz extd. response. C 

4006-TL P48 transformerless omni mic: unique natural 

clarity and true dynamic transient response with 

improved sensitivity and bass. C 

4007 P48 reference mic for specialist close miking 

with extremely high SPL handling (up to 155dB) 

and 20Hz to 40kHz frequency response. C 

4011-TL P48 cardioid mic, high SPL handling; flat on-axis 

frequency response, exc. phase response. C 

4012 Cardioid mic: high-voltage (130V) version of the 

renowned 4011 with high SPL handling. C 

4015-TL P48 wide cardioid, excellent for piano, guitar, 

and percussion, or orchestral spot mic. C 

4016 Wide cardioid mic: 130V version of 4015. C 

4017 Supercardioid, state-of-the-art shotgun mic; 

short and exceptionally lightweight. C 

4017-R DPA 4017 shotgun mic with Rycote windshield; 

designed specifically for DPA 4017. X 

4021 Compact cardioid mic and side cable for 

unobtrusive placement. B 

4022 Compact cardioid mic and rear cable for 

mounting directly on an instrument, or 

unobtrusive placement. B 

4023 Compact cardioid mic and connector for 

mounting on a speech podium or on the DPA 

Flamingo floor stand solution. B 

4026 Compact wide cardioid mic and rear cable, 

for high definition audio and insignificant size 

requirements; suits choirs and percussion. B

4027 Compact wide cardioid mic and side cable, 

for high definition audio and insignificant size 

requirements; suits choirs and percussion. B 

4028 Compact wide cardioid mic and connector. B 

4041-S 130V solid state large diaphragm mic. D 

4041-SP P48 large-diaphragm mic with superior sound 

quality, low noise and high sensitivity. D 

4041-T2 130V large-diaphragm tube microphone. D 

4051 Compact omni mic and side cable; uses the 

same capsule as the 4006, but fitted in a small 

housing; easy to hide, mount or suspend. B 

4052 Compact omni mic and rear cable; uses same 

capsule as 4006, but fitted in a small housing. B 

4053 Compact omni microphone and connector for 

mounting directly on a speech podium or the 

DPA Flamingo floor stand solution. B 

4090 Highly sensitive omnidirectional mic for studio 

or stage instrument applications. A 

4091 Low-sensitivity omnidirectional mic for studio or 

stage instrument applications. A 

8011 P48 hydrophone: waterproof high-quality mic 

handles high SPLs and high static ambient 

pressures in water and other fluids. C 

BLM4060 Boundary layer mic; ideal for applications where 

excellent vocal pickup is required. A 

HMA5000 High-volt, low distortion, 2-channel mic amp. B 


DK25/L For live perf, three SR25s: two for overheads, one 

for kick drum; KickPad, windscreen. C 

DK25/R For recording, two TC25 omnis overheads, SR25 

cardioid for kick drum, KickPad, windscreen. C 

DK50/R Matched pair of QTC50, an SR30, KickPad, 

a stainless steel windscreen, three foam 

windscreens and three LevelsPads. D 

M23 Reference mic for SMAART, MLSSA, Spectrafoo, 

TEF, & RTA and all audio band measurements. A 

M30 Measurement ‚ 5Hz-30kHz. B 

M30BX Measurement. 9Hz-30kHz. SMAART, TEF, MLSSA, 

RTA. Max SPL: 132dB. Sens: 8 mV/Pa. Int. batt. B 

M50 Measurement Mic, 5Hz-50kHz. Compatible with 

SMAART, TEF, MLSSA, RTA. Max SPL: 142dB. C 

PianoMic The ultimate piano miking system. D 

QTC30 Omni-directional. For quieter sources. 

6Hz-30kHz. Max SPL: 142dB. Sens: 30mV/Pa. XLR. 

Phantom. Available in matched pairs B 




Selection of DPA Condenser Mics 

A Legend In His Own Time 



Phantom. Available in matched pairs C 

SR20 Cardioid. For quiet and loud sources. 

50Hz-20kHz. Sens: 10mV/Pa. Max SPL 145dB. 

XLR. Phantom. Available in matched pairs A 

SR25 Cardioid. For quiet and loud sources. 50 

Hz-25kHz. Sens: 10mV/Pa. Max SPL 145dB. XLR. 


SR30 Cardioid. For quiet and loud sources. 

30Hz-30kHz. Sens: 10mV/Pa. Max SPL 145dB. 

XLR. Phantom. Available in matched pairs B 

SR30/HC Hyper-cardioid. For quiet and loud sources. 

30Hz-30kHz. Max SPL: 145dB. XLR. Phantom. B 

TC20 Omni. For louder sources. 10Hz-20kHz. 145dB 

SPL. Phantom. Available in matched pairs. A 

TC25 Omni. For louder sources. 9Hz-25kHz. 145dB 

SPL. Phantom. Available in matched pairs. B 

TC30K Omni. For louder sources. 9Hz-30kHz. Max SPL: 

150dB. Phantom. Available in matched pairs. B 

Electro-Voice 

Cardinal Studio/live condenser cardioid microphone. A 

PolarChoice-12 FL 

Range of podium microphones, choice of size, 

polar pattern. A 

RE200B Instrument mic. cardioid pattern; condenser 

element. freq. resp: 50Hz ‚ 18kHz. Ships with 

stand clamp, windscreen, gig bag. A 

RE410 Condenser vocal microphone, cardioid. A 

RE510 Handheld mic. Supercardioid; condenser 

element; low-frequency boost; low-frequency 

roll-off; internal pop filter; warm grip handle. A 

Fostex 

MC32 Electret condenser mic (shotgun). A 

MC35 Electret condenser mic (shotgun). A 

Hebden Sound Ltd 

HS3000 series 

High quality condenser mic with phantom 

power pre-amp and detachable capsule system 

(omni, cardioid, sub, and hyper). A 

HS3010 Condenser mic with phantom power pre-amp 

+ detachable omni capsule plus studio case. A 

HS3010P Matched pair of HS3010 (omnidir) mics. B 

HS3020 Condenser mic with phantom power pre-amp, 

detachable cardioid capsule studio case. A 

HS3020P Matched pair HS3020 (cardioid) microphones. B 

HS3030 Condenser mic, phantom pre-amp, detachable 

hypercardioid capsule, studio case. A 

Dirk Brauner has been perfecting the art of microphones for over a decade. Hand crafted 

in Germany with a passion, it’s no wonder Brauner mics are coveted by the world’s most 

famous studios and producers. 

For artists that deserve the best, Brauner is the only choice. Now Brauner offers a range of mics 

to suit a wide variety of budgets, all with the legendary sound that has made Brauner a name 

synonymous with quality. 

“ Never before did I come across a microphone of this caliber. The VMA is the best microphone I have ever worked with. “ 

Elliot Scheiner : Steely Dan, Toto, Van Morrison, Fleetwood Mac, Sting, ... 

“ I got a call from a friend of mine who was working on a Janet Jackson mix that we had recorded vocals on and the producer, 

Rodney Jerkins, kept asking about the vocal sound, what mic we used, if it was a vintage mic. I had to smile when I told him it was not a 

vintage mic but a Brauner VMA! I LOVE my mic! “ 

John Horesco IV: Jermaine Dupri, Janet Jackson, Usher, Mariah Carey, ... 

In the UK: 

Try Brauner @ 

The Home Service 

T: 020 8943 4949 

E: sales@louisaustin.com T: 020 8445 2446 

theartofmicrophones.com 


HS3030P Matched pair of HS3030 hypercardioid mics. B 

HS3040 Condenser mic with phantom power pre-amp, 

detachable omnidirectional capsule,studio. A 

HS3040P Matched pair of HS3040 (subcardioid) mics. B 

JJlabs 

C010B Big membrane condenser; shockmount. X 

EA009B Big membrane valve mic, selectable 

characteristics. Ehrlund Triangle Membrane. X 

EH203 Super cardiod condenser vocal microphone. X 

HRM-4 Ribbon microphone. X 

HS06B Headset microphone, pink, Mini XLR. X 

JZ Microphones 

Black Hole Three switchable polar patterns (omni, cardioid, 

fig-of-eight). Two indpt. opposite capsules. B 

Black Hole SE 

Fixed cardoid mic. Also a new gen integrated 

shockmounting and five year warranty. B 

Korby Audio 

C800G capsule 

Mono valve mic, hot-swappable capsules. B 

KAT Blue Mono valve microphone. D 

KAT Fet Mono FET microphone. C 

KAT Red Mono valve microphone. D 

KAT1 Mono valve mic, hot-swappable capsules. D 





UMT 800 Condenser mic. Omnidirectional, wide cardioid, 

cardioid, hypercardioid, figure-of-eight patterns; 

10dB pad; dual membranes. B 

Lauten Audio 

Clarion Solid state multi pattern large diaphragm 

condenser mic, with accs and delux case incl. B 

Horizon Side address cardioid tube multi-purpose mic 

-10 and -20dB pad. Accessories/flight case inc. B 

Oceanus Large dual diaphragm transformerless tube 

multi pattern mic, accs and delux case incl. B 

Torch Stereo studio package, two small diaphragm 

tube mics, cardioid/omni caps, accs/case incl. B 


Aries Handheld condenser microphone. A 

Luna Class A studio condenser microphone with 1.1inch 

gold-evaporated diaphragm. A 

Nova Entry-level FET microphone. A


Pulsar II Small-capsule hand assembled condenser 

pencil style microphone, 3/4-inch six-micron 

Mylar evaporated gold diaphragm. A 

Pulsar II matched pair 

Boxed set Pulsar II small-capsule condenser 

mics, inc. mounting bracket for stereo apps. A 

Solaris Multi-pattern studio condenser mic with threemicron 

large diaphragm, and 10dB pad. A 

Sputnik Multi-pattern, hand assembled large-diaphragm 

vacuum tube condenser microphone. B 


Reference Cardioid Microphone 

Large-diaphragm cardioid tube mic. C 

Reference Gold Microphone 

Large-diaphragm multi-pattern tube mic. D 

Mercenary Audio MFG 

KM-69 All-new SDC developed by Mercenary Audio 

and extended family. OH, HH, acoustic. A 

Microtech Gefell 

TM 190/190L 

Table-top mic from Gefell micon series. Short/ 

long body; cardioid; condenser element. C 

BM 190 

Stage mic from Gefell micon series. Small, 

suspended cardioid condenser, remote amp C 

KEM 970 Eight-capsule line-array mic providing wide 

cardioid pattern in the horizontal plane with a 

narrow 30-degree pattern in the vertical. E 

M 294 A large nickel diaphragm cardioid mic. A slightly 

rising treble response at around 8kHz. C 

M 295 Large nickel diaphragm cardioid mic; frequency 

response in upper range is virtually linear, with 

low roll-off to counteract proximity effect. C 

M 296 Large nickel diaphragm omni condenser mic. C 

M 300 Miniature cardioid pencil condenser mic. 

Ceramic capsule with evaporated gold 

membrane. Transformerless output. B 

M 310 Miniature supercardioid pencil condenser 

mic. Ceramic capsule with evaporated gold 

membrane. Transformerless output. B 

M 900 Large diaphragm, cardioid for vocals on stage. 

Well-balanced frequency response. B 

M 910 Large diaphragm hypercardioid version of the 

M900 for vocals on stage. B 

M 92.1S Large diaphragm cardioid valve mic using M7 

handmade capsule. C 

M 930 Studio condenser. Cardioid pattern; condenser 

element; large gold Mylar diaphragm; internal 

shockmount; optical phantom power. B 

M 940 Studio condenser mic: supercardioid; condenser 

element; large gold Mylar diaphragm; internal 

shockmount; optical phantom. B 

M 950 Studio condenser mic: wide cardioid pattern; 

condenser element; large gold Mylar 

diaphragm; internal shockmount; optical 

phantom power isolation. B 

M 960 Large diaphragm, handmade diffuse field 

transformerless mic. Smooth off-axis response, 

optical phantom power isolation. B 

M 990 Large diaphragm, cardioid valve mic. Extended 

low-end response. C 

SMS 2000 Modular system for M20 (cardioid), M21 

(hypercardioid) or M27 (omni) capsules. 

Handmade gold evaporated mylar capsules. B 

UM 900 ‚ The Phantom 

Omni-directional, cardioid, wide cardioid, 

hypercardioid, figure-of-eight patterns; tube 

condenser; bass roll-off switch (70Hz). D 

UM 92.1S Tube mic. Omni, cardioid, figure-of-eight 

patterns; tube condenser; twin gold sputtered 

plastic diaphragms; pattern sel switch on PSU. D 

UM 930 Dual capsule large diaphragm condenser with 

five selectable polar patterns. D 

UM 930 SCT 

Dual capsule large diaphragm condenser, five 

selectable polar patterns. Sound check tool. D 

52 

UM 930 Twin 

Dual capsule large diaphragm condenser, 

separate outputs. Five selectable polar patterns 

on one; cardioid on second. D 

Mojave Audio, Inc. 

MA-100 Small diaphragm tube condenser mic. A 

MA-101fet Small diaphragm solid state condenser mic A 

MA-200 Large diaphragm tube condenser mic. B 

MA-201fet Large diaphragm solid state condenser mic. A 

MXL 

MXL 9000 Affordable large diaphragm Vacuum Tube 

microphone ‚ comes with rugged carry case, 

shock mount and power supply. A 

MXL-2006 Large giaphragm, gold sputtered true Class 

FET condenser microphone. Hi-isolation shock 

mount and a rugged, deluxe carry case. A 

MXL-770 Condenser mic with a six-micron, 20mm goldsputtered 

diaphragm ‚ comes with shock mount 

and rugged carry case. Black finish. A 

MXL-990 Condenser microphone with a six-micron, 

20mm gold-sputtered diaphragm. A 

MXL-992 Large diaphragm condenser mic. 10dB 

switchable attenuation and selectable -10dB 

low-frequency roll-off. A 

MXL-DRK Self powered condenser microphone comes 

with a desktop stand, mic clip, XLR cable, XLR to 

mini-plug /1/4-inch adaptors and carry case. A 

MXL-V6 New technology silicon valve mic ‚ provides 

tube-like sound in a solid state mic. A 

MXL-V69 Vacuum tube condenser mic. Power supply, 

shock mount, windscreen, deluxe carry case. A 

MXL203-603-PACK 

MXL recording pack contains MXL-2003 and 

MXL-603 condenser mics‚ zipped pouches. A 

Neumann 

BCM 104 Transformerless large diaphragm cardioid mic 

designed for close working in radio studios. B 

D-01 Mono Set 

Digital mic system: D-01 mic with high-res 

conversion at the capsule; the DMI-2 twochannel 

interface, and remote control S/W. D 

GFM 132 Boundary layer microphone, 10dB pad, identical 

diffuse and free field response. C 

KM 120 Modular figure-of-eight mic; 10dB pad; includes 

required KM 100 modular mic pre-amp. B 

KM 130 Modular omni diffuse field equalised mic. 10dB 

pad; includes KM 100 modular mic pre-amp. B 

KM 131 Modular omni free field equalised mic; 10dB 

pad; includes KM 100 modular mic pre-amp. B 

KM 140 Modular cardioid mic. 10dB pad; includes 


KM 143 Modular wide angle cardioid mic. 10dB pad; 

includes KM 100 modular mic pre-amp. B 

KM 145 Modular cardioid mic. with LF roll-off; 10dB pad; 

includes KM 100 modular mic pre-amp. B 

KM 150 Modular hypercardioid mic. 10dB pad; includes 


KM 183 Miniature condenser mic. Studio, broadcast. 

Omnidirectional pattern; transformerless 

circuitry; phantom power. B 

KM 183 D Modular miniature digital mic AES 42; 

omnidirectional; SPDIF or AES/EBU compatible 

remote controllable with DMI-2 and RCS S/W. B 

KM 184 Mini condenser mic. Studio, broadcast. Cardioid 

pattern; transformerless circuitry; phantom. B 

KM 184 D Modular miniature digital mic AES 42; cardioid 

pattern; SPDIF or AES/EBU compatible; remote 

controllable, optional DMI-2 and RCS S/W. B 

KM 185 Miniature condenser mic. Studio, broadcast. 

Hypercardioid; xformerless circuitry; phantom. B 

KM 185 D Modular mini digital mic AES 42; omnidir; SPDIF 

or AES/EBU compatible; remote controllable 

with DMI-2 and RCS S/W. B 

KM D Starter Set 

KM 184 D; cardioid; connection Kit SPDIF or 

AES/EBU;R/C with DMI-2 and RCS S/W. C 


Microtech UM 930 

KMR 81 i Shotgun mic. supercardioid/lobe pattern; 

interference/pressure gradient element; 

shotgun-style; 10dB pad; HPF (200Hz). C 

KMR 82 i Shotgun mic. Field, film, broadcast, 

supercardioid /lobe; interference/pressure 

gradient element; shotgun-style; HF boos. C 

KMS 104 Live perf/vocal mic live sound, cardioid. A 

KMS 104 plus 

Live performance/vocal mic live sound, cardioid 

pattern, optimised for the requirements of 

female voices in the rock and pop field. A 

KMS 105 Live performance/vocal mic live sound, 

supercardioid pattern. A 

M 147 Tube condenser mic with cardioid pattern. 

Capsule is K47/K49 (from the U47 and M49). C 

M 149 Dual diaphragm tube mic. Nine switchable 

patterns; pressure gradient; seven-position LF 

roll-off switch. D 

M 150 Tube Mic. Omnidirectional pattern; spheretitanium 

capsule; 10dB pad; high-pass filter. D 

TLM 103 Capsule based on the U87, aimed at pro and 

semi-pro applications working to a budget. B 

TLM 103 D Digital mic AES 42; cardioid pattern; SPDIF/AES 

compatible, optional connection Kit; remote 

controllable with DMI-2 and RCS S/W. C 

TLM 103 D Starter Set 

Digital mic AES 42; cardioid pattern; SPDIF or 

AES/EBU delivered with connection kit; remote 

controllable with DMI-2 and RCS S/W. C 

TLM 170 R A multi-purpose, large diaphragm mic, five 

remote switchable directional patterns. C 

TLM 193 Large-diaphragm, cardioid condenser mic. 

Studio, project studio, broadcast. B 

TLM 49 Set Large diaphragm capsule; cardioid; retro design; 

specially suited for vocals. C 

TLM 50 Set Studio mic. omnidir pattern; nickel diaphragm; 

10dB pad; high-pass filter. 20Hz-20kHz. D 

TLM 67 A development of U 67. K 67 capsule, 

new circuit design, three-dir pattern, preattenuation, 

high-pass filter. Dual-colour. C 

U 87 Ai The studio microphone classic. Switchable 

omni, cardioid and figure-of-eight patterns. C 

U 89 i Dual diaph. capsule. Omnidir, wide-angle 

cardioid, cardioid, hypercardioid, fig-of-eight. C 

Pearl 

CB 22 Condenser mic, large rectangular membrane 

fixed fig-of-eight pattern, studio/live apps. B 

CC 22 Condenser mic, large rectangular membrane 

fixed cardioid for studio and live applications. B 

CC 22H Equal to CC 22, high sensitivity 100 mV/Pa. B 

CO 22 Uses the classic Pearl rectangular capsule config 

in omni-directional pattern; v.low noise levels. B 

CT 40 New tube mic with fixed cardioid capsule. C 

DT 40 Tube mic, choice of five polar patterns, ideal for 

many recording applications. C 

ELM-A Multi-pattern mic with linear capsule has more 

than twice the surface area of large-diameter 

round capsules; excellent signal/noise ratio. C 

ELM-B Fig-of-eight mic with linear capsule, more than 

twice surface area of large-diameter round 

capsules; excellent signal/noise ratio. C 

ELM-C Cardioid mic, linear capsule; exc. signal/noise 

ratio; avoids high levels of in-band resonance. B 

OM 16 Small omni-dir mic; very flat frequency response 

with a boost from 5-12kHz of 2,5-3dB (at 8kHz); 

sounds very natural and uncoloured. A 

OM 16H Small omni-dir mic; very flat frequency response 

with boost from 5-12kHz of 2,5-3dB (at 8kHz). A 

TL 66 A small condenser cardioid microphone with a 

very high sensitivity of 80 mV/Pa. A 

TL 6C A small condenser cardioid microphone. A 

Peluso Microphone Lab, LLC. 

22 251 Mic is inspired by the vintage 251. B 

22 47 Microphone is inspired by the Neumann U-47, 

modified in the ‘70s with a glass tube. B 

22 47 SE Tube condenser microphone with steel tube. B

Neumann TLM49 

22 47LE Tube condenser mic w/German EF steel tube. C 

CEMC-6 Solid state condenser. A 

P-12 Mic is inspired by the vintage C-12. B 

P-28 Inspired by the pencil vacuum tube mics of 

AKG/Neumann. Extremely low noise floor. A 

R-14 Mic inspired by classic ribbon microphones. It 

has a natural rich and silky sound. A 

TR-14 Vacuum tube version of R 14 ribbon mice. 

Enhanced output level, stunning response. B 

VTB Innovative Peluso circuitry, very low noise floor, 

classic tube sound. Strong/clean low end. B 


Broadcaster 

Large diaphragm end-address studio condenser 

mic optimised for broadcast. A 

Classic II IHF-1 capsule, GE6072 valve, Jensen transformer. 

R/C of nine polar pttns, high-pass filter/pad. C 

K2 A Class valve (one-inch) condenser mic 

incorporating an infinitely variable polar pattern 

controlled from the power supply. A 

M2 Live perf supercardioid condenser mic, low 

handling noise, high level of RF rejection. A 

M3 3/4-inch cardioid condenser mic. 48V or int. 9V 

batt. Pad and high pass filter switches. A 

NT1-A Large diaphragm cardioid condenser. Surface 

mount technology, very low self-noise. A 

NT1000 True condenser large-capsule mic, low noise, 

transformerless circuitry, intnl. shock mount. A 

NT2-A Pro large capsule (1") studio mic, 3 polar 

patterns, pad, high-pass filter switches. A 

NT2000 Large diaphragm full condenser featuring 

continuously variable polar patterns, pad, and 

high-pass filter. Suspension mount included. A 

NT3 Hyper cardioid true condenser. Transformerless 

output for low noise; battery or phantom 

powered and a high resistance to RF. A 

NT5 Cardioid condenser mic for instruments or 

overhead miking‚ matched pair or single unit. A 

NT55 Condenser mic with interchangeable omni 

and cardioid capsules, and pad and bass roll off 

controls. Available singly or in pairs. A 

NT6 Independently positioned half-inch capsule 

head, remote output pre-amp. A 

NTG-1 A lightweight condenser shotgun mic with 

electronically balanced output and P48. A 

NTG-2 Lightweight condenser shotgun with 

electronically balanced output. A 

NTG-3 Broadcast quality true condenser shotgun mic 

with external RF bias. Super-cardioid response 

with extremely low handling noise. A 

NTK Valve condenser designed for high-end 

recording applications. Hand graded twin triode 

Class-A valve circuitry, cardioid pattern. A 

Podcaster Broadcast USB cardioid mic, integral headphone 

amp, vol control, zero latency monitoring. A 

S1 A true condenser live performance vocal mic for 

studio quality sound on stage. A 

VideoMic Lightweight DV-Cam shotgun mic. Constructed 

from ABS, low battery LED, high pass filter, takes 

standard 9V (6LR61 or 1604A) battery. A 

sage ELECTRONICS 

SE BB1 Spherically-mounted, high-density condenser 

mic with a small diaphragm electret condenser 

capsule, balanced outputs. C 

Samson 

CL7 Cardioid large diaphragm condenser mic. A 

CL8 Multi-patt. large diaph. true condenser mic. A 

CM10B Half-cardioid condenser boundary mic. A 

CM11B Omni-directional boundary microphone. A 

CM12C Hanging choir microphone. A 

CM15P Podium gooseneck mic. 15-inch gooseneck. A 

CM20P Podium gooseneck mic. 20-inch gooseneck. A 

CO1 Large diaphragm condenser microphone. A 

CO1U USB studio microphone with USB output for 

recording directly to computer. A 

CO3 Multi-pattern condenser microphone with 

switchable HPF and 10dB pad. A 

CO3U Multi-pattern USB studio microphone. USB 

output for recording directly to computer. X 

CO5 Handheld condenser mic, stage/studio apps. A 

Sanken Microphone 

CO-100K Super wide freq condenser mic, 20Hz-100kHz. C 

COS-11D series 

Lavalier mic with water resistance optimised for 

human voice. B 

CS-1 Short shotgun microphone for boompole 

and camera mount. Very sharp directivity in a 

181.5mm length body. B 

CS-3e Location and studio Shotgun, exceptional offaxis 

rejection. Very sharp pinpoint directivity. C 

CU-44X mkII 

High transient response, transformerless mic. 

Two-way capsule design. Totally flat frequency 

response in 0°, 60°,90°, and 135°. C 

CUB-01 The boundary microphone with front side of 

hemisphere cardioid directivity. B 

Schoeps 

BL CCM 3 Lg 

Boundary-layer mic for fixed installation. Can be 

mounted flush into the surface of a table top. B 

BLM 03Cg Small boundary-layer capsule. B 

BLM 3g Large boundary-layer capsule. A 

CCM 2 Lg Compact detachable cable free-field omni. B 

CCM 2 Ug Compact fixed cable free-field omni. B 

CCM 21 Lg Compact detachable cable sub-cardioid. B 

CCM 21 Ug Compact fixed cable sub-cardioid. B 


Top of the class! 

CCM 21H Lg 

Compact detachable cable sub-cardioid with 

HF lift. B 

CCM 21H Ug 

Compact fixed cable sub-cardioid with HF lift. B 

CCM 22 Lg Compact detachable cable open-cardioid ‚ polar 

pattern between wide cardioid/cardioid. B 

CCM 22 Ug Compact fixed cable open-cardioid ‚ a new polar 

pattern between wide cardioid and cardioid. B 

CCM 2H Lg Compact detachable cable universal omni. B 

CCM 2H Ug Compact fixed cable universal omni. B 

CCM 2S Lg Compact detachable cable universal omni. B 

CCM 2S Ug Compact fixed cable universal omni. B 

CCM 3 Lg Compact detachable cable diffuse-field omni 

(for distant placement). B 

CCM 3 Ug Compact fixed cable diffuse-field omni (for 

distant placement). B 

CCM 4 Lg Compact detachable cable cardioid (music). B 

CCM 4 Ug Compact fixed cable cardioid, music/speech. B 

CCM 40 Ug Compact fixed cable cardioid with HF lift and LF 

rolloff. B 

CCM 41 Lg Compact detachable cable supercardioid for 

music and speech. B 

CCM 41 Ug Compact fixed cable supercardioid for music 

and speech. B 

CCM 41S Lg Compact detachable cable supercardioid with 

LF rolloff. B 

CCM 41V Lg 

Compact detachable cable lateral pickup 

universal supercardioid. C 

CCM 41V Ug 

Compact fixed cable lateral pickup universal 

supercardioid. B 

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Celebrated by audiophiles and audio engineers alike 

Microtech Gefell. Founded by Georg Neumann in 1928 

and now a leading manufacturer of microphones for the 

professional and enthusiast alike. A must for every 

serious collection of quality microphones 

Trinnov Audio. The world’s leading manufacturer of 

digital room correction technology, used by many major 

broadcast, film and post production facilities 

Germany’s best kept secret! These active, concentric, 

cardioid bass studio reference monitors are making a big 

impact in the UK 

The Håkan Pop Killer. Designed for Swedish Radio, this 

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CCM 4A Lg Compact detachable cable close speech 

cardioid, LF rolloff, and reduced sensitivity. B 

CCM 4A Ug Compact fixed cable close speech cardioid, LF 

rolloff, and reduced sensitivity. B 

CCM 4S Lg Compact detachable cable speech cardioid, LF 

rolloff. B 

CCM 4S Ug Compact fixed cable cardioid, LF rolloff. B 

CCM 4V Lg Compact detachable cable lateral pickup 

universal cardioid. B 

CCM 4V Ug Compact fixed cable lateral pickup universal 

supercardioid. B 

CCM 4VXS Lg 

Compact detachable cable close lateral pickup 

cardioid with LF rolloff. B 

CCM 4VXS Ug 

Compact fixed cable close lateral pickup 

cardioid with LF rolloff. B 

CCM 5 Lg Compact switchable omni/cardioid. B 

CCM 5 Ug Compact fixed switchable omni/cardioid. B 

CCM 8 Lg Compact detachable cable figure-of-eight. B 

CCM 8 Ug Compact fixed cable figure-of-eight. B 

CMBI Battery-powered mic amp (for MK-capsules). A 

CMC 6 Ug 12-48V phantom-p amp (for MK capsules). A 

CMD 2 U Digital mic amp for use with 20 capsules and 

active accessories of Colette Modular system. B 

CMIT 5 U Shotgun microphone. C 

CMR Mic preamp, powered by pocket transmitters. A 

CMR Mic amp for the MK mic capsules of the Colette 

Modular system. A 

M 222 Valve mic amplifier (for MK capsules). C 

MK 21g Sub cardioid capsule. A 

MK 21Hg Sub-cardioid capsule with HF lift. A 

MK 22 Open-cardioid capsule ‚ a new polar pattern 

between wide cardioid and cardioid. X 

Mk 2g Free-field omni capsule (close placement). A 

MK 2Hg Universal omni capsule (for placement close to 

reverberation radius). A 

MK 2Sg Universal omni capsule (for placement close to 

reverberation radius). A 

MK 3g Diffuse-field omni capsule (for distance). A 

MK 40g Speech cardioid HF Lift and LF rolloff capsule. A 

MK 41g Supercardioid capsule for music and speech. A 

MK 41Sg Supercardioid capsule with LF rolloff. A 

MK 41Vg Supercardioid capsule for lateral pickup. A 

MK 4Ag Cardioid close-speech capsule. A 

MK 4g Cardioid capsule for music and speech. A 

MK 4Sg Speech cardioid capsule with LF rolloff. A 

MK 4Vg Cardioid capsule with lateral pickup. A 

MK 4VXSg Cardioid speech capsule for lateral pickup. A 

MK 5g Switchable omni/cardioid capsule. B 

MK 6g Switchable omni/cardioid/fig-of-eight caps. B 

MK 8g Figure-of-eight capsule. A 

VST 62 IUg Stereo mic amplifier for two MK capsules. B 

SE Electronics 

Gemini II New dual-tube mic, single cardioid pattern. B 

GM10 Acoustic guitar mic system. A 

H1 Hand-held condenser mic, 48V phantom-p. A 

ICIS Vacuum tube studio condenser microphone. 

Single pattern valve mic with 1.07-inch capsule 

and spaceage shockmount. A 

RNR-1 Ribbon mic designed in partnership with Rupert 

Neve. 'Natural' ribbon characteristics without HF 

loss. C 

Ribbon New ribbon mic with ultra sensitive 

performance, with high-frequency roll off. B 

SE1000a New SDC analogue vocal and instrument mic A 

SE1a Small diaphragm condenser for close-miking 

apps. Cardioid pattern. With stand adapter. A 

SE1a Stereo Pair 

Matched Stereo pair of SE1as in aluminium 

flight case with stereo mounting bar. A 

SE2200A Class A cardioid with Xformer-balancing. Oneinch 

diaphragm; 10dB Pad; 100Hz bass roll-off; 

48V phantom, shockmount and flight case. A 

54 

SE2a Small diaphragm condenser, three changeable 

capsules (omni, cardioid, hypercardioid). 

Shockmount, deluxe flightcase. A 

SE4 Small diaphragm condenser,bass cut, 

10/20dB pad. Hi end instrument mic, optional 

interchangeable omni/hypercardiod capsules. A 

SE4 Stereo Pair 

Matched pair of sE4s. A 

SE4400a New 4x4 all pupose studio condenser; four 

patterns, two cuts, and 10 and 20dB pads. With 

unique shockmount and full flight case A 

Tube Ribbon RT1 

New tube ribbon mic with ultra sensitive 

performance, exceptionally high-freq roll off. B 

USB1000a New USB2 SDC mic. 16 bit 44.1/48K Voltage 

conditioning for ultra high USB performance 

quality.True plug and play. A 

USB2200a New USB2 LDC mic. 16-bit 44.1/48K 10dB pad 

and bass cut.Voltage conditioning. Switchable 

for analogue mode. Zero latency headphone 

monitoring built in. True plug and play. A 

Z3300A Class A multi-pattern condenser, 1.07-inch 

diaphragm. Cardioid, omni , figure-of-eight. 

100Hz filter, 10dB pad. Shockmount, case. A 

Z5600A II Tube condenser. Nine selectable patterns 

between omni, cardioid, figure-of-eight. Highsensitivity 

1.07-inch diaphragm. 12AT7 valve. A 

Sennheiser 

e614 Super-cardioid back-electret condenser. A 

e865 Super-cardioid pre-polarised condenser. A 

e865s As e865 with noiseless, lockable switch. A 

e901 Half-cardioid boundary condenser microphone 

designed for kick drum use. A 

e908 B Cardioid condenser instrument microphone 

suitable for wind instruments. A 

e908 D Cardioid condenser instrument microphone 

suitable for drums and percussion. A 

e912 Half-cardioid boundary condenser mic for 

instruments, vocals, and speech. A 

HSP 2 High-quality professional omni-directional 

condenser head-mic, various connectors. A 

HSP 4 High-quality professional cardioid condenser 

headmic available with various connectors. A 

K 6 K 6 Powering Module (single AA battery). A 

K 6-CL As K 6 with reduced sensitivity. A 

K 6-P As K 6 but 12-48v phantom powered. A 

KK104 S Neumann vocal cardioid condenser mic head 

for SKM 5000/5200, in nickel or black. B 

KK105 S Neumann vocal super-cardioid condenser mic 

head for SKM 5000/5200, in nickel or black. B 

ME 102/B Omni mic head with windshield, black. A 

ME 102/N Omni mic head with windshield, nickel. A 

ME 104/B Cardioid mic head with windshield, black. A 

ME 104/N Cardioid mic head with windshield, nickel. A 

ME 2-US Omni-directional condenser miniature mic for 

evolution pocket transmitters, black. A 

ME 3-N Headworn condenser miniature microphone for 


ME 3005 Super-cardioid speech microphone head for 

SKM 3072-U. A 

ME 34 Miniature cardioid microphone head. A 

ME 35 Miniature super-cardioid microphone head. A 

ME 36 Miniature gun (interference tube) mic head. A 

ME 4-N Cardioid condenser miniature microphone for 


ME 5002 Omni mic head for SKM 5000/5200. A 

ME 5004 Cardioid condenser microphone head for SKM 

5000/5200. A 

ME 5005 Super-cardioid condenser microphone head for 

SKM 5000/5200. A 

ME 5005 e Vocal super-cardioid condenser microphone 

head for SKM 5000/5200. A 

ME 5009 Wide-cardioid condenser microphone head for 

SKM 5000/5200. A 

ME 62 Omni-directional microphone head. A 

ME 64 Cardioid microphone head. A 


sE RNR1 

ME 65 Super-cardioid microphone head. A 

ME 66 Short gun microphone head. A 

ME 67 Long gun microphone head. A 

MKE 2-1053-C 

Version with co-axial Lemo connector for 1000 

series radio microphones. A 

MKE 2-2R-C 

Version with co-axial ‘microdot’ connector for SK 

2012 series radio microphones. A 

MKE 2-2R-Gold-C 

As MKE 2-2R-C with 14dB Pad, black or beige. A 

MKE 2-4-Gold-C 

Version with co-axial three-pin connector for 

3000/5000 series radio mics, black or beige. A 

MKE 2-5-C With open-ended 4m cable, black or beige. A 


Version with, with 14dB Pad, black or beige. A 


Sub-miniature tie microphone with 4mm 

diameter microphone head. A 

MKE 2-EW-Gold-C 

Version with screw-lock 3.55mm jack plug for 

evolution series transmitters, black or beige. A 

MKE 2P-C With XLR conn. for 12-48v Phantom power. A 

MKE 300-D Back-electret pre-polarised short-gun 

condenser microphone for digital camcorder 

use. A 

MKE 400 Back-electret pre-polarised short-gun 

condenser microphone for camcorder use. A 

MKE Platinum -4-C 

Version with three-pin Lemo connector for 

3000/5000 series transmitters, black or beige. A 

MKH 20 Omni-directional symmetrical capsule ultra 

lownoise RF condenser microphone. B 

MKH 30 Figure-of-eight symmetrical capsule ultra lownoise 

RF condenser microphone. C 

MKH 40 Cardioid symmetrical capsule ultra low-noise RF 

condenser microphone. B 

MKH 416-P48U 

Short-gun/lobar RF condenser microphone. B 

MKH 416-TU 

As MKH 416-P48U but T (AB) powered. B 

MKH 50 Super-cardioid symmetrical capsule ultra 

lownoise RF condenser microphone. C 

MKH 5040 Small cardioid symmetrical capsule ultra 

lownoise RF condenser microphone head with 

detachable XLR with extended freq response for 

high bit and sample rate recordings. B 

MKH 60 Short-gun/lobar symmetrical capsule ultra 


MKH 70 Long-gun/lobar symmetrical capsule ultra 


MKH 800 Vari-pattern symmetrical capsule ultra lownoise 

RF condenser mic w/extended frequency 

response for high bit/sample rate recordings. D 

MKH 800 TWIN 

Similar to MKH 800 but w/two cardioid capsules 

available on an XLR-5 for infinine pattern 

variation -available in Nextel or Nickel. D 

MKH 8020 Small omni-directional symmetrical capsule 

ultra lownoise RF condenser mic head with 

detachable XLR, extended freq response. B 

MKH 8020 stereoset 

As MKH 8020 but a stereo set pair-matched to 

within 1dB. C 

MKH 8040 stereoset 

As MKH 8040 but a stereo set pair-matched to 

within 1dB. C 

MKH 8050 Small super-cardioid symmetrical capsule 

ultra lownoise RF condenser mic head with 

detachable XLR with extended freq response for 

high bit and sample rate recordings. B 

MKH 8050 As MKH 8050 but microphone head only. B 

MKHC 8020 

As MKH 8020 but microphone head only. B

Horch RM4 

MKHC 8040 

As MKH 8040 but microphone head only. B 

MZBD 36 Boundary mic. Adaptor for ME 36. A 

MZX 8000 XLR-3 module for MKH 8000 series mic heads. A 

Shure 

545SD-LC Unidyne III 

Cardioid pattern; condenser element; dual 

impedance switch; on/off switch. A 

Beta 54/WBH54 

Headworn mic. Live sound. Supercardioid 

pattern; electret condenser element; flexible 

boom; adjustable headband; ear cradle. A 

Beta87A Super-cardioid condenser for vocal use. A 

Beta87C Cardioid condenser for instrument use. A 

Beta91 Cardioid condenser for kick drum use. A 

Beta98 Supercardioid condenser for tom-tom use. A 

KSM109 Cardioid condenser for instrument use. A 

KSM137 Cardioid condenser for instrument use. A 

KSM141 Cardioid/Omnidirectional switchable condenser 

for instrument use. A 

KSM27 Large-diaphragm vocal/instr. condenser. A 

KSM32 Large-diaphragm vocal/instr. condenser. B 

KSM44 Large-diaphragm vocal/instr. condenser. B 

KSM9 Dual diaph. vocal condenser ‚ dual pattern. B 

PG81 Cardioid condenser for instrument use. A 

SM81 Cardioid condenser for instrument use. A 

SM86 Cardioid pattern; electret condenser element; 

internal shockmount; internal windscreen; int 

pop filter; steel mesh grille. A 

SM87A Condenser Mic for live sound. Supercardioid 

pattern; condenser element; three-stage pop 

filter. freq. resp: 50Hz-18kHz. A 

SM89 Shotgun Mic. Broadcast, film, field. Shotgun 

style directional mic; condenser element; 

lowfrequency roll-off. B 

SM93 Miniature Lavalier. Broadcast, live sound, film. 

Omnidir.; compatible Shure wireless systems. A 

SM94 Cardioid condenser for instrument use. A 

Sontronics 

Delta NEW phantom-powered live ribbon mic. A 

Helios Variable-pattern vacuum-tube condenser mic. A 

Hyper Hypercardioid capsule for STC-1 and STC-1S 

condenser mics. Silver or Black. A 

Omega Vacuum tube cardioid condenser mic. A 

Omni Omnidirectional capsule for STC-1 and STC-1S 

condenser mics. Silver or Black. A 

Orpheus Multi-pattern condenser microphone. A 

Sigma Phantom-powered ribbon microphone. A 

St-Pop Vocal pop filter with spare cartridge. A 

STC 6 Handheld condenser microphone. A 

STC-1 Cardioid condenser instrument microphone. A 

STC-2 Large diaphragm cardioid condenser mic. A 

STC-2 Black 

Large diaphragm cardioid condenser mic. A 

STC1 Black Cardioid condenser instrument mic. Black. A 

STC1-S Black 

Matched pair of cardioid condenser instrument 

mics. Black. A 

Ultima Mono 

Professional mic cable, mono quarter-inch jacks 

(Neutrik), 3m, 5m, or 10m. A 

Ultima Stereo 

Professional mic cable, stereo jacks (Neutrik), 3m, 

5m, or 10m. A 

Ultima XLR Professional mic cable, male to female XLR 

connectors (Neutrik), 3m, 5m, or 10m. A 

OKM Binaural Microphones 

Binaural stereo recording producing a stunning 

reproduction of the sound source, with 

outstanding spatial characteristics. A 


ASC Mono parametric EQ with transformer out. A 

ASC V Mono parametric EQ with transformer output 

for API 500 series rack. A 


B1 Condenser microphone, large diaphragm 

cardioid. Will enhance any project. A 

C1 Large diaphragm, fixed-cardioid condenser mic. 

Well-proven and an award winning tool. A 

CS1 Externally polarised cardioid pressure gradient 

transducer mic, FET impedance converter. A 

CS5 Five polar patterns, four selectable pads, four 

high pass filters, four low pass filters. A 

Superlux 

CMH8A Studio cardioid condenser mic. A 

CMH8AH Black studio cardioid condenser mic with 

extended bass and HF performance. A 

CMH8B Studio cardioid condenser mic. 10dB pad and LF 

roll off switch. A 

CMH8BH Black studio cardioid condenser, extended LF 

and HF. 10dB pad and LF roll off switch. A 

CMH8C Studio three pattern dual element condenser. 

10dB pad and LF roll off switch. A 


CMH8CH Black studio three pattern dual element 

condenser cardioid with extended bass and HF 

performance. 10dB Pad and LF roll off switch. A 

CMH8D Studio tube omni/cardioid, LF roll off switch. A 

CMH8K/H Pencil type mic, super cardioid capsule head. A 

CMH8K/HUO 

Three capsule mic set with omni, super cardioid, 

and uni directional capsules. A 

CMH8K/O Pencil type mic with omni capsule head. A 

CMH8K/U Pencil type mic with cardioid capsule head. A 

PRA118L Highly directional pro shotgun electret mic. 

54cm long with foam windshield. A 

PRA118S Highly directional pro shotgun electret mic. 

34cm long with foam windshield. A 

PRA318S Compact omni directional dynamic interview 

mic. 18cm long w/windscreen, shockmount. A 

Telefunken 

AK47 20Hz-20kHz, variable polar, 132dB SPL, 

condenser pressure gradient tube mic. C 

Ela C12 20Hz-20kHz, variable polar, 138dB SPL, 

condenser pressure gradient tube mic. D 

AUDIO MEDIA AUGUST 2008 55 00

Ela M250 20Hz-20kHz, cardioid & omni, 138dB SPL, 

condenser pressure gradient tube mic. E 

Ela M250E 20Hz-20kHz, cardioid & omni, 138dB SPL, 

condenser pressure gradient tube microphone. 

Comes with locking flight case, lunchbox style 

power supply, wooden box. E 

Ela M251 20Hz-20kHz, cardioid, omni & fig-of-eight, 138dB 

SPL, condenser pressure gradient tube mic. E 

Ela M251E 20Hz-20kHz, cardioid, omni and figure-of-eight, 

138dB SPL, condenser pressure gradient tube 

microphone. Comes with locking flight case, 

lunchbox style power supply, wooden box. E 

Ela M260 20Hz-20kHz, cardioid, omni, hypercardiod, 

120dB SPL, cond. pressure gradient tube mic. C 

Ela M80 30Hz-18kHz, cardioid, dynamic moving coil 

microphone A 

Ela M80 Studio 

30Hz-18kHz, cardioid, dynamic moving coil mic. 

Wooden box, with different head grille. A 

M16-MKII 20Hz-20kHz, variable polar, 125dB SPL, 

condenser pressure gradient tube mic. Shock 

mount and wooden box. C 

M216 20Hz-20kHz, variable polar, 125dB SPL, 

condenser pressure gradient tube mic. Matrix 

power supply, shock mount, wooden box. D 

U47 20Hz-20kHz, cardioid & omni, 138dB SPL, 

condenser pressure gradient tube mic. Locking 

case, shock mount, wooden box. E 

U48 20Hz-20kHz, cardioid and omni, 138dB SPL, 

condenser pressure gradient tube microphone. 

Locking case, shock mount, wooden box. E 

Violet Design 

The Amethyst Standard 

Studio electrostatic mic, large 26mm capsule, 

compact head, cardioid, transformerless out. B 

The Amethyst Vintage 

Studio electrostatic mic, large 26mm dual 

diaphragm capsule, compact head, cardioid, 

transformerless output, great for vocals. B 

The Black Knight 

Universal studio electrostatic microphone, 

27mm capsule, 3D swivel mount head, cardioid, 

transformerless output, black matte finish. A 

The Finger Universal stage/studio electrostatic microphone, 

14mm capsule, cardioid, black matte finish with 

polished gold or silver plated parts. A 

The Flamingo ME 

Tube elecs, x-large ear shape dual diaphragm, 

cardioid, xformer out, custom finish, PSU. D 

The Flamingo Standard 

Vacuum tube elecs, 26mm dual diaphragm, 

cardioid, xformer out, violet body, PSU. D 

The Flamingo Vintage 

Vacuum tube elecs, 26mm dual capsule, 

cardioid, black matte body, xformer o/p, PSU. D 

The Garnet Tube elecs, large 26mm dual diaphragm, nine 

polar patterns, omni/cardioid/figure-of-eight, 

black matte, xformer out, power supply unit. C 

The Global Pre 

Compact preamplifier body fully compatible 

with vintage VIN-series, M-series and B-series 

interchangeable capsules. A 

The Globe Standard 

Studio electrostatic microphone, large 26mm 

dual diaphragm capsule, cardioid, polished 

violet body, shockmount included. B 

The Globe Vintage 

Studio electrostatic microphone, large 26mm 

dual diaphragm capsule, cardioid, black matte 

body, shockmount included. B 

The Grand Pearl 

Stage/studio vocalist electrostatic microphone, 

large 26mm capsule, cardioid, transformerless 

output, stand holder included. A 

56 

The Junior Studio electrostatic microphone, large 26mm 

dual diaphragm capsule, compact head, 

cardioid, transformerless output, great for vocals, 

transformer output, shockmount included. A 

The Pearl Standard 

Stage/studio vocalist electrostatic mic, 14mm 

cap, cardioid, transformerless, stand holder. A 

The Pearl Vocal 

Stage/studio vocalist electrostatic microphone, 

21mm capsule, cardioid, transformerless output, 

stand holder included. A 

The VIN - Head 

Changeable capsule heads for Global Pre and 

other vintage bottle type microphones. Eight 

models with different electrostatic 21-27mm 

capsules producing eight different sounds. A 

The Wedge Universal studio electrostatic mic, large 21mm 

single diaphragm capsule, cardioid, long-grille 

head, transformless output. A 


KM-3 Small capsule overhead/instrument condenser 

mic with cardioid polar response, cast zinc body 

and gold plated XLR connector. A 

Stereo & Multi-Channel 

AEA‚ Audio Engineering Associates 

AEA R44CE High performance ribbon mic in 44 tradition. X 

AEA R88 Big ribbon stereo mic for Blumlein and MS. B 

AEA RPQ Two ch. ribbon mic preamp with phantom 

power and curveshaper EQ. X 

AEA TRP Two ch. ribbon mic preamp. X 


Aevox Audio Classic M stereo 

Stereo mic for mobile recordings. A 


AT815ST 380mm stereo shotgun mic with threeway 

switch (low-cut, MS wide, MS narrow). B 

AT822 Battery-powered XY stereo mic, unbal output. A 

AT825 Battery or phantom XY stereo mic, bal output. A 

AT835ST 236mm stereo shotgun mic with threeway 

switch (low-cut, MS wide, MS narrow). B 

AT854R Quad mic with four independent capsules. B 

AT895/RK Digital array microphone with remote kit. D 

ATR25 Stereo shotgun mic, camcorder/rec apps. A 

MT350/B Ultra-miniature cosmetic stage/theatre 

microphone with free ended cable. A 


CM-33 Matched Pair 

Hand matched stereo pair of compact, low-mass 

small diaphragm mics, LF roll-off, -10dB pad. X 

beyerdynamic 

MCE 72 Battery-powered compact cardioid pattern 

stereo mic for X-Y stereo recording with 

broadcast or semi-professional equipment. A 

MCE 72 CAM 

MCE 72 with accessories for camcorders. A 

MCE 72 PV CAM 

Phantom-powered compact cardioid pattern 

stereo mic, special accessories for cameras. A 

MCE 82 Battery- or phantom-powered stereo cardioid 

pattern condenser mic, flat linear response. A 

Brauner 

VM1S Stereo studio reference valve microphone, all 

patterns continiously variable (incl. psu, spider, 

Brauner 12-pair cable 7.5m, case and manual). E 

CAD 

PMP32 Three-piece drum pack. Flight case, mic clips, 2x 

TSM411, 1x KBM412, 2x DSM-1 shock mounts. A 

PMP421C Four-pc drum pack. Case, mic clips, 2x TSM411, 

1x KBM412, 1x ICM417, 2x DSM-1 shock mts. A 

PMP43 Four-piece drum pack. Flight case, mic clips, 3x 



Schoeps DMS Mic Plug-in 

Microphones Powered, Wired, Single-Channel - Stereo & Multi-Channel 

PMP522C Five-piece drum pack. Includes flight case and 

mic clips, 2x TSM411, 1x KBM412, 2x ICM417, 

and 2x DSM-1 shock mounts. A 

PMP54 Five-piece drum pack. Flight case, mic clips, 4x 


PMP632C Six-piece drum pack. Includes flight case and 



PMP65 Six-piece drum pack. Flight case, mic clips, 5x 


PMP742C Seven-piece drum pack. Includes flight case and 



PMP834-OH2 

Eight-piece drum pack. Includes flight case and 

mic clips, 3x TSM411, 1x KBM412, 2x ICM417, 2x 

GXL2400, and 3x DSM-1 shock mounts. A 

PMP834C-OH1 

Eight-piece drum pack. Includes flight case and 




5100 A compact solution for surround recording, 

a light-weight all-in-one unit that delivers 5.1 

channel audio without further processing. C 

3503 4003 stereo kit: large dynamic headroom, true 

transients, low distortion, and high sensitivity; 

130V; mic amp included. D 

3506 4006-TL stereo kit: large dynamic headroom, low 

distortion, and high sensitivity; P48. D 

3511 4011-TL stereo kit: solution for a broad range of 

recording/amplification applications, with stereo 

boom and shock mounts. D 

3521 4021 compact stereo kit: complete road kit for 

low-profile mounting directly inside a piano; 

exceptional as a stereo pair for overhead. C 

3532-S 4041-S large diaphragm stereo kit: solid state, 

130V, with mic pre-amp; transparent, revealing 

nature and wide dynamic range. E 

3532-SP 4041-SP large diaphragm stereo kit: same sound 

quality as the high-voltage DPAs; low noise and 

high sensitivity; phantom power. D 

3532-T2 4041-T2 large diaphragm stereo Kit, Tube, 130V, 

adds a slight musical colour. E 

3552 4052 compact stereo kit: complete road kit for 

low-profile mounting directly inside a piano or 

for various A-B stereo applications. C 

SMK4061 Stereo mic kit, two 4061s and mounting tools. A 

Fostex 

MC10ST Electret condenser mic (stereo set). A 

MC11S Electret condenser mic (stereo). A 

Grace Design 

Space Bar Presicion mic positioning systems. Precision 

markings for capsule spacing, angle, Z-axis A 

Holophone 

H2-PRO Captures 7.1 channels of discrete surround 

audio w/enhanced low-frequency effects. D 

H3-D Portable, surround sound microphone that 

automatically delivers 5.1 channels with no 

external mixing or signal manipulation. B 

H4 SuperMINI 

Camera-mountable surround mic: comes 

equipped with a Dolby Pro Logic II encoder. C 

PortaMic 5.1 

Surround mic with Dolby Pro Logic II encoder, 

for 2-channel capture by any video camera. A 


Reference Stereo Gold Microphone 

Large-diaphragm multi-pattern tube mic. D 


INA 5 ITU 775 array + five matched studio condenser 

mics (M930/940 or M950) for surround 

recording. E 

INA 5-R Weatherproofed ITU 775 array + five matched 

studio condenser mics (M930/940 or M950). E

Soundfield SPS 200 

M 930 Stereo 

Stereo matched handmade capsules with 

large gold diaphragms. Cardioid characteristic. 

Available with X-Y or ORTF holders C 

M 940 Stereo 

Stereo matched handmade capsules with large 

gold diaphragms. supercardioid characteristic. 


M 950 Stereo 

Stereo matched handmade capsules with large 

gold diaphragms. Wide cardioid characteristic. 


Mojave Audio, Inc. 

MA-100SP Matched stereo pair of MA-100 small diaphragm 

tube condenser microphones. B 

Neumann 

KU 100 Dummy head w/mics: Binaural rec; 10dB pad; 

switchable high-pass filter. XLR, BNC, w/case. E 

RSM 191 A Set 

MS stereo shotgun mic, switchable to 

XYstereophony. LF roll-off; comes as set. D 

USM 69i Large diaphragm mic. Omnidirectional, cardioid, 

figure-of-eight, hypercardioid, wide cardioid 

patterns; dual diaphragm design. D 

Pearl 

DS 60 Offers stereo recording in different modes; two 

rectangular dual membrane capsules; very flat 

and resonance-free freq response. D 

MS 2C Made for MS recording of TV, video, film prod; 

very light; ideal for use on pole. Very durable. C 

MS 2CL Made for MS recording of TV, video, film prod; 


MS 8C Made for MS recording of TV, video, film prod; 


MS 8CL Made for MS recording of TV, video, film prod; 


MSH 10 Specially made for MS recording of TV, video and 

film production. C 

MSH 20 Specially made for MS recording of TV, video and 

film production; very light; M and S channels 

output independently for external processing. C 

TL 4 Cardioid, figure-of-eight, omni directional 180° 

coincident stereo; versatile. 120 mV/Pa. C 

TL 44 Cardioid, figure-of-eight, omni directional 180° 

coincident stereo; versatile. C 

Peluso Microphone Lab, LLC. 

P-Stereo Stereo large diaphragm solid state condenser. B 

SR-14 Stereo version of R 14 ribbon mic, 90 degree 

head. Comes with its own stereo matrix. B 


NT4 Stereo condenser, two half-inch cardioid caps 

mounted 90 degrees. Stand mount, windshield, 

custom stereo mini-jack and XLR cables. A 

Stereo VideoMic 

Lightweight stereo DV-Cam mic. Low battery 

LED, high-pass filter. Standard 9V battery. A 

Sanken Microphone 

CMS-10 Stereo mono switchable shotgun mic for 

camera. Very short length 210.5mm, 170g . C 

CSS-5 Wide stereo, stereo and mono, three mode 

operation shotgun mic. Mono and phantom 

centre have the same sound characteristics. C 

CUW-180 A single microphone body with two cardioid 

condenser capsules that can be rotated freely 

up to 180 degree in 15 degree detent. C 

WMS-5 Five surround outputs f/one mic (L, C, R, LS, RS). 

Precise phase coherent M, S, M caps layout. C 

Schoeps 

C2 CCM4 Twin cardioid table microphone. C 

CMXY 4V Ug 

X/Y stereo microphone. D 

KFM 360 Sphere stereo microphone, can be upgraded for 

surround with two figure-of-eights. D 

KFM 6 Sphere stereo microphone. D 

MSTC 64g ORTF stereo microphone. C 

T2 CCM4 Twin cardioid table microphone for mounting 

into a table plate. D 


MKE 44 Back-electret pre-polarised stereo condenser 

microphone, two cardioid capsules. A 

MKH 800 TWIN 

MKH 800 with two capsules available on XLR-5 

for infinine pattern variation - Nextel or Nickel. D 

MKH418-S MS Stereo microphone with a short-gun/lobar 

mid capsule and a figure-8 side capsule. C 

Shure 

DMK57-52 Drum Microphone Kit. Three Shure SM57, one 

Shure Beta52; mounting hardware. A 

VP88 Stereo with three-setting mid-side matrix. B 

Sontronics 

Apollo Blumlein X/Y stereo ribbon microphone. B 

STC-1S Stereo matched pair of cardioid condenser 

instrument microphones A 

SoundField 

DSF-1 Digital performance mic system outputs digital 

mono, stereo, M/S, B-format for surround. E 

DSF-2 Digital broadcast mic system: digital mono, 

stereo, M/S, B-format, surround/analogue. E 

DSF-3 Digital surround processor ‚ converts SoundField 

Digital B-format audio to digital 5.1 surround. D 

MKV Multi-capsule mic inc. control unit, outputs 

mono, stereo, B-format for surround rec. D 

SMP200 Gain-matched four channel mic pre-amp 

designed for use with SPS200. B 

SP451 B-format to 5.1 surround sound de-coder. D 

SPS200 Software controlled microphone ‚ software 

driven SoundField microphone aimed at studio 

and laptop location recording. C 

SPS422B Multi-capsule mic inc. control unit, outputs 

mono, stereo, B-format for surround rec. D 

ST350 Multi-capsule mic inc. mains or battery powered 

control unit, outputs mono, stereo and B-format 

for portable surround recording. D 

UPM-1 Stereo to 5.1 converter designed for HD 

broadcast market. D 


C4 Small diaphragm matched pair condenser 

microphone set of instrument mics. C4 provides 

excellent pickup of on-axis sources! A 

Superlux 

E522/B Handheld X/Y stereo condenser, unbal, 

terminates 2x mini jack, 30-20kHz response. A 

E523/D Handheld X/Y stereo condenser, balanced, 

terminates 2x XLR Male, 30-20kHz response. A 

E524D XY Stereo Electret microphone. Powered by 

internal battery or phantom power. A 

E531/BCS Compact electret condenser stereo mic with 

90/120 deg. Coverage, mini jack, 100-15kHz 

response. Inc.weighted base/windscreen. A 

Terretac 

iQuader USB Stereo mic. Zero latency headphone. A 

Trinnov Audio 

Surround Recording Platform 

5.1 mic array and processor. The benchmark in 

terms of soundstage accuracy. Provides high 

compatibility in down-mixing. E 

Violet Design 

The Flamingo Stereo 

Two large size capsules in rotating large 

spherical metal mesh heads, integrated original 

construction suspension. C 


Stereo & Multi-Channel - Dynamic Microphones 

Dynamic Microphones 

AKG 

D 112 Large diaphragm dynamic stage and studio 

microphone for bass instruments. Handles up to 

160dB with no audible distortion. A 

D 230 Metal-bodied dynamic ENG mic, exceptional 

sensitivity and clarity. Extended shaft allows for 

easy placement of station flags. A 

D 40 Dynamic instrument mic designed for drums, 

wind instruments, guitar amps. AKG Varimotion 

diaphragm. Custom capsule mounting. A 

D 5 Extremely rugged vocal/speech microphone. 

Patented AKG laminated varimotion diaphragm. 

Spring steel wire-mesh grille. A 

D 7 Dynamic reference mic. Hum compensation coil. 

Patented AKG laminated-varimotion diaphragm. 

New acoustical design inner windscreen. A 


AE4100 Cardioid vocal mic. A 

AE6100 Hypercardioid vocal mic. A 

AT8004 Stereo, handheld, goose, adaptive array mics. A 

AT8010 Handheld microphone. A 



AT804 Omni-directional reporter’s microphone. A 

AT804L Stereo, hand, gooseneck, adaptive array mics. A 

AT808G 425mm-long dynamic double gooseneck 

microphone with XLRM output. A 

AT849 Stereo boundary mic, full mono compatibility. A 

ATR20 Vocal/instrument mic with hardwired cable. A 

ATR30 Multi-purpose vocal microphone. A 

ATR3M Dynamic gooseneck w/push-to-talk switch. A 

ATR50 Balanced dynamic microphone. A 

MB1K Vocal microphone with high output. A 

MB2K For amplified and acoustic instruments. A 

MB3K Vocal microphone with extended response. A 

PRO25 High-SPL hypercardioid dyn. instrument mic. A 

PRO25AX Update of PRO25; dynamic microphone for high 

SPL environments. A 

PRO31 Cardioid dynamic with on/off switch. A 

PRO31QTR Cardioid dynamic with on/off switch (includes 

XLRF-to-1/4-inch jack cable). A 

PRO41 Cardioid dynamic with on/off switch (includes 

XLRM-to-XLRF cable). A 

PRO61 Premium hypercardioid dynamic mic. A 

PRO63 Dynamic cardioid microphone with tailored 

response (includes XLRF-to-XLRM cable). A 

PRO70 Cardioid condenser lapel/instrument mic. A 

PRO8HECW Dynamic headband-mount mic terminated with 

HRS plug. A 

PRO8HEX Dynamic headworn hypercardioid dynamic 

microphone. A 

Audix 

AX-CD11 Dynamic cardioid mic featuring zinc alloy 

construction, low impedance. A 

AX-CD11H Dynamic cardioid mic featuring zinc alloy 

construction, high impedance. A 

AX-D2 VLM type-B, high gain, excellent for toms, floor 

toms, and congas. A 

AX-D4 VLM type-D , flat linear response down to 63Hz, 

excellent for kick drum, bass cabs. A 

AX-D6 VLM type-E, provides huge sound with clarity 

and punch for kick drum. A 

AX-DM6 As D6 in Nickel Plating. A 

AX-DP4A Four-pc pack - 1x i5, 2x D2, 1x D4, 4x DVICE, 4x 

MC2. B 

AX-DP5A Five-pc pack - 1x i5, 2x D2. 1x D4, 1x D6, 4x 

DVICE, 5x MC2. B 

AX-DP6 Six-pc pack - 1x i5, 2x D2, 1x D4, 2x ADX51, 4x 

DVICE, 5x MC2. B 

AX-DP7 Seven-pc pack 1x i-5, 2x D2, 1x D4, 1x D6, 2x 

ADX51, 4x D-Vice. B 

57 00

Microphones Dynamic 

AX-DPELITE Eight-pc pack - 1x i5/D4/D6, 2x D2, 2x SCX25A, 

1x SCX-HC, 4x DVICE, 5x MC2. C 

AX-F10 Dynamic instrument mic with integral clip. 

Excellent for snare, toms, guitar. A 

AX-F12 Dynamic instrument mic with integral clip. 

Extended bass response for kick or floor tom. A 

AX-F14 Dynamic kick drum mic, integral clip. Extended 

lows and filtered punch for low end. A 

AX-F15 Condenser mic for o/heads, hi-hat, cymbals. 

9-52 volts phant required. A 

AX-F50 Dynamic cardioid vocal mic, Lo Z, pouch/clip. A 

AX-F50BP Four F50 mics and clips in aluminium case. A 

AX-F50S As F50 with on/off switch. A 

AX-F90 Mini clip-on condenser for drums and perc, 

cardioid. Inc. 12ft cable. A 

AX-FIREBALL 

Pro dynamic mic designed for harmonica. A 

AX-FIREBALL/V 

Same as the Fireball. With volume control. A 

AX-FUSION4 

3x F10 snare/tom; 1x F12 kick. A 

AX-FUSION6 

3x F10 snare/tom; 1x F12 kick; 2x F15 condenser 

overheads. A 

AX-FUSION7 1x F14 kick drum mic; 3x F10, 1x F12, 2x F15. A 

AX-I5 VLM type-B, all-purpose instrument mic. A 

AX-OM11 Re-issue of the legendary OM1 mic from 1985. 

VLM type-A capsule. A 

AX-OM2 VLM type-B capsule, lower mid-bass and slight 

mid boost. Inst/Vocals. A 

AX-OM2/S As OM2 with on/off switch. A 

AX-OM3 VLM type-B transformerless capsule, wide 

natural response. A 

AX-OM3/S As OM3 with on/off switch. A 

AX-OM5 VLM type-C capsule, very high o/put, 

unsurpassed gain before feedback. A 

AX-OM6 VLM type-D capsule, full bodied vocal sound, 

extended low end response. A 

AX-OM7 VLM type-C transformerless capsule, highly 

accurate. A 

Behringer 

UltraVoice XM8500 

Studio, live sound. Cardioid pattern; two-stage 

internal pop filter. freq. resp: 50Hz ‚ 15kHz. XLR. 

Ships with mic clip, case. A 


DK1 Large diaphragm versatile dynamic kick drum 

mic with 162 SPL. X 

U7 Mid-priced large diaphragm cardioid tube 

condenser mic hand built in Europe/USA. X 

beyerdynamic 

M 130 Double ribbon mic, pure aluminium membrane, 

suberb transient response, figure-eight. A 

M 160 Double ribbon microphone, pure aluminium 

membrane, suberb transient response, 

hypercardioid, studio and live applications. A 

M 201 TG Dynamic mic with superior intelligibility, 

high sensitivity, and true hypercardioid polar 

response, ideal for instrument. A 

M 260 Ribbon mic with built-in high-pass-filter, pure 

aluminium membrane, hypercardioid. A 

M 58 Omni-directional dynamic mic specifically 

designed for ENG/EFP applications; internal 

shockmount and 40Hz to 20kHz response. A 

M 59 S Cardioid pattern dynamic mic, power switch, 

internal shockmount, scratch-resistant finish. A 

M 69 TG Microphone classic for vocals, pure sound for 

guitar amps, hypercardioid pattern, moving coil 

microphone, 50Hz to 16kHz . A 

M 88 TG Dynamic vocal mic with hypercardioid response 

that doubles as an instrument mic due to its 

extended low and high response. A 

M 99 Hypercardioid, moving coil mic with 

neodymium magnet, and Mylar diaphragm. A 

M 99 Dynamic presenter’s mic, mass reduced 

diaphragm for clear high SPLs. A 

Opus 39 Supercardioid pattern mic with dynamic 

element and internal shockmount. A 

Opus 62 Clip-on mic for wind instruments, hypercardioid, 

high SPL, flexible gooseneck. A 

Opus 66 Small size, clawmount percussion mic, high gain 

eliminates mechanical and handling noises. A 

Opus 69 Professional supercardioid dynamic vocal mic 

capable of withstanding high sound pressure 

levels with a wide response. A 

Opus 89 Ultimate dynamic mic (hypercarioid) for rock/ 

pop singers, v.high volume before feedback. A 

Opus 99 Large diapgragm dynamic (hypercardioid) mic 

with EQ for miking low-frequency instruments, 

ideal for kick drums, bass cabinets, and tubas. A 

TG-X 47 Dynamic instrument mic (supercardioid), ideal 

for snare drums and E-guitar amps. A 

TG-X 48/TG-X 58 

The classic among classics, dynamic vocal mic 

(supercardioid), excellent feedback suppresion, 

extremely durable, with power switch. A 

TG-X 60 Exceptional powerful vocal microphone 

(hypercardioid), ideal for pop, soul, and jazz 

singers, strong proximity effect. A 

TG-X 80 Top class dynamic vocal mic (hypercardioid), 

studio quality accuracy, outstanding dynamic 

range, pronounced proximity effect. A 

CAD 

ICM417 Short body electret condenser for overheads, 

hi-hats, instruments. A 

KBM412 Large diameter neodymium dynamic percussion 

mic. for Kick drum, floor toms. A 

TSM411 Neodymium dynamic general purpose drum 

mic for snare/toms. A 

Electro-Voice 

635A Dynamic mic, omnidir. reporters mic. A 

635A/B Dynamic mic, omnidirectional reporters mic. A 

635N/D-B Dynamic microphone with neodymium 

element, omnidirectional reporters mic. A 

N/D267A Cardioid pattern; dynamic element; neodymium 

magnet; VOB bass enhancement technology; 

Memraflex grille. A 

N/D267AS As above plus switch. A 

N/D367S Female Vocal, Cardioid pattern; dynamic 

element; VOB bass enhancement technology; 

Memraflex grille switch. A 

N/D468 Supercardioid pattern; dynamic element; 

neodymium magnet. Response: 30Hz-22kHz. A 

N/D478 Instrument mic. Cardioid pattern; dynamic 

element; neodymium magnet; VOB bass 

enhancement technology. A 

N/D767a Supercardioid dynamic microphone; switched 

low-frequency rolloff; VOB bass enhancement 

technology; Memraflex grille. A 

N/D868 Cardioid pattern; dynamic element; high SPL. 

Response: 20Hz-10kHz. XLR. Ships with stand 

adapter, gig bag. A 

N/D967 Concert sound vocal, super cardioid, highestgain-before-feedback. 

A 

RAVEN Dynamic studio/live cardioid microphone. A 

RE16 Variable-D, Super Cardioid. A 

RE20 Cardioid dynamic microphone with variable-D antiproximity 

effect technology; built-in pop/wind 

filter; roll-off switch. A 

RE27N/D Cardioid dynamic microphone; roll-off switch; 

N/DYM high output technology; Variable-D 

antiproximity effect technology. A 

RE50/B Classic-inch Interview mic, Omni. A 

RE50N/D B RE 50 with N/Dym element. A 

Heil Sound, Ltd. 

Classic Pro Large diaphragm dynamic mic in the styling of 

the old classic ribbon mics of the 20s and 30s. A 

Heritage Large diaphragm dynamic mic with the styling 

of a large 1950s dynamic. A 


Audix DP7 Dynamic Mics 

PR 22 Extreme dynamic range vocal mic with low 

handling noise. A 

PR 35 High output large diaphragm dynamic 

extended range vocal mic. A 

PR20 Large diaphragm dynamic handheld 

microphone with smooth articulation. A 

PR30 Large Diaphragm dynamic microphone with 

smooth midrange response. A 

PR40 Large Diaphragm Dynamic mic with extended 

frequency response (28Hz to 18kHz). A 

JJlabs 

BMD950 II Dynamic big membrane mic. 1.25-inch 

membrane with Neodymium magnet generates 

high output and eliminates feedback. X 

DBD1 Dynamic microphone for bass drum. X 

DK7SR Seven drum microphones, microphone holders, 

drum rim attachments, case. X 

HZD-1 For those who want that old 78 Louis Prima 

vocal sound or need the distorted sound that 

makes the harmonica stand out. X 

ND6000 Dynamic mic for vocals, middle price range. X 


MD 100 Dynamic mic. Cardioid, internal elastic 

suspension, built-in pop filter. A 

MD 110 Dynamic mic. Super cardioid, internal elastic 


MD 120 Dynamic mic. Omni-directional, internal elastic 


MXL 

MXL-FOX-PACK 

Three dynamic handheld mics in handy rec 

pack. Uni-dir (supercardioid). Solid construction 

for live use. Pouches/mic clips inc. A 

Neumann 

BCM 705 Dynamic hypercardioid mic designed for close 

working in radio studios. A 


Procaster Broadcast quality dynamic mic designed for 

voice applications. Cardioid response, ideal for 

on-air use in commercial radio. A 

Samson 

QKick Heavy duty dynamic mic voiced for kick drums 

and other low-frequency sources. A 

QSnare Dynamic mic voiced for snare drum. A 

QTom Dynamic mic voiced for tom drums. A 


e602 Cardioid dynamic mic for bass instruments. A 

e602 II Cardioid dynamic mic for bass instruments. A 

e604 Cardioid dynamic mic for close drum miking. A 

e606 Super-cardioid dynamic mic for guitar cabs. A 

e608 Super-cardioid miniature dynamic microphone 

for clip miking woodwind, brass and drums. A 

e815s-j Cardioid dynamic mic. XLR to jack cable. A 

e815s-x Cardioid dynamic mic, XLR to XLR cable. A 

e825s Cardioid dynamic mic, noiseless, lockable. A 

e835 Cardioid dynamic mic, reduced proximity eff. A 

e835s e835 with noiseless, lockable on/off switch. A 

e840 Cardioid dynamic mic, for loud stage levels. A 

e840s As e840, noiseless and lockable on/off switch. A 

e845 Super-cardioid dynamic microphone. A 

e845s e845 with noiseless, lockable on/off switch. A 

e902 Dynamic cardioid instrument microphone, 

suitable for kick drums, bass guitar-amps, tuba, 

and other bass instruments. A 

e904 Cardioid dynamic instrument microphone 

especially designed for toms. A 

e905 Cardioid dynamic instrument microphone 

especially designed for snare drums. A 

e906 Super-cardioid dynamic instrument microphone 

especially designed for miking guitar cabs. A 

e935 Cardioid dynamic microphone, professional 

vocal mic with 100% metal casing. Developed to 

cut through high on-stage levels. A

Shure SM58 

e945 Super-cardioid dynamic mic, pro vocal mic 

100% metal casing, exc. feedback rejection. A 

MD 21 Omni-directional microphone with integral 3/8inch 

thread for mounting. A 

MD 42 Omni-directional rugged reporters mic. A 

MD 421 Cardioid dynamic microphone with integral fiveposition 

bass roll-off switch. A 

MD 425 Super-cardioid dynamic microphone for speech 

and vocal applications. A 

MD 431 II Super-cardioid dynamic microphone for 

speech/vocals, shock-mounted capsule. A 

MD 441 Super-cardioid dynamic mic, studio quality. B 

MD 46 Cardioid rugged reporters microphone. A 

MD 5005 Super-cardioid dynamic microphone head for 

SKM 5000/5200. A 

Shure 

520DX Green Bullet 

Omnidirectional pattern; dynamic element; 

volume control. freq. resp: 100Hz-5kHz. 

Designed for harmonica players. A 

55SH Series II 

Cardioid mic with dynamic element; retro shell; 

on/off switch; 50Hz-15kHz response. A 

565 Dynamic Mic. Field, studio, broadcast. Cardioid 

pattern; dynamic element; magnetic reed lock; 

dual impedance operation. A 

588SDX Cardioid pattern; dynamic element; neodymium 

magnet; on/off switch; selectable impedance; 

proximity effect roll-off. A 

Beta 57A Dynamic Mic. Studio, live sound. Supercardioid 

pattern. freq. resp: 50Hz-16kHz. Vocals, acoustic 

and electric instruments. A 

Beta52A Dynamic kick drum/bass microphone. A 

Beta56A Dynamic snare/tom-tom drum microphone. A 

Beta58A Dynamic vocal microphone. A 

PG48 Dynamic vocal microphone. A 

PG52 Dynamic kick drum microphone. A 

PG56 Dynamic snare/tom-tom drum microphone. A 

PG57 Dynamic instrument microphone. A 

PG58 Dynamic vocal microphone. A 

SM48-LC Cardioid; dynamic element; on/off switch. A 

SM57 Dynamic instrument/snare microphone. A 

SM58 Dynamic vocal microphone. A 

SM63 Omnidirectional pattern; dynamic element; 

internal mechanical isolation; Veraflex grille; 

80Hz-20kHz frequency response. A 

SM7B Dynamic voice-over/instrument mic. A 

SM7B Broadcast, live sound, studio. Cardioid pattern; 

dynamic element; bass rolloff switch; midrange 

emphasis switch. A 

VP64A Broadcast. Omnidirectional pattern; dynamic 

element. Frequency response: 50Hz-12kHz. A 

Sontronics 

STC-80 Handheld dynamic microphone. A 

Superlux 

D112/C Harmonica microphone. A 

DRK681 Eight piece condenser drum set. 4x snare/tom, 

1x E100 kick, 3x hat. Includes mic clips and 

aluminium flight case. A 

DRKA3 Three mic drum kit. 1x kick and 2x snare/tom. A 

DRKA3C2 Five mic drum kit.1x kick,2x snare/tom,2x hats. A 

DRKA5 Five mic drum kit. 1x kick and 4x snare/tom. A 

DRKA5C2 Seven mic drum kit set. 1x kick, 4x snare/tom, 2x 

hats. A 

DRKB5C2 Seven mic drum kit set. 1x kick, 3x tom, 2x hats, 

1x dedicated snare. A 

DRKF5H3 Eight mic drum kit set. 1x kick, 3x tom, 1x hat, 1x 

dedicated snare, 2x overhead. A 

DRKK5C2 Seven mic drum kit set. 1x kick, 3x tom, 2x hats, 

1x dedicated snare, 4x HM12A, 8x mic cables, 

aluminium flight case. A 

E100 Kick drum boundary mic. Excellent attack and 

bass punch. 1.5m permanent attached cable. A 

ECO88S/6 Six pack ECO-88S hand-held dynamic mic with 

on/off switch and XLR connection. A 

FH12S Dynamic vocal super cardioid mic w/switch. A 

R102 Ribbon microphone with figure-of-eight 

pattern, low impedance, and low distortion. 

Perfect for vocal, guitar, and bass. Mounting 

bracket/cable included. A 

S241 1/2-inch diaphragm cond instrument mic. A 

TOP248 Dynamic vocal super cardioid mic. A 


KM-1 Hand held dynamic super cardioid mic with cast 

zinc body and gold plated XLR connector. A 

KM-2 Hand held dynamic super cardioid mic with cast 

zinc body and gold plated XLR connector. A 

KM-4 Dynamic kick/bass/tom mic with super cardioid 

polar response, cast zinc body and gold plated 

XLR connector. A 

KM-5 Dynamic snare/tom mic with super cardioid 

polar response, cast zinc body and gold plated 

XLR connector. A 

KMD-7 Seven-piece drum mic kit comprising of 2x KM3 

+ 1x KM4 + 4x KM5 + rugged carry case. A 

Wireless Mic Systems 

AKG 

DMS 700 Digital wireless system for broadcast, installed 

and live sound applications. Premium audio 

quality, ultra-wide tuning range and proprietary 

signal encryption for sensitive information. D 

WMS 450 Highly flexible wireless system, scalable for 

demanding applications. Twelve simultaneous 

channels and range of transmitter options. B 

WMS 4500 Complete wireless networkable solution. Ultracompact 

design. Wide range of transmitter 

options. Integration into a HiQnet system. C 

Audio Ltd 

DX2040 True Diversity Receiver 

Small, portable UHF true diversity receiver, 

24MHz switch bandwidth; infrared control. C 

En2 MX Miniature non-diversity receiver powered via a 

single AA battery. Up to 30MHz switching range. 

Scan facility. Easy set up. OLED display and 

navigation switch allows the receiver to be used 

for radio mic and IFB monitoring apps. A 

En2 TX Miniature pocket transmitter powered from 

single AA battery. OLED display and navigation 

switch. 3.5mm stereo locking jack socket. Can be 

used as radio mic or IFB transmitter. A 

HX2040 transmitter 

UHF handheld transmitter with changeable 

condenser capsules from the Schoeps Colette 

range; up to 24MHz switching bandwidth. B 

miniTX transmitter 

Very small transmitter with up to 24MHz 

switching bandwidth; powered from 2x 1.5V 

AAA batteries; infrared interface. B 

RK2040 studio rack 

470 to 1000MHz UHF four-way true diversity 

receiver rack, active filtered distribution amplifier 

PC interface; switching bandwidth 24MHz. D 

RK3 3 way portable rack 

Portable rack for up to three DX2040 receivers; 

built-in active distribution amp with auxilliary 

outputs to allow two RK3 to be cascaded. B 

RK6 Portable rack frame for up to six DX2040 

receivers. Plug and play. Active distribution amp 

allows 2 RK6 racks to be cascaded. OLED for RF, 

audio, battery monitoring. C 

TX2040 transmitter 

UHF pocket transmitter with up to 24MHz 

switching bandwidth; 10-hour battery life from 

1x 6LR6 9V battery; infrared interface. B 


AEW-4110 AEW-4100 receiver and AEW-T1000 unipak 

transmitter. B 

AEW-4230 AEW-R4100 receiver and AEW-T3300 hand-held 

cardioid condenser microphone. B 


Dynamic - Wireless Systems Microphones 

AEW-4240 AEW-R4100 receiver and T4100 hand-held 

cardioid dynamic microphone. B 

AEW-4250 AEW-R4100 receiver and AEW-T5400 cardioid 

condenser microphone. C 

AEW-4260 AEW-R4100 receiver and AEW-T6100 hand-held 

hypercardioid dynamic mic. B 

AEW-5111 Dual-receiver and 2 AEW-T100 unipak TXs. D 

AEW-5233 Dual-receiver and two AEW-T3300 hand-held 

cardioid condenser microphones. D 






hypercardioid condenser mics. D 

AEW-5313 Two AEW-T1000 transmitters, and AEW-T3300 

hand-held cardioid condensers. D 

AEW-5314 Dual-receiver, two AEW-T1000 unipak 

transmitter, and AEW-T4100 hand-held cardioid 

dynamic microphones. D 

AEW-5315 Dual-receiver, two AEW-T1000 unipak 

transmitters, and AEW-T5400 hand-held cardioid 

condenser microphones. D 

AEW-5316 Dual-receiver, AEW-T1000 unipak transmitter, 

and AEW-T6100 hand-held hypercardioid 

dynamic microphone. D 

ATW-1811 Single channel UHF wireless mic system. B 

ATW-1812 Single channel UHF wireless mic system. B 

ATW-1821 Dual channel UHF wireless mic system. C 

ATW-1822 Dual channel UHF wireless micr system. C 

ATW-1823 Dual channel UHF wireless mic system. C 

ATW-701/P+ 

700 series. A 

ATW-R1810 

1800 Series single-ch true diversity receiver. A 

ATW-R1820 

1800 Series dual-ch true diversity receiver. B 

ATW-R2100UK 

UHF true diversity receiver for use with the 

ATW2000 series. A 

ATW-T1801 1800 Series UniPak body-pack transmitter. A 

ATW-T1802 1800 Series plug-on transmitter. A 

ATW-T210 UHF true-diversity beltpack transmitter for use 

with the ATW2000 series. A 

ATW-T220 UHF true-diversity hand-held receiver for use 

with the ATW2000 series. A 

ATW2110/G 

Frequency-agile true-diversity UHF wireless 

system with AT8319 guitar cable. A 

ATW2110/H Frequency-agile true-diversity UHF wireless 

system with PRO8HECW headworn mic. A 

ATW2110/HC1 



ATW2110/HC2 


system with ATM73CW headworn mic. A 

ATW2110/P Frequency-agile true-diversity UHF wireless 

system with AT829CW lapel microphone. A 

ATW2110/P1 


system with ATM73CW headworn mic. A 

ATW2110/P2 



ATW2110/P3 



ATW2110UK 

Frequency-agile true-diversity UHF beltpack 

system. A 

ATW2120UK 



59

Microphones Wireless Systems 

ATW3110 Frequency-agile true-diversity UHF wireless 

system with beltpack system. A 

ATW3110G 

Frequency-agile true-diversity UHF wireless and 

beltpack system with AT8319 guitar lead. A 

ATW3110H Freq-agile true-diversity UHF wireless/beltpack 


ATW3110HC 

Frequency-agile true-diversity UHF wireless and 

belt pack system w/ATM75CW headworn mic. A 

ATW3110P Frequency-agile true-diversity UHF wireless and 

beltpack system with MT838CW. A 

ATW3110P1 Frequency-agile true-diversity UHF wireless and 

beltpack system with AT899CW. A 

ATW3110P2 Frequency-agile true-diversity UHF wireless and 

beltpack system with AT831AW. A 

ATW3141 Frequency-agile true-diversity UHF wireless 

system with AE4100 hand-held mic. A 

BEC-AT1810 

Wireless receiver hodler for the ATW-R1810. A 

BEC-AT1820 

Wireless receiver hodler for the ATW-R1820. A 

BEC-HSA-VERT 

Hot shoe vertical mounting for ATW-R1810. A 

EP3 In ear monitor earphones. X 

M2 In ear monitor systems. A 

M2R In ear monitor receiver. A 

M2T In ear monitor transmitter. X 

M3 In ear monitor systems. B 

M3R In ear monitor receiver. A 

M3T In ear monitor transmitter. X 

PRO92cW Wireless essentials. A 

PRO92cW-TH 

Wireless essentials. A 

Audix 

AX-W3/310 RAD360 system with OM3 handheld transmitter 

and bodypack transmitter. B 

AX-W3/ADX10 

RAD360 system with bodypack transmitter and 

ADX10 lavalier. B 

AX-W3/ADX10FL 


ADX10-FL Flute mic. B 

AX-W3/ADX20 



AX-W3/ADX20I 


ADX20i Sax mic. B 

AX-W3/ADX5 



AX-W3/BP RAD360 system with bodypack transmitter, 

without mic. A 

AX-W3/FIREBALL 

RAD360 sys/bodypack transmitter and FireBall 

harmonica mic. B 

AX-W3/G RAD360 system with bodypack transmitter for 

Guitar. A 

AX-W3/HT2 RAD360 sys with bodypack transmitter and HT2 

headset Mic for vocals. B 

AX-W3/HT5 

RAD360 sys/bodypack trans/HT5 headset Mic 

for presentation. B 

AX-W3/OM3 

RAD360 w/OM3 dyn. handheld transmitter. B 

AX-W3/OM5 


AX-W3/OM6 


AX-W3/OM7 



Audio Technica IEM M3 System 

beyerdynamic 

Opus 650 Set 

Wireless UHF lavalier mic system with 16 

frequencies, ACT, and infra-red link. B 

Opus 654 Set 

Wireless UHF mic system with neckworn mic, 16 

frequencies, ACT, and infra-red link. B 

Opus 660 Hand-held UHF wireless mic system, 

interchangeable hypercardioid dynamic mic 

capsule, 16 freqs, ACT, and infra-red link. B 

Opus 669 Hand-held UHF wireless microphone system, 

interchangeable supercardioid dynamic mic 


Opus 681 Hand-held UHF wireless microphone system, 

interchangeable cardioid condenser mic 


Opus CM 930 

True condenser mic capsule (TG-X 930) for use 

with S 900 (M) transmitter module; available in 

silver or black, switchable low-cut-filter. A 

Opus DM 960 

Dynamic (TG-X 60) mic capsule for use with S 

900 (M) transmitter module; silver or black. A 

Opus DM 969 

Dynamic (Opus 69) microphone capsule for use 

with S 900 (M) transmitter module. A 

Opus EM 981 

Electret condenser microphone capsule (Opus 

81) for use with S 900 (M) transmitter module, 

switchable low-cut-filter. A 

Opus NE 900 D 

1U two-channel diversity receiver with alphadial 

data access and 99 frequencies per receiver, 

auto channel targeting. B 

Opus NE 900 Q 

1U four-channel diversity receiver with alphadial 

data access, 99 frequencies per receiver, ACT). B 

Opus NE 900 S 

1U single-channel diversity receive with 

alphadial data access and 99 frequencies per 

receiver, auto channel targeting. B 

Opus S 900 UHF transmitter module without capsule, 

plastic housing, can be used with all Opus 900 

interchangeable capsules. A 

Opus S 900 M 

UHF transmitter module without capsule, 

magnesium alloy housing, can be used with all 

Opus 900 interchangeable capsules. A 

Opus TS 900 C 

UHF beltpack transmitter for Opus 900-series; 

plastic housing, LCD, ACT and scan functions. A 

Opus TS 900 M 

UHF beltpack transmitter for use with Opus 

900-series; magnesium alloy housing, LCD with 

ACT and scan functions. A 


4060 High-sensitivity miniature omnidirectional mic, 

for capturing big, open, natural sounds when 

the mic needs to be small and discreet. A 

4061 Low-sensitivity miniature omnidirectional mic, 

suited to capturing big, open, natural sounsd 

when the mic needs to be small and discreet. A 

4062 Extra-low-sensitivity miniature omnidirectional 

mic, suited to capturing big, open, natural 

sounds when mic needs to be small/discreet. A 

4063 Low-sensitivity DC mini omnidirectional mic, 

suited to capturing big, open, natural sounds 

when the mic needs to be small and discreet. A 

4065 Omnidir. headband, wireless onstage use; band 

is easily bent to fit any head shape. A 

4066 Omnidirectional headband, for wireless on-stage 

use; clean and transparent sound quality; easy 

and fast adjustment possibilities. A 

4067 Low-sensitivity DC omnidir headband; excellent 

for stage use; clean and transparent sound 

quality; easy and fast adjustment possibilities. A 

4071 Miniature omnidirectional mic with presence 

boost; optimised by pre-equalisation for speech 

clarity in any chest-worn mic placement. A 

4080 Cardioid lavalier microphone, optimised for 

speech; very small and discreet, excellent for 

television and public speaking applications. A 

4088 Cardioid headband mic, excellent for on-stage 

use; clean, transparent sound quality with great 

spill rejection; easy and fast adjustments. A 

4099G Clip mic for guitar, dobro, lap steel; offers 

numerous placement possibilities, sounds more 

natural than an internal mic or pickup. A 

4099S Clip mic for tenor, alto, soprano sax; exceptional 

gain-before-feedback and a broad spectrum of 

uncompromised tonal possibilities. A 

4099T Clip mic for trumpet, trombone; with or without 

mute, easy to move, effortlessly handles even 

the highest sound pressure levels. A 

4099V Clip mic for violin, viola, banjo, mandolin; 

discrete design and gentle holder, extremely 

rugged, provides stable positioning. A 

EMK4071 ENG/EFP mic kit, comprising 4071 with various 

mounting tools to use when the mic is allowed 

to be visible (for hosts or interviews). A 

FMK4071 Film microphone kit, comprising 4071 with 

various mounting tools to use when the mic is 

not allowed to be visible. A 

IMK4061 Instrument mic kit: a close mic solution for a 

wide variety of musical instruments with a very 

clean, detailed, and natural sound quality. A 

MSS6000 Mic summation system: provides control of up 

to ten sound sources, reducing that ten down to 

two channels on a mixing console. E 

Electro-Voice 

RE2-410 Handheld system with RE410 Condenser radio 

mic (inc. RE2 receiver and stand adaptor). B 

RE2-510 Handheld system with RE510 Condenser radio 

mic (inc. RE2 receiver and stand adaptor). B 

RE2-BP Belt pack system with BPU-2 Body pack and RE2 

Receiver (without microphone). B 

RE2-G Guitar system with MAC-G3 Guitar cable (inc. 

BPU-2 body pack and RE2 Receiver) guitar 

optimisation setting. B 

RE2-L10 Belt pack system,OLM-10 omnidir Lavalier mic 

(inc. BPU-2 body pack and RE2 Receiver). B 

RE2-L21 Belt pack system with ULM-21 Cardioid Lavalier 

mic (inc. BPU-2 body pack and RE2 Receiver). B 

RE2-N7 Handheld system with N/D767a radio mic (inc. 

RE2 receiver and stand adaptor). B 

REV-BP REV Series cast magnesium bodypack 

transmitter with TA4F connector to be used with 

microphone or guitar cord (not included). B 

REV-D Dual 950 ch UHF receiver w/Advance Clearscan 

2x1/2 wave antennas, rack mount hardware, 

antenna pass through, internal power supply. C 

REV-HC4 REV Concert series metal handheld transmitter 

with RE410 head (interchangeable). B 

REV-HC5 REV Concert series metal handheld transmitter 

with RE510 head (interchangeable). B 

REV-HD7 REV Concert series metal handheld transmitter 

with N/D767a head (interchangeable). B 

REV-HD9 REV Concert series metal handheld transmitter 

with N/D967 head (interchangeable). B 

REV-S Single 950 channel UHF receiver with Advance 

Clearscan 2x1/2 wave antennas, rack mount 

hardware and internal power supply. C 

Micron 

DDH2 Dual diversity housing with integral antenna 

and power distribution. X 

MR700 700 Series monitoring receiver, low-noise, 

fatigue-free monitoring. X 

SDR116 Explorer 100 series small diversity receiver. 16 

channels. X 


channels. X 


channels. X

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Microphones Wireless Systems 

SDR770 700 Series small diversity receiver. X 

TX700 700 series pocket transmitter. switchable basscut 

and phase rev, range of powering options. X 

TX700B Explorer 100 series pocket transmiter. 256 

channels with phase reverse, switched LPF. X 

TX703 700 series handheld transmitter. Omni, cardioid, 

hypercardioid options, three-position sensitivity 

and bass-cut switches. X 

TX716A Explorer 100 series pocket transmitter. 16 

channels. X 

TX7256 Explorer 100 series pocket transmitter. 256 

channels. X 

MIPRO Electronics Co., Ltd 

ACT-51 Single-Channel Wireless Microphone System 

built to handle tough conds. X 

ACT-82 Encrypted wireless mic system 24-bit audio 

quality, 10 preset EQs, digital RF transmission, 

DigitnamicPlus tech, color VFD panel. X 

Neumann 

KK 104 S Live sound cardioid pattern. For Sennheiser SKM 

5200 and SKM 5000 N handheld transmitter. B 

KK 105 S Live sound supercardioid pattern. For 

Sennheiser SKM 5200 and SKM 5000 N. B 

Samson 

Airline 77 Wireless mics using Samson’s Airline technology 

(no need for beltpack). Hand-held, lavalier, 

headset, and guitar transmitter options. A 


A 1031-U Omni-directional passive remote antenna A 

A 12AD-UHF 

UHF directional antenna, integ. booster amp. B 

A 2003 UHF 

UHF passive wideband directional antenna. B 

A 5000CP Circular polarised antenna. B 

AC 2 Active 4:1 antennae combiner for evolution 

series IEM. A 

AC 3000 Active 8:1 Antennae combiner. C 

ASA 3000 Active antennae splitter, 2x1:8. C 

ASP 2 Active 1:4 antennae splitter for evolution series 

wireless. A 

EK 300 IEM G2 

Bodypack IEM rx with Focus mode. A 

EK 3041-U UHF miniature ‘slot-in’ diversity receiver. C 

EK 3052-U UHF miniature stereo pocket receiver. B 

EK 3053-U UHF stereo pocket receiver. B 

EK 3253-U UHF stereo pocket receiver. B 

EK 500 G2 Portable camera receiver. A 

EM 3031-U Single 1U, UHF diversity receiver. C 

EM 3032-U Twin 1U, UHF diversity receiver. D 

EM 3532-U Twin 1U, UHF diversity rec., selectable freqs. D 

EM 3731 Single 1U, UHF diversity receiver with 90MHz 

switching bandwidth. D 

EM 3732 Twin 1U, UHF diversity receiver with 90MHz 

switching bandwidth. D 

EM 3732 COM 

As EM 3732 but with command function. D 

EM 500 G2 True diversity Rackmount receiver. A 

EM 550 G2 True diversity twin receiver for professional 

multi-channel set-ups. C 

ew 112 G2 Theatre/Presentation system with rack-mount 

receiver, ME 2 clip-on mic. A 

ew 112-p G2 

Video recording system w/bodypack transmitter 

and camera receiver, ME 2 clip-on mic. A 

ew 122 G2 Stage production/presentation system with 

rackmount receiver, ME 4 clip-on mic. A 

ew 122-p G2 

Video recording system w/bodypack transmitter 

and camera receiver, ME 4 clip-on mic. A 

ew 135 G2 Vocal system with hand-held SKM 135 G2 

transmitter and rackmount receiver. A 

ew 135-p G2 

Vocal system with handheld SKM 135 G2 

transmitter and camera receiver. A 

ew 145 G2 Stage system with handheld SKM 145 G2 

transmitter and rackmount receiver. A 

ew 152 G2 Vocal headworn mic, rackmount receiver. A 

ew 165 G2 Live stage hand-held SKM 165 G2 with 

rackmount receiver. A 

ew 172 G2 RF wireless system for instruments. A 

ew 300 IEM G2 

Wireless monitoring system. B 

ew 312 G2 Theatre/Presentation system with rackmount 

receiver, ME 2 clip-on mic. B 

ew 322 G2 Stage production/presentation system with 

rackmount receiver, ME 4 clip-on mic. B 

ew 335 G2 Vocal system with handheld SKM 335 G2 

transmitter and rackmount receiver. B 

ew 345 G2 Stage system with hand-held SKM 345 G2 

transmitter and rackmount receiver. B 

ew 352 G2 Vocal headworn mic w/rackmount receiver. B 

ew 365 G2 Professional stage handheld SKM 365 G2 with 

rackmount receiver. B 

ew 372 G2 RF wireless system for instruments. B 

fp12 Affordable wireless presenter system. A 

fp12-H Wireless presenter/headworn system. A 

fp35 Affordable wireless vocal system. A 

fp72 Affordable wireless guitar system. A 

NET ONE BOX 

Network device for up to ten receivers 

(300/500G2 and 3000 Series) incl SW. B 

QP 3041 Quad-pack for housing up to four ‘slot-in’ 

receivers. C 

SK 3063-U UHF 30mW pocket transmitter. C 

SK 50-UHF-a 

UHF 50mW pocket transmitter. C 

SK 500 G2 Bodypack transmitter. A 

SK 5212-U UHF 30mW ultra-small pocket Tx. D 

SK250-UHF 

UHF 250mW pocket transmitter. D 

SKM 3072-U 

UHF hand-held transmitter with ME 3305 

Supercardioid vocal microphone head. C 

SKM 3072-U-X 

UHF hand-held transmitter with ME 3305 

Supercardioid speech microphone head. C 

SKM 5200-UHF 

UHF handheld transmitter body. C 

SKM 535 G2 Hand-held Tx ideal for speech and vocals. A 

SKM 545 G2 Super-cardioid handheld transmitter. A 

SKM 565 G2 Condenser super-cardioid hand-held 

transmitter. A 

SKM 935 G2 Professional cardioid hand-held radio mic for 

‘loud’ rock’n’roll stages. A 

SKM 945 G2 Professional super-cardioid hand-held radio 

microphone for loud rock’n’roll stages. A 

SKP 3000 Plug-in transmitter. B 

SKP 500 G2 

Plug-on transmitter with 48V phantom. A 

SR 300 IEM G2 

Rackmount IEM transmitter. B 

SR 3254-U Single UHF stereo transmitter. C 

SR 3256-U Dual UHF stereo transmitter. D 

SR 350 IEM G2 

Dual rackmount IEM transmitter. X 

Shure 

Performance Gear 

VHF system; fixed freqs; diversity reception. A 

Performance Gear UHF 

UHF system; UT1 bodypack Tx with 20dB pad; 

UT2 hand-held Tx UT4 diversity Rx with volume 

control, MARCAD reception. X 

PG Wireless 

VHF fixed frequency range. A 

Premier Wireless 

UHF frequency agile range. D 


Sennheiser Evolution G3 Series 

U4S, U4D UHF range; frequency agile; mic/line switch; 

multifunction display; two LEDs; tone key 

squelch; two 1/2 wave rubber antennae. C 

UA111 Software for Monitoring Shure U4D/U4S Wireless 

Receivers. Windows; RF, audio levels; battery 

power; frequency usage. A 

UA888 32 channels; audio level, RF, freq, diversity signal, 

battery level; A/B antenna. Group/channel. C 

UC Wireless System 

UHF system; frequency agile; UC1 bodypack 

Tx UC2 hand-held Tx; UC4 Rx with MARCAD 

Diversity reception, two-band EQ. X 

UHF-R/KSM9 

Wireless handheld mic built for vocals, KSM9 is 

sold as part of Shure’s UHF-R wireless system. C 

ULX Wireless 

UHF frequency agile range. B 

UP4 UHF system; PLL; Predictive Diversity; tone key; 

group, channel controls; dual antennae; camera 

mount; headphone jack. B 

VP3 Wireless receiver. Video. VHF frequency; ten 

freqs; mic level control; battery operated. A 

Trantec 

ACC/EARBUD 

Stereo earbuds (with foam tips and LF filters). A 

ASS/6KHH-BCON 

Condenser Capsule for S6000 CTX. A 

ASS/6KHH-BDYN 

Dynamic Capsule for S6000 DTX. A 

MIC Headworn and lavalier microphones in a variety 

of configurations with Hi-Q mic and mini XLR 

options. A 

S4.16-RACK 4x, 8x, and 12x S4.16 systems w/ADU, PSU, flight 

case. C 

S4.16 UHF 16-frequency transmitters and receivers in 

handheld (dynamic or condensor), lapel/guitar, 

and beltpack configurations. A 

S4.4 UHF 4-frequency transmitters and receivers in 

handheld (dynamic or condensor), lapel/guitar, 

and beltpack configurations A 

S4000IEM-1 UHF in-ear monitor system with single and twin 

receiver variations, and transmitter. A 

S5.3-RACK 4x, 8x, and 12x S5.3 systems w/ADU, PSU, flight 

case. D 

S5.3 UHF multi-frequency transmitters and receivers 

in handheld (dynamic or condensor), lapel/ 

guitar, and beltpack configurations. A 

S5.5-RACK 4x, 8x, and12x S5.5 systems w/ADU, PSU, flight 

case. E 

S5.5 UHF multi-frequency transmitters and receivers 

in handheld (dynamic or condensor), lapel/ 

guitar, and beltpack configurations. A 

S6000 Series 

4-way, 6-way, and 8-way systems. Inc.mainframe, 

RX modules, LTX, PC option.. E 

S6000CTX Handheld Tx (condenser capsule). C 

S6000DTX Handheld transmitter (dynamic capsule). C 

S6000E-MF RX mainframe (ex PC and RX cards). E 

S6000LTX Beltpack transmitter. C 

S6001E-L UHF lapel system. D 

S6001E-M UHF handheld system (dynamic). D 

S6001E-MC UHF handheld system (condenser). D 

S6001E-RX Single-channel, half-rack receiver. C 

S6002 UHF system (lapel, handheld) with dual RX and 

LTX. D 

Zaxcom 

TRX900 Series Digital Wireless 

Digital wireless mic system, optional internal 

backup recording and IFB. C

Location Recorders 

Fostex PD606 

Aaton 

Cantar Eight-track portable HD location recorder and 

mixer. Six tracks for direct recording, two for mix. 

Five mic ins, four line ins, four stereo AES I/O two 

stereo analogue outs. E 

Edirol 

R-09HR Hand-held, (AA) battery-powered, compact 

24-bit WAV/MP3 stereo recorder with built-in 

mics that takes standard SD cards. A 

R-4 Pro Four channel, 80GB HD location recorder. C 

R-44 Four ch, compact field recorder, SD card. A 

Fostex 

FR-2 Two-ch Compact Flash portable recorder. B 

FR-2LE Two-ch Compact Flash portable recorder. A 

FR2 Starter Pack 

FR2 with AD12-1300 PSU and carry case. B 

PD204 Two-track HDD/DVD-RAM portable recorder 

with four-channel analogue input. D 

PD606 Six-track HDD/DVD-RAM portable recorder. D 

HHB 

DRM85 FlashMic 

Omni recording mic with internal 1GB flash 

recorder; Records at 32, 44.1, and 48kHz (PCM) 

and MP2 MPEG encoded; USB output. B 

DRM85-LI Flashmic 

Special version of DRM85 omni-dir Flashmic w/ 

additional line input on bantam TT connector. 

Ideal for recording press conference feeds. B 

DRM85C FlashMic 

Cardioid recording mic with internal 1GB flash 

recorder; Records at 32, 44.1, and 48kHz (PCM) 

and MP2 MPEG encoded; USB output. B 

DRM85C-LI Flashmic 

Special version of DRM85 Cardioid Flashmic w/ 

additional line input on bantam TT connector. 

Ideal for recording press conference feeds. B 

PortaDrive 24-bit/96kHz eight-channel location recorder 

w/onboard digital mixer; removable HDD with 

simultaneous recording to an external device. E 

JOECO_ADSMALLHORZ.QXD 28/07/2009 10:12 AM Page 1 

Klark Teknik 

DN9696 96-channel 96kHz hard disk recorder. F 

Korg 

MR1 1-bit portable field recorder, supports MP3 to 

DSD formats, max sample rate 2.8Mhz, 20GB 

hard drive, w/Audio Gate archiving software. A 

MR1000 1-bit portable field recorder, supports MP3 to 

DSD formats, max sample rate 5.6Mhz, 40GB 

hard drive, w/ Audio Gate archiving software. B 

Marantz Professional 

CDR310 Portable CDR recorder, records MP3/AIFF/PCM, 

2GB internal HDD, XLR in. B 

PMD620 Handheld portable stereo PC card recorder, 

internal microphones, 3.5mm external mic 

input, line in/output, remote mic facility. A 

PMD661 Portable stereo PC card recorder, XLR mic/line 

input, phantom power, line out, SPDIF, USB 2, 

24/96 recording, large OLED display. B 

PMD671 Portable stereo PC card recorder, XLR input, 

line out, SPDIF, USB 2, 24/96 rec, 16-384 bit rate, 

confidence monitoring, shift time playback. B 

Maycom Audio Systems 

Maycom Easycorder 

Premium solid-state location audio recorder 

with onboard editing and ISDN comms. B 

Maycom Field Editor 

Fully-featured four-track audio editor on a 

256MB USB key. A 

Maycom HandHeld II 

Hand-held solid-state sound recorder. A 

Maycom MicTube 

Professional mic-to-line pre-amplifier for use 

with MP3 or MD recorders, or camcorders. A 

Maycom N>Trans 

Solid-state audio card to fit into PDAs or laptop 

PCs with two onboard pre-amps, AD/DA 

conversion, and headphone amp. A 

Nagra 

ARES-BB+ Portable stereo recorder. PCM or MPEG WAV files 

in 16/24 bits up to 48kHz on to Compact Flash, 

PCMCIA with built-in editing. C 

BLACKBOX RECORDER 

a multi-track for the 21st century 

CAPTURING LIVE PERFORMANCE 

24 TRACK • 24 BIT • 96kHZ 

www.CapturingPerformance.com 

Location Recorders Recorders 

ARES-ML Hand-held two-ch recorder; editing; 16-bit; 

MPEG. 2GB internal flash memory USB 2.0. A 

ARES-PII+ Hand-held stereo recorder. PCM or MPEG WAV 

files in 16/24 bits up to 48kHz on to Compact 

Flash, PCMCIA with built-in editing. C 

Nagra-LB Portable stereo recorder. PCM or MPEG WAV 

files in 16/24 bits up to 192kHz on to CF built-in 

editing, USB-2 bluetooth and Ethernet. C 

NAGRA-VI Linear 24/96, six-track, hard-disk @ CF location 

recorder. Four mic inputs, Time code, iXML, 

limiters colour screen, battery operated. D 

Olympus 

Olympus LS-10 Linear PCM Recorder 

High-end audio recordings no matter the time 

and place. Pocket-sized device. 1 

Rosendahl Studiotechnik 

BonsaiDRIVE 

Portable uncompressed video and ten-channel 

audio hard-disk recorder w/internal 500GB 

hard drive. Mains or battery powered versions. 

Optional SDI and LAN cards available. C 

SADiE 

LRX2 Powerful multi-channel recorder & editor, up 

to 64 channels via a MADI interface, or 48 with 

a choice of digital and/or analogue I/O cards. 

Uses USB2 enabled laptop/desktop PC. E 

Sound Devices 

702T The two-channel 702T is a powerful 

two-track file-based digital audio recorder 

with time code. C 

744T The 744T is a powerful, super-compact fourtrack 

file-based digital audio recorder. D 

788T The 788T recorder offers eight full-featured 

microphone inputs and eight tracks of 

recording within a lightweight, rugged and 

compact size. D 


DR-07 Affordable, compact handheld field recorder. A 

DR-1 Handheld field recorder for musicians. A 

DR-100 Handheld field recorder with XLR inputs. A 

GT-R1 Handheld field recorder for guitarists. A 

HD-P2 Hi definition field recorder. Direct to Compact 

Flash, up to 192k, 24-bit audio. B 

Distributed in the UK by 

Sound Technology Ltd 

• Capture live multi-track 

audio without taking a 

computer to the 

performance 

• Attaches to the insert 

points of any live mixing 

console 

• Records onto a regular USB 

drive. Over 20 hours of 24track 

material at 24 Bit / 

96kHz on a 500GB drive 

• Rack-mounted for easy 

installation 

• Simple user interface lets 

the live engineer focus on 

the mix 

• Fail safe features for secure 

audio capture 

• USB drive plugs straight 

into a Digital Audio 

Workstation for instant 

editing. No file transfer. 

No wasted time! 

Tel: 01462 480000 |info@soundtech.co.uk | www.soundtech.co.uk

Recorders Location Recorders - Multi-Track Recorders 

YELLOWTEC 

iXm iXm combines microphone and recorder in one 

unit. It offers exchangeable mic heads, simple 

and handy recording and overcomes memory 

and power limitations. B 

Zaxcom 

Fusion Audio Mixer/Recorder 

Fusion is a 16-channel mixer and eight-channel 

solid state location audio recorder. D 

Zoom 

Zoom H2 Zoom handy recorder. A 

Zoom H4N Zoom handy recorder and Cubase LE. A 

Multi-Track Recorders 

360 Systems 

DR600 Instant Replay 2 

Audio recorder with 24 hours of storage 

and over a 1000 sound bites available from 

illuminated Hot Keys on the front panel. C 

AMS-Neve 

CineFile 96kHz recorder/dubber in 48-/96-track blocks; 

drop in/out across all tracks (384 tracks 

controlled from one controller). F 

Fostex 

D2424LV 24-track hard-disk recorder with HD fitted. C 

DV824 DVD-RAM eight-track master recorder. D 

LR16 16/4/2 live mixer with CAT5 connected stage 

box and integral 16 TRK HD Recorder. C 

iZ Technology Corporation 

RADAR 24 Classic 

24-track HD recorder. Adrenaline recording 

engine. SCSI, SATA or PATA record drive, 24-ch 

48kHz Classic I/O, Ethernet, Native BWAV 

recording. KC-24 Controller. F 

RADAR 24 Classic Plus 



48kHz Classic I/O, Ethernet, Native BWAV 

recording. Session Controller and MB24. F 


Zoom H4n 

RADAR 24 Digital 



TDIF or Lightpipe I/O, Ethernet, Native BWAV 

recording. KC-24 Controller. F 

RADAR multi-track hard disk recorders 

24-channel digital recording system ‚ 24 

S-Nyquist 192 kHz analogue I/O E 

RADAR V Classic 

24-track HD recorder. Adrenaline Plus recording 

engine. SCSI, SATA or PATA record drives, 24-ch 

48kHz Classic I/O, Gig Ethernet, Native BWAV 


RADAR V Digital 



AES I/O, Gig Ethernet, Native BWAV recording. 

Session Controller and MB24. F 

RADAR V Nyquist 



96kHz Nyquist I/O, Gig Ethernet, Native BWAV 


RADAR V S-Nyquist 



192kHz S-Nyquist I/O, Gig Ethernet, Native 

BWAV recording. Session Controller and MB24. F 

JoeCo Limited 

BlackBox Recorder - BBR1 

24-track audio recorder for live performances. C 

BlackBox Recorder - BBR1-A 

24-track audio recorder for capturing live 

performances. ADAT I/O. D 

BlackBox Recorder - BBR1-B 


performance. Balanced I/O. D 

BlackBox Recorder - BBR1-D 


performances. AES/EBU I/O. D 

Korg 

D888 Eight-track digtal recorder with mixer, analogue 

interface, eight-track simulatneous record, 8XLR 

i/ps, 40GB hard drive, data rec in WAV format. A 

Sonifex 

DS-STU3 D:Scribe standalone transcription software with 

foot-pedal. A 

DS-SVR D:Scribe server server transcription software. C 

Net-Log-01 Net-Log four-channel audio logger. D 


2488 NEO PortaStudio 

24-track hard disk recorder with CD burning 

features and mastering. B 

DP004 PocketStudio 

Four-track portable multi-track. A 

DP02 PortaStudio 

Eight-track hard disk multi-track recorder with 

CD burning features. A 

DP02CF PortaStudio 

Eight-track multi-track recorder, direct to 

Compact Flash. A 

X-48 48-track hard disk recorder. Direct to broadcast 

Wave recording. D 

Zaxcom 

Deva Hard Disk Audio Recorder 

Deva is a 10 or 16 track hard disk recorder for TV 

and film production. E 

Zoom 

Zoom MRS8 

Zoom multi-track recording studio. A 

Zoom RT223 

Zoom drum and bass rhythm track. A 

Zoom R16 Zoom recorder interface controller. A

C a p t u r e y o u r a r t w i t h 

new 

DR-100 

confidence. 

Trust TASCAM 

Portable recorders 

The DR-100 uses high-quality AKM digital converters to capture its great-sounding 

mic preamp at 96kHz/24-bit resolution. The solid metal chassis, four microphones and 

XLR inputs are ready for whatever the road throws your way. It even has dual battery 

compartments so you won’t miss a beat. 

Step up to TASCAM reliability with the DR-100. 

For more info call Peter on 01923 438880 

e mail info@tascam.co.uk or visit www.tascam.co.uk 

DP-004 DP-02CF DP-02 2488neo 

DR-07 

DR-1 

GTR-1 

HDP-2

The Dial and Beyond 

Profi t from what’s now—and what’s next. 

Today, the world of radio faces challenges unique 

in complexity, intense in diffi culty and great in 

number. Competition for ad dollars and a weakened 

economy call for unprecedented new technology, 

upgraded innovation and dynamic new business 

strategies to drive the industry forward. Today the 

question remains… What can be done with 

the technology of tomorrow? 

Go beyond the dial with your peers at the NAB Radio 

Show ® and declare today as an industry reinvention. 

Learn how to survive a rapidly arriving new media 

landscape, fi ght for tomorrow’s listeners and profi t 

from a future still to be written. 

Join the revolution. 

Register at www.nabradioshow.com 

Add to the conversation on Twitter at #radiorevolution! 

September 23 – 25, 2009 

Pennsylvania Convention Center, Philadelphia 

www.nabradioshow.com

About the descriptions 

The product descriptions in this guide are subject to a 

character limit, and therefore are not comprehensive 

– simply a ‘guide’. Do not consider the descriptions as 

wholly inclusive guides to facilities, functionality, or 

options associated with any product. 

Omissions And Errors 

While we make every effort to ensure that the information 

in this guide is accurate, there may be errors and omissions. 

We therefore request that any manufacturer 

representatives contact us if any error occurs and we 

will of course correct it immediately. For addendum’s 

or corrections, please visit the Audio Media website at 

www.audiomedia.com 

Information Sources 

In most cases, the products listed and their descriptions 

have been updated, checked, and approved by the 

manufacturers or their appointed representatives - this 

accounts for over 90 percent of the guide. In cases 

where manufacturers have not responded to requests 

for information we have either included the appropriate 

listing from the 2007 edition of the guide, sourced 

information from previous issues of Audio Media, or 

have omitted that manufacturer’s listing in part, or 

in full. 

Two-Track Recorders 

AEQ 

AEQ PAW 120 2 GB 

The smallest Pro Digital Audio Recorder for 

fieldwork, built-in mic and speaker. A 

Fostex 

CR500 CD Master recorder featuring BWF recording 

with support up to 24-bit/96kHz. A 

UR2 UR-2 stereo recorder/player with 2x SD card 

slots, USB host connector, and mic mixing. B 

HHB 

CDR-882 Dual drive CD recorder, low error rate, 

audiophile performance. Analogue, SPDIF, and 

AES/EBU I/O with 24-bit conversion. B 


Microtrack II 

Updated two-channel WAV and MP3 recorder 

with USB 2.0, BWF support, analogue limiter, 

balanced ins. and SPDIF. A 


PMD560 1U, stereo PC card recorder, unbal I/O, RS-232. A 

PMD570 1U, stereo PC card recorder, XLR line in, 

unbalanced I/O, digital I/O, RS-232. B 

PMD580 1U, stereo PC card recorder, networked, web 

remote, auto archive,XLR line in/out, unbal I/O, 

AES/EBU I/O, SPDIF I/O, RS-232. B 

RSS by Roland 

AR 200R Recorder 

Two track audio and MIDI rec to CF card. Feat. 

RS232, Logic, MIDI, and Contact Closure control 

for remote control and message assembly. B 

AR3000 Recorder 

Two track audio and MIDI rec to CF card. TCP/IP, 

RS232, Logic, MIDI and Contact Closure control 

for remote control and message assembly. C 


CC222SL 3U cassette and CD recorder and playback. 

Features dubbing from tape/CD and vice 

versa. B 

CD-01U 1U CD playback. A 

CD-01U Pro 

1U CD playback, balanced outputs, AES. B 

CD-200 2U CD playback. A 

JoeCo BlackBox 

Multi-Track Product title here Recorders - Two-Track Recorders Recorders 

CD-355 3U, five disc CD Player. Playback of audio CDs 

and MP3 discs. Balanced analogue and digital 

outputs. A 

CD-A550 3U cassette recorder with CD playback. B 

CD-A750 Cassette recorder with CD playback. Balanced 

I/O. B 

CD-RW 900 SL 

2U CD Recorder. 24-bit A/D D/A convertors, 

input sample rate conversion (32k ‚Äì 48k). 

Playback of MP3s. B 

CD-RW 901 SL 

2U CD recorder with balanced I/O, AES I/O, 

RS232 and parallel control. B 

DVRA1000HD 

Hi Definition PCM and DSD Recorder. Direct to 

DVD or Hard Disk. C 

HDR1 1U Solid state recorder/player with Ethernet 

control and file management. CF and USB, line 

and mic, balanced and digital I/O. B 

MD-350 MD recorder/player. B 

All-in-One 16:4:2 Digital Mixing and 16-Track Multitrack Recording 

LR16 

Live Recording Mixer 

CAT-5 

DIGITAL 

MULTCORE 

The new Fostex LR16 is a clever all-in-one solution integrating a flexible, 

feature-rich live digital mixer with a full-specification 16-track Multitrack 

Hard Disc Recorder and CAT-5 Digital Multicore. 

A totally new concept, this easy-to-use audio tool can serve as a FOH or 

on-stage mixer and is ideal for schools, houses of worship, clubs, coffee 

houses, project studios, mobile recording and rental sound/recording, etc. 

- In fact any application where flexibility of use is important. 

Also Available: LM16 - Live Mixer Model - see online for more information 


MD-CD1 MK2 

MD recorder with CD playback. B 

SS-CDR1 1U rackmount CD recorder and solid state 

recorder. Copy from CD to CF or vice versa. 

Balanced and digital I/O. B 

SS-R1 1U rackmount solid state recorder. Balanced I/O 

and digital I/O. B 

Yamaha 

POCKETRAK CX 

Digital pocket recorder with 2GB micro SD card, 

stereo microphone (X-Y pattern) and bundled 

with Cubase AI4 DAW software. A 

POCKETRAK 2G 

Digital pocket recorder with 2GB memory, 

stereo omni-directional microphone, 

rechargable battery, leather carry case and 

Cubase AI4 DAW software included. A 

Zaxcom 

ZFR100 Audio Recorder 

Body-pack styled audio recorder with time 

code, also availabe as a 2-track recorder. A 

www.fostex.jp 

Fostex Company, 3-2-35 Musashino, 

Akishima, Tokyo, Japan 196-0021 

Email: info_sales@fostex.jp 

67

Monitors Full Range Monitors 

Full Range Monitors 

ADAM Audio 

A5 Two-way, active nearfield monitor with 5.5-inch 

woofer, folded ribbon tweeter and room EQ. A 

A7 Two-way, active nearfield monitor, seven-inch 

woofer, folded ribbon tweeter and room EQ. A 

MP-1 Active monitor with 12-inch Hexacone Nomex 

woofer, twin six-inch ceramic cone mid-range, 

folded ribbon midrange and tweeter. F 

P11-A Active nearfield with seven-inch Nomex woofer, 

accelerated ribbon technology folded ribbon 

tweeter, room EQ and gain. X 

P22-A Two-way, active nearfield monitor with nineinch 

Nomex woofer, folded ribbon tweeter, 

room EQ and gain. C 

P33-A Magnetically shielded three-way active bass 

reflex speaker with one 182mm driver a ribbon 

tweeter handles the for the highs. X 

S2X Two-way, active nearfield monitor with seveninch 

woofer, X-ART tweeter and EQ. D 

S3X-H Three-way active studio monitor with 2x nineinch 

woofer, 4.5-inch mid-range, X-ART tweeter, 

gain and room EQ. D 

S3X-V Three-way active studio monitor with nine-inch 

woofer, 4.5-inch mid-range, X-ART tweeter, gain 

and room EQ. D 

S4X-H Three-way, active monitor, 2x nine-inch woofer, 

six-inch mid-range, X-ART tweeter, gain and 

room EQ. D 

S4X-V Three-way active monitor, 12-inch woofer, sixinch 

midrange, X-ART tweeter, gain, room EQ. D 

S5-A Three-way, active monitor twin 11-inch woofers, 

twin folded ribbon mid-range drivers and 

ribbon tweeter, plus room EQ. E 

Avantone 

Mixcubes Shielded, full-range mini-reference passive 

studio monitors. A 

Mixcubes Shielded, full-range mini-reference active studio 

monitors. A 

Blue Sky 

Big Blue Three-way, tri-amplified SAT 12 satellites with a 

1000W SUB 15 Universal subwoofer to deliver 

clean and accurate power. D 

EXO Stereo monitoring system, combining true, 

full-range monitoring with the convenience of a 

desktop remote control hub. A 

Media Desk 

Delivers accurate, full-range monitoring to the 

desktop, and is optimised for computer-driven 

audio recording and production. A 

ProDesk Full-range 2.1 monitoring system designed for 

critical desktop mixing and monitoring. B 

Sat 2.65 Individual satellite monitor with dual 6.5 woofer 

and 1-inch tweeter. B 

Sat 8 Two-way, 8-inch woofer, 1-inch tweeter. B 

Sky System One 

Delivers full-range audio; THX pm3-approved for 

use in THX pm3-certified studios. B 

Sub 212 

Individual subwoofer, dual 12-inch woofers. B 

Blue Sky Sat 8 

Three way, tri-amplified, 300 watt mid-field 

monitor 8-inch hemispherical woofer, 4-inch 

hemispherical midrange, and a 1-inchdual 

concentric tweeter. X 

DAS 

MONITOR 6 

Two-way passive studio monitor with 6.5-inch 

LF and 0.75-inch HF transducer. A 

MONITOR 8 

Two-way passive studio monitor with eight-inch 

HF and 0.75-inch HF transducer. A 

68 

Digidesign 

RM1 Professional, bi-amplified monitor with 

analogue and digital inputs (up to 

24-bit/96kHz), ATL technology, and powerful 

onboard DSP, 5.5-inch LF driver one-inch HF 

driver. B 

RM2 Pro, bi-amplified monitor, analogue/digital 

inputs (24-bit/96kHz), ATL technology, onboard 

DSP, 6.7-inch LF driver one-inch HF driver. C 

Edirol 

MA-15D 15W + 15W powered monitors. S/PDIF. A 

MA-15DBK 15W + 15W powered monitors. S/PDIF. A 

MA-7A 7W + 7W powered monitor speakers. A 

MA-7ABK 7W + 7W powered monitor speakers. A 

Event Electronics 

OPAL Bi-amplified direct field monitors. Eight-inch EX8 

LF driver and one-inch ULD1 beryllium copper 

tweeter. LF amp has 600 watts burst power, 

HF amp has 140 watts burst power. Frequency 

response 20Hz to 20kHz. D 

Exigy Ltd 

515 High power, ported, direct radiator one by 15 

three way monitor system. Includes networked 

DA4800 amplifiers with integrated 24/96 DSP 

providing separate channels for each driver and 

fully active crossovers. F 

S412G Very high power, non-ported, four by 12 four 

way, direct radiator monitor system. Includes 

networked DA4800 amplifiers with integrated 

24/96 DSP providing separate channels for each 

driver and fully active crossovers. F 

FAR 

AV-100D Digital (24-bit/96kHz) farfield active (550W) 

three-way with quadruple 10-inch woofer, 

double five-inch midrange, 2.5-inch tweeter. D 


three-way monitor with 10-inch woofer, fiveinch 

midrange, and 2.5-inch tweeter. C 



midrange, and 2.5-inch tweeter. C 


three-way monitor with double 10-inch woofer, 

five-inch midrange, and 2.5-inch tweeter. D 

AV-8D Digital (24-bit/96kHz) midfield active (350W) 

two-way, 10-inch woofer, 2.5-inch tweeter. C 

AV2D Digital (24-bit/192kHz) nearfield active (200W) 

two-way, six-inch woofer, 2.5-inch tweeter. B 


two-way, six-inch woofer, 2.5-inch tweeter. B 


two-way, eight-inch woofer, 2.5-inchtweeter. B 


two-way, eight-inch woofer, 2.5-inch tweeter. B 

MFE 115 Digital (24-bit/96kHz) farfield active (500W) 

two-way monitor with single 15-inch woofer, 

and wide and large ribbon tweeter.Lowest 

frequency 35 Hz higher frequency 35Khz. C 

MFE 215 Digital (24-bit/96kHz) farfield active (500W) 

two-way monitor with double 15-inch woofer, 

and wide and large ribbon tweeter.Lowest 

frequency 35 Hz higher frequency 35Khz. C 

OBS1 Shielded two-way active nearfield monitor with 

5.5-inch woofer and 2.5-inch tweeter. A 

XM-10D Digital (24-bit/192KHz) midfield active (500W) 


midrange, and 2.5-inch tweeter. Innovative 

front design to improve LF reproduction. D 

XM-10D Digital (24-bit/192KHz) midfield active (500W) 

three-way monitor, 10-inch woofer, five-inch 

midrange, and 2.5-inch tweeter with innovative 

front design to improve LF reproduction. D 

XM-6D Digital (24-bit/192kHz) nearfield active (250W) 

three-way monitor with six-inch woofer, fiveinch 


front design to improve LF reproduction. B 


three-way monitor, six-inch woofer, five-inch 


front design to improve LF reproduction. B 


three-way monitor with eight-inch woofer, fiveinch 


front design to improve LF reproduction. C 


FAR XM10 


three-way, eight-inch woofer, five-inch 



XMG-2D Digital (24-bit/96kHz) farfield active (1300W) 

three-way monitor with double 15-inch woofer, 

one eight-inch midrange, and wide and large 

ribbon tweeter. 15Hz-35Khz. D 

Focal Professional 

CMS 50 Two-way speaker. Al/Mg inverted dome 

tweeter, 5-inch Polyglass cone woofer, 50W + 

80W rms built-in amps. 55Hz-28kHz. A 

CMS 65 Two-way speaker. Al/Mg inverted dome 

tweeter, 6.5-inch Polyglass cone woofer, 60W + 

100W rms built-in amps. 45Hz-28kHz. A 

SM11-L Three-way digital left channel speaker. Pure 

Beryllium inverted dome tweeter, 6.5-inch mid, 

11-inch woofer. 100+150+250W rms built-in 

amps. 34Hz-40kHz. D 

SM11-R Three-way digital right channel speaker. Pure 


11-inch woofer. 100+150+250W rms built-in 

amps. 34Hz-40kHz. D 

SM8 Two-way digital speaker. Pure Beryllium inverted 

dome tweeter, 8-inch sandwich cone woofers. 

100W + 200W rms built-in amps. 45Hz-40kHz. C 

Solo6 Be Two-way speaker. Pure Beryllium inverted dome 

tweeter, 6.5-inch sandwich cone woofer. 100W 

+ 150W rms built-in amps. 40Hz-40kHz. B 

Twin6 Be Two-1/2-way speaker. Pure Beryllium inverted 

dome tweeter, 2x 6.5-inch sandwich cone 

woofers. 100W + 2x 150W rms built-in amps. 

40Hz-40kHz. B 

Fostex 

6301B/BX 10cm powered monitor. A 

6301D 10cm powered monitor with AES/EBU input. A 

NX-5A Five-inch high resolution nearfield studio 

monitor. A 

NX-6A 6.5-inch high res nearfield studio monitor. B 

PM0.4 Powered (36W) studio monitor. A 

PM0.5MKII Powered (70W) studio monitor. A 

PM1MKII Powered (120W) studio monitor. A 

PM2MKII Powered (240W) studio monitor. A 

PMSUBMKII Powered (110W) subwoofer for PM0.5 and PM1 

with 22Hz to 90Hz frequency response. A 

RM-2 Rack mount stereo powered monitor system. A 

Genelec 

1032A Two-way, active nearfield monitor with 250mm 

LF and 25mm HF drive units, integrated 

crossover, plus 180W and 120W amps. C 

1034B Three-way main control room active monitor 

with dual LF, MF and HF drive units, plus rackmounted 

crossovers. E 

1034BC Three-way active centre control room monitor 

dual LF, MF, and HF drive units, rack-mounted 

crossovers, and room response controls. E 

1035B Three-way main monitor with dual 385mm LF, 

130mm MF, and 25mm HF drive units, plus rackmounted 

crossovers. G 

1036A Three-way main monitor with dual 460mm LF, 

MF, and HF drive units, rackmounted crossovers, 

and room response controls. G 

1037C THX pm3-certified three-way, active midfield 

monitor with magnetically-shielded 300mm LF, 

130mm MF, and 25mm HF drive units. D 

1038B THX pm3-certified three-way active nearfield 

monitor with dual LF, MF, and HF drive units, 

plus rackmounted crossovers. D 

1038BC THX pm3-certified centre channel three-way 

active nearfield monitor with dual LF, MF, and 

HF drive units, plus rackmounted crossovers. D 

1039A Three-way main monitor with dual 385mm 

LF, 130mm MF, and 25mm HF drive units, plus 

rackmounted crossovers. E 

6010A Compact, two-way, active desktop monitor with 

76mm LF and 19mm HF drive units, integrated 

crossover, and dual 12W amps. A 

8020A Compact, two-way, active nearfield monitor 

with 105mm LF and 19mm HF drive units, 

integrated crossover, and dual 20W amps. A

Monitors Full Range Monitors 

8030A Compact, two-way, active nearfield monitor 

with 130mm LF and 19mm HF drive units, 

integrated crossover, and dual 40W amps. A 



crossover, and 90W and 60W amps. B 



crossover, and dual 120W amps. B 

8130A Compact, two-way, digital active monitor with 

130mm LF and 19mm HF drive units, AES/EBU 

digital input, and dual 40W amps. B 

8240A Two-way, active nearfield monitor (as 8040A) 

with analogue XLR and AES/EBU input, plus DSP 

software interface. B 

8250A Two-way, active nearfield monitor (as 8050A) 

with analogue XLR and AES/EBU input, plus DSP 

software interface. C 

8260A Three-way, active nearfield DSP monitor. X 

Grover Notting 

CR-1 & CR-2 

A new range of pro cross ref monitors 

developed to offer true replication of typical 

sonic performance of domestic appliances. 

Robust design, for all pro audio applications. A 

Hot House 

ARM 265 Two-way bi-amplified (500W) D’Appolito Virtual 

Point Source active reference monitor: twin 6.5inch 

woofers; one-inch recessed dome tweeter; 

30Hz-21.5kHz. D 

HOS 115 Three-way, tri-amped, high-output modular 

main monitor system with 15-inch proprietary 

MF driver, one-inch HF driver on proprietary 

wide dispersion horn, and choice of subwoofers; 

8Hz-24kHz freq response. Peak SPL: 138dB. G 

70 

HOS 115C Three-way, tri-amped, high-output modular 

main monitor system. 15-inch coaxial MF/ 

one-inch HF drivers, and choice of subwoofers; 

8Hz-24kHz freq response. Peak SPL: 138dB. G 

MRM 250 Master reference monitor sold as package with 

Model Two Thousand amp, SBX controller, 

choice of subs; 8Hz-46kHz freq response. F 

PRM 165 Two-way passive shielded nearfield reference 

monitor with 6.5-inch woofer, and one-inch 

recessed dome tweeter; 49Hz-20kHz. B 

SD 312, SB 412 

Full-range monitor and subwoofer package 

with tri-amped main monitor; HF/MF coax @ 

1200w/1400w, Mid-bass 3x12-inch @ 3840w, 

Sub 4x 12-inch @ 5120w, 137-139dB SPL, System 

peak SPL exceeds 146dB. G 

JBL 

LSR2325P Bi-amplified studio monitor with JBL Linear 

Spatial Reference. Five-inch LF driver and oneinch 

silk-substrate soft dome HF transducer. EOS 

waveguide with elliptical aperture. 85W RMS. A 

LSR2328P Bi-amplified studio monitor, JBL Linear Spatial 

Reference. Eight-inch LF driver, one-inch 

silk-substrate soft dome HF transducer. EOS 

waveguide, elliptical aperture. 160W RMS. A 

LSR4328P Bi-amped monitor, DSP room mode correction 

system. Eight-inch LF driver, one-inch HF soft 

dome tweeter. 150W LF, 70W HF. XLR and 1/4inch 

analogue, AES/EBU and S/PDIF inputs. Front 

panel output level meter/user controls. Harman 

HiQnet network and USB connections. B 

LSR4526P Bi-amped monitor, DSP room mode correction 

system. Six-inch LF driver, one-inch HF soft 

dome tweeter. 150W LF, 70W HF. XLR and 1/4inch 

analogue, AES/EBU, S/PDIF inputs. Front 

panel output level meter, user controls. Harman 

HiQnet network and USB connections. B 


Focal CMS 50s 

LSR6325P Compact bi-amped two-way nearfield. 5.25inch 

LF transducer. One-inch composite HF 

transducer. 100W RMS (LF), 50W RMS (HF). 

Active drive electronics for spectral balance 

adjustments. Fully shielded. B 

LSR6328P Bi-amped two-way monitor. Eight-inch 

differential drive woofer with dynamic braking. 

One-inch composite HF transducer. 250W RMS 

(LF), 120W RMS (HF). RMC room correction. 

Three boundary compensation settings. C 

LSR6332 Three-way midfield monitor. Twelve-inch 

neodymium woofer, five-inch neodymium 

midrange driver, one-inch titanium HF 

transducer mounted on EOS Waveguide. Fourth 

order Linkwitz-Riley crossover. Dual pairs of fiveway 

binding posts, bi-wire capability. C 

Klein + Hummel 

M 52 Active Control Monitor, 3-inch driver, 

magnetically shielded, analogue/digital inputs, 

mains/battery (12-20 V) supply, 1.8 litres, 40W. A 

O 110 Active nearfield monitor, 5.5-inch + 1-inch 

drivers, magnetically shielded, analogue/digital 

inputs, 6.5 litres, 80 + 80W, 107.7dB SPL, 56-24. A 

O 300 Active nearfield monitor, 8-inch + 3-inch + 

1-inch drivers, magnetically shielded, analogue/ 

digital inputs, 18.3l, 250+75+ 110 W, 112.8dB S. 

C 

O 410 Active midfield monitor, 10-inch + 3-inch + 

1-inch drivers, magnetically shielded, optional 

digital input, 42 litres, 400 + 190 + 210W, 

120.0dB SPL. D 

O 500 DSP active main monitor 12-ich + 3-inch + 

1-inch drivers, magnetically shielded, analogue 

and digital inputs, 80 litres, 500 + 280 + 360W, 

123.4dB SPL. E 

P 110 Passive nearfield Monitor, 5.5-inch + 1-inch 

drivers, magnetically shielded, 6.5 litres, 80 + 

80W, 111.5dB SPL, 72-24kHz. A 

KRK 

Expose E8B Flagship main monitor. C 

KRK10S Powered 10-inch subwoofer. A 

R6 Passive monitor with six-inch driver and 

neodymium tweeter. X 

Rokit 5 G2 Bi-amped nearfield powered monitor with fiveinch 

woofer. A 

Rokit 6 G2 Bi-amped nearfield powered monitor with sixinch 

woofer. A 

Rokit 8 G2 Bi-amped nearfield powered monitor with 

eight-inch woofer. A 

RP5 G2 Active monitor with five-inch driver and 

neodymium tweeter. A 

RP6 G2 Active monitor with six-inch driver and 


RP8 G2 Active monitor with eight-inch driver and 


VXT4 Active curved design monitor with four-inch 

Kevlar driver. A 

VXT6 Active curved design monitor with six-inch 


VXT8 Active curved design monitor with eight-inch 



DSM1 Monitor 

Hig res DSP ref monitor, 6.5-Inch LF driver. B 

DSM2 Monitor 

High res DSP ref monitor, eight-Inch LF driver. B 

DSM3 Monitor 

High res DSP studio, dual 6.5-Inch LF drivers. B 

EX66 Reference Monitor 

Pro high-res active MTM reference monitor. A 

Studiophile AV 20 Portable Speakers 

Portable desktop active (10W) speaker system, 

optimised for computer audio. A 

Studiophile AV 30 Compact Desktop Speakers 

Portable desktop active (10W) speaker system, 

optimised for computer audio. A

Monitors Full Range Monitors PMC IB2S 

Studiophile AV 40 Professional Multimedia Speakers 

Pro active (20W-per-ch) ref. speaker system, 

four-inch woofers, for computer audio. A 

Studiophile BX5a Deluxe 

Upgraded two-way 70W powered monitor, new 

five low-frequency drivers, curved Kevlar cones, 

high-frequency drivers w/natural silk domes, 

integrated waveguides/magnetic shielding. A 

Studiophile BX8a Deluxe 

Internally and cosmetically upgraded two-way 

130W powered monitor with new eight Kevlar 

low-frequency drivers and 1.25-inch waveguideloaded 

high-frequency drivers. A 

Studiophile CX5 Monitor 

Five-inch driver high-res active studio ref. B 

Studiophile CX8 Monitor 

Eight-inch driver high-res active studio ref. B 

Mackie 

HR624mk2 6.7-inch HR824mk2 high-resolution active studio 

reference monitor. A 

HR824mk2 8.75-inch HR824mk2 high-resolution active 

studio reference monitor. B 

MR5 Studio Montiors 

5.25-inch MR5 Mackie reference monitor. A 

MR8 Studio Monitors 

Eight-inch MR8 Mackie reference monitor. A 

MC2 Audio 

F11 Self-powered monitor with one-inch soft dome 

tweeter and 6.5-inch bass driver. A 

S6 Self-powered nearfield monitor with one-inch 

soft dome tweeter and five-inch bass driver. A 

S7 Self-powered nearfield monitor with one-inch 

soft dome tweeter and 6.5-inch bass driver. A 

VS2108 Self-powered, two-way nearfield and midfield 

monitor with one-inch soft dome and eightinch 

bass driver. B 

VS3208 Self-powered, three-way with dome tweeter, 

two soft dome mid drivers, eight-inch LF. C 

Meyer Sound 

HD-1 Powered, high definition, nearfield monitor. D 

HM-1S Powered studio monitor. X 

X-10 Two-way, 15-inch woofer, four-inch voice coil, 

four-inch HF compression driver. 16Hz-20kHz. F 

X-10RBS X-10 studio monitor with RMS, black satin. F 

Miller and Kreisel Professional 

MPS-1510 Compact nearfield two-way monitor. X 

MPS-1520 Horizontal profile centre, main or surround. X 

MPS-1525 Compact triple surround speaker. X 

MPS-1610 Precision two-way mid to nearfield. X 

MPS-1611P Two-way precision near-to-mid field monitor for 

stereo and multichannel. Backfire Flared Tuned 

Bass Port. Removable sub/no sub use. X 

MPS-1625P Tri-amplified tripole surround speaker. X 

MPS-2510 Precision near to mid-field. X 

MPS-2510P Ultra-precision bi-amplified near to mid-field 

powered monitor. X 

MPS-2525P Tripole surround speaker. X 

MPS-2550 Compact high-output mid to far field. X 

MPS-300 Soffit or wall mount main/surround unit. X 

Mission Professional 

SM6A Six-inch active nearfield monitors. B 

SM6P Passive nearfield studio monitors. A 

Mitchell and Todd Reference 

Monitors 

101A Active compact reference monitor, shielded; 

SIMPLY BETTER 

ThE new IMPROVED DB1S-AII & TB2S-AII 

The new upgraded versions have improved transparency, 

dynamics, power and resolution with the addition of PMC’s 

stunning new DS-001, a 200W cutting edge ultra low distortion 

TM 

power module. The combination PMC’s technology and 

The eminent critics of the original models said: 

“It’s hard to find fault with the combination in any way at all” - 

Sound on Sound 

“Sonically, these speakers are all class” - 

Audio Technology 

“Stunning doesn’t even come close” - 


Advanced Transmission Line 

the new huge clean power reserve is unbeatable for all critical 

monitoring situations. 

Go to WWW.DB1S-Aii.COM or WWW.TB2S-Aii.COM 

TM 

Advanced Transmission Line 

with 1x 80W 1x80W RMS amps, polypropylene 

bass driver, 28mm tweeter. C 



bass driver, 28mm tweeter. C 



bass driver, and 28mm tweeter. D 

Munro Acoustics 

C3A Compact main monitor system designed for 

mastering and critical post-production. E 

C4 Three-way active/passive monitor system 

external frequency dividers/power amp. F 

M3F THX-approved three-way active/passive monitor 

system employing external frequency dividers 

and power amplification. E 

M4 Active main monitor available in three- or fourway 

systems based on four 12-inch bass drivers; 

various mid and high configurations. F 

Musikelectronic-Geithain 

MO-1 Two-way bi-amped active studio nearfield 

monitor. Bass reflex. 100Hz-20KHz. 100mm 

(4-inch) woofer. B 

MO-2 Two-way bi-amped active studio nearfield 

monitor. Bass reflex. 46Hz-20KHz. 160mm (6.3inch) 

woofer. C 

RL 901K Three-way tri-amped active studio monitor. 

Low distortion cardioid bass characteristic with 

excellent suppression of room modes. 400mm 

(15.75-inch) woofer 25Hz-20KHz D 

RL 906 Two-way bi-amped active studio nearfield 

monitor. Top ported. B 




DB1S-AII TB2S-AII 


Monitors Full Range Monitors - Sub Woofers Unity Audio’s The Rock 

(11.8-inch) woofer 30Hz-20KHz. D 




(10.2-inch) woofer 35Hz-20KHz. D 




(8-inch) woofer 35Hz-20KHz. D 

NHT 

M00 Two-way active near field monitors 75Watt RMS, 

98Hz-20kHz, cast aluminium/zinc alloy body A 

PMC 

AML1 Two-way active monitor with PMC’s six-inch 

carbon fibre/Nomex flat piston woofer, 34mm 

soft dome tweeter, and Bryston-designed 

crossovers and power amps; 25Hz-25kHz. D 

BB5 Three-way passive monitor with 15-inch radial 

woofer, three-inch fabric midrange, and oneinch 

silk dome tweeter; 17Hz-25kHz. E 

BB5-A Three-way active monitor with 15-inch radial 

woofer, three-inch fabric midrange, one-inch 

silk dome tweeter, and Bryston crossovers and 

power amps; 17Hz-25kHz response. G 

BB5XBD-A Three-way active monitor with 15-inch radial 

woofer, three-inch fabric midrange, PMC’s 

34mm soft dome HF, and Bryston-designed 

crossovers and power amps; 17Hz-25kHz. G 

DB1S-AII Two-way active, 140mm LF driver, 27mm softdome 

tweeter, PMC 200W digital amplifier. C 

DB1S+ Two-way bi-wirable/bi-ampable, passive, 

140mm LF/27mm soft dome HF; 50Hz LF. B 

IB1S Three-way studio monitor with 10-inch carbon 

fibre/Nomex piston LF, three-inch doped fabric 

mid, and 27mm soft dome HF; 25Hz-25kHz. D 

IB1S-A Flexible three-way monitor seen in mastering, 

broadcast, and post production in either stereo 

or surround when partnered with dedicated 

centre channel and SB100 sub bass system. E 

IB2S Three-way monitor with 27mm silk dome 

HF, PMC’s 75mm soft dome mid, and 10-inch 

carbon fibre/Nomex piston LF; 25Hz-25kHz. D 

IB2S-A Activated version of IB2S, Bryston Powerpack 

PP300. PMC 75 large soft dome mid range unit 

which increases definition and clarity to the 

level of larger monitors in the range. D 

MB2S Three-way passive monitor with 12-inch radial 

woofer, three-inch fabric mid, and 27mm soft 

dome HF housed in a 3/4-inch MDF cabinet. E 

MB2S-A Three-way active monitor with 12-inch woofer, 

three-inch soft dome mid, 34mm soft dome 

tweeter, and Bryston-engineered electronics. F 

MB2SXBD-A 

Three-way active monitor with 2x 12-inch radial 

woofers, PMC’s three-inch soft dome MF, 34mm 

soft dome tweeter, and Bryston electronics. G 

TB2S-AII Two-way active monitor with 170mm LF driver 

and 27mm soft-dome tweeter powered by a 

PMC 200W digital amplifier. C 

TB2S+ Two-way monitor with 165mm LF driver and 

27mm soft dome HF; 40Hz-25kHz. B 

PSI Audio 

A14-M Nearfield active monitor loudspeaker: 104mm 

bass/mid driver and high-precision 20mm 

tweeter. 56Hz-22kHz response. Very accurate 

+/-2.5dB tolerance over the frequency. B 

A17-M Nearfield active monitor loudspeaker: 150mm 



+/-2.5dB tolerance over the frequency. B 

A21-M Near/midfield active monitor loudspeaker: 

170mm bass/mid driver and high-precision 

25mm tweeter. 40Hz-23kHz response. Very 

accurate +/-2dB tolerance over the frequency. C 

A214-M Centre real symmetrical active monitor: 104mm 



+/-2dB tolerance over the frequency C 

A25-M Midfield/Main active monitor: 210mm bass 

72 

driver, 102mm mid driver, high-precision 25mm 


+/-1.5dB tolerance over the frequency. D 

Quested Monitoring Systems ltd 

H108 Passive two-way near-field monitor. B 

HQ210 Passive three-way mid-field/main monitor. D 

S6R Active two-way near-field monitor. B 

S7R Active two-way near-field monitor. A 

S8R Active two-way near/mid-field monitor. C 

VH2108 Passive two-way near/mid-field monitor. B 

VH3208 Passive three-way mid-field/main monitor. D 

VS2108 Active two-way near/mid-field monitor. B 

VS3110 Active three-way mid-field/main monitor. D 

VS3208 Active three-way-mid-field/main monitor. D 

Samson 

Resolv 65a Active nearfield monitors with 6.5-inch LF. A 

Rubicon 5a Active nearfield monitors with ribbon tweeter 

and five-inch drivers. A 

Rubicon 6a Active nearfield monitors with ribbon tweeter 

and six-inch drivers. A 

SLS Audio 

PS8R The PS8R is a full-range inch two-way worldclass 

powered studio monitor utilising dual 

Sigma-Delta 1-bit discrete digital amplifiers. C 

S1065 Full-range world class studio monitor that offers 

high SPL at very low distortion. C 

S1266 Full-range world class very high SPL studio 

monitor, extreme output at v.low distortion. D 

Tannoy 

Ellipse 8iDP 

Three-way semi-active (2x 200W) nearfield 

monitor with DSP technology, networking 

intelligence, plus class D digital amplifiers. C 

Precision 6 Professional studio monitor with 40mm-thick 

baffle, 165mm Dual Concentric and 25mm 

SuperTweeter; 60W RMS/120W; 64Hz to 51kHz 

frequency response; 91dB SPL. A 

Precision 6D 

Active (75W LF, 35W HF) version of Precision 6 

with DIP switches for optimisation of listening 

distances in difficult acoustic spaces. A 

Precision 6iDP 

Three-way semi-active (2x 200W) nearfield 


intelligence, plus Class D digital amplifiers. C 

Precision 8 Professional studio monitor with 40mm-thick 

baffle, 200mm Dual Concentric and 25mm 

SuperTweeter; 80W RMS/160W prog/56Hz ‚Äì 

51kHz/93dB. A 

Precision 8D 

Active (120W LF, 60W HF) version of Precision 8. 

DIP switches for optimising listening distances 

in difficult spaces, 44Hz - 51kHz freq rresp. A 

Precision 8iDP 

Three-way semi-active (2x200W) nearfield 


intelligence, plus Class D digital amplifiers. C 

Reveal 5A Active nearfield monitor with 130mm mid/ 

bass driver and one-inch soft dome extended 

bandwidth HF; 65Hz-30kHz. A 

Reveal 6 Enhanced cabinet build, improved 165mm mid/ 

bass driver, one-inch wideband HF. A 

Reveal 6D Active (75W LF/35W HF) version of Reveal 6 

with DIP switches for optimisation of listening 

distances, and 60Hz - 51kHz freq response. A 

TC-Helicon 

VoiceSolo VSM-200 

Active voice monitor. A 

VoiceSolo VSM-200p 

Passive voice monitor. A 

VoiceSolo VSM-300 

Active voice monitor and control. A 

Tektronix 


AMM768 Audio Multi-Format Monitor 

AMM768 is the multi-channel audio monitor 

that supports, in one scalable platform, options 

to monitor Analogue, Digital & Dolby audio. D 

WVR/WFM6020/6120 AD Option 

AD audio option offers monitoring for analogue, 

and digital embedded or AES/EBU audio, and 

monitoring for SD/analogue video formats. D 

WVR/WFM7120/7020 Multi-Format, Multi-Standard 

Waveform Rasterizers and Waveform Monitors 

Audio monitoring, with analogue, digital and 

Dolby format options. D 

Triple P 

Pyramid Monitors 

Monitors that allow mixers to hear the effects of 

non hi-fidelity playback systems while mixing. X 

Unity Audio 

The Rock Corian & plywood closed cabinet, pro active 

studio monitors, folded ribbon tweeter, freq. 

response 50kHz & 100W discrete bi-polar, low 

feedback amp designed by EAR. D 


Diamond 8.1 pro active 

Active two-way bi-amped near field reference 

monitor, 60W LF and 40W HF w/combo 

balanced XLR/1/4-inch, RCA unbal inputs. A 

Diamond 8.2 pro active 


monitor, 60W LF and 40W HF with combo bal 

XLR/1/4-inch and RCA unbalanced inputs. A 

Digi-Sonic DS5A 


monitor - 60W LF and 40W HF with combo bal 

XLR/1/4-inch and RCA unbalanced inputs. A 

Wilson Benesch 

Carbon 1 Same technology as Carbon 2. Can form basis 

for two way or multi-channel system. C 

Carbon 2 Micro Floorstander. Powerful yet controlled 

performance of clarity and precision. D 

Yamaha 

HS50M 70W powered studio monitor, bi-amped, 

shielded, 55Hz-25kHz. A 

HS80M 120W powered studio monitor, bi-amped, 


MSP3 20W powered studio monitor, shielded, 

65Hz-22kHz. A 

MSP5STUDIO 

67W powered studio monitor, 5-inch cone 

woofer and 1-inch titanium dome hf, bi-amped, 


MSP7STUDIO 

130W powered studio monitor, 6.5-inch cone 

and 1-inch titanium dome hf, bi-amped, 

shielded, 45Hz-40kHz. B 

Sub-Woofers 

ATC 

SCM0.1/15 375mm driver with SL magnet technology, 

driven by a massive built-in 1000W amp for over 

118dB SPL at very low distortion below 20Hz. D 

Blue Sky 

Sub 8 Universal 

True low freq extension for NF monitors. A 

Blue Sky International 

Blue Sky Sub 212 

Two 12-inch push-pull woofers, dedicated 200watt 

amplifier per woofer (400 watts total) X 

Dynaudio Acoustics 

AIR Base-1 Ten-inch subwoofer (TC Link input only). C 

AIR Base-12 

Twelve-inch subwoofer (TC Link input only). D

Monitors Sub Woofers - Multi-Channel Systems & Packages 

AIR Base-2 Dual ten-inch subwoofer (TC Link input only). C 

AIR Base-24 

Dual 12-inch subwoofer (TC Link input only). D 

BM 14S 12-inch driver, 300W amp, discrete LFE input, 

LFE link output, bass, high-/low-pass filters. C 

BM 9S 10-inch sub woofer; 200W; LFE input/stereo 

through. B 

FAR 

SUB-12D Digital active 12-inch sealed subwoofer with 

curve system and volume control. 400 Watts. 

Frequency range: 23 Hz/120 Hz. C 


curve system and volume control. 800 Watts. 



curve system and volume control.1200 Watts. 


XM-12D Digital (24-bit/192KHz) farfield active (700W) 

three-way monitor, double 10-inch woofer, fiveinch 

midrange, 2.5-inch tweeter with innovative 



SM11-S Digital subwoofer. 15-inch sandwich cone 

speaker. 1,000W rms amp. 20Hz-250Hz. D 

SM8-S Digital subwoofer. 13-inch sandwich 

cone speaker. 500W rms built-in amplifier. 

30Hz-250Hz. C 

Sub6 11-inch sandwich cone subwoofer. 350W rms 

built-in amplifier. 30Hz-250Hz. L/R/LFE inputs, 

L/R outputs.Numerous settings available. B 

Sub6 Be Pro active sub-woofer, (350 RMS), 1x 11.5-inch. B 

Genelec 

5040A Active sub designed to complement new 6010 

desktop monitors. 165mm driver responds 

down to 35Hz, with 96dB SPL. A 

7050B Active sub featuring Genelec’s new Laminar 

Spiral Enclosure (LSE) and 200mm magneticallyshielded 

long throw driver with 100dB SPL. B 

7060B Active sub featuring Genelec’s new Laminar 


long throw driver with 108dB SPL. C 

7070A Active sub featuring Genelec’s new Laminar 


long throw driver with 112dB SPL. C 

7071A Active sub feat. Genelec’s new Laminar Spiral 

Enclosure (LSE) and dual 300mm magenticallyshielded 

long throw drivers with 118dB SPL. C 

7073A Active sub feat. Genelec’s new Laminar Spiral 

Enclosure (LSE) and four 300mm magneticallyshielded 

long throw drivers with 124dB SPL. D 

7260A Active sub as 7060A but featuring AES/EBU I/O 

with DSP software interface. C 


with DSP software interface. D 


with DSP software interface. D 

PM0.5 SUBMKII 

Powered (110W) subwoofer for PM0.5 and PM1 

with 22Hz to 90Hz frequency response. A 

SE7261A Active sub with onboard DSP and AES/EBU I/O, 

designed to complement 8130A active monitor. 

250mm driver, 120W amplifier and 108dB SPL. C 

Hot House 

A Klein + Hummel 

O 800 Active subwoofer, 10-inch driver, 3-channel 

bass manager, magnetically shielded, 32.3 litres, 

185W, 111.8dB SPL, 27Hz. B 

O 810 Active subwoofer, 7.1 high def bass mngment, 

10-inch driver, magnetically shielded, 41.4 litres, 

160 (200)W, 110.7dB SPL, 18Hz. C 

O 870 Active subwoofer with 7.1 high definition bass 

management, 2x 10-inch driver, magnetically 

shielded, 86 litres, 320(400)W, 116.7dB SPL. D 

O 900 Passive subwoofer, 2x 12-inch drivers, 

magnetically shielded, 120 litres, 2.5kW, 116.4dB 

SPL, 15Hz. C 

74 

KRK 

10s Active sub with 10-inch woofer. A 


BX10s Bi-amped 10-inch subwoofer ‚Äì foot switch. A 


SB10 Self-powered 10-inch sub-woofer for use with 

S6 and S7 nearfield monitors. B 

SB10.1 Self-powered 10-inch sub-woofer, use with S6 

and S7 nearfield monitors in 5.1 installations. B 

VS1115 Self-powered 15-inch sub-woofer for use with 

F11, VS2108 and VS3208 monitors, configured 

for use in stereo or 5.1 systems. C 


802FEU Active frequency extension unit (20Hz to 

120Hz) with 2x 170W RMS amplifiers, integrates 

all Excel compact reference monitors. C 

MPS-2810 Compact push-pull (eight-inch) driver powered 

subwoofer. X 

MPS-5310 350W push-pull dual driver (12-inch) powered 

subwoofer. X 

MPS-5410 400 W push-pull dual 12-inch powered 

subwoofer. X 

MPS-5420 400W push-pull dual 12-inch powered 

subwoofer. X 

Musikelectronic-Geithain 

Basis 1 180W active MOSFET amplifier SPL: 110dB, 

28Hz-80Hz infinite baffle. Crossover for five 

surround monitors with bypass remote.280mm 

(11-inch) driver. C 

Basis 2K 400W active MOSFET amplifier SPL: 116dB, 

28Hz-80Hz with cardioid characteristic. 

Crossover for five surround monitors with 

bypass remote. 2x 280mm (11-inch) drivers. D 

Basis 3 550W active MOSFET amplifier SPL: 115dB, 

28Hz-80Hz infinite baffle. Crossover for five 

surround monitors with bypass remote. 320mm 

(12.6-inch) driver. D 

Basis 4K 550W active MOSFET amplifier SPL: 120dB, 

28Hz-80Hz with cardioid characteristic. 

Crossover for five surround monitors with 

bypass remote. 400mm (15.75-inch) driver. D 

NHT 

S20 Active sub, 200Watt RMS, 33Hz ‚Äì 110Hz. A 

PMC 

SB100 Advanced transmission line subwoofer with 

PMC 10-inch Flat carbon fibre and Nomex bass 

driver, for a response down to 25Hz. Used with 

AML1, IB1, IB2 in surround monitoring. C 

SB100-A Active advanced transmission line subwoofer 

with PMC 10-inch Flat carbon fibre and Nomex 

bass driver, for a response to 25Hz, with the 

addition of Bryston Powerpack 300 (PP300). D 

TLE1S Active, advanced transmission line sub. Twin 

6.75-inch woofers; onboard 150W Bryston amp 

and Crossover; bass roll-off and Tilt control; 360 

degree phase adjust, 22Hz-200Hz. C 

XB2S-A The XB2 is a passive sub bass unit that is best in 

MB2 surround monitoring system. D 

XB3-A The XB3 passive sub is intended to complement 

any one of the BB5 series of monitors within a 

surround monitoring system. D 


A225-M Subwoofer active loudspeaker: two 210mm 

drivers. 24Hz-100Hz. Designed to work in either 

stereo, satellite, or 5.1 PSI Audio set-ups. D 

Quested Monitoring Systems ltd 

SB10R 10-inch sub-woofer, including 1U stereo 

powered controller. B 

VS1115b Active high power, reference sub-woofer. C 

Samson 

Resolv Sub120a 

Powered 10-inch sub-woofer. 120W. A 

Resolv Sub88 

Powered eight-inch, 80W sub-woofer, R/C. A 


Adam S2A 

Tannoy 

TS10 Compact active (300W RMS) subwoofer 

for monitoring/playback of multi-channel 

recordings with dynamic bass: 29Hz. A 

TS112 iDP High-power active (750W RMS) sub with DSP 

technology, networking, plus Class D digital 

amplifiers, and dual 300mm LF: 25Hz (-3dB). C 

TS12 Compact active (500W RMS) subwoofer 

for monitoring/playback of multi-channel 

recordings with dynamic bass: 26Hz. A 

TS212 iDP High-power active (1500W RMS) sub, with DSP 

technology, networking intelligence, Class D 

digital amps, dual 300mm LF: 25Hz (-3dB). C 

TS8 Compact active (200W RMS) sub for 

monitoring/playback of multi-ch recordings, 

powerful, dynamic bass: 32Hz (-6dB). A 

Yamaha 

HS10W 150W powered subwoofer, 8-inch bass-reflex, 

30Hz-120Hz. A 

SW10STUDIO 

180W powered subwoofer, 10-inch bass-reflex, 

40Hz - 120Hz. B 

Multi-Channel Systems & 

Packages 

beyerdynamic 

Headzone PRO 

5.1 monitoring headphone system. Digital 

FireWire or analogue connectors. C 

Headzone PRO XT 

5.1 monitoring headphone system, for 

broadcast/post-production. Soft & hard limiting, 

Coms input, dual headphone input, pro digital/ 

analogue conns, front panel preset room. D 

Blue Sky 

Big blue 5.1 

Five 3-way, tri-amplified SAT 12 satellites 

partnered with one (or more) 1,000W SUB 15 

Universal subwoofers. D 

MediaDesk 5.1 

Entry-level 5.1 system, delivering accurate, fullrange 

monitoring for computer-driven audio. B 

ProDesk 5.1 

Truly full-range 5.1 monitoring system 

specifically designed for critical mixing and 

monitoring on the desktop. C 

Blue Sky Sat 265 

Two-way, tri-amplified, 300 watt nearfield 

monitor: dual 6.5-inch hemispherical woofer 

and 1-inch dual concentric tweeter X 

DACS 

Eightch Eight channel volume control; 5.1, 7.1 

monitoring; 8/16 channel ambisonic research; 

control volume of any multi-speaker format. B 


AIR 15, 5.1 Pack 2A 

Threexmaster, twoxslave, and onexAIR Base-2 

subwoofer with analogue and digital inputs, 

plus hardware and software remotes. E 

AIR 15 5.1 2 D192 


subwoofer with digital-only input (96kHz and 

192kHz), plus hardware and software remotes. E 

AIR 15 5.1 Pk 2D6 

Onexmaster, fourxslave, onexAIR Base-2 sub 

digital-only in, hardware/software remotes. E 

AIR 15 St. Pack 1 

Onexmaster and onexslave with digital-only 

input, plus software remote. D 

AIR 15 St. Pack 1A 

Onexmaster and onexslave with analogue and 

digital inputs, plus software remote. D

Genelec 6010A 

AIR 15 St. Pack 1AR 

Onexmaster and onexslave with analogue 

and digital inputs, plus hardware and software 

remotes. D 

AIR 15 St. Pack 1R 


inputs, plus hardware and software remotes. D 

AIR 20 5.1 2 D192 



192kHz), plus hardware and software remotes. F 

AIR 20 5.1 Pack 2A 



plus hardware and software remotes. F 

AIR 20 5.1 Pk 2D6 

Onexmaster, fourxslave, and AIR Base-2 

subwoofer with digital-only input, plus 

hardware and software remotes. F 



input, plus software remote. D 



digital input, plus software remote. D 


Onexmaster and onexslave, analogue and 

digital inputs, hardware/software remotes. D 



input, plus hardware and software remotes. D 

AIR 25 ‚ 5.1 Pack 2A 



plus hardware and software remotes. F 

Headphones 

by Ultrasone 

stand for well-defined 

exclusiveness and 

professionalism 

Take a closer look 

The options are yours to explore 

www.ultrasone.com 

AIR 25 5.1 2 D192 



192kHz), plus hardware and software remotes. F 

AIR 25 5.1 Pk 2D6 

Onexmaster, fourxslave, and onexAIR Base- 

2 subwoofer with digital-only input, plus 

hardware and software remotes. F 



input and software remote. D 



digital inputs, plus software remote. D 






input, plus hardware and software remotes. D 

AIR 6 5.1 Pack 1D6 

Onexmaster, fourxslave, AIR Base-1 sub with 

digital-only input, hard and software remotes. E 

AIR 6 5.1 Pack 2D6 

Onexmaster, fourxslave, and AIR Base-2 

subwoofer with digital-only input, plus hard 

and soft remotes. E 

AIR 6 5.1 Pk 2 D192 



192kHz), plus hardware and software remote. E 

AIR 6 5.1 Pk 2A 



plus hardware and software remotes. E 

Multi-Channel Systems Monitors 



digital inputs, plus software remote. C 






input, plus hardware and software. C 

AIR 6 Stereo Pack 1 


output and software remote. C 

BM12A Two-way active analogue monitor with an 

eight-inch woofer and 1.1-inch soft dome 

tweeter. (234x370x327mm). B 

BM15 Two-way large passive nearfield with 

10-inch bass driver, 43Hz to 20kHz frequency 

response, and maximum 109dB SPL 

(H436xW272xD321mm). A 

BM15A Two-way large active nearfield with XLR inputs, 

10-inch bass driver, 40Hz to 21kHz frequency 

response, and 119dB SPL. B 

BM5 Two-way passive nearfield with six-inch bass 

driver, 55Hz to 29kHz frequnecy response, and 

104dB SPL. (H310xW204xD252mm). A 

BM5 MK1 Two-way (6.5-inch and 1.1-inch) active (50/50W) 

monitor with 51Hz to 21kHz freq response. A 

BM5A Compact 

Compact, active studio monitor. A 

BM6 Two-way passive nearfield with six-inch bass 

driver, 43Hz to 20kHz frequency response, and 

103dB SPL. (H330xW204xD254mm). A 

BM6A Two-way active nearfield with XLR inputs and 

six-inch bass driver, 41Hz to 21kHz frequency 

response, and 116 dB SPL. B 

THE headphone company 


Monitors Multi-Channel Systems - Studio Monitor Control 

BM6A MK II Powerful, compact nearfield. A 

M1 Two-way passive nearfield with 2x four-inch 

bass drivers, 50Hz to 20kHz frequency response, 

and 111dB SPL. (H210xW450xD310mm). B 

M1.5 Two-way large passive nearfield/midfield 

monitor with 2x four-inch bass drivers, 34Hz to 

20kHz frequency response, and 108dB SPL. B 

M2 Three-way passive mid/main monitor with 2x 

eight-inch bass drivers, 34Hz to 20kHz response, 

114dB SPL. (H340xW680xD500mm). C 

M3A Complete active system comprising 2x Chord 

SPA1032 amps with analogue active crossover 

for flush mounted wall installations. F 

M3A Various active main systems available with a 

choice of different amps and crossovers. D 

M3F Active three-way film dubbing monitor. X 

M3P Three-way passive main monitor, 2x12-inch LF, 

2x four-inch MF, T330 HF, 30Hz to 20kHz. D 

M4 Active four-way main monitors. X 

Exigy Ltd 

S212 surround system 

Medium/high power, non-ported direct 

radiator, three way system for film and post 

production monitoring in all formats in medium 

to large rooms. Various amp, surround, LFE 

options; fully customised cabinets possible. F/G 


High power, non-ported direct radiator, three 

way system. All formats in medium to large 

rooms. Various amp, surround, LFE options 

offered ‚ customised cabinets possible. G 

S215B Surround system 

Very high power, non-ported direct radiator, 

four way system for film/post production. All 

formats in large rooms. Various amp, surround, 

LFE options. Customised cabinets possible. G 


Medium power, non-ported direct radiator, 

three way system for film and post production 

monitoring. Various amp, surround, LFE options 

offered. Customised cabinets are possible. F 


SM11-C Three-way digital centre channel speaker. Pure 


11-inch woofer. Built-in amps. 34Hz-40kHz. D 

Hot House 

SB 412 Monitor and sub-woofer Package. Studio. 

Full range monitor package; tri-amped main 

monitor. Peak SPL: 137-139dB. G 

SD 312 Monitor and sub-woofer Package. Studio. 

Full range monitor package; tri-amped main 

monitor. Peak SPL: 137-139dB. G 

Samson 

Resolv 2.1 Monitoring System 

Nearfield monitoring system consisting of a pair 

of Resolv 50a satellites and Sub88. A 

Sonifex 

RM-2S10 Reference monitor, two LED meters, 10 stereo 

channel inputs. B 

RM-2S4 Reference monitor, two LED meters, four stereo 

channel inputs. B 

RM-4C8 Reference monitor, four LED meters, eight 

channel inputs, dual select. B 

RM-4C8-E1B 

Ref monitor RM-4C8, RM-E1B Dolby decoder. D 

RM-4C8-E1X 

Ref monitor RM-4C8, RM-E1X Dolby decoder. D 

RM-4C8-HDE1 

Reference monitor RM-4C8 with RM-HDE1 

Dolby decoder card. D 

RM-CA2 Confidence monitor, two LED meters and two 

analogue stereo inputs. A 

RM-CAD8 Confidence monitor, two LED meters, two 

analogue, and six digital stereo inputs. B 

76 

SM24-PPM 

Station Master radio studio switcher. C 

TB-6D Talkback Intercom desktop and rackmount. A 

Studio Monitor Control 

Audient 

ASP510 Surround sound mix/monitor controller. C 

Centro Master section ‚ source selection, cue mixing, 

talkback and monitor control. B 

Blue Sky 

Bass Management Controller 

Full bass management, calibration, remote 

volume control; convenient, easy-to-use. A 


Dangerous D-BOX 

Stereo monitor control/input selector, 8x2 

analogue summing section, cue, talkback, 

headphone amps, high-quality D/A converter. B 

Dangerous Monitor 

Stereo monitor controller, flawless input/ 

speaker switching, mastering-quality stereo 

D/A. Integrates with the Dangerous Master. C 

Dangerous Monitor ST-SR 

R/C-based stereo monitor/input selector, exp. to 

5.1 surround. headphone amp cue/talkback. B 

Dolby Laboratories 

DP564 Multi-channel decoder: Monitoring of Dolby 

Digital, Digital Surround EX, Surround Pro Logic, 

Pro Logic II and PCM soundtracks. D 

DP570 Multi-channel tool for monitoring surround 

audio and real-time creation of Dolby Digital 

metadata for DTV and DVD surround. D 

FAR 

RC-D1 Digital remote control. B 

Grace Design 

m902 Reference headphone amp, DAC and preamp/ 

monitor controller. AES,USB spdif, toslink, 

balanced or unbalanced analogue inputs. B 

m904 High fidelity monitor control with complete I/O 

for all critical monitoring applications. C 

m906 High fidelity 5.1 monitor control with complete 

I/O for all critical monitoring applications 

including tracking, mixing, mastering or post. D 

Hot House 

SBX Sub-woofer processor. Adjustable low-pass 

Q, frequency, phase, shelf frequency, lowfrequency, 

low-pass gain controls; bypass. C 


Pro C 28 Digital FIR controller. Stereo four-way digital 

loudspeaker controller with FIR filtering. D 

Pro M 1012 Monitor management system. C 

KRK 

ERGO Acoustic room correction/monitor control. B 

Mackie 

The Big Knob Studio Command System 

Desktop audio control centre. A 

Martinsound 

BalancerMAX 

5.1 systems interface. B 

FilterMAX Surround LFE filter. B 

ForMAX 24-input, eight-output re-assign matrix 

for monitoring multi-element mixes while 

conforming to standard monitor formats. B 

ManagerMAX 

Surround 5.1 bass management. D 

MicroPannerMAX 

Surround 5.0 panner. B 

MonitorMAX 

Stereo monitor controller, talkback functions. C 


Dynaudio BM5A 

MultiMAX EX and EXR 

Monitor control systems for up to eight-channel 

surround set-ups. D 

PanMAX Auto surround panner, up to eight channels. C 

RecordistMAX 

Expandable monitor mixer with programmable 

input, sync, and playback monitoring. E 


LFE 5.1 SDS 

5.1 SDS bass management controller, with sixchannel 

volume control. X 

LFE-4 Fully balanced bass management controller 

accepts inputs for six channels. X 

NHT 

PVC PC Passive volume control, RCA and 1/8-inch I/O. A 

PVC PRO Passive volume control with XLR I/O. A 

PreSonus 

Central Station 

Studio monitoring and talkback controller. Five 

stereo inputs, three stereo monitor outputs, 

talkback, dim, mute, mono, optional R/C. A 

HP4 Four-ch headphone distribution amp, control 

room monitor outputs. Mono or stereo. A 

HP60 Six-ch high output headphone amp. Two stereo 

inputs (A&B), external input per ch. Each ch 

allows mixing of A/B inputs, control of external 

input level. Mute and mono functions. A 

Monitor Station 

Desktop monitor controller, three stereo inputs, 

three sets of speakers outputs, extensive 

talkback/cue facilities. Four high output 

headphone amps/eight-seg LED metering. A 


MON1U12/8 

1U self-powered, 12-input/eight-output 

monitor listening/routing module. B 

MON1U8/4 1U self-powered, eight-input/four-output 

monitor listening/routing module. B 

Samson 

C Control Studio control room matrix. Three monitor 

outputs: Dim, Mute, Mono. Four two-track 

inputs/ouputs. Headphone amp, talkback. A 

SPL 

2Control Speaker/headphone monitoring controller. A 

MTC Monitoring and talkback controller for up to 

three stereo speaker sets with comfortable 

talkback and cue mixing functions. A 

SMC Surround monitoring controller for 

simultaneous monitoring control and speaker 

management of 5.1 and stereo speaker sets. A 

Volume2 Analogue high-end volume control for stereo 

monitoring. A 

Volume8 Analogue high-end volume control for up to 7.1 

multi-channel monitoring. A 

TC Electronic 

BMC-2 Hi def DAC and monitor controller. A 

DB2 DTV loudness control processor. D 

Level Pilot Monitor controller. A 


Optimizer MC 

Multi-channel loudspeaker processor, 

maximises mix translation. Measures the room, 

improves loudspeaker behaviour in terms of 

frequency, phase and impulse response. E 

Optimizer ST 

Stereo loudspeaker processor, maximises 

mix translation. Measures room, improves 

loudspeaker behaviour in terms of frequency, 

phase, and impulse response. C 

ADP61 Studio AV preamp decoder. X 

MV71 Remote digitally controlled surround 

compatible level controller. X

PRESENTED BY: 

Bringing Entertainment Alive! 

360 Systems 

www.360systems.com 

+1 818 735 8221 

A&G Soluzioni Digitali 

www.aegweb.com 

Abaltat 

www.abaltat.com 

+353 (0) 91 504 688 

Ableton 

www.ableton.com 

+49 30 288 763 231 

A-Designs Audio 

www.adesignsaudio.com 

+1 818 716 4153 

AATON 

www.aaton.com 

+33 4 7642 9550 

ADAM Professional Audio 

www.adam-audio.com 

+49 30 863 0097 0 

Adamson Systems Engineering 

www.adamsonproaudio.com 

+1 905 982 0520 

ADK Microphones 

www.adkmic.com 

+1 503 296 9400 

Adobe Systems 

www.adobe.com 

+1 408 536 6000 

AEA Microphones 

www.wesdooley.com 

+1 626 798 9128 

AEQ International 

www.aeqbroadcast.com 

+1 800 728 05 36 

AEQ UK 

www.aequk.com 

+44 (0) 845 838 1529 


www.aevox.be 

+32 473 34 38 80 

AKA Design 

www.akadesign.co.uk 

+44 (0) 20 8829 9100 

AKG Acoustics 

www.akg.com 

+43 1 86654 0 

Alcons Audio 

www.alconsaudio.com 

+ 31 0 229 28 30 90 

Alesis 

www.alesis.com 

+1 401 658 5760 

Algorithmix 

www.algorithmix.com 

+49 7741 91 93 00 

Alice Soundtech 

www.alice.co.uk 

+44 (0) 1342 833 500 

Allen & Heath 

www.allen-heath.com 

+44 (0) 1326 372 070 

Alto Professional Audio Products 

www.altoproaudio.com 

+886 4 2233 5858 

Ambiance Acoustics 

www.calcube.com 

+1 858 485 7514 

Ambient Recording 

www.ambientaudio.com 

+49 (0) 89 651 85 35 

AMG Electronics 

www.c-ducer.com 

+44 (0) 1428 658775 

AMS Neve 

www.ams-neve.com 

+44 (0) 1282 457 011 

AMT 

www.appliedmic.com 

+1 908 665 2727 

Antares Audio Technologies 

www.antarestech.com 

+1 831 461 7801 

Apex 

www.apex-audio.be 

+32 (0) 11 28 61 91 

Aphex Systems 

www.aphex.com 

+1 818 767 2929 

API (Automated Processes Inc.) 

www.apiaudio.com 

+ 1 301 776 7879 

Apogee Electronics 

www.apogeedigital.com 

+1 310 584 9394 

Apple 

www.apple.com 

+1 408 996 1010 

Apple UK 

www.apple.com/uk 

+44 (0) 800 039 1212 

Applied Research & Technology 

(ART) 

www.artproaudio.com 

+1 716 436 2720 

APT Ltd 

www.aptx.com 

+44 (0) 2890 677 200 

Arturia 

www.arturia.com 

+33 438 020 525 

ATC 

www.atc.gb.net 

+44 (0) 1285 760 561 

ATD2 

www.atd2.com 

+32 85 318 123 

Audio & Design 

www.proaudio.uk.com 

+44 (0) 118 324 0046 

Audio Toys, Inc. (ATI) 

www.audiotoys.com 

+1 301 776 7879 

Audient 

www.audient.co.uk 

+44 (0) 1256 381 944 

Audio Developments 

www.audio.co.uk 

+44 (0) 1922 457 007 

Audio Ease 

www.audioease.com 

+31 30 24 33 606 

Audio Engineering Associates 

www.wesdooley.com 

+1 626 798 9128 

Audio Limited 

www.audioltd.com 

+44 (0) 1494 511 711 


www.audionics.co.uk 

+44 (0) 114 242 2333 

Audio Precision (AP) 

www.ap.com 

+503 627 0832 

Audio-Technica (UK) 

www.audio-technica.com 

+44 (0) 113 277 1441 

Audio Video Technologies (AVT) 

www.avt-nbg.de 

+49 (0) 911 5271 160 

Audix 

www.audixusa.com 

+1 503 682 6933 

Auralex Acoustics 

www.auralex.com 

+1 317 842 2600 

Avalon Design 

www.avalondesign.com 

+1 949 492 2000 

Avantone 

www.avantelectronics.com 

+1 909 931 9061 

Aviom 

www.aviom.com 

+1 610 738 9005 

Avlex 

www.avlex.com 

+1 816 581 9103 


www.axiaaudio.com 

+1 216 241 7225 

Azden Corporation 

www.azdencorp.com 

+1 516 328 7500 

B-52 Professional 

www.B-52PRO.com 

+1 323 277 4100 

B&W 

www.bowers-wilkins.co.uk 

+44 (0) 1903 221 500 

Bag End Loudspeakers 

www.bagend.com 

+1 847 382 4550 

BBE Sound 

www.bbesound.com 

+1 714 897 6766 

Behringer 

www.behringer.com 

+49 2154 9206 0 

Beijing 797 Audio 

www.797audio.com 

+86 10 5978 9246 

Benchmark Media Systems 

www.benchmarkmedia.com 

+1 315 437 6300 

Berliner Audio 

www.berlineraudio.com 

+1 888 642 8447 

beyerdynamic 

www.beyerdynamic.com 

+49 7131 617 0 

BIAS 

www.bias-inc.com 

+1 707 782 1866 

Blue Coconut Unity 

www.bluecoconutunity.com 

+44 (0) 1440 785 843 


www.bluemic.com 

+1 818 879 5200 

blue sky International 

www.abluesky.com 

+1 516 249 1399 

Bock Audio 

www.bockaudiodesigns.com 

+ 1 702 365 5155 

Bosch Communications Systems 

www.boschcommunications.com 

+49 (0) 9421 706 307 

Brainworx Music & Media 

www.brainworx-music.de 

+49 2173 911 563 

Brauner Microphones 

www.theartofmicrophones.com 

+44 (0) 20 8943 4949 

Bricasti Design 

www.bricasti.com 

+1 781 306 0420 

BSS Audio 

www.bssaudio.com 

+1 801 566 8800 

Buzz Audio Ltd 

www.buzzaudio.com 

+64 (0)4 472 3084 


International Manufacturers Directory 

CAD Professional Microphones 

www.cadmics.com 

+1 440 349 4900 

Cadac Electronics 

www.cadac-sound.com 

+44 (0) 1582 404 202 

Cakewalk 

www.cakewalk.com 

+1 617 423 9004 

Calrec Audio 

www.calrec.com 

+44 (0) 1422 842 159 

Cascade Microphones 

www.cascademicrophones.com 

+1 360 867 1799 

CB Electronics 

www.colinbroad.com 

+44 (0) 118 932 0345 

CCS Musicam 

www.musicamusa.com 

+1 732 739 5600 

CEDAR Audio 

www.cedar-audio.com 

+44 (0) 1223 881 771 

Celemony Software 

www.celemony.com 

+49 700 2353 6669 

Celestion International 

www.celestion.com 

+44 (0) 797 349 3471 

CEntrance 

www.centrance.com 

+1 847 581 0500 

Cerwin-Vega! 

www.cerwin-vega.com 

+1 954 316 1501 

Chameleon Labs 

www.chameleonlabs.com 

+1 206 264 7602 

Chandler Limited 

www.chandlerlimited.com 

+1 319 885 4200 


www.charteroakacoustics.com 

+1 860 698 9794 

C-Lab Media Products 

www.c-lab-digital.de 

+49 40 69 659 38 0 

Coding Technologies 

www.codingtechnologies.com 

+49 911 928 91 0 

Coles Electroacoustics 

www.coleselectroacoustics.com 

+44 (0) 1992 466 685 

Comrex Corporation 

www.comrex.com 

+1 978 784 1776 

Countryman Associates 

www.countryman.com 

+1 650 364 9988 

Crane Song 

www.cranesong.com 

+1 715 398 3627 

Crest Audio 

www.crestaudio.com 

+1 866 812 7378 

Crowley & Tripp 

www.soundwaveresearch.com 

+1 508 231 4515 

Crown Audio 

www.crownaudio.com 

+1 574 294 8000 

Cycling ‘74 

www.cycling74.com 

+1 415 974 1818 

D & M Professional 

www.d-mpro.eu.com 

+44 (0) 1753 680 023 

D&R Electronica 

www.d-r.nl 

+31 (0) 294 418 014 

DACS (Digital Audio and Computer 

Systems) 

www.dacs-audio.com 

+44 (0) 191 438 2500 

Dalet Digital Media Systems USA 

www.dalet.com 

+1 212 269 6700 


www.dangerousmusic.com 

+1 607 965 8011 

DAS Audio 

www.dasaudio.com 

+34 96 134 0206 

DAV Electronics 

www.davelectronics.com 

+44 (0) 20 8892 9334 

dbx Professional Products 

www.dbxpro.com 

+1 801 568 7660 

dCS 

www.dcsltd.co.uk 

+44 (0) 1799 531 999 

DEQ 

www.DEQX.com 

+61 2 9905 6277 

Devil Technologies 

www.deviltechnologies.net 

+39 030 7751 384 

DHD Deubner Hoffmann Digital 

www.dhd-audio.de 

+49 341 589 7020 

DiGiCo UK 

www.digiconsoles.com 

+44 (0) 1372 845 600 

Digidesign 

www.digidesign.com 

+44 (0) 1753 655 999 

Digigram 

www.digigram.com 

+33 (0)4 76 52 47 47 

Digital Audio Denmark 

www.digitalaudio.dk 

+45 72 20 35 55 

DirectOut Technologies 

www.directout.eu 

+49 (0) 3727 6205 333 

DK-Technologies 

www.dk-technologies.com 

+45 44 85 02 55 

Dolby Laboratories 

www.dolby.co.uk 

+1 415 558 0200 

Dorrough Electronics 

www.dorrough.com 

+1 818 998 2824 


www.dpamicrophones.com 

+45 4814 2828 

Drawmer 

www.drawmer.com 

+44 (0) 1924 378 669 

DTS Europe 

www.dtsonline.co.uk 

+44 (0) 118 934 9199 

Duran Audio 

www.duran-audio.com 

+31 418 515 583 

DUY 

www.duy.com 

+44 (0) 1414 161 4 55 

DW Fearn & Associates 

www.dwfearn.com 

+1 610 793 2526 

Dynacord 

www.dynacord.com 

+49 (0) 9421 706 0 

77

Directory International Manufacturers 


www.dynaudioacoustics.com 

+45 87 427 000 

Earthworks 

www.earthworksaudio.com 

+1 603 654 6427 

Eastern Acoustic Works 

www.eaw.com 

+1 508 234 6158 

Echo Digital Audio Corp. 

www.echoaudio.com 

+1 805 684 4593 

EDIROL Europe 

www.edirol.co.uk 

+44 (0) 20 8747 5949 

Elation 

www.elationmiclab.com 

Electro-Voice 

www.electrovoice.com 

+1 866 782 8346 

Elysia 

www.elysia.com 

+49 (0) 2157 12 60 40 

EM Acoustics 

www.emacoustics.co.uk 

+44 (0) 1483 266 520 

Emes 

www.emes.de 

+49 (0) 8222 965954 


www.empiricallabs.com 

EOWave 

www.eowave.com 

+33 145 154 195 

Equator Audio Research 

www.equatoraudio.com 

+1 888 772 0087 

Equipson 

www.equipson.es 

+34 961 216 301 

ESI Audiotechnik 

www.esi-pro.com 

+49 (0) 7152 398 880 

ESI Audio 

www.esi-audio.com 

+49 (0) 7152 398880 

Esoteric Audio Research-Yoshino 

(EAR) 

www.ear-yoshino.com 

+44 (0) 1223 208 877 

Euphonix 

www.euphonix.com 

+1 650 855 0400 

Event Electronics 

www.eventelectronics.com 

+61 2 9648 5855 

Eventide 

www.eventide.com 

+1 201 641 1200 

Excel Audio Systems 

www.excelaudio.co.uk 

+44 (0) 20 8354 0820 

Exigy 

www.exigy.co.uk 

+44 (0) 1256 381 944 

Fairlight 

www.fairlightau.com 

+61 2 9975 1777 

FAR 

www.far-audio.com 

+32 85 318 123 

Fatman 

www.fat-man.co.uk 

+44 (0) 1462 492 090 

FBT Electronic 

www.fbt.it 

+39 071 750591 

78 

Focal.JMlab 

www.focal-jmlab.fr 

+33 0 477 435 700 

Focusrite Audio Engineering 

www.focusrite.com 

+44 (0) 1494 462 246 

Fostex International 

www.fostexinternational.com 

+81 42 546 4974 

Frontier Design Group 

www.frontierdesign.com 

+1 603 448 6283 

Furman Sound 

www.furmansound.com 

+1 707 763 1010 

FXpansion 

www.fxpansion.com 

Gallery 

www.gallery.co.uk 

+44 (0) 208 340 5677 

Gefen 

www.gefen.com 

+1 818 772 9100 

Genelec 

www.genelec.com 

+358 17 83881 

Geoffrey Daking & Co. 

www.daking.com 

+1 702 365 5155 

George Massenburg Labs 

www.gmlinc.com 

+1 615 790 1016 

Ghost Acoustics 

www.sonic-distribution.com 

+44 (0) 845 500 2500 

Global 9 

www.global-9.com 

+44 (0) 1628 530 498 

Glyph Technologies 

www.glyphtech.com 

+49 (0) 2157 870 22 32 

Gold Line 

www.gold-line.com 

+1 203 938 2588 

Grace Design 

www.gracedesign.com 

+1 303 443 7454 

Graham-Patten Systems 

www.gpsys.com 

+1 530 477 2984 

Griffin Audio 

www.griffinaudiousa.com 

+1 914 248 7680 

Grimm Audio 

www.grimmaudio.com 

+31 (0)30 236 9829 

Groove Tubes 

www.groovetubes.com 

+44 (0) 1795 538877 

Harbeth 

www.harbeth.com 

+44 (0) 870 803 4788 

Harris 

www.harris.com 

+1 321 727 9100 

Harrison by GLW 

www.glw.com 

+1 615 641 7200 


www.heartechnologies.com 

+1 256 922 1200 

Heavyocity 

www.heavyocity.com 

+44 (0) 1923 693 770 

Hebden Sound 

www.hebdensound.co.uk 

+44 (0) 114 201 3687 

Heil Sound 

www.heilsound.com 

+1 618 257 3000 

HHB Communications 

www.hhb.co.uk 

+44 (0) 20 8962 5000 

HK Audio 

www.hkaudio.com 

+49 (0) 68 51 905 0 

HM Electronics (HME) 

www.hme.com 

+1 858 535 6060 

Holophone 

www.holophone.com 

+1 416 362 7790 

Horch Audio 

www.horchaudio.de 

+49 (0) 8142 53980 

Hothouse Professional Audio 

www.hothousepro.com 

+1 845 691 6077 

IK Multimedia 

www.ikmultimedia.com 

+39 059 285496 

InnovaSON 

www.innovason.com 

+33 (0) 297 24 34 34 

Izotope 

www.izotope.com 

+1 617 577 7799 

iZ Technology Corporation 

www.izcorp.com 

+1 604 395 7878 

JazzMutant 

www.jazzmutant.com 

+33 (0) 556 46 03 44 

JBL Professional 

www.jblpro.com 

+1 818 894 8850 

JJLabs Sweden 

www.jjlabs.se 

+46 8 410 510 88 

JoeCo 

www.joeco.co.uk 

+44 (0) 1223 911 000 

Joemeek 

www.joemeek.com 

+1 877 563 6335 

Josephson Engineering 

www.josephson.com 

+1 831 420 0888 

Junger Audio Studiotechnik 

www.junger-audio.com 

+49 30 6777210 

JZ Microphones 

www.jzmic.com 

+371 672 466 48 

Katamount Enterprises 

www.katamount.com 

+1 416 259 3527 

Klark Teknik 

www.klarkteknik.com 

+44 (0) 1562 741515 


www.klein-hummel.com 

+49 (0)5130 5848 0 

Klotz Digital 

www.klotzdigital.com 

+49 89 45672 300 

Korby Audio Technologies 

www.korbyaudio.com 

+1 615 383 8797 

Korg UK 

www.korg.co.uk 

+44 (0) 1908 857100 

KRK Systems 

www.krksys.com 

+1 818 534 1580 


KV2 Audio Europe 

www.kv2audio.com 

+44 (0) 1423 816 868 

L-Acoustics 

www.l-acoustics.com 

+33 (0) 1 69 63 69 63 


www.laaudio.co.uk 

+44 (0) 1256 381 944 

Lab.gruppen 

www.labgruppen.com 

+46 300 56 28 00 

Langevin 

www.manleylabs.com 

+1 909 627 4256 

Lauten Audio 

www.lautenaudio.com 

+1 877 721 7018 

Lavry Engineering 

www.lavryengineering.com 

+1 360 598 9757 

Lawo 

www.lawo.de 

+49 7222 1002 0 

Lawson Microphones 

www.lawsonmicrophones.com 

+1 615 269 5542 

Lectrosonics 

www.lectrosonics.com 

+1 505 892 4501 

Legacy Audio 

www.legacy-audio.com 

+1 217 544 3178 

Legendary Audio 

www.legendaryaudio.com 

+1 512 289 3428 

Leitch-US-Post Production 

www.leitch.com 

+1 630 605 2410 

Lexicon Pro 

www.lexiconpro.com 

+1 801 568 7567 

Lindos Electronics 

www.lindos.co.uk 

+44 (0) 1394 380 307 

Linear Acoustic 

www.linearacoustic.com 

+1 717 735 3611 

Linn Products 

www.linn.co.uk 

+44 (0) 141 307 7777 

Lipinski Sound 

www.lipinskisound.com 

+1 916 273 9726 

Listen Technologies 

www.listentech.com 

+49 911 955 159 0 

Little Labs 

www.littlelabs.com 

Logitek Electronic Systems 

www.logitekaudio.com 

+1 713 664 4470 

LOUD Technologies 

www.loudtechinc.com 

+1 425 892 6500 

Lucid 

www.lucidaudio.com 

+1 425 778 7728 


www.lynxstudio.com 

+1 714 545 4700 

M-Audio USA 

www.m-audio.com 

+1 626 633 9055 

Mackie 

www.mackie.com 

+1 425 892 6500 

PRESENTED BY: 


Macromedia 

www.adobe.com 

+1 408 536 4070 

Magix 

www.magix.com 

+49 (0)5741 3455 22 

Mandozzi Electronics 

www.mandozzi.ch 

+41 91 935 78 00 

Manifold Labs 

www.manifoldlabs.com 

+1 201 641 7716 


www.manleylabs.com 

+1 909 627 4256 


www.d-mpro.com 

+44 (0) 1753 680 023 

MARIAN Digital Audio Electronics 

www.marian.de 

+49 (341) 589 3225 

Marshall Electronics 

www.MXLmics.com 

+1 310 333 0606 

Martin Audio 

www.martin-audio.com 

+44 (0) 1494 535 312 

Martinsound 

www.martinsound.com 

+1 626 281 3555 

Maxxonics Europe 

www.maxxonics.com 

+49 (0) 62 616 38 147 

Mayah Communications 

www.mayah.com 

+49 (0) 811 55 17 41 

Maycom Audio Systems 

www.maycom.nl 

+31 (0)413 339 700 

MBHO 

www.mbho.de 

+49 6261 7970 


www.mc2-audio.co.uk 

+44 (0) 1404 44633 

McDSP 

www.mcdsp.com 

+1 650 318 0005 

ME-Geithain 

www.me-geithain.de 

+49 34341 3110 

Mercenary Audio 

www.mercenary.com 

+1 508 543 0069 


www.merging.com 

+41 (0) 21 946 0444 

Metric Halo 

www.mhlabs.com 

+1 845 223 6112 

Meyer Sound Laboratories 

www.meyersound.com 

+1 510 486 1166 


www.microtechgefell.de 

+49 36649 882 0 

Micron (Audio Technology) 

www.micronwireless.co.uk 

+44 (0) 208 341 3500 

Midas 

www.midasconsoles.com 

+44 (0) 1562 741 515 

Millennia Music & Media Systems 

www.mil-media.com 

+1 530 647 0750 

Miller & Kreisel 

www.mksound.com 

00

PRESENTED BY: 

MindPrint 

www.mindprint.com 

+44 20 8148 0778 

Minnetonka 

www.minnetonkaaudio.com 

+49 2162 1062 622 

Mipro Electronics 

www.mipro.com.tw 

+886 5 238 0809 

Mission Professional 

www.mission.co.uk 

+44 (0) 845 458 1122 

Mitchell & Todd 

www.excelaudio.co.uk 

+44 (0) 208 354 0820 

MK Sounds 

www.mksoundsystem.com 

+1 818 439 3577 

Mojave Audio 

www.mojaveaudio.com 

+1 818 847 0222 

MOTU 

www.motu.com 

+1 617 576 2760 

mSoft 

www.msoftinc.com 

+1 818 716 7081 

Ms. Pinky 

www.mspinky.com 

Munro Acoustics 

www.munro.co.uk 

+44 (0) 20 7403 3808 

Musicam USA 

www.musicamusa.com 

+1 732 739 5600 

Mutec 

www.mutec-net.de 

+49 (0) 30 74 68 80 0 

MWA Nova GmbH 

www.mwa-nova.com 

+49 (0) 30 3980190 0 

MXL Mics 

www.mxlmics.com 

+1 310 333 0606 

Mytek Digital 

www.mytekdigital.com 

+1 646 613 1822 

Nady Systems 

www.nady.com 

+1 510 652 2411 

NAGRA Audio Division 

www.nagraaudio.com 

+41 21 732 01 01 

Native Instruments Software 

Systems 

www.native-instruments.com 

+49 (0) 30 61 10 35 0 

Neanda 

www.neanda.com 

+44 (0) 208 767 4500 

NetCIRA 

www.netcira.com 

+81 (0)42 546 4974 

Neumann 

www.neumann.com 

+49 30 41 77 24 0 

Neutrik 

www.neutrik.com 

+423 237 2424 

Nexo 

www.nexo-sa.com 

+33 (0) 1 4863 1914 

Neyrinck 

www.neyrinck.com 

NHT 

www.nhthifi.com 

+1 707 747 0122 

Nomad Factory 

www.nomadfactory.com 


NOTION Music 

www.notionmusic.com 

+44 (0) 20 8899 6090 

Novation Digital Music 

Systems 

www.novationmusic.com 

+44 (0) 1494 462 246 

NTI 

www.nt-instruments.com 

+423 239 60 60 

Numark Alesis 

www.numark.com 

+44 (0) 1252 341 400 

Oktava 

www.oktava-online.com 

+7 0872 362359 

Olympus UK 

www.olympus.co.uk 

+44 (0) 1702 616 333 

Omnia Audio 

www.omniaaudio.com 

+1 216 241 3343 

Open Labs 

www.openlabs.com 

+1 512 444 6222 

Open Studio Networks 

www.openstudionetworks. 

com 

+34 667 440 770 

Orban/CRL 

www.orban.com 

+1 480 403 8300 

Otari 

www.otari.com 

+44 (0) 1767 262 880 

Outline s.n.c. 

www.outline.it 

+39 030 35 81 341 

Overloud 

www.overloud.com 

Pearl Mikrofonlaboratorium 

www.pearl.se 

+46 42 588 10 

Peavey Electronics 

www.peavey-eu.com 

+44 (0) 1536 461 234 

Peluso Microphone Lab 

www.pelusomicrophonelab. 

com 

+1 540 789 4100 

Pete’s Place Audio 

www.petesplaceaudio.com 

+1 818 704 0989 


www.phoenixaudio.net 

+1 866 302 1091 

Phonic 

www.phonic.com 

PMC 

www.pmc-speakers.com 

+44 (0) 1582 405 694 

PMI Audio 

www.pmiaudio.com 

+1 310 323 9050 

Preco (Broadcast) Systems 

www.preco.co.uk 

+44 (0) 20 8644 4447 

Presonus Audio Electronics 

www.presonus.com 

+1 225 216 7887 

Primera Technology 

www.primera.com 

+1 763 475 6676 

Prism Media Products 

www.prismsound.com 

+44 (0) 1223 424 988 

ProAVM 

www.proavm.com 

+44 (0) 1933 650 700 

Pro-Bel 

www.pro-bel.com 

+44 (0) 1189 214294 

PRODYS Procesamiento 

Digital y Sistemas 

www.prodys.com 

+34 91 689 68 80 

PROEL 

www.proelgroup.com 

+39 0861 81241 


www.psiaudio.com 

+41 (0) 24 426 04 20 

Quested 

www.quested.com 

+44 (0) 1404 41500 

Radial Engineering 

www.radialeng.com 

+1 604 942 1001 

Radica Broadcast Systems 

www.radica.com 

+44 (0) 333 600 2468 


www.raindirk.com 

+44 (0) 1553 810 096 

Rane Corporation 

www.rane.com 

+1 425 355 6000 

RCF 

www.rcfaudio.com 

+39 0522 274 411 

Reckhorn 

www.reckhorn.com 

Renkus-Heinz 

www.renkus-heinz.com 

+1 949 558 9997 

Ricsonix 

www.ricsonix.com 

RIEDEL Communications 

www.riedel.net 

+49 (0) 202 292 90 

RME 

www.rme-audio.com 

+49 08133 91 810 


www.rode.com.au 

+61 2 9648 5855 

Roger Nichols Digital 

www.rogernicholsdigital.com 

+1 727 230 1603 

Roland Systems Group 

www.rolandsystemsgroup. 

co.uk 

+44 (0) 1792 702 701 

Rosendahl StudioTeknik 

www.rosendahlstudiotechnik.de 

+49 (0)8806 957480 

Royer Labs 

www.royerlabs.com 

+1 818 847 0121 

RTS 

www.telex.com 

+1 800 392 3497 


www.rupertneve.com 

+1 512 847 3013 

SADiE 

www.sadie.com 

+44 (0) 1353 648 888 

SafeSound Audio 

www.safesoundaudio.co.uk 

+44 (0) 7866 574522 

sage ELECTRONICS 

www.sageelectronics.com 

+1 613 228 0449 

Salzbrenner Stagetec Media 

Group 

www.stagetec.com 

+49 30 639 902 0 

Directory International Manufacturers 

Samson Group Technologies 

www.samsontech.com 

+1 631 784 2200 

Sanken Microphone Co. 

www.sanken-mic.com 

+81 03 3392 6581 

SBS 

www.raycom.co.uk 

+44 (0) 1789 400600 

Schertler 

www.schertler.com 

+41 92 630 07 10 

Schoeps Mikrofone 

www.schoeps.de 

+49 (0)721 943 20 0 

SD Systems 

www.sdsystems.com 

+ 31 20 692 641 

sE Electronics 

www.seelectronics.com 

+44 (0) 1582 470 260 

SEK’D 

www.sekd.com 

+1 323 845 1171 

Sencore 

www.sencore.com 

+1 605 339 0100 


www.sennheiser.com 

+49 (5130) 600 0 

Serato Audio Research 

www.serato.com 

+64 (9) 379 4944 


www.sevenwoodsaudio.com 

+1 617 489 6292 

Shure 

www.shure.com 

+1 847 600 2000 

Sibelius Software 

www.sibelius.com 

+44 (0) 20 7561 7999 

SLS Loudspeakers 

www.slsloudspeakers.com 

+1 417 883 4549 

Smart AV Pty. 

www.smartav.net 

+61 2 9648 6744 

Smart Media Solutions 

www.smartmediasolutions.nl 

+31 (0) 26 368 4925 

Softube 

www.softube.se 

+46 13 2116 23 


www.solid-state-logic.com 

+44 (0) 1865 842 300 

Sommer Cable 

www.sommercable.com 

+49 (0)7082 491 330 

Sonalksis 

www.sonalksis.com 

+44 (0) 870 766 0303 

Sonic Studio 

www.sonicstudio.com 

+1 415 460 1201 

SonicCore 

www.SonicCore.com 

+49 2241 3019595 

Sonifex 

www.sonifex.co.uk 

+44 (0) 1933 650 700 

Sonnox 

www.sonyplugins.com 

+44 (0) 1865 887505 

Sonodyne 

www.sonodyne.com 

+44 (0) 1923 693770 

Sontronics 

www.sontronics.com 

+44 (0) 1202 236862 

Sony Creative Software 

www.sonycreativesoftware. 

com 

+1 608 256 3133 

Sound Devices 

www.sounddevices.com 

+1 608 524 0625 

Soundcraft 

www.soundcraft.com 

+44 (0) 1707 665 000 

SoundField 

www.soundfield.com 

+44 (0) 1924 201 089 

Soundking 

www.soundking.com 

+86 574 8823 5195 

Soundman 

www.soundman.de 

+49 (0) 30 28 59 81 16 

Sound Projects 

www.soundprojects.com 

+31 (0) 36 539 45 70 

SoundToys 

www.soundtoys.com 

+1 802 951 9700 

Soundtracs 

www.digico.org 

+44 (0) 1372 845 600 

Source Elements 

www.source-elements.com 

+1 312 706 5555 


www.speck.com 

+1 760 723 4281 

Spectrasonics 

www.spectrasonics.net 

+1 818 955 8481 

SPL Electronics 

www.soundperformancelab. 

com 

+49 2163 98340 

SRS Labs 

www.srslabs.com 

+ 1 949 442 1070 

Stage Accompany 

www.stageaccompany.com 

+31 229 28 29 30 

Stagetec 

www.stagetec.com 

+49 30 639 9020 

Steinberg Media Technologies 

www.steinberg.net 

+49 40 210 35 0 

Studer Professional Audio 

www.studer.ch 

+41 44 870 75 11 

Studio Network Solutions 

www.studionetworksolutions. 

com 

+1 314 733 0551 


www.studioprojectsusa.com 

+1 310 323 9050 

Studio Technologies 

www.studio-tech.com 

+1 847 676 9177 

Summit Audio 

www.summitaudio.com 

+1 775 782 8838 

surrounTec 

www.surrountec.de 

+49 7131 79754555 

Sydec Audio Engineering 

www.sydec.be 

+32 3 7650098 

Symbolic Sound 

www.symbolicsound.com 

+1 217 355 6273 

Symetrix/Symnet/AirTools/ 

Lucid 

www.symetrixaudio.com 

+1 425 778 7728 

Symphotec 

www.symphotec.de 

+49 (0) 2623 929 588 0 

Synchro Arts 

www.SynchroArts.com 

+44 (0) 1372 811 934 

Synthax Audio 

www.synthax.com 

+1 330 259 0308 

Tannoy 

www.tannoy.com 

+44 (0) 1236 420 199 

TAPCO 

www.tapcoworld.com 

+1 425 892 6511 

TC Electronic 

www.tcelectronic.com 

+45 8742 7000 

TC Helicon 

www.tc-helicon.tc 

+45 8742 7000 

TEAC UK Ltd/Tascam 

www.tascam.co.uk 

+44 (0)845 130 2511 

Tegeler Manufaktur 

www.tegeler-audiomanufaktur.com 

+49 30 49 79 26 74 

Tektronix 

www.tek.com 

+1 800 835 9433 

Telefunken 

www.telefunken.de 

+1 860 882 5919 

Television Systems 

www.televisionsystems.ltd.uk 

+44 (0) 1628 676 200 

Telex Communications 

www.telex.com 

+1 877 863 4166 

Terratec Electronic 

www.terratec.com 

+49 2157 8179 0 

T.H.E 

www.theaudio.com 

+1 860 821 5414 

The Chord Company 

www.chord.co.uk 

+44 (0) 1980 625 700 


www.thermionicculture.com 

+44 (0) 1440 785843 

The Sound Guy, Inc. 

www.sfxmachine.com 

Thum+Mahr 

www.thummahr.de 

+49 2173 967 30 


www.tlaudio.co.uk 

+44 (0) 1462 492 090 

TOA Electronics Europe 

www.toa.de 

+49 (0)40 25 17 190 


www.toftaudio.com 

+44 (0) 1803 612 700 

Tram Lavaliers 

www.tram-usa.com 

Trantec 

www.trantec.co.uk 

+44 (0) 20 8330 3111 


Directory International Manufacturers/UK dealers/distributors 

Trillium Lane Labs 

www.digidesign.com 

+44 (0) 1753 655 999 


www.trinnov.com 

+33 (0) 1 47 06 61 37 

Triple P Designs 

www.triplepdesigns.com 

True Systems 

www.truesystems.com 

+1 336 397 5399 

Truth Audio 

www.truthaudio.com 

TubeTech 

www.tube-tech.com 

+45 3871 0021 

Turbosound 

www.turbosound.com 

+44 (0) 1403 711 447 

Ultrasone 

UK Distributors 

ASAP Europe 

www.asapeurope.com 

+44 (0) 20 7231 9661 

Autograph Sales 

www.autograph.co.uk/sales 

+44 (0) 20 7281 7574 

beyerdynamic 

www.beyerdynamic.co.uk 

+44 (0) 1444 258 258 

Canford Audio 

www.canford.co.uk 

+44 (0) 191 418 1000 

Digi-Box 

www.digi-box.co.uk 

+44 (0) 1582 466 100 

Digital Village 

www.dv247.com 

+44 (0) 20 8440 3440 

Dolphin Music 

www.dolphinmusic.co.uk 

+44 (0) 844 815 0888 

Fuzion 

www.fuzion.co.uk 

+44 (0) 1932 882 222 

Adam 69 

Audio Precision 5 

Audio Technica 49 

Benchmark 31 

Brauner 51 

Calrec 23 

Edirol 47 

Fairlight 19 

FAR 70 

Fostex 67 

Genelec 73 

Glyph 46 

IBC 25 

Jigsaw 21 

JoeCo 63 

McDSP 45 

Merging Technologies 41 

Midas 27 

NAB 66 

Plasa 61 

80 

www.ultrasone.com 

+49 (0) 8158 9078 0 


www.uaudio.com 

+1 831 440 1176 


www.unityaudio.co.uk 

+44 (0) 1440 78 

Unique Recording Software 

(URS) 

www.ursplugins.com 

Vertigo Sound 

www.vertigosound.com 

+49 89 856 369 27 


www.violetaudio.com 

+61 3 9555 8081 

Violet Design 

www.violet-design.ee 

+372 645 5007 

GearBox 

www.gearbox.com 

+44 (0) 20 8963 8633 

Gearhouse Broadcast 

www.gearhousebroadcast. 

com 

+44 (0) 845 820 0000 

Group One 

www.g1limited.com 

+1 516 249 1399 

Hand Held Audio 

www.handheldaudio.co.uk 

+44 (0) 20 8880 3243 

HHB Communications 

www.hhb.co.uk 

+44 (0) 20 8962 5000 

Jigsaw Systems 

www.jigsaw24.com 

+44 (0) 870 730 6868 

KMR Audio 

www.kmraudio.com 

+44 (0) 20 8445 2446 

LMC Audio Systems 

www.lmcaudio.co.uk 

+44 (0) 20 8743 4680 

Virtual Katy Development 

www.virtualkaty.com 

+1 772 924 0026 

Virtuasonic 

www.virtuasonic.com 

Vortex Communications 

www.vtx.co.uk 

+44 (0) 20 8579 2743 

Waldorf Music 

www.waldorfmusic.de 

+49 700 925 367 32 

Wave Arts 

www.wavearts.com 

+1 781 646 3794 

Waves Audio 

www.waves.com 

+1 865 909 9200 

Weiss Engineering 

www.weiss.ch 

+41 44 940 20 06 

Mediaspec 

www.mediaspec.co.uk 

+44 (0) 1355 272 500 

Music & Sales Pro 

www.musicandsales.com 

+49 6851 905 0 

Newstagesound.com 

www.newstagesound.com 

+44 (0) 1980 863 733 

Numark Alesis Europe 

www.numark.com 

+44 (0) 1252 341 400 

Orbital Sound 

www.orbitalsound.co.uk 

+44 (0) 20 7501 6868 

PMI Audio 

www.pmiaudio.com 

+44 (0) 1803 329 848 

Preco Broadcast Systems 

www.preco.co.uk 

+44 (0) 20 8644 4447 

Raycom 

www.raycom.co.uk 

+44 (0) 1386 872 910 

Westlake Audio 

www.westlakeaudio.com 

+1 323 851 1222 


www.wharfedalepro.com 

+44 (0) 1480 447707 

Wheatstone International 

www.wheatstone.com 

+1 252 638 700 

Wholegrain Digital Systems 

www.wholegrain-ds.com 

Wilson Benesch 

www.wilson-benesch.com 

+44 (0) 1142 852 656 

WK Audio 

www.wk-audio.de 

+49 5427 1691 

Richmond Film Services 

www.richmondfilmservices. 

com 

+44 (0) 20 8940 6077 

RK Sound Engineering 

www.rksound.co.uk 

+44 (0) 1727 756999 

Sable Marketing 

www.sablemarketing.co.uk 

+44 (0) 20 8504 9460 

Scrub - A division of HHB 

www.hhb.co.uk/scrub 

+44 (0) 20 8962 5000 

SCV London 

www.scvlondon.co.uk 

+44 (0) 20 8418 1470 


www.sennheiser.co.uk 

+44 (0) 1494 551 551 

Shure Distribution UK 

www.shuredistribution.co.uk 

+44 (0) 20 8808 2222 

Shuttlesound 

www.shuttlesound.com 

+44 (0) 20 8646 7115 

ADVERTISERS INDEX 


PRESENTED BY: 

Wohler Technologies 

www.wohler.com 

+1 510 870 0810 

Wunder Audio 

www.wunderaudio.com 

+1 512 338 6777 


www.xta.co.uk 

+44 (0) 1299 879 977 

XXL Inside 

www.xxlinside.com 

+39 02 9822 1244 

Yamaha Commerical Audio 

www. 

yamahacommercialaudio. 

com 

+44 (0) 1908 366 700 

Smart Sound Direct 

www.smartsounddirect.com 

+44 (0) 845 869 5155 

Solid State Sound 

www.solidstatesound.co.uk 

+44 (0) 1747 830 670 

Sonic Distribution 

www.sonic-distribution.com 

+44 (0) 1582 470 260 

Sonic8 

www.sonic8.com 

+44 (0) 8701 657 456 

SoundLink 

www.sound-link.co.uk 

+44 (0) 1223 264 765 

Sound Network 

www.soundnetwork.co.uk 

+44 (020) 7665 6463 

Sound Technology 

www.soundtech.co.uk 

+44 (0) 1462 480 000 


Yellowtec 

www.yellowtec.com 

+49 2173 967 30 

Yellowtools 

www.yellowtools.com 

+49 (0) 721 62 73 89 00 

You/Com 

www.youcom.nl 

+31 15 262 59 55 

Zaxcom 

www.zaxcom.com 

+1 973 835 5000 

Zoom 

www.zoom.co.jp 

+81 35 835 2206 

Zplane 

www.zplane.de 

+49 30 854 09 150 

Source - A division of HHB 

Communications Ltd 

www.sourcedistribution. 

co.uk 

+44 (0) 20 8962 5080 

Studiospares 

www.studiospares.com 

+44 (0) 20 8208 9930 

Systems Workshop 

Distribution 

www.systemsworkshop.com 

+44 (0) 1691 658 550 

The Audio Pros 

www.audiopros.eu 

+44 (0) 1923 693770 

The Global Distribution 

Group 

www.globaldistribution.com 

+44 (0) 1223 406 500 

Total Audio Solutions 

www.totalaudio.co.uk 

+44 (0) 1527 880 051 


www.unityaudio.co.uk 

+44 (0) 1440 785843 

PMC 71 

Prism 17 

Richmond 34 

Roland 26 

SADiE 39 

Sonic Distribution 2-3, 33, 55, 64 

Sonnox 43 

Soundlink 53 

Sound Technology 7 

Solid State Logic 84 

Studiospares 83 

Tascam 65 

Tube Tech (Lydkraft) 11 

UK Screen (Conch Awards) 29 

Ultrasone 75 

Unity Audio 9 

Zoom 37

+ + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + F 



formance, or it allows 

mics on multiple 

uring, say, a recording 

ndtrack. 

a wide range of other 

ing on board waveform 

r sound quality, and 

4 offers four- 

and high quality 

a great price. 

ding on board waveform 

ior sound quality, and 

ty and high quality 

at a great price. 

+TASCAM 

TASCAM++++TASCAM++++TASCAM++++TASCAM++++TASCAM+++++++TASCAM++++TASCAM++++TASCAM++++TASCAM++++ 

++++TASCAM++++TASCAM++++TASCAM++++TASCAM+++++++TASCAM++++TASCAM++++TASCAM++++TASCAM++++ 


Why Compromise On Quality? 

+++VIOLET 

VIOLET 

Violet Microphones – 

Ears For Your Sound 




For a while only price mattered, but now, it is time to: 

Get back to quality, get back to reliability, 

get back to design 

++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++++PSI++ 


The Swiss Precision Active Monitoring Series: 

More Than A Black Box! 

various processes (recording, mixing 

The philosophy of PSI Audio can be compared to Swiss watch designers. Our vision is to be 

globally recognised as pioneers in precision audio, combining innovation, creativity 

++ + KLEIN + HUMMEL+ + + + KLEIN + HUMM 


Decoding The 

K+H products are designed to be used in 

music, broadcast, and post production 

studios for tracking, mixing, and mastering. 

They can be mixed freely to make large 

multi-channel systems. Klein + Hummel 

Th 

refl 

wou 

sou 

time 

is m 

grea 

conso 

it pos 

the tw 

preven 

proble 

This al 

togethe 

detailed 

Superb Sonic 

The three mag 

the latest mat 

techniques to a 

signal at high l 

The excellent tr 

particularly not 

Since 1945 Klein + Hummel ha 

in sound reproduction. For over 

on the professional market by d 

instruments – tools to analyse s 

nuances. 

7.1 High Defi nition Bass Management 

7.1 High Defi nition Bass Management 

The 7.1 High Defi nition Bass Manager 

The 7.1 High Defi nition Bass Manager 

is compatible with all standard consumer 

is compatible with all standard consumer 

formats from 

formats from 

mono through 

mono through 

to the latest 7.1 

O 300, Compa 

essional audio recorders for the audio, movie, and broadcast 

industries, no-one can match Fostex’s pedigree, product line up, and its unique 

understanding of the tasks at hand. 

PD606 DVD/HD Location Recorder: 

Audio Aquisition That’s As Versatile As 

You Are. 

Designed from the ground up to excel 

in ‘real-world’ applications, wherever 

you happen to be in the world. 

The PD606 8-track location recorder 

offers spectacular audio quality, fl exible 

recording to 12cm DVD-RAM, hard disk, 

or a combination of both, rock solid 

timecode implementation, extended 

battery life, loads of ‘instant access’ 

knobs, buttons, and switches, plus a 

whole battery of interface options. 

But impressive features are 

only part of the script. Fostex’s 

unrivalled pedigree in designing and 

manufacturing world class location 

recorders for over 16 years, and our 

unique understanding of the broadcast, 

fi lm, TV, and audio acquisition 

environments means that the PD606 

recorder isn’t just the best PD recorder 

ever, it’s simply the best professional 

location recorder available today. 

Digital Mixing And 8-Track Recording 

Following Fostex’s philosophy of 

‘real knobs and buttons are better’, 

recording, mixing, and routing is an 

intuitive experience. No multiple button 

pushes and complex menus to change a 

level, just turn a knob. Yet don’t confuse 

ease of use with a lack of features, as 

the PD606 offers a multitude of mixing 

options and recording sophistication: 

fl exible 8-track simultaneous recording 

via AES/EBU (six channels when using 

the analogue XLR inputs), full 8-channel 

analogue outputs, and the ability to 

digitally store monitor mix settings. 

FR2-LE CF-Based Field Recorder 

Here is a compact audio recorder 

designed from the ground-up to meet 

and exceed the needs of professionals 

in the fi eld. It records to CompactFlash 

in BWF at 24-bit 96kHz quality, is 

equipped with two professional 

phantom powered XLR microphones, 

and is packed with useful features like 

a one take = one fi le recording system 

which eliminates overwrites, and a two 

second ‘pre-record’ buffer, meaning 

there should never be a missed take or 

lost soundbite. 

10 FOSTEX 





PD606 On Location With James Bond 

Chris Munro recently used the PD606 on the new James Bond fi lm. Quantum of Solace 

is Chris’s fi fth Bond movie, having worked on Casino Royale (for which he was awarded a 

BAFTA), Tomorrow Never Dies, The World Is Not Enough and Die Another Day. 

Fostex researched the entire production process, and gathered extensive user 

comments when designing the PD606. The machine now takes full size DVD discs for 

greater recording time, and has been redesigned for simpler operation. Chris explained, 

“Despite what the name suggests, the PD606 is 

effectively an 8-track machine. Whilst it has six 

inputs, there are also two mix tracks available. 

In the same way that the PD6 was design-based on 

the DV40, the PD606 is design-based on the DV824, 

an 8-track machine. What’s more, varying numbers 

of tracks can be recorded throughout a single disc, 

and track confi guration can be changed at will. If 

only two or four tracks are required, it doesn’t fi ll the others with blank space, which is 

a real space and time bonus for editors.” 

I was confi dent in the PD606, and know the Fostex design quality won’t let me down. It’s 

so important to have a machine I can rely on when recording on location away from home.” 

rationality. The techno-physical approach is 

the reverse of this – a wholly reasoned and 

objective view that requires a basic knowledge 

of physics. Within certain restrictions, the 

choice of microphone will produce a sound 

that is predictable and can be tailored with 

some precision to what is required. 

Physics Versus Emotion 

Despite what many would regard as the 

benefits of the techno-physical approach, 

a great deal of the literature and advice 

on the use of microphones is based on 

apparently non-technical considerations. 

Often a microphone will be listed as best 

suited for vocals simply because it has, 

by chance, sounded pleasant on a previous 

occasion or looks similar in shape to one 

that was used in that way. 

Given that the 

equally, the key to the successful recording 

of it is a technical understanding of the 

devices that need to be used. Trying to 

muddle up both approaches in some 

haphazard fashion is no help either. 

That leads to quaint notions, such as that 

tube (valve) microphones give ‘a warm 

sound’ because they become physically 

warm in use – or that large microphones 

yield a bigger ‘sound image’ (whatever that 

means) than smaller designs. This latter 

notion undoubtedly stems from folklore 

that has been fostered by those with 

vested interests in the promotion of large- 

diaphragm microphones. In purely physical 

terms there is, of course, no requirement 

for the diaphragm to be large in order to be 

able to respond to low frequencies. 

Making Comparisons 

Every innovation needs to be tested and 

proven – which leads us to the awkward 

problem that some of the steps 

forward are very small ones. To hear 

them requires controlled listening 

under good conditions and, above 

all, with a proper reference; but 

all too frequently a new product 

or design is assayed in splendid 

isolation. Expectation or fervent 

belief that it must be better 

strains judgement, and within 

a short time highly coloured 

opinions are circulating and 

a myth is built which is as 

baseless as it is hard to 

eradicate. 

There really is no 

alternative to properly 

controlled listening 

tests if audio devices 

are to be compared in 

an impartial way. AB 

tests are limited to 

uality, 

even an almost imperceptibly higher level 

on one will skew judgements in favour of it. 

Such experimental pernicketiness has to 

be refined even to the extent of intentionally 

adding a small imbalance of levels but on 

a reciprocal basis where, say, microphones 

have different frequency responses that 

affect perceived loudness. 

Microphones for a Particular Use? 

Although it is extremely common to be told 

that such and such a microphone is good 

for, say, violins, this poses the question of 

why it should be considered to be so. 


Should a microphone be chosen purely on 


the grounds of what the sound source is? 


We don’t, after all, have more than one set 


of ears to hear everything, and common 


sense dictates that if the microphone is 


an ideal one it transforms a sound into a 


perfectly corresponding electrical signal. 

That suggests that the closer a microphone 


is to the ideal, the more neutral it sounds, 


and the more universally it can be used. 


There is certainly a wide variety of very 


different top-quality microphones, but it 


would be wiser to see these as physically 


suited to a particular application rather 


than a particular sound source. 


As far as the ‘perfect’ microphone goes, 

omni-directional capacitor (condenser) 


designs approach the ideal very closely. 


Where you want to favour sound from a 


single direction and exclude neighbouring 


instruments or unwanted sound, then of 

course you need a directional microphone 


which will be a little further from perfection. 


For a start, any directional microphone (such 

as a cardioid) will demonstrate the so-called 


proximity effect when used close to a sound 

source. Low frequencies will be accentuated. 


For a microphone that will commonly be used 

in this situation a compensating frequency 


6 getting techno-physical 

16 FOSTEX 

+++FOSTEX 

FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FO 

+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FO 

+ + + + FOSTEX+ + + + FOSTEX+ + + + FOSTEX+ + + + FO 

PM Series MkII 

The PM-Series MkII offer exceptional audio 

performance matched to jaw-dropping good 

looks at an affordable price. Fostex strives to 

design and build studio monitoring systems 

that enable you to experience your unique 

sound in all its dimensions. And through 

tireless research and development, endless 

measurements and real-world listening 

tests, Fostex’s engineers have achieved 

this in the form of the beautiful second 

generation PM-Series. 

Capitalising on Fostex’s supreme 

knowledge of acoustics and speaker 

engineering, and now offering a brighter, 

tighter sound, these studio monitors are 

designed inside out to provide the best 

monitoring experience, with minimal 

resonance, sparkling highs and rich, deep 

lows. And, with new ‘high-gloss’ front 

baffl es, they look as stunning as they sound. 

PM-2 MkII 

Created for larger rooms, the PM-2 has 

the power (240 watts of bi-amped power 

actually) and sophistication and, most 

importantly, the versatility to handle the 

most demanding recording applications. 

Equipped with a 200mm low frequency unit 

and remaining natural and transparent right 

across the audio spectrum, even at high 

sound pressure levels, the PM-2 is great for 

today’s bass heavy music. 

PM-1 MkII 

Perfectly proportioned and offering the type 

of clear-transparent sound that singles 

out a great speaker, the PM-1 is capable 

of producing extremely high 

SPLs accurately across the 

full audio spectrum. With 120 

watts of bi-amped power and 

a bass response that’s full and 

dynamic, and a crisp high- 

end that sparkles with vitality, 

the PM-1 delivers the type of 

sonic quality that’s usually the 

domain of monitors 

costing thousands. 

PM0.5 MkII 

The ideal choice for smaller 

studios requiring nearfi eld 

monitoring, the perfectly 

formed PM0.5 MkII offers 

70watts of bi-amped power 

and produces great full range 

performance with exceptional 

neutrality even at high sound 

pressure levels. 

The compact dimensions also 

enable accurate placement 

in confi ned or awkward spaces, with 

the dispersion from the two way ported 

enclosure design tailored such that it will 

deliver a superb sound almost regardless 

of room acoustics. 

PM0.4 

The ultra-compact PM0.4 now completes 

the lineup of the reputed PM-series ranging 

from 4” to 8” woofer size. PM0.4 is naturally 

recommended for desktop use but its superb 

audio performance in compact physical 

size expands its applications to professional 

console top studio monitoring, audio 

installation, as well as portable 

audio monitoring. 

PM0.5-Sub MkII 

Designed ideally for use with the PM0.5 

MkII, the 110watt, 200mm driver PM0.5- 

Sub produces precise, low frequency 

reproduction and an excellent deep bass 

output. Easy to set-up (just a single gain 

control and phase reverse switch), the 

combination of a pair of PM0.5s and 

PM0.5-Sub provides superb sonic quality 

at an affordable price. Recommended for 

use with PM0.4. 

NX Series 

Want to take your recording experience to 

a whole new level? The NX-Series Powered 

Nearfi eld Monitors for Professional 

Recording Environments are like nothing 

you’ve heard before. But don’t take our word 

for it. When choosing nearfi eld monitors 

for your studio you really ought to evaluate 

as many different speakers as you can 

NX-5A 

Choosing Nearfi eld 

Monitors Should Be Easy 

PM Series Group 

After all, they only have one job to do. The job of monitoring. 

Not enhancing, not diminishing, not in any way altering 

the source material. 

Ideal for 

musicians, 

journalists, and 

podcasters, the 

Olympus LS- 

10 enables the 

spontaneous 

capture of 

anything from 

an impromptu 

jam session to 

an unexpected 

encounter with 

a politician, 

or even a nature soundscape – all in 

superb 24-bit/96kHz quality. In addition 

to extra long battery life, there’s also 

a generous 2GB of internal memory, 

plus an SD card slot for ample storage 

with the potential to expand at any 

time. The LS-10 comes equipped with 

everything you need to create high- 

quality sound projects, from a large 

easy to view 1.8-inch LCD panel, to high 

sensitive microphones, and built-in 

stereo speakers to playback your fi les 

anywhere, anytime. 

High-Quality Audio In Compact Form 

Whether you’re a musician hit by 

a sudden wave of inspiration, or a 

reporter caught in the midst of a 

breaking story – the LS-10 Linear 

PCM Recorder is the ideal tool for 

high-quality audio capture on the 

go. Boasting a high-sensitivity, noise 

reduction stereo microphone, sampling 

rates of up to 24-bit/96kHz and PCM 

recording, this portable device delivers 

very good sound quality. Users are 

given additional fl exibility thanks to 

three different fi le formats: in addition 

to WMA and MP3, the WAV format is 

also on hand to satisfy the demands of 

even the most discerning audiophiles. 

High-Sensitivity Microphones 

And Amplifi er Circuitry 

The LS-10 incorporates built-in stereo 

microphones with higher sensitivity 

and lower noise. A rigid microphone 

housing constructed of carving- 

processed aluminium effectively 

withstands vibrations while making 

possible high-precision alignment. 

To derive the maximum performance 

in terms of frequency response and 

directivity, the microphone unit size 

and the opening of the case have been 

carefully designed. Recording capability 

is also enhanced by a 

layout that positions 

the microphones units 

with 90° outward 

orientation. The design 

makes it possible 

to record wider and 

more natural stereo 

sound fi elds without 

worrying about centre 

positioning. 

The microphone 

amp circuitry employs 

discrete chips for 

the left and right 

channels to prevent 

interference with the 

signal between channels, assuring the 

clearest possible signal transmission 

with improved signal-to-noise ratio. 

The analogue signal circuitry employs 

an independent power supply to reduce 

the interference form the power supply 

circuit so that the subtle nuances of 

the original sound are not affected, 

resulting in a superior S/N ratio. 

The integrity of the signal is also 

maintained by completing separating 

the system control (digital) circuitry 

and the audio circuitry to reduce any 

possible noise. 

The LS-10 allows you to fi ne- 

adjust the recording level manually 

with switchable limiter to obtain the 

optimum level by checking the level 

meter display on the LCD panel and 

PEAK indicator. An automatic level 

control function is also provided. 

Stereo Speakers In A Compact Body 

The LS-10 features a strong and 

durable body. Aside from high-quality 

metal dials for the 

setting of volume and 

recording levels, its 

microphone casings 

are crafted from a 

solid aluminium block. 

An ergonomic form 

makes it a pleasure to 

hold, while a uniquely 

compact design lets 

it slip easily into 

any pocket, bag, 

or backpack – and 

back out again when 

inspiration strikes. 

Despite its compact, 

165-gram design, 

the LS-10 incorporates built-in stereo 

speakers that allow you to enjoy 

high quality sound playback 


The Reverb function allows you to 

select the reverberation effect from 

select the reverberation effect from 

fi ve modes (NORMAL, STUDIO, CLUB, 

16 OLYMPUS 

+++OLYMPUS 

OLYMPUS+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPU 

+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPUS+ + + + + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPUS+ + + + OLYMPU 




The Olympus LS-10: 


High-End Sound Recording On Demand 

Seize the moment in sound with the empowering ability to record 

high-end audio anywhere at anytime. The Olympus LS-10 Linear PCM 

Recorder captures superior audio at the touch of a button – with an 

exceptional design that fi ts comfortably in the palm of your hand. 






+++ 

rom the highly innovative R-09HR to the compact and lightweight powerhouse that is the 

44, EDIROL offers a fi eld recorder for every occasion, whether it be capturing classical 

rformances, recording interviews, soundtracks to video, or even rock concerts on 

rest… 

OL is a world-leading company 

manufactures exceptional 

uter-based audio and video 

ntation products, as well as a 

t-leading range of fi eld 

ers that have won awards for 

ion and design excellence. 

detail the professional four 

models plus the ultra 

and ultra-cool R-09HR… 

-4 

the fi rst of EDIROL’s 

al four-channel fi eld 

The ability to record up to 

els simultaneously gives 

ty in any recording situation. 

ur channels rather than two 

the ability to capture more 

nds at a concert as well as 

formance, or it allows 

mics on multiple 

uring, say, a recording 

ndtrack. 

a wide range of other 

ing on board waveform 

r sound quality, and 

40GB of storage for up to 58 hours of CD 

quality. Looking beyond CD quality, the 

unit offers even greater sonic resolution 

because you can choose 16-bit or 24- 

bit quantisation and a sampling rate of 

44.1kHz, 48kHz, or 96kHz. Even at the 

maximum 24-bit/96kHz, you still get an 

incredible 17 hours of recording time. 

Other features on the R-4 include 

an on-board limiter to ensure clip free 

recordings and a Pre Record function 

so help avoid missing vital, time- 

sensitive recordings – if you think you 

have missed that sound bite, fear not, 

because the R-4 will have it captured! 

There are comprehensive EQ sections, 

a noise gate, de-esser and compressor, 

plus connections for a wide variety of 

media including XLR/phone combo 

jacks. Finally USB 2.0 support means on 

board audio can be backed up to Flash 

keys, memory cards, or onto the drive 

of a connected PC or Mac. 

The R-4’s compact size, light 

weight, rugged design and price of 

just GB£878.88 have won it homes in 

many prestigious companies including 

the BBC, and it is being used in a wide 

variety of industries and locations 

around the world. 

The EDIROL R-4 Pro 

The R-4 Pro is the next level of 

professional fi eld recording. 

Again it offers up to four channels of 

simultaneous recording, but adds an 

expanded feature-set and more storage 

capacity compared to the R-4. The R-4 

Pro accepts SMPTE time code so it can 

easily be sync’d to video equipment as 

the slave device. It’s a great function for 


video production as up to four channels 


of high quality audio (again, up to 

24-bit/96kHz) can be fully synchronised 

with video. In addition, the R-4 Pro can 

also act as the master, sending out 

time code to slave devices. 

The R-4 Pro comes with an 80GB 

drive installed which is enough for more 

than 100 hours of audio at 16-bit/48kHz, 

and well over 30 hours at the unit’s 

maximum resolution. The R-4 Pro is 

equipped with a 4-pin XLR DC input 

to enable use of Anton-Bauer style 

external battery power and also has XLR 

style AES/EBU digital input and output. 

Like the EDIROL R-4, the Pro features 

wave editing, recording resolution 

selection, pre-buffer recording, effects 

and a limiter, and is also USB 2.0 

compatible so you can transfer and 

back up fi les to a computer. 

For video production, the original 

R-4 is still easily the most affordable 

and effective choice for the existing SD 

camera base and the growing number 


of HDV cameras that are not equipped 



with time code. It is still the only four- 


channel solution equipped with LANC 




IROL 

IROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDI 

+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDI 

+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDIROL+ + + + EDI 

4 offers four- 

and high quality 

a great price. 

The R-4 Pro is a fully featured fi eld recorder 

suited for the video industry and recording 

anywhere in the world, even on Everest! 

e Award-Winning Range 

f EDIROL Field Recorders 

EDIROL 

+++HORCH AUDIO 

+++HORCH AUDIO 

+++HORCH AUDIO + + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICA 

+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + HORCH AUDIO+ + + + AUDIO TECHNICA 

The Sound Of Emotion: Horch 

How Everything Started 

The founder of Horch, Gibbs Platen is very familiar with 

the world of audio. His recording studio Zuckerfabrik 

was famous for American Jazz and Rock productions, 

and acoustic bands such as Colosseum, Wolfgang 

Dauner, John Scofi eld, Alphonse Mouzon, The United 

Jazz + Rock Ensemble, etc. He also freelanced for TV 

and broadcast productions. 

During this time, Platen became familiar with a 



wide variety of microphones, but his all time favourite 



for vocal recordings was the Neumann M49 tube 

for vocal recordings was the Neumann M49 tube 

microphone. However, Platen felt that of these 

microphone. However, Platen felt that of these 

old microphones had lost some of their expected 

old microphones had lost some of their expected 

excellence by this time. Here, Horch Audio’s 

excellence by this time. Here, Horch Audio’s 

story begins. 

The Microphones 

In the early nineties, Gibbs Platen and two friends 



founded Horch Audio with the ambition to build a 

founded Horch Audio with the ambition to build a 

microphone in the same vein as the M49, but improved. 

microphone in the same vein as the M49, but improved. 

That’s where the Horch RM2 came to life. In the 

That’s where the Horch RM2 came to life. In the 

beginning, the RM2 was built using original parts 

beginning, the RM2 was built using original parts 

from Neumann. As a fi nishing touch, Platen placed 

from Neumann. As a fi nishing touch, Platen placed 

a 0.5-carat brilliant diamond into the front of the 



RM2, which was illuminated from the inside. Later 



on, Horch modifi ed the RM2 into the RM2J, with the 



intention to move the sound more in direction of the 

intention to move the sound more in direction of the 

Horch was established in the 1990s by a small team of dedicated 

audio experts, whose vision was to create a microphone able to 

convey emotion through sound. All Horchs are large-diaphragm 

tube microphones. 

12 DYNAUDIO ACOUSTICS AUDIO 

+++DYNAUDIO ACOUSTICS+ + + + DYNAUDIO ACOUSTICS 

+ + + + DYNAUDIO ACOUSTICS 

The Truth, The Whole Truth, 

And Nothing But... 

Superior Tools For Critical Monitoring 

In fi lm, post, gaming, broadcast, and music 

productions, consistency, predictability, and 

reliability are key. Add to this networkability 

and central control, and you’ll know why 

studios throughout the world rely on 

Dynaudio Acoustics technology. 

Choosing Dynaudio Acoustics, you not 

only get 20 years of innovative speaker 

and driver technology thinking. You also 

get integrated TC Electronic digital signal 

processing. This combination offers you 

the best of both worlds, making Dynaudio 

Acoustics speakers second to none. 

Two Main Ranges – One High Standard 

Clarity and consistency come as standard 

– the question is, how versatile do you want 

your setup? Dynaudio Acoustics markets 

two extensive ranges of DSP powered and 

analogue near-fi eld and mid-fi eld monitors. 

AIR 

It makes great sense to compare the AIR 

sound with any other speaker you own or 

consider acquiring. We both encourage and 

support this. Contact your dealer or our 

representative in your country to arrange 

a demo. 

Bear in mind though, that an AIR System 

is not really comparable to conventional 

monitors. On top of ultimate precision 

and sound, an AIR system offers fl exibility 

and convenience previously unknown in 

monitors. Achieving similar functionality 

and features from conventional monitors 

requires the addition of a number of external 

boxes such as Monitor Matrix Controller, 

Bass Management Crossover, external 

EQs and Delays. This obviously adds to the 

system price, and moreover often degrades 

the signal path. With an AIR System 

everything is integrated and matched – it’s 

right there for you to use from the menu 

on the front of a Master-Module speaker 

via a 32-segment LCD display, or through 

an optional dedicated hardware remote, or 

an optional dedicated software application 

(Mac and PC). The user interface allows 

for storing and recall of factory and user 

presets taking into account THX and Dolby 

recommendations, reference levels, LFE 

sensitivity, and so on. 

AIR Soft 

This MAC and PC 

compatible remote 

application allows central 

real-time control of AIR 

system parameters such as 

volume control, reference 

level, presets, and setup. AIR Soft is included 

with all AIR monitors. 

AIR Remote 

AIR Remote provides instant access to the 

AIR system volume, independent 

of your DAW or computer. 

Additionally, AIR Remote 

features one-touch 

operation of system 

reference levels, preset 

recall, and solo/mute 

status for each monitor. 

The calibrated volume k 

allows accurate level se 

tracking, as well as ca 

any AIR setup. The AIR 

through TC-Link of an 

AIR PC-IP 

The optional 

PC compatible 

advanced 

Installer’s 

Package 

provides 

access to 

virtually any 

AIR system 

parameter. This inclu 

EQ in each monitor, p 

control and more. PC 

bass management fe 

LP crossover frequen 

and polarity control o 

Additionally, PC-IP al 

to control system acc 

parameter securing, 

and UI locking. 

THX Ce 

AIR m 

THX ce 

PM3 ro 

Dynaudio Acoustics monitors are designed to speak the truth. You get exactly wh 

for your mixing – an exact reproduction of your mix – no more, no less. 

AIR 12 

Powerful Two-Way Nearfi eld Speaker – 8” 

Woofer And 1.1” Soft Dome Tweeter 

The latest addition to the AIR family. AIR12 

suits all sizes of control 

room and OB vans, and 

its high precision amp/ 

driver system (+/- 0.2 

dB accuracy) ensures 

complete consistency with 

the entire AIR family in a variety of stereo 

and 5.1 setups – remote controllable via 

the AIR Remote or the included Air Soft 

application. DSP room adaption allows for 

perfect customisation for any 

room construction and its inter- 

monitor level calibration feature 

ensures consistent levels in all 

sessions. 

BMC-2 – How Pro Can Y 

BMC-2 is TC Electroni 

audio conversion and 

With it you can enjoy t 

control 

levels a 

during 

or com 

It also offers digital in 

check audio compress 

listening for headpho 

speakers. 

BMC-2: your pro DAC 

you happen to be in the world. 

offers spectacular audio quality, fl exible 

recording to 12cm DVD-RAM, hard disk, 

or a combination of both, rock solid 

timecode implementation, extended 

10 

PD606 On Location With James Bond 

Chris Munro recently used the PD606 on the new James Bond fi lm. 

is Chris’s fi fth Bond movie, having worked on 

BAFTA), 

Fostex researched the entire production process, and gathered extensive user 

comments when designing the PD606. The machine now takes full size DVD discs for 

greater recording time, and has been redesigned for simpler operation. Chris explained, 

“Despite what the name suggests, the PD606 is 

ffectively an 8-track machine. Whilst it has six 

puts, there are also two mix tracks available. 

the same way that the PD6 was design-based on 

e DV40, the PD606 is design-based on the DV824, 

8-track machine. What’s more, varying numbers 

racks can be recorded throughout a single disc, 

track confi guration can be changed at will. If 

two or four tracks are required, it doesn’t fi ll the others with blank space, which is 

l space and time bonus for editors.” 

as confi dent in the PD606, and know the Fostex design quality won’t let me down. It’s 

portant to have a machine I can rely on when recording on location away from home.” 

+++VIOLET 

VIOLET + +++VIOLET++++VIOLET++++VIOLET++++VIOLET++++VIOLET++++VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + 

++++VIOLET++++VIOLET++++VIOLET++++VIOLET++++VIOLET++++VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + + + VIOLET+ + 






Violet Design – Microphones Made in Latvia 

It is almost impossible to picture today’s 

pro audio and recording industry without 

technological innovations and expressive 

designs introduced by Violet 

microphones. Microphones are 

made in Latvia, in the same 

factory that has within the last 

decade achieved great popularity 

worldwide with the quality and 

design of its microphones. 

Violet Design was founded 

in 2003 by Stanislav Rubintsik. 

The company is a worldwide 

distribution centre and sales 

representative of Violet and 

Flamingo brand microphones. 

The factory started to 

manufacture microphone capsules 

in late 1994. Its fi rst capsules were 

placed in legendary vintage microphones: 

U47, M49, M50, C12, and the 414. In 1997, a 

new generation of capsule was born. Today 

A nice look gives you the possibility to 

grab inspiration at the time of recording. 

Simplicity grants the microphone a long life 

and durability. After having recorded, you 

will never be surprised 

by incorrect settings, as 

there will be a chance to 

change them. 

And most importantly, 

a microphone must 

do its job as well as 

possible. To improve its 

microphones sonically, 

Violet has been 

investing a lot in its 

research laboratories. 

Capsule 

The heart of the 

microphone 

is its capsule – Violet’s 

hand crafted highest quality 

electrostatic transducers provide 

high output of the best quality 

audio signal, and can handle 

communication with the membrane, and 

reduction of parasitic internal resonances 

and refl ections. New technology, named 

‘Golden Drops’, is used in all our large 

capsule microphones from 2008. 

PRODUCTS 

In 2008-2009, Violet introduced several new 

microphones and accessories. 

The Wedge 

The Wedge is designed as Violet’s next 

generation of universal-wide 

application studio microphone, 

providing perfect audio recording 

quality for an affordable price. 

The microphone has a cardioid 

polar pattern, high output, very 

low self-noise, distortion, and a 

full audio spectrum of sound. 

The newly designed VD21 true 

electrostatic single diaphragm 

capsule uses Violet’s 

latest technologies, 

and is damped from 

vibrations and resonances. 

Acoustically open long 

double mesh head 

For a while only price mattered, but now, it is time to: 

Get back to quality, get back to reliability, 

get back to design… 

Get back to what matters – get into Violet Microphones. 

The benefi ts of Violet 

Design microphones are: 

• High SPL level 

• Very low self-noise 

• Low distortions 

• Wide dynamic range 

• High output level 

• Solid state or tube Class 

A discrete preamplifi er 

• An attractive design 

• All mics are hand 

crafted and have 5-year 

warranty. 

Where It All Began 

TASCAM has been part of the fi eld 

recording business for quite a number 

of years. Having started the revolution of 

portable recording 30 years ago 

live within a classroom, church, or 

home studio, and has the simplicity 

of use for even the least technically 

minded person. 

Early 2008 saw the 

introduction of the DR-1 

++TASCAM 

TASCAM 

TASCAM 

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Whether its high quality recording at up to 192k, 

compressed recording of MP3, portability, music 

recording, or syncing to code, TASCAM has a fi eld 

recording solution. With no compromise between 

price and quality TASCAM has made a reputation 

for quality at an affordable price. 



The Swiss Precision Active Monitoring Series: 



Decoding The 

Since 1945 Klein + Hummel h 

in sound reproduction. For ove 

on the professional market by 

instruments – tools to analyse 

nuances. 

24 

The SoundField DSF-2 in use capturing the 

ambience on Centre Court for a BBC HD 

broadcast during the 2008 Wimbledon Tennis 

Championships. 

Talmost as a musical instrument – an 

extra member of the orchestra or an 

accompanist to a singer. With such a view it 

can be very difficult to judge the microphone 

objectively. Elements of fashion, nostalgia, 

and a degree of sympathetic magic can lead 

to a very subjective choice that owes little to 

rationality. The techno-physical approach is 

the reverse of this – a wholly reasoned and 

objective view that requires a basic knowledge 

of physics. Within certain restrictions, the 

choice of microphone will produce a sound 

that is predictable and can be tailored with 

some precision to what is required. 

Physics Versus Emotion 

Despite what many would regard as the 

benefits of the techno-physical approach, 

a great deal of the literature and advice 

on the use of microphones is based on 

apparently non-technical considerations. 

Often a microphone will be listed as best 

suited for vocals simply because it has, 

by chance, sounded pleasant on a previous 

occasion or looks similar in shape to one 

that was used in that way. 

Given that the 

majority of users of microphones have very 




little engineering background and are far 



more familiar with the world of art, this 

more familiar with the world of art, this 

should not be surprising. They have no other 

should not be surprising. They have no other 

guidelines to follow. 

Art and emotion do, without question, 

Art and emotion do, without question, 

have a central position within music but, 

have a central position within music but, 








muddle up both approaches in some 

haphazard fashion is no help either. 



tube (valve) microphones give ‘a warm 











that has been fostered by those with 

vested interests in the promotion of large- 

diaphragm microphones. In purely physical 

terms there is, of course, no requirement 

for the diaphragm to be large in order to be 

able to respond to low frequencies. 

Making Comparisons 

Every innovation needs to be tested and 

proven – which leads us to the awkward 

problem that some of the steps 

forward are very small ones. To hear 

them requires controlled listening 

under good conditions and, above 

all, with a proper reference; but 

all too frequently a new product 

or design is assayed in splendid 

isolation. Expectation or fervent 

belief that it must be better 

strains judgement, and within 

a short time highly coloured 

opinions are circulating and 

a myth is built which is as 

baseless as it is hard to 

eradicate. 

There really is no 

alternative to properly 

controlled listening 

tests if audio devices 

are to be compared in 

an impartial way. AB 

tests are limited to 

distinguishing the better of two options, but 

distinguishing the better of two options, but 

they alone can reveal what differences there 


they alone can reveal what differences there 


are and if, indeed, they actually exist. And 







‘properly controlled’ should not be skimmed 







over lightly – for instance, adjusting levels 







needs to be carried out with great precision 


needs to be carried out with great precision 


since, with signals of equally high quality, 

24 

since, with signals of equally high quality, 

24 

even an almost imperceptibly higher level 



Such experimental pernicketiness has to 

be refined even to the extent of intentionally 

adding a small imbalance of levels but on 

a reciprocal basis where, say, microphones 

have different frequency responses that 

affect perceived loudness. 

Microphones for a Particular Use? 

Although it is extremely common to be told 



for, say, violins, this poses the question of 















perfectly corresponding electrical signal. 
















As far as the ‘perfect’ microphone goes, 















For a start, any directional microphone (such 



proximity effect when used close to a sound 



For a microphone that will commonly be used 


6 getting techno-physical 




Early 2008 saw the 


portable hand held recorder. 












portable hand held recorder. 

Tomorrow’s Offerings 

Audio Media is proud to announce 

the addition of two new products 

from TASCAM, the DR07 and DR100. 

These new units complete the line for 

TASCAM, providing a solution for every 

instance of fi eld recording. 

The DR07 is a slim-line stereo 

handheld, offering the same high 








anything from 


anything from 


an impromptu 


an impromptu 


jam session to 

an unexpected 

encounter with 

a politician, 








superb 


superb 


24-bit/96kHz 


24-bit/96kHz 


quality. In addition 











a generous 


a generous 



a generous 


2GB of internal memory, 


2GB of internal memory, 


plus an 


plus an 


SD card slot 


SD card slot 


for ample storage 


for ample storage 


with the potential to expand at any 

for quality at an affordable price. with the potential to expand at any 


time. The 


time. The 


LS-10 comes equipped with 

everything you need to create high- 

quality sound projects, from a large 





is proud to announce 





















































handheld, offering the same hi 


handheld, offering the same high 


gh 

MP3, the WAV format is 





incorporates built-in stereo 









































positioning. 

positioning. 







the left and right 















The LS-10 allows you to fi ne- 















The LS-10 features a strong and 

durable body. Aside from high-quality 

metal dials for the 

setting of volume and 

recording levels, its 

microphone casings 

are crafted from a 

solid aluminium block. 

An ergonomic form 

makes it a pleasure to 

hold, while a uniquely 

compact design lets 

it slip easily into 

any pocket, bag, 

or backpack – and 

back out again when 

inspiration strikes. 

Despite its compact, 
































Ideal for 

Ideal for 

musicians, 

musicians, 





Olympus LS- 

Olympus LS- 


Olympus LS- 



10 


enables the 










spontaneous 

capture of 


capture of 


anything from 


anything from 


to WMA and MP3 























The 

The LS-10 incorporates built-in stereo 




























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From the highly innovative R-09HR to the compact and lightweight powerhouse that is the 

-44, EDIROL offers a fi eld recorder for every occasion, whether it be capturing classical 

erformances, recording interviews, soundtracks to video, or even rock concerts on 

verest… 

IROL is a world-leading company 

t manufactures exceptional 

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we detail the professional four 

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ct and ultra-cool R-09HR… 

R-4 

is the fi rst of EDIROL’s 

onal four-channel fi eld 

s. The ability to record up to 

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ility in any recording situation. 

four channels rather than two 

s the ability to capture more 

unds at a concert as well as 

rformance, or it allows 

ce mics on multiple 

during, say, a recording 

oundtrack. 

s a wide range of other 

ding on board waveform 

ior sound quality, and 

There are comprehensive EQ sections, 

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plus connections for a wide variety of 

media including XLR/phone combo 

jacks. Finally USB 2.0 support means on 

board audio can be backed up to Flash 

keys, memory cards, or onto the drive 

of a connected PC or Mac. 

The R-4’s compact size, light 

weight, rugged design and price of 

just GB£878.88 have won it homes in 

many prestigious companies including 

the BBC, and it is being used in a wide 

variety of industries and locations 

around the world. 

The EDIROL R-4 Pro 

The R-4 Pro is the next level of 

professional fi eld recording. 

Again it offers up to four channels of 

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Pro accepts SMPTE time code so it can 

easily be sync’d to video equipment as 






































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A massive range of cables, connectors, 

leads, snakes and cable drums. 

Easily the UK’s finest and most cost 

effective range of studio monitors 

and PA speakers. 

The single source supplier for everything 

PRO-AUDIO Tel: 0844 375 5000 

The UK’s most comprehensive range of 

sound treatment for improving room 

acoustics and controlling reverberation. 

A complete range of equipment now 

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SSL music consoles. 

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The legendary sound and feel of SSL, designed for 

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Combining SSL’s ‘hit record’ SuperAnalogue sound with advanced DAW control and integration, our 

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From the compact 16 fader Matrix, ideal for project studios, through to Duality, our fully scalable flagship 

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Oxford +44 (0)1865 842300 New York +1 (1)212 315 1111 Los Angeles +1 (1)323 549 9090 Paris +33 (0)1 48 67 84 85 Milan +39 039 2328 094 Tokyo +81 (0)3 5474 1144

wherever there's sport calrec audio is the big player - Audio Media

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