BEHRINGER MON800 Ultra-Compact Stereo Monitor Matrix Mixer with Talkback Mic

Behringer MON-800 Ultra-Compact Stereo Monitor Matrix Mixer with Talkback Mic

Get this ultra-compact monitor matrix mixer and you?ll be glad you did. It features a dedicated input section with 4 selectable and mixable stereo inputs plus accurate 6-digit LED main stereo output meters for precise level indication. You?ll get a high-power phones output with dedicated Level control plus 3 selectable stereo speaker outputs with separate Level controls for ultimate monitoring. Professional Mute, Dim and Mono functions are included for ultimate flexibility and phase check. We?ve even given the MON800 a Talkback section with internal microphone and comprehensive routing options. Long-term reliability is assured with the high-quality potentiometers and illuminated switches. Ultra low-noise audio operational amplifiers offer outstanding sound performance. In addition, all MINI Series models can be stacked on top of each other to create an ultra-compact signal processing solution.

• Ultra-compact monitor matrix mixer for studio and stage applications
• Dedicated input section with 4 selectable and mixable stereo inputs
• Accurate 6-segment LED main stereo output meters for precise level indication
• High-power phones output with dedicated Level control
• 3 selectable stereo speaker outputs with separate Level controls for ultimate monitoring
• Professional Mute, Dim and Mono functions for ultimate flexibility and phase check
• Talkback section with internal microphone and comprehensive routing options
• High-quality potentiometers and illuminated switches for long-term reliability
• All Mini Series models can be stacked on top of each other to create an ultra-compact signal processor solution
• 3-Year Warranty Program*
• Designed and engineered in Germany

By listening to your mix through multiple sound systems, you can craft a mix that sounds great on every system it’s played through. The incredible MINIMON MON800 is the ideal tool for comparing your mix through different sets of loudspeakers. This monitor matrix mixer with talkback mic is also the perfect way to expand your mixing capabilities. In fact, you can even use it without a console! Just flick a switch to listen to your productions over different loudspeaker systems and mix your tracks for maximum impact.

The MON800 features a clearly structured input section with four selectable and mixable stereo inputs, as well as a precision 6-LED output level meter. You also get a powerful headphones jack with its own volume control, plus three selectable stereo loudspeaker outputs with separate volume controls for optimal adjustment.

The sublimely useful MON800 features MUTE and DIM functions, as well as a mono switch, which is ideal for checking phase compatibility. The integrated TALKBACK section with built-in microphone provides multiple routing options. High-quality potentiometers and backlit switches give you session after session of reliable, easy-to-operate monitoring.

Recording on your home computer? Just connect a line-level signal out to the MIX IN A connectors on the MON800. Connect your main monitor speakers to the SPEAKERS OUT A section, and another pair to the B outputs. The A and B switches allow you to choose which pair of speakers you want to hear.

• Professional 31-band stereo graphic equalizer for live and studio applications
• Revolutionary FBQ Feedback Detection system instantly reveals critical frequencies and can also be used as audio analyzer
• Ultra-low noise 4580 operational amplifiers for highest signal integrity
• Dedicated mono subwoofer output with adjustable crossover frequency
• Additional sweepable high and low-cut filters for each channel remove unwanted frequencies, e.g. floor rumble, hiss etc.
• Highly accurate 12-segment LED input/output metering and input gain controls for easy level setting

• Relay-controlled hard-bypass with an auto-bypass function during power failure (fail-safe relay)
• Servo-balanced inputs and outputs with 1/4" TRS and gold-plated XLR connectors
• “Planet Earth" switching power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
• 3-Year Warranty Program*
• Conceived and designed by BEHRINGER Germany

OPTIMOD-FM 5500 puts coveted five-band and two-band OPTIMOD processing into a single rack unit package and brings it to you at the most affordable price ever.

Quality sound is what 5500 is all about-sound that attracts audiences by providing a polished, professional presentation regardless of format and source material. Exceptional versatility allows you to adjust the processor's audio texture to brand your audio, knowing that the resulting signature sound will remain consistent, cut-to-cut and source-to-source. Branding builds businesses and no other processors have the consistency to brand your sound like OPTIMOD.

With the 5500, your signature sound is just a preset away. An easy, one-knob Less/More adjustment allows you to customize any factory preset, trading cleanliness against processing artifacts according to the requirements of your market and competitive environment. Full Control gives you the versatility to customize your audio further. And, if you're a hard-core processing expert, you can explore Advanced Control to tweak presets at the same level as Orban's factory programmers. This versatility makes the 5500 a superb choice for any format. Its five-band processing is ideal for any pop music format (even the most competitive and aggressive CHR), while phase-linear two-band processing yields ultratransparent sound for classical, classic jazz, and fine arts formats. Regardless of your choice, 5500's optimized technology ensures unusually high average modulation and coverage for a given level of subjective quality. Unlike many lesser processors, the 5500 handles speech particularly well. It's always clean, even when you process for loudness.

If you're concerned about latency because you need to feed live talent headphones off air, be assured that the 5500's ultra-low-latency (5 ms delay) processing will keep the most finicky talent happy. Or use optimum latency (15 ms delay) processing for the most competitive sound with delay that's still low enough to satisfy most any talent.

The 5500 can also be used as a superb stand-alone stereo encoder with latency as low as 2 ms and full overshoot limiting in both the left/right and composite baseband domains.

When used in this mode, the 5500 must be driven (usually via an STL) by a full-featured FM audio processor (like Orban's 8600) that incorporates pre-emphasis aware HF limiting and peak control. In both modes, the 5500's stereo encoder helps deliver a transmitted signal that's always immaculately clean and perfectly peak limited, with full spectral protection of subcarriers and RDS/RBDS regardless of the amount of composite limiting.

It is the ideal choice for network broadcasters who process with Orban's flagship OPTIMOD-FM 8600 at the network origination point and who need a processor at every transmitter to eliminate STL overshoots (using the 5500's stand-alone stereo encoder mode) and/or to process local insertions while also eliminating network STL overshoots (using the 5500's audio processor / stereo encoder mode). Moreover, the 5500's two modes make it easy for large government and network broadcasters to manage its inventory of spares because any 5500 can be used as a stereo encoder with or without audio processing.

Available in both modes, the built-in, defeat-able ITU-BS412 multiplex power controller allows the 5500's output to meet even the most stringent European government regulations.

A 10 MHz frequency reference input allows the stereo pilot tone frequency to be locked to GPS or another high-accuracy frequency standard. This improves the performance of single-frequency networks in areas where coverage of the transmitters overlaps.

The 5500's built-in stereo encoder, AES/EBU digital inputs and outputs, and analog I/O permit hasslefree interfacing to any broadcast plant, whether the 5500 is located at the studio or the transmitter. Tight band limiting to 15 kHz means you can use any uncompressed digital STL to pass 5500- processed audio from studio to transmitter without compromising on-air loudness - there's no need to use STL's having 44.1 or 48 kHz sample-rate.

The stereo encoder's stereo sub-channel modulator can operate in normal double sideband mode and in an experimental compatible single sideband mode (SSB/VSB) that is offered to enable users to compare and assess the two modes.

Analog Fallback to Digital control that allows Silence Sense to switch the active input from Analog to Digital if silence is detected in the analog input signal but not on the digital input signal. This function works vice versa as well on both analog and digital AES input. The silence sense parameters apply to both simultaneously and both detectors are available to drive the 5500's tally outputs and sending SNMP Traps/Alerts.

If you want to locate the 5500 away from the studio, you'll be pleased by its three separate remote control ports - GPI contact closures, RS232 serial and built-in Ethernet for TCP/IP networks. The serial and Ethernet ports are supported by the supplied 5500 PC Remote Control application. This Windows® 2000/XP/Vista/7/8 application allows you to do even more with the 5500 than you can do through its front panel, making remote control a pleasure.

5500 PC Remote software allows you to access all 5500 features and allows you to archive and restore presets, automation lists, and system setups (containing I/O levels, digital word lengths, GPI functional assignments, etc.)

Built-in clock-based automation lets you automatically day-part the processing. You can control many other 5500 operating parameters too.

The 5500's feature set fully exploits the processor's DSP and computer-based control architecture. To ensure absolute accuracy, you can automatically synchronize the clock to an Internet timeserver. It has a cool-running, energy-efficient switching power supply and uses the latest dual-core DSP chip technology from Freescale Semiconductor.

The DPR-504 is a 4-channel noise gate.

Each channel features:
A parametric key filter with key filter listening.
Simultaneous key level and threshold metering with average and
peak metering.
A gate status LED.
A RELEASE/HOLD control (hold tracks proportionally with release
times).
Attack switchable auto/fast (auto tracks signal dynamics for optimum
setting).
Link (links two channels together).
Key source allows external triggers.

The Range switch selects between 7OdB and 2OdB gating depth to
provide alternative release profiles.
The unit features electronically balanced inputs and outputs. 

Features
Four Independent Compressor Channels
Channels 1 and 2, 3 and 4 are stereo linkable
7 LED Gain Reduction metering
Balanced XLR Inputs and Outputs
Sidechain Insert points
Intuitive, user friendly layout
Flawless performance
 
The sheer amount of effects and signal processors necessary for today's standards
of audio production puts a great strain on the available space in equipment racks,
both in the studio and on the road.So, ARX would like to introduce the ARX Quadcomp.
An all-new upgrade of the classic award-winning ARX Quadcomp?, the very first four
channel 1 RU compressor.You?ll notice that we haven?t strayed very far from our
original design concept. The Quadcomp  is still four variable ratio Compressor/ Limiters
neatly housed in a compact all steel 1 RU package. However, all new low noise/low
distortion circuitry, better metering plus XLR inputs and outputs put the Quadcomp
in a class of its own.
More Control, Less Space
On the front panel, each channel has the 'industry standard' individual controls for Threshold,
Compression Ratio and Output, plus a new 7 LED Gain Reduction display for accurate visual
indication of the amount of gain reduction being applied to the program, and an IN/OUT
hardwire bypass switch.In addition to this, each channel has a blank numbered panel to write
on for easy confirmation of compressor assigns.
Precision Circuitry
Internally, each compressor uses Class A VCAs and true 2 pole averaging RMS/DC converters
for low distortion and accuracy, plus program dependent attack and release time, which
automatically determines optimum compressor response.
Balanced Inputs and Outputs
The rear panel has true differential Balanced XLR Inputs and Outputs for each compressor.
Each compressor has a TRS jack Sidechain access insert point, for frequency sensitive
compression, De-essing, etc. in conjunction with an external equalizer (such as the ARX EQ260).
Compressor pairs 1 and 2, 3 and 4 also have rear panel mounted Stereo Link switches for accurate
stereo tracking. When switched IN, the first channel becomes the master and controls all the functions
of the second except Output gain.
Universal AC Power
AC power range is switchable 100 to 120V, or 220 to 240V, and is connected to the unit via
a standard IEC connector, with built-in fuse and voltage switch.
Whatever the application ? Channel insert, Bus insert, Master Outputs, Monitor outputs,
Crossover outputs, the Quadcomp II?s unique High Density design, precision Low Noise circuitry
and clean uncluttered layout make it a truly useful audio tool for all applications.

T E C H N I C A L S P E C I F I C A T I O N S
Input Impedance
Balanced 20 Kohms, Unbalanced 10 Kohms
Input Headroom + 20dB
CMRR >50dB, 20 Hz?20 KHz
Output Impedance
Balanced 300 ohms Unbalanced 150 ohms
Output Level (Max) + 20 dB
Frequency Response 20Hz-20KHz ±0.5dB
Signal to Noise ratio
-93 dB Unweighted, -98 dB ?A? weighted
Distortion .015% THD @ 0dB,1KHz
Dynamic Range 108 dB
Attack and Release Times Program dependent
Metering
7 LED display: ?1, 2, 3, 6, 12, 18, ?24 dB
Sidechain Insert Impedance 10 Kohm
Power Requirements
100/120 V AC or 220/240 V AC
Weight 5 lbs/2.2 Kg
Dimensions
19“W x 1?“H x 6“D, 482 x 44 x 155mm
Input Connector type Balanced XLR
Output Connector type Balanced XLR
Sidechain Insert Connector TRS Jack

Front Panel Controls
Hardwire bypass IN/OUT switch
Threshold, Ratio and Output Gain controls
7 LED Gain Reduction display
Marker panel for labelling compressor assigns
Stereo link status LEDs
Rear Panel Connectors
Input and Output balanced XLR connectors
TipRingSleeve Sidechain insert connectors
Channels 1 and 2, 3 and 4 Stereo link switches
IEC AC mains connector with inbuilt fuse and
voltage change