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PLATINUM V/MAST PRO
With every project, you need to capture that perfect vocal and make the sound your own. VoiceMaster Pro represents a new generation of voice recording equipment. Many of the elements from the award-winning VoiceMaster have been innovated upon. In addition, the unit features a whole host of new processors designed to ensure you have all you require to make the most of the artist you're recording. The award-winning Class A preamp captures every nuance from any source, whilst latency-free monitoring ensures direct and delay-free mix control. Tools such as the voice-optimised EQ, Vintage Harmonics and Tube Sound allow you to get creative with a touch of class, putting your own stamp on every recording. All of this, combined with the optional 24 bit, 96 kHz digital output board means that VoiceMaster Pro is the perfect interface between your microphone and your DAW or other recording media, placing the ultimate tracking solution firmly within your grasp.
Specifications Mic Input Response * Gain range = 0dB to 60dB continuously variable * Input Impedance = 1k4 Ohms from 10Hz to 200kHz * EIN = 128dB measured at 60dB of gain with 150 Ohm terminating impedance and 20Hz/22KHz bandpass filter * THD at minimum gain (0dB) = .0004% measured with +16dBu input signal and with a 20Hz/22KHz bandpass filter * THD at maximum gain (60dB) = .003% measured with a ?36dBu input signal and with a 20Hz/22KHz bandpass filter * THD at maximum Input level (26.5dBu) = .005% measured with a 20Hz/22KHz bandpass filter * Frequency response at minimum gain (0dB) = flat at 10Hz and ?2dB down at 200kHz * Frequency response at maximum gain (60dB) = ?2dB down at 10Hz and 200kHz * CMRR at full gain (60dB) = 80dB
Line Input Response * Gain range = -10dB to +10dB continuously variable * Input Impedance = 10k Ohms from 10Hz to 200kHz * Noise at main output with gain and fader set to unity (0dB) = -94dBu measured with a 20Hz/22kHz bandpass filter * Signal to noise ratio relative to max headroom (27dBu) = 121dB * Signal to noise ratio relative to 0dBfs (+22dBu) = 116dB * THD at unity gain (0dB) = .0006% measured with 0dBFS (+22dBu) * Input signal with a 20Hz/22kHz bandpass filter * Frequency Response at unity gain (0dB) = 0.25dB down at 10Hz and ?3dB down at 200kHz
Instrument Input Response * Gain range = 0dB to 40dB continuously variable * Input Impedance >1MOhm * Noise at minimum gain (0dB) = -90dBu measured with a 20Hz/22kHz bandpass filter * Noise at maximum gain (40dB) = -78dBu measured with a 20Hz/22kHz bandpass filter * THD at minimum gain (0dB) = .006% measured with ?10dBu input signal and with a 20Hz/22kHz bandpass filter * Frequency Response at unity gain (0dB) = 0.5dB down at 10Hz and ?1dB down at 200kHz * Frequency Response at maximum gain (60dB) = 6dB down at 10Hz and ?1dB down at 200kHz
Input Meter 6 LED meter is calibrated relative to 0dBfs where 0dBfs = +22dBu (the maximum level which can be correctly converted by the optional internal A/D converter before overload occurs). The meter calibration points are as follows: * O/L dBFS (converter overload) = +22.4dBu (equivalent value) * 0dBFS = +22dBu * -3dBFS = +19dBu * -6dBFS = +16dBu * -10dBFS = +12dBu * -20dBFS = +2dBu (average level to allow 20dB of headroom for EQ and Dynamics
High Pass Filter * Roll off = 18dB per octave 3 pole filter * Frequency Range = continuously variable from 30Hz to 400Hz measured at the 3dB down point
Optical Expander * Threshold hold range = -20dBFS (0dBu) to ?60dBFS (-40dBu) * Expander ratio = 2:1 * Attack time = 750us * Release time = 0.25s to 4s * Noise with maximum expansion = -96dBu measured with a 20Hz/22KHz bandpass filter * Signal to noise ratio relative to max headroom (27dBu) = 123dB * Signal to noise ratio relative to 0dBfs (+22dBu) = 118dB * 6 LED meter shows downward expansion calibrated in dB increments
Vintage Harmonics * Threshold range = -10dBFS (+12dBu) to ?40dBFS (-18dBu) * Compression ratio Depth switch out = 1:1.5 * Compression ratio Depth switch in = 1:3 * Mid band centre frequency = 3.5kHz * High band centre frequency = 20kHz * Band Q = 0.2 * 6 LED meters show the amount of boost at the centre frequency of the band, meter calibrated in dB increments
Optical Compressor * Threshold hold range = -15dBFS (7dBu) to ?40dBFS (-18dBu) * Compressor ratio Hard Ratio switch out = 2.5:1 * Compressor ratio Hard Ratio switch in = 6:1 * Attack time Slow Attack switch out = 0.5ms * Attack time Slow Attack switch in = 5ms * Release time = 100ms to 1s and then auto release mode when the release knob is turned fully clockwise. Auto release creates a release time dependent upon the average level of the incoming signal * Noise = -94dBu measured with a 20Hz/22KHz bandpass filter * Makeup gain = 0 to +18dB
Tube Sound * Harmonic generation = 2nd, 3rd and 5th harmonics generated from fundamental frequency of the incoming signal relative to position of the Drive knob * THD with Drive knob at cool = 0.6% with a ?10dBFS (+12dBu) 1kHz input signal measured with a 20Hz/22kHz bandpass filter * THD with Drive knob at warm = 6% with a ?10dBFS (+12dBu) 1kHz input signal measured with a 20Hz/22kHz bandpass filter * The effect can be monitored visually using the drive led as follows: Blue to Green = Mostly 2nd with some 3rd, Yellow to Orange = More 3rd and 5th, Orange to Red = Large amounts of all harmonics above the fundamental frequency * Tone = 6dB per octave roll off low pass filter * Tone frequency Range = continuously variable from 4.5kHz to 30kHz measured at the 3dB down point
Voice Optimised EQ Breath * EQ shape = Shelving * Peak frequency Shift switch out = 10kHz * Peak frequency Shift switch in = 16kHz * Gain range = +/-8dB
Mid * EQ shape = Peak * Centre frequency = 1.3kHz * Q in boost mode = 0.5 * Q in cut mode = 2 * Gain range = +8 to -12dB
Absence * EQ shape = Peak * Centre frequency = 3.9kHz * Q = 3.5 * Gain range = 0dB to -10dB
Warmth * EQ shape = Peak * Centre frequency range = 120Hz to 600Hz * Q in boost mode = 0.5 * Q in cut mode = 2 * Gain range = +8 to -12dB
De-esser * Threshold hold range = -10dBFS (+12dBu) to ?40dBFS (-18dBu) * De-esser ratio at centre frequency = 2:1 * Centre frequency range = 2.2kHz to 10kHz * Q of cut = 3.5 * Attack time = 0.5ms * Release time = 100ms * Noise = -94dBu measured with a 20Hz/22KHz bandpass filter
Output Meter * Calibrated for 0dBFS = +22dBu and indicates the level after the output fader being sent to both the internal AD converter and the VoiceMaster Pro XLR output * O/L LED = is lit when any section of the unit (including the cans output) reaches a level greater than 0dBFS (actual level is +22.4dBu) |
Applications
Console input extending for both Digital and Analog mixing consoles in Studio, Live and Broadcast Mic Pre-amps for ADAT/ Hard Disk/ Multitrack Recording Innovation If you love your compact Digital (or Analog) mixing console, but wish it had more microphone inputs, ARX has the solution ? the 8 Pre: eight channels of superb sounding Microphone Pre-amps in a compact 1 RU chassis. The 8 Pre is the ideal console extender for those times when you need more microphone inputs. Now you can put those unused line inputs to good use, and who knows - the 8 Pre pre-amps sound so good that you?ll probably end up using them all the time instead of the ones that came with your mixer! Superb Audio Quality The 8 Pre?s ultra low noise figures come from extensive use of premium components plus care and attention to board design and layout. The result is superb, transparent audio quality and the headroom to handle anything that a mic can throw at it. Gain is adjustable from 20 db through to 60 dB via a trim control on the front panel, plus we?ve included a ?20dB Pad switch to tame the hottest condenser mic output if required. The Clip status LED lights up 1 dB before the onset of clipping, just to warn you you?re getting close.Phantom power is switchable in banks of four channels: 1 through 4, 5 through 8. A Phase reverse switch is also provided on each pre-amp channel to eliminate any close miking problems. In short, the ARX 8 Pre is the mic Pre-amp that you?ll wish the console manufacturer had used. It provides a unique solution to today?s multiple Mic Pre-amp requirements.
T E C H N I C A L S P E C I F I C A T I O N S Input Gain 20dB to 60dB Input Pad ?20dB Input Impedance 4 KOhm Input Headroom +23dB Output Impedance 300 Ohm Output Level (Max) +23dB Frequency Response 20Hz ? 20KHz ±0.2 dB Signal to Noise ratio (Gain set @ 20 dB) ?93dB Unweighted, ?99dB ?A? weighted Distortion @ Unity Gain .004%, 20 Hz ? 10 KHz Dynamic Range 116 dB Phantom Power 48 VDC Input Connectors Balanced XLR Output Connectors Balanced TRS jack Clip Indicator Illuminates 1 dB prior to clipping Power Requirements 100/120 V AC, 220/240 V AC Weight 5 lbs/2.2 Kg Dimensions 19“W x 1?“H x 6“D, 482 x 44 x 155mm | Vacuum Tube Mic Preamp. 12AX7 Vacuum Tube. +48V Phantom Power, 20dB Pad.
This premium tube mic/line preamp features an integrated limiter for studio,
live and hard disk recording applications. It features a carefully-selected
12AX7 vacuum tube with Behringer's UTC technology for exceptional warmth
and lowest noise. Using the MIC100 is a great way to eliminate the "dull"
sound of standard digital recorders & sound cards. Also, it perfectly
complements studio-grade condenser mics. When used as a high-end DI-box,
it ensures outstanding signal integrity. Features also include a phase reverse
switch, +48 V phantom power, a 20 dB pad, and balanced I/O.
The heart of the Tube Untragain is an extremely low-noise microphone preamp
circuitry that uses discrete components and produces a highly trans-parent
sound. In combination with Behringer's tube technology, the operational amplifiers
4580 and a sophisticated circuit topology, the Tube Untragain yields excellent
noise and distortion properties. The innovative UTC circuitry that has been developed
by our engineering team offers an abundance of sound-shaping possibilities.
Absolute musicality was Behringer's major goal when we designed the Tube
Untragain. The result is a device that, thanks to our tube circuitry, lends an
incredible punch to percussion instruments. On the other hand, instruments
that are rich in upper harmonics will receive more transparency. The sound
will be warm, detailed and brilliant.
Technical Description
Specifications
XLR input Connector: Balanced/unbalanced
Type: Transformerless, DC-decoupled input
Impedance: Approx. 2 kOhms
Maximum input level: +7 dBu / 20 dB with pad
1/4 in. TRS input Connector: Balanced/unbalanced
Type: Transformerless, DC-decoupled input
Impedance: Approx. 1 MOhms
Maximum input level: +16 dBu / 20 dB with pad
Audio outputs Connectors: XLR and 1/4 in. TRS connector balanced/unbalanced
Type: Transformerless, DC-decoupled output
Impedance:
Approx. 700 Ohms balanced
Approx. 350 Ohms unbalanced
Maximum output level: Approx. +26 dBu @ 100 k§?
System Frequency Response Mic input: | ISA OneClassic Single-channel Microphone Pre-amplifier with Independent D.I.
Key Features
ISA Series Transformer-based Pre-amplifier
Encased in a rugged and portable chassis, ISA One offers the classic Focusrite microphone pre-amplifier at its lowest cost to date.
Flexible Independent D.I. Channel
ISA One is ideal for both engineers and demanding performers alike, featuring independent gain control, an output for routing to an amp, an independent XLR output on the rear and routing to the optional ADC.
Switchable Impedance
Choose one of four carefully selected input impedances, including the original ISA 110 setting, to suit any microphone.
Optional Stereo 192kHz ADC
This optional card embodies cutting-edge conversion technology, incorporating Focusrite analogue circuitry to deliver the best A-D performance in its class (Dynamic range of 119dB).
Rugged Custom Flight Case
Built to protect your ISA One from the rigors of the road. Rugged plywood construction with a solid polypropylene exterior and reinforced corners.
Headphone Output with Volume Control
ISA One can feed either a sum of the two inputs to the headphones output, or an external stereo cue mix (such as a stereo mix feed from an interface) via two TRS Jack inputs on the rear of the unit.
Dedicated Insert Point
Allows you to place extra processing between the pre-amplifi er or D.I. and the optional converter, such as an EQ or compressor.
Specifications
Analogue Channel Inputs
- XLR Mic input
- One XLR and one TRS line input
- XLR Instrument input TRS Jack
- External ADC input TRS Jack
- TRS jack return
|
Analogue Channel Outputs
- TRS jack send
- XLR balanced line output
- XLR DI output
- TS jack DI through
|
Analogue Channel Additional I/O
- TRS Jack cue mix left input
- TRS Jack cue mix right input
- 1/4” TRS Jack headphones output
|
Mic Input Response
Gain range |
0dB to 60dB in 10dB steps + 20 dB of variable gain |
Input Impedance |
Switched Impedance setting Equivalent Input Impedance at 1kHz |
Low = 600 Ohms
ISA110 = 1400 Ohms
Med = 2400 Ohms
High = 6800 Ohms |
EIN (Equivalent Input Noise) |
-126dB measured at 60dB of gain with 150 Ohm terminating impedance and 22Hz/22kHz band-pass filter |
Noise |
Noise at output with unity gain (0 dB) and 22 Hz-22 kHz band pass filter |
-97 dBu |
Signal-to-Noise Ratio |
106 dB relative to max headroom (9dBu) |
Total Harmonic Distortion + Noise |
Measured at medium gain (30dB) with a 1kHz -20dBu input signal and with a 22Hz/22kHz band-pass filter |
|
Frequency Response |
At minimum gain (0 dB) |
-0.5dB down at 10Hz and -3dB down at 125kHz |
|
At maximum gain (60dB) |
-3dB down at 16Hz and -3dB down 118kHz |
CMRR (Common Mode Rejection Ratio) |
98dB (Channel 1, 1kHz, maximum gain with +24 dBu input) |
Crosstalk Channel to Channel |
With 10dB@1kHz input to chA, chB output =104dBrA. With 10dB@10kHz input to chA, chB output = 84dBrA |
Line Input Response
Gain range |
-20dB to +10dB in 10dB steps + 20 dB of variable gain |
Input Impedance |
10 kΩ from 10 Hz to 200 kHz |
Noise |
Noise at main output with gain at unity (0 dB) measured with 50 Ω source impedance and a 22Hz - 22 kHz band pass filter |
-96 dBu |
Signal-to-Noise Ratio |
Measured with a 22 Hz-22 kHz band pass filter |
120 dB relative to max headroom (24 dBu)
118dB relative to 0dBFS (+22dBu) |
Total Harmonic Distortion + Noise |
Measured with a 0 dBu input signal, and a 22 Hz-22 kHz band pass filter |
0.0001% |
Frequency Response |
At unity gain (0 dB) |
-0.3dB down at 10Hz and -3dB down at 200kHz |
Instrument Input Response
Gain range |
10dB to 40dB continuously variable |
Input Impedance |
High = greater than 1M
Low =greater than 300k |
Noise |
Measured with 22 Hz-22 kHz band pass filter |
Minimum gain (+10 dB): -92 dBu
Maximum gain (+40dB): -62dBu |
THD |
At minimum gain (+10) |
Frequency Response |
At minimum gain (+10 dB) |
-10dB input: 10Hz-100kHz +/- 0.6dB |
|
At maximum gain (+40 dB) |
-40dB input: -2.5dB down at 10Hz and 0dB at 100kHz |
Meters
Moving Coil (MC) Meter |
factory calibrated to 0VU = +4dBu with 1kHz sinewave. With the VU Cal button pressed the meter can be adjusted on the rear panel to allow 0VU to equal +10dBu to +26dBu with the centre detent being equal to +22dBu. |
Peak LED Meters |
Calibrated in the detent position for 0dBFS = +22dBu, calibration is adjustable on the rear panel to allow 0dBFS to equal +10dBu to +26dBu |
Routing for MC and Peak1 meter is after the HPF, pre insert send or switched post insert return. Peak2 is always pre ADC channel 2, which can be fed by external input or Instrument input. |
LED Levels |
As follows, when peak calibration is set to center detent on the rear panel. (This is when using the internal ADC). |
0 = +22dBu
-2 = +20dBu
-6 = +16dBu
-12 = +10dBu
-18 = +4dBu
-42 = -20dBu |
Frequency Response |
At minimum gain (+10 dB) |
-10dB input: 10Hz-100kHz +/- 0.6dB |
|
At maximum gain (+40 dB) |
-40dB input: -2.5dB down at 10Hz and 0dB at 100kHz |
High-Pass Filter
Roll-Off |
18 dB per octave (3 pole filter) |
Frequency |
Fixed 75Hz measured at the 3dB down point |
Weight and Dimensions
W x D x H |
220mm (W) x 104mm (H) x 254 - 290mm (D - top to bottom) |
8.66" (W) x 4.1" (H) x 10" - 11.4" (D - top to bottom) |
Weight |
3.9 kg |
8.6 lbs |
|
Designed for high-definition field production environments, the studio-quality MP-1 is an ideal line-driver for critical radio, television, and film applications.
The MP-1 is extremely durable and easy to use. With rugged mechanical and electrical construction and high-quality components it will provide years of superb audio performance under the most punishing field conditions.
MP-1 Key Features - Superb audio specifications
- 66 dB of gain, in eleven discrete steps
- Transformer-balanced input and output
- Phantom power - 48 volt or 12 volt
- High pass filter @ 80 Hz or 160 Hz, 6 dB/octave
- Limiter makes unit virtually "unclippable“
- High current line output drive
- Excellent immunity to RF interference.
- Battery power (two x AA)
- Durable mechanical construction
| • Road proof housing
• High quality components
• Professional balanced XLR outputs
• Level control
The ASC-202 converts consumer level stereo RCA signals to balanced XLR professional line level, and back. One side of the unit, has two XLR inputs and stereo RCA outputs. The other side has stereo RCA inputs and two XLR outputs. Each side has stereo level controls. A possible application of the SC-13 is to use it as a level control in balanced audio lines.
The DAP Pro Audio Solutions are a complete line-up of audio tools for the professional musician or audio engineer. It is a series of audio modifying tools like mini-mixers, pre-amps and converters available in active or passive models. All audio solutions are designed to meet the highest stage and audio demands and feature a metal road proof housing with rubber feet and easy accessible controls. The units also have a small footprint which make them ideal to be used and placed in any environment where space is critical.
Specifications Frequency Response: 20Hz-20KHz
Inputs: XLR/Jack Combo, RCA
Outputs: XLR male, RCA
Input sensitivity RCA in: -10 dBv
Input Impedance RCA in: 10 kOhm
Input sensitivity XLR/Jack in: +4 dBu
Input Impedance XLR/Jack in: 20 kOhm
Output voltage RCA Out: -10 dBV
Output Impedance XLR Out: 100 Ohm
Output voltage XLR Out: +4 dBu
Output Impedance XLR Out: 200 Ohm
Power supply: 18V AC (adapter included)
Dimensions: 53 x 158 x 135 mm (HxWxD)
Weight: 0,65 Kg |
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