Studio Monitors
These speakers have fast become the most popular pro-sumer level mid 
range studio reference monitors, with an astonishing depth and clarity 

Active studio monitor 
7" driver and X-ART ribbon tweeter 
Input connectors: XLR and RCA 
Frequency response: 42 Hz - 50 kHz 
THD (90dB/1m > 100 Hz): =0.5 % 
Long-term output: =106 dB 
Max. peak: =114 dB 
Weight: 20.3 lb (9,2 kg) 

For acoustic instruments that need just that extra little boost, 
look no further than the LR Baggs Venue DI. 
A trusted industry staple among touring bands and sound 
engineers alike, take control of your signal and give your 
sound guy something he can play with. 

Adjustable gain for both passive and active pickups 
5 band EQ with tunable low-mid and high-mid bands 
Garret Null notch filter for effective feedback control 
Phase inversion for best sound and feedback control 
Full chromatic tuner with footswitch mute/tune function 
Adjustable volume boost footswitch 
Full isolation audio transformer couple DI 
4 segment clip meter to visually optimize gain setting 
4 segment battery) status gauge 
XLR and 1/4" outputs 
Series FX loop (separate jacks for send and return) 

Perhaps the most widely used bass cab of all time. 
A 1x15 cab shifts a lot of air, perfect for loud volumes and drop 
tunings. For those looking for an extension cabinet this is the 
perfect addition to your arsenal. 

Fat, warm sound 
Custom designed 15 inch speaker 
Team with SVT-CL 
¼” and Neutrik Speakon® Jacks 
Baltic Birch Plywood 
2” Swivel Casters 

Tried and tested on the road, this thing is built like a tonne of bricks 
and designed to take anything you can throw at it. The EQ is 
very responsive and you can drive the pants off it without 
loosing too much high end. 

RMS power output: 1000 watts @ 4 ohms, 600 watts @ 8 ohms 
Preamp: Tube ( 1 × JJ 12AX7) 
Power amp: Class D Tone controls: Bass, mid, treble 
Mid-tone control: 5-position Ultra low/high boosts Onboard variable compressor Transformer balanced line out 
Power supply: Switching 
Weight: 15.5 lbs / 7Kg 

Blackstar began as a splinter unit from Marshall, dissapointed with the 
direction the company was going at the time in it's reluctance to 
provide what the masses were beckoning for - hi gain amps that 
really sing. Since then, shall we say they've lef their mark. 

60 Watt valve combo 
2xECC83, 1xECC82, 2xEL34 valves 
Three foot switchable channels 
2x12” Celestion speakers 
Enhanced tone controls 
Patent-Applied for Infinite Shape Feature (ISF) 
Clean voice switch 
Overdrive 1 voice switch 
Overdrive 2 voice switch 
Presence, Resonance and Master volume controls 
Digital reverb with dark/bright switch 
Speaker emulated output with 1x12/4x12 voicing 
Effects loop with effects level switch 
4-way footswitch included 
Cool vintage styling 

Orange amps are highly regarded world-wide and, not to slate the low end 
models - the real Mccoy ranges such as the Thunder and Rockerverb 
units offer a wealth of tonal possibilities for the discerning touring and 
session musician. Classic mid-heavy sound and more gain than you can 
shake a stick at. A wonderful alternative to the Vox AC30. 

1x12 Celestion Speaker 
30-Watts 
Powered by 4x EL84 tubes 
2 Channel 
Class-A 
Switchable between 7, 15 and 30-watts 
Channel A: Volume, Shape, Gain 
Channel B: Bass, Treble, Volume 
FX Loop 

Let's be honest, gigantic 4x12 cabinets in jarring orange colour kick ass ... 
also this one sounds good and won't break. Look no further! 

18mm high density birch ply 
2 x parallel ¼” input jacks 
Hard wearing woven paper grill cloth 
Power handling: 240 Watts 
Speakers: 4 x specially designed 60 watt 16 ohm Orange speakers 
Impedance: 16 Ohm 
Unboxed Weight: 36.1 kg 
Closed-back 

Drum Kit
Industry standard without breaking the bank. You'll struggle to find a drummer 
outside of the chart top 20 that'll sniff at one of these fellas sitting on stage. 

7.2mm, 7ply Maple Bass Drum Shells 
5.8mm, 7ply, Maple Tom & Snare Shells 
Hand Applied Lacquer Finishes 
Chrome Hardware and Black Coated Hardware 
Isolated Mounting System 
Spring Loaded Floor Tom Legs 
Single-Point-of-Contact Lugs 
2.3mm Power Hoops 
Remo Coated Batter Drumheads Single Ply 

Roland make the world's best electric piano's period. The hammer action is 
the best in the business, and care is taken to sample each individual 
note several times in order to avoid the nasty side effects of pitch 
stretching. The FP80 Stage Piano is a hit among schools, touring 
bands and venues looking for reliability and response. 

Roland’s SuperNATURAL Piano sound engine onboard 
Ivory Feel-S Keyboard with Escapement 
Integrated four-speaker sound system with Acoustic Projection technology 
Intelligent rhythm feature with full-keyboard chord recognition 
Chord Pattern function provides self-playing chord sequences for practice and improvisation 
90 rhythm types, with two variations for each style 
Mic input and harmony effect 
Includes DP-10 Damper Pedal 
Compatible with optional RPU-3 Triple Pedal 

88 Note Stage Piano
It's red, it's shiny, it's what all the cats on Jools Holland use ... it's perfect! 
Those Scandanavian's sure don't do things in half measures do they? 
Also, did you know - the vibrato control sounds at 440Hz when you ping it, 
amazing!! 

State-of-the art sample-based Acoustic and Electric Pianos 
Faithful simulations of classic B3 Vox, Farfisa organs & Rotary Speaker 
Powerful Classic analog, FM and Wavetable synthesis 
Comprehensive Effects section 
Single-function control knobs and instant visibility of current settings 
External section allowing the Nord Stage 2 EX to serve as a master keyboard 
Expanded Live Mode with 5 locations 
USB-MIDI 

Roland keyboard amps kind of have a monopoly in the market, in that nobody 
else bothers to make any because these are so good. Rest assured, 
these things will last your gig straight on through to the apocalypse. 

Stereo mixing keyboard amplifier with 120-watt/12-inch speaker and horn tweeter 
Output Select switch and convenient Shape switch for tonal adjustment 
3-band EQ and Subwoofer output compatible with new KCW-1 
1/4-inch phone output for connection to recording devices 
Stereo Link In/Out for chaining to KC-350s for stereo stage sound 

I personally took one of these puppies on a road trip to Skye when my car 
stereo broke, and my god did we terrorise a few sheep farmers ... 
excellent projection and the batteries will last through any 
disco / last minute cave rave you can throw at it. 

Portable design with high-quality sound for audiences up to 80 people 
SPL (sound pressure level) rated at a powerful 108 dB 
One 2.4 GHz wireless microphone included (DR-WM55) 
Operates on 8 AA batteries or AC power (AC adaptor included) 
Onboard accelerometer sensor switches operation to stereo mode when positioned horizontally 
Two 6.5" (16 cm) high-performance speakers 
Three-channel built-in mixer with two-band EQ 
Echo/Reverb effect 
Built-in Anti-Feedback function 
Line Output for recording or expanding the system 
Integrated storage compartment for storing wireless microphones and accessories 
Auto Power Off function 
Compatible with Roland ST-A95 speaker stand 

An excellent choice for buskers looking to fill a street without deafening those 
at the front / getting an ASBO. Angled to project up towards the performer 
and soluble as a personal monitor, the batteries last for yonks and there 
is a wealth of luverly guitar and vocal effects onboard. Perfect. 

Compact, lightweight stereo amplifier with slanted cabinet design 
Two high-performance 6.5” neodymium speakers 
Battery driven (6 x AA, maximum 15-hour continuous use) 
Dual-channel architecture with Guitar/Inst and Mic/Line inputs 
8 COSM® AMPs, 6 digital effects, and chromatic tuner built in 
2-band EQ, Delay/Reverb for the Mic/Line-channel 

With live vinyl DJ's on the back foot and the almost omnipotence of computers 
in EMD, this is the controller that you can take anywhere. 

Fully-integrated 4-deck Traktor controller and Traktor Pro 2 software with Remix Decks 
Road-ready, updated MK2 hardware features silicone-damped jog wheels with 
aircraft-grade aluminium plates 
Adds precision control, cueing, and club-ready output levels to Traktor DJ 
for iPad and iPhone 
Ergonomic 4-channel mixer with rock-solid faders, and Flux Mode and 
Loop Recorder controls 
Bright, color-coded RGB buttons trigger cue points, loops, and samples with 
instant visual feedback 
2 customisable FX units with over 30 DJ-tested effects, plus one-knob 
Macro FX 
World-renowned Traktor engine ensures perfect sync and super-tight mixing 
Built-in, high-end 24-bit/96kHz low latency audio interface with Cirrus 
Logic AD/DA converters and MIDI I/O 
2 analogue inputs with phono and mic preamps for connecting turntables, 
CD players or external gear 

The bigger brother of the S4, more things to play with, flashy lights and things 
that go BEEEP! Well, if you assign the right sample to that control of course ... 

The latest evolution of the flagship Traktor controller 
Fully-integrated 4-deck TRAKTOR controller including 
TRAKTOR SCRATCH PRO 2 software 
30 touch-sensitive knobs and faders for intuitive control over TRAKTOR 
software 
2 bright, full-colour displays reveal pop-ups displays, views, and panels 
Touch strip provides tactile control over track position, pitch bend and more 
Quickly access track BPM and Key as well as FX, Filter and Remix Deck parameters 
Touch-sensitive 4+4 channel Remix Deck faders for fully-integrated Remix Deck access 
16 colour-coded pads for triggering samples, cue points, loops, or beat jumps 
2 customisable FX units with over 30 studio quality effects plus Macro FX 
4 analogue inputs with phono and mic preamps let you connect up to four 
turntables, CDJs or other external gear 

When a DJ wants to hire some decks or a venue needs a system, this is what 
they all expect. Period. Well that was simple! 

Next generation of the industry standard multi-source player from Pioneer 
Load music onto the CDJ-2000nexus using USB or Wi-Fi 
Seemless integration with Pioneer's rekordbox software for PC, Mac, iPhone, 
iPad, iPod Touch and Android 
MIDI connectivity for controlling other DJ software 
Play music from CD, DVD or SD card 
Slip mode to keep tracks playing muted during live edits 
Wirelessly connect to rekordbox to play your music from your PC/Mac, 
Smartphone or tablet. 
Illuminated needle search. 

4-Channel Digital Mixer
Without one of these one simply could not dee-jay. Once would simply be 
playing CD's back to back ... with long irritating pauses in between, 
a right vibe spoiler. 

The club standard for DJ mixers 
4-channels of pristine quality sound 
Screen: 10 cm (3,94") bright dot matrix display 
MIDI control for DJ software like Ableton Live and Traktor with plug and 
play setup 
Flawless Beat Effects with X-Pad and rekordbox quantize 
6 Full-fledged, channel-assignable Sound Color FX 
61 fully assignable MIDI controls 
Sampling rate/word length: 96 kHz / 24-bit 

Audio Interface
Ultra-portable for quality mobile DJ setups 
Punchy, premium sound quality 
Pre-listen to the next track for flawless mixes 

Equipment table
How handy is this? No more hunchbacked DJ's 

Full ATA300 Rating 
9mm (3/8 inch) Laminated Plywood Construction 
Corrosion Proof Recessed Handles and Latches 
Double Anchor Rivets 
Spring Loaded Handles 
Rubber Feet

Flexible staging

Modular staging used everywhere from schools and conference halls to festivals and venues. Rugged and dependable, you'll be happy to stand on this all night.

From powerpoint presentations to cinema showings and beyond, let your audience see the bigger picture.

Projection System DLP
Native Resolution 1080p (1920 x 1080)
Brightness* 2000 ANSI Lumen
Contrast Ratio 10000:1
Display Color 1.07 Billion Colors
Lens F=2.59-2.87, f=16.88-21.88mm
Aspect Ratio Native 16:9 (5 aspect ratio selectable)
Throw Ratio 1.15-1.5 (79"@2M)
Image Size (Diagonal) 40"-235"
Zoom Ratio 1.3:1
Lamp Type 240W
Lamp(Normal/Economic Mode/SmartEco Mode)* 3500/5000/6000 hours
Keystone Adjustment 1D, Vertical ± 20 degrees
Projection Offset Vertical 110%-130%±5%
Resolution Support VGA (640 x 480) to WUXGA_RB* (1920 x 1200) *RB=Reduced Blanking
Horizontal Frequency 15K-102KHz
Vertical Scan Rate 23-120Hz
Dimensions(W x H x D) 312 x 109 x 244 mm
HDTV Compatibility 480i, 480p, 576i, 567p, 720p, 1080i, 1080p
Video Compatibility NTSC, PAL, SECAM
Weight Net weight: 2.65 kg
Gross weight: 3.95 kg
Audible Noise 33/30 dBA (Normal/Economic mode)
Power Supply AC 100 to 240 V, 50 to 60 Hz
Power Consumption 353W/110V (typical), Standby < 0.5W
BENQ W1070

A favourite amongst function bands, 3 to 5 of these will bring a whole new vibe to your event, illuminating the stage and setting just the right mood.

24 x 3W 3-in-1 tri-colour ultra bright LEDs
Auto modes with manual time interval
(colour scroll, colour switch, colour pulse)
Improved optical lens for optimum colour mixing
2 x Sound activated modes (Colour change / White strobe)
6 channel DMX (RGB, Overall Dimmer, Strobe, Functions)
Stand alone RGB colour option
QTX Sound PAR64 Chrome

6 Piece Drum Mic Set
Perhaps the most widely used drum mic set of them all, perfect for both studio
and live applications.

AKG's Rhythm Pack contains: 1x D 112, 2x C 430 and 3x D 40
Comes in a protective aluminium carrying case
Includes 3 mounting brackets, 3 mic stand adaptors and 2 windscreens
AKG Rythm Pack

Drum Mic Pack
This is a very popular choice for those looking for mic's that are both absolutely bomb proof, and can cut the mustard in the studio.

Professional 5-piece Drum Mic Package
All-in-one solution for miking drums
Instrument-specific mics for optimal results
Rugged Audix quality
Equally great for live sound or recording
DVICE rim mount clips for easy positioning
Aluminium road case
AUDIX DP5A (PACK)

The E604 ranks in most studio and live engineer's top 10 most handy things to
have in your kit bag on a gig, guaranteed. Its most obvious use is for toms but
this fella is also great for mic'ing up snares (especially beneath - easy to move
around) and is also great for brass.

Ideal for close-micing of drums and brass / woodwind
Rugged reinforced fibre-glass body
Low sensitivity to impact and handling noise
Very high sound pressure handling capability
Low distortion microphone
Hum compensating coil
Easy to position due to compact design
Integral stand mount
Sennheiser E604


A country mile better than the D112 - if you need both punch and girth from your low end transient instruments, this is your guy.

Dynamic, supercardioid kick drum mic
Frequency response shaped specifically for kick drums and bass instruments
Built–in dynamic locking stand adapter with integral XLR connector simplifies
setup, especially inside a kick drum
Studio quality performance, even at extremely high sound pressure levels
Supercardioid pattern for high gain before feedback and superior rejection of
unwanted noise
Hardened steel mesh grille that resists wear and abuse
Frequency Response: 20 Hz - 10 kHz
Sensitivity (1 kHz): -64 dBV/Pa / 0.6 mV/Pa
SHURE BETA 52

A true industry legend, used in conjunction with a Beta 52 (for the punch) this mic will pick up the lowest of the lows from your bass drum, and also works a treat in traditional boundary mic applications such as the conference room.

Transducer Type : Condenser
Polar Pattern: Halfcardioid
Frequency Response: 20 Hz - 20 kHz
Sensitivity (1 kHz): -48,5 dBV/Pa / 3,8 mV/Pa
Equivalent Selfnoise: 25,5 dB(A)
Sound Pressure: 155 dB
Weight: 470 g
SHURE BETA 91A

Metallica use them on their Toms, nuff said. But wait! Did you know these chaps are also just about the best acoustic instrument mics on the market?
Try them on your fiddle and weep.

Element Fixed-charge back plate permanently polarized condenser
Polar Pattern Cardioid
Frequency Response 40-20,000 Hz
Low Frequency Roll-Off 80 Hz, 12 dB/octave
Open Circuit Sensitivity –49 dB (3.5 mV) re 1V at 1 Pa
Impedance 50 ohms
Maximum Input Sound LeveL 149 dB SPL, 1 kHz at 1% T.H.D.
Dynamic Range (typical) 122 dB, 1 kHz at Max SPL
Signal-To-Noise Ratio 67 dB, 1 kHz at 1 Pa
Phantom Power Requirements 11-52V DC, 3.5 mA typical
Switch Flat, Roll-Off
Audio Technic ATM350

An almost absolute carbon copy of perhaps the most versatile condensor mic of them all, the AKG 414 - but minus the pricetag. Selectable polar patterns
and pads a plenty, these guys will help you ge the job done.

Multi-pattern studio condenser microphone
Frequency response: 20Hz-20KHz
Sensitivity: 14.1mv/pa-37db ± 1dB
Polar pattern: Cardioid, Figure 8, omni, supercardioid
Impedance: < 50 Ohms
Equivalent Noise Level: 17dB(A weighted)
Max SPL for 0.5% THD@1000Hz: 130dB
Power Requirement: Phantom power 48V±4V
SE Electronics 4400A

Multi-Pattern Studio Condenser Microphone pair
Stereo Pair - An almost absolute carbon copy of perhaps the most versatile condensor mic of them all, the AKG 414 - but minus the pricetag. Selectable polar patterns and pads a plenty, these guys will help you ge the job done.

Multi-pattern studio condenser microphone
Frequency response: 20Hz-20KHz
Sensitivity: 14.1mv/pa-37db ± 1dB
Polar pattern: Cardioid, Figure 8, omni, supercardioid
Impedance: < 50 Ohms
Equivalent Noise Level: 17dB(A weighted)
Max SPL for 0.5% THD@1000Hz: 130dB
Power Requirement: Phantom power 48V±4V
SE Electronics 4400A Stereo Pair

Large diaphragm mic in a surprisingly small body, perfect for all vocal applications and acoustic instruments.

Frequency Response: 30Hz-20KHz
Sensitivity: 25.1mV/Pa (-32 ± 1.5dB)
Polar Pattern: Cardioid
Impedance: _ 200 Ohms
Equivalent Noise Level: 18dB(A weighted)
Max SPL for 0.5% THD@1000Hz: 130dB
Power Requirement: External PSU included.
Connector: 8-pin
SE Electronics Gemini 5

A hand-held condensor mic at around half the price of it's nearest competitor (the Shure Beta 87a) crisp highs and clear dynamics a'plenty make this a marked upgrade from a traditional live dynamic microphone.

Frequency Response: 20Hz-20KHz
Sensitivity: 2 mV/Pa at 1 HZ into 1 Kohm
Polar Pattern: Cardioid
Impedance: = 200 Ohms
Equivalent Noise Level: 18dB(A weighted)
Max SPL for 0.5% THD @ 1000Hz: 145dB
Power Requirement: Phantom power 48V±4V
Amplifier Dynamic Range: 127dB
Maximum Output Voltage: 1.4V
Connector: 3-pin

DSLR On Camera Shotgun Microphone
Cut out the noise from those hecklers in the background of your interview with
the SE Laser.

Type: Back-electret condenser shotgun microphone
Polar Pattern: Super cardioid
Frequency Response: 20Hz-20kHz
Max SPL: 120dB
Impedance: =200ohm
Voltage: 1.5V DC
Current: 1mA
Sensitivity: -30dB ±2dB
Controls: 10dB Pad, Bass Cut and On/Off switch
Output: 3.5mm mini jack (coiled cable included)
Power: ~200 hours from a single AAA 1.5V battery
Mount: Camera shoe mount with ?" thread for boompole use
Weight: 73g
SE Electronics Laser

This microphone has to be one of the lovliest sounding (sub 5k) ribbons of all
time, absolutely stunning on acoustic guitar and cello, there's a surprisingly
good high end response and it' an absolute joy to behold. We're lucky enough
to have two of them - just wait until you hear them as overheads!

Designed by Rupert Neve.

Acoustic Operating Principle: Electrodynamic pressure gradient with active electronics
Generating Element: 2.5-micron aluminum ribbon
Polar Pattern: Figure 8
Frequency Response: 20Hz - 25KHz
Sensitivity: -32 dB (referenced 1v/pa ±1dB)
Equivalent Noise Level: 15dB (A weighted)
Output Impedance: 200 Ohms balanced
Rated Load Impedance: 1000 Ohms
Max SPL: >135dB
Connector: 3-pin XLR 

Super high-fi condenser with interchangeable capsules for variable polar
responses. Getting rave reviews across the land and pride of place in any
broadcast studio session.

Designed with Rupert Neve

Probably the best Pressure Condenser Microphone.
Acoustical operating principle: Pressure condenser
Directional pattern: Cardioid
Frequency range: 20 Hz - 20 kHz
Sensitivity at 1 kHz into 1 kOhm: -44.5±0.5dBV/ Pa(6mV/Pa)
Rated impedance: 200 Ohms
Rated load impedance: 1 kOhm
Equivalent noise level, CCIR*: 23 dB
Equivalent noise level, A-weighted*: 18 dB
Signal-to-noise ratio, CCIR* (rel. 94 dB SPL): 69 dB
Signal-to-noise ratio, A-weighted* (rel. 94 dB SPL): 74 dB
Maximum SPL for THD 0.5%**: 150 dB
Maximum output voltage: 4V
Dynamic range of the microphone amplifier (A-weighted): 131 dB
Supply voltage (P48, IEC 61938): 48 V ± 4 V
Current consumption (P48, IEC 61938): 3mA
Matching connectors: XLR3F
Weight: 248 g
Diameter: 44 mm (transformer), 17mm (capsule)
Length: 200 mm 

A matched pair of high-fi condenser with interchangeable capsules for variable
polar responses. Getting rave reviews across the land and pride of place in any broadcast studio session.

Designed with Rupert Neve
Probably the best Pressure Condenser Microphone.
Acoustical operating principle: Pressure condensor
Directional pattern: Cardioid
Frequency range: 20 Hz - 20 kHz
Sensitivity at 1 kHz into 1 kOhm: -44.5±0.5dBV/ Pa(6mV/Pa)
Rated impedance: 200 Ohms
Rated load impedance: 1 kOhm
Equivalent noise level, CCIR*: 23 dB
Equivalent noise level, A-weighted*: 18 dB
Signal-to-noise ratio, CCIR* (rel. 94 dB SPL): 69 dB
Signal-to-noise ratio, A-weighted* (rel. 94 dB SPL): 74 dB
Maximum SPL for THD 0.5%**: 150 dB
Maximum output voltage: 4V
Dynamic range of the microphone amplifier (A-weighted): 131 dB
Supply voltage (P48, IEC 61938): 48 V ± 4 V
Current consumption (P48, IEC 61938): 3mA
Matching connectors: XLR3F
Weight: 248 g
Diameter: 44 mm (transformer), 17mm (capsule)
Length: 200 mm 

A tried and tested small diaphragm condensor microphone that works
brilliantly on small acoustic instruments such as ukulele, mandolin, bongos or
even as an overhead.

Frequency Response: 30Hz-20kHz
Sensitivity: 10mV/Pa - 40 ± 2dB (0dB=1V/Pa 1000Hz)
Polar Pattern: Cardioid
Impedance: = 300 Ohms
Equivalent Noise Level: 17dB (A weighted)
Max SPL for 0.5% THD@1000Hz: 137dB
Power Requirement: Phantom power 48V±4V
Connector: 3-pin XLR 

Multi-pattern Large-diaphragm Condenser Microphone
Frequency Response: 20Hz-20kHz
Sensitivity: 28mv/pa-31 ± 1dB
Polar Pattern: Omni, Cardioid, Supercardioid, Figure-8
Impedance: = 50 Ohms
Equivalent Noise Level: 14dB (A weighted)
Max SPL for 0.5% THD@1000Hz for 0.5%: 140dB minimum
Power Requirement: Phantom power 48V±4V
Connector: 3-pin XLR 

Ribbon mics offer a very different sound to their more numerous condensor
cousins, much warmer due to their inherient lack of high end response.

Diaphragm: 2µ aluminium ribbon
Frequency Response: 20Hz-18kHz
Sensitivity: 1.6mV/Pa -56 ± 1.5dB
Polar Pattern: Figure 8
Impedance: = 300 Ohms
Equivalent Noise Level: 17dB (A weighted)
Max SPL for 0.5% THD@1000Hz: 135dB
Connector: 3-pin XLR

The bigger brother to the VR1, much fuller tonal response and a great choice
for near-micing guitar cabs. Try also on female vocals!

Diaphragm: 2µ aluminium ribbon
Frequency Response: 20Hz-18kHz
Sensitivity: 10mV/Pa -40 ± 1.5dB
Polar Pattern: Figure 8
Impedance: = 200 Ohms
Equivalent Noise Level: 20dB (A weighted)
Max SPL for 0.5% THD@1000Hz: 135dB
Power Requirement: Phantom power 48V±4V
Connector: 3-pin XLR

9-pattern tube condenser microphone
Frequency Response: 20Hz-20KHz
Sensitivity: 14.1mV/Pa - 37 ± 1dB(0dB=1V/Pa 1000Hz)
Polar Pattern: Cardioid, Omni, Figure 8 and 6 intermediate stages, selectable
on power supply
Impedance: = 200 Ohms
Equivalent Noise Level: 12dB(A weighted)
Max SPL for 0.5% THD@1000Hz: 135dB
Power Requirement: External PSU included
Connector: 8-pin army connector to mic, XLR from PSU

Valve cardioid condenser microphone
X1 capsule with additional valve circuit
Ideal for vocals and spoken word, acoustic stringed instruments, pianos
and percussion
Includes: custom power supply, seven-pin PSU cable and a mic clip
Capsule: Hand-built, large diaphragm, gold-sputtered capsule
Controls: -10dB Pad, Bass Cut 

DID YOU KNOW - an SM57 is just an SM58 with a different head?
This chap is ideal for guitar cabs and snare drums, both in a studio and a live application.

Contoured frequency response for clean, instrumental reproduction and rich
vocal pickup
Professional-quality reproduction for drum, percussion, and instrument
amplifier miking
Uniform cardioid pickup pattern isolates the main sound source while
reducing background noise
Pneumatic shock-mount system cuts down handling noise
Extremely durable under the heaviest use
Frequency response: 40 to 15,000Hz 

Need we say more. Every venue has 20 of these, you can point them at the
loudest thing on the planet and it'll handle it, and they're built to last the
apocalypse. Ask a kid to draw a microphone and he'll draw an SM58.
Pre-destined for vocal work - these also work great on brass, guitar cabs,
drums and in general anything loud.

Frequency response tailored for vocals, with brightened mid range and bass
rolloff
Uniform cardioid pickup pattern isolates the main sound source and minimises
background noise
Pneumatic shock-mount system cuts down handling noise
Effective, built-in spherical wind and pop filter
Supplied with break-resistant stand adapter which rotates 18 degrees
Legendary Shure quality, ruggedness and reliability
Cardioid (unidirectional) dynamic
Frequency response: 5 to 15 KHz 

A truly rather nifty condensor microphone and perhaps the most commonly
used live overhead mic of all time - also ideal for Hi-Hats, backing vocals and
live acoustic instruments. 9v battery feature comes in serious use when
phantom power is not an option.

Battery status LED for reliable monitoring of remaining battery life
Can be powered by internal 9 V battery or by phantom power (9-52 V DC)
PPC 1000 allows the microphone to be switched from cardioid to
hypercardioid pickup pattern
Presence Boost Adapter PB 1000 is included for high-end enhancement 

An absolute must have for studio sessions, perfect as overheads and great for
smaller acoustic instruments such as mandolin, bodhran, bongo's or even jazz snare.

Matched pair of solid state condenser microphones
Externally biased condenser
Gold sputtered 1/2" capsule
Heavy-duty satin-nickel plated body
Surface mount circuitry
Low noise
Full frequency response 

Absolutely stellar for low end heavy instruments and the mic of choice for both
Frasier (broadcast) and Thom Yorke of Radiohead fame (live) Zero proximity
effect means a more accurate bass response and reduces clutter caused by plosives.

Variable-D for minimal proximity effect
True cardioid with no coloration at 180-degrees off-axis
Voice tailored frequency response
Bass roll-off switch
Frequency Response: 45 - 18,000 Hz
Impedance, Low-Z balanced: 150 Ohms
Open Circuit Voltage: 1.5 mV/Pa
Power Requirement: Passive 

If you were to have 2 microphones that will do just about anything (bar being
stuck inside a drum) on a recording session, this would be your choice.
An unbelievable range of tonal possibilities from the variety of selectable polar patterns, these mic's aren't cheap, but hey - you don't have to buy them,
woohoo!

The most versatile microphone for vocals and instruments in studio and
on stage
Engineered for highest linearity and neutral sound
for beautifully detailed recording of vocals and any acoustic instrument
Nine selectable polar patterns
for the perfect setting for every application
Three attenuation levels (-6/-12/-18dB)
for close-up recording or high-output sources of up to 158dB SPL
Three different switchable bass-cut filters
to reduce wind noise, subsonic noise or proximity effect
Overload warning with audio peak hold LED
to detect shortest audio peaks
Sensitivity: 23 mV/Pa
Signal to Noise: 88 dB-A
Bass Cut Filter: 160; 80; 40 Hz
Electrical Impedance: 200 Ohms 

I mean ... just look at them (because that's what matters eh?) Steam-punk
mics forged from bits of solid brass pipe. These not only look like the mutts
nutts but actually sound very very nice too, who needs fancy packaging anyway?

Cardioid polar pattern
26mm diaphragm condenser capsule
Includes pivoting bracket
Highest quality hand-wired electronic components
Transformerless FET balanced electronics
Requires 48v phantom power 

The choice of the pro live singer, but also a belter of a Hi-Hat / acoustic guitar
mic in the studio.

Smooth frequency response with gradual presence rise
Highly consistent supercardioid polar pattern provides superior gain-before-feedback
Electronic low-frequency roll-off compensates for proximity effect
Wide dynamic range (117 dB) and low distortion characteristics
Very low susceptibility to RFI and electromagnetic hum
Advanced cartridge shock-mount system absorbs mechanical shocks and reduces handling noise
Built-in pop filter reduces undesirable wind and breath sounds
Legendary Shure quality and reliability 

Immensely popular with choirs and jazz singers, having a condensor
microphone (as opposed to a dynamic) conveys your tonal and dynamic
subtlety's far far better.

Acoustical operating principle: Pressure gradient transducer
Directional pattern: supercardioid
Frequency range: 20 Hz - 20 kHz
Sensitivity at 1 kHz into 1 kohm: 4.5 mV/Pa
Rated impedance: 50 ohms
Rated load impedance: 1000 ohms
Equivalent SPL CCIR 468-3: 28 dB
Equivalent SPL DIN/IEC 651: 18 dB-A
S/N ratio CCIR 468-3: 66 dB
S/N ratio DIN/IEC 651: 76 dB
Maximum SPL for THD 0.5%: 150 dB
Maximum output voltage: 12 dBu
Dyn. range of the mic. amplifier DIN/IEC 651: 132 dB
Supply voltage: 48 V ± 4 V
Current consumption: 3.5 mA 

A very highly regarded studio vocal mic (for rock and male singers in
particular) and also great on guitar cabs.
Cardioid unidirectional polar pattern
Built-in pop filter system
Rugged construction
Frequency response: 50 to 20,000 Hz
Output level: -59.0 dB (1.12 mV)
Switchable bass roll-off and mid-range presence boost
Internal air suspension
Yoke mount fitting for ease of positioning 

A Classic guitar cab and tom mic, this fella is a great alternative to an SM58 or
E604 respectively.

Cardioid polar pattern
Pronounced directivity for ease of handling
Frequency response: 30 - 17000 Hz
Nominal impedance: 200 O
Sensitivity in free field: 2 mV/Pa +- 3 dB
5-position bass roll-off switch
Actively rejects feedback
Ships with clamp for 3/8" thread
3-pin XLR connector 

Looks awesome - sounds ... wait a minute, awesome!

Dynamic stage vocal microphone
Iconic chrome-plated design with vibrant blue color additions
Tailored frequency response for natural vocals and speech
High gain-before-feedback and excellent off-axis rejection
Shock-mounted cartridge minimises handling noise and ensures quiet
operation
Rugged die-cast casing for reliability under rigorous conditions
Self-tensioning swivel mount, permits tilting through 45 degrees forward and
80 degrees backward 

The Beta range takes the SM and adds crisper highs, smoother mids and a
more useful bass response. Well worth the extra little outlay.

Smooth, extended frequency response for outstanding sound for professional
live vocal use
Consistent supercardioid pattern provides the best gain-before-feedback
among dynamic microphones
Pneumatic shock mount reduces handling noise
Frequency response: 50 to 16,000 Hz

The Beta range takes the SM and adds crisper highs, smoother mids and a
more useful bass response. Well worth the extra little outlay.

Wireless handheld microphone system
42 MHz bandwidth: 1680 tunable UHF frequencies for interference-free
reception
Enhanced frequency bank system with up to 12 compatible frequencies
High-quality true diversity reception
Pilot tone squelch for eliminating RF interference when transmitter is
turned off
Automatic frequency scan feature searches for available frequencies
Wireless synchronisation of transmitters via infrared interface
Auto-Lock function avoids accidental changing of settings
Handheld transmitter with easy-exchangeable microphone modules from
evolution series
Integrated Equaliser and Soundcheck mode

Being able to dangle your mic over a guitar cab, saving precious microphone
stands for more worthy causes really is a beautiful, beautiful thing, and once
you've used a 609 - you'll know.

Super-cardioid dynamic microphone
Practical shape: perfect for guitar cabinets and combos
Sensitivity in free field, no load (1kHz): 1.5 mV/Pa
Hum compensating coil
Nominal impedance: 350 Ohm

The bigger brother of the 609 - an absolute industry staple as a guitar cab mic
and also rather handy for brass, upright piano and percussion.

Super-cardioid pattern
40Hz - 18kHz frequency response
2,2 mV/Pa sensitivity in free field
350ohm nominal impedance, 1000ohm minimum terminating impedance
Includes MZQ100 clamp, manual and carry pouch

Sennhesier don't do things in halfs, the G3 range is the real deal - secure
lines, great headroom and built to last / easy rackable. Touring professionals
use Sennhesier G3. Available in Handheld, Headset, Lavier and Instrument.

Sturdy metal housing (transmitter and receiver)
42 MHz bandwidth: 1680 tunable UHF frequencies for interference-free reception
Pilot tone squelch for eliminating RF interference when transmitter is turned off
Automatic frequency scan feature searches for available frequencies
Increased range for audio sensitivity
Auto-Lock function avoids accidental changing of settings
HDX compander for crystal-clear sound
Transmitter feature battery indicatation in 4 steps, also shown on receiver display
Integrated Equalizer and Soundcheck mode
Wide range of accessories adapts the system to any requirement 

Sennhesier don't do things in halfs, the G3 range is the real deal - secure
lines, great headroom and built to last / easy rackable. Touring professionals
use Sennhesier G3. Available in Handheld, Headset, Lavier and Instrument.

Wireless handheld microphone system
42 MHz bandwidth: 1680 tunable UHF frequencies for interference-free
reception
Enhanced frequency bank system with up to 12 compatible frequencies
High-quality true diversity reception
Pilot tone squelch for eliminating RF interference when transmitter is
turned off
Automatic frequency scan feature searches for available frequencies
Wireless synchronisation of transmitters via infrared interface
Auto-Lock function avoids accidental changing of settings
Handheld transmitter with easy-exchangeable microphone modules from
evolution series
Integrated Equaliser and Soundcheck mode

Super handy for conferences and zumba classes, also if you're Phil Colins or
Britney Spears and your hands are busy.

Unobtrusive clip-on microphone
High speech intelligibility
Mute button for full speech control
Synchronization via remote channel
Frequencies tunable in steps of 25 kHz
13 MHz bandwidth 

Because sometimes one needs more than 5.5 metres to be able to fully express ones'self.

30 MHz selection bandwidth (depending on local frequency plans)
8 hours of operation with a single AA size battery
Compatible with all AKG MicroMics
Low battery indicator
Smallest and lightest bodypack transmitter in its class
Complete with MKG L cable for direct connection to electric guitar or bass 

With JBL technology on the inside, these speakers have a heck of a throw and 
are perfect either as standalone tops or with a sub, also makes the perfect 
floor wedge. 

1200 Watt Active PA speaker 
2400 Watts peak Class D power (1200 Watts continuous) 
12" LF transducer, 1.75” HF driver, 1" exit, 90° x 60° coverage field 
Built-in mixer, (2) Mic/Line inputs, volume control, XLR output 
EQ contour switch, Ground Lift, and switch to turn off logo LED 
Use as traditional PA loudspeaker or as floor wedge monitor 
Rugged cabinet, scratch-resistant finish, powder-coated steel grille 
Stand- and pole-mountable via standard 35mm socket 
Flyable via (12) M10 rigging points 
Frequency Response (+/-3 dB): 51 Hz – 20 kHz 

Featuring JBL technology on the inside, these subs take the strain off your tops 
and handle all the low end work. An absolute must for gigs where volume 
matters, and a pre-requisite for any club night. 

1200 Watt Active PA speaker 
2400 Watts peak Class D power (1200 Watts continuous) 
Unrivaled acoustic accuracy via advanced engineering and design 
Works with free Live Drive app for wireless sound-shaping control 
Wirelessly level-match, EQ, delay-compensation, and more 
Stereo XLR outputs: left link, right mono, internal crossover on through 
Rugged cabinet, scratch-resistant finish, powder-coated steel grille 
Portable design with comfortable, custom-molded handles 
Powerful 15” low-frequency, long-excursion driver 
Stereo inputs: Mic/Line left channel, XLR right channel 
Purpose-matched components for maximum efficiency 
Adjustable level and polarity controls 
Switch to turn off logo LED 
Steel-reinforced rubber feet 
Standard 35mm pole socket 
Flyable via (12) M10 rigging points 

Active Subwoofer
Extra Bass Power for Bose L1 Model 2 and 1S systems 
3 Unique Voicings 
2 x 10" Bose sub woofers 
Switchable Bass Level Response 
Weight: 20.41 kg 

Portable PA System
12-speaker Articulated Line Array 
180-degree Horizontal Projection 
Even Volume Over Distance 
Easy Set-up 

Active PA Speaker
The DSR range of speakers are Yamaha's finest, solidly built and packing a serious punch, they'll be perfect for any gig - whatever the size. 

1500 Watt Active PA speaker 
12-inch low-frequency driver and 1.4" high-frequency driver 
Class-D Amplifiers deliver 1100W of dynamic power 
132dB maximum SPL 
52Hz to 20kHz frequency range 
Sophisticated "D-CONTOUR" multi-band dynamic processor 
FIR-X Digital Crossover Filtering 
48-bit precision 
DSP controlled protection throughout the signal chain 
Intelligent on-board 3-channel mixer 
Smart linking function with stereo/mono option 
Front and rear pole-mounting 
Flyable via provided M10 rigging points or using optional U-brackets 
System expandable through adding DXS subwoofers: DXS12 or DXS15 
Weight: 19.3kg 
Designed in collaboration with NEXO 

Active PA Speaker
Putting on a festival or a cave rave? Perfect - these will not disappoint. 

1500 W active PA speaker 
D-CONTOUR multi-band dynamic processing 
All-new 1500W Class-D amplifiers with PFC switching mode power supply 
Maximum SPL 138dB peak 
Extensive protection of the transducers, amplifiers and power supply from high performance DSP 
Premium-grade, custom-designed transducers 
Extended bass response 
24-bit discrete AD and DA converters 

Live Mixer
With fantastic sounding EQ and loads of headroom, these desks are proving to 
be super popular with professionals across the industry. 

6x mono channels with channel insert 
4x stereo channels with 2-band EQ and inputs for extra sources 
4x auxes plus 3-band EQ with MusiQ 
Super wide gain ‘DuoPre’ mic line inputs 
Pan and volume manipulation per channel 
Mono/stereo function on auxes 1&2 
Configurable USB connectivity 
Includes Sonar X1 LE software 
19" rackmountable with optional kit 

Live Mixer
Just about every school, church hall and venue has one of these lying about in 
a cupboard somewhere - possibly one of the most popular desks of all time. 

12-Channel Mixing Console 
Max. 6 Mic / 12 Line Inputs (4 mono + 4 stereo) 
2 GROUP Buses + 1 Stereo Bus 
2 AUX sends (incl. FX) 
1-Knob compressors 
Onboard effects with 24 programs 
USB output for recording output to computer or iPad (via camera connection kit) 
Phantom power for condenser microphones 
Internal universal power supply for world-wide use 

Analogue / Digital Stagebox
There's nothing worse than a stage cluttered with cables everywhere, and 
sometimes you want the desk to be right at the back. Make it happen with this 
handy multicore! 

30 Meter 32 in/8 out Analogue Snake and stagebox

Multi Purpose DI Box
By far and away the most popular DI box of them all. Isolate your guitars, 
keyboards and other stage instruments and inject them straight into the desk - 
whilst splitting the signal to your amp of choice. 

Professional and multi-purpose direct injection box for stage and studio 
applications 
Provides impedance and signal matching for the direct connection of 
instruments to mixers and amplifiers 
Ultra-flat frequency response due to renowned BEHRINGER OT-1 transformer 
Internal battery automatically shuts off when phantom power is applied 
Allows direct connection to speaker outputs with up to 3,000 Watts 
Switchable input attenuation allows input levels of up to +50 dB 

Multi Purpose DI Box
Does exactly what it says on the tin. 

Perfect for stage and studio 
Switchable input level handles instrument and speaker levels 
48 Volt phantom power or 9 volt operation with auto battery shut off 
Switchable ground lift 
1/4" link output 

Live Digital Mixer
The perfect mixing console / interface / IO hub for the studio, the tour, or the 
location project. Super high quality pre-amps and a plethora of processing 
capabilities on every channel. 24 channels straight to your computer of choice 
over USB ... job done! Dedicated custom layer allows full automated mix 
control of your computer. 

30 in / 24 out digital live mixer 
24 AnalogiQTM total recall preamps 
Processing for Mono and Stereo inputs includes trim, polarity, HPF, gate, 
insert, 4 band PEQ, compressor and delay 
The main LR and the Mono mixes have controls for Insert, 1/3 octave GEQ, 
compressor and delay 
The Stereo mixes provide Insert, 4-band PEQ, compressor, delay and balance 
control 
25 motorised ALPS faders 
Dynamics and FX algorithms derived from the FX used in the iLive pro 
touring series 
Integrated multitrack USB recorder provides 18 channels of 48kHz 24bit 
recording and playback straight to / from your USB hard drive 

Live Digital Mixer
The perfect interface for location work, super high quality pre-amps and a 
plethora of processing capabilities on every channel. 24 channels straight to 
your computer of choice over USB ... job done! 

16 acclaimed AnaLOGIQTM recallable preamps 
16 on-board Mic / Line Inputs (XLR / TRS) 
Expandable up to 38 inputs via dSNAKETM 
3 Stereo Inputs (TRS) 
32 Mono + 3 Stereo Input Channels 
12 on-board Mix Outputs (XLR) 
4 Stereo Groups 
2 Stereo Matrix Outs 
AES Digital Out 
4 DCA Groups 
4 Mute Groups 
Qu-Pad iPad App for all live mixing controls Qu-You iPhone App for 
personal monitoring 
Qu-Drive direct Multitrack Recording / Playback on USB drives 
15 Soft Keys 
16 Custom Select keys 
Qu-Control custom screen to suit application 
4 FX Engines 
4 FX Sends / Returns 
32×32 USB Audio Interface 
5” Touchscreen 
iLive FX Library 
Compatible with ME Personal Mixing System 
Trim, polarity, HPF, gate, insert / ducker, 4-band PEQ, compressor and 
delay on all Inputs 
Insert, 4-band PEQ, 1/3 octave GEQ, compressor and delay on all Mix 
outputs 
Built-in Signal Generator 
RTA with Peak Band indication 

High Fidelity Live Mixer
Library of customized ToneMatch presets 
Intelligent zEQ tone controls 
Suite of reverbs, effects and dynamics processing 
Storable scenes 
Large backlit display 
Chromatic tuner 
Three mic/line inputs/outputs 
Two line inputs 
USB port 

Digital Stagebox
There's nothing worse than a stage cluttered with cables everywhere, and 
sometimes you want the desk to be right at the back. Make it happen with this 
handy multicore! 

The AR2412 is a high quality stagebox utilising the dSNAKE protocol to connect 
24 XLR inputs and 12 XLR outputs to the Allen and Heath QU & GLD series' 
of digital mixers. 

The AR2412 allows you to position your I/O up to 120m from the main mixer, 
connected by a single Cat5 cable. Allen & Heath utilise their dSnake protocol, 
ensuring full functionality with the mixer. Also included is a monitor port 
expansion for connection to A&H's ME-1 personal mixers and an expander 
port for connection to an AR84 AudioRack; further expanding the 
possibilities of your mixer. 

Pro Mic Stand
Our microphones stands are the real deal. Cheap stands wear out and 
become a liability, fact. If you're looking for something that you can trust to 
put your precious new mic on, you're in safe hands with Beyer Dynamic. 

Heavy duty stand with adjustable boom from 850/1600mm. 
Weight 3.4kg 
Black finish

All purpose Mic Stand
Need we say more? You'll be needing a few of these. 

Strong Design 
Easily adjustable 
Robust legs with shock protection

All purpose Mic Stand
A very handy stand for when space is a valuable commodity or the sound 
source, great for micing snares, guitar cabs and seated musicians. 

Strong Design 
Easily adjustable 
Robust legs with shock protection

Advanced Feedback Suppressor
When it comes to rooms that may not have the most ideal acoustics and 
you're looking to really push the volume - a feedback suppressor is an 
essential. Relax a little and focus on the mix with the DBX AFS2. 

Transparent, precise performance from updated algorithms 
Eliminates feedback, not your sonic integrity 
Protect individual mics, groups, or even your full mix 

When it comes to rooms that may not have the most ideal acoustics and 
you're looking to really push the volume - a feedback suppressor is an 
essential. Relax a little and focus on the mix with the DBX AFS224. 

dbx's Patent-pending (Advanced Feedback Suppression) AFS™ technology 
24 Programmable Filters per Channel 
Stereo or Dual Independent Channel Processing 
Live and Fixed Filter Modes 
Selectable Filter Lift Times 
Application-specific filter types include: Speech and Music Low, 
Med and High 
Input channel Metering 
24 LED per Channel Filter Metering 
XLR and TRS Inputs and Outputs 

Get the most out of your loudspeakers and analyse your room in seconds with 
the PA2 - no more pink noise required! 

dbx Compression 
AFS™ (Advanced Feedback Suppression) 
Graphic EQ 
8-Band Parametric EQ (adjusted when using the AutoEQ) 
Subharmonic Synthesis Crossover (supports full range, 2-way, and 3-way systems) 
8-Band Parametric EQs (used for speaker tunings) 
dbx Limiting 
Driver Alignment Delays 

Speaker stands
Put your speakers on stands with the Proel FRE300BK speaker stands! 

Pair of aluminium speaker stands 

Computer
Pro Tools 11 
Komplete 10 
Ableton Lite 
Traktor 2 
bitwig 
supplied with Pro Tools keyboard 

Tablet
Control Surface for Allen and Heath QU-PAC Digital Mixing Desk 
Traktor 
Control for Alto Black Bluetooth enabled Power Speakers 

Controller Keyboard
There's a thousand different types of MIDI controller keyboard and this fella is a great all rounder, 61 responsive keys and loads of pads and pots for all your MIDI mapping needs. Great for the studio and durable enough for the road - USB powered for uber quick setup and implementation. 

Create – Integrated software/hardware instrument with apps for Mac, PC and iPad 
Control – 'InControl' technology connects hardware controls directly to all 
major DAWs 
Launch – 16 velocity-sensitive multi-colour launch pads 
Play – Professional synth-styled keyboard with over 50 hardware controls 
DAW Control 
Bus powered – no PSU required

Reflection Filter
When the acoustics of your recording environment are far from ideal or you want a tighter, more intimate vocal sound, this fella does a great job of reducing unwanted reflections. Also works great on Double bass and guitar cabs. 
Helps to reduce ambient noise when recording. 
Easier to obtain a dry vocal or instrument recording. 
Useful in an environment where one is not able to have a recording booth or good 
acoustic treatment. 
Stand included 

Reflection Filter
Take the nuclear approach to your room reflections problems, kills ambience dead. 

The latest in the line of Reflexion Filters 
10 layers of sE's patented Multi-Layer Air-Gap technology 
Stop the sound from the source reaching the walls and bouncing back 
Reduce the effect of room sound in your recordings 

Plossive filter
Plosives and sibilance can be a right pain in the neck on a recording session, and sometimes a pair of tights stretched over a coat hanger just doesn't look all that professional. Problem solved. 

This unique metal screen is not simply perforated, but implements a slightly 
convex shape to redirect low-frequency air blasts to the side of the screen. 
This process does not attenuate high frequencies (as fabric screens can) and 
leaves the vocal performance completely unaffected, minus any disruptive low 
frequency "pops".

Firewire Audio Interface
A very powerful and flexible Fire-wire audio interface, 8 analogue Ins with plenty of room for expansion with an Octopre or equivelant via the ADAT I/O. Lots of outs for connecting up several sets of monitors / headphone sends etc. 

High Quality 24-bit/96kHz Firewire Interface 
Eight High Quality Award-winning Focusrite Pre-amps 
Total I/O Count of 20 Inputs and 20 Outputs 
Suite of Focusrite VST/AU plug-ins 
Two separate headphone buses 
Saffire PRO 40 Control Zero-latency DSP Mixer/Router 
Unmatched routing flexibility 
Thunderbolt compatible with firewire/thunderbolt adapter (supplied) 

Tube Microphone Preamp
These are very handy little fellas to have to hand both live and in the studio. Give low level or generally flat sounding signals a wee bit of squelch before it hits the desk, you'll thank us for it! 

Provides Superior Preamplification for: Microphones, Instruments and Line Level Sources 
Hand Selected 12AX7a Provides 70dB of Gain Smooth, Warm and Fat Sound Quality 
Variable Input and Output Gain Controls 
Excellent as a Tube DI 
XLR and 1/4" Inputs and Outputs +48 volts 
Phantom Power 
Phase Reversal Switch 
Superior Sonic Performance to On-Board Preamps 
TEC-Award Nominated Design 
Portable, All Steel Construction 

Preamp and Converter
8 channels of DA / AD conversion with Midas designed mic pres ... lovely stuff! 

8 channel microphone preamplifier 
8 channels of mic/line to ADAT optical 
8 channels of ADAT to analogue line out 
Preamps designed by Midas 
Globally switched phantom power 
44.1 kHz and 48 kHz operation 
Cirrus Logic 24-bit converters for high-quality conversion 

Mic Preamplifier
A huge array of tonal possibilities and more squelch than you can shake a stick 
at. This unit is proving very popular in the recording circuit. 

Single channel microphone preamp 
71db of Gain 
Custom-designed Cinemag input and output transformers 
Tone button – switches the input impedance from 600 ohms to 150 ohms. Changes 
the tone of both the mic and HI-Z inputs 
Fully Discrete 
High voltage 1731 style operational amplifier 
48 volt phantom power 
Mic level balanced input: XLR or 1/4?/TRS 
Balanced outputs: XLR and 1/4?/TRS 
-20db pad 

Channel Strip
Need we say more? One of the most powerful, eye wateringly beautiful pieces 
of outboard that one could possibly send ones signal to. The EQ is to die for. 

Neve preamp, EQ and compressor/gate 
Insert send and return 
4-band EQ 
High and low pass filters 
Frequency response: +/- 0.2dB (10Hz to 20kHz) +/- 0.5dB (10Hz to 40kHz) 
Noise: < -89dB (line to output) 
THD: <0.005% line to output (20Hz to 20kHz) using window 10Hz to 80kHz 
Impedance (balanced): 1.2k Ohms mic, < 50 Ohms out 
Instant recall of software settings (via USB) 
19" rackmountable (1U) 

Guitar Recording and Effects Unit
Offering a plethora of options for both the live and studio guitarist, all in a neat 
rack mountable case. 

Converters: 24-bit 
Sample rates: 44.1, 48, 88.2 and 96 kHz 
Analog input: 1 x 1/4" TS True-Z 
2 x 1/4" TRS Line 
2 x 1/4" TRS FX Loop Return 
Analog output: 2 x XLR Main 
2 x 1/4" TRS FX Loop Send 
2 x 1/4" TS output to Amp 
Digital input: 1 x XLR AES/EBU 
1 x RCA coaxial S/PDIF 
Digital output: 1 x XLR AES/EBU 
1 x RCA coaxial S/PDIF 
MIDI I/O: 2 x 5-pin, DIN MIDI In, MIDI out/thru 
Sync I/O: AES/EBU 
S/PDIF 
Headphone output: 1 x 1/4" TRS 
Dimensions (WxHxD): 19 x 13.5 x 3.5 inches 
(48.3 x 34.3 x 8.9 cm) 

Stereo Tube EQ
Arguably one of the most sought after pieces of studio processing of ll time. If 
you've used the plug-in version you'll be familiar with it's immense shaping 
power and adaptability to just about any signal. From subtle notches to drastic 
scoops and boosts, the Massive Passive responds. 

Balanced XLR and TRS jack I/O 
Level +4 dBu nominal, internal switches for -10 operation 
Non-true Bypass Switch bypasses EQ & tube circuits 
Frequency Range: 22 Hz to 27 kHz (44 increments) 
Frequency Response: ±2 dB: 8 Hz to 60 KHz 
Maximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 Hz 
Noise Floor (referred to +4dBu): -85 dB (A Weight) 
Dynamic Range: 120 dB 
Tubes: 2 x 12AX7 EH, 4 x 6414 
19" x 5.25" x 10", 9.53kg 

Mastering Processor
A seriously powerful mastering processor. Just running your signal through it 
can sometime be enough to liven up a mix in need of a bit of TLC. 

Add that finishing touch to your stereo mix 
Fully adjustable compressor with blend control and RMS/peak switching 
Switchable feedback/feedforward compressor topology 
Silk red and blue control 
Stereo field editor (SFE) section 
Process SFE section using the two compressors for mid/side operation 

Compressor
One of the highest regarded compressors out there, perfect for livening up 
bass, guitars, vocals and just about anything else you can throw at it. 

Optical compressor 
Custom UA transformers & T4 cell 
Discrete amplifier – up to 50dB gain 
1.5ms attack time or less 
0.06 seconds for 50% release 
Rear panel "Gain Mod" switch for gain control 
Designed by ex-UREI engineer, Dennis Fink 
Less than 0.33% distortion at +24dBm

Adam A7X Studio Monitors

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Adam A7X Studio Monitors

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