Sony MDR-M1 supports high-resolution audio and ultra-wideband playback ranging from 5Hz to 80kHz thanks to its specially designed driver unit that combines soft and hard materials to accurately reproduce low and high frequencies, offering a stunningly accurate and balanced sound performance.


Additionally, the tuned port (Beat Response Control) enhances low-frequency response, ensuring tight bass and accurate rhythm by quickly reproducing sudden sound changes.



The closed acoustic design provides high sound isolation, eliminating ambient noise and leakage, making these headphones perfect for studio recording and on-the-go mixing.



Engineered for comfort and stability, the MDR-M1 ear pads feature thick, low-resilience padding for an airtight fit, while the lightweight design ensures comfort during long sessions.



Headphones include two detachable cables, ideal for convenient use in a studio environment, and a 6.3mm plug adapter to ensure compatibility with a wide range of audio equipment.

Specifications:

Type: Closed dynamic

Driver Unit: 40 mm (1.58 in)

Power Handling Capacity: 1,500 mW (IEC *1)

Impedance: 50 Ω at 1kHz

Sensitivity: 102 dB/mW

Frequency Response: 5 Hz - 80,000 Hz (JEITA)

Mass: 216 g (without cable)

Included Items: Headphones cable (approx. 1.2m/2.5 m, Stereo mini plug); Plug adaptor (Stereo standard plug - Stereo mini plug); Warranty card; Reference Guide

Studio monitor sound for mixing and mastering
High spatial sound space reproducibility possible with carefully tuned open-back acoustic structure can support Mixing and Mastering of Spatial Sound as well as Stereo Sound with High-Resolution capability. Well-balanced and uncolored frequency response from low to super-high range (5Hz – 80 kHz) , High- Resolution and clear sound realizes to express the details of various sound sources exactly as it is.

Excellent wearing comfort
Excellent wearing comfort support creators works. Light weight, soft and stable fitting realizes the superior comfort for long time working or listening to create music contents

Spatial sound creation in the headphones
Accurate each sound object positions and movements in the 360-degree sound space enables “Spatial Sound Creation in the headphones”, that is as close as possible to a speaker-based production environment.
Learn more about 360RA production https://www.sony.net/Products/create360RA/

Stereo sound creation with High- Resolution capability
By reproducing sound sources neutrally with High-Resolution capability, each sound element can be monitored accurately. It also improves the quality of work during mixing and mastering by making it easier to capture localization, spaciousness, and detailed changes in sound processing.

Carefully tuned Open-back acoustic structure
The open-back acoustic structure can get natural surrounding sound like speaker reproduction environment. The structure also does not generate inherent reflected sound in the housing; therefore, it is optimal for spatial sound signal processing, which reproduces the reverberant characteristics of virtual spaces.

Newly developed HD driver units
Newly developed HD driver units optimized for open-back acoustic structure realizes rich low frequency range reproductivity even in the open housing and super high frequency range at a same time (5Hz– 80kHz)This is achieved through the curved corrugation diaphragm shape and Tri-duct structure.

Detachable cables for professional use
The cable plug uses a 6.3 stereo standard plug widely used in production scenes. By using the bundled plug adapter, it is also possible to connect to devices with 3.5 stereo mini jacks. The connection part to the main unit is detachable with a screw system, allowing for secure connection and cable replacement

The swiss army knife of microphones

The award-winning LCT 640 TS is an incredibly flexible multipattern microphone. It works as a traditional multi-pattern microphone, a stereo microphone, and a mic that can change the polar pattern after the fact. Its full, crisp, yet well-balanced sound works perfectly well on any source – vocals and instruments.

Adjust the polar pattern after the fact

By recording with the Dual Output Mode on a stereo track, you can create any polar pattern in the mix with the POLARIZER plugin – even after recording.

Perfectly-in-phase stereo recording, with a single mic

You can produce perfectly in-phase stereo recordings by using a single LCT 640 TS in Dual Output Mode. Just point the mic sideways to the source and adapt the stereo width in the mix.

The same sensitivity in every microphone

Every single LCT 640 TS undergoes a series of measurements followed by adjustment of polarization voltage to achieve the same sensitivity in every microphone. With this Perfect Match technology, you can use any two LCT 640 TS as a stereo pair.

Fully fledged for the daily studio routine

The LCT 640 TS offers three low-cut and attenuation settings, plus a clipping indicator that lets you easily see if the microphone clips.

What is in the box?

The LCT 640 TS comes in a nearly indestructible mil-spec transport case with a shock mount, windscreen, cushioned mic bag, magnetic pop filter, and an adapter cable for the Dual Output mode.

Specifications

•             Frequency range: 20 ... 20,000 Hz
•             Sensitivity: 31 mV/Pa, -30.1 dBV/Pa (cardioid)
•             Self-noise: 10.5 dB (A)
•             Max. SPL for 0.5% THD: 134 dBSPL
•             Dynamic range: 123.5 dB (A)
•             Low-cut: linear, 40 Hz (12 dB/oct), 80 Hz (12 dB/oct), 160 Hz (6 dB/oct)
•             Pre-attenuation: 0 dB, -6 dB, -12 dB, -18 dB
•             Polar patterns: Omni, wide cardioid, cardioid, supercardioid, figure-8
•             Microphone enclosure: Zinc die cast
•             Microphone net weight: 425 g, 14.9 oz
•             Microphone dimensions: 158 x 52 x 36 mm, 6.22 x 2.04 x 1.42 in

Box contents

•             LCT 640 TS - 1" multi-pattern condenser microphone
•             LCT 50 PSx - Magnetic pop filter
•             LCT 40 Wx -Windscreen
•             LCT 40 SHx -Shock mount
•             LCT 40 TS - Mini 3-pin XLR cable
•             DTP 40 Lb - Cushioned mic bag
•             Mil-spec transport case

Experience a whole new level of musical detail.

The LCT 540 S lets you create ultra-resolution recordings of your vocals and instruments. It makes even the subtlest nuances sound crystal clear. Every single part of the microphone is meticulously calibrated pushing this microphone to capture even more details than human hearing.

A new benchmark is set.

The LCT 540 S is the flagship single-pattern 1" true condenser studio microphone in LEWITTs product line. Its cutting-edge circuit design is an outstanding achievement on all technical levels and drops self-noise below the threshold of human hearing at a sensitivity of 40 mV/Pa, -28 dBV/Pa.

Fit for extreme processing.

With its cutting-edge circuit and capsule design, the LCT 540 S features an impressive dynamic range of 132 dB to capture everything from loud to subtle. You won’t hear the self-noise of the mic even after heavily compressing the signal.

What’s in the box?

The LCT 540 S comes in a mil-spec transport case with a shock mount that minimizes structure-borne noise, a transport bag, a windscreen, and a magnetic pop filter that perfectly integrates with the design of the microphone.

Specifications

•             Frequency range:  20 … 20,000 Hz
•             Sensitivity: 41 mV/Pa, -28 dBV/Pa (cardioid)
•             Self-noise: 4 dB (A)
•             Max. SPL for 0.5% THD: 136 dBSPL
•             Dynamic range: 132 dB (A)
•             Pre-attenuation: -6 dB, -12 dB
•             Low-cut filter: 80 Hz (6 dB/oct), 160 Hz (6 dB/oct)
•             Polar pattern: Cardioid
•             Included: Shock mount, windscreen, magnetic pop filter, transport bag, transport case
•             Microphone dimensions: 58 x 52 x 36 mm, 6.22 x 2.04 x 1.42 in
•             Microphone net weight: 371 g, 13.1 oz

Box contents

•             LCT 540 S - 1" true condenser studio microphone
•             LCT 50 PSx - Magnetic pop filter
•             LCT 40 Wx -Windscreen
•             LCT 40 SH -Shock mount
•             DTP 40 Lb - Cushioned mic bag
•             LCT 50 Cx - Mil-spec transport case

PROMOTION UNTIL MAY 1 2025

LEWITT RAY, the first microphone with autofocus for your voice.

Imagine recording vocals was as easy as taking pictures with your phone. RAY is the first microphone to make this a reality. Featuring LEWITT’s new sensor-based technology called AURA, RAY dynamically adapts your levels and tone according to your distance to the microphone. It’s like autofocus but for your voice. Instead of making perfectly sharp pictures, you’re getting perfectly balanced recordings.

With the groundbreaking AURA Technology and ÒMUTE by DistanceÓ feature, RAY completely changes how we interact with a microphone. And with its ÒRecord-ReadyÓ sound, voice recordings for podcasts, streaming, content creation and music production become easier than ever.

Changing the microphone rules with LEWITT’s AURA Technology.

RAY overcomes major limitations that conventional microphones share – to ensure consistent sound quality you need to keep the proper distance and avoid moving around. Usually, when moving close to a mic, your sound becomes loud and boomy, known as the proximity effect. When moving away, your levels drop, and your sound gets thin. For satisfying results, you need to adapt to the microphone. RAY changes these rules with AURA, a sensor-based technology that precisely adapts your level and tone depending on your distance to the microphone.

With AURA on, you don't need to adapt to the microphone anymore, it adapts to you. You can move naturally and focus on your performance while creating flawless recordings. Results are astonishing, especially when recording your voice for podcasts, content, live streaming, and music production.

Even with AURA off, RAY serves as a high-end spec studio microphone that delivers outstanding recording quality as RAY is based on LEWITT’s best-selling LCT 440 PURE.

A new way to mute for streaming and communication

RAY also gives you a dedicated mute button with clear visual feedback, a feature unseen in other XLR microphones, yet the real magic lies in the revolutionary ÒMUTE by DistanceÓ function.

Push a button to easily set a specific distance at which RAY will automatically mute/unmute your signal. Now, you can confidently step away from your desk, knowing your audio will be muted or go live as you approach the microphone. It's a game-changer for your live performance, stream and content alike.

How does it sound?

RAY embodies the signature LEWITT ÒRecord-ReadyÓ sound that artists, creators, and renowned studios have come to adore. This ÒRecord-ReadyÓ sound makes recording easy and gives you a finished sound from the start. The only thing you need to do is press record. No wonder the LEWITT sound is the first choice for producers and engineers working with artists like Justin Bieber, The Rolling Stones, Halsey, Post Malone, Kehlani, Yngwie Malmsteen, or Doja Cat, be it in the studio or on stage.

Analog signal path and high-end studio specs

A 1-inch true condenser capsule is the Ògold standardÓ for detailed vocal recordings. RAY’s gold-sputtered capsule comes with a cardioid polar pattern that records everything in front of the microphone while rejecting sound coming from behind.

With an incredibly low self-noise of just 8 dB(A), and the capability to handle sound pressure levels of up to 131 dBSPL, RAY will ensure your performance is never limited on the technical side.

Besides its outstanding sound quality, RAY uses a completely analog signal path and a gold-plated 3-pin XLR connector to integrate it to your current audio setup. All features are powered via the 48V phantom power coming from your audio interface or preamp.

Compact and camera-friendly design

RAY's compact design perfectly integrates with the included shock mount which reduces low-frequency rumble and structure-borne noise. The camera-friendly pop filter attaches magnetically to the shock mount, ensuring it stays in place. This clever pop filter makes it easier to show your face to the camera, read a script, or view a screen while using the microphone.

RAY opens many possibilities previously unheard of for podcasts, streaming, or performances, and it’s clear that AURA technology is something everyone will want in their microphones in the future.

Your mic with pure studio sound and eight polar patterns.

The LCT 441 FLEX is a compact multi-pattern studio microphone. It features high-spec technology and eight different polar patterns. You'll have full flexibility when it comes to recording different instruments or vocals. It also allows switching between high directivity or more room impression and provides freedom to experiment.

The LCT 441 FLEX stands for class-defining sound.

LEWITT’s 1" true condenser capsule captures your signal with an impressive amount of depth and clarity. Every single capsule is measured and tested according to the highest quality standards.

There’s no limit to your performance.

You can record anything with the LCT 441 FLEX. It features very low self-noise of only 7 dB (A) and handles ear-shattering sound pressure levels of up to 144 dBSPL, resulting in a high dynamic range of 137 dB (A). Nothing will limit your performance on the technical side.

Eight polar patterns incl. three reversed patterns

Having all the patterns available gives you complete recording flexibility. Changing the pattern also gives you a different sound. Don't hesitate to experiment. 

What’s in the box?

The LCT 441 FLEX comes with a shock mount that minimizes structure-borne noise, a transport bag, a windscreen, and a magnetic pop filter that perfectly integrates with the design of the microphone.

Specifications

•             Frequency range:  20 … 20,000 Hz
•             Sensitivity: 17.2 mV/Pa, -35.3 dBV/Pa (cardioid)
•             Self-noise: 7 dB (A)
•             Max. SPL for 0.5% THD: 144 dBSPL
•             Dynamic range: 137 dB (A)
•             Polar pattern:
  • • Omni, Figure-8, Cardioid, Reverse cardioid, Wide cardioid, Reverse wide cardioid, Supercardioid, Reverse supercardioid
•             Included: Shock mount, windscreen, magnetic pop filter, transport bag
•             Microphone enclosure: Zinc die cast
•             Microphone dimensions: 138 x 52 x 36 mm, 5.43 x 2.04 x 1.42 in
•             Microphone net weight: 325 g, 11.5 oz

Box contents

•             LCT 441 FLEX - 1" true condenser multi-pattern microphone
•             LCT 50 PSx - Magnetic pop filter
•             LCT 40 Wx -Windscreen
•             LCT 40 SH -Shock mount
•             DTP 40 Lb - Cushioned mic bag

Solid State Logic B-DYN 611B 500 Series Module

Aggressive character compressor with its own unique sonic signature

Overview:

The 4000 B Dynamics (B-DYN) 500 series module takes the dynamics processor found in the channel strip of the SL 4000 B console and puts it into 500 Series format. Released in 1976, the SL 4000 B was the first commercially available console from Solid State Logic and famously used in ‘The Stone Room’ at Virgin’s Townhouse Studio (London), Le Studio (Montreal) and Record Plant (LA). It was responsible for countless iconic records, including Phil Collins’ ‘In the Air Tonight’ and Peter Gabriel’s ‘Intruder’, both of which feature characterful compression on drums and vocals. The B-DYN allows you to add heavily coloured, grabby, saturated compression from one of the rarest studio consoles ever made to your production toolkit.

Key features:

• Authentic recreation of SL 4000 B consoles dynamics processing

• Design based on the SSL Bus Compressor

• Features Compressor/Limiter & Gate/Expander

• Feedback design with Peak sensing for aggressive ‘grabby’ character

• Fixed compression ratios, 2:1, 4:1 & 10:1 with additional ‘DS’ mode

• Fixed release times, DS, .2, .4, .8, 1.6 & renowned ‘Auto’

• Auto make-up gain

• Sidechain High Pass Filter

• Stereo Link mode

• New (classic) SSL flavour for your productions

Compressor/Limiter:

RATIO - Stepped compression ratios 2:1, 4:1, 10:1 and ‘ds’. The ‘ds’ setting is a fixed 10:1 with an additional sidechain filter. When ‘out, the compressor is bypassed.

THRESH - Whenever a signal exceeds the level set by this control, the compressor will start to act at the ratio set by the Ratio control. The Threshold and Ratio controls also provide automatic make-up gain.

HPF - A 6dB/Oct 185 Hz High Pass Filter in the compressor sidechain to help reduce bass pumping effects.

RELEASE - Switched/fixed release ranges from .2 ms to 1.6 ms with additional ‘DS’ & ‘Auto’ release options.

DS - The De-Ess mode changes the attack time from approx. 30 ms to 2 ms.

De-Ess (DS) mode:

By setting Compressor Ratio and Release controls to ‘DS’ the B-DYN module is optimised for reducing sibilance (De-Essing). The De-Ess is a 10:1 ratio with filtered S/C input signal, delivering broadband compression triggered by sibilance. The ‘DS’ release is automatically varied in response to the processed signal between release rates of 30 & 50 ms. This is a much faster minimum release than you would normally expect from an SSL Dynamics section. The attack time is also reduced to a fast 2 ms, slightly faster than the E-Series Dynamics module on its fast setting.

Gate/Expander:

The B-DYN Gate/Expander section can act as a 20:1 Gate or as a 2:1 Expander when the EXP button is pressed. Its attack time is a fast 0.2 ms.

RANGE - Controls the maximum amount of gain reduction applied by the Gate/Expander. When set to ‘out’, the gate/expander is bypassed.

THRESH - Sets the threshold above which the the gate/ expander will be opened.

RELEASE - Sets how long the signal remains audible after the Gate/Expander closes.

EXP - Switches the gate to expander mode with a gentle curve, for subtler control of level below the threshold.

PURE TUBE is perfectly optimized for vocal recordings. Incl shock mount, transport case and pop filter

• 1x PURE TUBE microphone
• 1x PURE TUBE power supply unit
• 1x Fully adjustable shock mount
• 1x Highly effective magnetic pop filter
• 1x 7-pin XLR cable
• 1x Transport bag
• 1x Mil-spec transport case

PURE TUBE was holistically designed to allow you to deliver your best vocal performance and spark your creativity.

Its gold-sputtered 1-inch true condenser capsule is powered by a revolutionary circuit to add warmth, depth, and intimacy to your voice, technically unmatched by other microphone classics. To ensure that clarity is retained, a transformer-based filter balances the proximity effect, and musically rounds out the sonic image perfectly for vocal recordings.

The fully adjustable shock mount absorbs structure-borne noise efficiently, and the acoustically transparent pop shield puts an end to plosives. It magnetically attaches directly to the shock mount, so wobbly gooseneck pop filters are a thing of the past. Absolutely every design detail shows that the PURE TUBE was designed for professional vocal recording.

Unique signal path for highest signal integrity and ultra-low noise performance.

PURE TUBE uses an entirely new circuit to create its timeless sound quality. The unique signal path is completely free from semiconductors and capacitors, so you hear all the character of the hand-selected tube with an ultra-low noise floor. PURE TUBE’s ultra-low noise level of 7 dB (A) will never negatively affect your signal, even with heavy post-processing used for contemporary music production.

This combination of innovative circuitry, high-quality components, and hand-selected ECC82/12AU7 tubes makes the PURE TUBE a high-performance microphone that is difficult to compare to conventional studio microphones, whether FET or tube.

Finally, 100 years after the first tube microphone was invented, there is a tube microphone without technical tradeoffs compared to FET or other tube microphones. With its outstanding sound quality and specifications, PURE TUBE will serve all those looking for a premium upgrade in their sound.

10-year warranty

Buying a $1000+ microphone is a giant leap for many looking to elevate their craft, and LEWITT offers a 10-year warranty (and industry-leading customer service) to ensure peace of mind.

Feature summary

• Studio microphone with timeless premium sound

• Optimized for professional vocal recordings

• Cardioid polar pattern

• Signal path free from capacitors and semiconductors

• Hand-selected 12AU7/ECC82 tube

• Ultra-low noise performance of 7 dB (A)

• Transformer-based filter to musically balance the proximity effect

• Compact, energy-saving PSU works worldwide

• Including magnetic pop filter, shock mount, 7-pin XLR cable, transport bag, mil-spec transport case

• 10-year LEWITT warranty

Specifications

Sensitivity: 28.2 mV/Pa, -31 dBV/Pa

Self-noise: 7 dB (A)　

Max SPL: 132 dBSPL

Dynamic range: 125 dB　

Polar pattern: Cardioid

Supply voltage: External power supply

Microphone enclosure: Zinc die cast

Microphone dimensions: 196 x 65 x 45mm, 7.7 x 2.6 x 1.8 in

Microphone net weight: 692 g, 24.41 oz

Box contents

• 1x PURE TUBE microphone
• 1x PURE TUBE power supply unit
• 1x Fully adjustable shock mount
• 1x Highly effective magnetic pop filter
• 1x 7-pin XLR cable
• 1x Transport bag
• 1x Mil-spec transport case

PURE TUBE is perfectly optimized for vocal recordings.

Box contents

• 1x PURE TUBE microphone
• 1x PURE TUBE power supply unit
• 1x 7-pin XLR cable
• 1x Transport bag

PURE TUBE was holistically designed to allow you to deliver your best vocal performance and spark your creativity.

Its gold-sputtered 1-inch true condenser capsule is powered by a revolutionary circuit to add warmth, depth, and intimacy to your voice, technically unmatched by other microphone classics. To ensure that clarity is retained, a transformer-based filter balances the proximity effect, and musically rounds out the sonic image perfectly for vocal recordings.

Absolutely every design detail shows that the PURE TUBE was designed for professional vocal recording.

Unique signal path for highest signal integrity and ultra-low noise performance.

PURE TUBE uses an entirely new circuit to create its timeless sound quality. The unique signal path is completely free from semiconductors and capacitors, so you hear all the character of the hand-selected tube with an ultra-low noise floor. PURE TUBE’s ultra-low noise level of 7 dB (A) will never negatively affect your signal, even with heavy post-processing used for contemporary music production.

This combination of innovative circuitry, high-quality components, and hand-selected ECC82/12AU7 tubes makes the PURE TUBE a high-performance microphone that is difficult to compare to conventional studio microphones, whether FET or tube.

Finally, 100 years after the first tube microphone was invented, there is a tube microphone without technical tradeoffs compared to FET or other tube microphones. With its outstanding sound quality and specifications, PURE TUBE will serve all those looking for a premium upgrade in their sound.

10-year warranty

Buying a $1000+ microphone is a giant leap for many looking to elevate their craft, and LEWITT offers a 10-year warranty (and industry-leading customer service) to ensure peace of mind.

Feature summary

• Studio microphone with timeless, premium sound
• Optimized for professional vocal recordings
• Cardioid polar pattern
• Signal path free from capacitors and semiconductors
• Hand-selected 12AU7/ECC82 tube
• Ultra-low noise performance of 7 dB (A)
• Transformer-based filter to musically balance the proximity effect
• Compact, energy-saving PSU works worldwide
• Including microphone mount, 7-pin XLR cable, transport bag
• Optional accessories: shock mount, pop filter
• 10-year LEWITT warranty

Specifications

Sensitivity: 28.2 mV/Pa, -31 dBV/Pa

Self-noise: 7 dB (A)　

Max SPL: 132 dBSPL

Dynamic range: 125 dB　

Polar pattern: Cardioid

Supply voltage: External power supply

Microphone enclosure: Zinc die cast

Microphone dimensions: 196 x 65 x 45mm, 7.7 x 2.6 x 1.8 in

Microphone net weight: 692 g, 24.41 oz

Box contents

• 1x PURE TUBE microphone
• 1x PURE TUBE power supply unit
• 1x 7-pin XLR cable
• 1x Transport bag

Your studio FET and tube mic in the same housing

The LCT 940 unifies the specific characteristics of a premium large diaphragm FET condenser microphone and a top-notch tube microphone.

With "Tube" you get warmth and musical harmonics, while "FET" gives you clear and nuanced sound. Blend tube and FET circuit at any ratio and find your ideal mix.

Blend two sound characteristics at any ratio

By using the AMPLIFICATION knob, you can mix the two distinct microphone circuits, FET and tube circuit at any ratio to find your sweet spot.

This way you can dial in the ideal combination of warmth, punch, and clarity. Works brilliantly to adapt the LCT 940 to different voices.

The LC10 capsule is precision taken to a new level

The externally polarized dual-diaphragm 1" capsule captures every nuance of your performance thanks to its 3-micron-thin, gold-layered, low-mass diaphragms. It handles everything from vocals to full orchestras.

Dual triode 12AX7 tube for rich harmonics

For the tube circuit, the LCT 940 uses a dual triode 12AX7 tube to create that warm and comforting sound with smooth high frequencies while still preserving the ability to cut through the mix.

Remote control and power supply in one

The user interface on the remote control with integrated power supply allows a quick setup of polar pattern, pre-attenuation, and low-cut. It is easy to check or change the settings even in complete darkness due to its illuminated user interface.

Specifications

•             Frequency range: 20 ... 20,000 Hz
•             Sensitivity: 23 mV/Pa, -33 dBV/Pa (cardioid)
•             Self-noise: 8 dB (A) FET, 12 dB (A) tube (cardioid)
•             Max SPL at 0.5% THD: 143 dBSPL FET & 140 dBSPL tube
•             Dynamic range: 135 dB (A) FET, 128 dB (A) tube
•             Low-cut: 40 Hz (12 dB/oct), 150 Hz (6 dB/oct), 300 Hz (6 dB/oct)
•             Pre-attenuation: -6dB, -12 dB, -18 dB
•             Polar patterns: Omni, wide cardioid, cardioid, supercardioid, figure-8
•             Microphone enclosure: Zinc die cast
•             Microphone net weight: 662 g, 23.3 oz
•             Microphone dimensions: 192 x 60 x 46 mm, 7.5 x 2.4 x 1.8 in
•             PSU weight: 1930 g, 68.1 oz
•             PSU dimensions: 250 x 150 x 70 mm, 9.8 x 5.9 x 2.8 in

Box contents

•             LCT 940 - Tube microphone
•             LCT 940 PSU - Remote control and power supply
•             LCT 40 Wxx -Windscreen
•             LCT 40 SHxx - Shock mount  
•             LCT 40 Tr - 11-pin XLR cable
•             LCT 50 Cxx - Mil-spec transport case

The OLLO Audio R1 is a closed-back studio headphone designed for recording and mixing professionals. It eliminates clicks, unwanted feedback and sound leaks that ruin takes. With the R1, every recording remains clean, precise and perfectly controlled - from the first to the last mix.

Thanks to its U-shaped frequency response, the R1 subtly accentuates bass and treble for a lively, inspiring sound. This sound profile promotes the artist's groove and energy, guaranteeing more natural, expressive performances in the studio.

LONG-LASTING COMFORT FOR STUDIO SESSIONS

The R1 has been designed for long hours in the studio. Its soft circumaural cushions completely envelop the ears, while its pivoting and tilting earcups adapt to all morphologies. The self-adjusting headband ensures a light, even fit, for lasting comfort even during extended sessions.

ROBUST DESIGN AND PREMIUM MATERIALS

The OLLO Audio R1 combines elegant design with exceptional robustness. Handcrafted from American walnut,stainless steel,aluminum, leatherette and silicone, it stands up to intensive use in the studio and on stage. Each component has been chosen for its durability and acoustic quality.

EASY TO REPAIR AND BUILT TO LAST

Designed with durability in mind, the R1 is entirely user-repairable. Every part can be replaced at home, using simple everyday tools. An eco-responsible approach that extends product life and reduces electronic waste, without compromising performance.

OLLO AUDIO R1 HIGHLIGHTS

Perfect isolation: closed design to prevent sound leakage.

Dynamic, inspiring sound: U-shaped curve favors bass and treble.

Superior comfort: soft ear pads and self-adjusting headband.

High-quality manufacturing: noble materials and hand assembly.

Durability: replaceable parts and 5-year warranty.

Solid State Logic Super 9000.

Superior Punch and Clarity, Unparalleled SuperAnalogue™ Performance

Super 9000 is Solid State Logic’s all-in-one analogue channel strip, combining the best of SuperAnalogue™ technology to deliver the modern SSL sound. First introduced in the legendary SL 9000 J and perfected in the Duality, the Super 9000 Channel Strip offers the ultra-low distortion, exceptional punch, and breathtaking clarity of our SuperAnalogue™ studio consoles in 1 RU.

The 9000 Series made rock and pop mixes sound bigger than ever, while enhancing hip-hop and R&B with deep, extended low-end and shimmering highs. Renowned for making music sound larger than life, with unmatched dynamics and depth, the 9000 Series became the industry standard of its era – setting a milestone in analogue design and paving the way for the development of the Duality and Oracle consoles. Now, the Super 9000 brings that same professional polish – once exclusive to the colossal 9K consoles – straight into your studio.

Prestigious facilities, including Abbey Road and Metropolis Studios (London), Real World Studios (Bath), Record Plant (LA), and Avatar/Power Station (NY), quickly made the 9000 Series their standard. Top engineers such as Manny Marroquin (Alicia Keys, Rihanna), Michael Brauer (Coldplay, John Mayer), Kevin Shirley (Iron Maiden, Led Zeppelin), and Tony Maserati (Jay-Z, Beyoncé) used SuperAnalogue™ sound to craft genre-defining hits.

SuperAnalogue^TM. Design

SuperAnalogue^TM technology creates a signal path so transparent and wide bandwidth that nothing is lost, putting the engineer right there in the room with the artist. Key design elements include:

• Super-wide audio bandwidth.

• Ruler flat frequency response: ±0.1 dB between 20 Hz – 20 kHz.

• Ultra-low transient intermodulation distortion.

• No electrolytic capacitors in the audio path.

• Extremely low noise and harmonic distortion.

• Exceptionally low phase shift across the audible spectrum.

The result is unmatched punch, definition, and a larger-than-life sound stage—qualities that define the modern "SSL sound" and are why SuperAnalogue™ consoles remain the professional’s choice for music production.

Dual Mic Amp – SuperAnalogue^TM or VHD^TM

Choose between two world-class preamps, just like on SSL’s flagship Duality console. Opt for the pristine, high-headroom SuperAnalogue™ preamp for unmatched clarity, or switch to the Variable Harmonic Drive (VHD) circuit to add character and saturation. Shape your tone by dialling in 2nd order harmonics for rich, valve-like warmth, or add 3rd order harmonics for a harder, transistor-style edge. The INPUT FLIP button allows you to move the VHD circuit from the Mic Input to the Line Input, making it easy to add harmonic colour to DAW stems or line-level instruments and sources.

Variable Harmonic Drive (VHD):

Variable Harmonic Drive was created to provide engineers and producers with a single preamp capable of covering a wide tonal spectrum. Initially designed to complement the Duality console’s ultra-accurate SuperAnalogue™ preamp, VHD technology can be found across numerous SSL consoles and rackmount units – over the years becoming many engineers’ secret weapon for adding vibe to recordings.

Full Dynamics Processing

The Super 9000 features SSL’s quintessential modern dynamics section, delivering ultimate control and punch. Built around the high-performance THAT 2181A VCA, the compressor includes a switchable Fast Attack mode and the Peak Detect option—first introduced on the SL 9000 console and carried through to the Duality series. It also incorporates SSL’s classic Expander/Gate section with variable hysteresis built into the Threshold, plus a HOLD control for precise gate and downward expansion management. Additionally, Super 9000 allows the dynamics section to be moved Pre and Post EQ.

Pink (292) and Black (242) EQ Circuits & High and Low Pass Filters　

Choose your SSL EQ: the 292 G-Series ‘Pink Knob’ EQ circuit or the 242 E-Series ‘Black Knob’ EQ circuit. The 292’s variable-Q design delivers smooth, wide boosts and cuts that tighten as you push harder, while its shelves feature a steeper slope and the signature ‘undershoot/overshoot’ for that renowned SSL musicality. The 242’s constant-Q design, developed in collaboration with Sir George Martin, gives more surgical control when compared to the 292. The Super 9000 EQ section also features two buttons labelled ‘E Bell/G÷3’ and ‘Gx3/E Bell.’ When in 292 mode, these buttons allow the Low-Mid Frequency to be divided by 3 and the High-Mid Frequency to be multiplied by 3, so that the mid-bands can be used to target frequencies normally far outside of their standard range, providing incredible flexibility and range. In 242 mode, these buttons switch the Low Frequency and High Frequency bands between Bell and Shelving modes. As expected from SSL, the EQ can be placed in the dynamics sidechain, and the high-pass (18dB/oct) and low-pass (12dB/oct) filters can be fully bypassed or routed to input or sidechain for ultimate control.

Flexible Processing & Routing 　

Super 9000 includes a balanced insert point for integrating additional outboard gear into the signal path. The insert can be repositioned from its default location (immediately after the input stage) to the output stage, just before the Output Trim. It also features a dedicated external sidechain (key) input, flexible processing re-ordering, and sidechain linking—ideal when using two Super 9000 units as a stereo pair.

Input Flip control routes the LINE input to the Mic Pre, whilst the rear MIC connection becomes routed through the LINE path – an easy way to process line level DAW returns with saturation/distortion processing at the mix stage, without having to manually re-patch.　

Key Features　

• Dual Mic Pre – Choose between SuperAnalogue™ (9000) & VHD™ (Duality) w/　+48V, Polarity invert, and Pad.

• 2 Impedance options for the mic pre: 1.3 kÙ and 11 kÙ.　

• Dedicated LINE Input with "Input Flip".

• Quintessential 9000/Duality Dynamics section.　

• High-Performance THAT 2181A VCA compressor section.　

• Peak/Hard Knee or Soft Knee modes.　

• FAST attack on/off.　

• Classic Gate/Expander section.　

• Fast attack on/off.　

• Hold control.

• 4-band SSL EQ with switchable modes.　

• Fully parametric mid-bands.　

• Switchable between G-Series ‘Pink Knob’ 292 and E-Series ‘Black Knob’ 242 circuits.　

• High and Low Pass filters.　

• 18 dB per octave HPF & 12 dB per octave LPF.　

• Insert point for connecting external devices into the signal path.　

• Extensive ‘to sidechain’ functionality.　

• Filters to Dynamics sidechain.　

• EQ to Dynamics sidechain.　

• Flexible process-order routing.　　

• Filters to input, Dynamics post-EQ, and Insert to output.　

• Line Output Trim.

• Switchable Input and Output metering.　

• External sidechain (key) input.　

• Dynamics sidechain link – allows 2 x Super 9000’s compressors to work as a stereo pair (loudest signal wins). Linking via a TS/TRS jack cable (not included).　

Solid State Logic

Revival 4000 Signature Analogue Channel Strip　

Introducing the Revival 4000—a signature analogue channel strip that encapsulates the sonic excellence and standout features of the legendary 4000 Series in a compact 1U format. Equipped with the classic E Series JT-115K-E Jensen transformer-balanced mic preamp, B Series De-Esser, the discrete Class A VCA Dynamics section from the E Series, and the iconic four-band parametric E Series EQ—complete with high-pass/low-pass filters and switchable Brown/Black knob EQ.Offering flexible routing, a balanced insert point, and sidechain linking, the Revival 4000 is the foundational legacy channel strip, bringing SSL’s analogue heritage into any modern studio.Key Features:Classic Jensen Transformer Equipped SSL 4000 E Mic PreampFeaturing a JT-115K-E Jensen transformer-balanced preamp, the Revival 4000 delivers richness and pristine clarity to your recordings. This circuit incorporates the very same Jensen component found in the original E Series channel strips.

4000 B-Series De-Esser　

Revival 4000’s De-Esser is lifted from the original compressor/limiter design of the iconic 4000 B console, delivering 10:1 ratio and a 7 kHz sidechain filter. This configuration enables broadband compression that’s precisely triggered by sibilance, making it ideal for taming harsh vocals, drums, or other aggressive sources. Its musicality is further elevated by a circuit design that mirrors that of the legendary SSL Bus Compressor, adding a familiar clarity and character to any signal.

Ultimate 4000 E Series Dynamics Section 　

The iconic dynamics section that defined the sound of the 1980s—fully featured and faithfully recreated. The compressor/gate design stays true to the original E Series channel strip, meticulously replicating the circuitry and components that gave it its legendary character. It includes a true RMS sidechain detector and an all-discrete gain reduction stage, identical to the discrete Class A VCA chip used in the original console.

Flexible controls allow you to bypass the soft-knee curve, activate a fast attack mode, and choose between logarithmic or linear release curves. Together, these features offer a wide palette of tonal shaping options, capturing the distinctive voicings that helped craft countless classic records on a variety of E Series consoles.

Classic 4-Band SSL EQ

The celebrated 4-band parametric EQ that helped shape modern music. Revival 4000 features two iconic EQ options: the classic 4000 E Brown Knob (02) and the legendary Black Knob (242).

The Brown Knob EQ includes two fully parametric mid bands with SSL’s signature symmetrical design, ensuring consistent musical intervals around the centre frequency, no matter the gain or frequency settings. The high and low bands are 6 dB/octave shelving filters, with an option to switch to a fixed-Q bell response. This EQ became a staple of early '80s recordings and mixes.

Developed in 1983 the ‘242’ EQ circuit in collaboration with the legendary George Martin for the first SSL console installed at AIR Studios. Known as the Black Knob EQ, it introduced wider cut and boost ranges (±18 dB vs. ±15 dB), a refined control response, and a steeper 18 dB/octave high-pass filter—offering tighter low-end control and greater tonal flexibility.

Flexible Processing & Routing

Revival 4000 includes a dedicated balanced insert point, allowing you to seamlessly integrate external outboard gear into the signal path. It also features a dedicated external sidechain (key) input, flexible processing order, and sidechain linking, ideal for pairing two units as a stereo setup.

Specification:

• Classic SSL 4000 E Jensen transformer-balanced mic preamp.
• Musical one-knob 4000 B De-Esser section.
• +48V, Polarity invert, Pad and Line Input.
• Ultimate 4000 E Series Dynamics section:
• Discrete Class A VCA compressor section.
• Soft or Hard Knee modes.
• Fast attack on/off.
• Logarithmic or Linear Release modes.
• Classic Gate/Expander section:
• With Fast attack on/off.　
• Classic 4-band SSL EQ:
• Fully parametric mid-bands.
• Switchable Brown Knob ‘02’ and Black Knob ‘242’ EQ Circuits.
• High and Low Pass Filters:
• Brown 02 mode – 12 dB per octave HPF & LPF.
• Black 242 mode – 18 dB per octave HPF & 12 dB per octave LPF.
• Balanced Insert point for connecting external devices into the signal path
• Extensive ‘to sidechain’ functionality:
• Filters to Dynamics sidechain.
• EQ to Dynamics sidechain.
• Flexible process-order routing:　　　
• Filters to input, Dynamics and De-Ess post-EQ options, Insert to output.
• Line Output Trim.
• Switchable input/output metering.
• External sidechain (key) input.
• Dynamics sidechain link – allows 2 x Revival 4000s compressors to work as a stereo pair.

Harrison D510mx Analog Summing Mixer

Build your custom 500 Series analog mixer

Pair the D510r with the optional D510mx mixer module to transform your system into a powerful 10x2 analog summing mixer. Designed to integrate into two slots of the Harrison D510r 500 Series rack, the D510mx gives you the flexibility to create stereo mixdowns from any of the eight remaining 500 Series module slots, alongside the two analog inputs to slots 9 and 10. With level and pan controls on each channel, plus dual independent headphone outputs with ‘blend,’ get the renowned weight and ‘3D’ depth that Harrison analog summing brings to productions while enhancing your headphone monitoring capabilities.

When used in combination with the D510dante audio interface card, the dual headphone outputs can create monitor mixes from either the direct analog output or from any connected device on the Dante network.

With an almost infinite number of configurations, the Harrison D510 rack paired with the D510mx mixer module can create an extremely powerful (and portable) eight-channel tracking system housed in only 3U – we said it was flexible!

D510mx Specifications:

D510mx Inputs

• Minimum Gain: <= -81 dB
• Noise A-Weighted @ Min Gain: < -87 dBu
• Unity 0 dB
• THD+N, 1kHz 10 dBu @ Mid Gain: < 0.003%
• Noise A-Weighted @ No Gain: < -87 dBu
• Maximum Gain: 11.5 dB
• THD+N, 1kHz 0dBu @ Max Gain: < 0.003%
• Noise A-Weighted @ Maximum Gain: < -85 dBu
• Maximum Input Level: +24 dBu
• Frequency Response: 20 Hz – 20 KHz +/- 0.25 dB
• Pan – 3dB Pan Law

D510dante Inputs (when optional D510dane interface is installed)

• Maximum Input Level: +24 dBu
• Frequency Response: 20 Hz – 20 KHz +/- 0.25 dB

Main Outputs

• Maximum Output Level - +24 dBu
• Minimum Gain: <= -85 dB
• Noise A-Weighted @ Min Gain: < -97 dBu
• Unity 0 dB
• THD+N, 1kHz 10 dBu @ Mid Gain: < 0.003%
• Noise A-Weighted @ No Gain: < -87 dBu
• Maximum Gain: 9.5 dB
• THD+N, 1kHz 10 dBu @ Max Gain: < 0.003%
• Noise A-Weighted @ Maximum Gain: < -78 dBu

Headphone Outputs

• Maximum Output Level - +21 dBu
• Minimum Gain: <= -78 dB
• Noise A-Weighted @ Min Gain: < -87 dBu
• Maximum Gain: 0 dB
• THD+N, 1kHz 20 dBu @ Max Gain: < 0.004%
• Noise A-Weighted @ Maximum Gain: < -82 dBu

Signal Metering

• 3x tri-colour LED signal presence
• Green: >= -14 dBu, + 4 dBu
• Orange: >= +4 dBu, +18 dBu
• Red: >= + 18 dBu

Connectors

• TRS Stereo Headphone Output (2)

Harrison D510r Ultra-flexible Harrison 500 Series System

The Harrison D510r is an ultra-flexible ten-slot 500 Series rack system with an expandable analog summing mixer, Dante AoIP interface, or USB interface options. Built on a legacy that shaped the sound of legends like Michael Jackson, Led Zeppelin, and Steely Dan, Harrison continues to push the boundaries of music and audio production. Whether in the studio, on stage, or the big screen, Harrison’s design philosophy remains focused on delivering the sonic excellence and flexibility that modern artists, producers, and engineers need.

High-performance tracking rig with analog summing

Bring the depth and three-dimensional soundstage of Harrison’s analog summing to your studio or live sound console with the D510r rack and optional D510mx mixer card. Add eight 32Cpre+ 500 Series mic pre-modules and build the ultimate portable Harrison tracking rig or combine with EQ and Dynamics modules and create a custom eight-channel Harrison mixer, all in only 3U. Whether it’s a high-performance summing mixer for adding analog warmth to digital stems, summing together discrete outs from a drum machine and sampler, or accessing console-grade recoding performance in a portable tracking rig – the possibilities are endless and can grow with your production requirements one module at a time.

The only 500 series system with AoIP interface

The Harrison D510r is the only 500 Series rack to feature an optional Dante interface for easy integration into live sound production and studio facilities that use the Dante AoIP protocol. When paired with the Dante interface the Harrison D510 system transforms into a multifaceted 500 Series system, seamlessly integrating analog mic pre’s, dynamics, and EQ processing, or any 500 Series modules into your hybrid workflow.

Built to perform

The D510r is built to endure the demands of both touring and studio environments. Its rugged steel enclosure fits seamlessly into a standard 19" rack, ensuring durability on the road and reliability in the studio. With a built-in power supply that delivers 30% more power per module than the standard 500 Series specification, the D510r provides exceptional stability and ample headroom—allowing you to get the most out of your 500 Series modules.

D510r specifications:

• Dimensions:

  Length (L): Standard (19") = 48.26 cm

• Power Input: 50/60Hz / 80-246VAC / 1.8 -0.55A
• Power Per Slot: 170ma
• Weight: 10.4 LBS (4.72kg)
• Optional D510mx analog summing mixer card, D510dante interface card, and USB+ADAT interface card (currently under development).

Harrison D510dante AoIP interface

Audio over IP connectivity for live sound and studio

Built around 10 in/14 out, high-performance A/D & D/A converters for pristine audio quality, the D510dante card brings the power of Dante AoIP to your Harrison 500 rack. Easily integrate 500 Series processing into your mix bus, subgroups, or channel inserts on a Dante-compatible live sound console. In a hybrid studio setup, take full advantage of Dante’s flexible routing matrix to send and receive audio seamlessly across your modules.

D510dante specifications:

General

• 10 Inputs / 14 Outputs

ADC

• THD+N, 1kHz 24dBu: < 0.0008%
• Noise A-Weighted: < -95 dBu
• Frequency Response: 20 Hz – 20 KHz +/- 0.25 dB

DAC

• THD+N, 1kHz 18dBu: < 0.006%
• Noise A-Weighted: < -85 dBu
• Frequency Response: 20 Hz – 20 KHz +/- 0.25 dB
• 0 dBFS = +24dBu D/A channels 1- 10
• 0 dBFS = +18dBu D/A channels 11-14

Connectors

• 2 x RJ45 Network Ports (Primary and Secondary)
• BNC TTL Wordclock

Latency

• DA + AD <> Dante - 48kHz and 96kHz = 43.2 samples (0.9ms@48kHz, 0.45ms@96kHz)

Slate Digital VMS ML-1A Modeling Microphone

Meet Virtual Microphone System 2

The world’s best modeling microphone got a major upgrade.

An industry-shaker when it was first released, the original ML-1 microphone offered the ability to flawlessly emulate the color and tone of over 25 handpicked vintage microphones, covering everything from modern studio staples to classic ribbon mics. Now, the brand-new ML-1A and newly designed Virtual Microphone System plugin takes that same functionality and makes it even more powerful.

The ML-1A

The ML-1A is a large-diaphragm condenser microphone that’s best suited for capturing everything from vocals to live instruments to drum kits and every other use case in between. The ML-1A packs all its punch into a sleeker, smaller shell than that of its predecessor, with a dark grey metallic body and a redesigned grille.

Beyond the noteworthy aesthetic differences, the main feature change on the ML-1A is the new three-position 0 dB/ -10 dB / -20 dB pad switch. Up to 145dB SPL can be captured with the -20dB pad engaged. The ML-1A also has lower self-noise to provide the user with an even cleaner recording experience.

Virtual Microphone System

The virtual mic model user experience has also been significantly improved, with all the mic models now housed together in one self-contained plugin.

Compared to the microphone modules in VMR for the ML-1 mic, the new VMS plugin provides the following additional features:

• Microphone Model Morphing for blending the characteristics of two microphone models to create an entirely new behavior

• New "Proximity" slider which applies the characteristic low-frequency boost that naturally occurs when placing the microphone closer to the sound source

• Low-frequency roll-off selector to remove undesirable rumble in certain circumstances

• Mono-to-stereo widener to spread vocals across the stereo spectrum, useful for adding contrast to background vocals

And if that wasn’t enough, the ML-1A comes with bundled with the brand-new Radio France Signature mic pack. To help celebrate our company’s French roots, we modeled 10 incredible microphones from the inventory at the legendary Radio France network HQ. From studio staples to an ‘indestructible’ mic and the biggest ribbon mic ever made, the mics in this pack are designed to make the human voice sound great.

Included with your mic:

Radio France Signature Mic Pack *NEW*

• RF-X25: Open-air sound great for piano, acoustic instruments and voices

• RF-88: Detailed bass response, great for kick drums, vocals, and more

• RF-BB6: Flagship tube mic designed for modern, present vocal sound

• RF-21B: France's go-to mic for reporters and field recording

• RF-149: Outstanding for vocals as well as acoustic instruments

• RF-H64: The soloist’s microphone, well-balanced for speech pickup

• RF-H64 Bonnette: H64 with pop filter for subtle high-end roll-off

• RF Améthyste: Modern, present sound with airy highs and accented lows

• RF-42B Voix: The world’s largest ribbon mic, set to ‘Voice’ mode

• RF-42B Musique: The world’s largest ribbon mic, set to ‘Music’ mode

Classic Tubes 1 + 2

• FG-47

• FG-M7

• FG-800

• FG-251

• FG-800M

• FG-269

• FG-12

• FG-67

Virtual Preamp Collection

• FG-73

• FG-76

Slate Digital ML-1A Features

Ultra-linear, sonically neutral large-diaphragm condenser microphone

Works with Virtual Microphone System plugin to recreate the sound and tone of up to 36 vintage microphones, all available in the Complete Access Bundle subscription

Three-position 0 dB/ -10 dB / -20 dB pad switch; can accommodate up to 145 dB SPL with -20 dB pad engaged

• Lower self-noise (8dB) for cleaner recordings

• Updated design; new color and unique grill shape

• Included licenses: Radio France Signature mic pack, Classic Tubes 1 & 2 mic packs, Virtual Preamp Collection.

Virtual Microphone System Features

Up to 36 virtual microphone models, including 10 new models in the Radio France Signature mic pack, all available in the Complete Access Bundle subscription. All owners receive a three-month trial subscription to the Complete Access Bundle with purchase.

Blend two mic models to create your own unique microphone

• Proximity slider authentically recreates natural low-end boost that comes with closer mic placement

• Low-frequency roll-off selector removes undesirable rumble

• Mono-to-stereo widener to spread vocals across the stereo spectrum

Tech Specs

• Microphone Type: Condenser

• Polar Pattern: Cardioid

• Diaphragm Size: 1-inch

• Frequency Range: 20Hz – 20,000Hz

• Output Impedance: 50 ohms

• Sensitivity: -32.5dB

• Signal to Noise Ratio: 86dB

• Self-Noise: 8 dB

• Connector: XLR

• Software: Virtual Microphone System, Radio France Signature Mic Pack, Classic Tubes 1+2 Mic Pack, Virtual Preamp Collection

• Format: AAX, AU, VST2, VST3

• OS Requirements - Mac: macOS 11 or later

• OS Requirements - PC: Windows 10 or later

• Color: Black and Grey

• Power Source: Phantom

• Dimensions: 200mm x 50mmØ

• Weight: 450g

• Included Accessories: Shock mount, carrying case

SSL 18

26-in / 28-out, high-performance USB audio interface

Introducing SSL 18, the first-ever rackmount USB audio interface from Solid State Logic. Developed from our unmatched expertise in analogue and digital design, SSL 18 offers exceptional audio performance with a studio-session-ready feature set, delivered with the signature SSL sound and premium quality that professionals trust. Welcome to a new era in rack mount interface performance.

SSL 18 raises expectations for a 19" USB audio interface in its class. Superior 32-bit next-gen converters, high-performance SSL-designed mic pre’s, advanced digital mixer, Legacy 4K analogue enhancement, and a complete set of digital I/O. Whether you are recording, producing or mixing, SSL 18 enhances production workflow while elevating the performance of your creative space – it’s the ultimate centrepiece for your studio.

Best-In-Class Audio Performance:　​

Next-generation 32-bit/192 kHz converters provide the platform for SSL 18’s analogue design to shine, with unrivalled dynamic range performance of 120 dB across all microphone, line-level and instrument inputs – capture your sources like never before. Experience 125 dB dynamic range on the monitor and line outputs to hear your music with uncompromised fidelity. Need to work on headphones? No problem, with the unbeatable 120 dB dynamic range on offer from the dual-headphone outputs.　

32-bit / 192 kHz / Unrivalled Analogue and Digital Performance

8 x SSL-designed Mic/line inputs:

SSL 18 features eight high-performance SSL-designed mic pre’s, with switchable Mic/Line configuration. Leveraging our renowned engineering expertise, they deliver ultra-low noise recordings and a huge dynamic range, making sure you capture every detail of the performance with stunning accuracy. Their advanced 2-stage circuitry ensures ultra-low distortion while maintaining the natural character of the source – or flip them into Legacy 4K Mode to add real analogue saturation and the iconic 4000 series sound to vocals, drums, and more. Located on the front of the unit, inputs 1 & 2 also offer instrument/Hi-Z inputs to capture DI’d guitars and vintage synths/drum machines.

120 dB Dynamic Range / -130.5 dBu EIN / Legacy 4K Analogue Enhancement

10 x line-outputs:

SSL 18 comes equipped with ten balanced line-level outputs located on the rear of the unit. To ensure optimal signal integrity and maximise headroom, line outputs 1&2 and 3&4 can be configured between +9 and +24 dBu. This ensures seamless compatibility with a wide range of studio monitors and vintage equipment operating at lower levels. Outputs 3 to 10 operate at +24 dBu, perfect for integrating professional outboard equipment. For producers, all outputs are DC-coupled and capable of sending control voltage to synthesizers and modular rigs.

125 dB Dynamic Range / +24 dBu operating levels / Main & Alt Speaker Switching / DC-Coupled Outputs

Dual High-Performance Headphone Outputs:

Custom headphone mixes with two independent headphone outputs, configurable for different types with 'Standard,' 'High Sensitivity,' and 'High Impedance' settings. SSL 18's headphone outputs can also be repurposed as line-level outputs for added flexibility.

120dB Dynamic Range / Dual independent outputs / Configurable headphone modes

4K Legacy analogue enhancement:

The SSL 4000 series consoles (often referred to as ‘4K’) are renowned for imparting a unique ‘mojo’ to sounds and instruments that pass through them. This mojo comes from multiple stages of harmonic distortion from compressor VCAs, VCA faders, and other crucial components such as the transistor mix amps. Using modern components, SSL has developed a circuit that distils the two essential characteristics of the 4K sound into a single design. Legacy 4K Analogue Enhancement injects a controlled amount of finely tuned, sweet-sounding harmonic distortion and a ‘forward’ yet musical high-frequency EQ boost into the signal path, giving your sound the 4K mojo and presence that artists and engineers have loved for decades.

Real Analogue Saturation / Musical High-Frequency Boost / Immortal 4K sound

Complete digital I/O:

A host of digital audio connections means that SSL 18 is ready to expand your I/O count whenever you are, with an additional 16 channels via ADAT and a further two via S/PDIF.　 SSL 18’s dedicated Word clock output provides rock-solid clocking for integrating external digital devices into your system

16 Channels of ADAT I/O + 2 Channels S/PDIF I/O / Word clock output

Monitor Controller + Talkback w/Listen Mic Compressor:

SSL 18 features a full monitor controller section with built-in talkback input. Line outputs 1&2 and 3&4 offer alternative speaker switching with Alt, Talk and Cut accessible via the monitor controls located on the front panel. Alternatively, customise the monitor controls via SSL 360 and tailor them to your workflow. Switch the talkback input into LINE mode and re-process audio through the classic Listen Mic Compressor, perfect for crushing drums, parallel vocals, and more.

Configurable monitoring section / Alt monitor switching / Talkback input with Mic or Line mode + Legendary LMC analogue compressor

SSL 18 mixer, powered by SSL 360:

The SSL 18 mixer offers comprehensive management of all inputs and outputs, as well as detailed, scalable input metering in the 360 Software. Create and manage the control room monitor mix. Configure a further four monitor mixes for performers. In addition, a flexible Mirror Routing system allows you to route any input or aux master directly to an output – perfect for feeding personal monitoring systems, external metering and outboard FX. Create different templates for tracking, mixing and more, then save them as a profile in the SSL 18 mixer.

SSL Production Pack:

SSL has been helping world-class artists, producers and engineers make great music and audio for decades. They know it’s crucial to have the right tools for the job, so SSL has partnered with some of the industry's key brands to offer you the SSL Production Pack, bundled free with registered SSL 18 audio interfaces. Featuring a selection of must-have virtual instruments, plug-ins, samples and DAW, fuel your creativity and bring your productions to life with the SSL Production Pack (worth over $1400).

CA Complete Access 6 Month Trial Included with SSL 18

As an eligible SSL interface owner, claim 6 months FREE Complete Access subscription. Featuring every plug-in from Solid State Logic, Slate Digital and Harrison Audio, Complete Access gives you all of the software tools you need to make your next hit.

Key features:

26-in/28-out USB-C audio interface for Mac and Windows.　

• 8 microphone/line-level inputs.　

• 4K analogue enhancement, Polarity Invert, High-Pass Filters and 48V Phantom Power per channel.　

• Configurable analogue insert points for　inputs 1 and 2, great for tracking with analogue gear

• Inputs 1 and 2 are switchable to instrument-level.

• Line inputs bypass preamp – perfect for integrating external preamps.　

• 10 balanced line outputs.　

• Alternative speaker switching.

• +9 dBu /+24 dBu output level configuration options for pairs 1&2 and 3&4 to best match your monitors.　

• DC-coupled outputs are capable of sending control voltages to synthesisers and modular rigs.　

• 2 independent, powerful headphone outputs with dedicated level controls.　　

• 3 mode options to suit different headphone impedances – Standard, High Sensitivity, High Impedance.　

• Create custom headphone mixes.　

• Re-purpose as line outputs.　

• Dedicated Talkback input with Listen Mic Compressor (LMC).　

• Talkback input can also be used in LINE mode for the creative processing of stems through the LMC when producing and mixing.

• +24 dBu operating level for inputs and outputs – perfect for integrating professional outboard gear as hardware inserts.　

• 16 channels of ADAT I/O at 44.1/48 kHz, 8 channels at 96 kHz.　

• 2 channels of S/PDIF (coaxial or optical).　

• MIDI I/O on 3.5 mm TRS jacks.　

• Flexible clocking options – internal (clock signal available on Word clock output), or clock from incoming ADAT or S/PDIF.　

• Next-generation 32-bit/192 kHz converters.　Class-leading audio performance in every area:

• Best-in-class low-noise microphone preamps with outstanding –130.5 dBu EIN and 67 dB gain range for working with any microphone.

• Best-in-class 120 dB dynamic range across all inputs & headphone outputs.

• Best-in-class 125 dB dynamic range on monitor and line outputs.

• SSL 18 Low-Latency Mixer powered by SSL 360.　

• Comprehensive management of all inputs and outputs onto the SSL 18 low-latency mixer.　

• Create the control room mix, plus an additional 4 custom monitor mixes with ease – HP A (stereo), HP B (stereo), LINE 3-4 (stereo or dual mono).

• Flexible Mirror Routing system to route any input or aux master directly to an output – perfect for feeding personal monitoring systems, external metering and outboard FX.　　

• Customise the monitoring section front panel buttons to suit your workflow.　

• Save/Load SSL 18 Mixer profiles for various workflows – e.g. create tracking templates, mixing templates etc.

• Stereo Loopback with selectable loopback source.　

• SSL Production Pack Software included – worth over $1400.　

ALPHA 8

High-performance 8 x 8 AD/DA converter with Analogue, ADAT, S/PDIF and USB I/O

The ultimate audio interface expander

Building on the acclaimed Alpha Link range, ALPHA 8 is an 8-in/8-out professional-grade analogue to digital, digital to analogue converter, perfect for expanding your audio interface via ADAT and S/PDIF. Alternatively, you can configure ALPHA 8 to address all analogue and digital I/O simultaneously via USB, giving you an 18-in/18-out audio interface. Featuring class-leading conversion, flexible routing, and impeccable audio performance, ALPHA 8 unlocks the full potential of your setup.

The compromise is over

Using next-generation 32-bit/192 kHz converters, ALPHA 8 brings SSL-grade audio performance to your studio. With huge dynamic range, stunningly low THD+N and crosstalk, and exceptionally low noise floor, ALPHA 8 delivers line-level heaven for your analogue outboard processing, samplers, synths and drum machines. The compromise is over – capture your sound with the quality it deserves.

Input Dynamic Range: 120 dB, Output Dynamic Range: 123 dB

Input THD+N: -110 dB, Output THD+N –108 dB

Analogue agility and digital dominance

ALPHA 8 is capable of many different routing configurations to suit your specific needs, making sure you can get the most out of all the digital and analogue I/O it offers. Whether you need a simple bidirectional Analogue <> ADAT/SPDIF converter, an aggregate 18-in/18-out USB audio interface, or a mixture of the two, ALPHA 8 provides flexible routing options for its analogue and digital I/O.

The great connector

The operating level of each analogue input and output can be individually adjusted to +9, +18, +20 or +24 dBu operating levels, ensuring optimal signal integrity and maximising headroom for devices connected to ALPHA 8. Whether it’s 19" rack gear, analogue mixers, 500-series modules, or monitor controllers, ALPHA 8 ensures every connection to your equipment is fully optimised.

On the digital side, Word Clock in and out, ADAT, and S/PDIF clocking options ensure ALPHA 8 provides outstanding digital audio handling, guaranteeing jitter-free, rock-solid integration in your studio environment whilst elevating the performance of your creative space.

SSL 18 + ALPHA 8

While ALPHA 8 is the ultimate audio interface expander for producers and engineers looking to bring SSL sound and quality to their existing set-up, ALPHA 8 is also the perfect companion to SSL 18. Instantly expand SSL 18’s I/O via ADAT adding 8 channels (1 x ALPHA 8) or 16 channels (2 x ALPHA 8s). Perfect for effortlessly integrating additional analogue outboard processing, analogue mixers and more.

Expand your workflow

ALPHA 8’s flexible analogue and digital routing unlocks a multitude of workflow possibilities. Create hardware insert paths for 500 Series modules, outboard EQs, compressors, or hardware FX. Use the S/PDIF I/O for integrating external metering or amp simulators. Alternatively, make Alpha 8 your primary interface, seamlessly connecting analogue and digital devices to your DAW via USB-C. For electronic music producers, ALPHA 8’s outputs are capable of outputting Control Voltage to control synthesisers, modular rigs and CV-enabled FX pedals.

SSL Production Pack:

SSL has been helping world-class artists, producers and engineers make great music and audio for decades. They know it’s crucial to have the right tools for the job, so SSL has partnered with some of the industry's key brands to offer you the SSL Production Pack, bundled free with registered ALPHA 8 audio interfaces. Featuring a selection of must-have virtual instruments, plug-ins, samples and DAW, fuel your creativity and bring your productions to life with the SSL Production Pack (worth over $1100).

CA Complete Access 6 Month Trial Included with ALPHA 8 　

As an eligible SSL interface owner, claim 6 months FREE Complete Access subscription. Featuring every plug-in from Solid State Logic, Slate Digital and Harrison Audio, Complete Access gives you all of the software tools you need to make your next hit.

Key Features:

• The ultimate audio interface expander and the perfect partner for SSL 18.

• High performance, next-generation 32-bit / 192 kHz conversion.

• Class-leading dynamic range, THD+N and crosstalk audio performance.

• 8 balanced line inputs and outputs.

• Up to 8 channels of analogue to ADAT and ADAT to analogue conversion.

• Configurable operating levels for each input and output to best match your external equipment: +24/+20/+18/+9 dBu.

• DC-coupled outputs are perfect for sending control voltages to synthesisers and modular rigs.

• 10 digital inputs and outputs (8 channels of ADAT, 2 channels of S/PDIF).

• Up to 2 channels of analogue to S/PDIF and S/PDIF to analogue conversion.

• Up to 2 channels of S/PDIF to ADAT and ADAT to S/PDIF conversion.

• S/PDIF available on coaxial or optical connectors.

• Flexible conversion configuration.

• The physical outputs can be fed with a mixture of analogue, digital and USB audio signals, providing a great level of flexibility.

• 18-in / 18-out USB audio interface.

• Use ALPHA 8 as an aggregate USB audio interface

• Record and playback to all 8 analogue and 10 digital I/O via USB.

• High-current front panel headphone confidence check – audition any individual input or output (or stereo pair).

• Choose from 3 different settings to optimise for your headphones – Standard, High Impedance, High Sensitivity.

• Dedicated front panel input and output meters.

• Word Clock in and out & input termination switch.

• Clock internally, or from incoming ADAT, S/PDIF or Word Clock

• SSL Production Pack Software included – worth over $1400.　

High-performance 32Classic Channel strip 　

A recording legend in 19" format

The 32Classic MS is a high-performance all-analog channel strip that brings the signature Harrison sound and processing tools from our flagship 32Classic recording console to your studio. With additional hybrid workflow features and an integrated stereo mix bus for summing multiple units together, the 32Classic MS delivers the sound of legends whilst adding unique and innovative features to enhance your workflow.

Boasting the same design as the 32Classic console, 32Classic MS features premium Jensen JT-MB-CPCA transformer-coupled microphone preamp, characterful Harrison LP/HP filters with 3 dB resonant peak, and super-smooth 4-band parametric EQ. The original 3232 console was used by artists such artists such as Michael Jackson, Fleetwood Mac, Led Zeppelin, and many others to create some of the most highly regarded and timeless music ever made. Now, for the first time, that unmistakable sound is available in 19" rack format. Add a recording legend to your studio with the 32Classic MS.

Comprehensive input section:

The 32Classic MS includes a versatile input section, featuring dedicated Mic and Line XLR inputs on the rear panel. For added convenience, it also offers a front-panel input with selectable Instrument/Hi-Z and Mic options. The mic input is equipped with essential utilities such as 48V phantom power, a -20 dB pad, phase flip, and a tri-color LED meter. Both the Mic and Line inputs have independent gain controls, ensuring precise adjustments and superior performance across both inputs. Whether you're recording, producing, or mixing, the 32Classic MS provides the connectivity you need to maximize your session.

Harrison mic pre - the sound of legends:

A defining feature of classic Harrison recordings is the high-performance transformer-coupled microphone preamp. True to its heritage, the 32Classic MS mic preamp offers 70 dB of clean gain to deliver and the warm, rich tone that Harrison is famous for. Expect full low-end, open mid-range, and super-smooth natural highs, thanks to the Jensen JT-MB-CPCA transformer. The transformer’s gentle roll-off at each end of the frequency spectrum and delicate phase shift creates a remarkably sweet and musical sound, making it ideal for virtually any source material.

Characterful LP/HP Filters:

As featured in the original 3232 and the latest 32Classic console, 32Classic MS’s Low Pass and High Pass filters offer a musical 12 dB/octave slope. The High Pass Filter, ranging from 25 Hz to 3.1 kHz, includes a characterful 3 dB resonant peak, while the Low Pass Filter spans 160 Hz to 20 kHz—ideal for eliminating rumble or smoothing high frequencies. The real Harrison magic starts when used in combination with the EQ section to tighten the low end and ‘bloom’ the top end without it ever sounding harsh or brittle.

32Classic EQ:

The 32Classic MS brings the iconic 4-band parametric EQ from the 32Classic console to a 19" rack format for the first time. Originally crafted in the 1970s – an era where you had to just get it ‘right’ on the way in - its frequency bands and proportional Q design were painstakingly developed to offer both broad, musical curves and precise sculpting to get the best from any source material or recording scenario. Trusted by legendary engineers like Bruce Swedien and Roger Nichols for its power, and featured in renowned studios like The Village and Westlake Studios, LA, and LSI Studios, Nashville for its flexibility - add one of the most sought-after EQs to your toolkit.

Integrated mixbus and hybrid workflow features:

Build your Harrison recording and mixing system one channel at a time with the 32Classic MS’s integrated mixbus. Designed to enhance workflows and elevate recording and mixing capabilities, the mixbus allows outputs from multiple units to be cascaded together via rear panel ‘summing’ connectors and jumper cables. Balance signals using the Fader control and Pan them across the stereo outputs. Or engage the 0 dB Fader Bypass and record at unity gain. Perfect for hybrid workflows, mobile rigs, or tracking rooms, the 32Classic MS’s integrated mixbus delivers the iconic Harrison tone with exceptional flexibility.

Insert point:

32Classic MS unit includes a balanced Insert Point (located after the mic pre, pre-filters) for inserting other processing gear such as a compressor into the signal path of the unit.

Channel Outputs:

The 32Classic MS provides useful pre and post-fader direct outputs for better control when feeding a recording device.

32Classic MS sidecar:

Enhance your mixing and/or tracking workflow by combining multiple 32Classic MS channels for use as a "sidecar" to your existing setup. Perfect for drum or instrument buses, it adds the iconic Harrison sound to your sonic palette, delivering warmth, depth, and flexibility to any recording or mixing application.

Key features:

Flexible Input Section

• Dedicated Mic and Line XLR inputs on the rear panel.
• Selectable Instrument/Hi-Z and Mic combi-XLR input on the front panel.

Transformer Coupled Preamp

• The microphone preamplifier uses legendary Jensen JT-MB-CPCA transformer.

32 Classic Equalizer

• Harrison 4 band parametric EQ with proportional Q from 32Classic Console.
• Legendary Harrison Low Pass and High Pass filters.

Mixer Section

• Unique mixer section which allows the channel signal to feed a stereo mix bus with panning. The balanced Mix bus can be cascaded across multiple 32Channel Strip MS units.

Insert Point

• Each 32Classic MS unit includes a balanced Insert Point.

Specification:

Mic pre:

Minimum Gain – 20 dB

Maximum Gain – 70 dB

Input Impedance – 5.8K

Input Impedance Pad In – 1.3K

Maximum Input Level No Pad - +4 dBu

Maximum Input Level With Pad - +24 dBu

THD 50 dB Gain - < 0.01%

Frequency Response 20 Hz – 20 KHz +/- 0.25 dB

Ein < -129 dBu

Line level input:

Input Impedance – 10K

Line Trim - +/- 9.5 dB

Maximum Input Level - +24 dBu

THD +4dBu Line Input To Stereo Mix Output < 0.01%

Frequency Response 20 Hz – 20 KHz +/- 0.25 dB

Line level outputs:

Maximum Output Level - +24 dBu

Output Impedance – 30 Ohms

Your journey to perfect sound starts here.

Experience Sound Perfection – Ollo Audio X1 Headphones

Are you searching for headphones that deliver outstanding audio quality and world-class comfort? Look no further than the Ollo Audio X1. Designed with a perfect blend of elegance and durability, these headphones offer an unparalleled listening experience for both audiophiles and audio professionals.

Why Choose Ollo Audio X1?

🎵 Crystal-clear sound: Enjoy a balanced and natural soundstage that captures every nuance and detail – ideal for music production and critical listening.

👂 Supreme comfort: Ergonomically designed ear cushions and an adjustable headband ensure all-day comfort.

🌍 Sustainably crafted: Hand-built with high-quality, eco-friendly materials for years of reliable use.

🎧 Open-back design: Provides an airy, authentic audio experience for immersive listening.

Perfect for:

Music producers and sound engineers seeking precision in every tone.

Audiophiles looking for natural and balanced sound reproduction.

Gaming and film enthusiasts wanting a realistic, engaging audio environment.

The 32Cpre+ takes the high-performance, transformer-coupled microphone preamp from the 32Classic studio console, combines it with the renowned Harrison LP/HP filters, and delivers it in 500 Series format. Inspired by the iconic Harrison 3232, the 32Classic mixing console and preamp is an American icon reimagined, delivering the tone that helped create some of the most iconic albums of the 70s’ and 80s’. Thanks to the 32Cpre+, that Harrison sound is now available in 500 series format.

Legacy in analog

Harrison consoles have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison production tools to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time.

The Harrison tone

The 32Cpre+ delivers the warm, rich tone that Harrison is renowned for. Full low-end, open mid-range, and super-smooth, natural highs are what to expect from this Jensen JT-MB-CPCA transformer-coupled mic-pre. The gentle roll-off at each end of the frequency spectrum and delicate phase shift created by the 1:1 ratio transformer produces a mic pre that sounds so sweet you’ll use it on any source material.

Tools for tracking

The 32Cpre+ delivers +20 to +70 dB of smooth gain capable of driving a wide range of mic types, including ribbon. In addition to 180 ° Phase, 48V, -20 pad, and HiZ impedance switches, the front panel features combo XLR with ¼" jack connector that lets you plug a microphone or instrument into the 32Cpre+ directly without having to access the rear panel of the 500 Series rack.

Legendary Harrison filters

A Harrison mic pre wouldn’t be complete without our legendary filters. As found in the original 3232 and latest 32Classic console, the filters have a musical 12dB/octave slope, with the High Pass Filter featuring a characterful 3 dB resonant peak. The High Pass Filter range is 25 Hz – 3.1 KHz, and the Low Pass Filter is 160 Hz – 20 KHz.

Key features:

• The sound of Harrison.

• Jensen JT-MB-CPCA transformer-coupled mic-pre.

• +20 to +70 dB of gain.

• Front-mounted combo XLR with ¼" jack connector.

• 48V phantom power switch.

• Polarity reverse switch.

• HiZ impedance switch.

• Input overload LED.

• Compatible with 500 Series format chassis.

Originally developed for the Harrison MR3 studio console, the MR3eq stands out as one of Harrison's most popular EQ designs, renowned for its punchy, smooth sound, and powerful sculpting capabilities. Introduced in 1981, the Music Recording 3 (MR3) console rapidly became the preferred tool for numerous leading engineers and studios worldwide, helping to create some of the most iconic albums from the 70s and 80s. Like all Harrison production tools, the MR3 EQ delivers the vibe to inspire artists and the precision for engineers to excel. Thanks to the MR3eq module, the distinctive Harrison sound is now accessible in the 500 series format.

Legacy in analog

Harrison consoles have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison production tools to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time.

MR3eq design

The MR3eq is a high-performance analog EQ, crafted from decades of experience in equalizer and filter design. The circuit design of this EQ allows for precision in surgical tasks or the creation of broad musical strokes with lots of band interaction for a rich and colorful sonic character.

3-band parametric with HPF

This powerful three-band parametric equalizer features Low and High-frequency 6 dB/octave Shelf bands, which can be switched to a 2^nd order Bell response with Harrison’s renowned proportional Q. The Mid-band offers a continuously variable Q, while a separate High Pass Filter section includes a distinctive 3 dB resonant peak. The MR3eq’s flexible design and powerful sculpting capabilities make it a versatile tool that enhances a wide array of source materials, proving equally effective in both tracking and mixdown scenarios.　

Key features:

• The Harrison sound.

• Perfect for both precision EQ’ing and broad musical strokes.

• Three-band parametric EQ with +/- 10 dB boost/cut range.

• High-frequency (800 Hz –15 kHz) 6 dB/octave Shelf band, switchable to 2^nd order bell.

• Low-frequency (40 Hz – 800 Hz) 6 dB/octave Shelf band, switchable to 2^nd order bell.

• Mid-band (400 Hz – 8 kHz) with continuously variable, proportional Q.

• Separate High Pass Filter with characterful 2 dB resonant peak.

• Separate ‘In’ switches for EQ and HPF sections.

• Input overload LED

• Compatible with 500 Series format chassis.

Harrison D510dante AoIP interface

Audio over IP connectivity for live sound and studio

Built around 10 in/14 out, high-performance A/D & D/A converters for pristine audio quality, the D510dante card brings the power of Dante AoIP to your Harrison 500 rack. Easily integrate 500 Series processing into your mix bus, subgroups, or channel inserts on a Dante-compatible live sound console. In a hybrid studio setup, take full advantage of Dante’s flexible routing matrix to send and receive audio seamlessly across your modules.

D510dante specifications:

General

• 10 Inputs / 14 Outputs

ADC

• THD+N, 1kHz 24dBu: < 0.0008%
• Noise A-Weighted: < -95 dBu
• Frequency Response: 20 Hz – 20 KHz +/- 0.25 dB

DAC

• THD+N, 1kHz 18dBu: < 0.006%
• Noise A-Weighted: < -85 dBu
• Frequency Response: 20 Hz – 20 KHz +/- 0.25 dB
• 0 dBFS = +24dBu D/A channels 1- 10
• 0 dBFS = +18dBu D/A channels 11-14

Connectors

• 2 x RJ45 Network Ports (Primary and Secondary)
• BNC TTL Wordclock

Latency

• DA + AD <> Dante - 48kHz and 96kHz = 43.2 samples (0.9ms@48kHz, 0.45ms@96kHz)