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

Watch introductory video below

https://www.youtube.com/watch?v=1J6jLibDjrE

B.Beat

The perfect device to optimize and simplify live performances of bands that use stereo or multitrack sequences, even with video and images. With B.Beat on stage you no longer need computers, tablets, audio/video cards, cables, mixers: B.Beat manages the sequences and leaves the pleasure of playing, without worries.

B.Beat supports Mp3, Wav, Stems, MTA1 and audio projects with up to 16 mono or 8 stereo tracks. It also reads videos and JPGs in sync with the music. It comes with a digital mixer with 6 outputs for separate tracks. It has two inputs to receive, for example, a return from the mixer, and with 4 potentiometers the musician can independently balance the headphone listening. B.Beat detects the Click track and plays it both on the dedicated output and on the headphones.

The Backing Tracks repertoire, Playlists and Shows are created with the included App that runs on PC Windows or MacOS. With the same App you can setup Audio outputs, you can get a Click track and much more. Projects can include Music, Video/images, Midi tracks (especially for control change, program change and Sys Ex), Sheet music, Lyrics and chords (for Tablet or Smartphone with Prompter App).

B.Beat connects via Wireless to Smart devices to read lyrics, music scores and other useful information during a live performance. B.Beat reads memory sticks for fast transfer of Mp3 Stereo Backing Tracks, with or without Click. It has an internal memory from 32Gb to 128 Gb. B.Beat has a power supply but can work for several hours with a power bank with these features: 10000mAh/2.4A about 6 hours.

DATA SHEET

Compatible audio formats during import

(they will be converted in internal format)

● WAV 44.1 kHz, 48 kHz, 96 kHz 16/24 bit 

● MP3 fixed bit rate [64 - 320] kbps

● MP3 VBR

● OGG fixed bit rate [64 - 320] kbps

● AAC

● STEMS

● MTA M-Live

Internal Video format

H-264 HD / Full HD (1280 x 720 / 1920 x 1080)

Compatible Video format during import

(the only video part will be converted)

● MP4 

● MOV

● AVI

Compatible image formats

●JPG

●PNG

Internal audio digital processing

●8 channels D/A 24 Bit Sigma/Delta 48 kHz. 

●Typical S/N = 112 dB

Display

●2.4” OLED, 128x64, Monochrome

Output Audio

●6 Audio output Jack 6.5 mm mono, balanced

Headphone out

●1 Stereo output Jack 6.5 mm

Input Audio

●2 input Line mono L/R, Only-Left/Stereo

Internal Storage

● 32 GB to 128 GB Internal storage

Network interface

●Ethernet RJ45 10/100/1000 Mbps

MIDI Port

●Mini Jack 3.5 mm Cable Type-B Pedal

●Switch Pedal N/O o N/C

Power supply

●USB-C 5.1VDC, 3A, consumption 1700mA. 

●Autonomy with a PowerBank 10000mAh / 2.4A battery about 6 hours

Elevated performance for your collaborative productions

There are very few companies in the history of music and audio production that have been more influential, helped create more hit records and developed more technology that changed the production game than Solid State Logic. With the SSL 2+ MKII, you’re not just getting an audio interface; you’re investing in a piece of SSL’s knowledge, heritage, and complete understanding of what matters in music production.  

The original SSL 2+ interface raised the bar by delivering a level of performance never seen before in its class. SSL 2+ MK II builds upon the success of its predecessor, with a series of significant enhancements and carefully curated feature additions.  

Designed for musicians, producers and engineers who demand the highest standards in sound quality, SSL 2+ MK II provides unmatched audio performance and a user-friendly design that caters for both those starting their creative journey and seasoned professionals. Fuel your creativity with SSL 2+ MKII.  

Key features:o Interface

- 2-in/4-out USB-C audio interface.

- Next-Gen 32-bit 192 kHz converters.

- 2 x SSL microphone preamps w/ Dedicated High Pass Filter, Line-input, and 48V phantom power.

- 2 x Auto-detect instrument (DI) inputs.

- 2 x Independent professional headphone outputs.

- Legacy 4K Analogue Enhancement Circuit.

- 4 x Professional balanced TRS outputs.

- DC-coupled outputs are suitable for sending CV (control voltages) to synths.

- Stereo loopback feature.

- SSL Production Pack software bundle worth over $1100

- Robust design, using quality components.

- USB 2.0 bus-powered, portable interface for Mac/PC.

Specifications:

System Requirements and Specs
Mac OS 10.11 and above | Class-Compliant, Plug-and-play, Windows 10, Windows 11 Install included ASIO/WDM driver

Connectivity
USB 2.0 Type C Connector (Box includes Type C to C and Type C to A)

Mic Preamps
-130.5 dBu EIN
Gain range 64 dB
Dynamic range 116.5 dB

Instrument Inputs
Dynamic Range: 116 dB
Max Instrument Input Level: +15 dBu

Line Inputs
Dynamic Range: 117 dB
Max Line Input Level: +24 dBu

Balanced Outputs 
Dynamic Range: 120 dB 
Max Output Level: +14.5 dBu

Headphone Outputs
Dynamic Range: 119.5 dB
Max Output: +13 dBu

Elevated performance to fuel your creativity

The original SSL 2 interface raised the bar by delivering a level of performance never seen before in its class. SSL 2 MK II builds upon the success of its predecessor, with a series of significant enhancements and carefully curated feature additions.

Designed for musicians, producers and engineers who demand the highest standards in sound quality, SSL 2 MK II provides unmatched audio performance and a user-friendly design that caters for both those starting their creative journey and seasoned professionals. Fuel your creativity with SSL 2 MKII.

Key Features:USB-C Audio Interface

- 2-in/2-out USB-C audio interface.

- Next-Gen 32-bit 192 kHz converters.

- 2 x SSL microphone preamps w/ Dedicated High Pass Filter, Line-input, and 48V phantom power.

- 2 x Auto-detect instrument (DI) inputs.

- 2 x Professional high-current headphone outputs (same mix).

- Legacy 4K Analogue Enhancement Circuit.

- Professional balanced monitor outputs.

- DC-coupled outputs are suitable for sending CV (control voltages) to synths.

- Stereo loopback feature.

- SSL Production Pack software bundle worth over $1100

- Robust design, using quality components.

- USB 2.0 bus-powered, portable interface for Mac/PC.

Specifications:

System Requirements and Specs
Mac OS 10.11 and above (Class-Compliant), Windows 10, Windows 11 - Install included SSL ASIO/WDM driver

Connectivity
USB 2.0 Type C Connector (Box includes Type C to C and Type C to A)

Mic Preamps
-130.5 dBu EIN
Gain range 64 dB
Dynamic range 116.5 dB

Instrument Inputs
Dynamic Range: 116 dB
Max Instrument Input Level: +15 dBu

Line Inputs
Dynamic Range: 117 dB
Max Line Input Level: +24 dBu

Balanced Outputs 
Dynamic Range: 120 dB 
Max Output Level: +14.5 dBu

Headphone Outputs
Dynamic Range: 119.5 dB
Max Output: +13 dBu

2017 Shotgun Microphone

Designed to excel at the challenging requirements of the broadcast industry, the 2017 is a reliable shotgun microphone, featuring durable construction and exceptional ease of use, combined with extraordinary acoustical properties. The 2017 performs both in fixed positions, on camera systems and on booms.

Supercardioid @1 kHz

Max. SPL, THD 10% = 148 dB SPL peak

X-Light 4 is a small module that operates as a sound generator in combination with Windows PCs, Apple Mac computers and iPad/iPhone.

X-Light 4 is able to play any music file, MIDI or MP3 and Wave audio files. It’s the perfect companion to the live musician who wants to have a competitive edge with respect to internal sound cards for computers.

If you love to play MIDI files with computer softwares such as Grinta Karaoke, Winlive, Van Basco or others, X-Light 4 is the module that suits you best; that’s because of the sound library developed by M-Live which is especially calibrated to Standard MIDI files. These sounds come from the experience gained with products such as MERISH and Expander.

X-Light 4 is a very easy to use Plug & Play module: just plug the USB cable to your PC and you’re done. No need for external power supply*, and you can connect it to your professional audio system or amplified speaker set at home.

*When used with iPad or iPhone, you must connect the power supply.

INs & OUTs:

USB input for both MIDI & audio and power from Windows and Apple Mac PCs

RCA Left + Right audio ouput

headphone output

Audio Cable stereo IN from PC or other sources

SOUNDS:

256 MB sound library

848 sounds and percussions

46 drum kits

108 note polyphony MIDI generator

GENERAL SPECS:

frequency response: 20 Hz ÷ 20 kHz ± 3 dB

distortion (THD + Noise): <0,01% 20 Hz ÷ 20 kHz

Signal-to-noise ratio: -85 dB

power supply 9V-DC (for devices that need to be powered)

dimensions: 17,1 x 10,7 x 4,7 cm

weight: 0,75 kg

Watch introductory video below

https://www.youtube.com/watch?v=JqpKsd7cMwE

PLAYS BACKING TRACKS IN ANY FORMAT, INCLUDES BUILT-IN DIGITAL MIXER WITH EFFECTS AND HARMONIZER, FEATURES A DIGITAL RECORDER WITH SOUND CARD FOR PC/MAC AND MUCH MORE.

DIVO is a high-performance workstation dedicated to solo performers, or small bands. 

It is a compact device that includes all the functions necessary for a live performance with the support of Backing Tracks, both Midi and Audio.

With DIVO you don’t need a mixer, you don’t need effects and most importantly you do not need a computer because it can play any backing track. It also has a powerful expander for playing with a master keyboard.

-Internal storage 128 Gb

-Stores more than 100.000 files

-Digital Mixer, 2 mic in, 1 Line Audio in, Aux Out

-Sound card, 2 out – 2 in

-Compatible with MTA 8 tracks

LEWITT CONNECT 2, the most user-friendly audio interface.

CONNECT 2 is the most user-friendly audio interface, as it gives you everything you need to make your voice and instrument sound sensational with just a few clicks. The touch-based user interface feels great and offers intuitive controls with clear visual feedback, including mute functions for all ins and outs. Autosetup finds the perfect settings for you with the help of the integrated Clipguard, Denoiser, Compressor and three iconic preamp sounds. Give your setup a personal touch with individual LED colors and use the Custom button for workflow shortcuts. The unique combination of great usability, powerful features, and incredible specs makes CONNECT 2 the most-user friendly audio interface.

A touch-based user interface with mute for every channel.

CONNECT 2 has an intuitive user interface that offers touch-based capacitive controls for smooth level adjustments and precise visual metering. With the touch wheel in the center, you can control the microphone and instrument input, headphones, and monitor levels. Each input and output can be muted directly on the device. The Autogain feature delivers perfect gain settings after a quick soundcheck. You can adjust the input/playback signal at any ratio for zero-latency monitoring. The Custom button lets you assign one of many workflow shortcuts like quickly switching from a recording to a monitoring scenario or bringing up the CONTROL CENTER with a single push.

Sensational sound with just a few clicks.

CONNECT 2 delivers pristine sound quality and offers powerful yet easy-to-use tools that help you get sensational sound with just a few clicks. It has 72 dB of gain to work with every microphone without a signal booster. Run Autosetup and CONNECT 2 will guide you through a process to find your perfect settings and sound. To refine your sound, CONNECT 2 offers three iconic preamp sounds – Clear for perfect clarity, Warm for a vintage vibe, and Vivid for extra articulation. The Clipguard protects your signal from distorting, the Denoiser analyses your signal and gets rid of background noise, while the Compressor adds power and punch to your voice, just like your favorite record. What they all have in common is the combination of simplicity and sensational sound – one click is enough. This set of sound-shaping tools is fantastic for music, podcast, and streaming applications. As they run directly on the powerful signal processor (DSP) of CONNECT 2, you'll experience zero latency.

The Reamp® HP takes the signal from a headphone output jack on an audio interface or a mobile device and converts it to feed mono guitar amps and effects pedals for Reamping.

• Play prerecorded tracks through amps and pedals
• Easily Reamp® from any interface or playback device
• 1/4″ and 3.5mm inputs connect to a headphone output jackTransformer isolated for low-noise recordings

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.

SHIPPING EARLY JUNE 2024

The Nuance Select is a studio monitor controller designed so you can hear every single detail through your speakers, with a distortion profile so low that it cannot be measured by most audio testing equipment. 

• Silently switch between two sets of monitors & a subwoofer
• Dual stereo input sources with an assignable Aux output
• Two independent headphone amplifiers with source selection
• Ultra low distortion for complete transparency

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.

The story behind Harrison and compression

In the realm of audio engineering, Dave Harrison, the founder of Harrison Audio, stands out as a pioneer in the development of music production technology. Ironically, Dave Harrison himself was initially skeptical about compressors, a sentiment shared by his friend and legendary music producer and engineer, Bruce Swedien. Both held the belief that music should be captured authentically, without interference. However, the requirement for a compressor arose from the broadcast market's demands, seeking a tool to control dynamics and prevent clipping. To meet this demand, Harrison Audio ventured into the realm of compressors, with the result proving extremely effective. Its transparent 'leveling' capabilities, achieved with just a few dBs of gain reduction, quickly made it indispensable in music production for delicately smoothing signals, particularly on vocals, guitars, and other instruments with wide dynamic range. Over time, this compressor's ability to 'dig in' became apparent, transforming it into a sought-after vibe compressor when higher levels of gain reduction were applied. Dave Harrison's initial skepticism gave birth to a tool that not only met the broadcast market’s demands but also became relied on in the world of music production. Thanks to the Comp module, the distinctive Harrison sound is now accessible in the 500 Series format.

Legacy in analog

Harrison production tools 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 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.

Comp design

The Comp 500 Series module is based on a classic ‘feed-forward’ design, using a THAT 2180 VCA chip for outstanding analog performance. The compressor’s Attack is program-dependent, adapting to the input signal and offering an optimal Attack time depending on the source material. The Release time is continuously variable. These parameters can turn the Comp module from a transparent leveler to a highly saturated, vibe compressor, adding character and excitement to a wide range of sources.

Harrison's secret sauce – put it on everything

The Comp module is a very flexible dynamics processor. From a transparent ‘leveler’ on guitars and vocals, using a 1:2 ratio and fast release, applying 2-3 dB of gain reduction. To a sizzling vibe compressor on drums and bass, slamming the ratio in combination with a slow release. The Comp 500 Series module is a well-crafted, no-nonsense compressor that is your secret production ‘sauce’ – you’ll put it on everything.

Key features:

• The Harrison sound.

• Extremely flexible compressor; from transparent ‘leveler’ to ‘character’ comp.

• Classic feed-froward design.

• THAT 2180 VCA chip for outstanding analog performance.

• Program-dependant ‘Attack’ time.

• Continually variable Release time from ‘Fast’ to ‘Slow’.

• Input overload LED.

• Compatible with 500 Series format chassis.

CALIBRATED MONITORING FOR ATMOS, SONY360, AURO 3D, UNREAL ETC.

Reference class, open back, dynamic headphones with flat frequency response for binaural/immersive mixing and USC calibration, made in the EU.

SPEAKER

• Hand-picked and left / right matched transducers delivering accuracy and instrument separation. (+/-1dB SPL tolerance, pink noise, range 100Hz-10kHz in the free field*)
• 50 mm, PET 25u membrane, 2 layered coil, 50 ohms,
• Dynamic Neodymium speaker with 108dBSPL @ 0 dBu RMS 1KHz 30ohm output that makes them work with smart devices too.
• Replaceable using home tools.

ACOUSTICS

• Replaceable earpads with outer diameter of 95 mm(3.75inch), an inner diameter of 57.5mm(2.25inch) and depth of 20mm(0.8inch), +/-2.55mm.
• Perforated hybrid artificial leather and velour earpads to control flow resistance around the earpads seal resulting in smoother response through all frequency bands and improved heat dispersion.
• 1kHz @ 85dBSPL sweep THD < 0.074%, Variation in frequency response in band from 20Hz to 20kHz ~12 dB SPL* pink noise.
• Front-to-back air pressure equalization controlled with Saati flow resistor 3.2Ohms(²)/1cm²
• The ex-centric and angled speaker in a conical radiation chassis with an optimal sound stage for the spatialization of objects in the binaural renderer
• Frequency response tuned for translation of immersive mix between binaural and speaker setup

HEADBAND

• Artificial leather strap
• Clamping force set for target frequency response on industry-standard bitragional diameter of 14.3cm (KEMAR)
• Stainless spring steel with powder coating
• 360 earcups rotation with sliders for head size adjustments
• Strap and steel headband are replaceable using home tools

CABLE

• Detachable braided silicone cable employing OFC core to ensure minimal signal distortion.
• Colour labelled L and R jacks (Left is Black)
• Ball-locking mechanics on the embedded 2.5mm jack plug
• Screw-on adapter from 3.5mm to 6.3mm jacks (1/8 to 1/4 inch)

CALIBRATION PLUGIN USC
Unit Specific Calibration plugin included. AU and VST3. Upgrading with the Waves NX room modelling and head tracking available.

WARRANTY
5 years limited warranty (Earpads and cable are excluded due to the nature of exposure)

FLAT OUT OF THE BOX...

...is the phrase reviewers coined for the S4X. Their neutral and honest sound signature was perfected in close R&D collaboration with professional mixing and mastering engineers. The new 1.3 version now includes USC calibration to push that even further.

Studio reference class, open back, dynamic headphones with flat frequency response and USC calibration, made in the EU.

SPEAKER

• Hand-picked and left / right matched transducers delivering accuracy and instrument separation. (+/-1dB SPL tolerance, pink noise, range 100Hz-10kHz in free field)
• 50 mm, PET 25u membrane, 2-layered coil, 32 ohms,
• Dynamic Neodymium speaker with 109dBSPL (S4X) / 111dBSPL (S4R) 1Vrms@1KHz 30ohm output that makes them work with smart devices too.
• Replaceable using home tools.


ACOUSTICS

• Replaceable earpads with an outer diameter of 90 mm(3.5inch), an inner diameter of 55mm(2.2inch) and a depth of 20mm(0.8inch).
• Hybrid artificial leather and velour earpads to control flow resistance around the earpads seal resulting in smoother response in low mids and mids (150Hz-1kHz) perceived as natural timbre on vocals, pianos, strings,...
• 1kHz @ 85dBSPL sweep THD < 0.084%S4X / 0.079%S4R , Variation in frequency response in band from 20Hz to 20kHz ~13,7 dB SPL S4X / 10,0dB SPL S4R, pink noise IEC 60318-1 compatible standard.
• Fully separated front and back of the speaker for minimal phase cancellation and a more direct sound signature. SoundSeal™

HEADBAND

• Self-adjusting artificial leather strap
• Clamping force set for most neutral frequency response on industry-standard bitragional diameter of 14.3cm (KEMAR)
• Stainless spring steel powder coated
• 360 earcups rotation
• Strap and steel are replaceable using home tools


CABLE

• Detachable braided silicone cable employing OFC core to ensure minimal signal distortion.
• Colour labelled L and R (Left is Black)
• Reversible to have the cable coming down behind your back when playing an instrument or in front when producing with a desktop interface.

CALIBRATION PLUGIN USC
Unit Specific Calibration plugin included. AU and VST3. Upgrading with the Waves NX room modelling and head tracking available.

WARRANTY
5 years limited warranty (Earpads and cable are excluded due to the nature of exposure)

HEAR YOUR PERFORMANCE AS IT IS

Your recording headphones are the first touch with your performance. All the details must be preserved and nothing should be exaggerated. That's what the S4R are all about. Now further improved with USC calibration in 1.3 version.

Studio recording class closed-back, dynamic headphones with enhanced clarity and USC calibration, made in the EU.

CALIBRATION PLUGIN USC
Unit Specific Calibration plugin included. AU and VST3. Upgrading with the Waves NX room modelling and head tracking available.

SPEAKER

• Hand-picked and left / right matched transducers delivering accuracy and instrument separation. (+/-1dB SPL tolerance, pink noise, range 100Hz-10kHz in free field)
• 50 mm, PET 25u membrane, 2-layered coil, 32 ohms,
• Dynamic Neodymium speaker with 109dBSPL (S4X) / 111dBSPL (S4R) 1Vrms@1KHz 30ohm output that makes them work with smart devices too.
• Replaceable using home tools.

ACOUSTICS

• Replaceable earpads with an outer diameter of 90 mm(3.5inch), an inner diameter of 55mm(2.2inch) and a depth of 20mm(0.8inch).
• Hybrid artificial leather and velour earpads to control flow resistance around the earpads seal resulting in smoother response in low mids and mids (150Hz-1kHz) perceived as natural timbre on vocals, pianos, strings,...
• 1kHz @ 85dBSPL sweep THD < 0.084%S4X / 0.079%S4R , Variation in frequency response in band from 20Hz to 20kHz ~13,7 dB SPL S4X / 10,0dB SPL S4R, pink noise IEC 60318-1 compatible standard.
• Fully separated front and back of the speaker for minimal phase cancellation and a more direct sound signature. SoundSeal™

HEADBAND

• Self-adjusting artificial leather strap
• Clamping force set for most neutral frequency response on industry-standard bitragional diameter of 14.3cm (KEMAR)
• Stainless spring steel powder coated
• 360 earcups rotation
• Strap and steel are replaceable using home tools

CABLE

• Detachable braided silicone cable employing OFC core to ensure minimal signal distortion.
• Colour labelled L and R (Left is Black)
• Reversible to have the cable coming down behind your back when playing an instrument or in front when producing with a desktop interface.

WARRANTY
5 years limited warranty (Earpads and cable are excluded due to the nature of exposure)

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

PURE DRIVE Pre's harnesses the renowned microphone preamp technology from Solid State Logic's ORIGIN console, introduces a new DRIVE mode and connectivity, and makes them available in 2U rackmount unit.

PURE DRIVE OCTO harnesses the renowned SuperAnalogue PureDrive™ microphone preamp technology originally featured in Solid State Logic's ORIGIN console, introduces a new DRIVE mode and connectivity, and makes it available in an 8-channel 2U rackmount unit.

SSL's contemporary-classic recording console, ORIGIN, introduced the PureDrive™ microphone preamplifier. This innovative preamp retains the clarity and punch of previous SSL designs while offering the added versatility of switching its character to a warm, harmonically rich, and driven tone that varies with gain. ORIGIN, along with the PureDrive™ microphone preamp, has made its mark in the world's premier studios. Whether it's capturing the delicate nuances of a piano concerto in PURE mode or imparting warmth on a drum recording when set to DRIVE, the PureDrive™ microphone preamp has become an essential tool in some of the most prestigious studios and recording facilities due to its flexibility and superb sonic signature.

PURE DRIVE OCTO continues the legacy into rack format, delivering eight microphone preamps with ORIGIN’s renowned PURE and DRIVE modes, but takes it further, adding a new ‘Asymmetric’ DRIVE, advanced digital connectivity, and an onboard USB interface. PURE DRIVE OCTO offers four mic preamp input impedance options, enabling engineers to explore various tonal possibilities or match the mic pre's impedance closely to the microphone. Additionally, each mic pre includes independent +48V phantom power, polarity inversion, and a High Pass Filter. PURE DRIVE OCTO stands as one of the most capable and feature-rich outboard microphone preamplifiers available, introducing a host of new sonic possibilities and workflows for the discerning producer and recording engineer.

3 DRIVE Flavours, 1 Mic Pre

PURE DRIVE OCTO is a testament to SSL's commitment to progressive analogue circuit design. No electro-mechanical components (potentiometers, mechanical switches, relays etc) are used in the critical audio signal path of PURE DRIVE OCTO, increasing product longevity, and allowing impeccable ‘matching’ between all channels – not just a stereo pair. The use of digitally controlled analogue circuits, controlled by detented pots and electronic switches simplifies recall and precision of settings.

Each of PURE DRIVE OCTO’s mic pre’s can be independently switched between three distinct DRIVE modes: Clean, Classic Drive, and Asymmetric Drive.

Clean mode delivers the highly regarded, ultra-low noise floor, linear SSL preamp that is recognised for its ability to faithfully capture the sound of the source with exceptional clarity and detail.

Classic Drive is the symmetrical mode that generates predominantly odd harmonics; the same drive sound found on the ORIGIN console.

Asymmetric Drive offers up a new colouration option, specifically designed for the PURE DRIVE range, making the even harmonic content dominant and providing more pronounced thickness, colouration and softening of transients.

Advanced Connectivity

PURE DRIVE OCTO's advanced connectivity opens a world of recording possibilities. Its comprehensive selection of analogue and digital I/O offers microphone preamps with exceptional performance and flexibility, whether you're tracking a band in a world-class studio or adding warmth to stems in a production scenario. It's also ideal for project studios and on-location sessions where quality cannot be compromised, thanks to its integrated USB sound card.

PURE DRIVE OCTO features eight rear-mounted combo XLR inputs, four front-panel Hi-Z/DI instrument inputs with automatic input detection, and three sets of D-sub connectors for line-level inputs, as well as insert send and insert return. PURE DRIVE OCTO’s insert returns/ADC inputs operate up to full +24 dBu line-level, for interfacing with other professional equipment.

PURE DRIVE OCTO's versatile digital connectivity features an integrated USB soundcard providing eight channels of audio into your DAW up to 32-Bit/192 kHz. Four AES/EBU output pairs, and ADAT out, offering eight channels at 24-bit/48 kHz, or up to four channels at 24-bit/192 kHz via SMUX. The AES and ADAT outputs can even be individually repurposed to be fed from the onboard USB soundcard as outputs from your DAW. Finally, there's an auto-ranging word clock input and output for robust digital clocking.

Specs:

• 8 channel high-performance PureDrive™ mic preamps　

• +48V phantom power, polarity invert and 3rd order hi-pass filter

• Stepped Gain control up to +65 dB Gain　

• 31-step Trim control, with precise 1 dB increments – overdrive the signal with the Gain control and then reduce to a suitable level using Trim.　

• 3 modes for each preamp – Clean, Classic Drive and Asymmetric Drive　

• Mic/Line Input Switching　

• Mic via XLR　　

• Line via choice of TRS Jack or dedicated D-Sub connectivity　

• 4 x front panel Hi-Z/DI Instrument unbalanced inputs with automatic input detection　

• 4 mic preamp input impedance options – explore new tonal possibilities from your dynamic and ribbon microphones　

• Balanced analogue outputs/insert sends for external processing　

• +24 dBu professional line level insert returns/ADC inputs　

• Analogue to digital connectivity via ADAT, AES and USB

• Ability to switch ADAT and AES connections to source audio from DAW outputs (USB) instead of the A/D converter　

• USB soundcard mode　

• OCTO – 8 in / 24 out (@44.1/48 kHz)　

• 　8 x analogue / 8 AES + 16 ADAT outs　

• Stepped pots and digitally controlled analogue electronics for precision, stereo matching and ease of recall　

• Up to 192 kHz and 32-bit conversion, professional I/O levels (+24 dBu = 0 dBFS).　

• Selectable Auto-Sleep mode　

• Auto-ranging Wordclock In and Out　

SSL 2 Recording Pack.

This bundle contain an SSL 2 Audio interface, Studio headphones, Large diaphragm condenser microphone for recording and microphone cable in one pack. Upgrade your recordings to next level with SSL Recording Bundle.

SHP-20 Headphones Specifications:

• Operating Principle: Closed
• Fashion: Supra-aural
• Transducer Type: Dynamic
• Driver: 50mm
• Impedance: 32
• Sensitivity: 98 3dB
• Frequency Response: 15Hz-25kHz
• Max. Power: 1200mW
• Rating Power: 300mW
• Cable: 3m (straight)
• Plug: 3.5mm + 6.3mm

SMC-80 Microphone Sprecifications:

• Element: 25mm condenser capsule
• Polar Pattern: Cardioid
• Frequency Response: 20Hz-20kHz
• Sensitivity: -36dB±2dB (0dB=1V/Pa at 1kHz)
• Output Impedance: 200±30% (at 1kHz)
• Load Impedance: ≥1000Ω
• Self Noise: 16dB A
• Max. Input SPL: 136dB (at 1kHz≤1% T.H.D)
• S/N Ratio: 78dB
• Phantom Power Requirement: 48V DC Phantom Power
• Weight:340g
• Dimensions:55x38x165mm

SSL 2+ Recording Pack.

This bundle contain an SSL 2+ Audio interface, Studio headphones, Large diaphragm condenser microphone for recording and microphone cable in one pack. Upgrade your recordings to next level with SSL Recording Bundle.

SHP-20 Headphones Specifications:

• Operating Principle: Closed
• Fashion: Supra-aural
• Transducer Type: Dynamic
• Driver: 50mm
• Impedance: 32
• Sensitivity: 98 3dB
• Frequency Response: 15Hz-25kHz
• Max. Power: 1200mW
• Rating Power: 300mW
• Cable: 3m (straight)
• Plug: 3.5mm + 6.3mm

SMC-80 Microphone Sprecifications:

• Element: 25mm condenser capsule
• Polar Pattern: Cardioid
• Frequency Response: 20Hz-20kHz
• Sensitivity: -36dB±2dB (0dB=1V/Pa at 1kHz)
• Output Impedance: 200±30% (at 1kHz)
• Load Impedance: ≥1000Ω
• Self Noise: 16dB A
• Max. Input SPL: 136dB (at 1kHz≤1% T.H.D)
• S/N Ratio: 78dB
• Phantom Power Requirement: 48V DC Phantom Power
• Weight:340g
• Dimensions:55x38x165mm

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

DPA 2012 - Great close miking on any instrument on the live stage

The 2012 Compact Cardioid Microphone is an all-around generalist pencil mic that guarantees excellent results on any instrument on a live stage.

Durable, reinforced construction

Excellent transient response

Uniform cardioid directionality

Outstanding SPL handling

Natural and precise sound reproduction

The 2012 Compact Cardioid Mic is the best all-around, generalist mic that you can find to cover a wide range of close-miking needs on the live stage. It is a robust and reliable condenser mic, best for single instrument pickup. Its specifically powerful characteristics make it an extremely flexible mic that will shine on many instruments, particularly those in the high-frequency range.

Durable, reinforced construction

The 2012 is constructed to withstand rough handling on a hectic live stage. It has a thicker, more robust body construction of brass that is very durable and known for its corrosion resistance and tolerance against metal fatigue. In addition to the heavy-duty materials used, the surfaces of the mic handle and grille are treated with a protective black chrome finish, which ensures more graceful ageing.

Unmatched transient response

The 2012, is a professional condenser mic, making it the best choice for those instruments that produce high frequencies. It has a far better transient response than any dynamic microphone, which allows it to pick up the most delicate sound with tremendous accuracy.

Uniform cardioid directionality

The 2012 has a cardioid capsule with DPA’s famously flat off-axis response. Besides a high gain-before-feedback, this characteristic makes it easier for sound engineers to handle bleed from other instruments at close proximity. The 2012 picks up off-axis sounds in a very natural and attenuated way.

Outstanding SPL handling

The 2012 can cope with both extremely high SPLs as well as capture very delicate sounds. With a max SPL, peak before clipping of 156 dB, the 2012, works well on many different instruments and can handle the loudest drums, guitars, horns and more.

Natural and precise sound reproduction

Like all other DPA microphones, the 2012 delivers pure, transparent sound quality.

Key applications

Snare drum

Hi-hats

Electric guitar cabinets

​Piano

Percussion

Conga, bongos

Acoustic guitar

Horns

Specifications

Directional pattern: Cardioid

Principle of operation: Pressure gradient

Cartridge type: Pre-polarized condenser

Frequency response: 20 Hz - 20 kHz

Effective frequency range, ±2 dB, at 30 cm: 40 Hz to 20 kHz

Sensitivity, nominal, ±2 dB at 1 kHz: 8 mV/Pa; -42 dB re. 1 V/Pa

Equivalent noise level, A-weighted: Typ. 20 dB(A) re 20 µPa (max. 22 dB(A))

Distortion, THD < 1%: 148 dB SPL (151 dB SPL peak)

Dynamic range: Typ. 131 dB

Max. SPL, THD 10%: 153 dB SPL (156 dB SPL peak)

Switchable attenuator, filters etc.-

Rated output impedance: 60 Ω

Minimum load impedance: 2 kΩ

Cable drive capability: 100 m

Output balance principle: Impedance balancing with Active Drive

Common mode rejection ratio (CMRR)> 60 dB

Power supply (for full performance): P48 (Phantom Power)

Current consumption: 0.7 mA

Connector: XLR-3M. Pin 1: shield, Pin 2: signal + phase, Pin 3: - phase

Color: Matte black

Weight: 83 g

Microphone diameter: 19 mm

Capsule diameter: 17 mm

Microphone length: 94 mm

Maximum output voltage, RMS: 8.7 V (21 dBu)

Polarity+V at pin 2 for positive sound pressure

Temperature range: -40°C to 45°C

Relative humidity (RH): Up to 90%

Sensitivity selection tolerance (at 1 kHz): ±1.5 dB

Overhead mics for ambient pick up on the live stage

The 2015 Compact Wide Cardioid Microphone is for ambient pick up of a drum kit or other instrument groups.

Features:

Durable, reinforced construction

Uniform wide cardioid directionality

Spacious sound due to a wide cardioid pick-up pattern

Natural and precise sound reproduction

Compact design for unobtrusive placement on stage

In a live situation when a conventional cardioid pattern isn’t quite open enough, choose a pair of 2015 Compact Wide Cardioids. They work ideally as overheads to capture a balanced sound of the entire group of instruments, like a drum kit. Also, when recording instrument groups with complex radiation patterns, the wide cardioid (also known as hemispheric, subcardioid or hypocardioid) design covers a greater sound angle and is an excellent choice.

Durable, reinforced construction

The 2015 is constructed to withstand rough handling on a hectic live stage. It has a thicker, more robust body construction of brass that is very durable and known for its corrosion resistance and tolerance against metal fatigue. In addition to the heavy-duty materials used, the surfaces of the mic handle and grille are treated with a protective black chrome finish, which ensures more graceful ageing.

Uniform cardioid directionality

The 2015 has a wide cardioid capsule with DPA’s famously flat off-axis response. Besides a high gain-before-feedback, this characteristic makes it easier for sound engineers to handle bleed from other instruments at close proximity. The 2015 picks up off-axis sounds in a very natural and attenuated way.

Spacious, wide cardioid pick-up pattern

The 2015 can be positioned near the drum kit, closer than you would normally place overhead microphones, and still capture sound evenly across the entire drum kit. This closer position results in stronger signal from the drum kit and therefore less bleed from the stage.

Natural and precise sound reproduction

Like all other DPA microphones, the 2015 delivers pure, transparent sound quality.

Compact design for unobtrusive placement on stage

Although the 2015 can be purchased as a single mic, it really shines as a matched stereo pair, selected with +/- 1.5 dB sensitivity tolerance. The compact design of this stereo pair ensures an open, natural sound pick-up without blocking any of the exciting action on stage.

Key applications

Overheads on drums

Grand piano, away or close to the strings

Horn groups

Vibraphones

Xylophones

Large marimbas

Other large instruments

Nano takes Ehrlund's technology and qualities, such as the well-known phase accuracy, midrange and frequency range, to an attractive mid-price segment.

The microphone, which is designed and built in Siljanäs in Sweden, carries the DNA of Ehrlund Microphones' well-known studio microphone EHR-M and is equipped with a patented triangular-shaped large-diaphragm capsule, which is a hallmark of the company's products. Nano also has Ehrlund's patented amplifier and power circuits built-in.

• Large-diaphragm condenser microphone
• Patented triangular membrane
• Patented internal amplifier and power circuits
• Optimized for studio environments
• Transparent and natural sound
• Very low noise level
• Built-in phase and frequency linear amplifiers
• Wide coverage area, linear frequency response even at a distance or off-axis
• Natural reproduction of fast transients
• True reproduction of the sound source, negligible coloring of the sound
• Frequency range extends from infrasonic bass to ultrasonic treble (7 Hz – 87,000 Hz) • Low power consumption, ~2.0 mA
• No EQ pre-adjustment is needed, Ehrlund's microphones are made for a straight frequency response
• Handles all impedances without changing frequency response or phase

Class-leading performance, in the studio and on the road 

The Solid State Logic SSL 12 is the perfect audio interface for producers and engineers who demand uncompromising performance and versatility from a desktop device. SSL 12 is capable of being both a studio centrepiece and a portable production hub to take with you on the road. Four SSL-designed mic pre-amps with uncompromising low-noise and high gain performance, Legacy 4K analogue enhancement for adding that signature SSL colour, class-leading dynamic range from premium-quality converters, comprehensive monitoring section, ADAT expandability, talkback mic, flexible headphone outputs and an intuitive console-style software mixer. SSL 12 just set a new bar for what you can expect from a unit that is entirely USB-powered.  

Big studio features, small desktop footprint 

SSL 12 is loaded with an extraordinary amount of professional studio features normally reserved for high-end rackmount interfaces. For tracking, the ADAT connectivity, together with the on-board talkback mic and an incredibly powerful cue mixer (that allows you to create up to 4 independent near-zero latency performer mixes) will handle the most demanding of recording sessions. For mixing, alternative monitor switching and assignable front panel control room functions puts everything you need at your fingertips. For production, USB Loopback, MIDI I/O and DC-coupled outputs for CV control of synths and FX equip you with a serious toolkit to keep the creativity flowing. To top it all off, the ever-expanding SSL Production Pack (packed with a selection of must-have virtual instruments, plug-ins, samples and DAWs) helps to bring your productions to life.

Key Features:

• 4 x SSL-designed microphone preamps with unrivalled EIN performance and huge gain range for a USB-powered device

• Per-Channel Legacy 4K switches - analogue colour enhancement for any input source, inspired by the 4000-series console

• 2 Hi-Z instrument inputs for guitars, bass or vintage instruments

• 2 professional-grade headphone outputs, with switchable modes of operation that cater for high impedance or high sensitivity headphones. Or re-purpose each headphone output as an additional balanced/unbalanced line-level outputs instead.

• 32-bit / 192 kHz AD/DA Converters - capture and hear all the detail of your creations

• ADAT IN - expand the input channel count with up to 8 channels of digital audio

• Built In Talkback Mic that can be routed to Headphone A, B and Line 3-4 outputs

• 4 x dedicated balanced outputs and precision Monitor Level, with stunning dynamic range

o Use Outputs 3-4 to connect an alternative monitor set or as additional line-level outputs to connect to studio outboard equipment, with +24 dBu operating levels.

• SSL 12 mixer: Powerful digital mixer hosted in SSL 360° - Quickly create low-latency cue mixes. 

• DC-coupled outputs for controlling CV input instruments & FX

• 3 user-assignable front panel switches - assign various monitoring functions and talkback open/close

• MIDI I/O

• SSL Production Pack Software Bundle (over $1000 worth of software and sounds); includes 3-months free subscription to SSL Complete, plus an exclusive collection of 3rd party DAWs, virtual instruments and plug-ins.

• USB bus-powered audio interface for Mac/Windows - power is provided by USB 3.0, audio via the USB 2.0 protocol

The NEW Sony C-80 Studio Condenser Microphone was designed to deliver professional-quality vocal recordings with a powerful and rich midrange. The mic’s dual-capsule design is claimed to help to reduce the proximity effect and provide a consistent-sounding response. The two-part metallic construction is based on the C-800G and C-100 models and prevents acoustic vibrations, helping to keep inherent noise and unwanted sonic artifacts out of your recordings. The large-diaphragm condenser element yields a true frequency response of 20 Hz to 20 kHz, with a dynamic range of more than 125.5 dB. The C-80 capsule offers a -10 dB pad and can handle SPLs up to 138 dB. In addition, the cardioid polar pattern focuses audio capture at the area around the mic, reducing unwanted sound from the rear and sides. A high-pass filter is also on board to help reduce low-end rumbles and other unwanted low-end frequencies, while a suspension shockmount is included to isolate the mic from vibrations and handling noise. A carrying case is also supplied for storage and transport.

What makes the 4055 stand out from the competition is that it delivers the renowned DPA sound, clarity and linear frequency response, both on axis and off axis. Its low frequency response and dynamics are superb and result in a tight, natural, well-defined sound - the best low-end with detailed mids and highs.

The 4055 is one of the only kick drum mics that is not sonically pre-tailored to fit a traditional sound in a specific genre. Its performance allows a professional sound designer to create the exact sound s/he is listening for - regardless of the music genre. Want more attack? Slide the 4055 into the bass drum and point it directly at the beater. For a super-low-end sound, place the 4055 at the hole, just on the outside of the front head. Here, the level of sub and lows are represented the most.

Not only does the position inside or outside the kick drum give you different sounds but working with the angles of the microphone just outside the hole will deliver nuances of the drum sound. No matter what sound preference you have, the 4055 captures the true sound of a kick drum, whether it is used in classic, jazz, rock or any other genre.

The 4055 is placed in a large, robust housing and there is wind damping foam just in front of the capsule, behind the grille. A specially-designed shock mount also suspends the capsule inside the housing to avoid vibrations from the stage. The shock mount together with the extra wind damping ensures that the 4055 captures only the source.

The 4055 is easy to position, both inside and outside the drum. Its unique asymmetric design makes it quite easy to place the mic through the drum hole without ripping the front resonator skin.

REPLACEMENT PARTS

- Grid DUA0720B

- Microphone holder UA0961

- Zip case KE4055

5-year limited warranty