Yamaha : DM3
Yamaha DM3; 16-channel digital mixer for studio, stream and live applications; 9" touch sc...(+) Yamaha DM3; 16-channel digital mixer for studio, stream and live applications; 9" touch screen; 9 motorized faders; tuch & turn knob; 18x18 audio interface 96 kHz; 8 outputs; 6x mix bus + 2x FX + 2x matrix; DAW remote feature (HUI); OSC support for installations; editor app available for tablet (tablet not included); 16x16 DANTE Interface; 6 free assignable buttons; 2x2 Channel record/playback via USB Port; 8 Effects + GEQ on the Mix/Stereo Bus; connections: 16x mic/line input (12x XLR, 4x combo XLR/jack 6.3 mm), 8x line output XLR, 2x DANTE (RJ45), stereo headphone output 6.3 mm jack, USB to Host, USB, Ethernet RJ45; incl. Steinberg Cubase AI and VST Rack Elements; dimensions: 320 x 140 x 455 mm (WxHxD); weight: 6.5 kg | |
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Ams Neve 2264alb
Originally designed in 1974, the Neve 2264A mono Limiter/Compressor unit quickly became a ...(+) Originally designed in 1974, the Neve 2264A mono Limiter/Compressor unit quickly became a legend. Delivering similar facilities and performance as the earlier 2254 Limiter/Compressor type, it did so despite being packaged in a more compact form-factor. Discreet, Class A/B design and transformer-coupled circuits used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. The original 2264A units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment. Now crafted in England by Neve engineers, the classic 2264A is available again. Not only does it retain the original 2264A s unique sonic characteristics by using the same architecture, matching components and original hand-wound transformers as its historic counterpart, but it is also available in both vertical and horizontal orientations. Being electrically and mechanically the same D.L.1 format as the Neve 1073 and 1084 Mic/Pre modules, the 2264A can be inserted into any compliant console or rack that houses the 1073 or 1084 module types. Highlights Classic mono Limiter/Compressor Available in Vertical and Horizontal orientations Transformer-coupled circuits used in Input, Bridge-driver, Side-chain and Output stages Independent Limiter and Compressor IN/OUT selectors BYPASS switch connects input terminals directly to output terminals Multiple units can be linked together to provide multi-unit side-chain control from a single unit Analogue meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction Crafted in England by Neve engineers | |
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Rupert Neve Designs R10
With abundant power and versatile connections, the R10 delivers peace of mind for engineer...(+) With abundant power and versatile connections, the R10 delivers peace of mind for engineers who demand a higher degree of confidence in their 500 series racks. If you want to get the very best performance out of your 500 series modules, the Rupert Neve Designs R10 is the serious rack for the serious sound you want. Power You Can TrustPower-wise, the R10 has 150% the required current for a 10-space chassis to prevent the power rails from failing under a higher than expected load. To help monitor and troubleshoot problematic modules, the R10 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R10 helps your modules realize their fullest potential.Connect Like Never BeforeWith a plethora of connections available, the R6 backpanel is practically a patchbay on its own. The R10 features 10 channels of balanced I/O options including XLR and TRS.Solid Steel ConstructionThe chassis is comprised of solid steel with bumpers to support the unit in both horizontal and vertical configurations, and features a collapsable handle for portability. All connectors and fittings are of the highest quality to ensure that the R10 will hold up to many years of use.A New Level of Confidence in the 500 SeriesBecause the R10 is built to 500 series specifications, it will work flawlessly with any properly designed 500 series module you wish to include in it. To help accommodate modules that are slightly out of spec, the R6 has variable-position screw holes to make the installation process go more smoothly. The 500 series link function can be enabled in pairs on the R6 using the link jumpers on Channels 1-2, 3-4, 5-6, 7-8 and 9-10. Matching blank panels are also available to cover any empty slots. | |
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Rupert Neve Designs 5051
The 5051 combines a classic three band EQ based on Rupert’s vintage designs with the pow...(+) The 5051 combines a classic three band EQ based on Rupert’s vintage designs with the power and flexibility of the Portico II compressor. Utilizing a fully-discrete, class-A signal path and high performance input and output transformers, the 5051 delivers the performance and musicality expected from a Rupert Neve Design.The EqualizerThe EQ design on the 5051 evokes sonic similarities with some of Rupert’s classic EQs. The 5051 uses a custom tapped inductor with selected capacitors to form the mid range equalizer band, and the shelf curves are based on Rupert’s vintage modules, including very similar frequency choices. Each EQ section also uses low feedback class-A discrete electronics to prevent low level artifacts and harshness from detracting from the tonal shaping. The EQ, however, is a modern design with advantages offered by techniques that were not possible 35 years ago along with improvements in electronic components currently available, and should not be considered a clone – it just has heritage.Both the High and Low Band can be switched from Shelf to Peak curves and offer 15 dB of boost or cut. The High can be switched from 8 kHz to 16 kHz and the Low Band selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a High Peak switch to narrow the bandwidth or increase the Q of the filter. The 5051 includes an 18 dB/octave High Pass Filter with two corner frequencies on a lit button that toggles through “OFF, 60 Hz then 120 Hz indicated by a blue or red LED respectively. Additionally, the EQ can be switched Pre or Post the compressor. Normally the EQ precedes the compressor but the order can be selected so that the EQ follows after the Compressor. The 5051 also has two XLR balanced inputs that can be switched from the front panel. This allows the user, for example, to have a mic preamplifier and line input from a DAW to be pre-patched and easily selectable.The CompressorThe 5051 Compressor also features a discrete class A signal path proven used in the Portico Series, withindividually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 5051 may be used as a transformer-coupled, high-performance line amplifier, and two 5051′s may be linked for stereo operation as well.How the Compressor WorksIn order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The Portico 5051 compressor makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.A part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the “attack”, and the time frame that gain remains under the initial control, known as “release” or “recovery” and plays a large part in the way a compressor sounds.Feed-Forward or Feed-Back The 5051 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 5051 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settings of the V.C.A. and circuits through which it has passed. This is known as a “Feed-Back” compressor. The two compression characteristics are quite different; there is more “Overshoot” and both the attack and recovery ramps are changed, providing the user with powerful choices. In most of Mr. Rupert Neve earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF / FB switch, both classic and modern VCA responses are available. Ratio and ThresholdAbove a given “THRESHOLD” signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. RATIO is sometimes referred to as “Slope” because when depicted on a graph, the slope of the graph representing Output versus Input, is what changes.Ratio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of +40 dBu (unlikely!) is presented to the input, the output signal will only be +1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu – say at +14 dBu, in order to prevent the output signal level exceeding just over +14 dBu to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output.THRESHOLD control covers the Range from below -30dB to +22dBu. When THRESHOLD set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level.Attack TimeThe ATTACK time is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to “escape” and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds un-natural and robs the signal of “life” by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is history (!) before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some “Overshoot”. Small amounts of “Overshoot” are musically desirable – there are exceptions, of course.Setting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood a Compressor-Limiter such as the 5051 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment.Release / RecoveryThe notes above explain how the 5051 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level.If the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and un-natural sound known as “Pumping” when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.The Power SupplyThe 5051 is intended for 5088 consoles or 5285 vertical frames. There are two +/- 24V power supply options; The 5-way supply is designed to sit in the bottom of a rack, and the 25-way supply is a 2U enclosure. The external +/- 24V supply provides exceptionally clean power, and reduces heat build-up within modules associated with DC-DC up-conversion. | |
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Rupert Neve Designs 5052
The Shelford 5052 echoes the simple and definitive 1073 feature set with a vertically-orie...(+) The Shelford 5052 echoes the simple and definitive 1073 feature set with a vertically-oriented mic pre, high pass filter, and 3-band inductor EQ, while also incorporating modern capabilities like the variable Silk / Texture control from the Portico II Series and simultaneous pre / post “tape” operation. Utilizing class-A, discrete, +/- 24V topologies with custom-wound transformers and inductors, Rupert Neve designed the 5052 as a vintage-style channel strip that captures the soul of his classic designs, without the previous compromises.The Mic PreLike Rupert’s designs from his time in Shelford, the 5052 preamplifier has 72dB of discrete, class-A gain coupled with serious square-core transformers. Unlike the classics however, the output transformer features the Silk Red / Blue and Texture controls from the Portico II Series to hone the harmonic content and tonality of the output stage. By engaging these controls and sufficiently driving the output, the 5052 can produce up to 4-5% THD (primarily 2nd order, some 3rd order), bringing a richness and thickness to tracks when desired with no danger of overloading the output stage. With Silk disengaged, the output is modern and pristine, yet still retains Rupert’s signature larger-than-life transformer sound. The mic pre section also includes a sweepable 20-250Hz high-pass filter, Mic / Line selection, 48V phantom power, and polarity reverse.Dual I/O PathsFollowing the preamplifier, the 5052 has a transformer-coupled output, which allows the 5052 to feed a tape machine or DAW directly from the mic pre while still using the EQ and Silk / Texture in a dedicated analogue mix path such as that found with a 5088, 5060 or vintage console. This output can also be used to insert a separate compressor between the mic pre and the EQ, or it can allow the 5052 to work with two separate sources. When the “TO EQ” button is engaged, the mic pre signal is routed directly into the EQ such that the mic / line input signal flows through to the main output as a single channel strip.The “best of the classics” EQThe 3-band, custom-tapped inductor EQ on the 5052 was inspired by RND’s favorite portions of Rupert’s vintage EQ designs. The low frequency band is primarily based on the 1064, which is renowned for its creamy, resonant bass. Unlike the 1064 however, the LF band on the 5052 can be used as either a shelf or a peak filter, adding punch, dimension, and immense control to your low end. The 5052’s inductor midrange band is based on his prized 1073 EQ, which is ideal for sweetening vocals and instruments while bringing them forward in a mix. Additionally, the mid frequency band’s proportional “Q” response makes it well-suited for minimizing problematic frequencies in a source. The 5052’s high frequency band is a hybrid vintage / modern design, blending inductor circuitry from the 1073 with capacitor-based topologies to achieve the vintage tones with enhanced control. As Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. The EQ circuit itself, however, is a decidedly modern updated design using techniques and components that were simply not available 35 years ago, and should not be considered a “clone”.Power, Connections and MountingThe 5052 receives +/- 24V rails from an external DC power supply using a 4-pin connection. There are currently two options available: the RND 5-way brick supply and the RND 25-way 2U rack-mount supply. The back panel of the 5052 includes three XLR-F connections for Mic In, Line In, and EQ In, and two XLR-M connections for Mic Out and Main Out. The 5052 chassis is a “half-rack” format, and can be mounted in RND’s new 2 –way and 4-way vertical racks in addition to the existing 9-way racks and the 5088 penthouse. | |
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Rigport : L1S1T1 Power Distributor (1 commentaires)
Rigport RigPortL1S1T1 Power Distributor; BreakoutBox with PowerTwist-TR1 connections and a...(+) Rigport RigPortL1S1T1 Power Distributor; BreakoutBox with PowerTwist-TR1 connections and a side earthed socket; Specific features: secure latches; dimensionally stable housing made of impact-resistant plastic; Matching RigPort clamps for quick and easy installation available under item 475802 (not included); can be positioned variably in the traverse; suitable RigPort Safety for secondary protection available under item 475805 (not included in delivery); Connections: 1x PowerTwist-TR1-In; 1x protective contact socket-out; 1x PowerTwist TR1 Through Out; Maximum temperature: 55°C; Maximum current: 16A; Conductor cross section: 2.5mm²; Dimensions: 133x59x57mm; Weight: 170g; | |
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Wavebone : Star Rover Studio Desk (3 commentaires)
Wavebone Star Rover Studio Desk; stable studio table; raised monitor shelf with 2x 3 U 19"...(+) Wavebone Star Rover Studio Desk; stable studio table; raised monitor shelf with 2x 3 U 19" racks; height-adjustable keyboard shelf (5 positions), for keyboards up to 49 keys; material: steel, MDF; incl. mounting material; optional bracket for cables available (not included); overall dimensions: 105 x 90. 5 74 cm (WxHxD); Dimensions keyboard shelf: 94 x 30 cm (WxD), height adjustable in 5 positions (7.7 / 9.7 / 11.7 / 13.7 / 15.7 cm); Height monitor shelf measured from table top: 14.5 cm; Height floor to table top upper edge: 76 cm; Depth table top from front edge to 19" rack: 40.5 cm; Weight: approx. 38 kg when assembled; Attention - Kit, must be assembled by customer! | |
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t.akustik : Hexagon Melamine Light Grey 75
t.akustik Hexagon Melamine Light Grey 75; absorber for optimising room acoustics; hexagona...(+) t.akustik Hexagon Melamine Light Grey 75; absorber for optimising room acoustics; hexagonal design for various combination and extension possibilities; material: melamine foam white - fire behaviour according to EN13501-1, Euroclass B s-1,d-0 flame retardant, laminated with Sonus PG3 Advanced fabric; dimensions: 290 mm from corner to corner, 250 mm from straight side to straight side, 75 mm height; weight: 45g per pcs.; set contains 3 pieces; colour: light grey; Glue available - item number 481723 | |
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iConnectivity : PlayAUDIO1U
iConnectivity PlayAUDIO1U; USB Live Playback audio / MIDI interface; for simultaneous oper...(+) iConnectivity PlayAUDIO1U; USB Live Playback audio / MIDI interface; for simultaneous operation of two computers for a redundant computer setup in live operation; in case of failure of one computer, an automatic switchover to the second computer takes place (automatic and manual switching possible); 24-bit / 96 kHz; connections: 12x XLR line output balanced, stereo headphone output 6. 3 mm jack, 2 USB C ports for two computers at the same time, 2x foot pedal connector, USB MIDI host connector for up to 8 MIDI devices, 1x MIDI DIN connector (in/out) as well as Ethernet MIDI network connector; touch control panel with metering display; external power supply included; system requirements: Windows 10, Mac OS X 10.11 or later, one available USB port, iOS 8 and later (Apple Lightning to USB camera adapter not included); Dimensions: 483 x 44 x 200 mm (WxHxD); Weight: 2.7 kg | |
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OMNITRONIC TRM-422M - MIXEUR ROTATIF 4 CANAUX
Table de mixage Rotary 4 canaux, isolateur de fréquences 3 voies pour DJ Omnitronic TRM-4...(+) Table de mixage Rotary 4 canaux, isolateur de fréquences 3 voies pour DJ Omnitronic TRM-422OMNITRONIC TRM-422: THE ROTARY MIXER ON A NEW LEVELOmnitronic\'s popular TRM series has been expanded: the TRM-422 combines all the proven features of the previous models, but additionally offers functions that numerous fans had wished for. During the development of the mixer, the focus was on the demands and suggestions of the community.FULL CONTROLEach of the 4 input channels has 2 line inputs, one of which can become a phono input at the touch of a button. The channels are each equipped with a volume as well as a gain control. In addition to the master isolator (bass, mid & high), the DJ has the option to activate a filter with HPF, BPF, LPF, resonance and sweep controls in each of the 4 input channels.The master output is available to the DJ in both XLR and RCA versions.EFFECT WAYSThe use of external effect devices is possible through an FX-In and FX-Out via 6.3 mm jack. The mixer\'s master insert is also equipped with a send & return (unbalanced) path. This allows additional external effects to be looped into the mixer.DVS INTEGRATIONThe mixer\'s timecode outputs allow easy integration of a DVS system (Digital Vinyl System) such as Traktor or Serato.MONITOR SECTIONThe booth output of the TRM-422 is provided with one XLR and one RCA connector. The signal of the booth output can be easily adjusted to the conditions in the DJ booth with the help of an EQ (High & Low).MICROPHONE INPUTSThe TRM-422 offers 2 microphone inputs. The first mic input gives the DJ the ability to modify the mic signal with EQ (high & low).BACKUP SOURCEWith the help of the AUX input on the front panel, players such as smartphones, tablets or MP3 players can easily be connected via mini-jack (3.5 mm) and thus serve as a backup solution.ACTIVATABLE CROSSFADERIf you don\'t want to do without a crossfader during your DJ set, you have the option to assign each of the 4 channels to the integrated crossfader. If the crossfader is not used, it can easily be switched off.SET RECORDINGThe RCA record-out makes it easy to record your own DJ set.FEATURES :- 4-channel rotary mixer with 3-band frequency isolator and filter section for DJs- 3-band master frequency isolator with vintage ALPS potentiometers (Blue Velvet RK27)- Kill cut feature allows DJs to completely remove low, mid and high frequencies for amazing mixing- Filter section with HPF, BPF, LPF, resonance and sweep control for creative sound shaping- 4 stereo input channels with gain control, clip LED, 3-way equalizer and phono/line switching- 2 microphone input channels with gain control, 2-way equalizer on air switch- High-grade components ensure long life and excellent sound quality- 16-digit stereo LED level meter, switchable between master and booth outputs- Booth output with separate 2-way equalizer and level control- PFL section with 16-digit stereo LED level meter, level control, PFL/master mix control and cue mix/split option- Fully assignable VCA crossfader with adjustable curve- 2 effects send/return paths- 4 direct outputs for Timecode applications- Inputs: 8 x line and 4 x phono (RCA L/R), 1 x front aux (mini jack)- Outputs: master and booth (XLR/RCA L/R), record (RCA L/R), master insert send/return (RCA L/R), FX in/out (stereo jack)483 mm rack installation possible with supplied mounting brackets- Desktop console housingTECHNICAL SPECIFICATIONS :- Power supply: 100-240 V AC, 50/60 Hz- Power consumption: 24 W- Protection class: Class I- Power connection: Mains input IEC connector (M) mounting version Power supply cord with safety plug (provided)- Frequency range: Microphone 20 - 20000 Hz- Line 20 - 20000 Hz- Phono 40 - 18000 HzS/N ratio: >97,2 dB line>91,7 dB MicrophoneTHD: Line | |
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Artinoise : Re.corder Yellow
Artinoise Re.corder Yellow; classic soprano recorder with a built-in wireless connectivity...(+) Artinoise Re.corder Yellow; classic soprano recorder with a built-in wireless connectivity and sensor platform; touch sensors detect the fingering; pressure-sensor measures the strength of the breath; additional inertial sensor for adding expressiveness to the playing; can be used as: full functional traditional soprano recorder, classic recorder with digital output, MIDI instrument/controller; equipped of: micro USB recharge port; LiPo Battery; BLE MIDI interface; BLE connectivity; 3D accelerometer; light and durable body; touch sensitive note holes; free Re.corder App available for Android and iOS; App Features: the library includes 32 sounds; play and learn songs - play a collection of classical, rock and pop scores and earn points; play solo with digital teacher - highlights errors while playing; play with another friend on the same app with the DUO function; incl. quick start manual, cleaning rod, USB cable type A to micro B; weight: 120g; color: yellow; made in Italy | |
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Seetronic : SCHF5 5 Pin XLR female
Seetronic SCHF5; 5-pin female XLR plug for cable assembly; high-quality stainless steel ho...(+) Seetronic SCHF5; 5-pin female XLR plug for cable assembly; high-quality stainless steel housing and gold-plated contacts; particularly robust; IP40; coloured rings available for coding; solder contacts, bend protection sleeve, collet strain relief; improved earthing for good overall contact between housing and cable connection; matching counterpart: 589494 | |
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Thomann : Creative Desk 137 Oak (7 commentaires)
For home and project studios- 2x 19" 3 U racks- Monitor shelf in same width as table- Stur...(+) For home and project studios- 2x 19" 3 U racks- Monitor shelf in same width as table- Sturdy metal cable routing at the rear- Extendable with pull-out keyboard shelf (not included in delivery - available under Art.557666) mountable at 3 different heights- Recessed PET acoustic strip elements on the side panels- Material: 25 mm chipboard coated with melamine foil- Overall dimensions (W x H x D): 1370 x 942 x 831 mm- Top panel (W x H x D): 1370 x 18 x 380 mm- Worktop total (W x H x D): 1300 x 25 x 790 mm- Worktop to racks (W x H x D): 1300 x 25 x 470 mm- Height of worktop: 790 mm- Colour: Oak | |
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PSI Audio : AVAA C214
PSI Audio AVAA C214; active bass absorber; digitally controlled; absorbs room modes betwee...(+) PSI Audio AVAA C214; active bass absorber; digitally controlled; absorbs room modes between 15Hz and 160Hz; reverberation times are significantly reduced in this frequency range; effectiveness corresponds to an absorber 45 times the size; no calibration required; works without anti-noise; intensity and other functions controllable via app; aluminum housing; wall mount (C214 Feet) optionally available; dimensions (H x D): 640 x 210mm; weight: 11kg; color: black | |
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Sennheiser : ACCENTUM White (1 commentaires)
Hybrid Active Noise Cancelling- Circumaural- Closed-back design- Dynamic- Bluetooth 5,2- C...(+) Hybrid Active Noise Cancelling- Circumaural- Closed-back design- Dynamic- Bluetooth 5,2- Codecs: SBC, AAC, aptX, aptX HD, mSBC, CVSD- Frequency range: 10 - 22,000 Hz- Sound pressure level: 106 dB- Driver size: 37 mm- Integrated microphone for calls- Battery life: up to 50 hrs.- Charging time approx. 3 hours- Fast charge function: 10 minutes charge = 5 hours playback- Charging connection: USB-C- App support for Sennheiser Smart Control App (available for iOS and Android)- Weight: 221 g- Colour: White- Includes USB-C charging cable and transport case | |
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Sennheiser : ACCENTUM Black
Sennheiser ACCENTUM Black Bluetooth headphones; Hybrid Active Noise Cancelling; over ear; ...(+) Sennheiser ACCENTUM Black Bluetooth headphones; Hybrid Active Noise Cancelling; over ear; closed back; dynamic; Bluetooth 5.2, codecs: SBC, AAC, aptX, aptX HD, mSBC, CVSD; frequency range: 10 Hz - 22 kHz; sound pressure level: 106 dB SPL; driver size: 37 mm; ear pads made of synthetic leather (vegan); integrated microphone for calls; battery life headphones: up to 50 hrs; loading time headphones: approx. 3 hrs; fast charging mode: 10 minutes loading = 5 hours battery life; charging socket: USB-C; app support for Sennheiser Smart Control App (available for iOS & Android); delivery content: Sennheiser ACCENTUM headphones, USB-C charging cable, carrying case; weight: 221g; color: black | |
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t.akustik : Hexagon Melamine Grey 50
t.akustik Hexagon Melamine Grey 50; absorber for optimising room acoustics; hexagonal desi...(+) t.akustik Hexagon Melamine Grey 50; absorber for optimising room acoustics; hexagonal design for various combination and extension possibilities; material: melamine foam white - fire behaviour according to EN13501-1, Euroclass B s-1,d-0 flame retardant, laminated with Sonus PG3 Advanced fabric; dimensions: 290 mm from corner to corner, 250 mm from straight side to straight side, 50 mm height; weight: 35g per pcs.; set contains 3 pieces; colour: dark grey; Glue available - item number 481723 | |
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t.akustik : Absorber Plate flex 80 SGR (1 commentaires)
For acoustic optimisation and spatial separation- Can be used universally as a table, wall...(+) For acoustic optimisation and spatial separation- Can be used universally as a table, wall, ceiling or free-standing absorber by means of various optional brackets- Lateral extension for t.akustik Plate Flex 140 absorber- Ideal for offices, call centres, podcast and streaming rooms as well as sound studios and home studios- Effective range: from 630 Hz- Material: PET fleece, 40 mm thick (tolerance of +/- 10%)- Volume weight: approx. 75 kg/m3- Absorption NRC = 0.95- Flame retardant according to Euroclass B S1-d0- Very suitable for high-humidity environments- Further optionally orderable supports for different types of applications available- Dimensions (W x H x D): 800 x 600 x 40 mm- Panel thickness: 40 mm- Set consisting of 1x acoustic panel (PET, colour silver-grey) and 2x stand (PET, colour silver-grey) | |
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Artinoise : Re.corder Green
Artinoise Re.corder Green; classic soprano recorder with a built-in wireless connectivity ...(+) Artinoise Re.corder Green; classic soprano recorder with a built-in wireless connectivity and sensor platform; touch sensors detect the fingering; pressure-sensor measures the strength of the breath; additional inertial sensor for adding expressiveness to the playing; can be used as: full functional traditional soprano recorder, classic recorder with digital output, MIDI instrument/controller; equipped of: micro USB recharge port; LiPo Battery; BLE MIDI interface; BLE connectivity; 3D accelerometer; light and durable body; touch sensitive note holes; free Re.corder App available for Android and iOS; App Features: the library includes 32 sounds; play and learn songs - play a collection of classical, rock and pop scores and earn points; play solo with digital teacher - highlights errors while playing; play with another friend on the same app with the DUO function; incl. quick start manual, cleaning rod, USB cable type A to micro B; weight: 120g; color: green; made in Italy | |
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