Grand frère du Clubmate I doté d'un subwoofer de 15– et de deux satellites de 8 / 1–. Les satellites sont équipés de moteurs d'aigus en néodyme et d'un guide d'ondes spécifiquement adapté aux fréquences supérieures à 20 Khz. Grâce aux enceintes médium de 8, cet ensemble produit un son naturel plus précis. Les dynamiques intégrées protègent le système et les pilotes d'enceinte contre les surcharges et favorisent une excellente réponse en fréquence quel que soit le niveau sonore. La finition de l'ensemble, réalisée en peinture anti-éraflures, est mise en valeur par des grilles métalliques haut-de-gamme.The Club Mate 12 & 15 together with Soundmate III are upgraded into Clubmate I, II and III systems. Besides the improved sound quality the looks are also upgraded due to stylish metal grills. Together with the new scratch resistant finish and reduced weight (10-25%) makes these sets road-proof. The Clubmate sets are especially designed for the mobile DJ's, where a powerful bass is required as well as a smooth mid–high frequency response. The 12and 15subwoofers have a long linear cone excursion to ensure minimal distortion and high power levels as well as getting a higher maximum sound pressure. Special attention is given to the power ratings of the subwoofers and satellites as well as the behaviour of all the independent dynamic compressors and limiter circuits inside. The club mate sets are easy to set-up also for non-technical users.spécificationsSubwoofer :Puissance d'amplification Low : RMS 400 W à 8 ohmsPuissance d'amplification High : 2 x RMS 150 W à 8 ohmsRéponse en fréquence (-3 db) : 42 - 125HzFréquence du crossover : 125 Hz, 24 db / octave BWEfficacité (mi-espace) : 102 dB / W / mCrête. SPL à 1 m (théorique) : 128 dBRapport signal / bruit : > 100 dBDispersion nominale (H x V) : 360 x 180 degrésDimensions (l x H x P) : 500 x 600 x 700 mmPoids : 36 kgSatellites :Pilotes : 8/ 1Réponse en fréquence (-3 db) : 125 - 20 000 HzFréquence du crossover : 2 700 Hz, 12 dB / octaveEfficacité (plein espace) : 95 dB / W / mCrête. SPL à 1 m (théorique) : 116,8 dBDispersion nominale (H x V) : 90 x 60 degrésDimensions (l x H x P) : 265 x 425 x 255 mmPoids : 7 kgPieds d'enceintes, cables Speakon et housse de protection pas inclus.

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.

Votre basse va rugir tel un lion face à une horde de lionnes! Il faudra juste apprendre à tempérer vos pulsions de puissance... Pour vous faciliter la tâche, le Préampli Bass MXR M80 sait se montrer aussi doux qu\'un agneau, mais... attention à l\'eau qui dort!!!- Canal de distorsion réglable avec les contrôles Gain, Volume et Blend.- Noise Gate à sensibilité réglable (Trigger) pour atténuer les parasites.- Canal clair avec un switch Color pour un GROS son,- Egalisation Bass, Middle et Treble,- Adaptateur 9V. optionnel : MDU ECB003E.

Sonible pure:verb (ESD); reverb plugin; intuitive A.I.-based reverb that instantly matches the reverb profile to the incoming signal; easy one dial operation to keep the focus on the creative workflow; several presets to choose from to adjust the key parameters for different kind of signals; the styles Clean, Mixed and Dirty allow to quickly adjust the character to suit the musical material; Synthetic parameter allows to give the reverb a more artificial character; switchable reverb modes Normal for regular reverb and Infinite, Reverse and Bounce for creative effects; clear visualisation of the processing

Theo Wanne Shiva IV, tip opening 7* (0.105"), Metal Tenor Sax mouthpiece, innovative "Shark Gill" Chamber Design, these features give the mouthpiece a rich, full sound with plenty of edge and projection, making it ideally suited for Rock n Roll, R&B or any situation where the player may require some extra carrying power, combination Roll-Over/Step Baffle, Reticulated 24K Gold, includes both Alive Gold and Heavy Copper pressure plates and precision screwdriver, Patented Reed Replacer Cap, User replaceable bite pads with varying hardness, Leather Mouthpiece Pouch, gold finish, similarly-styled like in der Art wie Guardala "Brecker I & II", Lawton, Jody Jazz "Jet", Barone, Sugal, Yanagisawa Metal, Berg Larsen "Chamber 1"

Symphony Desktop pour Mac, iPad pro et Windows intègre la qualité sonore légendaire du Symphony I / O Mk II à montage en rack d'Apogee dans une interface audio 10 × 14 élégante et inspirante qui repose sur votre bureau et tient dans votre sac. Avec Symphony Desktop, les musiciens et les producteurs peuvent enregistrer, superposer et mixer avec les convertisseurs et préamplis micro les plus respectés de l'industrie musicale.En combinant des performances supérieures, avec de nouvelles fonctionnalités telles que l'émulation de préampli micro, le plugin Symphony ECS Channel Strip et l'enregistrement à latence ultra faible avec les plug-ins matériels DSP et Apogee FX, Symphony Desktop amplifiera votre créativité dans votre studio ou en déplacement et donnera vos enregistrements. l'avantage de qualité sonore Apogee.Caractéristiques :- Interface audio de bureau 10 entrées x 14 sorties avec convertisseurs de haute qualité et circuits de la série Symphony- Deux préamplis micro avec gain allant jusqu'à +75 dB et une impédance variable- DSP pour le calcul des émulations de préamplis (British Solid State et American Tube des années 50) et la tranche de console Symphony ECS (EQ, compresseur, saturation)- Résolution : 24 bits/192 kHz- Affichage dynamique sur écran tactile- MIDI via USB- 2 entrées micro/ligne (XLR/TRS combo jack)- Entrée instrument DI avec étage FET (jack TS 6,3 mm)- 2 sorties moniteur (jack TRS 6,3 mm)- 2 sorties casque stéréo assignables (mini-jack TRS 3,5 mm et jack 6,3 mm)- Entrée / sortie optique (ADAT & S/P-Dif)- Port hôte USB-A et port USB-C- Configuration requise : min. macOS 10.12, min. Win10 Anniversary, min. iOS 13 (iPad Pro)- Livré avec les plugins ESC Channel (native) et Symphony Reverb (native), alimentation électrique (12V CC) et 2 câbles USB