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.

Avenger A4050CS Junior Combi Boom Stand 50; Stable steel tripod, easily convertible into a boom stand; with 4 segments, 3 risers, 1 leveling leg and a combination attachment; When used as a traditional tripod, it reaches a maximum height of 500 cm and has a load capacity of 30 kilograms; The sturdy, built-in pan clamp easily converts this tripod into a boom; When used as a boom stand, the minimum boom length is 155 cm and the load capacity is 30 kg; When used with the maximum boom length of 266cm, the load capacity is 8kg; Technical data:; Max. Height: 500cm; Min. height: 188 cm; Closed height: 165 cm; Max. payload: 30 kg; Max. boom length: 266 cm; Min. boom length: 155 cm; Top mount: 28mm (1 1/8") & 16mm (5/8") spigot mount; Max. diameter of standing area: 135 cm; Material: Steel; Weight: 15kg;

Size: 4 x 2.3 m- Free-standing background- Three-part, collapsible aluminium frame- Easy to assemble- Fabric can be easily attached to the frame- Machine washable at 40°- Width when set up: approx. 4 m- Height when erected: 2.3 m- Transport dimensions: 104 x 35 cm- Total weight: 9 kg- Incl. transport bag

EUROLIVE VQ1500D Professional Active 500-Watt 15 PA Subwoofer with Built-In Stereo Crossover - Professional 500-Watt powered subwoofer for PA applications - Powerful 15'' long-excursion transducer with high temperature voice coil provides incredibly accurate and pulse-pounding bass - Precise reproduction of ultra-low frequencies for bulletproof punch and impact - State-of-the-art 500-Watt Class-D amplifier with comprehensive over-excursion, thermal and clip limit protection - Built-in active stereo crossover provides high-pass filtered outputs for full-range loudspeakers - Tunable and switchable Bass Boost plus Phase switch for ultimate low-frequency performance - Variable High Cut control for perfect sound alignment - Subwoofer Level control to adjust the balance between subwoofer and the full-range speakers - Power, Signal and Clip LEDs for perfect monitoring - Intelligent limiter for maximum sound performance and woofer protection - Internal switch-mode power supply for noise-free audio, superior transient response and very low power consumption - Pole socket for mounting with commercial spacer poles - Ergonomically shaped handles for easy transport - Rugged steel grill for optimal speaker protection - High-quality components and exceptionally rugged construction ensure long life - Conceived and designed by BEHRINGER Germany Our EUROLIVE VQ1500D 500-Watt active subwoofer provides the ultimate in low-frequency reproduction, and the built-in stereo crossover makes it ideally suited for use with any of our active 2-way loudspeakers. Packed with a powerful 500-Watt Class-D amplifier, 15 long-excursion Low-Frequency (LF) transducer and an incredible array of professional features, the VQ1500D produces extreme levels of low-end punch, with the definition and clarity typically reserved for much larger systems! Put simply, these cool-running systems are much lighter, making them ultra-easy to transport and set up and our no-compromise design means you get amazingly-deep, chest-pounding bass that will keep the party going all night long. Class-D - Massive Power, Perfect Sound Thanks to our revolutionary Class-D amplifier technology, we are able to provide you with enormous power and incredible sonic performance in an easy-to-use, ultra-portable and lightweight package. Class-D amplification makes all the difference, offering the ultimate in energy efficiency and eliminating the need for heavy power supplies and massive heat sinks. This amazing technology makes it possible to design and build extremely powerful products that are significantly lighter in weight than their traditional counterparts, while using less energy and protecting the environment. Custom-Engineered Transducers Powerful, high-efficiency Class-D amplifiers and Switch Mode Power Supply technology coupled with state-of-the-art DSP functionality sure sounds impressive but what about the part of the system you actually hear We never cut corners on our transducers (woofers and tweeters), and we never just pull what we have off the shelf. Our LF transducers are designed specifically for each application it s what sets us apart from the competition. When you buy a BEHRINGER active subwoofer, you can rest assured that the transducer inside has been engineered to perform flawlessly with every other element for truly professional results. The VQ1500D active subwoofer is capable of extremely high sound pressure levels: 122 dB (Full Space, 1 W @ 1 m), with a frequency range of 40 - 200 Hz. Take Control The VQ1500D features balanced XLR inputs and outputs, as well as balanced XLR Thru jacks for connecting additional enclosures. A Boost Frequency knob targets a boost frequency between 40 and 90 Hz. Flick the Boost switch to give your selected frequency a +10 dB boost. The VQ1500D also has a High Cut dial that provides precision control over the upper-corner frequency of the subwoofer s amplifier. The High Cut dial does not affect the Thru signals, only signals directed to the subwoofer (however, it does affect the Output socket signals sent out to full-range speakers). A Level knob controls the input gain, and the Phase switch reverses the output phase to compensate for frequency cancellation between the subwoofer and satellite speakers. LEDs show operational status at a glance, including power, signal present and input overloads. Which Speaker Do I Need As you have probably noticed, we make these subwoofers in two different woofer sizes. Which one is right for you An 18 woofer has more surface area with which to move air than a 15. If you re running sound for a jazz combo in a dinner club, a single VQ1500D might be all you ll need. But if you need to serve up pulse-pounding techno at a large, standing-room-only dance club, you might need a pair of VQ1800Ds to really ignite the dance floor. Sound Value The VQ1500D PA subwoofer stands head and shoulders above the rest of the pack and delivers exceptional performance, even when pushed to the limit. Lightweight and powerful with custom-designed transducers, 500 Watts of Class-D output power and a state-of-the-art onboard active stereo crossover, the VQ1500D is ideal for any music application at a price that is unheard of in this class. Experience the EUROLIVE VQ1500D at your local dealer today and find out why more and more professionals are turning to BEHRINGER EUROLIVE active subwoofers for their superb performance and extraordinary value.

Low-noise amplification with up to 75 dB- High-performance 3.5 mm headphone output for latency-free monitoring- 48 V phantom power- Switchable low-cut filter- Capacitive button mutes the microphone when touched- Frequency response: 20 - 20,000 Hz- Dynamic range: 100 dB (120 dB with Clipguard)- Resolution: 24 bit- Sample rate: 48/96 kHz- Interface: USB-C- System requirements: Windows 10 (64 bit),macOS 10.15 or newer, USB 3.0 or higher.- Dynamic voice microphone for content creators, streamers, podcasters and commentators- Integrated pop filter- Polar pattern: cardioid- Frequency response: 50 - 15,000 Hz- Sensitivity: 2.5 mV/Pa - 52 dbV/Pa- Impedance: 600 Ohm- XLR connector- Detachable and rotatable logo- Incl. 5/8" bracket with 3/8" and 1/4" adapter- Dimensions: 53 x 53 x 146 mm- Weight: 440g- Swivel arm for microphones- Individually adjustable arm with rotating base- Internal springs and hidden cable ducts- Maintains microphone position when height is adjusted- Adjustable counterweight matches arm tension to microphone weight- Padded table clamp with 60 mm range- Ball joint head with 1/4" thread and adapters for 3/8" and 5/8"- Horizontal reach: 780 mm- Vertical reach: 750 mm (without height extension)- Height extension: 150 mm- Length of lower arm: 400 mm- Length upper arm: 400 mm- Supported microphone weight: 0.25 kg to max. 1 kg (with accessories)- Length: 3 m- XLR 3-pin male < - > XLR 3-pin female- Colour: Black

Back Strap Premium L-Brown B; saxophone strap, made of leather; luxury and most comfortable version of the classic BALAM shoulder strap; knot technology that does not strain the neck; designed and manufactured so that the cords do not fall down due to the weight of the instrument when playing; a wide cord adjuster prevents the shoulders from leaning forward when worn; maintaining a stable playing posture; longer padding to reduce weight, premium coating; revised adjustment mechanism at the front combined with a blocking system prevents the hassle of readjusting the strap length, once adjusted - always the same position; genuine brown leather with elegant bronze colored brass parts; made in Korea

LUGO Retaining Strap Mini L; upper retaining strap for the use of the Bassbelt Pro; size L; stabilizes when tipping away sideways and ensures optimal weight distribution when carrying an English tuba; consisting of the highest quality seatbelt straps and strap accessories from renowned manufacturers; Made in Austria; Note: for use, a LUGO Bassbelt Pro and a Retaining Strap Max are still needed!

Petit parapluie astucieux qui se glissera sans problème dans votre sac, une fois l'avoir glissé dans sa petite housse de rangement. Avec son motif de partitions de musique noir sur fond blanc, il fera craquer plus d'une personne.

Precise analysis in conjunction with a natural-sounding correction algorithm optimise the frequency response and stereo image of studio monitors at the monitoring position- Automatic multi-point measurement based on 3D VRM technology with "Quick Mode" for room correction with just 7 measuring points- Virtual Monitoring simulates different monitoring situations and playback devices including over 20 profiles of well-known studio monitors- Monitor Control Panel inkl. Echtzeit-Analysator- Quick set-up thanks to simple step-by-step room analysis with 7 or 21 measuring points- Natural and Linear Phase Mode- Precise corrections with extended parameters- Measurement accuracy when using the ARC system microphone +/- 0.5 dB- Support for measurement microphones from other manufacturers- Saves the measurement results for use in the ARC system correction plug-in- Four factory presets and four user presets for customising playback to personal preferences- Measurement at 48 kHz, supports playback resolutions up to 32 bit / 192 kHz- Scalable user interface- Measurement microphone features: Precision measurement MEMS microphone- Omnidirectional polar pattern, free-field equalised- Calibrated frequency response when used with ARC: 20-20,000 Hz, +/- 0.5 dB- Transformerless output, electronically balanced, impedance 100 Ohm- Signal-to-noise ratio: 65 dB- Maximum sound pressure level: 124 dB- Phantom power 12-48V- Dimensions: 129.5 x 23 mm- Weight: 25 g- Requires an audio interface with phantom-powered XLR microphone input and a stereo monitor output as well as support for 44.1 kHz or 48 kHz sampling rate- Measuring microphone- Microphone clamp- Software licence

Wavebone Hover 900 Keyboard Stand BK, stable height-adjustable table on casters for keyboards, stage pianos or synthesizers; height adjustable from 520 to 750 mm; max. load: up to 70 kg when standing, up to 25 kg when moving the table; casters with locking function; material: steel, MDF; dimensions: 900 x 400 x 520 - 750 mm (WxDxH), distance between the legs: 690 mm; weight: approx. 16.8 kg; color: black; Attention - Stand must be assembled by the customer!