You Keep Coming Back (3:15)
My Little Someone (4:16)
DJ Quest - "Bytecon" (T-Wrex remix)
30Hz - "Bytecon" (T-Wrex remix)
The 4ms Dual Looping Delay (or DLD) is an advanced audio processor for creative synthesis. Not a tape or analog emulation but a modern crystal-clear digital delay, the DLD combines features of delay, looping, and sample-tight synchronization for powerful and dynamic sound capture and modification. The DLD is designed to integrate seamlessly with modular time-base and sequencing devices such as the 4ms Quad Clock Distributor (QCD), etc.
What is a "Looping Delay"?
Modern looping devices grew directly from hardware digital delays of the late 70s and early 80s. A looping delay, modelled on units such as the classic Lexicon PCM42, has the very long storage times associated with dedicated looping, but without triggered record and playback functions.
By default, a looping delay records and plays continuously, though recording can be suspended at any time with Infinite Repeat. Sustain of delays and loops is mainly accomplished with regeneration, allowing an organic, evolving approach to sound creation as new material replaces old, more or less gradually. The 4ms Dual Looping Delay also provides advanced clock input and output facilities that allow for locking delayed and looped material with sequencers and rhythm devices of all descriptions.
The 4ms Dual Looping Delay is conceived and designed by Gary Hall. Implemented and manufactured by 4ms Company
With a Tap Tempo button and five sync'ed clock outputs, the QCD is a versatile head-of-the-chain "Master" clock module, and/or a complex rhythmic pattern generator.
We Played Some Open Chords & Rejoiced, For The Earth Had Circled The Sun Yet Another Year
Requiem For The Static King (part 1)
Requiem For The Static King (part 2)
Minuet For A Cheap Piano Number Two
Steep Hills Of Vicodin Tears
A Symphony Pathetique
All Farewells Are Sudden
Output and Modulation types include Pulses, Gates, LFOs, Digital Noise, Loopable S&H modes and a collection of Arpeggios and Rhythmic Loops.
Tempo-sync for all Outputs is provided by the on-board Clock or
an External Clock Input with Tempo ranges from 20 to 270 BPM.
Outputs can be set to any Clock Division or Multiple from 1/16th
of a Beat to 16 Bars and can be Offset up to 360 Degrees.
Intuitive interface allows user-definable control over knob and parameter behavior to match the preferences of individual users.
For audio, please visit: http://www.abstractdata.biz/products/eurorack/3x/ade32/?tab=audio
Do U Know What You Represent? (5:28)
More Odds (6:12)
Just Like You (7:05)
Organ Morph (5:10)
Input impedance 190 Ohm, output impedance 2575 Ohm. Input connector insulated, output connector grounded.
The A77X is a horizontally designed monitor that combines all of the technical innovations in the AX-Series. Due to its powerful, compression-free sound reproduction and excellent radiation characteristics, it is suitable both for nearfield and midfield monitoring.
The special feature of the A77X is its 2 1/2-way system. Both 7" woofers start to work together at 38 Hz and at 400 Hz one woofer fades out and only the second woofer continues to operate in the midrange up to 3 kHz. This prevents interferences and possible phase cancellation in the critical midrange. Even though frequency transitions and potential distortions lie outside these areas, the human ear is particularly sensitive to midrange frequencies.
Especially noteworthy in the A77X is the extremely wide stereo foundation and brilliant stereo imaging. Treble and mids are reproduced with three-dimensional realism and the lows are, as expected from a double woofer design, massive without compromising on precision.
The DH-ADSR is exactly the same circuit as the original Model D envelope and therefore features the same contour shape and retrigger behaviour, but with the addition of a release control. However, they have also added a pulse delay and pulse stretch circuit, along with a re-trigger facility (both of these can be switched out of circuit so that the envelope is a simple ADSR unit).
The addition of pulse stretching and retrigger makes it into an LFO module and it can perform in a similar way to the EMS Synthi A and VCS3 Trapezoid generator, with a variable delay between each trigger and a variable "on" time - however it can also have full ADSR envelope on each retrigger too!
- PREDELAY - This control determines how long (up to 10 seconds) the start of the envelope is held off, after a gate is received. This ability to delay the onset of the envelope is especially useful when used in conjunction with a standard ADSR: With both envelopes receiving the gate simultaneously complex envelopes can be produced as the DH-ADSR only starts running through its stages after the standard ADSR has completed. Once their outputs are mixed together in a mixer a single evolving envelope with multiple stages is produced!
- Use of the bipolar mixer found in the MINIMOD CV MIX-OFFSET-VCA module can enhance this technique even further, with more precise control over the polarity/offset of the envelope mix possible. Using the VCA of this module could allow for external modulation over either/both of the signals. It goes on...
- HOLD - When in Del-Hold mode (switch down) the HOLD control determines the gate length applied to the envelope, and thus controlling its length/overall shape. When the switch is up, normal ADSR action is produced.
- RETRIG - In this mode the DH-ADSR becomes an LFO, which can mimic the "Trapezoid" function of the vintage EMS designs. HOLD controls the length of the trapezoid shape, and PREDELAY allows for adjustable gaps between each repeat of the shape produced.
Also included is a DC coupled VCA, the input of the VCA is normalised to the output of LFO 2, so a 0 to +5V input to the VCA CV input gives control of the LFO waveform amplitude. It can also be used as a stand alone VCA.
This module is very useful for controllers such as the Waldorf KB37 where the modulation wheel gives out 0 to +5V, this can be routed to the VCA CV module so the level of the modulation waveform can be easily controlled. This makes it very easy to add VCO vibrato or filter 'wah' with control of modulation amount from the modulation wheel or other controller.
Look Out (1:56)
Brite Boy (2:30)
In Love (3:29)
Just One More Time
Pass The Bridge
Just One More Time (Yegor Cergei remix)
Blue Falcon (4:19)
Duck March (2:58)
Screw Driver (4:40)
The AV Direct has stereo RCA, 1/8" and 1/4" TRS line level inputs, as well as a 1/4" and bare wire pressure clip speaker level inputs. A switchable 4.8 kHz high cut filter, ground lift and variable level control allow the AV Direct to effectively filter out any extraneous unwanted noise while offering variable volume control at source. The speaker level inputs are heavily padded and transformer isolated from the XLR output, allowing amplified speaker level (up to 100W @ 8 Ohms) to be tapped off, and sent to a microphone level input. A 20Hz to 20 kHz frequency response ensures the AV Direct will function seamlessly with any high quality audio source.
Hum in an audio system is often caused by loop effects which act like antennas. These loops can easily pick up a 60 Hz (or higher harmonics) hum transmitted by electrical wiring. Typically, these loops are connected via grounds, more commonly called 'ground loops'. The safest way to eliminate unwanted noise is with the CleanBOX II.
Some examples of Ground Loops:
The power ground of a synthesizer, connected to the signal ground of the synth, into a mixer's ground, then into a mixer's power ground.
The signal ground of a send effect (reverb, delay) into a mixer, and the connecting power grounds of the mixer and the unit.
The power ground of a guitar amplifier, connected to a signal processor which has a second guitar amplifier on the other channel, and then the second guitar amp's power ground.
The CleanBOX II easily removes ground loops without any signal degradation.
One section of the CLEANBoxPro converts 2 channels of consumer-level unbalanced input signals into 2 channels of pro line-level balanced output signals. It has 2 RCA jack inputs and a stereo mini-phone jack input connected in parallel. The balanced output feeds 2 XLR male jacks.
The other section of the CLEANBoxPro converts 2 channels of line-level balanced input signals into 2 channels of consumer unbalanced output signals. It has 2 XLR female input jacks. The unbalanced output feeds 2 RCA jacks and a stereo mini-phone jack connected in parallel.
Each section has stereo level controls to optimize signal levels. An LED indicator lights when power is applied.
The CLEANBoxPro can be an invaluable tool in application areas including: home or professional recording studios, live sound, PA, permanent installs, DJ, AV, consumer Hi-Fi, podcasting and broadcasting. The CLEANBoxPro can be used with: mixers, audio processors, laptop computers, computer sound cards, CD/DVD players, video gaming machines, MP3 player/recorders, powered monitors and digital audio workstations.
What further sets the DTI apart from other lesser isolation boxes is its connection versatility, with XLR, 1/4" phone, and RCA type phono connections on all inputs and outputs. This allows it to easily fit into virtually any audio system and be the clean patch point between all types of systems.
Whether you need an interface between a computer based audio workstation and your monitor system, isolation on long cable runs in a fixed installation, isolation of a signal source from your recording equipment, or in many cases, just a safer connection between two audio systems, the DTI can accommodate.
The compact black anodized all aluminum case and it's passive design allow the DTI to provide years of trouble free service in Live Sound, Permanent/Fixed Install, DJ, and virtually any PA application. Its full feature set, rugged construction, and high-end specifications make the DTI the obvious choice.
The input attenuator switches allow for a wide range of signal levels and the input Thru jacks allows for tapping off of your signal chain. The ground lift switches let you totally separate the input and output signal grounds, when appropriate, to isolate 2 x systems, thereby reducing hum and ground-loop noise.
What further sets the DUALZDirect apart from other DI boxes are its extended features and versatility. Art have added switchable low pass filters that cut out all very high frequency interference. These Bessel filters on the outputs are placed out of the audio range and are primarily intended to reduce radio frequency interference before it gets into the main system. The filters are also very effective in reducing any digital computer noise artifacts when using the DUALZDirect as an interface between a computer-based audio workstation and your monitors. The pase invert switches, while not normally included with your run of the mill DI box, have been added to allow you to switch signal polarity right at the source. This feature is especially handy when you are combining a direct tap with a microphone feed in the mix.
The compact black-anodized all aluminum case and it's passive design allow the DUALZDirect to provide years of trouble free service in live sound, permanent/fixed Install, DJ, and virtually any PA application. It's full feature set, rugged construction, and high-end specifications make the DUALZDirect the obvious choice.
Packing as many features as possible into the small format chassis, the HeadAmp4Pro has five stereo headphone outs, each with their own volume control. A separate footswitchable XLR input (with phantom power) allows instant talkback to any one, or all of the connected headphones. Input matrix allows the listener to audition any or all auxiliary inputs for maximum versatility.
Although designed for home and project studio, the HeadAmp4Pro may easily be the ideal solution for teaching stations and conferencing communication networks.
Connect the MyMONITOR between the mic and line source, and the mixer. The mic and line monitor levels can then be adjusted for mix and volume through the headphones. Only the mic signal will go to the board. And since the MyMONITOR can be AC or battery powered, the unit can be used on a large stage or wherever there is no AC outlet nearby. Dynamic or condenser mics can be used since phantom power would come through the mic thru jack from the mixer or other source.
All-steel chassis, black anodized finish and secure, high-quality XLR connections front and back with internal connections made via PCB wiring ensure long term reliability from the passive ART P-16 balanced XLR rackmount patch bay.
The fully shielded steel 19" 1U rackmount chassis has reversible rack ears for maximum flexibility.
Built into the PB 4x4 is a Surge and Spike Protection System, designed to protect powered equipment from harmful electric surges and spikes. The unit also has RFI and EMI filtering.
The PB 4x4 also features a front-located on/off power switch (which lights up when turned on), and a front-mounted circuit breaker reset switch. The unit has a total power capacity of 1800W, and has a front-mounted, 15 AMP circuit breaker.
The rugged, all-steel chassis occupies 1U rack spaces and is intended for installation into standard 19" equipment racks. Applications for the PB 4x4 include live sound systems/PA, permanent or fixed installations, church, club and practice PA systems, DJ sound systems, home and project recording systems, and monitor systems.
The PB 4x4 features a one-year warranty.
The Phantom II Pro is an invaluable tool in application areas including (but not limited to): home or professional recording studios, live sound, PA, permanent installs, DJ, AV, podcasting and broadcasting. Use it with mixers, audio processors, digital audio workstations or anywhere you need phantom power for your mics.
Additionally, the PowerMIX III provides a headphone output with its own level control.
1. Plug the AC adapter into the 12V DC input on the PowerMIX III and plug the other end into a 120V AC wall socket.
2. Plug your stereo signal sources into the separate L/R Inputs on channels 1 to 3. Mono sources can be plugged into the Left Input on any channel. It is not recommended that you connect 2 mono sources to any one channel.
Maximum gain: +27 dB
Input impedance: 10k Ohms
Maximum input level: +30 dB
Maximum output level: +13 dB
Output Impedance: 100 Ohms
Total harmonic distortion: > 0.005%
Power: 12V DC
Dimensions: 143mm x 92mm x 45mm
The ART Pro MPA II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.
Each microphone input circuit, with selectable 48V phantom power, features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone.
The Pro MPA II can operate at either a low or high plate voltage on the 2 integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display output levels while multi-colored LED arrays show tube gain.
Housed in a standard 2U space rack mountable steel chassis, with CNC routed black anodized aluminium face panel, the Pro MPA II is designed to deliver years of reliable operation in the studio, production facility, or on the road for live sound reinforcement.
And if AC power is not available, the ProMIX runs on batteries as well.
The Attack and Release functions allow the user to set the general operating range and then automatically adapt to the audio being processed. A full auto mode is also available. The ultra-precise LED meters while two LED meters clearly display the gain reduction for each channel.
Rated at 100 watts rms/channel @ 8 ohms (130 watts rms/channel @ 4ohms), with a frequency response from 10 Hz to 40 kHz the SLA-1 is perfect for professional, project and home studios. Capable of delivering 260 Watts when bridged mono into an 8 ohm load, the SLA-1 can easily move out of the studio and into any live rig or installation as an ideal monitor amplifier or zone amp solution.
The SLA-1 has been designed to deliver in the most demanding audio applications. Housed in an aluminum and steel single space 19-inch rackmount chassis, the SLA-1 uses a proven toroidal transformer design for unmatched long-term reliability.
The SLA-1 features SmartFan, an advanced, thermal dependent fan assisted convection cooled system. The SmartFan system is dependent upon the internal ambient temperature of the unit, and runs at high or low levels depending on the amplifier's cooling needs.
XLR and 1/4-inch TRS balanced inputs as well as multi-way output binding posts are ensure the SLA-1 can be quickly and easily tied in to any system without modification. A simple to install tamper proof cover is included.
The SP 4x4 also features ART's "4x4" distribution on the back of the unit - four of the eight rear outputs are 1.25" apart. This allows the user to plug in wide power cables and multiple wall wart devices, and still have eight total power outlets to choose from. Built into the SP 4x4 is a surge and spike protection system, designed to protect powered equipment from harmful electric surges and spikes.
The unit also has RFI and EMI filtering, a 15 amp breaker, and a total power capacity of 1800 watts. The SP 4x4 also features a front-located on/off power switch (which lights up when turned on), and a front mounted circuit breaker reset switch. The rugged, all steel chassis occupies 1U rack spaces and is intended for installation into standard 19" equipment racks.
Applications for the SP 4x4 include Live Sound Systems/PA, Permanent or Fixed Installations, Church, Club and Practice PA Systems, DJ Sound Systems, Home and Project Recording Systems, and Monitor Systems.
As a splitter: the SPLITComPro provides one direct-coupled output and one isolated output from a single microphone. Applications include sending the direct output to the main or FOH mixer, and the second isolated output to a monitor or recording mixer. The main mic output passes phantom power from the main mixer to the amin mic input for use with condenser microphones. The Phantom power is blocked from passing to the isolated mic output.
Aa a combiner: The SPLITComPro provides one output from 2 microphone inputs. The phase switch can be used to invert the relative phase of the isolated mic input. Applications include dual micing of percussion instruments, choirs, and instrument amplifiers. The Phantom power passes through each output to their respective input, (main to main, isolated to isolated), however the phantom power is blocked from passing between the main and isolated signal paths. Only the audio passes between the main and isolated signal paths (it is present on all inputs and outputs).
Independent stereo level controls are provided on each channel. All 1/4" connections are stereo TRS (Tip, Ring, Sleeve) and all channel connections have intelligent switching to allow for a wide variety of configurations. Plugging into a mix input channel removes it from the splitter bus, and plugging into a splitter output channel removes it from the mix bus. Stereo or mono operation is determined by the type of 1/4" plug and cabling that you use.
The fully passive design of the SPLITMix4 has no active circuitry to add noise or distortion, and virtually any signal level can be handled. The Level attenuators cover a wide range and offer over 90 dB of attenuation and channel isolation. The SPLITMix4 is designed primarily as a line level device with medium input and output impedances.
The compact black-anodized all aluminum case and it's passive design allow the TPatch to provide years of trouble free service.
Connectors: 1/4" TRS balanced phone jacks
CMRR: > -90 dB (typical)
Isolation: > -80 dB (typical)
Dimensions (mm): 47 H x 117 W x 99 D
Connectors: 1/4" TRS balanced phone jacks
CMRR: > -90 dB (typical)
Isolation: > -80 dB (typical)
Dimensions: 47mm x 117mm x 99mm