OUR AUDIO GEAR IS AT YOUR DISPOSAL
The Avalon VT-737SP features a combination of TUBE preamplifiers, opto-compressor, sweep equalizer, output level and VU metering in a 2U space.
The VT-737SP has three input selections:
- The VT-737SP features a higher-performance microphone input transformer with +48v phantom selection.
- Instrument DI high source input with jack located on front panel.
- Balanced line input, discrete high-level Class A.
The class A preamplifier utilizes two cascaded, dual vacuum tube triodes configured with minimum negative feedback. A high gain switch boosts the overall gain of the preamplifier. The four high-quality tubes are configured as singled-ended anode coupled followers. A passive-variable high-pass filter and hardwire relay bypass completes the input signal conditioning.
The opto-compressor features a minimum signal path design with twin Class A vacuum tube triodes for gain matching. The optical attenuator acts as a simple passive level controller. Full dynamic control from soft compression to hard-knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter.
Apogee Symphony is a modular multi-channel audio interface featuring premium AD/DA conversion and world-class microphone preamps.
Designed to deliver professional sound quality for audio recording, mixing and mastering on a Mac, Symphony I/O is the ultimate music production centerpiece for any modern studio. Connect Symphony I/O to any Mac based Thunderbolt, Pro Tools HD or USB audio workstation.
Legendary Sound Quality
Symphony I/O is the culmination of 25 years of Apogee’s award-winning design experience. Using the most advanced components available, Apogee engineers created an extremely efficient circuit and power design resulting in a significant improvement in audio clarity and transparency over any previous Apogee product.
Input and Output Flexibility
There is a Symphony I/O solution everyone; the home studio, project studio, commercial recording studio, and scoring stage. Choose from five base configurations, 2×6, 8×8, 16×16, 8×8 with 8 mic preamps, or 16×16 with 8 mic preamps and easily expand as your studio grows. With two module slots and the capacity for up to 32 inputs and outputs of A/D & D/A conversion per unit, Symphony I/O offers the best per-channel value of any interface in its category.
These are multitrack recorders: the F4 has four XLR/quarter-inch combo jacks, the F8 has eight, allowing connection of multiple microphones (or other audio sources) simultaneously.
The F4 and F8, Zoom has moved decisively into the realm of truly professional recorders. They’ve improved the sound quality and added professional details such as:
- balanced line-level outputs
- time code inputs and outputs
- hirose power connections
- multiple memory-card slots
- flexible internal routing of audio signals.
The Schoeps CMC6-U microphone preamp is a balanced output stage and +12 to +48V phantom power supply for the Schoeps Colette series modular capsules. The transformer-less output stage ensures low-noise and pristine audio reproduction throughout.
The CMC6-U is terminated with a standard balanced 3-pin XLR connection for use with standard microphone inputs and preamplifiers. It can be used with very long cables and is well-protected against RFI (radio frequency interference.
The MKH 416 is a short gun interference tube microphone. Its excellent directivity and compact design, high consonant articulation and feedback rejection make the MKH 416 a superb all-round microphone for film, radio and television, especially for outside broadcast applications.
- increased directivity due to interference tube principle
- very low inherent self-noise
- high sensitivity
- transformerless and fully floating balanced output
- rugged, suitable for adverse climate conditions
Zaxcom is well known for the high-quality sound of its pure-digital wireless mic systems. While there are some competing brands with digital systems on the fringes that may eventually need to be considered, Zaxcom is currently the only significant player.
The range of the Zaxcom TRX742 system is well within the needs of most productions, and when the goal is to have the wireless boom sound as much like a hard-wired mic as possible, Zaxcom is the clear leader. While the Zaxcom TRX742 plug-on transmitter can turn any mic that has a 3-pin or 5-pin XLR connector into a wireless simply by plugging it on, the most challenging use for a wireless system is the boom mic for dramatic dialog. So this review will be limited to the wireless boom.
Zaxcom has added versatility to the TRX742 transmitter with changeable XLR input adapters, which Zaxcom calls “cones”. There is a 3-pin cone for standard microphones (48V phantom), a 5-pin cone for stereo microphones (48V phantom), and 3-pin digital cones for both AES-3 and AES-42 microphones (10V phantom).
Sanken has introduced the COS-11D, which overcomes RFI (radio frequency interference) from the digital transmitter.
In today’s wireless transmission systems the microphone must remain unaffected by new forms of digital transmitter signals. They present new challenges in the area of emission protection. In many cases, noise levels increase and the S/N ratio is deteriorated by the interference of digital transmitters. Sanken has designed the COS-11D specifically to diminish the instances where interference is an issue. The COS-11D is an omnidirectional lavalier microphone. This microphone has been fitted with the TA5 Universal locking connection for Lectrosonics transmitters.
K-Tek has always considered the boom pole to be an extension of the audio professional’s arm.
It is essential that a good boom pole has a natural design that simply extends the reach of the microphone, quietly and lightly towards the sound or voice being recorded.
The ME 67 is a long gun microphone head designed for use with the K6 and K6P powering modules.
A highly directional microphone, it can be used where the microphone must be placed at a distance from the sound source. Matt black, anodised, scratch-resistant finish.
- Lobar pick-up pattern
- Highly directional
- Very low inherent self-noise
- High sensitivity factor
- Wide frequency response
- Pick-up pattern: lobar
- Sensitivity in free field, no load (1kHz): 50 mV/Pa +- 2,5 dB
- Nominal impedance: 200 Ohm (K6)
- Min. terminating impedance: 1000 Ohm (K6)
- Equivalent noise level: 10 dB
- Equivalent noise level weighted as per CCIR 468-3: 21 dB
- Dimensions: d 22,5 x 343 mm
- Weight: 100 g
The Sennheiser ME66 shotgun microphone is the audio equivalent of a tack-sharp zoom lens on your camera.
With high sensitivity and low on-board self-noise, it’s designed to give you realistic, full-bandwidth frequency response from audio sources that might not be particularly close to you. A super-cardioid pickup pattern means you won’t be hearing any noise interference from directions off-axis from where you point the mic. The K6 powering module is designed to power the mic from an internal “AA” battery or external 12-48V phantom power, like that provided by many camcorders and mixers. It terminates in a 3-pin XLR jack for easy professional-level connections.
Fast. Flexible. Professional.
The characteristics of the Sennheiser G3 Lavalier Mic make the ew 112-p G3 the perfect fit for every ambitious reporting team seeking both portability and great sound quality. The nearly invisible clip-on Omni-directional microphone transmits its signal via a bodypack transmitter with mute function and a portable, battery-powered adaptive-diversity receiver. The receiver and transmitter are lightweight and easy to operate, yet rugged and packed with features.
Double vocals, add lo-fi color, control stereo width, and manipulate your mix in a virtual space.
- Vinyl (creative effects)
- Ozone Imager (mastering)
- Vocal Doubler (creative effects)
- Visual Mixer (mixing)
The world’s largest selection of pro-quality audio plugins, from the industry’s most popular equalizers, compressors and analog models, to award-winning reverbs, delays, effects, virtual instruments, surround sound tools and more.
Creating music in-house separates us from other marketing agencies or post-production houses because we can tailor musical tracks to exemplify every detail of your media in order to meet your specific needs. We don’t rely on third-party music sources. You can work with our team to get the exact music or sound you are looking for. This is a huge advantage, especially if your business exists in a very competitive arena. More often than not, brands are forced to “share” musical tracks, which makes their content unoriginal. When you work with us, you can select from The Delorean’s music gallery of unused tracks and soundbites, or commission or team invent a sound specifically for your production needs.