Lyd

2.999,-

Audio-Technica Mikrofon Dynamisk Håndholdt Hypernyre AE6100 er en supernyre dynamisk mikrofon. Høy ”presence”, eksellent demping av lyd fra monitorhøyttalere. Høy utgangsspenning, hurtige transienter og ren artikulering. Maksimal beskyttelse mot feedback. Element: Dynamic Polar Pattern: Hypercardioid Frequency Response: 60-15,000 Hz Open Circuit Sensitivity: -55 dB (1.7 mV) re 1V at 1 Pa Impedance: 250 ohms Weight: 10.9 oz (310 g) Dimensions: 6.97" (177.0 mm) long, 1.89" (48.0 mm) head diameter, 1.30" to 0.87" (33.0 mm to 22.0 mm) tapered body diameter Output Connector: Integral 3-pin XLRM-type Accessories: AT8470 Quiet-Flex® stand clamp for 5/8"-27 threaded stands; 5/8"-27 to 3/8"-16 threaded adapter; soft protective pouch

Audio Technica AT-8539 ...

2.349,-

Audio-Technica Powermodul InLine m/HIROSE kontakt Phantom AT-8539. Phantom (kun) powermodul. Input på Hirose konnektor for alle wireless essentials mikrofoner. Passer for AT-892 MicroSet®, med basskutt. Passer også for alle Audio-Technica Wireless Essentials® mikrofoner med 4-pin Hirose konnektor.

Audio Technica ATM250 ...

3.660,-

Audio-Technica Mikrofon Dynamisk Instrument Hypernyre ATM-250 er en supernyre dynamisk instrumentmikrofon som håndterer svært høye SPL ved tett oppmikking. Den har stor, varm lavfrekvensrespons som gir eksellent nærhet - supernyre retningskarakteristikk som reduserer følsomhet for lyder fra sidene og bakfra. Element: Dynamic Polar Pattern: Hypercardioid Frequency Response: 40-15,000 Hz Open Circuit Sensitivity: 54 dB (1.9 mV) re 1V at 1 Pa Impedance: 600 ohms Weight: 252 g (8.9 oz) Dimensions: 127.5 mm (5.02") long, 55.0 mm (2.17") diameter Output Connector: Integral 3-pin XLRM-type Accessories: AT8471 isolation clamp for 5/8"-27 threaded stands; 5/8"-27 to 3/8"-16 threaded adapter; soft protective pouch

Avantone CLA10 Passiv ...

8.599,-

The Iconic Studio Monitor System is back. Avantone Pro, in conjunction with the expertise of legendary mixer Chris Lord-Alge, have designed the most faithful reproduction of the world’s most iconic studio monitor. Now everyone can mix on the monitors that define “the hitmaker sound”. A tremendous amount of design work and exacting detail have finally made the “white cone” monitors available to everyone! We also created what the world has always asked for — an active-powered version: the CLA-10A! The Original Drivers for the Original Sound Since the “white cone” studio monitor was discontinued, the supply of aftermarket components have become more and more expensive and less and less available. Avantone Pro has created a near exact recreation of the original drivers. Using our global resources and decade of experience in driver construction, we have reproduced the components faithfully, updating the materials to comply with modern environmental requirements. The “White Cone” has Returned! The AV10-MHF tweeter dome went through a difficult engineering process to get the exact phenolic resin doping to match the original performance curve. The AV10-MLF woofer uses custom tooled mechanical parts that mirror the original. We worked closely with one of the original vendors of the original cone to get the exact same stiffness and weight. The only difference from the original is that we use a pressed cone as opposed to a lapped. This allows for tighter matching in every cone we build — meaning this is the first time matched pairs have been available! Both replacement drivers are physically and dimensionally exactly the same as the originals and are “bolt in” hassle-free installation. The CLA Monitor Family — Only from Avantone We’ve worked tirelessly to bring this classic monitor system back to the world — but it took more than just recreating a single speaker. A tremendous amount of attention has been put into every detail: matching the original MDF and wood veneer for the cabinet, matching the original winding dimensions/value/dc resistance of the inductors, profiling the most popular amplifier pairings of the original, just to name a few things. All of this development has culminated into a slew of monitor solutions. The CLA-10 and CLA-10A: the iconic “white cone” monitors, in both passive and active configurations. The CLA-100 and CLA-200: reference amplifiers with the perfect voicing to compliment the CLA-10 and original “white cones.” AV10 MHF and AV10 MLF: the classic “white cone” drivers — now available for the first time in decades as direct replacements for the original. AV10 MXO: replacement crossover for original Yamaha™ NS10M™ studio monitors. The white cone in the black box™ Specifications System Type: Passive - full-range two-way stereo pair Frequency Response: 60Hz-20,000Hz (Accessible musical range) Power Capacity: Program – 60W, Maximum – 120W Sensitivity: 90dB SPL (1W, 1m on axis) Components: Low Frequency: AV10-MLF 18cm cone High Frequency: AV10-MHF 3.5cm soft dome Cabinet: 10.4 liter sealed design, 18mm MDF with real wood veneer Cabinet Dimensions: 381.5mm x 215mm x197.5mm ( 15”x 8 ½”x 7- ¾ ” ) Cabinet Weight: 6.3kg / 13.9 Lbs (each) Warranty: 5 Year Limited Warranty to original purchaser

Avantone CLA10A Aktive ...

12.299,-

The Iconic Studio Monitor System is back. Avantone Pro, in conjunction with the expertise of legendary mixer Chris Lord Alge, have designed the most faithful reproduction of the world’s most iconic studio monitor. Now everyone can mix on the monitors that define “the hitmaker sound”. A tremendous amount of design work and exacting detail have finally made the “white cone” monitors available to everyone! And now the world has finally gotten what it always asked for — an active-powered version: the CLA-10A! Black box. White cone. High-range frequency. It’s not known as the world’s best — it’s known for being the world’s best reference — the sound that creates hits. The Original Drivers for the Original Sound Since the “white cone” studio monitor was discontinued, the supply of aftermarket components have become more and more expensive and less and less available. Avantone Pro has created a near exact recreation of the original drivers. Using our global resources and decade of experience in driver construction, we have reproduced the components faithfully, updating the materials to comply with modern environmental requirements. The “White Cone” has returned — with lots of power! The AV10-MHF tweeter dome went through a difficult engineering process to get the exact phenolic resin doping to match the original performance curve. The AV10-MLF woofer uses custom tooled mechanical parts that mirror the original. We worked closely with one of the original vendors of the original cone to get the exact same stiffness and weight. The only difference from the original is that we use a pressed cone as opposed to a lapped. This allows for tighter matching in every cone we build — meaning this is the first time matched pairs have been available! Both replacement drivers are physically and dimensionally exactly the same as the originals and are “bolt in” hassle-free installation. Available For the First Time in an Active Configuration. One of the most common questions asked about the CLA-10A’s is which version of the originals are they based on, and the answer is: all of them! The CLA-10A’s have an all new “VTPC” knob or “Variable Tissue Paper Control.” This VTPC allows you to simulate anything from the Vertical “m” model to the horizontal “Studio” model and everything in between. No more debate over the best tissue paper to use — VTPC has you covered! Avantone Pro decided to stay traditional with a linear power supply implementing a massive old school toroidal transformer in order to maintain the legacy sound. The CLA-10A uses a monolithic Class AB amplifier. At low power, THD is a phenomenal 0.005%; at rated load it is 0.1%, yielding excellent performance compared to class D amps. The system yields a rock solid 200WRMS. The CLA Monitor Family — Only from Avantone We’ve worked tirelessly to bring this classic monitor system back to the world — but it took more than just recreating a single speaker. A tremendous amount of attention has been put into every detail: matching the original MDF and wood veneer for the cabinet, matching the original winding dimensions/value/dc resistance of the inductors, profiling the most popular amplifier pairings of the original, just to name a few things. All of this development has culminated into a slew of monitor solutions. The CLA-10 and CLA-10A: the iconic “white cone” monitors, in both passive and active configurations. The CLA-100 and CLA-200: reference amplifiers with the perfect voicing to compliment the CLA-10 and original “white cones.” AV10 MHF and AV10 MLF: the classic “white cone” drivers — now available for the first time in decades as direct replacements for the original. AV10 MXO: replacement crossover for original Yamaha™ NS10M™ studio monitors. Specifications System Type: Active Full-Range Two-Way Stereo Pair System Frequency Response: 60Hz-20,000Hz (Accessible Musical Range) Components: Low Frequency: AV10-MLF 18Cm Cone, High Frequency: AV10-MHF 3.5Cm Soft Dome Cabinet: 10.4 Liter Sealed Design, 18mm MDF With Real Wood Veneer Cabinet Dimensions: 381.5mm X 215mm X197.5mm (15”X 8 ½”X 7- ¾ ”) Weight: 8.2Kg / 18 Lbs (Each) Shipping Weight: 18.5 Kg / 40.5 Lbs SPL: 104dB Peak Musical Output: 110dB (Music Program Material) Amplifier: 200W Class Ab Linear Supply THD: 0.05% At 1Khz, 1W Balanced Inputs: Combination XLR & Phone Jack Unbalanced Input: RCA Phono Jack Volume: +0dB, -120dB VTPC: Variable Tissue Paper Control Fc 1.8Khz +6dB, -30dB. Power: On/off Switch Ground Lift Switch Power: 115Vac/230Vac Selectable Power Consumption: StandBy: 3W Full Output: 250W

Avantone Gauss 7 Aktiv ...

6.990,-

Introducing the Gauss 7 — a tribute to greatness. Classics never die — Avantone is proud to bring Gauss back to the world with the Gauss™ 7 reference monitor. Decades after the disappearance of the Gauss Speaker Company, the line has returned with a proper (low-end) bang. Gauss 7 mixes the old-school snap of vintage near-field monitors, with the bandwidth and frequency response of new-school monitors. Its GAU-AMT tweeter provides ultra-smooth response, with an impressive stereo-field — making hours of listening time only feel like minutes. The folded AMT driver can only be described as transparent and accurate, with detailed transients. The Gauss 7 system delivers a super-wide “sweet spot”, precise imaging, and an impressive, natural, and accurate mid-range response. Gauss 7 also features simple, yet very powerful acoustic-tuning controls. That, paired with the vertical dispersion of the GAU-AMT, means clean acoustic response in any room environment. Gauss: the legend is back. The GAU-AMT: a hi-fidelity AMT driver. At the heart of the Gauss 7 lies the custom GAU-AMT tweeter. The GAU-AMT provides the upmost detail, even to the most subtle of waveforms. The GAU-AMT’s delivers incredible stereo imaging, while maintainin a small vertical throw — this reduces unwanted acoustic reflections in a room, which helps minimize phase issues in an acoustic environment. GAU-AMT’s impressive transient response comes from it’s 65mm polyethylene terephthalate (PET) film folded membrane, — the result is far beyond what can be achieved in typical dome tweeter designs. PET film was chosen as it’s the lowest resonant-frequency film, and hosts the lowest crossover point — all while still providing exceptional high-range frequency extension. The GAU-AMT coil is aluminum-etched PET film that is folded. The assembly is mounted in its own enclosure to prevent the backwave pressure from woofer. The high-end frequency response (up to 22kHz) makes for an exceptional reference monitor for a massive range of music and sound materials. “Air frequencies” aren’t just audible, but very smooth. This not only provides an incredible reference monitor, but a monitor that’s built to listen to for hours-on-end. A unique woofer design with old-school snap, and new-school bandwidth. Gauss 7’s woofer takes great inspiration from our AV10-MLF “white cone” woofer, yet was still engineered from the ground up. The woofer cone is a pressed design, made of the same proprietary blend of wood pulp and glass fiber found in the CLA-10 series woofer (AV10-MLF) — but with a major increase of materials. This provides the hard snap, and fast transient response of the CLA-10, but with much more low-end. Tighter voicing isn’t going to be heard here — Gauss 7 provides a wide bandwidth for fantastic mid-range, and great low-end reference. The woofer’s motor structure is made of low-carbon 1008 steel — enabling the highest about of magnetic flux density between the pole piece and top plate. To top it off, the surround of the woofer is Japanese a uni-directional styrene-butadiene rubber (SBR), which optimizes the power and excursion of the woofer. A rear-firing bass port gives Gauss 7 a controlled, yet punchy low-end — tight response, without being the typical “over-hyped” low-end found other speakers in it’s price-range. Easy-to-use Acoustic Tuning controls. Balanced XLR and ¼” TRS inputs make connections a breeze, but it takes a bit more than just that alone to give a monitor studio-strength. The back panel of Gauss 7 has powerful, yet easy-to-use acoustic tuning controls — perfect for tuning the system to your room. A three-position Acoustic Placement switch allows you to optimize Gauss 7 to boundary spaces in your room. A three-position High Trim switch helps refine additional room issues. Each Gauss 7 has it’s own Gain control for proper system calibration. Specifications System Type: Active Full-Range Two-Way Stereo Pair Frequency Response: 30Hz-22,000Hz Cabinet: Bass Reflex design, hybrid medium-density fiberboard with real wood veneer LF Driver: 7” (178mm) Ferrite Motor HF Driver: 2.5” (65mm) AG-AMT LF Amplifier Power: 120 W HF Amplifier Power: 60 W Amplifier: Bi-Amped Class D SPL: 103dB (Peak) THD: 0.5% Controls: Gain (±6dB) / Acoustic Placement (-4dB, -2dB, 0db) / High Trim (-2dB, 0dB, +2dB) Inputs: Balanced TRS / XLR Power: 110V-240V ~50/60Hz Power Consumption: StandBy: <0.5 W / Full Output: 250 W Dimensions: 381mm H x 235mm W x 212mm D (15” H x 9.25” W x 8.35” D) Weight: 8.2Kg / 18 Lbs (Each)

Avantone MixCube Passive Mini ...

3.999,-

While originally inspired by the 5C sound cubes from decades ago, the Avantone MixCubes have become the industry standard in studios around the world and have become the #1 best selling speaker of its type in history. Engineering Objective To build a full range, rugged, mini-reference monitor to replace the older, aging, 5C Sound Cubes that are still in use worldwide, while offering an improved, more linear frequency response. A full year was spent studying all versions & revisions of the famous little 5C Sound Cubes. Research revealed that there were several driver versions released over the years with widely varying frequency response characteristics. We chose the smoothest, most linear, full-range version of those 5C models to use as our testing benchmark. Next we analyzed their response characteristics in an anechoic chamber and proceeded to implement design upgrades. Realizing the importance of replacing a respected "industry-standard reference monitor" we began by replicating its basic size, function, and sonic character. We wanted to take it up a notch though... First, we addressed the Cabinet Design... The original 5C Sound Cubes were made of ½” particleboard covered with a glue-on wood grain contact paper. We chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. We started with a 165mm (6 1/2") sealed cube design with radiused edges. We then chose an elegant Polyurethane high gloss “RETRO-CREAM” finish. The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. We upgraded to high-end nickel plated, machined solid metal binding posts (Dual banana spacing) mounted on a black anodized ,milled and silk-screened aluminum terminal plate. Next we added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, we recessed an industry standard 5/8”-27 mic stand mount into the base. Second, We addressed the driver design... The originals were a basic 5” stamped frame design. We designed a proprietary 5.25” die cast aluminum frame driver/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designed & crafted using the finest New Zealand pulp with mica fibers added for lighter weight & rigidity. The cloth surround is made in Japan to exacting uniform thickness tolerances. The Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High Power-low distortion motor structure. While originally inspired by the 5C sound cubes from decades ago, the Avantone MixCubes have become the industry standard in studios around the world and have become the #1 best selling speaker of its type in history. Performance Objective Studios primarily use 2-way & 3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of High Definition Audio, there is still a need to also hear what your mix will sound like when played back over small “bass-challenged” systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R&D comparative listening & tweaking went into the voicing of the Avantone MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character. Amplification & Wiring Recommended power rating is 50-200 watts of solid state power or 10-100 watts of tube power. It is advisable to use a high quality studio-grade power amplifier. The metal binding posts on the rear of the speaker can accept bare wire, spade lugs, or single or dual banana plugs. It is best to use 12 -16 AWG wire for runs longer than 6 feet.< Placement When positioning the Avantone MixCubes on stands or console bridges it is best to keep them at ear level and slightly angled in towards the engineer. Since they are shielded it is ok to place them near a CRT video monitor or TV without causing any problems. The bottom mic stand mounts will also allow you creative positioning options in unusual studio playback situations. Specifications System Type: Dynamic Shielded Full-Range Pair Frequency Response: 90Hz - 17,000Hz (useful musical range) Impendance: Nominal 8 ohms SPL / Sensitivity: 93dB @ 1w / 1 meter Recommended Power: From 10-200 watts Driver: 5.25" cast aluminum frame Cabinet: sealed / 18mm MDF / Dacron acoustical stuffing Inputs: 3-way CE rated plastic encased metal binding posts (accepts up to 12-gauge wire, spade lugs, dual banana plugs) Weight: 7.13lbs (per monitor) Dimensions: 6.5" x 6.5" x 6.5"

Avantone MixCube Passive Mini ...

3.999,-

While originally inspired by the 5C sound cubes from decades ago, the Avantone MixCubes have become the industry standard in studios around the world and have become the #1 best selling speaker of its type in history. Engineering Objective To build a full range, rugged, mini-reference monitor to replace the older, aging, 5C Sound Cubes that are still in use worldwide, while offering an improved, more linear frequency response. A full year was spent studying all versions & revisions of the famous little 5C Sound Cubes. Research revealed that there were several driver versions released over the years with widely varying frequency response characteristics. We chose the smoothest, most linear, full-range version of those 5C models to use as our testing benchmark. Next we analyzed their response characteristics in an anechoic chamber and proceeded to implement design upgrades. Realizing the importance of replacing a respected "industry-standard reference monitor" we began by replicating its basic size, function, and sonic character. We wanted to take it up a notch though... First, we addressed the Cabinet Design... The original 5C Sound Cubes were made of ½” particleboard covered with a glue-on wood grain contact paper. We chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. We started with a 165mm (6 1/2") sealed cube design with radiused edges. We then chose an elegant Polyurethane high gloss “RETRO-CREAM” finish. The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. We upgraded to high-end nickel plated, machined solid metal binding posts (Dual banana spacing) mounted on a black anodized ,milled and silk-screened aluminum terminal plate. Next we added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, we recessed an industry standard 5/8”-27 mic stand mount into the base. Second, We addressed the driver design... The originals were a basic 5” stamped frame design. We designed a proprietary 5.25” die cast aluminum frame driver/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designed & crafted using the finest New Zealand pulp with mica fibers added for lighter weight & rigidity. The cloth surround is made in Japan to exacting uniform thickness tolerances. The Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High Power-low distortion motor structure. While originally inspired by the 5C sound cubes from decades ago, the Avantone MixCubes have become the industry standard in studios around the world and have become the #1 best selling speaker of its type in history. Performance Objective Studios primarily use 2-way & 3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of High Definition Audio, there is still a need to also hear what your mix will sound like when played back over small “bass-challenged” systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R&D comparative listening & tweaking went into the voicing of the Avantone MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character. Amplification & Wiring Recommended power rating is 50-200 watts of solid state power or 10-100 watts of tube power. It is advisable to use a high quality studio-grade power amplifier. The metal binding posts on the rear of the speaker can accept bare wire, spade lugs, or single or dual banana plugs. It is best to use 12 -16 AWG wire for runs longer than 6 feet.< Placement When positioning the Avantone MixCubes on stands or console bridges it is best to keep them at ear level and slightly angled in towards the engineer. Since they are shielded it is ok to place them near a CRT video monitor or TV without causing any problems. The bottom mic stand mounts will also allow you creative positioning options in unusual studio playback situations. Specifications System Type: Dynamic Shielded Full-Range Pair Frequency Response: 90Hz - 17,000Hz (useful musical range) Impendance: Nominal 8 ohms SPL / Sensitivity: 93dB @ 1w / 1 meter Recommended Power: From 10-200 watts Driver: 5.25" cast aluminum frame Cabinet: sealed / 18mm MDF / Dacron acoustical stuffing Inputs: 3-way CE rated plastic encased metal binding posts (accepts up to 12-gauge wire, spade lugs, dual banana plugs) Weight: 7.13lbs (per monitor) Dimensions: 6.5" x 6.5" x 6.5"

Avantone Planar II Black ...

4.790,-

NO DETAILS LEFT BEHIND. With Planar the II, we started with our best and made it better. Planar the II represents the sum total of our experience in meeting the demands of music professionals. You’ll hear the air and breath in every vocal, the long decays of shimmering reverb tails, and tight, punchy bass that hits hard without being over-hyped. And thanks to their surprisingly low weight, they’ll stay comfy for long-haul mix sessions. When the critical details of your music matter most, you and your sounds both deserve the audiophile-grade quality of Planar the II. They’re the perfect solution for mix engineers, musicians, podcasters, live-streamers, and hi-fi enthusiasts. THE PLANAR DRIVER DIFFERENCE. Planar drivers offer an incredible set of advantages over traditional moving coil drivers. Amazing accuracy, high-end detail, clarity, natural bass, and response time. Traditional moving coil drivers use a magnetic field to push/pull the driver in one direction and rely on the surround’s elasticity to return the driver to the neutral position. Planar drivers utilize a matrix of neodymium magnets that both push and pull from both sides of its incredibly thin, ultralight diaphragm across its entire surface area. This way, force applied to the diaphragm is distributed in a symmetric fashion, producing a broad wavefront with very little harmonic distortion and incredibly fast response time. And because Planars use front and rear magnets to apply equal force in both directions, you hear a much more natural sound with less distortion when compared to traditional, single-magnet dynamic designs that only push — they don’t pull. HEADPHONES FOR TODAY’S MUSIC CREATOR. We didn’t sacrifice the need for comfort when designing Planar the II. They’re even more lightweight than the classic Planar, and cozy ear pads stay comfortable during long-haul mix and listening sessions. Planar the II employs a perfectly tuned open-back architecture, designed to eliminate the pressure build-up, acoustic resonance, and frequency curve typical of closed-back headphones, further ensuring that your music is represented as accurately as possible. Planar the IIs also include a high-grade, removable, 2-meter, noise-free 3.5 mm cable that can be plugged into either side to suit your workflow or handedness. Planar the II also ships in an eco-friendly shoulder bag with room for your accessories — and even a pouch for the cable. Available in red, black, and creme. Specifications STYLE: Over-ear, open-back TRANSDUCER TYPE: Planar Magnetic MAGNET TYPE: Neodymium N50SH DIAPHRAGM TYPE: 21 Micron PET TRANSDUCER SIZE: 70 x 95 mm MAXIMUM POWER HANDLING: 5W RMS FREQUENCY RESPONSE: 30Hz - 30kHz THD: <0.1% @ 100dB IMPEDANCE: 32 Ω SENSITIVITY: 104 dB/1mW (at Drum Reference Point) MINIMUM POWER: >100mW RECOMMENDED POWER: >250mW WEIGHT: .51 kg; 1.13 Lbs COLOR: Black INCLUDED ACCESSORIES: 1.5m; 5ft 3.5mm audio cable 3.5mm to 1/4” adapter Eco-friendly carrying bag

Avantone Planar II Cream ...

4.790,-

NO DETAILS LEFT BEHIND. With Planar the II, we started with our best and made it better. Planar the II represents the sum total of our experience in meeting the demands of music professionals. You’ll hear the air and breath in every vocal, the long decays of shimmering reverb tails, and tight, punchy bass that hits hard without being over-hyped. And thanks to their surprisingly low weight, they’ll stay comfy for long-haul mix sessions. When the critical details of your music matter most, you and your sounds both deserve the audiophile-grade quality of Planar the II. They’re the perfect solution for mix engineers, musicians, podcasters, live-streamers, and hi-fi enthusiasts. THE PLANAR DRIVER DIFFERENCE. Planar drivers offer an incredible set of advantages over traditional moving coil drivers. Amazing accuracy, high-end detail, clarity, natural bass, and response time. Traditional moving coil drivers use a magnetic field to push/pull the driver in one direction and rely on the surround’s elasticity to return the driver to the neutral position. Planar drivers utilize a matrix of neodymium magnets that both push and pull from both sides of its incredibly thin, ultralight diaphragm across its entire surface area. This way, force applied to the diaphragm is distributed in a symmetric fashion, producing a broad wavefront with very little harmonic distortion and incredibly fast response time. And because Planars use front and rear magnets to apply equal force in both directions, you hear a much more natural sound with less distortion when compared to traditional, single-magnet dynamic designs that only push — they don’t pull. HEADPHONES FOR TODAY’S MUSIC CREATOR. We didn’t sacrifice the need for comfort when designing Planar the II. They’re even more lightweight than the classic Planar, and cozy ear pads stay comfortable during long-haul mix and listening sessions. Planar the II employs a perfectly tuned open-back architecture, designed to eliminate the pressure build-up, acoustic resonance, and frequency curve typical of closed-back headphones, further ensuring that your music is represented as accurately as possible. Planar the IIs also include a high-grade, removable, 2-meter, noise-free 3.5 mm cable that can be plugged into either side to suit your workflow or handedness. Planar the II also ships in an eco-friendly shoulder bag with room for your accessories — and even a pouch for the cable. Available in red, black, and creme. Specifications STYLE: Over-ear, open-back TRANSDUCER TYPE: Planar Magnetic MAGNET TYPE: Neodymium N50SH DIAPHRAGM TYPE: 21 Micron PET TRANSDUCER SIZE: 70 x 95 mm MAXIMUM POWER HANDLING: 5W RMS FREQUENCY RESPONSE: 30Hz - 30kHz THD: <0.1% @ 100dB IMPEDANCE: 32 Ω SENSITIVITY: 104 dB/1mW (at Drum Reference Point) MINIMUM POWER: >100mW RECOMMENDED POWER: >250mW WEIGHT: .51 kg; 1.13 Lbs COLOR: Cream INCLUDED ACCESSORIES: 1.5m; 5ft 3.5mm audio cable 3.5mm to 1/4” adapter Eco-friendly carrying bag

Avantone Planar II Red ...

4.799,-

NO DETAILS LEFT BEHIND. With Planar the II, we started with our best and made it better. Planar the II represents the sum total of our experience in meeting the demands of music professionals. You’ll hear the air and breath in every vocal, the long decays of shimmering reverb tails, and tight, punchy bass that hits hard without being over-hyped. And thanks to their surprisingly low weight, they’ll stay comfy for long-haul mix sessions. When the critical details of your music matter most, you and your sounds both deserve the audiophile-grade quality of Planar the II. They’re the perfect solution for mix engineers, musicians, podcasters, live-streamers, and hi-fi enthusiasts. THE PLANAR DRIVER DIFFERENCE. Planar drivers offer an incredible set of advantages over traditional moving coil drivers. Amazing accuracy, high-end detail, clarity, natural bass, and response time. Traditional moving coil drivers use a magnetic field to push/pull the driver in one direction and rely on the surround’s elasticity to return the driver to the neutral position. Planar drivers utilize a matrix of neodymium magnets that both push and pull from both sides of its incredibly thin, ultralight diaphragm across its entire surface area. This way, force applied to the diaphragm is distributed in a symmetric fashion, producing a broad wavefront with very little harmonic distortion and incredibly fast response time. And because Planars use front and rear magnets to apply equal force in both directions, you hear a much more natural sound with less distortion when compared to traditional, single-magnet dynamic designs that only push — they don’t pull. HEADPHONES FOR TODAY’S MUSIC CREATOR. We didn’t sacrifice the need for comfort when designing Planar the II. They’re even more lightweight than the classic Planar, and cozy ear pads stay comfortable during long-haul mix and listening sessions. Planar the II employs a perfectly tuned open-back architecture, designed to eliminate the pressure build-up, acoustic resonance, and frequency curve typical of closed-back headphones, further ensuring that your music is represented as accurately as possible. Planar the IIs also include a high-grade, removable, 2-meter, noise-free 3.5 mm cable that can be plugged into either side to suit your workflow or handedness. Planar the II also ships in an eco-friendly shoulder bag with room for your accessories — and even a pouch for the cable. Available in red, black, and creme. Specifications STYLE: Over-ear, open-back TRANSDUCER TYPE: Planar Magnetic MAGNET TYPE: Neodymium N50SH DIAPHRAGM TYPE: 21 Micron PET TRANSDUCER SIZE: 70 x 95 mm MAXIMUM POWER HANDLING: 5W RMS FREQUENCY RESPONSE: 30Hz - 30kHz THD: <0.1% @ 100dB IMPEDANCE: 32 Ω SENSITIVITY: 104 dB/1mW (at Drum Reference Point) MINIMUM POWER: >100mW RECOMMENDED POWER: >250mW WEIGHT: .51 kg; 1.13 Lbs COLOR: Black INCLUDED ACCESSORIES: 1.5m; 5ft 3.5mm audio cable 3.5mm to 1/4” adapter Eco-friendly carrying bag

Bellari HA543 Headphone amp

1.925,-

The 2019 Bellari HA543 sets a new standard for what is possible in a headphone amp. You can pay more, but can you get more? XLR balanced inputs 1/4” and 1/8” headphone outputs Pass thru (RCA out) that also works when using the XLR inputs Mute Power Enhance feature One of the biggest issues to consider when buying a headphone amp is how much coloration it has (how much the amp adds to the original music). All amps sound different, generally that difference is called coloration, and some amps have a lot more than others. This is an issue for the end user when deciding what to buy. Do you buy an amp that has a flat response or one that has some kind of sound altering circuit adding coloration to your music? The HA543 addresses and completely solves this paradox. It features the best of both worlds. The HA543 is as flat as flat can be unaltering the original program material keeping it as true as possible. No coloration, no gimmicks nothing just absolute pure reproduction of the original material, and it sounds absolutely amazing with a good pair of headphones. Then, when using the HA543’s Enhance switch, coloration circuits are added changing the overall sound characteristics. The end result is an amp that makes the vocals sound more dominant, cymbals much more open and sharpens up the lower frequencies to give the bass very tight detail. It is not an EQ there’s a lot more going on than just a simple EQ. It makes the HA543 two headphone amps in one. Want it purist flat? Its got that. Want a headphone amp that has some sound enhancing coloration? No problem. Headphone amps can cost anywhere from $99 to $1999. It is hard to find honesty in what is a real true improvement in build quality or sound. Reading through the online reviews to get a good idea of what to buy is difficult when it is clear that some reviews are paid for and some reviews are not taking into account the full story, in personal experience or knowledge. What I can tell you honestly, is that the HA543 is hand built in Salt Lake City, UT by people who have been in the industry for a few decades. We have seen it all, from companies selling the equivalent of snake oil and charging outrageously for it, to honest companies that have unfortunately fallen by the wayside. The Bellari HA543 is a truly remarkable headphone amp. It will bring your set up to the next level, and get you fully addicted to this hobby. While the HA543 is not the least expensive headphone amplifier available it is truly one to own. Input Impedance: 10K Ohms unbalanced - 20K Balanced Max Input Level: +14 dBV Max Gain: 20 dB Output Power: 326 mW/side, 652 mW/Channel (62 Ohms) Frequency Response: 3 Hz - 59 kHz +/- 3 db S/N Ratio: 92 dB THD: <.008% IMD: <.008% Phase Shift (In to Out): less than 10 deg. Slew Rate: 2 V per microsecond Crosstalk: - 75 dB Size: 4.5" x 1.5" x 3" Headphone impedance: 8 Ohms to 600 Ohms Stereo XLR balanced inputs 1/4" and 1/8" headphone outputs Pass thru (RCA out) that also works when using the XLR inputs Mute, Power switch and Enhance feature

Bellari RP520 Studio Tube Mic ...

10.395,-

BELLARI RP520 Studio Tube Mic Preamp Great tube mic preamp, identical to the RP220 except for the analog meters, and gold face plate. It has been included on several album credits and is present in most major studios in LA, Nashville, and New York. It has the smooth yet punchy characteristics that drive vocal tracks to the front, warm up any digital mix, and yields up to 6 dB more gain before feedback for the live user. The pristine sound is achieved by running the tubes at a high 250 volt plate voltage. INPUT Standard XLR type balanced inputs, pin 2 is hot, for Mic or line-level audio sources. (e.g., instrument, microphone or mixer). OUTPUT JACKS 1/4" phone connectors or balanced XLRs used for connection to your line inputs on your load (e.g., DAT, Amp. or mixer). 30 dB Pad This switch changes the level of the Output XLR jack only. When in, it attenuates the output level by 30 dB. PHASE REVERSE When pressed in, reverses the phase of the output signal 180 degrees from the input signal. Frequency Response20Hz - 40kHz, +/- 3dB Mic/Line 5Hz - 40kHz inst. Input Impedance600 ohm balanced XLR 1M ohm Instrument THD0.1% typical SN Ratio>107 dB Max Gain48dB Inst or line, 70dB XLR Indicators2 - LEDs (Phantom Power) 2 - Backlit Analog Meters Input/Output jacksXLR balanced and 1/4" Dimensions3.5" X 6" X 19" (89mm X 162mm X 482mm) 230VAC 15VA

Bellari RP533 Studio Tube ...

10.895,-

The RP533 uses all the powerful circuitry included in other popular Bellari rack-mounts, in a single channel unit. Each process, except the preamp, can be individually bypassed. The RP533 is ideal for vocals, instruments, or any application where signal preamplification and dynamics processing is required, all with warm and inviting sounds. Warm, silky tube preamplification Smooth, natural compression Sonic Exciter, frequency enhancement All tube gain circuitry with proper high-voltage plate voltages Transformer balanced input 1/4” and XLR inputs and outputs Calibrated metering - switchable in the circuit path +48 Volt Phantom Power Side Chain for direct access to the compressor's detector circuits Frequency Response 20Hz - 40kHz +/-3dB Input Impedance 600 Ω balanced 1M Ω unbalanced THD + Noise <0.1% typical Noise Floor -90 dB Indicators Phantom Power LED Analog Meter Input/Output jacks XLR balanced 1/4" unbalanced 1/4" unbal. Side Chain Dimensions 3" x 6" x 19" (180 X 162 X 482 mm) Weight 7.5 lbs. (3.4 Kg) Power 120VAC (230VAC) 15VA

Beyer Dynamic DT 770 Pro 250 ...

1.890,-

Sannsynligvis norges mest solgte og brukte proffe hodetelefon. DT-770 i 250 Ohm kan være litt tungdrevet og man trenger derfor en signalkilde som klarer å jobbe litt eller en egen hodetelefon forsterker. Denne modellen egner seg ikke til bærbart utstyr. Closed reference headphone for control and monitoring applications. The three available versions: DT 770 PRO, 32 ohms, for mobile applications DT 770 PRO, 80 ohms, for recording applications within the studio DT 770 PRO, 250 ohms, for mixing applications in the studio The DT 770 PRO is a closed dynamic headphone which has been designed for critical music and sound monitoring. The single sided cable makes the handling of the headphone easy. The cushion system allows the DT 770 PRO to be used comfortably for very long periods of time. DT 770/880/990 History: The legendary DT 770/880/990 series has it's roots back in 1981, when the DT 880 was launched - the first dynamic headphone with electrostatic characteristics. In 1985 the DT 770 and 990 models were introduced, completing the series and providing the market with a choice of closed (DT 770), semi-open (DT 880) and open (DT 990) types, for maximum flexibility. The first designs of these models had plastic head bands which, whilst strong, weren’t as robust as the range demanded. However, in the beginning of the 1990's the first professional models were introduced, with spring steel head bands, aluminium yokes and extremely robust ABS housings. Subsequently, the range has taken the world by storm and models are being used all over the world, from recording studios to live broadcast to the home user. ▲ Closed, diffuse-field studio headphone ▲ "Bass reflex" technology for improved bass response ▲ Comfortable fit due to rugged, adjustable, soft padded headband construction ▲ Robust, easy serviceable construction as all parts are replaceable ▲ Single-sided cable ▲ Optionally also with built-in Limiter ▲ Velour, circumaural ear pads ▲ 3.0m (9.8 ft.) coiled cable ▲ Including drawstring bag

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