The latest computer interface solution from TASCAM and Frontier Design Group brings many of the audio and MIDI interface features of the FW-1884 to a rackmountable format with the new FW-1804. It features four great-sounding XLR microphone inputs with analog inserts and phantom power for professional condenser mics. An additional four line inputs are provided, plus ADAT and S/PDIF digital connection for a total of 18 inputs and 12 outputs. Two MIDI inputs and four MIDI outputs round out the interfacing with pro touches like word clock and a guitar-level input.

The FW-1804 includes TASCAM's latest software bundle, including 48-track/96k Cubase LE recording software and GigaStudio 3 LE software sampler. The FW-1804 is the solution for anyone looking for a universally-supported audio/MIDI interface without the room for a control surface.

With the A3X, ADAM Audio present their smallest monitor to date, making it perfectly suited for all environments where space is limited but sound shouldn’t be constricted. The A3X combines a tiny footprint with the much acclaimed ADAM sound quality by using theX-ART tweeter for the higher frequencies, a guarantee for crystal clear music reproduction.

A 4.5” (basket) driver handles the lower registers. The diaphragm is made from carbon fiber, a material that is very light but very stiff and therefore capable of delivering colouring-free sound. Two built-in 25 Watt amplifiers powers each of the drivers directly.

A very handy and exclusive technology found in the two smaller AX monitors is the Stereolink. This is accomplished by a pair of additional RCA connections that allow for a bypass of the second stereo channel to the other speaker.

This new technology connects two A3X speakers in such a manner as to allow the user the option to control the overall stereo volume of the system from either speaker’s gain control. This makes the A3X a natural for “mixer-less” desktop applications where overall system volume needs to be adjusted easily.

The front of the A3X sports dual ports for surprisingly low frequency response down to 60Hz. The front panel also has power and gain controls. The rear panel includes a tweeter gain control as well as balanced (XLR) jacks and unbalanced (RCA) jacks, allowing for greater connection flexibility. There are also two M6 (6 mm) metric screw threads for stand/wall mounting.

The High and Low

Professional features are abundant on our new Resolv series. Their new woven carbon fiber woofers provide tight and controlled low frequency response, while their silk dome tweeters deliver smooth, sweet highs. Cooler operation means no harmonic distortion, so Resolv includes an external heat-sink, ferro-fluid cooling and a ventilated ceramic motor structure. We've also included a four-position high frequency lift control for customizing to your mixing room. And of course, Resolv monitors are AV shielded for operation near computer monitors.

For critical listening, the highest quality speaker components are found on our new Resolv monitors. The Resolv A8 delivers 100 watts RMS with 75 watts used on the low frequency driver and 25 watts on the tweeter. Its 8-inch woven carbon fiber woofer reduces inner cabinet reflections from passing through the cone material and mixing with the waveform coming off the front of the speaker. The absence of acoustic transfer results in a clean low frequency sound without low frequency smear. The Resolv A8 also employs a 1.25-inch silk dome ferro-fluid tweeter, which gives the high frequencies a true, natural sound without false harmonics that can be created by other types of tweeters

Ook. We know that you know that we know there are tons of affordable studio reference monitors out there, each claiming to “raise the bar” on the other. The MRmk2 value proposition is simple.  As a professional studio monitoring solution, MRmk2s are extremely balanced, outputting high-frequency clarity and midrange definition you can stake your reputation on. Furthermore, they out-power any competitively-priced monitor solution and deliver deeper, more accurate bass than anything in their class. Perfect for professional and home studios, as well as home theaters and multimedia applications, MRmk2 monitors deliver a rich sonic experience and the power, performance and clarity you need to create world-class mixes. 

• High-resolution, powered studio reference monitor

• Ultra low-distortion 5.25" woofer

• High-output 1˝ silk dome tweeter

• Precision Class A/B amplification with Active protection circuits: 55W for LF / 30W for HF

• Optimally-sized custom waveguide provides seamless transition of HF and LF

• Minimum-diffraction molded baffle imparts superior stereo imaging and depth

• Adjustable HF and LF acoustic controls offer sonic tailoring to your mixing space

• Flexible inputs include XLR, TRS and RCA connections

• Magnetic shielding allows safe placement near computers and video monitors

• Precisely tuned to work interchangeably with other MRmk2 monitors

 

Brand Name Samson

Model Name CL8 - Multi-pattern Studio Condenser Mic

Special Price Call Now

The CL8 has a true capacitor condenser mic element design with dual 1.1-inch, ultra thin gold spluttered diaphragm capsules giving it the ability of multi pattern operation. Capacitor-based elements are warmer, brighter and bigger sounding than electret-based elements, which is why they are able to faithfully reproduce a variety of sound sources with amazing clarity and detail.

True Capacitor Large Diaphram Multi-Pattern Studio Condenser

Switchable Super Cardioid, Omni and Figure-8 pickup patterns

Dual 1.1" Capsules with 3-micron Gold Sputtered Diaphragms

Switchable Hi-pass Filter, 12dB per octave at 100 Hz

Switchable 10 dB PAD for handling signals with high SPLs

36-52 Volt Phantom Power operation

Internal Shock-mount

Solid Die Cast construction

Swivel Stand Mount and Carry Case included

The new C-1 compressor maintains its position as the most flexible, polished sounding high end compressor on the market today. Now featuring a spectacular raven blue 6mm CNC milled aluminium front panel, General Electric US military specification valves, high retention gold plated ceramic valve bases and circular back-lit VU meters, the new C-1 is even fatter sounding and more rugged than its legendary predecessor.

All controls are continuously variable (unlike some other units with switched parameters) and high quality onboard mic preamps allow direct-to-tape recording of microphone sources. Stereo front panel instrument inputs mean a keyboard or guitar can feed straight into the C-1 and down to tape with a minimum of fuss. Whether the C-1 is tracking vocals and instruments or adding roundness and warmth to a complete mix, it will become an indispensable part of your signal path within hours.

The C-1 features a low noise solid state preamp followed by two valve stages per channel. The valves are General Electric ECC83/12AX7A types, run from a stabilised 250v DC power supply. The first valve stage acts as a voltage amplifier, with the second stage forming part of the gain control element. The gain control is performed by our own unique transconductance stage which avoids the use of VCAs - thus improving transparency and minimising distortion, which is virtually constant at 0.05% over the full bandwidth. The frequency response of the C-1 is virtually flat between 20Hz and 40kHz, and measured between -3dB points, the C-1's bandwidth is a staggering 5Hz to 70kHz! 

Koss is the leading and most trusted name in professional headphones. They are backed by a lifetime warranty from the manufacturer. This headset is top of the line and ideal for audio and video editting, as well as home use.

Koss uses only the finest materials for the fullest in signal quality, with Dynamic Element construction which utilizes neodymium iron boron magnet structures for accurate sound reproduction. Oxygen free copper coils ensure signal clarity.

The Koss A130 headphones are built for excessive use, the closed leatherette ear cushions provide maximum isolation, comfort, and a deep bass sound. The extra-wide headband provides support for extended listening periods.

M Audio proved that Firewire audio interfaces don't have to be expensive with their £349 Firewire 410, which I reviewed in SOS March 2004 (read the review on-line atwww.soundonsound.com/sos/mar04/articles/maudio410.htm). This features two analogue inputs with mic/instrument/line level options, eight analogue outputs, plus both co-axial and optical S/PDIF and MIDI in and out, and has proved very popular. They made the point even more forcibly with their £229 Firewire Audiophile, which was reviewed by Mike Watkinson just two issues later in SOS May 2004 (www.soundonsound.com/sos/may04/articles/maudiofirewireap.htm). This again provides two analogue inputs, but this time without the mic/instrument preamps, plus four analogue outputs, co-axial S/PDIF and MIDI In and Out.

With its 18 inputs and 14 outputs, you might expect their rather more ambitious Firewire 1814 to be substantially more expensive, but it's still a very reasonable £449. This is largely because eight of those ins and outs are devoted to ADAT I/O, although you still get eight analogue inputs, four analogue outputs and co-axial S/PDIF in and out, plus word clock and MIDI I/O.