Wednesday, August 20, 2014

DDJ-SX Performance DJ Controller







DDJ-SX

Performance DJ Controller

  • 4-channel performance DJ controller/mixer for Serato DJ software
  • Pro-level build quality with oversized jog wheels
  • 8 soft-touch rubber controller/trigger pads per deck for loop/sample
  • Can be used as a stand alone 4-channel mixer 

Overview

Pioneer’s DDJ-SX DJ controller utilizes the Serato software as the basis for its control layout and ergonomic design, taking advantage of the software’s features and integrating special trigger pads and controls.bPioneer has also implemented larger jog wheels for precise mixing and scratching, multiple inputs for expandability, and 4-channel mixing flexibility. The DDJ-SX is available in three colors, black (DDJ-SX), pearl white (DDJ-SX-W), and limited edition gold (DDJ-SX-N). The limited edition gold is available exclusively at Guitar Center retail stores, guitarcenter.com and musiciansfriend.com

Mixing with Serato

Sold as a complete system that includes the controller and new Serato DJ software, the DDJ-SX provides additional features to provide direct, tactile control of the software’s capabilities, which include a four deck sampler function, dual deck control, slip mode, FX mode and more.
  • Dual Deck – The DDJ-SX enables two tracks to be controlled at the same time, allowing scratching or setting and recalling hot cues on both tracks as if they were performed on a single track.
  • Slip Mode – While activated, Slip Mode silently continues song playback during a performance loop, scratch or hot cue and resumes audible playback when the loop, scratch, or hot cue operation is ended, creating smoother and more seamless transitions.
  • FX Powered by iZotope – High quality FX newly developed by iZotope. With the new effects, DJ can apply more creative and more unique arrangement to the music.
  • Additional Functions
    • Up to eight hot cue points can be set for each deck
    • Vertical waveform display for fast tempo syncing

Customized Control Layout Works as Great as it Looks

The DDJ-SX can quickly access the multitude of features Serato DJ offers through its buttons, knobs, sliders and performance pads. Thoughtfully laid out to deliver the best DJ controller experience, its buttons and knobs are designed to match the applicable software functions perfectly:
  • Performance Pads – Pioneer added eight “performance pads” located below the jog wheel for four different functionalities – HOT CUE, ROLL, SLICER and SAMPLER. Each soft-touch rubber pad illuminates in blue to enable users to quickly tap the pad(s) for each effect, with the output volume varying depending on the strength of each tap.
  • Large Jog Wheels – The jog wheels on the DDJ-SX are enlarged for more precise scratching and mixing. The resistance for each jog wheel was fined tuned to provide users with the best “feel” and the shortest latency. The unit also features an “On Jog” display located on the center of each wheel to provide instantaneous visual feedback of playback status and the position of playing tracks.
  • 4-Channel Mixer – The DDJ-SX features an independent 4-channel mixer that can be used with other external sources such as turntables. Its master level meter provides instantaneous sound level adjustment as well as independent output controls with a display indicator for each channel when used as a standalone mixer.
  • Aluminum Finish – The DDJ-SX sports an aluminum top panel and a brushed aluminum finish for the jog wheels for optimal look and feel.

Additional Features

  • Serato DJ Software – The new Serato software is bundled with the DDJ-SX for an easy out-of-the-box experience.
  • Multiple Connection Options – The DDJ-SX offers dual CD and phono/line inputs for external devices as well as two microphone inputs, two master outputs (XLR and RCA) and a booth out terminal.
  • High Quality Audio – A low-jitter clock and high-performance digital-to-analog converter (DAC) are used for accurate audio playback.
  • Built-in Sound Card (audio interface)
  • Needle Search – Users can immediately jump to a specific part of a music track with a simple touch of the Needle Search pad.
  • Adjustable Cross-fader Curve to suit any type of mixing style.
  • Channel Fader Start – Enables the use of the channel fader to control and play/cue tracks.

Tuesday, August 19, 2014

TC Electronic M350 Effects & Reverb Processor



Pricelist : Rp. 4.120.000,-
Sale Price : Rp. 3.193.000,- (Save 22,5%)

Introduction


M350 is an extremely user-friendly dual engine rack processor which is equally suited for live and studio applications. It gives you 15 TC-quality reverbs and 15 multi-purpose effects including delay, modulation and compression.


  • Choice Selection of Effects - Reverb, Delay, Modulation, Dynamics, etc.
  • Easy Front Panel Access - User-friendly Design for Maximum Flexibility

Effect Presets

The two effect engines of M350 hold 15 different types each. One of them is completely dedicated to reverb, while the other is versatile multi effect engine. Common to all the effects of M350 is that are a result of the award-winning TC effects heritage, founded on extensive fine-tuning and research. Combined, these effects give you all the tools you need on the stage, FOH or in the studio.

TC Classic Hall

This reverb emulates a large hall with a broad and warm reverb, and a relatively long decay time. It preserves the natural characteristics of the original source, which gives you an incomparable and authentic large sound. Very often vocal source material call for the TC Classic Hall preset, but you can use it for a wide variety of studio and live applications.

Live Vocal

The Live Vocal reverb emulates a large room or venue that has many wooden surfaces. The reflections from wooden surfaces give you a soft and smooth reverb type that is perfect for vocal material. If you need a large reverb with spongy reflections, live or in the studio, the Live Vocal preset is the answer.

Cathredral

Emulating a large location with hard and uneven surfaces, the Cathedral preset gives you a broad and unevenly diffused reverb. This reverb type will open and color your source with the natural ambience which is so typical of cathedrals. If you're playing live this preset will be a crowd pleaser, but it is equally great in the studio. 

Silver Plate

Going back in time, the Silver Plate emulates the large metallic plates which were used to create reverbs before digital signal processing was commonplace. This preset gives you a light and relatively diffuse reverb which will add wonders to percussive instruments that need a twist of the past.

Ambience

This preset gives you a tailor-made reverb for dry source material. It clearly defines a room and focuses on the Early Reflections which will add ambience and warmth onto many types of sources, e.g. dry drum samples. 

Hall Acoustic

The Hall Acoustic preset is a broad yet slightly diffuse reverb. It simulates a large environment but adds a distinctive acoustic flavor to the source material. You can use this reverb with great effect on drums and other percussive material, but you can also use it to create an unbiased yet genuine ambience.

Drum Ambience

Going back in time to the 80's, the Drum Ambience preset simulates a small ambient room with very short reflections. This gives you a perfect reverb for all types of drums and percussive instruments that you would like to give that classic sound of the past. It can be used with great effect on studio recordings or even when you play live. 

Living Room

A small and well-furnished room with an intimate ambience is what the Living Room reverb simulates. Living rooms will absorb many reflections due to the soft materials in it, and that gives you a reverb type with few reflections that are sparingly sustained. Use it to get an intimate and to-the-point atmosphere.

Spring Vintage

Back in the day, large plates or springs were used to generate artificial reverb. In particular, springs was used a lot in old vintage guitar amps. The Spring Vintage preset simulates this type of reverb, and it will give you a distinct vintage sound that is true to the original.

Damped Room

You can sue the Damped Room reverb with great results on source material that needs to be very lightly reverberated. The preset simulates a small studio or vocal box that is completely padded with soft and absorbing material. It gives you a very tight and to-the-point sound.

Vocal Reverb

This preset will match and refine vocal sources that need that extra something. The Vocal Reverb preset gives you a soft and mellow tone that is identical to the reflections you get from medium sized rooms with wooden surfaces. Use it to obtain a personal yet subtle and agile vocal sound.

Drum Room

The Drum Room reverb will flavor your drum and percussive source material with ease and elegance. The preset simulates a medium-sized room that gives you a relatively long yet natural sounding reverb. It preserves the full spectrum of the source while adding brilliance and presence.

Gold Plate

In the old days before digital signal processing was invented, large metallic plates were used to create reverbs. This preset emulates that unique sound which is diffuse, bright and filled with nostalgia. You can use the Gold Plate reverb with great-sounding results on percussive instruments.

Live Stage

If you're playing live, you might want a reverb that is able to cut through all the background noise which is so typical at live gigs. The Live Stage preset gives you a grainy and bright reverb that will work equally well on vocals and instruments that need to be distinct and to-the-point.

Nearfield

If you want a reverb that is tight and has tons of early reflections, the Nearfield reverb will be your first choice. It emulates the small amount of natural reverb that occurs in e.g. a studio control room. Use this reverb type to obtain a tight, bright and smack-in-the-face sound.



Dynamic Delay

The Dynamic Delay preset allows you to alter the delay output level depending on the dynamics of the input level. In short, you can have a low-level delay when playing loudnly and a higher level of delay when you're backing off. For instance, use it to emphasize pauses in between phrases in a solo.

Soft Delay

If you're looking for a clear yet soft reproduction of your original sound, try the Soft Delay preset. We've integrated a subtle yet significant high-cut with a relatively high crossover frequency, which will give you a soft and smooth delay. This delay will make your tracks sound very 'studio like'.

Smooth Phaser

This phaser uses twelve all-pass filters at the same time, which gives you a well-adapted and very smooth sound. Use this type of phaser when you want the typical phasing characteristics combined with a more elegant and subtle approach. In other words, a quality phaser with a sophisticated and delicate twist.

Soft Chorus

Sometimes what you need is a natural, stable and well-tempered sound. Try to use the Soft Chorus preset with eloquence on laid back styles of music like ballads, chill out and moody jazz. It will give you a sound that is true to the original source material and you'll be surprised how often it will add that extra something to your music.

Hard Comp

The Hard Comp preset is tweaked to deliver a hard yet 'nice' compression to your source. Although the preset will compress relatively hard, it won't disrupt and over-compress your source. Use this type of compression on e.g. drums and percussive instruments and achieve a signature sound.

Triplets Delay

The concept of triplets is a basic musical structure that has a great effect on our rhythmical perception, especially when played against straight 8th or 16th notes. The Triplets delay preset gives you a serious and versatile tool to rework your source material.

PingPong Delay

A PingPong delay pans the delay repeats from left to right, and back, while at the same time keeping the original position of the input. Quite simply, it gives you a very wide-spread special effect that is true crowd pleaser. Use it live or in the studio when you want a dramatic and unique sound.

Vintage Phaser

The Vintage Phaser uses four different all-pass filters that give you a direct and to-the-point sound. Depending on how the filtered signal is mixed with the dry signal, you'll get a strong and typical 'phasing sound' that is extremely versatile. Use it with equal success on the stage and in the studio.

Inst. Flanger

Our flangers are known for their perfect relation between speed and depth, and the Inst. Flanger preset is certainly no exception. This flanger gives you a classic 'flange sound' with a wide spread-effect. Use the Inst. Flanger when you want a large chorus-like sound that has all the typical and beneficial characteristics of a genuine flanger.

De-Esser

The De-Esser preset removes all unwanted s's that some microphones or singers have so much trouble with. Use it predominately on vocal material to clean up the sound and make the source more homogenous. A simple one-purpose effect that makes all the difference!

Studio Delay

With a clear and concise reproduction of the original source material, Studio Delay gives you a serious tool for studio work. It utilizes a subtle yet significant high-cut with a relatively high crossover frequency that enables you to achieve a transparent and precise sound.

Slapback Delay

The Slapback Delay preset is a very short delay that only counts one, two, or maybe even three repeats. Often this type of effect is used as a 'doubling effect' in order to make the original source content more dense or solid. But you can also use the Slapback Delay on funky guitar riffs for instance.

Lush Chorus

If you are into effects that will take your music up a step, the Lush Chorus preset will be one of your favorites. It gives you a broader and more complex sound that is a perfect match for the funky and jazzy music styles with plenty of solos.

Comp

Compression can be tricky and more often than not, you have probably been subject to 'over-compressing'. With the Comp preset you're on the fast track to professional and easy compression. Use it for any sources and enjoy the benefits of a professional compression without compromising your original source. 

Tremolo

The Tremolo preset uses a triangular wave shape, giving you an easily recognizable tremolo sound. This type of effect is a true crowd pleaser and it works on many sources, although it is probably most known from 007 style guitar solos. This Tremolo is rather soft and very useful for slow, melancholic types of music.

Features

  • 15 True and Stunning Stereo Reverbs
  • 15 Legendary Effects
  • 5 Seconds of Delay
  • 256 Multi-effect/Reverb Presets + 99 User Preset Locations, a Total of 355 Presets
  • Internal Power Supply - No Wallwart !
  • Dual Send/Return & Serial Style Setups
  • Auto-sensing 24 bit S/PDIF Digital I/O, 44.1-48 kHz
  • Tap Tempo

Monday, August 18, 2014

CME Xkey The Ultimate Mobile MIDI Keyboard








Pricelist : Rp. 1.700.000,-

Ultra Slim. Great Design 

Lighter than an iPad!
Xkey is made from rugged, brushed aluminium. The same material that is used in Macs.
It only weighs 600g (1.3 lbs) so you won’t even know it’s there. Pop it in your backpack, or use the optional Xkey carry case.

Mac. PC. iPhone/iPad. Android   
Slip Xkey into your backpack or carry case and you’re good to go.
Connect it to your favorite device, launch your favorite app … and your recording studio is open for business.
Xkey is pro standard. But even if you’re still learning to play the keyboard, you’ll love the quality and features.

Plug & Play.  
No drivers or external power supply required. 
Simply plug Xkey into your device and play with the best apps
Xkey is a fully compliant, USB MIDI controller (MIDI is the standard for professional quality music).

It’s a high-quality musical instrument.  
More octaves than a piano! And standard size keys.
Xkey has two octaves … and a quick-touch button to instantly go 3×3 octaves higher or lower.
Our keys are real size keys and press-volume sensitive. So you can play fortissimo or pianissimo.
Build emotion into your compositions

Controls

25 full-size keys.
100% MIDI compliant.
Velocity sensitivity.
Polyphonic aftertouch.
Pressure sensitive Pitch bend and Modulation buttons, with continuous MIDI control data.
Octave +/- sensitive buttons
Sustain button
USB Powered (no external battery needed).
Firmware upgradable via USB.
Configurable via free app for iOS, Mac OSX, and Windows.

Dimensions & Connectors

Width : 388mm (15.27 in)
Height : 135mm (5.31 in)
Depth : 16mm (0.62 in)
Weight : only 600g (1.32lb): less than an iPad!
Micro USB connector (cable provided).
Activity indicator LED

Included in Package

Xkey.
Micro USB cable.
User Manual.


Jordan Rudess Joins CME as Chief Musical Officer

Thursday, August 14, 2014

MIDAS VENICE U-24


 
Pricelist : Rp. 38.400.000,-

VENICE U

24 Channel Digi-Log Live Audio Mixing Console with 8 X 8 Channel USB Interface
 
Overview
At first glance, VeniceU looks like a straightforward, easy-to-use analogue audio console – an application it will fulfill with ease. However, a closer look shows that VeniceU is also a hybrid “Digi-log” mixer offering a fusion of both analogue and digital technology.
One look at the VeniceU confirms that this console continues the legacy established by the ground-breaking MIDAS consoles which have been at the heart of so many historic live performances. From the VeniceU’s class-leading EQ filters, to the latest expression of that legendary MIDAS mic preamp, this is a console which compromises only on price.
As with FireWire equipped VeniceF, the VeniceU bridges the gap between analogue and digital audio consoles, and offers the user the ease-of-use, warmth, feel, and zero-latency of analogue, combined with the power, choice and flexibility of outboard digital processing via its 8 x 8 USB digital audio interface.
  • Frames: 24
  • Overload-tolerant MIDAS mic preamp with polarity switch, high-pass filter and -20 dB pad
  • 8 input x 8 output USB digital audio interface - flexible routing options including 6 aux buses, 4 subgroups, both matrix buses and the stereo masters
  • The equaliser section features four bands of MIDAS EQ, with swept filters on all 4 bands and an EQ in/out switch
  • Individual phantom power for each mic input (including stereo channels)
  • Analogue or USB input select switch on 4 stereo input channels, allowing “plug-in” FX and multitrack record mix down
  • 6 auxes with individual bus pre/post fade switching and routing to USB
  • 7 x 2 matrix with stereo split switching and routing to USB
  • Multifunction channels have fully featured mic preamps
  • Discrete stereo master bus with individual routing to USB plus discrete mono master bus
  • 4 audio subgroups with fader flip to auxes and routing to USB
  • Highly efficient integral auto-ranging switch mode power supply
Digi-log - USB
VeniceU’s USB audio interface combines the power and convenience of digital audio processing with the warmth and feel of an analogue audio mixer. The USB interface can be used with any computer fitted with a USB port, and is effectively a 16-channel (8 x 8) digital audio bus, which connects directly to your computer and enables the use of any third-party audio processing software in conjunction with the console.
All 6 aux buses, 4 subgroups, both matrix buses and the stereo masters route to the USB interface, up to 8 buses at one time. Applications include multitrack recording from the VeniceU’s digital bus outputs, and plugin FX processors driven from aux sends and returned to the stereo channels’ digital USB inputs. All with a heart of pure MIDAS.
  • 8 x 8 channel USB interface
  • Allows the use of third-party plugins
Buss Structure
The VeniceU’s bus structure is identical to the larger VeniceF - 6 aux sends, 4 groups, stereo masters, discrete mono bus and a 7 x 2 matrix. All bus outputs feature XLR connectors and insert capability. All 6 aux sends are individually-switchable pre or post fade and the 2 aux buses designated as monitor (foldback) sends are also switchable pre/post EQ on an individual input channel basis.
  • 6 aux sends
  • 4 groups
  • Stereo Masters
  • Mono Buss
  • 7 x 2 matrix
Mono Input
Mono channels feature the indispensable MIDAS mic preamp, still crafted from discrete components, rather than cheaper IC options. The 20mm input gain is complemented by a quartet of switches: +48 V, -20 dB, polarity reverse and 80 Hz hi-pass filter.
Mono channels can be routed to all 6 aux buses, the 4 subgroups in odd/even pairs, left and right masters via pan control, and discrete mono master output. Superior quality 100 mm faders give precise control over the mix, while providing that reassuringly tactile MIDAS touch.
The equaliser section features 4 bands of superb MIDAS EQ, with swept filters on all 4 bands, an EQ in/out switch and LED status indicator. Additional switch functions with LED status indication are mute and solo. Metering is provided by a highly accurate 4-element LED display.
  • 4 bands of MIDAS EQ
  • +48 V
  • -20 dB pad
  • 80 Hz hi-pass
  • 100 mm faders
Multi-function Channels
Multifunction channels each have a mono mic, L&R stereo line, and a L&R stereo USB input. Each of the 4 multifunction channels feature separate gain for mono mic and stereo line inputs. They have the same mic amp functions as the mono channels, 4-band fixed frequency MIDAS EQ with in/out switch and LED status indicator. Additional switch functions with LED status indication are for mute and solo. The stereo USB inputs are intended to be used for either stereo media playback, stereo digital FX returns, or sub mixes created in the DAW.
Multi-function channels can be routed to all 6 aux buses, the 4 subgroups in odd/even pairs, left, right and mono masters.
  • MIDAS 4-band fixed frequency EQ
  • +48 V
  • -20 dB pad
  • 80 Hz hi-pass
  • USB inputs
  • 100 mm faders
Matrix
The 2-channel 7 x 2 output matrix has level controls which source from the 4 groups, Left, Right and Mono outputs. Each channel features level output control, mute and solo switches with LED indication. There are additional switches which split the L & R contributions to the matrix (default is a sum of L & R) and to send the matrix outputs to the USB interface instead of the L & R mix.
Both Matrix channels feature balanced XLR output connectors and single TRS insert points.
  • 7 x 2 matrix
  • Routing to USB
  • XLR Outputs
  • TRS insert points
Construction
Many manufacturers cut quality when they design small mixers. At MIDAS we understand that modest channel count doesn’t have to mean compromised performance and a poor feature set. The VeniceU embodies quality, from its rugged construction and top-of-the-range components through to the unmistakable MIDAS sound, which makes the VeniceU a truly professional audio console.
The frame is a typical MIDAS steel section, providing sufficient strength and rigidity for a hard life on the road. Potentiometers are metal-shafted, and individually nutted to the steel fascia panel.
The VeniceU is finished in the well-loved, classic MIDAS “Heritage” livery.
  • Rugged, roadworthy, tour-proven construction




MIDAS Venice F32 Channel Mixer


Pricelist : Rp. 58.400.000,-
Sale Price : Rp. 46.720.000,- (Save 20%)

 

MIDAS VeniceF32

At MIDAS, we know what it takes to design and build live sound consoles for the world’s most demanding tours and installations. One look at the VeniceF confirms that this console is continuing the legacy established by the groundbreaking XL3 and XL4 consoles, then consolidated in the industry-leading Heritage series. From the VeniceF’s horizontal fader panel, through the class-leading parametric EQ filters, to the latest expression of that legendary MIDAS mic pre, this is a console without compromise. Features are apparent everywhere, some of which are unheard of on consoles of this modest footprint.
The bus structure remains true to the original Venice concept. Six aux sends, four groups and stereo masters. The F model adds an additional mono bus and a 7 x 2 matrix. All bus outputs feature XLR connectors and insert capability. Routing options have been expanded from the outgoing model too. VeniceF has individual routing to groups, all six aux sends are individually switchable pre or post fade, and the two aux buses designated as monitor (foldback) sends are also switchable pre/post EQ on an individual channel basis.
Mono Input Mono inputs pack a host of features, starting with the indispensible MIDAS mic pre, still crafted from discrete components, rather than the cheaper IC option. The 15mm gain pot is surrounded by a quartet of switches, +48V, -20dB pad, polarity reverse and 80Hz hi-pass. A further pair of switches select analogue or digital (FW) input and analogue or digital (FW) direct out pre or post EQ. Switches with LED status indicators are provided for insert and EQ in/out. The equaliser section is an updated XL3 design, featuring four bands of swept MIDAS eq, with the addition of variable bandwith on the two midrange filters. All input channels, groups and masters feature high precision 100mm faders.
Stereo Input Stereo inputs have two mic and two line inputs each. Mic inputs feature separate gain for left and right inputs, and the same mic amp functions as the mono inputs. Both mic and line inputs can be used simultaneously, with the line inputs routed direct to masters, while the mic inputs route via the channel. Stereo channels have four-band fixed frequency eq, and a sum-to-mono switch.
Hybrid VeniceF bridges the gap between analogue and digital audio consoles, and offers the user the ease-of-use, warmth, feel, and zero-latency of analogue, combined with the power, choice and flexibility of outboard digital processing.
FireWire® The FireWire interface can be used with any computer fitted with a 1394 port, and is effectively a 64-channel (32x32) digital audio snake, which connects directly to your computer, allowing the use of any 3rd party audio processing software in conjunction with the console. Applications include multitrack recording from the VeniceF’s digital direct outputs, software-generated FX processors driven from aux sends or direct outputs, “plug-ins” inserted on input channel FireWire send/returns. All with a heart of pure MIDAS.
Software Although the FireWire interface will work with nearly all computer-based audio processing software, included in every VeniceF package is a free 60-day trial version of RECORD, by Propellerhead. This software suite includes multitrack recording (up to 64 tracks), virtual racks full of FX and dynamics processing, and even a software mixer, which can be patched in parallel with the analogue VeniceF permitting full external digital processing of each VeniceF input channel.
Mechanical Many manufacturers cut quality when they design small mixers. At MIDAS we understand that modest channel count doesn’t have to mean compromised performance and a poor feature set. The VeniceF embodies quality, from its rugged construction and top-of-the-range components through to the unmistakable MIDAS sound, it is obviously a truly professional audio console. The frame is a typical MIDAS steel section, providing sufficient strength and rigidity for a hard life on the road. Potentiometers are metal-shafted, and individually nutted to the steel fascia panel. The console is finished in the well-known MIDAS livery, with the addition of striking metallic corner protector inserts.
Although specifically designed for live sound, the audio performance, and the addition of a FireWire digital audio interface mean that the VeniceF is equally at home in recording and remixing applications.

F-32
Mic inputs: 24 mono plus 4 stereo XLRF
Line inputs: 24 mono plus 4 stereo TRS
Aux returns: 2 stereo TRS
Playback input: 1 stereo RCA
Talkback mic input: 1 XLRF
Aux mix busses: 6 XLRM
Audio subgroups: 4 XLRM
Matrix: 7 x 2 XLRM
Stereo master output XLRM
Mono master output XLRM
FireWire (1394) 1 (64ch) FW400 (6 pin)
Width 1007mm / 39.64"
Depth 669.30mm / 26.35"
Height 286.28mm (Including feet) / 11.27"
Weight 37.5kg / 82.67lbs

Overview

  • Frames:  32 Channel Rackmount
  • Overload tolerant MIDAS mic-pre
  • Up to 32x32ch. FireWire interface
  • XL3 EQ – four-band swept eq with two parametric mids
  • Input polarity switch
  • Insert in/out switch with LED
  • Direct out with pre/post EQ switch
  • Discrete mono bus
  • Individual routing to stereo, mono and groups with pan-to-groups enable switch
  • 7 x 2 Matrix
  • 4 audio subgroups
  • 100mm faders

MIDAS Venice F24 Channel Mixer



Pricelist : Rp. 48.800.000,-
Sale Price : Rp. 39.040.000,- (Save 20%)

MIDAS VeniceF24

At MIDAS, we know what it takes to design and build live sound consoles for the world’s most demanding tours and installations. One look at the VeniceF confirms that this console is continuing the legacy established by the groundbreaking XL3 and XL4 consoles, then consolidated in the industry-leading Heritage series. From the VeniceF’s horizontal fader panel, through the class-leading parametric EQ filters, to the latest expression of that legendary MIDAS mic pre, this is a console without compromise. Features are apparent everywhere, some of which are unheard of on consoles of this modest footprint.
The bus structure remains true to the original Venice concept. Six aux sends, four groups and stereo masters. The F model adds an additional mono bus and a 7 x 2 matrix. All bus outputs feature XLR connectors and insert capability. Routing options have been expanded from the outgoing model too. VeniceF has individual routing to groups, all six aux sends are individually switchable pre or post fade, and the two aux buses designated as monitor (foldback) sends are also switchable pre/post EQ on an individual channel basis.
Mono Input Mono inputs pack a host of features, starting with the indispensible MIDAS mic pre, still crafted from discrete components, rather than the cheaper IC option. The 15mm gain pot is surrounded by a quartet of switches, +48V, -20dB pad, polarity reverse and 80Hz hi-pass. A further pair of switches select analogue or digital (FW) input and analogue or digital (FW) direct out pre or post EQ. Switches with LED status indicators are provided for insert and EQ in/out. The equaliser section is an updated XL3 design, featuring four bands of swept MIDAS eq, with the addition of variable bandwith on the two midrange filters. All input channels, groups and masters feature high precision 100mm faders.
Stereo Input Stereo inputs have two mic and two line inputs each. Mic inputs feature separate gain for left and right inputs, and the same mic amp functions as the mono inputs. Both mic and line inputs can be used simultaneously, with the line inputs routed direct to masters, while the mic inputs route via the channel. Stereo channels have four-band fixed frequency eq, and a sum-to-mono switch.
Hybrid VeniceF bridges the gap between analogue and digital audio consoles, and offers the user the ease-of-use, warmth, feel, and zero-latency of analogue, combined with the power, choice and flexibility of outboard digital processing.
FireWire® The FireWire interface can be used with any computer fitted with a 1394 port, and is effectively a 64-channel (32x32) digital audio snake, which connects directly to your computer, allowing the use of any 3rd party audio processing software in conjunction with the console. Applications include multitrack recording from the VeniceF’s digital direct outputs, software-generated FX processors driven from aux sends or direct outputs, “plug-ins” inserted on input channel FireWire send/returns. All with a heart of pure MIDAS.
Software Although the FireWire interface will work with nearly all computer-based audio processing software, included in every VeniceF package is a free 60-day trial version of RECORD, by Propellerhead. This software suite includes multitrack recording (up to 64 tracks), virtual racks full of FX and dynamics processing, and even a software mixer, which can be patched in parallel with the analogue VeniceF permitting full external digital processing of each VeniceF input channel.
Mechanical Many manufacturers cut quality when they design small mixers. At MIDAS we understand that modest channel count doesn’t have to mean compromised performance and a poor feature set. The VeniceF embodies quality, from its rugged construction and top-of-the-range components through to the unmistakable MIDAS sound, it is obviously a truly professional audio console. The frame is a typical MIDAS steel section, providing sufficient strength and rigidity for a hard life on the road. Potentiometers are metal-shafted, and individually nutted to the steel fascia panel. The console is finished in the well-known MIDAS livery, with the addition of striking metallic corner protector inserts.
Although specifically designed for live sound, the audio performance, and the addition of a FireWire digital audio interface mean that the VeniceF is equally at home in recording and remixing applications.

F-24
Mic inputs: 16 mono plus 4 stereo XLRF
Line inputs: 16 mono plus 4 stereo TRS
Aux returns: 2 stereo TRS
Playback input: 1 stereo RCA
Talkback mic input: 1 XLRF
Aux mix busses: 6 XLRM
Audio subgroups: 4 XLRM
Matrix: 7 x 2 XLRM
Stereo master output XLRM
Mono master output XLRM
FireWire (1394) 1 (64ch) FW400
(6 pin)
Width 801mm / 31.53"
Depth 669.30mm / 26.35"
Height 286.28mm (Including feet) / 11.27"
Weight 30.5kg / 67.2lbs

Overview

  • Frames:  24 Channel Rackmount
  • Overload tolerant MIDAS mic-pre
  • FireWire interface
  • XL3 EQ – four-band swept eq with two parametric mids
  • Input polarity switch
  • Insert in/out switch with LED
  • Direct out with pre/post EQ switch
  • Discrete mono bus
  • Individual routing to stereo, mono and groups with pan-to-groups enable switch
  • 7 x 2 Matrix
  • 4 audio subgroups
  • 100mm faders

Wednesday, August 13, 2014

Rocktron Zombie Rectified Distortion

Pricelist : Rp. 970.000,-
Harga Promo : Rp. 776.000,- (Save 20%)

Zombie Rectified Distortion
Add a new dimension to your sound with Rocktron's Zombie Rectified Distortion stompbox!

Specifications

  • Maximum Input: +8dBu
  • Input Impedance: 1M
  • Current Consumption: 15mA
  • Power Requirements: DC9V>100mA Built In regulator
You'll swear your sound gets right up and walks out of your cabinet! With an absolutely monstrously heavy sound, the Zombie creates a rectified asymmetric distortion with user control of the symmetry balance of the distortion output waveform. In essence, this creates the psycho-acoustic 3D sound positioning effect that will make your sound jump out of the cab.The Zombie gives you distortion that cuts through the mix, plus two bands of EQ.

A control called STARE adjusts the symmetry of the distortion. Turning the control clockwise increases the symmetry offset of the distortion waveform, while counter-clockwise decreases the asymmetry of the distortion. The SCREAM control adjusts the rectified distortion. Use the LOUDER control to adjust the overall output of the Zombie pedal. BASS control adjusts the bass frequencies and TREBLE control adjusts the overall treble frequencies.

The ON LED will light when the Zombie is active. The Zombie is a great choice when used with an ALL TUBE guitar amplifier to deliver rectified distortion. It can take a plain sounding TUBE amp and produce rectified distortion that rivals the sound of the most expensive amplifiers in this class. This monstrously heavy sound will cut through the mix and deliver amazing tone! The Zombie features Rocktron’s easy-access battery compartment to make changing batteries during a gig a breeze.

Rocktron HUSH Pedal

Pricelist : Rp. 850.000,-
Harga Promo : Rp. 680.000,- (Save 20%)

HUSH The Pedal
Got noise? Get the world’s foremost noise reduction for guitar players, Rocktron’s HUSH®. The HUSH pedal needs no introduction, as it is easily the standard in most touring rigs worldwide since 1984.

Specifications

  • Input Impedance: 470K
  • Maximum Input: +5dBu
  • Maximum Output: +5dBu
  • Distortion: .09% 0dBu@1KHz typical
  • Dynamic Range: 99dBu (A-weighted)
  • Frequency Response: ±½dB 20Hz-20KHz
  • Noise Reduction: over 60dB
  • Current Consumption: 10mA
  • Power Requirement: 9V Battery or 9V DC adaptor
If you aren’t using the HUSH, you aren’t using real noise reduction for guitar. When used properly, the HUSH will wipe out hiss, unwanted feedback and pickup buzz. The HUSH pedal delivers 65dB of signal cleanup, while your music signal integrity remains unaffected. In other words, get rid of the noise without altering your tone!

Guitar Player Magazine wrote that the "HUSH Pedal will work for all guitar-related noise problems: it’s perfect" and "its potent noise-killing abilities will be fully appreciated."

Simply plug the HUSH in AFTER distortion boxes, wah-wahs, noisy vintage effects, or other noisy units and turn the Threshold knob until the noise goes away.  It’s that easy! You will not find a more effective noise reduction.  Unlike noise "gates" that chop off the end of your notes, or ruin your sustain, HUSH the Pedal is actually a form of single-ended noise reduction that tracks your signal all the way and pushes the noise floor below the point where your ear can hear the noise.  It does not hurt your sustain or chop off the end of your notes.   Simply use the Threshold knob to smooth out your signal while wiping out noise. This is the best friend a guitar player could have!

Now hold on, partner. You must pay attention to the proper setup, with the HUSH pedal going AFTER your noisy stomp boxes. The HUSH is not designed to take the input directly from your guitar WITHOUT some processing happening between the guitar and the HUSH noise reduction. When setup correctly, with your signal going from your preamp and effects, or from your distortion and effects, into the HUSH, you WILL be amazed at how it will clean up the excess noise, including pickup buzz! The HUSH can also be used in your amplifier’s effects loop. However, if you are running multiple effects through this loop, the HUSH should always be the last dynamic device in the signal chain, but before digital delays or reverbs.

The HUSH pedal incorporates the latest version of the HUSH discreet circuitry which also includes Rocktron’s patented Variable Integrated Release (V.I.R.) technology. V.I.R. technology utilizes a low-noise VCA with precision detector circuits to achieve the smoothest and most transparent noise reduction possible.

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