{"title":"Microphone Preamps","description":"\u003cp\u003eShop Microphone Preamps for vocals, instruments, presenters, worship teams, schools, studios, and live production.\u003c\/p\u003e\n\u003cp\u003eVictory brings more than product listings to technical audio and video purchases. Our background in music, systems engineering, network infrastructure, AV integration, Dante-certified workflows, change management, disaster recovery, and business continuity helps customers plan scalable solutions built for dependable performance and long-term reliability.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eQuestions before you buy?\u003c\/strong\u003e \u003ca href=\"\/pages\/benny-ai\"\u003eBenny AI\u003c\/a\u003e, our 24\/7 product advisor, can help you get started, compare options, and ask product questions anytime. For personal support, quotes, school orders, church systems, special orders, or final confirmation, call Victory Musical Instruments at \u003ca href=\"tel:+18446874208\"\u003e+1-844-687-4208\u003c\/a\u003e or email \u003ca href=\"mailto:sales@victorymusical.com\"\u003esales@victorymusical.com\u003c\/a\u003e.\u003c\/p\u003e","products":[{"product_id":"ik-multimedia-ip-irig-pre2-in","title":"IK Multimedia iRig Pre 2 Microphone Preamp for Phones, Tablets and Cameras","description":"\u003cp\u003e\u003cstrong\u003eIK Multimedia iRig Pre 2\u003c\/strong\u003e is a \u003cstrong\u003ebattery powered XLR microphone preamp\u003c\/strong\u003e for phones, tablets and digital cameras, supplying +48 V phantom power with a 48 dB gain range, 50 Hz to 20 kHz frequency response and THD+N at -90 dBA. It connects through an attached 40 cm TRRS cable to an auto-sensing 3.5 mm output, includes a headphone output with direct monitoring, and runs about 20 hours on two AA batteries with phantom power off.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAny XLR microphone into any phone or camera, with real phantom power.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003ePhones and cameras have 3.5 mm inputs designed for a headset microphone, not for a professional XLR mic. iRig Pre 2 bridges that gap properly: a real preamp stage with 48 dB of gain, +48 V phantom power at up to 6 mA for condenser microphones, and an auto-sensing output that adapts to the device it is plugged into.\u003c\/p\u003e\u003cp\u003eDirect monitoring through the headphone output is the part videographers care about. You hear what is being recorded rather than what the camera decides to play back, which is the only way to catch a bad connection or a dead battery before the take is gone.\u003c\/p\u003e\u003cp\u003eBattery life is roughly 20 hours with phantom power off and roughly 7 hours with it on, from two AA alkaline cells. The unit measures 40 x 110 x 34 mm and weighs 75 g without batteries, and a velcro strip is included for mounting it to a camera rig or a strap.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eXLR microphone preamp for mobile devices and cameras\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhantom power\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+48 V, 6 mA maximum\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e48 dB, adjustable\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e50 Hz to 20 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-90 dBA, 0.003 percent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEIN\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-113.5 dBA at minimum gain, -92.4 dBA at maximum gain\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eBattery life\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eApproximately 20 hours phantom off, 7 hours phantom on, on 2x AA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSize and weight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e40 x 110 x 34 mm, 1.57 x 4.33 x 1.34 in., 75 g without batteries\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Not Just Plug the Microphone Into the Phone?\u003c\/h2\u003e\u003cp\u003eA phone's 3.5 mm input expects headset microphone level and provides plug-in power at best, not +48 V phantom. A professional condenser will not work at all, and a dynamic microphone will be far too quiet. iRig Pre 2 supplies the phantom power and the 48 dB of gain those microphones need.\u003c\/p\u003e\u003ch2\u003eWho Is iRig Pre 2 For?\u003c\/h2\u003e\u003cp\u003eVideo shooters using a shotgun or lavalier microphone with a phone or DSLR, field recordists, podcasters recording on location, and anyone who owns good microphones and wants to use them away from an interface.\u003c\/p\u003e\u003ch2\u003eIs iRig Pre 2 Good for Field Work?\u003c\/h2\u003e\u003cp\u003eThat is its main use. It runs 48 V phantom power from its own battery rather than the host device, so a condenser microphone works on a phone or a DSLR with nothing else in the bag. Interviewers, documentary crews and podcasters are the core users.\u003c\/p\u003e\u003ch2\u003eWhat Comes in the Box?\u003c\/h2\u003e\u003cp\u003eThe iRig Pre 2, two AA batteries and a velcro strip for mounting. Free iOS and Android apps are available from IK.\u003c\/p\u003e\u003ch2\u003eDoes It Work With Android and DSLR Cameras?\u003c\/h2\u003e\u003cp\u003eYes. It works with iOS, Android devices compliant with the CTIA and AHJ wiring standard, and DSLR cameras with a 3.5 mm microphone input. The output is auto-sensing and adapts to what it is connected to.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBuilt-in XLR connector\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDevice output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAttached 40 cm TRRS cable, auto-sensing 3.5 mm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eHeadphones\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eHeadphone output with direct monitoring\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePower\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2x AA batteries, included, with on and off switch\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy IK Multimedia?\u003c\/h2\u003e\u003cp\u003eIK Multimedia has been building music production hardware and software in Modena, Italy since 1996, with US operations in Sunrise, Florida. The company is behind AmpliTube, T-RackS, TONEX, the ARC room correction platform and the iLoud monitor range, and it designs its own DSP, converters and analog front ends rather than assembling reference designs.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine IK Multimedia product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full IK Multimedia manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 with the current term for your region.\u003c\/p\u003e\u003ch3\u003eCan it power a condenser microphone?\u003c\/h3\u003e\u003cp\u003eYes. It supplies +48 V phantom power at up to 6 mA, which covers most condenser microphones. Battery life drops to around 7 hours with phantom power on.\u003c\/p\u003e\u003ch3\u003eCan I monitor while recording?\u003c\/h3\u003e\u003cp\u003eYes. The headphone output provides direct monitoring so you hear the microphone rather than a delayed playback.\u003c\/p\u003e\u003ch3\u003eDoes it need batteries?\u003c\/h3\u003e\u003cp\u003eYes, two AA cells, and a set is included. There is an on and off switch to preserve them.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"IK Multimedia","offers":[{"title":"Default Title","offer_id":44090909392947,"sku":"IP-IRIG-PRE2-IN","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/rn-image_picker_lib_temp_5db3b2f6-6503-4d8e-8c17-115e605c65d0.jpg?v=1772681193"},{"product_id":"ik-multimedia-ip-irig-prehd-in","title":"IK Multimedia iRig Pre HD 24-Bit Microphone Preamp and Interface for iPhone, iPad, Mac and PC","description":"\u003cp\u003e\u003cstrong\u003eIK Multimedia iRig Pre HD\u003c\/strong\u003e is a \u003cstrong\u003e24-bit microphone preamp and digital audio interface\u003c\/strong\u003e with a balanced XLR input, +48 V phantom power, 40 dB of gain and sample rates to 96 kHz. Frequency response runs 20 Hz to 20 kHz within 1.5 dB with input noise at -105 dBA, and the 1\/8 in. headphone output delivers 100 mW into 50 Ohms with a numbered level thumbwheel.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eA studio microphone into a phone or a laptop, converted at 24 bits.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eiRig Pre 2 sends analog audio into the device's own converter. iRig Pre HD does the conversion itself, at 24-bit and up to 96 kHz, and delivers digital audio over the device connector. That removes the phone's headset input from the signal path entirely, which is where most of the noise and the level ceiling come from.\u003c\/p\u003e\u003cp\u003eThe microphone stage is a balanced XLR input at 2 kOhm with 40 dB of gain and +48 V phantom power for condensers. Input noise is specified at -97 dB RMS and -105 dBA, which is quiet enough for spoken word and acoustic sources without hiss becoming the loudest thing in the recording.\u003c\/p\u003e\u003cp\u003ePower comes over USB when connected to a computer. Two AA batteries, included, are needed only to supply the +48 V phantom rail. Cables for Lightning, USB-A and USB-C all ship in the box, along with a velcro strip.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24-bit microphone preamp and digital audio interface\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eConversion\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24-bit A\/D and D\/A\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSample rates\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e44.1, 48, 88.2 and 96 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced XLR, 2 kOhm, 40 dB gain range\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhantom power\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+48 V plus or minus 4 V\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 Hz to 20 kHz plus or minus 1.5 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInput noise\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-97 dB RMS, -105 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSize and weight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e40 x 110 x 34 mm, 1.57 x 4.33 x 1.34 in., 75 g without batteries\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eHow Is This Different From iRig Pre 2?\u003c\/h2\u003e\u003cp\u003eiRig Pre 2 is an analog preamp that feeds the device's 3.5 mm input, so the phone or camera does the conversion. iRig Pre HD converts to 24-bit digital itself at up to 96 kHz and sends digital audio over the device connector, bypassing the headset input completely. The result is a cleaner, higher resolution recording.\u003c\/p\u003e\u003ch2\u003eWho Is iRig Pre HD For?\u003c\/h2\u003e\u003cp\u003ePodcasters, journalists, voiceover artists and musicians recording a single microphone into an iPhone, iPad, Mac or PC and wanting studio quality rather than mobile quality. It suits anyone who already owns a good microphone and needs a proper front end for it.\u003c\/p\u003e\u003ch2\u003eIs iRig Pre HD Good for Field Work?\u003c\/h2\u003e\u003cp\u003eYes. It carries its own 24-bit 96 kHz conversion and its own phantom power supply, so a studio condenser records into a phone or laptop with no interface and no mains power in the chain. It fits a bag pocket and it records properly on location.\u003c\/p\u003e\u003ch2\u003eWhat Comes in the Box?\u003c\/h2\u003e\u003cp\u003eThe iRig Pre HD, a Lightning to micro USB cable, a USB-A to micro USB cable, a USB-C to micro USB cable, two 1.5 V AA batteries and a velcro strip.\u003c\/p\u003e\u003ch2\u003eDo I Need the Batteries?\u003c\/h2\u003e\u003cp\u003eOnly for +48 V phantom power. Connected to a computer over USB the unit is bus powered, but the phantom rail still comes from the batteries.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced XLR, pin 2 hot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eHeadphones\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1\/8 in. TRS, 100 mW into 50 Ohms, numbered thumbwheel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDevice connector\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicro USB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePower\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eUSB bus power with a computer, 2x AA batteries for phantom power only\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy IK Multimedia?\u003c\/h2\u003e\u003cp\u003eIK Multimedia has been building music production hardware and software in Modena, Italy since 1996, with US operations in Sunrise, Florida. The company is behind AmpliTube, T-RackS, TONEX, the ARC room correction platform and the iLoud monitor range, and it designs its own DSP, converters and analog front ends rather than assembling reference designs.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine IK Multimedia product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full IK Multimedia manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 with the current term for your region.\u003c\/p\u003e\u003ch3\u003eCan I monitor with headphones while recording?\u003c\/h3\u003e\u003cp\u003eYes. There is a 1\/8 in. headphone output with a numbered level thumbwheel, delivering 100 mW into 50 Ohms.\u003c\/p\u003e\u003ch3\u003eDoes it work with dynamic microphones?\u003c\/h3\u003e\u003cp\u003eYes. 40 dB of gain covers most dynamic microphones for close work. Very low output ribbon and dynamic mics may want more gain than this provides.\u003c\/p\u003e\u003ch3\u003eWhich devices does it connect to?\u003c\/h3\u003e\u003cp\u003eiPhone and iPad, Mac and PC. Cables for Lightning, USB-A and USB-C are all included.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"IK Multimedia","offers":[{"title":"Default Title","offer_id":44090909458483,"sku":"IP-IRIG-PREHD-IN","price":89.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/rn-image_picker_lib_temp_c3625290-a92f-40b5-bfd4-8472cf6fe4f3.jpg?v=1772681093"},{"product_id":"6176-vintage-channel-strip","title":"Universal Audio 6176 Vintage Channel Strip","description":"\u003cp\u003e\u003cstrong\u003eUniversal Audio 6176\u003c\/strong\u003e is a \u003cstrong\u003evintage channel strip pairing the 610 tube microphone preamp with the 1176LN FET limiting amplifier\u003c\/strong\u003e in one 2U chassis. It gives the tube front end and the fastest peak limiter UA makes on a single signal path, with a DI input and switchable impedance on the preamp stage.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTwo of the most-used circuits in recording, wired together.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eThe 6176 is not a new design. It is UA's two best-known circuits placed in series in one box: the 610 tube preamp that Bill Putnam designed for his own consoles, feeding the 1176LN FET limiter. Those two pieces have been chained together in studios for decades, and the 6176 removes the patching.\u003c\/p\u003e\u003cp\u003eThe 610 stage brings tube gain with selectable input impedance, which changes how a microphone loads and therefore how it sounds, plus a DI input for instruments. The 1176 stage brings 20 microsecond attack, the four ratio buttons and the all-buttons behavior the unit is known for.\u003c\/p\u003e\u003cp\u003eBecause both stages have their own bypass, either can be used alone. That matters more than it sounds: a source can be tracked through the tube preamp clean and limited later, or run through the 1176 from a line source without the tube stage.\u003c\/p\u003e\u003cp\u003eUniversal Audio still hand-builds this line in California to the original circuit designs rather than licensing the name out. The company was founded in 1958 by M.T. \"Bill\" Putnam, who designed the 1176 and the 610, and was revived in 1999 by his sons with the original schematics and, in several cases, the original test gear.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTube preamp and FET limiter channel strip\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePreamp stage\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e610 tube microphone preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDynamics stage\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1176LN FET limiting amplifier\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSelectable on the preamp stage\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInstrument input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eDI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eStage bypass\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eIndependent on each section\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e19 in. rack, 2U\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Is Actually Inside the 6176?\u003c\/h2\u003e\u003cp\u003eTwo complete circuits in series. The 610 tube microphone preamp with selectable input impedance and a DI input, feeding the 1176LN FET limiting amplifier with its four ratio buttons and 20 microsecond attack. Each stage bypasses independently, so either can be used on its own.\u003c\/p\u003e\u003ch2\u003eWho Is the 6176 For?\u003c\/h2\u003e\u003cp\u003eStudios that want one channel of the best UA front end rather than several channels of something more ordinary. It is a tracking chain for lead vocals and bass in particular, and it removes the patching involved in chaining a separate 610 and 1176.\u003c\/p\u003e\u003ch2\u003eWhy Does Selectable Input Impedance Matter?\u003c\/h2\u003e\u003cp\u003eA microphone's output changes with the load it sees. Dropping the input impedance alters the frequency response and transient behavior of a dynamic or ribbon microphone in particular, so the switch is a genuine tone control that works before any gain is applied.\u003c\/p\u003e\u003ch2\u003eCan I Use Just the Compressor?\u003c\/h2\u003e\u003cp\u003eYes. Each stage has independent bypass, so the 1176 section can process a line source with the tube preamp out of the path, and the preamp can be used clean with the limiter bypassed.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eXLR, selectable impedance\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInstrument input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eDI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced line\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e19 in. rack, 2U\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Universal Audio?\u003c\/h2\u003e\u003cp\u003eUniversal Audio was founded in 1958 by M.T. \"Bill\" Putnam, the engineer who built the first recording console with integrated equalization and effects sends, and who designed the 1176 and the 610. The company was revived in 1999 by his sons and now does two things: it still hand-builds analog hardware in California, and it licenses and models the classics from Neve, API, Manley, SSL, Lexicon, Studer, Ampex and others rather than emulating them without authorization.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine Universal Audio product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support, including software registration rights.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full Universal Audio manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 for the current term.\u003c\/p\u003e\u003ch3\u003eIs the compressor really a 1176?\u003c\/h3\u003e\u003cp\u003eYes. The dynamics section is the 1176LN FET limiting amplifier circuit, with the same ratio buttons and fast attack as the standalone unit.\u003c\/p\u003e\u003ch3\u003eCan I use the preamp and compressor separately?\u003c\/h3\u003e\u003cp\u003eYes. Each stage bypasses independently, so either can be used alone.\u003c\/p\u003e\u003ch3\u003eHow is this different from the LA-610?\u003c\/h3\u003e\u003cp\u003eThe 6176 pairs the 610 preamp with the 1176 FET limiter. The LA-610 pairs the same preamp with Teletronix T4 optical compression and adds tube EQ. They are different dynamics circuits with different behavior.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44131385081907,"sku":"'6176","price":2999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/6176_vintage_channel_strip_gallery_1.png?v=1774032919"},{"product_id":"la-610-mk2-classic-tube-recording-channel","title":"Universal Audio LA-610 Mk II Classic Tube Recording Channel","description":"\u003cp\u003e\u003cstrong\u003eUniversal Audio LA-610 Mk II\u003c\/strong\u003e is a \u003cstrong\u003etube recording channel\u003c\/strong\u003e combining the all-tube 610 microphone preamp derived from Bill Putnam's 610 modular console with authentic Teletronix T4 opto-compression circuitry and high and low frequency shelving tube EQ. The Mk II adds true compressor bypass, larger metering, increased output and an auto-switching power supply.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe 610 preamp and T4 optical compression, hand-built in the USA.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eThe LA-610 is the other way to combine UA's two signature circuits. Where the 6176 pairs the 610 preamp with the FET-based 1176, the LA-610 pairs it with the T4 optical cell from the LA-2A. That produces a slower, program-dependent compression that levels rather than catches, which suits vocals and bass differently from the way an 1176 does.\u003c\/p\u003e\u003cp\u003eBetween the two sits a tube EQ with high and low frequency shelving. It is deliberately simple, two bands of broad shaping rather than a corrective equalizer, and because it is tube-based the boost adds harmonic content along with the level.\u003c\/p\u003e\u003cp\u003eThe preamp stage carries gain and level controls separately, variable impedance switching that changes how a microphone loads, and an instrument DI for recording tone colour directly. Records by Coldplay, The Beach Boys and Van Halen were made through the 610 preamp design.\u003c\/p\u003e\u003cp\u003eMk II specific features are true compressor bypass, larger metering, increased output and an auto-switching power supply. Universal Audio still hand-builds this line in California to the original circuit designs rather than licensing the name out. The company was founded in 1958 by M.T. \"Bill\" Putnam, who designed the 1176 and the 610, and was revived in 1999 by his sons with the original schematics and, in several cases, the original test gear.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTube recording channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePreamp\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAll-tube 610, from the 610 modular console design\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eCompressor\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTeletronix T4 opto-compression, tube circuitry\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEQ\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eHigh and low frequency shelving, tube\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePreamp controls\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSeparate Gain and Level, variable impedance switching\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInstrument input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eDI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMk II additions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTrue compressor bypass, larger metering, increased output\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePower\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAuto-switching supply\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eHow Is the LA-610 Different From the 6176?\u003c\/h2\u003e\u003cp\u003eThe dynamics section. The LA-610 uses Teletronix T4 optical compression, which is slow and program-dependent and levels a performance. The 6176 uses the 1176 FET limiter, which is fast enough to catch transients. The LA-610 also carries a tube shelving EQ that the 6176 does not.\u003c\/p\u003e\u003ch2\u003eWho Is the LA-610 Mk II For?\u003c\/h2\u003e\u003cp\u003eStudios tracking vocals and bass who want the whole chain in tubes: preamp, EQ and compression. It is a committing device, in that what it does is recorded rather than added later, which is how most people who own one prefer to work.\u003c\/p\u003e\u003ch2\u003eWhat Does Variable Impedance Switching Do?\u003c\/h2\u003e\u003cp\u003eIt changes the load the microphone sees. A dynamic or ribbon microphone responds to that load with a different frequency response and transient character, so it is a genuine tone control operating before any gain is applied. Condensers are less affected but not immune.\u003c\/p\u003e\u003ch2\u003eWhat Changed in the Mk II?\u003c\/h2\u003e\u003cp\u003eTrue compressor bypass, larger metering, increased output and an auto-switching power supply. The core circuits, the 610 preamp and the T4 optical compression, carry over.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eXLR, variable impedance\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInstrument input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eDI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced line\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePower\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAuto-switching supply\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Universal Audio?\u003c\/h2\u003e\u003cp\u003eUniversal Audio was founded in 1958 by M.T. \"Bill\" Putnam, the engineer who built the first recording console with integrated equalization and effects sends, and who designed the 1176 and the 610. The company was revived in 1999 by his sons and now does two things: it still hand-builds analog hardware in California, and it licenses and models the classics from Neve, API, Manley, SSL, Lexicon, Studer, Ampex and others rather than emulating them without authorization.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine Universal Audio product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support, including software registration rights.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full Universal Audio manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 for the current term.\u003c\/p\u003e\u003ch3\u003eIs the compressor the same as an LA-2A?\u003c\/h3\u003e\u003cp\u003eIt uses authentic Teletronix T4 opto-compression circuitry, the same optical principle as the LA-2A, in a channel strip format alongside the 610 preamp and tube EQ.\u003c\/p\u003e\u003ch3\u003eWhat kind of EQ does it have?\u003c\/h3\u003e\u003cp\u003eHigh and low frequency shelving, tube-based. It is a broad tone-shaping EQ rather than a corrective parametric.\u003c\/p\u003e\u003ch3\u003eCan I bypass the compressor?\u003c\/h3\u003e\u003cp\u003eYes. True compressor bypass is one of the Mk II additions, so the preamp and EQ can be used with the dynamics stage fully out of the path.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44131385376819,"sku":"LA610","price":1999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/la-610_mkII_classic_tube_recording_channel_gallery_1_f5cffa42-ba9c-4678-a87e-facde4c898da.png?v=1774032921"},{"product_id":"solo-610-classic-tube-single-channel-mic-pre","title":"Universal Audio SOLO\/610 Classic Tube Preamplifier and DI Box","description":"\u003cp\u003e\u003cstrong\u003eUniversal Audio SOLO\/610\u003c\/strong\u003e is a \u003cstrong\u003esingle-channel tube microphone preamplifier and DI box\u003c\/strong\u003e built on the 610 console circuit, offering up to 61 dB of gain from a 12AX7 and 12AT7 tube complement. Microphone input impedance switches between 450 ohms and 1.6 kilohms, the DI input runs at 2.2 megohms, and frequency response is 20 Hz to 20 kHz within 0.1 dB.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe 610 tube front end, in something you can carry.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eThe SOLO\/610 takes the preamp section of the 610 console design and puts it in a desktop box. It runs two tubes, a 12AX7 and a 12AT7, and delivers a maximum of 61 dB of gain, which is enough for most condensers and many dynamics without a booster.\u003c\/p\u003e\u003cp\u003eImpedance switching on the microphone input is the control worth understanding. At 450 ohms a microphone is loaded harder than at 1.6 kilohms, and dynamics and ribbons in particular change their frequency response and transient behavior in response. It is a tone control that operates before gain rather than after it.\u003c\/p\u003e\u003cp\u003eThe DI input runs at 2.2 megohms, high enough that a passive bass or a guitar with vintage-output pickups is not loaded down. Maximum gain on the instrument input is 37 dB. Frequency response on both microphone and instrument inputs is 20 Hz to 20 kHz within 0.1 dB.\u003c\/p\u003e\u003cp\u003eUniversal Audio still hand-builds this line in California to the original circuit designs rather than licensing the name out. The company was founded in 1958 by M.T. \"Bill\" Putnam, who designed the 1176 and the 610, and was revived in 1999 by his sons with the original schematics and, in several cases, the original test gear.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSingle-channel tube mic preamp and DI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTube complement\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eOne 12AX7, one 12AT7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e61 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMic input impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSelectable 450 ohms or 1.6 kilohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDI input impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2.2 megohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 Hz to 20 kHz, plus or minus 0.1 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e14 x 5.75 x 5 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e9 lb.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Does the Impedance Switch Actually Change?\u003c\/h2\u003e\u003cp\u003eHow hard the microphone is loaded. At 450 ohms the load is heavier than at 1.6 kilohms, and a dynamic or ribbon microphone responds with a different frequency response and transient character. Maximum gain also differs slightly: 60 dB at 450 ohms and 55 dB at 1.6 kilohms.\u003c\/p\u003e\u003ch2\u003eWho Is the SOLO\/610 For?\u003c\/h2\u003e\u003cp\u003eAnyone who wants the 610 tube sound on one channel without a rack: project studios, mobile rigs, and engineers adding a colored front end to an interface whose preamps are clean but characterless. Bass players use the DI in particular.\u003c\/p\u003e\u003ch2\u003eCan I Plug a Bass Straight Into It?\u003c\/h2\u003e\u003cp\u003eYes. The DI input runs at 2.2 megohms, which is high enough not to load a passive instrument, with up to 37 dB of gain on that input. That makes it a tube DI as well as a microphone preamp.\u003c\/p\u003e\u003ch2\u003eHow Much Gain Does It Have?\u003c\/h2\u003e\u003cp\u003eUp to 61 dB overall. On the microphone input that is 60 dB at the 450 ohm setting and 55 dB at 1.6 kilohms; on the instrument input, 37 dB.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eXLR, selectable 450 ohms or 1.6 kilohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInstrument input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eDI, 2.2 megohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced line\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum mic input level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-12 dBu at 1.0% THD+N\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum instrument input level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+4 dBu at 1.0% THD+N\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eSpecifications\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTube complement\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eOne 12AX7, one 12AT7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e61 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum gain, mic input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e55 dB at 1.6 kilohm input, 60 dB at 450 ohm input\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum gain, instrument input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e37 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMic and instrument frequency response\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 Hz to 20 kHz, plus or minus 0.1 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMic input impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSelectable 450 ohms (Lo-Z) or 1.6 kilohms (Hi-Z)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDI input impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2.2 megohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e14 in. L x 5.75 in. W x 5 in. H\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e9 lb.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Universal Audio?\u003c\/h2\u003e\u003cp\u003eUniversal Audio was founded in 1958 by M.T. \"Bill\" Putnam, the engineer who built the first recording console with integrated equalization and effects sends, and who designed the 1176 and the 610. The company was revived in 1999 by his sons and now does two things: it still hand-builds analog hardware in California, and it licenses and models the classics from Neve, API, Manley, SSL, Lexicon, Studer, Ampex and others rather than emulating them without authorization.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine Universal Audio product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support, including software registration rights.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full Universal Audio manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 for the current term.\u003c\/p\u003e\u003ch3\u003eHow many tubes does it use?\u003c\/h3\u003e\u003cp\u003eTwo: one 12AX7 and one 12AT7.\u003c\/p\u003e\u003ch3\u003eWill it drive a ribbon microphone?\u003c\/h3\u003e\u003cp\u003eIt offers up to 60 dB on the microphone input at the 450 ohm setting, and the impedance switch is particularly useful with ribbons. Call 844-687-4208 with your microphone and we will check the gain requirement.\u003c\/p\u003e\u003ch3\u003eIs it a full channel strip?\u003c\/h3\u003e\u003cp\u003eNo. It is the preamp and DI section only. The LA-610 Mk II adds tube EQ and T4 optical compression to the same preamp circuit.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44131385409587,"sku":"S610","price":1199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/solo_610_classic_tube_preamplifier_di_box_gallery_1.png?v=1774032923"},{"product_id":"4-710d-four-channel-mic-pre","title":"Universal Audio 4-710d Four-Channel Tone-Blending Mic Preamp with Dynamics","description":"\u003cp\u003e\u003cstrong\u003eUniversal Audio 4-710d\u003c\/strong\u003e is a \u003cstrong\u003efour-channel microphone preamplifier with dynamics and digital output\u003c\/strong\u003e, built on UA's Twin-Finity tone-blending design. Each channel blends continuously between a tube and a solid-state gain stage, and carries its own dynamics section, so four sources can be tracked with independent character and level control from one 2U chassis.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFour channels of tube-to-solid-state blend, not a switch between them.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eTone-blending is the idea the 710 family is built on. Rather than choosing tube or solid state, each channel has both gain stages running and a single control that mixes between them continuously. At one extreme the signal is all tube with its harmonic character and softer transient handling; at the other it is clean solid state; anywhere in between is a genuine blend rather than a crossfade between two processed copies.\u003c\/p\u003e\u003cp\u003eFour channels of that in one rack unit is what the 4-710d is for. A drum kit, a small band tracking live, or a session that needs four different microphone characters at once all become possible without four separate boxes and four different sounds.\u003c\/p\u003e\u003cp\u003eEach channel also carries its own dynamics section, so level control happens before conversion rather than in the box afterward. The d in the model name denotes the digital output, which allows the unit to feed a digital input directly.\u003c\/p\u003e\u003cp\u003eUniversal Audio still hand-builds this line in California to the original circuit designs rather than licensing the name out. The company was founded in 1958 by M.T. \"Bill\" Putnam, who designed the 1176 and the 610, and was revived in 1999 by his sons with the original schematics and, in several cases, the original test gear.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eFour-channel mic preamp with dynamics\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eChannels\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4, independently controlled\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain stages\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTube and solid state, continuously blendable per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDynamics\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003ePer channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDigital output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDesign\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTwin-Finity tone blending\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e19 in. rack\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Is Tone Blending?\u003c\/h2\u003e\u003cp\u003eEach channel runs a tube gain stage and a solid-state gain stage at the same time, with one control mixing continuously between them. It is not a switch. At one end the character is tube, at the other it is clean solid state, and every position between is a real blend of the two circuits.\u003c\/p\u003e\u003ch2\u003eWho Is the 4-710d For?\u003c\/h2\u003e\u003cp\u003eStudios tracking drums, small bands recording live, and anyone who needs four channels of characterful front end rather than four channels of neutral gain. The per-channel dynamics make it workable as a complete front end rather than a preamp that needs outboard behind it.\u003c\/p\u003e\u003ch2\u003eWhat Does the D in 4-710d Mean?\u003c\/h2\u003e\u003cp\u003eDigital output. The unit can feed a digital input directly rather than requiring external conversion, which shortens the chain when the destination is a digital interface or recorder.\u003c\/p\u003e\u003ch2\u003eDoes Every Channel Have Its Own Compressor?\u003c\/h2\u003e\u003cp\u003eEach channel carries its own dynamics section, so four sources are controlled independently rather than sharing one detector. Call 844-687-4208 if you want the dynamics specification walked through before ordering.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone inputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain stages\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTube and solid state, blendable, per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDynamics\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003ePer channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDigital output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced line, per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Universal Audio?\u003c\/h2\u003e\u003cp\u003eUniversal Audio was founded in 1958 by M.T. \"Bill\" Putnam, the engineer who built the first recording console with integrated equalization and effects sends, and who designed the 1176 and the 610. The company was revived in 1999 by his sons and now does two things: it still hand-builds analog hardware in California, and it licenses and models the classics from Neve, API, Manley, SSL, Lexicon, Studer, Ampex and others rather than emulating them without authorization.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine Universal Audio product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support, including software registration rights.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full Universal Audio manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 for the current term.\u003c\/p\u003e\u003ch3\u003eIs the tube blend a switch or a knob?\u003c\/h3\u003e\u003cp\u003eA continuous control. Both gain stages run at once and the control mixes between them, so intermediate positions are genuine blends rather than a switch between two states.\u003c\/p\u003e\u003ch3\u003eDoes it have a digital output?\u003c\/h3\u003e\u003cp\u003eYes. The d in the model name denotes the digital output, allowing the unit to feed a digital input directly.\u003c\/p\u003e\u003ch3\u003eHow does it compare to four 710 Twin-Finity units?\u003c\/h3\u003e\u003cp\u003eIt brings the same tone-blending concept to four channels in one chassis with dynamics per channel. Call 844-687-4208 and we will compare them against how you plan to track.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44131385442355,"sku":"4710D","price":1999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/4-710d_four-channel_tone-blending_mic_preamp_with_dynamics_gallery_1_dd7122a3-aa79-4005-b4e1-cf57d48df6d7.png?v=1774032926"},{"product_id":"710-twin-finity-single-channel-mic-pre","title":"Universal Audio 710 Twin-Finity Tone-Blending Microphone Preamplifier","description":"\u003cp\u003e\u003cstrong\u003eUniversal Audio 710 Twin-Finity\u003c\/strong\u003e is a \u003cstrong\u003esingle-channel microphone preamplifier that blends continuously between a 12AX7 tube stage and a solid-state stage\u003c\/strong\u003e. Gain runs to 70 dBu, frequency response is 20 Hz to 100 kHz within 0.2 dBu, and it carries microphone, balanced line and unbalanced instrument inputs with a -15 dB pad and a 75 Hz high pass filter.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTurn the knob and the circuit changes from tube to solid state.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eThe Twin-Finity control is the whole product. A 12AX7 tube stage and a solid-state stage both run on the signal, and one knob mixes between them continuously. Distortion tells the story: minimum THD plus noise at +4 dBu is 0.1% through the tube path and 0.005% through the solid state path, so the two ends of the control are measurably different circuits rather than two voicings of one.\u003c\/p\u003e\u003cp\u003eInput impedance differs by input: 2 kilohms on the microphone input, 10 kilohms on line, and 2.2 megohms on the high impedance instrument input, which is high enough not to load a passive bass or a vintage-output guitar.\u003c\/p\u003e\u003cp\u003eFrequency response runs 20 Hz to 100 kHz within 0.2 dBu on both microphone and line inputs, which is well beyond the audible band and is part of why the unit handles transients the way it does. A -15 dB pad and a 75 Hz high pass filter handle loud sources and stage rumble.\u003c\/p\u003e\u003cp\u003eUniversal Audio still hand-builds this line in California to the original circuit designs rather than licensing the name out. The company was founded in 1958 by M.T. \"Bill\" Putnam, who designed the 1176 and the 610, and was revived in 1999 by his sons with the original schematics and, in several cases, the original test gear.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSingle-channel tone-blending mic preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain stages\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e12AX7 tube and solid state, continuously blendable\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eNegative infinity to 70 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 Hz to 100 kHz, plus or minus 0.2 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePad\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-15 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eHigh pass filter\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e75 Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicrophone XLR, balanced line XLR, unbalanced instrument 1\/4 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e5.25 lb.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eHow Different Are the Two Gain Stages?\u003c\/h2\u003e\u003cp\u003eMeasurably. Minimum THD plus noise at +4 dBu is 0.1% through the tube stage and 0.005% through the solid state stage. That is a factor of twenty, so the control is moving between two genuinely different circuits rather than adding a flavor to one.\u003c\/p\u003e\u003ch2\u003eWho Is the 710 Twin-Finity For?\u003c\/h2\u003e\u003cp\u003eProject studios and engineers who want one preamp that covers both a colored and a clean front end, rather than owning two. It is also a common choice as a tube DI for bass, given the 2.2 megohm instrument input.\u003c\/p\u003e\u003ch2\u003eWhat Can I Plug Into It?\u003c\/h2\u003e\u003cp\u003eA microphone on the female XLR at 2 kilohms, a balanced line source on XLR at 10 kilohms, or an instrument on the 1\/4 in. jack at 2.2 megohms. Output is balanced line on a male XLR.\u003c\/p\u003e\u003ch2\u003eWhat Are the Pad and Filter For?\u003c\/h2\u003e\u003cp\u003eThe -15 dB pad handles sources loud enough to overload the input, such as a close-miked guitar cabinet or a kick drum. The 75 Hz high pass filter removes stage rumble and handling noise before it reaches the gain stage.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMicrophone input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eFemale XLR, 2 kilohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced, female XLR, 10 kilohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInstrument input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eUnbalanced 1\/4 in. jack, 2.2 megohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eBalanced line, male XLR\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePad\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-15 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eHigh pass filter\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e75 Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eSpecifications\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTube complement\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e12AX7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain range for unit\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eNegative infinity to 70 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMic frequency response\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 Hz to 100 kHz, plus or minus 0.2 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDistortion\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMinimum THD plus noise at +4 dBu: 0.1% tube, 0.005% solid state\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMic input impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 kilohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine input impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e10 kilohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eHi-Z input impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2.2 megohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePad\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-15 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eHigh pass filter\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e75 Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum power consumption\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e160 mA at 120 V AC, 20 W\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePower requirements\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e100 to 240 V AC\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8.45 in. W x 3.5 in. H x 10.25 in. D\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e5.25 lb.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Universal Audio?\u003c\/h2\u003e\u003cp\u003eUniversal Audio was founded in 1958 by M.T. \"Bill\" Putnam, the engineer who built the first recording console with integrated equalization and effects sends, and who designed the 1176 and the 610. The company was revived in 1999 by his sons and now does two things: it still hand-builds analog hardware in California, and it licenses and models the classics from Neve, API, Manley, SSL, Lexicon, Studer, Ampex and others rather than emulating them without authorization.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine Universal Audio product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support, including software registration rights.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full Universal Audio manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 for the current term.\u003c\/p\u003e\u003ch3\u003eIs the tube always in the circuit?\u003c\/h3\u003e\u003cp\u003eBoth stages run at once and the Twin-Finity control mixes between them. At the fully solid-state position the tube contribution is out of the blend.\u003c\/p\u003e\u003ch3\u003eCan I use it as a DI?\u003c\/h3\u003e\u003cp\u003eYes. The unbalanced instrument input runs at 2.2 megohms, high enough for a passive bass or a vintage-output guitar.\u003c\/p\u003e\u003ch3\u003eWhat is the frequency response?\u003c\/h3\u003e\u003cp\u003e20 Hz to 100 kHz within 0.2 dBu on both the microphone and line inputs.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44131385507891,"sku":"710TF","price":999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/710_twin-finity_tone-blending_mic_preamplifier_di_box_gallery_1.png?v=1774032929"},{"product_id":"apollo-e1x-remote-controllable-unison-preamp-dante","title":"Universal Audio Apollo e1x Dante Unison Microphone Preamp","description":"\u003cp\u003e\u003cstrong\u003eUniversal Audio Apollo e1x\u003c\/strong\u003e is a \u003cstrong\u003esingle-channel Unison microphone and line preamp with Dante networked audio\u003c\/strong\u003e, built to expand an Apollo x16D. Up to 16 units run per Apollo x16D depending on DSP resources, gain and phantom power are controlled over the network from UAD Console, and it mounts on a threaded 5\/8 in. microphone stand.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eA Unison preamp that lives at the microphone instead of in the rack.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eThe point of the e1x is distance. Rather than running a long analog microphone cable back to the rack, the preamp sits at the source and the signal travels the rest of the way as Dante over the network. Gain, phantom power, polarity and low cut are all set remotely from UAD Console, so nobody has to walk out to the stand.\u003c\/p\u003e\u003cp\u003eIt is a Unison preamp, which means the UAD plug-in has bidirectional control over the analog front end. Emulations of API, Neve, Manley and SSL preamps change the impedance and gain staging of the hardware rather than only processing the converted signal.\u003c\/p\u003e\u003cp\u003eIt works on any Dante audio network, not only with an Apollo. Routing is handled either through Dante Controller directly or inside UAD Console when paired with an Apollo x16D. Sample rates run 44.1 to 96 kHz, with AES67 support at 48 kHz, and Dante Device Lock is available. A coupling bracket is included for linking multiple units together.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSingle-channel Unison mic\/line preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eNetwork\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eDante\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eCombination jack, XLR mic and 1\/4 in. line\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eExpansion\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eUp to 16 units per Apollo x16D, DSP dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eRemote control\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eGain, 48 V phantom, polarity, low cut over UAD Console\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSample rates\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e44.1 to 96 kHz, AES67 at 48 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMounting\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eThreaded 5\/8 in. mic stand mount, coupling bracket included\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Put a Preamp on a Dante Network?\u003c\/h2\u003e\u003cp\u003eBecause the analog cable run stops at the microphone. The preamp amplifies and converts at the source and the signal travels the rest of the way digitally, which removes the noise and loss that come with a long analog run. In an install or a large room that is the difference between a usable signal and a compromised one.\u003c\/p\u003e\u003ch2\u003eWho Is Apollo e1x For?\u003c\/h2\u003e\u003cp\u003eInstallations, houses of worship, broadcast rooms and studios running an Apollo x16D that need microphone inputs distributed around a building rather than concentrated in one rack. It also works on any Dante network independently of an Apollo.\u003c\/p\u003e\u003ch2\u003eHow Many Can I Run?\u003c\/h2\u003e\u003cp\u003eUp to 16 Apollo e1x units per Apollo x16D, subject to available DSP resources. A coupling bracket is included so multiple units link together securely when they sit side by side.\u003c\/p\u003e\u003ch2\u003eDo I Need an Apollo to Use It?\u003c\/h2\u003e\u003cp\u003eNo. It works with any Dante audio network, with routing handled in Dante Controller. Pairing it with an Apollo x16D adds routing and remote control inside UAD Console and enables Unison.\u003c\/p\u003e\u003ch2\u003eConnections\u003c\/h2\u003e\u003ctable class=\"vmi-spec-table\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eCombination jack, XLR microphone and 1\/4 in. line\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eNetwork\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eDante\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhantom power\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e48 V, remotely switched\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMount\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eThreaded 5\/8 in.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Universal Audio?\u003c\/h2\u003e\u003cp\u003eUniversal Audio was founded in 1958 by M.T. \"Bill\" Putnam, the engineer who built the first recording console with integrated equalization and effects sends, and who designed the 1176 and the 610. The company was revived in 1999 by his sons and now does two things: it still hand-builds analog hardware in California, and it licenses and models the classics from Neve, API, Manley, SSL, Lexicon, Studer, Ampex and others rather than emulating them without authorization.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003ch3\u003eIs this a genuine Universal Audio product?\u003c\/h3\u003e\u003cp\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging with full manufacturer support, including software registration rights.\u003c\/p\u003e\u003ch3\u003eIs this covered by warranty?\u003c\/h3\u003e\u003cp\u003eYes. This unit carries the full Universal Audio manufacturer warranty, registered to you as the original purchaser. Call 844-687-4208 for the current term.\u003c\/p\u003e\u003ch3\u003eDoes it work with any Dante network?\u003c\/h3\u003e\u003cp\u003eYes. Routing can be handled directly in Dante Controller, or inside UAD Console when paired with an Apollo x16D.\u003c\/p\u003e\u003ch3\u003eHow is gain controlled?\u003c\/h3\u003e\u003cp\u003eOver the network. Gain, 48 V phantom power, polarity inversion and low cut are all set remotely from UAD Console, so nobody has to reach the unit.\u003c\/p\u003e\u003ch3\u003eWhat sample rates does it support?\u003c\/h3\u003e\u003cp\u003e44.1 to 96 kHz, with AES67 support at 48 kHz, set in Dante Controller. Dante Device Lock is also available.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is a pro audio and musical instrument dealer in Miami, Florida. We support churches, schools, studios and working musicians across South Florida and ship nationwide. Every unit is new in the original factory packaging with full manufacturer support. Call 844-687-4208 to check lead time, request a quote, or arrange local pickup.\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44131390095411,"sku":"APE1X","price":399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/apollo_e1x_gallery_1.png?v=1774033019"},{"product_id":"alto-professional-voice-plus-mic-preamp-channel-strip-new-in-box-discontinued","title":"Alto Professional VOICE PLUS Mic Preamp \u0026 Channel Strip — NEW IN BOX (Discontinued)","description":"\u003cp\u003eNEW in sealed box. Alto Voice Plus single-channel vocal channel strip — mic preamp w\/ +48V phantom, expander\/gate, compressor, voice EQ, de-esser, master out. 1U rack. Discontinued; brand new units rare. Miami pickup or shipping.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFull description:\u003c\/strong\u003e\u003cbr\u003eBrand new, factory sealed Alto Professional Voice Plus — a comprehensive single-channel vocal channel strip with everything you need to track and process voice or a single instrument. 1U rackmount, 19\".\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFeatures:\u003c\/strong\u003e\u003cbr\u003eMic\/Line input section with switchable +48V phantom power, phase reverse, and frequency-variable 18dB\/octave low-cut filter\u003cbr\u003eExpander\/Gate section with full dynamic control\u003cbr\u003eCompressor with smart program-dependent envelope\u003cbr\u003e3-band voice-optimized EQ\u003cbr\u003eDe-esser with frequency, boost\/cut, and activity LED\u003cbr\u003eMaster output section with dedicated output meter\u003cbr\u003eBalanced XLR mic and 1\/4\" line inputs\u003cbr\u003eThree outputs (main XLR\/TRS + dedicated recording out) for routing flexibility\u003cbr\u003eSide-chain insert send\/return\u003cbr\u003eMic gain range: 10dB to 60dB\u003cbr\u003eDimensions: 19\" × 8.5\" × 1.8\" \/ Weight: 7.3 lb\u003cbr\u003e\u003cbr\u003eIdeal for: vocal tracking, podcasting, broadcast, live performance vocals, voiceover work.\u003cbr\u003eCondition: Brand new, factory sealed, original box. Guaranteed working on arrival.\u003c\/p\u003e","brand":"Alto Professional","offers":[{"title":"Default Title","offer_id":44249809944627,"sku":null,"price":109.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/vkjceplus.png?v=1777830012"},{"product_id":"alto-professional-voice-plus-d-mic-preamp-channel-strip-w-digital-outs-tube-emulation-new-in-box-discontinued","title":"Alto Professional VOICE PLUS D Mic Preamp \/ Channel Strip w\/ Digital Outs \u0026 Tube Emulation","description":"\u003cp\u003eNEW in sealed box. Alto Voice Plus D — upgraded version of the Voice Plus. Adds 24-bit\/192kHz S\/PDIF digital out, word clock input, and \"Vintage\" tube-emulation circuit for warm, tube-like coloration. Mic preamp + compressor + voice EQ + de-esser. Miami pickup or shipping.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFull description:\u003c\/strong\u003e\u003cbr\u003eBrand new, factory sealed Alto Professional Voice Plus D — the digital-output version of Alto's popular Voice Plus channel strip, with two important upgrades: a 24-bit \/ 192kHz S\/PDIF digital output and a proprietary \"Vintage\" tube-emulation circuit that adds even-harmonic warmth to your signal.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFeatures:\u003c\/strong\u003e\u003cbr\u003eMic\/Line input section with switchable +48V phantom power, phase reverse, low-cut filter\u003cbr\u003e\"Vintage\" tube emulation — introduces even harmonics for tube-like coloration and warmth\u003cbr\u003eCompressor section with Smart Knee Control (SKC) for musical, inaudible compression\u003cbr\u003e3-band voice-optimized EQ\u003cbr\u003eDe-esser\u003cbr\u003eMaster output section\u003cbr\u003e24-bit S\/PDIF digital output — sampling rates: 44.1, 48, 88.2, 96, 176.4, 192 kHz\u003cbr\u003eExternal word clock input with automatic syncing\u003cbr\u003eBalanced XLR mic and 1\/4\" line inputs\u003cbr\u003eThree analog outputs (main + dedicated recording out)\u003cbr\u003e1U 19\" rackmount\u003cbr\u003eNote: Voice Plus D omits the expander\/gate found on the standard Voice Plus, in favor of the tube emulation and digital output stage.\u003cbr\u003e\u003cbr\u003eIdeal for: project studio vocal chains feeding a digital interface or DAW, broadcast, podcast production needing a warmth-injection preamp with clean digital output.\u003cbr\u003e\u003cbr\u003eCondition: Brand new, factory sealed, original box. Guaranteed working on arrival.\u003c\/p\u003e","brand":"Alto Professional","offers":[{"title":"Default Title","offer_id":44250013073459,"sku":null,"price":149.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/VOICE_plus_D_front.jpg?v=1777831837"},{"product_id":"ps95-power-supply-preamp","title":"PS95 Power Supply \/ Preamp","description":"\u003cdiv class=\"vmi-product-description\"\u003e\n\u003cdiv class=\"vmi-description-intro\"\u003e\n\u003cp\u003eEVNO PS95 Preamp \/ Power Supply for EVNO Microphones\u003c\/p\u003e\n\u003cp\u003eThe EVNO PS95 is the standard power supply designed to provide the correct power for EVNO microphones when used in a hardwired setup. Here are the key features and usage details for the PS95 power supply:\u003c\/p\u003e\n\u003cp\u003eKey Features 1. Power Options: • Phantom Power: The PS95 can be powered by phantom power from a mixing console or audio interface. • 1 AA Battery: Alternatively, the PS95 can be powered by a single AA battery, providing flexibility for various performance environments. 2. Functionality: • Low-Cut Filter: The PS95 includes a low-cut filter to reduce unwanted low-frequency noise, which can be engaged as needed. • Flat response: When the low-cut filter is not activated, the microphone will be in a flat response. • On\/Off Control: ™ Battery Power: The PS95 can be completely shut off when using a AA battery. ™ Phantom Power: When using phantom power, the microphone can only be turned off by turning off the phantom power at the source. The microphone remains on as long as phantom power is supplied. 3. Design and Portability: • Compact Size: The PS95 is small and lightweight, making it easy to handle and transport. • Metal Chassis: Durable metal housing ensures the PS95 can withstand the rigors of live performance and frequent handling. • Mounting Options: The power supply can be clipped to a belt for mobility during performance or attached to a music stand for stationary use. This versatility makes it suitable for various performance setups.\u003c\/p\u003e\n\u003cp\u003eStage Usage • Hardwired Setup: The PS95 must be used when EVNO microphones are operated in a hardwired setup, ensuring they receive the proper power and signal conditioning. • Wireless Setup: While the PS95 is not required for wireless operation, it can serve as a backup power supply or a solution for situations where wireless connectivity is not feasible.\u003c\/p\u003e\n\u003cp\u003ePractical Applications • Performance Mobility: Clipping the PS95 to a belt allows performers to move freely around the stage without being tethered to a stationary power source but is confined to the length of the cable. For more movement see Evno Wireless Systems. • Stationary Performances: For performers who remain seated or in one location, the PS95 can be clipped to a music stand or placed nearby, providing easy access to power and control features.\u003c\/p\u003e\n\u003cp\u003eSummary The EVNO PS95 power supply is an essential accessory for EVNO microphones, ensuring they receive the correct power and signal conditioning in hardwired setups. Its dual power options, low-cut filter, low shelf adjustment, and durable, portable design make it a versatile tool for both mobile and stationary performances. Whether powered by phantom power or a AA battery, the PS95 offers reliable performance and flexibility to meet the demands of various musical environments.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"EVNO","offers":[{"title":"Default Title","offer_id":44344796676147,"sku":null,"price":119.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/PS95TopView_a4891dd1-f0be-42b9-a4b3-bcc8d7118be7.jpg?v=1779744127"},{"product_id":"warm-audio-wa-2a-opto-compressor","title":"Warm Audio WA-2A Opto Compressor","description":"\u003cp\u003e\u003cstrong\u003eWA-2A\u003c\/strong\u003e is an \u003cstrong\u003eoptical tube compressor\u003c\/strong\u003e recreating the LA-2A, the leveling amplifier that has been on more vocal tracks than any other compressor ever built. Optical gain reduction is program dependent, which is why it sounds like it is listening rather than reacting.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe vocal compressor that everything else gets compared to.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003e'2A Style Optical Compressor No plug-in or other compressor type quite compares to the warm, forgiving, fluid qualities of the classic '2A optical compressor. For decades, the renowned '2A style circuit has become the go-to device for seamlessly handling vocals, bass, and a wide variety of other instruments and program material in an effortlessly smooth way. Releasing the WA-2A would be for nothing if it wasn't affordable. Since the start of Warm Audio, Warm has striven to give an unprecedented value to their customers, but putting high end audio within the reach of more people than ever before. This philosophy drives everything they do, and every product they offer. Premium Components: The WA-2A is a high-voltage, Class-A opto-compressor, utilizing large-core CineMag USA Transformers, four premium vacuum tubes, and the legendary Kenetek opto-cell - considered by many to be the world's finest. A Four Tube Operation The WA-2A operates on four tubes: two 12AX7s, one 12BH7, and one 6aq5 (or 6P1J). We proudly use Tung-Sol and Electro-Harmonix brand tubes in the signal path, which sound very open and LARGE. All four tubes are socketed for easy swapping and replacement.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eWarm Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eWA-2A\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003eCompressor\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eWarm Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Does Optical Compression Do Differently?\u003c\/h2\u003e\u003cp\u003eThe gain reduction element is a light source and a photocell, and the photocell's response depends on how it has been driven recently. That makes the attack and release program dependent rather than fixed, which is why the compression feels natural rather than pumped.\u003c\/p\u003e\u003ch2\u003eWhy Are There Only Two Knobs?\u003c\/h2\u003e\u003cp\u003eThe original design has Peak Reduction and Gain, and nothing else. Attack and release are set by the optical element's behaviour. Fewer decisions is a large part of why it is so widely used on vocals.\u003c\/p\u003e\u003ch2\u003eIs It Only for Vocals?\u003c\/h2\u003e\u003cp\u003eNo. It is a standard on bass, on acoustic guitar and across a mix bus. But the vocal application is what made its reputation and it is still what most people buy it for.\u003c\/p\u003e\u003ch2\u003eWhy Warm Audio\u003c\/h2\u003e\u003cp\u003eWarm Audio builds recreations of the classic studio hardware most engineers will never get to own, at a fraction of what the originals cost. The company sources premium components, CineMag and custom transformers, Fairchild-grade capacitors, NOS tubes where the design calls for them, and puts them into circuits copied closely from the originals rather than approximated. It has grown from microphones and preamps into compressors, EQs, direct boxes, guitar pedals and cable.\u003c\/p\u003e","brand":"Warm Audio","offers":[{"title":"Default Title","offer_id":44621716160563,"sku":"WA-2A","price":999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/00323653z.jpg?v=1788133722"},{"product_id":"rme-12mic-d","title":"RME 12Mic-D 12-Channel Dante Microphone Preamp","description":"\u003cp\u003e\u003cstrong\u003eRME 12Mic-D\u003c\/strong\u003e is a 12-channel digitally controlled microphone preamplifier with Dante, ADAT \u0026amp; MADI. Connectivity covers 1 x Phones Output, 4 x XLR\/TRS Mic\/Inst\/Line, 8 x XLR Mic\/Line, Redundant PSU (optional), 1 x Word Clock I\/O, 1 x MADI I\/O coaxial.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTransparent RME preamps placed where the sources are, controlled from anywhere.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003ch2\u003eOverview\u003c\/h2\u003e\u003cp\u003e12Mic-D - RME Audio Interfaces | Format Converters | Preamps | Network Audio \u0026amp; MADI Solutions\u003c\/p\u003e\u003cp\u003eThe RME 12Mic-D features twelve microphone and line level inputs with digital, no-compromise, studio-quality conversion; remote controllable gains; integrated MADI and Dante connectivity; plus a multitude of additional functionality, designed for use in high-end studio recording, live audio, and location sound and music recording.\u003c\/p\u003e\u003cp\u003eThe PAD-free microphone input stages have a 75 dB gain range and accept signals of up to +18 dBu. On the converter side, the 12Mic shines with an outstanding signal-to-noise ratio on all channels. All twelve front-facing XLR connections accept microphone and line level signals, whilst the first four connections also accept TRS connectors, with switchable high impedance (Hi-Z) for instruments.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e12-channel digitally controlled microphone preamplifier with Dante, ADAT \u0026amp; MADI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eM-Series\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eConnectivity\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x Phones Output, 4 x XLR\/TRS Mic\/Inst\/Line, 8 x XLR Mic\/Line, Redundant PSU (optional), 1 x Word Clock I\/O\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution AD\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSourced to order, call 844-687-4208\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhat Connections Does the 12Mic-D Have?\u003c\/h2\u003e\u003cp\u003e12Mic-D carries the following connectivity, taken from RME's own specification for this model.\u003c\/p\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhones Output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eXLR\/TRS Mic\/Inst\/Line\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eXLR Mic\/Line\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eRedundant PSU (optional)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWord Clock I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMADI I\/O coaxial\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eADAT Out\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e3 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWho Is the 12Mic-D For?\u003c\/h2\u003e\u003cp\u003eIt is aimed at engineers, producers and integrators who need RME conversion and driver stability in this format. If you are matching it into an existing rig and want the channel counts and clocking confirmed before you order, call 844-687-4208 and we will check it against your setup.\u003c\/p\u003e\u003ch2\u003eSpecifications\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eXLR, electronically balanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e3.4 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e75 dB, 1 dB steps\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution AD\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 44.1 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 Hz - 20.8 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 96 kHz, -0.5 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4 Hz - 29.2\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 192 kHz, -1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e3 Hz - 43.7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD @ 30 dB gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -110 dB, \u0026lt; 0.00032 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N @ 30 dB gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -104 dB, \u0026lt; 0.00063 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eChannel separation\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 110 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 117 dB RMS unweighted, \u0026gt; 120 dB(A)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEquivalent Input Noise (EIN), 30 dB Gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e123 dB RMS unweighted, 125.5 dB(A) @ 150 Ohm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum input level, Gain 0 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+18 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum input level, Gain 75 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-57 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e115 dB RMS unweighted, 118 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eGain range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e42 dB, 1 dB steps\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum input level, Gain 8 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+20 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum input level, Gain 50 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e-22 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSwitchable high impedance (unbalanced TS)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 MOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSingle Speed\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eup to 64 channels 24 bit 48 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDouble Speed\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eup to 32 channels 24 bit 96 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eQuad Speed\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eup to 16 channels 24 bit 192 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhy RME?\u003c\/h2\u003e\u003cp\u003eRME designs and builds its interfaces and converters in Germany and is known for driver support that outlasts the hardware, with current releases for products sold more than a decade ago. TotalMix FX, the routing and monitoring engine shared across the line, runs on the device itself rather than the host computer, so monitoring stays stable regardless of what the computer is doing.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eIs this a genuine RME product?\u003c\/strong\u003e\u003cbr\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIs this covered by a warranty?\u003c\/strong\u003e\u003cbr\u003eYes. It carries the full RME manufacturer warranty, and we handle warranty claims for units purchased from us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHow quickly does this ship?\u003c\/strong\u003e\u003cbr\u003eThis item is sourced to order. Call 844-687-4208 and we will confirm current lead time before you buy.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDo you offer local pickup?\u003c\/strong\u003e\u003cbr\u003eYes. Free local pickup is available at our Miami location once the item arrives.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich operating systems are supported?\u003c\/strong\u003e\u003cbr\u003eRME publishes current drivers for Windows and macOS, and maintains them long after release. Check RME's download page for the release matching your operating system version.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCan you confirm compatibility with my existing system?\u003c\/strong\u003e\u003cbr\u003eYes. Call 844-687-4208 with your interface, converter or console model and we will confirm channel counts, clocking and cabling before you order.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is an authorized RME retailer based in Miami, Florida. Every unit ships new and sealed from the manufacturer with the full factory warranty intact. Our team answers the phone at 844-687-4208 and can help you spec a system, confirm compatibility, or arrange local pickup at our Miami location.\u003c\/p\u003e","brand":"RME","offers":[{"title":"Default Title","offer_id":44782326186035,"sku":"12 Mic Dante","price":3599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/AVB12.png?v=1787768724"},{"product_id":"rme-12mic","title":"RME 12Mic 12-Channel AVB Microphone Preamp","description":"\u003cp\u003e\u003cstrong\u003eRME 12Mic\u003c\/strong\u003e is a 12-channel digitally controlled microphone preamplifier with AVB \u0026amp; MADI. Connectivity covers 1 x Phones Output, 4 x XLR\/TRS Mic\/Inst\/Line, 8 x XLR Mic\/Line, Redundant PSU (optional), 1 x Word Clock I\/O, 1 x MADI I\/O coaxial.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTransparent RME preamps placed where the sources are, controlled from anywhere.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003ch2\u003eOverview\u003c\/h2\u003e\u003cp\u003e12Mic - RME Audio Interfaces | Format Converters | Preamps | Network Audio \u0026amp; MADI Solutions\u003c\/p\u003e\u003cp\u003eThe RME 12Mic is a twelve channel remote controllable microphone preamplifier with no-compromise A\/D conversion, integrated AVB and MADI connectivity, and a multitude of features designed to make it a perfect companion for any professional recording.\u003c\/p\u003e\u003cp\u003eFrank Klepacki is an esteemed composer, producer, and sound designer whose career has spanned over 25 years and has worked on video game titles for top developers and publishers.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e12-channel digitally controlled microphone preamplifier with AVB \u0026amp; MADI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eM-Series\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eConnectivity\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x Phones Output, 4 x XLR\/TRS Mic\/Inst\/Line, 8 x XLR Mic\/Line, Redundant PSU (optional), 1 x Word Clock I\/O\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution AD\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSourced to order, call 844-687-4208\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhat Connections Does the 12Mic Have?\u003c\/h2\u003e\u003cp\u003e12Mic carries the following connectivity, taken from RME's own specification for this model.\u003c\/p\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhones Output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eXLR\/TRS Mic\/Inst\/Line\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eXLR Mic\/Line\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eRedundant PSU (optional)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWord Clock I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMADI I\/O coaxial\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eADAT Out\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e3 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWho Is the 12Mic For?\u003c\/h2\u003e\u003cp\u003eIt is aimed at engineers, producers and integrators who need RME conversion and driver stability in this format. 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TotalMix FX, the routing and monitoring engine shared across the line, runs on the device itself rather than the host computer, so monitoring stays stable regardless of what the computer is doing.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eIs this a genuine RME product?\u003c\/strong\u003e\u003cbr\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIs this covered by a warranty?\u003c\/strong\u003e\u003cbr\u003eYes. It carries the full RME manufacturer warranty, and we handle warranty claims for units purchased from us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHow quickly does this ship?\u003c\/strong\u003e\u003cbr\u003eThis item is sourced to order. Call 844-687-4208 and we will confirm current lead time before you buy.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDo you offer local pickup?\u003c\/strong\u003e\u003cbr\u003eYes. Free local pickup is available at our Miami location once the item arrives.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich operating systems are supported?\u003c\/strong\u003e\u003cbr\u003eRME publishes current drivers for Windows and macOS, and maintains them long after release. Check RME's download page for the release matching your operating system version.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCan you confirm compatibility with my existing system?\u003c\/strong\u003e\u003cbr\u003eYes. Call 844-687-4208 with your interface, converter or console model and we will confirm channel counts, clocking and cabling before you order.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is an authorized RME retailer based in Miami, Florida. Every unit ships new and sealed from the manufacturer with the full factory warranty intact. Our team answers the phone at 844-687-4208 and can help you spec a system, confirm compatibility, or arrange local pickup at our Miami location.\u003c\/p\u003e","brand":"RME","offers":[{"title":"Default Title","offer_id":44782501199923,"sku":"12 Mic","price":2999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/AVBM.png?v=1787772529"},{"product_id":"rme-m-1620-pro","title":"RME M-1620 Pro 16-Channel AVB Preamp and Converter","description":"\u003cp\u003e\u003cstrong\u003eRME M-1620 Pro\u003c\/strong\u003e is a 16 channel A\/D, 20 channel D\/A converter with ADAT, Milan®, MADI. Connectivity covers 16 x Line Input, 16 x Line Output, 2 x Phones Output, 4 x ADAT I\/O, 1 x MADI Optical SFP (optional), 1 x Redundant PSU (optional).\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTransparent RME preamps placed where the sources are, controlled from anywhere.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003ch2\u003eOverview\u003c\/h2\u003e\u003cp\u003e16 channel A\/D, 20 channel D\/A converter with ADAT, Milan, MADI and separate phones out - RME Audio Interfaces | Format Converters | Preamps | Network Audio \u0026amp; MADI Solutions\u003c\/p\u003e\u003cp\u003eThe RME M-1620 Pro converts 16 analog line-level signals (per channel switchable up to +24 dBu) to and from MADI, ADAT and Milan network technology. This innovative unit is designed with a newly developed front panel that combines LED level meters with a display and includes two separate headphone outputs for monitoring - all within a single-height 19-inch rack device. Cutting-edge converters and flexible internal routing place it at the forefront of any audio network.\u003c\/p\u003e\u003cp\u003eInsights into the structure and operation of a modern studio that specializes in Atmos productions with excellent technology, infrastructure and acoustics.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 channel A\/D, 20 channel D\/A converter with ADAT, Milan®, MADI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eM-Series\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eConnectivity\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 x Line Input, 16 x Line Output, 2 x Phones Output, 4 x ADAT I\/O, 1 x MADI Optical SFP (optional)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 Bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSourced to order, call 844-687-4208\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhat Connections Does the M-1620 Pro Have?\u003c\/h2\u003e\u003cp\u003eM-1620 Pro carries the following connectivity, taken from RME's own specification for this model.\u003c\/p\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine Input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine Output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhones Output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eADAT I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMADI Optical SFP (optional)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eRedundant PSU (optional)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWord Clock I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWho Is the M-1620 Pro For?\u003c\/h2\u003e\u003cp\u003eIt is aimed at engineers, producers and integrators who need RME conversion and driver stability in this format. If you are matching it into an existing rig and want the channel counts and clocking confirmed before you order, call 844-687-4208 and we will check it against your setup.\u003c\/p\u003e\u003ch2\u003eSpecifications\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR) @ +24 dBu, 44.1 kHz\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e117.0 dB RMS unweighted, 120.7 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR) @ +19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e116.3 dB RMS unweighted, 119.9 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR) @ +13 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e114.7 dB RMS unweighted, 118.3 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 44.1 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e5 Hz - 20.5 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD @ -1 dBFS\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -111 dB, \u0026lt; 0.00029%\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N @ -1 dBFS\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -108 dB, \u0026lt; 0.00039 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eChannel separation\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 110 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e200 Ohm balanced, 100 Ohm unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 13 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e119.2 dB RMS unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e119.7 dB RMS unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 24 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e119.9 dB RMS unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 44.1 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 20.3 kHz (Sharp Filter, default)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 96 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 30 kHz (Slow Filter, default)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 96 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 44.1 kHz (Sharp Filter)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 192 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 60.5 kHz (Slow Filter, default)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 192 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 85 kHz (Sharp Filter)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -120 dB, \u0026lt; 0.0001 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -113 dB, \u0026lt; 0.0002 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 Bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e6.3 mm TRS stereo (unbalanced) or mono (balanced) jack\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 109 dB RMS unweighted, \u0026gt; 111 dB(A)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhy RME?\u003c\/h2\u003e\u003cp\u003eRME designs and builds its interfaces and converters in Germany and is known for driver support that outlasts the hardware, with current releases for products sold more than a decade ago. TotalMix FX, the routing and monitoring engine shared across the line, runs on the device itself rather than the host computer, so monitoring stays stable regardless of what the computer is doing.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eIs this a genuine RME product?\u003c\/strong\u003e\u003cbr\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIs this covered by a warranty?\u003c\/strong\u003e\u003cbr\u003eYes. It carries the full RME manufacturer warranty, and we handle warranty claims for units purchased from us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHow quickly does this ship?\u003c\/strong\u003e\u003cbr\u003eThis item is sourced to order. Call 844-687-4208 and we will confirm current lead time before you buy.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDo you offer local pickup?\u003c\/strong\u003e\u003cbr\u003eYes. Free local pickup is available at our Miami location once the item arrives.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich operating systems are supported?\u003c\/strong\u003e\u003cbr\u003eRME publishes current drivers for Windows and macOS, and maintains them long after release. Check RME's download page for the release matching your operating system version.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCan you confirm compatibility with my existing system?\u003c\/strong\u003e\u003cbr\u003eYes. Call 844-687-4208 with your interface, converter or console model and we will confirm channel counts, clocking and cabling before you order.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is an authorized RME retailer based in Miami, Florida. Every unit ships new and sealed from the manufacturer with the full factory warranty intact. Our team answers the phone at 844-687-4208 and can help you spec a system, confirm compatibility, or arrange local pickup at our Miami location.\u003c\/p\u003e","brand":"RME","offers":[{"title":"Default Title","offer_id":44782501396531,"sku":"M-1620 Pro","price":2999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/M-1620-Pro-C.png?v=1787772545"},{"product_id":"rme-m-1620-pro-dante","title":"RME M-1620 Pro Dante 16-Channel Preamp and Converter","description":"\u003cp\u003e\u003cstrong\u003eRME M-1620 Pro Dante\u003c\/strong\u003e is a 16 channel A\/D, 20 channel D\/A converter with ADAT, Dante®, MADI. Connectivity covers 16 x Line Input, 16 x Line Output, 2 x Phones Output, 4 x ADAT I\/O, 1 x MADI Optical SFP (optional), 1 x Redundant PSU (optional).\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTransparent RME preamps placed where the sources are, controlled from anywhere.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003ch2\u003eOverview\u003c\/h2\u003e\u003cp\u003e16 channel A\/D, 20 channel D\/A converter with ADAT, Dante, MADI and separate phones out - RME Audio Interfaces | Format Converters | Preamps | Network Audio \u0026amp; MADI Solutions\u003c\/p\u003e\u003cp\u003eThe RME M-1620 Pro D converts 16 analog line-level signals (per channel switchable up to +24 dBu) to and from MADI, ADAT and Dante network technology. This innovative unit is designed with a newly developed front panel that combines LED level meters with a display and includes two separate headphone outputs for monitoring - all within a single-height 19-inch rack device. Cutting-edge converters and flexible internal routing place it at the forefront of any audio network.\u003c\/p\u003e\u003cp\u003eInsights into the structure and operation of a modern studio that specializes in Atmos productions with excellent technology, infrastructure and acoustics.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 channel A\/D, 20 channel D\/A converter with ADAT, Dante®, MADI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eM-Series\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eConnectivity\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 x Line Input, 16 x Line Output, 2 x Phones Output, 4 x ADAT I\/O, 1 x MADI Optical SFP (optional)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 Bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSourced to order, call 844-687-4208\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhat Connections Does the M-1620 Pro Dante Have?\u003c\/h2\u003e\u003cp\u003eM-1620 Pro Dante carries the following connectivity, taken from RME's own specification for this model.\u003c\/p\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine Input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine Output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e16 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhones Output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eADAT I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMADI Optical SFP (optional)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eRedundant PSU (optional)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWord Clock I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWho Is the M-1620 Pro Dante For?\u003c\/h2\u003e\u003cp\u003eIt is aimed at engineers, producers and integrators who need RME conversion and driver stability in this format. If you are matching it into an existing rig and want the channel counts and clocking confirmed before you order, call 844-687-4208 and we will check it against your setup.\u003c\/p\u003e\u003ch2\u003eSpecifications\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR) @ +24 dBu, 44.1 kHz\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e117.0 dB RMS unweighted, 120.7 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR) @ +19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e116.3 dB RMS unweighted, 119.9 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio (SNR) @ +13 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e114.7 dB RMS unweighted, 118.3 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 44.1 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e5 Hz - 20.5 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD @ -1 dBFS\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -111 dB, \u0026lt; 0.00029%\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N @ -1 dBFS\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -108 dB, \u0026lt; 0.00039 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eChannel separation\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 110 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e200 Ohm balanced, 100 Ohm unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 13 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e119.2 dB RMS unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e119.7 dB RMS unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 24 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e119.9 dB RMS unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 44.1 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 20.3 kHz (Sharp Filter, default)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 96 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 30 kHz (Slow Filter, default)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 96 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 44.1 kHz (Sharp Filter)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 192 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 60.5 kHz (Slow Filter, default)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response @ 192 kHz, -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e0 Hz - 85 kHz (Sharp Filter)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -120 dB, \u0026lt; 0.0001 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -113 dB, \u0026lt; 0.0002 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eResolution\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24 Bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e6.3 mm TRS stereo (unbalanced) or mono (balanced) jack\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio (SNR) @ 19 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 109 dB RMS unweighted, \u0026gt; 111 dB(A)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhy RME?\u003c\/h2\u003e\u003cp\u003eRME designs and builds its interfaces and converters in Germany and is known for driver support that outlasts the hardware, with current releases for products sold more than a decade ago. TotalMix FX, the routing and monitoring engine shared across the line, runs on the device itself rather than the host computer, so monitoring stays stable regardless of what the computer is doing.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eIs this a genuine RME product?\u003c\/strong\u003e\u003cbr\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIs this covered by a warranty?\u003c\/strong\u003e\u003cbr\u003eYes. It carries the full RME manufacturer warranty, and we handle warranty claims for units purchased from us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHow quickly does this ship?\u003c\/strong\u003e\u003cbr\u003eThis item is sourced to order. Call 844-687-4208 and we will confirm current lead time before you buy.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDo you offer local pickup?\u003c\/strong\u003e\u003cbr\u003eYes. Free local pickup is available at our Miami location once the item arrives.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich operating systems are supported?\u003c\/strong\u003e\u003cbr\u003eRME publishes current drivers for Windows and macOS, and maintains them long after release. Check RME's download page for the release matching your operating system version.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCan you confirm compatibility with my existing system?\u003c\/strong\u003e\u003cbr\u003eYes. Call 844-687-4208 with your interface, converter or console model and we will confirm channel counts, clocking and cabling before you order.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is an authorized RME retailer based in Miami, Florida. Every unit ships new and sealed from the manufacturer with the full factory warranty intact. Our team answers the phone at 844-687-4208 and can help you spec a system, confirm compatibility, or arrange local pickup at our Miami location.\u003c\/p\u003e","brand":"RME","offers":[{"title":"Default Title","offer_id":44782501429299,"sku":"M-1620 Pro D","price":3399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/M-1620-Pro-D.png?v=1787772553"},{"product_id":"rme-micstasy","title":"RME Micstasy 8-Channel Microphone Preamp and Converter","description":"\u003cp\u003e\u003cstrong\u003eRME Micstasy\u003c\/strong\u003e is an 8-Channel Full Range Preamp \u0026amp; AD Converter. Connectivity covers 8 x Analog I\/O, 4 x AES\/EBU I\/O, 2 x ADAT I\/O, 1 x Word Clock I\/O, 1 x MIDI I\/O, AutoSet Digital Gain Control.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTransparent RME preamps placed where the sources are, controlled from anywhere.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003ch2\u003eOverview\u003c\/h2\u003e\u003cp\u003eMicstasy - RME Audio Interfaces | Format Converters | Preamps | Network Audio \u0026amp; MADI Solutions\u003c\/p\u003e\u003cp\u003eMicstasy is an 8-Channel hi-end mic\/line preamp and AD-converter combining typical RME features with a number of previously unseen features. It can be used analog (Mic\/Line In to Line Out) and digital (Mic\/Line In to Digital Out), with both signal paths operating simultaneously. Special highlight: the device is fully remote-controllable via MIDI (also MIDI over MADI).\u003c\/p\u003e\u003cp\u003eBerlin based company Pegasus Musikproduktion was founded in 2014 by Florian B. Schmidt and Aki Matusch. With first-rate mobile equipment they are producing premium music recordings all over europe.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8-Channel Full Range Preamp \u0026amp; AD Converter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicstasy\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eConnectivity\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 x Analog I\/O, 4 x AES\/EBU I\/O, 2 x ADAT I\/O, 1 x Word Clock I\/O, 1 x MIDI I\/O\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSample rate range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMADI: 32 - 192 kHz, word clock: 27 kHz - 200 kHz, AES: 28 kHz - 200 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePower supply\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eInternal switching mode PS, 100V - 240V AC, 60 Watt\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e(WxHxD) 483 x 88 x 200 mm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSourced to order, call 844-687-4208\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhat Connections Does the Micstasy Have?\u003c\/h2\u003e\u003cp\u003eMicstasy carries the following connectivity, taken from RME's own specification for this model.\u003c\/p\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAnalog I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAES\/EBU I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eADAT I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWord Clock I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMIDI I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAutoSet Digital Gain Control\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWho Is the Micstasy For?\u003c\/h2\u003e\u003cp\u003eIt is aimed at engineers, producers and integrators who need RME conversion and driver stability in this format. If you are matching it into an existing rig and want the channel counts and clocking confirmed before you order, call 844-687-4208 and we will check it against your setup.\u003c\/p\u003e\u003ch2\u003eSpecifications\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response -0.1 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 Hz - 100 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEIN @ 30 dB Gain @ 150 Ohm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e122.3 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEIN @ 40 dB Gain @ 150 Ohm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e126.5 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eEIN @ 50\/60\/70 dB Gain @ 150 Ohm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e127.4 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N @ 30 dB Gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -100 dB, \u0026lt; 0.001 %\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio AD (SNR) @ +30 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e115.2 dB RMS unweighted, 118.5 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio AD (SNR) @ +21 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e112.7 dB RMS unweighted, 116 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise ratio AD (SNR) @ +13 dBu\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e110 dB RMS unweighted, 113 dBA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSync sources\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eInternal, AES, word, Option (MADI)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSample frequencies\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz, variable (external clocks)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSample rate range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMADI: 32 - 192 kHz, word clock: 27 kHz - 200 kHz, AES: 28 kHz - 200 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eJitter\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eTypical \u0026lt; 1 ns for internal, word clock, AES and MADI input\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eJitter suppression\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;30 dB (2.4 kHz)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eJitter sensitivity\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eall PLLs operate error-free even at 100 ns\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePower supply\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eInternal switching mode PS, 100V - 240V AC, 60 Watt\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e(WxHxD) 483 x 88 x 200 mm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eWarranty\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 years\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhy RME?\u003c\/h2\u003e\u003cp\u003eRME designs and builds its interfaces and converters in Germany and is known for driver support that outlasts the hardware, with current releases for products sold more than a decade ago. TotalMix FX, the routing and monitoring engine shared across the line, runs on the device itself rather than the host computer, so monitoring stays stable regardless of what the computer is doing.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eIs this a genuine RME product?\u003c\/strong\u003e\u003cbr\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIs this covered by a warranty?\u003c\/strong\u003e\u003cbr\u003eYes. It carries the full RME manufacturer warranty, and we handle warranty claims for units purchased from us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHow quickly does this ship?\u003c\/strong\u003e\u003cbr\u003eThis item is sourced to order. Call 844-687-4208 and we will confirm current lead time before you buy.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDo you offer local pickup?\u003c\/strong\u003e\u003cbr\u003eYes. Free local pickup is available at our Miami location once the item arrives.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich operating systems are supported?\u003c\/strong\u003e\u003cbr\u003eRME publishes current drivers for Windows and macOS, and maintains them long after release. Check RME's download page for the release matching your operating system version.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCan you confirm compatibility with my existing system?\u003c\/strong\u003e\u003cbr\u003eYes. Call 844-687-4208 with your interface, converter or console model and we will confirm channel counts, clocking and cabling before you order.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is an authorized RME retailer based in Miami, Florida. Every unit ships new and sealed from the manufacturer with the full factory warranty intact. Our team answers the phone at 844-687-4208 and can help you spec a system, confirm compatibility, or arrange local pickup at our Miami location.\u003c\/p\u003e","brand":"RME","offers":[{"title":"Default Title","offer_id":44782501462067,"sku":"Micstasy","price":4599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/Micstasy.png?v=1787772560"},{"product_id":"rme-octamic-ii","title":"RME OctaMic II 8-Channel Microphone Preamp","description":"\u003cp\u003e\u003cstrong\u003eRME OctaMic II\u003c\/strong\u003e is an 8-Channel Mic Preamp \u0026amp; AD Converter. Connectivity covers 8 x XLR\/TRS Mic\/Inst\/Line, 8 x Line Output, 2 x ADAT I\/O, 4 x AES\/SPDIF Sync Input, 1 x AES\/EBU I\/O.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTransparent RME preamps placed where the sources are, controlled from anywhere.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003ch2\u003eOverview\u003c\/h2\u003e\u003cp\u003eOctaMic II - RME Audio Interfaces | Format Converters | Preamps | Network Audio \u0026amp; MADI Solutions\u003c\/p\u003e\u003cp\u003eThe OctaMic II provides 8-Channel 192 kHz \/ 24 bit AD conversion with eight hi-class microphone and line pre-amplification channels, featuring a combination of sophisticated components and approved RME technology.\u003c\/p\u003e\u003cp\u003eLowest distortion, excellent signal to noise ratio and perfectly linear frequency response transmit and amplify the microphone signals truly unchanged.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eType\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8-Channel Mic Preamp \u0026amp; AD Converter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eOctaMic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eConnectivity\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 x XLR\/TRS Mic\/Inst\/Line, 8 x Line Output, 2 x ADAT I\/O, 4 x AES\/SPDIF Sync Input, 1 x AES\/EBU I\/O\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSupported sample rates\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e28 kHz - 200 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAvailability\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eSourced to order, call 844-687-4208\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhat Connections Does the OctaMic II Have?\u003c\/h2\u003e\u003cp\u003eOctaMic II carries the following connectivity, taken from RME's own specification for this model.\u003c\/p\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eXLR\/TRS Mic\/Inst\/Line\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine Output\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e8 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eADAT I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAES\/SPDIF Sync Input\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e4 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAES\/EBU I\/O\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1 x\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWho Is the OctaMic II For?\u003c\/h2\u003e\u003cp\u003eIt is aimed at engineers, producers and integrators who need RME conversion and driver stability in this format. If you are matching it into an existing rig and want the channel counts and clocking confirmed before you order, call 844-687-4208 and we will check it against your setup.\u003c\/p\u003e\u003ch2\u003eSpecifications\u003c\/h2\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eInput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eXLR 2 kOhm, TRS 5 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eAnalog input level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003efrom -40 dBu up to +21 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eMaximum output level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+21 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOutput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e75 Ohm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to noise ratio (SNR)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e129 dB EIN @ 150 Ohm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; 0.0005 % @ 30 dB Gain\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency response -0.5 dB\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e5 Hz - 200 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eHi-pass filter\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e80 Hz, 18 dB\/oct.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eLine Out\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e1\/4\" TRS (6.3 mm stereo jack), servo-balanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003ePhantom power\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+48 Volt switchable per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSNR\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;110 dB(A)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSupported sample rates\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e28 kHz - 200 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; 0.0003 %, \u0026lt; -110 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSync Sources\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003eAES\/EBU (also SPDIF coaxial), wordclock, internal\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\u003ch2\u003eWhy RME?\u003c\/h2\u003e\u003cp\u003eRME designs and builds its interfaces and converters in Germany and is known for driver support that outlasts the hardware, with current releases for products sold more than a decade ago. TotalMix FX, the routing and monitoring engine shared across the line, runs on the device itself rather than the host computer, so monitoring stays stable regardless of what the computer is doing.\u003c\/p\u003e\u003ch2\u003eFrequently Asked Questions\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eIs this a genuine RME product?\u003c\/strong\u003e\u003cbr\u003eYes. Victory is a veteran owned dealer in Miami and units ship new in original packaging.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIs this covered by a warranty?\u003c\/strong\u003e\u003cbr\u003eYes. It carries the full RME manufacturer warranty, and we handle warranty claims for units purchased from us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHow quickly does this ship?\u003c\/strong\u003e\u003cbr\u003eThis item is sourced to order. Call 844-687-4208 and we will confirm current lead time before you buy.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDo you offer local pickup?\u003c\/strong\u003e\u003cbr\u003eYes. Free local pickup is available at our Miami location once the item arrives.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhich operating systems are supported?\u003c\/strong\u003e\u003cbr\u003eRME publishes current drivers for Windows and macOS, and maintains them long after release. Check RME's download page for the release matching your operating system version.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCan you confirm compatibility with my existing system?\u003c\/strong\u003e\u003cbr\u003eYes. Call 844-687-4208 with your interface, converter or console model and we will confirm channel counts, clocking and cabling before you order.\u003c\/p\u003e\u003ch2\u003eWhy Buy From Victory Musical Instruments?\u003c\/h2\u003e\u003cp\u003eVictory Musical Instruments is an authorized RME retailer based in Miami, Florida. Every unit ships new and sealed from the manufacturer with the full factory warranty intact. Our team answers the phone at 844-687-4208 and can help you spec a system, confirm compatibility, or arrange local pickup at our Miami location.\u003c\/p\u003e","brand":"RME","offers":[{"title":"Default Title","offer_id":44782501527603,"sku":"Octamic II","price":1899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/OctaMic-II.png?v=1787772567"},{"product_id":"cloud-microphones-cloudlifter-cl-1-mic-activator","title":"Cloud Microphones Cloudlifter CL-1 1-Channel Mic Activator","description":"\u003cp\u003e\u003cstrong\u003eCloudlifter CL-1\u003c\/strong\u003e is a \u003cstrong\u003esingle-channel inline mic activator\u003c\/strong\u003e that adds up to 25dB of ultra-clean gain to a dynamic or ribbon microphone using only the 48V phantom power your interface already supplies. It sits between the microphone and the preamp, and it is the original product in a category Cloud invented.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe reason a Shure SM7B finally sounds right on a modest interface.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eLow-output dynamics and passive ribbons need far more gain than most interfaces and small mixers can deliver cleanly. Push a budget preamp to 60dB and you get hiss along with the signal. The CL-1 solves that upstream by adding its own clean gain first, so the preamp only has to do the easy part of the job.\u003c\/p\u003e\u003cp\u003eThe circuit is patented discrete Class A JFET, with no transformers, capacitors or resistors in the direct audio path. It adds gain and correct impedance loading without adding colour, which is the distinction between a mic activator and an inline preamp that imposes a character. It is phantom powered, so there is no wall wart and nothing to charge, and it is built in the United States.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eCL-1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eChannels\u003c\/th\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eGain\u003c\/th\u003e\n\u003ctd\u003eUp to 25dB, two stages\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCircuit\u003c\/th\u003e\n\u003ctd\u003ePatented discrete Class A JFET\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003ePower\u003c\/th\u003e\n\u003ctd\u003e48V phantom power\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eConnections\u003c\/th\u003e\n\u003ctd\u003eXLR in, XLR out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCountry of origin\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones limited lifetime warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Does a Cloudlifter Actually Do?\u003c\/h2\u003e\u003cp\u003eIt adds up to 25dB of clean gain and correct impedance loading before the signal reaches your preamp. That lets a low-output dynamic or passive ribbon microphone reach usable level without running an interface preamp near the top of its range, where hiss becomes audible.\u003c\/p\u003e\u003ch2\u003eDo I Need Phantom Power to Use the CL-1?\u003c\/h2\u003e\u003cp\u003eYes. The CL-1 draws its own power from the 48V phantom supply on your interface, mixer or preamp. It does not pass phantom power through to the microphone, which is why it is safe with passive ribbon mics that phantom power would otherwise damage.\u003c\/p\u003e\u003ch2\u003eWhich Microphones Benefit Most From a Cloudlifter?\u003c\/h2\u003e\u003cp\u003eLow-output dynamics like the Shure SM7B and Electro-Voice RE20, and passive ribbon microphones of any kind. Condenser microphones already have their own active electronics and generally do not need one.\u003c\/p\u003e\u003ch2\u003eWhere Does the CL-1 Go in the Signal Chain?\u003c\/h2\u003e\u003cp\u003eBetween the microphone and the preamp. Run a short XLR from the mic into the CL-1 input, then XLR from the CL-1 output into your interface or mixer channel with phantom power switched on.\u003c\/p\u003e\u003ch2\u003eWhy Cloud Microphones\u003c\/h2\u003e\u003cp\u003eCloud Microphones builds in Tucson, Arizona. The company grew out of Stephen Sank's restoration work on original RCA ribbon microphones and Rodger Cloud's engineering, and it holds the patent on the discrete JFET circuit that every Cloudlifter uses. The Cloudlifter created the mic activator category outright and remains the reference product in it. Ribbon elements are cut, corrugated and installed by hand, and the whole line is manufactured in the United States.\u003c\/p\u003e","brand":"Cloud Microphones","offers":[{"title":"Default Title","offer_id":44798437392435,"sku":"CL-1","price":129.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/CL-1_Left_Angle_Up_95bbd2a2-33c1-47bb-a2f8-52b74fc9153f.png?v=1788110539"},{"product_id":"cloud-microphones-cloudlifter-cl-2-mic-activator","title":"Cloud Microphones Cloudlifter CL-2 2-Channel Mic Activator","description":"\u003cp\u003e\u003cstrong\u003eCloudlifter CL-2\u003c\/strong\u003e is a \u003cstrong\u003etwo-channel inline mic activator\u003c\/strong\u003e delivering up to 25dB of ultra-clean gain per channel to dynamic and ribbon microphones, powered entirely by 48V phantom. It is the CL-1 circuit doubled, for a stereo pair or two separate mono sources.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTwo channels, so a stereo ribbon pair or a two-host podcast runs off one box.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eA single Cloudlifter covers one microphone. The moment you are recording a stereo ribbon pair, a two-person interview, or a drum kit with two low-output dynamics, you need matched gain on both sides. The CL-2 provides that in one enclosure rather than two boxes and two power draws.\u003c\/p\u003e\u003cp\u003eEach channel uses the same patented discrete Class A JFET circuit as the CL-1, with no transformers, capacitors or resistors in the direct audio path. Both channels are independent, so you can run them as a matched stereo pair or as two unrelated mono sources. Built in the United States.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eCL-2\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eChannels\u003c\/th\u003e\n\u003ctd\u003e2, independent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eGain\u003c\/th\u003e\n\u003ctd\u003eUp to 25dB per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCircuit\u003c\/th\u003e\n\u003ctd\u003ePatented discrete Class A JFET\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003ePower\u003c\/th\u003e\n\u003ctd\u003e48V phantom power, per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eConnections\u003c\/th\u003e\n\u003ctd\u003e2 XLR in, 2 XLR out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCountry of origin\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones limited lifetime warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhen Should I Choose the CL-2 Over the CL-1?\u003c\/h2\u003e\u003cp\u003eWhenever you need two channels of gain at once. Stereo ribbon pairs, two-host podcasts, and drum kits using two low-output dynamics all need matched gain on both sides, which two separate CL-1 units make harder to keep consistent.\u003c\/p\u003e\u003ch2\u003eDoes the CL-2 Need Phantom Power on Both Channels?\u003c\/h2\u003e\u003cp\u003eYes. Each channel draws its own 48V phantom supply from the connected preamp or interface. A channel without phantom power will not pass signal.\u003c\/p\u003e\u003ch2\u003eCan the Two Channels Be Used Independently?\u003c\/h2\u003e\u003cp\u003eYes. The channels are fully independent, so you can run a stereo pair or two entirely unrelated mono sources through the same unit.\u003c\/p\u003e\u003ch2\u003eWhy Cloud Microphones\u003c\/h2\u003e\u003cp\u003eCloud Microphones builds in Tucson, Arizona. The company grew out of Stephen Sank's restoration work on original RCA ribbon microphones and Rodger Cloud's engineering, and it holds the patent on the discrete JFET circuit that every Cloudlifter uses. The Cloudlifter created the mic activator category outright and remains the reference product in it. Ribbon elements are cut, corrugated and installed by hand, and the whole line is manufactured in the United States.\u003c\/p\u003e","brand":"Cloud Microphones","offers":[{"title":"Default Title","offer_id":44798437457971,"sku":"CL-2","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/CL-2RightAngleUp_653e0e6c-b9ff-429e-a50f-d84b4d47365c.png?v=1788110546"},{"product_id":"cloud-microphones-cloudlifter-cl-z-mic-activator","title":"Cloud Microphones Cloudlifter CL-Z Mic Activator with Variable Impedance","description":"\u003cp\u003e\u003cstrong\u003eCloudlifter CL-Z\u003c\/strong\u003e is a \u003cstrong\u003esingle-channel mic activator with variable impedance\u003c\/strong\u003e, adding up to 25dB of ultra-clean gain plus a continuously variable Vari-Z control and a variable high-pass filter. Where the CL-1 is deliberately transparent, the CL-Z lets you reshape the microphone's character before it reaches the preamp.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eImpedance as a tone control, on the input side where it actually changes the mic.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eLoading a microphone at a different impedance genuinely changes its frequency response and transient behaviour. It is not an EQ applied after the fact, it alters how the element itself behaves. Ribbons in particular can move from dark and thick to open and detailed purely on impedance, and dynamics respond in the midrange.\u003c\/p\u003e\u003cp\u003eThe CL-Z pairs that Vari-Z control with continuously variable high-pass filtering at 6dB per octave, so proximity buildup can be dialled out at the source rather than fixed in the mix. Two gain settings deliver up to 25dB. The circuit is the same patented Class A discrete JFET design, built in the United States.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eCL-Z\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eChannels\u003c\/th\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eGain\u003c\/th\u003e\n\u003ctd\u003eUp to 25dB, two settings\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eImpedance\u003c\/th\u003e\n\u003ctd\u003eContinuously variable Vari-Z\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eFilter\u003c\/th\u003e\n\u003ctd\u003eVariable high-pass, 6dB per octave\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCircuit\u003c\/th\u003e\n\u003ctd\u003ePatented discrete Class A JFET\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003ePower\u003c\/th\u003e\n\u003ctd\u003e48V phantom power\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCountry of origin\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones limited lifetime warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Does Variable Impedance Change About a Microphone?\u003c\/h2\u003e\u003cp\u003eImpedance loading alters how the microphone element itself behaves, changing frequency response and transient character at the source. On ribbon microphones the shift is dramatic, moving from dark and thick at low impedance to open and detailed at high. It is not the same as EQ, which is applied after the signal already exists.\u003c\/p\u003e\u003ch2\u003eHow Is the CL-Z Different From the CL-1?\u003c\/h2\u003e\u003cp\u003eThe CL-1 is deliberately transparent and adds only gain. The CL-Z adds the Vari-Z impedance control and a variable high-pass filter, so it is a tone-shaping tool as well as a gain stage.\u003c\/p\u003e\u003ch2\u003eWhat Is the High-Pass Filter For?\u003c\/h2\u003e\u003cp\u003eIt removes low-frequency buildup from proximity effect, rumble and stage vibration before the signal hits the preamp. Because it is continuously variable rather than switched, you can set it exactly where the source needs it.\u003c\/p\u003e\u003ch2\u003eWhy Cloud Microphones\u003c\/h2\u003e\u003cp\u003eCloud Microphones builds in Tucson, Arizona. The company grew out of Stephen Sank's restoration work on original RCA ribbon microphones and Rodger Cloud's engineering, and it holds the patent on the discrete JFET circuit that every Cloudlifter uses. The Cloudlifter created the mic activator category outright and remains the reference product in it. Ribbon elements are cut, corrugated and installed by hand, and the whole line is manufactured in the United States.\u003c\/p\u003e","brand":"Cloud Microphones","offers":[{"title":"Default Title","offer_id":44798437523507,"sku":"CL-Z","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/CL-ZRightAngleUp_d513630f-37d2-4bdc-a583-3b512dfc6f55.png?v=1788110553"},{"product_id":"cloud-microphones-cloudlifter-cl-zi-di-mic-activator","title":"Cloud Microphones Cloudlifter CL-Zi DI and Mic Activator","description":"\u003cp\u003e\u003cstrong\u003eCloudlifter CL-Zi\u003c\/strong\u003e is a \u003cstrong\u003ecombined active DI and mic activator\u003c\/strong\u003e with variable impedance, taking either an XLR microphone or a quarter-inch instrument input. It delivers up to 25dB of clean gain on the microphone input and up to 15dB on the instrument input, with the same Vari-Z control and variable high-pass filtering as the CL-Z.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eOne box that lifts a ribbon mic and takes a bass direct, with impedance control on both.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eBass, guitar and keyboard players going direct rarely get to choose their input impedance, and a passive pickup loaded at the wrong impedance loses top end and feel. The CL-Zi puts that control in the player's hands with a continuously variable Vari-Z knob, then adds up to 15dB of clean gain on the way out.\u003c\/p\u003e\u003cp\u003eThe combo input means the same unit covers microphone duty. Plug in an XLR and it behaves as a CL-Z, up to 25dB of gain with the same impedance shaping and variable high-pass filter. For a studio that switches between miking a cabinet and going direct, that is one box instead of two. Built in the United States.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eCL-Zi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eInputs\u003c\/th\u003e\n\u003ctd\u003eCombo XLR and quarter-inch instrument\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eGain, microphone\u003c\/th\u003e\n\u003ctd\u003eUp to 25dB, three settings\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eGain, instrument\u003c\/th\u003e\n\u003ctd\u003eUp to 15dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eImpedance\u003c\/th\u003e\n\u003ctd\u003eContinuously variable Vari-Z\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eFilter\u003c\/th\u003e\n\u003ctd\u003eVariable high-pass, 6dB per octave\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003ePower\u003c\/th\u003e\n\u003ctd\u003e48V phantom power\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCountry of origin\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones limited lifetime warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eCan the CL-Zi Be Used as a Regular DI Box?\u003c\/h2\u003e\u003cp\u003eYes. The quarter-inch input takes bass, guitar or keyboard and delivers up to 15dB of clean gain, with the Vari-Z control letting you set the loading impedance the pickup sees. That is more control than a standard passive or active DI offers.\u003c\/p\u003e\u003ch2\u003eIs the CL-Zi a Replacement for the CL-Z?\u003c\/h2\u003e\u003cp\u003eIt covers everything the CL-Z does on the microphone input and adds the instrument input. If you never go direct, the CL-Z does the microphone job for less. If you do both, the CL-Zi replaces two boxes.\u003c\/p\u003e\u003ch2\u003eWhy Does Impedance Matter on a Bass or Guitar Input?\u003c\/h2\u003e\u003cp\u003eA passive magnetic pickup is sensitive to the load it sees. Too low an impedance rolls off the top end and softens the attack. Setting the load correctly restores clarity and feel, which is why the Vari-Z knob is on the instrument path as well as the microphone path.\u003c\/p\u003e\u003ch2\u003eWhy Cloud Microphones\u003c\/h2\u003e\u003cp\u003eCloud Microphones builds in Tucson, Arizona. The company grew out of Stephen Sank's restoration work on original RCA ribbon microphones and Rodger Cloud's engineering, and it holds the patent on the discrete JFET circuit that every Cloudlifter uses. The Cloudlifter created the mic activator category outright and remains the reference product in it. Ribbon elements are cut, corrugated and installed by hand, and the whole line is manufactured in the United States.\u003c\/p\u003e","brand":"Cloud Microphones","offers":[{"title":"Default Title","offer_id":44798437589043,"sku":"CL-Zi","price":379.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/CL-ZiRightAngleUp_ea23ff75-228f-4fd6-88d9-e3214a8e8346.png?v=1788110560"},{"product_id":"cloud-microphones-cloudlifter-cl-x-mic-activator","title":"Cloud Microphones Cloudlifter CL-X Mic Activator with Cinemag Transformer","description":"\u003cp\u003e\u003cstrong\u003eCloudlifter CL-X\u003c\/strong\u003e is a \u003cstrong\u003esingle-channel mic activator with a custom nickel-core Cinemag transformer\u003c\/strong\u003e and two selectable output levels. Where the CL-1 is engineered to stay out of the way, the CL-X is engineered to give something back, adding harmonic content and saturation as you drive the input harder.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe Cloudlifter that colours, on purpose, and more the harder you push it.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eCloud designed the CL-X around a custom nickel-core Cinemag transformer. At normal input levels the transformer delivers wide bandwidth and stays essentially clean. As the input signal increases, it begins contributing harmonic content and saturation, so the character changes dynamically with how hard the source hits it.\u003c\/p\u003e\u003cp\u003eThe result is a Cloudlifter that behaves differently depending on the material rather than applying one fixed colour. Two selectable output levels extend the gain range beyond what the CL-1 offers. Rodger Cloud has described the design intent as the more signal you give it, the more it gives back. Built in the United States.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eCL-X\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eChannels\u003c\/th\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eTransformer\u003c\/th\u003e\n\u003ctd\u003eCustom nickel-core Cinemag\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eOutput levels\u003c\/th\u003e\n\u003ctd\u003eTwo selectable\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCharacter\u003c\/th\u003e\n\u003ctd\u003eClean at normal level, harmonically richer when driven\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003ePower\u003c\/th\u003e\n\u003ctd\u003e48V phantom power\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCountry of origin\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones limited lifetime warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eShould I Buy the CL-X or the CL-1?\u003c\/h2\u003e\u003cp\u003eChoose the CL-1 when you want the microphone to sound like itself with more level, which is the right call for most broadcast and podcast work. Choose the CL-X when you want the gain stage to contribute character, particularly on aggressive sources where transformer saturation is musically useful.\u003c\/p\u003e\u003ch2\u003eWhat Does the Cinemag Transformer Add?\u003c\/h2\u003e\u003cp\u003eAt normal input levels it delivers wide bandwidth with very little colour. As input level rises it produces harmonic content and saturation, so the amount of character tracks how hard you drive it rather than sitting at a fixed amount.\u003c\/p\u003e\u003ch2\u003eWhat Are the Two Output Levels For?\u003c\/h2\u003e\u003cp\u003eThey extend the usable gain range beyond the CL-1's fixed staging, letting you match the unit to preamps of different sensitivity and to sources of very different output level.\u003c\/p\u003e\u003ch2\u003eWhy Cloud Microphones\u003c\/h2\u003e\u003cp\u003eCloud Microphones builds in Tucson, Arizona. The company grew out of Stephen Sank's restoration work on original RCA ribbon microphones and Rodger Cloud's engineering, and it holds the patent on the discrete JFET circuit that every Cloudlifter uses. The Cloudlifter created the mic activator category outright and remains the reference product in it. Ribbon elements are cut, corrugated and installed by hand, and the whole line is manufactured in the United States.\u003c\/p\u003e","brand":"Cloud Microphones","offers":[{"title":"Default Title","offer_id":44798437883955,"sku":"CL-X","price":229.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/CL-XRightAngleUp.png?v=1788110567"},{"product_id":"cloud-microphones-cloudlifter-cl-4-rackmount-mic-activator","title":"Cloud Microphones Cloudlifter CL-4 4-Channel Rackmount Mic Activator","description":"\u003cp\u003e\u003cstrong\u003eCloudlifter CL-4\u003c\/strong\u003e is a \u003cstrong\u003efour-channel rackmount mic activator\u003c\/strong\u003e providing up to 25dB of ultra-clean gain per channel to dynamic and ribbon microphones, powered entirely by phantom power from the connected console or interface. It is the installation and touring version of the Cloudlifter.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFour channels in a rack, for the install where nobody will ever touch it again.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eOnce a Cloudlifter is part of a permanent signal chain rather than a desktop accessory, the desktop enclosure becomes the problem. The CL-4 puts four independent channels in a rackmount chassis so the unit lives in the rack alongside the console, cabled once and left alone.\u003c\/p\u003e\u003cp\u003eThat makes it the right choice for houses of worship running multiple low-output dynamics on a platform, for broadcast and recording studios with several ribbon microphones in regular use, for touring racks, and for clubs and venues where the gain structure has to be correct without an engineer intervening. Each channel uses the same patented discrete Class A JFET circuit as the CL-1. Built in the United States.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eCL-4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eChannels\u003c\/th\u003e\n\u003ctd\u003e4, independent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eFormat\u003c\/th\u003e\n\u003ctd\u003eRackmount\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eGain\u003c\/th\u003e\n\u003ctd\u003eUp to 25dB per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCircuit\u003c\/th\u003e\n\u003ctd\u003ePatented discrete Class A JFET\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003ePower\u003c\/th\u003e\n\u003ctd\u003e48V phantom power, per channel\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eCountry of origin\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eCloud Microphones limited lifetime warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWho Is the CL-4 For?\u003c\/h2\u003e\u003cp\u003eHouses of worship running several low-output dynamic microphones, broadcast and recording studios with multiple ribbon microphones in regular use, touring racks, and clubs and venues where gain structure must stay correct without anyone adjusting it.\u003c\/p\u003e\u003ch2\u003eDoes Each Channel Need Its Own Phantom Power?\u003c\/h2\u003e\u003cp\u003eYes. Every channel draws 48V phantom from the console or interface channel it feeds. A channel without phantom power will not pass signal.\u003c\/p\u003e\u003ch2\u003eIs the Audio Circuit the Same as the CL-1?\u003c\/h2\u003e\u003cp\u003eYes. Each of the four channels uses the same patented discrete Class A JFET circuit, with no transformers, capacitors or resistors in the direct audio path.\u003c\/p\u003e\u003ch2\u003eWhy Cloud Microphones\u003c\/h2\u003e\u003cp\u003eCloud Microphones builds in Tucson, Arizona. The company grew out of Stephen Sank's restoration work on original RCA ribbon microphones and Rodger Cloud's engineering, and it holds the patent on the discrete JFET circuit that every Cloudlifter uses. The Cloudlifter created the mic activator category outright and remains the reference product in it. Ribbon elements are cut, corrugated and installed by hand, and the whole line is manufactured in the United States.\u003c\/p\u003e","brand":"Cloud Microphones","offers":[{"title":"Default Title","offer_id":44798439292979,"sku":"CL-4","price":499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/CL-4_Front.png?v=1788110574"},{"product_id":"warm-audio-wa273-eq-dual-channel-british-mic-preamp-and-eq","title":"Warm Audio WA273-EQ Dual Channel British Mic Preamp and EQ","description":"\u003cp\u003e\u003cstrong\u003eWA273-EQ\u003c\/strong\u003e is a \u003cstrong\u003etwo channel British-voiced microphone preamp with EQ\u003c\/strong\u003e, built on the 1073 circuit that defined the sound of British rock and pop recording. Each channel carries its own three-band inductor EQ, so the tone shaping happens in the same analogue path as the gain rather than afterwards.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe 1073 sound, on two channels, at a fraction of what an original costs.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eA Dual Channel '73 for the Rest of Us If there's one style of preamp that professional engineers would unanimously agree has defined the tone of pop\/rock records for decades, it would most definitely be the venerable '73-style of mic pre. '73-style preamps have been massively used in recording and live applications for many years and are still considered to be the Holy Grail of preamp choices today. The Warm Audio WA73 Family consists of single and dual channel '73-style amps (with and without EQ), that each pay careful homage to British audio history. The WA273-EQ is a Desert Island boutique preamp, but it can also be classified as a studio and live work-horse. Classic '73-style preamps are known for being versatile tools that work with all kinds of microphones from Condenser, to Dynamic, to Ribbon. The WA273-EQ equally shines on all types of microphones and sources including; vocals, acoustic\/electric guitars, bass, drums, percussion, orchestras, keyboards, and even as a tone shaping tool to run partial or complete mixes through. With 80dB of gain and a fully discrete Carnhill Transformer balanced signal path, there's no recording, mixing, or engineering task that the WA273-EQ can't handle.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eWarm Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eWA273-EQ\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eWarm Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Makes a 1073-Style Preamp Different?\u003c\/h2\u003e\u003cp\u003eThe circuit uses transformers on input and output and a discrete gain stage, which adds harmonic content and a forward midrange as level increases. It is not a neutral preamp and is not meant to be. The character is the reason people buy it.\u003c\/p\u003e\u003ch2\u003eWhy Does Inductor EQ Matter?\u003c\/h2\u003e\u003cp\u003eInductor-based EQ behaves differently from the op-amp designs in most modern gear, with broader, more musical curves that stay pleasant when pushed hard. It is a large part of what people are hearing when they describe a console EQ as musical.\u003c\/p\u003e\u003ch2\u003eWA273-EQ or WA73-EQ?\u003c\/h2\u003e\u003cp\u003eThe WA273-EQ is two channels, the WA73-EQ is one. The circuit is the same. Choose two channels for stereo sources and drum overheads, one for a single vocal or instrument chain.\u003c\/p\u003e\u003ch2\u003eWhy Warm Audio\u003c\/h2\u003e\u003cp\u003eWarm Audio builds recreations of the classic studio hardware most engineers will never get to own, at a fraction of what the originals cost. The company sources premium components, CineMag and custom transformers, Fairchild-grade capacitors, NOS tubes where the design calls for them, and puts them into circuits copied closely from the originals rather than approximated. It has grown from microphones and preamps into compressors, EQs, direct boxes, guitar pedals and cable.\u003c\/p\u003e","brand":"Warm Audio","offers":[{"title":"Default Title","offer_id":44799078793267,"sku":"WA273","price":1599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/00323647z.jpg?v=1788133706"},{"product_id":"warm-audio-wa-412-four-channel-microphone-preamp","title":"Warm Audio WA-412 Four Channel Microphone Preamp","description":"\u003cp\u003e\u003cstrong\u003eWA-412\u003c\/strong\u003e is a \u003cstrong\u003efour channel microphone preamp\u003c\/strong\u003e built on the classic American 312 circuit, with CineMag transformers on every channel. Four channels in one box is what makes it a drum kit preamp rather than a single-source one.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFour channels of American console preamp, for the sources that need more than one.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eClassic American Console Preamp Design The WA-412 provides 4 channels of classic American console preamps in a sleek 1RU design. This style of preamp is often referred to as the sound of Rock 'n' Roll for its BIG punchy low end and smooth open top end. The price\/performance ratio of the WA-412 is almost unfathomable to the experienced studio engineer who has possibly paid much more for preamps of this style during their career. Featuring fully discrete socketed 6-pin opamps and custom wound Altran USA input and output transformers, the WA-412 leaves nothing to be desired. If you are looking for multiple channels of world class tone in an affordable package, the WA-412 is the right choice for you.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eWarm Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eWA-412\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eWarm Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Is the 312 Circuit?\u003c\/h2\u003e\u003cp\u003eThe American console preamp design that sat opposite the British 1073 through the 1960s and 1970s. It is punchier and more forward in the upper mids, with a fast transient response that suits drums and electric sources particularly well.\u003c\/p\u003e\u003ch2\u003eWhy Four Channels?\u003c\/h2\u003e\u003cp\u003eBecause the sources that benefit most from this circuit tend to come in groups. Drum overheads and room mics, a stereo pair on an amp, or four inputs of a live tracking session all need matched preamps rather than one good channel and three ordinary ones.\u003c\/p\u003e\u003ch2\u003eWhat Do the CineMag Transformers Add?\u003c\/h2\u003e\u003cp\u003eTransformer coupling on input and output adds harmonic saturation as the signal level rises, which is a large part of the character. CineMag builds to the original specifications rather than substituting a cheaper part.\u003c\/p\u003e\u003ch2\u003eWhy Warm Audio\u003c\/h2\u003e\u003cp\u003eWarm Audio builds recreations of the classic studio hardware most engineers will never get to own, at a fraction of what the originals cost. The company sources premium components, CineMag and custom transformers, Fairchild-grade capacitors, NOS tubes where the design calls for them, and puts them into circuits copied closely from the originals rather than approximated. It has grown from microphones and preamps into compressors, EQs, direct boxes, guitar pedals and cable.\u003c\/p\u003e","brand":"Warm Audio","offers":[{"title":"Default Title","offer_id":44799078826035,"sku":"WA-412","price":1399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/00323648z.jpg?v=1788133712"},{"product_id":"warm-audio-wa73-eq-single-channel-british-mic-preamp-and-eq","title":"Warm Audio WA73-EQ Single Channel British Mic Preamp and EQ","description":"\u003cp\u003e\u003cstrong\u003eWA73-EQ\u003c\/strong\u003e is a \u003cstrong\u003esingle channel British-voiced microphone preamp with three-band inductor EQ\u003c\/strong\u003e, built on the 1073 circuit. It is the one-channel version of the WA273-EQ, for a vocal chain or a single instrument path rather than a stereo pair.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eOne channel of the circuit that made British records sound British.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eA Single Channel '73 for the Rest of Us If there's one style of preamp that professional engineers would unanimously agree has defined the tone of pop\/rock records for decades, it would most definitely be the venerable '73-style of mic pre. '73-style preamps have been massively used in recording and live applications for many years and are still considered to be the Holy Grail of preamp choices today. The Warm Audio WA73 Family consists of single and dual channel '73-style amps (with and without EQ), that each pay careful homage to British audio history. The WA73-EQ is a Desert Island boutique preamp, but it can also be classified as a studio and live work-horse. Classic '73-style preamps are known for being versatile tools that work with all kinds of microphones from Condenser, to Dynamic, to Ribbon. The WA73-EQ equally shines on all types of microphones and sources including; vocals, acoustic\/electric guitars, bass, drums, percussion, orchestras, keyboards, and even as a tone shaping tool to run partial or complete mixes through. With 80dB of gain and a fully discrete Carnhill Transformer balanced signal path, there's no recording, mixing or engineering task that the WA73-EQ can't handle.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eWarm Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eWA73-EQ\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eWarm Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eIs One Channel Enough?\u003c\/h2\u003e\u003cp\u003eFor a vocal chain, a bass DI or a single instrument path, yes, and it costs considerably less than the two channel version. If you record stereo sources or drum overheads you need two matched channels, which is the WA273-EQ.\u003c\/p\u003e\u003ch2\u003eWhat Does the EQ Section Do?\u003c\/h2\u003e\u003cp\u003eThree bands of inductor-based EQ in the same analogue path as the preamp. Inductor designs give broader, more musical curves than op-amp EQ and they stay pleasant when pushed, which is why console EQ is described the way it is.\u003c\/p\u003e\u003ch2\u003eCan I Use It as a DI?\u003c\/h2\u003e\u003cp\u003eWarm Audio's 1073-style preamps include an instrument input, so a bass or guitar can go straight in and pick up the transformer character on the way through.\u003c\/p\u003e\u003ch2\u003eWhy Warm Audio\u003c\/h2\u003e\u003cp\u003eWarm Audio builds recreations of the classic studio hardware most engineers will never get to own, at a fraction of what the originals cost. The company sources premium components, CineMag and custom transformers, Fairchild-grade capacitors, NOS tubes where the design calls for them, and puts them into circuits copied closely from the originals rather than approximated. It has grown from microphones and preamps into compressors, EQs, direct boxes, guitar pedals and cable.\u003c\/p\u003e","brand":"Warm Audio","offers":[{"title":"Default Title","offer_id":44799079579699,"sku":"WA73-EQ","price":899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/00323645z.jpg?v=1788133736"},{"product_id":"warm-audio-tb12-black-tone-beast-tone-shaping-mic-preamp-and-di","title":"Warm Audio TB12 Black Tone Beast Tone Shaping Mic Preamp and DI","description":"\u003cp\u003e\u003cstrong\u003eTB12 Black\u003c\/strong\u003e is a \u003cstrong\u003etone shaping microphone preamp and DI\u003c\/strong\u003e with switchable transformers, switchable op-amps, and a tone control that changes the character of the circuit rather than equalising the output. One channel that can be several different preamps.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSwap the transformer and the op-amp, and it is a different preamp.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eUnleash the Beast! The TB12 Tone Beast Black is a fully professional preamp design with loads of gain that can effortlessly capture an array of sources very well. It is a swiss army knife full of options and tones. With top notch CineMag transformers and multiple discrete signal paths, it's hard to beat the Tone Beast's big, bold, fully-professional sound at this price. The Tone Beast Black is a mic pre that likes to be pushed and when pushed will colorize your signal ever so sweetly. The 2 opamps and 2 output transformers at the flip of their switches won't appear to be much different, but as one drives the pre into harmonic distortion, the unique character of each of these components becomes apparent. The Tone Beast Black is customizable and allows users to source and swap in their own opamps. The output control on the TB12 allows you to limit the signal exiting the preamp even when pushing the gain to really hot levels, giving you maximum control. When designing the TB12 Tone Beast Black, Warm's goal was to make a microphone preamplifier affordable and jam packed full of options, without compromising the quality and design parameters that make this type of microphone preamplifier so desirable. Premium Components: The TB12 Tone Beast Black is a fully discrete, high-voltage microphone preamplifier, utilzing CineMag USA Transformers. Have no fear of hurting the Beast, you can push it very hard into full-on distortion if you wish, and these can sound quite nice on electric guitar, bass or anything else that likes some grit. The different component options in the TB12 are subtle, but when driven into saturation are noticeable and can make a big difference to the way your final mix will sound. Home-based musicians and professional studios alike will find the Tone Beast Black to be an extremely powerful and fully professional piece of gear that is capable of warming and shaping signals\/mixes in a way that is very pleasing to the ear.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eWarm Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eTB12 Black\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003eMicrophone Preamp\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eSeries\u003c\/th\u003e\n\u003ctd\u003eSame Original Tone Beast, Now in Black!\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eWarm Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Do the Switchable Transformers and Op-Amps Change?\u003c\/h2\u003e\u003cp\u003eThey are the two components that most define a preamp's character. Switching between them changes the harmonic content and the transient behaviour at source, which is a real change to the circuit rather than an EQ applied to the result.\u003c\/p\u003e\u003ch2\u003eWhy Buy This Instead of a Dedicated 1073 or 312 Clone?\u003c\/h2\u003e\u003cp\u003eBecause it covers several voices in one channel. A dedicated clone does one thing very well. The Tone Beast is for a studio that wants options rather than a single committed character.\u003c\/p\u003e\u003ch2\u003eCan It Take an Instrument Directly?\u003c\/h2\u003e\u003cp\u003eYes, it includes a DI input, so bass and guitar can go straight in and take on whichever transformer and op-amp combination you have selected.\u003c\/p\u003e\u003ch2\u003eWhy Warm Audio\u003c\/h2\u003e\u003cp\u003eWarm Audio builds recreations of the classic studio hardware most engineers will never get to own, at a fraction of what the originals cost. The company sources premium components, CineMag and custom transformers, Fairchild-grade capacitors, NOS tubes where the design calls for them, and puts them into circuits copied closely from the originals rather than approximated. It has grown from microphones and preamps into compressors, EQs, direct boxes, guitar pedals and cable.\u003c\/p\u003e","brand":"Warm Audio","offers":[{"title":"Default Title","offer_id":44799082627123,"sku":"TB12","price":699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/00323649z.jpg?v=1788133750"},{"product_id":"harrison-audio-32classic-channel-strip","title":"Harrison Audio 32Classic Channel Strip","description":"\u003cp\u003e\u003cstrong\u003e32Classic\u003c\/strong\u003e is a \u003cstrong\u003echannel strip built on the Harrison 32 Series console circuit\u003c\/strong\u003e, the desk that came out of Nashville in 1975 and went on to mix a great deal of what you have heard. Preamp and EQ in the original topology rather than a modern approximation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe Nashville console circuit, one channel at a time.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eThe Sound of Legends The 32Classic Channel Strip Plug-in by Harrison Audio is a fully featured channel strip complete with four-band parametric EQ, High Pass and Low Pass filters, transformer saturation with Drive control, Compressor and Gate\/Expander - everything you need to make music with the classic Harrison sound. Emulating the Harrison 32Classic analog mixing console, the 32Classic Channel Strip Plug-in delivers the sound and workflow that generations of artists and engineers have trusted to help craft their sound. Whether it was Michael Jackson, John Coltrane, and Diana Ross at Westlake Studios, or BB King, Steely Dan, and Fleetwood Mac at The Village, LA. ABBA, Led Zeppelin, and Adam Ant at Polar Studios, Stockholm. Or Kenny Rogers, Johnny Cash, and Al Green at Sound Emporium, Nashville. The 32 Series console helped create some of the most influential music ever made, and now with the 32Classic plug-in, you can access the sound and workflow in your DAW that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003e32Classic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003eChannel Strip\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Was the Harrison 32 Series?\u003c\/h2\u003e\u003cp\u003eA console introduced in 1975 that became a fixture in Nashville and beyond, known for a particular midrange character and an EQ section engineers still describe by name. The 32Classic puts that circuit into a single channel.\u003c\/p\u003e\u003ch2\u003eIs This a Recreation or the Original Circuit?\u003c\/h2\u003e\u003cp\u003eHarrison is the original company, so this is their own design rather than a third-party clone. That is a meaningful distinction in a market full of recreations.\u003c\/p\u003e\u003ch2\u003eWhat Is It Best On?\u003c\/h2\u003e\u003cp\u003eThe 32 Series reputation was built on vocals and on the midrange of guitars and drums, which is where the EQ character is most useful.\u003c\/p\u003e\u003ch2\u003eWhy Harrison Audio\u003c\/h2\u003e\u003cp\u003eHarrison built the consoles that mixed a large share of the records and films you know, starting in Nashville in 1975 with the 32 Series. The MR3 EQ and the 32C channel strip are the circuits that gave those desks their sound. Harrison is now part of the Solid State Logic group, and the current products put those original designs into 500 series modules, rackmount interfaces and networked systems.\u003c\/p\u003e","brand":"Harrison Audio","offers":[{"title":"Default Title","offer_id":44799114018867,"sku":"723720X2","price":1499.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/01979237_1z.jpg?v=1788133862"},{"product_id":"harrison-audio-32cpre-500-series-preamp-and-converter-module","title":"Harrison Audio 32Cpre+ 500 Series Preamp and Converter Module","description":"\u003cp\u003e\u003cstrong\u003e32Cpre+\u003c\/strong\u003e is a \u003cstrong\u003e500 series module combining the Harrison 32C preamp with conversion\u003c\/strong\u003e, so a single slot gives you the console preamp and the analogue to digital stage together.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eConsole preamp and converter, in one 500 series slot.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eHigh-Performance, Jensen Transformer-Coupled Microphone Preamp The 32Cpre+ takes the high-performance, Jensen JT-MB-CPCA transformer-coupled microphone preamp from the 32Classic studio console, combines it with the renowned Harrison LP\/HP filters and delivers it for the first time in 500 Series format. Inspired by the iconic Harrison 3232, the 32Classic mixing console and preamp is an American icon reimagined, delivering the tone that helped create some of the most iconic albums of the '70s and '80s. Thanks to the 32Cpre+, that Harrison sound is now available in 500 series format. Tools for Tracking The 32Cpre+ delivers +20 to +70 dB of smooth gain capable of driving a wide range of mic types, including ribbon. In addition to 180 degree Phase, 48V, -20 pad, and HiZ impedance switches, the front panel features combo XLR with 1\/4 inch. jack connector that lets you plug a microphone or instrument into the 32Cpre+ directly without having to access the rear panel of the 500 Series rack. Legendary Harrison Filters A Harrison mic pre wouldn't be complete without their legendary filters. As found in the original 3232 and latest 32Classic console, the filters have a musical 12dB\/octave slope, with the High Pass Filter featuring a characterful 3 dB resonant peak. The High Pass Filter range is 25 Hz - 3.1 KHz, and the Low Pass Filter is 160 Hz - 20 KHz. Features: · The sound of Harrison. · Jensen JT-MB-CPCA transformer-coupled mic-pre. · +20 to +70 dB of gain. · HP and LP Filters with characterful 3 dB resonant peak. · Front-mounted combo XLR with ¼ inch. jack connector. · 48V phantom power switch. · Polarity reverse switch. · HiZ impedance switch. · Input overload LED. · Compatible with 500 Series format chassis The Harrison Tone The 32Cpre+ delivers the warm, rich tone that Harrison is renowned for. Full low-end, open mid-range, and super-smooth, natural highs are what to expect from this Jensen JT-MB-CPCA transformer-coupled mic-pre. The gentle roll-off at each end of the frequency spectrum and delicate phase shift created by the 1:1 ratio transformer produces a mic pre that sounds so sweet you'll use it on any source material.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003e32Cpre+\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003e500 Series Module\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eSeries\u003c\/th\u003e\n\u003ctd\u003e500 Series Module\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhy Put Conversion in the Module?\u003c\/h2\u003e\u003cp\u003eBecause it removes a stage of cabling and a separate converter from the chain. The signal goes from microphone to Harrison preamp to digital without leaving the module.\u003c\/p\u003e\u003ch2\u003eIs the Preamp the Same as the 32Classic?\u003c\/h2\u003e\u003cp\u003eIt is the 32C preamp circuit, the same lineage as the console and the 32Classic channel strip, in 500 series format.\u003c\/p\u003e\u003ch2\u003eDoes It Fit Any 500 Series Rack?\u003c\/h2\u003e\u003cp\u003eIt is a standard 500 series module, so it fits any compliant chassis, including Harrison's own D510.\u003c\/p\u003e\u003ch2\u003eWhy Harrison Audio\u003c\/h2\u003e\u003cp\u003eHarrison built the consoles that mixed a large share of the records and films you know, starting in Nashville in 1975 with the 32 Series. The MR3 EQ and the 32C channel strip are the circuits that gave those desks their sound. Harrison is now part of the Solid State Logic group, and the current products put those original designs into 500 series modules, rackmount interfaces and networked systems.\u003c\/p\u003e","brand":"Harrison Audio","offers":[{"title":"Default Title","offer_id":44799117066291,"sku":"723501X1","price":499.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/01979256_1z.jpg?v=1788133876"},{"product_id":"harrison-audio-comp-dynamics-500-series-module","title":"Harrison Audio Comp Dynamics 500 Series Module","description":"\u003cp\u003e\u003cstrong\u003eComp Dynamics\u003c\/strong\u003e is a \u003cstrong\u003e500 series dynamics module\u003c\/strong\u003e built on Harrison console circuitry, bringing the compression section of the desk into a format that fits any standard rack.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe console's dynamics section, in a slot.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003eClassic Feed-Forward VCA Compressor In the realm of audio engineering, Dave Harrison, the founder of Harrison Audio, stands out as a pioneer in the development of music production technology. Ironically, Dave Harrison himself was initially skeptical about compressors, a sentiment shared by his friend and legendary music producer and engineer, Bruce Swedien. Both held the belief that music should be captured authentically, without interference. However, the requirement for a compressor arose from the broadcast market's demands, seeking a tool to control dynamics and prevent clipping. To meet this demand, Harrison Audio ventured into the realm of compressors, with the result proving extremely effective. Its transparent leveling capabilities, achieved with just a few dBs of gain reduction, quickly made it indispensable in music production for delicately smoothing signals, particularly on vocals, guitars, and other instruments with wide dynamic range. Over time, this compressor's ability to dig in became apparent, transforming it into a sought-after vibe compressor when higher levels of gain reduction were applied. Dave Harrison's initial skepticism gave birth to a tool that not only met the broadcast market's demands but also became relied on in the world of music production. Thanks to the Comp module, the distinctive Harrison sound is now accessible in the 500 Series format. Harrison's Secret Sauce - Put It on Everything The Comp module is a very flexible dynamics processor. From a transparent leveler on guitars and vocals, using a 1:2 ratio and fast release, applying 2-3 dB of gain reduction. To a sizzling vibe compressor on drums and bass, slamming the ratio in combination with a slow release. The Comp 500 Series module is a well-crafted, no-nonsense compressor that is your secret production sauce -- you'll put it on everything. Features: · The Harrison sound. · Extremely flexible compressor; from transparent leveler to character comp. · Classic feed-forward design. · THAT 2180 VCA chip for outstanding analog performance. · Program-dependant Attack time. · Continually variable Release time from Fast to Slow. · Input overload LED. · Compatible with 500 Series format chassis.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eComp Dynamics\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003e500 Series Module\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eSeries\u003c\/th\u003e\n\u003ctd\u003e500 Series Module\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Kind of Compression Is This?\u003c\/h2\u003e\u003cp\u003eHarrison console dynamics, which is a different lineage from the 1176 and LA-2A designs most 500 series compressors copy. It is worth having something in the rack that does not sound like everything else.\u003c\/p\u003e\u003ch2\u003eDoes It Fit Any 500 Series Rack?\u003c\/h2\u003e\u003cp\u003eYes, it is a standard 500 series module and works in any compliant chassis.\u003c\/p\u003e\u003ch2\u003eWhat Pairs With It?\u003c\/h2\u003e\u003cp\u003eThe 32Cpre+ preamp module and the MR3eq equaliser module, which together make a full Harrison channel across three slots.\u003c\/p\u003e\u003ch2\u003eWhy Harrison Audio\u003c\/h2\u003e\u003cp\u003eHarrison built the consoles that mixed a large share of the records and films you know, starting in Nashville in 1975 with the 32 Series. The MR3 EQ and the 32C channel strip are the circuits that gave those desks their sound. Harrison is now part of the Solid State Logic group, and the current products put those original designs into 500 series modules, rackmount interfaces and networked systems.\u003c\/p\u003e","brand":"Harrison Audio","offers":[{"title":"Default Title","offer_id":44799118311475,"sku":"723503X1","price":299.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/01979258_1z.jpg?v=1788133882"},{"product_id":"harrison-audio-mr3eq-equaliser-500-series-module","title":"Harrison Audio MR3eq Equaliser 500 Series Module","description":"\u003cp\u003e\u003cstrong\u003eMR3eq\u003c\/strong\u003e is a \u003cstrong\u003e500 series equaliser module\u003c\/strong\u003e built on the Harrison MR3 EQ circuit, one of the sections engineers name specifically when they talk about why those consoles sounded the way they did.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe EQ people actually name when they talk about Harrison desks.\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"vmi-benefit-bar\"\u003eFree shipping · Free local pickup in Miami · Financing at checkout\u003c\/p\u003e\u003cp\u003e3-Band Parametric EQ with HP Filters Originally developed for the Harrison MR3 studio console, the MR3eq stands out as one of Harrison's most popular EQ designs, renowned for its punchy, smooth sound, and powerful sculpting capabilities. Introduced in 1981, the Music Recording 3 (MR3) console rapidly became the preferred tool for numerous leading engineers and studios worldwide, helping to create some of the most iconic albums from the 70s and 80s. Like all Harrison production tools, the MR3 EQ delivers the vibe to inspire artists and the precision for engineers to excel. Thanks to the MR3eq module, the distinctive Harrison sound is now accessible in the 500 Series format. The MR3eq is a high-performance analog EQ, crafted from decades of experience in equalizer and filter design. The circuit design of this EQ allows for precision in surgical tasks or the creation of broad musical strokes with lots of band interaction for a rich and colorful sonic character. 3-Band Parametric EQ with HPF The MR3eq is a powerful three-band parametric equalizer that features High-frequency 6 dB\/octave Shelf bands, which can be switched to a 2nd order Bell response with Harrison's renowned proportional Q. The Mid-band offers a continuously variable Q, while a separate High Pass Filter section includes a 3dB corner frequency. The MR3eq's flexible design and powerful sculpting capabilities make it a versatile tool that enhances a wide array of source materials, proving equally effective in both tracking and mixdown scenarios. Features: · The Harrison sound. · Perfect for both precision EQ'ing and broad musical strokes. · Three-band parametric EQ with +\/- 10 dB boost\/cut range. · High-frequency (800 Hz - 15 kHz) 6 dB\/octave Shelf band, switchable to 2nd order bell. · Mid-band (400 Hz - 8 kHz) with continuously variable, proportional Q. · Separate High Pass Filter with 3dB corner frequency. · Separate In switches for EQ and HPF sections. · Input overload LED. · Compatible with 500 Series format chassis.\u003c\/p\u003e\u003ch2\u003eAt a Glance\u003c\/h2\u003e\u003ctable\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth\u003eBrand\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eModel\u003c\/th\u003e\n\u003ctd\u003eMR3eq\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eProduct type\u003c\/th\u003e\n\u003ctd\u003e500 Series Module\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eSeries\u003c\/th\u003e\n\u003ctd\u003e500 Series Module\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth\u003eWarranty\u003c\/th\u003e\n\u003ctd\u003eHarrison Audio limited warranty\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003ch2\u003eWhat Is the MR3 EQ?\u003c\/h2\u003e\u003cp\u003eThe equaliser section from the Harrison console line, with the particular curve shapes and interaction between bands that gave those desks their character. This module puts it in 500 series format.\u003c\/p\u003e\u003ch2\u003eDoes It Fit Any 500 Series Rack?\u003c\/h2\u003e\u003cp\u003eYes, it is a standard 500 series module.\u003c\/p\u003e\u003ch2\u003eHow Do I Build a Full Harrison Channel?\u003c\/h2\u003e\u003cp\u003eThe 32Cpre+ preamp module, this MR3eq equaliser and the Comp Dynamics module together give preamp, EQ and compression across three 500 series slots.\u003c\/p\u003e\u003ch2\u003eWhy Harrison Audio\u003c\/h2\u003e\u003cp\u003eHarrison built the consoles that mixed a large share of the records and films you know, starting in Nashville in 1975 with the 32 Series. The MR3 EQ and the 32C channel strip are the circuits that gave those desks their sound. Harrison is now part of the Solid State Logic group, and the current products put those original designs into 500 series modules, rackmount interfaces and networked systems.\u003c\/p\u003e","brand":"Harrison Audio","offers":[{"title":"Default Title","offer_id":44799119884339,"sku":"723502X1","price":299.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1768\/9095\/files\/01979257_1z.jpg?v=1788133889"}],"url":"https:\/\/www.victorymusical.com\/collections\/microphone-preamps.oembed?page=2","provider":"Victory Musical Instruments","version":"1.0","type":"link"}