2tec's Reviews
16 reviews Back to 2tec's Equipboard
179
32-bit Processing Plus 20-bit Conversion for Superior Sound
Complete Reverb System with EQ, Gate, Compression and Dynamic Filter
In addition to one of the finest digital reverb processors available, the PRO-R3 includes all other processing stages you need to fine tune the reverb sound.
Digital Pre-and Post-reverb EQ
These stages offer extensive response-shaping control. 3-band sweepable pre-verb EQ controls are available on the front panel for fast, easy access. Post-reverb EQ stage is parameter-programmable and offers even greater control versatility. Three bands with independent frequency, gain and Q (bandwidth) parameters are provided. Frequency coverage is much broader than pre-reverb EQ. For even greater flexibility the low and high bands can be independently switched for shelving or peaking response. Programmable Noise Gate
The PRO-R3 noise gate provides much more than simple threshold control. In addition to a threshold level adjustable from -60 to 0 dB, the gate features a trigger delay programmable from 0.1 to 100 milliseconds, hold time from 1 to 5759 milliseconds and release time from 6 to 24000 milliseconds. Level detection can be carried out at the gate itself or at the pre-reverb signal. The gate can also be triggered via MIDI, if required.
Full Function Compressor
The PRO-R3 processing chain includes a precision compressor with threshold, output level, ratio, knee (soft, normal or hard), attack time, and release time parameters. Precisely controllable compression can help you to achieve an exceptionally clean, refined reverb and effects sound with unprecdented presence and spaciousness.
179
One of the best speakers ever made
Sound great LOUD. Look kinda cool. They have tunable crossovers. Cabinets are furniture grade. Spec.’s are awesome up to 16K Hz. Really good dispersion; both horizontally and vertically. Can handle power and sound great LOUD. Virtually distortion free. Acoustically aligned.
179
What a Classic FET-Style Compressor with Class-A Line Level Amplifier and Midas Transformers
Classic FET-style compressor modeled after iconic 1176LN*, D and E Revisions Completely discrete signal path Class-A line-level output amplifier Custom-built, Midas input and output transformers Push button selection of compression ratios: 4:1, 8:1, 12:1, 20:1 Ultra-fast attack time: 20 to 800 microseconds Adjustable release time: 80 to 700 milliseconds Vintage-style meter features gain reduction and output Transformer balanced inputs and outputs on Neutrik* XLR connectors Rugged 2U rackmount chassis for durability in portable applications
179
The En-Voice is an elegant, single-channel voice processor, from the German company MindPrint (
High-quality mic preamp, 3-band equalizer, and tube compressor in one unit. The En-Voice offers a wide variety of tone-shaping options and is designed as both a front end for digital recorders and a processor for prerecorded analog and digital signals.
GET INTO ITYou have plenty of choices when it comes to inputs and outputs on the En-Voice. The back panel includes a balanced XLR mic input, as well as XLR and 11/44-inch input jacks for connecting balanced or unbalanced line-level sources (see Fig. 1). Phantom power is available for the mic input, but the button that engages it is inconveniently placed on the back panel. A switch on the front of the unit toggles between the mic and line inputs.
Guitarists and bassists can plug directly into the 11/44-inch instrument input jack located on the En-Voice's front panel. The input impedance of this jack has been optimized to prevent overdamping of the pickups, thereby keeping the sound as bright as possible. Inserting a cable into the instrument jack overrides the rear-panel mic and line inputs.
179
Summit Audio TLA-100A Tube Leveling Amplifiers Compressor/Limiters (Stereo Pair) outstanding Best compressor I have ever used!
Best pair of compressor I have ever owned! I can not say enough. It seams to add clarity and warmth to the signal. The compression is transparent. It is ver easy to operate. I have owned a 6176, la-610, and various dbx comps. Although they all have there uses, I believe this compressor is way above any of the previously mentioned. This is the last compressor I will buy.
179
Highest level of sophistication at te time
The Sony DPS-D7 is a digital delay unit equipped entirely with Sony’s digital and audio technology at its highest level of sophistication which was released before with the Digital Reverberator, DRE-2000 and MU-R201 and has received much praise. Quality-conscious design A/D and D/A high performance converter
The Sony DPS-D7 converts the incoming analog signal to a digital signal, passes it through various effects, then re-converts it to an analog signal before output. The determinant to the sound quality is the conversion mechanism that adopts the 18-bit oversampling stereo Al D converter and the pulse D/A converter of 49,152 MHz. These account for highly accurate. less deteriorated effects.
179
Avid Eleven Rack (Hardware Only) Guitar Preamp great bit of kit
The Eleven Rack can be used as a stand-alone guitar processor—without the need for a computer—for live applications. It includes incredible emulations of classic guitar amps, cabinets and stompboxes, as well as a powerful collection of studio-quality rackmount effects processors and microphone emulations. You can also incorporate your favorite stompboxes and effects into the Eleven Rack with an integrated effects loop that can be assigned and moved almost anywhere within the signal chain.
179
Great Device Ex Sound source
The new Proteus 2500 is basically a 4-unit version of the 128-voice Proteus 2000 rack module with much greater real-time controls and some other new tricks! The Proteus 2500 has got over 30 real-time, programmable knobs and buttons. It features the exact same great Proteus 32 MB sound set of ROM samples, and can be expanded up to 128 MB with additional sound cards from E-mu's family of genre based sound modules, keyboards, and desktop groove machines. The sounds it ships with is called the "Composer" soundset, offering sounds that cover the whole spectrum of synthesizer type sounds, from real instruments to bizarre sounds and effects.
The Proteus 2500 features a built-in 16-track MIDI sequencer, with 16 MIDI channels per track! It offers both linear and pattern based recording, real or step time, analog grid/drum machine style programming and more. Unlike the Proteus 2000, the 2500 has 24-bit DAC outputs instead of 16-bit, for enhanced sound quality. The MIDI processors have also been redesigned and are three times more efficient now than on the Proteus 2000! The 2500 has six audio outputs, S/PDIF digital output and a USB port. This is the most powerful Proteus ever, and will likely be E-mu's flagship synthesizer module for quite some time!
Current E-mu sound modules ship with one 32 MB sound-set each, but are expandable up to 128 MB via three additional slots for 32 MB expansion cards. These cards include (ranging from $249 to $395):
9061: Siedlaczek Orchestra 32 MB ROM. 9062: Pure Phatt 32 MB ROM - standard in Mo’Phatt, MP-7 and MK-6. 9063: Beat Garden 32 MB ROM - standard in Orbit 3. 9082: Protozoa 16 MB ROM - standard in Proteus 1, 2, 3. 9083: Definitive B-3 32 MB ROM - standard in B-3. 9084: Techno Synth Construction Yard 32 MB ROM - standard in Orbit 3. 9085: Orchestral Session Vol. 1 32 MB ROM - standard in Virtuoso 2000. 9086: Orchestral Session Vol. 2 32 MB ROM - standard in Virtuoso 2000. 9087: World Expedition 32 MB ROM - standard in Planet Earth. 9088: Sounds of the ZR featuring the Perfect Piano 32 MB ROM - standard in Ensoniq Halo. 9089: X-Lead 32 MB ROM - standard in Xtreme Lead-1, XL-7 and XK-6.
With these expansion options, you could buy a PK-6, then add the sounds of the Orbit 3, XK-6, and the MP-7... or any other combinations you may want. If you like desktop synths, you can start with an MP-7 or XL-7, and then add these same expansion card options to add Proteus, Orchestral, or the new Halo sounds to them. E-mu/Ensoniq's interchangeable sound cards and a variety of keyboard/sound-module options means that there's a model out there for everybody now.
179
he KRK ROKIT RP10-3 G3 Powered Studio Monitor is the latest powered studio monitor to the ROKIT series. It has been designed with the upmost attention to provide high quality performance and definition for mixing, recording, mastering and playback.
he Rokit RP10-3 system consists of a front-firing bass port, which reduces boundary coupling and engineered surface, which reduces diffraction distortion. There is also a 1” soft dome tweeter, 4” midrange driver and a 10” glass-Aramid composite woofer. As a result the ROKIT 10-3 produces frequencies up o 30kHz, lucid vocals and an extensive bass response. The tri-amped, class A/B amplifier allows SPL up to 113dB. There is a rotating midrange module which means that monitor can be placed almost anywhere in a room. Finally there are numerous input connections which assures the KRK ROKIT RP10-3 G3 will fit nicely into any equipment set up. The KRK RP10-3 G3 active speaker is the largest monitor of the ROKIT series however is a fantastic, all round, monitor. The 10-3 G3 will produce top quality, big scale studio performance coupled with rigid bass tuning and sufficient headroom.
Features:
Bi-amped / Tri-amped (RP4) class A/B amplifier offering large headroom and low distortion Proprietary waveguide optimized for superior imaging 1” Soft-dome tweeter provides pristine clarity and extended response up to 35kHz High-frequency adjustment tailors the system to personal taste Lightweight, glass-Aramid composite woofer delivers clear midrange and tight bass Low-frequency adjustment tailors the monitors to taste and adjusts for room acoustics Front Firing Port — Low-frequency extension while reducing boundary coupling Radiused edges reduce distortion from diffractionLow-resonance enclosure for minimized distortion and colorization Multiple audio input connectors (XLR, ¼”, RCA) for universal connectivity in any studio environment Factory installed foam pad provides isolation between the speaker and surface
179
Great control unit
Monitor Selection When it comes to mixing, pros know it’s best to get a second, and third, opinion. So Big Knob lets you quickly switch between 3 pairs of studio monitors, or 2 studio monitors and a subwoofer, or studio monitors and a home stereo, or any other combination of powered speakers.
Source Selection On the input side, Big Knob lets you connect up to 4 stereo input sources at once. This means you can simultaneously connect to your computer/DAW outputs, CD player, cassette deck and even a turntable using the premium onboard RIAA preamp. You can even connect keyboards, guitars, drum machines, samplers - anything you’d like to hear - through your monitors. This makes Big Knob great for comparing your mixes-in-progress to your favorite CDs, for archiving your old LPs, jamming along to your favorite tune, and lots more.
Talkback Section & Headphone Control With its built-in Talkback mic and spring-loaded activation switches, Big Knob lets you quickly communicate with musicians in both the studio and tracking room - no more hand signals through the glass! Big Knob also sports two high-powered headphone outputs with a discrete headphone mix bus, solving the communications needs of most computer-based studios.
All the Right Connections Although its shiny silver knob is a head-turning feature, Big Knob's rear panel is equally impressive. There you’ll find three distinct Monitor outputs with individual level control; 2-Track A and 2-Track B stereo outputs with level selection switches; a DAW stereo output for your computer; a Studio output with level control; a Phones Mix input with level selection switch; 2-Track A and 2-Track B Stereo Source inputs with level control; a DAW Mix input from your computer with level control; and even a Phono input with level control for direct connection to your turntable.
Sound Quality Because Big Knob plays a crucial link between recording output(s) and studio monitors, we placed the utmost importance on pristine, no-compromise sound quality. For this reason, Big Knob features ultra low-noise op amps, extremely low-tolerance components and state-of-the-art surface mount technology. All of this ensures superb sound in critical listening environments and long-term reliability - even under daily, and nightly, studio use.
Tabletop level control / monitor switcher / source selector & talkback box Big, convenient volume knob for precise level adjustments Switch amongst 3 sets of studio monitors Built-in Talkback microphone for easy communication with musicians Monitor 4 independent Stereo inputs including one for your turntable Dual Headphone outputs with independent volume controls and headphone mix bus Phono preamp for direct turntable connection High-end studio sound quality and robust construction Perfect for computer-based studios Humorous product name ensures years of off-color studio humor
179
With signal to noise of Plus 128db's one of the best devices on the market
32-input Thunderbolt audio interface with 48-channel mixing and AVB networking capability.
MOTU interfaces can be found in studios around the world because of their superb performance record and trusted reliability. The 16A is one of several next-generation, high-performance audio interfaces, combining incredible audio, large console style mixing, and state-of-the-art features.
64 Audio channels - A feast of analog and digital I/O 16 balanced/unbalanced TRS analog inputs and outputs, plus 2 x 8-channel ADAT optical ports, deliver a total of 32 inputs and 32 outputs. Use the 16A for expanding analog I/O for your computer, or as a flexible, capable patchbay and mixer. Or both!
Superb audio quality - Pure sound, without compromise The 16A employs latest-generation ESS Sabre32 Ultra converters, known for their industry-leading performance, together with expertly engineered analog circuits that reflect more than three decades of pro audio engineering expertise. The result? The 16A achieves actual, measured performance of 123dB dynamic range (A-weighted, 20Hz to 20kHz) on its balanced TRS analog outputs.
Ultra-low I/O latency - State-of-the-art latency performance Every digital audio workflow has some latency. The only question is, how much? In the case of the 16A, the answer is, not much at all. In the 16A, latency is measured in a handful of samples, from the time an audio signal first goes digital to its arrival somewhere else (to an output the mixer, or the computer). By keeping latency this low in the hardware, the 16A helps minimize latency introduced by your host software.
Thunderbolt technology - Plug-and-play ease with massive bandwidth Thunderbolt lets you connect displays, hard drives, and other peripherals to your computer, along with the 16A, and the Thunderbolt bus won't even break a sweat. But more importantly, Thunderbolt gives you an astonishing 256 channels of computer I/O (128 in and out). You can use them to route audio to the physical inputs and outputs on the 16A, plus the 48-channel mixer inside the 16A, plus audio network streams. The 16A is one of the first and only interfaces to combine Thunderbolt I/O connectivity with AVB audio networking.
Audio class compliant USB 2.0 - Broad compatibility with future-proof connectivity Don't have a Thunderbolt-equipped computer yet? Hi-speed USB 2.0 provides across -the-board compatibility with pretty much all laptops and desktop computers. The 16A is USB audio class compliant, which means you enjoy OS-level USB compatibility and support, including iPad support (works with camera connection kit, sold separately). Since USB 2.0 devices are compatible with USB 3.0-equipped hosts, your 16A interface is a future-proof investment in your studio.
48-channel digital mixing - Control up to 12 separate stereo mixes The 16A is equipped with a 48-channel digital mixer designed just like a large format mixing console. The 48 inputs can take signal from anywhere; the physical inputs on the 16A interface itself, audio channels from host software on your computer, audio network streams, or even mixer outputs. The mixer provides 7 stereo aux busses, 3 groups, a reverb bus that can alternately serve as a 4th group, a Main Mix bus and a separate Monitor bus that can serve as a solo bus. In essence: capable and transparent mixing.
Modeled analog EQ and compression - Vintage processing with 32-bit floating point precision British analog mixing consoles are renowned for their musical EQ profiles. The 16A meticulously models these classic EQs to give you the very same, magical EQ response found on these coveted desks. Each input channel also provides a classic compressor module with optional peak/RMS operation. Groups and the Main Mix bus are equipped with MOTU's Leveler, an accurate model of the legendary Teletronix LA-2A optical leveling amplifier, known for its unique and highly sought-after Automatic-Gain Control (AGC) characteristics.
Matrix routing and splitting - Put the ultimate patch-bay at your fingertips With one click on the 16A's routing grid, you can route any source signal to any destination. Sources can be analog or digital inputs on the interface, computer channels, mixer bus outputs, or audio network streams from other devices on the network. Destinations include interface outputs, host software inputs, mixer inputs, or any other device (or computer) on the AVB network. You can even split any single input (or stereo pair) to unlimited multiple output destinations.
System expansion and audio networking - Expand your system with more I/O and Wi-Fi control The 16A network port introduces AVB Ethernet, the new industry standard developed by the IEEE for professional audio networking. Add a second MOTU AVB interface (1248, 8M or 16A) with a simple Cat-5e or CAT-6 Ethernet cable.
Connect up to five MOTU interfaces using a MOTU AVB Switch (sold separately)
Build a network with multiple interfaces, computers, and AVB switches using standard network cabling, with ultra-low network latency, even over long cable runs (hundreds of meters). Stream hundreds of audio channels among devices and computers on the network.
Web app control - Control everything from your laptop, tablet, and smart phone The software that you use to control the 16A doesn't' reside on your hard drive. It's a web app served from the hardware itself. This means you can control the 16A's on-board DSP, mixing, device settings, and network audio routing from the web app software running on your favorite web browser on a laptop, tablet or smart phone connected by wire or Wi-Fi to your local area network. Use any web client on any platform - Mac, Windows, Linux, iOS, Android - as long as it shares the same network.
Comprehensive metering - View all I/O activity at a glance The large backlit 324 x 24 LCD lets you view all signal activity at a glance with detailed metering for all analog and digital I/O. Access hardware settings from a simple and convenient menu.
Quick setup presets - Completely transform your MOTU interface with one click The 16A is so flexible, it can serve many roles - in the studio, on stage, and throughout an installation. The Quick Setup menu lets you instantly reconfigure the 16A for many common situations, from operation as a standard audio interface to serving as a network "snake" from one location to another. Once a preset is chosen, you can easily customize the routing grid and mixer settings to further suit your specific needs - and then save your own custom presets. FEATURES Audio Quality Max bit depth: 24-bit Max sampling rate: 192kHz Inputs Total inputs: 32 Mic preamps: 0 XLR/TRS combo jacks: 0 XLR only jacks: 0 1/4" only jacks: 16 (TRS balanced) S/PDIF in: 0 ADAT/optical in: 16 RCA in: 0 Outputs Total outputs: 32 XLR out: 0 1/4" out: 16 (TRS balanced) S/PDIF out: 0 ADAT/optical out: 16 RCA out: 0 Other Connectivity Computer connection: Thunderbolt & USB 2.0 MIDI I/O: No Headphone output(s): 1 Word-clock I/O: Yes Onboard Features Platform compatibility: Mac & Windows Phantom power: Yes Direct monitoring: Yes Onboard DSP: Yes Metering: LED meters Display: Yes Latency control: Yes Monitor control: Yes Headphone control: Yes Other Width: Info not available Height: Info not available Depth: Info not available Weight: Info not available Construction: Brushed aluminum Rack-mountable: Yes Included software: Info not available
179
The best MIDI controller Device
MIDI I/O Capabilities • Fully compatible with Pro Tools and other MIDI applications on Windows and Macin- tosh • Provides ten MIDI input and ten MIDI output ports for a total of 160 MIDI channels per in- terface • Up to four MIDI I/Os can be connected to- gather for a total of 32 input ports and 40 out- put ports (Windows), and 40 input and output ports (Mac) • Powered from USB with a direct connection to your computer or a powered USB hub • Supports MIDI Time Stamping • Supports programmable MIDI Thru mode when offline (not in use by a MIDI applica- tion) or not connected to a computer • Supports custom MIDI routing assignments for use in MIDI Thru mode
179
This great desk configured with 8 mono or 4 stereo groups, and there are two fully independent stereo master output modules. 6 mono and 2 stereo aux sends are provided. Extensive monitoring and cue facilities include stereo AFL/PFL, and several sets of s
Key Features:
Massive 33dB input headroom 24, 32, 40, 48, 56-module frames 8 mono or 4 stereo groups Two fully independent stereo master output modules 6 mono and 2 stereo auxes Stereo AFL/PF LED indication on all switches 4 VCA groups Wide variation in module audio and logic/control functions via internal links and jumpers Flexible cleanfeed facilities via Direct outputs on all channels Versatile and highly configurable monitoring via speakers and studio and guest headphones Limiters on mono and stereo groups and master outputs 8 input with 6 monitor channel surround module Wide range of meterbridge options Balanced audio inputs and outputs throughout, on XLRs and EDACs Balanced internal bussing Motherboard construction Momentary or latching Cue operation Oscillator and slate oscillator Manual or remote mute switching External control Remote start/stop Incrementally switched input channel gain