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Vintage high-gain blues tone, with classic looks to match.

Black Magick, a recreation of one of rock and roll’s holy-grail amplifiers, is an all-tube, high-gain blues machine that hearkens back to the dimensions, cosmetics and circuitry of the Supro amps from 1959, just like the one donated by Jimmy Page to the Rock and Roll Hall of Fame Museum. In tribute to this legendary and extensively modified combo, Supro's engineers used the cabinet dimensions from a '59 Supro 2x10 and replaced the baffle with a 1x12, arming the 25-watt combo with a custom, British-voiced speaker specially developed for the Black Magick amp.

The preamp found in the Black Magick features two channels wired in parallel, with independent volume controls and a single, shared tone control. The vintage-correct front-end topology of the original 1959 Supro combos has been streamlined in the Black Magick, with automatic linking of channels 1 and 2 when using only the first input jack. This flexible arrangement provides double the gain when used with one instrument and also allows for two instruments to share the same Black Magick or for the use of an A/B/Y box to achieve channel-switching on the fly.

With more gain on tap than any other Supro reissue, Black Magick absolutely rips for heavy blues and classic rock guitar styles. This amp’s traditional, cathode-biased “Class-A” power section uses 6973 tubes to achieve the instantly recognizable midrange grind and phenomenal touch dynamics that define the Supro sound. A complete range of tones from warm cleans to heavy distortion can be accessed by simply adjusting the volume knob on your instrument. The signature Supro power tube tremolo adds footswitchable depth and dimension to this historic rock and roll machine.

Vintage high-gain blues tone, with classic looks to match.

Black Magick, a recreation of one of rock and roll’s holy-grail amplifiers, is an all-tube, high-gain blues machine that hearkens back to the dimensions, cosmetics and circuitry of the Supro amps from 1959, just like the one donated by Jimmy Page to the Rock and Roll Hall of Fame Museum. In tribute to this legendary and extensively modified combo, Supro's engineers used the cabinet dimensions from a '59 Supro 2x10 and replaced the baffle with a 1x12, arming the 25-watt combo with a custom, British-voiced speaker specially developed for the Black Magick amp.

The preamp found in the Black Magick features two channels wired in parallel, with independent volume controls and a single, shared tone control. The vintage-correct front-end topology of the original 1959 Supro combos has been streamlined in the Black Magick, with automatic linking of channels 1 and 2 when using only the first input jack. This flexible arrangement provides double the gain when used with one instrument and also allows for two instruments to share the same Black Magick or for the use of an A/B/Y box to achieve channel-switching on the fly.

With more gain on tap than any other Supro reissue, Black Magick absolutely rips for heavy blues and classic rock guitar styles. This amp’s traditional, cathode-biased “Class-A” power section uses 6973 tubes to achieve the instantly recognizable midrange grind and phenomenal touch dynamics that define the Supro sound. A complete range of tones from warm cleans to heavy distortion can be accessed by simply adjusting the volume knob on your instrument. The signature Supro power tube tremolo adds footswitchable depth and dimension to this historic rock and roll machine.

The KM 84 is a small-diaphragm FET condenser with a fixed Cardioid pickup pattern. It was the world’s first phantom-powered microphone, built to run on 48v DC. Its design goal was to be as small as possible; the model name ‘KM’ stands for Kleine Mikrofon (“small microphone”). The model number indicates the powering mechanism (8 = phantom power) and polar pattern (4 = cardioid). Although discontinued in 1992, the KM-84 remains a favorite of vintage mic enthusiasts for drum overheads and hi-hat applications. Neumann’s KM 184 was intended to be a replacement for the KM 84, but the two mics sound sufficiently different that the KM 84 has remained a standard by which modern FET pencil mics are judged. (See the KM 184 page for additional discussion of the physical and sonic differences between these microphones.) The mic is known for having an exceptionally flat frequency response and its ability to maintain its cardioid pickup pattern across the frequency spectrum.

Read more: http://recordinghacks.com/microphones/Neumann/KM-84#ixzz46ufCfwhU

The small diaphragm cardioid microphone KM 84 was built until 1992 and remains one of the most popular Neumann classics. Its even frequency response and consistent pickup pattern make it a sought-after microphone for all genres.

AS THE NAME STATES THIS IS NO ORDINARY BEE. IT’S ACTUALLY A WASP, A NASTY AND AGGRESSIVE ONE WITH AN OP-AMP HEART THAT CAN PRODUCE AN EXTREME HIGH-PITCHED BUZZ.

ON FUZZZZ MODE YOU GET A BIG WALL OF FUZZ, GREAT FOR THE COOLEST RIFFS AND POWER CHORDS. TURN DOWN THE SUSTAIN CONTROL TO GET A SPITTY FUZZING TONE OR TURN IT UP FOR A GATED SUPER HIGH GAIN FUZZ.

ON STINGER MODE THIS WASP GETS AGGRESSIVE, BRINGING UP THE HIGH OCTAVE AND CUTTING THROUGH THE MIX. HARMONICS ON CRACK BEST DEFINES IT! ITS MULTI-FUNCTION SWITCH ALLOWS YOU TO SELECT BETWEEN THE MODES OR ACCESS THEM MOMENTARILY GIVING YOU MULTIPLE OPTIONS TO BUZZ.

Bee ready to get high on honey tones!

The STEIM SensorLab is a small, general purpose, analog to Midi interface for the prototyping of musical instruments and interactive control systems. Whether the computer is a central element in an artists work or simply a tool bridging a technological gap, the need for real world input and output is essential. The SensorLab connects the real world of physical phenomena and gestures via Midi to personal computers and to Midi musical and studio devices.

Bryston's little ugly duckling is really a diamond in the rough. This amp has been in production for decades with few changes. Isn't it outclassed by modern technology like the Cubed Series? Sure, but the 2B-LP is a textbook example of superb engineering that results in exceptional sound quality and absolutely bullet proof reliability. In fact, this remains the amplifier of choice for big name broadcast facilities worldwide. Home and professional clients love the amp's small size and great sound while having the confidence that it'll sound just as great many years from now as it does today.