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The K-EG 1-S Stratocaster by Sanchez Guitars.

The K-EG 1-S Stratocaster is a Budget Beginner Guitar with built-in Tremolo System and SSS Pick-Ups.
Colors Options: White, Black , Sunburst , Red , Navy Blue and Light Blue.

Specs:

• Body: Solid Linden
• Neck: Maple
• Fingerboard: Eco-rosewood
• Tuning Machines: Die-cast
• Pickups: Three single-coil
• Configuration: SSS
• Pickup switch: 5-way
• Controls: 1 Volume, 2 Tone

The K-EG 1-S Stratocaster by Sanchez Guitars.

The K-EG 1-S Stratocaster is a Budget Beginner Guitar with built-in Tremolo System and SSS Pick-Ups.
Colors Options: White, Black , Sunburst , Red , Blue and Light Blue.

Specs:

• Body: Solid Linden
• Neck: Maple
• Fingerboard: Eco-rosewood
• Tuning Machines: Die-cast
• Pickups: Three single-coil
• Configuration: SSS
• Pickup switch: 5-way
• Controls: 1 Volume, 2 Tone

The K-EG 1-S Stratocaster by Sanchez Guitars.

The K-EG 1-S Stratocaster is a Budget Beginner Guitar with built-in Tremolo System and SSS Pick-Ups.
Colors Options: White, Black , Sunburst , Red , Navy Blue and Light Blue.

Specs:

• Body: Solid Linden
• Neck: Maple
• Fingerboard: Eco-rosewood
• Tuning Machines: Die-cast
• Pickups: Three single-coil
• Configuration: SSS
• Pickup switch: 5-way
• Controls: 1 Volume, 2 Tone

The Baretta FR 404 by Kramer.

Made in Korea in the late 90's, this guitar features a 24-fret Rosewood fingerboard, Gotoh tuners, a Floyd Rose Licensed Kramer tremolo system, and two Quad Rail humbuckers that are wired to a master volume, master tone (with push/pull coil-split) and a three-way pickup selector.
The neck profile sits somewhere between a 'C' and a 'D' shape, making for a very comfortable playing surface. The dual cutaways make way for easy access to the upper register of the guitar, offering smooth transitions from rhythm to lead playing.
The Quad Rail humbucking pickups provide a versatile range of tones.
Clean sounds are rich and warm, with plenty of low end that adds depth to your sound.
When driving the amp we find that the bridge pickup provides all of the snarl and bite required for rock rhythm parts, while the neck pickup is thick and full enough for soloing.
The push/pull tone pot gives the player the opportunity to split the rails so that you can choose between having dual rails or quad rails, offering a wide range of tonal possibilities.

Specs:

• Brand - Kramer
• Model - Baretta FR 404 SD
• Finish - Red
• Made In - Korea
• Fingerboard - Rosewood
• Frets - 24
• Scale Length- 25.5"
• Nut Width - 1.64"
• Pickups - 2x Quad Rails Humbuckers
• Controls - Master Volume, Master Tone (Push/Pull Split-Coil), 3-Way Pick-Up Selector

The Tone Architect Saturator and Compressor by Teletone Audio.

The Saturator Section was designed by an Electrical Engineer to replicate the characteristics and complexities of the analog trinity: Tape, Tube and Cassette.
The Tone Shaper Section is where Push-Pull meets Multi-Band.
This novel approach to tone shaping takes you out of the digital world, and into the analog universe.
Boost, attenuate, expand and contract using a Pultec inspired Multi-Band compressor that takes lackluster sounds back to the golden era of audio production.
The Compressor Section utilizes a 4-stage RMS based VCA compressor with plenty of punch.
With 4x Oversampling and a built-in Multi-Band compressor, Tone Architect can add glue, shine, and an analog edge to anything from drum bus to mix bus.

Features:

• Tape, Tube and Cassette Saturation • 4x Oversampling • 4-Stage RMS based VCA compressor • Multi-Band Compressor • Tone Shaping • Over 150 Diverse Presets to Choose From • Platform: Mac & PC
• Formats: VST3 , AAX , AU

The Tone Architect Saturator and Compressor by Teletone Audio.

The Saturator Section was designed by an Electrical Engineer to replicate the characteristics and complexities of the analog trinity: Tape, Tube and Cassette.
The Tone Shaper Section is where Push-Pull meets Multi-Band.
This novel approach to tone shaping takes you out of the digital world, and into the analog universe.
Boost, attenuate, expand and contract using a Pultec inspired Multi-Band compressor that takes lackluster sounds back to the golden era of audio production.
The Compressor Section utilizes a 4-stage RMS based VCA compressor with plenty of punch.
With 4x Oversampling and a built-in Multi-Band compressor, Tone Architect can add glue, shine, and an analog edge to anything from drum bus to mix bus.

Features:

• Tape, Tube and Cassette Saturation
• 4x Oversampling
• 4-Stage RMS based VCA compressor
• Multi-Band Compressor
• Tone Shaping
• Over 150 Diverse Presets to Choose From
• Platform: Mac & PC
• Formats: VST3 , AAX , AU

The Tone Architect Saturator and Compressor by Teletone Audio.

The Saturator Section was designed by an Electrical Engineer to replicate the characteristics and complexities of the analog trinity: Tape, Tube and Cassette.
The Tone Shaper Section is where Push-Pull meets Multi-Band.
This novel approach to tone shaping takes you out of the digital world, and into the analog universe.
Boost, attenuate, expand and contract using a Pultec inspired Multi-Band compressor that takes lackluster sounds back to the golden era of audio production.
The Compressor Section utilizes a 4-stage RMS based VCA compressor with plenty of punch.
With 4x Oversampling and a built-in Multi-Band compressor, Tone Architect can add glue, shine, and an analog edge to anything from drum bus to mix bus.

Features:

• Tape, Tube and Cassette Saturation • 4x Oversampling • 4-Stage RMS based VCA compressor • Multi-Band Compressor • Tone Shaping • Over 150 Diverse Presets to Choose From • Platform: Mac & PC
• Formats: VST3 , AAX , AU

The Memphis MSG-100 Double-Cut SG by Tagima.

Specs:
• SBody wood: Walnut and maple
• Shape: Double cutaway solid body, reminiscent of Gibson SG-style but with a unique build
• Neck: Maple bolt-on construction
• Fretboard: Rosewood
• Scale length: 24 ¾″
• Nut width: Approximately 1 5/8″ (~40 mm)
• Some listings also note a 12″ fretboard radius
• Nut & saddle: Brass nut and bridge saddles
• Bridge: Typically Tune‑o‑Matic style (bolt-on variant may vary)
• Tuning machines: Commonly chrome-plated enclosed tuners
• Pickups: Dual humbuckers
• Controls: Two volume knobs, two tone knobs, and a 3‑way toggle pickup selector
• Neck Maple bolt-on
• Fretboard Rosewood
• Scale Length 24 ¾″
• Nut Width ~1 5/8″
• Radius ~12″ (in some versions)
• Pickups Dual humbuckers (Bill Lawrence)
• Controls 2× Volume, 2× Tone, 3‑way switch
• Hardware Brass nut & saddles, chrome tuners

The Memphis MSG-100 Double-Cut SG by Tagima.

Specs:

• SBody wood: Walnut and maple
• Shape: Double cutaway solid body, reminiscent of Gibson SG-style but with a unique build
• Neck: Maple bolt-on construction
• Fretboard: Rosewood
• Scale length: 24 ¾″
• Nut width: Approximately 1 5/8″ (~40 mm)
• Some listings also note a 12″ fretboard radius
• Nut & saddle: Brass nut and bridge saddles
• Bridge: Typically Tune‑o‑Matic style (bolt-on variant may vary)
• Tuning machines: Commonly chrome-plated enclosed tuners
• Pickups: Dual humbuckers
• Controls: Two volume knobs, two tone knobs, and a 3‑way toggle pickup selector
• Neck Maple bolt-on
• Fretboard Rosewood
• Scale Length 24 ¾″
• Nut Width ~1 5/8″
• Radius ~12″ (in some versions)
• Pickups Dual humbuckers (Bill Lawrence)
• Controls 2× Volume, 2× Tone, 3‑way switch
• Hardware Brass nut & saddles, chrome tuners

The Memphis MSG-100 Double-Cut SG by Tagima.

SBody wood: Walnut and maple
Shape: Double cutaway solid body, reminiscent of Gibson SG-style but with a unique build
Neck: Maple bolt-on construction
Fretboard: Rosewood
Scale length: 24 ¾″
Nut width: Approximately 1 5/8″ (~40 mm)
Some listings also note a 12″ fretboard radius
Nut & saddle: Brass nut and bridge saddles
Bridge: Typically Tune‑o‑Matic style (bolt-on variant may vary)
Tuning machines: Commonly chrome-plated enclosed tuners
Pickups: Dual humbuckers
Controls: Two volume knobs, two tone knobs, and a 3‑way toggle pickup selector
Neck Maple bolt-on
Fretboard Rosewood
Scale Length 24 ¾″
Nut Width ~1 5/8″
Radius ~12″ (in some versions)
Pickups Dual humbuckers (Bill Lawrence)
Controls 2× Volume, 2× Tone, 3‑way switch
Hardware Brass nut & saddles, chrome tuners

The Memphis MSG-100 Double-Cut SG by Tagima.

Specs:
• SBody wood: Walnut and maple
• Shape: Double cutaway solid body, reminiscent of Gibson SG-style but with a unique build
• Neck: Maple bolt-on construction
• Fretboard: Rosewood
• Scale length: 24 ¾″
• Nut width: Approximately 1 5/8″ (~40 mm)
• Some listings also note a 12″ fretboard radius
• Nut & saddle: Brass nut and bridge saddles
• Bridge: Typically Tune‑o‑Matic style (bolt-on variant may vary)
• Tuning machines: Commonly chrome-plated enclosed tuners
• Pickups: Dual humbuckers
• Controls: Two volume knobs, two tone knobs, and a 3‑way toggle pickup selector
• Neck Maple bolt-on
• Fretboard Rosewood
• Scale Length 24 ¾″
• Nut Width ~1 5/8″
• Radius ~12″ (in some versions)
• Pickups Dual humbuckers (Bill Lawrence)
• Controls 2× Volume, 2× Tone, 3‑way switch
• Hardware Brass nut & saddles, chrome tuners

The SV-41D Stratocaster by Samick.

Model: LS-41D and SV-41D

Brand name: SAMICK Product:

electric guitars

Series name: SAMICK STANDARD SOLID BODY SERIES Dates of manufacture: 1997 to 2000

SAMICK made the 41D (LS-41D, SV-41D) between 1997 and 2000. The 41D was a strat-style electric with HSH pickups. Basic specifications were:

BODY: Plywood

NECK: Maple

FINGERBOARD: Sonokelin

NECK JOINT: Bolt on Neck

PICKUPS:1S + 2H

CONTROLS: 5-Way Lever S/W, 1V, 1T

BRIDGE: ST-40

FRETS & SCALE: 21F, 25 1/2"

COLOR: options included orange sunburst ()S), red

Source: Samick catalog 1998.

Source: Samick website 1999

Pickup selector controls 5-way selector switch

Tone controls 1 tone control

Volume controls 1 volume control

Pickups configuration 2 humbuckers and 1 single coil pickup

Finish colors blue finish, orange finish, red finish

Finish effects sunburst finish

Made in Korea

Number of strings 6 strings

Scale length 25.5 inches scale-length

Body material plywood body

Body shape features double cutaway

Bridge tremolo bridge

Hardware color chrome hardware

Tuners die-cast tuners

Fingerboard material sonokeling fingerboard

Fingerboard position markers dot fingerboard position markers

Neck joint bolt on neck

Neck material maple neck

Number of frets 21 fret

Tuner layout six-in-a-row tuners

The SV-41D Stratocaster by Samick.

Model: LS-41D and SV-41D
Brand Name: SAMICK
Series name: SAMICK STANDARD SOLID BODY SERIES
Dates of manufacture: 1997 to 2000

SAMICK made the 41D (LS-41D, SV-41D) between 1997 and 2000.
The 41D was a strat-style electric with HSH pickups.

Basic Specs:

• BODY: Plywood
• NECK: Maple
• FINGERBOARD: Sonokelin
• NECK JOINT: Bolt on Neck
• PICKUPS:1S + 2H
• CONTROLS: 5-Way Lever S/W, 1V, 1T
• BRIDGE: ST-40
• FRETS & SCALE: 21F, 25 1/2"
• COLOR: options included orange sunburst ()S), red
• Pickup selector controls 5-way selector switch
• Tone controls 1 tone control
• Volume controls 1 volume control
• Pickups configuration 2 humbuckers and 1 single coil pickup
• Finish colors blue finish, orange finish, red finish
• Finish effects sunburst finish
• Made in Korea
• Number of strings 6 strings
• Scale length 25.5 inches scale-length
• Body material plywood body
• Body shape features double cutaway
• Bridge tremolo bridge
• Hardware color chrome hardware
• Tuners die-cast tuners
• Fingerboard material sonokeling fingerboard • Fingerboard position markers dot fingerboard position markers • Neck joint bolt on neck • Neck material maple neck • Number of frets 21 fret • Tuner layout six-in-a-row tuners

The Amari Audio Interface by Antelope

For mastering engineers and home audio enthusiasts who seek high-end sound quality for critical listening and audio archiving, AMÁRI is a reference-grade AD/DA converter with 24-bit, 384 kHz conversion and signature Antelope clocking.

An easy-to-use interface and 2 headphone outputs with user-adjustable impedance complete AMÁRI’s unique profile.The Amari Audio Interface by Antelope.

384kHz, 24-BIT Coversation

Inputs Analog

1x Stereo pair either or balanced Combo XLR (24dBu max input level) or unbalanced RCA (8,2dBu / 6dBv max input level)

Inputs Digital

1x AES/EBU up to 192kHz

1x S/PDIF up to 192kHz

1x TOSLINK up to 96kHz

Outputs Analog

1x Stereo Pair balanced either on XLR or TRS. Output Level: 24dBu max (XLR) and 18dBu max (TRS), digital trim available

2x Stereo Headphone outs on ComboXLR with individual volume control knobs. Output Power: 1,4 Watts max. Selectable output impedance from -4.6 to 85.3 Ohm available in 17 steps

Headphone outputs are also configurable to drive 1 pair fully balanced headphone set with dedicated volume control

Outputs Digital

1x AES/EBU up to 192kHz

1x S/PDIF up to 192kHz

1x TOSLINK up to 96kHz

sync inputs

1× World Clock

1× Atomic 10M

bi-directional

1x USB 3.1 Gen.1 on Type-B connector up to 384kHz

AD Conversion

2x AK5778 A/D Converter chips

24 bit 384kHz

Input: Full Differential Inputs

S/(N+D): 112 dB (S/N: 124 dB)

Dynamic Range: 128dB

DA Conversion

8x CS43198 D/A Converter chips

24-bit 384kHz PCM *

Dynamic Range: 138dB

* DSD over PCM playback is not currently supported. We are looking into resolving this, but no estimate can be provided for the time being. We apologize for the inconvenience caused

CLOCKING

4th Generation 64-bit Acoustically focused clock technology

Sample-rates supported: AD and DA PCM: 32kHz, 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 352.8kHz, 192kHz, 384kHz

POWER

DC Power Inlet with lock nut Device equipped with wall wart power supply

An array of audiophile-grade converters and Antelope’s oven-controlled crystal oscillator clocking with proprietary 64-bit algorithms ensure precise, musical conversion quality for mastering and home audio applications.

AMÁRI offers best-in-class D/A converter performance by implementing an unique 8 × DAC architecture (4 × CS43198 chips per channel).

This enhances the stereo image, expands depth perception and unveils all the musical details with an unmatched 138 dB dynamic range.

Likewise, the headphone outputs feature a dual DAC architecture using one AK5578 chip per channel to boost the dynamic range up to 128dB.

Drivers: Windows 10/11 USB Driver

Amari USB Audio Driver

macOS

Unified Driver Installer

Launchers: Windows 10/11

Download Latest Windows Launcher macOS

Download Latest Mac OS X Launcher

System Requirements:

Mac:

Apple Mac 2013 or newer

Minimum: Mac OS 10.14 Mojave.

Available storage space (Minimum 4 GB)

Memory (RAM): 4 GB minimum (8 GB or more recommended)

Supported OSX: 10.14 Mojave, 10.15 Catalina, 11 Big Sur, 12 Monterey, 13 Ventura, 14 Sonoma, 15 Sequoia Note: Amari users might experience connectivity issues with Unified Driver 4.5.0. Uninstalling the driver can help.

Windows:

PC computer with USB2.0, USB3.0 or Thunderbolt 2™ or 3™ ports

Windows 10/11 (64-bit) with the latest Microsoft Updates

Available storage space (Minimum 4 GB)

Memory (RAM): 4 GB minimum (8 GB or more recommended)

CPU: Minimum Intel Core i3™ or AMD Ryzen (Higher recommended)

Additional Information:

USB 2.0 Cable [included with the purchase ]

Minimum 4 GB available Storage Space [Hard Disk Space]

Stable Internet connection to download and update your Antelope Software.

Core i7 or better processor recommended

The Amari Audio Interface by Antelope

For mastering engineers and home audio enthusiasts who seek high-end sound quality for critical listening and audio archiving, AMÁRI is a reference-grade AD/DA converter with 24-bit, 384 kHz conversion and signature Antelope clocking.
An easy-to-use interface and 2 headphone outputs with user-adjustable impedance complete AMÁRI’s unique profile.The Amari Audio Interface by Antelope. 384kHz, 24-BIT Coversation

Inputs Analog
• 1x Stereo pair either or balanced Combo XLR (24dBu max input level) or unbalanced RCA (8,2dBu / 6dBv max input level)

Inputs Digital
• 1x AES/EBU up to 192kHz
• 1x S/PDIF up to 192kHz
• 1x TOSLINK up to 96kHz

Outputs Analog
• 1x Stereo Pair balanced either on XLR or TRS. Output Level: 24dBu max (XLR) and 18dBu max (TRS), digital trim available
• 2x Stereo Headphone outs on ComboXLR with individual volume control knobs. Output Power: 1,4 Watts max. Selectable output impedance from -4.6 to 85.3 Ohm available in 17 steps
• Headphone outputs are also configurable to drive 1 pair fully balanced headphone set with dedicated volume control

Outputs Digital
• 1x AES/EBU up to 192kHz
• 1x S/PDIF up to 192kHz
• 1x TOSLINK up to 96kHz

sync inputs
• 1× World Clock
• 1× Atomic 10M

bi-directional
• 1x USB 3.1 Gen.1 on Type-B connector up to 384kHz

AD Conversion
• 2x AK5778 A/D Converter chips
• 24 bit 384kHz

Input: Full Differential Inputs
• S/(N+D): 112 dB (S/N: 124 dB)

Dynamic Range: 128dB

DA Conversion
• 8x CS43198 D/A Converter chips
• 24-bit 384kHz PCM *
• Dynamic Range: 138dB

* DSD over PCM playback is not currently supported. We are looking into resolving this, but no estimate can be provided for the time being. We apologize for the inconvenience caused

CLOCKING
• 4th Generation 64-bit Acoustically focused clock technology • Sample-rates supported: • AD and DA PCM: 32kHz, 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 352.8kHz, 192kHz, 384kHz

POWER
• DC Power Inlet with lock nut
• Device equipped with wall wart power supply

An array of audiophile-grade converters and Antelope’s oven-controlled crystal oscillator clocking with proprietary 64-bit algorithms ensure precise, musical conversion quality for mastering and home audio applications.
AMÁRI offers best-in-class D/A converter performance by implementing an unique 8 × DAC architecture (4 × CS43198 chips per channel).
This enhances the stereo image, expands depth perception and unveils all the musical details with an unmatched 138 dB dynamic range.
Likewise, the headphone outputs feature a dual DAC architecture using one AK5578 chip per channel to boost the dynamic range up to 128dB.

Drivers:
Windows 10/11 USB Driver
Amari USB Audio Driver
macOS
Unified Driver Installer

Launchers:
Windows 10/11
Download Latest Windows Launcher
macOS
Download Latest Mac OS X Launcher

System Requirements:
Mac:
Apple Mac 2013 or newer
Minimum: Mac OS 10.14 Mojave.
Available storage space (Minimum 4 GB)
Memory (RAM): 4 GB minimum (8 GB or more recommended)
Supported OSX: 10.14 Mojave, 10.15 Catalina, 11 Big Sur, 12 Monterey, 13 Ventura, 14 Sonoma, 15 Sequoia
Note: Amari users might experience connectivity issues with Unified Driver 4.5.0. Uninstalling the driver can help.

Windows:

PC computer with USB2.0, USB3.0 or Thunderbolt 2™ or 3™ ports
Windows 10/11 (64-bit) with the latest Microsoft Updates
Available storage space (Minimum 4 GB)
Memory (RAM): 4 GB minimum (8 GB or more recommended)
CPU: Minimum Intel Core i3™ or AMD Ryzen (Higher recommended)

Additional Information:
USB 2.0 Cable [included with the purchase ]
Minimum 4 GB available Storage Space [Hard Disk Space]
Stable Internet connection to download and update your Antelope Software.
Core i7 or better processor recommended

The HM1 Reference Headphone Mixing Amplifier by Zähl.

The HM1 Reference Amplifier with unprecedented transparency and precision, attention to detail and massive power performance.

Rich feature set for both high-end enthusiasts and professional users.

Designed and manufactured in Germany.

Unique: Class A power and a step beyond

Class A power amplifier in its purest form switchable negative feedback ("servo") while maintaining Class A operation

Class A power

HM1 mixing, cross-fading or comparison of 2 stereo sources

Cross-fade, compare or mix two stereo sources

Cross-fade or switch between two stereo sources (channel A /channel B)

perform a precise, critical A/B comparison with independent volume compensation

create a mix from two audio sources

Sound adjustment and Stereo Base control

Precise, finely tuned tools for sound adjustment. Stereo base control for adjusting the stereo image (spatiality).

perfect impulse reproduction

ultra wide frequency response

extremly low impedance output precisely controls complex loads

Manufactured in Germany in a limited edition of 50 units per year

pure analogue design

consistent dual-mono layout

logic circuits without clock generators

straight linear power supply with power transformer in external housing

no-compromise selection of components

no-compromise interior and exterior construction

Precision comparison 2-channel mixing console Effect/Test

Two sources connected to Inputs A and B, precision level meter connected to Line output. Source levels can be exactly matched using the level meter and the volume controls. Then sources are alternately activated by the Chan on/off switches.

As a mixer, the HM1 can merge any two sources at Inputs A and B to create a new music programme - or simply cross-fade from one source to the other. The mix is present at the line out outputs and may be fed to an audio recording device.

By using the "A Thru" output, a sound processing or effect device can be "looped in". It is fed from "A Thru" and its output is applied to Input B. The ratio between original and effect unit is set at the A/B volume controls. Instead of the effect, any device to be tested can be looped in. The listening comparison is then made by carefully matching the volume controls and then pressing the A/B on/off switches.

Conventional Preamplifier in minimalist system

Example for a conventional setup as headphones amplifier: Your reference DAC at Input A and an analogue source at Input B

By connecting power amplifiers or active speakers to the Line Out outputs, the HM1 can be used as a preamplifier. Example of a minimalist setup: Streamer to HM1 Input A, turntable (with built-in or external RIAA amplifier) to Input B, active speakers to Line Out.

More Details in the Manual.

The HM1 Reference Headphone Mixing Amplifier by Zähl , Designed and manufactured in Germany.

The HM1 Reference Amplifier with unprecedented transparency and precision, attention to detail and massive power performance.
Rich feature set for both high-end enthusiasts and professional users.

Unique: Class A power and a step beyond
Class A power amplifier in its purest form
switchable negative feedback ("servo") while maintaining Class A operation
Class A power
HM1 mixing, cross-fading or comparison of 2 stereo sources
Cross-fade, compare or mix two stereo sources
Cross-fade or switch between two stereo sources (channel A /channel B)
perform a precise, critical A/B comparison with independent volume compensation
create a mix from two audio sources
Sound adjustment and Stereo Base control
Precise, finely tuned tools for sound adjustment.
Stereo base control for adjusting the stereo image (spatiality).
perfect impulse reproduction
ultra wide frequency response
extremly low impedance output precisely controls complex loads
Manufactured in Germany in a limited edition of 50 units per year
pure analogue design
consistent dual-mono layout
logic circuits without clock generators
straight linear power supply with power transformer in external housing
no-compromise selection of components
no-compromise interior and exterior construction
Precision comparison
2-channel mixing console
Effect/Test

Two sources connected to Inputs A and B, precision level meter connected to Line output. Source levels can be exactly matched using the level meter and the volume controls. Then sources are alternately activated by the Chan on/off switches.
As a mixer, the HM1 can merge any two sources at Inputs A and B to create a new music programme - or simply cross-fade from one source to the other. The mix is present at the line out outputs and may be fed to an audio recording device.
By using the "A Thru" output, a sound processing or effect device can be "looped in". It is fed from "A Thru" and its output is applied to Input B. The ratio between original and effect unit is set at the A/B volume controls. Instead of the effect, any device to be tested can be looped in. The listening comparison is then made by carefully matching the volume controls and then pressing the A/B on/off switches.

Conventional
Preamplifier in minimalist system
Example for a conventional setup as headphones amplifier: Your reference DAC at Input A and an analogue source at Input B
By connecting power amplifiers or active speakers to the Line Out outputs, the HM1 can be used as a preamplifier. Example of a minimalist setup: Streamer to HM1 Input A, turntable (with built-in or external RIAA amplifier) to Input B, active speakers to Line Out.

More Details in the Manual.

The E2x2 Pro USB Audio Interface by Topping.

The E2x2 Pro is a compact, 2 In / 2 Out Bus powered interface with quiet, powerful preamps and a class leading headphone amplifier that can power any studio headphone.

With the rise in producers working and mixing in headphones, it is surprising that the headphone output on most small interfaces is often underpowered, unable to run to a good volume with low distortion on all but the most efficient, low impedance headphones.

Topping Pro’s Interface range is designed to get the best possible results from headphones, so even for hard to drive models you won’t need an external headphone amp.

The E2x2 headphone output has up to 580mW of power and a Hi/Lo gain switch. It is equally suitable for high impedance models as ones with low impedance and low sensitivity such as HEDDphones, or many Hifiman & Dan Clark planar magnetic headphones that struggle on most interfaces and require a dedicated amp. In comparison, most similar priced interfaces have a max output power of between 25 & 150mw.

Low noise inputs Topping have implemented extremely low noise (-128dB EIN) microphone and instrument preamps that would not be out of place on high end premium interfaces, even low output dynamic mics like the SM7B work fantastically well without the need for an external preamp.

All of the Topping interface stock at Scan are revised models with the increased 1.5K input impedance.

Samples rates of up to 192kHz 24 Bit / are supported on Mac & PC, but there is also iOS and Android compatibility when using a standard external USB power supply.

The additional power supply also means that any particularly challenging, power hungry condenser mics would be no issue on any platform.

Specs:
• Colors: White , Black
• Computer Interface Type USB 2.0 Type-C
• Connections (Input)
• 1 x Headphone (TRS 6.35mm Jack)
• 2 x XLR / Jack Combo
• Mic Preamps (Max) 2
• Instrument Inputs (Max) 2
• Phantom Power Yes
• iPad Compatible No
• Connections (Output) 2 x 6.35mm (1/4") TRS Jack
• Dimensions (mm)
• DSP Processing No
• Misc. Notes

The E2x2 Pro USB Audio Interface by Topping.

The E2x2 Pro is a compact, 2 In / 2 Out Bus powered interface with quiet, powerful preamps and a class leading headphone amplifier that can power any studio headphone.

With the rise in producers working and mixing in headphones, it is surprising that the headphone output on most small interfaces is often underpowered, unable to run to a good volume with low distortion on all but the most efficient, low impedance headphones.

Topping Pro’s Interface range is designed to get the best possible results from headphones, so even for hard to drive models you won’t need an external headphone amp.

The E2x2 headphone output has up to 580mW of power and a Hi/Lo gain switch. It is equally suitable for high impedance models as ones with low impedance and low sensitivity such as HEDDphones, or many Hifiman & Dan Clark planar magnetic headphones that struggle on most interfaces and require a dedicated amp. In comparison, most similar priced interfaces have a max output power of between 25 & 150mw.

Low noise inputs Topping have implemented extremely low noise (-128dB EIN) microphone and instrument preamps that would not be out of place on high end premium interfaces, even low output dynamic mics like the SM7B work fantastically well without the need for an external preamp.

All of the Topping interface stock at Scan are revised models with the increased 1.5K input impedance.

Samples rates of up to 192kHz 24 Bit / are supported on Mac & PC, but there is also iOS and Android compatibility when using a standard external USB power supply.

The additional power supply also means that any particularly challenging, power hungry condenser mics would be no issue on any platform.

Specs:

• Colors: White , Black
• Computer Interface Type USB 2.0 Type-C
• Connections (Input)
• 1 x Headphone (TRS 6.35mm Jack)
• 2 x XLR / Jack Combo
• Mic Preamps (Max) 2
• Instrument Inputs (Max) 2
• Phantom Power Yes
• iPad Compatible No
• Connections (Output) 2 x 6.35mm (1/4") TRS Jack
• Dimensions (mm)
• DSP Processing No
• Misc. Notes

The E2x2 Pro USB Audio Interface by Topping.

The E2x2 Pro is a compact, 2 In / 2 Out Bus powered interface with quiet, powerful preamps and a class leading headphone amplifier that can power any studio headphone.

With the rise in producers working and mixing in headphones, it is surprising that the headphone output on most small interfaces is often underpowered, unable to run to a good volume with low distortion on all but the most efficient, low impedance headphones.

Topping Pro’s Interface range is designed to get the best possible results from headphones, so even for hard to drive models you won’t need an external headphone amp.

The E2x2 headphone output has up to 580mW of power and a Hi/Lo gain switch. It is equally suitable for high impedance models as ones with low impedance and low sensitivity such as HEDDphones, or many Hifiman & Dan Clark planar magnetic headphones that struggle on most interfaces and require a dedicated amp. In comparison, most similar priced interfaces have a max output power of between 25 & 150mw.

Low noise inputs Topping have implemented extremely low noise (-128dB EIN) microphone and instrument preamps that would not be out of place on high end premium interfaces, even low output dynamic mics like the SM7B work fantastically well without the need for an external preamp.

All of the Topping interface stock at Scan are revised models with the increased 1.5K input impedance.

Samples rates of up to 192kHz 24 Bit / are supported on Mac & PC, but there is also iOS and Android compatibility when using a standard external USB power supply.

The additional power supply also means that any particularly challenging, power hungry condenser mics would be no issue on any platform.

Specs: • Colors: White , Black
• Computer Interface Type USB 2.0 Type-C
• Connections (Input)
• 1 x Headphone (TRS 6.35mm Jack)
• 2 x XLR / Jack Combo
• Mic Preamps (Max) 2
• Instrument Inputs (Max) 2
• Phantom Power Yes
• iPad Compatible No
• Connections (Output) 2 x 6.35mm (1/4") TRS Jack
• Dimensions (mm)
• DSP Processing No
• Misc. Notes

The E2x2 Pro USB Audio Interface by Topping.

The E2x2 Pro is a compact, 2 In / 2 Out Bus powered interface with quiet, powerful preamps and a class leading headphone amplifier that can power any studio headphone.

With the rise in producers working and mixing in headphones, it is surprising that the headphone output on most small interfaces is often underpowered, unable to run to a good volume with low distortion on all but the most efficient, low impedance headphones.

Topping Pro’s Interface range is designed to get the best possible results from headphones, so even for hard to drive models you won’t need an external headphone amp.

The E2x2 headphone output has up to 580mW of power and a Hi/Lo gain switch. It is equally suitable for high impedance models as ones with low impedance and low sensitivity such as HEDDphones, or many Hifiman & Dan Clark planar magnetic headphones that struggle on most interfaces and require a dedicated amp. In comparison, most similar priced interfaces have a max output power of between 25 & 150mw.

Low noise inputs Topping have implemented extremely low noise (-128dB EIN) microphone and instrument preamps that would not be out of place on high end premium interfaces, even low output dynamic mics like the SM7B work fantastically well without the need for an external preamp.

All of the Topping interface stock at Scan are revised models with the increased 1.5K input impedance.

Samples rates of up to 192kHz 24 Bit / are supported on Mac & PC, but there is also iOS and Android compatibility when using a standard external USB power supply.

The additional power supply also means that any particularly challenging, power hungry condenser mics would be no issue on any platform.

Specs:
• Colors: White , Black
• Computer Interface Type USB 2.0 Type-C
• Connections (Input)
• 1 x Headphone (TRS 6.35mm Jack)
• 2 x XLR / Jack Combo
• Mic Preamps (Max) 2
• Instrument Inputs (Max) 2
• Phantom Power Yes
• iPad Compatible No
• Connections (Output) 2 x 6.35mm (1/4") TRS Jack
• Dimensions (mm)
• DSP Processing No
• Misc. Notes

The E2x2 Pro USB Audio Interface by Topping.

The E2x2 Pro is a compact, 2 In / 2 Out Bus powered interface with quiet, powerful preamps and a class leading headphone amplifier that can power any studio headphone.

With the rise in producers working and mixing in headphones, it is surprising that the headphone output on most small interfaces is often underpowered, unable to run to a good volume with low distortion on all but the most efficient, low impedance headphones.

Topping Pro’s Interface range is designed to get the best possible results from headphones, so even for hard to drive models you won’t need an external headphone amp.

The E2x2 headphone output has up to 580mW of power and a Hi/Lo gain switch. It is equally suitable for high impedance models as ones with low impedance and low sensitivity such as HEDDphones, or many Hifiman & Dan Clark planar magnetic headphones that struggle on most interfaces and require a dedicated amp. In comparison, most similar priced interfaces have a max output power of between 25 & 150mw.

Low noise inputs Topping have implemented extremely low noise (-128dB EIN) microphone and instrument preamps that would not be out of place on high end premium interfaces, even low output dynamic mics like the SM7B work fantastically well without the need for an external preamp.

All of the Topping interface stock at Scan are revised models with the increased 1.5K input impedance.

Samples rates of up to 192kHz 24 Bit / are supported on Mac & PC, but there is also iOS and Android compatibility when using a standard external USB power supply.

The additional power supply also means that any particularly challenging, power hungry condenser mics would be no issue on any platform.

Specs:

Colors: White , Black

Computer Interface Type USB 2.0 Type-C

Connections (Input)

1 x Headphone (TRS 6.35mm Jack)

2 x XLR / Jack Combo

Mic Preamps (Max) 2

Instrument Inputs (Max) 2

Phantom Power Yes

iPad Compatible No

Connections (Output) 2 x 6.35mm (1/4") TRS Jack

Dimensions (mm)

DSP Processing No

Misc. Notes

The E2x2 Pro USB Audio Interface by Topping.

The E2x2 Pro is a compact, 2 In / 2 Out Bus powered interface with quiet, powerful preamps and a class leading headphone amplifier that can power any studio headphone.

With the rise in producers working and mixing in headphones, it is surprising that the headphone output on most small interfaces is often underpowered, unable to run to a good volume with low distortion on all but the most efficient, low impedance headphones.

Topping Pro’s Interface range is designed to get the best possible results from headphones, so even for hard to drive models you won’t need an external headphone amp.

The E2x2 headphone output has up to 580mW of power and a Hi/Lo gain switch. It is equally suitable for high impedance models as ones with low impedance and low sensitivity such as HEDDphones, or many Hifiman & Dan Clark planar magnetic headphones that struggle on most interfaces and require a dedicated amp. In comparison, most similar priced interfaces have a max output power of between 25 & 150mw.

Low noise inputs Topping have implemented extremely low noise (-128dB EIN) microphone and instrument preamps that would not be out of place on high end premium interfaces, even low output dynamic mics like the SM7B work fantastically well without the need for an external preamp.

All of the Topping interface stock at Scan are revised models with the increased 1.5K input impedance.

Samples rates of up to 192kHz 24 Bit / are supported on Mac & PC, but there is also iOS and Android compatibility when using a standard external USB power supply.

The additional power supply also means that any particularly challenging, power hungry condenser mics would be no issue on any platform.

Specs: • Colors: White , Black
• Computer Interface Type USB 2.0 Type-C
• Connections (Input)
• 1 x Headphone (TRS 6.35mm Jack)
• 2 x XLR / Jack Combo
• Mic Preamps (Max) 2
• Instrument Inputs (Max) 2
• Phantom Power Yes
• iPad Compatible No
• Connections (Output) 2 x 6.35mm (1/4") TRS Jack
• Dimensions (mm)
• DSP Processing No
• Misc. Notes

The HPA4 Headphone / Line Amplifier by Benchmark.

The HPA4 is 100% analog.

It is designed to be driven from an external D/A converter or an external analog source.

The HPA4 is designed to provide the ultimate analog signal path between inputs and outputs.

The HPA4 eclipses the performance of typical high-end preamplifiers by achieving much lower noise and distortion.

High Voltage, High Current and High Power

The HPA4 includes IR remote control and can be operated using the optional Benchmark remote.

The HPA4 is designed to work with the Benchmark DAC2 and DAC3 converters but may be driven from any high-end D/A converter.

When paired with a Benchmark DAC, a single remote control will operate both units.

The HPA4 is the perfect complement to the Benchmark AHB2. I

The HPA4 will extract the full performance of the AHB2.

In contrast, other preamplifiers limit the system noise performance because they cannot match the SNR performance of the AHB2.

The HPA4 is the only line amplifier/preamplifier that we recommend inserting between a DAC and the AHB2. The HPA4 can be inserted between a Benchmark DAC3 and AHB2 without degrading the system noise performance.

With the HPA4 inserted, the DAC3's 32-bit digital gain control is replaced by the HPA4's more-resolving fully-analog relay gain control.

Two bidirectional 12V trigger ports can be used to link the HPA4 with external D/A converters and power amplifiers. The trigger signal controls the power-up and power-down sequencing of the entire audio system. The trigger ports are compatible with most industry-standard trigger input or output ports, but can communicate bidirectionally with other Benchmark products. Touch Screen

The touch screen provides easy access to advanced features such as balance control, input level offsets, input names, screen dimming, remote control, and function locking. Help screens explain the special functions. Rotary Encoder

The volume control knob features a high-quality optical encoder that is rated for heavy use. An acceleration feature makes it easy to move through the 256 volume steps while maintaining 0.5 dB/step resolution. A press of the control knob toggles between headphone volume, line out volume, or both. Convenience Features

The HPA4 includes independent on-screen mute buttons for the headphone and line outputs. Both can also be muted with the volume knob or with the optional remote control.

The HPA4 includes an on-screen -20 dB dim button that instantly reduces the level by 20dB. This function provides a temporary volume reduction and an easy return to the previous listening level. This control makes it easy to transition between a normal listening level and a background level. The dim function is also accessible from the optional remote control.

Inputs may be renamed and unused inputs may be disabled. Input levels can be trimmed to provide input-to-input level matching.

Screen brightness is adjustable and timers can be set to dim or shut off the display. The screen can be locked to prevent access to advanced features. Casework

The HPA4 is available with a black or silver faceplate and is designed to match the Benchmark AHB2 power amplifier. It occupies the same footprint as the Benchmark DAC1, DAC2 and DAC3 converters. The case features a milled faceplate and milled sides. Top, bottom, and rear panels are made from thick aluminum and feature a brushed texture. The HPA4 is built to last and will be a fine addition to your listening space.

Features:

THX-888 (AAA™) Headphone Amplifier

Benchmark Low-Noise Line Amplifier

256-Step Fully-Balanced Relay Gain Control, 0.5 dB Steps

Precision Timed Relay Closures

Precision Metal Film Resistors

Gold-Contact Relays

Balanced and Unbalanced I/O

6 Watts into 16 Ohm Headphones

11.5 Vrms into 300 Ohm Headphones

0.01 Hz to 500 kHz

SNR > 135 dB

THD < 125 dB (0.00006%) under full load

Short-Circuit Protection

DC Protection

Over-Voltage Protection

Over-Current Protection

Thermal Protection

Touch Screen Control

IR Remote Control (optional)

2 Balanced Stereo Line Inputs

2 Unbalanced Stereo Line Inputs

1 Balanced Stereo Line Output

1 Unbalanced Stereo Line Output

1 Balanced Mono Sum Output

2 Bidirectional 12V Trigger Ports

Specs:

(using balanced inputs at +24 dBu) THX-888™ Headphone Output:

THD < -125 dB (0.00006%)

SNR > 131 dB, unweighted, 20-20 kHz

SNR > 135 dB, A-weighted

Frequency Response - 0.003 dB at 10 Hz, -0.001 dB at 20 kHz

- 3 dB Bandwidth exceeds 0.1 Hz to 500 kHz

Output Impedance, near 0 Ohms

Output Noise < 2.45 uV at Unity Gain, 20-20 kHz

Maximum Output Power, 6 Watts into 16 Ohms

Maximum Output Current, 1.5 A

Maximum Output Voltage, 11.5 Vrms into 300 Ohms

Crosstalk < -133 dB @ 1 kHz, -115 dB @ 10 kHz (XLR4)

Balanced Line Outputs:

THD < -125 dB (0.00006%)

SNR > 135 dB, unweighted, 20-20 kHz

SNR > 137 dB, A-weighted

Frequency Response - 0.003 dB at 10 Hz, -0.001 dB at 20 kHz

- 3 dB Bandwidth exceeds 0.1 Hz to 500 kHz

Output Impedance 60 Ohms

Output Noise < 1.9 uV at Unity Gain, 20-20 kHz

Maximum Input and Output Voltage, 20 Vrms (+28 dBu)

Crosstalk < -133 dB @ 1 kHz, -116 dB @ 10 kHz

Dimensions:

8.65" W x 3.88" H x 8.33" D - Including Feet

8.65" W x 3.47" H x 8.33" D - Excluding Feet

Weight: 8.0 lbs., 12 lbs. shipping

Power:

18W Typical Input Power

35W Maximum Input power

0.33 W Standby Power (when off)

Internal Universal Power Supply

The HPA4 Headphone / Line Amplifier by Benchmark.

The HPA4 is 100% analog.
It is designed to be driven from an external D/A converter or an external analog source.
The HPA4 is designed to provide the ultimate analog signal path between inputs and outputs.
The HPA4 eclipses the performance of typical high-end preamplifiers by achieving much lower noise and distortion.
High Voltage, High Current and High Power
The HPA4 includes IR remote control and can be operated using the optional Benchmark remote.
The HPA4 is designed to work with the Benchmark DAC2 and DAC3 converters but may be driven from any high-end D/A converter.
When paired with a Benchmark DAC, a single remote control will operate both units.
The HPA4 is the perfect complement to the Benchmark AHB2.
The HPA4 will extract the full performance of the AHB2.
In contrast, other preamplifiers limit the system noise performance because they cannot match the SNR performance of the AHB2.
The HPA4 is the only line amplifier/preamplifier that we recommend inserting between a DAC and the AHB2. The HPA4 can be inserted between a Benchmark DAC3 and AHB2 without degrading the system noise performance.
With the HPA4 inserted, the DAC3's 32-bit digital gain control is replaced by the HPA4's more-resolving fully-analog relay gain control.
Two bidirectional 12V trigger ports can be used to link the HPA4 with external D/A converters and power amplifiers. The trigger signal controls the power-up and power-down sequencing of the entire audio system.
The trigger ports are compatible with most industry-standard trigger input or output ports, but can communicate bidirectionally with other Benchmark products.
The touch screen provides easy access to advanced features such as balance control, input level offsets, input names, screen dimming, remote control, and function locking.
Help screens explain the special functions.

The volume control knob features a high-quality optical encoder that is rated for heavy use.
An acceleration feature makes it easy to move through the 256 volume steps while maintaining 0.5 dB/step resolution.
A press of the control knob toggles between headphone volume, line out volume, or both.

The HPA4 includes independent on-screen mute buttons for the headphone and line outputs.
Both can also be muted with the volume knob or with the optional remote control.

The HPA4 includes an on-screen -20 dB dim button that instantly reduces the level by 20dB.
This function provides a temporary volume reduction and an easy return to the previous listening level.
This control makes it easy to transition between a normal listening level and a background level.
The dim function is also accessible from the optional remote control.

Inputs may be renamed and unused inputs may be disabled. Input levels can be trimmed to provide input-to-input level matching.

Screen brightness is adjustable and timers can be set to dim or shut off the display. The screen can be locked to prevent access to advanced features.

The HPA4 is available with a black or silver faceplate and is designed to match the Benchmark AHB2 power amplifier.
It occupies the same footprint as the Benchmark DAC1, DAC2 and DAC3 converters. The case features a milled faceplate and milled sides.
Top, bottom, and rear panels are made from thick aluminum and feature a brushed texture.
The HPA4 is built to last and will be a fine addition to your listening space.

Features:

• THX-888 (AAA™) Headphone Amplifier
• Benchmark Low-Noise Line Amplifier
• 256-Step Fully-Balanced Relay Gain Control, 0.5 dB Steps
• Precision Timed Relay Closures
• Precision Metal Film Resistors
• Gold-Contact Relays
• Balanced and Unbalanced I/O
• 6 Watts into 16 Ohm Headphones
• 11.5 Vrms into 300 Ohm Headphones
• 0.01 Hz to 500 kHz
• SNR > 135 dB
• THD < 125 dB (0.00006%) under full load
• Short-Circuit Protection
• DC Protection
• Over-Voltage Protection
• Over-Current Protection
• Thermal Protection
• Touch Screen Control
• IR Remote Control (optional)
• 2 Balanced Stereo Line Inputs
• 2 Unbalanced Stereo Line Inputs
• 1 Balanced Stereo Line Output
• 1 Unbalanced Stereo Line Output
• 1 Balanced Mono Sum Output
• 2 Bidirectional 12V Trigger Ports

Specs:

(using balanced inputs at +24 dBu) • THX-888™ Headphone Output:
THD < -125 dB (0.00006%)
SNR > 131 dB, unweighted, 20-20 kHz
SNR > 135 dB, A-weighted
• Frequency Response - 0.003 dB at 10 Hz, -0.001 dB at 20 kHz
- 3 dB Bandwidth exceeds 0.1 Hz to 500 kHz
• Output Impedance, near 0 Ohms
• Output Noise < 2.45 uV at Unity Gain, 20-20 kHz
• Maximum Output Power, 6 Watts into 16 Ohms
• Maximum Output Current, 1.5 A
• Maximum Output Voltage, 11.5 Vrms into 300 Ohms
• Crosstalk < -133 dB @ 1 kHz, -115 dB @ 10 kHz (XLR4)

Balanced Line Outputs:

• THD < -125 dB (0.00006%)
• SNR > 135 dB, unweighted, 20-20 kH
• SNR > 137 dB, A-weighted
• Frequency Response - 0.003 dB at 10 Hz, -0.001 dB at 20 kHz
• - 3 dB Bandwidth exceeds 0.1 Hz to 500 kHz
• Output Impedance 60 Ohms
• Output Noise < 1.9 uV at Unity Gain, 20-20 kHz
• Maximum Input and Output Voltage, 20 Vrms (+28 dBu)
• Crosstalk < -133 dB @ 1 kHz, -116 dB @ 10 kHz

Dimensions:

• 8.65" W x 3.88" H x 8.33" D - Including Feet
• 8.65" W x 3.47" H x 8.33" D - Excluding Feet
• Weight: 8.0 lbs., 12 lbs. shipping

Power:

• 18W Typical Input Power
• 35W Maximum Input power
• 0.33 W Standby Power (when off)
• Internal Universal Power Supply

The C1 Sub Mk2 by ATC Acoustic Engineers.

Compact 12″ Sub suitable for both music and cinema applications

Ideal partner to ATC loudspeakers: SCM7, SCM11, SCM19, SCM40, HTS7, HTS11, HTS40

Ideal partner to ATC Centre Channel Speakers: C1C & C3C

Handmade ATC 12″/314mm driver with massive motor assembly and ribbon voice coil

ATC 200W class A/B amplifier

High Level and Line Level Inputs

Comprehensive user controls to ensure best possible integration with partnering loudspeakers

6 Year warranty

Finish Options: Cherry & Black Ash Real Wood Veneers & Satin Black & White

Specs:

Driver 12” / 314mm

LF Cut Off (-6dB) 25Hz

Max SPL 103dB

Amplifier output 200W

User Controls Gain, Low Pass Frequency, Polarity, Phase

Inputs Stereo High Level Binding Posts & Stereo Line Level RCA/Phono

Outputs Mono Summed Line Level RCA/Phono

Dimensions (HxWxD) 450 x 360 x 400 mm / 17.72" x 14.17" x 15.75" (inc. feet and heatsink)

Weight 26.2kg / 57.64lbs

The C1 Sub Mk2 by ATC Acoustic Engineers.

Compact 12″ Sub suitable for both music and cinema applications
Ideal partner to ATC loudspeakers: SCM7, SCM11, SCM19, SCM40, HTS7, HTS11, HTS40
Ideal partner to ATC Centre Channel Speakers: C1C & C3C
Handmade ATC 12″/314mm driver with massive motor assembly and ribbon voice coil
ATC 200W class A/B Amplifier
High Level and Line Level Inputs
Comprehensive user controls to ensure best possible integration with partnering loudspeakers
6 Year warranty

Finish Options: Cherry & Black Ash Real Wood Veneers & Satin Black & White

Specs:

• Driver 12” / 314mm
• LF Cut Off (-6dB) 25Hz
• Max SPL 103dB
• Amplifier output 200W
• User Controls Gain, Low Pass Frequency, Polarity, Phase
• Inputs Stereo High Level Binding Posts & Stereo Line Level RCA/Phono
• Outputs Mono Summed Line Level RCA/Phono
• Dimensions (HxWxD) 450 x 360 x 400 mm / 17.72" x 14.17" x 15.75" (inc. feet and heatsink)
• Weight 26.2kg / 57.64lbs

The Vintage 1976 Cimar Les Paul Custom Model 1904 Made in Japan (MIJ)

This Vintage Cimar was Made by Kanda Shokai in Japan.

2 Humbuckers
Binding
Rosewood Fredboard with Inlays
Carved Maple Top
Solid Non-Weight Relieved Mahogany
Frets: 22
Controls: 2 Volume, 2 Tone and 3-way Toggleswitch

The Vintage 1976 Cimar Les Paul Custom Model 1904 Made in Japan (MIJ)

This Vintage Cimar was Made by Kanda Shokai in Japan. Specs:

• 2 Humbuckers
• Binding
• Rosewood Fredboard with Inlays
• Carved Maple Top
• Solid Non-Weight Relieved Mahogany
• Frets: 22
• Controls: 2 Volume, 2 Tone and 3-way Toggleswitch

he 20K Series has been Conn's most popular sousaphone for many years.

The 20K Bb features a .734-inch bore with the exclusive offset short action valves for ultimate player comfort, plus a 26" bell, and rugged body and brace construction for years of reliable service.

The 20K offers excellent projection and tone throughout the entire range of the instrument.

Conn 20K Series Brass BBb Sousaphone 20K Lacquer Instrument Only

Features:

Key: BBb
Weight: 28 pounds
Bore: .734-inch
Bell: 26-inch
Bell Material: Brass
Body Material: Brass
Number of Valves: 3
Valve Position: Front Action Piston
Valve Material: Nickel
Features: Exclusive Offset Short Action Pistons
Case: 7761C Wheeled Case ” Optional
Mouthpiece: Conn 2
Finish: Lacquer, Silver, Satin Silver

he 20K Series has been Conn's most popular sousaphone for many years.

The 20K Bb features a .734-inch bore with the exclusive offset short action valves for ultimate player comfort, plus a 26" bell, and rugged body and brace construction for years of reliable service.

The 20K offers excellent projection and tone throughout the entire range of the instrument.

Conn 20K Series Brass BBb Sousaphone 20K Lacquer Instrument Only

Features:

• Key: BBb
• Weight: 28 pounds
• Bore: .734-inch
• Bell: 26-inch
• Bell Material: Brass
• Body Material: Brass
• Number of Valves: 3
• Valve Position: Front Action Piston
• Valve Material: Nickel
• Features: Exclusive Offset Short Action Pistons
• Case: 7761C Wheeled Case ” Optional
• Mouthpiece: Conn 2
• Finish: Lacquer, Silver, Satin Silver

he 20K Series has been Conn's most popular sousaphone for many years.

The 20K Bb features a .734-inch bore with the exclusive offset short action valves for ultimate player comfort, plus a 26" bell, and rugged body and brace construction for years of reliable service.

The 20K offers excellent projection and tone throughout the entire range of the instrument.

Conn 20K Series Brass BBb Sousaphone 20K Lacquer Instrument Only

Features:

Key: BBb
Weight: 28 pounds
Bore: .734-inch
Bell: 26-inch
Bell Material: Brass
Body Material: Brass
Number of Valves: 3
Valve Position: Front Action Piston
Valve Material: Nickel
Features: Exclusive Offset Short Action Pistons
Case: 7761C Wheeled Case ” Optional
Mouthpiece: Conn 2
Finish: Lacquer, Silver, Satin Silver

The Vintage 1976 Cimar Les Paul Custom Model 1904 Made in Japan (MIJ)

This Vintage Cimar was Made by Kanda Shokai in Japan.

2 Humbuckers

Binding

Rosewood Fredboard with Inlays

Carved Maple Top

Solid Non-Weight Relieved Mahogany

Frets: 22

Controls: 2 Volume, 2 Tone and 3-way Toggleswitch

The Vintage 1976 Cimar Les Paul Custom Model 1904 Made in Japan (MIJ)

This Vintage Cimar was Made by Kanda Shokai in Japan.

2 Humbuckers
Binding
Rosewood Fredboard with Inlays
Carved Maple Top
Solid Non-Weight Relieved Mahogany
Frets: 22
Controls: 2 Volume, 2 Tone and 3-way Toggleswitch

The JJ-350 Baritone Offset by JET Guitars with P90 and Humbucker Pick Ups.

Specs:

Product Name: JET Guitars JJ-350 Baritone Offset Rosewood, Moonburst

Material: Roasted Poplar

Colour: Moonburst / Lunar Eclipse

Neck & Fretboard

Neck Material: Canadian Roasted Maple

Neck Shape: Modern C

Fretboard Material: Rosewood

Fretboard Radius: 9.5"

Nut Width: 1.65"

Nut Material: Bone

Number of Frets: 22

Scale Length: 27"

Truss Rod: Double action

Hardware & Electronics

Machine Head: Chrome

Bridge: Fixed

Pickup Configuration: HH Ceramic, JET own spec, Nickel covers, P90

Controls: 1 Volume, 1 Tone, 3-Way Switch

Hardware Finish: Chrome

The JJ-350 Baritone Offset by JET Guitars with P90 and Humbucker Pick Ups.

Specs:

Product Name: JET Guitars JJ-350 Baritone Offset Rosewood, Moonburst
Material: Roasted Poplar
Colour: Moonburst / Lunar Eclipse
Neck & Fretboard
Neck Material: Canadian Roasted Maple
Neck Shape: Modern C
Fretboard Material: Rosewood
Fretboard Radius: 9.5"
Nut Width: 1.65"
Nut Material: Bone
Number of Frets: 22
Scale Length: 27"
Truss Rod: Double action
Hardware & Electronics
Machine Head: Chrome
Bridge: Fixed
Pickup Configuration: HH Ceramic, JET own spec, Nickel covers, P90
Controls: 1 Volume, 1 Tone, 3-Way Switch
Hardware Finish: Chrome

The Memphis MSG-100 Double-Cut SG by Tagima.

SBody wood: Walnut and maple

Shape: Double cutaway solid body, reminiscent of Gibson SG-style but with a unique build

Neck: Maple bolt-on construction

Fretboard: Rosewood

Scale length: 24 ¾″

Nut width: Approximately 1 5/8″ (~40 mm)

Some listings also note a 12″ fretboard radius

Nut & saddle: Brass nut and bridge saddles

Bridge: Typically Tune‑o‑Matic style (bolt-on variant may vary)

Tuning machines: Commonly chrome-plated enclosed tuners

Pickups: Dual humbuckers

Controls: Two volume knobs, two tone knobs, and a 3‑way toggle pickup selector

Neck Maple bolt-on

Fretboard Rosewood

Scale Length 24 ¾″

Nut Width ~1 5/8″

Radius ~12″ (in some versions)

Pickups Dual humbuckers (Bill Lawrence)

Controls 2× Volume, 2× Tone, 3‑way switch

Hardware Brass nut & saddles, chrome tuners

The Memphis MSG-100 Double-Cut SG by Tagima.

SBody wood: Walnut and maple
Shape: Double cutaway solid body, reminiscent of Gibson SG-style but with a unique build
Neck: Maple bolt-on construction
Fretboard: Rosewood
Scale length: 24 ¾″
Nut width: Approximately 1 5/8″ (~40 mm)
Some listings also note a 12″ fretboard radius
Nut & saddle: Brass nut and bridge saddles
Bridge: Typically Tune‑o‑Matic style (bolt-on variant may vary)
Tuning machines: Commonly chrome-plated enclosed tuners
Pickups: Dual humbuckers
Controls: Two volume knobs, two tone knobs, and a 3‑way toggle pickup selector
Neck Maple bolt-on
Fretboard Rosewood
Scale Length 24 ¾″
Nut Width ~1 5/8″
Radius ~12″ (in some versions)
Pickups Dual humbuckers (Bill Lawrence)
Controls 2× Volume, 2× Tone, 3‑way switch
Hardware Brass nut & saddles, chrome tuners

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs:
■ Metal housing
■ 2 inputs and 2 outputs
■ 32-bit - 384 kHz
■ Frequency Response: 20 Hz to 20 kHz
■ USB 2.0 interface
■ Mic Pre-Amp - D-Pre
■ Phantom Power +48 V
■ Can be used for live performances
■ Low latency
■ Plug and Play
■ XLR/TRS(P10) inputs - TRS(P10) outputs
■ High-impedance channel
■ Mono/Stereo switch
■ Headphone output
■ MIC INPUT 1-2 (balanced)
■ Frequency response: -1/-1dB, 20Hz – 20kHz
■ Dynamic Range: 82 dB, A weighting
■ THD+N 0.03%, 1kHz
■ Maximum input level: +6dBu
■ Input resistance: 10KΩ
■ Gain range: +3dB - +60dB
■ HI-Z INPUT 1 (Unbalanced)
■ Max input level: +3.0dBV
■ Input resistance: 10KΩ
■ Gain range: 0dB – +40dB
■ LINE INPUT ½ (unbalanced)
■ Max input level: +10dBu
■ Input resistance: 10KΩ
■ Gain range: -10dB – +40dB
■ MAIN OUTPUT (Impedance balanced)
■ Frequency response: -1/-1dB, 20Hz–20kHz
■ Dynamic Range: 82 dB, A weighting
■ Headphone output impedance: 16Ω
■ Output impedance: 1KΩ
■ Max input level: 15mW +15mW, 40Ω
■ USB specs: 32bit/384KHZ
■ Power: ＞ 5W (via 5V V8 or USB 2.0)
■ Dimensions: 17.5 x 13 x 4.5 cm
■ Weight: 750 grams

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs:
• Metal housing
• 2 inputs and 2 outputs
• 32-bit - 384 kHz
• Frequency Response: 20 Hz to 20 kHz
• USB 2.0 interface
• Mic Pre-Amp - D-Pre
• Phantom Power +48 V
• Can be used for live performances
• Low latency
• Plug and Play
• XLR/TRS(P10) inputs - TRS(P10) outputs
• High-impedance channel
• Mono/Stereo switch
• Headphone output
• MIC INPUT 1-2 (balanced)
• Frequency response: -1/-1dB, 20Hz – 20kHz
• Dynamic Range: 82 dB, A weighting
• THD+N 0.03%, 1kHz
• Maximum input level: +6dBu
• Input resistance: 10KΩ
• Gain range: +3dB - +60dB
• HI-Z INPUT 1 (Unbalanced)
• Max input level: +3.0dBV
• Input resistance: 10KΩ
• Gain range: 0dB – +40dB
• LINE INPUT ½ (unbalanced)
• Max input level: +10dBu
• Input resistance: 10KΩ
• Gain range: -10dB – +40dB
• MAIN OUTPUT (Impedance balanced)
• Frequency response: -1/-1dB, 20Hz–20kHz
• Dynamic Range: 82 dB, A weighting
• Headphone output impedance: 16Ω
• Output impedance: 1KΩ
• Max input level: 15mW +15mW, 40Ω
• USB specs: 32bit/384KHZ
• Power: ＞ 5W (via 5V V8 or USB 2.0)
• Dimensions: 17.5 x 13 x 4.5 cm
• Weight: 750 grams

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features:
■ High quality reverb algorithm.
■ Low CPU usage.
■ 64-bit sound processing (double precision).
■ Smooth parameter adjustment.
■ Signal processing before reverberation.
■ Freeze mode with the ability to block input.
■ Wide range of decay time 0.1..100 s.
■ Two band parametric equalizer.
■ Meters and controls of input/output levels.
■ Vector graphics and resizable GUI.
■ 40 factory presets.
■ Functions for working with presets and banks.
■ Online help.

Requirements:
■ Windows 8, 10, 11 x86-64.
■ mac OS 10.11 and later.
■ DAW with support for VST plugins.
■ Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features:
• High quality reverb algorithm.
• Low CPU usage.
• 64-bit sound processing (double precision).
• Smooth parameter adjustment.
• Signal processing before reverberation.
• Freeze mode with the ability to block input.
• Wide range of decay time 0.1..100 s.
• Two band parametric equalizer.
• Meters and controls of input/output levels.
• Vector graphics and resizable GUI.
• 40 factory presets.
• Functions for working with presets and banks.
• Online help.

Requirements:
• Windows 8, 10, 11 x86-64.
• mac OS 10.11 and later.
• DAW with support for VST plugins.
• Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features: ■ High quality reverb algorithm.
■ Low CPU usage.
■ 64-bit sound processing (double precision).
■ Smooth parameter adjustment.
■ Signal processing before reverberation.
■ Freeze mode with the ability to block input.
■ Wide range of decay time 0.1..100 s.
■ Two band parametric equalizer.
■ Meters and controls of input/output levels.
■ Vector graphics and resizable GUI.
■ 40 factory presets.
■ Functions for working with presets and banks.
■ Online help.

Requirements: ■ Windows 8, 10, 11 x86-64.
■ mac OS 10.11 and later.
■ DAW with support for VST plugins.
■ Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features:
■ High quality reverb algorithm.
■ Low CPU usage.
■ 64-bit sound processing (double precision).
■ Smooth parameter adjustment.
■ Signal processing before reverberation.
■ Freeze mode with the ability to block input.
■ Wide range of decay time 0.1..100 s.
■ Two band parametric equalizer.
■ Meters and controls of input/output levels.
■ Vector graphics and resizable GUI.
■ 40 factory presets.
■ Functions for working with presets and banks.
■ Online help.

Requirements:
■ Windows 8, 10, 11 x86-64.
■ mac OS 10.11 and later.
■ DAW with support for VST plugins.
■ Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features: ■ High quality reverb algorithm. ■ Low CPU usage. ■ 64-bit sound processing (double precision). ■ Smooth parameter adjustment. ■ Signal processing before reverberation. ■ Freeze mode with the ability to block input. ■ Wide range of decay time 0.1..100 s. ■ Two band parametric equalizer. ■ Meters and controls of input/output levels. ■ Vector graphics and resizable GUI. ■ 40 factory presets. ■ Functions for working with presets and banks. ■ Online help.

Requirements: ■ Windows 8, 10, 11 x86-64. ■ mac OS 10.11 and later. ■ DAW with support for VST plugins. ■ Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features: ■ High quality reverb algorithm.
■ Low CPU usage.
■ 64-bit sound processing (double precision).
■ Smooth parameter adjustment.
■ Signal processing before reverberation.
■ Freeze mode with the ability to block input.
■ Wide range of decay time 0.1..100 s.
■ Two band parametric equalizer.
■ Meters and controls of input/output levels.
■ Vector graphics and resizable GUI.
■ 40 factory presets.
■ Functions for working with presets and banks.
■ Online help.

Requirements: ■ Windows 8, 10, 11 x86-64.
■ mac OS 10.11 and later.
■ DAW with support for VST plugins.
■ Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features: High quality reverb algorithm. Low CPU usage. 64-bit sound processing (double precision). Smooth parameter adjustment. Signal processing before reverberation. Freeze mode with the ability to block input. Wide range of decay time 0.1..100 s. Two band parametric equalizer. Meters and controls of input/output levels. Vector graphics and resizable GUI. 40 factory presets. Functions for working with presets and banks. Online help.

Requirements: Windows 8, 10, 11 x86-64. mac OS 10.11 and later. DAW with support for VST plugins. Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features: ■ High quality reverb algorithm. ■ Low CPU usage. ■ 64-bit sound processing (double precision). ■ Smooth parameter adjustment. ■ Signal processing before reverberation. ■ Freeze mode with the ability to block input. ■ Wide range of decay time 0.1..100 s. ■ Two band parametric equalizer. ■ Meters and controls of input/output levels. ■ Vector graphics and resizable GUI. ■ 40 factory presets. ■ Functions for working with presets and banks. ■ Online help.

Requirements: ■ Windows 8, 10, 11 x86-64. ■ mac OS 10.11 and later. ■ DAW with support for VST plugins. ■ Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features:

High quality reverb algorithm.

Low CPU usage.

64-bit sound processing (double precision).

Smooth parameter adjustment.

Signal processing before reverberation.

Freeze mode with the ability to block input.

Wide range of decay time 0.1..100 s.

Two band parametric equalizer.

Meters and controls of input/output levels.

Vector graphics and resizable GUI.

40 factory presets.

Functions for working with presets and banks.

Online help.

Requirements:

Windows 8, 10, 11 x86-64.

mac OS 10.11 and later.

DAW with support for VST plugins.

Default Web Browser.

The Ambient Reverb 7 Plug In by Stone Voices.

By controlling it with a MIDI controller, you can get a fantastic sound.

It is based on the principle of high-quality algorithmic reverberation with the calculation of sufficiently dense sound reflections in time, which makes it possible to obtain a realistic reverb without the effect of granulation.

It is intended primarily for working with sound material in the ambient genre, although it can be successfully applied to other musical styles and directions.

A distinctive feature of the plugin is a wide range of reverberation time (up to 100 seconds), which allows you to get different types of reverb in nature, as well as the ability to literally freeze sounds, while receiving interesting sound pads, like Frippertronics.

The reverb allows you to get a natural stereo reverb in True Stereo mode, which takes into account the location of the sound sources in space, according to which a reverb signal is formed.

In the latest 7th version, the ability to smoothly adjust the "Size" parameter has been added, as well as the modulation of delay lines from an ultra-low frequency oscillator (LFO).

Another feature of the new version is the separation of the input signal into mid and side components, which allows you to select one of these components in the required proportion using the "Split" parameter for reverberation processing, as well as pre–panamination.

These functions are undoubtedly important in professional audio work.

Features: High quality reverb algorithm. Low CPU usage. 64-bit sound processing (double precision). Smooth parameter adjustment. Signal processing before reverberation. Freeze mode with the ability to block input. Wide range of decay time 0.1..100 s. Two band parametric equalizer. Meters and controls of input/output levels. Vector graphics and resizable GUI. 40 factory presets. Functions for working with presets and banks. Online help.

Requirements: Windows 8, 10, 11 x86-64. mac OS 10.11 and later. DAW with support for VST plugins. Default Web Browser.

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs: ■ Metal housing ■ 2 inputs and 2 outputs ■ 32-bit - 384 kHz ■ Frequency Response: 20 Hz to 20 kHz ■ USB 2.0 interface ■ Mic Pre-Amp - D-Pre ■ Phantom Power +48 V ■ Can be used for live performances ■ Low latency ■ Plug and Play ■ XLR/TRS(P10) inputs - TRS(P10) outputs ■ High-impedance channel ■ Mono/Stereo switch ■ Headphone output ■ MIC INPUT 1-2(balanced) ■ Frequency response: -1/-1dB, 20Hz – 20kHz ■ Dynamic Range: 82 dB, A weighting ■ THD+N 0.03%, 1kHz ■ Maximum input level: +6dBu Input resistance 10KΩ ■ Gain range: +3dB- +60dB ■ HI-Z INPUT 1(Unbalanced) ■ Maximum input level: +3.0dBV ■ Input resistance: 10KΩ ■ Gain range: 0dB – +40dB ■ LINE INPUT ½(unbalanced) ■ Maximum input level: +10dBu ■ Input resistance: 10KΩ ■ Gain range: -10dB – +40dB ■ MAIN OUTPUT(Impedance balance）Mono stereo switchable ■ Frequency response: -1/-1dB, 20Hz–20kHz ■ Dynamic Range: 82 dB, A weighting ■ Headphone output impedance 16Ω ■ Output impedance 1KΩ ■ Input resistance 100kΩ ■ Maximum input level: 15mW +15mW, 40Ω ■ USB Technical specifications: 32bit/384KHZ ■ Power requirements: ＞ 5W ■ Compatible with PC/MAC and iOS devices ■ Power: 5V V8 connector - or USB 2.0 cable ■ Dimensions: 17.5 x 13 x 4.5 cm ■ Weight: 750 grams

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs:
■ Metal housing
■ 2 inputs and 2 outputs
■ 32-bit - 384 kHz
■ Frequency Response: 20 Hz to 20 kHz
■ USB 2.0 interface
■ Mic Pre-Amp - D-Pre
■ Phantom Power +48 V
■ Can be used for live performances
■ Low latency
■ Plug and Play
■ XLR/TRS(P10) inputs - TRS(P10) outputs
■ High-impedance channel
■ Mono/Stereo switch
■ Headphone output
■ MIC INPUT 1-2 (balanced)
■ Frequency response: -1/-1dB, 20Hz – 20kHz
■ Dynamic Range: 82 dB, A weighting
■ THD+N 0.03%, 1kHz
■ Maximum input level: +6dBu
■ Input resistance: 10KΩ
■ Gain range: +3dB - +60dB
■ HI-Z INPUT 1 (Unbalanced)
■ Max input level: +3.0dBV
■ Input resistance: 10KΩ
■ Gain range: 0dB – +40dB
■ LINE INPUT ½ (unbalanced)
■ Max input level: +10dBu
■ Input resistance: 10KΩ
■ Gain range: -10dB – +40dB
■ MAIN OUTPUT (Impedance balanced)
■ Frequency response: -1/-1dB, 20Hz–20kHz
■ Dynamic Range: 82 dB, A weighting
■ Headphone output impedance: 16Ω
■ Output impedance: 1KΩ
■ Max input level: 15mW +15mW, 40Ω
■ USB specs: 32bit/384KHZ
■ Power: ＞ 5W (via 5V V8 or USB 2.0)
■ Dimensions: 17.5 x 13 x 4.5 cm
■ Weight: 750 grams

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs: ■ Metal housing ■ 2 inputs and 2 outputs ■ 32-bit - 384 kHz ■ Frequency Response: 20 Hz to 20 kHz ■ USB 2.0 interface ■ Mic Pre-Amp - D-Pre ■ Phantom Power +48 V ■ Can be used for live performances ■ Low latency ■ Plug and Play ■ XLR/TRS(P10) inputs - TRS(P10) outputs ■ High-impedance channel ■ Mono/Stereo switch ■ Headphone output ■ MIC INPUT 1-2(balanced) ■ Frequency response: -1/-1dB, 20Hz – 20kHz ■ Dynamic Range: 82 dB, A weighting ■ THD+N 0.03%, 1kHz ■ Maximum input level: +6dBu Input resistance 10KΩ ■ Gain range: +3dB- +60dB ■ HI-Z INPUT 1(Unbalanced) ■ Maximum input level: +3.0dBV ■ Input resistance: 10KΩ ■ Gain range: 0dB – +40dB ■ LINE INPUT ½(unbalanced) ■ Maximum input level: +10dBu ■ Input resistance: 10KΩ ■ Gain range: -10dB – +40dB ■ MAIN OUTPUT(Impedance balance）Mono stereo switchable ■ Frequency response: -1/-1dB, 20Hz–20kHz ■ Dynamic Range: 82 dB, A weighting ■ Headphone output impedance 16Ω ■ Output impedance 1KΩ ■ Input resistance 100kΩ ■ Maximum input level: 15mW +15mW, 40Ω ■ USB Technical specifications: 32bit/384KHZ ■ Power requirements: ＞ 5W ■ Compatible with PC/MAC and iOS devices ■ Power: 5V V8 connector - or USB 2.0 cable ■ Dimensions: 17.5 x 13 x 4.5 cm ■ Weight: 750 grams

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs: ■ Metal housing ■ 2 inputs and 2 outputs ■ 32-bit - 384 kHz ■ Frequency Response: 20 Hz to 20 kHz ■ USB 2.0 interface ■ Mic Pre-Amp - D-Pre ■ Phantom Power +48 V ■ Can be used for live performances ■ Low latency ■ Plug and Play ■ XLR/TRS(P10) inputs - TRS(P10) outputs ■ High-impedance channel ■ Mono/Stereo switch ■ Headphone output ■ MIC INPUT 1-2(balanced) ■ Frequency response: -1/-1dB, 20Hz – 20kHz ■ Dynamic Range: 82 dB, A weighting ■ THD+N 0.03%, 1kHz ■ Maximum input level: +6dBu Input resistance 10KΩ ■ Gain range: +3dB- +60dB ■ HI-Z INPUT 1(Unbalanced) ■ Maximum input level: +3.0dBV ■ Input resistance: 10KΩ ■ Gain range: 0dB – +40dB ■ LINE INPUT ½(unbalanced) ■ Maximum input level: +10dBu ■ Input resistance: 10KΩ ■ Gain range: -10dB – +40dB ■ MAIN OUTPUT(Impedance balance）Mono stereo switchable ■ Frequency response: -1/-1dB, 20Hz–20kHz ■ Dynamic Range: 82 dB, A weighting ■ Headphone output impedance 16Ω ■ Output impedance 1KΩ ■ Input resistance 100kΩ ■ Maximum input level: 15mW +15mW, 40Ω ■ USB Technical specifications: 32bit/384KHZ ■ Power requirements: ＞ 5W ■ Compatible with PC/MAC and iOS devices ■ Power: 5V V8 connector - or USB 2.0 cable ■ Dimensions: 17.5 x 13 x 4.5 cm ■ Weight: 750 grams

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs:

■ Metal housing

■ 2 inputs and 2 outputs

■ 32-bit - 384 kHz

■ Frequency Response: 20 Hz to 20 kHz

■ USB 2.0 interface

■ Mic Pre-Amp - D-Pre

■ Phantom Power +48 V

■ Can be used for live performances

■ Low latency

■ Plug and Play

■ XLR/TRS(P10) inputs - TRS(P10) outputs

■ High-impedance channel

■ Mono/Stereo switch

■ Headphone output

■ MIC INPUT 1-2(balanced）

■ Frequency response: -1/-1dB, 20Hz – 20kHz

■ Dynamic Range: 82 dB, A weighting

■ THD+N 0.03%, 1kHz

■ Maximum input level: +6dBu Input resistance 10KΩ

■ Gain range: +3dB- +60dB

■ HI-Z INPUT 1(Unbalanced)

■ Maximum input level: +3.0dBV

■ Input resistance: 10KΩ

■ Gain range: 0dB – +40dB

■ LINE INPUT ½(unbalanced)

■ Maximum input level: +10dBu

■ Input resistance: 10KΩ

■ Gain range: -10dB – +40dB

■ MAIN OUTPUT(Impedance balance）Mono stereo switchable

■ Frequency response: -1/-1dB, 20Hz–20kHz

■ Dynamic Range: 82 dB, A weighting

■ Headphone output impedance 16Ω

■ Output impedance 1KΩ

■ Input resistance 100kΩ

■ Maximum input level: 15mW +15mW, 40Ω

■ USB Technical specifications: 32bit/384KHZ

■ Power requirements: ＞ 5W

■ Compatible with PC/MAC and iOS devices

■ Power: 5V V8 connector - or USB 2.0 cable

■ Dimensions: 17.5 x 13 x 4.5 cm

■ Weight: 750 grams

The Q26 2-Channel Audio Interface by Teyun.

Professional audio interface with two balanced inputs and two audio outputs.

High-quality recordings supporting up to two instruments or two microphones with an independent headphone output and audio monitor outputs.

With a sampling rate above 32-bit - 384 kHz

Individual channel Gain Control and Reverb Control

Specs: ■ Metal housing ■ 2 inputs and 2 outputs ■ 32-bit - 384 kHz ■ Frequency Response: 20 Hz to 20 kHz ■ USB 2.0 interface ■ Mic Pre-Amp - D-Pre ■ Phantom Power +48 V ■ Can be used for live performances ■ Low latency ■ Plug and Play ■ XLR/TRS(P10) inputs - TRS(P10) outputs ■ High-impedance channel ■ Mono/Stereo switch ■ Headphone output ■ MIC INPUT 1-2(balanced) ■ Frequency response: -1/-1dB, 20Hz – 20kHz ■ Dynamic Range: 82 dB, A weighting ■ THD+N 0.03%, 1kHz ■ Maximum input level: +6dBu Input resistance 10KΩ ■ Gain range: +3dB- +60dB ■ HI-Z INPUT 1(Unbalanced) ■ Maximum input level: +3.0dBV ■ Input resistance: 10KΩ ■ Gain range: 0dB – +40dB ■ LINE INPUT ½(unbalanced) ■ Maximum input level: +10dBu ■ Input resistance: 10KΩ ■ Gain range: -10dB – +40dB ■ MAIN OUTPUT(Impedance balance）Mono stereo switchable ■ Frequency response: -1/-1dB, 20Hz–20kHz ■ Dynamic Range: 82 dB, A weighting ■ Headphone output impedance 16Ω ■ Output impedance 1KΩ ■ Input resistance 100kΩ ■ Maximum input level: 15mW +15mW, 40Ω ■ USB Technical specifications: 32bit/384KHZ ■ Power requirements: ＞ 5W ■ Compatible with PC/MAC and iOS devices ■ Power: 5V V8 connector - or USB 2.0 cable ■ Dimensions: 17.5 x 13 x 4.5 cm ■ Weight: 750 grams