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Dante-MY16-AUD card is a fully compatible Yamaha Mini-YGDAI standard card that instantly Dante-enables your Yamaha mixer, processor or power amp. Each Dante-MY16-AUD provides 16 bidirectional audio channels (8 at 96 kHz) and full Dante network audio redundancy over Gigabit Ethernet.

Designed from the ground up to provide state-of-the-art signal processing, the DriveRack 220i is the perfect tool for any fixed-install application. With a full complement of processing features and Mic/Line inputs the DriveRack 220i can provide both system and microphone processing. Featuring the new, patent-pending Advanced Feedback Suppression (AFS) algorithm, equalization, dynamics processing, delay, matrix mixing, and bandpass filters, the DriveRack 220i will exceed your expectations.

The DriveRack 220i is piloted from the intuitive DriveWare GUI that offers both Configuration and Control of the processing modules. Modules can be accessed, edited and saved as part of programs. Processing modules can be linked between the channels for true stereo processing. If independent processing is desired, parameters can be copied from one channel to the next to ensure that setup is quick and easy. Stored programs can be loaded from either the front panel or from wall mounted Zone Controllers. Zone Controllers can also be used for output muting or adjusting output volumes.

Recommended for: Installed, Portable, Tour.

Features Advanced Feedback Suppression (AFS) Graphic and Parametric EQ Compressor Limiter Auto Gain Control Noise Gating De-Esser Ducker Bandpass Filters 2x2 Matrix Mixer 1.3 Seconds of Delay RS-232 PC GUI control Mic/Line Inputs Wall Panel Control Security Lockout

The AKG K175 are the first foldable, studio-quality headphones in their class to offer a self-adjusting headband, floating ear cups, and an innovative three-axis hinge to provide you an instant, all-over perfect fit with every use. And they don't just fit well, they feel good.

ECLER COMPACT5 is a versatile laptop and 19” installation mixer, especially targeted to both non technical and expert users. Includes 6 ST LINE inputs, 3 MIC inputs and 2 PHONO/LINE inputs.

Have you ever wondered why we use the tuning that we do?

Have you ever wondered what other tunings there are?

Have you ever wondered what effect other tunings would have on your music?

Alt-tuner is a DAW plug-in that retunes almost every midi keyboard or softsynth. It runs on PCs, macs and Linux/Wine machines. Click here to buy it. Alt-tuner combines ease of use with powerful capabilities:

Recreate historical tunings like pythagorean, meantone and well-temperaments.

Stretch your piano tuning -- create your own Railsback curves.

Explore ethnic tunings like Turkish, Arabic, Persian, Indian and Indonesian.

Investigate experimental tunings like 22 notes to the octave.

Or just use the adaptive just intonation feature to make "normal" music sound smoother!

You don't need to know tuning theory to get started. Well-chosen defaults get you playing right away. Alt-tuner is novice-friendly and encourages "stumbling onto" new tunings. Alt-tuner uses a graphical point-and-click interface, making it very easy to explore. You're moving sliders and clicking on things, not typing in commands and numbers. Alt-tuner is to other tuning software like Windows is to MS-DOS. However as you explore alt-tuner, many advanced mathematical concepts are demonstrated in a way that can be immediately seen and heard. The manual even includes a 120-page primer on tuning theory (read the outline here). Alt-tuner is so easy to use that it doubles as an educational tool!

You control alt-tuner not only with mouse clicks but also with foot pedals, keyswitches, knobs, sliders, or almost anymidi message your equipment can send. This lets you retune as you play, allowing for extreme modulations, adaptive tuning, multiple EDOs in one piece, etc. You can program your pedals and keyswitches so that you can switch to an entirely different tuning instantly with a single foot press, allowing you to concentrate on the playing, not the tuning process. You can even retune notes you've already played via the retroactive retuning window.

Alt-tuner gives immediate visual feedback on your tuning with an interval display and with lattice, graph and table views (see the screenshots gallery). For non-octave and/or non-12 tunings, you have full control over the keyboard layout, with automatic naming of every key by letter & accidental (e.g. F#) and of every interval by quality & degree (e.g. minor 3rd). You can even create your own symbols for both note names and accidentals.

Because alt-tuner is a DAW plug-in, it's completely integrated with the recording process. You can fully control tuning changes over the course of your recording using either embedded midi or envelope automation. No composition is too complex to record.

Alt-tuner can retune multiple synths at once, with each player retuning their own synth, or one player retuning everyone. Start a band!

Guitarists, bassists and violinists: While alt-tuner can't retune your instrument directly, you can use JamOrigin's software to convert your analog audio to midi, alt-tuner can tune this midi, and the tuned midi can play a synth or a sampler.

Soundfont users: SF2 format soundfonts can be easily retuned using Xen-Arts's free soundfont player, XenFont.

Modular synth users: Mutable Instruments' Yarns midi-to-CV converter works with alt-tuner in either pitch bend mode or sysex88 mode, allowing real-time microtuning of CV synths (untested, but the Mutable Instruments people say it should work). Another possibility is using Native Instruments' Reaktor, which is confirmed to work with alt-tuner, and which can function as a midi-to-CV converter. Reaktor can send CV out your laptop's ADAT audio port to Expert Sleepers' ES-3 interface, which can convert the digital CV to analog CV. A third possibility is Sequentix's Cirklon sequencer, which has 8 tuning tables that respond to alt-tuner's sysex82 mode.

The Speak & Read was released in 1980 with a shape identical to the Speak & Spell but with different game features and a different color scheme.[80] Where the American Speak & Spell had been colored red with yellow and orange accents, the American Speak & Read was yellow with blue and green accents. Game[81] cartridges for the Speak & Read were identical in shape to those of the main Speak & Spell line, and they could be physically inserted into units from the wrong line; however, they did not function except in members of their own line.[82] The Speak & Read was designed to focus on reading comprehension in children of ages 4–8 with a library of over 250 basic words.[80]

The Speak & Read was very minutely redesigned in 1986, under the same name, with the new version representing nothing more substantial than a redesign of the faceplate graphics.[83] In 1988 the Super Speak & Read was released as a major redesign to feature a suitcase-like flip-open appearance.[84] Cartridges were redesigned to be thinner and of a different shape,[85] bearing some resemblance to the cartridges of TI's Touch & Discover line.[86] Additionally, the keyboard was removed completely and a matrix of membrane buttons took its place similarly to the position sensitive "keyboard" of the Touch & Discover consoles.[87] Each cartridge came with a work-booklet that was laid out in an open position in the center of the Super Speak & Read. As questions were asked, the player pressed the appropriate portion of the work-booklet to depress the membrane button beneath. This was the last member of the Speak & Read line under this name; however, the Ready... Set... Read! (sharing a highly similar design layout[88]) and later Magic Reading Desk (featuring a modified Ready... Set... Read! layout[89]) are considered the Speak & Read's spiritual successors. Both Ready... Set... Read! and Magic Reading Desk cartridges are identical in design to the Super Speak & Read's cartridges.[90]

ELECTROSPACE DEVELOPMENTS UK - STRATE GATE - GREAT for mixing DRUM

Array Series Systems JBL’s commitment of providing audio professionals the best tools for their work continues with the Array Series. JBL Array Series systems provide the ultimate performance for touring and fixed installations. The high power, compact 4892-90 provides smooth, wide predictable coverage and response from a single box. It combines ease of transport with the flexibility to fly or install quickly and safely. Integration of advanced design high power transducers, a new generation of horns, and advanced control electronics provides clearly superior performance. Reliability is designed in without having to relay on intrusive signal processing. Components Array Series builds upon a solid foundation: more than 40 years of JBL transducer expertise and engineering. The 355 mm (14 in) low frequency transducer represents JBL’s commitment to research. New technology includes a unique deep coppersleeved gap low-distortion motor structure topology, coupled to Vented Gap Cooling (VGC™ )i to produce Specifications: Frequency Response ( ± 3 dB)1 : 50 Hz 18 kHz Sensitivity: 98 dB (1 W, 1 m) Recommended Amplifier Power2 : High Frequency: 300 W at 8 ohms Low Frequency: 600 W at 8 ohms Nominal Coverage: 90° horizontal, 40° vertical LOW FREQUENCY TRANSDUCERS: Nominal Diameter: 355 mm (14 in) Nominal Impedance: 8 ohms Power Rating: 600 watts AES, 50 Hz to 500 Hz, 2400 W peak Voice Coil: 100 mm (4 in) edgewound aluminum ribbon Features: Ultra linear, neodymium magnet motor structure Vented Gap Cooling HIGH FREQUENCY TRANSDUCER: Throat Diameter: 38 mm (1½ in) exit Nominal Impedance: 8 ohms Power Rating: 75 watts AES, 1 kHz to 10 kHz, 300 W peak Diaphragm: 100 mm (4 in) pure titanium Voice Coil: 100 mm (4 in) edgewound aluminum ribbon Features: Neodymium magnet motor structure HIGH FREQUENCY HORN: Type: Optimized ApertureTM Flat-Front Bi-Radial® Material: Fiberglass reinforced plastic Coverage: 90° horizontal, 40° vertical ENCLOSURE: Type: Vented, 45° included angle trapezoid Material: 19 mm (¾ in), 13 ply hardwood Flying System: S.A.F.E. - JBL proprietary, modular, certified Finish: Black textured paint Grille: 16 ga. perforated steel, foam backed Connectors: Parallel 8 pin Neutrik pins 1 ± LF1, pins 3 ± HF Dimensions: 1066 x 394 x 362 mm H x W x D (42 x 15½ x 14¼ in) Net Weight: 47.3 kg (104 lb) 1 Half Space measurement. 2 Recommended Power Amplifier ratings are a guide for amplifier selection considering normal program material and line voltage available to amplifiers, althoug

The Behringer Virtualizer DSP1000 was first released around 1997, closely followed by the Virualizer DSP1000P and Modulizer DSP1200P a year later. The P appears to stand for 'Pro'. The only difference we can discern between the Virtualizer DSP1000 and the DSP1000P is that the Pro version has XLR inputs and outputs alongside the normal jack sockets, and the non pro version doesn't. There may have been a non pro version Modulizer, but we can't find any trace of one. The Modulizer appears to be a much rarer beast, as demonstrated by the fact that at any given time you can probably find a couple of dozen Virtualizers of various different types on ebay, but you'll rarely even see one Modulizer.

modified behringer modulizer virtualizer

A couple of years after the Pro versions were released, Behringer updated both units to the DSP1024P and the DSP1224P. The only improvement seems to have been a upgrade of the D/A and A/D converters from 20 to 24 bit, as if anyone could possibly tell the difference on a late 90's Behringer machine!

The Virtualizer has two effect engines with either stereo or dual mono effects including all the standard reverbs, delays, chorus, pitch shift etc that you would expect on a cheap multi FX, but it also has a few more unusual effects like vocal distortion and what someone at a Behringer lab somewhere might imagine was a vocoder. This sounds like the work of someone who'd had a vocoder described to them, but had never actually heard one! The Modulizer has an altogether more interesting but baffling array of effects including various phasers and flangers, auto lowpass/bandpass/hipass filters, ring modulator, vintager (what?), resonator, guitar amp simulators, and the curious 'ultra ambience' and '3D space maker'. You get the impression that Behringer ran out of ROM space in the Virtualizer and thought they might as well put out another unit with all the stranger stuff in it! This might go some way to explain why the Modulizer plainly didn't sell so well and it correspondingly rarer second hand.

When you open up a DSP1000, DSP1000P or DSP1200P you'll find......... nothing! Seriously, theres nothing in there. Theres absolutely no reason for the case to be that deep as at least 75% of it is empty space. You have the control boards at the front, then about 5 inches of nothing, and the sockets board at the back. The actual effects processor is a small cluster of IC's and an operating system EPROM at the back of the board.

behringer internal

The DSP1000P and the DSP1200P are identical inside apart from a different operating system EPROM. As they are the same machine, this gives us the opportunity to copy the OS from both the Virtualizer and the Modulizer, and then write them both to another EPROM with twice the memory. With the addition of a small adapter PCB and a switch we can then mount both operating systems in the one unit and make it switchable between operating as a Virtualizer or a Modulizer allowing you to use the effects of both units.

BEHOLD, the birth of the Behringulizer 2000!

behringulizer 2000 PCB

You have to make the switch between versions with the unit turned off to reboot the OS, or else it tends to crash wildly!

We would have thought that both the Virtualizer and Modulizer operating systems would use the same memory areas to store saved user presets, and so any saved effects would be scrambled when you make the switch due to the effect parameters of programs saved in certain positions being different, but mysteriously this is not the case. Possibly this is a legacy from when Behringer were designing the operating systems and it was easier to use different memory blocks to save effects for each OS, so you could use the same hardware to test both systems. Whatever the reason, it means that you can now use one unit as both machines with completely editable and savable preset effects.

This OS switching mod seems to work fine on the DSP1000P and DSP1200P, but while it works to a certain degree on the original DSP1000 for some reason some of the effects have a certain amount of distortion apparent, especially the reverbs. We aren't sure why this is the case. We have not yet tried this mod on a DSP1024P / DSP1224P and don't know if they use the same operating system arrangements.

The other mod is a reclocking knob as found on many other machines we have modded. Essentially this removes the onboard system clock and replaces it with a variable clock controlled by a knob on the front panel. This means the processing of effects can be slowed down or sped (or is it speeded?) up at will. It will extend the reverb and delay times to a grungy degree way outside of what would normally be possible. Reverbs can be altered from short metallic ambiances to massive washes of glacial disconnected sound just by turning the knob, while the speed of the delays can be continuously controlled and wildly pitched up and down at will. Some of the best reclocking effects can be created using the stranger presets such as the ring modulator, vocal distortion, and vocoder. Literally playing the reclocking knob while these effects are active takes them well out of their safety zone into something more organic and deeply unpleasant. As the reclocking knob also controls the clock rate of the converters, it also changes the sample rate of the incoming audio. At higher than normal clock settings the audio quality is actually better than the stock machine!

Rare Vintage 1960’s Viscount VS-10 Intercontinental Organ With Stand

The Ui Series mixers feature cross-platform compatibility with iOS, Android, Windows, Mac OS, and Linux devices, and can use up to 10 control devices simultaneously. In addition, the Ui12 and Ui16 each feature built-in HARMAN signal processing from dbx, DigiTech and Lexicon, including dbx AFS2, DigiTech Amp Modeling, and more. Both models feature fully recallable and remote-controlled mic gain and phantom power, along with 4-band parametric EQ, high-pass filter, compressor, de-esser and noise gate on input channels.

Both mixers offer 31-band graphic EQ, noise gate and compressor on all outputs, plus real-time frequency analyser (RTA) on inputs and outputs. Built in are three dedicated Lexicon FX busses: Reverb, Delay and Chorus. In addition, mixer controls include Subgroups, Mute groups and View groups, among others. The Ui Series mixers feature full Show/Snapshot recallability with channel recall safes. while security lockout features allow customization of device access to only specific functions and mixes if needed. Both mixers also offer independent network interfaces on board for simultaneous control by Wi-Fi and Ethernet, plus a floor-ready rugged chassis for live applications.

The Ui16 boasts eight XLR combo mic/line inputs, four XLR mic inputs, two channels of Hi- Z/instrument inputs, as well as a stereo RCA line input. A 2-channel USB media player is included, along with four balanced XLR Aux outputs, two quarter-inch headphone outputs with level control, plus balanced stereo XLR and quarter-inch main outputs. Two-channel USB audio playback is compatible with MP3, WAV and AIFF formats, and 2-channel USB Record direct-to-memory devices functionality is possible as well.

The colourful and well-constructed Drummaker is more than a drum machine, it's a complete accompaniment section with rhythms, arpeggios, chords and bass. Although this specification would tend to bring to mind the home organ market, the unit is by no means limited to such applications and the quality of the sounds is such that many keyboard players and instrumentalists could find it attractive.

The basic unit is a wooden-cheeked box sixteen inches wide and seventeen inches deep, with a sloping front panel and a flat top which would allow stacking of other units. Two sets of footswitches and a volume pedal connect to the back panel, and in addition there's a 20-way connector and a selection of audio outputs. The 20-way connector is used either for a set of foot pedals or for a small free-standing keyboard either of which transpose the bass, chords and arpeggios as desired.

The model we examined was provided with the pedalboard option, and so comprised two fairly hefty packages, the main unit being provided with a folding handle which could be concealed underneath the body of the unit. Audio connection was initially to the General Output jack socket on the back, which gives a combination of all four accompaniment sections. The Volume control is on the right hand side of the upper part of the control panel, and working from right to left is the mixing section for the percussion sounds, the On/Off switches for each of the four sections (each with an LED indicator), the mixer for each of the four sections, and an overall tuning control giving a total range of a semitone.

H-Pi Instruments has teamed up with mitxela (the genius behind the world's smallest MIDI synthesizer) to bring you FLASH, the world's first and only very-tiny MIDI-powered polyphonic microtonal FM and subtractive synthesizer. Two years in development, this little 16-voice wonder fits in your pocket and doesn't require a power supply. Just plug it into a standard MIDI OUT port*, plug in your headphones, and away you go!

FLASH features unlimited dynamic General MIDI microtuning for ease-of-use with 16-channel polyphonic tuned output from TBX2, TBX1, and Tonal Plexus TPX keyboards, and also features a mini UART-programmer which allows you to assign unique microtonal tuning tables to each of 16 MIDI input channels for full microtonal output compatibility with literally thousands of standard MIDI controllers as well as multichannel controllers like MIDI guitars and MIDI organs without a tuning device, not to mention advanced 2048 unique-pitch-output for the Tonal Plexus and other microtonal controllers like the Microzone, Axis 64, and Lumatone keyboards. Of course you can also use it as a normal synth with normal tuning ... if you're into that sort of thing.

The FLASH UART-programmer interfaces via USB with Universal Tuning Editor (UTE) cross-platform software (free license included), so you can write and read tunings and patches to and from the synth (see screenshot at left). Firmware is also user-upgradable via the programmer, so features can be improved or added at any time.

Elka made quite a number of different combo organs, most of the ones I've run across were marketed under the Unicord name. The Unicords say "Manufactured by Elka" on the name plate(Supposedly, Unicord eventually became Korg)