The Focal SM9 is a very special monitor system indeed. In three-way mode, it demonstrates a level of dynamic detail and tonal balance across the audio spectrum that lower-cost monitors can only envy, and that a good few more expensive monitors will struggle to beat.
This monitoring speaker establishes itself as a reference thanks to the precision of the stereo image, its capacity to reproduce each of the micro details of the audio signal , as well as unconditional respect of the original dynamics.
One of the major SM9 innovations lies in the fact of offering 2 monitoring speakers in only one and unique cabinet. The SM9 is thus composed of 2 monitors: a 3 way monitor and a 2 way monitor.
In two-way mode, it becomes an extremely effective analytical tool, and I have the distinct feeling that this ‘multi-monitor mode’ idea will be seen more and more in the future.
The Slate Pro Audio DRAGON is unlike any dynamic audio processor you’ve heard before. Simply put, the DRAGON was created to be the most versatile compressor, limiter, and sound shaping tool that the pro audio industry has ever seen.
The DRAGON starts with a classic FET compressor circuit, reminiscent of vintage units from the 60′s and 70′s. But the SLATE PRO AUDIO engineers enhanced the circuitry of the unit with a mastering grade signal path, including a CLASS A output section based around a custom-made transformer. The result is a compression quality that is rich and warm, but is also capable of sharp and aggressive tones. But this is only the start of what the DRAGON can do.
Add Some Character
The DRAGON includes three character settings that change the way the unit sounds and responds. The first setting is BOOM. This setting adds sub bass harmonics in a unique way that when combined with some compression, can make basses sound massive and kick drums pound like you’ve never heard before. The second setting is BITE, which adds a gentle forward character that makes the source more defined and clear. BITE is superb on bass, snare, vocals, and guitars. Last, is SHEEN. This character setting adds an airy gloss to the source, reminiscent of classic opto tube compressors. This setting is absolutely stunning on vocals, acoustics, and overheads. All character settings can be used simultaneously!
The DRAGON features a switch called ‘VINTAGE’. This switch enables circuitry which emulates a more vintage sound from a classic age of compression. The result is more harmonics, a bit of ‘grit’, and an overall more aggressive sound that is amazing on electric guitars, bass, and a must-hear on drums.
The DRAGON has a three setting saturation selector. This saturation can add subtle harmonics or even gritty distortion to the source. On setting 1, it can add just the right amount of “life” to a dull vocal. On setting 2, it can add presence and warmth to a bass. On setting 3, it can add some rich harmonics to a snare to bring out the sustain. With the character, vintage, and saturate options disabled, the signal path is quiet and clean with just the right amount of rich tone.
Wait, there’s MORE
The DRAGON includes a hi pass filter so you have the option to control the amount of low end that feeds the compressor detection. This is useful when stereo linking two DRAGONS together for transparent mixbuss compression, or for grouped drum compression where you don’t want the drums to ‘pump’.
FET Your Mixbuss
Classic FET compressors have not been common mixbuss choices due to their excessive color and aggressive nature. However, the DRAGON includes a gentle 2:1 setting that sounds amazing on full mixes. With the character, vintage, and saturate options disabled, the signal path is quiet and clean with just the correct amount of rich tone. Of course if you need more color or saturation on your buss, it’s just a button or switch away. With settings 2:1, character SHEEN, Saturate 1, and slow attack and fast release, your mix will come alive in an incredible way.
The DRAGON is one of the finest drum compressors to ever hit the analog market, and is complete with the famous overcompression “all buttons in” mode called ‘Squash’. This setting is simply stunning on drum room mics, or any other source that you want to explode out of the mix. Due to its extremely hifi signal path, the DRAGON’s ‘Squash’ setting can create that larger than life effect without causing a harsh or brittle high end.
Mix It Up
Last and certainly not least, the DRAGON includes a ‘Mix’ knob to control the wet/dry ratio of the source. This amazing feature allows you to add some heavy compression, and then back it off gently until it creates the perfect balance for your mix. The ‘Mix’ knob also allows you to parallel compress sources, such as drum busses, without having to mult or buss the drums to additional faders! You’ll find the ‘mix’ knob to be one of the most useful tools in modern analog compression.
The Dragon’s faceplate has a subtle black-gloss-on-satin-black design that placed the Dragon in the top ten of Gear Slutz Best-Looking Gear of All Time poll.
Normally compressors don’t need presets, but with so many options (there is literally thousands of combinations), the DRAGON ships with a huge listing of presets made by Steven Slate and some of the world’s top producers, mixers, and even mastering engineers. But once you experience the many possibilities and sounds of the DRAGON, you’ll soon enjoy making your own!
XLogic X-Rack Dynamics Module
Designed to be the perfect level control tool kit for recording, the Dynamics Module is densely packed with control features yet simple to use. The combination of separate Compressor and Gate/Expander section is powerful, graceful and ideal for gentle and unobtrusive level control.
XLogic X-Rack Mic Amp Module
Angelically pure and versatile input section with a choice of three separate input amplifiers; Mic amp, front panel Instrument input or Line input. Designed for transparency and versatility with a set of High and Low Pass Filters, phase reverse and everything you need from a very classy workhorse.
XLogic X-Rack Master Bus Module
The vital component that turns X-Rack from a processing solution into a mixer. The Master Bus Module provides a signal path to the two X-Rack stereo buses for all of the other modules and offers the user a compact console master section that is surprisingly sophisticated for its size.
XLogic X-Rack Four Channel Input Module
The perfect alternative to the Eight Input module provides four inputs each with features suited to the tracking process or combining line level sources into a final mix. Each input features, Pan & Level controls, Solo, Insert connection and routing to either the Record or Main Stereo Bus.
XLogic X-Rack Channel EQ Module
Classic SSL four-band parametric EQ that is a superb all round frequency adjustment tool kit. Whether you need pinpoint accuracy for surgical problem solving, smoother broader sound shaping or a little more aggressive character the SSL EQ will give you what you need. This is a fully featured EQ with high- and low-bands switchable between shelving or fixed Q bell curves and two mid-bands each with variable Q control.
A LITTLE SSL EQ HISTORY
Prior to 1987 SSL used the colour of the Low Frequency EQ knob caps to indicate which type of EQ was fitted. All consoles were custom built and could feature different combinations of EQ module. The following colour codes apply:
E Series BROWN: The original SSL EQ fitted to all consoles prior to the summer of 1985. Despite the rumours these equalisers only came in one version. The EQ card was called the '02'.
E Series ORANGE: The infamous EQP equaliser. This was a variation on the Brown EQ with controls simulating the curves of a valve type EQ. Very few were sold. This card was named the '132'.
E Series BLACK: The last version of the standard E series EQ. It evolved in the early 1980's from discussions with many top engineers and proved very popular. The EQ card was called the '242'.
G Series: With the arrival of the G Series console in 1987 the colour coding was abandoned and the classic SSL end cap colour scheme used today was adopted. First introduced in 1987 the original G Series EQ introduced Q characteristics which were proportional to gain settings and had a degree of over shoot when boosting and under shoot when cutting.
The current generation of SuperAnalogueTM console EQ (featured on Duality, AWS & the mono X-Rack EQ Module) are switchable between EQ characteristics that offer either the E Series 'Black' EQ or the G Series EQ.
The X-Rack Stereo EQ Module is the first product to introduce 'Selective Mode' E & G curve selection, enabling independent switching between E Series 'Black' & G Series EQ curves for the high/low bands and the two mid bands to create a uniquely versatile EQ design.
Nucleus re-defines the professional project studio with a perfect blend of advanced DAW control, transparent SuperAnalogue monitoring, high class analogue mic pres, pro quality USB audio interface and bundled SSL Duende Native plug-ins. There is no other product available which offers the professional producer/engineer all these elements, with benchmark audio performance and elegant ergonomics. Not only is it unique but Nucleus is also outstanding value; these elements bought separately would cost more and deliver a less elegant solution.
"The Neumann U 87 Ai - voted as THE best microphone"
The readers of the SOUND ON SOUND magazine have voted: U 87 Ai - the BEST MICROPHONE, announced during the Winter NAMM show 2012 in Anaheim, California.
The SOS award went to products, that "have made our lives in the studio all the more enjoyable". It is a further evidence for the reputation of the U 87 Ai as the world famous, professional standard studio condenser microphone. Until today the U 87 sets the mark in the microphone industry by which all others are measured.
The U 87 presents a wide range of features and versatility that make it to one of the most desirable mics available. Our users are recognising the microphone immediately by its distinctive design. Well-known for its warm and well balanced characteristics - your perfect choice as vocal microphone for all types of music and speech. The usage as main microphone for orchestra recordings or as spot mic for single instruments make it the most general-purpose microphone - in studios, for broadcasting, film and television.
The U 87* is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille.
A 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion.
Furthermore, the low frequency response can be reduced to compensate for proximity effect.
The U 87 Ai condenser microphone is a large diaphragm microphone with three polar patterns and a unique frequency and transient response characteristic.
Users recognise the microphone immediately by its distinctive design. It is a good choice for most general purpose applications in studios, for broadcasting, film and television.
The U 87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal microphone for all types of music and speech.
The U 87 Ai is addressed from the front, marked with the Neumann logo. The frequency response of the cardioid and figure-8 directional characteristics are very flat for frontal sound incidence, even in the upper frequency range. The microphone can be used very close to a sound source without the sound becoming unnaturally harsh. By means of a high-pass filter interferences through subsonic and low frequencies are reduced remarkably.
The dual-diaphragm capsule is elastically mounted and protected by a large headgrille. A switch below the headgrille selects the three directional patterns: omnidirectional, cardioid and figure-8. A window above this switch shows the symbol of the selected characteristic.
The letter A in the name indicates a more recent generation, as compared to the U 87 i microphones that were built from 1967 to 1986. Modifications apply to the electronic components of the microphone only; the capsule remained unchanged.
The present-day circuitry increases the operational headroom of the U 87 Ai by supplying the bias voltages for the capsule through a reduced resistance. The result is a higher sensitivity of 10 dB for identical sound pressure levels, and an improved S/N ratio of 3 dB.
Filter and attenuation
A switch located at the rear attenuates the sensitivity by 10 dB. When this switch is activated, the microphone accepts sound pressure levels up to 127 dB (equivalent to a sound pressure of 45 Pa) without distortion.
An additional switch at the rear allows to change the microphone's cutoff frequency. This reduces low frequency interference directly at the input of the microphone amplifier.
This setting also compensates for the unavoidable bass boost that occurs with all pressure gradient transducers when they are used at close distance (proximity effect).
The cardioid characteristic maintains a smooth frequency response at a distance of 30 to 40 cm, the figure-8 characteristic even at a distance of 15 to 20 cm.
The TLM 103* is the ideal large diaphragm microphone for all professional and semi-professional applications requiring the utmost in sound quality on a limited budget.
By utilizing the tried and true transformerless circuit found in numerous Neumann microphones, the TLM 103 features yet unattained low self-noise and the highest sound pressure level transmission. The capsule, derived from that used in the U 87, has a cardioid pattern, is acoustically well-balanced and provides extraordinary attenuation of signals from the rear.
The TLM 103 is available in satin nickel and matte black. Delivery includes an SG 1 metal swivel mount and a wooden jeweler's box.
Due to the universal cardioid pattern, straightforward handling, extremely low self-noise level, and finally, the price, the TLM 103 is predestined for all demanding applications from home recording to professional broadcasting and commercial recording studios.
The TLM 103 is equipped with a large diaphragm capsule with cardioid pattern. By focusing on this pattern – used in most recording situations – the attenuation of unwanted rear sound has been optimized. Off-axis sounds are rendered naturally while isolation is increased. This also leads to a high feedback suppression when the microphone is used in live situations or where loudspeaker playback is a factor.
The TLM 103 is addressed from the front, marked with the red Neumann logo on the microphone body. The K 103 large diaphragm capsule is based on the K 87, well known from the U 67 / U 87 microphones.The capsule has a flat frequency response up to about 5 kHz, and above that, a wide flat 4 dB presence boost.
The large wire mesh headgrille protects the capsule from plosive sounds and effectively prevents pop noises. These characteristics are achieved without resorting to corrective resonance effects.
Therefore, the microphone maintains an excellent impulse response and reproduces the finest details of music and speech without coloration.
With just 7 dB-A / 17.5 dB CCIR the self-noise level of the TLM 103 is so reduced that even the smallest signals are reproduced basically noise-free. It is capable of handling sound pressure levels up to 138 dB without distortion.
The letters TLM stand for "transformerless microphone". With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.
The entire internal construction is elastically mounted to attenuate any structure borne noise that could interfere with the TLM 103's operation. Furthermore the capsule is set on an elastic mount. The frequency range reaches below 20 Hz and thus even very low bass signals are reproduced without coloration.
Due to this low frequency extension, the TLM 103 is more sensitive to structure borne interference and wind noise. For such cases, the elastic suspension EA 1 and the windscreen WS 87 are available as accessories. For close vocal use, the PS 15 or PS 20 a pop screens are recommended.
The R-F-T AK-47 MkII is a remarkably hi-fidelity microphone that is reminiscent of a cross between the historic M49 and U47 / U48 microphones. The result is a microphone with superior high frequency detail and a rich, full low-end response.
TELEFUNKEN Elektroakustik is well known for the historic recreation microphones found in the Diamond Series, which are meticulously made to historic detail with no expense spared. As such, these microphones become rather expensive for the average small studio or home enthusiast. With this in mind, the R-F-T Series of microphones was created.
The R-F-T Series of tube condenser microphones utilizes American designed electronics in conjunction with New Old Stock (NOS) vacuum tubes and standardized parts from overseas manufacturers. Just like the Diamond Series, all R-F-T Seriesmicrophones are hand-built in TELEFUNKEN Elektroakustik's South Windsor, Connecticut facility. With this line,TELEFUNKEN Elektroakustik is able to provide a lower cost alternative to more expensive microphone systems, without sacrificing the qualities that would be expected from a TELEFUNKEN Elektroakustik microphone.
The amplifier found in the AK-47 MkII features a new proprietary circuit designed around a NOS EF-732 / 5840W vacuum tube, and a custom output transformer that is an exact replica of the historic BV8 transformer found in new TELEFUNKEN Elektroakustik and vintage U47 and U48 microphones. The dual sided large diaphragm TK67D capsule undergoes rigorous testing in our laboratory prior to installation in the AK-47 MkII, and again during final testing and burn-in of the microphone.
The EF-732 / 5840W tube is very similar to the legendary AC-701 tube in that is provides a velvety character to the overall tone of the microphone. The layout of the circuit board features broader traces for superior current on demand capability, which enhances the low frequency and transient response capability of the amplifier. Additionally, this layout helps minimizes noise and cross talk between components. When this tube and circuit is coupled with the historically accurate recreation of the BV8transformer, the AK-47 MkII reproduces the qualities of the classic microphones it was based upon.
Sonically, the AK-47 MkII is a remarkably hi-fidelity microphone with superior high frequency detail and a rich, thunderous low end that excludes the upper mid-range frequency bump often found in microphones in this price range. Instead, it has a delicate and intimate air that is usually found in more expensive microphones. The AK-47 MkII serves as a great microphone for vocals, electric guitar, acoustic and electric bass, and horns.
The remote pattern selector, located on the power supply, provides 9 different polar patterns, giving the user a myriad of choices for how to record the source sound in a manner that will best complement their production.
Avantone CV-12 Multi-Pattern Large Capsule Tube Condenser Microphone
The Avantone “Cabernet (C-series)” mics are designed to offer true professional performance. They will meet or surpass the performance and specifications of much higher priced mics. The CV-12 is truly a gorgeous looking and sounding microphone. The design, character and performance is comparable to some of the fine vintage tube mics of the 1950’s & 1960’s…but at a fraction of their cost!
Our rugged CV-12 microphone body and capsule assembly are precision machined of brass. Aesthetically, it features an elegant Cabernet Wine-Red finish, accented with polished nickel trim and grill. The transformer coupled tube circuitry has its origins in famous European vintage designs. Any studio can proudly offer the CV-12 as a primary vocal mic…It exudes class visually as well as sonically. Manufactured using the finest materials yielding a very solid feel, superb structural integrity and rugged reliability.
The versatile CV-12 mic is able to produce professional results with a warm, pleasing sonic character. The included Custom Retro Shockmount is superb in allowing a precise positioning of the mic while inhibiting the transfer of unwanted vibrations up into the mic. This isolation allows for superior professional results.
9-Pattern Tube Microphone w/ dual 32mm gold sputtered thin Mylar capsules
-10 dB pad & 80 Hz LF metal roll off toggle switches
Hand selected Russian made 6072A Tube
Each CV-12 Mic has a serial number
Studio vocals, acoustic guitar, mandolin, drum overheads, room mic, piano
Tube-Type True Condenser Microphone
Dual-sided 32mm center-terminated gold-sputtered Mylar (6 micron)
9 patterns selectable at PS-12 power supply
20Hz - 20kHz +/- 3dB
<=250 Ohms / transformer isolated
136dB (0.5% THD @1000Hz) 146dB with pad engaged
Equivalent noise level
Male XLR 7 pin w/ special power supply & cables
80 Hz 6dB/octave Switch
Attenuation Switch -10dB Switch
dedicated PS-12 Power Supply w/ selectable 115/230 VAC capability
Polished Nickel trim / Metallic Cabernet Red Body
.8 kgs / 1.8 lbs
237mm x 46mm / 9.5" x 1.8"
for bass drum and bass guitar on stage and in the studio
The D112 has earned a well-deserved reputation worldwide as the best kick drum microphone ever made. Heavy-footed drummers are thrilled with the D112´s ability to handle up to 160dB SPL without any distortion. The diaphragm has a very low resonance frequency to maintain a solid and powerful response below 100Hz. A narrow band presence boost at 4kHz punches through dense mixes with forceful impact - no additional EQ needed!
The D112 is also an excellent choice for use with bass cabinets and trombones.
Large diaphragm dynamic microphone
delivers accurate ultradeep frequencies
Bass resonance volume chamber
for unique, punchy sound
Reference dynamic capsule
withstands extremely high sound pressure levels up to 160dB SPL
Integrated hum compensation coil
for the cleanest sound
Established as an industry-standard kick drum microphone
on stages worldwide, day by day for over 30 years
Audio Frequency bandwidth20 to 17000 Hz
Electrical Impedance200 Ohms
Recommended Load Impedance2000 Ohms
Dimensions / Weight
Net Weight285 g
Audio Frequency bandwidth75 to 17000 Hz
Electrical Impedance200 Ohms
Recommended Load Impedance2000 Ohms
Finishdark stage blue
Dimensions / Weight
Net Weight245 g
for drums, percussion, wind instruments and guitar amps on stage
The D40 professional instrumental microphone with its solid all-metal body will stand up to the hardships of night-after-night onstage use with a smile. Its patented Varimotion diaphragm uses a unique laminated material to damp high resonance peaks, leading to a quantum leap in audio performance. The transducer is protected by a sturdy wire-mesh cap and can take extremely high sound pressure levels with ease.
An integrated stand adapter in combination with the included H440 mounting bracket makes the D40 a highly versatile tool for use on drums, percussion, wind instruments and guitar amps.
Dual-thickness Varimotion diapraghm
provides crisp, powerful sound in all frequency ranges
Highest sound pressure levels up to 156dB
for extreme situations without any distortion
Cardioid polar pattern
for trouble-free use in narrow stage environments
Rugged wire-mesh cap and sturdy die-cast metal body
withstand tough day-by-day stage use
Integrated stand adapter and external bracket
for easy mounting on drums and mic stands
Audio Frequency bandwidth20 to 20000 Hz
Equivalent Noise Level33 dB-A
Signal to Noise61 dB-A
Electrical Impedance200 Ohms
Recommended Load Impedance2000 Ohms
Voltage9 to 52 V
Dimensions / Weight
Net Weight23 g
for cymbals and overhead recording on stage and in the studio
The C430, professional condenser microphone, is specifically designed for cymbal and overhead miking. The frequency response of the C430 ensures a uniquely crisp sound which often reduces the need for external EQs.
With its extremely compact external dimensions, the C430 microphone will keep a low profile in any application without compromising audio quality.
Extremely compact dimensions
low profile for critical, optically demanding situations
Cardioid condenser capsule
for detailed pickup of unique individual timbres
Genuine AKG capsule
for the legendary sound, made in Vienna
Phantom or battery powering options
works with 9-52V phantom power
XLogic X-Rack Stereo Bus Compressor Module
The centre section compressor from the 1980's G-Series analogue console is an audio production legend. It is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to your mix without compromising clarity. The Stereo Bus Compressor Module brings this classic 'audio glue' to you with spectacular SuperAnalogue audio performance.
Audio Frequency bandwidth20 to 20000 Hz
Equivalent Noise Level18 dB-A
Signal to Noise76 dB-A
Bass Cut Filter75
Electrical Impedance200 Ohms
Recommended Load Impedance1000 Ohms
Voltage9 to 52 V
Finishsatin nickel plated
Dimensions / Weight
Net Weight125 g
for drums, percussion, acoustic guitar and strings
The C451 B is a small-diaphragm condenser microphone with the identical acoustical behavior of its predecessor, the legendary C451 EB + CK1 capsule, which was a bestseller right from the start in 1969.
With its airy sound, high overload limit and improved engineering details, the C451 B continues the success story of this legend. The roadworthy design around the handcrafted capsule and the low-noise preamp electronics ensure impressive results even under very harsh conditions.
Sound of the legendary C451 EB + CK1 capsule from 1969
Established tour sound standard since the 1980s
Transformerless preamp and surface mount technology
Impressive sound pressure level capability of 155dB SPL
Highly effective high-pass filter with 12dB
The legendary SM57 is an industry-standard, highly versatile cardioid dynamic microphone tuned for the clean reproduction of amplified and acoustic instruments. The SM57 is ideal for sound reinforcement and recording applications.
WHAT IS THE SM57 BEST SUITED TO?
It’s the most popular choice for a professional musician who wants to mic up their amplified or acoustic instrument such as a guitar amp or bass amp, saxophone, trumpet or drums. It is used on stages and in studios around the world.
HOW DOES IT SOUND?
The contoured frequency response with its presence rise, helps the instrument cut better through the main mix. The extremely effective cardioid pickup pattern isolates the main sound source and will simply record what you point at it while rejecting sound from the rear.
The legendary SM58 is an industry-standard, highly versatile cardioid dynamic vocal microphone, tailored to deliver warm and clear vocal reproduction. The SM58 is consistently the first choice for vocal performances around the globe.
WHAT IS THE SM58 BEST SUITED TO?
It’s an ideal choice for a professional vocal artist in any live performance setting. It is tuned to accentuate the warmth and clarity of lead and backing vocals. Even in extreme conditions, the SM58 is tailored to target the main sound source while minimizing background noise. It is also very popular with djs and presenters in clubs and in small and large live venues.
CAN IT WITHSTAND THE RIGOURS OF TOURING?
Durable construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently, outdoors or indoors.