Now with Remote II, and a ultra low jitter D/A with digital optical input
"Avocet" is designed to solve the problems of accurate monitoring and volume control as required by workstation users, studios and mastering rooms alike. It is a stereo controller with three digital inputs, three analog inputs and a headphone system. It's comprised of a rack mounted unit and table top remote control. Avocet has many features including; dim, mute, phase, mono, and 16 bit truncation functions, plus a speaker select switch that sends line level balanced audio to one of three outputs. The six input sources have on the fly gain trim capability and all digital signals are up-sampled and jitter reduced to ensure highest accuracy during D/A conversion.The internal headphone amplifier can be fed from the program source or an external input. Provisions for a talk back function are included.Avocet can operate in surround up to 7.1, with the appropriate number of audio boxes in the system.
Now with Remote II, and a ultra low jitter D/A with digital optical input
"Avocet" is designed to solve the problems of accurate monitoring and volume control as required by workstation users, studios and mastering rooms alike. It is a stereo controller with three digital inputs, three analog inputs and a headphone system. It's comprised of a rack mounted unit and table top remote control. Avocet has many features including; dim, mute, phase, mono, and 16 bit truncation functions, plus a speaker select switch that sends line level balanced audio to one of three outputs. The six input sources have on the fly gain trim capability and all digital signals are up-sampled and jitter reduced to ensure highest accuracy during D/A conversion.The internal headphone amplifier can be fed from the program source or an external input. Provisions for a talk back function are included.Avocet can operate in surround up to 7.1, with the appropriate number of audio boxes in the system.
Now with Remote II, and a ultra low jitter D/A with digital optical input
"Avocet" is designed to solve the problems of accurate monitoring and volume control as required by workstation users, studios and mastering rooms alike. It is a stereo controller with three digital inputs, three analog inputs and a headphone system. It's comprised of a rack mounted unit and table top remote control. Avocet has many features including; dim, mute, phase, mono, and 16 bit truncation functions, plus a speaker select switch that sends line level balanced audio to one of three outputs. The six input sources have on the fly gain trim capability and all digital signals are up-sampled and jitter reduced to ensure highest accuracy during D/A conversion.The internal headphone amplifier can be fed from the program source or an external input. Provisions for a talk back function are included.Avocet can operate in surround up to 7.1, with the appropriate number of audio boxes in the system.
Egert is a highly flexible workstation back end. It contains 8 channels of high quality D/A converters and a stereo line mixer with color options to help bring analog summed digital mixes to life. The stereo mixer has a level control, a cue send, a color control, and a pan control on each channel. Each channel also contains an analog / digital source button, and solo - mute buttons. By using the balanced direct outputs and the balanced analog inputs you can insert analog processing into individual channels. The built in cue bus with its master level control can be used as an effects send. A balanced stereo effects return is built into the system. The master bus level control, a stepped attenuator, has 1 Db steps for most of its range, This allows for accurate gain control, repeatability, and stereo gain matching to better than .05 db. The headphone system allows a monitor mix to be created when Egert is being used in multi channel location recording. Thus providing fail safe knowledge that all channels being recorded contain proper audio The D/A converters support sample rates up to 192K and have sample rate converters on each channel for input jitter reduction. There is a front panel switch to disable the SRC for cases where lower latency is required. The system is built so that the converters and the interface can be upgraded as the technology changes. The standard interface supports AES single wire to 192KHz, ADAT, and S/MUX to 96K. The converters can also be independently operated, even at different sample rates. Egret is built so that the stereo, and cue buses can be chained together to create a many input system. With a special cable Egret’s bus can also be tied to a Crane Song SPIDER as a way to sum additional analog inputs while working in a mix mode.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Der Crane Song Falcon ist ein waschechter Röhrenkompressor im kompakten 500er Serie Format.
Der Falcon besitzt je 3 verschiedene Attack- und Releasezeiten, die Kompressorcharakteristik kann zwischen Hard- und Softknee umgeschaltet werden.
Der "Audio Path Color"- Schalter verändert den Klang der Röhrenschaltung durch wahlweise Aktivierung der Gegenkopplung.
Dadurch ist der Crane Song Falcon in der Lage eine große Bandbreite an Sounds zu liefern, von deutlich gefärbtem Vintagesound bis zu einem sehr sauberen Sound.
Zusätzlich erlaubt der Falcon über den Wet-Dry Regelung eine interne Parallelkompression.
Bis zu 6 Geräte können für 5.1 Anwendungen verlinkt werden, dabei steuert das Mastergerät alle Funktionen der Slaves bis auf Wet-Dry und dem Make-Up Gain.
SPECIFICATIONS:
Connections: The input and output are balanced, with the output being transformerbalanced.
Signal Level: The maximum specified signal level is +26 dbu
Noise Floor: -82.5 dbu measured 20Hz to 20 kHz
Power: 110mA with 16 volt bipolar power supplies
Tube: 12AX7B
Attack Time: For a 12 db change, 10OuS; 7mS; 20mS
Release Time: For a 12 db change, 75mS to 200mS; 300mS to 1S; 1.4S to 3.5S;the release time changes depending on the signal
Transformer: Lundahl LL1585
FLAMINGO, is a high quality two channel discrete class A microphone pre-amp. It can be operated as a musically transparent pre-amplifier, but is capable of emulating vintage sounds as well as creating distinctive new ones. The input gain is selected by a stepped switch for gain matching and repeatability. This is followed by a continuously variable attenuator to provide gain trim. Gain is adjustable in 6 db steps to 66 db gain and down to off by the attenuator. Each channel has independently switchable phase and phantom power switches. FLAMINGO also contains a two channel 22 element VU meter with an over load indicator to allow accurate monitoring and ease of level adjustment. Unique to FLAMINGO are three switches that allow the user to select different sounds; these are the IRON, SOUND and TONE switches. The SOUND switch changes the type of amplifier and the IRON switch puts iron in the audio path. The TONE switch, a 3 position switch, allows for standard - (the original Flamingo sound) when the switch is in the center position, when moved to the right, Flamingo operates as a transparent preamp, and when the switch is in the left most position, it has more color. Needless to say, by using these switches FLAMINGO can produce many different combinations of sounds. Also added to Flamingo is an input impedance switch. Providing 2 choices, the first is the original Flamingo; the second is to match large diaphragm condenser mics as recommended by David Bock, of Bock Audio. It also has transformer-less balanced inputs and outputs. FLAMINGO is designed to be flexible and give the user a tool to solve real world recording, broadcast, and sound reinforcement problems. It can provide an artistic choice of sounds at the flip of a switch.
HEDD, short for Harmonically Enhanced Digital Device, is a technological break through in signal processing. It is engineered to provide musically pleasing sound with the capability of generating tube/analog sounds in the digital domain. HEDD gives any user who works with digital the ability to sound less digital and more analog.
Features include:
High-quality 24-bit A/D and D/A Convertors
24-bit Processing
Adjustable Triode, Pentode and Tape sounds
Digital I/O, AES and S/PDIF
External WC Sync Input and Output
22 Element VU Metering
Analog Tape Compression
The front panel controls allow the user to select input source, sample rate, and continuously variable triode and pentode sounds. The HEDD can operate as an effects device or as separate A/D and D/A convertor with the harmonic generation process applied to either the A/D or D/A convertor.The signal processor performs 24 Bit Processing on a digital or analog source.HEDD has transformerless balanced analog inputs and outputs, transformer isolated digital inputs and outputs, and uses separate power transformers and supplies for the analog and digital sections. The HEDD-192 will operate at sample rates from 44.1K to 192K.Applications include: CD preparation, work station input and output, DAT machine A/D and D/A convertor replacement and effects generation (warming or changing sounds in the digital domain). HEDD can be used in tracking, mixing, and mastering.
IBIS, Crane Song's newest product, boldly takes equalization to a new level of musicality. Each of its four bands features switch-selectable frequencies centered on and covering musical-step intervals from 32-Hz 'C' to 22.35-kHz 'F.' Its four overlapping bands are labeled with note names and frequency allowing for the first time a 'translation' between musician-speak and engineer-jargon. The bandwidth control has similar notation with adjustment from 0.1 octave to 4 octaves per band and a boost cut range of 12 dB. The low-cut filter is switch selectable from 20-Hz to 150-Hz with slopes of either 12-dB or 24-dB per octave. Like most Crane Song products, IBIS utilizes discrete class-A circuitry and features a truly unique and adjustable 'color' function that can be applied to either the entire audio path or to any individual frequency band. A fully stepped mastering version is available.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
IBIS, Crane Song's newest product, boldly takes equalization to a new level of musicality. Each of its four bands features switch-selectable frequencies centered on and covering musical-step intervals from 32-Hz 'C' to 22.35-kHz 'F.' Its four overlapping bands are labeled with note names and frequency allowing for the first time a 'translation' between musician-speak and engineer-jargon. The bandwidth control has similar notation with adjustment from 0.1 octave to 4 octaves per band and a boost / cut range of 12 dB. The low-cut filter is switch selectable from 20-Hz to 150-Hz with slopes of either 12-dB or 24-dB per octave. Like most Crane Song products, IBIS utilizes discrete class-A circuitry and features a truly unique and adjustable 'color' function that can be applied to either the entire audio path or to any individual frequency band. Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
INSIGNA is a tube equalizer in a 500 series package, using a dual triode circuit with a 12AX7 tube It has 3 bands and filters. The eq has 24 db/oct high pass and low pass filters each with 7 frequencies. The top and bottom band are shelving each with 8 frequencies The mid band is peaking with 8 frequencies. The three bands work by using buffered RC circuits in the negative feedback path around the tube amplifiers. The result is a fat sounding eq rich in second harmonic triode tube color.
Peacock can be used on a stereo bus to create the classic vinyl sound. On individual tracks it is also very useful in creating large fat sounds, smoothing of the harmonic content and making a nice smooth vintage sound on vocals and other instruments.
There are three main controls; Harmonic, Dynamic and Color. The Harmonic and Dynamic controls interact and control the level of the harmonic distortion. The Color switch changes the character / interaction of the controls and sets the maximum amount of midrange / LF color and the HF compression characteristic. The Dynamic control is the tricky one, what is does is time modulate the distortion components which are very frequency dependent due to the RIAA curve. There are two main components that cause time modulation in a vinyl record. The first is due to the cutter and the playback stylus not having the same shape, this is called tracing distortion the other is tracking distortion due to the playback systems miss-alignment and the inability to perfectly follow the grove in the record.The Dither control adds noise that is the spectrum of record noise. It modulates some of the internal functions an adds dither to the audio path at a level for 16 bit ditheringColor = Gold is an extremely close match to the test material which is a record and the original wave file. It has been optimized at 96K but will work fine at other sample rates.The Silver setting is lighter setting and coloring increases in the order of the settings; Silver, Gold, Rich, Fat, Deep. Silver is also the brightest setting. The amount of time modulation with the Dynamic control is level dependent and has a maximum range. It is more of a matter of finding the control position that is optimum. Pushing it to higher levels creates ugly sounds. The code prevents this. The plug-in can introduce large amounts of second harmonic distortion resulting in a large fat smooth sound.
UpgradesIf the TDM license is less than 1 year old there is no charge for the upgrade to the original owner.If it is not the original owner one must buy a full license.Phoenix II is an update of Crane Song's suite of TDM plug-ins designed to emulate the unique properties of a magnetic tape machine. Phoenix II runs both NATIVE and DSP on Avid's PT 10 AAX format. Phoenix II uses 32 bit floating point math and has a lower noise floor than the original release.Designer Dave Hill has crafted this software with the same attention to detail he used to create the electronics for ATR Service's much heralded "Aria" discrete tape recorders. His intimate knowledge of analog electronics, as well as decades of experience as a recording engineer has spawned a very useful, musical suite of plug-ins. The Phoenix II process not only incorporates the nonlinear saturation characteristics created by magnetic tape itself, but also includes the interrelation of an analog tape recorder's record/reproduce electronics and equalization curves. Phoenix II is a ground-up application derived from HEDD technology, and specifically engineered and optimized for Avid's PT 10 architecture.Phoenix II has five different tape-analog characteristics, The type is selected with a switch for easy comparison between the types, and the brightness is also selected with a switch. Gold is the position where the color is approximately flat in frequency response, with Sapphire being a brighter, and Opal being a warmer tonality. A level control determines the amount of the Phoenix II process integrated into the audio signal, and an input trim determines "how hard you hit the tape." Because the DSP process is level dependent, the input level trim control has been improved and an output trim control has been added. The input trim can also be used to prevent clipping in the rare cases where clipping may be a problem and bringing up the level of a track for an increased amount of color. This can be useful on material that is hitting close to or at digital zero and on material that has a low recorded level. When the input trim and output trim controls are at 0dB, (no change in gain) and no tape process is being added to the sound, the plug-in is bit accurate, meaning the output exactly matches the input. The Phoenix II contains five separate flavors:
Luminescent is the most neutral sounding process of the five.
Iridescent has a similar magnetic character, but with a fatter bottom and midrange.
(This plug-in is the most similar to the tape knob on HEDD-192.)
Radiant is characterized by a more aggressive compression curve
Dark Essence is even more aggressive. (The effect is a color with a wider
frequency range-when used on a vocal Dark Essence can reduce sibilance
problems by increasing the apparent loudness of the rest of the signal.)
Luster starts more gently than the other four processes, but becomes as
aggressive as Dark Essence when the process is at full scale.
Als Wandlerbaustein verwendet Crane Song im Solaris die neueste 32 Bit Chip Generation des Herstellers AKM. Für diesen neuen "Quantum" genannten D/A-Wandler wurde eine Clock entwickelt, die den extrem niedrigen Jitter von 1pS aufweist.
Der Crane Song Solaris besitzt eine unübertroffen präziser Darstellung und ein ausgezeichnetes Einschwingverhalten, der noch offener und transparenter klingt, als der bisherig verwendete Wandler im Avocet II.
Eingangsseitig verarbeitet der Solaris Abtastraten bis 192kHz. Um eine bestmögliche D/A Wandlung zu gewährleisten, werden alle eingehenden digitalen Signale auf 211kHz up-gesampelt und Jitter reduziert,
Der Solaris verarbeitet als Eingangsformate AES, SPDIF, Toslink und USB, ausgangsseitig stehen 2 voneinander unabhängige symmetrische Stereoausgänge zur Verfügung.
Der symmetrische "Hauptausgang" verfügt über einen diskret aufgebauten Ausgangsverstärker mit einem maximalen Ausgangspegel von +24dBu. Die Lautstärkeregelung erfolgt über ein Potentiometer auf der Frontseite. Der zweite Ausgang, ebenfalls symmetrisch ausgelegt, besitzt einen festen maximalen Ausgangspegel von +18dBu.
Ein Kopfhörerverstärker mit 1/4" Buchse und Lautstärkeregler auf der Frontplatte rundet das Paket ab.
Das frontseitige LCD Display zeigt die Eingangsquelle, die Sample Rate und den Pegel an.
Spider is a high quality eight channel mic-preamplifier mixer with two types of digital outputs: stereo and eight channel. The stereo output is for recording engineers who do stereo or multi-channel recording and want a very flexible audio path. The eight channel output allows the system to function as an analog front end for DAWs, digital mixers, and modular digital recorders. In addition, the stereo bus can be assigned to digital channels seven and eight. This allows a stereo mix of six channels to be assigned to digital outs seven and eight and leaves two channels independent. (eg. drums; kick, snare, and stereo left to right.) The Spider features include: * Six to 66dB input preamp gain in 6dB steps * Channel level control * Pan control for stereo output bus * +48v phantom power switching * Line/Mic switch * Phase switch * Low cut filter * Stereo bus assignment switch * Fat amp switch for a fuller sound * 16 segment meter peaking reading 0=clipping referenced to the A/D convertor * Clip light on the pre-amp section * Peak limiter for the A/D convertor * Channel insert point may be used as a pre-amp output * Sample rate to 192KHz * WC input and output * Switch selectable Analog Dither control, 15 to 24 bits * DSP analog tape emulation, adjustable by channel * Digital output as AES (192KHz), and ADAT Optical (96KHz) The maximum analog level at the insert points is +25 dBm. Both the discrete class A pre-amp and the convertor modules are of a very high quality, low noise design. Applications for the Spider include (but are not limited to) live stereo recording, multi-channel recording, broadcast engineering, DAW front end, digital mixers, and modular digital recorders. Crane Song's Spider also includes a DSP process to provide tape emulation.
The STC-8 is a high quality compressor that delivers consistent gain control without sacrificing musical definition or harmonic richness. It utilizes a remarkably dependable peak limiter that provides overload protection that is critical to digital recording and broadcast transmitters. The STC-8 is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates analog and tube-like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. The STC-8s features include:
Simultaneous Compression/Limiting
Discrete Class A
Balanced/Transformerless I/O
Quick & Easy Presets
'KI' & 'HARA' Sounds
Transparent Overload Protection
The STC-8s sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain control circuit. High signal quality is maintained by utilizing the discrete class A audio path and by eliminating any VCA or optical gain control elements.
Stereo/ Dual Mono Kompressor/Limiter- Gain Make-Up gerastert
The STC-8 is a high quality compressor that delivers consistent gain control without sacrificing musical definition or harmonic richness. It utilizes a remarkably dependable peak limiter that provides overload protection that is critical to digital recording and broadcast transmitters. The STC-8 is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates analog and tube-like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. The STC-8s
features include: * Simultaneous Compression/Limiting * Discrete Class A * Balanced/Transformerless I/O * Quick & Easy Presets * 'KI' & 'HARA' Sounds * Transparent Overload Protection The STC-8s sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain control circuit. High signal quality is maintained by utilizing the discrete class A audio path and by eliminating any VCA or optical gain control elements.
Stereo/ Dual Mono Kompressor/Limiter- alles gerastert
The STC-8 is a high quality compressor that delivers consistent gain control without sacrificing musical definition or harmonic richness. It utilizes a remarkably dependable peak limiter that provides overload protection that is critical to digital recording and broadcast transmitters. The STC-8 is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates analog and tube-like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. The STC-8s
features include: * Simultaneous Compression/Limiting * Discrete Class A * Balanced/Transformerless I/O * Quick & Easy Presets * 'KI' & 'HARA' Sounds * Transparent Overload Protection The STC-8s sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain control circuit. High signal quality is maintained by utilizing the discrete class A audio path and by eliminating any VCA or optical gain control elements.
Der Crane Song SYREN ist der neue kompakte Röhrenvorverstärker des Kultherstellers aus den USA. Nach dem Crane Song FALCON ist der SYREN nun das zweite Gerät im 500er Format von Mastermind Dave Hill.
Als Verstärkerröhre kommt eine selektierte 12AX7 Doppeltriode in einem "Dual Gain Stage"-Schaltungsaufbau zum Einsatz.Durch das Einstellverhältnis dieser beiden Verstärkungsstufen zueinander, mit je einem In- und Output-Poti, ist der SYREN soundmässig extrem variabel und von einer sehr sauberen Verstärkung bis zu deutlicher Class-A Zerre ist alles möglich.
Zusätzlich kann die zweite Röhrentriodenstufe entweder mit oder ohne Gegenkopplung betrieben werden.Mit aktivierter Gegenkopplung bietet der SYREN einen sehr sauberen Audiopfad mit einem weiten Frequenzbereich. Ohne Gegenkopplung besitzt der SYREN einen sehr warmen, dennoch offenen Klang.
Soundmäßig optimierte Schaltung
Mikrofon- und DI-Eingang für Instrumente
maximale Verstärkung: +65db
schaltbare +48 V Phantomspeisung
schaltbares Pad mit 0 dB, -15 dB, -25 dB Dämpfung
Hoch Pass-Filter: bei 90Hz mit 24 dB/Oktave Flankensteilheit
Harmonic Distortion : 0.5% (Bei +40dB Verstärkung, 0dBu Ausgang und 150 Ohm Eingang)
Second Harmonic Noise: -84dBu
Frequenzgang: 6 Hz bis 80 Khz
Röhrenbestückung: selektierte 12AX7B
Lundahl LL1576 Eingangsübertrager (Mu-Metall geschirmt)
Lundahl LL1585 Ausgangsübertrager (Mu-Metall geschirmt)
Stromverbrauch: 100mA mit sich automatisch rückstellender Sicherung
TRAKKER is a high quality Single Channel Discrete Class A Compressor-Limiter. It functions either as a musically transparent compressor or as a vintage compressor-limiter with selectable hard or soft knee. It can create distinct new sounds or maximize existing ones. The TRAKKER has adjustable threshold, attack, release, knee shape, and makeup gain controls. In addition to these controls, a function switch allows the selection of transparent operation or vintage operations such as optical, air optical, soft knee, and hard knee - each with four different amplifier/gain control sounds. The amplifier/gain control sounds are:
Transparent
Vintage (tube or old style class A)
Transparent with VCA artifacts and
Vintage with VCA artifacts.
The front panel contains a 22 element VU meter with over load indicator to show gain reduction and allow accurate monitoring of output levels. In the link mode the master unit controls all functions of the slave units except for make-up gain. An additional feature of the TRAKKER is the ability to link up to 8 units for surround mixing. TRAKKER is a maximum-versatility toolkit for solving real-world recording, broadcast, and sound reinforcement problems with the utmost attention to signal quality. From single channel operation to bus compression, TRAKKER can provide an artistic choice of sounds at the flip of a switch.
€3,089.00*
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