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  UNSERE ANGEBOTE


10 %
Burl Audio B1 Mic Pre
Introducing the B1 Microphone Pre Amp from Burl Audio. Based on the API 500 series form factor, the B1 was designed to compliment the B2 Bomber ADC, and give you multi-channel pleasure. With the proprietary BX3 input transformer and BX2 output transformer, the B1 Mic Pre delivers warmth with depth and clarity. An all discrete transistor, class-A, direct coupled, capacitor free circuit path, gives the B1amazing punch on drums, beautiful tonality on guitars, and warmth with presence on vocals. The B1 comes complete with both Gain and Level controls. If you want that heavy, gainy tone, crank up the stepped gain control and offset that with the level control. If clean tone is your thing, turn the gain down and crank up the level. For ribbon mics and other low impedance sources, the B1 has a transformer coupled impedance select. The B1 was rigorously tested with the popular Royer R-121 in the low impedance setting, and we think it sounds pretty f***ing bitchin'’ on guitar amps. The B1 gets the best out of any microphone, whether it be dynamic, condenser or ribbon. Use the B1’s 1/4” instrument/line input on the front panel, plug in, crank up the gain and go. The PAD switch allows for hot signals and balanced line inputs through the mic XLR on the back panel. Run your tracks or mixes through the B1 for warmth and glue. The B1 was designed to rock. Run multiple B1 channels for your rhythm tracks and you are there. Replace EQ and compression with true analog PHAT. Run your primary tracks through the B1 mic pre, follow with a B2 Bomber ADC and that's about all you will need. BURL custom BX3 input transformerBURL custom BX2 output transformeraudiophile, discrete, class-A, direct-coupled, capacitor free circuit pathstepped gain controlindependent output level control70 dB gainimpedance select1/4” front panel DI input30 dB pad for hot signals and balanced line level inputphantom powerphase reversetri-colored gain level indicationlove and thunder  Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

1.079,00 €* 1.199,00 €*
10 %
Burl Audio B16 Mothership DANTE
16 Channel Configurable AD/DA Burl Audio is proud to announce the release of the B16 Mothership, a 2U, 2-slot version of the revolutionary B80 Mothership, Burl Audio’s signature product. Simply put, the B80 Mothership has redefined digital recording, and now the legendary sound can be found in a smaller, more portable B16 Mothership. Utilizing technology developed for the B80, the new B16 Mothership uses the exact same I/O cards as the B80 Mothership, continuing Burl Audio’s deep dedication to analog class-A circuitry. The result is not only heard, it is felt. The Mothership stands out from every other interface on the market not because it is colored, but because it does not sterilize the source. Using a card based system, and a heavy-duty 2U chassis, the B16 Mothership employs 2 card slots with an internal power supply and your choice of Motherboard for Digilink, MADI, Dante or SoundGrid connectivity. Every ADC channel uses a proprietary BX1 transformer and every DAC channel has the latest Burl Audio discrete op-amp, BOPA4. For anyone who has yearned for a Mothership in a smaller format, this is a dream come true. A typical setup is a 4 in, 8 out system, but it can also be configured as an 8 input tracking system, or a 16-output portable mix rig. If needed, you can also use either the BAES4 card with 4 channels of AES in and out per card, or the BCLK card, which distributes 8 word clock outputs per card. Digital interconnect is also completely configurable, and controlled by a swappable motherboard. Burl Audio offers four digital motherboards, the BMB1 (Digi-link) , BMB2 (MADI), BMB3 (Dante), and BMB4 (SoundGrid). The BMB1 comes standard with two DigiLink connectors for direct hookup to Pro Tools. The BMB2 features two optical MADI ports for use with ASIO or CORE AUDIO PCIe MADI cards. The BMB3 features two Ethernet ports for use with DANTE enabled DAWs and any DANTE enabled device, such as a digital mixing console. The BMB4 card allows for connectivity to any SOUNDGRID device, as well as low latency for a complete digital audio networking solution. The B80 Mothership is the result of over 20 years of tireless research and development. The no compromise, no BS design strategy is immediately apparent in the build quality. There are also plans for film and broadcast grade cards where channel density and price per channel are of greater concern. The B80 MOTHERSHIP takes care of virtually any music, broadcast or film recording situation, revolutionizing pro audio as we know it. In this digital era, many yearn for the tone of records past, and analog tape is becoming a lost art. The B80 MOTHERSHIP clearly bridges this analog to digital gap.   Features: 2U main chassis BMB1 (DigiLink) motherboard BMB2 (MADI) motherboard BMB3 (Dante) motherboard BMB4 (SoundGrid) Motherboard 1 BNC Word Clock In 2 BNC Word Clock Out 3 card slots All slots accept AD/DA, AES and BCLK  

2.199,00 €* 2.449,00 €*
10 %
Burl Audio B16 Mothership DigiLink
16 Channel Configurable AD/DA Burl Audio is proud to announce the release of the B16 Mothership, a 2U, 2-slot version of the revolutionary B80 Mothership, Burl Audio’s signature product. Simply put, the B80 Mothership has redefined digital recording, and now the legendary sound can be found in a smaller, more portable B16 Mothership. Utilizing technology developed for the B80, the new B16 Mothership uses the exact same I/O cards as the B80 Mothership, continuing Burl Audio’s deep dedication to analog class-A circuitry. The result is not only heard, it is felt. The Mothership stands out from every other interface on the market not because it is colored, but because it does not sterilize the source. Using a card based system, and a heavy-duty 2U chassis, the B16 Mothership employs 2 card slots with an internal power supply and your choice of Motherboard for Digilink, MADI, Dante or SoundGrid connectivity. Every ADC channel uses a proprietary BX1 transformer and every DAC channel has the latest Burl Audio discrete op-amp, BOPA4. For anyone who has yearned for a Mothership in a smaller format, this is a dream come true. A typical setup is a 4 in, 8 out system, but it can also be configured as an 8 input tracking system, or a 16-output portable mix rig. If needed, you can also use either the BAES4 card with 4 channels of AES in and out per card, or the BCLK card, which distributes 8 word clock outputs per card. Digital interconnect is also completely configurable, and controlled by a swappable motherboard. Burl Audio offers four digital motherboards, the BMB1 (Digi-link) , BMB2 (MADI), BMB3 (Dante), and BMB4 (SoundGrid). The BMB1 comes standard with two DigiLink connectors for direct hookup to Pro Tools. The BMB2 features two optical MADI ports for use with ASIO or CORE AUDIO PCIe MADI cards. The BMB3 features two Ethernet ports for use with DANTE enabled DAWs and any DANTE enabled device, such as a digital mixing console. The BMB4 card allows for connectivity to any SOUNDGRID device, as well as low latency for a complete digital audio networking solution. The B80 Mothership is the result of over 20 years of tireless research and development. The no compromise, no BS design strategy is immediately apparent in the build quality. There are also plans for film and broadcast grade cards where channel density and price per channel are of greater concern. The B80 MOTHERSHIP takes care of virtually any music, broadcast or film recording situation, revolutionizing pro audio as we know it. In this digital era, many yearn for the tone of records past, and analog tape is becoming a lost art. The B80 MOTHERSHIP clearly bridges this analog to digital gap.   Features: 2U main chassis BMB1 (DigiLink) motherboard BMB2 (MADI) motherboard BMB3 (Dante) motherboard BMB4 (SoundGrid) Motherboard 1 BNC Word Clock In 2 BNC Word Clock Out 3 card slots All slots accept AD/DA, AES and BCLK  

2.199,00 €* 2.449,00 €*
10 %
Burl Audio B16 Mothership MADI
16 Channel Configurable AD/DA Burl Audio is proud to announce the release of the B16 Mothership, a 2U, 2-slot version of the revolutionary B80 Mothership, Burl Audio’s signature product. Simply put, the B80 Mothership has redefined digital recording, and now the legendary sound can be found in a smaller, more portable B16 Mothership. Utilizing technology developed for the B80, the new B16 Mothership uses the exact same I/O cards as the B80 Mothership, continuing Burl Audio’s deep dedication to analog class-A circuitry. The result is not only heard, it is felt. The Mothership stands out from every other interface on the market not because it is colored, but because it does not sterilize the source. Using a card based system, and a heavy-duty 2U chassis, the B16 Mothership employs 2 card slots with an internal power supply and your choice of Motherboard for Digilink, MADI, Dante or SoundGrid connectivity. Every ADC channel uses a proprietary BX1 transformer and every DAC channel has the latest Burl Audio discrete op-amp, BOPA4. For anyone who has yearned for a Mothership in a smaller format, this is a dream come true. A typical setup is a 4 in, 8 out system, but it can also be configured as an 8 input tracking system, or a 16-output portable mix rig. If needed, you can also use either the BAES4 card with 4 channels of AES in and out per card, or the BCLK card, which distributes 8 word clock outputs per card. Digital interconnect is also completely configurable, and controlled by a swappable motherboard. Burl Audio offers four digital motherboards, the BMB1 (Digi-link) , BMB2 (MADI), BMB3 (Dante), and BMB4 (SoundGrid). The BMB1 comes standard with two DigiLink connectors for direct hookup to Pro Tools. The BMB2 features two optical MADI ports for use with ASIO or CORE AUDIO PCIe MADI cards. The BMB3 features two Ethernet ports for use with DANTE enabled DAWs and any DANTE enabled device, such as a digital mixing console. The BMB4 card allows for connectivity to any SOUNDGRID device, as well as low latency for a complete digital audio networking solution. The B80 Mothership is the result of over 20 years of tireless research and development. The no compromise, no BS design strategy is immediately apparent in the build quality. There are also plans for film and broadcast grade cards where channel density and price per channel are of greater concern. The B80 MOTHERSHIP takes care of virtually any music, broadcast or film recording situation, revolutionizing pro audio as we know it. In this digital era, many yearn for the tone of records past, and analog tape is becoming a lost art. The B80 MOTHERSHIP clearly bridges this analog to digital gap.   Features: 2U main chassis BMB1 (DigiLink) motherboard BMB2 (MADI) motherboard BMB3 (Dante) motherboard BMB4 (SoundGrid) Motherboard 1 BNC Word Clock In 2 BNC Word Clock Out 3 card slots All slots accept AD/DA, AES and BCLK  

2.199,00 €* 2.449,00 €*
10 %
Burl Audio B1D Mic Pre
Introducing the B1 and B1D Microphone Pre Amps from Burl Audio. Based on the API 500 series form factor, the B1 was designed to compliment the B2 Bomber ADC, and give you multi-channel pleasure. With the proprietary BX3 input transformer and BX2 output transformer, the B1 Mic Pre delivers warmth with depth and clarity. The B1D is the same as the B1 except that it has an all iron BX4 output transformer giving it a more terrifying rock tone. An all discrete transistor, class-A, direct coupled, capacitor free circuit path, gives the B1amazing punch on drums, beautiful tonality on guitars, and warmth with presence on vocals. The B1 and B1D come complete with both Gain and Level controls. If you want that heavy, gainy tone, crank up the stepped gain control and offset that with the level control. If clean tone is your thing, turn the gain down and crank up the level. For ribbon mics and other low impedance sources, the B1 has a transformer coupled impedance select.   The B1 was rigorously tested with the popular Royer R-121 in the low impedance setting, and we think it sounds pretty f***ing bitchin’’ on guitar amps. The B1 gets the best out of any microphone, whether it be dynamic, condenser or ribbon. Use the B1’s 1/4” instrument/line input on the front panel, plug in, crank up the gain and go. The PAD switch allows for hot signals and balanced line inputs through the mic XLR on the back panel. Run your tracks or mixes through the B1 for warmth and glue. The B1 was designed to rock. Run multiple B1 channels for your rhythm tracks and you are there.  Replace EQ and compression with true analog PHAT. Run your primary tracks through the B1 mic pre, follow with a B2 Bomber ADC and that’s about all you will need. BURL custom BX3 input transformer BURL custom BX2 nickel ( B1) or BX4 iron ( B1D ) output transformer audiophile, discrete, class-A, direct-coupled, capacitor free circuit path stepped gain control independent output level control 70 dB gain impedance select 1/4” front panel DI input 30 dB pad for hot signals and balanced line level input phantom power phase reverse tri-colored gain level indication love and thunder Check with dealers for pricing

1.079,00 €* 1.199,00 €*
10 %
Burl Audio B2 Bomber ADC
The B2 Bomber ADC from BURL Audio is the most significant piece of audio gear in your studio, and you don’t even own it yet. You’ve spent a fortune on great mics, great mic pres, and a kick ass DAW, but unfortunately you are missing one key component; an ADC with an audio path worthy of your recordings.Open up your best mic pre and look inside. You will see high quality components like tubes, large transformers and high quality capacitors. Open up your ADC and you will find cheap 10 cent capacitors and run-of-the-mill 25 cent op-amps, even when you’ve spent a lot of money on your interface. Most DAW hardware interfaces are designed for interconnectivity with little attention to the analog audio path, or even the conversion, let alone the tone.The B2 Bomber is designed for great specifications, but more importantly, it is designed to give you the ultimate in recording tone. For years now people have been trying to figure out why their digital recordings don’t have the warmth and feel of analog tape recordings. We try using tube mic pres and great compressors, but there is still something missing. There is still that blurriness, that graininess and lack of depth that comes with digital recordings.BURL Audio has solved this problem by designing an analog audio path that is complimentary to your mic pre and to the analog to digital process. By using a revolutionary hybrid circuit with a proprietary transformer, the BURL AUDIO BX1, and a discrete class-A, zero feedback, zero capacitor signal path, we have achieved dynamic and tonal balance.Using a B2 Bomber in the studio is like taking the governor off of your recordings. And, the B2 is not just for tracking. Mix down and mastering were the main focus of the B2's layout and design. With 30 segment peak amplitude and RMS metering, the B2 lets you know exactly how hot you are running your signal which is critical for mastering. The attenuator settings on the front easily allow you to change input headroom giving you the ability to hit the front end hotter or colder depending on what the material calls for. And don’t be afraid to run the B2 Bomber hot, it only sounds better. Couple that with an extremely low jitter clock source, and you have the B2 Bomber ADC, the most significant piece of gear in your studio.     44.1k Hz to 192k Hz, 24 bit, 2 channel ADC     Proprietary, high definition, BURL Audio BX1 transformer input     All class A, discrete transistors signal path with zero feedback, zero caps     Audiophile quality 6 position attenuator with standard headroom settings     High definition metering with simultaneous RMS and peak indication     Two AES and one SPDIF output with dual AES wire support     BNC word clock input with two outputs of extremely low jitter clock     Frequencty resonse at 48kHz sample rate is 12Hz to 22kHz, +/- 0.1dB     Frequencty resonse at 96kHz sample rate is 15Hz to 46kHz, +/- 0.1dB     Frequencty resonse at 192kHz sample rate is 18Hz to 94kHz, +/- 0.1dB     120dB Dynamic Range (A- weighted), 117dB (no weighting)     -100dB THD+N (+4dBU = -15dBFs)     -94 dB THD+N (+18dBU = -1dBFs)     Rugged, Made in USA design

3.014,99 €* 3.349,00 €*
10 %
Burl Audio B2 Bomber DAC
The B2 Bomber DAC is the result of tireless digital to analog research and development. As a result the B2 DAC features unique class-A, discrete op-amps with passive filtering. This makes the B2 DAC ideal for monitoring.  Couple this with state of the art conversion technology and the B2 Bomber DAC delivers sonic purity and dynamics thus far unheard of. As a compliment to the B2 ADC, the B2 DAC punches you in the chest with low end while the 3D spaciality and stereo spread give you amazing detail throughout the spectrum. Add to that a sweat tone that is easy on your ears, and you have a unit that you will instantly fall in love with! Both the B2 ADC and B2 DAC feature identical, incredibly low jitter clocking, precision metering and stepped attenuators.  Couple the B2 ADC with the B2 DAC and you have the B2 Bomber Master Signal Chain, a force to be reckoned with. 44.1k Hz to 192k Hz, 24 bit, 2 channel ADC Proprietary custom design BOPA1, all discrete op-amps Passive filters All class-A Zero capacitor signal path Audiophile quality 6 position attenuator with standard headroom settings High definition metering with simultaneous RMS and peak indication Two AES and one SPDIF input with dual AES wire support BNC word clock input with two outputs of extremely low jitter clock Frequency response at 48kHz sample rate is 10Hz to 22kHz, +/- 0.1dB Frequency response at 96kHz sample rate is 10Hz to 30kHz, +/- 0.1dB, -0.3 dB @ 40kHz Frequency response at 192kHz sample rate is 10Hz to 30kHz, +/- 0.1dB, -1.5 dB @ 90kHz 115dB Dynamic Range -96 dB THD+N, full scale output = +18dBu Rugged, Made in USA design Check with dealers for pricing

3.059,00 €* 3.399,00 €*
10 %
Burl Audio B80 Mothership Dante
B80 Mothership Dante   Simply put, the B80 MOTHERSHIP has redefined digital recording. For anyone who has felt that digital recording has been lacking soul, warmth and musicality, the MOTHERSHIP is the answer. Building on the technology of the two-channel B2 BOMBERS, the MOTHERSHIP was forged from BURL AUDIO’S deep dedication to analog class-A circuitry. The result is not only heard, it is felt. The MOTHERSHIP stands out from every other interface on the market not because it is colored, but because it does not sterilize the source. Pushing the boundaries once again, the B80 MOTHERSHIP AD/DA converter has up to 80 analog channel capability. Using a card based system, and a heavy duty 4U chassis, the B80 MOTHERSHIP employs 10 card slots with 2, 4 and 8 channel AD/DA cards, all with the B2 quality signal path. Every ADC channel uses a proprietary BX1 transformer and every DAC channel has the latest BURL AUDIO discrete op-amp, BOPA2. For many who have already embraced the B2 BOMBER, this is a dream come true. Recording an entire band and playing back through 24 channels of Burl AD/DA at a time is a truly beautiful experience. With a completely configurable AD/DA, a converter for any situation can be realized. If you just mix, load up the B80 with 8 BDA8 cards for 64 channels of mind blowing fidelity. If you track live, 6 BAD4 cards will give you 24 B2 quality inputs, and 4 BDA8 cards gives you 32 channels of outputs. Rocking! Digital interconnect is also completely configurable, and controlled by a swappable motherboard. Burl Audio offers three digital motherboards, the BMB1 (Digi-link) , BMB2 (MADI) and BMB3 (Dante). The BMB1 comes standard with two DigiLink connectors for direct hookup to Pro Tools. BURL AUDIO does away with the expansion port, making both primary ports. That means you can play 64 DAC channels straight out of Pro Tools with one unit! The BMB2 features two optical MADI ports for use with ASIO or CORE AUDIO PCIe MADI cards. With two optical ports, 64in/64out at 44.1k, 48k, 88.2k, 96k, and 32in/32out at 176.4k, and 192k are supported. The BMB3 features two Ethernet ports for use with Dante enabled DAWs and any Dante enabled device, such as a digital mixing console. With two Dante ports, 64in/64out at 44.1k, 48k, 88.2k, 96k, and 32in/32out at 176.4k, and 192k are supported. No more cascading units with multiple word clocks. All channels can run off of one internal master clock. Good bye word clock generator! Of course if you do need more channels, multiple B80 units run flawlessly with tight clocking. With each BCLK card, add 9 additional word clock outputs per slot. 92 total word clock outputs are possible per MOTHERSHIP. The technology that makes this all possible is the BURL BackBone. The BURL BackBone is a high bandwidth backplane delivering incredible digital audio throughput. Master clock travels directly to each converter eliminating the need for individual PLLs. The B80 MOTHERSHIP is the result of over 20 years of tireless research and development. The no compromise, no BS design strategy is immediately apparent in the build quality. Configuring a B80 is literally a snap. Slide the card down its card guide, snap it in the BURL BackBone, turn the hand screws, and you’re there. There are also plans for film and broadcast grade “Black Face” cards where channel density and price per channel are of greater concern. Powering a unit like the MOTHERSHIP takes some juice, so we designed the BP250 to drive the 80 channels of class-A analog circuitry. With a 250 watt continuous power capability, and +/- 24 volt rails, a multi-channel AD/DA converter is finally getting the power it deserves. The B80 MOTHERSHIP takes care of virtually any music, broadcast or film recording situation, revolutionizing pro audio as we know it. In this digital era, many yearn for the tone of records past, and analog tape is becoming a lost art. The B80 MOTHERSHIP clearly bridges this analog to digital gap.  

2.959,00 €* 3.290,00 €*
10 %
Burl Audio B80 Mothership DigiLink
Introducing the B80 MOTHERSHIP, the multi-channel version of Burl Audio’s critically acclaimed B2 Bomber ADC and DAC. Pushing the boundaries once again, the Burl Audio B80 Mothership AD/DA converter has up to 80 channel capability. Using a card based system, and a heavy duty 4U chassis, the B80 Mothership employs 10 card slots with 2, 4 and 8 channel AD/DA cards, all with the B2 quality signal path. Every ADC channel has a BX1 transformer and every DAC channel has the latest Burl Audio discrete op-amp, BOPA2, technology. For many who have already embraced the B2 Bomber, this is a dream come true. Recording an entire band and playing back through 24 channels Burl at a time, is a truly beautiful experience. With a completely configurable AD/DA, a converter for any situation can be realized. If you just mix, load up the B80 with 8 BDA8 cards for 64 channels of mind blowing fidelity. If you track live, 6 BAD4 cards will give you 24 B2 quality inputs, and 4 BDA8 cards gives you 32 channels of outputs. Rocking!Digital interconnect is also completely configurable, and controlled by a swappable motherboard. The first offering of the B80 digital motherboard, the BMB1, comes standard with two Digi-link connectors for direct hookup to Pro Tools. Burl Audio does away with the expansion port, making both primary ports. That means you can play 64 DAC channels straight out of Pro Tools with one unit! No more cascading units with multiple word clocks. All channels can run off of one internal master clock. Good bye word clock generator! Of course if you do need more channels, multiple units run flawlessly with tight clocking.The technology that makes this possible is the Burl BackBone. The Burl BackBone is a high bandwidth backplane delivering incredible digital audio throughput. The Burl BackBone also delivers large amounts of power to the analog sections. Master clock travels directly to each converter eliminating the need for individual PLLs.Digital ad on cards to follow will be the BMADI and BAES. Because each card slot can handle a single MADI card, an entire MADI switch matrix can be realized in one unit. Other future digital cards will include word clock distribution and time code sync for film and video.The B80 Mothership is the result of over five years of tireless research and development. The no compromise, no BS design strategy is immediately apparent in the build quality.Configuring a B80 is literally a snap. All you do is slide the card down its card guide, snap it in the Burl BackBone, turn the hand screws, and you’re there. Configuration cards currently consist of the BMB1 with Digi-link, the BAD4, 4-channel ADC card, and the BDA8, 8 channel DAC card. Cards to follow are the BMADI card and the BAES card (available 2013).There are also plans for film and broadcast grade “Black Face” cards where channel density and price per channel are of greater concern. Powering a unit like the B80 Mothership takes some juice, so we designed the BP250 to drive the 80 channels of class-A analog circuitry. With a 250 watt continuous power capability, and +/- 24 volt rails, a multi-channel AD/DA converter is finally getting the power it deserves.

2.959,00 €* 3.290,00 €*
10 %
Burl Audio B80 Mothership MADI
Introducing the B80 MOTHERSHIP, the multi-channel version of Burl Audio’s critically acclaimed B2 Bomber ADC and DAC. Pushing the boundaries once again, the Burl Audio B80 Mothership AD/DA converter has up to 80 channel capability. Using a card based system, and a heavy duty 4U chassis, the B80 Mothership employs 10 card slots with 2, 4 and 8 channel AD/DA cards, all with the B2 quality signal path. Every ADC channel has a BX1 transformer and every DAC channel has the latest Burl Audio discrete op-amp, BOPA2, technology. For many who have already embraced the B2 Bomber, this is a dream come true. Recording an entire band and playing back through 24 channels Burl at a time, is a truly beautiful experience. With a completely configurable AD/DA, a converter for any situation can be realized. If you just mix, load up the B80 with 8 BDA8 cards for 64 channels of mind blowing fidelity. If you track live, 6 BAD4 cards will give you 24 B2 quality inputs, and 4 BDA8 cards gives you 32 channels of outputs. Rocking!Digital interconnect is also completely configurable, and controlled by a swappable motherboard. The first offering of the B80 digital motherboard, the BMB1, comes standard with two Digi-link connectors for direct hookup to Pro Tools. Burl Audio does away with the expansion port, making both primary ports. That means you can play 64 DAC channels straight out of Pro Tools with one unit! No more cascading units with multiple word clocks. All channels can run off of one internal master clock. Good bye word clock generator! Of course if you do need more channels, multiple units run flawlessly with tight clocking.The technology that makes this possible is the Burl BackBone. The Burl BackBone is a high bandwidth backplane delivering incredible digital audio throughput. The Burl BackBone also delivers large amounts of power to the analog sections. Master clock travels directly to each converter eliminating the need for individual PLLs.Digital ad on cards to follow will be the BMADI and BAES. Because each card slot can handle a single MADI card, an entire MADI switch matrix can be realized in one unit. Other future digital cards will include word clock distribution and time code sync for film and video.The B80 Mothership is the result of over five years of tireless research and development. The no compromise, no BS design strategy is immediately apparent in the build quality.Configuring a B80 is literally a snap. All you do is slide the card down its card guide, snap it in the Burl BackBone, turn the hand screws, and you’re there. Configuration cards currently consist of the BMB1 with Digi-link, the BAD4, 4-channel ADC card, and the BDA8, 8 channel DAC card. Cards to follow are the BMADI card and the BAES card (available 2013).There are also plans for film and broadcast grade “Black Face” cards where channel density and price per channel are of greater concern. Powering a unit like the B80 Mothership takes some juice, so we designed the BP250 to drive the 80 channels of class-A analog circuitry. With a 250 watt continuous power capability, and +/- 24 volt rails, a multi-channel AD/DA converter is finally getting the power it deserves.

2.959,00 €* 3.290,00 €*
43 %
FLEA 12
This mic is an exact replica of C12 and involves a modern style power supply with integrated pattern switch. As standard, it is equipped with Tim Campbell's CT12 capsule - great choice if you are considering the clones of original CK12. The mic is equipped with 6072 tube. The transformer is our own replica of original . Considering the sound, it is simply "Rolls-Royce". In some applications this mic will seem somewhat neutral, but it benefits will stand out during mixdown. It's fantastic for vocals, acoustic instruments as well as ambient miking. Those, who have not experienced, will not believe. Includes: microphone in wooden box, power supply, cable with swivel mount connector

3.564,00 €* 6.269,00 €*
39 %
Heritage Audio Tubesessor
TUBESESSOR - Optical Tube Compressor The Heritage Audio TUBESESSOR is an optical tube compressor with an absolute sweet, warm and natural dynamic control possible, but also the possibility to spice up the sound up on occasion. Tube compression, especially based on an optical design, is generally considered to be warmer than VCA and FET designs, and it tends to provide a very pleasant, more natural, smoother result. This has made it the preferred choice for seasoned engineers and producers that want to provide a very transparent control over a signal while offering a hint of enhancement but keeping true to the original tone. For this very reason optical tube compressors are usually the first thing one reaches for when dealing with critical vocals and bass signals. The TUBESESSOR is the perfect option for this. Analog excellence is achieved by combining an all tube-based amplification stage with an outstanding UTC A10 input transformer replica by AMI, as well as a custom all-silicon steel output transformer. With an elevated internal operating voltage you can be sure the TUBESESSOR will heat up any signal while also maintaining its character and vibe. No starved plate circuits here! Never has dynamics control been so easily obtainable while at the same time so invisible. Even with generous amounts of gain reduction being applied anything processed with the TUBESESSOR still maintains its clarity and depth. Thanks to the TUBESESSOR´S three unit high front panel you´ll find plenty of room to adjust the large Herchild-style knobs making it a breeze to achieve the desired sound. No cramped spaces here, just plenty of space to easily and quickly adjust the settings to taste. Now, we all know it would not be a Heritage Audio product without our expertise and passion channeled into a couple key features that take the TUBESESSOR to another dimension. First of all, for those times when a bit more texture and bite is called for, there´s nothing better than a little saturation…or maybe a lot. The innovative TUBE SATURATION section takes full advantage of a creamy sounding NOS Raytheon double triode tube to add in just a pinch of aggression or fully transform the signal into something ready for war. It, importantly, works in tandem with the custom output transformer to produce the right harmonic content. There are 4 available settings that vary from CLASSIC, no saturation, all the way to HOT, a heavily treated signal. This feature alone opens up a ton of possibilities for drums and other instruments vastly expanding the TUBESESSOR´S uses. And thanks to Heritage Audio´s use of an audiophile-grade Psvane dual output triode in a totem pole configuration, a solid output stage is guaranteed all while allowing much higher headroom than other tube compressors, whether vintage or modern. Secondly, there are also five internal sidechain filter settings to choose from. This is the exact same filter section that helped the SUCCESSOR obtain its legendary status. Two of the options make sure the compressor is not being unfairly overpowered by lower frequencies and the other three are frequency specific options for extra creativity. Continuously adjustable ATTACK & RELEASE controls in addition to a FIXED mode and a combination of the two will provide all the necessary settings possible, allowing you to mold your signal exactly as you´d like. A huge, attractive custom VU meter for monitoring either Input, Output or Gain Reduction guarantees you´ll always be informed with a clear reading of exactly what is happening. Everything you could possibly require to achieve a top-notch professional recording. As is the case with other tube offerings from Heritage Audio, the company has sourced NOS tubes for a lifetime, making sure your investment is safe and sound. Features Optical Compression Detection All Tube-Based Amplification Stage Fully Transformer Balanced Input & Output Tube Saturation Section Large Friendly Interface Extensive Attack & Release Control 5 Built-In Sidechain Filtering Options Huge Informative VU Meter Built Like A Tank

1.799,00 €* 2.969,00 €*
16 %
Mäag Audio PREQ2
MÄAG AUDIO’S NEWEST CREATION IS THE PREQ2™ DUAL MIC PREAMP WITH EQ, A COMPLETE ANALOG SYSTEM FOR EITHER RECORDING OR MIXING HOUSED IN A 1U STANDALONE UNIT. IT COMES WITH CLIFF MÄAG’S VENERABLE AIR BAND® SHELVING EQUALIZER FIRST INTRODUCED IN 1993 WITH HIS NTI EQ3 EQUALIZER. THE PREQ2 WILL HANDLE EITHER LINE OR MICROPHONE SIGNAL LEVELS WITH TWO MATCHED CHANNELS BOTH WITH SEPARATE REAR PANEL LINE LEVEL INPUT AND MICROPHONE XLR CONNECTORS AND SWITCHABLE +48-VOLT PHANTOM POWERING. THE REAR PANEL ALSO HAS XLR OUTPUT CONNECTORS FOR EACH CHANNEL AND A ON/OFF/FUSE MAINS SWITCH. ALL SWITCHES ON THE PREQ2 HAVE COLORFUL LEDS TO CONFIRM THEIR OPERATION AND ALL CONTROLS HAVE DETENTS WITH THE EXCEPTION OF THE CONTINUOUSLY VARIABLE MICROPHONE GAIN. MICROPHONE INPUTTHE MÄAG AUDIO PREQ2 MICROPHONE PREAMP HAS UP TO 71DB OF GAIN SPLIT BETWEEN A DISCRETE CLASS-A TRANSISTOR PREAMP ALONG WITH A LARGE, NICKEL-CORE MÄAG AUDIO-BUILT INPUT TRANSFORMER (ONE FOR EACH CHANNEL). THIS CIRCUIT OFFERS A CLEAN, DETAILED SOUND WITH +27DBU OF HEADROOM AND AN EIN NOISE LEVEL OF -128DB. THERE ARE TWO OPTIMIZED GAIN RANGES SELECTABLE ON THE FRONT PANEL. THE DEFAULT GAIN RANGE IS +20DB TO +42DB AND A +42 TO +71DB GAIN RANGE IN HIGH GAIN MODE USING THE FRONT PANEL’S 25DB GAIN SWITCH. MAXIMUM INPUT LEVEL IS +8DB. THE MICROPHONE INPUT SECTION HAS FRONT PANEL SWITCHES, LED INDICATORS AND BUTTONS FOR: +48-VOLT PHANTOM POWERING, -20DB ATTENUATION PAD, PLUS SIGNAL PRESENT, +26DBU PEAK LEDS, AND PHASE OR POLARITY FLIP. MICROPHONE GAIN IS CONTINUOUSLY ADJUSTABLE USING A SINGLE, LARGE MIC GAIN CONTROL KNOB. LINE INPUTTHE FRONT PANEL LINE SWITCH TOGGLES THE REAR PANEL XLR LINE INPUT CONNECTORS IN PLACE OF THE MICROPHONE PREAMP’S OUTPUT (AFTER THE INPUT TRANSFORMER AND MICROPHONE PREAMP). IT IS POSSIBLE TO KEEP BOTH A MICROPHONE AND A LINE LEVEL SOURCE ALWAYS CONNECTED TO THE PREQ2 AND TOGGLE BOTH CHANNELS SEPARATELY. YOU COULD HAVE ONE CHANNEL WORKING AS A MICROPHONE PREAMP CHANNEL AND THE OTHER AS A LINE LEVEL AMPLIFIER FOR RECORDING A DIRECT MUSICAL INSTRUMENT (BASS OR GUITAR) AT THE SAME TIME. BOTH MIC INPUT SECTIONS HAVE ¼-INCH TS JACKS FOR HIGH IMPEDANCE (1 MEGA-OHM) INSTRUMENT INPUT WITH A COMPANION ¼-INCH OUTPUT THRU JACK THAT SIMULTANEOUSLY PROVIDES AN ISOLATED, BUFFERED OUTPUT—A “COPY” OF THE INSTRUMENT INPUT SIGNAL AT UNITY GAIN. IN ADDITION TO PROVIDING AN UNBALANCED SIGNAL FOR RUNNING LONG LEADS OUT TO INSTRUMENT AMPLIFIERS IN THE STUDIO AND/OR STOMP PEDALS, FOR LIVE RE-AMPLIFYING THE THRU JACK’S OUTPUT SIGNAL IS ALSO ACTIVE WHEN USING THE XLR MICROPHONE INPUT. WHEN USING THE INSTRUMENT INPUT TS JACK, THE MÄAG AUDIO PREQ2 USES AN AUTOMATIC DETECTION CIRCUIT TO SWITCH (USING A RELAY) AND ROUTE THE UNBALANCED ¼-INCH INPUT SIGNAL TO THE MIC INPUT TRANSFORMER. THE IMPEDANCE IS LOWERED FOR A BETTER MATCH TO THE TRANSFORMER. THIS DETECTION CIRCUIT MAKES IT IS IMPOSSIBLE FOR THE 48-VOLT PHANTOM POWER TO EVER REACH THE ¼-INCH OR XLR LINE INPUT EVEN IF ALREADY TURNED ON. EQUALIZATION SECTIONSTHE MÄAG AUDIO PREQ2 HAS THREE EQUALIZER/FILTERS SECTIONS; THE LAYOUT AND CONTROL COMPLIMENT ARE IDENTICAL FOR BOTH CHANNELS. THE EQUALIZER DESIGN IS SPECIFICALLY DESIGNED FOR BOTH RECORDING AND/OR SUBTLE TOUCHUP TONALITY CHANGES AND EUPHONIC ENHANCEMENTS. ON THE LEFT SIDE OF THE CHANNEL IS THE FIRST CONTROL FOR THE 2ND ORDER, 12DB/OCTAVE HIGH PASS FILTER. IT IS FULLY VARIABLE USING A 21-DETENT CONTROL TO SWEEP FROM 20HZ TO 200HZ. IT HAS ITS OWN HARDWIRED, IN/OUT BYPASS SWITCH. NEXT IS THE LOW FREQUENCY BELL-SHAPED EQUALIZER SECTION WITH A BOOST (ONLY) CONTROL AT 6DB/OCTAVE. FREQUENCIES ARE SWITCHED USING A SIX POSITION ROTARY SWITCH AND ARE: 10HZ (SUB) SHELF, AND BELL-SHAPED CURVES FOR 40HZ, 65HZ, 100HZ, 125HZ, AND 165HZ. UP TO 9DB OF BOOST IS AVAILABLE. AIR BAND®THE THIRD BAND OF THE EQUALIZER IS THE MÄAG AUDIO AIR BAND SHELVING SECTION WITH 2.5, 5, 10, 15, 20, AND 40-KHZ FREQUENCY CHOICES WITH ITS OWN CONTROL AND UP TO 9DB OF MAXIMUM BOOST. BOTH THE AIR BAND AND LOW FREQUENCY EQUALIZERS SHARE A SINGLE BYPASS PUSH-BUTTON.

2.899,00 €* 3.450,00 €*
20 %
Royer Labs R-10 Hot Rod
Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind. Produktdetails Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit Übertrager im Humbucker-Design für extrem geringes Grundrauschen Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Erhältlich als Matched Pair

799,00 €* 999,00 €*
19 %
Royer Labs R-10 Hot Rod - MP
Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind. Produktdetails Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit Übertrager im Humbucker-Design für extrem geringes Grundrauschen Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Matched Pair

1.699,00 €* 2.099,00 €*
19 %
Royer Labs R-121 25th Ltd. Ed. Rose MP
Mit dem 25th Anniversary R-121 feiert Royer das Jubiläum des legendären R-121 mit einer einzigartigen, limitierten Auflage. Das R-121 Distressed Rose bietet unverändert den gleichen Charakter und Klang des klassischen R-121 und fügt ihm eine atemberaubende Lackierung hinzu, die Fans und Sammler des R-121 begeistern wird. Abhängig vom Licht erzeugt die spezielle "Distressed Rose"-Lackierung eine Vielzahl von wunderschönen Farbtönen: Von einer dunklen Bourbon-Farbe bei schwächerem Studiolicht und auf der Bühne bis hin zu einem satten Rosé-Ton bei hellerem Licht. Die Auflage des R-121 Distressed Rose ist auf 500 Stück weltweit begrenzt. Das R-121 wurde 1998 auf den Markt gebracht und war das erste moderne Bändchenmikrofon, das sich radikal von anderen Mikrofonen abhob und damit die Wiedergeburt des Bändchenmikrofons einleitete. Das R-121 ist weltweit ein Standard für Abnahme von E-Gitarren und eines der besten Mikrofone für Blechblasinstrumente, Drum-Overhead, Kick-Drums, Klavier, Snare-Drum, Akustikgitarre, Violine, Percussion, Harfe, Cello... die Liste lässt sich beliebig fortsetzen. Um ein Instrument so natürlich wie möglich aufzunehmen, ist das R-121 die perfekte Lösung. Das R-121 Distressed Rose ist eines der am besten aussehenden und am besten klingenden Mikrofone, sowohl für den täglichen Gebrauch als auch als Sammlerstück. Eigenschaften Limitierte Auflage des R-121 mit "Distressed Rose"-Finish Verträgt hohe Schalldruckpegel Keine aktiven internen Komponenten, die bei hohen Schallpegeln Verzerrungen erzeugen könnten Extrem niedriges Grundrauschen Bändchenelement wird von Hitze und Feuchtigkeit nicht beeinträchtigt Keine hochfrequenten Phasenverzerrungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Konstanter Frequenzgang (unabhängig von der Distanz) Matched Pair

3.099,00 €* 3.849,00 €*
27 %
Universal Audio Sphere LX
Das UA Sphere LX Modeling Microphone System bietet den Sound klassischer Mikrofone, die von den Beatles und Beyoncé bis hin zu Radiohead und Frank Sinatra verwendet wurden, in einem kleineren, erschwinglichen Paket. Hauptvorteile Nimm mit 20 der begehrtesten Mikrofone, die je hergestellt wurden, auf Ändere Mikrofontyp, Richtcharakteristik und andere Eigenschaften, selbst nach der Aufnahme Nutze den Dual Mode für reichhaltig klingende Mikrofonkombinationen an Snare Drums und Gitarrenboxen Erweitere Deine Sammlung mit dem ultimativen Modeling-Mikrofon, mit zwei goldbeschichteten Membranen und dem geringsten Rauschen aller Mikrofone in seiner Klasse Schnapp Dir die Schlüssel zum ultimativen Mikrofon-Spind Mit 20 legendären Mikrofonmodellen von Neumann, Telefunken, AKG, Sony und weiteren* liefert das Sphere LX Deinen Produktionen die begehrtesten Bändchen-, Kondensator- und dynamischen Mikrofone, die je hergestellt wurden. Finde Dein perfektes Mikrofon in Echtzeit mit Apollo Mit dem Sphere LX kannst Du klassische Mikrofontypen vor, während und nach der Aufnahme mit jedem beliebigen Interface in jeder DAW ausprobieren. Und in Verbindung mit einem Apollo Interface kannst Du dies mit nahezu null Latenz tun. Nutze den Dual Mode für klassische Mikrofon Kombinationen Mixe den Sound von zwei Mono-Mikrofonen mit dem Dual-Modus des Sphere LX und erhalte reichhaltig klingende Mikrofonkombinationen für Snare-Drums und Gitarrenboxen.Reduziere Raumklang für bessere AufnahmenBändige Raumverfärbungen für sauberere, professionellere Aufnahmen mit IsoSphere und seinen Experten-Presets, die für alles zugeschnitten sind, vom Bedroom-Studio bis hin zu beliebten Isolationsfiltern von sE Reflexion Filters, Aston Halo, Kaotica Eyeball* und weiteren.Gebaut, für die EwigkeitMit zwei goldbeschichteten Membranen unddem geringsten Rauschen aller Mikrofone seiner Klasse stattet das Sphere LX Dein Studio mit einem erstklassigen Großmembran-Kondensatormikrofon aus, das mit Präzision gebaut wurde, um jahrelang Inspiration für Deine Musik, Podcasts und Voiceovers zu liefern. Enthält alles, was Du zum Aufnehmen brauchstIm Lieferumfang des Sphere LX Mikrofons sind ein 3m Kabel, eine Mikrofonständerhalterung und ein Trage-Case enthalten — so kannst Du im Handumdrehen Aufnahmen mit dem Sound legendäre