Wired Microphones .............686-703
Wireless Microphones .........704-722
Audio Mixers ........................723-735
Multitrack Recorders ..........736-745
Digital Workstations...........746-751
CD Players .............................752-757
Cassette Recorders ..............758-768
Audio Duplicators........................769
DAT Recorders ......................770-783
Speakers ................................788-791
Headphones ..........................792-795
Intercom Systems ................796-797
Uni-directional Dynamic Microphone
Consistently the choice of professional performers around the world, the SM58 is a rugged uni-directional dynamic mic with
a highly effective built-in wind and pop filter. It’s performance characteristics and compact size make it especially well-suited
for music and speech applications. A genuine world standard and audio legend, the SM58 makes all vocalists sound their best.
■ Unusually effective cardioid pickup pattern
■ Shock-mounted cartridge reduces mic
■ Designed for both field and
to minimize background noise and undesirable effects of studio and location
acoustics. Rear and side rejection uniform
to very low frequencies and completely
symmetrical about microphone axis.
handling noise and mic stand rumble.
studio use —hand-held or
on a stand. Includes slip-in
swivel adapter.
■ Self-contained spherical filter to control
explosive breath sounds (“pop”) and wind
noise in outdoor locations. Easily removable for cleaning or replacement.
SM58LC (less cable) ...................... 99.95
SM58CN w/ 25’ XLR cable ........109.95
SM58S w/ on-off switch (no cable) .. 99.95
SM-57 Uni-directional Dynamic Microphone
A true classic, the SM-57 is the “workhorse” microphone of stages and studios worldwide. It’s carefully contoured frequency
response means clean, well-defined instrument reproduction and rich, warm vocal pickup on lecterns or stages. The SM-57 is the
standard for drum, percussion and instrument amplifier miking.
■ Unusually effective cardioid pattern
minimizes reflections caused by poor
studio or location acoustics and
background noise.
■ Ideal for narration/dialogue, vocal
music and rhythm pickups.
■ Shock-mounted cartridge reduces
mic handling noise and mic stand
■ Rear and side rejection uniform to
very low frequencies and completely
symmetrical about microphone axis.
■ Designed for both field and studio
use —hand-held or on a stand.
Includes slip-in swivel adapter.
SM57LC (less cable) ............ 79.95
SM-87A Super-cardioid Condenser Microphone
The choice of the world’s top entertainers, the SM87A features a smooth frequency response that is tailored for warm, rich vocal
reproduction. Super-cardioid polar pattern permits high gain without feedback and rejects unwanted sounds. A three-stage
wind/pop filter minimizes breath noise and an excellent internal shock mount minimizes mic stand rumble and handling noise.
■ Flat frequency response for greater
gain before feedback.
■ Wide-range phantom powering oper-
ates from 11 to 52v DC.
■ Low-frequency roll-off reduces low-
frequency rumble and handling noise
and compensates for proximity effect.
■ Low distortion output and wide
dynamic range characteristics for a
variety of load impedances.
■ Very low RF and magnetic hum sus-
SM87A ..................................196.50
When you buy a Shure microphone you are buying uncompromised precision, performance, ruggedness and reliability in “real world” usage.
To back it up, Shure has the most stringent quality assurance testing program in the business. Before it can bear the Shure name, a mic must
be able to withstand extended exposure to extremes in temperature (-20° to 165°F) and humidity (100% at room temperature), ultraviolet
rays, salt spray, alcohol, sand and water. Also, violent vibrations, “drop tests” (repeated drops from six feet onto hardwood floors) and ten
days of repeated cycling between simulated arctic and tropical environments. If the mic doesn’t work after all this, it’s not a Shure. This dedication has made Shure “The Sound of the Professionals Worldwide” for decades. And that's why you’ll find Shure microphones virtually
everywhere—on stages, lecterns, remote broadcast locations and production sets all over the world.
We are on the web at:
Super-cardioid Dynamic Microphones
The BETA 57A and 58A offer premium performance to their counterparts, the SM57 and SM58. The BETA 58A is unequivocally the best dynamic mic for demanding live vocal applications while the BETA 57A excels in instrument miking applications.
They both employ a super-efficient magnetic circuit design that provides maximum output voltage for improved S/N ratio.
■ Super-cardioid pattern remains uni-
■ Advanced electro-pneumatic shock
■ Humbucking coil permits use in
mount design effectively minimizes
transmission of handling or stand noise.
■ Plug element pins are gold plated for
durable and low-noise transfer.
strong hum fields produced by lighting
BETA 57A ..............................CALL
BETA 58A ..............................CALL
form and symmetrical throughout
their frequency range. This reduces
off-axis coloration and feedback.
Wide and smooth frequency response
adds extra clarity
Shure’s BETA series includes the microphones that have proven legendary performance. The BETA series’ outstanding responsiveness to
vocals and instruments, specifically their maximum isolation from other sound sources and minimum off-axis coloration, have made them
the most respected and widely used microphones in the world. They also offer Shure reliability for years of trouble-free performance.
A premium quality super-cardioid condenser microphone, the BETA 87 features exceptionally smooth frequency response, high
SPL capability and a 3-stage pop filter to minimize breath noise. Ideal for live sound and music production, it also features
improved shock mounting and a premium hardened, dent-resistant grille.
■ Super-cardioid polar pattern remains
uniform throughout the frequency
range allowing higher gain before
feedback and reduced background
noise pickup.
■ Wide dynamic range (113dB) and
low distortion characteristics.
■ Phantom powered, accepts voltages
■ Advanced cartridge shock mount sys-
from 11 to 52 volts.
tem reduces handling noise.
■ Smooth frequency response 50 to 18
■ Includes the A25D break-resistant
kHz with a gradual presence rise and
minimal off-axis coloration.
swivel adapter.
BETA 87A .........................CALL
■ Low susceptibility to RFI, electrosta-
tic and electro-magnetic hum.
SM-7A Cardioid Dynamic “Voice-Over” Microphone
A dynamic microphone with a very smooth, flat, wide-range frequency response, the SM-7A is meticulously designed for
the most exacting music and speech requirements. One of the most popular mics for narration, TV and radio production as well as vocal and instrument recording. Improved shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices has made the SM-7A a classic voice-over microphone.
■ Dynamic mic with a cardioid polar pat-
tern offering minimum off axis coloration
■ Flat and wide 50 to 20 kHz frequency
response for exceptionally clean and natural reproduction of music and speech
■ Bass roll-off and mid-range emphasis
(presence boost) controls
■ Optimized shielding against interference
emitted by computer monitors or electromagnetic hum
■ Internal “air suspension” shock isolation
eliminates mechanical noise transmission
■ Pop filter eliminates ‘plosives’ (pops) even
■ Swivelling yoke mount
with rotating stand nut provides precise
control as wells as easy mounting and dismounting of microphone
■ Rugged construction and superior cartridge
protection for outstanding reliability.
for close-up vocals and narration
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
BETA 87A Super-cardioid Condenser Microphone
The entire Microflex family of miniature condenser microphones have been designed with performance, consistency and ease
of installation in mind. Their cardioid, super-cardioid and omni-directional condenser cartridges are completely interchangeable and fit every Microflex Gooseneck, Overhead, Boundary, and Lavalier model for the ultimate in convenience and uniform sound. Plus, each Microflex model includes all the basic accessories needed for complete installation.
Surface-Mount Microphones
The low-profile Microflex Series
boundary microphones are designed
to be unobtrusively placed flat on a
stage, table top or wall while offering
high quality audio for sound reinforcement, boardrooms, broadcast
or recording. Available with
interchangeable cardioid,
super-cardioid and omnidirectional polar patterns
in battery power, phantom power or pigtail
versions, giving you the
flexibility for any application.
Surface-Mount Microphone Models Include:
• MX391/C (cardioid) includes attached 12’
cable and separate in-line preamp, phantom power only ..............................149.95
• MX391/S (super-cardioid version of
• MX391/O (omni-directional version of
• MX391W/C, S or O White versions of
above available for the same price
• MX391BP/C (cardioid) Battery/phantom
power of above includes MX1BP
battery/phantom power module .....159.95
• MX391BP/S (super-cardioid version of
■ 50Hz to 17kHz frequency
• MX391BP/O (omni-directional version of
■ Easy to use paint mask for
your custom-color installations
■ Programmable silent membrane switches with
LED indicator can be set for Push to Talk,
Push to Mute or Push On/Push Off modes
(MX392 and MX393 only)
• MX391LP/C (cardioid) without
preamplifier for wireless systems,
uses Tini Q-G connector ..................99.95
• MX391LP/S (super-cardioid version of
• MX391LP/O (omni-directional version of
above) ...............................................87.50
• MX391WLP/C, S or O White versions of
above available for the same price
• MX392/C (cardioid) includes programmable membrane switch with LED indicator,
Built-in preamplifier, logic input/
output control capability, unterminated,
phantom power only ......................184.95
• MX392/S (super-cardioid version of
• MX392/O (omni-directional version of
• MX393/C (cardioid) includes programmable membrane switch with LED indicator,
Built-in preamplifier, detachable cable terminates to a male XLR connector, phantom power only ..............................184.95
• MX393/S (super-cardioid version of
• MX393/O (omni-directional version of
MX-183/184/185 Lavalier Microphones
Three wired lavalier microphones from the Shure Microflex series no larger than a paper clip. Optional interchangeable
mic cartridges allows you to tailor the microphones to any audio environment. The mics attach to the supplied power
supply with the Shure Tini Q-G connector. When the power supply is removed, the microphones can be used with any
Shure wireless transmitters.Well suited for all levels of location video work, recording and live applications.
■ Condenser lavalier microphones
■ Interchangeable cartridges for
omni-directional, cardioid and
super-cardioid polar patterns
■ Frequency Response 60 - 20
■ Includes pivoting, single-micro-
phone tie clip and dual microphone tie clip
■ Black, Snap-fit Foam Windscreen
■ Compatible with all Shure wireless
■ Available with belt-clip phantom
power only preamp and MX1BP
battery/phantom power preamp
■ Attached 4-foot cable with Tini
Q-G connector
Lavalier Microphone Models Include
• MX183 Omni-directional condenser lavalier, belt-clip preamp,
rotatable tie clip, dual tie clip, snap-fit windscreen ............149.50
• MX183BP Omni-directional condenser lavalier microphone with
4-ft attached cable, MX1BP preamplifier ..........................159.95
• MX184 Super-cardioid version of above ...........................166.95
• MX184BP Super-cardioid version of above ......................178.50
• MX185 Cardioid version of above ....................................159.95
• MX184BP Cardioid version of above ...............................172.50
Corporate Accounts Are Welcome
Gooseneck Microphones
Gooseneck Microphone Models Include:
• MX412/C (cardioid) 12˝ gooseneck,
terminates to XLR connector .......166.95
• MX412S/S (super-cardioid
version of above) ..........................184.95
• MX412/S (super-cardioid
version of above) ..........................172.50
• MX412S/O (omni-directional
version of above) ..........................172.50
• MX412/O (omni-directional
version of above) ..........................154.95
• MX418S/C (cardioid)
18˝ version of above.....................183.95
• MX418/C (cardioid)
18˝ version of above.....................166.95
• MX418S/S (super-cardioid
version of above) ..........................184.95
• MX418/S
(super-cardioid version of above) .172.50
• MX418S/O (omni-directional
version of above) ..........................172.50
• MX418/O (omni-directional
version of above) ..........................154.95
• MX412SE/C (cardioid) 12˝ gooseneck
with attached 10’ XLR cable and inline
preamplifier, threaded flange mount
and shock mount adapter.............178.50
• MX412D/C (cardioid) 12˝ gooseneck
with desktop base, with programmable
switch, logic input and output terminals
and attached 10’ XLR cable .........215.95
• MX412SE/S (super-cardioid
version of above) ..........................183.95
• MX412SE/O (omni-directional
version of above) ..........................166.95
• MX412D/O (omni-directional
version of above) ..........................204.95
• MX418SE/C (cardioid)
18˝ version of above.....................178.50
Microflex Series Cartridges
• MX418D/C (cardioid)
18˝ version of above.....................215.95
• MX418SE/S (super-cardioid
version of above) ..........................183.95
• R183B Omni-directional ..............36.50
• R184B Super-cardioid ..................54.95
• R185B Cardioid ...........................49.50
• MX418D/S (super-cardioid
version of above) ..........................219.95
• MX418SE/O (omni-directional
version of above) ..........................166.95
• MX418D/O (omni-directional version of above) .....................................................204.95
• MX412S/C (cardioid) 12˝ gooseneck with push-button mute switch and
LED status indicator, terminates to male XLR connector .........................................183.95
MX-202 Hanging Microphones
These phantom power only miniature hanging condenser mics feature the same
interchangeable capsule design as the rest of the Microflex series. Available with
either plate-mount or stand adapters ideal for use as overheads for live theatrical
and musical productions. The flexible 4˝ gooseneck allows you to unobtrusively
aim the mics exactly the way you want them.
Hanging Microphone Models Include:
• MX202B/C (cardioid) 4˝ gooseneck with in-line
preamplifier and stand adapter, black finish.......................149.50
• MX202BP/C (cardioid) 4˝ gooseneck with plate-mount
preamplifier and 30’ cable, black finish..............................149.50
• MX202B/S (super-cardioid version of above)....................154.95
• MX202BP/(super-cardioid version of above) ....................154.95
• MX202B/O (omni-directional version of above)...............137.95
• MX202BP/O (omni-directional version of above) ............137.95
• MX202W/C, S or O
White versions of above available for same price
• MX202WP/C, S or O
White versions of above available for same price
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
• MX412D/S
(super-cardioid version of above) .219.95
Designed with premium audio quality and
ease of installation in mind, these miniature
condenser gooseneck microphones feature
swappable cardioid, super-cardioid and
omni-directional cartridge capability and
come complete with all the necessary accessories. A variety of mounting options make
these mics suitable for any installation. All
models run on phantom power and have a
frequency response of 50Hz to 17kHz.
Omni-Directional Dynamic
ENG Microphone
Omni-Directional Dynamic
ENG Microphone
An elegant yet rugged microphone that's compact
and light weight, the SM63’s omni-directional polar
pattern, wide 40 to 20,000 Hz frequency response
and patented mechanical isolation system for low
handling and stand noise makes it the ideal choice
for ENG work. It also offers an effective wind and
pop filter, and a durable VERAFLEX grille that
won't rust or dent. When extra reach is needed, the
SM63L and SM63LB offer an extra-long streamlined handle.
A sleek, ergonomic design and a high energy
neodymium magnet make the VP-64A ideal for “oncamera” video production and broadcast use. The
upper-midrange presence rise adds clarity, while the
low-end roll-off minimizes boominess and background noise. Delivers consistent audio quality on or
off axis, high output and low noise. It also offers
effective shock isolation and extremely rugged construction. Frequency response is 50 to 12,000 Hz
SM63 ................................................................111.95
SM63L Extended handle, champagne finish ..127.50
VP64A (7-7/8 in. handle) ..............................73.95
VP64AL (9-5/8 in. handle)..............................86.50
SM63LB Extended handle, black finish ......127.50
Single-Point Stereo
Condenser Microphone
A rugged, single-point stereo microphone, the VP88 is ideal for studio or field use. Employing a MS (Mid-Side) recording configuration it captures
superb three dimensional realism that is completely
mono compatible. M-S combines a cardioid polar
pattern mic element (Mid) and a figure 8 polar
pattern mic element (Side) and a stereo width
adjustment that controls the stereo spread
■ Frequency response is 40 to 20,000 Hz
■ Adjustable stereo spread for direct control of the
amount of stereo effect
■ Mono compatibility for broadcast applications
■ Switch-selectable phantom or 6V internal bat-
tery power, and low-frequency roll-off
VP88 M-S Stereo Microphone (includes windscreen, swivel adapter, battery and Y-cable .649.95
Hyper-Cardioid Shotgun
Condenser Microphone
A highly directional shotgun condenser microphone,
the SM89 is specifically designed for location film and
TV production, theatre and sound reinforcement, and
spot news coverage. The SM89 reduces the problem of
off-axis coloration, thanks to its exclusive Accu-Port
interference tube system and its smooth, extended frequency response. Aircraft quality aluminum housing
makes the SM89 up to 40% lighter than other models
and easy to handle.
■ Switchable low-cut filter @ 160Hz
■ 127dB maximum SPL @ 1kHz
■ Uses readily available 11 - 52v phantom power
■ Frequency response is 60 to 20,000 Hz
SM89 Shotgun Microphone (includes carrying case
and RK257WS windscreen ..........................609.95
Optional VP88 and SM89 Shock Mounts
A89SM Shock Mount Holder for the SM89: Utilizes dual shock isolators and a cable locking design to eliminate noise associated with stands,
booms, fishpoles, and cable movement. Mounting options include 5/8˝,
3/8˝ and 5/16˝ thread adapters for stands and booms.....................86.95
A88SM Microphone Isolation Mount for the VP88:
Same as the A89SM plus it adds locking “foot” and 1/4˝-20 screw-type
adapter for cameras and a pistol grip adapter plate........................144.95
7-Day Customer Satisfaction Guarantee
Low- to Medium- Impedance Matching Transformer
Low impedance, female XLR to medium impedance 3.5mm miniplug output connector with 18˝ cable. Adapts a balanced, low-impedance microphone to camcorder/ recorder input. Also has a DC Bias
Filter .........................................................................................36.50
Low- to High-Impedance Microphone Transformer
The A95UF and A95U provide 24 dB of voltage gain and may be
used in reverse (high- to low- impedance). The A95UF comes with
a balanced low impedance 3-pin XLR female input and the A95U
comes with a balanced 3-pin XLR male low-impedance connector.
An Amphenol MC1M-type output connector with mating 1/4˝
male phone plug and female phone jack adapt to a variety of highimpedance signals.
Economy Low- to High-Impedance Mic Matching Transformer
Provides 24 dB of voltage gain and may be used in reverse. Balanced
3-pin XLR female input and 1/4˝ male output ..........................17.50
A95UF/A95U ......................................................34.95/32.50
Problem Solvers
Switchable Phase Reverser
Switchable Microphone Attenuator
Prevents preamplifier overload when strong
signals are applied.
• Provides 15, 20, or 25 dB of microphone attenuation
• Requires use of balanced signals; XLR female in and XLR male out
• Passes phantom power ............................................................38.50
Provides instant switch selection of normal or reversed
phase of a balanced line without modification of equipment.
• Reverses polarity of pins 2 and 3 of a balanced line
• Slender, in-line XLR (F) to XLR (M) configuration; may be used
in reverse
• Requires use of balanced signals ..........................................38.50
High-Pass Filter
Reduces unwanted low end rumble in
microphone signals.
• Provides low-end roll-off of 12 dB per octave below 100 Hz
• Slender, in-line XLR (F) to XLR (M) configuration
• Requires use of balanced signals ..............................................38.50
Line Adapter
Provides 50 dB attenuation, allowing a
balanced line-level source to be connected to a balanced microphone
• Slender, in-line XLR (F) to XLR (M) configuration
• Requires use of balanced signals ..........................................34.95
Accessory In-Line Switch
Provides on/off, push-to-talk, cough button, and
transmitter relay keying functions for wired microphones.
• Convenient handheld size with belt clip
• For hardwired, in-line use with various cable diameters ......................................................................................23.95
Bridging Transformer
Matches balanced or unbalanced
devices of different impedances.
• 33 kOhm primary: 600 or 7500 ohm secondary; may be used in
• Slender in-line XLR (F) to XLR (M) configuration ..............39.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
No matter how well you plan ahead, sooner or later you will probably run into an audio-related problem. For example, dealing with incompatible signals of a low impedance microphone and a high impedance mic input of a camcorder or eliminating the low end rumble picked up
by a sensitive mic due to handling noise or even automobile traffic. Shure has developed a number of problem solving solutions to help you
out in these types of situations and many others.
Variable-D Dynamic Cardioid Studio Microphone
The RE20 has a sound that has made it one of the most popular broadcast announce and voice-over
microphones in the world. The RE20 has a smooth, extended, clean response with a Variable-D design that
virtually eliminates “bass boosting” (proximity effect) when working close to the microphone. A heavy-duty,
internal P-pop/blast filter allows you to be right up to the microphone with no worry about pops or hissing sounds.
Features include a bass roll-off switch and an internal microphone element shock mount that reduces vibration-induced
noise. Frequency response is 45 Hz to 18 kHz.
Variable-D Dynamic Cardioid Studio Microphone
The RE27N/D uses the proven Variable-D concept pioneered by the legendary RE20, but incorporates
N/DYM technology to create a dynamic microphone that exhibits higher output and even wider frequency response than the industry-standard RE20. Variable-D reduces bass-boosting “proximity effect”
to maintain a uniform low-frequency response, up close or at a distance. In addition, it features three
switchable filters – one high frequency and two low frequency. An internal blast/wind filter covers the
microphone head/vents along the mic body, preventing P-pops, breath sounds, or excessive sibilance.
RE-20 Dynamic Cardioid Studio Microphone .............................................................................429.95
RE-27ND Dynamic Cardioid Studio Microphone .......................................................................459.95
Microphones Built to Last
A mainstay in the broadcast/production industry for nearly 50 years, high reliability is designed and built into every EV mic. While
performing their audio job, EV mics have met every physical challenge in the studio or in the field. And EV’s warranty reflects this
experience and their confidence. All mics are unconditionally guaranteed against malfunction for two years, including accidental damage during use. In addition, the acoustic system is guaranteed against defects in materials or workmanship for the life of the product—there is nothing else like it.
Integrated Boom Pole/Shotgun Microphone
Integrating a shotgun microphone and a boom pole with built-in headphone amplifier, the ENG-618
is ideal for ENG work. It features a perfectly balanced,
ergonomically designed graphite fiber K-Tek boom
pole that provides great strength with minimum weight
and a permanently attached back electret shotgun
microphone with superior selective pickup performance. The six foot boom pole and microphone collapses to a mere 18 inches for easy transport.
■ Hypercardioid-line (shotgun), back-elec-
tret condenser microphone
■ 200 Hz roll-off circuit located in the elec-
tronics housing at the back end of the
boom-pole, lets you precisely tailor the
sound quality.
■ Standard 3-pin balanced XLR- connector
■ 50 Hz to 20 kHz on-axis frequency
■ Finely crafted, high-density K-Tek
graphite fiber boom-pole with a burnished
finish that reduces handling noise.
■ Low-battery LED indicator
We Exhibit At NAB, Infocomm, and Siggraph
■ Supplied with windscreen and storage
■ Powered by external 12- to 52-volt phan-
tom power supply or by the 9v internal
battery that is used to power the headphone amplifier.
ENG-618 ........................................799.95
Dynamic Omni-Directional ENG/EFP Microphones
635A ..................................89.95
635AB ................................89.95
635ND•B ........................109.95
Dynamic Omni-Directional ENG/EFP Mics
The 635A is the most popular and well-known ENG/EFP microphone in the world. It has survived being
dropped, run over, thrown and even being shot while on location for film, television and radio remotes. The
635A’s tailored frequency response delivers clean audio under adverse field conditions. The amazing, unsurpassed durability of the 635A has earned it a nickname: “The Hammer”. Its moderately high output level (55dB) is appropriate for a broad range of studio and field applications. Its response has been specially shaped for
up-close vocals. The 635 AB is the same but it comes in a camera-black finish. The 635ND•B also comes in
black but it is a neodymium mic. Frequency response: 20-20KHz ±3 dB.
The RE50B is designed specifically as an ENG/EFP interview microphone. Every day, for local, national and international news
reports, the RE50B gathers the audio for news interviews. The RE50B’s custom “mic-within-a-mic” shock mount provides
extremely low handling noise for superior sound. A large, built-in Acoustifoam filter keeps wind and P-pop noise to an absolute
minimum, indoors or out. Frequency response is 20Hz -20kHz ±3 dB.
RE-50ND•B ..............................................................149.95
Neodymium, also known as N/DYM or N/D, is a rare-earth element which, when magnetized, is four times more
powerful than a normal magnet. Electro-Voice, the developers of N/DYM technology, found that N/D dynamic
microphones give equivalent condenser performance without the condenser microphone drawbacks of dead batteries,
failing phantom power, or problem operation in high humidity.
RE-45 N/D Cardiline Dynamic Shotgun Mic
A unique handheld and camera-mountable “short shotgun” microphone utilizing
N/DYM technology. N/DYM design gives you the high output level of a condenser microphone with added benefits. First, the RE45N/D is a dynamic design, so it requires no batteries. It can take high humidity levels that would otherwise knock out a condenser shotgun. Rugged reliability and plug-in-and-go design make the RE45N/D the ENG/EFP shotgun microphone of choice.
Approximate working range 6-8 feet. Cardiline, is a combination of a cardioid directional pattern with an
ultra-directional, slotted tube line design (cardioid + line = Cardiline). Cardiline microphones give greater
“reach”, typically two to four times over conventional cardioid microphones. Frequency response is 20-20KHz ±3 dB. RE-45ND 369.95
Dynamic Super-Cardioid, Slotted
Handle ENG/EFP Microphones
For professionals who need an exceptional supercardioid mic for ENG interviews, voice-overs and
music production recording. It has an excellent,
built-in heavy duty pop/blast filter, switchable bass
roll-off, hum-bucking coil and a Memraflex grille
screen that retains its shape if dropped.
Frequency response is 80Hz -15 kHz
RE-16 ........................................................199.95
EV Microphone Accessories
Suspension shock mount for RE-20, RE-27N/D ......................109.95
Stand clamp for 635A, RE-16......................................................19.95
Shock mount for stand clamp for 635A, RE-16 ..........................39.95
Windscreen for 635A ..................................................................19.95
Stand clamp for RE-20, RE-27N/D ............................................34.95
Windscreen pop filter for RE-16, RE-50 ....................................19.95
Desk stand with rubber shock mount that accepts
microphone stand clamps, black ..................................................29.95
Desk stand, 5 1⁄8˝ diameter base and 5˝ post with
5⁄8˝-27 thread, black ....................................................................29.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
What is Neodymium, N/DYM, or N/D?
Miniature Omni-directional Condenser Lavalier Mic
The AT803b is a lavalier microphone with excellent yet unobtrusive sound pickup. The wide-range capability of the AT803b ensures clean, accurate reproduction with high intelligibility for lecturers, singers, stage
and TV performers. A clothing clip is provided, as well as an accessory windscreen and carrying case. The
AT803b can be powered from an external 9v to 52v DC phantom supply or will run for approximately
1000 hours on a standard AA battery (supplied). The microphone element is enclosed in a rugged housing
with a low-reflectance finish. Internal construction is designed to minimize handling and clothing noise. A
6-foot cable is provided between the microphone and power module. A built-in 3-position switch on the
power module allows selection of battery off, battery on/flat response, or battery on/low-roll-off. When
powered by phantom power, the battery is bypassed, while response selection of flat and roll-off is still available via the switch ....................................................................................................................147.95
Miniature Cardioid Condenser Lavalier Mic
The AT831b is a lavalier mic designed for use by professional musicians, especially for pickup of acoustic guitar, and for hands-free applications in sound reinforcement systems. The AT831b provides improved gain
(before feedback) that is difficult to obtain with omni-directional microphones. Voice and instrument pickup is
crisp, clean, and full sounding..........................................................................................................139.95
■ Can be powered from an external 9v to
52v DC phantom supply or will run
for approximately 1000 hours on a
standard AA battery (supplied).
■ Mic element is enclosed in a rugged
housing with low-reflectance finish.
■ 3-position switch on the power module
allows selection of battery off/on/flat
response, or battery on/low-roll-off.
■ Internal construction is designed to
minimize handling and clothing noise.
■ A 6-foot cable is provided between the
microphone and power module.
■ Includes a clothing clip, instrument
adapter, windscreen and carrying case.
AT813a Cardioid Condenser Mic
The AT813 is a wide-range condenser mic with a cardioid (uni-directional) polar pattern
designed for professional recording and sound reinforcement applications. Utilizing the latest
low-mass technology, frequency and transient response is improved, while distortion is reduced.
Its uni-directional pattern controls feedback and minimizes pickup of unwanted sounds, such as
audience or machine noise. It also allows greater mic-to-performer distance when compared to
omni-directional mics. The AT813 is enclosed in a rugged housing with a low-reflectance matte finish.
The internal shock-mounting is designed to minimize handling and cable noise ............................149.95
Omni-Directional Dynamic Microphone
The AT804 is a moving coil dynamic mic with an omni-directional pickup pattern.
Designed for professional recording and broadcast studios, it is particularly suited to applications requiring utmost dependability with uniform high quality. Its hardened-steel grille
and diecast case make the AT804 ideal for field applications where rugged construction is
essential. Output is via a three-pin balanced XLR connector. A snap-in microphone stand
adapter and a protective soft vinyl microphone pouch are included..............................89.95
Onepoint X/Y Stereo DAT Microphones
They are X/Y stereo condenser microphones with full mono compatibility, designed for DAT recording. They
are equally suited for television, FM, and field applications—handheld or camera-mounted— where they
provide full, natural stereo ambience in a compact, lightweight design. The AT825 adds balanced output as
well as external phantom power capability.
rations of high quality stereo audio recording. This includes true stereo ambience
(crowd noise, music, etc.) mixed with narrative talent on a center mono channel. In single-take situations, technicians will also
appreciate their excellent channel separation.
■ Switchable low-frequency roll-off
■ Distortion-free signal even in sound fields as
■ AT822 includes a 1.7' cable (XLR-female to
high as 125 dB SPL.
stereo 3.5 mm mini-plug); and a 10´ cable
(XLR-female- to two mono 3.5 mm miniplugs); gun-grip/stand clamp; camera shoemount adapter; windscreen; battery; case
■ Excellent channel separation
■ The AT822 runs on a single AA, the AT825
can run on phantom power or a AA battery.
■ AT825 includes a 16.5´ cable (5-pin XLR to
■ Closely-matched elements provide the spa-
two standard 3-pin XLR connectors), stand
clamp; windscreen; battery; case.
tial impact and realism of a live sound field.
AT822 ..................................................................................249.95
AT825 ..................................................................................339.95
The 18-inch AT815b is a wide-range condenser microphone with a uni-directional polar pattern for
long distance sound pickup. Although designed for professional recording, broadcasting and film/video
sound it is equally suited for serious amateur recording and sound reinforcement. The slightly shorter
(14-inch) AT835b has a wider acceptance angle.
■ Enclosed in a rugged housing with a low-
ance output. They can be powered from
an external 9v to 52v DC phantom
supply or run for approximately 3000
hours on a single AA battery.
■ Frequency response of the AT815B is
reflectance matte satin nickel finish.
30 Hz to 20 kHz and 40 Hz to 20 kHz on
the AT835b.
■ Selectable flat frequency response for full
range sound pickup or roll-off frequencies
below 100 Hz for reduction of low-end
rumble or handling noise.
AT815b ................................................................................279.95
■ Supplied with a snap-in microphone stand
adapter, a foam windscreen for outdoor or
boom use and a vinyl carrying case.
AT835b ................................................................................239.95
AT4071a/AT4073a Condenser Line and Gradient Microphones
The AT4071a and AT4073a exhibit exceptional directivity from their line and gradient design that
offers linear on-axis response and maximum rejection of sounds from the sides and rear of the
microphones. The unique positioning of the capsules within the tube of the microphones greatly
reduces the mics’ sensitivity to wind noise and all but eliminates coloration due to proximity effect
when the mics are used at varying distances.
■ Designed for critical long-distance pickup
in broadcasting, film/TV production, and
theater sound reinforcement applications.
■ AT4071a has an ultra narrow acceptance
angle for difficult long reach situations.
■ AT4073a has a wider acceptance angle yet
■ Exclusive acoustic design provides same
directivity as mics up to 50% longer.
■ Rugged housing made of lightweight struc-
tural-grade aluminum alloy
■ Frequency Response 30 - 20,000 Hz
■ 112 dB dynamic range
■ Require 11v - 52v phantom power
■ Switchable low frequency roll-off 150 Hz,
■ Direct-coupled, XLR balanced output
12 dB per octave
■ Include AT8405 stand clamp; foam windensures a clean signal even in high-output
screen; protective case
AT4071a ..............................................................................599.95 ..
AT4073a ..............................................................................529.95
is still quite directional.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Condenser Line and Gradient Microphones
■ They feature a XLR balanced low-imped-
■ They readily respond to the typical configu-
Lavalier Microphones
Sony’s lavalier microphones are manufactured to meet the most demanding professional broadcast and recording requirements. They are designed to deliver the highest level of performance and reliability. There are four primary lavalier mics
in the series, offering different sizes and applications. Additionally, they offer three big advantages over other systems.
High Performance
Sony’s lavalier microphones are distinguished by their superior performance,
as represented by the wide (40Hz~20kHz) frequency response of the topof-the-line ECM-77B. They will more than measure up to your expectations.
Wide Selection
The Sony lavalier series is comprised of four models, each finished in black
plating. Designed with the most advanced technology, the ECM-77B is the smallest
and lightest. The uni-directional ECM-66B is the answer to the specific demands of
close-miking of musical instruments. The popular ECM-55B incorporates a 10.6mm
omni-directional capsule for versatility, while the ECM-44B offers high performance at a
lower cost. With each model designed for a specific application, you will be able to find the one
that’s just right for you. There is also a full line of lavalier accessories available.
Increased Reliability and Convenience
Increased reliability is another important plus for these microphones. Careful attention is paid to make the capsule
immune to external noise and adverse ambient conditions. The cable is strengthened to achieve a high resistance to
damage caused by over flexing. A readily available “AA” battery is employed for its long life and easy replacement.
ECM-77B Omni-directional Condenser
At only 1⁄4˝ x 1⁄2˝, and a mere 1.5 grams, the
ECM-77B is microscopic, yet has a frequency
response extending from 40Hz to 20,000 Hz.
Increased mechanical impedance using a metal
vaporized, fine ceramic backplate provides the
ECM-77B’s exceptional frequency response.
And, by design, the ceramic backplate assures
resistance to humidity and temperature
extremes for increased reliability. Combined
with advanced techniques for sealing the capsule and advanced design for the acoustic
housing, the ECM-77B delivers sound that is
audibly superior and more pleasing than any
other lavalier mic. Ideal for TV broadcasting and stage applications where the highest quality
microphone must be inconspicuous, it not only enables unobtrusive miking, but also minimizes glare. Even when hidden inside a costume, its frequency response is wide enough to pick
up the voice with no perceptible change in quality, while minimizing the pick-up of rustling
Most Orders Shipped Within 24 Hours
■ Ultra-mini size
■ 2-way powering system (internal battery or
external 48 volt DC phantom power)
■ Supplied metal-mesh windscreen and
metal holder clips
■ Microphone capsule size 5.6mm x
12.55mm(1⁄4˝ x 1⁄2˝), 1.5g (0.053 oz)
■ Frequency response: 40~20,000 Hz
■ Maximum input sound pressure level:
120dB SPL
■ Dynamic range: >90dB
■ Professional 3-pin male XLR connector
ECM-66B Uni-Directional Electret Condenser Mic
■ 2-way powering system (internal battery
or external 48 volt DC phantom power)
■ Supplied urethane windscreen and metal
holder clips
■ Microphone head: 10.6 x 24.2mm (7⁄16
x 31⁄32˝), 7g (0.25oz).
■ Frequency response: 70 ~ 14,000 Hz
■ Maximum input sound pressure level:
130dB SPL.
■ Dynamic range: >101 dB
■ Connector: Professional 3-pin male XLR
■ 2-way powering system (internal battery
or external 48 volt DC phantom power)
■ Supplied metal windscreen and metal
holder clips
■ Microphone head: 10.6 x 21mm (7⁄16 x
27⁄32˝), 6.5g (0.23 oz)
■ Frequency response: 30~18,000 Hz
■ Max input sound pressure level: 126dB
■ Dynamic range: >98 dB
■ Connector: Professional 3-pin XLR
ECM-44B Omni-directional Electret Condenser Mic
The ECM-44B makes the exceptional quality of
Sony’s electret condenser microphones available for
budget conscious productions, and a variety of sound
reinforcement requirements, such as lectures and
demonstrations. Measuring 8.5 x 14.5mm, the ECM44B reduces the visual distraction to the audience.
Designed with the same precision engineering technique developed for improving the sound quality of
the ECM-55B, the ECM-44B can be depended upon
for clean, bright, yet natural reproduction. To maintain its low cost, this microphone operates on a single
AA battery for over 5000 hours of service.
■ Supplied urethane windscreen and clip
■ Microphone head: 8.5 x 14.5 mm (11⁄32˝
x 19⁄32˝), 2g (0.07 oz).
■ Frequency response: 40 ~ 15,000 Hz
■ Max input sound pressure level: 122dB
■ Dynamic range: >90 dB
■ Connector: Professional 3-pin male XLR.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
ECM-55B Omni-directional Electret Condenser Mic
The ECM-55B is an omni-directional lavalier microphone suitable for many different applications ranging from news and interviews to stage dramas and
instrument pick-up. Frequency response is a wide
30~18,000 Hz. Above 2KHz, there is a gentle rise in
the response to give a touch of presence to any
instrument, while offering crisp, clean voice quality
without any masking effect when used as a lapel
microphone. The directivity is optimized to ensure
uniform, dependable output, regardless of the direction of the sound source. The metal mesh windscreen effectively eliminates both wind noise outdoors and pop noise in close-up situations. All this and traditional operation – the ECM-55B
may well prove to be your most versatile and useful lavalier microphone.
The design of the ECM-66B yields clean, natural
reproduction of musical instruments while maintaining excellent isolation from the acoustic environment. Unlike most miniature microphones, this mic
has a uni-directional polar pattern, carefully contoured for better control of feedback. The higher
voltage supplied to the microphone by the built-in
DC-to-DC converter increases the maximum input
sound pressure level to an amazing 130dB SPL. This
special construction also complements the electret
condenser design, resulting in excellent transient
response and thus better tonal quality. For added
versatility, the ECM-66B can be powered by a single AA battery or external 48 VOLT DC.
The battery on/off switch on the power supply helps save the battery. An LED illuminates to
show battery condition when the power is turned on. A uni-directional miniature microphone developed specifically for recording musical instruments and voice when superb rejection of the ambient sound is desirable, the ECM-66B will make a welcome addition to your
microphone arsenal.
Uni-directional Mic
C-74/C-76 Shotgun Microphones
With its electret condenser design, the ECM-23F3PR provides exceptional
performance and
economy, ideal for many professional
applications. A high sensitivity capsule assures superior sound quality as
well as improved signal-to-noise ratio.
Wide dynamic range is achieved by
employing an advanced DC-to-DC
conversion design with power supplied by a single AA battery. The ECM-23 F3PR is also equipped with a battery
indicator and a battery off switch.
Highly directional shotgun-type
condenser mics the
C-74 (16-inches long) and C-76 (26-inches long) offer a
unique design and superb construction to yield a wide frequency response and clean, crisp transient response. In addition, their condenser capsules are encased in an acoustic tube
which rejects sound emanating from side and rear sources as
well as background noise and ambient sound. An RF-tuned circuit with a
crystal-controlled oscillator frequency of 10 MHz assures low noise.
■ Electret condenser
■ Low cut filter
■ 40~16 kHz frequency response
■ Uni-directional
■ XLR female to 1/4"
■ >112dB dynamic range
■ They both include a windscreen
C-74 ..................................759.95
AD-74 Blimp for C-74......329.95
C-76 ..................................879.95
AD-76 Blimp for C-76......359.95
phone plug cable
■ 20Hz - 20kHz frequency
■ Low-cut switch (2 positions)
■ Uses battery or phantom power
■ 3-pin male XLR connector
■ 50 hrs. of operation with bat-
tery/battery check LED
Uni-Directional Condenser Mic
Stereo Electret Condenser Microphone
The ECM-672 is a
lightweight, short
shotgun mic that provides excellent performance at an affordable price. About 30%
shorter and lighter than the C-74, but
with the same dependability and extreme
ruggedness, the ECM-672 is designed for
today’s DXC series of professional cameras.
Its superb controlled directivity assures rejection of ambient
and camera noise, while the supplied windscreen reduces
wind noise and provides pop protection during extra close
miking. A 2-position low-cut switch further contributes to
the mic’s low noise level and emphasizes desired sound
sources by eliminating boominess in the low range. A single
AA battery provides over 3,000 hours of operation.
Combining Sony microphone technology with M-S
stereo design, the ECM-MS5 enables top quality
stereo miking with natural imaging.
With its low profile looks, easy
handling, rugged construction and
flexible powering capabilities —
12-48v DC or AA battery (with
the DC-MS5 Battery Unit)—it
enables easy stereo sound pick-up for many applications. A builtin variable matrix allows you to adjust the stereo image from 0 to 127° of
pick-up angle. Combined with the optional GP-5 hand grip/shock mount,
the MS5 can be either “fish-pole” mounted or hand held. Supplied urethane windscreen and built-in low-cut switch virtually eliminate wind and
vibration noises. For applications in severe outdoor conditions the optional
AD-72 heavy-duty windscreen provides the ultimate in wind protection.
2-position low-cut switch
Supplied windscreen with
safety-lock screw
Battery check switch and
2-position low-cut switch
3-pin XLR connector
114dB Maximum SPL
Dynamic range: >92dB
Dimensions 11⁄13˝ x 12˝
Battery or phantom power
50Hz to 16kHz frequency
Condenser Microphone .............................................424.95
Blimp/windscreen for ECM-672 ..............................309.95
Mic Holder for DXC Series Cameras .......................164.95
Suspension Cradle .......................................................69.95
Equipment Leasing Available
5-pin male XLR connector
70 Hz~to 20 kHz frequency
Variable stereo image selector
130 dB maximum SPL
Requires 12-48v phantom power
Dynamic range; >108dB
ECM-MS5 Stereo Condenser Microphone ................................959.95
Includes DC-MS5 battery power unit ......................................1319.95
Includes DC-MS5 battery power unit and GP-5 Pistol Grip......1769.95
DC-MS5 Battery Power Unit ......................................................332.95
GP-5 Pistol Grip/Shock mount....................................................164.95
AD-72 Blimp/windscreen for ECM-MS5 ....................................309.95
Microphone Fishpoles
Three carbon fiber and four aluminum microphone poles available in
various lengths, designed for the location sound and broadcast audio
recordist. The carbon poles use ultra lightweight, high modulus carbon
fiber tubing that is very thin-walled without compromising their load
capacity. The aluminum poles are made from stress-proof, high tempered aluminum alloys with black anodized finish. Telescopic extensions lock into place with a convenient twist-lock system, allowing
simple and efficient setting of the required boom length. Complete
with unique 1/4" - 3/8" reversible mounting screw, port hole for
microphone cabling at both ends and soft rubber hand grip. Gitzo’s
commitment to fine European craftsmanship ensures smooth gliding
movement with minimum bow when poles are fully extended.
Carbon Fiber
25 5/8˝
135 7/8˝
1 lb
1.25 lbs.
1.6 lbs.
5 lbs.
5 lbs.
5 lbs.
.75 lbs.
1 lb
1.5 lbs.
2.25 lbs.
5 lbs.
5 lbs.
G1551 Carbon Microphone Boom 142
G1552 Carbon Microphone Boom 243
G1553 Carbon Microphone Boom 344
G555 Loisir Fisher
G556 Weekend Fisher
G557 Sport Fisher
G7680 Studex Fishpole
Fishpole Accessories
GITZO G11510
Microphone shock mount with variable
angle mic adjustment, rubber membrane
suspension bands that absorb boom handling noise and durable aluminum construction with 3/8˝ threaded yoke ......101.95
BOGEN 90417
Pivot clamp, yoke assembly allows any
Gitzo boom pole to be mounted on a
lighting stand .........................................................................28.95
BOGEN 3096
10lb counter balance for use with 90417 yoke assembly ........38.95
BOGEN 3366
Thread adapter converts 3/8˝ Euro size mounting screw used by
boom poles to the 1/2˝ American standard threading ..............6.50
BOGEN 3071
2-section cine stand compatible to 90417 yoke assembly......119.07
Audio Technica AT8407
Universal spring-loaded microphone clamp ..............................15.95
Audio Technica AT8410A
Shock mount with universal spring-loaded clamp ....................49.95
Audio Technica AT8415
Universal low profile shock mount ...........................................49.95
Audio Technica 3760557
Camera “Hot Shoe” thread adapter ............................................9.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Modular Electret Condenser Microphone System
The K6 series is designed to bring uncompromised studio quality
sound and ruggedness to the broadcast and field recording markets.
At the heart of the K6 series is the K6 power supply. The K6 is the
back end of the multimike system and accommodates a balanced, low
impedance 3-pin XLR output connector.
The modular design of the K6 power supply allows you to quickly convert
from any one of six microphone capsules simply by unscrewing the current capsule from the K6 and replacing it with another. Each capsule has a different
polar pattern making the K6 series flexible enough for any situation.
Choose from omni-directional to highly directional shotgun mics suitable
for boom pole and camera mounting as well as a lavalier capsule ideal
for on air talent and live theater applications. A K6 Power Module plus a
few mic capsules gives you the flexibility that would otherwise require investing in a number of individual mics.
K6/K6P Powering Modules
What is an
Electret Condenser Microphone?
In contrast to other audio frequency condenser microphones, the electret condenser
does not require an external polarization
voltage to be applied to the capsule. Instead
a permanent electric field is “frozen” via special processes on the material of the capsule
elements. The permanent electric field of an
electret can be compared to the permanent
magnetic field of a magnet. A light
diaphragm moved by sound in the electric
field will cause analogous shifts in the electric charge between diaphragm and backelectret, which after undergoing level and
impedance shifts by integrated circuits will
give a standard mic level signal.
The back-electret microphones constitute an
important class of microphones. For a group
of high-quality microphones Sennheiser utilizes the so called back-electret technology.
In these microphones the electric field originates at the stationary counter electrode
rather than at an electret diaphragm. This
technique results in a much improved transient response and superior attenuation of
handling noises.
Microphone handgrip and power supply
capable of battery or phantom powering
any of the microphone capsules in this
series. One “AA” battery supplies power
for approximately 150 hours. The K6
power supply has an integrated bass rolloff switch and an on/off switch with an
LED indicator for battery condition ................................................................209.95
K6P (phantom power only version of K6) ........................................................219.95
MKE2-60 Omni-Directional Lavalier Capsule.
This miniature microphone is currently in widespread use on TV news, as well as most
major Broadway shows. With its diminutive size and flat (uncolored) frequency
response, the MKE2-60 is ideal for unobtrusive, high quality sound pickup. May also be
used as a clip-on instrumental mic.
Frequency response: 20Hz-20kHz ±3 dB ..........................................................239.95
MKE2-60K6 with K6 Powering Module ..........................................................439.95
ME-62 Omni-Directional Capsule.
Very broad and smooth frequency response, without proximity effect. The ME62’s low
handling noise and integrated pop screen make it ideal for interviews and live recording.
Great for the recording of ambient sounds.
Frequency response: 20Hz-20kHz ±3 dB ........................................................139.95
ME-62K6 with K6 Powering Module ..............................................................334.95
Used Equipment Bought, Sold and Traded
ME-64 Cardioid Capsule.
ME-66 Short Shotgun Capsule
Feedback resistant due to the ME-64’s well
defined directional polar pattern as well as
its extended frequency response, make this microphone capsule ideal
for use in sound reinforcement or recording in noisy environments.
Frequency response: 50Hz - 20kHz ± 2.5 dB
ME-64K6 with K6 Powering Module ......................................349.95
ME-65 Super Cardioid Capsule.
ME-66 Capsule ........................................................................199.95
ME-64 Capsule ........................................................................159.95
All sound coming from the rear and sides of the ME-66 is greatly
attenuated, thus allowing this microphone to pick out specific sounds
in noisy environments. Great for interviews in crowded situations, as a
camera microphone for electronic news gathering (ENG), for unobtrusive theater sound reinforcement and as a podium mic.
Frequency response: 50Hz - 20kHz ± 2.5 dB
ME-66K6 with K6 Powering Module ......................................399.95
ME-67 Long Shotgun Capsule
The ME-67 is a long shotgun microphone capsule designed with highly
directional characteristics that provide an even greater reach than the
ME66. It can be used where the microphone must be placed at a distance
from the sound source. Frequency response: 40Hz - 20kHz ± 2.5 dB
ME-65 Capsule ........................................................................179.95
ME-67 Capsule ........................................................................239.95
ME-65K6 with K6 Powering Module ......................................379.95
ME-67K6 with K6 Powering Module ......................................439.95
MKE-2 60
Film/video sound
MKE-300 Camcorder Microphone
The MKE-300 complements the excellent video capabilities of most camcorders with the
superior audio they deserve. The electret condenser microphone element delivers sonic
clarity and high output. Ideally suited for mounting on camcorders due to its integrated
shoe assembly, the MKE-300 is compact and extremely lightweight (2.1 oz.). Given its
super-cardioid polar pattern, the MKE-300 has the ability to pick up only those sounds
that correspond to the scene being filmed and rejects any disturbing ambient noise. This
high directivity also attenuates the sounds made by a camcorder’s autofocus and zoom motors. The microphone’s suspension mount assembly
and integrated windscreen virtually eliminates handling and wind noise. Achieving operating times of over 200 hours using its own built in battery.
■ Super-cardioid/Uni-directional
■ Mountable on a wide variety of cameras
■ Electret condenser element
■ Includes coiled output cable with 1⁄8˝ (3.5mm) mini plug
■ Suspension-mounted for rejection of structure borne noises
MKE-300 with soft case ........................................................169.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
The ME-65 is a super-cardioid handheld microphone especially suited
to vocal and speech applications. It has a matte black, anodized,
scratch-resistant finish that will look great on camera. The linear
directivity across it’s entire frequency range will ensure excellent feedback rejection. Can handle extremely high sound pressure levels, has
high sensitivity, a wide frequency range and integrated pop filter.
Frequency response: 40Hz - 20kHz ± 2.5 dB
RF Condenser Microphones
Unlike traditional condenser microphones, the capacitive transducer in Sennheiser condenser
microphones is part of a tuned RF-discriminator circuit. Its output is a relatively low
impedance audio signal which allows further processing by conventional bi-polar low noise
solid state circuits. Sennheiser microphones achieve a balanced floating output without the
need for audio transformers, and insures a fast, distortion-free response to audio transients
over an extended frequency range. The RF-design yields exceptionally low noise levels
and is virtually immune to humidity and moisture. The comparatively low RF-voltage across the elements of the transducer also eliminates arcing and DC-bias creeping currents. Sennheiser employs RF-technology to control residual microphone
noise. Optimizing the transducer’s acoustic impedance results in a further
improvement in low noise performance. Sennheiser studio condenser microphones operating according to this RF-principle have proven their superior
ruggedness and reliability in the past decades under every conceivable environmental condition.
MKH-20 Omni-Directional
MKH-60 Super-Cardioid/Lobe
Low distortion push-pull element, transformerless RF condenser, flat
frequency response, diffuse/near-field response switch (6 dB boost at
10 KHz), switchable 10dB pad to prevent overmodulation. Handles
142dB SPL with a high output level. Ideal for concert, Mid-Side
(M-S), acoustic strings, brass and wind instrument recording.
Short interference tube RF condenser, lightweight metal alloy, transformerless, low noise, symmetrical capsule design, smooth off-axis frequency response, switchable low cut filter (-5dB at 100 Hz), high frequency boost (+5dB at 10kHz) and 10dB attenuation. Handles
extremely high SPL (135 dB). Ideal for broadcasting, film, video,
sports recording and interviews in crowded or noisy environments.
Excellent for studio voice-overs.
MKH-30 Figure-Eight
The symmetrical transducer design of the MKH-30 produces an
unusually wide and smooth frequency response. Particularly suited to
soloists and small instrumental groups, it can also serve as an ‘S’ or
side microphone in MS stereo applications. As a support microphone
it is particularly useful in the effective suppression of sounds from
adjacent sound sources.
MKH-40 Cardioid
Highly versatile, low distortion push-pull element, transformerless RF
condenser, high output level, transparent response, switchable proximity
equalization (-4dB at 50Hz) and pre-attenuation of 10dB to prevent
overmodulation. Excellent results have been achieved in vocal applications when used with a pop screen. Recommended for most situations,
including digital recording, overdubbing vocals, percussion, acoustic guitars, piano, brass and string instruments, mid-side (M-S) stereo, and
conventional X-Y stereo.
MKH-50 Super-Cardioid
The super-cardioid MKH-50 offers a higher attenuation of side and
rear sounds than the cardioid MKH-40. It is principally designed for
use as a soloist's or spot microphone for applications requiring a high
degree of side-borne sound muting and feedback rejection while maintaining the integrity of on- and off-axis sound fields.
Overnight Shipping Available
MKH-70 Super-Cardioid/Lobe
Extremely lightweight RF condenser, rugged, long shotgun, low distortion push-pull element, transformerless, low noise, switchable presence (+5dB at 10kHz), low cut filter (-5dB at 50Hz), and 10 dB
preattenuation. Handles 133 dB/SPL with excellent sensitivity and
high output level. Ideal for video/film studios, theater, sporting events,
and nature recordings.
MKH-80 Variable Pattern Condenser Mic
The MKH 80 is a variable pattern condenser microphone with five
switchable pick-up patterns. It is a superior microphone for any
recording application, offering high clarity and the absolute minimum
coloration. It is visually unobtrusive due to its compact design.
MKH-416P48-U3 Super-Cardioid/Lobe
Transformerless, RF condenser designed as a combination of pressure
gradient and interference tube microphones. Very good feedback rejection, low proximity effect, 128dB/SPL. Rugged and resistant to
changing climate conditions. Ideal for boom, fishpole, and camera
mounting as a long-distance microphone for video, film, and studio
recording. An excellent ENG microphone for for reporters or as a
podium or lectern microphone.
K6 Series Windscreen
Standard gray foam windscreens reduce wind and
popping noise.
• MZW-64 for ME-62, ME-64, Grey ...................22.95
Pistol Grip Shock mount
MZS20-1 Combination shock mount, pistol grip and stand adapter for
ME-66 and ME-67 as well as MKH Series Microphones
■ Required for mounting
in MZW “blimp” windscreen.
K6 Series
■ May be boom or stand mounted.
Requires MZA-216 adapter (included).
■ Includes interchangeable mike clips for
MKH-416/MKH-816, or MKH-20
through MKH-70 .......................259.95
K6 Series Pro
• MZW-66 for ME-66, Grey.................................36.95
• MZW-67 for ME-67, Grey ................................42.95
Blimp Windshields (Require MZS20-1)
K6 Series Pro Windscreen
• MZW-65P for ME-65, Black .............................64.95
• MZW-66P for ME-66, Black .............................64.95
• MZW-67P for ME-67, Black .............................96.50
Rigid “blimp” windscreen for
Rigid “blimp” windscreen for
ME-67/MKH-70 ........269.95
Long Hair Wind Muffs
MKH Series Windscreen
Made of an open cell foam material that represents the
best compromise between minimal effects on the frequency response and maximum protection against wind
and pop noise.
Black velour coated foam windscreens offer even
greater protection for reducing wind and popping
• MZW-64P for ME-62 & ME-64 Black .............29.95
Rigid “blimp” windscreen for
Long hair wind muffs greatly reduce high velocity wind-noise when used
with MZW series blimp windshields and MZS-20-1 pistol grip/shock mount
MZH20-1 Requires MZW 20-1
“blimp” windscreen. (for
MKH-20/30/40/50) ......159.95
• MZW-41 for MKH-20 and 40, grey ...................8.95
• MZW-61 for MKH-60, black ...........................82.95
• MZW-71 for MKH-70, black .........................129.95
• MZW-415 for MKH-416, grey .........................42.95
MZH60-1 Requires MZW 60-1
“blimp” windscreen. (for ME-66,
MZH70-1 Requires MZW70-1
K6 Series Mic Adapters
60-1 “blimp” windscreen.
(for ME-66/ME-67 and
MKH-70 ........................169.95
Phantom Power Supply
MZQ6 Camera Mount for K6 Series ....................38.95
MZQ200 Stand Mount for K6 Series ...................28.50
Battery operated 48v phantom power supply with XLR
balanced input and output as well as battery test, -10/20dB pad and 80Hz/ 140Hz high pass filter controls
MZS6 Shock Mount for K6 Series........................36.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
VHF Wireless Mic Systems
The Azden Pro Series brings you high performance VHF wireless at a price you can afford. Built around a two-channel
design that allows selection of the frequency that provides the cleanest signal — for reliable RF performance up to 250
feet away. They all feature two switchable frequencies — 169.445 and 170.245 MHz for a range of 250 feet, high performance VHF transmitters and receivers incorporating SMD (surface mount device) technology. The compact receivers
connect to the camera’s external mic jack with the attached mini cable and attach to the camera with a supplied shoe
mount or Velcro, and have LED indicators for battery condition, transmit and receive operation.
Complete Systems
Handheld Mic System
Lavalier Mic System
■ Completely self-contained VHF wireless handheld
■ Compact, lightweight, transmitter clips to subject’s belt.
■ Has two switchable frequencies for selecting
the cleanest sound.
■ Delivers crystal-clear sound at a range
of more than 200 feet.
■ On/off switch with standby position
for quiet switching.
■ Includes shoe mount and Velcro for
■ Sensitive electret condenser lava-
lier mic with attached tie clip.
■ Two switchable frequencies for
selecting the cleanest sound.
■ Delivers crystal-clear sound at a
range of more than 200 feet.
■ Receiver includes shoe mount
and Velcro for mounting to the
camera, and an earphone for
mounting the receiver to the camera, and an earphone for monitoring.
■ Both microphone and receiver have LEDs for operating
WHX-Pro ..........................................................................149.95
CAM-3 Miniature Mic Mixer
This miniature
3-channel microphone-mixer allows
you to add and mix
sound from three
microphone sources
Only 3-1⁄4˝ x 1⁄4˝ x 2-1⁄8˝, it weighs only 3 ounces, uses no
batteries, and attaches to the camcorder or the hand strap ....
CAM-3 Mixer .................................................................44.95
WLX-Pro ..........................................................................134.95
WMS-PRO Two Mic System
■ Complete wireless mic
system with two
microphones (one
lavalier, one handheld)
■ Delivers crystal-clear
sound at a range of
more than 200 feet
■ Two switchable fre-
quencies for selecting
the cleanest sound
■ Miniature transmitter
attaches to a belt or
fits into a pocket
■ Receiver includes belt-clip, Velcro, shoe mount for added versatility.
WMS-Pro ..........................................................................143.95
24 Hour Fax: 800-947-9003 ■ 212-444-5001
Components (Receivers)
Discrete 2-Channel VHF Receiver
On-Camera True-Diversity Receiver
■ Unique VHF
A VHF, true diversity receiver
that incorporates two complete 2channel receivers inside the case and
two separate antennas to eliminate
dropouts and help you create the
highest quality audio. Both
receivers are set to the same frequency, and the WDR-PRO’s circuitry selects the receiver receiving
the stronger signal from the microphone and accepts this signal.
The LEDs on the WDR-PRO turn from red to green as one receiver, and then the other receives a stronger signal. Unlike the WR22PRO, you can only use one microphone at a time.
■ Diversity circuit avoids sudden dropouts and loss of signal.
receiver allows
use of two wireless microphones simultaneously.
■ Captures the
voices of two
people at the
same time, with
each on a separate channel.
■ Each transmitter can be from 10 to more than 250 feet from the
■ Compatible with all Azden “PRO” series microphones.
WR22-PRO receiver.
■ Two selectable VHF frequencies.
■ Smaller than a pack of cigarettes, the WR22-PRO mounts on a
■ Range of over 300 feet.
■ Operates on 9 volt battery and can be powered (with optional
■ Attaches to your camera with supplied shoe mount or Velcro.
adapters) by 12 volt DC or 120 volt AC.
■ Balanced output.
WR22-Pro ..........................................................................154.95
■ 9-volt battery or 12-volt DC operation.
WDR-PRO ......................................................................169.95
The incredible success of the “PRO” Series among videographers has prompted Azden to add 2 new frequencies, 171.105 and 171.845 to the
most popular models, WR-22-PRO, and WDR-PRO receivers and the associated WL/T-PRO, WM/T-PRO, and the WX/T-PRO transmitters. These new frequencies will not interfere with Azden’s long-established 169.445 and 170.245 MHz frequencies. (When ordering the new
frequencies, specify “S” models.
Components (Transmitters)
Handheld Mic/Transmitter
VHF/XLR Plug-in Wireless Transmitter
Same self-contained, handheld microphone as used in the
WHX-PRO, it can also be used with WLX-PRO, WDRPRO or WR22-PRO receivers..........................104.95
The WX/T-PRO converts any dynamic
microphone with an XLR connector to
wireless operation when combined with the WR-22 PRO
or WDR-PRO receiver.
Adjustable audio level
accommodates a variety of
microphones. Superb frequency response allow the true sound of your mic to come through.
Power on/off, audio mute and status LED complete the full
array of on-board controls needed for operational ease. It has a
sleek ergonomic design in a durable ABS housing, and can
operate for up to 10 hours on a single AA battery ..........119.95
Beltpack Transmitter
Same lapel microphone and beltpack transmitter
as used in the WLX-PRO, it can also be used
with WHX-PRO, WR22-PRO, or WDR-PRO
receivers ....................................................77.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
camera with supplied shoe mount or Velcro.
Portable VHF Wireless System
Designed for professional videographers who need excellent audio reproduction, the 111 Producer Series is a professional VHF wireless
microphone system that delivers excellent RF performance and wide frequency response - even under adverse conditions. Designed for
“broadcast” use, the preferred VHF band is 174-216 MHz, which offers a greater number of frequencies and therefore less chance of
interference. With 25 frequencies available, the Producer series allows use of multiple mics in a concert or studio environment
. Working range is 300 feet under average conditions. Offered in instrument, handheld, lavalier or plug-in systems.
111R Battery Powered Receiver
The heart of the system, the 111R Receiver features output volume adjustment, balanced or unbalanced output capability
and adjustable mute/squelch. It also has headphone output with volume adjustment, removable rubber ducky antenna
and 9 volt battery or DC 12 volt power input. It includes a mini - mini output cable, with mini to XLR and mini to
phone plug, available as options.
31 LT Lavalier Bodypack Transmitter
31 XT
■ Choice of high quality plug-in omni or uni-
Plug-In Transmitter
directional electret condenser microphone.
■ Unique plug-in transmitter turns any
■ Input level control for maximum flexibility.
dynamic “wired” microphone with
XLR output into a wireless handheld
■ Constructed of durable ABS housing.
■ 3-position power switch with standby for
muting audio.
■ Input level control for maximum flexibility.
■ Controls include power on/off, audio mute and status LED.
31 HT
Handheld Transmitter
31 IT
■ High quality uni-directional
Instrument Transmitter
dynamic element.
■ Fixed 1/4-inch cable for electric guitars and
■ Unique rubber-coated
durable ABS housing for
comfortable feel and low
handling noise.
■ Durable ABS housing.
■ Input level control for maximum flexibility.
■ Has 3-position power switch with standby for muting the audio.
■ 3-position power switch with standby for
muting audio.
■ Supplied with additional range-extender antenna.
111LT Lavalier system includes 111R receiver, 31LT bodypack
transmitter and EX503 lavalier microphone..........................219.95
111XT Plug-in system includes 111R receiver and 31XT
plug-in transmitter ................................................................279.95
111HT Handheld system includes 111R receiver and 31HT
handheld transmitter ............................................................249.95
Instrument system includes 111R receiver and 31IT
instrument transmitter ..........................................................239.95
31 LT
Lavalier Bodypack Transmitter................................72.50
31 XT
Plug-In Transmitter ..............................................129.95
31 HT
Handheld Transmitter ..........................................116.50
31 IT
Instrument Transmitter ..........................................63.95
EX-503 Omni-directional lavalier microphone ....................23.95
EX-505U Uni-directional lavalier microphone ......................44.95
We are on the web at:
400 UDR Portable True
Diversity UHF Receiver
63 user-selectable channels, input level control, standby switch,
Hiroshi 4-pin connector and metal clip. Available with
EX503H or Sony ECM44H lavalier microphones.
Handheld Mic Transmitter
Newly-designed handheld with super-cardioid uni-directional
mic element or Audix OM3 head and 63 user-selectable channels. Uses 2 AA alkaline batteries or Azden ni-cads
with the AMC-2A Charging Station.
Redefining the parameters of cost-effective, high-band portable wireless microphone systems, the 400 UDR is a PLL
synthesized UHF receiver with 63 userselectable frequencies within the 794806 MHz range. True diversity design
houses two complete separate receivers
in an all metal casing, to give you a
fully redundant “true” diversity
scheme. It also features LED indicators
for AF peak level, A or B antenna
reception and battery condition, and
has volume adjustable XLR and headphone outputs. Ideal for camera mounting, it runs on
4 AA batteries or 12v DC input via its 4-pin XLR connector. Supplied with heavy duty Velcro.
41BT Bodypack Transmitter
41XT Plug-in Transmitter
63 user-selectable UHF channels. Allows you to use your
favorite dynamic microphone with an XLR output. Adjustable
output volume control, power on/off and audio mute switches.
LED AF Peak and Power indicators.
422UDR Dual Channel Rackmount
UHF Receiver
UHF Half-Rack Receiver
A crystal-controlled, PLL synthesized UHF receiver with 63 userselectable channels in the 794-806MHz band. Up to 9 systems may
be used simultaneously. It has both 1/4 inch and XLR output jacks,
volume adjustment.
412UDR Rackmount UHF Receiver
A full single-space rackmount crystal-controlled, PLL synthesized
UHF receiver with 63 user-selectable.channels in the 794-806 MHz
band. Up to 9 systems can be used simultaneously. It has detachable
antennas mounted on BNC connectors front and rear for greater flexibility and both 1/4 inch and XLR outputs with volume adjust.
Dual-channel rackmount crystal-controlled, PLL
UHF receiver with 63
user-selectable channels in the 794-806MHz band designed for two
transmitters simultaneously. External squelch, mic/line switching and
antenna attenuation with both 1/4 inch and XLR outputs with volume adjust for each channel. Cascading antenna feature eliminates
the need for an antenna distribution amplifier and Lucite frequency
cover prevents accidental channel switching.
Lavalier Mic System, includes 400UDR receiver, 41LT
beltpack and EX-503H lavalier mic ......................................499.95
400LT/S Lavalier Mic System, includes 400UDR receiver, 41LT
beltpack and Sony ECM-44H lavalier mic ..........................599.95
400HT Handheld Mic System, includes 400UDR receiver and
41HT handheld mic ..........................................................519.95
400HT3 Handheld Mic System, includes 400UDR receiver and
41HT handheld mic with Audix OM3 head ........................599.95
Bodypack Transmitter ........................................179.95
Handheld Mic Transmitter ................................179.95
Plug-in Transmitter ............................................199.95
400UDR Portable True Diversity UHF Receiver ................359.95
411DRH UHF Half-Rack Receiver....................................329.95
412UDR Rackmount UHF Receiver..................................349.95
422UDR Dual Channel Rackmount UHF Receiver ..........689.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Breaking new ground, Azden's UHF receiver and microphone/transmitters offer superb performance and features, at
prices far below what you would expect to pay for UHF.
151 VR
VHF Wireless Microphone System
Ideal for schools and beginning videographers, the 151 VR is an extremely affordable yet high-quality wireless
mic system. It operates on VHF high-band frequencies for interference-free performance. It features a 120 dB
dynamic range and Nady’s patented companding circuitry for crisp, clear sound. Transmitters (beltpack or
handheld) feature transmitter on/off, audio on/off and input level controls. Available with a choice of four
channels, the system has an operating range of 200´— even in adverse conditions.
■ Ruggedly built, the 151 VR receiver is
powered by a 9V battery. LEDs indicate
low battery and received signal.
■ Controls include output level and mute
■ The 151 transmitter bodypack clips on
■ Has 3.5 mm audio output, headset
connectors and an attached softwire
your belt, while the attached E-701 lavalier
microphone is positioned near the speaker’s mouth on a tie, coat, shirt, etc.
■ The HT-3 is a sleek, tapered and rugged
handheld mic with an optimally matched
mic element. The transmitter is powered
for 20 hours by a 9v battery.
351 VR Compact VHF Wireless Mic System
The Nady 351 VR wireless mic system offers more professional features in a mid-priced system. Among others it
features a receiver the size of an audio cassette and is available in four different factory pre-set VHF frequencies for
multi-system miking. It features a 120 dB dynamic range and Nady’s patented companding circuitry for crisp,
clear sound. Operating range of up to 200 feet in adverse conditions, and up to 1500 feet line of sight.
■ Available in six VHF frequencies (170–218 MHz)
■ Ultra compact receiver attaches unobtrusively to a camcorder with
the supplied shoe mount, or clips to your waist.
■ Both the handheld and lavalier transmitters feature transmitter
on/off switch, audio on/off switch, level trim and low battery
■ 351 VR/LT Lavalier System features the E-701 electret condenser
lavalier microphone attached to a Nady LT-3 bodypack transmitter.
■ 351 VR receiver is powered by a 9-volt battery and has LEDs to
indicate low battery and received signal. Controls include output
level and mute adjust. There are 3.5 mm audio output and headset
connectors and an attached softwire antenna
■ 351 VR/HT Hand-Held System includes the sleek, wireless HT-3
handheld mic. The HT-3 has a tapered, balanced design and
rugged, all metal case.
551 VR Professional Two-Channel VHF Wireless Mic System
For the advanced videographer who requires unsurpassed audio quality, the 551 VR provides two user selectable frequencies to virtually assure availability of a clear channel. It also allows simultaneous operation of two
551 VR systems in the same location. Operating range of 200 feet even in adverse conditions.
■ Ultra compact 551 VR receiver is worn comfortably and unobtru-
sively with the supplied belt clip. The receiver has a balanced audio
output jack and a headphone output.
■ 120 dB dynamic range and patented companding circuitry for
crisp, clear sound.
■ Transmitters feature transmitter on/off switch, audio on/off switch,
level trim and low battery LED. Each operates on one of the several
available VHF frequencies.
■ The 551 HT handheld system
includes the sleek and rugged
HT-3 wireless handheld
microphone. The HT3 has one channel.
■ Ultra compact 551 LT lavalier bodypack transmitter has two selec-
table channels features an all metal case and a mini XLR connector
to accept any compatible electret condenser lavalier mic.
151 VR/LT Lavalier system ..................................................119.95
351 VR/LINK Receiver and the Link Snap-on Transmitter..249.95
151 VR/HT Handheld system..............................................149.95
551-VR/LT Lavalier system ..................................................419.95
351 VR/LT Lavalier system ..................................................149.95
551-VR/Link Receiver and the Link Snap-on Transmitter ..419.95
351 VR/HT Handheld system..............................................184.95
551-VR/HT Handheld system ............................................449.95
7-Day Customer Satisfaction Guarantee
Snap-on VHF Wireless Mic Transmitter
The Link is an unobtrusive transmitter that attaches to any hardwired dynamic microphone with an XLR connector, adapting it to VHF wireless operation. The transmitter also provides 9-volt DC phantom powering for lavalier
condenser mics. The Link is compatible with all Nady VHF portable and rackmounted wireless
■ Features a rugged, metal cased transmitter
■ For reliable performance, the Link promodule that provides superb audio quality
vides the maximum output power
and great sound. The Link utilizes Nady's
allowed by the FCC and an extended
patented companding noise reduction cirwireless operating range—250 feet in
cuitry for an industry best 120 dB
adverse conditions and 1,000 feet line
dynamic range, to deliver clean, quiet,natof sight.
ural sound that is as good as a cable.
■ The Link is powered for 8-10 hours
■ In addition Nady's optional Tone
with a 9-volt battery and has an low
■ To ensure stable
Squelch is available. This feature effecbattery LED indicator.
microphone operation the Link uses a
tively eliminates interference from
spring loaded, positive locking XLR
■ Controls include transmitter, and "no
other RF sources when the Link is not
microphone connector
pop' audio on/off and level trim adjust.
in use and your receiver is turned on.
661-VR Portable Multi-Channel UHF Wireless Mic System
■ Utilizes state-of-the-art frequency synthe-
■ All metal 661 VR UHF receiver attaches
sis, it has 160 UHF channels within the
477-951 MHz frequency range to assure
a clear operating channel in any location.
to a video camera or clips to a belt. It has
balanced audio output, headset output,
low battery LED indicator, mute adjust
and a flexible user replaceable antenna.
■ UHF RF link (up to 20dB quieter than
other UHF systems) and patented companding circuitry for crystal clear sound
with no hiss or distortion. Dynamic
range is over 120dB.
■ Compact LT-60 bodypack transmitter is
housed in an all metal case and has a
locking mini XLR connector for suitable
lavalier microphone. It also includes Tone
Squelch and a user replaceable miniature
rubber duck antenna.
■ Sleek, lightweight HT-
60 handheld features a
unique modular design
that allows mic elements to be changed in
the field without soldering. Power, audio,
channel group and
channel selector level
adjust controls and battery indicator are recessed in the mic base.
ENG-12 Snap-on UHF Wireless Transmitter
The ENG-12 is a multi-channel UHF transmitter module with XLR connector that adapts any hard-wired
dynamic microphone with an XLR connector to a professional 160-channel UHF wireless microphone.
■ The ENG-12 transmitter is compact and
lightweight, yet features a rugged, all
metal housing. It provides a locking XLR
connection for any dynamic mic, and 9 v
DC phantom power for lavalier mics.
■ State-of-the-art frequency synthesis and
■ For superb audio the transmitter is
equipped with Nady's RF link companding noise reduction circuitry and tone
■ Ideal for use with the 661 VR portable
UHF receiver.
160 user-selectable UHF channels, ensures
clear operating channel in any location.
■ Provides
power for
extended operating range-– a minimum
of 200 feet in adverse conditions and up
to 1500 feet line of sight
661VR/LT Lavalier system (no microphone) ........................799.95
NADY AT831 Uni-directional lavalier microphone ..............124.95
661-VR/ENG12 Plug-in transmitter system ..........................899.95
NADY E-701 Electret condenser lavalier microphone ............34.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
The 661 VR is an advanced portable, 160-channel wireless microphone system that gives you a clear channel anywhere. It
offers maximum output power for extended wireless operation, incorporates Nady’s Tone Squelch and is compatible with
Nady’s ENG-12 snap-on transmitter.
High-Quality UHF On-Camera Wireless Mic System
The CR-12 System offers professional videographers high-quality UHF wireless without breaking their budget. An
economical UHF component system, the CR-12U receiver features compact construction with balanced and unbalanced outputs for connection with any on-camera audio system. Able to run 6-8 hours on a single 9v battery, the
CR-12U also features a headphone output with level control, squelch level control and an audio level control with a
selectable mic/line option. Systems are available with either the UB-12 beltpack transmitter and omni-directional
lapel mic or with the UT-12 plug-in transmitter.
■ UHF camera mountable receiver
■ Operates in the 710 - 722 MHz UHF
frequency range
UHF beltpack transmitter with TA4M connector, it can be used with a wide variety of lapel
microphones. Runs 12-16 hours on a single 9v
■ Squelch level control
UT-12 Plug-in Transmitter
■ Audio level control with mic/line selector
■ Headphone output with level control
■ Balanced and unbalanced output.
■ Runs 6-8 hours on a 9v a battery. Will
also accept 9 - 24-v DC phantom power.
UHF Systems
UB-12 Beltpack Transmitter
CR-12U Receiver
UHF plug-in transmitter with a balanced XLR
mic input, the UT-12 can be used with any
dynamic handheld microphone or mic that
requires up to 5v DC phantom power. Features
separate power on/off and mic mute, gain control ensures compatibility with a wide variety of
microphones. Runs 8-10 hours on a 9v battery.
CR-12L System:
Single channel UHF camera mountable
lapel microphone system. Includes,
CR12U receiver, UB-12 Beltpack transmitter and WLM-10 omni-directional
lapel mic ....................................349.95
CR-12T System:
Single channel UHF, camera mountable
plug-in microphone system. Includes,
CR12U receiver, UT-12 plug-in transmitter for most handheld dynamic microphones ......................................389.95
100-Channel UHF Wireless Microphone System
The versatility of the ENG-100 receiver makes this the UHF system of choice. Designed to perform reliably
even under the harsh conditions of news gathering, the compact but rugged receiver offers 100 channel frequency agility and delivers superior audio performance on any of 100 selectable channels in the 668 to 746
MHz frequency range. Two integral antennas and a built-in Posi-Phase diversity system assure reception in the
most difficult situations. The ENG-100 also features an internal headphone amplifier and an adjustable audio
output control to accommodate any situation from news gathering operations to live performances. Equally
suited for corporate, industrial and event video applications, the ENG-100 is available in two frequency
groups; Group A which corresponds to TV channel 54 and Group B which corresponds to TV channel 55.
UHF Synthesized Camera Mountable Receiver
UHF Synthesized Beltpack Transmitter
■ Operates in the 668 - 722 MHz range
■ 100 selectable frequencies
ENG-100L System
■ Posi-Phase II smart diversity reception
■ Silent single switch on/off
■ Posi-Squelch III audio suppression, tone
■ Four segment battery life indicator
Includes: ENG-100 receiver, LT-100 beltpack transmitter and ELM-22S omni-directional lapel microphone ..................679.95
code squelch
■ XLR mic output and headphone monitor
output jack
■ Operates on 2 AA batteries or external
9 to 17-volt DC power source
■ Audio level control with mic/line selector
■ TA-4M mic jack
■ Hi/low transmit power output
■ Operates on 2 AA batteries
■ Has external charging pins for use with
BC-100 drop-in charger
Corporate Accounts Are Welcome
Optional Handheld Transmitters
SH100/CE8 Handheld transmitter with
Telex CE8 capsule............................409.95
SH100/OM3 Handheld transmitter with
Audix OM3 capsule ........................424.50
2-Channel UHF Wireless Microphone System
UT-500 Plug-in Transmitter
■ Crystal-controlled 2-channel frequency
agility in the UHF frequency range for
maximum audio performance
■ Plugs into any standard dynamic micro-
Designed for electronic news gathering and electronic field production, the ENG500 offers top-of-the-line performance with crystal-controlled frequency agility, PosiPhase true diversity operation and tone-coded squelch. The first in its class to offer
all of these features plus superior audio performance, the ENG-500 is also built
tough with an all metal aircraft alloy case and water resistant seal. Convenient sidemounted controls and indicators allow the operator to view receiver functions while
shooting. Two removable 1/4” wave antennas are instantly field replaceable with
optional Telex ALP-TM log periodic antennas, whereby an additional 6 dB of signal gain can be realized.
Optional Accessories for the ENG-100/ENG-500
DC-GM Anton Bauer “Sandwich” Mount
Allows the ENG-100 or ENG-500 to be sandwiched
between the camera and an Anton Bauer battery. Fully
compatible with Anton Bauer Gold Mount ..........209.95
■ Aircraft alloy case
■ Low battery/over-modulation indicator
■ Separate power on/off and mic mute
DC-SM- Anton Bauer Side Mount Kit
Attaches ENG-100 or ENG-500 to Anton Bauer brand
side mount accessory ..........................................39.95
■ Provides +6v DC phantom power for
condenser mics
■ Operates on single 9-volt battery
ENG-500 Receiver
■ 2-channel crystal controlled frequency-
agile camera mountable receiver operates
in the 520 - 608 MHz frequency range
DC-NP1 Standard NP-1 Mount Kit
The DC-NP1 allows the ENG-100 or ENG-500 to be
mounted on standard NP-1 battery holder (easily
installed and removed with thumb screws. ..........39.95
■ Posi-Phase true diversity operation
■ Controls and indicators are conveniently
side mounted allowing you to view
receiver functions while shooting
DC-UM Universal Strap Mount Kit
The DC-UM is a universal mounting device that fits
virtually any video camera. The adjustable, self-locking
Velcro strap ensures a secure mount. ................39.95
■ Balanced XLR output with mic/line selec-
tor switch and 3.5mm headphone jack
■ 4-segment RF/audio/battery level indica-
tor as well as a diversity phase indicator
■ Single 9v battery or 9-17v DC (plug
adapter included) operation
■ Rugged metal aircraft alloy case
■ 2 removable antennas
ALP-450- Directional Log Periodic antenna that covers 450-900 MHz. Unique forward
coverage pattern increases signal gain up to 5 dB. Supplied with mounting hardware for
wall or mic stand, and 10-feet of low loss coaxial cable ........................................134.95
ALP-TM- ALP-450 log periodic antenna mount kit ............................................147.95
CC-UT- Leather pouch with belt clip for UT-500 ................................................39.95
AN-HTW/HTY/HTR/HTG- Replacement antennas for ENG-500 ....................33.95
ENG/UT500 ................................1799.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
UHF Multi-Channel Wireless Mic System
UHF camera mountable with a rock-solid RF design and rugged metal
construction, the U100 system is available with either a body-pack or plugon transmitter. Each system features the ATW-R100 true diversity receiver
and operates in the channel 57 to 59 TV range avoiding upcoming DTV
stations in the channel 67 to 69 range. The ATW-U101 system includes
the ATW-T101 body-pack transmitter with standard Switchcraft TA5F
input connector that is compatible with several lavalier and headworn
mics. The ATW-U102 system includes the ATW-T102 XLR plug-on transmitter compatible with all dynamic and most self powered microphones.
System Features:
■ 100 Phase Lock Looped (PLL) -synthe-
sized channels selectable via switches on
receiver and transmitter.
■ 300´ operating range typical
■ Frequency-agility allows operation in
both analog and DTV operating environments.
■ 100 Hz to 15 kHz frequency response
■ Operates in the less crowded 728.125 -
740.500 MHz UHF frequency band or
TV channels 57-59
■ Hinged battery doors on receiver and
ATW-R100 Receiver
■ True diversity operation automatically
Beltpack Transmitter
selects the better signal from two independent receivers, reducing dropouts.
■ Features industry-standard Switchcraft 5-
■ LEDs indicate A or B antenna status, AF
■ Runs on a single 9V battery with approxi-
peak, and power status.
■ XLR balanced output with level control.
■ Removable antennas (BNC) connectors.
pin mic input connector.
Plug-on Transmitter
■ 3-pin XLRF-type input connector com-
patible with all dynamic and most self
powered microphones
■ Runs on a single 9 volt battery with
mately 8-10 hours battery life
■ Measures 2.52 W x 3.78 H x 0.91˝ D
approximately 7-9 hours battery life
■ Measure 1.57 W x 4.32 H x 1.57˝ D and
and weighs 5 oz.
weighs 6.2 oz.
■ Operates on two internal 9 v batteries
(for approx 6 hours) or on external 12 v
■ Headphone jack with volume control.
■ Helical filter design improves rejection of
unwanted signals.
■ Measures 3.35 W x 4.53 H x 1.42˝ D
and weighs 12.0 oz.
U100 Wireless Systems
Includes ATW101 Beltpack Transmitter
and ATW-R100 Receiver (no mic) 729.95
Includes ATW101 Transmitter,
AT831cT5 lavalier mic and
ATW-R100 Receiver ....................769.95
Includes ATW101 Transmitter,
MT830cT5 lavalier mic and
ATW-R100 Receiver ....................769.95
Includes ATW102 Plug-on Transmitter
and ATW-R100 Receiver ..............749.95
U100 Components
ATWT101 Beltpack Transmitter ..399.95
ATWT102 Plug-on Transmitter ....439.95
ATW-R100 True Diversity Receiver 468.95
Miniature cardioid lavalier mic ........79.95
Most Orders Shipped Within 24 Hours
Subminiature omni-directional
condenser lavalier mic ......................76.50
“Theater” model (same as above
except in beige) ................................79.95
VHF Wireless Microphone System
Portable, camera mountable wireless system operating in the 169.445 to 216 MHz
VHF, the VP3 offers beltpack or handheld transmitters using either the WL93 omnidirectional lavalier or the world standard SM58 uni-directional handheld microphone.
A total of 10 channels are available, and up to six systems can be used simultaneously in
the same environment. The VP3 wireless system runs on 9-volt batteries and connects to
either balanced or unbalanced camcorders and mixers. Ideal for documentary, broadcast and event videography, the system operates up to 300 ft. and features a frequency response of 80Hz to 15kHz ± 3 dB.
T2/58 Handheld Microphone Transmitter
VP3 Receiver
■ Flexible mounting options include
removable belt clip, Velcro or camera
shoe adapter.
■ Runs for 7 hours on one 9-volt battery
filtered 12 v DC (at 100 mA) power supply such as Shure’s PS/ 20 or PS/ 20E.
■ Stereo/mono compatible 1/8˝ (3.5mm)
mini plug headphone output with level
■ 3- pin “Tini Q- G” audio output con-
nector provides balanced output to video
camera or audio mixer when used with
the optional WA450 XLR male adapter.
■ Red peak light indicates audio overload
or flickers when receiving loud signals
■ Power/RF indicator illuminates
green when the receiver is
turned on and orange when an
RF signal is present.
■ Recessed squelch control
(adjustable with supplied screwdriver) mutes the receiver when
no transmitter signal is received.
■ Audio Hi/ Lo gain switch, in the battery compartment, controls the audio level of the
T2/58 and T1 Transmitters Both Feature
■ Microphone On/ Off switch mutes
the mic without having to turn the
transmitter off. This eliminates “pop”
or “thump” sounds that occur when
the mic is turned on and off.
■ An indicator illuminates when the
power is on and the battery is good
(runs up to 18 hours on a 9v battery).
A red light glows when the battery has
less than one hour’s worth of power.
T1 Body-Pack Transmitter
■ Tini Q-G microphone jack connects to the supplied WL93 subminiature omni-directional
lavalier mic or the WA310 XLR microphone adapter cable.
■ Flexible antenna wire is permanently attached to the transmitter.
■ Audio level control is achieved with the supplied small screwdriver.
■ Includes belt clip allowing it to be worn on a belt or waistband.
VP3 Wireless Systems
VPL93 Lavalier System:
T1 transmitter, WL93 lavalier mic, VP3
receiver, WA460 TA3F to 3.5mm stereo
mini cable, (2) 9v batteries, velcro mount
and camera "Hot Shoe" mount ......284.95
■ Pivoting antenna
VPH58 Handheld System:
T2/58 transmitter, and VP3 receiver,
WA460 TA3F to 3.5mm stereo mini cable,
(2) 9v batteries, velcro mount and camera
"Hot Shoe" mount.............. 324.95
Components & Accessories
VP3 Receiver ..................................159.95
T2/58 Handheld transmitter ..........227.50
WA310 Microphone adapter cable
for T1 transmitter ............................18.95
T1 Belt pack transmitter (no mic) ..125.95
WA360 In-line audio switch for
T1 transmitter....................................54.50
WL93 Subminiature lavalier mic ......69.95
WA395 System carrying case ............18.95
WA450 Balanced Tini-Q-G to XLR
male cable for VP3 receiver ..............22.50
PS20 AC Adapter for VP3 receiver ....8.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ Accepts 12 v DC power from any well–
■ Includes SM58 cardioid mic capsule
UHF Diversity Wireless Mic System
Incorporating Shure's exclusive Marcad Diversity technology, the UT4 receiver seamlessly combines audio signals from two independent receiver sections—
allowing the UT series to virtually eliminate dropout and switching noise.
Operating in the UHF frequency range between 596 to 862 MHz, there
are lavalier, handheld and headworn mic systems available— up to
eight can be used in the same area — giving you freedom and flexibility
to suit any application. Shure's "battery saver" technology provides up to
12 hours of battery life making it ideal for live sound reinforcement, conference rooms and other installation applications that require long uninterrupted system performance.
UT4 Receiver
■ Exclusive MARCAD (MAximum Ratio
Combining Audio Diversity) circuitry
continuously processes the RF signal from
each antenna and combines them to produce one signal of optimum quality.
■ Unbalanced 1/4˝ phone plug and bal-
anced XLR connectors for simultaneous
output to different devices. XLR output is
selectable between mic and line level.
■ Multiple receivers can be stacked or rack-
mounted, with two receivers fitting into
the optional URT rack mount tray.
■ Three-inch rubberized antennas perform
as well as telescoping antennas but with
greater durability.
■ Yellow diversity A/B lights glow when RF
(radio frequency) signals are received
from the UT1 or UT2 transmitter. When
only one light is glowing, the signal is
being received on only one antenna.
When both lights are glowing, the UT4 is
receiving signals on both antennas.
■ Green light indicates that the receiver is
plugged into an electrical outlet. A red
audio peak indicator light flickers when
the input signal from the transmitter
approaches clipping.
■ Volume knob increases or decreases the
volume of the receiver output.
■ Noise squelch circuit analyzes signal qual-
ity as opposed to signal strength, allowing
the circuit to discriminate between noise
and desired signal. This reduces noise
burst due to environmental RF noise.
Equipment Leasing Available
UT1 Body-Pack Transmitter
■ Input attenuation switch selects between
0 dB and –20 dB attenuation, for greater
range of audio gain control.
■ Audio gain control accommodates various
input signal strengths. A small screwdriver
is supplied to make adjustments.
■ Tini Q-G connector allows connection to
a variety of lavalier and headset microphones and cables
■ Flexible wire antenna is permanently
attached to the bottom of the UT1 bodypack transmitter.
UT1 and UT2 Transmitters Both Feature
■ Transmitters work at a distance of up to
300 ft. (100 meters) from the receiver.
■ Red light warns you that there is less
than one hour of battery life left
■ 9-volt battery operation, a green light
indicates that they are on.
■ On/Mute switch prevents unwanted
sounds from being picked up without
turning the transmitter off.
UT2 Handheld Transmitter
■ Power On/Off switch is recessed to prevent it from being accidentally turned off.
■ Audio gain control hidden in battery compartment, allows sound levels to be matched with
the transmitter for better performance.
Wireless Systems (all include UT-4 Diversity Receiver)
“The Presenter” Systems
UT-1493: UT-1 beltpack transmitter and
WL-93 omni-directional lavalier mic
UT-1484: UT-1 beltpack transmitter and
WL-184 super-cardioid lavalier mic
UT-1485: UT-1 beltpack transmitter and
WL-185 uni-directional lavalier mic
“The Headset”
UT-1420: UT-1 beltpack transmitter and
WH-20 dynamic cardioid headset mic
“The Vocal Artist”
UT-2431: UT-2 handheld transmitter and
Beta Green 3.1 dynamic cardioid mic
UT-2458: UT-2 handheld transmitter and
SM-58 dynamic cardioid mic
100-Channel UHF Diversity Wireless Mic System
UC4 Receiver
■ 1/2 rack space design, includes
hardware for single and dual rack
■ Tone Key Squelch Circuitry prevents
■ Dual RF meters indicate received sig-
nal strength at each antenna, making it
easier to identify “dead spots” in the
performing area. Also has a LED low
battery transmitter warning
■ Adjustable low–frequency roll-off
(high pass filter) reduces undesirable
low–frequency signals. Shelving EQ
allows boost or cut of the mid to
high–frequency range, to compensate
for off–axis lavalier microphones and
for adjusting the sibilance of vocal
■ Group/Channel Display indicates the
current Group and Channel settings.
■ Audio Meter lets you monitor received
audio level helping to optimize the
transmitter gain setting.
■ Available with a wide variety of lavalier,
headworn and instrument mics or cables
■ With the UA-101 Remote Mute Switch,
you can remotely mute the body pack during a performance.
■ Two position switch lets you select either
■ Logic In/Out provides logic interface
with external devices such as the
Shure SCM810 automatic mixer and
AMX or Crestron compatible control
■ Available with choice of interchangeable
microphone heads, including: SM-58 cardioid dynamic, BETA 58A super-cardioid
premium dynamic, SM87 super-cardioid
condenser and BETA 87 super-cardioid
premium condenser.
0 dB or –20 dB attenuation
UC-1 Body-Pack Transmitter Systems (all include the UC-4 Receiver)
UC-1493 with WL-93 omni-directional lavalier mic
UC-1483 with WL-183 omni-directional lavalier mic
UC-1484 with WL-184 super-cardioid lavalier mic
UC-1485 with WL-185 cardioid lavalier mic
UC-1420 with WH-20TQG cardioid headworn mic
UC-1498 with WM-98 cardioid instrument mic with A98KCS universal horn clamp
UC-1416 with WCM-16 hypercardioid headworn mic
UC-2 Handheld Transmitter Systems (all include the UC-4 Receiver)
UC-2458 with SM58 cardioid dynamic mic element
UC-24B58 with Beta 58 premium super-cardioid dynamic mic element
UC-2487 wth SM87 super-cardioid condenser mic element
UC-24B87 with Beta 87 premium super-cardioid condenser mic element
■ BNC–type connectors provide connec-
tion to the supplied antennas or to the
coaxial cable used with a distribution
UC-2 Handheld Transmitter
UA-101 Remote Mute Switch
Mutes audio and/or RF from bodypack
transmitter during performance
UA-500 Remote Mount Antenna Kit
For mounting one 1/2 wave antenna
UA-600 Front Mount Antenna Kit
Mounts antennas for the receiver
UA-220 Passive Antenna Splitter/Combiner
Splits two antennas for use with two diversity
receivers and/or combines four antennas into
two antenna inputs
UA-845 Antenna Power/Distributor
Provides connection for up to five diversity
receivers and supplies power for up to four
receivers; uses only two antennas.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
unwanted noise from entering including the “pop” noise that occurs when
the transmitter is turned on
or off.
UC-1 Body-Pack Transmitter
100 user-selectable frequencies combined with Shure’s tried and true
MARCAD Diversity technology creates an exceptionally reliable
wireless system, free of interference and drop outs—even in the most
congested environments. Easy to use, the UC Series incorporates
microprocessor-controlled, Phase Locked Loop (PLL) circuitry for a
clear, steady signal. It offers two UHF frequency ranges (692-716
and 782-806 MHz), 500-ft. minimum working range, and 45Hz
to 15kHz frequency response. Ideal for a wide range of applications,
up to 16 systems can operate simultaneously and is available with a number of handheld, lavalier and headworn mics.
On-Camera Micro Diversity Wireless Systems
With their compact, lightweight, and streamlined design, the VM-1 or
UM-1 are ideally suited for professional videography. They offer great
performance along with a host of smart, practical features. Up to six systems can be used simultaneously in either VHF (VM-1) or
UHF (UM-1) bandwidths. Designed for camera mounting, either system offers a wide variety of lavalier, handheld and headset microphones to suit any application
from video deposition and wedding videography to
broadcast. Virtually identical (except bandwidth) the
VM-1 has unbalanced mini-plug output, the UM-1
XLR-balanced output.
Micro Diversity Receivers
All Transmitters Feature
■ Transmitters offer a 14 hour typical battery life and three
multi-color LEDs indicate relative battery power (low,
medium and high)
■ They run up to 12 hours on a single 9 volt
■ 50Hz to 13kHz frequency response ±3dB
■ External audio On/Off switch allows the audio signal to
■ Both offer 1/8˝ (3.5mm) stereo headphone
be muted without inducing a thud or popping sound
when disabling the transmitter.
output with level control
■ A/B LEDs indicate whether the left or the
■ Battery compartment conceals On/Off switch and an
right receiver channel is currently in use.
■ Three multi-color LEDs (low, medium and
high) are switchable to indicate either battery power or RF signal strength and can
be disabled to conserve battery power.
■ Peak LED indicator lights red when
audio input trim pot, controlled with a supplied plastic screwdriver, that optimizes audio
level performance when using different microphone elements.
VT3L and UT1L Beltpack Transmitters
■ A number of lavalier and headset microphones, licensed or manufactured
approaching clipping which may cause
audible distortion
by Samson can be connected to the beltpack transmitters using a 3-pin
Switchcraft mini-XLR jack
■ Battery compartment houses the on/off
■ Beltpack transmitters have a belt clip that can be rotated to any desired
switch and a Variable Squelch control (with
plastic screwdriver) that sets the maximum
system range before drop out.
■ Both antenna mountings allow full rotation
position or removed
■ Permanently attached pig tail antenna on the bodypacks maximize RF
for flexibility in placement and can be folded inward for transporting
■ Attaches to camera using supplied Velcro
■ DC input can accept an input voltage
between 6 an 13 volts from a video camera
■ VM-1 has an unbalanced 3.5mm mini stereo
phone jack, the UM-1 has a balanced-XLR
output (as well as an unbalanced mini). Both
receivers include an output cable.
Overnight Shipping Available
Two discrete receiver circuits are
housed in each VM-1 and UM-1
receiver while a processor decides
which of the two receiver circuits is
giving you the better signal.
VM-1 Micro Series Systems (Includes VM-1 Receiver)
VM-1 Lavalier Systems with
VT-3L Beltpack Transmitter, Mini Cable
and two 9v Batteries
VML: Without microphone ............199.95
VML-831: With Audio Technica AT831
Lavalier Mic ....................................249.95
VMH-SQE: With QE headset mic ..229.95
VML-350: With Audio Technica
MT350 Lavalier Mic ........................199.95
VM-1 Headset Systems with VT-3L
Beltpack Transmitter, Samson Headset
Mic, Mini Cable and two 9v Batteries
VMH-SQV: With QV headset mic ..229.95
VM-1 System Components Only
VM-1 Receiver....................................169.95
VM-1 Handheld Systems
VT-3 Instrument transmitter ..............138.50
VMH-HQ: Includes VH3 handheld transmitter with Samson QMic, mini cable and
two 9-volt batteries ..........................209.95
VT-3L Beltpack transmitter ..............154.50
VH-3Q Handheld transmitter with
Samson QMic mic capsule ..................186.95
Compatible Microphones for VT-3L and UT-1L Beltpack Transmitters
QEP3 Samson QE hyper-cardioid water resistant headset mic ....94.95
AT831P3 Audio Technica AT831uni-directional lavalier mic ....116.50
QVP3 Samson QV hyper-cardioid headset mic ............................94.95
ECM-44P3 Sony ECM-44 omni-directional lavalier mic ..........124.95
ATM75P3 Audio Technica ATM75 hyper-cardioid headset mic 124.95
ECM-55 Sony ECM-55 omni-directional lavalier mic ..............268.50
CM311EP3 Crown CM311E hyper-cardioid headset mic..........276.50
ECM-77P3 Sony ECM-77 omni-directional lavalier mic ............349.50
CIP3 Crown Isomax hyper-cardioid headset mic ........................284.50
MKE-2P3 Sennheiser MKE-2 omni-directional lavalier mic ......363.95
UM-1 Micro Series Systems and Components
UM-1 Lavalier and Headset Systems
UM-1 Handheld Systems
They all include: UT-1L beltpack transmitter, UM-1 receiver, balanced
mini XLR to standard XLR output cable and two 9v batteries
They all include: UH-1 handheld transmitter with UM-1 receiver, balanced mini XLR to standard XLR output cable and two 9v batteries
UM-LP3 Without microphone ................................................359.95
UM-HHQ With Samson QMic mic capsule ........................359.95
UM-L350 With Audio Technica MT350 ................................349.95
UM-HH757 With Electro Voice 757A mic capsule ................439.95
UM-L831 With Audio Technica AT831 lavalier mic................399.95
UM-L44 With Sony ECM-44 lavalier mic ..............................449.95
UM-HH857 With Electro Voice 857A mic capsule ..............459.95
UM-L55 With Sony ECM-55 lavalier mic ..............................559.95
UM-L77 With Sony ECM-77 lavalier mic ..............................619.95
UM-LMKE With Sennheiser MKE-2 lavalier mic ................629.95
UM-HSQE With Samson QE headset microphone..................399.95
UM-1 System Components
UM-1 Receiver ....................................................................299.95
UT-1L Beltpack transmitter ..................................................194.95
UM-HSQV With Samson QV headset microphone ................399.95
UH-1Q UH-1 handheld transmitter with QMic mic capsule ..259.95
UM-HS75 With Audio Technica ATM75 headset mic ..........429.95
UM-HS311 With Crown CM311E headset mic ....................529.95
UM-HSI With Crown Isomax headset mic ............................561.95
UH-1 handheld transmitter with EV 757A mic capsule ............333.50
UH-1 handheld transmitter with EV 857A mic capsule ............379.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
MT350P3 Audio Technica MT350 omni-directional lavalier mic 69.95
UHF Synthesized Wireless Microphone System
Sony’s UHF Synthesized Wireless Microphone System, consisting of handheld and bodypack transmitters and 4 different receivers, is widely recognized as the outstanding
wireless mic system for professional applications.
Operating in the 800 MHz UHF band range and
equipped with a PLL (Phase Locked Loop), they provide
up to 94 channels of interference-free operation. With
their user-selectable channels, complete multiple channel
operation is possible. Additional features, like space diversity reception, LCD indicators, reliable and sophisticated
circuit technology assure low noise, wide dynamic range,
and extremely stable signal transmission and reception. An
affordable system with superb audio quality and easy handling, the Sony UHF Synthesized system is the ultimate in
convenience for applications at broadcasting stations, film
production facilities, and in ENG/EFP work.
800 MHz UHF Band
■ Unlike the heavily used VHF band, the
area around 800 MHz in the UHF band
is underused. With this lower activity, the
systems are not affected by external noise
and interference caused by other wireless
systems and provide for low noise transmission and reception.
PLL Synthesized System
■ A PLL (Phase Locked Loop) synthesized
system controls the transmission and
reception frequencies of the system. It
assures stability and easy access to multiple channel frequencies. Equipped with a
PLL synthesized control system, Sony’s
UHF Synthesized system provides up to
94 selectable frequencies.
Channel Setting Backup
■ Each unit has a convenient memory back-
Pre-Programmed Channels
■ Wireless channels are conveniently preset
in each tuner for use in a multi-channel
operation at one location. The UHF
Synthesized System employs 6 channel
plans with up to 19 channels for simultaneous multi-operation use. The use of
preset channels instead of random selection of channels prevents interference such
as beat noise in multi-channel operation
and guarantees better unit isolation.
Easy-to-Read LCD Display
■ All of the transmitters and receivers have
built-in LCD displays. They provide
extensive information on group, battery
status, AF level, etc. Employing a back
light, these indicators can be seen even in
low-light situations.
Wide Dynamic Range
and Low Noise
■ The UHF Synthesized System employs a
Squelch Control
■ To ensure accurate audio reproduction,
the UHF Synthesized System is equipped
with tone squelch circuitry control. Here’s
how it works: the transmitters broadcasts
audio signals together with a 32 KHz
tone signal. Only after receiving the tone
signals will the receivers reproduce the
audio signals for output. This function
eliminates external noise and other
unwanted signals.
up capability. When the Power switch is
turned on, the previous channel setting is
automatically recalled and displayed.
We Exhibit At NAB, Infocomm, and Siggraph
Compander (Compressor/Expander) system
for optimum transmission over a wide dynamic range with low noise and interference.
Space Diversity
Reception System
■ A space diversity reception system is
equipped with two or more antennas used
to eliminate noise and signal dropouts,
thus ensuring stable reception. An additional benefit of this system is stable
reception and cleaner audio at extended
operating distances.
UHF Wireless Belt Pack Transmitter
UHF Wireless Body-Pack Transmitter
■ The WRT-822A accepts all
tion with a single AA battery
Sony professional BC series
lavalier mics
■ LCD display of channel, atten-
■ 6 hours of continuous opera-
■ Measuring only 2-1⁄2˝ x 4-1⁄8˝ x
uator and accumulated hours
11⁄18˝, the WRT-822A provides
exceptionally comfortable handling
■ 3.5mm locking mini jack
accepts the BMP line of Sony
■ Easy-to-read LCD displays
extensive system information
■ Low-battery alarm works with
■ Eight hours continuous
compatible receivers
operation with 2 AA batteries
■ RF power output: 10mW
WRT-805A ....................316.95
WRT-822A ..........................689.95
Sony Electret Condenser Lavalier Microphones and Cables for UHF Belt Pack Transmitters
ECM-122BMP omni-directional with a
48-inch cable ......................................34.95
ECM-44BMP omni-directional........109.95
ECM-55BC omni-directional ..........224.95
EC15CF XLR adapter cable
for BC Series transmitters....................59.95
ECM-66BC uni-directional lav ........279.95
ECM-166BC uni-directional ............109.95
ECM-77BC omni-directional lav......279.95
ECM-166BMP uni-directional ..........99.95
ECM-77BMP omni-directional lav ..249.95
ECM-44BC omni-directional ..........129.95
ECM-310BMP Headset mic ..............69.95
GC0.7MP 1/4-inch guitar cable
for WRT-805A transmitter ..................44.95
K1161 1/4-inch guitar cable
for BC Series transmitters....................89.95
WRT-822A Mic Kits
WRT-860A Mic Kits
BC models come with a 1.2m cable and a SMC9-4P connector for use
with the WRT-822A and WRT-860A beltpack transmitters.
BMP models have a 3-pole mini-plug with a lock mechanism for secure
cable clamping to the WRT-805A beltpack transmitter.
WRT-860A UHF Synthesized Belt Pack Transmitter
■ Transmits a 32kHz tone signal along with the audio sig-
nal. Circuitry in the receivers recognize this tone and
unmutes its audio output. With this tone operated
squelch feature, it is possible to eliminate interference
from unwanted transmissions.
■ Easy-to-read LCD displays system information on oper-
ating conditions such as accumulated working time,
channel frequency in MHz and battery status.
■ Like the WRT-822A, the WRT-860A accepts all
BC Series Sony professional lavalier microphones.
■ Measures only 2-1⁄2˝ x 6-5⁄8˝ x 11⁄16˝.
■ Six hours continuous operation on 2 AA batteries.
■ Detachable antenna.
■ 20mW RF output and a compander system are
employed for optimum transmission over a wide
dynamic range with minimum noise and
interference–even over long operating distances.
WRT-860A ..........................................................1189.00
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
ECM-121BMP omni-directional with an
8-inch cable ........................................34.95
UHF Synthesized Wireless Handheld Microphones
There are five Sony UHF synthesized wireless handheld microphone transmitters and one plug-in transmitter to choose
from- each with the same 94 channel frequency agility and PLL synthesized tuning as the rest of the Sony UHF wireless
product line. Sony handheld transmitters are available with a variety of practical features to suit any application, whether
for live sound reinforcement, recording or video applications such as wedding videography and electronic news gathering
■ Wide-cardioid electret condenser capsule
■ RF power output: 10mW
for outstanding sensitivity and response
■ Plug-In transmitter works with any
dynamic microphone with an XLR
■ 94 channel frequency agile
■ Runs on two AA batteries
■ Battery level indicator
■ Level control
■ AF/Peak indicator shows condition of
audio input level
■ Low-Battery alarm works with compatible
■ 12 hours of continuous operation with a
single AA battery
■ Selectable RF output of either 2.5 mW or
10 mW depending on transmission distance and operating environment.
■ Ergonomic grip and Miniature helical
■ High sound quality for vocals - powerful,
crisp and clean sound as well as presence
in the low end and mid frequency range
■ Dynamic microphone capsule, same as
used in the Sony F-780 professional vocal
■ LCD for display of channels, attenuator
and accumulated hours
■ Up to 5 hours of continuous use with a
single AA battery
■ Low-Battery alarm works with compatible
■ Battery alarm transmitted to compatible
■ Smoothly tapered body with compact
■ Newly-developed lockable power switch
to prevent accidental operation
lightweight design
WRT-808A ............................................................................539.95
WRT-810A ............................................................................709.95
WRT-800A ............................................................................269.95
WRT-830A ............................................................................859.95
WRT-807A ............................................................................519.95
WRT-867A ..........................................................................1049.95
■ Uni-directional dynamic mic capsule
■ 8 hours of continuous operation with two
AA batteries
■ Unique and refined cosmetic design
■ Rugged housing provides complete pro-
tection against rough handling
■ Selectable RF output of either 2.5 mW or
10 mW depending on transmission distance and operating environment.
■ Easy-to-read illuminated LCD display of
operating channel, battery status, etc.
■ Incorporating an electret condenser mic
capsule and uni-directional design, the
WRT-830A reproduces extremely high
quality sound while isolating desired
audio source from ambient noise.
■ Ideal for vocals at film production and
broadcasting stations.
■ On/Off power switch is located inside the
body. This prevents accidental turnoff
during operation.
■ RF carrier with tone signal
■ Built-in talk switch
Same as the WRT-810A except—
■ Uni-directional dynamic mic capsule
incorporates a high quality edgewisewinding voice coil with lightweight
CCAW (copper clad aluminum wire) and
AlNiCo magnet for powerful, crisp and
clear sound as well as presence in the
middle and high frequency range.
■ Four hours of continuous operation at
10 mW RF output level with one AA
■ Ideal for critical vocal applications in
broadcast and film production.
Camera Mountable UHF Synthesized Receivers
■ Camera mountable
■ Up to 94 selectable frequencies in the 800 MHz UHF band
■ 94 selectable frequency
■ Pre-programmed channel plans
synthesized UHF channels
■ Easy-to-read LCD indication
■ Switchable muting RF level
channel/group, battery
and RF indicators
■ Capable of supplying power from camcorders with a DC output
■ Up to 6 hours of operation with two AA batteries
■ Six hours of operation
(with two AA alkaline
■ Tone squelch circuitry control for accurate audio reproduction
■ LCD display with
■ Compander system for wide dynamic range and low noise
■ 3.5mm diameter balanced
■ Monitoring function with rotary volume switch for monitoring
line output connector
sound output with supplied earphone or headphones.
■ Headphone monitor
■ Compact and lightweight, it can easily mount to a camcorder
■ Output volume control
with the supplied holder kit.
WRR810A ..........................................................................829.95
■ High quality wireless receiver with dual diversity
reception for outstanding quality not achieved
with other receivers.
■ Extensive easy-or read LCD panel displays accu-
mulative working time, frequency and RF input
level, AGF level and battery status.
■ Large easy-to-read LCD and LED display.
■ Easy access to up to 94 selectable frequencies in
the 800mHz UHF band range
■ Rugged, compact, lightweight and easy to mount
on Betacam SP camcorders
■ Up to 6 hours of operation with AA-size batteries
■ PLL synthesized control transmission
■ Capable of receiving power from camcorders
■ Pre-programmed channel plans
with a DC output
■ Switchable muting RF level
■ Monitor output with supplied earphone
■ Headphone monitoring of both diversity channels.
■ Water resistant structure
■ Muting RF Level 10dBu or Off
■ Space Diversity Tuner for Camcorder
■ PLL Synthesized Frequency Tuning
■ Can be mounted on Sony Betacam SP camcorders
with the optional BTA-801 mounting adapter. The
camcorder can power the WRR-855A when you use
the DC cable supplied with the BTA-801.
■ Compact design and lightweight— only 11 oz
■ Squelch circuitry operated by ultrasonic tone for
positive transmitter reception
■ The WRR-855A portable tuner has a 15-pin con-
WRR855A ....................................................1799.95
BTA-801 ........................................................349.95
nector for audio output to a Betacam SX camcorder
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Single Channel UHF Synthesized Diversity Receiver
Designed for single channel operation where only one transmitter will be used per
receiver. Any one of 94 channels can be selected.
■ Front mounted antennas
■ Output volume control
■ Balanced output connector with a XLR
■ AF, RF and battery alarm indication
balanced mic/line selectable and 1/4 inch
TRS connector
by both LED and LCD to double check
operating condition
(channel indication by LCD only)
■ Half 19-inch rack width and 1U high
WRR-802A ......................................549.95
MB-806A Multi-Channel UHF Synthesized Diversity Receiver
UHF Tuner Module
■ 19-inch rack mount tuner frame accommo-
dates up to 6 WRU-806A tuner modules
■ When used with a WD-820A Antenna
Divider up to 3 systems providing 18 mics
can operate simultaneously
■ Six XLR-balanced output connectors plus
an XLR balanced mix output
■ Auto channel assignment for extra tuner
modules, detects and skips unusable channels
■ Built-in antenna divider with 9v DC power
■ Mic/line output level switch
■ Rear mounted antennas
MB-806A ................................619.95
WRU-806A ..............................329.95
UHF Antenna Divider
UHF Antenna Divider/Channel Multiplier
■ Four diversity distribution output connectors for distribut-
ing the RF input signal from up to three MB-806A tuners
■ Two pair of antenna input connectors for connection of up
to four AN-820A antennas– allowing expansion of the operating area
■ Cascade three WD-820A’s to control up to 19 channels ....
WD-820A Antenna Divider ..................................1013.95
WaveHawk Portable RF Scanner
The IFC-SC1PC is a
portable, hand-held, radiofrequency scanner, with PC
control access and CDROM software/frequency
Portable RF Scanner
■ Expands simultaneous operation from 19 channels to up to 42 channels
■ Incorporates RF bandpass filtering technology for stability and reliability
■ Supplies 9 or 12v power to the AN-820A ................................3308.95
AN-820A UHF Antenna
The AN-820A incorporates an amplifier to
compensate for signal deterioration caused
by cable transmission and distribution.
■ Unique and inconspicuous design allows
installation on a wall or in a mic stand
with the supplied adapter
■ LED indication for installation check
■ Powered by the MB-806A or the WD-820A via coax cable
AN-820A UHF Antenna ............................................................ 162.95
Used Equipment Bought, Sold and Traded
Shure “M” Series mixers are compact, durable, reliable, and functional. It’s no surprise then, that they’ve become standards for
broadcast, sound reinforcement, paging, and audio/visual applications.The mixers in the Shure FP (Field Production) Series are
industry standards for their problem-solving, feature-packed designs and extreme ruggedness. Built specifically for broadcast and
field production, Shure “FP” products are synonymous with convenience and reliability to audio technicians worldwide.
FP-11 Microphone-to-Line Amplifier
The FP-11 is a portable, in-line amplifier designed to provide up to 84dB of gain, so that mics
and auxiliary level devices can be run at line levels. It’s ideal for use in broadcasting and video production where long lines must be driven at higher than microphone or auxiliary levels. The FP-11
can also be used to interface equipment requiring different signal levels.
■ Balanced XLR input/output connectors.
■ Selection of up 84dB gain in fourteen
6 dB increments.
■ Wide range frequency response from
20Hz to 20kHz.
■ Low susceptibility to RF interference.
■ Switchable Peak/limiter LED indicator
indicates onset of limiting (peak limiter
on) or 6dB below clipping (limiter off ).
■ Low input noise and harmonic distortion.
■ Rugged construction with durable belt
■ Additional aux-level mini phone jack
input and balanced line-level binding
post output.
■ Compact and lightweight (1.2 lbs..)
clip for extended field use.
■ Runs 25 hours on a single 9-volt battery.
FP-11 ............................................248.50
■ Wide range frequency response (30Hz to
20kHz) and up to 90dB gain.
■ XLR-balanced inputs and outputs are
individually switchable for balanced mic
or line level operation.
■ Rugged and durable, but compact and
The FP-16A is a 1 x 6 compact audio distribution amplifier for routing multiple audio signal
feeds without incurring signal loss, distortion, hum or noise. With it’s intelligent design and
meticulous construction, the FP-16A is ideal for broadcast situations, studios, ENG vans as
well as duplication houses, press conferences and production facilities.
■ Provides phantom power for condenser
■ Rack-mountable with optional A16R
rack mount.
■ Recessed input gain control with normal
and overload LED indicators.
■ Can be daisy-chained for additional out-
puts or adding signal processors such as
equalizers, compressors or limiters.
lightweight (6 lbs..) for field use.
■ Runs on 120 or 240v AC, or can run on
three 9-volt batteries. Low battery drain
allows over 15 hours of operation under
normal conditions.
FP16A ..........................................424.95
FP-22 Headphone Amplifier
The FP-22 is a battery-powered stereo headphone amplifier that provides headphone feeds from
any audio input source. It has the unique capability of monitoring mono, stereo and mixed mono
and stereo inputs. The FP-22 monitors and combines these signals in the headphones without
affecting the original signal. With 81dB of gain, it can monitor a wide range of signal sources in
many different configurations. Ideal for field production, studio recording and trouble shooting
■ Loop through 1/4-inch stereo phone
■ Balanced loop through XLR connectors
jacks (can be internally switched to
become separate left and right inputs).
are mic/line switchable. A 30dB pad
attenuates loud line level sources.
■ Overall headphone balance control, over-
■ Independent control of headphone vol-
all stereo/mono switch for headphones.
ume as well as loop-through volume.
■ 1/4-inch and 3.5mm stereo jacks
■ Powered by 9-volt battery or external 12
to 24 volt DC power supply.
FP-22 ...............................................284.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
FP-16A Audio Distribution Amplifier
Portable Stereo Mixer
The standard by which portable mixers are measured, the FP-33
is used all over the world for remote audio recording, ENG/EFP
applications and location film production. Built upon the benchmark FP32 and FP32A field mixers, the FP33 is light enough,
small enough and rugged enough to take anywhere. It features
three XLR-balanced mic/line inputs and two outputs, center
detented pan pot for each input channel, oscillator, two headphone jacks, 48v/12v phantom and 12v T (A-B) power, tape out
jack, and a monitor input for the headphone circuit. Exceptional low noise design and wide dynamic range make the
FP-33 ideal for use with digital transmission links or digital video/audio media, including DAT and recordable CD.
Controls and Indicators
■ Three XLR-balanced inputs; switchable
to low-impedance mic or line level.
■ Phantom or A-B (T) power for con-
denser mics is available at each mic input.
■ Built~in tone oscillator for level checks or
line tests.
■ Slate microphone with automatic gain
■ Center detented pop-up pan pots on each
input. Color-coded, soft touch rubberized
knobs with tactile position indicators
■ Active, feedback~type input gain controls
permit direct input of high-level sources
without input attenuators.
■ Dual clutched Master gain control for
control (AGC) for take identification or
for emergency use. Slate tone for identifying take locations during editing.
individually adjusting left and right levels
at line/mic and tape outputs, as well as
tone oscillator and slate mic levels.
■ Stereo monitor input allows headphone
■ 150Hz (6dB/octave) Lo-cut filters at each
monitoring of external sources without
interruption of mixer functions.
■ Link switch couples mixer inputs 2 and 3
into stereo pair
■ Built-in limiter with adjustable threshold
prevents output clipping of mixer or input
overload of amp or tape deck.
level, limiter action, and battery.
■ Illuminated VU meters for left/right chan-
mic/line switchable.
■ Left and right tape outputs are available
to feed tape recorder inputs or other
unbalanced aux-level inputs.
■ 1/4-inch and 3.5 mm headphone jacks
are driven by a stereo headphone power
amp with separate level control.
■ Wide, flat response with extremely low dis-
tortion and up to +1dBm output level for
studio-quality performance.
■ Small and lightweight, the FP-33 offers
sealed input potentiometers and a steel
chassis, making it extremely rugged and
durable as well.
■ Mix bus jack for connecting additional
FP33 or FP32A mixers
■ Internal DIP switches provide over 4,000
different set-ups
input reduces extraneous low~frequency
■ LED indication of input level, peak output
■ Left and right XLR-balanced outputs are
nels. Preset for 0 VU = +4 dB, adjustable
for other levels.
■ Headphone monitoring mode switch and
■ Powered by two standard 9v batteries (up
to 8-hours under normal conditions) that
can also supply 48v or 12v phantom power
to condenser microphones.
■ Can also be externally powered from any
11 to 30v DC source such as battery belt
pack or car battery.
■ A third 9v battery can be used for con-
denser mics that require A-B power.
headphone MS matrix.
FP-33 with carrying case, shoulder strap and mix bus cable....................................1199.95
Applications Include:
■ Remote audio recording
We Ship Worldwide
■ Electronic field production (EFP)
■ Electronic news gathering (ENG)
■ Film production
Automatic Microphone Mixer
Noise-Adaptive Threshold:
Last Mic Lock-On:
Distinguishes between constant background
noise (such as air-conditioning) and rapidly
changing sound (such as speech). This function continuously adjusts the activation
threshold so only speech levels that are louder than background noise will activate an
FP-410 channel.
Eliminates the poor audio quality that
results when a speaker is picked up by more
than one microphone. It does this by controlling the number of microphones that
may be activated for a single sound source.
With MaxBus, one talker will activate only
one FP-410 channel, even if multiple microphones are “hearing” that talker.
Maintains a seamless audio mix by keeping
the most recently activated microphone
open until a newly activated mic takes its
place. Without this function, a long pause
in conversation might cause all mics to turn
off and sound as if the audio signal has been
lost. With Last Mic Lock-On, background
ambience is always present.
It’s somewhat like having multiple video cameras all focused on the
same subject. If the camera signals are combined, the result is a
blurred image. When multiple microphones are open for a single
talker, the result is a blurred audio signal. But it’s often not practical
for someone to turn mics on when they are needed and off when
they are not. The answer is the FP-410.
The FP-410 has numerous applications in video production and
audio recording, broadcasting, and sound reinforcement. In any
speech pickup application with multiple microphones, the FP-410
dramatically improves audio quality. Switching from manual to automatic operation allows an individual’s voice to rise above background
noise and reverberation to become clearer and more intelligible.
■ Four XLR-balanced inputs and two XLR-
balanced outputs. Each can be individually set for microphone or line-level signals.
■ Any high quality, low-impedance, bal-
anced mic (dynamic or condenser) can be
used, including wireless and shotguns
■ Additional FP-410 mixers can be inter-
connected. Linked systems can contain
over 25 mixers and 100 microphones.
■ Front-panel channel gain and master con-
trols operate as in conventional mixers.
■ Selectable hold time keeps microphones
on during short pauses in speech.
■ Automatic gain adjusts as additional
microphones are activated.
■ Wide, flat frequency response and low
distortion up to +18 dB output.
■ LED indication of mic channel mix lev-
els, output level and limiter action.
■ Automatic muting prevents annoying
thumps and loudspeaker damage when
the FP-410 is turned on and off.
■ Separate monitor input and tape output
(aux-level) jacks.
■ Front panel headphone monitor jacks
with level control.
■ 48-volt phantom powering for condenser
■ Operates on AC or two 9-volt batteries.
■ Includes optional bumpers (feet) for use
on horizontal surfaces; a short cable for
linking two FP-410’s; and a rack mount
kit for installation in a 19-inch rack.
FP-410 ........................................1089.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Multiple miking situations—with a number of talkers participating—have always presented problems for the audio technician. If
too few mics are used, the coverage of each talker may vary, with
one talker (nearest the mic) being louder and clearer than the next.
Talkers farthest from the mics will sound “echoey” and reverberant,
as very little of the direct sound from their mouths reaches the
microphones. If too many mics are used, there’s more background
noise and reverberation pickup, as well as less gain before feedback
if a sound reinforcement (PA) system is used.
The FP-410 automatically attenuates any microphone not being
used, greatly reducing excess reverberation and feedback problems.
When a new talker starts, the FP-410 immediately selects and
silently activates the most appropriate microphone. “IntelliMix”
electronic processing enables the FP-410 to provide clear, natural
voice pickup. The FP-410 significantly reduces the problems of
“boomy” or “muddy” sound, insufficient sound level (because of
feedback or “howling”), and operator errors. In fact, errors are virtually eliminated because the FP-410 doesn’t need an operator or
technician for continual adjustment—once set up, it is completely
“IntelliMix”—How it Works
A portable automatic mixer, the FP-410 is equipped with
Shure’s patented “IntelliMix” to deliver flawless automatic
microphone mixing. The remarkable operating concept
behind the FP-410, “Intellimix” combines three unique
functions: Noise-Adaptive Threshold, MaxBus and Last Mic Lock-On, to provide greater gain before feedback, reduce
pickup of ambient noise and eliminate comb filtering effects. Ideal for video production, broadcast, conference recording
and field production, the FP-410 is also useful for convention facilities, hotels and sound installations.
Portable Stereo Mixer
The FP-42 is a four-input, two-output, compact self-contained
stereo mixer with all the features and ruggedness that have made
Shure mixers the industry standard. Perfect for mixdown in video
editing suites, the FP-42 integrates all the operating features and
reliability of a professional studio mixer in a single unit that is
small and light enough for location use.
■ Four XLR-balanced inputs, each mic/line
switchable with low-cut filters and cueing
■ Left and right XLR-balanced outputs
with mic/line and mono/stereo switches.
■ Active feedback-type input gain controls
for high level signals without input attenuators.
■ Pull-pot cueing on all inputs provides
channel previewing.
■ Built-in tone oscillator permits level
checking and line testing.
■ Parallel stereo headphone jacks (1/4-inch
and mini) with level control.
■ Adjustable-threshold limiter with left and
right channel peak indicators.
■ VU meters with range switch and battery
check function
■ Left and right channel master level con-
trols and ganged headphone level control.
■ AC powered (120 or 240 volts internally
selectable) or built-in battery pack (three
9-volt batteries).
FP-42 ............................................818.50
Portable Six-Input Mic/Line Mixer
An industry standard, the M367 is a six-input mono mic/line
mixer/remote preamplifier specifically designed for professional applications. A complete and compact console, the M367’s excellent performance, versatility and features make it ideal for studio, remote , video
deposition and sound reinforcement applications as well as an add-on
mixer for expanding existing facilities. Built to meet the requirements of the most demanding field production applications.
■ Six switchable XLR-balanced mic or line
level inputs with individual gain controls
and low-frequency roll-off switches.
■ Two XLR-balanced outputs; one selec-
table mic/line output and one dedicated
line output.
■ Metal XLR connectors on both inputs
and outputs, detachable AC cable
■ Feedback-type input gain controls for
maximum clipping levels and dynamic
■ Built-in switchable peak limiter cuts out-
put overload distortion and adapts to
power supply voltage.
■ LED indicator shows limiter operation or
overload with limiter defeated.
■ Externally adjustable limiter threshold (-4
to +18dB).
■ Wide, flat frequency response (20Hz to
20 kHz) and extremely low distortion up
to +16dBm line level output.
■ VU meter is calibrated for +4 and +8dB
with range switch. Meter is also illuminated during AC operation.
■ Phantom power for condenser micro-
phone operation
■ Front-panel headphone level control and
monitor jack; can drive almost any stereo
or mono headphones.
■ Automatic muting prevents speaker dam-
age during power on/off.
■ Highly stable, low-distortion tone oscilla-
tor provides for line test and level checks.
■ Rear panel Mix Bus jack facilitates stack-
ing multiple M367’s for additional input
capability without losing any inputs. Two
M367’s connected, provides two independent master gain controls and two isolated line amplifiers with eight individually
controlled inputs.
■ Selectable 120 or 240 v AC operation as
well as portable DC capability (three 9v
batteries required).
■ Headphone output level is high enough to
be used as an auxiliary unbalanced line feed
to drive a tape recorder or power amplifier.
24 Hour Fax: 800-947-9003 ■ 212-444-5001
Stereo Mixer
The SCM-262 mixer features two XLR balanced mic inputs and 3 stereo phono line inputs. Compact
1/2 rack size makes it ideal for light sound reinforcement applications that require a combination of
line level sources such as CD, cassette and VCRs. Perfect for A/V and multimedia presentations, small
video editing suites, aerobics classes and restaurants. Ducking feature (defeatable) attenuates stereo
line level sources when mic inputs are active.
■ 12-volt phantom power
■ Internal power supply eliminates bulky
external transformers
■ Rack-mounting hardware included
SCM-262 ......................................219.95
SCM-268 Stereo Mixer
■ Bass and treble controls for main outputs
The SCM-268 is a feature packed yet economical 1/2 rack mic/line mixer. 4 transformer balanced XLR
mic inputs and 5 line level phono plugs give you a total of 9 inputs. An 80Hz low cut filter eliminates
extraneous low-end rumble from the mic inputs while the six transformer balanced mic inputs, switchable mic/line output and internal toroidal power transformer (no external wall wart) ensures noise free
operation protected from RF interference. Use in meeting rooms, video depositions, paging systems, broadcast and houses of worship.
■ Auxiliary phono plug output
■ LED peak output meter
■ Rack mount hardware included
■ 12-volt phantom power
■ Internal toroidal power transformer
SCM-268 ......................................239.95
Transformer-Balanced Inputs and Outputs
Active-Balanced Input and Outputs
Low-Z Mic-Level Input
Line Level Input
Aux Level Input
Mic Level Output, Line Level Output
Phono Jack Aux Level Output
Headphone Output
Phantom Power
VU Meter
Peak Meter
Tone Oscillator
Slate Mic & Tone
Stereo Operation
Power Options
DC Only
AC Only
AC Only
Automatic Microphone Activation
Church Sound
Basic Microphone Mixing, Basic PA
Distance Learning
Video Editing Suite
Conference Rooms, Round Table Discussion
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Eurorack Mixers
Behringer Eurorack mixers are built to the same standards and include many of the same features as their top of the line
8 bus console, the Eurodesk MX9000. Rugged and reliable, they offer the flexibility and sonic integrity demanded by the
most discerning end users. Low noise circuitry and transparent audio make the Euroracks ready for broadcast production. They are perfect for MIDI rigs, home and project studios and video editing suites as well as live sound reinforcement. With five models to choose from, it would be hard to find a Eurorack that didn’t meet your requirements.
Balanced mic/line inputs, solid steel chassis, sealed potentiometers and external power supplies are some of the ingredients
used to make the Behringer Euroracks so successful. Behringer has responded to the suggestions of their customers and
developed a range of mixers that offer more bang for the buck with uncompromising audio quality.
All Eurorack Mixers Feature:
■ Exclusive Ultra Low Noise (ULN)
■ High quality Panasonic controls, sealed
4580 op amps virtually eliminate noise
and crosstalk
■ Vintage style “Big Console” mic pre
amps bring out transparent musical
qualities of your favorite microphones
■ Multi-segment LED metering gives
potentiometers and faders keep out dust
and moisture to ensure long lasting,
reliable performance
■ 48v phantom power is available on all
XLR mic inputs for use with condenser
microphones and active DI’s
accurate level readings
■ External power supplies means lower
noise and better transient response
■ Steel chassis and horizontally mounted
fiberglass circuit boards are used for
their ruggedness, whether on the road
or bouncing from studio to studio
■ Rack mount hardware is included where
MX-802A 8 x 2 Sub-Compact Rack Mixer
As the smallest Eurorack mixer, the professional MX-802A is ideal for project studios, small club
venues and much more. The MX-802A shines as a MIDI mixer, submixer, monitor mixer and as a
handy tool for level and impedance matching and mic preamp. Any broadcast studio or AV/film
application can benefit from its transparent “big console” audio performance and features.
MX-1604A 12 x 2 x 2 Desktop Rack Mixer
The MX-1604A mixer is one of Behringer’s smallest mixers yet it maintains the same
high standards and quality components as the rest of the Eurorack mixer line. A total of
12 input channels with 60mm logarithmic faders, even on the ALT 3-4 bus outs, 3-band
EQ and balanced I/O throughout are examples of Behringer’s commitment to uncompromising design and usability. Suitable for live sound, desktop music workstations, non-linear
video suites, fixed installations and any other situation requiring a small but versatile mixer.
MX-2004A 16 x 2 Desktop Rack Mixer
The MX-2004 is a 20-input rackmount mixer with several “must have” features without the price
tag, and all the sonics, versatility and ruggedness that Behringer is known for. Features include
3-band EQ with sweepable mid frequency on the 8 mono inputs, 4 band fixed EQ on the stereo
inputs and 60mm logarithmic faders —unheard of at this price point. Small foot print makes the
MX-2004 ideal for any video post, project studio, small club or installation.
We are on the web at:
16 x 4 x 2 Rack Mixer
The MX-2642 rackmount mixer is just as rugged and versatile, including the same
quality mic preamps and stereo channels as the Eurorack mixer line. 4 dedicated subgroup outputs make this mixer ideal for smaller multitrack recording rigs or live installations requiring multi monitor feeds. The first 8 mic/line inputs have 3 band EQ
with sweepable mids and 4 band EQ on the stereo channels allow greater control over
your mix. Six aux sends on every channel offer maximum flexibility for external effects
routing and/or headphone and additional monitor mixes.
14 x 2 x 2 Rack Mixer With 24-bit Digital Effects
Part of a new generation of high-performance compact analog mixers, the MX1804X offers six
mono and four stereo channels and provides functions that are quite commonly found in digital
consoles– namely a built-in 24-bit stereo multi-effects processor. The multi-effects processor
offers 20-bit A/D and D/A converters, and 32 presets of reverb, delay and modulation effects
algorithms based on Behringer’s Virtualizer rackmount effects unit. Whether for stage or studio,
the 7-band graphic EQ assigned to the main outputs of the MX1804X allows you to adapt the mixer to
various room acoustics and during mixdown gives your overall sound the finishing touch and sparkle it deserves.
Total # Of Inputs
Mic/Line Inputs
Stereo Line Inputs
AUX Sends
with inserts/direct outs
with inserts/direct outs
with inserts/direct outs
4 per channel, Aux 1
switchable pre/post
2 per channel,
1 switchable pre/post
2 per channel
2 per channel,
6 per channel,
1,2 switchable pre/post 1,2 switchable pre/post
3-band w/-18dB
low cut filter @ 75Hz
3-band with
sweepable mids
3-band with
sweepable mids
EQ Mono Inputs
EQ Stereo Inputs
Master Outs
1/4˝ balanced
1/4˝ balanced w/insert
1/4˝ balanced
1/4˝ balanced
1/4˝ balanced
Monitor Outs
1/4˝ balanced
1/4˝ balanced
1/4˝ balanced
1/4˝ balanced
1/4˝ balanced
4 (balanced 1/4˝)
1/4˝ balanced
1/4˝ balanced
1/4˝ balanced
Tape Outs (RCA)
Headphone Outs
1/4˝ TRS with
level control
1/4˝ TRS with
level control
1/4˝ TRS with
level control
1/4˝ TRS with
level control
1/4˝ TRS with
level control
Bus Outs
Mute 3/4 Bus Outs
AUX Returns
Tape Inputs
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Audio Mixers
Mackie audio mixers are considered by many to be the
state-of-the-art in small to medium mixing board technology. Mackie revolutionized the compact mixer market
by applying features and audio quality previously
reserved for high-end, large format mixers. From the
smallest to the largest of their models, Mackie puts their
best effort into every phase of board design.
Now in their third generation of development, has
raised the bar once again with the redesign of their
already high headroom, low noise mic preamps. The result of two years of R&D, the
XDR (Extended Dynamic Range) mic preamps offer over 130dB of headroom, exceeding the performance of outboard
preamps costing $1000 to $2000 per channel. Project studios, video suites, multimedia authors, live venues, broadcast
facilities and houses of worship seeking uncompromising sonic quality and maximum flexibility will find what they are
looking for in Mackie’s VLZ PRO mixer line.
Mackie Technology
Very Low Impedance
■ Very low impedance is achieved by scaling
down resistor values by a factor of three or
four, resulting in a corresponding reduction in thermal noise. This circuit design is
used throughout the Mackie mixer line
wherever possible. By its very nature, low
impedance leads to more immunity from
crosstalk. The use of scaled down resistors
also results in their being equipped with
robust high current power supplies.
XDR Mic Preamps
■ With over 130dB of dynamic range and
extremely flat frequency response, the
XDR mic preamps can handle inputs from
24-bit, 196kHz digital audio workstations
without added coloration.
■ Advanced DC pulse transformer reject RFI
without attenuating frequencies of 15kHz
and above.
■ Ultra-high-speed, large-geometry input
diodes on the front end of the input circuit
completely protect the XDR mic preamps
from the consequences of hot-patching
and direct short circuits in cables carrying
phantom power.
■ Mackie’s shelving EQ design meets the
needs of modern recording, revealing higher highs and lower lows than ever before.
■ Positioned at 12kHz, the Hi Shelving EQ
is far more musical than the 10kHz found
on most other mixers. A gentle boost at
12kHz adds sheen and presence to instruments and vocals, enhancing the textures
of sounds without contributing to aural
■ Positioned at 80Hz, the Low Shelving EQ
emphasizes the fundamental lows of kick
drums, and other bass instruments while
allowing you to fatten up male vocals and
instruments like guitars.
■ The mid range frequency selection of the
1202/1402-VLZ PRO are placed at
2.5kHz instead of the conventional 1kHz,
harmonics of vocals and instruments are
enhanced without becoming strident or
■ The Sweepable Mid-Band EQ of the
1604-VLZ PRO adds or subtracts a wide,
natural frequency curve that sweeps from
100Hz to 8kHz allowing specific EQ treatment of a broad range of frequencies.
7-Day Customer Satisfaction Guarantee
Mix Amp Headroom
■ Mackie’s negative gain mix amplifier archi-
tecture sets standard mixing levels at -6dB.
This offers a greater amount of headroom,
allowing up to 4 times as many hot signals
to be summed at the main mix bus without
Impact Resistance
■ Knobs ride just thousandths of an inch
from the metal surface of a mixer chassis
■ Downward force is transferred from knob
to steel instead of from knob to potentiometer
■ Ultimately, extremely brutal knob impact
is absorbed by broad pressure on a tough
circuit board
■ A newly-developed, ultra-tight lip seal
design provides a continuously-sealed barrier against dust and liquid
■ Co-molded potentiometers don’t use brittle
material at critical mechanical points
■ A braced, horizontal circuit board and
shock-absorbing structure eliminates force
transferred to the circuit board.
1202-VLZ PRO/1402-VLZ PRO
12 x 2 and 14 x 2 Compact Mixers
The successors to the Mackie MS-1202 and MS-1402, two of the most
popular compact audio mixers in use today, the 1202-VLZ PRO and
1402-VLZ PRO will undoubtedly find their way into project studios
and video suites that demand the absolute best sonic performance and
flexibility. With 12 or 14 balanced input channels divided between 4
(1202) or 6 (1402) mono mic/line inputs and 4 stereo line input channels, these mixers can do double duty for videographers in the field and
in the studio. Video suites doing dialog recording, voiceover or sound
effects and project studios will find the range of bussing flexibility a blessing. For live gigging, the rugged steel chassis will stand up to the abuse of
the road and the 2 aux sends are perfect for monitor and or effects sends.
■ 4 mono balanced XLR mic/ 1/4-inch line
inputs with inserts, trim and rotary level
■ 4 balanced 1/4˝ stereo line inputs with
rotary level controls.
■ 2 Aux sends per channel can be used as
effects sends or for creating monitor mixes
and offer 15dB of extra gain above Unity
■ Each mono and stereo input has 3 bands of
EQ at 80Hz, 2.5kHz and 12kHz with a
boost and cut of ±15dB.
■ The mono and stereo inputs have a
-18dB/oct. 75Hz Lo Cut filter that eliminates stage rumble, wind noise, P-pops and
low frequency recording studio room resonances
■ The Mute/Alt 3-4 buttons located on each
input channel serve two functions: muting
the input channel from the main mix, and
signal routing, where they act as your gateway to an extra stereo bus
■ Constant-loudness pan pots on each input
channel keep sound at a consistent volume
when panning between left, center & right
■ PFL Stereo in-place Solo on each channel
Additional Features
Aux Inputs
■ 2 balanced 1/4˝ stereo returns with
EFX to Monitor switch
■ Aux 1 master control with
Monitor/Post assign switch
■ Stereo RCA 2 track tape return
■ Gain knobs have Unity gain detents,
when input levels are properly set, the
highest headroom and lowest noise floor
is at unity gain
■ 12 segment LED’s give accurate level sta-
tus of main outputs or soloed channels
■ 48-volt phantom power for premium
■ Main stereo outputs are XLR-
balanced switchable from +4dBu
to mic level
■ 1/4˝ balanced alternate outputs
(alt 3/4) are assignable from
mute buttons on input channels
■ 2 balanced 1/4˝ auxiliary sends
■ 1/4˝ TRS balanced stereo con-
trol room outputs
■ Stereo RCA (2 track) tape outputs
■ Multi-input source matrix with
level control allows you to route
any combination of Main Mix, Tape
In and Alt 3-4 to the Control
Room/Phones bus, these routings
can be used for submixes, monitoring or tracking and can be subsequently routed to the main mix
condenser mics
■ Built-in power supply–no wall wart!
■ Rude Solo Light LED bluntly advises that
a channel is soloed
■ Tape input level control and Tape To
Main Mix switch
■ All Mackie mixers carry a 3-year parts
and labor warranty.
■ Optional rackmount ears
1402-VLZ PRO Step-up
■ 6 mono balanced XLR mic/ 1/4-inch line
inputs instead of 4.
■ Switchable AFL/PFL Solo
■ 60mm long-wearing log-taper faders ensure
consistent, smooth accurate response
through the length of the fader travel.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Input Channels
1642-VLZ PRO
All The Features of the 1402 VLZ Pro Plus—
■ Channels 1 - 8 feature balanced XLR
mic/ 1/4˝ line with inserts, direct outputs
and 3 band EQ with ±15dB boost/cut at
12kHz high shelving, 80Hz low shelving
and mid-band EQ sweepable between
100Hz - 8kHz
■ 2 stereo balanced XLR mic/ 1/4˝ line
■ Each channel features input trim, 4 aux
sends (aux 1 & 2 assignable pre/post), 20dB pad, 75Hz HPF, Solo (PFL and SoloIn-Place), mute, pan, bus 1/2, 3/4 and L/R
assignment buttons and overload LEDs
■ Two 1/4-inch stereo headphone outputs
■ 1/4˝ balanced mono output with level
■ 4-band active EQ on stereo channels
are mono and channels 9 - 16 are stereo.
have 60mm faders, switchable L/R assignment to the main mix bus.
send 1-2 master section with level controls and solo
■ 2 balanced stereo 1/4˝ line inputs
■ 16 input channels total— channels 1-8
■ Four 1/4˝ balanced subgroup outputs
■ Four 1/4-inch balanced aux sends. Aux
Input Channels
Aux Inputs
Additional Features
■ Four 1/4-inch balanced stereo aux returns
■ Switchable AFL/PFL Solo w/level control
with level controls and solo.
■ Optional rack ears are allow the 1642-VLZ
PRO to be mounted in a standard 19˝ rack.
1604-VLZ PRO
16 x 4 x 2 Compact Mixer
The highest headroom and lowest noise of any mixer in its class, the
1604 ‘s flexible 4-bus architecture is ready for just about any project recording studio or live venue. Post production and broadcast
facilities will also appreciate the myriad routing possibilities.
VLZ design ensures quiet mixes with all 16 channels open during mix down, while the XDR mic preamps reveal all of the subtleties and nuances of your favorite condenser mic. Mackie’s rotopod design and supplied rackmount hardware allows you to configure the mixer 5 ways by allowing you to rotate the input and output jacks to the
top, back or front of the mixer with or without rackmounting. With unprecedented sonic performance, bandwidth,
dynamic range and versatility, the 1604-VLZ meets the demands of the most sophisticated digital audio workstations —
while remaining totally affordable.
All The Features of the 1642 VLZ Pro Plus—
Input channels
■ 16 mono balanced XLR mic/ 1/4˝
line inputs with inserts, input trim, 6
aux sends/4 per channel (aux 1 & 2
assignable pre/post), -20dB pad,
Solo (PFL and Solo-In-Place), mute,
pan, bus 1/2, 3/4 and L/R assignment buttons and overload LEDs
■ Each input channel features 3-band
active EQ with sweepable midrange
(12kHz high shelving, mid eq sweep
between 100Hz - 8kHz, 80Hz low
shelving eq ±15dB) and 75Hz HPF
■ Input channels 1-8 feature 1/4˝ bal-
anced direct outputs
Corporate Accounts Are Welcome
■ 1/4˝ balanced main outputs with inserts
■ 6 balanced 1/4˝ auxiliary send
■ Single 1/4˝ headphone output with level control
Additional Features
■ 5 physical configurations via rotating I/O pod
■ Rack mount kit included
12, 16 and 20-Channel Audio Mixers
Available in 12 (CFX-12), 16 (CFX-16) and 20-channel (CFX20) configurations, the CFX mixers incorporate digital effects
and a 9-band graphic EQ to offer all-in-one compact mixing solutions. Based on developments made for the Mackie
Digital 8-Bus Mixer the 32-bit EMAC (Extended
Multiplication and ACcumulation) effects processor found in the CFX
Series sounds clean and realistic rivaling many outboard processors. The graphic
EQ on the output section is of “audiophile-quality” which means low noise, free of phase distortion. The mixers also feature the same low noise and high headroom as the rest of the Mackie mixer
line as well as balanced I/Os and multiple busing options. For live performance, a unique break switch can mute the
entire mixer (except for the two-track return input) as well as the effects and graphic EQ sections.
■ Level-setting LED for each channel.
■ Low-noise, high-headroom mic pre-
amps with superior RF rejection with
50dB of mic gain.
■ Four Subgroup buses with 1/4˝ balanced
direct outputs and L/R assign "collect"
channel signals assigned to them so you
can submix vocals, drums and other
audio signals for monitoring or tracking.
15dB of attenuation to "pad" hot signals.
outs, switchable to pre-fader for monitor use and post-fader for use as effects
■ One external and one internal EFX
■ Pan, Mute, PFL solo on each channel
■ Pre-Fader Solo switch allows channel
monitoring via headphones for fast,
accurate level setting to achieve maximum headroom with minimum noise
■ 3-band EQ on mono mic/line chan-
nels- 12kHz shelving High frequency,
EQ. Ultra-wide 100Hz to 8kHz bandwidth sweepable peaking Midrange
EQ and 80Hz shelving Low frequency
■ Inserts and 100Hz 18 db/octave low-
cut filters on all mic/line channels
anced XLR outputs for mains with
■ Headphone jack w/level control.
■ XLR balanced subwoofer output from
■ +30dB of line level gain and a full
■ Two Aux Sends with balanced 1/4˝
■ Balanced/unbalanced 1/4˝ TRS and bal-
built-in 18dB/oct. 75Hz crossover!
■ 32-bit internal EMAC digital effects with
9 reverbs, 4 delays, phaser, chorus, flange;
2 parameter controls and an EFX wide
spatial expander and bypass switch
Master Section
■ Studio-quality, 9-band stereo graphic
program equalizer with exceptionally low
noise, low distortion and without phaseshift problems.
■ Tape/CD inputs with level control
assignable to Main Mix via Break switch
■ RCA-type unbalanced tape/CD inputs
and tape outputs.
■ Extra 1/4˝ balanced utility stereo outputs
with level control (post-Main Fader).
■ Break Switch mutes all channels and
routes Tape input to the mains while
you're on break so you don't have to
worry about feedback during breaks
■ Long-wearing 60mm logarithmic taper
faders give you smooth, linear control
throughout the fader's entire travel.
■ Rude Solo Light alerts of any current
soloed channels
■ Solid steel chassis
■ Two stereo effects returns with balanced
1/4˝ inputs
■ 12-segment tri-colored LED meters for
visually monitoring main output and
channel solo levels.
■ 48v phantom power
■ 12v BNC lamp socket.
■ Built-in power supply uses standard IEC
power cord.
■ 4-band EQ on stereo line channels
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Input Channels
4-Channel Audio Mixer
An incredibly compact 4-channel mixer with exceptional sound and a wide range of professional
features. AC/DC (runs on three 9-volt batteries) capability makes it ideal for use in the field as
well as in the studio. Can also be used as a simple microphone to line converter.
■ Two XLR-balanced mic/1/4˝ line inputs
and one stereo input (4 channels total)
■ Adjustable mic input trims allow use with
a variety of microphones
■ Independently switchable phantom pow-
ered mic inputs (extends battery life)
■ One Aux send (pre-fader)
■ One stereo effects return
■ Independent 3-band EQ on each channel
with ±15dB of boost or cut
■ Peak LEDs on left and right main out-
puts for monitoring
■ DC operation (runs 12 hours on three 9v
batteries) and carry strap for maximum
portability. Also includes an AC adapter.
■ High headroom design +27dB output
■ Constant-level
pan controls
(mono channels) and balance controls (stereo channel)
■ Balanced stereo output with 1/4˝ jacks for
connection to amps and other gear.
Mixpad 4.........................................155.95
Mixpad 9/Mixpad 12 9 and 12-Channel Audio Mixers
Remarkably compact 9- and 12-channel mixers, the Mixpad 9 and 12 offer professional
audio performance and a wide range of user-intensive features for virtually any type of
application. They boast superior low noise and low distortion specifications, include widerange gain trim controls for both mic and line inputs and provide very transparent, open
sound. They have a very high slew rate—usually found on larger, more expensive mixers—
allowing them to react very quickly to transients and to maintain crisp, articulate sound.
They offer phantom power on all mic inputs for use with condenser mics and an in-line
power supply eliminates magnetically-induced hum.
■ Mixpad 9 is equipped with 3 mono XLR-
balanced mic/1/4-inch line inputs, the
Mixpad 12 offers six inputs.
■ 3-stereo inputs
■ Low noise and low distortion specs
■ 2-auxiliary sends per channel
■ 2-stereo effects returns.
■ Independent 2-band EQ per channel
■ Adjustable mic input trims allow them to
be used with a wide variety of mics
■ Constant-level pan (mono channels) and
balance controls (stereo channels)
■ Peak LEDs on left and right main out-
puts for monitoring
Mixpad 9..........................................176.95
Mixpad 12........................................229.95
■ Balanced stereo output for connection to
power amp and other equipment.
■ High headroom design +27 dBu output
■ High slew rate reacts very quickly to tran-
sients for crisp, articulate sound
Additional Features
■ Low profile in-line power supply eliminates
magnetically-induced hum
■ Can be powered by optional 12v batteries
for field use.
■ Phantom power on mic inputs
S11 Cardioid Dynamic Microphones
A durable multi-purpose mic suitable for recording, live sound and PA use, the S11
produces a smooth, transparent sound even at higher volume levels. Quiet and reliable, delivers consistent performance every time you use it ................................49.95
S12 Hypercardioid Dynamic Microphones
Balanced natural sound, articulate midrange and smooth high end response, make the
S12 suitable for live sound and recording. Thick zinc chassis and special shock mount
design guarantees quiet performance. Includes mic clip and case ......................69.95
QMIC Hypercardioid Neodymium Vocal Microphone
Designed for today’s live sound reinforcement and PA situations, the QMIC has a special
midrange “peak” at 2kHz to reproduce vocals with absolute clarity and definition.
Delivers high output without feedback, QMIC is quiet and has a unique multi-stage
windscreen and noise filter to eliminate “pops”. A real standout on stage or in the studio
Most Orders Shipped Within 24 Hours
Portable Mixer for Live Recording/Multimedia
Less than ten inches wide, the Folio Notepad can handle up to 10-inputs, configured to give you the maximum choice of source signals, from condenser mics to turntables. An external power supply guarantees
hum-free mixes with high RF rejection. Borrowing heavily from the technology found on the largest
Soundcraft consoles; the Notepad’s custom controls give you smooth, even response, while high quality pre-amps let you connect mic or line signals without noise or overload. Well suited for video editing, multimedia and desktop recording, houses of worship, small live venues, DJ’s and more.
■ 4 mono XLR-balanced mic/1/4-inch line
■ Stereo 1/4˝ balanced +4dBu main outputs
inputs with trim, 2-band shelving EQ, 1
aux send, pan and level controls
■ 2 stereo RCA inputs switchable between
line and RIAA (turntable) inputs with
trim, 1 aux send, pan and level controls.
■ 1 stereo 1/4˝ balanced effects return
■ Stereo 2 track RCA monitor output
■ Peak and VU metering
■ 1 mono 1/4˝ auxiliary send
■ Custom designed rotary controls with
consistent, accurate response
■ Stereo headphone output
■ Stereo 2 track RCA tape output
■ Studio quality mic preamps with 50dB of
gain range on every mic input
■ Global +48v phantom power
■ 1 stereo RCA tape/CD input
Folio Notepad..................................179.95
16-Channel 4-Bus Multi-Purpose Mixer
A small format 16 channel mixer built from the ground up with both Live and Studio tasks in mind, the
FX16 also features a programmable dual effects processor designed exclusively for Spirit by Lexicon.
Housed inside the FX16’s rugged yet compact 10U frame you’ll find the highest quality components
including all balanced inputs and outputs (except for the 2-track return), 100mm long throw Alps faders
and precise custom designed rotary controls that offer consistent, accurate response. Built to the same road-proof
specifications as the largest Soundcraft FOH consoles.
Input Channels
■ 16 mono XLR-balanced mic/1/4-inch line
inputs with 4 aux sends (1-3 sent to balanced 1/4-inch outs and the fourth dedicated to the Lexicon effects processor, 3band “British” EQ with sweepable mid frequency and 18dB per octave High Pass
Filter, solo and mute buttons per channel.
■ 16 direct outs on mono channels are each
configurable pre/post fader.
■ Dedicated mono sum output
■ Two XLR balanced main outputs.
■ Stereo monitor output with level control
can be assigned to the mix signal, subgroup
signal or both or to the 2-track return signal.
■ Dual function LED lights 4dB before clip-
ping occurs or when the channel’s solo is
■ Balanced 1/4˝ jacks subgroup outputs.
■ Switchable PFL (Pre Fader Level) Solo and
■ 1/4˝ headphone jack with level control.
Solo in Place that allows monitoring a
channel signal in its true stereo position.
■ When using the console in a rack, the relo-
■ +48v phantom power for condenser mics
catable jackfield lets you connect your
cables under the mixer.
■ Inserts on mono inputs, subgroups and mix outs allow you to patch processors such as
compressors or EQs anywhere in the chain.
■ Built-in Lexicon Dual Effects Processor
with editable programs and parameters.
Includes reverbs, delays and choruses as
well as dual effects programs such as delay
and reverb as well as chorus and delay.
■ Assignable 10-segment tri-colored meters
indicate monitor, mix or subgroup.
■ 2-track return with level control uses
RCA connectors and can be routed to
mix, providing an extra stereo input.
■ 4 stereo returns with level controls and
1/4-inch balanced inputs can be assigned
to the mix or subgroup outputs and have
access to aux 1 and 2.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
ADAT Type-II 20-bit Digital Multitrack Recorder
Built with the same 20-bit encoding and expansion capabilities as the rest of the ADAT Type-II line, the LX-20 provides
an exceptional value in professional multitrack tape recorders.
Also featured on the LX-20 is the 9-pin ADAT Sync interface
which allows multiple ADATs to be synced together and the
ADAT fiber optic, multi-channel digital interface that has
become a standard digital interface found across the ADAT line as well as on a wide range of digital mixers and soundcards. The LX-20 makes the concept of an affordable, all digital tape based recording studio a reality.
ADAT Technology
➤ Uses standard S-VHS tapes to provide more than enough band-
width to record 8 tracks of 20-bit digital audio. S-VHS tapes are
inexpensive and made to a higher standard than VHS tapes.
➤ ADATs are ideal mixdown decks for surround and theatrical
sound applications that require more than two-channels.
➤ ADAT tapes are formatted with a proprietary time code with sin-
gle sample accuracy (up to 1/48,000th of a second) that is much
more precise than SMPTE Time Code (1/30th of a second).
➤ Because time code is written into the subcode area of the tape
you can synchronize ADATs without giving up a track. Up to 16
ADATs can be synchronized together for a total of 128 tracks—
with single sample (20 microsecond) accuracy.
➤ 20-bit A-D (analog to digital) and D-A (digital to analog) con-
verters achieve a dynamic range up to 120dB — compared to
98dB range using 16-bit converters. The additional 4 bits of
audio data increases the number of amplitude values available for
samples from 65,536 (16-bit) to over a million (1,048,576).
Recording Functions
■ Eight record enable buttons control the
input monitor status.
■ Input monitoring is controlled with the
Auto Input button which automatically
monitors record-enabled tracks. The All
Input button monitors all inputs regardless
of the record-enable status.
■ The Digital input button can be used with
the input monitor buttons to reroute any
incoming channel of digital audio to any
of the 8 ADAT tracks.
■ Pitch control buttons can raise and lower
the pitch of a tape to varying degrees
depending on the current sample rate.
When using the 48kHz sample rate a
+300/-200 cent pitch change is possible.
When using a 44.1kHz sample rate a
±200 cent pitch change is possible
■ Uses crossfading when punching in and
out to make the transition from what’s
recorded on tape to what is being
punched, as smooth as possible. There are
four crossfade times available -11, 21, 32
and 43 ms.
■ Analog and digital input select buttons
determine how analog and digital signals
are routed. When recording from the analog inputs, there are three input modes
available to accommodate the different bus
architectures of mixing consoles.
— When using a 2 bus mixer, mode 1
will route 2 inputs into groups of 4 so
that the same audio goes to tracks 1,
3, 5 and 7 and 2, 4, 6 and 8.
— For 4 bus mixers, mode 2 routes 4
inputs into groups of 2 so input 1
goes to tracks 1 and 5, input two goes
to tracks 2 and 6, input three to
tracks 3 and 7 and input four to
tracks 4 and 8.
—All 8 inputs get routed consecutively
to tracks 1 through 8.
Equipment Leasing Available
Transport Controls
■ Transport controls include rewind, fast for-
ward, stop, play and record. Audible cue
and review at three times normal speed is
achieved by simultaneously pressing the
rewind and play buttons (review) or fast
forward and play buttons (cue).
Inputs and Outputs
■ 8 unbalanced RCA inputs and outputs
■ One ADAT optical lightpipe input and
output carries 8 channels of digital audio
between ADATs and ADAT lightpipe compatible devices such as various digital audio
cards and mixers. This allows you to
bounce audio from one ADAT to another,
mix and edit tracks completely in the digital domain
■ ADAT proprietary 9-pin female sync input
and output allows synchronization and
machine control between multiple ADATs
and optional BRC remote control.
■ 1/4˝ TRS jack for supplied LRC (Little
Remote Control) or punch pedal
8-track Modular Digital Multitrack (MDM) Recorders
■ Time counter shows the current location
The ADAT family of modular digital multitrack (MDM) recorders have revolutionized the
pro audio industry. They have led the way to the introduction of today’s project studio
where they have become an integral part of the recording industry, sophisticated enough to
compete in high-end commercial recording studios. Without sacrificing audio quality, the
ADATs offer artists the creative freedom to craft their music when they are inspired, without the burden of hourly rates and booking studio time. Now in their third generation, the
ADAT Type-II machines feature 20-bit recording and an extensive list of internal editing
capabilities such as Track Copy as well as multiple interfacing and sync options.
of the tape in hours, minutes, seconds,
hundredths of a second or optionally
frames (1/30th of a second).
■ Eight 13-segment meters show either
input levels or the levels already recorded
on tape. Eight red Record indicators
located directly beneath the meters show
a track’s record status while blue indicators show input monitor status.
■ Three blocks on the lower right hand cor-
ner of the display show the active parameter for clock (internal, external, digital)
and sample rate (44.1 or 48 kHz), input
monitor (all or Auto) and input source
(analog, digital or track copy).
■ Status indicators show the bit depth of
■ An interpolation indicator, shown as an
asterisk at the upper right hand corner of
the time display, warns that error correction is taking place within the LX-20 and
the heads should be cleaned.
There are 5 Locate buttons. Locate buttons 1 through 4 are used for shuttling to specific
points on a tape. Locate button 0 returns the tape to the zero position. Locate buttons used in
conjunction with the Auto Play, Auto Return and Auto Record functions, facilitates a number
of automated transport functions:
■ Auto Return brings the tape back to the
locate 1 position after reaching locate 4.
■ Auto Play sends transport into play mode
when a locate point is reached.
■ Selecting Auto Play and Auto Return
causes the tape to continuously loop
between Locate points 1 and 4.
■ Auto Record can be used in conjunction
with the Auto Play and Auto Return buttons for continuous loop recording.
■ Rehearse mode automatically switches
from tape monitor to input monitor at the
punch in point and back to tape monitor
at the punch out point allowing you to
audition punches before executing them.
■ Auto Record and Locate 2, 3 enables pre-
cise punch in/out of one or more tracks.
XT-20 ADAT Type-II 20-bit Digital Multitrack Recorder
With its faster transports and extended editing capabilities
the XT-20 sets the new standard for modular digital multitracks. Balanced and unbalanced analog as well as the
standard ADAT optical I/O and sample accurate sync provides the widest range of interfacing possibilities within an
all digital or analog based studio. Advanced editing features
such as internal track bouncing and up to 170ms of track
delay are some of the tools that put this machine on the cutting of professional audio technology
All the Features of the LX-20 PLUS—
■ 10 locate points
■ Separate 1/4˝ TRS connectors for LRC (Little Remote Control)
and punch pedal.
■ Track to track copying (up to 4 tracks at a time) is possible within
the digital domain of one machine without the need for cables.
■ You can delay any track up to 170ms in 0.1ms increments. This
can be used to tighten up the timing of a performance.
■ In addition to 8 unbalanced RCA inputs and outputs, there is a
female ELCO block connector that carries 8 channels of balanced
inputs and outputs to a compatible male ELCO snake.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
the current tape (16 or 20-bit), whether
various locate functions are enabled, and
if a cassette is properly inserted.
Auto Locate
ADAT Type-II 20-bit Digital Multitrack Recorder
The M20 is designed for advanced recording applications such as
sound for video, where sync capabilities and around the clock reliability are required. With ultra fast transport operation, uncompromising audio quality, and the ability to read and generate all
SMPTE/EBU time code formats, the M20 can seamlessly integrate
into any production environment. An example of the level of control
provided by this benchmark multitrack, is its dedicated analog audio track and jog shuttle that enable reel rocking style
scrubbing, as well as 100 locate points accessible directly from the 10-key alphanumeric keypad.
All the Features of the XT-20, PLUS—
Time Code
24-bit Audio
■ 24-bit analog to digital (A-D) and digital
to analog (D-A) converters
■ Optical digital I/O carries 8 channels of
optional AES/EBU I/O with up to 24-bit
resolution. A 24-bit AES/EBU card is also
■ Reads and generate SMPTE time codes
including 24, 25, 29.97 and 30 DF/NDF
frames per second. Uses XLR connectors to
slave to an external device or output timecode to a slave deck such as a VCR.
■ Time code can be selected as Free-Run
(continuously generated) or Record-Run
(only generated while recording).
■ In addition to an ELCO connector, offers
■ Dedicated SMPTE track records timecode
+4dB balanced XLR (analog) inputs and
outputs for all eight channels. Has a +4dB
balanced XLR input/output for the auxiliary analog audio (cue) track as well.
■ Word Clock I/O (BNC) ensures that digi-
tal audio data transferred among compatible devices is synchronized. The M-20 can
accept a master word clock signal from an
external source then pass it along to other
devices in the chain. The M-20 itself can
be the word clock master.
directly to tape.
■ SMPTE and MTC (MIDI Time Code)
can be set to output whenever tape is moving (FF, REW, cue and review)
■ Expressed in Hrs/Min/Seconds, frames,
subframes and samples, the SMPTE offset
value is settable against Absolute Time
(ABS) or tape time code ±24 hours
■ The M-20 will chase SMPTE timecode
based on ABS (Absolute Time) as its reference or tape time code.
■ MIDI in and out connectors can send or
receive MIDI machine control commands; allow software updates via MIDI
sysex; and will generate MIDI time code
from SMPTE. Setup information including locate point names and addresses,
track delays and tape offsets can be
dumped via MIDI to another M20 or to
a MIDI sequencer for storage (This data
can also be saved to tape).
slave ADATs or M20s individually or as a
whole. The offset amounts can be set by
Absolute Time or two locate points.
■ The M20 has two SMPTE chase modes:
Frame-Lock: It locks to incoming time code
while still referenced to its internal timecode.
Lock and Release: It locks to the incoming
time code and ignores its internal time code
■ In both chase modes the flywheel duration
parameter sets the number of dropped
frames that will be ignored (up to 150).
—In frame-lock mode, the flywheel duration
determines how many frames can drop before
the M20 has to re-chase timecode.
—In Lock and Release, the fly wheel setting
determines how long the M-20 will play in
the absence of timecode before stopping.
■ Composite video input/output (BNC)
accepts composite and blackburst video
signals. Frame rates are set automatically
when referencing to video.
■ A master M20 deck can be offset with
■ Has three multi channel metering modes;
No Peak Hold– meter levels reflect the
current input signal’s level. Momentary
Peak Hold– peak levels of the input signal
are held for a brief time. Continuous Peak
Hold - the highest peak input signal is
held until reset with the clear peak button
■ VU meter scaling, headroom and decay
time and peak hold time are all adjustable.
—Scaling is switchable between a normal
meter range of -72 to 0dB and a fine setting
of 2.0 to +2.0
We Exhibit At NAB, Infocomm, and Siggraph
—Headroom parameter defines the value of
the 0dB marker. Ranges from 2 to 22dB in
1dB steps with a default of 15dB.
—Decay time is settable from 1 to 99 (each
value represents milliseconds). 99 equals 500
milliseconds or 1/2 second. Default is 10 or
50 milliseconds.
—Peak hold time has a value range of 1 to
99 with each value representing 250 milliseconds. 99 equals a 24.75 second peak hold.
Default is 8 or 2 seconds
Jog/Shuttle Wheel
Additional Features
■ Jog/Shuttle dial allows scrubbing of the analog cue track in forward
and reverse. Also allows precise shuttling from 1/4 to 16x speed for
fast navigation.
■ In a master/slave configuration, the master’s jog/shuttle wheel con-
■ Search button toggles control of the transports between the
locate points and letters for names
■ Three tape counter modes display either ABS (Absolute Time),
SMPTE time location and relative time, referencing the current
tape location to the relative zero location.
■ When executing a punch, there are 32 crossfade times settable from
5.4ms to 1.365 seconds.
Jog/Shuttle wheel and standard play mode. Engaging the search
function transfers transport control to the Jog/Shuttle, when disengaged, the transport automatically enters play mode.
■ RS-422 interface allows control from a video edit controller
■ RJ-45 (ethernet) connector interfaces to the optional Remote Meter
trols both decks. Search Master feature enables transferring the Jog
control from the master deck to a slave temporarily.
■ Ten-key alphanumeric keypad enters parameter values such as
Bridge and CADI for remote control from hundreds of yards away.
ADAT Accessories
ADAT EDIT Computer-Based Editing System for all ADATs
■ Includes PCR interface card, ADAT
■ ADAT/Connect software works in tandem
Connect and ADAT Edit software, two
optical cables and sync cable (3m each).
■ ADAT Optical I/O and ADAT sync I/O
allows transfer of 8 tracks of audio with
transport control between your ADAT and
Mac or PC.
■ Supports 16-, 20- and 24-bit audio at 44.1
and 48 kHz.
with the ADAT Sync interface allowing
sample-accurate audio transfer between an
ADAT and the ADAT PCR card.
■ ADAT Edit software allows cut-copy-paste
editing of your audio. It also provides powerful digital signal processing capabilities
such as reverb, delay and EQ as well as
advanced tools like time compression,
pitch correction and dynamics processing.
■ Compatible with .WAV
and .AIF files using
Windows 95/98 and
ASIO, .AIF and .SDII on the Mac.
■ Compatible with all ADATs even the origi-
nal ADAT classic and XT, as well as today’s
Type II ADAT machines.
■ Add the AI-3 analog-optical interface and
the ADAT EDIT system becomes a standalone 24-bit digital audio workstation.
BRC Master Remote Control for LX-20 and XT-20
The ultimate control interface for the ADAT LX-20 and XT-20, the BRC offers several creative options
not available with ADATs on their own. In addition to mimicking the existing features of an ADAT, the
BRC provides SMPTE, MIDI and video synchronization, digital editing, and a full-function multimachine autolocator with onboard memory.
CADI Controller Autolocator Desktop Interface for M20
Specifically designed for use with the M20, the CADI offers flawless control of the recorder's transport and track arming functions including the jog/shuttle wheel. The CADI connects with the M20
using an Ethernet-style RJ-45 connector, allowing the two to be operated hundreds of yards away
from each other (ideal for studios that keep recorders in a separate area from the control room). The
CADI can directly control up to eight M20s from its front panel, for a total of 64 tracks (plus time
code and eight aux tracks).
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
The ADAT EDIT package contains everything you need to edit ADAT tracks on a Power Mac or PC. Using the ADAT PCR
card and ADAT Connect software you can transfer 8 channels of digital audio with up to 24-bit resolution, to and from your
computer. And with the ADAT/Edit software, audio can arranged and edited before being sent back for mixdown or archiving. ADAT/EDIT system also works with many WAV or ASIO-compatible recording and editing software programs.
The DA-78HR and DA-98HR are the first true 24-bit tapebased 8-track modular digital multitrack recorders. Based on the
DTRS (Digital Tape Recording System) they provide up to 108
minutes of pristine 24-bit or 16-bit digital audio on a single 120
Hi-8 video tape. Designed for project and commercial recording
studios as well as video post and field production, they offer a host
of standard features including built-in SMPTE Time Code Reader/Generator, MIDI Time Code synchronization and a
digital mixer with pan and level controls. A coaxial S/PDIF digital I/O with the mixer allows pre-mixed digital bouncing within a single unit, or externally to another recorder or even a DAT or CD recorder. Up to 16 DTRS machines
can be synchronized together for simultaneous, sample accurate control of 128 tracks of digital audio.
The top-of-the-line DA-98HR has all the features of the DAHR78 plus adds all of the capabilities required for video postproduction . In addition to SMPTE and MIDI time code, the
DA-98HR features Sony 9-pin RS-422 control, video sync,
AES/EBU digital I/O, user friendly setup menu with comprehensive LCD display and direct menu access soft keys.
High Resolution 8-Track Digital Audio Recorders
Inputs and Outputs
Synchronization I/O
■ Eight unbalanced analog RCA inputs and
■ An RCA (phono) input and output allows
■ Two 25-pin d-sub connectors provide
eight channels of balanced analog inputs
and outputs
■ A 25-pin T/DIF (Tascam Digital
Interface) connector is used for transferring up to 8 channels of digital audio to
and from units conforming to the T/DIF
Auto Locate And Punch
■ The points at which recording is started
all SMPTE/EBU timecode frame rates to
be read or generated.
and stopped are automatically stored in
memory as punch points.
■ MIDI in/out/thru allows MIDI timecode
■ Auto Punch allows hands-free punch in
(MTC) synchronization as well as MIDI
Machine Control (MMC)
■ Remote/ Sync In and Sync out used for
connection with optional RC series remote
controls as well as allowing the unit to be
used in a master/slave system.
■ Remote punch in/out connector for use
■ Word clock in, out and thru (BNC con-
with the optional RC-30P footswitch
nector) ensures that digital audio transferred between machines via T/DIF or
S/PDIF I/O is synchronized.
and out recording of a section of audio. A
rehearsal function allows setting and auditioning the in and out points before executing the punch.
■ Two Auto Locate points allow one button
access to any two positions on a tape, or
use for a beginning and end marker for
continuously looping a section of audio.
■ The exact position of locate and punch
points can be set by min/sec/frames.
■ Pre-roll times for locate and punch points
On-board Stereo Mixdown Functions
■ Level and pan controls for each channel
(controllable via MIDI or from the front
panel of the unit).
■ They have a read before write feature
that allows tracks 1 through 8 to be
bounced to tracks 7 and 8.
■ Digital direct-track copying within a sin-
gle unit or between multiple units.
■ Coaxial S/PDIF digital I/O accommo-
dates direct mixdown from the DA78HR multitrack to a compatible digital
recorder such as DAT, CDR or DAW.
are independent and can be set from 0
seconds to 59 minutes and 59 seconds.
■ When executing an edit or punch, the
crossfade time between the signal on tape
and the input signal to be recorded, can
be set from 10 to 90ms (milliseconds).
■ In Auto Play (after rehearsal is complete)
the tape automatically rewinds to the preroll position before the punch in location.
Transport Control
■ Standard transport controls include Play,
Record, Fast Forward, Rewind and Stop
■ Precision rotary shuttle knob advances or
■ Shuttle monitor button mutes the over-
bearing, high pitched squeals associated
with high speed shuttling.
■ Full SMPTE/EBU operation with on-
board time code reader/generator and
support for all frame rates including
29.97 DF/NDF 30, 25 and 24 fps.
■ ABS (Absolute Time) can be synthesized
44.1 or 48 kHz sampling rate
➤ Track Advance and Track Delay from
-200 to 7200 samples in 1 sample steps
can add subtle nuances to a musical
groove or tighten the synchronization of
a sound effect.
➤ 24-bit, 128x over-sampling analog to
digital and digital to analog converters
➤ 1 hr. 48 min. recording time on a single
120 Hi8 tape
➤ 20Hz - 20kHz frequency response and
104dB dynamic range
➤ Fully backward compatible with existing
(non-HR) DTRS multitracks.
➤ Up to 16 DTRS machines can be linked
together with sample accuracy yielding a
total of 128 audio tracks
➤ When syncing multiple DTRS units, it is
sometimes necessary to offset the time
between one or more slaves in relation to
the master deck. All DTRS units have
frame accurate offset capabilities independent of SMPTE time code functions.
➤ The tape formatting process writes sub-
code information such as ABS (Absolute
Time) and ATF (Automatic Track
Finding) data on the non-audio portions
of the Hi-8 tape. Timing information is
embedded in the subcode area of a tape
using helical scanning. This ensures
machine to machine compatibility of
tape with no potential for loss of timing
information due to tape stretching or
➤ Exclusive, interleaving write after read
4-head system provides superior drop out
protection and yields significantly more
area read on tape.
■ When time code is on part of a tape and
you want to stripe the rest, an assembly
time code function will read a few seconds of the time code and jam sync the
generator and stripe the rest of the tape.
■ Re-chase time code is achieved by con-
stantly monitoring the internal time code
(or Absolute Time equivalent) and external timecode by slowing down and
speeding up the transport to ensure consistent sync or it can run freely once the
initial sync has been achieved, ignoring
incoming time code. The re-chase window settable to 1 or 2 seconds, determines the amount of drift that is tolerated before re-chasing is necessary.
■ Time code errors of 10 or 30 frames can
be set up to be bypassed and ignored.
■ The park position of a slaved DTRS
machine is the pre-roll time needed for
the machine to lock to timecode. Park
position can be preset or automatically
set to the optimum park position.
■ MTC (MIDI Time Code) support allows
synchronization between the DTRS
machine and a MIDI sequencer or other
compatible device and can be output
when the DTRS is playing, in FF, rewind
or when stopped.
■ Digital Track Copy function allows assem-
ble or composite editing between machines
or within a single unit. For example, you
can copy tracks 3 and 4 to tracks 5 and 6
within one machine or you can copy
tracks 3 and 4 of one machine to tracks 5
and 6 of another machine.
■ Highly accurate and reliable transport
■ Built-in digital patchbay allows routing
any input to any track digitally. For example input 1 can record to track 2 and input
2 can record to track 1.
■ Offset times between master and slave
units(s) can be set on the fly while
machines are in the play mode, or by
entering a specific offset time.
mechanism features DD brushless motors.
T/DIF Compatible PCI Digital Audio Card
A flexible Windows-based audio card built around dual
T/DIF connectors, Mixtreme is ideal for interfacing your PC
to a digital mixer or DTRS compatible multitrack recorder.
Relies on its own DSP to handle mixing and effects which
greatly reduces the latency associated with Native or DirectX plug-ins.
• Includes Mixtreme mixer software
• Word clock/Superclock I/O (RCA jacks)
• 16-channel, 24-bit digital I/O via two 8• Optional ADAT to T/DIF (SS8IO-2) and
channel T/DIF connectors
20-bit analog to T/DIF (SS8IO-3) interfaces as well optional S/PDIF and video
• ASIO and Multimedia Drivers for
sync daughter boards
Windows 95/98 and NT4
• Multiple card support for up to 64 chanMixtreme ......................................499.95
nels of I/O
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
(converted) to SMPTE time code.
SMPTE time code can also be offset
from the ABS time code.
➤ Selectable 24-bit and 16-bit recording at
rewinds tape at 1/4 to 8 times normal
speed. While shuttling tape, the monitor
output level is automatically attenuated
by 12dB of the normal playback level.
High Resolution DTRS Technology
■ All Input Monitor Button automatical-
ly sets all outputs to monitor the audio
inputs, regardless of the transport status. This function is primarily used for
alignment purposes and is equivalent
to pressing all of the input monitor
■ Auto Input/Auto Monitor switch auto-
matically activates the inputs when
shuttling, fast forwarding or rewinding
or in stop mode. This is useful for
allowing talent to communicate with
the engineer when no audio is being
Additional Features
■ Pitch is variable ± 6% in 0.1% steps
■ All functions are front panel accessible
including, machine ID (used in multi
machine configurations), trim and tape
locate positions, test tone oscillator and
defining pre-roll time.
2408 and 1224
Computer-based Hard Disk Recording Systems
Based on the PCI-324 PCI card that can connect up to
three audio interfaces, providing up to 72 channels of
simultaneous I/O. The 1224 includes eight analog I/O
(balanced 1/4-inch TRS connectors) with the latest 24bit A-D/D-A converters. The 2408 includes eight analog I/O (RCA) with multi channel ADAT optical and
T/DIF digital I/O. Each interface can be purchased
separately or with a PCI-324 card allowing you to
build a system to suit your needs. Systems include drivers for all of today’s hottest audio software. Host computer determines the number of tracks that the software can record and play simultaneously, as well as the amount of real-time effects processing supported.
The 1224 and 2408 both include AudioDesk Audio Workstation Software for Mac. It features 24-bit recording, multi-channel waveform editing, automated virtual mixing, graphic
editing of ramp automation, real-time effects plug-ins with 32-bit floating point processing,
crossfades, support for third-party audio plug-ins, background processing of file-based operations, sample-accurate editing and placement of audio, and much more!
MOTU 2408
■ Fast frame accurate tape location and
positioning; end to end winding of a
“120” tape is 80 seconds
■ When recording from a 20-bit - 24-
bit word length to a 16-bit word
length, dithering can be set to add
noise to low level signals to prevent
unwanted quantization noise to the
signal. There are three dither settings
available: No Dither, Triangular and
Rectangular which gives 3dB better
signal-to-noise ratio than triangular
but may add but may add noise modulation to the signal.
■ 12-segment LED peak reading level
■ 7 banks of 8-channel I/O:
—1 bank of analog (RCA)
—3 banks of ADAT optical
—3 banks of T/DIF, plus stereo S/PDIF
■ Format conversion between ADAT and
T/DIF compatible devices
■ 20-bit A/D and D/A converters
■ 24-bit internal data bus for full 24-bit
recording via digital inputs
■ Standard S/PDIF I/O for digital, plus an
additional S/PDIF out for the main mix
■ Sample-accurate synchronization with
ADAT and DTRS machines via ADAT
sync in and RS-422
MOTU 1224
■ Internal digital sine wave generator
provides signals of A-440 and 1kHz at
the nominal operating level of +4dBu
for tuning and meter calibration
■ You can have the DA-78HR display
how many hours the drum heads have
been utilized by holding the Stop and
Play buttons while powering on the
machine. This is useful for determining
when routine maintenance such as
head cleaning may be necessary.
■ 24-bit analog audio interface
■ Word clock in/out
■ Simultaneously record and play back 8
■ Dynamic range of 116 dB (A-weighted)
channels of balanced (TRS) +4 dB audio
■ 24-bit balanced +4 XLR main outputs
■ Stereo AES/EBU digital I/O
Used Equipment Bought, Sold and Traded
■ Front panel displays six-segment metering
for all inputs and outputs
■ Headphone jack with volume knob
DA-98HR (only) High Resolution Digital Multitrack Recorder
Not only can the DA-98HR record 8-tracks of 24-bit audio at 44.1 and 48 kHz, it can also record 4 tracks of 24-bit audio ar 96kHz and 2
tracks of 24-bit audio at 192kHz making the DA-98HR the ultimate mixdown deck. The DA-98HR builds on the DA-78HR and adds critical
features for post production including the availability of AES/EBU digital I/O for instant integration into digital patchbays, DAWs, and more!
The DA-98HR can also be controlled with standard DTRS remotes, or via serial 9-pin.
■ Confidence replay mode allows direct
monitoring off of tape while recording.
■ Input monitor mode allows channel by
channel source monitoring regardless of
tape transport status.
■ Simplified source/tape monitoring func-
tions with automatic switching.
■ 10-soft key location memories in addition
to the basic memo 1 and memo 2 locate
points used for looping and punches.
■ Ten most commonly used functions can be
■ 15-segment peak level meters have selec-
table fall ballistics and hold time ranging
from 0 to 9 seconds and continuous
peak hold.
■ Pull up and pull down functions are pro-
vided to adjust sampling frequencies to
drop frame rates. For example, since the
frame rate of film (24 FPS) and the frame
rate for video (29.97 FPS) don’t conform
to a simple mathematical ratio, audio sampling frequencies would be affected on
transfer back to film.
■ There are three user setup memory banks
for storing setup profiles.
■ Menu settings are displayed on a LCD dis-
play with cursor and Enter/Escape keys
selectable between three standard values:
Tascam (-16dB), SMPTE (-18dB) and
European (-20dB).
■ Edit and punch crossfade times are selec-
table between 10 to 200ms.
■ Four stereo XLR balanced AES/EBU
digital I/Os.
■ XLR balanced time code In/Out provides
connections for SMPTE time code sync
functions DA-98.
■ Video In/Thru BNC connectors carry
video frame sync signals when the DA98HR is used with professional video
equipment. The self-terminating thru connector echos the input signal.
■ The RS-422 connector is used to control
the DA-98HR from an edit controller
conforming to the Sony 9-pin protocol.
■ Control I/O allows parallel control of the
Optional Remote Control Units for the DA-78HR/DA-98HR
RC-808 Remote Control: Controls all of the basic transport functions including, record, auto-locate, monitor
switching, track arming and punch
RC-828 Remote Control: For controlling up to four DTRS machines with
transport control, track arming, 12 locate memories, jog/shuttle and more.
RC-898 Remote Control: Provides accurate control of up to 6
DTRS machines including all basic transport functions, input
monitoring and track arming. It also controls the transport functions of external units conforming to the Sony P2 protocol using the RS-422 interface, as well as parallel and GPI controlled devices.
■ No power supply, draws power from
DTRS units.
■ Up to 99 location memories can be
stored and edited with frame accuracy.
■ Time code values are input with a posi-
tive feel numeric key pad.
■ Convenient menu system with 20-charac-
ter by 4-line backlit LCD display.
■ Shuttle wheel mimics the DTRS’ shuttle
wheel, jog dial provides frame accurate
manual locating and data entry.
■ Twenty frequently accessed menu settings
can be assigned to function keys for quick
and easy recall.
■ All time code formats are supported as
well as pull up/pull down.
■ Up to 10 setup configurations of the RC-
898 and up to 6 DTRS units can be
stored in memory for instant recall.
■ Location memories and configuration set-
tings are stored using battery backed
■ Includes remote/sync cable and
remote/sync terminator.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ Reference levels for the analog I/Os are
assigned to soft keys.
DA-98 Step Up Features
24-bit 24-Track Hard Disk Recorder
Co-designed by TASCAM and TimeLine Inc., the MX-2424 is an
affordable 24-bit, 24-track hard disk recorder that also has the editing power of a digital audio workstation. A 9GB internal hard drive
comes standard as well as a SCSI Wide port that supports external
LVD (Low Voltage Drives) hard drives from up to 40 feet away. An optional analog and several digital I/O cards are
available so the MX-2424 can be configured to suit your work environment. SMPTE synchronization, Word Clock,
MIDI Time Code and MIDI Machine Control are all built in for seamless integration into any studio.
■ Records 24 tracks of 24-bit audio at 44.1
or 48 kHz, or 12 tracks at 88.2 or 96
kHz. Up to 24 tracks can be recorded
simultaneously using any combination of
digital and analog I/O.
■ Supplied 9GB internal drive allows 45
minutes of audio across all 24 tracks.
Transport Controls
■ Jog/scrub wheel
■ MIDI In, Out, and Thru ports are built-
in for MIDI Machine Control.
■ A footswitch port lets you use a punch-in
pedal, or an Alesis LRC remote control.
■ Wide SCSI port on the back panel allows
you to add multiple drives. There is also a
front panel 5-1/2˝ bay available for
installing an additional drive, or an
approved DVD-RAM drive for back-up,
using affordable DVD-RAM media.
■ Can record to Mac or PC formatted dri-
ves, allowing later export to the computer
for other functions. When recording to
Mac disks, the audio is recorded in SDII
(Sound Designer II) format, while PC
disks will record in WAV format.
■ Built-in editing capabilities include cut,
copy, paste, split and ripple or overwrite
■ 100 levels of undo
■ TL Tape Mode is a destructive recording
mode that rewrites directly over the existing track or tracks during loop recording.
■ Loop Mode is a non-destructive recording
mode that continuously records new takes
without erasing the previous version. Edit
the best of all the takes into a composite
or experiment with different ideas.
■ Using a format compatible with digital
audio/sequencing programs and digital
audio workstations called Open TL, these
systems can read and write to/from the
disks used in the MX-2424 to offer
playlist compatibility and recognition of
virtual tracks without have to load, reposition and trim each digital file.
Word Clock
■ As with time code, word clock has In,
Out, and Thru ports. The Thru port is
hardwired to the In, so there is no delay
in passing the signal to the next unit. The
out port is used if the MX-2424 is the
word clock master.
ViewNet MX-2424
The MX-2424 can be controlled with the supplied
ViewNet MX software, a Java-based GUI that works on
Mac or PC. ViewNet MX offers DAW style editing of
audio regions, dedicated system set-up screens that make
set-up quicker and easier, and track load screens that
make virtual track management a snap. MX-2424 connects to a computer via a standard Ethernet line, requiring standard ethernet cables and a hub.
Overnight Shipping Available
Built-In Synchronization
■ The MX-2424 utilize a protocol called
TBUS, which can sample accurately lock
32 machines together for 384 tracks at
96kHz, or 768 tracks at 48kHz!
■ The MX-2424 can generate or chase
SMPTE timecode or MIDI Time Code.
The time code ports on the back offer TC
In, Out and Thru. The in is for chasing
time code. The TC Thru port is hardwired to the In port, allowing the time
code to pass through the MX to the next
unit without any delay. The TC Out can
output time code when it is the master, or
it can even provide an offset from incoming time code.
Software Updates
■ System updates are made available
through a Smart Card slot in the front
panel. Furthermore, if you have the MX2424 connected to a computer via
Ethernet, you can download the updates
directly from the TASCAM web site.
I/O Options
■ Optional analog and digital cards all pro-
vide 24 channels of I/O. There are two
slots available (one dedicated for analog
and one for digital) so an analog and a
digital option can be installed together.
■ IF-TD24- T/DIF module
■ IF-AD24- ADAT Lightpipe module
■ IF-AE24- AES/EBU module
■ IF- AN24- A-D, D-A I/O module with
DB-25 connectors
Multi-Track Accessories
RC-2424 Remote Control for the MX-2424
■ Offers complete transport control and
system set-up
Tascam T/DIF Interfaces
T/DIF to AES/EBU Digital I/O.........439.95
T/DIF to ADAT Optical Interface.....179.95
■ Familiar front panel layout of MX-
■ 8 user-definable macros for frequently
PW88S (3´) ......................................16.50
PW88M (16´) ....................................15.50
used keystrokes
■ Additional functions for controlling
■ Status lights offer immediate indication of important functions of the recording system
■ Additional keys dedicated to editing functions, like capturing and auditioning in/out points
for punch-ins or edits, allow you to work faster and more comfortably.
Sync cables used to chain multiple
DTRS machines together in a system
■ Controls multiple MX-2424 machines
Cables used to transfer digital audio to
and from T/DIF compatible devices
PW88D (3´) ......................................17.95
PW88DL (16´) ..................................29.95
Excelline Multitrack Snakes
TL-SYNC Multi-Format Synchronizer
■ Complete integration with the MX-2424
via the TBUS for audio post and synchronization needs
■ DTRS, ADAT, and TBUS sync outputs for
sample accurate MDM (Modular Digital
Multitrack) transport control
■ 2 sets of MIDI I/O for MIDI Time Code
and MIDI Machine Control
■ LTC SMPTE Time Code, 1 in x 2 out for
reading, digital clock generation, and chasing/generating LTC
■ Equipped with one RS-422 input and four
RS-422 outputs
■ AES/EBU, S/PDIF and Word Clock I/O
for lock and generation
■ Video input for lock and pass through of
black-burst and composite video signals
(TL-Sync doesn’t generate video)
■ High sample rate clock: 1 input plus 4
outputs for generation and lock to various
clock frequencies
■ Industry-standard clock rates include:
44.1, 48, 88.2, 96, 176.4, 192 kHz and
■ Super Clock I/O for lock and generation
of the Digidesign compatible 256x Digital
■ Lynx Bus support for TimeLine Lynx-2
and KCU
■ Java-based set-up application for visual dis-
play and parameter adjustment from a
Mac or PC
■ ADR Beep connector and dedicated
System Tally / GPI connector
■ Virtual Device mode allows control of all
connected devices via MMC or RS-422
Analog Breakout Cables for
the MX-2424 and DTRS Multitracks
DB25 to 8 balanced 1/4˝ TRS (male) phone jacks
#DA88BQ5 (5’)......................................79.95
#DA88BQ5 (5’)......................................83.50
#DA88BQ15 (15’)..................................89.95
#DA88BQ20 (20’)..................................94.95
DB25 to 8 balanced XLR (male) connectors
#DA88XM5 (5’) ....................................76.95
#DA88XM10 (10’) ................................77.95
#DA88XM15 (15’) ................................82.50
#DA88XM20 (20’) ................................96.50
DB25 to 8 balanced XLR (female) connectors
#DA88XF5 (5’) ......................................73.50
#DA88XF10 (10’) ..................................77.50
#DA88XF15 (15’) ..................................83.50
#DA88XF20 (20’) ..................................88.95
AES/EBU Digital Breakout Cables
for the MX-2424* and DA-98HR
Yamaha (#YAAESEBUC) ................................
DB25 to 4-XLRM and 4-XLRF 15’ ....124.95
Panasonic (#PADADBAES) ............................
DB25 to 4-XLRM and 4-XLRF 15’ ....159.95
Hosa (#HODB254XMF) ................................
DB25 to 4-XLRM and 4-XLRF 16.5’ ....64.95
*Requires IF-AE24- AES/EBU Module
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Part of the new TASCAM by
TimeLine family, the TL-SYNC
is the first high-quality, multipurpose synchronizer designed to
meet the needs of today's digital
professional. A powerful tool, TLSYNC works with the MX-2424,
RC-2424 or as a stand-alone unit
anywhere high-performance synchronization is desired. Ideal for video production facilities, multimedia development labs and
project studios.
8-Track Digital Audio Workstation
A portable all-in-one 8-track hard disk recorder with integrated
mixer and digital effects, the D-8 allows up to 4.5 track hours (34
minutes for 8 tracks) of CD quality recording time on the supplied
1.4GB internal hard drive. As easy to use as a regular multitrack
tape recorder, plus the ability to record, edit and mix —all within a
single streamlined unit. For video applications, the D-8 offers MTC
(MIDI Time Code) synchronization to integrate into video production environments.
■ 8-track digital multi-track recorder with
16-bit/44.1kHz uncompressed recording
and playback.
■ Records up to two tracks simultaneously
■ 18-bit linear, A to D, D to A conversion
and 24-bit signal processing throughout
to ensure signal integrity.
■ 1.4 GB internal hard drive allows 4.5
hours maximum for one track, 34 minutes maximum for all 8 tracks
■ LCD display shows record and playback
levels, time data and values of editing
■ 50 songs can be stored in memory
■ Three locate memories and 100 marker
points per song
■ 25-pin SCSI port can support up to
seven 4GB hard disk drives for additional
storage and archiving.
Mixer Section
■ 12 channel 4 bus mixer
■ 6 mono and 1 stereo fader with dedicated
pan pot for controlling volume and left
right balance of audio tracks
■ 2-band EQ is available for all input and
mixer channels— high shelving 10kHz
and low shelving 100Hz ±15dB
■ Fader, EQ, pan, effect and aux send set-
tings for each channel can be stored as a
scene (20 scenes per song).
We Ship Worldwide
Digital I/O
■ Two 1/4˝ balanced mic/line inputs accept
■ S/PDIF optical digital I/O allows connec-
a variety of sources from vocals to guitar
to keyboard
■ RCA monitor outputs
■ Mono RCA unbalanced auxiliary send
tion between the D8 and digital devices
such as a DAT, CD or MiniDisc recorder
■ The digital input’s sample rate converter
automatically converts 48 and 32 kHz
sources to 44.1kHz.
■ Stereo RCA unbalanced aux returns
■ 1/4˝ headphone output with level control
■ Supports MIDI clock, MTC (MIDI Time
■ Non-destructive cut, copy, paste delete
and swap track editing as well as copy,
move, delete and recover song editing is
supported, each with one level of undo.
Code) and MMC (MIDI Machine
Control) and up to 10 tempo map events
per song.
■ Supports Tap Tempo as well as entering a
numeric tempo value.
■ Scrub function offers reel rocking style
audible cue and review of a track, making
it easy to find edit points .
■ Auto and manual punch in and out
■ Internal 24-bit/44.1kHz effects include
65 programs, each of which uses up to
four effects based on 50 effects
algorithms. Effects can be edited and
stored in 65 user memory locations
■ Effects programs can be recorded to a
song or track by inserting them or by
using them as a master effect.
■ The effects processor can be used as mono
in stereo out, stereo in/ stereo out and
dual mono.
■ Direct Song Access system automatically
saves songs and audio phrases to disk
without the need to save data manually.
■ Advanced Song Auditioning System
accesses songs as easily as selecting a song
on a CD player.
■ Two or more songs can be played back in
a specified order, a great way to mixdown
several songs to DAT or CD.
■ Hands free Audio Trigger Record function
automatically starts recording when an
audio signal is present.
■ Includes a built-in metronome as well as
131 rhythm patterns covering a wide
range of musical styles.
16-Track Digital Audio Workstation
The D-16 is a powerful music workstation that combines true 24-bit
digital multi-track recording, mixing, editing and effects in one compact
package. The D-16 offers sixteen tracks of 16-bit or eight tracks of
uncompressed 24-bit recording (far greater than CD quality), highquality effects and a 24-channel mixer giving you all the tools you need
to create music. Full-digital processing ensures that there will be no loss
of audio quality during track bouncing and editing.
■ Supports 16-tracks of playback/ 8-tracks
of simultaneous record at 16-bit/44.1kHz
and 8-tracks of playback/ 4-tracks of
simultaneous record at 24-bit/44.1kHz.
■ High-quality 24 bit A to D and D
■ Built-in 2.1 GB hard disk provides a
single track with up to 6.5 hours of
recording time.
■ 8 mic/line inputs include: balanced XLR
mic/ 1/4˝ line inputs for channels 1- 2
and 1/4˝ balanced mic/line inputs for
channels 3 - 8. There is also a dedicated
1/4˝ unbalanced guitar jack.
■ 3-band EQ is available for all input and
mixer channels— high shelving 10kHz,
sweepable mid-band from 20Hz-20kHz,
low shelving 100Hz ±15dB.
■ A built-in SCSI-2 port allows connection
of up to 7 SCSI devices for up to 100GB
of additional storage and archiving.
Supports recording/playback and data
backup on various removable media.
■ An optional CD-R or CD-R/RW drive
can be connected to the SCSI connector
to backup data, or to create audio CD's.
■ 100 songs can be stored in memory
■ There are 4 Locate points and 100 Mark
points available in each song
■ Mixer settings such as fader, EQ, pan, and
effects can be stored as a scene, and 100
scenes can be memorized for each song.
Scenes can be switched automatically during playback, or can be recalled instantly
as general-purpose setups.
■ Supprts MTC and MIDI Clock synch as
well as 100 tempo map events per song
■ A MIDI sequencer can be used to auto-
mate MIDI data such as scene changes.
■ Using touch screen technology, the large
backlit Touch View display allows highly
visual, intuitive navigational control
including waveform editing.
■ Virtual tracks allow recording up to 8
alternate takes of a part per track. The
best take (virtual track) can then be selected or a composite of the best parts of each
take (virtual track) can be created.
■ Includes Time Stretch and Reverse
Playback. Time Stretching can match the
tempo of different recordings, or fit
recorded data into a specific time length.
■ You can record a song from an external
■ Incorporates a proprietary sound model-
ing technology called REMS (Resonant
Structure and Electronic Circuit Modeling
System) to precisely reproduce the complex character and nature of both acoustic
and electric instruments as well as electronic circuits in real world environments.
REMS emulates a wide variety of sound
generation characteristics including instrument bodies, speakers and cabinets,
microphones, vacuum tubes, transistors.
■ A total of 11 simultaneous effects are
available including eight effects that can
be inserted into the inputs or mixer channels, two master effects fed by sends from
each channel, and an overall effect that is
applied to the master output as the last
stage of processing. There are 106 types of
high-quality effects of which up to five
can be combined in an effect program.
source such as record or CD, and then
create tempo data that can be used to synchronize this data. Tempo can be recorded
on the sync track either by setting a
numerical (BPM) tempo (tempo map), or
by using the Tap Tempo function to
record the tempo (sync track).
■ Built-in mic for instant recording access
■ Trigger Record function to initiate record-
ing when an audio source starts.
■ Built-in auto chromatic tuner can works
with guitar bass or an external source via
the built-in mic.
■ Includes a metronome and 200 rhythm
patterns for use as a musical guide.
■ 1/4˝ unbalanced footswitch jack and 1/4˝
stereo expression pedal jack
■ There are 128 presets, 128 user channel
insert effects, as well as 32 preset, 32 user
effects that can be used on the master
send and additional 32 preset, 32 user
overall effects.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
to A converters, and 24 bit S/PDIF
optical I/O.
Input Channels
4- and 8-Track Portable Mixer/Recorders
Four and eight-track hard disk recorders, the FD-4 and FD-8 are designed to
offer the flexibility of recording to a variety of external removable drives such
as Zip, Jaz or MO (Magneto Optical), and/or an internal 2.1GB IDE. Nondestructive editing, integrated analog mixer and 2 effects sends with stereo
returns offer a complete solution for recording, editing and mixing. MTC
(MIDI Time Code) sync and MMC (MIDI Machine Control) as well as
analog and digital I/O allow them to integrate into a wide range of video and audio systems.
■ Built-in 25-pin SCSI port allows connec-
tion to Iomega Zip or Jaz or MO drives.
■ Supports MTC (MIDI Time Code) and
MMC (MIDI Machine Control) for synchronization and transport control from a
MIDI sequencer.
■ Four-channel (FD-4) or eight-channel
(FD-8) analog mixers with 3-band EQ
(2-band shelving, one band parametric)
for each channel.
■ When stopped, the jog dial can move for-
ward or reverse for audio scrubbing without pitch change. Can also be used to
increase or decrease numeric values or letters when editing. When used with the
shift key, shuttling from normal to 64x
speed is possible.
■ When used together the Auto Play and
Auto Return functions allow repeat playback.
■ Non-destructive cut, copy, paste and move
editing using ABS (Absolute Time), MTC
(MIDI Time Code) or bars/beats and
clock as a timing reference.
■ Preview function allows fine-adjustment
of an edit or locate point.
■ Undo/redo function for easy correction of
recording and editing mistakes.
■ Recorder in jacks allow direct to digital
recording, bypassing the mixer section.
■ Bar/Beat resolution feature edits audio at
the beginning of the beat.
■ Backlit LCD display shows level and tim-
ing info as well as operational status.
■ Two aux sends per channel and stereo aux
FD-4 Only
■ Four analog inputs; 1 and 2 support line
■ Stereo Ping-Pong capability allows four
tracks to be bounced down to two additional tracks.
■ Auto and manual punch in and out with
rehearsal feature.
■ Metronome can be used as a rhythm guide.
■ Pre-roll is variable from 0 to 10 seconds.
■ 1/4˝ punch in/out footswitch connector.
■ Separate stereo RCA monitor and main
output, headphone output with level
FD-8 Only
■ 8 playback tracks plus 16 more that can
level signals while 3 and 4 support mic
and line level sources.
be swapped, allowing you to create alternate takes of an audio section.
■ Three recording modes: Normal mode
■ Three recording modes include Normal,
with a sampling rate of 32kHz and the
longest recording time. Mastering mode
and Mastering 2 mode offer 44.1kHz 16bit linear CD quality recording.
■ Inputs 3 and 4 feature channel inserts,
XLR mic inputs and a 3 stage input trim
■ Optical S/PDIF digital I/O allows
recording to and from a DAT, MiniDisc
or other digital player/recorders.
■ Digital I/O can also be used to back up
audio data and setup mode settings to a
DAT machine.
■ Disk Remain Display indicates the avail-
able recording time and disk space based
on ABS, MTC and Bar/Beat/Clock.
■ ±6 % Vari-Pitch function.
Mastering and Backup. Normal mode
uses 44.1kHz sampling rate with ADAC
(Digital Audio Coding Technique) that
allows 67 track minutes of audio to be
recorded on a 100 MB Zip disk.
Mastering mode uses an optional IDE
drive for 17 track minutes per 100MB
with true 16-bit/44.1kHz CD quality.
Backup mode is used to import or export
data at 44.1kHz with a removable drive.
■ Six 1/4˝ line inputs (CH 1 - 6) XLR bal-
anced mic or 1/4˝ line inputs (CH 7-8).
■ Optical digital I/O accommodates
S/PDIF I/O or 8 tracks of ADAT I/O.
Available FD-4 and FD-8 Configurations:
FD4 4-Track Hard Disk Recorder (no drive)
FD8 8-Track Hard Disc Recorder (no drive)
FD421 With 2.1 GB HD
FD821 With 2.1 GB HD
FD4250X With 250 MB ZIP Drive
FD8250X With 250 MB ZIP Drive
24 Hour Fax: 800-947-9003 ■ 212-444-5001
Digital Audio Studio Workstation —
Portable All-in-One Digital Mixer/Multitrack Recorder/Effects Processor
Digital Recording
■ 20-bit 64x oversampling A/D and 20-bit
128x oversampling D/A converters for
pristine audio quality and increased
dynamic range.
■ Supports 44.1 and 32kHz sample rates.
■ Records onto a 250MB Zip drive.
■ Four recording modes offer a flexible
range of quality vs record time ratios to
suit the needs of various applications.
■ 8-track hard disk recorder with up to
four tracks of simultaneous recording,
each of the 8-tracks has 8 virtual tracks
allowing you do do multiple takes and
then choose best performance or comp
the best parts of a number of takes.
■ Standard tape recorder style transport
controls; Play, Stop, Record, FF, REW
■ Vari-Pitch button to change the playback
pitch by altering the sampling rate
■ Track Cue knob adjusts the volume for
each track when monitoring through the
Track Cue bus or monitor out.
■ Auto Punch button allows hands free
punch in and out recording dictated by
the Locate 1 (in) and Locate 2 (out) settings.
Mixer Section
■ Loop function will repeat a section of
audio determined by the Locate 3 (start
time) and Locate 4 (end time) settings.
■ Scrub function enables the scrub/preview
function to audibly cue and review a specific section of audio.
■ Time/Value dial used to scroll through
current time, marker or parameter settings.
■ 8 locate points are available per song via
dedicated buttons.
3-band parametric EQ per channel.
■ 12 channels available at mixdown; 8
playback and 4 input.
■ Input sensitivity knobs with peak level
indicators for input channels 1 - 4 are
adjustable to accept mic and line level
■ Master Fader is used to adjust the overall
output level.
■ Headphone output with level control.
■ Up to 1000 points in each song can be
registered as a mark point to be used as
■ EZ routing function visually steps
through recording and internal connections for track bouncing and mixdown by
asking the user a series of yes or no questions. Quick recording mode requires
fewer input parameters and steps with
visual confirmation of signal flow.
■ Backlit LCD display numerically and
graphically displays all pertinent timing
and operating information.
■ 999 levels of Undo for "no fear" record-
ing and editing.
■ Four mono and two stereo faders with
■ Mixer settings can be saved and regis-
tered as a scene. providing an efficient
way to recall song settings including levels, panning and effects settings.
■ Built-in digital effects rivaling dedicated
units can be connected to the effect bus
or inserted into a specific channel.
■ Includes multi effects types such as; gui-
tar multi, vocal multi and keyboard multi,
spatial effects such as reverb and delay
plus mic, acoustic guitar and bass simulators as well as a 10-band graphic EQ.
■ 200 preset patches and 200 user patches.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Literally recording studios in a box, Roland’s Digital Studio Workstations
all combine digital disk recording, mixing and effects—allowing you to
take your recordings from inception to completion—completely in the digital domain. With sophisticated non-destructive cut, copy and paste editing,
pristine digital audio, hundreds of preset and user effects including built-in
microphone and guitar amp simulators, they eliminate the need for extra
outboard equipment. They include MIDI input/output for synchronization
and machine control using a SMPTE to MTC (MIDI Time Code) converter. And, with the optional SI-80S, they can also sync to any Control Lequipped camcorder, editor or VCR . From the cost effective VS-840EX to
the flagship VS-1680, songwriters, guitarists and video producers the world over can take advantage of cutting edge
audio production technology wherever they go.
■ Editing functions include copy, move and
erase. For example, you can copy a drum
pattern several times or duplicate a chorus
to use multiple times in a song. NEW
Copy and Insert/ Move + Insert.
DS-90 Digital Reference Monitors
Compact near-field reference monitors with builtin bi-amplifier design are the world's first to offer
24-bit digital inputs. Designed specifically to complement the COSM speaker modeling features
found in Roland's VS880EX and 1680 workstations. Features include ultra-flat frequency response
characteristics, 24-bit digital inputs (optical and
coaxial), bi-amplified (60 watts for the woofer and
30 watts for the tweeter), balanced XLR and TRS
1/4˝ analog input connections.
■ Non-destructive editing allows any edit to
be undone and redone (999 levels).
■ Song optimization feature deletes sound
data that was previously erased (nondestructively) exceeding certain length,
opens up disk area and securing remaining disk storage capacity.
■ Input jacks 1 - 4 using 1/4˝ connectors
■ Input 1 is a high impedance input jack
for direct connection from a guitar.
■ Inputs 3 and 4 are duplicated with addi-
tional RCA phono type inputs.
■ RCA phono type L/R Master Outputs.
■ RCA phono type Monitor/Aux jack A
and B can be used as either a monitor
output or aux send for use with external
effects processors.
■ MIDI In/Out connectors sends and
receives MIDI controller and exclusive
data including MTC (MIDI Time Code)
and MMC (MIDI Machine Control).
■ Foot Switch jack for control recording
operations such as start/stop and marker
point settings.
■ Stereo coaxial and optical digital outputs
used for connecting to master decks such
as a DAT, CD or MiniDisc recorder.
Additional Features
■ Built-in chromatic tuner with a range of
SI-80S Video-MIDI Sync Interface
The SI-80S allows VS digital studio owners to easily sync their workstations to camcorders, VCRs and other machines that have a Control L interface.
CD-Burner for Data Backup and Audio CDs
The VS-CDRII Recording System
includes a 20x read/4x write/2x
rewrite CD recorder, CD-R software
for both Mac and PC platforms, a
SCSI cable for connecting the CD
recorder to the V-Studio, an instruction manual, and blank CD-R and
CD-RW disks.
■ Complete hardware/software bundle allows
VS-880, VS-880EX, and VS-1680 owners
to burn their own audio CDs directly from
the SCSI port of a VS-Series Digital Studio Workstation.
C0 to B4.
■ Built-in metronome dictated by tempo
map, can be output to Master and or
Track Cue buses or assigned to an external MIDI sound source.
■ Optional VS4S-1 SCSI expansion board
allows importing and exporting tracks to
an external SCSI-2 compatible hard drive
(maximum 1GB).
■ A multi-session CD recorder, it can also be used as a standard 20x read/4x write/2x
rewrite write drive for multimedia software, data storage and audio CD playback on
Macs and PCs.
Includes CD-R software for Macintosh (Toast ) and PC (EZ-CD Pro) platforms,
SCSI cable, blank CD-R and CD-RW discs
We are on the web at:
Digital Studio Workstation
The VS-880EX takes up where the VS-840EX leaves off. It offers a built-in
2.1GB IDE hard drive as well as an external SCSI port for additional storage
capability. (Optional VS-CDRII CD-burner is also available for the VS880EX). It features enhanced effects capability, more inputs and outputs, and
can simultaneously record eight tracks (only four tracks on the VS-840EX).
Same features as the VS-840EX PLUS—
■ Supports 48kHz as well as 44.1 and
32 kHz sample rates.
■ Internal 2.1GB IDE hard drive
■ Audio CD recording and data backup via
optional VS-CDRII drive
■ Up to 8 tracks of simultaneous recording
■ 128 virtual tracks of digital hard disk
recording (64 virtual tracks x two banks)
■ 8 Scenes, 64 Locate Points per song
■ Time compression and expansion algo-
rithms (adjustable from 75 to 125%)
allow you to adjust the playback time of a
song to a specified length of time.
■ Eight mono channel faders with dedicat-
ed pan controls for every channel
■ 3-band EQ for 8 channels or 2-band EQ
for 16 channels
■ Aux send knob adjusts the master auxil-
iary send level
■ Built-in dual independent stereo multi-
effects processing with 34 algorithms:
Reverb, Delay, Chorus, COSM Guitar
Amp Simulation, Voice Transformer, "LoFi" mode, Mic Simulator, Vocoder, etc.
■ 210 preset patches and 100 user patches
■ Mastering Tool kit algorithm offers mas-
tering quality effects such as split frequency compression
■ 6 balanced TRS inputs and 2 digital
inputs (Optical or Coax.)
COSM Speaker Modeling
■ 4 analog outputs and 4 digital outputs
(Optical and Coax.)
■ 25-pin SCSI connector for connection to
hard drives or VS-CDRII recorder.
■ Developed for use with the Roland DS-
90 Monitors, COSM Speaker Modeling
emulates speaker types from high-end
studio monitors to boombox simulations.
VS-1680 Digital Studio Workstation
The VS-1680 represents the new definition of recording power: a 16track, 24-bit recording, editing, mixing and effects processing system in a
compact table-top workstation.
Same features as the VS-880EX PLUS—
■ 16 tacks of 24-bit audio recording
■ 18-track capability permits mixdown of
16 tracks onto two additional tracks
and/or simultaneous playback of 18
■ 256 Virtual tracks (16 x 16 V-tracks)
■ 26 channels of fully automated digital
mixing (16 tracks + 10 input channels)
■ 3-band EQ for 16 channels or 2-band
EQ for 26 channels
■ Large LCD display provides simultaneous
level meters, play list, EQ curves, EFX
settings, waveforms and more.
■ 2 optional 24-bit stereo multi-effects
processors (VS8F-2) provide up to 8 channels of independent effects processing .
■ 10 audio inputs: 2 balanced XLR-type
inputs with phantom power, 6 balanced
1/4˝ inputs, and one stereo digital input
■ 12 audio outputs: 8 RCA (Master L/R,
Aux A L/R, Aux B L/R, Monitor L/R),
and 2 stereo digital outputs (one optical,
one coaxial)
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
and playback and 16 channel automated
mixdown (8 record tracks + 8 inputs)
Mixer Section
Professional CD Player
The CD-150 is a solid, straightforward CD player that integrates into any environment. Has a host of features such as
Auto Cue, pitch control and programmable playback that
make it ideal for DJ, fitness club and PA installations, as well radio and audio production.
■ ±6% Pitch Control
■ Auto Cue function allows a song to be
cued up and paused (ready mode) passed
any intro or subcode information that
exists before an audio track starts. This
allows a songs to start instantly.
■ 10-key numeric keypad (with +10 key)
for direct access to any track
■ Intro Check plays only first 10 seconds of
each track on the disc
■ Program up to 32 songs to playback in
any order. You can visually review the
program to ensure its accuracy.
■ Repeat function allows all or one track to
be repeated. You can also specify an A
(start) and B (end) point within a song to
be repeated in a continuous loop.
■ Time counter display is switchable between
total disc playing time, elapsed time of current track, time remaining of current track
and total remaining time of disc.
■ Analog stereo (RCA) outputs
■ Headphone output with level control
■ 2U rackmountable
■ Includes wireless remote, stereo RCA
CD-450 Professional CD Player
With great sound, rugged design and a broad range of programming
features, the CD-450 can be used in professional applications,
including live theater, radio broadcast, production, DJ and sound
contractor environments.
■ ±12% Pitch Control
■ Numeric keypad for direct track access
■ Repeat Play mode specifies a track will
play in an infinite loop
■ Single Play mode stops the CD player at
the end of the current track
■ Built-in timer allows unattended playback
and stop control
■ Program up to 30 tracks to play in any
■ Auto Cue function cues any track up to
the first frame of audio for immediate
playback. Auto Cue threshold level is settable to -72, -66 -60 or -54dB
■ Auto ready function, upon completion of
the current track, cues the player to the
start of the next track and enters pause
mode ready for the next cue
■ Call key returns to the last Ready cue
position stored in memory
■ Fader and Event start for recording appli-
cations such as flying in sound effects.
The CD-450 will begin playing when it
receives an audio trigger from an open
fader or other audio event.
■ Fader stop ceases playback from the CD-
450 and automatically cues the player to
the next track.
■ End Of Message indicator lights when
nearing the end of a track and is settable
from 5 to 35 seconds
■ Back-up memory retains the operating
status of the repeat, single and increment
play, display mode, auto cue and search
■ 2U rackmountable
■ Program material can be searched by
track number, index number or time.
■ Selectable display mode shows elapsed
time, remaining time or total time
■ Will automatically trigger an external
machine to commence playback facilitating smooth playback transitions across
multiple machines
■ Incremental play begins playback of the
next track every time the play key is
pressed or will enter Auto Ready mode if
the stop key is pressed
7-Day Customer Satisfaction Guarantee
■ RCA unbalanced analog outputs
■ S/PDIF digital output
■ Tally jack for connecting LEDs for moni-
toring the operating status of the deck
■ Remote control output
■ Optional LA-450 Balancing Kit gives you
XLR balanced analog outputs with 12dB
maximum trim control and AES/EBU
digital output.
Industrial 5-Disc CD Player
Rotating carousel accommodates up to
five CDs and is solidly built with a robust
transport mechanism.
■ XLR-balanced and RCA unbalanced ana-
log outputs as well as coaxial S/PDIF digital output for compatibility with professional and consumer-type equipment
■ 3-beam laser tracking system and CIRC
error protection circuitry ensures exact
reproduction of the original CD.
■ Bypass any disc in the tray
(disk skip),
you can also remove any unused disc
while another disc is playing.
■ Easy to read fluorescent display
■ Programmable (up to 32 tracks), random
and repeat playback modes
■ Switchable 120-230v operation
With multi disc capability, the CD-305 is the perfect solution for applications that require long continuous playback or quick access to multiple
discs. Ideal for use in commercial sound installations or production
environments. A fully programmable, great sounding CD player, the
CD-305 also features balanced XLR and S/PDIF digital outputs.
■ Rack-mountable
■ Includes wireless remote control with
10-key pad for direct track number access
The CD-A500 and CD-A700 offer the advantage of a multipurpose integrated combo deck while still delivering the required
features for an individual cassette deck or CD player. Features
like CD to tape synchro dubbing and continuous play features make them ideal for installation and production environments, and because their made by Tascam, you can count on their ruggedness and reliability.
Combo Features
■ Combination CD player and auto reverse
cassette deck
■ Continuous play from CD-to-tape and
tape-to-CD for long playback in background music installations
■ Separate CD and tape function displays
■ Includes RC-A500 IR remote control
Cassette Deck Features
■ 15-program music search
■ CD outputs can be shared as a common
■ Dolby B and C noise reduction
■ ±10% Pitch control ensures proper play-
■ Shuffle for playback of tracks in random
order. Also has a 3-way repeat function
■ Memory programming allows you to pro-
gram the CD to playback tracks in any
order you like. Taken a step further, the A
Side/B Side program dubbing feature
allows monitoring the accumulated time
of programmed material for even distribution to both sides of a cassette.
out for CD and cassette.
■ Headphone output with level control
■ Independent RCA stereo outputs for CD
back of program material.
■ CD Sync recording allows one touch CD
to cassette recording. Once the cassette is
set to record, the CD player will start
■ Auto reverse mode allows continuous
CD Player Features
looping of both sides of a tape, play the
tape once through or play one side only
■ Record mute button inserts 4 seconds of
blank space in between program material.
■ Two directional play buttons allow you to
choose which side of a tape to play/record
■ 50Hz to 15kHz frequency response ±3dB
using chrome tape
and cassette functions and stereo RCA
inputs for cassette deck.
CD-A700 Step Up Features
■ Parallel control port
■ S/PDIF digital output from CD player
■ Independent pitch adjustment (±12%)
for both CD and cassette
■ XLR-balanced and RCA unbalanced out-
puts common for both cassette deck and
CD player as well as XLR balanced and
RCA unbalanced outputs dedicated to
the CD player.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
CD/Cassette Combo Decks
Industrial CD Players
The PMD-320 and 321 offer professionals basic, user
friendly local and remote control and cueing capabilities.
Installations and production facilities who need precise
control of CD audio will find features like fader start,
pitch control and the Marantz RC-5 remote interface
indispensable. RCA analog and digital S/PDIF outputs
are provided for interfacing with today's audio gear while
the PMD-321 adds XLR-balanced analog and balanced S/PDIF outputs for even greater flexibility.
■ Dynamic range greater than 96dB
■ 5Hz - 20kHz frequency response
■ Transport buttons include; Play, Pause,
Track previous/next. Has high speed
audible cue and review.
■ The Stop/CM button (PMD320 only)
stops playback or deletes a program.
■ 10 digit key pad (0 - 9) for direct track
access up to 99 tracks and selecting
tracks in program mode.
■ Cal button is used to calibrate and return
the CD player to normal pitch.
■ Repeat button selects either 1-track
repeat, all-track repeat or program mode
■ ±12% pitch in increments of 0.1%.
■ Fluorescent display indicates power
on/off, current track number being played
or programmed, play/pause mode, repeat
mode, program mode and time reference.
■ Up to 30 tracks to be programmed for
playback in any order. As tracks are being
programmed, the time display calculates
the total accumulated program time of the
selected programs.
CDR-640 Standalone CD Recorder
Marantz’ flagship CD recorder benefits
from 10 years of CD-R experience.
Designed without compromise
and aided by the feedback of professional end-users, the CDR-640
ensures maximum flexibility and stability in the most rigorous studio environments.
■ Track number indicators display the
remaining track numbers not yet played
on a disc or that have been selected in
program mode.
■ Time button switches the displayed time
between elapsed time and time remaining
of current track, total length of disc and
time remaining on disc.
■ Optional wired (WRC200 MKII) and
infra-red (RC5PMDSW) remote controls
■ One piece 2U rackmount chassis
■ Unbalanced RCA outputs
■ Coaxial (RCA) digital output
■ 1/4˝ stereo headphone output
■ Marantz RC-5 remote input and output
■ AMX and Crestron compatible
■ Fader start trigger input enables playback
and pause to be controlled by an external
switch or fader from a mixing desk.
PMD321 Step-Up Features
■ Audio cue skips the silent subcode data at
■ Balanced XLR Analog In/Out
■ Full SCMS Copy bit manipulation
■ Analog RCA/Phono In/Out
■ 0.5 dB accurate level metering
■ AES/EBU and S/PDIF In/Out
■ Built-in 1MB RAM buffer provides vari-
■ Records on CDR and CDRW audio and
data disks
■ High resolution 20-bit Sigma/Delta AD
able audio delay (0-4 sec): offset your
audio to compensate for late track ID's
■ Preset function stores personal settings
■ Optional RC640 Wired remote control
the beginning of a track, and pauses the
disc right at the start, of the audio program, allowing instant start.
■ Balanced XLR outputs with independent
analog output level control
■ XLR digital output (S/PDIF)
Corporate Accounts Are Welcome
CD/Cassette Combo Deck
Marantz combines the strongest attributes of their CD player
and cassette recorder/reproducer technology in the 3RU PMD350 combo deck. Designed to offer maximum flexibility for
everything from mastering and dubbing applications to broadcast, installation and DJ rigs, the PMD-350 is equally competent as an independent CD player and tape deck, as it is an integrated combo deck.
Rear Panel
CD Features
■ Cue to music feature skips initial sub-
code information of a track and pauses
right where audio begins, allowing
instant start of program material.
■ Dual memory points (A-B) rehearse
■ Time button toggles the CD display to
show elapsed time of current track, time
remaining of the current track or total
time remaining on the current disc.
■ Program play allows up to 20 tracks to
be played back in any order.
■ Repeat function will repeat all tracks on
the disc or in the current program list.
Cassette Deck Features
■ Optically sensing quick auto-reverse
detects tape leader and changes the tapes
direction allowing continuous, uninterrupted playback or recording.
■ Defeatable automatic level control (ALC)
as well as manual level control with a
recessed left/right record balance control
■ Dolby B and C noise reduction, reduces
hiss from 10 to 20dB.
■ Dolby HX Pro extends the headroom of
higher frequencies by monitoring and
instantly compensating for over biasing.
■ Memo button stores a specific point on
tape allowing you to FF or REW to that
point from anywhere on tape.
■ Automatic tape type selector sets the bias
and equalizer levels for the tape (Normal,
Chrome, Metal) you are using.
■ Separate and mixed RCA tape and CD
■ Left and right 1/4˝ high impedance
microphone inputs
■ Coaxial digital output conforms to the
consumer IEC958 Type II protocol.
■ Multiple Marantz decks (equipped with
RCA-EXT cascade connector) can be
looped together for extended playback or
recording. When the first deck completes
both sides of a tape, the next deck starts.
■ MPX Filter switch eliminates sub and
ultra sonic frequencies transmitted during
FM broadcasts that can interfere with
Dolby noise reduction operation.
■ Independent fader start jacks - when
receiving a dry switch contact closure the
CD will switch between Play/Pause and
Play mode and the tape deck between
play and stop mode
■ Marantz RC-5 Remote I/O allows basic
remote control for a single unit or synchronized control of multiple units.
■ One-Touch Automatic Dubbing (from
CD to cassette) function scans the CD to
find the peak level, sets the optimum
recording level using the Automatic Level
(ALC) Control and commences recording.
■ Multi function display indicates the oper-
ating status of the main functions for
both the CD and cassette deck.
■ Large transport buttons with LED inset
■ Separate ±12% pitch controls for tape
and CD
■ Headphone output with source selector
switch; CD, Tape or Mix
Other Features
■ One-piece 3U rackmount chassis
■ Optional balanced XLR kit
■ Optional wired or infra-red controls
■ AMX and Crestron compatible
PMD-350. ....................................549.95
PMD-370 5-Disc Rotary CD Changer
An exceptionally versatile and durable 5-disc CD changer, the PMD-370 offers a wide range of
programming options as well as a full featured remote control that provides direct track and
index number access— ideal for installations and production environments.
■ Analog RCA outputs
■ Automatic Music Search (Intro Scan)
■ Full programming and program editing,
■ Marantz RC-5 Remote Input/Output
random play, single or multiple track repeat
AMX and Crestron Compatible
■ Change Discs While Playing
■ Removable 3U Rackmount Handles
■ Audible Cue and Review
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
function loops audio between any two
points in a track.
Front Panel Functions
Professional CD Player with Jog/Shuttle
A workhorse CD player, the CDP-D500 has a wide range of programming capabilities and play modes not to mention excellent
sound quality. It features balanced and unbalanced line outputs,
S/PDIF digital out, shuffle, repeat and program modes as well as
adjustable fade-in/fade-outs and sophisticated cueing functions.
Front Panel
■ Cue to either track or index number
■ Direct track access on front panel
■ Auto fade-in/fade-out is adjustable from
1 to 9 seconds
■ Auto Cue function pauses a track exactly
where audio begins for rapid start
■ Cue Standby brings you to the start posi-
tion of the current track, ready for instant
■ Auto Pause automatically pauses at the
beginning of the next track when the current track finishes.
■ Program Play allows playback of up to 24
tracks in any order.
■ A-B Repeat button enables you to specify
a portion of audio to loop repeatedly
■ Headphone output with level control
■ Timer Playback supported when used with
an external timing device
■ Jog shuttle dial for CD frame accurate
cueing and data entry
■ ±12.5% pitch control in 0.1% steps
■ Compatible with the CD-TEXT format.
■ Time/Speed button allows you to toggle
through various display functions including; elapsed time and current track number, remaining time on the current track,
remaining time on disc, elapsed time of
current track including frame number
■ A rehearsal function loops a specified sec-
tion of audio and the Jog dial can be used
to adjust and locate precise, frame accurate
Cue Points. Repeated audio can be set to
loop from 1 to 9 seconds and the starting
point shift increment is settable between 1
and 74 frames.
Menu Options
■ Key Protect makes all controls ineffective
except for Eject, Stop, Enter and Clear
■ Remote Protect makes supplied wireless
remote commander ineffective
■ Auto Cue threshold level has 5 detectable
level settings (-72/-66/-60/-54/-48dB)
with a default level of -60dB
■ Last Mode Memory stores current play
mode, repeat mode fade time playback
speed and menu settings when player is
turned off.
Repeat Play Modes
■ Repeat Play works in any play mode;
Continuous Play repeats all tracks, Shuffle
Play repeats tracks in random order,
Program Play repeats current track, Delete
Play repeats remaining tracks, Delete
Shuffle Play repeats remaining tracks in
random order. All repeat modes are accessible from the wireless remote control.
DENON DN-C630 Industrial CD Player
An affordable CD player
with an amazing feature
set, the DN-C630 is
equipped to take on the
most demanding broadcast, DJ, production or installation applications. Proprietary Super Linear
Converter with 18-bit, 8x oversampling digital filter prevents left/right timing errors and zero cross distortion. Three customizable presets allow you to
store over 25 of the DN-C630’s functions, and can be recalled instantly.
Balanced and unbalanced line outs as well as a coaxial digital out will get
you connected while the easy to read, large flourescent display will keep you
on top of the multiple programming functions and transport status .
Most Orders Shipped Within 24 Hours
■ XLR-balanced and RCA unbalanced line
■ XLR-balanced AES/EBU and coaxial
(RCA) S/PDIF digital outputs
■ Clock frequency can be controlled exter-
nally (via BNC) ensuring glitch free, sample accurate transfer of digital audio
■ RS-232C serial port for machine control
from a computer or workstation, and for
uploading of CD-Text
■ 8-pin parallel remote input supports fade
in and fade out commands when used
with fader start control systems.
Standalone CD Recorder
Digital Recording
■ When recording via S/PDIF, track divi-
sions known as PQ codes (CD) and Start
IDs (DAT) will be encoded on the disc.
■ When recording from a digital source, a
built-in sample rate converter converts material recorded at 32 or 48 kHz sampling rate
to the standard 44.1kHz sampling rate.
■ Synchronized start can allow all tracks or
■ The OPC (optimal power calibration)
mode calibrates the unit to the characteristics of a newly inserted disc.
■ Until the table of contents (TOC) is writ-
ten on to the CD-R or CD-RW disc
(known as finalizing), the audio cannot be
read by an ordinary CD player.
■ An entire CD-R/CD-RW disc or track
can be erased as long as the disc has not
been finalized. A CD-RW disc can be
completely erased and re-used after being
■ Track divisions (numbers) can be manual-
ly inserted on a CD after audio recording.
■ +4dB balanced XLR as well as unbalanced
RCA analog inputs and outputs
■ AES/EBU digital input as well as coaxial
(RCA)and optical S/PDIF digital I/O
■ Headphone out with level control
Additional features
■ 15-pin parallel control port
■ Repeat Play and Program Play
■ Supplied with wired remote control
CDR-850 Professional CD Recorder
The CDR-850 is one of the most comprehensive CD-R, CDRW disc recorders available today. Outstanding sound quality
and a complete range of analog and digital I/O combined with
easy to use one-touch recording modes make the CDR-850 suitable for any audio environment.
Five Recording Modes
■ Automatic digital source synchro record-
ing (1-track). When the source deck starts
to play, one track is recorded, recording
then stops at the end of the track. Ideal
for compilation recording from various
sources, CD, DAT or MD.
■ Automatic digital source synchro record-
ing (all-track) When the source deck
starts to play, all tracks are recorded and
recording stops after the last track.
■ Automatic finalization recording mode
finalizes the disc after an all-track automatic digital source synchro recording.
■ Manual digital source recording recording
mode is used for recording from digital
sources when manual control of the
recording is required. Recording is started
and stopped manually.
Additional Features
■ All functions are front panel accessible
■ Sample rate converter accepts any digital
■ Analog-source recording mode is used for
signal from 32 to 48 kHz including
varispeed (pitched) signals
recording the line output of the source.
■ Copies all CD, DAT, MD, DVD and
DCC track starts
■ Balanced XLR analog I/O, unbalanced
(RCA) phono analog I/O, AES/EBU digital
input, coaxial & optical S/PDIF digital I/O
■ 8-pin parallel control interface
■ SCMS management can create discs that
cannot be copied, copied once or are not
copy prohibited.
■ Includes full function IR remote control
CDR-850. ..........................................Call
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
only one track to be recorded. When
recording via the coaxial or optical S/PDIF
inputs, begins recording when the start of a
track is recognized. When using the
AES/EBU digital input, begins recording
when the track level goes above -36dB.
Disc Management
An extremely flexible CD-recorder, the CD-RW5000 accepts CD-R
(Recordable) and CD-RW (Re-writable) discs in both consumer
and professional versions. An expansive analog and digital I/O section provides a way to hook up just about any mixer or other two-track device for mixdown, transfer, or duplication.
Supplied wired remote control means you don't have to leave the sweet spot during mixdown.
Stereo Cassette Recorder
A perfect blend of Sony’s hi-fi technology and miniaturization
mastery – the TC-D5 PROII provides stable, high performance
stereo recording with complete lightweight portability in rigorous
field use. Measuring 9 5⁄8˝ x 11 5⁄16˝ x 6 5⁄8˝ and weighing a mere 3
⁄4 lbs, including batteries, it lets you slip onto the scene easily
and come back with stereo sound of proven Sony quality.
Provided with XLR-balanced connectors, it also allows direct
interface with professional microphones.
■ Stereo low impedance XLR mic inputs
■ Stereo RCA line outputs
■ Dolby B noise reduction
■ Built-in speaker and stereo 1/4˝ head-
phone jack let you check your recordings
■ The record-level limiter eliminates clip-
ping, whereas the microphone attenuator
suppresses excess input signal levels by
20dB to prevent distortion.
■ Approx. 5-1⁄2 hours of operation are pos-
sible with two “D” size alkaline batteries.
Also connects to a car battery via a car
battery cord.
■ Large, easy-to-read VU meters are also
backlit with a memory. One switch illuminates the VU meters and at the same
time indicates the battery condition on
the L-channel meter. Light shuts off after
10 seconds to save batteries. The LED
peak indicator illuminates at +7 dB.
Disc-Drive System
■ Featuring a coreless design, the motor is
as small as an “AA” size battery but delivers strong torque. The excellence of this
transport mechanism not only results in
increased accuracy and stability but also
contributes greatly to the exceptional
compactness of the TC-D5 PRO II.
Freq. Response (CrO2): 40Hz–15kHz
Winding Time: 150 sec. with C60 cassette
Headphones: Stereo phone jack x 1
Speaker: 5cm (2˝) dia., 200mW
Power Requirements:
Two “D” size batteries
DC-12v car battery with DCC-127A cord
Dimensions: (W x H x D)
9-5⁄8˝x 11-5⁄16˝ x 6-5⁄8˝)
Weight: 3 lb 12 oz with batteries
Supplied Accessories:
Carrying case and shoulder strap
TC-D5PRO II................................949.95
TCW-R565RM Cassette Recorder
A dual well cassette deck with 2 speed dubbing, wide range pitch
control and easy to use, CD player like track access. The TCWR565RM handles your basic duplication, mixdown and installation requirements with ease.
■ Dual well cassette deck with autoreverse
■ Auto Calibration automatically adjusts
■ Deck A playback only, Deck B playback
bias levels and tape sensitivity to match
tape formulation.
and record
■ Standard RCA inputs and output
■ High speed and real time dubbing
■ Headphone output
■ Dual 2 motor transports provides stable
■ Dolby B/C noise reduction and HX Pro
headroom extension circuitry ensure high
quality recordings without unwanted
noise and hiss.
■ ±30% pitch control for master deck (A)
■ Multi-AMS included on both decks helps
you find the song you want easily (up to
30 tracks).
Equipment Leasing Available
■ RMS function offers programmed play-
back of up to 28 tracks (14 per side) in
any order on Deck A. When this function
is in use, the level meter functions as a
music calendar displaying programmed
track numbers.
■ 2-speed (3x/25x) Cue/Review
■ Record mute inserts 4 seconds of silence
between tracks.
■ Supplied rack mount adapter
Portable Professional Cassette Recorders
■ All models except the PMD-430 have 1/2 speed playback/record
■ By recording
capability. With 1/2 speed playback, musicians can slow down
complicated passages for analysis. And when played back at 1/2
speed, the pitch is lowered by exactly one octave, so the notes are
still musically correct—ideal for figuring out complicated solos or
picking patterns.
at 1/2 speed,
a three hour meeting can be recorded on a single tape. A built-in
microphone and automatic level control make operation simple,
and built-in speaker makes transcription convenient.
■ 1/2 speed recording is equally ideal for churches, because 90 min-
■ Three standard ‘D’ cell batteries provide up to 7-1/2 hours of
operation and the optional RB430 rechargeable battery delivers up
to 5-1/2 hours.
utes can be recorded on a single side of tape—no interrupting
your recording to flip the tape over. Line inputs make it easy to
use and connect to your existing sound system.
Mic Input
Condenser Mic
Remote Jack
Modular Tel. Jack
External Speaker Jack
Record Controls
VU Meters
2-Speed Recording
Dolby B NR
dbx NR
Mic Attenuation
Ambient Noise Cont.
MPX Filter
Manual Level Control
Peak Indicator
0,-10dB, -20dB
0,-10dB, -20dB
0,-10dB, -20dB
2 (Illuminated)
0,-15dB, -30dB
Playback Controls
Pitch Control
Bias Fine Adj.
Tone Control
Half-Speed Playback
Memory Rewind
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
The world standard for field recording, the PMD line is also the value
leader. They all feature RCA line input/outputs, 1/4-inch headphone jack,
built-in speaker, pause control, audible cue and review, tape counter, full
auto shut-off and low battery indicator. Used professionally by journalists,
law enforcement agencies, aural historians and musicians.
Single-Well Stereo Cassette Deck
When mixing your music down to cassette, the 102MKII ensures that the same sound
quality you’ve crafted in the studio comes through to the master tape. It features
60dB S/N ratio with an extremely wide frequency response for high-fidelity sound
reproduction—using any type of cassette tape. A three space rackmount design (rack
ears included) makes it easy to integrate into any studio setup. So whether you’re a
musician, systems contractor or a studio operator looking for a high-quality cassette recorder at an attractive price —look no further.
Single-Well 3-Head Stereo Cassette Deck
The 130 is a 3RU high, 3-head cassette recorder that puts unprecedented value into
your studio. Ruggedly constructed, the 130 virtually guarantees pristine recording and
playback results with years of dependable operation and uncompromising sound.
Features like pitch control, return to zero (RTZ) function and auto tape select give you
the extras you need, so you can work quickly and confidently.
They All Feature
■ Left and Right balance control and mas-
ter record level control
■ Dolby B/C noise reduction and Dolby
HX PRO Headroom Extension extend
high frequency performance up to 6 dB
and minimize distortion.
■ HX Pro improves recording quality at
high frequencies without increasing noise
or distortion. Dolby HX Pro requires no
decoding and therefore benefits any tape,
regardless of the playback deck
■ Bias Fine Tuning lets you customize high
frequency response
■ Advanced bias-sensing electronics auto-
matically chooses optimal settings for any
type of tape — Normal, Metal or Cr02.
■ Search function enables you to find the
track you want by scanning (up to 20
tracks) in forward or reverse at high speed
until 4 seconds or more of blank tape is
detected, then enters play mode. Intro
Check (not on the 302) gives you a brief
15 second preview of each selection
before advancing to the next track.
■ Multi-Counter with both tape counter
and run-time modes
■ Record/Mute autospacer automatically
inserts 4 seconds of silence between tracks.
■ Multi function display indicates transport
mode, tape counter position, Dolby system, tape type and peak level metering.
■ Headphone output
■ Standard RCA type connections
■ 3.5mm CD/ Synchro-Dub jack
■ Legendary Tascam designs makes them
resilient and tough as well as accurate in
sound reproduction.
202MKIII Dual-Well Dual Auto Reverse Cassette Deck
The 202MKIII is a dual-deck for studio applications as well as multi-purpose recording and
dubbing. It features sync reverse and dubbing capabilities that rival much more expensive
decks. Durable rack-mount housing makes it tough and reliable. Computerized program
search, Dolby B and C noise reduction and Dolby HX Pro ensure efficient professional
results and excellent sonic performance. In addition to dual-deck functionality, high impedance mic inputs and RCA line inputs and outputs make the 202MKIII a flexible all in one
recording/dubbing machine. Ideal for recording lectures, sermons, or business meetings, or for extended playback in contractor installations.
302 Independent Dual-Well Auto Reverse Cassette Deck
In applications where long-capture, continuous or long playback is essential, nothing
doubles your performance better than the 302. Two fully independent cassette decks
housed in a 3U rack-mountable enclosure, the 302 elegantly adds a suite of dubbing
and duplicating features to your arsenal. Professional and project studios, musicians
and contractors will appreciate the powerful dubbing features that make fast dubbing
as effortless as pressing a few buttons.
We Exhibit At NAB, Infocomm, and Siggraph
130 All the Features of the 102MKII, PLUS—
Same as 202MKIII, PLUS—
■ 3-heads provide confidence monitoring so
■ ±10% pitch control assures accurate play-
you know exactly what is being recorded.
back speed of cassettes recorded on other
decks. Makes matching pitch with other
instruments a snap.
■ Auto Monitor function allows signal
■ RTZ (Return-To-Zero) fast winds the
tape to the tape counters zero reference
■ RCA line inputs and outputs for deck 1
can be used as common I/O for both
■ Timer record/playback capability
■ MPX filter eliminates pilot tones during
FM broadcasts that can interfere with
Dolby noise reduction.
with separate RCA inputs and outputs,
transport functions, level controls and
metering for each deck.
■ Voltage selector for 120/220v operation
■ ±10% pitch control
■ Headphone output with level control
■ RTZ (Return-To-Zero) fastwinds the
tape to the zero reference point. You
can press play or pause after RTZ to
begin playback or enter play ready
mode after zero search is complete.
All of the Features of the 102MKII in a Dual Deck Design
■ Dual two-head cassette decks can be used
■ Auto Reverse function reverses tape
direction during playback and record.
■ Synchro Reverse dub reverses the play-
— Play deck 1 while deck 2 records in dubbing mode using either real time, 1-7/8 IPS
or 3-3/4 IPS high speed dubbing.
back and record deck at the same time.
Ideal when using different cassette
(10 seconds or more) and FF to the next
section of audio (202MKIII only)
— Continuous mode lets you play/record
both sides of Tape 1 and 2, in sequence and
repeat up to 5 times.
■ Infinite looping during playback.
■ Pre-program playback or recording, when
— Rev Mode determines when play/record
stops, at the end of one side of a tape, after
both sides of a tape are played, after both
sides of both tapes are played or recorded.
■ Independent L/R stereo LED meters
■ Teac compatible CD Synchro Dub jack
■ Dual high impedance 1/4˝ mic inputs on
used with a standard commercial timer.
■ Dual RCA inputs and outputs
front panel allow live stereo recording
Frequency Response:
S/N Noise Ratio:
NR Off
Dolby-B IN, 5kHz
Dolby-C IN, 1kHz
and source selector (Deck 1, 2 or mix)
■ Optional RC-302 remote offers com-
plete control over all front-end features
on both decks.
■ Up to ten 302s can be connected in
series via the stereo RCA cascade outputs and 3.5mm external control I/O
■ Blank Scan skips long portions of tape
— Record simultaneously on both decks
from an external master in Parallel Mode.
■ Headphone output with level control
— Sequential playback of multiple cassettes
— High speed simultaneous dubbing to
multiple cassettes
— Recording an external source to multiple cassettes simultaneously
— Record separate sources to multiple
cassettes simultaneously
25Hz to 20kHz
25Hz to 18kHz
25Hz to 17kHz
15Hz to 21kHz
15Hz to 20kHz
15Hz to 18kHz
25Hz to 19kHz
25Hz to 18kHz
25Hz to 16kHz
25Hz to 20kHz
25Hz to 19kHz
25Hz to 18kHz
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
separately or in tandem during recording
and playback.
monitoring to match the play/record status of the deck. During playback, tape is
monitored. In Rec/Pause, input source is
monitored. Record mode monitors offtape.
■ Independent dual well cassette deck
When audio professionals have needed high quality, reliable tape decks, they have always been able to turn to Tascam.
Tascam’s latest offerings continue that tradition of excellence and can meet the demands of the most critical audio and
video production facilities. Whether you need the top notch performance of the 3-head 122MKIII or the convenience of
the auto reverse 112RMKII, Tascam has a deck to meet your requirements.
112MKII 2 Head Stereo Cassette Deck
The Tascam 112mkII Cassette Deck is a classic. This production “workhorse” is known
throughout the industry for its outstanding performance, stability, and reliability in a wide
range of applications. Ideal for production mastering and mixdown, the 112mkII features
a parallel port for external control and with the addition of Tascam’s optional LA112 balanced connector kit, it is flexible enough to integrate into any studio.
112RMKII Auto Reverse Cassette Deck
The 112RMKII provides exceptional playback for engineers and contractors. Auto reverse and
a 3-head design that allows off tape record monitoring as well as an array of professional features make the 112RMKII a step above the rest. As with all three of these professional cassette
decks, the 112RMKII features a parallel port, Dolby B&C noise reduction with
HX Pro, an advanced Servo control system and more. Three heads are better than two and the 112RMKII is a smart choice.
122MKIII 3-Head Stereo Cassette Deck
This is Tascam’s top-of-the-line cassette deck, the industry standard for production and
broadcast facilities. It has all of the features you could ask for including balanced and
unbalanced ins and outs, gear and clutched input level controls precision servo directdrive capstan motors even a built-in oscillator adjustment signal with front panel bias
and level calibration controls. If you are looking for the best in cassette recorders, the
Tascam 122mkIII is a hard one to beat.
Flexible Monitoring
Additional Features
■ Input mode selects the input signal to be
monitored at all times.
■ ± 12% pitch control.
■ Automatically selects the input signal to
be monitored in Rec/Rec Pause modes or
tape to be monitored in play mode. The
112RMKII and 122MKIII also allow off
tape monitoring in record mode.
Auto Locator Functions
■ LOC 1 and LOC 2 buttons each store a
locate point giving you one button access
to any two points on a tape.
■ Repeat button allows looping between
two points with one-touch convenience.
■ Return-to-Zero (RTZ) quickly rewinds
the tape back to 0000
■ Precision VU meters with peak LEDs
■ Front-panel 1⁄4˝ phone jack line inputs
take priority over the rear-panel inputs.
■ Rec mute with auto spacer function.
■ Headphone jack with level control
■ Dolby B and C noise reduction
■ 25-pin parallel ports provides external
control of transport functions when used
with the optional RC-134 Remote
Control (122MKIII and 112MKII), or
RC-112R (112RMKII)
■ The 112RMKII and 112MKII have unbal-
anced lines and can be upgraded for balanced operation with the optional LA112 expansion kit
■ MPX filter removes 19Hz and 38kHz
tones used in FM broadcasts that can
interfere with Dolby B and C operation
■ Dolby HX Pro headroom extension sys-
tem (A record-only process that can be
heard on any cassette deck) achieves up to
6 dB greater headroom at the higher
music frequencies.
112 MKII........................................629.95
112R MKII ....................................849.95
122 MKIII ......................................999.95
Same as the 112MKII plus—
Same as the 112MKII plus—
■ Auto Reverse has two modes; one-time
mode plays both sides of a tape once, while
continuous reverse mode plays both sides of
a tape in a continuous loop.
■ Compumatic Program Search allows you to
transport directly to the beginning of a
track by sensing 4 seconds of blank space in
between 2 tracks.
■ Direction button switches tape to other side
■ Precision FG servo direct-drive capstan
motors, combine to provide the highest
standards of reproduction quality and
lator and front-panel record level and
bias trimmers can be used to fine-tune
the 122MKIII for optimum performance
with any type of tape. Both bias and
level are independently adjustable for
the left and right channels.
■ Hysteresis Tension Servo Control
(HTSC) system virtually eliminates
wow and flutter by maintaining consistent back tension on the tape all
through the reel, combatting inconsistencies brought on by tape shift and
extreme temperatures and humidity.
25Hz to 19kHz
25Hz to 18kHz
25Hz to 17kHz
25Hz to 19kHz
25Hz to 18kHz
25Hz to 17kHz
25Hz to 20kHz
25Hz to 19kHz
25Hz to 17kHz
High Speed Cassette Duplicator
A must have in any studio or house of worship requiring high quality
cassette duplication, the T-3000 provides 4x double sided duplication
(effectively 8x duplication) of two cassettes within a single unit. For
larger duplication setups, up to ten T-3000s can be slaved together .
■ 1-to-3 high speed cassette duplicator
■ 4-track/4-channel, ferrite record/play
head and a 1/2 track/2 channel inline,
ferrite erase head.
■ Auto switchable between Normal Type I
and CrO2 Type II tapes.
■ Duplicating speed is 7.5 ips or 4x
speed duplication of both sides, simultaneously copying a C-60 cassette in
7.5 minutes.
■ Tape speed accuracy of ± 1 %
■ Up to ten T-3000s can be cascaded for
larger duplication setups
■ Well-3 can act as master or slave in larg-
er duplication set-up
■ Rugged design with easy access to
mechanisms for cleaning and demagnetizing
■ Uses standard RCA and MIDI plugs to
connect units together.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Frequency Response:
S/N Noise Ratio:
NR Off
Dolby-B IN, 5kHzz
Dolby-C IN, 1kHz
input and output connectors as well as
-10 dBv unbalanced RCA input and
output connectors, ensuring compatibility with all types of recording equipment.
■ Built-in 400Hz/10kHz calibration oscil-
nated multi-deck operation for continuous
recording or playback with two or more
decks connected in a chain.
high-performance record and playback
■ Equipped with +4 dBm balanced XLR
■ Tape-end tally signal, which allows coordi-
for playback or recording
■ Three-head transport with separate
3-Head Master Cassette Deck
A full-featured production workhorse with exceptional componentry, the DN-790R incorporates amorphous material in its
3-head design, thus extending the dynamic range of the higher
frequencies up to 2.5dB. Automatic and manual bias controls
guarantee superb sounding recordings no matter what tape you are using. XLR balanced and RCA unbalanced line
inputs and outputs ensure compatibility with the widest possible range of audio gear.
■ 3-heads enable direct off-tape (confi-
dence) monitoring during recording.
■ Offers Dolby S for up to 24dB of noise
reduction in higher frequencies and up to
10dB in low frequencies. Also features
Dolby B (up to 10dB) and Dolby C (up
to 20dB) noise reduction.
■ Dolby HX Pro headroom extension an
encode only process significantly improves
the dynamic range of higher frequencies.
■ Auto Tape Type Selector detects the tape
being used and automatically selects the
optimum bias and equalization. Auto tuning further calibrates the bias of the deck
to match the characteristics of a particular
manufacturer’s tapes.
■ Manual Bias Fine control allows you to
tailor the recording characteristics of the
tape. Lower bias increases the high frequencies but may introduce distortion,
more biasing decreases high frequencies
but offers less distortion.
■ A switchable MPX filter eliminates the sub
and ultrasonic carrier frequencies used in
FM broadcasts that can interfere with
Dolby B and C operation
■ Record Mute inserts 5 seconds of blank
space in between tracks
■ While in Play Mode the Blank Scan
Function searches the tape at high speed
until 4 seconds of blank tape is detected
and playback commences.
■ ±12% speed control
■ Fluorescent display offers a visual represen-
tation of transport and other functions
■ Linear or real time tape counter with 4
digit readout and a memory rewind to the
zero mark of the counter.
■ Fluorescent peak meters represent record
or playback levels for each channel. Peak
levels exceeding -7dB are held for 1 second.
■ XLR-balanced and RCA unbalanced
inputs and outputs.
■ 1/4˝ headphone output
■ Jack for optional remote control
Dual -Well Cassette Deck
With its dual-well design DN-770RM excels at a variety of
dubbing and continuous playback applications. Also includes
Dolby B and C noise reduction, independent line outputs and
pitch control for each deck. Has an Auto-Standby mode that shuttles to the beginning of a tape, just past the leader, so
you are ready to record.
■ Three modes of normal and high speed
dubbing include; single mode for one
side of a tape, continuous for both sides
of a tape and Relay in which the deck
that reaches the end of side one first, will
standby waiting for the other tape to
catch up, then both decks will resume
■ Twin Recording button engages both
deck A and B in the record ready mode
for recording from an external source.
We Ship Worldwide
■ Auto Reverse controls the transport
allowing three modes of operation: In
Single mode, decks play or record one
side of a tape, in Continuous mode, both
sides of a tape will play/record, and in
Relay mode, playback or record will commence on deck B when deck A has completed both sides.
■ Dolby B (up to 10dB) and Dolby C (up
to 20dB) of noise reduction
■ Blank Scan Function (same as DN-790R)
■ Dolby HX Pro headroom extension (deck
B only) an encode only process improves
the dynamic range of higher frequencies.
■ Auto Tape Type Selector detects the tape
being used and automatically selects the
optimum bias and equalization.
■ Record Mute inserts 5 seconds of blank
space in between tracks
■ ±12% speed control for each deck
■ Linear or real time tape counter with 4
digit readout and a memory rewind to
the zero mark of the counter.
■ Fluorescent display offers a visual repre-
sentation of current status of transports
and other functions.
■ When the rewind and pause buttons are
pressed simultaneously, the Auto-Standby
feature is engaged, automatically shuttling
to the beginning of the tapes’ current side
and then plays back and stops just at the
start of the magnetic tape allowing you to
enter the playback or record mode
■ 1/4˝ headphone output
■ Stereo unbalanced RCA inputs and inde-
pendent stereo RCA outputs for each well
■ Jack for optional remote control
CD/Cassette Combo Deck
While offering the flexibility of a combination CD player and cassette
recorder, the DN-T620 also excels as individual component decks
with features like independent pitch control, fluorescent display, and
balanced and unbalanced line outputs for each deck.
■ ±12% pitch control
■ Play modes include; single in which the
player stops after the track is played or
continuous where the disc plays through
until the end.
■ Cue button serves three functions: When
pressed during playback the disc returns
to its last paused position. When pressed
during manual search the pause mode is
set at the current position. When pressed
while the disc holder is open, the disc
holder closes and the pause mode is set.
■ While in Single mode, the repeat switch
enables the selected track to be played
repeatedly, while the entire disc is played
repeatedly in Continuous mode.
■ A-B repeat button allows you to select any
2 points within a track to loop repeatedly.
■ In Direct mode, key pad with +10 button
enables direct track access. In Program
mode the key pad allows up to 99-tracks
to be sequenced to play back in any order.
■ Random button sets tracks to play back in
random order.
■ Time button toggles the time display
between elapsed time and time remaining
of the current track.
Cassette Deck Features
■ Record button doubles as a record mute
inserting 4 seconds of blank space in
between tracks.
■ Bi-directional play buttons allow you to
switch tape sides instantly.
■ Mixed or separate tape and CD outputs
■ Input switch selects the desired input
source (external or internal CD)
■ Headphone output has a level control and
source selector switch determines the output signal (CD, tape or mix)
■ Dolby B noise reduction
■ Auto tape type selector automatically set
the bias and equalization to match tape
■ Speed control of approximately ±12%
allows you to adjust the pitch of a track.
■ When pressed once, the counter reset/
memo button returns the counter display
to zero. When pressed twice, the zeroed
location is set to memory so that when
the rewind button is engaged, the tape
shuttles to the zero position and stops.
■ When in play mode you can search for
the next track on a tape by depressing the
play button and the fast forward simultaneously. Once engaged, the tape is
scanned until 4 seconds of blank tape is
detected and playback of the next track
■ Reverse mode switch sets the transport to
play or record on one side of a tape, or in
continuous mode, both sides of a tape.
■ Stereo balanced XLR and unbalanced
RCA inputs with selector switch for tape
■ Stereo balanced XLR and unbalanced
RCA outputs for tape deck or CD/tape
■ Stereo balanced XLR and unbalanced
RCA outputs for CD
■ Mini remote control jack
Additional Features
■ Fluorescent display offers a visual repre-
sentation of tape levels, transport and
function status, CD track number and
time/counter information.
■ Optional RC-251 infra-red remote con-
trol for CD player and RC-174 remote
control for tape deck.
■ Standard 19˝ 3RU high chassis
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
CD Player Features
Single-Well Cassette Decks
Versatile and reliable, both the entry level PMD-501 and
the full featured PMD-502 are workhorse cassette decks,
ready for demanding everyday use in commercial recording
and broadcast facilities, project studios, houses of worship
and A/V rental houses. The easy to use PMD-501 has a host of intelligent features that are found across the Marantz
cassette deck line including: optically sensing quick autoreverse, Dolby B noise reduction, remote capabilities, auto tape
type select and more. The PMD-502 adds Dolby “C” noise reduction with HX Pro headroom extension, optional XLR
balancing kit, ±15% pitch control, defeatable automatic level control and front panel microphone/auxiliary line level
inputs. Of course they both offer the world-class sonic integrity that Marantz Professional audio products are famous for.
The Marantz Professional line of single and dual well cassette decks combine thoughtful engineering with uncompromising audio quality.
From their entry level single well PMD-501 to the top of the line PMD-520 dual deck, they offer problem solving solutions for the most
demanding mastering, dubbing and installation systems. All are housed in a 3RU high chassis and are easy to use.
■ Optically sensing quick autoreverse detects
leader at the end of a tape and automatically flips the tape with a minimum of
audio loss or, in the case of a dual deck,
will activate the second deck when the first
has completed recording on both sides.
■ Automatic tape type selector detects the
type of tape formulation such as CrO2 or
normal bias cassettes and adjusts the bias
for optimum recording performance.
■ Dolby B noise reduction
■ Large transport control buttons with LEDs
■ Recessed record balance control
■ Marantz CD player equipped with RC-5
interface can control the start and stop of
a PMD-series cassette deck placed in the
REC/Pause mode (CD synchro recording).
■ Unbalanced RCA inputs and outputs
■ Headphone output with level control
■ Marantz RC-5 remote control I/O. This
PMD502 Only
■ Output level control
■ Fluorescent peak holding bargraph meters
■ Pitch control (±15%)
■ Defeatable automatic level control (ALC)
■ Front panel microphone/auxiliary inputs
■ Digital linear time-based counter
■ Memory rewind
■ Front panel input select switch
■ Dolby C and HX Pro
overrides the manual input level control
and sets the input to its optimum level.
■ MPX FM filter eliminates the 19kHz pilot
tone associated with FM radio signals —
essential for proper Dolby B encoding.
■ Optional XLR502PMD balanced-XLR kit
Accessories for PMD-Series Cassette Decks
Infrared Remote Control
■ RC-5 can control multiple cassette
decks simultaneously using RCA cables
connected serially in between units.
Ideal for realtime duplication systems.
■ Two mounting options include a 1 unit
rack panel and a single gang wall plate.
■ Infrared receiver can be mounted up to
remote interface also allows seamless integration of any PMD cassette deck with an
AMX or Crestron control system.
30 feet away; ideal for situations where
decks need to be heard and not seen
such as boardrooms and houses of worship.
■ Optional wired and wireless remotes allow
■ Includes handheld infrared remote con-
simultaneous control of multiple units for
synchronized dubbing and other remote
troller, infrared receiver and AC adapter
(RCA connection cable optional).
■ One-piece 3RU high chassis
Used Equipment Bought, Sold and Traded
Wired Remote Control
■ Hard wired rugged table top remote con-
trol for PMD series recorders and players.
■ Includes 6 foot RCA to RCA patch cable
to interface with RC-5 interfaces.
■ Yellow and green LED indicates current
control over CD or tape. Ideal for duplication systems with decks serially connected via RC-5.
XLR Balancing Kits
■ Allow you to add +4dB balanced XLR
inputs and outputs to the PMD-series cassette decks.
■ Kits consist of rear panel assembly and rib-
bon cables for solderless installation.
Dual-Well Cassette Deck
■ Continuous (serial) play or recording from
■ QMS (Quick Music Search) will fast wind
deck A to deck B or deck B to deck A.
to the beginning of the next or previous
track. QMS can advance up to 15 tracks.
■ Pressing Play button twice on either well
sets the current track to loop continuously.
■ Simultaneously record on deck A and
B from an external source (parallel
■ Synchronized dubbing from deck A to
■ Up to 15 tracks can be programmed to
■ In the Record mode, the tape counter is
and plays the first ten seconds of the next
switched to a real time numeric peak level
display. The display button, when pressed
shows the highest peak level stored in
memory up until that point.
■ While recording, Quick Rewind function
■ While playing, if blank passages of more
■ AMS (Auto Music Scan) mode fast winds
automatically returns the tape to its initial
record position and enter the stop mode.
■ Timer/Sync capability permits recording,
playback, or CD-Synchro recording when
using an external audio timer.
■ No Pitch Control
play back in any order.
10 seconds occur while in the Blank
Skip mode, fast forwards until audio is
■ When the record mute button is pressed
during recording, the Record/Pause mode
will automatically be entered after inserting 4 seconds of blank space.
PMD-510 Independent Dual-Well Cassette Deck
The PMD-510 takes the features and capabilities of the
PMD-500 and adds discrete inputs and outputs for each
well, allowing simultaneous recording from two different
sources, or even record on one well while playing back on
the other. A cascade function allows one well or even a
dual deck to continue to record or playback where the previous well or deck left off, making the PMD-510 ideal for
recording meetings and sermons, or for audio logging and surveillance. Headphone output with level control allows
monitoring from source A, B, or A and B simultaneously.
Same as PMD-500 Plus—
■ Independent inputs allow recording on
each deck from different sources.
■ All autoreverse functions for well switch-
playback of a tapes in both deck A and B.
ing and cascade operations are optically
sensing for a minimum of audio loss during record and playback modes.
■ You can record on one well while playing
■ Link several PMD-510s together in series
■ Independent outputs allow simultaneous
back on the other.
for continuous playback or recording
using the cascade (EXT) connectors.
■ Each deck features independent large
transport buttons with LEDs. Each deck
also has level, balance, pitch and noise
reduction controls as well as independent
LED bargraph meters and linear (minutes
and seconds) time counters.
■ Optional XLR510PMD balanced-XLR kit
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
deck B is possible at normal and high
speed (2x). Normal and high speed programmed dubbing of up to 16 tracks in
any order is also possible.
Exclusive Features
Offering the simplicity and value of the PMD-501 in a dualwell design, the PMD-500 lets you record on both decks simultaneously from an external source, record serially, or do realtime or high speed dubbing from one well to the other. Dolby
B/C and HX Pro are standard as are synchronized start and record/play timer. It also has a unique programming feature
that allows up to 15 tracks to be stored and played in order.
Independent Dual Well 3-Head Cassette Deck
The top-of-the-line PMD-520 has all the capabilities of the
PMD-510 plus adds three uniquely distinct features. It has
three stationary heads allowing direct off-tape (confidence)
monitoring in realtime. This is useful for tracking master
recordings and live audio capture and is an efficient way of
spot checking tapes during extended duplication runs. The
next two features are unique for any deck. Direct tape insertion/removal eliminates tape doors for easier access to cassettes
while the tape mechanisms can be removed allowing servicing of installed decks with a minimum of fuss. The cascade
recording feature is also taken to the next level by allowing a three minute overlap when recording from one well to
another. The loop through outputs are perfect for large cascading multiple decks for duplicating or serial recording. Also
offers a 25-pin connector for customized remote control in addition to the Marantz RC-5 interface.
Same as PMD-510 Plus—
■ Stationary 3-head mechanisms in each
■ To prevent any loss of audio during
deck provides confidence monitoring.
The monitor button switches between
tape and source (input) for comparison
of the input versus off tape signals.
long format recording, an overlap series
recording feature automatically engages
the next deck cascaded in the chain 3
minutes before the current deck runs
out of tape.
■ Direct tape insertion/removal elimi-
■ To ensure optimum performance, a
nates mechanical problems (no eject
mechanisms or hinged doors). Makes
reloading more efficient during large
duplication runs.
microcomputer controlled automatic
tape calibration (Auto bias) adapts the
bias, record gain, mid-frequency gain,
high-frequency gain and high frequency
peak of the deck to the specific tape(s)
being used.
■ When cascading multiple decks for
duplication, the stereo Loop-through
outputs carry the input signal out to
the next deck in the chain, freeing up
the standard outputs for monitoring
and ensuring that the input to each
deck in the chain is unaffected by the
previous decks electronics.
■ Tape stop alarm uses a buzzer to indi-
cate a tape has stopped playback or
■ Removable tape mechanisms are swap-
pable in the field with out putting the
entire deck out of commission.
■ 25-pin parallel control I/O has a termi-
nal setting to control almost every parameter of the deck including, transport
functions and bias control.
■ Stereo LED meters with peak hold
■ Tape time button selects the length of
■ Auto rewind when the tape ends
tape being used
(60/90/120/10/20/30/46 minute)
ensuring that the counter display will
show accurate information.
■ Recessed ±3% fine speed control
■ Optional XLR520PMD balanced-XLR kit
■ Individual bias reset button returns the
bias settings to their factory default.
Metal (Type IV) Tape (±3dB)
20Hz–18 kHz
20Hz - 18 kHz
20Hz - 18 kHz
20Hz - 18 kHz
CrO2 (Type II) Tape(± 3dB)
20Hz–17 kHz
20Hz - 17 kHz
20Hz - 17 kHz
20Hz - 17 kHz
Normal (Type I) Tape (± 3dB)
20Hz–16 kHz
20Hz - 16 kHz
20Hz - 16 kHz
20Hz - 16 kHz
No Noise Reduction
Dolby B
Dolby C
Signal To Noise
Overnight Shipping Available
Mono and Stereo Audio Cassette Duplicators
■ Individual rotary level controls
■ Short tape indicators alert you if a tape
Master Duplicator Features
stops or jams before the original ends
■ Peak reading LED indicators for quick
■ Each cassette position has a three point
tape guidance system that eliminates skew
problems. Plus, when a tape is inserted,
each cassette position is activated to prevent unnecessary wear and tear on the tape
head mechanism.
■ Audio and bias, along with head adjustments, are done from the top of the unit
and a switch on the back engages the head
and pinch roller for convenient cleaning.
ACC-2000 Master Mono Duplicator ......................................................................1499.95
ACC-2000 Copy Modules........................................................................................1499.95
ACC-2000XL Master Duplicator with XL (Extended Life) Heads ..........................2095.00
ACC-2000XL XL (Extended Life) Copy Modules ..................................................2095.00
ACC-4000 Master Stereo Duplicator ......................................................................2149.00
ACC-4000 Copy Modules ......................................................................................2149.00
ACC-4000XL Master Duplicator with XL (Extended Life) Heads ..........................2795.00
ACC-4000XL XL (Extended Life) Copy Modules ..................................................2795.00
■ Produce copies from a master at 30 ips
(16x normal speed).
■ Up to 27 simultaneous tape copies with
optional copy modules
■ Erase heads in the copy positions erase
existing audio as new material is being
■ Track select, short tape indicators,
auto/manual operation.
Copy Module Features
■ Each module has four copy positions
with erase heads and controls for side
■ Includes ribbon cables for connection to
master and other copy modules.
■ LED displays indicate end-of-tape status
for each pocket.
Copyette EH Series Duplicators
The popular Copyette series produces high quality, low cost cassettes in large quantities at nearly 16x
normal speed.This means you can reproduce both sides of a C-60 tape in less than two minutes.
Available in two versions, the Copyettes are capable of duplicating either one cassette (1-2-1) or
three (1-2-3) at a time. In addition each are available in both mono and stereo configurations.
They couldn’t be easier to use. You simply insert the cassettes, press the START switch and they
do the rest. They rewind all tapes to the beginning, copy, then rewind to the beginning again
before stopping. The whole process can be stopped at any time by pressing the CYCLE button. Side
Select feature allows you to set them up to copy one side of a tape or both sides at once.
Stereo Copyette 1•2•1
Stereo Copyette 1•2•3
Weighing only 8 lbs. this unit has a durable, impact resistant housing
and includes a removable power cord, carrying handle and protective
cover. It also has an optical, non-reflective end-of -tape sensing system
that provides gentle tape handling. A mono version is also available.
This duplicator copies both sides of three cassettes at once, yet is as
small as the 1•2•1. It weighs only 12 pounds and includes a hard
cover for protection when not in use. It uses all DC Servo motors for
the ultimate in reliability . A mono version is also available.
Mono Copyette 1•2•1 ........................................................419.95
Mono Copyette 1•2•3 ......................................................1049.95
Stereo Copyette 1•2•1 ........................................................679.95
Stereo Copyette 1•2•3 ......................................................1649.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
and accurate monitoring of audio levels
■ Side A or A/B select button
■ Stop all tapes instantly, at any point during the copy or rewind cycle.
■ Automatic or manual selection of rewind
and copy operation:
■ Slanted work surface and unique “headsup” cassette platform allow less oxide build
up on the heads and makes cassette loading and unloading much easier.
Designed for high performance and high production, the ACC-2000/ACC-4000 series also
offers easy maintenance and unsurpassed ease of use. The ACC-2000 is a two-channel
monaural duplicator, the ACC-4000 is a four-channel stereo duplicator. Each produces 3
copies from a cassette master at 16x normal speed and each can expand up to 27 copy positions (with additional copy modules).With extra modules duplicate up to 27 copies of a C60 original in less than two minutes. And they copy both sides at once. The XL Series feature “Extended Life”cassette heads for increased performance and wear characteristic as well
as improvements in wow and flutter, frequency response, S/N ratio and bias. Additionally
the ACC4000 XL allows for either chrome or ferric cassette duplication.
Portable DAT ‘Walkman’ Recorders
Ultra-portable digital audio recorders that fit in the palm of your hand, the DAT Walkmans
by Sony feature the same pristine CD sound quality found in high end portables and decks.
They feature selectable sampling rates of 48kHz, 44.1kHz and 32kHz. Analog and digital
I/O allow them to integrate seamlessly with most hard disk recorders, sound cards, digital
samplers and non-linear video editing systems. Ideal for live music, sound effects and dialog
recording, they deliver superb audio at an affordable price.
■ 16-bit record mode for CD quality sound
(12-bit in Long Play Mode)
■ Selectable sampling rates of 48kHz,
44.1kHz and 32kHz for both analog and
digital recording.
■ Dynamic range over 87dB
■ Digital input and output..
■ 1/8˝ (3.5mm) stereo mic/line input
■ 1/8˝ (3.5mm) stereo line output
■ Long play mode for up to 4 hours of
recording on a single 2 hour tape.
■ Automatic and manual recording levels
are switchable.
■ Large backlit display with level, battery
status, time & date and program info
■ ID subcodes can be set either automati-
cally or manually while recording.
■ Hold switch prevents unwanted operation
■ Automatic Volume Limiter System
(AVLS) maintains volume output at levels
that are below distortion threshold for
cleaner sound reproduction.
■ Automatic date function records the date
and time for easy track identification.
■ SCMS (Serial Copy Management System)
of transport functions.
■ 100x high speed AMS (Automatic Music
Sensor) search function finds and plays
tracks, skips forward or back up to 99
tracks at 100 times speed.
MD Report/MD Junior DAT Recorder Docking Stations
TCD-D100 and PCM-M1
Step-Up Features
■ Smallest and lightest DAT Walkmans ever
■ Built-in switchable limiter prevents digital
clipping of the audio signal to tape
How can you get your portable minidisc or “Walkman” style DAT
recorder to stand up to the rigors of professional field use?
With the MD Report or MD Junior Docking Stations
you can turn your portable consumer minidisc or
DAT into a robust go anywhere field recorder. Now
your Sony MZ-Rxx MiniDisc, TCD-D7/D8/D100
and PCM-M1 Dat recorders can have the same balanced mic/line inputs, phantom power, 1/4˝ headphone
outputs and rugged construction as the big boys.
■ Mic preamps use same components as
■ Robust one-piece steel chassis
TCD-D100 with two rechargeable batteries
and battery charger, carrying case, cleaning
cassette, AC adapter, headphones and remote
control ................................................Call
■ Stereo balanced mic/line inputs on
Neutrik XLR connectors
■ 48v phantom power
■ Stereo line output on 3.5mm mini jack
■ 1/4˝ headphone output with level control
■ Monitoring is switchable between input
and tape
■ Mono switch feeds a single input to L/R
channels of recorder
■ MD Report includes padded case with
accessory pocket, the MD Junior includes
a fanny pack.
■ MD Report runs on supplied high capac-
ity lead acid rechargeable battery or 4 ‘D’
batteries. MD Junior runs on two 9v batteries.
■ MD Report only - XLR-balanced
summed mono line output, Built-in speaker mutes when using headphone; Low battery warning and battery charge status
LEDs, 12v DC input for operation and
battery charging, detachable shoulder strap
24 Hour Fax: 800-947-9003 ■ 212-444-5001
SBM-1 Super Bit Mapping Adapter
■ SCMS (Serial Copy Management System)
on the PCM-M1 (only) is defeatable
DAT Walkmans and Accessories
TCD-D8 with carrying case, cleaning cassette and AC adapter ......................599.95
PCM-M1 with two rechargeable batteries
and charger, carrying case, cleaning cassette
and AC adapter ..............................679.95
RMD-100K Optical/coaxial digital interface
with remote control and timer ........179.95
SBM-1 Super-Bit Mapping Adapter ....419.95
MD Report Docking Station ..........519.95
MD Junior Docking Station ..........314.95
Professional DAT Recorder
Designed for professional recording, the TCD-D10 PRO II provides
XLR balanced mic/line inputs, AES/EBU digital I/O and has a 4motor DD (Direct Drive) transport to ensure consistent and reliable
performance. Ideal for field recording, it also features a pistol grip
with integrated wired remote control that allows you to mount a
microphone while simultaneously controlling the transport of the
machine. A built-in speaker allows playback without headphones,
and a comprehensive self-diagnostic system monitors vital signs for worry-free operation.
■ Rotary head DAT recorder using 16-bit
linear quantization
■ Stereo XLR balanced mic/line inputs
■ Available sampling rates are 48kHz,
44.1kHz and 32kHz for playback and
digital recording and 48Khz for analog
■ Sophisticated self diagnostics warn of tape
trouble due to problems with the head
drum, capstan and reels as well as transport and load/unload time. If trouble is
found, a caution indicator flashes and the
tape is brought to a forced stop and if
necessary will unload the tape to protect it
and the machine. Also has a sensor warning for excessive moisture in the unit.
Additional Features
■ The backlit LCD display is multi- func-
tional and accurate offering 20 segment
peak level metering with overload indicators, 5 segment battery indicator, absolute
time, program time, time remaining and
a built in calender and clock.
■ Monitoring is available via 1/4˝ head-
phone output and built-in 5cm speaker
■ Built in mic limiter and 20dB pad
enables you to capture audio at extremely
high SPLs without causing overload or
■ Stereo RCA unbalanced line output inte-
grates the TCD-D10 PRO II into a
mixer or other line level input.
■ Dual independent analog to digital con-
verters offer improved channel separation
■ Precise 4-motor direct drive tape trans-
port controls the head drum, capstan and
reels individually
■ AES/EBU digital I/O interface ensures
compatibility with top shelf digital audio
workstations, hard disk recorders, samplers and non-linear video editing systems without any audio degradation
Supplied Accessories
Includes a carrying case, shoulder belt, two
NP-22H rechargeable batteries, charger, AC
adapter, digital I/O connecting cable and
RMT-D10P remote control.
SBM-1 Super Bit Mapping Adapter
An all-in-one package for superior
analog and digital recording, the
SBM-1 is designed for Sony’s
DAT and MiniDisc
Walkman line of portable
digital recorders. 20-bit analog to digital
converters ensures more natural sound reproduction
with lower noise than standard 16-bit A-D converters.
■ 20-bit quantization, supporting sample
rates of 48kHz, 44.1kHz and 32kHz
■ Manual record level for each channel
■ Line inputs via 2 x phono (RCA) jacks
■ Mic inputs via stereo mini jack with
plug-in power and 2 x 1/4˝ phone jacks
■ Connects to any compatible digital
interface via standard optical and coaxial S/PDIF I/O
■ Compatible with the entire line of
DAT Walkman and MiniDisc recorders
■ Supplied accessories include; carrying
case and AC adapter
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
with independent L/R level controls variable from -60dB mic level to +4dB line
Warning Indicators
Portable Pro DAT Recorder
A full-featured portable DAT recorder built to handle the
most rigorous field applications, the DA-P1 is also an excellent addition to any studio. It has a dual direct drive motor
transport for unprecedented reliability, and it offers XLRbalanced mic/line inputs with switchable 48v phantom
power for use with condenser mics. When recording from an
analog source, sampling rates of 44.1 or 48 kHz can be selected. Coaxial S/PDIF (Sony Philips Digital Interface) digital I/O allows you to output directly to compatible digital equipment such as sound cards, hard disk recorders and nonlinear video systems, while the digital input will automatically adjust to sample rates of 32, 44.1 and 48 kHz.
■ Rotary 2 head configuration and dual
motor transport for reliable operation.
■ Built in a well-constructed hard shell, that
makes ideal for field use but also at home
in any studio.
■ XLR balanced mic/line inputs accepts a
broad range signals from -60dB to +4dB.
■ RCA unbalanced line inputs and outputs
for even more versatility.
■ Coaxial S/PDIF I/O allows for direct dig-
ital recording and playback to and from
compatible sources such as hard disk
recorders, samplers, sound cards and nonlinear video editing systems.
■ Next-generation A-D converters allow
analog recording with selectable sampling
rates of 48kHz and 44.1kHz. Digital
recording sampling rates of 32, 44.1 and
48 kHz are also supported.
■ A hold switch prevents accidental opera-
tion of the transport functions.
■ Unlike consumer portable DAT machines
the DA-P1 features SCMS (Serial Copy
Management System) free recording,
allowing unlimited digital tape cloning.
■ Independent L/R level controls
■ A switchable mic limiter and 20dB pad
■ A long life rechargeable battery (included)
ensures audio capture without distortion.
gives you 2 hours of operation. Battery
charges in a half hour. Also includes an
AC adapter and a shoulder belt.
■ A 1/4˝ stereo headphone jack with level
control allows monitoring of input signals
and playback.
■ Easy to read backlit LCD displays input
and playback levels, ABS (Absolute
Time), sampling rate, program number,
ID select functions and record margin.
Optional Accessories
BP-D1 Rechargeable Battery..............84.95
CB-D1 Battery Charger ....................69.95
CS-D1 Carrying Case ......................109.95
Optional Microphones for DAT Recording Applications
AKG D230
Dynamic Handheld ENG Mic
M-S Stereo Condenser Mic
Omni-directional ENG microphone, features
high sensitivity, specially tuned frequency
response, integral pop filter and a very robust
metal housing.
Low-cost mid-side stereo mic ideal
for use with the DA-P1, the ECM999PR features variable stereo width adjust, AA battery
operation and 20 Hz to 20kHz frequency response.
■ Extended length handle to accommodate
■ Utilizes 3 uni-directional electret
Station ID flag
condenser capsules
■ Internal shockmount for low handling noise
■ Variable stereo angle 0° to 150°
■ Includes SA44 mic clip and integral wind-
■ 20Hz - 20kHz frequency response
■ Frequency response of 40Hz to 20kHz
■ Runs 80 hours on a AA battery
We are on the web at:
■ Low-cut filter, mic attenuator
■ 5-pin XLR-balanced output
■ Includes a mic clip, 2.5m 5-pin
XLR to dual 3-pin XLR stereo
"Y" cable and wind screen
Professional Portable Timecode DAT Recorder
A complete, all-in-one portable field recorder, the PD-4 v2 is so feature rich it
actually rivals a studio production DAT recorder. The only portable DAT
with three XLR-balanced mic/line inputs, the PD-4 also offers 4-motor, 4head drum “anti-jam” transport, confidence monitoring, variable frame rates
and sampling frequencies including 48.048kHz for digital video, and sophisticated timecode operation (including 30 drop frame and jam sync).
Weighing only 6 lbs. with optional NP-1B battery, the PD-4 is ideal
for the most demanding field work, whether for film, video, live music
or ENG applications.
■ Rotating 4-head drum with off-tape
confidence monitoring enables you to
hear what is being recorded directly off
of the tape not from the input signal.
Jam” transport mechanism ensures
reliability out in the field.
■ 3 into 2 XLR-balanced mic/line mixer
with independent gain control, -20
dB attenuation pads, 3-position (left,
center, right) pan switches, 48v phantom power and high pass filter variable between 20Hz to 250Hz for each
channel and a master output control.
■ Edit date in Rec/Pause or Stop Mode
■ 2 distinct alert tones help differentiate
between error alert signals
■ Hermetic construction for extra protection
against moisture
■ Comprehensive illuminated display with
transport direction tallies, timecode, level
and subcode status.
■ Panel lock feature prevents unwanted opera-
tion of the transport out in the field, like
false triggering of keys when used with
Portabrace cases.
■ AES/EBU and S/PDIF digital I/O
be recorded.
■ Sampling frequencies are selectable
between 44.1kHz, 48kHz and
48.048kHz (for digital video).
■ A switchable stereo limiter prevents
transient peaks from overloading tape.
■ Choice of monitoring using 1/4˝
headphone output or the built-in
■ Subcode functions include PNOs
(Program Numbers) and Start IDs
■ Power efficient, it can operate for two
hours on a single NP-1B battery. Can
also be powered by a power belt or
optional AD-15 AC adapter.
■ Timecode reader/generator supports all
frame rates including 24, 25, 29.97 DF,
29.97, 30 DF and 30 frames per second.
■ Timecode generator has 4 modes including
external run, free run, record run and 24
hour clock.
■ Jam Sync is selectable for accepting external
references and will output external timecode
for maximum flexibility.
■ Reel number editing is available in 24 hr
Run Mode
using balanced XLR connectors.
■ Additional user-bit information can
Audio Recorder Cases
Organizing and protecting sensitive audio equipment from the hazards of everyday work is a
tough challenge. That is why most pros choose the custom tailored, foam padded Audio Recorder Case. The
flaps, clear vinyl windows and protective coverings
provide access to cassettes, batteries, cables, dials and
switches. The RM-Multi case is the second component to help organize the most essential accessories. It holds spare cassettes, batteries, wireless
microphones, and other small items. A comfortable brown suede shoulder strap is provided.
AR-1000 For HHB PDR-1000 ............173.50
AR-D5 For Sony TC-D5. ......................173.95
AR-1000TC For PDR-1000TC or
PDR-1000TC Plus ................................173.50
AR-D10 For Sony TCD-D10 Pro..............173.95
AR-222 For Marantz PMD-201,
221, 222, 420, 430.................................173.95
AR-PD4 For Fostex PD-4
(Special pocket no RM-Multi)................193.50
AR-DAP1 For Tascam DA-P1 ..............173.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ 4-motor transport and unique “Anti-
■ 20dB attenuation pads for each channel
PDR1000/TC/TC Plus
Designed with the help of leading location sound
recordists, the PORTADAT series redefines the standard
for sonic quality, performance and reliability in a
portable field recorder. Whether the basic PDR-1000,
the PDR-1000TC with timecode, or the PDR-1000TC
Plus with master sync timecode module and headphone
matrix, you are guaranteed world-class performance. They all feature 4-head, 4-motor direct drive transport, XLR
mic/line inputs, S/PDIF and AES/EBU digital I/O, +48v phantom power, and are supported by a wide range of
optional accessories. Best of all, they can be upgraded to the TC or TC Plus with factory authorized installation.
■ 16-bit 48kHz sampling rate exceeds com-
pact disc standard with a 20Hz to 22kHz
frequency response (44.1kHz is also supported offering a frequency response of
20Hz to 20kHz).
■ Long Play Mode (12-bit/32kHz) allows
■ Back-lit LCD display shows clock and
counter, battery status, peak level metering,
margin indicator, source/tape monitor,
transport status, and selected sample rate.
■ Built-in monitor speaker as well as 1/4˝
4 hours recording on a 120 minute tape.
stereo headphone output with monitor
level control.
■ 4-head design allows you to monitor off of
■ Built-in clock automatically time and date
tape while recording. This feature known
as confidence monitoring is a must have
for critical recording situations where there
is little margin for error.
■ Highly reliable transport uses 4 separate
direct-drive motors to operate the drum,
capstan, take-up spool and supply spool.
■ 2-XLR balanced switchable mic/line
inputs accept any analog audio source.
■ XLR-balanced AES/EBU and coaxial
(RCA) S/PDIF I/O allow direct digital
transfers of audio to almost any DAW
(digital audio workstation), hard disk
recorder, sampler or other DAT machine.
■ A switchable High Pass Filter attenuates
6dB per octave at 100Hz, removing
unwanted low end rumble. A -30dB pad
(attenuator) can also be set to prevent
audio distortion at the input stage of the
mic preamp.
■ Switchable (on/off ) limiter prevents tran-
sient audio peaks from distorting the signal going to tape.
■ Switchable (on/off ) 48v phantom power is
stamps every recording for archiving.
■ Lockable record level feature prevents acci-
dental record level adjustment.
■ Powered by supplied NiMH battery or
with 12v DC car battery or beltpack via
the 4-pin XLR input connector (optional
DCP-1000 required). Can also be AC
powered with supplied AC adapter.
■ The NiMH (Nickel Metal Hydride) bat-
tery has no ‘memory effect’ so it can be
recharged to full capacity even before fully
drained. Battery lasts 2 hrs and 1.5 hours
with timecode operation. Supplied with
RB-110 AC adapter/2-bay charger.
Optional MCA1000 AC/DC powered
4-bay fast charger is available as well.
■ Each PORTADAT also includes a carrying
case and HHB-15 DAT tape
■ A host of additional accessories are also
available including the PortaBrace AR1000
carrying case, HHB’s PDRCASE aluminum carrying case, additional NiMH
batteries (MHB220), and the PS100
worldwide AC Adapter.
available for use with condenser mics
7-Day Customer Satisfaction Guarantee
PDR-1000TC Adds
■ Record, generate and reference to
SMPTE/EBU timecode in all existing
standards as well as jam sync and conversion of absolute time into linear timecode.
■ Frame rate is selectable from 24, 25 (PAL),
29.97 DF, 29.97 NDF and 30 fps.
■ Timecode can be recorded as time of day,
preset for free /record run, and can be set
to internal or external timecode generation. Built-in chase synchronizer allows it
to slave to an incoming timecode source.
■ Timecode I/O via XLR connectors. Word
sync out, video/word sync input and thru,
via BNC connectors.
PDR-1000TC PLUS Adds
■ The most accurate timecode DAT recorder
available, it includes the MS-1000 Master
Sync module to ensure that drift doesn’t
exceed 1 frame every 10 hours.
■ Lemo socket offers compatibility with
Aaton film cameras.
■ Facilitates pull up from 29.97 frames per
second DF, to 30 fps drop.
■ HM-1000 headphone matrix offers
5 selectable monitoring configurations;
stereo, mono left, mono right, mono sum
and mid-side stereo.
■ The MS-1000 can be retrofit to any PDR-
1000TC and the HM-1000 can be retrofit
to any PDR-1000 or PDR-1000TC.
Stereo mini jack
Stereo mini jack
Stereo mini jack
XLR x2
XLR x2
XLR x3
XLR x2
Line Inputs
Stereo mini jack
Stereo mini jack
Stereo mini jack
XLR x2
RCA x2
XLR x3
XLR x2
Stereo mini jack
Stereo mini jack
Stereo mini jack
RCA x2
RCA x2
7-pin Optical
7-pin Optical
7-pin Optical
Coaxial S/PDIF
Coaxial S/PDIF
Coaxial S/PDIF
Analog Record
44.1/48/ kHz
44.1/48/48.048 kHz
Digital Record
32/44.1/48kHz 44.1/48/48.048 kHz
Digital I/O
Phantom Power
Supported Sample Rates
32kHz Long Record Mode
4 Motor Transport
Confidence Monitoring
Mic Pad
Digital Only
Variable 20-250HZ
6db/octave @ 100Hz
1.5 hrs
2 hrs
2 hrs
2 hrs/1.5 with timecode
Headphone Output
Built-In Speaker
4 hrs
4 hrs with AA
4 hrs with AA
2.5 hrs w/ rechargeable 2.5 hrs w/ rechargeable
Stereo mini jack
Stereo mini jack
Stereo mini jack
DAT Tapes
R64DA ..........................................................4.79
R94DA ..........................................................5.39
R124DA ........................................................5.99
Sony DT Series
DT-60RA ......................................................4.39
DT-90RA ......................................................4.89
DT-120RA ....................................................5.89
Cleaning Cassette ..........................................7.49
Sony PDP Pro Series
PDP-15C ......................................................4.19
PDP-35C ......................................................5.09
PDP-48C ......................................................5.59
PDP-65C ......................................................6.29
PDP-95C ......................................................7.69
PDP-125C ....................................................8.99
DAT-60 ....................................................................................................5.49
DAT-90 ....................................................................................................6.29
DAT-120 ..................................................................................................6.99
DAT-15 ....................................................................................................4.49
DAT-35 ....................................................................................................4.99
DAT-50 ....................................................................................................5.99
DAT-65 ....................................................................................................6.49
DAT-95 ....................................................................................................7.49
DAT-125 ..................................................................................................7.99
RTR-19M ..................................................................................................4.49
RTR-34M ..................................................................................................4.99
RTR-64M ..................................................................................................5.99
RTR-94 M..................................................................................................6.49
RTR-124M ................................................................................................7.49
Cleaning Cassette........................................................................................9.99
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Low Cut Filter
Battery Life
Mic Inputs
DAT Recorders
The PCM-R300 is a semi-professional rackmount
DAT machine well suited for the home studio and
desktop video suite. Standard RCA (phono jacks)
and S/PDIF digital I/O (both optical and coaxial)
easily integrate the PCM-R300 into most any
recording environment. Using the same Super Bit
Mapping 20-bit analog to digital converters as
Sony’s higher-end decks gives the PCM-R300 a sonic advantage over the competition. It’s as low cost and basic as a DAT
recorder can be and is easy to setup and operate.
The PCM-R500 and PCM-R700 rackmount DAT recorders
are evidence of Sony’s 10 year commitment toward advancing
digital audio technology. Designed with the professional audio
and video studio in mind, they are built around the stability of
4-motor direct drive transports. A flexible number of analog
and digital I/O terminals are available for connecting to almost any audio hardware. Sony’s 20-bit Super Bit Mapping
technology is used in the analog to digital circuitry enabling recordings rivaling near 20-bit resolution.
■ Analog recording supports 16-bit 44.1
and 48 kHz sample rates (standard mode)
and 12-bit/32kHz (Long Play Mode).
Long Play Mode allows 4 hours recording
on a 120-minute tape.
■ Digital input recording accepts sample
rates of 32, 44.1 and 48 kHz.
■ RCA (Phono) line inputs and outputs
■ Coaxial and Optical S/PDIF digital I/O
■ Headphone output with level control
■ 20-bit Super Bit Mapping analog to digi-
tal converts give you a signal to noise spec
close to that of an actual 20-bit recording.
■ Input monitor allows you to audition
audio without engaging transports saving
on wear and tear of both the tape and
tape heads.
■ AMS (Automatic Music Sensor) allows
you to quickly and easily shuttle to any
track on a tape.
■ Program Number and Start, and ID sub-
codes can be written manually or automatically for direct track number access
through the supplied remote control or
AMS function.
■ Counter mode display switchable
between absolute time, program time,
remaining time on tape, error rate and
■ LED display shows level and margin,
transport status, sample rate, input
source, program number, tape running
time, absolute time, playing time of the
track, remaining time on the tape, date
and time of recording and current date
and time.
■ Displays total drum operating time up to
9999 hours in 1 hour increments
■ Supplied accessories include; RM-D757
wireless remote, AC power cord, rackmount adapter with mounting screws and
Corporate Accounts Are Welcome
Menu Operation
■ Menu settings are stored internally and
memorized after power down
■ Record mute duration can be set between
0.5 to 9.5 seconds in units of 0.5 seconds. factory default is 4 seconds.
■ Settable Serial Copy Management System
(SCMS) allows multiple copies, one copy
or no copies of a DAT tape.
■ When recording digitally, start ID and
skip ID detection is settable to on or off.
■ Level sync threshold sets the reference
input level for recognizing start IDs.
Settings range from -12 to -60 dB in 1dB
■ The ability to recognize CD-Q codes
(track numbers) when recording from a
CD is settable to on or off.
■ Level sync blank time sets the amount of time
the audio signal must stay below the sync
threshold before a new start ID is written.
PCM-R500 Step-Up Features
5 Reasons to Choose Sony PDP Series DAT Tapes
■ 4 Direct Drive motor transport ensures a
reliable and extremely stable tape path
■ Independent record level controls for left
and right analog inputs
■ Automatically or manually writes
■ Jog dial/Shuttle wheel - shuttle wheel
allows audible cue and review ±0.5 to ±8
times normal speed (±1 to ±8 times in
Long Play mode), while the jog dial is
used as a data entry device for menu
options and AMS (Automatic Music
Search) Program Number access
Sony's original HD&R Binder Systems
allows for higher densities and better
durability, while the special backcoating
ensures a tape with low error rates, even
after 1000 cycles.
The anti-static resin lid shuts out dust
and other unwelcome particles. Also, the
high-precision heat resistant shell prevents warping due to excessive heat.
■ Erase start-ID and skip-ID function
Ids from the beginning of the tape and
writes consecutive program numbers
■ Specific absolute time locations can be
temporarily stored and recalled using the
Mark and Locate function. Stored locations are lost once a tape is removed or
the deck is turned off.
■ The rehearsal function ensures accurate
positioning of subcodes. Once a general
location for the desired subcode is found
and the rehearsal button is engaged, a 3
second section of tape will repeat 8 times
while the fast forward and rewind buttons allow fine adjustment of the locate
point in 0.3 second steps. Subcodes can
than be written in the usual fashion.
■ Existing start IDs can be accurately repo-
sitioned as much as 2 seconds using the
rehearsal function.
■ XLR balanced and RCA (Phono) unbal-
anced analog I/O for compatibility with
professional and consumer equipment
■ Switchable between XLR balanced
AES/EBU and coaxial S/PDIF Digital I/O
■ 8-pin parallel port is available for custom
wired remote control of transports.
■ Serial remote input for optional
RM-D750 wired remote
■ Includes wireless remote commander
■ 4 heads to allow monitoring off of tape while recording (known as confidence monitoring)
■ Automatic Fade in & Fade out adjustable between 0.5 to 9.5 seconds
■ Key protect function disables certain front panel controls to prevent accidental erasing or
manipulation of a tape.
PCM-7040 Digital Audio Recorder
Supported by a wide
range of essential features
for DAT recording and
editing, the PCM-7040
offers an affordable 2track digital recording
solution for the professional post production and broadcast environment. Features such as an
onboard timecode reader/generator, digital I/O, memory start, an RS-232
interface and edit memory are standard. Using the internal timecode reader generator, editing, chase synchronization and conversion between the
SMPTE/EBU/FILM and DAT timecode formats is possible. Both drop
and non-drop frame rates are supported as well as the ability to reference to
composite video, composite sync and blackburst signals or in the case of a
digital audio configuration, word clock I/O is also supported. The memory
start function stores 3 seconds of stereo audio, overcoming the inherent
delay found in a normal rotary head DAT system, thus allowing the instart
capabilities required by broadcast facilities.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ Renumbering function searches all start-
There's also
a "dust-free" lid construction that guards
against abrasion dust being generated
during openings and closings. A stronger
lock mechanism and roundish edge construction protect against shocks from falls
while also preventig tape slack.
PCM700 Adds
■ Repeat function plays a single track or
entire tape continuously
The Polypropylene material
of the case does not crack
easily, even
when accidentally
Program Numbers, Start Id’s, Skip Id’s
and End Id’s subcode information.
The PDP Series employs ultrafine "Chrystal
Art" magnetic particles, which deliver high
rententivity and outstanding output.
Professional DAT Recorders
Outstanding sound quality and reliability is why so many audio professionals consider them to be the industry standard for DAT machines.
They accept a +4dB balanced analog input source as well as multiple
digital input sources. They use advanced A-D and D-A converters for
natural sound recording and reproduction with low noise, wide dynamic range and accurate phase characteristics.
Ruggedly constructed, only audio parts with maximum tolerance are used throughout, while improved grounding layout
minimizes RF interference and hum from external equipment. The SV-4100 adds advanced cueing functions and reads
externally generated time code for synchronizing to video decks and machine to machine editing.
SV-4100 Step-Up Features
■ Dual high resolution 20-bit digital-to-
analog converters (DACs) process left and
right information separately, giving
enhanced performance stability and lower
noise at the higher frequencies.
■ Shuttling to specific parts of a tape can be
accessed via Start-ID or PNO (Program
■ The Skip-ID feature allows you to skip
unwanted material on a tape.
■ Single program play allows you to play
through a section of tape and stop before
the beginning of the next selection.
■ Independent left and right level controls
■ Digital fade-in/fade-out
■ Shuttle wheel with two speed range
■ 8-pin parallel remote for connection to
another DAT deck, PC or wired remote.
Includes a wireless remote control.
■ Error rate display shows block errors of
head A, B and A+B
■ Two +4dB balanced XLR analog inputs
Quick Start Functions
■ With 8-Mbits of memory holding five
seconds of audio data, the Quick Start
function provides instant playback making it ideal for broadcast applications.
■ Easily adjust the Quick Start position and
specify it by Absolute Time (ABS), Start
ID or PNO (Program Number). Quick
Start record allows two SV-4100s to be
used for frame-accurate punch-in/punchout and assemble editing.
■ You can adjust the Quick Start position
with 1-frame resolution over a range of
±50 frames. Using the shuttle dial and
Skip key for adjustment, frame number is
preceded by + or - sign. ABS, subcodes
and peak level are displayed to provide a
general guide to positioning.
■ Digital interfaces include XLR-balanced
AES/EBU I/O as well as consumer format IEC 958 with both coaxial (RCA)
and optical I/O connectors.
■ Levels can also be attenuated from +4dBu
to -6dBu in 1dB steps.
■ Using the trim and rehearsal functions,
you can accurately determine points to
write start and skip IDs. These IDs can
be written, rewritten or erased at any
point in the recording and automatically
■ With two SV-4100s connected via the 8-
pin parallel remote terminal, synchronized frame-accurate editing can be performed. Continuity of edit points can be
checked by rehearsal playback. By entering and editing end position in one of the
Locate buttons, you can determine a
punch-out point as well.
■ GPI input allows simple triggering of
Quick-Start Play.
■ Without playing the tape, you can moni-
tor the level of stored data to check your
Quick Start position. This preview capability is handy before actual editing or onair play. Repeated play is also possible,
using about 1.5 seconds of the data to
create a loop.
■ Two switchable (+4dB/-10dB) balanced
XLR outputs for compatibility with professional and consumer line level inputs.
Frame Accurate
Indexing and Editing
■ Recognizes external SMPTE time code
(25, 29.97 and 30 frames per second),
essential for video post-production and
stereo submix recording. Word clock sync
and Digital Data sync (locks to incoming
sampling frequency) assures accurate data
transfer between digital equipment.
Most Orders Shipped Within 24 Hours
Flexible Search
■ Easily and accurately access your ABS
(Absolute Time). You can specify hour,
minute, second and frame.
■ In most modes, the currently displayed
ABS can be assigned to one of the Locate
buttons. Then from Stop, Pause or Play
you can rapidly cue to any of these four
addresses by pressing its Locate key. In
addition, Locate Last takes you to the
most recent Quick Start ABS position.
■ Search is also possible by Start ID or pro-
gram number.
Professional Timecode DAT Recorders
■ Supports 16-bit recording and playback
at 44.1 and 48kHz sample rates.
■ 18-bit, 64X oversampling A-D and 20-
bit, 8X oversampling D-A converters
■ S/N ratio and dynamic range over 92dB
■ Efficient 4-motor transport (2-DD) for
■ Jog/Shuttle allows you to audibly cue or
review tape at 1/2 to 2x speed in jog
mode and 1/2 to 15x in shuttle mode.
■ Input reference levels can be set to -12,
-18 or -20dB. Default setting is -12dB.
■ Instant start without pre-loading into
RAM or you can use the 10 second
RAM buffer for locating specific start
ence level calibrating. Allows control of
input levels in ±2dB increments.
■ Front panel lockout function.
Comprehensive Displays
■ Displays time, date, program number,
level meter, margin level in 0.1dB steps,
absolute time, CH-1 and CH-2 level and
error rate.
■ Preset display indicates status of ID
mode, TOC, emphasis, sample rate, reference level, chase lock (TC, TCR versions only), PCM error and PCM mute.
■ Peak reading digital bargraphs with 5 set-
tings, can be held for closer viewing.
■ Auto Record when used in conjunction
with memory locate points 00 and 01
allows punch-in/ out recording with a 5
second pre-roll. Locate points can be
rehearsed before executing the punch.
■ Skip ID mode allows three selectable
options; stop, play or off.
■ Auto Cue mode enables automatic
recording of Start-IDs and PNOs. Auto
Cue mode is executed when the initial
sound threshold level (determined by the
Cue Level setting) is exceeded. Cue levels
are settable to -55, -40, -30 or -20dB.
■ Analog and digital inputs can be made
active without engaging transports.
■ +4dB XLR balanced and -10dB RCA
(phono) unbalanced analog I/O.
■ XLR balanced AES/EBU and optical
S/PDIF digital I/O.
■ Level trim controls adjust the balanced
and unbalanced analog outputs.
■ 37-pin parallel interface for external con-
trol of transport functions, RAM scrubbing and ID writing/searching.
■ GPI (General Purpose Interface) input
and output for control of the transport
functions and RAM scrubbing
■ Headphone output with level control
D-15TC and D-15TCR
■ In addition to being able to access locate
points using start IDs, an additional 100
locate points can be stored in memory
for editing complex tapes.
Intended for those professionals in the production industry who need to sync to video sources,
the D-15 when outfitted with the optional timecode expansion card may be the lowest price
professional timecode capable DAT recorder on the market today. The D15 has two expansion
slots in the rear. The 8335 External Sync card can be installed for video reference facilitating
striping of the tape with externally generated timecode and output of LTC or Absolute Time
(ABS). Absolute Time can also be converted to LTC giving you the option of referencing
exterally to Video or World clock.
The second expansion slot may be used for the addition of the 8336 RS-422 protocol Serial
Card (with the exception of vari-speed command). The 8336 board allows you to have your
controllers shuttle the machine to desired locations. (Note, the 8336 must be used in conjunction with the 8335 Sync Card)
■ Reads, writes and chases externally gener-
ated timecode. Can input and output LTC
through its XLR or RCA I/O.
■ Supports 24, 25, 29.97 and 30 frames per
second (drop and non-drop frame).
■ Timecode can be offset against master
■ Can reference to external video or word
clock (BNC connectors).
■ 9-pin RS-422 control
■ Model #8335 option card adds Timecode
capability to standard D-15
■ Model #8336 option card adds 9-pin RS-
422 port to D-15TC
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
stable performance and reliability. Up to
200x search speeds
■ Individual front panel trim pots for refer-
The most affordable timecode-capable DAT recorders on the market today, the D-15 series offers XLR-balanced analog and
AES/EBU digital I/O, jog/shuttle wheel and instant start capabilities, essential for professional audio applications. A 4-motor
transport ensures rock solid performance as well. Upgradable or available with the ability to read and output timecode
(D-15TC) at any frame rate or RS-422 machine control (D-15TCR).
Time Code Studio DAT Recorders
Fostex’s top-end studio timecode DAT recorders. The D-25
and D-30 are built from the ground up to seamlessly integrate into any professional video editing suite. They feature
9-pin RS-422 connectors that conform to Sony and Avid’s
machine control protocol and will perform an EDL list
from a master recorder. All drop and non-drop frame
rates are supported with full chase lock and jam sync
capability. The Jog/Shuttle wheels and 16-Mbit of RAM
allows precision machine to machine editing, push button rehearsal without engaging transports and frame
accurate cueing for instant start. Discrete two-channel
recording capability is ideal for broadcast applications such as bilingual dialog. XLR balanced analog I/O and
AES/EBU as well as S/PDIF digital I/O gets your audio where it needs to go.
Recording Modes
■ 4-head confidence monitoring as well as
standard audio monitoring.
■ Audio and timecode can be recorded
simultaneously in Assembly Mode, or
independently recorded in Insert Mode.
■ Time code can be generated internally or
supplied from an external source. All
frame rates are supported and can even be
changed internally. Furthermore, Absolute
Time can be converted into LTC.
■ Time code can be recorded on blank tape
or inserted on a pre-recorded tape. When
timecode is recorded part-way through a
tape, Jam Sync allows recording from the
point where the timecode has left off.
■ Chase Sync allows synchronized playback
with a timecode equipped VCR or digital
audio workstation. Timecode offsets can
be captured and adjusted on the fly.
■ RS-422 interface allows ±12.5% vari-speed
control, assemble editing, EDL execution
or deck to deck editing with variable crossfade times from 0 to 300 ms (milliseconds).
■ Can reference to Word Clock, VITC and
Digital Input Sync (BNC connectors). Pull
Down with reference to video
Equipment Leasing Available
Search Functions
Subcode Recording
■ Absolute time and timecode locations can
■ Automatic Start IDs and PNOs are written
be stored in memory for instant access.
■ Find an exact tape location by Hours,
Minutes, Seconds and Frames.
■ Blank Search finds the precise end of a
recording. Ideal for re-starting uninterrupted recording in assembly editing.
once an incoming audio source is detected
above a selected threshold.
■ Manual Start IDs and PNOs can be
recorded during recording or playback.
■ PNOs can be renumbered.
■ AUTO CUE locates the next/previous
audio signal using a default reference level
which it considers its threshold.
■ Shuttle wheel allows audible cueing at
1/2x to 16x normal speed. You can also
jog the tape back and forth at 1/2x to 1x.
■ +4dB XLR-balanced analog inputs as well
as +4dB XLR-balanced and -10dB 1/4˝
(monitor) analog outputs
■ AES/EBU digital I/O
■ GPI and 37-pin remote interfaces
■ 16-Mbit of RAM facilitates RAM Scrub,
storing 5 seconds of audio on either side of
the current location point. When used
with the jog/shuttle, you can scrub from
between 0 - 1x normal speed allowing cue
point accuracy within a frame.
■ While in RAM SCRUB mode, pressing
the Preview/Review button auditions 2
seconds of audio from the scrubbed location without engaging the transport. Hit it
twice and the unit goes into an infinite
loop repeating one second of audio from
the location point, indispensible when
rehearsing cue points.
Additional Features
■ Instant Start is available via the built-in
■ Large illuminated transport buttons
■ The DISP LEVEL button toggles between
channel 1 level, channel 2 level, errors,
<blank> and margin.
■ Margin display with reset key shows peak
level in dB during playback or recording.
■ 18bit A to D and D to A convertors
■ ±12.5% pitch control
■ Four DD motor transport with separate
reel motors for around the clock
spot erase with single frame accuracy.
■ Dual function fast-forward and rewind
keys allow the transport to be moved at 5
or 100 times normal speed or use tape jog
mode for more precise location of points.
■ Supports auto-record of up to 799 PNOs
with a user-settable audio level threshold.
play with machine function status.
■ Ten function keys enable direct access to
different functions
■ Transparent transport window gives visual
feedback of tape and 4-head drum status.
■ Two RS-422 ports— Port A receives data
while Port B transmits or receives data
■ Two D-30s connected over RS-422 (one
fitted with an 8331 2MB RAM card)
allows machine to machine editing, previewing and fine tuning in RAM without
the added expense of a separate controller.
■ VTR emulation and included IDs for
most popular machines ensures seamless
system integration with edit controllers
■ The incorporation of a Wideband LTC
(1/30th to 50 times play speed) and
VITC reader means the D-30 will never
be left trailing your video machine.
■ Modular construction allows access to the
tape heads for cleaning and maintenance
while the D-30 remains in the rack
■ Optional 8334 parallel General Purpose
Interface (GPI), useful for remote or
fader start & other broadcast
■ Optional 8331 Card gives the D-30 an
additional two MB of source RAM which
allows you to cut, copy and paste internally, and then preview the edit before
committing to tape.
D-5 Affordable Full-Featured DAT Recorder
An affordable full featured DAT recorder, the D-5 features balanced XLR analog I/O and AES/EBU digital I/O, three selectable sampling rates, and +4 or -10dBu compatible analog
inputs. It also offers a unique jog/shuttle function that makes
audible cue and review of a tape a snap.
■ Supports 16-bit recording at 48, 44.1
kHz sampling rates and 12-bit/32kHz in
Long Play mode. Long Play doubles the
amount of recording time available on
tape for long recording sessions.
■ Employs highly reliable ‘Sendust’ heads
with improved wear characteristics for
increased audio quality. Frequency
response is 20-20kHz, S/N ratio is 90dB.
■ Automatically goes into Stop mode after
5 minutes in Pause mode to protect the
tape and reduce head wear.
■ 3x and 5x speed audible CUE/Review in
playback (6x and 10x in LP mode). 0.5x
speed in Play/Pause mode. Also offers
search speed of 300x (under 60 seconds
for a 120 minute tape) and Automatic
Index search for locating Start ID’s.
■ Automatic rewind function when the tape
■ Can display absolute time, program time,
remaining time, remaining playback time,
remaining time of one tune, elapsed time
and total performance time.
■ Auto recording of Start-IDs and Program-
Numbers (PNOs)
■ Recognizes CD-Q codes (track numbers)
via the S/PDIF input. This ensures accurate Program Number (PNO) encoding
when digitally recording from CD.
■ Margin display with reset key, numerical-
ly references the highest input level in dB,
aiding in setting optimum input levels.
■ Read and write TOC information (Table
Of Contents) includes total time on tape
and total program numbers recorded.
■ Saves all current settings in memory after
■ AES/EBU and optical S/PDIF digital I/O
as well as XLR-balanced analog I/O.
Inputs are switchable between +4dB and
-10 dB to ensure compatibility with professional and consumer equipment.
■ Equipped with GPI (General Purpose
Interface) input for external transport
control, ID search and fader starts.
■ 1/4˝ headphone jack with level control
■ Supplied wireless remote allows direct
track access and programming of up to 30
tracks for playback in any order.
■ SCMS (Serial Copy Management System)
free recording allows unlimited duplication of DAT tapes
powering down (Last Memory Mode).
encounters an END-ID mark.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
■ Independent 2 channel recording and
■ A large high resolution backlit LCD dis-
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Master Quality DAT Recorder
An economical master DAT recorder, the DA-20MKII delivers
solid, reliable performance with true CD sound quality. Well suited for home studios,“b” rooms and video suites, the DA-20mkII’s
S/PDIF digital and unbalanced RCA connectors allow integration
with most of today's desktop video editors and digital audio workstations.
■ Supports 16-bit recording at 48, 44.1 kHz
sampling rates and 12-bit/32kHz in Long
Play mode. Long Play doubles the amount
of recording time available on tape for
long sessions like sermons or conferences.
■ Capable of SCMS free recording with sim-
ple power-on procedure.
■ Start ID and PNOs (Program Numbers)
can be written automatically or manually.
■ Program Numbers can be renumbered if
accidentally inserted out of sequence.
■ Auto ID level switching offers four selec-
table audio levels (-30/-40/-50/-60dB) for
easier, more accurate start ID encoding.
■ Subcode functions include; Absolute Time,
Program Time, Start ID, Program
Number, Skip Id, End Mark, lead-in area
and renumbering.
■ Cassette stabilizer eliminates vibrations
from interfering with tape stability.
■ Self-diagnostic function warns of potential
problems like condensation, irregular tape
tension, dirty heads or a damaged tape.
■ Last memory function retains auto ID and
input selector after powering down
■ Includes a wireless remote control
■ Sampling Monitor displays a visual confir-
mation of analog or digital source signals.
■ Margin display with reset button continu-
ously displays maximum peak level in dB.
■ Character Pack function enables titling
and other text (take #, version #) of up to
60 characters per track. Text is displayed in
the counter display during playback.
■ Consumer format (-10dB) unbalanced
RCA (phono) inputs and outputs
■ Consumer format coaxial digital I/O
■ Single stereo input level control with
left/right balance
DA-302 Dual DAT Recorder/Duplicator
A unique dual mastering DAT deck with high speed dubbing and
continuous recording capabilities, the DA-302 can make an exact
clone of any DAT tape including all subcode information. Flexible
and easy to use with exceptional sonic quality and reliability, it is
ideal for archiving, mixdown, duplicating and installation. Cascade multiple DA-302’s to work in tandem.
■ Two DAT decks in a single 3 unit rack-
mount work independently or in tandem. Recording on both decks simultaneously, allows you to create a master
and back-up master in one pass.
■ High speed (2x) and real time dubbing
lets you clone any DAT including subcode and timecode information.
■ Continuous long format recording from
deck 1 to deck 2 at 32kHz, records up
to 8 hours on two 120 minute tapes
■ Append dubbing allows dubbing from
Menu Functions
■ Peak hold metering on/off
■ Seqtime sets the start time for deck 2
during continuous record. This feature
extends to continuous recording when
cascading multiple DA302s. Settable in
1 minute or 15 minute increments
between 0H15M00S and 2H30M00S
■ Loop function when enabled starts the
master deck after the last slave deck finishes continuous play/record operation.
any position on the master tape.
We Exhibit At NAB, Infocomm, and Siggraph
■ Independent S/PDIF digital and unbal-
anced RCA analog I/O for each deck
■ External control for multiple unit opera-
tion with analog and digital cascade outputs.
■ Optional LA-D302 balanced analog I/O
kit offers stereo inputs and 2 sets of
stereo outputs.
■ Optional WR-7000 synchro cable
allows making DAT clones from one
DA-302 to another.
Professional DAT Recorder
All the features of the DA-20MKII PLUS—
■ Shuttle wheel (up to 12x speed) for audible
cue and review and refining locate points.
Data wheel selects program numbers and
changes menu and parameter settings.
■ Margin display is measured in 1dB incre-
ments between 40dB and 20dB and 0.1 dB
increments between 19dB and 0dB.
table 0 to 5 second pre-roll) memorizes precise locations for quick access to any point
on a tape.
■ Counter mode switches between Absolute
Time, Program Time and time remaining.
■ In addition to counter mode, displays
Program Number, Margin Mode, Digital
Audio Frames mode (100 frames every 3
seconds) and Block Error Rate mode.
■ Auto ID time setting has a range of 0.5 to 3
seconds in 0.5 second increments allowing
precision Start ID placement.
uncalibrated (allows variable level control)
or calibrated (defeats variable level control
with a constant +4 or -10 dB setting).
■ Auto ID level detection is selectable from -
48, -56, -60, -66 and -72dB.
■ Record Mute time has a default of 4 sec-
onds and can be set from 2 to 7 seconds.
■ SCMS is selectable to allow no copies, one
copy or unlimited copies.
■ XLR-balanced and RCA unbalanced
analog inputs and outputs.
■ Separate left and right input level
■ Balanced outputs have a trim control
ensuring compatibility with the widest
range of analog audio equipment.
■ XLR-balanced AES/EBU and coaxial
■ Indicates total time that the drum heads
have been in use. Useful for scheduling
head cleaning and general maintenance.
■ End ID markers can be set to be automati-
cally written when recording stops. Autorewind can be activated when an End ID
marker is recognized.
■ Programmable repeat function lets you loop
audio over specific points. Loops can be set
to play 10x or indefinitely.
S/PDIF digital I/O connectors. XLR-balanced and coaxial digital outputs can be
reversed allowing S/PDIF signals to be
output via the XLR output or vice versa
(AES/EBU via the coaxial output).
■ 15-pin parallel interface for automated
control environments, fader starts and
edit controllers.
■ Optional RC-D45 wired remote control
DA-45HR High Resolution DAT Recorder
The next logical step in DAT technology is here! The DA-45HR has all
the features and functions of the DA-40, plus its equipped with 24-bit
record capability—making it the ideal mixdown deck for today’s highend digital audio workstations (DAWs) and mixers.
All the features of the DA-40 PLUS—
■ Two record modes- High Resolution (24-
bit) and standard (16-bit). 24-bit high
resolution mode records up to 60 minutes
on a 120 minute tape.
■ 24-bit A to D and 20-bit D to A convert-
ers with dither provides accurate reproduction of the original source material.
■ Programmable repeat function settable
from 2 to 15 repeats to unlimited looping
■ Digital out word length is selectable to
24-bit or 16-bit.
■ Record mute time is selectable from 1 to
8 seconds in .5 second intervals.
■ Matches I/O reference levels of analog
equipment (+4dBu, -10dBV) to digital
reference levels; -20 (SMPTE), -18
(European) and the default -16dB
■ Word Sync In and Thru using standard
BNC connectors ensures sample accurate
sync between compatible digital devices.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ Two assignable locate points (with selec-
■ Analog input source selector allows either
Found in recording studios around the world, the DA-40 offers
balanced and unbalanced analog and digital inputs/outputs to
ensure compatibility with a wide range of pro and semi-professional audio gear as well as video editing equipment. Well constructed
rackmount chassis, large easy to read display, and comprehensive setup menus complement the DA-40’s sonic excellence.
And like the DA-20MKII it features text editing capability, allowing tape and program titles to be inserted in the subcode of the tapes for cataloging and identification.
Ultra-Compact MiniDisc Player/Recorder
Although the smallest minidisc recorder available, the MZ-R55CG has a feature
list more commonly found on full-size decks. It features CD-synchro record, text
and track editing, line inputs and outputs, and a stereo mic input for interviews,
sound effects gathering and live music recording. An optical input allows digital
recording directly from DAT, CD or minidisc. Large 40-second SRM buffer prevents skipping during recording and playback making sure you won’t miss a beat.
■ Large buffer with 40 seconds of shock
■ Stereo unbalanced mini line inputs and
resistant (SRM) memory
■ Built-in sample rate converter automati-
cally converts 32 or 48 kHz audio to
MiniDisc’s 44.1kHz sampling rate.
■ 5Hz to 20kHz frequency response and
greater than 92dB of dynamic range
■ Records up to 74 minutes of stereo audio
■ Stereo mini mic input with high and low
sensitivity switch
■ Optical mini digital input
■ Headphone output with remote terminal
■ Includes back-lit LCD wired remote with
transport and volume controls as well as
editing capabilities such as; track and disc
labeling and change track sequence.
and 148 minutes mono
■ Record for 2.5 hours or playback for up
to 4 hours using a single NiMH battery:
Add two AA batteries to the supplied AA
battery magazine and you get up to 16
hours of playback.
■ Includes AC Adapter, NH-14 NiMH bat-
tery, headphone with remote control,
optical cable and carrying case.
MiniDisc (MD) Technology
The ideal recording format, Sony Minidisc uses Magneto Optical technology, allowing you to
record, edit, erase and even re-record up to 74 minutes of pure digital audio– up to a million
times with virtually no loss in quality– on a disc that fits in your shirt pocket.
Non-Linear Record and Playback
Non-linear recording and playback offers
instant track access like a CD as well as the
ability to automatically locate blank space on
which to record. If a song is erased anywhere
on the disc, that data then becomes free space
on which to record regardless of the track
Shock Resistant Memory (SRM)
Minidisc employs SRM (Shock Resistant
Memory) buffer memory chip to store music
before it is heard. Since the buffer stores at
least 6 seconds of music, you won’t hear any
skipping if the laser is momentarily bumped
out of place. Once the laser recovers it will
begin filling up the buffer again, giving MD
continual sound on the rockiest of roads.
ATRAC Advantage
Adaptive Transform Acoustic Coding
(ATRAC) records only the frequencies that
the human ear is most sensitive to and not
unwanted feedback and chatter that is hidden
by louder but similar sounds. Recording with
ATRAC, results in up to 74 minutes of pure
digital recording on a 2.5 inch disc. ATRAC
does this by dividing the 16 bit 44.1 KHz
digital signal into 52 sub-bands in the frequency domain. The sub-bands in the low
frequencies are finer than the ones in the high
frequency range. A psycho-acoustic transfer
function that takes advantage of the masking
effect and the absolute hearing threshold of
man then removes enough information to
reduce the data stream to 1/5th of the original size (5:1 compression).
Overnight Shipping Available
Control Functions
■ Digital AGC (Automatic Gain Control)
automatically sets recording levels without
sacrificing audio quality.
■ Manual record levels can be set during
analog recording.
■ Play modes include; continuous playback,
shuffle (random) play and repeat mode
(single track or entire disc).
■ When digitally recording from CD, CD
Synchro record function automatically
enters the MZ-R55 into Record Mode
once the CD player begins playback.
■ Post recording editing features include;
Erase One, Erase All, Add/Erase track
mark, label and move tracks.
■ A portion of audio can be erased by set-
ting a start and end marker within the
track and erasing that section.
■ Built-in clock automatically records the
current date and time whenever you make
a recording.
■ Three Digital Mega Bass modes: normal,
moderate effect and strong effect
■ AVLS (Automatic Volume Limiter
System) prevents ear damage by controlling the maximum headphone volume.
■ Hold button locks the recorder’s controls.
■ LCD display shows transport status,
record level, volume, track number, text
info, elapsed and remaining track time,
date and time, play/record mode and
4 segment battery life indicator.
■ Simultaneous labeling feature allows you
to label tracks while recording.
MiniDisc Recorders
■ High precision 24-bit A-D converter
provide a far wider dynamic range than
conventional 16-bit converters, while
Wide Bit Stream technology maintains
20-bit precision through the recording
process for clear reproduction of audio
with low signal levels.
offers even better error evaluation and a
second stage of bit re-allocation for
greater processing accuracy and
smoother, more clearly delineated sound.
■ Records up to 74 minutes of stereo audio
and 148 minutes mono.
Front Panel
■ Playback pitch control
■ Editing features include; Erase One, Erase
All, Combine, Divide, Undo, Record from
end, Record over and move tracks.
■ CD-Synchro record function
■ Convenient jog/shuttle for track selection
and text entry
■ Analog and digital record level control
■ Play modes include; continuous playback,
■ A-B erase allows you specify a start and
end point of an unwanted section of audio
within a track like dead air and delete it.
■ Advanced time shift recording using the
shuffle (random) play and repeat mode
(single track or entire disc).
internal ram buffer captures 6 seconds of
audio even before you start recording.
■ Smart Space recording inserts 3 seconds of
■ Automatically goes into Record/Pause if no
silence in between tracks.
audio is detected for 30 seconds
■ Two-line fluorescent display with precision
peak level meters
■ Supplied remote control with 25-key
direct access track selection and title input.
■ 6 seconds of shock resistant memory
■ Automatically converts 32 or 48 kHz
audio to MiniDisc’s 44.1kHz sample rate.
■ 5Hz to 20kHz frequency response and
96dB of dynamic range
■ Stereo RCA unbalanced line ins/outs
■ Optical digital in and out
■ Headphone jack with volume control
MDS-JE630 Step-Up Features
■ When connected with a compatible Sony
CD player, CD text and custom file text
transfer allows the disc and track names
stores on the CD to automatically be
encoded on the minidisc.
■ PC keyboard input on the front panel
can be used for text entry.
■ Two optical inputs
SONY MiniDiscs
MDW-74 ....................................3.29
10-Pack ....................................27.90
HHB MiniDiscs
MD-74 ........................................4.29
10-Pack ....................................39.90
Maxell MiniDiscs
MD-60RM ................................5.39
MD-74RM ................................5.49
Fuji MiniDiscs
MDZ-60 ....................................5.49
MDZ-74 ....................................3.99
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ ATRAC type-R digital signal processing
Using the latest ATRAC (Adaptive Transform Acoustic
Coding) compression and high resolution 24-bit A-D converters, the MDS-JE530 and JE630 deliver unprecedented sound
quality and dynamic range in the convenient minidisc format.
Almost identical except for the MDS-JE630’s enhanced text capabilities and extra optical digital input, they both integrate into broadcast, production and installation environments with the same instant track access and variety of playback modes found on professional CD players, but with the added ability to digitally record, edit and re-sequence audio.
Industrial MiniDisc Recorder
Combining the basic features and conveniences of a consumer minidisc recorder with the ruggedness of a 2U high
rackmount chassis and heavy duty MD drive, the MDS-E58
is a low-cost professional solution for any A/V installation or
production studio. High quality digital sound and powerful editing capabilities allow you to mixdown multitrack material, splice audio sections and create custom playlists.
■ ATRAC (Adaptive Transform Acoustic
Coding) v4.5 for CD-like sound quality
■ Incorporates 18-bit A-D converters while
Wide Bit Stream technology maintains
20-bit precision through the recording
process for clear reproduction of audio
with low signal levels.
■ Automatically converts 32 or 48 kHz
audio to MiniDisc’s 44.1kHz sample rate.
■ Frequency response of 5Hz to 20kHz with
97dB dynamic range
■ Records up to 74 minutes of stereo audio
and 148 minutes mono.
■ Large display shows disc and track info as
well as status of the various functions.
■ After you insert a minidisc, the disc name,
followed by total track numbers and then
disc playing time appears. You can also
toggle between all three of them
■ 25-track music calendar counts down the
remaining tracks that have not yet played.
■ Program play allows you to specify up to
25 tracks to play back in any order.
■ Auto Repeat function with four modes:
Normal play (all tracks repeat), Repeat 1
(repeats current track), Shuffle play (tracks
repeat in random), Program Play (selected
songs are repeated).
■ You can manually add a track marker at
any time while recording on a MD by
pressing the REC button.
■ When recording digitally from an MD or
CD, track markers are recorded automatically. When recording from an analog
source or digitally from a DAT machine,
track markers can be written automatically
using the Level-Sync feature.
■ Time Machine Recording function contin-
uously stores 6 seconds of audio data in its
memory buffer ensuring no program
material is lost because of missed cues.
■ A specific track can be located using the
AMS knob to look ahead and back until
you find the desired track.
■ While playing, FF and REW buttons can
be used for audible cue and review.
■ Includes wireless remote commander
■ CD-synchro recording capability
■ Engaging the Music Sync button puts the
recorder into Record/Pause mode waiting
for the source deck to begin playback, at
which time recording will start.
■ The Music Scan feature of the remote
control scans the beginning of individual
tracks (settable from 6 to 20 seconds) and
then moves on to the next track. When
the desired track is found, press play.
■ Full-featured TOC (Table Of Contents)
editing includes undo, divide and combine.
■ Auto Pause function pauses the MiniDisc
when playback of a track is complete.
■ Auto Space feature inserts 3 seconds of
silence in between tracks.
■ Headphone output with level control
■ S/PDIF coaxial and optical digital I/O
■ RCA unbalanced analog I/O
■ Control-S interface
We Ship Worldwide
■ An edit mode is selected using the AMS
knob. Once the edit mode is chosen, the
AMS knob is then utilized to specify the
parameter for editing.
■ While in edit mode, the following func-
tions are available:
— Erase function instantly erases one or all
— Combine function joins any two consecutive tracks and is useful for joining two
portions of a song to create an arrangement.
— Divide function allows you to split a track
into two parts allowing you to add track
numbers after a track has been recorded
or to mark a section in the middle of a
track that needs instant access.
— Move function changes the track order
— Up to 1,700 characters can be used to title
a disc and individual tracks. Label tracks
in Play, Pause, Record and Stop modes.
— The Divide, Erase and Combine functions
can be used together to erase a portion of
a track. Use Divide to select an in point at
the beginning of the section of audio to
be erased. Then use the Divide function
again to select the end of the section of
audio to be erased, erase that section and
then combine the outer sections together.
— You can undo last executed edit as long as
none of the record modes are engaged
and power is not interrupted.
— Whenever a track is erased, divided combined or moved, the subsequent tracks are
automatically renumbered.
Professional MiniDisc Recorder
Same features as the MDS-E58 PLUS—
■ Dual line LCD display
■ When an extended silence of up to 30
seconds in length is broken with an audio
signal, the deck automatically replaces the
silence with a three second blank space
and continues recording.
■ A specific section of audio within a track
can be set to loop continuously using the
A-B repeat button.
■ Relay record in, play in and output allow
you to connect several MDS-E11s together with a stereo 3.5mm mini plug for
uninterrupted sequential playback and
recording. In record mode. if the display
is set to show remaining disc time, a relay
message will be sent from the current
deck to start the next six seconds before
the end of the current disc.
■ RS-232C machine control interface
■ Coaxial S/PDIF digital I/O (no optical)
■ Switchable XLR balanced and RCA
unbalanced inputs and outputs
■ Balanced outputs are switchable from
+4dBu to -10dBu
■ User assignable 9-pin parallel remote
interface allows external control and
monitoring of several of the machine’s
functions including fader start.
■ Timer can be used to start and stop play-
back or recording at a specified time.
Marantz PMD-650
Professional Portable MiniDisc Recorder
Offering the same basic features as their legendary portable cassette recorders while providing the benefits of a sophisticated digital recorder, the PMD-650 is ideal for interviews,
music, multimedia, broadcast video and film production. It includes two XLR-balanced
mic/line inputs, a built-in mic, and a monitor speaker. It supports 74 minutes of stereo and 148 minutes of
mono record and playback, and has a host of practical features that make quick work of any high pressured production environment. For
example, when recording from one mic/line source onto two tracks, the PMD-650 incorporates a dual mono mode that sets the level of
the 2nd track 15dB lower than the first, to make sure that a backup track is available in the event of a problem or digital overload.
■ Editing capabilities include: divide,
combine, move, erase
■ Time/Date stamp as well as full text dis-
play and editing
■ 40 second (20 sec. 2-track) audio buffer
for shock resistance
■ Pre-Record audio cache (up to 2 sec.)
■ One touch recording with separate Rec-
Pause button
■ Control of SCMS (on or off )
■ Three record level control choices: man-
ual, manual with limiter, and automatic
■ Programmable Level Sync Recording
(LSR) saves disc space by only recording
when there is sound present.
■ Stereo XLR mic/line inputs
■ Built-in microphone and speaker
■ 48v phantom power
■ Backlit LCD display
■ Variable mic attenuator (0, -15, -30dB)
■ Two position noise cancel filter
■ Stereo RCA analog line outputs
■ A-B loop playback
■ RCA digital input (S/PDIF) with sample rate converter and XLR digital out-
■ Repeat Playback (all or one track)
put (S/PDIF)
■ Low Battery Alarm
■ Remote control (RC-5) input
■ 3-way power: AC adapter, 8 AA batter-
■ Headphone jack with level control
ies, or optional Nicd RB-1100 battery
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ Sturdy 1U rack-mount chassis
The MDS-E11 is a 1U high, professional
MD recorder, designed for use in mobile
A/V, live sound (contractor) and broadcast
applications. It's compact design and remote
interface capability make it suitable for a variety of mobile and installed sound applications.
Bi-Amplified Near-Field Studio Monitors
Combining their legendary Trans-nova amplifier technology with a proprietary speaker design
Hafler has created two exceptional reference monitors for tracking, mixing and mastering. The
TRM-series is electronically and acoustically matched, so they deliver consistent quality for
close field monitoring and surround-sound applications. Recording facilities, video post houses,
remote broadcasts, large rooms, and project studios will all benefit from the accuracy and
detail of these uncompromising reference monitors.
■ Biamplification design and active
crossover allows the acoustic sensitivity of
the woofer and wave guide tweeter to be
trimmed with much more accuracy than
a simple passive monitoring system.
■ Extended frequency response of the
woofer provides flat reproduction from
subsonic frequencies to well above 3 kHz
for seamless transition to the wave guide
AMplification Optimized Nodal Drive)
circuit improves the headroom of the driver amplifier by combining the linearity
of class-A operation with the current
headroom of a class-B system, reducing
high frequency distortion and improved
ultrasonic stability.
axis frequency response for focused and
refined imaging. A Phase Lens is added
for improved off axis listening.
be used near CRTs and video monitors.
■ Exoport (rear firing porting system)
reduces turbulence by improving airflow
while firing away from the listening position, resulting in a warm mid-bass with
sharp attack and noise free, powerful low
■ DIAMOND (Dynamically Invariant
■ Wave guide delivers smooth, coherent on-
■ Short three stage Trans-nova circuit
design results in an uncolored, transparent signal path through the amplifier.
■ Magnetic shielding allows the monitors to
■ Combination XLR/ 1/4˝ TRS as well as
■ The low resonance cabinet allows the
components to perform as designed,
without exhibiting coloration and nodal
resonance found in cheaper materials.
■ High audio quality components in both the
unbalanced RCA input connectors
■ 6.5-inch die-cast low fre-
quency transducer with
mica filled polypropylene
cone and proprietary 1˝
(25mm) ferrofluid filled silk
dome hemispherical wave
guide tweeter.
■ 50 watt low frequency
amplifier and 33 watt, high
frequency amplifier
■ Frequency Response 55Hz-
amplifier and crossover are surface mounted
on double sided glass epoxy P.C. boards.
Active Subwoofers
■ 8-inch die-cast low frequen-
Combining Hafler’s legendary amplifier technology with a proprietary
woofer design, the TRM10s and
TRM12s active subwoofers provide
superb bass definition required in
today’s studio and surround sound
environments. The innovative class G
trans-ana amplifier provides high performance and low distortion Features
include variable input sensitivity and 90/180/270 degree phasing
that gives you ultimate control of woofer-to-monitor transition.
21kHz +/- 2dB
■ High frequency Shelving-
5Hz to 20Hz, ±4dB in 2dB
■ Low frequency shelving-
48Hz to 200Hz, ±4dB in
2dB increments
■ 30/60Hz at 12dB/octave
Subsonic Filter
■ 24dB/octave Linkwitz-Riley
crossover at 3.2kHz
cy transducer with mica
filled polypropylene cone
and proprietary 1˝ (25mm)
ferrofluid filled silk dome
hemispherical wave guide
■ 150 watt low frequency
amplifier and 75 watt, high
frequency amplifier
■ 45Hz to 21kHz frequency
response ±2dB
■ 10-inch cellulose fibre cone
■ 12-inch cellulose fibre cone
down firing woofer.
down firing woofer.
■ 200 watt low frequency
■ 200 watt low frequency
■ 30Hz to 110Hz frequency
■ 25Hz to 110Hz frequency
response ±2dB
■ 24dB/octave Linkwitz-Riley
response ±2dB
■ 24dB/octave Linkwitz-Riley
crossover variable (40Hz to
24 Hour Fax: 800-947-9003 ■ 212-444-5001
crossover variable (40Hz to
■ High frequency shelving-
3kHz to 20kHz ±4dB in
2dB increments
■ Low frequency shelving-
40Hz to 200Hz ±4dB in
2dB increments
■ 30Hz at 12dB/octave
Subsonic filter
■ 24dB/octave Linkwitz-Riley
active crossover at 2.5kHz
Bi-amplified Studio Monitors
■ 8.75-inch (222mm) low frequency trans-
■ Amps power up immediately upon sens-
ducer system with mineral-filled
polypropylene cone, die-cast magnesium
frame and extra-long-throw voice coil
ing an input signal. If no signal is present
for several minutes, they go into standby..
■ 1-inch (25.4mm) high-frequency alu-
minum dome driver with ferrofluidcooled voice coil.
■ Wave guide technology matches the high
■ 100 watt high frequency amp (150-watt
peaks) and 150 watt low frequency amp
with (200-watt peaks). Proprietary Fast
Recovery circuitry prevents latching when
the amps are driven at their maximum.
■ Front panel clipping LED and a signal
present/power indicator works with Auto
Turn-On feature.
■ Vertical, downward-facing jack field on
the back lets you place them against a
control room wall without the input
jacks and power cord forcing the monitor
away several inches.
■ Ccompensates for setting up the monitors
in different parts of a room by attenuating
signals at 500Hz; A = -4dB for placement
in the corners of a room, B = -2dB for
placement against a wall, C = flat (0dB) for
placement away from the walls
■ Both balanced XLR and balanced/unbal-
anced TRS jacks accept virtually any linelevel input from a mixing console.
■ Speaker input gain is adjustable from
(infinity) to 0dB attenuation
■ Internal cavity is completely filled with
high-density foam that absorbs internallyprojected midrange before it can exit
through the low frequency transducer cone
■ Roll-off EQ -3 dB at 50Hz or 80Hz,
12dB/octave Multiple Feedback High
Pass filter
■ High frequency shelving control adds or
attenuates frequencies above 10kHz by 2dB.
■ High Freq. EQ ± 2 dB @ 10kHz, shelving
■ 39Hz to 22kHz freq. response ±1.5 dB
Near Field Monitors
Two-way discrete near field monitors that offer professional performance at a semiprofessional price, the Reveal and Reveal Active have extremely detailed, dynamic
sound with a wide, flat frequency response. These speakers are magnetically shielded,
allowing operation close to video monitors and CRTs. Not just for show, the curved
baffle of the front panel reduces diffraction while providing a rigid mounting platform for the drive units.
■ Shielded 6.5˝ bass driver and shielded 1˝ soft dome tweeter
■ Crossover frequency 3kHz
■ Magnetically shielded drive units
■ Recommended amplifier power 30 to 100 w rms into 8 ohm
■ 65Hz - 20kHz frequency response
■ Power Handling RMS/Program 50W/100W
■ Nominal Impedance 6 ohm
■ Dispersion 90 degrees
Reveal Active Step-up Features
■ Biamplified power- 50 W low Frequency 50 W high frequency
■ Active crossover.(frequency 3000 Hz)
■ 62Hz - 20kHz frequency response
■ Maximum SPL (2) 114 dB SPL
■ Balanced XLR/ 1/4˝ combo jack
■ Power ON/OFF switch with power on LED
■ IEC inlet with detachable power cord
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
frequency dispersion pattern to the bass
transducer for a seamless midrange transition. Furthermore, recessing the high frequency transducer ensures that its active
area is on the same axis with the woofer,
providing acoustic alignment of high and
low frequencies.
With a their transparent stereo image and large sweet spot, the Mackie HR-824’s are
magnetically shielded for use near computer and video monitors. A wide range of EQ settings adapt the monitors to any studio environment no matter where they are placed in a
room or how reflective the room surfaces are. The ideal monitors for hearing the big picture, where sonic detail and impact is a must.
By combining their expertise in reference monitor design with their proven track record in studio amplification,
Alesis has created the M1 Active bi-amplified reference monitor. Incredibly accurate with a wide sweet spot, high
power handling and detailed high- and mid-frequency response that perfectly translates to any playback system.
Ideal for desktop video and post production facilities as well as home and project recording studios.
■ 6.5-inch non-woven carbon fiber low frequency dri-
■ Time alignment circuitry added to the tweeter sec-
ver: with Santoprene surround and dual magnet
shielded configuration
tion of the crossover allows the output of frequencies
from the high and low drivers to occur in perfect
synchronization, avoiding the time smear that's typical in less advanced powered speakers.
■ 1-inch silk dome high frequency driver: with medi-
um viscosity ferrofluid coolant and dual magnet
shielded configuration
■ Combination balanced XLR-1/4˝ jack connectors
with input level control
■ 75 watt LF and 25 watt HF amplification
■ 38Hz - 23.5kHz frequency range:
■ LF (Low Frequency) Filter: 2nd order, "optimal Q"
■ Crossover: 1500Hz, 8th-order, 48dB/octave filters
high pass, +1dB boost at 50Hz
Award winning studio monitors that prove that you can get a wide and even frequency response out of an affordable near field monitor, the Monitor Ones have
excellent imaging and transient reproduction, powerful bass and smooth, extended high frequency detail. Ideal for high-quality monitoring in project studios and
commercial recording facilities. Exclusive SuperPort speaker venting technology
extends low frequency response while eliminating the "choking" effect of port
■ 6.5-inch low frequency driver with a min-
eral-filled polypropylene cone, and a 1.5inch voice coil
■ Ferrofluid cooled 1-inch silk dome high
frequency driver making long mixing sessions easier without ear fatigue.
■ Crossover: 2.5kHz, 2nd-order filters
■ Nominal Impedance: 4 ohms
■ 45Hz - 18kHz, frequency range ±3 dB
■ Sensitivity: 88dB SPL, 1 watt, 1 meter
■ Power Handling is rated at 120 watts pro-
■ 5-way binding post connectors
gram, 200 watts peak
Offering the qualities needed for accurate, non-hyped frequency
reproduction the Point Seven reference monitors have excellent transient response and precise imaging in a compact, affordable, fully
magnetically-shielded speaker. Ideal for multimedia and post-production audio applications as well as home recording studios.
RA-100 Power Amplifier
■ 100 watts into 4 ohms, 75 watts into 8
ohms, per side
■ 0.05% THD @ 1kHz (8 ohms), 0.19%
THD @ 1kHz (4 ohms)
■ 5-inch low frequency with a non-woven
carbon fiber woofer cone and 1-inch silk
dome high frequency drivers
■ Dual front-vented SuperPort system
allows the monitors to be flush against a
wall without affecting their excellent lowfrequency response
■ Modified 3rd order Butterfield crossover
■ 85Hz - 22kHz frequency range ±3 dB
■ 20Hz - 20kHz frequency response ±1dB
■ Power Handling: 50 watts program, 100
■ S/N Ratio 100dB below full output
watts peak
■ Nominal Impedance is rated at 4 ohms
■ Sensitivity: 88dB SPL, 1 watt, 1 meter
■ Input Connectors: 1/4˝ phone jacks
■ Output Connectors: 1/4˝ phone jacks and
push clip terminals
■ 5-way binding posts connectors on
■ Dimensions: (WxHxD) 19"x3.5"x8"
■ Dimensions: (WxHxD) 7.1"x11.2"x7.25"
■ Weight: 14.25 lbs
We are on the web at:
Biamplified Reference Monitors
Available with either an eight-inch woofer (V8) or a six-inch woofer (V6) these
bi-amplified near field reference monitors are able to satisfy the most critical listening requirements. Featuring separate built-in power amplifiers for each woofer
and tweeter and a true electronic crossover that tailors the power and frequency
response specifically for each transducer delivers the dynamic range and performance required for everything from digital production to 5.1 surround sound.
■ 1-inch Silk Dome tweeter and 8-inch
Woven Kevlar woofer
■ 1-inch Silk Dome tweeter and 6-inch
Polyvinyl woofer
■ 60 Watt high frequency and 120 Watt
low frequency amplification
■ 30 Watt high frequency and 60 Watt low
frequency amplification
■ HF adjust +1dB, Flat, -1dB
■ 58Hz - 22kHz frequency response ±2dB
■ LF adjust -3dB at 45, 50 and 65 Hz
■ Maximum SPL at 1m is rated at 102dB
Music, 105 dB Peak
■ Maximum SPL at 1m is rated at 110dB
■ Magnetically shielded
■ XLR - 1/4˝ TRS Combo plug inputs
accommodate balanced and unbalanced
line level signals
■ Variable Gain +6dB to -30dB
Music, 116dB Peak
S10 And S12 Powered Subwoofers
■ Two Channel XLR balanced input and
output connectors
■ Variable Gain +6dB to -30dB
■ Low Pass Variable 50Hz - 130Hz and an
80Hz Fixed High Pass Filter (HPF)
■ Phase Adjust Switch 0º or 180º
S10 Only
S12 Only
■ 10-inch Woven Kevlar LF driver
■ 12-inch Woven Kevlar LF driver
■ 125 Watt amplifier
■ 160 Watt amplifier
■ 38Hz to 50Hz - 130Hz (Variable) freq.
■ 31Hz to 50Hz - 130Hz (Variable) freq.
response ± 2dB
response ± 2dB
K-ROK Passive Studio Monitors
Characterized by their smooth frequency response, low distortion and high power handling, the
K-RoK by KRK are the ideal close field monitor for project studios and post production facilities.
Compact and portable these reference monitors’ unique enclosure shape minimizes parallel walls
producing better linearity and maximum low-end punch. Extremely faithful reproduction of
instruments and vocals can be expected with superb imaging at a cost effective price.
■ 1-inch Silk Dome Tweeter and 7-inch
Latex-Coated Woofer
■ 57Hz - 19kHz frequency response ±3dB
■ 5 way binding post connections
■ Maximum Power Handling: 100 Watts
■ Maximum SPL at 1m: 106dB
■ Available with and without magnetic
■ Nominal Impedance: 8 Ohms
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ 47Hz - 23kHz frequency response: ±2dB
They Both Feature
DT-770 PRO/DT-990 PRO
Diffuse Field Studio Headphones
Comfortable closed or open headphones for professionals who require a full bass sound as
well as clinically accurate high and mid-range reproduction for critical studio monitoring.
■ Circumaural closed design isolates unwanted
ambient sound.
■ Durable, lightweight construction.
■ Robust spring steel headband
■ Padded headband ensures long-term comfort.
■ Single sided cable
■ Gold plated jack plug
■ 5Hz - 35kHz frequency response.
■ 600 Ohms nominal impedance
■ 96dB maximum SPL
■ Equalized to meet diffuse field EQ requirements.
■ Innovative Bass reflex technology for improved
bass response.
DT-770 Pro ..............................................................................................134.95
DT-990 Pro (Same as 770 but with open back)..........................................134.95
Thinking of Buying a Headphone?
An indispensible tool for audio and video professionals, headphones provide a cheap, but excellent reference environment– the standard
against which open-air room listening is judged. Audio reference monitoring is the most important tool producers have for deciding what
changes to make to a track and for insuring consistency throughout a production in which narration, music and background audio may be
recorded at different locations. By design, headphones eliminate the acoustic interaction with a room that can affect the recording of audio
signals, and they reproduce exactly the sound that the audio engineer generated during the final mix-down of a recording or that the cameraman captured during the interview. Of course they offer the ultimate in portability. With a good pair of headphones, your sound will
meet your standards wherever you go.
Excellent Acoustics and Great Value
Headphone Pad Design
Headphones reproduce sound so well because they have less air to
move than do open-air speakers, and because they do it in a tightly
controlled environment. Their sound quality can be five times better
than that of speaker systems selling for the same price, or better yet a
$200 set of headphones can have the same specifications for fidelity
(frequency response, nominal impedance, sensitivity and total harmonic distortion) as room speakers costing $1000. In addition,
headphones are a great value. They are basically small, low-power
speakers, and they don’t contain expensive parts that can heat up and
blow the way big speakers do. Ultra high reliability is also the result
of 30 years of design experience as well as new materials and new
manufacturing techniques.
Another headphone-related ailment is outer-ear fatigue. The outer
ear is an amazingly delicate part of the body, and few headphones
are designed with the long-term listener in mind. Even open-air
foam pads can be annoying and painful when pressed against your
ears for a while. The design of the headphone pads and the level of
comfort they provide should be a deciding factor in your choice.
Headphone ear cups generally come in three designs: “supra-aural”
(the against-the ear or “open” design), “circumaural” (the around the
ear or “closed” design) and inside-the-ear, or Walkman-style. Insidethe -ear headphones can be brutally uncomfortable for extended listening and are certainly a last resort for professional applications.
They also feature some of the worst imaging and specs available.
The Makings of a Good Headphone
Open-air supra-aural headphones don’t block out sound from the
outside world and are a good choice if you need to listen for the
doorbell or the telephone while working. If you don’t want interruptions, buy close-ear, or “sealed”, circumaural headphones—the
type worn by most audio professionals for critical listening applications. Circumaural headphones also prevent audio “leakage”, or the
bleeding of sound into the mic while the headphones feed the listener. Enclosed headphones are ideal for while doing voice-overs for
video work, because they prevent the original audio track from
bleeding into the voice-over. The voice-over takes up a mixer track
whose volume has to be separate from that of the background tracks
captured with the video camera’s mic.
Many headphones, especially consumer ones are poorly engineered
and use the cheap electronic circuitry. Headphones are miniature
speakers and miniature speakers require miniature power amplifiers.
For professional applications, the headphone amp should be a separate part of the amplifier. That’s because headphone amps and speaker amps require completely different specifications for output power,
damping factor, output impedance, slew rate and other variables. If
the amplifier is not optimized for headphones, you will soon suffer
from common problems like inner-ear fatigue and poor sound imaging. Poorly imaged audio will have no feeling of continuity from left
to right, and no sense of depth or space.
7-Day Customer Satisfaction Guarantee
Semi-Open Supra-Aural Professional Headphones
K141 ................................................................................................................................................79.00
A proven "workhorse" throughout the recording industry, the K141M serves as the reference standard
for supra-aural (on-the-ear) monitor headphones. A small coupling volume in the ear cup, combined
with an integrated semi-open venting system behind the transducer, gives the K141M a punchy, accurate and crisply defined sound. Delivers high sound pressure levels without distortion. Solidly built to
withstand heavy use, it’s flexible steel cable frame and self-adjusting head-band adapt to virtually any
head shape instantly. 20Hz - 20kHz frequency response.
Semi-Open Circumaural Headphones
K240M ..............................................................................................................................................89.00
Semi-Open Diffuse Field Circumaural Headphones
The K240DF follows the criteria specified by the Institute of Radio Technology (IRT) for a "diffuse
field" EQ curve that provides headphone listeners with the sound pattern, characteristic of a room with
reflective, non-anechoic surfaces. Each is rigorously tested to assure adherence to the IRT standards for
frequency response, channel separation and sensitivity. Hand-selected and matched components are used
to maintain close tolerances. The K240DF is a particularly appropriate choice if a producer or engineer
must use headphones when mixing or adding signal processing on material that will be heard later
through loudspeakers. 15Hz - 20kHz frequency response.
K240DF ........................................................................................................................................119.00
Sealed Dual Transducer Parabolic Headphones
Designed to deliver very high SPLs (Sound Pressure Levels), this dual transducer designed circumaural
headphone is the ideal choice in situations where quality monitoring is required in competition with
high ambient levels—like use by a studio drummer. The K270S achieves undistorted, wide-bandwidth reproduction. The patented Parabolic Transducer Array has two optimized transducers in each
earcup, both in a tuned enclosure to focus sound waves at the entrance to the ear. The result is a dramatically increased perception of spaciousness, extremely accurate response, and no audible distortion at output levels far beyond the capabilities of single transducer designed headphones. A microswitch built into the self-adjusting headband disconnects the audio circuit whenever the headphones
are removed, preventing potentially damaging feedback when “hot” headphones are suddenly exposed
to open mics. 20Hz - 28kHz frequency response.
K270S ............................................................................................................................................................................179.95
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
Survey after survey confirms that this is the first headphone of choice in the world's leading recording studios. The "integrated semi-open air" design incorporates a highly accurate dynamic transducer, and an
acoustically tuned venting structure behind the element produces a naturally open sound quality. The circumaural (around-the-ear) pads are designed for hours of wearing comfort, while the steel-cable, selfadjusting headband construction, and single-sided professional quality audio interconnect ensure extended
reliability in demanding professional studio applications.
Studio Monitor Headphone
A compact, closed back dynamic headphone the HD25SP offers high attenuation of background noise, features extremely
robust construction, and is capable of handling very high SPLs (Sound Pressure Levels), making it ideal for use in noisy
environments. Utilizing dynamic drivers in a closed supra-aural design, the HD25SP is a lightweight and comfortable alternative for those who spend a great deal of time wearing headphones and need maximum isolation. The HD25SP while
extremely rugged, ensures an accurate response for critical studio recording and mixdown applications. The low impedance,
high sensitivity drivers exhibit unparalleled efficiency, providing sufficient volume even in applications that have classically required an additional headphone amplifier.
■ 30Hz - 16kHz frequency response
■ 10 foot single sided steel cable with a
1/8˝ to 1/4˝ stereo phone plug
■ 85 ohms nominal impedance
■ Two year warranty on parts and labor
■ Sensitivity is 100dB
■ Adjustable headband ensures optimum fit for each user’s taste
HD-25SP ..............................................................................89.95
HD265 Linear
Studio Monitor Headphone
Continuing the Sennheiser tradition of sound quality at the highest level, the closed HD265 dynamic
stereo headphone is an excellent choice for critical studio listening as well as for professional monitoring
applications. Circumaural design combined with the sealed principle makes it an excellent choice for those
who prefer a totally quiet listening environment, as well as for professional monitoring applications. The
HD265’s lightweight, copper-coasted aluminum drive coil in conjunction with the dual layer “Duofol”
diaphragm offers amazingly precise sound reproduction with superb bass response. Large, leatherette
earpads provide maximum isolation from ambient noise while allowing maximum extended comfort.
■ 10Hz- 25kHz frequency response
■ Two year warranty on parts and labor
■ 150 ohms nominal impedance
■ 10 foot OFC (oxygen free copper) cable comes with a 1/8˝ to 1/4˝
■ Sensitivity is 97dB
■ Fully adjustable, padded headband.
gold-plated stereo phone plug.
HD-265 ..............................................................................169.95
HD580 Precision
Open-Air Dynamic Headphone
An audiophile quality open dynamic Hi-Fi professional stereo headphone, the HD580 utilizes “Duofol” two-layer
diaphragm technology to radically reduce surface born distortion resonances. The powerful Neodymium-ferrous magnet is optimized to control the motions of the diaphragm to provide deeper bass without the risk of boominess. To
complement the Duofol diaphragm and Neodymium driver magnets are triple wound aluminum voice coils.
Finally, an acoustically transparent earcup maximizes the benefits of an Open-Air design.
■ 12Hz - 38kHz frequency response
■ 300 ohms nominal impedance
■ Sensitivity is 97dB
■ Open, acoustically transparent
■ Two year parts and labor warranty.
■ Large velvet covered ear cushions and a fully adjustable padded
headband for extended listening comfort.
Corporate Accounts Are Welcome
HD-580 ..............................................................................199.95
Designed for a broad range of applications, for general sound monitoring in the studio or the field. A high quality,
low-cost alternative to consumer headphones, the MDR-7502’s rugged workmanship won’t let you down.
■ 60Hz~16kHz frequency response
■ 30mm driver unit delivers clear,
high quality sound reproduction.
■ 45 ohms impedance
and reduction of external noise
- reliable and stable signal connection and transmission.
■ Stereo uni-match plug - 1/4˝
and 1/8˝ applications.
■ Closed-ear design for comfort
■ Sensitivity is 102dB
■ Gold connectors and OFC cord
The MDR-7505 is a professional stereo headphone designed to meet the needs of professional musicians,
broadcasters and DJs on a budget. Their durable and flexible design makes them ideal for recording, control
room and live DJ applications.
■ Neodymium magnet for power-
various wearing positions
■ Acoustically sealed ear-cup
allows for easier listening in
loud environments.
■ 40mm driver
ful bass and clear highs
■ Gold-plated, uni-match connector for universal compatibility
with desk top and portable
■ Convenient folding design for
easier portability
■ Extendible, LC-OFC coiled
cord for low-loss signal transmission.
Due to their low impedance, closed ear design the MDR-7506 headphones do an outstanding job of cutting
down background noise while providing plenty of volume in the studio or in the field. Ideal for use with MIDI
workstations, camcorders or other equipment with less than powerful headphone amplification.
■ 15 to 18kHz frequency
■ 40mm driver unit for clear, high
quality sound reproduction.
■ 63 Ohms impedance
and 1/8” applications.
■ Folding construction - com-
pactness in storage.
■ Sensitivity is 106dB
■ Rugged design - proven to be
reliable in the toughest situations.
■ Stereo uni-match plug - 1/4˝
■ Closed ear design for comfort
and reduction of external noise
■ Gold connectors and OFC cord
- reliable and stable signal connection and transmission.
■ Supplied soft case for protective
The MDR-7509 is a high-quality stereo headphone for critical and demanding professional applications, including
studio and broadcast monitoring.
■ Circum-aural design covers the
■ Neodymium magnet for superior
entire ear for tight acoustic seal
and extreme comfort.
bass response and sensitivity
Amorphous diamond evaporated
diaphragm provides natural
sound reproduction.
■ 5~30kHz wide frequency
■ 50mm drivers for superior bass
response and low distortion.
■ Self-muting mechanism prevents
leakage when headphones are
taken off.
■ Reversible ear-cup design allows
single-sided monitoring.
■ Gold-plated uni-match plug, with
1/4˝ and 1/8˝ adapters
■ Convenient folding design
■ Coiled LC-OFC cord for low sig-
nal loss.
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
■ Swivel mechanism allows for
A flexible, high-performance series of two-channel wired intercom, built smart, simple
and affordable without sacrificing power or sound quality. Portacom's low-noise,
broadcast-quality intercom systems are easily expandable and can be tailored to any
environment. They are available in pre-configured 2-headset to 8-headset systems or as
individual components. Connection between components are made with standard mic
cables and quickly adapt and grow with your needs without having to start all over
with a new system. The two channel capability offered by these systems allow a director
separate lines of communication to crew members and talent. The small, lightweight
aluminum belt packs have their own channel switches and volume controls and
Headsets are equipped with mic on/off switches. The noise-canceling microphones
reduce background noise and you can power the system with an optional lightweight
battery pack. Ideal for use in television/theater/lighting and church production, educational institutions, industrial production, sound contracting and football coaching.
■ Full duplex
■ Battery powered option
■ High performance/low cost
■ Call light function
■ Durable lightweight metal construction
■ Offers 20-headset capability with simple
■ Standard cables/ 3-pin XLR connectors
■ Comfortable noise cancelling headsets
branch-box operation
■ Can be purchased in systems or components
Why Two Channels?
With two channels, you can have the
advantage of extensive communications
without getting tangled in crosstalk. A
director can cue cameras or talent on one
channel and a lighting or sound crew on
the other. Coaches on offense can call
plays at the same time their defensive
counterparts are reviewing strategy, with
a head coach switching back and forth
between them. When distractions multiply, PortaCom’s low-noise, broadcastquality audio helps keep communications clear. When you add it up,
PortaCom’s probably got more features
for the money than any other two-channel intercom system on the market.
7-Day Customer Satisfaction Guarantee
Keep on Growing
PortaCom’s modular branch
boxes make expansion a
snap. Start with a basic twoperson system and expand all
the way to a 20-person system—all running from a single AC power supply over
standard mic cable.
Expanding PortaCom is easy, using the B3-100
branch boxes (1-in, 3-out) and standard mic cable
Pre-Configured 2-Channel
Intercom Systems
PC-100: 2-Channel Power ConsoleTwo channel power console with 4 outputs;
powers up to 20 BP-200 belt-packs.
Includes wall mount AC power adapter
(operable on 30-40v DC)................197.95
H-200: Dual Earpiece HeadsetLo-Z dynamic microphone and headphones
with 6’ cable and female XLR-4 connector.
Features mic on/off switch, and noise cancelling mic ......................................137.95
B3-100: PortaCom Branch BoxFor expanding PortaCom systems, 1 input
and 3 outputs ..................................76.50
CC-15F: Deluxe Carrying CaseHas custom-cut foam inserts for one power
console, AC adapter, 6 headsets, 6 beltpacks, Branch Box (no cables)..........119.95
CC-15 PortaCom Carrying CaseWithout foam inserts ......................98.95
PBS-100 Portable Battery SupplyUses 6 D-cell batteries to power 8-10
headsets for 6 to 8 hours ................174.95
RM-100 PortaCom RackmountMounts 1 or 2 PC-100 power consoles in a
single 19” rack space ........................47.50
COM-20 2-Headset System:
Includes PC-100 power console, (2) H200 dual earpiece headsets, (2) BP-200
belt-packs, (2) EX-50M 50´ extension
cables, CC-15 carrying case............795.00
COM-60 6-Headset System:
PC-100 power console, (6) H-200 dual
muff headsets, (6) BP-200 belt-packs, B3100 branch box, (7) EX-50M 50´ extension cables, CC-15 carrying case ..1895.00
COM-20FC 2-Headset System:
Same as COM-20 without cables ..729.00
COM-60FC 6-Headset System:
Same as COM-60 without cables 1646.95
COM-40 4-Headset System:
Includes PC-100 power console, (4) H200 dual earpiece headsets, (4) BP-200
belt-packs, (4) EX-50M 50´ extension
cables, CC-15 carrying case..........1275.00
COM-40FC 4-Headset System:
Same as COM-40 without cables ....1169.00
COM-80 8-Headset System:
PC-100 power console, (8) H-200 dual muff
headsets, (8) BP-200 belt-packs, (2) B3-100
branch boxes, (10) EX-50M 50´ ext. cables,
(2) CC-15 carrying cases................2579.00
Same as COM-80 without cables 2240.00
Modular Wired Intercom Systems
Audiocom intercoms are designed to be incredibly versatile.
Audiocom modular series components can adapt to unlimited configurations, from simple beltpack party lines to sophisticated director-controlled networks with multiple channels
and matrix control. Conventional microphone cable supports
networks with up to 22 channels of combinations of user stations, beltpacks, speaker stations and power supplies. The
rugged metal framework of Audiocom intercom protects
against electro-magnetic and radio frequency interference,
while the advanced surface mount circuit boards ensure
compact size as well as long term reliability. Sturdy extruded
metal beltpacks offer lightweight durability, while low profile
recessed controls protect against inadvertent
switching and
damage from rough handling.
Call for information and pricing
PH-1 Headset
Base Station
THE PROFESSIONAL’S SOURCE (212) 444-6601 • FAX: (212) 444-5001
1 • 8 0 0 • 9 4 7 • 9 9 0 1
H-200S: Single Earpiece HeadsetLo-Z dynamic microphone and headphones
with 6’ cable and female XLR-4 connector.
Features mic on/off switch, and noise cancelling mic ......................................119.95
BP-200: 2-Channel Belt-PackSmall, lightweight belt-pack with volume
control and A/B channel switch, call light
and mic on/off switch. Has standard XLR-3
line connector and XLR-4 headset connector. Rugged aluminum construction. For
use with H-200 headsets.................128.50
2-channel wired intercom systems consist of a
central power supply, belt packs with A/B
channel select, volume control, call light and
mic on/off switch. With dual muff headsets,
carrying case, and with or without standard
mic cable. (H-200S single muff headsets can
be substituted– mixed or matched, but you
must specify.)