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TABLE OF CONTENTS
RECORDING I/O
RECORDING I/O
TubeOpto8™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03
Creating Audio Solutions Since 1984
PREAMPS & COMPRESSORS
ART is a company comprised of musicians,
engineers and recording enthusiasts.
Over the last three decades, we have been striving
to redefine the performance versus price barrier
with a series of innovative new audio products
designed with the needs of the musician in mind.
With a full line of vacuum tube preamplifiers and
compressors that deliver incredible warmth and
character; innovative and highly effective audio
utilities, and a full complement of cool little useful
tools designed for stage or studio; ART offers
affordable solutions capable of delivering
unmatched quality, tone, versatility and reliability.
On the road, in nightclubs, arenas, recording studios,
auditoriums, churches, rehearsal halls, basements or
garages, ART products have gained the loyalty of
customers worldwide. Our rich history reflects our
true passion for music and the creative process.
Over the last three decades, we’ve never lost the
inspiration that comes with the creation of evolving
technologies, and we thank you, and the thousands
of ART users for their continued support and loyalty.
ProChannel II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04
VoiceChannel™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05
Pro MPAII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06
Digital MPAII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07
DPSII / TPSII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08
Pro VLA II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09
PROJECT SERIES
USB DualPre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
USB DualTubePre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
USB Phono Plus / USBMix . . . . . . . . . . . . . . . . . . . . . . . . . . 12
TubeMPPS USB / / TubeMPPS . . . . . . . . . . . . . . . . . . . . . . 13
SyncGen / Auto-TunePrex . . . . . . . . . . . . . . . . . . . . . . . . . . 14
TubeMP/C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
TubeMP Studio V3 / TubeMP (The Original) . . . . . . . . . . . . . . 16
EIGHT CHANNEL MICROPHONE PREAMP WITH ADAT LIGHTPIPE
The ART TubeOpto8™ is the ideal Eight Channel
input / output expander for any ADAT Lightpipe
equipped audio interface, direct-to-disc recorder or
DAW. Eight high quality second generation discrete
Class–A vacuum tube microphone preamps are
packaged in a single rack space unit with eight channel 24-bit digital I/O.
Every input on the TubeOpto8™ offers full control of the signal path with
pad, phase and low frequency roll-off switches. Input gain and variable
output level control of each channel allows up to 64dB of clean gain with
incredible sonic transparency or for the tube stage to be dialed in for
warming effects and soft clipping. Each channel has wide range LED
meters monitor the preamp output levels while clip indicators monitor
microphone-preamp peak levels.
ADAT Lightpipe I/O handles eight channels of 24-bit audio input and
output at either 44.1 or 48 kHz sample rates. Wordclock in and thru-puts
allow multiple TubeOpto8™ units to be synced together in complex
system configurations.
HEADPHONE AMPS
Headamp6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Headamp6PRO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
MICROPHONES & ACCESSORIES
M-One / M-Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
M-Three . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
M-Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
M-Five / M-Six . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
M-One USB / M-WS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
EQUALIZERS
XL231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
HQ-231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
341 /351 / 355 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
CROSSOVERS
CX310 / CX311 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
POWER AMPS
SLA-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
SLA-1 / SLA-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
FEATURES
FEATURES
▲ Eight Fully Featured Class-A Tube Mic Preamps
▲ Eight Channels of ADAT Lightpipe Digital 24 Bit Audio I/O at 44.1 or 48 kHz
▲ Input Gain and Output Level Controls on Every Channel
▲ Input Pad, Phase flip and Low Frequency Roll Off Switches on Every Channel
▲ Two Additional Front Mounted High Impedance Instrument Line Inputs
▲ Eight 1/4-inch TRS Balanced Outputs
AUDIO UTILITIES
MX225 / MX622 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
MX821 / MX822 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
T8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
P16 / P48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
S8 / S8-3Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
DIRECT BOXES
dADB / dPDB™ / PDB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
POWER CONDITIONERS
TM
ARTcessories Products . . . . . . . . . . . . . . . . . . . . . . 38
ARTcessories Specifications . . . . . . . . . . . . . . . . . . 61
PB4X4 / SP4X4 / PS4X4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
PB4X4PRO / SP4X4PRO / PS4X4PRO . . . . . . . . . . . . . . . . . 37
SPECIFICATIONS
ART Product . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
.::artproaudio.com::.
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PREAMPS & COMPRESSORS
PREAMPS & COMPRESSORS
The ART Pro Channel II™ ’s semi-parametric EQ offers wide tune-ability
and can be patched before OR after the dynamics processor. Separate
rear-mounted insert points allow patching in external signal processing
gear immediately after the Mic preamp and before the EQ and dynamics
The ART Pro Channel II™ second-generation discrete Class-A microphone
processor. Both analog and LED meters provide a detailed indication of
preamp provides clean quiet gain while maintaining incredible transparency.
audio levels.
The ART VoiceChannel is the perfect
complete channel input strip for
recording, broadcast or high profile
live applications where maximum
performance and detail is required.
Designed to deliver in critical applications where full control of the audio
source is required, the VoiceChannel combines a single Class-A tube
microphone preamp, full-featured dynamics control, De-esser, expander and
semi-parametric EQ into one unit with analog and digital output as well as
the ability to direct connect to any computer or laptop via an integrated
USB port.
Designed to be a powerful channel strip and the ideal all in one input
solution for analog or digital recording, each stage of the VoiceChannel’s
signal path provides full control and a full feature set for each component,
making it the perfect choice for tracking critical vocals and solo instruments.
A powerful dynamics processor subtly controls transients and noise of the
most demanding sources.
TUBE PREAMP
The VoiceChannel’s preamp section uses a Class-A tube design with variable
input impedance and selectable tube plate voltage to create the most versatile
high performance microphone preamplifiers in their class. Capable of delivering
incredible warmth, presence and clarity 12AX7A vacuum tube used in the
circuit delivers controlled ‘musical sounding’ overload characteristics for added
warmth and presence, while maintaining a wide dynamic range with
unsurpassed sonic detail and clarity.
VARIABLE INPUT IMPEDANCE
Variable input impedance optimizes the input for the widest possible range of
microphone sources. The ability to vary the input impedance of a
VoiceChannel’s preamp changes the load the microphone ‘sees’ in the system,
dramatically altering its performance and character. This creates a wide range
of new sonic possibilities with any modern or vintage condenser, ribbon or
dynamic microphone. The variable impedance control is infinitely variable
allowing much finer control and the ability to tune the preamp to the
microphone’s ideal sweet spot.
(150 Ohms To 2400 Ohms)
▲ Selectable Plate Voltage
▲ Large VU Meters
▲ Backlit Function Switches
▲ Discrete Class-A Input Microphone Preamplifier
▲ Low Noise at Lower Gain Settings
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.::artproaudio.com::.
DIGITAL CONNECTIVITY AND USB OUTPUT
The ART VoiceChannel can direct connect to virtually any recording platform,
analog or digital console making it one of the most versatile input strips in
your audio toolkit. Choose between a wide range of outputs including
balanced analog out, 44.1 kHz to 192 kHz AES/EBU, S/PDIF, or ADAT digital
output or if need be, direct connect to any computer or laptop via USB. All
analog and digital outputs provide comprehensive metering for a detailed
indication of audio levels.
SELECTABLE TUBE PLATE VOLTAGE
FEATURES
▲ Variable Input Impedance For Flexible Microphone Voicing
the Mic preamp (before the EQ and dynamics processor) in the signal path.
Another insert patch point exists just before the A/D converters.
▲ Wide Frequency Response
The selectable tube voltage function delivers a wide variety of providing the
either high plate voltage to the tube, ensuring maximum output with extremely
low noise and distortion, or lowering the plate voltage to increase warmth and
tube character.
▲ Additional Front Mounted Instrument Input Jack
COMPREHENSIVE DYNAMIC CONTROL & EQ
▲ Extremely Low Total Harmonic Distortion (THD)
▲ Supports Mid/Side Miking Technique
▲ Operates at +4dbm/-10dbv Output
▲ Selectable Stereo/Dual Operation of Output Controls
▲ Automatic Instrument Input Selection
VoiceChannel rear panel
FEATURES
▲ Fully Featured Tube Microphone Preamplifier with Selectable
Plate Voltage and Variable Input Impedance
The VoiceChannel delivers full dynamic control from the integrated fully variable
Compressor / De-Esser / Expander section. Unlike most channel strip processors
in this class, every function of the VoiceChannel’s dynamics control is easily
tunable from the front panel. Complete control of compressor’s threshold, ratio,
attack and release as well as de-esser frequency & level and expander / gate
threshold are fully variable from smooth high quality low noise pots.
▲ Exceptional Warmth and Definition from Proven ART Tube
Preamp Design
The VoiceChannel’s semi-parametric EQ offers wide tune-ability and tone
control, and for added versatility the EQ can be patched before OR after the
dynamics processor with a simple one-button control on the front panel – no
re-patching required. Separate insert jacks on the back panel allow you quick
quiet in-line connectivity to external signal processing gear immediately after
▲ Flexible Digital Connectivity Including ADAT Lightpipe /
AES/EBU / S/PDIF / TOSLink Digital Output supports 44.1
to 192 kHz Sample Rates
▲ Smooth Musical Sounding Dynamics Control Including
Compressor / Expander / De-Esser / Gate
▲ Powerful Parametric EQ Selectable Pre or Post Compressor
in Signal Path
▲ USB Direct-connect to Computer or Laptop
.::artproaudio.com::.
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PREAMPS & COMPRESSORS
PREAMPS & COMPRESSORS
The ART Digital MPA II delivers all of the same great features of the ProMPA
II with the added versatility of digital output. Like the ProMPA II, each input
of the DMPA II has 48v phantom power, variable input impedance, mid/side
mic support, selectable plate voltage, and comprehensive metering.
The ART ProMPA II is the next generation in affordable high performance
microphone preamp technology. Each microphone input circuit, with
selectable 48v phantom power, features variable input impedance which
FEATURES
In addition to XLR and 1/4-inch analog outputs, the Digital MPA-II features
a high quality A to D converter which offers digital connectivity on S/PDIF,
ADAT, or AES/EBU outputs. A rotary control on the front panel allows
selection of format and sample rates from 44.1 to 192 kHz and 16 bit
dithering. There is also a push button for, and two wordclock jacks,
allowing loop-through.
The Digital MPA II comes in a standard 2 space rack-mountable steel
chassis, with CNC routed black anodized aluminum face panel
FEATURES
▲ Variable Input Impedance For Flexible Microphone Voicing
(150 ohms To 3000 ohms)
can radically vary the overall performance of any high quality dynamic or
ribbon microphone. The ProMPA II can be configured for dual mono or
▲ Selectable Plate Voltage
stereo operation with selectable mid/side microphone support, summing
▲ Large VU Meters
the adjacent channel, to decode left/right signals.
▲ Backlit Function Switches
The ProMPA II can operate at either a low or high plate voltage on the
two integrated hand-selected 12AX7 tubes for wider variation of preamp
tone and performance. Large back-lit analog VU output meters display
output levels while multi-colored LED arrays, with average or peak hold,
▲ Discrete Class-A Input Microphone Preamplifier
▲ Low Noise at Lower Gain Settings
▲ Extremely Low Total Harmonic Distortion (THD)
▲ Wide Frequency Response
show tube gain and digital output levels.
▲ Additional Front Mounted Instrument Input Jack
Housed in a standard 2 space rack-mountable steel chassis, with CNC
routed black anodized aluminum face panel, the ProMPA II is designed to
deliver years of reliable operation in the studio, production facility, or on
the road for live sound reinforcement.
▲ Supports Mid/Side Miking Technique
▲ Operates at +4dBm/-10dBv Output
▲ Selectable Stereo/Dual Operation of Output Controls
▲ Automatic Instrument Input Selection
FEATURES
FEATURES
▲ Variable Input Impedance For Flexible Microphone Voicing
(150 ohms To 3000 ohms)
▲ Selectable Plate Voltage
▲ Large VU Meters
▲ Backlit Function Switches
▲ Discrete Class-A Input Microphone Preamplifier
▲ Low Noise at Lower Gain Settings
▲ Extremely Low Total Harmonic Distortion (THD)
▲ Wide Frequency Response
▲ Additional Front Mounted Instrument Input Jack
▲ Supports Mid/Side Miking Technique
▲ Operates at +4dBm/-10dBv Output
▲ Selectable Stereo/Dual Operation of Output Controls
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.::artproaudio.com::.
▲ Automatic Instrument Input Selection
▲ 24-204 kHz External Sample Rate
▲ 44.1K, 48K, 88.2K, 96K, 176.4K, 192K Internal Sample Rates
▲ 24/16 bit Switchable Dithering
▲ Wide Dynamic Range A/D
▲ Rotary Encoder for Quick Selection of Sample Rate
▲ Separate analog and digital output level controls
▲ Digital Level LED Meters Display Both Average and Peak level
▲ ADAT Optical I/O
▲ Sync to Incoming ADAT Data Rate
▲ Switch Selectable Optical Output (S/PDIF or ADAT)
▲ AES/EBU and S/PDIF Outputs
▲ Two Wordclock Jacks Allowing Loop Through
.::artproaudio.com::.
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PREAMPS & COMPRESSORS
DPS II
TWO-CHANNEL TUBE MICROPHONE PREAMPLIFIER with A / D CONVERSION
TPS II
TWO-CHANNEL TUBE PREAMPLIFIER SYSTEM
HIGH PERFORMANCE MICROPHONE PREAMPS
OPL™ (OUTPUT PROTECTION LIMITER)
Designed as the ideal preamp for any application, the tube driven TPS II
and DPS II add warmth and texture to any audio source.
ART's OPL™ (Output Protection Limiter), which precisely and accurately
controls and maintains the output peak signal. The OPL™ circuitry is
crucial in protecting the next link in a signal chain - such as a hard-disk
recording system or a sound card - because unlike analog clipping that
sounds musical and sometimes pleasing, digital clipping is nasty and
often fatal for your monitors’ tweeters.
These two-channel high performance preamps use a pair of hand selected
12AX7A tubes in the low noise input circuitry. This, coupled with ART’s
proprietary V3™ (Variable Valve Voicing) and variable input impedance
allows the TPS II and DPS II to deliver incredible performance from cost
effective single space rackmount solutions.
DIGITAL CONNECTIVITY (DPS II)
In the case of the DPS II, the added convenience of direct digital output
connectivity making it an ideal expander for any computer interface or
sound card with RCA S/PDIF digital input.
Digital outputs include S/PDIF, TOSLINK or ADAT (front panel selectable).
The A/D is front panel adjustable from 44.1 to 96K or syncs to ADAT or
external word clock (32KHZ to 100 kHz). Multiple DPS II’s can be added
to an ADAT stream.
V3™ TECHNOLOGY
A versatile insert loop on each channel provides access for additional signal
processing or direct access to our high quality A/D converter. Separate gain
controls on analog and digital outputs allow you to optimize the unit for
simultaneous applications.
V3™ provides optimized reference points to begin the recording process.
The V3™ presets were created and fine-tuned by some of the industry's top
studio and live-sound engineers. V3™ technology allows you to select
between a multitude of presets designed for guitars (electric and acoustic),
keyboards, bass guitars, drums, vocals and more.
VARIABLE INPUT IMPEDANCE
Variable input impedance increases the sonic potential of the TPS II & DPS
II even further. It delivers entirely new sonic textures and tone by varying
the input impedance of the preamp, which in turn varies the way the
microphone reacts to the load of the preamp. This creates a wide range of
new sonic possibilities with any modern or vintage condenser, ribbon or
dynamic microphone.
EXTREMELY WIDE DYNAMIC RANGE
The DPS II and TPS II can accept up to +20dB peaks while maintaining over
120dB dynamic range with incredibly low distortion. Input LED metering
monitors the signal level of the input amplifier so maximum gain can be
achieved without clipping the preamp at the input.
FEATURES
PREAMPS & COMPRESSORS
COMPREHENSIVE METERING
The ProVLA II is a tube driven Vactrol® based Compressor / Leveling
amplifier designed to excel in any professional audio environment.
Superior performance and an incredible tone makes the ProVLA II an
indispensable tool for tracking, mixing, mastering, dynamic control of live
sound sources or for use in broadcast audio.
The ProVLA II is capable of delivering a far more musical natural sounding
and sonically transparent compression than competitive units in its class
because it uses an opto-electronic circuit, rather than a VCA driven level
detection circuit. This VCA-less design coupled with a 12AT7 vacuum tube
in the gain stage makes the Pro VLA II the ideal dynamic control device for
critical audio applications.
▲ Improved V3™ Variable Valve Voicing Presets
▲ LED Input Meter with Analog Output Meter
▲ Enhanced ART Tube Technology Adds Warmth
▲ Automatically Switches Between Instrument and
Microphone Preamp
ADDITIONAL DIGITAL FEATURES (DPS II ONLY)
▲ 24bit/96 kHz A-to-D Conversion
XLR and 1/4-inch TRS balanced inputs and outputs are provided to ensure
the ProVLA II can connect with any audio source or hardware.
A +4dBu/-10dBu mode switch optimizes ProVLA II I/O for either consumer
or professional equipment.
FEATURES
▲ VCA-Less Vactrol Opto-Compression Design
▲ Mastering Quality Audio Signal Path with Tube Gain Stage
VACTROL® TECHNOLOGY
Unlike typical compression units that use Voltage Controlled Amplifiers
(VCA’s) to handle level detection, the ProVLA II’s Opto-electronic design
allows a far more transparent and musical sounding compression without
sounding aggressive or un-natural. This Vactrol® based optical electronic
circuitry is the basic component of the classic highly sought after
compressors of past. Vactrol® design allows the ProVLA II to react to
audio signal in much the same way the eye naturally adjusts to
fluctuations in light levels – smoothly, quietly and almost imperceptibly.
▲ Wide Frequency Response (5 Hz/50 kHz)
▲ Enhanced OPL™ Output Protection Limiter
VERSATILE I/O
FEATURES
Exceptional signal integrity with extremely low noise and low distortion is
achieved in the ProVLA II by utilizing a transformerless design throughout.
FEATURES
▲ Variable Input Impedance
Large highly visible backlit analog VU meters accurately display input and
output levels while extremely fast 10-segment LED’s display gain reduction.
For added functionality, the LED’s display both average level for mastering
& mixing applications or peak hold for monitoring individual sources when
tracking audio.
SOFT KNEE LEVELING
The ProVLA II is a soft knee leveling amplifier by design. Although capable
of providing dramatic compression effects, the ProVLA II was designed to
excel in any application where transparent, expressively musical dynamics
control is desired.
▲ Enhanced Link Mode – While in stereo link mode, channel 1 level
control acts as a master output level and channel 2 becomes a
balance control between them, optimizing the ProVLA II for use as
a mastering tool.
▲ Variable Threshold, Ratio, Output, Attack & Release Controls
▲ LED Backlit VU Input/Output Level Metering
▲ LED Metering Indicates Both Average Level And Peak Hold.
▲ Accurate Ten Segment LED Gain Reduction Metering
▲ +4dBu/-10dBu Mode Switch Optimizes ProVLA II For Interface
with Professional OR Consumer Grade Components.
▲ Active Balanced XLR And 1/4-Inch Inputs & Outputs
▲ Toroidal Transformer Reduces Mechanical & Electrical Hum
▲ S/PDIF, TOSLINK or ADAT Digital Output
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.::artproaudio.com::.
.::artproaudio.com::.
|9|
PROJECT SERIES
The ART USBDualPRE is a full featured high quality dual channel portable
preamplifier and computer audio interface packed into a compact rugged
aluminum case.
Designed to work in any audio application including remote field recording
or desktop/studio tracking, the USBDualPRE has two low noise input
channels that deliver up to 48dB of clean gain. Inputs can be either XLR
balanced or 1/4-inch TRS. Each of the 1/4-inch TRS outputs is buffered low
impedance balanced.
The USBDualPRE can be powered via the supplied 12 Volt DC adapter,
from an internal 9 Volt battery, or from the USB bus itself.
When running off of the battery alone, you should get in excess of 50
hours of operation when phantom power is off. Battery life drops to
around 20 hours (depending on microphone) when phantom powering
from the battery alone (still enough time to get through a session).
The built-in low noise +48 Volt phantom power supply allows you to
power up to two microphones as well as the preamplifier when
running from any power source including the USB bus.
For monitoring, an 1/8-inch TRS mini headphone jack with level and
monitor mix controls on the rear allow for latency free local monitoring of
the inputs while recording as well as playback monitoring of the USB bus.
The monitor mix is also routed to the 1/4-inch TRS balanced
outputs. This lets you use the 1/4-inch outputs as either preamplifier outputs
or as the monitor feed to your powered monitors.
The USB interface is fully compliant with the USB 2.0 specification and
uses USB adaptive mode for playback and USB asynchronous mode for
PROJECT SERIES
MICROPHONE PRE AMPLIFIER:
record. It will work with the USB audio device drivers built into Windows
98SE/ME/2000/XP/Vista/Win7, Linux and Mac OS9.1/OS-X computers
with native USB support. No special drivers are needed.
FEATURES
The USBDualTubePre is the ultimate compact dual channel tube preamp
for any basic recording system. Capable of operating as a standalone unit
with USB audio interface, or as an expander for any digital system with
s/pdif digital input, each channel in the USBDualTubePre delivers superior
tube tone in a fully featured input strip.
FEATURES
▲ USB Connectivity to Desktop and Laptop Computers
▲ Low Noise Fully Balanced XLR and 1/4-inch TRS Combi-jack Inputs
▲ Delivers up to 48dB of Clean Gain
▲ Built-in Low Noise Phantom Power Supply
▲ Latency Free Monitoring Mix and Level Controls
▲ Independent Channel Gain Controls
Each input of the USBDualTubePre has independent input gain control and
output level, phase inversion, low frequency roll-off, true 48v phantom
power and a user defeatable opto-compressor circuit capable ensuring
superior dynamic control or any input source.
For monitoring, an 1/8-inch TRS mini headphone jack with level and
monitor mix controls allow latency free local monitoring of the inputs
while recording as well as playback monitoring of audio mix via the USB
bus. The monitor mix is also routed to the 1/4-inch TRS balanced outputs
with separate level control for control room monitor source.
▲ 1/4-inch TRS Balanced Monitor and 1/8-inch Headphone Outputs
▲ Flexible 3-way Power from USB, External Supply, or 9 Volt Battery
The USB interface is fully USB compliant. No special drivers are needed.
FEATURES
FEATURES
▲ Two channel Tube based Mic/Instrument preamp computer interface
▲ Extremely low noise discrete front end with variable input and
output controls
▲ Advanced optical output compressor to simplify recording and
prevent overload
▲ USB connectivity to desktop and laptop computers
▲ S/PDIF output for expanding inputs on digital workstations and
computer interfaces
▲ Latency free Monitoring Mix and Level controls
▲ Balanced XLR for lo-Z applications and 1/4” hi-Z inputs for
instrument DI applications
▲ Separate Gain, Phase Invert, Low Cut Filter and Compressor
switches on each input
▲ Selectable Dual or Stereo operation of output controls
▲ Switch selectable Inserts on each channel
▲ Insert jacks provide a preamp direct out for each channel
▲ Stereo/ Dual operation of Optical Compressor
▲ Mono switch for single input monitoring
▲ S/PDIF Sample Rate switch selectable between 44.1K and 48K
▲ Precision LED metering of both the preamp and A/D sections
▲ Built-in low noise +48 Volt phantom power supply
▲ Compact, stackable all aluminum chassis
|10|
.::artproaudio.com::.
.::artproaudio.com::.
|11|
PROJECT SERIES
PROJECT SERIES
The USB Phono Plus is the ideal solution for transferring any highly prized
vinyl collection to your computer or laptop. It is also the ideal high
performance audio interface between analog and digital sources. Built in
low-noise RIAA phono pre-amp circuit with low cut filters (to remove
rumble and noise) guarantee pristine audio capture.
Front mounted gain control and Signal/Clip LED allows easy optimization
of a wide range of analog input sources. The USB Monitor/headphone
provides zero latency monitoring of the input source for easy cueing. The
USB PhonoPlusPS can also act as audio playback source for any USB
equipped computer or laptop. Optical TOSLINK Input and Output as well
as an S/PDIF Input make the USB PhonoPlusPS an ideal analog / digital
audio to USB interface as well.
FEATURES
▲ Extremely Low Noise Discrete Front End
▲ Up to 70dB of Clean, “Musical” Gain
FEATURES
FEATURES
▲ USB Connectivity to Desktop and Laptop Computers
▲ RIAA Accurate Low Noise Phono Preamp
The built-in low noise Phono Preamp circuit is highly accurate and
precisely conforms to the RIAA standard. The Line Out jacks are always
connected to the input preamp signal for source monitoring or to allow
use as a stand-alone phono preamp.
Housed in an all aluminum black anodized case, the USB PhonoPlusPS
can be powered by either external power supply or directly via USB port.
To ensure maximum versatility, the USB PhonoPlusPS is fully compliant
with the USB 2.0 specification and uses USB adaptive mode for playback
and USB asynchronous mode for record. It will work with Windows
98SE/ME/2000/XP/Vista/7 USB audio device drivers as well as Apple
OS9.1/OS-X computers with native USB support.
FEATURES
▲ Up to 45 dB of Clean Gain
▲ Latency Free Monitoring
▲ S/PDIF or optical to USB and USB to Optical Interfaces Included
▲ Preamp Line Out Allows Use as a Stand-alone Phono Preamp
The Project Series TubeMP USB tube microphone preamp is the perfect
audio input to any USB equipped Mac or PC based recording system.
▲ High Output Signal Drive Capability
The ultra low noise discrete microphone preamp front end has an
extremely flat and wide frequency response and can easily handle a wide
range of input signal levels with a minimum of coloration. The fully
adjustable input gain allows as little ‘tube warmth’ or as much ‘tube
drive’ as required for any audio source, making the ART Project Series
TubeMP USB the ideal source for any digital recording application.
▲ Precision LED Metering
▲ Fast FET Limiter to Prevent Overload
▲ Built-in Low Noise Phantom Power Supply
▲ XLR and 1/4-inch Inputs and Outputs
▲ Phase Invert Switch
▲ High Cut Filter Switch
A FET Limiter with fast attack and musical release times limits the maximum
audio output level to prevent overloading anything following the TubeMP
while still maintaining a clear uncompressed sound.
The ART TubeMP USB is fully USB 2.0 compliant, operating under
Windows 98SE/ME/2000/XP/Vista/Win7, Linux and Mac OS9.1/OS-X.
▲ Includes oundSaver Express Recording & Production Software
▲ Variable Input and Output Level Controls
▲ USB 2.0 Compliant Output
▲ Windows 98SE/ME/2000/XP/Vista/Win7 Compatible
▲ Mac OS 9.1 / OS-X & Linux Compatible
▲ Compact, Stackable all Aluminum Chassis
▲ Flexible Power from USB or External Power Supply
FEATURES
FEATURES
▲ USB powered, no external power supply needed when used
with a computer
▲ Balanced XLR or unbalanced 1/4-inch Instrument inputs with
switchable impedance
The ART USB Mix Three Channel
Microphone, Instrument, and
Line Mixer / Computer Interface
is a compact versatile audio
interface for your computer
that converts analog signals
from a variety of audio
sources to USB Audio.
The USB Mix provides a
great starting point
for personal home
studio recording or
for anyone wanting
to do mobile location
recording.
▲ Switchable low noise +48V phantom power
▲ Balanced 1/4-inch TRS inputs for stereo or mono line-level sources
▲ 1/4-inch TRS output jacks work with balanced or unbalanced lines
▲ Stereo 1/4-inch TRS headphone jack with independent level control
for output monitoring
▲ Independent controls for both sets of inputs, main output, and
headphone monitor
▲ Green/Red LED signal/clip indicator
▲ Switchable assignment of USB playback to channels 2 and 3
▲ USB 2.0 compliant
▲ USB cable, AC adapter, and Audacity recording software included
|12|
.::artproaudio.com::.
The ultra low noise Project Series TubeMP microphone preamp
can easily handle a wide range of input sources with a minimum
of coloration.
FEATURES
Small and compact for transport, the Project Series TubeMP is a fully
featured professional quality tube microphone preamp. The stackable
extruded aluminum case has been designed to ensure easy integration into
any desktop studio environment. The ultra clean low noise 48 Volt phantom
power supply is current limited to prevent damage to sensitive microphones.
▲ Up to 70dB of Clean, “Musical” Gain
An input impedance switch allows the XLR balanced microphone in to be
impedance matched to the microphone source ensuring maximum
performance from any condenser, dynamic or ribbon microphone. A Phase
Invert switch allows signal polarity to be properly set right at the source.
▲ Precision LED Metering
The high impedance 1/4-inch instrument input is optimized for
guitar pickups, allowing every nuance to be heard. A FET Limiter with fast
attack and musical release times limits the maximum audio output level to
prevent overloading other equipment in the signal path.
FEATURES
▲ Extremely Low Noise Discrete Front End
▲ High Output Signal Drive Capability
▲ Fast FET Limiter to Prevent Overload
▲ Switch Selectable Input Impedance
▲ Built-in Low Noise Phantom Power Supply
▲ XLR and 1/4-inch Inputs and Outputs
▲ Phase Invert Switch
▲ High Cut Filter Switch
▲ Variable Input and Output Level Controls
.::artproaudio.com::.
|13|
PROJECT SERIES
PROJECT SERIES
FEATURES
The ART SyncGen is a simple to use and inexpensive way to improve the
performance of your digital recording equipment while eliminating
seemingly random pops and clicks that result from synchronization timing
errors in recording systems.
FEATURES
▲ Stable & Accurate Time-Base Reference
▲ 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176 kHz, 192 kHz
Sample Rates
▲ Four High-Current 5 Volt BNC Wordclock Outputs
A wordclock generator will centralize all of the timing of various pieces of
digital equipment, reducing accumulated timing errors between the
individual units that make up a digital recording chain. Designed for
maximum versatility, the ART SyncGen will provide stable, sample accurate
time based reference and can connect to digital audio equipment with
either BNC wordclock or coaxial S/PDIF inputs.
▲ Two “Zero Bit Digital Black” S/PDIF Outputs On Coaxial
RCA Connectors
▲ LED Indicators Monitor Termination And Operating Status of
BNC Outputs
▲ Large, Easy To Read Digital Sample Rate Readout
The ART SyncGen also acts as a system tester by confirming status of BNC
word-clock cables and terminations and can verify which pieces of gear
are internally terminated. The ART SyncGen will also test proper cable
connections to ensure total system accuracy.
▲ Easy Sample Rate Selection With Memory Recall After Power
Down Cycle
▲ Set Of 75 Ohm BNC Terminators And BNC “T” Adaptors Included
Auto-TunePre
The Tube MP/C (PreAmplifier/Compressor) is a multi-purpose tool for
audio engineering and recording. Two independent circuits featuring a
tube-based analog preamplifier and a VCA-less compressor with optical
gain reduction control are housed in one, convenient desk-top chassis.
Used as a mic/line preamp or as a DI (direct) box, the Tube MP/C is
designed to work seamlessly with any recording, sound-reinforcement, or
electronic instrument setup. A R T’s Tube MP/C circuitry is a hybrid design
utilizing the latest, most advanced, solid-state and tube technology.
FEATURES
FEATURES
▲ Tube-based mic/line Preamplifier with up to 80 dB of Gain
▲ Hand-selected 12AX7a Tube
▲ Optical (VCA-less) Compressor Circuitry = Transparent Dynamics
Control
▲ 1/4-inch Unbalanced Inputs and Outputs
The preamplifier’s active balanced solid-state input provides extremely
low noise and excellent common mode rejection. The 1/4-inch high
impedance input prevents loading of any connected device making the
Tube MP/C perfect for DI or line level applications. The preamplifier’s second stage 12AX7a tube runs on a regulated DC voltage providing an additional 20dB of gain.
The Auto-Tune Pre combines an ART tube preamp channel with integrated Antares Auto-Tune® processing in a compact accessible package ideal for studio or stage. Now live artists can easily add high quality
Antares pitch processing without the complexity and cost of an external
computer and software.
Auto-Tune Pre EFX Section: The Antares Auto-Tune section of the product
is designed to have a user interface and functionality that is similar to the
Auto-Tune EFX Plug-In. Users can select the Key, Scale and EFX type.
Individual notes can be toggled on or off using the key pads for more
customization. Edits can be stored in one of five footswitch accessible
presets. (Footswitch optional)
The compression circuit features a VCA-less design and utilizes optical
electronics (Vactrol) coupled with a 12AX7a vacuum tube gain stage for
superior musical performance.
FEATURES
FEATURES
▲ Antares Auto-Tune® Processing
▲ XLR Balanced Inputs and Outputs
▲ Transformer Isolated XLR Output
▲ Selectable Output Range for Line/Instrument Interface Levels
▲ LED Meters for Tube Warmth, Gain Reduction and Output Level
▲ +48V Phantom Power
▲ Phase Reversal Switch
▲ Selectable Release Time Settings
▲ >90dB Dynamic Range
▲ Custom Extruded Aluminum Chassis
The ultra low noise discrete microphone preamp front end has an
extremely flat and wide frequency response and handles a wide range of
input signal levels with a minimum of coloration. High quality hand
selected 12AX7A tube circuit adds warmth to the signal path.
▲ Very Low Latency
Insert jack allows external processing to be added between the Preamp
and Auto-Tune EFX section. The 1/4-inch Footswitch jack on the rear
allows remote access to the Bypass and Preset functions.
▲ +4/-10 selectable output level
sound engineers worldwide – on the road, in nightclubs, arenas,
▲ Insert Jack
recording studios, auditoriums, churches, basements, garages,
▲ Optional footswitch (off/on & Preset Advance)
bedrooms – wherever there’s a need to capture your creativity or
▲ Five User Programmable Presets
▲ High Quality Class-A Tube Preamp
▲ Selectable Pitch Correction Effect (from subtle to obvious)
|14|
.::artproaudio.com::.
We have delivered leading edge products with exceptional tone
and versatility which have gained the loyalty of musicians and
amplify it, ART is a brand you can trust.
.::artproaudio.com::.
|15|
CLASSIC PREAMPS
TubeMP StudioV3™
HEADPHONE AMPS
SINGLE CHANNEL TUBE PREAMPLIFIER
studio and live-sound engineers, along with our veteran engineering
department.
OPL™ (OUTPUT PROTECTION LIMITER)
V3™ also incorporates ART's OPL™ (Output Protection Limiter), which
precisely and accurately controls and maintains the output peak signal.
The TubeMP StudioV3™ can be used in a wide variety of applications
including recording, project and home studios, where its Variable Valve
Voicing really shines. It also functions as a direct box, with impedance
matching and pre-amplification for line-level sources.
FEATURES
FEATURES
▲ Original TUBE-MP Warmth and Character
▲ V3™ - Variable Valve Voicing
The TubeMP StudioV3™ single channel mic pre features ART's V3™
(Variable Valve Voicing) Technology as well as its TEC award nominated
hybrid tube design to add unmatched warmth and fatness to a signal
while maintaining exceptionally low-noise and high quality. The ART
TubeMP StudioV3™ uses a hand-selected 12AX7A tube in the signal path
for maximum tone and gain.
▲ OPL™ - Output Protection Limiting
▲ Hand Selected 12AX7A Vacuum Tube
▲ Variable Input and Output Gain Controls
▲ XLR and 1/4-inch Inputs and Outputs
▲ +48 Volts of Phantom Power
V3™ (VARIABLE VALVE VOICING)
V3™ provides optimized reference points to begin the recording process.
The V3™ presets were created and fine-tuned by some of the industry's top
▲ Phase Reversal Switch
▲ Portable, All Steel Construction
TUBE MP THE ORIGINAL
SINGLE CHANNEL TUBE PREAMP SYSTEM
TubeMP’s TEC award nominated
design will allow you to obtain
professional recording studio
results at a fraction of the cost
of comparable equipment.
The hybrid design of the TubeMP
allows it to add warmth and
fatness to a signal.
While its primary application is as a microphone preamp, the TubeMP is an
exceptional direct box - impedance matching, amplifying and improving
the sound of any instrument plugged into it.
|16|
FEATURES
FEATURES
Each output channel has a dual
function Balance Control which will pan between Left & Right input of the
main signal bus, or vary the mix between the main stereo signal bus and
the auxiliary input for that respective channel.
FEATURES
FEATURES
▲ Six Independent High-Power Headphone Amplifier Channels
▲ Dual Function Balance/Mix Control per Channel
▲ Front Panel Stereo Aux Input for each Channel
▲ Multiple Monitoring Settings per Channel
▲ Individual Output Level Control per Channel
Each output channel includes one front and two rear panel stereo 1/4-inch
TRS headphone jacks for ease of installation and quick patching capability.
Mono, Mute L, and Mute R select buttons and on each channel select
between four operating modes; 1) Stereo, 2) Mono Left, 3) Mono Right, 4)
Mono Both (Left & Right) for versatile monitoring solutions. Independent
output level controls on each channel personalize monitoring levels.
Input options include XLR and 1/4-inch TRS balanced inputs with matching
“Thru” jacks for bridging multiple units. An additional front panel stereo
1/4-inch TRS Direct In jack for quick patch override of the rear panel inputs
is included for quick insertion of any stereo source.
▲ Precision Four Segment LED Metering Per Channel
▲ Master Volume Control with Eight Segment LED Metering
▲ Front Panel Direct In Jack
▲ One Front and Two Rear Mounted Headphone Jacks per Channel
▲ Connects and Drives up to 18 Headphones Simultaneously
▲ XLR and 1/4-inch Main Inputs and Outputs
▲ Parallel Main Outputs for Multiple Unit Use
Master Volume control sets the main signal bus level. Eight-segment
precision LED level metering on the main bus and four-segment indicators
on each output channel provide visual feedback of the signal level at all
key points.
▲ Provides Superior Preamplification for:
Microphones, Instruments and Line Level Sources
▲ Hand Selected 12AX7A Vacuum Tube
▲ Variable Input and Output Gain Controls
▲ Excellent as a Tube DI
▲ XLR and 1/4-inch Inputs and Outputs
▲ +48V of Phantom Power
The TubeMP offers superior performance and sound quality to the ‘on-board’
preamps found in today’s low-cost mixers and multi-trackers.
▲ Phase Reversal Switch
Professional quality sound combined with essential features like: a handselected 12AX7A tube, phantom power and phase reverse have made the
TubeMP a staple in thousands of studios worldwide.
▲ Portable, All Steel Construction
.::artproaudio.com::.
The HeadAmp6 is a fully featured
six-channel stereo headphone
amplifier that includes six auxiliary
inputs to allow separate ‘more-me’
mixes on each channel.
▲ TEC-Award Nominated Design
.::artproaudio.com::.
|17|
HEADPHONE AMPS
CONDENSER MICROPHONES
CARDIOID SIDE ADDRESS
FET CONDENSER
The M-One cardioid condenser microphone delivers
solid quality and outstanding performance in a cost
effective microphone solution. The low-mass
diaphragm and upgraded high quality capsule
delivers a clear tone with accurate sonic detail
making it perfect for a wide range of recording and
live sound applications.
In live sound and remote recording applications,
the ART M-One’s cardioid pattern offers excellent
feedback rejection and isolation.
As a condenser microphone, the M-One requires
phantom power to operate. A subtle recessed LED
under the gold capsule behind the microphone
windscreen will illuminate when phantom power is
present, and the microphone is operational.
The microphone's chassis is precision-tooled
zinc/aluminum alloy with a dent resistant stainlesssteel wire-mesh windscreen and comes with a
deluxe, secure hard-tail standmount.
FEATURES
▲ Warm, Extremely Smooth-Sounding Design
The ART HeadAmp6PRO is a six-channel stereo headphone amplifier that
includes a six-channel auxiliary input section that can be used to provide
the popular ‘more me’ function on each headphone mix.
Each output channel also features a dual function BALANCE control
which will pan between LEFT & RIGHT sides of the main signal bus, or
vary the MIX between the main signal bus and the AUXILIARY input for
that respective channel.
MORE ME
One ingenious feature of the HeadAmp6PRO is the simplified ‘more me’
function, allowing individualized mixes to be created for each performer
during a session. When a source like any Aux out from a mixer is inserted
into the rear Stereo Aux Input of any channel on the HeadAmp6PRO, the
balance control for that channel changes from a simple stereo Left / Right
balance to a balance between signal coming from the main signal bus and
the signal coming in that Stereo Aux Input for that respective channel. For
example, only the vocalist’s microphone signal could be fed to the Stereo
Aux Input bus for that musician’s headphone channel on the
HeadAmp6PRO, then the BALANCE control for that channel operates as a
‘more me’ control, varying the mix between their microphone signal and
mix fed to the main signal bus input. This ‘more me’ mix is only heard on
that individual headphone.
Since the HeadAmp6PRO has Stereo Aux Inputs for each channel, several
separate ‘more me’ mixes can be set up for live tracking with a full band.
INPUT VERSATILITY AND EXPANDABILITY
▲ 32mm Gold Sputtered Diaphragm
The main outputs for each channel of the headphone amplifier are rear
mounted stereo TRS jacks and are wired in parallel with the corresponding output jacks on the front panel. Either front panel, rear panel, or
both front and rear panel outputs can be used simultaneously to drive
headphones or be used as feeds to additional headphone amplifiers in a
distributed audio network.
▲ Extremely Wide Dynamic Range With Low Noise Floor
Input options include XLR and 1/4-inch TRS balanced inputs with matching
‘Thru’ jacks for bridging multiple HeadAmp6Pro units. An additional front
panel stereo 1/4-inch TRS jack for quick patch override of the rear panel
inputs is included for quick insertion of any stereo source. Eight-segment
LED level indicators provide visual feedback of the signal level on all
channels as well as the main signal bus.
FEATURES
FEATURES
▲ Six Independent High-power Headphone Amplifier Channels
▲ Two-band Bass and Treble EQ per Channel
▲ Dual Function Pan/Mix Control per Channel
▲ Stereo Aux Input for each Channel
▲ Multiple Monitoring Settings per Channel
▲ Precision Eight Segment LED Bargraph per Channel
In addition to innovative mixing features, the HeadAmp6PRO offers
individual bass and treble controls on each output channel for
fine-tuning the overall tone to each musician’s taste. Outputs include
both front and rear panel stereo 1/4-inch TRS jacks for every channel for
ease of installation and quick patching capability. Two MONO select
buttons on each channel toggle between four operating modes;
1) Stereo, 2) Mono Left, 3) Mono Right, 4) Mono Both (Left & Right) for
versatile monitoring solutions.
|18|
.::artproaudio.com::.
▲ Front Panel Main Insert Jack
▲ Front and Rear Mounted Headphone Jacks
▲ XLR and 1/4-inch Main Inputs and Outputs
▲ Parallel Main Outputs for Multiple Unit Use
▲ Hard-tail Microphone Standmount Included
CARDIOID SIDE ADDRESS FET CONDENSER
WITH ENHANCED PAD & ROLL-OFF
The ART M-Two is one of the most versatile compact side-address wide
diaphragm condenser microphones available. A cardioid polar pattern with two
position pad and two position low frequency roll-off switches make it the ideal
studio condenser microphone for solo vocal or instrument recordings where
subtlety and clarity is paramount.
Controls on the microphone itself include a -6dB & -12dB pad switch, allowing
distortion-free reproduction of extremely loud at-source signals, and a two
position -12dB/octave low frequency roll off at 100 Hz & 200 Hz that reduces
unnecessary low end 'boominess' and low frequency interference.
As a condenser microphone, the ART M-Two requires phantom power to
operate. A subtle recessed LED under the gold capsule behind the
microphone windscreen will illuminate when phantom power is present,
and the microphone is operational.
The microphone’s chassis is precision-tooled zinc/aluminum alloy with a dent
resistant stainless-steel wire-mesh windscreen. The included heavy-duty
shock-mount suspension virtually eliminates vibration and handling noise,
while at the same time safely securing the microphone in any position needed during the recording process.
Features FEATURES
▲ Wide Diaphragm Cardioid Studio Condenser Microphone
▲ Dual Position -6dB & -12dB Pad Switches
▲ Dual Position -12dB/Octave 100 Hz & 200 Hz Low Frequency
Roll-Off Switch
▲ Extremely Wide Dynamic Range
▲ Extremely Warm, Smooth-Sounding Low Noise Circuit Design
▲ Dual 32mm Low Mass Gold Sputtered Diaphragm Capsule
▲ Aluminum Carrying Case & Deluxe Cradle Shockmount Included
.::artproaudio.com::.
|19|
CONDENSER MICROPHONES
CONDENSER MICROPHONES
MULTI-PATTERN SIDE ADDRESS FET CONDENSER
WITH ENHANCED PAD & ROLL-OFF
HIGH PERFORMANCE TUBE
STUDIO CONDENSER
The ART M-Three multi-pattern wide diaphragm condenser microphone is
one of the most versatile microphones available for your studio toolkit.
Three selectable polar patterns, two position low frequency roll-off and
two position pad switch on the body of the microphone ensure the ART
M-Three can easily be applied to virtually any recording or live application.
The ART M-Four tube condenser microphone is perfect for recording both critical vocals and
essential instruments. The dual diaphragm multi-pattern tube design delivers nine different
polar pattern settings allowing unmatched versatility, making the M-Four ideal for virtually
every recording application.
The ART M-Three is the microphone of choice for recording critical tracks
including solo vocals, saxophones, flutes, brass or woodwinds, acoustic
guitars or acoustic bass. The ART M-Three excels anywhere superior
sound quality is required, yet subtlety and clarity is paramount.
The microphone's chassis is precision-tooled zinc/aluminum alloy with a dent resistant
stainless-steel wire-mesh windscreen protects the dual gold sputtered diaphragms and
integrated 12AX7 vacuum tube pre-amp. An external heavy-duty cradle mount suspension
virtually eliminates vibration and handling noise.
Due to its rugged construction and ability to handle high SPL, the ART
M-Three is an outstanding choice for live sound reinforcement or live
recording applications. It can handle the levels you’d see on an overhead
mic for drum kits or in front of guitar or bass cabinets.
Low Noise External Power Supply
The ART M-Four has nine available polar patterns, selectable from the front panel of the
external power supply unit. Rather than limiting the user to only the three most common
patterns (omnidirectional, cardioid, and figure-8 patterns), the ART M-Four has three
gradient stages between each of those positions allowing the artist and recording engineer
a wider tone pallet. For example, in vocal applications where an omnidirectional pattern
isn't quite 'fat' enough, but cardioid is too narrow, you now have three additional steps to
find the right subtle mix between those two standard patterns. With the ART M-Four you
have the rare opportunity to use the proximity effect of a cardioid, yet still open up the
microphone to hear some of the natural early reflections of a good sounding live room.
Controls on the microphone include a -6dB & -12dB pad switch, allowing
distortion-free reproduction of extremely loud at-source signals, and a
two position -12dB/octave low frequency roll off at 100 Hz & 200 Hz that
reduces unnecessary low end 'boominess' and frequency interference.
FEATURES
The included heavy-duty cradle-mount suspension virtually eliminates vibration and handling
noise, while at the same time safely securing the microphone in any position needed during
the recording process.
FEATURES
▲ Selectable Polar Patterns (Omni-Directional, Cardioid & Figure-8)
▲ Dual Position -6dB & -12dB Pad Switches
▲ Dual Position -12dB/Octave 100 Hz & 200 Hz Low Frequency Roll-Off Switch
▲ Extremely Warm, Smooth-Sounding Low Noise Circuit Design
FEATURES
FEATURES
▲ Upgraded High Performance Gold Sputtered Dual Diaphragm Capsule
▲ Extremely Wide Dynamic Range
▲ Dual 32mm Low Mass Gold Sputtered Diaphragm Capsule
▲ 9 User Selectable Polar Patterns
(Including Omnidirectional, Cardioid and Figure-8 Positions)
▲ Aluminum Carrying Case & Deluxe Cradle Shockmount Included
▲ -10dB Pad Switch and Low Frequency Roll-off Switch on Microphone Body
▲ Discrete Low Self-Noise Tube Circuit Design
▲ Low Noise Constant Voltage External Power Supply
Created to complement ART's industry leading brand of
tube preamps, tube compressors and recording accessories,
the ART M-Series will set the performance standard for
professional microphones in this class and price category.
Designed specifically for professional, project and high-end
home studio environments, M-Series microphones deliver
superior sound, build quality, clarity and an unrivalled tone.
▲ 7-pin XLR Cable Included
▲ Heavy-Duty Cradle Shockmount Mount for Increased Stability & Isolation
▲ Microphone in Protective Fitted Microphone Box
▲ Aluminum Carrying Case
We have delivered leading edge products with exceptional tone and versatility which have
gained the loyalty of musicians and sound engineers worldwide – on the road, in nightclubs,
arenas, recording studios, auditoriums, churches, basements, garages, bedrooms – wherever
there’s a need to capture your creativity or amplify it, ART is a brand you can trust.
|20|
.::artproaudio.com::.
.::artproaudio.com::.
|21|
CONDENSER & RIBBON MICROPHONES
USB MICROPHONES & ACCESSORIES
CARDIOID SIDE ADDRESS FET CONDENSER
WITH USB CONNECTIVITY
COMPACT RIBBON MICROPHONE
The ART M-One/USB delivers studio quality performance in a
convenient USB microphone design. Based on the popular ART
M-One Studio Condenser, the M-One/USB uses the same low-mass
diaphragm and upgraded high quality capsule as the studio
version of the microphone, ensuring incredible tone and accurate sonic detail while adding the
convenience of a Mac and PC compatible USB 2.0 24bit/ 48 kHz output.
The ART M-Five has been engineered to deliver incredibly open and natural
sounding recordings available only from a classic ribbon microphone design.
The active element of the M-Five is a very thin corrugated aluminum ribbon
mounted under low tension between the poles of a strong magnet. This
classic design delivers the warmest and most natural sound reproduction
available from virtually any style of studio microphone. With incredibly fast
and accurate transient response and stunning realism, the M-Five classic
ribbon microphone is ideal for digital recording applications.
FEATURES
The asymmetrical figure-8 pickup pattern has an extended sweet spot on the
rear face of the microphone allowing the recording to accurately reproduce
the natural space and ambient reverberation of a good sounding live room.
▲ Extremely Natural Sounding – Ideal for Critical Vocal &
Instrument Tracking
FEATURES
▲ Low-Mass Aluminum Ribbon Element
The M-One/USB easily interfaces directly to virtually any computer based audio software
program. An integrated 1/8th-inch TRS stereo headphone jack with onboard volume and playback mix control allows low latency monitoring of recording source and playback tracks at the
microphone, with no additional interface hardware required.
▲ Figure-8 Audio Directionality with Extended Sweet Spot
The microphone's chassis is precision-tooled zinc/aluminum alloy with a dent resistant
stainless-steel wire-mesh windscreen ensures the M-One/USB is even rugged enough for field
recording applications.
▲ Easily Handles Ultra-high Sound Pressure Levels (up to148dB)
The microphone's chassis is precision-tooled aluminum alloy with a dent
resistant stainless-steel wire-mesh windscreen.
▲ Fast Accurate Transient Response with Stunning Realism
▲ Low Residual Noise
The included shock-mount virtually eliminates vibration and handling noise,
while at the same time safely securing the microphone in any position
needed during the recording process.
▲ No Power Supply Required
▲ Aluminum Carrying Case & Deluxe Cradle Shockmount Included
Deluxe, secure hard-tail microphone standmount, leather zippered bag and 3m (10') USB cable
are included. The M-One/USB is compatible with Windows 2000, WindowsXP, Vista, Linux and
Mac OS-X operating systems without any additional drivers.
FEATURES
FEATURES
▲ Studio Quality 32mm Gold Sputtered Cardioid Capsule
▲ USB 2.0 / 24Bit / 48 kHz AtoD Conversion
▲ Integrated Stereo Headphone Output with Level and Mix Controls
▲ Compatible with Windows 2K, WindowsXP, Vista, Linux or Mac OS-X Operating Systems
CARDIOID PENCIL CONDENSER
MICROPHONES (MATCHED PAIR)
▲ Rugged Zinc/Aluminum Chassis & Stainless Steel Wire Mesh Windscreen
▲ Hard-tail Microphone Standmount Included
FEATURES
FEATURES
▲ Package Contains Two M-Six Cardioid Pencil Condenser Microphones
▲ Matched for Perfect Stereo Imaging
▲ Ideal Microphone for Recording Critical Instrument Tracks
▲ Wide Dynamic Range with Low Distortion Characteristics
▲ Extremely Smooth Frequency Response with Controlled Presence
▲ Three Position 0dB, -10dB & -15dB Pad Switches
▲ Three Position Flat, -12dB/Octave at 75Hz & 150Hz Low Frequency
Roll-Off Switches
▲ Low Susceptibility to RFI and Electromagnetic Interference
▲ Flat Black Low Reflectivity Powdercoated Finish
▲ Deluxe Custom Designed Compact Shockmounts Included
ART M-Six Stereo package contains a
matched pair of ART high performance
M-Six Pencil Condenser microphones.
Ideal for capturing any stereo source with
precision and accuracy, the M-Six has
three position pad (at 0, -10 and -15dB)
and three position -12dB /octave high
pass filter (flat, 75Hz or 150Hz) ensures
added flexibility when tracking critical
sources. An ultra compact proprietary
shockmount ensures maximum isolation
while holding the M-Six securely over the
source. The rugged flat-black powder
coat finish guarantees the ART M-Six
keeps a low profile when used in live and
broadcast applications.
Unlike competitive fabric or metal pop filters, the ART M-WS uses a stainless steel wire windscreen covered
by our exclusive fine mesh filter to virtually eliminate transient pops and clipping at the microphone.
Borrowing its design from the integrated windscreens on the popular M-Series Microphones, the ART M-WS
pop filter delivers exceptional transient protection while allowing critical high frequency content and fine
sonic detail to be captured during the recording process.
The ART M-WS has a compact 5 x 3-inch (12 x 7.5 cm) screen area, all-metal frame, 13-inch (34cm) flexible
gooseneck and an adjustable C-clamp for easy connection to any microphone stand.
▲ Packaged in Rugged Aluminum Carry Case
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.::artproaudio.com::.
.::artproaudio.com::.
|23|
GRAPHIC EQUALIZERS
XL231 FEATURES
FEATURES
▲ Greater than 123dB Dynamic Range
▲ Ultra Low Noise and High Output
XL231
▲ 40 Volt Internal Circuitry for Added Headroom, and Line
Driving Capability
DUAL 31-BAND 1/3 OCTAVE,
EXTENDED LONGTHROW GRAPHIC EQ
The ART XL231 Dual 31 Band, 1/3 Octave Extended Long Throw
Professional Equalizer has been designed and engineered to exceed
extremely high standards for audio performance and functionality.
This innovative, high-quality equalizer is perfect for virtually any audio
application where precision frequency tailoring, reliable performance,
rugged design and extremely silent processing are of the utmost priority.
ACTIVE FILTER SECTIONS
The XL231 features active filter sections, which incorporate a constant-Q
design. This constant-Q design, with its accurate precision center
frequencies, ensures that the bandwidth of every individual filter will be
narrow enough to prevent unnecessary interaction between adjacent
filters, yet still create an equalization curve wide enough to produce the
exact and precise processing of audio frequencies the user seeks. Filter
circuitry incorporates high quality low noise components including 1%
resistors, and, precision high performance 2% film capacitors.
ENHANCED CUT MODE
The XL231 offers an enhanced cut mode that allows more narrow filters
and deeper cut of -18dB. This helps when trying to tame resonance and
minimizing overall spectral changes. Only each filter’s cut mode is
enhanced while their boost characteristic remains unchanged.
PRECISION SLIDE POTENTIOMETERS
The XL231 uses 45mm precision slide potentiometers. These center
detented, metal shaft precision faders are graphically positioned on ISO
center frequencies between 20 Hz to 20 kHz. The sliders feature a
grounded center tap to assure that the filter is out of the circuit when
the control is at its center detent.
HI AND LOW TRIM CONTROLS
These unique controls allow a gentle slope to be added, or subtracted
from the overall frequency response. Both controls hinge at the middle
of the spectrum and allow subtle changes to the overall sound without
the need to adjust many sliders. Although similar in concept to tone
controls, these differ in their well controlled precision straight curves,
▲ High and Low Frequency “Trim” Controls for Sweetening
Overall Sound After EQ Has Been Set
and, have less selectivity so the Trim controls don’t have a ‘sound’ as a
typical tone control will.
VARIABLE LOW CUT FILTERING
To help keep bass under control, the XL231 Graphic Equalizer incorporates
a variable swept Low Cut filter.
AUTOMATIC RELAY BYPASS
The XL231 also features automatic relay bypass of audio, an essential
function if power to the unit is lost. Rugged construction and solid
audio performance make this equalizer particularly well suited to fixed
installation as well as touring live sound systems.
ADDITIONAL CONTROLS AND INDICATORS
The XL231 Graphic Equalizer includes a variable output level control,
10 segment level bar with peak hold, clip level indicator, and selectable
line voltage. Additional features include selectable Scale Switching (High Slider Resolution ±6dB - or Normal Resolution (±12dB), active
balanced and unbalanced input/output connectors, and RFI filtering.
A front panel Bypass switch allows direct comparison between the
equalized and non-equalized signal for each channel.
VERSATILE I/O
The XL231 Graphic Equalizer may be connected to a wide variety of audio
devices. It has three sets of input and output connectors: XLR, 1/4-inch
phone, and detachable Euroblock barrier strip connectors. The inputs are
wired in parallel. The XLR and Euroblock output connections are also
wired in parallel. A separate output circuit is used for the 1/4-inch phone
output. It provides a balanced connection that results in the same output
level when operated with balanced, or unbalanced connections.
PRECISION AND QUALITY
When considering quality equalization, the XL231 Graphic Equalizer is
an excellent choice. It delivers extremely precise, powerfully flexible
and simply great sounding equalization, with the quality features and
reliable design criteria necessary for top-level audio performance.
▲ Enhanced Cut Mode: Up to –18dB Narrow Band Clips
▲ Normal and Enhanced Modes also have Half-Scale Modes
for a Total of 4 Boost/Cut Modes
▲ 10 Segment LED Level Meters with ‘Peak-Hold’ and
Clipping Indication
▲ Built-in RFI Suppression
▲ Grounded Center-tapped Slide Potentiometers for True Zero
Flat Position
▲ 45mm Metal Shaft Slide Potentiometers with Center Detents,
and Mixing Desk Style Knobs
▲ Automatic Relay Bypass if Power is Lost
▲ Euroblock Detachable Barrier Strips, XLR, and 1/4-inch Phone
Ring-Tip-Sleeve Balanced Inputs and Outputs
▲ Toroidal Power Transformer
DUAL 31-BAND GRAPHIC
EQUALIZER WITH FDC™
The HQ-231 Dual 31-band Graphic EQ is perfect for any live sound
application where there is a high feedback potential including monitor
mixes, side-fill cabinets or high powered front-of-house mixes.
The HQ-231 features ART’s proprietary FDC™ (Feedback Detection Circuit),
with constant Q circuitry capable of delivering a 3% center
frequency accuracy. Professional features like LED level metering, selectable
6dB or 12dB slider range, active balanced and unbalanced input & output
connectors, RFI filters, independent variable Hi Pass (low cut) and Low Pass
(high cut) filters, variable input level control, passive bypass switch, clip
level indicator, ground lift switch, and selectable line voltage switch make
it ideal for any professional application or touring system.
FDC™ FEEDBACK DETECTION CIRCUIT
FDC (Feedback Detection Circuitry – designed and developed by ART
Engineering) instantly illuminates an LED on the corresponding EQ band
fader with the greatest sustained signal. The LED indicators can immediately
show which band corresponds to the feedback frequency, allowing the sound
engineer to reduce gain in that band to quickly kill the feedback while
having a minimal impact on the sound of the live program material.
CONSTANT-Q FILTERING
The HQ-231 features Constant-Q Filtering, which helps the HQ’s FDC work
with greater efficiency while offering superior overall performance of the
EQ. Constant-Q ensures that even when making radical adjustments to a
frequency band, that adjacent bands will not be affected. This is
.::artproaudio.com::.
▲ High Precision Filters with 2% Film Capacitors, 1% Resistors
HQ-231
The FDC also acts as a simple spectrum viewer while the concert proceeds
showing where the ‘hot’ areas are. During system setup and sound check,
the FDC may be used to help identify room and sound system resonances.
By increasing the gain until feedback, it is easy to identify those frequencies
that are likely to be problems. Reducing the gain in these bands helps tune
the sound system, and, remove problem areas before the show begins. It
also helps increase the gain margin before feedback.
|24|
▲ Constant Q Design with Interleaved Filter Banks to Reduce
Band Interaction
particularly critical in professional applications including monitor mixes
and feedback control.
PROFESSIONAL FEATURE SET
Professional features like center detent sliders with selectable boost or cut
range of 6dB or 12dB ensures the HQ-231 can be used for radical tone
shaping, or precise control of a sound system. Versatile connection to any
live sound system or installation can be easily made using balanced XLR,
1/4-inch TRS and unbalanced RCA input and output jacks included on the
HQ-231 back panel.
High and low pass filters, analog level metering, variable input level controls,
signal clip level indicators, ground lift switch, internal power supply and
selectable line voltage complete the HQ-231 Dual 31-Band Graphic EQ’s full
feature set.
FEATURES
FEATURES
▲ FDC™ Feedback Detection Circuit
▲ Dual Channel 31-Band Graphic Equalizer
▲ Output Level VU Metering on Each Channel
▲ Constant-Q Filtering
▲ Individual High and Low Pass Filters on Each Channel
▲ Center-Detented Frequency Band Sliders
▲ Independent Level and Bypass Controls on Each Channel
▲ Relay Bypass - If Power is Lost, Signal Will Still Pass
▲ Variable Input Controls
▲ Signal Clip Level Indicators
▲ Ground Lift Switch
.::artproaudio.com::.
|25|
GRAPHIC EQUALIZERS
341
DUAL 15-BAND
ART’s 341 Dual Channel 15 band 2/3 octave graphic equalizer features:
constant Q circuitry with a 3% center frequency accuracy, 20mm center
detent sliders, selectable boost/cut range of 6dB or 12dB, active balanced
and unbalanced input and output connect-ions, variable input level
control, clip level indicators, ground lift switch, internal power supply and
selectable line voltage switch. A range control switch is provided allowing
you to set the maximum boost or cut for each band of equalization to
either 6dB or 12dB. Each channel has its own bypass switch with LED
indicator. The rugged, all-steel constructed chassis occupies 1U rack space
and is intended for installation in standard 19-inch equipment racks.
Multiple input and output configurations are provided for ease of use and
incorporate paralleled connections. The XLR and 1/4-inch TRS connectors
351
The 341 may be used in a variety of applications such as live sound,
recording studios, instrument racks as well as any conventional fixed
installation environment.
The Model 355 possesses a long list of impressive features including:
Constant-Q circuitry, 20mm center detent sliders (with a selectable boost/cut
341 / 351 / 355 FEATURES
decreasing rumble or low frequency hum from a signal. Its range is
adjustable from 10 Hz to 250 Hz. Frequencies below this setting are rolled
off, while frequencies above are unaffected. The low pass filter rolls off
higher frequencies which is useful for reducing hiss or sibilance from a
signal. Its range is adjustable from 3 kHz to 40 kHz.
ART’s 310 Precision Stereo 2-Way/ Mono 3-Way Crossover is a perfect
addition to any sound reinforcement system. Designed for PA and fixedinstallation applications, the model 310 may be used as a stereo 2-Way
crossover network or as a mono 3-Way crossover network. The model 310
employs 24dB/ octave state-variable, fourth-order, Linkwitz-Riley filters.
Fourth-order Linkwitz-Riley filters guarantee in-phase outputs at all
frequencies which is mandatory for the proper acoustic summing of
common signals from adjacent drivers in the crossover region.
Each channel features input level, high and low output level and crossover
frequency rotary controls. A frequency “x10” switch is provided for varying
the crossover frequency from the standard 80 Hz - 920 Hz to 800 Hz - 9200
Hz. Front- panel output mute switches are provided for each individual
output to ease system setup. The rear panel features XLR and active
balanced 1/4-inch TRS input and output connectors as well as a 2-Way/
3-Way mode selector switch.
The ART 310 Precision Stereo 2-Way/ Mono 3-Way Crossover has the
features and performance you need for any audio application requiring a
crossover. Housed in a rugged all-steel chassis, the model 310 will provide
years of reliable and continuous performance. For the latest in crossover
technology today, check out the 310 at your favorite A R T dealer.
FEATURES
FEATURES
▲ Fourth-order Linkwitz-Riley Filters
▲ Active Balanced XLR and 1/4-inch TRS Input
and Output Connectors
▲ Individual Output Muting Switches
▲ x10 Frequency Range Adjusting Switch
▲ Clipping Indicators on All Outputs
CX311
range of 6dB or 12dB), balanced XLR and 1/4-inch and unbalanced RCA
input and output connections, adjustable high pass and low pass filters,
variable input level controls, signal clip level indicators, ground lift switch,
internal power supply and selectable line voltage switch. The rugged,
all-steel constructed chassis occupies 2 rack spaces and is intended for
installation into standard 19-inch equipment racks.
RES
▲ Slider travel: 20mm with Positive Center Detent
▲ Filter type: Constant-Q
▲ Range: +/-6dB or +/-12dB Selectable
▲ High pass filter: 10 Hz to 250 Hz
▲ Active Balanced XLR and 1/4-inch TRS
and Unbalanced RCA Inputs and Outputs
.::artproaudio.com::.
2-WAY / 3-WAY CROSSOVER
The rugged, all-steel constructed chassis occupies 1U rack space and is
intended for installation in standard 19-inch equipment racks.
▲ ISO Spacing
▲ Low pass filter: 3 kHz to 40 kHz
CX310
▲ Stereo 2-way or Mono 3-way
DUAL 31-BAND
The Model 355 Dual 31-Band 1/3
Octave Graphic Equalizer may be
used in a variety of applications such as live sound, recording studios,
instrument racks, DJ sound systems and fixed equipment installations.
Designed to interface into any audio system, the Model 355 is a powerful
tool for solving audio problems and creating interesting sound textures.
|26|
use active balanced, low noise circuitry. XLR connections are: Pin 1 =
ground, Pin 2 = Hot (+), and Pin 3 = Cold (-). The 1/4-inch TRS connections
are: Tip = Hot (+), Ring =Cold (-), and Sleeve = ground. Both the XLR and
1/4-inch connectors may be used in an unbalanced configuration. The RCA
jacks are unbalanced. The 341 is designed to work with a variety of signal
levels. The input level control covers a wide range and can easily
accommodate -10dB and +4dB signal levels. A clip LED will light when a
signal level of 5dB before clipping occurs.
SINGLE 31-BAND
ART’s 351 Single Channel 31 band 1/3 octave graphic equalizer features:
constant Q circuitry with a 3% center frequency accuracy, 20mm center
detent sliders, selectable boost/cut range of 6dB or 12dB, active balanced
and unbalanced input and output connections, adjustable high pass filter,
adjustable low pass filter, variable input level control, clip level indicators,
ground lift switch, internal power supply and selectable line voltage
switch. A range control switch is provided which allows you to set the
maximum boost or cut for each band of equalization to either 6dB or
12dB. The high pass filter rolls off lower frequencies which is useful for
355
CROSSOVERS
2-WAY CROSSOVER WITH SUBWOOFER OUTPUT
The 311 Crossover may be used as a stereo 2-way crossover network and
has the addition of the subwoofer output for low-end frequency
reinforcement. It employs 24dB/octave state-variable, Fourth-order
Linkwitz-Riley filters that guarantee properly phased outputs at all
frequencies which is optimal for the proper acoustic summing of common
signals from adjacent drivers in the crossover region. Each channel
features independent high and low output level controls and a crossover
frequency rotary control which covers a wide range (250hz to 6khz).
All three outputs have a 30 cycle low cut switch to eliminate low-end
rumble. The subwoofer features an independent output level and rotary
control for frequencies in the 50hz to 250hz range.
FEATURES
FEATURES
▲ Stereo, 2-way Crossover
▲ Low-end, Subwoofer Output
▲ Fourth-order Linkwitz-Riley Filters
▲ Independent High and Low Output Level Controls
▲ Phase Switches
▲ XLR and 1/4-inch Input Connectors
▲ 1/4-inch Output Connections
.::artproaudio.com::.
|27|
POWER AMPLIFIERS
POWER AMPLIFIERS
SLA-1 100 WATT STUDIO LINEAR AMPLIFIER
SLA-4
4 CHANNEL STUDIO LINEAR AMPLIFIER
Offering superb sound quality, the ART SLA-4 studio linear power
amplifier delivers the clean power you need for any professional audio
application including project or professional studio environments or
commercial sound installations.
The SLA-4 is a true four-channel amplifier in a single rack-space that can
be switched easily from Multi-channel, Stereo and Bridged Mono Modes.
Separate mode switches allow you to bridge channels 1 and 2, or channels
3 and 4, or both channel pairs. This maximizes flexibility by allowing the
amp to be configured for best utilization in 2, 3, or 4 channel applications.
Designed for long-term reliability in any audio application, the SLA-4’s
output is fully protected from short circuits. An ultrasonic network
decouples RF from the output and helps keep the amplifier stable with
FEATURES
reactive loads. The SLA-4 is stable into loads as low as 2 ohms (stereo
mode) or 4 ohms (bridged mode) making it ideal for virtually any
installation application or complex system configuration.
The SLA-4 features SmartFan™, an advanced thermal dependent fan
assisted convection cooled system. The SmartFan™ system is dependent
upon the internal ambient temperature of the unit, and runs at high or
low levels depending on the amplifier’s cooling needs.
1/4-inch TRS and Euroblock balanced inputs as well as multi-way output
binding posts ensure the SLA-4 can be quickly and easily tied in to any
system without modification.
A simple to install tamper proof cover is included.
FEATURES
▲ Extremely Low Noise, Discrete Linear Design
▲ 1/4-inch TRS, and Euroblock Balanced Inputs
▲ 4 x 100 Watts/Ch @ 8 ohms, 140 Watts/Ch @ 4 ohms
▲ Recessed ‘Pop Out’ Detented Gain Knobs
▲ 2 x 200 Watts/Ch @ 16 ohms, 280 Watts/Ch @ 8 ohms (bridged)
▲ Tamper-Proof Faceplate Included
▲ 2 x 100 Watts/Ch @ 8 ohms & 1 x 280 Watts @ 8 ohms (bridged)
▲ Multi-way Binding Post Outputs
▲ Toroidal Transformer
▲ Low Profile 1U Rack-Mountable Design
▲ 10 Hz to 40 kHz Frequency Response
▲ SmartFan™ Silent Cooling System
The SLA-1 Studio Linear Amplifier is a robust yet compact power amplifier
designed for studio or even select live applications. It has been designed
and engineered to provide clean, quiet power and excellent sound with
ultra-low noise and distortion.
Rated at 100 watts rms/channel @ 8 ohms (130 watts rms/channel @
4ohms), with a frequency response from 10 Hz to 40 kHz the SLA-1 is
perfect for professional, project and home studios. Capable of delivering
260 Watts when bridged mono into an 8 ohm load, the SLA-1 can easily
move out of the studio and into any live rig or installation as an ideal
monitor amplifier or zone amp solution.
posts ensure the SLA-1 can be quickly and easily tied in to any system
without modification. A simple to install tamper proof cover is included.
FEATURES
FEATURES
▲ Extremely Low Noise, Discrete Linear Design
▲ 100 Watts/Channel @ 8 ohms
▲ 260 Watts/Bridged Mono @ 8 ohms
▲ Toroidal Transformer
▲ 10 Hz to 40 kHz within 1dB
SMARTFAN™ COOLING SYSTEM
The SLA-1 features SmartFan™, an advanced, thermal dependent fan
assisted convection cooled system. The SmartFan™ system is dependent
upon the internal ambient temperature of the unit, and runs at high or
low levels depending on the amplifier’s cooling needs.
VERSATILE CONNECTIVITY
XLR and 1/4-inch TRS balanced inputs as well as multi-way output binding
SLA-2
▲ XLR & 1/4-inch Inputs
▲ Ground Lift Switch
▲ Silent, Thermal Dependent Cooling System
▲ Multi-Way Binding Post Outputs
▲ Tamper Proof Faceplate
200 WATT STUDIO LINEAR AMPLIFIER
The SLA-2 is a studio linear power amplifier capable of delivering 200
watts per channel (@8 ohms) with an incredible 10 Hz to 40 kHz
frequency response. Compact single rackspace low noise linear design,
the SLA-2 uses a solid steel chassis and toroidal transformer for added
long term reliability. Stable down to 2 ohms, the SLA-2 can be bridged
mono to deliver a full 560 watts into a single 8-ohm load.
Ideal for any studio or installation application, the SLA-2 uses oversized
convection cooling heatsinks and temperature controlled variable speed
SmartFan technology to ensure quiet operation in any environment.
SMARTFAN™ COOLING SYSTEM
The SLA-2 features SmartFan™, an advanced, thermal dependent fan
assisted convection cooled system. The SmartFan™ system is dependent
upon the internal ambient temperature of the unit, and runs at high or
low levels depending on the amplifier’s cooling needs.
or fixed installation applications. A tamper proof faceplate is included for
commercial installs.
FEATURES
FEATURES
▲ Toroidal Transformer
▲ 200 Watts per Channel @ 8 ohms
▲ 280 Watts per Channel @4 ohms
▲ 560 Watts when Bridged Mono @ 8 ohms
▲ 10 Hz – 40 kHz Frequency Response
▲ XLR, Euroblock & 1/4-inch Inputs
▲ Tamper-Proof Faceplate
▲ SmartFan Silent Cooling System
Recessed "Pop Out" Detented Gain Knobs
|28|
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VERSATILE CONNECTIVITY
Multi-way binding post output with XLR, 1/4-inch and Euroblock inputs
make the SLA-2 an ideal amplifier for virtually any studio monitoring system
▲ Low Profile Single Space Rack Mountable All Steel Chassis
▲ Extremely Low noise, Discrete Linear Design
.::artproaudio.com::.
|29|
AUDIO UTILITIES
The MX225 is designed for remote volume control
of multiple amplifiers or powered speakers in a
distributed audio system. Two stereo sources are
available to each of five output zones. Each source input pair handles
separate left and right balanced line level signals. Each output zone features
FEATURES
independent level control from inputs 1 and 2, stereo/mono selector with
mono indicator, LED level metering, and left and right balanced line level
zone outputs. All audio connections are balanced XLR. The built in power
supply and single high 19-inch rack mount format allows for easy
installation and reliable operation.
▲ Source 1 and 2 Input Channels are Internally Routed to all Five
Zone Channels
▲ Five Zone Channels each Feature Source 1 and 2 Level Controls
and Left and Right Balanced Output XLR Connectors
The ART MX821 is a versatile rack mount mixer
combining eight independent input channels into
a single mono line level mixed output.
power on each channel. Main output is balanced low impedance. An
additional pre-fade output and auxiliary buss input jacks allow patching
multiple MX821’s together when more channels are needed.
Essential features include: XLR microphone and 1/4-inch line inputs,
individual level and tone controls, switch-selectable +48 Volt phantom
Built in power supply and single high 19-inch rack mount format allows for
easy installation and reliable long term operation.
FEATURES
FEATURES
▲ Left and Right Balanced Source 1 and 2 Inputs, Accepts Stereo
or Mono Signal Sources
AUDIO UTILITIES
▲ Mono Indicator LED on each Zone Channel
▲ Five LED Level Metering (-25, -20, -15, -10, Clip) on each
Zone Channel Indicate Signal Activity for each Zone
▲ Source 1 and 2 Indicator LEDs Show you when Signal is
Present in each Source Channel
FEATURES
▲ Eight Independent Input Channels
▲ Level and Tone Controls on each Channel
▲ Balanced XLR Microphone and 1/4-inch Unbalanced Line Inputs
on each Channel
▲ Full +48 Volt Phantom Power on XLR inputs with DIP Switch
for each Channel
▲ Balanced TRS 1/4-inch Main Output Jack with Master
Level Control
▲ RCA-type Pre-Fade Output Jack (Not Affected by the Master
Level Control)
▲ RCA-type Aux Buss Input Jack for Channel Expansion
▲ Solid Single High Rack Mount Chassis wth Built In Power Supply
▲ Stereo/Mono Selector on each Zone Sums Left and Right into
Mono Mode when Engaged
The ART MX822 is a versatile eight input mixer for
studio, live sound or installation applications.
The MX622 is a versatile mixer combining three
balanced microphone or line level inputs with
three stereo line inputs into a single stereo line
level mix. Essential features include external
effects loop (mono send with stereo return), independent stereo record
outputs, stereo TRS 1/4-inch balanced outputs and full range master
two-band equalizer. The internal power supply and single rack-space
19-inch rack mount format allows for easy installation and reliable
long-term operation.
Each input accepts a mono or stereo signal and provides independent
level, pan and effects send controls. Channel One includes a switchable
mic/line source select and the XLR mic connector provides switchable
phantom power.
FEATURES
FEATURES
|30|
▲ Three Balanced XLR Inputs Switchable Mic/Line Level
▲ Balanced TRS 1/4-inch Main Output Jacks with Master Level Control
▲ Three Stereo RCA Inputs with Separate Level Controls
▲ Versatile Two-Band Master EQ
▲ Level Control and Clip Indicators
▲ Separate Stereo Record Outputs
▲ Selectable 15-volt Phantom Power for Microphone Channels
▲ Effects Loop with Level Independent Level Control
.::artproaudio.com::.
FEATURES
▲ Eight stereo/mono input channels with individual level, pan
and effects send controls
FEATURES
Multiple MX822s may be chained for additional inputs
using common 1/4-inch TRS cables. External effects
processors can be linked in and mixed with independent
level controls. A front panel headphone jack with
separate level control allows independent monitoring.
▲ External effects loop with independent send and return controls
▲ Switchable low noise +48V phantom power for microphone input
▲ Separate green and red LED signal and clip indicators for each
input channel
▲ Front panel 1/4-inch stereo (TRS) headphone jack with amplifier
and independent level control for output monitoring
▲ Six level left and right main output metering including clip indicators
▲ Switchable balanced microphone XLR or 1/4-inch inputs
on Channel One
▲ Multiple units may be chained together for additional inputs
▲ Balanced left and right XLR main outputs
.::artproaudio.com::.
|31|
AUDIO UTILITIES
AUDIO UTILITIES
T8 8 CHANNEL TRANSFORMER / ISOLATOR
The T8 (Transformer Eight) is a high quality totally passive audio interface
that uses eight discrete transformers to separate input and output signal
grounds, thereby isolating two systems to reduce hum and ground-loop
noise. The T8’s audio transformers have extremely flat and wide frequency
response and are capable of handling high-level signals while maintaining
a fully isolated balanced thru-put. This gives the T8 a very clean and
neutral sound with a wide variety of signal sources. The transformers are
wound for 1:1 unity gain and can be used with impedances from 600 ohms
to 100 kohms.
The T8 provides balanced XLR, 1/4-inch and RCA type phono connections on
all inputs and outputs simultaneously. The rackmount ears are reversible so
the T8 can have either the XLR or 1/4-inch and RCA phono jacks available on
the front maximizing flexibility in cabling your system.
FEATURES
FEATURES
▲ High-quality, Passive Audio Interface
▲ 8 high performance transformers
▲ XLR, 1/4-inch, and RCA type connections on all inputs and outputs
▲ Reversible rack mount ears
▲ Separate input and output signal grounds reduce hum
▲ Audio transformers have an extremely flat and wide
frequency response
▲ Very clean and neutral sound with a wide variety of signal sources
▲ Can be used for Signal taps or as a signal splitter
It’s full feature set, rugged construction, and high-end specifications make
the T8 the obvious choice for Live Sound, Permanent/Fixed Install, D.J., and
virtually any PA application.
▲ Use as a safer connection between two audio systems
(ie: Computer workstation or monitor system)
P16
XLR Balanced Patch Bay
Ideal for any live PA rack, studio rack or fixed installation where easy access
to XLR inputs are required, the P16 brings all rear-mounted XLR inputs from
various devices to one, convenient single space rackmountable location. The
P16 saves wear and tear on the connectors of expensive audio equipment
by bringing all commonly used connections to the external patch bay.
FEATURES
FEATURES
▲ 16 channels of balanced direct signals
▲ High quality passive interface
▲ XLR connectors (female on front, male on rear)
All-steel chassis, black anodized finish and secure, high-quality XLR
connections front and back with internal connections made via PCB
wiring ensure long term reliability from the passive ART P-16 Balanced
XLR rackmount patch bay.
▲ All connections made via reliable PCB wiring
▲ 19-inch 1U-high rack mount with rugged, fully shielded
black all-steel enclosure
▲ Reversible rack ears for added system flexibility
▲ 19-inch Single Space black all steel case
P48 48-point Balanced Patch Bay
Stay Connected
The ART P48 48-point balanced patch bay is the best solution for organizing
cables while optimizing connectivity in any studio or live PA rack. Designed
for maximum convenience, each channel of TRS 1/4-inch balanced I/O can
be configured for normal or half-normal operation.
The fully shielded steel 19-inch 1U rackmount chassis has reversible rack
ears for maximum flexibility. The P48 is covered by ART’s comprehensive
3-year warranty.
Find ART Online at www.artproaudio.com
Follow us on facebook - www.facebook.com/ARTproaudio
Keep up to date with Twitter @ARTProAudio
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.::artproaudio.com::.
.::artproaudio.com::.
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AUDIO UTILITIES
AUDIO UTILITIES
dADB
DUAL ACTIVE DIRECT BOX
The ART dADB dual active direct box acts as two independent, high quality
active interfaces for connecting instrument, line, or speaker level signals to
balanced inputs. The high impedance 1/4-inch inputs are buffered and
converted by extremely low noise active electronics to deliver isolated,
balanced, low impedance outputs.
S8 EIGHT CHANNEL MICROPHONE SPLITTER
The ART S8 can be used to split eight balanced low impedance
microphone signals into sixteen balanced low impedance microphone
signals (eight pairs).
Each channel of the S8 provides one direct output and one transformer
isolated output from a single microphone. Applications include sending
the direct outputs to the main or Front-of-House mixer, and the second
isolated outputs being sent to a monitor or recording mixer. The direct
outputs pass phantom power from the main mixer to the microphones for
use with condenser microphones.
The S8 includes a groundlift switch on each isolated output to reduce noise
due to ground loops between connected equipment. For versatility the S8
also features an attenuator pad switch on each input that can be used to
connect preamplified signals to the two microphone level outputs on each
channel. Typical preamplified signals would originate from instrument
preamplifiers, mixers, keyboards, et cetera.
S8
3WAY
FEATURES
FEATURES
The dADB delivers an extremely flat and wide frequency response even at
high input levels, making it a virtually acoustically transparent DI solution.
Input attenuation on each channel allows for a wide range of source signal
levels. Independent parallel thru jacks allow for tapping the signal chains.
A Ground Lift on each channel allows for totally separate the input and
output signal grounds to isolate two systems when required, thus reducing
hum and ground-loop noise.
▲ High-quality, Passive Audio Interface
▲ 8 high Performance Transformers
▲ XLR, 1/4-inch, and RCA Type Connections on all Inputs and Outputs
▲ Reversible Rack Mount Ears
▲ Separate Input and Output Signal Grounds Reduce Hum
▲ Audio Transformers have an Extremely Flat and Wide
Frequency Response
▲ Very Clean and Neutral Sound with a Variety of Signal Sources
▲ Can Be Used for Signal Taps or as a Signal Splitter
▲ Use as a Safer Connection Between Two Audio Systems
Switchable low pass Bessel filters eliminate high frequency interference.
Operating outside of the audio range these complex and effective filter
circuits are primarily intended to eliminate radio frequency interference
before it gets into the main system.
They also effectively reduce digital computer noise making the dADB the
ideal DI solution for laptops, computer workstations and peripherals
when used in stereo PA applications.
The dADB’s active circuitry is powered by phantom power or by an internal
9V battery when external power is not available. Low current draw (less
than 7.5 mA) should provide more than 100 hours of operation with a new
battery (alkaline recommended).
FEATURES
FEATURES
▲ Fully Active Design
▲ Operates on Phantom Power or 9V Battery
▲ Converts High-Impedance Balanced / Unbalanced Inputs Into
600 Ohm Balanced Outputs
▲ Switchable Input Attenuation (0, -20, -40 dB)
▲ Independently Switchable Low Pass Filter on each Channel
▲ Independently Switchable Phase Invert on each Channel
▲ Independently Switchable Ground Lift on each Channel
▲ 1/4-inch TRS Connector Inputs and Thru Connections
▲ XLR Connectors for Balanced Outputs
▲ Rugged Steel Case
The compact black all steel case and active design ensure unmatched
long-term reliability in Live Sound, Permanent/Fixed Install, D.J., or
virtually any PA application.
EIGHT CHANNEL MICROPHONE SPLITTER
The S8-3WAY eight channel three way microphone splitter is ideal for live
sound, recording and broadcast applications where microphone and XLR
balanced line level input signals have to go to multiple mix locations.
Each channel provides one XLR input, one XLR direct output with two
additional transformer isolated XLR outputs for a total of 3 balanced
outputs from each single microphone input signal.
Typical uses would include sending 8 direct signals through the S8-3WAY
to a main Front-of-house mixer, with additional feeds going to a monitor
mix station while transformer balanced isolated feeds are sent to remote
recording desk or used for a broadcast feed.
dPDB
FEATURES
FEATURES
▲ High Quality Passive Interface
▲ Eight high performance transformers
▲ One Direct and two Transformer Isolated Output per Channel
▲ Balanced XLR Input and 3 Balanced XLR per Channel
▲ Extremely Wide Frequency Response
▲ Extremely Low Voltage Insertion Loss
DUAL PASSIVE DIRECT BOX
The dPDB dual passive direct box features two high-quality direct boxes in
one portable enclosure. It is a rock solid, roadworthy DI connection of the
outputs of electronic musical instruments (or other audio sources) to the
balanced inputs of mixer consoles and other balanced inputs. The dPDB
also allows connection of a music source to an instrument amplifier while
simultaneously patching it to a mixer.
Features FEATURES
▲ Switchable Input Attenuation
(0dB, -20dB, -40dB)
▲ 50k ohm Instrument Input,
50k ohm Parallel Link Jack
▲ 600 ohm XLR Output Jack
PDB
PASSIVE DIRECT BOX
The dPDB dual passive direct box features two high-quality direct boxes in
one portable enclosure. It is a rock solid, roadworthy DI connection of the
outputs of electronic musical instruments (or other audio sources) to the
balanced inputs of mixer consoles and other balanced inputs. The dPDB
also allows connection of a music source to an instrument amplifier while
simultaneously patching it to a mixer.
▲ Switchable Ground Lift
▲ Extra Thick, All-steel Construction
▲ Reversible Rack Ears for Added System Flexibility
▲ Live Sound, Permanent/Fixed install, Studio Applications
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POWER CONDITIONERS
PB4X4 / SP4X4 / PS4X4
POWER CONDITIONERS
PB4X4PRO / SP4X4PRO / PS4X4PRO
POWER CONDITIONERS
ART 4x4 PRO SERIES power distribution
systems are durably constructed, reliable
rackmount power conditioners for use in any
live PA, studio and installation applications.
All PRO SERIES models have internal discrete
APF™ (Advanced Power Filtering) modules that
filter out digital and dimmer hash as well as any
high frequency noise present in the AC source.
Unlike off-the shelf RF filter modules, ART’s APF™
filter modules will not lose their effectiveness or
saturate as the load increases, ensuring they
remain completely effective over their full
operating range.
ART PRO SERIES power conditioners use both
Common Mode and Differential Mode topologies
in their filter design to block virtually all of the
unwanted noise present between the AC line and
ground as well as between phases of the AC
source. High frequency noise currents in particular
are highly attenuated by 4x4 PRO SERIES power
distribution systems so AC line noise generated
by attached components will not be allowed to
get back into the main A.C. source.
Multiple ART PRO SERIES power conditioners in
a system setup can isolate noisier components
POWER CONDITIONERS
from highly sensitive components in an audio
or lighting system.
Every 4x4 PRO SERIES power conditioner is
designed with a power capacity of 1800 Watts,
surge/spike protection, APF™ with EMI & RFI
filtering, front-mounted unswitched power
outlet and an adjustable rear-mounted
gooseneck light source for bright illumination
behind the rack. The spacing and alignment of
the rear outlets accommodate various size
power plugs and AC adapters.
* SP4x4 adds pull out lamps and voltage monitor.
PS4x4 adds load current monitor to the features of the SP4x4.
ART 4x4 Series Power Distribution Systems feature a unique "4x4" AC
jack layout on the back of the unit where four of the eight rear outputs
are set 1.25 inches apart, allowing the user to plug in wide power cables
and multiple wall wart devices.
Built into the 4x4 Series is a surge and spike protection system designed
to protect powered equipment from harmful electric surges and spikes
that are commonplace in venues. The unit also has RFI and EMI filtering
to all but eliminate cable induced noise in AC power.
power up and confirmation of source power. The unit has a total power
capacity of 1800 watts, and has a conveniently front-mounted, 15 amp
circuit breaker for quick resets when necessary.
The rugged, all-steel chassis occupies 1U rack spaces and is intended for
installation into standard 19-inch equipment racks. Applications for the 4x4
Series Power Distribution Systems include live sound systems/PA, permanent
or fixed installations, church, club and practice PA systems, DJ sound
systems, home and project recording systems, and monitor systems.
A front-located brightly illuminated on/off power switch ensures convenient
FEATURES
FEATURES
PB4x4 - Power Distribution System
SP4x4 - Metered PDS
PS4x4 - Dual Metered PDS
▲ Power Capacity of 1800 Watts
▲ Power Capacity of 1800 Watts
▲ Power Capacity of 1800 Watts
▲ Surge & Spike Protection
▲ Surge & Spike Protection
▲ Surge & Spike Protection
▲ 8 Rear Outlets
(with Power Adapter Friendly Positioning)
▲ 8 Rear Outlets
(with Power Adapter Friendly Positioning)
▲ 8 Rear Outlets
(with Power Adapter Friendly Positioning)
▲ Pull Out Light Pipes and Dimmer
▲ Pull Out Light Pipes and Dimmer
▲ Easy to read Input Voltage and
Current Metering
FEATURES
SP4x4PRO - Metered PDS
PS4x4PRO - Dual LED Metered PDS
PB4x4PRO - Power Distribution System
▲ Power Capacity of 1800 Watts
▲ Power Capacity of 1800 Watts
▲ Power Capacity of 1800 Watts
▲ Surge & Spike Protection
▲ Surge & Spike Protection
▲ 8 Rear Outlets
(with Power Adapter Friendly Positioning)
▲ 8 Rear Outlets
(with Power Adapter Friendly Positioning)
▲ One Front-mounted Unswitched
Power Outlet
▲ One Front-mounted Unswitched
Power Outlet
▲ Rear Mounted Gooseneck Light Source
▲ Rear Mounted Gooseneck Light Source
▲ Rear Mounted Gooseneck Light Source
▲ APF™ - Advanced Power Filtering
▲ APF™ - Advanced Power Filtering
▲ APF™ - Advanced Power Filtering
▲ EMI & RFI Filtering
▲ EMI & RFI Filtering
▲ EMI & RFI Filtering
▲ Pull Out Light Pipes with AutoOff
and Dimmer
▲ Pull Out Light Pipes with AutoOff
and Dimmer
▲ Surge & Spike Protection
▲ 8 Rear Outlets
(with Power Adapter Friendly Positioning)
▲ One Front-mounted Unswitched
Power Outlet
PB4X4PRO rear panel
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▲ Easy to read LED Input Voltage and
Current Metering
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RECORDING
TABLE OF CONTENTS
TM
ARTcessories are taking the audio world by storm and
quickly becoming a popular brand with musicians, DJs and
studio engineers everywhere around the World.
Split, combine, mix, power... you name it. On stage, in the
studio, in your living room, they’re easy to use and are built
to last. For those times when you need a little box to fix a
big need or to make more out of a smaller project,
ARTcessories have you covered.
You’ll discover a robust line of useful tools which include a
complete range of direct boxes, headphone amps, small
mixers, mic cable combiner/splitters and much more.
ARTcessories are designed to deliver affordable solutions
for a multitude of audio needs for any size project.
The Dual RDB is the ideal interface solution for any application where
stereo or dual line level signals from recording interfaces, computers,
mixers, iPods, consumer audio or video machines need to be connected
to XLR microphone or 1/4-inch instrument level inputs.
The unit has two high quality isolation transformers that prevent
ground loops when connecting various systems together.
RECORDING
The Dual RDB accepts 1/4" TRS and XLR line level inputs and outputs
mic or instrument levels. The Dual RDB's variable level controls allow
volume control to be set at the source rather than in the studio, AV
room, audio closet or installation rack. A 20Hz to 20kHz frequency
response ensures the Dual RDB will function transparently with any
high quality audio source.
APPLICATIONS:
Dual RDB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
• Re-amping interface for multiple amps
TURNTABLE PREAMPLIFIER
• Stereo/Dual direct box
DJPREII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
• Variable Input pad for mic or instrument inputs
PHANTOM POWER
• Stereo Audio/Video interface to low level inputs
Phantom I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Phantom II Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
LIVE
DIRECT BOXES
▲ Dual 1/4-inch TRS and XLR balanced line level inputs
AVDirect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
▲ Transformer isolated XLR balanced microphone
level outputs
XDirect / ZDirect . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
DualXDirect / DualZDirect . . . . . . . . . . . . . . . . . . . . 43
▲ Transformer isolated 1/4-inch TRS balanced instrument
level outputs
ISOLATION BOXES
DTI / CleanBOX II / CleanBOXPro . . . . . . . . . . . . . . 44
AUDIO UTILITIES
CoolSWITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
FEATURES
▲ 20Hz to 20kHz Frequency Response
HOME RECORDING
▲ Variable Level Controls with Mute
▲ Channel Two source selectable between Channel One
or Channel Two Input
SPLITTER BOXES
SplitComPro / PROSplit . . . . . . . . . . . . . . . . . . . . . . 45
▲ Channel Two output phase switch
HEADPHONE AMPLIFIERS
HeadAmp4 / HeadAmpV . . . . . . . . . . . . . . . . . . . . . 46
HeadTap / MyMonitor . . . . . . . . . . . . . . . . . . . . . . . 47
MICRO MIXERS
SplitMix4 / PowerMIX III . . . . . . . . . . . . . . . . . . . . . 48
STUDIO
ProMIX / MacroMIX . . . . . . . . . . . . . . . . . . . . . . . . . 49
PATCH BAYS
XPatch / TPatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
USB INTERFACES
TConnect / XConnect / MConnect . . . . . . . . . . . . . . 51
SPECIFICATIONS
ARTcessories Products . . . . . . . . . . . . . . . . . . . . . . 61
DJ
artproaudio.com
39
TURNTABLE PREAMP
Two Channel 48 Volt Phantom Power Supply
II
The Phantom II Pro is designed to do one thing and do it well. It
provides clean, reliable phantom power for one or two condenser
microphones in a rugged, compact, and portable unit. Innovative low
power circuitry generates the higher voltage necessary for powering
microphones while maximizing battery life. The Phantom II Pro
installs inline between your microphone and a balanced line input on
your gear. Balanced lines offer increased immunity to external
electrical noise, such as hum. Since a balanced system minimizes
induced noise, it is the preferred method of connecting audio gear,
especially when long lengths of cable are used.
Phono Preamplifier
The DJPRE II is a high quality phono preamp designed for your home
and studio. It acts as an interface between your turntable and your
audio recording system. The analog input capacitance can be
switched between 100pF and 200pF to optimize phono cartridge
response. A switchable low cut filter removes rumble while leaving
the audio pristine. The front gain trim control and signal/clip LED
allow you to optimize the preamp’s gain for a wide range of input
sources. The built-in low noise phono preamp circuitry is highly
accurate and precisely conforms to the RIAA standard. The Line
Output jacks are low impedance and can work with any sound card.
FEATURES
▲ XLR Connectors for Balanced Inputs and Outputs
▲ Low Power, High Efficiency CMOS Circuitry for Long Battery Life
Using a Standard 9 Volt Battery (Alkaline Recommended)
▲ Can Be Powered with an External Power Supply from AC Mains
The Phantom II Pro is an invaluable tool in application areas including
(but not limited to): home or professional recording studios, live
sound, PA, permanent installs, DJ, AV, podcasting and broadcasting.
Use it with mixers, audio processors, digital audio workstations or
anywhere you need phantom power for your microphones.
Housed in an all aluminum black anodized case, the DJPRE II can be
powered by a wide variety of external supplies. If you need to
amplify and EQ your vinyl records to interface with your audio workstation, sound card, or main monitor system, the DJPRE II gives you
flawless audio reproduction in a rugged and reliable package.
▲ Rugged Extruded Aluminum Case with Accessible
Battery Compartment
▲ LED Lighted On/Off Switch
▲ Low Noise, Low Distortion Circuitry
DIRECT BOXES
Multi-Input Audio/Video Direct Box
PHANTOM POWER
Phantom I
48V Phantom Power Supply
The Phantom I is an excellent phantom power source for any high
quality condenser microphone. Designed to deliver clean power
without coloring the signal path, the Phantom I is remarkably clean
and quiet. Ideal for use with any microphone requiring 9 to 48 volts,
the Phantom I comes with its own power supply and is suggested for
use in any application where clean, regulated phantom power is
required for optimum microphone response.
Different condenser microphones specify different amounts of
required phantom power. As a rule these ratings can range from 48
volts all the way down to 9 volts. Fortunately, there is some flexibility
in terms of matching phantom voltage to your microphone. A rough
rule of thumb would be “more is better.”
Conversely, a microphone will generally perform best driven by not less
than its rated voltage so, for a 48V microphone, you would obtain best
results with 48 volts of phantom power. The Phantom I is a great choice
for the above needs.
The AV Direct is the ideal input solution for any application where stereo
MP3 players, Laptop computers, consumer DVD players, consumer HiFi
equipment or video machines have to be connected to a single XLR
microphone level input. Unlike standard gender bender cables or DI boxes,
the AV Direct can accept virtually any input connection and output level
(including amplified speaker outputs) and offers remote level control, ideal
for setting the volume of your component at the source, rather than in a AV
room, audio closet or installation rack.
The AV Direct has stereo RCA, 1/8th inch and 1/4-inch TRS line level inputs,
as well as a 1/4-inch and bare wire pressure clip speaker level inputs. A
switchable 4.8 kHz high-cut filter, ground lift and variable level control allows
the AV Direct to effectively filter out any extraneous unwanted noise while
offering variable volume control at source. The speaker level inputs are
heavily padded and transformer isolated from the XLR output, allowing
amplified speaker level (up to 100 watts @ 8 ohms) to be tapped off, and sent
to a microphone level input. A 20 Hz to 20 kHz frequency response ensures
the AV Direct will function seamlessly with any high quality audio source.
FEATURES
▲ Transformer Isolated XLR Microphone Level Output
▲ 20 to 20 kHz Frequency Response
▲ Stereo RCA, 1/8th-inch & 1/4-inch TRS Line Level Inputs
▲ 1/4-inch & Pressure Clip Speaker Level Inputs
▲ Variable Level Control
▲ Switchable 4.8 kHz High-cut Filter
▲ Ground Lift
For example, a 24-volt condenser microphone will run perfectly on 48
volts. In fact, microphones rated at as little as 9 volts can often operate
on 48 volts, but you should check with the manufacturer first.
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▲ Balanced 150 ohm Output
artproaudio.com
41
DIRECT BOXES
DIRECT BOXES
Professional Active Direct Box
The Xdirect is a high quality active interface that allows you to
connect your instrument, line, or even speaker level audio signals to
any balanced input. The high impedance single-ended 1/4-inch or
XLR inputs are buffered and converted by a very low noise active
circuit before being sent to an isolated balanced low impedance
output. The Xdirect has an extremely wide, flat frequency response
and can handle high input signal levels while still maintaining an
isolated, balanced low impedance output. This gives the Xdirect a
very clean and neutral sound with virtually any source even over long
cable runs in high noise environments, making it superior to any
standard active DI box.
As an active device, the Xdirect requires a battery or phantom power
to operate; however it does not create a load on the output of your
instrument or audio source making it a superior solution for passive
pickups, or situations where extremely long cable runs are required.
A switchable low pass filter cuts out all very high frequency interference
including radio frequency interference and digital computer noise
artifacts. This Bessel filter design is particularly effective when using the
Xdirect as an interface between computer based audio workstations,
digital audio interface or Laptop and any PA or recording console.
The compact black anodized all aluminum case and flexible power
design allows the Xdirect to provide years of trouble-free service. The
Xdirect is the obvious choice whenever you have to interface high
impedance sources with a low noise balanced system, live sound, PA,
permanent fixed install or DJ applications.
The DUALXDirect provides two independent high quality active
interfaces that let you connect instrument, line, or speaker level
signals to a mixer or other balanced inputs. Each of the high
impedance 1/4-inch and XLR inputs (provided via "combi" jacks) are
buffered and converted by very low noise active electronics into an
isolated, balanced, low impedance signal output. The DUALXDirect
has an extremely flat and wide frequency response and can handle
high signal levels. This gives the DUALXDirect a very clean and
neutral sound with a wide variety of signal sources and over long
signal runs in high noise environments.
The DUALXDirect''s active circuitry is powered by phantom voltage
from the OUTPUT connections or by an internal 9V battery, when
external power is not available. When powered by a battery, it draws
less than 7.5 mA which should provide more than 100 hours of
operation with a new battery (alkaline recommended). If phantom
power is available, then the DUALXDirect will automatically draw its
power from the external source. The POWER ON/OFF switch lights
more dimly when the unit is running off of the battery, lights more
brightly when it is running off of phantom power, and is off when the
unit is inactive.
The input attenuator switches allow for a wide range of signal levels
and the input THRU jacks allow for tapping off of your signal chain.
The ground lift switches let you totally separate the input and output
signal grounds, when appropriate, to isolate two systems, thereby
reducing hum and ground-loop noise.
The compact black-anodized all aluminum case and it's active design
allow the DUALXDirect to provide years of trouble free service in Live
Sound, Permanent/Fixed Install, D.J., and virtually any PA application.
It's full feature set, rugged construction, and high-end specifications
make the DUALXDirect the obvious choice.
Professional Passive Direct Box
The Zdirect is a high quality totally passive interface that lets you
connect instrument, line, or speaker level signals to a mixer or other
balanced input thru a high performance audio isolation transformer.
The high impedance single-ended 1/4-inch input is converted by the
transformer into an isolated balanced low impedance signal source.
The Zdirects audio transformer has an extremely flat and wide
frequency response and can handle high signal levels while still
maintaining an isolated balanced low impedance output. This gives
the Zdirect a very clean and neutral sound with a wide variety of
signal sources and over long signal runs in high noise environments.
The Input Attenuator switches allow for a wide range of signal levels
and the Input Thru jack allows for tapping off of your signal chain.
The Ground Lift switch lets you totally separate the input and output
signal grounds, when appropriate, to isolate two systems, thereby
reducing hum and ground-loop noise.
What further sets the Zdirect apart from other “DI” boxes are its
extended features and versatility. We have added a switchable low
pass Filter that cuts out all very high frequency interference. The Bessel
filter on the output is placed out of the audio range and is primarily
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artproaudio.com
intended to reduce radio frequency interference before it gets into the
main system. The filter is also very effective in reducing any digital
computer noise artifacts when using the Zdirect as an interface
between a computer based audio workstation and your monitors. The
Phase Invert switch, while not normally included with your run of the
mill DI box, has been added to allow you to switch signal polarity right
at the source. This feature is especially handy when you are
combining a direct tap with a microphone feed in the mix.
The compact black anodized all aluminum case and its passive design
allow the Zdirect to provide years of trouble free service in Live Sound,
Permanent/Fixed Install, D.J., and virtually any PA application. It’s full
feature set, rugged construction, and high-end specifications make
the Zdirect the obvious choice.
The DUALZDirect provides two independent high quality totally passive
interfaces that let you connect instrument, line, or speaker level signals
to a mixer or other balanced inputs through high performance audio
isolation transformers. Each of the high impedance single-ended
1/4-inch inputs is converted by a transformer into an isolated,
balanced, low impedance signal output. The DUALZDirect's audio
transformers deliver an extremely wide flat frequency response while
handling high input levels ensuring a very clean and neutral tone.
An input attenuator switches allow for a wide range of signal levels
and the input thru jacks allows for tapping off of your signal chain.
The ground lift switches let you totally separate the input and output
signal grounds, when appropriate, to isolate two systems, reducing
hum and ground-loop noise.
are highly effective in reducing any digital computer noise artifacts especially when using the DUALZDirect with a computer-based audio
workstation. Phase Invert switches, while not normally included on
"run of the mill" DI boxes have been added to allow you to switch
signal polarity right at the source. This feature is especially handy when
you are combining a direct tap with a microphone feed in the mix.
The compact black-anodized all aluminum case and it's passive design
allow the DUALZDirect to provide years of trouble free service in Live
Sound, Permanent/Fixed Install, D.J., and virtually any PA application.
Switchable low-pass filters on the outputs cut very high frequency
interference. Placed out of the audio range these Bessel filters reduce
radio frequency interference before it gets into the main system and
artproaudio.com
43
ISOLATION BOXES
UTILITIES
CoolSWITCH
A/B-Y Switch
Dual Transformer / Isolator
The DTI (Dual Transformer/Isolator) is a high quality totally passive
audio interface that uses a pair of high performance transformers to
totally separate input and output signal grounds, thereby isolating
two systems and reducing hum and ground-loop noise. The DTI's
audio transformers have an extremely flat and wide frequency
response and can handle high signal levels while maintaining an
isolated balanced output. This gives the DTI a very clean and neutral
sound with a wide variety of signal sources. The transformers are
wound for 1:1 unity gain and are designed to be used with
impedances from 600 ohms to 100 kohms.
What further sets the DTI apart from other lesser isolation boxes is its
connection versatility. We have provided XLR, 1/4-inch phone, and
RCA type phono connections on all inputs and outputs. This allows
the DTI to easily fit into virtually any audio system and be the clean
patch point between all types of systems.
Microphone Splitter / Combiner
Passive Hum Eliminator
The ARTcessories SPLITComPro is an ideal audio utility to use in an
application where you need to split a low impedance microphone
signal to feed two separate mixers, or where it’s necessary to
combine balanced low impedance microphone signals from two
microphones into a single channel input.
degradation by isolating grounds between components, for example,
breaking the ‘loop’ between a synthesizer and a mixer, a sub mixer
and the front-of-house console or between rack effect units and a
guitar amps’ Fx send and return.
The CleanBOX II easily removes ground loops without any signal
The CLEANBoxPro provides two channels of unbalanced to balanced
level conversion and two channels of balanced to unbalanced level
conversion in a rugged, compact, and portable unit. Balanced lines
offer increased immunity to external electrical noise, such as hum.
Since a balanced system minimizes induced noise, it is the preferred
method of connecting audio gear, especially when long lengths of
cable are used.
One section of the CLEANBoxPro converts two channels of
consumer-level unbalanced input signals into two channels of pro
line-level balanced output signals. It has two RCA jack inputs and a
stereo mini-phone jack input connected in parallel. The balanced
output feeds two XLR male jacks.
The other section of the CLEANBoxPro converts two channels of
line-level balanced input signals into two channels of consumer
unbalanced output signals. It has two XLR female input jacks. The
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artproaudio.com
SPLITTER BOXES
SPLITComPro
CleanBOX II
One of the most frustrating problems in a complex audio system is the
dreaded ground or 60-cycle hum. Typically, these loops are created
when one or more units are connected together, each with its own
ground plane. This creates what are commonly called “ground loops”
which can act like antennae, picking up a 60 Hz (or higher harmonics)
hum transmitted by electrical wiring, lighting dimmers, transformers
and other components and adding that ‘noise’ to the audio signal
path. The safest way to eliminate unwanted noise created by ground
loops is with the CleanBOX II.
The CoolSWITCH delivers full A/B-Y switching, plus parallel common in/out jacks. It lets you
switch a common source signal (guitar, bass or keyboard) between two amplifiers or amp
channels. It also allows you to switch two source signals (like two different guitars) into
the same amplifier. The CoolSWITCH features LED indicators that show whether A, B or Y
routing is in effect. The Y-routing combines the “A” and “B” outputs in parallel so two
amplifiers can be driven at once.
AS A SPLITTER: The SPLITComPro provides one direct-coupled output
and one isolated output from a single microphone. Applications
include sending the direct output to the main or FOH mixer, and the
second isolated output to a monitor or recording mixer. The MAIN MIC
OUTPUT passes phantom power from the main mixer to the MAIN MIC
INPUT for use with condenser microphones. Phantom power is blocked
from passing to the ISOLATED MIC OUTPUT.
power passes through each output to their respective input, (MAIN to
MAIN, ISOLATED to ISOLATED), however phantom power is blocked
from passing between the MAIN and ISOLATED signal paths. Only the
audio passes between the MAIN and ISOLATED signal paths (it is
present on all inputs and outputs).
AS A COMBINER: The SPLITComPro provides one output from two
microphone inputs. The PHASE switch can be used to invert the relative
phase of the ISOLATED MIC INPUT. Applications include dual miking of
percussion instruments, choirs, and instrument amplifiers. Phantom
The SPLITComPro includes a GROUND switch which, in the LIFT
position, will provide full ground isolation between the MAIN MIC
INPUT (& OUTPUT) and the ISOLATED MIC INPUT (& OUTPUT) to reduce
noise due to ground loops between connected AC-powered units.
PROSplit
unbalanced output feeds two RCA jacks and a stereo mini-phone
jack connected in parallel.
Each section has stereo level controls to optimize signal levels. An
LED indicator lights when power is applied.
The CLEANBoxPro can be an invaluable tool in application areas
including (but not limited to) home or professional recording
studios, live sound, PA, permanent installs, DJ, AV, consumer HiFi,
podcasting and broadcasting. The CLEANBoxPro can be used with:
mixers, audio processors, laptop computers, computer sound cards,
CD/DVD players, video gaming machines, MP3 player/recorders,
powered monitors and digital audio workstations.
High Performance Microphone Splitter
The PROSplit provides one direct output and one transformer isolated output
from a single microphone. Applications include sending the direct output to
the main or Front-of-House mixer, with the second isolated output being sent
to a monitor or recording mixer. The direct output passes phantom power
from the main mixer to the microphone for use with condenser microphones.
The PROSplit includes a ground-lift switch on the isolated output to reduce
noise due to ground loops between connected equipment. For versatility
the PROSplit also features an attenuator pad switch on the input that can
be used to alternately connect a preamplified (line-level) signal to the two
microphone-level PROSplit outputs.
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45
HEADPHONE AMPS
The ARTcessories HeadAmp4 is a simple, cost effective solution for
any studio requiring up to four additional channels of headphone
amplification, each with individual volume control. Ideal for virtually
any home or project studio, the HeadAmp4 easily adds additional
headphone outputs to any mixer, computer audio interface,
workstation, iPod, media player or laptop without creating any
additional load on the existing headphone source.
The HeadTAP is simply designed to connect headphones to a speaker
line or signal source and uses the speaker line signal to supply power
so no batteries are required. With the HeadTAP you also have the
option of connecting many boxes in series via the 1/4-inch
mono/stereo loop jacks. Connect up to two sets of headphones and
adjust volume with a single control.
Front View
Capable of driving up to eight sets of headphones using a combination
of 1/4-inch and 1/8-inch TRS connections, the HeadAmp4 can easily
accommodate a variety of headphone models with varying impedances.
With up to 20dB of additional gain, input signals to the HeadAmp4
can be taken from any line level or amplified headphone source. The
HeadAmp4 can even be driven from other headphone amplifiers,
including other HeadAmp4’s when creating a multi-unit distribution
network. Multiple HeadAmp4’s can be connected to a single source
using the 1/4-inch and 1/8-inch TRS parallel inputs.
Rear View
FEATURES
The HeadAmp4 is the ideal headphone distribution and control solution
for complex recording studio environments, assisted listening systems,
education workstations and can easily be used as a stereo distribution
amplifier for commercial PA installations.
HEADPHONE AMPS
▲ Four Output Channels, each with Individual Volume Control
▲ Four Stereo 1/4-inch Plus Four Stereo 1/8-inch TRS Outputs
Sometimes floor monitors are a problem. There isn’t enough room for
them onstage or someone sits in and can’t hear the monitors or the
drummer can’t hear them well enough. Or perhaps its a pick-up gig or
a rehearsal and you didn’t have enough time to set them up. In any
case, sometimes it would be preferable just to put on headphones and
somehow connect them to the PA. That’s where a headphone tap
comes in. This is a passive device with an input to connect the PA or
monitor amplifier and an output to connect the headphones. A volume
control regulates the headphone level and internal resistors keep the
unit’s impedance high enough to protect the headphones. It also
protects the amplifier from encountering too low a load impedance
while powering tap units, the speaker system or several tap units by
themselves. The HeadTAP will also work with a stereo headphone
amplifier for use in recording situations when you want to add
headphones for additional performers.
FEATURES
▲ The HeadTAP provides quick and convenient tapping facilities
to permit powering headphones directly from an amplifier.
▲ Dual parallel 1/4-inch stereo/mono input jacks permit
daisy-chaining taps and/or speakers.
▲ Stereo/mono input selector button.
▲ Dual 1/4-inch stereo/mono headphone jacks
▲ Level control
▲ Stereo 1/4-inch and Parallel 1/8-inch Inputs
The compact stackable chassis design and all-metal construction
ensure long-term reliability and convenient installation of the
HeadAmp4 for use in any studio or commercial audio application.
With home recording studios becoming more common, there is a
need for flexible, professional headphone monitoring sufficient for a
number of performers. Basic headphone amps offer one set of stereo
inputs and volume-controlled headphone outputs. The HeadAMP V
offers more options in studio applications. For example, it may be
necessary to connect more than one stereo source – possibly the aux.
or monitor output from the mixer. Or perhaps the stereo output of a
tape deck or CD player. It may be necessary to insert reverb or EQ on
certain headphone channels, or to interconnect two headphone amps
for additional performers. Naturally, there needs to be a level control
for each headset with clean, accurate reproduction and plenty of
power. The HeadAMP V features five headphone channels – each
with its own level control. Additionally, it has 1/4-inch stereo out
jacks and 1/4-inch TRS insert jacks on channels 3, 4 & 5 for adding
reverb, EQ, or other external effects.
46
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▲ Handles Line Level or Headphone Amp Level Input
▲ Stackable Chassis Design for Multi-unit Applications
Problem: A performer needs to hear him/herself through
headphones exclusively or mixed with the output of a mixer, CD
player, tape deck, or other stereo line level source. Only the
microphone signal, however, should be going to the main mixer.
Front View
Solution: Connect MyMONITOR between the microphone and line
source, and the mixer. The Mic and line Monitor levels can then be
adjusted for mix and volume through the headphones. Only the
microphone signal will go to the board.
Since MyMONITOR can be AC or battery powered, the unit can be
used on a large stage or wherever there is no AC outlet nearby.
Rear View
Dynamic or condenser microphones can be used since phantom power
would come through the Mic Thru jack from the mixer or other source.
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47
MICRO MIXERS
ProMIX
Three Channel Microphone Mixer
Problem: You need to add 3 mics to a mixer, which only has one
available channel.
Passive Four Channel Stereo / Mono Mixer / Splitter
Solution: Insert a ProMIX between the mics and the mixer. Each
microphone channel on the ProMIX has both phantom power and
low-frequency cut selectable via DIP switches plus a level control. The
balanced XLR line output can be connected to a microphone input on
the mixer and headphones or a powered monitor can be connected to
the Phone/Aux output. And if AC power is not available, the ProMIX runs
on batteries as well.
The SPLITMix4 is a fully passive hybrid mixer that offers a wide variety of
configurations. Mix 4 stereo input channels down to 1 stereo output, split
a stereo input signal to distribute 4 stereo output channels, or combine the
configurations for a wide range of applications. You can even configure the
SPLITMix4 as 4 stereo input channels thru 4 independent level attenuators
to 4 stereo output channels.
Independent stereo level controls are provided on each channel. All 1/4-inch
connections are stereo TRS (Tip, Ring, Sleeve) and all channel connections
have intelligent switching to allow for a wide variety of configurations.
Plugging into a mix input channel removes it from the splitter bus, and
plugging into a splitter output channel removes it from the mix bus. Stereo
or mono operation is determined by the type of 1/4-inch plug and cabling
that you use.
The fully passive design of the SPLITMix4 has no active circuitry to add noise
or distortion, and virtually any signal level can be handled. The Level
attenuators cover a wide range and offer over 90dB of attenuation and
channel isolation. The SPLITMix4 is designed primarily as a line level device
with medium input and output impedances.
FEATURES
▲ Four Stereo Input Channels
▲ Stereo Output
▲ Independent Stereo Level Controls are Provided on
each Channel
▲ Passive Design (No Power Supply Required)
▲ Over 90dB of Attenuation
PowerMIX III
Four Channel Personal Stereo Mixer
48
FEATURES
either mono or stereo signals and mixes them down to stereo or
identical L/R mono signals.
▲ Three Input Channels each with Their Own Pan and Level Controls
artproaudio.com
▲ 3 low-impedance XLR Microphone Channels
▲ Low-impedance Transformer Balanced XLR Line Output
▲ 3 Level Controls
▲ Mono 1/4-inch Phones/Aux. Output
▲ 3 Phantom Power on/off Switches
▲ Clip LED (fires 3dB below the onset of clipping)
▲ 3 Low Frequency Cut on/off Switches
▲ On/Off Power switch, with LED
Four Channel Personal Mixer
Solution: Use a simple stereo mixer. The PowerMIX III can accept
The PowerMIX III is a three-channel true stereo line mixer. Each channel
features a level and pan (“balance”) control. It accepts either mono or
stereo signals, and mixes them down into stereo or identical L/R mono
signals. The PowerMIX III has an added master level control which
controls output volume, and headphone level adjusts the level of the
two headphone outputs.
FEATURES
MacroMIX
Problem: How do you connect a CD player, a synthesizer and the
line output from a bass amp to a recording device?
Additionally, the PowerMIX III provides a headphone output with its
own level control.
The ProMIX mixes three microphones into a transformer-balanced
output with a robust feature set. It has three XLR inputs (each with
individually switchable phantom power), Low Cut switches and Level
control. Throw in a 1/4-inch Aux/Headphone output along with an LED
Clip & Power indicators and power switch and you’re ready to go. From
the novice to the professional, the ProMIX has the essentials for
successful line mixing in any environment.
▲ Three Sets of 1/4-inch Left and Right Unbalanced Inputs
Problem: You need to mix a CD and a VCR’s audio output with a
synthesizer and the line output of a bass amp and send it all to a PC
or cassette deck.
▲ The Left Inputs May be Used for Mono Signals
Solution: Connect the MacroMIX between your audio sources and
▲ A Master Level Control Regulates all Three Channels
the PC or cassette deck. Levels can be mixed and a headphone jack
lets you monitor the mix. Mix it up however you like!
▲ Four Input Channels, Ch. 1 and 2 Have Dual L/R RCA Inputs,
with Ch. 3 you Have a Choice of One 1/4-inch or Dual L/R
RCA Inputs and Ch. 4 has a 1/4-inch Unbalanced Input.
The MacroMIX is a four-channel line mixer, each channel is equipped
with independent volume controls and selection of lineouts. This unit
has two 1/4-inch inputs, three sets of stereo RCA inputs (that are
mixed to mono) with plenty of gain for your power amp. The
MacroMIX output section has two mono RCA outputs and one
1/4-inch output and is powered by an external 12V DC power supply.
▲ Four Level Controls, One for each Channel
▲ Left and Right Unbalanced 1/4-inch Outputs
▲ The Headphone Channel Features Dual, Stereo 1/4-inch Outputs
so That Two Headsets can be Connected at Once
▲ The Headphone Level Control Adjusts Both Outputs
FEATURES
▲ Dual Mono RCA Output Connectors
▲ 1/4-inch Line Out/Mono Headphone Output Jack
▲ Active Pre-amplification and Mixing Circuitry
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49
PATCH BAYS
The ARTcessories XPatch organizes your cables and provides a
convenient, easily accessible central location to make audio
connections. It also saves wear and tear on the connectors of your
audio equipment because all connections are now made and
changed at your patch bay
FEATURES
▲ 3 channels of balanced direct signals
USB INTERFACES
The ART TConnect USB Guitar Cable provides an easy way to directly
connect any electric guitar (or other electrified musical instrument
with a mono phone jack) to your computer's USB port for convenient
recording without any extra equipment. The output of the TConnect is
a studio quality 16-bit, 44.1 kHz or 48 kHz digital audio signal. No
special drivers are required, just "plug and play" with your Windows
PC or Mac.
▲ High quality passive interface
▲ XLR connectors (female on front, male on rear)
▲ All connections made via reliable PCB wiring
▲ Rugged extruded aluminum case
▲ Three year warranty
The ART XConnect USB Microphone Cable provides an easy way to
directly connect any dynamic microphone to your computer’s USB port
for convenient recording without any extra equipment. The output of
the XConnect is a studio quality 16-bit, 44.1 kHz or 48 kHz digital
audio signal. No special drivers are required, just "plug and play"
with your Windows PC or Mac.
The ARTcessories TPatch is a compact 8-point balanced patchbay that
organizes your cables into a convenient central location on your studio
desktop. Designed for maximum flexibility, the TPatch has 1/4-inch
TRS phone connectors user selectable normal and half-normal modes.
Simply plug the XLR connector into your microphone and the USB
connector into your computer. That’s all there is to it. The first time you
connect your XConnect to your computer, all the necessary drivers will
be automatically installed and the cable will then be ready to use. The
XConnect may be used with any recording software that supports USB
audio devices.
The compact black-anodized all aluminum case and it’s passive
design allow the TPatch to provide years of trouble free service.
FEATURES
▲ Eight points of balanced direct signals
▲ Four channels of linked input/output pairs
▲ Switchable half normal and normal modes of
operation (with through type connections)
▲ 1/4-inch TRS phone jack connectors
▲ Rugged extruded aluminum case
▲ Three year warranty
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The ART MConnect USB MIDI Cable provides an easy way to directly
connect any MIDI device, including musical instruments, controllers
and sound modules, to your computer's USB port for convenient use
with audio workstation software for music production, recording or
sequencing without any extra equipment. The MConnect supports up
to sixteen channels in and out. Indicators simplify troubleshooting
incoming and outgoing MIDI data. No special drivers are required,
just "plug and play" with your Windows PC or Mac. Drivers will
automatically install on first use.
artproaudio.com
51
TubeOpto 8™
Input Impedance
Mic
Line
Instrument
Pro Channel II
6.4K Ohm
20K Ohm
2.5M Ohm
Input Impedance
Output Impedance
Balanced outputs
Analog in to Digital out
THD
200 Ohm balanced
12 Hz - 20 kHz +0, -1dB @ 44.1 kHz sample rate
1 kHz
< .015% @ -30dB ref clipping
20-20 kHz
< .033%
HPF
80 Hz, 1-pole
Mic/Line
Equivalent Input Noise
-130dBu, Input shorted, Max gain, “A” wtd.
Instrument -105dBu, Input shorted, Max gain, “A” wtd.
Mic/line
Maximum Input Level
+18dBu balanced w/Pad
Instrument +15dBu
Mic
Maximum Gain
64dB (XLR to balanced output)
Instrument 36dB (1/4” to balanced output)
balanced
Maximum Output level
+20dBu
unbalanced +14dBu
Output level switch
Lowers Max. Output by 10dB @ -10dB setting
Meter clip light
-2dB ref. A/D clip
Wordclock Range
40 kHz - 52 kHz
Sample Rate Settings
44.1 kHz, 48 kHz, ADAT, Wordclock
A/D Dynamic Range
105dB (“A” wtd.)
D/A Dynamic Range
105dB (“A” wtd.)
Dimensions HxWxD (in)
1.75 x 19.0 x 14.4
Dimensions HxWxD (mm) 44.5 x 483 x 367
Weight (lbs/kg)
13.2 / 6
Power Requirements
USA – 105-125VAC AC 60 Hz Export units configured
for country of destination.
Minimum System Requirements
ADAT interface port
Note: 0dBu = 0.775V RMS, 0dBV = 1V RMS
Voice
Channel
Maximum Input Level
Maximum Gain
Maximum Output level
Output Level At Meter 0 VU
Preamp
Low Cut Filter
EQ
Boost/Cut
Low Freq. Tuning
MID 1 Freq. Tuning
MID 2 Freq. Tuning
High Freq. Tuning
Compressor/Limiter
+12 dB on each band
40 / 120 Hz Selectable
20 Hz to 2 KHz continuously variable
200 Hz to 20 KHz continuously variable
6 KHz / 18 KHz Selectable
Attack Time
250 uSec. to 100 mSec.
100 mSec to 3 Sec.
Release Time
Compression Ratio
2:1 to 30:1
Dimensions HxWxD (in)
3.50 x 19.0 x 9.17
Dimensions HxWxD (cm)
8.9 x 48.25 x 23.3
Weight
11lbs /5kg
Power Requirements
USA – 105 to 125 VAC/ 60 Hz Export units configured for
country of destination.
Note: 0 dBu = 0.775 VRMS, 0 dBV = 1 VRMS
ProMPA II
Digital MPA II
Analog Section:
Frequency Response:
Dynamic range:
CMRR:
THD:
Equivalent Input Noise:
Maximum Input Level:
Maximum Instrument Input:
Input Impedance:
Maximum Output Level:
Output Impedance:
Maximum Gain:
Meter Calibration:
High Pass Filter:
Digital Section:
A/D Frequency Response:
A/D Dynamic Range:
A/D THD:
A/D Input Sensitivity:
A/D Insert Input Impedance:
Power Requirements:
Dimensions: (HxWxD in)
Dimensions: (HxWxD mm)
Weight: (lb/kg)
15 Hz to 48 kHz (+0, -1dB) @ normal plate voltage
15 Hz to 120 kHz (+0, -1dB) @ high plate voltage
>110dB ("A" weighted)
>90dB
<0.005% (typical)
-129dBu (XLR, "A" weighted)
+19dBu (cannon)
+17dBu
150-3000 ohms adjustable (XLR)
>800 kohms (Instrument)
+27dBu (XLR)
< 47 ohms (XLR)
75dB
0 VU = +4dBu output (+4dB mode)
0 VU = -10dBV output (-10dB mode)
single pole, 10-200 Hz adjustable
15 Hz to 48 kHz (+0, -1dB) @ normal plate voltage
15 Hz to 120 kHz (+0, -1dB) @ high plate voltage
>110dB ("A" weighted)
>90dB
<0.005% (typical)
-129dBu (XLR, "A" weighted)
+19dBu (cannon)
+17dBu
150-3000 ohms adjustable (XLR)
>800 kohms (Instrument)
+27dBu (XLR)
< 47 ohms (XLR)
75dB
0 VU = +4dBu output (+4dB mode)
0 VU = -10dBV output (-10dB mode)
single pole, 10-200 Hz adjustable
@44.1 kHz sample rate: 10 Hz to 21.25 kHz (+0, -1dB)
@88.2 kHz sample rate: 10 Hz to 42.50 kHz (+0, -1dB)
@196 kHz sample rate: 10 Hz to 81 kHz (+0, -1dB)
>112dB "A" weighted (typical)
<0.001% @1K (typical)
+12dBu min
>10 kohms
USA – 105 to 125 VAC / 60 Hz Export units configured
for country of destination
3.50 x 19.0 x 8.75
88 x 482x 222
10.5 / 4.7
USA – 105 to 125 VAC / 60 Hz Export units
configured for country of destination
3.50 x 19.0 x 8.75
88 x 482 x 222
10.5 / 4.7
DPSII
PREAMP
Microphone Gain
Instrument Gain
EQ
Boost/Cut
Low Freq. Tuning
MID 1 Freq. Tuning
MID 2 Freq. Tuning
High Freq. Tuning
COMPRESSOR/LIMITER
Attack Time
Release Time
De-esser Tuning
Compression Ratio
Expander Slope
Frequency Response
Analog In to Analog Out
Analog In to Digital Out
THD
1 kHz
20 to 20 kHz
Equivalent Input Noise
Mic/Line
Instrument
Digital Section
Wordclock Range
Sample Rates
Min System Requirements
Dimensions HxWxW (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
52
Balanced Output
Unbalanced Output
Insert Outputs
Frequency Response
THD
Equivalent Input Noise
Mic
150 to 3.4K Ohms, variable
Instrument
2.5M Ohms
7.5K Ohms
Preamp Insert
600 Ohms balanced
300 Ohms
300 Ohms
12 Hz to 100 KHz +0, -1 dB
1 KHz < .015% typical, 20 to 20 KHz < .033% typical
-128 dBu, Max gain, “A” weighted
Mic/Line
-109 dBu, Max gain, “A” weighted
Instrument
+18 dBu balanced
Mic
+15 dBu
Instrument
70 dB (XLR to balanced output)
Mic
Instrument
64 dB (1/4” to balanced output)
balanced
+24 dBu
unbalanced
+20 dBu
+4 dBu/-10dBV
Microphone Gain 0 dB to +56 dB
Instrument Gain
+3 dB to +50 dB
10 - 250 Hz, 1-pole, 6 dB/Octave
Input Connections
+3dB to +60dB
+3dB to +40dB
PRO VLA II
+12dB on each band
50/150 Hz Selectable
100 Hz to 3 kHz continuously variable
500 Hz to 15 kHz continuously variable
5K/15 k Hz Selectable
Input Connections
Output Connection
50 uSec. to 100 mSec.
100 mSec to 3 Sec.
.5 kHz to 15 kHz continuously variable
1:1 to 20:1
1:1.5
12 Hz to 100 kHz +0, -1dB
12 Hz to 20 kHz +0, -1dB @ 44.1 kHz sample rate.
16 Hz to 42 kHz +0, -1dB @ 96 kHz
< .015% typical
< .033% typical
-130dBu, Input shorted, Max gain, “A” weighted
-105dBu, Input shorted, Max gain, “A” weighted
30 kHz to 204 kHz
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176 kHz, 192 kHz
USB 1.1 compliant, Windows 98SE , Mac OS 9.1
3.5 x 19.0 x 9.17
88.9 x 482 x 239
10.5 / 4.8
artproaudio.com
Input Impedance
Maximum Levels
Range Switch
Inputs
Output
Output Gain
Frequency Response
Dynamic Range
THD @ 0dB out
EIN
Attack Time
Release Time
Slope
Maximum Attenuation
Power:
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight: (lb/kg)
Output Connection
XLR-F (balanced) (x2)
1/4-inch TRS unbalanced (x2)
XLR-M balanced (x2)
1/4-inch TRS unbalanced (x2)
balanced/unbalanced 10 kohms
+4dBu/-10dBV selectable
+20dBu (in +4dBu mode) / +10dBV (in –10dBV mode)
+20dBu (R load > 10K, 0.1%THD)
+20dB max
10 Hz to 100 kHz (+/- 0.5dB)
>100dB (20-20 kHz)
<0.1% (typical)
@+4dBu: -99dBu ('A' weighted)
@-10dBV: -107dBu ('A' weighted)
0.25msec. to 50msec. variable
150msec. to 3 sec, variable
Variable: 2:1 to >10:1
30dB
100-125VAC, 25W - (USA) Internally fused
3.5 x 19 x 9.17
89 x 483 x 233
10 / 4.6
Specifications subject to change without notice
Frequency Response
Dynamic Range
Maximum Gain
CMRR
THD
EIN
Maximum Input Level
Maximum Output Level
Phantom Power
Tube Type
Insert Inputs
TPSII
XLR-F (balanced) (x2)
1/4-inch TRS unbalanced (x2)
XLR-M balanced (x2)
1/4-inch TRS unbalanced (x2)
5 Hz to 50 kHz (+0 to -1dB)
>100dB
80dB (XLR to XLR); 74dB (inst. input to XLR)
>75dB (typ. @ 1 kHz)
.01% (clean), 0.1% (warm)
-129dBu (“A” weighted, XLR to XLR)
+19dBu (XLR); +22dBu (inst. input)
+28dBu (XLR); +22dBu (1/4-inch)
+48 volts
Hand Selected 12AX7A
1/4-inch TRS. Tip = input, Ring = analog output.
10K Input impedance.
0dBu= digital clip point at input level max.
(Level control offers full mute at min setting)
Sample Rates
Wordclock Input
Optical Input
Optical Output
ADAT Mode
Input Connections
Output Connection
Frequency Response
Dynamic Range
Maximum Gain
CMRR
THD
EIN
Maximum Input Level
Maximum Output Level
Phantom Power
Tube Type
Power
Dimensions HxWxD in)
Dimensions HxWxD (mm)
Weight: (lb/kg)
XLR-F (balanced) (x2)
1/4-inch TRS unbalanced (x2)
XLR-M balanced (x2)
1/4-inch TRS unbalanced (x2)
5 Hz to 50 kHz (+0 to -1dB)
>100dB
80dB (XLR to XLR); 74dB (instrument input to XLR)
>75dB (typ. @ 1 kHz)
<.01% (clean settings), <0.1% (warm settings)
-129dBu (“A” weighted, xlr to xlr)
+19dBu ( XLR); +22dBu (inst. input)
+28dBu ( XLR); +22dBu (1/4-inch)
+48 volts
Hand Selected 12AX7A
110-125 VAC, 16W
1.75 x 19 x 6.5
44 x 482 x 32
8.1 / 3.6
Internal Selectable 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz
BNC connector, 100 ohms (terminated), 3.25V p-p min,
25 kHz (min) to 105 kHz (max) sample rate.
ADAT optical Selectable for sample rate locking.
Also used as a source of ADAT data to be transmitted
on unused ADAT channels.
ADAT optical or S/PDIF selectable.
Contains 24 bit ADAT data arranged DPS CH1 = ADAT
odd channel(s),CH2 = even channel(s). ADAT Input sync,
Wordclock sync or internal (ADAT master) 44.1 kHz*,
48 kHz sample rate selectable.
DPS II digital data can be transmitted on ch1/2, 3/4, 5/6, 7/8, 1-8, or none (ADAT bypass if ADAT
input is valid). Unused channels data source is ADAT input decoded data.
Dimensions HxWxD (in) 1.75 x 19 x 6.5
Dimensions HxWxD (mm) 44 x 482 x 32
Weight (lbs/ kg)
8.5 / 3.85
Specifications subject to change without notice
artproaudio.com
53
USB Dual Pre
USB Phono Plus
PROJECT SERIES
PROJECT SERIES
Frequency Response
THD
CMRR
Channel Separation
Signal to Noise Ratio
Equivalent Input Noise
Input Impedance
Output Impedance
Maximum Signal Level
Maximum Gain
Phantom Power
Input Connections
Output Connection
A/D-D/A
Computer Interface
Frequency Response
THD
Hum and Noise
Input Impedance
Maximum Input Level
Maximum Gain
Analog Output Connections
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
Note: 0dBu = 0.775Vrms
20 Hz – 20 kHz (+0, -1dB)
<0.01% @ 1 kHz
>60dB
>75dB
>90dB (Ref 0dBu)
-120dBu typical (XLR balanced, gain @ maximum)
>300 kohms 1/4-inch input, >4 kohms XLR input
600 ohms (balanced 1/4-inch), 50 ohms (headphone 1/8-inch)
+6dBu in, +10dBu out (balanced), +4dBu out (single ended)
+48dB (balanced in-out)
Switch selectable, +48 Volts DC, filtered, current limited
XLR / 1/4-inch TRS “Combo” jack balanced or unbalanced
1/4-inch TRS balanced, 1/8-inch TRS headphone mini jack
16 Bit, 44.1 kHz or 48 kHz, USB selectable from computer
USB 2.0 compliant, Windows 98SE/ME/2000/XP/Vista/Win7,
Linux, Mac OS9.1/OS-X computers with native USB support
7.5-12V DC @ <150mA (external) or USB bus powered
or 9V Battery
1.75 x 4.6 x 4.7
44.5 x 117x 119
1.3 / 0.59
Maximum Output Level
Filter Type/Response
A/D & D/A
Digital Audio Interface
Computer Interface
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
10 Hz –50 kHz, +/-.5dB
.01% Typical @ 1 kHz
>90dB below clipping
47 kohms/100pF (phono) 270k Ohm (line)
40mVrms @1 kHz (phono), +19dBu (line)
45dB @ 1 kHz (phono), +6dB (line)
RCA (preamp line output),
1/8” (USB monitor/headphone output)
+6dBu (1.4Vrms)
Switchable, High Pass, -3dB @ 22 Hz
16 bit, 44.1 kHz or 48 kHz USB selectable
TOSLINK in and out, S/PDIF coax (RCA) in
USB 2.0 compliant, Windows 98SE/ME/2000/XP/Vista/
Win7/Linux or Mac OS9.1/OS-X
7-12V DC or 9-12V AC @ 150mA,
or USB buss powered
1.85 x 4.6 x 4.5
47 x 117 x 114
1.35 / .61
USB Dual Tube Pre
USB Mix
PROJECT SERIES
PROJECT SERIES
Input Connections
Input Impedance
Output Connection
Output Impedance
Input Connections
Frequency Response
Maximum Gain
THD
CMRR
Equivalent Input Noise
Maximum Input Level
Max Output Level
Phantom Power
Tube Type
Compressor Slope
Compressor Range
Low Cut Filter
USB A/D-D/A
S/PDIF A/D
Computer Interface
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight
Note: 0 dBu = 0.775Vrms
XLR / 1/4-inch “Combo” jack - XLR balanced or 1/4" unbalanced
1M Ohms 1/4-inch input, >4K Ohms XLR input, 20K Ohms Insert Input
1/4-inchTRS balanced, 1/8-inch TRS headphone mini jack
600 Ohms (balanced 1/4-inch), 300 Ohms (INSERTS),
< 50 Ohms (headphone 1/8inch)
20 Hz – 27K Hz (+0, -1 dB)
+65 dB (balanced in-out), +45dB (unbalanced input, balanced output)
<0.01% @ 1K Hz
>60 dB
-129 dBu typical (“A” wtd., Shorted XLR balanced input, gain @ maximum)
unbalanced (Inst): +16 dBu, balanced (mic): +12dBu, Insert input : +7.5dBu
unbalanced: +5dBu, balanced: +11dBu, +7.5dBu (insert output)
Switch selectable, +48Volts DC, filtered, current limited
Hand Selected 12AX7A
progressively increasing slope, 10:1 max.
28dB of attenuation max.
-3dB @ 70Hz, 6dB/Octave
16 Bit, 44.1K Hz or 48K Hz, USB selectable from computer,
0.4 ms A/D latency @ 44.1K Hz
24 bit, 44.1K or 48KHz switch selectable,
0.4 ms A/D latency @ 44.1K Hz
USB 2.0 compliant, Windows 98SE/ME/2000/XP/Vista,Win 7,
Apple OS9.1/OSX computers with native USB support
9VAC @ 1000mA (external)
1.75 x 5.9 x 6.5
44.5 x 150 x 165
2.5 lbs. (1.14 kg) with power supply and packaging
Output Connections
Input Impedance
Output Impedance
Frequency Response
THD
CMRR
Phase Response
Signal to Noise Ratio
Equivalent Input Noise
Maximum Input Level
Maximum Output Level
Maximum Gain
(In to Main Out)
(In to USB)
(USB to Out)
Phantom Power
A/D-D/A
Computer Interface
Power Requirements
Dimensions (HxWxD in)
Dimensions (HxWxD mm)
Weight (lbs/kg)
Note: 0 dBu = 0.775Vrms
54
artproaudio.com
XLR balanced / 1/4" unbalanced “Combo” jack (Ch1 input)
1/4" balanced or unbalanced (Ch2-Ch3 inputs)
1/4" TRS balanced (Main Mix outputs)
1/4" TRS stereo (Monitor output)
240k Ohms (Inst-HiZ), 20k Ohms (Line)
(Ch1, Ch2-Ch3 1/4" inputs)
>4k Ohms (Ch1 XLR input)
<1k Ohms (balanced 1/4"), <500 Ohms (unbalanced 1/4")
100 Ohms (Monitor output)
20 Hz – 20 kHz (+0, -1 dB)
<0.01% @ 1 kHz
>54dB typical
All connections are phase coherent
>90dB typical (Ref 0dBu)
-120dBu typical (XLR balanced, max gain),
-100dBu typical (1/4")
+4dBu (XLR input), +14dBu (1/4" input)
+14dBu (Main Mix outputs), +13dBu (Monitor output)
+53dB (XLR), +32dB (1/4") (Ch1 input)
+10dB (1/4") (Ch2-Ch3 inputs)
+44dB (XLR), +23dB (1/4") (Ch1 input)
+1dB (1/4") (Ch2-Ch3 inputs)
+14dB (Main Mix outputs), +13dB (Monitor output)
Switch selectable, +48V DC, filtered, current limited
16 Bit, 44.1 kHz or 48 kHz, USB selectable from computer
0.4 ms A/D latency @ 44.1 kHz
USB 2.0 compliant, Windows 7, Vista, XP, 2000, ME, 98SE
Mac OS 9.1 / OS X computers with native USB support, Linux
5.0V DC @ <500 mA (external) or
USB bus powered @ 150 mA typical
1.6 x 4.0 x 4.75
41x 101 x 121
1.1 / 0.5 (with power supply and USB cable)
Specifications subject to change without notice
TubeMP
TubeMP USB
PROJECT SERIES
Input Connections
PROJECT SERIES
XLR-F (balanced)
1/4-inch TRS unbalanced
XLR-M balanced, (<300 Ohm)
1/4-inch TRS unbalanced (600 Ohm)
10 Hz – 40 kHz, +/-1dB (typical)
>100dB (20 Hz to 20 kHz)
Hand Selected 12AX7A (x1)
<0.05% (typical)
>60dB (typical)
<-130dB (XLR to XLR A-weighted)
+17dBu (1/4-inch), +16dBu (XLR)
+20dBu (1/4-inch), +26dBu (XLR)
USB 2.0 Compliant (TubeMP USB Only)
70dB (XLR - XLR), +50dB (1/4-inch- XLR)
Switchable, 20dB
Switchable, 4.7 kohms / 600 ohms
Switchable, -3dB @ 40 Hz
Switchable, Normal/Invert
Switchable, Fast & Musical FET limiter, >20dB limit range
Switchable, +48VDC, filtered, current limited
Precise LED array with a fast attack and moderate release
Aluminum Anodized with integral/stackable rubber sides
10VAC @ 700mA (typical)
1.75 x 5.9 x 6.5
44.5 x 150 x 165
2.5 / 1.14
Output Connection
Frequency Response
Dynamic Range
Tube Type
THD
CMRR
EIN
Maximum Input Level
Maximum Output Level
USB Connection
Maximum Gain
Input Gain Pad
XLR Input Impedance
Low Cut Filter
Output Phase
Output Limiter Type
Phantom Power
Signal Metering
Chassis Type
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
TubeMP / TubeMP StudioV3
Input Connections
Output Connection
Dynamic Range
Frequency Response
Tube Type
THD
CMMR
EIN
Maximum Gain
Maximum Input Level
Maximum Output Level
Input Impedance
Output Impedance
Power Requirements
Controls
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
XLR-F (balanced)
1/4-inch TRS unbalanced
XLR-M balanced, (<300 Ohm)
1/4-inch TRS unbalanced (600 Ohm)
>100dB (20 Hz to 20 kHz)
10 Hz to 20 kHz (+0,-1dB)
Hand Selected 12AX7A (x1)
<0.1% (typical)
>75dB (typ @1 kHz)
-129dBu (‘A’ weighted XLR to XLR)
70dB (XLR to XLR typical)
+14dBu (XLR), +22dBu (1/4-inch)
+28dBu (XLR), +22dBu (1/4-inch)
2 kohms (XLR), 840 kohms (1/4-inch)
600 ohms (XLR), 300 ohms (1/4-inch)
9 VAC @ 700ma (typ)
Input Gain, Output Level, Phase Invert,
Phantom On/Off, Pad
V3™ (TubeMP StudoV3 Only!)
2 x 5.5 x 5
51 x 140 x 127
2.5 / 1.1
SyncGen
PROJECT SERIES
BNC Word-Clock Outputs 5 Vpp Into 75 ohms ≤
5.75 Vpp Unterminated
40 mA RMS Maximum Output
S/PDIF Outputs
0.5 Vpp Into 75 ohms, ≤
1 Vpp Unterminated
All Audio Bits Set To Zero “Digital Black”
Available Sample Rates
44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176 kHz, 192 kHz
Timebase Accuracy
± 10 ppm @ 0ºC To 50ºC
Jitter
100 pSec RMS
External Power Supply
8.5 – 14 VDC Or 7 – 12 VAC @ 500 mA
Dimensions HxWxD (in)
1.87 x 4.61 x 4.27
Dimensions HxWxD (mm) 47.5 x 117 x 108
Weight (lbs/ kg)
1.89 / 0.86 With Power Supply
Auto-Tune Pre
PROJECT SERIES
Input Connections
Output Connection
Frequency Response
Dynamic Range
Tube Type
THD
Maximum Input Level
Maximum Output Level
Low Cut Filter
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
XLR-F (balanced) / 1/4-inch TRS unbalanced
XLR-M balanced / 1/4-inch TRS
20 Hz – 20 kHz, +/-1dB (typical) (XLR-XLR)
>100dB "A" wtd.
Hand Selected 12AX7A (x1)
<0.05% (typical)
+16dBu (1/4-inch), +15dBu (XLR), +16dBu (Insert)
+18dBu (1/4-inch), +24dBu (XLR), +18dBu (Insert)
Switchable, -3dB @ 100 Hz
9VAC @ 780mA (typical)
1.75 x 5.9 x 6.5
44.5 x 150 x 165
2.5 / 1.14
Tube MP/C
PROJECT SERIES
CMMR
Equivalent Input Noise
> 60 dB @ max gain
-128dBu typical
("A" wtd., Shorted XLR balanced input, gain @ max)
Frequency Response
30 Hz - 60 kHz +/- 1 dB balanced output,
20 Hz - 60 kHz +/- 1dB 1/4" output
Input Impedance
1M Ohms 1/4" input, 5K Ohms XLR input
Input/Output Connections Input: XLR balanced or 1/4" balanced.
Output: 1/4" unbalanced XLR balanced,
transformer isolated.
Maximum Gain
+80 dB (balanced in-out, +64dB
(unbalanced input, balanced output)
Maximum Input Level
unbalanced (Inst): +15 dBu, balancd (mic): +10 dBu
Maximum Output Level
+19 dBu (Line mode)
Output Impedance
XLR: <600 Ohms, 1/4": <300 Ohms
Low Cut Filter
-3 dB @ 70 Hz, 6dB/Octave
Phantom Power
Switch selectable, +48Volts DC, filtered, current limited
Chassis Type
All aluminum black anodized with integral rubber sides
Power Requirements
9VAC @ 1000mA (external)
Attack Time
<1 ms (limit), 20 ms (comp.)
Release Time
150ms (fast), 20ms - 3s Program dependant (Auto)
Total Harmonic Distortion <0.1% @ max gain
Tube Type
Hand selected 12AX7a
Compressor Slope
2:1 (Comp.) / 11:1 (Limit)
Dimensions HxWxD (in)
1.75 x 5.9 x 6.5
Dimensions HxWxD (mm) 44.5 x 150 x 165
Weight
2.9 lbs (1.32 kg)
Specifications subject to change without notice
artproaudio.com
55
HeadAmp
6PRO
HeadAmp6
Input Impedance
Balanced Main Input
40K Ohm balanced
Direct In TRS Jack
1/4-inch TRS unbalanced
Stereo Aux TRS Jacks
21K to 15K Ohm
Output Impedance
Headphone output
≤ 12 ohms
Frequency Response
20 Hz – 50 kHz +0, -2dB
CMRR @ 1 kHz
≥ 40dB
High Frequency EQ
± 12dB @ 10 kHz Shelving
Low Frequency EQ
± 12dB @ 100 Hz Shelving
Maximum Input Level
≥101dB (typical - (unit set to max gain)
Maximum Gain @ 1 kHz 25.6dB (Tone Controls Set Flat)
Maximum Output Level (Headphones)
600 Ohm @ 1 kHz
1.67 kohms (XLR), 1M Ohm (1/4-inch)
32 Ohm @ 1 kHz
600 ohms (XLR), 300 ohms (1/4-inch)
8 Ohm @ 1 kHz
+15dBu (XLR), +21dBu (1/4-inch)
Power Requirements
120VAC / 50-60 Hz, or 240VAC / 50 Hz,
15 Watts
Consumption
60 Watts Maximum / 18 Watts Idle
Dimensions HxWxD (in)
1.75 x 19.0 x 7.55
Dimensions HxWxD (mm) 44.5 x 482.6 x 190.5
Weight (lb/kg)
4.1 / 1.8
Ref: 0dBu = 0.775VAC RMS
Type
Capsule
Polar Pattern
Frequency Response
MAX SPL
Low Frequency Roll-Off
Pre-attenuation Pad Switches
S/N Ratio
Sensitivity
Impedance
Recommended Load Impedance
Power Requirement
Dimensions (in)
Dimensions (mm)
Weight (oz/g)
Type
Capsule
Polar Pattern
Frequency Response
Max SPL
Sensitivity
S/N Ratio
Impedance
Equivalent Noise Level
Power Requirement
Dimensions (in)
Dimensions (mm)
Weight
56
Input Connections
Output Connections
Input Impedance
Output Impedance
Maximum Input Level
Maximum Output Level
Maximum Gain
Signal to Noise Ratio
THD
Dynamic Range
CMRR
Phase Shift
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
XLR-F balanced (2), 1/4-inch balanced (9)
XLR-M balanced (2), 1/4-inch balanced (2),
1/4-inch stereo headphone (18)
40 kohms Main, 10 kohms Direct,
15 kohms Aux In
<12 ohms Headphones
+21dBu (all inputs)
150mW (600 Ohm Headphones)
500mW (32 Ohm Headphones)
150mW (8 Ohm Headphones)
22dB
>90dB typical
<.01% typical
>101dB typical
>40dB
<10 degrees, 20 Hz - 20 kHz
120VAC / 50-60 Hz, or 240VAC / 50 Hz,
15 Watts
1.75 x 19 x 6
44.5 x 483 x 152
5.3 l/ 2.4
M-One
M-Two
M-Three
Cardioid Condenser
32mm Diaphragm Side Address
Cardioid
20 Hz to 20 kHz
135dB
Wide Diaphragm Side Address Condenser
32mm Gold Sputtered Low Mass Diaphragm
Cardioid
20 Hz to 20 kHz
135dB / 147dB (0, -12dB)
12dB / octave @ 100 Hz & 200 Hz
-6dB, -12dB
78dB
-35dB (+/-2dB)
<200 ohms
1000 ohms
48v Phantom Power
1.5 x 6.9
37 x 175
16 / 469
Wide Diaphragm Side Address Condenser
Dual 32mm Gold Sputtered Low Mass Diaphragm
Cardioid, Omnidirectional & Figure-8
20 Hz to 20 kHz
135dB / 145dB (0, -10dB)
12dB / octave @ 100 Hz, 12dB / Octave @ 200 Hz
-6dB, -12dB
78dB
-35dB (+/-2dB)
<200 ohms
1000 ohms
48v Phantom Power
1.5 x 6.9
37 x 175
16 / 469
78dB
-35dB (+/-2dB)
<200 ohms
1000 ohms
48v Phantom Power
1.5 x 6.9
37 x 175
16 / 469
M-Four
M-Five
M-Six
Multi-pattern Tube Condenser Microphone
1.35mm Gold Sputtered Dual Diaphragm
Omnidirectional, Cardioid,
Figure-8 with 6 Gradient Stages (Nine Total
20 Hz to 20 kHz
134dB
12mv/Pa = 2dB (0dB=1v/Pa 1000 Hz)
70dB @ 1Pa
<200 Ohm
20dB (IEC268-4 A Weight)
Dedicated Power Supply
2.25 x 10
5.7 x 25.4
4.25 lbs / 1.9kg
Ribbon Microphone
2.5-micron 35mm Aluminum Ribbon
Figure-8
Type
Capsule
Polar Pattern
Frequency Response
MAX SPL
Low Frequency Roll-Off
Pre-attenuation Pad Switches
S/N Ratio
Sensitivity
Impedance
Power Requirement
Dimensions (in)
Dimensions (mm)
Weight
artproaudio.com
30 Hz to 15 kHz
148dB
-54dB (+/-3dB)
70dB @ 1Pa
<600 ohms
18dB (A-weighted IEC 268-4)
2.75 x 6.5
70 x 160
8oz / 200g
XL231
M-One/USB
Specifications subject to change without notice
Pencil Condenser Microphone
22mm Gold Sputtered Diaphragm
Cardioid
20Hz to 20,000Hz
134dB / 147dB (0, -15dB)
12dB / octave @ 75Hz & 150Hz
0, -10dB, -15dB
76dB
-37dB (+/-2dB)
<200 ohms
48v Phantom Power
6.38 x .87
162 x 22
5oz/140g
Type
Capsule
Integrated Headphone Output
Controls
Headphone Power
Analog-to-Digital Conversion
Frequency Response
Max SPL
Sensitivity
S/N Ratio
Impedance
Output
Dimensions (in)
Dimensions (mm)
Weight (oz/g)
Input Connections
Input Impedance
Input Maximum Level
Output Connection
Bands
Type/Accuracy
Slide Potentiometers
Side Address Cardioid Condenser USB
32mm Wide Diaphragm Gold Sputtered
1/8th-inch TRS Stereo Jack
Headphone Level, Microphone
Playback Mix Level
2 x 50mW
24-bit / 48 kHz sampling rate
20 Hz to 20 kHz
139dB
-38dB (+/-2dB)
83dB
<600 ohms
USB Type 2.0 (3m cable included)
1.5 x 6.9
37 x 175
16 / 469
Range
HQ-231
Input Connections
Output Connection
Frequency Bands
Filter Type
Range
Frequency Response
Output Noise
THD + Noise
Maximum Input Level
Maximum Output Level
Input Impedance
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
XLR-F balanced, 1/4-inch TRS balanced, RCA
XLR-M balanced, 1/4-inch TRS balanced, RCA
2x31, 1/3 octave, ISO spacing
Constant Q –3% center accuracy
+/–6dB or +/–12dB selectable
20 Hz– 20 kHz, +/–0.5dB
–94dBm (unweighted)
.01% (20 Hz–20 kHz+10dBu)
+22dBm
+22dBm
20 kohms typical
95–125VAC, 50/60 Hz, 190–250VAC, 50 Hz (Switchable)
3.5 x 19 x 7
89 x 482 x 178
13.5 / 6.1
351
341
Input Connections
Output Connection
Frequency Bands
Filter Type
Slider Travel
Range
High Pass Filter
Low Pass Filter
Input Impedance
Maximum Input Level
Output Impedance
Maximum Output Level
Frequency Response
THD + Noise
S/N Ratio
Channel Separation
Controls
Indicators
Power (Switchable)
Power Consumption
Dimensions HxWxD (in)
Dimension HxWxD (mm)
Weight (lb/kg)
Overall Gain Range
Impedance
Maximum Level
RFI Input Filters
Bypass Switching
Clip LED Threshold
High Pass Filter
High Trim
Low Trim
Frequency Response
THD+Noise
IM Distortion (SMPTE)
Signal to Noise Ratio
Headroom
Dynamic Range
Channel Separation
Common Mode Rejection
Line Voltage
Input AC Power
Construction
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
XLR-F balanced, 1/4-inch TRS balanced, RCA
XLR-M balanced, 1/4-inch TRS balanced, RCA
2 x 15, 2/3 octave, ISO spacing
Constant Q - 3% center accuracy
20mm w/ positive center detent
+/-6dB or +/-12dB selectable
10 Hz to 250 Hz, 12dB/oct
3 kHz to 40 kHz, 12dB/oct
20 kohms (bal), 15 kohms (unbal)
+22dBm
<150 ohms (Typ)
+18dBm (bal), +22dBm (unbal)
20 Hz to 20 kHz, +0.5dB
0.01%
-94dB
>50dB
Power On/Off Switch, L/R Filter,
Range Switch, L/R Bypass Switch
L/R Level Control, Ground Lift Switch
6dB/12dB Range LEDs, Bypass / Clip LEDs
95-130VAC, 50/60 Hz
12 watts
1.75 x 19 x 6.75
44 x 482 x 171
7.1 / 3.2
XLR-F balanced, 1/4-inch TRS balanced, RCA
XLR-M balanced, 1/4-inch TRS balanced, RCA
1 x 31, 1/3 octave, ISO spacing
Constant Q - 3% center accuracy
20mm w/ positive center detent
+/-6dB or +/-12dB selectable
10 Hz to 250 Hz, 12dB/oct
3 kHz to 40 kHz, 12dB/oct
20 kohms (bal), 15 kohms (unbal)
+22dBm
<150 ohms (Typ)
+18dBm (bal), +22dBm (unbal)
20 Hz to 20 kHz, +0.5dB
0.01%
-94dB
>50dB
Power On/Off Switch, L/R Filter,
Range Switch, L/R Bypass Switch
L/R Level Control, Ground Lift Switch
6dB/12dB Range LEDs, Bypass / Clip LEDs
95-130VAC, 50/60 Hz
12 watts
1.75 x 19 x 6.75
44 x 482 x 171
7.1 / 3.2
Specifications subject to change without notice
XLR-F balanced, 1/4-inch TRS balanced, Euroblock
9.4 kohms (balanced); 12 kohms (Unbal.)
+24dBu (Level Control at Center)
XLR-M balanced, 1/4-inch TRS balanced, Euroblock
2 x 31, 1/3 Octave, ISO Spacing
Constant Q / 3% Center Frequency
45mm, Positive Center Detent, Metal Shaft,
Grounded Center Tap.
(+/- 6dB) or (+/- 12dB) Selectable w/ Enhanced Cut
(+6/-9dB) or (+12/-18dB)
Off to +6dB (sliders centered)
<200 ohms
+26dBu
Yes
Passive, Relay
3dB below clipping. Sensed at all gain stages.
10 to 250 Hz -12dB/OCT.
+/- 4dB @ 10 kHz
+/- 4dB @ 40 Hz
+0/-0.25dB 20-20 kHz
<0.005% @ +4dBu 20-20 kHz
<0.004% @ +4dBu
Greater than 96dB, Ref. 0dBu 20 to 20 kHz, unweighted
+24dB, Ref. 0dBu
Greater than 120dB
>90dB @ 1 kHz
>60dB @ 1 kHz
95 - 125 VAC 50/60 Hz 190 - 250 VAC 50/60 Hz
31 Watts
All Steel Chassis, Aluminum Front Panel
8 x 19 x 5.25
203 x 483 x 133
12 / 5.4
355
XLR-F balanced, 1/4-inch TRS balanced, RCA
XLR-M balanced, 1/4-inch TRS balanced, RCA
2 x 31, 1/3 octave, ISO spacing
Constant Q - 3% center accuracy
20mm w/ positive center detent
+/-6dB or +/-12dB selectable
10 Hz to 250 Hz, 12dB/oct
3 kHz to 40 kHz, 12dB/oct
20 kohms (bal), 15 kohms (unbal)
+22dBm
<150 ohms (Typ)
+18dBm (bal), +22dBm (unbal)
20 Hz to 20 kHz, +0.5dB
0.01%
-94dB
>50dB
Power On/Off Switch, L/R Filter,
Range Switch, L/R Bypass Switch
L/R Level Control, Ground Lift Switch
6dB/12dB Range LEDs, Bypass / Clip LEDs
95-130VAC, 50/60 Hz
12 watts
3.5 x 19 x 7
89 x 482 x 178
11.6 / 5.2
artproaudio.com
57
CX310
CX311
MX225
Input Connections
Output Connections
Frequency Response
X-over Frequency Ranges
X-over Frequency Ranges
X-over Filters
XLR, 1/4-inch TRS balanced (x2)
XLR, 1/4-inch TRS balanced (x4)
10 Hz to 20 kHz, +0/-1.5dB
x1 80 Hz to 920 Hz
x10 800 Hz to 9.2 kHz
Fourth-order Linkwitz-Riley
XLR, 1/4-inch TRS balanced (x2)
1/4-inch unbalanced (x5)
10 Hz to 40 kHz, +/–.5dB
250 Hz to 6 kHz
Dynamic Range
Signal to Noise Ratio
Input Impedance
Output Impedance
Maximum Input Level
Maximum Output Level
THD
Maximum Gain
Slope
Power
>85dB
118dB
20 kohms
150 ohms
+13dB
+21dBu
<0.05% (20 Hz to 20 kHz)
+4dB
24dB/Octave
105-120 VAC, 3VA (USA)
Input Connectors
Output Connectors
Input Impedance
Maximum Input level
Output Level
Output Impedance
Maximum Gain
Signal-to-Noise
THD
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
Subwoofer Filter Type
Subwoofer Frequency Range
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
Fourth-order Linkwitz-Riley
24dB/octave state-variable
>114dB
>95dB,
100 kohms
220 ohms
+21dBu
+21dBu
<0.01% (20 Hz-20 kHz, 0dBu)
XLR-F balanced (x4)
XLR-M balanced (x10)
47 kohms
+20dBu balanced
+24dBu balanced
200 ohms
+6dB
>90dB typical
.05% Typical
1.75 x 19.0 x 7.25
44.5 x 483 x 184
5.34 / 2.42
Export units configured for country of destination
1.75 x 19 x 6.75
44 x 482 x 171
8.6 / 3.9
Two-pole Butterworth, 12dB/octave
50 Hz to 250Hz
1.75 x 19 x 5
44 x 482 x 127
6.2 / 2.8
SLA-4
Input Connections
XLR, 1/4-inch TRS (balanced)
XLR, 1/4-inch TRS, Euroblock (balanced)
Output Connections
Input Impedance
Multi-Way Binding Post
XLR - 44 kohms (balanced)
1⁄4-inch - 22 kohms (unbalanced)
1V for Full Power Output into 8 ohms
100 Watts RMS per channel
130 Watts RMS per channel
260 Watts RMS mono
175 Watts RMS mono
Multi-Way Binding Posts
44 kohms (balanced)
22 kohms (unbalanced)
1V for full power output into 8 ohms
200 watts RMS per channel
280 watts RMS per channel
560 watts RMS per channel
350 watts RMS per channel
1/4-inch TRS (balanced/unbalanced)
Euroblock (balanced/unbalanced)
Multi-Way Binding Post
44 kohms (balanced)
22 kohms (unbalanced)
1V for full power output into 8 ohms
4 x 100 Watts/Channel RMS
4 x 140 Watts/Channel RMS
2 x 280Watts/Channel RMS
2 x 200 Watts/Channel RMS
2 ohms (stereo), short term
4 ohms (bridge), short term
4 ohms (normal operation), stable to 2 ohms
8 ohms (normal operation), stable to 4 ohms
>60dB (typical @ 1 kHz)
10 Hz to 40 kHz, +/-.5dB
<0.05% (typical)
>20V/uS
>100dB below clipping
>100
Toroidal
USA – 120VAC 60 Hz 600WATTS (max.)
Export units configured for country of destination
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
1.75 x 19 x 8
44 x 482 x203
15.2 / 6.9
balanced XLR (female front, male rear)
> -95 dB (typical)
> -95 dB (typical)
Steel 1U high, 19" rack mount
1.75 x 19 x 3.5
44 x 483 x 89
3.2 lbs. (1.4 kg)
artproaudio.com
Input Impedance
Output Impedance
Maximum Input Level
Phantom Power
Maximum Gain
Signal to Noise Ratio
THD
Equalizer Range
Equivalent Input Noise
CMRR
Phase Shift
Power Requirements
>60dB (typical @1 kHz)
10 Hz to 40 kHz, +/- .5dB
<0.05% (typical)
>20V/uS
>100dB below clipping>100
>100
Toroidal
100VAC 50 Hz 1000 watts (max.)
120VAC 60 Hz 1000 watts (max.)
220VAC 50 Hz 1000 watts (max.)
230VAC 50 Hz 1000 watts (max.)
240VAC 50 Hz 1000 watts (max.)
Export units configured for country of destination
Export units configured for country of destination.
1.75 x 19.0 x 13.5
44 x 483 x 343
19.8 / 9.0
1.75 x 19.0 x 13.5
44.5 x 482.6 x 190.5
19.8 / 9.0
Connectors
CMRR
Channel to channel isolation
Enclosure
Dimensions (HWD) (in)
Dimensions (HWD) (mm)
Weight
1/4-inch TRS balanced Phone Jacks
Better than -90 dB (-95 dB typical)
Better than -80 dB (-95 dB typical)
Steel 1U high, 19" rack mount
1.75 x 19 x 3.5
44 x 483 x 89
4.5 lbs (2.0 kg)
Specifications subject to change without notice
MX821
XLR-F balanced (x3)
1⁄4-inch unbalanced (x2)
3 pairs stereo RCA (6 total)
TRS balanced 1/4-inch (x2)
1/4-inch unbalanced (x1) / RCA (x2)
600/22 kohms mic/line XLR inputs
10 kohms RCA inputs
22 kohms 1/4-inch effects returns
50 ohms 1/4-inch main outputs
1 kohms RCA record outputs
100 ohms effects output
-10dBu/+20dBu mic/line XLR inputs
+20dBu RCA line inputs
+20dBu Effects inputs
+24dBu balanced main outputs
+20dBu RCA record outputs
+20dBu Effects output
+15 Volts DC (regulated / low noise)
56dB/26dB mic/line / 26dB RCA inputs
>90dB typical
.01% Typical
+/-12dB @ 100 Hz & 10 kHz
USA – 105 to 125 VAC / 50-60 Hz,
15 Watts typical
Dimensions HxWxD (in)
1.75 x 19.0 x 6.0
Dimensions HxWxD (mm) 44.5 x 483 x 152
Weight (lbs/kgs)
6.2 / 2.8
MX822
XLR-F balanced (8)
1/4-inch unbalanced (8)
RCA (1)
1/4-inch balanced TRS (1)
RCA (1)
2 kohms Mic
20 kohms Line
10 kohms Aux. Bus In
200 ohms balanced
100 ohms Prefade Out
Input Connections
-6dBu Mic
+18dBu Line
Frequency Response
THD
Phase Response
Signal to Noise Ratio
Equivalent Input Noise
+27dBu balanced
+21dBu unbalanced
+48 Volts DC (regulated/low noise)
65dB/39dB mic/line
>90dB typical
<.01% typical
-108dBu typical
>52dB (mic)
<10 degrees, 20 Hz - 20 kHz
120VAC / 50-60 Hz, or
240VAC / 50 Hz, 15VA
1.75 x 19 x 6
44.5 x 483 x 152
6.3 / 2.9
Output Connections
Input Impedance
Output Impedance
Maximum Input Level
Maximum Output Level
Maximum Gain
Phantom Power
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight
Total Harmonic Distortion:
S8-3Way
Maximum Input Level
Output Impedance
Frequency Response
THD+Noise
Phase Response
Common Mode Rejection
Voltage Insertion Loss
Dimensions H xWxD (in)
Dimensions HxWxD (mm)
Weight (lb/kg)
-1.4dBu at 20 Hz, ≤ 1% THD
+3.5dBu at 30 Hz, ≤ 1% THD
+9.4dBu at 50 Hz, ≤ 1% THD
Greater than 1.1 kohms at 1 kHz
(Typical driving source impedance is 150 ohms)
< 255 ohms at 1 kHz
(Typical output load impedance is 1 kohms)
20 Hz to 20 kHz, ±0.25dB @ -15dBu
-3dB at approximately 165 kHz
< 0.26% from 20 Hz to 20 kHz at –15dBu input
< 0.1% from 45 Hz to 20 kHz at –15dBu input
0.002% Typical at 1 kHz, –15dBu input
Less than 10 degrees at 20 kHz (ref. 1 kHz)
105dB @ 60 Hz
Greater than 80dB @ 3 kHz
Approximately 2dB at 1 kHz
1.75 x 19 x 3.75
44.5 x 482.6 x 95
3.75 / 1.7
Note: All measurements made from TRANSFORMER ISOLATED MICROPHONE OUTPUT
with PAD SWITCH out (off) and 150 Ohm balanced source feeding MICROPHONE
INPUT and 1K Ohm load connected to TRANSFORMER ISOLATED MICROPHONE
OUTPUT to simulate a typical “real world” microphone and microphone preamplifier.
0dBu = 0.775 VRMS
XLR female balanced (MIC)
1/4-inch TS unbalanced (Ch1-Ch8, Effects Return)
1/4-inch TRS stereo unbalanced
(EFX Buss, Main Expand)
XLR male balanced (Main)
1/4-inch TS unbalanced (Effects Send)
1/4-inch TRS stereo unbalanced
(Monitor, Main Expand, Headphone)
1k Ohms (MIC), 5k Ohms (Ch1-Ch8)
<1k Ohms (Main, balanced),
<25 Ohms (Headphone)
20 Hz – 20 kHz (+0, -1 dB) (Ch1-8 in, Main out)
<0.01% @ 1 kHz
All connections are phase coherent
>90dB typical (Ref 0dBu)
-120dBu typical (XLR balanced, max gain),
-100dBu typical (1/4")
-19dBu (MIC), +24dBu (Ch1-8)
+24dBu (Main), +18dBu (Monitor, Effects Send)
+60dB (MIC), +14dB (Ch1-8)
Switch selectable, +48V DC, filtered, current limited
USA: 95-125 VAC, 50-60 Hz,
Export units configured for country of destination
1.75 x 19 x 6
44.5 x 483 x 152
6.5 lbs. (2.95 kg)
S8
Frequency Response:
Input Impedance
>60dB (typical @1 kHz)
10 Hz to 40 kHz, +/- .5dB
<0.05% (typical)
>20V/uS
>100dB below clipping
>100
Toroidal
USA – 120vac 60 Hz 1000 watts (max)
P48
P16
Connectors
CMRR
Channel to channel isolation
Enclosure
Dimensions (HWD) (in)
Dimensions (HWD) (mm)
Weight
Output Connections
110 –125V AC / 50-60hz / 15W
Export units configured for country of destination
SLA-2
Min. Load Impedance-Stereo
Min. Load Impedance- Mono
CMRR
Frequency Response
THD
Slew Rate
Hum and Noise
Damping Factor
Transformer Type
Power
Input Connections
Maximum Output Level
SLA-1
Input Sensitivity
Stereo Output Power-8 ohms
Stereo Output Power-4 ohms
Bridged Output Power-8 ohms
Bridged Output Power-16 ohms
Stable into:
58
MX622
Phase Response:
Input Impedance:
20 Hz to 20k Hz, ±0.25dB @ -15 dBu,
-3dB @ Approximately 165 kHz
<0.26% From 20 Hz To 20 kHz @ –15 dBu
<0.1% From 45 Hz To 20 kHz @ –15 dBu
0.002% Typical @ 1 kHz, –15 dBu
<[email protected] 20 kHz (Ref. 1k Hz)
>1.1 kohms @ 1 kHz
(Typical Driving Source Impedance Is 150 ohms)
Output Impedance:
<255 ohms @ 1 kHz
(Typical Output Load Impedance Is 1 kohms)
Common Mode Rejection Ratio: >105dB @ 60 Hz >80dB @ 3 kHz
Voltage Insertion Loss:
Approximately 2dB @ 1 kHz
Maximum Input Level (1% THD): -1.4dBu @ 20 Hz
+3.5dBu @ 30 Hz
+9.4dBu @ 50 Hz
T8
Input Connections
Output Connection
Frequency Response
THD
Channel Separation
CMRR
Phase Shift
Insertion Loss
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight: (lb/kg)
Specifications subject to change without notice
XLR-F balanced
1/4-inch TRS balanced
RCA
XLR-M balanced
1/4-inch TRS balanced
RCA
10 Hz –50 kHz+/-.5dB @ +4dBu
.01% Typical @ 1 kHz,+18dBu,
<.1% @ 100 Hz, +24dBu
90dB typical
60dB typical
less than 5°, 20Hz – 20 kHz
4dB @ 100k Ohm Load,
5.5dB @ 600 Ohm Load
N/A – Passive Design
1.75 x 19 x 3.75
44.5 x 483 x 95
3.75 / 1.7
artproaudio.com
59
Power Capacity
Circuit Breaker
Power Outlets
Power Switch
Power Switch Illumination
Circuit Breaker
Filtering
Protection Circuit
Construction
Light Pipes
Metering
Metering
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
PB4x4
SP4x4
PS4x4
Dual RDB
1800 Watts
15 Amp
Rear Outlets ( x 8)
Front Location - On/Off
Yes - In “On” Position
Front Location
EMI & RFI
Surge & Spike
All-Steel Chassis
1.75 x 19 x 6.5
44 x 482 x 165
5.5 / 2.5
1800 Watts
15 Amp
Rear Outlets ( x 8)
Front Location - On/Off
Yes - In “On” Position
Front Location
EMI & RFI
Surge & Spike
All-Steel Chassis
2 Front Pull-Out,
Shock Mounted
Input Voltage, Linear
1.75 x 19 x 6.5
44 x 482 x 165
6.3 / 2.8
1800 Watts
15 Amp
Rear Outlets ( x 8)
Front Location - On/Off
Yes - In “On” Position
Front Location
EMI & RFI
Surge & Spike
All-Steel Chassis
2 Front Pull-Out,
Shock Mounted
Input Voltage, Linear
Load Current, Linear
1.75 x 19 x 6.5
44 x 482 x 165
6.6 / 3
Frequency Response
THD
PB4X4PRO
Power Capacity
Circuit Breaker
Power Outlets
Power Switch
Power Switch Illumination
Circuit Breaker
Surge & Spike Protection
Filtering
Protection Circuit
Construction
Light Pipes
1800 Watts
15 Amp
Rear Outlets (x 8) Front Outlet (x1)
Front Location - On/Off
Yes - In “On” Position
Front Location
Yes
APF™, EMI & RFI
Surge & Spike Protection
All-Steel Chassis
N/A
Metering
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
N/A
1.75 x 19 x 6.5
44 x 482 x 165
5.5 / 2.5
Switchable
Switchable (0dB, -20dB, -40dB)
50k Ohm
600 Ohm XLR Output Jack
50k Ohm
10 Hz - 50 kHz +/- 0.5dB @ +4dBu
2x5x3
51 x 127 x 76
dPDB™
Ground Lift
Input Attenuation
Instrument Input
Output Jack
Parallel Link Jack
Frequency response
Dimensions HxWxD (in)
Dimensions (mm)
60
PS4X4PRO
1800 Watts
15 Amp
Rear Outlets (x 8) Front Outlet (x1)
Front Location - On/Off
Yes - In “On” Position
Front Location
Yes
APF™, EMI & RFI
Surge & Spike Protection
All-Steel Chassis
2 Front Pull-Out,
Shock Mounted w/dimmer
Input Voltage
1.75 x 19 x 6.5
44 x 482 x 165
6.3 / 2.8
1800 Watts
15 Amp
Rear Outlets (x 8) Front Outlet (x1)
Front Location - On/Off
Yes - In “On” Position
Front Location
Yes
APF™, EMI & RFI
Surge & Spike Protection
All-Steel Chassis
2 Front Pull-Out,
Shock Mounted w/dimmer
Input Voltage, Load Current
1.75 x 19 x 6.5
44 x 482 x 165
6.6 / 3
dADB™
PDB™
Ground Lift
Input Attenuation
Instrument Input
Output Jack
Parallel Link Jack
Frequency response
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
SP4X4PRO
Switchable
Switchable (0dB, -20dB, -40dB)
50k Ohm
600 Ohm XLR Output Jack
50k Ohm
10 Hz - 50 kHz +/- 0.5dB @ +4dBu
2 x 5 x 5.75
51 x 127 x 146
artproaudio.com
Input Connections
Thru Connections
Output Cannections
Input Attenuation
Frequency Response
THD
Dynamic Range
Channel Separation
Maximum Input Level
Maximum Output Level
Power Requirements
Dimensions (in)
Dimensions (mm)
Weight
1/4" TRS balanced / unbalanced (2), 470k Ohm
1/4" TRS (2)
XLR male balanced (2), <600 Ohm
Switchable (0dB, -30dB)
10 Hz - 100 kHz +/- 0.5 dB @ +0 dBu
<.05% (typical)
> 100 dB (typical)
> 80 dB (typical)
+4, +24, +44 dBu (depending on attenuator setting)
+6 dBu (battery), +14 dBu (phantom)
9V @ 7.5 mA (battery, alkaline recommended) /
18-48V DC @ 6.4 mA (phantom power)
2 x 5 x 5.75
51 x 127 x 146
2.7 lbs (1.22 kg)
Specifications subject to change without notice
DjPRE II
20 Hz - 20 kHz, ± 0.5dB @ +4 dBu
.01% typical @ 1 kHz, +18dBu
<.05% @ 100 Hz, +18dBu
> 80dB (typical)
1/4" TRS balanced, XLR balanced female
1/4" TRS balanced, XLR balanced female
-20dB @100K load, -25dB @600 Ohm load
1.85 x 4.6 x 3.9
47 x 117 x 99
0.88 lbs / 0.40 kg
Channel Separation
Input Connections
Output Connections
Insertion loss
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight
Frequency Response
THD
Hum and Noise (S/N)
Input Impedance
Maximum Input Level
Maximum Gain
Input / Output Connections
Maximum Output Level
Filter Type/Response
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
AVdirect
Phantom I
Line Level Inputs
Other Inputs
Maximum Speaker Level Input
Output
Controls
Active or Passive
Frequency Response
Output Impedance
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
Output Phantom Power
Input Connector
Output Connector
Output Noise
Frequency Response
Current Drain
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
1/8th -inch TRS, 1/4-inch TRS, Stereo RCA
1/4-inch & Pressure Post Speaker Level Inputs
100 Watts rated @ 8 ohms
XLR balanced
Gain Control, Ground Lift, High-cut filter
Passive
20 Hz to 20 kHz +/- 1dB
150 ohms nominal @1 kHz
1.85 x 4.6 x 4.4
47 x 117 x 112
1.0 / 4.6
Xdirect
Frequency Response
Maximum Output Level
Maximum Input Level
Dynamic Range
Input Connections
Output Connection
THD
Filter Type/Response
Input Attenuation
Output Phase
Ground Lift
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
10 Hz –50 kHz, +/-.5dB
.01% Typical @ 1 kHz
>90dB below clipping
47 kohms in parallel with either 100pF or 200pF
40mVrms @1 kHz
45dB @ 1 kHz
RCA
+6dBu (1.4Vrms)
Switchable, Low Cut, -3dB @ 22 Hz
7-12V DC or 9-12V AC @ 150mA
1.85 x 4.6 x 4.5
47 x 117 x 114
1.25 lbs / .57 kg
48V DC +/- 2V
Female XLR
Male XLR
-71dBV
10 Hz – 25 kHz
14mA
18V AC (adapter included)
1.6 x 4.6 x 2.9
41 x 117 x 74
1.9 / 2.4
Zdirect
10 Hz –100 kHz, +/-.5dB @ +0dBu
+6dBu (battery powered)
+14dBu (phantom powered)
+4/+24/+44dBu
>100dB typical
1/4-inch TRS and XLR female unbalanced, 470k Ohm
XLR male balanced, <600 Ohm
<.05% Typical
Switchable, Low Pass, -3dB @ 30 kHz
Switchable, (0dB, -20dB, -40dB)
Switchable, Normal/Invert
Switchable, fully isolates inputs from chassis & output
9V @3.5ma (battery) or
18VDC–48VDC @9.5ma (phantom power)
1.75 x 4.2 x 3.5
44.5 x 107 x 89
.75 / .34
Frequency Response
THD
Input Connections
Output Connection
Filter Type/Response
Input Attenuation
Output Phase
Ground Lift
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
10 Hz –50 kHz, +/-.5dB @ +4dBu
.01% Typical @ 1 kHz, +18dBu,<.05% @ 100 Hz, +18dBu
1/4-inch TRS unbalanced, 50k Ohm
XLR male balanced, 600 Ohm
Switchable, Low Pass, -3dB @ 30 kHz
Switchable, (0dB, -20dB, -40dB)
Switchable, Normal/Invert
Switchable, fully isolates inputs from chassis and output
1.75 x 4.2 x 3.5
44.5 x 107 x 89
.75 / .34
DUALXdirect
DUALZdirect
Frequency Response
Dynamic Range
Maximum Input Level
Maximum Output Level
Input Connections
Thru Connections
Output Connections
Frequency Response
10 Hz - 100 kHz, ± 0.5 dB @ +0 dBu THD <.05% (typical)
>100 dB (typical) Channel Separation > 80 dB (typical)
+4, +34 dBu
+6 dBu (battery powered), +14 dBu (phantom powered)
1/4" TRS | XLR female balanced / unbalanced (2), 470k Ohm
1/4" TRS (2)
XLR male balanced (2),
<600 Ohm Input Attenuation Switchable, (0, -30 dB)
Power Requirements
9V @ 7.5 mA (battery, alkaline recommended),
18 - 48V DC @ 6.4 mA (phantom power, per channel)
Dimensions HxWxD (in)
1.85 x 4.6 x 3.9
Dimensions HxWxD (mm) 47 x 117 x 99
Weight
0.84 lbs / 0.38 kg
10 Hz - 50 kHz, ± 0.5 dB @ +4 dBu THD .01% typical @ 1 kHz,
+18 dBu <.05% @ 100 Hz, +18 dBu
Channel Separation
> 80 dB (typical)
Input Connections
1/4" TRS unbalanced (2), 50 k Ohm
Thru Connections
1/4" TRS (2)
Output Connections
XLR male balanced (2), 600 Ohm Input Attenuation Switchable,
(0, -20, -40 dB) Filter Type / Response Switchable,
low pass, -3 dB @ 30 kHz
Dimensions HxWxD (in)
1.85 x 4.6 x 3.9
Dimensions HxWxD (mm) 47 x 117 x 99
Weight
0.88 lbs / 0.40 kg
Specifications subject to change without notice
artproaudio.com
61
Phantom II Pro
Input Connections
Output Connections
Phantom Power Voltage
Current Limiting Resistors
Power Source
Current Drain
Battery Life
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
Phase Shift
Typical Driving Source Impedance
Typical Output Load Impedance
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
20 Hz to 150 kHz, ±0.2dB @ 0dBu
Less than 0.0007% from 20 Hz to 20 kHz
at 0dBu input
Less than 10° at 20 to 150 kHz (ref. 1 kHz)
150 ohms
1 kohms
1.85 x 4.6 x 3.5
47 x 117 x 89
.75 / .32
Insertion Loss
Input Connections
Output Connection
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
10 Hz –50 kHz, +/-.5dB @ +4dBu
.01% Typical @ 1 kHz, +18dBu,
<.05% @ 100 Hz, +24dBu
4dB @ 100k Ohm Load, 5.5dB @ 600 Ohm Load
XLR female balanced,
1/4-inch TRS balanced / unbalanced, and RCA jacks
XLR male balanced,
1/4-inch TRS balanced / unbalanced, and RCA jacks
Passive
1.75 x 4.2 x 3.5
44.5 x 107 x 89
.75 / .34
Frequency Response
Total Harmonic Distortion
Phase Shift
Input Impedance
Output Impedance
to simulate a typical “real world” microphone and mic preamplifier. 0dBu = 0.775 VRMS.
Common Mode Rejection Ratio
Voltage Insertion Loss
Maximum Input Level For 1% Thd
CoolSWITCH
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
NOTE: All measurements made from ISOLATED MIC OUTPUT with PHASE switch out (NORM) and 150
Ohm balanced source feeding MAIN MIC INPUT and 1K Ohm load connected to ISOLATED MIC OUTPUT
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
3.0 x 4.0 x 3.0
76 x 102 x 76
1.1 / 0.5
HeadAmp4
Maximum Input Level
Input Impedance
Maximum Output Level
Maximum Gain
Output Impedance
Frequency Response
Signal to Noise Ratio
THD
IMD (SMPTE)
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
20 Hz To 20k Hz, ±0.25dB @ -15dBu
-3dB @ Approximately 165k Hz
<0.26% From 20 Hz To 20k Hz @ –15dBu Input
<0.1% From 45 Hz To 20k Hz @ –15dBu Input
0.002% Typical @ 1k Hz, –15dBu Input
<10° @ 20k Hz (Ref. 1k Hz)
>1.1 kohms @ 1k Hz
(Typical Driving Source Impedance Is 150 ohms)
<255 ohms @ 1k Hz
(Typical Output Load Impedance Is 1 kohms)
>105dB @ 60 Hz / >80dB @ 3k Hz
Approximately 2dB @ 1k Hz
-1.4dBu @ 20 Hz / +3.5dBu @ 30 Hz /
+9.4dBu @ 50 Hz
1.85 x 4.6 x 3.5
47 x 117 x 89
.9 / .4
NOTE: All measurements made from TRANSFORMER ISOLATED MICROPHONE OUTPUT with PAD SWITCH out
(off) and 150 ohm balanced source feeding MICROPHONE INPUT and 1 kohm load connected to TRANSFORMER
ISOLATED MICROPHONEOUTPUT to simulate a typical “real world” microphone and mic preamplifier.
0 dbu = 0.775 VRMS.
HeadAmp V
+14dBu
90.9 kohms
+14dBu
20dB
47 ohms (each output)
20 – 20 kHz
>90dB (Ref 0dBu)
<0.01%
<0.01%
12VDC (Power Supply Included)
1.85 x 4.6 x 4.1
47 x 117 x 104
1.35 / 0.61
Input Impedance
Maximum Input Level
Maximum Gain
Maximum Output Power
Output Impedance
S/N Ratio
THD
IMD (SMPTE)
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
MyMONITOR
HeadTap
Signal To Noise Ratio
Gain
Maximum Input Level
Output Impedance
Power Requirements
Input Impedance
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight
62
Frequency Response
THD
PROSplit
SPLITComPro
Frequency Response
Total Harmonic Distortion
CleanBox II
DTI
Female XLR (2)
Male XLR (2)
48 Volts DC typical
6.98 kohms (1%)
V battery (ANSI-1604A type Alkaline recommended)
or external 7.5-12V AC/DC, < 150 mA supply
10 mA - no load / 45 mA - typical
(full load - 2 microphones)
> 10 hours with Alkaline battery - typical (full load)
1.85 x 4.6 x 3.9
47 x 117 x 99
0.82 / 0.37
90dB
15dB (1/4 in), 50dB (XLR)
-20dB mic, 40dB Monitor
10 ohms
12V DC (Adapter included)
or one 9V battery
LED indicator
4.5 x 2.75 x 1.5
112 x 72 x 40
1.3lb (590g)
artproaudio.com
10 kohms
+18dBV
26dB/channel
300mW/channel
10 ohms
>90dB
<.008%
<.008%
12VDC (adapter included)
1.25 x 7.5 x 4.75)
32 x 190 x 12
2.6 / 1.1
Frequency Response
THD
Insertion Loss
Connections
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
CleanBoxPro
10 Hz – 50 kHz, +/- .5dB @ +4dBu
.01% Typical @ 1 kHz, +18dBu, <.05% @ 100 Hz, +24dBu
.4dB @ 100kOhm Load, 5.5dB @ 600Ohm Load
1/4-inch TRS balanced/unbalanced jacks
1.7 x 4.7 x 3.0
43 x 119 x 76
.75 / .34
Output Impedance
ProMIX
Maximum Input Level
Maximum Output Level
Phantom Power
Low Cut
Input and Output Impedance
THD
Max Output Level
Max Input Level
Clip Headroom
Max Gain
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
12V DC
-3dB @ 100 Hz
600 ohms
0.02%
+14dB
-14dB
3dB
+60dB
12V DC (adapter included)
*Optional 2 x 9V Battery Power yields
18V Phantom Power (batteries not included)
1.75 x 5.75 x 4.5
44 x 146 x 114
2 / 0.9
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
PowerMIX III
Input Impedance
Output Impedance
Max. Gain
Max. Input Level
Max. Output Level
THD
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
SPLITMix4
Frequency Response
THD
Phase Shift
Input/Output Connections
Input Impedance
Output Impedance
Insertion Loss
Maximum Attenuation
Channel Isolation
Power Requirements
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
20 Hz –20 kHz, +/-1dB
<0.005% @ 1 kHz (typical)
<10° @ 20 kHz
1/4-inch TRS stereo
25k -100 kohms
1k - 4 kohms
12dB (typical)
>90dB (typical)
>90dB (typical)
None (fully passive)
1.85 x 4.6 x 4.1
47 x 117 x 104
0.84 / 0.38
Input Impedance
Ch. 1/2/3 and 4 Input Gains
S/N Ratio
THD
IMD (SMPTE)
Power
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight (lbs/kg)
10 kohms unbalanced (all inputs)
32dB/26dB/26dB and 26dB
>90dB
<0.008%
<0.008%
12V DC (adapter included)
1.75 x 5.75 x 4.7
44 x 146 x 119
1.9 / 0.8
XPatch
Connectors
CMRR
Isolation
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight
Input Impedance
THD + N
Signal to Noise Ratio
Dynamic Range
Frequency Response
Maximum Input Level
Maximum Gain
Length
Weight
10 kohms
100 ohms
+27dB
+30dB
+13dB
<0.005%
12V DC (adapter included)
1.75 x 5.75 x 4.4
44 x 146 x 112
2 / 0.9
MacroMIX
TPatch
Connectors
Specifications subject to change without notice
20 Hz – 20 kHz, ± 1dB
< .01% @ 1 kHz
> 90dB
> 40dB
balanced - 20 kohms
unbalanced - 100 kohms
balanced: 100 ohms
unbalanced: 300 ohms
balanced to unbalanced: -6dB
unbalanced to balanced: +21dB
+21dBu
balanced: +21dBu
unbalanced: +15dBu
7.5-12 V AC/DC, < 150 mA
4.3 x 4.6 x 1.85
109 x 117 x 47
1.10 / 0.50
Maximum Gain
1/4-inch TRS balanced Phone Jacks
> -90dB (typical)
> -80dB (typical)
1.85"H x 4.6"W x 3.9"D
47mm x 117mm x 99mm
0.84 lbs (0.38 kg)
Connectors
CMRR
Isolation
Dimensions HxWxD (in)
Dimensions HxWxD (mm)
Weight
XConnect
TConnect
150 ohms
Passive (No Batteries Required)
1.7 x 4.0 x 4.0
43 x 102 x 102
0.9 / 0.4
Frequency Response
Total Harmonic Distortion
Signal to Noise Ratio
Common Mode Rejection Ratio
Input Impedance
1/4" TS plug
(mono, unbalanced), USB "A"
1 M Ohm
<0.05%
80 dB
83 dB
20 Hz - 19 kHz (48 kHz)
+2 dBu
+23 dB
~10 ft (3m)
0.5 lbs (0.22 kg)
Connectors
Input Impedance
THD + N
Signal to Noise Ratio
Dynamic Range
Frequency Response
Maximum Input Level
Maximum Gain
Length
Weight
Female XLR
(mono, unbalanced), USB "A"
1 M Ohm
<0.05%
80 dB
83 dB
20 Hz - 19 kHz (48 kHz)
+2 dBu
+23 dB
~10 ft (3m)
0.5 lbs (0.22 kg)
Specifications subject to change without notice
balanced XLR
> -95 dB (typical)
> -95 dB (typical)
1.85"H x 4.6"W x 3.9"D
47mm x 117mm x 99mm
0.84 lbs (0.38 kg)
MConnect
Connectors
MIDI Channels
Length
Weight
DIN5/180° (2), USB "A"
16 in, 16 out
~6.5 ft (2m)
0.3 lbs (0.14 kg)
artproaudio.com
63
ARTCAT13
ART is a company comprised of musicians, engineers and recording enthusiasts.
Since its inception in 1984, we have been striving to redefine the performance versus price barrier with a series of innovative
new audio products designed with the needs of the musician in mind.
With a full line of vacuum tube preamplifiers and compressors that deliver unmatched warmth, tone and character; innovative
Graphic Equalizers that actually show you exactly where feedback may occur, and a full complement of cool little useful tools
designed for stage and studio, ART offers affordable audio solutions that deliver unmatched quality, tone, versatility and reliability.
On the road, in nightclubs, arenas, recording studios, auditoriums, churches, rehearsal halls, basements or garages, ART products
have gained the loyalty of customers worldwide. Our rich history reflects our true passion for music and the creative process.
Over the last twenty-five years, we’ve never lost the inspiration that comes with the creation of evolving technologies, and we
thank you, and the thousands of ART users for the continued support and loyalty.
TM
Printed in Canada
ART Pro Audio • 4625 Witmer Industrial Estate, Niagara Falls, NY USA 14305
Phone (716) 297-2920 • Fax (716) 297-3689
Distributed In Canada By:
Yorkville Sound • 550 Granite Court, Pickering, Ontario Canada L1W 3Y8
Phone (905) 837-8481• Fax (905) 839-5776
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