The 5051 combines a classic three band EQ based on Rupert’s vintage designs with the power and flexibility of the Portico II compressor. Utilizing a fully-discrete, class-A signal path and high performance input and output transformers, the 5051 delivers the performance and musicality expected from a Rupert Neve Design.The EqualizerThe EQ design on the 5051 evokes sonic similarities with some of Rupert’s classic EQs. The 5051 uses a custom tapped inductor with selected capacitors to form the mid range equalizer band, and the shelf curves are based on Rupert’s vintage modules, including very similar frequency choices. Each EQ section also uses low feedback class-A discrete electronics to prevent low level artifacts and harshness from detracting from the tonal shaping. The EQ, however, is a modern design with advantages offered by techniques that were not possible 35 years ago along with improvements in electronic components currently available, and should not be considered a clone – it just has heritage.Both the High and Low Band can be switched from Shelf to Peak curves and offer 15 dB of boost or cut. The High can be switched from 8 kHz to 16 kHz and the Low Band selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a High Peak switch to narrow the bandwidth or increase the Q of the filter. The 5051 includes an 18 dB/octave High Pass Filter with two corner frequencies on a lit button that toggles through “OFF, 60 Hz then 120 Hz indicated by a blue or red LED respectively. Additionally, the EQ can be switched Pre or Post the compressor. Normally the EQ precedes the compressor but the order can be selected so that the EQ follows after the Compressor. The 5051 also has two XLR balanced inputs that can be switched from the front panel. This allows the user, for example, to have a mic preamplifier and line input from a DAW to be pre-patched and easily selectable.The CompressorThe 5051 Compressor also features a discrete class A signal path proven used in the Portico Series, withindividually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 5051 may be used as a transformer-coupled, high-performance line amplifier, and two 5051′s may be linked for stereo operation as well.How the Compressor WorksIn order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The Portico 5051 compressor makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.A part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the “attack”, and the time frame that gain remains under the initial control, known as “release” or “recovery” and plays a large part in the way a compressor sounds.Feed-Forward or Feed-Back The 5051 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 5051 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settings of the V.C.A. and circuits through which it has passed. This is known as a “Feed-Back” compressor. The two compression characteristics are quite different; there is more “Overshoot” and both the attack and recovery ramps are changed, providing the user with powerful choices. In most of Mr. Rupert Neve earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF / FB switch, both classic and modern VCA responses are available. Ratio and ThresholdAbove a given “THRESHOLD” signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. RATIO is sometimes referred to as “Slope” because when depicted on a graph, the slope of the graph representing Output versus Input, is what changes.Ratio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of +40 dBu (unlikely!) is presented to the input, the output signal will only be +1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu – say at +14 dBu, in order to prevent the output signal level exceeding just over +14 dBu to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output.THRESHOLD control covers the Range from below -30dB to +22dBu. When THRESHOLD set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level.Attack TimeThe ATTACK time is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to “escape” and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds un-natural and robs the signal of “life” by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is history (!) before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some “Overshoot”. Small amounts of “Overshoot” are musically desirable – there are exceptions, of course.Setting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood a Compressor-Limiter such as the 5051 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment.Release / RecoveryThe notes above explain how the 5051 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level.If the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and un-natural sound known as “Pumping” when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.The Power SupplyThe 5051 is intended for 5088 consoles or 5285 vertical frames. There are two +/- 24V power supply options; The 5-way supply is designed to sit in the bottom of a rack, and the 25-way supply is a 2U enclosure. The external +/- 24V supply provides exceptionally clean power, and reduces heat build-up within modules associated with DC-DC up-conversion.

Ultralite Safety Set 3mm/100cm Bk 10pcs.; black safety rope 3mm/100cm 10kg; steel wire rope similar to EN 12385-4 6x19+FC 3 mm diameter; thimble pressed on both sides similar to DIN 6899 form B with press clamp EN 13411-3 form A; screw carabiner according to DGUV 215-313 (cannot be lost); max. 5 kg in single strand, max. 10 kg in double strand, according to DGUV regulation 17 and DGUV 215-310, bag with 10 pieces content

Alchmy series, Telefunken TF-51, microphone à lampe multi pattern (Cardïo, Omni, figure de 8) livré avec câble, alimentation, suspension, le tout dans une saccoche de transport, le TF-51 est equipé d'une lampe 6072A, identique à celle qu'on trouve dans le ELAM-251E et le C12Key Features- Open and detailed frequency response- Airy and smooth top end, reminiscent of the ELA M 251E- Balanced low end and natural mid range- Hand assembled in the USA- CK12-style capsule and Haufe transformer, similar to the C12 and 251EApplications- Female vocals, Pop vocals- Acoustic guitar- Drum overheads- Violin- Mandolin- Grand piano

Suitable for Pioneer DDJ-1000, Pioneer DDJ-FLX6, Denon SC Live 4, Denon SC Live 2, Denon MC-4000 or controllers of similar size- 8 mm EVA Durashock hard foam and water-repellent 600D polyester outer material- Robust zipper- Convoluted foam to protect the jog wheels, display, faders and buttons- Detachable shoulder strap- Outer dimensions (L x W x H): 740 x 440 x 110 mm- Inner dimensions (L x W x H): 715 x 410 x 70 mm- Weight: 1.9 kg- Colour: Black

Comprehensive spectral editor for professionals, studios and large multi-media companies- Versatile for a wide range of applications from post-production, music production and sound design to audio forensics- AI-supported separation of voices and instruments as well as drums from complete mixes including brass instruments, polyphonic vocal passages, lead or background vocals, audience noise, etc.- AI-controlled DeClipper and DeNoiser significantly improve the quality of recordings- M/S Unmixing splits stereo and multi-channel audio files into discrete mid / side components- Transient Pencil Tool for reconstructing missing transients and for creative sound design- Automatable volume envelope- Modules Chain can be programmed to process entire layers’ specific selections, divert processes to other layers (even future layers that previously assigned processes generate), change process controls, realign components in the process chain, and save your custom chain presets for future use on similar audio files- Batch Processing window to process multiple files simultaneously and render them into entire mixdowns or individual elements complete with corresponding sorted folders- Modules Panel ensures clear management of all processing modules- Multiple layer option for simultaneous editing and management of different layers- Start screen for quick access to current files and other information- Automatic processes help with complex problems and enable creative sound experimentation- Separation of speech and background noise e.g. to clean up original sounds- Transcription function for speech layers in nine different languages- Unmixing of stems in sound, noise and transient layers- Offers various functions such as imprint function, EQ, ambience and reverb match, noise, reverb, hum reduction, click and clip repair and much more.- Extensive selection and editing tools for targeted and fast editing- Advanced display setting allow to analyze problems in detail- Undo and redo, up to 64 steps can be undone- Support for VST3 plug-ins- Integration with compatible DAWs via ARA2 or AAX

Stairville Prometheus Spark 1; Spark Machine; Spark effect; Creates cold spark fountains; Also ideally suited for indoor events; Due to its extremely compact design and the included remote control, Prometheus Spark is also suitable for small events; Unique effect that enhances any event; Spark effect without black powder; Control via DMX or remote control; Colour TFT display for easy operation ;Compact design compared to similar machines; New heating technology; No activation by RFID card necessary; Simply set up, heat up and start; Suitable granulate (not included) #557296; Technical data: Output: 1-5m; Consumption: 20-25g per minute; Capacity granulate container: 150g Heating time: 7min; Control via DMX (2 channels) or wireless remote control (included); Power supply: Power Twist TR1 In/out, AC 220 -240 V 50/60 Hz, power consumption: 600W; dimensions: 208mm*216mm*246mm; weight: 10kg.

Authentic replica of the legendary SL 4000 B mixing console- Brings the legendary sound and punch as well as plenty of non-linear character to the DAW- Detailed replica of the original circuitry with Jensen JE-115K-E transformers in the mic input, dbx 202 VCA faders and 4000 B EQ and compressor- Offers high- and low-pass filters, 4-band EQ, compressor and gate as well as various sidechain functions- Filter with variable cut-off frequencies- Input section with trim control, phase switching and microphone preamp emulation for saturation effects with automatic gain compensation for constant signal level- Equaliser offers high- and low-shelf with optional bell filter curve as well as two parametric mid-bands- Compressor with similar circuitry to the SSL Bus Compressor and DeEsser mode as well as optional parallel compression- Output section with emulation of the dbx 202 black can VCA for sound colouration and neutral output trim to compensate for level differences- Width control for manipulating the stereo width by using mid-side processing- Variable arrangement of the order of effects- Full integration with SSL 360 and control with UC1 (Art.520390) and UF8 hardware controllers (Art.508557)

AR Resonance Top 32.40 H 80 Brass Tuba; mouthpiece top for tuba; inner cup diameter: 32.40 mm; throat size: 8.0 mm (80); cup depth: Shallow and V shaped; shallowest cup, somewhat similar to what the Helleberg is, the entrance to the throat is sharper, to increase the quality of articulation, rim is more comfortable; weight: L (light = standard); material: Brass, silver plated; made in Italy