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Create unparalleled recordings and send them directly to your computer with Blue Microphone's Yeti USB Microphone. The Yeti uses Blue Microphone's proprietary tri-capsule technology to produce pristine, studio-quality recordings. It features four different pattern settings so you can record vocals, instrumental music, podcasts, or interviews in ways that would normally require multiple microphones. With simple controls for headphone volume, pattern selection, instant mute, and microphone gain, you'll be creating exceptional recordings right out of the box. Control Your Recording in Real-Time With its controls for headphone volume, pattern selection, instant mute, and microphone gain, the Yeti puts you in charge of every level of the recording process. If you are experiencing distortion or feedback while recording an especially loud source, simply adjust the microphone's sensitivity with the gain control. Or, if you want to take a break in the middle of a podcast, use the instant mute button. The microphone comes equipped with a 3.5-millimeter headphone jack and allows you to listen to what you're recording in real-time, without latency delays. You can adjust the volume of your headphones using a control on the front of the microphone. Innovative Design Makes Recording Easy The Yeti features a visual design inspired by classic recording equipment--a stylish, retro aesthetic that will complement any computer system. Its metal grille and shiny, chrome-toned frame recall the look of old-timey microphones. Because it's built on a hinge, you can adjust and pivot the microphone in relation to the sound source, improving sound quality. Once you have it at a desired angle, you can use the set screws to secure it in place. The microphone can also be folded down for easy portability, or removed completely from its base for field recordings. Four Different Pattern Modes for Versatile Recording Stereo mode: The stereo mode uses both the left and right channels, and is ideal for capturing a realistic, general sound image. Cardioid mode: Well-suited to podcasts, sung vocals, and other voice work, cardioid mode records sound sources that are directly in front of the microphone. It delivers a rich, full-bodied sound. Omnidirectional mode: Omnidirectional mode picks up sound equally from all directions. It is best used in situations when you want to capture the ambience of "being there"--like a live recording of a band's performance. Bidirectional mode: Bidirectional mode records from both the front and the rear of the microphone. It is ideal for capturing the nuance of a musical instrument, or recording an interview between two people. Hassle-Free Setup The Yeti requires no complicated drivers to operate; simply plug it into your computer's USB port with the included USB cable, calibrate it with your operating system, and you're ready to record. The microphone is compatible with Windows 7, Windows Vista, Windows XP (Home and Professional), and Mac OS X ( or higher), and requires a minimum of 64 MB of RAM

Overview At the 1995 NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isn't merely a question of gain structure. It's about the entire component chain and how each one interacts with the others. It's about damping factor and the corresponding speaker response. It's about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. It's about cabinet size, bracing, wood and thickness. But most importantly, it's about what it's not. Those other manufacturers' half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86'd the rest. It's a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You won't believe your ears! Features 10" Blue Marvel® speaker High and Low Gain inputs TransTube tube emulation circuitry Footswichable Clean and Lead channels 3 band passive EQ on each channel 3 position EQ/Gain Voicing switch on each channel Reverb with level control Footswitchable Boost with level control ¼" stereo Speaker Simulated Direct Out jack Headphone jack Footswitch optional 40 Watts (rms) Weight Unpacked: 24.00 lb(10.886 kg) Weight Packed: 29.00 lb(13.154 kg) Width Packed: 12.87"(32.6898 cm) Height Packed: 24.25"(61.595 cm) Depth Packed: 18.87"(47.9298 cm) Please confirm stock availability before purchasing We are an authorized dealer of the best sound, dj equipment, studio equipment and lighting Free delivery anywhere in the country on orders over a R1000 Delivery 24-48 hours to all major cities 48-72 hours to outlying areas Warranty Type: Authorized Dealer 12 Months Warranty. All goods are subject to supplier discretion Replacement Guarantee: 30 Days: All goods are subject to supplier discretion Our Shop Shop F2 Second Level The Conservatory at Lakefield 106 Lakefield Avenue Lakefield Square Benoni Contact us at 110 - show phone - Tian - 718 - show phone - /Whatsapp Carlo - 844 - show phone - /Whatsapp Trading Hours: Monday - Friday 9:00am - 17:00pm Saturday 9:00am - 15:00pm If you can't find what you are looking for give us a call and we will gladly assist you

At the NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isn't merely a question of gain structure. It's about the entire component chain and how each one interacts with the others. It's about damping factor and the corresponding speaker response. It's about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. It's about cabinet size, bracing, wood and thickness. But most importantly, it's about what it's not. Those other manufacturers' half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86'd the rest. It's a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You won't believe your ears!•10" Blue Marvel® speaker •High and Low Gain inputs •TransTube tube emulation circuitry •Footswichable Clean and Lead channels •3 band passive EQ on each channel •3 position EQ/Gain Voicing switch on each channel •Reverb with level control •Footswitchable Boost with level control •¼" stereo Speaker Simulated Direct Out jack •Headphone jack •Footswitch optional •40 Watts (rms) •Weight Unpacked: lb( kg) •Weight Packed: lb( kg) •Width Packed: cm) •Height Packed: cm) •Depth Packed: cm)

At the NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isn't merely a question of gain structure. It's about the entire component chain and how each one interacts with the others. It's about damping factor and the corresponding speaker response. It's about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. It's about cabinet size, bracing, wood and thickness. But most importantly, it's about what it's not. Those other manufacturers' half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86'd the rest. It's a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You won't believe your ears! Features: 10" Blue Marvel® speaker High and Low Gain inputs TransTube tube emulation circuitry Footswichable Clean and Lead channels 3 band passive EQ on each channel 3 position EQ/Gain Voicing switch on each channel Reverb with level control Footswitchable Boost with level control ¼" stereo Speaker Simulated Direct Out jack Headphone jack Footswitch optional 40 Watts (rms) Weight Unpacked: lb( kg) Weight Packed: lb( kg) Width Packed: cm) Height Packed: cm) Depth Packed: cm) 1 year limited guarantee For more info on this product please click here

At the 1995 NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isnt merely a question of gain structure. Its about the entire component chain and how each one interacts with the others. Its about damping factor and the corresponding speaker response. Its about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. Its about cabinet size, bracing, wood and thickness. But most importantly, its about what its not. Those other manufacturers half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86d the rest. Its a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You wont believe your ears! - 10" Blue Marvel speaker - High and Low Gain inputs - TransTube tube emulation circuitry - Footswichable Clean and Lead channels - 3 band passive EQ on each channel - 3 position EQ/Gain Voicing switch on each channel - Reverb with level control - Footswitchable Boost with level control - ¼" stereo Speaker Simulated Direct Out jack - Headphone jack - Footswitch optional - 40 Watts (rms)

Disc 1: (I’ve Had) The Time of My Life – Bill Medley & Jennifer Warnes My Heart Will Go On – C line Dion 9 to 5 – Dolly Parton Loco in Acapulco – The Four Tops When the Going Gets Tough, the Tough Get Going – Billy Ocean Eye of the Tiger – Survivor Living in America – James Brown Viva Las Vegas – Elvis Presley & The Jordanaires Mrs. Robinson – Simon & Garfunkel Brown Eyed Girl – Van Morrison I Walk the Line – Johnny Cash Ghostbusters – Ray Parker, Jr. Danger Zone – Kenny Loggins Everyday People – Sly & The Family Stone Aquarius / Let the Sunshine In (The Flesh Failures) – The Fifth Dimension Suicide Is Painless (From the 20th Century-Fox film “M*A*S*H”) – The Mash The Good, The Bad and The Ugly – Hugo Montenegro & His Orchestra The James Bond Theme – John Barry Disc 2: Footloose – Kenny Loggins Holding out for a Hero – Bonnie Tyler Let’s Hear It for the Boy – Deniece Williams Jumpin’ Jack Flash (From “Jumping Jack Flash”) – Aretha Franklin I Say a Little Prayer – Diana King Don’t Leave Me This Way – Harold Melvin & The Blue Notes Ain’t No Stoppin’ Us Now – McFadden & Whitehead Boogie Nights – Heatwave Best of My Love – The Emotions That Lady – The Isley Brothers O-o-h Child – The Five Stairsteps I’m so Excited – The Pointer Sisters In The Wee Small Hours Of The Morning – Carly Simon I’m Kissing You – Des’ree Someday – John Legend She’s Like the Wind – Patrick Swayze feat. Wendy Fraser Almost Paradise – Mike Reno feat. Ann Wilson Angel – Sarah McLachlan Disc 3: Over the Rainbow (From “The Wizard of Oz”) – Judy Garland Singin’ in the Rain – Gene Kelly with the M-G-M Studio Orchestra Raindrops Keep Fallin’ on My Head (From the 20th Century-Fox Picture “Butch Cassidy and the Sundance Kid”) – Peter Nero Moon River – Henry Mancini & His Orchestra and Chorus Speak Softly Love – Andy Williams Blue Velvet – Bobby Vinton Stay – Maurice Williams & The Zodiacs Flowers on the Wall – The Statler Brothers Everybody’s Talkin’ – Harry Nilsson Ballad of Easy Rider – The Byrds Things Have Changed – Bob Dylan Hotel California – Gipsy Kings I Can See Clearly Now – Jimmy Cliff Ain’t No Sunshine – Bill Withers Love Is a Crime – Anastacia 1 Thing – Amerie Somebody to Love – Jefferson Airplane Nothing’s Gonna Stop Us Now – Starship Disc 4: The Pink Panther Theme – Henry Mancini & His Orchestra Deeper Underground – Jamiroquai Waiting for a Star to Fall – Boy Meets Girl I Believe I Can Fly – R. Kelly From the Heart – Another Level To Be Loved – Train Wherever You Will Go – The Calling Livin’ Thing – Electric Light Orchestra Perfect Day – Lou Reed Pretty in Pink – The Psychedelic Furs Feed My Frankenstein – Alice Cooper Only Solutions – Journey Maneater – Daryl Hall & John Oates Everybody (Backstreet’s Back) – Backstreet Boys Wake Me up Before You Go-Go – Wham! I Ran – A Flock Of Seagulls Rockit – Herbie Hancock Lost In Space (Theme) – Apollo 440

Professional Mixing Features The Alto Professional Live 802 is a pro 8-channel, 2-bus mixer equipped with the tools you need to create the perfect mix. With flexible routing options and a multitude of onboard DSP tools, Live 802 fits the demands of nearly any live performance environment. It features 5 balanced XLR inputs with switchable phantom power, 3-band EQs for additional tonal shaping, two aux sends per-channel for external effects and monitoring, and a 9-band graphic EQ for main or monitor outputs. A headphone jack with an independent level control enables additional monitoring and mixing. 60mm faders with LED meters provide precise control and visual feedback for accurate, hands-on mixing. With its diverse connectivity options, Live 802 is ready for any event. Analog Compression & Superior Sound Quality Live 802 offers high-fidelity sound and high-quality DSP tools in a single package. Each microphone channel is outfitted with a high-headroom ultra-low-noise DNA™ microphone preamp for unprecedented sound quality and a robust audio signal path. Live 802’s high headroom results in cleaner mixes, a purer signal path, and loud, punchy audio. Onboard analog compression (channels 1-2) helps control dynamics and gel instruments together for a cohesive, defined mix. With high headroom, pristine sound, and built-in dynamic control, Live 802 ensures that the full dynamic range of your mix comes across with striking clarity. USB Audio Interface Record your mix directly to a Mac or PC with a single USB connection. Live 802’s built-in USB port allows engineers, producers, and performers to convert two channels of 24-bit audio (Main Mix or Sub Mix 1/2) straight to a computer. Record live performances, band practices, theater performances, speaking events, and any other live sound event onto your computer for additional editing, mixing, and post-production. The USB connection is bi-directional, enabling sound files stored on your computer to be streamed to and played through Live 802. 100 High-Quality Alesis DSP Effects Live 802 comes ready to handle any mixing situation with premium 24-bit Alesis effects built right into its design. Select from 100 DSP effects that give you additional creative control in any mixing environment. Choose from room and space delays, small and large hall acoustics, plate and spring reverbs, flangers, choruses, and more. The effects presets make it easy to dial in your favorite sound or experiment with different effect settings on the fly. Color-coded Interface Often, live sound environments are dimly lit and offer poor visibility to the mixing engineer. Live 802 solves this problem by color coding each section of the mixer and providing brightly colored knobs so you can quickly and easily find what you need to adjust. Blue, green, red, yellow and white pots are instantly easy to identify in low lighting. LED indicators for output level, peak, and phantom power also assist in making sure that you have multiple visual cues that reflect everything you're hearing. 5 XLR inputs with DNA™ microphone preamps Dynamic compression (channels 1-2) 3-band EQ plus 2 aux sends per channel 60mm faders with mute switch and LED USB audio connectivity with level control 100 Alesis DSP effects Balanced XLR, balanced/unbalanced 1/4” outputs 9-band graphic EQ for main or monitor outputs Headphone out with independent level control

At the NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isn't merely a question of gain structure. It's about the entire component chain and how each one interacts with the others. It's about damping factor and the corresponding speaker response. It's about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. It's about cabinet size, bracing, wood and thickness. But most importantly, it's about what it's not. Those other manufacturers' half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86'd the rest. It's a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You won't believe your ears!•100 Watts (rms) into 4 Ohms (w/external speaker) •12" Blue Marvel® speaker •High and Low Gain inputs •TransTube tube emulation circuitry •Footswitchable Clean and Lead channels •3 band passive EQ on each channel •3 position EQ/Gain Voicing switch on each channel •Reverb with level control •Footswitchable Boost with level control •¼" stereo Speaker Simulated Direct Out jack with level control •Footswitch optional •80 Watts (rms) into 8 Ohms •Weight Unpacked: lb( kg) •Weight Packed: lb( kg) •Width Packed: cm) •Height Packed: cm) •Depth Packed: cm)

If you're looking for old-school analog handling in a package armed to the teeth with modern reliability, the search is over. This mixer's British EQ, 24 mic inputs (each with its own built-in studiograde XENYX preamp), 8 stereo inputs and 8 buses give you enough leeway to craft the recording of your dreams or create the perfect mix for a live show. What the Heck is "British EQ"? British EQ is a smashing thing to have on your side when you start reaching for those channel equalization knobs at a live concert or in the studio. The EQ's on British consoles from the 60s and 70s are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, they're kind, gentle and above all, musical. It's like drinking a fine scotch instead of fortified wineor maybe receiving a warm hug instead of a kick to the crotch. British EQ's distinct configuration of wider curves/lower Q and harmonic phase characteristics allows you to add or subtract EQ more generously than you can with conventional EQ circuit designs. When you add low midrange, you get a firmer sound instead of a nasty bonk. When you back high frequencies off a bit, treble backs off just a hair instead of turning muffled. The Ins and Outs Some manufacturers make what they call 32-input mixers that count features like CD/TAPE IN as an input. But the SX really gives you 24 mono channels and four stereo channels (with two 1/4" inputs apiecean additional 8 inputs), making it easy to accommodate a wide variety of studio or live performance configurations. That means you can connect up to 24 microphones or other mono instruments and up to four stereo instruments (keyboards, for example). You also get eight buses, allowing you to assign multiple channelssay all the mics on a drum kit or all the backup singers' micsto a single fader. Best of all, you don't need a black belt in engineering to operate the SX. The mono channels are grouped along two-thirds of the board, featuring dials in uniform primary colors (Gain in white; EQ in blue; AUX in red; Pan in black). Sub groups are located next door to the Main and Mono faders in the bottom right corner. Directly above, there's a handy built-in talkback mic that sends signal to your AUX 1-2 monitors via a push button, as well as a multi-purpose 13-LED master level meter to give you a dynamic visual gauge of the selected output. The SX's intuitive patch bay makes it equally at home in the club or studio. You get two balanced XLR MAIN outputs as well as a two 1/4" TRS MAIN outs. There's also a 1/4" MONO OUT (perfect for a subwoofer output). Eight SUBGROUP OUT jacks allow you to send your buses to an external recording device. This section also includes AUX SEND jacks for connection to monitors, CD/ TAPE input and output jacks, and FX send/return jacks for use with outboard effects processors. Directly below, you'll fi nd the 1/4" headphone/ control room out jack. A Million Ways To Change The Channel At the top of each mono channel, you'll find both a balanced XLR input with a XENYX mic preamp and a 1/4" input. A phantom power switch located on the back near the main power switch accommodates condenser mics. Each mono channel has a 3-band EQ with semi-parametric mids (giving you control of the Mid level and a sweepable frequency with a boost or cut of 15dB) and a Trim control for adjusting input gain via a Level Set LED. A Low Cut button eliminates the frequencies where unwanted infrasonics such as mic handling noise occur. The eight AUX dials control the volume of the AUX SEND 1/4" output signals (more on that below). Stereo channels feature the same functions, but a with dual 1/4" inputs and a different EQ. Instead of sweepable mids, stereo channels feature High Mid and Low Mid dials, both with bell center frequencies set at 8 kHz and 800 Hz, respectively. This is especially useful for EQ'ing the critical midrange frequency content found in keyboard signals. Near every mono channel's fader you'll find a and MAIN button. By engaging the MAIN button, the signal is sent to the main mix. Or, if you engage the 1-2 button, the channel becomes part of a bus. Twist the PAN control all the way to the left to assign it to Sub 1, or all the way to the right for Sub 2. The same principle applies to the and 7-8 buttons. A Mute button with accompanying LED cuts the signal from the channel, and a Clip LED helps you dial in a distortion-free post-EQ signal. The Solo button on individual channels routes the subgroup signal to the solo bus or Pre-Fader Listendepending on whether the signal has been included in a subgroup. Finally, each of the eight buses feature an independent fader, Solo switch, and Left and Right buttons to assign them to Left or Right stereo channels. Buy it now. Teach your great grandkids how to run it. BEHRINGER mixers last and last. We use top quality parts such as longwear faders, sealed rotary controls and premium circuit boards. We have 20 years of experience figuring out how to compensate for clumsy loadins, spilled drinks, crazed guitarists and millions of road miles. The result is a mixer you can count on day after day and night after night. Hitch Your Art to the AUX The SX has eight AUX SEND outputs as well as eight AUX return inputs, giving you more routing options than a Los Angeles road map. AUX SEND 1-8 allow you to send the signal governed by an individual channel to an outboard FX unit or EQ. Meanwhile, the AUX returns can be thought of as eight extra line inputs working as four stereo pairs. You can apply up to 20 dB of gain to these inputs. AUX returns 1, 2, 7 and 8 allow returning FX to be sent to tape, and, along with 5 and 6, are also good for cuing artists via headphones. AUX returns 3 and 4 are always assigned to the main bus. Take On The World Not every town on the planet uses the same voltage common in yours. Unfortunately, this sometimes doesn't occur to jet-setting sound technicians until they're miles from home. With the SX, this is never an issue. The internal auto-range power supply can run on anything from 100 to 240 V with noise-free audio, top-quality transient response and low power consumption. Why Do You Need This Mixer? Built-in pristine XENYX mic preamps British-style EQ dials give you the sound and control preferred by top studio engineers Awesomely complete I/O everything from bus inserts to mono output Product Features: Behringer SX Mixer

At the NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isn't merely a question of gain structure. It's about the entire component chain and how each one interacts with the others. It's about damping factor and the corresponding speaker response. It's about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. It's about cabinet size, bracing, wood and thickness. But most importantly, it's about what it's not. Those other manufacturers' half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86'd the rest. It's a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You won't believe your ears! Features: 100 Watts (rms) into 4 Ohms (w/external speaker) 12" Blue Marvel® speaker High and Low Gain inputs TransTube tube emulation circuitry Footswitchable Clean and Lead channels 3 band passive EQ on each channel 3 position EQ/Gain Voicing switch on each channel Reverb with level control Footswitchable Boost with level control ¼" stereo Speaker Simulated Direct Out jack with level control Footswitch optional 80 Watts (rms) into 8 Ohms Weight Unpacked: lb( kg) Weight Packed: lb( kg) Width Packed: cm) Height Packed: cm) Depth Packed: cm) 1 year limited guarantee For more info on this product please click here

At the 1995 NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isnt merely a question of gain structure. Its about the entire component chain and how each one interacts with the others. Its about damping factor and the corresponding speaker response. Its about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. Its about cabinet size, bracing, wood and thickness. But most importantly, its about what its not. Those other manufacturers half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86d the rest. Its a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You wont believe your ears! - 100 Watts (rms) into 4 Ohms (w/external speaker) - 12" Blue Marvel® speaker - High and Low Gain inputs - TransTube tube emulation circuitry - Footswitchable Clean and Lead channels - 3 band passive EQ on each channel - 3 position EQ/Gain Voicing switch on each channel - Reverb with level control - Footswitchable Boost with level control - ¼" stereo Speaker Simulated Direct Out jack with level control - Footswitch optional - 80 Watts (rms) into 8 Ohms

Peavey Bandit 112 - 80 Watts (rms) into 8 Ohms 100 Watts (rms) into 4 Ohms (w/external speaker) 12¿ Blue Marvel(R) speaker High and Low Gain inputs TransTube tube emulation circuitry Footswitchable Clean and Lead channels 3 band passive EQ on each channel 3 position EQ/Gain Voicing switch on each channel Reverb with level control Footswitchable Boost with level control ¼¿ stereo Speaker Simulated Direct Out jack with level control Footswitch optional Weight Packed: 48.00 lb(21.772 kg) Width Packed: 15.75" Depth Packed: 28.37" Height Packed: 23.87" *

Overview At the 1995 NAMM show thousands of players, media and dealers crammed into a small demo room inside the Peavey exhibit, one after another, where our engineers set up a blind A/B comparison between their new invention and a real tube amp. No one could tell the difference between the two. Some "golden ears" even thought the TransTube Bandit was the real tube amp. But How? In devising the TransTube Circuitry, our engineers studied every aspect of how a tube amp works. We learned that recreating tube tone isn't merely a question of gain structure. It's about the entire component chain and how each one interacts with the others. It's about damping factor and the corresponding speaker response. It's about power amp compression. How the amp breaks up when driven hard, harmonic structure and non-linear gain stages. It's about cabinet size, bracing, wood and thickness. But most importantly, it's about what it's not. Those other manufacturers' half-hearted attempt at tube emulation failed because they focused on the wrong elements. So we concentrated on emulating the tone characteristics we all recognize and love about tubes and 86'd the rest. It's a deceptively simple concept, but it took three U.S. Patents to map the entire process for the history books. Set up a comparison at your Peavey dealer and discover the TransTube difference for yourself. No marketing hype needed. You won't believe your ears! Features 100 Watts (rms) into 4 Ohms (w/external speaker) 12" Blue Marvel® speaker High and Low Gain inputs TransTube tube emulation circuitry Footswitchable Clean and Lead channels 3 band passive EQ on each channel 3 position EQ/Gain Voicing switch on each channel Reverb with level control Footswitchable Boost with level control ¼" stereo Speaker Simulated Direct Out jack with level control Footswitch optional 80 Watts (rms) into 8 Ohms Weight Unpacked: 40.00 lb(18.144 kg) Weight Packed: 48.00 lb(21.772 kg) Width Packed: 15.75"(40.005 cm) Height Packed: 28.37"(72.0598 cm) Depth Packed: 23.87"(60.6298 cm) Please confirm stock availability before purchasing

A wireless system with 4 independent UHF channels. The receiver is 19in rack-mountable and features 4 separate XLR outputs or a mixed jack output. Suitable for vocal groups, theatres and presentations. Individual or mixed outputs Twin front-mounting antenna Supplied with 4 colour coded transmitters 19in rack-mountable (1U) Power Supply: 12 - 18Vdc 800mA adaptor (supplied) Batteries: 8 x AA (included) Carrier Frequency: Red 863.01,Yellow 863.42, Green 864.30, Blue 864.99MHz Stability: 10PPM S/N Ratio: >105dB THD: Image Rejection: 85dB typical Range: 60m (max) Output Impedance: 2.2k ohms Output Level: Balanced: 0-400mv, unbalanced: 0-200mv Connectors: DC in, 4 x XLRM, 6.3mm jack Dimensions - Receiver: 483 x 44 x 225mm Weight - Receiver: 3.8kg Dimensions - Handheld Transmitter: 243 x 48mmØ Weight - Handheld Transmitter: 238g (no battery) Dimensions - Beltpack Transmitter: N/A Weight - Beltpack Transmitter: N/A Dimensions - Neckband Microphone: N/A Weight - Neckband Microphone: N/A

Professional Mixing Features The Alto Professional Live 1604 is a pro 16-channel, 4-bus mixer equipped with the tools you need to create the perfect mix. With flexible routing options and a multitude of onboard DSP tools, Live 1604 fits the demands of nearly any live performance environment. It features 10 balanced XLR inputs with switchable phantom power, 3-band EQs with sweepable mids for additional tonal shaping, four aux sends per-channel for external effects and monitoring, and a 9-band graphic EQ for main or monitor outputs. A headphone jack with an independent level control enables additional monitoring and mixing. 60mm faders with LED meters provide precise control and visual feedback for accurate, hands-on mixing. With its diverse connectivity options, Live 1604 can handle any sized event from small coffee house gigs to mid-sized ensembles to full-stage rock bands. Analog Compression & Superior Sound Quality Live 1604 offers high-fidelity sound and high-quality DSP tools in a single package. Each microphone channel is outfitted with a high-headroom ultra-low-noise DNA microphone preamp for unprecedented sound quality and a robust audio signal path. Live 1604s high headroom results in cleaner mixes, a purer signal path, and loud, punchy audio. Onboard analog compression (channels 1-6) helps control dynamics and gel instruments together for a cohesive, defined mix. With high headroom, pristine sound, and built-in dynamic control, Live 1604 ensures that the full dynamic range of your mix comes across with striking clarity. USB Audio Interface Record your mix directly to a Mac or PC with a single USB connection. Live 1604s built-in USB port allows engineers, producers, and performers to convert two channels of 24-bit audio (Main Mix or Sub Mix 1/2) straight to a computer. Record live performances, band practices, theater performances, speaking events, and any other live sound event onto your computer for additional editing, mixing, and post-production. The USB connection is bi-directional, enabling sound files stored on your computer to be streamed to and played through Live 1604. 100 High-Quality Alesis DSP Effects Live 1604 comes ready to handle any mixing situation with premium 24-bit Alesis effects built right into its design. Select from 100 DSP effects that give you additional creative control in any mixing environment. Choose from room and space delays, small and large hall acoustics, plate and spring reverbs, flangers, choruses, and more. The effects presets make it easy to dial in your favorite sound or experiment with different effect settings on the fly. Color-coded Interface Often, live sound environments are dimly lit and offer poor visibility to the mixing engineer. Live 1604 solves this problem by color coding each section of the mixer and providing brightly colored knobs so you can quickly and easily find what you need to adjust. Blue, green, red, yellow and white pots are instantly easy to identify in low lighting. LED indicators for output level, peak, and phantom power also assist in making sure that you have multiple visual cues that reflect everything you're hearing.