Pairs xlr

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STAR QUAD: (4) 24 AWG Copper Conductors In Star-Quad Configuration Reject More Electromagnetic Interference (EMI) Than Standard 2-Core Cables By Tightly Twisting The 4 Conductors In Opposing Pairs. PLIABLE & DURABLE CABLE: Soft Rubberized PVC Jacket Is Extremely Flexible Yet Made To Be Over 6mm Thick To Reduce Handling Noise And To Stand Up Against Heavy Use QUALITY CONNECTORS: Mediabridge XLR Connectors With Black Metal Housing Featuring Gold Plated Contacts To Provide High Contact Integrity And A Black Rubber Relief Reduces Cable Strain SHIELDING: Copper Clad Steel Braiding Over 100% Aluminum Foil Complements The Star-Quad Construction Preventing EMI. Xlr cable; xlr patch cable; microphone cable; mic cable; cable for microphone; microphone cord; xlr female; xlr female to male; xlr microphone cable; xlr male to female Mediabridge Ultra Series Microphone Cable Mediabridge Ultra Series Microphone Cables are professional grade cables at consumer prices. The (4) Star Quad 24AWG copper conductors, gold plated contacts and rubberized jacket are designed to ensure the best possible audio experience. A musician can be hard on their cables. Mediabridge Ultra Series cables are up to the task. Product Features STAR QUAD: (4) 24 AWG Copper Conductors In Star-Quad Configuration Reject More Electromagnetic Interference (EMI) Than Standard 2-Core Cables By Tightly Twisting The 4 Conductors In Opposing Pairs. PLIABLE & DURABLE CABLE: Soft Rubberized PVC Jacket Is Extremely Flexible Yet Made To Be Over 6mm Thick To Reduce Handling Noise And To Stand Up Against Heavy Use SHIELDING: Copper Clad Steel Braiding Over 100% Aluminum Foil Complements The Star-Quad Construction Preventing EMI. QUALITY CONNECTORS: Mediabridge XLR Connectors With Black Metal Housing Featuring Gold Plated Contacts To Provide High Contact Integrity And A Black Rubber Relief Reduces Cable Strain Compatibility Microphone Cables are typically used to connect to a microphone to a mixer or sound board. Installation Plug-&-Play: Ready to use, once each end is connected to respective ports on a compatible unit Limited 1 Year

Buy 10 Pairs 3 Pin XLR Plug Male Female Jack Mic Jack Plug Socket Connector... for R489.00

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Buy 5 Pairs Black 3 Pin XLR Audio Cable Connector Male and Female for R339.00

Buy 5 Pairs 3 Pin XLR Plug Male Female Jack Mic Jack Plug Socket Connector for R339.00

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1.Package Includes:10 x XLR Male + 10 x XLR Female Plugs. 2.Widely used for microphone,mixer and other devices. 3.Arc design,feel good. 4.High quality material, durable and affordable. 5.Easy to operate, perfect for you

Pairs with PeakStopPlus ™; Switchable OverEasy® or Hard Knee;Hardwire Bypasss; Input/Output Meter, & Gain Reduction Meters; dbx V2™ VCA; Balanced XLR Inputs & Outputs

The Problem Solver “Turn my headphones up!” “More me, I can’t hear myself!” “Turn down that click!” It gets old. Change that tune with the HP60 headphone distribution system. The HP60 is more than just a half-dozen headphone amps, it’s a field-tested solution to a host of common headphone-monitoring problems. Let’s start with “turn my headphones up.” Each of the HP60’s six headphone amps has its own level control and puts out 150 mW, which is loud enough to drive the alligators out of the Louisiana swamps. If they can’t hear this headphone system, they’re stone deaf. More likely they’ll scream, “turn it down, you’re killing me!” Problem solved. Now let’s solve “turn down that click.” The HP60 features two sets of line-level, stereo inputs that are routed to all six headphones; a Mix control that sets their relative levels for each headphone output. So you can feed the main control-room mix to channel A and the click to channel B and use the Mix controls to individually raise or lower the click relative to the main mix for each musician. Problem solved. As for “more me,” in addition to the two pairs of main stereo inputs, you get an external stereo input pair with level control for each headphone channel. A Mono switch lets you sum the left and right inputs. Additionally, a mute switch is provided for each headphone output. So you can send each person a feed of just their instrument or voice and can control the level separately for each. Problem solved. Take Command With the HP60, when you talk, everyone listens. Hit the Talk button and use the talkback-mic input and your favorite dynamic mic to tell ‘em what to do. You can even use a footswitch to control the talkback hands-free. Each channel also has stereo line outputs that can send a copy of the line-level headphone-channel mix to additional headphone amplifiers or monitor systems. So if you have a large band and need more than six headphones, you can chain two or more HP60s. So get the problem solver, the most flexible and advanced headphone-mixing system in its price class: the PreSonus HP60.Input/Output 6 screaming-loud (150 mW/channel) headphone outputs (front panel) 6 unbalanced stereo ¼” line outputs (1 per channel); carries a copy of the channel mix 6 unbalanced stereo ¼” external analog line inputs (1 per channel) for “more me,” with trim controls 4 balanced ¼” analog line inputs (L/R Mix input pairs A and B) 1 balanced XLR Talkback input for external dynamic microphone 1 ¼” footswitch jack for hands-free Talkback operation Meters, Controls, and Features 2 stereo input channels (A and B) Channel controls External input level Headphone level control for each headphone output Mix A/B control (blends signals from input pairs A and B) Mono switch for external input Mute switch (mutes input pairs A and B) Master controls Input A level Input B level Talk button (momentary switch) Talkback-mic level Physical 1U 19” rack-mountable, rugged steel chassis Internal power supply with standard IEC connector

The  US- from  Tascam is a high-speed multi-channel USB 2.0 audio interface that's compatible with both Windows and Mac computers. It provides 16 inputs and 4 outputs in a single rack space, with both analog and digital audio I/O. Every input and output has a dedicated 5-segment LED meter on the front panel (a total of 100 LEDs), so you can always keep an eye on your audio signals. The 6 line-level 1/4" TRS inputs on the rear of the US- can be used simultaneously with all of the XLR inputs, and the digital S/PDIF inputs. The power to record 16 inputs at the same time makes the US- an excellent interface for recording large groups of musicians, multiple sources on a video or film set, etc. Phantom power is engaged in pairs on the US-, and it's provided on all 8 of the XLR inputs. You can adjust the volume levels of the headphone output and the main outputs separately. The included Cubase LE4 is a powerful audio and MIDI recording application that allows you to record and mix up to 48 audio tracks and 64 MIDI tracks. You can automate your mixes, sweeten the sound with an included assortment of plug-ins, and create elaborate MIDI sequences. Like the US-, Cubase LE4 is also fully compatible with both Windows and Mac computers. US--in / 4-out USB 2.0 audio interface 96kHz / 24-bit audio resolution 8 XLR microphone inputs with phantom power 6 TRS 1/4" balanced line inputs 4 TRS 1/4" balanced line outputs 2 instrument inputs (channels 7 & 8 on front panel "combi" jacks) Stereo S/PDIF digital in and out 100-LED meter bridge (5 segments for each input and output) Zero-latency direct monitoring with mono/stereo switch for each pair of inputs 1/4" balanced stereo monitor output with its own volume control 1/4" stereo high-powered headphone output Mac and Windows compatible Attractive aluminum case design Cubase LE4 48-track recording software Digital mixing with plug-ins and automation MIDI sequencing, notation layout and much more

The S-com 4 is a compact and versatile single-rack space device that provides four channels of high-quality dynamic processing with an Expander/Gate and Compressor/Limiter on each channel. The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control, as well as a switch for fast or slow release times. The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S-com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression. This wide-ranging combination of features makes the S-com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative.4-channel compressor/limiter, expander/gate with enhancer Linkable in two stereo pairs Expander/Gate with variable Trigger control and switchable Fast/Slow Release 5-segment LED meters for Input/Output levels and Gain Reduction on each channel Advanced circuit design utilizing Low Noise Operational Amplifiers and high-quality VCAs Servo Balanced Inputs and Outputs on XLR and 1/4" connectors SKD (Smart Knee Detector) circuit automatically switches from soft to hard knee based on the level of Input signal applied Individual Threshold and Ratio controls on each channel

The S com 4 is a compact and versatile single-rack space device that provides four channels of high quality dynamics processing with an Expander/Gate and Compressor/Limiter on each channel. The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control as well as a switch for fast or slow release times. The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression. This wide-ranging combination of features makes the S com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative. 4 Channel Compressor/Limiter, Expander/Gate with Enhancer Linkable in two Stereo pairs Expander/Gate with variable Trigger control and switchable Fast/Slow Release 5 Segment LED meters for Input / Output levels and Gain Reduction on each channel Advanced circuit design utilizing Low Noise Operational Amplifiers and High Quality VCA's Servo Balanced Inputs and Outputs on XLR and 1/4" connectors SKD (Smart Knee Detector) circuit automatically switches from soft to hard knee based on the level of Input signal applied Individual Threshold and Ratio controls on each channel

Mbox Pro is a professional-grade, high-performance audio interface that enables you to capture and create music and audio in the highest quality. The Mbox Pro + Pro Tools hardware/software bundle offers incredible value, giving you the best of both worldsindustry-standard Pro Tools software to compose, record, edit, and mix, and a desktop hardware interface that delivers best-in-class sound quality and performance. Get everything you need to create high-resolution music and sound for picture on your Mac or PC.8 x 8 simultaneous channels of I/O 4 mic inputs (2 XLR mic/DI combo and 2 XLR) with professional-grade mic preamps and 48V phantom power and high pass filters 4 1/4" TRS line-level inputs 2 unbalanced 1/4" Alt line-level inputs (2 RCA, 1 stereo mini 1/8") 6 balanced 1/4" TRS line-level outputs 2 1/4" stereo headphone outputs with discrete volume controls Stereo S/PDIF digital I/O 1 MIDI input, 1 MIDI output Word Clock I/O Monitor control section with Mono, Mute, Dim, Alt Source, and Speaker A/B/C switching controls Dedicated monitor volume knob Fast and easy desktop connectivity throughout FireWire Dedicated monitor volume knob Connect up to three pairs of speakers for A/B monitoring

SM Pro Audio MPATCH2 Monitor Controller The M-Patch 2 is a compact desktop/rack-mountable sized passive volume attenuator and patch control device. Building on the success of the original M-Patch, the new M-Patch 2 is a feature packed passive problem solver for nearly all production environments. A great way to passively attenuate stereo signals from soundcards, CD players, pre-amps, and mixers, the M-Patch 2 front panel rotary controls allow precise level adjustments for two input sources. Featuring balanced combo XLR/TRS input jacks and XLR outputs, RCA & 3.5mm jack inputs, mono/stereo summing switch, Mute switch, A/B output pairs, and a built in stereo headphone amplifier, the M-Patch 2 has all bases covered. No more bit loss! One of the benefits of passive volume attenuation is that you no longer have to control volumes with your software master volume fader. Reducing audio levels from software only reduces your bit depth. It is much more appropriate to keep your software masters at unity and passively attenuate the audio to your active monitors. No active circuitry, buffers, transistors, batteries, or power supply of any kind can interfere with the main passive output of the M-Patch 2. It simply delivers attenuated signal. That's it.. pure, simple transparent. The M-Patch 2 is a true problem solver. It will work seamlessly within your system, is very transparent and silent. You will now be able to keep your bit levels up in your system, eliminate using your mixer, and keep all volumes at an acceptable level. This is a very handy tool for a wide variety of applications. You can use M-Patch 2 anywhere you want to trim the amount of gain; ie, reduce the volume of analog audio signals. For example, you could use one to trim the output of a microphone pre-amplifier. With its high-quality potentiometer, the M-Patch 2 passes signal more accurately, and sounds better than most built-in volume controls. Another use might be to trim the levels of a 5.1 or greater multi-channel monitor system -- either one pair of channels, or two, or all of them. You can also use a M-Patch 2 to trim the output level of a Digital to Analog Converter like those found in high end pre-amplifiers. Or as a local volume control for distributed audio systems. The possibilities are endless.

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

Digital mixing has revolutionized so much of the live-entertainment production workflow. But one thing that hasn't changed is having to roll out that heavy, cumbersome old analog snake. That is until now! The new S16 Digital Snake from BEHRINGER takes the burden out of connecting your FOH (Front of House) console with the talent. The S16 provides 16 fully programmable, remotely controllable high-end mic preamps plus 8 analog, balanced XLR returns at the stage end, and connects to the FOH via a single CAT5 cable without the need for a dedicated router. KLARK TEKNIK, a longtime industry-leader in the development of high-end digital audio processing, provided the SuperMAC technology that made all of this possible & BEHRINGER made it affordable. Massive Connectivity When used as part of a complete X32 system, two S16 Stage Boxes can be cascaded via the built-in AES50 ports, providing connectivity for up to 32 mic/line inputs, 16 balanced outputs and the incredibly-affordable POWERPLAY P-16 Personal Monitoring System, which can feed up to 48 individual monitor mixers. We also included two optical ADAT sockets for connecting channels 1-8 and 9-16 to outboard devices, a convenient USB port for system updates via your PC, plus MIDI I/O for lighting systems and sound module control. Standalone Snake Mode Although the S16 was initially designed for use with our flagship X32 digital console, any mixing board with AES50 networking capability can tap into the S16's powerful feature set. So if you happen to work on an analog mixing board occasionally, you could use two pairs of S16 and ADA to form a high-performance, lightweight 16 x 16 digital snake, all on one CAT5 connection, keeping the preamp remote control functionality. Remotely Controllable Preamps Make Setup a Breeze Having to run back and forth to FOH, or trying to communicate with a tech on stage tracking down a bad cable or connection, can really put a crimp in the gig. S16's ingenious monitoring / head amp control section allows you to select any one of the 16 inputs, 8 bus outputs or P16 output streams, for immediate line checks. In addition to signal metering at the stage box, you can set individual input channel Gain, apply +48 V phantom power, plus you have the option of listening directly to the input signal via headphones and much more. Once set, all configuration settings can be locked at the console for total system security. Seamless Integration with P-16 Personal Monitoring System The ULTRANET port on the S16 lets you connect directly to the BEHRINGER POWERPLAY P16 system, which provides an easy, affordable way to give your musicians and vocalists what they really want--"more me!" P16-M Personal Mixers let each performer take control of what they hear, allowing you to concentrate on providing the audience with the best possible listening experience. Fast and easy to set up, a basic system can be installed and configured in a matter of minutes and the system can be expanded to adapt to changing needs. KLARK TEKNIK AES50 KLARK TEKNIK SuperMAC (AES50-Compliant) technology gives the S16 its high-capacity digital interconnectivity with ultra-low latency operation, as well as superbly simple deployment and ease of use. KLARK TEKNIK engineers worked hand-in-hand with BEHRINGER product developers to ensure the S16 meets, or exceeds, the requirements of live performance entertainers and their professional audio engineers. Some of the outstanding features are: 48 bidirectional audio channels over CAT5 cable (48 kHz) 24 bidirectional audio channels over CAT5 cable (96 kHz) Single cable duplex interconnection for audio and sample clocks Ethernet physical layer audio data transmission High channel count and ultra-low deterministic latency Accurate phase-aligned clock distribution. Comprehensive error detection and management Provision for redundant networking Minimal configuration total ease of deployment and use Ethernet TCP/IP protocol-compatible auxiliary data channel Royalty-free implementations available as Xilinx FPGA cores OEM modules available from developer partners Extreme Value As you can see, the S16 is an extremely versatile 16 x 8 digital stage box solution with lots of unique features, at a price that anyone can afford. Built tough to withstand the rigors of the road, S16 only takes up two rack spaces and connects to FOH with a single, inexpensive CAT5 cable. Now you can have the missing link between the stage and FOH at a fraction of the cost of competing systems, and we back it with a comprehensive warranty program Product Features: 16 MIDAS-designed, fully programmable mic preamps for audiophile sound quality 8 analog, servo-balanced XLR outputs AES50 network ports featuring KLARK TEKNIKs SuperMAC networking capability for ultra-low jitter and latency Up to 100 m networking capability via CAT-5e cable (not included) Dual AES50 ports for cascading S16 unitsno merger or router required Precise LED metering plus 7-segment displays for signal control on stage Phones output assignable to any of the inputs/outputs for on-stage monitoring Connectivity for BEHRINGER's P-16 Personal Monitoring System for In-Ear applications (not included) Dual ADAT outputs for use in splitter mode and stand-alone digital multicore applications MIDI In/Out for bi-directional communication between FOH console and on-stage MIDI devices USB connector for system updates via PC "Planet Earth" switching power supply for maximum flexibility ( V~), noise-free audio, superior transient response plus low power consumption for energy saving "Built like a tank" yet compact, all-steel 2U rack-mount chassis High-quality components and exceptionally rugged construction ensure long life Conceived and designed by BEHRINGER Germany

Power supply: V AC, Hz ~ Power consumption:511 W (1/8 power) Power output sine: Stereo 4 ohms2 x 450 W Stereo 8 ohms2 x 300 W 8 ohms bridged1 x 900 W Frequency range: Hz, ± 1.5 dB Damping factor:>350 Distortion factor:0.1 % Slew rate:45 V/µsec S/N ratio:>100 dB Channel seperation:>70 dB/ 1 kHz Input sensitivity:0.77 V Input impedance:20 kohms Input voltage:max. 21 dBV/9V Input connectors:2 x XLR, 1 x stereo RCA Output connectors:2 x Speaker, 1 x Speaker (bridge), 2 x pairs of screw terminals, 2 x XLR (feed-through output) Control elements:power switch, level control per channel, mode switch (stereo/bridged), limiter selector, groundlift selector LED indicators:stereo, bridged (globally), protect, and 7-fold output meter with clip LED (per channel) Protection circuits:short-circuit, overheat, DC voltage, power on/off transients, softstart Construction:steel chassis with aluminum front panel Dimensions (DxWxH):345 x 482 x 100 mm (19", 2 U) Weight:12 kg

An articulate headphone mix can make a tremendous difference to the outcome of a recording session. The four-channel Behringer HA4700 features superior performance, routing and mixing functions to accommodate the most discerning set of ears. When a conditioned mix has to reach multiple listeners, the Behringer HA4700 delivers in style. Altogether Now The Behringer HA4700 offers four high-power amplifiers that can drive loads down to 8 Ohms. Each amplifier features its own two-band EQ, 8-digit LED output meter, left and right Mute switches, a ST./2-CH switch to toggle between stereo or double mono, and a 1/4" stereo AUX input to mix in any instrument or sound source. The front panel gives you one Phones Out 1/4" jack per channel. A Main section features a 5-segment LED output meter, Direct In 1/4" jack and Master Level dial. Connections On the back panel you'll find two additional 1/4" outputs per channel. That means up to 12 pairs of headphones can listen to four separate mixes at once. The back panel also features stereo 1/4" and XLR inputs and outputs so you can connect multiple HA4700 units for even greater listening capacity. Meanwhile, low-noise 4580 operational amplifiers deliver outstanding audio quality. Great Sound and a Great Value When a recording session calls for everyone's heads and ears to be in the game, the Behringer HA4700 is essential. Hearing is believing. Features - Professional, multi-purpose headphones amplifier system for stage and studio applications - Highest sonic quality with virtually all types of headphones >8 Ohms even at maximum volume - Four independent high-power amplifier sections provide up to four stereo mixes with individual balancing - Each input/aux section can be separately set to capture individual demands for 'more me mixing' - Stereo Aux input for each channel allows you to mix in any instrument or sound source - Multi-functional Stereo/2-channel switch on each channel allows for either stereo playback or double mono operation - Extremely musical High and Low EQ per channel for perfect sound adaptation - Output level control with accurate 8-digit LED output meter per channel - Left & right mute switches for each channel allow two different mixes in mono mode - One front and two rear 1/4' TRS output connectors on each channel - Direct front panel input connector for easy connection of any sound source - Paralleled Main outputs allow cascading of several headphones amplifiers - Servo-balanced, gold-plated XLR and 1/4" TRS inputs and outputs - Toroidal transformer for lowest noise interference and highest audio quality - High-quality components and exceptionally rugged construction ensure long life

Akai - EIE PRO USB Audio MIDI Interface 96KHZ/24Bit The Akai EIE PRO (Electromusic Interface Expander) I/O is a tabletop USB audio interface perfectly tailored for your project and portable studio setups. This four-in, four-out (4x4) device enables you on Mac and PC-based systems to record at 24-bit audio resolution at sample rates of 44.1kHz, 48kHz, and 96kHz into virtually any DAW, recording or performance software. The EIE PRO I/O also houses three convenient USB inputs, in addition to its main USB port, enabling you to connect controllers, hard drives or any other peripheral when native ports on a computer may be limited. The compact recording interface contains high-quality components including nickel-plated input jacks, analog-style VU meters and a rugged aluminum casing for a powerful, professional, portable audio solution. Each channel of the EIE PRO I/O has an XLR/TRS combo jack, dedicated sturdy, gain-pots and Mic/Line/Guitar switches. The EIE PRO I/O features four discrete-design preamplifiers with 48V phantom power for use with virtually any microphone. Individual 1/4" Nickel-plated jacks found on the back of EIE PRO I/O provide you with channel inserts for processing audio signals externally. You can monitor sessions on multiple sets of studio monitors using the four 1/4" balanced outputs, which are also Nickel-plated. Both pairs of outputs can be monitored visually with the high-quality, analog VU meters providing classic features with modern style. For remote tracking and alternative playback, the EIE PRO I/O has a 1/4" TRS headphone output. High quality analog-to-digital and digital-to-analog converters ensure that every detail of your session or performance gets captured and played back faithfully. The EIE PRO I/O sends and receives four audio channels on a single USB cable for simple, universal interface to a computer. The three additional USB ports allow EIE PRO I/O to function as a hub as well, bridging other MIDI controllers and hard-drives to the computer. The USB interface is class compliant for plug-and-play operation with Mac OS X and Windows XP, Vista and 7. The EIE PRO I/O features traditional MIDI In and Out jacks for playing and controlling software with keyboard and pad controllers, workstations, and other MIDI-compatible instruments.

  IN EXCELLENT CONDITION LIKE NEW   The MULTICOM PRO  MDX4600  from  Behringer  provides four channels of Interactive Knee Adaptation (IKA) compression/limiting, housed in a single rack space chassis. A peak limiter on all channels helps prevent clipping of the audio source.  Each compressor features program dependent attack and release times with a switchable side-chain filter to help with bass dominated compression. Channels 1/2 and 3/4 can be switched as independent pairs for stereo operation and accurate metering and professional connections provide extensive processing power. Program adaptive compression circuitry (IKA) combines the advantages of both hard and soft knee characteristics Compression characteristics switchable between IKA and hard knee characteristics Interactive gain control peak limiting circuitry combines clipper and program limiter for reliable and inaudible protection against signal peaks Switchable high-pass filter in the control signal path prevents "pumping" due to low-frequency dominated compression Stereo couple function for channels 1 & 2 and 3 & 4 selectable with real totaling RMS output Accurate 8-segment LED meters for input/output levels and gain reduction High quality detented potentiometers and backlit switches Operating level switchable from +4dBu to -10dBV Servo balanced inputs and outputs with gold-plated XLR and 1/4" TRS connectors

Bought 8 months back and used twice - good as new in very good condition: Wharfedale Titan 12D Active Speaker x 2 Hybrid Speaker Stand Pairs with Bag Jack to Jack Cables 20m XLR Speaker Cabels 50m Wharfedale Connect 802USB Mixer Dtech UHF103 Wireless Handheld Microphone system