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Stylus RMX is the first product to offer the combined power of Groove Control® with Spectrasonics Advanced Groove Engine (S.A.G.E.™) technology giving users dramatic new control over groove production and performance.\u003c\/p\u003e\n\u003cp\u003eSpectrasonics' in-house development team created this innovative instrument from the ground up, with dozens of features including the ground-breaking Chaos Designer®, Time Designer®, an intuitive multi-page user interface, a deep core library of sounds, all with a focus on realtime groove creation and performance. Stylus RMX remains an industry standard tool of top composers and music producers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUnsurpassed Innovations\u003c\/strong\u003e\u003cbr\u003eOf the many remarkable capabilities in \u003cstrong\u003eStylus RMX Xpanded\u003c\/strong\u003e, possibly the most innovative features are the Time Designer and Chaos Designer. With simple controls, the user can introduce musical Chaos into the groove, which allows it to have constantly evolving variations—giving the impression that the audio grooves are improvising. The results can be subtle or extreme by setting the simple to use controls. A Capture feature allows the spontaneous audio chaos patterns to be made into a MIDI file, dragged and dropped into the host sequencer, and played back again for further editing by the user. The Time Designer feature is unmatched in any other rhythm software and allows realtime changing of audio grooves to any time signature, feel or pattern— an infinite creative tool!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCore library\u003c\/strong\u003e\u003cbr\u003eThe over 14 gigabyte core-library in Stylus RMX has thousands of cutting-edge grooves and sounds that were created by Spectrasonics' international sound design team, and produced by Eric Persing. The core library contains nearly triple the amount of sounds offered in the original Stylus, and contains all the original material as well. The sounds and grooves in Stylus RMX offer a much wider range of modern musical genres than the original Stylus. Mixes of grooves are broken down into individual tracks called Elements for flexibility and infinite combinations.\u003c\/p\u003e\n\u003cp\u003eAlso introduced in Stylus RMX Xpanded are thousands of Kit modules, 250 Kit patches, as well as user Kit construction. Users can create their own customized multitrack remix grooves and kits, save them into the plug-in, and even share them with other Stylus RMX Xpanded users on different platforms and hosts. RMX now comes with 500 Multi grooves.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eXpanded and Xpandable\u003c\/strong\u003e\u003cbr\u003eStylus RMX Xpanded now includes all five Spectrasonics \"\u003cstrong\u003eS.A.G.E. 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Based on API's original 560 EQ, the current production 560 has improved resolution in the ±4 dB area and possesses our exclusive circuitry and proprietary components, including the API 2520 Op Amp.\u003c\/p\u003e\n\u003cp\u003eThe extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves. Of course, the 2520's ability to drive low impedance loads is key when it is paired with API's custom output transformers. The results are quite audible with better low frequency reproduction and tighter imaging, which gives you that legendary API \"punch in your gut\" sound.\u003c\/p\u003e\n\u003cp\u003eThe 10 precision EQ bands make the 560 ideal for signal sweetening and room tuning. A great companion to a parametric EQ, the 560 utilizes API's unique \"Proportional Q\" design introduced during the '60s. This design intuitively widens the filter bandwidth at lower boost\/cut levels and narrows it at higher settings. 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Featuring a bell shape and barrel design similar to that of Yamaha's professional V Series, the YCL-450 offers a surprisingly 'professional' sound with an easy response. The new bell design gives improved intonation and projection, especially in the all-important lower register, while the new barrel enhances the 450's response, flexibility and tonal focus.'\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNew 65mm barrel\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe YCL-450N intermediate model clarinet incorporates some of the distinct qualities of Yamaha's professional and custom clarinets. One of these features is a 65mm barrel design that produces a focused tone and quick response. 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Their advanced 30 mm XXL transducers with patented Varimotion diaphragms deliver a wide dynamic range, increased sensitivity and high sound levels, while their semi-open design provides the airiness of open headphones with the powerful bass response of closed designs. With impressive accuracy, musicians, producers and engineers rely on the AKG K240 MKII to clearly hear mixing details, which has made these headphones a standard in recording settings. In addition to great sound quality, the headphones are extremely durable and comfortable. Not only built to withstand the demands of countless hours in the studio, their self-adjusting headband provides an ideal fit and their over-ear pads nicely envelop the ears. The AKG K240 MKII headphones also feature a professional mini XLR connector and come with a 3m (10ft) straight cable, 5m (16ft) coiled cable and convertible jack plug for connecting portable equipment easily. 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Many hit recordings feature the SM57 on the snare, as it can handle the noise without distortion. This product is also perfect for use with high-volume amplifiers. The SM57 can even handle close up recording on half-stack amps that are painfully loud for human ears. This microphone will help you to bring the feel of a live performance to your recordings for a better representation of your music. While this microphone is notorious for being used in the studio to record the sounds of percussion, wind, and string instruments, it also provides high quality vocal recording. Whether you are using it for spoken word or vocals, the SM57 will deliver a flawless sound while eliminating background noises. Because of its reliability, sound isolation, and quality sound reproduction, the SM57 has been used at the podium for Presidential speeches for the past 40 years.\u003c\/p\u003e\n\u003cp\u003eThe SM57 differs from microphones that are manufactured solely for vocal pickup in many ways.Vocal microphones like the SM58 have their frequency dialed in to a certain range that is common in most singers, enhancing that microphone’s pickup of the human voice. The SM57 doesn’t have this specific tuning, so it can handle frequencies on a much wider scale, with a response from 40Hz to 15KHz. Without this tuning, the microphone takes in the sound exactly as it is played, creating a perfect recording every time. 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Known for their ease of playing, Yamaha instruments are often recommended by teachers, and preferred by students for their durability, sound, and craftsmandship.  Whether it is a beginner, intermediate, or professional model, Yamaha takes pride in their product, and only releases the best of the best.  \u003c\/font\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: Georgia; \"\u003eIf you are looking to invest in an advancing level trombone, well look no further! The Yamaha 400 series trombones have the perfect blend of professional features at an intermediate price. 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A full year was spent studying all versions \u0026amp; revisions of the famous little 5C Sound Cubes. Research revealed that there were several driver versions released over the years with widely varying frequency response characteristics. We chose the smoothest, most linear, full-range version of those 5C models to use as our testing benchmark. Next we analyzed their response characteristics in an anechoic chamber and proceeded to implement design upgrades. Realizing the importance of replacing a respected \"industry-standard reference monitor\" we began by replicating its basic size, function, and sonic character.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWe wanted to take it up a notch though...\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFirst, we addressed the Cabinet Design... The original 5C Sound Cubes were made of ½” particleboard covered with a glue-on wood grain contact paper. We chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. We started with a 165mm (6 1\/2\") sealed cube design with radiused edges. We then chose an elegant Polyurethane high gloss “RETRO-CREAM” finish. The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. We upgraded to high-end nickel plated, machined solid metal binding posts (Dual banana spacing) mounted on a black anodized ,milled and silk-screened aluminum terminal plate. Next we added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, we recessed an industry standard 5\/8”-27 mic stand mount into the base.\u003c\/p\u003e\n\u003cp\u003eSecond, We addressed the driver design... The originals were a basic 5” stamped frame design. We designed a proprietary 5.25” die cast aluminum frame driver\/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designed \u0026amp; crafted using the finest New Zealand pulp with mica fibers added for lighter weight \u0026amp; rigidity. The cloth surround is made in Japan to exacting uniform thickness tolerances. The Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High Power-low distortion motor structure.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePERFORMANCE OBJECTIVE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStudios primarily use 2-way \u0026amp; 3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of High Definition Audio, there is still a need to also hear what your mix will sound like when played back over small “bass-challenged” systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal\/guitar\/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R\u0026amp;D comparative listening \u0026amp; tweaking went into the voicing of the AVANTONE MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAMPLIFICATION and WIRING\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecommended power rating is 50-200 watts of solid state power or 10-100 watts of tube power.  It is advisable to use a high quality studio-grade power amplifier. The metal binding posts on the rear of the speaker can accept bare wire, spade lugs, or single or dual banana plugs. It is best to use 12 -16 AWG wire for runs longer than 6 feet.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePLACEMENT\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen positioning the AVANTONE MixCubes on stands or console bridges it is best to keep them at ear level and slightly angled in towards the engineer. Since they are shielded it is ok to place them near a CRT video monitor or TV without causing any problems. The bottom mic stand mounts will also allow you creative positioning options in unusual studio playback situations.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"...the MixCubes yield a microscopic-style view of critical midrange tracks-such as guitar, keys or vocals-which would fall somewhere along a crossover point on most other monitors. The Avant MixCubes are serious audio tools that fulfill a necessary role in any pro studio setup and at a most  reasonable street pricing of $235\/pair, there should be some square, butter-cream speakers gracing your  meter bridge in the future.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e-George Peterson, Mix Magazine \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“… as a proxy for bass-challenged consumer playback systems, used alternately with full-bandwidth monitors, the MixCubes provide unique and invaluable insight.… despite their Lilliputian size and band-limited response, these are not toys or entry-level monitors. The MixCubes are professional tools that provide a highly useful alternate reference when in pursuit of the perfect mix that will translate well to consumer playback systems. Simply put, these are outstanding monitors. What's more, the price is ridiculously affordable. The Avantone MixCubes get my highest recommendation.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e-Michael Cooper, Electronic Musician Magazine \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Back in the 70's we referenced every mix on the Auratone Cubes especially as a final check on bass guitar and kick drum. 30 years later I finally gave them to the kids because I got a pair of Avantone Mixcubes. We A\/B 'd them and the Avantones are much better sounding than the Auratones, less midrange  bump and more accurate. We have already improved our bass sound. We love them!\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eRandy Bachman, Recording Artist (The Guess Who, Bachman-Turner Overdrive, Ringo Starr All Starr Band, Bachman-Cummings)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"I've used them in mastering to check vocal, low end and overall consistency from track to track for 3 years or so. I've suggested them to dozens of clients who have all had great results using them in conjunction with a full range speaker. How far out front is the vocal? How is the kick compared to the bass? How's the image? Hit that Speaker B button, maybe also the Mono button, and off you go...\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBrian Lucey, Magic Garden Mastering \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"We are the first Italian mastering studio to adopt your speakers as second reference monitors. 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Based on the API 500 series form factor, the B1 was designed to compliment the B2 Bomber ADC, and give you multi-channel pleasure. With the proprietary BX3 input transformer and BX2 output transformer, the B1 Mic Pre delivers warmth with depth and clarity. The B1D is the same as the B1 except that it has an all iron BX4 output transformer giving it a more terrifying rock tone. An all discrete transistor, class-A, direct coupled, capacitor free circuit path, gives the B1amazing punch on drums, beautiful tonality on guitars, and warmth with presence on vocals.\u003c\/p\u003e\n\u003cp\u003eThe B1 and B1D come complete with both Gain and Level controls. If you want that heavy, gainy tone, crank up the stepped gain control and offset that with the level control. If clean tone is your thing, turn the gain down and crank up the level. For ribbon mics and other low impedance sources, the B1 has a transformer coupled impedance select.   The B1 was rigorously tested with the popular Royer R-121 in the low impedance setting, and we think it sounds pretty f***ing bitchin’’ on guitar amps. The B1 gets the best out of any microphone, whether it be dynamic, condenser or ribbon.\u003c\/p\u003e\n\u003cp\u003eUse the B1’s 1\/4” instrument\/line input on the front panel, plug in, crank up the gain and go. The PAD switch allows for hot signals and balanced line inputs through the mic XLR on the back panel. Run your tracks or mixes through the B1 for warmth and glue. The B1 was designed to rock. Run multiple B1 channels for your rhythm tracks and you are there.  Replace EQ and compression with true analog PHAT. 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Transformer isolation provides the additional benefit of eliminating troublesome ground loops that can cause hum and buzz in the audio system or interfere with video displays.\u003c\/p\u003e\n\u003cp\u003eThis 'Swiss Army knife' DI is equipped with ¼' connectors for instruments, RCA connectors and a 3.5mm TRS for unbalanced -10dB consumer electronics plus XLR inputs for +4dB professional line sources. Radial's innovative book-end design provides protective zones on the front and rear to keep connectors and switches out of harm's way. The 14 gauge I-beam inner frame adds tremendous rigidity to eliminate outside stresses that could torque the PC board and cause premature solder joint and trace failure. The steel outer shell couples with the transformer's MuMETAL® shield to protect against stray magnetic fields from power transformers or lighting systems that could cause interference. 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