SPL USA Online Store

 

In this article, we are going to discuss SEO services in Brisbane as well as some important things you should know about the SEO. For starters, SEO is very complicated and confusing, and that’s why many people find it difficult to understand it.

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Today, there are many big companies that provide SEO services Brisbane for both small and big businesses. The need for such companies have increased over the years as more people learn about the importance of good search engine optimization.

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In other words, SEO is the technique that will help you reach your target audience and gain them as customers. A business with good, professional and qualified SEO can do well. Here are some of the things you should know about SEO services Brisbane.

First, an online business needs SEO services that are suitable for its purpose. Generally, it means optimizing your website by adding relevant keywords and keyword phrases that are used in the search engines and thereby attract potential customers. You need to create the content, place relevant links, be consistent and useful, and put in a lot of effort to attract customers. It is the most important step in your marketing strategy and it is not easy to accomplish.

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List Price: $999.00
Our Price: $899.00
Savings: $100.00

The Track One recording channel features a mic/instrument preamp, de-esser, compressor/limiter, EQ with Air band and an output stage in a slim 1U housing. It is especially popular in the European broadcasting industry. 24/192 AD converter and I/O transformers are optional.MICROPHONE INPUT:
Frequency response: 10 Hz-200 kHz (200 kHz = -3 dB)
CMRR: 1 kHz = -80 dB; 10 kHz = -68 dB (at -20 dBu)
THD & N (A-weighted): 20 dB = -97,5dBu; 40 dB = -91,0dBu; 65 dB = -69,6 dBu
Dynamic response: 115 dB
INSTRUMENT INPUT:
Frequency response: 10 Hz-180 kHz (180 kHz = -3 dB)
THD & N (A-weighted): 7 dB = -98,4 dBu; 20 dB = -95,8 dBu; 42 dB = -77,2 dBu
Input impedance (Line): 12 kOhm / Instr.: 1 MOhm
Max. input level (Line): +28 dBu / Instr.: +12 dBu
Dynamic response: 115 dB
OUTPUTS: Max. output level XLR/jack: +20 dBu; Output impedance: 50 Ohm
POWER SUPPLY: Toroidal transformer: 15 VA; Fuses: 315 mA (230 V/50 Hz) and 630 mA (115 V/60 Hz)
DIMENSIONS: Standard EIA 19 inch/1U housing: 482 x 44 x 210 mm; Weight: 3.1 kg

Features
Mic/Hi-Z preamp
De-Esser
Compressor/Limiter
Semi-parametric EQ
Air band EQ
Output control with metering
Easy to use
Fulfills highest demands in sound quality and reliability

List Price: $2,449.00
Our Price: $2,199.00
Savings: $250.00

Our flagship recording channel features separate Class-A mic & instrument preamps with two selectable tube gains, de-esser, twin-core compressor/limiter, EQ with Air band and tube saturation. Thanks to it’s individual analog I/Os, all these powerful, hi-end analog processors can be inserted during mixing. 24/192 AD converter and I/O transformers are optional.

Maximum input level:
Microphone input @ 13dB gain: +9dBu
Line input: +22dBu
Instrument input: +11,5dBu
De-Esser input: +21dBu
Compressor input: +21dBu
EQ-/Tube Saturation input: +21dBu
Maximum output level: 21,5dBu
Microphone input: +13dB to +68dB
Line input: -20dB to +10dB
Instrument input: +6dB to +43dB
Frequency ranges (-3dB):
Channel strip: 10Hz to 50kHz
Microphone preamplifier: ‹10Hz to 50kHz
Line preamplifier: ‹10Hz to 50kHz
Instrument preamplifier: ‹10Hz to 50kHz
De-Esser: ‹10Hz to 140kHz
Compressor: ‹10Hz to 180kHz
Equalizer/Tube Saturation: ‹10Hz to 60kHz
Common mode rejection (@ 1kHz, 0dBu input level and unity gain):
Microphone preamplifier: ›80dB
Line preamplifier: ›75dB
Instrument preamplifier: ›75dB
De-Esser: ›75dB
Compressor: ›75dB
Equalizer/Tube Saturation line: ›75dB
Total harmonic distortion (in %, @ 1kHz, 0dBu input level and unity gain):
Channel strip: 0,03
Microphone preamplifier: 0,03
Line preamplifier: 0,03
Instrument preamplifier: 0,03
De-Esser: 0,002
Compressor: 0,007
Equalizer/Tube Saturation Line: 0,01
Signal to noise ratio (A-weighted):
Microphone preamplifier (VU=30dB): -91,5dB
Line preamplifier: -94,7dB
Instrument preamplifier: -95,5dB
De-Esser: -97dB
Compressor: -97dB
Equalizer/Tube Saturation Line: -91dB
Dynamic range (unweighted):
Channel strip: 110dB (microphone input › main outputs, @ 30dB)
Channel strip: 112dB (line input › main outputs)
Channel strip: 112dB (instrument input › main outputs)
Microphone preamplifier (@ 30dB): 110dB
Line preamplifier: 114dB
Instrument preamplifier: 105dB
De-Esser: 115dB
Compressor: 115dB
Equalizer/Tube Saturation Line: 112dB
E.I.N. microphone preamplifier: -127dBu (@ 68dB gain, Rs=150Ohms, 20-22kHz)
Power supply: Two toroidal transformers; Audio transformer: 20VA; Transformer other currents: 15VA
Fuses: 230V AC, 50Hz: 315mA/120V AC, 60Hz: 630mA
Voltage selector: 115V/230V
Power consumption: 29W
Housing (W x H x D): 482 x 88 x 261mm (Depth with controls and sockets)
Weight: 5,7kg/ca. 12,57 lbs (w/o converter & I/O transformers)
Note: 0dBu = 0,775V. Specifications are subject to change without notice.

The hybrid preamp with discrete transistor stage and separate tube stage combines high performance and neutrality with the option for sound coloration by enhancing the harmonic content with the switchable tube drive.
The unique one-knob de-esser employs a phase cancelling technique to reduce sibilants.
With three bands, the EQ section covers the complete frequency spectrum efficiently.
The tube saturation stage gives that dense, energetic, warm and fat tube sound that we all love.
The compressor offers all classic parameters and a controllable automation of attack and release which adjusts the setting of time constants to the input signal – pretty much like a cruise control.

List Price: $1,669.00
Our Price: $1,499.00
Savings: $170.00

The Channel One is a fully equipped recording channel featuring separate mic & instrument preamps with tube stage, de-esser, compressor/limiter, semi-parametric dual-band EQ, Air EQ, FET distortion stage, headphone output and output gain with mute switch. 24/192 AD converter and I/O transformers are optional.

Features
The Channel One comes with all tools on board for recording voices, instruments with the highest sound quality:
Transistor/tube mic preamplifier
Transistor/tube Indstrument (Hi-Z) preamplifier
De-Esser
Compressor/limiter with noise gate
dual band semi parametric EQ
Air Band EQ
FET distortion for a rougher tone
Headphone monitoring output
Output Gain
Mute switch

Microphone Input:
Frequency response 10 Hz-100 kHz (100 kHz = -3 dB)
Common mode rejection (@ -20 dBu) 1 kHz: -80 dB / 10 kHz: -78 dB
THD & N Gain (A-weighted): 20 dB = -97.1 dBu; 40 dB = -91.1 dBu; 65 dB = -69.4 dBu
Dynamic range 118 dB
Line/Instrument Input:
Frequency response 10 Hz-180 kHz (100 kHz = -3 dB)
Common mode rejection (@ 0 dBu): 1 kHz = -80 dB; 10 kHz = -78 dB; Line input only
Total harmonic distortion Gain (A-weighted): 5 dB = -99.4 dBu; 20 dB = -97.2 dBu; 42 dB = -79 dBu
Input impedance Line: 20 kOhm / Instr. = 1 MOhm
Max. input level Line: +22 dBu / Instr. = +14 dBu
Dynamic range 119 dB
Output Data: Max. output level XLR/jack: +20 dBu; Output impedance: 50 Ohm
Gain Headphone Amplifier (mic input and 0dBu output level):
-20dBu @ 25%; -10dBu @ 40%; -5dBu @ 55%; 0dBu @ 70%; +5dBu @ 75%; +10dBu @ 90%; +14dBu @ 100%
Power Supply: Toroidal transformer 20 VA; Fuses 315 mA (230 V/50 Hz); 630 mA (115 V / 60 Hz)
Dimensions: Standard EIA 19”/1HE, 482 x 88 x 210 mm; Weight 4.15 kg

Sound On Sound (UK), Paul White
“Until you’ve tried something that works this well, the words ‘smooth’ and ‘detailed’ won’t have nearly as much meaning as after playing with the Channel One. If you’re wondering where that elusive ‘produced’ vocal sound is hiding, look no further – it’s in here!”

List Price: $769.00
Our Price: $699.00
Savings: $70.00

Product Code: 1250

Crimson combines a USB interface with high-quality preamps and a separate, fully-featured monitor controller. You can play and play back, record and convert, control and listen with one single device. So all you essentially need for a truly professional recording setup is the Crimson and a DAW.

Features
Max. six recording and six playback channels
10 source connections, 20 monitoring channels
34V operational voltage for pro levels up to +22 dBu
Two discrete mic preamplifiers
Two instrument preamplifiers (Hi-Z, +22 dBu)
Two separate headphones amps
Connect and control two stereo speaker sets
Monitor mix from recording and DAW return paths
Individual artist monitoring signal, with talkback
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Hi-Speed USB 2.0 (480MBit/s)
24 bit audio processing
Sample rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz or 192kHz
Fixed master clock for lowest jitter
True 1:1 audio, no sample rate conversion or clock recovery
SPDIF and MIDI I/Os
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Windows XP/Vista/7/8 (32 and 64 bit)
Mac OS X 10.4 or higher
iPad/iPhone class compliant
Multi-application mode, simultaneous ASIO and/or WDM playback
Low-latency Mac OS X (ASIO-like) HAL plug-in driver
Low-latency Windows ASIO and WDM driver
Driver feedback synchronization to hardware clock
ASIO control panel for Windows and Mac
USB Audio Class 2.0 compliance (asynchronous mode)
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Made in Germany

Input Sockets
Mic Inputs 1 -2: XLR
Line Inputs 1–4: 6,3mm TRS
Instrument Inputs 3–4: 6,3mm TRS
Source 1 Input: 6,3mm TRS
Source 2 Input: RCA
Source 3 Input: 3,5mm TRS
Midi Input: DIN (5 pins)
SPDIF Input: RCA

Output Sockets
Speaker A Output: XLR
Speaker B Output: 6,3mm TRS
Midi Output: DIN (5 pins)
SPDIF Output: RCA
Headphone Outputs: 6,3mm TRS

Input Impedances
Microphone Input: 10 kOhm
Line Inputs: 10kOhm unbalanced, 20kOhm balanced
Instrument Inputs: 1,1 MOhm
Source 1 Input: 10kOhm unbalanced, 20kOhm balanced
Source 2 Input: 10kOhm
Source 3 Input: 10kOhm
SPDIF Input: 75 Ohm

Output Impedances
Speaker A Output: 75 Ohm unbalanced, 150 Ohm balanced
Speaker B Output: 75 Ohm unbalanced, 150 Ohm balanced
Headphone Outputs: 33 Ohm

Maximum Input Levels
Mic Inputs: +14,5 dBu (Gain fully left)
Line Inputs: +22,5 dBu
Instrument Inputs: +24,0 dBu (Gain fully left)
Source 1 Input: +22,5 dBu
Source 2 Input: +22,5 dBu
Source 3 Input: +22,5 dBu

Maximum Output Levels
Speaker A Output: +22,5 dBu
Speaker B Output: +22,5 dBu

Mic Preamplifier (balanced, XLR)
Gain Control: +8dB – +60dB
Frequency Response: 10Hz – >200kHz
Noise (unweighted, 30dB gain, input termination 150 Ohm): -90 dBu
Equivalent Input Noise: -128 dBu
Common Mode Rejection Ratio: < -70 dBu
THD+N Ratio@1kHz (30dB gain, input termination 150 Ohm): 0,003 %
High Pass Filter: fg = 80Hz, 6dB/Oct.
Phantom Power: 48Volt

Instrument Input (unbalanced, 6,3mm TRS)
Gain Control: -6dB – +31dB
Frequency Response: 10Hz – >200kHz
Noise (unweighted, unity gain, input termination 100 kOhm): -85 dBu
THD+N Ratio@1kHz (unity gain, input termination 100 kOhm): 0,005 %

Line Input (balanced, 6,3mm TRS)
Frequency Response: 10Hz – >200kHz
Noise (unweighted, unity gain, input termination 600 Ohm): -95 dBu
Common Mode Rejection ratio: < -60 dBu
THD+N Ratio@1kHz (unity gain, input termination 600 Ohm): 0,002 %

Source 1 Input (balanced, 6,3mm TRS)
Frequency Response: 10Hz – >200kHz
Noise (unweighted, unity gain, input termination 600 Ohm): -95 dBu
Common Mode Rejection ratio: < -60 dBu
THD+N Ratio@1kHz (unity gain, input termination 600 Ohm): 0,002%

Source 2 Input (unbalanced, RCA)
Frequency Response: 10Hz – >200kHz
Noise (unweighted, unity gain, input termination 600 Ohm): -90 dBu
Noise (unweighted, -10dBV, input termination 600 Ohm): -85 dBu
THD+N Ratio@1kHz (unity gain, input termination 600 Ohm): 0,003 %
THD+N Ratio@1kHz (-10dBV, input termination 600 Ohm): 0,003 %

Source 3 Input (unbalanced, 3,5mm TRS)
Frequency Response: 10Hz – >200kHz
Noise (unweighted, unity gain, input termination 600 Ohm): -88 dBu
Noise (unweighted, +15dB gain, input termination 600 Ohm): -76 dBu
THD+N Ratio@1kHz (unity gain, input termination 600 Ohm): 0,003 %
THD+N Ratio@1kHz (+15dB gain, input termination 600 Ohm): 0,005 %

Headphone Outputs (stereo, 6,3mm TRS)
Frequency Response: 10Hz – >200kHz
Power@0dBu: 47 Ohm load: 13 mW/300 Ohm load: 1,7 mW/600 Ohm load: 1,0 mW
Power max: 47 Ohm load: 670 mW/300 Ohm load: 265 mW/600 Ohm load: 150 mW
THD+N Ratio@1kHz (Power@0dBu): 47 Ohm: 0,0026 %/300 Ohm: 0,002 %/600 Ohm: 0,002 %

AD Conversion
Sample Rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz
Dynamic range converter chip (manufacturer’s specification): 115 dB
Dynamic range measured via Line Input > AD Converter > DAW > SPDIF Output:
44.1kHz: 110dB, 48kHz: 110dB, 96kHz: 107dB (unweighted)
THD+N ratio @ 1kHz (-1dBFS): 44.1kHz: 0,01 %, 48kHz: 0,01 %, 96kHz: 0,01 %
0dBFS = +15 dBu

DA Conversion
Dynamic range converter chip (manufacturer’s specification): 115 dB
Dynamic range measured via SPDIF Input > DAW > DA Converter > Speaker Output:
44,1kHz: 106dB, 48kHz: 106dB, 96kHz: 104dB (unweighted)
THD+N ratio @ 1kHz (-1dBFS): 44,1kHz: 0,006 %, 48kHz: 0,006 %, 96kHz: 0,007 %

Power Supply
External Power Supply, Input 100–240V AC/50–60 Hz; Output 12V DC/1,5A
Internal Power Supplies: Audio: +/-17V, Digital: +5V and +3,3V
Power Consumption: 16.8 watts

Dimensions and Weight
Housing (BxT=bottom panel w/o sockets, H w/o controls)
H x W x D: 60 x 330 x 207 mm
H x W x D: 2.36 x 13 x 8.15 inch
Weight: 2,7 kg / 5.95 lbs

Notes: 0dBu = 0,775 V. Specifications are subject to change without notice.

Product Overview
Download the Product Overview PDF.

FAQ
For frequently asked questions please go to FAQ SPL Crimson

Driver Download
Download Mac driver (DMG file, 3.3MB).
Download Win driver (ZIP file, 1.7MB).

Manual
Download the Manual PDF.

With or without DAW
Crimson is designed to operate with your Digital Audio Workstation. But you can also do a lot with it as a stand-alone device: plug in an instrument and play. Connect a microphone and sing along. Mix your own monitor signal with playback or guide tracks from any source – including your smartphone. What you are playing is not bad? Turn on the DAW and record it.

A new concept with phenomenal value
At SPL we design audio equipment in all price ranges – except cheap gear. Therefore each SPL unit provides professional quality. The Crimson leaps forward and sets a new sound quality benchmark in its price range: We have re-designed proven circuitries and created a new, fully integrated design. Together with new production methods we are able to break through usual price limits. So with the Crimson interface and controller you have a boutique standard recording and monitoring device at a fraction of the price we used to know from traditional engineering and manufacturing.

Recording Channels
2 microphone inputs (XLR)
2 Instrument inputs (TRS)
4 balanced line inputs (TRS)
2 SPDIF
Note: any 4 analog channels can be recorded simultaneously. Including SPDIF, six channels can be recorded simultaneously.

Playback Channels
4 channels via USB (DAW 1-4)

Analog Inputs (Sources)
2 TRS line input channels (balanced)
2 RCA line input channels (rear, unbalanced)
1 mini jack stereo input (unbalanced)

Digital Inputs
1 USB
 2.0 highspeed
1 SPDIF stereo input (coax)
1 MIDI

Analog Outputs
Speakers A: 2 XLR sockets (L/R, balanced)
Speakers B: 2 TRS sockets (L/R, balanced, w. trimming)
2 headphone sockets (TRS)

Digital Outputs
1 USB
 2.0 highspeed
1 SPDIF stereo output (coax)
1 MIDI

 

List Price: $2,110.00
Our Price: $1,899.00
Savings: $211.00

Product Code: 1280

We are uber-happy to introduce the successor of our legendary Phonitor headphone preamp. We have kept all proven features while incorporating some major improvements — as such, the new Phonitor can be used as the ultimate monitor controller and preamp for three different sources. Likewise, we revised the 120-Volt technology in order for it to perform better, which resulted in our measurement gear being outclassed.

Features
NEW in Phonitor 2
Preamplifier/Monitor Controller functionality
Suited for all headphones and impedances
Volume remotely controllable

Special Features
The Reference ─ the Phonitor2 sets new technical and sound standards.
Dual-channel 120 Volt amp for headphones and active loudspeakers or power amps
For dynamic and balanced headphones
Optimallyy suited for low-impedance headphones starting from 10 Ohm (40 Ohm for balanced headphones)
Remote volume control with motor potentiometer
High-resolution laterality correction compensates right/left hearing differences
Switchable level adjustment (consumer to professional level, 1:1, +6dB, +12 dB)

Applications
Stereo preamplification and headphone amplification for three sources
High-quality music playback at home
Central monitoring unit with phase reverse L/R , solo L/R, mono switch functions
Laterality control to compensate hearing imbalances
Headphone amplifier for all headphone systems and impedances (from 10Ω)
Loudspeaker simulation with headphones
Monitoring alternative in studios and mobile units
Adjustment of headphone playback to match familiar monitor speakers
Mobile reproduction of usual monitoring conditions

Inputs:
XLR connectors, electronically balanced
Impedance: bal. ca. 20 kΩ, unbal. ca. 10 kΩ
Max. Input Level: +32,5 dBu
Outputs:
Monitor/Line Outputs: XLR connectors, electronically balanced
Frequency Range: 4 Hz to 480 kHz ( -3 dB)
CMR: -82 dBu (at 1 kHz, 0dBu input level and unity gain)
Crosstalk at 1 kHz: -106 dB
THD&N; at 1 kHz: 0,00085 % (at 0dBu input level and unity gain)
Noise: Unweighted -101,87 dB; A-weighted -104,76 dB; CCIR: -96,1 dB
Dynamic Range: 134,37 dB
Headphone Output:
6.3-mm TRS connector
Pin wiring: Tip = Left, Ring = Right, Sleeve = GND
Impedance: 0,18 Ω
Attenuation Factor: 180 @ 40Ohm
Frequency Range: 4 Hz to 480 kHz ( -3 dB)
CMR: -106 dBu (at 1 kHz, 0dBu input level and unity gain)
Crosstalk at 1 kHz: -106 dB
THD&N; at 1 kHz: 0,00091 % (at 0dBu input level and unity gain)
Noise: Unweighted -101,12 dBu; A-weighted - 103,98 dBu; CCIR -95,02 dBuDynamic Range: 133,62 dB
Power Amplifier:
Max. Output Power:
65m W (+20 dBm) at 1 kHz and 600 Ω connected impedance
560 mW (+20 dBm) at 1 kHz and 40 Ω connected impedance
Power Supply:
Voltages: 230 V AC, 50 Hz / 120 V AC, 60 Hz
Power Consumption: max 23,7 VA
Fuses: 100-120 V AC: T 1 A / 200-240 V AC: T 630 mA
Measurement & Weight:
Height x Width x Depth: 99 x 277 x 305 mm / 3.9 x 10.9 x 12 in
Weight: 4,3 kg / 9.5 lbs
0 dBu = 0,775 V. Specifications subject to change without notice.

The New Heart Of Music Playback: Phonitor2
Many Phonitor2 users told us they wished they could also use the unmatched signal quality that the Phonitor2 provides to feed their speakers. And so began to take form the idea of making its successor a full-fledged stereo preamp that could become the heart of modern professional and home systems alike where headphones have a preeminent importance.

Remote Control
The volume can be controlled remotely. Naturally, the audio signal is controlled via a high-quality motor potentiometer in that case. To control it you can use any IR remote control: the remote must not learn the Phonitor2, but rather the Phonitor2 learns to understand your remote’s signal.

Home Listening
Home users can enjoy a central control unit for modern music playback of stereo signals that supports all known formats ─ and that with an unheard-of price/performance ratio. The Phonitor2 matches perfectly modern playback concepts: minimalist chains with active speakers and almost any pair of headphones can be centrally fed via three different paths, thanks to an integrated high-quality amplifying and signal-managing concept.

Sound Engineers
Besides being a reference-quality Monitor Controller, the Phonitor2, together with a carefully matched pair of headphones, offers professional users an excellent monitoring alternative to their main speakers. The audio quality and features of the Phonitor2 provide the best conditions to work effectively without hearing fatigue.

120 Volt Technology
The foundations of this high-end-development is our 120 Volt reference technology: specially developed and manufactured op-amps that run on an operating voltage of 120 volts, which corresponds to approximately twice that of most modern analog audio semiconductor technologies. The musical result is not to be mistaken: Regardless of the monitoring means, regardless of how loud you monitor – the Phonitor2 always remains a distant, impartial factor unaffected when used to capacity and beyond being overloaded. All frequencies are reproduced in balance, basses are stable and tight, mids are clear and differentiated and highs remain transparent and soft. Particularly striking is the fact that you can easily listen to every detail. Hearing fatigue makes it usually harder to carefully listen to and understand complex signals over a long period of time. The Phonitor 2 reverses this situation turning it into a pleasant listening experience that leaves you longing for more.

 

List Price: $2,110.00
Our Price: $1,899.00
Savings: $211.00

Product Code: 1281

 

We are uber-happy to introduce the successor of our legendary Phonitor headphone preamp. We have kept all proven features while incorporating some major improvements — as such, the new Phonitor can be used as the ultimate monitor controller and preamp for three different sources. Likewise, we revised the 120-Volt technology in order for it to perform better, which resulted in our measurement gear being outclassed.

Features
NEW in Phonitor 2
Preamplifier/Monitor Controller functionality
Suited for all headphones and impedances
Volume remotely controllable

Special Features
The Reference ─ the Phonitor2 sets new technical and sound standards.
Dual-channel 120 Volt amp for headphones and active loudspeakers or power amps
For dynamic and balanced headphones
Optimallyy suited for low-impedance headphones starting from 10 Ohm (40 Ohm for balanced headphones)
Remote volume control with motor potentiometer
High-resolution laterality correction compensates right/left hearing differences
Switchable level adjustment (consumer to professional level, 1:1, +6dB, +12 dB)

Applications
Stereo preamplification and headphone amplification for three sources
High-quality music playback at home
Central monitoring unit with phase reverse L/R , solo L/R, mono switch functions
Laterality control to compensate hearing imbalances
Headphone amplifier for all headphone systems and impedances (from 10Ω)
Loudspeaker simulation with headphones
Monitoring alternative in studios and mobile units
Adjustment of headphone playback to match familiar monitor speakers
Mobile reproduction of usual monitoring conditions

 

Inputs:
XLR connectors, electronically balanced
Impedance: bal. ca. 20 kΩ, unbal. ca. 10 kΩ
Max. Input Level: +32,5 dBu
Outputs:
Monitor/Line Outputs: XLR connectors, electronically balanced
Frequency Range: 4 Hz to 480 kHz ( -3 dB)
CMR: -82 dBu (at 1 kHz, 0dBu input level and unity gain)
Crosstalk at 1 kHz: -106 dB
THD&N; at 1 kHz: 0,00085 % (at 0dBu input level and unity gain)
Noise: Unweighted -101,87 dB; A-weighted -104,76 dB; CCIR: -96,1 dB
Dynamic Range: 134,37 dB
Headphone Output:
6.3-mm TRS connector
Pin wiring: Tip = Left, Ring = Right, Sleeve = GND
Impedance: 0,18 Ω
Attenuation Factor: 180 @ 40Ohm
Frequency Range: 4 Hz to 480 kHz ( -3 dB)
CMR: -106 dBu (at 1 kHz, 0dBu input level and unity gain)
Crosstalk at 1 kHz: -106 dB
THD&N; at 1 kHz: 0,00091 % (at 0dBu input level and unity gain)
Noise: Unweighted -101,12 dBu; A-weighted - 103,98 dBu; CCIR -95,02 dBuDynamic Range: 133,62 dB
Power Amplifier:
Max. Output Power:
65m W (+20 dBm) at 1 kHz and 600 Ω connected impedance
560 mW (+20 dBm) at 1 kHz and 40 Ω connected impedance
Power Supply:
Voltages: 230 V AC, 50 Hz / 120 V AC, 60 Hz
Power Consumption: max 23,7 VA
Fuses: 100-120 V AC: T 1 A / 200-240 V AC: T 630 mA
Measurement & Weight:
Height x Width x Depth: 99 x 277 x 305 mm / 3.9 x 10.9 x 12 in
Weight: 4,3 kg / 9.5 lbs
0 dBu = 0,775 V. Specifications subject to change without notice.

The New Heart Of Music Playback: Phonitor2
Many Phonitor2 users told us they wished they could also use the unmatched signal quality that the Phonitor2 provides to feed their speakers. And so began to take form the idea of making its successor a full-fledged stereo preamp that could become the heart of modern professional and home systems alike where headphones have a preeminent importance.

Remote Control
The volume can be controlled remotely. Naturally, the audio signal is controlled via a high-quality motor potentiometer in that case. To control it you can use any IR remote control: the remote must not learn the Phonitor2, but rather the Phonitor2 learns to understand your remote’s signal.

Home Listening
Home users can enjoy a central control unit for modern music playback of stereo signals that supports all known formats ─ and that with an unheard-of price/performance ratio. The Phonitor2 matches perfectly modern playback concepts: minimalist chains with active speakers and almost any pair of headphones can be centrally fed via three different paths, thanks to an integrated high-quality amplifying and signal-managing concept.

Sound Engineers
Besides being a reference-quality Monitor Controller, the Phonitor2, together with a carefully matched pair of headphones, offers professional users an excellent monitoring alternative to their main speakers. The audio quality and features of the Phonitor2 provide the best conditions to work effectively without hearing fatigue.

120 Volt Technology
The foundations of this high-end-development is our 120 Volt reference technology: specially developed and manufactured op-amps that run on an operating voltage of 120 volts, which corresponds to approximately twice that of most modern analog audio semiconductor technologies. The musical result is not to be mistaken: Regardless of the monitoring means, regardless of how loud you monitor – the Phonitor2 always remains a distant, impartial factor unaffected when used to capacity and beyond being overloaded. All frequencies are reproduced in balance, basses are stable and tight, mids are clear and differentiated and highs remain transparent and soft. Particularly striking is the fact that you can easily listen to every detail. Hearing fatigue makes it usually harder to carefully listen to and understand complex signals over a long period of time. The Phonitor 2 reverses this situation turning it into a pleasant listening experience that leaves you longing for more.

 

Vapor liquid chromatography is a process in which volatile substances are isolated and analyzed using ultra-fine droplets. It involves separation of monomer molecules on the basis of their electrophoresis, ionization, or absorption. There are different techniques used to separate these compounds. In chemistry, vapor lattices are used to identify different elements and substances.

Aromatic properties of a compound can be revealed by studying its vapors, vapor pressures, and partial compositions. The composition of a compound is usually found by using numerous tests. The vapor pressure is the amount of force that is required to bring the compound to a saturation point. The vapor pressure can be found by measuring the amount of vaporizing material. Volatility is also measured in terms of the concentration of a specific solvent or any gaseous mixture at atmospheric pressure.

In the analysis of complex mixtures, such as organic compounds, vapor pressure, density, k values, boiling point, and relative content of vapor contents are essential to quantifying these compositions. Other important parameters used are the elimination of suspended solutes, the boiling point, the critical point, the phase transition temperature, and the geometric mean value of the mixture. The k values and the boiling points are usually defined in terms of equilibrium. The concentrations of the principal components present in the mixture are referred to as major component and total concentration.

To determine the equilibrium state of a compound, vapor pressure, density, and k values must be determined. When a substance is in a stationary liquid state, there will not be changes due to thermal agitation. A dynamic mixture will experience changes due to contact with its two polar phases. The equilibrium may then only be established for a particular system, such as an inner ring structure or the presence of a latent heat.

The equilibrium vapor pressures are actually the sum of the vapor densities at specific temperatures. Therefore, in equilibrium vapor pressures, changes in total pressure are actually changes in vapor densities at specific temperatures. Because of this, changes in equilibrium may only be observed where vapor concentrations are within the prescribed range. Some types of systems may not respond properly to changes in vapor concentrations.

The boiling point, which refers to the temperature at which vapor liquid equilibrates, can be used to characterize the equilibrium vapor pressures of a mixture. A boiling point is usually defined as the highest temperature at which vapor liquid water turns into vapor and returns to a liquid state. Distillation is a process for de-mineralizing liquids and for separating alcohol, gasoline, and other noxious substances from their steam or vapor. It was first practiced by ancient civilizations such as the Egyptian empire.

A distillation procedure can take many forms but generally involves two processes: boiling and steaming. In boiling-point procedures, volatile materials are heated to vaporize, and then water, vapor, and inert materials are collected together. This liquid mixtures are then cooled below the boiling point by increasing the pressure. Distillers also can employ both diffusion and enthalpy, where the heating of the liquid passes through a vacuum or air heated by a constant stream of pressurized gas.

There are three equilibrium states that a vapor mixture may assume. These are referred to as conduction, enthalpy, and diffusion. Conduction equilibrium is when vapor-liquid mixtures are totally absorbed in the surroundings; enthalpy equilibrium occurs when vapor mixtures are heated in the presence of an external heat source, and diffusion equilibrium occurs when mixtures are dispersed in the air. It should be noted that all three of these equilibrium states are only applicable to a small portion of all mixtures.

 

The brand of NZ Sneaker is quite impressive indeed and they’ve been making waves in the fashion world since their first release way back in 2020. Now, they’re back with a second offering, and they’ve taken the design even further. So what has changed? Well, there’s no need to re-read about the brand’s history to know what’s new; suffice to say that the range is still as good as it was before.

The range of NZ Sneaker is still very much the same as before. They’ve got all the usual bits and pieces, including the signature toe cap, the multi-strap stretchable strap, and canvas shoes in a variety of colours and styles. And of course, the classic basketball shoe is always available as well as some other specialist styles such as the court shoe, trainer sneaker or perhaps the ladies range.

However, the one really big change is the overall design. Now the brand has put more focus on making shoes that are more fashionable. And if you think about it, who doesn’t want to look cool when they’re out playing or exercising? It’s about being different, and it’s about standing out from the crowd. This applies to not just the sneaker range, but also to the whole clothing range. In short, they’re taking notice of what’s trendy and making it their own.

One thing that’s particularly pleasing is that, despite the range still being very much focused on comfort, the higher end ranges have really done something good here. The materials used are much better than before and the newer versions are light weight too. There’s certainly a sense of quality about them all. If you’re thinking about getting a pair, then it’s worth looking at the lower end ranges which are likely to be made from better quality materials and offer a similar level of comfort.

So why should you get a NZ Sneakers pair? Well, firstly there’s the price. They come in various price brackets, starting from very inexpensive to a few hundred dollars, so you definitely have a lot of options here.

From there, the styles and designs vary widely. Their most popular styles tend to be those in the mid-to high-rise range. You can choose from plain colours, to coloured and patterned ones. As you’d expect, the most common colours are white and black, although there are some standout fashion pieces including bright red and even yellow.

However, perhaps one of the best things about NZ sneakers is the range of accessories available. If you don’t want to wear your sneakers with just your trousers, for example, then you’ll find numerous ways in which you can make them work with different outfits. This includes things like belts, hats, scarves and sunglasses – or, of course, anything else you can think of.

Of course, there are plenty more benefits that you might not be aware of. For example, NZ sneakers usually have a lifetime guarantee, so you know that they’re made to the highest quality. Also, they’re probably the most comfortable to wear. They’re made out of the toughest materials, so you won’t have to spend hours in the stands at a cricket match to damage them. The range of designs and styles is huge, too, meaning that there’s something for everyone – whether you want something classic, or something a bit more adventurous.

There’s no need to buy a pair of sneakers if you don’t feel you can justify them. That’s one of the great things about buying them online, because you can get a good deal without feeling any pressure at all. You may, for example, find a great range at a good price from an established brand. If you do, it’s worth looking at the sizes offered, as well as the company’s reputation, because there’s no point in paying top dollar for something that will fall apart after a few days.

One of the nicest things about buying NZ sneakers online is the price. They’re not only made in New Zealand, but they’re made by people who pay exactly the same wages as you would in your own country. It makes all the difference. That’s why online retailers such as Hanes and Zara sell so many pairs. They offer competitive prices because the retailer doesn’t have the costs to cover the cost of employing a sales force, purchasing premises and other business expenses.

If you do your research you can often find great deals online, with some brands getting up to 60% off their normal retail prices. And you won’t have to worry about wearing old sneakers with every day. With the new styles available, there’s no reason not to wear your favorites on a daily basis and impress your friends with your new style. All that’s stopping you is yourself!

 

If you are looking for Auckland property pest services, it is worth remembering that Auckland is a city which is highly susceptible to pests and that pest management in Auckland is vital if you want to prevent pests from invading your home. Pest Management Auckland is a company offering various professional pest management services: pest control for commercial properties, residential properties, commercial buildings, residential buildings and more. Alex cleaning solution

Pest control Auckland has been offering this professional pest management services since 1987: pest management, pest identification, pest treatment, pest removal, pest eradication, pest management, pest eradication, pest damage, and so on. When dealing with pests the first thing you should do is identify the issue that is causing the pest problem. You should then decide whether or not you should deal with the problem yourself, or use a pest control company to take care of the problem. For example, many people opt for pest management to eliminate pests in their homes, especially if they have experienced an infestation of these pests in their home.

Pest Management Auckland is also a company offering pest identification and pest treatment. This allows you to identify the right pest control solution for your home, property, or business. These pests can cause health problems for those who are allergic and can also lead to property damage if not properly dealt with.

Pest Identification is important, because it can help you choose the correct test for the problem. In some cases, it is even possible to remove pests from a property simply by identifying them correctly. For example, it is not always necessary to use pesticides when dealing with cockroaches. Cockroaches do not tend to build nests, and instead leave behind droppings that can lead to dampness and the growth of mould.

Pest identification also helps determine the right pest management approach. For example, if you are trying to treat an infestation of cockroaches and do not want to destroy all of the roaches in your house, you should consider using bait baits for cockroaches. This is a very effective way of dealing with cockroaches because the pests do not build nests and leave behind droppings that will cause significant damage to your home.

Pest Management Auckland also offers pest extermination. This involves applying various methods to remove the pests permanently from your home or office. If you are dealing with ants in your home or office, pest eradication is often the first step. Using a variety of methods, including vacuum sealing, liquid detergent, heat, and trapping, pest exterminators will be able to destroy the entire colony.

Property destruction is another option that is sometimes used to deal with pests. For instance, if your property is infested by roaches, pest exterminators will use a variety of products to completely kill off the roaches in your home. If you have a problem with termites, the professionals will use pesticides and other methods to rid the home of these pests. Finally, if you have a severe infestation of fleas in your property, pest exterminators will use mechanical means, like suctioning, dusting, or suction fans, to get rid of the roaches.

There are a number of methods available to eradicate pests, but it is always advisable to hire a professional pest specialist if you have any questions regarding the specific test that you have. or have a problem that cannot be solved through traditional pest removal methods. Most professional pest management companies in Auckland can give advice on the best options for eradicating the various pests that you may have in your home or office.