SPL USA Online Store

 

There are a few things you should be aware of before you choose a mobile phone repair service in Auckland. Repair shops that work on cellular phones should have equipment that can easily correct the problems with your device. Many repairs can be completed using an internal camera. This will allow the shop to see exactly what is wrong and how they are going to fix it for you.

Mobile phone repairs can sometimes be more complicated than just replacing or repairing a battery. The most common repairs to iphones involve water damage, which can be serious or minor. It pays to find a mobile phone repair store that has high quality parts in stock.

If the repairs to your mobile phones include replacing certain parts, it is important to find a service that can replace them for you. When your mobile operating systems are damaged, they can prevent you from receiving calls or data for a period of time. It is sometimes necessary to simply restart your system so that you can receive calls again. A mobile operating systems repair will usually require that you send the broken unit back to the manufacturer. They will install the new mobile operating systems and instructions on how to properly use them. In some cases, repairs to mobile phones include replacement of the LCD screen.

Many repairs to mobile devices can also include parts such as LCD screens. These screens can be difficult to replace. If you are working on an expensive LCD screen, it may be best to have the unit replaced by a service that offers precision tools for this purpose. If the customer service representative does not have the proper tools, you can send the device back to the manufacturer. They may offer replacement LCD screens in other formats, or charge additional charges for the service.

Water damage can sometimes occur with a touch screen repair. A customer service representative should know how to troubleshoot these situations and suggest ways to repair the problem. If the screen has been cracked, but not completely shattered, then you can attempt to replace it with a new one. If the phone has lost its touch functions, then you can try water damage repair. You should keep the battery replacement kit and charger on hand and make sure the water level is less than 1 inch.

Mobile phone repairs can also be done by trained technicians. Technicians that specialize in mobile device repairs can make small repairs or perform larger, more complex repairs. Before having technicians perform these services, be sure to check their credentials. There are many technicians out there who are not trained in the quality parts and repair methods that are needed. If you choose to have a technician come to your home, then you should ask them about their background before allowing them to begin any work.

Many times technicians will replace broken screens, change batteries and charge the battery while they are at it. Many times the technicians will offer to do other things as well, like replacing the battery and moving the phone. Technicians who offer to perform other services, such as charging the phone or changing the battery may have a limited warranty. If the technician does not have a limited warranty, then you may want to consider letting them perform the repairs under their supervision.

In summary, an iOS device consists of many different components including hardware, operating system, sensors, applications and connectivity accessories. Each component requires a specific type of software to run, and without the correct software on a mobile device cannot function. That is why it is important to know what types of services a mobile device technician is familiar with. If you need to have your mobile device fixed or repaired then you should ask your service provider whether or not they have any experience with the brand of cell phone in question.

 

The passive house is an independent standard for sustainable building energy utilization in a structure, which minimizes the environmental impact of the building. It results in low-loss buildings that require little energy to support ventilation, temperature control, or space conditioning. The term passive house was first used in the 1970s and has since become associated with sustainable building and green living. A similar international standard, MINergie-P, is currently being used in Switzerland. One of the most prominent UK retailers of these eco friendly buildings is Sainsbury’s. This article aims to describe what a passive house is and how it can benefit current and future building standards.

A passive house allows users to enjoy both comfortable warmth and coolness from their property and minimizes the amount of electricity they use. It is based on traditional building principles and incorporates smart solutions such as renewable heating and cooling energy, passive cooling, geothermal insulation, and construction of a multi-purpose family room or space, complete with double glazed windows. Many buildings constructed using this innovative building standard can expect to save up to 40% on heating bills and have the opportunity to enjoy an energy efficiency rating of five or six. Such buildings are highly flexible, meaning that they can be configured to meet many different future needs.

A passive house incorporates many environmentally friendly features, which makes it a cost effective solution to the ongoing challenge of how to produce housing more affordable. These include high quality insulation, glazing, and high specs construction techniques, such as floor glazing, sliding glazing, and use of ultra-light materials. As well as using high quality materials and techniques, it is possible to build affordable buildings using materials and techniques which are incredibly durable, such as aluminum or stone. As well as being highly durable, these buildings are highly airtight, making them an environmentally friendly choice for many consumers who are concerned about the impact of building on the environment.

A passive house offers a wide variety of options for those who are interested in either constructing their home entirely on their own or looking for a more affordable option. To begin with, buyers can choose to construct a completely passive house which is also an ecologically friendly alternative to conventional construction methods. This option may not be the most practical option for everyone, but it does allow those with smaller budgets and those who wish to build their home on their own real choice. Furthermore, buyers of a passive house will benefit from the energy savings they make as their building of low-energy houses is effectively achieved through the design and implementation of ventilation and other building standard practices. Many buyers who are looking to reduce their heating and cooling costs will be attracted to the idea of constructing their homes on their own.

Passive houses offer many advantages over conventional high-rise living structures. The most obvious of these is the increased comfort provided by passive houses as they have increased levels of insulation. In addition, passive houses are naturally ventilated and provide increased levels of airflow throughout the rooms. This airflow provides comfortable and pleasant temperatures to residents, in comparison to high-rise buildings which remain cold and dark. Furthermore, passive houses offer greater natural lighting than that provided by high-rise buildings and may even offer a residents’ balcony or space to enjoy the view.

The overall cost of building a passive house is typically cheaper than that of an active one. Additionally, passive houses generally feature a higher level of sustainability compared to other types of construction methods. As these houses are built with materials that are environmentally friendly and can often be recycled, they are significantly better at saving on the overall cost of construction. The fact that passive houses usually feature a lower demand for electricity in comparison to active houses also helps to contribute to their overall energy efficiency.

Of course, building and operating a passive house concept requires the implementation of several energy efficient building and ventilation systems. However, these systems make up for the difference in operating costs as they can generally keep a passive house more comfortable and cooler during the summer months and warmer and cleaner during the winter months. Additionally, by incorporating efficient heating and cooling systems into a passive house design, they can help to reduce or eliminate peak energy use during the summer months. Ultimately, the operation of such a house will be significantly more cost effective, with fewer operating costs, when compared to comparable high-rises.

Passive houses generally have a higher level of energy efficiency as they are built with materials that have a natural capability of insulating properties. In the end, this means that these buildings can provide a comfortable environment for residents while also maintaining excellent air quality. A well-built passive house may have the potential to reduce energy consumption and annual air quality pollution, which in turn, can potentially save millions of dollars in overall health care costs. Overall, passive buildings offer residents a healthy living experience combined with superior energy efficiency and maintenance.

 

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.

So, what is SEO? The SEO or Search Engine Optimization is the process of identifying search engine optimized websites and placing those in the top of the search results page for the term or phrase you choose. In other words, it is all about providing high-quality information that the user or visitor can read and comprehend.

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.

We now live in a world where we all rely on the internet to do our shopping, shop for supplies, have the information we need, get answers to our queries, etc. And if you own a business, it is crucial that you optimize your website, and the only way to do that is through SEO.

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.

Second, companies offering SEO services Brisbane offer many SEO services, which are categorized according to their required level of importance. This includes search engine optimization, link building, and blog optimization.

Third, in order to achieve the best result, you need to choose a company that can provide you with professional SEO services that are suitable for your website. Depending on your site content, you may need more specific search engine optimization, blog optimization, or link building.

Fourth, make sure that you hire a company that can do SEO in a timely manner, so that you can improve your website speed. Speed is an important factor that will ensure that the visitor or client can get instant information from your site.

Fifth, you also need to know that any business needs good PR to succeed. That’s why you need to choose a company that has the ability to keep your business in the public eye, and hence attract customers. They need to be able to handle and manage a PR team to handle public relations as well as an advertising budget.

Sixth, make sure that you hire a professional service provider that will give you the expertise and know-how to optimize your site, by hiring an SEO professional who has experience in the field. This is especially true if you plan to do website promotion in the online space or if you have your own web page.

Seventh, remember that when you have a web site, the best way to achieve success is to keep it updated and fresh so that it will constantly get better rankings in the search engines. Make sure that you hire a service provider that has experience in this area so that they can do some innovative strategies to make your web site rank higher.

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.