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From basic rock to rootsy folk, the XENYX 1002FX lends immeasurable vibe to intimate performances with an internal 24-bit FX processor. It's light, easy to use and waiting to make your next performance three-dimensional.
85.00€
Premium 10-Input 2-Bus Mixer with XENYX Mic Preamps & Compressors, British EQs and USB/Audio Interface
143.00€
2 Independent Zones, each with balanced XLR-output (+unbalanced on cinch), Each zone has 3band tone controls, balance, volume and mono/stereo switch, 11 inputs on 5 Channels (5 balanced mic + 4line + 2phono), 1Microphone with 3band tone control and zone assignable adjustable talkover.
266.00€
The perfect all-round zone mixer for pubs, bars, hotel, restaurants, … Easy operation, focused on inexperienced users (advanced settings on rear panel) 4 Totally independent zones: 1 Stereo zone: Balanced XLR + Euroblock connectors and RCA/cinch master mix Volume with max. level trimming 3band tone control (rear panel) 2x 10segment level meters Separate talkover for both mics (rear panel) 3 mono zones, each with: Balanced XLR + Euroblock connectors Individual source select + master mix Volume with max. level trimming 2band tone control (rear panel) 5segment level meters Separate talkover for both mics (rear panel) Mics can be included/excluded for each zone (rear panel) 100Hz HP-filter to protect small speakers (rear panel)
435.00€
6 mono 1 stereo 16 x DSP deck mixer, USB reader, 1 aux, + 48V phantom, 2 x 7 band master EQ, 4 band channel EQ, 60mm logarithmic sliding fader, headphone output, xlr balance
148.00€
8 mono + 1Stereo, Aux, Phantom, 16 Delay Effect, 2x7 Band EQ
173.00€
4-8 mini multi channel and 1 stereo analog mixer with power. 3 Band active EQ(HIGH,MID ,LOW).
143.00€
Ultra low noise 12 - Channel Mic / Line Mixer - 12 Mono Input Channels with silver plated XLRs and balanced Line Inputs - Ultra-low noise discrete Mic Preamps with +48 V Phantom Power - Extremely high headroom - offering more dynamic range - Balanced Inputs for highest signal integrity - Ultra-musical 3-band EQ+FREQ on all mono channels - Peak LEDs all Mono Channels - 2 Aux Send per channel for external effects and monitoring - 2X256DSP Digital of the effect system inside - Separate Master Mix, Headphone Outputs - 2-Track Inputs assignable to Master Mix - Highly accurate 12 segment Bargraph Meters INPUT CHANNEL SECTION 1. BALANCE INPUT (MIC) Electronially Balanced inputs acceptable a standard XLR male connector. + 48V Phantom Power available on each input Mic socket, and this switch is on Rear Phantom Power. 2. LINE INPUT The unbalanced Mic input is provided for the use of an unbalance mic and is designed to accept an unbalanced high impedance input signal. (This use for connection Deck, Turntable, Keyboard etc..) 3. INSERT The INSERT is a break point in the input channel signal path. It allows the signal to be taken out from the mixer, through an external equipment such as a compressor, and then back to the mixer to continue the final mix output. 4. TRIM This has a function which adjusts the input sensitivity of each channel in order to input the constant level of the signal. 5. LOW CUT Slide down the slide-switch, insert the 18 dB per octave 75Hz low cut filter in the signal path. This low cut filter is useful on live vocals to reduce stage rumble or "popping" from microphones. It can also be used to cut off low frequency hum. 6. HIGH Control the high frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the high frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases level. 7. FREQUENCY + MID This equalization has a "bell" response i.e. having reached maximum amplification or attenuation at the selected frequency, the amplitude response returns to zero either side of that frequency. The FREQ at which this occurs is variable between 250Hz. The GAIN is variable between ±15dB at the selected frequency with a fixed q of 1.5Q is a factor a bandwidth. 8. LOW Control the low frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the low frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases the level. 9.AUX1.2 This is normally derived after the EQ section and channel fader (PRE-FADER, POSE-EQ), and is therefore unaffected by the fader position and routing status. This makes the send particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. Mix. All pre-fade sends may be selected internally to be PRE-FADER, PRE-EQ. 10. EFX1.2 This is normally derived after the EQ and channel fader (POST FADER, POST EQ), and is therefore follow any changers in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. 11. PAN The pan control sends continuously variable amounts of the post fader signal to either the left or right and G1 or G2 main busses. In the center position equal amounts of signal are sent to the left and right or G1 & G2 busses. 12. STEREO (L-R) Push the switch, can use ST L-R fader. During the stereo L-R switch pushed, you can't use ST L-R fader. 13. GRPS 1-2 Push the switch, can use GROUP 1-2 fader. During the G1-2 switch pushed, you can't use stereo L-R fader. 14. PEAK A red LED indicates a signal level at the insert return point, premaster fader, it illuminates at approximately 5 dB below clipping. 15. CHANNEL FADER This is function to adjust the volume of signal connection into each channel and adjust the volume of output, together with master fader. Normal operating position is at the "O" mark, providing 4dB of gain adove that point, if required. MASTER SECTION 16. EFFECT PROGRAMS When adjust switch 17, 18, 19, 20 more effects are displayed. 17. Pre-set Push more than 5 seconds, It automatacally memorize the displayed program number. Once Just Push M1. M2. M3. M4, always display memorized program. 18. UP TAPE SWITCH One push, one program up push with more than 5 seconds hi-speed program up. 19. DOWN TAPE SWITCH One push, one program down, push with more than 5 seconds, hi-speed program down. 20. MUTE Effect ON/OFF. 21. EFFECT STEREO (L/R) Depressing this switch, can let the EFFECT you need connect to the main control buses. 22. EFFECT GROUP(1-2) Push the switch, can let the EFFECT you need connect to the main group buses. ŠALJEMO NA ADRESU!!!
385.00€
Ultra low noise 8 - Channel Mic / Line Mixer - 8 Mono Input Channels with silver plated XLRs and balanced Line Inputs - Ultra-low noise discrete Mic Preamps with +48 V Phantom Power - Extremely high headroom - offering more dynamic range - Balanced Inputs for highest signal integrity - Ultra-musical 3-band EQ+FREQ on all mono channels - Peak LEDs all Mono Channels - 2 Aux Send per channel for external effects and monitoring - 2X256DSP Digital of the effect system inside - Separate Master Mix, Headphone Outputs - 2-Track Inputs assignable to Master Mix - Highly accurate 12 segment Bargraph Meters INPUT CHANNEL SECTION 1. BALANCE INPUT (MIC) Electronially Balanced inputs acceptable a standard XLR male connector. + 48V Phantom Power available on each input Mic socket, and this switch is on Rear Phantom Power. 2. LINE INPUT The unbalanced Mic input is provided for the use of an unbalance mic and is designed to accept an unbalanced high impedance input signal. (This use for connection Deck, Turntable, Keyboard etc..) 3. INSERT The INSERT is a break point in the input channel signal path. It allows the signal to be taken out from the mixer, through an external equipment such as a compressor, and then back to the mixer to continue the final mix output. 4. TRIM This has a function which adjusts the input sensitivity of each channel in order to input the constant level of the signal. 5. LOW CUT Slide down the slide-switch, insert the 18 dB per octave 75Hz low cut filter in the signal path. This low cut filter is useful on live vocals to reduce stage rumble or "popping" from microphones. It can also be used to cut off low frequency hum. 6. HIGH Control the high frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the high frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases level. 7. FREQUENCY + MID This equalization has a "bell" response i.e. having reached maximum amplification or attenuation at the selected frequency, the amplitude response returns to zero either side of that frequency. The FREQ at which this occurs is variable between 250Hz. The GAIN is variable between ±15dB at the selected frequency with a fixed q of 1.5Q is a factor a bandwidth. 8. LOW Control the low frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the low frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases the level. 9.AUX1.2 This is normally derived after the EQ section and channel fader (PRE-FADER, POSE-EQ), and is therefore unaffected by the fader position and routing status. This makes the send particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. Mix. All pre-fade sends may be selected internally to be PRE-FADER, PRE-EQ. 10. EFX1.2 This is normally derived after the EQ and channel fader (POST FADER, POST EQ), and is therefore follow any changers in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. 11. PAN The pan control sends continuously variable amounts of the post fader signal to either the left or right and G1 or G2 main busses. In the center position equal amounts of signal are sent to the left and right or G1 & G2 busses. 12. STEREO (L-R) Push the switch, can use ST L-R fader. During the stereo L-R switch pushed, you can't use ST L-R fader. 13. GRPS 1-2 Push the switch, can use GROUP 1-2 fader. During the G1-2 switch pushed, you can't use stereo L-R fader. 14. PEAK A red LED indicates a signal level at the insert return point, premaster fader, it illuminates at approximately 5 dB below clipping. 15. CHANNEL FADER This is function to adjust the volume of signal connection into each channel and adjust the volume of output, together with master fader. Normal operating position is at the "O" mark, providing 4dB of gain adove that point, if required. MASTER SECTION 16. EFFECT PROGRAMS When adjust switch 17, 18, 19, 20 more effects are displayed. 17. Pre-set Push more than 5 seconds, It automatacally memorize the displayed program number. Once Just Push M1. M2. M3. M4, always display memorized program. 18. UP TAPE SWITCH One push, one program up push with more than 5 seconds hi-speed program up. 19. DOWN TAPE SWITCH One push, one program down, push with more than 5 seconds, hi-speed program down. 20. MUTE Effect ON/OFF. 21. EFFECT STEREO (L/R) Depressing this switch, can let the EFFECT you need connect to the main control buses. 22. EFFECT GROUP(1-2) Push the switch, can let the EFFECT you need connect to the main group buses. ŠALJEMO NA ADRESU!!!
285.00€
Pre-amplifier,10 channels input(chime inside) With 10 input channels, each channel can be adjust independently. MIC 1 has priority function, built-in chime function. With 5 MICs, 3 AUX input , 3 line output,and 2 EMC inputs. With independent volume control, uniform volme output. Has one treble, one bass. POWER SUPPLY: 230V ŠALJEMO NA ADRESU!!!
89.00€
Pre-amplifier,8 in 8 out , MIC 1 has prior function , with chime function Can connect 8 units amplifiers external. With 8 independent input and output channels without any interference. Each channel has independent volume control. MIC 1 has priority function and can select any channel to output arbitrarily. With chime function. ŠALJEMO NA ADRESU!!!
160.00€
lnputs Number Input modes Gonnector lnput lmpedance Rated lnput level Mono MIC lN 2~4 Balanced XLR 2Kohm -60d8 Mono LINE lN 2~4 Balanced 3-poles TRS 47Kohm -40d8 UR LINE IN 2 Unbalanced 2 TRS 1OKohm -10dB UR PI.AY IN 1 Unbalanced 2 RCA 1OKohm -10dB Outputs Number Outputs modes Gonnector Outputs lmpedance Rated Output level Stereo MAIN OUT 1 Unbalanced 2 TRS 75ohm +4dB CTRL RM 1 Unbalanced 2 TRS 75ohm +4dB AUX SEND 1 Unbalanced TRS 75ohm +4dB Stero REC OT 1 Unbalanced 2 RCA 1 Kohm -1odB HEADPHONE 1 Unbalanced 3-poles TRS 75ohm 3mW @35ohm Channel EQ Hl 12KHz MID 2.5KHz LOW 80Hz max equalizing value +i-15dB Low cut filter 80Hz 18dB/OCT Total harmonic distortion <0.1o/o @+t+Og 20-20000H2 620ohm load Frequency response +11-2dB @+4dB 20-20000H2620ohm load Max out level +20d8 @0.5%THD l KHz 620ohm load Microphone preamp E.l.N -124d8 @ 150ohm , at max gain Power See the label on the adapter Power consumption 7W ŠALJEMO NA ADRESU!!!
80.00€
2~4 mono input channels and 2 stereo input channels. 3-band frequency equalizer for each input channels. Adopt low-noise discrete Mic pre-ampfier on microphone inputs. Optional low cut filter to reduce low frequency interfere for mono input channels. 2 stereo inputs with 10dB input and record output. Flexible monitor out and headphones output. Peak indicator on each mono channel. Provide +48V phantom power for condenser microphone. Have a built-in 16 presets DSP effect processor.
91.00€
PA mixer, 19", 4mo+4st ch, 2sub, 1USB, DSP-eff
368.00€
PA mixer, 19", 8mo+4st ch, 4sub, 1USB, DSP-eff
604.00€
BEHRINGER XENYX 1002FX (XENYX 1002FX)
Premium 10-Input 2-Bus Mixer with XENYX Mic Preamps, British EQs and 24-Bit Multi-FX Processor Premium ultra low-noise, high headroom analog mixer2 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preampsNeo-classic "British" 3-band EQs for warm and musical soundStudio-grade 24-bit stereo FX processor with 100 awesome presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effectsFX send control per channel for internal FX processor and/or as external sendMain mix outputs plus separate control room, phones and stereo CD/tape outputsCD/tape inputs assignable to main mix or control room/phones outputsLong-wearing 60-mm logarithmic-taper fader and sealed rotary controlsHigh-quality components and exceptionally rugged construction ensure long lifeConceived and designed by BEHRINGER Germany From basic rock to rootsy folk, the XENYX 1002FX lends immeasurable vibe to intimate performances with an internal 24-bit FX processor. It's light, easy to use and waiting to make your next performance three-dimensional. Inspiration In, Brilliance OutThe 10-input, 2-bus XENYX 1002FX has two XENYX mic preamps with +48 V phantom power, making it possible to use two dynamic or condenser microphones. The three-band British EQ is famous for its warm, musical sound. Simple, high-quality controls make it possible to create beautiful mixes with minimal technical expertise. The Ins and OutsThe XENYX 1002FX has 10 inputs and a FX Send control for each channel. Additionally, assignable CD/tape inputs have been incorporated for routing flexibility.Play music between sets via the RCA CD/tape inputs (assignable to main mix or control room/phones outputs) and record your performance to an outboard recording device via the RCA outputs. Built-in Digital Effects ProcessorAdd some digital trickery to your sound using the internal FX processor. You can also connect an outboard device to apply additional effects to any channel. Compact MagicWeighing in at just 2.3 pounds, the XENYX 1002FX is the portable, practical way to turn a small performance with two vocalists into a mesmerizing event. Keep it casual, or dress it up in a 24-bit digital ball gown – with the XENYX 1002FX, anything is possible. ValueLending optimum sound quality to small-scale performances has never been this easy or affordable. The XENYX 1002FX provides extreme versatility at a price other mixers in this class simply cannot touch.
From basic rock to rootsy folk, the XENYX 1002FX lends immeasurable vibe to intimate performances with an internal 24-bit FX processor. It's light, easy to use and waiting to make your next performance three-dimensional.
85.00€
BEHRINGER XENYX Q1002USB (XENYX Q1002USB)
XENYX Q1002USB Premium 10-Input 2-Bus Mixer with XENYX Mic Preamps & Compressors, British EQs and USB/Audio Interface Premium ultra-low noise, high headroom analog mixer2 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preampsStudio-grade compressors with super-easy “one-knob” functionality and control LED for professional vocal and instrumental soundBuilt-in stereo USB/Audio Interface to connect directly to your computer. Free audio recording, editing and podcasting software plus 150 instrument/effect plug-ins downloadable at behringer.comNeo-classic "British" 3-band EQs for warm and musical sound1 post fader FX send per channel for external FX devicesMain mix outputs plus separate control room, phones and 2-Track outputs2-Track inputs assignable to main mix or control room/phones outputFX to control room function helps to monitor effect signal via headphones and control room outputsConceived and designed by BEHRINGER Germany The ultra-compact XENYX Q1002USB mixer’s 10 Inputs (2 mic, 4 stereo) allow you to effortlessly achieve premium- quality sound, thanks to 2 onboard studio-grade XENYX Mic Preamp and ultra-musical “British” channel EQ. And our easy-to-use “one-knob” compressors provide total dynamic control for the ultimate in punch and clarity, while respecting all the power and emotion you pack into every note. Add to this, the sweet forgiveness of our British-style EQ and superb ease of use – and the Q1002USB becomes an incredibly versatile mixer for your live performances.But the XENYX Q1002USB isn’t just designed to handle your live gigs; it also provides the state-of-the-art tools you need to make stunning, professional-quality recordings. Along with its built-in USB/audio interface, the Q1002USB mixer comes with all the recording and editing software needed to turn your computer system into your own personal high- performance home recording studio. Sonically Superior Mic Preamps The XENYX Q1002USB gets its name from our legendary, high headroom XENYX mic preamps, which have been praised by audio engineers all over the world. These state-of-the-art mic pres represent a major step in the evolution of audio technology – and they can easily hold their own, even when compared to the most expensive stand-alone mic preamps. XENYX preamps offer a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to well above 200 kHz. Armed with these outstanding mic preamps, the XENYX Q1002USB provides such transparent, crystal- clear performance you just might think someone upgraded your mics while you weren’t looking.One-Knob Compression Ask professional sound engineers what their favorite piece of external processing gear is and the majority response will be virtually unanimous – dynamic compression. What is compression? We’re glad you asked. Compression essentially limits the dynamic range of a signal, lowering the level of loud sounds and turning up softer sounds, to achieve sonic balance. But applying compression is a delicate art that many novice, and even intermediate, sound techs find challenging. Our “one- knob” compression is available on all mono channels and is easy to operate, even for entry-level users. With this one knob, you can easily dial in the perfect amount of compression for instruments and vocals, creating powerful mixes with punch and clarity. This is indeed a rare feature for products in this class – but standard on the XENYX Q1002USB mixer. Sublimely Musical British EQ The British consoles of the 1960s and ‘70s changed the sound of rock and roll – without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The channel EQ on your XENYX Q1002USB mixer is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality.The Ins and Outs The 10-input, 2-bus XENYX Q1002USB can accommodate either a dynamic or condenser microphone, thanks to available Phantom Power. The 3-band British EQ is famous for its warm, musical sound. Play music between sets via the 2-Track Inputs (main mix or control room/phones assignable) and record your performance to an outboard recording device via the RCA outputs. Small is Beautiful Weighing in at a mere 2.4 pounds (1.1 kg), the XENYX Q1002USB is the portable, practical way to turn a speech or scaled-down performance into a sound to behold. Schools, meeting rooms, restaurants and songsmiths the world over agree this mighty mite is a high-fidelity lifesaver.Amazing Value No matter what your audio mixing needs, the XENYX Q1002USB provides the performance and features that can take your talent to the next level, at a price sure to amaze you. Professional sound quality, our legendary XENYX mic preamp with our “one-knob” compressors and available Phantom Power, British-style EQ and rugged reliability make XENYX Q1002USB ideal for both your live gigs and recording. Try one on today – we have one available in your size!
Premium 10-Input 2-Bus Mixer with XENYX Mic Preamps & Compressors, British EQs and USB/Audio Interface
143.00€
JBSYSTEMS MIX5.2 (MIX5.2)
Description 2 Independent Zones, each with balanced XLR-output (+unbalanced on cinch)Each zone has 3band tone controls, balance, volume and mono/stereo switch11 inputs on 5 Channels (5 balanced mic + 4line + 2phono)1Microphone with 3band tone control and zone assignable adjustable talkover.Every Channel can be assigned to zone A, zone B or both.Every Channel has individual peak and signal present leds.Gain levels and 45mm faders on all channelsPFL with rotary selector, cue level adjustment and 6.3mm headphones jack.2 independent record outputs without Channel1 microphone and free from talkover muting Technical Information Mic Input 1,5mV/10kOhmPhono Input 3mV/47kOhmLine Input 150 mV/22 kOhmS/N Ratio >85 dB/1 kHzMaster A/B Output 1,5V/4 kOhm unbalanced850mV/600 Ohm balancedFrequency Response20-20.000 Hz (±2dB)Tone Control -12 dB, +12dB Phones 1V/32 OhmDimensions (mm) 134/H x 483/W x 130/D (19"/3U)
2 Independent Zones, each with balanced XLR-output (+unbalanced on cinch), Each zone has 3band tone controls, balance, volume and mono/stereo switch, 11 inputs on 5 Channels (5 balanced mic + 4line + 2phono), 1Microphone with 3band tone control and zone assignable adjustable talkover.
266.00€
JBSYSTEMS SMI 84 (JBSYSTEMS SMI 84)
Description The perfect all-round zone mixer for pubs, bars, hotel, restaurants, …Easy operation, focused on inexperienced users (advanced settings on rear panel)4 Totally independent zones:1 Stereo zone:Balanced XLR + Euroblock connectors and RCA/cinchmaster mixVolume with max. level trimming3band tone control (rear panel)2x 10segment level metersSeparate talkover for both mics (rear panel)3 mono zones, each with:Balanced XLR + Euroblock connectorsIndividual source select + master mixVolume with max. level trimming2band tone control (rear panel)5segment level metersSeparate talkover for both mics (rear panel)Mics can be included/excluded for each zone (rear panel)100Hz HP-filter to protect small speakers (rear panel)6 Input channels, with input selection on rear panel (7line + 2phono + 2USB)2 Microphones with 3band tone control and zone assignable, adjustable talkover.CH1: 3,5mm line input available on the front panelCH6: balanced PA-mixer input (front + rear panel)Every Channel has individual peak and signal present leds.Gain levels, PFL and smooth 45mm PRO-faders on all channels2 Record outputs: 1 cinch + 1 USB“Output mute" input on Euroblock connector (closed contact = mute)Emergency input with level control on Euroblock connector: any emergency messagewill be sent to all zones, while automatically muting all input channels. Technical Information Power Supply: AC 220V – 250V / 50HzFuse: 20mm glass fuse 250V 500mA slowFrequency response: 20-20.000Hz (+/-1dBu)THD + noise:S/N Ratio (IHF-A): >82dB @ 1kHz.Micro inputs: 1.5mV @ 10kΩLine/CD inputs: 150mV @ 22kΩPhono inputs: 3mV @ 47kΩRecord output: 775mV @ 600ΩMaster output: 1.5V @ 4k7Ω unbal.Master output: 850mV @ 600Ω bal.Dimensions: 483(W) x 134(H) x 184(D) mmWeight: 4,2kg

The perfect all-round zone mixer for pubs, bars, hotel, restaurants, … Easy operation, focused on inexperienced users (advanced settings on rear panel) 4 Totally independent zones: 1 Stereo zone: Balanced XLR + Euroblock connectors and RCA/cinch master mix Volume with max. level trimming 3band tone control (rear panel) 2x 10segment level meters Separate talkover for both mics (rear panel) 3 mono zones, each with: Balanced XLR + Euroblock connectors Individual source select + master mix Volume with max. level trimming 2band tone control (rear panel) 5segment level meters Separate talkover for both mics (rear panel) Mics can be included/excluded for each zone (rear panel) 100Hz HP-filter to protect small speakers (rear panel)
435.00€
MARTIN WISMAN HMX-604 (HMX-604)
SB ReaderThere isEffect Processor1 x 16 DSP Effect ProcessorTotal Channel8 ChannelsMono Channel6 MonoStereo Channel1 StereoPhantom Power+ 48VAux Output1 x AuxMaster Output2 x XLR & 2 x 6.3mm JackHeadphone Output1/4 inch 6.3mm JackCD / TapeL / R RCA Input + L / R RCA OutputChannel EQ & Controls4-BandMaster EQ & Controls2 x 7-BandFader60mm Logarithmic Sliding Fader
6 mono 1 stereo 16 x DSP deck mixer, USB reader, 1 aux, + 48V phantom, 2 x 7 band master EQ, 4 band channel EQ, 60mm logarithmic sliding fader, headphone output, xlr balance
148.00€
MARTIN WISMAN HMX-804 (HMX-804)
USB ReaderThere isEffect Processor1 x 16 DSP Effect ProcessorTotal Channel10 ChannelsMono Channel8 MonoStereo Channel1 StereoPhantom Power+ 48VAux Output1 x AuxMaster Output2 x XLR & 2 x 6.3mm JackHeadphone Output1/4 inch 6.3mm JackCD / TapeL / R RCA Input + L / R RCA OutputChannel EQ & Controls4-BandMaster EQ & Controls2 x 7-BandFader60mm Logarithmic Sliding Fader
8 mono + 1Stereo, Aux, Phantom, 16 Delay Effect, 2x7 Band EQ
173.00€
MARTIN WISMAN LKX-602 (LKX-602)
4-8 mini multi channel and 1 stereo analog mixer with power. 3 Band active EQ(HIGH,MID ,LOW).Distortion under 0.0007%(20HZ-20KHZ). Phantom power for studio condenser mics.99 Kinds of parameter adjustable 24BIT DSP effects processor. ALT 3/4 stereo bus for added versatility.Precise 3 colors,6 band LED level display.MP3 player is compatible with multi audio format. Maximum levelsMic Input:30 dBuLine Input:21 dBuAll other input: 22 dBuMixer Rated OutputMain outs: +4 dBuAll other outs: +4 dBuMaximum output: 22 dBuFrequency responseMic input to main output+0, -1 dB,+0,-3 dB,Connection ImpedanceMic inputs:2k ohmsLine inputs: >10k ohmsOutputs: >100 ohmsEQ(each band): ±15dBMono Stereo Channel EQHigh:12kHzHigh mid: 2.5kHzLow: 80Hz
4-8 mini multi channel and 1 stereo analog mixer with power. 3 Band active EQ(HIGH,MID ,LOW).
143.00€
Martin Wisman MF 1200 (MF 1200)
Ultra low noise 12 - Channel Mic / Line Mixer

-   12 Mono Input Channels with silver plated XLRs and balanced Line Inputs
-   Ultra-low noise discrete Mic Preamps with +48 V Phantom Power
-   Extremely high headroom - offering more dynamic range
-   Balanced Inputs for highest signal integrity
-   Ultra-musical 3-band EQ+FREQ on all mono channels
-   Peak LEDs all Mono Channels
-   2 Aux Send per channel for external effects and monitoring
-   2X256DSP Digital of the effect system inside
-   Separate Master Mix, Headphone Outputs
-   2-Track Inputs assignable to Master Mix
-   Highly accurate 12 segment Bargraph Meters

INPUT CHANNEL SECTION
1. BALANCE INPUT (MIC)
Electronially Balanced inputs acceptable a standard XLR male connector. + 48V Phantom Power available on each input Mic socket, and this switch is on Rear Phantom Power.
2. LINE INPUT
The unbalanced Mic input is provided for the use of an unbalance mic and is designed to accept an unbalanced high impedance input signal. (This use for connection Deck, Turntable, Keyboard etc..)
3. INSERT
The INSERT is a break point in the input channel signal path. It allows the signal to be taken out from the mixer, through an external equipment such as a compressor, and then back to the mixer to continue the final mix output.
4. TRIM
This has a function which adjusts the input sensitivity of each channel in order to input the constant level of the signal.
5. LOW CUT
Slide down the slide-switch, insert the 18 dB per octave 75Hz low cut filter in the signal path. This low cut filter is useful on live vocals to reduce stage rumble or "popping" from microphones. It can also be used to cut off low frequency hum.
6. HIGH
Control the high frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the high frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases level.
7. FREQUENCY + MID
This equalization has a "bell" response i.e. having reached maximum amplification or attenuation at the selected frequency, the amplitude response returns to zero either side of that frequency. The FREQ at which this occurs is variable between 250Hz. The GAIN is variable between ±15dB at the selected frequency with a fixed q of 1.5Q is a factor a bandwidth. 
8. LOW
Control the low frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the low frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases the level.
9.AUX1.2
This is normally derived after the EQ section and channel fader (PRE-FADER, POSE-EQ), and is therefore unaffected by the fader position and routing status. This makes the send particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. Mix. All pre-fade sends may be selected internally to be PRE-FADER, PRE-EQ.
10. EFX1.2
This is normally derived after the EQ and channel fader (POST FADER, POST EQ), and is therefore follow any changers in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel.
11. PAN
The pan control sends continuously variable amounts of the post fader signal to either the left or right and G1 or G2 main busses. In the center position equal amounts of signal are sent to the left and right or G1 & G2 busses.
12. STEREO (L-R)
Push the switch, can use ST L-R fader.
During the stereo L-R switch pushed, you can't use ST L-R fader.
13. GRPS 1-2
Push the switch, can use GROUP 1-2 fader.
During the G1-2 switch pushed, you can't use stereo L-R fader.
14. PEAK
A red LED indicates a signal level at the insert return point, premaster fader, it illuminates at approximately 5 dB below clipping.
15. CHANNEL FADER
This is function to adjust the volume of signal connection into each channel and adjust the volume of output, together with master fader. Normal operating position is at the "O" mark, providing 4dB of gain adove that point, if required. 

MASTER SECTION
16. EFFECT PROGRAMS
When adjust switch 17, 18, 19, 20 more effects are displayed.
17. Pre-set
Push more than 5 seconds, It automatacally memorize the displayed program number. Once Just Push M1. M2. M3. M4, always display memorized program.
18. UP TAPE SWITCH
One push, one program up push with more than 5 seconds hi-speed program up.
19. DOWN TAPE SWITCH
One push, one program down, push with more than 5 seconds, hi-speed program down.
20. MUTE
Effect ON/OFF.
21. EFFECT STEREO (L/R)
Depressing this switch, can let the EFFECT you need connect to the main control buses.
22. EFFECT GROUP(1-2)
Push the switch, can let the EFFECT you need connect to the main group buses. 

ŠALJEMO NA ADRESU!!!
Ultra low noise 12 - Channel Mic / Line Mixer - 12 Mono Input Channels with silver plated XLRs and balanced Line Inputs - Ultra-low noise discrete Mic Preamps with +48 V Phantom Power - Extremely high headroom - offering more dynamic range - Balanced Inputs for highest signal integrity - Ultra-musical 3-band EQ+FREQ on all mono channels - Peak LEDs all Mono Channels - 2 Aux Send per channel for external effects and monitoring - 2X256DSP Digital of the effect system inside - Separate Master Mix, Headphone Outputs - 2-Track Inputs assignable to Master Mix - Highly accurate 12 segment Bargraph Meters INPUT CHANNEL SECTION 1. BALANCE INPUT (MIC) Electronially Balanced inputs acceptable a standard XLR male connector. + 48V Phantom Power available on each input Mic socket, and this switch is on Rear Phantom Power. 2. LINE INPUT The unbalanced Mic input is provided for the use of an unbalance mic and is designed to accept an unbalanced high impedance input signal. (This use for connection Deck, Turntable, Keyboard etc..) 3. INSERT The INSERT is a break point in the input channel signal path. It allows the signal to be taken out from the mixer, through an external equipment such as a compressor, and then back to the mixer to continue the final mix output. 4. TRIM This has a function which adjusts the input sensitivity of each channel in order to input the constant level of the signal. 5. LOW CUT Slide down the slide-switch, insert the 18 dB per octave 75Hz low cut filter in the signal path. This low cut filter is useful on live vocals to reduce stage rumble or "popping" from microphones. It can also be used to cut off low frequency hum. 6. HIGH Control the high frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the high frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases level. 7. FREQUENCY + MID This equalization has a "bell" response i.e. having reached maximum amplification or attenuation at the selected frequency, the amplitude response returns to zero either side of that frequency. The FREQ at which this occurs is variable between 250Hz. The GAIN is variable between ±15dB at the selected frequency with a fixed q of 1.5Q is a factor a bandwidth. 8. LOW Control the low frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the low frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases the level. 9.AUX1.2 This is normally derived after the EQ section and channel fader (PRE-FADER, POSE-EQ), and is therefore unaffected by the fader position and routing status. This makes the send particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. Mix. All pre-fade sends may be selected internally to be PRE-FADER, PRE-EQ. 10. EFX1.2 This is normally derived after the EQ and channel fader (POST FADER, POST EQ), and is therefore follow any changers in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. 11. PAN The pan control sends continuously variable amounts of the post fader signal to either the left or right and G1 or G2 main busses. In the center position equal amounts of signal are sent to the left and right or G1 & G2 busses. 12. STEREO (L-R) Push the switch, can use ST L-R fader. During the stereo L-R switch pushed, you can't use ST L-R fader. 13. GRPS 1-2 Push the switch, can use GROUP 1-2 fader. During the G1-2 switch pushed, you can't use stereo L-R fader. 14. PEAK A red LED indicates a signal level at the insert return point, premaster fader, it illuminates at approximately 5 dB below clipping. 15. CHANNEL FADER This is function to adjust the volume of signal connection into each channel and adjust the volume of output, together with master fader. Normal operating position is at the "O" mark, providing 4dB of gain adove that point, if required. MASTER SECTION 16. EFFECT PROGRAMS When adjust switch 17, 18, 19, 20 more effects are displayed. 17. Pre-set Push more than 5 seconds, It automatacally memorize the displayed program number. Once Just Push M1. M2. M3. M4, always display memorized program. 18. UP TAPE SWITCH One push, one program up push with more than 5 seconds hi-speed program up. 19. DOWN TAPE SWITCH One push, one program down, push with more than 5 seconds, hi-speed program down. 20. MUTE Effect ON/OFF. 21. EFFECT STEREO (L/R) Depressing this switch, can let the EFFECT you need connect to the main control buses. 22. EFFECT GROUP(1-2) Push the switch, can let the EFFECT you need connect to the main group buses. ŠALJEMO NA ADRESU!!!
385.00€
Martin Wisman MF 800 (MF 800)
Ultra low noise 8 - Channel Mic / Line Mixer

-   8 Mono Input Channels with silver plated XLRs and balanced Line Inputs
-   Ultra-low noise discrete Mic Preamps with +48 V Phantom Power
-   Extremely high headroom - offering more dynamic range
-   Balanced Inputs for highest signal integrity
-   Ultra-musical 3-band EQ+FREQ on all mono channels
-   Peak LEDs all Mono Channels
-   2 Aux Send per channel for external effects and monitoring
-   2X256DSP Digital of the effect system inside
-   Separate Master Mix, Headphone Outputs
-   2-Track Inputs assignable to Master Mix
-   Highly accurate 12 segment Bargraph Meters

INPUT CHANNEL SECTION
1. BALANCE INPUT (MIC)
Electronially Balanced inputs acceptable a standard XLR male connector. + 48V Phantom Power available on each input Mic socket, and this switch is on Rear Phantom Power.
2. LINE INPUT
The unbalanced Mic input is provided for the use of an unbalance mic and is designed to accept an unbalanced high impedance input signal. (This use for connection Deck, Turntable, Keyboard etc..)
3. INSERT
The INSERT is a break point in the input channel signal path. It allows the signal to be taken out from the mixer, through an external equipment such as a compressor, and then back to the mixer to continue the final mix output.
4. TRIM
This has a function which adjusts the input sensitivity of each channel in order to input the constant level of the signal.
5. LOW CUT
Slide down the slide-switch, insert the 18 dB per octave 75Hz low cut filter in the signal path. This low cut filter is useful on live vocals to reduce stage rumble or "popping" from microphones. It can also be used to cut off low frequency hum.
6. HIGH
Control the high frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the high frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases level.
7. FREQUENCY + MID
This equalization has a "bell" response i.e. having reached maximum amplification or attenuation at the selected frequency, the amplitude response returns to zero either side of that frequency. The FREQ at which this occurs is variable between 250Hz. The GAIN is variable between ±15dB at the selected frequency with a fixed q of 1.5Q is a factor a bandwidth. 
8. LOW
Control the low frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the low frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases the level.
9.AUX1.2
This is normally derived after the EQ section and channel fader (PRE-FADER, POSE-EQ), and is therefore unaffected by the fader position and routing status. This makes the send particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. Mix. All pre-fade sends may be selected internally to be PRE-FADER, PRE-EQ.
10. EFX1.2
This is normally derived after the EQ and channel fader (POST FADER, POST EQ), and is therefore follow any changers in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel.
11. PAN
The pan control sends continuously variable amounts of the post fader signal to either the left or right and G1 or G2 main busses. In the center position equal amounts of signal are sent to the left and right or G1 & G2 busses.
12. STEREO (L-R)
Push the switch, can use ST L-R fader.
During the stereo L-R switch pushed, you can't use ST L-R fader.
13. GRPS 1-2
Push the switch, can use GROUP 1-2 fader.
During the G1-2 switch pushed, you can't use stereo L-R fader.
14. PEAK
A red LED indicates a signal level at the insert return point, premaster fader, it illuminates at approximately 5 dB below clipping.
15. CHANNEL FADER
This is function to adjust the volume of signal connection into each channel and adjust the volume of output, together with master fader. Normal operating position is at the "O" mark, providing 4dB of gain adove that point, if required. 

MASTER SECTION
16. EFFECT PROGRAMS
When adjust switch 17, 18, 19, 20 more effects are displayed.
17. Pre-set
Push more than 5 seconds, It automatacally memorize the displayed program number. Once Just Push M1. M2. M3. M4, always display memorized program.
18. UP TAPE SWITCH
One push, one program up push with more than 5 seconds hi-speed program up.
19. DOWN TAPE SWITCH
One push, one program down, push with more than 5 seconds, hi-speed program down.
20. MUTE
Effect ON/OFF.
21. EFFECT STEREO (L/R)
Depressing this switch, can let the EFFECT you need connect to the main control buses.
22. EFFECT GROUP(1-2)
Push the switch, can let the EFFECT you need connect to the main group buses. 


ŠALJEMO NA ADRESU!!!
Ultra low noise 8 - Channel Mic / Line Mixer - 8 Mono Input Channels with silver plated XLRs and balanced Line Inputs - Ultra-low noise discrete Mic Preamps with +48 V Phantom Power - Extremely high headroom - offering more dynamic range - Balanced Inputs for highest signal integrity - Ultra-musical 3-band EQ+FREQ on all mono channels - Peak LEDs all Mono Channels - 2 Aux Send per channel for external effects and monitoring - 2X256DSP Digital of the effect system inside - Separate Master Mix, Headphone Outputs - 2-Track Inputs assignable to Master Mix - Highly accurate 12 segment Bargraph Meters INPUT CHANNEL SECTION 1. BALANCE INPUT (MIC) Electronially Balanced inputs acceptable a standard XLR male connector. + 48V Phantom Power available on each input Mic socket, and this switch is on Rear Phantom Power. 2. LINE INPUT The unbalanced Mic input is provided for the use of an unbalance mic and is designed to accept an unbalanced high impedance input signal. (This use for connection Deck, Turntable, Keyboard etc..) 3. INSERT The INSERT is a break point in the input channel signal path. It allows the signal to be taken out from the mixer, through an external equipment such as a compressor, and then back to the mixer to continue the final mix output. 4. TRIM This has a function which adjusts the input sensitivity of each channel in order to input the constant level of the signal. 5. LOW CUT Slide down the slide-switch, insert the 18 dB per octave 75Hz low cut filter in the signal path. This low cut filter is useful on live vocals to reduce stage rumble or "popping" from microphones. It can also be used to cut off low frequency hum. 6. HIGH Control the high frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the high frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases level. 7. FREQUENCY + MID This equalization has a "bell" response i.e. having reached maximum amplification or attenuation at the selected frequency, the amplitude response returns to zero either side of that frequency. The FREQ at which this occurs is variable between 250Hz. The GAIN is variable between ±15dB at the selected frequency with a fixed q of 1.5Q is a factor a bandwidth. 8. LOW Control the low frequency tone of each channel. Always set this control to the 12 o'clock position, but you can control the low frequency tone according to the speaker, the conditions of listening position and listener's taste. Clockwise rotation of the control increases the level. 9.AUX1.2 This is normally derived after the EQ section and channel fader (PRE-FADER, POSE-EQ), and is therefore unaffected by the fader position and routing status. This makes the send particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. Mix. All pre-fade sends may be selected internally to be PRE-FADER, PRE-EQ. 10. EFX1.2 This is normally derived after the EQ and channel fader (POST FADER, POST EQ), and is therefore follow any changers in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. 11. PAN The pan control sends continuously variable amounts of the post fader signal to either the left or right and G1 or G2 main busses. In the center position equal amounts of signal are sent to the left and right or G1 & G2 busses. 12. STEREO (L-R) Push the switch, can use ST L-R fader. During the stereo L-R switch pushed, you can't use ST L-R fader. 13. GRPS 1-2 Push the switch, can use GROUP 1-2 fader. During the G1-2 switch pushed, you can't use stereo L-R fader. 14. PEAK A red LED indicates a signal level at the insert return point, premaster fader, it illuminates at approximately 5 dB below clipping. 15. CHANNEL FADER This is function to adjust the volume of signal connection into each channel and adjust the volume of output, together with master fader. Normal operating position is at the "O" mark, providing 4dB of gain adove that point, if required. MASTER SECTION 16. EFFECT PROGRAMS When adjust switch 17, 18, 19, 20 more effects are displayed. 17. Pre-set Push more than 5 seconds, It automatacally memorize the displayed program number. Once Just Push M1. M2. M3. M4, always display memorized program. 18. UP TAPE SWITCH One push, one program up push with more than 5 seconds hi-speed program up. 19. DOWN TAPE SWITCH One push, one program down, push with more than 5 seconds, hi-speed program down. 20. MUTE Effect ON/OFF. 21. EFFECT STEREO (L/R) Depressing this switch, can let the EFFECT you need connect to the main control buses. 22. EFFECT GROUP(1-2) Push the switch, can let the EFFECT you need connect to the main group buses. ŠALJEMO NA ADRESU!!!
285.00€
Martin Wisman MX 102 (MX 102)
Pre-amplifier,10 channels input(chime inside)
With 10 input channels, each channel can be adjust independently.
MIC 1 has priority function, built-in chime function.
With 5 MICs, 3 AUX input , 3 line output,and 2 EMC inputs.
With independent volume control, uniform volme output.
Has one treble, one bass.

POWER SUPPLY:  230V
 
ŠALJEMO NA ADRESU!!!
Pre-amplifier,10 channels input(chime inside) With 10 input channels, each channel can be adjust independently. MIC 1 has priority function, built-in chime function. With 5 MICs, 3 AUX input , 3 line output,and 2 EMC inputs. With independent volume control, uniform volme output. Has one treble, one bass. POWER SUPPLY: 230V ŠALJEMO NA ADRESU!!!
89.00€
Martin Wisman MX 88 (MX 88)
Pre-amplifier,8 in 8 out , MIC 1 has prior function , with chime function
Can connect 8 units amplifiers external.
With 8 independent input and output channels without any interference. 
Each channel has independent volume control.
MIC 1 has priority function and can select any channel to output 
arbitrarily.
With chime function.

ŠALJEMO NA ADRESU!!!
Pre-amplifier,8 in 8 out , MIC 1 has prior function , with chime function Can connect 8 units amplifiers external. With 8 independent input and output channels without any interference. Each channel has independent volume control. MIC 1 has priority function and can select any channel to output arbitrarily. With chime function. ŠALJEMO NA ADRESU!!!
160.00€
Martin Wisman MXM 602 EFX (MXM 602 EFX)
lnputs               Number            Input modes      Gonnector          lnput lmpedance            Rated lnput level
Mono MIC lN           2~4                  Balanced               XLR                      2Kohm                          -60d8
Mono LINE lN          2~4                  Balanced            3-poles TRS              47Kohm                         -40d8
UR LINE IN               2                Unbalanced             2 TRS                    1OKohm                         -10dB
UR PI.AY IN              1                Unbalanced             2 RCA                    1OKohm                        -10dB
 
Outputs             Number           Outputs modes     Gonnector         Outputs lmpedance       Rated Output level
 
Stereo MAIN OUT        1               Unbalanced               2 TRS                      75ohm                         +4dB
CTRL RM                    1               Unbalanced                2 TRS                      75ohm                         +4dB
AUX SEND                  1               Unbalanced                   TRS                     75ohm                         +4dB
Stero REC OT             1               Unbalanced                2 RCA                      1 Kohm                        -1odB
HEADPHONE               1               Unbalanced             3-poles TRS                 75ohm                        3mW @35ohm
 
Channel EQ                                 Hl 12KHz MID 2.5KHz LOW 80Hz max equalizing value +i-15dB
Low cut filter                                80Hz 18dB/OCT
Total harmonic distortion              <0.1o/o @+t+Og 20-20000H2 620ohm load
Frequency response                      +11-2dB @+4dB 20-20000H2620ohm load
Max out level                                +20d8 @0.5%THD l KHz 620ohm load
Microphone preamp E.l.N                -124d8 @ 150ohm , at max gain
Power                                            See the label on the adapter
Power consumption                         7W

ŠALJEMO NA ADRESU!!!
lnputs Number Input modes Gonnector lnput lmpedance Rated lnput level Mono MIC lN 2~4 Balanced XLR 2Kohm -60d8 Mono LINE lN 2~4 Balanced 3-poles TRS 47Kohm -40d8 UR LINE IN 2 Unbalanced 2 TRS 1OKohm -10dB UR PI.AY IN 1 Unbalanced 2 RCA 1OKohm -10dB Outputs Number Outputs modes Gonnector Outputs lmpedance Rated Output level Stereo MAIN OUT 1 Unbalanced 2 TRS 75ohm +4dB CTRL RM 1 Unbalanced 2 TRS 75ohm +4dB AUX SEND 1 Unbalanced TRS 75ohm +4dB Stero REC OT 1 Unbalanced 2 RCA 1 Kohm -1odB HEADPHONE 1 Unbalanced 3-poles TRS 75ohm 3mW @35ohm Channel EQ Hl 12KHz MID 2.5KHz LOW 80Hz max equalizing value +i-15dB Low cut filter 80Hz 18dB/OCT Total harmonic distortion <0.1o/o @+t+Og 20-20000H2 620ohm load Frequency response +11-2dB @+4dB 20-20000H2620ohm load Max out level +20d8 @0.5%THD l KHz 620ohm load Microphone preamp E.l.N -124d8 @ 150ohm , at max gain Power See the label on the adapter Power consumption 7W ŠALJEMO NA ADRESU!!!
80.00€
MARTIN WISMAN MXM 802 EFX (MXM 802 EFX)
lnputs Number Input modes Gonnector lnput lmpedance Rated lnput levelMono MIC lN 2~4 Balanced XLR 2Kohm -60d8Mono LINE lN 2~4 Balanced 3-poles TRS 47Kohm -40d8UR LINE IN 2 Unbalanced 2 TRS 1OKohm -10dBUR PI.AY IN 1 Unbalanced 2 RCA 1OKohm -10dB Outputs Number Outputs modes Gonnector Outputs lmpedance Rated Output level Stereo MAIN OUT 1 Unbalanced 2 TRS 75ohm +4dBCTRL RM 1 Unbalanced 2 TRS 75ohm +4dBAUX SEND 1 Unbalanced TRS 75ohm +4dBStero REC OT 1 Unbalanced 2 RCA 1 Kohm -1odBHEADPHONE 1 Unbalanced 3-poles TRS 75ohm 3mW @35ohm Channel EQ Hl 12KHz MID 2.5KHz LOW 80Hz max equalizing value +i-15dBLow cut filter 80Hz 18dB/OCTTotal harmonic distortion <0.1o/o @+t+Og 20-20000H2 620ohm loadFrequency response +11-2dB @+4dB 20-20000H2620ohm loadMax out level +20d8 @0.5%THD l KHz 620ohm loadMicrophone preamp E.l.N -124d8 @ 150ohm , at max gainPower See the label on the adapter
2~4 mono input channels and 2 stereo input channels. 3-band frequency equalizer for each input channels. Adopt low-noise discrete Mic pre-ampfier on microphone inputs. Optional low cut filter to reduce low frequency interfere for mono input channels. 2 stereo inputs with 10dB input and record output. Flexible monitor out and headphones output. Peak indicator on each mono channel. Provide +48V phantom power for condenser microphone. Have a built-in 16 presets DSP effect processor.
91.00€
SYNQ SMP 12.22 USB (SMP 12.22 USB)
•12 channel PA-mixing console with very low noise architecture. •ALT 3-4 bus (2 subgroups)•Internal 24bit DSP-effect unit with 100 presets & foot switch input•USB in/out for direct recording to PC•8 balanced input channels, 4 Mono + 4stereo: Input gainInserts on mono channelsPeak indication @ -5dBHigh pass filter @ 75Hz3band equalizer (12kHz/2,5kHz/80Hz)AUX send with pre/post switchEFX send for effects section (post)PAN/BAL controlALT 3-4 / Channel mute buttonLEVEL with 60mm fader control•48V Phantom power on all balanced micros•Use of external effects possible•Balanced Main L/R output control•Headphone and control room output•2x 10section LED VU-meters•External power transformer•19''brackets voor rack mounting includedTechnical InformationFree recording software available:click the logo to start download.AudacityMax output level (0.5% thd @ 1kHz): +26dB (MAIN L/R)+20dB (ALT 3/4, AUX/EFX, CTRL ROOM)+20dB (INSERT)More than 100mW (HEADPHONES) @33OhmT.H.D:0.1% @ +14dB 20Hz~20kHz (MIX L/R, ALT 3/4, AUX/EFX SEND, CTRL ROOM) @10kOhmFrequency response:20Hz~20kHz, +1/-2dB (MIX L/R, ALT 3/4, AUX/EFX SEND, CTRL ROOM) @10kOhmHum and Noise (average Rs=150Ohm):-127dB equivalent input noise-95dB residual noise (MIX L/R, AUX SEND, EFX SEND, CTRL ROOM)-88dB (MIX L/R, AUX SEND, EFX SEND, CTRL ROOM) Master fader at nominal level and all channel volumes at minimum.Maximum Voltage Gain:74dB MIC IN TO MAIN L/R74dB MIC IN TO ALT 3/466dB MIC IN TO AUX (PRE)76dB MIC IN TO AUX (POST)76dB MIC IN TO EFX80dB MIC IN TO CONTROL ROOM L/R52.2dB IN TO REC L/R54dB LINE IN TO MAIN L/R54dB LINE IN TO ALT 3/446dB LINE IN TO AUX (PRE)56dB LINE IN TO AUX (POST)60dB LINE IN TO CONTROL ROOM L/R44dB STEREO IN TO MAIN L/R44dB STEREO IN TO ALT 3/416dB AUX RETURN IN TO MAIN L/R20dB TAPE IN TO MAIN L/RCrosstalk (@ 1kHz):-70dB between input channels-70dB between input/oputput channelsGain Control (mono input channel)44dB Variable (-50dB ~ -6dB) (-30dB ~ +14dB)Gain Control (combined mono/stereo input channel)40dB Variable (-20dB ~ +20dB)Input channel Equalization:HIGH: 12kHz shelvingMID: 2.5kHz peakingLOW: 80Hz shelving*Turnover/roll off frequencies: located 3dB below max. boost/cutLED Meters: 2x 10 segment LED for MAIN L/R, ALT3/4, TAPE IN or PFLInternal Digital Effect: 100 selectable presets FOOT Switch control (ON/OFF)Channel indicators:Peak: an indicator for each channel turns on when the pré-channel fader signal is 5dB below clippingPhantom Power (balanced input): +48V DCPower Supply: AC 230 V, 50HzPower consumption: 36WWeight: 4,6 kgDimensions: 328(W) x 90(H) x 420(D) mm
PA mixer, 19", 4mo+4st ch, 2sub, 1USB, DSP-eff
368.00€
SYNQ SMP 16.42 USB (SMP 16.42 USB)
•16 channel PA-mixing console with very low noise architecture. •4 subgroups with independent sub-masters•Internal 24bit DSP-effect unit with 100 presets & foot switch input•USB in/out for direct recording to PC•12 balanced input channels, 8 Mono + 4stereo: Input gainInserts on mono channelsPeak indication @ -5dBHigh pass filter @ 75Hz3band equalizer with parametric mid1 AUX send pre (monitoring)1 AUX send with pre/post switchEFX send for effects section (post)PAN/BAL controlChannel mute buttonPFL-switchLEVEL with 60mm fader controlL-R and subgroup 1-2 3-4 select•48V Phantom power on all balanced micros•Use of external effects possible•Balanced Main L/R + subgroup output controls•Headphone and control room output•2x 10section LED VU-meters•7band equalizer on master mix•External power transformer•19" brackets for easy rack mounting includedTechnical InformationMax output level (0.5% thd @ 1kHz): +26dB (MAIN L/R)+20dB (ALT 3/4, AUX/EFX, CTRL ROOM)+20dB (INSERT)More than 100mW (HEADPHONES) @33OhmT.H.D:Frequency response:20Hz~20kHz, +1/-2dB (MIX L/R, GROUP 1-2/3-4, AUX1, AUX2/EFX SEND, CTRL ROOM) @10kOhm Hum and Noise (average Rs=150Ohm):-127dB equivalent input noise-95dB residual noise (MIX L/R, GROUP 1-2/3-4, AUX1, AUX2/EFX SEND, CTRL ROOM)-88dB (MIX L/R, GROUP 1-2/3-4, AUX1, AUX2/EFX SEND, CTRL ROOM) Master fader at nominal level and all channel assign switches off.Maximum Voltage Gain:74dB MIC IN TO Main L/R74dB MIC IN TO GROUP 1-2/3-466dB MIC IN TO AUX1/AUX2 (PRE)76dB MIC IN TO AUX2 (POST)76dB MIC IN TO EFX80dB MIC IN TO CONTROL ROOM L/R52.2dB IN TO REC L/R54dB LINE IN TO MIX L/R54dB LINE IN TO GROUP 1-2/3-446dB LINE IN TO AUX1 / AUX2 (PRE)56dB LINE IN TO AUX2 (POST)60dB LINE IN TO CONTROL ROOM L/R44dB STEREO IN TO MAIN L/R44dB STEREO IN TO GROUP 1-2/3-416dB AUX RETURN IN TO MIX L/R12dB AUX RETURN IN TO AUX1/AUX220dB TAPE IN TO MAIN L/RCrosstalk (@ 1kHz):-70dB between input channels-70dB between input/oputput channelsGain Control (mono input channel)44dB Variable (-50dB ~ -6dB) (-30dB ~ +14dB)Gain Control (combined mono/stereo input channel)40dB Variable (-20dB ~ +20dB)Mono input channel Equalization:HIGH: 12kHz shelvingMID: 100-8kHz peakingLOW: 80Hz shelving*Turnover/roll off frequencies: located 3dB below max. boost/cutStereo input channel Equalization:HIGH: 12kHz shelvingHIGH MID: 3kHz peakingLOW MID: 500Hz peakingLOW: 80Hz shelving*Turnover/roll off frequencies: located 3dB below max. boost/cutGraphic Equalizer:7-band (63, 160, 400, 1K, 2.5K, 6.4K, 16KHZ) LED Meters: 2x 10 segment LED for MAIN L/R, GROUP1-2/3-4 or PFLInternal Digital Effect: 100 selectable presetsFOOT Switch control (ON/OFF)Channel indicators:Peak: an indicator for each channel turns on when the pré-channel fader signal is 5dB below clippingPhantom Power (balanced input): +48V DCPower Supply: AC 230 V, 50HzPower consumption: 40WWeight: 5,4 kgDimensions: 436(W) x 90(H) x 420(D) mm
PA mixer, 19", 8mo+4st ch, 4sub, 1USB, DSP-eff
604.00€
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