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Excellent signal/noise ratio, lowest harmonic distortions and wide gain range make the QuadMic II a first choice for superior studio recordings. QuadMic II is battery powerable and thus excellent for remote applications. Each of the 4 channels features balanced microphone and line inputs with Neutrik XLR/TRS combo jacks, switchable 48 V phantom power, phase reversal and a low cut filter. All channels are also equipped with LEDs for signal presence, clip state, and activated phantom power. The input amplification can be set from 6 to 60 dB. The balanced line level output signals are provided on the rear of the unit as four 6.3 mm (1/4') TRS jacks. A maximum balanced and unbalanced output level of +21 dBu makes the QuadMic II fully compatible to RME's converters and interface series having analog inputs. The QuadMic II complements any RME system with line inputs by adding external microphone inputs. Since the unit runs on supply voltages from 9 to 18 V DC, it can operate on virtually any power source available, including batteries and rechargeable batteries. Made in: Germany
Excellent signal/noise ratio, lowest harmonic distortions and wide gain range make the QuadMic II a first choice for superior studio recordings. QuadMic II is battery powerable and thus excellent for remote applications. Each of the 4 channels features balanced microphone and line inputs with
Power supply with lockable connector for RME audio interface: MADIface XT, QuadMic II, Babyface Pro, ADI-2 Pro. | Made in: Germany | Power Supply: 240V | UK/EU Power supply included: No
Power supply for RME audio interface: Fireface UCX, Fireface UC, QuadMic, Babyface, ADI-2, ADI-4DD. | Power Supply: 240V | UK/EU Power supply included: No | Made in: Germany
Cable for powering audio interfaces (MADIface XT, Fireface UCX, Fireface UC, QuadMic,Babyface, Babyface Pro, ADI-2 Pro, ADI-4DD) via a car power outlet. | ~ Length: 1 m | Colour: Black | Made in: Germany
Micstasy is an 8-Channel hi-end mic/line preamp and AD-converter combining typical RME features with a number of previously unseen features. It can be used analog (Mic/Line In to Line Out) and digital (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Special highlight:
Two Channel Mic Preamp with A/D Conversion. Device delivers all of the same great features of the ProMPA with the added versatility of digital output. Like the ProMPA-II, each input circuit has 48V phantom power and features variable input impedance which can radically vary the overall performance
Microphone preamplifier. It has a 12AX7A lamp in a low-noise input circuit, which delivers high power to the two channels of the preamplifier. V3 technology provides optimized presets for the recording process. The variable input impedance increases the sound potential of the device and adds a new
Mixer with a discreet Class A amplifier that provides clear, quiet gain while maintaining sound clarity. A powerful, powerful processor controls transmission and reduces unwanted noise from even the most demanding sources. Semi-parametric EQ provides a wide range of tonal options and can be plugged
The DMC-842-M from RME is an 8-channel AES42 interface and control device for digital microphones. AES42-2001 is an extension of the current AES digital audio standard that provides the framework for interfacing and controlling professional digital microphones (not to be confused with the consumer
Dual channel '73 style British microphone preamp. If there’s one style of preamp that professional engineers would unanimously agree has defined the tone of pop/rock records for decades, it would most definitely be the venerable '73-style of mic pre. '73-style preamps have been massively used in
Mixer with a discreet Class A amplifier that provides clear, quiet gain while maintaining sound clarity. A powerful, powerful processor controls transmission and reduces unwanted noise from even the most demanding sources. Semi-parametric EQ provides a wide range of tonal options and can be plugged
Three ultra-low-noise Kashmir microphone preamps with adjustable limiters capture high quality audio in the field, on set, or with a computer. | | Width (mm): 144.0 | Weight: 0,5 kg | Length (mm): 110.0 | Number of Microphone/Line In Input Ports: 5 | Display Type: LCD | Battery Type: AA | Power Supply: Adapter or
The DMC-842 is both an 8-Channels AES42 interface as well as a controller for digital microphones. The unique device allows for connection and control of up to 8 digital microphones, and converting their signals to ADAT, AES/EBU, analog and (optional) MADI. Eight individually switchable hi-end
Single channel '73 style British microphone preamp. If there’s one style of preamp that professional engineers would unanimously agree has defined the tone of pop/rock records for decades, it would most definitely be the venerable '73-style of mic pre. '73-style preamps have been massively used
The Cloud Microphones Cloudlifter CL-Z Mic Activator uses phantom power from your preamp to solve an array of common issues with dynamic and ribbon microphones while maximizing your audio quality, making it a must-have box for your studio or live toolset. It's designed to be a middleman between
Tube microphone preamplifier. The 676 offers a pristine high-voltage, Class-A tube preamp section that runs on 250 volts, so your signal can be as crystal clean or dirty as you need it to be. The 676 also incorporates the compressor/limiter design from the highly-sought after dbx162SL, as well as a
The Cloud Microphones Cloudlifter CL-Z Mic Activator uses phantom power from your preamp to solve an array of common issues with dynamic and ribbon microphones while maximizing your audio quality, making it a must-have box for your studio or live toolset. It's designed to be a middleman between
The Twin-Servo is a high performance microphone preamp that leverages two discrete 990 op-amps for incredibly clean and transparent operation. The Twin-Servo utilizes the now-famous JE-990 circuit originally developed by industry icon Deane Jensen in 1988, providing an update in the 500 series
Dual channel '73 style British microphone preamp + EQ. If there’s one style of preamp that professional engineers would unanimously agree has defined the tone of pop/rock records for decades, it would most definitely be the venerable '73-style of mic pre. '73-style preamps have been massively
High-quality microphone and line preamp mixer. It has the size of a floor pedal, and is suitable for singers, guitarists and bassists. It serves as a preamp, effects loop, and DI pedal. It is the ideal choice to achieve high quality vocals in live performance. It can easy integrate studio effects
Solid State professional 1-channel microphone preamp with up to 71 dB of Gain. Possibility of setting impedance. Preamplifier is equipped with: Hipass filter, 48V phantom power, parametric EQ, - 20 db pad switch, turning phase, HPF, switchable output level of + 4 / -10 dB, frequency range 2 Hz -
Microphone and instrument preamp. The WA-412 provides 4 channels of classic American console preamps in a sleek 1RU design. This style of preamp is often referred to as ''the sound of Rock n' Roll'' for its BIG punchy low end and smooth open top end. Featuring fully discrete socketed 6-pin op-amps
The WA-MPX is an authentic reproduction of the vintage tape machine tube preamp that started the birth of rock ‘n’ roll known for pure analog warmth, delivering an impressive 300v of raw power & 90dB of tube gain. During the golden era of tape recording, the original 351-style tube preamp
The WA-MPX is an authentic reproduction of the vintage tape machine tube preamp that started the birth of rock ‘n’ roll known for pure analog warmth, delivering an impressive 300v of raw power & 90dB of tube gain. During the golden era of tape recording, the original 351-style tube preamp