Its whats up front

Almost perfect condition (very little signs of use) Leica M black leather Ever Ready case 14870 to fit the Leica M6/M6 TTL/M7 and MP film cameras. This case can also be used on most earlier M film cameras, excluding the M5.  This is the standard front version and can accommodate most Leica-M lenses up to 50mm - excluding the 50mm Noctilux and the WATE/MATE Tri-Elmar lenses - without lens hood. Extremely sturdy yet elegant and very well made, this is a beautiful addition to your Leica M film camera. It come with original leica strap in very good condition. *Please be aware that the leica M6 camera in pictures is not included (only for demonstration purposes) *Please refer to the pictures for cosmetic condition (the camera pictures are part of the description) *Please do not hesitate to contact me if you have any questions or require further information. *Please see my previous evaluations i used to sell leica staff from my personal collection *Important: Leica brand name belongs to its owners and is used here exclusively for the correct description of the article.

Objectif SONY FE 90mm F2.8 en parfait état. Pas de rayure sur les lentilles ni de champignon. Fourni avec les bouchons avant et arrière, un étui de protection un filtre de 62mm et le pare-soleil d'origine. Un objectif autofocus SONY 90mm 2.8 MACRO de la gamme G, gage de qualité supérieure. Finition soignée et excellentes performances optiques. Points forts:  - Qualité de fabrication - Stabilisation optique - Motorisation SSM - Bague de mise au point - Ouverture maximale de f/2,8 - Conception : encombrement constant et tropicalisation - Qualité optique remarquable - Constance et homogénéité dans le piqué - En résumé: un objectif exceptionnel! ======================================================================================= A native Sony G lens in perfect condition, with its rear and front cap, its lens hood, a 62mm filter and bag for protection. Sony's FE 90mm f2.8 Macro G OSS is a very good macro lens which also doubles up as a light tele-photo. It produces very sharp images with very little field-curvature - although for optimal results it should be stopped down to f4.0 when shooting at closer distances. It also produces a pretty soft Bokeh and has almost no color aberrations. Its feature set is nice - including the option to switch manual focus between linear and non-linear gearing. What will you apreciate? - shapely, sealed casing made mostly of metal, - excellent image quality in the frame centre, - very good image quality on the edge of the APS-C sensor, - good image quality on the edge of full frame, - lack of problems with spherical aberration, - excellent coma correction, - silent and accurate autofocus, - quite nice out-of-focus areas, - efficient optical stabilization.

Up for sale is a near mint example of the famous Brinkmann Fein Phono Stage. A stunning sounding unit that will accommodate any MM or MC cartridge. Adjustable load at the back, adjustable volume control at front which even enables straight connection to a power amp for an all-analogue purist system - but will easily work and sound equally stunning with line preamps or integrated amps. Amazing transparency and level of detail, with a very slight touch of harmonic warmth and unbelievable dynamics / soundstage. Only selling as part of funding the upgrade to its MUCH more expensive bigger brother Marconi. Complete with external power supply, granite slab and original power cables. Wherever still available, the Fein retails for 2990.00 EUR (recommended list price), and is worth every cent of that.  From the Brinkmann website: Phono stage »Fein« (discontinued)   The black finish hides yet another«Golden Oldie». Even though the »Fein« has been in production since 1985, it is anything but an oldie. Continued refinements have pushed this phono stage well ahead of its class. It features a single input, a volume control, and low output impedance; vinyl purists can thus drive an amplifier directly with their »Fein« should they so chose to.     Sonically, »Fein« (engl. fine) lives up to its name.Amongst the reasons is because it runs in pure Class-A with all operating points referenced to a single and temperature-compensated voltage source; the power transformer will never run into magnetic saturation thanks to ultrafast diodes and non inductive resistors; and last, but certainly not least, because the power consumption is so low that we decided to omit a power switch. (We recommend instead to leave the »Fein« powered up continuously because it sounds even better that way.)     Brinkmann Fein Specifications THD/IM distortion0,01%/0,05%S/N ratio MM/MC80/78 dBAFrequency response20 Hz-50 kHzGainadjustable, max. 55 dBOutput voltagemaximum 4 VOutput impedance200 OhmInput impedance MC600 OhmInput capacitance MM50 pFInput sensitivityswitchable 1 mV/47 kOhm (MM),0.5 mV/600 Ohm and 0.2 mV/600 Ohm (MC)Dimensions (WxHxD)120 x 80 x 160 mm (with granite base);power supply 105 x 60 x 100 mmWeight1.5 kg; granite base 2.8 kg;power supply 1.2 kgIncluded in deliveryphono preamplifier, power supply, power cord, granite base The unit will come professionally packaged, although without original box or manual. Any questions please ask. Thanks for looking !

Up for sale is a CANON QL PELLIX with its CANON FL 58mm /1.2 with Filter / Front cap / Rubber lens-hood This set is in working order and in very good cosmetic condition for its age. The light-meter works well. Shutter fires well. Finder is little bit dirty but normal for this kind of vintage camera. Excellent fast quality lense ! Very regarded to be adapted on digital cameras. With this fast lens you will be able to shoot stills and video in low light condition without push the iso and then minimise noise on pictures ! Also gives extra blur effects ! Appreciated lens for its black&white capability ! No scratches. No separation. No hazy lens. After a strict inspection under high light, you can find one or tow tiny spots or dust or haze but nothing that can affect images. Allways protected by its filter. As all old canon lenses, head block can move a little bit. This lens performs very well ! See pictures please ! Worldwide Shipping Trackcing number inclued Safe packaging France = 10 euros UE = 14 euros Out UE = 25 euros

Up for sale is a very rare collectible Alpa Reflex camera Alpa Mod. 6 # 38835 With its original Alpa Kern Switar AR 50mm F/1.8 # 632353 and Angénieux Paris 28mm F/3.5 Retrofocus Type R11 Alpa mount # 485497 With original Front / Rear caps Schneider Alpa-Curtagon 35mm F/2.8 # 5991931 With original Front / Rear caps Schneider Alpa-Tele-Xenar 135mm F/3.5 # 6746190 with original Front cap Camera condition is nice. Shutter sounds great. Self-timer works well. Just a crank on the rear glass finder without impact on finding (see last picture please). Focusing and aperture work very well on all lenses. All lenses have no scratches. Light haze or fungus in lenses but not much and all lenses still clear. See pictures please ! Worldwide Shipping Trackcing number inclued Safe packaging France = 13 euros UE = 17 euros Out UE = 30 euros

Up for sale is a  MAMIYA Professional C330 with its original Mamiya-Sekor 80mm F/2.8 Blue dot # 942574 with front cap Mamiya-Sekkor 135mm F/4.5 Blue dot # 665998 with front/rear caps Mamiya Pistol-grip Cemera is in used condition as you can see on pictures. It is in full working order ! All work very well. Cosmetic is average bud not bad. See pictures please. Lenses are in excellent working order. Nos scratches, no fungus. Shutter fire very well. See pictures please ! Worldwide Shipping Trackcing number inclued Safe packaging France = 13 euros UE + UK= 17 euros Out UE = 35 euros

Up for sale is a nice collectible vintage french rangefinder camera OPL FOCA PF3 # 57.302 B with its FOCA OPLAREX 5cm F/1.9 # 91766 with front cap Cemera is in used condition as you can see on pictures. The shutter fires at highest speed only not under 1/100 s. Lens has haze/fungus. Both aperure and focussing work well. The body derial number is on the body, not on accessories shoe as usual. Lens is very regarded because screw mount is more and more rare. Sold at lower price because cleaning needed ! See pictures please ! Free Worldwide Shipping Trackcing number inclued Safe packaging

Up for sale is a collectible vintage camera made in Germany KODAK RETINA REFLEX III # 131443 with its Schneider-Kreuznach lenses: - Xenar 50/2.8 - Curtagon 28/4 - Curtagon 35/2.8 - Tele-Xenar 135/4 - Tele-Xenar 200/4.8 ! Sold for collection or repair ! Not working order ! Shutter camera is sticky ! Lenses has some haze or fungus. Case is torn ! Bonus: - Second Schneider 135/4 (with ding on the nose) - Rodenstock Rotelar 85/4 (front barrel need to be fixed) See pictures please ! Worldwide Shipping Trackcing number inclued Safe packaging France = 9 euros UE + UK + SUISSE = 14 euros OUT UE = 27 euros

Up for sale is a collectible PROTOTYPE TESSINA Automatic 35 !!  Tessin Kanton Flag engraved !! No serial number Polished finish on front and rear camera. No "R" engraved on the rewind wheel. Comes with spool. The camera as just been restored. Clock motor works and 1 charge gives about 10-12 shots. Shutter fires at all speeds and sounds great but not tested with film so accurate is not guaranteed. Focusing works well. Insigniant haze or stain in lens. The Tessina 35, a camera created in 1957 by Dr. Rudolph Steineck, in Lugano, in the canton of Tessin (hence the name of the camera), in Switzerland. This device was manufactured by the precision mechanics manufactory Siegrist AG in Grenchen, Switzerland (which originally specialized in pinions and wheels for the watch industry and which still exists today). The device was marketed by its creator through the company Concava SA of Lugano.The Tessina is probably the smallest half-frame 35mm film camera. Unfindable camera ! Worldwide Shipping Trackcing number inclued Safe packaging France = 13 euros UE = 17 euros Out UE = 30 euros

AMPTASTIC / ampli intégré audiophile en classe D  La référence à moins de 120 €  Parfait état, livré avec alimentation 12 V d'origine BANC D'ESSAI ANGLAIS: A few years ago this forum was ablaze with Mini-T amp hyperbole. Probably just another passing fad I assumed yet it is clear that there are many who love these diminutive boxes.  So as a brief background I recently had a pair of Combak Bravo standmount speakers and was searching for an amplifier to pair with them. A £6k speaker surely deserves an amplifier with a similar price tag? Well in my initial search I decided, just for fun to try a £60 Muse Mini-T with the Combak’s. The results were surprisingly impressive yet my head kept saying  ‘This makes no sense’. I’m not saying that this was the ultimate combo but the Muse was doing an amazing job considering especially with its reproduction of vocals. It was around that time that I started reading about the new Amptastic Mini-1 so I contacted the company to see if I could have one for review. Chris at Amptastic was happy to oblige but due to the initial demand by the time my review sample arrived I had moved the Bravos on. Anyway other speakers are available as they say. So the Mini-1 is rated up to 20W per channel and based on the familiar TA2020 chipset. On the front we have a push button on/off switch which has a tiny blue LED alongside to indicate power  plus a volume knob. I particularly like how clean and attractive the front panel with no unsightly logo on display. The rear consists of a single pair if RCA analogue inputs and some nice quality speaker connectors along with a power input for use with the supplied 12V power supply. For most of my listening I used the variable outputs of a QUAD 99CDP. This gave me full control of the volume via its remote and also access to streaming via the Quad’s digital inputs. To give me some sort of reference I initially listened to the Muse amp with the Quad through my 87db Gershman Avant Gardes. To be honest I didn’t think either amp would be able to drive the Gershmans to any sort of decent level. I was wrong. The Muse did a fair job but KD Lang’s  ‘If I Were You’ from the ‘All You Can Eat’ album sounded a bit messy. The bass was ill defined and lightweight. A few tracks more showed more of the same.  So switching to the Mini-1 and straight away the bass was far better defined and more in balance with the rest of the track. The music had an altogether more cohesive feel. In fact what struck me throughout all my listening is just how balanced it was. The highs and mids are refined enough to give the impression that you are listening to something with a higher price ticket and the bass was surprisingly good for an amplifier of this type. I also tried the Mini-1 with my 90db sensitivity Heco Celan 300 stand mount speakers. Again the results were impressive with the Mini-1 providing more than enough power to run at decent volume levels. As well as running the Mini-1 as a simple integrated it can be configured for use as a power amplifier. This is done by removing the front volume knob and rear bolts in order to slide the main board out of its case and change a couple of jumper settings. While you have the board out you can also disable the front panel blue LED if you wish. Clear instructions are included in the user ‘manual’ or should I say ‘sheet’ and although I did not attempt this it looks a simple enough operation. The Mini-1 (or any amplifier of this type) will not be for everyone, the single input alone will count many out also possibly the lack of remote control but looking at the Mini-1 purely on its sonic virtues and price tag this might be one of the best ways to invest your £99 out there. Recommended to users of: Marantz Luxman Audiomat Nagra Vincent Theta Sim Audio ISEM Arcam Denon Pioneer Nakamichi B&O Yamaha Cambridge Cabasse Triangle McIntosh Teac  Audioquest Ca

    iFi Audio Micro iDSD DAC and Headphone Amp - with Pre amp Variable out. There is nothing like the micro iDSD. It is literally, out of this world. It is the only DAC in the world (at any price) to play True Native Octa-DSD512/PCM768/Double DXD. Its Perfect-Match means it can be fine-tuned to any headgear from IEMs all the way through to large headphones. Its 8v/4000mW output makes it one of the most powerful headamps to drive even the most hungry of headphones with ease. iFi has forged an enviable reputation for being at the forefront of computer audio technology. The micro iDSD has just made another leap, an Octa-Leap to be precise. With its special Dual-Core Burr-Brown native DSD/PCM chipset at the heart, the micro iDSD is capable of True Native PCM768, Octa-Speed DSD512 and 2x DXD; it is simply out of this world. The micro iDSD has 3 different power modes Eco, Normal and Turbo. Capable of 4000mW, 1000mW or 250mW, the micro iDSD is able to drive the full gamut of headphone and amplifiers alike. With iEMatch there to dial to suit any IEM, the micro iDSD has redefined the headphone amplifier class. Used along with the analogue volume control, the diminutive size of the micro iDSD belies its uncanny ability to drive virtually anything and everything! SmartPower® is the micro iDSD’s onboard recharging feature for Smartdevices. Its 4800mAH battery is able to fully recharge an iPhone two-times. Compatible with Apple and Android, phones and tablets, it is another example of iFi’s commitment to customer needs – enjoy high-end audio on the go without worrying about the phone going flat. iFi’s iCAN and iTube have already achieved widespread acclaim, so much so that their core features including 3D Holographic and XBass have become renowned in their own right and imitated by others. In the micro iDSD, for the first time in an iFi product, it features XBass and 3D Holographic for Headphones and Speakers. All these features are still executed in the analogue, not digital domain to preserve the original music format. And so much more….with the amazing Crowd-Design program, we are over the moon that you, the customer was central to the development of the micro iDSD. The micro iDSD is literally bursting with features – such as Direct/Pre-Amp, 3.5mm input, SPDIF Input/Output and much, much more. You will have to see it to believe it.   Specifications:     Item Description Remarks Inputs/Outputs     Inputs (rear) USB 2.0 type A “OTG” Socket (with iPurifier® technology built-in) Compatible with computers (Apple/Win/Linux), iPhone, iPod Touch, iPad and Android Devices, camera kit or USB-OTG cable required. (Full USB3.0 port compatible)   Intelligent SPDIF® Coaxial 3 Way combo SPDIF port (Coaxial In/Out; Optical In); Up to 192kHz PCM   SPDIF Optical         Outputs (rear) Audio RCA L+R     Intelligent SPDIF® Coaxial Up to 192kHz PCM       Output (right side) SmartPower® Socket Fast charge all portable devices. Compliant with USB Battery Charging Standard 1.2 – 5V @ 1.5A             Controls     Controls (front)     - HP Output Audio 6.3mm Headphone Jack   - Volume with Power On/Off switch Precision analogue volume control - 3.5mm Input   Auto disable the digital section when this is in use - X-Bass® On/Off   - 3D Holographic Sound® On/Off Auto-switching for Speakers® and Headphones® (two separate and distinct circuits)       Controls (left side)     - Power Mode Turbo, Normal, Eco Computer controlled power and gain scaling - Polarity Normal/Inverted   - Filter 3 positions, 6 filters (see filter section below)       Controls (bottom)     - Line Direct/Preamplifier Preamplifier function Enable/Disable, 0/9dB gain selectable Fixed 2V or variable with up to 5V available - iEMatch® Perfect-matching circuit for IEMs (eliminate hiss) Off / High Sensitivity Headphone / Ultra Sensitivity Headphone             DAC section     DAC Dual-core DSD, DXD, PCM DAC by Burr Brown 2-DAC Chip; 4-Channel; 8-Signals, custom interleaving for maximum SNR   Bit-Perfect DSD processing, Bit-Perfect PCM processing         Clock Ultra low jitter GMT computer controlled Femto Clock RMS jitter 12kHz – 1MHz       Audio Formats DSD 512/256/128/64 24.6/22.6/12.4/11.2/6.2/5.6/3.1/2.8 All native decoding, no internal hardware conversion   DXD 2x/1x 768/705.6/384/352.8kHz All native decoding, no internal hardware conversion   PCM 768/705.6/384/352.8/192/176.4/96/88.2/ 48/44.1kHz All native decoding, no internal hardware conversion       Filters     - PCM Bit-Perfect Processing/Minimum Phase/Standard Digital filters selectable - DSD Extreme/Extended/Standard Range Analogue filters selectable - DXD Bit-Perfect Processing Fixed analogue filter             Specifications (DAC Section)     Dynamic Range (Line) >117db(A)   THD & N (0dBFS Line)   Output Voltage (Line) >2V   Output Impedance (Zout)   Jitter (correlated) Below AP2 test set limit               Headphone Power Output     HP Amp Output Power (max) Power (continuous.) - Turbo mode 10.0V/4,000 mW @ 16 Ohm >1560 mW @ 64 Ohm - Normal mode 5.5V/1,900 mW @ 16 Ohm >950 mW @ 32 Ohm - Eco mode 2.0V/500 mW @ 8 Ohm >250 mW @ 16 Ohm             Specifications (Headamp Section)     Dynamic Range (HP) >115dB(A) (Eco Mode, 2V Out)   THD &N (HP 500mW/16R)   Output Voltage (HP) >8V (Turbo Mode)   Output Impedance (Zout)   Maximum Output Power 4,000mW @ 16 Ohm Load when using sinewave testing the iDSD micro may engage protection circuits Continuous Output Power 1,000mW @ 64 Ohm Load  

The NiSi V5 Alpha 100mm Filter Holder is designed to allow for the convenient use of 100mm wide, 2mm thick filters. Use of this filter holder is easily accomplished by first screwing the included NiSi adapter ring for the V5 Alpha 100mm Filter Holder onto a lens with 82mm front filter threads. For lenses with front filter threads for diameters smaller than 82mm, a separately available step-up ring can be installed between the lens and the included adapter ring. After being fitted onto the adapter ring, the filter holder's pull-and-release locking pin helps to provide a reliable, yet adjustable connection that allows the holder to be rotated 360°, permitting the use of graduated neutral density and other filters that are enhanced by varied positioning. The NiSi V5 Alpha 100mm Filter Holder is preinstalled with three pairs of filter slots, a configuration that accommodates three rectangular filters. Each slot is designed to grip an installed filter only along the surface of the filter's edges. Contact with a filter's front- or rear-facing surfaces is avoided, particularly when using graduated filters whose effect can be adjusted to better suit changing lighting conditions or creative demands by sliding them up or down within a filter slot. This filter holder can be used with a separately available NiSi 82mm Adapter Ring for C4 Cinema Filter Holder Kit and V5 100mm or V5 Pro 100mm Filter Holder Kits instead of its included adapter ring. If used with that separately available adapter ring, along with either a separately available NiSi 86mm Circular Polarizer Filter for Select NiSi Filter Holder Kits or a NiSi 86mm Enhanced Circular Polarizer Filter for Select NiSi Filter Holder Kits, the NiSi V5 Alpha 100mm Filter Holder can help create a filter holder kit that offers the same essential functions as a NiSi V5 Pro 100mm Filter Holder Kit. Adapter rings for lenses with 86mm or 95mm front filter threads are also separately available. The combination of either of those adapter rings with the filter holder cannot accommodate a NiSi 86mm circular polarizer filter; however, a polarization effect can instead be obtained by placing a separately available, 100mm wide, 2mm thick polarizer filter between one pair of the filter holder's slots. Durable aluminum alloy filter holder provides three pairs of filter slots, a configuration that accommodates up to three separately available 100mm wide, 2mm thick filters Each slot is designed to grip an installed filter only along the surface of the filter's edges, avoiding contact with a filter's front- or rear-facing surfaces Use of the filter holder can be easily accomplished by first screwing the included 82mm adapter ring onto a lens with 82mm front filter threads For lenses with front filter threads for diameters smaller than 82mm, a separately available step-up ring can be installed between the lens and the included adapter ring Pull-and-release locking pin on filter holder allows for a reliable connection to the 82mm adapter ring which allows the holder to be rotated 360° Durable and lightweight aluminum alloy construction

Schoeps DSP-4 KFM 360 This unit is in good cosmetic condition and turns on, but I did not test it myself. I bought it used from the exclusive Schoeps French distributor Areitec in 2017, so it should be in good working condition. Invoice is available. I never had any opportunity to use this fantastic piece of gear. Sold as is. Comes in its original Schoeps wooden box with a Schuko power cord (France), a stereo XLR cable (5 pins) and a XLR split Y cable. The DSP-4 KFM 360 is a 24-bit processor unit. Together with the sphere microphone KFM 360 and two bidirectional compact condenser microphones CCM 8L, it forms a compact 5.1 surround recording system with excellent spatial imaging capability. The processor derives the six 5.1 surround channels from only four microphone signals (the two pressure transducers in the KFM 360 plus two figure-8s) and offers a wide range of selectable settings. The primary characteristics of the DSP-4 KFM 360 are:  – analog and digital inputs and outputs  – integrated 48 Volt phantom powering and microphone preamplification  – built-in equalization for the microphones  – digital processing can be performed during or after the actual recording  – analog control “feel”  – capability to store control “presets”  – directionality of the front and rear channel microphones is independently selectable  – the stereo basis width of the front channels is independently variable  – adjustable time delay and low-pass filtering for the rear channels  – sampling rate 44.1, 48 or 96 kHz, 24 bit In addition to amplifying the microphone signals, in the “B: SURR” operating mode the DSP-4 KFM 360 provides compensation for the low-frequency response of the figure-8 microphones and appropriate diffuse-field equalization for the pressure transducers. The front-channel outputs result from summing the outputs of the pressure transducers with the outputs of the figure-8s, while the rear-channel outputs result from subtracting these signals (see drawing on next page). The resulting “virtual microphones” face frontward and backward as do the actual figure-8s. The directional patterns of the front- and rear-facing “virtual microphones” may be set independently, from omnidirectional through cardioid all the way to figure-8 (though the extreme settings are of only limited usefulness). This permits flexible adaptation to the particular acoustic conditions of the recording venue, since the choice of directional pattern affects the amount of reverberant energy that will be picked up. If the unprocessed microphone signals are recorded (four channels), the effective directional settings can be chosen retroactively during post-production playback. The center channel signal is derived from the front channels by a matrix. An additional channel contains only a low-frequency signal up to 80 Hz, which is obtained by summing the pressure transducer outputs and reducing the total level by 6 dB. To prevent the disturbing effect of rear channel localization of sound sources, the rear channel signals can be reduced in level, delayed and/or processed by an adjustable low-pass filter. In addition to these primary functions, each selector switch also has a secondary function that allows, for example, the relative front-to-back channel gain or the left/right balance to be adjusted. While recording there is also a monitoring function which permits twelve different signals to be heard through Output III, as determined by the set- ting of the REC MONITOR knob.

Schoeps DSP-4 KFM 360 This unit is in good cosmetic condition and turns on, but I did not test it myself with mikes. It is a former demo unit from the exclusive Schoeps French distributor Areitec. I bought it from them in 2017, so it should be in good working condition. Original invoice is available. I never had any opportunity to use this fantastic piece of gear. Sold as is. Comes in its original Schoeps wooden box with a Schuko power cord (France), a stereo XLR cable (5 pins) and a XLR split Y cable. The DSP-4 KFM 360 is a 24-bit processor unit. Together with the sphere microphone KFM 360 and two bidirectional compact condenser microphones CCM 8L, it forms a compact 5.1 surround recording system with excellent spatial imaging capability. The processor derives the six 5.1 surround channels from only four microphone signals (the two pressure transducers in the KFM 360 plus two figure-8s) and offers a wide range of selectable settings. The primary characteristics of the DSP-4 KFM 360 are:  – analog and digital inputs and outputs  – integrated 48 Volt phantom powering and microphone preamplification  – built-in equalization for the microphones  – digital processing can be performed during or after the actual recording  – analog control “feel”  – capability to store control “presets”  – directionality of the front and rear channel microphones is independently selectable  – the stereo basis width of the front channels is independently variable  – adjustable time delay and low-pass filtering for the rear channels  – sampling rate 44.1, 48 or 96 kHz, 24 bit In addition to amplifying the microphone signals, in the “B: SURR” operating mode the DSP-4 KFM 360 provides compensation for the low-frequency response of the figure-8 microphones and appropriate diffuse-field equalization for the pressure transducers. The front-channel outputs result from summing the outputs of the pressure transducers with the outputs of the figure-8s, while the rear-channel outputs result from subtracting these signals (see drawing on next page). The resulting “virtual microphones” face frontward and backward as do the actual figure-8s. The directional patterns of the front- and rear-facing “virtual microphones” may be set independently, from omnidirectional through cardioid all the way to figure-8 (though the extreme settings are of only limited usefulness). This permits flexible adaptation to the particular acoustic conditions of the recording venue, since the choice of directional pattern affects the amount of reverberant energy that will be picked up. If the unprocessed microphone signals are recorded (four channels), the effective directional settings can be chosen retroactively during post-production playback. The center channel signal is derived from the front channels by a matrix. An additional channel contains only a low-frequency signal up to 80 Hz, which is obtained by summing the pressure transducer outputs and reducing the total level by 6 dB. To prevent the disturbing effect of rear channel localization of sound sources, the rear channel signals can be reduced in level, delayed and/or processed by an adjustable low-pass filter. In addition to these primary functions, each selector switch also has a secondary function that allows, for example, the relative front-to-back channel gain or the left/right balance to be adjusted. While recording there is also a monitoring function which permits twelve different signals to be heard through Output III, as determined by the set- ting of the REC MONITOR knob.

iFi Audio Micro iDSD DAC and Headphone Amp - with Pre amp Variable out. There is nothing like the micro iDSD. It is literally, out of this world. It is the only DAC in the world (at any price) to play True Native Octa-DSD512/PCM768/Double DXD. Its Perfect-Match means it can be fine-tuned to any headgear from IEMs all the way through to large headphones. Its 8v/4000mW output makes it one of the most powerful headamps to drive even the most hungry of headphones with ease. iFi has forged an enviable reputation for being at the forefront of computer audio technology. The micro iDSD has just made another leap, an Octa-Leap to be precise. With its special Dual-Core Burr-Brown native DSD/PCM chipset at the heart, the micro iDSD is capable of True Native PCM768, Octa-Speed DSD512 and 2x DXD; it is simply out of this world. The micro iDSD has 3 different power modes Eco, Normal and Turbo. Capable of 4000mW, 1000mW or 250mW, the micro iDSD is able to drive the full gamut of headphone and amplifiers alike. With iEMatch there to dial to suit any IEM, the micro iDSD has redefined the headphone amplifier class. Used along with the analogue volume control, the diminutive size of the micro iDSD belies its uncanny ability to drive virtually anything and everything! SmartPower® is the micro iDSD’s onboard recharging feature for Smartdevices. Its 4800mAH battery is able to fully recharge an iPhone two-times. Compatible with Apple and Android, phones and tablets, it is another example of iFi’s commitment to customer needs – enjoy high-end audio on the go without worrying about the phone going flat. iFi’s iCAN and iTube have already achieved widespread acclaim, so much so that their core features including 3D Holographic and XBass have become renowned in their own right and imitated by others. In the micro iDSD, for the first time in an iFi product, it features XBass and 3D Holographic for Headphones and Speakers. All these features are still executed in the analogue, not digital domain to preserve the original music format. And so much more….with the amazing Crowd-Design program, we are over the moon that you, the customer was central to the development of the micro iDSD. The micro iDSD is literally bursting with features – such as Direct/Pre-Amp, 3.5mm input, SPDIF Input/Output and much, much more. You will have to see it to believe it.   Specifications:   Item Description Remarks Inputs/Outputs   Inputs (rear)USB 2.0 type A “OTG” Socket (with iPurifier® technology built-in)Compatible with computers (Apple/Win/Linux), iPhone, iPod Touch, iPad and Android Devices, camera kit or USB-OTG cable required. (Full USB3.0 port compatible) Intelligent SPDIF® Coaxial3 Way combo SPDIF port (Coaxial In/Out; Optical In); Up to 192kHz PCM SPDIF Optical    Outputs (rear)Audio RCA L+R  Intelligent SPDIF® CoaxialUp to 192kHz PCM   Output (right side)SmartPower® SocketFast charge all portable devices. Compliant with USB Battery Charging Standard 1.2 – 5V @ 1.5A       Controls   Controls (front)  - HP OutputAudio 6.3mm Headphone Jack - Volume with Power On/Off switchPrecision analogue volume control DAC section   DACDual-core DSD, DXD, PCM DAC by Burr Brown2-DAC Chip; 4-Channel; 8-Signals, custom interleaving for maximum SNR Bit-Perfect DSD processing, Bit-Pe