Pirelli phantom front

super preamp for all kinds of recordings - very good even for drums. Very cool sounding 8-channel vintage 1678 solid-state preamp by Altec Lansing. Originally designed as a small rack mixer, the 1678 offers on 2U 8 mic inputs with phantom power and each separate line out. We have the phantom power with a ramped circuit (runs slowly and smoothly high and ruins no expensive mics...) and LED on the front converted and also on the front a pad switch per channel with about - 20db integrated. Very good condition Très bon état général 220/240 v TVA récupérable AV.OCCASE ACHAT.VENTE.NEGOCE nous SOMMES UN MAGASIN SPECIALISE DANS L'ACHAT, LA VENTE ET LE DEPOT-VENTE DE MATERIEL AUDIOVISUEL OCCASION / NEUF A PRIX DISCOUNT SON / VIDEO BROADCAST / STUDIO / HIFI / SONO / VINTAGE / ACCESSOIRES Réf.dépbas En savoir plus

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.

Hi, this an EL500 perfectly functionnal, just some scratch under the rack. I don't use it for 3 years now, so it's better someone else use it. From the manufacter's website: " As far as value, it’s hard to beat 500 Series compatible modules.  Their smaller physical size let you get a lot of performance out of a smaller space, they tend to cost less than their larger counterparts, and – the best part – you can customize your own combinations of them. When ELI started making our own 500 series products, we looked at the power supplies on the market and couldn’t help but notice a need for a better single height dual module rack unit.  On other single height rack units, the modules protrude from the front panel, and don’t look sturdy or attractive. Power supplies were often noisy, frequently reducing the performance of any module mounted in them.  Also, only XLR ins and outs were provided to the user, limiting the device’s applications. The Empirical Labs EL500 rack eliminates these obstacles.  At the heart of the unit is a super quiet power supply – over 30 dB quieter than some supplies we’ve seen – that will ensure optimal performance from any compatible device. All 500 series modules will flush mount cleanly in the EL500, providing a much more professional look and feel. The EL500 offers both XLR and phone rear panel inputs and outputs to allow it to interface perfectly with any system. In addition, a ¼” instrument preamp/direct box input is provided on the front panel, which will automatically switch the left 500 module’s input to this front phone jack once something is plugged into it – a feature we’re sure will prove to be extremely useful. In fact, it has become the first call bass DI for many engineers.  Switches to link compressors and engage a 48V phantom supply are also provided. Whether you’re already invested in 500 series modules or they’re something you’re thinking about adding to your arsenal, the EL500 rack will make any 500 series compatible module perform ideally and interface effortlessly into just about any audio application." Please ask me before for shipping price to your country. Feel free to ask me for further informations. Regards.

8 legendary Class A mic preamps in the same class as the Focusrite ISA and RED ranges. They don't make them like this anymore... This unit is in very good condition - see pictures: front face is pristine with no scratches, only a few usage scratches around the rack ears from installation (marks will be hidden again after mounted onto a rack). It never left the studio. The Octopre provides eight pristine discrete channels of Focusrite Class A mic preamp and compression, OctoPre PLATINUM routes directly to any digital audio workstation via eight standard analogue outputs. Each channel features a revolutionary compressor/limiter circuit, providing a warm-sounding compressor, which morphs into a brick wall limiter to avoid those critical overs, ensuring total control over all eight channels. The mic preamps featured in OctoPre PLATINUM are similar to those featured in the award winning Focusrite Top-Of-The-Range. They are a transistor-based Class A design utilising the same full-bandwidth philosophy as the legendary RED and ISA mic preamps, ensuring detail and clarity without colouration. The first two 'super channels' also feature phase reverse, as well as TRS jack inputs on the front fascia for quick and easy, DI-free instrument plug-in. Eight line level balanced (+4 dBu) analogue inputs and outputs are provided as standard via 25-pin D-type connectors. These D-type connectors may be routed to 8 XLR/TRS by means of an (optional) 8-way 25-pin D-type to 8 XLR/TRS breakout cable, available separately. In addition to the analogue outputs, the OctoPre can be fitted with digital output (OPTIONAL CARD). Detailed description from the focusrite website: The OctoPre is an eight channel Class A microphone preamplifier, featuring a classic Focusrite mic pre and a revolutionary compressor/limiter circuit on each channel. The mic pres featured in the OctoPre are similar to those featured elsewhere in the award winning Focusrite Platinum range. They are a transistor-based Class A design utilising the same full bandwidth philosophy as the legendary Focusrite Red and ISA mic pres, ensuring detail and organic clarity without obvious colouration. The revolutionary compressor/limiter circuit provides each channel with warmsounding compression, which morphs into brick wall limiting to avoid critical ‘overs’ when recording digitally. The first two channels also feature phase reverse, as well as unbalanced 1/4” jack inputs on the front fascia for quick and easy, DI-free plug-in of guitars and basses. With Class A Focusrite analogue signal processing and comprehensive A/D interface options, OctoPre is the perfect partner for a Pro Tools™ system or any other digital audio workstation, making high quality, multi-channel recording easy. Equally, it could be utilised as part of a compact multi-channel location recording solution (with a laptop or ADAT™, for example), or as an additional set of professional-quality mic pres for any analogue or digital console or hard disk recorder. The original OctoPre is a typical Class A Platinum design, (based around a 737 Rhom transistor) and it is solid state, it has extended bandwidth (up to at least 180kHz at the top end) and sounds transparent. The original OctoPre has an edge in being more forgiving if you want to slam the pre's hard (but more 2nd order harmonic distortion as a result). -The Octopre has a dynamics (compressor/limiter) control on each channel -The Octopre has 48V phantom power switches on each channel -The Octopre has line in and out connections on 25 pin D-sub connectors and 8 XLR inputs for mics Performance specifications: THD:0.001% @ 20dBu input, mic and line at 0dB gain Noise:-96 dB at unity gain through the unit Mic EIN:-128 dBu @ 6dB of gain with 150Ω termination impedance Frequency response:-1 dB at 10 Hz to 200 kHz Carefully packed with powercord. Shipping France: 27,80 € Shipping Europe: 36,30 €

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.

In good condition with original bag and power supply.  The MixPre-D Compact Field Mixer from Sound Devices is a versatile audio mixer built for the digital age. Based on the popular MixPre, the "D" in the name indicates the extensive digital technology that's been incorporated into the mixer. The MixPre-D features a pair of studio-grade mic/line XLR inputs with limiters, high-pass filters, and phantom power. The inputs can be linked in standard or MS mode for stereo recordings. These options are configured via easy-to-use front panel controls. - Compact and lightweight design with a high-strength extruded aluminum chassis and metal connectors for professional field use - Based on the popular MixPre mixer, with additional digital technology to meet the changing needs of the current production landscape - Studio-grade transformer-balanced mic/line XLR inputs with unclippable peak limiters, 80/160Hz high-pass filters, and 48V or 12V phantom power allow you to connect a variety of input devices - The inputs can be linked in standard or mid-side stereo matrix mode with width control and front-panel channel flip for stereo recordings - Input panning is provided for left, center, or right to the outputs - Pair of XLR mic/line outputs, one of which can also be switched to digital AES output with a sample rate of 44.1/48/96kHz - The 3.5mm return jack can be used as channel 3/4 aux level inputs with selectable pan and level control - A TA3 consumer mic level output provides ideal connection for DSLR-type inputs - A 3.5mm aux output allows you to connect additional equipment - A 1/4" stereo headphone jack provides monitoring of program audio or external return audio - A 24-bit class-compliant USB streaming output provides interconnection with Mac, Windows, and Linux computers, plus select iOS devices. No drivers are required - Sunlight viewable 16-segment GaN LED output meter with adjustable brightness provides convenient visual monitoring of audio levels - A slate microphone and tone oscillator make it easy to label takes - The mixer can operate on a pair of AA batteries, or via 5-18VDC power from an external input.

M-Audio Fast Track MKII Carte Son USB Etat Neuf Façade avant: -1 entrée instrument (jack), -1 mic (xlr), -1 sortie casque - switch monitor direct Façade arrière: -sortie Cinch pour la stereo -sortie USB -switch alim phantom Pas de pro tools LE  dépassé actuellement Tres utile pour enregistrement ou reproduction nomade M-Audio Fast Track MKII USB Sound Card New condition Front facing: -1 instrument input (jack), -1 mic (xlr), -1 headphone output - direct switch monitor The rear facade: -Cinch output for stereo -USB output -switch phantom power supply No LE pro tools currently outdated Very useful for recording or mobile reproduction

BLU-800 de chez BSS qui servait à filtrer mes JBL M2 avec: 1 carte in (4 entrées mono ou 2 stéréo) et 1 carte out (4 sorties, idem). Il est configuré de base pour le filtrage des M2 (filtrage spécifique JBL, les M2 sont des enceintes 2 voies) mais entièrement reprogrammable avec les logiciels gratuits "London Architect" ou "Audio Architect" (plus récent). spec BLU-800: http..s://bssaudio.com/en/products/blu-800 Les possibilités de ce processeur numérique sont infinies: mixage, matriçage, compresseur, expanseur, fader, délai, équalisation, etc. et bien sur, filtrage avec toutes sortes de filtres: Fir, Bessel, Butterworth, Linkwitz Riley…jusqu'à 48dB/oct. Quelques petites rayures mais très bon état. Je réponds à toutes les questions. Shipping to many countries, ask for actual cost The Soundweb London BLU-800 offers configurable I/O, configurable signal processing, "CobraNet" audio and a high bandwidth, fault tolerant digital audio bus. The BLU-800 has open architecture which is fully configurable through HiQnet "London Architect" or "Audio Architect". A rich palette of processing and logic objects and a "drag and drop" method of configuration provide a simple and familiar design environment. • Four Input / Output Card Slots • Configurable Inputs / Outputs • Analog Inputs (with Phantom Power per Channel) • Analog Outputs • Digital Inputs (AES/EBU and S/PDIF) • Digital Outputs (AES/EBU and S/PDIF) • Configurable Signal Processing • Rich Palette of Processing and Logic Objects • CobraNet Audio • 256 Channel, Low Latency, Fault Tolerant Digital Audio Bus • Clear Front Panel LED Indication • Informative Front Panel Display • Bi-Directional Locate Functionality • 12 Control Inputs and 6 Logic Outputs for GPIO Integration • Soundweb London Interface Kit for Third Party Control System Integration (Documentation) • HiQnet Device • Configuration, Control and Monitoring from HiQnet London Architect

Focusrite Saffire Pro 14, Interface audionumérique FireWire - jamais utilisé.  CD d'installation fournie. 1 x câble Firewire -> Firewire fourni. Fiche technique   Fabricant:Focusrite Modèle:Saffire Pro 14 Série:Saffire Catégorie:Interfaces audionumériques FireWire Fiche créée le:11/08/2010 Microphone Inputs 1-2 Frequency Response: 20Hz - 20kHz +/- 0.2 dB Gain Range: +13dB to +60dB Maximum Headroom +8dBu THD+N: 0.001% (measured at 1kHz with a 20Hz/22kHz bandpass filter) Noise EIN: 124dB analogue to digital (measured at 60dB of gain with 150 Ohm termination (20Hz/22kHz bandpass filter) Input Impedance: 2k Ohm Line Inputs (Inputs 1-2) Frequency Response: 20Hz - 20kHz +/- 0.2dB Gain Range: -10dB to +36dB THD+N: 0.001% (measured with 0dBFS input and 22Hz/22kHz bandpass filter) Noise: -90dBu (22Hz/22kHz bandpass filter) Input Impedance: >10k Ohm Line Inputs 3-4 Frequency Response: 20Hz - 20kHz +/- 0.2 dB Gain Range: Switch-able between +16dBu or -10dBV for 0dBFS (balanced inputs) THD+N: 0.003% (measured at 1kHz with a 20Hz/22kHz bandpass filter) Noise: -100dBu (22Hz/22kHz bandpass filter) Input Impedance: >10k Ohm Instrument Inputs (Inputs 1 and 2) Frequency Response: 20Hz - 20kHz +/- 0.1dB Gain Range: +13dB to +60dB THD+N: 0.004% (measured with 0dBu input and 20Hz/22kHz bandpass filter) Noise: -87dBu (20Hz/22kHz bandpass filter) Analogue Audio Outputs (Outputs 1-4) 4 Electronically Balanced Outputs Maximum Output Level (0dBFS): +10dBu THD+N: 0.001% (0dBFS input, 20Hz/22kHz bandpass filter) Crosstalk (Channel Isolation) Any input to input: > 100dB Any output to output: > 100dB Any input to output: > 100dB DIGITAL PERFORMANCE A/D Dynamic Range > 109dB (A-weighted), all analogue inputs D/A Dynamic Range > 106dB (A-weighted), all analogue outputs Clock Sources: - Internal Clock - Sync to Word Clock on SPDIF Input (RCA) JetPLLTM PLL technology providing superb jitter reduction for class leading converter performance Clock jitter < 250 picoseconds Supported Sample Rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz 8 input channels to computer: Analogue (4), SPDIF (2) and Loop-back (2) 6 physical output channels from computer: Analogue (4), SPDIF (2) 12 DAW output streams Assignable 18 input by 6 output mixer Weight and Dimensions 1.5kg / 3.3lbs 215mm (W) x 45mm (H) x 220mm (D) (8.5 x 1.8 x 8.7 inches) Connectivity Analogue Channel Inputs (Inputs 1-2) 2 Mic XLR Combo (channels 1-2) on front panel 2 Line 1⁄4” TRS (channels 3-4) on rear panel Automatic switching between Mic / Line (channels 1-2) Switching between Line / Instrument Inputs (channels 1-2) via Saffire MixControl Application Switching between +16dBu (low) and -10dBV (high) gain on inputs 3-4 via Saffire MixControl Application Digital Channel Inputs (Inputs 5-6) 44.1 - 96kHz Stereo S/PDIF input on RCA Analogue Audio Outputs (Outputs 1-4) 4 1⁄4” TRS Jacks Output Level control (analogue) for outputs 1 and 2 Stereo Headphones Mix 1 on 1⁄4” TRS (also routed to Outputs 3 & 4) with independent volume control Digital Channel Outputs (Outputs 5-6) 44.1 - 96kHz Stereo S/PDIF Output on RCA Other I/O 1 6-pin FireWire S400 socket 2 Standard 5-pin DIN MIDI connectors: In and Out DC Power Input Connector (for use with supplied universal input power supply) Front Panel Indicators 2 2 segment input meters, Sig (-18) and O/L (0dBFS) “LKD” Locked Indicator “FW” Host Connected Indicator “Power” Indicator Instrument input source selection LED for channels 1 and 2 Phantom Power (48V) switch and LED for inputs 1 and 2

ATTENTION DE BIEN LIRE L'ANNONCE JUSQU'EN BAS DE LA PAGE AVANT ACHAT............MERCI. AMPLIFICATEUR HOME THEATER MULTIMEDIA DOLBY SURROUND. PRO LOGIC DESIGN' STARCK *** MX-FINE DSS 9000 *** FONCTIONS NORMAL/WIDE/PHANTOM/3 STEREO AUX/COMPUTER/VIDEO HALL/SIMULATED/MATRIX CONNEXIONS ARRIERES: AUX/COMPUTER/VIDEO EN RCA TV/VCR/SAT EN PERITEL CABLAGE ENCEINTES CABLE BRUT POUR SUBWOOFER/CENTER/2 FRONT/2 REAR JE NE CONNAIS PAS SA PUISSANCE.APPAREIL QUI SERVAIT JUSTE POUR DES ESSAIS ET AJUSTEMENT DE MATERIEL. DIMENSIONS ! L220xP310xH150 mm MASSE NETTE: 4,500 kg Attention: Suite à de nombreux abus d'eurs profil (0) qui achêtent/encherissent et qui ne donnent aucunes nouvelles et sous l'incapacité du service d',toute enchêre faite par un eur profil 0 sans contact avant avec moi mème sera directement éliminée sans avertissement. Je suis désolé de ces mesures radicales,mais hélas pas le choix devant le peut de réactions du service devant ce fléau et je m'en escuse aussi devant les nouveaux eurs serieux.. Merci. Following numerous abuses of users profile 0 buying / bidding and do not give any news and incapacity under the service Any bid placed by a profile (0) eur without contact with me before meme will be directly removed without warning. I'm sorry these radical measures, but alas no choice before the reaction can the service to this scourge and I also escuse to new users seriously.. Thank you. Ne pas oublier que 90% des ventes de ce site concernent du matériel vintage ou tout simplement ancien/occasion,donc malgré une grande vigilance,un bon entretien et de la passion,celà reste du matériel d'occasion avec toujours des petites imperfections dû à l'age,mais tout petit soucis sera décrit avec exactitude. Ne pas demander alors,à ce matériel de ce comporter comme du neuf et soyez indulgent et surtout assez intelligent pour le comprendre.Merci... Do not forget that 90% of sales of this site relate vintage gear or just old / used, so despite vigilance, proper maintenance and passion, this is still used equipment with still small imperfections due to age, but little trouble will be described accurately. Do not ask then to include this material as new and be indulgent and especially smart enough to understand. thank you. Les frais de livraison indiqués sont valables via Mondialrelay pour la France,la Belgique,le Luxembourg,l'Allemagne,le Royaume-uni,l'Espagne,le Portugal et l'Italie. Pour les autres Pays me contacter avant d'encherir pour vous certifier le tarif colissimo international pour votre Pays...Merci Delivery charges are valid through Mondialrelay for France, Belgium, Luxembourg, Germany, the United Kingdom, Spain, Portugal and Italy. For other countries contact me before bidding for you certify Colissimo international price for your Country... Thanks

Nagra VII - 2 Channel Universal Digital Audio Recorder with Time Code + Nagra Leather Case Seven TC: Stereo digital recorder, 24/192 with AES 42 and internal 16GB memory delivered with: Battery box and charger, power supply, QCTCU time code cable and instruction manual. In great working and cosmetic condition, like new! Technical specification   RECORDING Internal storage:  Micro SD Flash memory card Removable media:  SD Flash memorycard Disk format:  FAT 16 / 32 Recording Method:   Linear digital PCM, optional:MPEG 1 layer II File type:   16 / 24 bit Broadcast Wave File BWF (WAV) A/D & D/A:  24 Bit Sigma Delta Bit rates:  32 kbits/s up to 384 kbits/sec Tracks: 2 individual Sampling Rate:  44.1, 48, 88.2, 96, 176.4 and 192kHz Recording capacity:   1hr at 24 bit 48 kHz per GB of memory Pre-recording buffer: Programmable Display:  Color LCD touchscreen Level meters:  On colour display   INPUTS Digital input:   XLR 3-pole / AES 42 Analogue inputs:   2 x XLR Microphone (Dynamic, +48V Phantom) / line Mic. input sensitivity: 2.8, 10 and 40 mV/Pa selectable Mic. input noise:  Uin Limiters:   On microphone inputs Line input sensitivity: Adjustable from -6 dBm up to +24 dBm for 0 dBFS recording THD at 1 kHz:  2.8mV Mic Frequency response:  Mic, 10Hz – 75 kHz (+0 – 3dB), Line 10 Hz – 90 kHz (+0 -1dB) (measured on AES out) Signal-to-noise ratio: >110 dB ASA “A” Input level adj. range: 42 dB Mic and from -6 to +24 dB Line Input filters: LFA Internal microphone: On the front panel Crosstalk: Mic >70dB: Line > 110dB   OUTPUTS Analogue line output: XLR 4.4V max (+15 dBm) Crosstalk:  >110 dB Signal-to-noise ratio: >100 dB Digital output: XLR AES-3 (24 bit or 16 bit) THD+N:   Frequency response:  10 Hz – 75 kHz (+0-3dB) Headphones:  Stereo 6.3mm (¼”) Jack 50 Ω Internal speaker:  0.3W   OTHER USB: Micro AB connector M/S Decoder:  Switchable Ethernet:  RJ 45   GENERAL Dimensions:    165 x 175 x 65mm (W x H x D) (Incl. battery box) Weight:   800g (1.75 lbs) (Incl. battery pack) Power supply: External 15V Power Consumption:  Approximately 5W Charge time: Approximately 3 hours Battery life: >5 hours Relative humidity:  From 10% to 99% (non condensing)

de tres bonne facture  comme neuf                Argus 113,33 €  MES ARTICLE SONT STOCKEE DANS UNE PIECE PROPRE ET CHAUFFE    PHOTO A L APPUI Multimix 12R TABLE MIXAGE. État : "Occasion" NIKEL       COULEUR    BLEU  Très peu servis et toujours racké.      Console Multimix 12R dans un état proche du neuf, entièrement fonctionnelle,   protege danspiece chauffee photo a  l appui  Matériel de qualité, fiable, tout métal et d'une belle finition. Envoi en Colissimo  Paiement par paypal  Alesis 1800737 Table de mixage 12 canaux Multimix 12R  RACK19 DE tres bonne facture  comme neuf  voir mes evaluations    SPÉCIFICATIONS PRODUIT Mixer 12 canaux rackable au format 3U 8 entrées micro XLR avec alimentation fantôme, et gain ajustable, Insert sur chaque entrée micro, L'introduction d'un jack jusqu'au premier "click" de l'insert permet d'obtenir un direct out par tranche sans coupure audio, Egalisation 2 bandes, 2 départs auxiliaires jacks 6,35 mm symétriques, 2 entrées ligne stéréo, jack 6,35 mm symétrique, 2 retours stéréo jacks 6,35 mm symétriques, Entrée "tape" RCA Sortie casque en face avant, Sortie générale jack 6,35 mm symétrique et RCA, Faders linéaires 60 mm par tranche, Dimensions: l34 x 483 x 108 mm, Poids 3,6 kg. https://www.guitariste.com/achat/alesis,multimix,12r-rack,17903.html Alesis est à l'origine un constructeur d'instruments électroniques basé à Cumberland, Rhode Island qui s'est diversifié ensuite dans l'équipement audio. Créée en 1980, la marque est la première a avoir vendu un processeur d'effets 16 bit numérique à moins de 1000$, le Midiverb. En 1991, Alesis introduit l'enregistreur ADAT. Depuis 2001, la marque appartient à Jack O'Donnell. Consoles analogiques Qu'il s'agisse d'une mixette de home studiste ou d'une grosse console vintage professionnelle, les tables de mixage analogiques sont beaucoup plus courantes que leurs homologues numériques et sont encore les plus utilisées sur scène comme en studio. Leurs avantages ? Une entrée de gamme très abordable et un haut de gamme au son inégalable. very good quality like newArgus € 113.33 MY ITEMS ARE STORED IN A CLEAN ROOM AND HEATED PHOTO ON THE SUPPORTMultimix 12R MIXING TABLE. Condition: "Used" NIKEL COULEUR BLEUVery little used and always racked. Multimix 12R console in near new condition, fully functional, protected in heated room photo support Quality material, reliable, all metal and a beautiful finish.Sending by ColissimoPayment by paypalAlesis 1800737 Multimix 12R RACK19 12-channel mixerVery good quality like new see my evaluations PRODUCT SPECIFICATIONS12-channel rack-mountable mixer in 3U format8 XLR microphone inputs with phantom power, and adjustable gain,Insert on each microphone input,The introduction of a jack until the first "click" of the insert makes it possible to obtain a direct out per section without audio cutting,2-band equalization,2 auxiliary sends, balanced 6.35 mm jacks,2 stereo line inputs, balanced 6.35 mm jack,2 balanced stereo 6.35 mm jacks,RCA "tape" inputHeadphone output on the front panel,General output jack 6.35 mm balanced and RCA,Linear faders 60 mm per slice,Dimensions: l34 x 483 x 108 mm,Weight 3.6 kg.https://www.guitariste.com/achat/alesis,multimix,12r-rack,17903.htmlAlesis was originally an electronic instrument builder based in Cumberland, Rhode Island which then branched out into audio equipment. Founded in 1980, the brand was the first to sell a 16-bit digital effects processor for less than $ 1000, the Midiverb. In 1991, Alesis introduced the ADAT recorder. Since 2001, the brand has been owned by Jack O'Donnell.Analog consolesWhether it is a home studio mixer or a large professional vintage console, analog mixers are much more common than their digital counterparts and are still the most used on stage and in the studio. Their advantages? A very affordable entry le