Treble independent front

POSTAGE EU 40 Euros Worldwide 140-160 approx or send your own label Euros heavy RARE RARE RARE !!!!!! Marantz 4100 Rare Stéréo Quadradial Amplifier 60W 110/120-220/240V P Recapped. 60Wx2 25WX4 LEDs Upgraded. Part recapped the problematic resistors, transistors and capacities diodes were replaced Fed 2024 just around 80-85 total pieces. See photos for detailed description Works flawlessly and sounds warm powerful and can play loud and clear. Controls: Selector: Phono, Tuner, Tape 1, Tape 2, Aux. Mode: Mono, 2-CH, Discrete, Vari-Matrix, SQ-Decoder Dimension: Vari-Matrix Mode Onlyclassicaudio.com Remote Control: Remote, Local Bass: Independent Front, Rear Treble: Independent Front, Rear Volumeclassicaudio.com Balance: Front, Left Right (Slider) Balance: Front, Rear (Slider) Balance: Rear, Left Right (Slider)classicaudio.com Switches: Hi Filterclassicaudio.com Monitor: Source/Tape Monitor: Tape 1/2 Loudness Spkr Mainclassicaudio.com Spkr Remote Power Jacks: Headphones Front Headphones Rear Indicators: LEVEL METER (dB) LEFT FRONT LEVEL METER (dB) RIGHT FRONT LEVEL METER (dB) LEFT REARclassicaudio.com LEVEL METER (dB) RIGHT REAR PHONO TUNER 2-CH 4-CH AUXclassicaudio.com TAPE 1 TAPE 2 Rear Panel: AC Outlet Unswitched AC Outlet Switched Pre-Out (L, R, F, R)classicaudio.com Main-In (L, R, F, R) Tape Monitor 2 Out (L, R, F, R) Tape Monitor 2 In (L, R, F, R) Tape Monitor 1 Out (L, R, F, R) Tape Monitor 1 In (L, R, F, R)classicaudio.com Tuner (L, R) Aux Input (L, R, F, R) Phono Input (L, R) Remote Controlclassicaudio.com Power Mode: 60W X2/25W X4 Shipping Weight: 38 Pounds En savoir plus

Je me sépare de ma tête Rhodes Colossus H100, très rare dans nos contrées.  Il s'agit d'un ampli haut de gamme tout lampes de 100W fabriqué à la main aux USA par Kyle Rhodes, d'une polyvalence bluffante.  Il dispose de 4 canaux (clean, crunch, lead 1 et lead 2), tous d'une grande qualité et parfaitement exploitables.  On va d'un clean chaud et pur très Fenderien jusqu'au rock le plus agressif et lourd, toujours avec la même qualité.  Je ne peux que vous conseiller d'aller jeter un oeil et une oreille sur les démos que l'on trouve sur internet.  Vous serez convaincu!  Chaque canal dispose de son propre EQ 3 bandes ainsi que de tout un tas de réglages permettant d'accéder à une très grande palette sonore.  Une présentation exhaustive serait très longue alors je colle avec paresse les specs techniques de la bête  "Channels 4 - Clean, Crunch, Lead 1 and 2 (lead channels are voiced identically and completely independent) Distortion Mode Switch Channel 2 (Crunch), Channel 3 (Lead 1), and Channel 4 (Lead 2) Fat Mode Switch Channel 3 (Lead 1) and Channel 4 (Lead 2) Channel 1 (Clean) Controls Gain, Bass, Middle, Treble, and Level knobs; Bright and Channel Select switches Channel 2 (Crunch) Controls Gain, Bass, Middle, Treble, and Level knobs; Bright, Channel Select, and Mode switches Channel 3 (Lead 1) Controls Gain, Bass, Middle, Treble, and Level knobs; Bright, Channel Select, Mode, and Tight switches Channel 3 (Lead 2) Controls Gain, Bass, Middle, Treble, and Level knobs; Bright, Channel Select, Mode, and Tight switches Remote Controllable Functions Channel select, all distortion modes, tight modes, master volume select, and loop bypass Control Options Front Panel (all except loop bypass), RCI™ (Rhodes Custom Interface), MIDI, and external contact closure input External Contact Closure Input 6 inputs assignable to any control function MIDI MIDI Input and Output / Thru MIDI Channel Omni or Selectable, only for CC control MIDI Control PC patch learning and direct CC control of individual functions MIDI Programming Automatic patch learning -- setup for desired patch, press the Learn button, and transmit a MIDI PC to associate with that patch Bias Test Points Measure with any DMM capable of DC millivolts, 1 mV = 1 mA of plate current, assume 460 plate volts Bias Adjustment Pot Location On top of amp chassis, near left most power tube. Guaranteed to bias properly with EL34, 6L6, or KT66. Output Power 100W with quartet, 50W with duet Output Impedance Switchable between 4, 8, or 16 ohms Cabinet Dimensions 26.25" L x 10" W x 10.75" H"  Je fournis avec un pédalier midi Cicognani permettant de le piloter.  Il est en excellent état cosmétique et de fonctionnement.

PRODYS Pronto 2 ISDN Codec USED Good condition Pronto 2 ISDN Audio Codec: Pronto2-ISDN is designed for those users who demand higher quality in their ISDN connections. It includes the two ISO MPEG Layer II compression modes most widely-used in broadcasting: MONO 64 Kbps (10.5 Khz) and Joint Stereo 128 Kbps (20Khz). The last one with the J52 standard for transmission via two independent 64 Kbps channels. It also includes a digital audio I/0 AES/EBU signal and a connector for transmitting and receiving auxiliary data simultaneously with the MPEG audio. It is also possible to replace the ISDN communications interface with two X21 ports. This expands the possibilities for connecting the equipment to other digital communication networks (dedicated networks, satellite communications etc.) In G711 mode, the Pronto2 ISDN provides an alternative to normal telephone hybrids, by allowing standard voice communications on the ISDN network as well as on analogue telephone networks. A conventional analogue telephone connected to the front panel, allows to make, receive and transfer calls or put them on hold or on air in the same way as conventional telephone hybrids. When G722 mode is selected, the unit permits high quality voice communications via the ISDN network, with the advantage over other audio encoding systems of having a low coding delay. Its most important features are: • ISDN universal terminal adapter (S0) and X21 interface. • Analogue or digital audio (AES/EBU). The AES/EBU interface provides input for external clock. • Dual operation (two fully independent communications) in G711, G722 and MPEG ayer II MONO 64 Kbps. • Independent operating encoding and decoding modes. • Automatic detection of the encoding mode used by the remote unit. • Compatibility in all modes (G722 and MPEG Layer II) with CCS and TELOS. • Auxiliary data in MPEG Layer II modes. • Electrical echo canceller and multiplex (conferencing) in G711. EXTERNAL TELEPHONE: The Prontos also feature the ability, accessed through a simple front panel menu, to remote control the unit with a standard analogue telephone (connected to the RJ11 socket on the front panel) using the DTMF (multifrequency) tones generated by the dial pad. The same telephone can also replace an audio I/O channel in G711/G722 modes to act, for example, as a talkback system. PORT 20 EUROS EN SUS COLISSIMO LE PRIX EST TTC ET LA TVA EST RECUPERABLE NON SERIEUX S'ABSTENIR

Great for clean or dirty, blackface or hot British crunch and exceptionally responsive to the players touch, the Custom Audio OD-100 covers all the basses and gives you maximum flexibility. This is a true top end amp experience that please even the most demanding pro players.   This version of the OD-100 was developed when LA studio legend M. Landau told John Suhr that he'd like the OD-100 Standard+'s Channel 2 to be like an early-70's British amp that he owned and adored. John borrowed Landau's amp and tweaked away, eventually coming up with a brand new Channel 2 and a new output section that duplicated and even surpassed the sound that Mike had come to love. The OD-100 Classic was born! The Channel 2 of the OD-100 Classic has much less gain than Channel 2 of either the OD-100 SE+ or the OD-100 Standard+. It's definitely more of a vintage voicing – like that of cranked non-master-volume amps with EL-34 output tubes – but you have the flexibility of the master volume to get that cranked sound and feel at moderate volume levels. Besides the completely new preamp circuit for Channel 2, the OD-100 Classic features the silver "Plexi-style" output transformer and EL-34 output tubes in the power section for a more authentic vintage British sound.  The OD-100 ML+ complements the OD-100 Classic with more gain on CH2 (think early ZZ Top, late AC/DC, early Van Halen and other classic rock sounds of the 70's and early 80's) with a more forgiving response, which makes it an absolute joy to play. Comes with Feedback and Depth knobs on the back panel. The front panel has the Presence knob which controls the power amp high-end content for both channels. The Feedback knob is essentially a speaker dampening control. It has a center detent which is bypass of the Feedback circuit. Turning it clockwise from the center gives the amp a tighter and more aggressive response with slightly increased volume level. Turning it counterclockwise from center makes the amp feel a little spongier with a more vintage type of a feel and response. 100 watts Front Panel Channel 1 Boost 1, Bright 1, Gain 1, Bass, Middle, Treble, Level 1 Channel 2  Bright 2, Gain 2, Gain 3, Bass, Middle, Treble, Level 2, Level 3 Channel Select

DAC 100 SE Atoll USB 24 bits/192 kHz PCM 1796. Audiophile design, Made in France. The construction of the case is solid, the connections and switches/selectors are of quality. The experience with this device is summed up in precision, naturalness and striking sound realism (and yet my sources are already references). If you want to move from your listening room to the concert hall: this is the device you need. And in more detail:. a beauty of timbres with perfect neutrality. a broad sound image, with depth, we position the musicians very well in space. well-defined treble up to the extreme treble. deep, accurate bass, without superfluous roundness. breathtaking dynamism These qualities will particularly make the difference on classical music and jazz. To be combined with good quality connection cables to get all the benefits. In excellent working and aesthetical condition, comes with power cord and original box, extremely well packaged. Would consider posting it internationally but please, ask for a quote as the postage differs from country to country and the amount in the description is for European Union only, thanks. The Atoll DAC 100 SE DAC is a digital/analog converter with three coaxial inputs, three optical inputs and one USB input. Coaxial and optical inputs support resolutions up to 24-bit/192kHz. For the USB input, it accepts resolutions up to 24 bit/96 kHz. For connection to an integrated amplifier, a stereo RCA output is located on the left of the rear panel. On the front a series of LEDs indicates the input used. This front is in brushed anodized aluminum, either natural or black. The converters are Burr Brown PCM 1796. Two power supplies, one of which is reserved exclusively for the analog audio part, equip this DAC. The output stages are provided by discrete components without feedback. The brand Atoll has designed a very well-built DAC. The DAC 100 SE occupies a relatively small space while still being able to enhance up to seven digital sources. Digital inputs: 3 x optical, 3 x coaxial and 1x USB Analog outputs: 1 x stereo RCA USB: Type B Resolutions and sampling rates: optical and coaxial: 16-24 bits (44.1 kHz, 48 kHz, 96 kHz and 192 kHz) USB: 24-bit (32kHz, 44.1 kHz, 48 kHz, 96 kHz) Dual power supply Converters: Burr Brown PCM 1796 Output stages with discrete components and no feedback Dimensions: 320 x 210 x 60 mm Weight: 2kg Arcam / quad / cambridge audio / teac / marantz / denon / yamaha / onkyo / atoll / nad / musical fidelity / gustard / ifi / monitor audio / klipsch / ifi / AudioQuest / Astell b'&' Kern / iBasso / Hidizs / Fiio / Shanling / Cayin / beyerdynamic / meze / hifiman / audio technica / akg / bel canto / violectric / lehmann / parasound / benchmark / auralic / burson / aune / feliks / vincent / little dot / prima luna / pathos / willsenton / reisong / woo / fezz / pier audio / jadis, sony, eversolo, wiim, topping, aune, gustard, smsl, volumio, matrix En savoir plus

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

VENDS AMPLI TUNER MARANTZ 2250 B + SON TRANSFORMATEUR 110 V/220 VOLTS AMPLI MARANTZ 2250 B AVEC TOUTES SES FONCTIONS EN PARFAIT ÉTAT DE MARCHE. TOUS LES ÉCLAIRAGES FONCTIONNENT. CET AMPLI MARANTZ EST UN AMPLI AMÉRICAIN QUI EST EN 110 VOLTS, CELUI CI MARCHE TRÈS BIEN AVEC UN TRANSFORMATEUR 220 VOLTS QUI EST COMPRIS DANS VOTRE ACHAT (TRANSFO DE QUALITÉ VOIR PHOTOS). CET AMPLI D'OCCASION COMPORTE QUELQUES TRACES D'USURES D'USAGES. ENVOI DE L'AMPLI PAR LA POSTE EN COLISSIMO RECOMMANDÉ. (COMPRIS DANS LE PRIX D'ACHAT) ENVOI SOIGNÉ AVEC PAPIER BULLES, POLYSTYRENE ET CARTON RENFORCÉ L'AMPLI AVEC SON EMBALLAGE PÈSE  25 KG. BON ACHAT A TOUS VOIR DESCRIPTIF COMPLET DU CONSTRUCTEUR CI DESSOUS: Général: Designed in USA Manufactured In Japan First Year 1976 Last Year 1977 Blue Face Yes Channels Two Speaker Connections two sets Amplifier: RMS Power Per Channel 50 Impedance 8 ohms Total Harmonic Distortion (THD).25 % Power Bandwidth 20 Hz to 20 KHz Frequency Response 20 Hz to 20 KHz +/- 0.5 % Intermodulation Distortion (IM).25% at rated power Input Impedance 30 k ohm Input Sensitivity for Full Output 1.5v FM Tuner AM Tuner: Gyro Tuning yes RF Sensitivity 1.9 uV 300 Ohm Binding Posts Spring connectors 75 Ohm Binding Posts Spring connectors Signal Strength Meter Yes Center Tuning Meter Yes Stereo Lamp Yes Dolby Lamp Yes Illuminated Dial Pointer Yes Amplifier: Multiple Bass Adjustments Yes Multiple Midrange Adjustments Yes Multiple Treble Adjustments Yes Tone Control Defeat Yes Bass Turnover Options Yes Treble Turnover Options Yes High Filter Yes Low Filter Yes Gain Control Yes Loudness Contour Yes Mono Yes Balance Slider Number of Tape Monitors Two Tape to Tape Dubbing Via front panel Auxillary Input Source Yes Phono Input Source Yes Illuminated Source Indicators Yes Cartridge Load 47 k ohm Tuner Source Input am, fm Source Tape Input (as opposed to a tape monitor) yes 2nd Source Tape input (as opposed to a tape monitor) yes Tape Monitor yes 2nd Tape monitor yes Preamp to Amplifier Jumper(s) yes Headphone Jack(s) Yes Speaker Selection Nomenclature main, remote

SALE IS FOR ONE B01 PLATFORM, AND NOT THE FULL RACK SHOWN ABOVE Audiophile Base B01 Base Platform Review b'"'The Company’s name says it all really, and this is the base (sorry!) product along with various racks and the rather funkier StrataBase platform. From above, the charcoal silk finished surface doesn’t give much away, but the underneath of the Base 01 Platform incorporates some clever thinking. A pair of metal beams run from front to back and are linked to the main platform by compliant but absorptive coupling. In turn, the beams rest on four hard rubber feet. The combination of metal, soft coupling and MDF platform material makes for what is effectively constrained layer damping, with enough decoupling to prevent higher frequency vibrations from travelling up from feet to platform. The arrangement gives limited attenuation of very low frequencies, but good performance across mid-range and treble, and the MDF part is relatively non-resonant. This platform proved versatile in use, giving fine results with a range of equipment including both suspended and solid-chassis turntables. It was also very good with CD players, tightening up the sound and also adding bass extension. Amplifiers benefited less obviously, but a valve preamp certainly gained something in the clarity department and a solid-state power amp seemed more detailed in the lower octaves. High treble seemed largely unaltered in most cases, though the turntables gained some slight extra high frequency precision. Verdict A very practical support which adds very little height and looks good, and contributes usefully to the performance of a wide range of kit.b'"' RAPPEL BIENVEILLANT DES REGLES LEGALES CONCERNANT TRANSPORT ET LIVRAISON: Pour pouvoir engager la responsabilité du transporteur en cas exceptionnel de dégâts causés à une marchandise reçue, vous devez impérativement ouvrir les colis en présence du livreur, et formuler des réserves précises et explicites sur le bon de livraison. Porter la mention « sous réserve de déballage » sur le bon de livraison n’a aucune valeur juridique. Si le transporteur est toujours présumé responsable des dégâts causés à la marchandise (Code de commerce article L 133-1), encore faut-il le notifier par écrit lors de la réception, chez vous ou en bureau de poste. À défaut d’avoir ouvert les colis et noté précisément les dégâts, les marchandises seront réputées livrées en bon état. LA POSTE refuse toute réclamation de plus sans photos des dégâts et de l'emballage externe prises justement lors de la livraison. Deuxième étape: vous devez ensuite adresser au transporteur, dans un délai de trois jours, (Code de commerce article L 133-3). un courrier en recommandé avec accusé de réception, dans lequel vous rappellerez les dégâts causés aux marchandises et demanderez la réparation du préjudice. Je vous donnerai accès au document complété d'envoi LA POSTE avec toutes les informations nécessaires, évidemment. permet juste de laisser un numéro de tracking, pas suffisant. Toute enchère signifie que vous avez lu et compris ces termes légaux, qui l'emportent sur toute autre considération propre à ce site. Merci pour votre compréhension ! INTERNATIONAL BIDDERS, PLEASE NOTE: NO SALES TO: Russia, North Korea, Belarus, Syria, Eritrea, Algeria, Angola, Armenia, Bangladesh, Bolivia, Burundi, Central African Republic, China, Congo, Cuba, El Salvador, Equatorial Guinea, India, Iran, Iraq, Kazakhstan, Kyrgyzstan, Laos, Madagascar, Mali, Mongolia, Mozambique, Namibia, Nicaragua, Pakistan, Senegal, South Africa, South Sudan, Sri Lanka, Sudan, Tajikistan, Tanzania, Uganda, Vietnam, Zimbabwe, Azerbaijan, Burkina Faso, Cameroon, Ethiopia, Eswatini, Guinea, Guinea-Bissau, Morocco, Togo, Turkmenistan, Uzbekistan, Venezuela. No need to explain why... Anyone arguing with this rule will get no answer, and just earn a definite and immediate b En savoir plus

★ WELCOME TO YET ANOTHER GREAT AUCTION FROM BESTUBES ★ WORLDWIDE INSURED & TRACKED SHIPPING ! 100% HAPPY CUSTOMERS SINCE 2003 ! PLEASE VISIT MY STORE FOR MORE GOODIES, YOUR REQUESTS ARE ALSO WELCOME !  YOU ARE BUYING THE FOLLOWING ITEM(S), EXACTLY LIKE ON PICTURE Quantity: 1 lot of spare parts Contain: POWER TRANSFORMER, FRONT & BACK PANELS, COMPLETE FRONT DISPLAY,               BALANCE / BASS / TREBLE BUTTONS, ON / OFF SWITCH Brand: RADIOLA OR PHILIPS F4213 INTEGRATED STEREO AMPLIFIER Origin: BELGIUM (Middle 70's) Condition: USED / ALMOST LIKE NEW / TESTED (Transformer & Display)

EN BON ETAT IL FONCTIONNE BIEN A 40 watt output with mains and 12 volt operation makes this amplifier suitable for use in a wide variety of medium-sized public address systems. There are two balanced microphone inputs, a jack socket is provided on the front panel for microphone one, while microphone two has a voice activated priority circuit to automatically mute all other inputs. There are two auxiliary inputs for background music. Bass, treble and a dual auxiliary control are located on the front panel. Colour: Black Dimensions (mm): 88x272x240 Weight (kg): 5.2 DC Input (V): 12 Power Input: 230 VAC @ 50 Hz Power RMS (W): 40 Frequency Response (Hz): 60-15000 Outputs: 8 Ohm or 70 V/100 V Booster Output: 775 mV 600 Ohm Auxillary Input: 100 mV/50 k Ohm Priority Microphone: Yes (1.5 mV/600 Ohm) Vox Sensitivity: Off - 0.7 mV Vox Reduction (dB): 40 THD: Less than 3% Condition In a great condition, shows a only light signs of use.

Clone de la TB-303 modifié par Circuitbenders, en parfait état, hormis les stickers qui se décollent un peu. Fonctionne nickel. Moded by Circuitbenders clone of the famous TB-303. Fully working. Demo here: https://youtu.be/GSebDXf9rP4 Here are the specs: The MAM MB33 Retro is the latest version of the MB33 / FAT FREEBASS clone of the infamous Roland TB-303. As standard it features all of the original TB-303 controls, and also has an external audio input through the filter and VCA. Overlapping midi notes gives you that essential 303 note slide, and any midi note with a velocity of 120 or more will trigger the note accent. Realistically if this synth was programmed correctly, you would be VERY hard pressed to distinguish between this unit and a real 303 in a mix. In a side by side comparison i'd say it sounds a little meatier than the Behringer TD3, with a little more girth and analogue weight to the sound. We have modded this machine with our circuitbenders Acid FM mods to give a huge range of extra sounds, without diluting the essential TB-303 character. MODS INCLUDE: VCO On/Off Switch: Normally when you plug a jack into the external VCF input, the MB33's VCO is automatically removed from the mix. As there may be occasions where you don't want this to happen, or situations such as when you're using the filter lock mod (see below) when you want to be able to turn the VCO on and off yourself, we've added a switch to add manual control of this. VCO Drive: The MB33 retro seems to be designed to slightly distort the output stage at full volume, much like the TB303 did. The Drive mod boosts this distortion savagely for some grungy acid techno sounds. This mod increases the maximum amount of distortion at maximum volume. The intensity of the distortion can be set using the normal volume knob. Resonance Boost Switch: An annoying issue with these machines is that the resonance never reaches self oscillation (but then neither did the TB303) and also drops off considerably when the cutoff is over 3/4 of the way up. We've solved this problem by adding the resonance boost switch. With this switch activated the filter starts to squeal with the resonance about halfway up, and then just screams with self oscillation at any higher settings. The resonance boost is especially effective when used with the VCF FM mods. VCF FM: Essentially VCF FM (Frequency Modulation) allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters & sweeps. This effect works best with the resonance cranked up into self oscillation which is where the resonance boost mod comes into play. The FM controls allow you to select one of four sources for the FM signal. The first is the normal filter input socket round the back. This means you can run a sound through the filter section, but also use that sound to modulate the filter cutoff at audio frequencies at the same time. The second source is a new FM input jack on the right hand side of the case. Using this source allows you to run a sound through the filter from the VCF input or just use the internal VCO, and at the same time modulate the filter cutoff with an entirely independent sound source at the FM in jack. The actual audio from the FM in jack is not heard. The remaining two sources are the sawtooth and square wave signal from the main oscillator. These can be selected as sources completely independently of the setting on the VCO waveform knob The FM source select knob also has an 'off' setting. The amount of FM applied to the VCF is controlled using the VCF FM knob. VCF CV input: This mods adds 3.5mm jack on the right side of the machine that will accept an external CV to control the filter cutoff. The CV input should range from 0-5v. Higher voltages, or negative voltages are NOT recommended. This mod also adds a switch on the front to toggle between internal and external cutoff cont

beecher mirage Lunettes jumelles adaptées sur une paire de lunettes, très légères et faciles d’utilisation pour malvoyant ou tout simplement pour aller au spectacle ou observer les oiseaux. Les molettes d’ajustement à la vue sont très souples, indépendantes l’une de l’autre,  et rendent ces jumelles très faciles à adapter à sa vue. Puissance de grossissement 5,5 et 25 millimètres  de diamètre de lentille frontale Le Beecher Mirage permet aux personnes ayant une déficience visuelle de voir les objets à une distance normale tout en utilisant un fort grossissement. Ils sont idéaux pour des tâches telles que regarder la télévision, le théâtre et les événements sportifs. POIDS: 114 gr Très bon état Twin glasses adapted to a pair of glasses, very light and easy to use for the visually impaired or simply to go to the show or observe the birds. The adjustment knobs in view are very flexible, independent of each other, and make these binoculars very easy to adapt to his sight. Magnification power 5.5 and 25 mm front lens diameter Beecher Mirage allows people with visual impairments to see objects at a normal distance while using high magnification. They are ideal for tasks such as watching TV, theater and sports events.

Clone de la TB-303 modifié par Circuitbenders, en parfait état, hormis les stickers qui se décollent un peu. Fonctionne nickel. Moded by Circuitbenders clone of the famous TB-303. Fully working. Demo here: https://youtu.be/GSebDXf9rP4 Here are the specs: The MAM MB33 Retro is the latest version of the MB33 / FAT FREEBASS clone of the infamous Roland TB-303.  As standard it features all of the original TB-303 controls, and also has an external audio input through the filter and VCA. Overlapping midi notes gives you that essential 303 note slide, and any midi note with a velocity of 120 or more will trigger the note accent. Realistically if this synth was programmed correctly, you would be VERY hard pressed to distinguish between this unit and a real 303 in a mix. In a side by side comparison i'd say it sounds a little meatier than the Behringer TD3, with a little more girth and analogue weight to the sound. We have modded this machine with our circuitbenders Acid FM mods to give a huge range of extra sounds,  without diluting the essential TB-303 character.  MODS INCLUDE:  VCO On/Off Switch: Normally when you plug a jack into the external VCF input, the MB33's VCO is automatically removed from the mix. As there may be occasions where you don't want this to happen, or situations such as when you're using the filter lock mod (see below) when you want to be able to turn the VCO on and off yourself, we've added a switch to add manual control of this. VCO Drive: The MB33 retro seems to be designed to slightly distort the output stage at full volume, much like the TB303 did. The Drive mod boosts this distortion savagely for some grungy acid techno sounds. This mod increases the maximum amount of distortion at maximum volume. The intensity of the distortion can be set using the normal volume knob.  Resonance Boost Switch: An annoying issue with these machines is that the resonance never reaches self oscillation (but then neither did the TB303) and also drops off considerably when the cutoff is over 3/4 of the way up. We've solved this problem by adding the resonance boost switch. With this switch activated the filter starts to squeal with the resonance about halfway up, and then just screams with self oscillation at any higher settings. The resonance boost is especially effective when used with the VCF FM mods.  VCF FM: Essentially VCF FM (Frequency Modulation) allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters & sweeps. This effect works best with the resonance cranked up into self oscillation which is where the resonance boost mod comes into play. The FM controls allow you to select one of four sources for the FM signal. The first is the normal filter input socket round the back. This means you can run a sound through the filter section, but also use that sound to modulate the filter cutoff at audio frequencies at the same time. The second source is a new FM input jack on the right hand side of the case. Using this source allows you to run a sound through the filter from the VCF input or just use the internal VCO, and at the same time modulate the filter cutoff with an entirely independent sound source at the FM in jack. The actual audio from the FM in jack is not heard. The remaining two sources are the sawtooth and square wave signal from the main oscillator. These can be selected as sources completely independently of the setting on the VCO waveform knob The FM source select knob also has an 'off' setting. The amount of FM applied to the VCF is controlled using the VCF FM knob.  VCF CV input: This mods adds 3.5mm jack on the right side of the machine that will accept an external CV to control the filter cutoff. The CV input should range from 0-5v. Higher voltages, or negative voltages are NOT recommended. This mod also adds a switch on the front to toggle between internal and external cutoff con

Vends un contrôleur Moniteur stéréo SPL 2Control avec la très intéressante fonction "crossfield" permettant de simuler au casque l'écoute sur enceintes par simulation de la diaphonie naturelle. Ce contrôleur, entièrement analogique, qui comprend 2 entrées stéréo sur XLR, 2 sorties casques de haute qualité avec volume indépendant et fonction crossfield, et trois sorties sur XLR dont 2 stéréos + 1 mono pour caisson ou voie centrale. Ce contrôleur a une vocation pro mais peut aussi être utilisé comme un excellent ampli casque en Hifi car la fonction crossfield est vraiment extraordianaire pour rendre les enregistrements adaptés à l'écoute au casque (parfois, certains enregistrements ont trop de séparation droite/gauche pour être confortablement écoutés au casque). Produit de qualité niveau conception/fabrication "made in Germany" Vendu avec très légers défauts d'aspects (accentués par les photos) sur le bord inférieur de la face avant, notice et emballage originaux. Livraison via Mondial Relay assuré. Merci de votre intérêt... Sell ​​an SPL 2Control stereo monitor controller with the very interesting "crossfield" function allowing to simulate with headphones listening on speakers by simulation of natural crosstalk. This fully analog controller, which includes 2 stereo XLR inputs, 2 high quality headphone outputs with independent volume and crossfield function, and three XLR outputs including 2 stereos + 1 mono for subwoofer or center channel. This controller has a professional vocation but can also be used as an excellent headphone amplifier in Hifi because the crossfield function is really extraordinary to make the recordings suitable for listening with headphones (sometimes, some recordings have too much left / right separation to be comfortably listened to with headphones). Design / manufacturing quality product "made in Germany" Sold with very slight visual defects (accentuated by the photos) on the lower edge of the front face, original instructions and packaging. Delivery via insured Mondial Relay. thanks for your interest Specifications:  Analog inputs & outputs: XLR (balanced) Maximum input & output gain: 21.5 dBu  Input impedance: 20 kΩ  Output impedance: 75 Ω  Frequency range (-3 dB): 10 Hz – 100 kHz  THD +N (0 dBu, 10 Hz – 22 kHz)): 0.005 %  Noise (A-weighted): -96 dBu  Crosstalk (1 kHz): -70 dB  Common mode rejection (1 kHz): 60 dB  Dynamic range: 117 dB  Standard Headphones Output, 6.35 mm (1/4") TRS Jack Wiring Spitze = links, Ring = rechts, Schaft = GND  Source impedance: 22 Ω  Noise (A-weighted, 600 Ω): -85 dBu

PRELUDE Pop up some corn and get ready to be thoroughly wowed by your new THX® home theater system.  Quality equalization makes the difference between an average system and a great home theater, and you have just taken a giant step toward completing your own movie palace.  Movie theaters have racks full of equalizers to correct the performance of their sound system.  The Bijou THX home theater room equalizer improves the sound of your entire system in the same way in a single, compact component. Your new equalizer is made by the only consumer electronics company in the world that specializes in equalizers, signal processors and audio analyzers.  AudioControl’s passion for high quality, meticulous attention to detail and pro sound heritage shows itself in the dozens of awards we have won for our designs, products and service. HIGHLIGHTS THX® Home Theater Room Equalizer With seven channels the Bijou provides total equalization for the entire home theater system: Front, Center, Subwoofer, and Surround channels.  The Bijou THX room equalizer will significantly improve the frequency response and timbral accuracy of your system. Easy-To-Set Graphic Equalization Controls 11 Bands of Constant-Q 1 /3 octave control for the Left, Center and Right Channels, 12 Bands of Precision 1 /6 octave adjustment for the two stereo subwoofer channels and 8 bands of dual-bandwidth eq for the stereo surround channels. Room For The Future Stereo surrounds and independent subwoofer channels ensure compatibility with newer digital 5.1 surround systems including AC-3. Award-Winning Quality Designed and built in the USA by AudioControl - an award winning manufacturer of high-quality audio components since 1977.  WHAT IS THX? In 1980, Lucasfilm had a goal.  They wanted the movie going public to experience the soundtrack as the film’s director intended.  The result was the Tomlinson Holman eXperiment (THX).  The outcome of Tom Holman’s research in film sound reproduction led to a unified system design approach that includes room acoustics, crossover design and loudspeaker placement.  THX certification is a standard to which the components of a home theater system are designed.  Some of the standards the Bijou had to meet for THX approval were: • Standardized Input Sensitivity  • Ultra-Low Noise In Multi-channel Applications  • Ultra-Low Hum In Multi-channel Applications  • Constant-Q Design For Predictable Equalization  • Ultra-wide Dynamic Range ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ PRÉLUDE Faites éclater du maïs et préparez-vous à être complètement émerveillé par votre nouveau système de cinéma maison THX®. L'égalisation de la qualité fait la différence entre un système moyen et un excellent home cinéma, et vous venez de faire un pas de géant vers la réalisation de votre propre palais du cinéma. Les salles de cinéma ont des racks remplis d'égaliseurs pour corriger les performances de leur système audio. L'égaliseur de salle de cinéma maison Bijo