High-headroom mic preamps with RF rejection. 20 channels (16 mic/line mono, and 2 stereo line channels). 32-bit EMAC™ digital effects with 9 reverbs, 4 delays, phaser, chorus, flange; 2 parameter controls + EFX wide spatial expander. External and internal EFX sends. EFX to Monitor control. 9-band stereo graphic equalizer. Inserts on all mic channels and main mix. True 4-bus design with direct sub outs and L/R assign. 2 Pre/Post Aux sends and internal/external FX level sends on each channel. 3-band EQ with swept mid (100Hz to 8kHZ) on mic/line channels. 4-band EQ on stereo line channels. Pan, Mute, PFL solo on each channel. Inserts and 100Hz low-cut filters on all mic/line channels. Subwoofer output from built-in 18dB/oct. 75Hz crossover. Ingenious BREAK switch. Headphone output with level control. Tape/CD inputs with level control assignable to Main Mix via Break switch. Logarithmic taper 60mm faders. 48V phantom power. 12V BNC lamp jack.

Goof proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes. New gate timing algorithms ensure the smoothest release characteristics. Program-adaptive expander/gates. Great sounding dynamics control for any type of program material. Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup. Stereo or dual-mode operation. Balanced inputs and outputs on 1/4” TRS and XLR. Side Chain insert. Classic dbx® “Auto” mode

Reference class 4-channel expander/gate/compressor/peak limiter with dynamic enhancer and low contour filter, balanced In- and Outputs with 1/4” jacks and XLR connectors.

MG166CX, 8 mono mic/line inputs (XLR/jack), 2 mic/line inputs (XLR/stereo jack), 2 stereo line inputs (jack), 3 aux sends, 8 inserts, 3-band EQ with parametric mids, internal compressor on each mic channel, SPX FX processor with 16 programmes, 18dB high pass filter, high-end mic preamps, +48v phantom power.

The DSP8024 features a 31-band graphic EQ with a real-time analyzer and an Auto-Q function for automatic room measurement and correction plus three bands of parametric equalization. Further highlights include a peak limiter, an adjustable delay of up to 2.5 seconds, a noise gate and BEHRINGER’s renowned Feedback Destroyer.

Yamaha MSR 400, 12” (LF), 1” (HF), 400watts, XLR/jack input, XLR output, 2 way EQ (bass-high), frequency response: 50Hz-20kHz, 121dB SPL, 90° x 40° dispersion. Dimensions: 40.6 × 65.2 × 35.1cm. Weight: 23Kg.

containing BD-200 bass drum mic (cardioid: 40Hz – 18 kHz), 4x CD55 dynamic snare/tom mic (cardioid: 80Hz-18kHz), with special rim
mounts, Incl. transport case.

the box MA120 mkII, 120W (RMS @ 4 Ohm), cone high driver, 80Hz-16KHz +/-3dB, max SPL 120dB peak. 1 line input, 1 mic input, 3-band EQ, level control with clip LED, XLR line output, SPK output for additional 8 Ohm passive monitor (4 Ohm load with both speakers connected). Dimensions: 361 × 560 × 369 mm Weight: 23,0 kg. Wooden cabinet with carpet covering

As a regular feature of a club sound system or as a durable road piece the S-Direct is the only direct box you’ll ever need.
Features: Perfect for stage and studio. Switchable input level handles instrument and speaker levels. 48 Volt phantom power or 9 volt operation with auto battery shut off. Switchable ground lift. 1/4” link output.

The S-direct plus gives you all the same features of the original S-direct, but in stereo. It’s like having two direct boxes in one, perfect for keyboard players, or any instrument with multiple outputs.

A “bump-box”, S-Convert is a problem solver for interfacing and level matching consumer and professional audio equipment. The box features +4 to -10 audio level converters RCA -10 inputs with level control, RCA -10 outputs XLR +4 outputs XLR +4 inputs with level control. 18 Volt AC adapter included.

Millenium DI-33, (battery or phantom powered), XLR/jack input, jack link output, -20dB pad, XLR output, ground lift, solid metal housing.

With the AKG C5 professional condenser vocal microphone, your voice will cut through the loudest mix – on any stage. Its cardioid polar pattern ensures maximum gain before feedback and has been optimized for use with in-ear monitor systems. A gold-plated transducer case protects the capsule from corrosion and humidity. The solid die-cast housing and its extremely rugged grille construction make the C5 an easy to use, reliable companion for tough stage jobs.

The Shure Beta 58A maintains a true supercardioid pattern throughout its frequency range. The Beta 58A has a shaped frequency response that is ideal for close-up vocals. The superb performance of this microphone is not affected by rough handling because of its rugged construction, proven shock mount system, and hardened steel mesh grille. It has become a leading choice among vocalists and touring professionals worldwide.

Shure SM58 S, classic vocal microphone, frequency range 50hz-15 khz, output impedence 300 ohm, weight 288 g, Includes clamp & bag. Reliability and quality from Shure Microphones.

A rugged workhorse with a practical shape, the Sennheiser e606 instrument microphone has been specially developed for miking guitar cabs face on and extremely close to the signal source. Features a super-cardioid pickup pattern and a hum compensating coil.

The Samson C02 pencil mic features gold plated connectors and shock mounted mic clips to assist in making your sound as clear as possible. Excellent when used as a pair to record drum kits or separately to record guitars and other instruments.

Shure PG58-XLR, cardioid polar pattern, frequency response: 60Hz-15kHz.

Shure C607

the t.bone TW 16HT 16-channel UHF 9.5” diversity-receiver, handheld microphone, 16 switchable frequencies (863.125MHz-864.875MHz), up to 3 parallel systems, switchable squelch, XLR and jack output, external power supply (DC 12V/500mW), DC out for recharging transmitter.