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040/4711348-23

an@digitalaudioservice.de



Thomas Römann

SYSTEMTECHNIK

PROJEKTPLANUNG

040/4711348-20 / 0172/272 65 33

tr@digitalaudioservice.de



Arne Kohlscheen

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Heiner Niemann

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040/4711348-25 / 0173/59 55 015

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  UNSERE ANGEBOTE


34 %
FLEA 49
FLEA 49 is an exact replica of M49 microphone. All mechanical parts are absolutely exact replicas. FLEA 49 is fitted with capsule F7 - our exact replica of legendary M7 capsule. Another important part is transformer which is also our exact replica of transformers used in M49 mics. The last important part of the electronical system of the microphone is its tube, triode, carefully selected for noise reduction. This mic is fantastic not only for female vocals. You can - taste it !!! The sound is soft and pleasant. The full set includes microphone in wooden box, PSU, cable.

3.808,00 €* 5.739,00 €*
33 %
FLEA M 251
The Flea M 251 is a meticulous recreation of the legendary Telefunken ELA M 251 tube large diaphragm condenser microphone.  The Flea M 251 features Tim Campbell’s CT12 capsule, a replica of the edge-terminated, gold-plated CK12, and carefully selected 6072A tubes. The M251 also includes Flea’s identical T 14/I transformer clone delivering the unmistakable sonic character of the microphone. All wiring is based on the last upgrade made by Andreas Grosse, and all connecting parts, pins and terminals are gold-plated, ensuring the best performance and lower noise. AT A GLANCE Exact clone of the legendary ELA M 251 microphone Tim Campbell's CT I2 capsule - exact replica of the CK12 Selected 6072A tube Our identical clone of T14/ I transformer All important connecting parts, pins, and terminals are gold-plated. Wiring is based on the last upgrade from Andreas Grosser, which makes this microphone less noisy.

4.403,00 €* 6.545,00 €*
43 %
FLEA 12
This mic is an exact replica of C12 and involves a modern style power supply with integrated pattern switch. As standard, it is equipped with Tim Campbell's CT12 capsule - great choice if you are considering the clones of original CK12. The mic is equipped with 6072 tube. The transformer is our own replica of original . Considering the sound, it is simply "Rolls-Royce". In some applications this mic will seem somewhat neutral, but it benefits will stand out during mixdown. It's fantastic for vocals, acoustic instruments as well as ambient miking. Those, who have not experienced, will not believe. Includes: microphone in wooden box, power supply, cable with swivel mount connector

3.564,00 €* 6.269,00 €*
37 %
FLEA 50
FLEA 50 is our replica of famous M50 microphone. All mechanical parts are identical to original. FLEA 50 is fitted with our own capsule and transformer. As you know, this mic is great to use on AB stereo recording technique. Best for symphonic orchestra miking or as a spot microphone for acoustic instruments. This is not end of use of this microphone. Try and you will love it !!! Clear and pleasant sound. The full set includes microphone in wooden box, 115/230V PSU, cable, and of course safe flight case. Includes: microphone in wooden box, power supply, cable, yokemount.

3.808,00 €* 6.069,00 €*
39 %
Heritage Audio Tubesessor
TUBESESSOR - Optical Tube Compressor The Heritage Audio TUBESESSOR is an optical tube compressor with an absolute sweet, warm and natural dynamic control possible, but also the possibility to spice up the sound up on occasion. Tube compression, especially based on an optical design, is generally considered to be warmer than VCA and FET designs, and it tends to provide a very pleasant, more natural, smoother result. This has made it the preferred choice for seasoned engineers and producers that want to provide a very transparent control over a signal while offering a hint of enhancement but keeping true to the original tone. For this very reason optical tube compressors are usually the first thing one reaches for when dealing with critical vocals and bass signals. The TUBESESSOR is the perfect option for this. Analog excellence is achieved by combining an all tube-based amplification stage with an outstanding UTC A10 input transformer replica by AMI, as well as a custom all-silicon steel output transformer. With an elevated internal operating voltage you can be sure the TUBESESSOR will heat up any signal while also maintaining its character and vibe. No starved plate circuits here! Never has dynamics control been so easily obtainable while at the same time so invisible. Even with generous amounts of gain reduction being applied anything processed with the TUBESESSOR still maintains its clarity and depth. Thanks to the TUBESESSOR´S three unit high front panel you´ll find plenty of room to adjust the large Herchild-style knobs making it a breeze to achieve the desired sound. No cramped spaces here, just plenty of space to easily and quickly adjust the settings to taste. Now, we all know it would not be a Heritage Audio product without our expertise and passion channeled into a couple key features that take the TUBESESSOR to another dimension. First of all, for those times when a bit more texture and bite is called for, there´s nothing better than a little saturation…or maybe a lot. The innovative TUBE SATURATION section takes full advantage of a creamy sounding NOS Raytheon double triode tube to add in just a pinch of aggression or fully transform the signal into something ready for war. It, importantly, works in tandem with the custom output transformer to produce the right harmonic content. There are 4 available settings that vary from CLASSIC, no saturation, all the way to HOT, a heavily treated signal. This feature alone opens up a ton of possibilities for drums and other instruments vastly expanding the TUBESESSOR´S uses. And thanks to Heritage Audio´s use of an audiophile-grade Psvane dual output triode in a totem pole configuration, a solid output stage is guaranteed all while allowing much higher headroom than other tube compressors, whether vintage or modern. Secondly, there are also five internal sidechain filter settings to choose from. This is the exact same filter section that helped the SUCCESSOR obtain its legendary status. Two of the options make sure the compressor is not being unfairly overpowered by lower frequencies and the other three are frequency specific options for extra creativity. Continuously adjustable ATTACK & RELEASE controls in addition to a FIXED mode and a combination of the two will provide all the necessary settings possible, allowing you to mold your signal exactly as you´d like. A huge, attractive custom VU meter for monitoring either Input, Output or Gain Reduction guarantees you´ll always be informed with a clear reading of exactly what is happening. Everything you could possibly require to achieve a top-notch professional recording. As is the case with other tube offerings from Heritage Audio, the company has sourced NOS tubes for a lifetime, making sure your investment is safe and sound. Features Optical Compression Detection All Tube-Based Amplification Stage Fully Transformer Balanced Input & Output Tube Saturation Section Large Friendly Interface Extensive Attack & Release Control 5 Built-In Sidechain Filtering Options Huge Informative VU Meter Built Like A Tank

1.799,00 €* 2.969,00 €*
16 %
Mäag Audio PREQ2
MÄAG AUDIO’S NEWEST CREATION IS THE PREQ2™ DUAL MIC PREAMP WITH EQ, A COMPLETE ANALOG SYSTEM FOR EITHER RECORDING OR MIXING HOUSED IN A 1U STANDALONE UNIT. IT COMES WITH CLIFF MÄAG’S VENERABLE AIR BAND® SHELVING EQUALIZER FIRST INTRODUCED IN 1993 WITH HIS NTI EQ3 EQUALIZER. THE PREQ2 WILL HANDLE EITHER LINE OR MICROPHONE SIGNAL LEVELS WITH TWO MATCHED CHANNELS BOTH WITH SEPARATE REAR PANEL LINE LEVEL INPUT AND MICROPHONE XLR CONNECTORS AND SWITCHABLE +48-VOLT PHANTOM POWERING. THE REAR PANEL ALSO HAS XLR OUTPUT CONNECTORS FOR EACH CHANNEL AND A ON/OFF/FUSE MAINS SWITCH. ALL SWITCHES ON THE PREQ2 HAVE COLORFUL LEDS TO CONFIRM THEIR OPERATION AND ALL CONTROLS HAVE DETENTS WITH THE EXCEPTION OF THE CONTINUOUSLY VARIABLE MICROPHONE GAIN. MICROPHONE INPUTTHE MÄAG AUDIO PREQ2 MICROPHONE PREAMP HAS UP TO 71DB OF GAIN SPLIT BETWEEN A DISCRETE CLASS-A TRANSISTOR PREAMP ALONG WITH A LARGE, NICKEL-CORE MÄAG AUDIO-BUILT INPUT TRANSFORMER (ONE FOR EACH CHANNEL). THIS CIRCUIT OFFERS A CLEAN, DETAILED SOUND WITH +27DBU OF HEADROOM AND AN EIN NOISE LEVEL OF -128DB. THERE ARE TWO OPTIMIZED GAIN RANGES SELECTABLE ON THE FRONT PANEL. THE DEFAULT GAIN RANGE IS +20DB TO +42DB AND A +42 TO +71DB GAIN RANGE IN HIGH GAIN MODE USING THE FRONT PANEL’S 25DB GAIN SWITCH. MAXIMUM INPUT LEVEL IS +8DB. THE MICROPHONE INPUT SECTION HAS FRONT PANEL SWITCHES, LED INDICATORS AND BUTTONS FOR: +48-VOLT PHANTOM POWERING, -20DB ATTENUATION PAD, PLUS SIGNAL PRESENT, +26DBU PEAK LEDS, AND PHASE OR POLARITY FLIP. MICROPHONE GAIN IS CONTINUOUSLY ADJUSTABLE USING A SINGLE, LARGE MIC GAIN CONTROL KNOB. LINE INPUTTHE FRONT PANEL LINE SWITCH TOGGLES THE REAR PANEL XLR LINE INPUT CONNECTORS IN PLACE OF THE MICROPHONE PREAMP’S OUTPUT (AFTER THE INPUT TRANSFORMER AND MICROPHONE PREAMP). IT IS POSSIBLE TO KEEP BOTH A MICROPHONE AND A LINE LEVEL SOURCE ALWAYS CONNECTED TO THE PREQ2 AND TOGGLE BOTH CHANNELS SEPARATELY. YOU COULD HAVE ONE CHANNEL WORKING AS A MICROPHONE PREAMP CHANNEL AND THE OTHER AS A LINE LEVEL AMPLIFIER FOR RECORDING A DIRECT MUSICAL INSTRUMENT (BASS OR GUITAR) AT THE SAME TIME. BOTH MIC INPUT SECTIONS HAVE ¼-INCH TS JACKS FOR HIGH IMPEDANCE (1 MEGA-OHM) INSTRUMENT INPUT WITH A COMPANION ¼-INCH OUTPUT THRU JACK THAT SIMULTANEOUSLY PROVIDES AN ISOLATED, BUFFERED OUTPUT—A “COPY” OF THE INSTRUMENT INPUT SIGNAL AT UNITY GAIN. IN ADDITION TO PROVIDING AN UNBALANCED SIGNAL FOR RUNNING LONG LEADS OUT TO INSTRUMENT AMPLIFIERS IN THE STUDIO AND/OR STOMP PEDALS, FOR LIVE RE-AMPLIFYING THE THRU JACK’S OUTPUT SIGNAL IS ALSO ACTIVE WHEN USING THE XLR MICROPHONE INPUT. WHEN USING THE INSTRUMENT INPUT TS JACK, THE MÄAG AUDIO PREQ2 USES AN AUTOMATIC DETECTION CIRCUIT TO SWITCH (USING A RELAY) AND ROUTE THE UNBALANCED ¼-INCH INPUT SIGNAL TO THE MIC INPUT TRANSFORMER. THE IMPEDANCE IS LOWERED FOR A BETTER MATCH TO THE TRANSFORMER. THIS DETECTION CIRCUIT MAKES IT IS IMPOSSIBLE FOR THE 48-VOLT PHANTOM POWER TO EVER REACH THE ¼-INCH OR XLR LINE INPUT EVEN IF ALREADY TURNED ON. EQUALIZATION SECTIONSTHE MÄAG AUDIO PREQ2 HAS THREE EQUALIZER/FILTERS SECTIONS; THE LAYOUT AND CONTROL COMPLIMENT ARE IDENTICAL FOR BOTH CHANNELS. THE EQUALIZER DESIGN IS SPECIFICALLY DESIGNED FOR BOTH RECORDING AND/OR SUBTLE TOUCHUP TONALITY CHANGES AND EUPHONIC ENHANCEMENTS. ON THE LEFT SIDE OF THE CHANNEL IS THE FIRST CONTROL FOR THE 2ND ORDER, 12DB/OCTAVE HIGH PASS FILTER. IT IS FULLY VARIABLE USING A 21-DETENT CONTROL TO SWEEP FROM 20HZ TO 200HZ. IT HAS ITS OWN HARDWIRED, IN/OUT BYPASS SWITCH. NEXT IS THE LOW FREQUENCY BELL-SHAPED EQUALIZER SECTION WITH A BOOST (ONLY) CONTROL AT 6DB/OCTAVE. FREQUENCIES ARE SWITCHED USING A SIX POSITION ROTARY SWITCH AND ARE: 10HZ (SUB) SHELF, AND BELL-SHAPED CURVES FOR 40HZ, 65HZ, 100HZ, 125HZ, AND 165HZ. UP TO 9DB OF BOOST IS AVAILABLE. AIR BAND®THE THIRD BAND OF THE EQUALIZER IS THE MÄAG AUDIO AIR BAND SHELVING SECTION WITH 2.5, 5, 10, 15, 20, AND 40-KHZ FREQUENCY CHOICES WITH ITS OWN CONTROL AND UP TO 9DB OF MAXIMUM BOOST. BOTH THE AIR BAND AND LOW FREQUENCY EQUALIZERS SHARE A SINGLE BYPASS PUSH-BUTTON.

2.899,00 €* 3.450,00 €*
25 %
Royer Labs R-10 Hot Rod
Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind. Produktdetails Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit Übertrager im Humbucker-Design für extrem geringes Grundrauschen Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Erhältlich als Matched Pair

749,00 €* 999,00 €*
26 %
Royer Labs R-10 Hot Rod - MP
Royer Labs wurde im Jahre 1998 zur Vermarktung der einzigartigen, modernen Bändchenmikrofone von David Royer ins Leben gerufen. Zur Zeit der Firmengründung waren Bändchenmikrofone fast schon in Vergessenheit geraten, doch die Modelle R-121 und SF-12 des in Kalifornien beheimateten Unternehmens konnten sehr schnell das Interesse von Klangliebhabern auf der ganzen Welt erwecken. Diese neue Generation von Bändchenmikrofonen erwies sich als perfekte Ergänzung zu moderner Studiotechnik, als Toningenieure im Zuge der steigenden Beliebtheit digitaler Aufnahmeverfahren das warme, analoge Feeling und den weichen Klang von Bändchenmikrofonen wiederentdeckten. Heutzutage bietet Royer Labs ein umfangreiches Sortiment an Bändchenmikrofonen für Studio- und Live-Anwendungen, die in Tonstudios und auf Bühnen rund um den Globus zu Hause sind. Produktdetails Hohe Pegelfestigkeit für die Abnahme von E-Gitarren, Blechblasinstrumenten und andere Anwendungen zur Direktabnahme Mehrlagiger Windschutz für einen effektiveren Schutz des Bändchenelements Integrierte elastische Halterung des Bändchenwandlers für eine längere Lebensdauer Passive Schaltung mit speziellem Übertrager für hohe Übersteuerungsfestigkeit Übertrager im Humbucker-Design für extrem geringes Grundrauschen Keine Beeinträchtigung des Bändchenelements durch Hitze und Feuchtigkeit Keine Spitzen im Hochtonbereich, kein „Klingeln“, keine Phasenverschiebungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Matched Pair

1.549,00 €* 2.099,00 €*
35 %
Royer Labs R-121 25th Ltd. Ed. Rose MP
Mit dem 25th Anniversary R-121 feiert Royer das Jubiläum des legendären R-121 mit einer einzigartigen, limitierten Auflage. Das R-121 Distressed Rose bietet unverändert den gleichen Charakter und Klang des klassischen R-121 und fügt ihm eine atemberaubende Lackierung hinzu, die Fans und Sammler des R-121 begeistern wird. Abhängig vom Licht erzeugt die spezielle "Distressed Rose"-Lackierung eine Vielzahl von wunderschönen Farbtönen: Von einer dunklen Bourbon-Farbe bei schwächerem Studiolicht und auf der Bühne bis hin zu einem satten Rosé-Ton bei hellerem Licht. Die Auflage des R-121 Distressed Rose ist auf 500 Stück weltweit begrenzt. Das R-121 wurde 1998 auf den Markt gebracht und war das erste moderne Bändchenmikrofon, das sich radikal von anderen Mikrofonen abhob und damit die Wiedergeburt des Bändchenmikrofons einleitete. Das R-121 ist weltweit ein Standard für Abnahme von E-Gitarren und eines der besten Mikrofone für Blechblasinstrumente, Drum-Overhead, Kick-Drums, Klavier, Snare-Drum, Akustikgitarre, Violine, Percussion, Harfe, Cello... die Liste lässt sich beliebig fortsetzen. Um ein Instrument so natürlich wie möglich aufzunehmen, ist das R-121 die perfekte Lösung. Das R-121 Distressed Rose ist eines der am besten aussehenden und am besten klingenden Mikrofone, sowohl für den täglichen Gebrauch als auch als Sammlerstück. Eigenschaften Limitierte Auflage des R-121 mit "Distressed Rose"-Finish Verträgt hohe Schalldruckpegel Keine aktiven internen Komponenten, die bei hohen Schallpegeln Verzerrungen erzeugen könnten Extrem niedriges Grundrauschen Bändchenelement wird von Hitze und Feuchtigkeit nicht beeinträchtigt Keine hochfrequenten Phasenverzerrungen Gleiche Empfindlichkeit an der Vorder- und Rückseite des Elements Konstanter Frequenzgang (unabhängig von der Distanz) Matched Pair

2.999,00 €* 4.580,31 €*
75 %
Sonnox Oxford Broadcast Bundle HD-HDX
 Broadcast Production CollectionDas SONNOX Broadcast Bundle enthält eine Zusammenstellung an fünf hochwertigen Plugins, die speziell für Broadcast Anwendungen zusammengestellt wurde.  Die enthaltenen Plugins des SONNOX Broadcast Bundles:Oxford EQOxford DynamicsOxford InflatorOxford Limiter Oxford SuprEsser 

299,00 €* 1.195,00 €*
73 %
Sonnox Oxford Broadcast Bundle Native
Broadcast Production CollectionDas SONNOX Broadcast Bundle enthält eine Zusammenstellung an fünf hochwertigen Plugins, die speziell für Broadcast Anwendungen zusammengestellt wurde.  Die enthaltenen Plugins des SONNOX Broadcast Bundles:Oxford EQOxford DynamicsOxford InflatorOxford Limiter Oxford SuprEsser

195,00 €* 729,00 €*
74 %
Sonnox Oxford DeBuzzer Native
The Oxford DeBuzzer is divided into two stages: Detection and Removal. Buzz removal is usually accomplished using a comb filter. The comb filter has many tight notches that eliminate the fundamental frequency and associated harmonics of the buzz. For this process to work well, the fundamental frequency must be very accurately determined. The DeBuzzer has several ways of helping isolate the fundamental frequency. First is the Peak Profile that is displayed above the central rotary control, which shows the strength of a given nominal frequency in the input signal. Second is the large FFT display which accentuates any frequency components that are consistently present, making them stand out in the plot. It will automatically mark the three highest peaks found, and you can set the nominal frequency by clicking one of the peaks on the graph.The third method of isolating the fundamental frequency is a tone generator. In the same way as you can tune a guitar, as you home into the fundamental, the beat frequency between the tone and the fundamental will become slower and slower the closer you get. Three Tracking Modes The DeBuzzer has three modes, Fast, Auto and Freeze. By default the plug-in assumes Auto mode, continuously hunting either side of the nominal frequency for a peak profile. Once the lock strength rises to be above a certain level, the plug-in automatically sets the nominal frequency to the frequency of the peak found. If the hum is wandering in frequency, the detector will follow. Auto Mode is suitable for tracking a weak, slowly wandering fundamental and operates over all three frequency bands. Fast tracking mode allows the removal filters to automatically follow a quickly wandering fundamental.In Auto Mode the nominal frequency is set with the large central rotary to within about 5Hz of a 50Hz or 60Hz hum frequency, the plug-in will automatically move towards the detected frequency and set itself up to remove it. Once the hum has disappeared, Freeze mode can be selected to set the nominal to this exact frequency and stop the detector from hunting. The large central rotary control can be setup to control three frequency ranges, determined by the LF, MF and HF buttons, and can be set with a very fine resolution of 1/10,000Hz For removing whines and whistles it is best to set Freeze Mode, and then use the FFT to find the frequency of the whines. These show up as peaks on the plot, and then you can click on a peak to set up the plug-in to remove that frequency. Filter Choice In terms of the removal filters, the default is a comb filter. However, you can override this by selecting Para-EQ mode, which means using parametric EQ sections to remove the fundamental and harmonics. If the buzz contains many harmonics, or if the frequency of the buzz is wandering, it is best to use the Comb filter. If there are only one or two harmonics to remove, then you may find that you prefer the sound of the parametric EQ filters.In Para-EQ mode you can reduce attenuation as you increase in frequency, with the Slope control, and you can choose to notch out odd and even harmonics, as opposed to only odd harmonics. Output The listen section of the Output Panel contains an option to listen to the difference between the input and the processed output. This is labeled 'Diff' and is particularly useful for hearing what has been repaired, and for listening to the quality of the repairs without being distracted by the audio material. System Requirements Pro ToolsPro Tools 6, 7, 8 & 9 (Pro Tools 7, 8 & 9 for SuprEsser & Restore Suite)Approved Pro Tools CPU, OS and hardware configuration : avid.comMac OSX 10.3 or later  - 10.4 or later for SuprEsser & Restore Suite  - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitRAM 1GB minimumiLok key with latest drivers  Audio UnitsPro-Codec is compatible with Intel Mac onlyAudio Units compatible application (Logic, Digital Performer etc.)Mac OSX 10.4 or laterRAM 1GB minimumiLok key with latest drivers VSTVST compatible application (Cubase, Nuendo, Wavelab, Sequoia etc.)Mac OSX 10.4 or later  - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitSupports DAW's installed in 64-bit mode on 64-bit Windows operating systems*RAM 1GB minimumiLok key with latest drivers PowerCoreTC PowerCore hardwarePowerCore version 2 drivers or laterAU or VST host applicationMac OSX 10.4 or laterWindows XP / Vista32 / Windows 7RAM 1GB minimumiLok key with latest drivers 

59,00 €* 225,00 €*
74 %
Sonnox Oxford DeClicker Native
The Oxford DeClicker has three main sections: DePop, DeClick and DeCrackle. These three sections deal with events that are up to 10ms, 3ms and 0.4ms in duration, respectively. Each of these sections has a threshold and sensitivity control, and an excitation profile which shows the residual signal left after harmonic content is removed. The excitation profile represents how much the signal deviates from the predicted signal.The threshold controls determine how many events are detected, and the sensitivity controls determine how many of those detected events go on to be repaired. The Events Graph The events graph is an important visual display, showing events as they are being detected. The events are shown with duration along the X-axis and amplitude/energy along the Y-axis.The graph shows green bubbles (DePop), blue bubbles (DeClick) and white bubbles (DeCrackle). The size of the bubbles indicates how loud they are, as does their height above the horizontal axis. Each section has an IN button, and if you disable a section using the IN button, their bubbles are displayed as Red, meaning these events have been detected but not repaired. The Exclude Box One unique feature of the Oxford DeClicker is the Exclude Box, which enables the exclusion of detected events from the repair section. Audio restoration is always about finding the right compromise between removing unwanted noise and leaving the desired remaining audio intact without too much loss of high frequency content.The exclude box aids this process by making exceptions to what is repaired so you don't have to battle with the sensitivity control in finding this compromise. For example, you may be happy with a piece of music and the associated repairs, except for a section with brass instruments - at which point too many high energy events are detected and corrected, resulting in diminished brightness. Similarly you may see a pop on the display that you know is part of your 'wanted audio', but other than that you are happy with your control settings. Simply draw a box around the area on the graph you wish to exclude and any events detected within that area will not be repaired (and will be coloured red). Dialogue Mode Another example of the Oxford DeClicker's flexibility is Dialogue Mode, which enables two independent banks of controls to be set up differently for dialogue and background.For example you may want the threshold/sensitivity settings to be quite different during dialogue from the settings you'd want for pauses between speech. Dialogue mode puts you in control by allowing you set a threshold which determines an 'above set' and a 'below set' which can be controlled quite independently. There are even side-chain filters which can further help define the threshold between above and below sets. Output The listen section of the Output Panel contains an option to listen to the difference between the input and the processed output. This is labeled 'Diff' and is particularly useful for hearing what has been repaired, and for listening to the quality of the repairs without being distracted by the audio material. System RequirementsPro ToolsPro Tools 6, 7, 8 & 9 (Pro Tools 7, 8 & 9 for SuprEsser & Restore Suite)Approved Pro Tools CPU, OS and hardware configuration : avid.comMac OSX 10.3 or later  - 10.4 or later for SuprEsser & Restore Suite  - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitRAM 1GB minimumiLok key with latest drivers  Audio UnitsPro-Codec is compatible with Intel Mac onlyAudio Units compatible application (Logic, Digital Performer etc.)Mac OSX 10.4 or laterRAM 1GB minimumiLok key with latest drivers VSTVST compatible application (Cubase, Nuendo, Wavelab, Sequoia etc.)Mac OSX 10.4 or later  - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitSupports DAW's installed in 64-bit mode on 64-bit Windows operating systems*RAM 1GB minimumiLok key with latest drivers PowerCoreTC PowerCore hardwarePowerCore version 2 drivers or laterAU or VST host applicationMac OSX 10.4 or laterWindows XP / Vista32 / Windows 7RAM 1GB minimumiLok key with latest drivers 

59,00 €* 225,00 €*
74 %
Sonnox Oxford Denoiser Native
The Oxford DeNoiser removes wide-band noise from audio material using a variety of sophisticated techniques. The key to good de-noising lies in helping the user produce pleasing and accurate results, rather than encouraging the over-aggressive use of controls.The Oxford DeNoiser is based around the concept of a 'noise profile'. The noise profile is used to gate-out components of the frequency spectrum that are below it, and keep the components that are above it. There are several methods to arrive at an appropriate noise floor. Three Detect Modes AUTO: In Auto mode the frequency spectrum of the signal is examined to automatically acquire the general shape of the noise threshold profile by looking for levels in the frequency spectrum that are consistently there. In this mode, the threshold is relative to the general signal level and therefore noise removal will always be a fixed number of dBs below the actual signal.FREEZE: Another method to arrive at an appropriate noise profile is to use the Freeze button to freeze the automatic noise profile, and use that fixed profile from then on. This is useful for capturing the profile from a section of material containing only background noise, and then applying it to the rest of the material. The advantage of Freeze mode is that the threshold is always set to remove the correct level of noise from the material, meaning that as the level of the programme material climbs, the noise removal is less destructive. MANUAL: In this mode you manually specify a simple coloured noise profile, using the Colour and Air controls. Colour adjusts the shape of the noise-profile from white to red noise, Air modifies the HF shape of the noise-profile.In most cases, Auto mode gives the most sympathetic results, as the level of the threshold will follow the level of the actual signal. Fine Tune For additional control, the DeNoiser has the ability to adjust the theshold of the noise-profile at different frequencies by means of a bias curve. There is also a bias curve to adjust the amount of reduction at various frequencies allowing more noise removal at some frequencies while still being gentle at other frequencies. These bias curves work in all three modes - Auto, Freeze or Manual. Further manipulation of the detect threshold and reduction amount is available in the form of the Smooth and Tune controls. DeHisser Section The Oxford DeNoiser also contains a dedicated DeHisser section before the broadband noise-removal section. This can be used quite aggressively on audio such as dialogue where there is not a lot of high frequency content that needs preserving, and where the priority is to reduce the hiss to an acceptably clean level. Mid/Side Mode There is a Mid/Side operation mode in the DeNoiser, which causes the plugin to de-noise only the Side signal content of the Left-Right signal, leaving the Mid content alone. The Left-Right signal is first converted to Mid-Side, then the Side is de-noised, then the signal is converted back to Left-Right. This is of course particularly useful in broadcast where switching between stereo and mono should not cause a noticeable change in dominant noise content.DeNoising only the Side channel means that mono operation is entirely unaffected while stereo operation produces a cleaner stereo image without affecting the central sound. Secondly, recordings made with the Mid-Side microphone technique often have more noticeable noise in the Side signal because the Side signal is mainly ambiance. If the Mid-Side recording is then converted to Left /Right at some point,the Mid-Side mode of the DeNoiser allows you to de-noise just the Side content. Sweetening Having removed the noise, in some circumstances it is desirable to add something back to the signal that has been taken away. For example, the act of de-noising can make the material sound a little flat compared with the original. The Oxford DeNoiser has a 'Warmth' control in the output section that can quickly add some richness back into the material.As with all three plug-ins in the Sonnox Restore suite, there is the option to listen to the 'Diff' signal, which is the difference between the input and the processed output. This is useful for listening to the noise that is being removed, to ensure that 'good' audio is not removed from the output signal System Requirements Pro ToolsPro Tools 6, 7, 8 & 9 (Pro Tools 7, 8 & 9 for SuprEsser & Restore Suite)Approved Pro Tools CPU, OS and hardware configuration : avid.comMac OSX 10.3 or later  - 10.4 or later for SuprEsser & Restore Suite  - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitRAM 1GB minimumiLok key with latest drivers  Audio UnitsPro-Codec is compatible with Intel Mac onlyAudio Units compatible application (Logic, Digital Performer etc.)Mac OSX 10.4 or laterRAM 1GB minimumiLok key with latest drivers VSTVST compatible application (Cubase, Nuendo, Wavelab, Sequoia etc.)Mac OSX 10.4 or later  - Pro-Codec is compatible with Intel Mac onlyWindows XP / Vista - 32 & 64 bit / Windows 7 - 32 & 64 bitSupports DAW's installed in 64-bit mode on 64-bit Windows operating systems*RAM 1GB minimumiLok key with latest drivers PowerCoreTC PowerCore hardwarePowerCore version 2 drivers or laterAU or VST host applicationMac OSX 10.4 or laterWindows XP / Vista32 / Windows 7RAM 1GB minimumiLok key with latest drivers

59,00 €* 225,00 €*
72 %
Sonnox Oxford Dynamic EQ
FEATURES 5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type All bands can overlap fluidly without the static phase distortion or low frequency artefacts associated with multiband compressors Each band can process and/or detect from mono, stereo, mid or side channels Flexible per-band internal/external side chain controls A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins Flexible upwards/downwards compression and upwards/downwards expansion Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing

68,00 €* 239,00 €*
71 %
Sonnox Oxford Dynamics Native
Overview The Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses. Channel Dynamics with separately controlled sections for Compressor, Limiter, Gate and Expander. Channel Dynamics includes fully featured 2 Band side chain EQ which can also be used in signal path. Separate Bus Compressor / Limiter with surround multiformat support and selectable Sub channel filtering and gain contribution control. Selectable linear and exponential time constant curves. Highly accurate logarithmic side chain processing. Fully variable soft ratio function for extreme programme tolerance and highly musical compression. Variable harmonic enhancement for extra loudness, presence and 'punch'. Selectable redithering function for word length reduction in mastering situations. Extremely low signal path noise and distortion, below 130dBr. All functions are fully automated. Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

69,00 €* 239,00 €*
72 %
Sonnox Oxford Elite Bundle Native
Sonnox 'Oxford Elite Bundle Native' alle 7 Oxford Plug-InsOxford EQDynamicsInflatorTransModLimiterOxford ReverbOxford SuprEsserinklusive Installer für Digidesign RTAS, Audio Unit und VSTMac/PCbenötigt den iLok Dongle!  Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

249,00 €* 899,00 €*
72 %
Sonnox Oxford Enhance Bundle HD-HDX
This ENHANCE Bundle features the HD / TDM versions of Sonnox's Inflator, Transient Modulator, and Limiter plug-ins. These three simple-to-use, yet incredibly powerful digital signal processing plug-ins will enhance your mix and your audio editing process to give it the sound it needs to be heard above the rest. When you buy it in this bundle, you pump up your Pro Tools set and save cash too.Sonnox Oxford Inflator Plug-In The Inflator HD/TDM plug-in features a unique process that can provide an increase in the apparent loudness of almost any program, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to program material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.Use the Inflator plug-in to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.Sonnox Oxford Transient Modulator Plug-In The Oxford Transient Modulator HD / TDM Plug-in is an application that allows dynamic level of signals to be modified by the transients in the program material over time. The effect is to bring transient events in the program to the front of the mix, or push them into the background, such that the attacks of instruments can be accentuated or softened depending on settings.Sonnox Oxford Limiter Plug-In The Oxford Limiter HD / TDM plug-in has been developed from decades of professional audio experience to provide a very high degree of quality and flexibility in loudness control and limiting functions. By employing highly accurate logarithmic sidechain processing, along with innovative, adaptive timing functionality with look ahead signal acquisition, the limiter provides exemplary performance. Whether one is seeking general transparent level control, program loudness maximization, or heavily applied artistic sound effects, the Oxford Limiter is one digital dynamical processor that gets the job done. Unique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied beyond what is available from conventional limiting functions. Comprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of your mix in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed 'inter sample peaks'). A further function allows you to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing janky signals often associated with compression and limiting.The software plug-in has comprehensive dithering functionality with selectable and variable depth noise shaping ensures first-class mastering output quality in either 24-bit or 16-bit modes.Sonnox ENHANCE Bundle HD / TDM Plug-Ins Features:Oxford Inflator5-band fully parametric EQVariable HF & LF filters up to 36dB/OctaveAlgorithm taken directly from the Sony OXF-R3Four different EQ types in one plug-inFully de-cramped HF responseA/B switches (automatable)Ultra low noise and distortionOxford Transient ModulatorAccentuates or softens attacks and transientsBrings instruments forwards or pushes them back in the mixRadically changes the dynamics of instrumentsVariable harmonic enhancement for extra punchCan have the effect of increasing or decreasing room ambianceGives life to dull sounding recordings without the artifacts of compressionOxford LimiterEnhance section to increase perceived loudnessReconstruction meter shows 'actual' signal rather than sampled signalAuto compensate feature corrects recon errors without losing overall prog