Triode Audio
May 24
2011
2011
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Please observe some great offers on Triode Audio
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Gerber 22-80070 Camo Triode Head Torch $23.99 1 x AAA 22-80070 22-80070 Camo Triode Head Torch 22-80070 Camo Triode Headlamp 1 x AAA Battery Head Strap Clips to bill of hat or use headband Light pivots up and down Heads turn when you show up after dark wearing the versatile Triode headlamp. And it illuminates like the dickens, thanks to a trio of intensely bright L.E.D especially when it’s set on the higher of its two brightness modes. Battery Camo Camo Triode Gerber Gerber Legendary Blades Head Torch LED LED White Flashlight Lifetime Limited www.gerbergear.com |
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THD Triode Yellow Jacket for 7591 Amps Duet $118 The YJ7591D is an adapter that permits the use of an EL84 power tube in 7591 amps. There are no adjustments to make and no modifications are necessary. You simply plug the Yellow Jacket into the amp’s output tube sockets, plug the provided EL84s into the Yellow Jacket, turn on the amp, and play. THD’s Yellow Jacket converters not only rearrange the pin locations of the tubes, but also provide the necessary current limiting on the screens and cathode as well as blocking the amplifier’s grid-bias voltage, configuring the EL84 in a Class-A, self-adjusting cathode-bias circuit. When the Yellow Jacket Converters are installed in larger amplifiers intended for 6L6s or EL34 output tubes, the high plate and screen voltages are reduced as well as current limited to protect the EL84 and to drop output power. When a pair of Yellow Jacket are used in a Marshall 50W or similar amplifier, the overall power drops to about 20W and takes on more of the character of an old Vox AC30. The distortion is smoother and more even and the output is both substantially reduced and more compressed due to the Class-A nature of the Yellow Jackets. In a 100W amp like a Twin Reverb or Marshall 100, either 2 or 4 Yellow Jackets can be used. If only 2 are used and the other 2 sockets are left empty, the output is dropped to about 20 watts. With 4 in place, the amp puts out about 40W and takes on a whole new warmth and richness. Will they hurt your amp? No! Yellow Jacket converters are safe for all amplifiers and transformers. As all Yellow Jacket converters internally regulates voltage and current they put no extra strain on amplifiers’ power and output transformers or internal components. Using the Yellow Jacket in higher powered amplifiers actually reduces the strain on the transformers and internal components because it reduces the overall wattage of the system. Furthermore, the heater (or filament) current of the EL84 is lower than that of the 6L6, EL34 or 7591, so the Yellow Jacket will reduce the strain on the filament windings of the power transformer as well.Use an EL84 in 7591 amps Tubes included |
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Thd Triode Yellow Jacket For 7591 Amps Duet $118 The YJ7591D is an adapter that permits the use of an EL84 power tube in 7591 amps. There are no adjustments to make and no modifications are necessary. You simply plug the Yellow Jacket into the amp’s output tube sockets, plug the provided EL84s into the Yellow Jacket, turn on the amp, and play. THD’s Yellow Jacket converters not only rearrange the pin locations of the tubes, but also provide the necessary current limiting on the screens and cathode as well as blocking the amplifier’s grid-bias voltage, configuring the EL84 in a Class-A, self-adjusting cathode-bias circuit. When the Yellow Jacket Converters are installed in larger amplifiers intended for 6L6s or EL34 output tubes, the high plate and screen voltages are reduced as well as current limited to protect the EL84 and to drop output power. When a pair of Yellow Jacket are used in a Marshall 50W or similar amplifier, the overall power drops to about 20W and takes on more of the character of an old Vox AC30. The distortion is smoother and more even and the output is both substantially reduced and more compressed due to the Class-A nature of the Yellow Jackets. In a 100W amp like a Twin Reverb or Marshall 100, either 2 or 4 Yellow Jackets can be used. If only 2 are used and the other 2 sockets are left empty, the output is dropped to about 20 watts. With 4 in place, the amp puts out about 40W and takes on a whole new warmth and richness. Will they hurt your amp? No! Yellow Jacket converters are safe for all amplifiers and transformers. As all Yellow Jacket converters internally regulates voltage and current they put no extra strain on amplifiers’ power and output transformers or internal components. Using the Yellow Jacket in higher powered amplifiers actually reduces the strain on the transformers and internal components because it reduces the overall wattage of the system. Furthermore, the heater (or filament) current of the EL84 is lower than that of the 6L6, EL34 or 7591, so the Yellow Jacket will reduce the strain on the filament windings of the power transformer as well.Use an EL84 in 7591 amps Tubes included |
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Audio $15.99 Audio |
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Sterling Audio ST44 Small Diaphragm Tube Condenser Microphone $299.99 The Sterling Audio ST44 is a small-diaphragm tube condenser microphone that incorporates a hand-built capsule with a thin, 6-micron evaporated gold Mylar diaphragm. Optimized to capture the most definition and detail from all acoustic instruments like piano, drums, and guitars, the ST44′s low-noise GT6205M tube in a Class-A triode circuit provides warmth and detail, adding new dimension to vocal and especially instrument recording. Requires phantom power. |
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Sterling Audio ST66 Large Diaphragm Tube Condenser Microphone $363.99 The Sterling Audio ST66 is a tube condenser microphone that employs a large capsule with an ultra-thin 3-micron evaporated gold Mylar diaphragm. Optimized to capture the most definition and detail from all acoustic instruments like piano, drums, and guitars, the ST66 mic’s low-noise GT6205M tube in a Class-A triode circuit provides warmth and detail, adding new dimension to vocal and especially instrument recording. The ST66 uses triode wiring on specially selected pentode tubes to yield low noise and a more realistic dynamic response than their competitors. Its power supply is designed with a load-balancing circuitry that allows cable runs of more than 200 feet with no deviation from optimal performance. Sterling Audio microphones employ several advanced technologies that separate their large-diaphragm condenser mics from the rest of the pack. One of the more important advancements is their Disk Resonator system. With it, Sterling Audio is uniquely able to compensate for the 14kHz frequency roll-off that is inherent in large diaphragm mics. As any good audio engineer knows, this deficiency translates to a lack of sparkle from high-frequency sound sources. Other manufacturers have typically solved this problem by cutting other frequencies and then increasing the entire signal to help even out the frequency range. Unfortunately, this results in increased noise. Disk Resonator Technology incorporates a brass umbrella that protrudes from the center of the diaphragm in Sterling Audio’s ST66 microphone. It gently boosts the diaphragm sensitivity to shorter sound waves, allowing it to respond more accurately to those all-important higher frequencies. The result is optimal sensitivity, full frequency response, and a low signal-to-noise ratio. Another piece of audio wizardry comes in the form of the ultra-thin diaphragm membrane made of Mylar. While most modern condenser diaphragms are 6 to 12 microns in thickness, Sterling Audio, in association with 3M, has produced a highly resilient Mylar that measures a mere 3 microns. This allows the ST66 to deliver an extraordinary degree of sensitivity. Requires phantom power. |
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MXL Dual-Diaphragm Condenser Microphone – Green/Gold $169.99 Classic design meets modern function in this microphone that features a dual-triode vacuum tube design for warm, rich sound and a bass roll-off switch for clear, crisp audio. |
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Sterling Audio St44 Small Diaphragm Tube Condenser Microphone $299.99 The Sterling Audio ST44 is a small-diaphragm tube condenser microphone that incorporates a hand-built capsule with a thin, 6-micron evaporated gold Mylar diaphragm. Optimized to capture the most definition and detail from all acoustic instruments like piano, drums, and guitars, the ST44′s low-noise GT6205M tube in a Class-A triode circuit provides warmth and detail, adding new dimension to vocal and especially instrument recording. Requires phantom power.Mid-size, all brass capsule Ideal for overhead vocal groups, voiceover and large choirs Hand-selected, low-noise USA-made vacuum tube Low-noise cable with Neutrik connectors Nickel-plated brass body Stainless steel head and grille assembly Moisture-resistant aluminum storage case SM3 shockmount 7-pin XLR mic cable PSM1 power supply and cord |
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Used Sterling Audio St44 Small Diaphragm Tube Condenser Microphone $272.99 The Sterling Audio ST44 is a small-diaphragm tube condenser microphone that incorporates a hand-built capsule with a thin, 6-micron evaporated gold Mylar diaphragm. Optimized to capture the most definition and detail from all acoustic instruments like piano, drums, and guitars, the ST44′s low-noise GT6205M tube in a Class-A triode circuit provides warmth and detail, adding new dimension to vocal and especially instrument recording. Requires phantom power.Mid-size, all brass capsule Ideal for overhead vocal groups, voiceover and large choirs Hand-selected, low-noise USA-made vacuum tube Low-noise cable with Neutrik connectors Nickel-plated brass body Stainless steel head and grille assembly Moisture-resistant aluminum storage case SM3 shockmount 7-pin XLR mic cable PSM1 power supply and cord |
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Sterling Audio St66 Large Diaphragm Tube Condenser Microphone $279.99 The Sterling Audio ST66 is a tube condenser microphone that employs a large capsule with an ultra-thin 3-micron evaporated gold Mylar diaphragm. Optimized to capture the most definition and detail from all acoustic instruments like piano, drums, and guitars, the ST66 mic’s low-noise GT6205M tube in a Class-A triode circuit provides warmth and detail, adding new dimension to vocal and especially instrument recording. The ST66 uses triode wiring on specially selected pentode tubes to yield low noise and a more realistic dynamic response than their competitors. Its power supply is designed with a load-balancing circuitry that allows cable runs of more than 200 feet with no deviation from optimal performance. Sterling Audio microphones employ several advanced technologies that separate their large-diaphragm condenser mics from the rest of the pack. One of the more important advancements is their Disk Resonator system. With it, Sterling Audio is uniquely able to compensate for the 14kHz frequency roll-off that is inherent in large diaphragm mics. As any good audio engineer knows, this deficiency translates to a lack of sparkle from high-frequency sound sources. Other manufacturers have typically solved this problem by cutting other frequencies and then increasing the entire signal to help even out the frequency range. Unfortunately, this results in increased noise. Disk Resonator Technology incorporates a brass umbrella that protrudes from the center of the diaphragm in Sterling Audio’s ST66 microphone. It gently boosts the diaphragm sensitivity to shorter sound waves, allowing it to respond more accurately to those all-important higher frequencies. The result is optimal sensitivity, full frequency response, and a low signal-to-noise ratio. Another piece of audio wizardry comes in the form of the ultra-thin diaphragm membrane made of Mylar. While most modern condenser diaphragms are 6 to 12 microns in thickness, Sterling Audio, in association with 3M, has produced a highly resilient Mylar that measures a mere 3 microns. This allows the ST66 to deliver an extraordinary degree of sensitivity. Requires phantom power.Low-noise GT6205M-USA tube Disk Resonator design extends high-frequencies naturally Large 1-1/4″ all-brass capsule, hand assembled and oven baked for long term, stable operation Low-noise mic cable with Neutrik connectors Nickel-plated all brass body Custom-wound nickel core output transformer ST-SM4 shockmount 7-pin XLR mic cable PSM1 power supply and cord |
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Used Sterling Audio St66 Large Diaphragm Tube Condenser Microphone $254.79 The Sterling Audio ST66 is a tube condenser microphone that employs a large capsule with an ultra-thin 3-micron evaporated gold Mylar diaphragm. Optimized to capture the most definition and detail from all acoustic instruments like piano, drums, and guitars, the ST66 mic’s low-noise GT6205M tube in a Class-A triode circuit provides warmth and detail, adding new dimension to vocal and especially instrument recording. The ST66 uses triode wiring on specially selected pentode tubes to yield low noise and a more realistic dynamic response than their competitors. Its power supply is designed with a load-balancing circuitry that allows cable runs of more than 200 feet with no deviation from optimal performance. Sterling Audio microphones employ several advanced technologies that separate their large-diaphragm condenser mics from the rest of the pack. One of the more important advancements is their Disk Resonator system. With it, Sterling Audio is uniquely able to compensate for the 14kHz frequency roll-off that is inherent in large diaphragm mics. As any good audio engineer knows, this deficiency translates to a lack of sparkle from high-frequency sound sources. Other manufacturers have typically solved this problem by cutting other frequencies and then increasing the entire signal to help even out the frequency range. Unfortunately, this results in increased noise. Disk Resonator Technology incorporates a brass umbrella that protrudes from the center of the diaphragm in Sterling Audio’s ST66 microphone. It gently boosts the diaphragm sensitivity to shorter sound waves, allowing it to respond more accurately to those all-important higher frequencies. The result is optimal sensitivity, full frequency response, and a low signal-to-noise ratio. Another piece of audio wizardry comes in the form of the ultra-thin diaphragm membrane made of Mylar. While most modern condenser diaphragms are 6 to 12 microns in thickness, Sterling Audio, in association with 3M, has produced a highly resilient Mylar that measures a mere 3 microns. This allows the ST66 to deliver an extraordinary degree of sensitivity. Requires phantom power.Low-noise GT6205M-USA tube Disk Resonator design extends high-frequencies naturally Large 1-1/4″ all-brass capsule, hand assembled and oven baked for long term, stable operation Low-noise mic cable with Neutrik connectors Nickel-plated all brass body Custom-wound nickel core output transformer ST-SM4 shockmount 7-pin XLR mic cable PSM1 power supply and cord |
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Tl Audio Ivory 5021 Tube Compressor $999 Valve compression is now universally recognized as one of the essential tools for today’s recording engineer. The Ivory 5021 Tube Compressor provides everything you would expect from a TL Audio compressor: first class audio quality, bags of flexibility and a price tag so modest you’d be forgiven for thinking it was a printing error. Now the TL Audio 5021 Compressor features hard and soft knee modes, four attack and release times, an improved optical gate design and an optional digital output. Like the C-1 compressor, the 5021 uses TL Audio’s special transconductance amplifier design that avoids the use of VCAs, ensuring maximum audio transparency. So whether you’re hitting the end stops or just providing gentle dynamic control, the 5021 delivers super-smooth results every time.The 5021 employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve run from a stabilized 150V DC supply. One stage is in the preamp, and the other is in the gain control element of the compressor.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio’s best selling range of products to date. Th |
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TL Audio Ivory 5021 Tube Compressor $999 Valve compression is now universally recognized as one of the essential tools for today’s recording engineer. The Ivory 5021 Tube Compressor provides everything you would expect from a TL Audio compressor: first class audio quality, bags of flexibility and a price tag so modest you’d be forgiven for thinking it was a printing error. Now the TL Audio 5021 Compressor features hard and soft knee modes, four attack and release times, an improved optical gate design and an optional digital output. Like the C-1 compressor, the 5021 uses TL Audio’s special transconductance amplifier design that avoids the use of VCAs, ensuring maximum audio transparency. So whether you’re hitting the end stops or just providing gentle dynamic control, the 5021 delivers super-smooth results every time.The 5021 employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve run from a stabilized 150V DC supply. One stage is in the preamp, and the other is in the gain control element of the compressor.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory se |
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Tl Audio Ivory 5013 Parametric Eq $999 The TL Audio 5013 Parametric EQ offers a perfect combination of performance and affordability among TL Audio equalizers. The 5013 is a rackmount EQ that features a peaking/shelving option on both low-frequency and high-frequency bands plus a Fat-contour switch on both channels. Like all TL Audio equipment, the interfacing options couldn’t be more flexible–separate input and output level controls allow easy level matching with any other equipment, and a choice of balanced and unbalanced line inputs/outputs plus instrument DI inputs means you can get yourself up and running in seconds. Once you have experienced high-quality equalization, you won’t want to record without it. If you’ve always thought that your console EQ is good enough, just try the 5013 equalizer and you won’t go back.The 5013 EQ unit employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve. One stage is positioned prior to the EQ filters, and one is post EQ. Both are run at 150V DC from a fully stabilized PSU.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio’s best selling range of products to d |
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TL Audio PA-1 Dual Pentode Tube Preamp $1599 The PA-1 Dual,Pentode is TL Audio’s top-of-the-range preamp, producing a stunning sound from any source. The PA-1 offers several improvements over its best-selling forerunner, including a raven blue 6mm aluminum front panel, General Electric US military-specification ECC83/12AX7A valves, gold-plated ceramic valve bases, and circular back-lit VU meters which monitor output level. Internal circuitry has been refined to offer smoother frequency response around the valve stages and provide extra output gain, thus enabling easier interfacing with digital recorders.All microphones from inexpensive dynamics to top-quality condensers produce a fuller, more open and more vibrant sound when fed through the TL Audio PA-1, Instruments fed through the dedicated front panel DI input take on added weight and presence. Separate input and output level controls offer the ability to drive the valve stages harder for increased warmth while simultaneously controlling the overall output level. Switchable high- and low-pass filters, LED level indicators, and a phase reverse facility are refinements that make the PA-1 Tube Preamp a natural choice for any track laying or direct-to-tape recording situation.The PA-1 differs from TL Audio’s standard hybrid preamp design. It features a transformer-coupled mic input followed by a low-noise, high-gain EF86 pentode valve. Two further triode valve stages (supplied by 250v DC) are incorporated into each channel. The instrument input bypasses the transformer and feeds straight into the pentode valve. TL Audio’s usual high-drive solid state output stage completes the signal chain.About TL Audio TL Audio began manufacturing audio products in 1990, when the company, founded by Tony Larking, was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That). |
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TL Audio Ivory 5013 Parametric EQ $999 The TL Audio 5013 Parametric EQ offers a perfect combination of performance and affordability among TL Audio equalizers. The 5013 is a rackmount EQ that features a peaking/shelving option on both low-frequency and high-frequency bands plus a Fat-contour switch on both channels. Like all TL Audio equipment, the interfacing options couldn’t be more flexible–separate input and output level controls allow easy level matching with any other equipment, and a choice of balanced and unbalanced line inputs/outputs plus instrument DI inputs means you can get yourself up and running in seconds. Once you have experienced high-quality equalization, you won’t want to record without it. If you’ve always thought that your console EQ is good enough, just try the 5013 equalizer and you won’t go back.The 5013 EQ unit employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve. One stage is positioned prior to the EQ filters, and one is post EQ. Both are run at 150V DC from a fully stabilized PSU.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The I |
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Tl Audio Pa-1 Dual Pentode Tube Preamp $1599 The PA-1 Dual,Pentode is TL Audio’s top-of-the-range preamp, producing a stunning sound from any source. The PA-1 offers several improvements over its best-selling forerunner, including a raven blue 6mm aluminum front panel, General Electric US military-specification ECC83/12AX7A valves, gold-plated ceramic valve bases, and circular back-lit VU meters which monitor output level. Internal circuitry has been refined to offer smoother frequency response around the valve stages and provide extra output gain, thus enabling easier interfacing with digital recorders.All microphones from inexpensive dynamics to top-quality condensers produce a fuller, more open and more vibrant sound when fed through the TL Audio PA-1, Instruments fed through the dedicated front panel DI input take on added weight and presence. Separate input and output level controls offer the ability to drive the valve stages harder for increased warmth while simultaneously controlling the overall output level. Switchable high- and low-pass filters, LED level indicators, and a phase reverse facility are refinements that make the PA-1 Tube Preamp a natural choice for any track laying or direct-to-tape recording situation.The PA-1 differs from TL Audio’s standard hybrid preamp design. It features a transformer-coupled mic input followed by a low-noise, high-gain EF86 pentode valve. Two further triode valve stages (supplied by 250v DC) are incorporated into each channel. The instrument input bypasses the transformer and feeds straight into the pentode valve. TL Audio’s usual high-drive solid state output stage completes the signal chain.About TL Audio TL Audio began manufacturing audio products in 1990, when the company, founded by Tony Larking, was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was fo |
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TL Audio Ivory 5001 4-Channel Preamp $999 The 5001 4-Channel Tube Mic Preamp offers four top-quality valve mic preamps in a single 2U package, and now boasts extra features including a discrete mic preamp stage, 30dB pad, instrument DI inputs, improved metering, and optional 24-bit digital output. The 5001 preamp’s combination of sound and functions is guaranteed to bring out the best in any microphone from a low cost dynamic to a vintage large capsule condenser. Separate input and output level controls allow the valve stages to be driven harder if necessary for increased warmth, while still allowing the overall output level to be regulated–absolutely essential if recording direct to tape. The TL Audio 5001′s output fader permits anything from complete attenuation through to +15dB of extra output gain–making it ideal for driving today’s high-level digital recorders.Each channel of the 5001 preamp employs one half of an ECC83/12AX7A Sovtek dual-triode valve, run from a stabilized 150V DC supply. The valve stage is positioned just after the initial discrete mic preamp stage.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio’s best selling |
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TL Audio Ivory 5052 Stereo Tube Processor $2399 The TL Audio 5052 is a 2-channel Tube Processor is the latest addition to the best-selling Ivory 2 series. The 5052 provides everything you would expect from a high-quality channel strip product, and then doubles it, making it the ideal system front end and the perfect stereo mixdown and mastering device. While most channel strip products provide a single mono channel made up of preamp, dynamics and EQ stages, the 5052 Processor provides two channels of each with independent stereo linking of the compressor, EQ, and limiter sections. Recording a mono or stereo source to multi-track through the 5052 becomes simplicity itself, yet when it comes to mixdown, the 5052 comes into its own by offering full stereo linked EQ and dynamics, allowing unparalleled processing of the stereo buss while mixing.Couple this supreme flexibility with TL Audio’s class-leading valve circuit design, and the 5052 represents the ultimate tracking and mixing tool for today’s digital environment. The 5052 Processor utilizes six triode valve stages shared between the two channels, run from a high-quality internal 150V stabilized DC supply.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the |
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Tl Audio Ivory 5001 4-Channel Preamp $999 The 5001 4-Channel Tube Mic Preamp offers four top-quality valve mic preamps in a single 2U package, and now boasts extra features including a discrete mic preamp stage, 30dB pad, instrument DI inputs, improved metering, and optional 24-bit digital output. The 5001 preamp’s combination of sound and functions is guaranteed to bring out the best in any microphone from a low cost dynamic to a vintage large capsule condenser. Separate input and output level controls allow the valve stages to be driven harder if necessary for increased warmth, while still allowing the overall output level to be regulated–absolutely essential if recording direct to tape. The TL Audio 5001′s output fader permits anything from complete attenuation through to +15dB of extra output gain–making it ideal for driving today’s high-level digital recorders.Each channel of the 5001 preamp employs one half of an ECC83/12AX7A Sovtek dual-triode valve, run from a stabilized 150V DC supply. The valve stage is positioned just after the initial discrete mic preamp stage.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio’s best selling |
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Tl Audio Ivory 5052 Stereo Tube Processor $2399 The TL Audio 5052 is a 2-channel Tube Processor is the latest addition to the best-selling Ivory 2 series. The 5052 provides everything you would expect from a high-quality channel strip product, and then doubles it, making it the ideal system front end and the perfect stereo mixdown and mastering device. While most channel strip products provide a single mono channel made up of preamp, dynamics and EQ stages, the 5052 Processor provides two channels of each with independent stereo linking of the compressor, EQ, and limiter sections. Recording a mono or stereo source to multi-track through the 5052 becomes simplicity itself, yet when it comes to mixdown, the 5052 comes into its own by offering full stereo linked EQ and dynamics, allowing unparalleled processing of the stereo buss while mixing.Couple this supreme flexibility with TL Audio’s class-leading valve circuit design, and the 5052 represents the ultimate tracking and mixing tool for today’s digital environment. The 5052 Processor utilizes six triode valve stages shared between the two channels, run from a high-quality internal 150V stabilized DC supply.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series |
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Universal Audio 710 Twin-Finity Mic Pre & DI Box $729.99 The Universal Audio 710 Twin-Finity is a radically different UA preamp design which combines the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The UA 710 microphone preamp and DI was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.The key to the UA Twin-Finity 710 preamp’s sonic flexibility lies in its innovative circuit design. The unit’s solid-state transimpedance input amp simultaneously drives separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output. The mix between the 310-volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the Blend Knob. Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.Like all Universal Audio preamp designs, the 710 Twin-Finity features dual gain-stage controls (Gain/Level), which can radically vary the amount of coloration and distortion by allowing you to crank up the input, gain like a guitar amp. The VU meter features a unique Drive mode allowing you to see how hard you are driving the input stage.Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity is designed and built at UA headquarters in California, and includes a 19″ rack-kit for mounting one or two units.Solid-state transimpedance inputPhase-aligned tube and solid-state gain stagesSingle outputBlend knobDual gain stage controlsVU meterJFET DI input circuit |
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Universal Audio 710 Twin-Finity Mic Pre & Di Box $799 The Universal Audio 710 Twin-Finity is a radically different UA preamp design which combines the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The UA 710 microphone preamp and DI was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.The key to the UA Twin-Finity 710 preamp’s sonic flexibility lies in its innovative circuit design. The unit’s solid-state transimpedance input amp simultaneously drives separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output. The mix between the 310-volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the Blend Knob. Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.Like all Universal Audio preamp designs, the 710 Twin-Finity features dual gain-stage controls (Gain/Level), which can radically vary the amount of coloration and distortion by allowing you to crank up the input, gain like a guitar amp. The VU meter features a unique Drive mode allowing you to see how hard you are driving the input stage.Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity is designed and built at UA headquarters in California, and includes a 19″ rack-kit for mounting one or two units.Solid-state transimpedance inputPhase-aligned tube and solid-state gain stagesSingle outputBlend knobDual gain stage controlsVU meterJFET DI input circuit |
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Refurbished Universal Audio 710 Twin-Finity Mic Pre & Di Box $699.99 The Universal Audio 710 Twin-Finity is a radically different UA preamp design which combines the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The UA 710 microphone preamp and DI was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.The key to the UA Twin-Finity 710 preamp’s sonic flexibility lies in its innovative circuit design. The unit’s solid-state transimpedance input amp simultaneously drives separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output. The mix between the 310-volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the Blend Knob. Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.Like all Universal Audio preamp designs, the 710 Twin-Finity features dual gain-stage controls (Gain/Level), which can radically vary the amount of coloration and distortion by allowing you to crank up the input, gain like a guitar amp. The VU meter features a unique Drive mode allowing you to see how hard you are driving the input stage.Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity is designed and built at UA headquarters in California, and includes a 19″ rack-kit for mounting one or two units.Solid-state transimpedance inputPhase-aligned tube and solid-state gain stagesSingle outputBlend knobDual gain stage controlsVU meterJFET DI input circuit |
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Used Universal Audio 710 Twin-Finity Mic Pre & Di Box $727.09 The Universal Audio 710 Twin-Finity is a radically different UA preamp design which combines the classic retro warmth of UA tube design and the transient bite of solid-state in a 2U, half-rack, all-metal chassis. The UA 710 microphone preamp and DI was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps.The key to the UA Twin-Finity 710 preamp’s sonic flexibility lies in its innovative circuit design. The unit’s solid-state transimpedance input amp simultaneously drives separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output. The mix between the 310-volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the Blend Knob. Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.Like all Universal Audio preamp designs, the 710 Twin-Finity features dual gain-stage controls (Gain/Level), which can radically vary the amount of coloration and distortion by allowing you to crank up the input, gain like a guitar amp. The VU meter features a unique Drive mode allowing you to see how hard you are driving the input stage.Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity is designed and built at UA headquarters in California, and includes a 19″ rack-kit for mounting one or two units.Solid-state transimpedance inputPhase-aligned tube and solid-state gain stagesSingle outputBlend knobDual gain stage controlsVU meterJFET DI input circuit |
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Tl Audio Ivory 5051 Mono Tube Voice Processor $999 The TL Audio 5051 is a single channel voice processor format that has become the accepted way of getting the most out of any sound source. The Ivory 5051 provides the perfect front end for any system by offering a combined preamp, compressor, equalizer, and noise gate, all in one easy-to-use package. There is also now an optional digital output. The 5051 compressor section is identical to that of the 5021 and includes hard/soft knee modes, and the four-band equalizer section is modeled on that of the legendary TL Audio EQ-1, yielding superb results instantly, with an improved optical gate for removing unwanted source noise. So whatever your source, let the 5051 unlock its true potential.The TL Audio 5051 voice processor features six valve stages, supplied by three twin triode ECC83/12AX7A valves running from a stabilized 150V DC power supply. One valve stage is located in the preamp, one in the compressor gain control circuit, and four in the equalizer section.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio’s best selling range of products to date. The Ivory Series satisfied all the criteria th |
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TL Audio Ivory 5051 Mono Tube Voice Processor $999 The TL Audio 5051 is a single channel voice processor format that has become the accepted way of getting the most out of any sound source. The Ivory 5051 provides the perfect front end for any system by offering a combined preamp, compressor, equalizer, and noise gate, all in one easy-to-use package. There is also now an optional digital output. The 5051 compressor section is identical to that of the 5021 and includes hard/soft knee modes, and the four-band equalizer section is modeled on that of the legendary TL Audio EQ-1, yielding superb results instantly, with an improved optical gate for removing unwanted source noise. So whatever your source, let the 5051 unlock its true potential.The TL Audio 5051 voice processor features six valve stages, supplied by three twin triode ECC83/12AX7A valves running from a stabilized 150V DC power supply. One valve stage is located in the preamp, one in the compressor gain control circuit, and four in the equalizer section.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics dev |
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Cleaving (Audio): $17.8 Cleaving (Audio) |
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Audio Tower $166.99 Audio Tower |
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Audio Medium $14.99 Audio Medium |
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Terror Audio $22.99 Terror Audio |
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Audio Illusion $24.99 Audio Illusion |
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Audio-Technica Audio Adapter $114.99 3-Pin XLR Female Audio 5-pin XLR Male Audio AT8666RSC Audio Adapter Audio-Technica Audio-Technica U.S., Inc www.audio-technica.com |
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Planet Audio / CEILING MOUNT IR AUDIO / PHSIR $51.23 Planet Audio – CEILING MOUNT IR AUDIO – PHSIR |
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M-Audio / Audio Buddy Preamp / 9900-40776-00 $104.9 M-Audio – Audio Buddy Preamp – 9900-40776-00 |
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M-Audio / Audiophile 2496 Audio Card / 9900-50765-00 $67.22 M-Audio – Audiophile 2496 Audio Card – 9900-50765-00 |
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Polk Audio / Polk Audio CS10 Speaker / AM1235-B $562.2 Polk Audio – Polk Audio CS10 Speaker – AM1235-B |
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Polk Audio / Polk Audio CS10 Speaker / AM1232-B $562.2 Polk Audio – Polk Audio CS10 Speaker – AM1232-B |
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Polk Audio / Polk Audio OWM3 Speaker / AM3345-A $621.59 Polk Audio – Polk Audio OWM3 Speaker – AM3345-A |
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Polk Audio / Polk Audio HitMaster Speaker / AM2555-A $430.52 Polk Audio – Polk Audio HitMaster Speaker – AM2555-A |
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Polk Audio / Polk Audio RM7 Speaker / AM7158-A $120.5 Polk Audio – Polk Audio RM7 Speaker – AM7158-A |
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Audio Technica / AUDIO TECHNICA WIRELESS / PRO-88W $159.11 Audio Technica – AUDIO TECHNICA WIRELESS – PRO-88W |
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Audio Technica / AUDIO TECHNICA VHF / ATR-288W $170.81 Audio Technica – AUDIO TECHNICA VHF – ATR-288W |
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M-Audio Mobilepre Usb Portable Audio Interface $149.99 M-Audio MobilePre USB Portable Audio Interface |
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M-Audio Audio Buddy 2-Channel Preamp $45.49 M-Audio Audio Buddy 2-Channel Preamp |
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Big Fish Audio Funk City Audio Loops $55.96 Big Fish Audio Funk City Audio Loops |
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M-Audio Mxl 990/991 And Audio Buddy Package $129.99 M-Audio MXL 990/991 and Audio Buddy Package |
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Big Fish Audio Elements: Indian Audio Loops $39.96 Big Fish Audio Elements: Indian Audio Loops |
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Adam Audio Adam Audio A5x Powered Monitor $499 ADAM Audio ADAM Audio A5X Powered Monitor |
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Big Fish Audio Heat Seekers Audio Loops $79.99 Big Fish Audio Heat Seekers Audio Loops |
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Big Fish Audio Drumatic Percussives Audio Loops $79.96 Big Fish Audio Drumatic Percussives Audio Loops |
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Big Fish Audio 101 Below Audio Loops $79.96 Big Fish Audio 101 Below Audio Loops |
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Big Fish Audio Glitch Hop Audio Loops $79.96 Big Fish Audio Glitch Hop Audio Loops |
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Big Fish Audio Loungin’ House Audio Loops $135.96 Big Fish Audio Loungin’ House Audio Loops |
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Big Fish Audio Breakbeat Jazz Audio Loops $135.96 Big Fish Audio Breakbeat Jazz Audio Loops |
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Adam Audio Adam Audio A8x Powered Monitor $909.09 ADAM Audio ADAM Audio A8X Powered Monitor |
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M-Audio M Audio Delta 44 99005075700 $149.99 M-Audio M AUDIO DELTA 44 99005075700 |
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Big Fish Audio Soul City Audio Loops $55.96 Big Fish Audio Soul City Audio Loops |
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M-Audio Audio Buddy & 990/991 Package $119.99 M-Audio Audio Buddy & 990/991 Package |
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Slate Pro Audio Dragon Dynamic Audio Processor $1728.99 Slate Pro Audio DRAGON Dynamic Audio Processor |
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Big Fish Audio Rotation Audio Loops $79.96 Big Fish Audio Rotation Audio Loops |
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Universal Audio La-3A Dual Classic Audio Leveler $3299.99 Universal Audio LA-3A Dual Classic Audio Leveler |
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Universal Audio La-3A Classic Audio Leveler $1699.99 Universal Audio LA-3A Classic Audio Leveler |
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Adam Audio Adam Audio A7x Powered Monitor $699 ADAM Audio ADAM Audio A7X Powered Monitor |
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Big Fish Audio Smokers Delight Audio Loops $79.96 Big Fish Audio Smokers Delight Audio Loops |
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M-Audio Studiopro 3 Desktop Audio Monitors $99 M-Audio StudioPro 3 Desktop Audio Monitors |
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M-Audio Firewire Solo Mobile Audio Interface $129.99 M-Audio FireWire Solo Mobile Audio Interface |
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Pyle Audio Pyle PLCD7MRKT Car Audio Player $110.93 Pyle Audio Pyle PLCD7MRKT Car Audio Player |
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Avid M-Audio (9900-65162-12) Audio Mixer 99006516212 $247.02 Avid M-Audio (9900-65162-12) Audio Mixer 99006516212 |
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Pyle Audio PylePro PDJSIU100 Audio Mixer $79.46 Pyle Audio PylePro PDJSIU100 Audio Mixer |
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Pyle Audio Pyle PLCD6MRKT Car Audio Player $110.98 Pyle Audio Pyle PLCD6MRKT Car Audio Player |
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Pyle Audio PylePro PMIDI100 Audio Mixer $142.73 Pyle Audio PylePro PMIDI100 Audio Mixer |
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Rode Microphones 6072 Tube for Classic/Classic II $71.89 The 6072 Twin Triode is a replacement tube for the RØDE Classic II microphone. |
You can also browse hot deals from Amazon on Triode Audio
Luddite 210 directly heated triode tube amplifier 1 watt by Greenvalve Audio
