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The Antares ATR-1a is a one U, rack-mountable hardware version of Antares’s Auto-Tune pitch correcting software. The ATR-1a uses state-of-the-art digital signal processing algorithms to detect the pitch of an input signal (usually a solo voice or instrument) and instantly change it to the desired pitch, and preserve all the expressive nuances of the original performance without distortion or artifacts.
Make Scale From MIDI – Simply play a series of notes into the Antares ATR-1a from a MIDI keyboard or controller and the ATR-1a automatically constructs a custom scale containing only the notes from your performance.
Expression – The ATR-1a’s Speed control ensures that the rate of pitch correction (i.e., the speed at which the input pitch is adjusted to the target pitch) can be matched to virtually any style of performance.
- 20-bit linear
- 56-bit internal processing
- 1/4 inch Phone foot switch jack
The Smart Videohub CleanSwitch 12 x 12 6G-SDI from Blackmagic Design is a mixed format router with 12 6G-SDI inputs and 12 6G-SDI outputs for routing any combination of SD, HD, Ultra HD 4K, and DCI 4K video.
The CleanSwitch model allows for re-timing of SDI feeds, so all switches are timed to happen between frames. It supports 4:2:2 and 4:4:4 color sampling and 10-bit processing for smoother gradations. Housed in a 1RU frame, the Smart Videohub is ideal for use in both large broadcast systems or portable mini racks for live productions. A built-in LCD lets view your sources directly on the router itself, with simple push buttons and spin knob provided for control. Routing can also be controlled using dedicated remote panels or over Ethernet using the included software for Mac OS X and Windows. You can even use the available iPad app to change routing over your wireless network.
- 12x 6G-SDI inputs / 12x 6G-SDI outputs
- Auto-detects between SD, HD, Ultra HD 4K, and DCI 4K and instantly switches standards
- Built-in SDI reclocking on every SDI input
- Supports 8-bit, 10-bit, and 12-bit 4:2:2 and 4:4:4 signals
- 4:2:2 or 4:4:4 color sampling with 10-bit processing
- UHD 4K (3840 x 2160) up to 30p
- Supports DCI 4K (4096 x 2160) at 24p
- HD Video Resolutions up to 1080p60
- Supports 16 channels of embedded audio on each SDI signal
- Reference input compatible with black burst and tri-sync
- Built-in video monitoring and spin knob control
- Push buttons on front panel
- On-screen labels support Unicode so they work in non-Roman character sets such as Chinese, Japanese, Korean, Russian, German, French, Spanish, and more
- Videohub control software included for control over Ethernet
- Ethernet control allows direct connection to the computer network and is compatible with Videohub Smart Control and Videohub Master Control panels
- Apple iPad control panel app available
The Blackmagic Design SmartScope Duo 4K Rack-Mounted Dual 6G-SDI Monitors is a monitoring solution for studio and location productions, displaying video with resolutions up to 3840 x 2160 at 30p. It features two 8″ monitors each with a loop-through SDI input and output. The inputs are auto-sensing/selecting so you don’t have to worry about matching the input format; the monitor will display any supported format that you feed it.
You can choose to select to display either the input video or one of six scope displays, while the input video passes through the monitor to downstreamed devices.
Blackmagic Design’s SmartView Duo comprises a pair of side-by-side 8″ LCD monitors – both with an auto-selecting 3G/HD/SD-SDI input – that are housed in a 3 RU-high, rackmountable form factor. Ideal for live broadcast and mobile video production, the slim SmartView Duo features integrated tally (input via a standard 9-pin D connector) that clearly shows video status by displaying a red, green, or blue ring that borders the screen in question.
The 800 x 480-resolution displays’ auto-switching SDI inputs accept an extremely wide range of digital signals, from standard-def 525i and 625i to full progressive high-definition 1080p60 and several flavours of 2K-resolution video. There’s a loop-out BNC for both inputs, with re-clocking of the signal. For screen configuration and settings, plus firmware updates, the SmartView Duo has both USB 2.0 and Ethernet inputs.
For the SmartView Duo, a sleek design pays practical dividends. The thinness of the dual-display panel (less than 1″) means it’s easier to install, transport, and ship. The lack of mechanical controls on the panel itself takes inadvertent adjustments out of the equation. The auto-image-flip feature means that the displays can be rotated upside down so you can achieve the best viewing angle.
The d&b D20 amplifier is a four channel amplifier ideally suited to applications which require low to medium Sound Pressure Level capabilities. The D20 features the same Digital Signal Processing (DSP) platform as the latest generation of d&b amplifiers, containing configurations for all d&b loudspeakers except the J-Series and the M2 monitor, plus a linear mode. The signal delay capability enables user definable settings of up to 10 s (= 3440 m/11286 ft), which can be applied independently to each channel.
The same applies to the two 16-band equalizers, providing optional parametric, asymmetric, shelving or notch filtering. The D20 incorporates a colour TFT touchscreen, offering quick access to the menu structure, while the rotary encoder can be used for fine adjustment.
The M4 is a 2-way high performance stage monitor employing an integrated 15” LF and 1.3” exit horn loaded HF coaxial driver design that utilizes neodymium magnets. The constant directivity dispersion of 50° x 70° (h x v), which this unique horn provides, delivers an accurately defined coverage area on stage.
The M4 can also be operated in 2-Way Active mode. When the cabinet is used in an upright position the M4 serves as a powerful PA loudspeaker with a 70° x 50° dispersion suitable for a variety of applications.
The Digico SD12 is a compact console with dual 15-inch touchscreens and 72 input channels. The SD12 is ideal for live touring, corporate events, installation, houses of worship, theatre and broadcast.
- 72 Input Channels
- 36 Aux / Sub-Group Busses
- LR/LCR Master Bus
- 12 x 8 Full Processing Matrix
- 2 Solo 119 Dynamic Equalizers
- 119 DiGiTuBes
- 119 Multiband Compressors
- 12 Digital FX
- 16 Graphic Equalizers
- Optional Waves Integration
- 48/96kHz Sample Rate
- Optional Optics
The Tonebone Dragster solves a simple but fundamental problem that every guitarist or bassist with effects pedals has encountered. Plugging your instrument into any buffered input such as an effects pedal, wireless system or mixing console will have a negative effect on its natural tone. The super-compact Dragster perfectly restores the natural sound that you would have heard if routed straight into the amp. Your non true-bypass pedals will no longer be the laughing stock of the pedal board, but instead will shine through with a refreshing new sound, which was previously inaccessible.
The Dragster couldn’t be any simpler to use, all there is to it is plug & play. It uses two standard ¼” jack connections, one in and one out. Set the control dial until you find the sweet spot, activate your pedals and rock out to your hearts content! Another bonus is that it couldn’t have been constructed any smaller, allowing it to sneak into the smallest nook on your pedal board, or even clipping to a guitar strap with its built-in mounting flanges if necessary. It can even be used before a wireless transmitter for a smoother, more natural sound.
The RME MADIface XT is the world’s first USB 3.0 audio interface – and the world’s smallest portable interface that provides access to hundreds of audio channels in a highly portable package. For highest compatibility the XT also features a PCI Express port for connection to External PCI Express cards, providing the fastest interfacing technologies available for maximum channel count and lowest latency.
Three 64-channel MADI I/Os are accompanied by 4 MIDI I/Os, one stereo AES/EBU and a word clock I/O. To bring together the most complete I/O set for live or studio usage, two digitally controlled high-end mic/line preamps, two balanced line outputs and one stereo phones output, all fully 192kHz capable, were included.
RME MADIface XT main features include:
- 196 Input / 198 Output channels
- 2 x MADI I/O optical
- 1 x MADI I/O coaxial
- 2 x Analogue Mic / Line Preamp Input (XLR/Line TRS)
- 4 x Analogue Output (Main XLR + Phones)
- 1 x AES/EBU I/O via breakout cable
- 1 x MIDI I/O via breakout cable
Incredibly sleek and compact, the Windshield Kit, MiniCMIT offers finely-tuned wind and handling noise protection for the new Schoeps MiniCMIT.
- Combined 62- and 72-Shore single Lyres (blue), pre-fitted – for optimal mic compliance*;
- Short, lightweight XLR connector (blue end-cap on XLR-3F);
- Professional quality Mogami cable;
- Optimised windshield size, weight and overall profile for the Schoeps MiniCMIT mic;
- This kit features contrasting black basket rings, blue Lyres and blue XLR end-cap.
Designed for high-definition field production applications, the Sound Devices MP-1 is a single channel microphone preamp that delivers studio grade audio in a portable, lightweight package. The unit features a transformer balanced XLR microphone input and line level output resulting in high gain and low noise floor. A large gain adjustment dial provides up to 66 dB of gain in eleven discrete steps.
A 3-position phantom power switch enables 12V or 48V phantom power for condenser microphones. A low-cut filter switch eliminates noise due to wind and proximity effect at 80 Hz or 160 Hz (user switchable). Peak limiter switch moderates signal peaks, eliminating distortion due to signal over load. The MP-1 is powered with 2 AA batteries for approximately 24 hours.
- Superb audio specifications
- 66 dB of gain, in eleven discrete steps
- Transformer-balanced input and output
- Phantom power – 48 volt or 12 volt
- High pass filter @ 80 Hz or 160 Hz, 6 dB/octave
- Limiter makes unit virtually “unclippable”
- High current line output drive
- Excellent immunity to RF interference.
- Battery power (two x AA)
- Durable mechanical construction
At the centre of Studer Micro Series is the core unit—a rugged 3RU, fanless rack-mountable chassis with integrated I/O, DSP and a control system that’s hosted by an internal web server. Unlike other broadcast solutions that require expensive add-ons, the core features AoIP as standard with eight channels of DANTE I/O.
The core can be controlled using the intuitive GUI via web browser, or with the optional fader control surface. The powerful feature set and flexible control architecture of the Studer Micro Series is ideally suited for “live-to-air” or “off-air” production environments, as well as remote broadcast, corporate, hospitality sound reinforcement and more.
Available with 1 or 2 Fader Control Surfaces.
Many live broadcasters appreciate the touch of physical faders—tactile controls are essential for quick level adjustments and seamless multi-tasking, allowing the operator to work the system by touch alone.
The fader unit is a highly simplified 6-fader surface that offers streamlined controls for live operation. Two controllers can be attached to a single core for a maximum surface size of 12 faders.
The Felloni Tecpro 50° High Output Bicolour LED Light runs on 576 LEDs and has a flood beam angle which makes gives lots of coverage at close range. Nearly doubling the amount of LEDs enables the Felloni to produce nearly double the output as compared to the Standard Version.
The bicolour LEDs are variable in fine steps from 3200 – 5600K, covering the tungsten to daylight balance range. This is the perfect light when speedy setup is of paramount importance. You can forget about fumbling with gels and gaffer’s tape and just start shooting.
An efficient tool for stage production. Consisting of a little box with an electric motor, paddle is mounted on the motor which makes it turn up and down.
With a DMX projector shutter mounted on a video projector, it is possible to open and close the shutter from the lighting-desk. Negating any need for time consuming and potentially dangerous creative solutions.
This freestanding tablet display stand will hold a variety of tablets, not just iPads. Ideal for events, showrooms and exhibitions where you want to engage digitally with your customers.
The display stand consists of a heavy duty black base, silver aluminium pole and white or black plastic tablet enclosure. The tablet enclosure is lockable and comes with 2 keys.
The tablet enclosure can be mounted in either a landscape or portrait orientation therefore giving flexibility for use.
It has internal cable management so the tablet’s power lead can be guided through the inside of the pole meaning you do not need to rely on inbuilt battery power and the tablet can be connected continuously to a mains power supply.
A professional 100v line amplifier with a 60w output for commercial applications. Being 2U in height but only half width makes this one of the most compact amplifiers on the market today. Two microphone inputs in the form of 6.3mm jacks and a line input is all controlled via the rotary dials on the front panel. Speaker connections are binding posts and can be found on the rear of the amplifier. This amplifier can also be used in an 8Ohm configuration.
The C414 XLS multipattern condenser microphone offers a choice of nine polar patterns for the perfect sonic capture for every application. A peak hold LED displays even the shortest overload peaks. For live-sound applications and permanent installations, all controls can easily be disabled for trouble-free use.
The C414 XLS maintains the sonic character of the legendary C414 B-ULS, the most popular AKG C414 version since 1971. Engineered for highest linearity and neutral sound, it has been the most versatile large-diaphragm microphone for decades.
The C451 B is a small-diaphragm condenser microphone with the identical acoustical behavior of its predecessor, the legendary C451 EB + CK1 capsule, which was a bestseller right from the start in 1969.
With its airy sound, high overload limit and improved engineering details, the C451 B continues the success story of this legend. The roadworthy design around the handcrafted capsule and the low-noise preamp electronics ensure impressive results even under very harsh conditions.
Available in black or silver.
The C480 B is the pre-amp for the ultralinear series capsules, CK61, CK62, CK63, and CK69 ULS, and represents one of the quietest microphone amps ever built. The C480 B offers excellent audio quality and maximum flexibility. Its electronic circuitry coupled with a transformerless output stage assures completely linear transfer characteristics across the entire frequency range, while achieving self-noise figures close to the theoretical minimum.
A specially designed output stage drives difficult loads like excessively long cables without harming the signal quality. The C480 B offers a two-step high-pass filter and two gain stages of either -10dB or +6dB.
The C568 B professional small condenser capsule combines high directivity and a wide frequency range. It is a perfect tool for theater, sound reinforcement and film/TV applications. Due to its compact and lightweight design, the C568 B is ideal for camera-mount use.
Below 500Hz, it functions as a hypercardioid microphone; above 500Hz, the acoustic interference tube introduces increasing directivity. A switchable 12dB/octave 120Hz bass roll-off filter effectively suppresses impact and wind noise. The C568 B’s rugged, all-metal body contains the built-in pre-amp, which requires 9-52V phantom power. The package includes a special foam windscreen as well as a stand adapter.
The C747 V11 is a pencil-sized, studio quality, hyper-cardioid, condenser microphone with a flat frequency response and a clean off-axis response. Popular with broadcasters and installers for high quality lectern amplification, it is also good for guitar, piano, drum and overhead applications.
Excellent off-axis response allows the speaker to move without change in amplified sound, while the enhanced, hyper-cardioid polar pattern ‘eliminates noise from the sides’. The second generation of this microphone also boasts RF interference protection from mobile phones and wireless microphones. A fine tuned frequency response suits better pickup of voice.
The microphone, finished in ‘stage blue’ has a 3 metre captive cable, connected to an extended-length XLR connector containing a phantom power adapter. The adapter has a switch to enable a bass-cut filter for reducing footfall noise.
Output connector: 3-pin, male XLR. Applications: Conference and lectern, pulpits, broadcast and recording, on-stage pick up in theatre. Response: 30Hz-18kHz. Sensitivity: 8.5mV/Pa. Phantom power: 9-52V DC
The CK61 ULS professional small condenser capsule is characterized by a ruler-flat frequency response and an unmatchable consistent cardioid polar pattern. It is the ideal choice for critical recording and live-sound applications where consistent suppression of off-axis sound is an important requirement. The CK61 ULS is widely used in broadcast and recording studios as well as on stages worldwide.
The CK61 ULS works exclusively with the C480 B pre-amp. To ensure an extra-long life and a reliable connection, the capsule is equipped with large-area, self-cleaning, gold-plated contacts. Careful attention to detail and highest manufacturing standards make the CK61 Ultra Linear Series capsule the choice of experienced technicians worldwide.
The AKG CK62 is an omni-directional condenser microphone capsule designed for use with the C480 power supply module. As part of AKG’s Ultra Linear Series, the CK62 delivers the sonic performance and signal response required for professional recording and sound reinforcement applications.
The omni-directional pattern provides a generous pick area, allowing for greater ambiance capturing and signal response at the off-axis sections of the microphone. It’s wide, flat frequency response enables accurate reproduction of vocals, instruments, ambiance and more.
The CK63 ULS professional small condenser capsule is characterized by a ruler-flat frequency response. Its consistent hypercardioid polar pattern provides unmatched channel separation, exceptional off-axis rejection and high gain before feedback. The CK63 ULS is widely used in broadcast and recording studios as well as on stages around the world.
The CK63 ULS works exclusively with the C480 B pre-amp. To ensure an extra-long life and a reliable connection, the capsule is equipped with large-area, self-cleaning, gold-plated contacts. Careful attention to detail and the highest manufacturing standards make the Ultra Linear Series modular system the choice of experienced technicians worldwide.
The D112 MkII professional dynamic bass drum microphone features a new integrated flexible mount, while retaining all the sonic strengths that have made it’s predecessor the industry-standard. Over the years the D112 has earned a well-deserved reputation as one of the best bass drum microphones ever made, for its high SPL capability, punchy EQ and bulletproof construction.
The D112 MkII can handle more than 160 dB SPL without distortion. Its large diaphragm has a very low resonance frequency that delivers a solid and powerful response below 100 Hz. Its authoritative low end is complemented by a narrow-band presence boost at 4 kHz that punches through even dense mixes and loud stage volumes with forceful impact. One of the many reasons artists and sound engineers love the D112 MkII is that it requires no additional EQ to sound just right as soon as you bring up the fader. Further refining its performance, the D112 MkII features an integrated hum-compensation coil that keeps noise to an absolute minimum.
In addition to being an exceptional bass drum mic on stage and in the studio, the D112 MkII is an excellent choice for miking electric bass cabinets and trombones.