• The CV-12 is one of the most "bang-for-your-buck" microphones in existence, and has been used to record countless projects from big to small! After gaining much success as a vocal mic, we decided it's time to expand its coverage in the studio and on stage!

  • Uses Include: Studio vocals, acoustic guitar, mandolin, drum overheads, room mic, piano

  • A new capsule was used to further smooth the highs and bring out the lows for more balance

  • 32mm K67 capsule replaced with a 34mm CK12 styled capsule

  • The frequency range is more balanced across the board

  • The coupling capacitor is a Solen FastCap

  • Modified circuit results in a flatter response

  • Completely redesigned power supply, featuring a new low-noise circuit

  • Regulated plate voltage supply

  • Extra filtering on transformer bridge diode

  • Designed and assembled in the USA

  • Standard Items Supplied:

    • Avantone CV-12 BLA Tube Microphone

    • Deluxe Faux Alligator case

    • New Jetsun shockmount

    • Elegant padded genuine wooden mic box

    • Low-noise Circuit Power Supply

    • Owner's Manual

BLUE - Snowball MIC

  • With the Blue Snowball, you finally get a USB microphone that's not only easy to use, but also sounds as good on your desktop as it does in a professional recording studio. Whether you're recording a guitar at your kitchen table or a complete band in the studio, the Snowball mic captures them both with the kind of detail unheard of before in a USB microphone.The Blue Snowball is a direct plug-and-play mic that connects to either a Mac or a PC computer-no additional software is needed. With its dual capsule design and unique 3-pattern switch (cardioid, cardioid with -10dB pad, and omni), the Snowball microphone handles everything from soft vocals to the loudest garage band-and it's an ideal mic for podcasting. Once safely mounted, connect the Snowball to the USB port on your Macintosh or Windows computer. Make sure that the active, on-axis side of the diaphragm (the side with the BLUE logo) is facing the desired sound source. When connected, the LED just above the Blue logo will glow red, indicating power has reached the Snowball and the microphone is ready to roll.

  • Features

  • Transducer type: Condenser, pressure gradient with USB digital output

  • Polar patterns: Omnidirectional or cardioid

  • Frequency response: Position 1-3: 40-18kHz

  • Sample/Word rate: 44.1kHz/16-bit

  • Weight: 460g

  • Dimensions: 325mm (circumference)

  • Gloss black finish


  • The legendary Shure SM58 vocal microphone is designed for professional vocal use in live performance, sound reinforcement, and studio recording. Its tailored vocal response for sound is a world standard for singing or speech. A highly effective, built-in spherical filter minimizes wind and breath "pop" noise. A unidirectional (cardioid) pickup pattern isolates the main sound source while minimizing unwanted background noise. Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently, outdoors or indoor

Golden Age Pre 73 (500 Series)

  • The PRE-573 MKIII is a one width module for the api 500 format that has the sound and the features that made the PRE-73 so successful and a few additional ones.


  • The circuit still uses the preamp and output section from the classic 1073-module, adapted to work in the api rack format. It has a total gain range from -10 to +80 dB. The 20 – 70 dB range is handled by a turn switch and there is a separate toggle switch to select an additional 5 or 10 dB gain. The input can be configured to accept line level signals by another switch, the gain is then lowered by about 30 dB and the input impedance increased to about 10 kohm.


  • The input impedance of the mic input mode can be switched between 1200 and 300 ohm. Phantom power and phase reverse is also selectable by front panel switches.


  • An added feature, using the same circuit as in the PRE-73 DLX, is the active DI-input with a high input impedance of about 1,5 Mohm. The output signal from the active DI circuit passes through the input transformer for some extra character.


  • ​The DI-input is very flexible since it can be changed to a purely passive one by a front panel switch. The DI input is then exactly the same as in the PRE-73 MKIII where the signal is feed directly into the second gain stage, bypassing the transformer and with an input impedance of about 100 kohm.


  • These two DI-options makes it possible to get different tones from electric instruments and the passive DI input mode is more suited for injecting active units like sound modules.


  • A new feature is the switchable AIR mode that adds a boost above 10 kHz that peaks at 6 dB around 30 kHz.


  • The MKIII version has two position high pass filter as an added feature.


  • A simple but effective signal and overload indicator is offered by a single LED that starts glowing red at about +4 dBu and then increases its intensity up to the maximum output level.


  • The PRE-573 MKIII has a dedicated insert connector at the back allowing it to interface with other GAP 500 modules. The insert can be activated by removing a jumper connector at the back of the module.

  • The EQ-573 consists of the inductor based high pass filter section and the 3-band eq section from the classic 1073 module with some added frequencies. These two modules together will offer a fully fledged 1073-module in a compact format at a very low cost.


  • There is a second jumper at the back of the module that selects 600 ohm termination on the output. The standard mode is termination on, since it gives the flattest response when the PRE-573 MKII is used with modern line inputs that typically has an input impedance of 10 kohm or more.

  • The user can chose to remove the jumper and deactivate the termination resistor, this will increase the level above 10 kHz and create a peak in the response for an even more pronounced “Air” effect.


  • The output is transformer balanced and fully floating and can drive a 600 ohm load up to level of about 28 dBu.

Sennheiser HD 280 Pro monitoring headphones

  • High ambient noise attenuation

  • Accurate, linear sound reproduction

  • Soft earpads for a comfortable fit

  • Folding and rotating earcups for space-saving transport

  • Tough, single-sided cable


DBX 1066

  • At the heart of the 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics. The bottom line is this: a new VCA working in conjunction with world class design makes the dbx 1066 perform better than compressors selling for hundreds more.

  • State-of-the-technology VCA's, meticulous component selection, and scrupulous testing procedures are just a few more reasons that the new dbx 1066 is the latest in a long line of pedigreed dbx signal processors

  • Features

  • Selectable auto (classic dbx®) or manual (variable Attack and Release) compression

  • Contour switch removes unwanted low frequency information from detector circuit

  • Selectable Overeasy® or Hard Knee compression modes

  • PeakStopPlus™ limiting for setting maximum allowable level with minimal distortion

  • SC Ext and SC Mon for setting up and monitoring external devices for gating function

  • True differentially balanced gold-plated XLR and 1/4" inputs and outputs

  • True RMS level detection

  • Precision metering of input level, output level, and gain reduction

  • True stereo or dual mono operation

  • Switchable +4dBu or -10dBV operation per channel

Midas L10 10-slot 500 Series Chassis

  • Accommodates 10 single-width 500 Series modules

  • Advanced audio routing tames cabling complexity

  • Audio output link switches for cable-free daisy-chaining between modules

  • Compressor bus link switches enable stereo and multi-channel sidechain linking

  • Roadworthy 3U 19" rackmount chassis

  • Ground switch eliminates ground loop issues

  • High-power, auto-ranging universal switch-mode power supply for confident worldwide use

  • High-spec ultra-low-noise power supply output provides 3.2A @ ±16V and 300mA @ +48V

  • Per-channel main and aux I/O on Neutrik XLR connectors

  • Premium quality components used throughout for audiophile-grade signal path500 SERIES


Yamaha NS-10

  • In simplistic terms, the NS-10 possesses sonic characteristics that allow record producers to assume that if a recording sounds good on these monitors, then it should sound good on most playback systems.[6][5] Whilst it can reveal any shortcomings in the recording mix as well as the monitoring chain,[5] it may lead to listener fatigue with prolonged use in the domestic setting.[11]

  • The NS-10 does not have a perfectly flat frequency response. The sound of the NS-10 is slightly heavy in the midrange, and like other sealed-box speakers of similar size its bass extension is limited.[5] It has a +5 dB boost in the midrange at around 2 kHz, and the bottom end starts rolling off at 200 Hz. The midrange response is so open that it exposes the frequencies that are the most problematic and worst-sounding to the human ear.[11]

  • On a practical level for the music professional, the speaker is analytic and clinical-sounding.[6][11] Gizmodo likened the NS-10 to music editors who reveal the weaknesses of recordings, so that engineers would be forced to either make necessary compensation in the mix or otherwise rework them.[6][11]

  • A 2001 report by Newell et al.  at Southampton University undertaken for Studio Sound  in 2001 found that the NS-10 had excellent time-domain response at low frequencies – its ability to start and stop in response to signal input was found to be superior to that of most other nearfield monitors. Part of this was related to its closed-box design. The researchers held that the extremely fast decay time of the speaker in the low frequencies ensures that the bass instruments (guitar and drums) are correctly balanced in the mix.[5][4]

Yamaha HS 7 Series - Studio Monitors

  • The Yamaha HS7 is a 2-way bass-reflex bi-amplified nearfield studio monitor with 6.5" cone woofer and 1" dome tweeter. The Yamaha HS-Series have the inherited universal mix-translation legacy and distinctive white cones of the industry-respected NS-10's, designed to deliver your mixes with transparent honesty. Room control and frequency response switches allow custom tailoring of the monitor's response to give you accurate performance in any environment. The elegant white-cone speakers used in the HS-series monitors deliver superlative audio performance that is further enhanced by a carefully engineered mounting system. A system of screws and a specially designed mounting ring eliminates spurious vibration and resonance, allowing the speaker to deliver its full sonic potential. Another feature that boosts woofer performance is a magnet selected to produce accurate, solid low-end response. The tweeter frames employ an advanced smooth-contour design that minimizes losses so that high-frequency details come through with remarkable accuracy. The extra thickness of the tweeter frame also minimizes resonance that can interfere with high-end clarity. The overall result is an extraordinarily smooth, accurate response throughout the audio spectrum. Powered, bi-amplified monitor speakers simply make the most electrical and sonic sense, and that's why they have become the first choice of sound professionals the world over for near- and mid-field monitoring applications

AVid - Protools 

  • Power Your Sound with Tools that Power the Industry. 

  • Get the industry standard audio-production software for songwriters, musicians, producers, and engineers

  • A digital audio workstation developed and released by Avid Technology (formerly Digidesign)[1] for Microsoft Windows and macOS[2] used for music creation and production, sound for picture (sound design, audio post-production and mixing)[3] and, more generally, sound recording, editing and mastering processes.