Grace m905 Monitor controller with digital option. Excellent condition. Only selling it because I upgraded to the Atmos capable M908. The 905 sounds amazing and is incredibly convenient

Now supported is DSD 128x (5.6448MHz) via DoP v1.1 (DSD over PCM frames). DSD audio can be sourced from the AES3, S/PDIF or USB digital inputs. While still a niche playback format, DSD has held its ground over the years, and now more and more content is available via download. And playback is now supported by a number of players. DSD sounds stunningly natural, especially rendered through the rest of the playback circuitry of the m905. So If you’re the type to seek out this kind of fidelity, the m905 is a great way to enjoy it.

The GUI is designed so that any engineer unfamiliar with the m905 can use the system immediately and confidently. Then with a minimal time investment, advanced functions can be accessed and controlled with ease. Additional features include: naming individual inputs and speaker outputs, calibrating level offsets of any input and output, setting preset levels, and much more. The setup menus only ever drill down one level, so the main operating screen is always one button away. And when returning to any previously visited setup menu, its previous edit status is remembered, keeping redundant navigation and editing to a minimum.

The m905 offers the ability to transfer up to 10 channels of digital audio (8-channels of ADAT and two of AES3, or S/PDIF or TOSLINK) over USB to a computer, making the m905 capable of operating as a standalone USB audio interface. This is an advanced feature as there are clock issues to be aware of, but it works and is documented in the owners manual.

With stunning sonic performance and timeless design, the m905 is a mark of genuine progress in the pursuit of high quality audio production. Intuitive, reliable and beautiful, it is the perfect studio centerpiece – home base for your ears, eyes and hands."

http://www.datrecorders.co.uk/

The Sony PCM-R300 is a low-cost DAT recorder offering unbalanced RCA analog inputs and outputs, and unbalanced coaxial and optical digital input and output, user setup menu system, adjustable ID6 mode (SCMS).

FEATURES:

• SBM Recording Function, signal to noise ratio equivalent to 20-bit system
• Start ID, End ID, Skip ID front panel control
• Setup menu control
• Error rate display
• Coaxial and optical digital interface
• A/D and D/A monitoring
• Long Play mode - record and playback

High resolution converters deliver superb sound quality
The audio performance of any digital tape recorder is almost entirely dependent on the quality of the A/D and D/A conversion at its inputs and outputs. It is in these converters that the signal is most likely to be degraded. Sony has fitted the PCM-R300 with 20-bit delta-sigma A/D and 1-bit pulse D/A converter technology to ensure stable, highly linear performance with excellent signal-to-noise ratio.

SBM provides 20-bit signal quality from 16 bits
The DAT format uses 16-bit format recording. The signal from the analogue to digital converters is processed by the unique Sony SBM (Super Bit Mapping) circuitry that uses advanced noise shaping techniques to achieve a dynamic range of a 20-bit signal with only 16 bits. This advantage is preserved digitally, so a DAT recording made on an SBM-equipped machine produces a clearer sound on a subsequent CD master.

All three sampling rates supported, including long play
In normal playback mode the PCM-R300 supports sampling rates of 44.1 kHz and 48 kHz, selectable from the front panel. The 32 kHz long-play format allows up to four hours recording to be made on a standard two-hour DAT cassette. The signal is sampled using 12-bit, non-linear quantisation.

Advanced error correction
The double-encoded Reed-Solomon error correction circuitry is able to correct or conceal many of the errors caused by damaged tapes or poorly recorded material from other machines. The PCM-R300 features an error-rate display that makes it easy to see when head cleaning is due or if a poor quality tape is being used.

ID control
All the controls necessary to record Start ID, Stop ID and Skip ID are available on the panel. They are duplicated on the standard, infra-red RM-D757 Remote Control Unit.

Reliable mechanism
The front-loading mechanism of the PCM-R300 uses a 2 head dual motor design with an advanced servo control system for high reliability and precise tape handling.

Menu system
The PCM-R300 uses a menu system with a large multicolor display to facilitate set up of the following features:

• Copy protect bit and current tape status
• Automatic record mute
• Automatic start ID writing
• DAT duplication – ID copy
• CD-DAT duplication – ID copy
• Display options
• Auto Track Numbering,
• with first track number selection (1-99)
• Digital interface signal format check
• Hours meter – shows total play / record time for maintenance purposes
• The display shows tape time, recording time, tape remaining time and also provides comprehensive input level metering.

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

2 channel Microphone Pre-amp $1100

Ultimate pristine clean fast straightwire gain for your lovely microphones. It is revered amoung classical, jazz and pop recordists. Even when Im using a neve or api to get punchy distortion on drums I love using this for the overheads or clean ribbon mic gain for something I want to stand out as clear as a bell. Vocals, acoustic guitars, Even snare sometimes gets the love. An old rca 44 or 77 through this beast is full and powerful. I have 8 more channels or I would not sell it. It has been back to Millennia for a tune up and some older power supply components to be replaced last year but otherwise its been solid as a rock. Its now really a vintage piece as its birth was in 1994 but its clean as whistle sonically and cosmetically.

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

Used 96pt Patch Bay for sale. Come get it

AJA io HD

Recording 10-bit Apple ProRes 422 direct to your Mac via a single FireWire 800 connection, AJA’s award-winning Io HD is a portable plug-in solution for working with HD and SD. Facilitating high-quality capture and playback with the widest range of gear, Io HD let’s you record Apple ProRes files to a FireWire-equipped Mac. Easily interfaced with your on-set capture or post-production equipment, Io HD features hugely flexible professional video and audio connections, allowing it to enhance any workflow. The compact rear panel offers SD/ HD analog I/O, SD/HD digital I/O including HD-SDI and HDMI, balanced analog and digital AES audio, as well as RS-422, Genlock, and even LTC timecode connections. Integrating with the software running on your computer and utilizing efficient hardware-based encoding and decoding, Io HD handles the heavy lifting of compressing and decompressing ProRes files, keeping the load off your CPU, and providing superior quality encoding/decoding compared to software-only solutions. Io HD also includes AJA’s powerful hardware-based 10-bit up/down/cross conversions, enabling real-time, high-quality images for both capture and playback. Built to the exacting standards of all AJA hardware, Io HD is backed by our world-class support network, 3-year international warranty and advanced exchange service.

Working Hub only. You need mixers. They cab found for roughly $150-200 per unit. This is also perfect for someone who has a system already and wants to extend to another room with multiple mixers.

Three switch selectable 8-channel input sources, Digital inputs: 44.1KHz and 48 kHz sample rates

Three switch selectable 8-channel input sources:

• ADAT Optical
• Analog
• HearBus
• 24-bit A/D converters
• Digital inputs: 44.1KHz and 48 KHz sample rates
• Less than 1.5 milliseconds system delay
• 3-LED four-level metering
• Standard CAT5E - delivers power and signals to mixers
• Daisy-chain for very large systems
• Internal universal input power supply
• 1 RU chassis

  A basic Hear Back system consists of a Hub and personal Mixers connected using standard CAT5E cables. A single Hub supplies signal and power to a maximum of eight Mixers. That’s one for you and everybody in the band. If that’s not enough, the Hubs can be daisy-chained using the HearBus In and Out for virtually unlimited system size. The Hear Back Hub can accept analogue input signals from audio mixers, auxiliary, matrix, monitor, and/or direct outputs.

  The ADAT input can come from digital audio workstations, digital recorders, or digital mixers. For front of house or remotely located digital mixers, we also have the Extreme Extender ADAT In/Out that converts ADAT optical, which has very limited distance, to the HearBus for transmission of up to 500 feet.

  • Virtually unlimited system size
  • Very attractive pricing
  • Excellent audio fidelity
  • Built-in DSP Limiter
  • Very long digital lines possible without loss of audio quality
  • Audio inputs ADAT, analogue, and the HearBus are switch selectable from the front panel.
  • Local control of up to ten channels of audio (8 inputs plus a stereo Aux input) Master Volume (controls the level to the headphones, line outs and the Aux input to the line outputs)
  • Built-in DSP Limiter (designed as a “brick wall” limiter for hearing protection and to protect monitor wedges from overload)
  • Headphone amplifier fault indicator in case of over-temperature, or a short, the red LED comes on to alert the user something is a problem
  • A second visual troubleshooting aid for the user is the Bus status indicator
  • Link Indicators – Whenever two pairs of mono inputs are linked for stereo operation the link LED is illuminated
  • Standard CAT5E power and signal Connection, cost-effective, simple, non-obtrusive way to connect eight channels of audio. The Cable is held in place with a “built-in cable strain relief”
  • Balanced Line-Outs, Mono/Stereo
  • Stereo AUX In
  • Built-in Mic Stand Mount may be mounted to a standard mic stand or clipped onto a stand extension bar or clip
  • High Power – Low Distortion Headphone Amplifiers
  • One of the industry's most powerful headphone amplifiers