Studio Care

Sound system requirements for corporate conference rooms, educational facilities, shopping malls, and a variety of other environments are becoming increasingly large and complex. The MRX7-D offers outstanding control efficiency and flexibility for a broad spectrum of audio installations.

Because the MRX7-D's design architecture is freely configurable, it allows an audio engineer to create a unique solution for the customer which can incorporate many unique processing components and maximize the use of available DSP. Having built in Dante connectivity, it also allows audio systems to take advantage of the many other Dante enable products on the market including Yamaha's wide range of Digital Mixers.

The DCH8 functions as a relay device between the host device and DCP series, allowing a combination of star and daisy-chain connections. Power is supplied via the CAT5e cable from the host device, simplifying cabling and allowing flexible device layout.　The distance between the host device and the furthest control panel must be less than 200 meters.Screw holes for the mounting flanges are provided on both the rear and sides, for flexible mounting in a variety of situations. Rack mount screws not supplied. The DCH8 Digital Controller Hub allows control lines for up to eight DCP series Digital Control Panel units to be connected to a Yamaha MRX7-D signal processor or MTX series matrix processor.Divides the control line from host devices such as the Yamaha MTX/MRX series into up to 8 lines.

Yamaha has released a brand new addition to the Commercial Installation Solutions family! The DCH8 Digital Controller Hub enables control lines for up to eight DCP series Digital Control Panel units to be linked to a Yamaha MRX7-D signal processor or MTX series matrix processor. The DCH8 serves as a relay device between the host device and DCP series, enabling a combination of star and daisy chain connections. Power is provided through the CAT5e cable directly from the host device, simplifying cabling and enabling versatile device layout. The distance between the host device and the furthest control panel needs to be less than 200 meters. Screw holes for the mounting flanges are supplied on both the rear and sides, for flexible mounting in a number of situations. Rack mount screws are not supplied.

The SPL DeEsser is unique – and has been since 1996. The Auto Dynamic DeEsser removes undesired sibilant frequencies in a simple and musical way, cancelling out S-sounds without affecting the natural character or timbre of the voice.

The newest generation of the DeEsser Mk2 features the same processing qualities as its predecessor, but comes in a new design and has an even better feel due to the solid aluminum knobs. The DeEsser Mk2 offers two mono DeEssers in one 19″ device.

Auto-Dynamic DeEsser SPL DeEsser – the revolution of S-sound reduction.

The DeEsser uses a unique technology to reduce sibilance in a mix or on vocal tracks. It automatically detects and hones in on the sibilant frequencies leaving neighboring frequencies unaffected. These S‑sounds are mixed back into the main signal phase-inverted to cancel out the sibilance. The result is a sound-neutral, inconspicuous and extremely effective process. Even at high S‑Reduction values the de-essing has an egligible effect on the character and timbre of the voice.

• S-Reduction: Adjusts the intensity of the S‑sound reduction.
• LED-display: Visualizes the intensity of the S‑sound reduction between 0 dB and -20 dB in 2 dB steps.
• Auto: Activates the Auto Dynamic function.
• Female: Adapts to voice characteristics.
• On: Activates or deactivates the respective channel.

How does a traditional DeEsser work? Traditional DeEssers work with compressors, often leading to undesirable side effects. They compress the entire bandwidth when an S‑sound appears.

How does the SPL Auto Dynamic DeEsser work? The Auto-Dynamic DeEsser narrows the bandwidth, processing only the S‑sound range, leaving other frequencies untouched. The result is sound-neutral and effective.

Inputs and outputs The De-Esser features Neutrik XLR sockets with gold-plated contacts for signal transmission.

Looks great, feels great – and lasts for a lifetime The DeEsser Mk2 boasts a 4 mm thick, black anodized aluminum front panel and solid aluminum knobs. The steel housing is powder-coated in elegant black.

Specifications

• Analog inputs & outputs: XLR & TRS Jack (balanced)
• Maximum input and output gain: 21 dBu
• Input impedance: 21 kΩ
• Output impedance: 100 Ω
• Common mode rejection (1 kHz): > 80 dB
• Frequency range (-3 dB): 10 Hz -100 kHz
• THD + N (0 dBu, 10 Hz – 22 kHz): -90 dB
• Crosstalk (1 kHz): -90 dB
• Noise (A-weighted): -97 dBu
• Dynamic range: 118 dB

1. Classic Clean To Vintage Saturation

   The Tone Beast is a single-channel, console-grade mic pre with user-switchable tone control for shaping your sound. Like the original “clean-to-mean" 12-style preamps, the TB12 delivers the best of punchy, clear tones with the option to add the saturated, bold tones of famous, vintage mods. A sonic range favored by artists like Prince, Beck, Pearl Jam, Toto, The Eagles, R.E.M & many more.

2. Upgrade Your Front-End - Upgrade Your Sound

   The Tone Beast is a major upgrade that adds versatility to any audio interface front-end. More than just “more gain”, the TB12 adds rich harmonics and tone-shaping to any microphone or instrument running through the discrete analog circuitry. Combining professional analog tone, premium components, & tonal versatility, the TB12 delivers a major sonic upgrade to your recordings.

Get rich, tube-like distortion, smooth sustain and super-fat tone! Here’s an overdrive pedal that supports the entire frequency range of bass guitars, even 5 & 6-stringers. The best part of all, the Bass Overdrive BOD400 was designed specifically for bass, so the bottom-end won’t drop out when you pull the trigger.

Get even more mind-expanding power for your keyboard, bass, guitar or vocals with the VIRTUALIZER 3D FX2000 effects processor. This amazing rack-mountable FX unit has 71 incredible algorithms, including true studio-grade stereo and 3D effects that will add a head-spinning new dimension to your sound, both live and in the studio. The FX2000 uses our RSM (Real Sound Modeling) technology to simulate acoustic environments with stunning accuracy. Effects options include powerful modulation, amp simulation, distortion and special effects, as well as effective dynamic and psychoacoustics processing. Performance is further enhanced through user-addressable high and low EQ and wave-adaptive Virtual Room reverbs.

1. Famous Overdrive Tone of the 2000s & Beyond

   The ODD Box V1 (“ODD” for short) is a hard-clipping, op-amp-based overdrive inspired by an iconic pedalboard staple known for having a “cranked amp” tone. Perfect for boosting, adding breakup, or adding high gain to cleans, the ODD has all the tonal versatility of its inspiration. Delivering all of the sounds of a cranked, saturated tube amp, the ODD features classic-inspired controls, including a UK/US Switch, to flip the personality of ODD from a “British” to an “American” tube amp. True to its inspiration, the ODD delivers the sound of massive, live electric guitar that attracted players like Billy Gibbons, Mark Hoppus, Eric Johnson, J Mascis, Paul Gilbert, and many more to that open tube amp sound.

2. Cranked Tone On Any Stage

   The ODD brings the coveted “amp-in-a-box” tone to any stage or studio. With a high degree of touch sensitivity combined with powerful drive and tone controls - the ODD sounds like a full stack regardless of volume. The added versatility of the UK/US switch ensures that any guitar or amp will deliver a true cranked-amp tone in any setup. To accurately deliver this artist-favorite tone, the ODD is built with through-hole construction using premium components, including a TLO82CP Op-Amp, 2N7000 transistors, & hand-selected capacitors & resistors.