There Is No Substitute for Accuracy

The Yamaha HS5 active studio monitor will help you make better-sounding recordings. Yamaha’s nearfield monitors with those iconic white-coned woofers have been ubiquitous in top studios worldwide ever since the original NS-10s hit the scene in the late ’70s. Yamaha has continuously developed and perfected their monitors, resulting in HS series monitors with newly designed bi-amplified drivers and scientifically ported enclosures that deliver amazing accuracy and vanishingly low coloration. Don’t mix in the dark. Nail what you’re after without the guesswork, with Yamaha’s HS5.

The black Native Instruments MASCHINE MK3 Groove Production Studio is a professional production and performance system, designed for both Mac and Windows. This combination hardware controller and integrated software offers a classic groove-box workflow, with a fast and intuitive interface that is designed to boost your speed and increase your focus. With the ability to act as a sequencer, sampler, VST/AU plug-in host, and multi-effects unit, the MASCHINE MK3 supports beat-making, live performance, and more—all with the benefit of collaborative computer software. The software is stocked with an 8GB sample library that includes drum kits, synth sounds, loops, and more. The touch-sensitive pads make it easy to sequence drum patterns, bass lines, loops, etc. Plus, with color-coding, you can assign certain colors to certain instruments so you’ll always know what’s what without having to test it.

Mo-Fi stands for “true mobile high fidelity.” From your studio gear to your laptop and even your phone, the built-in audiophile amp and perfectly matched precision drivers provide articulation and huge dynamic range from device to device. Mo-Fi’s amp removes the burden of power from your mobile devices, so they can pass audio at their optimum output levels-this means that you are always tapping into the highest possible audio quality. With Mo-Fi, you get studio quality audio on any device, so you can track, mix and really enjoy your music anywhere.

The KH 420 represents the result of using the latest techniques in acoustical, electronic and mechanical design to bring a new benchmark in audio reproduction quality. In-house computer optimized drivers, a waveguide featuring Mathematically Modeled Dispersion™ (MMD™), flexible acoustical controls, various input options, and an extensive mounting hardware range allow the KH 420 to be used in diverse acoustical conditions, with any source equipment, and in a wide variety of physical locations.
The KH 420 has been designed for use as a mid-field or main monitor. It is particularly well-suited for use in music, broadcast, and post production studios for tracking, mixing, and mastering. The KH 420 can be used free-standing or flush mounted into a wall, and, in multichannel systems, can be mixed freely with other loudspeakers in the range.

The KH 805 has a unique 2.1/0.1 Bass manager which enables it to be used in many different applications. There are four routing modes to ensure maximum flexibility.  Fourth order crossovers and adaptable acoustical controls allow for seamless system integration, and the bass management function can be remotely controlled.

The KH 805 subwoofer is designed to complement our extensive range of monitors, and can be used in music, broadcast, and post production studios for tracking, mixing, and mastering.

Uses: •   Bass extension for loudspeakers down to 18 Hz •   Increasing the maximum SPL of loudspeakers by up to 8 dB •   Decreasing harmonic and intermodulation distortion of loudspeakers •   Reproducing the LFE channel •   Reproducing the “Sub” signal of a bass managed multichannel source •   Making a Plane Wave Bass Array™ system •   Working as an extension for KH 810, KH 870 and KH 805 subwoofer systems

As consumer technology advances at ever faster rates, professional technology increasingly finds itself trying to keep up. An example of this is the advent of the Blu-ray and other high definition formats that have increased the audio channel count to 7.1.

The KH 810 is an answer to these new demands by offering a new 7.1 High Definition Bass Manager™. This is compatible with all standard consumer formats from mono through to the latest
7.1 HD systems. Eight channels of analog ensures flexible interconnectivity for modern studios. Four-mode LFE-channel processing guarantees compatibility across all formats and industries. Forth-order crossovers and flexible acoustical controls allow for seamless system integration. Built-in volume control and a hardware remote control allows for centralized system control independent of the source, and the electronics can be remote located to reduce cabling

The latest amplifier technology and acoustical components have been used to ensure the most accurate sound reproduction possible. Robust drivers, a rock-solid cabinet, and carefully designed ports guarantee a tight, articulate, and distortion-free low frequency reproduction, even at high replay levels. Using the sum output, Plane Wave Bass Array™ (PWBA™) techniques acoustically improves lateral consistency in the listening area. The bass extends down to 18 Hz.

The KH 810 subwoofer is designed to complement our extensive range of monitors, and can be used on its own, or daisy-chained to make larger systems capable of higher SPL. The KH 810 can be used in music, broadcast, and post production studios for tracking, mixing, and mastering. The cabinet can be positioned next to a wall or flush mounted into a wall due to the front mounted port, and can be mixed freely in multichannel systems with other loudspeakers from our range

As consumer technology advances at ever faster rates, professional technology increasingly finds itself trying to keep up. An example of this is the advent of the Blu-ray and other high definition formats that have increased the audio channel count to 7.1.

The KH 870 is an answer to these new demands by offering a new 7.1 High Definition Bass Manager™ This is compatible with all standard consumer formats from mono through to the latest 7.1 HD systems. Eight channels of analog inputs ensures flexible interconnectivity for modern studios. Four-mode LFE-channel processing guarantees compatibility across all formats and industries. Forth-order crossovers and flexible acoustical controls allow for seamless system integration. Built-in volume control and a hardware remote control allows for centralized system control independent of the source, and the electronics can be remote located to reduce cabling

The latest amplifier technology and acoustical components have been used to ensure the most accurate sound reproduction possible. Robust drivers, a rock-solid cabinet, and carefully designed ports guarantee a tight, articulate, and distortion-free low frequency reproduction, even at high replay levels. Using the sum output, Plane Wave Bass Array™ (PWBA™) techniques acoustically improves lateral consistency in the listening area. The bass extends down to 18 Hz.

The KH 870 subwoofer is designed to complement our extensive range of monitors, and can be used on its own, or daisy-chained to make larger systems capable of higher SPL. The KH 870 can be used in music, broadcast, and post production studios for tracking, mixing, and mastering. The cabinet can be positioned next to a wall or flush mounted into a wall due to the front mounted port, and can be mixed freely in multichannel systems with other loudspeakers from our range

The KH 80 DSP two-way active bi-amplified monitor features a DSP engine with network control, a Mathematically Modeled Dispersion™ Waveguide (MMD™), an analogue input and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse acoustical conditions, with any source equipment and in a wide variety of physical locations. The KH 80 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.

The KH 80 DSP is designed for use as a near-field monitor, as a front loudspeaker in small multi-channel systems, or as a rear loudspeaker in a compact multi-channel systems. It can be used in project and music studios, broadcast centers, OB vans, and post production studios for tracking, mixing, and mastering. It is also well suited for use in domestic environments.

The KH 120 D studio monitor is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. The KH 120 D represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible. It has a Mathematically Modeled Dispersion waveguide (MMD ), flexible acoustical controls, analog class-AB amplifiers, various input formats (analog and digital) and an extensive mounting hardware range. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment, and physical locations.

The KH 120 D is perfect for tracking, mixing and mastering in music, broadcast, project and post-production studios

The KH 120 A studio monitor is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. The KH 120 A represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible. It has a Mathematically Modeled Dispersion waveguide (MMD (TM), flexible acoustical controls, analog class-AB amplifiers, a large headroom analog input and an extensive mounting hardware range. All of this provides the user with the maximum versatility over a wide variety of acoustic conditions, source equipment, and physical locations.

The KH 310 D three-way active tri-amplified monitor features a Mathematically Modeled Dispersion™ Waveguide (MMD™), flexible acoustical controls, various input options (analog and digital) and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse acoustical conditions, with any source equipment and in a wide variety of physical locations. The KH 310 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.The KH 310 D is designed for use as a near-field monitor, as a front loudspeaker in mid-sized multi-channel systems, or as a rear loudspeaker in a larger multi-channel system. It can be used in project, music, broadcast centers, OB vans, and post production studios for tracking, mixing, and mastering.

The KH 310 three-way active tri-amplified monitor features a Mathematically Modeled Dispersion™ Waveguide (MMD™), flexible acoustical controls, various input options and an extensive range of mounting hardware. This allows the loudspeaker to be used in diverse acoustical conditions, with any source equipment and in a wide variety of physical locations. The KH 310 represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.

The KH 310 is designed for use as a near-field monitor, as a front loudspeaker in mid-sized multi-channel systems, or as a rear loudspeaker in a larger multi-channel system. It can be used in project, music, broadcast centers, OB vans, and post production studios for tracking, mixing, and mastering.

The KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage.
The KMS series has become the internationally acknowledged standard for first-class stage microphones.

The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times.

Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems.

The KMS 104 and the KMS 104 plus have a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. In contrast, with its supercardioid characteristic the KMS 105 is particularly good at suppressing sounds originating from the entire 180° hemisphere behind the microphone. The KMS 104 plus features, compared to KMS 104, a more extended bass frequency response. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimized for the requirements of female voices in the rock and pop field.

The KMS 104/104 plus and the KMS 105 microphones have been developed to optimally transmit the human voice with respect to the demanding conditions present on the live stage.
The KMS series has become the internationally acknowledged standard for first-class stage microphones.

The high acoustic resolution and smooth frequency response of the microphones ensure that the musician has optimal control of the stage performance at all times.

Especially due to their low self-noise and crosstalk behavior which is free of coloration, the KMS microphones are ideal for use with in-ear monitoring systems.

The KMS 104 and the KMS 104 plus have a condenser microphone capsule with a cardioid directional characteristic which provides the best possible suppression of sounds originating from behind the microphone. In contrast, with its supercardioid characteristic the KMS 105 is particularly good at suppressing sounds originating from the entire 180° hemisphere behind the microphone. The KMS 104 plus features, compared to KMS 104, a more extended bass frequency response. In close cooperation with professional musicians, with the aid of extensive practical tests, the KMS 104 plus has been especially optimized for the requirements of female voices in the rock and pop field.

The U 89 is a studio microphone for universal applications. The headgrille protects a dual-diaphragm capsule. A rotary switch below the headgrille selects from five different polar patterns. Therefore the microphone can be adapted easily to large sound sources, and those that are spread wide apart, or to sound sources to be recorded at a greater distance.

The amplifier accepts sound pressure levels up to 134 dB without distortion. This figure can be increased to 140 dB. An additional rotary switch activates a filter that changes the low frequency response either below 80 Hz or 160 Hz frequency.

The U 87 presents a wide range of features and versatility that make it to one of the most desirable mics available. Our users are recognising the microphone immediately by its distinctive design. Well-known for its warm and well balanced characteristics – your perfect choice as vocal microphone for all types of music and speech. The usage as main microphone for orchestra recordings or as spot mic for single instruments make it the most general-purpose microphone – in studios, for broadcasting, film and television.

The U 87* is equipped with a large dual-diaphragm capsule with three directional patterns: omnidirectional, cardioid and figure-8. These are selectable with a switch below the headgrille.

A 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion.

Furthermore, the low frequency response can be reduced to compensate for proximity effect.

The U 47 fet Collectors Edition is a new edition of this classic, issued in the year 2014. For this, Neumann has resumed production of this classic mic, according to the original production documents and schematics. It is supplied with a high-quality wooden case with sophisticated special packaging, and an individual certificate with the serial number of the microphone.

In terms of technical design, the U 47 fet is a condenser microphone with a cardioid directional characteristic and fet 80 circuit technology. Among other things this technology, also used in the U 87, is characterized particularly by a wide dynamic range. The K 47 double large-diaphragm capsule was already employed in the U 47, the legendary tube-based predecessor of the U 47 fet. The K 47 provides a slight boost in the range above 2 kHz.

If required, a switchable low-cut filter raises the lower cutoff frequency electronically from 40 Hz to 140 Hz, thus suppressing undesirable low frequencies (such as impact sound and wind noise), or serving to compensate for the proximity effect. Switchable attenuation can reduce transmission levels by 10 dB, facilitating the processing of very high sound pressure levels of up to 147 dB. In addition, to prevent overloading of the connected preamp, the output signal can be reduced by 6 dB via a switch on the bottom of the microphone.

In order to ensure stable positioning, the microphone is swivel-mounted on an integrated bracket. The bracket stand connector has 5/8″-27 internal thread, with an adapter for 1/2″ and 3/8″ threads. The microphone cable can be secured at the side of the stand connector, by using the knurled nut to fasten it in the slot (for cable diameters of up to 5 mm). The microphone is available in classic nickel.

The TLM 193 is a large diaphragm microphone with a cardioid polar pattern. With this microphone Neumann continues its long tradition, and is offering high end technology at an affordable price for musicians and the home recording studio.

The microphone uses a transformerless circuit, featuring extremely low self noise and large dynamic range.

The polar response is very linear over a wide incidence angle. Thus, even signals coming from the side are reproduced faithfully and without coloration. The exposed surface of the microphone capsule is at ground potential, making it immune to typical interference and contamination. The microphone is supplied with a swivel mount.

The transformerless TLM 67 condenser incorporates the K 67 capsule from the classic U 67 along with a special new circuit design that closely reproduces the sound characteristics of the U 67, but without the use of tubes. Extremely versatile, it features 3 polar patterns, (omni, cardioid, and figure-8), selectable 10dB pad and high-pass filter. The Neumann TLM 67 is a large-diaphragm condenser microphone in the classic Neumann style. The stylish pearl-gray of the microphone body combined with the classic Neumann nickel lends the TLM 67 microphone a touch of distinctive individuality. The letters TLM stand for transformerless microphone. In the Neumann TLM 67 mic, an electronic circuit is used rather than a conventional output transformer. Like a transformer, the circuit ensures good common mode rejection, effectively suppressing interference signals that affect the balanced modulation line. The TLM 67 microphone can operate at sound pressure levels of up to 105 dB without distortion, and has a dynamic range of 94 dB (A-weighted), without the use of the pre-attenuation switch. The Neumann TLM 67 is an extremely versatile microphone. Its 3 switchable directional modes (omnidirectional, cardioid and figure-8), selectable 10 dB pre-attenuation and high-pass filter permit detailed adjustments, depending on your recording needs. In the world of studio microphones, the numbers 47, 67 and 87 have associations that inspire enthusiasm among professionals. The classic Neumann U 67 was the successor to the famed U 47, which was Sir George Martin’s favorite mic for recording the Beatles, and the U 87 has become the most used vocal mic in recording history. It is no coincidence that the name of the new Neumann TLM 67 microphone contains the number 67. In many respects, the Neumann TLM 67 mic is based on the workhorse mic of the 1960s: the legendary Neumann U 67 mic. Like the U 67, the Neumann TLM 67 incorporates Neumann’s K 67 capsule.

The TLM 49 is a large-diaphragm studio microphone with a cardioid directional characteristic and a warm sound which is especially optimized for vocal performance. It is supplied as a set, with an elastic suspension.

The design is inspired by that of the legendary M 49 and M 50 microphones of the 1950s. Naturally the TLM 49 has the typical Neumann fine matte nickel finish. The “sound design” is also oriented toward that of the M 49 and the U 47.

By combining its retro look with proven Neumann transformerless circuit technology, this microphone ensures low self-noise and the use of high gain levels.

There Is No Substitute for Accuracy

The Yamaha HS5 active studio monitor will help you make better-sounding recordings. Yamaha’s nearfield monitors with those iconic white-coned woofers have been ubiquitous in top studios worldwide ever since the original NS-10s hit the scene in the late ’70s. Yamaha has continuously developed and perfected their monitors, resulting in HS series monitors with newly designed bi-amplified drivers and scientifically ported enclosures that deliver amazing accuracy and vanishingly low coloration. Don’t mix in the dark. Nail what you’re after without the guesswork, with Yamaha’s HS5.

The Yeti Pro Studio All-In-One Pro Studio Vocal System from Blue features a Blue Yeti Pro USB and XLR microphone, PreSonus multi-track recording software, and iZotope vocal processing software. It is an easy-to-use professional studio system for recording vocals, music, instruments, and more.

The HS5 Powered Studio Monitor from Yamaha is a bi-amplified monitor that is designed for accurate sound reproduction. It is capable of up to 70W of total output and features a 5-inch woofer and a 1-inch tweeter with waveguide that can produce frequencies up to 30kHz. The HS5 has both an XLR and 1/4″ TRS input that accept either balanced or unbalanced signals for integration into a variety of studio setups.

Superb sound and powerful functionality provide performance you can believe in.In Yamaha TYROS 5-61 has created the ultimate performance keyboard, with outstanding sounds, enhanced DSP effects, and accompaniment Styles so real it’s like being backed by the world’s finest musicians. The Tyros 5 brings a level of authenticity like no instrument before it. Whether sketching composition ideas, carefully crafting the perfect arrangement or delivering a memorable performance, the Tyros 5 is your perfect companion.