{"title":"DACS","description":null,"products":[{"product_id":"dacs-headlite-ii-b-4-ch-headphone-amp-w-balanced-inputs","title":"DACS HeadLite II - B 4 Ch. Headphone Amp w\/ Balanced inputs","description":"\u003cp\u003eThe \u003cstrong\u003eDACS HeadLite 2\u003c\/strong\u003e was officially launched at the 2007 AES Convention in New York. It is a 4 x input, 8 x output amplifier with input selection for each amplifier. Like its predecessor (the HeadLite), it offers the ability to drive any impedance of headphone to the headphone's maximum output level, if required, without distortion.\u003c\/p\u003e  \u003cp\u003eThis upgraded version features new ICs that significantly improve the unit's overall performance, particularly into low impedance headphones. Input sensitivity is now set using two self cleaning push button switches on the rear panel, rather than the internal adjustment of the predecessor.\u003c\/p\u003e  \u003cp\u003eHeadLite 2 also features conductive plastic pots, an upgraded selector switch and a balanced input option using the THAT InGenius® IC.\u003c\/p\u003e  \u003cp\u003eThe HeadLite2 is ideal for:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eRecording studios\u003c\/li\u003e \u003cli\u003eRadio stations\u003c\/li\u003e \u003cli\u003ePost production studios\u003c\/li\u003e \u003cli\u003eTheatres\u003c\/li\u003e \u003cli\u003eListening areas in universities and colleges\u003c\/li\u003e \u003cli\u003eThe overall performance of the HeadLite2 has been improved, creating a unit that sounds even better than its predecessor, still delivering superb open bass and effortless, clear mid and top. It is easier to use and will maintain its performance level for many years to come.\u003c\/li\u003e \u003c\/ul\u003e   \u003ch3\u003eSpecs:\u003c\/h3\u003e  \u003cp\u003eThe HeadLite2 amplifiers have power to spare; the standard channels will easily and cleanly drive 400 ohm headphones at maximum output levels. Outputs for each channel appear on the front and rear, and are able to drive down long lines to headphone outlets in remote rooms. For each of the amplifiers, users can select from the four input (A, B, C and D) to hear A and B, or C and D as stereo and A, B, C or D as mono.\u003c\/p\u003e  \u003cp\u003eThe HeadLite2 offers excellent signal to noise ratios, low cross talk, very low distortion and a bass response that is flat down to under 20Hz. The unit's frequency response (-0.5dB at 3hz to 35kHz) is substantially flatter (within 0.1dB over the 22Hz to 22kHz band) than its predecessor, thus offering improved fidelity. Because of the design of the amplifier's output stage, its high frequency response does not suffer significantly, even down very long lines.\u003c\/p\u003e  \u003cp\u003eThe HeadLite2 is fitted with one high power channel for driving low impedances and has overall power output of over 200mW\/ch RMS into 600R, or 125mW RMS into 150R, on the standard channels. As such, the HeadLite2 delivers all the features recording professionals need in a rugged and reliable package that will last for years.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44449900298343,"sku":"57153","price":957.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-headlite2_57153_1_2a8a71f0-6866-4ddb-a159-cc899bbc7aaf.jpg?v=1787090874"},{"product_id":"dacs-headlite-ii-4-channel-headphone-amplifier","title":"DACS HeadLite II 4 Channel Headphone Amplifier","description":"\u003cp\u003eThe \u003cstrong\u003eDACS HeadLite 2\u003c\/strong\u003e was officially launched at the 2007 AES Convention in New York. It is a 4 x input, 8 x output amplifier with input selection for each amplifier. Like its predecessor (the HeadLite), it offers the ability to drive any impedance of headphone to the headphone's maximum output level, if required, without distortion.\u003c\/p\u003e  \u003cp\u003eThis upgraded version features new ICs that significantly improve the unit's overall performance, particularly into low impedance headphones. Input sensitivity is now set using two self cleaning push button switches on the rear panel, rather than the internal adjustment of the predecessor.\u003c\/p\u003e  \u003cp\u003eHeadLite 2 also features conductive plastic pots, an upgraded selector switch and a balanced input option using the THAT InGenius® IC.\u003c\/p\u003e  \u003cp\u003eThe HeadLite2 is ideal for:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eRecording studios\u003c\/li\u003e \u003cli\u003eRadio stations\u003c\/li\u003e \u003cli\u003ePost production studios\u003c\/li\u003e \u003cli\u003eTheatres\u003c\/li\u003e \u003cli\u003eListening areas in universities and colleges\u003c\/li\u003e \u003cli\u003eThe overall performance of the HeadLite2 has been improved, creating a unit that sounds even better than its predecessor, still delivering superb open bass and effortless, clear mid and top. It is easier to use and will maintain its performance level for many years to come.\u003c\/li\u003e \u003c\/ul\u003e   \u003ch3\u003eSpecs:\u003c\/h3\u003e  \u003cp\u003eThe HeadLite2 amplifiers have power to spare; the standard channels will easily and cleanly drive 400 ohm headphones at maximum output levels. Outputs for each channel appear on the front and rear, and are able to drive down long lines to headphone outlets in remote rooms. For each of the amplifiers, users can select from the four input (A, B, C and D) to hear A and B, or C and D as stereo and A, B, C or D as mono.\u003c\/p\u003e  \u003cp\u003eThe HeadLite2 offers excellent signal to noise ratios, low cross talk, very low distortion and a bass response that is flat down to under 20Hz. The unit's frequency response (-0.5dB at 3hz to 35kHz) is substantially flatter (within 0.1dB over the 22Hz to 22kHz band) than its predecessor, thus offering improved fidelity. Because of the design of the amplifier's output stage, its high frequency response does not suffer significantly, even down very long lines.\u003c\/p\u003e  \u003cp\u003eThe HeadLite2 is fitted with one high power channel for driving low impedances and has overall power output of over 200mW\/ch RMS into 600R, or 125mW RMS into 150R, on the standard channels. As such, the HeadLite2 delivers all the features recording professionals need in a rugged and reliable package that will last for years.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44449900331111,"sku":"57152","price":906.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-headlite2_57152_1_05d22224-1473-4071-a09c-aba0de34a129.jpg?v=1787090874"},{"product_id":"dacs-micamp-500-series-microphone-preamp","title":"DACS MicAmp 500-Series Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eDACS MicAMp 500-Series\u003c\/strong\u003e is a 2 channel discrete-component-based microphone amplifier.\u003c\/p\u003e     \u003ch3\u003eTechnical Specifications\u003c\/h3\u003e  \u003cp\u003eThe DACS MicAmp is a very high performance unit. At this level every effort must be made to avoid compromising the quality of the signal path. Every aspect of the process has been examined, from the power supply to wiring to external connectors. Probably the changing of any one factor would make no noticeable or measurable difference, but cumulatively the attention to detail is worthwhile, particularly in long-term performance and reliability. Below are some notes regarding the technical aspects of the MicAmp, which is what makes this unit one of the best Microphone Amplifiers available.\u003c\/p\u003e  \u003ch3\u003ePower Supply Unit\u003c\/h3\u003e  \u003cp\u003eThe Dual Rail supply used in all the products uses LM317 variable regulators. These have been shown in a number of tests to be lower noise than standard 78\/9 series regulators. DACS have also implemented additional ripple reduction circuitry. In addition most capacitors are Tantalum, not standard electrolytic. The main smoothing capacitors are 4700µF per rail. The Phantom Power Supply is an op-amp based regulator giving extremely stable regulation.\u003c\/p\u003e  \u003cp\u003ePower distribution uses a star system to minimize any interaction between circuit elements.\u003c\/p\u003e  \u003ch3\u003eEarthing\u003c\/h3\u003e  \u003cp\u003eThe unit uses a star earth system where all earths go to the 0V terminal using heavy cable.\u003c\/p\u003e  \u003ch3\u003eWiring and Fixing\u003c\/h3\u003e  \u003cp\u003eWhere connections are crucial they've been soldered directly to the PCB. This forms a more reliable long-term connection than plugs. All cables are loomed and firmly cable tied to the board. The audio cable is OFC, again producing a small benefit over the long term. No external connectors are PCB mounting. This ensures long-term reliability.\u003c\/p\u003e  \u003ch3\u003eComponents\u003c\/h3\u003e  \u003cp\u003eThe input DC decoupling capacitors are metallized polyester of 5% tolerance. The input is protected by four ultra fast diodes. The transistors are stacked to improve thermal coupling and reduce lead length. They are mounted in a turned pin socket. The gain switching uses a self-cleaning rotary switch which is screwed to the PCB, then soldered, and the switching shaft is fixed to the screwed down portion of the switch body so that there is little or no mechanical stress on the PCB. The pot (conductive plastic tracks) is also mounted on a bracket to minimize PCB stress. The filter stage uses 5% metallized polyester capacitors too, to give accurate and stable filtering. The amplifier stage is decoupled from the filter and trim stage by a 100uF bi-polar electrolytic capacitor. The trimmers are all low noise trimmers with a wide track. Throughout, DACS have used Burr Brown OPA604s which are extremely high specification op-amps optimized for audio applications. In listening tests they have been preferred to NE5532s.\u003c\/p\u003e  \u003ch3\u003eNoise and distortion\u003c\/h3\u003e  \u003cp\u003eEIN is -133dB relative to a maximum output of +22dBu. Distortion is very low, with THD+N figures of around .00025% @ 1kHz (measured in the audio frequency range). Input impedance is ca 1kOhm.\u003c\/p\u003e  \u003ch3\u003eFrequency response\u003c\/h3\u003e  \u003cp\u003e-3dB point at 48kHz, roll off at 6dB\/octave Flat to less than 20Hz on phantom with subsonic roll off at 6dB\/octave, DC coupled on non phantom inputs.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44449900396647,"sku":"57151","price":740.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-micamp-500-series_57151_1_df4951a3-ea69-4c5d-851b-e6d47ec7c716.jpg?v=1787090874"},{"product_id":"dacs-headmaster-ii","title":"DACS Headmaster II","description":"\u003cp\u003eReference monitor controller for critical listening; the \u003cstrong\u003eDACS Clarity HeadMaster II\u003c\/strong\u003e is a D-A converter, monitor controller and headphone amplifier. D-A conversion from Crookwood coupled with DACS' renowned clarity and detail in the analog domain, creates a uniquely impressive, multi-purpose device.\u003c\/p\u003e  \u003cp\u003eIdeal for recording, mastering and mixing engineers and producers, the Headmaster has been designed for critical listening from a variety of analog and digital sources.\u003c\/p\u003e  \u003ch3\u003eSpecs:\u003c\/h3\u003e  \u003cp\u003eThe unit has four inputs: AES\/EBU, SP\/DIF, balanced analog and unbalanced analog. The analog inputs use THAT InGenius balanced input ICs providing 90dB CMRR, DC coupling and THD+N figures of around 0.0015% input to output. Inputs are selected using the stainless steel front panel switches with LED indicators.\u003c\/p\u003e  \u003cp\u003eHeadMaster's outputs include two headphone outputs (one on the front panel, and one on the rear) and two selectable monitor outputs. The headphone and monitor outputs have independent volume control and are fitted with conductive plastic pots.\u003c\/p\u003e  \u003cp\u003eThe rear panel features a fixed level balanced analog output from the D-A input, with digital FSD set to provide and output of +18dBu. The headphone output uses DACS' renowned Clarity headphone driver circuit. The balanced outputs are DACS' high performance driver circuits.\u003c\/p\u003e  \u003cp\u003eThe Crookwood D-A uses a technique that makes it impervious to jitter on the incoming signal, and provides unobtrusive anti-aliasing filtering. The result is a clean accurate audio output, unaffected by jitter, or other digital anomalies. It simply does not get any better than this.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44449900363879,"sku":"57154","price":1283.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-headmaster-2_57154_1_02b5f3f8-c630-4077-92ee-a09ce7b5b565.jpg?v=1787090873"},{"product_id":"dacs-audio-freque-ii","title":"DACS Audio Freque II","description":"\u003cp\u003eProduce pumping tracks that stand out from the crowd with the \u003cstrong\u003eDACS FwS FREQue II\u003c\/strong\u003e (pronounced \"freak\"), a genuinely new and inspirational analog effects processor.\u003c\/p\u003e  \u003ch3\u003eThe Effects:\u003c\/h3\u003e  \u003cp\u003eWith low frequency modulation inputs: Simple to complex autopan effects, gating, amplitude modulation, flanging, spatializing.\u003c\/p\u003e  \u003ch3\u003eWith mid frequency modulation inputs:\u003c\/h3\u003e  \u003cp\u003eVocoding type effects, adding tunable harmonics, both lower down to subsonic, and up to supersonic, second harmonic distortion (like valves\/tubes), harmonizing, retuning percussion, gating, general rich distortion, Sci-Fi voices (eg a Dalek).\u003c\/p\u003e  \u003ch3\u003eWith high frequency modulation inputs:\u003c\/h3\u003e  \u003cp\u003eTransposition with distortion, adding glitter, air, sparkle etc when mixed back into original.\u003c\/p\u003e  \u003ch3\u003eWith music or sounds into both inputs:\u003c\/h3\u003e  \u003cp\u003eVocoding effects, gating effects, fattening\/thickening effects, spatial effects, weird transformations.\u003c\/p\u003e  \u003ch3\u003eInternal FM:\u003c\/h3\u003e  \u003cp\u003eFrequency Modulation of modulation oscillator at all frequencies, giving effects ranging from slow pulsation to the classic FM generation of complex waveforms.\u003c\/p\u003e  \u003ch3\u003eExternal voltage control of oscillators:\u003c\/h3\u003e  \u003cp\u003eEnvelope follower effects, FM effects as above, randomized autopanning.\u003c\/p\u003e  \u003ch3\u003eFrequency shift:\u003c\/h3\u003e  \u003cp\u003eUp and down shift of frequency with change in harmonic structure, with FM for sliding effects, using feedback loop to create filter type sweeps.\u003c\/p\u003e  \u003ch3\u003eDACS FREQue II Application Ideas\u003c\/h3\u003e  \u003cp\u003eThis section is not intended to be a comprehensive list of all that can be done with the FREQue II. Rather it is a list of starting points for you to begin experiments from. Using the FREQue II, producers and engineers can almost infinitely extend the voices of their existing battery of synthesizers and sound generators and create vast ranges of completely new sounds, add depth and warmth to early digital synthesizers, give drums new power, radically transform voices...\u003c\/p\u003e  \u003cp\u003eSome treatments will require mixing with the original signal and some will need to be kept separate. For example adding distortion to a continuous sound will need mixing while gating effects will not.\u003c\/p\u003e  \u003ch3\u003eTone and Music\u003c\/h3\u003e  \u003cp\u003eFeed a stable tone, or a slightly varying one, into the MOD input and the music or tune into the MUSIC input. The MOD input could be from the internal oscillator. If the MOD input is harmonically related to the key of the music the OUTPUT will tend to be harmonic e.g. the MOD input is a D and the music is in the key of D, then the output will tend to be harmonically rich. If the MOD input is not related, then the output will be rough, bell like and\/or noisy depending on the frequency of the input.\u003c\/p\u003e  \u003ch3\u003eTry this...\u003c\/h3\u003e  \u003cp\u003eUse held chords that have a certain amount of vibrato - as the pitch of the chords varies so the harmonic content of the sound will vary Vary the MOD frequency to generate sliding upper and lower harmonics Use randomly generated frequencies from synthesizers on MOD input Try varying the edge controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects Have a go at the 1st oscillator range to produce gating effects, the 2nd range to produce tremolo effects, the 3rd range to produce heavy modulation effects while the 4th range will produce higher and higher harmonic effects\u003c\/p\u003e  \u003ch3\u003eDrums\u003c\/h3\u003e  \u003cp\u003eFeed percussive sounds into the MUSIC input and tones or other sounds into the MOD input. The MUSIC input will then act as a trigger and give a gating effect, only producing OUTPUT when the MUSIC input signal is present.\u003c\/p\u003e  \u003ch3\u003eTry this...\u003c\/h3\u003e  \u003cp\u003eVary the MOD input frequency to produce output harmonically related to the music Feed the melody into the MOD input and the percussion will 'play the tune', or at least tend to go up and down with it Feed any old music to the MOD to produce an effect similar to scratching\u003c\/p\u003e  \u003cp\u003eFeed the MOD input with carefully selected samples synchronized with the percussive sounds Using the FREQue II's oscillator set on the 2nd or 3rd range generate deep deep bass sub harmonics on bass drums Using the oscillator set on the 4th range generate grain, grit and glitter on snares, hi hats, cymbals, maracas\u003c\/p\u003e  \u003ch3\u003eVocal inputs\u003c\/h3\u003e  \u003cp\u003eFeed your voice into the MUSIC input and feed a variety of signals into the MOD input - music, tone, noise...\u003c\/p\u003e  \u003ch3\u003eTry this...\u003c\/h3\u003e  \u003cp\u003eUse the voice to gate the MOD inputs Use the voice as a percussion imitator to produce hot rhythm sections from modulated MOD inputs Try the 1st range to produce gating and heavy breathing effects, the 2nd range to produce tremolo and panting effects, the 3rd range to produce heavy modulation effects (Dalek\/sci-fi voices among others) while the 4th range will produce higher and higher harmonic effects\u003c\/p\u003e  \u003ch3\u003eSame signal or L \u0026amp; R of stereo into both inputs\u003c\/h3\u003e  \u003cp\u003eFeed the same signal or the left and right of a stereo signal into the MUSIC and MOD inputs.\u003c\/p\u003e  \u003ch3\u003eTry this...\u003c\/h3\u003e  \u003cp\u003eMix the output into the original signal to harmonically enhance the signal Left and right inputs into MOD and MUSIC inputs respectively on both modules can produce phasing and other spectral phenomena, particularly if the spectral controls are varied Try varying the edge and\/or weight controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects\u003c\/p\u003e  \u003ch3\u003eDelay\/feedback\u003c\/h3\u003e  \u003cp\u003eUse a delay line to process signals going in to or out from the units\u003c\/p\u003e  \u003cp\u003eTry this... Feed audio out back to MUSIC input via delay at tempo or multiple of tempo Do the above with long decays on the end of sounds Split the signal to both inputs and use delay line on one input to produce weird flanging effects on output, pan both outputs centrally or left and right\u003c\/p\u003e  \u003ch3\u003eMultiple Modulation\u003c\/h3\u003e  \u003cp\u003eFeed music into the MUSIC input of one modulator and use the internal oscillator to modulate it. Take this OUT to the MUSIC input of the second modulator and modulate it with the same internal oscillator. The result is that the original signal is reconstituted and additional higher partials are also added.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44449900429415,"sku":"57155","price":1501.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-freque-ii_57155_1_80e78462-7af3-4886-90f3-13920f7bc587.jpg?v=1787090874"},{"product_id":"dacs-test-lab-test-bench","title":"DACS Test Lab - Test Bench","description":"\u003cp\u003eThe original test-box which became the \u003cstrong\u003eDACS Test Lab\u003c\/strong\u003e was literally home-grown originally. Just the oscillator and cable tester, it was built to address the particular tests to solve the technical issues which arose during DACS Ltd installation\/live sound projects. It was called the ‘anti-panic’ device. To optimize the Test Lab, DACS listened to other audio professionals, brainstormed more suggested features, and refined those already included. The final result is a feature-packed but portable product which tells you all you need to know in those situations you'd rather never happened. The SNR of useful information to interfering information is off the charts.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44449900494951,"sku":"57157","price":499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-test-lab_57157_1_c7c76ab7-d2c2-4c15-960a-51a798a21255.jpg?v=1787090874"},{"product_id":"dacs-micamp-ii","title":"DACS MicAmp II Stereo Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eDACS MicAmp II\u003c\/strong\u003e is a 2 channel discrete-component-based microphone amplifier.\u003c\/p\u003e     \u003ch3\u003eTechnical Specifications\u003c\/h3\u003e  \u003cp\u003eThe DACS MicAmp is a very high performance unit. At this level every effort must be made to avoid compromising the quality of the signal path. Every aspect of the process has been examined, from the power supply to wiring to external connectors. Probably the changing of any one factor would make no noticeable or measurable difference, but cumulatively the attention to detail is worthwhile, particularly in long-term performance and reliability. Below are some notes regarding the technical aspects of the MicAmp, which is what makes this unit one of the best Microphone Amplifiers available.\u003c\/p\u003e  \u003ch3\u003ePower Supply Unit\u003c\/h3\u003e  \u003cp\u003eThe Dual Rail supply used in all the products uses LM317 variable regulators. These have been shown in a number of tests to be lower noise than standard 78\/9 series regulators. DACS have also implemented additional ripple reduction circuitry. In addition most capacitors are Tantalum, not standard electrolytic. The main smoothing capacitors are 4700µF per rail. The Phantom Power Supply is an op-amp based regulator giving extremely stable regulation.\u003c\/p\u003e  \u003cp\u003ePower distribution uses a star system to minimize any interaction between circuit elements.\u003c\/p\u003e  \u003ch3\u003eEarthing\u003c\/h3\u003e  \u003cp\u003eThe unit uses a star earth system where all earths go to the 0V terminal using heavy cable.\u003c\/p\u003e  \u003ch3\u003eWiring and Fixing\u003c\/h3\u003e  \u003cp\u003eWhere connections are crucial they've been soldered directly to the PCB. This forms a more reliable long-term connection than plugs. All cables are loomed and firmly cable tied to the board. The audio cable is OFC, again producing a small benefit over the long term. No external connectors are PCB mounting. This ensures long-term reliability.\u003c\/p\u003e  \u003ch3\u003eComponents\u003c\/h3\u003e  \u003cp\u003eThe input DC decoupling capacitors are metallized polyester of 5% tolerance. The input is protected by four ultra fast diodes. The transistors are stacked to improve thermal coupling and reduce lead length. They are mounted in a turned pin socket. The gain switching uses a self-cleaning rotary switch which is screwed to the PCB, then soldered, and the switching shaft is fixed to the screwed down portion of the switch body so that there is little or no mechanical stress on the PCB. The pot (conductive plastic tracks) is also mounted on a bracket to minimize PCB stress. The filter stage uses 5% metallized polyester capacitors too, to give accurate and stable filtering. The amplifier stage is decoupled from the filter and trim stage by a 100uF bi-polar electrolytic capacitor. The trimmers are all low noise trimmers with a wide track. Throughout, DACS have used Burr Brown OPA604s which are extremely high specification op-amps optimized for audio applications. In listening tests they have been preferred to NE5532s.\u003c\/p\u003e  \u003ch3\u003eNoise and distortion\u003c\/h3\u003e  \u003cp\u003eEIN is -133dB relative to a maximum output of +22dBu. Distortion is very low, with THD+N figures of around .00025% @ 1kHz (measured in the audio frequency range). Input impedance is ca 1kOhm.\u003c\/p\u003e  \u003ch3\u003eFrequency response\u003c\/h3\u003e  \u003cp\u003e-3dB point at 48kHz, roll off at 6dB\/octave Flat to less than 20Hz on phantom with subsonic roll off at 6dB\/octave, DC coupled on non phantom inputs.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44449900560487,"sku":"57150","price":2102.59,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-micamp2_57150_1_a3d39ac4-94fa-4496-aa83-ce1171897b9d.jpg?v=1787090874"},{"product_id":"dacs-headlite-iii-b-4ch-headphone-amp-w-balanced-outs","title":"DACS Headlite III B - 4Ch Headphone Amp w\/ Balanced Outs","description":"\u003cp\u003eHeadphones are an increasingly important tool for many aspects of audio production, and the quality of headphone design and manufacture is higher now than it has ever been. Ensuring the very best performance from these headphones requires they be driven by a dedicated headphone amplifier such as the \u003cstrong\u003eDACS Headlite III B 4-Channel Headphone Amp\u003c\/strong\u003e. These days “making do” with the headphone socket from the mix board just doesn’t really do at all – especially when there is more than one set of ears which need to listen in. Choosing a headphone amplifier is important and can sometimes be confusing, but there are three main features to bear in mind:\u003c\/p\u003e\r\n\r\n\u003ch4\u003eClarity and Sound Quality\u003c\/h4\u003e\r\n\r\n\u003cp\u003eWhatever the headphone task – from listening to a mix while recording an overdub, to editing, sub-mixing, mixing and even mastering – the quality of the final result begins with whatever you can hear in your ears. Accurate representation of the whole audible frequency range is essential and any over-emphasis of certain bands, or overall mud or indistinctness in the sound, will inevitably affect both the overdub and the overview. The metering added to the busses that feed the amplifiers allows users to set their input levels, making sure what goes in to the amplifier will give optimum output performance.\u003c\/p\u003e\r\n\r\n\u003ch3\u003ePower\u003c\/h3\u003e\r\n\r\n\u003cp\u003eAmplifier power is not just about level (sound pressure level) it is about clean level (sonically pure level). A cheap headphone amplifier when pushed beyond its narrow limits can begin to distort before your headphones or your ears, and this not only compromises the sound you can hear, it can also damage your hearing itself. A headphone amp which has enough power should be `cruising’ for the whole of its useable range, and so the output signal is always as clean as the technical specifications indicate it should be.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eFlexibility\u003c\/h3\u003e\r\n\r\n\u003cp\u003eIt is likely that in a studio situation you will need to drive more than one set of headphones, and likely too that not every listener wants to hear the same source, e.g. the same mix balance. So a good headphone amplifier will provide multiple outputs – with individual amplifiers for each – and a choice of inputs.\u003c\/p\u003e\r\n\r\n\u003cp\u003eDACS’ Clarity HEADLITE 3 which, like all DACS Audio Products was designed in the field by working engineers and developed in the labs by industrious boffins, scores top marks in all of the above: Excellent Clarity and Sound Quality is ensured by the design of the amplifier which produces very low distortion and an extended and flat frequency range\r\nThe Power of the output on the standard channels is more than sufficient to drive any headphone of any impedance, and special higher power channels can be specified to drive multiple headphones without loss of volume.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAnd the Flexibility is provided by four bussed inputs selectable in combination on each of the four stereo output amplifiers and eight physical outputs.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe standard channel amplifiers of HEADLITE 3 have power to spare – 125mW RMS into 150 Ohms – and each will easily and cleanly drive 400 Ohm headphones at possibly unwise maximum output levels. HEADLITE 3 is also fitted with one high power channel for driving multiple headphones – in tests six 400 Ohm headphones were powered with no loss of level (additional channels can be specified with order or retro-fitted) – and has overall power output of over 200mW RMS into 600R.\u003c\/p\u003e\r\n\r\n\u003cp\u003eOutputs for each channel appear on both the front and rear of the unit, and are able to drive long audio lines to remote headphone outlets such as in vocal booths or over-dub rooms. For each of the amplifiers, users can select from the four inputs (A, B, C and D) to hear A and B, or C and D as stereo, and A, B, C or D as mono. This means, for example, that two different submixes could be sent to the HEADLITE from the mixer aux outs to suit two different purposes: the drummer and the singer might well need to hear different balances in their headphone feeds …\r\nHEADLITE 3 offers excellent signal to noise ratios, low cross talk, very low distortion and a bass response that is flat down to well under 20Hz. The unit’s frequency response (-0.5dB at 3hz to 35kHz) is substantially flatter (within 0.1dB over the 22Hz to 22kHz band) than its predecessor, thus offering improved fidelity. Because of the design of the amplifier’s output stage, its high frequency response does not suffer significantly, even down very long lines.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAs such, HeadLite3 delivers all the features recording professionals need in a rugged and reliable package that will last for many years.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44450077081703,"sku":"75956","price":1165.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-headlite-iii_75956_1.jpg?v=1787091598"},{"product_id":"dacs-monitor-control-central","title":"DACS Monitor Control Central Audio Rack","description":"\u003cp\u003eAll the balanced inputs in the \u003cstrong\u003eDACS Monitor Control Central Audio Rack\u003c\/strong\u003e use a circuit developed over the years based on an instrumentation amplifier. Both legs of the source signal are presented with a perfectly matched impedance, creating an ideal load and maximizing the rejection of any unwanted interference. If the source is unbalanced the circuit deals with it flawlessly too. All the subsequent signal path is DC coupled with the purity and absolutely critical phase coherence this provides, particularly at the low end. The result is a signal path with a frequency response from 5 Hz to 40 kHz that is within ±0.1 dB\u003c\/p\u003e\r\n\u003cp\u003eThe main speaker volume control uses reed relays to switch 1% metal film resistor ladders giving channel matching to within .05 dB. Adjustment on the silky-smooth volume pot is seamless; the control board’s response is tailored to be similarly seamless. All balanced outputs use a DACS circuit, each one individually trimmed for very low CMRRs. The hot and cold outputs have a servo-linked function that provides the same output level whether connected to a balanced or unbalanced destination (as long as the cold terminal is shorted to ground).\u003c\/p\u003e\r\n\u003cp\u003eThe eight THAT2181 VCAs in the Cue section are individually trimmed with multiturn presets achieving their very best performance, and gain is controlled via an 8 BIT DAC to better than .4 dB resolution.\u003c\/p\u003e\r\n\u003cp\u003eAll digital control signals are sent via an MC2 buss, and of course the 5V system powering this and the control chips is isolated from the audio. Headphones vary widely in impedance, but broadly handle between 100mW and 500mW in power. This means for maximum headphone SPL an amplifier may need to provide the same power to loads that vary by a factor of 50, so between 2V into low impedance 100mW headphones (8 Ohms), and 14V into 500mW high impedance headphones (400 Ohms).\u003c\/p\u003e\r\n\u003cp\u003eIf you consider a standard audio amplifier, it will efficiently power loads that vary over a factor of 4 (8 Ohms to 2 Ohms); outside this range distortion increases and the amplifier’s performance drops significantly. Headphone loads vary by a factor of more than 50, and the amplifier needs to deliver pure sound into all loads, up to and past the distortion point of the headphones. This is not a straightforward task. The amplifier circuit we use in Monitor Control Central is that of our legendary and exemplary HeadLite, renowned for its clarity and accuracy. It’ll drive anything, even (small) loudspeakers!\u003c\/p\u003e\r\n\u003cp\u003eInputs 1-3 are set to unity gain, while inputs 3-6 are designed for -10 dBV inputs from MP3 players, CD players and the like. All six inputs are balanced, but all operate flawlessly unbalanced.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eThe Cue Section\u003c\/h3\u003e\r\n\u003cp\u003eThe unit has four balanced stereo ‘Cue’ inputs which are routed to the artists via Monitor Control Central. THAT 2181 series trimmable VCAs drive the stereo balanced outputs that feed the external headphone system. On the Desk Top Unit, four pots control the Cues’ volume, a toggle switch on each Cue pair allowing the engineer to route either the Cue input or the main stereo mix to that Cue output (pre VCA volume control). Finally there is a rotary switch allowing any one of the 4 Cue signals (post VCA volume control) to be routed to the main control room speakers, so the engineer can check the feed. Talkback, when engaged, is routed to the Cue and automatically dims, by an amount adjusted on the front of the rack unit, the Cue input\/stereo mix signal going to the Cue outputs.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44450437693543,"sku":"109608","price":5054.05,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-monitor-contol-centers_109608_1_57f7f70f-a4a5-4857-b389-55e509c00dc9.jpg?v=1787093062"},{"product_id":"dacs-test-lab-pocket-sized-test-bench","title":"DACS Test Lab+ Pocket-Sized Test Bench","description":"\u003cp\u003eThe \u003cstrong\u003eDACS Test Lab+ Pocket-Sized Test Bench\u003c\/strong\u003e is a professional tool which provides swift but rigorous common fault investigation for studio, installation and live sound engineers.\u003c\/p\u003e\r\n\r\n\u003cp\u003eTest Lab+ is packed with necessary test features – signal generation powerful enough to drive a speaker, accurate input\/output metering, work lights and flashlight, various analog cable and signal testing routines. New features include control and settings for all functions via one intuitive control and display; fully balanced I\/O; signal sweep from 20Hz to 20kHz; wiggle testing for detection of intermittent connections; 4 pole Speakon and 8 pole RJ45 cable testing; XLR pin positions on legend for easy cable making – but no unnecessary cosmetics, and so it can be offered at a moderate cost and is small enough to fit into a tool bag.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44450494611559,"sku":"127118","price":578.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-test-lab-plus_127118_1_c4bdeeca-cb8d-480d-88cf-1dabbe0f2252.jpg?v=1787093290"},{"product_id":"dacs-freque-ii-mk2-ring-modulator","title":"DACS FwS FREQue II MK2 Ring Modulator Analog Effects Processor","description":"\u003cp\u003eRing Modulation has been around for a long time. Its usefulness was always limited by the high level of breakthrough of the original signals. Some years ago DACS developed a device which reduced this breakthrough to levels compatible with digital technology. The FwS series of ring modulator based effectors retains the purity of the effect with breakthrough performance. With the \u003cstrong\u003eDACS FwS FREQue II MK2 Ring Modulator\u003c\/strong\u003e you will be able to transform your existing sound generators creating an almost infinite range of unique sounds using your hands and your ears.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eThe Effects\u003c\/h3\u003e\r\n\u003cp\u003eWith low frequency modulation inputs: Simple to complex autopan effects, gating, amplitude modulation, flanging, spatialising.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eWith mid frequency modulation inputs\u003c\/h3\u003e\r\n\u003cp\u003eVocoding type effects, adding tunable harmonics, both lower down to subsonic, and up to supersonic, second harmonic distortion (like valves\/tubes), harmonising, retuning percussion, gating, general rich distortion, Sci-Fi voices (eg a Dalek)\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eWith high frequency modulation inputs\u003c\/h3\u003e\r\n\u003cp\u003eTransposition with distortion, adding glitter, air, sparkle etc when mixed back into original.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eWith music or sounds into both inputs\u003c\/h3\u003e\r\n\u003cp\u003eVocoding effects, gating effects, fattening\/thickening effects, spatial effects, weird transformations.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_4\"\u003eInternal FM\u003c\/h3\u003e\r\n\u003cp\u003eFrequency Modulation of modulation oscillator at all frequencies, giving effects ranging from slow pulsation to the classic FM generation of complex waveforms.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_5\"\u003eExternal voltage control of oscillators\u003c\/h3\u003e\r\n\u003cp\u003eEnvelope follower effects, FM effects as above, randomised autopanning.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_6\"\u003eFrequency shift\u003c\/h3\u003e\r\n\u003cp\u003eUp and down shift of frequency with change in harmonic structure, with FM for sliding effects, using feedback loop to create filter type sweeps.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44450655305831,"sku":"75955","price":1689.61,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-frequii_75955_1_8e65eea3-284e-4920-b1f5-6117a80b0ad2.jpg?v=1787093935"},{"product_id":"dacs-headlite-iii-b-4ch-headphone-amp-w-balanced-outs-demo-deal","title":"DACS Headlite III B - 4Ch Headphone Amp w\/ Balanced Outs (Demo Deal)","description":"\u003cp\u003eHeadphones are an increasingly important tool for many aspects of audio production, and the quality of headphone design and manufacture is higher now than it has ever been. Ensuring the very best performance from these headphones requires they be driven by a dedicated headphone amplifier such as the \u003cstrong\u003eDACS Headlite III B 4-Channel Headphone Amp\u003c\/strong\u003e. These days “making do” with the headphone socket from the mix board just doesn’t really do at all – especially when there is more than one set of ears which need to listen in. Choosing a headphone amplifier is important and can sometimes be confusing, but there are three main features to bear in mind:\u003c\/p\u003e\n\n\u003ch4\u003eClarity and Sound Quality\u003c\/h4\u003e\n\n\u003cp\u003eWhatever the headphone task – from listening to a mix while recording an overdub, to editing, sub-mixing, mixing and even mastering – the quality of the final result begins with whatever you can hear in your ears. Accurate representation of the whole audible frequency range is essential and any over-emphasis of certain bands, or overall mud or indistinctness in the sound, will inevitably affect both the overdub and the overview. The metering added to the busses that feed the amplifiers allows users to set their input levels, making sure what goes in to the amplifier will give optimum output performance.\u003c\/p\u003e\n\n\u003ch3\u003ePower\u003c\/h3\u003e\n\n\u003cp\u003eAmplifier power is not just about level (sound pressure level) it is about clean level (sonically pure level). A cheap headphone amplifier when pushed beyond its narrow limits can begin to distort before your headphones or your ears, and this not only compromises the sound you can hear, it can also damage your hearing itself. A headphone amp which has enough power should be `cruising’ for the whole of its useable range, and so the output signal is always as clean as the technical specifications indicate it should be.\u003c\/p\u003e\n\n\u003ch3\u003eFlexibility\u003c\/h3\u003e\n\n\u003cp\u003eIt is likely that in a studio situation you will need to drive more than one set of headphones, and likely too that not every listener wants to hear the same source, e.g. the same mix balance. So a good headphone amplifier will provide multiple outputs – with individual amplifiers for each – and a choice of inputs.\u003c\/p\u003e\n\n\u003cp\u003eDACS’ Clarity HEADLITE 3 which, like all DACS Audio Products was designed in the field by working engineers and developed in the labs by industrious boffins, scores top marks in all of the above: Excellent Clarity and Sound Quality is ensured by the design of the amplifier which produces very low distortion and an extended and flat frequency range\nThe Power of the output on the standard channels is more than sufficient to drive any headphone of any impedance, and special higher power channels can be specified to drive multiple headphones without loss of volume.\u003c\/p\u003e\n\n\u003cp\u003eAnd the Flexibility is provided by four bussed inputs selectable in combination on each of the four stereo output amplifiers and eight physical outputs.\u003c\/p\u003e\n\n\u003cp\u003eThe standard channel amplifiers of HEADLITE 3 have power to spare – 125mW RMS into 150 Ohms – and each will easily and cleanly drive 400 Ohm headphones at possibly unwise maximum output levels. HEADLITE 3 is also fitted with one high power channel for driving multiple headphones – in tests six 400 Ohm headphones were powered with no loss of level (additional channels can be specified with order or retro-fitted) – and has overall power output of over 200mW RMS into 600R.\u003c\/p\u003e\n\n\u003cp\u003eOutputs for each channel appear on both the front and rear of the unit, and are able to drive long audio lines to remote headphone outlets such as in vocal booths or over-dub rooms. For each of the amplifiers, users can select from the four inputs (A, B, C and D) to hear A and B, or C and D as stereo, and A, B, C or D as mono. This means, for example, that two different submixes could be sent to the HEADLITE from the mixer aux outs to suit two different purposes: the drummer and the singer might well need to hear different balances in their headphone feeds …\nHEADLITE 3 offers excellent signal to noise ratios, low cross talk, very low distortion and a bass response that is flat down to well under 20Hz. The unit’s frequency response (-0.5dB at 3hz to 35kHz) is substantially flatter (within 0.1dB over the 22Hz to 22kHz band) than its predecessor, thus offering improved fidelity. Because of the design of the amplifier’s output stage, its high frequency response does not suffer significantly, even down very long lines.\u003c\/p\u003e\n\n\u003cp\u003eAs such, HeadLite3 delivers all the features recording professionals need in a rugged and reliable package that will last for many years.\u003c\/p\u003e","brand":"DACS","offers":[{"title":"Default Title","offer_id":44451026600039,"sku":"213604","price":979.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dacs-headlite-iii_75956_1_80031ddd-9504-49ba-b42e-62df440046fc.jpg?v=1787095531"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/dacs.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}