Cello Audio Palette Eq

Cello Audio Palette Eq


Cello Audio Palette Eq

Cello Audio Palette Eq


cello audio palette eq

Below are some cheap but quality products related to cello audio palette eq. We are pretty sure you will find good deals with the products below relating to cello audio palette eq. Enjoy!

Planet Audio / 5-BAND PARAMETRIC EQ / PEQ15 $56.72 Planet Audio – 5-BAND PARAMETRIC EQ – PEQ15

TL Audio Ivory 5060 Preset 2-Channel Tube Compressor EQ $799 TL Audio Ivory 5060 Preset 2-Channel Tube Compressor EQ

Manley Mid Frequency EQ $2070 Specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID Frequency Enhanced Pultec EQ (MEQ-5 type) shares the same features and specifications as the Manley ‘EQP-1A’ version. The differences lie in the passive EQ section: In the MID EQ, the DIP and PEAK controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes the Manley Mid Frequency Equalizer indispensable for mastering engineers. The Manley MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering.

Tl Audio Ivory 5013 Parametric Eq $999 The TL Audio 5013 Parametric EQ offers a perfect combination of performance and affordability among TL Audio equalizers. The 5013 is a rackmount EQ that features a peaking/shelving option on both low-frequency and high-frequency bands plus a Fat-contour switch on both channels. Like all TL Audio equipment, the interfacing options couldn’t be more flexible–separate input and output level controls allow easy level matching with any other equipment, and a choice of balanced and unbalanced line inputs/outputs plus instrument DI inputs means you can get yourself up and running in seconds. Once you have experienced high-quality equalization, you won’t want to record without it. If you’ve always thought that your console EQ is good enough, just try the 5013 equalizer and you won’t go back.The 5013 EQ unit employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve. One stage is positioned prior to the EQ filters, and one is post EQ. Both are run at 150V DC from a fully stabilized PSU.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio’s best selling range of products to d

TL Audio Ivory 5013 Parametric EQ $999 The TL Audio 5013 Parametric EQ offers a perfect combination of performance and affordability among TL Audio equalizers. The 5013 is a rackmount EQ that features a peaking/shelving option on both low-frequency and high-frequency bands plus a Fat-contour switch on both channels. Like all TL Audio equipment, the interfacing options couldn’t be more flexible–separate input and output level controls allow easy level matching with any other equipment, and a choice of balanced and unbalanced line inputs/outputs plus instrument DI inputs means you can get yourself up and running in seconds. Once you have experienced high-quality equalization, you won’t want to record without it. If you’ve always thought that your console EQ is good enough, just try the 5013 equalizer and you won’t go back.The 5013 EQ unit employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve. One stage is positioned prior to the EQ filters, and one is post EQ. Both are run at 150V DC from a fully stabilized PSU.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The I

Cello Method $14.99 “By Christine Watts. For Cello. Methods. All Styles. Beginning. Book + Online Audio. 152 pages. Published by Mel Bay Publications, Inc”

Dangerous Music BAX EQ Broadband EQ $2199 If anyone could be called “the father of British EQ” it would be Peter Baxandall, from whose insights the Dangerous Music BAX EQ broadband equalizer takes its cues. The Dangerous BAX EQ was inspired by Peter Baxandalls legendary 1950s design that has graced hundreds of millions of home hi-fi systems. The BAX EQs unique design carves broad, open curves and gentle sloping cuts that are essential for recording, mixing and mastering. Seeking the elusive Top-10 vocal sound? Add that perfect sheen of air. Chasing the chunk in grinding guitars? Dial in the meat. Lush midrange, bottomless bass, and space are achieved effortlessly. Please welcome the BAX EQ to your tools for success- no radical sonic signature to overshadow the music… just your music: neater, richer, sweeter.Unlike anything youve heard, but exactly like what youve been seeking. – Phil Demetro, Lacquer Channel Mastering.The Dangerous Music Legacy:Audio Integrity: non-negotiable. This is the credo upon which Dangerous Music is founded. Conceived and designed by end usersnot by engineers in lab coats–the results are products that resurrect dynamic range, punch, intelligibility and emotion. These high-fidelity, uncompromised signal paths are achieved by harnessing over 20 years of Chris Muths design wizardry; creator of infamous custom black boxes for world class facilities like Hit Factory, Masterdisk, Absolute Audio and Sterling Sound Mastering. Then the critical listening skills of golden-eared luminaries are applied, with the result being musical tools that fulfill the actual needs of todays flexible computer based studio.Why Cut?Infrasonic rumble and ultrasonic interference are “pc” terms for the audio trash that lurks unnoticed in the extreme frequency wings. This garbage devours dynamic range and creates converter slew rate overload. Its elimination dramatically improves the performance of any A/D-D/A converter, realized as increased low end definition, upper order clarity and higher levels for every playback medium. Combine this power with the shelving filters to instantly commence seriously sexy sonic sculpting. Unique control, delivered musically.Why So Wide?The broad bandwidth shelving EQ affects several octaves simultaneously. This intentional design minimizes phase delay and crafts shapely, sweet, subtle sonic sculpting. Remember, steep EQ slopes often generate harsh reflections. The BAX works effortlessly with your music, unlocking a galaxy of depth and dimension previously only accessible by the audiophile elite.Low Frequency Filters Feature: Infrasonic rumble reduction. Benefit: infrasonic rumble is a PC term for the omnipresent low frequency garbage that loiters unnoticed in the audio shadows. This headroom consuming thief propagates from HVAC units, jets, subways and yes, Rayleigh Waves (i.e. earthquakes and Elephants.) Eliminating it dramaticallyincreases low end clarity and punch while allowing higher maximum levels on any playback device.High-Frequency Shelf Feature: B

Dangerous Music Bax Eq Broadband Eq $2199 If anyone could be called “the father of British EQ” it would be Peter Baxandall, from whose insights the Dangerous Music BAX EQ broadband equalizer takes its cues. The Dangerous BAX EQ was inspired by Peter Baxandalls legendary 1950s design that has graced hundreds of millions of home hi-fi systems. The BAX EQs unique design carves broad, open curves and gentle sloping cuts that are essential for recording, mixing and mastering. Seeking the elusive Top-10 vocal sound? Add that perfect sheen of air. Chasing the chunk in grinding guitars? Dial in the meat. Lush midrange, bottomless bass, and space are achieved effortlessly. Please welcome the BAX EQ to your tools for success- no radical sonic signature to overshadow the music… just your music: neater, richer, sweeter.Unlike anything youve heard, but exactly like what youve been seeking. – Phil Demetro, Lacquer Channel Mastering.The Dangerous Music Legacy:Audio Integrity: non-negotiable. This is the credo upon which Dangerous Music is founded. Conceived and designed by end usersnot by engineers in lab coats–the results are products that resurrect dynamic range, punch, intelligibility and emotion. These high-fidelity, uncompromised signal paths are achieved by harnessing over 20 years of Chris Muths design wizardry; creator of infamous custom black boxes for world class facilities like Hit Factory, Masterdisk, Absolute Audio and Sterling Sound Mastering. Then the critical listening skills of golden-eared luminaries are applied, with the result being musical tools that fulfill the actual needs of todays flexible computer based studio.Why Cut?Infrasonic rumble and ultrasonic interference are “pc” terms for the audio trash that lurks unnoticed in the extreme frequency wings. This garbage devours dynamic range and creates converter slew rate overload. Its elimination dramatically improves the performance of any A/D-D/A converter, realized as increased low end definition, upper order clarity and higher levels for every playback medium. Combine this power with the shelving filters to instantly commence seriously sexy sonic sculpting. Unique control, delivered musically.Why So Wide?The broad bandwidth shelving EQ affects several octaves simultaneously. This intentional design minimizes phase delay and crafts shapely, sweet, subtle sonic sculpting. Remember, steep EQ slopes often generate harsh reflections. The BAX works effortlessly with your music, unlocking a galaxy of depth and dimension previously only accessible by the audiophile elite.Low Frequency Filters Feature: Infrasonic rumble reduction. Benefit: infrasonic rumble is a PC term for the omnipresent low frequency garbage that loiters unnoticed in the audio shadows. This headroom consuming thief propagates from HVAC units, jets, subways and yes, Rayleigh Waves (i.e. earthquakes and Elephants.) Eliminating it dramaticallyincreases low end clarity and punch while allowing higher maximum levels on any playback device.High-Frequency Shelf Feature: B

Manley Mid Frequency Eq $2070 Specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID Frequency Enhanced Pultec EQ (MEQ-5 type) shares the same features and specifications as the Manley ‘EQP-1A’ version. The differences lie in the passive EQ section: In the MID EQ, the DIP and PEAK controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes the Manley Mid Frequency Equalizer indispensable for mastering engineers. The Manley MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering.Manley All-Tube Mid Frequency EQMANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K ohm input ZPHASE REVERSE switch for balanced XLR inputAlternate transformerless ” HI-Z (5K ohm) inputBYPASS switch & AUTO-MUTE w/warmup delaySilent conductive plastic PEAK & SHELF controlsSealed gold-contact Greyhill frequency select switchesHi-current drive

Roland Hi Res EQ Massenburg Design Works Precision EQ $249.99 Roland Hi Res EQ Massenburg Design Works Precision EQ Optimum Hi-Res Digital EQ Plug-in Featuring Double-Precision Processing The Massenburg DesignWorks® (MDW®) Hi-Res Parametric EQ for Pro Tools-HD is the result of countless hours of design and critical listening by George Massenburg, the creator of the parametric EQ. In collaboration with Digidesign, MDW has designed this groundbreaking new plug-in, which boasts unprecedented clarity, superlative smoothness, and excellent high-frequency response, all the result of years of research and critical listening to EQ and resampling algorithms and filters. Copy Protection: iLok (sold separately) Maximum Supported Sample Rate: 96 kHz Features: 4-band EQ using Hi-Resolution technology to give professionals a precision EQ with the smoothness of analog The new MDW Parametric EQ for Roland VS-Series is a Double Precision plug-in with unprecedented clarity, fast response, and superlative smoothness, especially in the high frequency audio spectrum. Features Double Precision and Hi-Sampling Rate Processing Real Quality in a Low Cost EQ “For every studio and engineer” Now you can have a Hi-Resolution EQ as an integral component of your VS system. The new MDW Parametric EQ for Roland VS-Series is a Double Precision plug-in with unprecedented clarity, fast response, and superlative smoothness, especially in the high frequency audio spectrum. Massenburg DesignWorks, headed by George Massenburg, the engineer who introduced the parametric equalizer, provides advanced software and hardware tools, bringing sophisticated audio technology previously restricted to only the very high-end of the audio industry. The plug in, which take use of the Roland VS8F-3 processing card, is a four band, fully parametric equalizer that processes the audio at 88.2 KHz and 96 KHz, even if the audio is at lower rates. This provides a much more elegant result that doesn’t suffer from the normal artifacts associated with standard techniques. The result is a more natural and pleasing sound that reminds users of great analog processing, only better. Grammy and TEC Award-winner George Massenburg is internationally renowned as a producer, recording engineer and designer of audio equipment – a man in love with music, the art of reproduction, and the recording process. In a career spanning over 30 years, he has worked with such artists as Linda Ronstadt, Bonnie Raitt, Billy Joel, Kenny Loggins, Journey, Phil Collins, Toto, Emmylou Harris, Dolly Parton, James Taylor, Little Feat, Herbie Hancock, Weather Report, Carly Simon, and Earth, Wind and Fire. Massenburg, a member of the Faculty of Music of McGill University, has received three Grammies, including the Grammy for Technical Achievement in 1998. George Massenburg has been responsible for engineering some of the most respected recordings of the modern era, as well as creating that mainstay of the recording process, the parametric equalizer. “This new product was developed with

1/2-DIN Graphic EQ/crossover $67.94 When your vehicles EQ settings aren’t good enough, the Clarion EQS746 is there to satisfy. This advanced rotary equalizer will provide 7 band of equalization and sound customization. At each of the band centers, a 12 dB boost/cut is offered to precisely adjust the frequencies of each band. It also features a dedicated subwoofer level output for enhanced subwoofer control. On the back, there is an auxiliary input for playing an additional audio source. The Clarion EQS746 comes with brackets for mounting underneath a dash, in a console, or anywhere else that it fits. For an ideally tuned system, the Clarion EQS746 equalizer can tune a system where other equalizers fall short.

Ashly Audio Protea 4.24PS 4-Channel Parametric EQ Sys Processor $975 The Protea 4.24PS 4-Channel Parametric EQ Sys Processor lets you install multiple channel parametric equalizers where tamperproof, precise audio equalization is required. Easily control and program the Protea EQ with Ashly’s exclusive Protea System Software running on a PC or a MIDI controller. The Protea 4.24PS is housed in an all-steel, 2RU chassis, and has four independent channels of fully programmable 12 band parametric EQ with with limiter, high- and low-pass filter, and time delay functions.Each parametric band allows for 1/25th to 3.3 octave Q, a twenty-four step/octave frequency adjustment from 20Hz to 20KHz and level control of +10/-20dB in 0.5dB increments. High and low shelf filters are adjustable from 1.6kHz to 20kHz and 20Hz to 240Hz, respectively. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds.Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. Both units display individual channel numbers using 7-segment displays. Signal present and signal clip levels are indicated by discrete LEDs.

TC Electronic Pro EQ Station-4/8 $6445 TC Electronic Pro EQ Station-4/8 The EQ Station is a dedicated Live-EQ. Combined with the Motofader-64 flying-fader remote and the TCP/IP based PC editor software you have the most versatile and sophisticated, yet easy to use, EQ System for any live- and Public Address-application found on the market today. Front Panel The most impressing part of the front-panel is the brightest full color display you have ever seen on a 2U 19" box for live-applications. The 240×320 pixel resolution (QVGA), and a backlight that is as bright as the best laptop-PC’s on the market today, makes the overview of settings and adjustments extremely easy. The display is accompanied with lots of large direct access buttons for accessing features and menus. Several dedicated encoder wheels for adjusting processing is also present. In total this creates an incredibly intuitive user interface that will make even the most analog thinking sound engineer feel comfortable – within a few minutes he will be able to solve even the most critical situations in a hectic live-event. Analog I/O EQ Station offers some of the finest AD/DA converters available in any studio or live processor today. Analog domain gain scaling, so the full resolution of the converters can be used regardless of the operation level of the surrounding equipment, complements the wide dynamic range of these converters. To counteract harsh sound and listening fatigue often associated with digital processors, EQ Station is an industry first to incorporate headroom for reconstructed peak signals exceeding digital full scale. The maximum operating level can be set at 4 positions, +15, +18, +21 and +24 dBu, each with additional Full Scale Safety Margin as shown on the illustration below. For more exotic level handling requirements, the analog inputs may take in signals as hot as +30 dBu, and both inputs and outputs can have the max level set as low as +3 dBu. Analog gain scaling is performed in steps of 3 dB between these extremes, and can of course operate under automated control. 8 channel. Digital AES I/O card for EQ Station The 8 inputs and output channels of audio in AES digital format are made accessible by connecting the AES cable to the 25 pin D-type connector. The AES cable is coded XLR type connector’s in numerical order; each carries a pair of digital audio channels. EQ Station doesn’t only feature the ultimate precision resolution; its timing is also magnitudes better than other live processing devices. Predictability counts in professional audio, and EQ Station is the perfect anchor to remove jitter from any interfacing, and provide clean feeds from its analog and digital outputs. DA, sample rate conversion and even interfacing reliability is readily compromised when jitter from long cable runs, or less than perfect digital transmitters, is present in the signal path. Therefore, jitter rejection is a major quality guarantying factor. Jitter r

Music Sales A New Tune A Day for Cello Book 1 with DVD And Audio CD $16.16 Music Sales A New Tune A Day for Cello Book 1 with DVD And Audio CD

Music Sales A New Tune A Day For Cello Book 1 With Dvd And Audio Cd $16.16 Music Sales A New Tune A Day for Cello Book 1 with DVD And Audio CD

Ashly Audio Protea 4.24Ps 4-Channel Parametric Eq Sys Processor $975 The Protea 4.24PS 4-Channel Parametric EQ Sys Processor lets you install multiple channel parametric equalizers where tamperproof, precise audio equalization is required. Easily control and program the Protea EQ with Ashly’s exclusive Protea System Software running on a PC or a MIDI controller. The Protea 4.24PS is housed in an all-steel, 2RU chassis, and has four independent channels of fully programmable 12 band parametric EQ with with limiter, high- and low-pass filter, and time delay functions.Each parametric band allows for 1/25th to 3.3 octave Q, a twenty-four step/octave frequency adjustment from 20Hz to 20KHz and level control of +10/-20dB in 0.5dB increments. High and low shelf filters are adjustable from 1.6kHz to 20kHz and 20Hz to 240Hz, respectively. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds.Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. Both units display individual channel numbers using 7-segment displays. Signal present and signal clip levels are indicated by discrete LEDs.24 Bit A/D – D/A Audio Resolution24 Bit/100MHz (x2) Digital Signal ProcessingFour Channels of 12-Band Parametric EQProgrammable Compressor/LimiterProgrammable Delay up to 1.364 SecondsProgrammable High and Low Pass FiltersProgrammable High and Low Shelf FiltersControl From PC or MIDIContact Closure for External Recall of 6 ScenesBalanced XLR and 1/4 Inputs and OutputsLinkable Channels+10/- 20dB Boost and Cut, 0.5dB increments128 Preset Locations, 50 ScenesRS-232 Computer InterfaceFull MIDI Implementation5-Year Worry-Free Warranty

Cello Concerto $17.99 This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Tl Audio Ivory 5060 Preset 2-Channel Tube Compressor Eq $799 Using the same high-quality discrete microphone preamp as other products in the TL Audio Ivory 2 series, the 5060 also has stereo line level /instrument inputs. The 5060 Tube Compressor EQ is equally versatile as a front-end tracking device as it is for the final stage mixdown or mastering compressor. One set of controls operates both the channels for quick and easy setup. The compressor section has 15 expertly programmed presets designed to work with a typical selection of vocal and instrumental sources as well as a manual mode for user adjustment of the compressor. The output section includes a Fat EQ switch for adding some presence or weight to your signal.As with all the mono or stereo Ivory 2 units, it is possible to install the optional D0-2 converter card in the 5060 for premium-quality 24-bit SPDIF analog-to-digital conversion. This allows you to connect to your hard disc recorder, mixer, or soundcard in either an analog or digital format. The combination of flexibility, ease of use, and the renowned warmth of the TL Audio valve circuit design makes the 5060 unbeatable for value and performance.About TL Audio TL Audio began manufacturing audio products in 1990, when the company – founded by Tony Larking – was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio’s first valve product – the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner’s early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the ‘Classic’ range, and was followed by what has become possibly TL Audio’s best known product – the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel’s mixdown compressor on Alanis Morissette’s multi-million selling ‘Jagged Little Pill’ album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of prea

Manley Massive Passive Stereo EQ $5040 The Manley Massive Passive is a two-channel, four-band equalizer with additional high-pass and low-pass filters. “Passive” refers to the tone-shaping part of this clever EQ design, which doesn’t use any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the soundkinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Creating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. The Manley Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and they balanced this design with a little more art than science. The Massive Passive Equalizer is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Manley Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure.The Filters 5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. Manley made them extra steep. 36dB/oct! Why? When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. Thinking drums and guitar stacks, and other tough jobs. These filters are passive too.

Cello Sonatas $22.99 This selection is also available on Hybrid Super Audio CD (SACD) format.

Manley Massive Passive Stereo Eq $5040 The Manley Massive Passive is a two-channel, four-band equalizer with additional high-pass and low-pass filters. “Passive” refers to the tone-shaping part of this clever EQ design, which doesn’t use any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the soundkinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Creating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. The Manley Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and they balanced this design with a little more art than science. The Massive Passive Equalizer is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Manley Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure.The Filters 5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. Manley made them extra steep. 36dB/oct! Why? When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. Thinking drums and guitar stacks, and other tough jobs. These filters are passive too.All-Passive tone sculpting circuitryUnique Shelf curves use the “bandwidth” controlOverlapping and Interleaved Frequency choicesEvery band switchable to shelf or bellVacuum tube make-up gain and line driversParallel symmetrical topologyPremium components throughoutHP and LP Filters plus gain trims

The Cello $59.99 The Cello – Wall Decal

Cello $49.99 Cello – Giclee Print

Ashly Audio Protea 2.24Gs 2-Channel Graphic Eq Sys Processor $650 The Protea 2.24GS 2-Channel Graphic EQ lets you install multiple channel graphic equalizers where tamperproof, sound shaping equalization is required. Easily control and program the 2.24GS from the 4.24G Main Unit, a 4.24RD Remote Control, a MIDI controller or with Ashly’s exclusive Protea System Software on a PC. The Protea 2.24GS is housed in an all-steel, 1RU chassis, and has two independent channels of fully programmable 28-band graphic EQ with limiter, high- and low-pass filter, and time delay functions.Each channel allows for 28 bands of 1/3-octave, ISO centered, constant Q filters, ranging from 31Hz to 16kHz. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds. Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. The 2.24GS displays individual channel numbers with 7-segment displays. Discrete LEDs indicate signal present and signal clip levels. Rear-panel connections include balanced XLR and 1/4″ ins/outs for each channel, RS-232, MIDI In, Out/Thru, and Ashly’s exclusive digital remote control protocol via two standard XLR connectors.24 Bit A/D – D/A Audio Resolution24 Bit/100MHz (x2) Digital Signal ProcessingTwo 28-Band 1/3 Octave Channels of EQProgrammable Compressor/LimiterProgrammable Delay up to 1.364 SecondsProgrammable High and Low Pass FiltersControl From 4.24G, 4.24RD, PC or MIDIContact Closure for External Recall of 6 ScenesBalanced XLR and 1/4 Inputs and OutputsLinkable ChannelsConstant Q/Reciprocal Filter Design15dB Boost and Cut, 0.5dB increments128 Preset Locations, 50 ScenesRS-232 Computer InterfaceFull MIDI Implementation5-Year Worry-Free Warranty

Ashly Audio Protea 2.24GS 2-Channel Graphic EQ Sys Processor $650 The Protea 2.24GS 2-Channel Graphic EQ lets you install multiple channel graphic equalizers where tamperproof, sound shaping equalization is required. Easily control and program the 2.24GS from the 4.24G Main Unit, a 4.24RD Remote Control, a MIDI controller or with Ashly’s exclusive Protea System Software on a PC. The Protea 2.24GS is housed in an all-steel, 1RU chassis, and has two independent channels of fully programmable 28-band graphic EQ with limiter, high- and low-pass filter, and time delay functions.Each channel allows for 28 bands of 1/3-octave, ISO centered, constant Q filters, ranging from 31Hz to 16kHz. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds. Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. The 2.24GS displays individual channel numbers with 7-segment displays. Discrete LEDs indicate signal present and signal clip levels. Rear-panel connections include balanced XLR and 1/4″ ins/outs for each channel, RS-232, MIDI In, Out/Thru, and Ashly’s exclusive digital remote control protocol via two standard XLR connectors.

Sonnox Oxford EQ (PowerCore) Software Download $555 The Sonnox Oxford EQ for TC PowerCore is based on the EQ section of the Sony OXF-R3 console. It’s a 5-band plug-in with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The Oxford EQ also features 4 different selectable EQ types that cover most of the EQ styles currently popular amongst professional users, including some legacy styles, which are renowned for their artistic capability. The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. This plug-in may well provide all the EQ you ever needed.GeneralProgram equalizers have expanded, beyond their original use as distance correction devices for film and vision, into highly creative tools that represent a leading part of the sound engineers artistic palette. A great many EQ designs have been developed over the years that have been attributed with qualities that lend themselves to particular uses and sounds. The Sonnox Oxford EQ plug-in is designed to be flexible enough to address as many of these generic types as possible from a single application by presenting a variety of types to the user.Control Ranges & Interaction (types of EQ)There are many different types of EQ, which differ in many areas. One of the most important areas is the issue of control ranges and interaction. Whilst it is true that with a parametric unit with continuous controls (i.e. not quantized) any response could be obtained by matching their curves, many of the popular EQs have control dependencies that lean towards a specific application. One of the main areas where EQs differ is Gain / Q dependency. Most analogue EQ has Gain / Q dependency as a result of the circuits used. This factor can greatly affect the artistic style that an EQ presents by facilitating certain parameter settings and encouraging particular uses when the unit is operated. In the Sonnox Oxford EQ plug-in we have covered this situation by providing 3 different styles of EQ that take account of Gain / Q dependency as well as overall control ranges.Sonnox Oxford EQ TypesThere are 4 types of EQ as standard in the Sonnox Oxford EQ, plus an option for a fully approved GML 8200 emulation, for Pro Tools and HD. The differences between the types are reflected within the curve characteristics of the bell settings. The shelving curves are the same for all 4 types. They include the use of the ‘Q’ controls allowing and amount of ‘undershoot’ to be dialed in for boost settings, and overshoot when a shelf is used in cut settings. As an example, when applying an HF shelf, adding Q will cause the mid range just below the shelf to be cut, whilst simultaneously increasing the slope of the rise to the shelf. This has the effect of reducing perceived harshne

Behringer ULTRAGRAPH PRO FBQ3102 EQ $142.99 The Behringer ULTRAGRAPH PRO FBQ3102 EQ is a 31-band stereo graphic equalizer for both live and studio applications. Its amazing patent-pending FBQ Feedback Detection System instantly detects feedback frequencies and can also be used as an audio analyzer, making it a welcome addition to every touring setup. Adding some extra oomph to your music is made easy with the dedicated mono subwoofer output with adjustable crossover frequency. You can effortlessly remove unwanted frequencies such as floor rumble and tape hiss by using the additional sweepable high- and low-cut filters for each channel, and level setting is a snap with the highly accurate 12-digit LED input/output metering and input gain control. Ultra low-noise audio operational amplifiers provide outstanding sound performance. Servo-balanced inputs and outputs with 1/4″ TRS and gold-plated XLR connectors. Unmatched reliability and longevity with high-quality illuminated faders, détente ALPS potentiometers, and illuminated switches, all designed for the rigors of everyday use.31-band stereo graphic equalizerFBQ Feedback Detection SystemDedicated mono subwoofer outputAdjustable sub crossoverSweepable high- and low-cut filters for each channel12-digit LED input/output meteringInput gain controlServo balanced I/O1/4″ TRS and gold-plated XLR connectorsIlluminated fadersDetent ALPS potsIlluminated switches

Steinberg Rnd Portico 5033 Eq $499.99 The Rupert Neve Designs Portico 5033 is a high-quality 5-band parametrical equalizer that brings the legendary Neve sound to the world of digital music production. Utilizing Yamahas unique VCM technology, this plug-in exactly reproduces the analog warmth and sonic finesse of its acclaimed hardware counterpart. Three full parametric EQ bands with superior precision The EQ includes three full parametrical bands: low-mid frequency, mid-frequency and high-mid frequency. Each band comes with adjustable filter-width, frequency selection and +/- 12 dB gain control for shaping the sound character with superior precision. Plus, one low-shelf and a high-shelf filter with frequency adjustment and +/- 12dB gain control allow to cut or boost high and low frequencies. By doing so, the VCM technology ensures that the behavior of the hardware and software model is exactly the same. Apart from the low-shelf filter, each band also includes a virtual status LED, showing whether a signal is currently processed in the respective band or not. Whats more, the Portico 5033 provides an option to bypass all bands for quick A/B checks, and the TRIM knob allows an adjustment of +/- 12 dB for the entire audio signal.The digital advantageIn the graphic EQ curve representation each band holds its own parameter point, which allows for simple and efficient manipulation of the frequency and gain values by moving the respective point with the mouse. Compatible with industry standardsSupporting todays industry standards, the Rupert Neve Designs Portico 5033 is available in VST 3, VST 2.4* and AU plug-in format, allowing for multi-instance use with digital audio applications such as Cubase, Nuendo, WaveLab and Logic. *VST 2.4 is supported on Windows systems onlyNOTE: The USB-eLicenser required to run this product is not included. Customers who do not own an USB-eLicenser must purchase one separately. The same USB-eLicenser copy protection device is then used for all Steinberg products that require it. Parametrical equalizer with graphical control over frequency and gainFive bands including low and high shelf filters and three bands with filter-width regulationExact digital copy of the renowned Portico 5033 EQBased on VCM technology for capturing all the subtle details and acoustic nuances of the hardware original Exclusively approved by Rupert NeveAvailable in VST 3, VST 2.4 and AU format for multi-instance use within DAW hosts like Cubase or Nuendo

Behringer Ultragraph Pro Fbq3102 Eq $142.99 The Behringer ULTRAGRAPH PRO FBQ3102 EQ is a 31-band stereo graphic equalizer for both live and studio applications. Its amazing patent-pending FBQ Feedback Detection System instantly detects feedback frequencies and can also be used as an audio analyzer, making it a welcome addition to every touring setup. Adding some extra oomph to your music is made easy with the dedicated mono subwoofer output with adjustable crossover frequency. You can effortlessly remove unwanted frequencies such as floor rumble and tape hiss by using the additional sweepable high- and low-cut filters for each channel, and level setting is a snap with the highly accurate 12-digit LED input/output metering and input gain control. Ultra low-noise audio operational amplifiers provide outstanding sound performance. Servo-balanced inputs and outputs with 1/4″ TRS and gold-plated XLR connectors. Unmatched reliability and longevity with high-quality illuminated faders, dtente ALPS potentiometers, and illuminated switches, all designed for the rigors of everyday use.31-band stereo graphic equalizerFBQ Feedback Detection SystemDedicated mono subwoofer outputAdjustable sub crossoverSweepable high- and low-cut filters for each channel12-digit LED input/output meteringInput gain controlServo balanced I/O1/4″ TRS and gold-plated XLR connectorsIlluminated fadersDetent ALPS potsIlluminated switches

The ABCs of Cello for the Absolute Beginner, Book 1 and CD $10.95 “By Janice Tucker Rhoda. For Cello, Cello and Piano. CD contains piano accompaniments as audio and printable PDF; Also includes complete performances. Instructional. Instructional book and CD. 48 pages. Published by Carl Fischer”

Peavey QF 131 Graphic EQ With FLS $199.99 Peavey QF 131 Graphic EQ With FLS This 1/3 octave EQ with FLS® is designed to provide very fine control over any audio situation. Features: 31-band graphic EQ with +12 dB boost/-18 dB cut per band 1/3 octave filter sets Constant Q filters Output level LEDs (-12 to +24 dB) 18 dB per octave 40 Hz low-cut filter with status LED 20 Hz to 20 kHz effective EQ range XLR and 1/4 inch TRS inputs/outputs for balanced or unbalanced operation Bypass switch with status LED New improved FLS® circuitry for greater sensitivity Specifications: Dimensions 19″ W x 3.5″ H x 7.5″ D (Unpacked) 22.25″ W x 10.25″ H x 6.125″ D (Packed) Weight 11 lbs. (Packed) 9 lbs. (Unpacked) Get Your Peavey QF 131 Graphic EQ With FLS Today!

Ashly Audio Protea 4.24Gs 4-Channel Graphic Eq Sys Processor $975 The Ashly Proteo 4.24GS allows for the installation of multiple channel graphic equalizers where tamperproof, sound shaping equalization is required. Easily control and program the 4.24GS from the 4.24G Main Unit, 4.24RD Remote Control, with a MIDI controller, or with Ashly’s exclusive Protea System Software running on a PC. The Protea 4.24GS is housed in an all-steel, 2RU chassis, and has two independent channels of fully programmable 28-band graphic EQ with with limiter, high- and low-pass filter, and time delay functions.Each channel allows for 28 bands of 1/3-octave, ISO centered, constant Q filters, ranging from 31Hz to 16kHz. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. Time delay is adjustable up to 1.364 seconds. Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. The 4.24GS displays individual channel numbers with 7-segment displays. Discrete LEDs indicate signal present and signal clip levels. Rear-panel connections include balanced XLR and 1/4″ ins/outs for each channel, RS-232, MIDI In, Out/Thru, and Ashly’s exclusive digital remote control protocol via two standard XLR connectors.24 Bit A/D D/A Audio Resolution24 Bit/100 MHz (x2) Digital SignalProcessingFour 28-Band 1/3 Octave Channels of EQProgrammable Compressor/LimiterProgrammable Delay up to 1.364 SecondsProgrammable High and Low Pass FiltersControl From 4.24G, 4.24RD, PC or MIDI Contact Closure for External Recall of 6 ScenesBalanced XLR and 1/4″ Inputs and OutputsLinkable ChannelsConstant Q/Reciprocal Filter Design15dB Boost and Cut, 0.5dB increments128 Preset Locations, 50 ScenesRS-232 Computer InterfaceFull MIDI Implementation5-Year Worry-Free Warranty

The Fiddler Playalong Cello Collection – Cello Music from Around the World $36.85 20 pieces in a wide variety of styles from folk to tango. Includes principal cello melody part at an intermediate level, easy cello part for beginners, guitar chords, plus a choice of piano accompaniment or a more advanced cello accompaniment (teacher’s part). CD includes audio backing and full performance tracks. Contents include: Carolan’s Air Drowsie Maggie Makin’ Whoopie Paragon Rag The Flower of the Quern Pastime with good company Blackberry Blossom We three kings of Orient are La Cucaracha and more!

Related articles:

1. Cello Audio Palette
2. Cello Audio Suite Palette
3. Cello Performance Audio
4. Cello Palette Miv
5. Cello Audio Systems