The TC4 is a DAW monitor controller for any studio or mastering facility. The two balanced stereo inputs, have a passive signal path through a 47 position stepped attenuator that tracks to .05db. This will maintain the stereo balance at any level and feeds the mains or alternate balanced speaker outputs. There are four balanced stereo inserts in the signal chain with relay switching to keep the signal path as passive as possible. This makes A/Bing compressors, limiters, EQ or any effect as easy as pushing the button to insert the piece of gear. The Flip switch reverses the order of insert 1 and 2 so you can A/B which comes first, the compressor or the EQ, try doing that with a patchbay. The mono switch sums the stereo signal to mono in the speakers only not the mix output. The phase reverse switch flips the phase on the right speaker output, and when used in conjunction with the mono switch will give you a left minus right so you can work on the side channels (hard L or R signals). There are L and R mute switches to isolate the speakers and help focus on the side channels. The PRE/POST switch allows a comparison between the original audio signal and the processed audio signal. The Master Output signal has a completely passive signal path from start to finish, except of course for the insert devices, and makes it easy to print the final mix. A powerful engineers headphone output with it's own level control, to check mixes up close, and a balanced stereo meter output so you can watch your levels rounds out this 1U monitor controller.
 

Designed to be the control room monitor source selector. This unit's control room signal path is completely passive, with a four gang 47 position stepped attenuator, that tracks within ±.05dB. This ensures accurate, and repeatable stereo imaging at any level. Individual mute switches allow speaker isolation and a phase reverse switch helps you check the integrity of the audio path.
A four input source selector and three balanced outputs provide numerous monitoring options in any application.
 

The HP6 is a six channel stereo headphone amplifier. Each channel has it's own level control and a switch to select cue 1 or cue 2. The amplifier is discrete transistor design with the ability to drive any headphone. There are two stereo cue inputs on combo jacks located on the back panel. This allows an XLR or a TRS 1/4" connector to be used.
 

Similar in design to the M3, the TB4M provides facilities to act as the control room monitor source selector & adds a host of features making it a studio communications control module as well. The control room signal path is completely passive, with a four gang stepped attenuator, that tracks within ±.05dB. The TB4M includes an independent cue & talkbalk system with independent level controls, a mono sum, selectable headphone monitoring, microphone & remote switching.
 

The QS8MKII is a control room monitor, a communications module, a cue mixer and a summing box all in a one unit. As a control room monitor the QS8MKII has a passive signal path, a 47 position stepped attenuator and alternate speaker outputs. Both the stereo cue input and the stereo Aux 3 input have their own level control and combine to make the cue mix. Aux 3 eliminates the latency issue by feeding the input signal back to the headphone mix. The talkback mic with it's own level control allows easy communication with the artist. The QS8MKII also sums four stereo inputs to a balanced stereo output that can be recorded as a DAW mix track.

The RED48 summing console has the features of a large frame mixing console in two rack spaces. The control room monitoring section has three stereo selections and a passive stepped attenuator feeding the main monitors or alternate speakers. The communications section has a talkback mic (included) with level control and an independent slate output to designate tracks. The mix buss can handle up to 48 balanced analogue inputs that sum down to stereo and come out on a pair of XLR's that can feed the DAW to record the mix. There's a stereo insert so you can put a real compressor across the entire mix buss, a Penny & Giles master fader on the remote to do fades and remote switching for talkback slate and dim.

The Coleman Audio CA500M is a 4 band stereo equalizer. The inputs & outputs are balanced on XLR connectors. The EQ in switch turns the entire equalizer on or off. The high frequencies (8kHz, 10kHz, 12kHz and 16kHz) can be switched between shelving or peak EQ with 5db of boost or cut in 1db discrete steps. The low frequencies (30Hz, 60Hz, 100Hz, and 150Hz) are shelving EQ with 5db of boost or cut in 1db discrete steps. The two mid bands are peak equalizers with frequencies overlapping by 1/4 octave and have up to 3.5db of boost or cut in 1/2db discrete steps. The stereo/mono switch allows the CA500M to become a mono EQ unit. The audio passes through the left channel first and then through the right channel providing more EQ options. The circuits are designed to musical scales, not to mathematical relationships and the variable "Q" circuits maintain the tonal balance as the amplitude is adjusted.
 

The Coleman Audio CA500EQ is a 4 band stereo equalizer. The inputs & outputs are balanced on XLR connectors. There is an input level control so you can adjust the audio signal before equalizing to help prevent clipping, and an output level control to readjust the gain of the signal with equalization. The EQ in switch turns the entire equalizer on or off. The stereo/mono switch allows the CA500 to become a mono EQ unit. The audio passes through the left channel first and then through the right channel providing more EQ options. The high frequencies (8kHz, 10kHz, 12kHz and 16kHz) can be switched between shelving or peak EQ with 10db of boost or cut in 2db discrete steps. The low frequencies (30Hz, 60Hz, 100Hz, and 150Hz) are shelving EQ with 10db of boost or cut in 2db discrete steps. The two mid bands are peak equalizers with frequencies overlapping by 1/4 octave and have up to 14db of boost or cut in 2db discrete steps. The circuits are designed to musical scales, not to mathematical relationships and the variable "Q" circuits maintain the tonal balance as the amplitude is adjusted.
 

Stop the interface nightmare and start evaluating your clients music on your control room mointors, not on earbuds or a cell phone speaker. The PH1 500 Series module is all you need. Just patch the headphone output of the smartphone, laptop, or tablet into the PH1 input and you'll get a balanced stereo output with the correct impedance to match up to your monitor controller or console. Since it's in the 500 rack it's always connected and ready for a quick reference check.

Now with the Phone Mix DI you can hear your clients music on the control room monitors instead of a pair of ear buds or the phone's speaker. Easily patch into your system with a pair of mic cables. You also get a great DI box for recording instruments and a headphone output to practice along with the music on the device without disrupting the session in progress.

The CMC4 gives you the control of your sub woofer. Once a balance is set between the main speakers and the sub woofer the main level control will control both. There's also a mute switch to check your mix with or without the sub.

 

The SR7.1MKII gives precise level control for eight balanced audio signals. Fold down capabilites for stereo and mono and two 5.1 formats. Indiviual input mutes isolate surround speakers, L & R speaker mutes isolate the stereo fold down speakers. There are two internal switches, one for the mono fold down to be routed to either L & R or the center speaker and one which allows the LFE signal to be included in the stereo fold down so the SR7.1MKII could be used as a summing box too. Click here for a video demo.
 

Provides precision 5.1 Surround monitoring, as well as fold down to Mono, and Stereo. The control room signal path has a 47 position six gang stepped attenuator, that tracks within .05dB throughout it's range. Front panel channel trims and mute switches allow proper calibration and easy evaluation of signal localization. Inputs are provided on XLR / TRS combo jacks to allow easy interconnection with the A/B5.1 Surround Switcher, or other equipment, in any environment.