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Designed by John Royer of Royer ribbon mics fame, these great mics have the round, dark, fat sound typical of certain vintage German mics but at a truly affordable price.\u003c\/p\u003e\n\n\u003cp\u003eThe MA-200 is a large-diaphragm, vacuum tube condenser microphone with a fixed cardioid pattern. Born to a lineage of fine microphone designs by David Royer, the MA-200 gives warm, full-bodied reproductions of vocals and instruments, with none of the shrillness and high-frequency distortion artefacts that are often encountered with modern condenser microphones.\u003c\/p\u003e\n\n\u003cp\u003eUtilizing hand-selected 3-micron capsules, high-quality Jensen audio transformers and military-grade JAN 5840 vacuum tubes, the MA-200 performs at a level reminiscent of some of the best-loved classic condenser microphones. The MA-200 power supply can be set for 115V and 230V, 50 or 60 Hz, through an internal switch (100V is also available). 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The recycled PET fibre material employed provides absorption on both sides resulting in a Noise Reduction Coefficient (NRC) of 1.3 and providing absorption across a wide frequency range all the way down to 125Hz.\u003c\/p\u003e\n\u003cp\u003eThe PET Gobo 3 is lightweight and easy to move around and folded for convenient storage when not in use. Highly modular, Additional panels can easily be added at a later date if required. During recording sessions, notes and copy can be pinned or tacked to the screens, ideal for reading a script or lyrics.\u003c\/p\u003e\n\u003cp\u003ePanels are made of a minimum 75% recycled polyester fibre and contaminated panels can be recycled. Furthermore, all off-cuts and manufacturing waste is re-used or recycled wherever possible ensuring high sustainability throughout the cycle of the panel. 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The recycled PET fibre material employed provides absorption on both sides resulting in a Noise Reduction Coefficient (NRC) of 1.3 and providing absorption across a wide frequency range all the way down to 125Hz.\u003c\/p\u003e\n\u003cp\u003eThe PET Gobo 3 is lightweight and easy to move around and folded for convenient storage when not in use. Highly modular, Additional panels can easily be added at a later date if required. During recording sessions, notes and copy can be pinned or tacked to the screens, ideal for reading a script or lyrics.\u003c\/p\u003e\n\u003cp\u003ePanels are made of a minimum 75% recycled polyester fibre and contaminated panels can be recycled. Furthermore, all off-cuts and manufacturing waste is re-used or recycled wherever possible ensuring high sustainability throughout the cycle of the panel. 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The mic uses a dual one-inch externally polarised gold-sputtered Mylar capsule with isolated brass backplates and precision tensioning to deliver detailed, natural capture with exceptional transient response and extended low-frequency reach. Aim Audio designed four internal PCBs to minimise crosstalk, cut noise and achieve an industry-leading internal headroom figure of over 140 dBA, with everything powered by standard 48 V phantom power. Engineers can select between five polar patterns for precise source control and can instantly switch between transformer-balanced and electronically balanced output stages to choose either fast and transparent or rich and harmonically enhanced tonal signatures.\u003c\/p\u003e\n\u003ch2 data-start=\"1186\" data-end=\"1205\"\u003e\u003cstrong data-start=\"1189\" data-end=\"1205\"\u003eOutput Modes\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-start=\"1206\" data-end=\"1733\"\u003eThe patented output stage switching system offers a direct, ultra-clean electronically balanced output for transient-rich sources such as drum overheads, acoustic guitars and ultra-low-frequency material. Users can flip to the hand-wound toroidal transformer mode with a nanocrystalline VITROPERM core for increased harmonic texture, thicker bass response and silkier high frequencies, ideal for vocals, guitars and brass. Switching happens at matched level, so engineers can audition character choices precisely at the source.\u003c\/p\u003e\n\u003ch2 data-start=\"1735\" data-end=\"1768\"\u003e\u003cstrong data-start=\"1738\" data-end=\"1768\"\u003eControls \u0026amp; Visual Feedback\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-start=\"1769\" data-end=\"2332\"\u003eBacklit controls with lock and dim options provide visibility in low-light studios and stages. An integrated peak level LED warns when a pad becomes necessary and responds faster than many preamps or DAW meters. Low-frequency filtering offers an 80 Hz cut and a gentle 110 Hz roll-off to reduce rumble, plosives or proximity buildup. The front\/back orientation switch flips the mic’s control layout so engineers or self-recording vocalists always face the interface, without altering the sound thanks to perfectly matched capsules and symmetrical acoustic design.\u003c\/p\u003e\n\u003ch2 data-start=\"2334\" data-end=\"2365\"\u003e\u003cstrong data-start=\"2337\" data-end=\"2365\"\u003eShockmount \u0026amp; Pop Control\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-start=\"2366\" data-end=\"2881\"\u003eThe INSPIRE + Pack includes Aim Audio’s ORBIT shockmount built from long-glass reinforced nylon with custom solid-nylon lyres for stable, resonance-free isolation. Engineers can rotate the mounting point by 190 degrees for side, front or rear positioning without obstructing controls. The SENTRY magnetic pop filter uses acid-etched stainless mesh with optimised airflow to stop plosives cleanly. When not required, the Magnetic Resorber Ring attaches automatically and neutralises residual resonances in the mount.\u003c\/p\u003e\n\u003ch2 data-start=\"2883\" data-end=\"2911\"\u003e\u003cstrong data-start=\"2886\" data-end=\"2911\"\u003eCraftsmanship \u0026amp; Build\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp data-start=\"2912\" data-end=\"3209\"\u003eThe microphone uses premium internal components and Berlin-manufactured PCBs for ultra-low noise, while the metal housing features Aim Audio’s distinctive oval design with built-in stand mounting. Each pack includes a moulded carry case and vegan-leather pouch for secure transport and protection.\u003c\/p\u003e\n\u003ch3 data-start=\"3211\" data-end=\"3237\"\u003e\u003cstrong data-start=\"3215\" data-end=\"3237\"\u003eWhy Choose INSPIRE\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3238\" data-end=\"3830\"\u003e• Capture everything from ultra-clean modern recordings to rich classic transformer tone\u003cbr data-start=\"3326\" data-end=\"3329\"\u003e• Swap voicings instantly at the mic and make smarter decisions at source\u003cbr data-start=\"3402\" data-end=\"3405\"\u003e• Record vocals, instruments or ambient spaces with five pattern options\u003cbr data-start=\"3477\" data-end=\"3480\"\u003e• See settings clearly in dark studios with backlit controls and locking options\u003cbr data-start=\"3560\" data-end=\"3563\"\u003e• Protect sessions from shock noise, plosives and resonances with ORBIT and SENTRY\u003cbr data-start=\"3645\" data-end=\"3648\"\u003e• Achieve exceptional headroom and noise performance without external power supplies\u003cbr data-start=\"3732\" data-end=\"3735\"\u003e• Position easily in tight spaces with reversible orientation and single-handed mount control\u003c\/p\u003e","brand":"KMR Audio","offers":[{"title":"Default Title","offer_id":57556380385663,"sku":null,"price":487.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0707\/4915\/9716\/files\/aim_audio-inspire_plus_pack-lhp-jpg.jpg?v=1761656863"},{"product_id":"drawmer-ds-201-dual-noise-gate","title":"Drawmer DS-201 Dual Noise Gate (Open Box)","description":"\u003cp\u003eThe DS201 is a sophisticated dual channel noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates. \u003c\/p\u003e\n\n\u003cp\u003evariable high pass and low pass filters for \"frequency conscious\" gating \u003c\/p\u003e\n\n\u003cp\u003ecomprehensive envelope control, attack, hold, decay, and range \u003c\/p\u003e\n\n\u003cp\u003ekey input for external triggering \u003c\/p\u003e\n\n\u003cp\u003e\"key listen\" facility \u003c\/p\u003e\n\n\u003cp\u003eextremely fast attack time, to preserve the natural attack of the sound \u003c\/p\u003e\n\n\u003cp\u003ebalanced inputs and outputs \u003c\/p\u003e\n\n\u003cp\u003estereo linkable \u003c\/p\u003e\n\n\u003cp\u003ecan be used for \"Gating\" or \"Ducking\" \u003c\/p\u003e\n\n\u003cp\u003ehigh audio specification \u003c\/p\u003e\n\n\u003cp\u003eThese features and its \"user friendliness\" have made it the \"industry standard\" throughout the world. \u003c\/p\u003e\n\n\u003cp\u003eSetting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined. \u003c\/p\u003e\n\n\u003cp\u003eThe DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum. \u003c\/p\u003e\n\n\u003cp\u003eDrawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature. \u003c\/p\u003e\n\n\u003cp\u003eThe very fast attack of the DS201 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise. \u003c\/p\u003e\n\n\u003cp\u003eAnother important role played by the gate is in the reshaping of existing sounds. An example of this might involve a simple sampling delay line used to store a sound to be re-triggered later and added to a mix. A gate can be used to impart a slower attack or faster decay to the sound and careful setting of the decay envelope can effectively hide any noise present at the end of the sample. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS201 ideal for this application. \u003c\/p\u003e\n\n\u003cp\u003eThe unit can be switched to accept a key input, which allows the gate to be triggered externally. 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