Overview

The ART EQ300 Series of graphic equalizers have been designed and engineered to extremely high standards for audio performance and functionality. These innovative, high-quality equalizers are perfect for virtually any audio application where precision frequency tailoring, reliable performance, rugged design and extremely silent processing is important. Rugged construction and solid audio performance make these equalizers particularly well suited to fixed installation as well as touring live sound systems.

The ART EQ 300 Series Applications:

• May be used in a variety of applications such as live sound, recording studios, instrument racks as well as any conventional fixed installation environment
• The equalizer can be used wherever modification of the frequency contour of a sound is needed
• The graphic equalizer is a powerful tool for solving a number of audio problems and creating interesting sound textures
• Patch the EQ between your mixing console and power amps to allow you to alter the overall mix to better match your environment
• Use the EQ between your monitor mixer and monitor power amps to aid in the removal of feedback inducing frequencies
• Patch into a channel insert to EQ one channel or track individually
• Run your instrument directly into the equalizer to enhance its sound before reaching a power amplifier or instrument amplifier.
• Patch into the effects loop of an instrument amplifier or between a preamp and power amp to have precise control over the complete sound

Key Features

• Dual Channel 15-Band Graphic Equalizer
• Constant-Q Filtering
• Balanced XLR, Active Balanced 1/4″, and Unbalanced RCA Input and Output Connectors
• +/- 6dB or +/-12dB Level Adjustments
• 20mm Center Detented Frequency Band Sliders
• Independent Level and Bypass Controls Per Channel
• Designed for Years of continuous, reliable performance
• Rugged All Steel Construction
• One Year Warranty

Overview

The DTI (Dual Transformer/Isolater) is a high quality totally passive audio interface that uses a pair of high performance transformers to totally separate input and output signal grounds, thereby isolating two systems and reducing hum and ground-loop noise. The DTI’s audio transformers have an extremely flat and wide frequency response and can handle high signal levels while an isolated balanced output. This gives the DTI a very clean and neutral sound with a wide variety of maintaining signal sources. The transformers are wound for 1:1 unity gain and are designed to be used with impedances from 600 ohms to 100k ohms.

What further sets the DTI apart from other lesser isolation boxes is its connection versatility. We have provided XLR, 1/4″ phone, and RCA type phono connections on all inputs and outputs. This allows it to easily fit into virtually any audio system and be the clean patch point between all types of systems. Whether you need an interface between a computer based audio workstation and your monitor system, isolation on long cable runs in a fixed installation, isolation of a signal source from your recording equipment, or in many cases, just a safer connection between two audio systems, the DTI can accommodate. The compact black anodized all aluminum case and it’s passive design allow the DTI to provide years of trouble free service in Live Sound, Permanent/Fixed Install, D.J., and virtually any PA application. It’s full feature set, rugged construction, and high-end specifications make the DTI the obvious choice.

Key Features

• Isolates Components in Sound Systems to Eliminate Ground Issues
• High Quality Transformers
• XLR, 1/4-inch and RCA Inputs and Outputs
• Rugged Anodized Aluminum Case
• Passive Design

Specifications

Overview

The all new ART Digital MPA-II delivers all of the same great features of the ProMPA with the added versatility of digital output. Like the ProMPA-II, each input circuit has 48v phantom power and features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone. The Digital MPA-II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.

The input section of the Digital MPA-II operates at either a low or high plate voltage applied to the two integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display output levels while multi-colored LED arrays, with average or peak hold, show tube gain and digital output levels.

In addition to XLR and 1/4″ analog outputs, the Digital MPA-II features a high quality A to D converter which offers digital connectivity on S/PDIF, ADAT, or AES/EBU outputs. A rotary control on the front panel allows selection of format and sample rates from 44.1 to 192 KHz and 16 bit dithering. There is also a push button for, and two wordclock jacks, allowing loop-through.

The Digital MPA-II comes in a standard 2u space rack-mountable steel chassis, with CNC routed black anodized aluminum face panel.

Specifications

Analog Section:

• Frequency Response 15Hz to 48 kHz (+0, -1dB) @ normal plate voltage
  15Hz to 120 kHz (+0, -1dB) @ high plate voltage
• Dynamic range: >110dB (“A” weighted)
• CMRR: >90dB
• THD: <0.005% (typical)
• Equivalent Input Noise: -129dBu (XLR, “A” weighted)
• Maximum Input Level: +19dBu (cannon)
• Maximum Instrument Input: +17dBu
• Input Impedance: 150-3000 (Omega) adjustable (XLR)
  >800k (Omega) (Instrument)
• Maximum Output Level: +27dBu (XLR)
• Output Impedance:: < 47 (Omega) (XLR)
• Maximum Gain: 75dB
• Meter Calibration: 0 VU = +4dBu output (+4dB mode)
  0 VU = -10dBV output (-10dB mode)
• High Pass Filter: single pole, 10-200 Hz adjustable

Digital Section:

• A/D Frequency Response:
  @44.1KHz sample rate: 10Hz to 21.25KHz (+0, -1dB)
  @88.2KHz sample rate: 10Hz to 42.50KHz (+0, -1dB)
  @196KHz sample rate: 10Hz to 81KHz (+0, -1dB)
• A/D Dynamic Range: >112dB “A” weighted (typical)
• A/D THD: <0.001% @1K (typical)
• A/D Input Sensitivity: +12dBu min
• A/D Insert Input Impedance: >10k (Omega)
• Power Requirements: USA – 105 to 125 VAC / 60 Hz Export units configured for country of destination
• Dimensions: (HxWxD in) 3.50 x 19.0 x 8.75
• Dimensions: (HxWxD mm) 88 x 482x 222
• Weight: (lb/kg) 10.5 / 4.7

Key Features

• Variable Input Impedance For Flexible Microphone Voicing (150 ohms To 2400 ohms)
• Selectable Plate Voltage
• Large VU Meters
• Backlit Function Switches
• Discrete Class-A Input Microphone Preamplifier
• Low Noise at Lower Gain Settings
• Extremely Low Total Harmonic Distortion (THD)
• Wide Frequency Response
• Additional Front Mounted Instrument Input Jack
• Supports Mid/Side Miking Technique
• Operates at +4dbm/-10dbv Output
• Selectable Stereo/Dual Operation of Output Controls
• Automatic Instrument Input Selection
• 24-204KHz External sample rate
• 44.1K, 48K, 88.2K, 96K, 176.4K, 192K Internal sample rates
• 24/16 bit switchable dithering
• Wide dynamic range A/D
• Rotary Encoder for quick selection of sample rate
• Separate analog and digital output level controls
• Digital Level LED meters display both Average and Peak level
• ADAT optical I/O
• Sync to incoming ADAT data rate
• Switch selectable optical output (S/PDIF or ADAT)
• AES/EBU and S/PDIF outputs
• Two wordclock jacks allowing loop through

Overview

The CLEANBoxPro provides two channels of unbalanced to balanced level conversion and two channels of balanced to unbalanced level conversion in a rugged, compact, and portable unit. Balanced lines offer increased immunity to external electrical noise, such as hum. Since a balanced system minimizes induced noise, it is the preferred method of connecting audio gear, especially when long lengths of cable are used. One section of the CLEANBoxPro converts two channels of consumer-level unbalanced input signals into two channels of pro line-level balanced output signals. It has two RCA jack inputs and a stereo mini-phone jack input connected in parallel. The balanced output feeds two XLR male jacks.

The other section of the CLEANBoxPro converts two channels of line-level balanced input signals into two channels of consumer unbalanced output signals. It has two XLR female input jacks. The unbalanced output feeds two RCA jacks and a stereo mini-phone jack connected in parallel. Each section has stereo level controls to optimize signal levels. An LED indicator lights when power is applied.

CLEANBoxPro Applications:

• Home or professional recording studios
• Live sound, PA, and permanent installs
• DJ, AV, and consumer HiFi
• Podcasting and broadcasting
• The CLEANBoxPro can be used with: mixers, audio processors, laptop computers, computer sound cards, CD/DVD players, video gaming machines, MP3 player/recorders, powered monitors and digital audio workstations

Key Features

• XLR connectors for balanced inputs and outputs
• RCA phono jacks and stereo 1/8″ mini-phone jacks for unbalanced inputs and outputs
• Stereo unbalanced output level control
• Stereo balanced output level control
• Rugged extruded aluminum case
• Lighted On/Off switch
• Comes with external power supply for operation with AC mains
• Low noise, low distortion circuit

Specifications

Overview

The ART C3 multi-pattern wide diaphragm condenser microphone is one of the most versatile microphones available for your studio toolkit. Three selectable polar patterns, two position low frequency roll-off and two position pad switches on the body of the microphone ensure the C3 can easily be applied to virtually any recording or live application.

The ART C3 is the microphone of choice for recording critical tracks including solo vocals, saxophones, flutes, brass or woodwinds, acoustic guitars or acoustic bass. It excels anywhere superior sound quality is required, yet subtlety and clarity is paramount.

Due to its rugged construction and ability to handle high SPL, the C3 is an outstanding choice for live sound reinforcement or live recording applications. It can handle the levels you’d see on an overhead mic for drum kits or in front of guitar or bass cabinets.

Controls on the microphone itself include a -6 & -12dB pad switch, allowing distortion-free reproduction of extremely loud at-source signals, and a two position -12dB/octave low frequency roll off at 100Hz & 200Hz that reduces unnecessary low end ‘boominess’ and low frequency interference. The included heavy-duty shock-mount suspension virtually eliminates vibration and handling noise, while at the same time safely securing the microphone in any position needed during the recording process.

Multiple Polar Patterns:
A Cardioid polar pattern is the standard setting for almost all applications. It will give you the best results on most voice and a wide range of instruments. It offers full frequency response off of the front of the microphone. The advantage of proximity effect (increased low frequency response when microphone is placed close to sound source*) and excellent noise rejection from the sides and back, or 180′ position of the microphone.

The cardioid pattern is ideal for single instrument or vocal use. The pattern picks up only sound directly in front of the mic. Sound from the other direction is rejected. In live sound applications and remote recording ART M-Three’s cardioid pattern offers excellent feedback rejection and better isolation and will give you the best results on most vocal applications and a wide range of solo instruments including background brass and woodwinds, acoustic stringed instruments (violin, viola and cello), drums and percussion. Note: The cardioid symbol on the microphone housing denotes the ‘live side’, or front face of the microphone that in all cases should face the performer.

The Omnidirectional polar pattern picks up sound equally from all around the microphone. This is mostly used for recording ambient sounds, or when recording in an exceptionally good sounding live room where the character, ambiance and tone of the studio needs to be recorded, as well as the source voice or instrument. It would also be the ideal choice for picking up audience interaction in a live recording situation.

The Bi-directional or Figure-8 polar pattern will hear sound from both front and back. This is ideal for recording a solo vocal or instrument with limited proximity effect, better off-axis rejection (limited interference from the sides of the microphone) while still picking up room ambience or natural reverberation from behind the microphone. It also can be used for or duet vocals or for recording harmony vocals with two vocalists.

As a condenser microphone, the ART C3 requires phantom power to operate. The microphone’s precision-tooled microphone body and dent resistant stainless-steel wire-mesh windscreen protects the internal electronics and microphone capsule ensuring unmatched long term reliability. The C3 comes equipped with an extremely secure custom shockmount. Aluminum carry case included.

Key Features

• Exceptionally Warm Sounding FET Design
• Smooth Frequency Response
• Cardioid, Omnidirectional and Figure-8 Polar Patterns
• Two Position Pad & Two Position High Pass Filter Switches
• 34mm Gold Sputtered Diaphragm
• Wide Dynamic Range with Low Noise Floor
• Secure Cradle Mount and Hard Case Included

Specifications

Overview

Ideal for any live PA rack, studio rack or fixed installation where easy access to XLR inputs are required, the P16 brings all rear-mounted XLR inputs from various devices to one, convenient single space rackmountable location. The P16 saves wear and tear on the connectors of expensive audio equipment by bringing all commonly used connections to the external patch bay.
All-steel chassis, black anodized finish and secure, high-quality XLR connections front and back with internal connections made via PCB wiring ensure long term reliability from the passive ART P-16 Balanced XLR rackmount patch bay.

Key Features

• 16 channels of balanced direct signals
• High quality passive interface
• XLR connectors (female on front, male on rear)
• All connections made via reliable PCB wiring
• 19-inch 1U-high rack mount with rugged, fully shielded black all-steel enclosure
• Reversible rack ears for added system flexibility
• Three year warranty

Overview

The ART MX624 Six Channel Stereo Mixer with Two Zone Outputs is a versatile rack mount mixer that combines six independent input channels and routes them to two stereo zone outputs.
The first channel can be used to control, via a front-panel switch, a ducking feature for all other channels making it an ideal solution for paging systems. All six channels can accept unbalanced stereo line-level signals. 48v phantom power can be independently assigned for each mic channel. Each channel has independent level controls and can be independently routed to either zone output, both or neither. Separate level, bass and treble controls adjust the sound of each zone output. Two bus inputs allow patching of multiple units when more input channels are needed.

The ART MX624 may be used on stage, in the studio, or for permanent install applications including conference rooms, corporate boardrooms, churches, restaurants, small clubs, health clubs and more. A built-in power supply and single high 19-inch rack mount format allows for easy installation and reliable long-term operation.

Key Features

• Six stereo input channels with individual level controls
• Balanced mono microphone XLRs available on the first three channels
• Selectable padding on mic inputs
• Full +48V low-noise phantom power independently switchable for each mic input
• First channel provides switchable ducking of other channels with selectable parameters
• Front panel 1/8-inch stereo (TRS) mini-phone plug for portable music player input
• Two sets of left and right 1/4-inch TS main output jacks with master level, bass and treble controls
• Two bus input 1/4-inch TRS jacks allow units to be chained to provide extra inputs
• Rugged 1U rack-mount steel chassis with built-in power supply

Specifications

Overview

The ​ART MX822 Eight Channel Stereo Rackmount Mixer​ is a versatile eight input mixer for studio, live sound or installation applications. Each input accepts a mono or stereo signal and provides independent level, pan and effects send controls. Channel One includes a switchable mic/line source select and the XLR mic connector provides switchable phantom power.

Multiple MX822s may be chained for additional inputs using common 1/4-inch TRS cables. External effects processors can be linked in and mixed with independent level controls. A front panel headphone jack with separate level control allows independent monitoring.

Key Features

• Eight stereo/mono input channels with individual level, pan and effects send controls
• External effects loop with independent send and return controls
• Front panel 1/4-inch stereo (TRS) headphone jack with amplifier and independent level control for
• output monitoring
• Switchable balanced microphone XLR or 1/4-inch inputs on Channel One
• Switchable low noise +48V phantom power for microphone input
• Separate green and red LED signal and clip indicators for each input channel
• Six level left and right main output metering including clip indicators
• Balanced left and right XLR main outputs
• Multiple units may be chained together for additional inputs
• Rugged 1U rack mount steel case

Specifications

Overview

The ART MX821S is a versatile rack mount mixer combining eight independent input channels into a stereo line-level output. Each input channel accepts a balanced XLR microphone input or unbalanced 1/4-inch TS line-level signal and provides independent level and pan controls.

+48 Volt phantom power may be independently selected on each microphone input. A master level control adjusts the signal output to the low-impedance balanced 1/4-inch TRS jacks.

Prefade output (not affected by the master level control) and Aux Bus input RCA jacks allow patching of multiple units when more channels are needed
.
The ART MX821S may be used on stage, in the studio, or for permanent install applications including conference rooms, corporate boardrooms, churches, restaurants, small clubs, health clubs and more. A built-in power supply and single high 19-inch rack mount format allows for easy installation and reliable long-term operation.

Key Features

• Eight input channels with individual level and pan controls
• Pan controls place each input mono signal anywhere in the output stereo image
• Balanced microphone XLR or unbalanced 1/4-inch TS inputs on each channel
• Full +48V low noise phantom power switchable for each microphone input
• Balanced left and right 1/4-inch TRS main output jacks with master level control
• Prefade Output jacks and Aux Bus Input jacks allow units to be chained to provide extra inputs
• Each line input jack may be individually converted to a direct line output by means of internal jumpers
• Rugged 1U rack-mount steel chassis with built-in power supply
• Perfect for stage, studio and permanent installations

Specifications