Supplied with one receiver and four transmitters 50-80m operating area Selected VHF frequency to avoid interference Feedback rejection function can effectively reduce howling Optional mixed or individual output to connect with any mixer / amplifier The receiver can be used together with handheld mic TC-TD, body-packed TC-TL or conference mic TC-TH at the same time Easy reorganization by different color for each frequency Handheld mic: Studio, Stage, KTV, program hosting, outdoor activities Body-pack mic: Broadcasting, program hosting, outdoor activities Conference mic: Conference, lecture Squelch Control: Noise-Lock Frequency Deviation: ±18kHz Frequency Response: 80Hz-15kHz Frequency Steadiness: ±0.005% S/N Ratio: >70dB Total Harmonic Distortion: <0.5% (at 1kHz) Sensitivity: -80dBm Operating Range: 50m in open area Harmonic Interference Rate: >50dB False Image Interference Rate: >80dB Receiver Power Supply: DC 12V/500mA Transmitter Power Supply: 9V battery (TC-TD)(not include) AA1.5V X 2 batteries (TC-TL)(not include) AA1.5V X 2 batteries (TC-TH)(not include) Transmit Power: <10mW Blue: 240.9MHz Red: 250.3MHz Green: 221.3MHz Output Type: Separate or mixed output Paking list : 4 x microphone 1 x receiver(include 2 antenna) 2 x 1/4 inch Audio output line 1 x power converter

This is an omni-directional FM broadcast dipole antenna, which is made of aluminum treated with alodyne so this 800W FM dipole antenna is light and resistant. All metal parts are electrically grounded, stainless steel screw. Model：Dipole antenna Frequency range: 87.5MHz ~ 108MHz Input maximum standing wave ratio: ≤1.25 RF input power: ≤ 800 W RF input impedance: 50Ω RF input connector: L16    N Gain: 2dB Net Size：250 x 50 x 800mm (without measuring handles and protrusions), Package Weight：4KG

DM12 The compact DM12 honours yourstage or studio desktop space,while providing incredible sonicperformance, amazing versatility � andan unheard of level of affordability. What is the secret behind DM12'ssuperb, studio-quality sound? TheDM12 features 8 award-winning,Midas microphone preamplifi ers withtrue +48 V Phantom Power, acclaimedby audio engineers the world over for their transparency and nuancedlow noise, high-headroom design. Add to this TRS Line Inputs on all 12channels (8 mono and 2 stereo), mono channel Inserts and 3-band EQ withmid-frequency sweep, 2 switchable pre/post-fader aux sends, 2 monitorouts and 2-track RCA I/O, and you have an analogue work of art � the fullyfeatured DM12! Live Performance and Studio Recording Live Performance and Studio Recording With 12 channels, the DM12 has more than enough microphone and line inputs to manage a small band or worship team with channels to spare – both on the stage and in the studio. It is also the ideal choice for use as a keyboard or drum sub-mixer for larger scale performances. Dedicated Stereo Inputs Dedicated Stereo Inputs Line channels 9/10 - 11/12 are dedicated stereo channels, making them ideal for stereo instruments, such as keyboards – and can also be used for mono signals thanks to a convenient balance control on each 2-channel grouping. These channels can also be used as return inputs for signals sent external effects processing equipment. Sublimely Musical British EQ Sublimely Musical British EQ The British consoles of the 1960s and ‘70s changed the sound of rock and roll – without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The 3-band channel EQ on our DM12 mixers is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. The sweepable mid-frequency band provides a broad tonal palette with which to finetune the ideal signal. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality. Dual Aux Sends Dual Aux Sends The DM12 is also equipped with 2 aux sends with pre/post fader switching for added versatility. Users can select to use them for external effects processing, custom monitor mixes, or a combination of the two. Additional monitoring outputs are provided of the main mix for stage or studio monitor applications. Classic Precision Classic Precision All of DM12 mixer’s 60 mm faders have been carefully designed to provide a long life of highly precise level setting, ensuring repeatable and flawless performance for many years to come. Quality is Job #1 Quality is Job #1 While some manufacturers cut quality when they design small mixers, we understand that every mixer should provide uncompromising performance and a robust feature set. The very embodiment of quality, from its rugged construction and top-of-the-range components to that unmistakable Midas sound – the DM12 is a truly professional audio console. Value Value No matter what your audio mixing needs, the DM12 provides the performance and features required to take your talent to the next level, at a price that is custom-tailored for the budget-savvy user. Professional sound quality, our legendary Midas mic preamps, 3-band EQs with sweepable mids, and much more make the DM12 mixer ideal for both your live gigs and recording. Try one out today, or feel free to order yours online. Architecture & Engineering Specifications The audio mixing console shall be an analogue design suitable for use in live performance and studio recording, and equipped with 8 MIDAS microphone preamplifiers. The mixing console shall have 8 mono channels, and each shall provide the following: 1 balanced XLR microphone input, 1 balanced ¼ " TRS line level input, and a ¼ " TRS Insert. A gain control shall provide adjustment of the input signal from 10 to 60 dB (mic) and -10 to +40 dB (line). An EQ treble control shall provide a range of 15 dB of boost and cut of shelving EQ at 12 kHz. An EQ mid control shall provide a range of 15 dB of boost and cut, and a mid-sweep control shall provide peak EQ adjustment from 150 Hz to 3.5 kHz. An EQ bass control shall provide a range of 15 dB of boost and cut of shelving EQ at 80 Hz. Aux 1 and Aux 2 controls shall provide adjustment of the Auxiliary 1 and 2 outputs from 0 to +10 dB. A pan control shall position the mono channel in the mix. A PFL (pre fader listen) switch shall allow the channel signal to be soloed and routed to the master meters, monitors, and headphones. A mute switch shall be provided to mute the channel, and a peak LED shall indicate channel signal overloading. A 60 mm mono channel fader shall allow adjustment of the channel level in the mix. The mixing console shall have 2 stereo channels, and each shall provide the following: 2 balanced ¼ " TRS line level inputs. A stereo gain control shall provide adjustment of the input signal from -20 to +20 dB. An EQ treble control shall provide a range of 15 dB of boost and cut of shelving EQ at 12 kHz. An EQ bass control shall provide a range of 15 dB of boost and cut of shelving EQ at 80 Hz. Aux 1 and Aux 2 controls shall off er adjustment of the Auxiliary 1 and 2 outputs from 0 to +10 dB. A balance control shall position the stereo channels in the mix. A PFL (pre fader listen) switch shall allow the channel signal to be soloed and routed to the master meters, monitors, and headphones. A mute switch shall be provided to mute the channel, and a peak LED shall indicate channel signal overloading. A 60 mm stereo channel fader shall allow adjustment of the channel levels in the mix. The mixing console shall be provided with 2 balanced ¼ " TRS Auxiliary outputs. Each mono and stereo channel shall have an Aux 1 and Aux 2 level control. Each Aux output shall be provided with a pre-fader/post-fader switch. The mixing console shall be provided with 2 balanced ¼ " TRS monitor outputs. Level adjustment shall be provided with a local level control. The output shall be a copy of the main mix, or the pre-fader output from any soloed channels (channel PFL switch engaged), or the 2 track input. The mixing console shall be provided with 2 unbalanced RCA line level inputs, and 2 switches shall allow the input signals to be routed to the main mix, or to the monitor outputs. There shall be 2 unbalanced RCA line level outputs to allow the main mix to be recorded. The mixing console shall be provided with 1 stereo ¼ " TRS output for headphone monitoring of the main mix, or soloed channels (channel PFL switch engaged). Level adjustment shall be provided by a Phones level control. The mixing console shall be provided with 2 balanced XLR outputs to send out the final left/right mix to external amplifiers and equipment. Adjustment of the final mix output shall be provided by 2x 60 mm master faders. 2 ¼ " TRS main out insert jacks shall be provided. Global 48 Volt phantom power shall be provided to each microphone input via a phantom power switch. A +48V LED shall indicate when phantom power is activated. 2 LED ladders shall indicate the levels of the main mix, or soloed channels (channel PFL switch engaged). An LED will indicate when the mixer is powered on, and a PFL LED will indicate when the meters are monitoring soloed channels. The mixing console shall be provided with an internal switch mode power supply, capable of operation at AC voltages ranging from 100 to 240 VAC, at 50/60 Hz. The mains connection shall be a standard IEC receptacle. The mixing console dimensions shall be 95 mm high x 328 mm wide x 370 mm deep (3.7 x 12.9 x 14.6"). The nominal weight shall be 3.9 kg (1.8 lbs). The mixing console shall be the MIDAS DM12. No other mixing console shall be acceptable unless submitted data from an independent test laboratory verifies that the above combined performance / size specifications are equalled or exceeded. Architecture & Engineering Specifications The audio mixing console shall be an analogue design suitable for use in live performance and studio recording, and equipped with 12 Midas microphone preamplifiers. The mixing console shall have 8 mono channels, and each shall provide the following: 1 balanced XLR microphone input, 1 balanced ¼ " TRS line level input, and a ¼ " TRS Insert. A gain control shall provide adjustment of the input signal from 10 to 60 dB (mic) and -10 to +40 dB (line). An EQ treble control shall provide a range of 15 dB of boost and cut of shelving EQ at 12 kHz. An EQ mid control shall provide a range of 15 dB of boost and cut, and a mid-sweep control shall provide peak EQ adjustment from 150 Hz to 3.5 kHz. An EQ bass control shall provide a range of 15 dB of boost and cut of shelving EQ at 80 Hz. Aux 1 and Aux 2 controls shall provide adjustment of the Auxiliary 1 and 2 outputs from 0 to +10 dB. A pan control shall position the mono channel in the mix. A PFL (pre fader listen) switch shall allow the channel signal to be soloed and routed to the master meters, monitors, and headphones. A mute switch shall be provided to mute the channel, and a peak LED shall indicate channel signal overloading. A 60 mm mono channel fader shall allow adjustment of the channel level in the mix. The mixing console shall have 2 stereo channels, and each shall provide the following: 2 balanced ¼ " TRS line level inputs. A stereo gain control shall provide adjustment of the input signal from -20 to +20 dB. An EQ treble control shall provide a range of 15 dB of boost and cut of shelving EQ at 12 kHz. An EQ bass control shall provide a range of 15 dB of boost and cut of shelving EQ at 80 Hz. Aux 1 and Aux 2 controls shall off er adjustment of the Auxiliary 1 and 2 outputs from 0 to +10 dB. A balance control shall position the stereo channels in the mix. A PFL (pre fader listen) switch shall allow the channel signal to be soloed and routed to the master meters, monitors, and headphones. A mute switch shall be provided to mute

This 150W Basic Complete Radio Station Package is a very economic and good quality complete radio station set up and get you on the air to start broadcasting. This 150W FM radio station package include one 150W FM transmitter, one dipole antenna, one 20M coaxial cable, one 12channel console mixer, two microphones, two BOP covers, two monitor headphones, one pair monitor speakers, two microphone stands, one audio processor. Please note that we take any items out if it is still beyond your budget or we can add or replace any items to suit your specific needs. 150W FM Transmitter • The integrated LCD screen displays all the parametric including: transmitter frequency, stereo and mono, volume, amplifier tube temperature, audio signal UV meter, forward power, reflected power, modulation mode, pre-emphasis etc,. • With built-in high-quality stereo encoder, CD-class sound quality. • Signal input supports XLR and RCA audio inputs, and also SCA and RDS signals using the BNC connector AUX. • Supports AES-EBU digital signal input. • The RF amplifier uses LDMOS transistors . Frequency: 87.5-108MHz, Frequency step value: 10KHz RF output power: 0 ～150W ± 0.5dB RF output impedance: 50Ω RF output connector: L16 female N Pre-emphasis: 0μs, 50μs, 75μs (users can set) Power supply voltage range: single phase 110 ~ 260Vac Power consumption: <320VA Operating temperature range: -20 to 45 ° C Working method: continuous work Cooling method: forced air cooling Dimensions: 483 x 320 x 88 mm Weight: 10Kg 800W Dipole Antenna This is an omni-directional FM broadcast dipole antenna, which is made of aluminum treated with alodyne so this 800W FM dipole antenna is light and resistant. All metal parts are electrically grounded, stainless steel screw. Frequency range: 87.5MHz ~ 108MHz Input maximum standing wave ratio: ≤1.25 RF input power: ≤ 800 W RF input impedance: 50Ω RF input connector: L16    N Gain: 2dB Net Size：250 x 50 x 800mm (without measuring handles and protrusions) Weight：4KG 20meters -7 coaxial cable with connectors BEHRINGER Xenyx QX1202USB Mixer Premium 12-Input 2-Bus Mixer with XENYX Mic Preamps and Compressors, British EQs, Klark Teknik Multi-FX Processor and USB/Audio Interface 4 microphone inputs with 48-volt phantom power, compressor, 3-band EQ and peak LEDs 1 AUX post-fader 4 stereo inputs Internal Klark Teknik multi-effect device 2 Track inputs and outputs Master fader USB audio interface Dimensions (H x W x D): 50 x 250 x 248 mm External power supply. Along with their built-in USB/audio interfaces, the QX1202USB comes with all the recording and editing software needed to turn your computer system into a complete, high-performance home recording studio. AKG  Monitor Headphone Headphones Closed Circumaural Impedance: 32 Ohm Sensitivity: 110 dB SPL/V Frequency range: 18-20000 Hz Max. input level: 200 mW 2.5 m Cable with 3.5 mm jack and 6.3 mm adapter Weight: 200 g EDIFIER Monitor Speaker 2-Way Digital Monitors deal for computer studios, audio and multimedia workstations True bi-amping mode with 4 amplifiers – 2 per speaker 150 W digital power amplification 1″” Silk dome tweeter Long-excursion 5″” woofer Frequency range: 55 – 20000 Hz Maximum SPL: 100 dB @ 1 m Advanced Waveguide Technology for extra big sweet spot Setting options for room adjustment USB input for direct connection to a computer (plug and play, no driver required) Two analogue inputs with XLR and TRS connections – can be used simultaneously with a digital signal source Plastic housing Dimensions: 254 x 204 x 178 mm Weight: 6.5 kg 2 m speaker cable included COMPOSER PRO-XL MDX2600 V2 The reference-class MDX2600 is a marvelous dual-channel Expander/Gate/Compressor/Peak Limiter that is ideal for: compressing mono/stereo signals and providing virtually inaudible noise suppression, without loss of high frequencies; increasing vocal presence and energy; and limiting, or smoothing out extremely-high signal peaks. Additionally, the MDX2600 features an integrated Dynamic Enhancer, De-Esser, Low-Contour filter and our revolutionary, switchable Tube simulation – for the extra warmth and transparency of classic tube circuitry. Put simply, the MDX2600 can do amazing things for your vocals or instruments – providing virtually everything you need for studio-quality dynamics processing! Studio Microphone It is a professional wide-diaphragm condenser mic with and internal 6dB 100hz low frequency roll off switch and very cute shape. It characters with high sensitivity, low noise, wide frequency response and high SPL handling as well, thus make it ideal for on-stage performance, instrument and vocal recording. It is perfect for broadcasting and sound performance. Besides, it is also the better choice for those music fans and home-recorders. High Performance FET Condenser MIC 1、High-SPL capability 2、Extended frequency response 3、Exceptionally wide dynamic range 4、Pure and realistic sound quality iSK Microphone Stand Adjustable to any position 4 outbuilt springs Horizontal or vertical installation Hollow beam enable cable go through inside Stable design of 2 tubes lower section and 2 tubes upside 5*2.5M double shield mic cale with metal connector ASD-40 mic arm has a wide recording range Can be widely used for personal recording podcast etc Height can be adjusted; The stand can be fixed or locked on the table; Can be clamped on the table Microphone Scissor Arm BOP Cover * Large double filter * Broadcast Recording * Microphone BOP cover

Yamaha has always strived to provide sound engineers with the purest possible signal instead of added processing or color to give it a "signature" sound, and the MG Series is no exception. Embracing this philosophy of transparent sound, these mixing consoles deliver a level of sonic purity and sound quality that is unmatched in their class. This is where it all starts. Everything you do as a sound engineer is dependent on the quality of your preamps, which determines the direction your mix will take, and ultimately how good it is going to sound. MG Series mixing consoles feature Yamaha's studio-grade discrete class-A D-PRE preamps, which utilize an inverted Darlington circuit comprising two cascading transistors in a configuration that provides more power with lower impedance. Delivering fat, natural sounding bass and smooth, soaring highs, with very low distortion, D-PRE preamps possess an impressively wide frequency range that allow them to handle signal from any audio source without overly amplifying any specific elements of the sound. Having such a pure sonic platform to build on will ultimately save you time and effort by eliminating the need for excessive EQing or additional effects processing in order to "fix" your mix. Features & details 12-Channel standalone mixer (no USB or effects) Featuring studio-grade discrete class-A D-PRE preamps with inverted Darlington circuit - providing fat, natural sounding bass and smooth, soaring highs 3-band EQ and high-pass filters give you maximum control and eliminate unwanted noise, resulting in a cleaner mix 1-Knob compressors allow easy control - resulting in livelier guitars, punchier bass lines, a tighter snare and a cleaner vocal sound. MG Series mixers feature a rugged, impact-resistant, powder-coated metal chassis

This product is a professional hotline telephone hybrid coupler. It is specially used by various radio stations and TV stations in live broadcast programs, and is also suitable for conference calls, telephone recordings and other occasions. Provides four-way telephone access, adopts microcomputer chip and electronic switch technology, each control is independent of each other, the switch-in and switch-out operation is convenient and flexible, and four-way telephone access can be realized at the same time. It can be used to make multi-party calls and free conversations, and can also hold calls and talk separately. It provides audio and control interfaces for the main and backup live studios. Users only need to add a control box and corresponding control cable to realize the time-sharing of a set of hotline devices between the two live studios. Each channel is equipped with a sidetone adjustment switch, which can obtain better phone quality and avoid harmful sound feedback. There are built-in communication devices in the director and host control box, including microphones and speakers (the host can switch the call output to the mixer or headset splitter), and there is a call button, which makes internal calls very convenient. When there is only one host, the no-director function can be used, as long as the no-director switch on the front panel of the host is turned on (the indicator light is off at this time) Technical indicators Audio input: (from the studio) 600Ω balanced 0dB 6.35 three-pin plug Audio output: (to the studio) 600Ω balanced 0dB 6.35 three-pin plug (mixed output) 600Ω unbalanced -10dB 6.35 three-pin plug (Headphone) 100Ω 6.35 three-pin plug (Intercom output) 4Ω unbalanced-10Db 6.35 three-pin plug Frequency response: 300Hz—3400Hz Distortion: ≤1% Signal-to-noise ratio: ≥70dB (excluding telephone line noise) Sidetone suppression: ≥45dB Host size: 1U standard chassis Power consumption: 10W 1: Headphone jack 2: Headphone level adjustment knob 3: Send the signal size adjustment button to the telephone line 4: Live room 1 and live room 2 selection instructions and live room 1 and live room 2 selection switches 5: Power switch 6: Power socket (fuse) 7: Control cable interface 8: Audio input and output interface 9: Telephone outside line and telephone interface 10: There is no director selection switch, the light is on for a director state (the switch is on the left), and the light is off for a non-director state. (The switch is on the right) Installation and debugging 1: It is recommended to install the host in the director's room, LINE to receive the outside line, and PHONE to receive the director's call. 2: The director control box is connected to the DIRECTOR control port of the host, and the live studio control box is connected to the ROOM1 and ROOM2 control ports of the host. (Note: The director control box and the live studio control box are the same, but the control port of the connected host is different) 3: Connect the audio output (ROOM1 OUT and ROOM2 OUT) of the host to a line input module of the live mixer (balanced connection, if the mixer is unbalanced input, please connect the 6.35mm microphone plug of the host The middle ring is left in the air), and the host audio input (ROOM1 IN and ROOM2 IN) must be taken from the auxiliary output (AUX OUT) of the live mixer, and the corresponding auxiliary AUX control volume of the live mixer hotline input module should be adjusted to 0 (minimum), this is done to avoid unwanted acoustic feedback. Mixed output (MIX OUT) can be used to connect the power amplifier for studio monitoring. 4: Noise cancellation debugging Position map of side noise adjustment switch and potentiometer Before the official use, the test tone must be canceled, the audio test signal (working level) must be added to the hotline device through the line input, and the line output (ROOM OUT) of the hotline device must be connected to an electronic millivoltmeter to dial a certain number of telephones. And cut in (see below for the specific operation method), you can see that the millivolt meter has a small reading, open the chassis, and adjust the corresponding sidetone matching resistance and capacitance of the channel according to Figure 3 (controlled by the toggle switch, binary , as shown in the figure, the left side is the high position, the right side is the low position, there are 26 combinations from 2200PF to 0.2uF), so that the reading of the millivolt meter is the smallest. Repeat debugging and complete the adjustment of the other 3 channels. 5: During the call, adjust the SEND LEVEL to a suitable place to make the volume of the hotline listeners moderate. 6: Installation and adjustment of intercom: After the director control box and the live room control box are installed, the intercom can be used. How to use: press and hold "TALK" Button, speak into the microphone, the other party can hear it, the speaker volume adjustment can be achieved by inserting a screwdriver through the upper hole (SPEECH LEVEL); channel), lead the speaker signal to the mixer or headphone splitter, and monitor it through headphones. Operation method: ● Incoming calls: When a call comes in from a certain channel, the telephone of that channel will ring, and the corresponding light-emitting tube on the director control box will flash, indicating that there is a call coming in, and the director can answer the call from this channel. ● Waiting for broadcast: When the director decides to switch to this channel after answering the call, just press the button corresponding to this channel on the control box, the green light is on, at this time, the hotline listeners can hear the live program, but cannot participate in the program for the time being. When you want to exit a certain channel from the waiting state, just press it once and the green light will go out, that is, it will exit the waiting state. ● Broadcast: The host presses the corresponding button according to the instructions of the green light on the live control box, the green light turns red, and the hotline listeners begin to participate in the program. ● Exit: After the call is over, the host presses the button again, the red light turns into a flashing green light, and enters the exit state, reminding the director to cut off the call. Outgoing call. The host can also press and hold the button, after 1 second, the red light will go out, and the call will be automatically cut out. ● Multi-party call: When a channel enters the broadcast state, switch to one or more channels to realize multi-party calls, and can discuss issues and other activities. The operation method is the same as that of single channel. ● Call Hold: When the host is talking with a listener, if he wants to temporarily interrupt and answer or make other calls, he only needs to temporarily enter the exit state (flashing green light), and to resume the call, press Just click this button. Emergency cut out: whether it is the director or the host, press the button for more than 1 second, the line will be automatically cut out. No guide: When using the function without guide, turn on the switch without guide on the front panel of the main unit, and the corresponding indicator light of the control box in the live broadcast room flashes when the call comes, and the host can directly press the corresponding button to connect to the audience hotline , and at the same time can communicate with the audience directly through the microphone (at this time, the indicator light on the control box is always on red, and it is in the broadcasting state). (There is an indicator light on the right side of the non-director switch, when the light is on, the no-director function is canceled, and when the light is off, the no-director function is enabled) Note: the connection method of the telephone line: LINE to connect the phone PHONT to answer the outside line Packing List ●Telephone hybrid 1 set ●Control box 2 sets ●Control cable 2 pieces ●Operation manual 1 copy ●Power cord 1 piece ●Telephone lines 4 pieces

Phonic CELEUS-800 An analog mixer for the modern world, the Celeus series of compact mixers offer the sound quality and cutting-edge features you've come to expect from Phonic. A study in flexibility, the Celeus 800 Compact Mixer can operate in either 6-mono/4-stereo or 8-mono/2-stereo channel modes. Featuring remarkably low-noise, wide-bandwidth preamps for superior clarity and realism, plus 32/40-bit digital effects built in, the Celeus 800 also functions as a 16-bit/48kHz USB audio interface for DAW recording. Not only can it record to computer (PC/Mac) via USB, it has a built-in recorder/player that can record MP3 files to USB flash drive or play MP3 and WMA files for accompaniment or background music during breaks at gigs. Additionally, its ability to stream audio from Bluetooth devices provides an alternative way to play special requests from patrons during breaks at gigs, or guest presenters in lecture halls, etc. Features 6 mono mic/line channels with 3-band swept-mid EQs and low cut 4 stereo line channels (2 with mic/line inputs) with 4-band EQs Incorporate external signal processors through channel inserts 2 stereo aux returns for incorporation of external processors or additional signals 32/40-bit digital effect processor with 16 preset programs each with its own adjustable parameter 2 subgroups for versatile mixing and grouping of channels 12-segment level meter with peak and clipping indicators Bluetooth audio streaming from tablets and smartphones USB connectivity for stereo streaming to and from computer (PC & Mac) USB record/playback module records MP3 files to removable flash drive and plays back MP3/WMA files 70MB of onboard storage for recording and playback for easy incorporation of musical elements +4/-10 button on final two channels for better adapting to input sources 2 aux sends available on all channels

This UHF Frequency Band Wireless Monitor System Ideal choice for recording studio and on-stage Monitoring! Product Content: 1pc WPM-200 Transmitter 5pcs WPM-200 Receiver with earphone 1pc 3.5mm to 6.3mm plug 1pc 3.5mm to 6.3mm conversion cable 1pc 3.5mm to RCA connecting cable 1pc Manual 1pc 12V/300mA power adaptor 1pc Package: kraft box Note:Now we only have the frequency range of 780-789mhz.

24 inch broadcast teleprompter 1. Suitable for all kinds of stand . For example professional camera tripod or the simple large loading capacity stand. 2. Self-reversing brightness HD monitor support VGA, HDMI, AV USB interface ; 3.The monitor and software can support PPT ,Word ,PDF ,JPG ,RTF,TXT.and other computer-supported formats as prompt content. 4. The teleprompter with whole auto-balance by adjustment Without counter weight . 5. The teleprompter with30-90 angle so that every speaker have a perfect comfortable angle as height . 6.The control mode support wireless remote control and wireless mouse and keyboard, laser pointer 7. The bracket fit for all kinds of camcorder by adjust the bracket height and place . 8. Ultra --thin 2mm imported beamsplitter, accurate beam splitting ratio 70/30 or 60/40 , clear and unbiased text, no shadow on camera shooting, making announcer's reading easy and enjoyable. 9. Offer professional software and dongle .The english software offer adjusting color ,speed ,edit ,. background ... and support many languages . 10. This teleprompter only have 1 self-reversing HD monitor monitor . High quality self-reversing HD monitor 1. adjustable beamsplittle angle as speaker height need 2. HD resolution :1920x1080 resolution 3. with AV HDMI VGA and USB port 4. all kinds of language monitor

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The Shure SRH440A are closed-back, circumaural headphones that are particularly well-suited to monitoring recordings and speech broadcasts, with passive noise cancellation and present mids. This might be useful for home-recorded vocals as well as podcasts, streaming or video chats. These headphones score points with a great look, practical handling and high wearing comfort. For applications where a more detailed sound with a wider stereo image and more differentiated sound reproduction is desired. The SRH440A Professional Studio Headphones deliver enhanced detailed frequency response with accurate audio for podcasting, home recording and critical editing/mixing. The consistent and uncolored sound response provides a very accurate representation of recorded audio, making it ideal for capturing talent in a podcast or recording session. The increased isolation, included straight cable and premium materials make it great for video as well. Shure SRH440A Closed-back headphones for home recording and voice applications As the successor to the tried-and-tested Shure SRH440 headphone model, the Shure SRH440A takes things to a new level of performance for home recording and podcasting. With the Shure SRH440A, home recording fans and podcasters will find closed-back headphones in an affordable price range, close to the next model up Shure SRH840A. But how does this upgraded version of Shure’s classic SRH440 sound? Package and appearance In the box with the Shure SRH440A you will find the same package as with the SRH840A, an interchangeable cable, a 6.35-mm screw adapter and a slim user manual, but not a carrying pouch. Compared to the older model SRH440, the design of the new version is much more contemporary. A simpler design, a higher-quality look and internal cabling give these headphones a very pleasing and more premium appearance. The fact that they lack the metallic trim rings and shiny screws of the more expensive SRH840A does not change anything. Like them, the SRH440A has a faux leather cover on the top of the headband, which is stitched. It contributes to the valuable appearance of the device. Technology and specifications of the Shure SRH440A On paper, the Shure SRH440A lacks 5 Hz in the bass and 3 kHz in the treble compared to the next largest model. Nevertheless, with a frequency range of 10 to 22,000 Hz, it covers a wider spectrum than typically perceived by the human ear. Thanks to our measurements, the model we tested can be compared with both the older SRH440 and the new model the SRH840A. What these have over the old model is the impedance, which is a little lower at barely more than 34 ohms and maximum output sound pressure level that is more than 5 dB/SPL higher at over 103 dB/SPL. Accordingly, these headphones are even better suited for the headphone outputs of audio interfaces, laptops and smart devices. The SRH440A is also almost 70 grams lighter. In common with the SRH840A are the 40 mm drivers with powerful neodymium magnets. Material and handling The Shure SRH440A’s ear cups rotate 90 degrees. They then take up less space in a backpack or bag. However, there is no longer a folding mechanism like on the older SRH440. The headphone cable plugs in on one side and therefore allows a lot of freedom of movement. It is fixed in the left ear cup with a bayonet catch. This ensures that the cable is always securely connected to the SRH440A. The headband adjustment is the same as in the next model up. Low-resistance adjustment, easy ratcheting and a pad covered with breathable fabric ensure a comfortable fit and quick adjustment of the headband size. The memory foam-filled cushions of the ear cups do not cause sweaty ears, which makes for a degree of wearing comfort. Shure SRH440A Shure SRH440A Shure SRH440A Shure SRH440A Shure SRH440A Shure SRH440A Shure SRH440A – Sound If you’re expecting the Shure SRH440A’s sound to be reminiscent of the SRH840A because of their visual similarity, you will be proved wrong. The sound of the model we tested was more “lethargic” and less open. However, the basses are well developed, right down to the low bass. But the entire sound stage is much narrower in terms of stereo width and depth. Compared to its bigger brother, the dynamics of the reproduction also seemed much more limited and less differentiated. The midrange of rock and pop music is present in the SRH440A. But lacking the richness of detail that makes it stand out in the SRH840A. In addition, the treble and the super-high frequency range are even more restrained. Accordingly, the audio signal seems to be much less finely resolved. If you like a lot of volume, you’ll find it with the SRH440A. However, depending on the audio material, the foregrounding of its mid-range reproduction can quickly become exhausting. The passive noise cancellation that results from the closed design of these headphones works well in both directions. In my view, this feature and the special sound profile make them particularly suitable for voice productions, streaming and audio or video chats.

FM Dipole Antenna Product introduction：It is used in FM broadcast transmission system to receive the radio frequency power signal output by FM transmitter and transmit the signal efficiently. Multiple antennas can be used to form a multilayer antenna array to increase the gain of the transmitt Band II dipole Broadband 87.5~108 MHz 1.5 dBd gain Vertical Polarization Omni directional pattern Stainless steel AISI 304 2-Bay Dipole Antenna 4-Bay Dipole Antenna 6-Bay Dipole Antenna 8-Bay Dipole Antenna

This professional audio processor is to provide perfect signal processing while using a simple and intuitive user interface. This is achieved by providing the processing power of two independent channels and a linkable 28-band graphic equalizer, industry standard stereo compression module, feedback canceller and 120A harmonic synthesizer input and a six-parameter channel output system of. Equalizer, limiter (to prevent speaker popping) and calibration delay. These features, combined with the wizard setup system and full GUI control, represent a methodical design that ensures optimal audio processing in a fully scalable system. Stable current, stable sound quality of speakers, and at the same time make the sound field positioning in broadcasting clear, the sense of layering is clear, and the human voice becomes clear and clean. It supports 3 XLR inputs and 6 XLR outputs, and the left and right channel inputs of the mixer are connected to the audio processor output. to both monitor speakers and transmitter.     There is a reason that Tour Sound Professionals and discriminating Audio Contractors choose dbx® DriveRack® products for their high-end tours and installs. The DriveRack products provide the tools that ensure that the system sounds its very best. With the introduction of the new 260, the heritage of unrivaled system/loudspeaker control continues. The 260 capitalizes on the road tested and contractor approved nature of the other products in the DriveRack line. The 260 provides full bandpass and crossover configurations as well as independent output processing and a full time RTA for live sound applications. Contractors will appreciate its control inputs for wall-panel logic control and the patent-pending Advanced Feedback Suppression (AFS™). The DriveRack 260 continues the legacy of DriveRack series, which has been created by the company that has been redefining the standard of signal processing for more than 30 years. The DriveRack 260 was designed with the purpose and vision of providing state-of-the-art signal processing, while utilizing a simple and intuitive user interface. This goal has been achieved by offering two independent channels of processing power with a linkable 28-Band Graphic Equalizer, industry-standard dbx stereo compressor module, feedback eliminator and the 120A Subharmonic Synthesizer on the input, with a six channel output system that includes parametric EQs, PeakStopPlus® limiters (to provide protection against speaker blowouts) and alignment delay. These features combined with the Wizard setup system and complete DriveWare™ GUI control represent a methodical design that is guaranteed to deliver optimal, all-inclusive processing in a completely scalable system. Recommended for: Installed, Portable, Tour.   Features Feedback Elimination 2.7 Seconds of Alignment and Zone Delay RS-232 PC GUI control Classic dbx Compression and Limiting Graphic and Parametric EQ Auto-EQ Function Full Bandpass, Crossover, and Routing Configurations Auto Gain Control Pink Noise Generator and fulltime RTA Setup Wizard with JBL speaker and Crown Power Amplifier Tunings Security Lockout Wall Panel Control Inputs

The ATH-M20x professional monitor headphones are a great introduction to the critically acclaimed M-Series line. Modern design and high-quality materials combine to deliver a comfortable listening experience, with enhanced audio and effective isolation. An excellent choice for tracking and mixing. More About the M-Series Headphones Critically acclaimed M-Series professional monitor headphones deliver accurate audio and outstanding comfort, perfect for long sessions in the studio and on the go. Contoured earcups seal tight for excellent sound isolation, with minimal bleed. And the pro-grade materials are durable, yet comfortable. Find out why online reviewers, top audio engineers, and cult followers agree, M-Series is an unmatched combination of audio and build-quality that gets the job done. Hour after hour, year after year. Features Advanced build quality and engineering 40 mm drivers with rare earth magnets and copper-clad aluminum wire voice coils Tuned for enhanced low-frequency performance Circumaural design contours around the ears for excellent sound isolation in loud environments Convenient single-side cable exit Designed for studio tracking and mixing Headphones Type: Closed-back dynamic Driver Diameter: 40 mm Frequency Response:15 - 20,000 Hz Maximum Input Power: 700 mW at 1 kHz Sensitivity: 96 dB Impedance: 47 ohms Weight: 190 g (6.7 oz), without cable and connector Cable: 3.0 m (9.8'), straight, left-side exit Magnet: Neodymium Voice Coil: Copper-clad aluminum wire Accessories Included: 6.3 mm (1/4") snap-on adapter

The PreSonus HP60 headphone amplifier system is designed and manufactured to solve the age-old problems of nearly every recording studio. The PreSonus HP60 is loaded with six independent headphone amplifiers that feature dual stereo inputs as well as external input, with each channel allowing mixing between three stereo audio streams (mix A, mix B, and external input). Stereo output is also available on each PreSonus H60 channel to send line level headphone channel mixes to additional headphone amplifiers or monitor systems. For a truly extraordinary studio experience, try the PreSonus HP60! Related Videos: HP60 6-channel Headphone Amplifier PreSonus HP60 At a Glance: Independent mix control between inputs Easy, convenient set-up each time Independent mix control between inputs Each of the PreSonus HP60's six channels features independent mix control between A and B inputs and external input volume, as well as mute and mono features. The HP60 also includes talkback capabilities via an external XLR microphone input on each channel. Easy, convenient set-up each time The PreSonus HP60 is user-friendly during a recording session as well. Set-up is quick and convenient and commonly includes sending the main control room mix to input A, then sending the click track to input B. Subsequently sending each band member's direct recording input to each channel's external input ("more me") will allow the individual to create a mix between the main mix, the click track, and themselves. PreSonus HP60 Features: Six independent ultra-low noise, high output headphone amplifiers (150 mW per channel) Two sets of stereo inputs (A and B) with balanced TRS connectors Stereo external input point on each channel for "more me" with trim control Mix control between inputs A and B Talkback with external XLR microphone with control Direct stereo line output on each channel 6-Channel headphone amplifier 6x Independent ultra low-noise headphone amplifier 150 mW per channel With output control 2x Stereo input (A and B) with symm. 6.3 mm jack connectors Additional stereo input for every channel with level control Mix control between input A and B Talkback for separate microphones with XLR connector Direct stereo line output on every channel (1/4" jack) Size: 19"/1 U Incl. Power supply Tech Specs Type:Headphone Amp Input Channels:8 Output Channels:6 Analog Inputs:4 x TRS (Main), 8 x 1/4" (Stereo, TRS) Analog Outputs:6 x Stereo (TRS, Line) Headphones:6 x 1/4" Controls per Channel:Volume, Ext. In Mix Form Factor:Rackmount Height:1.75" Width:19" Depth:5.5" Weight:8 lbs.

The Soundcraft Si Expression 1 16-channel digital mixer leverages cutting-edge DSP, component technology, and manufacturing techniques to deliver awesome mixing power in a compact, amazingly affordable rackmount package. The Si Expression 1 gives you 16 recallable mic preamps, four line inputs, four internal stereo FX returns, and AES in. A 64 x 64 expansion slot lets you deploy up to 66 input processing channels. Each sports a highpass filter, input delay, gate, compressor, and 4-band EQ. Robust automation and connectivity are the icing on the cake. Take your mixing to the next level, with Soundcraft's Si Expression 1 digital mixer. Related Videos: Si Expression 1 16-channel Digital Mixer NOW PLAYING: SI Expression - GearFest 2013 Video Si Expression - Pete Freeman Overview Video Si Expression - Bryony October Overview Video Amazing flexibility If you think the Soundcraft Si Expression 1's input side is impressive, you should know that all Si Expression boards also sport versatile bussing, output processing, and connectivity. With the Soundcraft Si Expression 1, you can configure the 14 aux/group mixes as 14 mono mixes, eight mono plus six stereo mixes or just about anything in between. The four matrix mixes can be mono or stereo as required. You also get four more mix busses dedicated to the internal Lexicon FX processors, in addition to the left, right, and center busses. Each bus mix on the Soundcraft Si Expression features always-available compression, 4-band EQ, BSS graphic EQ, and delay. Comprehensive output connectivity includes 16 balanced line outs, a headphone out, AES out, and the 64 x 64 option slot. Onboard Lexicon FX processors Soundcraft Si Expression consoles incorporate four stereo Lexicon FX processors based on the acclaimed MX400. With fully adjustable parameters and dedicated tap-tempo keys, you can tweak to your heart's content. These FX are hardware-based, so even if you're using a ton of them it doesn't affect your other processing in the slightest. All of your dynamics, EQ, filters, delays, and GEQs will always be available with the Soundcraft Si Expression, no questions asked. Say goodbye to digital mixer confusion Soundcraft's Si Expression mixers feature a 1 Control = 1 Function interface, with each control dedicated to a single function. No confusing control layering or endless menu purgatory navigation. This approach allows the Si Expression controls to be labelled on the surface just as they would be on an analog desk. Ah, productivity — how refreshing! It's a Soundcraft As befitting any Soundcraft digital mixer, Si Expression boards give you extensive facilities and legendary audio quality, courtesy of the cutting-edge EMMA DSP processor, which is the same DSP platform that has helped rocket previous Soundcraft Si series consoles to stardom. With prodigious processing power, bulletproof reliability, impressive flexibility, amazing ease of use, and a surprisingly friendly price tag, Si Expression mixers are an outstanding value. Exactly what you'd expect from Soundcraft. Soundcraft Si Expression 1 16-channel Digital Mixer Features: 16 mono mic inputs; 4 line inputs; AES in and out Color touchscreen interface Up to 66 input processing channels Pre/Post selection per input, per bus Global mode encoders; GEQ on every bus Motorized 100mm faders with FaderGlow (illuminates fader slots according to function) LR and C Mix busses; 4 FX busses; 8 Matrix busses; 20 sub-group / aux busses 4 Stereo Lexicon effects engines Delay on inputs and outputs; freely assignable insert loops Comprehensive automation with four mute groups Harman HiQnet integration; 64 x 64 channel option card slot Option cards include AES, FireWire/USB/ADAT, AVIOM, CobraNet, BSS BLU Link, Dante, optical MADI Tech Specs Type: Digital Channels: 16 Inputs - Mic Preamps: 16 x XLR Inputs - Line: 4 x TRS Outputs - Main: 2 x XLR Outputs - Other: 16 x XLR Inputs - Digital: 1 x Stereo AES/EBU (XLR) Outputs - Digital: 1 x Stereo AES/EBU (XLR) Aux Sends: 20 x Aux Sends Busses/Groups: 4 x Bus Data I/O: Harman HiQnet Computer Connectivity: Via Optional Firewire/USB/ADAT Card I/O Expansion Slots: Yes Faders: 16 x 100mm EQ Bands: 4-band Rackmountable: Yes Height: 6.7" Depth: 20.5" Width: 19" Weight: 24.2 lbs. Manufacturer Part Number: 5035677-VM

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Want to build your own professional studio and have total control over your shows? Here's everything you need to setup your radio station equipment.

The digital STL audio and video transmission link system is a professional system which can transmit 4 stereo (or 8 mono) analog/digital audio signals and 1 digital video signal wirelessly from the studio to the transmitting station. 1. Functional overview: The digital STL audio and video transmission system is a professional system which can transmit 4 stereo (or 8 mono) analog/digital audio signals and 1 digital video signal wirelessly from the studio to the transmitting station. The system uses state-of-the-art software-defined radio (SDR) technology, digital code modulation, digital demodulation and decoding to transmit and receive, enabling audio/video signals to be transmitted at very high quality and with virtually no damage. One set of standard configuration STL system equipment has a transmission distance of 60 kilometers in line of sight. The transmission system consists of STL transmitter, transmission filter, transmitting antenna & feeder cables, receiving antenna & feeder cables and STL receiver. The diagram as below:   2. Technical specifications: Item Value General Technical Specifications Working Frequency 100MHz～1000MHz, continuously adjustable, stepping amount 10KHz Frequency stability 2ppm Transmitting power 2W @ shoulder >45dB, out-of-band   spurious 85dB @1KHz,0dBm Distortion <0.05% @30Hz～15000Hz,0dBm Audio frequency response ±0.1dB @30Hz～15000Hz,0dBm Left   and right channel separation >80dB @30Hz～15000Hz,0dBm Video Technical   Specifications Band Shoulder >50dB MER >45 Power Demand Power Supply Voltage 90～260VAC full   range Power Consumption 50W Mechanical Dimensions Transmitter 19-inch standard chassis, height 2U Receiver 19 inches, height 1U Cooling system forced air cooling, three   anti-treatment Noise <50dB Input & Output Audio Mono Analog Audio（MPX） -15dBm～+15dm，600Ω, XLR   interface Audio stereo dual channel -15dBm～+15dm，600Ω, XLR   interface Digital Audio AES/EBU -39dBFS～0dBFS，110Ω, XLR   interface Digital Video ASI 1Vp-p，BNC   interface RF input and output interface N (Female) STL For TV station complete kit 3. Ordering information (please inform the working frequency and transmission distance when ordering): 1. The STL transmitter and the STL receiver are continuously adjustable for operating frequencies from 100 MHz to 1 GHz; 2. Select the center frequency of the output filter according to the operating frequency; 3. Select the transmit and receive antennas according to the operating frequency (the antenna working bandwidth is 20MHz); 4. Select the length of the transmit and receive cables according to the distance between the transmitter and receiver and the antenna; 5. Flexible selection of input and output audio signals based on actual needs is analog or digital.

Playout Automation Software + Computer Hardware Complete Set System For Radio Station Specifications * Ability to play multiple preset audio program tickets at the same time, there is no time gap between the two. * Fully automatic operation, usually including comprehensive scheduling of media items to be played. * The ability to play, stop or otherwise manipulate media items corresponding to the time position allows precise control of time and delay with little delay. In manual operation, it often means that the broadcast system will be instantaneous or at least executable to execute a predetermined command. For example, play a list of ads right away. * Quickly retrieve and access locally stored electronic media files or computer network source media. * Tightly coupled media transfer control system that allows for fast control and flexible manipulation of media item playback (speed, pitch, rhythm, keys, orientation, level, etc.). * Segmentation and conversion (audio and video) between media items can be controlled/configured, and the system can have professional "tight" output. * High control over the characteristics and specifications of the output, usually independent of the source media. Audio (level, compression, adjustment, etc.) and video (system, frame rate, aspect ratio, etc.) are adjustable and maintainable regardless of the format or characteristics of the source media currently being played. * Audio/video overlay, decoration, title, super, watermark, can be seamlessly blended into the output. * Supports control interface, which can be programmed or commanded by external devices or connected to other devices. Features: * Will not be stuck, will not be stuck, will not delay, accurate to milliseconds * No crash, very smooth, no need to restart for one year * The programmed program is automatically broadcast, unattended * Different programs have different sound sizes and are automatically limited * Mix all kinds of sounds into it * Quickly find audio in the library, arrange the show * Intuitive and easy to use Packing List: 1* Desktop Computer 1* LCD Screen Display 1* Playut Automation Software 1* Professional sound card 1* Genuine windows software installed

Shure's legendary SM58 dynamic vocal microphone is tuned to accentuate the warmth and clarity of lead and back-up vocals — and it's consistently the first choice of performers around the globe. The SM58 also features a highly effective built-in, spherical filter, which minimizes wind and breath "pop" noise, while its cardioid pickup pattern helps to isolate the main sound source, while minimizing unwanted background noise. Outdoors or indoors, singing or speech — the SM58 is the overwhelming choice of professionals. This is the SM58S, which adds an on/off switch. Shure SM58S Dynamic Vocal Microphone at a Glance: Legendary Vocal Stage Mic Rugged Reliability Legendary Vocal Stage Mic For over 40 years, when the pros hit the stage, more of them are holding a Shure SM58 than anything else! The cardioid pickup pattern limits interference from other onstage sound sources, and the frequency response is perfectly tailored for vocals, with a brighter midrange and bass roll-off. There's a reason you see the SM58 on more stages than any other vocal microphone — it just works! Rugged Reliability It takes more than being designed specifically for the stage to make a microphone a legend. As much as it's famous for its sound, the SM58 is famous for its durability. Simply put, this microphone is built like a tank — you can travel with it from gig to gig and rest assured that it will last. Shure SM58S Dynamic Vocal Microphone Features: Frequency response tailored for vocals, with brightened midrange and bass roll-off Uniform cardioid pickup pattern isolates the main sound source and minimizes background noise Pneumatic shock-mount system cuts down handling noise Effective, built-in spherical wind and pop filter Supplied with break-resistant stand adapter which rotates 180 degrees Legendary Shure quality, ruggedness and reliability Cardioid (unidirectional) dynamic On/Off Switch Dynamic Vocal Microphone with Switch With its frequency response optimised for vocals and the warm, clear sound, the SM58 is the legend among vocal microphones worldwide. The Shure SM58 is a dynamic microphone for lead and back-up vocals during live performances, professional audio amplification and studio recordings. An integrated, extremely effective filter prevents breathing and wind noise, while the cardioid directivity isolates the signal source and reduces unwanted background noise. The robust design, the tried and tested shock absorber system, and the steel mesh grille ensure that the SM58 always works reliably even in the rough and tumble of everyday stage life. Whether in the open or in a hall, for singing or speaking - the SM58 has been the undisputed number one among professionals all over the world for decades. S version with switch Optimised frequency response with brightened mids and bass cuts Integrated, effective wind and pop filter Shock absorber system Robust construction, sturdy steel mesh grille Directivity: Cardioid Frequency range: 50 - 15,000 Hz Output impedance: 300 Ohm Sensitivity: -56 dBV / Pa (1.85 mV) Dimensions: 23 x 162 x 51 mm Weight: 298 g Includes clamp, 3/8" reducing thread and bag Matching wind shield: Article no. 135783, replacement mesh grille: Article no. 183069 (both not included) 30 30-Day Money-Back Guarantee 3 3-Year Thomann Warranty Item number 105769 sales unit 1 piece(s) On/Off Switch Yes Polar Pattern Cardioid Color Black Cable no Show more B-Stock from £83 available £95 Including VAT; Excluding £8 shipping In stock In stock This item is in stock and can be dispatched immediately. Standard Delivery Times 1 1 ADD TO BASKET 3 SALES RANK in Dynamic Microphones Need help? Contact Contact Contact Bundles & offers Shure SM58 S Cleaner Bundle Shure SM58 S Cleaner Bundle £95 Shure SM58 S Bundle Shure SM58 S Bundle £105 The indestructible legend The SM58 is a legend among dynamic vocal microphones. Introduced in 1966, the SM58 is still an industry standard today, and it is a regular first choice amongst both music professionals and amateurs worldwide thanks to its staple clear sound and robust construction. The Shure SM58S features an on/off switch which interrupts the signal when needed. Adaptable and great sounding When it comes to speech or vocals, the SM58's matched frequency response ensures a clear and punchy sound, with midrange presence boost and a slight bass roll-off, improving intelligibility and transparency. Its cardioid polar pattern focuses mainly on its front axis and largely suppresses unwanted sound sources on its sides and rear, thus providing excellent protection against background noise and feedback in the process. What’s more, the integrated wind guard and pop filter greatly reduce plosive and wind interference. The mic for everyone Whether Classical, Hip-Hop, Country, or Metal – the Shure SM58 has proven itself many times over in each field throughout the years. Professionals and discerning amateurs alike rely on this affordable microphone to bring out the best in their voices – whether it's a family-and-friends performance in the privacy of a living room or a concert at Wembley. The frequency response of the SM58 is especially well suited to the voice and often leaves little treatment needed at the mixing desk. About Shure The American company Shure began developing microphones during the early 1930s and is one of the pioneers of the audio engineering sector. Models such as the 55 Unidyne - known to many as the "Elvis microphone" - and the SM57 and SM58 which appeared in the mid-1960s are still ubiquitous in live sound production today. They enjoy cult status among musicians and technicians alike. In the 1990s, Shure introduced the first wireless microphones and in-ear monitoring systems and became a market leader in this field. In addition to microphones, Shure offers a wide range of earphones and headphones for studio and live use, as well as various accessories. Road-tested and near indestructible The Shure SM58 can be relied upon for anything, even more so when the going gets tough. Its rugged construction, steel mesh grille, and an enamelled metal body effectively protect it from the rough-and-tumble of everyday stage use – and the integrated pneumatic shock absorber system greatly reduces the influence of knocks, handling noises, and vibrations. In the spotlight Cardioid polar pattern Microphones are more or less sensitive to sounds arriving from different angles. This directional sensitivity is an important characteristic of the microphone and falls within a set category of polar patterns. Different polar patterns are adapted to different recording or live sources. Singers naturally prefer microphones that focus on their voice and suppress background noise as much as possible. Cardioid microphones, which derive their name from their heart-shaped polar pattern and by definition favour sound sources coming from the front, are ideal for this purpose – especially since they also suppress unwanted noises coming from the microphones’ sides or rear, thus limiting feedback issues in the process.

This 4 channel stereo headphone amp comes in a rugged aluminum chassis with large rubber feet for stability. With ¼” stereo inputs, AC adapter included. Item Weight ‎3.75 pounds Package Dimensions ‎12.99 x 8.11 x 5.12 inches

Continuously playback audio files just like a CD changer Professional CD player that supports SD/SDHC cards and USB The CD-200SB is a new line-up to the popular CD-200 series that have been installed in countless facilities. It is a professional CD player with SD/SDHC and USB memory device playback support. This model has been discontinued in North, Central and South America. Please check the availability with your local distributors in other areas. Direct access to 10 folders via 10 front-panel buttons The biggest feature of CD-200SB is its solid-state player that offers operability akin to that of a traditional CD changer. The number buttons allocated on the front panel offer direct access to 10 user-defined folders contained within SD/SDHC and USB media. The CD dubbing function enables users to select an album and playback an audio file as like with a CD changer, after having set up their individual audio file folders similar to albums. Due to the removal of the rotating mechanism, the solid-state media player is highly durable and does not require maintenance. As such, users can use the CD-200SB to play BGM for hours on end every day without concern. Includes a high-quality CD drive specialized for audio developed internally by TEAC The solid-state player, in addition to the CD-player, include specifications and functions that meet the requirements for installed sound application. The CD drive employs the audio CD drive that has been developed internally by TEAC and also includes a shock-proof function. The CD-200SB plays data CDs as well as audio CDs, offering a high level of versatility and reliability. The CD-200SB encompasses a new concept for professional CD players that demonstrates compatibility with both traditional CD media and solid state media, currently seeing rapid spread as the new generation of music media, while still being as easy to use as any familiar CD-changer. Features at a glance SD/SDHC, USB playback Direct access to 10 user defined folders configured within SD/SDHC and USB media Dubbing from CD to memory storages (WAV or MP3) Playback format: CD: CD-DA, WAV, MP3, MP2 SD/SDHC, USB: WAV, MP3, MP2, WMA, AAC CD Text and ID3/WMA/AAC tag display Four playback modes: continuous, shuffle, single and program Repeat playback modes Folder repeat playback mode for data CDs, SD/SDHC and USB Various time display (CD-DA: Track elapsed, track remain, total remain   others: Elapsed) +/- 14.0 % pitch control for CD Intro check Shock-proof memory (up to 10 sec) RCA unbalanced output XLR balanced output RCA coaxial and Optical digital outputs EIA 2 U Rack mount size Wireless Remote controller included Headphone Output (1/4”) ROHS Certified Spec description Playback media SD/SDHC card、USB flash-drive、CD-DA、CD-R、CD-RW Playback format WAV (Data CD, SD/SDHC, USB) Stereo, 8kHZ – 48kHz、8/16bit MP3 (Data CD, SD/SDHC, USB) Stereo, 8/16/32/11.025/22.05/44.1/12/24/48kHz、8 - 320kbps、VBR CD-DA Stereo, 44.1kHz、16bit MP2 (Data CD, SD/SDHC, USB) Stereo, 16/32/22.05/44.1/24/48kHz、8 - 384kbps、VBR WMA(SD/SDHC, USB) Stereo, 8/16/32/11.025/22.05/44.1/12/24/48kHz、8-320kbps, VBR AAC(SD/SDHC, USB) Stereo, 8/16/32/11.025/22.05/44.1/12/24/48kHz、8 - 320kbps、VBR Number of channels 2 channel (stereo) Recording format WAV 44.1kHz, 16bit MP3 44.1/48kHz, 64/128/256kbps ANALOG OUT unbalanced RCA Nominal output level -10dBV Maximum output level +6dBV Output impedance 200Ω balanced XLR-3-32（1:GND、2:HOT、3:COLD） Nominal output level +4dBu Maximum output level +20dBu Output impedance 200Ω PHONES OUT 6.3mm(1/4") stereo phone jack Maximum output level 20mW + 20mW (THD 0.1%, 32Ω loaded) DIGITAL OUT COAXIAL RCA Output impedance 75Ω Compatible signal format IEC60958-3 (S/PDIF) OPTICAL TOS (JEITA RC-5720C) Compatible signal format IEC60958-3 (S/PDIF) Power source US, Canada:120V AC, 60Hz / EUR:230V AC, 50Hz / Australia:240V AC, 50Hz Power consumption 11W Size (W x H x D)mm 481 x 94.5 x 298 Weight 4.7kg   Audio performance Frequency response 20Hz – 20kHz, +/-1.5dB (playback, JEITA) THD Less than 0.01% (playback, JEITA) S/N ratio 90dB or greater (playback, JEITA) Dynamic range 990dB or greater (playback, JEITA) Channel separation 90dB or greater (playback, JEITA) CD-200SB Tested media List SD™/SDHC™ Last update:July 29, 2015 Maker Series Model Capacity Result SanDisk SanDisk Extreme PRO® SDHC™ UHS-I Memory Card (U3, Class10) SDSDXPA-032G-JU3 32GB OK SDSDXPA-016G-JU3 16GB OK SanDisk Extreme® SDHC™ UHS-I Memory Card (U3, Class10) SDSDXL-032G-JU3 32GB OK SDSDXL-016G-JU3 16GB OK SanDisk® SDHC™ Memory Card (CLASS4) SDSDB-008G-J01 8GB OK Sony SDHC™ Memory Card UHS-I CL10 (U3, Class10) SF-32UX2 32GB OK *1 TOSHIBA EXCERIA™ UHS-I SDHC™ Memory Card (U3, Class10) SD-JU032G 32GB OK SD-JU016G 16GB OK   Maker Series Model Capacity Result SanDisk SanDisk Extreme PRO® SDHC™ UHS-II Memory Card SDSDXPB-032G-J35 32GB OK SDSDXPB-016G-J35 16GB OK SanDisk Extreme PRO® SDHC™ UHS-I Memory Card (Class10) SDSDXPA-032G-J35N 32GB OK SDSDXPA-016G-J35N 16GB OK SanDisk Extreme Pro® SDHC™UHS-I Card SDSDXP1-032G-J95 32GB OK SDSDXP1-008G-J95 8GB OK SanDisk Extreme® PLUS SDHC™ UHS-I card (Class10) SDSDXS-032G-J35P 32GB OK SDSDXS-016G-J35P 16GB OK SanDisk Extreme® SDHC™ UHS-I Card (Class10) SDSDXL-032G-J35 32GB OK SDSDXL-016G-J35 16GB OK SDSDXS-032G-J35 32GB OK SDSDXS-016G-J35 16GB OK SDSDXS-008G-J35 8GB OK SDSDX-032G-J35 32GB OK SDSDX-016G-J35 16GB OK SDSDX-032G-J95 32GB OK SDSDX-016G-J95 16GB OK SDSDX-008G-J95 8GB OK SDSDX-004G-J95 4GB OK SanDisk Ultra® PLUS SDHC™ UHS-I Memory Cards (Class10) SDSDUP-016G-J35 16GB OK SDSDUP-008G-J35 8GB OK Lexar Lexar® Professional 133x SDHC™ Card (Class10) LSD8GBDRBJP133 8GB OK *1 Lexar® Platinum II SDHC™ UHS-I Card (Class10) LSD8GBBBJP200C10 8GB OK Lexar® Platinum II 100x SDHC™ Card LSD32GBCJP100 32GB OK *1 LSD8GBBCJP100 8GB OK *1 LSD4GBBCJP100 4GB OK *1 Standard SDHC™ Card (Class4) LSD32GACJP 32GB OK *1 LSD16GACJP 16GB OK *1 LSD8GBACJP 8GB OK *1 Super Value SDHC™ Card (Class4) LSD8GBASVDJP 8GB OK *1 LSD4GBASVDJP 4GB OK *1 Panasonic SDHC Card (UHS-I / Class10) R:95MB/s W:80MB/s RP-SDA32GJ1K 32GB OK RP-SDA16GJ1K 16GB OK RP-SDA08GJ1K 8GB OK SDHC (UHS-I / Class10) R:90MB/s W:45MB/s RP-SDUC32GJK 32GB OK *1 SDHC Card (UHS-I / Class10) R:90MB/s W:25MB/s RP-SDU32GJ1K 32GB OK RP-SDU16GJ1K 16GB OK RP-SDU08GJ1K 8GB OK SDHC Card (Class10) R:20MB/s RP-SDWA16GJK 16GB OK RP-SDWA08GJK 8GB OK *1 RP-SDWA04GJK 4GB OK *1 SDHC Card (Class6) R:20MB/s RP-SDLC32GJK 32GB OK RP-SDLC16GJK 16GB OK RP-SDLC08GJK 8GB OK RP-SDLC04GJK 4GB OK SD Card (Class4) 20MB/s RP-SDL02GJ1K 2GB OK *1 There is no problem in the content of the recording though the monitor sound might become interrupted when copying by "WAV file"(CD->SD/USB). USB memory Last update:July 21, 2015 Maker Series Model Capacity Result I-O DATA U3-MAX U3-MAX16G/K 16GB OK SanDisk Cruzer Fit™ SDCZ33-064G-J57 64GB OK SDCZ33-032G-J57 32GB OK SDCZ33-016G-J57 16GB OK *1 Silicon Power Ultima U06 SP016GBUF2U06V1B 16GB OK *1 SP008GBUF2U06V1B 8GB OK *1   Maker Series Model Capacity Result ELECOM MF-MSU3A MF-MSU3A64GBK 64GB OK MF-MSU3A32GBK 32GB OK GREEN HOUSE GH-UFD3-*D GH-UFD3-64GD 64GB OK GH-UFD3-32GD 32GB OK GH-UFD3-16GD 16GB OK Lexar JumpDrive S73 USB3.0 LJDS73-64GACJP 64GB OK *1 LJDS73-16GACJP 16GB OK *1 JumpDrive S70 USB Memory LJDS70-64GACJP 64GB OK SanDisk Extreme SDCZ80-064G-X46 64G OK Cruzer X000316PNF 32G OK *1 X0002KTR5R 16G OK *1 SANWA SUPPLY UFD-SL*N UFD-SL4GBKN 4GB OK UFD-SL2GBKN 2GB OK UFD-SL1GBKN 1GB OK SONY USM-R USM64GQX B 64GB OK USM32GQX B 32GB OK USM16GQX B 16GB OK USM8GQX B 4GB OK Transcend JetFlash 760 TS16GJF760 16GB OK *1 TS4GJF760 4GB OK JetFlash 350 TS8GJF350 8GB OK *1 TS4GJF350 4GB OK *1 *1 There is no problem in the content of the recording though the monitor sound might become interrupted when copying by "WAV file"(CD->SD/USB). *3 There is no problem in the content of the recording though the monitor sound might become interrupted when copying by "WAV file"(CD > SD/USB).

1、Studio condenser vocal microphone 2、High-SPL capability and extended frequency response 3、Exceptionally wide dynamic range captures the full, expressive character of instruments and voices 4、Pure and realistic sound quality 5、Exceptionally low noise with high-SPL capability It is a professional wide-diaphragm condenser mic with and internal 6dB 100hz low frequency roll off switch and very cute shape. It characters with high sensitivity, low noise, wide frequency response and high SPL handling as well, thus make it ideal for on-stage performance, instrument and vocal recording. It is perfect for broadcasting and sound performance. Besides, it is also the better choice for those music fans and home-recorders. High Performance FET Condenser MIC 1、High-SPL capability 2、Extended frequency response 3、Exceptionally wide dynamic range 4、Pure and realistic sound quality

This is a 2-antenna FM dipole antenna array with a power capacity of up to 3kW. Package 2-Bay Dipole FM Antenna and Accessories is ready to install 2-bay omni-directional dipole antenna system. The 2bay fm dipole antenna system complete with antennas, power divider and jumper cables and connectors. This 2bay omnidirectional dipole antenna, vertical or horizontal polarization wide band requiring no tuning. Weather resistant being entirely made of anodised aluminum and with a PTFE insulator. These antennas are demountable into several parts to facilitate easy and economical shipping. The antenna should be mounted on a pole support and clear of any nearby metal structures. Center frequency:    98MHz Bandwidth: 20MHz Input maximum standing wave ratio: ≤1.15 RF input power: ≤ 3000 W RF input impedance: 50Ω RF input connector:  L29 DIN Net Size：80 x 9000 x 800mm (without measuring handles and protrusions), Package Weight：12KG

Features The Soundcraft/Spirit 20-Channel Mixer is built to handle an array of recording and live sound applications. The rugged mixer features a durable, all-steel construction. A total of 20 input channels are comprised of GB-30 microphone preamplifiers using XLR connectors and high quality TRS phone line inputs. Two dedicated stereo inputs are provided as well. A 24-bit Lexicon effects processor engine uses the same AudioDN® processor featured in many of the Digitech® and Lexicon outboard equipment; including the highly respected Lexicon MX400 processor. Up to 32 high-quality effects are fully editable with three parameter controls and a tap-tempo function. In addition to all this, also features a professional EQ section and Subgroup outputs for flexible routing to external recording gear, monitors, etc. Lexicon Effects Engine A 24-bit Lexicon effects processor engine uses the same AudioDN® processor featured in many of the Digitech® and Lexicon outboard equipment. GB-30 Microphone Preamplifiers The XLR microphone preamps found on the mixer are designed after the professional GB-30 series sound reinforcement consoles. The result is pristine audio quality and very low noise floor. GB-30 EQ Section The EQ section is the exact EQ found on the larger GB-30 sound reinforcement console for precise audio contouring and frequency manipulation.

Studio Live Anchor News Table For TV Broadcast Station Contact us for details and customized your studio table.

4-channel headphone amplifier 1、4-channel headphone amplifier 2、Output level control and accurate 4-digit LED output meter per channel avoids sound distortion 3、DC 15 V adapter included ensures long time stable performance 4、Independent amplify circuit rejects interference and mix of each channel and makes each channel input purity signal Product introduction HA400 is a professional headphone amplifier which is tiny and firm. It features with wide frequency response, high power and low self-noise all of which make HA400 a better choice for professional especially amateur. It has four channels and channel has its own individual volume control switch, through control each channel’s volume everyone can emphatic monitor the sound they wanted without affect other peoples monitor quality. The shell made by aluminum and high quality steel plate to ensure the product stable and durable. The foam pad is soft which is raising the resist falling capability of headphone amplifier in a way.

Complete package 8-bay dipole FM antenna and accessories for 20KW composed by: 8pcs stainless dipole FM antennas - Wide Band, 8-way power splitter, 8pcs dividing cables and connectors. The polarization is vertical. It made up of high quality stainless steel and high quality copper.  Package 8-Bay dipole FM antenna system is suitable for high gain situation. FEATURES  *  All FM bandwith *  Vertical polarization *  High gain *  304 stainless steel material *  DC grouding lightning protection SPECIFICATIONS  1.Frequency Range:                          88.0MHz～108.0MHz 2.Gain:                                                    11dBd 3.Input Power:                                      5KW/10KW /20KW 4. Impedance:                                      50Ω 5.VSWR:                                            <1.10(specified frequency) <1.25 (all FM band) 6.RF Intput connector:                     1-5/8 for 5KW 3-1/8 for 10KW / 20KW 7.Wind Load:                                        32kg.150km/h 8.Weight:                                              125KG

Premium 10-Input 2-Bus Mixer with XENYX Mic Preamps and Compressors, British EQ, Klark Teknik Multi-FX Processor and USB/Audio Interface Premium ultra-low noise, high headroom analog mixer 2 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preamps Studio-grade compressors with super-easy "one-knob" functionality and control LED for professional vocal and instrumental sound Ultra-high quality Klark Teknik FX processor with 100 presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects Neo-classic "British" 3-band EQs for warm and musical sound FX send control per channel for internal FX processor and/or as external send Main mix outputs plus separate control room, phones and 2-Track outputs QX1002USB XENYX 802 XENYX QX1002USB The compact QX1002USB mixer allows you to effortlessly achieve premium-quality sound, thanks to its 2 onboard studio-grade XENYX Mic Preamps and ultra-musical “British” channel EQs. And our easy-to-use “one-knob” compressors provide total dynamic control for the ultimate in punch and clarity, while respecting all the power and emotion you pack into every note. Add to this, the sweet forgiveness of our British-style EQs and a Klark Teknik 24-Bit Multi-FX Processor with 100 presets including studio-class reverbs, delays, pitch shifter and various multi-effects – and the QX1002USB becomes an incredibly versatile mixer for your live performances. But the XENYX QX1002USB isn’t just designed to handle your live gigs; it also provides the state-of-the-art tools you need to make stunning, professional-quality recordings. Sonically Superior Mic Preamps Sonically Superior Mic Preamps The XENYX QX1002USB gets its name from our legendary, high headroom XENYX mic preamps, which have been praised by audio engineers all over the world. These state-of-the-art mic pres represent a major step in the evolution of audio technology – and they can easily hold their own, even when compared to the most expensive stand-alone mic preamps. XENYX preamps offer a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to well above 200 kHz. Armed with these outstanding mic preamps, the XENYX QX1002USB provides such transparent, crystalclear performance you just might think someone upgraded your mics while you weren’t looking. One-Knob Compression One-Knob Compression Ask professional sound engineers what their favorite piece of external processing gear is and the majority response will be virtually unanimous – dynamic compression. What is compression? We’re glad you asked. Compression essentially limits the dynamic range of a signal, lowering the level of loud sounds and turning up softer sounds, to achieve sonic balance. But applying compression is a delicate art that many novice, and even intermediate, sound techs find challenging. Our “oneknob” compression is available on all mono channels and is easy to operate, even for entry-level users. With this one knob, you can easily dial in the perfect amount of compression for instruments and vocals, creating powerful mixes with punch and clarity. This is indeed a rare feature for products in this class – but standard on the XENYX QX1002USB mixer. QX1002USB Sublimely Musical British EQ Sublimely Musical British EQ The British consoles of the 1960s and ‘70s changed the sound of rock and roll – without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The channel EQ on your XENYX QX1002USB mixer is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality. KLARK TEKNIK - The Reverb that Made History Klark Teknik FX on All QX Models Behringer is proud to incorporate custom-engineered Klark Teknik effects into the QX1002USB. Featuring 100 world-class presets to choose from including reverb, chorus, flange, delay, pitch shift and many other amazing effects, Klark Teknik created the 24-bit, studio-grade effects engine for Behringer – to give your performance that truly professional finishing touch. Own the Stage with Digital Wireless Own the Stage with Digital Wireless Get wireless-ready with the built-in, dedicated connectivity of our ULTRALINK ULM Series wireless microphone system (to be ordered separately). Wireless gives you maximum freedom and mobility without the need to run cables. The highest-quality sound is provided thanks to the ULM’s digital, license-free 2.4 GHz frequency spectrum. The ULM wireless system combines professional-quality sound with simple setup and an intuitive interface for legendary audio performance right out of the box. Just plug in the ULM receiver “dongle”, and instantly you have an exceptional wireless mic system. Freeing you from cables is the simply easy way to own the stage. QX1002USB Recording Bliss Recording Bliss There was a time when the recording process called for lots and lots of expensive gear, which meant the average musician had to buy time at a recording studio – and that time was pricey indeed. But modern technology has put personal recording well within the reach of virtually anyone with access to a computer. How do you get all that music flying around your brain into your computer? That’s where the XENYX QX1002USB comes in. Thanks to the built-in, bi-directional stereo USB audio interface, you can connect any of these mixers directly to your PC or Mac computer via a single USB cable. Now any signal source you connect to the mixer can be recorded directly to your hard drive. Which brings us to software… Software Would Be Nice! Software Would Be Nice! Because you’ll want to take full advantage of your XENYX QX1002USB’s recording and podcasting potential, we’ve included all the software you’ll need for audio recording, editing and even podcasting – all free of charge and downloadable from behringer.com. You’ll be ready to go live on your PC or Mac right out of the box! We’ve also provided a free download of more than 150 virtual instruments and FX plug-ins – turning your computer into a powerful home-based or mobile recording studio from input to output. Extraordinarily Versatile Amazing Value No matter what your audio mixing needs, the QX1002USB provides the performance and features that can take your talent to the next level. Professional sound quality, our legendary XENYX mic preamps and easy-to-use “one-knob” compressors, British EQs, 24-Bit Klark Teknik Multi-FX Processor and built-in USB connectivity make the QX1002USB ideal for both your live gigs and recording. Try one on today – we have one available in your size! Description Premium ultra-low noise, high headroom analog mixer Features & details Premium ultra-low noise, high headroom analog mixer 2 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preamps Studio-grade compressors with super-easy “one-knob” functionality and control LED for professional vocal and instrumental sound Ultra-high quality KLARK TEKNIK FX processor with 100 presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects

Overview This 5000W FM transmitter adopts the latest technological design. The 5000w transmitter integrate the exciter and power amplifier, output filter, switching power supply, etc into a 4U high 19-inch standard case. This advanced design reduces the number of connection cables and improves the overall efficiency of the transmitter, making it more reliable, lighter, and easier to operate. The 5000W FM transmitter with 4U 19-inch all-aluminum standard chassis. 3.5-inch LCD display, PLL digital phase-locked loop frequency modulation technology, CD sound quality, the final power amplifier uses high standing wave ratio resistant LDMOS transistors. This 5000W FM transmitter can input analog audio signal or analog modulation signal, and AES / EUB digital signal. Functional features Humanized digital LCD touch panel, simple operation interface with direct touch control. The integrated LCD displays all system parameters: transmitter frequency, stereo and mono, volume, amplifier tube temperature, audio signal UV meter, forward power, reflected power, modulation mode, and pre-emphasis etc. 4U 19-inch thick aluminum alloy case, which is not only sturdy but also has good heat dissipation. Precise PLL frequency generation system to ensure the frequency does not drift within at least 10 years. Built-in high-quality professional stereo encoder. Excellent power AGC balance control system, the power output can be adjusted from 0 to full power, and has automatic gain power control to maintain the output power within a set range without drifting. Support external input modulation RDS or SCA signal. Supports AES-EBU digital signal input, 24Bit 192KHz sampling rate input range, true lossless audio (Default digital signal priority). Can be used for FM (same frequency synchronization) broadcasting system. Provide options for synchronization 10MHz standard frequency input or built-in GPS module according to customer requirements Equipped with RS232 communication interface, users can control all operations through the transmitter communication protocol. The RF power amplifier part is synthesized by using multiple modules, and the amplification module uses NXP LDMOS transistor BLF188XR. It is able to withstand severe load mismatch of more than 65: 1 VSWR at 5dB compression point. Using superconducting welding technology, the transistor is welded on the copper plate to obtain excellent thermal conductivity and the power amplifier transistor has never been damaged so far. All circuits adopt the design of split modules, and each modules have status indicators to check its working performance, which reduces maintenance and replacement costs. Innovative RF module status monitoring and fault notification. If a module fails, you only need to replace the  module with specified number according to the system prompt. Automatically record 9 latest device alarms for later troubleshooting. Specification Frequency: 87.5-108MHz, Frequency step value: 10KHz Modulation mode: FM, peak deviation ± 75KHz Frequency stability: 75% Analog audio input: -12dBm ~ + 8dBm Audio level gain: -15dB ~ 15dB step 0.5dB Analog audio input impedance: 600Ω balanced XLR AES / EBU input impedance: 110Ω balanced XLR AES / EBU input level: 0.2 ~ 10Vpp AES / EBU sampling rate: 30KHz ~ 192KHz 24BIT RDS / SCA input: unbalanced BNC RDS / SCA input level gain: -15dB ~ 15dB step 0.5dB Pre-emphasis: 0μs, 50μs, 75μs (users can set) Frequency response: ± 0.1dB 30 ～ 15000Hz Stereo resolution:> 60dB S / N ratio stereo:> 70dB 30 ～ 15000Hz S / N ratio mono:> 75dB 30 ～ 15000Hz Audio distortion: <0.05% Power supply voltage range: l single-phase power 220Vac l three-phase four-wire power 380Vac Power consumption: <7500VA Operating temperature range:  -20 to 45 ° C Working method: continuous work Cooling method: forced air cooling Cooling method: <95% Altitude: <4500M Dimensions: 483 x 720 x 176 mm (excluding handles and protrusions), standard rack 19 inches 4U. Weight:    50Kg

10KW FM Stereo Transmitter (Hot-plugin) Product introduction：The 10KW FM Stereo Transmitter (Hot-plugin) is a high-performance broadcast-grade stereo FM broadcast transmitter for wireless coverage of professional broadcast stations. 10KW FM Stereo Transmitter The 10KW FM Stereo Transmitter (Hot-plugin) is a high-performance broadcast-grade stereo FM broadcast transmitter for wireless coverage of professional broadcast stations. Considering the high reliability of the transmitter, in the design concept, the transmitter adopts redundant design in key parts in order to achieve long-term stable operation of the transmitter. Because of the hot-plugin structure, the transmitter's components can be repaired and restored without stop working. FEATURES ● Redundant Large Power: 8pcs 1.5KW hot-plug RF Amplifier modules combined high efficiently; Maximum Output Power is 11KW. It uses the new high-efficiency LDMOS Transistors, the full RF output power can reach 70%. ● Redundant Power Supply: 4pcs 5000VA switched power supply modules are working in parallel. It can provide large redundant power capacity. ● High-performance Low Pass Filter which can minimize unwanted emission. ● Output Power Stable: Total output power is extremely stable by AGC (Automatic Gain Control). Ensure the output power would not change with the boot time and ambient temperature, power stability is less than 10W. ● Dual-Exciter: Two exciters (DSP+DDS) with automatically changeover switcher, increase entire transmitter stability. ● Analog and Digital (AES/EBU) audio signal input directly; Hearing similar to CD. ● Friendly man-machine interface: 8-inch true-color touch LCD display, real-time display of various parameters in the machine, without any training, you can operate under the screen prompts. ● Intelligent protection functions by centre control module, like Over Forward Power, Over SWR, Over Temperature, Over Voltage, Over Current. It can adjust output power intelligent, keep the maximum safe output power and keep fault not expanding. ● Best dustproof performance: All inlets are made of high-quality filters which can filter out dust in the air to keep stability of transmitter. ● Best lightning protection: high quality lightning protection SPD fromGermanyfor the whole power supply. ● Real Hot-Plug structure: the Amplifier modules and Power Supply modules can be repairing at non-stop condition in any case. ● Timing automatically adjusts the output power: After setting, the transmitter can automatically adjust the output power at different times of the day, convenient for economical radio broadcasting. ● Advanced Remote Telemetry Interface: RS232/RS485 or TCP/IP Internet Communication interface is ready for remote control system which can read all detail parameters from transmitter. Technical Specifications: 1. RF frequency range 87MHz～108MHz (other frequencies can be customized), stepping 10kHz 2. Output power 0~10000W continuously adjustable 3. Allowable deviation of output power ＜ ± 10% 4. Output power stability ＜ ± 3% 5. Output impedance 50Ω 6. RF Output Interface: 3-1/8' Flange 7. Residual wave radiation ＜ -80dB 8. Parasitic amplitude modulation ＜ -50dB 9. Carrier Frequency precision: ±200Hz 10. Analog audio input -12dBm ~ +8dBm 11. Input audio Level Gain -15dB~+15dB Step 0.1dB 12. Analog audio input impedance 600Ω balance 13. AES input impedance 110Ω balance 14. AES input level 0.2~10Vpp 15. AES sampling rate 30kHz ~ 96kHz 16. RDS input Unbalanced (optional) BNC type connector 17. Pre-emphasis: 0μS，50μS，75μS 18. Audio response: ±0.01dB (30Hz～15000Hz) 19. Left and right channel level difference <0.01dB (100% modulation) 20. Stereo separation ≥70dB (30Hz ～ 15000Hz) 21. Stereo signal-to-noise ratio ≥90dB (1KHz, 100% modulation) 22. Distortion <0.01% (30Hz ～ 15000Hz) 23. Cooling method Forced convection 24. Temperature range -5 ℃ ～ + 45 ℃ 25. Chassis dimensions 19 inches wide (850mm) × height (1970mm) × depth (1200mm) 26. Transmitter weight 550kg

The Saramonic UwMic9 UHF wireless microphone system is intended for portable wireless operation and can be used in several environments for applications such as DSLR video, field recording, broadcast TV, electronic news-gathering(ENG), on-the-spot interviews and more. Portable Receiver UwMic9-RX9(*1) The Saramonic UwMic9-RX9 is a camera-mountable integrated wireless receiver. It features a wide switching RF bandwidth, and easy-to-read LCD display and infrared synchronization between transmitter and receiver. Equipped with an auto-scan function, the RX9 can automatically search for an available transmission frequency. The phone jack enables real-time monitoring of receiver via headphones, especially usefully for cameras that lack a monitor output. Body-pack transmitter UwMic9-TX9(*2) This transmitter is a compact transmitter that employs a crystal-controlled PLL synthesizer. It is equipped with a muting function and a BMP-type microphone input connector. The RF power output can be switched among high, middle and low. UwMic9 Kit1 Reliable, broadcast-quality audio Wireless transmitter with lavalier microphone 514 MHz – 596 MHz 96 selectable channels in 2 groups Headphone monitoring Easy-to-read LCD displays Over 330-feet (100m) in open areas or 200-feet (60m) with obstacles Optional handheld and X transmitter for different applications. UwMic9 Kit2 Reliable, broadcast-quality audio Two transmitters could work simultaneously 514 MHz – 596 MHz 96 selectable channels in 2 groups Headphone monitoring Easy-to-read LCD displays Over 330-feet (100m) in open areas or 200-feet (60m) with obstacles Optional handheld and XLR transmitter for different applications. Specification Transmitter Channels:96 Groups:A or B Oscillator Type:PLL Synthesizer Frequency Range:514 MHz – 596 MHz Reference Deviation:+/- 5 kHz (-60dBV, 1kHz input) Signal to Noise Ratio:70 dB or more Spur Suppression:-60 dB Voice Delay:12 ms Antenna: 1/4λ wire antenna Audio input connector: TX9:3.5mm mini jack HU9: none TX-XLR9: XLR-3-11C type (female) Reference audio input level:-60dBV (MIC input, 0dB attenuation) Distortion:0.5% or less Weight: TX9: Approx. 211.4g (excluding batteries) HU9: Approx. 338.2g (excluding batteries) TX-XLR9: Approx. 138g (Excluding batteries) Battery:Two AA size batteries Dimensions: TX9: 170.9 x 63.5 x 30.0 mm HU9: 254.0 x 52.0 x 52.0 mm TX-XLR9: 105.5 x 43 x 34.7 mm Operating temperature:0℃ to 50℃ Storage temperature:-20℃ to +55℃ Receiver Channels:96 Groups:A or B Oscillator Typ: PLL Synthesizer Audio output connector:3.5mm mini jack Antenna: 1/4λ wire antenna Audio output level:-60dBV Headphone output level:30mW (16Ω) Receiver frequencies:514 MHz – 596 MHz Signal to Noise Ratio:70 dB or more Voice Delay:12 ms Reference Deviation:+/- 5 kHz (-60dBV, 1kHz input) Frequency response:40Hz to 18kHz (+/-3dB) Distortion:0.5% or less Spur Suppression:-60 dB Weight:218.7g (Excluding batteries) Battery:Two AA size batteries Dimensions:170.9 x 63.5 x 30.0 mm Operating temperature:0℃ to 50℃ Storage temperature:-20℃ to +55℃ UwMic9 Kit1

Tablet-controlled digital mixers are now an established part of live sound, even for smaller venues, where Studiomaster’s new DigiLive 16 could potentially be a very attractive option, as well as appealing to bands that don’t need a huge number of inputs. This particular mixer is designed both for remote (via Wi-Fi) and front-panel operation, and includes nine long-throw motorised faders for adjusting the channel, bus and master levels. An integral seven-inch colour touchscreen works alongside the physical controls for accessing and adjusting parameters. Measuring just 350 x 380 x 150 mm and weighing a modest 5kg, Studiomaster’s DigiLive is a 16-input, 16-bus console with eight analogue outputs (two mains and six assignable others) enabling it to feed, for example, a stereo mix and up to six mono monitor sends. The channel count is made up of four ‘combi’ XLR/jack mic/line inputs, eight XLR mic-only inputs and two stereo line-only channels with balanced jack inputs. Stereo audio recording and playback is available via USB directly to/from USB stick. Studiomaster’s web site product description also implies that Bluetooth is supported, though I could find no mention of this in the manual and a search of the setup pages revealed nothing relating to Bluetooth. The Hardware Tour The mixer, which slopes up at a comfortable angle, is formed from steel panels with plastic end cheeks, where a moulded slot at the top edge allows a tablet to be ‘parked’ in an upright position. Power comes from an included 12 Volt PSU with a pedal-style push-in connector, and there’s also an included USB Wi-Fi dongle so no additional router is needed. The mixer is configured as a mobile Wi-Fi hot spot and can have a password allocated to prevent gatecrashers. Following the simple setup instructions had me up and running in no time once I’d downloaded the necessary free app. All the connectors (other than the headphone jack and one of the USB ports) are on the rear panel, where you’ll find the main stereo outs and the six further bus outputs on balanced XLRs. The inputs are arranged along the top of the rear panel, where the two pairs of stereo line channel jacks sit below inputs 1-4. In addition to the XLR analogue outputs, there’s a pair of monitor out jacks, AES3 and S/PDIF digital format outputs, plus a second USB interface, where the rear-panel USB port had the Wi-Fi dongle already plugged in. The DigiLive can be controlled via either iOS or Android tablets running the free DigiLive Remote app, or from its integrated seven-inch Android-driven touchscreen for stand-alone use. It has a number of ‘real’ physical controls, including the nine motorised 100mm faders; select, solo and mute buttons above each fader; and a master section with a turn-and-push dial for coarse and fine parameter adjustment. There are also buttons to select between the two groups of eight channel fader layers, the bus layer, and the sends relating to the selected channel. The input gains are adjusted via 12 knobs at the top edge of the front panel — there’s no remote input gain control. Up to eight internal busses (four mono and four stereo) can be set up to feed monitors via the analogue outs or be configured as effects busses routed back into the stereo mix. Bus sends can be switched individually between pre- and post-fader operation. Effects include the expected delay, reverb and modulation, and there’s also comprehensive channel EQ as well as 15-band graphic equalisation. The DigiLive’s 16 inputs are comprised of 12 mic channels and two stereo line-input pairs. The DigiLive’s 16 inputs are comprised of 12 mic channels and two stereo line-input pairs. Screen Time Deep navigation is possible from both the integral touchscreen and the iPad app, where the app shows miniature fader panels in the lower-left corner designated Inputs 1, Inputs 2 and Bus, with the mini faders reflecting the actual fader positions. These correspond to the layer buttons on the mixer panel. Switching layers on one device doesn’t switch the view on the other so you can have two different views open at the same time. Touching any of the mini fader-panel icons on the app screen takes you to the appropriate mixer view, where Bus shows the eight bus master faders — four mono and four stereo. Selecting a channel or bus by touching in its fader area enables a view selection to be made using the tabs running across the top of the app screen, where the options are Input Stage, EQ, Delay, Bus Send, Prev and Next (channels). Turning off the view selection takes you back to the fader view. As expected, communication is bi-directional so adjusting a physical fader changes the view on screen while making on-screen adjustments causes the motorised faders to move. One comment here though is that I sometimes found myself moving an on-screen fader by mistake as the faders seem to come live the moment you brush your fingers over them, unlike some other systems that require you to deliberately select them for half a second or so before they pick up. The effects section comprises two reverbs, two modulation effects, two delays and two 15-band graphic equalisers, where a few variations on each effect type are available. For example, the Mod section includes chorus, flanger, celeste and rotary speaker options. These effects may only be deployed via insert points rather than the more familiar preconfigured effects-send system, so if you want to add reverb to more than two channels, you have to set up a stereo bus send, insert a reverb in the bus, then route that bus to the main stereo mix — much as you might with a DAW. Until you get familiar with the mixer, there are many places that can leave you muttering ‘Why can’t I hear anything?’. The default when you power up the mixer appears to be that nothing is routed quite as you’d expect so individual inputs have to have their L-R buttons checked in the appropriate page — same for any busses that you want to use for effects — and even then I hunted for many minutes for a way to get the effects audible before realising that you also have to tap the bus fader in one of the menu pages to switch that bus on. Likewise the headphones are set up to monitor anything that is soloed, so unless you press the solo button above the master fader, you hear nothing there either. By contrast, my own Mackie DL1608 has two preconfigured busses for feeding the onboard delay and reverb so you always know where you are. On the other hand, with this mixer you can drop a modulation or delay effect into a particular channel without having to sacrifice a send effect, as all eight effects blocks may be used at the same time. You can only insert one effect in a channel insert point but you can put two in series in a bus insert. Once you’ve configured the mixer the way you want it, you can save the mixer setup as a Scene with perhaps one stereo delay and one stereo reverb send bus, plus any insert effects you may need on the channels or main output and any stage monitor feeds you might need. Saved scenes can be copied so you can always copy your original template to avoid messing it up. Furthermore, the mixer always wakes up as you last left it so your setup work won’t be wasted. The DigiLive Remote app, available for iOS and Android, allows for remote control of the mixer. The DigiLive Remote app, available for iOS and Android, allows for remote control of the mixer. On just about every other digital mixer I’ve tried a graphic equaliser has been available on every output, but here you only get two and you have to instantiate them as insert effects. However, all channels and busses are equipped with a four-band EQ comprising two parametric mids and variable-frequency high and low shelving filters. To the left of the main fader view screen is a panel of virtual function select buttons for scene management, playback, setup, metering (a complete meter overview for all channels and outputs), effects (for selecting the type and making adjustments) and recorder (for recording the stereo out via USB). The three mini fader-view panels sit at the bottom of this section. Navigating the menus is marginally easier from the app than from the main screen, where the touchscreen can sometimes be a little insensitive, especially around the edges, but you still have to keep your wits about you as there are quite a lot of pages and it can take a while before finding your way around becomes second nature. I found the lack of a ‘horizontal’ means of viewing and adjusting the bus send faders a touch frustrating, and in the bus routing page, once you’ve routed a bus to a physical output, there seems to be no way to switch that output back to ‘no source’ as all you can do is select another bus to feed it. There’s also no fast-access effects mute button, and given that you may have both channel insert and bus insert send effects, that can be a bit panic-inducing between songs. It isn’t so bad if you use only send effects for reverb and delay, as you can select the bus layer and then use the relevant bus mute buttons, but there’s no substitute for an always visible ‘kill all reverb and delay’ button. Channel Surfing Each channel fader has an eight-segment LED level meter alongside, whereas on the app and integral screen the meter has a much finer resolution. While the app shows large faders, the mixer’s own screen faders are small to allow other data to be displayed such as mini EQ, gate and dynamic screens, plus any bus sends in operation. That’s fair enough as the motorised faders let you know what the faders are doing. In the app’s channel view, you can touch the Input Stage tab after first selecting a channel to give you access to switches for phantom power, polarity invert, delay and high-pass filter. To the right of the screen the channel fader and mixer master fader are always available. An input delay time can be adjusted up to 200ms and the high-pass filter is also fully adjustable. All the effects available

Professional Digital FM Demodulator Tuner Radio Receiver Timing Remote Control Main Functions: 1) Novel, luxurious, high-grade aluminum alloy panel, exquisite and elegant. 2) Original imported Samsung luxury color fluorescent dynamic display screen, full-featured microcomputer control system. 3) Professional-grade high-fidelity stereo digital quartz phase-locked loop synthesis tuning system, ultra-high sensitivity reception. 4)Manual/automatic/direct selection of radio frequency and many other ways of tuning and selecting, easy to operate. 5) Unique channel browsing and playing function, 60 radio frequency storage, life-long memory, never lost. 6) 24-hour clock display, timing on/off, four times to set the alarm, super smart butler function. 7) Shut down automatic memory function, data is memorized for life, never lost, easy to operate. 8) Dynamic color level spectrum display, ten kinds of dream spectrum display mode selection. 9) Thirty-one key leisurely infrared long-distance full-function remote control. 10) Color box size: 460x80x285mm Technical Index: Frequency Range: Medium Wave (MW) 530Kz~1611KHz Frequency Modulation (FM) 87MHz~108MHz Noise limit sensitivity:medium wave (MW) ≤5mV/m frequency modulation (FM) ≤20uV S/N Ratio: Medium Wave (MW) ≥40dB Frequency Modulation (FM) ≥45dB Input impedance: 1KΩ Output voltage: 500mVrms Power supply: ~220V 50/60Hz Electric power consumption: ≤10W Dimensions (W×H×D): 430×55×240mm

500W TV Transmitter Compact design Product introduction：This 500W TV Transmitter is a high-standard, broadcast-level all-solid-state Compact design analog TV transmitter. Overview: This 500W TV Transmitter is a high-standard, broadcast-level all-solid-state Compact design analog TV transmitter. It uses a new software radio technology to achieve the TV modulation function; the use of international high-quality LDMOS high-power field effect tube to achieve radio frequency amplification, the output power can be 500W. The 500W TV transmitter is mainly composed of a TV modulation unit and an RF power amplification unit. Among them, the TV modulation unit uses the new FPGA + DDS to realize the software TV modulation function, while obtaining superior technical indicators while ensuring reliability and performance consistency; the RF power amplification unit uses international high-quality LDMOS high-power field effect transistors, Analog/Digital Compatible, stable and reliable. The whole Transmitter adopts 19 "standard stainless steel case, suitable for all levels of TV stations. Features: ● It adopts new FPGA + DDS technology to realize software-based TV modulation function, with superior performance, high reliability and good consistency. ● It adopts the integrated structure design, and the single-channel image sound combination type is easy to install and use. ● It has the functions of no video, excessive standing wave ratio, over power, over voltage, over current, and over temperature protection to reduce equipment damage. ● With intelligent network management and monitoring, with RS232 and TCP / IP communication interfaces. ● It’s using high-quality switching power supply, with over-voltage, over-current, under-voltage, over-temperature, short circuit, lightning protection and other protection measures, high efficiency, good voltage regulation range, strong ability to adapt to external power changes. ● It adopts high-quality high-flow axial flow fan, with good heat dissipation effect, keep the transmitter in a low temperature state, and extend the life of the transmitter. 500W/C2 Analog TV Transmitter Technical Specifications: Overall performances: 1. Operating frequency band: VHF / UHF 2. Image carrier frequency deviation: ± 300Hz 3. Output power: 500W 4. Output impedance: 50Ω 5. Inter-modulation distortion: ≤-50dB 6. Useless emission: ≤-50dB inside adjacent channels; ≤-65dB outside adjacent channels 7. RF output interface: 7/16” female 8. Power supply: single phase 220VAC / 110VAC 9. Cooling method: forced air cooling 10. Working environment temperature: -10～＋45 ℃ 11. Dimensions: 483mm(width)x177mm(height)x650mm(depth) 12. Weight: 35Kg Image performance: 1. Video input level: 1VP-P positive polarity 2. Video input impedance: 75Ω 3. Video in-band reflection loss: ≥35dB 4. Video input interface: BNC-K 5. Periodic clutter signal-to-noise ratio: ≥55dB 6. Continuous random wave SNR: ≥60dB (weighted), ≥55dB (un weighted) 7. Group delay: ± 30ns 8. 2T square wave distortion: ≤1% 9. Distortion of brightness waveform: ≤1.2% 10. Non-linear brightness distortion: ≤3% 11. Differential gain DG: ≤±3% 12. Differential phase DP: ≤±3 ° 13. Color / bright gain difference: ≤1% 14. Color / bright delay difference: ± 5ns 15. Modulation degree: ≤87.5% Sound performance: 1. Sound / image carrier power ratio: -10dB 2. Sound carrier frequency deviation: ± 200Hz 3. Audio input level: 0dBm ± 6dBm 4. Audio input impedance: 600Ω balanced or 10KΩ unbalanced 5. Audio input interface: XLR-K / BNC-K 6. Sound modulation capability: >±100KHz 7. FM signal-to-noise ratio: ≥70dB 8. Amplitude-frequency characteristic: ± 1dB 9. AM noise (no modulation): ≤-55dB 10. Internal carrier noise (100% modulation): ≤-50dB 11. Harmonic distortion: ≤0.3% 12. Maximum frequency deviation: ± 50KHz 13. Pre-emphasis time constant: 50us

The compact DM16 honours your stage or studio desktop space, while providing incredible sonic performance, amazing versatility – and an unheard of level of affordability. What is the secret behind DM16’s superb, studio-quality sound? The DM16 features 12 award-winning, MIDAS microphone preamplifiers with true +48 V Phantom Power, acclaimed by audio engineers the world over for their transparency and nuanced low noise, high-headroom design. Add to this TRS Line Inputs on all 16 channels (8 mono and 2 stereo), mono channel Inserts and 3-band EQ with mid-frequency sweep, 2 switchable pre/post-fader aux sends, 2 monitor outs and 2-track RCA I/O, and you have an analogue work of art – the fully featured DM16! Live Performance and Studio Recording Live Performance and Studio Recording With 16 channels, the DM16 has more than enough microphone and line inputs to manage a small band or worship team with channels to spare – both on the stage and in the studio. It is also the ideal choice for use as a keyboard or drum sub-mixer for larger scale performances. Dedicated Stereo Inputs Dedicated Stereo Inputs Line channels 13/14 - 15/16 are dedicated stereo channels, making them ideal for stereo instruments, such as keyboards – and can also be used for mono signals thanks to a convenient balance control on each 2-channel grouping. These channels can also be used as return inputs for signals sent external effects processing equipment. Sublimely Musical British EQ Sublimely Musical British EQ The British consoles of the 1960s and ‘70s changed the sound of rock and roll – without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The 3-band channel EQ on our DM16 mixers is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. The sweepable mid-frequency band provides a broad tonal palette with which to finetune the ideal signal. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality. Dual Aux Sends Dual Aux Sends The DM16 is also equipped with 2 aux sends with pre/post fader switching for added versatility. Users can select to use them for external effects processing, custom monitor mixes, or a combination of the two. Additional monitoring outputs are provided of the main mix for stage or studio monitor applications. Classic Precision Classic Precision All of DM16 mixer’s 60 mm faders have been carefully designed to provide a long life of highly precise level setting, ensuring repeatable and flawless performance for many years to come. Quality is Job #1 Quality is Job #1 While some manufacturers cut quality when they design small mixers, we understand that every mixer should provide uncompromising performance and a robust feature set. The very embodiment of quality, from its rugged construction and top-of-the-range components to that unmistakable Midas sound – the DM16 is a truly professional audio console. Value Value No matter what your audio mixing needs, the DM16 provides the performance and features required to take your talent to the next level, at a price that is custom-tailored for the budget-savvy user. Professional sound quality, our legendary Midas mic preamps, 3-band EQs with sweepable mids, and much more make the DM16 mixer ideal for both your live gigs and recording. Try one out today, or feel free to order yours online. Architecture & Engineering Specifications The audio mixing console shall be an analogue design suitable for use in live performance and studio recording, and equipped with 12 MIDAS microphone preamplifiers. The mixing console shall have 12 mono channels, and each shall provide the following: 1 balanced XLR microphone input, 1 balanced ¼ " TRS line level input, and a ¼ " TRS Insert. A gain control shall provide adjustment of the input signal from 10 to 60 dB (mic) and -10 to +40 dB (line). An EQ treble control shall provide a range of 15 dB of boost and cut of shelving EQ at 12 kHz. An EQ mid control shall provide a range of 15 dB of boost and cut, and a mid-sweep control shall provide peak EQ adjustment from 150 Hz to 3.5 kHz. An EQ bass control shall provide a range of 15 dB of boost and cut of shelving EQ at 80 Hz. Aux 1 and Aux 2 controls shall provide adjustment of the Auxiliary 1 and 2 outputs from 0 to +10 dB. A pan control shall position the mono channel in the mix. A PFL (pre fader listen) switch shall allow the channel signal to be soloed and routed to the master meters, monitors, and headphones. A mute switch shall be provided to mute the channel, and a peak LED shall indicate channel signal overloading. A 60 mm mono channel fader shall allow adjustment of the channel level in the mix. The mixing console shall have 2 stereo channels, and each shall provide the following: 2 balanced ¼ " TRS line level inputs. A stereo gain control shall provide adjustment of the input signal from -20 to +20 dB. An EQ treble control shall provide a range of 15 dB of boost and cut of shelving EQ at 12 kHz. An EQ bass control shall provide a range of 15 dB of boost and cut of shelving EQ at 80 Hz. Aux 1 and Aux 2 controls shall offer adjustment of the Auxiliary 1 and 2 outputs from 0 to +10 dB. A balance control shall position the stereo channels in the mix. A PFL (pre fader listen) switch shall allow the channel signal to be soloed and routed to the master meters, monitors, and headphones. A mute switch shall be provided to mute the channel, and a peak LED shall indicate channel signal overloading. A 60 mm stereo channel fader shall allow adjustment of the channel levels in the mix. The mixing console shall be provided with 2 balanced ¼ " TRS Auxiliary outputs. Each mono and stereo channel shall have an Aux 1 and Aux 2 level control. Each Aux output shall be provided with a pre-fader/post-fader switch. The mixing console shall be provided with 2 balanced ¼ " TRS monitor outputs. Level adjustment shall be provided with a local level control. The output shall be a copy of the main mix, or the pre-fader output from any soloed channels (channel PFL switch engaged), or the 2 track input. The mixing console shall be provided with 2 unbalanced RCA line level inputs, and 2 switches shall allow the input signals to be routed to the main mix, or to the monitor outputs. There shall be 2 unbalanced RCA line level outputs to allow the main mix to be recorded. The mixing console shall be provided with 1 stereo ¼ " TRS output for headphone monitoring of the main mix, or soloed channels (channel PFL switch engaged). Level adjustment shall be provided by a Phones level control. The mixing console shall be provided with 2 balanced XLR outputs to send out the final left/right mix to external amplifiers and equipment. Adjustment of the final mix output shall be provided by 2x 60 mm master faders. 2 ¼ " TRS main out insert jacks shall be provided. Global 48 Volt phantom power shall be provided to each microphone input via a phantom power switch. A +48V LED shall indicate when phantom power is activated. 2 LED ladders shall indicate the levels of the main mix, or soloed channels (channel PFL switch engaged). An LED will indicate when the mixer is powered on, and a PFL LED will indicate when the meters are monitoring soloed channels. The mixing console shall be provided with an internal switch mode power supply, capable of operation at AC voltages ranging from 100 to 240 VAC, at 50/60 Hz. The mains connection shall be a standard IEC receptacle. The mixing console dimensions shall be 95 mm high x 438 mm wide x 370 mm deep (3.7 x 17.2 x 14.6"). The nominal weight shall be 5 kg (2.3 lbs). The mixing console shall be the MIDAS DM16. No other mixing console shall be acceptable unless submitted data from an independent test laboratory verifies that the above combined performance / size specifications are equalled or exceeded.

Soundcraft Nano M08BT The excellent performance of Soundcraft Nano M08BT satisfies users’ diverse tuning needs. Nano M08BT adopts the professional standards of Soundcraft. It is a small 8-channel mixer that supports various sound sources and has a variety of professional functions that are different from similar products. In addition to supporting traditional sound sources such as microphones and musical instruments, Nano M08BT also supports Bluetooth-enabled digital playback devices, such as mobile phones, tablets, Macs, and PCs. The mixer also has USB playback and recording functions, allowing to play supporting tracks in the USB flash drive or record and store directly to the USB flash drive. When used at home or in a recording studio, the integrated USB audio interface of Nano M08BT can work seamlessly with Mac and PC, making it easy for you to use commonly used audio production software to easily record, edit and play audio. Nano M08BT has flexible input and connection options, built-in compressor that can provide excellent sound, sound effect processor and vertical channel fader, etc., suitable for various application scenarios, including live performances, studio recording and fixed installations. Features 8-channel mixer with 4 microphone/line mono inputs, 3 stereo inputs (2 pairs of TRS and 1 pair of RCA) and 2 breakpoint insertion interfaces 2×2 audio interface for Mac/PC Play audio directly from the USB flash drive or record directly to the USB flash drive Bluetooth connection supports wireless audio playback from mobile devices, Mac or PC Side LED volume level meters display the signal level on both sides of the mixer, allowing users to monitor the level without being close to the mixer 2 built-in compressors for microphone/line channels provide excellent sound quality The built-in processor provides sound effects such as echo, vocals, reverberation, etc. to enhance vocal performance USB input for playing and recording, there are four play modes (all play, all loop, single loop, random play), 5V 500mA USB port for computer audio interface (8 bit/16 bit depth and 32kHz / 44.1 kHz / 48 kHz sampling rate) Bluetooth 4.2 streaming 100-240V – 50/60Hz AC input Soundcraft Nano M08BT The excellent performance of Soundcraft Nano M08BT satisfies users' diverse tuning needs. Nano M08BT adopts the professional standards of Soundcraft. It is a small 8-channel mixer that supports various sound sources and has a variety of professional functions that are different from similar products. When used at home or in a recording studio, the integrated USB audio interface of the Nano M08BT can work seamlessly with Mac and PC, making it easy for you to use commonly used audio production software to easily record, edit and play audio. Nano M08BT has flexible input and connection options, built-in compressor that can provide excellent sound, sound effect processor and vertical channel fader, etc., suitable for various application scenarios, including live performance, studio recording and fixed installation. Soundcraft Nano Series Mixers M08BT Versatility suitable for various application scenarios Soundcraft Nano M08BT supports a variety of sound sources and digital devices to meet all your production and performance needs. Nano M08BT can not only plug in guitars and microphones, but also play audio on mobile phones wirelessly via Bluetooth. The mixer can record audio directly to a USB flash drive, or connect the mixer to a Mac or PC via USB, so that the mixer can be used as an audio interface. It is an excellent choice for your live or studio recording. Soundcraft Nano Series Mixers M08BT USB playback and recording The era of complex technology is gone. With Soundcraft Nano M08BT, you can use a simple, ready-made USB flash drive loaded with playlists to play background music or intermission music. Moreover, Nano M08BT can record live performances directly to a USB flash drive, allowing you to relive your performances with great ease. Soundcraft Nano Series Mixers M08BT Bluetooth connection No cables, no problems. Soundcraft Nano M08BT brings a rare and convenient experience. It can play audio on Bluetooth-enabled devices wirelessly, and it only requires a few devices or even a mixer to play supporting tracks and get the party done. Features & details 8-channel mixer with 4 microphone/line mono inputs, 3 stereo inputs (2 pairs of TRS and 1 pair of RCA) and 2 breakpoint insertion interfaces Play audio directly from the USB flash drive or record directly to the USB flash drive Bluetooth connection supports wireless audio playback from mobile devices, Macs or PCs

Name: recording light box.LED luminous remote control light Brand: (SHF) Size: Approximate size 30cmX15CMX10CM (now unified size) Material: three-dimensional material. LED light or remote control Uses: Studio recording room

This STL Studio Transmitter Link is a solid-state wideband FM Transmitter providing a continuously variable RF output form 0 to 25 watts into a 50 Ohm load at many frequency within the UHF/ VHF band in 10 kHz increments. This STL Studio Transmitter Link receiver uses the same synthesised oscillator as the transmitter. A comb line bandpass filter ensures image-frequency rejection exceeding 60dB. The achieved sensitivity in mono is around 10mV per 60dB of SNR. low noise and distortion, and high interference rejection. With full range universal power input and built-in active PFC function. Those STLs can operate on either 90 ~ 264VAC / 47~63Hz or 127 ~ 370VDC as mean power to suitable most of Countries in the world. We have designed and manufactured broadcast equipment since its incorporation in 2000. Our product line has consistently applied the best in current technology to the specific needs of broadcasters. FEATURES Easy and direct programming of the frequency by LCD, Step 10 Soft-start from RF mute Adjustable power output from 0 to 25 W with automatic power control, maintainingthe output at any fixed Available with External AUX/MPX input Meets or exceeds all FCC and CCIR High reliability provided by conservatively rated Modular layout with Plug-in, easy replaceable circuits and Built-in stereo coder. TECHNICAL SPECIFICATIONS Rated output power:0-25 W continuouslyvariable(A.L.C.) F outputconnector: “N” type F outputimpedance: 50 Ohm Frequency range: * 220.00 – 240 MHz  * 240.00 – 260 MHz  * 300.00 – 320 MHz  * 400.00 – 420 MHz  * 450.00 – 470 MHz  Frequency stability: better than ±100Hz Modulationtype: direct carrier frequency modulation Spurious & Harmonic suppression: meets or exceeds all FCC and CCIRrequirements Modulationcapability: meets or exceeds all FCC and CCIR requirements Asynchronous AM S/Nratio: 70 dΒ below reference carrier with 100％ Amplitude modulation at 400  Without de-emphasis, no FM modulation present Synchronous AM S/Nratio: 60 dΒ below reference carrier with 100% amplitude modulation at 400  Without de-emphasis, FM modulation =±75KHz at 400 Hz Transient intermodulationdistortion: less than 0.1% measured with a 3 KHz square wave and a 15 KHz sine wave at 100% modulation(typical 05%) AC powersource: 90 ~ 264VAC / 47~63Hz or 127 ~ 370VDC Power consumption:approx 70 W fromAC Panelsize: 483 mm (19”)W x 132.5 mm (5.2”)H xx400 mm (15.7”) (2 standard rack spaces high) Ambient temperature range: -10℃ to+50℃ Preemphasis: for FCC 75 microsec, for CCIR 50 microsec Compositeoperation Compositeinputs: 1 for External (BNC) MPXinput: 2 balanced XLR connector MPX inputimpedance: 10 K Ohm / 600 Ohm MPX inputlevel: adjustable from -24 to –6 dΒm nominal for ±75 KHz deviation, adjustable Composite FM S/N ratio: >75dΒ below ±75KHz deviation at 400 Hz measured in a 30 Hz to 100KHz bandwidth with 50 or 75μs de-emphasis(RMS) Composite amplituderesponse: ±0.5dΒ, 30 Hz to 100 KHz Composite total harmonicdistortion: less than 0.1% (0.05% typical) Composite intermodulationdistortion: 05% or less, measured with a 1 KHz and a 1.3KHz tones, 1:1 ratio, at 100% modulation Stereo separation:>60dΒ(65dΒtypical) Monaural operation Audio inputimpedance: 600 Ohm / 10 K Ohm balanced XLR connector 50 dΒ common mode suppression Audio input level: adjustable from -6 to +9 dΒm for±75KHz,adjustable FM S/N ratio: >80dΒ below±75KHz deviation at 400 Hz measured in a 30 Hz to 15KHz bandwidth with 50-75 microsec de-emphasis(RMS) Audio frequency response: ±0.5dΒ,30Hz to 75KHz Total harmonic distortion: 05% or less, measured with a 1KHz Intermodulation distortion 0.05% or less measured with a 1 KHz And a 1.3 KHztones,1:1 ratio, at 100% modulation Stereo operation Audio input impedanceleft/right: 600 Ohm / 10 K Ohm balanced XLR connector Audio input level: adjustable from -6 to +9dΒm Total harmonic distortion: less than 0.07%(0.05%typical) Audio amplitude response: ±0.3dΒ, 30 Hz to 15KHz Stereo separation:>60dΒ Stereo FM S/Nratio: >75dΒ below ±75 KHz deviation at 400 Hz measured in a 30 Hz to 100 KHz with deenphasis(RMS) Package Include: 1* STL Transmitter 1* STL Receiver

Specification: Brand: UNCUCO Name: 1000w spotligh power:1000 watts voltage: AC110 - 250V color temperature: 3200K Illumination angle spot°/flood°:12 / 60 bulb socket :G22 bi-pin Size :35cmx29cmx29cm power cord: 2.5m with in-line switch lens diameter: 130mm / 5’’ material: aluminum Instructions: There will be smoke and burnt smell when you use it for the first time. This is all caused by the anti-rust oil sprayed on the anti-scalding net on the new lamp. This phenomenon exists in all types of lamps, but it is not a quality problem and does not affect the use. It is recommended to use it as the following steps 1: disconnect the power supply and install the lamp on the lamp holder with the lamp socket facing up before you assemble it 2: power on 3: If mesh of the light were smoking , please turn off the power immediately 4: Wait for the temperature to drop, then turn on the power and repeat the dryin Package list: 1X Spotlight 1 x 2.5m power cord with in-line switch 1 x 1000W Bulb 1 x Dimmer

5KW FM Stereo Transmitter (Hot-plugin) The 5KW FM Stereo Transmitter (Hot-plugin) is a high-performance broadcast-grade stereo FM broadcast transmitter for wireless coverage of professional broadcast stations. The 5KW FM Stereo Transmitter (Hot-plugin) is a high-performance broadcast-grade stereo FM broadcast transmitter for wireless coverage of professional broadcast stations. Considering the high reliability of the transmitter, in the design concept, the transmitter adopts redundant design in key parts in order to achieve long-term stable operation of the transmitter. Because of the hot-plugin structure, the transmitter's components can be repaired and restored without stop working. Features: 1. Redundant of output RF power: It is efficiently synthesized by four 1.5KW hot-plugin modules, and four 2500VA hot-plugin switching power supplies. 2. Stable output power: The intelligent automatic power control technology (AGC) is adopted to ensure that the output power does not change with the startup time and the ambient temperature. The power stability is controlled within 10W. 3. Dual-exciter configuration: adopting dual-exciter intelligent automatic switching (spare exciter and switcher are optional), which can further improve the reliability of the whole machine. 4. Digital FM Exciter: It adopts a fully digital CD-level FM exciter, which can directly receive digital audio signals (AES / EBU), and the listening effect is close to the CD level. 5. Friendly man-machine interface: 8-inch true-color touch LCD display, real-time display of various parameters in the machine, without any training, you can operate under the screen prompts. 6. Complete protection functions: with over-power protection, over-reflection power protection, over-temperature protection, over-voltage protection and over-current protection; and can intelligently adjust the output power when some power amplifier modules fail, while maintaining the maximum safe power broadcast, It can also guarantee that the fault will not be enlarged. 7. True hot-plugin function: under any circumstances, the power amplifier module and power module can be plugged in without stopping, and the transmitter can be repaired and restored without stopping. 8. Timing automatic adjustment of output power: Through on-site settings, the transmitter can automatically adjust the output power at different times of the day, bringing convenience to the economic operation of the radio. 9. Advanced remote-control telemetry interface: you can access any parameters inside the transmitter through RS232 / RS485 or interface TCP / IP network interface. Technical Specifications: 1. RF frequency range 87MHz～108MHz (other frequencies can be customized), stepping 10kHz 2. Output power 0~5000W continuously adjustable 3. Allowable deviation of output power ＜ ± 10% 4. Output power stability ＜ ± 3% 5. Output impedance 50Ω 6. RF Output Interface: 1-5/8' Flange 7. Residual wave radiation ＜ -75dB 8. Parasitic amplitude modulation ＜ -50dB 9. Carrier Frequency precision: ±200Hz 10. Analog audio input -12dBm ~ +8dBm 11. Input audio Level Gain -15dB~+15dB Step 0.1dB 12. Analog audio input impedance 600Ω balance 13. AES input impedance 110Ω balance 14. AES input level 0.2~10Vpp 15. AES sampling rate 30kHz ~ 96kHz 16. RDS input Unbalanced (optional) BNC type connector 17. Pre-emphasis: 0μS，50μS，75μS 18. Audio response: ±0.01dB (30Hz～15000Hz) 19. Left and right channel level difference <0.01dB (100% modulation) 20. Stereo separation ≥70dB (30Hz ～ 15000Hz) 21. Stereo signal-to-noise ratio ≥90dB (1KHz, 100% modulation) 22. Distortion ＜ 0.01% (30Hz ～ 15000Hz) 23. Cooling method Forced convection 24. Temperature range -5 ℃ ～ + 45 ℃ 25. Chassis dimensions 19 inches wide (777mm) × height (1523mm) × depth (950mm) 26. Transmitter weight 400k

Name: ON AIR desk lamp.LED luminous remote control lamp Color: (SHF) a variety of colors customized Size: Approximate size 30cmX15cmx10cm Material: three-dimensional material. LED light or remote control Uses: Studio room Color: 10 kinds of LED light color adjustable, remote control control, simple and convenient

UNCUCO 1K$ ON AIR Radio Studio Package Include: Consol mixer, microphone, BOP cover,  microphone stand, monitor headphones, one pair monitor speaker, one audio processor. BEHRINGER Xenyx QX1202USB Mixer 4 microphone inputs with 48-volt phantom power, compressor, 3-band EQ and peak LEDs 1 AUX post-fader 4 stereo inputs Internal Klark Teknik multi-effect device 2 Track inputs and outputs Master fader USB audio interface Dimensions (H x W x D): 50 x 250 x 248 mm External power supply. Tascam Solid-State Rackmount CD/SD/USB Player Continuously playback audio files just like a CD changer Professional CD player that supports SD/SDHC cards and USB The CD-200SB is a new line-up to the popular CD-200 series that have been installed in countless facilities. It is a professional CD player with SD/SDHC and USB memory device playback support. Takstar Condenser Microphone For Live Broadcast • Rugged and durable metal construction • Wide frequency response range and high sensitivity • Suitable for high SPL environments • WPH Restrain 180°™ 3-layer wire mesh for eliminating low frequency noise such as breathing, wind • Professional shock mount for reducing the mechanical noise • Full range of accessories for for convenient useApplication: Recording, broadcasting, on-stage performance Double-Layer Recording Microphone Blowout Net Windscreen BOP cover for microphone Mic Arm Mic Arm table arm, black AKG K 72 Headphonses Closed-back headphones, dynamic headphones, 200 mW, 16 to 20000 Hz, 112 dB SPL/V, 32 EDIFIER Professional Tuning Monitor Speaker Audio Recording Studio 2-Way Digital Monitors deal for computer studios, audio and multimedia workstations True bi-amping mode with 4 amplifiers - 2 per speaker 150 W digital power amplification 1"" Silk dome tweeter Long-excursion 5"" woofer Frequency range: 55 - 20000 Hz Maximum SPL: 100 dB @ 1 m Advanced Waveguide Technology for extra big sweet spot Setting options for room adjustment USB input for direct connection to a computer (plug and play, no driver required) Two analogue inputs with XLR and TRS connections - can be used simultaneously with a digital signal source Plastic housing Dimensions: 254 x 204 x 178 mm Weight: 6.5 kg 2 m speaker cable included

Features: This light stand is constructed from iron and has a three stage adjustable shaft and rubber feet, giving it exceptional strength for heavy duty work. Its solid locking capabilities ensure the safety of your lighting equipment when in use. This light stand has a maximum height of 280cm. This stand supports all major photo equipment including reflectors, softboxes, lights, umbrellas, backgrounds and more. Specification: Type: Photography tripod stand Material: Iron Sections: 3 Diameter: 25mm/30mm/35mm Max. tube diameter: 35mm Max. load: 9kg / 19.8lb Max. height: 280cm / 9.2ft Folded height: 96.5cm Package size: 97 * 11 * 10cm / 38 * 4.3 * 3.9in Tripod weight:2100g Package weight :2300g Note:This item only include the tripod stand. This tripod is very heavy,net weight is 2100g

2KW Analog TV Transmitter Compact Design Product introduction：This 2000W analog TV transmitter uses a new software radio technology to achieve the TV modulation function; the use of international high-quality LDMOS high-power field effect tube to achieve radio frequency amplification, the output power can be 2000W. 2000W/C2 Analog TV Transmitter Overview: This Transmitter is a high-standard, broadcast-level all-solid-state Compact design analog TV transmitter. It uses a new software radio technology to achieve the TV modulation function; the use of international high-quality LDMOS high-power field effect tube to achieve radio frequency amplification, the output power can be 2000W. The TV transmitter is mainly composed of a TV modulation unit and an RF power amplification unit. Among them, the TV modulation unit uses the new FPGA + DDS to realize the software TV modulation function, while obtaining superior technical indicators while ensuring reliability and performance consistency; the RF power amplification unit uses international high-quality LDMOS high-power field effect transistors, Analog/Digital Compatible, stable and reliable. The whole Transmitter adopts 19 "standard stainless steel case, suitable for all levels of TV stations. Features: ● It adopts new FPGA + DDS technology to realize software-based TV modulation function, with superior performance, high reliability and good consistency. ● It adopts the integrated structure design, and the single-channel image sound combination type is easy to install and use. ● It has the functions of no video, excessive standing wave ratio, over power, over voltage, over current, and over temperature protection to reduce equipment damage. ● With intelligent network management and monitoring, with RS232 and TCP / IP communication interfaces. ● It’s using high-quality switching power supply, with over-voltage, over-current, under-voltage, over-temperature, short circuit, lightning protection and other protection measures, high efficiency, good voltage regulation range, strong ability to adapt to external power changes. ● It adopts high-quality high-flow axial flow fan, with good heat dissipation effect, keep the transmitter in a low temperature state, and extend the life of the transmitter. 2000W/C2 Analog TV Transmitter Diagram Technical Specifications: Overall performances: 1. Operating frequency band: VHF / UHF 2. Image carrier frequency deviation: ± 300Hz 3. Output power: 2000W 4. Output impedance: 50Ω 5. Inter-modulation distortion: ≤-50dB 6. Useless emission: ≤-50dB inside adjacent channels; ≤-65dB outside adjacent channels 7. RF output interface: 7/16” female 8. Power supply: single phase 220VAC / 110VAC 9. Cooling method: forced air cooling 10. Working environment temperature: -10~+45℃ 11. Dimensions: 483mm(width)x177mm(height)x650mm(depth) 12. Weight: 35Kg Image performance: 1. Video input level: 1VP-P positive polarity 2. Video input impedance: 75Ω 3. Video in-band reflection loss: ≥35dB 4. Video input interface: BNC-K 5. Periodic clutter signal-to-noise ratio: ≥55dB 6. Continuous random wave SNR: ≥60dB (weighted), ≥55dB (un weighted) 7. Group delay: ±30ns 8. 2T square wave distortion: ≤1% 9. Distortion of brightness waveform: ≤1.2% 10. Non-linear brightness distortion: ≤3% 11. Differential gain DG: ≤±3% 12. Differential phase DP: ≤±3° 13. Color / bright gain difference: ≤1% 14. Color / bright delay difference: ±5ns 15. Modulation degree: ≤87.5% Sound performance: 1. Sound / image carrier power ratio: -10dB 2. Sound carrier frequency deviation: ±200Hz 3. Audio input level: 0dBm ± 6dBm 4. Audio input impedance: 600Ω balanced or 10KΩ unbalanced 5. Audio input interface: XLR-K / BNC-K 6. Sound modulation capability: >±100KHz 7. FM signal-to-noise ratio: ≥70dB 8. Amplitude-frequency characteristic: ± 1dB 9. AM noise (no modulation): ≤-55dB 10. Internal carrier noise (100% modulation): ≤-50dB 11. Harmonic distortion: ≤0.3% 12. Maximum frequency deviation: ±50KHz 13. Pre-emphasis time constant: 50us

Completed electrical installation for the new Capital radio broadcast studio. This dynamic new studio design allows different show branding and studio lighting styles to be displayed across the studio at the click of a button. High quality, visually engaging radio shows are able to cycle through the studio on demand. The broadcasting trade press …

5KW Analog TV Transmitter Hot-Plugin Design Product introduction：This 5KW Analog TV Transmitter is a high-standard, broadcast-grade cabinet-type all-solid-state analog TV transmitter. It adopts a hot-plugin structure and can be repaired and maintained without downtime. 5000W/H1 Analog TV Transmitter Overview: This 5KW Analog TV Transmitter is a high-standard, broadcast-grade cabinet-type all-solid-state analog TV transmitter. It adopts a hot-plugin structure and can be repaired and maintained without downtime. It uses a TV exciter of brand-new software radio technology; it adopts international high-quality LDMOS high-power field effect transistor to achieve radio frequency amplification, and the output power can be 5000W. The 5000W TV transmitter is mainly composed of a TV modulation unit and an RF power amplification unit. Among them, the TV modulation unit uses the new FPGA + DDS to realize the software TV modulation function, while obtaining superior technical indicators while ensuring reliability and performance consistency; the RF power amplification unit uses international high-quality LDMOS high-power field effect transistors, Analog/Digital Compatible, stable and reliable. The whole Transmitter adopts 19 "standard stainless steel case, suitable for all levels of TV stations. Features: ● Analog TV exciter with new digital technology, superior performance, high reliability and good consistency. ● The main and backup exciter configurations can be used to reduce the stop rate (spare exciter and automatic switch are optional). ● With no video, over standing wave ratio, over power, over voltage, over current, over temperature and other protection functions to reduce equipment damage. ● Power control adopts closed-loop automatic gain control to ensure stable output power without drift. ● The power amplifier unit consists of four independent 1500W power amplifiers. ● The 1500W power amplifier is installed in a hot-plugin box, which is composed of four identical 400W power amplifier modules for low loss, high isolation and in-phase synthesis. The power redundancy design has a large margin and high reliability. ● The power amplifier module uses the latest high efficiency and high standing wave ratio LDMOS tube, adopts micro strip impedance conversion technology, simple and efficient, good consistency, easy maintenance and replacement. ● Using high-quality switching power supply, with over-voltage, over-current, under-voltage, over-temperature, short circuit, lightning protection and other protection measures, high efficiency, good voltage regulation range, strong ability to adapt to external power changes; and flexible N + 1 heat Plug-in configuration scheme, parallel current sharing centralized power supply. It can also be redundantly configured according to customer requirements. ● With intelligent network management and monitoring, with RS232 and TCP / IP communication interface. ● The whole transmitter adopts one three-phase high-quality long-life large-volume centrifugal fan, which has large redundant air volume and good heat dissipation effect, so that the transmitter is in a low temperature state, which can extend the transmitter life. 5000W/H1 Analog TV Transmitter Technical Specifications: Overall performances: 1. Operating frequency band: VHF / UHF 2. Image carrier frequency deviation: ± 300Hz 3. Output power: 5000W 4. Output impedance: 50Ω 5. Inter-modulation distortion: ≤-50dB 6. Useless emission: ≤-50dB inside adjacent channels; ≤-65dB outside adjacent channels 7. RF output interface: 1-5/8” Flange 8. Power supply: three phase 380VAC 9. Cooling method: forced air cooling 10. Working environment temperature: -10~+45℃ 11. Dimensions: 570mm(width) x 1480mm(height) x 1050mm(depth) 12. Weight: 300Kg Image performance: 1. Video input level: 1VP-P positive polarity 2. Video input impedance: 75Ω 3. Video in-band reflection loss: ≥35dB 4. Video input interface: BNC-K 5. Periodic clutter signal-to-noise ratio: ≥55dB 6. Continuous random wave SNR: ≥60dB (weighted), ≥55dB (un weighted) 7. Group delay: ±30ns 8. 2T square wave distortion: ≤1% 9. Distortion of brightness waveform: ≤1.2% 10. Non-linear brightness distortion: ≤3% 11. Differential gain DG: ≤±3% 12. Differential phase DP: ≤±3° 13. Color / bright gain difference: ≤1% 14. Color / bright delay difference: ±5ns 15. Modulation degree: ≤87.5% Sound performance: 1. Sound / image carrier power ratio: -10dB 2. Sound carrier frequency deviation: ±200Hz 3. Audio input level: 0dBm ± 6dBm 4. Audio input impedance: 600Ω balanced or 10KΩ unbalanced 5. Audio input interface: XLR-K / BNC-K 6. Sound modulation capability: >±100KHz 7. FM signal-to-noise ratio: ≥70dB 8. Amplitude-frequency characteristic: ± 1dB 9. AM noise (no modulation): ≤-55dB 10. Internal carrier noise (100% modulation): ≤-50dB 11. Harmonic distortion: ≤0.3% 12. Maximum frequency deviation: ±50KHz 13. Pre-emphasis time constant: 50us

RD06HVF1 specifically Designed for VHF Power Amplifier Applications. Description: Type:N-Channel RF Power MOSFET Fr:> 175MHz RF Po:>6 Watts Vdss:50 Volts Vgs:+/- 20 Volts Id:3000 mA Tch:150C RoHS:Yes