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<strong>Sonic</strong> <strong>Studios</strong><br />

RECORDING ACCESSORIES<br />

PREAMP<br />

Go<br />

This page as PDF <strong>Download</strong><br />

NOTE: DROPDOWN MENU<br />

HAS MORE PAGES<br />

HRTF Baffles for DSM Omni Mics<br />

Microphone Windscreen<br />

MIC Powering / 'Bass Cut' Filters<br />

PORTABLE DECK PREAMPS<br />

Connector ADAPTERS<br />

Maintenance for Connectors<br />

Portable Deck External Power<br />

DAT Deck Cleaning Cassettes<br />

Sony Headphones<br />

LiteGUY HRTF Baffle for stand/boom mounted stereo-surround<br />

recording<br />

WHB/N DSM MIC Windscreen Headband<br />

DSM Mic Powering + Bass Filters<br />

Battery Powered Mic Preamplifiers<br />

Adapters & Patch Cables<br />

ProGOLD by CAIG LABS<br />

External Portable Deck Battery Systems<br />

NON-Abrasive Fabric DAT Cleaning Tapes<br />

Field Monitoring / Mastering Headphone Reviews<br />

GUY Heavy Duty HRTF Baffle<br />

DSM-GUY Virtual Reality HRTF Spaced Omni Stereo Mic Baffle<br />

The need for an effective substitute to wearing<br />

DSM microphones for Field/Studio and Stage<br />

HRTF recording.<br />

Unlike all other (dummy or binaural) recording<br />

heads, which are very costly and/or of incorrect<br />

acoustical design, DSM-GUY is accurate and most<br />

affordable.<br />

GUY's 100% solid MOLDED SORBOTHANE makes an EXACT acoustical replica of our own HRTF (acoustic<br />

Head Related Transfer Function). This allows the recordist to use the usually headworn DSM microphones in a<br />

manner similar to conventional stand mounted microphones, but with the most accurate possible 3-D ambient HRTF<br />

reception pattern.<br />

LiteGUY<br />

Acoustics Laboratory, EFX, Grand Piano, and Pure Acoustical Music recording of<br />

Jazz, Classical. Choral, are just some of the recording applications currently using<br />

the DSM-GUY HRTF Baffling System.<br />

For DSM-GUY Description: See DSM-GUY (page)<br />

For Spaced Dual Omni HRTF Baffled 3-D Stereo . . . . . Starting at $1000.-<br />

Low 3-4 Lb. Weight, Low Cost, Exclusive True HRTF Acoustic Design<br />

Built-in Easy DSM MIC Loop Mounting (as shown at left)<br />

LiteGUY HRTF Baffle Mounts on ANY Standard 5/8" Threaded Mic Stands<br />

Top of Baffle 5/8" Mic Threads Allows for Boom Mounting or even a second (Vocal)<br />

Mic<br />

Optional Baffle Mount for DSM Mic WHB/N Windscreen . . . ADD +$75.-


Studio Session Recording the "As-Heard" Acoustic<br />

Sound of: Drum Kit, Grand Piano, Cello, Floor harp, A<br />

Cappella Vocals, and Stage-Front or FOH Live Music<br />

Recording<br />

Recording of Theater, Acoustic Music, Instrument<br />

Amps, Lecture with Audience 3-D Ambient Nature &<br />

EFX<br />

CLICK Photo For More LiteGUY<br />

Recordings of Very Long Duration For Sound<br />

Recording within "People Hazardous" Field Locations<br />

Easy/Safe Temporary/Permanent Installation as a<br />

'Flown' Ambient Stereo -Surround Microphone in Clubs,<br />

Concert Halls, Festival Stages<br />

WHB/N DSM<br />

Windscreen<br />

Professional and Amateur DSM customers have<br />

expressed a need to suppress wind-blast effects<br />

while recording outdoors.<br />

DSM Mic Windscreen Headband + molded case . . . $250 USD<br />

WHB/N keeps the advantages of stealthy profile and full frequency<br />

fidelity of the DSM's without resorting to large wind-blocking<br />

mechanisms (like an umbrella) to provide the necessary air-quiet<br />

zone surrounding head or HRTF Baffle mounted DSM microphones.<br />

$250.00 USD* *With molded hardcase+DSM Mic Premounted<br />

The WHB accessory provides DSM mic mounting within a stealthy profile<br />

fabric windscreen looking identical to 'Walkman-style' lightweight<br />

headphones.<br />

The WHB virtually eliminates the wind's low-frequency rumble effects and<br />

recorder overloads that often occur in windy conditions or if recording on an<br />

open moving platform.<br />

The WHB fabric/wire frame windscreen is effective in preventing airgust<br />

overloads; producing only a very natural quiet rushing sound* in strong<br />

gusts that adds the realism of the wind's natural presence in true concert<br />

with all other sounds in ambient recordings.<br />

Most film Sound Designers use the DSM microphone mounted inside<br />

WHB/N windscreen accessory. For a partial list of DSM mic user's film<br />

credits CLICK HERE FOR FILM CREDITS PAGE.<br />

(*NOTE: The WHB allows the natural recording of the "Sound of Strong Blowing Wind"as was used by Bob Grieve for most sound<br />

effects/ambient for: Wyatt Earp (Western / Feature / Warner Bros. Pictures) Supervising Sound Editor Released 06/24/1994)<br />

GENERAL DESCRIPTION<br />

The WHB is a robust headband with removable "lightweight headphone-sized" fabric windscreens for<br />

wearing the DSM pickups without eyeglasses (or other) mounting. The fabric wind screen reduces the low<br />

frequency effects of strong gusty winds without the usual sound distortions and noise generation of windscreens in<br />

general.<br />

Most windscreens provided by other<br />

microphones manufacturers effectively<br />

remove the wind's air blast effects and some<br />

(or most) of the whistling, high-frequency sounds<br />

created when wind traverses an unprotected<br />

pickup but, at the expense of increased<br />

harmonic distortion, frequency dependent<br />

peaks/dips, and attenuation of highfrequencies.<br />

The commonly available open-cell foam type<br />

windscreen materials, while having all the<br />

discussed problems, are extremely effective at<br />

blocking all wind blast effects but, often generate<br />

annoying hissing sounds with the wind'<br />

presence.


Keeping this in mind, <strong>Sonic</strong> <strong>Studios</strong> researched<br />

windscreen methods and materials with very little or no<br />

detrimental effects to sound reception while still allowing wind-protected quality recordings in high winds.<br />

The WHB fabric/wire frame windscreen is effective in preventing air-gust overloads;<br />

producing only a very natural quiet rushing sound in strong gusts that adds the realism of the<br />

wind's natural presence in true concert with all other sounds in ambient recordings.<br />

'STREET STYLE' HEADBAND . . . $75.00 USD<br />

Very comfortable and discreet accessory for 'person' mounting DSM stereo<br />

mic. Securely stays in position even during extreme movement or athletic<br />

activity. SS-HB allows comfortable eyegear, hat or safety helmet wearing.<br />

Great for easy recording of natural ambient sounds, interview, music<br />

performance, seminars, competition athletic and exercise programs.<br />

Record virtual surround sound just about anywhere, except in windy<br />

conditions outdoors where use of a wind blocking umbrella is strongly<br />

suggested.<br />

(Back to Page Top)<br />

COMPACT PORTABLE<br />

MIC PREAMPLIFIER<br />

MODELS<br />

(Back to Home Page) (Back to Tapers Tips) (Back to Cape Arago MPEG-1 Layer 3 <strong>Download</strong>)<br />

All <strong>Sonic</strong> <strong>Studios</strong> preamplifier models<br />

have excellent low noise/distortion,<br />

very wide frequency bandwidth<br />

suitable for digital 24bit/+96K high<br />

sample rate recording. All with DSM-<br />

6S/1S stereo-surround mic powering<br />

feature.<br />

All models have very precision circuit<br />

components for exceptional channel<br />

match. This allows optimum stereosurround<br />

recorded image with<br />

(DSM) HRTF arrayed mic systems.<br />

<strong>Sonic</strong> <strong>Studios</strong> preamps are specified full operating frequency


PA-24-V $2500 unbalanced S-VHS<br />

cable +4 dBu output<br />

As 24UX above, but<br />

higher 34/44/54 dB<br />

gain/10 volt supply,<br />

PA-16XS $2000 refined lower-distorion<br />

AMP stages, +17 dBu<br />

outputs<br />

As PA-16XS, but 4-<br />

channel (dual stereo),<br />

higher 40/50/60 dB<br />

gain/30 volt supply,<br />

PA-12SX4 $5000 most refined lowerdistorion<br />

AMP stages, 4-<br />

channel +24 dBu<br />

balanced 100 ohm<br />

outputs<br />

PA-24CS $2650<br />

As 24UX above, but 4-<br />

channel (dual stereo),<br />

higher 30/40/50 dB<br />

gain/6 volt supply, 4-<br />

Balanced +15 dBu 100<br />

ohm outputs<br />

VHS 2.7<br />

(1)balanced)<br />

miniXLR-5M<br />

Dual<br />

balanced<br />

miniXLR-5M<br />

miniXLR-<br />

3F Stereo<br />

Dual<br />

miniXLR-<br />

3F Stereo<br />

1.0 x 2.5<br />

x2.7<br />

2.0 x 2.5 x<br />

2.7<br />

AA L91 + (4)<br />

AA Alkaline<br />

BD-16XS (4)<br />

alkaline D<br />

cell +100<br />

Hrs. 5 Volt<br />

regulated<br />

Sled<br />

BD-16XS (4)<br />

alkaline D<br />

cell +25 Hrs.<br />

5 Volt<br />

regulated<br />

Sled<br />

+100 Hrs. (4)<br />

AA photo<br />

lithium L91<br />

(type),+25<br />

Hrs. (4)AA<br />

alkaline cell<br />

requirements. Included output junction box properly loads 75 ohm S-VHS cable so driving any<br />

extension length with 100% noise immunity is practical.<br />

Most versatile universal (full power driven balanced) +16 dBu miniXLR-5M stereo output.<br />

Similar 2-stage servo amplifier as PA-24 (series), but with lower distortion (more liniear) higher<br />

gain, higher bipolar operating +/- 5 volt supply, and choice of output patch cable adapters<br />

fitting most any deck balanced (or unbalanced) LINE input requirement. Requires external BD-<br />

16XS ($250) power supply sold separately.<br />

Fully compatible for 4-channel DSM-4CS/ mic system working into Sound Devices SD-744T<br />

+24 dBu line inputs. Dual miniXLR-5M balanced stereo output. Similar 2-stage servo<br />

amplifiers as in PA-16XS, but with even lower distortion (more liniear) higher gain, higher<br />

bipolar operating +/- 15 volt supply, and choice of output patch cable adapters fitting SD-744T<br />

model, and most any deck balanced (or unbalanced) LINE input requirement. Requires<br />

external BD-16XS ($250) power supply sold separately.<br />

Fully compatible for 4-channel DSM-4CS/ surround mic system working into 4-chanel<br />

Edirol/Roland R-4 deck balanced line inputs. Dual miniXLR-5M balanced stereo output.<br />

Similar 2-stage servo amplifiers as in PA-24UX, but higher bipolar operating +/- 3 volt supply,<br />

and choice of output patch cable adapters fitting R-4's (4) XLR-3F line input jacks, and most<br />

any deck balanced (or unbalanced) LINE input jack requirement.<br />

DSM PA-24NJ DC-150KHz SERVO STEREO MIC<br />

PREAMPLIFIER $950-USD<br />

Advanced DSM Mic Powering: 3-IC Low Noise Current Source<br />

6-IC 2-Stage AMP Design; Fullest Fidelity at ALL Gain Settings<br />

True DC Servo Design; NO Capacitors in the Signal Path<br />

< .005% Low Distortion; DC-to-150,000 cycle (-3 dB bandwidth)<br />

+3 dBm;


suggested secured to equipment bag or deck carry strap, or deck's<br />

surface with adhesive velcro strip.<br />

NOTE: Now with (not shown) slimmer profile Neutrik R/A plugs.<br />

UNIVERSAL OUTPUT<br />

ANY PA-24 (series) preamp model with OPTIONAL (+$30 unbalanced/$75<br />

balanced miniXLR-3/5M universal output plug for using with additional output<br />

adapter(s) to fit any type recorder input.<br />

Available output plug adapters include (miniXLR-3/5F jack to)<br />

3.5 mm stereo R/A plug (MD/DAT/R-09, more)<br />

Dual R/A 3.5 mm TS plug for MR-1 line input<br />

Dual XLR-3M standard (unbalanced/balanced) plugs<br />

Dual R/A 1/4" TS/TRS (unbalanced/balanced) phone plug<br />

PA-24XP $1250 USD (as shown; deck not included)<br />

Switchcraft Mini-XLR stereo mic input.<br />

Dual silver-nickel alloy molded R/A TRS powered* balanced output plugs exactly fit<br />

Microtrack's unusual narrow spacing.<br />

Powered balanced output will easily drive up to 10 meter length cable<br />

extensions; most useful for versatile uncompromising remote microphone location<br />

recording of nature sounds, noise-free stage performance, and studio session projects<br />

where DSM mic/ preamp are best located a significant distance from the recorder.<br />

Optimized PA-24XP Model for MicroTrack 24/96 compact flash recorder used for<br />

both headworn DSM (2)two channel ambient field recording, and long cable connection<br />

remote LiteGUY baffled mic on conventional mic stand or studio boom. Note: $65 USD<br />

adapter converts preamp dual TRS output plug to XLR plug for 'studio type'<br />

deck/mix board XLR line inputs<br />

PA-24XP Preamplifier did use a securing strap (as shown above) wrapping around MT24/96 deck leaving all needed control functions<br />

accessible.and LCD screen information visible. However, the preamp NOW comes with most convenient adhesive velcro patch securing the<br />

preamp to the deck's rear panel eliminating the need for the strap attachment<br />

Requires DSM mic with $50 USD mini-XLR output plug option<br />

Click image for Microtrack 24/96 deck review<br />

Model PA-24-V $2500.00 USD (Click HERE for owners<br />

manual page)<br />

For professional long distance remote mic recording<br />

Remote DSM + LiteGUY surround-sound mic + Preamplifier positions<br />

at virtually unlimited long cable connection distances from the recorder.<br />

FEATURES:<br />

Dual output for short /long distance 75 ohm terminated video cable<br />

for NO audio quality loss or electrical interference.<br />

Two separate LINE level outputs, a low power Mini-Stereo jack,<br />

and a long 22' S-VHS high-power cable. The S-VHS cable is extendable to over a 1000' distance with NO loss of audio<br />

quality!<br />

The low power mini-jack output drives short (


The S-VID-A $350.00 USD module is 75 ohm<br />

terminating, and directly connects to the preamplifier's 22'<br />

high power output cable at (d), or any length of standard<br />

commercial S-VHS patch cable at (e). Two types of output<br />

jacks, 3.5mm at (f) and RCA phono at (g) for dual recording.<br />

A 0/6dB ATTEN switch (h) ONLY works the RCA jacks.<br />

PA-3SX Portable Preamplifier Starting at $450.00 USD<br />

FEATURES:<br />

Low cost<br />

Hi-build quality<br />

Smallest pager size<br />

Low noise, 20/28/36 dB gain<br />

500+ hours on (2)L91 AA cells<br />

7-to-55,000+ Hz frequency bandwidth<br />

Low battery + near clip LED indicator<br />

PA-3SX for 3.5 mm line input recorders<br />

PA-3SX-U model w/universal output plug<br />

CLICK HERE for OWNERS MANUAL<br />

At right ($480 usd) PA-3SX with locking professional quality miniXLR-3F input jack shown Velcroattached<br />

to Edirol/Roland R-09 deck backside.<br />

UNIVERSAL OUTPUT<br />

($510 usd) PA-3SX-U preamp model with both input/output miniXLR-3F/M<br />

jack/universal output plug for using with optional adapter(s) to fit any type recorder<br />

input.<br />

Available output plug adapters include (miniXLR-3F jack to)<br />

3.5 mm stereo R/A plug (MD/DAT/R-09, more)<br />

Dual R/A 3.5 mm TS plug for MR-1 line input<br />

Dual XLR-3M (unbalanced) standard size plugs<br />

Dual R/A 1/4" TS (unbalanced) phone plugs<br />

A practical daylight LCD viewing solution for R-09 in the form of a snug-fitting molded clamshell case. (Shown<br />

below.)<br />

The R-09 VIEW CASE not only protects the deck from bumps and<br />

scrapes, there's a very effective integral viewing hood inside.<br />

This viewing hood provides the deep<br />

shade needed to keep the LCD from<br />

washing-out in bright daylight.<br />

The DAYLIGHT VIEW CASE is a<br />

<strong>Sonic</strong><strong>Studios</strong>.com exclusive and a must<br />

for practical R-09 field protection/display<br />

Monitoring.<br />

CLICK HERE FOR R-09 REVIEW PAGE<br />

R-09 VIEW CASE is $25 USD +<br />

Shipping<br />

Practical/more affordable (than larger/very costly<br />

Zaxcom's DEVA IV) portable hard-disk model Edirol<br />

R-4 (PRO) and Sound Devices SD-744T 4-channel<br />

recorders are completed with one of two <strong>Sonic</strong><br />

<strong>Studios</strong> 4-channel preamplifier models specially<br />

configured for exceptional performance surroundsound<br />

recording system using DSM-4CS HRTF mic<br />

array.<br />

4-CHANNEL PREAMPS<br />

FOR DSM-4CS SERIES<br />

SURROUND<br />

MICROPHONES<br />

SYSTEMS<br />

Sound Devices SD744T's input requirement is a very high +22<br />

dBu. Also CHANNELS 1/2 line-in's are standard XLR-3F type, but<br />

3/4 is miniXLR-3F type.<br />

PA-12SX4 model has different internal amplifiers running off +/-<br />

15 internal high voltage supply being powered by external BD-<br />

16XS regulated D-cell power sled. PA-12SX4 outputs full +24<br />

dBu balanced signal with miniXLR fitting SD-744T channels<br />

3/4. Also dual XLR-3M output adapter for DEVA IV or any<br />

balanced professional high dBu line level recording application<br />

using standard size connectors/extension cables on all 4<br />

channels.<br />

Edirol R-4(PRO) 4-channel line input signal requirement is a modest +4 dBu. This allows using<br />

all-in-one PA-24CS preamp model as shown at right running +100 hours on internal +/-3 volt<br />

supply using (4) AA cells.


PA-6LCxx<br />

Bass Filter Series<br />

BASS Low-CUT FILTER &<br />

Mic Powering ADAPTERS<br />

See DSM Powering<br />

Page<br />

The PA-6LC, PA-6LC2, PA-6LC3, and newer PA-6LC3B power adapters power DSM microphones<br />

and provide up to 3 choices of Bass LoCut frequencies for recording sounds with excessive or<br />

unwanted low frequencies.<br />

Having a BASS LoCut filter as an option is especially valuable for recording very loud live<br />

rock-type music in concerts and small clubs that often exaggerate bass sound for a more<br />

exciting time at the show. Cranking up the bass does sound and feel great during the live<br />

performance, but makes for an extremely unbalanced 'muddy' sound when played back by<br />

even the most powerful home speaker (and headphones) systems. Recent venue trends for 50-<br />

60 cycle Mega Boom Bass requires the increased Bass control of newer PA-6LC3B with up to<br />

13 dB reduction of 60 cycle Bass-Boom. Low frequency filtering (Low Cut) is also useful for<br />

reducing recorded traffic rumble noise during street interviews<br />

Without using a LoCut during the recording of 'WAY-OVER-THE-TOP BOOMY-BASS' music venues, the home<br />

system must provide 99% of its available power to reproduce just the low frequency bass portion of the recording.<br />

This leaves very little power for the vocals, lead guitar, Hi-hat symbols, and other sounds that also need to be heard<br />

undistorted during playback.<br />

Unless you have 1-2 thousand watts and a devoted 'state-of-the-art' sub woofer (or headphones system), there is<br />

little chance of supplying the original loudness required to reproduce a gut-thumping bassy recording with the high's<br />

audible or undistorted without reduction of bass frequencies below 100 cycles during playback.<br />

A common procedure of equalization with a three-knob tone control (Bass-Mid-High) or 10-band graphic<br />

equalizer usually does the trick at the expense of increasing the phase distortion at higher frequencies.<br />

A better solution is to reduce only the exaggerated sounds below 100-200 cycles during such recordings with<br />

a simple Hi-Pass filter (a.k.a. LoCut) that leaves all other frequencies above fully intact without incurring phase or<br />

amplitude distortions.<br />

The PA-6LC3 has (3) three user selectable switch positions and can also be used after-the-fact to reduce<br />

excessive bass on already tape recorded programs when placed in-series at the analog LINE output of the playback<br />

deck.<br />

The upper curve illustrates a very<br />

bassy live show with sound that's<br />

exaggerated at low frequencies for<br />

a 'gut-thumping-feel' effect.<br />

The middle flat curve shows the<br />

effect of using the PA-6LC3 a 180 Hz<br />

setting during the recording of the<br />

same show.<br />

The lower shows just the LoCut effect or the PA-6LC3 180<br />

Hz setting if used to record on a normal bass content show.<br />

Also Available: PA-6LC* ($150)...Fixed at most popular<br />

POP-ROCK 85 cycles music setting<br />

*PA-6LC IS NOT switchable, but lower cost and most<br />

effective for Loud Very Bassy Rock<br />

PA-6LC3B (85/180/250) For Extreme 'CAR-Stereo-Type' 50-60 Cycle Single-Note-Mega-Boom-Bass control and for recording Metal Rock when<br />

extremely close to the PA speakers. Gives a much clearer recording with far less chance of deck mic input overload distortion.<br />

ADAPTERS & PATCH CORDS<br />

(See DSM Powering Page for Details)<br />

Now Record live highest quality audio on both your portable<br />

recorder & camcorder by connecting the two together.<br />

This custom designed patch cable connects to both your<br />

deck's ministereo headphones output jack and the external<br />

mic input of most camcorder models.<br />

One beneifit of using this patch is replacing low quality camera<br />

on-board mics with your choice of higher quality audio signal<br />

from an external recorder.<br />

Also, using a recorder's headphone output allows camera<br />

recording volume adjustment making it easier to avoid<br />

overloading a camera's low level mic input.<br />

The in-line jack allows headphones monitoring, or use this for<br />

patching to another recorder's audio input.


$65- USD including USA delivery<br />

(Request quotation for custom cord lengths/connectors)<br />

Camcorder microphone<br />

INPUT TO portable<br />

DAT/MD deck<br />

Phones/LINE patch cable.<br />

Gives most Mini-<br />

Camcorder's ability for<br />

better quality and VU<br />

LEVEL control of the<br />

Video audio<br />

Handheld MONO XLR<br />

INTERVIEW MIC ADAPTER to<br />

Mini-Stereo INPUT<br />

NEWS / INTERVIEW safe-for - delicate<br />

deck minijacks adapter with MOLDED<br />

RIGHT/ANGLE plug<br />

MODEL M-XLR-F ... $35.-<br />

Minijacks on decks are delicate and easily damaged by stresses from straight<br />

plugs and stiff cords. Most right-angle adapters are typically too large, placing as much<br />

or more torgue stress on jacks. Minijack replacement service requires shipping, repair<br />

turn-around time, is costly. Some low cost, and older decks have no affordable or<br />

practical service available.<br />

Most mics and mic connector adapters do NOT provide stress-free<br />

connection and will easily cause jack damage from bumps and cord tugs.<br />

Properly designed molded right angle plugs with flexible cord is the ONLY<br />

solution for keeping minijacks in good working order. The 3.5mm JACK EXTENSION<br />

CABLE (shown at right) keeps minijacks from damaging effects of stress/wear.<br />

Well worth the small cost to insure your deck's critical input minijacks<br />

are safe from premature wearout and stress damage.<br />

3.5mm jack extension cable is good insurance against wearout<br />

and stress damage<br />

Dual Mono Stereo or Mono Mic<br />

XLR / PHONO / 3.5mm Adapter<br />

Cables<br />

All <strong>Sonic</strong> <strong>Studios</strong> XLR/Phono/RCA<br />

Connector Cables & Adapters Use Silver<br />

Alloy Welds, #1 Rated Neutrik Gold/Silver<br />

Alloy Connectors.<br />

"The Safe-Secure Connection" to delicate 3.5 mm input jacks<br />

MODEL DESCRIPTION CORD MOST COMMON USES USD<br />

D-XLR-F Dual Mono XLR-3 Female to 3.5mm Stereo Plug<br />

Connect Two XLR Mics to Minijack Input $60<br />

D-XLR-M Dual Mono XLR-3 Male to 3.5mm Stereo Plug ~.6 Meter Connect External Preamps to Minijack Input $60<br />

D-PHN-F Dual Mono Phono Female to 3.5mm Stereo Plug Connect Two Phono Plugs to Minijack Input $50<br />

D-XLR-<br />

M/MSJ<br />

3.5mm Stereo Jack to Dual Mono XLR-3 Male<br />

~18 CM<br />

Phantom Power Protected PA-6xxx<br />

Pwr'd DSM to XLR Preamp Input $65<br />

D-RCA-M Dual RCA Phono Plug to 3.5mm Stereo Plug ~1.5 M StarQuad Minijack Line to Analog Stereo Component $85<br />

M-XLR-F Mono XLR-3 Female to 3.5mm Stereo Plug ~1.5 Meter<br />

Interview single (handheld) MONO MIC<br />

to stereo minijack mic input $35<br />

3.5 mm Patch Mini-Stereo Plug-to-Plug Patch Cord ~.6 Meter Minijack to Minijack patch cable $25<br />

3.5 mm<br />

Extension Cable<br />

Mini-Stereo Plug-to-Jack EXTENSION<br />

Cable (varied lengths)<br />

~ 8 inches<br />

$25<br />

~ 1.5 M<br />

Minijack Input Extension Cables<br />

$35<br />

~ 3.5 M $50<br />

3.5 mm<br />

ATTEN<br />

3.5 mm<br />

VIDCAM<br />

Mini-Stereo Plug-to-Mini Jack 15 DB Patch ~.2 Meter Mic/Line Input 15 DB Attenuation $55<br />

Mini-Stereo Plug-to-Plug 41 DB ATTEN Patch ~ 1.5 M Line Level to VIDCAM Mic Input Conversion $75


If you do NOT see what you need, CALL for availability of Standard, Custom/Special Adapters<br />

Custom lengths and types available for most applications<br />

CLICK HERE For USA & International<br />

Payment/Shipping Options<br />

Prepaid or FedEx COD for USA only<br />

Free USA 1-877-347-6642 TEL 541-459-8839<br />

DeoxIT® Gold G-<br />

Series<br />

(Formally ProGOLD)<br />

Enhances All Your<br />

Important Audio/Video<br />

Connections<br />

Phone or E-Mail<br />

<strong>Sonic</strong> <strong>Studios</strong><br />

1311 Sunny Court<br />

Sutherlin, OR 97479 USA<br />

Contact us with questions and when ready to Order<br />

Protects All Precious Silver & Gold<br />

Contact Plating& Alloys<br />

by CAIG Laboratories, INC.<br />

ProGOLD Connector Cleaning Kit ......... $30.-<br />

USD<br />

Very Small 0.5 OZ Dropper Bottles safely carry PURE<br />

+91% Isopropyl Alcohol (NOT Supplied) for fast Field<br />

OR Studio Mini-Connector cleanup.<br />

1 drop on connector plug, or 2 drops on<br />

Jack Brush secures clean-noisefree<br />

audio/video.<br />

2 Bottles for $6.50 USD<br />

(2)Bottle/Brush KIT $10.- (FREE USA<br />

Shipping INCLUDED)<br />

G100L-7.4ml (as<br />

below) + (2)AB-1<br />

Tapered Cleaning<br />

Brushes (shown at<br />

right) + (1 empty)<br />

)0.5 oz Alcohol<br />

Dropper Bottle (as<br />

above) + (10) Lintfree<br />

Cotton<br />

Cleaning Cloths<br />

(shown at right)<br />

G100L-<br />

7.4ml<br />

100%<br />

ProGOLD, ...... $20.- Each<br />

Liquid 'Brush-IN-Cap' applicator Bottle,<br />

Safe/Effective for All styles of connectors<br />

AB-1 Tapered Cleaning Brush .... 2 for<br />

$6.50-<br />

Safely cleans all jacks All plastic bristles<br />

tapers to fit the smallest to the largest jacks; use with<br />

91+% pure isopropyl alcohol for safe/gentle inside<br />

cleaning of input jacks<br />

ORDERING INFO PAGE To Page Top Tips Page Home Page (Please Click HERE to See CAIG Labs Technical<br />

Description)<br />

NON-DAMAGING<br />

DAT CLEANING CASSETTES<br />

$14.50 ea. ...... 2 for $28 ...... (10)<br />

BOX for $125<br />

NOTE: DIC DAT brand stock of cleaning tapes is limited<br />

An alternative dry nonabrasive fabric type brand works, looks, and tests identical to the<br />

DIC DAT product. Same price<br />

Same price for either brand, so<br />

order a few anytime & safely<br />

maintain a clean DAT tape path<br />

CLICK for FAQ on Three Types of<br />

DAT Cleaning Cassettes<br />

Monitor<br />

Headphones<br />

CLICK HERE for Technical Page On DAT Fabric Cassette Page<br />

Mini-Reviews


MDR-SA3000/5000<br />

BINAURAL/STEREO-SURROUND COMPATIBLE HEADPHONES<br />

ALL DAY COMFORT, 8 Hz - to - 110,000 Hz extreme bandwidth, audiophile<br />

surround -like-imaging, true mastering quality natural sound , and compatibility to<br />

work with portable equipment make these two Sony models a perfect choice* for<br />

pleasure and most critical applications.<br />

*ONLY if small fold-up size, ambient noise isolation is NOT needed<br />

CLICK HERE FOR HEADPHONES PAGE<br />

Back to Home This Page Top Back to Tape Tips ORDERING INFO PAGE<br />

© 2007-2010 All rights reserved (This page updated 5/4/2010) Click to find us on YouTube!!!<br />

What's on <strong>Sonic</strong> <strong>Studios</strong> Web Site? (Click underlined text, and navigation photos)<br />

Home Page<br />

DSM Patented Stereo-Surround Microphone Technology Passive DSM Mic Powering/Bass Filters<br />

Eyegear/Headband/HRTF Baffle<br />

Stops wind blast noise; transparent<br />

mountable matched omni mics<br />

acoustic design; records real wind<br />

sounds<br />

for MD, DAT, CF, HD, and Video Field/Event/Studio Recording<br />

Battery Powered-Portable Mic Preamplifiers<br />

High-definition, low noise, very wide<br />

bandwidth preamp designs to fit any<br />

field/event/studio application using<br />

DSM stereo-surround mics.<br />

HRTF RECORDING Stereo-Surround Omni<br />

Mic Baffle for Stand,<br />

Fishpole, Studio Boom,<br />

and Ceiling<br />

RECORDING ACCESSORIES<br />

Portable<br />

Deck<br />

Power<br />

Solutions<br />

Patch/Adapter Cables<br />

MONO ONLY 'Lombardo'<br />

Lapel Mic for interview,<br />

Narration, Lecture, and<br />

clip-on acoustic instrument<br />

Recording<br />

Field/Studio<br />

Monitoring<br />

Headphones,<br />

Reviews<br />

DSM Magazine Reviews<br />

Recording Tips YouTube USA Toll Free: 1-877-347-6642<br />

FAQ Index Page<br />

Sample DSM<br />

Telephone #: 541-459-8839<br />

Pro Customers + Links<br />

Recordings Page<br />

E-mail: Guy<strong>Sonic</strong>@aol.com<br />

Customer Comments<br />

A Few Other Links<br />

About <strong>Sonic</strong> <strong>Studios</strong><br />

Film-Video-Games<br />

Credits Page<br />

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