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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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