Pro Audio Mixers

S-amp 4 Channel Stereo Headphone Amplifier

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

The S-Class Mini processors offer advanced signal processing in incredibly durable, portable enclosures. Very affordable S Class Minis are perfect for home, on the road, or as a quick fix to a house sound system. The S-Amp features a four channel headphone amp with 1/4" stereo inputs and volume control for each channel. AC adapter included.

FEATURES:

Portable miniature 4-channel headphone amplifier
Separate volume control knobs for each output
Supports wide variety of headphone impedances
Standard 1/4" stereo input jack for connection to mixer headphone outputs or headphone amplifiers

$49.00

R16 Multi-Track Recorder, Interface & Controller

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

Zoom revolutionizes recording with the first digital recorder with 16-track playback and 8-track simultaneous recording that uses Secure Digital (SD) memory. The R16 recorder is three production tools in one incredibly versatile device. It's a digital multi-track recorder, an audio interface and a control surface, providing you with all the tools necessary to create studio-quality recordings anywhere.

The R16 combines a remarkable level of functionality with exceptionally intuitive design. For recording purposes, the unit supports up to 32GB SD cards, allowing over 100 track hours of recording. The flexibility of SD recording not only makes the R16 lighter and more portable, it also ensures increased reliability with no concern for a crashing hard drive. You can even have respective SD cards dedicated to specific recording sessions. Back up your project on a USB memory stick.

FEATURES:

It's a Recorder - With the ability to record up to 8 tracks simultaneously, the R16 is perfect for recording everything: from music production and rehearsals to field recording and live performances. The R16 also features the same built-in stereo condenser microphones found on an H4 for convenient "sketch-pad" capturing of ideas or rehearsals.
It's an Interface - The R16 is more than a multi-track recorder. It's also a powerful workstation when using USB power for studio operation. Connect the R16 to your laptop or desktop computer via USB, launch your favorite DAW or use the included Cubase LE 4, and start laying down your production tracks. With the 8 balanced, combination XLR-1/4-inch inputs 2 outputs (8 x 2), you can record high-definition, 24-bit/96kHz audio (2 x 2). Use the R16's built-in effects as you lay down tracks on your computer.
It's a Controller - Computers bring incredible control and power to the recording process, but they're not very intuitive when it comes to mixing. And mixing makes the music. So, when you're ready to mix, the R16 is right there with you. With its USB operation, you can control the functions of your DAW software from the R16 for easy mixing with fine-tuned control. No more mixing with a mouse! The R16's intuitive, mixing console feel, and LED meter bridge makes mixing your tracks a pleasure.
Location shoots - Perfect for shooting on location, the R16 is well-suited for corporate event shoots where there are multiple speakers, industrials, education settings, talk shows or panel discussions where you don't want to compromise audio quality even with budget limitations that pervade today's media environment.
Good to Go - Best of all, the R16 will operate for almost 5 hours on 6 standard AA batteries, making it convenient to run on location without the added complication of charging battery packs. Use the R16 as a battery powered mixer, even when you're not recording!
Post-production - Transfer large amounts of audio in no time with the USB 2.0 interface that makes the R16 a drag and drop time saver and a pleasure to use. That means less time in post is spent building up your project, especially when you're using the R16 to gather natural sound on a shoot.
Ready for V/O - Sometimes a project calls for additional voiceover tracks, either on location as a "scratch track" or in the editing studio. And with phantom power, high-quality mic preamps and vocal effects onboard, the R16 is ready to roll in any situation.
Expand your horizons - Expandability is often a big part of using a piece of gear on location. With the R16, you can connect two R16 units via USB, one can be designated to function as the USB master and the other as the USB slave, allowing synchronized transport operation and recording on 16 tracks simultaneously.
Built-in high-sensitivity stereo microphones - When you want to quickly record natural sound or room audio from the location, the R16's built-in set of stereo mics will come in handy. Sound effects, speeches or dialog can be captured with excellent clarity.

$399.99

CAM-3 3-Channel Microphone Mixer

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

This minature 3-channel microphone mixer allows you to add and mix sound from 3 microphone sources simultaneously. Only 3 1/4" x 1/4" x 2 1/8", it weighs 3 ounces, uses no batteries, and can be attached to the camcorder or the handstrap.

$65.00

FMX-DSLR Portable Audio Mixer for Digital-SLR Camera

Samy's Camera — Mon, 30 Apr 2012 07:00:00 GMT

Azden's FMX-DSLR Portable Audio Mixer for Digital-SLR Camera is a two-channel mixer designed specifically for use with a DSLR camera. It features twin XLR inputs so that you can utilize professional microphones with your camera by using the camera's minijack output. The mixer has automatic gain control, a return feature and can be mounted directly to the camera or to a tripod for placement flexibility.

Two-Channel Mixer

This stereo mixer is designed specifically for those who want to use pro-quality microphones with a digital-SLR camera. The XLR inputs are compatible with a wide range of audio recording devices like shotguns, wireless mics and more

Automatic Gain Control

The mixer has an automatic gain control circuit, so when it's turned on it creates a constant signal to go to the camera. This is always engaged to reduce noise in the signal

Return Feature

This lets you take the signal from the headphone out on your camera and send it into the mixer so you can listen to the camera's sound as opposed to the mixer sound. That way you can hear what's on the tape as opposed to what's coming out of the mixer

Mounting

The mixer has a mount that allows you to mount it directly to the bottom of your camera. It also has a tripod mount on the bottom for flexibility in placement

$285.00

FMX-32A 3-Channel Portable Field Mixer

Samy's Camera — Mon, 30 Apr 2012 07:00:00 GMT

New and improved, the Azden FMX-32A 3-Channel Portable Field Mixer now uses the same circuit topology as the more expensive FMX-42 series mixers. With improved signal to noise ratio and wider frequency response the new FMX-32a is designed for the demanding needs of Professional Videographers. The small, all metal, battery operated (6-“AA”) mixer can be attached directly to the camera with supplied hook-and-loop fastener or neck worn with the optional FMX-32c carrying case. The FMX-32a has the following features: 3 XLR microphone inputs each with 2 input settings, 3 input level controls, master level control, switchable phantom power and limiters for each input, channel-addressable (L-C-R) Stereo XLR and mini outputs, 5-step LED array for easy signal monitoring, 12V DC input for external power (optional BC-27 power supply), and a 1/4" monitor headphone jack with level control.

Features:

Compact and Portable Metal Chassis
Enhanced Circuitry
3 XLR Mic Inputs with Level Control
Switchable Phantom Power
Switchable Limiters
XLR and Mini Outputs
1/4" Headphone Jack with Level Control
5-Step LED Array
Battery or External Powering

$449.00

FMX-42 4-Channel Portable Mixer

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

The Azden FMX-42 4-Channel Portabale Mixer has 4 balanced XLR line/mic inputs with individual level and pan controls, and provides switchable (per channel) 48V phantom power. Limiting, professional quality VU meters allow for accurate level setting. Other features include a master level control, 1 k tone generator, 2 balanced XLR outputs (line/mic switchable), a stereo mini-jack output for DV cameras and a headphone monitor with level control.

The FMX-42 can be powered by either 6 internal "AA" batteries or a 12V external supply (optional). A ballistic nylon carrying case is included.

Weight: 49.4 oz. (3.1 lbs.)
Dimensions: 1.96H x 8.66W x 5.9D"

*Requires 6-AA batteries, sold separately.

$519.00

FMX-42A 4-Channel Microphone Field Mixer

Samy's Camera — Mon, 30 Apr 2012 07:00:00 GMT

The Azden FMX-42a is a portable 4-channel audio mixer designed for professional and semi-professional field audio capturing. The FMX-42a features 4 balanced 3-pin XLR microphone inputs with individually switched +48VDC phantom power. A pair of balanced XLR outputs provide line or mic level (switchable) signal to cameras, recorders, etc.

Additional features include a switchable input limiter to reduce the possibility of overload distortion, Left/Center/Right pan switches on all input channels and enhanced circuitry for improved signal-to-noise ratio. A 10-pin camera return is also provided. Overall, the Azden FMX-42a proves to be an affordable field mixing solution for event videos, ENG/EFP applications, documentaries, and more.

Balanced Mic Inputs

The FMX-42a features 4 XLR microphone inputs. The balanced inputs deliver high gain and low noise floor

VU Meters

Dual analog meters provide a comprehensive read on audio level

Balanced Line or Mic Level Outputs

Dual balanced line or mic level switchable outputs via XLR male connectors provide balanced audio signal to inputs on cameras and additional mixers

2-Channel Addressable Outputs

Incoming signal from either channel can be assigned to either left or right outputs if signal isolation is desired

Input Limiters

Both inputs feature high quality switchable limiters. The limiters protect against peak distortion due to overload

Camera Return

A 10-pin camera return is provided for video applications

$599.00

Riggy-Micro Dual-XLR Preamplifier (No Phantom Power)

Samy's Camera — Mon, 04 Feb 2013 08:00:00 GMT

2XLR inputs low-noise preamp. "Riggy-Micro" means that it is super small/light/power efficient and has numerous mounting and accessory options (patent pending). Audio output bracketing (patent pending) for camera overload protection. Alkaline/LiPolymer operation (patent pending). Selective power-down mode (patent pending).

The RM202 Riggy-Micro Dual-XLR Preamplifier by its manufacturer JuicedLink, is a feature rich low noise preamp, built tough, and refined to provide the best power efficiency, smallest size, and lightest weight. It's small size and light weight also makes it unique in terms of flexibility for mounting it to your gear. Additionally, it has features that make it even more useful, allowing you to mount other accessories (mics, wireless receivers, etc) to the preamp.

The Riggy-Micro incorporates Audio Output Bracketing (patent pending) for camera overload protection. All of the microphone signals are combined (by setting the MONO/STEREO switch to MONO), and sent to both the the left and right output channels. The copy on the right output channel is then attenuated to a safe lower signal level (about 16dB lower, by turning ON the Rpad switch). So, if you blow out the main audio channel on the left, you have a back up that you can pull from in post on the right.

This approach has advantages over other types of overload protection, such as limiters. First, Audio Output Bracketing consumes no power from the battery, and also adds no noise or distortion to your audio. Second, every camera gain setting (and, every different camera) will have a unique signal level at which clipping will start to occur. So, if you were to attempt to use a limiter approach, you would need to re-calibrate the point at which the limiter would kick in for each different gain setting of the camera (and, each different camera). Be careful, because not all manufacturers even provide you with the ability to set the limiter threshold setting. Audio Output Bracketing needs no calibration for different cameras or different camera gain settings. The backup channel is always there at ~16dB lower signal level, regardless of the camera or camera gain setting.

The Riggy-Micro uses a 9V battery. Since it is designed for cameras which already have meters, manual control, and headphones, it can achieve very long battery life (longer than the Riggy-Assist series). Additionally, the Riggy-Micro has a number of features to allow you to optimize your battery life. Portions of the preamp can be selectively powered down if not being used (patent pending), to reduce the current and extend the battery life. If you are doing a fair amount of running-gunning with only one mic, you can power down 1 of the XLR channels (patent pending). Furthermore, there are very high capacity lithium-polymer batteries on the market, which also have the convenience of being rechargeable.

The low-battery indicator can be switched between alkaline or lithium-polymer threshold, so you can use either chemistry without leaving unnecessary capacity in the battery (patent pending). Battery estimates below. Thank you Nikon and Canon for adding the features to the D800 and 5DMKIII that we have wanted for quality audio ... manual control, headhpones, metering visible during recording. Now, we can rip out all of the crap that is not needed anymore (AGC Disable, headphones, metering), and make the smallest, lightest, and most power efficient low-noise preamp ... plus, adding some new goodies ...

The Riggy-Micro is designed to be used with cameras which already have manual control, meters, and headphones. The preamp does not have AGC Disable, meters or headphones. For a preamp which has those features, then check out the Riggy-Assist line of preamps. The Riggy-Micro can also be used as a XLR front end to digital audio recorders. Here are some of the many companion devices used with the Riggy-Micro: DSLRs with headphones, meters, manual control: Canon 5DMKIII, Nikon D800, etc, Camcorders with headphones, meters, manual control: Canon Vixia HD camcorders, etc, Other cameras with stereo minijack mic inputs: Canon C300 (replacing the monitor attachment), Digital Audio Recorders with stereo minijack mic inputs: Zoom H4n, Sony PMD-50

Features:

Two Locking XLR Input Connectors
Low-Noise Microphone Preamplifiers
Audio Output Bracketing Feature
Mic/Line Signal Level Switches
Hi/Lo Gain Level Switches
Optional Mono Summing
Selective Power-Down
1/8 In. Output for DSLR Compatibility
Powered by a 9V Battery

$249.00

Riggy-Micro Dual-XLR Preamplifier with Phantom Power

Samy's Camera — Mon, 04 Feb 2013 08:00:00 GMT

The RM222 Riggy-Micro Dual-XLR Preamplifier with Phantom PowerjuicedLink is designed for cameras featured with audio meters, manual gain control, and a headphone output. It is highly efficient in operation, small size, and has a lightweight design for mounting flexibility.

It features 2 locking XLR input channels with low-noise microphone preamplifiers with a Mic/Line level switch, a Hi/Lo gain switch, and a Phantom power switch. The onboard Phantom power voltage is selectable between 48V/12V. The inputs can also be summed mono, copying each input to both sides. It uses 9v battery for powering up.

2XLR inputs low-noise preamp with 48V/12V phantom power. "Riggy-Micro" means that it is super small/light/power efficient and has numerous mounting and accessory options. Audio output bracketing for camera overload protection. Alkaline/LiPolymer operation. Selective power-down mode.

The Riggy-Micro RM222 is a feature rich low noise preamp, built tough, and refined to provide the best power efficiency, smallest size, and lightest weight. It's small size and light weight also makes it unique in terms of flexibility for mounting it to your gear. Additionally, it has features that make it even more useful, allowing you to mount other accessories (mics, wireless receivers, etc) to the preamp.

It is more than just a low-noise preamp with sweet audio features. It takes advantage of the valuable real estate when mounted to your camera to be able to mount more accessories to your camera (mics, wireless receivers, etc.). First, the Riggy-Micro has Riggy mounting points allowing you to mount a RB401 Riggy Bracket, which has 4 cold shoe mounts and lots of mounting holes for attaching more accessories to your camera, like microphones and wireless receivers, etc.

The Riggy-Micro is also so small and light, that it can be mounted on top of your camera in the hot-shoe. It's quite nice to get the preamp off of the bottom of your camera. Now, you can attach a battery grip, or just cradle the camera/lens in the palm of your hand, like a DLSR is traditionally held. You will seperately purchase a cold-shoe to 1/4-20 male to mount to the 1/4-20 female on the bottom of the Riggy-Micro. While mounted on top of your camera, you can add cold shoe mounts (one on the top, and another on the right side) directly to the Riggy-Micro enclosure, using the RB101 Riggy Cold Shoe Attachment.

Features:

Two Locking XLR Input Connectors
Low-Noise Microphone Preamplifiers
Switchable 12V / 48V Phantom Power
Audio Output Bracketing Feature
Mic/Line Signal Level Switches
Hi/Lo Gain Level Switches
Optional Mono Summing
Selective Power-Down
1/8" Output for DSLR Compatibility
Powered by a 9V Battery

$329.00

Riggy-Assist Dual-XLR Preamplifier with Metering (No Phantom Power)

Samy's Camera — Mon, 04 Feb 2013 08:00:00 GMT

2XLR inputs low-noise preamp. "Riggy-Assist" means that it has added features to the Riggy-Micro to assist with cameras which do not have headphones, meters, or manual control. It is Riggy in that it has numerous mounting and accessory options (patent pending). Audio output bracketing (patent pending) for camera overload protection. Alkaline/LiPolymer operation (patent pending). Selective power-down mode (patent pending). The JuicedLink Riggy-Assist Dual-XLR Preamplifier with Metering (No Phantom Power) takes all of the great features found in the Riggy-Micro RM202, and adds AGC Disable, Headphones, and Meters.

The Riggy-Assist incorporates Audio Output Bracketing (patent pending) for camera overload protection. All of the microphone signals are combined, (by setting the MONO/STEREO switch to MONO), and sent to both the the left and right output channels. The copy on the right output channel is then attenuated to a safe lower signal level (about 16dB lower, by turning ON the Rpad switch). So, if you blow out the main audio channel on the left, you have a back up that you can pull from in post on the right.

This approach has advantages over other types of overload protection, such as limiters. First, Audio Output Bracketing consumes no power from the battery, and also adds no noise or distortion to your audio. Second, every camera gain setting (and, every different camera) will have a unique signal level at which clipping will start to occur. So, if you were to attempt to use a limiter approach, you would need to re-calibrate the point at which the limiter would kick in for each different gain setting of the camera (and, each different camera). Be careful, because not all manufacturers even provide you with the ability to set the limiter threshold setting. Audio Output Bracketing needs no calibration for different cameras or different camera gain settings. The backup channel is always there at ~16dB lower signal level, regardless of the camera or camera gain.

The Riggy-Assist uses a 9V battery, and is a high-current device when all of the elements are in operation. However, the Riggy-Assist has a number of features to allow you to optimize your battery life. Portions of the preamp can be selectively powered down if not being used (patent pending), to reduce the current and extend the battery life. If you are doing a fair amount of running-gunning with only one mic, you can power down 1 of the XLR channels (patent pending). If you are using a camera that has meters visible while recording, you can power down the meter (patent pending). Furthermore, there are very high capacity lithium-polymer batteries on the market, which also have the convenience of being rechargeable.

The low-battery indicator can be switched between alkaline or lithium-polymer threshold, so you can use either chemistry without leaving unnecessary capacity in the battery (patent pending). Battery estimates below. The Riggy-Micro series of preamps (RM202) will get considerably longer battery life, as it does not have the headphone, meter, or AGC Disable circuitry (and, it will be smaller and lighter). The Riggy-Assist is designed to be used with cameras which do not have manual control, meters, or headphones. The preamp adds AGC Disable, meters, and headphones that are missing in the camera. If your camera already has those features, then check out the Riggy-Micro line of preamps. The Riggy-Assist can also be used as a XLR front end to digital audio recorders. Here are some of the many companion devices used with the Riggy-Micro.

Features:

Two Locking XLR Input Connectors
Low-Noise Microphone Preamplifiers
4-Segment Meters can be User-Calibrated
Audio Output Bracketing Feature
AGC Disable Switch
Mic/Line Signal Level Switches
Hi/Lo Gain Level Switches
1/8 In. Mono Headphone Output with Level
1/8 In. Output for DSLR Compatibility
Powered by a 9V Battery

$329.00

Riggy Micro Low-Noise Preamp

Samy's Camera — Mon, 04 Feb 2013 08:00:00 GMT

3XLR inputs low-noise preamp with 48V/12V phantom power. It means that Juicedlink Riggy Micro Low-Noise Preamp is super small/light/power efficient and has numerous mounting and accessory options. It has audio output bracketing for camera overload protection and Alkaline/ LiPolymer operation with Selective power-down mode.

The Riggy-Micro RM333 is a feature rich low noise preamp, built tough, and refined to provide the best power efficiency, smallest size, and lightest weight. It's small size and light weight also makes it unique in terms of flexibility for mounting it to your gear. Additionally, it has features that make it even more useful, allowing you to mount other accessories (mics, wireless receivers, etc) to the preamp.

It is more than just a low-noise preamp with sweet audio features. It takes advantage of the valuable real estate when mounted to your camera to be able to mount more accessories to your camera (mics, wireless receivers, etc.).

First, the Riggy-Micro has Riggy mounting points allowing you to mount a RB401 Riggy Bracket, which has 4 cold shoe mounts and lots of mounting holes for attaching more accessories to your camera, like microphones and wireless receivers, etc.

The Riggy-Micro is also so small and light, that it can be mounted on top of your camera in the hot-shoe. It's quite nice to get the preamp off of the bottom of your camera. Now, you can attach a battery grip, or just cradle the camera/lens in the palm of your hand, like a DLSR is traditionally held. You will separately purchase a cold-shoe to 1/4-20 male to mount to the 1/4-20 female on the bottom of the Riggy-Micro. While mounted on top of your camera, you can add cold shoe mounts (one on the top, and another on the right side) directly to the Riggy-Micro enclosure, using the RB101 Riggy Cold Shoe Attachment.

Features:

Camera Overload Protection - Audio Output Bracketing: The Riggy-Micro incorporates Audio Output Bracketing (patent pending) for camera overload protection. All of the microphone signals are combined (by setting the MONO/STEREO switch to MONO), and sent to both the the left and right output channels. The copy on the right output channel is then attenuated to a safe lower signal level (about 16dB lower, by turning ON the Rpad switch). So, if you blow out the main audio channel on the left, you have a back up that you can pull from in post on the right. This approach has advantages over other types of overload protection, such as limiters. First, Audio Output Bracketing consumes no power from the battery, and also adds no noise or distortion to your audio. Second, every camera gain setting (and, every different camera) will have a unique signal level at which clipping will start to occur. So, if you were to attempt to use a limiter approach, you would need to re-calibrate the point at which the limiter would kick in for each different gain setting of the camera (and, each different camera). Audio Output Bracketing needs no calibration for different cameras or different camera gain settings. The backup channel is always there at ~16dB lower signal level, regardless of the camera or camera gain setting.
Designed for Battery Life Efficiency: The Riggy-Micro uses a 9V battery. Since it is designed for cameras which already have meters, manual control, and headphones, it can achieve very long battery life (longer than the Riggy-Assist series). Additionally, the Riggy-Micro has a number of features to allow you to optimize your battery life. Portions of the preamp can be selectively powered down if not being used (patent pending), to reduce the current and extend the battery life. If you are doing a fair amount of running-gunning with only one mic, you can power down 2 of the XLR channels (patent pending). Also, many modern mics will run down to 12V phantom power, so phantom power is selectable between 48V or 12V. Furthermore, there are very high capacity lithium-polymer batteries on the market, which also have the convenience of being rechargeable. The low-battery indicator can be switched between alkaline or lithium-polymer threshold, so you can use either chemistry without leaving unnecessary capacity in the battery.
Need for the Riggy-Micro Series of Preamps: Thank you Nikon and Canon for adding the features to the D800 and 5DMKIII that we have wanted for quality audio manual control, headhpones, metering visible during recording. Now, we can rip out all of the crap that is not needed anymore (AGC Disable, headphones, metering), and make the smallest, lightest, and most power efficient low-noise preamp.
Cameras and Recorders for the Riggy-Micro: The Riggy-Micro is designed to be used with cameras which already have manual control, meters, and headphones. The preamp does not have AGC Disable, meters or headphones. For a preamp which has those features, then check out the Riggy-Assist line of preamps. The Riggy-Micro can also be used as a XLR front end to digital audio recorders. Here are some of the many companion devices used with the Riggy-Micro: DSLRs with headphones, meters, manual control: Canon 5DMKIII, Nikon D800, etc, Camcorders with headphones, meters, manual control: Canon Vixia HD camcorders, etc, Other cameras with stereo minijack mic inputs: Canon C300 (replacing the monitor attachment), Digital Audio Recorders with stereo minijack mic inputs: Zoom H4n, Sony PMD-50

$399.00

Riggy-Assist Dual-XLR Preamplifier with Phantom Power and Metering

Samy's Camera — Mon, 04 Feb 2013 08:00:00 GMT

The Riggy-Assist Dual-XLR Preamplifier by its manufacturer JuicedLink. 2XLR inputs low-noise preamp with 48V/12V phantom power. "Riggy-Assist" means that it has added features to the Riggy-Micro to assist with cameras which do not have headphones, meters, or manual control. It is Riggy in that it has numerous mounting and accessory options (patent pending). Audio output bracketing (patent pending) for camera overload protection. Alkaline/LiPolymer operation (patent pending). Selective power-down mode (patent pending).

The Riggy-Assist incorporates Audio Output Bracketing (patent pending) for camera overload protection. All of the microphone signals are combined, (by setting the MONO/STEREO switch to MONO), and sent to both the the left and right output channels. The copy on the right output channel is then attenuated to a safe lower signal level (about 16dB lower, by turning ON the Rpad switch). So, if you blow out the main audio channel on the left, you have a back up that you can pull from in post on the right.

This approach has advantages over other types of overload protection, such as limiters. First, Audio Output Bracketing consumes no power from the battery, and also adds no noise or distortion to your audio. Second, every camera gain setting (and, every different camera) will have a unique signal level at which clipping will start to occur. So, if you were to attempt to use a limiter approach, you would need to re-calibrate the point at which the limiter would kick in for each different gain setting of the camera (and, each different camera). Be careful, because not all manufacturers even provide you with the ability to set the limiter threshold setting. Audio Output Bracketing needs no calibration for different cameras or different camera gain settings. The backup channel is always there at ~16dB lower signal level, regardless of the camera or camera gain setting.

The Riggy-Assist uses a 9V battery, and is a high-current device when all of the elements are in operation (phantom power, meter, etc). However, the Riggy-Assist has a number of features to allow you to optimize your battery life. Portions of the preamp can be selectively powered down if not being used (patent pending), to reduce the current and extend the battery life. If you are doing a fair amount of running-gunning with only one mic, you can power down 1 of the XLR channels (patent pending). If you are using a camera that has meters visible while recording, you can power down the meter (patent pending). Additionally, many modern mics will run down to 12V phantom power, so phantom power is selectable between 48V or 12V. Furthermore, there are very high capacity lithium-polymer batteries on the market, which also have the convenience of being rechargeable.

The low-battery indicator can be switched between alkaline or lithium-polymer threshold, so you can use either chemistry without leaving unnecessary capacity in the battery (patent pending). Battery estimates below. The Riggy-Micro series of preamps (RM222) will get considerably longer battery life, as it does not have the headphone, meter, or AGC Disable circuitry (and, it will be smaller and lighter). The Riggy-Assist is designed to be used with cameras which do not have manual control, meters, or headphones. The preamp adds AGC Disable, meters, and headphones that are missing in the camera. If your camera already has those features, then check out the Riggy-Micro line of preamps. The Riggy-Assist can also be used as a XLR front end to digital audio recorders.

Features:

Two Locking XLR Input Connectors
Low-Noise Microphone Preamplifiers
4-Segment Meters can be User-Calibrated
Switchable 12V / 48V Phantom Power
Audio Output Bracketing Feature
AGC Disable Switch
Mic/Line Signal Level Switches
Hi/Lo Gain Level Switches
1/8 In. Mono Headphone Output with Level
Powered by a 9V Battery

$399.00

Riggy Assist Low-Noise Preamp

Samy's Camera — Mon, 04 Feb 2013 08:00:00 GMT

3XLR inputs low-noise preamp with 48V/12V phantom power. "Riggy-Assist" means that it has added features to the Riggy-Micro to assist with cameras which do not have headphones, meters, or manual control. It is Riggy in that it has numerous mounting and accessory options (patent pending). Audio output bracketing (patent pending) for camera overload protection. Alkaline/LiPolymer operation (patent pending). Selective power-down mode (patent pending). The JuicedLink Riggy Assist Low-Noise Preamp takes all of the great features found in the Riggy-Micro RM333, and adds AGC Disable, Headphones, and Meters.

The Riggy-Assist incorporates Audio Output Bracketing (patent pending) for camera overload protection. All of the microphone signals are combined, (by setting the MONO/STEREO switch to MONO), and sent to both the the left and right output channels. The copy on the right output channel is then attenuated to a safe lower signal level (about 16dB lower, by turning ON the Rpad switch). So, if you blow out the main audio channel on the left, you have a back up that you can pull from in post on the right.

This approach has advantages over other types of overload protection, such as limiters. First, Audio Output Bracketing consumes no power from the battery, and also adds no noise or distortion to your audio. Second, every camera gain setting (and, every different camera) will have a unique signal level at which clipping will start to occur. So, if you were to attempt to use a limiter approach, you would need to re-calibrate the point at which the limiter would kick in for each different gain setting of the camera (and, each different camera). Be careful, because not all manufacturers even provide you with the ability to set the limiter threshold setting. Audio Output Bracketing needs no calibration for different cameras or different camera gain settings. The backup channel is always there at ~16dB lower signal level, regardless of the camera or camera gain setting.

The Riggy-Assist uses a 9V battery, and is a high-current device when all of the elements are in operation (phantom power, meter, etc). However, the Riggy-Assist has a number of features to allow you to optimize your battery life. Portions of the preamp can be selectively powered down if not being used (patent pending), to reduce the current and extend the battery life. If you are doing a fair amount of running-gunning with only one mic, you can power down 2 of the XLR channels (patent pending). If you are using a camera that has meters visible while recording, you can power down the meter (patent pending). Additionally, many modern mics will run down to 12V phantom power, so phantom power is selectable between 48V or 12V. Furthermore, there are very high capacity lithium-polymer batteries on the market, which also have the convenience of being rechargeable.

The low-battery indicator can be switched between alkaline or lithium-polymer threshold, so you can use either chemistry without leaving unnecessary capacity in the battery (patent pending). Battery estimates below. Now, the Riggy-Micro series of preamps (RM333) will get considerably longer battery life, as it does not have the headphone, meter, or AGC Disable circuitry (and, it will be smaller and lighter). The Riggy-Assist is designed to be used with cameras which do not have manual control, meters, or headphones. The preamp adds AGC Disable, meters, and headphones that are missing in the camera. If your camera already has those features, then check out the Riggy-Micro line of preamps. The Riggy-Assist can also be used as a XLR front end to digital audio recorders. Here are some of the many companion devices used with the Riggy-Micro.

Features:

Mic/Line Switches for each XLR channel
Hi/Lo Gain Switches for each XLR channel
Mono/Stereo Switch
AGC (Automatic Gain Control) disabling
Headphone output
4 segment R/L meters (each) which can be calibrated to camera
Riggy Mounting Options - Three XLR input low-noise preamp, amplified mic level output (3.5mm stereo mini jack). Optional accessory bracket allows mounting of numerous other components, such as microphones, wireless receivers, etc.
Designed to Optimized Battery Life Efficiency - Switchable between Alkaline and LiPoly 9V battery use (patent pending). Selective power down mode to turn off portions of the preamp (two XLR channels and/or meter) not being used (patent pending)
Battery Life - 6 hr battery life (no phantom, all 3 XLR inputs active, Alkaline battery), 48V phantom power, and power saving 12V phantom mode
Camera Overload Protection - Audio Output Bracketing (patent pending) duplicates the left channel on the right channel at lower signal level (approximately 16dB lower). If the camera overloads on the main signal on the left channel, you have a backup at a safe lower level on the right channel. Audio Output Bracketing adds no noise or distortion, in contrast to the noise and distortion created by limiters. It also consumes no battery power.

$469.00

DV PRO MIX3

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

The DV PROMIX 3 from Professional Sound Corporation is the first product built by PSC specifically for the DV Cam market. Professional Sound Corporation has been building professional, portable audio equipment for nearly 18 years. This DV PROMIX 3 has been designed to provide all of the features necessary for today's demanding video shoots. This robust three-channel mixer is battery operated for portability and provides very high quality audio in a compact and lightweight package. The DV PROMIX 3 allows the operator to easily and conveniently mix up to three audio sources.

FEATURES:

Operates from two easily accessible 9V alkaline batteries.
Equipped with separate input level and microphone powering switches.
Outputs are separately switchable to microphone or line level. A convenient tape return jack and a fixed microphone level output jack are included.

$479.95

PB224 Dual Battery Powered Phantom Adapter

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

Perfect for any condenser microphone, the PB224 powers even the high-current draw microphones. The unit features a complete redesign in the voltage supply circuits, offering a rock solid 48 volts of clean phantom power. The 224 now sports a vastly improved molded plastic battery compartment for the two 9 Volt alkaline batteries, however it will still operate on the Rolls PS27 AC adapter.

$80.95

DP-03 Digital Portastudio

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

A pair of stereo condenser microphones is built into the front panel of the DP-03, helpful for capturing a rehearsal, live performance or songwriting ideas. Also included are a pair of high-quality XLR microphone preamps with phantom power for condenser microphones. 1/4" line inputs are also available, and an instrument-level switch allows you to record a guitar or bass without a direct box. A three-button footswitch, the RC-3F, is available for control and punch in.

$399.95

DR-680 8-Track Portable Audio Recorder

Samy's Camera — Sat, 01 Jan 2011 08:00:00 GMT

DR-680 brings multi-channel portable recording within reach of any musician for polished live, location and surround recordings. Up to eight tracks can be recorded to solid-state SD card media at 96kHz/24-bit Broadcast WAV quality. Six mic inputs provide phantom power and 60dB of gain for great-sounding recordings with your condenser microphones. Record the six microphones along with a digital S/PDIF source for 8 track recording. Each mic input has a selectable low cut filter and analog limiter for optimal sound.

$699.00