Baker Productions Building - 311 2nd Av SW, Cullman, Al. 35055   256.739.0388 or 256.734.7881. Fax is 256.739.7196
Used Equipment Sale

Allen & Heath mixing console for live or recording applications. 40 mic/line input channels, tape inputs (all electronically balanced). Mono, stereo and 8 group outputs (all electronically balanced). MIDI mute processor provides independent control of individual mutes as well as "scene change" memories. Switch able PFL or Solo-In-Place.
4 band EQ with 2 mid sweeps and switch able HF & LF shelving. Low cut filter selectable independent of the equalizer. Direct interface to 2 separate intercom systems on PA monitor module. 2x Power Supplies.


Available in 32, and 24 channel consoles Loads of outputs for easy multitracking Mackie's premium mic preamps on every channel (with phantom power for use with condenser mics) 100mm log-taper faders for consistently smooth fades EQ: Full parametric Hi-Mid w/separate band center & "Q" controls, swept Lo-Mid, and Hi & Lo shelving EQ Low Cut Filter (18dB/oct @ 75Hz) on every channel 6 stereo (2 assignable) aux returns Extensive routing capabilities

Mackie 24e, 24 channel expander for 8 bus series (good/excellent condition) Stand included. Original boxes, manuals, power supply, cover, and interface cable. PayPal only. BUYER PAYS SHIPPING.
No meter bridge.

Channel Section (mic/line)
• Line input: balanced 1/4" TRS input
• Mic Input: balanced XLR input
• Preamp dynamic range: 114 dB max.
• E.I.N.: –129.5 dBu, 150 ohm source –131.2 dBV, 150 ohm source
• CMRR: –83 dBu @1kHz
• Distortion: 0.005% @ 1kHz +14 dBu output level (20 Hz – 20 kHz filter)
• Mic gain range: Unity to +60 dB
• Line In gain range: –20 dB to +40 dB (channels 1-12) –20 dB to +20 dB (channels 13-24)
• Input max. level: +4 dBu nominal +22 dBu clipping
• Aux send gain range: off to +10 dB
• Bus out gain range: off to +10 dB
• Ch. fader gain range: –100 to +10 dB

The TT24 is a fully digital 24-bit/96kHz mid-sized console which gives engineers full automation and recall of levels, EQ, effects, routing and more. And unlike other affordable digital consoles, designed primarily as recording desks, the TT24 puts gobs of standard analog and digital I/O right on the rear panel. Not to mention being far easier to learn and use by the average live sound engineer.

Here are some of the perks:
• Use with ANY analog or digital console
• Integrates seamlessly with d8b for extra functionality
• 24 tracks, 192 virtual tracks(48kHz) for up to 90 minutes of continuous recording
• Built-in internal hard disk plus pullout bay for extra removable Mackie Media™ hard drives
• Mouse, keyboard and monitor ports built-in..
• On-screen graphic interface mirrors front controls and meter bridge
• Full-feature editing software built-in
• Non-destructive cut, copy and paste
• 999 undo's with real time history list
• Continuously scrolling track waveforms
• 2x, 4x, 8x, 12x & 24x track displays
• Drag and drop crossfades and rack slip
• Instant drawing and fade in and fade out
• 8-channel I/O cards can be mixed and matched- no converter boxes needed.
• Choose from all Digital 8ท Bus cards including analog, ADAT, TDIF, and AES/EBU
• Sync to SMPTE or MIDI
• Internal Word Clock, SMPTE, NTSC and PAL Black Burst Sync built-in!
• Sample accurate sync of multiple HDR24/96s
• 100 Base-T Ethernet Port built - in
• 3.5-inch drive bay for importing tempo maps and software upgrades

The Remote 48 remote control is an invaluable tool that helps eliminate any barriers between the music in your head and what you put on disc. Not only does it duplicate the entire front panel of the HDR24/96 Recorder/Editor and MDR24/96 Recorder-- it includes a host of unique features not found on the front panel of either unit: a weighted wheel for Jog/Shuttle transport operations and data entry, Autolocator with numeric keypad, Current/Locate time display with visible Cue numbers, System Control, and Record Ready keys for 48 tracks.

Active Monitor with 8.75" LF Driver, 1" Dome Tweeter, Acoustic Space Control, LF Roll-off, HF Shelf The Mackie HR824mk2 active studio monitors manage to improve on the widely-used originals. New features, such as a solid aluminum Zero Edge baffle and optimized waveguide help to give the HR824mk2 even more accurate, natural sound reproduction.

When it comes to your studio recordings, you want honesty. In fact, considering how important your art is, you should demand it! That's why we designed the new B3030A and B3031A Reference Monitors to speak nothing but the TRUTH. Oh, they still sound great hooked up to your stereo or your video surround system, but they were really built with the studio in mind -- where every note you play or sing is "under the microscope."

The Alesis Monitor 1 MKII Passive Monitors (Pair) gived you great accuracy and flat response at an unbeatable price. The 6.5" polypropylene low-frequency driver has a mineral-filled cone and damped linear rubber surround for tighter, more accurate bass response. Features a redesigned pure silk-dome, high-frequency transducer for smooth, accurate high-end detail and response, and a broad sound stage. Magnetically shielded to allow close proximity to video and computer monitors. The cabinet has also been redesigned with SuperPort venting technology to prevent choking and provide low-frequency response well below comparable near-field monitors. The cabinets have a more attractive finish and they're now mirrored for symmetrical speaker placement.

The Avalon VT-737SP is a single-channel, vacuum tube Class-A processor that combines a tube Mic preamp, Instrument DI, Opto-Compressor, and a 4-band Parametric EQ. The high-performance VT-737SP adds incredible warmth, depth, and character to digital recordings, providing the perfect analog channel strip for Digital Workstation and Broadcast Studios.

Outwardly, the Bellari RP583 looks like a very standard two-channel compressor. Its brushed-gold, 2U front panel sports the familiar Output Level, Threshold, Ratio, Attack and Release controls for each channel, there are two moving-coil meters (that can be switched to read gain reduction or output level), and there's a Link button for compressing stereo signals. Each channel has its own bypass button and there's an illuminated rocker-style power switch.

The Neumann TLM 103 large-diaphragm cardioid condenser mic boasts a capsule drawn from the U 87 and transformerless circuitry - not to mention classic Neumann sound! The TLM 103 is a great mic for any pro or project studio use and, due to its minimal self-noise, it's been used for classical recordings with a wide dynamic range, sampling (especially for very low amplitude sources), and Foley work. This mic is also robust enough for the live stage, as Jack White has employed the TLM 103 to mic amps in live situations.

The supercardioid pattern of the EV N/D468 provides superior rejection and acoustic isolation in any application. An innovative EV design harnesses the increased power of a neodymium based magnet design, allowing a large-diameter voice coil (up to 50% larger than other mics) for dynamic, efficient microphone performance. N/DYMฎ offers the power and clarity to "cut through the mix." Whatever your instrument application the N/D468 is sure to be a top performer.

The BlueMAX is the world's first affordable stereo analog compressor with preset compression curves tailored for a variety of individual instrument and vocal applications. There is a 'manual' mode that allows control over parameters like attack, release, and ratio. The BlueMAX also features full metering over gain reduction and input/output levels plus a sidechain insert jack for spectral processing. The BlueMAX is truly the easiest way to get world-class dynamics control for any recording or live sound application.

The ATR-1a is a rack-mountable hardware implementation of Antares’s Auto-Tune pitch correcting software. Like Auto-Tune, the ATR-1a employs
state-of-the-art digital signal processing algorithms (many, interestingly enough, drawn from the geophysical industry) to continuously detect the pitch of a periodic input signal (typically a solo voice or instrument) and instantly and seamlessly change it to a desired pitch (defined by any of a
number of user-programmable scales). In addition, the ATR-1a, befitting its easy portability, includes a number
of new features that make it particularly powerful in live performance situations. These include a new Song Mode that lets the ATR-1a follow even the most complex harmonic song structures, foot switch control of
Scale selection and Bypass Mode, as well as MIDI control of every ATR-1a parameter.