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Latitude Pay Now Avaliable at AWAVE

AWAVE provides multiple payment options from Latitude Financial Services. To read about other options from Latitude click here.

Good stuff happens now

Latitude Pay is now available at AWAVE!

Latitude pay is and exciting new way to pay. Shop at your favourite stores, online or in person. Buy the things you love to empower the life you want and pay just 10% upfront with LatitudePay.

There are zero surprises with LatitudePay. It does what it says on the box: 10 weekly payments instead of all at once. No interest, and no waiting for your new gear or great experience, just wonderful-ness.

Get set up in minutes

Sign up is super simple and if approved you can start using LatitudePay straight away.

No interest. Never ever

Latitude pay won’t charge you interest, and you won’t pay any fees when you pay on time. Payments are automated, plus Latitude will remind you.

Now’s good

No more waiting for weeks for what you want today, get it now and pay over 10 weekly payments. When you’re inspired, strike like a cobra. A shopping cobra.

 

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MOTU Introduce M2 and M4 UBC-C Audio Interfaces

MOTU Introduce M2 and M4 UBC-C Audio Interfaces

When shopping for an audio interface, singer/songwriters and podcasters oftentimes don’t need the full gamut of features. They want a reliable, easy-to-use unit that sounds great. That’s exactly what MOTU’s latest offerings give you — a streamlined design, high-level performance, and top-notch sound. This series of budget-conscious and high-quality USB-C audio interfaces includes the 2-in/2-out M2 and the 4-in/4-out M4.

Class-topping Sound Quality

When it comes to audio quality, the M2 and M4 are at the top of their class. They boast ESS Sabre32 Ultra DAC technology (the same D/A as MOTU’s flagship 1248), delivering unbelievable clarity with 120dB of dynamic range. Both models include MOTU’s transparent-sounding mic preamps, low-noise DC-coupled analog outputs, and an ESS-driven headphone output. Their latency specs are impressive, yielding round-trip latency as low as 2.5ms at 32-bit/96kHz. Whether you’re recording, mixing, or just listening, you can expect top-level sound from these audio interfaces.

Front of M4 Audio Interface

Podcasting Made Easy

MOTU’s M2 and M4 are tailor-made for livestreaming and podcasting, thanks to their loopback function. This enables you to blend your mic and other input signals with your computer’s output and then send the blended signal back to your computer, where it can be recorded. The M4 takes this functionality to a higher level with the inclusion of a Mix knob that balances your live input with your computer’s playback.

Back of M4 Audio Interface

Zero-latency Hardware Monitoring

Recording with the M2 and M4 is a pleasure, by virtue of their 1-touch hardware monitoring capability. This feature routes all the interface’s analog inputs directly to its analog outputs, thereby granting you zero-latency operation. The result? No annoying delay between what you play, sing, or say and what you are hearing in your headphones. You can also record the interface’s inputs simultaneously, which supplies zero latency while tracking.

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Focal Trio11 Be – The Loudspeaker Dedicated to Nearfield and Midfield

Focal Trio11 Be – The Loudspeaker Dedicated to Nearfield and Midfield

As well as new speaker drivers (a 5” midrange and a 10” subwoofer) with high efficiency and power handling, the Trio11 Be monitor enjoys all of Focal’s very latest technologies when it comes to acoustics and electronics: TMD and NIC technologies; optimised vents that promote dynamic control and perfect bass definition; high excursion, enabling even more linearity of the subwoofer…

Thanks to its class G amplification, Trio11 Be delivers a high SPL (118dB at 1m) and offers a great versatility of use and installation configurations in nearfield AND midfield applications. A key asset, always coming along with an extremely precise sound reproduction and stereo image.

With an extended bandwidth (30 Hz-40 kHz), this loudspeaker is also composed of a 3-way monitor and a 2-way monitor, just like Trio6 Be, which lets you check the mix transfer sound quality thanks to FOCUS mode.

With Trio11 Be, power and versatility are waiting for you!

Feel the difference!

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Neve AMS at Awave

Neve AMS at Awave

With a reputation for creating the world’s sweetest sounding and longest-lasting analogue and digital consoles, the most discerning artists, producers and facility
owners regard our products as number one for desirability on their equipment list,
and have done for the past fifty years.

AMS Neve is a dedicated, engineering-led and privately owned Company whose continuing mission is to provide the best possible sound, capability and operational
experience for the most creative people in the world – whether it be for film,
recorded music, or TV and broadcast.

All of our products are designed and built in England in our purpose built,
integrated facility. Close supervision of the entire process by the
product designers ensures the finest performance possible.
Recognised by all the premier bodies in the various fields of music, TV and film, the products and their designers have been honoured by two Scientific and Engineering Academy® Awards, an Emmy™ and a Grammy™ amongst many others. We have
pioneered a very large number of the ground-breaking techniques in the industry
including hard disk editing, digital console technology, digital audio for film, microprocessor controlled effects units and standards such as MADI.

In the transient world of short product life cycles, AMS Neve’s products stand the
test of time. In addition to being designed and built to last, our long-standing policy
of offering continuing upgrades to take advantage of the latest technology and
techniques on many products means obsolescence is minimised. The value in your
AMS Neve equipment remains long after the alternatives are in landfill. A large
proportion of all the products we have ever made are still in daily use and many
have achieved iconic, dearly loved and valuable status.

A sound investment indeed.

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Introducing The Slate Digital VRS8 Thunderbolt Interface

Introducing The Slate Digital VRS8 Thunderbolt Interface

THE VRS8
The result of nearly three years of development, the new VRS8 Virtual Analog interface unifies Slate Digital’s software and hardware into a robust audio ecosystem called The Virtual Recording Studio. We used a “no compromise” design approach, resulting in a fantastic-sounding eight channel audio interface that leads the industry when it comes to components, specs, price and performance.

FEATURES

EIGHT ULTRA LINEAR PREAMPS
The start of any signal chain is extremely important, which is why the VRS8 features EIGHT high bandwidth Ultra Linear microphone preamps. These are the same ‘blank canvas’ design as the VMS-One preamp from our award-winning Virtual Microphone System, enabling you to use our modeling software to recreate the authentic sound of famous microphones and preamps. Each preamp has its own high-quality metal knob, so you can easily set levels like a regular analog preamp – instead of using single logic controller knobs and menus, as some of our competitors have chosen to do.

INDUSTRY BEST CONVERTERS
The next step in the signal chain is the converter itself. Instead of using budget components, the VRS8 offers mastering-quality conversion by incorporating the newest AKM AK5578 converter chips – offering a whopping industry-best 124db of dynamic range on all 8 inputs!

HIGH QUALITY COMPONENTS
The sound of an audio interface relies on much more than the converter chip itself – all of the components in the audio circuit have a direct result on the audio quality. Keeping to our “no compromise” design aesthetic, the VRS8 utilizes high-quality WIMA capacitors for the entire audio path.

LOW LATENCY NATIVE
Part of the goal behind creating the Virtual Recording Studio was to provide a near-realtime experience when using our analog modeled plugins while tracking. In order to achieve that goal, we created a new technology called LLN, which stands for “Low Latency Native”. LLN utilizes a custom hard-wired converter chipset, which reduces managed components in the audio path and allows an incredible .7 milliseconds of latency at 96K (with a 32 sample buffer). This latency spec allows you to monitor through mic and preamp emulations while tracking, giving you the ability to hear your audio in context while still allowing you to change your mind later.

XTC AUDIO CLOCK
The audio clock is the heart of any recording interface, which is why it was important that the VRS8 had a killer clocking system onboard. We use satellite-grade XTC clocking technology, utilizing four temperature-compensated crystal oscillators for ultra-stable audio performance, keeping your audio jitter and distortion free.

DISCRETE HEADPHONE AMPLIFIERS
Most engineers listen to music on headphones when working in the studio, but headphone amplifiers are the first place that manufacturers usually look to cut costs when building an interface. Instead of using typical designs that cost mere pennies, we use discrete amplifiers to ensure that your headphones sound robust and clear for all of your monitoring tasks. Not only that, we also added in two separate monitor mixes and the ability to use the VRS8 as a speaker switcher.

CROSS PLATFORM LOW LATENCY PERFORMANCE
The world of audio interfaces is rarely cross-platform when it comes to performance, meaning that Mac devices (using Thunderbolt) usually far outperform PC interfaces (using USB). While USB can be effective for two-channel designs, it requires more CPU overhead to manage, resulting in higher CPU usage and latency versus Thunderbolt – and the problem just gets worse as you add more channels. Unlike any other interface on the market, the VRS8 offers both Thunderbolt and PCIe connectivity for maximum cross-platform compatibility. The PCIe performance is the same as Thunderbolt. You can also link up to 6 VRS8’s via Thunderbolt to achieve 48 inputs and outputs.

NATIVE MIDI IO
Our “no compromise” design goal extended well into areas that other manufacturers simply ignore, which is evidenced by the VRS8’s native MIDI IO. Unlike USB MIDI interfaces (where MIDI information has to fight with your mouse, keyboard, and other USB traffic) MIDI IO on the VRS8 never touches the USB bus. You can count on hyper-accurate MIDI timing, and stuck sustain pedals when tracking keyboards and synths should become a thing of the past.

EVERYTHING BUNDLE – FREE FOR ONE YEAR!

The Slate Digital Virtual Recording Studio Ships With A Year License Of The Everything Bundle. The Everything Bundle includes all of the award-winning Slate plugins, worth thousands of dollars. Using the VRS8 and VMS Microphones, you’ll be able to track through world-class microphones, preamps, equalizers, and more in real time.

THE VRS EXPERIENCE
Now you can experience the Slate Virtual Recording Studio including all of our microphone models. Click below to go to the VRS Experience page where you can download all the Slate plugins including demos of our VMS microphone plugins, as well as a multitrack session recorded with VMS mics through our VRS8 interface. When you download the plugins and the session, you can load up a track, and experiment with different world-class virtual microphones from the mic locker. Hear the vintage FET47F, 414, and ribbon 121. Try the vocals through the vintage tube 67s, 251, 47s and more.

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Awave Mix It with FOCAL SM9 Trade In Deal (Limited Time Only)

Awave Mix It with FOCAL SM9 Trade In Deal (Limited Time Only)

Get a pair of amazing Focal SM9 Studio Monitors for $5999.00, when you trade ANY eligible model from brands including  ADAM, DYN-AUDIO, KRK, EVENT, GENELEC, EVE, BAREFOOT, QUESTED, FOCAL, MACKIE, PMC, UNITY AUDIO, YAMAHA.*

These professional studio monitors normally retail for $12,398 A PAIR!

Call Awave on 03 9813 1833 or email sales@awave.com.au to organise you trade in deal today, before stock runs out.

*All monitors traded must be in pairs. Subject to full working & cosmetic condition – offer is limited while stocks last

 

 

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Undertone Audio In Stock at Awave

Undertone Audio_Awave

Undertone Audio In Stock at Awave

There are a few limitations of the original Fairchild that we set out to address. First, we have made careful adjustments to the circuitry that greatly improve the lifespan and reliability of the tubes. Additionally, we’ve added a whole host of exciting new features that have never before been available on a Fairchild. The UnFairchild sports 6 original preset Time Constants and 4 variable Time Constants (attack and release), MS function, side chain processing, a true bypass, fine adjustment of left/right balance, user adjustable “DC Threshold”, and “Feed-Back” vs. “Feed-Forward” functionality. With the UnFairchild, we’ve made this extraordinary circuit flexible enough to handle pretty much every compression task on any style of music.

Checkout the Unfarichild 670M II and more below.

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IN THE SPOTLIGHT: BAE Audio

In The Spotlight BAE Audio

IN THE SPOTLIGHT: BAE Audio

Based in Southern California, BAE build hand-wired transformer-balanced outboard recording gear faithful to classic English and American designs.
We stock all BAE Audio’s extensive product range here at Awave which you can view here:

https://awave.com.au/brand/bae-audio

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NK SOUND TOKYO Installs World’s Largest Rupert Neve Designs 5088 Console

NK SOUND TOKYO Installs World’s Largest Rupert Neve Designs 5088 Console

Tokyo, Japan – Originally opened in 2015 by engineer Neeraj Khajanchi, NK SOUND TOKYO has recently made a large update to its main studio with the addition of an 80-input Rupert Neve Designs 5088 console, which is the largest 5088 sold to date. The console was provided by Rupert Neve’s longtime Japanese distributor Hook-Up Inc. and is loaded with 48 channels of Shelford 5052 Mic Preamp / Inductor EQ modules.

NK SOUND TOKYO is divided into four rooms: AQQA, a mastering room; RUBY and SILVER, two dubbing / mixing rooms; and GOLD, the tracking room that houses the new 5088 – one of the largest of its kind in the world. “Originally, we had a 48 channel SSL E Series,” comments Khajanchi. “When we revamped the studio in 2019, I had been trying Rupert Neve Designs’ Portico 5024 4-channel preamps, then purchased two Shelford Channels. Overall the stability, sound quality, ease-of-use, and customizability of the 5088 is amazing.” The studio also has a massive XLR patchbay for its impressive collection of outboard gear, so Khajanchi said that keeping all of the studio’s connections XLR to XLR was important to him.

Khajanchi works on a large variety of musical projects at NK SOUND including J-Pop, video game music, commercial music for television, rock, and high fidelity jazz recordings. “The 5088 is just super clean,” says Khajanchi. “I get out of it what I put into it, which is great! Having all that headroom really helps give me the beautiful reverb tails and super clean sustain on all my instruments. But when I do need some character, I go straight for the SILK switch and add color to my tracks that way.”

Since re-opening the studio in September 2019, Khajanchi says they have been extremely busy. “Just within the past two months we have tracked albums for over fifteen artists, and are now in the process of mixing all the albums…recording and mixing on the 5088 has sparked my love for analog gear once again!”

 

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Introducing the Sequential Pro 3 & Pro 3 SE Synthesizers

Introducing the Sequential Pro 3 & Pro 3 SE Synthesizers

The Pro 3 synthesizer is the latest generation of the company’s Pro 1 monophonic synthesizer. The original Pro 1, introduced in 1981, is revered as one of the most important monophonic synths of its time. The Pro 3 expands on the original’s capabilities in many ways, with a more powerful synth engine, better build quality, a more capable sequencer, duophonic operation, effects and more.

The Pro 3 SE is Sequential’s “Special Edition” version of the new synth. It features a multi-angle tilt-up panel and full premium-grade walnut trim.

The Pro 3 SE features the same sound engine as the standard edition Pro 3: three oscillators, three vintage filters, three LFOs, four loopable envelopes, a massive 32-slot mod matrix, and a 16 x 16 x 4 sequencer. In addition, it features dual digital effects and four control voltage ins and outs.

Sequential describes the Pro 3 SE as ‘a hybrid of solid, old-school analog synthesis paired with versatile digital technology’.

Its two voltage controlled oscillators provide warmth and presence while its third wavetable oscillator provides digital edge and grit. With 32 tables of 16 waves each and wave morphing, the tonal possibilities are immense. Tuned feedback with grunge, and analog distortion deliver industrial-grade nastiness on demand.

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Telefunken Alchemy Microphones Series

Telefunken Alchemy Microphones Series

Designed, hand-built, and tested to strict quality standards in Connecticut, USA, the Alchemy Microphone Series is TELEFUNKEN Elektroakustik’s TEC Award nominated next generation of large diaphragm tube condensers. These new microphone models feature unique sonic profiles developed from the ground up. The bold new voicings of the Alchemy Microphone Series are the TF29, TF39, TF47, and TF51.

Audio Comparison

Listen to the distinct voices of the Alchemy Microphone Series; the “Copperhead” sound of the TF29 and TF39, the “German” voiced TF47, and the “Austrian” voiced TF51. Compare the sonic characteristics of each voice on classic studio applications like drum overheads, guitar cabinets, and vocals.

Future classics, not clones.

With the combination of vintage microphone elements and modern fidelity and reliability, the Alchemy Microphone Series delivers microphones each with a distinctively original sonic fingerprint. The Alchemy Microphone Series is an evolution and refinement to past models in the R-F-T Series (CU-29 Copperhead, AR-51, and AK-47 MkII), benefitting from over a decade of in-house microphone design and production.

Professional designs, superior functionality.

TELEFUNKEN Elektroakustik has implemented numerous improvements sonically and mechanically to the Alchemy Microphone Series, tailored all the way down to the accessories. Boasting newly designed custom headgrilles for transparency and openness, hand-plugged circuit boards, and selected American and European vacuum tubes and transformers, no detail was left unaddressed. All systems ship in a sleek, compact, protective case for easy transport and storage. Included are two modern mount options, microphone dust cover, high-flex 7-meter cable, and an American-assembled power supply.

Real trusted quality, built to last.

Like all TELEFUNKEN microphones, the Alchemy Microphone Series is assembled in the same American facility as the legendary Diamond Series (ELA M 251E, C12 and U47) by a small, dedicated team of engineers and technicians. Each microphone is individually tested and listened to. All critical components are quality controlled in-house before assembly, including capsule frequency sweeps, vacuum tube burn-in and noise grading. These high standards lead to extremely tight tolerances from microphone to microphone – something few in the industry can claim.

The ideal choice for discerning engineers, musicians, and producers.

The Alchemy Microphone Series combines timeless sound quality with TELEFUNKEN reliability in an affordable package. Whether it’s the home studio or a commercial facility, the Alchemy Microphone Series is suited for any recording environment.

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Korg ARP 2600 FS – Pre-Order Yours Today at Awave!

Korg ARP 2600 FS – Pre-Order Yours Today at Awave!

Once, and for All

The ARP 2600 is brought back to life in a single, one-time-only production run. Now is your opportunity to own one of the most sought after and coveted instruments from the vintage synthesizer era. This limited-edition release is a loving reproduction of the 2600, handcrafted in Japan and includes USB and DIN-style MIDI connections, XLR audio outputs, plus the improved ARP 3620 Duophonic Keyboard with an added arpeggiator / sequencer. Your new ARP 2600 will arrive in a custom-branded hard shell case, complete with casters.

The Total Package

More than a synthesizer, the ARP 2600 is a complete sound design studio. Even today, the ARP 2600 stands as a bridge between the individual elements of modular synthesis and the immediacy of a production / performance instrument. Included are an ample supply of oscillators, envelopes, a filter and amplifier – all of the building blocks of analog synthesis. But the ARP 2600 goes even further, with a spring reverb tank and even a pair of built in monitor speakers. Also present is much of the versatility of a vintage modular system, including a ring modulation, lag and voltage processors, an envelope follower, audio preamp, a clock-able switch, noise source, a sample & hold module, signal inverters, an auxiliary mixer, and even a set of parallel-wired/multi jacks.

The ARP 2600 FS reproduces the sounds of these components at the circuit level. Under the supervision of David Friend, the co-founder of ARP Instruments, parts were carefully selected and every detail was adjusted to replicate the original unit’s distinctive synthesis.

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HEAR ALL THREE MANLEY MICS ON THE SAME SESSION!

HEAR ALL THREE MANLEY MICS ON THE SAME SESSION!

Which Manley Reference Microphone is right for YOU?

People often ask us what the sonic differences are between our Reference Cardioid, Gold, and Silver tube microphones. In these three videos, you can hear each of them on both vocals and acoustic guitar, where the differences are clearly audible between the three mics.

refcard-main.png

You’ll probably hear the Reference Cardioid as bright, present, and “larger than life”. This mic is often used for a very forward, immediate sound: pop vocals and voiceover work really shine with this mic, making it our best-selling product, and the world’s #1 modern tube vocal mic.

refgold-main.png

The Reference Gold is much more flat and natural, capturing heaps of sonic detail without tonal exaggeration. If you’ve got the perfect source in the perfect room, and you want true realism with a touch of class, the Gold mic is definitely the way to go.

mrag-main.png

Finally, the Reference Silver has a smooth, rich, buttery sound with a nicely rounded tonality that works perfectly for singer-songwriter material. Note: for this particular singer and this particular guitar, it would be our first choice of these three mics.

The track is ‘NightSweats’, performed by Chris Holloway with his 1946 Gibson J-45 recorded through a Rupert Neve Designs Shelford Channel mic preamp, with no EQ or compression applied

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Lindell Audio at Awave

Lindell Audio at Awave