Titan is a USB multi-track audio interface for personal recording and sound production, for professional musicians, songwriters, engineers and producers as well as recording studios, post production facilities and scoring stages. Titan is ideal for music and sound recording, multitracking, overdubbing, stem-based mastering, analogue summing and critical listening applications.

Titan provides Prism Sound's renowned performance, sound quality and state-of-the-art clock technology in a dedicated unit compatible with both Windows (Vista, 7 and 8, 32 and 64 bit, ASIO as well as MAC OS X 10.4.11 and later (Intel). Once configured with a computer, Titan can also operate stand-alone using its S/PDIF or AES3 I/O.

- Dedicated USB interface
- ASIO drivers provided for Windows VISTA, 7 and 8 (32 and 64bit)
- Directly compatible with CORE AUDIO on Mac OS X 10.4+
- Eight "Prism Sound" premium-quality AD and DA channels
- Concurrent operation of ADAT and switchable S/PDIF or AES3 ports
- Four high-end integrated mic preamps (typ.-130dBu EIN), switchable phantom
- MS Matrix processing on mic inputs
- Two instrument inputs
- RIAA Equalization on inputs 1 & 2
- Prism Sound "Overkillers" on every analogue channel to control transient overloads
- Fully-floating (isolated) balanced architecture for optimum noise rejection
- Mono or stereo input configurations

Building on API's rich heritage of extremely high-quality recording consoles, THE BOX is a small-format recording/mixing console designed for professional project studios, home studios, and production facilities of all kinds.

Optimized for the digital era, THE BOX handles all the functions needed for production not provided by most DAWs, including mic preamps, input signal processing, high-quality mix bus, cue sends with talkback, monitor control, and more, without the redundant capacities of larger consoles. Most importantly, THE BOX provides the legendary "all discrete" API sound in an efficient, cost-effective package.

Some features:
- Two (2) input channels with mic/instrument/line preamp, HP filter, & integral 550A EQ
- Two (2) input channels with mic/instrument/line preamp, HP filter, & 500 slot
- Two (2) compressors assignable to input channels or program bus with stereo link
- Sixteen (16) summing channels (20 channels during mix)
- Stereo program bus with master fader, insert, and external input
- One (1) stereo and (2) mono auxiliary sends/buses
- Stereo cue send/bus & headphone system
- PFL, AFL, and solo-in-place solo modes with stereo solo bus
- Full-featured monitor section that supports two stereo monitor systems
- Talkback system
- Comprehensive rear panel connections with balanced inputs and outputs
- Integrated power supply

The newly developed sound transducer, inspired by one of Neumann’s top-of-the-line microphones, the D-01, is impressive with its outstanding impulse fidelity. The great consistency of the five polar patterns, omnidirectional, cardioid and figure-8, with the intermediate patterns wide-angle cardioid and hypercardioid, is also unusual for a large-diaphragm capsule. The TLM 107 provides optimal sound not only for the cardioid setting; it also ensures maximum precision over the entire frequency range for all of the other directional characteristics. The sound always remains balanced, with an almost linear reproduction up to 8 kHz, and a slight boost in the highest frequencies that lends presence and freshness to the voice. Here particular attention has been paid to the natural reproduction of speech sounds, especially the critical “s” sound. The grille is acoustically optimized for low sensitivity to pop sounds. In addition, the sound transducer is edge-terminated, with both diaphragms at ground voltage. Specifically, this ensures considerably reduced sensitivity to dust and humidity.
No-Compromise Sound Design
Transformerless circuitry permits a high degree of linearity and a large dynamic range. The self-noise of only 10 dB-A is practically inaudible, while at the same time, the TLM 107 features high level stability. The maximum sound pressure level of 141 dB SPL can be increased to 153 dB SPL via pre-attenuation (Pad). This enables the TLM 107 to transmit the sound of even the loudest instruments without distortion. The Low Cut settings of Linear, 40 Hz, and 100 Hz are precisely adapted to practical recording situations. Without side effects, the 40 Hz setting cuts interference noise below the range of fundamental tones (where 41 Hz is the frequency of the double bass open E string), while the 100 Hz setting is optimized for speech and vocals (where 100 Hz corresponds to the lowest notes of a baritone).

Entering the market in 1999, the original System 6000 soon became an industry standard for reverb and dynamics processing.

However, TC Electronic has continued to develop new algorithms for the platform and today it offers a very wide palette of tools for all audio professionals. In 2010, an updated MKII version was released and based on this stellar hardware reincarnation; the new Music 6000, Film 6000, Mastering 6000 and Broadcast 6000 set out to reinforce the System 6000 MKII platform even further as the industry-standard processor in pro audio.

With no less than 42 algorithms in the arsenal, System 6000 MKII can be designed to solve virtually any task in pro audio.

Audio-Technica is debuting its BP894 MicroSet® Subminiature Cardioid Condenser Headworn Microphone. Inspired by A-T’s popular BP892 MicroSet, the BP894 features a rotating capsule housing with talk-side indicator for use on either ear and perfect polar pattern placement. The MicroSet BP894 takes headworn microphones to the next level, by allowing the cardioid capsule to be aimed directly at the sound source (i.e. the microphone faces the mouth, rather than facing forward like other options on the market). The uniform pickup pattern provides excellent rejection of outside noise, with exceptional gain-before-feedback when used with live sound systems and stage monitors.

Featuring an inconspicuous and ergonomic design, the BP894 MicroSet (available in black and theater beige) rests comfortably behind the ear and can be worn for hours without fatigue. Its contoured earpiece stays in place even on the most animated performer/presenter and does not interfere with the user's eyeglasses. The BP894 comes with the AT8464 Dual-Ear Microphone Mount which can be attached to provide maximum stability. The microphone provides superior intelligibility and clean, accurate reproduction for the most demanding church/house of worship user, lecturer, broadcaster or theater performer. With its high-SPL capability (135 dB), it is particularly ideal for high-volume motivational speakers/lecturers, pastors and stage actors. Frequency response is 20Hz to 20kHz.