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Ethernet supports 10/100/1000 BaseT.
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Radial Engineering POWERHOUSE 10 slot 500 Series power-rack, 19" 3RU, 1600 mA power supply
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The stand alone desktop model of Fairlight Audio Desktop Editor provides incredible speed and control for professional sound editors working on tight deadlines! You get quick access controls for high speed precision audio editing that let you work much faster than you could with a traditional mouse. The elegant design features an interactive LCD screen, touch sensitive control knobs, macro buttons, number pad, high quality search dial with electronic clutch and full keyboard with multi function picture keys that change based on your current task! Simply connect Fairlight Audio Desktop Editor by ethernet directly to the DaVinci Resolve computer. The menus and controls are designed with more than 20 years of professional audio engineer guidance and use, so it’s optimized for any project you can throw at it!
Ethernet supports 10/100/1000 BaseT.
1 x USB Type‑C for software configuration and software updates.
Internal software upgrade via updater application.
Mac 10.15 Catalina or later.
Windows 10, 64-bit.
Fairlight Studio and Console setup utility software when connected by USB.
Internal 100 - 240V AC 50/60Hz with IEC C14 mains input.
20W max.
0° to 40°C (32° to 104°F)
-20° to 60°C (-4° to 140°F)
0% to 90% non-condensing
Fairlight Desktop Audio Editor
1 Year Limited Manufacturer's Warranty.
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I really want to love this for my daughter. She loves playing with my Synthstrom Deluge and my Push 2 when it's plugged in and she sits in my lap.
On paper this is perfect. A tiny-hand friendly 'groovebox' that my 2yo (and myself) can fiddle with and watch the pretty lights change and hear the parameters sculpt the synth tone.
The problem is all the synth patches are decidedly in the acid and squelch realm. For the life of me I can't get a decent, lush patch. I understand the point is to let my child explore and just find and discover sounds but it all sounds so abrasive. If I zero out all the depth and LFO dials and listen to what I assume is an unmodulated, relatively clean patch it's still really atonal. There's none of the sweet subtractive sound I was expecting. Perhaps that's on me and my expectations.
There are no parameter clamps so your LFOs range from what sounds like .01hz to way up to 240hz. When these values are applied to modulation it's either unnoticeable or so full on that it mangles the sound. Yep, you need to keep the dial in the sweet spot, but clamping would solve this and keep the parameters in a much more musical range.
Speaking of modulation, by ear I often can't tell what the two mod dials are doing. That's partially on me, I need to do some manual diving, but I'm pretty experienced with synths and can usually tell the modulation in effect. And even then adjusting the depth usually doesn't do anything except make the sound even more abrasive. Sometimes it feels like it's delayed and only applies your modulation changes at the next sequence start, other times it's clearly real time.
So yeah. I love the idea of this and I'll keep it and see if I can't get any palatable sound out of it via MIDI, but as it stands I really don't think my daughter - who again, loves playing with other synths/devices when there's a decent sounding patch loaded - will be getting much use our of it.
Neutrik NE8FFX6-W CAT6A feedthrough coupler for cable extensions
There is one “small” problem with the Artiphon Orba travel case: the Artiphon Orba does not fit in it if you have dressed your Orba in the Artiphon Orba silicone skin. Otherwise it’s fine