Presonus Blue Tube Microphone Pre Amplifier

Price List Rp.3.000.000

Presonus Blue Tube Microphone Pre Amplifier
End the Debate!

Solid-state clarity or tube warmth, which to choose? We suggest you stop wasting time pondering that old argument and choose the BlueTube DP dual-path mic/instrument preamp, which lets you apply fat, warm 12AX7 tube tone or go with solid-state transparency.

The solid-state path leads to our classic high-headroom, Class A XMAX™ mic preamplifier with 54 dB of gain. The tube path features a high-output, 12AX7 vacuum tube that operates on voltages double that of other preamplifiers in its class, producing lots of headroom and big tone. You get all the secondary features you expect in a professional-grade preamp: 48V phantom power, an 80 Hz high-pass filter, -20 dB pad to control hot input signals, and a polarity-reverse switch. Each channel has an illuminated VU meter so you can visually monitor your input levels.
A Tube Drive control provides a wide range of sounds: when it’s clicked off, you’re using the solid-state preamp for quiet, transparent amplification; when it’s engaged, your signals flow through the tube preamp, and you can achieve anything from gentle warmth to edgy distortion.


Versatile and Affordable
Thanks to its two combo mic/instrument inputs, the BlueTube DP is an excellent choice for guitars and basses, as well as for vocals. With balanced XLR and unbalanced ¼” main outputs, it serves as a dandy direct box (DI). If you’re a singer-songwriter who performs solo with a guitar, you can run your vocal through one channel and your guitar through the other, then feed both to the house system—no guitar amp needed. Try the BlueTube DP as a front end for your DAW, as well; sure, your recording interface might already include preamps, but few of them give you both tube and solid-state operation.

The BlueTube DP is packaged in a compact, rugged, 1/2U chassis so it can be used as a desktop unit or rack-mounted with the optional 2UHR rack adapter. To top it off, we offer the BlueTube DP at a very affordable price.
So if you’re debating between getting a tube preamp or a solid-state preamp, quit torturing yourself! Get the best of both worlds with the most versatile, best-sounding mic/instrument preamplifier in its price range: the BlueTube DP.

Features:

2 input channels, each with:

• High-headroom Class A XMAX™ mic preamplifier 
• Dual path, 12AX7 vacuum tube and solid-state gain stages 
• Solid-state Gain control with 0 dB to +54 dB gain range 
• Tube Drive tube-saturation control 
• 48V phantom power 
• 80 Hz high-pass filter 
• -20 dB pad 
• Polarity-reverse switch 
• Illuminated analog VU input-level meter 

Input/Output

• 2 balanced combo mic/unbalanced instrument inputs 
• 2 balanced XLR main (L/R) line outputs 
• 2 unbalanced ¼” main (L/R) line outputs 

Physical

• Compact 1/2U rack-mount chassis 
• External 16 VAC power supply 
• Optional 2UHR rack adapter

Specifications:

Input
	Connector Type	Neutrik™ Combo
	XLR Impedance	1.3K Ohms
	Hi-Z, 1/4"	1 Meg Ohms
Output
	Connector Type	XLR and 1/4" TS
	Impedance	51 Ohms
Panel Controls
	Gain	0dB to +54dB
	Tube Drive	0% to 100%
	Phase Reversal
	-20dB Pad
	Phantom Power
Meters
	Analog VU	-2odBu to +6dBu
	Clip Indicator	+22dBu
Performance
	THD Noise (Unweighted) Solid State	< 0.005%
	THD Noise (Unweighted) Tube stage	0.01% to 30%
	Signal To Noise	>95dB
	Power Supply Rejection	>98dB
Physical
	Weight	4lbs
	Dimensions	8" x 5" x 1.75"
	Mounting	Universal rack tray insert
Power Supply
	Type	Linear
	Input	16VAC / 1000mA
	Power	16 Watts
	Transformer	External

Behringer Mixer XENYX XL2400

Price List Rp.9.800.000
Behringer Mixer XENYX XL2400

Introducing a bold new line of live sound mixers that combine professional features, dramatic styling and astounding value. XL Series’ intuitive layout and color-coded control interface is designed to make them easier to use. We’ve added the features you’ve been asking for and then some. And of course the XL3200, XL2400 and XL1600 are built around our proven XENYX high-headroom, low noise mic preamps and warm, musical EQ.
Premium 24-Input 4-Bus Live Mixer with XENYX Mic Preamps and British EQs

• Ultra-low noise, high-headroom analog mixer for live, front-of-house, monitor, corporate and touring audio applications
• 20 state-of-the-art XENYX PRO Mic Preamps plus 4 stereo Line inputs with ultra-high RFI suppression designed for live application
• Neo-classic "British" 4-band EQs with 2 semi-parametric mid bands for warm and musical sound
• 4 Subgroup outputs with inserts plus 2 independent main outputs with inserts on Main A
• 6 Aux sends per channel: 4 pre/post fader switchable for flexible routing
• Channel inserts and direct outputs on each mono channel
• Clip and Signal LEDs plus 80 Hz, EQ, Mute, Solo, Subgroup and Main routing switches on all channels
• 2 multi-functional stereo FX returns with comprehensive routing options
• 2 Headphone and Speaker outputs with selectable Main/CD/Tape inputs
• Solo-In-Place with PFL/AFL function plus full-featured Talkback section
• Long-wearing 60 mm logarithmic-taper faders and sealed rotary controls
• Internal autorange power supply for maximum flexibility (100 – 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
• High-quality components and exceptionally rugged construction ensure long life

The Ins and Outs
Some manufacturers can be sneaky when they tell you how many inputs their mixers have, counting features like CD/TAPE IN as an input. But the XL series really gives you 8 (XL1600), 16 (XL2400) and 24 (XL3200) mono channels and four stereo channels (with two 1/4" inputs apiece—an additional 8 line-level inputs (which can also be used for 4 additional mono mic channels), making it easy to accommodate a wide variety of live performance configurations.
Depending on which XL mixer you choose, that means you can connect up to 8, 16 or 24 microphones (or other mono instruments) and up to four stereo instruments (keyboards, for example). You also get four buses, allowing you to assign multiple channels—say all the mics on a drum kit or all the backup singers’ mics—to a single fader.

Best of all, you don’t need a black belt in engineering to operate the XL series. To get started, assign all mics and instruments to their channels by connecting them to the corresponding jacks on the back panel. Now, get ready to quickly become acquainted with the XL series’ incredibly user-friendly design.

Plenty of Channels, All in Living Color
All dials on the XL series are assigned to colors that not only allow you to easily locate each function, but to also quickly identify corresponding faders.
At the top of each mono channel strip, you’ll find a TRIM dial (white) for adjusting input gain and an 80 Hz switch that can eliminate unwanted infrasonics such as mic-handling noise.

Each mono channel has a 4-band EQ (High, High Mid, Low Mid, Low). High Mid and Low Mid dials (blue) are each paired with a FREQ control (lighter blue) that allows you to select the frequency boosted or cut. Directly below the EQ, there’s an EQ switch allowing you to switch between processed and unprocessed signals

What the Heck is “British EQ?”
British EQ is a smashing thing to have on your side when you start reaching for those channel equalization knobs at a live concert or in the studio.
The EQ’s on British consoles from the 60s and 70s are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, they’re kind, gentle and above all, musical. It’s like drinking a fine scotch instead of fortified wine—or maybe receiving a warm hug instead of a kick to the crotch.
British EQ’s distinct configuration of wider curves/lower Q and harmonic phase characteristics allows you to add or subtract EQ more generously than you can with conventional EQ circuit designs. When you add low midrange, you get a firmer sound instead of a nasty bonk. When you back high frequencies off a bit, treble backs off just a hair instead of turning muffled.

Back to the Strip
Controls for the channel’s FX (orange), MON (blue) and AUX (red) sends are directly below the EQ section. Use these to assign a channel to an outboard FX processor or monitor and auxiliary channels. Further down the channel strip, the PAN control (black) determines the signal’s position in the stereo mix. The channel fader (black) adjusts the level of the channel signal as part of the main mix. Press the 1-2 or 3-4 switches to assign the channel to a bus.
Stereo channels are configured in the same way, but with a fixed-frequency 4-band EQ (blue). They are equipped with 1/4” stereo inputs, as well as XLR mono inputs, providing 4 additional Mic channels.

Rockin’ Bureaucracy
Once all mics and instruments are connected, it’s time to take a look at the MAIN, subgroup, MONITOR and FX sections. All four subgroups’ controls are positioned in the lower right corner of the mixer. They feature individual faders with CLIP LEDs, SOLO switches and PAN controls to adjust the signal’s position in the stereo image.
The FX section is positioned on the middle right section of the console. Both FX 1 and FX 2 signals have orange faders; SOLO and MUTE switches; 1-2 and 3-4 switches that assign the signal to subgroups; MAIN switches to route the signals to the main outputs; MON dials (blue) that determine the level of FX heard in Monitor sends 1 & 2; and SEND dials (orange) for adjusting the volume of all FX send signals. Both monitor sends also have their own dedicated faders (blue), as well as MUTE and SOLO switches.

The MAIN A section lies in the bottom right section of the board. It gives you a channel fader (light grey); a 13-LED master level meter in the top right corner gives you a dynamic visual gauge of overall output; a MUTE switch (red) mutes all input channels except CD/TAPE inputs; and a BAL control (black) adjusts the mix of the left and right output signal before they are routed through the MAIN A output. Above, you’ll find the MAIN B section, which governs the signal sent through the MAIN B outputs on the back panel. Use the MAIN B section and outputs to connect to a separate power amplifier and multiple loudspeakers, or to a stereo recording system.
Talking back, listening up The XL series features a Talkback section in the upper right corner with its own XLR input, LEVEL control (red), and switches that allow you to send its signal to either the MON, AUX, GROUP or MAIN outputs. Finally, a pair of headphone inputs at the top of the board allows you to personally monitor your mix, and a pair of BNC lamp inputs ensures you’ll never have to mix in the dark.

The Back Story
The back panel of XL series mixers features an intuitive patch bay that gives you tons of flexibility in configuring a live show. In the upper left corner you’ll find the MAIN OUTPUTS section. There’s left and right XLR outputs for connecting to PA speakers, as well as dual 1/4" inserts for connecting a dynamics processor or equalizer to further tweak the main signal. There’s also dual OUT B jacks governed by the MAIN B dial on front. Next door to the MAIN OUTPUTS section is the FX/MON/AUX SENDS section. The FX 1 and FX 2 1/4" outputs send signal to outboard effects processors. MON 1 and MON 2 XLR outputs send signal to monitors, and AUX 1 and AUX 2 XLR outputs can be used for either effects processors or monitors.
The next section to the right contains the AUX RETURNS. Stereo AUX inputs 1 & 2 allow you to connect more effects processors or submixers, while stereo FX 1 & 2 returns accept processed signals sent from the FX 1 and FX 2 outputs.
Left and right SPEAKER 1/4” outputs allow you to connect monitor speakers that provide the same signal as the headphone outputs.

Each subgroup has its own INSERT and OUT 1/4" jacks. The inserts allow you to connect noise gates, compressors or equalizers, while the OUT jacks send the subgroup signal to, for example, a multi-track recorder.
Along the bottom of the back panel, you’ll find the mono and stereo channel inserts. Mono channels feature both a 1/4" and XLR input, as well as an INSERT jack for applying outboard equipment and a DIRECT OUT jack for sending signal to a device such as a multi-track recorder. Stereo channels feature a single XLR input and dual 1/4" inputs.

Input Wiring

Callouts

Input Wiring

Front Panel

Behringer Mixer XENYX XL3200

Price List Rp.12.150.000
Behringer Mixer XENYX XL3200

Introducing a bold new line of live sound mixers that combine professional features, dramatic styling and astounding value. XL Series’ intuitive layout and color-coded control interface is designed to make them easier to use. We’ve added the features you’ve been asking for and then some. And of course the XL3200, XL2400 and XL1600 are built around our proven XENYX high-headroom, low noise mic preamps and warm, musical EQ.
Premium 32-Input 4-Bus Live Mixer with XENYX Mic Preamps and British EQs

• Ultra-low noise, high-headroom analog mixer for live, front-of-house, monitor, corporate and touring audio applications 
• 28 state-of-the-art XENYX PRO Mic Preamps plus 4 stereo Line inputs with ultra-high RFI suppression designed for live application 
• Neo-classic "British" 4-band EQs with 2 semi-parametric mid bands for warm and musical sound 
• 4 Subgroup outputs with inserts plus 2 independent main outputs with inserts on Main A 
• 6 Aux sends per channel: 4 pre/post fader switchable for flexible routing 
• Channel inserts and direct outputs on each mono channel 
• Clip and Signal LEDs plus 80 Hz, EQ, Mute, Solo, Subgroup and Main routing switches on all channels 
• 2 multi-functional stereo FX returns with comprehensive routing options 
• 2 Headphone and Speaker outputs with selectable Main/CD/Tape inputs 
• Solo-In-Place with PFL/AFL function plus full-featured Talkback section 
• Long-wearing 60 mm logarithmic-taper faders and sealed rotary controls 
• Internal autorange power supply for maximum flexibility (100 – 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving 
• High-quality components and exceptionally rugged construction ensure long life 

The Ins and Outs
Some manufacturers can be sneaky when they tell you how many inputs their mixers have, counting features like CD/TAPE IN as an input. But the XL series really gives you 8 (XL1600), 16 (XL2400) and 24 (XL3200) mono channels and four stereo channels (with two 1/4" inputs apiece—an additional 8 line-level inputs (which can also be used for 4 additional mono mic channels), making it easy to accommodate a wide variety of live performance configurations.
Depending on which XL mixer you choose, that means you can connect up to 8, 16 or 24 microphones (or other mono instruments) and up to four stereo instruments (keyboards, for example). You also get four buses, allowing you to assign multiple channels—say all the mics on a drum kit or all the backup singers’ mics—to a single fader.

Best of all, you don’t need a black belt in engineering to operate the XL series. To get started, assign all mics and instruments to their channels by connecting them to the corresponding jacks on the back panel. Now, get ready to quickly become acquainted with the XL series’ incredibly user-friendly design.ixer you choose, that means you can connect up to 8, 16 or 24 microphones (or other mono instruments) and up to four stereo instruments (keyboards, for example). You also get four buses, allowing you to assign multiple channels—say all the mics on a drum kit or all the backup singers’ mics—to a single fader.

Plenty of Channels, All in Living Color
All dials on the XL series are assigned to colors that not only allow you to easily locate each function, but to also quickly identify corresponding faders. At the top of each mono channel strip, you’ll find a TRIM dial (white) for adjusting input gain and an 80 Hz switch that can eliminate unwanted infrasonics such as mic-handling noise.
Each mono channel has a 4-band EQ (High, High Mid, Low Mid, Low). High Mid and Low Mid dials (blue) are each paired with a FREQ control (lighter blue) that allows you to select the frequency boosted or cut. Directly below the EQ, there’s an EQ switch allowing you to switch between processed and unprocessed signals.

What the Heck is “British EQ?”
British EQ is a smashing thing to have on your side when you start reaching for those channel equalization knobs at a live concert or in the studio.The EQ’s on British consoles from the 60s and 70s are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, they’re kind, gentle and above all, musical. It’s like drinking a fine scotch instead of fortified wine—or maybe receiving a warm hug instead of a kick to the crotch.

British EQ’s distinct configuration of wider curves/lower Q and harmonic phase characteristics allows you to add or subtract EQ more generously than you can with conventional EQ circuit designs. When you add low midrange, you get a firmer sound instead of a nasty bonk. When you back high frequencies off a bit, treble backs off just a hair instead of turning muffled.

Back to the Strip
Controls for the channel’s FX (orange), MON (blue) and AUX (red) sends are directly below the EQ section. Use these to assign a channel to an outboard FX processor or monitor and auxiliary channels. Further down the channel strip, the PAN control (black) determines the signal’s position in the stereo mix. The channel fader (black) adjusts the level of the channel signal as part of the main mix. Press the 1-2 or 3-4 switches to assign the channel to a bus. Stereo channels are configured in the same way, but with a fixed-frequency 4-band EQ (blue). They are equipped with 1/4” stereo inputs, as well as XLR mono inputs, providing 4 additional Mic channels.

Rockin’ Bureaucracy
Once all mics and instruments are connected, it’s time to take a look at the MAIN, subgroup, MONITOR and FX sections. All four subgroups’ controls are positioned in the lower right corner of the mixer. They feature individual faders with CLIP LEDs, SOLO switches and PAN controls to adjust the signal’s position in the stereo image.
The FX section is positioned on the middle right section of the console. Both FX 1 and FX 2 signals have orange faders; SOLO and MUTE switches; 1-2 and 3-4 switches that assign the signal to subgroups; MAIN switches to route the signals to the main outputs; MON dials (blue) that determine the level of FX heard in Monitor sends 1 & 2; and SEND dials (orange) for adjusting the volume of all FX send signals. Both monitor sends also have their own dedicated faders (blue), as well as MUTE and SOLO switches.

The MAIN A section lies in the bottom right section of the board. It gives you a channel fader (light grey); a 13-LED master level meter in the top right corner gives you a dynamic visual gauge of overall output; a MUTE switch (red) mutes all input channels except CD/TAPE inputs; and a BAL control (black) adjusts the mix of the left and right output signal before they are routed through the MAIN A output. Above, you’ll find the MAIN B section, which governs the signal sent through the MAIN B outputs on the back panel. Use the MAIN B section and outputs to connect to a separate power amplifier and multiple loudspeakers, or to a stereo recording system.

Talking back, listening up The XL series features a Talkback section in the upper right corner with its own XLR input, LEVEL control (red), and switches that allow you to send its signal to either the MON, AUX, GROUP or MAIN outputs. Finally, a pair of headphone inputs at the top of the board allows you to personally monitor your mix, and a pair of BNC lamp inputs ensures you’ll never have to mix in the dark.

The Back Story
The back panel of XL series mixers features an intuitive patch bay that gives you tons of flexibility in configuring a live show. In the upper left corner you’ll find the MAIN OUTPUTS section. There’s left and right XLR outputs for connecting to PA speakers, as well as dual 1/4" inserts for connecting a dynamics processor or equalizer to further tweak the main signal. There’s also dual OUT B jacks governed by the MAIN B dial on front. Next door to the MAIN OUTPUTS section is the FX/MON/AUX SENDS section. The FX 1 and FX 2 1/4" outputs send signal to outboard effects processors. MON 1 and MON 2 XLR outputs send signal to monitors, and AUX 1 and AUX 2 XLR outputs can be used for either effects processors or monitors.

The next section to the right contains the AUX RETURNS. Stereo AUX inputs 1 & 2 allow you to connect more effects processors or submixers, while stereo FX 1 & 2 returns accept processed signals sent from the FX 1 and FX 2 outputs.
Left and right SPEAKER 1/4” outputs allow you to connect monitor speakers that provide the same signal as the headphone outputs.
Each subgroup has its own INSERT and OUT 1/4" jacks. The inserts allow you to connect noise gates, compressors or equalizers, while the OUT jacks send the subgroup signal to, for example, a multi-track recorder.
Along the bottom of the back panel, you’ll find the mono and stereo channel inserts. Mono channels feature both a 1/4" and XLR input, as well as an INSERT jack for applying outboard equipment and a DIRECT OUT jack for sending signal to a device such as a multi-track recorder. Stereo channels feature a single XLR input and dual 1/4" inputs.
Input Wiring

Callouts

Input Wiring

Front Panel