Colored Microphone
Colored Microphone
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Eliminator E-144 Pirahna Creates 32 Multi-Dichroic Colored Beams $79.95 The Eliminator E-144 Pirahna Mini Double Derby Special Effects Light is a smaller version of the popular E-108 Double Derby, yet it's a powerful effect for both clubs and mobile DJs in its own right. The Eliminator Pirahna lighting effect features 2 x 120v 300w lamps (EL-64514) that respond sound actively via its internal microphone. The effect light creates a dramatic cluster of 32 multi-dichroic colored laser beams crisscrossing throughout the room. |
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Royer R-121 Live Ribbon Microphone Nickel $1295 With the Royer R-121L ribbon microphone from the Live Series, you get twice the durability in the ribbon element, allowing you to use it anywhere you'd like on stage with complete confidence. HowAfter extensive testing, Royer found a new ribbon thickness for the R-121 microphone that allowed a significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.Royer Live Series microphones are identified with a red Royer logo (studio models have green or black logos). Live Series mics can be converted to Studio mics with a simple re-ribbon and logo replacement. There is no cost difference between standard Studio mics and Live Series micsA figure-8 microphone on stage? Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage micsnot just the amount of bleed but the quality of the bleed. Here's how Royer handles the problem.RejectionRoyer ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Case in point (as told by Royer): "Aerosmith used R-121's in the studio to record the electric guitars on their 2002 CD Just Push Play, but didn't consider them for live use. While rehearsing for their follow-up tour, the bleed in the electric guitar mics was driving the FOH engineer crazy. It was suggested they try using their R-121's and, after we assured them we'd replace the ribbons if they were damaged onstage, the band set up R-121's on Joe Perry and Brad Whitford's guitars. The mics eliminated the bleed problem so effectively (and sounded so good) that Royer R-121's have been Aerosmith's live (and studio) electric guitar mics from that day forward. In over five years of extensive use, they've only stretched one ribbon. An engineer on the crew told us that their Royers had a better reliability record than any of their other touring microphones!"Off-Axis Coloration: There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer mics will sound natural, not harsh or colored. About Royer Live Series mics:Royer Live Series mics (R-121L, R-122L, SF-24L) were introduced in 2008, making ribbon mics available to FOH engineers for the first time. As a group they won the 2008 TEC Award for Microphone Technology/Sound Reinforcement, and they're |
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Grace Design M501 500 Series Microphone Preamp $625 The m501 is Grace Designs 500 series module version of the venerable m101 mic preamplifier. Now the signature transparency and detail of Grace circuit designs is available for your 500 series frame.While the 500 series market has plenty of colored mic preamplifier options, the natural, musical clarity of the m501 makes it a welcome addition to the field. This circuit is for audio engineers who are confident with the quality of the source, mic section and placement, and wish to capture it with as little coloration or distortion as possible.The m501 module is a balanced, transformerless preamplifier, with 48V phantom power, a 75Hz HPF and a 1/4" HI-Z instrument input. Also standard is Grace Design's exclusive ribbon mic mode, which raises the mic input impedance, bypasses the input decoupling capacitors and deactivates 48V phantom power to protect delicate ribbon mics from damage.Large diaphragm, vintage ribbon or trusty dynamicthe Grace Design m501 brings out the very best in any microphone and takes the guesswork out of your input chain.Balanced, transformerless preamplifierGrace's exclusive ribbon mic mode48V phantom power75Hz HPF1/4" HI-Z instrument inputFits 500 series frame |
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Royer R-122 Live Active Ribbon Microphone Nickel $1750 Royer microphones are built to be tough and can handle the challenges of life on the road, but they are studio mics that require some TLC to keep from damaging the ribbon elements. With the Royer R-122 ribbon microphone from the Live Series, you get twice the durability in the ribbon element, allowing you to place it anywhere on stage you'd like with complete confidence. Tame high-end harshness and bring Royer's legendary smoothness, warmth and power to your live performances.HowAfter extensive testing, Royer found new ribbon thickness for the R-122 Live microphone that allowed us to significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.A Figure-8 Microphone on Stage?Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage mics - not just the amount of bleed but the quality of the bleed. Here's how Royers handle the problem.RejectionRoyer ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Case in point (as told by Royer): "Aerosmith used R-121's in the studio to record the electric guitars on their 2002 CD Just Push Play, but didn't consider them for live use. While rehearsing for their follow-up tour, the bleed in the electric guitar mics was driving the FOH engineer crazy. It was suggested they try using their R-121's and, after we assured them we'd replace the ribbons if they were damaged onstage, the band set up R-121's on Joe Perry and Brad Whitford's guitars. The mics eliminated the bleed problem so effectively (and sounded so good) that Royer R-121's have been Aerosmith's live (and studio) electric guitar mics from that day forward. In over five years of extensive use, they've only stretched one ribbon. An engineer on the crew told us that their Royers had a better reliability record than any of their other touring microphones!"Note: The polar response of the R-122 is the same as the R-121Off-Axis Coloration:There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer Live mics will sound natural, not harsh or colored. About Royer Live Series mics:Royer Live Series mics (R-121L, R-122L, SF-24L) were introduced in 2008, making ribbon mics available to FOH engineers for the first time. As a group they |
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Royer R-121 Live Matched Ribbon Microphone Pair Nickel $2640 With the Royer R-121 ribbon microphone from the Live Series, you get twice the durability in the ribbon element, allowing you to use it anywhere on stage you'd like with complete confidence. This matched pair of R-121 Live microphones lets you get studio quality sound at any venue.HowAfter extensive testing, Royer found new ribbon thicknesses for the R-121 microphone that allowed a significantly increase durability with minimal reduction in gain and transients response. The sonic difference is negligible, and the increased durability lets anyone use Royer ribbons in a live environment.Royer Live Series microphones are identified with a red Royer logo (studio models have green or black logos). Live Series mics can be converted to Studio mics with a simple re-ribbon and logo replacement. There is no cost difference between our standard Studio mics and Live Series micsA figure-8 microphone on stage? Surprisingly, figure-8 ribbon microphones are an excellent solution for bleed. Bleed can be a real problem with many onstage micsnot just the amount of bleed but the quality of the bleed. Here's how Royer handles the problem.RejectionThe Royer R-121 ribbon mics are figure-8, picking up sound from the front and rear of the microphone, and rejecting sounds approaching from a) the left and right sides of the mic, b) the top of the mic, and c) the bottom of the mic. These are extremely effective dead zones that engineers use to isolate instruments by positioning the mics in such a way that the dead zones face, and cancel, offending sound sources. Case in point: Aerosmith used R-121's in the studio to record the electric guitars on their 2002 CD Just Push Play, but didn't consider them for live use. While rehearsing for their follow-up tour, the bleed in the electric guitar mics was driving the FOH engineer crazy. It was suggested they try using their R-121's and, after we assured them we'd replace the ribbons if they were damaged onstage, the band set up R-121 ribbon mic's on Joe Perry and Brad Whitford's guitars. The mics eliminated the bleed problem so effectively (and sounded so good) that R-121's have been Aerosmith's live (and studio) electric guitar mics from that day forward. In over five years of extensive use, they've only stretched one ribbon. An engineer on the crew told us that their Royers had a better reliability record than any of their other touring mics!Off-Axis Coloration: There's a lot of sound on a live stage and you can't entirely control for off-axis information getting into microphones, even ribbons. Most microphones color off-axis information in highly unflattering ways, which is why bleed can sound so nasty. Ribbons don't color off-axis information, so any bleed that manages to get into your onstage Royer R-121 mics will sound natural, not harsh or colored. Matched pair for perfect stereo imagingMade for live applicationsHigh SPL capabilities for electric guitar and percussionThicker Ribbon designNo internal active electronics to ove |
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ART Digital MPA-II 2-Channel Tube Microphone Preamp with A/D Conversion $399 The ART Digital MPA-II delivers all of the same great features of the ProMPA with the added versatility of digital output. Like the ProMPA-II, each input circuit has 48v phantom power and features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone. The Digital MPA-II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.The input section of the Digital MPA-II operates at either a low or high plate voltage applied to the two integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display input or output levels while multi-colored LED arrays, with average or peak hold, show tube gain and digital output levels.In addition to XLR and 1/4" analog outputs, the Digital MPA-II features a high quality A to D converter which offers digital connectivity on S/PDIF, ADAT, or AES/EBU outputs. A rotary control on the front panel allows selection of format and sample rates from 44.1 to 192 KHz and 16 bit dithering. There is also a push button for, and two wordclock jacks, allowing loop-through.The Digital MPA-II comes in a standard 2 unit space rack-mountable steel chassis, with CNC routed black anodized aluminum face panel. |
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Gibraltar Microphone Gooseneck 6 $5.99 This 6" black microphone gooseneck fits standard mic holders and boom arms. |
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Yamaha Mc-7 Instrument Microphone $74.99 The Yamaha MC-7 Instrument Microphone is a condenser mic for the Yamaha Silent Brass system. |
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ProLine Standard Microphone Clip $3.99 Standard Microphone Clip with plastic mic swivel retainer holds your microphone securely. 5/8" female threaded insert in base. Black. |
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Proline Standard Microphone Clip $3.99 Standard Microphone Clip with plastic mic swivel retainer holds your microphone securely. 5/8" female threaded insert in base. Black. |
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Mxl 4000 Multi-Pattern Fet Studio Condenser Microphone $199.99 The MXL 4000 Multi-Pattern is a condenser microphone designed around a Class-A discrete FET mic amp specially chosen to match its large diaphragm capsule. The capsule itself has been sized and tuned to provide a silky and airy top end with a full, warm midrange reminiscent of vintage microphones. Hand selected internal components create a sound that enhances both vocal and instrument performances.Using the polar patternsTo take advantage of the versatility of the MXL 4000's polar patterns, here are some miking tricks of the pros. Figure-8Figure-8 mics pick up sound equally well from front and rear. So, if you're looking for a rich vocal sound with the added ambience of room tone to add depth and spaciousness, use the figure-8 pattern and have your vocalist sing into one side while the other picks up the reflections of the room. Only do this if you have a good-sounding room. You can also use the figure-8 pattern for isolation from other instruments. For example, if you're miking drums and want to give the hi-hat it's own track, position the MXL 4000 so that the side of the figure-8, where rejection is greatest, is pointing towards the snare while the front or rear of the mix faces the hat. Do the same if you're recording a singer-guitarist who's playing an acoustic while singing. You need two figure-8 mics for this one. Position the vocal mic so that the side is facing the guitar, and the guitar mic so that the side of the figure-8 points towards the singer's mouth. Now both singer and guitar are isolated. Again, make sure you do this in a room that sounds good, because the back side of the mic will be picking up the room. OmniIn many cases, the least used, but best-sounding of all the polar patterns. Omni has very little off-axis coloration, which means that sounds entering the sides of the mic sound just as good as sounds entering the front. If you have a great-sounding room, by all means, try omni before anything else. Omni gives your recordings the impression of being in the room with the sound. It also works very well as the "mid" mic in Mid-Side stereo recording. CardioidThis is the most used pattern. It's basically point and shoot, but keep in mind that you can use it's rear-rejection to your advantage, or by turning the mic slightly away from the source, you can use it's off-axis response to tame sharp transients. Aside from straight-ahead recording, most people us the cardioid pattern is the "mid" mic in Mid-Side stereo recording.Requires phantom power.Warm-sounding, low-noise, classic recording studio mic soundLarge, 6-micron gold-sputtered capsuleSteel head and woven-brass mesh grillHeavy duty metallic blue finished enclosureVintage transformerless designAttractive mahogany colored storage caseSpecially designed MXL 60 shock mount includedCustom foam windscreenMade with Mogami cable |
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Used Mxl 4000 Multi-Pattern Fet Studio Condenser Microphone $181.99 The MXL 4000 Multi-Pattern is a condenser microphone designed around a Class-A discrete FET mic amp specially chosen to match its large diaphragm capsule. The capsule itself has been sized and tuned to provide a silky and airy top end with a full, warm midrange reminiscent of vintage microphones. Hand selected internal components create a sound that enhances both vocal and instrument performances.Using the polar patternsTo take advantage of the versatility of the MXL 4000's polar patterns, here are some miking tricks of the pros. Figure-8Figure-8 mics pick up sound equally well from front and rear. So, if you're looking for a rich vocal sound with the added ambience of room tone to add depth and spaciousness, use the figure-8 pattern and have your vocalist sing into one side while the other picks up the reflections of the room. Only do this if you have a good-sounding room. You can also use the figure-8 pattern for isolation from other instruments. For example, if you're miking drums and want to give the hi-hat it's own track, position the MXL 4000 so that the side of the figure-8, where rejection is greatest, is pointing towards the snare while the front or rear of the mix faces the hat. Do the same if you're recording a singer-guitarist who's playing an acoustic while singing. You need two figure-8 mics for this one. Position the vocal mic so that the side is facing the guitar, and the guitar mic so that the side of the figure-8 points towards the singer's mouth. Now both singer and guitar are isolated. Again, make sure you do this in a room that sounds good, because the back side of the mic will be picking up the room. OmniIn many cases, the least used, but best-sounding of all the polar patterns. Omni has very little off-axis coloration, which means that sounds entering the sides of the mic sound just as good as sounds entering the front. If you have a great-sounding room, by all means, try omni before anything else. Omni gives your recordings the impression of being in the room with the sound. It also works very well as the "mid" mic in Mid-Side stereo recording. CardioidThis is the most used pattern. It's basically point and shoot, but keep in mind that you can use it's rear-rejection to your advantage, or by turning the mic slightly away from the source, you can use it's off-axis response to tame sharp transients. Aside from straight-ahead recording, most people us the cardioid pattern is the "mid" mic in Mid-Side stereo recording.Requires phantom power.Warm-sounding, low-noise, classic recording studio mic soundLarge, 6-micron gold-sputtered capsuleSteel head and woven-brass mesh grillHeavy duty metallic blue finished enclosureVintage transformerless designAttractive mahogany colored storage caseSpecially designed MXL 60 shock mount includedCustom foam windscreenMade with Mogami cable |
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Art Digital Mpa-Ii 2-Channel Tube Microphone Preamp W/ A/D Conversion $399 The ART Digital MPA-II delivers all of the same great features of the ProMPA with the added versatility of digital output. Like the ProMPA-II, each input circuit has 48v phantom power and features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone. The Digital MPA-II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.The input section of the Digital MPA-II operates at either a low or high plate voltage applied to the two integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display input or output levels while multi-colored LED arrays, with average or peak hold, show tube gain and digital output levels.In addition to XLR and 1/4" analog outputs, the Digital MPA-II features a high quality A to D converter which offers digital connectivity on S/PDIF, ADAT, or AES/EBU outputs. A rotary control on the front panel allows selection of format and sample rates from 44.1 to 192 KHz and 16 bit dithering. There is also a push button for, and two wordclock jacks, allowing loop-through.The Digital MPA-II comes in a standard 2 unit space rack-mountable steel chassis, with CNC routed black anodized aluminum face panel.Variable Input Impedance For Flexible Microphone Voicing (150 Ohms To 2400 Ohms)Selectable Plate VoltageLarge VU MetersBacklit Function SwitchesDiscrete Class-A Input Microphone PreamplifierLow Noise at Lower Gain SettingsExtremely Low Total Harmonic Distortion (THD)Wide Frequency ResponseAdditional Front Mounted Instrument Input JackSupports Mid/Side Miking TechniqueOperates at +4dbm/-10dbv OutputSelectable Stereo/Dual Operation of Output ControlsAutomatic Instrument Input Selection24-204KHz External sample rate44.1K, 48K, 88.2K, 96K, 176.4K, 192K Internal sample rates24/16 bit switchable ditheringWide dynamic range A/DRotary Encoder for quick selection of sample rateSeparate analog and digital output level controlsDigital Level LED meters display both Average and Peak levelADAT optical I/OSync to incoming ADAT data rateSwitch selectable optical output (S/PDIF or ADAT)AES/EBU and S/PDIF outputsTwo wordclock jacks allowing loop through |
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Used Art Digital Mpa-Ii 2-Channel Tube Microphone Preamp With A/D Conversion 886830223006 $339.15 The ART Digital MPA-II delivers all of the same great features of the ProMPA with the added versatility of digital output. Like the ProMPA-II, each input circuit has 48v phantom power and features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone. The Digital MPA-II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.The input section of the Digital MPA-II operates at either a low or high plate voltage applied to the two integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display input or output levels while multi-colored LED arrays, with average or peak hold, show tube gain and digital output levels.In addition to XLR and 1/4" analog outputs, the Digital MPA-II features a high quality A to D converter which offers digital connectivity on S/PDIF, ADAT, or AES/EBU outputs. A rotary control on the front panel allows selection of format and sample rates from 44.1 to 192 KHz and 16 bit dithering. There is also a push button for, and two wordclock jacks, allowing loop-through.The Digital MPA-II comes in a standard 2 unit space rack-mountable steel chassis, with CNC routed black anodized aluminum face panel.Variable Input Impedance For Flexible Microphone Voicing (150 Ohms To 2400 Ohms)Selectable Plate VoltageLarge VU MetersBacklit Function SwitchesDiscrete Class-A Input Microphone PreamplifierLow Noise at Lower Gain SettingsExtremely Low Total Harmonic Distortion (THD)Wide Frequency ResponseAdditional Front Mounted Instrument Input JackSupports Mid/Side Miking TechniqueOperates at +4dbm/-10dbv OutputSelectable Stereo/Dual Operation of Output ControlsAutomatic Instrument Input Selection24-204KHz External sample rate44.1K, 48K, 88.2K, 96K, 176.4K, 192K Internal sample rates24/16 bit switchable ditheringWide dynamic range A/DRotary Encoder for quick selection of sample rateSeparate analog and digital output level controlsDigital Level LED meters display both Average and Peak levelADAT optical I/OSync to incoming ADAT data rateSwitch selectable optical output (S/PDIF or ADAT)AES/EBU and S/PDIF outputsTwo wordclock jacks allowing loop through |
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 YPA MM2 HEADSET Microphone For AKG PT Samson UT1L VT2L0  US $54.95
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ELAGO EL-S4SM-CBL-BA S4 Slim Fit Case for AT&T, Sprint, Verizon iPhone 4/4S - 1 Pack - Retail Packaging - Coral Blue List Price: $19.99 Sale Price: $4.99 Used From: $10.21  |
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Keep the iPhone 4/4S safe & protected in style with the S4 Slim Fit Case. Unique design allows easy access to all buttons, controls & ports without having to remove the case. Polyurethane coated to protect from scratches and for better grip, Product designed by elago in California and Made in Korea. |
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3 pack headphone with microphone for iphone 2g 3g 3gs 4g- (Generic, WHITE Color) List Price: $14.99 Sale Price: $0.01 Used From: $0.99 |
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Experience the best earphones for Apple iPhone 3G and iPhone 3GS at this price range. Built-in microphone for handsfree conversations and answer and send button switches between music and phone. Fashionable and Stylish design, superior sound quality... |
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For Apple iPhone 3G S Earphones Headphones with Mic Sale Price: $0.01 Used From: $0.01 |
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Compatible With: BlackBerry: PlayBook/Style9670/Bold9780/Bold 9000/9700/Onyx,Curve 8300/8310/8320/8330/8900,Pearl 8110/8120/8130,Pearl Flip 8220,Storm 9500 Thunder,Storm2 9520/9550/Oden;SCH-R810 Finesse/SGH-A867 Eternity/SGH-A897 Mythic/SGH-F490/SGH-F700/SGH-G810/SPH-i350/ACE II/Intrepid/SPH-M800 Instinct/SPH-M810 Instinct S30/SPH-M900/Instinct Q/Moment;SanDisk:C100 series,C200 series,Clip,Connect Connect 4GB,E200 series,E200R series,Fuze 4/8GB/AX840/UX840 Tritan/CT810 Incite/VX11000 enV Touch/VX8575 Chocolate Touch;SCH-R470 TwoStep/SCH-R560 Messager 2/SPH-M560 Reclaim/SPH-M630 Highnote/SGH-T939 Behold II/SCH-R850 Caliber/SCH-R600 Hue II/SCH-R800 Delve/SCH-U490 Trance/SCH-U960 Rogue/SCH-R400/SCH-i920;Nokia N97/5530 XpressMusic/N85/N96/N900/E72/N97 Mini/3711/E75/E63/N76/N81/N82/N810 Internet Tablet/N810 WiMAX Edition; Curve 8520/Pearl Flip 8230/Storm 9530/Tour 9630;Motorola A Series A455/QA Series Hint QA30/Karma QA1/ROKR Z6m/ZINE ZN5/CLIQ/Droid/Backflip/Motorola Crush/Hero CDMA/Droid Eris/Motorola Devour A555... |
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Bluecell 5 Pack Blue/Green/Yellow/Hot Pink/Orange Handheld Stage Microphone Windscreen Foam Cover + Bluecell Cable Tie Sale Price: $7.99 |
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High Quality handheld stage microphone windscreens cover. Color: Blue/Green/Yellow/Hot Pink/Orange, Quantity: 5 for one order. 2.8" Height x 2.3" Width. |
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Velcro Reusable Self-Gripping Cable Ties, 0.5 Inches x 8 Inches Long, Black, 100 Ties per Pack (91140) List Price: $12.49 Sale Price: $3.79 |
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Take control of cord clutter. Bundle computer and electronics cords with these easily adjustable, reusable ties. The simple one-piece design wraps onto itself for a secure hold. Global Product Type: Hook & Loop Fasteners, Hook and Loop Fastener Type: Ties, Fastener Size(s): 1/2 Inch Wide x 8 Inches Long, Size: N/A. |
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GLS Audio 25ft Mic Cable Cords - XLR Male to XLR Female Colored Cables - 25' Balanced Mike Cord - 6 PACK List Price: $149.99 Sale Price: $69.95 |
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6 PACK of Professional Series Noise Free Mic Cables. They have a thick, high quality, flexible rubber jacket. They are heavy duty Noise Free "True Balanced LO-Z" and have 3 pin XLR connectors on each end... |
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GLS Audio Mic Windscreens - Color Microphone Windscreen - Mike Wind Screen fits all standard size Ball-Type Mics - Color Wind Screens - 7 PACK List Price: $21.95 Sale Price: $13.95 Used From: $12.68 |
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Make life easy on yourself when you're working the sound board. 7 different Vibrant Colors of wind screens to keep the mics on stage more than bearable to work with. They come vacuum packed for freshness and longevity... |
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Ergonomic Cellphone SWB Headset with Boom Microphone - 2.5mm pin, 4 Colored Microphone Sleeves *Includes Microfiber Cleaning cloth List Price: $13.99 Sale Price: $4.99 |
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Simple Sound and Voice AchievedEasily turn your cellphone into a convenient hands-free device with our comfortable, ergonomic SWB Headset with boom microphone. Just plug the 2.5mm pin into your cellphone's headphone jack and begin using the headphone and microphone hands-free! The headphone produces crystal clear sound so you can maintain your great call quality... |
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GLS Audio 12ft Mic Cable Patch Cords - XLR Male to XLR Female Colored Cables - 12' Balanced Mike Cord - 6 PACK List Price: $69.99 Sale Price: $49.95 |
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Professional Series Noise Free Mic Cables. They have a thick, high quality, flexible rubber jacket. They are heavy duty Noise Free "True Balanced LO-Z" and have 3 pin XLR connectors on each end. These cables have dual insulated copper conductors plus they are shielded... |
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On Stage Foam Ball-Type Mic Windscreen, Black List Price: $5.99 Sale Price: $0.85 Used From: $3.00 |
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Protect your mics against wind interference and singers' spit with an On Stage Foam Ball-Type Mic Windscreen. Designed for noral sized handheld mics similar in design to a Shure SM58, these colorful foam windscreens fit most mics... |
HOT! 4.3 inch 8GB QVGA Full Color Touch Screen MP5 Player
Today, I will introduce you a type of hot sale product 4.3 inch 8GB QVGA Full Color Touch Screen MP5 Player, which can give you a novel experience. The Hotpoint of this product is 4.3 inch high definition screen, built-in speaker and Sliding Touch Screen.
Let’s review it in detail:
With TFT Screen and Well-designed UI, you may feel a sense of delight and ease.
High Definition Touch Screen combined with 10 functions, which is clear at a glance. The 10 main functions including music, video, game, radio, photo, ebook, record, other function, explorer, settings, as you saw below.
Most amazing thing is that you can slide the tempo point easily to advance or retreat. Of course you can just touch the menu under the tempo bar.
And another feature you cannot ignore is built-in speaker. You can even connect with microphone to show your singing. Really unforgettable!
To enjoy the whole aspects of this lovely item at:
There are some features of the 4.3 inch 8GB QVGA Full Color Touch Screen MP5 Player:
4.3-inch QVGA full color Touch screen
Flash memory storage: 8GB
Supports AVI, RM and RMVB movie formats directly
Supports MP3, WMA, FLAC and APE music formats
Supports multitasking operation
Supports FM radio function
Records voice with internal microphones
Supports electric album function
Supports text reading function
Built-in microSD card slot
Built-in speaker
With Microsoft playFX technology to enhance sound quality
Supports ID3 tag and lyrics display
Selectable audio equilibrium: normal, 3D, rock, pop, classical, bass, jazz and user EQ
With USB 2.0 high-speed port, use as USB storage device
Built-in rechargeable Li-ion battery
Supports multiple languages
With High Definition TFT Screen, RK2706 CMOS chip, 480×272 Resolution, Multilanguage functions and USB 2.0 high-speed port , the 4.3 inch 8GB QVGA Full Color Touch Screen MP5 Player is really a “Second to None” product.
2GB -16GB 4.3 inch 8GB QVGA Full Color Touch Screen MP5 Players are all available in our store.
About the Author
I am an SEO Engineer at China Leading Electronics Wholesaler szprice.com
May 5th, 2008 in
Microphones | tags: audio, colored microphone cables, colored microphone windscreens, colored microphones, hardware, microphone, Microphones, wireless