Dynamic Recording
Dynamic Recording
 |
 Leem Unidirectionalmoving coil Dynamic Microphone Free Mic cable included New  US $48.30
|
 BLUE enCORE 100 Cardioid Dynamic Microphone US $46.33
|
 Shure Beta 87a US $145.00
|
 RECORDING BUNDLE2008 MACBOOK w 3 MICS M AUDIO PREAMP WIRELESS KEYBOARDMOUSE US $400.00
|
 Samson PERFORMER CONCERT STAGE R31S DYNAMIC Handheld Microphone SCR315 NEW US $8.45
|
 Countryman EMW Omni MEMWF05BTL Condenser Wireless Professional Microphone US $110.00
|
 Neumann TLM103 D Large Diaphragm Microphone Digital Nickel Silver US $850.00
|
 Audio Technica AT2020 Condenser Cable Professional Microphone US $53.00
|
 Sennheiser Evolution E 835 microphone US $38.95
|
 NEW Sennheiser MD421 II Dynamic Microphone US $255.00
|
 Heil Sound The Fin Microphone Showroom Chrome Finish with LEDs US $229.00
|
 Blue Snowball Bundl USB mic microphone Brushed Aluminum US $32.00
|
 Shure Prologue 10H Hi Z Dymanic Microphone with Switch and Cable US $19.95
|
 Vintage studio microphone Sennheiser MD21 made in Germany 1960s US $66.75
|
 Brand NEW Nady SP 4C Dynamic Cable Professional Microphone US $20.00
|
 Blue Blueberry Cardioid Condenser Microphone MINT US $650.00
|
 Burl B1 Mono Class A Discrete Microphone PreAmp DI US $550.00
|
 Great River MP 500NV Mono Mic Preamp DI Module US $550.00
|
 Heil PR 20R Limited Edition Shop Red Pearl PR20 US $140.00
|
 RØDE K2 Dual 1” Large Diaphragm Variable Pattern US $525.00
|
 RØDE NT4 Cardioid Condenser XY Stereo Microphone DEMO US $375.00
|
 Audix D6 Dynamic Professional Microphone Brushed Silver US $135.00
|
 Blue Ball Dynamic Cable Professional Microphone US $89.99
|
 New Pro Dynamic DJ Studio Vocal Recording Microphone NR US $.10
|
 Shure PG48 Cardioid Dynamic Mocrophone US $45.00
|
 NEW PRO 42 audio technica condensor boundry microphone condenser XLRM M151A2 M37 US $29.95
|
 NEW YPA M606 Condenser Vocal Instrument Microphone 2pcs US $59.95
|
 Marshall MXL2001P and MXL603 Recording Microphone Combo NIB US $58.50
|
 Rode NT1 A Studio Condenser Microphone US $107.00
|
 SHURE PRO SET PGX2 PG58 TRANSMITTER PGX4 WIRELESS RECEIVER US $325.00
|
 Sony F V320 Uni Directional Vocal Microphone with Built In On Off Switch US $36.99
|
 BEHRINGER USB Condenser Microphone C 1U BUY IT NOW FREE SHIPPING USA US $74.88
|
 NEW PAIR BEHRINGER C 4 STUDIO CONDENSER MICROPHONE C4 BUY IT NOW FREE FAST SHIP US $72.88
|
 2 BRAND NEW SHURE BETA58A BUY IT NOW FREE SHIPPING USA US $296.88
|
 3 BRAND NEW SHURE SM57 BUY IT NOW FREE SHIPPING USA US $269.88
|
 2 50 CBI Studio Quad Mic Cables XLR BUY IT NOW FREE SHIPPING USA US $79.88
|
 2 25 CBI Studio Quad Microphone Cables XLR Best Deal on eBay Free Shipping US $62.88
|
 4 50 CBI Studio Quad Mic Cables XLR FREE SHIPPING USA BUY IT NOW US $149.88
|
 4 25 CBI Studio Quad Mic Cables XLR BUY IT NOW US $122.88
|
 Sennheiser MD421 U 5 Dynamic Studio Microphone US $150.00
|
 Nady SP 5 Dynamic Microphones with Neodymium Element 3 Pack US $34.99
|
 Shure SM86 Cardioid Condenser Vocal Microphone US $165.00
|
 Samson Q2U Recording Pak US $9.99
|
 SAMSON R10S Dynamic Vocal Karaoke Microphone 35mm 1 4 SCR10S DJ MIC US $.99
|
 Rode NT1 A Studio Condenser Mic in original box US $174.99
|
 RYCOTE SOFTIE MEDIUM WINDSCREEN FOR SHOTGUN MICROPHONES ME 66 MKH 416 ETC 21 CM US $41.00
|
 AKG D77S XLR Dynamic Professional Microphone US $1.00
|
 Audix D4 Drum Mic Rack Floor Tom Microphone Perfect Flawless US $118.99
|
 MC 360 Professionel Dynamic Microphone M Zone new US $12.50
|
 BINAURAL Microphone Earphone PRO Dynamic MINI MIC US $285.00
|
|
|
Shure Sm94 Recording Microphone $199.99 The Shure SM94 is a reliable recording microphone that provides exceptional sound in the studio or with instruments onstage. Delivers a wide dynamic range and smooth, flat frequency response of 40Hz-16kHz. Especially suited for strings, woodwinds, and cymbals. Uniform cardioid condenser. Internal shockmount. AA battery or phantom power.Wide dynamic rangeSmooth, flat frequency response40Hz-16kHzEspecially suited for strings, woodwinds, and cymbalsUniform cardioid condenserRuns off AA batery or phantom powerInternal shockmount |
|
|
Presonus Fp10 Recording Package $629.99 The PreSonus FP10 Recording Package includes the PreSonus FP10 10x10 FireWire Recording Interface, Fostex PM0.4n Powered Studio Monitors, MXL MXL 990/MXL 991 Recording Microphones, 2 - 20 ft. XLR Microphone Cables, two 10 ft. 1/4" Straight Instrument Cables, and two tripod microphone stands.>FP10 10x10 FireWire Recording Interface The PreSonus FP10 FireWire recording interface (formerly known as the FirePod) is a complete 24-bit/96kHz recording system combining 8 high-quality PreSonus XMAX microphone preamplifiers with 24-bit/96kHz analog to digital conversion. The FP10 interface comes with the Studio One Artist music creation and production software which has the same platform and intuitive interface as Studio One Pro but with an unlimited track count. It also has S/PDIF and MIDI inputs and outputs for convenient and compact, professional-quality, no-hassle recording. It also works with Mac OS X and Windows XP, Vista, and 7.XMAX Class A preampsThe FP10's XMAX Class A preamps are custom-designed by PreSonus. They run on power rails of 30V with no op amps, and are always in an "on" state for zero crossover distortion. This allows them to deliver high headroom with low-noise sonic performance, wide dynamic range, wide frequency range, and, most importantly, musicality and transparency. This gives you smooth highs, solid, deep lows, without losing everything in between. It's perfect for recording diverse sources. 8 potentiometers are on the front panel to easily control the input level of each preamplifier.Ins and OutsInputs 1 and 2 of the FP10 interface can be switched between microphone or instrument level while inputs 3 through 8 can be switched between microphone or line input. Phantom power (+48V) is available on every channel in groups of 4. Channels 1 and 2 feature fully balanced send and return TRS connectors on the rear of the rugged metal chassis for inserting outboard dynamics, EQ, and effects processors. There are 8 balanced TRS line outputs, 2 balanced TRS MAIN outputs, and CUE outputs for addtional monitoring. Using a stereo headphone output on the front panel, as well as mix control to balance monitoring levels between mixed input and main output signals, zero-latency monitoring is achieved. 2 channels of SPDIF input and output as well as MIDI input and output are also included. 2 FireWire ports make it possible to daisy-chain multiple FP10's together creating the possibility for adding additional inputs and outputs (with mic preamps) to your system.Studio One ArtistPlus: Gigabytes of 3rd Party ResourcesThe FP10 is bundled with an exceptional software package featuring PreSonus Studio One Artist DAW software for Mac OS X and Windows XP and Vista. It makes producing high-quality projects easier than ever before. As part of the Studio One Artist package, you get 20 new PreSonus Native Effects plug-ins and virtual instruments, and a generous bundle of third-party loops, software, and instrument sounds.PM0.4n Powered Studio MonitorsSince |
|
|
Focusrite Octopre Mkii Dynamic $699.99 The Focusrite OctoPre MkII Dynamic is a feature-rich expansion upgrade for any digital audio workstation. With 8 channels of Focusrite microphone pre-amplification, 8 VCA-based Red 3-derived compressors and built-in 24-bit / 96 kHz digital inputs and outputs, the OctoPre MkII is equally ideal as an expansion for any analogue or digital console, or for a hard disk recorder.The OctoPre MkII Dynamic's digital inputs and outputs let you make the most of often-neglected ADAT I/Oideal for expanding the number of mic-pre inputs on your interface or for providing analogue monitoring from any digital ADAT feed.With this entire package fitting into a single 1U chassis complementing Focusrite's Saffire PRO range, and all controls adjustable from the front fascia, OctoPre MkII Dynamic sets the standard for modern, compact, multi-channel recording expansions.Saffire Mic Pre Focusrite has, over the past two decades, built a reputation as the market leader for high quality recording equipment, with its mic pre technology as the cornerstone of that enviable reputation. The original ISA mic pre, as featured in the early Focusrite Fort console, is still used by many of the industry's greatest producers and has contributed to the sound of countless hit records. Today, Focusrite design equipment for a far greater audience, from professionals to amateur enthusiasts, all with varying budgets.As with the Classic ISA mic pre used in both the ISA and Red ranges, the Saffire mic pre found in the OctoPre MkII Dynamic is designed to the highest possible standards. It upholds the same wide bandwidth philosophy featured in the original fort console, back in 1989. As with the Classic ISA mic pre, the Saffire mic pre design features custom components which have undergone an intense testing and qualification process. With the facts and figures in, Focusrite designs then have to pass the essential listening stage. Any design can measure well on the test bench but only a great design can be qualified in the studio. The FET-based Saffire mic pre design is no exception. It delivers clarity without colouration and exhibits the signature transparency for which Focusrite have become famous. With the high channel count interfaces (Saffire PRO 40 and Liquid Saffire 56) and both the OctoPre MkII and OctoPre MkII Dynamic, the Saffire pre-amp has been optimized for drums. The theoretical maximum level of a microphone was calculated, and the mic pre was adjusted with this in mind so as not to clip with this level present, set to minimum gain. As a result, the mic pre won't clip, even with a high output level mic right up close to a snare drum (the mic input will accept signal levels up to +16dBU from a microphone). Compression The Compressors featured in OctoPre MkII Dynamic are a new VCA-based, feed-forward design, derived from the celebrated Focusrite Red 3. With just a single dial, these eight 'recording' compressors allow you to get to the desired amount of compression for each channel |
|
|
Focusrite Focusrite Saffire Recording Package $549.99 This affordable Focusrite recording package comes with a Saffire FireWire audio interface, an MXL 909 mic, a pair of Fostex PMO.4 studio monitors, a Musician's Gear MS-200 tripod mic stand, two 5-ft. Live Wire TRS-TRS balanced speaker cables, and a 20-ft. Musician's Gear Lo-Z mic cable. Focusrite Saffire FireWire Audio InterfaceThe Focusrite Saffire FireWire Audio Interface fuses state-of-the-art hardware with highly integrated software to take audio interfacing one giant step closer to the professional studio experience with onboard DSP and 24-bit/192kHz processing.4 inputs (2 digital and 2 with Focusrite preamps) and 10 outputs (2 digital) with unrivaled foldback and monitoring options ensure you have everything needed to navigate through a modern recording session: Focusrite build and sound quality, intelligent front-end design, cutting-edge compression, EQ, and foldback reverb software are all combined to guarantee an intuitive, trouble-free recording experience that results in superb sound.The brand-new software accompanying the Saffire hardware is a revolutionary new platform from the team that produced LiquidControl and the Forte Suite. This seamless application floats comfortably over any recording software and allows extensive control over the sound of the recorded signals and the multiple (monitor and headphone) output paths.Compression, reverb, amp modeling, and EQ Saffire-powered plug-ins are included. All 4 are also available as a suite of plug-ins from within the recording platform when in use. Up to 5 separate user-defined stereo mixes can be created of all incoming signals and recorded tracks from the recording platform. With such comprehensive monitoring/foldback options and onboard high-quality signal processing and effects, the Saffire is truly the FireWire interface of choice for the serious recording engineer.MXL 909 Condenser MicThe cardioid-pattern MXL 909 Condenser Microphone is a large, gold-sputtered 1" diaphragm, true Class A mic. It has a super-fast response, wide dynamic range, and a sweet, silky open sound that makes it perfect for recording vocals into both digital and analog devices. It requires phantom power. It also includes shockmount and carrying case.Fostex PMO.4 studio monitors (pair)Fostex employs the latest cone material technology to obtain extremely pure music reproduction with the PM 0.4 powered monitors. Biamplification provides 18W to the 4" LF drivers and 18W to the extremely responsive 5/8" soft-dome tweeters. The 4" cones are made of Kevlar fibers for high rigidity and optimum damping, as well as incredible durability. Newly designed dampers around the tweeters eliminate interference for clearer high-frequency response. The compact cabinets are specially designed to eliminate unwanted resonance and incorporate a long bass port for deep and accurate low-frequency response.Musician's Gear MS-220 Tripod Microphone StandThe MS-220 Tripod Microphone Stand has a thread adapter and tubular legs. Adjustable |
|
|
Presonus Audiobox Studio Recording Bundle $249.95 The Presonus AudioBox Studio Recording Bundle includes the AudioBox USB interface, Studio One Artist Software, M7 studio condenser microphone, HD7 studio monitoring headphones, USB cable, and microphone cable.AudioBox is the heart of the AudioBox StudioWhy settle for a "toy" interface when you can own PreSonus quality? Perfect for musicians and podcasters, the 2-channel AudioBox USB boasts high-performance microphone preamplifiers and professional-quality, 24-bit converters. Powered by your computer, it's compact, ruggedly built and designed to work perfectly with Studio One recording and production software on your PC or Mac.Capture your ideas wherever you are with the PreSonus AudioBox USB 2x2 USB recording system. The AudioBox USB is a USB bus-powered audio recording interface featuring 2 microphone/instrument inputs with 48V phantom power, 2 balanced TRS outputs, and MIDI in/out. The AudioBox USB is bundled with the PreSonus Studio One Artist music creation program, and over 4 GB of virtual instruments, plug-ins, loops, and samples to get you started making music immediately.Pedigree PreamplifiersPreSonus Audio has won numerous awards for designing the highest quality microphone preamplifiers in the industry at all price levels. The AudioBox USB is loaded with preamps that out perform any USB-based interface hands down. The preamplifiers in the AudioBox deliver high headroom, low noise and high gain giving you pure, full and rich sound.Professional 24-bit convertersMost USB recording devices operate at 16-bit sample rate and use converters with dynamic range of less than 90dB. This translates into a pinched and relatively small sound. The AudioBox USB uses professional-grade analog to digital converters with dynamic range of 102dB and 24-bit sample rate so that the digital conversion is big, quiet and musical.USB bus-poweredThe AudioBox USB is USB bus-powered allowing you to take it anywhere inspiration hits. No wall warts, line lumps or power cables, just plug in to a powered USB port and you are ready to record.Ready to hit the roadTheres no plastic here. The AudioBox USB is housed in an all-metal chassis with metal knobs ready to withstand the rigors of travel. Toss it in your laptop bag and mobilize your music creation and production. Whether you want to record your shows, mix on the plane or write songs in your hotel room, the AudioBox is ready.Studio One ArtistPlus Gigabytes of Creative ResourcesThe AudioBox USB is bundled with an exceptional software package, featuring PreSonus Studio One Artist, the amazing new DAW software for Mac OS X and Windows XP and Vista that makes producing high-quality projects easier than ever before. As part of the Studio One Artist package, you get 20 new PreSonus Native Effects plug-ins and virtual instruments and a generous bundle of third-party loops, software, and instrument sounds. Studio One Artist Software is the soul of the AudioBox StudioNo other entry-level recording and production software is th |
|
|
Presonus Audiobox Usb Recording Package $349.99 This bundle includes the PreSonus AudioBox USB Recording System, an MXL MXL 990 mic, Fostex PM0.4n studio monitors, Musician's Gear MS-220 Tripod mic stand, 2 x 5ft. LiveWire 1/4" RCA Dual Patch cables, and a 20ft. Musician's Gear Lo-Z mic cable to get you started on the path to home recording.PreSonus AudioBox USBCapture your ideas wherever you are with the PreSonus AudioBox USB 2x2 USB recording system. The AudioBox USB is a USB bus-powered audio recording interface featuring 2 microphone/instrument inputs with 48V phantom power, 2 balanced TRS outputs, MIDI in/out, as well as Studio One Artist music creation and production software which has the same platform and intuitive interface as Studio One Pro but with an unlimited track count.PreSonus Audio has won numerous awards for designing the quality microphone preamplifiers for all price levels. The AudioBox USB is loaded with preamps that deliver high headroom, low noise, and high gain to give you pure, full, and rich sound. Most USB recording devices operate at 16-bit sample rate and use converters with dynamic range of less than 90dB which gives you a pinched and relatively small sound. The AudioBox USB, however, uses professional-grade analog to digital converters with dynamic range of 102dB and 24-bit sample rate so that the digital conversion is big, quiet, and musical.The AudioBox USB is USB bus-powered allowing you to take it anywhere inspiration hits. No wall warts, line lumps, or power cables. Just plug in to a powered USB port and you are ready to record. It's also housed in an all-metal chassis with metal knobs ready to withstand the rigors of travel. Toss it in your laptop bag and mobilize your music creation and production. Whether you want to record your shows, mix on the plane, or write songs in your hotel room, the AudioBox is ready.MXL 990The MXL 990 Condenser Microphone with Shockmount has a silky, sweet high end while retaining tight, solid low and midrange reproduction. The 3/4" gold-sputtered diaphragm creates a professional sound suited for digital and analog recording. Attractive vintage body style with champagne finish. 30Hz-20kHz frequency response. 130dB maximum SPL. Includes custom shockmount, mic stand adapter, and case. It requires phantom power.PM0.4n Powered Studio MonitorsSince its debut the Fostex PM0.4 has earned a reputation for high performance and sonic clarity. The Fostex PM0.4n adds impressive good looks to an already stellar resume of sound reproduction. Need an attractive-looking speaker with great sound for installation in a club, bar, restaurant, or retail environment? No problem. With its compact size and wall mountability the PM0.4n fits right in. Available in a range of 5 high-gloss colors, this new monitor sounds even better than it looks. And it looks stunning.2 LiveWire 1/4" RCA Dual Patch cablesMono 1/4" male to RCA male dual cable with metal headshells. For serious-minded musicians, these cables have the strength and durability to withstand mor |
|
|
Presonus Firestudio Project Recording Package $699.99 This bundle includes the PreSonus FireStudio Project recording interface, an MXL 990/991 mic package, Fostex PMO.4n studio monitors, two Musician's Gear MS-220 Tripod mic stands, two 5 ft. LiveWire TRS-TRS balanced patch cables, and two 20 ft. Musician's Gear Lo-Z mic cables to get you started on the path to home recording.PreSonus FireStudioThe FireStudio Project is a premium computer recording interface combining 8 Class A XMAX mic preamps, 24-bit/96kHz audio resolution, a zero-latency matrix DSP router/mixer, and the ProPak Software Suite. Great for professional studio recording, live recording, performance, podcasting and more, the PreSonus FireStudio Project is designed for flexibility and ultra-high sonic performance.Note:As of 5/26/09, you can make your FireStudio Project 64-bit compatible via a PreSonus web update.Based on the award-winning FP10 (formerly the FirePod) the FireStudio Project starts with eight PreSonus Class A XMAX microphone preamplifiers found in the FP10 and adds the following improvements:Improved analog to digital converters (114dB dynamic range) for more headroom and cleaner soundImproved syncronization with JetPLL (jitter elimination technology) for more accurate soundFireControl Mixer/Router to send up to five separate zero-latency stereo mixes to musicians during recordingThree-segment LED input metering on all analog channels for instant audio feedbackInternal IEC-based power supply for easy portability and compatibilityProPak v3 software suite with Studio One Artist music creation and production software which has the same platform and intuitive interface as Studio One Pro but with an unlimited track count., BFD Lite, Wave Arts Plug-ins, and moreXMAX Class A PreamplifiersThe FireStudio Project starts with eight custom-designed high-voltage, discrete, XMAX Class A microphone preamplifiers. PreSonus knows that your preamps are a key component in the sonic quality of your recordings. The job of a microphone preamplifier is to boost microphone level signals to line level so that the signal can be converted from analog to digital. This mic to line boost is generally a preamplification of over 400 times the voltage of the original mic level signal. This preamplification stage is one of the most important stages that the signal will go through before converted to digital, and is why a high performance preamplifier is important to achieving great results. A cheap off-the-shelf, op-amp type preamp found in most interfaces translates into thin, noisy, and harsh results. With the XMAX preamp you get full-sounding, true-to-life sonic performance to serve your music best.DICE II and JetPLL advanced platform technologyThe FireStudio Project is loaded with the ultra-powerful DICE II FireWire chipset delivering 10 channels of professional-quality 24-bit inputs and outputs simultaneously. The strength of the DICE II chip lies with its ability to easily handle high channel count at high bit-rate while minimizing latency and load o |
|
|
Presonus Firestudio Project Recording Interface $399 The FireStudio Project is a premium computer recording interface combining 8 Class A XMAX mic preamps, 24-bit/96kHz audio resolution, a zero-latency matrix DSP router/mixer, and Studio One Artist software. Great for professional studio recording, live recording, performance, podcasting and more, the PreSonus FireStudio Project is designed for flexibility and ultra-high sonic performance. Speaking of flexibility, the FireStudio Project interface can be daisy-chained to any other member of PreSonus' FireStudio series products (except the FP10). Note: As of 5/26/09, you can make your FireStudio Project 64-bit compatible via a PreSonus web update.Based on the award-winning FP10 (formerly the FirePod) the FireStudio Project starts with eight PreSonus Class A XMAX microphone preamplifiers found in the FP10 and adds the following improvements:Improved analog to digital converters (114dB dynamic range) for more headroom and cleaner soundImproved synchronization with JetPLL (jitter elimination technology) for more accurate soundFireControl Mixer/Router to send up to five separate zero-latency stereo mixes to musicians during recordingThree-segment LED input metering on all analog channels for instant audio feedbackInternal IEC-based power supply for easy portability and compatibilityStudio One Artist music creation and production software which has the same platform and intuitive interface as Studio One Pro but with an unlimited track count, BFD Lite, Wave Arts Plug-ins, and moreXMAX Class A PreamplifiersThe FireStudio Project starts with eight custom-designed high-voltage, discrete, XMAX Class A microphone preamplifiers. PreSonus knows that your preamps are a key component in the sonic quality of your recordings. The job of a microphone preamplifier is to boost microphone level signals to line level so that the signal can be converted from analog to digital. This mic to line boost is generally a preamplification of over 400 times the voltage of the original mic level signal. This preamplification stage is one of the most important stages that the signal will go through before converted to digital, and is why a high performance preamplifier is important to achieving great results. A cheap off-the-shelf, op-amp type preamp found in most interfaces translates into thin, noisy, and harsh results. With the XMAX preamp you get full-sounding, true-to-life sonic performance to serve your music best.DICE II and JetPLL advanced platform technologyThe FireStudio Project is loaded with the ultra-powerful DICE II FireWire chipset delivering 10 channels of professional-quality 24-bit inputs and outputs simultaneously. The strength of the DICE II chip lies with its ability to easily handle high channel count at high bit-rate while minimizing latency and load on your computer.The synchronization of the FireStudio Project is handled by patented JetPLL jitter reduction technology. JetPLL incorporates noise shaping to virtually remove all audio band jitter. JetPLL ensures |
|
|
Focusrite Control 2802 Recording Console $4999.99 Focusrite Control 2802 is a small-format analogue recording console and a DAW control surface in one. It forms both the digital control nerve center and the analogue heart of the modern professional project studio. It's an analog recording consoleWith an array of superb-quality analog features packed into its compact frame, Focusrite Control 2802 includes capabilities you would expect to find only on large-format consoles. At the front end, eight Class-A microphone preamps deliver clear, transparent performance. Then at its heart is a powerful summing mixer handling up to 32 simultaneous inputs with ultra-low distortion, excellent dynamic range and a frequency response wider than the human ear. Theres a punchy master bus compressor featuring parallel compression for versatile control of dynamics for your stereo mix or any other pair of channels. High-end analogue design characterizes the 2802 implemented with similarly uncompromised components and build quality throughout. Its an Ethernet-based DAW control surfaceYou can control every major digital audio workstation with the Control 2802. Dual Layer Control Technology lets you flip from analogue fader layer to DAW layer in an instant, accessing fully integrated control of DAW faders, auxes, plug-ins, automation, project navigation and more. With Ethernet-based control, your favorite music software is always at your fingertips. The Control 2802s motorized 100mm analogue and DAW control faders can both be fully automated. Easily adjust DAW channel auxes, inserts and groups within Pro Tools, Logic, Cubase and Nuendo via a HUI interface. Four multi-function encoders give you precise control while OLED screens provide detailed information on mix elements. Combined with dedicated transport controls, that means more time getting your sound just right, and less time staring at a screen.If that wasn't enough...In the box you will find the Focusrite Midnight and Fort plug-in suites. Modeled on original Focusrite hardware designs, these plug-ins allow you to add compression and EQ, helping you take your mix to the next level. Of course the plug-ins can be controlled and assigned to channels from the comfort and convenience of the Control 2802, so there's no need to grab the mouse!Focusrite Midnight Plug-in SuiteFocusrites new Midnight plug-in suite takes two of the most iconic Focusrite modules of all time the ISA110 equaliser and ISA130 compressor; models their sound exactly with powerful DSP technology; and gives them elegant, functional on-screen front panels that make them simplicity itself to use. Now you can add that authentic, classic Focusrite sound to your own tracks at a price you can afford. Your productions have never sounded so good.The ISA110 and 130 modules, created for the legendary Fort console in the 1980s, represent the epitome of Focusrite analogue audio processing, and performed a vital role in the making of literally thousands of hit records they still change hands for thousands t |
|
|
Blue Encore 100 Dynamic Vocal Microphone $99 The Blue enCORE 100 Dynamic Live Vocal Microphone showcases everything Blue learned building some of the world's best studio recording mics. A studio-grade handheld dynamic microphone, the enCORE 100 delivers exceptional all-around performance, no matter what your audio application. The enCORE 100 mic's proprietary dynamic capsule is specially tuned by Blue's engineers to deliver natural vocals, balanced highs, and amazing detail and clarity. Its an incredibly versatile microphone for live performance as well as studio and broadcasting applications. The unique, durable finishes and high-quality craftsmanship, guarantee your Blue enCORE 100 dynamic mic delivers the performance of a lifetime, for a lifetime of performances.Proprietary dynamic capsuleCardioid polar pattern High SPL handlingBlue's proprietary capsule mount for minimal handling noise without pads or filtersStage-ready construction with heavy-gauge barrel Includes soft-grip microphone clip and soft-lined storage pouch |
|
|
Lexicon Omega Desktop Recording Studio Bundle $199.95 The Lexicon Omega Desktop Recording Studio Bundle quite literally contains all the components you need to transform your computer into a professional 24-bit recording studioall in one box. Nothing is more frustrating than buying a "recording system," only to find out that you need a gaggle of extras just to make it all work. You won't have that problem here. The Omega Studio Bundle is a completely integrated computer recording system that includes the Omega 8x4x2 USB I/O mixer, Steinberg's Cubase LE audio and MIDI recording software, and Lexicon's world-class Pantheon VST Reverb plug-in. A Real MixerUnlike standard computer I/O boxes based on a patch bay concept, the Lexicon Omega Studio is designed and built around the same paradigm as large-format recording consoles. An 8-input, 4-Bus, 2-output USB I/O mixer with inserts, instrument input, MIDI I/O and complete metering and monitoring functions gives you the freedom to record up to 4 tracks at once and mix without the need for additional mixing hardware.Two dbx Silver Series mic preamps with 48V phantom power provide a pristine front end for high-end condenser or more common dynamic microphones, ensuring premium sound quality from the first take to the last. TRS insert points allow you to plug in your favorite dynamic processors before the signal reaches one of the 4 busses, where 24-bit converters transform the analog signal into a digital masterpiece.Four servo-balanced TRS line inputs with up to +22dBu input levels let you hook up everything from keyboards to guitar preamps, including high-output professional gear. Stereo digital inputs are available via S/PDIF jacks, and an additional high-impedance instrument input is included on the front panel for easy access to guitars and basses.Finally, it has a fully opto-isolated MIDI input to ensure there is no annoying ground loop hum or MIDI talk-through noise common with many I/O boxes and sound cards. The MIDI output has a rock-solid synchronization-to-USB frame rate to support applications requiring critical sync.The Omega I/O mixer also features channel peak indicators for each analog input as well as an assignable bargraph meter for the 4 busses. By monitoring the signal before the A/D converters, clipping and distortion can be averted, unlike software-only level monitoring that can miss "overs", ruining the track.All these are put together just like a big recording console, with input gain controls, four recording busses, and full monitoring features, in one attractive, portable I/O Mixer. Just plug it into your Mac or PC computer with the included USB cable, and you're instantly ready to capture the moment.Steinberg Cubase LE4Cubase LE4 sets a new standard for integrated music production software by combining powerful audio and MIDI recording, synthesis, editing, mixing, effects and more. VST3 EffectsIntegrated Virtual Instruments and Effects Cubase LE 4 not only features powerful recording and editing tools, it also includes a complete s |
|
|
Used Focusrite Octopre Mkii Dynamic $636.99 The Focusrite OctoPre MkII Dynamic is a feature-rich expansion upgrade for any digital audio workstation. With 8 channels of Focusrite microphone pre-amplification, 8 VCA-based Red 3-derived compressors and built-in 24-bit / 96 kHz digital inputs and outputs, the OctoPre MkII is equally ideal as an expansion for any analogue or digital console, or for a hard disk recorder.The OctoPre MkII Dynamic's digital inputs and outputs let you make the most of often-neglected ADAT I/Oideal for expanding the number of mic-pre inputs on your interface or for providing analogue monitoring from any digital ADAT feed.With this entire package fitting into a single 1U chassis complementing Focusrite's Saffire PRO range, and all controls adjustable from the front fascia, OctoPre MkII Dynamic sets the standard for modern, compact, multi-channel recording expansions.Saffire Mic Pre Focusrite has, over the past two decades, built a reputation as the market leader for high quality recording equipment, with its mic pre technology as the cornerstone of that enviable reputation. The original ISA mic pre, as featured in the early Focusrite Fort console, is still used by many of the industry's greatest producers and has contributed to the sound of countless hit records. Today, Focusrite design equipment for a far greater audience, from professionals to amateur enthusiasts, all with varying budgets.As with the Classic ISA mic pre used in both the ISA and Red ranges, the Saffire mic pre found in the OctoPre MkII Dynamic is designed to the highest possible standards. It upholds the same wide bandwidth philosophy featured in the original fort console, back in 1989. As with the Classic ISA mic pre, the Saffire mic pre design features custom components which have undergone an intense testing and qualification process. With the facts and figures in, Focusrite designs then have to pass the essential listening stage. Any design can measure well on the test bench but only a great design can be qualified in the studio. The FET-based Saffire mic pre design is no exception. It delivers clarity without colouration and exhibits the signature transparency for which Focusrite have become famous. With the high channel count interfaces (Saffire PRO 40 and Liquid Saffire 56) and both the OctoPre MkII and OctoPre MkII Dynamic, the Saffire pre-amp has been optimized for drums. The theoretical maximum level of a microphone was calculated, and the mic pre was adjusted with this in mind so as not to clip with this level present, set to minimum gain. As a result, the mic pre won't clip, even with a high output level mic right up close to a snare drum (the mic input will accept signal levels up to +16dBU from a microphone). Compression The Compressors featured in OctoPre MkII Dynamic are a new VCA-based, feed-forward design, derived from the celebrated Focusrite Red 3. With just a single dial, these eight 'recording' compressors allow you to get to the desired amount of compression for each channel |
 |
CAD U1 USB Dynamic Recording Microphone List Price: $49.00 Sale Price: Too low to display  |
|
Offering excellent quality at an affordable price, the CAD U1 records directly to your computer via USB and is a great choice for both vocal and instruments as well as for creating podcasts and voiceovers for videos... |
 |
Pyle PMP45R Professional Dynamic Megaphone with Recording Function/Detachable Microphone and Rechagable Batteries List Price: $82.99 Sale Price: $24.35 Used From: $22.78 |
|
This Pyle Pro dynamic megaphone makes your voice sound huge! It's got 40 watts of power, a 1000 yard range, and a built in siren. Grip the handle and speak, or detach the microphone to let your voice be heard... |
 |
Pyle PMP55R Professional Piezo Dynamic Megaphone with Recording Function and Rechageable Batteries List Price: $124.99 Sale Price: $35.00 Used From: $29.99 |
|
This Pyle Pro dynamic megaphone makes your voice sound huge! It's got 50 watts of power, a one mile range, and a built in siren. The powerful piezo driver and large bell diameter make this megaphone extremely effective in both indoor and outdoor applications... |
 |
NADY SP-4C Dynamic Microphone List Price: $19.99 Sale Price: $14.75 Used From: $5.65 |
|
The models in the Starpower Series represent today's excellent cutting edge in price/performance value for vocal and instrument dynamic microphones. All of the models offer high-quality rugged construction and excellent reliability, and superior performance to that of some of the best known, most popular classic microphones and at a fraction of their cost. |
 |
Nikon D800 36.3 MP CMOS FX-Format Digital SLR Camera (Body Only) List Price: $2,999.95 Sale Price: $2,999.00 Used From: $2,750.00 |
|
Hold in your hands an HD-DSLR able to capture images rivaled only by that produced by a medium-format camera: extremely low noise, incredible dynamic range, the most faithful colors, the broadest tonal range... |
 |
Audio-Technica ATR-1100 Unidirectional Dynamic Vocal/Instrument Microphone List Price: $9.95 Sale Price: $7.99 Used From: $8.09 |
|
Impedance 500 ohms/Frequency Response 80 - 12,000 Hz/For vocal & instrument miking/Focused pickup (unidirectional polar pattern) helps prevent This handheld dynamic mic is a great introduction to Audio-Technica quality and durability... |
 |
Samson Q2U Handheld Dynamic USB Microphone with On/Off Switch List Price: $104.99 Sale Price: Too low to display Used From: $13.71 |
|
Samson Q2U Dynamic USB Microphone brings digital and analog together in one convenient microphone! The Q2U is a high-quality handheld microphone designed to meet the needs of both live and studio sound applications... |
 |
Audio-Technica ATHM40FS Precision Studio Headphones List Price: $150.00 Sale Price: Too low to display Used From: $48.00 |
|
Audio-Technica's premium professional studiophones offer a flat, extended frequency response for professional studio monitoring. Superior components provide very high SPL capabilities while maintaining exceptional clarity of sound... |
 |
Sony MDR7506 Professional Large Diaphragm Headphone List Price: $130.00 Sale Price: $99.00 Used From: $84.99 |
|
The Sony MDR-7506 Professional Large Diaphragm Headphone is a large diaphragm foldable headphone designed for professional studio and live/broadcast applications. These large diaphragm, foldable headphones feature a rugged construction, a secure, highly effective closed-ear design, and a 40 millimeter driver unit for clean, clear sound reproduction... |
Best Practices For Criminal Records Screening
Introduction - Navicus is a trusted and leading, pre-employment background screening and drug testing firm. At the core of Navicus is its' employees. Navicus employees have decades of experience in Human Capital, Legal Compliance, and Technology. Thousands of companies leverage Navicus core capabilities on a daily basis to assist in developing best-hiring practices. Navicus conducts an extensive audit of each client's hiring practices at the outset of each relationship. The review often uncovers areas that need improvement to limit catastrophic hiring mistakes. Exposures to catastrophic hiring are rarely deliberate or done with scienter. These hazards exist because there is no universal best-practice screening explanation that can be applied to an entity that is dynamic, fluid, and ever-changing. One of the most dynamic aspects of a hiring process is the applicant. The applicant has a life history that you, the hiring manager, must authenticate. In particular, the applicant's criminal history must be verified. Another dynamic aspect of a hiring process is the job position. Different job responsibilities require different skill sets. In turn, these skill sets can be screened with various types of background checks. Thus, the problem begins. The following document breaks down the who, what, where, when, and hows of criminal records.
Problem Statement - Several issues are presented when determining which criminal record search is the best for you to apply as a hiring manager. The first issue centers on the time to hire. This requires asking yourself whether the types of criminal searches requested are enabling you to receive information back in a time frame that affords the opportunity to hire an applicant before he or she goes to another employer. The second issue centers on the amount allocated to spend per applicant. We have yet to come across an HR department that was given unlimited access to funds. Even if an HR department is given carte blanche, spending more does not necessarily mean you are conducting the right type of search. The third issue centers on compliance. We frequently see hiring managers accessing criminal records that are ineligible for use with hiring decisions. For example, using arrest records, outdated, or simply discriminatory information, all present significant legal liability exposures. So how do you determine what is the best practice for your personnel? Before jumping into that question, you must have a general understanding of where criminal records come from. Yes, they come from people doing bad things in the eyes of the law.
Criminal Records Overview - When determining the best criminal search to screen applicants for hire, one must first have a general understanding of how the legal system works. Armed with that knowledge, one or many types of criminal searches should become evident to meet a best-practices criminal screening process. The following is the overview. Law enforcement is a function of the state, local officers and agencies. General police powers are reserved to the states. Federal offenses are crimes against the government and its employees, or that involve intrastate activities. Thus, there are 52 separate criminal jurisdictions in the United States: 1 for each state, 1 for the District of Columbia, and one for federal jurisdiction. While most are similar among the states, there are substantial differences in the penalties for like offenses. The easiest way to understand the criminal legal system is to walk through a crime scenario. The first step is the investigation of crimes and the arrest of persons suspected of a crime. The second step is the prosecution of those charged with a crime. The last step is the punishment or treatment of persons convicted of a crime.
State Department of Law Enforcement Records - The first step that we, as hiring managers, may be concerned with is the arrest. The arrest is the first step through the criminal legal system. The arrest is typically made by a sheriff's office. After a person is arrested and charged with a crime they will be booked. The person will be finger printed. The name and the crime that the person is charged with will be entered into the official police record. Depending on the charge and the circumstances of the case, the person may be released and ordered to appear for a hearing in court. The person may be released on their own recognizance or may have to put up a certain amount of bail to secure release. In other instances, the person may remain in police custody until there is a court hearing on their release. The sheriff's office maintains the arrest records in their local repositories. All the sheriff's offices in the state are linked to a central State repository. The central repository is referred to as a State Department of Law Enforcement or "SDLE" search. Also, it may be called a Statewide Criminal search in the background screening industry. Each State's SDLE is different and there are limitations and advantages to the search. The SDLE limitations are the quality of the records that are housed in the repository. The records in the SDLE are not wrong, however, they are not necessarily complete for the purposes a hiring manager needs to conduct a best-practice screening process. SDLE criminal records are coming from the arresting State agency. The SDLE records are primarily going to contain arrest records. Depending on what jurisdiction a company is located and where the actual arrest was made, the records may not be usable to make a hiring decision. Although not every state has specific employment laws as to the type of information being used to screen applicants, using arrest records may: 1) be illegal under some State Statutes and; 2) at the very least, discriminatory from a Federal and State perspective. For example, if the ultimate outcome of an arrest for murder is acquittal, then the applicant should not have the arrest record held against them, since they are not guilty of a crime. A survey published by BRB analyzed the quality of information contained in each States' SDLE repository. (See State Criminal Records Survey, BRB Publications, 11/2004). The results were fairly shocking. The majority of State SDLE repositories do not contain final disposition information. Disposition information is essentially the final outcome from the court system. The court records are the second step where we would look to find criminal records. This will be discussed in detail in the County Court Search section below. For example, in Alabama, Arizona, Colorado, DC, Indiana, and Kansas, just to name a few states, less than 50% of the SDLE records contain final dispositions. Furthermore, almost all State's SDLE repositories do not contain a complete list of arrests made in the last 5 years. What does all this mean? All in all, you are dealing with a source of information that is extremely incomplete and unreliable. Not every State's SDLE search is bad however. Several SDLE repositories do contain a high percentage of disposition information and records within the last seven years. For those states, the SDLE search may be a good alternative in putting together a best-practices screening program. The next issues that SDLE records present are turnaround times and cost. Some SDLE records require additional paperwork to be filled out in order to process the requests through the State's repository system. Other SDLE's may take several weeks or months to process the requests. Then there is the problem in a few states, like California, where the SDLE is not available to the public. Lastly, almost all SDLE's charge a significant fee to process the records. In sum, SDLE records prove to be inconsistent when developing a best practices program. In developing a best practices screening program you want it to be uniformly applied across your company to all applicants. SDLE searches are inconsistent with respect to time, cost, and uniformity of records. In employment law terms and EEOC compliance, hiring managers are potentially creating a disparate practice if they only use the SDLE as a source for criminal records searches. If you have an applicant that has lived in a state that does not enable you to do a SDLE search, then you may have to defer to not doing the search or using another source of information not uniform to your screening program. The risk of liability for discrimination arising from systemic employment practices is perhaps one of the most significant HR compliance-related challenges facing large companies today. With both the OFCCP and the EEOC increasingly applying sophisticated statistical and analytical models to company data to look for statistical evidence of discrimination in company hiring, promoting, and discharging practices, using arrest records (SDLE) from one state you do business in and the final disposition (county criminal search) of records in another state you do business in, may lead you into trouble. Processing SDLE on some of your applicants, but not all because of availability, time restraints in getting records, or internal cost control measures, may also be creating a disparity on the type and quality of search you are performing throughout your overall criminal screening program.
County Courthouse Records - At this time you are probably asking "what source does a hiring manager use to keep a uniform criminal search program?" The answer is the next step in the criminal process example we started with. After being arrested, the person will be asked to enter a plea. The person can enter a plea of "not guilty", "no contest", or "guilty". If the person enters a not guilty plea the judge will decide on the terms of their release or if they will be released pending their trial. If the person enters a plea of no contest or of guilty, there will not be a trial. In this situation, the person will either be sentenced immediately or sentenced at a later time. If the person is to be sentenced at some point in the future, the judge will determine whether they should be held in custody until sentencing or whether they should be released and ordered to appear for sentencing. If the person entered a not guilty plea they will have a trial. At the end of their trial, if they are found not guilty, they will be free to go, and, for that person, the criminal process will end at that point. If they are found guilty, they will go through the sentencing process as described above. A trial will take place typically at a County Courthouse. There are more than 3,300 jurisdictions each with their own unique County Courthouse. The County Criminal Courts are part of the State's court system. _Most of the States' trial courts are courts of general jurisdiction, which means they have the authority to hear all kinds of civil and criminal cases. Criminal cases are those in which a defendant is accused of a serious crime, such as robbery, theft, drug possession or murder. Not every criminal case is decided by a trial. Many cases are resolved through a plea bargain. In a plea bargain, the defendant agrees to plead guilty by admitting that he or she committed a crime. In return, the prosecutor asks the judge to impose a sentence that is less severe than if the defendant had gone to trial and been convicted. The judge, however, is not required to agree to the recommendation and may choose to ignore it. A plea bargain ensures that a guilty defendant is punished. Plea bargains can be entered either before or even during the trial. About 91% of the people charged with a crime or who enter a plea bargain are adjudicated via a state court. The County Courthouse has both the arresting information that a SDLE search would contain and, more importantly, the disposition of the charges. This is where you want to be receiving your criminal records. The disposition is the critical piece of information that you need to uniformly and efficiently make hiring decisions. Scope of Search: A County Criminal Court Search will include a minimum of seven years for both felony and misdemeanor court convictions. Where available, charges may also be included. In comparison, the SDLE search varies state by state and may onlycontain a portion of criminal records dating back between 3 - 7 years. Furthermore, SDLE's are not available in all states, whereas, county criminal searches are available in all jurisdictions. Turn-around Time: The County Criminal Court Searches are conducted on-site at the local courthouse or records locations. Despite this labor intensive process, efficient research networks complete 97% of county searches within 2 days. In comparison, the SDLE search can take several days to weeks. Search Result: In the event that a criminal conviction or "hit" is found, the report will contain the case number, full case name, date of birth, file date, disposition date and number of years searched for each criminal case that is found. Also, detail of the method(s) used to match the applicant to the defendant, such as Name and Date of Birth; or Name, Date of Birth and SSN. County Searches also provide details for each charge included in the case, including description of each count, disposition, type of crime, any fines assessed by the court, any court fees assessed, and probation or prison time ordered. In comparison, the SDLE may only contain arrest information with no final disposition and limited or no detail on the methods used to match the applicant to the person listed in the records.
Federal Court Records - Federal courts disproportionately handle white collar crimes, immigration related crimes and drug offenses (these crimes make up about 70% of the federal docket, but just 19% of the state court criminal docket). Often times the criminal records will start at the State Court level and be removed to the Federal Court level. Therefore, there is a good chance that the county criminal search would pick up on the initial records filed at the state level before being removed to the Federal court level. In that situation, you can follow up a county criminal search revealing trials removed to a Federal court by appending that particular search to a Federal Court search. Notwithstanding, Federal Court searches are a good criminal search to incorporate into your best practices hiring program. The Federal Court Search is performed through a national repository called PACER. The PACER system can be ordered on a national basis and review possible criminal and bankruptcy proceedings. The most common downside to a Federal criminal search is the lack of identifiers the PACER system contains to match your applicant to the defendant listed in a case. Therefore, you should expect some rate of false-positive records or a need for additional information from your applicants to positively identify them when performing a Federal Criminal Search.
Criminal Database Products - County criminal searches go "a mile deep but an inch wide" to reveal the most current and detailed data in specific counties where an applicant has lived and worked. Expanding the scope of a background check to include multi-jurisdictional databases (often called multi-state criminal databases or a national criminal file) benefits employers with another layer of due diligence in the screening process. Database products are used to uncover additional criminal convictions in locations not covered by past address information. You have to choose wisely when being offered a criminal database product. Many background screening companies have compiled their own records and conduct the criminal database search differently. The result is that not all criminal database products are the same. In fact, many of the criminal database products offered in the market can expose your company to additional risks. Some criminal database products do not update their records on a consistent basis. Relying on records that are several months or years old can lead to you receiving records that have recently been cleared, un-adjudicated, or expunged records. Additionally, many criminal databases use phonetic search technology in their database products that can create information overload due to unconfirmed results of common names. Other companies do not incorporate a quality assurance process to carefully review the content of each positively matching record before reporting it to the employer. By not following the abovementioned protocols, the final background check is, legally speaking, not fully compliant with Section 613 of the Fair Credit Reporting Act (FCRA). Thus, hiring managers can not use the information with confidence to make well-informed hiring decisions.
§ 613. Public record information for employment purposes [15 U.S.C. § 1681k] - (a) In general. A consumer reporting agency which furnishes a consumer report for employment purposes and which for that purpose compiles and reports items of information on consumers which are matters of public record and are likely to have an adverse effect upon a consumer's ability to obtain employment shall 1. at the time such public record information is reported to the user of such consumer report, notify the consumer of the fact that public record information is being reported by the consumer reporting agency, together with the name and address of the person to whom such information is being reported; or 2. maintain strict procedures designed to insure that whenever public record information which is likely to have an adverse effect on a consumer's ability to obtain employment is reported it is complete and up to date. For purposes of this paragraph, items of public record relating to arrests, indictments, convictions, suits, tax liens, and outstanding judgments shall be considered up to date if the current public record status of the item at the time of the report is reported. The bottom line with criminal records database products is to choose wisely the product and company offering it. Confirm the data integrity, and when and how the records are updated. Also, confirm how the records are matched to the applicant's identifiers. Moreover, you should use a database product that only produces records when there are at least two identifiers, instead of products that only use one identifier or a phonetic matching of names. Lastly, make sure the company you are working with has all records reviewed prior to being sent to you. This puts the onus on the background company to insure they are providing you with the correct information. Otherwise, you are going to have to do your own follow up to insure records are valid. Employers have in recent years become increasingly concerned about knowing whether an applicant has a criminal record. Part of this concern stems from large jury verdicts rendered against employers for negligently hiring a person with a criminal record who ultimately harms others, and the employer is held responsible. As a result, some companies conduct pre-employment background checks for criminal records and choose not to hire former convicts. Employers have a legal duty to exercise due diligence in the hiring process, and that duty is breached if an employer hires someone that it knows or should have known was dangerous. On the other hand, society has a vested interest in helping people with a past criminal record obtain meaningful employment. Nonetheless, nearly every employment application asks if the applicant has a criminal record. If the applicant lies, he or she is at risk of being terminated if the falsity is uncovered. On the other hand, unfortunately, if the applicant tells the truth, he or she risks not getting the job at all. There are, however, legal limits on the employers' conduct. Courts have found that a policy of automatically denying employment can result in discrimination against certain groups. To avoid potential discrimination, employers must examine whether there is a sound business reason not to hire an individual with a criminal record, taking into account the nature of the offense, whether it is job-related, when it occurred, and what the person has done with his or her life since the time of the conviction. Employers should also take into context the law enforcement principles for specific jurisdictions as well. To assess criminality and law enforcement responses from jurisdiction to jurisdiction, one must consider many variables, some of which, while having a significant impact on crime, are not readily measurable or applicable pervasively among all locales. Geographic and demographic factors specific to each jurisdiction must be considered and applied if one is going to make an accurate and complete assessment of crime in that jurisdiction. Several sources of information are available that may assist you in exploring the variables that affect crime in a particular locale. For example, the transience of the population, its racial and ethnic makeup, its composition by age, gender, educational levels, and prevalent family structures are all key factors in assessing and comprehending the rate of crime in an applicant pool. Additionally, understanding a jurisdiction's industrial/economic base; its dependence upon neighboring jurisdictions; its transportation system; its economic dependence on nonresidents (such as tourists and convention attendees); and its proximity to military installations, and correctional facilities, etc., all contribute to accurately gauging and interpreting the crime known to and reported by law enforcement. Local chambers of commerce, planning offices, or similar entities provide information regarding the economic and cultural makeup of cities and counties. In some circumstances, an applicant may not have to reveal all potentially damaging information, such as arrests not resulting in a conviction or that are not currently pending. There are also limitations on reporting pre-trial adjudications where the conduct by statute is not considered a criminal offense, and there may be restrictions relating to minor drug offenses. Some states also have procedures to judicially "erase" a criminal offense. The average award in a workplace violence lawsuit exceeds $1 million per case, according to the Workplace Violence Research Institute. So what is the best screening solution to avoid that million dollar law suit? The answer is not, as we have discussed, fixed. Given this author's experiences, however,we will provide what we believe to be a flexible foundation from which to work from.
Summary The Navicus Solution - Given the lack of reliability with the SDLE and Federal criminal searches, it is our opinion that most best-practice criminal screening solutions should incorporate a combination of both a reputable national criminal database search and a historic residential county criminal search. The county criminal search should be run at the most recent county of the applicant's residence and, if financially amenable to the company, run for the last seven years. Navicus offers a National Criminal Database search that matches applicant identifiers by name and date of birth. This substantially avoids the possibility of a false positive records being provided in the end report. Additionally, Alliant's National Criminal Database incorporates proprietary technology that searches the name given by the applicant and any aliases associated with the applicant's social security number. Searching criminal records under aliases is particularly important. Public records are subject to the same human and technological errors as any other system. People change names, misspell names, and courts do not always record the name your applicant gives you on your application. In conjunction with the National Criminal Database, we recommend searching the criminal records in the county courthouses for the counties of residence where the applicant has lived. Although no convincing data exists that applicants commit crimes where they live or work, it is commonly accepted as a norm in society and many criminal justice agencies. (See also, http://www.ojp.usdoj.gov/bjs/pubalp2. htm#cvus.) If possible, we recommend searching the last seven years as to cover as much of the applicants possible history. The combination of the National Criminal Database and multiple County Criminal Searches' aim to search an applicant's possible records both "deep and wide." The county criminal search for the last several years of residence, whilenarrow in geographic scope, statistically provides a high rate of return, findingcriminal records with the most determinable hiring information available. The National Criminal Database essentially fills in the gaps of the other possiblecriminal activity that may have occurred outside of the applicants county ofresidences. Although further follow up may be required on some records in the National Criminal Database, the foundation of these two types of searches provides the best solution for developing a best-practicing criminal search.
About the Author
For more information on background checks or employment screening contact Navicus - Integrated Hiring Solutions.