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Waves Transform Tdm Software $1100 You want to push the envelope. Take creative control. And twist your sound inside out like never before. You need Transform, four state-of-the-art processors that let you stretch and manipulate time, pitch, dimension, and punch. Get ready for sonic metamorphosisget ready for Transform.The Transform TDM bundle includes the following plug-ins:TransX Transient ShaperPerfect for breathing new life into drum loops, accentuating or attenuating instrumental attacks, and modifying room acoustics, TransX is a revolutionary processor that shapes transients and revitalizes individual tracks and full mixes.SoundShifterThe world's most advanced pitch-shifting and time-shifting processor, SoundShifter lets you change keys, change tempos, change durations, and manipulate the time-pitch continuum with unmatched accuracy and clarity. For tonal transformation and transposition, SoundShifter is simply all you'll ever need.MorphoderTaking the classic sound of the original Vocoder to new heights, Morphoder lets you combine two distinct audio signals to create never-before-heard sonic combinations with unmatched clarity and definition.DoublerWhen professional engineers need superior double tracking effects, they turn to Doubler. Using delay and pitch modulation, Doubler delivers extraordinary richness and texture on vocals and polyphonic instruments as well as full mixes.Renaissance AxxSpecifically engineered for guitar, Renaissance Axx is the ideal compressor for musicians and engineers who need to dial in dynamic levels quickly. With its three efficient controls, Renaissance Axx features a fixed ratio curve, automatic release value, and an output limiter to prevent clipping.

Sonnox Oxford Dynamics (TDM) Software Download $780 The Sonnox Oxford Dynamics plug-in for Pro Tools"HD (TDM) is modeled on the extremely flexible and capable unit used in the Sony OXF-R3 professional mixing console. Resulting from many years research into professional dynamics applications, it offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with full independent control of all parameters. Features such as selectable time constant curves and variable soft compress functions allow the user to confidently tackle all common uses of compression, from subtle unobtrusive level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing, making use of look-ahead techniques, ensures exemplary sonic characteristics and dynamic accuracy, with an artistic capability simply unavailable from other single units, analogue or digital. This highly sophisticated and professional product has the power and flexibility to obviate the need for many of the separate applications most users keep for specific uses.GeneralThe Oxford Dynamics plug-in is a highly sophisticated device with comprehensive control of many parameters. Therefore, to aid operation, there is separate page of controls for each process, since it would not be feasible to have all controls and displays available on a single page.Although there are four gain level controlling processes, Gate, Expander, Compressor and Limiter in the mono and stereo plug-ins, their control signals are all derived from a single side-chain detector, operating on a single gain control element. The amount of processing necessary to allow a detector for each process would be far too great for current processor capabilities, if done correctly.Feed-Forward ArchitectureThe type of architecture in the Oxford Dynamics uses feed-forward techniques. In this case, a tiny delay is introduced into the signal path. (The amount of delay is virtually insignificant, and can be compensated for, in order that all signal paths are aligned, in any case.) This delay allows time for the side-chain control signal to be generated so that it can coincide exactly with the signal it will control. This technique allows very accurate control of the audio levels by generating totally precise control signals, thus preserving audio quality.GateThe gate acts like a switch, where signals below the THRESHOLD setting are attenuated, according the the RANGE control setting. This type of function is useful for suppressing unwanted background noises, such as tape hiss, where the wanted signal is well defined. Gates are very useful on drums and percussive instruments too.Once the signal reaches levels above the THRESHOLD, the gate opens allowing the signal through at full level. When the signal level falls, it must reduce to 4dB below the THRESHOLD before the gate will close again.

Sonnox Oxford Inflator (TDM) Software Download $435 The Sonnox Inflator for Pro Tools"HD (TDM) is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems.Use the Inflator to produce louder mixes than you thought possible without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes.GeneralNo matter how limited and crushed program material already is, the Inflator will provide even more loudness. It will even add apparent volume to a full-scale white noise signal, or add musicality to previously clipped signals.The Inflator was developed in response to requests from mixing and mastering engineers who are required to compete on the basis of the overall apparent loudness of their final results. Its capable of producing much louder mixes without overloads or compression pumping. Since it is truly a real-time process, there are no time constants involved, as would be the case with limiters and compressors. For the same reason, there is absolutely no chance of losing presence or the flattening of percussive attack.Used more subtly, it can add natural warmth and character to acoustic or jazz mixes. Use it on single instruments to add presence, softness and depth, or use it on percussion and drum tracks to produce amazing dynamic presence, tightness and volume. The full dynamics of the program is largely preserved but with an increase in the average modulation density.A further aspect of enhancement provided by the Inflator involves the creation of warmth reminiscent of good 'tube' or 'electronic valve' systems. Significant 'musical overdrive' can be achieved working especially well on individual tracks.Input SectionThe input section can be used in two ways. If the CLIP 0dBr button is selected, then the input clips at 0dB, in the same manner as any normal input. As soon as the signal reaches levels of 0dB or greater, overloads will be indicated by the meters. If the CLIP 0dBr button is off, the Inflator is able to process signals beyond the equivalent of the normal digital maximum. The INPUT fader has up to 12dB of gain for additional input level in order to help the creation of saturation effects, where the Inflator can absorb levels up to 6dB greater than normal digital maximum, as indicated by the input meters.Effect and CurveThe CURVE fader sets the characteristic of the Inflator effect. 0.0 is a good starting point, when the fader is set in the middle of its travel. Settings above 0.0 give more

Sonnox Oxford Limiter (TDM) Software Download $465 The Sonnox Oxford Limiter for Pro Tools"HD has been developed from decades of professional audio experience to provide a very high degree of quality and facility in program loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look-ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, program loudness maximization or heavily applied artistic sound effects.Unique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to program beyond that available from conventional limiting functions.Comprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the program in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed intersample peaks).A further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting.Comprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24-bit or 16-bit modes.GeneralThe limiter plug-in comprises of four cascaded processes in the order below: Peak program limiting section Program enhancement section Reconstruction-metering and compensation section Dithering and noise-shaping sectionPre-process SectionThe Pre-process section is a musical program leveling function. Its primary purpose is to control program level over a wide range in order to provide optimum conditions for the following enhancement stage. When the enhancement is disabled in normal mode (at 0% with Safe mode deselected) the pre-process section can be used as a conventional leveling section in its own right.Enhancement SectionThe purpose of the enhancement process is to provide sample value limiting and overall program loudness improvement. The process follows the pre-process section in the signal path and is controlled by a separate fader from 0% (no action) to 125% (maximum action). In normal mode the range from 0% to 100% fades in the effect to full level, at which complete sample-value limiting occurs. Settings from 100% to 125% further modify the process to progressively increase loudness and program density at the expense of increasing potential distortion artifacts.Safe mode is

Waves Diamond Tdm Bundle $2200 A comprehensive collection of audio processing tools, Waves Diamond brings unparalleled signal processing power to your studio, for tracking, editing, mixing, mastering, creative sound design, and audio restoration. Diamond now includes Q-Clone, Waves Tune LT, L3 Multimaximizer, and IR-L Convolution Reverb as well as all the plug-ins found in Waves Platinum, Restoration, and Transform bundles-a total of 41 essential processors. From dynamics, equalization, and reverb to pitch correction, spatial imaging, and beyond, Diamond audio restoration software is a must-have for every serious studio.Included Audio Plug-Ins:L1 UltramaximizerL2 UltramaximizerL3 MultimaximizerL3 UltramaximizerL3-LL MultimaximizerL3-LL UltramaximizerMaxxBassLinear Phase EqualizerLinear Phase MultibandTrueVerbS1 Stereo ImagerRenaissance AxxRenaissance BassRenaissance CompressorRenaissance ChannelRenaissance DeEsserRenaissance EqualizerRenaissance ReverbRenaissance VoxC1 Parametric CompanderC4 MultibandPS22 Stereo MakerMetaFlangerMondoModDeEsserIR-L Convolution ReverbDoublerDopplerQ10 Paragraphic EqualizerQ-CloneAudioTrackPaz Psychoacoustic AnalyzerEnigmaSuperTap 2-TapsWaves Tune LTUltraPitchSoundShifterX-ClickX-CrackleX-HumX-HumMorphoderTransX Transient ShaperDeBreath43 state-of-the-art effects and signal processorsTools for tracking, mixing, mastering, sound design, audio restoration, and moreWaveShell supports all popular plug-in formats and audio editors, including TDM, RTAS, AudioSuite, VST, DirectX, MAS, and Audio Units

Waves Mercury Tdm Software $4950 With a stunning total of 91 stellar processors and over 200 component plug-ins, Mercury TDM software features more Waves in one package than ever before!From time-domain effects to equalizers, from dynamics control to noise reduction, from guitar sound modeling to the sound of classic analog components, there has never been such a comprehensive collection as this. The Mercury Collection offers more effects, more channel components, more mixdown tools, more processors than ever before in one place.With 91 state-of-the-art processors and over 200 component plug-ins, Waves Mercury music software package offers more effects, more channel components, and more mixdown tools in one place than ever before. V-SeriesThree Vintage models that capture the sound of the consoles found in the world's most exclusive recording studios. The 2254. The 1081. The 1073 and 1066. The sound you've heard on hits from Steely Dan to Nirvana. The big budget soundat your fingertips.Diamond BundleDiamond is Waves' most celebrated bundle, a vast collection of 43 unparalleled audio processing tools. Containing every single plug-in found in our Platinum, Restoration, and Transform bundles.Including: L3 Multimaximizer, L3 Ultramaximizer, L3-LL Multimaximizer, L3-LL Ultramaximizer, SoundShifter, Morphoder, Doubler, TransX, C4 Multiband Parametric Processor, Doppler, L2 Ultramaximizer, L1 Ultramaximizer, UltraPitch, Linear Phase Multiband, MaxxBass, MetaFlanger, Linear Phase Equalizer, Q10 Paragraphic Equalizer, TrueVerb, Renaissance Channel, S1 Stereo Imager, Renaissance DeEsser, Renaissance Equalizer, AudioTrack, C1 Parametric Compander, Renaissance Compressor, Waves Tune LT, Paz Analyzer, Renaissance Reverb, Enigma, Renaissance Bass, SuperTap, MondoMod, Renaissance Vox, DeEsser, X-Noise, X-Click, X-Crackle, X-Hum, IR-L, Q-Clone, PS22 Stereo Maker (TDM only), RenAxxMaxxVolumeMaxxVolume is the ideal all-in-one dynamics processor for audio mixing and mastering as well as broadcast and post-production. Featuring both high and low level compression, gating, and leveling (auto gain control), MaxxVolume is perfect for voiceovers, vocals, and instrumental tracks.L-SeriesWith the groundbreaking L1, L2, and L3, Waves changed the world of audio forever. Now, the world's first 16 band peak limiter, the L3-16 Multimaximizer, is taking mastering to a whole new level.Now including the L3-LL Multimaximizer and L3-LL Ultramaximizer! GTRWaves, in association with Paul Reed Smith Guitars, presents Waves GTR 2.0, the hardware/software system that puts the world's best amps, cabinets, microphones, and effects right at your fingertips.360 degree Surround ToolsConceived and created especially for Surround production, 360 degree Surround Tools includes compression, limiting, reverb, spatial enhancement, and much more. For the creation of sophisticated, accurate Surround mixes for today's multi-channel listening environments, absolutely nothing compares.Vocal BundleThe ultimate vocal toolkit, made up of

Waves Renaissance Maxx Tdm Software $700 In the world of digital recording, rich, warm sound is the ultimate quest. Renaissance Maxx TDM software from Waves includes 8 processors that deliver the warmth of vintage gear with the precision control of the digital domain. This is the classic Waves sound heard on countless hit records and major motion pictures worldwide.Renaissance Maxx TDM includes the following plugins:Renaissance AxxSpecifically engineered for guitar, Renaissance Axx is the ideal compressor for musicians and engineers who need to dial in dynamic levels quickly. With its three efficient controls, Renaissance Axx features a fixed ratio curve, automatic release value, and an output limiter to prevent clipping.Renaissance BassRenaissance Bass delivers Waves patented MaxxBass psycho-acoustic technology using simplified controls for quick, intuitive operation. Pumping up your bass has never been easier!Renaissance ChannelA precision channel strip combining the finest equalization, compression, limiting, and gating in one convenient plug-in, Renaissance Channel is a complete audio mixing chain that delivers unsurpassed flexibility and performance.Renaissance CompressorFeaturing a streamlined, optimized interface, the Renaissance Compressor delivers classic warm compression and expansion utilizing technologies from our renowned C1 Parametric Compander and the legendary L1 Ultramaximize.Renaissance DeEsserNothing ruins a great vocal track like excess "ess" and "shh" sounds, otherwise known as sibilance. The solution is Renaissance DeEsser, a state-of-the-art sibilance attenuator which reduces undesirable high frequencies while preserving the integrity of your source. With a variety of presets for both male and female voices, Renaissance DeEsser makes it simple to zero in on the problem spots and clean them up with accuracy and ease.Renaissance EqualizerFeaturing real-time EQ graphing, vintage-modeled filter curves, and extended internal headroom, the Renaissance Equalizer is a versatile paragraphic EQ with a warm, analog-style sound.Renaissance ReverbWith rich reverb tails, an advanced early reflection system, and dual-band EQ and damping controls, Renaissance Reverb delivers unsurpassed sound and performance, with extraordinary texture and density.Renaissance VoxA uniquely powerful dynamics processor optimized especially for vocal tracks, Renaissance Vox features simple streamlined controls for compression, gate/expansion, limiting, and level maximization.IR-L Convolution ReverbWhen you need to recreate the authentic sound of actual acoustic spaces, there's no alternative to the realism and flexibility of convolution reverb. The IR-L offers the same great sound and performance as our IR1 using a simple, streamlined interface for maximum ease and efficiency.Waves Tune LTThe singer has just wrapped up an amazing take. The phrasing, the emotion, the delivery, it's all there. But there are notes you'd like to change, and others that need to be fixed. You need perfect pitch transforma

Waves L3 Multimaximizer Tdm $700 When top mastering engineers sit down behind the board, they need to enhance frequency response and maximize levels while protecting the fidelity of their sources. That's where the L3 comes in: The world's first auto-summing multi-band limiter for all-in-one mastering.PLMixer Peak Limiting Mixer automatically maximizes volume5-Band Linear Phase EQ for sweet highs and punchy lowsIDR Increased Digital Resolution Dithering & Noise ShapingBrickwall Limiting on all 5 user-definable bandsMaster and Individual ARC Adaptive Release ControlsPriority Controls for individual band attenuationSeparation Control for blending band interactionDouble precision processing

Waves The Jjp Collection Tdm $500 With the Jack Joseph Puig Artist Signature Collection, Waves captures the ideology and favorite technology of musical phenomenon Jack Joseph Puig in a plug-in form. Now you can create musical magic the way this studio vet has. You may not know the name Jack Joseph Puig, but in the past 2 decades he's worked with and and shared Grammy Awards with a diverse group of musical acts from Sheryl Crow to U2, John Mayer to No Doubt. The list of hit albums he's put a stamp on, as a producer, mixer, A&R, and Executive Vice President at Interscope-Geffen-A&M Records is a veritable who's-who of Billboard Chart makers. Over the past 3 decades, he has helped redefine the role of the mixing engineer in contemporary music. As a producer, he relies on vintage hardware and cutting-edge software to create complex aural tapestries that capture and transcend the artist's vision. Connoisseurs of vintage recording equipment know that no two units of the same make and model sound exactly alike. Tubes, capacitors, and other components (not to mention wear-and-tear) work together to give each piece its own unique personality. So when Waves decided they wanted to model the rarest-of-rare studio hardware (the Fairchild 670, the Pultec EQP-1A, and the Pultec MEQ-5), they turned to Jack Joseph Puig.Legendary among audiophiles for his extensive collection of exceptional, hand-picked outboard gear, Puig gave Waves exclusive access to model his most prized processors, and worked closely with Waves through every phase of the development process. Together with many of his personal presets, these precise models deliver the distinctive sound of JJP's favorite classics. PuigChild 670/660Fairchild compressors are among the very rarest pieces of recording gear; it's rumored that less than 50 were originally manufactured. One of the first things Waves discovered when testing the Fairchilds they were able to get their hands on is that each model sounded different. In fact, even within the same stereo module, each channel could sound and behave differently. Only a few fortunate studios in the world have multiple units, with the opportunity to compare the subtle differences between them. In their quest to find the best sounding Fairchild, they were introduced to Jack Joseph Puig. He loaned them his very best sounding unit, which they painstakingly analyzed and modeled so that they captured its every attribute, replicating its sound and behavior to the point where the software was virtually indistinguishable from the hardware. Jack was an indispensable part of the development process, greatly assisting the Waves team by testing and fine-tuning everything, as well as contributing an extensive library of his personal presets.So when you fire up the PuigChild, it's almost as if you were working together with the man himself at Ocean Way studios. Better yet, it's as if he loaned you his Fairchild. And not just any Fairchildhis BEST Fairchild.PuigTec EQP-1A/MEQ-5Custom-engineered and built by han

Waves Masters Tdm Bundle Hybrid Cd Win/Mac $1400 Waves Master Bundle TDM delivers an innovative linear phase EQ and multiband EQ that introduce no phase distortion. This bundle also includes the award-winning L2 Ultramaximizer.Linear Phase EqualizerThis equalizer's innovative phase linear filters don't introduce phase distortions and provide you with the most transparent sound that better preserves the original musical balance. Linear Phase EQ includes a broadband paragraphic component with 5 general bands and 1 LF band plus a LF-targeted high precision component.Linear Multi-BandIndependent gain and dynamics (compression, EQ and limiting) on five user-defined frequency ranges with linear phase crossovers. It includes unique technologies such as Adaptive Thresholds, Automatic Makeup and Gain Trim. Hear it and you will never use another multi-band processor.L2 UltramaximizerDesigned for Digidesign Pro Tools 24/MIX TDM MacOS workstations, the Waves L2-Ultramaximizer software offers all of the unbeatable features of the L2 hardware processor in the convenience of a plug-in.

Antares Auto-Tune 7 TDM $519 Antares Auto-Tune corrects intonation and timing problems in vocals or solo instruments, without distortion or artifacts, while preserving all of the expressive nuance of the original performance - with audio quality so pristine that the only difference between what goes in and what comes out is the intonation and timing. All with a user-interface that is a model of clarity, speed and ease-of-use. And now, with its new-from-the-ground-up time manipulation capabilities, Auto-Tune 7 represents the most substantial advancement in functionality since Auto-Tune's original introduction in 1997. For most common pitch problems, Auto-Tune 7's Automatic Mode instantaneously detects the pitch of the input, identifies the closest pitch in a user-specified scale (including minor, major, chromatic and 26 historical and microtonal scales), and corrects the input pitch to match the scale pitch. A Retune Speed control lets you match the retune rate to virtually any performance style as well as create the iconic Auto-Tune Vocal Effect (the Cher/T-Pain effect). For meticulous pitch and time editing, Auto-Tune 7's Graphical Mode displays the performance's detected pitch envelope and allows you to modify pitch and timing with a variety of easy-to-use graphics tools. This mode gives complete control over the correction or modification of the most elaborate pitch and rhythmic gestures. Auto-Tune is used daily by thousands of audio professionals around the world. Whether to save studio and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime performance, or create the Auto-Tune Vocal Effect (the Cher/T-Pain effect), Auto-Tune is the overwhelming tool of choice. What's New in Auto-Tune 7 By far the most dramatic addition to Auto-Tune 7 is its entirely new time correction and manipulation system. Seamlessly integrated into the Graphical Mode interface, Auto-Tune 7's time control capabilities allow you to quickly and easily edit the timing of your vocals right along with their pitch. Auto-Tune 7 also features the second generation of Antares' Evo Voice Processing Technology, offering even more natural pitch shifting and throat modeling, along with a host of time-saving workflow enhancements. Key new Auto-Tune 7 features include: Integrated time correction and manipulation Auto-Tune 7's time control capabilities combine an extremely high-quality time shifting algorithm with an exceedingly intuitive user interface designed to make it quick and easy to correct timing errors or exercise your creative imagination. Auto-Tune 7's time manipulation functions include the ability to move a point in time within a selected range as well as move a range in time within a larger range. The time functions have their own Undo/Redo controls independent of the pitch correction controls and an Enable

Antares Auto-Tune 7 Tdm $519 Antares Auto-Tune corrects intonation and timing problems in vocals or solo instruments, without distortion or artifacts, while preserving all of the expressive nuance of the original performance - with audio quality so pristine that the only difference between what goes in and what comes out is the intonation and timing. All with a user-interface that is a model of clarity, speed and ease-of-use. And now, with its new-from-the-ground-up time manipulation capabilities, Auto-Tune 7 represents the most substantial advancement in functionality since Auto-Tune's original introduction in 1997. For most common pitch problems, Auto-Tune 7's Automatic Mode instantaneously detects the pitch of the input, identifies the closest pitch in a user-specified scale (including minor, major, chromatic and 26 historical and microtonal scales), and corrects the input pitch to match the scale pitch. A Retune Speed control lets you match the retune rate to virtually any performance style as well as create the iconic Auto-Tune Vocal Effect (the Cher/T-Pain effect). For meticulous pitch and time editing, Auto-Tune 7's Graphical Mode displays the performance's detected pitch envelope and allows you to modify pitch and timing with a variety of easy-to-use graphics tools. This mode gives complete control over the correction or modification of the most elaborate pitch and rhythmic gestures. Auto-Tune is used daily by thousands of audio professionals around the world. Whether to save studio and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime performance, or create the Auto-Tune Vocal Effect (the Cher/T-Pain effect), Auto-Tune is the overwhelming tool of choice. What's New in Auto-Tune 7 By far the most dramatic addition to Auto-Tune 7 is its entirely new time correction and manipulation system. Seamlessly integrated into the Graphical Mode interface, Auto-Tune 7's time control capabilities allow you to quickly and easily edit the timing of your vocals right along with their pitch. Auto-Tune 7 also features the second generation of Antares' Evo Voice Processing Technology, offering even more natural pitch shifting and throat modeling, along with a host of time-saving workflow enhancements. Key new Auto-Tune 7 features include: Integrated time correction and manipulation Auto-Tune 7's time control capabilities combine an extremely high-quality time shifting algorithm with an exceedingly intuitive user interface designed to make it quick and easy to correct timing errors or exercise your creative imagination. Auto-Tune 7's time manipulation functions include the ability to move a point in time within a selected range as well as move a range in time within a larger range. The time functions have their own Undo/Redo controls independent of the pitch correction controls and an Enable button that allows you to instantly switch between your original audio and your time shifted audio. Evo Voice Processing Technology In 2008,

Waves Ssl 4000 Collection Tdm $650 Developed under license from Solid State Logic, the Waves SSL 4000 Collection includes three meticulously modeled plug-ins based on the legendary SSL 4000 Series: the SSL E-Channel, the SSL G-Master Buss Compressor, and the SSL G-Equalizer. This set of Pro Tools-enabled plug-ins sound so close to the original consoles, even experts who work with SSL boards day in and day out can't tell the difference.SSL G-Master Buss CompressorBased on the renowned master buss center compressor of the SL 4000 G console, the Waves SSL G-Master Buss Compressor captures the unique sound of the original's IC input and twin VCA gain-reduction amplifier design.SSL E-ChannelThe SSL E-Channel delivers the incomparable sound of the Solid State Logic 4000-series console's all-discrete design and its Class A, VCA chip. It's a slice of the world's greatest hit-making machine, in your computer.The equalization section of the SSL E-Channel is based on the renowned Black Knob equalizer, developed in 1983 with legendary producer George Martin. It features a High Pass Filter, Low Pass Filter, and a four-band parametric equalizer.The dynamics section features a soft-knee compressor/limiter and an expander/gate modeled on the SSL LS611E. Like the original, it can be placed before or after the equalization section, and makeup gain is automatically applied to maintain a steady output level.SSL G-EqualizerThis four-band equalizer, modeled on the SSL G Series EQ292, offers greater gain change than the E-Series EQ, and a slightly different curve. The SSL G-Equalizer includes a pre-boost dip and a pre-cut rise, as well as a broader Q for more extreme equalization. That's why many leading engineers use the E Channel's equalization for detailed problem-solving and mixing, and the SSL G-Equalizer to shape and give character to the sound.Note: Waves products require iLok USB key authorization.Authorizing your bundle to your iLok is a one-time process that can be completed on any computer with an internet connection. It doesn't have to be your audio computer. The iLok authorization process consists of two phases: Selecting your products and iLok in your Waves account. Running the Authorizer to complete the process.SSL G-Master Buss Compressor ControlsThreshold is continuously adjustable from -15dB to +15dBMake Up Gain is continuously variable from -5dB to +15dBAttack offers a choice of six attack rates: 0.1; 0.3; 1; 3; 10 and 30 msRelease time can be set to 0.1, 0.3, 0.6, 1.2 seconds, or automatic.Ratio is switchable between 2:1, 4:1, and 10:1Rate-S sets the Autofade duration, from 1 to 60 seconds.Analog allows disabling of analog emulationIn serves as a bypass buttonSSL E-Channel ControlsEqualization: Low Pass Filter 18dB/octave slope, adjustable from 20kHz to 3kHz.High Pass Filter 18dB/octave slope, adjustable from15Hz to 350Hz.High (HF) Choose from shelf (16.5dB/octave boost or cut) or bell shape (18dB/octave boost or cut with a fixed Q of 2.5). Range is from 1.5kHz to 16kHz.High Mid (HMF

Waves Studio Classics Collection Tdm $3000 Waves takes it's audio hardware modeling very serious, as do the professionals who utilize their plug-ins. Knowing how sound engineers strive to capture every subtle nuance of the song they are recording, the Waves developers went the extra mile with the Studio Classics Collection to make sure they meticulously recreated the key components and circuit schematics of their hardware inspirations so that its virtual replications behave just like the real deal. The Studio Classics Collection, created exclusively for Pro Tools users, encapsulates the character of the most respected recording consoles in the world - the consoles that made music history. Now your DAW can have that big budget sound with Waves' Studio Classics Collection which bundles the SSL 4000 Collection, V-Series and The API Collection. Developed under license from Solid State Logic, the Waves SSL 4000 Collection includes three meticulously modeled plug-ins based on the legendary SSL 4000 Series: the SSL E-Channel, the SSL G-Master Buss Compressor, and the SSL G-Equalizer. This set of Pro Tools-enabled plug-ins sound so close to the original consoles, even experts who work with SSL boards day in and day out can't tell the difference.SSL G-Master Buss CompressorBased on the renowned master buss center compressor of the SL 4000 G console, the Waves SSL G-Master Buss Compressor captures the unique sound of the original's IC input and twin VCA gain-reduction amplifier design.SSL E-ChannelThe SSL E-Channel delivers the incomparable sound of the Solid State Logic 4000-series console's all-discrete design and its Class A, VCA chip. It's a slice of the world's greatest hit-making machine, in your computer.The equalization section of the SSL E-Channel is based on the renowned Black Knob equalizer, developed in 1983 with legendary producer George Martin. It features a High Pass Filter, Low Pass Filter, and a four-band parametric equalizer.The dynamics section features a soft-knee compressor/limiter and an expander/gate modeled on the SSL LS611E. Like the original, it can be placed before or after the equalization section, and makeup gain is automatically applied to maintain a steady output level.SSL G-EqualizerThis four-band equalizer, modeled on the SSL G Series EQ292, offers greater gain change than the E-Series EQ, and a slightly different curve. The SSL G-Equalizer includes a pre-boost dip and a pre-cut rise, as well as a broader Q for more extreme equalization. That's why many leading engineers use the E Channel's equalization for detailed problem-solving and mixing, and the SSL G-Equalizer to shape and give character to the sound.V-seriesTo most people, 2254, 1066, 1073, 1081 sound like random addresses. To audio professionals, they are the numbers of hardware legends. Now, with Waves' V-Series collection, you'll have the opportunity to work with state-of-the-art versions of these "vintage" models which were modified to capture the sound of consoles found in the world's most exclusive rec

Sonnox Sonnox Enhance (TDM) Software Download $999 Do you need that little bit extra? Extra loudness, presence, punch? Look no further. The Sonnox Enhance Collection for Pro Tools"HD (TDM) contains three simple-to-use, but incredibly powerful plug-ins, to enhance your mix and give it the energy it deserves to be heard above the rest. At 25% off individual prices, Sonnox Enhance offers affordable plug-ins you cannot afford to be without!Sonnox Enhance Collection contains:Oxford Inflator (see #H75978)Oxford Transient Modulator (see #H75994)Oxford Limiter (see #H75970)Note: Sonnox plug-ins require iLok authorization - see (#H70847)Sonnox plug-ins use the Pace iLok key method of authorization, so the plug-ins can be installed on as many systems as desired, but can only be used on a single system at any one time, by insertion of the authorised iLok device into a USB port on the computer system in use.If more than one copy of an Oxford plug-in is purchased, the authorizations should be transferred to different iLok devices, to enable use of the plug-in on more than one system at a time.Mac OSX 10.7 Lion compatibility:Sonnox has yet to complete compatibility testing of the Sonnox plug-ins range with Mac OSX 10.7 Lion. To ensure a trouble-free transition to Lion, we recommend that Sonnox users refrain from upgrading their Mac OS until we have completed our evaluations, and made update releases available as required. Check for a compatibility status change at Sonnox' website.

Sonnox Sonnox Elite (TDM) Software Download $2450 The Oxford Plug-ins have earned a world-class reputation for their high-quality processing, precision control and intuitive graphical interfaces.The Sonnox Elite Collection for Pro Tools"HD (TDM) contains seven powerful mixing plug-ins used by countless professionals all over the world. Dont waste money or time collecting Oxford plug-ins one by one, save a massive 40% off the individual prices, by purchasing them as the Sonnox Elite Collection.Contains: Oxford EQ, Oxford Dynamics, Oxford Inflator, Oxford Transient Modulator, Oxford Reverb, Oxford Limiter and Oxford SuprEsser*.* The Oxford SuprEsser is a native-only plug-in (RTAS, AU, VST).Note: Sonnox plug-ins require iLok authorization - see (#H70847)Sonnox plug-ins use the Pace iLok key method of authorization, so the plug-ins can be installed on as many systems as desired, but can only be used on a single system at any one time, by insertion of the authorized iLok device into a USB port on the computer system in use.If more than one copy of an Oxford plug-in is purchased, the authorizations should be transferred to different iLok devices, to enable use of the plug-in on more than one system at a time.Mac OSX 10.7 Lion compatibility:Sonnox has yet to complete compatibility testing of the Sonnox plug-ins range with Mac OSX 10.7 Lion. To ensure a trouble-free transition to Lion, we recommend that Sonnox users refrain from upgrading their Mac OS until we have completed our evaluations, and made update releases available as required. Check for a compatibility status change at Sonnox' website.

Waves Gtr3 Tdm Software Digital Download $140 You've already got Pro Tools. You've already got all your guitar and interface set up and ready to go. Now you're looking for a few more amp, cab, and guitar effects to add to your arsenal of sound options. Well look no further than GTR3 TDM software.The latest incarnation of Waves' highly popular GTR series (Guitar Tool Rack) gives you a choice of some of the the finest vintage and contemporary amps from Fender, Marshall, Mesa/Boogie, Vox, and more captured with revolutionary sampling techniques that go way beyond standard modeling by the Waves and PRS teams. It provides you with a tuner to ensure you're dialed in, as well as 19 guitar amps, 7 bass amps, 22 cabs, 26 guitar effects, with multiple mics and mic settings. The result - you'll hear some of the most amazing guitar tones you've ever heard coming out of your computer. Best of all, with GTR3's host-free Standalone ToolRack, all you need to do is plug in and play.For more than 15 years, Waves has been making the tools of choice for the world's most demanding sound experts, including Grammy-winning multi-platinum producers, engineers, and artists. That's why they've spent considerable effort ensuring GTR3 sounds indistinguishable from the originals. Whether you're laying down tracks in the studio or live onstage, GTR3 is the only guitar processor you'll ever need. Whether you use it on a Mac or PC, with or without a DAW, anytime, anywhere, you're ready to rock, it's ready to roll.19 Guitar Amps7 Bass Amps22 Cabs26 StompsMultiple mics and mic settingsRealistic dynamic responseExpert presets and FX chainsSync-to-Host BPM effectsDrag-and-drop simplicityReal-Time MIDI controlStandalone or DAW-ready

Sonnox Oxford Transient Modulator (TDM) Software Download $435 The Sonnox Oxford Transient Modulator for Pro Tools"HD (TDM) is an application that allows dynamic level of signals to be modified by the transients in programm material over time. The effect is to bring transient events in the program forward, or push them into to the background, such that the attacks of instruments can be accentuated or softened depending on settings.The Sonnox Transient Modulator is an application that allows dynamic level of signals to be modified by the transients in the programme material over time. The effect is to bring transient events in the programme forwards, or push them into to the background, such that the attacks of instruments can be accentuated or softened depending on settings.The application was developed to address the common situation where there is a need to selectively tighten up percussive instruments or soften the unwanted percussive effects of acoustic musical instruments. Such effects are easily achieved with the Transient Modulator because its purpose-designed adaptive processing acts on differential information in the program so that the overall long-term program level is minimally affected and sensitivity to control parameters is drastically reduced.The functions of the Transient Modulator are adaptive and totally dependent upon dynamic level changes within the signal. In other words, it will have no effect on a steady state signal, such as a continuous tone which does not change in level. Any control signals it develops are purely dependent upon the extent and rate of change of signal levels.Gain,Threshold & DeadbandWhen the RATIO fader is set positively, significantly larger peak levels can be produced, with potential to increase them up to 24dB greater than the original signal. Conversely, negative ratio values can reduce the overall levels significanlty, therefore the GAIN fader has been designed to operate over a considerable range.Unlike the rest of the processing in the Transient Modulator, the THRESHOLD knob sets an absolute value. Other processing is tracking changes in the waveform and is not related to any absolute setting. In this case, only signals above the THRESHOLD knob setting will be processed. The greater the signal level above the threshold, the greater the effect, the Transient Modulator will have.The DEADBAND knob sets a window below which transient changes will remain unaffected, preventing unwanted modification to lower level signals.Ratio & OvershootThe RATIO fader sets the amount of instantaneous change, positive or negative, to the signal. As an example, if the RATIO fader is set to +1.00, and a signal peak 10dB above the average occurs, the Transient Modualtor could increase that to a 20dB peak.The OVERSHOOT fader sets the period over which dyanmics changes occur. The lower values will cause just the initial transients and l

Waves Horizon Tdm Audio Production Plug-In Bundle $5700 Waves Horizon TDM is a collection of over 50 plug-ins for Pro Tools that gives computer-based engineers a versatile collection of music production tools to bring out the best of each and every performance. If you need the warm incomparable sound of vintage compressors for punch and power. It's in here. You need precision-modeled EQs that add color and character? It's in here. You need state-of-the-art sound mastering processors to give your projects that final shimmer and shine? You guessed it. It's in here. Check out the Horizon Bundle and you'll see it is a panoramic array of music software plug-ins that'll help you be a more complete audio production professional.AudioTrackAudioTrack gives you the power of three complete Waves processors in one, easy-to-use plug-in. With equalization, gating, and compression, it's ideal for multimedia, voiceovers, project studios, and more.C1 Parametric CompanderWith compression, expansion, gating, and equalization, the C1 Parametric Compander is a true audio production workhorse, featuring three independent modules which can be used separately or combined for maximum flexibility.C4 MultibandThe ultimate multiband dynamics processor, the C4 does it all: 4 bands of up and down expansion, limiting, and compression, plus dynamic and standard EQ. Combining technologies from Waves' acclaimed Renaissance Compressor and the powerful C1 Parametric Compander, the C4 gives you unprecedented control over the contours of your mix, with maximum clarity and transparency.Waves CenterIdeal for final mixes and mastering, Waves Center is an innovative processor that separates phantom Center content from Side (L/R) content. With Center, you can zero in on the phantom center and bring out or bring down the vocals without affecting everything else. Perfect for post-production engineers and DJs as well, Center lets you reposition, isolate, and even eliminate elements of your mix.Using a unique dynamic engine which considers the amplitude, frequency, and time envelope of stereo sources, Center gives you the power to radically rebalance your spatial imagery. Adjustable punch, high-frequency, and low-frequency controls let you enhance detail with maximum impact.Get centered or get sidetracked. Choose sides or play it down the middle. Find the middle ground, or get a little something on the side. With Waves Center, you really can play the (stereo) field.CLA-2A Compressor/LimiterModeled on the legendary electro-optical tube compressor, the CLA-2A emulates the original's smooth, frequency-dependent behaviors that have made it a favorite of engineers everywhere. Like the mid-'60s classic, the CLA-2A sounds great on guitars and bass, and really shines on vocals. Top it all off with Chris Lord-Alge's personal presets, and seemingly limitless instantiations, and you've got a compressor/limiter that surpasses its inspiration.CLA-3A Compressor LimiterBased on the early '70s solid-state compressor known for its unique and highly transparent com

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Passive optical network -Hydraulic Couplings -PEM Fastener

Standards
APON (ATM Passive Optical Network). This was the first Passive optical network standard. It was used primarily for business applications, and was based on ATM.
BPON (Broadband PON) is a standard based on APON. It adds support for WDM, dynamic and higher upstream bandwidth allocation, and survivability. It also created a standard management interface, called OMCI, between the OLT and ONU/ONT, enabling mixed-vendor networks.
IEEE 802.3ah
EPON or GEPON (Ethernet PON) is an IEEE/EFM standard for using Ethernet for packet data. 802.3ah is now part of the IEEE 802.3 standard. There are currently over 25 million installed EPON subscribers. Commercial upgrade capability to 10G EPON will become available in 2010 (see IEEE 802.3av, 10G-EPON).
ITU-T G.984
GPON (Gigabit PON) is an evolution of the BPON standard. It supports higher rates, enhanced security, and choice of Layer 2 protocol (ATM, GEM, Ethernet). In early 2008, Verizon having installed over 800 thousand lines by mid year. British Telecom, mobily-saudiarabia, Etisalat-uae, and AT&T are in advanced trials.
IEEE 802.3av
10G-EPON (10 Gigabit Ethernet PON) is an IEEE Task Force for 10Gbit/s, backward compatible with 802.3ah EPON. 10GEPON will use separate wavelengths for 10G and 1G downstream. 802.3av will continue to use a single wavelength for both 10G and 1G upstream with TDMA separation. The 802.3av task force has concluded with the .3av inclusion in the IEEE 802.3 standard. Commercial 10G EPON equipment is expected in 2010.
SCTE IPS910
RFoG (RFoverGlass) is an SCTE Interface Practices Subcomittee standard in development for Point to Multipoint (P2MP) operations that has a proposed wavelength plan compatible with data PON solutions including EPON,GEPON and 10G-EPON. RFoG offers an FTTH PON like architecture for MSOs without having to select or deploy a PON technology. History
Early work on efficient fiber to the home architectures was done in the 1990s by the Full Service Access Network (FSAN) working group, formed by major telecommunications service providers and system vendors. The International Telecommunications Union (ITU) did further work, and has since standardized on two generations of PON. The older ITU-T G.983 standard is based on Asynchronous Transfer Mode (ATM), and has therefore been referred to as APON (ATM PON). Further improvements to the original APON standard as well as the gradual falling out of favor of ATM as a protocol led to the full, final version of ITU-T G.983 being referred to more often as broadband PON, or BPON. A typical APON/BPON provides 622 megabits per second (Mbit/s) (OC-12) of downstream bandwidth and 155 Mbit/s (OC-3) of upstream traffic, although the standard accommodates higher rates.
The ITU-T G.984 (GPON) standard represents a boost, compared to BPON, in both the total bandwidth and bandwidth efficiency through the use of larger, variable-length packets. Again, the standards permit several choices of bit rate, but the industry has converged on 2.488 gigabits per second (Gbit/s) of downstream bandwidth, and 1.244 Gbit/s of upstream bandwidth. GPON Encapsulation Method (GEM) allows very efficient packaging of user traffic with frame segmentation.
The IEEE 802.3 Ethernet PON (EPON or GEPON) standard was completed in 2004 (http://www.ieee802.org/3/), as part of the Ethernet First Mile project. EPON uses standard 802.3 Ethernet frames with symmetric 1 gigabit per second upstream and downstream rates. EPON is applicable for data-centric networks, as well as full-service voice, data and video networks. 10Gbit/s EPON or 10G-EPON was ratified as an amendment IEEE 802.3av to IEEE 802.3. 10G-EPON supports 10Gbps/1Gbps. The downstream wavelength plan support simultaneous operation of 10Gbps on one wavelength and 1Gbps on a separate wavelength for operation of IEEE 802.3av and IEEE 802.3ah on the same PON concurrently. The upstream channel can support simultaneous operation of IEEE 802.3av and 1Gbps 802.3ah simultaneously on a single shared (1310nm) channel.
A PON takes advantage of wavelength division multiplexing (WDM), using one wavelength for downstream traffic and another for upstream traffic on a single [Non-dispersion shifted fiber] (ITU-T G.652). BPON, EPON, GEPON, and GPON have the same basic wavelength plan and use the 1490 nanometer (nm) wavelength for downstream traffic and 1310 nm wavelength for upstream traffic. 1550 nm is reserved for optional overlay services, typically RF (analog) video.
As with bit rate, the standards describe several optical budgets, most common is 28 dB of loss budget for both BPON and GPON, but products have been announced using less expensive optics as well. 28 dB corresponds to about 20 km with a 32-way split. Forward error correction (FEC) may provide another 2-3 dB of loss budget on GPON systems. As optics improve, the 28 dB budget will likely increase. Although both the GPON and EPON protocols permit large split ratios (up to 128 subscribers for GPON, up to 32,768 for EPON), in practice most PONs are deployed with a split ratio of 1x32 or smaller.
A PON consists of a central office node, called an optical line terminal (OLT), one or more user nodes, called optical network units (ONUs) or optical network terminals (ONTs), and the fibers and splitters between them, called the optical distribution network (ODN). ONT is an ITU-T term, whereas ONU is an IEEE term. In Multiple Tenant Units, the ONT may be bridged to a customer premise device within the individual dwelling unit using technologies such as Ethernet over twisted pair, G.hn (a high-speed ITU-T standard that can operate over any existing home wiring - power lines, phone lines and coaxial cables) or DSL. An ONT is a device that terminates the PON and presents customer service interfaces to the user. Some ONUs implement a separate subscriber unit to provide services such as telephony, Ethernet data, or video.
The OLT provides the interface between the PON and the service providers network services. These typically include:
Internet Protocol (IP) traffic over Gigabit, 10G, or 100 Mbit/s Ethernet
standard time division multiplexed (TDM) interfaces such as SONET or SDH
ATM UNI at 155-622 Mbit/s
The ONT or ONU terminates the PON and presents the native service interfaces to the user. These services can include voice (plain old telephone service (POTS) or voice over IP (VoIP)), data (typically Ethernet or V.35), video, and/or telemetry (TTL, ECL, RS530, etc.). Often, the ONT functions are separated into two parts:
the ONT or ONU, which terminates the PON and presents a converged interface such as xDSL, coax, or multiservice Ethernet toward the user, and
network termination equipment (NTE), which provides the separate, native service interfaces directly to the user
A PON is a shared network, in that the OLT sends a single stream of downstream traffic that is seen by all ONTs. Each ONT only reads the content of those packets that are addressed to it. Encryption is used to prevent eavesdropping on downstream traffic. Upstream bandwidth allocation
The OLT is responsible for allocating upstream bandwidth to the ONTs. Because the optical distribution network (ODN) is shared, ONT upstream transmissions could collide if they were transmitted at random times. ONTs can lie at varying distances from the OLT, meaning that the transmission delay from each ONT is unique. The OLT measures delay and sets a register in each ONT via PLOAM (physical layer operations and maintenance) messages to equalize its delay with respect to all of the other ONTs on the PON.
Once the delay of all ONTs has been set, the OLT transmits so-called grants to the individual ONTs. A grant is permission to use a defined interval of time for upstream transmission. The grant map is dynamically re-calculated every few milliseconds. The map allocates bandwidth to all ONTs, such that each ONT receives timely bandwidth for its service needs.
Some services POTS, for example require essentially constant upstream bandwidth, and the OLT may provide a fixed bandwidth allocation to each such service that has been provisioned. DS1 and some classes of data service may also require constant upstream bit rate. But much data traffic internet surfing, for example is bursty and highly variable. Through dynamic bandwidth allocation (DBA), a PON can be oversubscribed for upstream traffic, according to the traffic engineering concepts of statistical multiplexing. (Downstream traffic can also be oversubscribed, in the same way that any LAN can be oversubscribed. The only special feature in the PON architecture for downstream oversubscription is the fact that the ONT must be able to accept completely arbitrary downstream time slots, both in time and in size.)
In GPON there are two forms of DBA, status-reporting (SR) and non-status reporting (NSR).
In NSR DBA, the OLT continuously allocates a small amount of extra bandwidth to each ONT. If the ONT has no traffic to send, it transmits idle frames during its excess allocation. If the OLT observes that a given ONT is not sending idle frames, it increases the bandwidth allocation to that ONT. Once the ONT's burst has been transferred, the OLT observes a large number of idle frames from the given ONT, and reduces its allocation accordingly. NSR DBA has the advantage that it imposes no requirements on the ONT, and the disadvantage that there is no way for the OLT to know how best to assign bandwidth across several ONTs that need more.
In SR DBA, the OLT polls ONTs for their backlogs. A given ONT may have several so-called traffic containers (T-CONTs), each with its own priority or traffic class. The ONT reports each T-CONT separately to the OLT. The report message contains a logarithmic measure of the backlog in the T-CONT queue. By knowledge of the service level agreement for each T-CONT across the entire PON, as well as the size of each T-CONT's backlog, the OLT can optimize allocation of the spare bandwidth on the PON.
EPON systems use a DBA mechanism equivalent to GPON's SR DBA solution. The OLT polls ONUs for their queue status and grants bandwidth using the MPCP GATE message, while ONUs report their status using the MPCP REPORT message. Current status TDM-PON
Both APON/BPON and EPON/GEPON have been deployed widely, but most networks designed in 2008 use GPON or GEPON. GPON has less than 2 million installed ports. GEPON has approximately 15 million deployed ports. DOCSIS over EPON or DPON
Data Over Cable Service Interface Specification (DOCSIS) PON, or D-PON/DPON, is a type of passive optical networking, being proposed by several companies, that implements the DOCSIS service layer interface on existing Ethernet PON (EPON, GEPON or 10G-EPON) Media Access Control (MAC) and Physical layer (PHY) standards. In short it implements the DOCSIS Operations Administration Maintenance and Provisioning (OAMP) functionality on existing EPON equipment. It makes the EPON OLT look and act like a DOCSIS Cable Modem Termination Systems (CMTS) platform. Some DPON systems may optionally support the Metro Ethernet Forum (MEF) 9 and 14 specifications for the delivery of Ethernet Transport services including Ethernet LANs (ELAN), Ethernet Virtual Private Line (EVPL), and point to point Ethernet Transport (ELINE) services. In these instances the DPON system also acts as an IP/MPLS Provider Edge (PE) Router. RF-PON or RFoG
Radio Frequency PON (RF-PON) or Radio Frequency over Glass (RFOG) or Hybrid-Fiber-Coax PON (HFC-PON) or Cable PON, is a type of passive optical networking, that proposes to transport RF signals that are now transported over copper (principally over a hybrid fiber and coaxial cable) over PON. In the forward direction RF-PON is either a stand alone P2MP system or an optical overlay for existing PON such as GPON or GEPON/EPON. The overlay for RF-PON works in the same way that some CWDM PON or potential WDM-PON overlays work. Reverse RF support is provided by transporting the upstream or return RF into on a separate lamda from the PON return wavelength. Implementations vary by vendor there because the standard is not yet complete. The Society of Cable and Telecommunications Engineers (SCTE) Interface Practices Subcomittee (IPS) Work Group 5, is currently working on IPS 910 RF over Glass. RF-PON offers backwards compatibility with existing RF modulation technology, but offers no additional bandwidth for RF based services. It offers a means to support RF technologies in locations where only fiber is available or where copper is not permitted or feasible. This technology is targeted towards Cable TV operators and their existing HFC networks. WDM-PON
Wavelength Division Multiplexing PON, or WDM-PON, is a non-standard type of passive optical networking, being developed by some companies.
The multiple wavelengths of a WDM-PON can be used to separate Optical Network Units (ONUs) into several virtual PONs co-existing on the same physical infrastructure. Alternatively the wavelengths can be used collectively through statistical multiplexing to provide efficient wavelength utilization and lower delays experienced by the ONUs.
There is not standard for WDM-PON nor any unanimously agreed upon definition of the term. By some definitions WDM-PON is a dedicated wavelength for each ONU. Other more liberal definitions suggest the use of more than one wavelength in any one direction on a PON is WDM-PON. It is difficult to point to an un-biased list of WDM-PON vendors when there is no such unanimous definition. PONs provide higher bandwidth than traditional copper based access networks Enabling technologies
Due to the topology of PON, the transmission modes for downstream (i.e., from OLT to ONU) and upstream (i.e., from ONU to OLT) are different. For the downstream transmission, the OLT broadcasts optical signal to all the ONUs in continuous mode (CM), i.e., the downstream channel always has optical data signal. However, in the upstream channel, ONUs can not transmit optical data signal in CM. Use of CM would result in all of the signals transmitted from the ONUs converging (with attenuation) into one fiber by the power splitter (serving as power coupler), and overlapping. To solve this problem, burst mode (BM) transmission is adopted for upstream channel. The given ONU only transmits optical packet when it is allocated a time slot and it needs to transmit, and all the ONUs share the upstream channel in the time division multiplexing (TDM) mode. The phases of the BM optical packets received by the OLT are different from packet to packet, since the ONUs are not synchronized to transmit optical packet in the same phase, and the distance between OLT and given ONU are random. Since the distance between the OLT and ONUs are not uniform, the optical packets received by the OLT may have different amplitudes. In order to compensate the phase variation and amplitude variation in a short time (e.g., within 40 ns for GPON), burst mode clock and data recovery (BM-CDR) and burst mode amplifier (e.g., burst mode TIA) need to be employed, respectively. Furthermore, the BM transmission mode requires the transmitter to work in burst mode. Such a burst mode transmitter is able to turn on and off in short time. The above three kinds of circuitries in PON are quite different from their counterparts in the point-to-point continuous mode optical communication link. Fiber to the premises
Main article: Fiber to the x
Passive optical networks do not use electrically powered components to split the signal. Instead, the signal is distributed using beam splitters. Each splitter typically splits the signal from a single fiber into 16, 32, or 64 fibers, depending on the manufacturer, and several splitters can be aggregated in a single cabinet. A beam splitter cannot provide any switching or buffering capabilities; the resulting connection is called a point-to-multipoint link. For such a connection, the optical network terminals on the customer's end must perform some special functions which would not otherwise be required. For example, due to the absence of switching capabilities, each signal leaving the central office must be broadcast to all users served by that splitter (including to those for whom the signal is not intended). It is therefore up to the optical network terminal to filter out any signals intended for other customers. In addition, since beam splitters cannot perform buffering, each individual optical network terminal must be coordinated in a multiplexing scheme to prevent signals leaving the customer from colliding at the intersection. Two types of multiplexing are possible for achieving this: wavelength-division multiplexing and time-division multiplexing. With wavelength-division multiplexing, each customer transmits their signal using a unique wavelength. With time-division multiplexing (TDM), the customers "take turns" transmitting information. TDM equipment has been on the market longest; WDM-PON equipment became available in 2005 .
Passive optical networks have both advantages and disadvantages over active networks. They avoid the complexities involved in keeping electronic equipment operating outdoors. They also allow for analog broadcasts, which can simplify the delivery of analog television. However, because each signal must be pushed out to everyone served by the splitter (rather than to just a single switching device), the central office must be equipped with a particularly powerful piece of transmitting equipment called an optical line terminal (OLT). In addition, because each customer's optical network terminal must transmit all the way to the central office (rather than to just the nearest switching device), customers can't be as far from the central office as is possible with active optical networks. References
^ Rec. G.984, Gigabit-capable Passive Optical Networks (GPON), ITU-T, 2003.
^ Novera's Got a New PON Spin from Light Reading, retrieved on 2009-09-02.
Kramer, Glen, Ethernet Passive Optical Networks, McGraw-Hill Communications Engineering, 2005.
Blake, Victor R. Chasing Verizon FiOS, Communications Technology, August 2008
Rubenstein, Roy. Broadband Access Networks: PON Life Categories: Broadband | Network architecture | Fiber-optic communicationsHidden categories: Articles needing additional references from June 2009 | All articles needing additional references | Wikipedia articles needing style editing from December 2007 | All articles needing style editing
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