Octave 5 2 0 32 bit

Power Output - Both channels driven(0.05% THD, RMS, 20 Hz - 20 kHz)160 watts x 2 @ 8 Ω240 watts x 2 @ 4 Ω Power Output - Both channels driven(0.9% THD, RMS, 20 Hz - 20 kHz)180 watts x 2 @ 8 Ω270 watts x 2 @ 4 Ω Current Capacity45 amps peak per channel Frequency Response10 Hz - 100 kHz, +0/-3 dB Total Harmonic Distortion (THD) Interchannel Crosstalk> 50 dB at 20 kHz> 70 dB at 1 kHz Signal to Noise Ratio - IHF A-weightedLine in: - 103 dB (input shorted)Digital in: - 106 dB Amplifier Damping Factor> 800 at 20 Hz Preamp Stage Input Sensitivity300 mV in for 1 V at Pre Out jacksTotal Preamp Stage Gain: 10 dBMax Output Unbalanced: 7 VMax Output Balanced: 9 V Power Amplifier Stage Sensitivity1 V at Bypass/Amp In for 28 V at Speaker OutTotal Amp Stage Gain: 28 dB Phono Stage Sensitivity / Input Impedance Input ImpedanceMM: 35 dB / 47 k ΩMC: 52 dB / 47 k Ω or 100 Ω Input Capacitance150 pF High & Low Pass Crossover Slopes12 dB per octave Supported DAC Sampling RatesUSB: up to 384 kHz / 32-bit PCMDSD Native: DSD 64, DSD 128, DSD 256DSD over PCM (DoP) at 384 kHzCoax/Opt: up to 192 kHz / 24-bit PCM Digital to Analog ConverterESS Sabre32 Reference ES9018K2M384 kHz / 32-bit USB 2.0 ControllerVIA VT1731, 384 kHz / 32-bit Headphone AmplifierTexas Instruments TPA6120AOutput Impedance 10 ohms XLR Pin Identification1 = Ground (Shield)2 = Positive3 = Negative (Return) Input ImpedanceUnbalanced: 24 k ΩBalanced: 100 k Ω per leg Output ImpedanceUnbalanced: 100 ΩBalanced: 470 Ω per leg DimensionsWidth: 17-1/4" (437 mm)Depth: 16-1/4" (413 mm)Depth, with cables 17-1/4" (437 mm)Height, with feet: 5-7/8" (150 mm)Height, without feet: 5-1/4" (133 mm), 3U Net Weight33 lb. (15 kg) Shipping Weight45 lb. (20.4 kg) Power RequirementStandby: 0.5 wattsIdling power: 70 wattsMaximum: 750 watts110-125 VAC 60 Hz or 220-250 VAC 50 HzAC mains voltage is set on rear Hifi Pig (UK) March 2018 "This is a great sounding amplifier! The Parasound does great music making everything sound effortless, dynamic and powerful. Highly Recommended"

Return, M Post PEQ, Post Comp, Post DelayTrim: -∞ to 10 dB per channelInsertInsert (Pre EQ/Comp): Fully patchableDelayUp to 682 msGraphic Equalizer28 bands 31 Hz to 16 kHz, ±12 dB gain, constant 1/3 octaveFXInternal FX: 8 x RackFX engine, Send>Return or Inserted (4 dedicated fx bus)Types: SMR Reverb, StereoTap Delay, Gated Reverb, ADT, BlueChorus, Symphonic Chorus, Flanger, Phaser8 x Dedicated Stereo FX Returns: Fader, Pan, Mute, Routing to Mix/LR, 4-Band PEQPAFLPFL or stereo in-place AFL, 0 to -24 dB trim, PAFLDelay up to 682 msTalkbackDedicated input, assignable to any mix, Gain, Pad, 48 V, 12 dB/oct HPFSignal GeneratorAssignable to any mix, (sine/white/pink/bandpass noise)RTA Real Time Analyzer31-bands, 1/3 octave 20 Hz to 20 kHz, follows PAFL sourceRecorderSQ-Drive: USB Type-AStereo Record: 2-channel, WAV, 96 kHz, 24-bit, source fully patchableStereo Playback: 1/2-channel, WAV, 44.1, 48, 96 kHz, 16-/24-bit, source fully patchableMultitrack Record: 16-channel, WAV, 96 kHz, 24-bit, track sources fully patchableMultitrack Playback: 16-channel, WAV, 96 kHz, 24-bit fully patchableUSB AudioUSB Audio Streaming: USB Type-B, Core Audio compliant, ASIO/WDM for WindowsSend (Upstream): 32-channel, 96 kHz, 24-bitReturn (Downstream): 32-channel, 96 kHz, 24-bitPower100 to 240 VAC, 50 / 60 HzMaximum Power Consumption:Operating Temperature32 to 104°F / 0 to 40°CDimensions (W × H × D)25.1 x 20.3 x 7.8″ / 638.0 x 514.9 x 198.0 mmWeight13.3 kg

Oboe Old 61 Pipes 8' Vox Humana Old 61 Pipes Tremolo Chimes Swell to Swell 16' Swell to Swell 4' Swell Unison Off List of StopsCHOIR 16' Lieblich Gedeckt Old Pipes Estey Op. 3079 61 Pipes 8' Geigen Principal Old 61 Pipes 8' Dulciana Old 61 Pipes 8' Melodia Old 61 Pipes 8' Rohr Flöte Old 61 Pipes 4' Octave Op 501 Hook Geig. Prin. 61 Pipes 4' Fugara Old 61 Pipes 4' Flute d'Amour Old 61 Pipes 2 2/3' Quint Flöte New 61 Pipes 2' Piccolo Old 61 Pipes 1 3/5' Tierce New 61 Pipes 1 1/3' Octave Quint New 61 Pipes III Mixture New 183 Pipes 8' Trumpet "Old Pipes, Estey Op.3079 " 61 Pipes 8' Clarinet Old 61 Pipes 8' Vox Angelica Old 61 Pipes 8' Cromorne New 61 Pipes 4' Clarion from 8' Trumpet 12 Pipes Tremolo Choir to Choir 16' Choir Unison Off SOLO 8' Stentorphon "Old, New or old trebles " 61 Pipes 8' Tuba Mirabilis Old 61 Pipes V Grand Cornet T.C. "8' fr. Opus 501, 4' fr. Sw. " "Cornet, 2 2/3',2',1 3/5' New" 245 Pipes Blank Knob Solo to Solo 16' Solo to Solo 4' Solo Unison Off CELESTIAL 16' Gemshorn "Old , treb fr.Estey 4079" 61 Pipes 8' Philomela New 61 Pipes 8' Gemshorn from 16' Gemshorn 12 Pipes 8' Dolcan Gamba Old Pipes Hutchings 61 Pipes 8' Gamba Céleste Old Pipes Hutchings 49 Pipes 8' Spitzflöte New 61 Pipes 8' Spitzflöte Céleste New 49 Pipes 4' Hohlpfeife "Old Pipes Hook, Opus 355" 61 Pipes 2' Harmonic Piccolo Hutchings. Votey fr. Chicago 61 Pipes 8' French Horn Old Pipes Gottfreid 61 Pipes 8' Cor Anglais "Old Pipes Estey, Opus 3079" 61 Pipes Tremolo List of StopsCelestial Bells Harp Celestial to Celestial 16' Celestial to Celestial 4' Celestial Unison Off PEDAL 32' Bourdon Old 32 Pipes 16' Open Diapason Old 32 Pipes 16' Violone Old 32 Pipes 16' Dulciana Great 16' OD. 32 Notes 16' Gemshorn From Celestial 32 Notes 16' Bourdon From 32' Bdn. 12 Pipes 16' Lieblich Gedeckt From Choir 32 Notes 12' Quinte From 32' 7 Pipes 8' Octave From 16' OD. 12 Pipes 8' Bell Gamba Old 32 Pipes 8' Violoncello From Violone 12 Pipes 8' Gemshorn From Celestial 32 Notes 8' Gedeckt From Choir Lieblich 32 Notes 5 1/3' Octave Quinte Old Pipes 32 Pipes 4' Principal Old Pipes 32 Pipes 4' Super Octave From Bell Gamba 12 Pipes IV Mixture 5 1/3' Quint & Old Pipes fr.Estey 3079 68 Pipes V Gross Harmonics Old Pipes 96 Pipes 32' Contra Bombarde "New, Ext. Trombone " 12 Pipes 16' Trombone Old 32 Pipes 16' Bassoon From Sw. Oboe 32 Notes 8' Trumpet From Trombone 12 Pipes 8' Posaune Old Pipes 32 Pipes 8' Oboe From Sw. 32 Notes 4' Clarion From Posaune 12 Pipes List of StopsW. Eugene Thayer (1838-1889) • Born in Mendon, Massachusetts, December 11, 1838 • Began the study of the organ at the age of fourteen, and soon gained a reputation as an

[0...99] SLOPE TIME [0...99] RELEASE TIME [0...99] OSC-CMN4 [PITCH EG CTRL] LEVEL KBD TRK [-99...+99] TIME KBD TRK [-99...+99] LEVEL VELOC CTL [-99...+99] LEVEL VELOC CTL [-99...+99] OSC-CMN5 [PITCH BEND] PB INTENSITY(+X) [-60...+12] PB STEP(+X) 0, /8, /4, /2, 1...12] PB INTENSITY(-X) [-60...+12] PB STEP(-X) 0, /8, /4, /2, 1...12] AFTERTOUCHBENDING [-12...+12] OSC-CMN6 [PORTAMENTO] FINGERED MODE [NORMAL, FINGERED] PORTAMENTO TIME [0...99] TIME VEL CTRL [-99...+99] OSC-CMN7 OSC MENU OSCILLATOR 1 [STD1],[COMB1],[VPM1],[BRASS],[REED],[PLUCK] OSCILLATOR 2 [STD2],[COMB2],[VPM2],[MOD2],[OSC2] SUB OSCILLATOR [SUBOSC] NOISE GENERATOR [NOISE] UTILITY [UTY] OSC1(2)-1 [BASIC PITCH] OCTAVE [32"...4"] SEMI TONE [-12...+12] FINE TUNE [-50...+50] FREQUENCY OFFSET [-10.0...+10.0Hz] OSC1(2)-2 [PITCH MODULATION] MOD.SRC [OFF...CCHG#95] MOD.INT [-99...+99} OSC1(2)-3 [PITCH SLOPE] LOW KEY [C-1...G9] HIGH KEY [C-1...G9] LOWER INTENSITY [-1.0...+2.0] HIGHER INTENSITY [-1.0...+2.0] OSC1(2)-4 [PITCH MOD LFO] - PITCH MODULATION LFO LFO SELECT [LFO1...4] INTENSITY [-99...+99] INT.AT CONTROL [-99...+99] INT.CC#1 CTRL [-99...+99] STANDARD OSCILLATOR OSC1-5 [STD WAVE LEVEL]-OSC SETTING WAVE SELECT [SAW, PULSE] WAVE EDGE [0...99] WAVE LEVEL [0...99] RAMP WAVE LEVEL [0...99] OSC1-6 [STD WAVE FORM]-WAVE FORM MODULATION FORM [-99...+99] FORM MOD.LFO [LFO1...LFO4] FORM MOD.LFO INT [-99...+99] FORM MOD.SOURCE [-99...+99] FORM MOD.INT [-99...+99] COMB FILTER OSCILLATOR OSC1-5 [COMB INPUT] NOISE LEVEL [0...99] INPUT WAVE FORM [SAW, SQU, TRI] INPUT WAVE LEVEL [0...99] INPUT GAIN [0...99] OSC1-6 [COMB FEEDBACK FEEDBACK [0...99] FEEDBACK MOD.EG [0...99] MOD.EG INT [-99...+99] FBK MOD.SOURCE [OFF...CCHG#95] FBK MOD.INT [-99...+99] OSC1-7 [COMB LOOP LPF FREQUENCY] COMB LOOP LPF FREQUENCY [0...99] VPM OSCILLATOR OSC1-5 [VPM CARRIER WAVE] VPM CARRIER WAVE [SIN, SAW, TRI, SQU] OSC1-6 VPM CARRIER CARRIER LEVEL [0...99] LEVEL MOD.EG [EG1...4,

Dmg Equilibrium Settings For PlaybackDmg Equilibrium GearslutzDmg Equilibrium Settings For PlaybackMassively flexible EQ suitable for all critical professional applications.Audio Engine can be incredibly low CPU usage, or incredibly high for mastering applications.EQ features pristine digital curves, plus circuit models of vintage EQs, and engineering filters.Completely reconfigurable UI with set-up wizard to suit to your specific workflow.Extensive routing, grouping, channel and metering control.Extensive analyser functionality, including 1/3 octave, 1/12 octave, spectrograph.Even in lowest CPU mode, generates super-high-quality prototypes - clear undistorted top-end.In FIR mode, Linear, Analogue, Minimum, Zero-Latency Analogue or even Free phase control.32 bands of EQ, Q 0.1->50, +/-36dB range.Each band can be Peak, HPF, LPF, High Shelf, Low Shelf or Notch.In stereo, each bank can process Mid, Side or the full stereo image.Surround support for channels groupings in DTS.Fully parametric filters (high and low-pass), 6/12/18/24/30/36/42/48db/oct.Windows VST, VST3 and AAX as 32+64-bit, RTAS 32-bit.Mac VST, VST3, AU and AAX as 32+64-bit, RTAS 32-bit.Dmg Equilibrium GearslutzIN GENERAL adding a product will drive the equilibrium back toward the reactants. Adding a reactant will drive the equilibrium toward the products. This is true regardless of the state of the added. Elemental Equilibrium (often referred to as EE) is a keystone passive skill which changes the resistance of any monster you hit with elemental damage (fire damage, lightning damage and cold damage), increasing resistance to the element you hit with by 25% but reducing other elemental resistances by 50%.Multiple EE strikes will overwrite each other. The effect lasts 5 seconds or until being.Sound:Circuit models of vintage EQs from history, model numbers including: 4000, 3 (4 modes), 110, 550, 88, 32, 250.Filters include: Coincident, Butterworth, Chebyshev, Bessel, Critical, Legendre, Elliptic, Allpass types.First-order, second-order, vintage, and tilt shelves.Classic DMG Bells and notches, with a +/-36dB range, and a Q range from 0.1 to 50.Classic DMG Shelves which let you move the resonance above or below the curve.Classic DMG Filters at 6/12/18/24/30/36/42/48 db/octave, sweepable resonance.M/S processing mode, allows you to process Mid, Side or the Stereo image.L/R processing mode, for independent Left and Right EQ.Surround sound support up to 7.1 DTS, with channel grouping matrix, and per-pair M/S processing.Per-band phase control, plus quick access to Linear, Analogue and Minimum phase modes.Extensive Impulse Response design controls, including a selection of parametric windows, length and padding.Vision:Flexible, modular, configurable UI.Big, clear, antialiased graph.Hi-res Spectrum analyser with multiple modes.Range, to scale the EQ response, both +ve and -ve.Frequency shift, to allow

In the context menu.If the waveform in the display shows 2 or more cycles, decrease the number of wave points.If half of a cycle or less is shown, increase the number of wave points.Wavetables can contain up to 2^19 = 524,288 total samples..WAV files can contain 8, 16, 24, 32-bit integer, or 32-bit float samples.Raw sample data can be loaded from the files extensions .s8, .s16, .s24, .s32, or .f32.If the sample rate of a .WAV file is a power of 2 (such as 1024), the number of wave points is automatically set to this number.WAV files having other sample rates (such as 48,000 Hz) must be set manually. VCV VCF A voltage controlled filter removes a range of frequencies from an audio signal, with its cutoff frequency controlled by an external voltage.Filters are used in many types of synthesizer patches to control the intensity or harmonic richness of audio signals.VCV VCF models an analog 4-pole transistor ladder, a popular type of filter circuit designed in the 1960s.Audio from the IN input is processed through a low-pass filter (LPF) and high-pass filter (HPF).The CUTOFF knob sets the characteristic frequency of the filter, the point where it begins to attenuate frequencies.If the cutoff attenuverter is set to 100%, the cutoff modulation input controls the frequency with the 1V/octave standard.The RES knob controls the filter resonance, which emphasizes the signal near the cutoff frequency.At high resonance values, VCV VCF self-oscillates, creating feedback from its own internal noise near the cutoff frequency.The DRIVE knob adds gain to the input signal which is saturated by the filter circuit model.This creates a dirtier, grungier filter sound. VCV VCA A voltage controlled amplifier applies gain/attenuation to an audio or CV signal according to another CV signal.For example, you can control the volume level of a synth voice with an envelope generator or sequencer.With VCV VCA, a signal passing through IN to OUT is attenuated based on the CV input signal from 0% at 0V, to 100% at 10V.CV input is clamped, meaning that negative CV or CV beyond 10V results in 0% and 100% attenuation, respectively.The