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aquarian audio products hydrophone systems
Description
High-quality, low-cost, rugged hydrophone systems designed for whale-watching business and other eco-tourism.
Aquarian Audio Products strives to innovate simple and reliable solutions for your underwater listening needs. In the seven years that we have been manufacturing hydrophone systems, our products have been used by professionals and recreational enthusiasts alike. Though our primary market is with those monitoring cetacean vocalizations, the applications for these hydrophone systems are nearly limitless. Other known uses of our products include listening to frogs, hippos, manatees, shrimp, and other animals. The Aquarian System makes an excellent contact microphone. It has also been used for acoustic ranging applications, experiments regarding sound propagation, seismic testing and even contributes to a few movie soundtracks.
Hydrophone,hydrophone,
underwater microphone,whale,whales,
dolphins,
contact microphone,AFAB Enterprises, afab enterprises,aquarian,
echolocation,
vocalization,
waterproof
Aquarian Audio Products strives to innovate simple and reliable solutions for your underwater listening needs. In the seven years that we have been manufacturing hydrophone systems, our products have been used by professionals and recreational enthusiasts alike. Though our primary market is with those monitoring cetacean vocalizations, the applications for these hydrophone systems are nearly limitless. Other known uses of our products include listening to frogs, hippos, manatees, shrimp, and other animals. The Aquarian System makes an excellent contact microphone. It has also been used for acoustic ranging applications, experiments regarding sound propagation, seismic testing and even contributes to a few movie soundtracks.
Hydrophone,hydrophone,
underwater microphone,whale,whales,
dolphins,
contact microphone,AFAB Enterprises, afab enterprises,aquarian,
echolocation,
vocalization,
waterproof
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Date
Aug 7, 2005
Contact name
Email
Link ID
9525
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1. Telex
Telex Communications, Inc., a worldwide industry leader in the design and marketing of professional sound and communications equipment.
Category:
2. Sontronics
Designed and developed by Omnisonic International Distribution, based in the UK, the Sontronics Professional Audio brand has been created to deliver innovative, high-quality professional audio products, which represent excellent value for money, but without compromise.
We are very proud of our new products, which have come not only as the result of an intense period of research and development, but also from the support and creative input of our international distribution partners. We feel that our new microphone range represents the very best in quality and value, whilst meeting the benchmark standards set by the major brands that we all know.
The fact that today’s marketplace is getting a little ‘busy’ with OEM clones encouraged us to try to break this cycle and create something from scratch. Developing our own microphones and related products under the Sontronics brand name has enabled us to let the ‘creative juices’ flow and experiment with concepts that many long-established companies would find difficult to implement.
All of our microphones have been developed in laboratory conditions, where their finely tuned performance characteristics are measured against some industry-standard studio microphones. Rather than being just another cheap ‘me-too’ product line, the Sontronics brand brings added value and features to meet your requirements. It is fair to say that our microphone collection is one of the best-presented and most comprehensive ranges available in its market sector – just take a look at the competition and you’ll see what we mean.
Engineered to reproduce an accurate low frequency image with a slight boost around the typical vocal frequencies, all Sontronics microphones give a very detailed result, especially when recording directly into DAW’s or via stand-alone computer audio interfaces. A strong presence matched to very low self-noise adds up to a sonic quality often only found on microphones costing many times more.
The ORPHEUS & HELIOS models are evidence of our desire to create a contemporary look married to a classic sound. Not surprisingly, this led us astray from the traditional style of microphone manufacturing! Their bodies are cast from a zinc alloy, which is lighter than and far less resonant than the traditional brass shell. The dual-diaphragm capsule is independently suspended inside the grille, allowing it to respond more naturally, which helps to give each microphone its own distinct character.
We believe that attention to detail and consistent quality are core factors in the long-term growth and development of the Sontronics brand, and this will become increasingly evident as new products join the line over the next twelve months. However, one of our key aims is to deliver high quality, reliable products at reasonable prices, and not more low-value, poorly conceived copycat products. In order to achieve this, we work closely with our international distribution network to ensure that we are meeting the demands of our customers.
Each microphone is supported by a limited 3-year replacement warranty, endorsing our commitment to providing you with a worry-free purchase.
Whichever Sontronics product you choose, we ‘re confident that you will enjoy the positive effect that they have on your musical creativity.
We are very proud of our new products, which have come not only as the result of an intense period of research and development, but also from the support and creative input of our international distribution partners. We feel that our new microphone range represents the very best in quality and value, whilst meeting the benchmark standards set by the major brands that we all know.
The fact that today’s marketplace is getting a little ‘busy’ with OEM clones encouraged us to try to break this cycle and create something from scratch. Developing our own microphones and related products under the Sontronics brand name has enabled us to let the ‘creative juices’ flow and experiment with concepts that many long-established companies would find difficult to implement.
All of our microphones have been developed in laboratory conditions, where their finely tuned performance characteristics are measured against some industry-standard studio microphones. Rather than being just another cheap ‘me-too’ product line, the Sontronics brand brings added value and features to meet your requirements. It is fair to say that our microphone collection is one of the best-presented and most comprehensive ranges available in its market sector – just take a look at the competition and you’ll see what we mean.
Engineered to reproduce an accurate low frequency image with a slight boost around the typical vocal frequencies, all Sontronics microphones give a very detailed result, especially when recording directly into DAW’s or via stand-alone computer audio interfaces. A strong presence matched to very low self-noise adds up to a sonic quality often only found on microphones costing many times more.
The ORPHEUS & HELIOS models are evidence of our desire to create a contemporary look married to a classic sound. Not surprisingly, this led us astray from the traditional style of microphone manufacturing! Their bodies are cast from a zinc alloy, which is lighter than and far less resonant than the traditional brass shell. The dual-diaphragm capsule is independently suspended inside the grille, allowing it to respond more naturally, which helps to give each microphone its own distinct character.
We believe that attention to detail and consistent quality are core factors in the long-term growth and development of the Sontronics brand, and this will become increasingly evident as new products join the line over the next twelve months. However, one of our key aims is to deliver high quality, reliable products at reasonable prices, and not more low-value, poorly conceived copycat products. In order to achieve this, we work closely with our international distribution network to ensure that we are meeting the demands of our customers.
Each microphone is supported by a limited 3-year replacement warranty, endorsing our commitment to providing you with a worry-free purchase.
Whichever Sontronics product you choose, we ‘re confident that you will enjoy the positive effect that they have on your musical creativity.
Category:
3. acoustics
At Accucoustics, we are committed to the accurate reproduction of sound. Our name says it all; Accucoustics = accurate acoustics.
The problem most often overlooked with most speaker systems is accurate reproduction of the bottom most octave. With the exception of the recent breed of 1 cubic foot subwoofers using exotic drivers and multi-kilowatt amplifiers equalized to achieve good bass response to the bottom octave from a 1 foot cube, most systems known for their good low frequency response have used:
1) Large sealed or vented cabinets and large woofers
2) Multiple or compound (isobaric) woofer alignments
3) Mass loaded vent substitutes (undriven cones)
4) Accelerometer/servo amplifier based systems
All of the above, including the small brute force cubes are either expensive approaches or produce bass which is limited in output at the lowest frequencies. We at Accucoustics believe that the enclosure itself should be designed to reproduce the lowest frequencies possible for a given cubic volume, without the excessive low frequency rolloff or midbass peak so typical of a number of popular sealed and vented enclosure types. We definately do not believe in using a large amount of EQ to make up for enclosure design inadequacies.
Of all the enclosure types, only the transmission line (TL) offers a - 3 dB point BELOW the free air resonant frequency of the woofer itself. In all other types of enclosures, the volume of the box raises the system resonant frequency ABOVE the woofer's free air resonant frequency. In the case of the typical closed box (acoustic suspension) the internal compliance of the enclosure raises the system resonant frequency to nearly double that of the woofer's free air resonant frequency, below which the response falls off at a rate of 12 dB/octave. With the typical ported enclosure, the system resonant frequency is about 1.4 times that of the woofer's free air resonant frequency, below which it falls off at a rate of 18-24 dB/octave, depending on the size of the port.
In 1968, I acquired a deep interest in and love of the pipe organ. I got my first exposure to the intricacies of such an instrument during that year when a large instrument was being installed in Corbett Auditorium on the campus of the University of Cincinnati.
Between 1974-1982 I got the opportunity to work on a large Wurlitzer theatre pipe organ being installed at Emery Theatre in Cincinnati, OH. Being in electronic engineering, I decided to apply my knowledge of test methods and procedures to perform a four year independent research project on the subject of Flue Pipe Acoustics, the study of the Physics behind the Sound of Organ Pipes and Whistles.
That research culminated in a number of domestic and foreign patents on two entirely new classes of whistles of extremely high efficiency and output, known as toroidal whistles, suitable as replacements for DES warning sirens. That is somewhat of a different story and can be found in my sister website entitled "Flue Pipe Acoustics".
I had spent the next 15+ years searching for loudspeakers which could do justice to the low frequency reproduction requirements for the pipe organ. The bass of most existing woofers and subwoofers have most of their output in the 50 Hz-70 Hz range. It is rare to find any loudspeaker which can maintain its full output to 30 Hz or below with low distortion. This is the type of bass extension I had been searching for in a loudspeaker, but have been unable to find without spending a small fortune.
Within the past several years I decided to apply my findings on my research toward the design of transmission line (TL) loudspeakers of higher efficiency. A TL loudspeaker is basically a pipe coupled to a small chamber behind the woofer. During this time I collaborated with my friend and associate, Todd Birdsong to build some VLR-4 prototypes using a 10" woofer. VLR stands for Very Low Resonance and the suffix stands for the enclosure volume in cubic feet.
The prototypes were awesome on all types of music and reproduced sounds normally only heard during live performances or in high end loudspeakers selling for several thousand dollars a pair. Our business started from this.
Richard Weisenberger .
The problem most often overlooked with most speaker systems is accurate reproduction of the bottom most octave. With the exception of the recent breed of 1 cubic foot subwoofers using exotic drivers and multi-kilowatt amplifiers equalized to achieve good bass response to the bottom octave from a 1 foot cube, most systems known for their good low frequency response have used:
1) Large sealed or vented cabinets and large woofers
2) Multiple or compound (isobaric) woofer alignments
3) Mass loaded vent substitutes (undriven cones)
4) Accelerometer/servo amplifier based systems
All of the above, including the small brute force cubes are either expensive approaches or produce bass which is limited in output at the lowest frequencies. We at Accucoustics believe that the enclosure itself should be designed to reproduce the lowest frequencies possible for a given cubic volume, without the excessive low frequency rolloff or midbass peak so typical of a number of popular sealed and vented enclosure types. We definately do not believe in using a large amount of EQ to make up for enclosure design inadequacies.
Of all the enclosure types, only the transmission line (TL) offers a - 3 dB point BELOW the free air resonant frequency of the woofer itself. In all other types of enclosures, the volume of the box raises the system resonant frequency ABOVE the woofer's free air resonant frequency. In the case of the typical closed box (acoustic suspension) the internal compliance of the enclosure raises the system resonant frequency to nearly double that of the woofer's free air resonant frequency, below which the response falls off at a rate of 12 dB/octave. With the typical ported enclosure, the system resonant frequency is about 1.4 times that of the woofer's free air resonant frequency, below which it falls off at a rate of 18-24 dB/octave, depending on the size of the port.
In 1968, I acquired a deep interest in and love of the pipe organ. I got my first exposure to the intricacies of such an instrument during that year when a large instrument was being installed in Corbett Auditorium on the campus of the University of Cincinnati.
Between 1974-1982 I got the opportunity to work on a large Wurlitzer theatre pipe organ being installed at Emery Theatre in Cincinnati, OH. Being in electronic engineering, I decided to apply my knowledge of test methods and procedures to perform a four year independent research project on the subject of Flue Pipe Acoustics, the study of the Physics behind the Sound of Organ Pipes and Whistles.
That research culminated in a number of domestic and foreign patents on two entirely new classes of whistles of extremely high efficiency and output, known as toroidal whistles, suitable as replacements for DES warning sirens. That is somewhat of a different story and can be found in my sister website entitled "Flue Pipe Acoustics".
I had spent the next 15+ years searching for loudspeakers which could do justice to the low frequency reproduction requirements for the pipe organ. The bass of most existing woofers and subwoofers have most of their output in the 50 Hz-70 Hz range. It is rare to find any loudspeaker which can maintain its full output to 30 Hz or below with low distortion. This is the type of bass extension I had been searching for in a loudspeaker, but have been unable to find without spending a small fortune.
Within the past several years I decided to apply my findings on my research toward the design of transmission line (TL) loudspeakers of higher efficiency. A TL loudspeaker is basically a pipe coupled to a small chamber behind the woofer. During this time I collaborated with my friend and associate, Todd Birdsong to build some VLR-4 prototypes using a 10" woofer. VLR stands for Very Low Resonance and the suffix stands for the enclosure volume in cubic feet.
The prototypes were awesome on all types of music and reproduced sounds normally only heard during live performances or in high end loudspeakers selling for several thousand dollars a pair. Our business started from this.
Richard Weisenberger .
Category:
4. Stellavox
Stellavox: The ST2 two channels D/A Converter;
Very small in size, the ST2 shows performance no other professional D/A converter can match. It is designed for extreme quality work or laboratory measurements.
With its reasonable price, it may be used in any studio as a Reference D/A converter for critical work.
The Stellavox ST2 provides in standard 2 x coaxial SPDIF and 1 x balanced AES/EBU inputs.
Outputs are available in both RCA and balanced XLR.
The ST2 circuitry uses a new 96kHz 24bits technology with an exceptional time alignment performance in order to provide very accurate transient reproduction.
The proprietary D/A conversion circuit provides exceptional low-level linearity and a ultra-low distortion most exclusively composed of even harmonics. The Stellavox Professional Audio Equipment is made in Switzerland since the 50s. It has been known for years as a standard of quality for very demanding professional applications.
The recent massive introduction of computers in professional Audio has made the Stellavox products change in few years from extremely traditional to very advanced in technology ...
Very small in size, the ST2 shows performance no other professional D/A converter can match. It is designed for extreme quality work or laboratory measurements.
With its reasonable price, it may be used in any studio as a Reference D/A converter for critical work.
The Stellavox ST2 provides in standard 2 x coaxial SPDIF and 1 x balanced AES/EBU inputs.
Outputs are available in both RCA and balanced XLR.
The ST2 circuitry uses a new 96kHz 24bits technology with an exceptional time alignment performance in order to provide very accurate transient reproduction.
The proprietary D/A conversion circuit provides exceptional low-level linearity and a ultra-low distortion most exclusively composed of even harmonics. The Stellavox Professional Audio Equipment is made in Switzerland since the 50s. It has been known for years as a standard of quality for very demanding professional applications.
The recent massive introduction of computers in professional Audio has made the Stellavox products change in few years from extremely traditional to very advanced in technology ...
Category:
Die AudioCad-Reihe ist mit bis dato über 13.000 verkauften Lizenzen die im deutschsprachigen Raum wohl meisteingesetzte professionelle Software zur Konstruktion von Lautsprecherboxen und Frequenzweichen. Während AudioCad Car Sub, insbesondere wegen des attraktiven Preises, hauptsächlich für den Privatanwender gedacht ist wurde AudioCad Pro 8.0 speziell auf den Bedarf professioneller Anwender abgestimmt. Es enthält praktisch alle zur Entwicklung von Lautsprecherboxen und Frequenzweichen notwendigen Berechnungs- und Simulationsmöglichkeiten und bietet darüber hinaus einen besonders großen Bedienungskomfort. Für den anspruchsvollen Profi ist AudioCad Enhanced Crossover Network Construction, kurz AudioCad ECNC (jetzt incl. VISATON-Datenbank), lieferbar. Für den Car-HiFi-Konstrukteur wurde AudioCad Car Sub entwickelt, das die besonderen Belange der Car-Subwooferentwicklung berücksichtigt und darüber hinaus besonders preisgünstig ist.
Auf den folgenden Seiten wird AudioCad kurz vorgestellt. Drei verschiedene Touren werden im folgenden angeboten. Sie unterscheiden sich aber lediglich in der Skalierung der Graphiken. Am besten lesbar ist die Tour, wenn Sie eine Bildschirmauflösung von 1024 * 768 Pixeln auf Ihrem PC eingestellt haben. Sollte Ihr Bildschirm oder Ihre Graphikkarte dies nicht ermöglichen, dann wählen Sie eine der kleineren Auflösungen.
Auf den folgenden Seiten wird AudioCad kurz vorgestellt. Drei verschiedene Touren werden im folgenden angeboten. Sie unterscheiden sich aber lediglich in der Skalierung der Graphiken. Am besten lesbar ist die Tour, wenn Sie eine Bildschirmauflösung von 1024 * 768 Pixeln auf Ihrem PC eingestellt haben. Sollte Ihr Bildschirm oder Ihre Graphikkarte dies nicht ermöglichen, dann wählen Sie eine der kleineren Auflösungen.
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