The amplifier section has a peak power rating of 60 watts, and the two-way loudspeaker system can produce peak output levels of 114 dB at a reference distance of 1 meter. When fully charged, the system will operate for 10 to 14 hours, depending on the duty cycle. The system can be charged from the ac power line while it is in full operational mode. It can be left in the charge mode indefinitely with no adverse effects. The wireless input can be either by way of a handheld microphone (choice of D

Front panel controls provide a fine adjustment for an exact match into whatever component follows the AS 8 in the signal chain. Simple, accurate level adjustment is assured by a single front panel knob for each channel, which simultaneously adjusts the input gain and the level of participation in the gain allocation. Individual channel levels can be accurately adjusted by ear, using nothing other than a talker's voice as a sound source. The AS 8 is easily configured for transparent operation in

The Patented Adaptive Proportional Gain* algorithm is a unique process that allocates the gain applied to each channel after comparing the individual channel level with an overall reference level. The reference level is a mix of all active channels, so it automatically adapts to varying background noise levels in the room. The channel with the most signal receives the most gain. In addition to the adaptive gain allocation, the algorithm also provides an "intelligence" that prevents background no

The AS 4+3 has four balanced mic inputs and three unbalanced line inputs, as well as, one balanced line output and one unbalanced record/line output. Each of the four mic inputs have integrated and adjustable compressor/levelers making the AS 4+3 an automatic level control system. The compressor/levelers can help maintain consistent audio level despite various signal strengths that may be present at the microphone inputs. NOM attenuation decreases by 3dB every time the number of in-use mics doub

In the final mix, it can be in the background, foreground or well out front, depending on the needs of the music. The job for the engineer at the tracking stage of album production is to store the necessary sonic elements, both stereo and mono, that will allow the mix engineer to put together a coherent rhythmic sound structure for all possible options that the artist and producer may want to experiment with as the album project approaches completion. The tracking engineer must have a good knowl