The Shure SM58 is an ideal choice for a professional vocal artist in any live performance setting. It is tuned to accentuate the warmth and clarity of lead and backing vocals. Even in extreme conditions, the SM58 is tailored to target the main sound source while minimizing background noise. It is also very popular with dJ's and presenters.

The Shure Beta 58A is a premium vocal microphone ideally suited for professional lead and backup vocals, either on stage or in the studio.

The Heil PR 35 is equally at home in your hand as it is mic’ing a guitar cabinet, or cradled in a broadcaster’s boom. The mic has excellent articulation & a natural upper mid-range along with a smooth flat response throughout.

You will be hard-pressed to experience overload or feedback with a PR 35. It features a low-cut roll off switch, allowing you to prevent low end feedback loops from ever getting started.

The PR 35 will provide high-end studio results live, in the studio, or wherever. In addition to vocals, the PR 35 is great for a variety of instruments including guitar cabinets, drums, and more.

The CHM 99 Condenser Hanging Microphone is both easy to use and functional. There is hardly a more affordable and simpler solution. Suspended from the ceiling or a beam, the microphone is aligned and fixed in position using the spring steel clamp to set the angle.

The AKG CK 9 is designed to offer the highest degree of sound power concentration with the smallest dimensions possible. The interference and gradient principles are combined for greatest reach and for eliminating undesired side and background noise.

The distance of the sound source may be three times that of conventional cardioid microphones. Together with the C451 the CK9 is widely used in TV and film sound-track recording, on stage, and for reporter work.

NB: Because of its high directivity it is sensitive to wind noise which necessitates the use of efficient windscreens when recording outdoors or with a boom.

Wireless solution for professionals, amateurs, schools, colleges, and theatres. Our rack cases  comprise of  4 x SK100 G3 body pack transmitters, 4 x EM100 G3 receivers and 4 x Proel HCM08Pro discreet Beige Headset microphones, making them ideal for theatre and presentation use.

We provide these extensively for theatrical and musical productions and our clients have been extremely pleased with the results.

NB: The Proel HCM08 headset microphones we supply are not to be confused with other 'cheap' versions available on-line. These headsets are a quality product and fully adjustable making them suitable for children and adults.

The versatility of the AKG C1000S makes it a popular model, and one ideally suited for all kinds of recording and live sound applications. If phantom power is not available, the microphone can be powered by a standard 9 V battery, making it perfect for mobile use.

The AKG C 451 EB + CK 1 is an excellent tool for accurately capturing signals rich in transients such as drums, instruments with a percussive sound, acoustic guitar, or for overhead use. It is almost totally insensitive to handling noise and features an all metal body for excellent protection from RF interference.

The AKG C214 is designed as a cost-effective alternative to the high-end, industry-leading C414 family. It captures sound combining one side of the legendary C414 dual-capsule system and AKG’s patented Back-Plate Technology which results in an outstanding performance close to the famous C414 B-XLS.

Like the C414 models, the C214 is capable of handling the rigors of high-pressure sound such as amplified guitars, with a sensitivity perfect for voice and orchestral instruments as well. Additionally, the microphone offers a 20 dB Attenuation pad, 13 dB noise floor, and a low cut switch—all in an elegant but rugged package.

Additional features include an integrated suspension, a double mesh grill, high RF immunity without affecting acoustics. The circuitry in the C214 provides maximum SPL capability with minimum noise and the gold-plated XLR-type output connector offers loss-free signals.

PERFECT TWINS for stereo recording of any acoustic instruments in studio and on stage.

The C214 large-diaphragm condenser microphone has been designed as a cost-effective alternative to the high-end C414 family.

The C214 captures sound by combining one capsule of the legendary C414 dual-capsule system and the patented AKG Back-Plate Technology, resulting in an outstanding performance close to the famous C414 XLII.

The C214 Matched Pair Stereo Set Package includes:

2 x C214

2 x Elastic spider suspensions

2 x SA60 stand adapter

2 x Windscreen

1 x Aluminum carrying case

The C214 will also work on low phantom power voltages from 12 up to 48 volts.

The AKG D112 has earned a well-deserved reputation worldwide as the best kick drum microphone ever made. Heavy-footed drummers won’t faze it, because the D 112 handles up to 160 dB SPL with no audible distortion.

A specially engineered diaphragm with a very low resonance frequency maintains solid and powerful response below 100 Hz, while a narrow band presence rise at 4 kHz punches through dense mixes with little or no added EQ.  The result is a kick drum sound that ideally balances precise definition and forceful impact.

The D 112 is also an excellent choice for use with bass cabinets, trombones, etc.

The Sennheiser super-cardioid e906 instrument microphone was especially designed for guitar amplifiers, but it is also an excellent choice for percussion and brass instruments.

Lively full sound | Very fast attack | Flat shape of microphone body perfect for guitar amps | Three adjustable sound characteristics (bright, normal, smooth) | Hum compensating coil | Rugged metal body

The Shure Beta 52A microphone drum microphone provides low-frequency bass punch and SPL handling. It includes dynamic locking stand adapter for easy set-up, steel mesh grille for durability, shock mount for sound isolation, and neodymium magnet for high signal-to-noise ratio.

Frequency response shaped specifically for kick drums and bass instruments.

Built–in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum.

Studio quality performance, even at extremely high sound pressure levels.

Supercardioid pattern for high gain before feedback and superior rejection of unwanted noise.

Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration.

Low sensitivity to varying load impedance.

Legendary Shure quality and reliability.

The Shure Beta 57A is a precision-engineered dynamic microphone designed for detailed reproduction of amplified and/or acoustic instruments. A tight supercardioid polar pattern provides high gain before feedback in demanding environments.

The Shure Beta 91A kick drum microphone provides a strong low-end response and maximum gain-before-feedback due to its half-cardioid polar pattern. It features a two-position contour switch to maximize attack and clarity and a low-profile design.

Uniform half-cardioid polar pattern for maximum gain-before-feedback and rejection of off-axis sound.

Precision-engineered low-profile design features integrated preamplifier and XLR connector to maximize setup efficiency while minimizing stage clutter.

Frequency response tailored for kick drum/low frequency applications with a wide dynamic range for use in high SPL environments.

Two-position contour switch to maximize attack and clarity depending on application – select the flat response setting for natural sound in most applications or the “low-mid scoop” setting for a strong low frequency “punch” with plenty of higher frequency attack.

Requires no external mounting.

The D20 amplifier is ideally suited to mobile and installation applications which require low to medium Sound Pressure Level (SPL) capabilities. The D20 features the same Digital Signal Processing (DSP) platform as the latest generation of d&b amplifiers, containing configurations for all d&b loudspeakers except the J-Series and the M2 monitor.

Digital Signal Processing

Equalizer: 2 x 16-band PEQ/notch/shelving/asymmetric | Latency analogue and digital inputs

0.3 msec. | Delay setting: 0.3 - 10000 msec. | Configurations: current d&b loudspeakers (except SL-Series, J-Series, M2) and linear mode | Function switches: d&b loudspeaker specific circuits | Frequency generator: Pink noise or Sine wave | Sampling rate: 96 kHz/27 Bit ADC/24 Bit DAC

Controls and indicators

Power: Mains power switch | Scroll/Edit: Digital rotary encoder | Display: Colour TFT touchscreen, 3.5"/320 x 240 pixel | ISP, GR, OVL A/B Colour TFT

Connectors

INPUT ANALOG (A1 - A4): 3 pin XLR female | ANALOG LINK (A1 - A4): 3 pin XLR male | INPUT DIGITAL (D1/2, D3/4): 3 pin XLR female AES3 | DIGITAL LINK (Output): 3 pin XLR male | Sampling Digital AES/EBU: 48 kHz/96 kHz | Speaker Outputs A/B/C/D: NL4 | Mix TOP/SUB / 2-Way Active output A/B and C/D: NL4 | 4 Channel Output: NL8 | CAN: 2 x RJ 45 parallel | ETHERNET: 2 x etherCON®, 10/100 Mbit Ethernet | Mains connector: powerCON®

Data (linear setting with subsonic filter)

Maximum output power per channel (THD+N < 0.5%, all channels driven): CF = 6 dB at 4 / 8 ohms: 4 x 1000/800 W \ CF = 12 dB at 4 / 8 ohms:  4 x 1600/800 W | S/N ratio (unweighted, RMS): Analog input > 104 dBr \ Digital input > 106 dBr

Power supply

Universal range switch mode power supply with active PFC | Rated mains voltage: 100 - 240 V, 50 - 60 Hz

Dimensions / weight

Dimensions (H x W x D): 2 RU x 19" x 460 mm | Weight: 10.8 kg

The high performance T Series features MC² Audio’s complementary Class AB bipolar topology and the unique MC² Audio current driven floating drive stage.

Number of Channels: 2

Output Power: (per channel) 8 ohms 450W / 4 ohms 750W / 2 ohms 1150W

Output Power: (bridged) 8 ohms 1500W / 4 ohms 2300W

THD%: (@1dB below max output) @ 1kHz <0.008% / 20Hz to 20kHz <0.03%

Gain / Sensitivity: Gain 32dB / Sensitivity (for max power) +3.5dBu (1.20V)

Frequency Response: 20Hz to 20kHz (+ 0/- 0.5dB)

Power Consumption: Nominal @ 240v into 4 ohms 1.9A

Dimensions: (2U) (mm) 88(h) x 482(w) x 428(d)

Weight: 13.8kg

The M4 is a 2-way high performance stage monitor employing an integrated 15” LF and 1.3” exit horn loaded HF coaxial driver design that utilizes neodymium magnets. The constant directivity dispersion of 50° x 70° (h x v), which this unique horn provides, delivers an accurately defined coverage area on stage.

The M4 can also be operated in 2-Way Active mode. When the cabinet is used in an upright position the M4 serves as a powerful PA loudspeaker with a 70° x 50° dispersion suitable for a variety of applications. For dedicated installation applications the dispersion characteristics of the M4 driver assembly can be rotated in 45° increments.

The E3 is an extremely small and versatile high performance system with astonishing sound and excellent headroom. The horn, which may be rotated to give either 90° x 60° or 60° x 90° coverage, has the necessary flexibility in directivity to enable a variety of applications such as delay, infill or distributed sound reinforcement applications.

In addition, it can be used as an extremely compact stage monitor. Together with a subwoofer system the E3 is also capable of reproducing live or playback music at continuously high SPLs.

Full range, 2-way loudspeaker

Components 6.5"/1"

Dispersion 90° x 60°

SPLmax 123 dB

The Q1 is a passive 2-way loudspeaker housing two 10" LF drivers positioned in a di-polar arrangement and a 1.3" HF compression driver fitted to a toroidal wave-shaping device. The 75° constant directivity horizontal dispersion pattern is maintained down to 400 Hz, while the vertical HF dispersion of 15° allows the Q1 to be used to construct vertical columns that produce a curved coherent wavefront.

The mechanical and acoustical design of the cabinet enables vertical splay angles to be set between 0° and 14°. Q1 cabinets can therefore be used in vertical configurations starting from two cabinets with a 15° to 30° dispersion, up to 20 cabinets with a fully user and venue defined vertical profile.

The Q7 is a 75° x 40° passive 2-way loudspeaker housing two 10" LF drivers and a 1.3" HF compression driver with a rotatable constant directivity horn and a passive crossover network. The two 10" neodymium LF drivers are positioned in a dipolar arrangement providing exceptional vertical dispersion control with the nominal angle being maintained down to 400 Hz.

The Q7 with the horn rotated is used to mount the loudspeaker horizontally where space is limited, or the maximum horizontal pattern control is needed and when added to the bottom of Q1 arrays. The Q7 can be used as a stand-alone full range system, in combination with other Q-Series cabinets ground stacked or mounted on a high stand with a swivel bracket. They can also be combined in flown array systems.

The Q-SUB is an actively driven low compression bass-reflex loudspeaker fitted with a high excursion 18" driver. d&b SenseDrive technology is available when powered by the D12 amplifier. The Q-SUB is mechanically compatible with the Q1 and Q7.

Ten sockets in the front grill and side panels for Q-Series rigging components permit use in various combinations, either flown or ground stacked. Two runners protect the bottom of the cabinet from scratching; these are located in correspondingly shaped recesses in the top panel to prevent movement when stacked.

The B2 subwoofer with its high output bandpass horn design and extremely high SPL is ideal for extended bass requirements. It is configurable to be either an infrabass for the C4 system or a high output, alternative subwoofer for the F1222 or C7 systems. When used with a C4 system, d&b recommend a ratio of four C4-SUBs to one B2.

The SXM112A delivers sound with a high-performance 12-inch LF driver (2-inch voice coil), and an exacting 1-inch HF driver. It utilizes a trapezoidal design which greatly decreases the resonance of the standing wave in the cabinet for a more true sound reproduction.

Specification:

ACTIVE 800 WATT 2-WAY STAGE MONITOR

800 Watts Class D power | 12” coax woofer, 1” neodymium driver | XLR/Line input with volume control, XLR output to link speakers | 16 modeling presets to tweak the sonic characteristic of your sound | Rugged multi-layer birch plywood cabinet with recessed handles | Dimensions (HxWxD): 313 mm x 393 mm x 513 mm | Net Weight: 11.85 kg.

The Milan M12 1100w 2 Way 12" Full Range Powered Loudspeakers incorporates KLARK TEKNIK Digital Signal Processing for total system control.

GLD is a user-friendly, cost effective, scalable live digital mixing system, conceptually based on the successful iLive series. A standard 32 input GLD system offers 28 XLR mic inputs with plug n’ play I/O expanders allowing easy expansion up to 48 inputs (44 XLR mic inputs)

48 input processing channels | 8 stereo FX returns fed by iLive’s acclaimed FX emulations | 30 configurable buses | 20 mix processing channels | DSP power to provide full processing without compromise.

Includes AR2412 Stage Box & 80m Audio Tour Grade Ethercon Cable.

Add AR84 expander - £10.00 Day / £20.00 Week (excl VAT).

Waves Card

M-Waves is an audio networking card which enables integration with other systems. Benefitting from SoundGrid networking technology, it’s ideal for Waves high precision plug-in processing, multitrack recording and playback.

Qu-16 innovative design and exceptional functionality creates a superb professional mixing experience. With all the features you’d expect from a top of the range digital console and incorporating technologies pioneered on the GLD and iLive digital mixing systems.

Qu series features multitrack recording direct to USB, Automatic Mic Mixing, ProFactory mic presets, plus an ever growing ecosystem of apps, accessories and remote I/O.

16 Mono Mic/Line Inputs (TRS + XLR) | Recallable AnaLOGIQTM Preamps | 3 Stereo Inputs (TRS) | 12 Mix Outputs (XLR) | 7 Monitor Mixes (4 mono + 3 stereo) | 4 FX Engines | 2 dedicated FX Sends / Returns | 4 Mute Groups | 4 DCA Groups | AES Digital Out | 24×22 USB Audio Interface | dSNAKETM Remote Audio Port | 17 Motor Faders | Touchscreen | 4 Soft Keys | Trim, polarity, HPF, gate, insert, 4-band PEQ, compressor, delay on all Inputs | Insert, 4-band PEQ, 1/3 octave GEQ, compressor, delay on all Outputs | Channel Ducker on all Inputs | iLive FX Library | Built-in Signal Generator | RTA with Peak Band indication | Spectrogram to aid feedback elimination and room acoustics | DAW MIDI Control | Qu-Pad iPad App | Qu-You iPhone / Android personal monitoring app | Qu-Control customisable iOS app for simple wireless control | Compatible with ME Personal Mixing System.

Add:

AR2412 Stage Box & 80m Audio Tour Grade Ethercon Cable -

AR84 expander - £10.00 Day / £20.00 Week (excl VAT).

SQ-6 is a next generation digital mixer, powered by Allen & Heath’s revolutionary XCVI 96kHz FPGA engine. Created to excel in demanding scenarios the SQ-6 offers class-leading high-resolution audio fidelity and an ultra-low latency of <0.7ms. The console features 24 exceptional onboard mic preamps, plus 8 stereo FX engines with dedicated return channels and access to the renowned RackExtra FX library. SQ is a natural choice for in-ear monitor setups, providing 12 stereo mixes (configurable as groups or auxes), whilst Automatic Mic Mixing* makes it an excellent choice for conferences, panel talks and more.

96 kHz FPGA processing | 25 Faders / 6 Layers | 12 Stereo mixes (perfect for in-ear monitoring setups) + LR | 3x Stereo matrix | 8x Internal stereo FX with stereo returns | DEEP processing enables the integration of plug-ins directly into the mixer inputs and mix channels | 7" Touchscreen | S-Link port for remote audio / expansion | 64ch I/O port for audio networking | 32 x 32 USB audio interface | SQ-Drive direct recording to USB | AES output | Chromatic channel metering | Integrated LED illumination per fader | Dedicated physical controls | 16 Assignable Soft Keys | 4 Assignable Soft Rotaries | LCD channel displays | Compatible with the ME 1 and ME-500, as well as Dante or Waves audio networking cards |  Dimensions: 638 x 514.9 x 198 mm | Weight: 13.3 kg

Live performance and studio recording digital console with up to 40 simultaneous input channels

32 Microphone inputs | 16 XLR outputs | 8 DCA groups | 6 Mute Groups | 25 Motorised faders | 7" Colour display | 32 x 32 USB Audio Interface | DAW Remote control | Wireless control over IOS App | Dimensions: (W x D x H): 891 x 607 x 256 mm | Weight: 24.5 kg

The PRO1 breaks new ground for MIDAS digital consoles, featuring an all-new, lightweight aluminium frame, PRO1 is the first stand-alone MIDAS digital console, and sets new standards of portability and performance for a “compact” digital console.

PRO1 is easy to configure and operate. Engineers who are new to MIDAS digital can relax, enjoy the PRO1’s sample-synchronous audio quality, and mix from well within their comfort zone. Engineers familiar with MIDAS can just load their existing showfile straight into the PRO1, regardless of which MIDAS digital console it was created on, and carry on working.

24 mic/line inputs with Midas mic preamps | 48 simultaneous input processing channels |

24 analog outputs (including 2 stereo local monitor outputs) | 3 AES3 outputs | 2 AES3 inputs | 27 sample-synchronous, phase-coherent mix buses | 6 multi-channel FX engines | Up to 28 Klark Teknik DN370 31-band graphic EQs | Full-color 15-inch daylight-viewable display screen | 8 VCA (Variable Control Association) groups | 6 POPulation groups | 96 kHz, 40-bit floating-point processing throughout | 3 AES50 ports for connection to external AES50 devices

The ground breaking PRO2 features 64 simultaneous input channels with 8 award-winning MIDAS Microphone Preamplifiers and 27 time-aligned and phase-coherent mix buses. Like all PRO Series consoles, the PRO2 features managed latency and 40 bit floating point processing precision. Designed for use in high-profile live sound applications, the PRO2 sets a new standard of performance and portability in a compact digital console form factor.

156 inputs x 166 outputs (max capacity) point-to-point routing anywhere within the Network

 | 56 mic/line inputs with Midas mic preamps | 64 simultaneous input processing channels |

32 analogue outputs (including 2 stereo local monitor outputs) | 3 AES3 outputs | 2 AES3 inputs | 27 sample-synchronous, phase-coherent mix buses | 6 multi-channel FX engines | Up to 28 Klark Teknik DN370 31-band Graphic EQs | Full-colour 15" daylight-viewable display screen | 8 VCA (Variable Control Association) groups | 6 POPulation groups | 192 MCA (Mix Control Association) groups | 96kHz 40-bit floating-point processing throughout.

Take your performance to new heights with the DJM-900NXS2, which features our first ever 64-bit mixing processor for a warmer, more nuanced sound. We’ve fine-tuned the EQ and fader curves and enhanced the FX controls to give you even more creative choice.  The versatile DJM-900NXS2 has an independent Send/Return, 4 phono inputs and 2 USB ports – giving you flexibility to set it up your way.

The Allen & Heath GL2200 was built to be a ‘go anywhere, do anything’ desk. With its sturdy vertical PCB construction, dual front-of-house / monitor mixing mode switching, 4 groups, 6 switchable auxes, direct outs, line-up oscillator, talkback and more, this console can handle pretty much any live mixing or recording task.

The 412 offers 10 mono, 2 full-feature stereo channels, 2 stereo returns, 4 group, 6 aux buses, 4-band EQ with swept mids, input metering, channel direct outs, 2-track send and return. 48V phantom switchable on each channel. Inserts on all mono inputs, and talkback combine to produce an incredibly versatile mixer for live performances.

The ProFX8 offers a complete and truly professional feature set, perfect for solo performers, small performing acts or any small venue that needs it all, without the hefty price tag. There’s even USB I/O for recording the set.

Professional 8-channel Compact Mixer with onboard effects and USB I/O | 4 low-noise, high-headroom Mackie mic preamps with easy LED metering | 32-bit RMFX™ processor with

16 'Gig-Ready' reverbs, choruses and delays | Precision 7-band graphic EQ for tuning Mains or Monitors | USB I/O for recording shows and music playback via Mac or PC | RCA Tape In jacks, with a dedicated level control for your favourite external playback device | Phantom power | Dual-ladder LED metering.

The Klark Teknik DN360 is one of the most popular analogue graphic equalisers available, it has been in continuous production for over twenty years.

Features include two x thirty 30mm oil damped precision faders graphically positioned at 1/3 octave ISO frequencies between 25Hz-20kHz, proprietary circuit designs utilising "MELT" filters giving unbeatable performance.

Comprehensive standard specifications include electronically balanced inputs and LED overload indicators, earth lift switch enables signal and chassis grounds to be isolated eliminating ground-loop problems, equalisation by-pass allowing easy comparison between direct and equalised signals and scale switching gives the choice of either high fader resolution (±6dB) or normal (±12dB).

The Lexicon MPX 550 is a true stereo, dual-channel processor with 24-bit internal processing, analog-to-digital conversion, and digital-to-analog conversion. It offers 255 presets with classic Lexicon reverb, including Tremolo, Rotary, Chorus, Flange, Pitch, Detune, 5.5 second Delay, Echo, and Compression.

Dual-channel processing creates two independent effects in Dual Stereo (Parallel), Cascade, Mono Split, and Dual Mono combinations.

A large, graphic front panel display provides at-a-glance viewing of program and system status. Programs are organized into 28 banks, with 27 for presets and 1 for user programs. The PROGRAM knob scrolls through all stored programs, or between banks for faster selection. Each program includes up to 20 adjustable parameters, which are organized into “Edit Pages" that consist of four parameters each. The Edit Pages button cycles through available Edit Pages for the selected program.

The Lexicon PCM 91 gives you renowned high-end reverb effects with a powerful interface that provides easy access to superbly crafted presets as well as a wealth of programming capabilities for the sound designer.

The unit contains a built-in library of 450 reverb effects that simulate realistic halls, rooms and plates, and let you create completely natural, or other-worldly spaces. The presets are organized into 9 Banks of 50, and are functionally grouped for different applications.

The superb engineering in the DBX-266XL ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor/gates typically produce undesirable processing artefacts.

When using the 266XL’s AutoDynamic™ Attack and Release controls, artists and engineers will find that the centre settings deliver classic DBX compression, while the full control range produces voicing that extend from slow “leveling” to aggressive “peak” limiting.

The highly evolved CDJ-2000NXS includes advanced features, including 4-deck Beat Sync, Slip Mode and Hot Cue Auto Load.  Use the included rekordbox software or download the rekordbox™ app to prepare mind-blowing sets, or use the HID support to perform with other DJ software without a control disk.

The highly evolved CDJ-2000 NXS2 includes advanced features, including 4-deck Beat Sync, Slip Mode and Hot Cue Auto Load.  With Pro DJ Link you can connect multiple players, turntables or laptops via LAN connection and share a single source. Combine this with rekordbox to access pre-prepared loops and cues, sync the beat with the master deck, and access a host of advanced pro-DJ features.

The Sony MDS-E10 is a 19"-Mini-Disc Recorder with Atrac 3, long-record-mode for up to 320 min stereo on one MD80. It features 10 Hotstarts, Optical, and Coaxial Digital In/Out ports.

The Sony MDS-S40 has been converted with a foot switch to control the play and Pause, ideal for stage performance.

The features include 20 bit hybrid pulse ADC, 20 bit DAC, 6 second time machine, digital recording level control (deck has no conventional level indicators).

During recording the alphanumerical display changes to 11 level indicating segments. There is no stereo/mono rec switch, mono recording is set from the setup menu. There is no headphone output. TOC-cloning possible.

75 metre drum of VDC audio tour grade Cat5 cable with Neutrik EtherCon locking connectors.

80 metre drum of Allen & Heath EtherSound approved Etherflex cable with Neutrik EtherCon locking connectors.

8/4 x 30metre

(Item supplied may differ from image shown)

16/4 x 25metre

(Item supplied may differ from image shown)

High Quality XLR Leads