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Windjammer Zoom H4/Nagra Ares M/Nagra SD

Review: The Rycote 055355 Mini Windjammer has been designed specifically to fit the integral microphones on the Zoom H4 and the Nagra Ares M portable field recorder. It is manufactured from a rugged synthetic fur material with a silk liner and can deliver 10 dB to 12 dB of additional wind noise attenuation.

Mini wind shield for the Sennheiser MKE 400

Review: The Rycote 055364 Mini Windjammer provides optimum wind diffusion for smaller microphones. Like the standard Windjammer, the Mini Windjammer provides 10-12 dB extra protection over standard windscreens. This Windjammer accommodates the Sennheiser MKE 400.

Mini windjammer for use with the Sonoy PCM M10

Review: Rycote's Mini Windjammer range has expanded tremendously in recent years with the introduction of compact slip-on fur Windjammer for the growing numbers of portable handheld digital recorders, as used by journalists, podcasters and broadcasters everywhere. These devices are now available in such a range of shapes, sizes and types (mono and stereo), that slightly different custom Windjammer designs are needed for each one; over a dozen types are currently available. If you want to make professional-quality recordings outdoors for TV, radio or film use on a handheld recorder, get yourself one of our Mini Windjammer.

The Rycote Mini Windjammer 055442 is designed for the Sony PCMM10.

Mini windjammer for camcorder

Review: Affordable but offering excellent, effective protection against wind noise, the standard Mini Windjammers are easy-to-fit slip-on fur covers for use when recording outside with the built-in microphones found on portable cameras, external camera mics and handheld reporter microphones. Some have 10 mm fur, while others have 25 mm Softie fur for use in more unsettled conditions, and can be fitted to a wide variety of devices.

Add-on to standard Rycote Miniscreen to offer enhanced wind-noise protection

Review: Specifically designed to fit over the Rycote Miniscreen to offer enhanced wind-noise protection, the Miniscreen Windjammer provides an additional 18 dB wind-noise attenuation. The combined Miniscreen and Miniscreen Windjammer achieve up to 30 dB wind-noise attenuation, whilst still ensuring minimum high-frequency loss you'd expect from a Rycote. The Windjammer is manufactured from short black synthetic fur, with a silk liner.

Adhesive pads and covers for use with Lavalier microphones in windy conditions

Review: Overcovers have been specifically designed for use with small personal microphones in windy outdoor conditions. Using stickies to affix the Lavalier mic onto the skin or on top of clothing, Overcovers also include a fur windjammer to be adjusted on top of the Lavalier microphone for excellent wind-noise protection.

Suspension and windshield kit for shotgun microphones

Review: The S-Series Kit retains all the flexibility, balance and professional performance that you can expect from a Rycote system, only simplified for ease of use. Lightweight with a minimum of parts and tough enough to withstand the rigours of ENG, the S-Series is ready to use straight out of the box. This robust kit incorporates the patented Lyre suspension and integral fur windshield pods, that can be removed easily and quickly to access the microphone. Additional pods may be purchased to suit longer or shorter microphones, adding a valuable versatility to this kit.

As with our modular suspension, the S-Series suspension can be used on its own, without wind protection. Axial mics are suspended using the patented Lyre webs, which provide complete isolation against handling and cable-borne noises. These Lyres are unaffected by temperature and virtually unbreakable as they do not use elastic or rubber components which are prone to wear and tear. To ensure perfect balance and fit, these snap-in Lyres have six locations on the suspension bar and pinch-release fittings for quick and easy repositioning, making it simple to arrange one or several mics in a hurry. The windshield element of the kit uses pairs of pods which twist-lock to the chassis ring, allowing fast access to the microphone. Each pod has an integral acoustic fur covering giving excellent wind-noise suppression. Every S-Series comes supplied with a high quality microphone cable, fitted with Neutrik gold 3-pin XLR connectors. Twin cable clamps are also integrated into the suspension, for neat storage.

Short foam windshield for shotgun microphone

Review: The Shotgun Mic Foam is a discreet, slip-on foam windshield, designed to protect the microphone head against light wind and pop noise. Made of durable, high quality open-cell acoustic foam, these windshields offer up to 20 dB wind noise attenuation, whilst keeping high frequency loss to a minimum. Engineered exclusively for Rycote, this high quality foam also provides excellent resistance against the damaging effects of moisture and UV light. All Shotgun Mic Foam Windshields can now also be fitted with an additional Rycote Foam Windjammer for a further 12 dB wind noise attenuation.

Pack of 100 Grey undercovers for use with Lavalier microphones under clothing

Review: Designed specifically for use with Lavalier mics under clothing. Using Stickies to affix the microphone, a soft fabric disc is then added on top to minimise the sounds of clothing rustle and low wind noise. Undercover Packs contain Stickies and fabric discs, and are available in white, grey and black colours.

Hot shoe extension for additional lights of microphones

Review: The Hot Shoe Extension allows you to fit multiple attachments such as lights and additional mics to your single hot shoe on your camera or camcorder. Because the Hot shoe Extension can rotate 360- around the shoe fixture on the camera, your microphone can be easily moved out of shot and also adjusted to achieve the optimum balance. This essential, yet affordable accessory is a must for all videographers.

Modular windshield & suspension kit

Review: The Modular Windshield Kit is the professionals' choice when maximum isolation from wind and handling noise is required. This complete modular system can be configured to allow almost any microphone to be shock-mounted and provided with varying degrees of windshielding. Components may be ordered separately, or as one of a series of kits which simplify the selection process for many common configurations. A Modular Windshield Kit is comprised of the following three main components: Modular Suspension, Modular Windshield and Windjammer.

Collapsible tripod microphone boom stand

Review: Samson's BL3 microphone boom stand combines the crucial elements of lightweight durability with an attractive and functional design. This collapsible tripod boom stand has a sturdy die-cast and steel construction that offers superior resiliency with great flexibility of positioning, so it's always convenient and never conspicuous. Its glossy black finish ensures an elegant yet unobtrusive presence and its lightweight design enables maximum portability. Perfect for on-the-go musicians, performance venues or studios, the BL3 provides the strength you need with the portability you crave.

Condenser microphone shock mount

Review: A spider-style suspension microphone shockmount designed for use with the C01, C03, CL7, CL8 and C01U condenser mics.

Reflexion filter portable vocal booth

Review: Unwanted audio ambience may be generated if working in untreated' acoustic environments when recording and this naturally affects the quality of any signal captured via microphone. 6 years ago sE Electronics were the first company to develop a solution to this commonplace problem and launched the highly successful Reflexion Filter RF-Pro. sE Electronics are proud to announce that recently they were awarded a US patent for the design standard and this applies to all sE Electronics Reflexion Filter products, including the RF-X.

The sE Electronics RF-X is the latest high- performance acoustic filter joining sE's highly-acclaimed line of successful and industry standard Reflexion Filter products. Using the same US patented design technology as the RF-Pro the RF-X has been concieved to answer the needs of the discerning recording artist working on a budget. With a new lightweight body and re-designed lightweight clamp assembly the RF-X is simplicity itself, providing unbeatable performance and ease-of-use.

New materials have been developed to make it lighter than its predecessors but also to maintain it's durability, helping to position RF-X as a versatile product suited for any challenging working environment. It features a 4 layer acoustic filter design comprising the outer composite panel itself, a wool fabric layer, an air gap layer and an inner acoustic foam layer. This multi-layer design with air gaps differentiates the RF-X from its competitors by helping to ensure that recordings exhibit almost zero sound coloration when using the filter.

The RF-X clamp assembly also utilizes a new lightweight design allowing it to be used on almost any microphone stand. It has been simplified to achieve this and allows vertical mounting only, making it the perfect solution for vocal recording.

Portable vocal booth

Review: After many poor imitations of their now industry standard design, sE went back to the drawing board to produce what many budget conscious customers have so desired, an entry level Reflexion Filter product which actually does the job properly. Due to patents on sE's original design, competitors who have tried to emulate the success of the original RF Pro have not managed to do so successfully since their designs are limited, and as a result, so are their performances.

The Project Studio RF or the Baby Reflexion Filter uses the same basic design as the Pro version, and while it can never be fully as effective as its more expensive big brother, it easily out performs copies and for project studio use is just the job. The metal frame is lined with the same patented polyester fibreboard as the Pro version uses for its outer layer. This material has extremely good acoustic absorption properties; much better than simple foam products. This is then further lined with a high density 'crystal' foam with curved undulations rather the cheaper and less effective ribbed, medium density foams that are widely used by other companies.

The result is a product which looks fantastic and sounds even better when recording vocals and acoustic guitars, the Project Studio Reflexion Filter is not a Reflexion Filter Pro, or strictly a baby reflexion filter as it is approximately the same size as the RF Pro but it is the second best reflection filter portable vocal booth on the market.

Clamp for ME4 microphone

Review: The ME4 mic clamp from Sennheiser is designed to attach the Sennheiser ME4 microphone to stands, instruments and tables.

Microphone clip

Review: Tie clip for Sennheiser's radio microphone system, with 3.5mm jack and locking connection.

In-line, balanced, locking or momentary switch for microphones

Review: The Shure A120S In-Line On/Off Switch is an in-line, balanced, locking or momentary switch for a microphone. The A120S can be configured in several ways to meet different user requirements. Typical use cases include adding latch on/off, push-to-talk, or push-to-mute (cough button) to a microphone. The A120S is contoured to fit comfortably in the hand and an attached belt clip rotates to 4 positions to allow convenient mounting. The A120S can be wired normally-open or normally-closed, and can be used with a balanced mono audio signal or an unbalanced stereo audio signal.

Microphone assembly with 4 pin mini connector (TA4F)

Review: Shure RPM646 Microphone Boom & Cable Assembly is designed for Beta 54 and WBH54B. It comes with Shure headphones microphone wireless mics. The cable terminates to a TA4-Female connector.

Black microphone foam windshield with an internal opening of 10 x 25mm

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20mm plastic mic holder with standard 5/8" thread fitting

20mm plastic microphone holder for pencil microphones

Review: A 20mm diameter microphone holder suitable for pencil condenser microphones. Accomodates 3/8" & 5/8" size thread fittings.

Black plastic microphone holder for pencil condenser microphones

Microphone foam windshield with an internal opening of 22 x 45mm

Review: Microphone foam windshield with an internal opening of 22 x45mm. Dimensions: 55x40mm.

Pack of 3 black foam microphone windshields with an internal opening of 22 x 50mm

Pack of 3 black foam microphone windshields with an internal opening of 22 x 25mm

28mm diameter black microphone holder

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Black 28mm plastic microphone holder for dynamic microphones to accommodate 3/8" & 5/8" fittings

Review: A black plastic microphone holder with 28mm diameter for dynamic microphones to accommodate 3/8" & 5/8" fittings. Suitable for most dynamic microphones.

Microphone foam windshield with an internal opening of 35 x 60mm

Review: Microphone foam windshield with an internal opening of 35 x 60mm.

Black microphone foam windshield with an internal opening of 5 x 25mm

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Black microphone foam windshield with an internal opening of 5mm x 25mm

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Black foam microphone windshield with an internal opening of 7 x 25mm

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Microphone foam windshield with an internal opening of 7 x 25mm

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Black plastic microphone holder for radio microphones

Metal bar to allow 2 microphones to be mounted on 1 stand

Review: This metal microphone stand accessory fits onto most mic stands to allow 2 mics to be used on 1 stand. All metal construction with 5/8" 27tpi male threads fittings.

Metal bar to allow 2 microphones to be mounted on 1 stand

Review: This metal microphone stand accessory fits onto most mic stands to allow 2 mics to be used on 1 stand. All metal construction with 5/8" 27tpi male threads.

Standard fitting plastic microphone holder with spring loaded jaws

AudioLink Series XLR to USB cable, connects to any dynamic microphone

Review: The MicLink makes it easy to direct-connect any dynamic microphone to USB for mono recording. The AudioLink Series USB-audio cable outputs studio quality 16bit/44.1 kHz digital audio thanks to its internal analog-to-digital conversion system. The MicLink connects plug-and-play to your Mac or PC for an all-in-one USB audio solution.

www.youtube.com/watch?v=wEQxXbaD_wY

Single-channel tube microphone preamplifier

Review: Add warm, vintage tone to any mic or instrument with the Mictube Solo preamplifier. Ideal for any recording or live setup, the Mictube Solo features an easy-to-use control layout and one of the most classic sounding, lowest-noise vacuum tubes, the legendary 12AX7. Aside from the tube, the Mictube Solo features a minimized circuit path, so it preserves the essence of the signal coming from the microphone faithfully.

The MicTube raises the level of any mic up to line level, adding as much or as little of the tube's signature sound as you like. 2 knobs and 4 buttons are all you need to optimize the Mictube Solo for virtually any setting. You'll find a -20 dB pad switch for mics with hotter outputs or louder sound sources. A phase reverse switch helps you optimize multi-mic setups, and the Mictube Solo provides +48 volt phantom power for any condenser microphone.

In additional to a standard 3-pin XLR jack for microphones, the Mictube Solo also gives you a 1/4", high-impedance DI jack for in plugging guitars and basses. Separate Gain and Drive (vintage) controls allow you to dial in the perfect blend of level and tone, and a vintage-style VU meter is perfect for keeping an eye on things. Professional XLR and 1/4" outputs complete the professional package.

http://www.youtube.com/watch?v=TF7LeDwympk

2-channel microphone preamplifier

Review: The ART Pro MPA II is an affordable high performance microphone preamp.

The ART Pro MPA II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.

Each microphone input circuit, with selectable 48V phantom power, features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone.

The Pro MPA II can operate at either a low or high plate voltage on the 2 integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display output levels while multi-colored LED arrays show tube gain.

Housed in a standard 2U space rack-mountable steel chassis, with CNC routed black anodized aluminum face panel, the Pro MPA II is designed to deliver years of reliable operation in the studio, production facility, or on the road for live sound reinforcement.

3-channel microphone mono mixer, with UK version power supply

Review: You need to add 3 x mics to a mixer, which only has one available channel. Just insert a ProMIX between the mics and the mixer. Each mic channel on the ProMIX has both phantom power and low-frequency cut selectable via DIP switches plus a level control. The balanced XLR line output can be connected to a mic input on the mixer and headphones or a powered monitor can be connected to the phone/aux output. And if AC power is not available, the ProMIX runs on batteries as well.

2-way mic splitter

Review: The ProSplit provides one direct output and one transformer isolated output from a single microphone. Applications include sending the direct output to the main or front-of-house mixer, with the second isolated output being sent to a monitor or recording mixer. The direct output passes phantom power from the main mixer to the microphone for use with condenser microphones.

The ProSplit includes a ground-lift switch on the isolated output to reduce noise due to ground loops between connected equipment. For versatility the ProSplit also features an attenuator pad switch on the input that can be used to alternately connect a preamplified (line-level) signal to the 2 microphone-level ProSplit outputs.

Microphone controller

Review: Use the SPLITComPro to split or combine balanced low impedance microphone signals.

As a splitter: the SPLITComPro provides one direct-coupled output and one isolated output from a single microphone. Applications include sending the direct output to the main or FOH mixer, and the second isolated output to a monitor or recording mixer. The main mic output passes phantom power from the main mixer to the amin mic input for use with condenser microphones. The Phantom power is blocked from passing to the isolated mic output.

Aa a combiner: The SPLITComPro provides one output from 2 microphone inputs. The phase switch can be used to invert the relative phase of the isolated mic input. Applications include dual micing of percussion instruments, choirs, and instrument amplifiers. The Phantom power passes through each output to their respective input, (main to main, isolated to isolated), however the phantom power is blocked from passing between the main and isolated signal paths. Only the audio passes between the main and isolated signal paths (it is present on all inputs and outputs).

Variable voiced tube mic/instrument preamplifier

Review: Whether you're working with a computer, hard disk or digital multi-track recorder, the Tube MP's TEC award nominated design will allow you to obtain professional results at an affordable price.

The ART preamps offer warm tone, useful features and are innovatively designed. ART's line of Tube MP products add presence, clarity and fullness to any signal and is exceptionally low-noise. The ART Tube MP Studio V3 features V3 Technology (Variable Valve Voicing), which provides optimized reference points to begin the recording process. The V3 delivers a wide variety of settings designed for various microphones and DI inputs, including guitars, basses, keyboards, synths, electronic drums and much more. Don't settle for a copy-cat look-alike.

Go with the real thing, the Tube MP by ART.

Project Series 2-channel preamplifier/computer interface with 2 x XLR cables

Review: The USB Dual Pre is a full-featured high quality dual portable preamplifier and computer interface packed into a compact rugged case.

It is designed to work over a wide variety of applications from remote field recording to desktop/studio tracking. Each of the 2 low noise input channels has up to 48 dB of clean gain with signal present and clip LED indicators. Inputs can be either XLR balanced or 1/4" TRS. Each of the 1/4" TRS outputs is buffered low impedance balanced.

The USB Dual Pre is powered via the USB bus. An internal 9V battery, or optional external 12V power supply (or any combination of USB, battery & power supply) can be used depending on application. When running powered by battery alone, you should expect in excess of 50 hours of operation with phantom power off. Battery life will drop to approximately 20 hours (depending on microphone) when phantom powering is engaged (still enough time to get through an average session).

The built-in low noise +48V phantom power supply allows you to power up to 2 microphones as well as the preamplifier when running from any power sources including the USB bus.

For monitoring, a 1/8" TRS mini headphone jack with level and monitor mix controls on the rear allow for latency free local monitoring of the inputs while recording as well as playback monitoring of the USB bus. The monitor mix is also routed to the 1/4" TRS balanced outputs. This lets you use the 1/4" outputs as either preamplifier outputs or as the monitor feed to your powered monitors.

The USB interface is fully compliant with the USB 1.1 specification and uses USB adaptive mode for playback and USB asynchronous mode for record. It will work with the USB audio device drivers built into Windows 98SE/ME/2000/XP/Vista and Apple OS9.1/OSX computers with native USB support. No special drivers are needed.

USB microphone cable connects any dynamic microphone to USB port for recording

Review: The ART XConnect USB Microphone Cable provides an easy way to directly connect any dynamic microphone to your computer's USB port for convenient recording without any extra equipment. The output of the XConnect is a studio quality 16bit, 44.1 kHz or 48 kHz digital audio signal. No special drivers are required, just plug and play with your Windows PC or Mac.

Simply plug the XLR connector into your microphone and the USB connector into your computer. That's all there is to it. The first time you connect your XConnect to your computer, all the necessary drivers will be automatically installed and the cable will then be ready to use. The XConnect may be used with any recording software that supports USB audio devices.

Ultra compact microphone modeling preamp

Review: Tubes can really warm up a signal fast, giving it depth and character. Thanks to digital VTC technology, the Behringer Minimic Mic800 emulates the tube warmth of a variety of tube mic preamps, all in one feather-light package.

This ultra-compact 9.5" microphone modeling preamp gives your vocals, guitars, bass or keys low-noise tube-like warmth both in the studio and on stage. It perfectly complements studio-grade condenser mics, and its ultra-flexible preamp modeling allows you to quickly optimize your recordings. You can choose between 16 preamp voicings designed for electric and acoustic guitars, keyboards, bass guitars, drums, vocals etc. The Mic800 is equipped with Behringer's sophisticated output limiter, which prevents the output signal from being distorted. A dedicated low cut filter eliminates unwanted noise such as floor rumble. Onboard +48 V phantom power and 20 dB pad are provided for utmost flexibility, plus a vintage-style VU meter enables precise level indication. Behringer's renowned ultra low-noise audio operational amplifiers provide outstanding sound performance. In addition, all Mini Series models can be stacked to create an ultra-compact signal processing solution.

8-channel microphone preamps + A/D converter

Review: With 8 channels of Focusrite microphone preamplification, 8 VCA-based Red 3-derived compressors and built-in 24bit/96 kHz digital inputs and outputs, the OctoPre MkII Dynamic is Focusrite's feature-rich expansion upgrade for any digital audio workstation. It's equally an ideal expansion for any analogue or digital console, or hard disk recorder.

Digital inputs and outputs let you make the most of often-neglected ADAT I/O; ideal for expanding the number of mic pre inputs on your interface or for providing analogue monitoring from any digital ADAT feed.

With this entire package fitting into a single 1U chassis complementing Focusrite's Saffire PRO range, and all controls adjustable from the front fascia, OctoPre MkII Dynamic sets the standard for modern, compact, multi-channel recording expansions.

The OctoPre MkII Dynamic features the best internal clock generator in its class, with a jitter performance of +/- 20PPM. Its on-board BNC Word Clock input and output can supply a master-clock-grade sync signal to other digital devices in your system, or it can connect to an external clock generator, where its built-in JetPLL jitter-attenuation circuitry ensures the highest audio quality is maintained.

2-channel tube/solid-state preamplifier

Review: PreSonus' popular Class A XMAX preamps are widely lauded for their clarity and transparency. The tube preamps are beloved for their warm, smooth sound. With the Blue Tube DP V2 dual-path mic/instrument preamp, you get both types of high-quality sound in one unit.

Now PreSonus have improved on the classic unit with the BlueTube DP V2. The solid-state path now feeds PreSonus' top-of-the-line Class A XMAX mic preamplifier with 80dB of variable gainian upgrade from the original BlueTube DP's solid-state stage.

The tube path features a 12AX7 tube that operates on voltages double that of other preamplifiers in its class, producing lots of headroom and big tone. PreSonus have done an assortment of other tweaks as well. The result: the BlueTube DP V2 offers lower noise, more high-end clarity, and an even smoother tube sound than its predecessor.

You still get all the secondary features you expect in a professional-grade preamp: 48V phantom power, an 80 Hz high-pass filter, -20 dB pad to control hot input signals, and a polarity-reverse switch. Each channel has an illuminated VU meter so you can visually monitor your input levels. A Tube Drive control provides a wide range of sounds: when it's clicked off, you're using the solid-state preamp for quiet, transparent amplification; when it's engaged, your signals flow through the tube preamp, and you can achieve anything from gentle warmth to edgy distortion.

With 2 x combo mic/instrument inputs, the half-rackspace BlueTube DP V2 is a great choice for guitars and basses as well as for vocals. Singer-songwriters can run their vocal through one channel and their guitar through the other, feeding both to the PA ino guitar amp needed. It also serves as a DI box, thanks to balanced XLR and unbalanced 1/4" outputs, and is housed in a new, rugged, 1/2U case.

Try the BlueTube DP V2 as a front end for a DAW, too; sure, your recording interface might already include preamps, but few of them give you both tube and solid-state operation.

PreSonus have also updated the preamp's compact, rugged enclosure; it has more rounded edges and looks modern and sleek. It can be used as a desktop unit or it can be screw-mounted to a standard rack tray. And despite the improvements, PreSonus deliver the BlueTube DP V2 for essentially the same price as the original BlueTube DP.

So get the new and improved version of the most versatile, best-sounding mic/instrument preamplifier in its price range: the BlueTube DP V2.

Single-channel 12AX7 tube preamplifier/DI box

Review: PreSonus have been designing preamps for a long time, and they always focus on audio quality first. So when PreSonus decided to upgrade their popular TubePre V2, PreSonus focused on improving an already high-quality soundiwithout jacking up the price. Like the original TubePre, the new version is a fully professional tube preamp, with a dual-servo (no capacitors) gain stage that lets you boost the program signal to smoking hot levels without significantly increasing the background noise. Discrete components and high-voltage operation offer dynamic range and detail not found in other single-channel tube preamps in its class.

But the TubePre V2 provides an even wider palette of sound options, and a much more focused tube saturation, than the original TubePre. It has been upgraded to employ PreSonus' popular XMAX Class A solid-state preamp, which is followed in the signal path by a 12AX7 vacuum-tube stage. Twist the TubePre V2 Drive saturation control to add the "color" that only a hand-selected 12AX7 vacuum tube can deliver i from gentle warmth to total fuzz.

Housed in a rugged case, the TubePre V2 rear panel sports separate unbalanced, 1/4" instrument and balanced, XLR mic inputs and unbalanced 1/4" and balanced XLR line outputs. PreSonus have included all of the extras you need for professional operation including a high-pass filter, phantom power for condenser mics, polarity reverse switch, and a backlit VU meter.

The TubePre V2 is more than a mic preamp, though. Thanks to its separate instrument and mic inputs, it also serves as a dynamite direct box (DI) for guitars and basses. And it's small enough to carry almost anywhere, although you also can screw-mount it to a standard rack tray.

So if you are a fan of PreSonus' original TubePre, you're going to love the improved TubePre V2. And if you are checking out the TubePre for the first time, your ears are in for a real treat. Then check out the amazing low priceibut sit down first because you're in for a shock. Because with PreSonus, big sound does not have to cost big bucks.