the fader sets the recording level (i.e., the level of the input signal recorded to tape). When nothing is connected to the MIC/LINE input, this fader sets the playback level (i.e., the level of the tape signal fed to the stereo mix). For best performance, the fader should be positioned between 7 and 8.
5 Level meter: This LED meter shows the recording and playback level. The recording level should be set so that the +6 LED lights occasionally at the maximum input level. The fader sets the recording level.
6 REC indicator: This indicator shows the recording mode.
Off REC SEL switch set to OFF. Flashing REC SEL switch set to one of the on positions (i.e.,
set to 1, 2, 3, 4, L, or R, in which case the track is ready to record).
Lit Recording in progress or recording paused.
7 REC SEL switch: This switch selects the signal to be recorded.
Off Recording is not active. 1 (2, 3, 4) The MIC/LINE input signal is recorded. L (R) The left (right) stereo mix signal is recorded. Left signals

1 MIC/LINE

can be recorded to tracks 1 and 3. Right signals can be recorded to tracks 2 and 4. Use this setting for ping-pong recording.
8 CUE slider: This control sets the CUE level. CUE allows you to
adjust the volume of the monitor independently of the fader settings. This control is effective only when the MONITOR SELECT switch is set to either MIX or CUE.
! For the technically minded, the HIGH control has a center frequency of 12kHz and the LOW control, 80Hz. Both controls offer up to 12dB of cut and boost.
9 GAIN switch: This switch sets the MIC/LINE input gain for
optimum performance, depending on what you connect to the MIC/LINE input. MIC microphones, low-level devices. Middle electric guitar, electric bass. LINE synthesizer, drum machine, CD player, high-level devices.
0 AUX RETURN control: This control sets the level of the AUX
RETURN input signal (i.e., the level of the processed signal from an external effects processor) back into the stereo mix.
A MONITOR SELECT switch: This switch determines the signal source for the PHONES and the MONITOR OUT. Stereo This setting selects the L and R signals controlled by the

REC SEL

The REC indicator lights up. 7. Start the drum machine 4 8. Raise Module 1s fader gradually. You should be able to hear the drum machine and Module 1s level meter should light up. 9. Set the fader so that the +6 light comes on occasionally at the maximum input level.
Note: If the drum machine volume is very low you can not achieve the optimum recording level with the maximum fader setting, set the fader to 0, and set the GAIN switch to the middle position (for instruments). Raise the fader again and set as appropriate. The module fader is used to set the recording level and should be set in conjunction with the level meter. Use the CUE slider and MONITOR/PHONES control to adjust the monitoring levels. These controls affect only the monitor signals. 10. Press the PAUSE button to start recording. 11. Start the drum machine.
12. When the drum part is nished, press STOP to stop recording. 13. Press REW to rewind the tape. It will stop automatically at approximately 999, because we set ZERO STOP to ON. 14. Set Module 1s REC SEL switch to OFF. 1 The REC indicator goes off. 15. Press PLAY to listen to the drum track. If you like the track, go to Step 2 Recording the Bass once you nish this procedure. If you dont like it, re-record it. 16. Disconnect the drum machine. 17. Set Module 1s fader to 0. 18. Press REW to rewind the tape to 000.

Drum Machine

The easiest song to record is one that starts with a drum intro. If your song starts with drums, bass, and synth all on the rst bar, youll need to record a count-in.
Step 2 Recording the Bass
1. Connect the bass to MIC/LINE input 2.
Note: Connecting an instrument with a high output impedance such as an electric guitar or bass to the MT50 may increase noise and distortion and preclude high quality recordings.
If this happens, connect a direct box or effect unit between the instrument and the MT50 to reduce the impedance. 2. Set Module 2s GAIN switch to LINE. 3. Set Module 2s CUE slider to about 8.
4. Set Module 2s REC SEL switch to 2. 4 The REC indicator starts ashing. 5. Press the PAUSE button. 6. Press the REC button. The REC indicator lights up. 7. While strumming the bass, raise Module 2s fader gradually.
You should be able to hear the bass and the level meter should light up. 8. Set the fader so that the +6 light is on occasionally at the maximum input level. 9. In order to set the CUE levels, press the PAUSE button to start recording. (This is only a temporary recording.)

Guitar Effect Processor FX770
Step 4 Recording the Vocals
1. Connect the microphone to MIC/LINE input 4.
2. Set Module 4s GAIN switch to MIC. 9 3. Set Module 4s CUE slider to about 8. 4. Set Module 4s REC SEL switch to 4. The REC indicator starts ashing. 5. Press the PAUSE button. 6. Press the REC button.
The REC indicator lights up. 7. While singing into the microphone, raise Module 4s fader gradually. You should be able to hear the vocal and the level meter should light up. 8. Set the fader so that the 0 light is on most of the time and the +6 light is on occasionally.
9. In order to set the CUE levels, press the PAUSE button to start recording. (This is only a temporary recording.) 3 10. While listening to the drum, bass, and guitar tracks, sing into the microphone and set the CUE sliders on Modules 1, 2, 3, and 4 so that you can hear all sounds clearly. 11. Press REW to rewind the tape to 000. 12. Press the REC button to start recording. 2 The REC indicator lights up. 13. Sing your vocal part while listening to the other tracks. 14. When youve nished, press STOP to stop recording. 15. Press REW to rewind the tape to 000.

4 MIC/LINE

16. Set Module 4s REC SEL switch to OFF. The REC indicator goes off. 17. Press PLAY to listen to the drum track, bass track, guitar track, and new vocal track.

Compressor

If you like the track, go to Step 5 Mixing Down once you nish this procedure. If you dont like it, re-record it. At this point, we are nished recording. 18. Disconnect the microphone.
19. Set Module 4s fader to 0. 20. Press REW to rewind the tape to 000.
! Use a level. to even out compressor the vocal ! Watch out for feedback.close to Dont place your microphone too

your speakers.

Step 5 Mixing Down

T R A C K 1

T R A C K 2

T R A C K 3

T R A C K 4
Mixing-down is the process of combining all four tracks into one. This mix can then be recorded to a stereo cassette recorder or DAT machine. The MT50 is your multitrack recorder; the second tape recorder serves as the master recorder. During the mix-down, you can tailor the tone of each sound using the two-band EQ, pan sounds left and right, and balance the fader levels.

S T E R E O L E F T

S T E R E O R I G H T
1. Connect the STEREO OUT on the MT50 to the input on your master cassette recorder. 2. Set the input levels on your master recorder as appropriate. 3. You can connect the stereo outputs of your master recorder to a hi- amplier, and connect a pair of speakers to the amplier, to monitor the mix. Alternatively, you can use a pair of stereo headphones or a pair of speakers with built-in ampliers. The best choice is a pair of speakers with a at response, uncolored by boosted bass or treble settings.

4. You can connect a multi-effects processor, such as the Yamaha REV100 or FX770, between the AUX SEND and AUX RETURN jacks. 5. Set the MONITOR SELECT switch to STEREO. 6. Make sure that nothing is connected to the MIC/LINE inputs. 7. Set the dbx and ZERO STOP switches as appropriate. If youre continuing from the previous recording steps, they are set OK.

Balancing Levels

Before recording the stereo mix to tape, its best to rehearse it a few times rst, and then record it when youre happy with the overall sound. 1. Set all faders to about 7.
2. Press PLAY to start playback. 3. Using the faders, adjust the levels to create a balanced mix. Nothing too loud, nothing too quiet.
4. Use the MONITOR/PHONES level control to adjust the monitoring volume to an optimal level.

Panning

Panning allows you to position sounds in the stereo mix (i.e., between the left and right speakers). There are no hard and fast rules about positioning instruments in the stereo image. Experiment! Some early Beatles recordings achieved remarkable effects by panning vocals, for example, hard right, while bass and guitar were panned hard left. 1. Turn the PAN control to the left to position a sound to the left, and to the right to position a sound to the right.

Applying EQ

The two-band equalizer enables you to boost or cut both high and low frequencies. Make sure you can hear desirable high frequencies, such as the hi-hats in the drum track. Dont let low frequencies, such as the bass track, become too boomy, or overwhelm the mix. 1. Use the HIGH control to boost and cut high frequencies. 2. Use the LOW control to boost and cut low frequencies.

Adding Effects

If you have an effects processor, such as the Yamaha REV100 or FX770, you can connect it to the MT50 and apply effects to recorded sounds. 1. Connect the AUX SEND to the effects processors input. 2. Connect the AUX RETURN to the effects processors outputs. If you have a stereo effects processor, connect both the L(MONO) and R AUX RETURN connectors. If your effects processor has a mono output, connect to the L(MONO) connector.
3. Turn up an AUX control to send a sound to the effects processor. 4. Turn up the AUX RETURN control to add the processed sounds to the stereo mix.

Mixdown Recording

Once youre happy with the mix, youre ready to record it to the master recorder. 1. Set your master recorder ready to record. 2. Play the MT50 and set the recording level on the master recorder. 3. Stop MT50 and rewind the tape back to approximately 999. 4. Start recording on the master recorder. 5. Press PLAY on the MT50 to start playback. The stereo mix is recorded to the master recorder. 6. At the end of the song, stop the MT50 and master recorder. 7. Rewind the master recorder and play your masterpiece.
! To prevent accidentally erasing your original recording, remove the

write-protect tabs from both sides of the audio cassette you used in your MT50.

Setting example

Powered Monitor Speakers

Master Recorder

Effect Processor

MONITOR OUT

STEREO OUT

AUX RETURNS

Footswitch
Guitar Effect Processor Compressor
Chapter 4: Advanced Recording

Advanced Recording

This chapter explains how to perform advanced multi-track recording techniques on your MT50. The MT50 is so exible that you can perform sophisticated recording techniques with relative ease on a single, compact machine. Heres a little of what you can do.

One-Take Recording

This recording technique is used to record several instruments at the same time. It is extremely helpful for recording live performances. You can record the instruments direct and apply reverb and other effects during mixdown at a recording studio. You can also use this technique to record four instruments live to two tracks, leaving a couple tracks free. Or, you could record a complex drum part, miking three drums in the kit separately. Later you could mix the tracks into a very sophisticated rhythm part, and ping-pong it to the open track. Finally, you can also use this technique to retain the stereo placement of MIDI-programmable stereo devices.

Ping-Pong Recording

Ping-Pong Recording takes its name from the parlor game that features a little white bouncing ball. It allows you to combine previously recorded tracks by mixing them together and recording (or bouncing) them to an unrecorded track. Whereas basic overdub recording allows you to record four times, this technique enables you to record, in theory, an unlimited number of tracks. This is because each time you ping-pong, you make tracks available for additional recording. Due to the limitations of magnetic tape, however, you can record only several times before the tracks will deteriorate due to generational loss. (In other words, recording again and again will wear down the tape so much that your tracks will lose their punch).

Punch-In/Out Recording

This technique is used to re-record short sections, correct mistakes, or add new sections to silent passages. You play your part while punching in and out to start and stop the recorder. If you have a footswitch, you can punch in and out using your foot. This keeps your hands free for making music. Its a great way to create a fantastic guitar solo. You can keep re-recording difcult passages until you get things just right!

Synchronization

By recording an FSK signal onto track 4, you can synchronize the MT50 with a drum machine or MIDI sequencer. With this technique, you dont need to record MIDI instruments to tape. You save tracks because the an FSK signal triggers the MIDI instruments, effectively expanding your songs arrangement. This technique requires a MIDI to FSK converter, such as the Yamaha YMC10.

The MT50 enables you to record up to four instruments at the same time. This is useful for recording a live band, as discussed previously. Simply record the instruments directly into input modules 1 through 4 and add effects during mixdown. 1. Connect an instrument to MIC/LINE inputs 1 through 4. 2. Set the GAIN switches for Modules 1 through 4 as appropriate. 3. Set each modules CUE slider to about 8. 4. Set each modules REC SEL switch to its number (1, 2, 3, or 4). The REC indicator starts ashing for each module. 5. Press the PAUSE button. 6. Press the REC button. The REC indicator lights up. 7. Start up the band. 8. Raise each modules fader gradually. You should be able to hear the band; each modules level meter should light up. 9. Set the fader on each module so that the 0 light is on most of the time and the +6 light comes on occasionally. The module fader is used to set the recording level and should be set in conjunction with the level meter. Use the CUE slider and MONITOR/PHONES control to adjust the monitoring levels. These controls affect only the monitor signals. 10. Press the PAUSE button when you are ready to start recording. 11. Start up the band. 12. When the tune is nished, press STOP to stop recording. 13. Press REW to rewind the tape. 14. Mix down as described on page 13. You can add effects to each channel separately, adjust the pan controls, and balance the faders to achieve your desired results. You can also add reverb to the entire mix for a polished, professional-sounding recording.
Advanced One-Take Recording Techniques
What happens if you want to record musical instruments or electronic devices that output stereo sound? With only four tracks, your options get used up in a hurry! There is another problem. Any spatial nuances--the subtle things you might want to do with positioning sounds in the left-to-right stereo image--can be lost if you have only one track reserved for your drum machine. The special one-take recording capabilities of the MT50 explained below allow you to accomplish some pretty slick tricks to solve these problems. These techniques involve the MT50s sophisticated ability to control the placement of sound in the stereo image, and its ability to bounce multiple left and right tracks to a stereo two-track mix. This might sound complicated, but its easy to do. It basically involves just two controls: the Record Select (REC SEL) switch and the PAN control. For example: You can record four instruments at the same time, but use up only two tracks in the process. Many drum machines, sequencers, and synthesizers output stereo sound. Perhaps you spent a lot of time programming a drum machine so that different drum sounds (bass, snare, etc.) are panned left or right in the stereo image. This can make a recorded drum part far more dynamic. Using this technique, you can preserve the stereo placement of a previously-programmed drum machine or synthesizer without running out of tracks. Perhaps you want to create stereo guitar effects using, for example, a stereo chorus connected to two guitar ampliers with different tonal characteristics or delay times. You might then record this stereo output to two tracks so the left and right channels of your guitar solo have a different tone. If you bounce the solo to a single track, you would lose the left-and-right placement of your guitars two tones, essentially undoing your efforts. Using this technique, you can preserve the stereo nuances of your solo.

The following diagram illustrates how signals from each PAN control are routed to the stereo bus (the two thick horizontal pipes in the diagram) and output via the STEREO OUT jacks. That is, each PAN control functions as a turn indicator directing signals onto the stereo bus. The following pages will explain how to record four musical instruments on two tracks, and how to keep a stereo image of two instruments on a recording. As the diagram shows, the L output is sent to tracks 1 and 3, and the R output is sent to tracks 2 and 4.2

STEREO OUT L

STEREO BUSS

To track 1 or 3

Drum Module 1

Bass.Guitar Module 2 4

To track 2 or 4
Recording Four Instruments to Two Tracks in One Take
Module 1: Drums Module 2: Bass Module 3: Guitar 1 Module 4: Guitar 2 Track 4: Track 3: Track 2: Bass/Guitar 2 Track 1: Drums/Guitar 1
Say you want to record drums, bass, rhythm guitar, and lead guitar at the same time while leaving a couple tracks open for later use. 1. Connect the drum mike to the MIC/LINE input of Module 1; bass to Module 2; rhythm guitar to Module 3; and lead guitar to Module 4. 2. Adjust the GAIN switches, monitor controls. and input faders as discussed in Chapter 3: Basic Recording. 3. Set the REC SEL switch for each module, as follows: Set the REC SEL switch for Module 1 to L. Set the REC SEL switch for Module 2 to R. Set the REC SEL switch for Module 3 to OFF. Set the REC SEL switch for Module 4 to OFF. In this set-up, Tracks 3 and 4 will not be recorded. Track 1 will record the left stereo channel. Track 2 will record the right stereo channel. 4. Set the PAN controls for each instruments stereo placement: Set the PAN control for Module 1 to L. Set the PAN control for Module 2 to R. Set the PAN control for Module 3 to L. Set the PAN control for Module 4 to R. 5. Press the REC button and start up the band! The instruments you connected to inputs 1 and 3 will be combined on Track 1. The instruments you connected to Inputs 2 and 4 will be combined on Track 2. Tracks 3 and 4 are available for additional recording.
In this example, we pan hard right and hard left. This is just to keep things simple. Experiment with stereo placement. Try panning partially right or partially left to create an interesting stereo image.
Preserving the Stereo Image of Two Instruments
Module 1: Drums L Module 2: Drums R Module 3: Synth L Module 4: Synth R Track 4: Track 3: Track 2: Drums R/Synth R Track 1: Drums L/Synth L

1. Connect one stereo instrument to the MIC/LINE inputs for Modules 1 and 2 (L output to Module 1, R output to Module 2). 2. Connect another stereo instrument to the MIC/LINE inputs for Modules 3 and 4 (L output to Module 3, R output to Module 4). 3. Adjust the GAIN switch, monitor controls, and input faders as discussed in Chapter 3: Basic Recording. 4. Set the REC SEL switch for each module, as follows: Set the REC SEL switch for Module 1 to L. Set the REC SEL switch for Module 2 to R. Set the REC SEL switch for Module 3 to OFF. Set the REC SEL switch for Module 4 to OFF. 5. Set the PAN controls to retain each instruments stereo placement in the mix, as follows: Set the PAN control for Module 1 to L. Set the PAN control for Module 2 to R. Set the PAN control for Module 3 to L. Set the PAN control for Module 4 to R. 6. Press the REC button and start playing both stereo instruments. The left channel of each stereo instrument will be mixed to Track 1. The right channel for each instrument will be mixed to Track 2. Tracks 3 and 4 will be available for additional recording.
You can record up to three different stereo musical instruments by connecting the third stereo instrument to the AUX RETURN jacks.
The procedure to the right stops after we ping-pong Tracks 1, 2 and 3 onto Track4. However, there is no need to stop there, as the following illustration suggests. By repeatedly bouncing tracks, you can make your MT50 sound like a ten (or more) track recording studio!
Ping-Pong Recording allows you to bounce previously-recorded tracks to an unrecorded track. Using this technique, you can create a recording with more than four tracks. This section explains two applications: example 1, mixing Tracks 1, 2, and 3 to Track 4; and example 2, overdubbing a new sound source during ping-pong recording. This will free up Tracks 1, 2, and 3 for additional instruments, solos, or vocals.

Example 1:

Track 3: Synthesizer Track 2: Bass
1. Begin by recording a different instrument on each of Tracks 1, 2, and 3. For example, you could record drums, bass, and synthesizer (or substitute other instruments). See Chapter 3: Basic Recording for more information. Dont forget to set the ZERO STOP switch. 2. Rewind the tape to the start of the song. 3. Disconnect any instruments that may be connected to the MIC/LINE inputs for Tracks 1, 2 and 3. 4. Set the MONITOR SELECT switch to CUE. 5. Set the MONITOR/PHONES control to about half-way. Adjust it later if the monitors are too loud or too soft. 6. Turn the PAN controls for Modules 1, 2, and 3 all the way to the right (R). The signal from Modules 1, 2, and 3 is routed to stereo bus output R. 7. Set the REC SEL switch for Modules 1, 2, and 3 to OFF. We dont want to record anything over our previously-recorded tracks. 8. Set the REC SEL switch for Module 4 to R. The REC indicator for Module 4 is ashing. In this way, you can record Tracks 1, 2, and 3 onto Track 4. 9. Set the faders for Modules 1, 2, and 3 to about 7. 10. Set the CUE level of Module 4 to about 7. 11. Press the REC button to start a temporary recording. 12. Adjust the recording level of Track 4, while balancing the volume level of Tracks 1-3. Use the module 1, 2, and 3 faders to adjust the level balance so that the level meter +6 of Module 4 will light up momentarily. 13. Once you have determined the correct position for the input fader for Module 13, repeat the process for the nal ping-pong.

Track 4: Solo Punch-In

4. Set the MONITOR SELECT switch to MIX. 5. Make sure the MONITOR/PHONES control is set as it was before. 6. Make sure the input fader for Modules 4 is set to the same level as it was during the original take of your guitar solo. If you record the punch-in at a different volume level, it will not blend into the previously-recorded track and your edit will be obvious. 7. Press the PLAY button to play the song for the actual punch-in. 8. Play along with your guitar solo, or get ready to start in tempo at the start of Bar 4. Tapping your foot can help a lot! 9. At the start of Bar 4, press the footswitch to start recording over Track 4. Play Bar 4 of your solo. At this time, the REC indicator of Module 4 lights up.

Track 4: Solo Punch-Out

! Make sure you re-play enough of the solo to make it ow smoothly.
Practice playing along with your guitar solo a few times through the end of Bar 4 to get ready for the actual punch-in. Work on your timing, and try to make the new performance of Bar 4 blend in smoothly with the existing take.When you are satised, rewind the tape. Yamaha supplies an optional footswitch, FC-5. Note that using a footswitch other than Yamahas may cause mistiming.
The timing is critical. If you start too early, you will erase recorded material before Bar 4--the stuff you want to keep! 10. At the end of Bar 4, step on the footswitch. The REC indicator of Module 4 ashes. Again, the timing is critical. If you step on the footswitch to stop recording too late, you will erase material after Bar 4.
Punch in/out recording without using a footswich:
The basic procedure is the same as that with a footswitch, except for the following steps: 1. (No connection.) 9. Set the REC SEL switch while holding down the PLAY button to 4 at the beginning of Bar 4, start recording on Track 4 and play the instrument. 10. At the end of Bar 4, set the STOP to OFF.

Using a Tracking Sheet

The following illustration shows how to ll out a Tracking Sheet. You can write down the instrument played on each track and mark the settings of the panpots and faders for future reference. A blank Tracking Sheet appears in the Appendix. Photocopy it for repeated use. The information can prove valuable later when you want to recreate a particular sound.

Appendix

Troubleshooting
If youre having trouble operating MT50, or it doesnt seem to be working as it should, look up the symptoms in the following table and see what to do.
Symptom What to Do Make sure the AC adaptor is connected to a suitable AC outlet. Make sure the AC adaptor is connected to MT50s DC 12V connector. Make sure the POWER switch on MT50s rear panel is set to ON. If MT50 still cannot be powered ON, please contact your Yamaha dealer. Make sure theres a cassette loaded. Make sure the tapes not wound all the way to the end. Cannot record. Make sure that the cassettes record protect tabs are intact. Check to see if the REC SELECT switch is set correctly. When recording, make sure you set the fader so that the 0 light is on most of the time and the +6 light is on occasionally. If the signal level is too low, the recording may sound noisy. If it is too high, distortion may occur. Be sure to use high-quality Type II (High Bias 70 s EQ) chrome cassettes. Recordings sound dull, suffer from wow and flutter, or are of poor quality. Clean the tape head and mechanism. See MT50 Maintenance on page 27. Try a new cassette. Make sure the cassette is loaded correctly. Cannot play. Make sure the tapes not wound all the way to the end. Make sure you have not changed the position of the PITCH slider since recording. Turn up the channels AUX control and raise the fader. Check the AUX RETURN level. Turn up the MONITOR/PHONES control. Make sure the MONITOR SELECT switch is set correctly.
MT50 cannot be powered ON.
Recordings sound noisy or distorted.
Recordings playback at the wrong pitch. Cannot send signal to external effects processor, or the effects processor does not correctly apply an effect. No sound from headphones.
Raise the fader for the input module. Make When overdubbing, you cant hear the insure the MONITOR SELECT switch is set strument youre playing. to CUE. Raise the CUE slider. Make sure the recording level of the FSK signal is set to about +3dB. Make sure that you are not using an overly-worn tape. Check your sequencers manual for information. If you are using a MIDI-to-FSK converter, make sure it is connected correctly.

Tape sync does not function correctly.

MT50 Maintenance

The MT50 requires regular maintenance to remain in top operating condition. If you perform the following simple maintenance procedures at regular intervals, your MT50 will be a faithful musical companion for many years. Clean the recording head, capstans, and rollers. (See the Precautions at the start of this users guide.) Demagnetize the recording head at regular intervals.
Cleaning the Recording Head and Components
The recording heads are the delicate components that touch the recording tape. Over time they tend to become coated with an oxide residue and need to be cleaned. (Otherwise, youll soon notice a lack of high frequencies in your recordings.) The surrounding components--called capstans and rollers--also tend to become coated with residue and dust particles. (This increases the wow and utter of your recordings.) To clean the recording head and capstan, use a head-cleaning kit. These kits generally include specially-made cotton swabs and an isopropyl alcoholbased cleaning solution, and are.available at audio and electronics shops. Follow the directions on the kit, carefully wiping the recording head and the capstan with a swab soaked in cleaning solution. It is best to clean the rollers with a non-alcohol based rubber cleaning solution, which is often included in the cleaning kits. Alcohol tends to dry out and corrode the rubber part of the roller. Clean these components often, after no more than ten hours of recording use. If the head becomes dirty, the MT50 may sound distorted or noisy. In severe cases, the MT50 may not be able to playback or record at all. If you expect optimal results from a recording session, it is best to clean the heads before the session.
Pinchroller Record/playback head Capstan Erase head

Clean the Shaded Areas

Demagnetizing the Recording Head
As the recording tape passes over the recording head, it tends to impart a tiny amount of magnetism to the head. The head collects this magnetism over a period of time, slowly becoming magnetized. You need to demagnetize the head using a commercially-available head demagnetizer. (These are also available at most audio and electronics shops.) Read the directions on the demagnetizer carefully. If you do not use the demagnetizer correctly, you could seriously damage the recording head. Also, keep recorded tapes away from the demagnetizer when it is in use; the demagnetizer can accidentally erase your tapes! It is best to demagnetize the recording head after no more than ten hours of recording use. If you are planning a special session, it is a good idea to clean and demagnetize the head before the session to ensure the best sounding results.

AUX SEND (Auxiliary Send) Each module includes an AUX SEND control, which determines the amount of signal fed to the AUX SEND output connector (generally for processing by an external effects unit). Capstan The slender, pin-like component adjacent to the roller. The
tape passes between the capstan and roller.
CUE slider Each module includes a CUE slider, which controls the amount of signal fed to the CUE signal path. The MONITOR SELECT switch includes a setting for CUE monitoring. DAT (Digital Audio Tape) Audio tape that records a digital, as
opposed to analog, signal on a magnetic recording tape. DAT machines are often used as master recording units.
dbx noise reduction Tape recording is always noisy. MT50 uses dbx noise reduction to reduce noise and keep your recordings clean and crisp. Demagnetizer A hand-held device shaped like a small wand attached
to an electric cord. The demagnetizer removes the magnetic eld that routinely builds up on a recording head and is an integral part of maintaining any tape recorder.
Equalization (EQ) The process of adjusting (boosting or cutting) the
high and low frequency ranges for optimal sound. Each module contains both a HIGH and LOW equalization control, which function much like the bass and treble controls on a stereo hi- system.
Fader Each module contains a fader, which is a large slider that controls the input level during recording and the output level during playback.
FSK (Frequency Shift Keying) A device that translates MIDI clock data into frequencies that can be recorded for synchronization purposes. GAIN switch Various musical instruments and devices output different levels of signal. Gain is a measure of electronic input over output. Each module includes a GAIN switch that can be set to line, instrument, or microphone levels.
Head The delicate metal component that touches the magnetic recording tape, imparting the signal to be recorded. Instrument level The level of gain output by such devices as an electric bass or guitar. Set the GAIN switch to about halfway for an instrument-level. Line level The level of gain output by such devices as a synthesizer, drum machine, CD player, etc. The lowest setting of the GAIN switch. Master recorder A second tape recorder used during the mixdown process. The master recorder can be any two-track stereo recorder, such as a standard cassette, reel-to-reel, or DAT recorder. MIC/LINE input Each module includes a MIC/LINE input to connect a musical instrument or electronic device for recording.
MIDI (Musical Instrument Digital Interface) A digital data format standardized to ensure compatibility between electronic musical instruments from different manufacturers. Mixdown The recording process by which you combine multiple
tracks (often four) into a stereo mix.
Module The MT50 includes four modules, which are the groups or columns of identical controls on the left side of the MT50. MONITOR/PHONES control Controls the amount of signal fed to

SOS Communication s

TABLE OF CONTENTS

INTRODUCTION......

RECORDING EQUIPMENT......
Su rro u n d So u n d Packag es. The Ultimate Portable Tools....... The Ultimate Ultra Portable........ Mu l ti track Reco rd ers. Hard Disk........ Eight Track Tape....... Accessories........ Di g i tal Au d i o Wo rkstati o n s. T w o track Reco rd ers. Location DAT Recorders....... Hard Disk Recorders........ Reel to Reel........ DAT Recorders........ Mini-Disk Recorders....... CD Recorders........ Analogue Recorders & Accessories....... Cassette........ Reel to Reel........

DVD AND CD PLAYERS.....

DVD Pl ayers. CD Pl ayers.
SPEAKERS AND ACCESSORIES.....
Rei n fo rcemen t Sp eakers. Passive Speakers Active Speakers........ Stereo Stu d i o Mo n i to r Sp eakers. Passive Studio Monitor Speakers (pair)....... Active Studio Monitor Speakers (pair)....... Su rro u n d So u n d Systems.. Head p h o n es an d I n -Ear Mo n i to ri n g. Sp eaker Accesso ri es.

AMPLIFIERS.....

PA Amp l i fi ers. Head p h o n e Amp l i fi ers.. Sp l i tters an d Di stri b u ti o n Amp l i fi ers. DI Boxes........ Distribution Amplifiers........ Splitter Systems........ Mi cro p h o n e Preamp l i fi ers.. Hi -F i an d Su rro u n d So u n d Amp l i fi ers.. Mu si cal I n stru men t Amp l i fi ers.
MIXERS AND WORKSTATIONS.....
Di g i tal Mi xers. 24Bit/96kHzConsoles....... 48kHz Consoles........ An al o g u e Mi xers. Large FOH/FB Mixers........ Mid Scale Mixers....... Yamaha GA/GF Series........ Yamaha MG Series Mixers....... Po w ered Mi xers. Desk Top........ Brick Type Powered mixers.......
MICROPHONES AND ACCESSORIES....
Dyn ami c Mi cro p h o n es.. Co n d en ser Mi cro p h o n es. Bo u n d ary Mi cro p h o n es. Ri b b o n Vi n tag e Mi cro p h o n es.. Sh o tg u n Mi cro p h o n es. Wi rel ess Mi cro p h o n es.. Mi cro p h o n e Accesso ri es.
SIGNAL PROCESSORS & CONVERTERS.....
Co mp resso rs an d No i se G ates.. Eq u al i sers an d Cro sso vers. Di g i tal Del ay an d Effects. An al o g to Di g i tal an d Samp l e Rate Co n verters.. Mi d i Devi ces.
PRESENTATION & CONFERENCE EQUIPMENT....
L ectern s an d Po d i u ms.. T el ep h o n e I n terface an d Hyb ri d s.. Co n feren ce Netw o rks. 4 Po rtab l e PA Systems an d Packag es.. 5 Co mp u ter Eq u i p men t.
VIDEO, PRESENTATION AND BROADCAST EQUIPMENT....
Pro j ecto rs an d Screen s. Sp eci al i sed L en ses. VT R s an d Accesso ri es. Video Tape (VHS, S-VHS & Betacam)....... DVD & Laser Disc........ Non-Linear Video Systems (Hard Drive)....... Vi d eo Pl asma Mo n i to rs an d Stan d san d Accesso ri es.. Vi d eo Mo n i to rs an d Accesso ri es.. Vi d eo Mi xers an d Effects. Vi d eo Cameras.

CONFERENCE SYSTEMS.....

S O S Com m uni c ati ons , 42 B el m or e S tr eet, S ur r y Hi l l s NS W 2010 P h : + 61 ( 0) - 0077, F ax : + 61 ( 0) - 0077 E - mail : s os c om m s @z i p.c om.au W eb : www.s oundons tage.c om.au
SOS Communications MISCELLANEOUS......
Co mmu n i cati o n s. Mu si cal I n stru men tsT est Eq u i p men t.. L i g h ti n g Cab l i n g an d Accesso ri es.

CONSUMABLES.....

Bl an k Med i a. GP9 Studio Mastering Audio Tape....... 499 Grand Master Gold....... 456 Grand Master Mastering Tape....... 472 - HI Bias Studio Mastering Cassette...... ADAT for "Alesis' Digital Mastering Systems....... DTRS DA8 Digital Cassettes........ DAT Digital Audio Tapes........ MDR Recordable MiniDisc....... CDR Recordable Compact Disks....... O th er Co n su mab l es.
MOBILE ONE & TWO.....
Outside Broadcast & Location Recording Audio Production Vehicle...... Standard Features........ Additional facilities........
Introduction For over 25 years Sound on Stage have been providing equipment hire to the entertainment industry and corporat e sector. We have established a reputation for providing innovative and cost effective solutions in realising the ideas of producers and others in the areas of musical and dramatic theatre and opera, corporate and exhibition presentations and touring music al artists. Our clients include broadcast companies, recording studios, corporate and government agencies as well as independent producer s and musicians, theatres, clubs and other venues. Broad experience and unequalled resources have made Sound on Stage first choice for serious professionals. This catalogue will provide hirers with a guide to the type of equipment available, but as our inventory is constantly being updated , if something is not listed please ring as we can arrange any reasonable request. Prices shown are a guide only, may vary due to availability etc. Prices are quoted in Australian dollars (AUD) and are given as Dry Hire rates - long term hires, regular clients and large jobs are all eligible for discounts. The price s hown is the daily hire rate (ex GST) per item. Price per week = 4 x daily rate. Package systems and equipment purchase are also available. Dont forget we also sell and install a large range of professional audio, video and broadcast and business products backed w ith design, contracting, installation and divisions. We provide solutions, sales and support for any creative or technical application.

RECORDING EQUIPMENT

SURROUND SOUND PACKAGES
Sound On Stage can deliver a surround sound system for most applications. Two base systems are described here, but of course variations are available. We can also offer professional advice on system confi guration and set -up. Our staff have a wealth of experience in working in surround sound for film, television and music. We are not j ust another sales/hire company. Our experience on working on major film and television productions and sound design work gives us an unrivalled knowledge base with which we can tailor a system to meet your needs, no matter what the requirement.
Location Multi-track System
Fostex PD -6 six channel mixer and hard disk/DVD -R mulltitrack recorder Tracking Location Recording Cart Folds down for easy transport with equipment ready to go; Fits through standard doorways K-Tek 5m Carbon Fibre Boom Pole Lightweigh t and strong pole for drama production Mains & UPS Battery power for operation with or without mains power of all equipment 2 by 416 Microphones (Radio Mics extra by request) Ideal for simultaneous playback & recording or for multi -channel recording on location.. $ 650.00
The Ultimate Portable Tools
Yamaha DM2000 24/96 Digital Mixer and DAW Controller ProTools HD3, Mac G5, Dual 300GB SCSI, 3.2 GHz, 48 Channels Bluesky Monitors 5.1 Non Linear Digital Video Capture & Playback.... $

1,750.00

MULTI-TRACK RECORDERS

Hard Disk

Fostex Protools Protools Tascam Tascam Tascam PD-6 HD3 X48 MX2424 RC2424 SX1 Portable DVD -R & Hard Disk six channel mixer and recorder.. $ 16 Input/Output, 96 kHz/24 -bit capable, with 48 Tracks... $ 48 Track Hard Disk Recorder/ 96/ 24 Bit... $ 24 Track, 96 kHz/24 -bit capable, Hard Disk Recorder.. $ Remote for MX2424... $ Workstation 16 Track Time code.. $ 360.00 900.00 325.00 250.00 50.00 200.00

Eight Track Tape

Alesis Tascam Tascam 2 ADAT XT DA88 DA98 ADAT 16 -bit Digital Recorder (Vintage)... $ 16-bit Recorder with Timecode.... $ 16-bit Recorder with Timecode.... $
S O S Com m uni c ati ons , 42 B el m or e S tr eet, S ur r y Hi l l s NS W 2010 P h : + 61 ( 0) - 0077, F ax: + 61 ( 0) - 0077 E - mail : s os c om m s @z i p.c om.au W eb : www.s oundons tage.c om.au

65.00 132.00 132.00

SOS Communication s Tascam Tascam DA78HR DA98HR DTRS Hi-Resolution 24 Bit Recorder with Timecode.. $ DTRS Hi-Resolution 24 Bit Recorder with Timecode.. $ 150.00 200.00 88.00

Accessories

Tascam RC898 Remo te-DA38,DA78,DA88,DA98... $ Please specify input/output loom requirements for all recorders.
DIGITAL AUDIO WORKSTATIONS
Protools HDAnalogue/Digital I/O; SINC -IO; Mac G 5, 2x 300GB... $ 550.00

TWO TRACK RECORDERS

Location DAT Recorders
Tascam DA-P1 Portable DAT Recorder +48V, Carry Case & Accessories.. $ 132.00

Portable Recorders

Tascam 360System Sony Sony Tascam Tascam Tascam Tascam Tascam Tascam Tascam Tascam HD-P2 DR554-24 SDB-900 TH-500 DA-20 MkII DA-302 DA-45HR DA-60 RC-6 MD-301MkII MD-801R CD-D4000 Z4 Portable Compact Flash Stereo Studio Recorder , with time code capabilities.. $ Stereo Instant Replay Unit, D -Net.. $ DAB/ FM Stereo/ AM... $ FM Stereo/ AM.... $ Studio DAT Master Recorder... Dual DAT Deck, SPDIF, Analogue... Hi Resolution 24 -bit DAT R ecorder... Timecode DAT Recorder... Remote for DA60.... $ $ $ $ $ 150.00 220.00 80.00 80.00 77.00 143.00 154.00 200.00 33.00 80.00 80.00 165.00 165.00

AM/FM/DAB Off-Air Tuners

DAT Recorders

Mini-Disk Recorders

MD Recorder Digital I/O 3RU... $ MD Recorder Digital I/O 3RU... $ CD Duplicator 4x Speed... $ Professional Sampler.... $

CD Duplicator Samplers

Analogue Recorders & Accessories Cassette
Marantz Marantz Otari Tascam Tascam Tascam Revox PMD-330 PMD-510 DP-122B BR20T PR99 Dual Cassette Recorder... Dual Cassette Recorder... Cassette Dupli cator... Cassette Recorder... Cassette Recorder... Two Track Reel to Reel Recorder 7.5/15 IPS... Low speed logging Recorder... $ $ $ $ $ $ $ 88.00 88.00 88.00 55.00 55.00 100.00 85.00

DVD AND CD PLAYERS

DVD PLAYERS & RECORDERS
Samsung Teac Panasonic Panasonic LG DVD-D5000 DV2000 NV-VP31 ES-5-Disc DVD Carousel Player... $ Single Disk DVD Player.... $ DVD/VCR Player.... $ DVD Recorder with Hard Drive (Includes: Digital TV Tuner). $ DVD Recorder with Hard Driv e (Includes: Digital TV Tuner). $ 66.00 33.00 75.00 110.00 110.00
This range is constantly being updated. Please call for all of the latest products and prices.

CD PLAYERS

Marantz Marantz Tascam Tascam Denon Stanton Denon PMD321 PMD330 CD450 DA-302 DN2000FMkII 500 DCM-280 CD Player Digital Out.... CD Player Digital Out.... CD Player Digital Out.... Dual CD Player (DJ Type)... DJ's Disco Dual CD Deck RC... Dual CD Deck, Loop Fn, Pitch shift... 5 Disk CD Changer...

$ $ $ $ $ $ $

55.00 55.00 55.00 110.00 80.00 100.00 66.00 3

SOS Communications

SPEAKERS AND ACCESSORIES

REINFORCEMENT SPEAKERS

Passive Speakers
Bose Bose Bose Bose EV EV EV EV EV EV EV EV/Alte c Meyer JBL JBL JBL JBL JBL JBL JBL JBL Quest Quest Turbo Yamaha Yamaha Yamaha SOS EV db Tech. JBL JBL Quest Quest RCF Yamaha JBL JBL JBL Quested Quested Tannoy Yamaha Dynaudio Dynaudio Dynaudio Blue Sky Fostex Yamaha Yamaha Yamaha Yamaha Yamaha Berhringer 802 502A MTL-2B S15ME SX300 T221M Xi-1082 XI-1122/85 XI-1183 VI-12 UPA1 Eon 10P Eon 15 MR822 MR825 WSP264V WSP264HD WS215 WS254 QS250 QS350 Impact 120 S112IV S115I V S-15 Custom SB120A Opera 110 Eon Sub Eon 15P QSA200 QSA300 Art-300A MSH108 HQ210 Reveal NS10MST AIR-15 AIR-15 BM15A SAT5 6301B3X MS101II MS202II MSP10 MSP5 MSP3 B2031A Corporate Speaker... $ Corporate Speaker... $ Corporate Speaker... $ Corporate Speaker... $ X-Array Theatre Subwoofer 2x18".. $ 15 Fold b ack wedge... $ 12" 2 -way FOH/FB Speakers... $ 12"/2" biamp Low -Profile FB wedge... $ X-Array.... $ 12" 2 -way X -Array Theatre 300W... $ X-Array Theatre 18"/12"/Flare.... $ Vari-Intense Down Fill... $ Compact Speakers (Processing)... $ 10" Two -way FOH Speakers... $ 15" Two -way FOH Speakers... $ 12" Two -way FOH Speakers... $ 15" Two -way FOH Speakers... $ Long Throw Mid High Box - Outdoor... $ Long Throw Bass Box (Subwoofer) -Outdoor.. $ Short Throw - Dual 15 Subwoofer... $ Short Throw Mid High Box... $ 12" Two -way FOH Speakers... $ 15" Two -way FOH Speakers... $ 12" Two -way FOH Speakers... $ 12" Two -way 300W... $ 15" Two -way 500W... $ Mini Speaker.... $ Concert Systems available on request.. $ 12" 10" 15" 15" 12" 15" 15" 15" Powered Two -way Powered Two -way Two -way Two -way Two -way Two -way Subwoofer 300W.... Powered 100W... Sub -woofer 250W... Powered 180W... Powered 100W... Powered 200W... Powered 360W... Powered 400W... $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ 50.00 50.00 50.00 20.00 165.00 66.00 66.00 88.00 75.00 100.00 165.00 110.00 POA 66.00 66.00 66.00 66.00 100.00 200.00 100.00 100.00 66.00 66.00 66.00 66.00 88.00 66.00 POA 66.00 44.00 66.00 66.00 44.00 66.00 66.00 66.00 55.00 88.00 100.00 100.00 250.00 55.00 55.00 200.00 200.00 200.00 220.00 55.00 55.00 55.00 66.00 55.00 55.00 60.00

Active Speakers

Passive Studio Monitor Speakers (pair)
8" Two -way Studio Monitor.... 10" Three -way Studio Monitor.... 12" Three -way Studio Monitor.... 8" Two -way Studio Monitor... Double 10" Three -way Studio Mid Field... 6" Two -way Studio Monitor.... Studio Monitor 61/2" 2 -way 60W...

Active Studio Monitor Speakers (pair)
12 Two -way Digital/Analogue Near Field System (each).. $ Dial 12 Active Sub to go with AIR -20 System (each).. $ Single 8.... $ Active 5.1 Monitor System w/ Bass Management Controller.. $ Shielded Powered Monitor.... $ 4" Powered 10W... $ 2 x 4" Powered 20W... $ Powered 8" 2 -way.... $ Powered 5" 2 -way 67W.... $ Powered 3" 2 -way 30W.... $ Powered -way.... $

SURROUND SOUND SYSTEMS

Dynaudio Dynaudio Dynaudio Blue Sky Blue Sky AIR-15 AIR-15 SAT5 SATTwo -way Digital/Analogue Near Field System (each).. $ Dial 12 Active Sub to go with AIR -20 System (each).. $ Remote Control for AIR System... $ Active 2.1 Monitor System w/ Bass Management Controller.. $ Active 5.1 Monitor System w/ Bass Management Controller.. $ 55.00 55.00 55.00 120.00 220.00
This range is constantly being updated. Please call for all of the latest products and prices. 4
HEADPHONES AND IN-EAR MONITORING
Fostex Fostex Koss/Rolls Koss Koss T20 T40 UR20 TD61 Closed Stereo Studio Headphones... Closed Stereo Studio Headphones... Full Orchestral Headphone System Up to 80 with distribution amplification. Dynamic Headphone... Dynamic Headphone... $ $ $ $ $ 33.00 33.00 POA 22.00 22.00

HEADPHONE AMPLIFIERS

Rolls RA53 Headphone Amp... $ Rolls RA62 Headphone Amp... $ Orchestral Headphone Systems available upon request - Up to 150 Channels. 44.00 44.00

IN-EAR MONITORING

Sennheiser Shure EW IEM PSM600 UHF Wireless In Ear Monitoring... $ UHF Wireless In Ear Monitoring... $ 132.00 132.00

SPEAKER ACCESSORIES

Avico FS18 Universal Black Tripod Speaker Stand... $ 22.00

4. AMPLIFIERS

PA AMPLIFIERS
Crest Crest Crown Crown Crown EV EV EV QUEST Murray Yamaha Yamaha CA6 VS900 CE1000 CE2000 XLS602 P2000 P3000 Q66 PA3000 MA 534 P3200 P4500 Power Amplifier.... Power Amplifier.... 275W/Ch @ 8 ohm Stereo... 400W/Ch @ 8 ohm Stereo... 400W/Ch @ 8 ohm Stereo... 500W/Ch @ 8 ohm Stereo... 750W/Ch @ 8 ohm Stereo... 300W/Ch @ 8 ohm Stereo... 300W/Ch @ 8 ohm Stereo... 100W/Ch @ 8 ohm Stereo... 340W/Ch @ 8 ohm Stereo... 460W/Ch @ 8 ohm Stereo... $ $ $ $ $ $ $ $ $ $ $ $ 110.00 110.00 88.00 88.00 88.00 88.00 110.00 88.00 88.00 55.00 88.00 88.00

100V LINE AMPLIFIERS

Aust Monitor Interm 250W Power Amplifier... $ 350W Power Amplifier... $ 110.00 150.00
INDUCTION LOOP AMPLIFIERS (HARD OF HEARING ASSISTANCE)
Aust Monitor AMIS4 8P Power Amplifier... $ This range is constantly being updated. Please call for all of the latest products and prices. 110.00
SPLITTERS AND DISTRIBUTION AMPLIFIERS

DI Boxes

LA Audio Behringer Behringer BSS DIX Ultra DI DI20 DI Passive DI Box... Active DI Box.... Two Channel Active DI/Splitter Box... DI Box.... $ $ $ $ $ $ $ $ $ 33.00 10.00 10.00 33.00 88.00 55.00 55.00 88.00 100.00

Distribution Amplifiers

SCV DA28 2:8 Audio Distribution Amplifier... Sedco DA5-10 2:10 Distribution Amp.... Tascam LA40 Stereo Balancing Amp... IRT DA 2:8 Audio Distribution Amplifier... Sony PFA-100 2:800 Distribution Amplifier... Many other distribution solutions are available on request.

Splitter Systems

Klark-Teknik XTA DN1248 DS12 ch Active 4 -way Mic Splitter 64 Channels Available in blocks of 12 by 36 out. $ 8 Channel Active Mic/Media Splitter 48 Channels Available in blocks of 8 by 24 out. $

200.00 150.00 5

MICROPHONE PREAMPLIFIERS
Neve Neve Neve Neve Yamaha Behringer Yamaha RME 1073 1073EQ MLA7 ADA8000 AD24 Micstasy 2 Channel Mic Preamp.... $ 2 Channel Mic Preamp (With EQ)... $ 2 Cha nnel Mic Preamp (With EQ)... $ Single Channel Strip... $ 8 Channel Mic Pre -Amp... $ 8 Channel Analogue to Di gital (ADAT) Mic/Line Preamp... $ 8 Channel Mic Preamp.... $ Remote Controlled Pre -Amplifier (MADI Optical Fibre Interconnection). $ 150.00 250.00 250.00 200.00 55.00 80.00 75.00 250.00
HI-FI AND SURROUND SOUND AMPLIFIERS
Yamaha Yamaha Denon CR-840 AC3 AVR2803 Natural Stereo Receiver/Amp... $ Surround Processor only DDP2... $ Surround Amplifier with RS232 Control... $ 66.00 70.00 66.00
Domestic surround speakers are also available for monitoring. This range is constantly being updated. Please call for all of the latest products and prices.
MUSICAL INSTRUMENT AMPLIFIERS
Marshall Yamaha Yamaha VBA 400 DG60 FX770 400W Valve Bass head.... $ Dual Watt guitar amp w/ digital modelling and FX.. $ Guitar preamp/FX, 99 presets... $ 110.00 110.00 88.00

5. MIXERS AND WORKSTATIONS 5.1 DIGITAL MIXERS

24Bit/96kHzConsoles

Yamaha Yamaha Yamaha Yamaha Yamaha Yamaha Yamaha Yamaha Yamaha Tascam Aviom Aviom Aviom PM5D DM2000 M7CL-32 DM1000 LSC9-16 LSC9-32 O1V96 O1V O2Rv2 TM-D4000 AN16I 16/0-Y1 Card 16 Way RH.... 96 ch 8 -bus 24 bit/96 kHz mete r bridge... 32 Channel, ch 8-bus bit/96 kHz meter bridge.. 48 ch 8 -bus Meter Bridge... 16 ch 16/8.... 32 ch 32/16... 24 ch 4 -bus... $ $ $ $ $ $ $ POA 550.00 500.00 330.00 280.00 430.00 198.00 70.00 150.00 330.00 POA POA POA

48kHz Consoles

24 ch 4 -bus.... $ 40 ch 8 -bus Meter Bridge... $ 24 ch 8 -bus.... $ Personal Monitor Mixer (Quantity Available 10).. $ To suit: Yamaha DM -2000.... $ Digital Multicore... $

Foldback System

Complete package available with Yamaha DM -2000 for total monitoring solutions.

ANALOGUE MIXERS

Battery Powered Mixers/ Field Mixers
Rolls Behringer Audio Devs MX422 UBB1002 16CH Location Mixer.... $ Battery Powered Mixer... $ 16 Channel Analogue Location Mixer.. $ ch FOH/Monitor; 8 VCA; 8 Group... ch 10 VCA, Mute Groups... ch, Mute Groups.... ch, Mute Groups.... $ $ $ $ 180.00 75.00 400.00 495.00 440.00 250.00 150.00 330.00 85.00 198.00 60.00 45.00 50.00 65.00 75.00 80.00 100.00

Large FOH/FB Mixers

Allen & Heath ML5000 Ramsa WR-SX1 Mackie ONYX-4880 Mackie ONYX-2440

Rack Mount Mixers

Yamaha Allen & Heath Yamaha Behringer Yamaha Yamaha Yamaha Yamaha Yamaha Yamaha 6 DM1000 WZ16:2DX 01V96 RX1202FX MG10/2 MG12/4 MG16/4 MG16/6fx MG24/14fx MG32/14fx ch 8 -bus Meter Bridge... $ ch, 6 Aux, Direct Out, Rack Mount... $ ch 4 -bus... $ ch 2 -bus... $ Ch, 2 aux, 2 bus.... Ch, 2 Aux, 4 bus.... Channel 2 aux, 4 bus... Channel 3 aux, 6 bus... Channel 14 busses, dual SPX digita l effects.. Channel 14 busses, dual SPX digital effects.. $ $ $ $ $ $

Yamaha MG Series Mixers

POWERED MIXERS

Desk Top

SOS Yamaha Yamaha Yamaha Yamaha Yamaha Behringer EMX1000 EMX2000 EMX5000 -12 EMX5000 -20 EMX68S EMX640 PMX26 ch Built in FX 2 x 500W... Input Desk Top, Built In Digital FX, 2 x 200W... Input Desk Top, Built In Digital FX, 2 x 400 W.. Input Desk Top, Built In Digital FX, 1000W.. $ $ $ $ 80.00 55.00 65.00 75.00 165.00 135.00 165.00

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
150.00 55.00 100.00 55.00 55.00 55.00 55.00 44.00 44.00 50.00 88.00 55.00 100.00 100.00 30.00 45.00 7
Neumann Neumann Neumann Neumann Rode Rode Rode Rode Schoep s Sennheiser Shure Peavey Popless Microphones AT Crown Crown Crown Crown
KM84 M149 U87 U87 Classic NT2A K2 NTK CMC-5U MKE-2 KSM-32 PSU948 VCA-35C AT849R CM100 SASS-P-MkII PCC160 PZM30D
SOS Communications Condenser Microphone... $ 45.00 Condenser Microphone... $ POA Large Diaphrag m Condenser Microphone (Matched Pair).. $ 185.00 Large Diaphragm Condenser Microphone.. $ 65.00 Valve Studio vocal Microphones... $ 66.00 Studio vocal Microphones (12 Available).. $ 45.00 Valve Studio vocal Micro phones... $ 66.00 Studio vocal Microphones... $ 45.00 Pencil Condenser Variable Pattern... $ 50.00 Lapel Microphone to XLR needs +48V... $ 44.00 Electret Condenser Studio Vocal Microphone... $ 40.00 Quad Phantom Power Supply +48V... $ 22.00 Pop filter and gooseneck for studio vocal microphone protection anti poping. $11.00 6.3 Boundary Stereo boundary... Hand Held Omni PZM.... Stereo PZM Microphone, Binaural Baffle... Boundary Microphone.... PZM Microphone... $ $ $ $ $ 88.00 44.00 88.00 44.00 30.00
RIBBON VINTAGE MICROPHONES
STC RCA RCA RCA Shure Beyer Raven RCA 4033 44BX 77DX BK5A 55S M8000 Various Various Vintage Ribbon Microphone... Vintage Ribbon Microphone... Vintage Ribbon Microphone... Vintage Ribbon Microphone... "Birdcage" Vintage Microphone (Available in Silver or Gold).. $ Retro Dynamic Microphone.... $ Various Microphones (Different colours)... $ Vintage Boom Stands.... POA POA POA POA 44.00 44.00 50.00 POA

SHOTGUN MICROPHONES

AT AT AT EV Sennheiser Sennheiser Rode Rode Rode 815A RE45 MKE416 MKENG1 NG2 Shotgun... Medium Shotgun... Long Shotgun.... Shotgun... Medium Shotgun Standard Dialogue/ SFX Microphone.. Long Shotgun for Noisy Conditions... Shotgun Microphone... Shotgun Microphone... Shotgun Microphone... $ $ $ $ $ $ $ $ $ 33.00 55.00 88.00 55.00 88.00 88.00 35.00 35.00 35.00

WIRELESS MICROPHONES

Sennheiser Sennheiser Sennheiser Sennheiser Sennheiser Sennheiser Sennheiser Sennheiser Shure Shure Shure Vega Vega SOS SOS EK100 EM100 EM300 EM500 EW500 SK100 SK300 SKM500 ULX UT1420 - T C UC4 PL2 RMT14 HSMIC TPACK Receiver - BODYPACK.... $ 55.00 Receiver.... $ 55.00 Receiver.... $ 55.00 Receiver.... $ 55.00 Belt pack Transmitter.... $ 55.00 Belt pack Transmitter.... $ 55.00 Belt pack Transmitter.... $ 55.00 Handheld Transm itter.... $ 55.00 Beta 58 + ULXP RX Wireless Systems.. $ 160.00 Instrument Wireless System c/w cables... $ 120.00 Belt pack/ Handheld Transmitter with Receiver... $ 125.00 Belt pack Receiver... $ 55.00 Rack mount Transmitter... $ 55.00 Various brands of headset microphones available to compliment belt pack systems.. From 45.00 Theatre packages c/w antenna distribution.. POA

EQUALISERS AND CROSSOVERS (DRIVE)
BSS BSS BSS DBX DBX DBX EV EV Klark Teknik Orban Orban Yamaha Yamaha Yamaha Yamaha Yamaha Yamaha Ramsa Tascam DPR-404 DPR-901-II FCS-DX38 EQ-231 DN360 622B 672A Q1131 Q2031B C20A DEQ5 YDG2030 YDP2006 WZ-DM54 LA-Ch Compressor/De -esser... Dynamic Equaliser 4 bands mono.. Varicurve EQ/analyser slave stereo... Graphic Equaliser Stereo 31 band... Graphic Equaliser Stereo 31 band... Drive Rack.... Digital 4 -way Mono or 2 -way St. X -over... Graphic Equaliser Stereo 31 band... Graphic Equaliser Stereo 31 band... Parametric EQ Stereo 4 band.... Parametric EQ Mono 8 band; HPF; L PF... Graphic Equaliser 31 band... Graphic Equaliser Stereo 31 band... Digital X -Over Processor... Digital 30 band GEQ/6 band p/m eq St... Digital 30 band gra phic Equaliser St.. Digital 6 band Parametric EQ St/12 band mono.. Crossover/ Equaliser... Low Impedance Adaptor Interfacing (Unbalanced Equipment to Balanced). $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ 66.00 55.00 88.00 66.00 66.00 66.00 66.00 66.00 66.00 55.00 55.00 55.00 55.00 55.00 66.00 66.00 66.00 66.00 35.00
DIGITAL DELAY AND EFFECTS
A&D DBX DBX Dynacord Lexicon AD1 DDP Quantum TE2 PCM70 Ambisonic Decoder.... Digital Stereo Compressor, limiter, gate, de -esser.. Digital Proc. 24/96 multi -band dynamics.. Vintage Tape echo.... Digital Reverb Stereo....

$ $ $ $ $

55.00 66.00 88.00 POA 66.00 9
Lexicon Rane TC Elec. Yamaha Yamaha Yamaha Yamaha Yamaha
960 AD22D System6000 ProR3 Rev500 SPX990 SPX2000 D5000
SOS Communications Multi Engine Reverb... $ Digital Delay Frame Unit... $ 8 dig. I/O AES, Icon Remote... $ Digital Rev St. 90 presets; comp, rev eq... $ Digital Reverb Stereo 100 preset... $ Digital; 80 preset; rev, EQ, mod, pitch, comp... $ Digital Multi effects unit.... $ Digital Delay Stereo... $
350.00 55.00 440.00 66.00 66.00 66.00 66.00 55.00
ANALOGUE TO DIGITAL AND SAMPLE RATE CONVERTERS
Philips IS5022 Sound Enhancer SRC; de -noise e tc... $ 88.00 An additional range of convertors are available on request.

MIDI DEVICES

Akai Yamaha Roland ME100 MDF3 RC2 Midi Digital Delay.... $ Midi Data Filer.... $ Remote Scene Changer... $ 45.00 45.00 45.00
8. PRESENTATION & CONFERENCE EQUIPMENT

LECTERNS AND PODIUMS

Lectern Australia Lectern Australia Lectern Australia SOS SOS AL2000 CS-265 AL200 PD1 CLRPS Metal Lectern; Gold or Silver; 2xMici/p... Lectern; Built in amplifier and speakers... Basic Lectern; Black; 1 x Mic i/p... Dressed podium for video projector... Clear Perspex Lectern... $ $ $ $ $ 132.00 165.00 88.00 33.00 185.00
Custom Lecterns available on request.
TELEPHONE INTERFACE AND HYBRIDS
Comrex Mardom Gentner Gentner GentnerAP10 Vector Waves SPH10 TH2 Telephone Hybrid Telephone Interface... 2.4GHz Microwave Tx Rx System... Telephon e Hybrid Unit... Telephone Hybrid Unit... Unit.... $ $ $ $ $ 330.00 330.00 220.00 220.00 220.00

AUDIO CONFERENCING

Creator Bosh Bosh Milab Marrantz Polycom BSCPCK DCN CCS408000 CM32 570D SOUNDSTATION Complete Conferencing System non -voting (Inc. Chairman Unit & CCU) 21 DEL. $ Digital Congress Network... $ Conference System Chairmans + Delegates Units.. $ Confere nce Microphones c/w table stands/ conference microphones 36 units. $ Solid State (Compact Flash) Conferencing Recorder... $ Telephone Conferencing... $ 500.00 POA POA 275.00 130.00 100.00

VIDEO CONFERENCING

Creator Tandburg VOTEPCK PORTABLE Complete Voting/ Camera Tracking/ Streaming Conferencing System.. $ Portable Video Conferencing (4 x ISDN, 1 x LAN) Includes Camera, 2 Mics & CCU. $ POA 500.00
MEGAPHONES (BATTERY POWERED)
Toa AT AT 50W 20W 10W Portable Megaphone shoulder mounts.. $ Portable Megaphone hand held... $ Portable Megaphone hand held... $ 55.00 45.00 24.00
PORTABLE PAS (BATTERY POWERED)
Art 100W Art 50W Ashton 50W MiPro MA707 MiPro MT-801 DB Audio Opera 110 Portable PA/ Complete with DVD Player , 2 x Radio Mics (Hand Held/ Lapel). $ Portable PA/ Complete with DVD Player, 2 x Radio Mics (Hand Held/ Lapel). $ Portable PA/ Complete with CD/ Cassette, Single channel radio Mic.. $ Portable Battery PA Sys tem (Complete with lapel or hand held single channel). $ Belt pack transmitter for MA707... $ Portable Battery PA System w/16 Ch RF Microphone.. $ 100.00 75.00 75.00 65.00 55.00 55.00

COMPUTER EQUIPMENT

MAC IBM IBM HP 10 GCore 2 Due 3.2 / 2GB RAM/ DVD Bur ner/ 300GB... Pentium 4 2.2Ghz/ 1GB RAM/ DVD Burner/ 160GB.. Core 2 Due 3.2Ghz/ 2GB RAM/ DVD Burner/ 200GB... Core 2 Due 3.2Ghz/ 2GB RAM/ DVD Burner/ 200GB...

$ $ $ $

250.00 80.00 240.00 240.00
SOS Communication s SOS VFS4 Video File Server 4 Ch. Hard Driv e... $ 350.00
9. VIDEO AND PRESENTATION EQUIPMENT

VIDEO PROJECTORS

PORTABLE Panasonic Panasonic Panasonic Panasonic Panasonic PT-LM1E LB20 LB50 LB51 LB55 Data/ Video Projector.... Data/ Video Projector.... Wireless Projector... Wireless Projector... Wireless Projector... $ $ $ $ $ 50.00 65.00 85.00 85.00 100.00
A number of accessories are available with the portable projectors please advise your requirements. CONFERENCE & AUDTORIUM Panasonic Panasonic Panasonic Panasonic Mitsubishi PT-L5600DLP PT-L4000DLP PT-L6610LCD PT-L5100DLP XD-450U Data/Video 5000 ansi XGA Complete with Multimedia Lens (Other lens aval. On req) Data/Video 4000 ansi XGA Complete with Multimedia Lens. Data/Video 3600 ansi XGA Lens selection available depending on requirements.. Widesceen Cinema Projector 500 ansi 16:9 Format.. 4:3 XGA Ultra Short Throw Projector.. $ $ $ $ $ $ $ $ $ $ $ 500.00 450.00 430.00 500.00 100.00 150.00 150.00 150.00 150.00 POA POA

SPECIALISED LENS Panasonic ET-DLE50 Short Throw Lens.... Panasonic ET-DLE300 Long Throw Lens.... Panasonic ET-DLE200 Medium Throw Lens... Panasonic ET-DLE410 Lens..... Custom 1.5-2 Short Throw Cinema Lenses... Custom 2.5-4 Long Throw Cinema Lenses.. Many other lenses are available depending specific site requirements. OVERHEAD 3M 9200

Overhead Projector.... $

PROJECTOR SCREENS
PORTABLE (FRONT PROJECT) SOS 6'x6' SOS 8'x8' SOS 6'x6' SOS 8'x8' Tripod Screen 6' x 6' Front Project... Tripod Screen 8' x 8' Front Project... Pull-up Screen 6' x 6' Front Project... Pull-up Screen 8' x 8' Front Project... $ $ $ $ 75.00 85.00 75.00 85.00 100.00 120.00 130.00 165.00 165.00 176.00 176.00 187.00 POA
MORTORISED (FRONT PROJECT) SOS 88 Diagonal 1.8m Wide 16:9 Format... $ SOS 100 Diagonal 2.2m Wide 16:9 Format... $ SOS 120 Diagonal 3.0m Wide 16:9 Format... $ FASTFOLD (FRONT/ REAR PROJECT) SOS 10 x 7.5 Front Project.... SOS 10 x 7.5 Rear Project.... SOS 12 x 9 Front Project.... SOS 12 x 9 Rear Project.... Front Project Truss Screens SOS 14 x 10.5 Cinema Screen SOS 50 $ $ $ $
Front Project.... $ Front Project.... $
Large format screens are available on request. Installation and power requirements and rigging need to be ratified before these screens can be used.

VTRS AND ACCESSORIES

Video Tape (VHS, S-VHS & Betacam)
Sony Sony DIGIBETAC UVW-1800P DVD-D5000 Digi Beta Cam.... $ VTR Betacam.... $ DVD,VCD,CDA,MP3 Player & VHS,SVHS Recorder.. $ 485.00 100.00 110.00

DVD Player

Samsung
DVD/ Hard Drive Recorder/ Player
Panasonic LG SOS Datavideo

ES-VFS4 DN-100

SOS Communications DVD Recorder wi th Hard Drive.... $ DVD Recorder with Hard Drive.... $ MPEG File Server, Four Independent Synchronous Outputs.. $ DV Bank, Digital Video Recorder (5 hrs) c/w DAC -100.. $
110.00 110.00 275.00 110.00
Non-Linear Video Systems (Hard Drive)
VIDEO PLASMA MONITORS AND STANDS AND ACCESSORIES
Panasonic LG Panasonic SOS SOS SOS HD HD HD HD 65" HD Plasma Screen... $ 60" HD Plasma Scr een... $ 50" HD Plasma Screen... $ 42" HD Plasma Screen... $ Table mount st and.... $ Wall mounting bracket... $ Free standing structure capable of up to 2 Plasmas.. $ 550.00 440.00 440.00 330.00 33.00 POA POA
VIDEO MONITORS AND ACCESSORIES
Panasonic Panasonic Panasonic Panasonic Data Video Teac Allen Avionic IRT BTD2020PY BT-S1415 DA WV-BM990 WV-CM1020 TLM-404 CT-M342H HEC2000H AVI 1010 Colour Vision Monitor 20" Grade 2... $ Colour Vision Monitor 14"... $ B/W Vision Cueing Monitor 9".... $ Colour Vision C ueing Monitor 10".. $ 2RU Rack of 4 TFT LCD Monitors.. $ 34 cm Colour Television... $ Video Hum Eliminators BNC... $ Active Video Isolator... $ 110.00 110.00 66.00 66.00 110.00 55.00 33.00 44.00

200.00 150.00 100.00 250.00

TRIPODS

SLIK PRO 700DX Professional Camera Tripod with Fluid Head... $ 50.00

COMMUNICATIONS

Telex Telex Jands Jands Jands Gamma Beyer E1-B2 BTR400 E400 E200 EDT108 Binaural Beltpa ck Station Quantity available 40 with Master Stations. Radio Systems with Clear Scan Master & 4 Belt Packs... 4ch Master Station Talkback... 2ch Master Station Talkback... 1ch Cable d Beltpack for above... Talkback Headset.... Talkback Headset.... $ $ $ $ $ $ $ POA 400.00 88.00 45.00 22.00 33.00 33.00
Microwave Links (Audio and Video) are available on request.

MUSICAL INSTRUMENTS

PIANOS Yamaha Yamaha Yamaha Fender Wurlitzer ORGANS Hammond Leslie Korg Korg DC7 P200 P250 Rhodes Stage Piano BBX-3 CX-3 7'6" Concert Grand Piano Disklavier Full Midi (In t ouring roadcase). Digital Electric Piano - Weighted Action... Digital Electric Piano - Weighted Action... 88 Note Piano.... Original Electric Piano complete with sp eaker.. $ $ $ $ $ 1,100.00 275.00 275.00 275.00 275.00 385.00 220.00 350.00 275.00 60.00 65.00 60.00 60.00 60.00 60.00 60.00 60.00
Organ.... $ Rotating Speaker.... $ Digital Dual Keyboard -Substitute with all B3 features.. $ Digital Hammond B3 Substitute... $ Piano Module.... $ Piano Module.... $ Combo Amp... $ Combo Amp... $ Combo Amp... $ Bass Combo Amp.... $ Bass Amp Head.... $ Bass Cabinet 8 x 10... $
KEYBOARD MODULES Kurzweil MicroPiano Yamaha P50M GUITAR AMPS Yamaha DG60 Fender TWIN Ashton GA100 BASS AMPS Ashton Marshall Ampeg BA150 VBA400 B810

LIGHTING & STAGING

Jands Jands HP1 12ch Lighting Dimmer... $ StageChannel Lighting Console... $ Lighting packages available on request.... $ 75.00 70.00 POA

CONSUMABLES

Nashua Nitto Duracell 355 ET1 Procell 2" Gaffer Tape Black or white... $ Electricians Tape (leccy)... $ 9V Battery.... $ 3M Optical Cable.... $ 5M Optical Cable.... $ 1/4" 1/2" 1" x 2" x 1/4" 1/4" 1/4" 1/2" 1" x 2" x 1/4" 1/4" 1/4" 1/2" 1" x 2" x x 2500' 10.5 " NAB, Tape Care box... x 2500' 10.5" NAB, Tape Care box... 2500' 10.5" NAB, Tape Care box.. 2500' 10.5" Prec, Tape Care box... x 600' 5" Plastic reel, in box... x 1200' 7"Plastic reel, in box.. x 2500' 10.5" NAB reel in box... x 2500' 10.5" NAB reel in box... 2500' 10.5" NAB reel in box... 2500' 10.5" Prec reel in box.. x 600' 5" Plastic reel, in box... x 1200' 7" Plastic reel, in box... x 2500' 10.5" NAB reel in box... x 2500' 10.5" NAB reel in box... 2500' 10.5" NAB reel in box... 2500' 10.5" Prec reel in box...

25.00 2.50 5.00 12.00 15.00 56.00 97.00 175.00 339.00 15.00 20.00 54.00 95.00 162.00 330.00 13.00 18.00 47.00 81.00 140.00 295.00
12.1 Blank Media & Accessories SOS OC2L SOS OC2XL
Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy 14
Studio Mastering Audio Tape
GP9-17711Y GP9-27711Y GP9-57711Y GP9-97R11Y 499-131111 499-151111 499-174111 499-274111 499-574111 499-97M111 456-131111 456-151111 456-17311J 456-273111 456-573111 456-97G111 $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

499 Grand Master Gold

456 Grand Master

Mastering Tape

Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quantegy Quanteg y SOS SOS SOS SOS

DA8 Digital Cassettes

DA8MP030A DA8MP060A DA8MP113A DAT-R034 DAT-R064 DAT-R094 DAT-R124 MDR074P CDR74 MP DVD-R DVD-RW DVD-R (mini) DVD-RW (mini) 30 Min. DTRS Cassette, Album case,... $ 60 Min. DTRS Cassette, Album case,... $ 113 Min. DTRS Cassette, Album case,... $ 34 minutes, in Plastic case... 64 minutes, in Plas tic case... 94 minutes, in Plastic case... 124 minutes, in Plastic case... $ $ $ $ 21.00 23.00 25.00 11.00 12.10 13.75 14.85 8.25 3.85 POA POA POA POA

DAT Digital Audio Tapes

MDR Recordable MiniDisc
74 min. recordable MiniDisc, in case,... $ 74min, 650MB, Gold, Quantegy branded... $ Suitable Suitable Suitable Suitable for for for for DVD DVD DVD DVD Recorders/ Recorders/ Recorders/ Recorders/ Computers... Computers.. Computers a nd DVD Video Cameras.. Computers and DVD Video Cameras.. $ $ $ $
CDR Recordable Compact Disks DVD Recordable Compact Disks
T ERMS & CONDITIONS OF HIRE
Effective May 1st, 1. LOSS OR DAMAGE: ?The hirer is at all times responsible and liable to SOUND ON STAGE Pt y. Ltd., (hereinafter SOS) for any loss, theft or damage to equipment whilst on hire. Hire period shall be deemed to begin at time of delivery by SOS or pick up by hirer fr om SOS and remain in force until goods on hire are picked up by SOS or returned by t he hirer. The Customer shall ensure that any vehicle that is supplied to the Customer by Sound On Stage will only be driven by persons with an adequate and current license and that the s uch vehicles will be used in accordance with all laws governing their use. 2. IDENTIFICATION & DEPOSIT: The hirer must be able to provide such items of identification as may be required by any member of SOS staff before taking delivery of any hire item. Acceptable proof of identity includes a current photo drivers license, current Australian passport, and valid credit card. A cash security deposit may be required from any hirer who is not an account customer or who is not known to members of SOS staff. 3. DELIVERY & COLLECTION: At the time of delivery by or collection of equ ipment from SOS, the hirer or their agent must sign an official SOS hire agreement accepting receipt of equipment and acknowledging these terms and conditions of hire. All fees relating to the delivery or collection of the equipment on hire will be itemise d on the hire agreement and the hirers signature on the hire agreement will be deemed to be acceptance of these fees. 4. VERBAL UNDERSTANDINGS: The hirer must provide a written order to SOS stating the equipment to be hired, the period of the hire, delive ry and pick up address if applicable and any other arrangements or agreements made verbally with any member of SOS staff. Thi s written order will be the basis of the hire agreement and any subsequent changes to this agreement will not be entertained by SOS unless such changes are notified to and agreed by SOS in writing. 5. CHARGES: A chargeable hire day commences at the time of delivery or pick up and continues until 11.00am the following morning. The hire period will be deemed to have remained in force un til the items on hire are returned to SOS. A hire week is charged at the rate of four days for every seven days of continuous use. Any manual or instruction booklets missing upon return of the goods on hire will be charged at a fixed rate of Twenty Five Do llars ($25.00) for every copy not returned. Any item other than manuals or instruction booklets not returned will be charged at the full retail price of the item or its technical equivalent including any applicable tax, duty or del ivery cost. Any charges f or non-returned goods must be paid at the time of return of the balance of the goods on hire. 6. PAYMENT: Payment for goods hired must be made at the time of delivery by SOS or upon pick up by the client from SOS. Account customers may pay within thirty (3 0) days of invoice. Any discounts negotiated are forfeited by the client if payment is late. SOS reserves the right to charge interest on any outstanding accounts at the rate of five percent per annum (5% P.A.). 7. POSSESSION: The hirer agrees that it will not lease, sub -lease or hire any equipment supplied by SOS to any third party without the express written permission of SOS. In all cases the equipment remains the property of SOS and must remain at the location set out on the hire agreement unless SOS ag rees to its relocation in writing. Removal of equipment for repair, replacement or programmed maintenance by any third party will only be permitted by the express written permission of SOS. The hirer agrees that any equipment supplied for hire by SOS will only be returned by the hirer or his agent or by a member of SOS staff or by a courier agreed to by SOS. In any event, any equipment transported whilst on hire from SOS by any party not SOS remains the responsibility of the hirer. 8. BREAKDOWN: Hire equipm ent that is delivered to the hirer or picked up by the hirer from SOS is accepted by the hirer in good working order. Any breakdowns or fau lts must be reported to SOS immediately they become apparent by telephone or fax otherwise no claim for credit or reduction of charges will be accepted by S0S. In any event, any claim for reduction of charges because of equipment breakdown will only apply from the time of notification of the breakdown to SOS. 9. HIRERS INDEMNITY: The hirer will indemnify SOS against any claim or legal action resulting from injury to, loss or damage incurred by the hirer or any third party as a result of the hirers use of the equipment whilst on hire. 10. WARRANTIES: No warranty is given as to the suitability of hire equipment for any particular purpose whether known to SOS or not. No warranty is authorised other than those stated here. SOS accepts no penalty or cancellatio n of orders due to late delivery if that late delivery is a result of conditions beyond the control of SOS. 11. CANCELLATIONS: SOS, at it s sole discretion, reserves the right to charge a cancellation fee for any order cancelled within Forty Eight Hours (48 Hrs) of the time the equipment to be hired would have been picked up from or delivered by SOS Any cancellation fee will equal no more than Fifty Percent (50% ) of the gross value of the hire as booked.