INTRODUCING STANTON S SUPERIOR SOUND TECHNOLOGY SERIES Engineered from the Ground Up to Bring Breakthrough Audio Performance and Unprecedented Quality

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2 INTRODUCING STANTON S SUPERIOR SOUND TECHNOLOGY SERIES Engineered from the Ground Up to Bring Breakthrough Audio Performance and Unprecedented Quality :: Stanton is proud to announce a new line of DJ mixers that is nothing short of revolutionary: innovative mixers with cutting-edge audio performance at prices working DJs can afford. These mixers include the M.505, M.304, M.303, RM.406, RM.404, RM.402, and SA.5. These were all designed by Stanton's product development team; seasoned audio professionals who have designed world class professional recording studio and broadcast mixers, and product managers who are working DJs and work closely with some of the world s most respected DJs. They have taken their knowledge and experience to create DJ mixers over several product categories and price points with superior audio quality and unprecedented value. Come hear the difference! SST MIXERS OFFER SEVERAL IMPORTANT ADVANTAGES FOR DJs Ultra-Low Noise. Why add noise to your mix when you can have the pure sound of SST? Try this with your current DJ mixer: make sure nothing is playing, then turn all the channel faders and master fader to their maximum positions. Then boost all the EQ's to their highest settings. What you'll probably get is a bunch of hiss and noise. On an SST mixer, you won't hear a thing! Zero Bleed. Another problem common to DJ mixers is channel bleed. For example, let's say you have a CD playing on channel 1 and nothing playing on channel 2. On many mixers, if you were to turn up channel 2's fader all the way you would hear the music bleeding over from channel 1. Again, with an SST mixer all you hear is silence. Better Overall Sound. Because Stanton builds SST mixers with high dynamic range and low distortion, our mixers have a much more clean, transparent sound than the competition. The result is your music will sound the way it was intended, without being "colored" by the circuitry of the mixer. Compare our specs head-to-head with other mixers at a similar price, and you'll find that SST mixers are head and shoulders above the rest. Built to Last. SST mixers are designed using only the highest quality components for longer life and more reliable performance. Did you know that many mixers use circuit boards made of a paper-like material? Spill a drink on that and your mixer is toast. SST mixers use glass epoxy boards for better durability (except M.303). They also feature surface-mount technology, which means if you were to open one up you wouldn't see a mess of wires but a clean design that keeps our mixers so quiet (see photos on opposite page). 2

3 THE BENEFITS OF SUPERIOR SOUND TECHNOLOGY Superior Quality / Excellent Value - Designed from the ground up with audio specifications rivaling mixers costing more than two to four times as much. Ultra Low Noise Circuitry - Dynamic range better than 110 db on all mixers. Cleaner more transparent sound - Lower distortion than other mixers in its class or mixers costing twice the price. (THD+N < 0.015% on the M.304, M.303, RM.406 and SA.5; < 0.005% on the RM.402 and RM.404.) No Bleed - Fader Kill rivaling the best DJ mixers in the market. No bleed through between phono and line signals. (Better than -90 db of signal rejection, -95 db on the SA.5.) Superior Construction - Glass Epoxy PC boards (except on the M.303), surface mount technology, and other hi-tech construction methods usually found on mixers costing many times the price. Interior of Stanton RM.402 Mixer using surface mount technology. STANTON S QUALITY ASSURANCE PROGRAM :: All Superior Sound Technology Series Mixers are individually sound tested using Audio Precision ATS-2 test equipment. We used test methodology that is standard for professional audio equipment. Our manufacturing facility has several Audio Precisions. We run operator assisted semiautomated tests on each mixer. Depending on the mixer, this test takes any where from four to eight minutes. If we were to perform the same test completely by hand, which we do on the prototypes, it would take about four to six hours! At the end of the test, if the unit meets or exceeds our published specifications, a test report is automatically generated with the mixer s serial number. It is then signed by the operator performing the test, and is included in the box of each mixer. In addition, every mixer in the SST Series goes through a careful listening test by highly trained operators. The listening test includes live music tests on each and every control for audio quality, bleed through, clicks and pops, and fader kill. Interior of competitor s mixer. 3

4 M.505 :: The M.505 is a true 5-channel club mixer in a 12-inch chassis. Unlike other so-called "5- channel mixers" that are really four channels plus a mic, the M.505 has five discreet phono/line input channels and a separate mic channel for creating massive mixes. The onboard effects loop offers unprecedented flexibility, making it possible to preview an external effect in headphones and route it to a variety of sources. Factor in Stanton s Superior Sound Technology and high-quality components including a fully assignable Penny & Giles crossfader and the M.505 stands in a class all its own. 20 Hz to 20 khz +1 db Line in to Unbalanced Output Line in to Balanced Output Fader Kill (Channel and Crossfader) Phono/Line Line/Phono Line/Line > 110 db (main signal path) 1 khz True 5-channel design Flexible routing of external FX P&G crossfader 3-band EQ with kill Mix DJs Mobile DJs Club DJs Producer/DJ 5 Line / 5 Phono / 1 Mic / 2 Aux (Mic/Line) / 1 Stereo Return 2 Master / 1 Booth / 1 Record / 2 Headphone / 1 Stereo Send 4

5 M.304 :: With spring-loaded kill switches and an FX loop built in, the M.304 is the perfect choice for DJs who want to get creative with their mixes. And this 10-inch mixer doesn t just look good; it sounds great, too thanks to Stanton s Superior Sound Technology. (Line to Line, Phono to Phono, Line to Line) Fader Kill Channel EQ 20 Hz to 20 khz +1.3dB > 110 db (main signal path) < -92 dbv (Line In to any unbalanced output) Hi +9, -45 db, Kill: -45 db Mid +9, -35 db, Kill: -35 db Low +9, -55 db, Kill: -55 db P&G crossfader 3-band EQ with kill switches FX Send/Return 2 Mic inputs; Balanced Master output Mix DJs Bedroom DJs Mobile DJs Club DJs 6 Line / 3 Phono / 2 Mic / 1 Stereo Return 2 Master / 2 Booth / 1 Record / 2 Headphone / 1 Stereo Send 5

6 M.303 :: Whether spinning house, techno or drum n bass, the M.303 delivers maximum bang for your buck. It s built with Superior Sound Technology and comes with the all the features DJs need: 3-band EQ on every channel, kill switches, a Mic input and more. (Line to Line, Phono to Phono, Line to Line) Fader Kill Channel EQ 20 Hz to 20 khz +1.3dB > 110 db (main signal path) < -92 dbv (Line In to any unbalanced output) Hi +9, -45 db, Kill: -45 db Mid +9, -35 db, Kill: -35 db Low +9, -55 db, Kill: -55 db 3-band EQ with kill switches Balanced Master output Mix DJs Bedroom DJs Mobile DJs Club DJs 6 Line / 3 Phono / 1 Mic 2 Master / 2 Booth / 1 Record / 2 Headphone 6

7 RM.406 :: The RM.406 is the choice for club and mobile DJs who want it all. This 4-channel, rackmount-style mixer has all the essentials (SST technology for pristine audio quality, diffused LEDs and lighted controls) but goes even further by adding an FX Loop, Booth and Subwoofer outputs, and a total of three Microphone inputs. The Subwoofer output uses a high-quality Linkwitz-Riley circuit similar to those found on professional crossovers, eliminating the need for a stand-alone unit. Whether mixing with turntables, CD players or DVD, the RM.406 is ready for anything. 20 Hz to 20 khz +1.5dB > 110 db (main signal path) Line in to Unbalanced Output Line In to Balanced Output < -92 dbv < -88 dbu Line to Phono Line to Line Phono to Line Fader Kill (Channel and Crossfader) < -88 db at 1 khz < -88 db at 1 khz at 1 khz Max Output Level: (Unity Gain- Line Input) +18 dbv Unbalanced +24 dbu Balanced Outputs EQ Mic Channel Sub Woofer Output 3 band +10 db (Baxandall Type) 3 band +9 db/-26 db (Baxandall Type) 12 db/octave Linkwitz-Riley Type 80 Hz to 320 Hz New Illumiknobs and diffused LEDs 3-band EQ with complete kill FX Send/Return Subwoofer output w/ built in crossover Mobile DJs Club DJs 10 Line / 4 Phono / 3 Mic / 1 Minijack (ipod ) / 1 Stereo Return 2 Master / 2 Zone / 1 Booth / 1 Record / 2 Headphone / 1 Subwoofer / 1 Stereo Send 7

8 RM.404 :: The RM.404 is a 4-channel, rackmount-style mixer designed for club and mobile DJs. Superior Sound Technology guarantees pure sound, while new diffused LEDs and lighted buttons and knobs help DJs stay in control of the mix. Of course, there are plenty of inputs for connecting a range of gear including two Mic inputs with separate 3-band EQ. And all of this comes in a great-looking package any DJ can afford! 20 Hz to 20 khz +1.5dB > 110 db Line in to Unbalanced Output Line In to Balanced Output < -92 dbv < -88 dbu Line to Phono Line to Line Phono to Line Fader Kill (Channel and Crossfader) < -88 db at 1 khz < -88 db at 1 khz at 1 khz Max Output Level: (Unity Gain- Line Input) +18 dbv Unbalanced +24 dbu Balanced Outputs EQ Mic Channel 10 Line / 4 Phono / 2 Mic / 1 Minijack (ipod ) 3 band +10 db (Baxandall Type) 3 band +9 db/-26 db (Baxandall Type) New Illumiknobs and diffused LEDs Flexible inputs and outputs 3-band EQ with complete kill Mobile DJs Club DJs 2 Master / 2 Zone / 1 Booth / 1 Record / 2 Headphone 8

9 RM.402 :: The RM.402 raises the bar for mobile mixers with its studio-quality sound and ability to handle the most complex DJ rigs. Even the built-in graphic equalizer is top-quality, thanks to custom circuitry that delivers lower distortion than the EQs found on similar mixers. Whether you use turntables, CD players and microphones or any combination of gear the RM.402 puts it all within reach via a striking new design that s as easy on your eyes as it is on your wallet. (Line to Line, Phono to Line, Line to Phono) Fader Kill Stereo 7 band graphic EQ 20 Hz to 20 khz +1 db < % at 1 khz > 110 db (main signal path) < -98 dbv (Line In to any unbalanced 1 khz High quality gyrator circuitry: 40 Hz, 80 Hz, 160 Hz, 500 Hz, 1.6 khz, 3.2 khz, 6.4 khz + 10 db 3 band +9 db/-26 db (Baxandall Type) 9 Line / 3 Phono / 3 Mic 2 Master / 1 Zone / 1 Booth / 1 Record / 2 Headphone Flexible inputs and outputs Fully assignable crossfader with Fader Start Dual 7-band graphic Master EQ Mobile DJs Club DJs 9

10 SA.5 :: The SA.5 sets the new standard for professional DJ battle mixers by combining unprecedented audio specifications with the right combination of features and feel. Each slider and control has been strategically placed for DJ battles making the SA.5 extremely easy to use on stage. This combined with design know-how translated from the professional studio and broadcast mixer world makes the SA.5 a formidable battle mixer in any price class. (Line to Line, Phono to Line, Line to Phono) Fader Kill Channel EQ 20 Hz to 20 khz +1 db > 110 db (main signal path) < -92 dbv (Line In to any unbalanced 1 khz < -95 db Hi +9, -45 db, Kill: -45 db Mid +9, -35 db, Kill: -35 db Low +9, -55 db, Kill: -55 db Custom P&G faders OSII optical phono/line switches 3-band EQ sliders with complete kill Program Reverse Pro Scratch DJs Turntablists 2 Line / 2 Phono / 1 Session/Mic 2 Master / 1 Record / 3 Headphone 10

11 HOW TO READ THE SPECIFICATIONS What Audio Specifications are Important to the DJ & Why :: How can you tell if one DJ audio mixer is technically better than another? Technical specifications can often seem confusing and hard to decipher. Now that you ve seen our Superior Sound Technology series mixers we would like to give you an appreciation for what each specification means and why it is important to the DJ. This guide will help you make sense of what the technical specifications mean and their significance in the real world. FREQUENCY RESPONSE What is it? Frequency Response is a measure of how accurately the mixer can reproduce the signal level of music across the entire audio frequency range. Why is it Important? A poor frequency response can color the sound or it can also reduce clarity. For example, if the high frequencies roll-off too quickly the music can sound dull; hi-hats and snare drums can lack sparkle. THD+N What is it? This is an abbreviation for Total Harmonic Distortion plus Noise. This number indicates how transparently the mixer will reproduce music without distorting or altering it. Why is it Important? A mixer with low distortion will tend to sound more clean, transparent, or true. A mixer with higher distortion can sound muddy, harsh, or fatiguing. WHAT SPECIFICATIONS MAKE A MIXER WORTY OF THE SST NAME? :: All mixers in the new Stanton s Superior Sound Technology Line must meet exacting audio quality standards, construction, and quality standards. The following specifications are the minimum required for a mixer to be a member of the Superior Sound Technology family. MINIMUM 20 Hz to 20 khz +1.5 db How Do I Tell What s Better? A flat frequency response is better. For example; a frequency response of 20 Hz to 20 khz db is flatter and therefore better than a frequency response of 20 Hz to 20 khz db. A wider frequency response is not necessarily better if it is not flat. A frequency response not followed by a flatness specification is meaningless (example, 20 Hz to 20 khz). NOISE FLOOR, DYNAMIC RANGE, & SIGNAL TO NOISE RATIO What is it? is an absolute measure of the mixer s noise. This is usually measured in dbv or dbu. Dynamic Range is the range or ratio between the maximum signal level before the mixer distorts and the noise floor. Signal to Noise Ratio is the difference in level or ratio between a reference signal level and the mixer s noise floor. How Do I Tell What s Better? A smaller number is better. For example, a THD+N of 0.015% is much better than a THD+N of 0.1% CROSSTALK AND FADER KILL What is it? is a measure of signal bleed. For example how much does the turntable bleed into the channel when the CD is playing? Channel fader kill is how much the signal bleeds through the channel with the fader off. Crossfader kill is how much the off-channel s signal bleeds through to the on-channel s signal. Why is it Important? Bleed-though can kill a performance, especially while doing transform effects or scratching. (Line to Line, Phono to Line, Line to Phono) Fader Kill > 109 db (main signal path) V (Line In to any unbalanced output) < khz Why is it Important? A mixer with a lower noise floor is quieter. A mixer with a wider dynamic range means that you have a lot more room from where you hear the mixer s noise to where the mixer distorts from too high of a signal level. With a wider dynamic range, the mixer is quieter and much more forgiving. How Do I Tell What s Better? A smaller number is better. For example, -90 db of fader kill or line to phono crosstalk is better than -70 db. How Do I Tell What s Better? For noise floor, a smaller number is better and means the mixer is quieter. For example, a noise floor of -95 dbv is better than a noise floor of -85 dbv because -95 dbv is a smaller number. For dynamic range a larger number or ratio is better. For example a dynamic range of 110 db is better than 105 db. Signal to Noise Ratio is a little trickier. For Signal to Noise Ratio to have meaning, it must be followed by a reference signal level. For example, 80 db ref: -10 dbv or 90 db ref: 0 dbv. Unfortunately, in the DJ world, there is no standard reference level. Many times signal to noise ratio is specified without a reference. In that case it has no meaning. This is why we favor using dynamic range instead of signal to noise ratio. Each SST mixer includes a signed individual test report showing that it meets or exceeds published specs 11

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