What is the DerrEsser? The DerrEsser is a multi function dynamic filtering device, in an API 500 series module format. In its basic 'DS' mode, the DerrEsser is an effective level insensitive de-esser which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source. By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner. However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry. The Four Modes of Operation Besides Bypass, there are essentially four modes of the DerrEsser: DS Mode - (Bypass Button IN, all other buttons OUT). As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S's (sibilants) that result from an overly bright singer or from EQ'ing to make a vocal sound aggressive and clear. In this mode the dynamic action is 'level insensitive', as the detector circuitry compares the High Frequency content to the low frequency content, overall signal level doesn't matter at all. When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel Again great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use. We use the latest technology VCA, specially selected for glitch free distortion free and noise free performance. The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover. HF LIMIT - (Bypass Button IN, HF LIM IN, all other buttons OUT). In this mode the DerrEsser looks at the general level of the High Frequencies only. Think of it as a high frequency compressor. If there is enough high frequency content to exceed the threshold. then gain reduction occurs. It IS level sensitive, but responds much more to high frequencies. This mode can also act as a de-esser but is more of a general high frequency smoothing device.The HF limiter 's probably the first carefully tailored soft knee HF limiter in existence. We believe both the DS and HF LIM modes offer the highest performance of any similar device. HIGHPASS - (Bypass Button IN, Listen IN. HP/LP OUT, HF LIM doesn t matter) By using the 'LISTEN' Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio. With the LISTEN button IN, and the HP/LP switch OUT the user will be hearing the high frequencies that are being controlled with the dynamic/compression circuits The corner frequency is adjustable by the Frequency knob. Once the LISTEN switch s engaged all bargraph LED's should light as indication. LOWPASS - (Bypass Button IN. Listen IN HP:LP IN, HF LIM doesn't matter. With the LISTEN button IN, and the HP/LP button IN, the user is now listening to the low frequencies. those not affected by the VCA and dynamic/compression circuits. This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
What is the DerrEsser? The DerrEsser is a multi function dynamic filtering device, in an API 500 series module format. In its basic 'DS' mode, the DerrEsser is an effective level insensitive de-esser which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source. By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner. However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry. The Four Modes of Operation Besides Bypass, there are essentially four modes of the DerrEsser: DS Mode - (Bypass Button IN, all other buttons OUT). As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S's (sibilants) that result from an overly bright singer or from EQ'ing to make a vocal sound aggressive and clear. In this mode the dynamic action is 'level insensitive', as the detector circuitry compares the High Frequency content to the low frequency content, overall signal level doesn't matter at all. When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel Again great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use. We use the latest technology VCA, specially selected for glitch free distortion free and noise free performance. The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover. HF LIMIT - (Bypass Button IN, HF LIM IN, all other buttons OUT). In this mode the DerrEsser looks at the general level of the High Frequencies only. Think of it as a high frequency compressor. If there is enough high frequency content to exceed the threshold. then gain reduction occurs. It IS level sensitive, but responds much more to high frequencies. This mode can also act as a de-esser but is more of a general high frequency smoothing device.The HF limiter 's probably the first carefully tailored soft knee HF limiter in existence. We believe both the DS and HF LIM modes offer the highest performance of any similar device. HIGHPASS - (Bypass Button IN, Listen IN. HP/LP OUT, HF LIM doesn t matter) By using the 'LISTEN' Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio. With the LISTEN button IN, and the HP/LP switch OUT the user will be hearing the high frequencies that are being controlled with the dynamic/compression circuits The corner frequency is adjustable by the Frequency knob. Once the LISTEN switch s engaged all bargraph LED's should light as indication. LOWPASS - (Bypass Button IN. Listen IN HP:LP IN, HF LIM doesn't matter. With the LISTEN button IN, and the HP/LP button IN, the user is now listening to the low frequencies. those not affected by the VCA and dynamic/compression circuits. This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Empirical Labs hat mit dem Distressor EL 8 ein neuartiges Kompressor-Konzept auf den Markt gebracht. Auffälligstes Merkmal sind die schaltbaren Distortion-Modi: im ersten Modus werden röhrenähnliche Verzerrungen und 2. Harmonische produziert, während der zweite Modus die 3. Harmonischen betont, wie sie bei analoger Bandsättigung auftreten. Die Kompressorsektion bietet acht verschiedene Presets, die die Ratio von 1:1 bis 10:1 anbieten. Jedes Preset arbeitet darüber hinaus mit verschiedenen Kennlinien und Attack/Release- Kurven. Dadurch lassen sich pro Preset völlig verschiedene Kompressoren nachbilden. einer der flexibelsten und anwenderfreundlichsten Kompressoren am Markt in den USA bereits Standard in professionellen Studios, vor allem für bass, Vocals und Schlagzeug erstklassige Emulation klassischer Kompressoren wie LA2, LA3, LA4, LN1176, DBX160, Fairchild 670) mit eingebautem Bandsättigung und Röhrensättigungseffekt Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
One of the newer members of the Empirical Labs family is the DocDerr, a 500 series multi-purpose tone enhancement module that houses six different sections of digitally controlled analog processing. With over two years of meticulous development and testing behind it, the DocDerr provides an unprecedented combination of power and musicality in a compact, easy to use format. Empirical Labs' first compressor in the API 500 format.
An extremely low-noise preamp capable of working with line level or instrument level signals, is followed by four sections of EQ combining a two position high pass filter with three parametric bands, each with its own set of carefully tuned frequency presets. An internal jumper can turn the DocDerr into an unparralled instrument preamp with 16dB of gain, ideal for acoustic guitar, bass, synths, exotic plucked instruments, etc.
The versatile EQ is followed by a unique dynamics section which offers renowned Empirical Labs compression at an unprecedented price, and an extremely musical tape emulation circuit that softens and tames high frequencies and transient spikes. We believe it’s the best single knob “knee” compression available in this format.
One of the pivotal features of the DocDerr is the “Mix” knob which allows the user to blend the uncompressed EQ’s signal with the compressed and saturated signal. This parallel compression technique, used by top recording and mixing engineers for many years unlocks a whole world of sonic possibilities.
Like all ELI 500 series modules, the EL-Rx is available with either horizontal or vertically oriented front panel configurations, and is “Linkable” for using our famous compression on stereo sources.
The DocDerr is ideal for tracking, for fine-tuning tracks during mixing, or as a killer solution for the gigging "acoustic" musician in search of studio quality tone control. It is indeed a Tone Doctor…err… DocDerr.
Empirical Labs Distressor
The Empirical Labs Distressor is an automatic gain control device designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.Features:Classic knee sound - With modern noise specs and improved performance. Really grabs.Programmable analog distortion/warmth - helpful in the pristine but unforgiving digital world. Three audio modes providing user programmable, warm harmonic distortion. Emphasized tube-like, 2nd harmonic in clean and Distort 2 mode. In Distort 3 mode, the distortion becomes dominated by 3rd harmonic, more similar to tape.Distortion indicator lights - A 1% LED and a "Redline" (3%) LED. No hard clipping until a few dB past "Redline".Advanced built-in sidechain EQ - High mid band emphasis prevents harsh, edgy guitars or vocals from hurting innocent ears. Low cut keeps the low "sum & difference" frequencies from pumping the upper frequencies of source material.Fool proof operation - Even though there are 384 possible settings (not counting knob settings), it's almost impossible to get a bad sound. Keep all knobs on 5 or 6 (around middle) with ratio at 6:1 and you won't go wrong.Eight unique curves - From the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the "Nuke" setting - a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality, and release shape. Most exceptional is the 10:1 "Opto" ratio which uses separate circuitry to emulate the oldest (and valued) "light controlled" devices, such as the LA2A etc. See manual to emulate other compressors of old.Discrete and integrated combination - the best of speed/linearity with repeatability. Hand tested & selected components.Huge knobs with high resolution numbering - For easy readability and repeatable settings. They also go to 10 1/2 .
Mic Preamp Section – This is a super low noise transformer input amplifier section, with the gain digitally controlled. This section comes standard with a shielded Lundahl transformer, but provides for a Jensen transformer also. The signal to noise far exceeds any microphone in existence, typically over 130 dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, we have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches. Counting the output gain of 14 dB, a total 74 dB of gain is available to the user with the CompSat section bypassed. A 48 Volt Phantom power is provided for condenser mikes. Exclusive CompSat™ Section - This unique circuitry sets the Mike-E apart from all other mic preamplifiers. It has four sections: 1) Saturator – This is a multi-stage soft clipping circuit. At lower levels, a triode type saturation affects the signal. As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks. An LED named “BAD!” indicates harder un-musical clipping. 2) Compressor – This is an uncompromising compressor/limiter circuit that allows detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which adjusts the level going into the compressor. In ways it is Distressor-like, but has other differing characteristics including a much longer available attack time, and additional circuitry. Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression such as while tracking or on the Buss. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter like) and has a different attack & release shape. 3) Emphasis - The Emphasis is actually two circuits that surround the compressor and saturator, as shown in the block diagram. The Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the frequencies complementary after the CompSat. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with. 4) Mix Control - The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal. This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances. Mike-E has a built in mix control to submix in the uncompressed signal to the compressed signal. As the user rotates the MIX control from full right to full left, he goes from the full compressed signal to the full dry signal (absent of any compression or saturation). Freq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz. Signal to Noise 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu. Distortion Ranges between .0006% and 15% depending on mode and settings. Transformer coupled Input, Active and Transformer Outputs available. High quality audio caps used internally. Input Impedance is 600 Ohms. Output impedance is less than 38 ohms. Attack/Decay Ranges .9 – 100mS attack. .15 – 1 Sec. Power Consumption – 15 Watts Max. Mike-E's Seven circuts 1. Mic Preamplifier with super low noise & stepped gain switching. 2. Built in ‘Direct Box’, called the ‘Inst In’, offers unparalleled distortion, noise, and frequency response when pre-amping instruments. 3. ‘Colored’ 80Hz High pass filter emulates the warm low frequency cut of our favorite vintage equalizers. 4. Phase Switch to invert the audio signal 180 degrees. 5. CompSat offers both a musical Compressor/Limiter and a unique tape-like saturation circuit. 6. Emphasis high-frequency emphasis system softens high frequency ‘pile-ups’ and further the creamy color of the Mike-E. 7. Mix Control allows the blending of the Compressed/Saturated signal with the clean unprocessed “Dry” signal.
Acht verschiedene Processing Sektionen: 2 Shelving EQ's, 1 spezieller, färbender High Pass Filter dritter Ordnung mit acht wählbaren Frequenzen, 4 vollparametrische EQBänder, 1 dynamische Equalizer Sektion THD kleiner als 0,0007% (alle Bänder eingeschaltet). Der eingebaute direkter Anschluss von Instrumenten möglich, durch InstrumentenVorverstärker bzw. DIBox Verzerrungsgrad von unter 0,0009% Dynamik von 112 dB und einer Frequenzwiedergabe runter bis zu 5 Hz drei Ausgänge, inkl. einem Class A trafosymmetriertem Ausgang XLR und 6,3mmKlinken Ein undAusgänge Frequenzwiedergabe: 5 Hz140 KHz Dynamik 120 dB (bei 0,1% Clipping) Rauschspannungsabstand: grösser als 110 dB Dynamische Zeitkonstanten: Attack liegt bei ca. 0,5 ms, Release bei 0,04 s Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
New Features at a glance
· A new ratio “Eleven”, which emulates a favorite classic compressor setting.
· New Two Color Front Panel
· Improved Logic
· Separate TRACKING LED, more intuitive display.
· Backwards stepping when a front panel button is held.
· New extended stereo link functions. More choices of how to lock compressors.
· Cooler running Logic Circuitry, resulting in an overall cooler operating temperature.
· Improved overall noise floor, due to lower logic power consumption.
The FATSO goes to ELEVEN
ELEVEN is a new compressor for the Fatso, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower “1176” attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc.
The ELEVEN ratio took several months of experimentation, and required a rather radical attack mod to get close. It was one of those projects that Dave Derr, the designer, thought would only take a few days, but upon initial research and listening tests, subtleties emerged which required starting over several times. “I got in one of these design loops, where you would get one thing right, then change another parameter or component, and find that it changed the first thing you thought you had right. It was actually a long frustrating series of changes, that slowly spiraled towards the desired result. Any kind of math calculations or scaling seemed useless. In addition, while testing 1176’s, I discovered issues that I’m quite sure were not intended by the original designers, and probably things of which they were not even aware. But using modern digital oscilloscopes and analyzers, along with digital workstations, and our good old ears, we could see artifacts that the original designers couldn’t.” “Heck, they may have even tried to fix the little imperfections that gave the 1176 its unique character, had they the tools to see them. Thank gosh they didn’t, right?
Anyway, the design loop was frustrating, but like anything that takes you to unexpected places, hopefully you come out a little bit wiser, and with a great product. I hope our customers find the new ELEVEN ratio fun to use, and discover it can add some more magic to your music.”
NOTE: ALL existing older “Fatso Jr’s” can be modified to change the GP ratio to the new ELEVEN ratio. In addition, all Fatsos shipped from Empirical Labs since June 2013 have had the ELEVEN ratio already installed in the circuit, under the GP ratio, so if you bought a Fatso recently, you probably already have the equivalent EL7-X circuitry
New Logic and Interface Operation
The original Fatso Jr could operate quite warm. Since heat is the enemy of reliability, we decided to do what we could to cool the unit down in this re-design. By replacing discrete logic with a microprocessor, and eliminating warm running and often unreliable display circuitry, the current draw was dropped over 20%, allowing the power supply and analog circuitry to benefit from a cooler running product.
The new FATSO also has greatly improved interface operation. Holding any button in for a second will make the control step backwards, so the user doesn’t have to cycle around to go back one step in setting one parameter. In addition, the Stereo Link is improved and offers a second link method by holding in both COMP buttons. It locks the compressors and Bypass logic together, and allows either channels’ buttons to control the settings. Much more foolproof.
There is now a separate LED for the TRACK (Tracking) compressor, so that two LEDs do not have to be used, and interpreted by the user. SPANK is now a Blue LED delineated from the other compressors off to the side, to indicate that it is different and can be used in conjunction with the other ratios. Customers will find compressor selection more obvious and FUN.
FATSO's four types of processing
• Harmonic Generation and Soft Clipper (Distortion Generation) - this class A circuit gently rounds the peaks like saturated tubes or tape.
• High Frequency Saturation (Warmth) - a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.
• Transformer & Tape Head Emulation - a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterize them, as well as analog tape..
• Classic Knee Compression - your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression – smooth and sweet, but in your face!
Arguably the coolest and most unique device in the Empirical Labs arsenal, the FATSO (Full Analog Tape Simulator and Optimizer) is a digitally controlled analog device that gives musicians and engineers easy access to many of the desirable characteristics exhibited by older tube and Class A electronics and magnetic tape mediums. This two channel audio processor musically integrates frequencies and transients, increasing the apparent volume while keeping tight control over peak levels.
With the FATSO, recording studios and audio production facilities can enhance and soften the sound of Hardware Digital Recorders (HDRs) and Digital Audio Workstations (DAWs). Mix engineers will have the option not to have to use bulky, expensive analog tape recorders to get the warmth and sweet high end they’ve come to rely on for so many decades. Owners of DAWs and HDRs can finally put a stop to complaints about the coldness and brittle edge of their mixes and instruments. Even audiophiles can benefit from the FATSO, bringing back the warmth and ambience of LP’s and tapes to their CD players and other digital reproduction mediums.
As with most Empirical Labs products, the unit is incredibly easy and fun to use. Large Distressor-style knobs control the input and output levels. Four meticulously tweaked compression modes - including the extremely popular “Buss” setting and the legendary “Spank”, a subtle knee followed by hard limiting resembling the SSL talkback compressor - can be selected (and combined!) with the push of a button. Seven different high frequency saturation “Warmth” settings are accessed just as easily. The FATSO also features switchable transformer circuits, which can add the musical artifacts generated by classic devices like NEVE, API, etc such as low order clipping and inter-modular distortion, transient clipping... and some other very musical non-linearities. True to its name, the FATSO is rather sturdily constructed - you’ll be impressed with how well built it feels when you first lift it out of the box.
The FATSO has been the “secret weapon” of studio and live engineers for many years, allowing them to add the elusive magic of vintage gear to their sound.
Empirical Labs UBK FatsoDer UBK Fatso bietet die großartige, bandartige Sättigung und die harmonischen Verzerrungsanteile des weltweit geschätzten Fatso von Emiprical Labs. Dieses Modell nutzt die gleichen, einzigartigen Rauschbegrenzer zum Abrunden und Vertiefen kurzzeitiger Pegelspitzen. Ergänzt wird die Ausstattung durch einen schaltbaren Übertrager für zusätzliche Obertöne und eine mögliche Gesamtverstärkung. In einer separaten Kompressorsektion stehen sieben benutzerdefinierte Kurven bereit, die von Gregory Scott, auch bekannt als "UBK", minutiös abgestimmt wurden. Als Instrument zur Klangbearbeitung sucht der UBK Fatso seinesgleichen.Features
Zweikanaliger Charakter-Kompressor
Für Elektronische Musik optimierter Fatso
Deutliche analoge Klangfärbung
Sieben einzigartige, vielseitige Kompressionskennlinien
Erzeugung harmonischer Obertöne/Verzerrungen
Sättigungs- und Clipping-Schaltkreise
Separate Limiter für hohe Frequenzen
Schaltbare Klangfärbung durch Übertrager
Schweizer-Messer -Kompressor, kein Pumpen, stets musikalisch
Der UBK Fatso wurde entwickelt, um dem Anwender die bedingungslose Klangformung zu ermöglichen. Unabhängig vom Quellsignal und der Intensität der genutzten Kompression klingt dieses Gerät nie aufgepumpt oder flach. Stattdessen wird Lautstärkekontrolle und Pegelformung, eine der schwierigsten und geheimnisvollsten Aufgaben der Tontechnik, zur einfachen Sache.Klassisches Begrenzen, sanfte Opto-gesteuerte Pegelnivelierung, erkennbare Pegelverdichtung oder aggressiv-modernes Absenken - der UBK Fatso setzt ihre Vision souverän und direkt um. Sieben einzigartige Kompressoren, davon vier in Anlehnung an bekannte Standards und drei verborgene Schätze liefern eine bemerkenswerte Vielfalt.
€3,149.00*
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