Maselec MDS-2High Frequency Limiter / De-EsserThe MDS-2 is a High Frequency Limiter which is often used as a De-Esser. It can also replace Acceleration Limiters for vinyl disk cutting.Technical Specification* Input dynamic Range: Better than 120dB* Output dynamic range: Better than 120dB* Maximum input level: 129dBu (balanced)* Maximum output level: 129dBu (balanced)* Distortion: Typically less than 0.003%* HF limiter attack time: Programme dependent 1msec to 20msec* Release time: Programme dependent* Input impedance: 100kW ground floating electronically balanced* Output impedance: 34+34W electronically balanced* Threshold: -26dB to +8* Gain: 0dB* H.F. Limiter: >2kHz* Power: 90-130, 180-260 Volts @ 50-60 Hz* Fuse: 315mA, anti surge (slow)
Applications
Top recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue equalizers have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital media. The MEA-2 provides fully-stepped controls for precision and repeatability for ALL parameters.
The MEA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MEA-2 has stepped controls with a fine 0.5dB gain adjustment at low cut/boost settings. Maximum cut/boost per band is 8dB.
The MEA-2 is an equalizer that can provide precise equalization with minimal side-effects - it is designed to provide a very transparent signal path where only the desired equalization effect is obtained without adding any particular sonic signature.
Overview
The MEA-2 is a stereo or 2-channel, four-band precision analogue equalizer with stepped Q/shelf, frequency and cut/boost controls on each band. It is designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required.
Applications
Top recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue equalizers have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital media. The MEA-2 provides fully-stepped controls for precision and repeatability for ALL parameters.
The MEA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MEA-2 has stepped controls with a fine 0.5dB gain adjustment at low cut/boost settings. Maximum cut/boost per band is 8dB.
The MEA-2 is an equalizer that can provide precise equalization with minimal side-effects - it is designed to provide a very transparent signal path where only the desired equalization effect is obtained without adding any particular sonic signature.
Pedigree and design philosophy
The first to appear in the range of Maselec Master Series products, the MEA-2 was developed for Prism Sound by engineer/producer Leif Mases. Leif's work with a diverse range of artists including Abba, Led Zeppelin, Jeff Beck and Black Sabbath as well as co-ownership of the renowned Marcus Studios in London provided the essential experience using the "tools of the trade" needed to define and implement new and improved professional audio components.
Also qualified in electronic design, Leif Mases developed the highly acclaimed Maselec 9001 retrofit equalizer for SSL 4000 mixing consoles used in film sound and recording studios and currently also builds custom consoles and equipment for mastering and other applications.
The combination of Leif Mases' experience with the creative process and Prism Sound's focus on engineering and technical excellence ensure that the Maselec Master Series delivers great-sounding audio in an intuitive and easy-to-use package.
Using the MEA-2
The MEA-2 is a very special Equalizer that has been designed to achieve a certain sound. It has a distinctive character, discernable both sonically and in the unique shape of its EQ curves.
With 4 bands per channel, shelving/peaking/Q selection on each and 84 interleaved frequency settings per channel, the MEA-2 provides great flexibility and precision.
Each channel can be by-passed individually, indicated by illuminated push buttons on the front panel.
The MEA-2 provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path. There's no easy way to describe it though, so contact us now to arrange a demo. Great sounding EQ is right behind the controls!
MEA-2 Features
Four separate shelf/bell switchable equalizer sections per channel
Unique equalization characteristics, optimized through extensive listening tests
Precision stepped controls for accuracy and repeatability
Overlapping frequency ranges with 84 settings per channel
Excellent channel-to-channel matching
Interactive cut/boost and bandwidth controls for more natural operation
Low noise and wide dynamic range
Electronically balanced inputs and outputs
Individual EQ sections are completely switched off when the gain controls are set to 0dB
Full bypass when the power is turned off
Anwendungen
Top Aufnahme- und Mastering-Ingenieure verwenden immer noch analoge Signalverarbeitungsgeräte und finden die vertraute Symbiose zwischen Klang und Steuerung vorteilhaft. Die meisten analogen Kompressoren haben jedoch entweder stufenlose Regler, die eine präzise Einstellung erschweren, oder nur wenige grobstufige Regler. Viele erfüllen nicht die Standards in Bezug auf ihre Audioleistung, die für Bearbeitung digitaler Medien mittlerweile nötig sind. Der MLA-2 bietet vollstufige Steuerungen für Präzision und Wiederholbarkeit für ALLE Parameter. Der MLA-2 wird ausgiebig beim Mastering verwendet, funktioniert aber auch gut an einem Insert-Punkt beim Aufnehmen oder Mischen. Der MLA-2 verfügt über einen rückseitig angebrachten Bereichssteuerungsschalter, der den Threshold-Bereich anpasst, um entweder für Mastering- oder Aufnahme-/Mischanwendungen geeignet zu sein. Der MLA-2 ist ein Kompressor, der eine effektive dynamische Steuerung mit minimalen Nebeneffekten biete - er wurde entwickelt, um einen sehr transparenten Signalpfad bereitzustellen.
Benutzung des MLA-2 Der MLA-2 ist ein ganz besonderer Kompressor, der entwickelt wurde, um eine effektive, aber subtile Kompression zu bieten. Er verwendet das Prinzip eines festen Thresholds mit einstellbarem Drive (oder Eingangsverstärkung). Dies ermöglicht eine intuitivere Bedienung als ein einstellbarer Threshold – drehen Sie den Eingangsregler im Uhrzeigersinn und erhöhen Sie die Kompressionstiefe.Das Fortschreiten in den Kompressionsbereich ist allmählich und ändert sich, wenn das Verhältnis erhöht wird. Es ist eine minimale Ausgangsverstärkungsanpassung erforderlich, da der Threshold beim Durchlaufen verschiedener Verhältniseinstellungen leicht modifiziert wird. Dies erzeugt einen konsistenten Verstärkungspunkt mit etwa 2–3 dB Kompression über den gesamten Ratio-Bereich.Die Kontrolle der Release-Zeit ist immer ein Problem und dieser Funktion wurde besondere Aufmerksamkeit geschenkt. Der MLA-2 passt seine Release-Zeit basierend auf der Frontplatteneinstellung intelligent an, um das musikalischste Ergebnis zu erzielen. Außerdem wurde anstelle der herkömmlichen exponentiellen Kurve ein modifiziertes Release Decay verwendet. Das MLA-2 IMAGELINK-System bietet eine Stereo-Side-Chain-Verbindung, die es ermöglicht, die Verstärkung der beiden Kanäle zu verfolgen, um so das Risiko einer Verschiebung des Stereobilds zu vermeiden, wenn nur ein Kanal gesteuert wird. Transienten, die ganz rechts oder links platziert werden, können zu einem leicht unnatürlichen Ducking des anderen Kanals führen, hier allerdings wird die Stereoverbindung so gesteuert wird, dass dies vermieden wird. Hervorragende Ergebnisse erzielt der MLA-2 bei Sprache und anderen hochdynamischen Quellen sowie Instrumenten wie Klavier, Saxophon oder Schlagzeug. Es hat einen unverwechselbaren Charakter, der sowohl klanglich als auch in der einzigartigen Form seiner progressiven Kompressionskurven erkennbar ist. Es liefert die Wärme, den Punch und die Luft, die Sie benötigen, um mit minimalem Aufwand und ohne den Signalweg zu beeinträchtigen ein perfektes Ergebnis zu erzielen.
MLA-2-Funktionen
Input Gain-Regler, passt die Kompressionstiefe (Drive) an
Output Gain-Regler für Gain-Make-up
Einstellbares Verhältnis von sanfter Kompression bis Begrenzung
Einstellbare Attack- und Release-Zeiten
Attack- und Release-Zeiten werden ebenfalls dynamisch automatisch angepasst, um Pump-Effekte zu vermeiden
Umschaltbare Verstärkungsreduzierung oder Programmpegelmessung (VU).
IMAGELINK-System für intelligentes Stereo-Linking: Kurze Transienten auf einem Kanal dämpfen beide nicht.
Präzisionsstufensteuerungen für Genauigkeit und Wiederholbarkeit; größere Bedienelemente für häufig verwendete Anpassungen
Sehr geräuscharm mit großem Dynamikbereich
Elektronisch symmetrierte XLR-Eingänge und -Ausgänge
Voller Bypass, wenn der Strom ausgeschaltet ist
Maselec MLA-4
Marc-Dieter Einstmann
Mastered artists include Yo-Yo Ma, Elvis Costello, Chet Baker, k.d. lang, Viktor Vaughn, Cäthe a.o.www.einstmannmastering.com
“The Maselec MLA-4 can be instrumental in saving mixes that need fixing. It may, however, be used quite efficiently on manymastering jobs. A true time saver. It is not a “vibe” multiband compressor like the Drawmer S3 or the Tube-Tech SMC-2B. Ithas ample headroom on its input and output stages, but since it is electronically balanced it has no coloration and a statedbandwidth greater than 1Hz to 500kHz.The MLA-4 shines in that it is surprisingly transparent even at band gain reductions of some -8dB; not that I ever needed thismuch gain reduction, but I like to “torture” new gear to find it's limitations. The MLA-4 performed flawlessly with no audibledistortion even at shortest attack and release times across a broad variety of musical genres. Leif Masses chose differenttime constants for each of the three bands making it virtually impossible to cause audible distortion – very clever. In factprogramme dependent circuits reduce the distortion and speed up the release for short duration transients in the LF band.The crossovers use 6dB/octave filters that sum extremely well. However, the unit only has 4 crossover frequencies to choosefrom per band, while Tube-Tech provides 6x2 frequencies per band and the Drawmer 8 for the low-to-mid and 10 for the midto-high crossover frequencies. This limitation is debatable, but I believe it lets you work faster.The main advantage over any other analogue multiband dynamics processor that I know of is the MLA-4s ability to upwardexpand, i.e. providing compression ratios smaller than 1:1. Each band has selectable ratios of 6:1, 3:1, 2:1, 1.6:1, 1.4:1(downward compression ratios), 1:1 (“bypass”), 1:1.2, 1:1.4, 1:1.6, 1:1.8 and 1:2 (upward expansion ratios). Upwardexpansion can for example help bring back lost dynamics above set threshold for mixes that have been overzealously busscompressed during the mix stage. One band may be compressing while an other is expanding. What is more, the side-chainsmay be linked, opening up a plethora of options not available anywhere else: The LF side-chain may be linked to either theMF or the HF band or both. This can be quite useful for EDM tracks where additional “pumping” may be desired. Theselected LF side-chain triggered bands may use their upward expansion circuit in addition to the LF triggered compressionfor some interesting and flexible amplitude envelope shaping-very cool! A fourth mode labelled “Linked” allows for the MLA-4to be used as a “full”-band stereo compressor.The HF band has an “s/c boost” switch. When engaged (indicated by a red LED) it provides a high frequency boost in theside chain, thus compressing (or expanding) higher, often harsh and sibilant frequencies more. This provides some sort ofde-essing, without the need to lower the HF band's threshold. Very useful, though I generally use a Maselec MPL-2 HFlimiterfor this.All controls are stepped for easy recall, input and output gains of ±5dB are selectable in 0.5dB steps. A master thresholdcontrol acts across all bands in addition to the individual band threshold controls. An “output select” dial is used for solomonitoring individual bands when needed or galvanically bypassing the unit.I've had this unit for close to 5 months now and have put it through its paces. Truly stellar!”
Maselec MPL-2Peak- und High-/HF-limiterThe MPL-2 is a brick-wall and high frequency limiter. It can be used to achieve high subjective levels and reduce unwanted high frequency levels (de-essing). The MPL-2 is also used to smooth and give digital recordings a more analogue character.Technical SpecificationInput dynamic Range: Better than 115dBOutput dynamic range: 96dB to 115dB (depending on gain and threshold settings)Maximum input level: 129dBu (balanced)Maximum output level: 129dBu (balanced)Distortion: Typically less than 0.003%Limiter attack time: InstantHF limiter attack time: Programme dependent 1msec to 20 msecRelease time: Programme dependentInput impedance: 100k? ground floating electronically balancedOutput impedance: 34+34? electronically balancedThreshold: +12dBu to +20dBuH.F. Threshold: -14dBu to +20dBuGain: 0dB to 10dBH.F. Limiter: >2kHzPower: 90-130, 180-260 Volts @ 50-60 HzFuse: 315mA, anti surge (slow)
€4,599.00*
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