A-Designs HM2 Nail Dual Channel Compressor / Limiter
Features
Solid state/tube hybrid design combines high performance with rich sound
Dual channel with switchable stereo link or dual mono modes
Mix control lets you blend wet/dry signal for parallel compression
Hard Threshold and Filter let you select amount of compression and frequency (to 250Hz) to prevent mix from being “dragged down” by LF energy
Awarded “Mix Certified Hit” by Mix magazine
Custom-milled aluminum knobs
Custom-milled aluminum faceplate
LED Indicators switchable to stereo
Gain-reduction switch for meters
2U rackmount
Balanced XLR outputs
Carling toggle power switch
Red jewel power indicator
In/out switch
The A-Designs NAIL is one of the most musical yet transparent compressors ever manufactured. Housing hand selected tube circuitry and top-shelf components specifically chosen to best compliment and enrich the extended bandwidth of state of the art recording and mixing tools, the Nail is completely at home strapped across the main outs of hardware mixers or breathing analog warmth into DAW setups. While it has the ability to add character to any sound, it can also control dynamics very subtly in the background; and, unlike most compressors, the NAIL can be hit really hard without having the top end dragging down. Being able to switch from linked stereo to dual mono makes it a perfect tracking compressor as well; or, on a stereo mix, using dual mono with different settings on each side can have the effect of making the mix sound wider.
The NAIL’s unique combination of Threshold, Hard Threshold, and Filter allow precise control over the amount of compression, the level at which it will engage, and the frequencies above which it will act. There is no need for a Ratio control – it is continuously self-adjusting in response to program material. With Hard Threshold disengaged, Threshold increases gain reduction (like an LA2A), the attack and release controls don’t do much, and the NAIL becomes a model of simplicity - set its threshold and gain, and let the NAIL work its magic. For finer control, Hard Threshold opens up a world of compression-/envelope-shaping possibilities. Like the hard knee of a traditional compressor, Hard Threshold works in conjunction with the Filter - a variable HPF continuously tunable from 8Hz to 250Hz. Once the Hard Threshold is crossed, the NAIL will apply desired compression above the selected frequency and less to the frequencies below, preventing higher energy bass frequencies from triggering unwanted compression and ducking the entire mix. The Filter can also be used to enhance bottom end for bass-heavy music without throwing the mix’s entire frequency spectrum out of whack, as a multi- band compressor often does.
The HM2’s remaining continuously variable controls - Attack, Release, and Gain - function as expected; however, Attack and Release are dependent on the settings of the Hard Threshold and also respond dynamically to program material, making for a more flexible and musical performance than traditional “once size fits all” attack/release circuits. Other toggleable functions include In/Out for quick A/B comparison; Stereo Link On/Off; and the ability to switch the NAIL’s LED dual metering ladder (chosen for it’s ultra fast response and the ability to see it clearly from across a dark-lit control room) from Gain Reduction to Level.
Another one of the NAIL’s incredibly cool features is its Mix knob, which provides continuously variable control between direct (dry) and compressed signal, enabling you to apply parallel compression to a sub-mix without losing two aux send/return or mixer channels. Having the capacity to easily reduce the amount of compression being applied without changing the settings or sound of the compressor is unbelievably useful – it’s a mystery why more compressors don’t have it.
As its name suggests - whether it’s transparently controlling dynamics while getting tracks into your DAW or hardware recorder, squashing sounds to give them more character, or putting the finishing touches on a final mix….the A-Designs HM2 Compressor Nails it!
The opticom xla-3 is an all-tube optical limiter inspired by the classic Teletronix LA2A. Loving the la2a’s smooth natural compression characteristics but seeking to improve upon its single compression speed inspired us to develop the xla-3. The heart of the XLA-3 is a unique triple optoelectronic circuit that combines the best characteristics of 3 separate compression curves into a single unit. The result: a high-speed optical limiter with tones that range from ‘clean’ to ‘harmonically rich’ to ‘dirty.’
Main features:
All tube circuitry
High-speed cadmium-selenide (CdSe) photocells
Custom Bakelite analog control knobs
Full-sized backlit panel meters
15db switchable input pad
Hand-wired 2 stage bypass switch
Triple optoelectronic circuit
Cinemag input transformer
IEC power connector
115/230V AC Mains
Neutrik XLR input and output connectors
Stereo link connector
Micalex tube sockets
AMS NEVE 2254/R Mono Limiter/Compressor Entwickelt wurde dieser Kompressor im Jahr 1969 und wurde schnell zu einer Legende. Diskrete Class-A Schaltung, Transformer gekoppelte Eingangsstufe, innovatives Bridge-Driver Design, Side-Chain und die Ausgangsstufe garantieren einen völlig eigenständigen Sound. Die Features des NEVE 2254/R im Überblick:klassischer Mono Limiter/ Kompressor der nach den Angaben der späten 60er Jahre gebaut wirdhandgefertigt in Burnleyoriginale NEVE 2254 diskrete Class A Schaltungmanuelle schnelle Attack-Zeit und transparent Level-Kontrolleunabhängige Ein-und Ausgänge für Limiter und KompressorBypass-SchalterGeräte können für Multikanalanwendungen miteinander verlinkt werdenkompatibel mit der NEVE Recall Software – verbinden sie den 2254/R über USB mit einem PC oder MAC
AMS Neve 2264ALB mono limiter/compressor moduleOriginally designed in 1974, the Neve 2264A mono Limiter/Compressor unit quickly became a legend. Delivering similar facilities and performance as the earlier 2254 Limiter/Compressor type, it did so despite being packaged in a more compact form-factor. Discrete, Class A/B design and transformer-coupled circuits used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. The original 2264A units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment.And now the 2264A unit is available for your LunchboxTM.Crafted in England by Neve engineers, the 2264ALB retains the original 2264A’s unique sonic characteristics by using the same architecture, matching components and original hand-wound transformers and adds new features: a Signal Presence indicator LED and a Slow Attack option. And it delivers it in a modern and portable form-factor which professional producers and engineers demand.Simply install into an empty slot in your compatible LunchboxTM rack, connect your line level signals and inject the legendary Neve dynamic sound into your audio creations. And it's the perfect pairing for the incredible Neve 1073LB microphone pre amp module. The 2264ALB module can be inserted between the input and output stages of the 1073LB module, creating an all-new Neve classic audio path.Classic... and Revolutionary.Highlights
Classic mono Limiter/Compressor, available in a 500-series format
Transformer-coupled circuits used in Input, Bridge-driver, Side-chain and Output stages
Independent Limiter and Compressor IN/OUT selectors
BYPASS switch connects input terminals directly to output terminals
Slow Attack switch changes between classic 2264A attack settings and new Slow Attack setting for buss compression work
Digital LED meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction
Audio Processing Insert design allows the audio to/from the 2264ALB module to be inserted into the audio path of an existing 1073LB module (modules must be fitted in the same LunchboxTM)
Fully screened module, packaged in Mu-metal case helps eliminate stray electromagnetic fields from LunchboxTM PSU or other module types
The Neve 33609 Stereo Compressor offers comprehensive limiting and compression facilities for music recording, mastering, post production and broadcast applications. The combination of hand-wired transformers and gain reduction circuitry produces a sound quality which is often duplicated, yet seldom achieved by any other compressor / limiter. Coupled with the unit’s unparalleled ease of use, this inimitable sound quality has made the 33609 a worldwide studio standard for three decades.
The hallmark 33609 compression sound is very smooth, and extreme settings may be used with the compression or limiting remaining relatively transparent. After several versions of this classic Neve compressor over the years, today's 33609 provides the best of both worlds: original Neve 33609 sound, with enhanced internal and external I/O switching compared to the original model. The 33609 also utilises a discrete output stage like the original model, for a slightly warmer sound that is preferred by many professionals over previous iterations. Multiple units can be easily linked for multi-channel operation.
The 33609 features independent sidechains for the compressor and limiter sections, with similarly independent threshold, recovery and attack controls. The compressor features a selection of ratios from 1.5:1 to 6:1 and a gain make-up control that comes before the limiter. Overall gain reduction is indicated on a moving coil meter.
Much like our classic 1073 and 1081 microphone preamplifiers, the 33609 Stereo Compressor is often cited as a "desert island" compressor - one which a healthy sampling of the world’s top engineers and producers would choose above all others.
Features
Classic Stereo Compressor / Limiter designed to exacting 1970’s specifications
Made using hand-wired Neve transformers in Burnley, England
Classic 2254 feedback compression circuitry
Brick Wall Limiting
Transparent level control
Perfect for mixing, broadcast, and mastering applications
Hard Limit feature for digital recording
Limit in/out Compress in/out
Discrete output stage for slightly warmer sound
Der 8051 ist ein analoger Kompressor mit 6 symmetrischen Audiokanälen, vervollständigt mit 2 Side Chains und Key Inputs. Es können, mit nur einem am Key Input anliegendem Signal, alle 6 Audiokanäle bearbeitet werden. Mit diesen Eigenschaften eignet er sich besonders für die Bearbeitung von DolbySurround 5.1 Anwendungen. Flexibles Side-Chain-Routing mit Verstärkung und Filterbearbeitung macht ihn zu einem starken Partner für den Bereich Mastering. Bei dem Einsatz des 8051 kann man den selben unverwechselbaren satten Neve-Sound erwarten, mit dem bereits der legendäre 33609 überzeugte. 6 symmetrische Eingänge idealer Surround Broadcast Kompressor Side Chain Control Regler Side Chain A/B bias Control High und Low Pass Filter legendärer NeveSound umfangreiche Steuerungsmöglichkeiten der Linkfunktionen Der Key Input und LFE Filter Input sind elektronisch symmetriert Alle anderen Eingänge sind mit Transformatoren symmetriert, 3.6kOhm Eingangsimpedanz Alle Ausgänge sind elektronisch symmetriert Transformatoren mit maximalen Pegel von, +26dBu bei 600Ohm. Equivalente Input Noise (20kHz band): THD+N (für 20dBu Input bei 1kHz): maximaler Ausgangspegel Level: >26dBu an 600 ohms Frequency Response +/0.5dB 20Hz to 20kHz
8801 Producer Pack / Channel StripDer legendäre Sound der 88R Konsole im 19“ Format. Dieses Gerät verleiht jeder Produktion durch den berühmten warmen Neve Sound den letzten Schliff. Nach dem Mikrofonvorverstärker folgt ein Hi-Pass und Low Pass Filter, ein Vierband EQ, Kompressor, Gate, Dynamik Side Chain und ein Insert Send Return. Die Filter und/oder die EQ Sektion können in die Dynamik Sid Chain geschaltet werden um Settings zu erstellen, die man nur von den großen Konsolen kennt. Über einen USB Anschluss können die Einstellungen auf MAC und PC gespeichert werden um sie mit einer serienmäßigen Total Recall Automation jederzeit zu reproduzieren. Ein optionaler AD Konverter kann alle Standards bis 196kHz bedienen.
The API 2500+ Stereo Bus Compressor allows adjustment of sonic qualities to alter the punch and tone of the stereo mix. The 19-inch, rack-mountable unit features a dual-channel design that can be configured for stereo compression or for use as two separate units via a single compression setting.
Among the many qualities which make the 2500+'s unique is its use of API's patented THRUST® circuit for a chest-hitting, punchy bottom end. Another distinctive feature of the 2500+ is its selectable "old" or "new" compression, with the old style using the "feed back" type of compression found in the API 525, and the new style using the "feed forward" type in which the compressor side chain is fed directly from the unit input. Additionally, the output stage of the 2500+ offers an auto-makeup gain button that permits the user to vary the threshold or ratio while automatically maintaining a constant output level.
Added to the 2500+ is the Mix/Blend circuit. First featured in the limited production 50th Anniversary Edition, Mix/Blend control provides either cross fader or parallel mixing of the compressed and uncompressed signal. Three different user settings are offered:
OFF - compressed signal only
X (Cross) - allows the MIX control to adjust between 100% uncompressed to 100% compressed - increasing one, while decreasing the other
|| (Parallel) - allows the MIX control to dial in compressed signal to blend into the uncompressed signal, (which remains the same).
The 2500+ ensures fidelity with its fully balanced design and two front panel VU meters showing input, output and gain reduction levels. The 2500+ features API's industry exclusive five-year parts warranty and offers the user the reliability, sonic excellence and long life characteristic of all API products.
Features
API 2520 Op Amps
Expanded variable threshold between -20dBu to +20dBu
Selectable ratio, attack, and release times
Patented THRUST® filter with 3 settings for frequency dependent side chain control
Variable link between left and right channels
Old "feed back" and new "feed forward" compression
Soft, Medium, or Hard knee for easy to sharp compression
Auto or manual gain make up
1/4" balanced side chain inputs
Output clips at +32dBu
New Mix/Blend circuit
"Over Threshold" LED illuminates when input audio crosses the set threshold
Stereo analog meters to show input level, output level, and gain reduction
Full hard-wired relay bypass
Features
Patented THRUST® circuit
Variable Threshold, Ratio, and Make-up gain controls
Classic analog VU meters
Switchable metering of output level and gain reduction
Peak threshold LED indication
Switchable Hard of Soft Knee compression
Linkable for stereo operation with true RMS power summing
Fully balanced XLR and 1/4" inputs and outputs
The SR22 Dual Channel Compressor features two channels of API's patented award-winning compressor circuit in a rackmount unit with internal power supply. This same compressor circuit was originally designed into the legendary ATI Paragon analog live mixing console. Each channel includes the patented THRUST® circuit, which protects the sensitive high frequency content of the audio signal, even under the most vigorous of compression ratios. The perfect companion to the new SR24 Dual Channel EQ, the SR22 provides comprehensive, easy-to-use control along with classic analog VU meters for monitoring output and gain reduction. The two channels can also be linked for use as a stereo compressor with true RMS power summing of the left and right signals.
Features
Original analog compressor circuit designed for the ATI Paragon Console
Variable Threshold, Ratio, and Make-up Gain controls
Individual metering of output level and gain reduction
Above threshold LED indication
Patented THRUST® circuit
Switchable Hard or Soft Knee compression
Switchable In or Bypass mode
Linkable for stereo operation with true RMS power summing
The API Select SV12 features the original compressor circuit designed for the ATI Paragon live analog mixing consoles. Re-engineered for the 500 Series format, the SV12 provides comprehensive, easy-to-use compression with full LED metering of both output and gain reduction. The unit also includes API's patented THRUST circuitry which protects sensitive high frequency content of the audio signal even under the most vigorous of compression ratios. Two channels can be linked for use as a stereo compressor with true RMS power summing of the left and right signals.
Features
Field Effect Transistor (FET) based gain reduction circuit
Audio circuit uses 12AT7WC and 12BH7, dual-triode vacuum tubes
Custom proprietary API output transformer
11-step attack time switch
11-step release time switch
4 fixed ratios
31-step input/threshold control
31-step output/make-up gain control
Detented controls for accurate recall
Patented THRUST® switch for frequency-dependent side chain control
D-S feature provides high-frequency dependent side-chain control for de-essing
Link Switch for stereo operation
10-segment LED gain reduction meter
LED peak indicator
Classic analog VU meters for output
IN/OUT switch
Full hard-wired relay bypass
XLR and 1/4" TRS input and output connections
The API Select T25 is a classic 2-channel, FET feedback-style compressor/limiter with a Class-A tube output stage that utilizes a custom API transformer. Built with 12AT7WC and 12BH7 dual-triode vacuum tube, the T25 represents a new direction in API's line of compressors. It offers the user a powerful and flexible feature set, including the ability for use in either dual mono or stereo mode, and is carefully engineered to deliver classic tube performance. The T25 excels at delivering the unmistakable sound of API and features our industry-exclusive Five Year Warranty.
Features
Proprietary API 2510 OpAmp
Signature API output transformer
Adjustable attack and release times
Wet/dry blend control
Selectable feedback/feedforward compressor styles
Buffered bypass
The API Select TranZformer® CMP incorporates API's legendary VCA-type compressor circuit into a versatile and compact guitar effects pedal. Designed to easily fit into your pedal board and engineered to run off standard 9V power supplies, the CMP gives you classic studio-quality compression right at your feet. Other features include a buffered bypass in/out footswitch, adjustable attack and release times, wet/dry blend control, selectable "feedback" and "feedforward" compressor styles, transformer output, and of course the classic API sound.
10DCF Features
The 10DCF, which builds on the capabilities of the 10DC compressor/limiter, features Carnhill and Jensen transformers, all discrete circuitry while adding a brand new, inductor-based bypass filter.
The 10DCF bypass filter delivers increased flexibility while recording low frequency ranged instruments, and engages at 50, 80, 160 and 300 Hz — perfect for users who want to compress a broad frequency range while leaving lower frequencies uncompressed. The 10DCF units are also stereo linkable, making them the perfect complement for the output stage of a mixer.
The 10DCF is an incredibly versatile tool for both tracking and mixing. It retains the same top grade, Class A circuitry that is present in BAE gear, while providing bypass filter options that make it more customizable, especially useful for drum and bass applications.
Aside from its unmistakably authentic sound quality, the 10DCF also features a useful range of features on its front panel, including Elma stepped switches for each control, BAE Audio's trademark Marconi knobs, and a gastank style analogue meter. The combination of these elements provides users with accurate visual and tactile reference points as they adjust and shape their sounds. The metering on the 10DCF incorporates a sleek and simple design, with easy to read white lettering set against a black background in a rugged gastank style encasement.
The 10DCF is hand assembled in California using only premium grade analogue components.
Discrete Class A transformer-coupled circuit throughout.
Fully independent Compressor and Limiter for separate audio dynamics control.
Intuitive layout with illuminated meter showing gain reduction.
High quality stepped Elma® switches for dialing accuracy and repeatability.
True bypass even when the unit is off.
Same remote power supply as used on other 24VDC BAE units. One power supply can run two units.
Now with internal PSU. No External PSU needed.
10DCF Features
The 10DCF, which builds on the capabilities of the 10DC compressor/limiter, features Carnhill and Jensen transformers, all discrete circuitry while adding a brand new, inductor-based bypass filter.
The 10DCF bypass filter delivers increased flexibility while recording low frequency ranged instruments, and engages at 50, 80, 160 and 300 Hz — perfect for users who want to compress a broad frequency range while leaving lower frequencies uncompressed. The 10DCF units are also stereo linkable, making them the perfect complement for the output stage of a mixer.
The 10DCF is an incredibly versatile tool for both tracking and mixing. It retains the same top grade, Class A circuitry that is present in BAE gear, while providing bypass filter options that make it more customizable, especially useful for drum and bass applications.
Aside from its unmistakably authentic sound quality, the 10DCF also features a useful range of features on its front panel, including Elma stepped switches for each control, BAE Audio's trademark Marconi knobs, and a gastank style analogue meter. The combination of these elements provides users with accurate visual and tactile reference points as they adjust and shape their sounds. The metering on the 10DCF incorporates a sleek and simple design, with easy to read white lettering set against a black background in a rugged gastank style encasement.
The 10DCF is hand assembled in California using only premium grade analogue components.
Discrete Class A transformer-coupled circuit throughout.
Fully independent Compressor and Limiter for separate audio dynamics control.
Intuitive layout with illuminated meter showing gain reduction.
High quality stepped Elma® switches for dialing accuracy and repeatability.
True bypass even when the unit is off.
Same remote power supply as used on other 24VDC BAE units. One power supply can run two units.
10DCF Features
The 10DCF, which builds on the capabilities of the 10DC compressor/limiter, features Carnhill and Jensen transformers, all discrete circuitry while adding a brand new, inductor-based bypass filter.
The 10DCF bypass filter delivers increased flexibility while recording low frequency ranged instruments, and engages at 50, 80, 160 and 300 Hz — perfect for users who want to compress a broad frequency range while leaving lower frequencies uncompressed. The 10DCF units are also stereo linkable, making them the perfect complement for the output stage of a mixer.
The 10DCF is an incredibly versatile tool for both tracking and mixing. It retains the same top grade, Class A circuitry that is present in BAE gear, while providing bypass filter options that make it more customizable, especially useful for drum and bass applications.
Aside from its unmistakably authentic sound quality, the 10DCF also features a useful range of features on its front panel, including Elma stepped switches for each control, BAE Audio's trademark Marconi knobs, and a gastank style analogue meter. The combination of these elements provides users with accurate visual and tactile reference points as they adjust and shape their sounds. The metering on the 10DCF incorporates a sleek and simple design, with easy to read white lettering set against a black background in a rugged gastank style encasement.
The 10DCF is hand assembled in California using only premium grade analogue components.
Discrete Class A transformer-coupled circuit throughout.
Fully independent Compressor and Limiter for separate audio dynamics control.
Intuitive layout with illuminated meter showing gain reduction.
High quality stepped Elma® switches for dialing accuracy and repeatability.
True bypass even when the unit is off.
Same remote power supply as used on other 24VDC BAE units. One power supply can run two units.
Now with internal PSU. No External PSU needed.
Features:
advanced analog stereo VCA compressor with PEAK/RMS detection
all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)
dry/wet MIX control for parallel compression
sidechain high pass filter with hardware insert and preview function
adjustable THD for harmonically rich sound
on-board measurement of PEAK/RMS levels
100% analog audio signal path
total recall and A/B comparison from your favourite DAW
LED matrix display and six encoders with push-button action for ease of control
USB connectivity with MAC/PC
Bettermaker Mastering Compressor:
advanced analog VCA compressor with PEAK or RMS detection and switchable
forward/backward feed
all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)
stereo, dual-mono and mid/side operation modes with with solo and sidechain preview function
firmware expansion packs – configure the Compressor in your way!
our famous BM, SG and DX modes
adjustable 15 – 30 Hz low pass filter at the input
dry/wet MIX control for parallel compression
HPF, LPF and fully configurable parametric filter in sidechain with option of hardware insert
adjustable drive (for clipper) and THD function for harmonically rich sound
Range Setting – limit the maximum amount of gain reduction!
on-board measurement of PEAK/RMS levels
on-screen live representation of the compression curve
100% analog audio signal path
total recall and A/B comparison
five inch capacitive touchscreen with backlight (Mastering Compressor), six encoders with push-
button action for ease of control (Bus Compressor)
USB connectivity with MAC/PC
Da Black Lion Audio, mit dem beliebten Seventeen-Kompressor schon einen Volltreffer hatte, bringen Sie nun den beeindruckenden B172A mit F.E.T. Schaltung und tollem Design auf den Markt! Durch die Kombination der beiden getrennten Schaltkreise 76 und 2A wird ermöglicht, dass das Signal in einer beliebigen Reihenfolge weitergeleitet wird und so eine nützliche Kompressortechnik entsteht. Das große Ziel bei der Entwicklung des B172A war die Flexibilität. Der AB-BA Schalter am B172A ermöglicht eine schnelle interne Weiterleitung des Signals. Die beiden Kompressoren können auch völlig unabhängig voneinander verwendet werden, wenn die 3. Position (Link off) des AB-BA-Schalters verwendet wird. Jeder Schaltkreis verfügt auch über eine Stereoverbindung, sodass ein Paar B172A in Stereo verwendet werden kann.
1176 (Der Seventeen) & LA-2A-Komprimierung in einem 2-HE-Gehäuse
A/B oder B/A Einstellung auf der Frontplatte
Cinemag LA-2A Eingangstransformator
Ausgangstransformator mit Chicago Wicklung 1176 und LA-2A
Besondere Black Lion Audio T4B Element (das „T4BLA“)
Hochwertige Verarbeitung und Leistung Kondensatoren
Link-Funktion für Stereo-Betrieb
Ratio schaltbar 4:1, 8:1, 12:1, 20:1 (76er Sektion)
Output VU meter
single channel transformer coupled FET compressor/limiter, designed in conjunction with hitmaker Tobias Lindell, featuring a redesigned and improved IC based front end, incredible detail and nuance, huge bottom end and open top end, additional features to the original design as frequency adjustable side chain, separate selectable high and low pass filters, wet/dry mix knob to blend dry signal into compressed signal, stereo link function for linking together two units
Features:
Signal HPF: 100Hz / -6dB per octave
Signal LPF: 10kHz / -6dB per octave
Attack: Continuously variable 20uS to 800uS
Release: Continuously variable 50mS to 800mS
Sidechain HPF: 5 position switch, OFF, 100Hz, 200Hz, 300Hz, 400Hz
Ratio: Pushbutton selected 4:1, 8:1, 12:1, 20:1 and any combination
Voltage: 115VAC, 230VAC rear panel switchable
AC Mains Input: IEC320-C14 standard plug
Dimensions: 438mm (19”) x 88mm (2U) x 250mm D
Weight: 8kg
Features:
The LED meter now has improved resolution with 0.25dB steps up to -2dB gain reduction, then 0.5dB steps up to -6dB.
The GAIN control now has smaller steps, 0.25dB increments up to +4dB gain, then 0.5dB up to +8dB.
audio path color
The DBC-M is a Mastering version of the popular Buzz Audio DBC-20 diode bridge compressor and offers fully switched control for repeatable settings. The diode bridge gain reduction element coupled with our innovative side chain design delivers a vintage vibe like no other. The DBC-M audio path uses our Class A discrete amplifier designs in a balanced configuration from input to output with a radio steel laminated transformer to couple into the diode bridge element. This overall combination produces a desirable compression character that can best be described as tight, colourful and rich with harmonics.
dynamic ratio power
In the style of compressors from the 60's, the DBC-M incorporates a automatic ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals in a seamless fashion and is also a very desirable characteristic when used on complex percussive material.
operational ease
This compressor is easy to get happening with six switched attack and release times covering a wide range, including an interesting auto release mode. Big knobs with 24 position stepped Elma controls are provided for the amount of compression and the output gain. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained and another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. The attractive "point source" red LED bar graph meter accurately displays gain reduction and the gloss finish knobs adds to the vintage feel of the DBC-M.
GAIN - 24 position Elma switch that adds gain at the output to correct for lost level with a range of 0-8dB in small steps.
COMPRESSION - 24 position Elma switch that sets the amount of compression, increasing gain reduction with clock wise rotation.
ATTACK - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS.
RELEASE - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO.
HARD/SOFT - adds dynamics in soft mode for times when very light compression is required.
FLAT/BASS - reduces compression sensitivity at low frequencies for more bass punch, approx 8dB at 100Hz.
BYPASS/ENGAGE - hard wire unit bypass to compare compressed and uncompressed signals.
LED METER - gain reduction is displayed in 0.25dB steps up to -2dB and 0.5dB steps to -6dB.
LINK A/B - links the side chains to prevent image shift when used on stereo material where there may be heavy channel to channel volume differences.There is also a handy power ON/OFF switch on the front panel where it should be!
key features
discrete Class-A transistor amplifiers
transformer saturation
progressive ratio control
hard and soft modes
seamless compression
bass mode
rich harmonic content & color
reasonable price
excellent on vocals
in detail
The DBC-20 is a new take on a vintage technique utilizing a gain reduction element of silicon diodes in a balanced bridge arrangement. The diode bridge is coupled via a "radio steel" laminated transformer of our own design. This element produces a desirable compression character that can best be described as tight, colourful and rich with harmonics. In the style of compressors from the 60's, the DBC-20 incorporates a self-adjusting ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals (such as vocals) in a seamless fashion. The DBC does sound very vintage but does not carry the vintage price tag!
The DBC-20 audio path uses our Class A discrete amplifier design in a balanced configuration from input to output. Operation of the compressor is easy with six switched attack and release times, a big knob for the amount of compression and an output gain control. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained. Another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. These features make the DBC an ideal tool for manipulating drum sounds and samples.
Each channel has a bypass switch and the side chain of the two channels can be linked for stereo operation. The large knobs with pointers allow for accurate resetting of the compressor and the fast response 15 LED bar graph meter accurately displays gain reduction.
controls
Gain - variable pot that adds gain at the output to correct for lost level with 15dB range.
Compression - variable pot that sets the amount of compression.
Attack - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS.
Release - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO.
Hard/Soft - adds dynamics in soft mode for times when light compression is required.
Flat/Bass - reduces compression sensitivity at low frequencies.
Bypass/Engage - hard wire unit bypass to compare compressed and uncompressed signals.
There is also a handy power On/Off switch and the Link A/B which provides for stereo tracking to prevent image shift when used on the mix buss.
design features
the resonance factor
The REQ-2.2 mastering equalizer utilises parallel resonant circuits in a clever configuration whereby the bandwidth (Q) of the circuit can be adjusted like an active filter, but without any complex relay switching. The inductor/capacitor resonant "tank" eq circuit runs at a low internal signal level which avoids any inductor saturation effects. The overall result is the sound of real choke based filters with a big open sound, but without the limitation of only a few - or no bandwidth selections as found on traditional choke eq's.
audio path quality
As you would expect, the REQ uses our BE40 True Class A circuits developed for the MA-2.2 microphone amplifier for superlative audio performance. It also utlilizes our BE44 discrete line driver at the output that acts like a transformer and can respond to balanced or unbalanced loads.
But sometimes you might need a bit more color, so we have included a saturation section that introduces measured amounts of low frequency harmonic distortion via a steel audio transformer driven by a single ended tansistor amplifier. The High Pass Filter is placed in the beginning of the eq chain and the Low Band eq section is placed last in the chain. This layout produces the best overall equalizer coherency.
operational beauty
The large knobs and positive feel of the switching make the REQ a pleasure to operate and everything is visually clear when mounted into a console. In total there are 72 frequency choices per channel with overlapping selections across the four bands so you can always find the centre frequency you are looking for. A looping line XLR input and two parallel XLR outputs provide flexible connection options in the mastering control room. Finally, low glare rustic silver finish and retro Elma knobs give the REQ an impressive look in your rack!
controls and functions
mastering equalizerEach eq band has a 12 position switch to select the FREQUENCY and another that selects the BANDWIDTH or shape of the bell shape curve (Q) which is adjustable from 1/3 octave to 2 octaves wide. On the High and Low bands, the BANDWIDTH control reverts to shelf SLOPE control when SHELF mode is selected via the push button switch (but not with the Active Low Band option fitted). The Low and High Mid bands frequency range is changed to alternative selections when the FREQ x2.5 mode is selected. Each band also has an IN/OUT switch removing the band completely from the signal path. The BOOST/CUT control is a 23 postion Elma switch with a range of +/-8dB, with 0.5dB steps up to 3dB then 1dB steps to 8dB. Custom ranges and steps can be supplied to special order.
On the right side of the front panel are the HIGH PASS FILTER and SATURATION controls with their own IN/OUT switches. The overall SYSTEM IN/OUT controls and the power switch complete the picture. The channel A and channel B push button switches (SYSTEM, HPF and SATURATION) can be grouped by holding down any switch for 5 seconds. This means for stereo work you only need to push either the channel A or B switch to change both channels simultaneously. (This feature only applies to units with serial number Q1110 and up).
options
mastering equalizerThe REQ equalizer is available in a mastering version only (the recording version has been discontinued).or recording version with different boost/cut ranges as noted above. We are now offering an option for the Low Band section of the REQ. This option replaces the Choke based eq filter with an Active filter which provides a "tighter" bass sound. This option has come about from requests from some users who work with modern music styles in mastering. The only operational difference between the Active and Choke filters is that in Shelf mode, the Bandwidth control does not work as a slope control and is disabled.
You can now also order the REQ with Lundahl output transformers. When fitted, the direct balanced line out is available on the LINE OUT 1 XLR connectors and the transformer coupled output on the LINE OUT 2 XLR connectors. There are two Lundahl options, the LL1517 audio C-core or the LL1684 amorphous core.
The REQ is now also available with a silver-grey or black face plate.
The design of the SOC-20 includes the unique Differential Drive Side Chain topology found in the SOC-1.1, This system ensures the compressor will never over compress and dig holes in your audio. The benefits of the DDSC have been well documented in our SOC-1.1 user comments - smooth and effortless analog compression is available at your finger tips.So what's actually new in the SOC-20? Well, we have added a side chain insert point to enable you to apply equalization and change how the compressor acts on a frequency basis. For example, cutting low and high frequencies in the side chain so only the vocal range is compressed on a stereo mix. A side chain monitor function allows you to hear what you are doing to the side chain signal. We have also included a set high pass filter in the side chain which reduces the compressor sensitivity at frequencies below 150Hz.Perhaps the most important SOC-20 feature is the stereo Mid/Side processing mode. At the flick of a switch a discrete Class A sum and difference circuit is enabled so that Channel A now processes the L+R (sum) signal and Channel B the L-R (difference) signal of your stereo mix. This function, along with the side chain insert point, opens up whole new ways to easily manipulate your mixes and achieve the sound you desire.Features:
Toasty Class A discrete signal path with flashy Lundahl output transformers.
On board Mid Side processor.
Side chain insert point on balanced XLR's.
Built in side chain high pass filter.
Fast attack optical compressor.
Applications:
Music recording and mixing
Post production studios
Voice overs and dialog
Classical and acoustic music styles
Live sound
Detailed specifications available soon.
Standard Operating Level = +4dBu = 0 VU meter display.
Size = 2 Unit 19" rack mount, (482Wx88Hx250D).
Power requirements = 230V/115V selectable, IEC detachable power cable.
mastering focusDue to popular demand we have released a mastering version of the SOC-20 optical compressor. The SOC-M mastering version replaces the DRIVE and GAIN pots of the SOC-20 with stepped Elma attenuators for repeatability. We have also adjusted the RATIO's to suit mastering tasks and all the ratio's feature our famous "soft knee" characteristic. The SOC-M signal path utilizes our Class A discrete BE41 transistor amplifiers powered by a special low impedance power supply for vibrant sonic detail. As standard, the SOC-M is fitted with a Lundahl LL1517 output transformer providing a nice sheen to the sound. The unit is also available with a transformerless output option.
analog mid-side processingBut not only is the Buzz Audio SOC-M a stereo compressor, it also incorporates a Mid-Side (or sum and difference) encoder and decoder which is a very powerful mastering tool. When set to MS mode, signals that are common to left and right are processed by Channel A and the left to right difference signals by Channel B. Check out the SOC-20 audio samples to see how powerful this process can be. In addition, when set to MS mode, the mid and side signals are available as balanced outputs on the rear panel insert send XLR's
side chain designAt the flick of a switch, a 12dB/octave high pass filter at 170Hz reduces the compressor sensitivity to low frequencies for more bass punch. We have also included a fully balanced side chain insert point so you can add additional equalisation to the compressor characteristic. The side chain monitor function allows you to hear what is returning into the insert point (the side chain) and you can also monitor the mid or side signals when the compressor is used in MS mode.
dynamic range controlThe 5 ratio settings feature a soft knee characteristic whereby the selected ratio is only actually acheived at 10dB of gain reduction. Therefore very gentle compression is available when using 2:1 and 3:1 and even 10:1 is usable for material that needs stronger dynamic control. The unique differential side chain circuit of the SOC-M splits the audio into positive and negative waveform and processes it separately (attack and release parameters) with the resulting balanced signal controlling the Buzz Audio BE45 electro-optical attenuator. There are 5 compressor attack settings and 6 release settings that cover a wide range of response possibilities. In addition, our clever auto modes produce very musical results. The auto attack adapts to incoming audio rise time, and the auto release will decay quickly from short impulses but longer from sustained or low frequency signals.
controls and functions
DRIVE - 24 position Elma switch that sets the amount of compression.
OUTPUT dB - 24 position Elma switch that adds gain at the output to correct for lost level.
ATTACK - rotary switch with 1mS, 10mS, 25mS, 50mS selections and the excellent AUTO mode.
RATIO - rotary switch with 2:1, 3:1, 4:1, 6:1 and 10:1 selections - all soft knee characteristic.
RELEASE - rotary switch with 100mS, 200mS, 400mS, 800mS 1600mS selections and our superb AUTO mode.
BYPASS - hard wire unit bypass to compare compressed and uncompressed signals.
METER - switches the VU meter between input/output levels or amount of compression.
S.C. HPF - inserts a 170Hz high pass filter into the side chain for added bass punch.
S.C. INSERT - engage the external side chain insert point and monitor the side chain signal.
LINK A/B - joins the side chain of each channel for stereo operation with "soft" tracking.
There is also a locking toggle to select STEREO or MID-SIDE mode and a handy POWER on/off switch.
€3,419.00*
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