压缩器限制器及噪音门

Notes: A solid gold modern classic from FMR. The RNC must be one of the biggest studio bargains around. Proper analogue compression with digital control, offering pro sound at an affordable price.

Supplier's Notes:
What It Is

FMR Audio's first product, introduced over 18 years ago, the Really Nice Compressor (RNC) is a compact and cost-effective stereo compressor with a high-fidelity audio path and compression scheme. The RNC provides quality compression at a budget price.

How It Sounds

The RNC provides two modes of operation. One allows the RNC to be used for special effects, like snappy snares or popping basses. The other provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like natural vocals, acoustic guitar or the program bus). The RNC yields clean, airy compression with few artifacts and little high-end loss, even at massive gain reduction! The amazing performance is why- even after almost 20 years- many professionals are calling the RNC one of the best sounding compressors for under $2000.

How It's Done

The RNC achieves such high performance at a low cost by using using a microprocessor to replace discrete sidechain components (resistors, diodes, capacitors, opamps, transistors, etc) with chunks of software, thereby reducing the component cost. This approach, however, still processes the main audio in the analog domain, avoiding the problems associated with digital audio conversion (e.g., latency, digital artifacts). Even the problem of "scratchy" pots and switches are avoided: no audio flows through the front-panel controls. The front-panel pots and swtiches merely feed DC voltages to the microprocessor and it takes care of adjusting parameters and signal path with components - like sealed-relays and VCAs - located close to the input/output jacks avoiding noise pickup and audio quality reduction due to aging controls! With this blend of technology, the RNC offers the accuracy and precision of digital control with the clean tonal character of an all-analog signal path. The RNC's digital control permits accurate repeatability of your favorite settings.

Notes: What It Is

Years ago, many RNC users pined for less invisible compression and requested that FMR Audio offer a more "colourful" compressor, suitable for bass guitar, drums and other sources in need of added sonic texture. In response, the FMR designer went to the RNC archives and resurrected a version of RNC software that had been rejected for release because it wasn't invisible enough! The result: a compressor reminiscent of some classic opto compressors used to just "level" the signal rather than tame every transient. To celebrate the RNLA's sonic "colour", a bright red knob* was chosen as a visual metaphor. Although the most recent version ships with a less ostentatious red-striped knob (not shown), the RNLA's sonic colour remains bolder than ever...

How It Sounds

"Thick" and "gooey" is how some customers have described the RNLA's sound. The RNLA is, admittedly, much "gentler" and not as apt to grab'n'run with the signal. Like an old-timey photocell, the RNLA is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. This action yields a soft musicality to the compressor's action that adds a desirable characteristic to the source signal.

How It's Done

The RNLA and the RNC share much of the same hardware, but run different algorithms to achieve the desired effect. The RNLA exercises the well-known dictum (among dynamic processor designers) that, after the static characteristics of the signal path, the main contributors to a processor's sound are the shapes of the attack & release envelopes. The RNLA's software then transforms the sidechain signal into a drive signal for the VCA that both slows things down a bit and totally reshapes the crisp and quick action of the RNC's "normal" mode. This reshaping (and slow down) are the primary sonic drivers behind the RNLA's "thick and gooey" sound!

Notes: The S-Com 4 is a compact and versatile single-rack space device that provides four channels of high-quality dynamic processing with an Expander/Gate and Compressor/Limiter on each channel.

The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control, as well as a switch for fast or slow release times. The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S-Com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression.

This wide-ranging combination of features makes the S-Com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative.

Notes: Ideal for vocals or instruments, the Solo VLA delivers proper analogue compression at an affordable price. Optical compression and 12AT7 valve circuitry combine for real hardware character.

Supplier's Notes:
Whether it's to fatten up an instrument take, smooth out a vocal performance or prevent clipping while laying down tracks, the ART Solo VLA will elevate your projects to the next level.

The Solo VLA Multi-Voice Tube/Opto Compressor was designed to excel in applications where transparent, musical dynamic control is desired. The Blend control lets you combine the dry and processed signals for parallel compression, perfect for preserving your full dynamic range while adding fullness and sustain. Select between a pristine solid-state path or a class-A vacuum tube gain stage for warmer saturation.

The Solo Series of single channel rackmount units have been developed for the recording enthusiast with a preference for simplicity.

Specifications

Input Impedance: 10k ohms Line In
Output Impedance : 47 ohms Line Out
Equivalent Input Noise: +4dBu mode -99dBu ('A' weighted), -10dBv mode-107dBu ('A' weighted)

Maximum Levels Range Switch: +4dBu/-10dBv selectable Inputs +25dBu (in +4dBu mode) / +16dBV ( -10dBV mode)
Output +25dBu : +25dBu
Output Gain: +15dB Line In
Dynamic Range: >100dB (20-20kHz)
Frequency Response: 20Hz to 80kHz (+ 0/-1dB)
Dynamic range : >110dB ("A" weighted)
THD@ 0dBm Out: <0.02% (typical)
Attack Time : 0.25msec. to 50msec. variable
Release Time: 150msec. to 3sec. variable
CMRR : >90dB THD <0.005% (typical
Compression Ratio (Slope) Variable: 1.25:1 to 20:1
Maximum Attenuation: 30dB
Maximum Instrument Input : +17dBu
Power Requirements: 100-120V 60 Hz / 220-240V 50Hz

Dimensions: (HxWxD)
1.75-inch x 19-inch x 6.0-inch / 4.45 cm x 48.3 cm x 15.2 cm

Weight :5.6 lb / 2.5kg

Box Dimensions: (HxWxD)
5" x 20.4" x 7.44 / 12.6 cm x 51.8 cmx 18.9 cm

Notes: Everything you need from a hardware pre-amp. Clean and clear transistor amp or warm and juicy valve amplification, suitable for any mic or sound source. Top quality stuff at a great price.

Supplier's Notes:
The Solo MPA Multi-Voice Tube Preamplifier allows users to blend between a pristine low-noise/low-distortion solid-state transistor circuit and a warmer Class-A tube mic preamp.

The flexible EQ controls allow users to voice the Solo MPA to create their signature sound. Featuring 48V phantom power and a variable input impedance control, users can tailor the Solo MPA to suit their microphone of choice, be it a high-quality dynamic, a studio-grade condenser, or a low-level ribbon

The Solo Series of single-channel rackmount units have been developed for the recording enthusiast with a preference for simplicity.

Specifications

Frequency Response: 15 Hz to 50 kHz (+0, -1dB)
Dynamic range : >110dB ("A" weighted)
CMRR : >90dB THD <0.005% (typical
Equivalent Input Noise: -129dBu (XLR, "A" weighted)
Maximum Input Level : +19dBu (XLR)
Maximum Instrument Input : +17dBu
Input Impedance: 600-80K ohms adjustable (XLR), >800k ohms (Instrument), +27dBu (XLR)
Output Impedance : < 47 ohms (XLR)
Maximum Gain: 75dB
Meter Calibration: 0VU = +4dBu output (+4dBu mode) 0VU = -10dBV output (-10dBV mode)
Low Cut Filter : Single pole,10-200Hz adjustable
Tilt EQ: +/- 12dB adjustable
Power Requirements: 100-120V 60 Hz / 220-240V 50Hz
Dimensions: (HxWxD) 1.75-inch x 19-inch x 6.0-inch / 4.45 cm x 48.3 cm x 15.2 cm

Weight: 5.6 lb / 2.5kg
Box Dimensions: (HxWxD): 5" x 20.4" x 7.44" / 12.6 cm x 51.8cm x 18.9cm
Note: 0 dBu = 0.775Vrms

Notes: Combining the best of both worlds, the Solo Studio Multi-Voice Channel Strip allows users to choose between a pristine low-noise/low-distortion solid state transistor circuit and a warmer Class-A tube mic preamp. Along with the flexible Tilt EQ control, users can voice the Solo Studio to create their own signature sound.

Featuring 48V phantom power, a front Microphone/Line balanced input or a high impedance Instrument input, users can tailor the Solo Studio to suit any sound source. A Low-Cut control allows vocals to be sculpted for clarity while the Tilt EQ can be used to emphasize high presence or low-end warmth.

The Solo Series of single channel rackmount units have been developed for the recording enthusiast with a preference for simplicity.

Notes: Compression, expansion, noise gates and limiting are the cornerstones of the 50th anniversary Model 2830*Au Omnipressor, a true powerhouse of dynamic processing from one of the most iconic names in the business.

Supplier's Notes:
In 1973, Eventide Clockworks introduced the Omnipressor, the first studio product to encourage the use of dynamics for special effects. It joined the Instant Phaserr in studios worldwide, with the Instant Flanger following shortly after. All were used on countless recordings and are now considered truly classic products. Unlike the Phaser and Flanger, the Omnipressor, with its still-unique dynamic reversal, infinite compression, variable gating and separate "side chain," was discontinued a few years later. It had become difficult to obtain some exclusive parts and even more difficult to explain it to an industry that was much less sophisticated than it is today.

Omnipressor was the first dynamics effects processor of any kind, suddenly making possible a new, wide range of dynamics effects unlike anything that had come before it. Originally invented by Eventide's founder, Richard Factor (and later redesigned for production by Jon Paul), the Omnipressor made a host of dynamic effects possible. It featured variable control of all aspects of dynamic modification. It also introduced the notion of the 'side chain' and foretold techniques that today we take for granted like 'look ahead' processing. One of Eventide's first customers was Brian May, the lead guitarist of Queen.

Eventide now announces the golden-anniversary Omnipressor Model 2830*Au. The original handdrawn schematics were in the Eventide archives, and the new model is a faithful replica designed with the same circuitry and the same sound as the original 2830.

The new *Au model features the ability to link multiple units and is fitted with input and output audio transformers, which were a costly option on the original. Other improvements include a universal power supply and a back-lit meter, as well as more convenient TRS/XLR connectors replace the original terminal strip.

Specifications

Analogue Audio I/O

XLR and 1/4" Line In
XLR and 1/4" Line Out
XLR and 1/4" Side Chain In
XLR and 1/4" Side Chain Out
1/4" Link In
1/4" Link Out

Physical

Size

Inches: 3.5h x 19w x 8.9d
Metric: 8.9h x 48.3w x 31.7d
Weight
14 pounds (6.4kg) net

What's in the box:

Omnipressor
US-type IEC power cord
Omnipressor poster
Omnipressor manual
Eventide sticker
Eventide guitar pick