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Quick View {"id":9912639633,"title":"WARM Audio EQP-WA Tube Equaliser","handle":"warm-audio-eqp-wa","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003eOut Of The Box.\u003c\/h3\u003e\n\u003cp\u003eThe Warm Audio EQP-WA is a re-creation of the most renown tube Equalizer in studio history, the \"Pultec EQP-1A\". Not only does the look and feel of the EQP-WA match the classic Pultec units, but the sonic quality has been carefully considered by using top-end components such as CineMag transformers and premium tubes. This fully discrete Tube EQ can pull euphoric sonics from any track and bring a brilliance and luster to mixes that’s nearly impossible to achieve inside-the-box. We are proud to have once again redefined the industry standard by bringing a fully professional-grade equalizer to the market at a price that's just as remarkable as the unit.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_80ea2762ea0941f285a1c96938ecd795~mv2.jpg\/v1\/fill\/w_321,h_257,al_c,q_80,usm_0.66_1.00_0.01\/dada90_80ea2762ea0941f285a1c96938ecd795~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003ePultec Style Tube Equalizer - Made Affordable.\u003c\/h2\u003e\n\u003cp\u003eOur goal was to make a equalizer affordable for the first time, without compromising the quality and design parameters that make this type of equalizer so desirable.  \u003c\/p\u003e\n\u003ch5 class=\"font_5\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul class=\"font_7\"\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eUtilizes premium grade input and output CineMag USA Transformers.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eTube Equalizer based on the classic “Pultec” EQP-1A.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003ePremium high voltage 12AX7 and 12AU7 tubes.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eCineMag inductor EQ section.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eEQ section is bypassable - signal still passes through tubes and transformers for warming effect.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eNo insertion loss - loss restored by tube amplifier.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eXLR and TRS transformer balanced inputs.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eXLR and TRS transformer balanced outputs.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eFlat frequency response from 20 Hz - 50 kHz.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eBoost and Cut controls can be used simultaneously for phase effect.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eLow frequency boost - 20, 30, 60, 100, 200, 400, 800 Hz - 12 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eLow frequency cut - 20, 30, 60, 100, 200, 400, 800 Hz - 18 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eHigh frequency boost - 3, 4, 5, 8, 10, 12, 16 kHz - 18 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eHigh frequency cut - 3, 4, 5, 10, 20 kHz - 14 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e5 added frequency points for greater flexibility.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eSwitchable 115\/230 volt IEC power inlet.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eDimensions: 19 x 3.5 x 6 inches - 2RU rack mountable.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003ePremium Components in every Warm Audio product.\u003c\/h2\u003e\n\u003cp\u003eThe EQP-WA is a high-voltage tube equalizer, utilzing CineMag USA Transformers and two premium vacuum tubes by Tung-Sol.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_d5ca87fb44764247aa54eabe1057533d~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_d5ca87fb44764247aa54eabe1057533d~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003eA Two Tube Operation.\u003c\/h2\u003e\n\u003cp\u003eThe EQP-WA operates on two tubes: one 12AX7 and one 12AU7.  We proudly use Tung-Sol brand tubes in this product for their sonic richness and 'open' sound.  These 2 tubes are socketed for easy swapping and replacement.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_d5bdc200bf4f41b6bbe92eb78979012f~mv2.jpg\/v1\/fill\/w_405,h_351,al_c,q_80,usm_0.66_1.00_0.01\/dada90_d5bdc200bf4f41b6bbe92eb78979012f~mv2.webp\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","published_at":"2018-03-21T10:07:18+02:00","created_at":"2017-08-08T01:42:44+02:00","vendor":"Warm Audio","type":"Outboard Processing","tags":["Brand_Warm Audio","Processor_Equaliser"],"price":1169500,"price_min":1169500,"price_max":1169500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37629588049,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WARM-WAEQP","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"WARM Audio EQP-WA Tube Equaliser","public_title":null,"options":["Default Title"],"price":1169500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-eqp-wa-tube-equaliser-22362153297.jpg?v=1552825430","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-eqp-wa-tube-equaliser-22362154577.jpg?v=1552825430","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-eqp-wa-tube-equaliser-22362156177.jpg?v=1552825430","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-eqp-wa-tube-equaliser-22362157201.jpg?v=1552825430","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-eqp-wa-tube-equaliser-22362159185.jpg?v=1552825430","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-eqp-wa-tube-equaliser-22362161425.jpg?v=1552825430"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-eqp-wa-tube-equaliser-22362153297.jpg?v=1552825430","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003eOut Of The Box.\u003c\/h3\u003e\n\u003cp\u003eThe Warm Audio EQP-WA is a re-creation of the most renown tube Equalizer in studio history, the \"Pultec EQP-1A\". Not only does the look and feel of the EQP-WA match the classic Pultec units, but the sonic quality has been carefully considered by using top-end components such as CineMag transformers and premium tubes. This fully discrete Tube EQ can pull euphoric sonics from any track and bring a brilliance and luster to mixes that’s nearly impossible to achieve inside-the-box. We are proud to have once again redefined the industry standard by bringing a fully professional-grade equalizer to the market at a price that's just as remarkable as the unit.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_80ea2762ea0941f285a1c96938ecd795~mv2.jpg\/v1\/fill\/w_321,h_257,al_c,q_80,usm_0.66_1.00_0.01\/dada90_80ea2762ea0941f285a1c96938ecd795~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003ePultec Style Tube Equalizer - Made Affordable.\u003c\/h2\u003e\n\u003cp\u003eOur goal was to make a equalizer affordable for the first time, without compromising the quality and design parameters that make this type of equalizer so desirable.  \u003c\/p\u003e\n\u003ch5 class=\"font_5\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul class=\"font_7\"\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eUtilizes premium grade input and output CineMag USA Transformers.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eTube Equalizer based on the classic “Pultec” EQP-1A.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003ePremium high voltage 12AX7 and 12AU7 tubes.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eCineMag inductor EQ section.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eEQ section is bypassable - signal still passes through tubes and transformers for warming effect.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eNo insertion loss - loss restored by tube amplifier.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eXLR and TRS transformer balanced inputs.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eXLR and TRS transformer balanced outputs.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eFlat frequency response from 20 Hz - 50 kHz.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eBoost and Cut controls can be used simultaneously for phase effect.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eLow frequency boost - 20, 30, 60, 100, 200, 400, 800 Hz - 12 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eLow frequency cut - 20, 30, 60, 100, 200, 400, 800 Hz - 18 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eHigh frequency boost - 3, 4, 5, 8, 10, 12, 16 kHz - 18 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eHigh frequency cut - 3, 4, 5, 10, 20 kHz - 14 db.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e5 added frequency points for greater flexibility.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eSwitchable 115\/230 volt IEC power inlet.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eDimensions: 19 x 3.5 x 6 inches - 2RU rack mountable.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003ePremium Components in every Warm Audio product.\u003c\/h2\u003e\n\u003cp\u003eThe EQP-WA is a high-voltage tube equalizer, utilzing CineMag USA Transformers and two premium vacuum tubes by Tung-Sol.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_d5ca87fb44764247aa54eabe1057533d~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_d5ca87fb44764247aa54eabe1057533d~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003eA Two Tube Operation.\u003c\/h2\u003e\n\u003cp\u003eThe EQP-WA operates on two tubes: one 12AX7 and one 12AU7.  We proudly use Tung-Sol brand tubes in this product for their sonic richness and 'open' sound.  These 2 tubes are socketed for easy swapping and replacement.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_d5bdc200bf4f41b6bbe92eb78979012f~mv2.jpg\/v1\/fill\/w_405,h_351,al_c,q_80,usm_0.66_1.00_0.01\/dada90_d5bdc200bf4f41b6bbe92eb78979012f~mv2.webp\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e"}
R 10,695.00
Quick View {"id":9912560465,"title":"WARM Audio WA76 Discrete Compressor","handle":"warm-audio-wa76","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eClassic Style.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Warm Audio WA76 Discrete Compressor is a modern reproduction of the Classic '76 Revision D.  The WA76 has a fully discrete signal path and uses the original Reichenbach Engineering's (now CineMag) transformer design. The classic '76 was a major breakthrough in limiter technology, and used on hundreds of hit records since its inception.  Engineers have craved the ultra-fast attack time and trademark sound of the '76 for decades, and now it is finally affordable!\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eDiscrete Compressor - Made Affordable.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOur goal was to make a compressor of this pedigree affordable for the first time, without compromising the quality and design parameters that make this type of compressor so desirable. \u003c\/p\u003e\n\u003ch5 class=\"font_5\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul class=\"font_7\"\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eUtilizes premium grade input and output CineMag USA Transformers.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eTrue to the Classic '76 compressor in design and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eCompletely discrete signal path.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eModeled after the D revision.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eSupports the famous \"all buttons in\" ratio setting.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eUltra fast attack time.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eClass A line level output amplifier.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eInput impedance - 600 ohms, bridges-T control (floating).\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eFrequency Response ± 1 dB 20 Hz to 20kHz.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eXLR and TRS inputs. XLR and TRS outputs.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e50db of gain.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eLess than 0.4% total harmonic distortion from 50 Hz to 20 kHz with limiting.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eSignal to noise ratio is greater than 74 dB at +25 dBm.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eEIN -104.1 dbm.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eAttack time, 20 microseconds to 800 microseconds.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eRelease time, 50 milliseconds to 1 second.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eMeter provides dB gain reduction and dB output.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eInternal power supply, external 24v AC power transformer.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e19″ Rackmount chassis, 2U.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e1-year warranty.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003ePremium Components in every Warm Audio product.\u003c\/h2\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_e38defc6a12f4c39add249d3484ac855~mv2.jpg\/v1\/fill\/w_383,h_240,al_c,q_80,usm_0.66_1.00_0.01\/dada90_e38defc6a12f4c39add249d3484ac855~mv2.webp\"\u003e\u003c\/p\u003e\n\u003cp\u003eWe have faithfully reproduced the circuitry of the revision D, generally considered one of the best and most popular among the different versions made over the years. We’ve used all discrete, through-hole components, high quality CineMag input and output transformers, and a class A circuit that stays true to the legacy design.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_018f5909a4bd4b87afb22368b068c736~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_018f5909a4bd4b87afb22368b068c736~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003eAll Buttons In.\u003c\/h2\u003e\n\u003cp\u003eThe WA76 can reproduce the classic effect known as ‘All Buttons In’ mode, sometimes also referred to as ‘British Mode’ or the ‘Four Button Trick’.  Originally an accident due to the mechanical nature of the interconnected latching switches, this mode is reproduced by pushing in all four ratio buttons simultaneously and getting them to latch.  This can take a bit of practice.  The resulting compression curve is aggressive and unmistakably unique, and can be heard on the drum tracks of many classic recordings.  All-buttons-in compression is typically characterized by having a very aggressive compression ratio, attack and release curves that are more drastic plateaus opposed to gentler slopes, and more audible distortion or ‘overdrive’ on the signal.  Initial transients are more likely to come through loudly, followed by heavy compression curve sometimes described as having a ‘sucking’ effect as the compressor releases.  Because this mode is considered a design accident, faithfully maintained; it is normal for the meter function to ‘peg out’ and cease providing accurate metering.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/WcHfFFGJ4NM\" width=\"411\" height=\"229\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","published_at":"2018-03-21T10:06:02+02:00","created_at":"2017-08-08T01:19:59+02:00","vendor":"Warm Audio","type":"Outboard Processing","tags":["Brand_Warm Audio","Processor_Compressor"],"price":1069500,"price_min":1069500,"price_max":1069500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37629165265,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WARM-WA76","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"WARM Audio WA76 Discrete Compressor","public_title":null,"options":["Default Title"],"price":1069500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa76-discrete-compressor-22361926097.jpg?v=1552718326","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa76-discrete-compressor-22361926673.jpg?v=1552718326","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa76-discrete-compressor-22361928401.jpg?v=1552718326","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa76-discrete-compressor-22361928977.jpg?v=1552718326"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa76-discrete-compressor-22361926097.jpg?v=1552718326","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eClassic Style.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Warm Audio WA76 Discrete Compressor is a modern reproduction of the Classic '76 Revision D.  The WA76 has a fully discrete signal path and uses the original Reichenbach Engineering's (now CineMag) transformer design. The classic '76 was a major breakthrough in limiter technology, and used on hundreds of hit records since its inception.  Engineers have craved the ultra-fast attack time and trademark sound of the '76 for decades, and now it is finally affordable!\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eDiscrete Compressor - Made Affordable.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eOur goal was to make a compressor of this pedigree affordable for the first time, without compromising the quality and design parameters that make this type of compressor so desirable. \u003c\/p\u003e\n\u003ch5 class=\"font_5\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul class=\"font_7\"\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eUtilizes premium grade input and output CineMag USA Transformers.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eTrue to the Classic '76 compressor in design and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eCompletely discrete signal path.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eModeled after the D revision.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eSupports the famous \"all buttons in\" ratio setting.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eUltra fast attack time.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eClass A line level output amplifier.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eInput impedance - 600 ohms, bridges-T control (floating).\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eFrequency Response ± 1 dB 20 Hz to 20kHz.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eXLR and TRS inputs. XLR and TRS outputs.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e50db of gain.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eLess than 0.4% total harmonic distortion from 50 Hz to 20 kHz with limiting.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eSignal to noise ratio is greater than 74 dB at +25 dBm.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eEIN -104.1 dbm.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eAttack time, 20 microseconds to 800 microseconds.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eRelease time, 50 milliseconds to 1 second.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eMeter provides dB gain reduction and dB output.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eInternal power supply, external 24v AC power transformer.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e19″ Rackmount chassis, 2U.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003e1-year warranty.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003ePremium Components in every Warm Audio product.\u003c\/h2\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_e38defc6a12f4c39add249d3484ac855~mv2.jpg\/v1\/fill\/w_383,h_240,al_c,q_80,usm_0.66_1.00_0.01\/dada90_e38defc6a12f4c39add249d3484ac855~mv2.webp\"\u003e\u003c\/p\u003e\n\u003cp\u003eWe have faithfully reproduced the circuitry of the revision D, generally considered one of the best and most popular among the different versions made over the years. We’ve used all discrete, through-hole components, high quality CineMag input and output transformers, and a class A circuit that stays true to the legacy design.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_018f5909a4bd4b87afb22368b068c736~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_018f5909a4bd4b87afb22368b068c736~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003eAll Buttons In.\u003c\/h2\u003e\n\u003cp\u003eThe WA76 can reproduce the classic effect known as ‘All Buttons In’ mode, sometimes also referred to as ‘British Mode’ or the ‘Four Button Trick’.  Originally an accident due to the mechanical nature of the interconnected latching switches, this mode is reproduced by pushing in all four ratio buttons simultaneously and getting them to latch.  This can take a bit of practice.  The resulting compression curve is aggressive and unmistakably unique, and can be heard on the drum tracks of many classic recordings.  All-buttons-in compression is typically characterized by having a very aggressive compression ratio, attack and release curves that are more drastic plateaus opposed to gentler slopes, and more audible distortion or ‘overdrive’ on the signal.  Initial transients are more likely to come through loudly, followed by heavy compression curve sometimes described as having a ‘sucking’ effect as the compressor releases.  Because this mode is considered a design accident, faithfully maintained; it is normal for the meter function to ‘peg out’ and cease providing accurate metering.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/WcHfFFGJ4NM\" width=\"411\" height=\"229\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e"}
R 17,695.00
Quick View {"id":9912593297,"title":"WARM Audio WA2A Tube Optical Compressor","handle":"warm-audio-wa2a","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eAnalog Tone. The Warm Audio WA2A\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThough digital technology and software have made great strides in recent years; we still believe that nothing compares to the level of articulation, depth, realism, and responsiveness of a well-built piece of analog gear. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen you hear the bottom-end presence and top-end detail of quality analog gear, the difference can be astounding. The cost of most boutique analog equipment is financially out of reach for many recording artists. Our mission is to change this, and introduce as many people as we can to recording and mixing with real, dedicated hardware.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003e'2A Style Optical Compressor - Made Affordable.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eNo plug-in or other compressor type quite compares to the warm, forgiving, fluid qualities of this classic '2A-style optical compressor. For decades, the renowned ‘2A style circuit has become the go-to device for seamlessly handling vocals, bass, and a wide variety of other instruments and program material in an effortlessly smooth way.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eReleasing the WA-2A would be for nothing if we couldn’t make it affordable. Since the start of Warm Audio we have strived to give an unprecedented value to our customers, by putting high end audio within the reach of more people than ever before. This philosophy drives everything we do, and every product we offer. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_277af1f75a0c42459bd275c4b4dfd381~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_277af1f75a0c42459bd275c4b4dfd381~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch5 class=\"font_5\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul class=\"font_7\"\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e'2A Style, Transformer balanced, high voltage, opto tube compressor​.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eUtilizes premium grade input and output CineMag USA Transformers.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eUtilizes USA made Kenetek opto attenuator.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003ePremium Tung-Sol and Electro-Harmonix tubes. 2x 12ax7, 1x 12bh7, 1x 6aq5\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eFully discrete signal path.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eSocketed to allow for retro-fitting with other opto-cells.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eVariable Pre-emphasis, allows for compression hipass filtering.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eStereo-link capability.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eXLR and TRS balanced line level inputs - 600 ohms impedance.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eXLR and TRS balanced line level outputs - 600 ohms impedance.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eFrequency Response +\/- 1 dB, 15 Hz to 20kHz.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eGain 40 dB ±1dB.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eInput Level +16 dB maximum.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eOutput Level +10 dB nominal, +16 dB maximum.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eDistortion Less than 0.1% THD at ±10 dBm.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eNoise  = -74dB.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eAttack Time - 10 milliseconds.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eRelease Time - 0.06 seconds for 50% release.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e0.5 to 5 seconds for complete release.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eMeter shows both dB gain reduction and dB output.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003ePower - 115\/230 volts (switchable), 50\/60 Hz.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eDimensions - 19\" Rackmount chassis, 2U. 19\" x 7\" x 3.5\".\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eWeight - 12 lbs.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003ePremium Components in every Warm Audio product.\u003c\/h2\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_1f612c2d817e437cbacd372dcaab08a4~mv2.jpg\/v1\/fill\/w_436,h_187,al_c,q_80,usm_0.66_1.00_0.01\/dada90_1f612c2d817e437cbacd372dcaab08a4~mv2.webp\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A is a high-voltage, Class-A opto-compressor, utilzing large-core CineMag USA Transformers, four premium vacuum tubes, and the legendary Kenetek opto-cell - considered by many to be the world’s finest. \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_ce610007afa246228704f5835ca76e61~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_ce610007afa246228704f5835ca76e61~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003eA Four Tube Operation.\u003c\/h2\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_38a31989d40642df9936206c3c7160bd~mv2.png\/v1\/fill\/w_938,h_476,al_c,usm_0.66_1.00_0.01\/dada90_38a31989d40642df9936206c3c7160bd~mv2.png\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A operates on four tubes: two 12AX7’s, one 12BH7, and one 6P1J.  We proudly use Tung-Sol and Electro-Harmonix brand tubes in the signal path, which sound very 'open' and LARGE.  All 4 tubes are socketed for easy swapping and replacement.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","published_at":"2018-03-21T10:04:33+02:00","created_at":"2017-08-08T01:30:02+02:00","vendor":"Warm Audio","type":"Outboard Processing","tags":["Brand_Warm Audio","Processor_Compressor"],"price":1769500,"price_min":1769500,"price_max":1769500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37629347665,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WARM-WA2A","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"WARM Audio WA2A Tube Optical Compressor","public_title":null,"options":["Default Title"],"price":1769500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa2a-tube-optical-compressor-22362030673.jpg?v=1552717594","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa2a-tube-optical-compressor-22362031505.jpg?v=1552717594","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa2a-tube-optical-compressor-22362033361.jpg?v=1552717594","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa2a-tube-optical-compressor-22362033745.jpg?v=1552717594"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/warm-audio-outboard-processing-warm-audio-wa2a-tube-optical-compressor-22362030673.jpg?v=1552717594","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eAnalog Tone. The Warm Audio WA2A\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThough digital technology and software have made great strides in recent years; we still believe that nothing compares to the level of articulation, depth, realism, and responsiveness of a well-built piece of analog gear. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen you hear the bottom-end presence and top-end detail of quality analog gear, the difference can be astounding. The cost of most boutique analog equipment is financially out of reach for many recording artists. Our mission is to change this, and introduce as many people as we can to recording and mixing with real, dedicated hardware.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003e'2A Style Optical Compressor - Made Affordable.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eNo plug-in or other compressor type quite compares to the warm, forgiving, fluid qualities of this classic '2A-style optical compressor. For decades, the renowned ‘2A style circuit has become the go-to device for seamlessly handling vocals, bass, and a wide variety of other instruments and program material in an effortlessly smooth way.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_7\"\u003e\u003cspan class=\"color_2\"\u003eReleasing the WA-2A would be for nothing if we couldn’t make it affordable. Since the start of Warm Audio we have strived to give an unprecedented value to our customers, by putting high end audio within the reach of more people than ever before. This philosophy drives everything we do, and every product we offer. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_277af1f75a0c42459bd275c4b4dfd381~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_277af1f75a0c42459bd275c4b4dfd381~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch5 class=\"font_5\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul class=\"font_7\"\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e'2A Style, Transformer balanced, high voltage, opto tube compressor​.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eUtilizes premium grade input and output CineMag USA Transformers.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eUtilizes USA made Kenetek opto attenuator.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003ePremium Tung-Sol and Electro-Harmonix tubes. 2x 12ax7, 1x 12bh7, 1x 6aq5\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eFully discrete signal path.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eSocketed to allow for retro-fitting with other opto-cells.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eVariable Pre-emphasis, allows for compression hipass filtering.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eStereo-link capability.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eXLR and TRS balanced line level inputs - 600 ohms impedance.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eXLR and TRS balanced line level outputs - 600 ohms impedance.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eFrequency Response +\/- 1 dB, 15 Hz to 20kHz.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eGain 40 dB ±1dB.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eInput Level +16 dB maximum.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eOutput Level +10 dB nominal, +16 dB maximum.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eDistortion Less than 0.1% THD at ±10 dBm.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eNoise  = -74dB.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eAttack Time - 10 milliseconds.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eRelease Time - 0.06 seconds for 50% release.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003e0.5 to 5 seconds for complete release.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eMeter shows both dB gain reduction and dB output.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003ePower - 115\/230 volts (switchable), 50\/60 Hz.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eDimensions - 19\" Rackmount chassis, 2U. 19\" x 7\" x 3.5\".\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"font_7\"\u003eWeight - 12 lbs.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003ePremium Components in every Warm Audio product.\u003c\/h2\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_1f612c2d817e437cbacd372dcaab08a4~mv2.jpg\/v1\/fill\/w_436,h_187,al_c,q_80,usm_0.66_1.00_0.01\/dada90_1f612c2d817e437cbacd372dcaab08a4~mv2.webp\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A is a high-voltage, Class-A opto-compressor, utilzing large-core CineMag USA Transformers, four premium vacuum tubes, and the legendary Kenetek opto-cell - considered by many to be the world’s finest. \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_ce610007afa246228704f5835ca76e61~mv2.jpg\/v1\/fill\/w_1678,h_433,al_c,q_90,usm_0.66_1.00_0.01\/dada90_ce610007afa246228704f5835ca76e61~mv2.webp\"\u003e\u003c\/p\u003e\n\u003ch2\u003eA Four Tube Operation.\u003c\/h2\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/static.wixstatic.com\/media\/dada90_38a31989d40642df9936206c3c7160bd~mv2.png\/v1\/fill\/w_938,h_476,al_c,usm_0.66_1.00_0.01\/dada90_38a31989d40642df9936206c3c7160bd~mv2.png\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A operates on four tubes: two 12AX7’s, one 12BH7, and one 6P1J.  We proudly use Tung-Sol and Electro-Harmonix brand tubes in the signal path, which sound very 'open' and LARGE.  All 4 tubes are socketed for easy swapping and replacement.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e"}
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Quick View {"id":646931382300,"title":"Antelope Audio Pure2","handle":"antelope-audio-pure2","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eDIGITAL CLARITY, ANALOG WARMTH\u003c\/strong\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Antelope Audio Pure2 Is A High-End Mastering Converter, Powered By Antelope Audio’s Legendary Clocking And Pristine Analog Circuitry\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePure2 is a mastering-grade 24-bit, 192 kHz AD\/DA 2-channel converter and master clock that includes a relay-controlled volume attenuator. It features Antelope Audio’s world-renowned Acoustically Focused Clocking (AFC) technology, and also utilizes pristine analog circuitry, driven by a proprietary multi-stage linear power supply for unsurpassed digital clarity and analog realism.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eA\/D CONVERSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eImproved overload handling for smoother clipping and analog warmth, handled by PCM4222\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eD\/A CONVERSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDual DAC architecture for enhanced stereo imaging and signal-to-noise ratio\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003e64-BIT MASTER CLOCKING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSharp conversion timing via 4th gen AFC jitter management technology\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eHIGH-END D\/A\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDedicated D\/A converter for greater convenience, allows monitoring a secondary source\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eTRANSPARENT ANALOG MONITORING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eA -1dB stepped relay attenuator with 0.05dB precision and full bypass option\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eSOFTWARE CONTROL\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSuper intuitive OS X \u0026amp; Windows compatible software panel\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe famous Burr-Brown (TI) A\/D converter PCM4222 is unsurpassed in terms of sound quality and performance.\u003c\/li\u003e\n\u003cli\u003eThe separate DAC chips for the left and the right channel tremendously enhance the soundstage and signal-to-noise ratio.\u003c\/li\u003e\n\u003cli\u003eThe dedicated headphone DAC not only provides greater convenience and routing flexibility, but the option to monitor a secondary source independent from the main outs.\u003c\/li\u003e\n\u003cli\u003ePure2 features Antelope’s high end analog volume control with a stepped relay attenuator allowing 0.05 dB precision for optimal monitoring transparency.\u003c\/li\u003e\n\u003cli\u003eThe flawless clocking in Pure2 is ensured by the same oven-controlled crystal oscillator technology from Antelope’s flagship master clock Trinity and the top-seller Orion32 AD\/DA.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cstrong\u003eFLEXIBLE CONTROL\u003c\/strong\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong\u003eAccess All Pure2 Features Via Mac \u0026amp; PC App Or Through The Front-Panel Controls\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAll Pure2 features are available in an intuitive software control panel for Mac or Windows provides users the ability to manage all facets of the device operation. Pure2 is also configurable via the front panel with user-definable presets.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eEASY LIFE\u003c\/strong\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong\u003eWe Know The Engineer’s Life Is Not A Glamorous One. So We Tried To Make It Easier.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eYou can set up Pure2 in a couple of minutes. All you actually need is one USB cable (provided in the box) and a laptop of your choosing (Win 7.1 or higher \/ Mac OSx 10.9 or higher) and you can start capturing stereo audio at 192 kHz.\u003c\/p\u003e\n\u003cp\u003eAfter setting it up, just download the Control Panel, a few clicks and you’re set.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cdiv class=\"vc_col-sm-4 wpb_column column_container vc_column_container col padding-3-percent instance-47\" data-border-radius=\"none\" data-shadow=\"none\" data-border-animation=\"\" data-border-animation-delay=\"\" data-border-width=\"none\" data-border-style=\"solid\" data-border-color=\"\" data-bg-cover=\"\" data-padding-pos=\"all\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\"\u003e\n\u003cdiv class=\"vc_column-inner\"\u003e\n\u003cdiv class=\"wpb_wrapper\"\u003e\n\u003cdiv class=\"nectar-fancy-ul\" data-list-icon=\"icon-ok\" data-animation=\"false\" data-animation-delay=\"0\" data-color=\"accent-color\" data-alignment=\"left\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAnalog Inputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e2 x Combo Balanced Analog (XLR \/ 1\/4 TRS) factory calibrated to +20dBu\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eDigital Inputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x AES\/EBU on XLR (32kHz to 192kHz) @ 110 Ohms terminated\u003cbr\u003e1 x S\/PDIF on RCA (32kHz to 192kHz) @ 75 Ohms terminated\u003cbr\u003e1 x TOSLINK on optical fiber: up to 96kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eWord Clock Input\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x Input @ 75 Ohms 3Vpp on BNC 32 – 192kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAnalog Outputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x Stereo pair of Balanced XLR Outputs from D\/A Converter (Main Output) is factory calibrated to 20dBu and user adjustable from 8dBu to 26dBu\u003cbr\u003e1 x Stereo pair Balanced Outputs for monitors (2 x 1\/4 TRS)\u003cbr\u003e1 x 1\/4 TRS Front Headphones 20dBu\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eDigital Outputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x AES\/EBU on XLR (32kHz to 192kHz) @ 110 Ohms terminated\u003cbr\u003e1 x S\/PDIF on RCA (32kHz to 192kHz) @ 75 Ohms terminated\u003cbr\u003e1 x TOSLINK on optical fiber: up to 96kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eWord Clock Outputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e8 x Outputs @ 75 Ohms 3Vpp on BNC 32 – 192kHz\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"vc_col-sm-4 wpb_column column_container vc_column_container col padding-3-percent instance-48\" data-border-radius=\"none\" data-shadow=\"none\" data-border-animation=\"\" data-border-animation-delay=\"\" data-border-width=\"none\" data-border-style=\"solid\" data-border-color=\"\" data-bg-cover=\"\" data-padding-pos=\"all\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\"\u003e\n\u003cdiv class=\"vc_column-inner\"\u003e\n\u003cdiv class=\"wpb_wrapper\"\u003e\n\u003cdiv class=\"nectar-fancy-ul\" data-list-icon=\"icon-ok\" data-animation=\"false\" data-animation-delay=\"0\" data-color=\"accent-color\" data-alignment=\"left\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eUSB I\/O\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eUSB 2.0 Hi-Speed; Data stream up to 480Mbits\/192kHz,\u003cbr\u003e4 channels I\/O playback\/record, Type B\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eExternal Reference Clock\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x 10M Atomic Clock Input @ 75 Ohms 1Vpp on BNC\u003cbr\u003e1 x Word Clock Input @ 75 Ohms 3Vpp on BNC 32 – 192kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eA\/D Converter\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eDynamic Range: 122dB\u003cbr\u003eTHD+N: -105dB\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eD\/A Converters\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMain DAC Dynamic Range 127dB; THD+N -107dB\u003cbr\u003eMonitor DAC Dynamic Range 120dB; THD+N -103dB\u003cbr\u003eHeadphones DAC Dynamic Range 120dB; THD+N -100dB\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eClock Specifications\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026lt;+\/-0.02 PPM, oven controlled at 64.5°C\/ 148.1°F\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eClock Aging\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026lt; 1 ppm per year\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eClock Calibration\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026lt; +\/-0.001 ppm\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"vc_col-sm-4 wpb_column column_container vc_column_container col padding-3-percent instance-49\" data-border-radius=\"none\" data-shadow=\"none\" data-border-animation=\"\" data-border-animation-delay=\"\" data-border-width=\"none\" data-border-style=\"solid\" data-border-color=\"\" data-bg-cover=\"\" data-padding-pos=\"all\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\"\u003e\n\u003cdiv class=\"vc_column-inner\"\u003e\n\u003cdiv class=\"wpb_wrapper\"\u003e\n\u003cdiv class=\"nectar-fancy-ul\" data-list-icon=\"icon-ok\" data-animation=\"false\" data-animation-delay=\"0\" data-color=\"accent-color\" data-alignment=\"left\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAtomic Clock Input\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e10MHz @ 1Vpp, BNC\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eSample Rates (KHz)\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e32, 44.1, 48, 88.2, 96, 176.4, 192\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eOperating Temperature\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e0-50°C, 32-122°F\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eWeight\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e3 kg, 6.6 lb approx.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eDimensions (Approx)\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e483mm(W) x 44mm(H) x 220mm (D)\u003cbr\u003e19”(W) x 1.75”(H) x 8.66”(D)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003ePower Supply\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e~110VAC 60Hz\/ ~220VAC 50Hz selectable\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAtomic Clock Input\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x 10M Input @ 75 Ohms 1Vpp on BNC\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eFuses\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e2 x 0.8A 250VAC 5mm x 20mm Type T (or Time delay)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","published_at":"2018-08-23T11:37:02+02:00","created_at":"2018-02-14T21:30:02+02:00","vendor":"Antelope Audio","type":"Outboard Processing","tags":["Brand_Antelope Audio","Processor_AD\/DA Converter"],"price":0,"price_min":0,"price_max":0,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751982907420,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"AAP2","requires_shipping":true,"taxable":false,"featured_image":null,"available":false,"name":"Antelope Audio Pure2","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":0,"inventory_management":"shopify","inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/antelope-audio-outboard-processing-antelope-audio-pure2-2222822031388.jpg?v=1552766133","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/antelope-audio-outboard-processing-antelope-audio-pure2-2222822162460.jpg?v=1552766133","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/antelope-audio-outboard-processing-antelope-audio-pure2-2222822260764.jpg?v=1552766133"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/antelope-audio-outboard-processing-antelope-audio-pure2-2222822031388.jpg?v=1552766133","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eDIGITAL CLARITY, ANALOG WARMTH\u003c\/strong\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Antelope Audio Pure2 Is A High-End Mastering Converter, Powered By Antelope Audio’s Legendary Clocking And Pristine Analog Circuitry\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003ePure2 is a mastering-grade 24-bit, 192 kHz AD\/DA 2-channel converter and master clock that includes a relay-controlled volume attenuator. It features Antelope Audio’s world-renowned Acoustically Focused Clocking (AFC) technology, and also utilizes pristine analog circuitry, driven by a proprietary multi-stage linear power supply for unsurpassed digital clarity and analog realism.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eA\/D CONVERSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eImproved overload handling for smoother clipping and analog warmth, handled by PCM4222\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eD\/A CONVERSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDual DAC architecture for enhanced stereo imaging and signal-to-noise ratio\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003e64-BIT MASTER CLOCKING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSharp conversion timing via 4th gen AFC jitter management technology\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eHIGH-END D\/A\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDedicated D\/A converter for greater convenience, allows monitoring a secondary source\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eTRANSPARENT ANALOG MONITORING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eA -1dB stepped relay attenuator with 0.05dB precision and full bypass option\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eSOFTWARE CONTROL\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSuper intuitive OS X \u0026amp; Windows compatible software panel\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe famous Burr-Brown (TI) A\/D converter PCM4222 is unsurpassed in terms of sound quality and performance.\u003c\/li\u003e\n\u003cli\u003eThe separate DAC chips for the left and the right channel tremendously enhance the soundstage and signal-to-noise ratio.\u003c\/li\u003e\n\u003cli\u003eThe dedicated headphone DAC not only provides greater convenience and routing flexibility, but the option to monitor a secondary source independent from the main outs.\u003c\/li\u003e\n\u003cli\u003ePure2 features Antelope’s high end analog volume control with a stepped relay attenuator allowing 0.05 dB precision for optimal monitoring transparency.\u003c\/li\u003e\n\u003cli\u003eThe flawless clocking in Pure2 is ensured by the same oven-controlled crystal oscillator technology from Antelope’s flagship master clock Trinity and the top-seller Orion32 AD\/DA.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cstrong\u003eFLEXIBLE CONTROL\u003c\/strong\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong\u003eAccess All Pure2 Features Via Mac \u0026amp; PC App Or Through The Front-Panel Controls\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAll Pure2 features are available in an intuitive software control panel for Mac or Windows provides users the ability to manage all facets of the device operation. Pure2 is also configurable via the front panel with user-definable presets.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eEASY LIFE\u003c\/strong\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong\u003eWe Know The Engineer’s Life Is Not A Glamorous One. So We Tried To Make It Easier.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eYou can set up Pure2 in a couple of minutes. All you actually need is one USB cable (provided in the box) and a laptop of your choosing (Win 7.1 or higher \/ Mac OSx 10.9 or higher) and you can start capturing stereo audio at 192 kHz.\u003c\/p\u003e\n\u003cp\u003eAfter setting it up, just download the Control Panel, a few clicks and you’re set.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cdiv class=\"vc_col-sm-4 wpb_column column_container vc_column_container col padding-3-percent instance-47\" data-border-radius=\"none\" data-shadow=\"none\" data-border-animation=\"\" data-border-animation-delay=\"\" data-border-width=\"none\" data-border-style=\"solid\" data-border-color=\"\" data-bg-cover=\"\" data-padding-pos=\"all\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\"\u003e\n\u003cdiv class=\"vc_column-inner\"\u003e\n\u003cdiv class=\"wpb_wrapper\"\u003e\n\u003cdiv class=\"nectar-fancy-ul\" data-list-icon=\"icon-ok\" data-animation=\"false\" data-animation-delay=\"0\" data-color=\"accent-color\" data-alignment=\"left\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAnalog Inputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e2 x Combo Balanced Analog (XLR \/ 1\/4 TRS) factory calibrated to +20dBu\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eDigital Inputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x AES\/EBU on XLR (32kHz to 192kHz) @ 110 Ohms terminated\u003cbr\u003e1 x S\/PDIF on RCA (32kHz to 192kHz) @ 75 Ohms terminated\u003cbr\u003e1 x TOSLINK on optical fiber: up to 96kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eWord Clock Input\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x Input @ 75 Ohms 3Vpp on BNC 32 – 192kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAnalog Outputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x Stereo pair of Balanced XLR Outputs from D\/A Converter (Main Output) is factory calibrated to 20dBu and user adjustable from 8dBu to 26dBu\u003cbr\u003e1 x Stereo pair Balanced Outputs for monitors (2 x 1\/4 TRS)\u003cbr\u003e1 x 1\/4 TRS Front Headphones 20dBu\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eDigital Outputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x AES\/EBU on XLR (32kHz to 192kHz) @ 110 Ohms terminated\u003cbr\u003e1 x S\/PDIF on RCA (32kHz to 192kHz) @ 75 Ohms terminated\u003cbr\u003e1 x TOSLINK on optical fiber: up to 96kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eWord Clock Outputs\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e8 x Outputs @ 75 Ohms 3Vpp on BNC 32 – 192kHz\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"vc_col-sm-4 wpb_column column_container vc_column_container col padding-3-percent instance-48\" data-border-radius=\"none\" data-shadow=\"none\" data-border-animation=\"\" data-border-animation-delay=\"\" data-border-width=\"none\" data-border-style=\"solid\" data-border-color=\"\" data-bg-cover=\"\" data-padding-pos=\"all\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\"\u003e\n\u003cdiv class=\"vc_column-inner\"\u003e\n\u003cdiv class=\"wpb_wrapper\"\u003e\n\u003cdiv class=\"nectar-fancy-ul\" data-list-icon=\"icon-ok\" data-animation=\"false\" data-animation-delay=\"0\" data-color=\"accent-color\" data-alignment=\"left\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eUSB I\/O\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eUSB 2.0 Hi-Speed; Data stream up to 480Mbits\/192kHz,\u003cbr\u003e4 channels I\/O playback\/record, Type B\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eExternal Reference Clock\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x 10M Atomic Clock Input @ 75 Ohms 1Vpp on BNC\u003cbr\u003e1 x Word Clock Input @ 75 Ohms 3Vpp on BNC 32 – 192kHz\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eA\/D Converter\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eDynamic Range: 122dB\u003cbr\u003eTHD+N: -105dB\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eD\/A Converters\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMain DAC Dynamic Range 127dB; THD+N -107dB\u003cbr\u003eMonitor DAC Dynamic Range 120dB; THD+N -103dB\u003cbr\u003eHeadphones DAC Dynamic Range 120dB; THD+N -100dB\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eClock Specifications\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026lt;+\/-0.02 PPM, oven controlled at 64.5°C\/ 148.1°F\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eClock Aging\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026lt; 1 ppm per year\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eClock Calibration\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u0026lt; +\/-0.001 ppm\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"vc_col-sm-4 wpb_column column_container vc_column_container col padding-3-percent instance-49\" data-border-radius=\"none\" data-shadow=\"none\" data-border-animation=\"\" data-border-animation-delay=\"\" data-border-width=\"none\" data-border-style=\"solid\" data-border-color=\"\" data-bg-cover=\"\" data-padding-pos=\"all\" data-has-bg-color=\"false\" data-bg-color=\"\" data-bg-opacity=\"1\" data-hover-bg=\"\" data-hover-bg-opacity=\"1\" data-animation=\"\" data-delay=\"0\"\u003e\n\u003cdiv class=\"vc_column-inner\"\u003e\n\u003cdiv class=\"wpb_wrapper\"\u003e\n\u003cdiv class=\"nectar-fancy-ul\" data-list-icon=\"icon-ok\" data-animation=\"false\" data-animation-delay=\"0\" data-color=\"accent-color\" data-alignment=\"left\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAtomic Clock Input\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e10MHz @ 1Vpp, BNC\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eSample Rates (KHz)\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e32, 44.1, 48, 88.2, 96, 176.4, 192\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eOperating Temperature\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e0-50°C, 32-122°F\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eWeight\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e3 kg, 6.6 lb approx.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eDimensions (Approx)\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e483mm(W) x 44mm(H) x 220mm (D)\u003cbr\u003e19”(W) x 1.75”(H) x 8.66”(D)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003ePower Supply\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e~110VAC 60Hz\/ ~220VAC 50Hz selectable\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eAtomic Clock Input\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e1 x 10M Input @ 75 Ohms 1Vpp on BNC\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ch3\u003eFuses\u003c\/h3\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e2 x 0.8A 250VAC 5mm x 20mm Type T (or Time delay)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e"}
R 0.00
Quick View {"id":646925975580,"title":"Chandler Limited TG12345 Curve Bender","handle":"chandler-limited-tg12345-curve-bender","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe EMI TG12345 Chandler Limited Curve Bender is the ultimate TG equalizer issued in celebration of the 75th birthday of Abbey Road Studios\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Curve Bender was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd. This newest EMI equalizer continues the tradition of EMI EQs started in 1954 with the RS57, the 1969 TG12345, and the 1974 TG12412.\u003c\/p\u003e\n\u003cp\u003eWade turned the nine selections of the vintage version into 51 EQ points plus a multiply switch that increases the cut\/boost up to ±13.5dB (as well as sharpening the Q), filters and bell\/shelf selections on the high and low bands.\u003c\/p\u003e\n\u003cp\u003eNOTE: As of 2011, mastering and standard features were combined into a single unit. Setting the multiplier toggle to x1 provides 0.5dB steps for a total of ±5db of boost\/cut per band. Setting the multiplier toggle to x1.5 provides a total of ±13.5db of boost\/cut per band. The master L\/R output switches are always ±0.5db steps for a total of ±5db of boost\/cut.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eCHANNELS:\u003c\/strong\u003e Stereo \/ Dual Mono\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCIRCUIT:\u003c\/strong\u003e Discrete, Transistor\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONNECTIONS\u003c\/strong\u003e\u003cbr\u003eI\/O: XLR\u003cbr\u003eAll Connections Transformer Balanced Pin 2 Hot\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePOWER:\u003c\/strong\u003e ±28v\u003cbr\u003eRequires Chandler Limited PSU-1 MKII power supply.\u003c\/p\u003e","published_at":"2018-08-23T11:21:00+02:00","created_at":"2018-02-14T21:13:44+02:00","vendor":"Chandler Limited","type":"Outboard Processing","tags":["Brand_Chandler Limited","Processor_Equaliser","Processor_Mastering"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751958396956,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"CLTD-CURVEBENDER","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Chandler Limited TG12345 Curve Bender","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/chandler-limited-outboard-processing-chandler-limited-tg12345-curve-bender-2222790770716.jpg?v=1552797034"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/chandler-limited-outboard-processing-chandler-limited-tg12345-curve-bender-2222790770716.jpg?v=1552797034","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe EMI TG12345 Chandler Limited Curve Bender is the ultimate TG equalizer issued in celebration of the 75th birthday of Abbey Road Studios\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Curve Bender was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd. This newest EMI equalizer continues the tradition of EMI EQs started in 1954 with the RS57, the 1969 TG12345, and the 1974 TG12412.\u003c\/p\u003e\n\u003cp\u003eWade turned the nine selections of the vintage version into 51 EQ points plus a multiply switch that increases the cut\/boost up to ±13.5dB (as well as sharpening the Q), filters and bell\/shelf selections on the high and low bands.\u003c\/p\u003e\n\u003cp\u003eNOTE: As of 2011, mastering and standard features were combined into a single unit. Setting the multiplier toggle to x1 provides 0.5dB steps for a total of ±5db of boost\/cut per band. Setting the multiplier toggle to x1.5 provides a total of ±13.5db of boost\/cut per band. The master L\/R output switches are always ±0.5db steps for a total of ±5db of boost\/cut.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eCHANNELS:\u003c\/strong\u003e Stereo \/ Dual Mono\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCIRCUIT:\u003c\/strong\u003e Discrete, Transistor\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONNECTIONS\u003c\/strong\u003e\u003cbr\u003eI\/O: XLR\u003cbr\u003eAll Connections Transformer Balanced Pin 2 Hot\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePOWER:\u003c\/strong\u003e ±28v\u003cbr\u003eRequires Chandler Limited PSU-1 MKII power supply.\u003c\/p\u003e"}
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Quick View {"id":646920503324,"title":"Dangerous Music BAX EQ Stereo Mastering \u0026 Mix Bus Shelving Equalizer","handle":"dangerous-music-bax-eq","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eTHE WORLD’S MOST POPULAR EQ\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eIf you’ve ever adjusted the bass and treble on a hi-end stereo system, a boom box or even a car stereo, then you’ve used a Baxandall EQ. Originally designed by the now legendary electronics designer Peter Baxandall, these are the world’s most popular EQ curves for a good reason: they are able to improve the sound of anything you throw at them. The Dangerous BAX EQ is the first professional, stand-alone EQ to use the famous Baxandall curves, and our version – designed by our own legendary designer Chris Muth – has become an instant classic among mixing, mastering and tracking engineers. It’s so loved, in fact, that most are leaving it patched into their audio path full time where it sweetens and deepens all kinds of music…day in, day out, all year long.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eBIG MOVES AND BROAD STROKES\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eAt the heart of this stereo unit are gently sweeping treble and bass EQ shelves (the Baxandall Curves) that give you subtle yet profound control over wide sections of the frequency spectrum. The opposite of a surgical tool, the BAX EQ is all about sweetening sounds with broad, musical adjustments. Starting far below and above the human hearing limit, the broad and gentle EQ curves gently tug at the audible frequencies in ways that other EQs cannot. This unique design provides a distinctively sweet and open treble along with a powerful and three-dimensional low-end you simply can’t get out of other EQs.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eTHE PARADOX OF TRANSPARENCY\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eThe bass and treble shelves found on most professional EQs introduce phase delay and other audible artifacts, sometimes called “color.” The BAX EQ’s shelves maintain phase coherence, and — because it is built from the same ultra-high-grade components we use in all our equipment — the BAX EQ does not change the characteristics of the original sound. This is the ineffable paradox of real analog transparency: you have the ability to make powerful changes without substantially altering the original sonic characteristics. Rather than adding more color, you’ll hear the original colors more beautifully, more openly and more powerfully, no matter how far you push it.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eSOPHISTICATED FILTERING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eBeyond the easy-to-use shelf controls, the BAX EQ is equipped with sophisticated filtering options that vastly expand its versatility. The cut filters on either end of the spectrum dial out unneeded frequencies that will be boosted at the far end of the shelves. On the low end, you can cut below 12 Hz, where headroom-eating, infrasonic rumble and DC-offset live. On the high end, you can dial out ultra-sonics like 70 kHz that can carry out-of-band noise that translates as harshness in many A\/D converters. And when you start playing the cut filters against the shelves, a whole world of unique tone-shaping opens up within the audible frequency band – sounds you wont get anywhere else.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eEFFORTLESS RESULTS FOR TRACKING, MIXING \u0026amp; MASTERING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eIn a category all its own, the BAX EQ will compliment any studio configuration. Outstanding in a mastering rig, on a whole mix or in any tracking chain, the BAX EQ lets you effortlessly sweeten and deepen any music — like the best bass-treble controls you’ve ever used.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eTHE DANGEROUS PHILOSOPHY EMBODIED\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eAs with all of our products, the Bax EQ incorporates a sophisticated circuit design, uncompromising quality, and is elegantly straightforward to use.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eKEY FEATURES\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul class=\"highlights\"\u003e\n\u003cli\u003eUnique Design Based on the bass-treble tone control EQ.\u003c\/li\u003e\n\u003cli\u003eUltra-high quality components.\u003c\/li\u003e\n\u003cli\u003eStepped controls throughout for accuracy and repeatability.\u003c\/li\u003e\n\u003cli\u003eBroad Q-shelving for a natural, open transparent sound.\u003c\/li\u003e\n\u003cli\u003e7-position phase coherent high-pass and low-pass filters on relays.\u003c\/li\u003e\n\u003cli\u003e8-position high- and low-frequency selection.\u003c\/li\u003e\n\u003cli\u003e5dB cut and boost controls in 1\/2dB step for precise control.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003e\u003cstrong\u003eTechnical Specs\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eFrequency Response:\u003c\/strong\u003e\u003cbr\u003e+- 0.1dB from 10Hz to 20kHz\u003cbr\u003e+- 0.2dB from 1Hz to 80kHz\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaximum level:\u003cbr\u003e\u003c\/strong\u003e\u0026gt;+28dBu\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoise floor:\u003c\/strong\u003e\u003cbr\u003e\u0026lt;-92dBu band limited from 22Hz-22kHz\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHD+N: \u003c\/strong\u003e\u003cbr\u003e\u0026lt;0.002%\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMD: \u003c\/strong\u003e\u003cbr\u003e\u0026lt;0.003%\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCrosstalk rejection: \u003c\/strong\u003e\u003cbr\u003e\u0026gt;105dB\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReplacement Fuses:\u003c\/strong\u003e\u003cbr\u003eUSA 500mA fast blow for 120V\u003cbr\u003eEurope 250mA fast blow for 240V\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInput Impedance: \u003c\/strong\u003e\u003cbr\u003e25K Ohms\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOutput Impedance: \u003c\/strong\u003e\u003cbr\u003e50 Ohms\u003c\/p\u003e","published_at":"2018-08-23T10:32:57+02:00","created_at":"2018-02-14T21:03:58+02:00","vendor":"Dangerous Music","type":"Outboard Processing","tags":["Brand_Dangerous Music","Processor_Equaliser","Processor_Mastering"],"price":0,"price_min":0,"price_max":0,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751916355612,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"DMBAXEQ","requires_shipping":true,"taxable":false,"featured_image":null,"available":false,"name":"Dangerous Music BAX EQ Stereo Mastering \u0026 Mix Bus Shelving Equalizer","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":0,"inventory_management":"shopify","inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dangerous-music-outboard-processing-dangerous-music-bax-eq-stereo-mastering-mix-bus-shelving-equalizer-2222773796892.jpg?v=1552812872","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dangerous-music-outboard-processing-dangerous-music-bax-eq-stereo-mastering-mix-bus-shelving-equalizer-2222773895196.jpg?v=1552812872"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dangerous-music-outboard-processing-dangerous-music-bax-eq-stereo-mastering-mix-bus-shelving-equalizer-2222773796892.jpg?v=1552812872","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eTHE WORLD’S MOST POPULAR EQ\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eIf you’ve ever adjusted the bass and treble on a hi-end stereo system, a boom box or even a car stereo, then you’ve used a Baxandall EQ. Originally designed by the now legendary electronics designer Peter Baxandall, these are the world’s most popular EQ curves for a good reason: they are able to improve the sound of anything you throw at them. The Dangerous BAX EQ is the first professional, stand-alone EQ to use the famous Baxandall curves, and our version – designed by our own legendary designer Chris Muth – has become an instant classic among mixing, mastering and tracking engineers. It’s so loved, in fact, that most are leaving it patched into their audio path full time where it sweetens and deepens all kinds of music…day in, day out, all year long.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eBIG MOVES AND BROAD STROKES\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eAt the heart of this stereo unit are gently sweeping treble and bass EQ shelves (the Baxandall Curves) that give you subtle yet profound control over wide sections of the frequency spectrum. The opposite of a surgical tool, the BAX EQ is all about sweetening sounds with broad, musical adjustments. Starting far below and above the human hearing limit, the broad and gentle EQ curves gently tug at the audible frequencies in ways that other EQs cannot. This unique design provides a distinctively sweet and open treble along with a powerful and three-dimensional low-end you simply can’t get out of other EQs.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eTHE PARADOX OF TRANSPARENCY\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eThe bass and treble shelves found on most professional EQs introduce phase delay and other audible artifacts, sometimes called “color.” The BAX EQ’s shelves maintain phase coherence, and — because it is built from the same ultra-high-grade components we use in all our equipment — the BAX EQ does not change the characteristics of the original sound. This is the ineffable paradox of real analog transparency: you have the ability to make powerful changes without substantially altering the original sonic characteristics. Rather than adding more color, you’ll hear the original colors more beautifully, more openly and more powerfully, no matter how far you push it.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eSOPHISTICATED FILTERING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eBeyond the easy-to-use shelf controls, the BAX EQ is equipped with sophisticated filtering options that vastly expand its versatility. The cut filters on either end of the spectrum dial out unneeded frequencies that will be boosted at the far end of the shelves. On the low end, you can cut below 12 Hz, where headroom-eating, infrasonic rumble and DC-offset live. On the high end, you can dial out ultra-sonics like 70 kHz that can carry out-of-band noise that translates as harshness in many A\/D converters. And when you start playing the cut filters against the shelves, a whole world of unique tone-shaping opens up within the audible frequency band – sounds you wont get anywhere else.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eEFFORTLESS RESULTS FOR TRACKING, MIXING \u0026amp; MASTERING\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eIn a category all its own, the BAX EQ will compliment any studio configuration. Outstanding in a mastering rig, on a whole mix or in any tracking chain, the BAX EQ lets you effortlessly sweeten and deepen any music — like the best bass-treble controls you’ve ever used.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eTHE DANGEROUS PHILOSOPHY EMBODIED\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"normal\"\u003eAs with all of our products, the Bax EQ incorporates a sophisticated circuit design, uncompromising quality, and is elegantly straightforward to use.\u003c\/p\u003e\n\u003ch3 class=\"normal\"\u003e\u003cstrong\u003eKEY FEATURES\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul class=\"highlights\"\u003e\n\u003cli\u003eUnique Design Based on the bass-treble tone control EQ.\u003c\/li\u003e\n\u003cli\u003eUltra-high quality components.\u003c\/li\u003e\n\u003cli\u003eStepped controls throughout for accuracy and repeatability.\u003c\/li\u003e\n\u003cli\u003eBroad Q-shelving for a natural, open transparent sound.\u003c\/li\u003e\n\u003cli\u003e7-position phase coherent high-pass and low-pass filters on relays.\u003c\/li\u003e\n\u003cli\u003e8-position high- and low-frequency selection.\u003c\/li\u003e\n\u003cli\u003e5dB cut and boost controls in 1\/2dB step for precise control.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003e\u003cstrong\u003eTechnical Specs\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eFrequency Response:\u003c\/strong\u003e\u003cbr\u003e+- 0.1dB from 10Hz to 20kHz\u003cbr\u003e+- 0.2dB from 1Hz to 80kHz\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaximum level:\u003cbr\u003e\u003c\/strong\u003e\u0026gt;+28dBu\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoise floor:\u003c\/strong\u003e\u003cbr\u003e\u0026lt;-92dBu band limited from 22Hz-22kHz\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHD+N: \u003c\/strong\u003e\u003cbr\u003e\u0026lt;0.002%\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMD: \u003c\/strong\u003e\u003cbr\u003e\u0026lt;0.003%\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCrosstalk rejection: \u003c\/strong\u003e\u003cbr\u003e\u0026gt;105dB\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReplacement Fuses:\u003c\/strong\u003e\u003cbr\u003eUSA 500mA fast blow for 120V\u003cbr\u003eEurope 250mA fast blow for 240V\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInput Impedance: \u003c\/strong\u003e\u003cbr\u003e25K Ohms\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOutput Impedance: \u003c\/strong\u003e\u003cbr\u003e50 Ohms\u003c\/p\u003e"}
R 0.00
Quick View {"id":646914474012,"title":"Rupert Neve Designs Portico II Master Buss Processor","handle":"rupert-neve-designs-portico-ii-master-buss-processor","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eBased around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer and the Portico II Channel, the Portico II Master Buss Processor is a creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThough originally developed for mastering applications, the MBP has quickly become a favorite of mix engineers, tracking engineers, and even FOH engineers. From mixing bass-heavy EDM to a delicate master of a chamber ensemble, it has something to offer everyone – no matter the use or genre.\u003c\/p\u003e\n\u003cp\u003eWith input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the Master Buss Processor will integrate flawlessly with virtually any system. Additionally, the MBP incorporates mastering-grade detented pots throughout to fine-tune its revolutionary dynamics, tone, and stereo field controls. This new topology is a significant evolution of Mr Rupert Neve’s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing the sweet, musical performance that has been a part of countless recordings.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Compressor\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother, more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 250 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003c\/p\u003e\n\u003cp\u003eTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).\u003c\/p\u003e\n\u003cp\u003eWith the stereo link control engaged, Ch. A settings act as the master control for convenient operation.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Limiter\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation – however, this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Our new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP’s limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast-acting limiter.\u003c\/p\u003e\n\u003cp\u003eTypically there is a tradeoff between how fast a limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counter-clock-wise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold. It has a “medium knee” initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft-clip circuit catches transients that may have been in the “knee” when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Stereo Field Editor\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.\u003c\/p\u003e\n\u003cp\u003eThe width control enables the user to increase or decrease the width of a stereo image (wide\/mono) and adjust the amount of ambience inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.\u003c\/p\u003e\n\u003cp\u003eThe depth control adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.\u003c\/p\u003e\n\u003cp\u003eTo fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250 Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener.\u003c\/p\u003e\n\u003cp\u003eAnother technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","published_at":"2018-08-23T16:30:33+02:00","created_at":"2018-02-14T20:58:00+02:00","vendor":"Rupert Neve Designs","type":"Outboard Processing","tags":["Brand_Rupert Neve Designs","Processor_Mastering"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751890632732,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"NEVEMBP","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Rupert Neve Designs Portico II Master Buss Processor","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/rupert-neve-designs-outboard-processing-rupert-neve-designs-portico-ii-master-buss-processor-2222760656924.jpg?v=1552735413","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/rupert-neve-designs-outboard-processing-rupert-neve-designs-portico-ii-master-buss-processor-2222760722460.jpg?v=1552735413"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/rupert-neve-designs-outboard-processing-rupert-neve-designs-portico-ii-master-buss-processor-2222760656924.jpg?v=1552735413","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eBased around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer and the Portico II Channel, the Portico II Master Buss Processor is a creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThough originally developed for mastering applications, the MBP has quickly become a favorite of mix engineers, tracking engineers, and even FOH engineers. From mixing bass-heavy EDM to a delicate master of a chamber ensemble, it has something to offer everyone – no matter the use or genre.\u003c\/p\u003e\n\u003cp\u003eWith input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the Master Buss Processor will integrate flawlessly with virtually any system. Additionally, the MBP incorporates mastering-grade detented pots throughout to fine-tune its revolutionary dynamics, tone, and stereo field controls. This new topology is a significant evolution of Mr Rupert Neve’s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing the sweet, musical performance that has been a part of countless recordings.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Compressor\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother, more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 250 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003c\/p\u003e\n\u003cp\u003eTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).\u003c\/p\u003e\n\u003cp\u003eWith the stereo link control engaged, Ch. A settings act as the master control for convenient operation.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Limiter\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation – however, this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Our new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP’s limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast-acting limiter.\u003c\/p\u003e\n\u003cp\u003eTypically there is a tradeoff between how fast a limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counter-clock-wise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold. It has a “medium knee” initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft-clip circuit catches transients that may have been in the “knee” when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Stereo Field Editor\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.\u003c\/p\u003e\n\u003cp\u003eThe width control enables the user to increase or decrease the width of a stereo image (wide\/mono) and adjust the amount of ambience inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.\u003c\/p\u003e\n\u003cp\u003eThe depth control adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.\u003c\/p\u003e\n\u003cp\u003eTo fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250 Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener.\u003c\/p\u003e\n\u003cp\u003eAnother technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e"}
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Quick View {"id":646909100060,"title":"Eventide Eclipse V4","handle":"eventide-eclipse-v4","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Eventide Eclipse V4. The Power, The Performance, The Heritage Of Eventide Audio Effects In A Single Rack Space Unit\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThere's never been a compact effects box like Eclipse. From the amazing range and depth of its algorithms to its comprehensive array of analog and digital I\/O ports, the Eclipse puts the legendary effects processing power of Eventide within your reach.\u003c\/p\u003e\n\u003ch3\u003eDual Effects Block Architecture\u003c\/h3\u003e\n\u003cp\u003eEclipse is the only effects processor in its class to feature 24-bit digital conversion and 96kHz sampling. We've packed almost 100 algorithms into Eclipse along with a two effects block design. The dual routing configurations let you use Eclipse as two independent effects processors; ideal for the smaller, budget-conscious studio. The two effects blocks' inputs and outputs can be configured for stereo or mono. Or, select a preset that combines two algorithms or recursive combinations for big multi-effects without sacrificing quality.\u003c\/p\u003e\n\u003ch3\u003eClassic Eventide Effects\u003c\/h3\u003e\n\u003cp\u003eWe've packed Eclipse with effects Eventide is famous for. There's quick, seamless pitch shifting including our innovative Micro pitch shift, which FOH engineers and vocalists have come to rely on for turning good vocal performances into great ones. Eclipse boasts no fewer than 11 reverberation algorithms plus four plex algorithms. Originally developed for Eventide's industry-standard Orville™ and DSP 7000 series, these reverbs have been carefully and faithfully transplanted into Eclipse. And all reverbs are true stereo in and out, not mono in, stereo out. The vast array of delays lets you design lush, dense soundscapes. You'll find band delays, chorus delays, comb delays, ducked delays, ring delays and pan delays. And with 20 seconds of memory per effects block, Eclipse is a looper's delight. It's easy to get lost in the 20-second mono loop, 10-second dual loops, 20-second reverse loop, and 10-second dual reverse loop. Remember, these looping presets running on one FX block leaves the other FX block available for adding texture or dimension.\u003c\/p\u003e\n\u003ch3\u003eUnleash the Sonic Beast\u003c\/h3\u003e\n\u003cp\u003eWhether it's live performance, front-of-house engineering, or quality studio processing, Eclipse gives you the tools you can depend on in one compact, professional package. After all, Eclipse is not just an effects box, it's an Eventide.\u003c\/p\u003e\n\u003ch3\u003eI\/O Ports for Maximum Versatility\u003c\/h3\u003e\n\u003cp\u003eThe rear panel has a port to support all your needs, including AES\/EBU, S\/PDIF and ADAT™ Lightpipe™ for digital applications. Analog balanced XLR-type and unbalanced ¼\" inputs and outputs. The ¼\" jacks even accept a high impedance instrument signal. There's Word Clock In and Out on BNC connectors and two pedal ports for performers. And of course, full MIDI (IN\/OUT\/THRU) including an external power jack for your cabling convenience. There's even a serial port which makes it easy to update Eclipse's software from the internet; no chip changing needed.\u003c\/p\u003e\n\u003ch3\u003eEasy Set-Up and Operation\u003c\/h3\u003e\n\u003cp\u003eThe Eventide knob and keypad make setup and operation easy. If you're familiar with our H3000 series Harmonizer units, you've already got the basics.\u003c\/p\u003e\n\u003ch3\u003eHot Keys\u003c\/h3\u003e\n\u003cp\u003eHot Keys provide quick access to the eight most important parameters on every preset. In addition, you can customize the Hot Keys on any preset to create your own unique program.\u003c\/p\u003e\n\u003ch3\u003eDedicated Tap Button\u003c\/h3\u003e\n\u003cp\u003eThe tap button isn't just for delays. It's also the frequency rate of the LFO modulating your sample and hold filter, or the speed of your autopanner or tremolo. The Tap function can be set to average out from 2 to 12 taps.\u003c\/p\u003e\n\u003ch3\u003eDesign Your Own Presets\u003c\/h3\u003e\n\u003cp\u003eYou get a complete selection of presets, but Eclipse makes it easy to design your own. Load one or two algorithms, pick a routing, assign the Hot Keys, and tweak.\u003c\/p\u003e\n\u003ch3\u003eFlash Card Slot\u003c\/h3\u003e\n\u003cp\u003eYour presets can be stored easily in the Eclipse or on an affordable compact flash card. Transferring presets from one Eclipse to another is simple with compact flash cards.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSample Rates\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e96 kHz, 88.2 kHz, 48 kHz, 44.1 kHz, Word Clock, AES, S\/PDIF, ADAT\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDigital Inputs\/Outputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 Channels of AES\/EBU, S\/PDIF (Optical or Coaxial) or ADAT Lightpipe\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth colspan=\"2\"\u003eAnalog Input (XLR)\u003c\/th\u003e\n\u003cth colspan=\"2\" rowspan=\"1\"\u003eAnalog Output (XLR)\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eImpedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 kOhms\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eImpedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;50 Ohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFull Scale Input Level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e26 dBu\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eFull Scale Input Level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e26 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDynamic Range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;104 dB\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eDynamic Range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;108 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;104 dB\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;108 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;0.003 @ 1 kHz, -3 dBFS\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;0.003 @ 1 kHz, -3 dBFS\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eCrosstalk\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;-100 dB @ 20 Hz to 20 kHz, - 1 dBFS\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eCrosstalk\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;-100 dB @ 20 Hz to 20 kHz, - 1 dBFS\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency Response:\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+0\/-0.1 dB @ sample rate:\u003cbr\u003e44.1 kHz: 20 Hz - 20kHz\u003cbr\u003e48 kHz: 20Hz -22kHz\u003cbr\u003e88.2 kHz: 20Hz - 41kHz\u003cbr\u003e96kHz: 20Hz - 44kHz\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency Response:\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+0\/-0.1 dB @ sample rate:\u003cbr\u003e44.1 kHz: 10 Hz - 20kHz\u003cbr\u003e48 kHz: 10Hz -22kHz\u003cbr\u003e88.2 kHz: 10Hz - 41kHz\u003cbr\u003e96kHz: 10Hz - 44kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","published_at":"2018-08-23T14:35:10+02:00","created_at":"2018-02-14T20:40:43+02:00","vendor":"Eventide","type":"Outboard Processing","tags":["Brand_Eventide","Processor_Effects"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751860060188,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"ETECLIPSEV4","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Eventide Eclipse V4","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/eventide-outboard-processing-eventide-eclipse-v4-2222731329564.jpg?v=1552752530","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/eventide-outboard-processing-eventide-eclipse-v4-2222731395100.jpg?v=1552752530"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/eventide-outboard-processing-eventide-eclipse-v4-2222731329564.jpg?v=1552752530","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Eventide Eclipse V4. The Power, The Performance, The Heritage Of Eventide Audio Effects In A Single Rack Space Unit\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThere's never been a compact effects box like Eclipse. From the amazing range and depth of its algorithms to its comprehensive array of analog and digital I\/O ports, the Eclipse puts the legendary effects processing power of Eventide within your reach.\u003c\/p\u003e\n\u003ch3\u003eDual Effects Block Architecture\u003c\/h3\u003e\n\u003cp\u003eEclipse is the only effects processor in its class to feature 24-bit digital conversion and 96kHz sampling. We've packed almost 100 algorithms into Eclipse along with a two effects block design. The dual routing configurations let you use Eclipse as two independent effects processors; ideal for the smaller, budget-conscious studio. The two effects blocks' inputs and outputs can be configured for stereo or mono. Or, select a preset that combines two algorithms or recursive combinations for big multi-effects without sacrificing quality.\u003c\/p\u003e\n\u003ch3\u003eClassic Eventide Effects\u003c\/h3\u003e\n\u003cp\u003eWe've packed Eclipse with effects Eventide is famous for. There's quick, seamless pitch shifting including our innovative Micro pitch shift, which FOH engineers and vocalists have come to rely on for turning good vocal performances into great ones. Eclipse boasts no fewer than 11 reverberation algorithms plus four plex algorithms. Originally developed for Eventide's industry-standard Orville™ and DSP 7000 series, these reverbs have been carefully and faithfully transplanted into Eclipse. And all reverbs are true stereo in and out, not mono in, stereo out. The vast array of delays lets you design lush, dense soundscapes. You'll find band delays, chorus delays, comb delays, ducked delays, ring delays and pan delays. And with 20 seconds of memory per effects block, Eclipse is a looper's delight. It's easy to get lost in the 20-second mono loop, 10-second dual loops, 20-second reverse loop, and 10-second dual reverse loop. Remember, these looping presets running on one FX block leaves the other FX block available for adding texture or dimension.\u003c\/p\u003e\n\u003ch3\u003eUnleash the Sonic Beast\u003c\/h3\u003e\n\u003cp\u003eWhether it's live performance, front-of-house engineering, or quality studio processing, Eclipse gives you the tools you can depend on in one compact, professional package. After all, Eclipse is not just an effects box, it's an Eventide.\u003c\/p\u003e\n\u003ch3\u003eI\/O Ports for Maximum Versatility\u003c\/h3\u003e\n\u003cp\u003eThe rear panel has a port to support all your needs, including AES\/EBU, S\/PDIF and ADAT™ Lightpipe™ for digital applications. Analog balanced XLR-type and unbalanced ¼\" inputs and outputs. The ¼\" jacks even accept a high impedance instrument signal. There's Word Clock In and Out on BNC connectors and two pedal ports for performers. And of course, full MIDI (IN\/OUT\/THRU) including an external power jack for your cabling convenience. There's even a serial port which makes it easy to update Eclipse's software from the internet; no chip changing needed.\u003c\/p\u003e\n\u003ch3\u003eEasy Set-Up and Operation\u003c\/h3\u003e\n\u003cp\u003eThe Eventide knob and keypad make setup and operation easy. If you're familiar with our H3000 series Harmonizer units, you've already got the basics.\u003c\/p\u003e\n\u003ch3\u003eHot Keys\u003c\/h3\u003e\n\u003cp\u003eHot Keys provide quick access to the eight most important parameters on every preset. In addition, you can customize the Hot Keys on any preset to create your own unique program.\u003c\/p\u003e\n\u003ch3\u003eDedicated Tap Button\u003c\/h3\u003e\n\u003cp\u003eThe tap button isn't just for delays. It's also the frequency rate of the LFO modulating your sample and hold filter, or the speed of your autopanner or tremolo. The Tap function can be set to average out from 2 to 12 taps.\u003c\/p\u003e\n\u003ch3\u003eDesign Your Own Presets\u003c\/h3\u003e\n\u003cp\u003eYou get a complete selection of presets, but Eclipse makes it easy to design your own. Load one or two algorithms, pick a routing, assign the Hot Keys, and tweak.\u003c\/p\u003e\n\u003ch3\u003eFlash Card Slot\u003c\/h3\u003e\n\u003cp\u003eYour presets can be stored easily in the Eclipse or on an affordable compact flash card. Transferring presets from one Eclipse to another is simple with compact flash cards.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSample Rates\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e96 kHz, 88.2 kHz, 48 kHz, 44.1 kHz, Word Clock, AES, S\/PDIF, ADAT\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDigital Inputs\/Outputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e2 Channels of AES\/EBU, S\/PDIF (Optical or Coaxial) or ADAT Lightpipe\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth colspan=\"2\"\u003eAnalog Input (XLR)\u003c\/th\u003e\n\u003cth colspan=\"2\" rowspan=\"1\"\u003eAnalog Output (XLR)\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eImpedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 kOhms\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eImpedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;50 Ohms\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFull Scale Input Level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e26 dBu\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eFull Scale Input Level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e26 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eDynamic Range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;104 dB\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eDynamic Range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;108 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;104 dB\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eSignal to Noise Ratio\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;108 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;0.003 @ 1 kHz, -3 dBFS\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eTHD+N\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;0.003 @ 1 kHz, -3 dBFS\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eCrosstalk\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;-100 dB @ 20 Hz to 20 kHz, - 1 dBFS\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eCrosstalk\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;-100 dB @ 20 Hz to 20 kHz, - 1 dBFS\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency Response:\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+0\/-0.1 dB @ sample rate:\u003cbr\u003e44.1 kHz: 20 Hz - 20kHz\u003cbr\u003e48 kHz: 20Hz -22kHz\u003cbr\u003e88.2 kHz: 20Hz - 41kHz\u003cbr\u003e96kHz: 20Hz - 44kHz\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eFrequency Response:\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e+0\/-0.1 dB @ sample rate:\u003cbr\u003e44.1 kHz: 10 Hz - 20kHz\u003cbr\u003e48 kHz: 10Hz -22kHz\u003cbr\u003e88.2 kHz: 10Hz - 41kHz\u003cbr\u003e96kHz: 10Hz - 44kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e"}
R 33,995.00
Quick View {"id":646904512540,"title":"Lexicon PCM92 - 2 Channel Reverb \u0026 Effects Processor","handle":"lexicon-pcm92","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eLexicon PCM92. SOUND EXTRAORDINARY ON STAGE AND IN THE STUDIO\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWith 4 decades of experience, Lexicon is regarded as the gold standard in digital audio processing. Building on the legendary design of the venerable PCM81 and PCM91, and the breakthrough technology of the PCM96, the PCM92 represents the most advanced reverb and effects processor in its class.\u003c\/p\u003e\n\u003cp\u003eThis powerhouse processor utilizes the latest DSP technology and the finest collection of classic Lexicon algorithms to offer the ultimate audio processor for live sound and studio applications. The PCM92 delivers 28 mono and stereo reverbs, delays, and modulation effects, flexible routing configurations, and a comprehensive collection of over 1200 finely-crafted presets, including recognizable classics from our immense library of sounds.\u003c\/p\u003e\n\u003ch3 class=\"content-nav\" data-magellan-destination=\"features\"\u003eDetails\u003c\/h3\u003e\n\u003cdiv class=\"product_main_tab_content content \"\u003e\n\u003cdiv class=\"features text-content\"\u003e\n\u003cul\u003e\n\u003cli\u003e28 Lexicon® studio-standard reverbs, delays, and modulation effects\u003c\/li\u003e\n\u003cli\u003eComprehensive collection of over 1200 finely crafted factory presets, including recognizable classics from Lexicon’s immense library of sounds\u003c\/li\u003e\n\u003cli\u003eLexicon’s flexible Room algorithm used to generate a vast array of room-related effects for music and film production\u003c\/li\u003e\n\u003cli\u003eMulti-voice pitch shift to enhance vocals\u003c\/li\u003e\n\u003cli\u003eFull system configuration and control with HiQnet™ System Architect™\u003c\/li\u003e\n\u003cli\u003e44.1 to 96 kHz sample rate, 32-bit floating point processing\u003c\/li\u003e\n\u003cli\u003eTwo channels balanced analog I\/O (XLR and 1\/4\")\u003c\/li\u003e\n\u003cli\u003eTwo channels XLR digital AES\/EBU I\/O\u003c\/li\u003e\n\u003cli\u003eEthernet connectivity and full MIDI control\u003c\/li\u003e\n\u003cli\u003eExternal BNC Word Clock\u003c\/li\u003e\n\u003cli\u003eFoot controller inputs make it easy to change presets and adjust parameters during live performances\u003c\/li\u003e\n\u003cli\u003eHigh-resolution OLED display is easy to read in all light conditions\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe PCM92 features the highly acclaimed Hall, Concert Hall and Random Hall reverb algorithms that are consistently used by live sound and recording engineers because of their exceptional ability to reproduce the musical ambience of large, wide, panoramically wonderful spaces. In fact, these classic Lexicon Hall algorithms have been used on more than 80% of all recorded music.\u003c\/p\u003e\n\u003cp\u003eLexicon’s Room algorithm offers an amazing palette of natural sounding rooms with all the inherent realism of the actual space. Reflection patterns are easily selected, scaled, and equalized all while simultaneously passing audio and the room size can be instantly changed or reversed. These capabilities provide a more flexible alternative to convolution type reverbs due to the precise control and manipulation that is only possible with a reverb synthesizer.\u003c\/p\u003e\n\u003cp\u003eOne of the stunning advances in the PCM92 is the ability to create incredibly realistic small spaces. For both music and film production, it is often vital to have the ambience of a phone booth or very small drum room. In the PCM92 you can create them with a reality never heard before from any processor other than a Lexicon.\u003c\/p\u003e\n\u003cp\u003eIn addition, the PCM92 delivers new capabilities to traditional reverbs by adding multimode filters in the audio flow.  This allows more exact shaping of the reverb while still maintaining that distinctive smooth, rich “Lexicon Sound.” Also, all reverbs have an “Infinite” switch that allows the reverb to run forever, which is useful for creating unusual backgrounds and sound effects.\u003c\/p\u003e\n\u003cp\u003eDesigned as a single rack space processor with two channels of balanced XLR or 1\/4\" analog I\/O and two channels of XLR AES\/EBU digital I\/O, along with MIDI, Word Clock, and Ethernet, the PCM92 complements any large scale mixing console or integrates easily in your studio.\u003c\/p\u003e\n\u003cp\u003eWhether you require perfection on stage or the gold standard in the recording studio, the PCM92 delivers the versatility and smooth, rich sound that is unmistakably Lexicon.\u003c\/p\u003e\n\u003ch3\u003eEASY OPERATION\u003c\/h3\u003e\n\u003cp\u003eThe PCM92 is as simple to operate as it is a pleasure to listen to. Just load a preset and the easy to use front panel keeps the most logical parameters within reach on the high-resolution display for adjustments and fine tuning. For in-depth sound design, you also have the capability to transition deeper into the algorithm and edit the full matrix of parameters.\u003c\/p\u003e\n\u003cp\u003eTo supplement front panel navigation for live applications, the PCM92 can be configured and fully controlled remotely through Harman HiQnet System Architect™ from any PC. System Architect uses the Harman HiQnet protocol to configure and control the PCM92 seamlessly within a larger audio system that may consist of Harman Professional brands such as JBL®, Crown®, dbx® and AKG®.\u003c\/p\u003e\n\u003cp\u003eAlso, foot pedal controllers make it easy to change presets and adjust parameters during live performances. The PCM92 can be controlled by either a two button momentary foot switch or a variable position foot pedal.\u003c\/p\u003e\n\u003ch3\u003eROUTING OPTIONS (ANALOG, DIGITAL)\u003c\/h3\u003e\n\u003cp\u003eThe PCM92 can be divided into four virtual machines which allow the signal from each input to be routed through a variety of algorithm combinations.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","published_at":"2018-02-14T20:27:36+02:00","created_at":"2018-02-14T20:31:36+02:00","vendor":"Lexicon","type":"Outboard Processing","tags":["Brand_Lexicon","Processor_Effects"],"price":3399500,"price_min":3399500,"price_max":3399500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751838367772,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"LEXPCM92","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Lexicon PCM92 - 2 Channel Reverb \u0026 Effects Processor","public_title":null,"options":["Default Title"],"price":3399500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-pcm92-2-channel-reverb-effects-processor-2222710685724.jpg?v=1552741172","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-pcm92-2-channel-reverb-effects-processor-2222710784028.jpg?v=1552741172","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-pcm92-2-channel-reverb-effects-processor-2222710816796.jpg?v=1552741172"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-pcm92-2-channel-reverb-effects-processor-2222710685724.jpg?v=1552741172","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eLexicon PCM92. SOUND EXTRAORDINARY ON STAGE AND IN THE STUDIO\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWith 4 decades of experience, Lexicon is regarded as the gold standard in digital audio processing. Building on the legendary design of the venerable PCM81 and PCM91, and the breakthrough technology of the PCM96, the PCM92 represents the most advanced reverb and effects processor in its class.\u003c\/p\u003e\n\u003cp\u003eThis powerhouse processor utilizes the latest DSP technology and the finest collection of classic Lexicon algorithms to offer the ultimate audio processor for live sound and studio applications. The PCM92 delivers 28 mono and stereo reverbs, delays, and modulation effects, flexible routing configurations, and a comprehensive collection of over 1200 finely-crafted presets, including recognizable classics from our immense library of sounds.\u003c\/p\u003e\n\u003ch3 class=\"content-nav\" data-magellan-destination=\"features\"\u003eDetails\u003c\/h3\u003e\n\u003cdiv class=\"product_main_tab_content content \"\u003e\n\u003cdiv class=\"features text-content\"\u003e\n\u003cul\u003e\n\u003cli\u003e28 Lexicon® studio-standard reverbs, delays, and modulation effects\u003c\/li\u003e\n\u003cli\u003eComprehensive collection of over 1200 finely crafted factory presets, including recognizable classics from Lexicon’s immense library of sounds\u003c\/li\u003e\n\u003cli\u003eLexicon’s flexible Room algorithm used to generate a vast array of room-related effects for music and film production\u003c\/li\u003e\n\u003cli\u003eMulti-voice pitch shift to enhance vocals\u003c\/li\u003e\n\u003cli\u003eFull system configuration and control with HiQnet™ System Architect™\u003c\/li\u003e\n\u003cli\u003e44.1 to 96 kHz sample rate, 32-bit floating point processing\u003c\/li\u003e\n\u003cli\u003eTwo channels balanced analog I\/O (XLR and 1\/4\")\u003c\/li\u003e\n\u003cli\u003eTwo channels XLR digital AES\/EBU I\/O\u003c\/li\u003e\n\u003cli\u003eEthernet connectivity and full MIDI control\u003c\/li\u003e\n\u003cli\u003eExternal BNC Word Clock\u003c\/li\u003e\n\u003cli\u003eFoot controller inputs make it easy to change presets and adjust parameters during live performances\u003c\/li\u003e\n\u003cli\u003eHigh-resolution OLED display is easy to read in all light conditions\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe PCM92 features the highly acclaimed Hall, Concert Hall and Random Hall reverb algorithms that are consistently used by live sound and recording engineers because of their exceptional ability to reproduce the musical ambience of large, wide, panoramically wonderful spaces. In fact, these classic Lexicon Hall algorithms have been used on more than 80% of all recorded music.\u003c\/p\u003e\n\u003cp\u003eLexicon’s Room algorithm offers an amazing palette of natural sounding rooms with all the inherent realism of the actual space. Reflection patterns are easily selected, scaled, and equalized all while simultaneously passing audio and the room size can be instantly changed or reversed. These capabilities provide a more flexible alternative to convolution type reverbs due to the precise control and manipulation that is only possible with a reverb synthesizer.\u003c\/p\u003e\n\u003cp\u003eOne of the stunning advances in the PCM92 is the ability to create incredibly realistic small spaces. For both music and film production, it is often vital to have the ambience of a phone booth or very small drum room. In the PCM92 you can create them with a reality never heard before from any processor other than a Lexicon.\u003c\/p\u003e\n\u003cp\u003eIn addition, the PCM92 delivers new capabilities to traditional reverbs by adding multimode filters in the audio flow.  This allows more exact shaping of the reverb while still maintaining that distinctive smooth, rich “Lexicon Sound.” Also, all reverbs have an “Infinite” switch that allows the reverb to run forever, which is useful for creating unusual backgrounds and sound effects.\u003c\/p\u003e\n\u003cp\u003eDesigned as a single rack space processor with two channels of balanced XLR or 1\/4\" analog I\/O and two channels of XLR AES\/EBU digital I\/O, along with MIDI, Word Clock, and Ethernet, the PCM92 complements any large scale mixing console or integrates easily in your studio.\u003c\/p\u003e\n\u003cp\u003eWhether you require perfection on stage or the gold standard in the recording studio, the PCM92 delivers the versatility and smooth, rich sound that is unmistakably Lexicon.\u003c\/p\u003e\n\u003ch3\u003eEASY OPERATION\u003c\/h3\u003e\n\u003cp\u003eThe PCM92 is as simple to operate as it is a pleasure to listen to. Just load a preset and the easy to use front panel keeps the most logical parameters within reach on the high-resolution display for adjustments and fine tuning. For in-depth sound design, you also have the capability to transition deeper into the algorithm and edit the full matrix of parameters.\u003c\/p\u003e\n\u003cp\u003eTo supplement front panel navigation for live applications, the PCM92 can be configured and fully controlled remotely through Harman HiQnet System Architect™ from any PC. System Architect uses the Harman HiQnet protocol to configure and control the PCM92 seamlessly within a larger audio system that may consist of Harman Professional brands such as JBL®, Crown®, dbx® and AKG®.\u003c\/p\u003e\n\u003cp\u003eAlso, foot pedal controllers make it easy to change presets and adjust parameters during live performances. The PCM92 can be controlled by either a two button momentary foot switch or a variable position foot pedal.\u003c\/p\u003e\n\u003ch3\u003eROUTING OPTIONS (ANALOG, DIGITAL)\u003c\/h3\u003e\n\u003cp\u003eThe PCM92 can be divided into four virtual machines which allow the signal from each input to be routed through a variety of algorithm combinations.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e"}
R 0.00
Quick View {"id":646881411100,"title":"Rupert Neve Designs Portico 5043","handle":"rupert-neve-designs-portico-5043-2-channel-compressor-limiter","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe 5043 Duo Compressor\/Limiter is a powerful approach to dynamics processing for the Portico Series, designed with both tracking and mixing applications in mind.\u003cbr\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Portico 5043 embodies two independent Compressor-Limiters (Channels A and B) housed within a half rack, 1U module. They can be used independently (on two distinct tracks), linked as a stereo pair, or connected in sequence to provide two separate control slopes. When used as a stereo pair, linking the DC control circuits via the front panel A\/B button enables the level of each channel to be held in a constant relationship. Rear panel TRS connections are provided to link multiple 5043s. This linking may also be extended to some of Rupert’s former AMEK CIB and DMCL units.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/files\/5043description_large.jpg?v=1518631246\" alt=\"\"\u003e\u003c\/p\u003e\n\u003ch3\u003eBuss or Line Input Selection\u003c\/h3\u003e\n\u003cp\u003eAny number of Portico modules that are equipped with the \"TO BUSS\" button may be sent to the BUSS input of the 5043 which makes it the ideal choice to form the core of a simple and cost-effective Portico mixing system. The Line input, when selected, provides a dedicated, transformer-balanced 10K impedance bridging input so that the 5043 may be inserted or included in any appropriate part of the signal chain at Console line-up level.\u003c\/p\u003e\n\u003ch3\u003eHow It Works\u003c\/h3\u003e\n\u003cp\u003eTo control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of voltage control devices, including tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its own characteristic behavior that reflects sonically on the final performance, providing a character or signature that can be musically attractive (or not!). The Portico 5043 makes use of a very accurate, low noise, low distortion V.C.A. having essentially no signature of its own.\u003c\/p\u003e\n\u003cp\u003eA part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A., which has to respond very quickly and have low distortion. If the response is too fast, some of the signal will be unnecessarily gain-controlled. If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response – known as the \"attack\" – and the timeframe that gain remains under the initial control – known as the \"release\" or \"recovery\" – each play a large part in the way a compressor sounds.\u003c\/p\u003e\n\u003cp\u003eAll Portico modules use input and output transformers and almost entirely discrete component amplifiers. In fact, the Line amplifiers on their own, inserted into the signal chain, are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. These are some of the factors that enable the Portico 5043 to work so unobtrusively within the context of a very high quality audio chain.\u003c\/p\u003e\n\u003ch3\u003eFeed Forward or Feed Back?\u003c\/h3\u003e\n\u003cp\u003eThe Portico 5043 provides a choice of feed-forward or feed-back compression modes. The FB Button allows the user to switch between the two modes.\u003c\/p\u003e\n\u003cp\u003eIf the V.C.A. control voltage is taken from the 5043 input (i.e. before the V.C.A.), the V.C.A. knows right away that a gain change is required and there is an almost immediate response. This is known, logically, as a \"Feed-Forward\" compressor.\u003c\/p\u003e\n\u003cp\u003eIf the V.C.A. control voltage is taken from the 5043 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by the compressor circuit through which it has passed. This is known as a \"Feed-Back\" compressor. The two compression characteristics are quite different; there is more \"Overshoot\" and both the attack and recovery ramps are changed, providing the user with powerful choices.\u003c\/p\u003e\n\u003cp\u003eAlmost all of Rupert’s earlier designs were \"Feed-Back\". They were more musical and sweeter than with \"Feed-Forward\" designs; however, the \"Feed-Forward\" design provides greater accuracy. Each is useful in its own way.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/files\/portico-verticalframe-loaded_large.png?v=1518631348\" alt=\"\"\u003e\u003c\/p\u003e\n\u003ch3\u003eRatio and Threshold\u003c\/h3\u003e\n\u003cp\u003eAbove a given threshold, signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. A compressor’s ratio is sometimes referred to as \"Slope\" because when depicted on a graph, the slope of the graph (representing Output vs. Input) is what changes.\u003c\/p\u003e\n\u003cp\u003eRatio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of +40 dBu (unlikely!) is presented to the input, the output signal will only be +1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu – say at +14 dBu, in order to prevent the output signal level exceeding just over +14 dBu – to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output.\u003c\/p\u003e\n\u003cp\u003eThe THRESHOLD control ranges from below -30dB to +22dBu. When THRESHOLD is set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level.\u003c\/p\u003e\n\u003ch3\u003eAttack Time\u003c\/h3\u003e\n\u003cp\u003eThe ATTACK is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to \"escape\" and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds unnatural and robs the signal of some of its life by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is done before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some \"Overshoot\". Small amounts of \"Overshoot\" can be musically desirable, but listening is the only way to tell.\u003c\/p\u003e\n\u003cp\u003eSetting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood, a Compressor-Limiter such as the 5043 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment.\u003c\/p\u003e\n\u003ch3\u003eRelease \/ Recovery\u003c\/h3\u003e\n\u003cp\u003eIf the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and unnatural sound known as \"Pumping\" when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.\u003c\/p\u003e\n\u003cp\u003eThe notes above explain how the 5043 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level. Feel free to experiment, and use the settings that sound good to you!\u003c\/p\u003e","published_at":"2018-08-23T16:28:56+02:00","created_at":"2018-02-14T20:04:34+02:00","vendor":"Rupert Neve Designs","type":"Outboard Processing","tags":["Brand_Rupert Neve Designs","Processor_Compressor"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751745273884,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"NEVE5043","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Rupert Neve Designs Portico 5043","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/rupert-neve-designs-outboard-processing-rupert-neve-designs-portico-5043-2222599438364.jpg?v=1552839812","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/rupert-neve-designs-outboard-processing-rupert-neve-designs-portico-5043-2222599471132.jpg?v=1552839812"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/rupert-neve-designs-outboard-processing-rupert-neve-designs-portico-5043-2222599438364.jpg?v=1552839812","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe 5043 Duo Compressor\/Limiter is a powerful approach to dynamics processing for the Portico Series, designed with both tracking and mixing applications in mind.\u003cbr\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Portico 5043 embodies two independent Compressor-Limiters (Channels A and B) housed within a half rack, 1U module. They can be used independently (on two distinct tracks), linked as a stereo pair, or connected in sequence to provide two separate control slopes. When used as a stereo pair, linking the DC control circuits via the front panel A\/B button enables the level of each channel to be held in a constant relationship. Rear panel TRS connections are provided to link multiple 5043s. This linking may also be extended to some of Rupert’s former AMEK CIB and DMCL units.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/files\/5043description_large.jpg?v=1518631246\" alt=\"\"\u003e\u003c\/p\u003e\n\u003ch3\u003eBuss or Line Input Selection\u003c\/h3\u003e\n\u003cp\u003eAny number of Portico modules that are equipped with the \"TO BUSS\" button may be sent to the BUSS input of the 5043 which makes it the ideal choice to form the core of a simple and cost-effective Portico mixing system. The Line input, when selected, provides a dedicated, transformer-balanced 10K impedance bridging input so that the 5043 may be inserted or included in any appropriate part of the signal chain at Console line-up level.\u003c\/p\u003e\n\u003ch3\u003eHow It Works\u003c\/h3\u003e\n\u003cp\u003eTo control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of voltage control devices, including tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its own characteristic behavior that reflects sonically on the final performance, providing a character or signature that can be musically attractive (or not!). The Portico 5043 makes use of a very accurate, low noise, low distortion V.C.A. having essentially no signature of its own.\u003c\/p\u003e\n\u003cp\u003eA part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A., which has to respond very quickly and have low distortion. If the response is too fast, some of the signal will be unnecessarily gain-controlled. If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response – known as the \"attack\" – and the timeframe that gain remains under the initial control – known as the \"release\" or \"recovery\" – each play a large part in the way a compressor sounds.\u003c\/p\u003e\n\u003cp\u003eAll Portico modules use input and output transformers and almost entirely discrete component amplifiers. In fact, the Line amplifiers on their own, inserted into the signal chain, are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. These are some of the factors that enable the Portico 5043 to work so unobtrusively within the context of a very high quality audio chain.\u003c\/p\u003e\n\u003ch3\u003eFeed Forward or Feed Back?\u003c\/h3\u003e\n\u003cp\u003eThe Portico 5043 provides a choice of feed-forward or feed-back compression modes. The FB Button allows the user to switch between the two modes.\u003c\/p\u003e\n\u003cp\u003eIf the V.C.A. control voltage is taken from the 5043 input (i.e. before the V.C.A.), the V.C.A. knows right away that a gain change is required and there is an almost immediate response. This is known, logically, as a \"Feed-Forward\" compressor.\u003c\/p\u003e\n\u003cp\u003eIf the V.C.A. control voltage is taken from the 5043 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by the compressor circuit through which it has passed. This is known as a \"Feed-Back\" compressor. The two compression characteristics are quite different; there is more \"Overshoot\" and both the attack and recovery ramps are changed, providing the user with powerful choices.\u003c\/p\u003e\n\u003cp\u003eAlmost all of Rupert’s earlier designs were \"Feed-Back\". They were more musical and sweeter than with \"Feed-Forward\" designs; however, the \"Feed-Forward\" design provides greater accuracy. Each is useful in its own way.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/files\/portico-verticalframe-loaded_large.png?v=1518631348\" alt=\"\"\u003e\u003c\/p\u003e\n\u003ch3\u003eRatio and Threshold\u003c\/h3\u003e\n\u003cp\u003eAbove a given threshold, signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. A compressor’s ratio is sometimes referred to as \"Slope\" because when depicted on a graph, the slope of the graph (representing Output vs. Input) is what changes.\u003c\/p\u003e\n\u003cp\u003eRatio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of +40 dBu (unlikely!) is presented to the input, the output signal will only be +1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu – say at +14 dBu, in order to prevent the output signal level exceeding just over +14 dBu – to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output.\u003c\/p\u003e\n\u003cp\u003eThe THRESHOLD control ranges from below -30dB to +22dBu. When THRESHOLD is set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level.\u003c\/p\u003e\n\u003ch3\u003eAttack Time\u003c\/h3\u003e\n\u003cp\u003eThe ATTACK is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to \"escape\" and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds unnatural and robs the signal of some of its life by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is done before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some \"Overshoot\". Small amounts of \"Overshoot\" can be musically desirable, but listening is the only way to tell.\u003c\/p\u003e\n\u003cp\u003eSetting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood, a Compressor-Limiter such as the 5043 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment.\u003c\/p\u003e\n\u003ch3\u003eRelease \/ Recovery\u003c\/h3\u003e\n\u003cp\u003eIf the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and unnatural sound known as \"Pumping\" when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.\u003c\/p\u003e\n\u003cp\u003eThe notes above explain how the 5043 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level. Feel free to experiment, and use the settings that sound good to you!\u003c\/p\u003e"}
R 0.00
Quick View {"id":646861029404,"title":"Chandler Limited RS124 - 1 Channel Tube Compressor","handle":"chandler-limited-rs124","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Chandler Limited RS124 Compressor is a recreation of one of the most coveted audio valve compressors of all time, the legendary EMI\/Abbey Road RS124, reimagined for use in the modern studio environment.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFirst designed in 1960 by Abbey Road Head of Technical Bill Livy, Deputy Head Len Page and seasoned EMI Audio Designer Mike Bachelor, the Abbey Road RS124 compressor is one of the most desired and mysterious pieces of recording gear ever developed.\u003c\/p\u003e\n\u003cp\u003eBorn out of the insufficient Altec 436Bs acquired by EMI in the late 1950s for Abbey Road, the RS124 compressor is most closely associated with recordings made by The Beatles at Abbey Road Studios. Present on virtually every Beatles session, the RS124 left its remarkable signature across most of the catalog.\u003c\/p\u003e\n\u003cp\u003eThe RS124's undeniably smooth character and ability to tame transients without muffling the sound at steep compression levels, quickly became popular with Abbey Road Studios engineers and widely used throughout the now historic studio, for tracking, buss compression, mixing, and mastering. They were so integral to the recording and mixing process that a pair can be seen in almost every control room photo in Abbey Road Studios during the 60s period.\u003c\/p\u003e\n\u003cp\u003eThe RS124 Compressor was built for use at Abbey Road Studios, and was never commercially available.\u003c\/p\u003e\n\u003cp\u003eThrough the years, from incomplete information and supposition, some have tried to recreate the holy grail of tube compressors, though never fully capturing the elusive Abbey Road RS124 in all its glory.\u003c\/p\u003e\n\u003cp\u003eSchematics themselves only told part of the story, and access to Abbey Road Studios’ historic units and various hand written modification notes would prove paramount towards understanding the true nature of the Abbey Road RS124 compressor and variances between units.\u003c\/p\u003e\n\u003cp\u003eMany revisions were carried out since its inception, and as a result, the Abbey Road RS124 valve compressor has remained a mystery for decades, until now.\u003c\/p\u003e\n\u003cp\u003eAvailable now, for the first time ever, the Chandler Limited RS124 Compressor harnesses the sound and personalities of Abbey Road Studios’ favorite historic RS124 Compressors (Ser. No’s \u003cstrong\u003e60070B\u003c\/strong\u003e, \u003cstrong\u003e60050A\u003c\/strong\u003e, and \u003cstrong\u003e61010B\u003c\/strong\u003e) still in use at the famed studio to this day, all in a single unit.\u003c\/p\u003e\n\u003cp\u003eAlong with features traditionally found on the original counterparts, Input control, Output attenuation, ‘Recovery’ (release) control and the unique ‘HOLD’ setting, the Chandler Limited RS124 Compressor includes modern facilities such as adjustable attack, selectable output impedance, and a special twist, dubbed the ‘SuperFuse’.\u003c\/p\u003e\n\u003cp\u003eBring home the sound of a legend reimagined for the modern era, today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE:\u003c\/strong\u003e Standard units come with variable Input and Output control. Stepped Input and Output controls are available via special request for an additional fee– notify your dealer prior to order.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eCHANNELS:\u003c\/strong\u003e Mono\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCIRCUIT:\u003c\/strong\u003e Tube (6BC8,6CG7, 6AL5)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONNECTIONS\u003c\/strong\u003e\u003cbr\u003eInputs: XLR (pin 2 hot)\u003cbr\u003eOutput: XLR (pin 2 hot)\u003cbr\u003eTransformer balanced I\/O (custom wound)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003cbr\u003eInput Control: Variable (stepped special order)\u003cbr\u003eOutput Attenuator: Variable (stepped special order)\u003cbr\u003eAttack: Selectable, Stepped (9 settings, including 3 Abbey Road Historic serial numbers)\u003cbr\u003eRecovery: Selectable, Stepped (6 settings, and HOLD)\u003cbr\u003eSuperFuse (switchable mode)\u003cbr\u003eOutput Impedance: 200\/600 ohms, switchable\u003cbr\u003eStereo linkable: Standard 1\/4\" jack\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePOWER\u003c\/strong\u003e\u003cbr\u003eInternal power supply\u003c\/p\u003e","published_at":"2018-08-23T11:19:07+02:00","created_at":"2018-02-14T19:46:18+02:00","vendor":"Chandler Limited","type":"Outboard Processing","tags":["Brand_Chandler Limited","Processor_Compressor"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751655489564,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"CLTDRS124","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Chandler Limited RS124 - 1 Channel Tube Compressor","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/chandler-limited-outboard-processing-chandler-limited-rs124-1-channel-tube-compressor-2222515126300.jpg?v=1552796988","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/chandler-limited-outboard-processing-chandler-limited-rs124-1-channel-tube-compressor-2222515290140.jpg?v=1552796988","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/chandler-limited-outboard-processing-chandler-limited-rs124-1-channel-tube-compressor-2222515322908.jpg?v=1552796988","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/chandler-limited-outboard-processing-chandler-limited-rs124-1-channel-tube-compressor-2222515453980.jpg?v=1552796988"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/chandler-limited-outboard-processing-chandler-limited-rs124-1-channel-tube-compressor-2222515126300.jpg?v=1552796988","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eThe Chandler Limited RS124 Compressor is a recreation of one of the most coveted audio valve compressors of all time, the legendary EMI\/Abbey Road RS124, reimagined for use in the modern studio environment.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFirst designed in 1960 by Abbey Road Head of Technical Bill Livy, Deputy Head Len Page and seasoned EMI Audio Designer Mike Bachelor, the Abbey Road RS124 compressor is one of the most desired and mysterious pieces of recording gear ever developed.\u003c\/p\u003e\n\u003cp\u003eBorn out of the insufficient Altec 436Bs acquired by EMI in the late 1950s for Abbey Road, the RS124 compressor is most closely associated with recordings made by The Beatles at Abbey Road Studios. Present on virtually every Beatles session, the RS124 left its remarkable signature across most of the catalog.\u003c\/p\u003e\n\u003cp\u003eThe RS124's undeniably smooth character and ability to tame transients without muffling the sound at steep compression levels, quickly became popular with Abbey Road Studios engineers and widely used throughout the now historic studio, for tracking, buss compression, mixing, and mastering. They were so integral to the recording and mixing process that a pair can be seen in almost every control room photo in Abbey Road Studios during the 60s period.\u003c\/p\u003e\n\u003cp\u003eThe RS124 Compressor was built for use at Abbey Road Studios, and was never commercially available.\u003c\/p\u003e\n\u003cp\u003eThrough the years, from incomplete information and supposition, some have tried to recreate the holy grail of tube compressors, though never fully capturing the elusive Abbey Road RS124 in all its glory.\u003c\/p\u003e\n\u003cp\u003eSchematics themselves only told part of the story, and access to Abbey Road Studios’ historic units and various hand written modification notes would prove paramount towards understanding the true nature of the Abbey Road RS124 compressor and variances between units.\u003c\/p\u003e\n\u003cp\u003eMany revisions were carried out since its inception, and as a result, the Abbey Road RS124 valve compressor has remained a mystery for decades, until now.\u003c\/p\u003e\n\u003cp\u003eAvailable now, for the first time ever, the Chandler Limited RS124 Compressor harnesses the sound and personalities of Abbey Road Studios’ favorite historic RS124 Compressors (Ser. No’s \u003cstrong\u003e60070B\u003c\/strong\u003e, \u003cstrong\u003e60050A\u003c\/strong\u003e, and \u003cstrong\u003e61010B\u003c\/strong\u003e) still in use at the famed studio to this day, all in a single unit.\u003c\/p\u003e\n\u003cp\u003eAlong with features traditionally found on the original counterparts, Input control, Output attenuation, ‘Recovery’ (release) control and the unique ‘HOLD’ setting, the Chandler Limited RS124 Compressor includes modern facilities such as adjustable attack, selectable output impedance, and a special twist, dubbed the ‘SuperFuse’.\u003c\/p\u003e\n\u003cp\u003eBring home the sound of a legend reimagined for the modern era, today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE:\u003c\/strong\u003e Standard units come with variable Input and Output control. Stepped Input and Output controls are available via special request for an additional fee– notify your dealer prior to order.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eCHANNELS:\u003c\/strong\u003e Mono\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCIRCUIT:\u003c\/strong\u003e Tube (6BC8,6CG7, 6AL5)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONNECTIONS\u003c\/strong\u003e\u003cbr\u003eInputs: XLR (pin 2 hot)\u003cbr\u003eOutput: XLR (pin 2 hot)\u003cbr\u003eTransformer balanced I\/O (custom wound)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003cbr\u003eInput Control: Variable (stepped special order)\u003cbr\u003eOutput Attenuator: Variable (stepped special order)\u003cbr\u003eAttack: Selectable, Stepped (9 settings, including 3 Abbey Road Historic serial numbers)\u003cbr\u003eRecovery: Selectable, Stepped (6 settings, and HOLD)\u003cbr\u003eSuperFuse (switchable mode)\u003cbr\u003eOutput Impedance: 200\/600 ohms, switchable\u003cbr\u003eStereo linkable: Standard 1\/4\" jack\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePOWER\u003c\/strong\u003e\u003cbr\u003eInternal power supply\u003c\/p\u003e"}
R 0.00
Quick View {"id":646856245276,"title":"Empirical Labs Fatso EL7x","handle":"empirical-labs-fatso","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3 id=\"u8064-13\" class=\"product_mainsub clearfix grpelem\" data-muse-uid=\"U8064\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\u003cstrong\u003e\u003cspan id=\"u8064\"\u003eTHE EMPIRICAL LABS FATSO IS A F\u003c\/span\u003eULL \u003cspan id=\"u8064-3\"\u003eA\u003c\/span\u003eNALOG \u003cspan id=\"u8064-5\"\u003eT\u003c\/span\u003eAPE \u003cspan id=\"u8064-7\"\u003eS\u003c\/span\u003eIMULATOR AND \u003cspan id=\"u8064-9\"\u003eO\u003c\/span\u003ePTIMIZER WITH CLASSIC KNEE COMPRESSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eNO LONGER THE \"JR\", THE NEW FATSO INTRODUCES A NEW COMPRESSOR RATIO,AS WELL AS ENHANCED INTERFACE AND DISPLAY FUNCTIONS AND OVERALL RELIABILITY.\u003c\/p\u003e\n\u003cdiv id=\"u8154-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U8154\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eNEW FEATURES AT A GLANCE\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8158-18\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cul\u003e\n\u003cli\u003eA new ratio “Eleven”, which emulates a favorite classic compressor setting.\u003c\/li\u003e\n\u003cli\u003eNew Two Color Front Panel\u003c\/li\u003e\n\u003cli\u003eImproved Logic\u003c\/li\u003e\n\u003cli\u003eSeparate TRACKING LED, more intuitive display.\u003c\/li\u003e\n\u003cli\u003eBackwards stepping when a front panel button is held.\u003c\/li\u003e\n\u003cli\u003eNew extended stereo link functions. More choices of how to lock compressors.\u003c\/li\u003e\n\u003cli\u003eCooler running Logic Circuitry, resulting in overall cooler operating temperature.\u003c\/li\u003e\n\u003cli\u003eImproved overall noise floor, due to lower logic power consumption.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv id=\"u8155-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U8155\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eTHE FATSO GOES TO ELEVEN\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8159-13\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8159\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eELEVEN 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.\u003c\/p\u003e\n\u003cp\u003eThe 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?\u003c\/p\u003e\n\u003cp\u003eAnyway, 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.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE:\u003c\/strong\u003e 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.\u003c\/p\u003e\n\u003cdiv id=\"pu8156-4\" class=\"clearfix colelem\"\u003e\n\u003cdiv id=\"u8156-4\" class=\"product_subhead clearfix grpelem\" data-muse-uid=\"U8156\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eNEW LOGIC AND INTERFACE OPERATION\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"ppu8160-10\" class=\"clearfix colelem\"\u003e\n\u003cdiv id=\"pu8160-10\" class=\"clearfix grpelem\"\u003e\n\u003cdiv id=\"u8160-10\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8160\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eThere 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.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8157-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U8157\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eFATSO's FOUR TYPES OF PROCESSING\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8130-21\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8130\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHarmonic Generation and Soft Clipper (Distortion Generation) - this class A circuit gently rounds the peaks like saturated tubes or tape.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Saturation (Warmth) - a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eTransformer \u0026amp; 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..\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eClassic 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!\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp class=\"page_text\"\u003eArguably 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.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eWith 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.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eAs 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.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eThe 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. \u003c\/p\u003e\n\u003ch3 class=\"page_text\"\u003eOnce you start using it, you’ll never want to be without it!\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e \u003c\/div\u003e\n\u003cdiv class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e \u003c\/div\u003e\n\u003ch5 class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eFreq. Response is 2 Hz to 60 kHz in clean audio mode (+0, -3 dB).\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDynamic Range 110 dB from maximum output (20%THDsoft clipping) to minimum output. Greater than 100 dB signal to noise.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDistortion Ranges between .06% and 20% depending on mode and settings.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDC coupled Input and Outputs\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eHigh quality audio caps used internally. Compressor Time Constants - Attack range 1mS - 60mS. Release range .05 sec to 3.5 seconds. Attack and Releases are fixed by the compression type selected.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e \u003c\/div\u003e\n\u003cdiv id=\"u7374-4\" class=\"product_mainsub clearfix grpelem\" data-muse-uid=\"U7374\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003c\/div\u003e","published_at":"2018-08-23T14:33:15+02:00","created_at":"2018-02-14T19:35:23+02:00","vendor":"Empirical Labs","type":"Outboard Processing","tags":["Brand_Empirical Labs","Processor_Compressor"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751538835484,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"ELFATSO","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Empirical Labs Fatso EL7x","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-fatso-el7x-2222469677084.jpg?v=1552754032","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-fatso-el7x-2222469873692.jpg?v=1552754032","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-fatso-el7x-2222469939228.jpg?v=1552754032"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-fatso-el7x-2222469677084.jpg?v=1552754032","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3 id=\"u8064-13\" class=\"product_mainsub clearfix grpelem\" data-muse-uid=\"U8064\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\u003cstrong\u003e\u003cspan id=\"u8064\"\u003eTHE EMPIRICAL LABS FATSO IS A F\u003c\/span\u003eULL \u003cspan id=\"u8064-3\"\u003eA\u003c\/span\u003eNALOG \u003cspan id=\"u8064-5\"\u003eT\u003c\/span\u003eAPE \u003cspan id=\"u8064-7\"\u003eS\u003c\/span\u003eIMULATOR AND \u003cspan id=\"u8064-9\"\u003eO\u003c\/span\u003ePTIMIZER WITH CLASSIC KNEE COMPRESSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eNO LONGER THE \"JR\", THE NEW FATSO INTRODUCES A NEW COMPRESSOR RATIO,AS WELL AS ENHANCED INTERFACE AND DISPLAY FUNCTIONS AND OVERALL RELIABILITY.\u003c\/p\u003e\n\u003cdiv id=\"u8154-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U8154\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eNEW FEATURES AT A GLANCE\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8158-18\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cul\u003e\n\u003cli\u003eA new ratio “Eleven”, which emulates a favorite classic compressor setting.\u003c\/li\u003e\n\u003cli\u003eNew Two Color Front Panel\u003c\/li\u003e\n\u003cli\u003eImproved Logic\u003c\/li\u003e\n\u003cli\u003eSeparate TRACKING LED, more intuitive display.\u003c\/li\u003e\n\u003cli\u003eBackwards stepping when a front panel button is held.\u003c\/li\u003e\n\u003cli\u003eNew extended stereo link functions. More choices of how to lock compressors.\u003c\/li\u003e\n\u003cli\u003eCooler running Logic Circuitry, resulting in overall cooler operating temperature.\u003c\/li\u003e\n\u003cli\u003eImproved overall noise floor, due to lower logic power consumption.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv id=\"u8155-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U8155\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eTHE FATSO GOES TO ELEVEN\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8159-13\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8159\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eELEVEN 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.\u003c\/p\u003e\n\u003cp\u003eThe 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?\u003c\/p\u003e\n\u003cp\u003eAnyway, 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.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNOTE:\u003c\/strong\u003e 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.\u003c\/p\u003e\n\u003cdiv id=\"pu8156-4\" class=\"clearfix colelem\"\u003e\n\u003cdiv id=\"u8156-4\" class=\"product_subhead clearfix grpelem\" data-muse-uid=\"U8156\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eNEW LOGIC AND INTERFACE OPERATION\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"ppu8160-10\" class=\"clearfix colelem\"\u003e\n\u003cdiv id=\"pu8160-10\" class=\"clearfix grpelem\"\u003e\n\u003cdiv id=\"u8160-10\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8160\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eThere 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.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8157-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U8157\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eFATSO's FOUR TYPES OF PROCESSING\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u8130-21\" class=\"page_text clearfix colelem\" data-muse-uid=\"U8130\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHarmonic Generation and Soft Clipper (Distortion Generation) - this class A circuit gently rounds the peaks like saturated tubes or tape.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Saturation (Warmth) - a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eTransformer \u0026amp; 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..\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eClassic 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!\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp class=\"page_text\"\u003eArguably 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.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eWith 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.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eAs 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.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eThe 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. \u003c\/p\u003e\n\u003ch3 class=\"page_text\"\u003eOnce you start using it, you’ll never want to be without it!\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e \u003c\/div\u003e\n\u003cdiv class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e \u003c\/div\u003e\n\u003ch5 class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cul\u003e\n\u003cli\u003eFreq. Response is 2 Hz to 60 kHz in clean audio mode (+0, -3 dB).\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDynamic Range 110 dB from maximum output (20%THDsoft clipping) to minimum output. Greater than 100 dB signal to noise.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDistortion Ranges between .06% and 20% depending on mode and settings.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDC coupled Input and Outputs\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eHigh quality audio caps used internally. Compressor Time Constants - Attack range 1mS - 60mS. Release range .05 sec to 3.5 seconds. Attack and Releases are fixed by the compression type selected.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"page_text clearfix colelem\" data-muse-uid=\"U8158\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e \u003c\/div\u003e\n\u003cdiv id=\"u7374-4\" class=\"product_mainsub clearfix grpelem\" data-muse-uid=\"U7374\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003c\/div\u003e"}
R 0.00
Quick View {"id":646847561756,"title":"Empirical Labs EL8","handle":"empirical-labs-el8","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003cdiv id=\"pu7374-4\" class=\"clearfix colelem\"\u003e\n\u003ch3 id=\"u7374-4\" class=\"product_mainsub clearfix grpelem\" data-muse-uid=\"U7374\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\u003cstrong\u003eTHE EMPIRICAL LABS EL8. DIGITALLY CONTROLLED ANALOG KNEE COMPRESSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Distressor is the product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world.  With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time...\u003cbr\u003eif not THE best selling.  A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003c\/p\u003e\n\u003cp\u003e Besides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit.  This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eAll eight of the Distressor’s curves are unique and distinctive, 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 several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path - are also available to help with low frequencies that can cause pumping and breathing.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eThe Distressor is available in either its original form (EL8), or in a modified version (EL8-X) with two additional functions  - British Mode, and Image Link.\u003c\/p\u003e\n\u003cdiv id=\"u7435-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U7435\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eBRITISH MODE\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u7339-7\" class=\"page_text clearfix colelem\" data-muse-uid=\"U7339\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eThe concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.\u003c\/p\u003e\n\u003cp\u003eThe EL8-X has the advantage of being able to selectively apply this aggressive characteristic - not just to the new “British” ratio (1:1) - to any of the ratios, simply by engaging the dedicated “British Mode\" switch.\u003c\/p\u003e\n\u003cdiv id=\"u7437-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U7437\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eIMAGE LINK\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u7340-4\" class=\"page_text clearfix colelem\" data-muse-uid=\"U7340\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eThe original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting.  Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer\/engineers want to maintain absolute left\/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options - the original “phase” link, the new Image Link and the combination of the two, phase and image linking - something never before offered on any compressors or limiters.\u003c\/p\u003e\n\u003ch3\u003eGO STEREO\u003c\/h3\u003e\n\u003cp\u003eFor many Distressor owners, one is never enough - in fact, one extremely successful engineer has twelve of them!  For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together.  If you want the Brit Mod and Image Link options, an EL8X-S package is also available.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cp\u003e• Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/p\u003e\n\u003cp\u003e• Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/p\u003e\n\u003cp\u003e• Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/p\u003e\n\u003cp\u003e• DC coupled output - High quality input caps.\u003c\/p\u003e\n\u003cp\u003e• Input impedance is 20K Ohms, Output impedance is \u0026lt; 75 ohms\u003c\/p\u003e\n\u003cp\u003e• Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio.\u003c\/p\u003e\n\u003cp\u003e• Metal Chassis - single height 1.75\" high, 10\" deep, 19\" wide.\u003c\/p\u003e\n\u003cp\u003e• Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5\" x 18.5\" x 3 1\/4\".\u003c\/p\u003e\n\u003cp\u003e• Stereo Pair box dimensions 22.5\" x 18.5\" x 6 1\/4\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","published_at":"2018-08-23T14:32:07+02:00","created_at":"2018-02-14T19:18:11+02:00","vendor":"Empirical Labs","type":"Outboard Processing","tags":["Brand_Empirical Labs","Processor_Compressor"],"price":0,"price_min":0,"price_max":0,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7751343374364,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"ELEL8","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Empirical Labs EL8","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-el8-2222401814556.jpg?v=1552754494","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-el8-2222401847324.jpg?v=1552754494","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-el8-2222402207772.jpg?v=1552754494","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-el8-2222402404380.jpg?v=1552754494"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/empirical-labs-outboard-processing-empirical-labs-el8-2222401814556.jpg?v=1552754494","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003cdiv id=\"pu7374-4\" class=\"clearfix colelem\"\u003e\n\u003ch3 id=\"u7374-4\" class=\"product_mainsub clearfix grpelem\" data-muse-uid=\"U7374\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\u003cstrong\u003eTHE EMPIRICAL LABS EL8. DIGITALLY CONTROLLED ANALOG KNEE COMPRESSION\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Distressor is the product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world.  With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time...\u003cbr\u003eif not THE best selling.  A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003c\/p\u003e\n\u003cp\u003e Besides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit.  This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eAll eight of the Distressor’s curves are unique and distinctive, 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 several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path - are also available to help with low frequencies that can cause pumping and breathing.\u003c\/p\u003e\n\u003cp class=\"page_text\"\u003eThe Distressor is available in either its original form (EL8), or in a modified version (EL8-X) with two additional functions  - British Mode, and Image Link.\u003c\/p\u003e\n\u003cdiv id=\"u7435-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U7435\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eBRITISH MODE\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u7339-7\" class=\"page_text clearfix colelem\" data-muse-uid=\"U7339\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eThe concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.\u003c\/p\u003e\n\u003cp\u003eThe EL8-X has the advantage of being able to selectively apply this aggressive characteristic - not just to the new “British” ratio (1:1) - to any of the ratios, simply by engaging the dedicated “British Mode\" switch.\u003c\/p\u003e\n\u003cdiv id=\"u7437-4\" class=\"product_subhead clearfix colelem\" data-muse-uid=\"U7437\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003ch3\u003eIMAGE LINK\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"u7340-4\" class=\"page_text clearfix colelem\" data-muse-uid=\"U7340\" data-muse-type=\"txt_frame\" data-ibe-flags=\"txtStyleSrc\"\u003e\n\u003cp\u003eThe original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting.  Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer\/engineers want to maintain absolute left\/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options - the original “phase” link, the new Image Link and the combination of the two, phase and image linking - something never before offered on any compressors or limiters.\u003c\/p\u003e\n\u003ch3\u003eGO STEREO\u003c\/h3\u003e\n\u003cp\u003eFor many Distressor owners, one is never enough - in fact, one extremely successful engineer has twelve of them!  For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together.  If you want the Brit Mod and Image Link options, an EL8X-S package is also available.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003cp\u003e• Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/p\u003e\n\u003cp\u003e• Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/p\u003e\n\u003cp\u003e• Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/p\u003e\n\u003cp\u003e• DC coupled output - High quality input caps.\u003c\/p\u003e\n\u003cp\u003e• Input impedance is 20K Ohms, Output impedance is \u0026lt; 75 ohms\u003c\/p\u003e\n\u003cp\u003e• Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio.\u003c\/p\u003e\n\u003cp\u003e• Metal Chassis - single height 1.75\" high, 10\" deep, 19\" wide.\u003c\/p\u003e\n\u003cp\u003e• Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5\" x 18.5\" x 3 1\/4\".\u003c\/p\u003e\n\u003cp\u003e• Stereo Pair box dimensions 22.5\" x 18.5\" x 6 1\/4\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e"}
R 8,995.00
Quick View {"id":646021775388,"title":"dbx 1066 Dual-channel Compressor \/ Limiter \/ Gate","handle":"dbx-1066","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eAfter producing the world's most renown series of compressors, the task of producing a new compressor worthy of our reputation would be daunting for most engineers. Meet the DBX 1066.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eNot for dbx®. Our engineers know audio like no one else in the world. Now the fruits of their talents are available to you in the form of the 1066 Stereo Compressor\/Limiter\/Gate.\u003c\/p\u003e\n\u003cp\u003eWant to instantly add that classic dbx response to your mix? It's there at the touch of the \"Auto\" button. Or use the independent Attack and Release controls to tailor the 1066 to your specific needs. Unwanted frequencies or mic bleed in the signal path? Frequency dependent gain control is a snap to set up and execute with our Side Chain External button (SC Ext). Use the Side Chain Monitor button (SC Mon) and your favorite EQ to dial in the specific frequencies you want to trigger the device. As has become our standard, the contour switch allows entire mixes to be easily smoothed with soft compression while keeping low frequencies from punching holes in the overall mix. Selectable input and output metering allow you to make sure that everything is matched up level-wise, maximizing your signal-to-noise ratio.\u003c\/p\u003e\n\u003cp\u003eFor overall speaker protection, our new PeakStopPlus™ does all previous circuits one better. With a new design, the PeakStopPlus represses those unwanted transients from blowing your drivers while minimizing the distortion common to many other \"hard\" limiters. Selectable Hard-Knee or OverEasy® characteristics make the 1066 ideal for your gain control needs, whether you're looking for \"heavy\" almost-special-effects compression or soft, smooth gain leveling. New lightpipe technology replaces standard LED's found on most other units, making the 1066 both very easy to read and much easier to operate.\u003c\/p\u003e\n\u003cp\u003eIn the studio, broadcast facility or on the road with a P.A. system, the 1066 is designed for perfectly simple operation. The 1066 allows you to eliminate unwanted signals, flexibly control overall signal gain and guard your overall mix in dual mono or stereo operation.\u003c\/p\u003e\n\u003cp\u003eAt the heart of the 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics. The bottom line is this: a new VCA working in conjunction with world class design makes the dbx 1066 perform better than compressors selling for hundreds more.\u003c\/p\u003e\n\u003cp\u003eState-of-the-technology VCA's, meticulous component selection, and scrupulous testing procedures are just a few more reasons that the new dbx 1066 is the latest in a long line of pedigreed dbx signal processors.\u003c\/p\u003e\n\u003ch3 class=\"content-nav\" data-magellan-destination=\"features\"\u003eFeatures\u003c\/h3\u003e\n\u003cdiv class=\"product_main_tab_content content \"\u003e\n\u003cdiv class=\"features text-content\"\u003e\n\u003cul\u003e\n\u003cli class=\"features\"\u003eSelectable auto (classic dbx®) or manual (variable Attack and Release) compression\u003c\/li\u003e\n\u003cli\u003eContour switch removes unwanted low frequency information from detector circuit\u003c\/li\u003e\n\u003cli\u003eSelectable Overeasy® or Hard Knee compression modes\u003c\/li\u003e\n\u003cli\u003ePeakStopPlus™ limiting for setting maximum allowable level with minimal distortion\u003c\/li\u003e\n\u003cli\u003eSC Ext and SC Mon for setting up and monitoring external devices for gating function\u003c\/li\u003e\n\u003cli\u003eTrue differentially balanced gold-plated XLR and 1\/4\" inputs and outputs\u003c\/li\u003e\n\u003cli\u003eTrue RMS level detection\u003c\/li\u003e\n\u003cli\u003ePrecision metering of input level, output level, and gain reduction\u003c\/li\u003e\n\u003cli\u003eTrue stereo or dual mono operation\u003c\/li\u003e\n\u003cli\u003eSwitchable +4dBu or -10dBV operation per channel\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003ch5 class=\"features text-content\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003ctable class=\"specs\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Connectors\u003c\/td\u003e\n\u003ctd\u003eXLR and 1\/4\" TRS (Pin 2 and tip hot)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Type\u003c\/td\u003e\n\u003ctd\u003eElectronically balanced\/unbalanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced \u0026gt; 50 kOhm, unbalanced \u0026gt;25 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Input\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; +24 dBu balanced or unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCMRR\u003c\/td\u003e\n\u003ctd\u003eTypically \u0026gt;50 dB at 1 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Connectors\u003c\/td\u003e\n\u003ctd\u003eXLR and 1\/4\" TRS (Pin 2 and tip hot)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Type\u003c\/td\u003e\n\u003ctd\u003eServo-balanced\/unbalanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced 120 Ohm, unbalanced 60 Ohm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Output\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; +21 dBm balanced, \u0026gt; +20 dBm unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Input Connector\u003c\/td\u003e\n\u003ctd\u003e1\/4\" Unbalanced (Tip-Sleeve)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Input Type\u003c\/td\u003e\n\u003ctd\u003eUnbalanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Impedance\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;10 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Max Input Level\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;+24 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Output Connector\u003c\/td\u003e\n\u003ctd\u003e1\/4\" Balanced TRS (tip hot)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Output Type\u003c\/td\u003e\n\u003ctd\u003eImpedance balanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Output Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced 2 kOhm, unbalanced 1 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Max Output Level\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;+21 dBu balanced or unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eBandwidth\u003c\/td\u003e\n\u003ctd\u003e20 Hz to 20 kHz, +0\/0.5 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFrequency Response\u003c\/td\u003e\n\u003ctd\u003e0.35 Hz to 90 kHz, +0\/-3 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eNoise\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -95 dBu, unweighted, 22 kHz measurement bandwidth\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDynamic Range\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 118dB, unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eTHD+Noise\u003c\/td\u003e\n\u003ctd\u003e0.008% typical at +4 dBu (1 kHz unity gain), 0.08% typical at +20 dBu (1 kHz unity gain), \u0026lt; 0.1% any amount of compression up to 40 dB, 1 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eIMD\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; 0.1% SMPTE\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInterchannel Crosstalk\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -80 dB 20Hz to 20 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eStereo Coupling\u003c\/td\u003e\n\u003ctd\u003eTrue RMS Power Summing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Range\u003c\/td\u003e\n\u003ctd\u003e-40 dBu to +20 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Ratio\u003c\/td\u003e\n\u003ctd\u003e1:1 to infinity:1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Characteristic\u003c\/td\u003e\n\u003ctd\u003eSelectable OverEasy® or hard knee\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Attack\/Release Characteristic\u003c\/td\u003e\n\u003ctd\u003eAutoDynamic™\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Attack\/Release Modes\u003c\/td\u003e\n\u003ctd\u003eSelectable Manual or Auto\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Manual Attack Time\u003c\/td\u003e\n\u003ctd\u003eScalable program-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Manual Release Time\u003c\/td\u003e\n\u003ctd\u003eScalable program-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Auto Attack Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Auto Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Output Gain\u003c\/td\u003e\n\u003ctd\u003e-20 to +20 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Threshold Range\u003c\/td\u003e\n\u003ctd\u003e+4 dBu to +24 dBu (off)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Ratio\u003c\/td\u003e\n\u003ctd\u003einfinity:1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Type\u003c\/td\u003e\n\u003ctd\u003ePeakStopPlus® two-stage limiter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 1\u003c\/td\u003e\n\u003ctd\u003ePeakStop® brickwall limiter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 1 Attack Time\u003c\/td\u003e\n\u003ctd\u003eZero\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 1 Release Time\u003c\/td\u003e\n\u003ctd\u003eZero\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 2\u003c\/td\u003e\n\u003ctd\u003ePredictive intelligent program limiter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 2 Attack Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 2 Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Threshold Range\u003c\/td\u003e\n\u003ctd\u003eOff to +15dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Ratio\u003c\/td\u003e\n\u003ctd\u003e1:1 to 30:1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Attack Time\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; 100 µsec\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSC Ext. Switch\u003c\/td\u003e\n\u003ctd\u003eRoutes the external sidechain input signal to the detector\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSC Mon. Switch\u003c\/td\u003e\n\u003ctd\u003eRoutes the sidechain signal to the output, interrupting the normal audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOverEasy® Switch\u003c\/td\u003e\n\u003ctd\u003eActivates the OverEasy compression function\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCountour Switch\u003c\/td\u003e\n\u003ctd\u003eActivates the frequency-dependent detector function\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eAuto Switch\u003c\/td\u003e\n\u003ctd\u003eActivates automatic program-dependent attack and release times, disabling the manual Attack and Release controls\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eI\/O Meter Switch\u003c\/td\u003e\n\u003ctd\u003eSwitches between monitoring input and output levels on the Input\/Output Level meter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eBypass Switch\u003c\/td\u003e\n\u003ctd\u003eActivates the direct input-to-output hard-wire relay bypass. Relay automatically hard-wire bypasses unit at power-down and provides a power-on delay of 1.5 sec.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOperating Level Switch\u003c\/td\u003e\n\u003ctd\u003e(rear panel) Switches the nominal operating level between -10 dBV and +4 dBu simultaneoulsy for both input and output levels\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eST Link Switch\u003c\/td\u003e\n\u003ctd\u003eLink both channels for stereo operation. Channel One becomes the master\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eGain Reduction Meter\u003c\/td\u003e\n\u003ctd\u003e12-segment LED bar graph at 1, 2, 4, 6, 9, 12, 15, 18, 21, 24, 27 and 30 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eI\/O Meter\u003c\/td\u003e\n\u003ctd\u003e8-segment LED bar graph at -24, -18, -12, -6, 0, +6, +12, and +18 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Meter\u003c\/td\u003e\n\u003ctd\u003e3-segment LED bar graph at Below (-), OverEasy and Above (+)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Threshold Meter\u003c\/td\u003e\n\u003ctd\u003e2-segment LED bar graph at Below (-) and Above (+)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Threshold Meter\u003c\/td\u003e\n\u003ctd\u003e1 LED to indicate PeakStopPlus™ limiting\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFunction Switches\u003c\/td\u003e\n\u003ctd\u003eLED indicator for each front-panel switch\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Transformer Options\u003c\/td\u003e\n\u003ctd\u003eJensen® JT-123-dbx or JT-11-dbx, BCI RE-123-dbx or RE-11-dbx\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOperating Voltage\u003c\/td\u003e\n\u003ctd\u003e100-120 VAC 50\/60 Hz 200-240 VAC 50\/60 Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003ePower Consumption\u003c\/td\u003e\n\u003ctd\u003e20 Watts\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFuse\u003c\/td\u003e\n\u003ctd\u003e100-120 VAC:250 mA Slow Blow, 200-240 VAC:125 mA Type T\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003ePower Connector\u003c\/td\u003e\n\u003ctd\u003eIEC receptacle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003e1.75\"Hx19\"Wx9\"D (4.4cmx48.3cmx20.1cm)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e","published_at":"2018-02-13T20:39:31+02:00","created_at":"2018-02-13T20:54:59+02:00","vendor":"dbx","type":"Outboard Processing","tags":["Brand_dbx"],"price":899500,"price_min":899500,"price_max":899500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7745464696860,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"DBX1066","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"dbx 1066 Dual-channel Compressor \/ Limiter \/ Gate","public_title":null,"options":["Default Title"],"price":899500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dbx-outboard-processing-dbx-1066-dual-channel-compressor-limiter-gate-2218491772956.jpg?v=1552768307","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dbx-outboard-processing-dbx-1066-dual-channel-compressor-limiter-gate-2218491969564.jpg?v=1552768307"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dbx-outboard-processing-dbx-1066-dual-channel-compressor-limiter-gate-2218491772956.jpg?v=1552768307","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eAfter producing the world's most renown series of compressors, the task of producing a new compressor worthy of our reputation would be daunting for most engineers. Meet the DBX 1066.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eNot for dbx®. Our engineers know audio like no one else in the world. Now the fruits of their talents are available to you in the form of the 1066 Stereo Compressor\/Limiter\/Gate.\u003c\/p\u003e\n\u003cp\u003eWant to instantly add that classic dbx response to your mix? It's there at the touch of the \"Auto\" button. Or use the independent Attack and Release controls to tailor the 1066 to your specific needs. Unwanted frequencies or mic bleed in the signal path? Frequency dependent gain control is a snap to set up and execute with our Side Chain External button (SC Ext). Use the Side Chain Monitor button (SC Mon) and your favorite EQ to dial in the specific frequencies you want to trigger the device. As has become our standard, the contour switch allows entire mixes to be easily smoothed with soft compression while keeping low frequencies from punching holes in the overall mix. Selectable input and output metering allow you to make sure that everything is matched up level-wise, maximizing your signal-to-noise ratio.\u003c\/p\u003e\n\u003cp\u003eFor overall speaker protection, our new PeakStopPlus™ does all previous circuits one better. With a new design, the PeakStopPlus represses those unwanted transients from blowing your drivers while minimizing the distortion common to many other \"hard\" limiters. Selectable Hard-Knee or OverEasy® characteristics make the 1066 ideal for your gain control needs, whether you're looking for \"heavy\" almost-special-effects compression or soft, smooth gain leveling. New lightpipe technology replaces standard LED's found on most other units, making the 1066 both very easy to read and much easier to operate.\u003c\/p\u003e\n\u003cp\u003eIn the studio, broadcast facility or on the road with a P.A. system, the 1066 is designed for perfectly simple operation. The 1066 allows you to eliminate unwanted signals, flexibly control overall signal gain and guard your overall mix in dual mono or stereo operation.\u003c\/p\u003e\n\u003cp\u003eAt the heart of the 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics. The bottom line is this: a new VCA working in conjunction with world class design makes the dbx 1066 perform better than compressors selling for hundreds more.\u003c\/p\u003e\n\u003cp\u003eState-of-the-technology VCA's, meticulous component selection, and scrupulous testing procedures are just a few more reasons that the new dbx 1066 is the latest in a long line of pedigreed dbx signal processors.\u003c\/p\u003e\n\u003ch3 class=\"content-nav\" data-magellan-destination=\"features\"\u003eFeatures\u003c\/h3\u003e\n\u003cdiv class=\"product_main_tab_content content \"\u003e\n\u003cdiv class=\"features text-content\"\u003e\n\u003cul\u003e\n\u003cli class=\"features\"\u003eSelectable auto (classic dbx®) or manual (variable Attack and Release) compression\u003c\/li\u003e\n\u003cli\u003eContour switch removes unwanted low frequency information from detector circuit\u003c\/li\u003e\n\u003cli\u003eSelectable Overeasy® or Hard Knee compression modes\u003c\/li\u003e\n\u003cli\u003ePeakStopPlus™ limiting for setting maximum allowable level with minimal distortion\u003c\/li\u003e\n\u003cli\u003eSC Ext and SC Mon for setting up and monitoring external devices for gating function\u003c\/li\u003e\n\u003cli\u003eTrue differentially balanced gold-plated XLR and 1\/4\" inputs and outputs\u003c\/li\u003e\n\u003cli\u003eTrue RMS level detection\u003c\/li\u003e\n\u003cli\u003ePrecision metering of input level, output level, and gain reduction\u003c\/li\u003e\n\u003cli\u003eTrue stereo or dual mono operation\u003c\/li\u003e\n\u003cli\u003eSwitchable +4dBu or -10dBV operation per channel\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003ch5 class=\"features text-content\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003ctable class=\"specs\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Connectors\u003c\/td\u003e\n\u003ctd\u003eXLR and 1\/4\" TRS (Pin 2 and tip hot)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Type\u003c\/td\u003e\n\u003ctd\u003eElectronically balanced\/unbalanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced \u0026gt; 50 kOhm, unbalanced \u0026gt;25 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Input\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; +24 dBu balanced or unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCMRR\u003c\/td\u003e\n\u003ctd\u003eTypically \u0026gt;50 dB at 1 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Connectors\u003c\/td\u003e\n\u003ctd\u003eXLR and 1\/4\" TRS (Pin 2 and tip hot)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Type\u003c\/td\u003e\n\u003ctd\u003eServo-balanced\/unbalanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced 120 Ohm, unbalanced 60 Ohm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Output\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; +21 dBm balanced, \u0026gt; +20 dBm unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Input Connector\u003c\/td\u003e\n\u003ctd\u003e1\/4\" Unbalanced (Tip-Sleeve)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Input Type\u003c\/td\u003e\n\u003ctd\u003eUnbalanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Impedance\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;10 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Max Input Level\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;+24 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Output Connector\u003c\/td\u003e\n\u003ctd\u003e1\/4\" Balanced TRS (tip hot)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Output Type\u003c\/td\u003e\n\u003ctd\u003eImpedance balanced, RF filtered\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Output Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced 2 kOhm, unbalanced 1 kOhm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSidechain Max Output Level\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;+21 dBu balanced or unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eBandwidth\u003c\/td\u003e\n\u003ctd\u003e20 Hz to 20 kHz, +0\/0.5 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFrequency Response\u003c\/td\u003e\n\u003ctd\u003e0.35 Hz to 90 kHz, +0\/-3 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eNoise\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -95 dBu, unweighted, 22 kHz measurement bandwidth\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDynamic Range\u003c\/td\u003e\n\u003ctd\u003e\u0026gt; 118dB, unweighted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eTHD+Noise\u003c\/td\u003e\n\u003ctd\u003e0.008% typical at +4 dBu (1 kHz unity gain), 0.08% typical at +20 dBu (1 kHz unity gain), \u0026lt; 0.1% any amount of compression up to 40 dB, 1 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eIMD\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; 0.1% SMPTE\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInterchannel Crosstalk\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; -80 dB 20Hz to 20 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eStereo Coupling\u003c\/td\u003e\n\u003ctd\u003eTrue RMS Power Summing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Range\u003c\/td\u003e\n\u003ctd\u003e-40 dBu to +20 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Ratio\u003c\/td\u003e\n\u003ctd\u003e1:1 to infinity:1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Characteristic\u003c\/td\u003e\n\u003ctd\u003eSelectable OverEasy® or hard knee\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Attack\/Release Characteristic\u003c\/td\u003e\n\u003ctd\u003eAutoDynamic™\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Attack\/Release Modes\u003c\/td\u003e\n\u003ctd\u003eSelectable Manual or Auto\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Manual Attack Time\u003c\/td\u003e\n\u003ctd\u003eScalable program-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Manual Release Time\u003c\/td\u003e\n\u003ctd\u003eScalable program-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Auto Attack Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Auto Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Output Gain\u003c\/td\u003e\n\u003ctd\u003e-20 to +20 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Threshold Range\u003c\/td\u003e\n\u003ctd\u003e+4 dBu to +24 dBu (off)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Ratio\u003c\/td\u003e\n\u003ctd\u003einfinity:1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Type\u003c\/td\u003e\n\u003ctd\u003ePeakStopPlus® two-stage limiter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 1\u003c\/td\u003e\n\u003ctd\u003ePeakStop® brickwall limiter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 1 Attack Time\u003c\/td\u003e\n\u003ctd\u003eZero\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 1 Release Time\u003c\/td\u003e\n\u003ctd\u003eZero\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 2\u003c\/td\u003e\n\u003ctd\u003ePredictive intelligent program limiter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 2 Attack Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Stage 2 Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Threshold Range\u003c\/td\u003e\n\u003ctd\u003eOff to +15dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Ratio\u003c\/td\u003e\n\u003ctd\u003e1:1 to 30:1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Attack Time\u003c\/td\u003e\n\u003ctd\u003e\u0026lt; 100 µsec\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram-dependent\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSC Ext. Switch\u003c\/td\u003e\n\u003ctd\u003eRoutes the external sidechain input signal to the detector\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSC Mon. Switch\u003c\/td\u003e\n\u003ctd\u003eRoutes the sidechain signal to the output, interrupting the normal audio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOverEasy® Switch\u003c\/td\u003e\n\u003ctd\u003eActivates the OverEasy compression function\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCountour Switch\u003c\/td\u003e\n\u003ctd\u003eActivates the frequency-dependent detector function\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eAuto Switch\u003c\/td\u003e\n\u003ctd\u003eActivates automatic program-dependent attack and release times, disabling the manual Attack and Release controls\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eI\/O Meter Switch\u003c\/td\u003e\n\u003ctd\u003eSwitches between monitoring input and output levels on the Input\/Output Level meter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eBypass Switch\u003c\/td\u003e\n\u003ctd\u003eActivates the direct input-to-output hard-wire relay bypass. Relay automatically hard-wire bypasses unit at power-down and provides a power-on delay of 1.5 sec.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOperating Level Switch\u003c\/td\u003e\n\u003ctd\u003e(rear panel) Switches the nominal operating level between -10 dBV and +4 dBu simultaneoulsy for both input and output levels\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eST Link Switch\u003c\/td\u003e\n\u003ctd\u003eLink both channels for stereo operation. Channel One becomes the master\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eGain Reduction Meter\u003c\/td\u003e\n\u003ctd\u003e12-segment LED bar graph at 1, 2, 4, 6, 9, 12, 15, 18, 21, 24, 27 and 30 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eI\/O Meter\u003c\/td\u003e\n\u003ctd\u003e8-segment LED bar graph at -24, -18, -12, -6, 0, +6, +12, and +18 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Meter\u003c\/td\u003e\n\u003ctd\u003e3-segment LED bar graph at Below (-), OverEasy and Above (+)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eExpander\/Gate Threshold Meter\u003c\/td\u003e\n\u003ctd\u003e2-segment LED bar graph at Below (-) and Above (+)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eLimiter Threshold Meter\u003c\/td\u003e\n\u003ctd\u003e1 LED to indicate PeakStopPlus™ limiting\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFunction Switches\u003c\/td\u003e\n\u003ctd\u003eLED indicator for each front-panel switch\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Transformer Options\u003c\/td\u003e\n\u003ctd\u003eJensen® JT-123-dbx or JT-11-dbx, BCI RE-123-dbx or RE-11-dbx\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOperating Voltage\u003c\/td\u003e\n\u003ctd\u003e100-120 VAC 50\/60 Hz 200-240 VAC 50\/60 Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003ePower Consumption\u003c\/td\u003e\n\u003ctd\u003e20 Watts\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFuse\u003c\/td\u003e\n\u003ctd\u003e100-120 VAC:250 mA Slow Blow, 200-240 VAC:125 mA Type T\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003ePower Connector\u003c\/td\u003e\n\u003ctd\u003eIEC receptacle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003e1.75\"Hx19\"Wx9\"D (4.4cmx48.3cmx20.1cm)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e"}
R 9,995.00
Quick View {"id":646010568732,"title":"dbx 160A Single Channel Compressor \/ Limiter","handle":"dbx-160a-single-channel-compressor-limiter","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003eSince its introduction in the mid 1970's, the dbx 160 series has been the world's most popular line of audio compressors.\u003c\/h3\u003e\n\u003cp\u003eAfter the classic 160 (which is still used daily in many world class studios), came the 165, the 160X and the 160XT. The 160X\/XT were the models that truly became the industry standard. Solid construction, fool proof operation, great sound, at-a-glance metering and a bulletproof output stage all contributed to its popularity with musicians, recording studios, consultants and installers, and broadcast media production people alike.\u003c\/p\u003e\n\u003cp\u003eThe dbx® 160A is a legendary dbx® 160 family of compressor\/limiters. The same classic sound, easy set-up and no compromise metering is now married to an improved signal path and stronger chassis design. The result is industry standard compressor\/limiter which is digital-ready and road tough.\u003c\/p\u003e\n\u003cp\u003eFeaturing switch-selectable OverEasy® and Hard Knee compression curves along with extremely wide-ranging threshold, ratio and output controls, the dbx 160A is up to any task. True RMS level detection provides the most natural-sounding dynamics processing available, from subtle compression to \"brick wall\" peak limiting. Choose low ratios and OverEasy® compression to transparently smooth out fluctuating vocal and instrumental levels. Or use the 160A's Hard Knee compression and high ratios (up to and beyond :1 and over 60dB gain reduction) for bombproof protection against overload distortion in digital recording, P.A. systems and broadcast signals. The 160A is fully compatible with +4\/-10dB and balanced\/ unbalanced systems, and its electronically balanced output stage is an outstanding line driver for long cable runs (an output transformer is optional). The 19-segment, switchable input\/ output LED metering can be easily calibrated to any operating level. 12-segment gain reduction LEDs provide precise analysis at a glance.\u003c\/p\u003e\n\u003cp\u003eThe dbx® 160A's unique \"INFINITY +\" inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway house mix levels. A detector input can be used with an equalizer for de-essing sibilant vocals and selectively smoothing out boomy notes on acoustic guitar and bass. And two 160As can be stereo-coupled to process an entire mix or instruments mic'd in stereo, without shifting the left\/right image. Its musical sound, easy operation and unequaled versatility made the original dbx® 160 a world standard. The 160A follows that tradition, while meeting the challenges of a digital world.ent in the mix, or overall characteristics of 4 independent signals or control the gain leveling on a couple of stereo pairs, the dbx 160A is for you.\u003c\/p\u003e\n\u003ch3 class=\"content-nav\" data-magellan-destination=\"features\"\u003eFeatures\u003c\/h3\u003e\n\u003cdiv class=\"product_main_tab_content content \"\u003e\n\u003cul\u003e\n\u003cli class=\"features\"\u003eOverEasy® or classic hard knee compression with dbx's® ultra-musical program dependent attack and release times\u003c\/li\u003e\n\u003cli class=\"features\"\u003eCompression ratio variable from 1:1 through infinity :1 to negative compression\u003c\/li\u003e\n\u003cli class=\"features\"\u003ePrecision dual RMS LED display monitors input or output and gain reduction over a wide range and calibrates for different operating levels\u003c\/li\u003e\n\u003cli class=\"features\"\u003eOver 60dB of gain reduction available\u003c\/li\u003e\n\u003cli class=\"features\"\u003eExclusive Infinity+ compression allows negative compression\u003c\/li\u003e\n\u003cli class=\"features\"\u003eIndependent balanced and unbalanced outputs can drive 600 loads to +24dBm simultaneously. New floating balanced output stage drives any load\u003c\/li\u003e\n\u003cli class=\"features\"\u003eOptional output transformer capable\u003c\/li\u003e\n\u003cli class=\"features\"\u003eStrappable with another 160A for true RMS stereo summing operation\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"features text-content\"\u003e \u003c\/p\u003e\n\u003ch5 class=\"features text-content\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cdiv class=\"features text-content\"\u003e\n\u003ctable class=\"specs\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Connectors\u003c\/td\u003e\n\u003ctd\u003e1\/4\" TRS and XLR, Floating Balanced; XLR: Pin 2 hot Phone: Tip Hot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Impedance\u003c\/td\u003e\n\u003ctd\u003e40k\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Input\u003c\/td\u003e\n\u003ctd\u003e+24dBu, Balanced or Unabalanced (Absolute)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCMRR\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;45dB (any Frequency)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDetector Input\u003c\/td\u003e\n\u003ctd\u003eConnector: 14\" TRS phone, Floating Balanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDetector Input Impedance\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;200k\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDetector Input Max Level\u003c\/td\u003e\n\u003ctd\u003e+28dBu, Balanced or Unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Connectors\u003c\/td\u003e\n\u003ctd\u003e1\/4\" TRS phone, Unbalanced; XLR, floating balanced; pin 2 hot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced 200 ohm, unbalanced 100 ohm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Output\u003c\/td\u003e\n\u003ctd\u003e(Balanced): +24dBm; \u0026lt;0.3% THD; (Unbalanced): +20dBm; \u0026lt;0.3% THD\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eNoise\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;-90dBu, Unweighted (20Hz - 20kHz)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFrequency Response\u003c\/td\u003e\n\u003ctd\u003e20Hz -20kHz, +0, -0.5dB; +0, -3dB 0.5Hz and 90kHz.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eTHD\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;0.2%, Typical, any amount of compression up to 40dB @ 1kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Range\u003c\/td\u003e\n\u003ctd\u003e-40dBu to +20dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Characteristic\u003c\/td\u003e\n\u003ctd\u003eOverEasy® or hard knee\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Ratio\u003c\/td\u003e\n\u003ctd\u003eVariable 1:1 to :1 thru to -1:1; \u0026gt;60dB maximum compression\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Attack Time\u003c\/td\u003e\n\u003ctd\u003eProgram dependent; typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram Dependent; Typically 8ms for 1dB, 80ms for 10dB, 400ms for 50dB; 125dB\/sec rate\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDynamic Range\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;113dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eGain Adjustment Range\u003c\/td\u003e\n\u003ctd\u003eVariable from -20dB to +20dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eStereo Coupling\u003c\/td\u003e\n\u003ctd\u003eTrue RMS Power summing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSumming\u003c\/td\u003e\n\u003ctd\u003e1\/4\" TRS phone jack\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOperating Voltage\u003c\/td\u003e\n\u003ctd\u003eDO: 90-130VAC, 50\/60Hz; EU: 200-250VAC, 50\/60Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003ePower Connector\u003c\/td\u003e\n\u003ctd\u003eIEC receptacle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003e1.75\" x 19\" x 6.5\" (4.45cm x 48.2cm x 16.51cm)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","published_at":"2018-02-13T20:29:13+02:00","created_at":"2018-02-13T20:37:40+02:00","vendor":"dbx","type":"Outboard Processing","tags":["Brand_dbx","Processor_Compressor"],"price":999500,"price_min":999500,"price_max":999500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":7745363902492,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"DBX160A","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"dbx 160A Single Channel Compressor \/ Limiter","public_title":null,"options":["Default Title"],"price":999500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dbx-outboard-processing-dbx-160a-single-channel-compressor-limiter-2218418012188.jpg?v=1552813952","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dbx-outboard-processing-dbx-160a-single-channel-compressor-limiter-2218418077724.jpg?v=1552813952"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/dbx-outboard-processing-dbx-160a-single-channel-compressor-limiter-2218418012188.jpg?v=1552813952","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003eSince its introduction in the mid 1970's, the dbx 160 series has been the world's most popular line of audio compressors.\u003c\/h3\u003e\n\u003cp\u003eAfter the classic 160 (which is still used daily in many world class studios), came the 165, the 160X and the 160XT. The 160X\/XT were the models that truly became the industry standard. Solid construction, fool proof operation, great sound, at-a-glance metering and a bulletproof output stage all contributed to its popularity with musicians, recording studios, consultants and installers, and broadcast media production people alike.\u003c\/p\u003e\n\u003cp\u003eThe dbx® 160A is a legendary dbx® 160 family of compressor\/limiters. The same classic sound, easy set-up and no compromise metering is now married to an improved signal path and stronger chassis design. The result is industry standard compressor\/limiter which is digital-ready and road tough.\u003c\/p\u003e\n\u003cp\u003eFeaturing switch-selectable OverEasy® and Hard Knee compression curves along with extremely wide-ranging threshold, ratio and output controls, the dbx 160A is up to any task. True RMS level detection provides the most natural-sounding dynamics processing available, from subtle compression to \"brick wall\" peak limiting. Choose low ratios and OverEasy® compression to transparently smooth out fluctuating vocal and instrumental levels. Or use the 160A's Hard Knee compression and high ratios (up to and beyond :1 and over 60dB gain reduction) for bombproof protection against overload distortion in digital recording, P.A. systems and broadcast signals. The 160A is fully compatible with +4\/-10dB and balanced\/ unbalanced systems, and its electronically balanced output stage is an outstanding line driver for long cable runs (an output transformer is optional). The 19-segment, switchable input\/ output LED metering can be easily calibrated to any operating level. 12-segment gain reduction LEDs provide precise analysis at a glance.\u003c\/p\u003e\n\u003cp\u003eThe dbx® 160A's unique \"INFINITY +\" inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway house mix levels. A detector input can be used with an equalizer for de-essing sibilant vocals and selectively smoothing out boomy notes on acoustic guitar and bass. And two 160As can be stereo-coupled to process an entire mix or instruments mic'd in stereo, without shifting the left\/right image. Its musical sound, easy operation and unequaled versatility made the original dbx® 160 a world standard. The 160A follows that tradition, while meeting the challenges of a digital world.ent in the mix, or overall characteristics of 4 independent signals or control the gain leveling on a couple of stereo pairs, the dbx 160A is for you.\u003c\/p\u003e\n\u003ch3 class=\"content-nav\" data-magellan-destination=\"features\"\u003eFeatures\u003c\/h3\u003e\n\u003cdiv class=\"product_main_tab_content content \"\u003e\n\u003cul\u003e\n\u003cli class=\"features\"\u003eOverEasy® or classic hard knee compression with dbx's® ultra-musical program dependent attack and release times\u003c\/li\u003e\n\u003cli class=\"features\"\u003eCompression ratio variable from 1:1 through infinity :1 to negative compression\u003c\/li\u003e\n\u003cli class=\"features\"\u003ePrecision dual RMS LED display monitors input or output and gain reduction over a wide range and calibrates for different operating levels\u003c\/li\u003e\n\u003cli class=\"features\"\u003eOver 60dB of gain reduction available\u003c\/li\u003e\n\u003cli class=\"features\"\u003eExclusive Infinity+ compression allows negative compression\u003c\/li\u003e\n\u003cli class=\"features\"\u003eIndependent balanced and unbalanced outputs can drive 600 loads to +24dBm simultaneously. New floating balanced output stage drives any load\u003c\/li\u003e\n\u003cli class=\"features\"\u003eOptional output transformer capable\u003c\/li\u003e\n\u003cli class=\"features\"\u003eStrappable with another 160A for true RMS stereo summing operation\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"features text-content\"\u003e \u003c\/p\u003e\n\u003ch5 class=\"features text-content\"\u003eTechnical Specs\u003c\/h5\u003e\n\u003cdiv class=\"features text-content\"\u003e\n\u003ctable class=\"specs\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Connectors\u003c\/td\u003e\n\u003ctd\u003e1\/4\" TRS and XLR, Floating Balanced; XLR: Pin 2 hot Phone: Tip Hot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eInput Impedance\u003c\/td\u003e\n\u003ctd\u003e40k\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Input\u003c\/td\u003e\n\u003ctd\u003e+24dBu, Balanced or Unabalanced (Absolute)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCMRR\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;45dB (any Frequency)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDetector Input\u003c\/td\u003e\n\u003ctd\u003eConnector: 14\" TRS phone, Floating Balanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDetector Input Impedance\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;200k\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDetector Input Max Level\u003c\/td\u003e\n\u003ctd\u003e+28dBu, Balanced or Unbalanced\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Connectors\u003c\/td\u003e\n\u003ctd\u003e1\/4\" TRS phone, Unbalanced; XLR, floating balanced; pin 2 hot\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOutput Impedance\u003c\/td\u003e\n\u003ctd\u003eBalanced 200 ohm, unbalanced 100 ohm\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eMax Output\u003c\/td\u003e\n\u003ctd\u003e(Balanced): +24dBm; \u0026lt;0.3% THD; (Unbalanced): +20dBm; \u0026lt;0.3% THD\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eNoise\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;-90dBu, Unweighted (20Hz - 20kHz)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eFrequency Response\u003c\/td\u003e\n\u003ctd\u003e20Hz -20kHz, +0, -0.5dB; +0, -3dB 0.5Hz and 90kHz.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eTHD\u003c\/td\u003e\n\u003ctd\u003e\u0026lt;0.2%, Typical, any amount of compression up to 40dB @ 1kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Range\u003c\/td\u003e\n\u003ctd\u003e-40dBu to +20dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Threshold Characteristic\u003c\/td\u003e\n\u003ctd\u003eOverEasy® or hard knee\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Ratio\u003c\/td\u003e\n\u003ctd\u003eVariable 1:1 to :1 thru to -1:1; \u0026gt;60dB maximum compression\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Attack Time\u003c\/td\u003e\n\u003ctd\u003eProgram dependent; typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eCompressor Release Time\u003c\/td\u003e\n\u003ctd\u003eProgram Dependent; Typically 8ms for 1dB, 80ms for 10dB, 400ms for 50dB; 125dB\/sec rate\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDynamic Range\u003c\/td\u003e\n\u003ctd\u003e\u0026gt;113dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eGain Adjustment Range\u003c\/td\u003e\n\u003ctd\u003eVariable from -20dB to +20dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eStereo Coupling\u003c\/td\u003e\n\u003ctd\u003eTrue RMS Power summing\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eSumming\u003c\/td\u003e\n\u003ctd\u003e1\/4\" TRS phone jack\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eOperating Voltage\u003c\/td\u003e\n\u003ctd\u003eDO: 90-130VAC, 50\/60Hz; EU: 200-250VAC, 50\/60Hz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003ePower Connector\u003c\/td\u003e\n\u003ctd\u003eIEC receptacle\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"name\"\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003e1.75\" x 19\" x 6.5\" (4.45cm x 48.2cm x 16.51cm)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e"}
R 5,395.00
Quick View {"id":1848357453922,"title":"Lexicon MX300 Stereo Reverb\/Effects Processor","handle":"lexicon-mx300-stereo-reverb-effects-processor","description":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eLexicons revolutionary MX200 and MX400 changed everything.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe great sound of a hardware Lexicon reverb — plus the ability to put that power to work as part of your DAW workflow via PC VST® and Mac® AU plug-ins (32-bit only). Now we’ve packed a significant portion of the MX400’s feature set into the ultra-affordable MX300.\u003c\/p\u003e\n\u003cp\u003eAll parameters of every reverb, delay and dynamic effect in this powerhouse processor are available inside any PC VST® or Macintosh® AU compatible DAW program. Just link your computer to the MX300 with a USB cable and control automation and recall parameters exactly as you would with any software plug-in.\u003c\/p\u003e\n\u003cp\u003eYou get the sonic benefits only Lexicon hardware can provide…without bogging down your computer’s CPU with the extreme demands of reverb plug-ins.\u003c\/p\u003e\n\u003cp\u003eAlong with our unique “hardware plug-ins” for PC and Mac®, we’ve also included MX-Edit™ Librarian software so you can store and recall custom programs or pull up an unlimited number of Lexicon settings.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003ctable class=\"specTable\" data-selenium=\"specTable\"\u003e\n\u003ctbody data-selenium=\"specBody\"\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eEffects Type\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eReverb\u003cbr\u003eDelays\u003cbr\u003eDynamics\u003cbr\u003eModulation\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eChannels\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e2\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003ePresets\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eUser Memory\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eInputs\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e1 x XLR\u003cbr\u003e1 x 1\/4\" TRS phone\u003cbr\u003e1 x RCA coaxial S\/PDIF\u003cbr\u003e1 x 1\/4\" TS phone Footswitch\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eOutput\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e1 x XLR\u003cbr\u003e1 x 1\/4\" TRS phone\u003cbr\u003e1 x RCA coaxial S\/PDIF\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eAD\/DA Conversion\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e24-bit, 128 x oversampling @ 44.1\/48kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eMIDI\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eIn\/Out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eExternal Storage\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eMX-Edit Editor\/Librarian software\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eDisplay\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eLarge LCD display\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eFrequency Response\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e10Hz to 20kHz, +0dB\/-0.5dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eDynamic Range\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e\u0026gt;109dB, A-weighted (analog to analog)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","published_at":"2018-11-10T09:41:33+02:00","created_at":"2018-11-10T10:24:00+02:00","vendor":"Lexicon","type":"Outboard Processing","tags":["Brand_Lexicon"],"price":539500,"price_min":539500,"price_max":539500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":17473781530722,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"LEXI-MX300FX","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"Lexicon MX300 Stereo Reverb\/Effects Processor","public_title":null,"options":["Default Title"],"price":539500,"weight":0,"compare_at_price":null,"inventory_quantity":0,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-mx300-stereo-reverb-effects-processor-6192748265570.jpg?v=1552684413","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-mx300-stereo-reverb-effects-processor-6192750526562.jpg?v=1552684413","\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-mx300-stereo-reverb-effects-processor-6192751312994.jpg?v=1552684413"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/1805\/9557\/products\/lexicon-outboard-processing-lexicon-mx300-stereo-reverb-effects-processor-6192748265570.jpg?v=1552684413","options":["Title"],"content":"\u003ch5\u003eOverview\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eLexicons revolutionary MX200 and MX400 changed everything.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe great sound of a hardware Lexicon reverb — plus the ability to put that power to work as part of your DAW workflow via PC VST® and Mac® AU plug-ins (32-bit only). Now we’ve packed a significant portion of the MX400’s feature set into the ultra-affordable MX300.\u003c\/p\u003e\n\u003cp\u003eAll parameters of every reverb, delay and dynamic effect in this powerhouse processor are available inside any PC VST® or Macintosh® AU compatible DAW program. Just link your computer to the MX300 with a USB cable and control automation and recall parameters exactly as you would with any software plug-in.\u003c\/p\u003e\n\u003cp\u003eYou get the sonic benefits only Lexicon hardware can provide…without bogging down your computer’s CPU with the extreme demands of reverb plug-ins.\u003c\/p\u003e\n\u003cp\u003eAlong with our unique “hardware plug-ins” for PC and Mac®, we’ve also included MX-Edit™ Librarian software so you can store and recall custom programs or pull up an unlimited number of Lexicon settings.\u003c\/p\u003e\n\u003ch5\u003eTechnical Specs\u003c\/h5\u003e\n\u003ctable class=\"specTable\" data-selenium=\"specTable\"\u003e\n\u003ctbody data-selenium=\"specBody\"\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eEffects Type\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eReverb\u003cbr\u003eDelays\u003cbr\u003eDynamics\u003cbr\u003eModulation\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eChannels\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e2\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003ePresets\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eUser Memory\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eInputs\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e1 x XLR\u003cbr\u003e1 x 1\/4\" TRS phone\u003cbr\u003e1 x RCA coaxial S\/PDIF\u003cbr\u003e1 x 1\/4\" TS phone Footswitch\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eOutput\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e1 x XLR\u003cbr\u003e1 x 1\/4\" TRS phone\u003cbr\u003e1 x RCA coaxial S\/PDIF\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eAD\/DA Conversion\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e24-bit, 128 x oversampling @ 44.1\/48kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eMIDI\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eIn\/Out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eExternal Storage\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eMX-Edit Editor\/Librarian software\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eDisplay\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003eLarge LCD display\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eFrequency Response\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e10Hz to 20kHz, +0dB\/-0.5dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd class=\"specTopic fs18\" data-selenium=\"specTopic\"\u003eDynamic Range\u003c\/td\u003e\n\u003ctd class=\"specDetail fs18\" data-selenium=\"specDetail\"\u003e\u0026gt;109dB, A-weighted (analog to analog)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e"}