ALESIS 3632 Compressor Dual Channel Compressor / Limiter / Gate

Stereo compressor/expander/limiter/gate for complete dynamics management
Minimized signal path for optimal sound quality
Intelligent Knee for musical performance with soft and hard-knee envelopes
Intelligent Ratio adjusts expansion based on input signal
Intelligent Gain auto-adjusts output
Adjustable attack and release time for manual control
Couple switch for a one-touch selection between two mono channels and stereo-linked operation
Sidechain send and return for use in an external effects loop
Switchable low-cut filter minimizes audio-program pumping triggered by kick drum
Gain-reduction LEDs and switchable input/output-level LED meters for visual monitoring of critical values
Bypass switches on both channels
Includes:

3632 Compressor
Power cable
Quick start guide

Outputs: 2x XLR, 2x 1/4" TRS, 2x 1/4" TS Send
Maximum Input Level: +21dBu
Compression Threshold: -40dB to +20dB
Compression Ratio: 1:1 – Infinity:1
Attack Time: 0.1 mSec to 150 mSec/20dB
Release Time: 0.05 mSec to 5 Sec/20dB
Gate Threshold: Off to +15dB
Gate Ratio: 1:1.2 to 1:8
Maximum Output Level: +21dBu
Make-up Gain: -20dB to +20dB
Frequency Response: 20Hz to 20kHz, +0/-0.05dB
Dynamic Range: 125dB
Noise: THD+N: 0.01% typical, 1kHz @ +4dBu
Power Requirements: 95~120VAC/210~240VAC, 50/60Hz
Dimensions (WxDxH): 19 x 7.7 x 1.75" (483 x 195 x 45mm)
Weight: 6.8 lbs (3.1kg)

The DPR-504 is a 4-channel noise gate.

Each channel features:
A parametric key filter with key filter listening.
Simultaneous key level and threshold metering with average and
peak metering.
A gate status LED.
A RELEASE/HOLD control (hold tracks proportionally with release
times).
Attack switchable auto/fast (auto tracks signal dynamics for optimum
setting).
Link (links two channels together).
Key source allows external triggers.

The Range switch selects between 7OdB and 2OdB gating depth to
provide alternative release profiles.
The unit features electronically balanced inputs and outputs. 

OPTIMOD-FM 5500 puts coveted five-band and two-band OPTIMOD processing into a single rack unit package and brings it to you at the most affordable price ever.

Quality sound is what 5500 is all about-sound that attracts audiences by providing a polished, professional presentation regardless of format and source material. Exceptional versatility allows you to adjust the processor's audio texture to brand your audio, knowing that the resulting signature sound will remain consistent, cut-to-cut and source-to-source. Branding builds businesses and no other processors have the consistency to brand your sound like OPTIMOD.

With the 5500, your signature sound is just a preset away. An easy, one-knob Less/More adjustment allows you to customize any factory preset, trading cleanliness against processing artifacts according to the requirements of your market and competitive environment. Full Control gives you the versatility to customize your audio further. And, if you're a hard-core processing expert, you can explore Advanced Control to tweak presets at the same level as Orban's factory programmers. This versatility makes the 5500 a superb choice for any format. Its five-band processing is ideal for any pop music format (even the most competitive and aggressive CHR), while phase-linear two-band processing yields ultratransparent sound for classical, classic jazz, and fine arts formats. Regardless of your choice, 5500's optimized technology ensures unusually high average modulation and coverage for a given level of subjective quality. Unlike many lesser processors, the 5500 handles speech particularly well. It's always clean, even when you process for loudness.

If you're concerned about latency because you need to feed live talent headphones off air, be assured that the 5500's ultra-low-latency (5 ms delay) processing will keep the most finicky talent happy. Or use optimum latency (15 ms delay) processing for the most competitive sound with delay that's still low enough to satisfy most any talent.

The 5500 can also be used as a superb stand-alone stereo encoder with latency as low as 2 ms and full overshoot limiting in both the left/right and composite baseband domains.

When used in this mode, the 5500 must be driven (usually via an STL) by a full-featured FM audio processor (like Orban's 8600) that incorporates pre-emphasis aware HF limiting and peak control. In both modes, the 5500's stereo encoder helps deliver a transmitted signal that's always immaculately clean and perfectly peak limited, with full spectral protection of subcarriers and RDS/RBDS regardless of the amount of composite limiting.

It is the ideal choice for network broadcasters who process with Orban's flagship OPTIMOD-FM 8600 at the network origination point and who need a processor at every transmitter to eliminate STL overshoots (using the 5500's stand-alone stereo encoder mode) and/or to process local insertions while also eliminating network STL overshoots (using the 5500's audio processor / stereo encoder mode). Moreover, the 5500's two modes make it easy for large government and network broadcasters to manage its inventory of spares because any 5500 can be used as a stereo encoder with or without audio processing.

Available in both modes, the built-in, defeat-able ITU-BS412 multiplex power controller allows the 5500's output to meet even the most stringent European government regulations.

A 10 MHz frequency reference input allows the stereo pilot tone frequency to be locked to GPS or another high-accuracy frequency standard. This improves the performance of single-frequency networks in areas where coverage of the transmitters overlaps.

The 5500's built-in stereo encoder, AES/EBU digital inputs and outputs, and analog I/O permit hasslefree interfacing to any broadcast plant, whether the 5500 is located at the studio or the transmitter. Tight band limiting to 15 kHz means you can use any uncompressed digital STL to pass 5500- processed audio from studio to transmitter without compromising on-air loudness - there's no need to use STL's having 44.1 or 48 kHz sample-rate.

The stereo encoder's stereo sub-channel modulator can operate in normal double sideband mode and in an experimental compatible single sideband mode (SSB/VSB) that is offered to enable users to compare and assess the two modes.

Analog Fallback to Digital control that allows Silence Sense to switch the active input from Analog to Digital if silence is detected in the analog input signal but not on the digital input signal. This function works vice versa as well on both analog and digital AES input. The silence sense parameters apply to both simultaneously and both detectors are available to drive the 5500's tally outputs and sending SNMP Traps/Alerts.

If you want to locate the 5500 away from the studio, you'll be pleased by its three separate remote control ports - GPI contact closures, RS232 serial and built-in Ethernet for TCP/IP networks. The serial and Ethernet ports are supported by the supplied 5500 PC Remote Control application. This Windows® 2000/XP/Vista/7/8 application allows you to do even more with the 5500 than you can do through its front panel, making remote control a pleasure.

5500 PC Remote software allows you to access all 5500 features and allows you to archive and restore presets, automation lists, and system setups (containing I/O levels, digital word lengths, GPI functional assignments, etc.)

Built-in clock-based automation lets you automatically day-part the processing. You can control many other 5500 operating parameters too.

The 5500's feature set fully exploits the processor's DSP and computer-based control architecture. To ensure absolute accuracy, you can automatically synchronize the clock to an Internet timeserver. It has a cool-running, energy-efficient switching power supply and uses the latest dual-core DSP chip technology from Freescale Semiconductor.

GENERAL DATA
Power Supply 220 / 110V 25 VA
Dimension 434x351x44mm (1 rack unit)
Weight » 4 Kg
MEETING INTERFACE IN / OUT
Connector DB 9 female
Nominal in / out audio level 0 dBm
Input impedance 600 W / 10 KW (selectable)
Output impedance 100 W
* nominal line level: - 6 dBm
** it can vary depending on characteristics of telephone line
All measurements are intended at 1 kHz.
AUDIO PROGRAM IN / OUT
Connectors XLR, electr. balanced
Input impedance 600 W / 10K W (selectable)
Output level * - ¥ ¸ + 16 dBm
Output impedance 100 W
Noise on Receive output 2-Wire separation £ 25 dB**
4-Wire separation £ 70 dB
2-WIRE SECTION
Connector RJ11
Nominal input level - 6 dBm
Nominal output level - 6 dBm
Compensation mode Electronic, transf. decoupled
Impedance 600 W
4-WIRE SECTION
Connector Terminal block
Impedance 600 W
Nominal TX level 0 dBm
Nominal RX level 0 dBm

The Avalon VT-737SP features a combination of TUBE preamplifiers,
opto-compressor,sweep equalizer, output level and VU metering in a
2U space.
PREAMPLIFIER
The VT-737SP has three input selections: 1. The VT-737SP features a
higher-performance microphone input transformer with +48v phantom
selection. 2. Instrument DI high source input with jack located on front
panel. 3. Balanced line input, discrete high-level Class A. The Class A
preamplifier utilizes two cascaded, dual vacuum tube triodes configured
with minimum negative feedback. A high gain switch boosts the overall
gain of the preamplifier. The four high quality tubes are configured as
singled ended anode coupled followers. A passive-variable high pass filter
and hard-wire relay bypass completes the input signal conditioning. The
phase reverse relay is available on all three inputs.
OPTO-COMPRESSOR
The opto-compressor features a minimum signal path design with twin Class
A vacuum tube triodes for gain matching. The optical attenuator acts as a
simple passive level controller. Full dynamic control from soft compression to
hard- knee limiting can be achieved with threshold, ratio-compression, attack
and release controls plus gain reduction selection on the large VU meter. Special
spectral control including de-ess is available with the dual sweep mid EQ to side-
chain switch. The EQ section can be flipped pre or post the opto-compressor
via a front panel switch for alternate effects and tone shaping. Two VT-737SPs
can be linked via a rear panel link cable for stereo tracking. The compressor
bypass is a sealed silver relay for the most direct signal path.
SWEEP-EQUALIZER AND OUTPUT LEVEL
The VT-737SP equalizer utilizes 100% discrete, Class A-high-voltage transistors
for optimum sonic performance. The high and low frequency bands provide the
smooth characteristics of an all passive design, while the dual mid bands include
variable frequency and switched Q-width selection. The enhanced range of the mid
bands is extended into the high and low bands by the use of X10 frequency multipliers.
The bypass switch incorporates a sealed silver relay for the most direct signal path.
When the EQ to sidechain is engaged, the high-low EQ remains in the audio path for
"tone enhancement“. The output level control provides a variable control of the overall
signal path. The output amplifier utilizes another dual triode vacuum tube driving a
100% discrete, Class A, high-current, balanced and DC coupled low noise output
amplifier.

AVALON VT-737SP FEATURES
Vacuum tube triode signal path, transformer balanced microphone input, high-voltage
circuits for maximum headroom to +30dB, low noise -92dB, internal discrete power
supply with toroidal transformer, soft-start tube life extender, stereo link for compressors,
all discrete Class A equalizer with musical passive filter design, sealed silver relays for
signal routing, large control knobs with professional conductive plastic potentiometers,
VU meter for output level monitoring and compressor gain reduction.

VT-737SP SPECIFICATIONS
Circuit topology Four dual triode vacuum tubes (Sovtek 6922), high-voltage discrete
Class A
Gain Range Microphone: Transformer balanced 850/2500 ohm, 0dB to +58dB Instrument:
Unbalanced 1 meg ohm, 0dB to+30dB Line: Balanced Class A 20k ohms, -27dB to 28dB
Maximum input level and connector types Microphone26dB@25Hz, +30dB@1kHz balanced
XLR Instrument+30dB unbalanced front panel jack socket
Line +36dB balanced XLR
Maximum output level +30dB balanced 600 ohms, DC coupled, discrete Class A
Output type and gain XLR connector, output trim gain -45dB to20dB
Noise 20kHz unweighted -92dB
Noise microphone EIN -116dB, 22Hz to 22kHz unweighted
Distortion THD, IMD 0.5%
Frequency response -/2.5dB 10Hz to 120kHz input filter included
Frequency response -3dB 1Hz to 200kHz line in-out
VU meter and gain reduction High quality illuminated OVU =+4dB and gain reduction to -20dB
High cut filter Variable 6dB per octave 30Hz to 140Hz
Compressor type Optical passive attenuator incorporating twin vacuum tubes and stereo link
Threshold - Ratio Threshold variable -30dB to +20dB, ratio-compression variable 1:1 to 20:1
Attack - Release Attack variable 2mS to 200mS, release variable 100mS to 5 seconds
Equalizer type Discrete Class A, variable active and switched passive design
Frequency bands (4) Treble - switched 10kHz, 15kHz, 20kHz, 32kHz, +/- 20dB range, shelf
High mid - variable 200Hz to 2k8Hz and 2kHz to 28kHz, +/- 16dB range, hi-lo Q Low mid -
variable 30Hz to 450Hz and 300Hz to 4k5Hz, +/- 16dB range, hi-lo Q Bass - switched 15Hz,
30Hz, 60Hz, 150Hz, +/- 24dB range, shelf
AC power Internal toroidal 100v to 240v, 50-60Hz selectable, 75 watts maximum
Dimensions 19 x 12 x 3.5 in (482 x 305 x 89mm)
Weight 22lbs (10kg)
Dimensions-shipping carton 21 x 18 x 8 in (533 x 457 x 203mm)
Weight-packed 26lbs (11.8kg)

The latest addition to the 10 Series product line, the dbx® 1074 QuadGate™, is the perfect companion to the 1066 and 1046. The 1074 offers 4 channels of gating with threshold, depth and release controls on each channel. The 1074, like the rest of the products in dbx 10 Series, is based on the legendary dbx V2 VCA and offers XLR inputs and outputs, and 1/4” side-chain input. In addition to an external key input per channel, the 1074 also has an internal filter that can be independently activated and controlled on a channel-per-channel basis. This filter allows the 1074 to not only clean up tracks, but gives you frequency selective control on each gate, to open exactly when you want it to. These features combined, make the 1074 an absolute must for those who require quad gating on applications including: Gating dry and percussive sounds such as snare drum and kick drum,gating sounds that have longer decay times such as cymbals and Pianos, gating hum or buzz from live instruments or recorded tracks or eliminating Headphone leakage into microphones. Gating instrument microphones to eliminate amplifier bleed. 

From the company that has been redefining the standard of signal processing for more than 30 years, dbx® Professional Products comes a bulletproof product that caters to the scrutinizing needs of those who require the precision noise gating capabilities. Once again, the engineering staff at dbx® Professional Products have taken technology that has been over three decades in the making and have created a product that is flexible, versatile and rock solid in construction design. The 1074ʼs independent channel design with key filtering capabilities make it the perfect tool for countless applications.

• Four independent channels of gating
• Independent key filtering
• Independent Threshold and Release controls
• Differentially balanced gold-plated XLR and 1/4" inputs and outputs
• True RMS level detection
• Stereo Coupling mode
• Switchable +4dBu or -10dBv operation per channel
  
  

  Input Connectors	XLR (Pin 2 and tip hot)
  Input Type	Electronically balanced/unbalanced, RF filtered
  Input Impedance	Balanced > 50 kOhm, unbalanced >25 kOhm
  Max Input	> +22 dBu balanced or unbalanced
  CMRR	40dB: Typically >55 dB at 1 kHz
  Key Input	Electronically balanced/unbalanced, RF fitered Balanced 50kOhm, unbalanced > 25 kOhm
  Output Connectors	XLR (Pin 2 hot)
  Output Type	Servo-balanced/unbalanced, RF filtered
  Output Impedance	Balanced 60 Ohm, unbalanced 30 Ohm
  Max Output	> +22 dBm balanced, > +20 dBm unbalanced
  Bandwidth	20 Hz to 20 kHz, +0/-0.5 dB
  Frequency Response	0.35 Hz to 200 kHz, +0/-3 dB
  Noise
  Dynamic Range	> 115 dB, unweighted
  THD+Noise	0.008% typical at +4 dBu (1 kHz unity gain), 0.08% typical at +20 dBu (1 kHz unity gain),
  Interchannel Crosstalk
  Stereo Coupling	True RMS Power Summing
  Operating Voltage	100-120 VAC 50-60 Hz or 200-240 VAC 50/60 Hz
  Power Consumption	30 Watts
  Fuse	100-120 VAC:250 mA Slow Blow, 200-240 VAC:125 mA Type T
  Power Connector	IEC receptacle
  Unit Weight	6.9 lbs.
  Shipping Weight	9.3 lbs.