ALTO ACL2PRO COMPRESSOR-LIMITER-EXPANDER 2-CHANNEL

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2 – Channel Expander – Gate / Compressor / Limiter The ALTO line of dynamic processors is among the most complete available on the market today. From the simple ACL2, yet including Compressor, Limiter, Expander and Gate to the 8 channels, 2-U model ACL8 including 8 complete dynamic processing strips, these processors are compact, easy […]

 

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2 – Channel Expander – Gate / Compressor / Limiter

The ALTO line of dynamic processors is among the most complete available on the market today. From the simple ACL2, yet including Compressor,
Limiter, Expander and Gate to the 8 channels, 2-U model ACL8 including 8 complete dynamic processing strips, these processors are compact, easy
to use with very low distortion VCA made by THAT for noise less operation. The simple, intuitive layout, colour scheme and the presence of many
illuminated switches make these processors easy to use also by beginners.

Weight 3.10 kg

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2 - Channel Expander - Gate / Compressor / Limiter

The ALTO line of dynamic processors is among the most complete available on the market today. From the simple ACL2, yet including Compressor,
Limiter, Expander and Gate to the 8 channels, 2-U model ACL8 including 8 complete dynamic processing strips, these processors are compact, easy
to use with very low distortion VCA made by THAT for noise less operation. The simple, intuitive layout, colour scheme and the presence of many
illuminated switches make these processors easy to use also by beginners.

  • Weight: 3.1kg (6.8 lb)
  • Psychoacoustic Bass Enhancement Unit with Renaissance Compressor, MaxxBass, and L2

    Bass Boost for Live Sound, Broadcast, Mastering & Post Production
    They say that in electronics there's no new technology - the only changes
    will be in size and applications. Things will simply keep getting smaller
    while doing more. This is certainly true in music (just think about what an
    iPod can do), but as we design smaller playback systems with small speakers,
    there are also some tradeoffs, particularly in music. Clever cabinet designs and
    high-excursion drivers can get you only so far. Any audio engineer trying to extract
    bass from real-world components must eventually face the laws of physics:
    All things being equal, small boxes and speaker cones can't move enough air
    to produce a room-shaking low end. When working with systems tiny enough to
    toss in a shoulder bag, the challenge is even more formidable. Interestingly enough,
    Waves MaxxBCL has a new solution to this problem using a very old concept.

    Waves MaxxBCL at a Glance:
    MaxxBass? Bass Enhancement adds deep bass sound without adding bass frequencies
    Waves Renaissance Compressor
    L2 Ultramaximizer Peak Limiter
    24-bit/96kHz resolution with 48-bit, double-precision processing
    Supports optical, coaxial S/PDIF, AES/EBU, balanced and unbalanced line-level analog signals

    MaxxBass Bass Enhancement
    Waves' patented algorithm adds stunning bass sound without adding bass frequencies,
    delivering a bigger bottom end. MaxxBass? allows your audience to hear bass frequencies
    lower than physically present by applying psychoacoustic principles: Even though we
    can hear a bass guitar from a small speaker, we don't actually hear the fundamental
    frequency because the speaker can't produce a pitch that low. Instead, we hear the
    harmonics that the speaker can produce, and this causes the brain to create the "missing
    fundamental." MaxxBass? takes this well-known psychoacoustic phenomenon to the
    maximum, giving you the ability to extend the perceived frequency response of a system
    about two octaves below its physical limitation.
    To accomplish this, the signal is split: high frequencies are passed to the output (to be
    added back to the bass). The bass signal is analyzed and a specific series of upper
    harmonics are created. Because the dynamics of the original bass are duplicated in these
    harmonics, the result is the most natural sounding bass enhancement available. The
    MaxxBass? harmonics and the original bass can be mixed in any proportion at the output.
    To provide more control, a high-pass filter can be switched in, allowing the harmonics only to
    be passed along as an "image" of the original bass frequencies, which is useful when working
    with a system with known low-frequency limitations to avoid over-excursion of the speaker drivers.

    Renaissance Compressor
    Designed to provide the classic warm sound of analog compressors, the legendary
    Renaissance Compressor controls dynamics with studio-style warmth that flatters
    full mixes, vocals, or instruments. Controls include selection of vintage-style Opto
    or modern Electro compression, and threshold, ratio, and attack controls. Waves
    ARC? (Automatic Release Control) algorithm dynamically optimizes the compressor's
    release value for a wide-ranging input. ARC? reacts much the way a human ear
    expects, and can produce increased RMS level with greater clarity.
    In general, the release is faster for peak transients and slower for the overall RMS
    level. The ARC? system varies the release time to fit the ear's expectations while
    increasing RMS, and without creating distracting artifacts. In this way, the
    Renaissance Compressor can serve as a leveler plus a fast compressor simultaneously.

    L2 Ultramaximizer Peak Limiter
    Heard on countless hit records and soundtracks, the L2 Ultramaximizer puts sound
    up-front with breathtaking transparency. The L2 is capable of a very fast, overshoot-free
    response. Once the limiter threshold has been set, you can define the actual peak level
    that the processed signal will reach. Once set, limiting and level re-scaling becomes a
    one-shot process. The L2 can significantly increase the average signal level without
    introducing any audible side effects. Yet there is plenty of range to recreate "vintage"
    effects such as level pumping or severely limited dynamic range if you like.

    Pristine Sound Quality
    The MaxxBCL offers 96kHz, 24-bit resolution with a 48-bit, double precision internal
    processing path and a dynamic range of ~125dB. The totally passive analog input
    path to the ADC uses Jensen transformers, while the output path also features Jensen
    analog output transformers. The unit is galvanic-isolated, which prevents ground loops
    and allows it to operate in electrically unstable environments. Waves MaxxBCL combines
    the highest quality converters available with unequalled processing algorithms to offer you
    astonishing new power in bass enhancement, dynamics processing, and format conversion
    (analog-to-digital, digital-to-analog, and digital re-quantization).

    Versatile Connections
    The MaxxBCL supports optical, coaxial S/PDIF, AES/EBU, balanced and unbalanced
    line-level analog signals. MaxxBCL features a unique set of input and output trim settings:
    analog input headroom can be set from 9dB above 0dBu to 24dB in six precise steps
    (using the rear-panel selectors). Analog output level is similarly set with a separate
    rear-panel trim pot offering you the ability to connect between devices with a wide range
    of input and output levels.

    Waves MaxxBCL Features:
    User Interface:
    Clear backlit displays, meters, and buttons are visible in all lighting conditions
    THD + Noise: ? 0.0006 % @ 1kHz @ -1dBFS
    Precision metering with resettable peak hold options (2 sec, infinite)
    Accurate, wide-range metering covering 90dB for input and output
    and 12dB for compressor and limiter attenuation
    Quick access independent bypass on each processing block
    Tactile feedback knobs
    Four easy store/recall user presets
    Input / Output:
    Analog, AES/EBU, S/PDIF
    Independent rear-panel input and output headroom calibration in six steps
    (+9, 12, 15, 18, 20, and 24 dBu)
    Passive analog inputs to the A-to-D converters using Jensen analog input transformers
    Jensen analog output transformers
    High-performance IDR dithering to 16- or 24-bit output
    Precise input level setting using 1% resistor networks
    Processing:
    48-bit end-to-end internal processing path
    Switchable compressor/MaxxBass? order
    MaxxBass:
    Adjustable processor frequency from 25 to 120Hz
    Adjustable harmonic mix percentage from 0 to 100%
    High-pass Filter "harmonics only" option
    Compressor:
    Opto/Electro mode selection
    Threshold (0-60dB), Ratio (1:1-12:1), and Attack (0.5, 1, 2, 5, 10, 20, and 50 ms) controls
    Proprietary ARC? Automatic Release Control
    Automatic gain makeup
    Limiter:
    Overshoot-free look-ahead processing
    Adjustable Threshold (0-18dB)
    Adjustable Output Ceiling (0-18dBFS)

    VIRTUALIZER 3D FX2000
    High-Performance 3D Multi-Engine Effects Processor
    71 breathtaking new algorithms—true RSM (Real Sound Modeling) stereo and 3D effects
    Wave-adaptive virtual Room reverb algorithms for natural reverb and delay
    Awesome modulation, dynamic, psychoacoustic and EQ algorithms
    Authentic amp simulation, distortion and special effects
    11 effect combinations with selectable serial / parallel configuration
    Up to 7 adjustable parameters plus 2-band EQ per effect
    24-bit A/D and D/A converters with 64/128-times oversampling
    True stereo processing for realistic channel separation in stereo image
    100 factory presets plus 100 user memory locations
    Extensive MIDI implementation
    Accurate LED level meters for perfect level setting and optimum performance
    Servo-balanced XLR and ¼'' TRS inputs and outputs
    High-quality components and exceptionally rugged construction ensure long life
    Conceived and designed by BEHRINGER Germany

     Reverbs & Delays

    Because it is one of the most desired effects, the FX2000 provides 12 different reverb programs, so you always have the ideal reverb for your live performance or studio needs.

    Reverbs include:

        CATHEDRAL
        GOLD PLATE
        SMALL HALL
        ROOM
        STUDIO
        CONCERT
        STUDIO
        STAGE
        SPRING REVERB
        AMBIENCE
        EARLY REFLECTIONS

    Specialty reverbs include:

        REVERB – reverb is synthetically turned off after a predetermined amount of time
        REVERSE REVERB – reverb envelope is reversed—it slowly gets louder

    Delays include:

        STEREO DELAY – delay is processed across the entire stereo image
        TAPE ECHO – simulates classic tape echo devices, pre-dating the advent of digital delays
        PING PONG – delay signal is "bounced” from left to right at an adjustable tempo

    Much More than Just Reverb and Delay

    The FX2000 has some of the best-sounding reverb and delay programs, but thatʼs not all. It also provides excellent modulation effects (such as chorus, flanger and phaser), including special variations like musical pitch shifter, tremolo and even a rotary speaker simulation.

    Modulation and Pitch Shifter FX:

        STEREO FLANGER (originally generated by playing back two synchronized "reel to reel” tape recorders with a finger rubbing on the flange of one of the take-up reels)
        VINTAGE FLANGER simulates a guitar fl anger stomp box
        JET STREAM FLANGER sounds like a classic analog flanger
        STEREO CHORUS (combines a slightly detuned signal with the original)
        ANALOG CHORUS simulates a guitar chorus stomp box
        VINTAGE CHORUS imitates a classic analog studio chorus
        ULTRA CHORUS creates the sound of an eight person chorus
        STEREO PHASER (combines a second, phaseshifted signal to the original)
        VINTAGE PHASER represents a guitar phaser stomp box
        DUAL PHASER processes the left and right channels separately
        ROTARY (simulation of the rotating speakers typically used on an organ) – Slow or Fast
        PITCH SHIFTER (changes the pitch of the original signal) – can be used to create harmonies with the original signal or replace it entirely with the altered pitch. Choices include stereo, two and three vocal pitch shifter
        VIBRATO – the peak frequency of the tone is periodically and uniformly changed (quickly or slowly)
        TREMOLO (common vintage guitar amplifier effect) – a fast or slow periodic variation in volume
        AUTO PANNING – signal is automatically sent from one side of the stereo image to the other, either once or multiple times

    Dynamic FX:

        COMPRESSOR – reduces the dynamic range of the signal, maintains consistent signal level and thus avoids distortion associated with excessive input levels
        EXPANDER – effectively broadens the dynamic range of source signals while reducing background noise
        GATED REVERB – helps reduce background clutter by turning reverb off below a predetermined threshold level. Particularly effective on drum mics and vocals
        ANA. KOMPR/LIM. — similar to COMPRESSOR but with Limiting functionality
        ULTRAMIZER – analyses incoming signal and automatically applies compression across two independent frequency bands
        DENOISER – eliminates or reduces noise and other interference
        DE-ESSER – reduces or removes sibilance (Ssss sound) from signal
        WAVE DESIGNER – allows you to influence the envelope by adjusting Attack and Release of the signal

    Psychoacoustic FX:

        EXCITER – adds artificially generated overtones to the original signal, increasing presence and perceived loudness without significant increase in signal level
        ENHANCER – functions much like a dynamic pitch equalizer
        ULTRA BASS – sub-harmonic processor combined with bass exciter and limiter
        STEREO IMAGER – divides the signal into middle and side signals, allowing individual signals to be amplif ed when desired and placed on the stereo image
        ULTRA WIDE – creates a broader stereo image
        BINAURALIZER – also creates a broader stereo image and compensates for crosstalk between both speakers

    Filter/EQ FX:

        AUTO FILTER – influences the frequency response of a signal. Two filters are included: low pass allows low frequencies to pass and suppresses high frequency content; high pass does the exact opposite
        LFO FILTER - Controls the rate of oscillation effects
        PARAMETRIC EQ – allows you to control the bandwidth, frequency and amplitude of a signal
        GRAPHIC EQ – the sound spectrum is divided into eight (8) adjacent frequency bands, which can be cut or boosted, bandwidth is predetermined

    Distortion FX and Amp Simulations

    The FX2000 is also equipped with distortion, amplifier and speaker simulation including VOCAL DISTORTION, TUBE DISTORTION, GUITAR AMP, TRI FUZZ, SPEAKER SIMULATION, RING MODULATOR and LO-FI.

    Special FX:

        VINYLIZER – adds clicks and/or noise to the signal, reminiscent of old vinyl records and tape machines
        SAMPLER – allows you to record and playback up to five (5) seconds of program material
        VOCODER – allows the input signal to modulate another signal (usually a synthesizer sound), creating the familiar "talking synthesizer” effect
        VOICE CANCELER – removes mono vocal parts from stereo recordings for "instant Karaoke”
        RESONATOR – simulates and oscillating system that amplifies a specific frequency

    Our FX Combinations Go to 11

    Sometimes you want to add a little (or a lot) of color to your reverb and delay patches. The FX2000 allows you to layer modulation effects like chorus, flanger, pitch or tremolo with your reverb or delay selections.

    FX Combinations include:

        Chorus & Reverb
        Flanger & Reverb
        Leslie & Reverb
        Pitch & Reverb
        Delay & Reverb
        Tremolo & Reverb
        Phaser & Reverb
        Chorus & Delay
        Flanger & Delay
        Pitch & Delay
        Tremolo & Delay

    Enhanced User Editability
    Logical grouping of parameters, along with the combination of encoders, buttons, LEDs and an easily readable LED display, make operating the FX2000 a breeze. You are free to edit up to seven parameters per preset, and then save them for future use in the 100 provided memory locations.
    Value
    With its extremely powerful processing capability and versatile array of features, the FX2000 will become the busiest tool in your audio arsenal. Stop by your BEHRINGER dealer today and find out why more professional sound engineers are turning to the FX2000 as their primary FX processor— both in the studio and on the road.

    L-1102 Leveler/Limiter * Program dependent attack and release for transparent operation. * Noise gate to cut off system background noise when there is no signal. * In limiter mode sense signal is from the amplifier output. * Limits 4 ohm, 8 ohm, 25 V, 70 V and 100 V amplifier outputs. * 20 dB gain in signal leveler mode. * Security cover and rack-mount ears included. * Five year warranty.

    Shure DP11EQE Dynamics Processor Specification:

        GENERAL:
            Frequency Response: 20 to 20k Hz +/- 1.0 dB re 1 kHz
            Dynamic Range: 104 dB minimum, A-weighted, 20 Hz to 20 kHz
            Sampling Rate: 48 kHz
            Digital-to-Analog, Analog-to-Digital Conversion: 20 bit resolution
        Voltage Gain:
            1 dB +/- 1dB (power off)
            12 dB +/- 2 dB (input 10 dBV, output +4 dBu)
            12 dB +/- 2 dB (input +4 dBu, output 10 dBv)
            0 dB +/- 2 dB (equal input and output sensitivities)
        Impedance:
            Input: 47 kilohms +/- 20% actual
            Output: 120 ohms +/- 20% actual
        Input Clipping Level
            +18 dBu minimum (at +4 dBu setting)
            +6 dBV minimum (at 10 dBV setting)
        Output Clipping Level
            +18 dBu minimum (at +4 dBu setting)
            +6 dBV minimum (at 10 dBV setting)
        Total Harmonic Distortion
                LED Signal Indicators
            Signal: 40 dB
            Clip: 6 dB down from input clipping
        Propagation Delay from Input to Ouput
            0.8 ms (all filters flat, no dynamics processing, 0 ms delay), up to 2.1 ms (all processing enabled)
        Polarity
            Input to output: inverting optional (default: non-inverting)
            XLR: pin 2 positive with respect to pin 3
            1/4-inch TRS: tip positive with respect to ring
        Operating Voltage
            DP11EQ: 120 Vac, 50/60 Hz, 50 mA max
            DP11EQE: 230 Vac, 50/60 Hz, 25 mA max
            DP11EQJ: 100 Vac, 50/60 Hz, 50 mA max
        Temperature Range
            Operating: 0 degrees to 60 degrees C (32 degrees to 140 degrees F)
        Fuse
            DP11EQ: 120 Vac. Fuse: 100 mA, 250V time delay
            DP11EQE: 230 Vac. Fuse: 50 mA, 250 V time delay
            DP11EQJ: 100 Vac. Fuse: 100 mA, 250 V time delay
        Dimensions
            219 mm x 137 mm x 44 mm (8-5/8 in x 5-3/8 in x 1-3/4 in)
            Weight: 930 g (2.05 lbs)
        DYNAMICS PROCESSOR
            Gate and Expander:
            Threshold: 72 to 1 dB, 0.5 dB resolution
            Attack: 1.0 to 200 ms
            Decay: 0.05 to 1 second
            Gate Hold Time: 0 to 0.5 seconds
        AGC Leveler
            Threshold: 72 to 1 dB, 0.5 dB resolution
            Attack: 0.2 to 3 seconds
            Decay: 0.5 to 5 seconds
            Hinge: Threshold to 1 dB, 0.5 dB resolution
        Compressor and Limiter
            Threshold: 72 to 1 dB, 0.5 dB resolution
            Attack: 1.0 to 200 ms
            Decay: 0.05 to 1 second
            Knee: Hard or Soft selectable
        No Overshoot Peak Limiter
            Propagation delay: 1 ms
            Threshold: 72 to 1 dB, 0.5 dB resolution
            Attack: 0 msDecay: 100 ms
        PARAMETRIC EQUALIZER
            Parametric Filter Frequency Bands
            Up to 9 bands, variable frequency, variable Q
        Boost/Cut Range
            +6 dB to 18 dB per band
            Q Range
            1/40-octave to 2 octave
        High and Low Shelf/Cut Filters
            Shelf, +6 to 18 dB per filter
            Cut, 12 dB per octave nominal
        DELAY
            Up to 1.3 seconds, 21 microsecond resolution

    Product Features:

    Ultra-high resolution 24-bit/96 kHz mastering processor featuring 32/40-bit floating-point DSP technology
    Audiophile 24-bit/96 kHz A/D- and D/A converters offering 113 dB dynamic range
    4 concurrently selectable EQ modules (31-band graphic EQ, 10-band parametric EQ, Feedback Destroyer plus 3 Dynamic EQs per stereo channel)
    Ultra-high resolution 61-band real-time FFT analyzer with additional auto EQ function for room and loudspeaker equalization
    Unique VPQ (Virtual Paragraphic EQ) option allows parametric control of graphic EQs
    State-of-the-art compressor/expander with peak limiter per stereo channel, additional stereo imager and stereo delay for delay line applications
    Multi-functional level meters (peak/RMS, VU and SPL meter with dBA/dBC weighting via RTA/Mic input)
    64 user memories for complete setups and/or individual module configurations
    Separate mic/line input with phantom power for RTA and Auto-EQ applications
    Balanced inputs and servo-balanced outputs with gold-plated XLR connectors, stereo aux output, AES/EBU and S/PDIF inputs and outputs (XLR and optical)
    Professional Wordclock input and MIDI connections for full remote control, preset dumps and system updates
    Open architecture allowing future software updates via MIDI
    "Planet Earth" switching power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
    High-quality components and exceptionally rugged construction ensure long life
    Conceived and designed by BEHRINGER Germany

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