Interactive Reference-Class 2-Channel Expander/Gate/Compressor/ Peak Limiter with Integrated De-Esser, Dynamic Enhancer, Tube Simulation and Low Contour Filter Whether you?re recording, mixing or mastering, the COMPOSER PRO-XL MDX2600 gives you total dynamic control. It includes all of the features you would expect from a reference class compressor?plus a voice-adaptive de-esser, a new dynamic enhancer, authentic tube […]
Interactive Reference-Class 2-Channel Expander/Gate/Compressor/ Peak Limiter with
Integrated De-Esser, Dynamic Enhancer, Tube Simulation and Low Contour Filter
Whether you?re recording, mixing or mastering, the COMPOSER PRO-XL MDX2600
gives you total dynamic control. It includes all of the features you would expect from
a reference class compressor?plus a voice-adaptive de-esser, a new dynamic
enhancer, authentic tube emulation and much more. These are some of the indispensable
tools for producing clean, consistent audio with virtually no loss in signal quality.
Features:
Switchable IKA (Interactive Knee Adaptation) program-adaptive compression circuitry
combines the advantages of hard-knee and soft-knee characteristics
Integrated de-esser with switchable male/female voice recognition removes excessive
sibilance from your vocal tracks
IGC (Interactive Gain Control) peak limiting circuitry combines clipper and program
limiter for reliable and inaudible protection against signal peaks
Switchable dynamic enhancer for brilliant, lively audio even with heavy compression
IRC (Interactive Ratio Control) expander/gate circuitry for virtually inaudible
noise suppression
Switchable tube simulation for the extra warmth and transparency of classic
tube circuitry
Automatically or manually adjustable attack and release times
Switchable low contour filter prevents “pumping” due to low-frequency
dominated compression
Stereo couple function with independent output level settings
Switchable side chain input with side chain monitor function
Ultra low-noise 4580 operational amplifiers and state-of-the-art THAT¬ VCA’s
Separate 12-segment LED meters for input/output levels and gain reduction
Dedicated “traffic light” threshold and de-esser level displays
High-quality detented ALPS¬ potentiometers and illuminated switches
Servo-balanced inputs and outputs with ? in. TRS and gold-plated XLR
connectors
Relay-controlled hard bypass switch with auto bypass function in case
of power failure
Manufactured under ISO9000 certified management system
Weight
3.30 kg
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Interactive Reference-Class 2-Channel Expander/Gate/Compressor/ Peak Limiter with
Integrated De-Esser, Dynamic Enhancer, Tube Simulation and Low Contour Filter
Whether you?re recording, mixing or mastering, the COMPOSER PRO-XL MDX2600
gives you total dynamic control. It includes all of the features you would expect from
a reference class compressor?plus a voice-adaptive de-esser, a new dynamic
enhancer, authentic tube emulation and much more. These are some of the indispensable
tools for producing clean, consistent audio with virtually no loss in signal quality.
Features:
Switchable IKA (Interactive Knee Adaptation) program-adaptive compression circuitry
combines the advantages of hard-knee and soft-knee characteristics
Integrated de-esser with switchable male/female voice recognition removes excessive
sibilance from your vocal tracks
IGC (Interactive Gain Control) peak limiting circuitry combines clipper and program
limiter for reliable and inaudible protection against signal peaks
Switchable dynamic enhancer for brilliant, lively audio even with heavy compression
IRC (Interactive Ratio Control) expander/gate circuitry for virtually inaudible
noise suppression
Switchable tube simulation for the extra warmth and transparency of classic
tube circuitry
Automatically or manually adjustable attack and release times
Switchable low contour filter prevents "pumping" due to low-frequency
dominated compression
Stereo couple function with independent output level settings
Switchable side chain input with side chain monitor function
Ultra low-noise 4580 operational amplifiers and state-of-the-art THAT¬ VCA's
Separate 12-segment LED meters for input/output levels and gain reduction
Dedicated "traffic light" threshold and de-esser level displays
High-quality detented ALPS¬ potentiometers and illuminated switches
Servo-balanced inputs and outputs with ? in. TRS and gold-plated XLR
connectors
Relay-controlled hard bypass switch with auto bypass function in case
of power failure
Manufactured under ISO9000 certified management system
Features Four Independent Compressor Channels Channels 1 and 2, 3 and 4 are stereo linkable 7 LED Gain Reduction metering Balanced XLR Inputs and Outputs Sidechain Insert points Intuitive, user friendly layout Flawless performance
The sheer amount of effects and signal processors necessary for today's standards of audio production puts a great strain on the available space in equipment racks, both in the studio and on the road.So, ARX would like to introduce the ARX Quadcomp. An all-new upgrade of the classic award-winning ARX Quadcomp?, the very first four channel 1 RU compressor.You?ll notice that we haven?t strayed very far from our original design concept. The Quadcomp is still four variable ratio Compressor/ Limiters neatly housed in a compact all steel 1 RU package. However, all new low noise/low distortion circuitry, better metering plus XLR inputs and outputs put the Quadcomp in a class of its own. More Control, Less Space On the front panel, each channel has the 'industry standard' individual controls for Threshold, Compression Ratio and Output, plus a new 7 LED Gain Reduction display for accurate visual indication of the amount of gain reduction being applied to the program, and an IN/OUT hardwire bypass switch.In addition to this, each channel has a blank numbered panel to write on for easy confirmation of compressor assigns. Precision Circuitry Internally, each compressor uses Class A VCAs and true 2 pole averaging RMS/DC converters for low distortion and accuracy, plus program dependent attack and release time, which automatically determines optimum compressor response. Balanced Inputs and Outputs The rear panel has true differential Balanced XLR Inputs and Outputs for each compressor. Each compressor has a TRS jack Sidechain access insert point, for frequency sensitive compression, De-essing, etc. in conjunction with an external equalizer (such as the ARX EQ260). Compressor pairs 1 and 2, 3 and 4 also have rear panel mounted Stereo Link switches for accurate stereo tracking. When switched IN, the first channel becomes the master and controls all the functions of the second except Output gain. Universal AC Power AC power range is switchable 100 to 120V, or 220 to 240V, and is connected to the unit via a standard IEC connector, with built-in fuse and voltage switch. Whatever the application ? Channel insert, Bus insert, Master Outputs, Monitor outputs, Crossover outputs, the Quadcomp II?s unique High Density design, precision Low Noise circuitry and clean uncluttered layout make it a truly useful audio tool for all applications.
T E C H N I C A L S P E C I F I C A T I O N S Input Impedance Balanced 20 Kohms, Unbalanced 10 Kohms Input Headroom + 20dB CMRR >50dB, 20 Hz?20 KHz Output Impedance Balanced 300 ohms Unbalanced 150 ohms Output Level (Max) + 20 dB Frequency Response 20Hz-20KHz ±0.5dB Signal to Noise ratio -93 dB Unweighted, -98 dB ?A? weighted Distortion .015% THD @ 0dB,1KHz Dynamic Range 108 dB Attack and Release Times Program dependent Metering 7 LED display: ?1, 2, 3, 6, 12, 18, ?24 dB Sidechain Insert Impedance 10 Kohm Power Requirements 100/120 V AC or 220/240 V AC Weight 5 lbs/2.2 Kg Dimensions 19“W x 1?“H x 6“D, 482 x 44 x 155mm Input Connector type Balanced XLR Output Connector type Balanced XLR Sidechain Insert Connector TRS Jack
Front Panel Controls Hardwire bypass IN/OUT switch Threshold, Ratio and Output Gain controls 7 LED Gain Reduction display Marker panel for labelling compressor assigns Stereo link status LEDs Rear Panel Connectors Input and Output balanced XLR connectors TipRingSleeve Sidechain insert connectors Channels 1 and 2, 3 and 4 Stereo link switches IEC AC mains connector with inbuilt fuse and voltage change
Features Enhance switch to restore spectral balance of compressed signal Switchable Mode - Dual Channel or Stereo linked Above or Below Threshold LEDs Balanced XLR and Jack Inputs and Outputs Intuitive, user friendly layout Flawless performance
Innovation The ARX COMPO? is a unique compressor/limiter designed for use in any professional audio dynamics control application, packaged in a compact 1 RU chassis.The COMPO operates as two independent compressor/limiters, with 'industry standard' variable Threshold, Ratio and Output gain controls. A Stereo Link switch on the front panel lets both channels track as a stereo pair in a Master/Slave configuration. Enhance Switch The COMPO features an 'Enhance' switch, which provides frequency restoration to preserve the spectral balance of the audio signal, compensating for the sagging Low and High frequency response of compressed program material. The best way to think of it is as a 'smart' loudness control. Wide Scale metering There is comprehensive LED indication of all operating functions and status. Above or Below Threshold LEDs on each channel give you instant visual confirmation of compressor activity, as well as easy to read LED Gain Reduction meters. Balanced Inputs and Outputs On the rear panel, each channel has true differential Balanced inputs and outputs, on both XLR and TRS jack connectors. Other features include an Active/Bypass switch for each channel, and passive RFI filters on the inputs. Universal AC Power AC power range is a universal 100 to 120V or 220 to 240V AC, and is connected to the unit via a removable power lead and standard 3 pin IEC connector, with built-in fuse and voltage change switch. ARX Quality With its smooth compression, intuitive user friendly layout, high density precision circuitry, and extensive user-variable operating parameters, the ARX COMPO is the ideal installation 'set and forget' compressor, and is also equally at home in Studio, Broadcast and Sound Reinforcement environments.
Every day, ARX Audio interface products solve audio problems for thousands of people around the world.
T E C H N I C A L S P E C I F I C A T I O N S Input Impedance Balanced 20 Kohms, Unbalanced 10 Kohms Input Headroom + 22 dB CMRR >60 dB, 20 Hz-20 KHz Output Impedance Balanced 300 ohms, Unbalanced 150 ohms Output Level (Max) + 22 dB Frequency Response 20Hz to 20KHz ±0.4dB Signal to Noise ratio -85 dB Unweighted, -99 dB 'A' weighted Distortion .02% THD @ 0dB,1KHz Dynamic Range 107 dB Enhance Section Low Enhance 50 Hz, High Enhance 10 KHz Power Requirements 100/120 V AC, 220/240 V AC Weight 5 lbs/2.2 Kg Dimensions 19“W x 1?“H x 6“D, 482 x 44 x 155mm Input/OutputConnector type XLR, Balanced Jack
Front Panel Controls Channel A Active/Bypassed IN/OUT switch Threshold, Ratio and Output Gain controls Numbered marker panel for labelling compressor assigns 5 segment LED Gain Reduction display Above/Below Threshold status LEDs Enhance switch and status LED Stereo link switch and status LED Channel B controls identical to Channel A Rear Panel Connectors Balanced XLR Input and Output connectors. Balanced TRS jack Input and Output connectors. AC input connector, with voltage switch and fuse.
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.
Versatility doesn't stop with sound.
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.
The Multicom Pro-XL MDX4600 gives you 4 channels of first-class dynamic
control in a single rack space. With a multitude of new features like the
advanced program-adaptive expander gate, extensive metering plus a variety
of configuration options, the Multicom Pro-XL puts a lot of dynamic processing
power in your rack.
Features
Switchable IKA (Interactive Knee Adaptation) program-adaptive compression
circuitry combines the advantages of hard-knee and soft-knee characteristics
IRC (Interactive Ratio Control) expander/gate circuitry for virtually inaudible noise
suppression
Switchable dynamic enhancer for brilliant, lively audio even with heavy compression
IGC (Interactive Gain Control) peak limiting circuitry combines clipper and program
limiter for reliable and inaudible protection against signal peaks
Switchable low contour filter prevents "pumping" due to low-frequency dominated
compression
Stereo couple function selectable for channels 1/2 and 3/4
Ultra low-noise 4580 operational amplifiers and state-of-the-art THAT¬ VCA's
Separate 8-segment LED meters for input/output levels and gain reduction
Selectable operating level (+4 dBu/-10 dBV)
High-quality detented ALPS¬ potentiometers and illuminated switches
Servo-balanced inputs and outputs with ? in. TRS and gold-plated XLR
connectors
Manufactured under ISO9000 certified management system
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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