DRAWMER DL441 – Quad Auto Compressor Limiter

The DL441 Quad Auto Compressor/Limiter captures four channels of Drawmer\'s innovative DL241 \'Auto Compressor\' in only 1U of rack space. The inclusion of new sophisticated \'automated\' circuitry allows the engineer to precisely control both the dynamic range and \'absolute\' peak level of the programme instantly, without sacrificing essential control parameters. This perfect balance of features makes the DL441 ideal for use in sound reinforcement and outside broadcast applications where an economy in rack space is essential. Each channel combines a fully professional \'Auto Attack/Release\' Compressor with a variable threshold \'Peak Level\' Limiter on the output providing a transparent \'endstop\'. High resolution bar-graph displays on each channel allow gain reduction and output level to be viewed simultaneously, of particular importance in darkened concert hall or control room situations.

Facilities available on the DL441 include:

Compressor : The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available. In the SOFT mode the ratio increases gradually over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression In HARD mode the compressor provides a more precise means of controlling gain, where the ratio as set on the front panel is applied immediately the signal exceeds threshold. This is particularly useful in many broadcast applications. HARD knee compression can also be used creatively as an effect, particularly in the treatment of drum and guitar sounds, or for giving rock vocals a \'compressed sound\'.

Auto Attack and Release : removes the need for manual adjustment by producing a response which constantly follows the dynamics of the signal. This enables the DL441 to preserve crisp transients without allowing excessive peaks to occur. A smooth yet lively recovery from compression minimizes side effects such as \'pumping\' and \'breathing\'. This feature is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as complete mixes, vocals or \'slapped and pulled\' bass guitar.

Peak Level Limiter : \'Zero Response Time\', \'Zero Overshoot\' circuitry provides an absolute limit to the peak level of the output signal, adjustable from 0db to +16dB above system level. \'Zero Response Time\' transparent limiting means that the DL441 provides complete protection from even the fastest and shortest signal overloads, making the unit ideally suited for speaker system protection in sound reinforcement applications. The sophisticated circuitry will also prevent unpleasant distortion when used for digital mastering.

Metering : Comprehensive bar graph displays give \'at a glance\' indications of gain reduction, and input/output signal level Gain reduction from 1dB to 30dB is shown simultaneously with signal level from 10dB to +10dB. When the channel is in BYPASS the output bar graph displays the input signal level. Other single LEDs indicate function status of Hard/Soft compression, Bypass, Peak Limiting, Linking, and Power on.

Bypass : A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied.

Stereo Linking : Channels 1-2 and/or 3-4 can be stereo linked, where the left channel of the stereo pair becomes the master.

Operating Level : The operating level of the DL441 can be instantly switched, independently on each channel, for either +4dBu or -10dBu operation using a rear panel push switch.

Input/Output : The DL441 is provided with balanced inputs and outputs on XLR connections.

Description

The alphaton Feedback-Controller FC-100 is a revolutionary product for every microphone
application including wireless types. It can provide effective feedback control to any sound
reinforcement situation. It can also eliminated string feedback in guitars and bass instruments
which are equipped with piezo or condenser pickups.
The FC-100 provides 6 to 10 dB of feedback protection by analysing the incoming signal,
detecting the presence of feedback and then notching out the feedback frequency.
The FC-100 relieves the sound engineer automatically. It works dynamically and eliminates a
feedback signal before it can grow into a peak. Internally a discriminator circuit detects the
presence of regenerative feedback and triggers the automatic equaliser to insert a notch where
the feedback peak is coming up. This normally prevents other peaks from developing but if they
do, the process is repeated at high speed, thus keeping feedback under control.

Technical Data
In- and Outputs transformer balanced
max. Inputlevel + 3 dB
Gain (RS=200 Ohm, RL=2kOhm) 0 dB
Frequency Response 20 Hz ... 20 kHz, +/- 1,5 dB
Feeback Cancellation  6 ... 10 dB
Power Requirement  30 ... 48 V Phantom
Current drain ca. 8 mA
External Power Supply 9 ... 20 V DC, 3,5 mm jack, tip +
Housing Aluminium Diecast
Weight  285 grams
Dimensions  112 x 60 x 32 mm

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

• Error proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes
• New gate timing algorithms ensure the smoothest release characteristics
• Program-adaptive expander/gates
• Great sounding dynamics control for any type of program material
• Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup
• Stereo or dual-mono operation
• Balanced inputs and outputs on 1/4" TRS and XLR connectors
• Side Chain insert
• Classic dbx® "Auto" mode

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)