The MX30 Pro Gated/Comp/Limiter is a low cost professional quality dynamics processor. Drawing on our many years experience in professional audio we have developed a series of lower-cost Drawmer dynamic signal processors, the MX Pro range. Aimed at the musician, project studio and live performer, who is determined not to compromise on quality, but have to work […]
The MX30 Pro Gated/Comp/Limiter is a low cost professional quality dynamics processor. Drawing on our many years experience in professional audio we have developed a series of lower-cost Drawmer dynamic signal processors, the MX Pro range. Aimed at the musician, project studio and live performer, who is determined not to compromise on quality, but have to work to a tighter budget.
By using circuit elements drawn from existing top-of-the-line Drawmer products and by simplifying the control systems where possible, the MX Pro range is no less sophisticated than our other units, despite the price tag. As a result the inexperienced user gains the benefits of Drawmer quality and performance, combined with lower cost and simplicity of operation.
Operational control is split into three sections:- Gate, Compressor, Output:
Programme Adaptive’ Gate
Used to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer’s ‘Programme Adaptive’ circuitry. Although quick and simple to operate, the gate’s auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating ‘chatter’ when the signal is fluctuating on or around Threshold. Two LEDs show when the signal is ‘above’ or ‘below’ Threshold and a push button switch allows additional control of Release time. This design approach also retains all ‘leading edge’ information making the gate ideal for ‘cleaning up’ vocals or retaining the ‘punch’ on gated drums. Switching is provided for \’Fast\’ or \’Slow\’ release characteristics. The \’Fast\’ mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The \’Slow\’ mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action.
Soft Knee ‘Auto Compressor’
The gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release. Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much ‘life’ as possible and without generating unpredictable side effects. the MX30 Pro handles all compression levels with ease and displays the amount of compression on a high resolution Gain Reduction bargraph meter.
Output
The Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold ‘zero overshoot’ limiter, essential for avoiding distortion when mastering to digital or speaker protection in a ‘live’ situation, adds the final polish to the signal by keeping control over signal peaks. The Limit threshold provides an absolute maximum peak level which no signal can pass. Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED.
Gate Threshold:
This control sets the level below which gating takes place and may be set anywhere in the range of -70dB to +20dB. A green LED illuminates to show when the signal is above threshold (i.e. gate open) and a red LED illuminates when the signal is below Threshold (i.e. gate closed).
Release: Either a Fast or Slow auto release contour may be selected depending on the material being processed. An LED indicates when Slow release status is engaged. Percussive material with little or no reverb is generally treated using the Fast release setting, whereas with slow decays or a significant amount of added reverb will usually respond better to the Slow release setting.
Compressor Threshold: This determines the input level above which gain reduction will be applied and may be set anywhere in the range of -40dB to +20dB. Soft Knee compression takes place for signals exceeding the threshold level by up to 10dB above which level, conventional ‘ratio’ compression is applied.
Gain Reduction Bargraph Meter: A nine segment LED bargraph meter continuously monitors the gain reduction applied by the compressor over a range of 0dB to 30dB.
Ratio: Sets the final compression ratio that will be applied once the 10dB soft knee region is exceeded. The ratio may be continuously adjusted from 1.2:1 to infinity:1 allowing the possibility of true hard limiting. The higher the ratio setting the more compression takes place (eg. A ratio of 8:1 means that an 8dB increase in volume at the input will appear as a 1dB increase in volume at the output).
Stereo Link: The unit can function as two independent gated/compressor/limiters or when ‘link’ mode is engaged for stereo use Channel 1 becomes the master, automatically duplicating its parameters across to Channel 2. In this mode the same degree of gain reduction is applied to both audio channels to prevent image shifting.
Output Gain: The output level may be attenuated or amplified by up to 20dB to compensate for level changes caused by compression. This control comes directly before the Peak Limiter detector and this fact should be taken into account when setting the Peak Limiter threshold.
Peak Limit: This control sets an absolute limit that the output signal will not be permitted to exceed. The limiter is ‘zero response time’ and controls peaks without any audible distortion. For transparent ‘peak protection’ the output gain control should be set to ensure that the Peak Limiter operates only occasionally. Alternatively, the unit can be driven into heavy limiting for creative effects.
Input/Output Bargraph Meter: An eight segment LED bargraph level meter monitors the output signal level over a range of -20dB to +15dB. When Bypass is selected this meter reads input level.
Weight
3.20 kg
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The MX30 Pro Gated/Comp/Limiter is a low cost professional quality dynamics processor. Drawing on our many years experience in professional audio we have developed a series of lower-cost Drawmer dynamic signal processors, the MX Pro range. Aimed at the musician, project studio and live performer, who is determined not to compromise on quality, but have to work to a tighter budget.
By using circuit elements drawn from existing top-of-the-line Drawmer products and by simplifying the control systems where possible, the MX Pro range is no less sophisticated than our other units, despite the price tag. As a result the inexperienced user gains the benefits of Drawmer quality and performance, combined with lower cost and simplicity of operation.
Operational control is split into three sections:- Gate, Compressor, Output:
Programme Adaptive’ Gate
Used to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer’s ‘Programme Adaptive’ circuitry. Although quick and simple to operate, the gate’s auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating ‘chatter’ when the signal is fluctuating on or around Threshold. Two LEDs show when the signal is ‘above’ or ‘below’ Threshold and a push button switch allows additional control of Release time. This design approach also retains all ‘leading edge’ information making the gate ideal for ‘cleaning up’ vocals or retaining the ‘punch’ on gated drums. Switching is provided for \'Fast\' or \'Slow\' release characteristics. The \'Fast\' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The \'Slow\' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action.
Soft Knee ‘Auto Compressor’
The gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release. Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much ‘life’ as possible and without generating unpredictable side effects. the MX30 Pro handles all compression levels with ease and displays the amount of compression on a high resolution Gain Reduction bargraph meter.
Output
The Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold ‘zero overshoot’ limiter, essential for avoiding distortion when mastering to digital or speaker protection in a ‘live’ situation, adds the final polish to the signal by keeping control over signal peaks. The Limit threshold provides an absolute maximum peak level which no signal can pass. Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED.
Gate Threshold:
This control sets the level below which gating takes place and may be set anywhere in the range of -70dB to +20dB. A green LED illuminates to show when the signal is above threshold (i.e. gate open) and a red LED illuminates when the signal is below Threshold (i.e. gate closed).
Release: Either a Fast or Slow auto release contour may be selected depending on the material being processed. An LED indicates when Slow release status is engaged. Percussive material with little or no reverb is generally treated using the Fast release setting, whereas with slow decays or a significant amount of added reverb will usually respond better to the Slow release setting.
Compressor Threshold: This determines the input level above which gain reduction will be applied and may be set anywhere in the range of -40dB to +20dB. Soft Knee compression takes place for signals exceeding the threshold level by up to 10dB above which level, conventional ‘ratio’ compression is applied.
Gain Reduction Bargraph Meter: A nine segment LED bargraph meter continuously monitors the gain reduction applied by the compressor over a range of 0dB to 30dB.
Ratio: Sets the final compression ratio that will be applied once the 10dB soft knee region is exceeded. The ratio may be continuously adjusted from 1.2:1 to infinity:1 allowing the possibility of true hard limiting. The higher the ratio setting the more compression takes place (eg. A ratio of 8:1 means that an 8dB increase in volume at the input will appear as a 1dB increase in volume at the output).
Stereo Link: The unit can function as two independent gated/compressor/limiters or when ‘link’ mode is engaged for stereo use Channel 1 becomes the master, automatically duplicating its parameters across to Channel 2. In this mode the same degree of gain reduction is applied to both audio channels to prevent image shifting.
Output Gain: The output level may be attenuated or amplified by up to 20dB to compensate for level changes caused by compression. This control comes directly before the Peak Limiter detector and this fact should be taken into account when setting the Peak Limiter threshold.
Peak Limit: This control sets an absolute limit that the output signal will not be permitted to exceed. The limiter is ‘zero response time’ and controls peaks without any audible distortion. For transparent ‘peak protection’ the output gain control should be set to ensure that the Peak Limiter operates only occasionally. Alternatively, the unit can be driven into heavy limiting for creative effects.
Input/Output Bargraph Meter: An eight segment LED bargraph level meter monitors the output signal level over a range of -20dB to +15dB. When Bypass is selected this meter reads input level.
SHARK FBQ100
Automatic Feedback Destroyer with Integrated Microphone Preamp, Delay Line, Noise Gate and Compressor
High performance single channel Feedback Destroyer with integrated microphone preamp, delay line, noise gate and compressor
Automatically and "intelligently" locates and destroys up to 8 feedback frequencies
Narrow FBQ filters for extremely effective feedback suppression, while keeping highest sonic quality
Ultra-low noise Mic/Line input with Gain control and +48 V phantom power
Delay line with up to 2.5 seconds of delay, adjustable in meters, feet and msec
Noise gate with automatic and manual parameter settings
Automatic compressor with variable density
Subsonic filter with adjustable cut-off frequency
Balanced inputs and servo-balanced outputs with ¼'' TRS and gold-plated XLR connectors
High-quality components and exceptionally rugged construction ensure long life
Conceived and designed by BEHRINGER Germany
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
FEEDBACK DESTROYER FBQ1000
Automatic and Ultra-Fast Feedback Destroyer/Parametric EQ with 24 FBQ Filters
High-performance 2-channel Feedback Destroyer and Parametric EQ
Automatically and "intelligently" locates and destroys up to 24 frequencies
Ultra-narrow FBQ filters for extremely effective feedback suppression, while keeping highest sonic quality
"Set-and-forget" default setting enables immediate and super-easy Feedback Destroyer performance
Auto mode continuously monitors the mix and automatically sets filters
Single-Shot mode automatically detects and destroys feedback plus locks the filter until you reset it manually
Manual mode allows setting of up to 24 fully parametric filters with individual frequency, bandwidth and gain parameters
Extensive MIDI implementation and user preset memories for instant program recalls
Balanced inputs and servo-balanced outputs with ¼'' TRS and gold-plated XLR connectors
High-quality components and exceptionally rugged construction ensure long life
Conceived and designed by BEHRINGER Germany
BEHRINGER FEEDBACK DESTROYER FBQ1000
Innovation
The ARX AFTERBURNER? is a unique Multi Mode compressor/limiter designed for use in any professional audio dynamics control application. Multiple Modes The Afterburner can be set up and used in three different ways: In Two channel mode, it performs as two independent compressor/limiters, with 'industry standard' variable Threshold, Ratio and Output gain. In stereo mode, our New Adaptive Stereo Link circuitry provides increased stereo imaging accuracy when linking both channels as a stereo pair. A single front panel switch puts the Afterburner into its alternative Mono mode, setting it up as a Single channel, Dual Band compressor/limiter, with separate dynamics control of both Low and High frequencies, opening up a whole new range of gain control techniques. Enhance Switch In any mode, the Afterburner 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. Think of it as a 'smart' loudness control.
Features Switchable Modes - Stereo; Dual Channel Single band; or Single Channel Dual Band (Low and High) Low and High frequency compression in Single Channel mode 'Enhance' switch restores spectral balance of compressed signal New Hard/Soft knee compression switch New Adaptive Stereo Link circuit for accurate stereo imaging New Above/Below Threshold LEDs enable at-a-glance compression confirmation Balanced XLR and Jack Inputs and Outputs Sidechain Insert points Intuitive user-friendly layout Flawless performance
New Above/Below Threshold LEDs enable at-a-glance compression confirmation New Hard or Soft knee compression option New LED metering provides accurate Level status, with separate Gain Reduction metering in easy to read 'wide scale' meters. There is also comprehensive LED indication of all operating functions and status in any mode. Balanced Inputs and Outputs On the rear panel, each channel has true differential Balanced inputs and outputs, on both XLR and TRS jack connectors. As well, each channel has a TRS jack Sidechain access insert point, for applications such as De-essing (when used with an external equalizer such as the ARX Multi Q or EQ 260).Other features include a true Hardwire 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. With its smooth compression, intuitive user friendly layout, high density precision circuitry, and extensive user-variable operating parameters, the unique ARX Afterburner is equally at home in Studio, Installation, Broadcast and Sound Reinforcement environments. It can provide great sounding dynamics control effects that are not available with any other device.
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 ±0.2dB Signal to Noise ratio -93 dB Unweighted, -99 dB 'A' weighted Distortion .02% THD @ 0dB,1KHz Dynamic Range 115 dB Sidechain Insert Impedance 10 Kohm Filter Section Filter Type Phase corrected 6dB/octave Summed Filter Response ±0.2dB through crossover region Dividing Frequency 250 Hz 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 Sidechain Insert Connector TRS Jack
Front Panel Controls Hardwire bypass IN/OUT switch Threshold, Ratio and Output Gain controls Above/Below Threshold LEDs 12 segment LED Output Level display Numbered marker panel for labelling compressor assigns 7 segment LED Gain Reduction display Enhance switch and status LED Adaptive Stereo link switch and status LED Dual/Single channel mode switch and status LEDs Rear Panel Connectors Balanced Inputs and Outputs, on both XLR and TRS jack connectors. In Single channel (Mono) mode, use Channel 1 Inputs and Outputs only Sidechain Insert TRS connector on each channel AC input connector, with voltage switch and fuse.
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
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