GOLDEN AGE COMP54 Compressor

The Golden Age COMP-54 is a one-channel vintage-style compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.

The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor that was designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens and EMI used the same basic design.

The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.
There are three selectable sidechain high pass filter frequencies available to handle special situations.

The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.
The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.
Features

• Vintage-style electronics
• Based on classic diode-bridge designs
• Transformer-balanced I/O
• Transformer upgrade (Carnhill) available
• Flexible control of Ratio, Attack and Release
• Stepped controls (except Gain make-up) for repeatability
• Three selectable Sidechain filter frequencies
• Separate Bypass and Compression In/Out switches
• Meter selectable for Output and Gain Reduction
• Link two units for stereo operation
• Separate input/output XLR and TRS jacks for flexible connection
• Back-panel switch for 600 ohm termination.
• External power power supply to avoid interaction with the audio circuitry and transformers.
• Great sound that suits most sound sources and genres

• 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

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.

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.

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.