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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.
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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 |
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. |
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
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The Avalon VT-737SP features a combination of TUBE preamplifiers, opto-compressor,sweep equalizer, output level and VU metering in a 2U space. PREAMPLIFIER The VT-737SP has three input selections: 1. The VT-737SP features a higher-performance microphone input transformer with +48v phantom selection. 2. Instrument DI high source input with jack located on front panel. 3. Balanced line input, discrete high-level Class A. The Class A preamplifier utilizes two cascaded, dual vacuum tube triodes configured with minimum negative feedback. A high gain switch boosts the overall gain of the preamplifier. The four high quality tubes are configured as singled ended anode coupled followers. A passive-variable high pass filter and hard-wire relay bypass completes the input signal conditioning. The phase reverse relay is available on all three inputs. OPTO-COMPRESSOR The opto-compressor features a minimum signal path design with twin Class A vacuum tube triodes for gain matching. The optical attenuator acts as a simple passive level controller. Full dynamic control from soft compression to hard- knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter. Special spectral control including de-ess is available with the dual sweep mid EQ to side- chain switch. The EQ section can be flipped pre or post the opto-compressor via a front panel switch for alternate effects and tone shaping. Two VT-737SPs can be linked via a rear panel link cable for stereo tracking. The compressor bypass is a sealed silver relay for the most direct signal path. SWEEP-EQUALIZER AND OUTPUT LEVEL The VT-737SP equalizer utilizes 100% discrete, Class A-high-voltage transistors for optimum sonic performance. The high and low frequency bands provide the smooth characteristics of an all passive design, while the dual mid bands include variable frequency and switched Q-width selection. The enhanced range of the mid bands is extended into the high and low bands by the use of X10 frequency multipliers. The bypass switch incorporates a sealed silver relay for the most direct signal path. When the EQ to sidechain is engaged, the high-low EQ remains in the audio path for "tone enhancement“. The output level control provides a variable control of the overall signal path. The output amplifier utilizes another dual triode vacuum tube driving a 100% discrete, Class A, high-current, balanced and DC coupled low noise output amplifier. AVALON VT-737SP FEATURES Vacuum tube triode signal path, transformer balanced microphone input, high-voltage circuits for maximum headroom to +30dB, low noise -92dB, internal discrete power supply with toroidal transformer, soft-start tube life extender, stereo link for compressors, all discrete Class A equalizer with musical passive filter design, sealed silver relays for signal routing, large control knobs with professional conductive plastic potentiometers, VU meter for output level monitoring and compressor gain reduction. VT-737SP SPECIFICATIONS Circuit topology Four dual triode vacuum tubes (Sovtek 6922), high-voltage discrete Class A Gain Range Microphone: Transformer balanced 850/2500 ohm, 0dB to +58dB Instrument: Unbalanced 1 meg ohm, 0dB to+30dB Line: Balanced Class A 20k ohms, -27dB to 28dB Maximum input level and connector types Microphone26dB@25Hz, +30dB@1kHz balanced XLR Instrument+30dB unbalanced front panel jack socket Line +36dB balanced XLR Maximum output level +30dB balanced 600 ohms, DC coupled, discrete Class A Output type and gain XLR connector, output trim gain -45dB to20dB Noise 20kHz unweighted -92dB Noise microphone EIN -116dB, 22Hz to 22kHz unweighted Distortion THD, IMD 0.5% Frequency response -/2.5dB 10Hz to 120kHz input filter included Frequency response -3dB 1Hz to 200kHz line in-out VU meter and gain reduction High quality illuminated OVU =+4dB and gain reduction to -20dB High cut filter Variable 6dB per octave 30Hz to 140Hz Compressor type Optical passive attenuator incorporating twin vacuum tubes and stereo link Threshold - Ratio Threshold variable -30dB to +20dB, ratio-compression variable 1:1 to 20:1 Attack - Release Attack variable 2mS to 200mS, release variable 100mS to 5 seconds Equalizer type Discrete Class A, variable active and switched passive design Frequency bands (4) Treble - switched 10kHz, 15kHz, 20kHz, 32kHz, +/- 20dB range, shelf High mid - variable 200Hz to 2k8Hz and 2kHz to 28kHz, +/- 16dB range, hi-lo Q Low mid - variable 30Hz to 450Hz and 300Hz to 4k5Hz, +/- 16dB range, hi-lo Q Bass - switched 15Hz, 30Hz, 60Hz, 150Hz, +/- 24dB range, shelf AC power Internal toroidal 100v to 240v, 50-60Hz selectable, 75 watts maximum Dimensions 19 x 12 x 3.5 in (482 x 305 x 89mm) Weight 22lbs (10kg) Dimensions-shipping carton 21 x 18 x 8 in (533 x 457 x 203mm) Weight-packed 26lbs (11.8kg)
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In today's recording and sound reinforcement environments, the need for multiple channels of high quality, easy to use compression is growing rapidly. The new dbx® 1046 is designed to provide the audio professional with just that: 4 channels of great sounding dbx compression for a variety of applications. Incorporating the industry standard dbx designs and the latest available manufacturing techniques, the dbx 1046 provides pristine sonic quality with that classic dbx sound.
The 1046 provides 4 channels of smooth classic dbx OverEasy® or Hard Knee compression that are perfectly suited for use on individual tracks of your multitrack recorder, and in virtually all applications the separate channels can be individually interfaced and used for entirely independent purposes. Additionally the newly developed PeakStopPlus™ is ideal for protecting your system from the oppressive peaks that can take out valuable drivers in your sound reinforcement rig or studio monitors.
All four channels have the following controls:
Threshold - allows you to set the level at which the compressor starts affecting the gain
OverEasy - allows you to select between soft compression for overall gain control or Hard Knee compression based on the characteristics of the original dbx 160.
Ratio - allows you to set the slope of gain reduction affecting the signal over the threshold level.
Input/Output Meter - allows you to set the meter to check the input and output levels for maximum signal-to-noise ratio and best level matching.
Output Gain - allows you to add make-up gain or to adjust the output level for that channel to match the next device's input gain.
Bypass - hard wire bypass allows you to hear how the compressor is affecting your signal.
PeakStopPlus - allows you to set the maximum signal level you want to pass through this channel. While it's virtually impossible to eliminate distortion, the PeakStopPlus circuit does it gracefully and effectively with minimal distortion.
Stereo Link - allows you to link channels 1&2 and 3&4 for two channels of true stereo compression.
All four channels feature balanced gold plated XLR and 1/4" inputs and outputs, and switchable +4dBu or -10dBV operating level to interface each individual channel with any other device.
So whether you need to control the level, placement in the mix, or overall characteristics of 4 independent signals or control the gain leveling on a couple of stereo pairs, the dbx 1046 is for you.
- Four independent channels of operation, stereo linkable in two pairs
- PeakStopPlus™ limiting control for setting maximum allowable level regardless of compressor settings
- Independent Threshold and ratio controls
- Switchable OverEasy® or Hard Knee compression
- Classic dbx® compression
- Differentially balanced gold-plated XLR and 1/4" inputs and outputs
- True RMS level detection
- Precision metering of input level, output level, and gain reduction
- Dual True stereo or quad mono operation
- Switchable +4dBu or -10dBV operation per channel
Input Connectors | XLR and 1/4" TRS (Pin 2 and tip hot) | Input Type | Electronically balanced/unbalanced, RF filtered | Input Impedance | Balanced > 40 kOhm, unbalanced >20 kOhm | Max Input | > +22 dBu balanced or unbalanced | CMRR | Typically >50 dB at 1 kHz | Output Connectors | XLR and 1/4" TRS (Pin 2 and tip hot) | Output Type | Servo-balanced/unbalanced, RF filtered | Output Impedance | Balanced 30 Ohm, unbalanced 15 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 90kHz, +0/-3 dB | Noise | | Dynamic Range | > 118 dB, unweighted | THD+Noise | >0.008% typical at +4 dBu (1 kHz unity gain), 0.08% typical at +20 dBu (1 kHz unity gain), | IMD | | Interchannel Crosstalk | | Stereo Coupling | True RMS Power Summing | Compressor Threshold Range | -40 dBu to +20 dBu | Compressor Ratio | 1:1 to infinity:1 | Compressor Threshold Characteristic | Selectable OverEasy® or hard knee | Compressor Attack/Release Characteristic | AutoDynamic™ | Compressor Attack Time | Program-dependent | Compressor Release Time | Program-dependent | Compressor Output Gain | -20 to +20 dB | Limiter Threshold Range | 0 dBu to +24 dBu (off) | Limiter Ratio | infinity:1 | Limiter Type | PeakStopPlus® two-stage limiter | Limiter Stage 1 | PeakStop® brickwall limiter | Limiter Stage 1 Attack Time | Zero | Limiter Stage 1 Release Time | Zero | Limiter Stage 2 | Predictive intelligent program limiter | Limiter Stage 2 Attack Time | Program-dependent | Limiter Stage 2 Release Time | Program-dependent | OverEasy® Switch | Activates the OverEasy compression function | I/O Meter Switch | Switches between monitoring input and output levels on the Input/Output Level meter | Bypass Switch | Activates the direct input-to-output hard-wire bypass | Operating Level Switch | (rear panel) Switches the nominal operating level between -10 dBV and +4 dBu simultaneously for both input and output levels | ST Link Switch | Links channels in stereo pairs. Channels One and Three become the master channels | Gain Reduction Meter | 8 segment LED bar graph at 1, 3, 6, 10, 15, 20, 25, and 30 dB | I/O Meter | 8-segment LED bar graph at -24, -18, -12, -6, 0, +6, +12, and +18 dBu | PeakStop™ Indicator | 1 LED to indicate PeakStop™ limiting | Function Switches | LED indicator for each front-panel switch | Output Transformer Options | Jensen® JT-123-dbx or JT- 11-dbx, BCI RE- 123-dbx or RE-11-dbx | Operating Voltage | Switchable:100-120 VAC 50-60 Hz or 200-240 VAC 50/60 Hz | Power Consumption | 20 Watts | Fuse | 100-120 VAC:250 mA Slow Blow, 200-240 VAC:125 mA Type T | Power Connector | IEC receptacle | Dimensions | 1.75“Hx19“Wx9“D (4.4cmx48.3cmx20.1cm) | Unit Weight | 5.2 lbs. (2.4 kg) | Shipping Weight | 7.6 lbs. (3.5 kg) |
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