The Aphex Model 661 is a totally new type of compressor incorporating vacuum tube technology with the latest innovations in audio compression. This single-channel compressor/limiter is loaded with features, consolidating for the first time in one rack space, three patented Aphex circuits: Tubessence?, Easyrider?, and High Frequency Expander?. The UNIQUE 661 CIRCUITRY Tubessence is a […]
The Aphex Model 661 is a totally new type of compressor incorporating vacuum tube technology with the latest innovations in audio compression. This single-channel compressor/limiter is loaded with features, consolidating for the first time in one rack space, three patented Aphex circuits: Tubessence?, Easyrider?, and High Frequency Expander?.
The UNIQUE 661 CIRCUITRY Tubessence is a true tube circuitwhich provides that “vintage” tube sound without high the heat, bulk, short life, fragility, and sonic variability found in traditional tube designs. Easyrider is an Automatic mode that actually works, consisting of the Wave dependent Compressor? (WDC) circuit which takes the guesswork out of compressing individual instruments and vocals especially in live mixes. WDC automatically adjusts attack and release times according to the complexity of the program material. Its No-Knee? compression curve makes the transition into compression virtually invisible. In the Manual mode, the Model 661 provides the full complement of compressor adjustments such as Ratio, Attack, and Release, for maximum flexibility. Express yourself and get those “punch“, “slap“, “fat“, “pump“, and “squeeze” sounds fast and clean. The 661 includes the patented High Frequency Expander? (HFX) which decompresses high frequencies, with user-adjustable ratio and corner frequency. Add “life” and “air” to your compressed signals without fear of background noise pumping. The Spectral Phase Refractor? restores clarity and punch to your tracks. Bass frequencies are more defined with more apparent power. Higher frequencies also seem to gain more detail and presence. Use the Model 661 to control dynamics for mixdowns, protect your sound system’s loudspeakers from transients and distortion or shape the sound of individual instruments and vocals. Compress dynamic levels without fear of reducing frequency response. Whatever type of dynamics control you’re looking for, it can be done with the Model 661 Tube Compressor / Limiter Expressor?.
APPLICATIONS: Music Production – Improve the sound on individual instruments, vocals and mixes Sound Reinforcement – A roadable tube compressor/limiter in only one rack space Broadcast & Post Production – A great vocal processor and a powerful studio tool Project Studios – Improve the sound of digital recorders and workstations Musicians – The ultimate compressor for the professional guitar, bass, keyboard instrument rig
Features: Auto or full Manual operation. In Auto mode, compression parameters constantly change for best sound A true tube circuit (Tubessence) in the output stage for a “warm“, “live” and “full” sound HFX allows the use of high compression ratios without the loss of high frequencies SPR increases the apparent bass energy level, without amplitude equalization or bass boost Use Sidechain Access sends jacks for creative processing (de-essing and ducking) Stereo, dual mono or master/ slave operation for total flexibility
Weight
4.00 kg
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The Aphex Model 661 is a totally new type of compressor incorporating vacuum tube technology with the latest innovations in audio compression. This single-channel compressor/limiter is loaded with features, consolidating for the first time in one rack space, three patented Aphex circuits: Tubessence?, Easyrider?, and High Frequency Expander?.
The UNIQUE 661 CIRCUITRY Tubessence is a true tube circuitwhich provides that "vintage" tube sound without high the heat, bulk, short life, fragility, and sonic variability found in traditional tube designs. Easyrider is an Automatic mode that actually works, consisting of the Wave dependent Compressor? (WDC) circuit which takes the guesswork out of compressing individual instruments and vocals especially in live mixes. WDC automatically adjusts attack and release times according to the complexity of the program material. Its No-Knee? compression curve makes the transition into compression virtually invisible. In the Manual mode, the Model 661 provides the full complement of compressor adjustments such as Ratio, Attack, and Release, for maximum flexibility. Express yourself and get those “punch“, "slap“, "fat“, "pump“, and "squeeze" sounds fast and clean. The 661 includes the patented High Frequency Expander? (HFX) which decompresses high frequencies, with user-adjustable ratio and corner frequency. Add "life" and "air" to your compressed signals without fear of background noise pumping. The Spectral Phase Refractor? restores clarity and punch to your tracks. Bass frequencies are more defined with more apparent power. Higher frequencies also seem to gain more detail and presence. Use the Model 661 to control dynamics for mixdowns, protect your sound system's loudspeakers from transients and distortion or shape the sound of individual instruments and vocals. Compress dynamic levels without fear of reducing frequency response. Whatever type of dynamics control you're looking for, it can be done with the Model 661 Tube Compressor / Limiter Expressor?.
APPLICATIONS: Music Production - Improve the sound on individual instruments, vocals and mixes Sound Reinforcement - A roadable tube compressor/limiter in only one rack space Broadcast & Post Production - A great vocal processor and a powerful studio tool Project Studios - Improve the sound of digital recorders and workstations Musicians - The ultimate compressor for the professional guitar, bass, keyboard instrument rig
Features: Auto or full Manual operation. In Auto mode, compression parameters constantly change for best sound A true tube circuit (Tubessence) in the output stage for a "warm“, "live" and "full" sound HFX allows the use of high compression ratios without the loss of high frequencies SPR increases the apparent bass energy level, without amplitude equalization or bass boost Use Sidechain Access sends jacks for creative processing (de-essing and ducking) Stereo, dual mono or master/ slave operation for total flexibility
The DPR-504 is a 4-channel noise gate.
Each channel features: A parametric key filter with key filter listening. Simultaneous key level and threshold metering with average and peak metering. A gate status LED. A RELEASE/HOLD control (hold tracks proportionally with release times). Attack switchable auto/fast (auto tracks signal dynamics for optimum setting). Link (links two channels together). Key source allows external triggers.
The Range switch selects between 7OdB and 2OdB gating depth to provide alternative release profiles. The unit features electronically balanced inputs and outputs.
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
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)
High-Definition 31-Band Stereo Graphic Equalizer with FBQ Feedback Detection System
Professional 31-band stereo graphic equalizer for live and studio applications
Revolutionary FBQ Feedback Detection system instantly reveals critical frequencies and can also be used as audio analyzer
Ultra-low noise 4580 operational amplifiers for highest signal integrity
Dedicated mono subwoofer output with adjustable crossover frequency
Additional sweepable high and low-cut filters for each channel remove unwanted frequencies, e.g. floor rumble, hiss etc.
Highly accurate 12-segment LED input/output metering and input gain controls for easy level setting
Relay-controlled hard-bypass with an auto-bypass function during power failure (fail-safe relay)
Servo-balanced inputs and outputs with 1/4" TRS and gold-plated XLR connectors
“Planet Earth" switching power supply for maximum flexibility (100
- 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
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