| Content |
The VCM-88 is intended for installations that include church, boardroom, nightclub, or
anywhere remote control of individual levels is required. Control is accomplished by
Ashly?s RD-8 and RW-8 remote controllers, RS-232 control using Ashly?s Protea System
Software, Crestron or AMX touchscreen controllers, MIDI or DC control using external
potentiometers.
The VCM-88 is housed in an all-steel, 1RU chassis, and contains eight fully independent
VCA channels capable of limiting, remote level control and mixing. By itself, the VCM-88
functions as precise eight-channel limiter with recessed threshold adjustments on each
channel. In this configuration the VCM-88 is an indispensable tool for limiting signal level
presented to 8-Track digital recording applications.
When connected to a PC running Ashly Protea System Software, RD-8 or other controller,
the VCM-88 can control individual channel and master levels with a range of +20dB to -75dB.
The VCM-88 also has a master output jack providing a summed output of all channels,
allowing the unit to function as a fully-contained eight-channel remote controlled line level mixer.
Internal switching allows you to patch channels for signal routing and matrixing and select
channel pass through for cascading multiple units in parallel. Each channel may also be selected
to have separate input and output jacks or a single TRS insert jack.
Features include:
Eight Channels of Remote Level Control,
RS-232 Interface Connector,
MIDI In and Thru,
PC Control Using Protea System Software,
Internal Channel Patching for Flexible Signal
Routing and Matrixing,
Internal Selection of Crestron,
AMX, MIDI or RS-232 Protocol,
Internal Channel Pass Through for Cascading Multiple Units in Parallel,
Signal Present LED?s On Each Channel,
and RD-8, RW-8 Compatible.
Connections on the rear panel include: separate 1/4? TRS balanced
input and output jacks, 1/4? master output jack, 9-pin D-sub RS-232,
DB-15 pin female for DC control,
MIDI In/Thru, and XLR remote control data input.
The VCM-88 is the result of incorporating user feedback of Ashly?s popular VCX-80 into a
processor that can be easily configured to perform a multitude of audio matrixing, limiting or
remote level control applications.
General Specifications:
INPUT
Input Type: 1/4" tip-ring-sleeve
Input Impedance: 20K ohm balanced, 10K ohm unbalanced
Max input level: +23dBu
*Input jack may be internally selected as a single in/out patch point
OUTPUT
Output Type: 1/4" tip-ring-sleeve
Output Impedance: 200 ohm pseudo-balanced, 100 ohm unbalanced
Max output level: +22dBu
AUDIO PERFORMANCE
Nominal Gain: 0dB +/-0.5dB
Gain Range: +20dB to -75dB
Frequency Response: +/-0.2dB 20Hz-20KHz
THD:
Output Hum & Noise: |
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
|
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.
| 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
- 3-Year Warranty Program*
- Conceived and designed by BEHRINGER Germany
|
Features
Unique High Density design puts SIX gates in
minimum rack space
Intuitive, 'user friendly' layout
Balanced Inputs and Outputs
Fast, low noise opto-coupler circuitry
Sidechain/Key Input points on each channel
Hardwire Bypass switch on each gate
Flawless performance in any audio environment
The sheer amount of effects and signal processors required 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, in order to give engineers more control in less space, we've created
the ARX Sixgate; Six full function noise gates neatly housed in a compact,
all steel 1 RU package, without sacrificing features or quality.
Why Six gates?
Research shows that the majority of noise gates get used on drum kits,
which means using typically 5 to 6 gate channels. Compare this to the
two or maybe 4 channels that most other units have, and you'll see the
reason for the Sixgate's success.And, by using a minimalist approach to
drum gates, the ARX Sixgate has enough gates left over for backing vocals
and other instruments.
Industry Standard controls
Front panel controls for each gate consist of the 'Industry Standard' controls
for Release, Depth and Threshold, plus Red and Green LED displays to indicate
Gate Open or Closed status, and an IN/OUT hardwire bypass switch.
In addition to this, each gate has a blank panel to write on for easy confirmation
of gate assigns. No more pieces of masking tape stuck everywhere!
Ultra Low Noise
Internally, each gate has proprietary ARX ultra low noise high-speed opto-coupler
circuitry with program dependent Attack time, which tracks the incoming signal to
automatically determine optimum gate response.
Balanced Inputs and Outputs
The rear panel features true differential Balanced Inputs and Outputs for each gate,
on insulated TRS jack connectors.Each gate channel also has Individual Key Inputs/
Sidechain access insert points which can be used either for gate control by an external
signal, or for frequency sensitive gating (when used in conjuction with an external
equalizer such as the ARX EQ260).
Universal AC Power
AC power range on the Sixgate is a universal 100 to 120V or 220 to 240V, and is
connected to the unit via a standard 3 pin IEC connector, with built-in fuse and voltage
switch.
The Sixgate's unique combination of High Density design, intuitive 'user friendly' controls,
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 + 22 dB
CMRR >60 dB, 20 Hz-20 KHz
Output Impedance
Balanced 300 ohms, Unbalanced 150 ohms
Output Level (Max) + 20 dB
Frequency Response 20Hz to 20KHz ±0.2dB
Signal to Noise Ratio
Gate Closed: -95 dB Unweighted, -105 dB 'A' weighted
Gate Open, Depth Minimum: -93.5 dB Unweighted -98dB
'A' weighted
Distortion 0 .01% THD @ 0dB,1KHz
Dynamic Range 125 dB
Attack Time Program dependent using high-speed
opto-couplers
Release Time User variable
Input and Output Connector type Balanced Jack
Sidechain Insert Connector TipRingSleeve Jack
Sidechain Insert Impedance 10 Kohm
Power Requirements 100/120 V AC, 220/240 V AC
Weight 5 lbs/2.2 Kg
Dimensions
19“Wide x 13/4“High x 6“Deep; 482 x 44 x 155mm
Front Panel Controls
Individual Release, Depth and Threshold controls
Hardwire bypass IN/OUT switch
Open/Closed gate status LED
Marker panel for labelling gate assigns
Rear Panel
Balanced Inputs and Outputs, on Balanced jack
connectors
Sidechain Insert/Key Input TipRingSleeve jack on
each channel
AC input connector, with voltage switch and fuse
|
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 |
Reviews
There are no reviews yet.