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 […]
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:
Weight
4.10 kg
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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:
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 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.
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.
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)
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
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