Extremely flexible multi-purpose sub-mixer, multi-track monitoring mixer and level translator 16 balanced high-headroom line inputs for individual stereo or mono use of each section Ultra-low noise ULN design, highest possible headroom, ultra-transparent audio Dedicated balance and level controls plus +4/-10 level selection per channel Monitor/FX Send control per section with global master send control for […]
Extremely flexible multi-purpose sub-mixer, multi-track monitoring mixer and level translator
16 balanced high-headroom line inputs for individual stereo or mono use of each section
Ultra-low noise ULN design, highest possible headroom, ultra-transparent audio
Dedicated balance and level controls plus +4/-10 level selection per channel
Monitor/FX Send control per section with global master send control for flexible monitoring, recording or effects applications
Illuminated double-function “mute” button per section with additional “clip” indication provides comfortable input source/level information
Monitor/FX signal assignable to phones output for added flexibility
Highly accurate 2 x 7-segment LED level meters and individual level control for left and right main mix signal
1/4” TRS main mix outputs plus easily accessible headphones output on the front panel with dedicated level control
High-quality detented rotary controls for long-term reliability
Internal switch-mode power supply (100 – 240 V~) for noise-free audio and low power consumption
3-Year Warranty Program*
Designed and engineered in Germany
Audio Inputs
Type: 16 x 1/4″ / 6.3 mm TRS Connectors, Electronically Balanced, Line Level
Impedance: 20 Kilohms Balanced or Unbalanced
Gain Range: -∞ to +15 dB
Operating Level: +4 dBu / -10 dBV (Switchable)
Maximum Input Level: +22 dBu
Common-Mode Rejection CMRR at 1 kHz: >50 dB Typically
Audio Outputs
Main Out (L/R):
Type: 2 x 1/4″ / 6.3 mm TRS Connectors, Impedance Balanced
Gain Range: -∞ to +15 dB
Impedance: 240 Ohms Balanced, 120 Ohms Unbalanced
Maximum Output Level: +22 dBuMonitor Out Send (Mono):
Type: 1 x 1/4″ / 6.3 mm TRS Connector, Impedance Balanced Mono
Impedance: 240 Ohms Balanced, 120 Ohms Unbalanced
Maximum Output Level: +22 dBu
Headphones Output
Type: 1 x 1/4″ / 6.3 mm TRS Connector, Stereo
Minimum Load Impedance: 100 Ohms
System
Bandwidth: 20 Hz to 20 kHz (±0.2 dB)
Frequency Range: 10 Hz to 200 kHz, (±3 dB)
Signal-to-Noise Ratio: THD: 0.003% at +4 dB input, 1 kHz Unity Gain
Crosstalk:
Power Supply
Voltage: 100 to 240 VAC, 50/60 Hz
Power Consumption: 15 W
Mains Connection: Standard IEC Connector
Dimensions
1.7 x 19.0 x 5.9″ / 4.4 x 48.3 x 14.9 cm
Rack Space: 1 RU
Weight
4.0 lb / 1.8 kg
Weight
2.00 kg
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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
Content
Extremely flexible multi-purpose sub-mixer, multi-track monitoring mixer and level translator
16 balanced high-headroom line inputs for individual stereo or mono use of each section
Ultra-low noise ULN design, highest possible headroom, ultra-transparent audio
Dedicated balance and level controls plus +4/-10 level selection per channel
Monitor/FX Send control per section with global master send control for flexible monitoring, recording or effects applications
Illuminated double-function "mute" button per section with additional "clip" indication provides comfortable input source/level information
Monitor/FX signal assignable to phones output for added flexibility
Highly accurate 2 x 7-segment LED level meters and individual level control for left and right main mix signal
1/4'' TRS main mix outputs plus easily accessible headphones output on the front panel with dedicated level control
High-quality detented rotary controls for long-term reliability
Internal switch-mode power supply (100 - 240 V~) for noise-free audio and low power consumption
3-Year Warranty Program*
Designed and engineered in Germany
Audio Inputs
Type: 16 x 1/4" / 6.3 mm TRS Connectors, Electronically Balanced, Line Level
Impedance: 20 Kilohms Balanced or Unbalanced
Gain Range: -∞ to +15 dB
Operating Level: +4 dBu / -10 dBV (Switchable)
Maximum Input Level: +22 dBu
Common-Mode Rejection CMRR at 1 kHz: >50 dB Typically
Audio Outputs
Main Out (L/R):
Type: 2 x 1/4" / 6.3 mm TRS Connectors, Impedance Balanced
Gain Range: -∞ to +15 dB
Impedance: 240 Ohms Balanced, 120 Ohms Unbalanced
Maximum Output Level: +22 dBuMonitor Out Send (Mono):
Type: 1 x 1/4" / 6.3 mm TRS Connector, Impedance Balanced Mono
Impedance: 240 Ohms Balanced, 120 Ohms Unbalanced
Maximum Output Level: +22 dBu
Headphones Output
Type: 1 x 1/4" / 6.3 mm TRS Connector, Stereo
Minimum Load Impedance: 100 Ohms
System
Bandwidth: 20 Hz to 20 kHz (±0.2 dB)
Frequency Range: 10 Hz to 200 kHz, (±3 dB)
Signal-to-Noise Ratio: THD: 0.003% at +4 dB input, 1 kHz Unity Gain
Crosstalk:
Power Supply
Voltage: 100 to 240 VAC, 50/60 Hz
Power Consumption: 15 W
Mains Connection: Standard IEC Connector
Dimensions
1.7 x 19.0 x 5.9" / 4.4 x 48.3 x 14.9 cm
Rack Space: 1 RU
Weight
4.0 lb / 1.8 kg
Description
The alphaton Feedback-Controller FC-100 is a revolutionary product for every microphone application including wireless types. It can provide effective feedback control to any sound reinforcement situation. It can also eliminated string feedback in guitars and bass instruments which are equipped with piezo or condenser pickups. The FC-100 provides 6 to 10 dB of feedback protection by analysing the incoming signal, detecting the presence of feedback and then notching out the feedback frequency. The FC-100 relieves the sound engineer automatically. It works dynamically and eliminates a feedback signal before it can grow into a peak. Internally a discriminator circuit detects the presence of regenerative feedback and triggers the automatic equaliser to insert a notch where the feedback peak is coming up. This normally prevents other peaks from developing but if they do, the process is repeated at high speed, thus keeping feedback under control.
Technical Data In- and Outputs transformer balanced max. Inputlevel + 3 dB Gain (RS=200 Ohm, RL=2kOhm) 0 dB Frequency Response 20 Hz ... 20 kHz, +/- 1,5 dB Feeback Cancellation 6 ... 10 dB Power Requirement 30 ... 48 V Phantom Current drain ca. 8 mA External Power Supply 9 ... 20 V DC, 3,5 mm jack, tip + Housing Aluminium Diecast Weight 285 grams Dimensions 112 x 60 x 32 mm
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.
Compressos Expander Gate Kimiter DBX 166XS Stereo
Overview Bring a more professional sound to your mix
Adding a dbx® 166xs Compressor/Limiter/Gate to your live sound rig or studio gives you more dynamic control to help create a more polished, professional sound. Having compression in your audio chain gives you the ability to smooth out uneven levels, add sustain to guitars and fatten up your drums. It also makes it easy to bring vocals to the front of your mix - adding greater clarity and making them stand out from the surrounding instruments. To protect your expensive amps and speakers the PeakStop® limiter provides an absolute ceiling for peak excursions or large transients that could damage your equipment.
dbx knows compressors...after all we invented them! The 166xs is the latest in a long line of the world's most successful compressors from the inventors of the technology. Its patented Overeasy® compression technology provides smooth and musical performance while the AutoDynamic™ attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 166xs can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1/4" TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches.
Specifications
Input Connectors
1/4" TRS, female XLR (pin 2 hot)
Input Impedance
>50kΩ balanced, >25kΩ unbalanced
Max Input
>+24dBu, Balanced or Unbalanced
Input Type
Electronically balanced/unbalanced, RF filtered
Sidechain
1/4" TRS Phone, Normalled: Ring = Output (send); tip = Input (return)
Sidechain Impedance
Tip = >10kΩ (Input), Ring = 2kΩ (Output)
Sidechain Max Input Level
>+20dBu (tip/input); >+20dBu (ring/output)
Output Connectors
1/4" TRS, female XLR (pin 2 hot)
Output Impedance
120Ω balanced, >60Ω unbalanced
Max Output
+21dBu balanced/unbalanced into 2kΩ or greater; >+18 dBm balanced/unbalanced (into 600Ω)
Frequency Response
20Hz - 20kHz; +0, -0.5dB, Typical 3dB points are 0.35Hz and 110kHz, unity gain
Noise
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
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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