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The AR-204 is a 4-channel, high-quality, passive, transformer coupled balancing unit designed to provide balanced and floating 600 Ohm signal outputs from an unbalanced line level input signal, or it can terminate a balanced 600 Ohm line for unbalanced use. In addition, the unit can be used as a floating balanced isolator when protection is required between two audio circuits. The AR-211 is a rack-mounting kit for the AR-204 and will hold two AR-204 units.
Input Section Max. Input Level +26dBm CMRR Greater than 60dB for input signals when utilising AR-204 as a balanced isolator Connectors XLR3-31 or equivalent Output Section Max. Output Level +26dBm into 600 Ohms Max. Output Load 600 Ohms. Less than 0.5dB drop in level for load changes from 10 kOhms to 600W Ohms High Voltage Common Mode Isolation 1500v rms AC Connectors XLR3-32 or equivalent System Performance Frequency Response 15Hz-25kHz, +/-1dB into 600 Ohms General Weight 1.24kg, unpacked Dimensions 217mm x 87mm x 38mm Options AR-211 Rack mounting panel for 2 off AR-204 in 1U of rack space |
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. |
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.
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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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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 |
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