LA AUDIO BCL-20 DUAL-STEREO BROADCAST COMPRESSOR-LIMITER

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725.83 incl. GR VAT

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The BCL20 is a broadcast quality dual Compressor/Limiter with a built in De-Esser function, designed for FM transmitter protection and disc mastering as well as PA and studio applications. The unit may be operated as two independent channels or linked for stereo programme processing. The BCL20 offers full control over Threshold, Ratio, Attack, Release and […]

 

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The BCL20 is a broadcast quality dual Compressor/Limiter with a built in De-Esser
function, designed for FM transmitter protection and disc mastering as well as PA
and studio applications. The unit may be operated as two independent channels or
linked for stereo programme processing. The BCL20 offers full control over Threshold,
Ratio, Attack, Release and Gain make up. Each channel has two high resolution
twelve segment LED bargraphs, one to display gain reduction and another which can
be switched to display input or output level. The I/O meter can be switched between
Peak or VU response. A unique feature of the BCL20 is the inclusion of control over the
detection characteristics, which can be mixed between Peak and RMS levels. This
enables the compressor to be made sensitive to high energy transients or to wider
programme modulations. The De-Ess function is activated by means of a single switch
which inserts a slew rate sensitive filter into the side chain to produce frequency conscious
compression in accordance with FM transmission or disc mastering pre-emphasis. A rear
panel jack insert point allows the connection of an external equaliser in the sidechain for other
frequency conscious processing applications. The BCL20 is equipped with high impedance
balanced inputs and transformer balanced outputs on XLRs. The output stage features a unique
Transformer Distortion Cancellation circuit, which reduces transformer distortion to negligible
levels. The BCL20 is manufactured in accordance with directives encompassed within the ‘CE’
regulations particularly those concerned with RFI protection.
 
Main Features
Broadcast specification
Low Noise and Distortion
Dual level sensing in Stereo Mode
RMS/Peak detection mix feature
Integral De-Esser function
Ultra fast 1mS peak limiting
High resolution input/output and Gain reduction metering
Transformer balanced outputs featuring unique Distortion Cancellation circuitry
Switch status LEDs
 
SPECIFICATIONS
Frequency Response 20 Hz to 20 kHz +/- 0.5dB
Signal to Noise Ratio + 4 dBu Input, + 4 dBu Output -94 dB
Input Impedance 20k Ohms balanced
Output Source Impedance 20 Ohms
Output Load Impedance 600 Ohms to infinity
Maximum Input Level + 20 dBu
Maximum output Level 600 Ohms Load, 1 kHz + 20 dBu
Total Harmonic Distortion (THD)
+ 4 dBu Output,
1 kHz, 10 dB compression 0.07 %
1 kHz, by-pass 0.01 %
Intermodulation Distortion 0.01 %
Compression Ratio
Continously variable
from 2 : 1 to 20 : 1
Attack Time (Peak)
Continously variable from 0.1 to 70 millisec.
Release Time (Peak)
Continously variable from 100 millisec to 3 sec.
Attack Time (RMS)
Program dependant Typ. 12 ms for 12 dB.
Typ. 4 ms for 24 dB.
Release Time (RMS)
Program dependant
Typ. 120 ms for 12 dB
Typ. 240 ms for 24 dB
Mains power Consumption (115/220 VAC, 50-60 Hz) 6 Volts-amps
Meter Calibration 0 Vu = + 4 dBu
Maximum Gain Reduction more than 50 dB
DS Action 12 dB at 8 kHz
Input Connector XLR 3 pin balanced
Output Connector XLR 3 Pin balanced
Dimensions 483mm W x 190mm D x 44.5mm H
19“W x 7.5“D x 1.75“H
Weight 3.9kg, 8.6lbs
Shipping Weight 4.8kg, 10.6lbs
Temperature Range
Operating 0C to +50C
Storage -30C to +75198>C

Note:
In these specifications, 0 dBu is referenced to 0.775 V RMS

Weight 4.80 kg

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LA AUDIO BCL-20 DUAL-STEREO BROADCAST COMPRESSOR-LIMITER removeALPHATON FC-100 FEEDBACK CONTROLLER removeBEHRINGER FBQ100 DIGITAL FEEDBACK SUPPRESOR removeWAVES MAXX BCL PSYCHOACOUSTIC BASS ENHANCEMENT UNIT removeBSS DPR-504 QUAD NOISE GATE removeTOA L-1102 2 CHANNEL LIMITER-LEVELLER remove
NameLA AUDIO BCL-20 DUAL-STEREO BROADCAST COMPRESSOR-LIMITER removeALPHATON FC-100 FEEDBACK CONTROLLER removeBEHRINGER FBQ100 DIGITAL FEEDBACK SUPPRESOR removeWAVES MAXX BCL PSYCHOACOUSTIC BASS ENHANCEMENT UNIT removeBSS DPR-504 QUAD NOISE GATE removeTOA L-1102 2 CHANNEL LIMITER-LEVELLER remove
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Description
Content

The BCL20 is a broadcast quality dual Compressor/Limiter with a built in De-Esser
function, designed for FM transmitter protection and disc mastering as well as PA
and studio applications. The unit may be operated as two independent channels or
linked for stereo programme processing. The BCL20 offers full control over Threshold,
Ratio, Attack, Release and Gain make up. Each channel has two high resolution
twelve segment LED bargraphs, one to display gain reduction and another which can
be switched to display input or output level. The I/O meter can be switched between
Peak or VU response. A unique feature of the BCL20 is the inclusion of control over the
detection characteristics, which can be mixed between Peak and RMS levels. This
enables the compressor to be made sensitive to high energy transients or to wider
programme modulations. The De-Ess function is activated by means of a single switch
which inserts a slew rate sensitive filter into the side chain to produce frequency conscious
compression in accordance with FM transmission or disc mastering pre-emphasis. A rear
panel jack insert point allows the connection of an external equaliser in the sidechain for other
frequency conscious processing applications. The BCL20 is equipped with high impedance
balanced inputs and transformer balanced outputs on XLRs. The output stage features a unique
Transformer Distortion Cancellation circuit, which reduces transformer distortion to negligible
levels. The BCL20 is manufactured in accordance with directives encompassed within the 'CE'
regulations particularly those concerned with RFI protection.
 
Main Features
Broadcast specification
Low Noise and Distortion
Dual level sensing in Stereo Mode
RMS/Peak detection mix feature
Integral De-Esser function
Ultra fast 1mS peak limiting
High resolution input/output and Gain reduction metering
Transformer balanced outputs featuring unique Distortion Cancellation circuitry
Switch status LEDs
 
SPECIFICATIONS
Frequency Response 20 Hz to 20 kHz +/- 0.5dB
Signal to Noise Ratio + 4 dBu Input, + 4 dBu Output -94 dB
Input Impedance 20k Ohms balanced
Output Source Impedance 20 Ohms
Output Load Impedance 600 Ohms to infinity
Maximum Input Level + 20 dBu
Maximum output Level 600 Ohms Load, 1 kHz + 20 dBu
Total Harmonic Distortion (THD)
+ 4 dBu Output,
1 kHz, 10 dB compression 0.07 %
1 kHz, by-pass 0.01 %
Intermodulation Distortion 0.01 %
Compression Ratio
Continously variable
from 2 : 1 to 20 : 1
Attack Time (Peak)
Continously variable from 0.1 to 70 millisec.
Release Time (Peak)
Continously variable from 100 millisec to 3 sec.
Attack Time (RMS)
Program dependant Typ. 12 ms for 12 dB.
Typ. 4 ms for 24 dB.
Release Time (RMS)
Program dependant
Typ. 120 ms for 12 dB
Typ. 240 ms for 24 dB
Mains power Consumption (115/220 VAC, 50-60 Hz) 6 Volts-amps
Meter Calibration 0 Vu = + 4 dBu
Maximum Gain Reduction more than 50 dB
DS Action 12 dB at 8 kHz
Input Connector XLR 3 pin balanced
Output Connector XLR 3 Pin balanced
Dimensions 483mm W x 190mm D x 44.5mm H
19“W x 7.5“D x 1.75“H
Weight 3.9kg, 8.6lbs
Shipping Weight 4.8kg, 10.6lbs
Temperature Range
Operating 0C to +50C
Storage -30C to +75198>C

Note:
In these specifications, 0 dBu is referenced to 0.775 V RMS

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

SHARK FBQ100 Automatic Feedback Destroyer with Integrated Microphone Preamp, Delay Line, Noise Gate and Compressor High performance single channel Feedback Destroyer with integrated microphone preamp, delay line, noise gate and compressor Automatically and "intelligently" locates and destroys up to 8 feedback frequencies Narrow FBQ filters for extremely effective feedback suppression, while keeping highest sonic quality Ultra-low noise Mic/Line input with Gain control and +48 V phantom power Delay line with up to 2.5 seconds of delay, adjustable in meters, feet and msec Noise gate with automatic and manual parameter settings Automatic compressor with variable density Subsonic filter with adjustable cut-off frequency 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

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)

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. 

L-1102 Leveler/Limiter * Program dependent attack and release for transparent operation. * Noise gate to cut off system background noise when there is no signal. * In limiter mode sense signal is from the amplifier output. * Limits 4 ohm, 8 ohm, 25 V, 70 V and 100 V amplifier outputs. * 20 dB gain in signal leveler mode. * Security cover and rack-mount ears included. * Five year warranty.
Weight4.80 kg0.30 kg0.38 kg4.50 kg5.00 kg4.00 kg
DimensionsN/AN/AN/AN/AN/AN/A
Additional information
Weight 4.80 kg
Weight 0.30 kg
Weight 0.38 kg
Weight 4.50 kg
Weight 5.00 kg
Weight 4.00 kg