LA AUDIO G-400 QUAD FREQUENCY CONSCIOUS NOISE GATE

The G400 is a professional 4 channel noise gate that can be operated as 4
separate processors or linked as two independent stereo pairs. In Link mode,
Channel 1 and 3 provide Master control and 'rms summing' is used to ensure
that signals from both the linked channels operate the gate. Each channel has
fully variable controls for Filter Frequency, Threshold and Release. Range is
switchable to provide either full muting (-80dBu) or a more subtle level of signal
attenuation (-20dBu). Two Attack modes are available; Fast or Slow and Release
is manually adjustable. In-built sidechain 'auto-level-sensing' and Hold circuitry
ensure that false triggering and chatter are kept to a minimum. High and Low pass
filters are included and can be used for wide range of frequency conscious gating
applications. A LISTEN facility allows the filters to be easily tuned by ear. Each
channel also has a sidechain insert with front panel indication when an External Key
jack is plugged in. LED indicators are provided for Above-Below Threshold, Bypass
and Link. All inputs and outputs are electronically balanced and can be switched
between +4dBu and -10dBV operating levels.

TECHNICAL SPECIFICATIONS
ELECTRICAL
Frequency response: 20Hz to 20kHz (+0, -0.5dB)
Input Impedance: 20k balanced
Maximum Input Level: +20dBu
Input-Output Level: +4dBu or -10dBV
Output Impedance: 100R balanced
Max. Output Level: +20dBu
THD: Signal to Noise Ratio: > 90dB, +4dBu out, 22Hz- 22kHz
Threshold: -50dB to +20dB
Range: -80dB or -20dB
Attack: Fast: 50uS
Slow: 1mS
Release: 10ms to 4s - variable
High Pass Filter: 22Hz to 3kHz
Low Pass Filter: 250Hz to 30kHz
Power Requirement: 15VA, 115/230V AC, 50/60Hz
PHYSICAL
Input Connectors: XLR 3 pin (Pin 2 hot)
Output Connectors: XLR 3 pin (Pin 2 hot)
Power Connection: IEC 3 pin socket, Detachable lead
Dimensions (mm): 482 (19“) W
164 (6.5“) D
44 (1.75“) H
Weight: 2.9 kg, 6lbs
Shipping Weight: 3.6kg, 8lbs
Temperature Range: Operating 0?C to 50?C
Storage -30?C to 75?C
 

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)

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 

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.

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.

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. 

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