| Content | Add sparkly brilliance, or grimy roughness, to any sound source. Samplers, drum machines, synths, the master bus, you name it. Analog Heat MKII is a fiery furnace destined to make your music glow.
Sound better
Take a sound, any sound. Send it through the Analog Heat MKII, try out the eight different stereo analog distortion circuits, add stereo analog filtering and EQ, and hear beautiful things unfold. New life for your existing gear.
All analog, all yours
The eight stereo analog circuits are designed to quickly access varied and powerful sound shaping. Each circuit has a distinctive way of processing sound. Clean boost, tape-like saturation, tube amp-like enhancement, overdrive, crunch, distortion, harmonic fuzz or high gain? You’ll find your favorite flavor with ease.
Brighter and better
The MKII version of the Analog Heat features improved durability and precision encoders, new tough back-lit keys and a crisp OLED screen. The display is bigger, sharper and brighter: perfect for performing in the dark. There is also additional visual feedback on the Amp, Filter, Envelope and LFO pages that makes overview and understanding of sound processing and modulation a whole lot easier.
Sound processing
- 8 × Stereo analog distortion circuits
- 1 × Stereo analog multi-mode filter (7 filter types)
- 1 × 2 band adaptable stereo analog EQ
- 1 × Assignable envelope generator/envelope follower
- 1 × Assignable LFO
Storage
Hardware
- 128×64 pixel OLED screen
- MIDI In/Out/Thru with DIN Sync out
- 2 × ¼″ balanced audio out jacks
- 2 × ¼″ balanced audio in jacks
- 1 × ¼″ stereo headphones jack
- 2 × ¼″ CV/Expression pedal input jacks
- 48 kHz, 24-bit D/A and A/D converters
- Flash-EEPROM upgradable OS
- Hi-speed USB 2.0 port
Audio outputs
- Headphones out level: +19 dBu peak
- Headphones output impedance: 36 Ω
- Impedance balanced main outputs level: +19 dBu peak
- Main outputs impedance: 440 Ω unbalanced
Audio inputs
- Balanced audio input level: +19 dBu peak
- Audio input impedance: 39 kΩ
Control inputs
- Input level: -5 V – +5 V
- Accepts CV, Expression pedals, Foot switches
Physical specifications
- Sturdy steel casing
- Dimensions: W215×D184×H63 mm (8.5×7.2×2.5″) (including audio outputs, knobs and rubber feet)
- Weight: approximately 1.5 kg (3.3 lbs)
- 100×100 mm VESA mounting holes
Included in the box
- Power Supply PSU-3b
- Elektron USB cable
Analog Heat MKII and Overbridge
Any DAW user will love Analog Heat. It is perfect for adding analog warmth and grit to digital audio. Suitable on individual tracks as well as on the master bus. It can also double as a sound card, making it perfect for the nimble studio.
- Control your Analog Heat with audio and sync using a dedicated VST/AU
- plugin
- Process DAW audio with beautiful analog stereo filtering and distortion
- Mid/Side mode lets you expand audio processing possibilities
- Analog Heat MKII can be used as a 2 in/2 out sound card
- (CoreAudio/ASIO/WDM)
- Use Analog Heat as a separate sound card, all while using the other features
- of the instrument
- Total Recall remembers all Analog Heat settings when loading a DAW project
| The product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time… if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.
Besides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).
Unique Compression Curves
All eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.
Distortion (Color) Modes
Another large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors & limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.
- Frequency Response – 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).
- Dynamic Range – 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.
- Distortion – ranges between .02% and 20% depending on distortion mode and release times set on front panel.
- I/O – DC Coupled input and outputs.
- Time Constants – Attack range 50uS – 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependent on ratio.
- Power Consumption – 15 Watts Max.
- Metal Chassis – single height 1.75″ high, 10″ deep, 19″ wide.
- Shipping info – 12.1 lbs mono. Mono box dimensions 22.5″ x 18.5″ x 3 1/4″.
| Rackmount PG-X Power Conditioner with PG-90 Filtering Technology, Panasonic and Wima capacitors, eight rear switched, filtered and surge protected outlets, one front-panel switched convenience outlet and USB port for device charging.
Your gear deserves the best power, and we took great care in making sure the PG-X delivers just that — thanks to PG-90 Filtering Technology. In testing, this has provided an average of 90% of noise filtering, as opposed to the typical average of 76% found in other power conditioners at the same price point.
Confidence Inspiring Power
There’s nothing worse than scoring that “must-have” piece of gear, only to find that it’s noiser than should be expected, missing high frequency detail, or even worse — having it fried by power surges!
Black Lion Audio has been trusted for years for modifying the best gear and making it even better, and that’s what it took to create the PG-X: taking industry-standard designs, and improving them to the point of peak performance.
After creating the original PG-1, Black Lion Audio knew that plenty of professionals on a smaller budget felt left out, as some features might not be as important as an economy price-point. The PG-X was built with this in mind, while still providing best-of-class power conditioning!
High-end Filtering
Your gear deserves the best power, and we took great care in making sure the PG-X delivers just that — thanks to PG-90 Filtering Technology. In testing, this has provided an average of 90% of noise filtering, as opposed to the typical average of 76% found in other power conditioners at the same price point.
Professional Power
The PG-X features a bank of eight switched, filtered and surge protected outlets on the back panel. On the front panel, the PG-X sports one unswitched convenience outlet and a USB port for device charging.
It takes more than a few rack-mounted outlets to inspire true confidence in your power conditioner, and that’s where the PG-X delivers: best-of-class power filtering!
- Protects your gear from power-spike damage
- Provides clean, well-regulated power for optimum performance
- Features PG-90 Filtering Technology
- Top-drawer components and design for superior power and noise filtering
- Built with premium Panasonic and Wima capacitors
- Rugged 1U rackmount chassis
- 8 switched, filtered, and surge-protected outlets on rear panel
- 1 filtered convenience outlet on front panel
- USB port on front panel
Type: Rackmount
Number of Outlets: 1 x Front, 8 x Rear
Output Current: 15A
USB: 1 x Type A
Features: High frequency noise filter
Rackmountable: Yes
Power Source: Fixed AC cable
Height: 1.7″
Width: 19″
Depth: 9.8″
Weight: 3 lbs. | This item is in excellent working condition and barely used.
The ZHA-4 splits a single stereo headphone output into four separate powered 1/8” headphone jacks, each with their own volume and mute control. Perfect for bands, podcasts, productions, and more.
Two AA batteries provide hours of portable power. For longer sessions, connect the USB-C port to a portable battery or plug directly into the wall.
What’s in the Box?
- ZHA-4 Handy Headphone Amplifier
- AA Batteries (x2)
- Stereo Mini Audio Cable (19” / 50cm)
- Quick Guide
Please Note: The item displayed in the images may not be the actual item you receive. | The Suhr Reactive Load delivers a simple solution to capture all of the warmth, and dynamics of your sound, without the hassle of miking a speaker cabinet during a live or recorded performance.
The Reactive Load takes the place of your speaker cabinet in your signal chain. It provides an 8Ω load for your tube amplifier (maximum 100 watts), and produces a balanced and unbalanced signal that interfaces with recording devices, effects, and power amplifiers.
The Suhr Reactive Load is the perfect link between your amplifier and computer audio recording interface. You can use the Reactive Load with your existing library of speaker impulse responses (IR) for the most realistic direct recording experience possible.
Traditional resistive load boxes will safely load your amplifier, but they also alter the tone, dynamics, and response of your amplifier. Real speakers do not have a fixed resistance across the entire frequency spectrum. Real speakers are reactive.
The impedance curve of the Reactive Load has been painstakingly tuned to react like a speaker. Your amp will never know the difference.
The Reactive Load is dedicated to being the absolute best load box possible with zero compromises, and therefore does not include speaker emulation. You can use the Reactive Load with your speaker-sim or impulse response of choice, and benefit from the natural response, dynamics, and touch sensitivity of your amp.
The Suhr Reactive Load features a balanced or unbalanced line level output. The INPUT is optimized for the 8 ohm output of your amplifier and the THRU jack can be connected to a physical speaker cabinet. If a physical cabinet is connected to the THRU jack, the Reactive Load’s internal load is bypassed and the amp will see the load of the physical cabinet.
SPEAKER INPUT IMPEDANCE: 8 Ohm
DI / LINE OUT LEVEL: +4 dBu at 7 watts input, maximum level setting
BALANCED LINE OUTPUT IMPEDANCE: Less than 6KΩ
UNBALANCED LINE OUTPUT IMPEDANCE: Less than 6KΩ
MAXIMUM RECOMMENDED INPUT POWER: 100 Watts RMS
ROHS COMPLIANT: Yes
DIMENSIONS: 8.8" (W) x 8.9" (D) x 3.6" (H)
WEIGHT: 6.6lb
| Rupert Neve Designs Portico 542 500 Series Tape FX Standard
FEATURES
- Add depth and character to your sound
- Control the mix of pre and post tape signals
- Send signals through "True Tape" circuitry
- Silk circuit, reduces negative feedback, adding harmonic content as needed
- Red Silk accentuates the saturation in the mid and high frequencies
- Use soft clip to tame overly transient material like drums
- Provides +/- 12dB adjustment of level on incoming signal levels
TECHNICAL SPECIFICATION
Rupert Neve Designs Portico 542 500 Series Tape FX
- Line Amp Specifications (Measurements with tape circuit disengaged)
- Noise: Measured at Main Output, un-weighted, 20Hz-22kHz, Input Terminated 40 Ohms.
- Unity Gain Better than -100dBu
- Frequency Response
- Measured at +10dBu, trim at unity.
- Main Output +/- 0.25dB from 5Hz to 60Khz -2dB @ 120KHz
- Maximum Output Level 23.25dBu
- Total Harmonic Distortion and Noise:
- @ 1kHz, +20dBu output level Better than 0.0025% @ 20Hz, +20dBu output level 0.07% Typical (2nd and 3rd harmonic)
- Tape FX Specifications
- Noise:
- Measured at Main Output, un-weighted, 20Hz-22kHz, Input Terminated 40 Ohms.
- Saturation @ minimum Better than -100dBu Saturation @ maximum Better than -100dBu
- Frequency Response:
- 15 IPS, Input @ -0 dBu -3dBu @ 28kHz Saturation @ minimum 0dBu @ 10Hz +5dBu Peak @ 60Hz
- Saturation @ maximum -3dBu @ 20kHz -3dBu @ 12.5Hz +2.4dBu Peak @ 60Hz
- 30 IPS, Input @ -0 dBu -3dBu @ 120kHz Saturation @ minimum -3dBu @ 10Hz +3.15dBu Peak @ 125Hz
- Saturation @ maximum -3dBu @ 100kHz -3dBu @ 12.5Hz
- +1.3dBu Peak @ 110Hz
- Total Harmonic Distortion and Noise
- Refer to sweeps on page10 15 IPS, Input @ -0 dBu 0.4% @ 3kHz to 1% @ 175Hz typical
- Saturation @ minimum Greater than 1% below 175Hz typical
- Saturation @ maximum 1% at 6kHz typical 0.3% @ 1kHz to 3% @ 50Hz typical
- 30 IPS, Input @ -0 dBu 1% at 1kHz typical
- Saturation @ minimum 0.6% @ 400Hz 5% @ 20Hz typical
- Saturation @ maximum 1.5% @ 20kHz to 0.4% @ 1kHz typical 0.4% @ 1kHz to 2 %@ 50Hz typical
- Power requirements:
- Supplied by 500 series rack with 110-125 mA @ +/- 16V DC
|
Reviews
There are no reviews yet.