| Content | 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.
British Mode
The concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.
The EL8-X has the advantage of being able to selectively apply this aggressive characteristic – not just to the new “British” ratio (1:1) – to any of the ratios, simply by engaging the dedicated “British Mode” switch.
The British Mode and Image Link options are only available on the EL8-X.
Image Link
The original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer/engineers want to maintain absolute left/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options – the original “phase” link, the new Image Link and the combination of the two, phase and image linking – something never before offered on any compressors or limiters.
- 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″.
| The vintage EQ tones you know & love.
The 551 is the only equalizer for the 500 Series actually designed by Rupert Neve. Featuring 3 bands of EQ inspired by Mr. Neve’s most prized vintage designs, along with custom-wound inductors, transformers and class-A gain blocks, the 551 brings the thick, powerful lows and sweet highs of Rupert’s classics to the 500-Series format.
The “Best-Of” EQ
The 551’s 3-band, custom-tapped inductor EQ was inspired by our favorite elements of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response similar to a vintage 1064 – but unlike the vintage modules, the LF band on the 551 can be used as either a shelf or a peak filter, adding punch, dimension, and control to your low end.
The midrange band is based on that of the 1073, ideal for sweetening vocals and instruments while bringing them forward in a mix, and its proportional “Q” response makes it well-suited for minimizing problematic frequencies. The high frequency band is a hybrid vintage / modern design, blending inductor circuitry with capacitor-based topologies to achieve vintage tones with enhanced control. The High Pass filter is a 12dB/octave design with a fixed 80Hz frequency, and can be used in tandem with the low frequency EQ to add low-end presence without clouding the source material.
As with Rupert’s most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. However, this new circuit is a decidedly modern design with updated techniques and components that were simply not available 50 years ago, and is definitely not a “clone”.
What Are Inductors?
Inductors are wires wound around a coil that provide a form of frequency-dependant resistance. When they saturate, they bring out beautifully musical harmonics that give your tracks the smooth, polished sound that has made Rupert’s consoles and equipment so desirable for over fifty years. This is what makes them different from capacitor-based EQ designs, which do a great job at surgical equalization. But inductors provide the tone.
While it is certainly possible to create a functioning EQ using off-the-shelf inductors, we choose to use our own custom inductors for the 551. This attention to detail in controlling variables such as the winding and core materials in relation to the surrounding circuitry allows the 551 to capture the vitality and personality of Rupert’s classic designs.
NOISE
- Measured at Main Output, un-weighted, 22Hz-22kHz, source impedance 40 Ohm balanced.
- Better than -102 dBV
FREQUENCY RESPONSE
Main output, no load: +/- 0.1 dBu from 20 Hz to 31.5 kHz, -1 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
23.25 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.0025%
- @ 20 Hz, +20 dBu output level, no load: 0.13% Typical (2nd and 3rd harmonic)
HIGH PASS FILTER
- -2.7 dB @ 80 Hz
- Slope: 12 dB/Octave
NOISE
- Measured at Main Output, un-weighted, 22 Hz - 22 kHz, source impedance 40 Ohm balanced.
- Better than -94 dBV
FREQUENCY RESPONSE
Main output, no load: +/- 0.25 dBu from 20 Hz to 45 kHz, -2 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
23 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.009%
- @ 20 Hz, +20 dBu output level, no load: 0.13% Typical (2nd and 3rd harmonic)
POWER REQUIREMENTS
- 120mA on +16VDC
- 110ma on -16VD
| With a big, bold preamp, a swept high-pass filter and the powerful saturation control of variable Silk, the 511 combines legendary Rupert Neve tone with 500 Series value.
What is Silk?
One of the key features of the 511 is the Silk / Texture control. The Silk circuit was initially developed for the original Portico series mic preamplifiers, and was only a single switch – on or off – that added a specified amount of musical, pleasing harmonic saturation to the unit’s output stage.
Taking this concept one step further, the Texture knob is designed to adjust the actual amount of harmonic content from the source material.
So how does it work? By reducing negative feedback across the output transformer and adjusting this feedback’s frequency response, the Silk / Texture circuit provides the sweet, musical saturation found in Rupert’s legendary vintage designs – but with complete & precise control over the amount of classic tone you want.
NOISE
- Measured at Main Output, un-weighted, 22 Hz - 22 kHz, source impedance 150 Ohm balanced. Noise performance can vary depending on the 500 series and / or interference from stray magnetic fields.
- Unity Gain: Better than -103 dBV
- Gain @ +66 dB: Better than -60 dBV
- Equivalent Input Noise: -125 dB
FREQUENCY RESPONSE
- Main output, no load.
- +/- 0.1 dBu from 10 Hz to 31.5 kHz
- -2.6 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
+23 dBu
TOTAL HARMONIC DISTORTION AND NOISE, NO SILK
- @ 1 kHz, +20 dBu output level, no load: Better than 0.0025%
- @ 20 Hz, +20 dBu output level, no load: 0.025% Typical (2nd and 3rd harmonic)
TOTAL HARMONIC DISTORTION AND NOISE WITH SILK ENGAGED
- @ 100 Hz, +20 dBu input level, no load.
- TEXTURE @ min: 0.015%, mostly 3rd harmonic typical
- TEXTURE @ max: 2%, mostly 2rd harmonic typical
GAIN
- Unity up to +66 dB in 6 dB steps.
- Trim continuously adjustable from -6 dB to +6 dB.
PHANTOM POWER
Supplied by the 500 series rack power supply. Switch selectable on faceplate.
HIGH PASS FILTER
- Continuously variable swept frequency from 20 Hz to 250 Hz.
- Slope: 12 dB/Octave
POWER REQUIREMENTS
@ +/-16VDC, 100mA | Condition: Item is subject to minor cosmetic imperfections. Packaging may be in poor shape. The item displayed in the images may not be the actual item you receive.
- Converts balanced line level signals to unbalanced
- Stereo signal path with set & forget level control
- Transformer isolated to eliminate hum & buzz
- J-Iso features Jensen™ transformers for optimal signal path
The Radial J-Iso and Pro-Iso are stereo line isolators designed to convert a professional +4dB line level balanced signal to an unbalanced -10dB consumer level device. This enables you to take the balanced output of a mixer and feed a consumer level recorder or audio input on a computer.
J-Iso Part # R800-1025: The J-Iso employs a premium Jensen transformer for optimal signal transfer to minimize distortion and artefact. Full bandwidth performance makes the J-Iso ideal for music production.
The passive design begins with 100% discrete components throughout. A set & forget level control lets you attenuate the input signal to prevent it from overloading the destination device. Output connections include a stereo pair of ¼" connectors, a set of RCAs and a mini 3.5mm (1/8") for interfacing to a mini recorder or lap-top computer. Transformer isolation helps eliminate hum and buzz caused by ground loops while eliminating stray DC currents from flowing.
Construction begins with 14 gauge steel throughout utilizing Radial's unique bookend construction. This creates a protective zone around the connectors and controls for added durability. The steel construction also assists by shielding the transformers from outside magnetic fields. Inside, the J-Iso features an innovative I-beam skeletal insert that makes it virtually impossible to torque the PC board. This reduces potential stress which could cause premature solder joint failure.
Designed for full range applications, the J-Iso combines exceptional signal handling with the type of durability that has made Radial famous. Signal Processors | Radial X-Amp Active Reamper
- Active Reamp® with two outputs
- 100% discrete class-A signal path
- Transformer isolated to eliminate noise
- Variable 'set & forget' level control
The Radial X-Amp is an active Reamper™ that allows the engineer to play a pre-recorded track back through guitar amplifiers and pedals. This opens the door to explore new musical sounds and spur on the creative process so that your recording stands out.
Using the X-Amp is easy: start by recording a dry track using a high quality direct box like the Radial J48. Send the new track from your recorder via the X-Amp to your guitar amps, effect pedals or combinations thereof. Once the basic track has been recorded, replacing or adding tracks can be done well after the session player has gone home. This eliminates tiresome repetition and assures a fresh vibrant performance on the final recording. Furthermore, by driving two amps at the same time, new sounds and textures can be created while allowing you to make artistic decisions as the recording progresses.
Following the critically acclaimed Radial JD7 Injector, the X-Amp employs a unique class-A circuit design that has been optimized for use with guitars. Features include balanced line level input with LED peak indicator and level control, class-A circuit topology for optimal reach and frequency response, a transformer isolated output to eliminate hum and buzz caused by ground loops, a 180º polarity reverse switch to bring both amps into phase, and a dual ground lift switch for noise-free operation.
As with all Radial products, the X-Amp is built like a tank to provide years of trouble-free performance. An internal I-beam skeleton provides maximum protection against external stress which could cause solder points to fail. This is supplemented with an innovative bookend design that creates a protective zone around the switches, potentiometer and connectors. A full bottom no-slip pad performs double duty by keeping the X-Amp from sliding around when placed on a vibrating amplifier while also providing electrical and mechanical isolation. Reamping works equally well on bass, keyboards, drums and voice. Once you start Reamping, you will never record any other way.
The Radial X-Amp… the active Reamp® for professional recording engineers. | FEATURES
- World-class, transformer-coupled preamp, compressor, and DI
- Gain: 0 - 66dB in 6dB increments
- Compressor: Single-knob opto-coupler compressor with 2:1 ratio
- Blend: Determines balance of mic and DI inputs
- Instrument gain: 0 - 30dB on instrument input
- 48V phantom power
- Silk: Adds nostalgic warmth and presence when engaged
- Instrument input: Front-panel TRS input and passive-through for Hi-Z sources
- Polarity reverse
- Threshold: When signals exceed threshold level, gain is reduced at a controlled 2:1 ratio with fixed attack and release time constants
- Indicators: Signal presence and clipping on both mic and DI signals, as well as compressor activation.
TECHNICAL SPECIFICATION
Rupert Neve Designs Portico 517: 500 Series Mic Pre / DI / Comp
- Frequency Response: Main Output, no load, -0.2dB @ 10Hz -3dB @ 160kHz
- Noise measured at main output, unweighted, 22Hz - 22kHz, terminated 150 ohm: Gain at unity: better than -100dBu; gain at 66dB: better than -62dBu Equivalent Input Noise: better than -128dBu, noise factor 1.5dB
- Maximum output level from 20Hz to 40kHz: +23dBu
- Total Harmonic Distortion and Noise: @ 1kHz, +20 dBu output: Main Output: Better than 0.001% @ 20Hz, +20 dBu output: Main Output: Better than 0.002% Silk Engaged: Better than 0.2% Second harmonic
- Crosstalk: Measured channel to channel: Better than -90dB @ 15kHz.
- Phantom Power: +48 Volts DC +/- 1%
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