| Content | As with ELI’s other signal processors, the Lil FrEQ Equalizer takes a somewhat unique approach to its job. Instead of daisy chaining several equalizers and frequency processors, we combined most of the sound sculpting tools an engineer needs into a compact single rack space box, while still offering the highest performance of any design in its class.
Eight Sections of Processing
There are eight sections of processing – what other EQ offers that? Even better – in addition to a master bypass, each of the Lil FrEQ’s sections features its own dedicated bypass switch, letting you instantly A/B the effect of each section as you adjust and fine-tune them.
HIGH PASS – The High Pass section is a really easy to use sharp filter that cuts all content below one of eight preset frequencies from 30-330 Hz. This filter is very steep and has a special shape that prevents frequencies from thinning out just above the cutoff point. The corner frequency is selected using up/down buttons, and indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged.
HIGH & LOW SHELVING – These two knobs function similarly to the familiar “bass and treble” tone controls found on many consumer audio playback systems; however, these are designed to a much higher performance standard, providing exceptionally smooth and musical boost and cut on the high and low frequencies.
PARAMETRIC EQ – The Lil FrEQ has four sections of fully parametric EQ (LF, Lo Mid, Hi Mid and HF), with each section featuring individual gain, bandwidth (Q) and frequency controls. It may be the cleanest parametric EQ section ever produced, operating below .0007% THD (Total Harmonic Distortion) even at extremely high audio levels. Try finding those specs anywhere else!
DS (DYNAMIC EQ) – The DS section provides the highest performance, easiest to use, and possibly most natural sounding “De-esser” ever built. This powerful tool combines tunable filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants or other sharp transients, especially in the absence of other lower frequency content. It can also function as a one of a kind soft knee High Frequency limiter, which is one of the main things responsible for the Lil FrEQ becoming the go-to vocal EQ for engineers everywhere. It has been used on many acclaimed albums and major live performances all over the world, becoming the “go to” EQ for key tracks like lead vocals, snares, and bass. There are now dozens of hit record vocals that were processed thru the Lil FrEQ.
Frequency Response: 5 Hz to 140 kHz on transformerless inputs and outputs. Transformer output 10Hz to 110 kHz.
Dynamic Range: 120 dB from maximum output (.1% clipping) to minimum output. Greater than 110 dB signal to noise.
Distortion: Ranges between .00056% and .005% depending on mode and settings. DS section has THD < .005%.
I/O: DC coupled inputs and outputs and one transformer coupled output.
Dynamic Time Constraints: Attack is approximately .5 ms. Release .04 sec fixed internally.
Power Consumption: 15 Watts Max.
Metal Chassis: single height 1.75″ high, 10″ deep, 19″ wide. | Arguably the coolest and most unique device in the Empirical Labs arsenal, the FATSO (Full Analog Tape Simulator and Optimizer) is a digitally controlled analog device that gives musicians and engineers easy access to many of the desirable characteristics exhibited by older tube and Class A electronics and magnetic tape mediums. This two channel audio processor musically integrates frequencies and transients, increasing the apparent volume while keeping tight control over peak levels.
With the FATSO, recording studios and audio production facilities can enhance and soften the sound of Hardware Digital Recorders (HDRs) and Digital Audio Workstations (DAWs). Mix engineers will have the option not to have to use bulky, expensive analog tape recorders to get the warmth and sweet high end they’ve come to rely on for so many decades. Owners of DAWs and HDRs can finally put a stop to complaints about the coldness and brittle edge of their mixes and instruments. Even audiophiles can benefit from the FATSO, bringing back the warmth and ambience of LP’s and tapes to their CD players and other digital reproduction mediums.
The FATSO Goes to Eleven
ELEVEN is a new compressor for the FATSO, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower “1176” attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc. Click here to find out how to upgrade your EL7 to an EL7X.
Four Types of Processing
- Harmonic Generation and Soft Clipper (Distortion Generation) – this class A circuit gently rounds the peaks like saturated tubes or tape.
- High Frequency Saturation (Warmth) – a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.
- Transformer & Tape Head Emulation – a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterize them, as well as analog tape..
- Classic Knee Compression – your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression – smooth and sweet, but in your face!
Universal Audio's FATSO Emulation
Endorsed and scrutinized for accuracy by designer Dave Derr of Empirical Labs, Universal Audio has painstakingly recreated the FATSO Jr. in this highly anticipated UAD Powered Plugin, capturing the sonic nuances of the original hardware. As part of the FATSO Powered Plugin, UA has also worked closely with Dave Derr to model the original concept of the FATSO, the FATSO Sr., with attack, release, and threshold compressor controls, among other features not available elsewhere.
Frequency Response: 2 Hz to 60 kHz in clean audio mode (+0, -3 dB).
Dynamic Range: 110 dB from maximum output (20 %THD soft clipping) to minimum output. Greater than 100 dB signal to noise.
Distortion: Ranges between .06% and 20% depending on mode and settings.
I/O: DC Coupled input and outputs.
Compressor Time Constants: Attack range 1ms – 60ms. Release range .05sec – 3.5 seconds. Attack and Releases are fixed by the compression type selected.
Power Consumption: 15 Watts Max.
Metal Chassis: single height 1.75″ high, 10″ deep, 19″ wide. | Proven reverberation classic for the future
With the VSR 3.2, we happily rely on the proven old mechanical way to create reverberation. Rightly, because the used reverberation spring by AccuBell (formerly Accutronics) creates that magic 60's reverb which is slightly metallic and dense at the same time.
Just like it predecessors, VSR 3.2 has a straight-forward and honest approach: signal in - spring reverb - vintage sound out.
VSR 3.2 is equipped with an equalizer that is exactly adapted to the springs' frequency response. In addition, there are controls to mix the dry and effect signal as well as controls for the input and output level. This way, VSR 3.2 simply exactly does what it was designed to do.
Designed for every situation
Although using a large spring (type 9), VSR 3.2 fits in a 19" housing with one rack unit – minimal space requirements. Thanks to its extremely solid chassis, VSR 3.2 is a reliable vintage-effect that cannot only be used in a controlled studio environment. On the contrary, it also serves fine when being used in straining live situations.
VSR 3.2 grants your sound an elegant touch of "good old times". Its simplicity makes it an unbelievable versatile companion.
Inputs
- 1/4"-jack input front
- unbalanced
- max. input sensitivity: –40 dBu
- impedance: 1 MΩ
- 1/4"-jack input rear (1)
- unbalanced
- max. input sensitivity: 0 dBu
- impedance: 100 kΩ
- 1/4"-jack input rear (2)
- unbalanced
- max. input sensitivity: –20 dBu
- impedance: 10 kΩ
Outputs
- 1/4"-jack output (1)
- unbalanced
- max. output level: 0 dBu
- 1/4"-jack output (2)
- unbalanced
- max. output level: - 20 dBu
Signal-to-Noise Ratio
- direct: > 80 dBu
- effect: > 70 dBu
THD + Noise
Miscellaneous
- power supply: external DC-adapter with 12 V/1000 mA
- dimensions: 19“, 1 HE, ca. 190 mm deep
- weight: 2.5 kg
| In today’s modern age of digital recorders, DAWs and software plug-ins, Mike-E is the ultimate solution for getting a clean and strong, yet warm and musical signal into the box…and it couldn’t be easier to work – its front panel layout is so straight ahead that even inexperienced engineers will have no problem moving around on it right away.
When the engineering team at Empirical Labs sets out to build a microphone preamp, you can be sure it’ll deliver spectacular sound, be effortless to work, and will provide features unlike any other device in its class. To that end, we proudly present Mike-E, a high performance transformer-coupled mic preamp with a noise floor far below any microphone’s self noise, combined with a one-of-a-kind compressor/saturator circuit that delivers classic knee compression as well as versatile tonal ‘coloring’ that can replicate many of the best characteristics of vintage analog recording equipment.
Mic Preamp
The Mike-E features a super low noise transformer input amplifier section with the gain under precise digital control. The signal to noise far exceeds any microphone in existence. Having used many mic preamps over the years, we’ve implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches. A “Bad!” LED indicates when the input signal is overloading the circuit.
CompSat
The CompSat’s unique circuitry sets the Mike-E apart from all other mic preamps.
- SATURATOR – a multi stage soft-clipping circuit. At lower levels, a triode-type saturation affects the signal. As the level increases, a second unique clip circuit starts to more severely flatten out the peaks.
- COMPRESSOR – based on ELI’s world famous Distressor, but with other characteristics (including a much longer attack time). Preset ratios include: 2:1, 4:1, 8:1…and, of course, Nuke.
- EMPHASIS – a two-stage circuit that boosts and soft clips high frequencies before the CompSat™ circuit, and then cuts the frequencies after it. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.
Frequency Response: 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz.
Signal to Noise: 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu.
Distortion: Ranges between .0006% and 15% depending on mode and settings.
I/O: Transformer coupled Input, Active and Transformer Outputs available. High quality audio caps used internally.
Impedance: Input Impedance is above 600 Ohms at all frequencies, transformer coupled. Output impedance is less than 38 ohms. Instrument In Impedance is 332K Ohms.
Attack/Decay Range: .9 – 70mS attack. .15 – 1 Sec.
Power Consumption: 15 Watts Max.
Metal Chassis: single height 1.75″ high, 10″ deep, 19″ wide. | Imagine having the power and flexibility of the OP-Z sequencer available to any other music equipment. Now you can, with the new oplab module - the magic link between OP-Z and the rest of the world. The oplab module is the first hardware expansion module for OP-Z. once mounted in the back of your OP-Z, you can use it to connect to any equipment using standard cv and gate, such as the pocket operator modular or any other modular system. It features three cv outs and one gate out, all programmable and playable from OP-Z. have your wall of modules sequenced from the palm of your hands. Use the po sync out to unleash the power of your regular pocket operators and have them play in sync with the rest of your setup. Even connect standard midi devices, using midi over 3.5 mm jack or the included midi over din adapter cable. Oplab features both midi in and out ports as well as trig in and out for other synthesizers and sequencers. | Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities.
What is diode bridge compression?
Where the VCA compressor found in the Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix.
By understanding the limitations of vintage units like the legendary 2254, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls.
Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the 535 Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.
LINE INPUT TO LINE OUTPUT
- Compressor Bypassed.
- Z source = 40 Ohm Balanced
INPUT IMPEDANCE
10K Ohm
OUTPUT IMPEDANCE
40 Ohm
MAXIMUM INPUT LEVEL
+23.5 dBu
MAXIMUM OUTPUT LEVEL
+23.5 dBu
NOISE
- 22 Hz - 22 kHz BW.
- -101 dBu
FREQUENCY RESPONSE
- 10 Hz - 120 kHz, 30ft Output XLR Cable.
- +/- 0.25 dB
THD+N
- @ 1 kHz @ Maximum Output Level, 22 Hz - 22 kHz BW.
- 0.001%
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