| 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. | 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
| FEATURES
- The industry-standard tabletop looper, updated and enhanced
- Class-leading sound quality with 32-bit AD/DA and 32-bit floating-point processing
- Five simultaneous stereo phrase tracks with dedicated controls and independent volume faders
- Input FX and Track FX sections, each with four simultaneous effects and four quick-access banks
- Customizable FX and Track buttons for each phrase track
- Massive onboard effects selection with 49 Input FX types and 53 Track FX types, including new Harmony, Electric FX and many others
- Ultra-durable faders with longer throw for more precise adjustment
- Mark Back function provides enhanced undo/redo flexibility while performing
- Two XLR mic inputs with phantom power, two stereo line input pairs, and three stereo line output pairs
- 99 memories, each containing five phrase tracks, custom effects and playback settings, control assignments and more
- Synchronize your loops with over 200 onboard rhythm patterns and 16 drum kits
- Deep MIDI control support
- Two external control jacks, each with support for up to two footswitches or an expression pedal
- USB for data backup, phrase import/export with BOSS Tone Studio and pattern import with the RC Rhythm Converter
TECHNICAL SPECIFICATION
Boss RC-505MK2 Tabletop Loop Station
- Sampling Frequency: 44.1 kHz
- AD/DA Conversion: 32 bits
- Processing: 32-bit floating point
RECORDING/PLAYBACK
- Number of Tracks: 5
- Data Format: WAV (44.1 kHz, 32-bit float, stereo)
- Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)
- Rhythm Type: 200 types or greater
- Rhythm Kit: 16 types
EFFECTS
- INPUT FX: 49 types
- TRACK FX: 53 types
- MASTER FX: 2 types
- Memory: 99
- Display: Graphic LCD (128 x 64 dots, backlit LCD)
CONNECTORS
- MIC IN 1, 2 jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max
- INST IN 1, 2 jacks, MAIN OUT jacks, SUB OUT 1, 2 jacks: 1/4-inch phone type
- PHONES jack: Stereo 1/4-inch phone type
- CTL1,2/EXP1 jack, CTL3,4/EXP2 jack: 1/4-inch TRS phone type
- USB port: USB B type
- MIDI (IN, OUT) connectors
- DC IN jack
- Power Supply: AC adaptor
CURRENT DRAW
- 1.0 A (with phantom power)
- 0.9 A (without phantom power)
- Dimensions: 16-9/16" W x 9-1/4" D x 2-11/16" H
- Weight: 4 lb.
| 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. | 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. |
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