Radial HotShot DM1 Footswitch

$98.97

GTIN: 676101035854 SKU: 676101035854 Category: Tags: , , ,

Description

Radial HotShot DM1 Footswitch 

  • Redirects mic signal to communicate with techs
  • Lets band members with in-ear monitors chat between songs
  • Momentary switch requires foot action to engage
  • Passive design does not require any power to work

Designed to address on-stage communication problems for artists who employ in-ear monitoring systems, the HotShot™ DM1 is a combination microphone signal splitter and mute switch that allows you to depress a footswitch to mute your mic and redirect the signal to the stage monitoring system or intercom to speak with band members or technicians while on stage.

Using the DM1 is easily done using any dynamic microphone: connect the mic to the input and the main output to the mixer. Add a second cable from the monitor out to feed a common intercom buss. As soon as you depress the momentary footswitch, the signal going to the main output is muted and redirected to the monitoring system. This allows the musician to discretely speak with other band members or discuss a technical problem with the crew. As soon as the footswitch is released, the system automatically reverts back to normal operation, thus eliminating the need for LED indicators or local powering.

As with all Radial stage switchers, the HotShot DM1 is designed to be heavy enough to ‘stay put’ while being extra durable to handle the rigours of professional touring. Made in Canada, it features 14 gauge steel construction and durable powder coat finish with a heavy-duty footswitch and isolated XLR connectors.

The HotShot DM-1 is a simple passive switcher that makes communication on stage possible.

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SettingsRadial HotShot DM1 Footswitch removeRupert Neve Designs 535 500 Series Diode Bridge Compressor removeEmpirical Labs EL9 Mike-E Microphone Preamp removeVermona VSR 3.2 Vintage Spring Reverb Rack Unit removeEmpirical Labs EL7-X FATSO Tape Simulator & Optimizer removeRadial X-Amp Active Reamper remove
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Description
ContentRadial HotShot DM1 Footswitch 
  • Redirects mic signal to communicate with techs
  • Lets band members with in-ear monitors chat between songs
  • Momentary switch requires foot action to engage
  • Passive design does not require any power to work
Designed to address on-stage communication problems for artists who employ in-ear monitoring systems, the HotShot™ DM1 is a combination microphone signal splitter and mute switch that allows you to depress a footswitch to mute your mic and redirect the signal to the stage monitoring system or intercom to speak with band members or technicians while on stage. Using the DM1 is easily done using any dynamic microphone: connect the mic to the input and the main output to the mixer. Add a second cable from the monitor out to feed a common intercom buss. As soon as you depress the momentary footswitch, the signal going to the main output is muted and redirected to the monitoring system. This allows the musician to discretely speak with other band members or discuss a technical problem with the crew. As soon as the footswitch is released, the system automatically reverts back to normal operation, thus eliminating the need for LED indicators or local powering. As with all Radial stage switchers, the HotShot DM1 is designed to be heavy enough to 'stay put' while being extra durable to handle the rigours of professional touring. Made in Canada, it features 14 gauge steel construction and durable powder coat finish with a heavy-duty footswitch and isolated XLR connectors. The HotShot DM-1 is a simple passive switcher that makes communication on stage possible.		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%
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.		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
  • direct: < 0,1 %
Miscellaneous
  • power supply: external DC-adapter with 12 V/1000 mA
  • dimensions: 19“, 1 HE, ca. 190 mm deep
  • weight: 2.5 kg
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.		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.
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