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- 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 | 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.
Go Stereo
For many Distressor owners, one is never enough – in fact, one extremely successful engineer has twelve of them! For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together.
- 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 – 24.2 lbs Stereo pair. Stereo Pair box dimensions 22.5″ x 18.5″ x 6 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
| Effective against boredom, supporting creative sound design
A unique team play of spring reverberation, analogue multimode filtering, distortion and VCA, modulated by an ultra fast LFO and an envelope that can be triggered in flexible ways – Retroverb Lancet offers a comprehensive arsenal of many-sided effects for different applications. The spectrum by far surpasses classic reverberation, filter sweeps or overdrive because you are able to tweak and bend any parameter fast and intuitively to your liking.
Retroverb Lancet will change the way you work with effects. It becomes part of your sound engine, fires it up and will end up as essential part of your sonic signature.
Source of effectiveness
We designed Retroverb Lancet in a way that it can perfectly handle signals of any kind: Guitars, basses, synthesizers, organs or microphones. On top of that, Retroverb Lancet allows you to create percussive sounds using its crash function.
Retroverb Lancet is a real jack of all trades with character, suited for adventurous sound designers and tinkerers.
Audio Input
- max. input sensitivity: –32 dBu
- impedance: 1 MΩ
Output
- max. output level: 20 dBu
- impedance: 600 Ω
Trigger- and CV-inputs
- audio trigger
- max. input sensitivity: –32 dBu
- impedance: 1 MΩ
- gate & CRASH
- external cv
Signal-to-Noise Ratio
- direct: > 80 dB
- effect (filter completely open, no reverb): > 75 dB
Spring Tank
- number of springs: 3
- reverbration decay: between 2.75 db and 4.00 s
Filter
- modes: 24-db-lowpass, 24-db-highpass, 12-db-bandpass
- modulations sources: envelope generator, envelope follower, external CV, LFO
LFO
- frequency range: 0.05 Hz … 300 Hz
- waveforms: ramp up, ramp down, square, sine, S&H, envelope generator
Envelope Generator
- modes: AD, ASR
- attack: 1 ms … 10 s
- decay/release: 1 ms … 15 s
Miscellaneous
- power supply: external DC-adapter with 12 V/1000 mA
- dimensions: 26 cm x 14.5 cm x 8 cm (width x depth x height)
- weight: 0.75 kg
Accessories
| 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.
| 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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