| Content | The Radial J+4 is a stereo interface designed to accept unbalanced low output level devices such as instruments, computers or CD players and boost the signal to a balanced +4dB level for easy manipulation in professional environments such as broadcast, recording studios and live touring.
The design begins with 100% discrete components for optimal signal transfer. Careful attention has been paid to eliminate noise by combining the advantages of active signal buffering with transformer isolation. The J+4 delivers better than 95dB signal to noise while ensuring hum and buzz caused by ground loops along with spurious noise from clocking does not pollute the signal path. For ease of use, controls have been kept to a minimum. This includes a stereo level control, a high pass (low cut) filter and ground lift. The choice of input connectors include a stacked set of ΒΌ`` jacks for DJ mixers or keyboards, RCAs for CD players and a mini 3.5mm for iPods.
As with all Radial products, the Radial J+4 is built tough to handle the extreme rigors of professional touring. A unique 14-gauge steel I-beam inner frame ensures the sensitive PC board will not be subjected to outside stress which could potentially cause solder joints to fail. An innovative book-end outer shell creates protective zones around the controls, switches and connectors to further improve dependability while a full bottom no-slip pad provides both mechanical and electrical isolation.
The Radial J+4 balanced line driver delivers exceptional sonic performance, plenty of headroom and ultra low noise making it the ideal companion for today's more demanding professional audio systems. | 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 β 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: β40 dBu
- impedance: 1 MΞ©
- 1/4"-jack input rear (1)
- unbalanced
- max. input sensitivity: 0 dBu
- impedance: 100 kΞ©
- 1/4"-jack input rear (2)
- unbalanced
- max. input sensitivity: β20 dBu
- impedance: 10 kΞ©
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: 19β, 1 HE, ca. 190 mm deep
- weight: 2.5 kg
| The Suhr Reactive Load delivers a simple solution to capture all of the warmth, and dynamics of your sound, without the hassle of miking a speaker cabinet during a live or recorded performance.
The Reactive Load takes the place of your speaker cabinet in your signal chain. It provides an 8Ξ© load for your tube amplifier (maximum 100 watts), and produces a balanced and unbalanced signal that interfaces with recording devices, effects, and power amplifiers.
The Suhr Reactive Load is the perfect link between your amplifier and computer audio recording interface. You can use the Reactive Load with your existing library of speaker impulse responses (IR) for the most realistic direct recording experience possible.
Traditional resistive load boxes will safely load your amplifier, but they also alter the tone, dynamics, and response of your amplifier. Real speakers do not have a fixed resistance across the entire frequency spectrum. Real speakers are reactive.
The impedance curve of the Reactive Load has been painstakingly tuned to react like a speaker. Your amp will never know the difference.
The Reactive Load is dedicated to being the absolute best load box possible with zero compromises, and therefore does not include speaker emulation. You can use the Reactive Load with your speaker-sim or impulse response of choice, and benefit from the natural response, dynamics, and touch sensitivity of your amp.
The Suhr Reactive Load features a balanced or unbalanced line level output. The INPUT is optimized for the 8 ohm output of your amplifier and the THRU jack can be connected to a physical speaker cabinet. If a physical cabinet is connected to the THRU jack, the Reactive Loadβs internal load is bypassed and the amp will see the load of the physical cabinet.
SPEAKER INPUT IMPEDANCE:Β 8 Ohm
DI / LINE OUT LEVEL:Β +4 dBu at 7 watts input, maximum level setting
BALANCED LINE OUTPUT IMPEDANCE:Β Less than 6KΞ©
UNBALANCED LINE OUTPUT IMPEDANCE:Β Less than 6KΞ©
MAXIMUM RECOMMENDED INPUT POWER:Β 100 Watts RMS
ROHS COMPLIANT:Β Yes
DIMENSIONS:Β 8.8" (W) x 8.9" (D) x 3.6" (H)
WEIGHT:Β 6.6lb
| 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%
| The product that started it all for Empirical Labs. Born of founder Dave Derrβs 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, itβs safe to say that the Distressor is one of the best selling high end compressors of all timeβ¦ 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 didnβt 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 βwarmthβ or βvintage soundβ has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften βharshβ 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 βcoldβ and βbrittleβ among other terms (although we prefer βunforgivingβ).
Unique Compression Curves
All eight of the Distressorβs curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the βNukeβ setting β 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 βOptoβ ratio which uses separate detector circuitry to emulate the oldest (and valued) βlight controlledβ devices, such as the LA-2A.
Distortion (Color) Modes
Another large part of the Distressorβs 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 βkneeβ 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 β one in the audio path, one in the detector path β are also available to help with low frequencies that can cause pumping and breathing.
Go Stereo
For many Distressor owners, one is never enough β 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 β 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).
- Dynamic Range β 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.
- Distortion β ranges between .02% and 20% depending on distortion mode and release times set on front panel.
- I/O β DC Coupled input and outputs.
- Time Constants β Attack range 50uS β 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 β 15 Watts Max.
- Metal Chassis β single height 1.75β³ high, 10β³ deep, 19β³ wide.
- Shipping info β 24.2 lbs Stereo pair. Stereo Pair box dimensions 22.5β³ x 18.5β³ x 6 1/4.
| As with ELIβs 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 β what other EQ offers that? Even better β in addition to a master bypass, each of the Lil FrEQβs 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 PASSΒ β 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 SHELVINGΒ β These two knobs function similarly to the familiar βbass and trebleβ 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 EQΒ β 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.Β 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)Β β The DS section provides the highest performance, easiest to use, and possibly most natural sounding βDe-esserβ ever built.Β 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.Β 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.Β It has been used on many acclaimed albums and major live performances all over the world, becoming the βgo toβ EQ for key tracks like lead vocals, snares, and bass.Β There are now dozens of hit record vocals that were processed thru the Lil FrEQ.
Frequency Response:Β 5 Hz to 140 kHz on transformerless inputs and outputs. Transformer output 10Hz to 110 kHz.
Dynamic Range:Β 120 dB from maximum output (.1% clipping) to minimum output. Greater than 110 dB signal to noise.
Distortion:Β Ranges between .00056% and .005% depending on mode and settings. DS section has THD < .005%.
I/O:Β DC coupled inputs and outputs and one transformer coupled output.
Dynamic Time Constraints:Β Attack is approximately .5 ms. Release .04 sec fixed internally.
Power Consumption:Β 15 Watts Max.
Metal Chassis:Β single height 1.75β³ high, 10β³ deep, 19β³ wide. |
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