| Content | 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. | 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. | 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
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- FAST – Fast Attack (750us), Fast Release (130ms)
- MF – Medium Attack (2.25ms), Fast Release (130ms)
- MED – Medium Attack (2.25ms), Medium Release (400ms)
- MS – Medium Attack (4ms), Slow Release (725ms)
- SLOW – Slow Attack (10ms), Slow Release (1S)
- AUTO – Medium Attack (5ms), Dual Decay Release (T1 500ms, T2 1s)The LINK switch allows the compressor to be linked to another 535 compressor module via a sidechain control voltage. In link mode, the compressor generating the greater sidechain voltage (resulting in higher amounts of compression) will control the compression of both audio signal paths to maintain proper stereo center image while compressing. Note: it is advisable to always audition the unlinked sound as well, to decide if the benefit of a constant stereo center image is worth the potential trade-off of reduced left / right independence in the stereo field.
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SIDECHAIN HPF
- The S/C HPF switch allows the user to insert a 12dB/octave 150Hz high-pass filter in the compressor sidechain. When this filter is engaged, the compressor will be considerably less responsive to information below 150Hz. For example: if used on a drum kit, the low end of the kick drum would have less proportional effect on the compression than a snare drum or cymbals, since a significant portion of the kick drum’s dynamic energy is focused below 150Hz.
LEVEL AND GAIN REDUCTION METERING
- These two LED meters provide accurate representations of both the output level of the compressor and the amount of gain reduction being applied to the input signal.
| Rackmount PG-X Power Conditioner with PG-90 Filtering Technology, Panasonic and Wima capacitors, eight rear switched, filtered and surge protected outlets, one front-panel switched convenience outlet and USB port for device charging.
Your gear deserves the best power, and we took great care in making sure the PG-X delivers just that — thanks to PG-90 Filtering Technology. In testing, this has provided an average of 90% of noise filtering, as opposed to the typical average of 76% found in other power conditioners at the same price point.
Confidence Inspiring Power
There’s nothing worse than scoring that “must-have” piece of gear, only to find that it’s noiser than should be expected, missing high frequency detail, or even worse — having it fried by power surges!
Black Lion Audio has been trusted for years for modifying the best gear and making it even better, and that’s what it took to create the PG-X: taking industry-standard designs, and improving them to the point of peak performance.
After creating the original PG-1, Black Lion Audio knew that plenty of professionals on a smaller budget felt left out, as some features might not be as important as an economy price-point. The PG-X was built with this in mind, while still providing best-of-class power conditioning!
High-end Filtering
Your gear deserves the best power, and we took great care in making sure the PG-X delivers just that — thanks to PG-90 Filtering Technology. In testing, this has provided an average of 90% of noise filtering, as opposed to the typical average of 76% found in other power conditioners at the same price point.
Professional Power
The PG-X features a bank of eight switched, filtered and surge protected outlets on the back panel. On the front panel, the PG-X sports one unswitched convenience outlet and a USB port for device charging.
It takes more than a few rack-mounted outlets to inspire true confidence in your power conditioner, and that’s where the PG-X delivers: best-of-class power filtering!
- Protects your gear from power-spike damage
- Provides clean, well-regulated power for optimum performance
- Features PG-90 Filtering Technology
- Top-drawer components and design for superior power and noise filtering
- Built with premium Panasonic and Wima capacitors
- Rugged 1U rackmount chassis
- 8 switched, filtered, and surge-protected outlets on rear panel
- 1 filtered convenience outlet on front panel
- USB port on front panel
Type: Rackmount
Number of Outlets: 1 x Front, 8 x Rear
Output Current: 15A
USB: 1 x Type A
Features: High frequency noise filter
Rackmountable: Yes
Power Source: Fixed AC cable
Height: 1.7″
Width: 19″
Depth: 9.8″
Weight: 3 lbs. | 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.
British Mode
The concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.
The EL8-X has the advantage of being able to selectively apply this aggressive characteristic – not just to the new “British” ratio (1:1) – to any of the ratios, simply by engaging the dedicated “British Mode” switch.
The British Mode and Image Link options are only available on the EL8-X.
Image Link
The original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer/engineers want to maintain absolute left/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options – the original “phase” link, the new Image Link and the combination of the two, phase and image linking – something never before offered on any compressors or limiters.
- 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 – 12.1 lbs mono. Mono box dimensions 22.5″ x 18.5″ x 3 1/4″.
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