| Content | The Shelford Channel is built around Rupert Neve’s first new transformer-gain, class-A microphone preamplifier in over 40 years, a “best-of-the-classics” inductor EQ section, a tone-packed diode bridge compressor, the power of variable Silk saturation, a new dual-tap transformer output stage, and twice the operating voltage of vintage designs.
The Input Stage and Transformer Gain Mic Pre
Like Rupert’s designs from his time in Little Shelford , the Shelford Channel’s preamplifier uses a directly-coupled transformer input with gain provided by the custom transformer itself – a first in over 40 years for Rupert Neve. This new custom-designed input transformer, along with its careful integration with the surrounding class-A circuitry, is critical to the Channel’s bold and instantly recognizable character.
Conveniently, the Direct Input uses the same topology as the best-selling RNDI Active Transformer Direct Interface, providing astonishing clarity for high-Z instrument signals, with unparalleled low-frequency response and an incredibly smooth high end.
What is Silk?
The Silk & Texture circuit on the Shelford Channel allows you to fine-tune the amount (and type) of harmonic content in the output stage. This means your signal can be adjusted from quite transparent to settings that produce nearly 10x the amount of sonic color as Rupert’s vintage modules – and in two very unique modes. No matter what sound you’re looking for, Silk can help get you there.
The Dual Tap Transformer Output
Complementing the Silk circuit is the custom-designed output transformer, which uses Rupert Neve Designs’ unique dual-tap output topology. This offers both full-headroom (+26dBu) and -6dB outputs, allowing the engineer to drive the unit fully into classic transformer saturation without clipping converters and other devices later in the chain.
The “Best-Of” EQ
The Shelford Channel’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 Shelford Channel 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, with the shelf / peak corner switchable between 8K or 16K.
The Diode Bridge Compressor
Like the Inductor EQ and Transformer Gain microphone preamp, the Diode Bridge Compressor in the Shelford Channel is based on the same topologies found in Rupert’s vintage designs – but refined & adapted for the modern engineer.
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 Shelford’s diode bridge compressor is a dynamic tool equipped to make a statement on virtually any mix or track.
MIC PREAMP
INPUT IMPEDANCE
2200 Ohm
MAXIMUM INPUT
- +21.5 dBu from 150 Hz to 22 kHz
- +8 dBu 20 Hz to 22 kHz
NOISE
- Un-weighted, 22 Hz-22 kHz, source impedance 150 Ohm balanced.
- Main Out @ unity gain -100.9 dBu
- -6 dB Out @ unity gain -106.6 dBu
- +30 dB gain (Main Out) -91.37 dBu
- +66 dB Gain (Main Out) -64.1 dBu
- Equivalent Input Noise -121.37 dBu
FREQUENCY RESPONSE
+/-0.25 dB from 17 Hz to 45 kHz
DIRECT INPUT
MAXIMUM INPUT
8 dBu @ 20 Hz to 120 kHz
NOISE (MAIN OUTPUT)
-100 dBu (22 Hz to 22 kHz)
LINE INPUT
MAXIMUM INPUT LEVEL
+30.5 dBu 20 Hz to 30 kHz
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.002%
- @ 20 Hz, +20 dBu output level, no load: 0.05% Typical (2nd and 3rd harmonic)
NOISE (MAIN OUTPUT)
Un-weighted, 22 Hz - 22 kHz, source impedance 40 Ohm balanced, no load.
-101.1 dBu
FREQUENCY RESPONSE
+/- 0.25 dBu from less than 10 Hz to 110 kHz
-0.32 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
+26 dBu @ 16 Hz to 20 kHz
TOTAL HARMONIC DISTORTION AND NOISE WITH SILK ENGAGED
RED
- MIN TEXTURE @ 100 Hz, +20 dBu input level, no load: 0.0131%, mostly 3rd harmonic (typical)
- MAX TEXTURE @ 100 Hz, +20 dBu input level, no load: 1.66%, mostly 2rd harmonic (typical)
BLUE
- MIN TEXTURE @ 100Hz, +20 dBu input level, no load: 0.0079%, mostly 3rd harmonic (typical)
- MAX TEXTURE @ 100Hz, +20 dBu input level, no load: 0.941%, mostly 2rd harmonic (typical)
HIGH PASS FILTER
- Continuously variable swept frequency from 20 Hz to 250 Hz.
- Slope: 12 dB/Octave
EQ NOISE
Un-weighted, 22 Hz-22 kHz: -92 dBu
SIGNAL PRESENT
Illuminates GREEN when input stage signal level reaches -20 dBu
OVERLOAD INDICATOR
Illuminates RED when input stage signal level reaches -23 dBu
DIODE BRIDGE COMPRESSOR
- NOISE (BW 22 Hz – 22 kHz)
- 0 dB Makeup Gain: -84.5 dBu
- +20 dB Makeup Gain: -64.2 dBu
TIME CONSTANTS
- Measurements taken represent full range achievable between 1.5:1 Ratio and 8:1 Ratio setting.
- 0 dBu I/P 1kHz Burst Tone used for all recorded measurements.
- Fast (TC1): Attack 180µS — 1.8mS // Release 100mS – 150mS
- MedFast (TC2): Attack 750µS – 5.25mS // Release 160mS – 250mS
- Med (TC3): 2.7mS – 18mS // Release 350mS – 525mS
- MedSlow (TC4): 4.6mS – 38mS // Release 600mS – 1 S
- Slow (TC5): 11mS – 72.5mS // Release 800mS – 1.25 S
- Auto (TC6): 5.75mS – 35.5mS // Release T1 400mS – 850mS, T2 TBD
- “Fast” Mode Multiplier: Modifies aforementioned TC’s by 70% of original value
PRODUCT DIMENSIONS
19” (48.3 cm) x 10.5” (26.7 cm) x 1.75” (4.4 cm) | 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.
| 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. |
- 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.
| 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
Miscellaneous
- power supply: external DC-adapter with 12 V/1000 mA
- dimensions: 19“, 1 HE, ca. 190 mm deep
- weight: 2.5 kg
| Firmly rooted in six decades of console design experience, the 5057 Orbit gives your mixes the legendary tonality, power, and wide-open soundstage that only Rupert Neve’s class-A analog summing can provide. Coupled with Rupert’s famous custom audio transformers and Silk Red & Blue circuitry for variable harmonic saturation, the Orbit launches sterile in-the-box mixes to new heights of tone, depth and clarity – without compromising the recallable convenience and repeatability of your DAW-based workflow.
When you push a mix buss and output transformers towards saturation, the non-linear, musical harmonics that occur are what truly glue a recording together and bring it to life.
Rather than using an external summing solution that offers little more than an ultra-clean representation of the in-the-box experience, the Orbit provides the extraordinary richness, harmonic complexity and depth that only a Rupert Neve console can bring to your mixes.
The Orbit utilizes a highly custom output transformer configuration originally developed for the acclaimed Shelford Channel, which provides both a Main Output and a -6dB Output – the latter of which enables you to fully drive the Orbit to achieve more transformer harmonics without clipping the next device in the chain. This unique transformer drive is a hallmark of the sound of Rupert Neve throughout the years – and the sound of countless classic hit records.
Classic Sounds on Demand
Every mix demands its own treatment. In addition to the choice of outputs, the continuously variable Texture control with Silk Red and Silk Blue modes gives you complete control over the harmonic density and tonality of your mix – or lets you keep it utterly pristine and uncolored.
The Silk Red mode accentuates transformer saturation in the high and high-mid frequencies to amplify the vibrant midrange harmonics associated with Rupert’s vintage equipment, while Silk Blue accentuates saturation of the lows and low-mids to add thickness and weight to any source – especially useful for “thin-sounding” mixes. Unlike EQ, these Silk & Texture controls saturate the output transformers, and add highly musical harmonics to the source material according to the amount of Texture applied.
Drive the mix buss hard, choose your Silk flavor, and crank the Texture knob for a rich, saturated, vintage vibe – or disengage Silk entirely for clear, wide-open sonic beauty. The choice is yours.
Build your Dream
While the Orbit is an extremely effective tool on its own, multiple units can be combined through the Buss Link for a higher channel count. The 5057 Orbit can also be used as a building block in an expandable summing system utilizing the 5059 Satellite for flexible summing & routing, and the 5060 Centerpiece for additional mixing and monitoring features.
These units create the core of a world-class analog modular console system rivaling any traditional large-scale studio setup.
Channel Separation and Accuracy
With precisely fixed channel levels and accurate mix buss attenuation via high-quality stepped switching, the Orbit’s purist signal path has vanishingly low crosstalk, and channels matched to within +/-0.1dB. This provides your mixes with the widest and most accurate stereo image, the greatest depth, and the most direct signal path, allowing you to hear every single detail of your mixes.
DAW Based Recall without Compromise
Frequent recalls can be a challenge for modern mix engineers. The Orbit’s elegant simplicity and fixed level accuracy provides rapid, repeatable DAW-based recall from mix to mix, while adding the rich, unrivaled sound quality of Mr. Neve’s class-A transformer-coupled mix buss.
INPUT IMPEDANCE
16K Ohm
FREQUENCY RESPONSE
- 10 Hz to 50 kHz: +/- 0.1 dB
- 150 kHz: -3 dB
NOISE
- From 22 Hz - 22 kHz.
- -90 dBu typical
MAXIMUM INPUT LEVEL
@ 1 kHz: +26 dBu
MAXIMUM OUTPUT LEVEL
@ 1 kHz: +26 dBu
THD+N%
- From 22 Hz - 22 kHz.
- 0 dBu @ 1 kHz: 0.003%
- +20 dBu @ 1 kHz: 0.0006%
CROSSTALK
- 1 kHz: -103 dBu
- 10 kHz: -93 dBu
PRODUCT DIMENSIONS
19” W (48.3 cm) x 9” D (22.9 cm) x 1.75” H (4.4 cm)
SHIPPING DIMENSIONS
24” L (61 cm) x 13” W (33 cm) x 4” H (10.2 cm)
SHIPPING WEIGHT
10 lbs (4.5 kg) |
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