| Content | Simple and elegant, the 5211 is the natural evolution of what is arguably the most famous gear in audio recording history: Rupert Neve’s microphone preamps.
With two channels of the classic tone you know and love, 72dB of gain, sweepable high-pass filters for precise control, and the power of Mr. Rupert Neve’s dual-tap transformers with variable Silk saturation, the 5211 delivers a versatile, flattering, and uncompromising front end for any signal path. In short, it’s everything a mic preamp should be.
What is Silk?
One of the key features of the 5211 is the Silk / Texture control. The Silk circuit was initially developed for the original Portico series mic preamplifiers, and was only a single switch – on or off – that added a specified amount of musical, pleasing harmonic saturation to the unit’s output stage.
Taking this concept one step further, the Texture knob is designed to adjust the actual amount of harmonic content from the source material.
So how does it work? By reducing negative feedback across the output transformer and adjusting this feedback’s frequency response, the Silk / Texture circuit provides the sweet, musical saturation found in Rupert’s legendary vintage designs – but with complete & precise control over the amount of classic tone you want. And when the level is driven to the edge of its headroom, the Silk effect is multiplied.
Why a -6dB Output?
Complementing the Silk circuit is the custom-designed output transformer from the renowned Shelford Channel, 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.
Unlike the Shelford Channel, which uses a mic input transformer for a more vintage topology, the 5211’s input is fully transformerless, maximizing signal clarity direct from the microphone. Combined with the more extreme saturation from both variable Silk and the custom output transformer’s lower-headroom tap, the 5211 is capable of producing tones ranging from thick & warm to breathtakingly delicate & clear. It’s the best of old and new alike.
MAXIMUM INPUT LEVEL
@ 1 kHz: +26 dBu
NOISE
- Un-weighted, 22 Hz - 22 kHz, 150 Ohm input termination
- Line Out (Unity Gain): -104 dBV, -101.9 dBu
- -6 dB Line Out (Unity Gain): -109 dBV, -107 dBu
- Line Out (+30 dB Gain): -98 dBV, -96 dBu
- Line Out (+66 dB Gain): -66 dBV, -64 dBu
EQUIVALENT INPUT NOISE (EIN)
-128 dBV, -126 dBu
FREQUENCY RESPONSE
-0.2 dB at 10Hz, -2.9 dB at 120kHz
MAXIMUM OUTPUT LEVEL
- 1 kHz: +26.5 dBu
- 20 Hz to 30kHz +26 dBu
TOTAL HARMONIC DISTORTION AND NOISE (WITHOUT SILK)
- 1 kHz, +20 dBu O/P level, no load 0.0015%, typical
- 20 Hz, +20 dBu O/P level, no load less than 0.02%, typical
TOTAL HARMONIC DISTORTION AND NOISE (WITH SILK ENGAGED)
- TEXTURE @ min, 100 Hz, +20 dBu O/P level, no load: 0.03%, mostly 3rd harmonic
- TEXTURE @ max, 100 Hz, +20 dBu O/P level, no load: 1.5%, mostly 2nd harmonic
POWER CONSUMPTION
35 W (Max)'
PRODUCT DIMENSIONS
19” W x 1.75” H x 7 ⅝” D
SHIPPING WEIGHT
11 lbs. (5 kg)
SHIPPING DIMENSIONS
23” W x 15” D x 7” H (58.4cm W x 38.1cm D x 17.8cm H) | 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. |
- 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.
| 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″.
| Condition: Item is subject to minor cosmetic imperfections. Packaging may be in poor shape. The item displayed in the images may not be the actual item you receive.
- 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 | 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. |
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