| Content | Whether you’re tracking, mixing, or just listening to music, your headphone amplifier is as important to the final sound quality as your headphones – yet the world is full of headphone amps with compromised sonics, headroom, and power. To address these shortcomings, Rupert and his team at Rupert Neve Designs developed the RNHP.
Based on the headphone output circuit in the 5060 Centerpiece Desktop Mixer, the RNHP is a dedicated 24V reference-quality headphone amplifier with +4dBu balanced line, unbalanced RCA and 3.5mm (1/8”) inputs – each specifically calibrated for optimum level and impedance – and housed in a rugged, VESA-mountable steel chassis.
Dedicated vs Integrated Amplifiers
For much equipment, the headphone output is an afterthought. Most products with integrated headphone amps have large feature sets, small footprints, and relatively low price points. This leads to compromised power and audio quality of the headphone amplifier itself, which can lead to a number of issues in real world usage such as low headroom, unreliable performance, and a lack of focus.
The RNHP was made to accomplish one simple purpose: making any headphones sound their best. As a dedicated design, the RNHP is tailored to deliver extremely high quality, powerful amplification, with precise calibration for any source input. This exceptional level of quality can be the difference that inspires an artist to give their best performance, lets an engineer make better choices in mic and placement, gives a mix engineer reliable translation of EQ and dynamics adjustments, or lets a music listener appreciate the full depth and detail of a recording.
MAXIMUM INPUT LEVELS
- “A” XLR I/P: +22.8 dBu @ 1 kHz
- “B” RCA I/P: +14.7 dBu @ 1 kHz,
- “C” 3.5mm I/P: +3.3 dBu @ 1 kHz
OUTPUT POWER
- As measured with typical headphones, Z=44 Ohm: 3.617 VAC RMS @ 1 kHz = 300mW RMS.
- 16 Ohm typical Load: 1.933 VAC RMS @ 1 kHz = 230mW RMS
- 150 Ohm typical Load: 5.108 VAC RMS @ 1 kHz = 175mW RMS
OUTPUT IMPEDANCE
.08 Ohm @ 1 kHz, 16-150 Ohm load, 0 dBu input
FREQUENCY RESPONSE
+/- .2 dB from 10 Hz to 120 kHz
NOISE
- Measured with typical headphones, Z = 44 Ohm, BW 22 Hz - 22 kHz.
- “A” XLR Input: -101.9 dBV,
- “B” RCA Input: -100.9 dBV
- “C” 3.5mm Input: -88.8 dBV
DIMENSIONS
6.5” wide x 4.6” deep and 1.9” tall
POWER SUPPLY REQUIREMENTS
24VDC @ 0.25Amp (6 watt) minimum. Use with supplied power adapter, as this has been carefully selected for best output power and noise performance. May be used with a properly configured 24V battery as well. | Imagine having the power and flexibility of the OP-Z sequencer available to any other music equipment. Now you can, with the new oplab module - the magic link between OP-Z and the rest of the world. The oplab module is the first hardware expansion module for OP-Z. once mounted in the back of your OP-Z, you can use it to connect to any equipment using standard cv and gate, such as the pocket operator modular or any other modular system. It features three cv outs and one gate out, all programmable and playable from OP-Z. have your wall of modules sequenced from the palm of your hands. Use the po sync out to unleash the power of your regular pocket operators and have them play in sync with the rest of your setup. Even connect standard midi devices, using midi over 3.5 mm jack or the included midi over din adapter cable. Oplab features both midi in and out ports as well as trig in and out for other synthesizers and sequencers. | 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 8Ω 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 Load’s internal load is bypassed and the amp will see the load of the physical cabinet.
SPEAKER INPUT IMPEDANCE: 8 Ohm
DI / LINE OUT LEVEL: +4 dBu at 7 watts input, maximum level setting
BALANCED LINE OUTPUT IMPEDANCE: Less than 6KΩ
UNBALANCED LINE OUTPUT IMPEDANCE: Less than 6KΩ
MAXIMUM RECOMMENDED INPUT POWER: 100 Watts RMS
ROHS COMPLIANT: Yes
DIMENSIONS: 8.8" (W) x 8.9" (D) x 3.6" (H)
WEIGHT: 6.6lb | 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. | 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
| Arguably the coolest and most unique device in the Empirical Labs arsenal, the FATSO (Full Analog Tape Simulator and Optimizer) is a digitally controlled analog device that gives musicians and engineers easy access to many of the desirable characteristics exhibited by older tube and Class A electronics and magnetic tape mediums. This two channel audio processor musically integrates frequencies and transients, increasing the apparent volume while keeping tight control over peak levels.
With the FATSO, recording studios and audio production facilities can enhance and soften the sound of Hardware Digital Recorders (HDRs) and Digital Audio Workstations (DAWs). Mix engineers will have the option not to have to use bulky, expensive analog tape recorders to get the warmth and sweet high end they’ve come to rely on for so many decades. Owners of DAWs and HDRs can finally put a stop to complaints about the coldness and brittle edge of their mixes and instruments. Even audiophiles can benefit from the FATSO, bringing back the warmth and ambience of LP’s and tapes to their CD players and other digital reproduction mediums.
The FATSO Goes to Eleven
ELEVEN is a new compressor for the FATSO, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower “1176” attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc. Click here to find out how to upgrade your EL7 to an EL7X.
Four Types of Processing
- Harmonic Generation and Soft Clipper (Distortion Generation) – this class A circuit gently rounds the peaks like saturated tubes or tape.
- High Frequency Saturation (Warmth) – a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.
- Transformer & Tape Head Emulation – a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterize them, as well as analog tape..
- Classic Knee Compression – your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression – smooth and sweet, but in your face!
Universal Audio's FATSO Emulation
Endorsed and scrutinized for accuracy by designer Dave Derr of Empirical Labs, Universal Audio has painstakingly recreated the FATSO Jr. in this highly anticipated UAD Powered Plugin, capturing the sonic nuances of the original hardware. As part of the FATSO Powered Plugin, UA has also worked closely with Dave Derr to model the original concept of the FATSO, the FATSO Sr., with attack, release, and threshold compressor controls, among other features not available elsewhere.
Frequency Response: 2 Hz to 60 kHz in clean audio mode (+0, -3 dB).
Dynamic Range: 110 dB from maximum output (20 %THD soft clipping) to minimum output. Greater than 100 dB signal to noise.
Distortion: Ranges between .06% and 20% depending on mode and settings.
I/O: DC Coupled input and outputs.
Compressor Time Constants: Attack range 1ms – 60ms. Release range .05sec – 3.5 seconds. Attack and Releases are fixed by the compression type selected.
Power Consumption: 15 Watts Max.
Metal Chassis: single height 1.75″ high, 10″ deep, 19″ wide. |
Reviews
There are no reviews yet.