| Content | TC2290-DT is a groundbreaking, versatile delay solution that features a dedicated hardware interface with full DAW integration and powerful signature presets that will fuel your inspiration and add instant character to your tracks.
Capable of conjuring up virtually any conceivable delay type, TC2290-DT makes it easy to vitalize your tracks with everything from crisp repeats, to complex delay rhythms and ultra-expressive modulated soundscapes.
TC2290-DT’s sleek tactile controls and authentic tone recreations gives you total creative control of your delay, allowing you to explore and experiment to your heart’s content. With its superior sound quality and extremely musical response, TC2290-DT is like adding another musical instrument to the mix!
- Desktop controlled plug-in brings legendary TC2290 dynamic delay to your DAW
- Complete delay solution with extensive modulation capabilities for your favorite audio software
- High-quality tactile interface with authentic "look and feel" of celebrated TC2290 rack delay
- Custom-designed signature presets featuring world-class artists and recording engineers
- High-resolution input/output meters for accurate signal monitoring
- DAW tempo, automation and project recall support
- Award-winning TC ELECTRONIC algorithms for cutting-edge effects
- Powered by USB
- - ready for Mac* and PC
- Standard VST*, Audio Units* and AAX* plug-in processing, compatible with all major DAWs including Pro Tools*, Cubase*, Nuendo*, Logic Pro*, GarageBand* and Ableton Live*
| 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.
| 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%
| 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. | 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″.
| Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities.
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 535 Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.
LINE INPUT TO LINE OUTPUT
- Compressor Bypassed.
- Z source = 40 Ohm Balanced
INPUT IMPEDANCE
10K Ohm
OUTPUT IMPEDANCE
40 Ohm
MAXIMUM INPUT LEVEL
+23.5 dBu
MAXIMUM OUTPUT LEVEL
+23.5 dBu
NOISE
- 22 Hz - 22 kHz BW.
- -101 dBu
FREQUENCY RESPONSE
- 10 Hz - 120 kHz, 30ft Output XLR Cable.
- +/- 0.25 dB
THD+N
- @ 1 kHz @ Maximum Output Level, 22 Hz - 22 kHz BW.
- 0.001%
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