| Content | 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
| 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. | There’s no doubt that when it comes to power, musicians have it bad. Whether it’s modern modeling amplifiers, or vintage synthesizers, bad power is gonna be heard throughout your signal. And it’s everywhere — in homes, on stages, and especially in many rehearsal rooms.
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-P: taking industry-standard designs, and improving them to the point of peak performance.
After creating an entire lineup of industry-best power conditioners, Black Lion Audio felt it was time to give the world proper portable power. The PG-P might look like a run-of-the-mill surge protector, but in reality it’s a studio-class power conditioner — PG-P doesn’t just provide more noise filtering than other portable conditioners, it provides the same noise filtering found in the majority of the world’s rack-mount power conditioners!
Your gear deserves the best power, and Black Lion Audio took great care in making sure the PG-P delivers just that — thanks to it’s PG-P Filtering Technology. The PG-P is built using premium Panasonic capacitors, due to their superior execution in eliminating high frequency noise that robs equipment of its peak performance. In testing, this has provided an average of 3x the noise filtering of other portable power conditioners at the same price point. Six wall-wart spaced outlets provide studio-grade power on the go; perfect for any musician’s rig!
- PG-P Filtering Technology for an average of 3x the noise reduction of other portable power conditioners
- The same noise filtering found in the majority of rack-mount power conditioners
- 6 wall-wart spaced outlet power conditioner
- Status LEDs for quick power analysis
- High-end Panasonic capacitors to filter out performance-robbing high-frequency noise
- Tour-grade 9ft power cable
- Proper safeguard protection with a power absorption rating of 540 joules
- Recessed feet keep the PG-P from sliding, while still providing mounting options (screw mount, velcro, etc.)
- Rounded corners make for a gentle surface area for smaller power cords.
| With a big, bold preamp, a swept high-pass filter and the powerful saturation control of variable Silk, the 511 combines legendary Rupert Neve tone with 500 Series value.
What is Silk?
One of the key features of the 511 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.
NOISE
- Measured at Main Output, un-weighted, 22 Hz - 22 kHz, source impedance 150 Ohm balanced. Noise performance can vary depending on the 500 series and / or interference from stray magnetic fields.
- Unity Gain: Better than -103 dBV
- Gain @ +66 dB: Better than -60 dBV
- Equivalent Input Noise: -125 dB
FREQUENCY RESPONSE
- Main output, no load.
- +/- 0.1 dBu from 10 Hz to 31.5 kHz
- -2.6 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
+23 dBu
TOTAL HARMONIC DISTORTION AND NOISE, NO SILK
- @ 1 kHz, +20 dBu output level, no load: Better than 0.0025%
- @ 20 Hz, +20 dBu output level, no load: 0.025% Typical (2nd and 3rd harmonic)
TOTAL HARMONIC DISTORTION AND NOISE WITH SILK ENGAGED
- @ 100 Hz, +20 dBu input level, no load.
- TEXTURE @ min: 0.015%, mostly 3rd harmonic typical
- TEXTURE @ max: 2%, mostly 2rd harmonic typical
GAIN
- Unity up to +66 dB in 6 dB steps.
- Trim continuously adjustable from -6 dB to +6 dB.
PHANTOM POWER
Supplied by the 500 series rack power supply. Switch selectable on faceplate.
HIGH PASS FILTER
- Continuously variable swept frequency from 20 Hz to 250 Hz.
- Slope: 12 dB/Octave
POWER REQUIREMENTS
@ +/-16VDC, 100mA | 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. |
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