| Content | The Warm Audio BUS-COMP is an all-analog, 2 channel, stereo VCA bus compressor based on classic circuitry that has provided silky smooth tone for decades. Stereo VCA bus compressors are masterful at controlling dynamics on many sources, but they have become widely known for their magic touch on stereo mixes.
The BUS-COMP will perform well on stereo mixes, drum mixes, drum overheads, acoustic guitars, keyboards, piano, orchestral instruments, voice-overs and an array of other sources. The BUS-COMP is primarily designed for stereo use, but it can be used just as successfully on individual mono sources. VCA bus compressors of this type have become widely loved for their ability to control dynamics effortlessly but also for the added tone and depth they provide to the audio signal that passes through them, even when no compression is applied.
Re-creating legendary VCA bus compressor technology was the focus of the BUS-COMP’s design, however, adding options and improvements was just as important to us during its development. One feature we are proud to boast is the BUS-COMP’s ability to have USA made CineMag transformers inserted into the signal path driven by fully discrete operational amplifiers. With a single push of a front panel switch, these custom USA made transformers are inserted into the audio’s path providing increased depth, tone and vibe!
As with all of the products we develop here at Warm Audio, the BUS-COMP was designed with a price point in mind. With efficient, modern manufacturing techniques we are proud to bring this boutique quality, classic VCA bus compressor to the market at a quality-to-price ratio previously unseen. More studios than ever before will now have access to analog quality VCA bus compression. Our desire is for all musicians to be heard the way they want to be heard and we feel the BUS-COMP is the perfect tool to perfect any mix!
- ALL ANALOG, 2 CHANNEL, STEREO VCA BUS COMPRESSOR
- BASED ON LEGENDARY VCA BUS COMPRESSOR TECHNOLOGY
- SELECTABLE DISCRETE OPAMP STAGE WITH CINEMAG USA TRANSFORMERS
- EXTERNAL SIDE CHAIN SOURCE SELECT
- SELECTABLE HI-PASS FILTER: 30, 60, 105, 125, 185 HZ
- COMPRESSOR ENGAGE SWITCH FOR EASY A/B COMPRESS VS. NO-COMPRESS COMPARISON
- PERFORMS WELL ON STEREO MIXES, DRUM MIXES, DRUM OVERHEADS, ACOUSTIC GUITARS, KEYBOARDS, PIANO, ORCHESTRAL INSTRUMENTS, VOICE-OVERS AND ENDLESS OTHER SOURCES
- CAN BE USED ON STEREO AS WELL AS INDIVIDUAL MONO SOURCES
- THAT 2180 VCAS
- OPTIMALLY PROVIDES BOTH XLR AND TRS CONNECTIVITY
- NOISE: < -90DBU
- DYNAMIC RANGE: > 120DB
- FREQUENCY RESPONSE: 18HZ – 22KHZ
- THD + NOISE, 20HZ – 20KHZ, +20DBU INPUT: < .05%
- INPUT IMPEDANCE: 10K OHMS
- OUTPUT IMPEDANCE: 50 OHMS
| 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. | Rackmount PG-X Power Conditioner with PG-90 Filtering Technology, Panasonic and Wima capacitors, eight rear switched, filtered and surge protected outlets, one front-panel switched convenience outlet and USB port for device charging.
Your gear deserves the best power, and we took great care in making sure the PG-X delivers just that — thanks to PG-90 Filtering Technology. In testing, this has provided an average of 90% of noise filtering, as opposed to the typical average of 76% found in other power conditioners at the same price point.
Confidence Inspiring Power
There’s nothing worse than scoring that “must-have” piece of gear, only to find that it’s noiser than should be expected, missing high frequency detail, or even worse — having it fried by power surges!
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-X: taking industry-standard designs, and improving them to the point of peak performance.
After creating the original PG-1, Black Lion Audio knew that plenty of professionals on a smaller budget felt left out, as some features might not be as important as an economy price-point. The PG-X was built with this in mind, while still providing best-of-class power conditioning!
High-end Filtering
Your gear deserves the best power, and we took great care in making sure the PG-X delivers just that — thanks to PG-90 Filtering Technology. In testing, this has provided an average of 90% of noise filtering, as opposed to the typical average of 76% found in other power conditioners at the same price point.
Professional Power
The PG-X features a bank of eight switched, filtered and surge protected outlets on the back panel. On the front panel, the PG-X sports one unswitched convenience outlet and a USB port for device charging.
It takes more than a few rack-mounted outlets to inspire true confidence in your power conditioner, and that’s where the PG-X delivers: best-of-class power filtering!
- Protects your gear from power-spike damage
- Provides clean, well-regulated power for optimum performance
- Features PG-90 Filtering Technology
- Top-drawer components and design for superior power and noise filtering
- Built with premium Panasonic and Wima capacitors
- Rugged 1U rackmount chassis
- 8 switched, filtered, and surge-protected outlets on rear panel
- 1 filtered convenience outlet on front panel
- USB port on front panel
Type: Rackmount
Number of Outlets: 1 x Front, 8 x Rear
Output Current: 15A
USB: 1 x Type A
Features: High frequency noise filter
Rackmountable: Yes
Power Source: Fixed AC cable
Height: 1.7″
Width: 19″
Depth: 9.8″
Weight: 3 lbs. | FEATURES
- 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps
- Continuously variable +/-6 dB level control
- Silk circuit, reduces negative feedback, adding harmonic content as needed
- Red Silk accentuates the saturation in the mid and high frequencies
- Same presence and sweetness found in standard Portico Series modules
|
Number of Channels |
Single |
|
Inputs |
1x XLR, balanced |
|
Output |
1x XLR, transformer-balanced |
|
Maximum Output Level |
+23dBu |
|
Meter |
8 segment LED meter |
|
Power Requirements |
Power Requirements @ +/-16VDC 100mA |
|
Dimensions |
Not specified by manufacturer |
|
Box Dimensions (LxWxH) |
10.2 x 7.8 x 2" |
| 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 |
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