Compressors Limiters & Gates

Notes: The S-Com 4 is a compact and versatile single-rack space device that provides four channels of high-quality dynamic processing with an Expander/Gate and Compressor/Limiter on each channel.

The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control, as well as a switch for fast or slow release times. The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S-Com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression.

This wide-ranging combination of features makes the S-Com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative.

Notes: Ideal for vocals or instruments, the Solo VLA delivers proper analogue compression at an affordable price. Optical compression and 12AT7 valve circuitry combine for real hardware character.

Supplier's Notes:
Whether it's to fatten up an instrument take, smooth out a vocal performance or prevent clipping while laying down tracks, the ART Solo VLA will elevate your projects to the next level.

The Solo VLA Multi-Voice Tube/Opto Compressor was designed to excel in applications where transparent, musical dynamic control is desired. The Blend control lets you combine the dry and processed signals for parallel compression, perfect for preserving your full dynamic range while adding fullness and sustain. Select between a pristine solid-state path or a class-A vacuum tube gain stage for warmer saturation.

The Solo Series of single channel rackmount units have been developed for the recording enthusiast with a preference for simplicity.

Specifications

Input Impedance: 10k ohms Line In
Output Impedance : 47 ohms Line Out
Equivalent Input Noise: +4dBu mode -99dBu ('A' weighted), -10dBv mode-107dBu ('A' weighted)

Maximum Levels Range Switch: +4dBu/-10dBv selectable Inputs +25dBu (in +4dBu mode) / +16dBV ( -10dBV mode)
Output +25dBu : +25dBu
Output Gain: +15dB Line In
Dynamic Range: >100dB (20-20kHz)
Frequency Response: 20Hz to 80kHz (+ 0/-1dB)
Dynamic range : >110dB ("A" weighted)
THD@ 0dBm Out: <0.02% (typical)
Attack Time : 0.25msec. to 50msec. variable
Release Time: 150msec. to 3sec. variable
CMRR : >90dB THD <0.005% (typical
Compression Ratio (Slope) Variable: 1.25:1 to 20:1
Maximum Attenuation: 30dB
Maximum Instrument Input : +17dBu
Power Requirements: 100-120V 60 Hz / 220-240V 50Hz

Dimensions: (HxWxD)
1.75-inch x 19-inch x 6.0-inch / 4.45 cm x 48.3 cm x 15.2 cm

Weight :5.6 lb / 2.5kg

Box Dimensions: (HxWxD)
5" x 20.4" x 7.44 / 12.6 cm x 51.8 cmx 18.9 cm

Notes: Everything you need from a hardware pre-amp. Clean and clear transistor amp or warm and juicy valve amplification, suitable for any mic or sound source. Top quality stuff at a great price.

Supplier's Notes:
The Solo MPA Multi-Voice Tube Preamplifier allows users to blend between a pristine low-noise/low-distortion solid-state transistor circuit and a warmer Class-A tube mic preamp.

The flexible EQ controls allow users to voice the Solo MPA to create their signature sound. Featuring 48V phantom power and a variable input impedance control, users can tailor the Solo MPA to suit their microphone of choice, be it a high-quality dynamic, a studio-grade condenser, or a low-level ribbon

The Solo Series of single-channel rackmount units have been developed for the recording enthusiast with a preference for simplicity.

Specifications

Frequency Response: 15 Hz to 50 kHz (+0, -1dB)
Dynamic range : >110dB ("A" weighted)
CMRR : >90dB THD <0.005% (typical
Equivalent Input Noise: -129dBu (XLR, "A" weighted)
Maximum Input Level : +19dBu (XLR)
Maximum Instrument Input : +17dBu
Input Impedance: 600-80K ohms adjustable (XLR), >800k ohms (Instrument), +27dBu (XLR)
Output Impedance : < 47 ohms (XLR)
Maximum Gain: 75dB
Meter Calibration: 0VU = +4dBu output (+4dBu mode) 0VU = -10dBV output (-10dBV mode)
Low Cut Filter : Single pole,10-200Hz adjustable
Tilt EQ: +/- 12dB adjustable
Power Requirements: 100-120V 60 Hz / 220-240V 50Hz
Dimensions: (HxWxD) 1.75-inch x 19-inch x 6.0-inch / 4.45 cm x 48.3 cm x 15.2 cm

Weight: 5.6 lb / 2.5kg
Box Dimensions: (HxWxD): 5" x 20.4" x 7.44" / 12.6 cm x 51.8cm x 18.9cm
Note: 0 dBu = 0.775Vrms

Notes: Compression, expansion, noise gates and limiting are the cornerstones of the 50th anniversary Model 2830*Au Omnipressor, a true powerhouse of dynamic processing from one of the most iconic names in the business.

Supplier's Notes:
In 1973, Eventide Clockworks introduced the Omnipressor, the first studio product to encourage the use of dynamics for special effects. It joined the Instant Phaserr in studios worldwide, with the Instant Flanger following shortly after. All were used on countless recordings and are now considered truly classic products. Unlike the Phaser and Flanger, the Omnipressor, with its still-unique dynamic reversal, infinite compression, variable gating and separate "side chain," was discontinued a few years later. It had become difficult to obtain some exclusive parts and even more difficult to explain it to an industry that was much less sophisticated than it is today.

Omnipressor was the first dynamics effects processor of any kind, suddenly making possible a new, wide range of dynamics effects unlike anything that had come before it. Originally invented by Eventide's founder, Richard Factor (and later redesigned for production by Jon Paul), the Omnipressor made a host of dynamic effects possible. It featured variable control of all aspects of dynamic modification. It also introduced the notion of the 'side chain' and foretold techniques that today we take for granted like 'look ahead' processing. One of Eventide's first customers was Brian May, the lead guitarist of Queen.

Eventide now announces the golden-anniversary Omnipressor Model 2830*Au. The original handdrawn schematics were in the Eventide archives, and the new model is a faithful replica designed with the same circuitry and the same sound as the original 2830.

The new *Au model features the ability to link multiple units and is fitted with input and output audio transformers, which were a costly option on the original. Other improvements include a universal power supply and a back-lit meter, as well as more convenient TRS/XLR connectors replace the original terminal strip.

Specifications

Analogue Audio I/O

XLR and 1/4" Line In
XLR and 1/4" Line Out
XLR and 1/4" Side Chain In
XLR and 1/4" Side Chain Out
1/4" Link In
1/4" Link Out

Physical

Size

Inches: 3.5h x 19w x 8.9d
Metric: 8.9h x 48.3w x 31.7d
Weight
14 pounds (6.4kg) net

What's in the box:

Omnipressor
US-type IEC power cord
Omnipressor poster
Omnipressor manual
Eventide sticker
Eventide guitar pick

Notes: The nABC+ is a unique stereo, analog, digitally controlled sidechain compressor.

Its sound spans from clean and smooth to warm and saturated, thanks to the high-gain analog preamps. The digital control unlocks features that are impossible with any other compressor. Compression can be triggered by MIDI, analog gate/CV and audio signals.

The nABC+ includes extra features designed with live musicians and small studios in mind. For example, you may mix your sidechain signal and the compressed audio directly inside the nABC+, saving on mixer channels and cabling. If you play with acoustic drums, you may even plug a dynamic drums microphone directly to the sidechain input, without need for external preamplifiers or mixers.