FMR Audio

Notes: What It Is

The PBC-6A "vintage-y" compressor possesses sonic bits'n'pieces reminiscent of many vintage compressors. From mild and smooth satin-like sound to over-the-top squashing, the PBC can be dialed-in to enhance almost any sound source. The PBC provides an unusual control complement to provide maximum flexibility in dynamically sculpting your sound: variable sidechain, sidechain access, hyper-exponential & linear release envelope control (Normal/THICK mode), 4 different linking methods, separate ATTACK & RELEASE time controls, hardwired bypass function and balanced audio input/output stages.

How It Sounds

The PBC is capable of a large range of effects. In a minimum DRIVE and KNEE setting, the resulting effects is a subtle, slight textural change to the source. Increasing DRIVE levels and, more drastically, increasing the KNEE control causes a less gradual change from low ratio compression to larger ratios occuring over smaller input signal changes. The result can be a drastic alteration of the source sound. Whether you're trying to get a sound to "sit right" in the mix or create over-the-top sonic effects, the PBC can be adjusted to help you realize your vision!

How It's Done

Combining FMR Audio's trademark digitally-controlled analog processing in a "no-threshold" (i.e., very low threshold) feedback configuration, the input DRIVE, KNEE and SIDECHAIN FILTER controls are key to the PBC's flexibility. Additionally, the THICK control subtly restores the natural transient dynamics to the signal.

Notes: A solid gold modern classic from FMR. The RNC must be one of the biggest studio bargains around. Proper analogue compression with digital control, offering pro sound at an affordable price.

Supplier's Notes:
What It Is

FMR Audio's first product, introduced over 18 years ago, the Really Nice Compressor (RNC) is a compact and cost-effective stereo compressor with a high-fidelity audio path and compression scheme. The RNC provides quality compression at a budget price.

How It Sounds

The RNC provides two modes of operation. One allows the RNC to be used for special effects, like snappy snares or popping basses. The other provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like natural vocals, acoustic guitar or the program bus). The RNC yields clean, airy compression with few artifacts and little high-end loss, even at massive gain reduction! The amazing performance is why- even after almost 20 years- many professionals are calling the RNC one of the best sounding compressors for under $2000.

How It's Done

The RNC achieves such high performance at a low cost by using using a microprocessor to replace discrete sidechain components (resistors, diodes, capacitors, opamps, transistors, etc) with chunks of software, thereby reducing the component cost. This approach, however, still processes the main audio in the analog domain, avoiding the problems associated with digital audio conversion (e.g., latency, digital artifacts). Even the problem of "scratchy" pots and switches are avoided: no audio flows through the front-panel controls. The front-panel pots and swtiches merely feed DC voltages to the microprocessor and it takes care of adjusting parameters and signal path with components - like sealed-relays and VCAs - located close to the input/output jacks avoiding noise pickup and audio quality reduction due to aging controls! With this blend of technology, the RNC offers the accuracy and precision of digital control with the clean tonal character of an all-analog signal path. The RNC's digital control permits accurate repeatability of your favorite settings.

Notes: What It Is

Based upon the successful Really Nice Compressor, this variation not only fits the increasingly popular API500 series rack, but delivers an improved dynamic fidelity befitting the format! This dynamic-range compressor provides positive signal control while leveraging its pedigree for simultaneously reducing collateral sonic damage. Additionally, some thoughtful features have been added that most folks won't overtly notice, but will be glad that they're there: overcurrent protection prevents a rare failure from bringing down your whole 500-series rack, an early-warning power supply detection that causes the RNC500 to enter bypass-irrespective of the front panel switch position-to avoid power-down "pops", a robust 18 guage electro-galvanized enclosure that keeps the delicate electronics safe from harm and helps protect against Electromagnetic Interference (EMI) from affecting things inside or outside of the enclosure.

How It Sounds

As with the original RNC, the RNC500 can exhibit a sonic neutrality while giving the recordist a level-of-control difficult to obtain without adding unwanted artifacts. Unlike the original RNC, however, the RNC500 possesses a sonic "beefiness"-a growl, if you will-that adds a slight, but very compliant, bottom-end to the source material. Years ago, FMR Audio designed a multi-channel RNC for London's famed Air Studios. It was with that device that an RNC with extra "heft" was first encountered. It turns out that much of this "un-RNC like" growl is a result of the higher operating I/O levels like those present on the RNC500. It seems that the harder the RNC500 is hit, the heftier the sound. The RNC500 could be broadly characterised as "clean", but with a hint of attitude...that's under your control!

How It's Done

Like all FMR Audio dynamic audio processing products, sidechain electronics have been replaced with chunks of software to accomplish both a bill-of-materials cost reduction while simultaneously improving dynamic performance accuracy and consistency. The beauty of this approach is that the main signal path (all dynamic audio processors have two paths: a sidechain/control path and the main audio path) remains firmly in the analog domain thereby avoiding latency and digital conversion artifacts that are sometimes unwanted. Coupled with a faster (40x) processor and higher-resolution (24-bit) arithmetic, sealed switches & relays, multi-layer printed circuit board (PCB) the RNC500 will deliver smooth, controllable and reliable compression for years to come.

Notes: What It Is

Years ago, many RNC users pined for less invisible compression and requested that FMR Audio offer a more "colourful" compressor, suitable for bass guitar, drums and other sources in need of added sonic texture. In response, the FMR designer went to the RNC archives and resurrected a version of RNC software that had been rejected for release because it wasn't invisible enough! The result: a compressor reminiscent of some classic opto compressors used to just "level" the signal rather than tame every transient. To celebrate the RNLA's sonic "colour", a bright red knob* was chosen as a visual metaphor. Although the most recent version ships with a less ostentatious red-striped knob (not shown), the RNLA's sonic colour remains bolder than ever...

How It Sounds

"Thick" and "gooey" is how some customers have described the RNLA's sound. The RNLA is, admittedly, much "gentler" and not as apt to grab'n'run with the signal. Like an old-timey photocell, the RNLA is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. This action yields a soft musicality to the compressor's action that adds a desirable characteristic to the source signal.

How It's Done

The RNLA and the RNC share much of the same hardware, but run different algorithms to achieve the desired effect. The RNLA exercises the well-known dictum (among dynamic processor designers) that, after the static characteristics of the signal path, the main contributors to a processor's sound are the shapes of the attack & release envelopes. The RNLA's software then transforms the sidechain signal into a drive signal for the VCA that both slows things down a bit and totally reshapes the crisp and quick action of the RNC's "normal" mode. This reshaping (and slow down) are the primary sonic drivers behind the RNLA's "thick and gooey" sound!

Notes: ***B-STOCK: Box opened, product in perfect working order***


What It Is

Years ago, many RNC users pined for less invisible compression and requested that FMR Audio offer a more "colourful" compressor, suitable for bass guitar, drums and other sources in need of added sonic texture. In response, the FMR designer went to the RNC archives and resurrected a version of RNC software that had been rejected for release because it wasn't invisible enough! The result: a compressor reminiscent of some classic opto compressors used to just "level" the signal rather than tame every transient. To celebrate the RNLA's sonic "colour", a bright red knob* was chosen as a visual metaphor. Although the most recent version ships with a less ostentatious red-striped knob (not shown), the RNLA's sonic colour remains bolder than ever...

How It Sounds

"Thick" and "gooey" is how some customers have described the RNLA's sound. The RNLA is, admittedly, much "gentler" and not as apt to grab'n'run with the signal. Like an old-timey photocell, the RNLA is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. This action yields a soft musicality to the compressor's action that adds a desirable characteristic to the source signal.

How It's Done

The RNLA and the RNC share much of the same hardware, but run different algorithms to achieve the desired effect. The RNLA exercises the well-known dictum (among dynamic processor designers) that, after the static characteristics of the signal path, the main contributors to a processor's sound are the shapes of the attack & release envelopes. The RNLA's software then transforms the sidechain signal into a drive signal for the VCA that both slows things down a bit and totally reshapes the crisp and quick action of the RNC's "normal" mode. This reshaping (and slow down) are the primary sonic drivers behind the RNLA's "thick and gooey" sound!