AVALON COMPRESSOR AD2044

Dual Mono-Stereo Pure Class A Opto-Compressor

The AD2044 features 100% discrete, pure class A signal amplifier configured with high speed current monitored optical control elements. These “invisible” opto elements enable the AD2044 to deliver totally transparent, low noise gain reduction within the minimalist signal path design. No VCAs are incorporated. Variable attack and release controls plus side chain access, provide unlimited creative control from soft compression to hard limiting.


SONIC EXCELLENCE
The Avalon AD2044 Pure Class A opto-compressor is the most transparent, low noise optical-compressor available today. Designed to optimize absolute signal integrity and musical performance, the AD2044 combines advanced electronics with sonic excellence unequaled by lesser designs. The AD2044 is the perfect solution for two buss music-program compression, mono bass and instruments and mastering applications.

Features include state-of-the-art, balanced 100% discrete, Pure Class A signal amplifiers, practical “real-world” user features and rugged hardware designed to deliver true high performance audio for many years.

LINEAR OPTICAL COMPRESSION
Custom manufactured, high speed linear opto elements provide the non invasive passive attenuator system for invisible gain reduction. The AD2044 incorporates a unique external control loop and current monitored optical driver for smooth control plus the benefits of traditional vintage LDR compression.

MINIMUM SIGNAL PATH DESIGN
Avalon’s advanced true symmetry design offers high-voltage, large headroom, extended bandwidth and very low noise. The use of 100% discrete, Pure Class A signal amplifiers offer the serious music professional unlimited sonic character and a natural harmonic detail that enhances the program material and becomes one with the music itself.

The AD2044 can be found in the world’s leading recording studio’s, mastering facilities and artist/producers outboard racks. These professionals rely on the AD2044 daily to help them complete their “sonic signature” and turn recordings into musical masterpieces.

AD2044 SPECIFICATIONS

Circuit topology High-voltage 100% discrete, balanced and symmetrical Class A
Output Gain Range Variable -10dB to +10dB, center detent 0dB
Maximum Input Level +30dB balanced XLR pin 2 hot
Maximum Output Level +32dB balanced 600 ohms, DC coupled, high-current discrete Class A
Input / Output Type XLR type, pin 2 hot balanced
Noise 20kHz Unweighted -94dB (compressor in)
Distortion THD, IMD 0.5% (typical 0.05% at +6dB 1kHz)
Frequency Response -3dB 1Hz to 450kHz (input band limited)
Gain Reduction Meter Illuminated gain reduction meter 0dB to -20dB range
Output Meter Professional moving coil type -20dB to +3dB  (0VU=+4dB)
Compressor Type Optical passive attenuator
Bypass Hard-wire relay bypass for compressor in-out
Link Switch Large illuminated push switch for stereo L-R linking
Make Up Gain Variable 20dB range (-10dB to +10dB)
Threshold Threshold variable -24dB to +20dB
Ratio Ratio-compression variable 1:1 to 20:1
Attack Variable 0.5mS to 150mS
Release Variable 80mS to 5 seconds for 12dB release
Side-Chain XLR type, pin 2 hot balanced (switch/relay selectable from front panel)
AC-DC Power External AC supply, 150w toroidal transformer, 4 pin cable 90v isolated,
(B2T Power Supply Included) 100-240v selectable 50/60Hz, 150w max
Dimensions 19 x 3.5 x 12 in (482 x 88 x 305mm)
Shipping Weight 30lbs (13.6 kg)

Aphex 661 Expressor Tube Compressor/Limiter

Aphex 661 Tube Compressor/Limiter

The Aphex Model 661 is a totally new type of compressor incorporating vacuum tube technology with the latest innovations in audio compression. This single-channel compressor/limiter is loaded with features, consolidating for the first time in one rack space, three patented Aphex circuits: Tubessence®, Easyrider®, and High Frequency Expander®.
Tubessence is a true tube circuitwhich provides that “vintage” tube sound without high the heat, bulk, short life, fragility, and sonic variability found in traditional tube designs.

Easyrider is an Automatic mode that actually works, consisting of the Wave dependent Compressor™ (WDC) circuit which takes the guesswork out of compressing individual instruments and vocals especially in live mixes. WDC automatically adjusts attack and release times according to the complexity of the program material. Its No-Knee™ compression curve makes the transition into compression virtually invisible.

In the Manual mode, the Model 661 provides the full complement of compressor adjustments such as Ratio, Attack, and Release, for maximum flexibility. Express yourself and get those “punch”, “slap”, “fat”, “pump”, and “squeeze” sounds fast and clean.

The 661 includes the patented High Frequency Expander® (HFX) which decompresses high frequencies, with user-adjustable ratio and corner frequency. Add “life” and “air” to your compressed signals without fear of background noise pumping.

The Spectral Phase Refractor™ restores clarity and punch to your tracks. Bass frequencies are more defined with more apparent power. Higher frequencies also seem to gain more detail and presence.

Use the Model 661 to control dynamics for mixdowns, protect your sound system’s loudspeakers from transients and distortion or shape the sound of individual instruments and vocals. Compress dynamic levels without fear of reducing frequency response. Whatever type of dynamics control you’re looking for, it can be done with the Model 661 Tube Compressor / Limiter Expressor®.

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Aphex Aural Exciter 204 Excitador aural estéreo

Aural Exciter 204 Excitador aural estéreo.

•ENTRADAS: 2 XLR o 2 jack 1/4″
•SALIDAS: 2 XLR o 2 jack 1/4″
•Potenciador óptico de graves Big Bottom
•Controles Tune, Harmonics y Drive en Aural Exciter
•Controles Drive, Tune y Mix en Big Bottom

Excitador aural estéreo.
Mejora audible de mezclas estéreo en estudios, directo, radios, internet, consiguiendo que el nivel SPL aparente sea mayor, sin incrementar el nivel real. La función “Big Bottom” aumenta la sensación de potencia a las frecuencias graves. La mezcla gana en nitidez, volumen, claridad e inteligibilidad.
ESPECIALMENTE INDICADO PARA LOCALES MUSICALES donde se pretenda mejorar elsonido sin cambiar de equipo.

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XTA ELECTRONICS DP 324 SIDD Procesador de señal digital

XTA ELECTRONICS DP 324 SIDD
XTA ELECTRONICS DP 324 SIDD

MultiProcesador Digital de Audio XTA. 24bit/48KHz. 40bit doble precisión interno. Dispone de 2 entradas, 2 salidas principales y 2 salidas secundarias. 6 bandas de ecualización paramétrica por cada entrada; filtros paso-alto y paso-bajo; módulo de ecualización dinámica; compresor con dos bandas de ecualización y codo variable; puerta de ruido o expansor; limitadores de salida con control ataque, recuperación y umbral; procesado “side-chain y retardo de anticipación en cada bloque de proceso; generador de armónicos para simulación de sonido a válvula. Hasta 300 mS de retardo principal. Hasta 100 mS de retardo en salidas auxiliares. MIDI, RS232, RS485. 256 memorias no-volátiles. Tarjeta de almacenamiento de memoria para PC. Lectura independiente de nivel para cada entrada y salida, medidores en cada bloque de proceso. Pantalla LCD. Bloqueo de seguridad multi-nivel.Control vía panel frontal o mediante Software SIDD WindowsTM. Conectores XLR balanceados. Procesador de 1 u. de “rack” y 19” Standard. OPCIONES: transformador para entradas/salidas; AES/EBU; tarjeta PCMCIA de 256K; interfaz de control general.

Alesis Compressor 3630

Alesis Compressor 3630

* Dos canales mono independientes o uno estéreo, con compresor-limitador-expansor cada uno.
* Entradas/Salidas conmutables entre señal a -10dBV o +4dBu en conectores jack TRS de 1/4″, y puntos de inserción de cadena lateral por canal.
* Interruptor de detección de pico-RMS y modo de codo “hard” o “soft” en el compresor.
* Indicador de leds muy intuitivo de 12 segmentos para la entrada/salida B (seleccionable), y para el nivel de reducción del compresor. Dos leds (abierta/cerrada) para la puerta de ruido.

El 3630 es un compresor-limitador-puerta de ruido de dos canales en formato rack de 1 unidad. El 3630 puede utilizarse de muchas formas, como EQ en inserciones de canales, a la salida del master de una mesa de mezclas en aplicaciones de directo, en estudio, etc.