FMR Audio RNLA

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REVIEWS FMR AUDIO RNLA7239
It’s a useful option to have, if not
something you’ll use all the time.
I tried the RNLA on a variety of
sources, including vocals, bass,
acoustic guitar, electric guitar, drum
machines and analogue synths. I
also did a lot of A/B comparisons
with my RNC1773. I liked the RNLA
on bass and acoustic sources where
it gives the sound greater thickness.
It’s often only a subtle difference, but
nicer for it. It also gives a signal a
little extra presence, making it sound
more three-dimensional. This isn’t
always what you want – sometimes
the RNC’s unaffected compression
is preferable.
Conclusion
If it’s neutral compression you’re
after, the RNLA is probably not for
you. But if you’re looking for
something with character – call it
classic, vintage, whatever – the
RNLA does a fi ne job of enhancing
your sound. It’s hard to make
compression sexy, but the RNLA
comes close. Maybe that’s the
reason behind those red knobs.
FM
unbalanced inputs that double as
TRS inserts.
In use
Hooking up the device is relatively
straightforward, either via a standard
1/4” plug from a device’s Send or
Output jack or by using a 1/4” Send/
Receive jack with a TRS-TRS cable.
The outputs are unbalanced, but
companies like Studiospares supply
every kind of cable imaginable.
Once you’ve connected your
source, you then connect the output,
power up and, as FMR puts it, make
groovy music. The RNLA is simply a
compressor, albeit one with a little
sauce, so start twisting the knobs
until you hear something you like.
When you use a signal processor
like this, you expect it to colour the
audio. According to FMR, the sound
of the RNLA harks back to an early
(1984) incarnation of the RNC
based on an optical gain element,
rejected as not being ‘pure’ enough.
I started by setting all the controls
to the 12 o’clock position, as I could
then dial in a greater or lesser
amount of the RNLA’s sound as
required using the inter-related
controls. For instance, the effect gets
more extreme as you turn the Ratio
up, while reducing the Attack time
gives you a smoother sound as the
transients get swallowed up. If you
want less compression overall,
slowing the Release would do it, but
for greater colouration, speed it up.
That ‘Log Rel’ button is useful
when there’s a lot of gain reduction
showing on the meters, as engaging
the process can help restore a little
of the punch to transients by
accelerating the release envelope.
W
HENEVER THE
PHRASE ‘levelling
amplifi er’ crops up,
most people instantly
think of products like the legendary
Teletronix LA-2A or Urei 1176LN,
late-60s/early-70s compression
classics with such distinctive,
musical characters that they’re still
outboard staples in thousands of
studios all over the world.
However, Texas-based FMR
Audio would now like to draw our
attention to another, substantially
cheaper, levelling amplifi er – its very
own RNLA7329. FMR fi rst brought
us the RNC1773 Compressor, then
the RNP8380 Preamp – both great.
How does the RNLA compare?
Numbers game…
Cosmetically, the RNLA is made of
the same aluminium and steel body
as its siblings, but there is one
striking difference – it’s got freakishly
large red knobs! The rationale
behind this decision is beyond me
and it seems to be beyond FMR, too,
judging from comments in the
manual. Whatever the reason, it
does make a bold design statement.
Oddly enough, in the half-light of
a darkened studio, those red knobs
start to make sense. They take on a
subtler hue and they match the
blinking red lights on other
equipment around it.
The other salient points about the
RNLA are as follows: it has a wide
dynamic range; excellent audio
fi delity; a sidechain insert; accurate
gain reduction metering; full
parametric continuous controls; a
hardwired bypass switch; a Log Rel
alternative release contour and two
DETAILS
PRICE £199
CONTACT
Supplier: Audio Agency
Tel: [phone]
Web: www.fmraudio.com
TECH SPEC
Inputs: Left/Right 1/4”
unbalanced inputs
Outputs: Left/Right 1/4”
balanced outputs
Controls: Threshold, Ratio,
Attack, Release, Output
rotary dials Bypass and
mode select switches.
Eight-segment 0-16dB LED
gain reduction meter
Operating modes: Normal
(fast attack/release) and Log
Rel (release envelope
acceleration)
Noise: Less than –90dBu
over 20Hz-20KHz; typically
–95dBu over 20Hz-20KHz
Frequency response: 10Hz-
100KHz +/-0.5dB @ 0dBu
Distortion: Less than 1%,
no gain reduction @ 1KHz,
0dBu. Less than 0.5%, 6dB
gain reduction @ 1KHz,
6:1, 6.0m/s attack, 0.5s
release, 0dBu gain, 0dBu
Threshold range: -40dBu to
+20dBu
Ratio range: 1:1 to 25:1
Output trim range: +/-15dB
AC power: wall transformer,
9V AC @ 500mA, 2.1mm
jack (included)
Size: 140 x 140 x 41mm
Weight: 0.91Kg
VERDICT RNLA7239
BUILD QUALITY
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VALUE FOR MONEY
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EASE OF USE
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VERSATILITY
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QUALITY OF RESULTS
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2 4 6 8 10
The RNLA is a great option to
have in your rack, and at this
price, it’s hard to say no.
FMR Audio RNLA
A new take on a classic – Jonathan Wilson is
drawn into the ways of the old skool…
Three common analogue sources (bass,
acoustic guitar, DI electric guitar)
recorded fi rst dry, then through the
RNLA using appropriate settings for
each source.
ON THE DVD
FMU170.rev_rnla 50FMU170.rev_rnla 50 7/12/05 10:14:18 am7/12/05 10:14:18 am