RNLA7239 Really Nice Levelling Amp Quickstart Guide V0.
A CKNOWLEDGEMENT I’m sure that you’re anxious to plug in your new Really Nice Levelling Amplifier (RNLA), so I’ll get right to the point: I know that you can choose to spend your money on any of a myriad of other products out there. Whether by chance or coercion, you’ve chosen ours. As the song goes, I just wanna...
www.fmraudio.com IN FMR Audio, +1-512-280-6557 TRODUCTION This is the Really Nice Levelling Amplifier (RNLA) Quick Start Guide.
FMR Audio, +1-512-280-6557 2) www.fmraudio.com It allows us to call the RNC/RNLA by names that are as distinct as the sounds they produce. The RNC was designed to be somewhat neutral while the RNLA was designed to deliberately color the sound.
www.fmraudio.com FMR Audio, +1-512-280-6557 • Balanced Outputs — The RNLA has balanced, non-differential outputs. Although the “cold” part of the signal is not driven (that would be a “differential” signalling scheme), the impedance in both legs are the same, thereby giving your audio the benefit of reduced noise if the RNLA is connected to a balanced line input. • Precise Gain Reduction Metering — A highly accurate gain reduction meter is provided to allow visual verification of what you’re hearing.
FMR Audio, +1-512-280-6557 www.fmraudio.com here in beautiful Austin, Texas ‘cause: (a) We live here. We’re control freaks. We need things done to standards that are very specific and loftier than most. Manufacturing products here help control important costs and reduce waste (there’s more to producing a product than just considering the costs of labor and parts).
www.fmraudio.com FMR Audio, +1-512-280-6557 new tricks: I’m actually learning to like and find uses for the sonics of the RNLA! • The RNLA has freakin’ Red Knobs — Proof, once again, that there’s “no accounting for taste”, I specified these knobs after a word-association game with my therapist.
FMR Audio, +1-512-280-6557 www.fmraudio.com tion, use the appropriate connectors to mechanically make the connection. For example, if you’re connecting to a destination device with a XLR input connector, then use a 1/4”TRS-to-XLRM cable that passes the TIP signal to XLR pin #2, the RING signal to XLR pin #3 and the SLEEVE to XLR pin #1. If you are connecting to an unbalanced destination, use a 1/4”TS-to-1/4”TS connector with TIP wired to TIP and SLEEVE wired to SLEEVE.
www.fmraudio.com FMR Audio, +1-512-280-6557 • Adjusting the RELEASE control — If you want less compressor action overall, use a slower RELEASE by turning it CW. If you want more coloration, use a faster RELEASE by turning it CCW. • Using the LOG REL control — Engage this function (LOG REL light is illuminated) when you want more “pop” to a transient source (like a snare drum). Disengage this function (LOG REL light is extinguished) when you need more peak control.
FMR Audio, +1-512-280-6557 www.fmraudio.com 5) Use Different Compressors — Use as many different types and brands of compressors, hardware and software, that you can. If your focus is to improve your recording chops, this will come in handy for meeting yours or your client’s needs.
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FMR Audio, +1-512-280-6557 www.fmraudio.com # Control Description 7 Log Rel — This push button invokes either the default, “normal” mode or a mode with an increased release curve acceleration. When compressing a fair amount (6dB or more), transient signals can get “swallowed”, “ducked” or over-compressed. By changing the release characteristics under higher gain reduction amounts, the “punchy” character of some transient sources can be partially restored. That’s what this control does.
www.fmraudio.com FMR Audio, +1-512-280-6557 Figure 2: RNLA Rear Panel Connections Left (or Mono) IN Tip = In Ring = Out 1 # OUT 2 IN Right Tip = In Ring = Out 3 OUT Sidechain Tip = In Ring = Out 4 5 Power 9VAC 500mA 6 Control Description 1 Left Channel Input — This 1/4” connector accepts unbalanced, single-ended output signals from other devices.
FMR Audio, +1-512-280-6557 www.fmraudio.
