User manual

resolution July/August 2014
36
GEAR MODULAR PROCESSING SUPPLEMENT
The Q3 is a 3-band induction coil
EQ module. Described as ‘sweet
sounding’ it features a top-end
boost circuit; a mid-range cut
circuit; a bass boost circuit; and a
gain make-up control to oset the
typical signal loss that occurs when
using passive EQ designs. Each
of the three bands
employ a 12-position
Grayhill switch with a
dierent preset curve at each position. The Q4 is
a 100% discrete state-variable Class-A parametric
equaliser. As a line level device, it has four EQ
bands with xed low and high frequency shelving
at 100Hz and 10kHz, plus two semi-parametric
mid bands that span between 300Hz-2.4kHz and
1-12kHz. Each mid band is also equipped with a
choice of wide or narrow Q and all frequencies
have 12dB of boost or cut.
Radial’s range of power racks extends beyond
the standard Workhorse, to include the standalone WR-8
Workhorse, an 8-slot 500-Series mixer. Individual XLR inputs and
outputs are complemented by parallel 1/4-inch TRS connectors
and 25-pin D-subs. The PowerStrip is a single-space 500-Series
power supply
designed to house
three 500-Series
compatible modules.
It is equipped with XLR I-Os and 1/4-
inch TRS connectors. These can be
used as ‘multi’ outputs or for cross-
patching purposes. Once modules are
inserted, a ‘feed’ switch immediately
sends the output from the rst slot into
the second and then to the third, making
it easy to create the ultimate channel strip by
combining modules. The Cube is a 500-Series desktop power
supply designed to house three 500-Series modules. Topping
the power racks range is the Powerhouse, a 10-slot power rack.
It includes a Feed function and stereo link. Each channel slot
is equipped with separate XLR I-O with parallel 1/4-inch TRS
connectors for splitting the signal or acting as a patchbay. The
Powerhouse is equipped with Omniport 1/4-inch TRS that
accommodates special functions on 500-Series modules.
www.radialeng.com
Millennia Media
Millennia Media’s AD-596 A-DC is
based on the AD-R96 design, a feature
of which is the company’s proprietary
True-Lock-Clock performance with
an external clock. Its performance is
indistinguishable between internal
and external clock. Analogue inputs
and digital AES outputs are handled by
DB-25 connectors.
The HV-35 microphone preamplier is
based on Millennia’s HV-3 Series and has
front panel instrument input, DC coupled ribbon mic switch with
10dB gain boost setting, 80Hz roll-o lter, 48V phantom power,
15dB pad, polarity ip, and continuously variable gain control.
The HV-37 is a pair of 500 series HV-35 preamp cards housed in a
1U rack with an onboard universal power supply. The rear panel
has XLR mic inputs and XLR balanced line outs. It can be powered
directly by mains voltages between 100V and 240V.
www.mil-media.com
AMS-Neve
Using the same circuitry as Neve’s 88R console,
the 88RLB also includes new features such as
REGenerate and Direct Injection. The 88RLB is a
Class A/B amplifier design with its own special
transformer at the input stage and with an
electronically balanced output stage.
The 1073LB 500-Series mono mic preamp module
retains the sonic characteristics of
its original predecessor by using
the same architecture, matching
components, and original hand-
wound transformers. With new
features like a fine Trim control,
switchable microphone input
impedance, signal presence LED,
intelligent protected switching of
front combi-XLR input connector,
and Neve’s Audio Processing Insert
design, the 1073LB expands on the
original Class-A design.
The 1073LBEQ provides a Neve 1073 EQ circuit,
using the same EQ design as the classic 1073
module. A Line level input feeds an electronically
balanced EQ circuit with three bands of adjustable
EQ and a High Pass lter, which can be switched in/
out. The output is also an electronically balanced
Line level output.
The Neve 2264ALB is a recreation of the
2264A limiter/compressor. It uses hand-wound
transformers to the original specs and adds a Slow
Attack switch that changes the attack time to 12ms.
Like the 1073LBEQ, it incorporates Neve’s Audio
Processing Insert design, allowing it to be inserted
between the input and output stages of a 1073LB
module.
www.ams-neve.com
Spotlight: JDK Audio
JDK Audio is a technology brand, developed and engineered by API out of a desire to use newer
technology that does not comfortably t into the API product mix. The V10 is a single-channel mic
preamp sharing circuitry with a single channel of the R20 mic preamp. As such, it has 54dB of mic-level
gain, 45dB of instrument-level gain, padding, phantom power, and phase inversion. The V12 is a single-
channel compressor in 500-Series format sharing circuitry with a single channel of the R22 compressor
(itself a replica of the inline compressor on ATI Paragon consoles). It oers the patented Thrust circuit
that preserves high-frequency content even under aggressive compression settings and is paired with
threshold, ratio, knee, and gain make up controls.
www.jdkaudio.com
Radial Engineering
Radial’s Tank Driver module enables the
user to use the spring reverb in a guitar
amplifier and bring this effect into a
recording system. It features a wet dry
mix to balance the signal and shimmer
and boom controls to add top-end or
extra boom to the tone. For older reverbs
that may be less sensitive,
a drive switch increases
the output to compensate. The Tossover module
enables users to divide the frequency bands of an
audio signal to separately process lows and highs
or combine the two in series to create a band-pass
filter. The front panel sports one set of controls
focused on the mid and high frequencies, while
the other separates the mid and bass frequencies so
each can be processed individually. The frequency
knob lets users adjust the cut-off point and the
amplitude knob permits adjustment of the signal
level. To intensify the eect, each frequency divider is equipped
with a three-position lter that may be set with a 12, 18, or 24dB
per octave slope.
The Submix 4x1 mixer module has four front-
mounted 1/4-inch input connectors with individual
level controls. Unlike a traditional mixer that requires
a separate input pad and level control, the Submix
employs Radial’s dual-gang Accustate input circuit
that lets you adjust sensitivity with gain. The mixer
has a virtual-earth mix bus design that enables it to
be cascaded without adding noise to create larger
formats.
The ChainDrive is an audio distribution module
that accepts a balanced or unbalanced source and distributes
the signal to four front-panel 1/4-inch TRS outputs with four front
panel level controls. The ChainDrive can also distribute a stereo
programme using TRS connectors following the tip-left, ring-
right, sleeve-ground convention. Once connected, ChainDrive
lets you create multiband compression, feeding several guitar
amps and eects simultaneously, or taking a stereo programme
and sending it to various digital processors, dynamic controllers,
and eects at the same time.
The PreComp 500-Series channel strip begins
with a preamp equipped with Radial’s Accustate
gain control that simultaneously sets the output
and sensitivity to maximise signal-to-noise. A
compressor follows with adjustable threshold,
compression ratio, and make
up gain control that transitions
from soft-knee to hard knee as
compression increases. A slow-
fast switch makes it easy to set
the PreComp for percussive
instruments or smoother tracks,
such as vocals.
The PreMax channel strip has a low-noise
Op-Amp input coupled with Radial’s Accustate
gain control. The preamp feeds a 3-band
shelving EQ and there’s also an HP lter, Phantom
power, and polarity reverse. The PhazeQ phase
adjustment module also works as a phase cancelling device
and summing equaliser. It enables you to phase-align two
signals, such as on a snare when using top and bottom mics
or when combining a direct feed with a room mic. With phase
summing, you can boost frequencies to create eects. PhazeQ
has discrete Class-A electronics and a variable phase control
shifts the incoming signal from 0° to 180° and then extends the
eect to 360° using a polarity invert switch. The blend control is
set to 100% wet when the PhazeQ is used in tandem with another
track. When used by itself, the blend is rotated counterclockwise
to set the desired wet-dry signal mix. A variable LP lter allows
the engineer to dial out high frequencies thereby only applying
phase cancellation to the bottom end.