User manual

resolution July/August 2014
32
GEAR MODULAR PROCESSING SUPPLEMENT
Aphex
Aphex’s USB 500 Rack bridges the gap between the analogue
500-Series and modern DAW workows by providing a solution to
use 500-Series modules directly with a DAW via USB. Mic preamps
can be used as direct DAW inputs or analogue compressors and
EQs can be used as hardware inserts while monitoring through
the monitor section of the USB 500 Rack that includes Mono
and Dim functions along with two independent headphone
ampliers. Modules can be chained in the analogue domain for
channel strip operation or linked for stereo compression. The
USB 500 Rack also provides balanced XLR connections for use
as a standard analogue 500-Series rack. Additionally, Aphex bills
its D 500 DUO two-slot receiving frame as being like no other,
providing balanced analogue insert jacks to connect processors
like equalisers and compressors when two preamp modules are
loaded into the rack. If no processors are inserted, the insert send
can be used as a secondary output for the module. An SPDIF
output derives its signal post-insert to allow for a processed mic
pre signal to be converted to digital and sent to a DAW or digital
recorder. Analogue and digital outputs are always active.
Aphex now has
eight 500-Series
modules: JPre
500 Mic Pre; EQF
500 Parametric
Equaliser; Dual
RPA 500 Mic Pre;
A PRE 500 Mic
Pre; COMP 500 Optical Compressor; EX BB 500 Aural Exciter/Big
Bottom; CX 500; and Project 500. The JPre 500 Mic Pre is inspired
by the Aphex 1788A remote controlled preamp while the EQF 500
reissue is a modern take on the Aphex EQF-2 500-Series 3-band
equaliser originally introduced in the 80s. Most recently released,
the 500 is based on the CX-1 compressor/gate unit — one of the
rst 500-Series modules, and features the company’s patented
EasyRider compressor and logic-assisted gate, a Jensen output
transformer, and multifunction meter for gain reduction, gating,
and output level. The Project 500 is a 500-Series module-sized
version of Aphex’s Project Channel rack unit. A full channel strip,
it includes a Class-A mic preamp, optical compressor, and dual-
band semi-parametric EQ.
www.aphex.com
AwTac
AwTac’s Channel Compressor is a FET compressor.
Transformer-balanced inputs and outputs deliver a
big iron sound while discrete transistor ampliers
are used in the audio and sidechain circuit. The FET
sidechain affects the gain of the input amp and
oers smooth sounding compression akin to that
from optical compressors. It uses an adaptive ratio
of around 10:1, but starting at 1:1, transitioning to
1.5:1 at the bottom of the soft knee slope, it then
increases to 2:1, 3:1, 4:1, 6:1, and nally 10:1. The Gain
Reduction meter, in addition to showing how gain
reduction is happening, also indicates the ratio being used. The
rst -0.5 LED indicates a ratio of 1.5:1, the -1dB indicates 2:1 — all
the way to -15dB, where the compression will behave as a limiter
with a 16:1 ratio. A Blend control enables users to use parallel
compression. Unlike traditional mix/dry knobs or crossfaders,
the Blend control adds the dry signal back into the compressor
while the Output pot controls the amount of compressed signal
being let through. Both signals are then sent to an internal
summing amp.
The AwTac Channel Amplifier is a double-width 500-Series
module with an LCR (left- centre- right-selectable) passive mix
bus — just like most mixing consoles up to the late 60s. Its extra
width enabled its creator to include an extra set of I-O jacks for a
mix bus — connect one Channel Amplier to another to create a
mixer. Other notable features include a line level amplier, 3-band
EQ (with three-frequency Baxandall high and low shelf and an
inductor-based 10-band midrange), as well as a DI box.
www.awtac.com
Buzz Audio
Buzz Audio’s proprietary A-Rack 8+1 can house up to nine
of its MA-1.5 mic preamp modules. These modules feature
almost identical circuitry to the company’s True Class-A NA-2.2
microphone preamplier, except that the output is electronically
balanced. The A-Rack is designed for multichannel recording
setups and the MA-1.5 preamp module delivers a punchy and
detailed sound. Controls include Gain (+22dB to +70dB minimum
in balanced mode, +16dB to +64dB minimum in unbalanced
mode), Mute, Phase, Pad, In Z (input impedance), and 48V on/o.
As well as the solo monitoring function, each module has a peak
indicator that lights up when the output level reaches +18dBu.
Quoted frequency response is 2Hz to 250kHz @ 20dB gain (-3dB)
and 20Hz to 250kHz @ 65dB gain (-3dB) with harmonic distortion
of less than 0.008% (100Hz to 10kHz).
www.buzzaudio.com
Spotlight: Phoenix Audio
Phoenix Audio’s N90-DRC/500 is a 500-Series format compressor and gate designed around
a VCA with Class-A discrete input and Class-A transformer-balanced output. The progressive
curves are achieved using linear detection combined with logarithmic attenuation inside
a closed control loop with limiter sound provided by the higher ratios and there is a choice
of attack times. The gate is more conventional, but its release time is composite with a hold
time followed by a fade time. The DRS-1R/500 mono preamp and DI shares the same feature
set and sonic characteristics as its popular ‘big brother’, the DSR-1, yet runs at 24V, thanks
to a special inbuilt power supply.
The DRS-EQ/500 is a mono 4-band EQ. It is designed to be identical to the other Phoenix
products in terms of features and sonic characteristics, and includes the same EQ circuit
found in the larger DRS-Q4 mk2 Class A Discrete Mic-Pre/DI/EQ. The Gyrator EQ circuit was
originally designed around 40 years ago to emulate the characteristics of a coil or inductor
EQ circuit without their inherent issues.
www.phoenixaudio.net
AEA
The RPQ500 is based on the full-rack RPQ
preamplier and provides the same ultra-clean,
high-gain signal path, but with enhanced
and additional features for compatibility with
a 500-Series rack. With 80dB of JFET gain and
NoLoad input impedance, the CurveShaper
oers a natural option for sculpting sound at the
start of the signal path. Switchable and tuneable
LF and HF contour controls allow engineers
to tame proximity problems and provide HF
extension and slope control. The high-frequency
CurveShaper excels in adding a touch of air or
presence, and the low-frequency control can
remove boxiness. The Line/Mic switch bypasses
the microphone gain stage and allows the EQ to be used for
tracking with other preamps or during mixdown.
www.ribbonmics.com
AnaMod
AnaMod’s XF Tube processor is a model-based
analogue processor that emulates a two-stage
tube and transformer amplier. The XF Tube was
created using the AnaMod Process, which uses
mathematical models to synthesise analogue
hardware — in this case, a tube amplier. Unlike
digital plug-ins or processor-based outboard gear,
there is no latency and no A-D or D-A
conversions. AnaMod also has the
Realios line of microphone preamps.
The A9031 and A9033 represent
very dierent types of microphone preamps. The
A9031 is a copy of the vintage Dick Swettenham
Helios design, as modified and used by Lenny
Kravitz and his engineer Henry Hirsch. The A9033
is a new concept for a microphone preamp and
gain is obtained entirely from step-up transformers
and uses no negative feedback. Both preampliers
are Class-A and discrete transistor. The AnaMod
Process was also put to use on
AnaMod’s A9052 equaliser, a companion 500 Series
module to the A9031 Olympic-style microphone
preamp, said to be a faithful recreation of the
Olympic recording desk equalisers with the
addition of wider dynamic range and output
drive capability. The equaliser can
handle signals roughly 6dB greater
than would normally be allowed in
the 500-Series due to a step-down
input transformer and step-up
output transformer, and features the
original Olympic 3 transistor gain
make up circuit as well as a new Class A output
drive circuit. AnaMod’s TLCompressor (Tungsten
Lamp Compressor) is also part of its Realios line
and uses a Tungsten lamp for levelling the gain
of an audio signal. This represents a method of
audio compression unlike any other and provides
distortionless, artefact-free operation for female vocals, bass,
and mixes.
www.anamodaudio.com
Pendulum Audio
Pendulum Audio’s DS-500 Opto De-Esser is a
single-channel, non-tube version of the de-esser
in the Pendulum Tube Recording Channel. It uses
the same inductive detector and opto-inductive
notch lter so it has the same characteristics and a
very fast response. By pairing it up with a unity gain
Class-A solid-state line stage, the DS-500 retains the
transparent character of the de-esser action, while
keeping the signal path clean and uncoloured.
www.pendulumaudio.com