Adr (audio Design & Recording)

Ccompresseur légendaire pour être en bonne partie responsable de l'explosivité des batteries de "When The Levee Breaks" de Led Zeppelin. Si j'en crois mes sources, ils étaient intégrés dans les consoles Helios des 70s. Son typé 70s, donc. Compresseur, limiteur et expandeur dans une seule bécane qui, une fois calibrée, saura renforcer l'explosivité de sources percussives. Très cool en compression parallèle de bus de batterie, par exemple. Mon seul grief est qu'ils sont justement connus pour avoir besoin de calibration régulière.

F601RS - SUPERDYNAMIC Limiter FEATURES" The F601 SuperDynamic has been engineered to meet the challenge of the digital era. It is designed to anticipate the transparent quality requirements of broadcast and recording organisations as they seek to respond to the digital age." SuperDynamic in the Studio: The Limiter operates transparently and will act as a superb master programme Limiter,controlling the fastest transients; or even modifying dynamic range if required without apparent side-effects. Digital Recording: The system's wide dynamic range is ideal for use at the input of A/D converters for PCM or CDR recording,when the peak level can be perfectly controlled to within 0.4dB of full 16-bit modulation. Cassette Mastering: The preemphasis curve can be used to protect high frequency overload on cassette duplication copies. Sound Reinforcement Rigs: The effective power output of rigs can be substantially increased by 6-10dB using the SuperDynamic to providesubtle compression. SuperDynamic at the Transmitter: The SuperDynamic has become a broadcast standard particularly in the UK and in Saudi Arabia. All the major television transmitters in the UK are using the F601. The system provides a well controlled feed, reducing over-deviation; whilst maintaining excellent loudness characteristics, without sacrifice of audio quality. A range of optional filters are available to meet the various AM bandwidth requirements. These plug-in to modify the input and output response of the system. On FM the pre-emphasis curves are acting as a frequency conscious limit threshold in both the Limiter and the clipper mode. De-essing: Using the pre-emphasised side-chain, high level sibilants can be reduced. V-O Ducking: The Voice-Over system can be used for intelligent control of programme fading under commentary. The system detects programme level and responds by automatically fading - only if the music levels are above the optimum prescribed level. Music that is already in the process of fading, is not ducked any further; whilst uncontrolled high level programme will produce the automatic V-O effect. SYSTEM Inputs and outputs are electronically balanced with provision for optional, board-mounted transformers that meet UK broadcast code-of-practice specifications. An input conditioning filter rolls off extreme LF or RF components. A precision unity gain input/output threshold attenuator switch operates in 2dB steps over two ranges; whilst make-up-gain is controlled via a 20dB precision switch calibrated in 2dB steps from unity. The signal passes to the VCA Limiter and then to the Constant Current Clipper; the side-chain provides facilities to modify the programme dependent attack and release networks. Various pre-emphasis curves can be selected. The side-chain along with the clipper, can be made asymmetrical to give 125% positive modulation for AM transmitters. Gain reduction and clipping action are indicated. Finally the signal passes through the output conditioning filter card and through the level compensated switching for balanced and unbalanced operation. In the unlikely event of a power rail failure, the system will automatically go into bypass mode,connecting inputs directly to outputs. The Controls The five momentary logic switches are: Clipper IN/OUT; Voice-Over IN/OUT; Stereo Couple IN/OUT; Meter to read Gain Reduction or Output; and Meter CH1, CH2, or SUM. LED's indicate function status, whilst the clipper LED's flash to show clipper action. Threshold control is calibrated in 10 steps of 2dB(+14dBm to +4dBm). An internal board switch varies this range by 1dB (+15dBm to +5dBm). Make-up Gain provides 20dB gain in 2dB steps. Release controls provide a range of switched positions from 15mS to 3 secs,with two types of programme controlled auto modes. Attack times comprise six positions on a basic programme dependent network. Attack time gets faster as level exceeds the threshold. Metering is calibrated in two scales: A standard VU scale for reading output level; plus a 20dB gain reduction scale marked in 4dB steps (this scale reads in reverse from right-hand zero, so as to more readily identify the operating mode). Function modes are controlled by digital momentary switches (through high level CMOS). When switched OFF, the CMOS retains last settings. Function status can be made tamper-proof by pressing a rear mounted panel inhibit switch. The system is packaged in a rugged 1U rackmount case with scratchproof front panel. D60 Delay-Line Option - for zero overshoot Provision is made to integrate the D60 Delay Line package as a further option.The delay line, delays the signal for some 300uS; sufficient to give the Limiter time to preview the oncoming signal and adjust level within an acceptable attack period. Signal arrival time will then coincide with the arrival time at the VCA. The D60 module is a 1u rackmount format, powered from the F601 SuperDynamic. It can be added at any time, becoming operational when the connecting jacks are plugged-in. SPECIFICATION Frequency Response: Studio/FM model no filter: +0.5dB, 20Hz to 20kHz AM Transmission: -0.5dB, 40Hz-6kHz (/AM6) AM Transmission: -0.5dB, 40Hz-12kHz (/AM12) Transformer I/O option (/T): +0dB /-0.75dB 30Hz-20kHz - all ref 0dBm at 1kHz Input conditioning filter response: Bandpass, -3dB @ 24Hz; -3dB @23kHz Butterworth response 24dB/oct Distortion in passband: less than 0.03%, below limit threshold less than 0.08% for 6dB limiting, 3 secs release Output transformer option (/T) 0.1% @ 40Hz at +20dB loaded with 600 ohms. Signal-to-noise ratio: -88dBm at unity Dynamic Range: 100dB reference +15dBm threshold setting. Input: Differential input, electronically balanced (option /T for bridging/ balancing transformers). Impedance 10k ohms; Common mode -60dB at 1kHz/10kHz; Maximum input level +24dBm. Output: Differential electronically balanced output. Optional balancing transformers (/T). Output impedance link selectable 600 ohms, or low impedance 68ohms. Maximum output determined by clipper threshold +16.5dBm. Common mode rejection -50dB throughout passband. Crosstalk: Worst case at 1kHz -73dB. Metering: Dual scale - Output VU scale and Gain Reduction 0-20dB in 4dB steps. Limiter Slope: 20:1 Control Range: 30dB Threshold 1: +4dBm to +14dBm in 2dB steps Threshold 2: +5dBm to +15dBm in 2db steps Attack: Switched programme controlled attack 150, 300, 500uS, 1, 3, and 5mS Release: 15, 30, 60, 120, 250, 500mS, 1, 2, 3 secs, plus 2 auto network positions. Make-up Gain: 20dB in 2dB steps. Clipper: Selectable In/Out; pre-set 1.5dB over Limiter. Operation indicated by flashing LED Pre-emphasis: On-board selector switch 0-25-50-75uS. Switches both Limiter side-chain and clipper response. Stereo Couple: Selectable In/Out to allow matched gain tracking on both channels. Matching better than 1dB channel to channel. Voice-Over: SelectableIn/Out. V-O threshold variable to -40dBm; V-O Range variable 0 -20dB below limit threshold. Control signal, via stereo jack on rear panel. Auxiliary Connectors: Provide DC and signal send/ return facilities for use with the D60 Delay Line unit. Power Requirements: 220-240 / 110-120AC, 20 watts. Operating Temperature: 0-50øC. Dimensions: 1U front panel; 280mm deep, plus connectors. Weight: 4.5Kg Safety and Confidence Features: All high voltage components (AC switch,fuse-holder, IEC mains socket, voltage selector and transformer) contained within grounded screen box. Input directly connected to output via fail-safe relay, under AC or DC power-rail failure UTILISATION Très simple d'utilisation. QUALITÉ SONORE Www.mahaeng.com/audio_design/f601rs.pdf AVIS GLOBAL Un des rare compresseur qui n'attenue pas le Basses fréquences.Très très haute qualité de compression. Un standart.

-Eq paramétrique 4 bandes +24db par bandes.(à gauche de l'appareil) -Le Complex: module unique comprenant:un compresseur,un expandeur,une gate et un limiteur. -Au centre un commutateur rotatif trois positions: pré, post, side chaine, destiner à l'Eq bien sûr. -machine mono. -XLR in&out -Rack 2U C'est un module mythique des années 70, complètement analogique, utiliser au départ par led zeppelin, il est aujourd'hui inconnu en France mais quasiment incontournable dans les studio outre atlantique. UTILISATION Je ne dirais pas que cette machine soit très simple pour le néophyte, mais on y trouve vite ses repères. L'eq est exceptionnellement musical pour son gain abusif(24db) un petit commutateur permet d'affecter ce gain en positif ou en négatif. Le complex en revanche est un peut plus difficile a maitriser, au début, dut au nombre de ses fonctions simultanés. Le mieux étant de les aborder une par une pour les comprendre, avant de joyeusement les mélanger. Évidement trop vintage pour avoir un manuel, mais il ne serais pas très utile de toutes façon, car je pense qu'il faut un minimum d'expérience pour acquérir une tel usine a gaz du traitement de la dynamique. QUALITÉ SONORE C'est une machine fantastique, le son, les possibilités incroyables qu'elle offre, je ne lui connais pas d'équivalent. D'ailleur, la plus part des studios américain qui n'en n'ont pas un se font faire une réplique, comme par exemple Steve Albini (pour ne citer que lui) Au Etats Unis, c'est la "kik drum machine" un pied de grosse caisse sur deux doit y passer en moyenne. et si le stud en a 2 (très rare) la basse y a droit aussi. Il n'y a pas de secrets, j'en ai la même utilisation, sauf que pour un semis totalreacall, je travail souvent par stems (drums, bass,guitare, clav, voix...) et donc je peut m'en resservir plusieurs fois sur le même mix. Et il y trouve toujours sa place,sur une guitare, un clavier, et même certaines voix... AVIS GLOBAL J'ai dut poser mes main sur cette machine, pour la première fois il y a plus de 10 ans. J'aime tout sur cette machine,elle est unique et magique. la seul chose qui me fait peur c'est quand je l'ouvre, c'est tellement chargé de cartes dans tout les sens, que si un jour elle tombe en rade, je risque de mètres six mois à trouver la panne. J'ai essayé des tas de trucs, mais cette machine est tellement a part, qu'il est difficile de la comparer. Dans ma configuration de travail, une me suffit, mais si j'en vois passer une autre en bonne états, c'est sur que je l'achèterai, mais vu la rareté de la machine, surtout en France...