Each channel features a wide range of variable control. A feature-rich Compressor section includes variable Threshold, Ratio, Attack and Release controls. Samson's SKD (Smart Knee Detector) circuit dynamically adjusts the compression curve to ensure a musical result. Our exclusive AEG (Auto Envelope Generator) function simplifies optimum settings by constantly analyzing the audio input and automatically adjusting the attack and release parameters based on the changing level. Key Inputs and Outputs are included for externally processing the control voltage.

The Expander/Gate features a variable threshold level and switchable release time (fast or slow). The Gate switch changes the downward expander ratio from "light" to "hard" gating for control ranging from subtle to an obvious effect. A dedicated Peak/Limiter with variable control provides protection against peak and overload independently of the compressor. When used in combination with the Compressor the Peak/Limiter offers even more precise control over dynamic levels.

A functional De-esser improves audio quality by removing "S" from vocals and sibilance from overly bright signal sources such as cymbals. The Enhancer switch engages the EFR (Enhanced Frequency Recovery) circuit, which restores high frequencies that are sometimes diminished by heavy compression. Extensive metering includes Input/Output, Gain Reduction, De-esser Level, Gate Open/Close and Limit. Other S com plus features

Compressor/Limiter, Expander/Gate, De-Esser with Peak Limiter
Expander/Gate with Variable Trigger Control and Switchable Fast/Slow Release
Peak Limiter with Independent Threshold Control and Peak LED
Adjustable De-Esser with independent LED Meter for Reducing Sibilance
Advanced Circuit Design Utilizing Low Noise Operational
Amplifiers and High Quality VCA's
Servo Balanced Inputs and Outputs on XLR and 1/4" Connectors
SKD (Smart Knee Detector) Circuit Switches from Soft to Hard Knee Based on the Level of Input Signal Applied
AEG (Auto Envelope Generator) Mode Constantly Adjusts the Compressors Attack and Release Times
Three-year Extended Warranty

Hi-Res Images Download a Hi-Res (300ppi) JPEG of the S com plus ( 216.7K JPG file) Manuals Download the S com plus User Manual in PDF format ( 3,121.7K PDF file) Contractor Documents Download the S Com Plus Tech Sheet in .pdf format ( 858.5K PDF file)

The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control as well as a switch for fast or slow release times.

The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression. This wide-ranging combination of features makes the S com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative.

4 Channel Compressor/Limiter, Expander/Gate with Enhancer
Linkable in two Stereo pairs
Expander/Gate with variable Trigger control and switchable Fast/Slow Release
5 Segment LED meters for Input/Output levels and Gain Reduction on each channel
Advanced circuit design utilizing Low Noise Operational
Amplifiers and High Quality VCA's
Servo Balanced Inputs and Outputs on XLR and 1/4" connectors
SKD (Smart Knee Detector) circuit automatically switches from soft to hard knee based on the level of Input signal applied
Individual Threshold and Ratio controls on each channel
Three-year extended warranty

Hi-Res Images Download a Hi-Res (300ppi) JPEG of the S com4 ( 215.5K JPG file) Manuals Download the S com4 User Manual in PDF format ( 3,253.3K PDF file) Contractor Documents Download the S Com 4 Tech Sheet in .pdf format ( 922.1K PDF file)

A perfect complement to the computer’s hygienically clean sound. The C-com opti's adjustable threshold, ratio, attack, release and output controls are calibrated to generate a distinctive soft, rich character while providing magnificent control over dynamics. An enhancer provides the added character lost under heavy compression and a large analog VU meter easily monitors output level or gain reduction.

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• Easy to Use 16 Presets
• Award-Winning Compressor Design
• Ultra Low Noise
• Back-Lit VU for Metering Compression
• Bypass Switch to Audition Compression
• Balanced XLR and Unbalanced ¼” I/O
• Musical / Wide Dynamic Range Compression
• Great for Recording or Live Sound
• Great for Guitars and Basses

• Eight Full Featured Compressor/Limiters
• Eight Full Featured Gates
• Side Chain on Every Channel
• Trigger Inputs on Every Channel
• Balanced/Unbalanced I/O
• Comprehensive Linking via Unique Power Summing Bus
• Takes the Place of Multiple Processors
• Crystal Clear Compression & Gating for Multi-Tracking & Live Sound
• Allows Spectral Processing & Gate Keying via Separate Jacks
• +4/-10 Stereo Operating Level

The Eureka's ultra fast compressor has both soft and hard knee compression as well as a separate make up gain stage and hi-pass side chain compression to deliver hard pumping to ultra transparent compression and everything in between. The Eureka's three-band fully parametric EQ gives you variable Q (bandwidth) on each band as well as an EQ pre COMP switch to put the EQ before the Compressor in the signal path. The equalizer has overlapping frequency selection on each band for total tonal control and shaping.

The Eureka is loaded with microphone, line and instrument input so you can use it as a front end preamplifier for recording with microphones, guitars, keyboards, synths as well as a compressor/equalizer on a single channel during mixdown. The Eureka also has balanced send and return jacks so that you can insert your favorite outboard processor before the compressor/EQ to further enhance and customize your sound.

An optional 24 Bit/192kHz digital output card (AD192) is available for the Eureka to further optimize sonic performance. The Eureka's AD192 digital output card is loaded with both SPDIF and AES/EBU outputs, word clock I/O as well as a balanced TRS line input so that only one output card is necessary when using two Eureka's in stereo or dual mono situations.

The Eureka gives you the sonic performance and control you need in the real-world to produce professional quality audio that you, your customers and your fans deserve!

• Class A High Headroom Transformer Coupled Microphone Preamplifier
• Variable Microphone Input Impedance
• Variable SATURATE control (simulates tape saturation and tube warmth)
• Fully Variable Compressor with Hi-pass Side Chain
• Three Band Fully Parametric Equalizer
• EQ Pre or Post Compressor
• High Headroom Output Section
• Very Low Noise Design
• Internal Power Supply
• Transparent, wide range performance
• Optional 24-Bit/192k Digital Output Card (AD192)

The Eureka's ultra fast compressor has both soft and hard knee compression as well as a separate make up gain stage and hi-pass side chain compression to deliver hard pumping to ultra transparent compression and everything in between. The Eureka's three-band fully parametric EQ gives you variable Q (bandwidth) on each band as well as an EQ pre COMP switch to put the EQ before the Compressor in the signal path. The equalizer has overlapping frequency selection on each band for total tonal control and shaping.

The Eureka is loaded with microphone, line and instrument input so you can use it as a front end preamplifier for recording with microphones, guitars, keyboards, synths as well as a compressor/equalizer on a single channel during mixdown. The Eureka also has balanced send and return jacks so that you can insert your favorite outboard processor before the compressor/EQ to further enhance and customize your sound.

An optional 24 Bit/192kHz digital output card (AD192) is available for the Eureka to further optimize sonic performance. The Eureka's AD192 digital output card is loaded with both SPDIF and AES/EBU outputs, word clock I/O as well as a balanced TRS line input so that only one output card is necessary when using two Eureka's in stereo or dual mono situations.

The Eureka gives you the sonic performance and control you need in the real-world to produce professional quality audio that you, your customers and your fans deserve!

On one hand you can choose from optical compression, like that in our Pro VLA, for that smooth transparent compression. On the other hand you might want to use a VCA based compression scheme for hard limiting. Both of these compression methods are underneath the hood of this single space rack unit. Taking it even one step further the TCS offers the breakthrough feature of stacking the VCA and the opto isolator for when you want that over the top compression, or a hard VCA limiter on your optical compressed channels.

Going beyond the idea of just a two-channel compressor, ART decided to spice up the TCS with our famous V3™ technology. The TCS also offers the ability for the user to twist the V3 knob to a variety of settings that take some of the hassle out of compression, yet still allowing each setting to be tweaked to the material’s needs.

The TCS has a long list of impressive features, including a Toroidal Transformer, XLR & 1/4” Inputs, front panel instrument input, Optical and VCA compression capabilities, side chain inserts, channel linking for when you are working on a stereo track, attack, release, threshold, and ratio knobs, de-essing, an expander/gate per channel, V3 control per channel, twin VU meters for measuring compression, twin LED input/output meter for ultra-precise level metering, and the ability to place a tube in the signal path to add some warmth to your signal.

Features

• OPTICAL COMPRESSION
• 
  
• VCA COMPRESSION
• 
  
• EXPANDER, GATE, DE–ESSER & LIMITER INCLUDED
• 
  
• V3™ (VARIABLE VALVE VOICING) SETTINGS
• 
  
• SIDE CHAIN INSERTS
• 
  
• XLR & 1/4” INPUTS
• 
  
• STEREO LINK
• 
  
• ANALOG VU COMPRESSION METERS
• 
  
• PRECISE LED LEVEL METERS WITH PEAK HOLD
• 
  
• FRONT & REAR INSTRUMENT INPUTS
• 
  
• TOROIDAL TRANSFORMER
• 
  
• ALL STEEL CHASSIS
• 
  

Specifications

Tube Compression Series Overview

ART Tube Compressors deliver analog leveling/compression designed to work seamlessly with any recording, sound-reinforcement, and electronic instrument application. Our Tube Compressors excel at making tracks sound rich and full for both live audio engineering and studio recording applications.

ART’s tube compression circuitry is a hybrid design utilizing the latest and most advanced analog and tube technology, and has exceptional signal integrity with extremely low noise.

ART tube compressors utilize optical electronics (a device known as a Vactrol®), coupled with a 12AT7 vacuum tube gain stage for superior musical performance. Unlike typical compressors which use VCAs to control level detection, ART tube compressors are very musical, expressive and natural sounding.

By using an opto-electronic design, (as opposed to a more typical VCA driven level detection circuit) the Pro-VLA II allows more compression to be added to an audio source with a more natural, musical sounding output and virtually transparent dynamic leveling. This VCA-less design coupled with a 12AT7 vacuum tube in the gain stage makes the Pro-VLA II the ideal dynamic control device for critical studio and live sound applications.

Features

• Vactrol Opto-Compression Design (no VCA)
• Mastering-Quality Audio Signal Path with Tube Gain Stage
• Enhanced Link Mode – While in stereo link mode, channel 1 level control acts as a master output level and channel 2 becomes a balance control between them, - optimizing the Pro-VLA II for use as a mastering tool
• Variable Threshold, Ratio & Output Controls
• LED Backlit VU Input/Output Level Metering
• LED Metering Indicates Both Average Level And Peak Hold
• Accurate Ten Segment LED Gain Reduction Metering
• +4dBu/-10dBV Mode Switch Optimizes Pro-VLA II For Interface With Professional OR Consumer Grade Components
• Active Balanced XLR And ¼-Inch Inputs & Outputs
• Toroidal Transformer Reduces Mechanical & Electrical Hum

Tube Compression Series Overview

ART Tube Compressors deliver analog leveling/compression designed to work seamlessly with any recording, sound-reinforcement, and electronic instrument application. Our Tube Compressors excel at making tracks sound rich and full for both live audio engineering and studio recording applications.

ART’s tube compression circuitry is a hybrid design utilizing the latest and most advanced analog and tube technology, and has exceptional signal integrity with extremely low noise.

ART tube compressors utilize optical electronics (a device known as a Vactrol®), coupled with a 12AT7 vacuum tube gain stage for superior musical performance. Unlike typical compressors which use VCAs to control level detection, ART tube compressors are very musical, expressive and natural sounding.

The mic/line preamplifier stage is that of the TEC nominated Tube MP–a time (and studio) proven design. It provides over 70dB of gain, +48v phantom power, phase reversal, and is capable of warming up any instrument or microphone. LED level indicators are provided to monitor the output of a 12AX7a tube for harmonic content. The input level controls allows you to dial in the desired amount of tube warmth and then independently set the output level from the compressor circuitry. The tube compressor is a VCA-less, optical design–similar to that of the “classic” tube compressors. Its ultra-musical sound is ideal for voice and instrument applications. Threshold, compression/limiting ratios, adjustable release times, bypass, gain reduction metering, and output gain controls are provided.

Features

• Combination Tube Mic/Line Preamplifier and Tube Compressor
• Two Hand-Selected 12AX7a Vacuum Tubes
• World Famous A R T Sound
• Two World-Class Designs in One Chassis: TEC Nominated Tube MP and Optical Tube Compressor
• The Ultimate Tube DI Box for instruments
• Fat and Warm Gain with Musical Dynamics Control
• Precision Detented Potentiometers
• +48v Phantom Power
• Bypassable Compressor Circuitry
• Balanced XLR and Unbalanced 1/4" Inputs and Outputs
• Internal Transformer
• Aircraft-Quality Extruded Aluminum Chassis
• One Year Warranty

Specifications

Tube Mic Preamps Series Overview

Pro Dynamic Processors: The Digital MPA™ Solid Gold. A professional microphone preamplifier is defined by warmth, presence and clarity – core elements that make an audio processor desirable. We’ve designed a microphone preamplifier that captures all these elements, with an exceptionally affordable price.Introducing the Digital MPA™ by ART. With features like variable input impedance, selectable plate voltage, dual differential Class A inputs, digital outputs and sample rates up to 192kHz, it is truly a modern day classic.

Tube MP: The World’s Most Popular External Tube Mic Preamp. Whether you’re working with a computer, hard disk or digital multi-track recorder, the Tube MP’s TEC award nominated design will allow you to obtain professional results at an affordable price. ART preamps offer warm tone, useful features, and are innovatively designed. Our line of Tube MP products add presence, clarity and fullness to any signal, and is exceptionally low-noise. Our Tube MP Studio V3™ features V3™ Technology (Variable Valve Voicing), which provides optimized reference points to begin the recording process. V3™ delivers a wide variety of settings designed for various microphones and DI inputs, including guitars, basses, keyboards, synths, electronic drums and much more. Don't settle for a copy-cat lookalike. Go with the real thing - the Tube MP by ART!

Dynamic Tube Processors: TPS & DPS Our ART TPS features two channels of award-winning ART microphone preamplification. The DPS has the same preamplifier design, and adds ART’s critically acclaimed 24 Bit – 96kHz A/D converter – for warm, vibrant and clean digital audio. As with the TPS, the DPS features our V3™, which delivers a wide range of professional sounding presets designed to seamlessly integrate and enhance every microphone, musical instrument and direct signal you process.

The Pro Channel features many new and exciting design enhancements to ART’s pro and home studio staples, including the addition of a tube circuit to the compressor module. The Pro Channel allows you to select between ART’s award winning optical/tube compressor or the coveted tube circuit (a design made popular by the sound of the old broadcast limiters – now costing thousands of dollars). The tube circuit is fast, fat and a bit aggressive, and is guaranteed to become a legend among compressors as has the Pro VLA. The four-band parametric equalizer has selectable Q for the two sweepable mid-bands. As with all design elements of the Pro Channel, these Q options were fine-tuned by some of the industry’s top studio and live-sound engineers. Likewise, all new additions were made without compromise to the sound of the original designs (Pro MPA, Pro VLA, Tube EQ), which have become standards in professional studios and FOH rigs around the globe.

The Pro Channel defines the term “channel strip.” The Pro Channel is an impressive package from the world-wide leaders in tube dynamics signal-processing gear. Pick one up and catch your own tube-buzz at your favorite ART dealer today.

Features

Built to provide the ideal all-in-one input solution for analog or digital recording, the ART VoiceChannel is a true second-generation discrete Class-A microphone preamp capable of providing clean quiet gain while maintaining incredible transparency. An integrated fully variable powerful dynamics processor subtly controls transients and noise of the most demanding sources while the VoiceChannel’s semi-parametric EQ offers wide tune-ability.

For added versatility the EQ can be patched before OR after the dynamics processor while separate insertion jacks allow you quick quiet in-line connectivity to external signal processing gear immediately after the Mic preamp, before the EQ and dynamics processor in the signal path.

Another insert patch point exists just before the A/D converters.

Choose between a wide range of outputs including balanced analog output, 44.1 KHz to 192 KHz AES/EBU, S/PDIF, ADAT and USB. Both analog and digital meters provide a detailed indication of audio levels.

Features

• Ideal input solution for any recording application.
• Tube Microphone Preamplifier with Selectable plate Voltage and Variable Input Impedance
• Exceptional warmth and definition from proven ART Tube Preamp design
• Smooth musical sounding dynamics control including Compressor / Expander / De-Esser / Gate
• Powerful Parametric EQ selectable Pre or Post Compressor in signal path
• Flexible digital connectivity including ADAT Lite-pipe / AES/EBU / S/PDIF / TOSLink Digital Output supports 44.1 to 192 KHz Sample Rates
• USB direct-connect to computer or laptop

Tube Mic Preamps Series Overview

Pro Dynamic Processors: The Digital MPA™ Solid Gold. A professional microphone preamplifier is defined by warmth, presence and clarity – core elements that make an audio processor desirable. We’ve designed a microphone preamplifier that captures all these elements, with an exceptionally affordable price.Introducing the Digital MPA™ by ART. With features like variable input impedance, selectable plate voltage, dual differential Class A inputs, digital outputs and sample rates up to 192kHz, it is truly a modern day classic.

Tube MP: The World’s Most Popular External Tube Mic Preamp. Whether you’re working with a computer, hard disk or digital multi-track recorder, the Tube MP’s TEC award nominated design will allow you to obtain professional results at an affordable price. ART preamps offer warm tone, useful features, and are innovatively designed. Our line of Tube MP products add presence, clarity and fullness to any signal, and is exceptionally low-noise. Our Tube MP Studio V3™ features V3™ Technology (Variable Valve Voicing), which provides optimized reference points to begin the recording process. V3™ delivers a wide variety of settings designed for various microphones and DI inputs, including guitars, basses, keyboards, synths, electronic drums and much more. Don't settle for a copy-cat lookalike. Go with the real thing - the Tube MP by ART!

Dynamic Tube Processors: TPS & DPS Our ART TPS features two channels of award-winning ART microphone preamplification. The DPS has the same preamplifier design, and adds ART’s critically acclaimed 24 Bit – 96kHz A/D converter – for warm, vibrant and clean digital audio. As with the TPS, the DPS features our V3™, which delivers a wide range of professional sounding presets designed to seamlessly integrate and enhance every microphone, musical instrument and direct signal you process.

The heart of any dynamics processor is its VCA. The dbx 162SL is no different. It features dual proprietary dbx VCA modules. This state-of-the-art implementation of dbx’s original Blackmer decilinear VCA boasts an unheard of dynamic range and ultra-low distortion seen only previously in the Blue 160SLs. With sonic clarity designed for the studio, the 162SL maintains its superior performance in harsh environments, pure enough for the studio, rugged enough for the road was the engineering motto of the Purple Series of Compressors / Limiters. Like it's big brother the 162SL, it takes full advantage of the best parts available and dbx's advanced manufacturing, including Jensen® transformers on each output standard. Following in the footsteps of the Blue Series 160SL, with the Purple Series 162SL, dbx continues to create to the most technologically advanced compressors in the world.

Features

Think of the Mc2 as three separate pieces of equipment:
A line level stereo preamplifier.
A stereo Joemeek compressor.
A stereo width processor.

Toft Audio Designs EC-1 Mono Channel Microphone Preamp EQ FET Compressor Features:

• Extremely musical 4-band sweep EQ section
• Equalizer can be switched pre/post compressor
• Balanced XLR input for mic, balanced XLR and jack for line input and line output
• Classic FET compressor with variable attack, release and ratio. VU metering shows gain reduction and output level
• Compact 1U rackmounting unit effectively provides a complete recording channel in one conveniently sized rack unit
• 1/4" thick anodized aluminum sculptured front panel and solid construction

Compact 1U rack mount unit. 1/4" thick anodized aluminum sculptured front panel and solid construction. High quality line input pre-amp with front panel instrument input. Balanced XLR and jack for line input and line output.

SPECIFICATIONS

• Line Impedance: >15K ohm electronically balanced
• Instrument Impedance:>100K ohm unbalanced
• Line Gain: -16 to +30dB
• Instrument Gain: 36dB
• Output Impedances: XLR: <100 ohm electronically balanced Jack: <100 ohm unbalanced
• Line Input Noise: Line: <-75dBu (Eq. In, 20Hz-20kHz) <-70dBu (Compressor In, 20Hz-20kHz)
• Maximum Line Levels: Line Input: <+24dBu at all frequencies (Compressor out)<+15dBu at all frequencies (Compressor in)
• Maximum Instrument Levels: Instrument Input: <+24dBu at all frequencies (Compressor out) <+15dBu at all frequencies (Compressor in)

The dbx® 160A is a legendary dbx® 160 family of compressor/limiters. The same classic sound, easy set-up and no compromise metering is now married to an improved signal path and stronger chassis design. The result is industry standard compressor/limiter which is digital-ready and road tough.

Featuring switch-selectable OverEasy® and Hard Knee compression curves along with extremely wide-ranging threshold, ratio and output controls, the dbx 160A is up to any task. True RMS level detection provides the most natural-sounding dynamics processing available, from subtle compression to "brick wall" peak limiting. Choose low ratios and OverEasy® compression to transparently smooth out fluctuating vocal and instrumental levels. Or use the 160A's Hard Knee compression and high ratios (up to and beyond :1 and over 60dB gain reduction) for bombproof protection against overload distortion in digital recording, P.A. systems and broadcast signals. The 160A is fully compatible with +4/-10dB and balanced/ unbalanced systems, and its electronically balanced output stage is an outstanding line driver for long cable runs (an output transformer is optional). The 19-segment, switchable input/ output LED metering can be easily calibrated to any operating level. 12-segment gain reduction LEDs provide precise analysis at a glance.

The dbx® 160A's unique "INFINITY +" inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway house mix levels. A detector input can be used with an equalizer for de-essing sibilant vocals and selectively smoothing out boomy notes on acoustic guitar and bass. And two 160As can be stereo-coupled to process an entire mix or instruments mic'd in stereo, without shifting the left/right image. Its musical sound, easy operation and unequaled versatility made the original dbx® 160 a world standard. The 160A follows that tradition, while meeting the challenges of a digital world.

Owners Manual

When using the 166XL’s Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow “leveling” to aggressive “peak” limiting.The 166XL’s advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics—even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx V1 VCA to design in an extra-wide threshold range and ensure top gating performance for each application.

Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 166XL’s intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image—even with high amounts of compression, through True RMS Power Summing™. Professionals and newcomers alike will find that the 166XL sets up rapidly and musically the first time it is used, especially with the Auto attack and release function. Advanced applications are now easy, with the 166XL’s full sidechain functionality, and the ability to use either hard knee or OverEasy® compression algorithms. Add to this already impressive list of features the venerable PeakStop™ limiter, and you’ve got a strong finisher, every time.

The dbx 166XL processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost. The 166XL puts a completely new level of compressor/gate performance within everyone’s reach.

Owners Manual

When using the 266XL’s AutoDynamic™ Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow “leveling” to aggressive “peak” limiting.

The Auto Dynamic™ circuitry continuously adjusts the actual attack and release times to optimally match the program material. Since users aren’t restricted to using the Attack and Release controls only in “peak” operation, they can tailor the response of the 266XL for individual tracks, mixed program material, special effects or system protection. As a result, production studios can use the versatile 266XL to replace multiple “single-purpose” limiters while sound reinforcement users can standardize on the 266XL for all of their applications.

The 266XL’s advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics—even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx® VCA to design in an extra-wide threshold range and ensure top gating performance for each application.

Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 266XL’s intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image—even with high amounts of compression. Professionals and newcomers will find that the 266XL sets up rapidly and musically the first time it is used, and every time thereafter.

The dbx® 266XL processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost. The 266XL puts a completely new level of compressor/gate performance within everyone’s reach.

Owners Manual

Features

The 1046 provides 4 channels of smooth classic dbx OverEasy® or Hard Knee compression that are perfectly suited for use on individual tracks of your multitrack recorder, and in virtually all applications the separate channels can be individually interfaced and used for entirely independent purposes. Additionally the newly developed PeakStopPlus™ is ideal for protecting your system from the oppressive peaks that can take out valuable drivers in your sound reinforcement rig or studio monitors.

All four channels have the following controls:

Threshold - allows you to set the level at which the compressor starts affecting the gain

OverEasy - allows you to select between soft compression for overall gain control or Hard Knee compression based on the characteristics of the original dbx 160.

Ratio - allows you to set the slope of gain reduction affecting the signal over the threshold level.

Input/Output Meter - allows you to set the meter to check the input and output levels for maximum signal-to-noise ratio and best level matching.

Output Gain - allows you to add make-up gain or to adjust the output level for that channel to match the next device's input gain.

Bypass - hard wire bypass allows you to hear how the compressor is affecting your signal.

PeakStopPlus - allows you to set the maximum signal level you want to pass through this channel. While it's virtually impossible to eliminate distortion, the PeakStopPlus circuit does it gracefully and effectively with minimal distortion.

Stereo Link - allows you to link channels 1&2 and 3&4 for two channels of true stereo compression.

All four channels feature balanced gold plated XLR and 1/4" inputs and outputs, and switchable +4dBu or -10dBV operating level to interface each individual channel with any other device.

So whether you need to control the level, placement in the mix, or overall characteristics of 4 independent signals or control the gain leveling on a couple of stereo pairs, the dbx 1046 is for you.

Features

Want to instantly add that classic dbx response to your mix? It's there at the touch of the "Auto" button. Or use the independent Attack and Release controls to tailor the 1066 to your specific needs. Unwanted frequencies or mic bleed in the signal path? Frequency dependent gain control is a snap to set up and execute with our Side Chain External button (SC Ext). Use the Side Chain Monitor button (SC Mon) and your favorite EQ to dial in the specific frequencies you want to trigger the device. As has become our standard, the contour switch allows entire mixes to be easily smoothed with soft compression while keeping low frequencies from punching holes in the overall mix. Selectable input and output metering allow you to make sure that everything is matched up level-wise, maximizing your signal-to-noise ratio.

For overall speaker protection, our new PeakStopPlus™ does all previous circuits one better. With a new design, the PeakStopPlus represses those unwanted transients from blowing your drivers while minimizing the distortion common to many other "hard" limiters. Selectable Hard-Knee or OverEasy® characteristics make the 1066 ideal for your gain control needs, whether you're looking for "heavy" almost-special-effects compression or soft, smooth gain leveling. New lightpipe technology replaces standard LED's found on most other units, making the 1066 both very easy to read and much easier to operate.

In the studio, broadcast facility or on the road with a P.A. system, the 1066 is designed for perfectly simple operation. The 1066 allows you to eliminate unwanted signals, flexibly control overall signal gain and guard your overall mix in dual mono or stereo operation.

At the heart of the 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics. The bottom line is this: a new VCA working in conjunction with world class design makes the dbx 1066 perform better than compressors selling for hundreds more.

State-of-the-technology VCA's, meticulous component selection, and scrupulous testing procedures are just a few more reasons that the new dbx 1066 is the latest in a long line of pedigreed dbx signal processors.

Features

Features

BBE 882i Sonic Maximizer Specifications:

• Process Mode: Program controlled
• Bypass Mode: 10Hz-50kHz, ±0.5dBu, 0dBu input
• Signal to Noise Ratio: 115dB Process IN
• THD, Process mode: less than 0.025% 20-20kHz
• Bypass mode: less than 0.002% 20-20kHz
• Maximum Output: +23dBu (may vary due to control settings)
• Input Impedance: 14.7K Ohms, balanced 1/4" stereo phone jack or XLR jack. Pin #2 is the hot or "+" signal.
• Output Impedance: 600 Ohms, balanced 1/4" stereo phone jack or XLR jack. Pin #2 is the hot or "+" signal.
• Sensitivity: -45dBu for maximum process
• Maximum Process: +12dBu boost at 5kHz, 0dBu input
• Lo Contour: +12dBu adjustment at 50Hz, 0dBu input
• ÿ

BBE 882i Sonic Maximizer Features:

• +4dBu balanced line (1/4" tip-ring-sleeve and XLR inputs and outputs)
• +23dBu headroom
• Active balanced outputs
• Hardwire bypass
• Bypass switch for comparison of processed to unprocessed signal

BBE MaxCom Dual-Channel Compressor Specifications:

• Frequency response: 20Hz-20kHz
• THD.: Less than .05%
• S/N ratio: More than 94dB
• Threshold: -40dBu to +20dBu
• Compression ratio: 1:1 to 11:1
• Attack time: 0.1-200ms
• Gate threshold: Off to +10dBu

BBE MaxCom Dual-Channel Compressor Features:

• 2 channel compressor/expander unit with gate function
• BBE Sonic Maximizer adds clarity and definition
• Auto mode for easy setup
• Dual bar-graph meters for input level and gain reduction
• Stereo link for phase-coherent stereo compression
• Dynamically controlled, program adaptive gate for noiseless and seamless operation
• Peak limiter to protect from clipping
• Inputs and Outputs via balance XLR or unbalanced 1/4" jacks
• Key in and out via 1/4" TRS

The solution: Klark Teknik Square ONE dynamics.Eight channels of flexible, configurable, high-performance dynamics processing in one 3U package. The right brand, the right combination, the right investment, every time.

Default Compressor

RMS sensing type. With both mode switches inactive the compressor behaves in the default Soft Knee and RMS mode. This gives the slowest (and most subtle) feel to the compressor envelopes. The soft knee curvature combines with the adaptive RMS attack and release times to produce gentle envelope curvatures that are ideal for compressing sung vocals but which can still be aggressive enough to limit transients when needed. The knee curvature also reduces the adaptive nature of the RMS detection slightly, providing a little more manual control of the envelope timings than is the case below. When Hard Knee is activated the compressor operates in a more clinical way with a more defined transition between under threshold and over threshold; this is better suited to limiting style compression. A small amount of soft knee is still retained keeping the sound reasonably natural but no modification of the envelope occurs. This means that attacks are more aggressive, but it also allows the adaptive nature of the RMS detection to operate to its fullest extent. This mode is good for natural sounding limiting of speech.

"Vintage" Compressor

Peak sensing type. When Hard Knee and Vintage are activated the compressor operates with more precise envelope control and a defined transition between under and over threshold. This mode uses faster peak sensing (not RMS) like many older compressor designs with exponential attack and release. This produces aggressive compression that gives good fast control, and/or limiting, of extremely dynamic material. It can also be used to add colour to low frequency signals making it ideal for controlling instruments like bass guitar. When Vintage is active alone, the compressor employs a dual time constant, linear attack profile. The soft knee blurring of threshold occurs, (as in RMS mode), however, the effect is greatly accentuated and this produces extremely subtle attack and release curves during the onset of compression that are largely independent of the envelope control settings. As the compressor is driven harder (i.e. signals further over threshold) the soft knee effect reduces, gradually returning manual control of the attack and release times to optimise capture of larger transients etc. Thus, like the RMS modes, this compressor mode is very adaptive making set up of the envelope controls relatively easy. The peak sensing, however, increases harmonic overtones, which add a "vintage" brightness and sparkle to the programme, producing extremely transparent, lively sounding compression of acoustic instruments.

Broadband frequency-conscious compressor

Setup as per compressor, in either RMS or "VINTAGE" modes. Activate FILTER in wide mode, sweep to desired frequency & apply frequency-dependant compression as required

Hi-Q frequency-conscious compressor (De-esser)

Setup as per compressor, in either RMS or "VINTAGE" modes. Activate FILTER in NARROW mode, sweep to desired frequency & apply frequency-dependant compression as required. Excellent for reducing sibilance or other undesirable artefacts from vocals, or for removing specific resonances from instruments or programme material.

Limiter

Set compressor to "VINTAGE" (peak) mode, hard knee, fastest ATTACK, with the RATIO at infinity to one. Adjust RELEASE to suit programme. Set THRESHOLD for onset of process.

Expander

Switch to "GATE" mode, set THRESHOLD, ATTACK, HOLD, and RELEASE times to suit programme, control dynamic range expansion using "RANGE" control. Use sidechain FILTER for frequency-dependant expansion, i.e dynamic noise reduction.

Gate

Switch to "GATE" mode, set THRESHOLD, ATTACK, HOLD, and RELEASE times to suit programme, set attenuation depth using "RANGE" control. Use SIDECHAIN FILTER to "tune" the gate to open at selected frequency - "wide" or "NARROW" modes. The attack characteristic of the gate is exponential. This ensures that, even at extremely fast attack settings, the attack envelope seamlessly blends into the audio waveform, ensuring that no undesirable audio artefacts (clicks) are created.

i-TS (intelligent threshold shift)

This operates in conjunction with the gate hold function, to reduce chattering within the gate. Chattering is the undesirable condition that occurs when signals (especially low frequency ones) are very close to the gate threshold. In this situation the gate can become indecisive and repeatedly open and shut on the programme. i-TS ensures that the gate remains open by automatically adjusting the threshold downwards the moment the signal goes over the threshold setting. When the signal eventually falls below the (new) temporarily adjusted threshold, the i-TS re-sets, ready for the next gate opening. This hysteresis means more decisive operation of the gate, ensuring that gating is rock solid. Attacks start instantly and consistently, even on signals that are only slightly over threshold.

Stereo & multiple-channel operation

Channels can be linked (in all modes) for stereo, or multi-channel operation. When any number of channels are linked, the linked channels all adopt the mode of the left-hand channel of the linked group. This channel's settings now control all the members of that group, only the make-up gain and Side chain filter are independent.

Solo Buss

Monitor the sidechain filter during the performance, using the dedicated SOLO OUTPUT. Connect the SOLO OUTPUT to a spare input channel, line return, FX return, etc. on your mixing console. Any SOLO button press will route that processors' SIDECHAIN MONITOR to the SOLO OUTPUT, allowing monitoring of the sidechain filter without interrupting the audio output of the processor. If the SOLO IN PLACE mode is active, the SOLO IN PLACE LED will illuminate. In this mode the SIDECHAIN MONITOR signal will replace the audio output when the SOLO button is pressed.

Metering

When mixing live sound, it is essential to be able to see at-a-glance, how the outboard processing is performing. Therefore, each channel of the Square ONE convertible dynamics rack features a 6-segment 3-colour input meter, and a 10-segment attenuation depth meter. The attenuation depth meter operates in both compressor and gate modes. The use of vertically oriented high-intensity LEDs makes for easy peripheral-vision awareness of each channel's status.

The Dynamics Processor shall provide eight complete channels of either compression or gating, with push button selection and LED status indication of operational mode on an individual channel basis.

The compressor section on each channel shall provide for adjustment of Threshold, Make-Up Gain, Attack and Release times and Ratio. There shall be push button selection of RMS or Vintage Emulation (Peak) response and push button selection of Soft or Hard knee mode on each channel.

The gate section on each channel shall provide for adjustment of Threshold, Attack, Hold and Release times and Range.

The Threshold, Attack and Release controls shall be operable by the same rotary control knobs in compression and gating modes. Control of Ratio and Range shall be performed using the same rotary control knob. There shall be individual rotary control knobs for Make-Up Gain and Hold.

Each channel shall have a six-segment input level meter and a ten-segment attenuation depth meter, which will show the gain reduction being applied in both compression and gating modes.

Each channel shall have a sidechain band-pass filter with a rotary control knob for frequency control and shall be enabled by a push button switch. The band-pass filter shall have two different bandwidth settings, selectable by a push button switch. There shall be provision for an external sidechain input selected by the External Key switch with LED status indication.

The Bypass switch shall set the signal path to unity gain on each channel and provide LED status.

Each channel shall have a Solo switch with LED status indication that sends the sidechain signal to the Solo Bus Output connector.

A Solo Bus Input connector shall allow multiple Dynamics units to be chained together to form a common Solo Bus Output.

The Side Chain Solo In Place switch shall have LED status indication and change the function of each Solo switch; when selected the sidechain signal shall be sent to the channel output connector instead of the Solo Bus Output.

The Dynamics Processor shall have the ability to link the operation of any number of adjacent channels, which shall all be summed into the sidechain of the left-hand linked channel which shall control the gain of each of the linked channels. The selection of either compression or gating for the left-hand linked channel shall override the push button settings for all channels linked to it.

A Power On Led shall be provided.

The Dynamics Processor shall meet or exceed the following specifications:

Distortion

(THD+N) <0.02% @1kHz, +4dBu

Frequency response

+/-0.5dB (20Hz-20kHz)

Dynamic Range

(20Hz-20kHz unweighted) >117dB

Each channel shall have XLR connectors for the input and output and a 1/4" TRS jack socket for the external side chain input. All audio connections shall be electronically balanced.

The Dynamics Processor shall be 19" standard rack mountable and 3U high.

The Dynamics Processor shall be capable of operating from a 100-240V +/- 10% 50/60Hz a.c. power source.

The Dynamics Processor shall be the Klark Teknik Square ONE Dynamics, and no alternative specification option is available.

Enhance your signal path

Class A Tube Preamplifier

Full Featured VCA Compressor

Three Band Parametric EQ

• Stereo or dual mono operation
  
• Switchable low cut filter on each channel
  
• Switchable de-esser on each channel
  
• 1/4 inch TRS insert capability
  
• Fully adjustable compressor/limiter/expander
  
• Full gain reduction metering
  
• Input/Output switchable meters