Compressors Limiters & Gates

Notes: The Pro VLA II is a tube driven Vactrol-based compressor/leveling amplifier designed to excel in any professional audio environment. Superior performance and an incredible tone makes the Pro VLA II and indispensable tool for tracking, mixing, mastering, dynamic control of live sound sources or for use in broadcast audio.

Capable of delivering a far more musical natural sounding and sonically transparent compression than competitive units in its class, the Pro VLA II uses an Opto-electronic circuit rather than the more typical design VCA driven level detection circuit. 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 audio applications.

Exceptional signal integrity with extremely low noise and low distortion is achieved in the Pro VLA II by utilizing a transformerless design throughout.

Unlike typical compression units that use Voltage Controlled Amplifiers (VCA's) to handle level detection, the Pro VLA II's Opto-electronic design allows a far more transparent and musical sounding compression without sounding aggressive or un-natural. This Vactrol based optical electronic circuitry is the basic component of the classic highly sought after compressors of past.

The Vactrol design allows the Pro VLA II to react to audio signal in much the same way the eye naturally adjusts to fluctuations in light levels, smoothly, quietly and almost imperceptibly.

The Pro VLA II is a soft knee leveling amplifier by design. Although capable of providing dramatic compression effects, the Pro VLA II was designed to excel in any application where transparent, expressively musical dynamics control is desired.

Large highly visible backlit analog VU meters accurately display input and output levels while extremely fast 10-segment LED's display gain reduction. For added functionality, the LED's display either average level for mastering & mixing applications or peak hold for monitoring individual sources when tracking audio.

XLR and 1/4" TRS balanced inputs and outputs are provided to ensure the Pro VLA II can connect with any audio source or hardware. A +4 dBu/-10 dBu mode switch optimizes the Pro VLA II I/O for either consumer or professional equipment.

Notes: What It Is

The PBC-6A "vintage-y" compressor possesses sonic bits'n'pieces reminiscent of many vintage compressors. From mild and smooth satin-like sound to over-the-top squashing, the PBC can be dialed-in to enhance almost any sound source. The PBC provides an unusual control complement to provide maximum flexibility in dynamically sculpting your sound: variable sidechain, sidechain access, hyper-exponential & linear release envelope control (Normal/THICK mode), 4 different linking methods, separate ATTACK & RELEASE time controls, hardwired bypass function and balanced audio input/output stages.

How It Sounds

The PBC is capable of a large range of effects. In a minimum DRIVE and KNEE setting, the resulting effects is a subtle, slight textural change to the source. Increasing DRIVE levels and, more drastically, increasing the KNEE control causes a less gradual change from low ratio compression to larger ratios occuring over smaller input signal changes. The result can be a drastic alteration of the source sound. Whether you're trying to get a sound to "sit right" in the mix or create over-the-top sonic effects, the PBC can be adjusted to help you realize your vision!

How It's Done

Combining FMR Audio's trademark digitally-controlled analog processing in a "no-threshold" (i.e., very low threshold) feedback configuration, the input DRIVE, KNEE and SIDECHAIN FILTER controls are key to the PBC's flexibility. Additionally, the THICK control subtly restores the natural transient dynamics to the signal.

Notes: A solid gold modern classic from FMR. The RNC must be one of the biggest studio bargains around. Proper analogue compression with digital control, offering pro sound at an affordable price.

Supplier's Notes:
What It Is

FMR Audio's first product, introduced over 18 years ago, the Really Nice Compressor (RNC) is a compact and cost-effective stereo compressor with a high-fidelity audio path and compression scheme. The RNC provides quality compression at a budget price.

How It Sounds

The RNC provides two modes of operation. One allows the RNC to be used for special effects, like snappy snares or popping basses. The other provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like natural vocals, acoustic guitar or the program bus). The RNC yields clean, airy compression with few artifacts and little high-end loss, even at massive gain reduction! The amazing performance is why- even after almost 20 years- many professionals are calling the RNC one of the best sounding compressors for under $2000.

How It's Done

The RNC achieves such high performance at a low cost by using using a microprocessor to replace discrete sidechain components (resistors, diodes, capacitors, opamps, transistors, etc) with chunks of software, thereby reducing the component cost. This approach, however, still processes the main audio in the analog domain, avoiding the problems associated with digital audio conversion (e.g., latency, digital artifacts). Even the problem of "scratchy" pots and switches are avoided: no audio flows through the front-panel controls. The front-panel pots and swtiches merely feed DC voltages to the microprocessor and it takes care of adjusting parameters and signal path with components - like sealed-relays and VCAs - located close to the input/output jacks avoiding noise pickup and audio quality reduction due to aging controls! With this blend of technology, the RNC offers the accuracy and precision of digital control with the clean tonal character of an all-analog signal path. The RNC's digital control permits accurate repeatability of your favorite settings.

Notes: What It Is

Years ago, many RNC users pined for less invisible compression and requested that FMR Audio offer a more "colourful" compressor, suitable for bass guitar, drums and other sources in need of added sonic texture. In response, the FMR designer went to the RNC archives and resurrected a version of RNC software that had been rejected for release because it wasn't invisible enough! The result: a compressor reminiscent of some classic opto compressors used to just "level" the signal rather than tame every transient. To celebrate the RNLA's sonic "colour", a bright red knob* was chosen as a visual metaphor. Although the most recent version ships with a less ostentatious red-striped knob (not shown), the RNLA's sonic colour remains bolder than ever...

How It Sounds

"Thick" and "gooey" is how some customers have described the RNLA's sound. The RNLA is, admittedly, much "gentler" and not as apt to grab'n'run with the signal. Like an old-timey photocell, the RNLA is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. This action yields a soft musicality to the compressor's action that adds a desirable characteristic to the source signal.

How It's Done

The RNLA and the RNC share much of the same hardware, but run different algorithms to achieve the desired effect. The RNLA exercises the well-known dictum (among dynamic processor designers) that, after the static characteristics of the signal path, the main contributors to a processor's sound are the shapes of the attack & release envelopes. The RNLA's software then transforms the sidechain signal into a drive signal for the VCA that both slows things down a bit and totally reshapes the crisp and quick action of the RNC's "normal" mode. This reshaping (and slow down) are the primary sonic drivers behind the RNLA's "thick and gooey" sound!

Notes: 60 years of history in your studio, today.

Lindell meticulously engineered the LiN2A to faithfully reproduce the tonal quality and ease-of-use of the de-facto dynamics processor of the past 60 years. The Lin2A's simple control scheme belies its versatility. Thanks to its superlative Black Lion T4BLA opto element, it can effortlessly deliver transparent level-smoothening for silky vocals - or add a bit of the bite and weight to bass and kick tracks.

'2A-style compression forgoes the conventional ratio, attack, and release controls of other compressors in favour of a simple 2-knob interface with program-dependent responsiveness. In short: you couldn't make it sound bad if you tried.

The Lindell LiN2A: 60 years of history in your studio, today.

True tube-driven optical compression and limiting
Superb Black Lion T4BLA Opto Element for smooth gain reduction and transparency
Two USA-manufactured Cinemag transformers
Quick, effortless two-knob user interface for instant results
Dynamically responsive Compress mode (3:1) and hard Limiter (8:1) mode
Ultra-fast attack and level-dependent release
Vintage-style VU for monitoring
Balanced input and output

Technical Specifications

Attack: Dictated by T4BLA optocell
Release: Dictated by T4BLA optocell
Ratio: Program-dependent
Voltage: 115VAC, 230VAC rear panel switchable AC Mains Input: IEC320-C14 standard plug.
AC Mains: Input: 100V-240V depending on supplied

Dimensions:
Width 438mm (19")
Height 88mm (2U)
Depth 250mm
Weight: 3.7kg (8.2 lbs)

Notes: Decades of dynamic processing

The LiN 76 has been carefully designed to recreate the timbres of nuances of vintage-era '76-style FET compressors.

The most classic and respected sounds of dynamic processors live on in the LiN 76, as well as the infamous "all-button" mode made famous by British recording engineers throughout the 1970's - a sound that's still popular today.

The Lindell LiN 76: Instant vibe for today's demanding studios.

Instant vintage-vibe dynamics processing
USA-made transformers
4:1, 8:1, 12:1, 20:1, and "All-button" compression ratio modes
Vintage-style VU for monitoring
Variable attack and release times, with ultra-fast attack options
Balanced input and output

Technical Specifications

Attack: Continuously variable 20uS to 800uS
Release: Continuously variable 50mS to 1200mS
Ratio: Pushbutton selected 4:1, 8:1, 12:1, 20:1 and any combination
Voltage: 12VAC
AC Mains Input: 100V-240V depending on supplied

Dimensions:
Width 438mm (19")
Height 88mm (2U)
Depth 250mm
Weight: 8kg

Some notes on Attack and Release: Compressor control schemes can vary significantly. On the LiN76, Lindell have chosen "left is less, right is more."

Turn the Attack knob to the left for faster attack times and to the right for slower, with a 20uS to 800uS range.

Turn the Release knob to the left for faster release times and to the right for slower, with a 50mS to 1200mS range.

Notes: The S-Com 4 is a compact and versatile single-rack space device that provides four channels of high-quality dynamic processing with an Expander/Gate and Compressor/Limiter on each channel.

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.