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Signal Processing Hardware - EMusician

Signal Processing Hardware

The AM670 Stereo Limiter is a stereo three-rackspace unit based on the technology of Anamod''s successful AM660 500 Series compressor introduced last year.
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AnaMod AM670 Limiter
The AM670 Stereo Limiter is a stereo three-rackspace unit based on the technology of Anamod''s successful AM660 500 Series compressor introduced last year. Both the AM660 and AM670 were created using the AnaMod™ Process. Precise mathematical models were created from the classic 1950s variable-mu 670 limiter. These models were used to synthesize the analog hardware of the AM670. Like the classic 1950s variable-mu 670 limiter, the AM670 duplicates the Lateral/Vertical (mid/side) modes of compression while adding a Stereo-Link function, which was not present on the original 1950s vacuum tube unit.
NAMM Booth: #6254
anamodaudio.com

Aphex Systems 140A Series
Aphex Systems' 141A, 142A and 144A are professional-quality digital interface/converter tools that function at up to 96kHz sampling rates. The Aphex Model 141A is an 8-channel ADAT-to-analog converter. The Model 142A is an 8-channel analog-to-ADAT converter. The Model 144A is an AES-to-ADAT and ADAT-to-AES bidirectional interface. It converts four stereo pairs of AES or S/PDIF to eight channels on ADAT, and vice versa.
NAMM Booth: #5696
aphex.com

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Watch the video on JDK R22

API Audio JDK R22 Compressor
JDK Audio, the new brand developed and engineered by legendary analog innovator API, announces the fourth product in its line of robust signal processing equipment. The R22 is a 2-channel, rackmount compressor with linkable stereo operation that uses true RMS power summing, a patented Thrust circuit for chest-hitting low end, and easy-to-use, refreshingly musical control of all parameters. The R22 has both balanced XLR and 1/4-inch inputs and outputs. With its LED indicators and switchable analog metering of the output level and gain reduction, it's easy to optimize gain structure. Switchable hard- or soft-knee compression, combined with variable threshold, ratio and make-up gain controls, deliver a wide range of compression textures for an equally wide range of source material. The R22 shines with a ruler-flat frequency response out to 50 kHz.
NAMM Booth: #6411
Find out more about the R22

CharterOak SCL1 Compressor
CharterOak''s first venture into the processor market, the SCL1 compressor promises to provide a constant output level regardless of input level or frequency without pumping. Features include attack time adjustable from 100ms to 5ms, hold time of less than 2ms, soft clip with less than 3-percent THD @ 3 dB, and clip and release time adjustable from 20ms to 2 seconds. The SCL-1 includes a lifetime parts/labor warranty. Price: $2,800.
NAMM Booth: #6847
Find out more about the SCL1

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Watch the video on Coleman Audio SR7.1

Coleman Audio SR7.1
SR7.1 surround level control gives precise level control of eight balanced audio signals. Fold down to 5.1, stereo and mono make this an effective summing box, as well. Individual input mutes turn the SR7.1 into a foreign-language check for broadcasting.
NAMM Booth: #6897
colemanaudio.com

Dangerous Music BAX
Dangerous Music plunges into the signal processing arena with the BAX EQ. Built-in response to demand from a professional studio community on a search for unique sonic signatures, the result is pure emotive expression with audiophile accuracy. Stepped controls for repeatability and identical stereo tracking, broad Q shelving with a Baxandall character, and highpass and lowpass 12dB/octave Butterworth filters.
NAMM Booth: #6916
www.dangerousmusic.com

elysia museq
The basic idea behind this discrete Class-A analog EQ is the combination of premium sound-shaping capabilities with optimally matched parameters that enables the user to find the desired results quickly and precisely. The provided bands with their ample control ranges and some elysia-specific special features make sure that the museq can be used flexibly in any recording and mixing situation, and the stepped controllers are especially dedicated to mastering applications. Each of the two channels offers three parametric bands with a switchable Q. The additional outer bands are low/high-shelf designs, which can be separately switched into a low/high-cut mode with an extra resonance peak as a special finesse.
NAMM Booth: #6324
Find out more about museq

Eventide Eclipse Version 4
Version 4 software for Eclipse expands the number of effects from 90 to 113, and expands the number of presets from 390 to more than 500. Included are all effects and presets from Eventide''s best-selling TimeFactor and ModFactor stompboxes, as well as adds a new DynamicDistortion2™ algorithm that provides users four levels of distortion that is highly responsive to the input, allowing users to track directly to a recording device with convincing crunch, including feedback and EQ with variable Q for shaping the tone, without the extreme volume.
NAMM Booth: #5791
Find out more about Eclipse

Little Labs VOG
Built into the popular 500 Series module chassis, the VOG is a peaking highpass filter allowing you to easily dial in the low-frequency punch you like while sweeping away the unwanted mush below.
NAMM Booth: #6254
Find out mor about VOG

Millennia Media AD-D96, AD-R96
The TEC Award–nominated A/D converter is Millennia's first digital audio product. Its audiophile-quality proprietary converter design, tightly coupled to the HV-3 preamp, removes many stages of potential distortion. The Millennia converters are 24-bit/96 kHz 8-channel AES format with internal/external clocking with AES or word clock in/out on BNC connectors. The AES output is on a DB-25 connector that conforms to the TASCAM wiring standard. All HV-3D and HV-3R units can have the option installed. Millennia AD-D96 and AD-R96A/D converter options for the HV-3D and HV-3R are $1,500 MSRP. They are available now.
Find out more about AD-D96 and AD-R96

Palmer Audio PDI-CTC
The PDI-CTC (short for Palmer Direct Injection Classic Tube Circuit) is designed to bring out the subtle tonal characteristics of a tube by creating the shortest possible signal path from input to output. For this reason, no volume control is included. The PDI-CTC tube DI incorporates two vacuum tubes, an ECC83/12AX7 and an ECC82/12AU7, for a true tube sound. Four musically voiced wideband filters (low, lo-mid, hi-mid and high frequencies) offer a wide range of tone control using a bell-shaped filter characteristic to prevent the boosting of unwanted sub- and supersonic frequencies. Each filter band has a 3-position toggle switch (Flat, +4 and +8 dB) on the front panel to ensure precise reproduction of the desired setting from gig to gig. The Palmer PDI-CTC offers an extended dynamic range such that no limiting occurs below signal levels of +30 dBu at the line output. The PDI-CTC is AC-powered.
NAMM Booth: #3397
Find out more about the PDI-CTC

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Watch the video on Radial Workhorse 5000

Radial Workhorse 5000
This 500 Series module housing provides ±16VDC and 48V phantom power for each of its eight module slots and input, direct out and summing connections on 8-channel D-25 sub jacks (for direct-to-DAW or P.A. feeds). Each module also has 1/4-inch and XLR I/O, mono/stereo link switches and a mix/feed switch for internal patch routing of the output to feed the next module or to the master output section. OmniPort connectors on each input provide module designers with custom options, such as “keying” inputs, a footswitch or a tuner output. Designed for on-the-spot mixing or stereo recording, the mix bus section has pan/level pots and mute switches for each module, rotary main out and aux out controls and a headphone monitoring section. The rear panel has XLR and 1/4-inch aux and transformer-isolated main outputs, insert jacks for the master outs and bus in/out jacks for connecting additional sources and/or multiple Workhorse units.
NAMM Booth: #6959
www.radialeng.com

RME M16 AD, M32 AD Series Converters
These new 16- or 32-channel MADI/ADAT converters feature 16 or 32 analog inputs, MADI output, four ADAT digital outputs, MIDI I/O, word clock I/O, LED level meters. Fully remote-controllable via MIDI and MADI, no fan, low-power consumption. Noise suppression on power-on/power-off. SyncCheck clock syncronization and SteadyClock guarantees perfect sound quality through efficient sitter suppression, making the device completely independent of the quality of external clock signals.
NAMM Booth: #6913
Find out more about the M16 AD and M32 AD converters

Rupert Neve Designs Portico II: Channel
A self-powered two-rackspace channel module comprising a fully featured mic preamplifier, 4-band EQ, compressor/limiter, Texture control and level metering, the Portico II: Channel includes a bevy of new features including variable Silk/Silk+ Texture control, a fully tunable "de-esser," multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending.
NAMM Booth: #6498
Find out more about the Portico II: Channel

Rupert Neve Designs Portico 5024 Quad Pre
The new Portico 5024 quad mic amp delivers four renowned Portico Series preamplifiers in a single 1U rackmountable module. Developed around custom transformers and discrete Class-A signal paths, the 5024 also includes two instrument inputs, M/S inputs and a individually selectable Silk mode.
NAMM Booth: #6498
rupertneve.com

Tonelux Tilt 8-Channel Tone Control
The popular Tilt equalizers from the Tonelux MP1a preamp modules are now available in a stand-alone, 8-channel rack version. It offers balanced I/O on 25-pin D-Sub connectors, each carrying eight channels; for convenience, channels 1/2 also have XLRs. Each of the eight channels has a Tilt control with 6 dB of cut/boost at approximately 650 Hz. Unlike a typical shelving filter, the Tilt control simultaneously cuts low frequencies below the center point while it''s boosting high frequencies, and vice versa when the knob is turned in a counterclockwise direction. This clever solution to tonal shaping gets results quickly, requiring only the turn of a single knob.
NAMM Booth: #6849
tonelux.com

Trident Audio A-Range
The Trident Audio A-Range is an exact replica of the original A-Range circuit from 1972. The original design by Malcolm Toft and Barry Porter set the standard of what is now considered the Holy Grail of EQs. While the build techniques are different as a result of modern assembly, the sound of the EQ and mic amp have been faithfully reproduced to match the original. Using the original color and layout of the A-Range, the new Trident Audio A-Range follows the original with the addition of a switchable insert point. The insert incorporates a balanced send and balanced return.
NAMM Booth: #6890
Find out more about the A-Range

True Systems pT2-500
Our new pT2-500 is a precision mic preamp and DI in 500-module format. Its new Type-2 design gives this ultra-resolution preamp all the detail of our other models, with serious analog depth and warmth. New DI circuit calms edgy piezos, DI Thru jack for amping and effects, 70 dB of gain, high headroom, ultra-low- noise, amazing sonics.
NAMM Booth: #6849
Find out more about the pT2-500