Quick Reference Guide

Front Panel Controls

Example Settings

Vocal Limiting
Threshold set so that the loudest sections get about -6dB of gain reduction Ratio set for 6:1 Knee set for Soft Peak/RMS set for RMS

THRESH

ATTACK

RELEASE

OUTPUT
Threshold - sets the level above which the NanoCompressor starts to compress the input Ratio - sets the compression slope, or the amount of gain reduction above the Threshold A t t a c k - ad j u s t s t h e a m o u nt o f t i me before compression begins (Peak mode only) R e l e a s e - a d j u s t s t h e a m o u nt o f t i m e until compression will cease (Peak mode only) Output - Sets the output signal level Power - lit when the unit is plugged in Reduction - displays the amount of gai n reduction
Hard/Soft - switches between Hard or Soft knee compression styles Peak/RMS - switches between Peak and RMS signal detection modes Signal - shows the Input or Output signal level Input/Output - selects whether the Signal meter is monitoring the Input or Output level Bypass/Comp - bypasses the compressor for A/B comparisons of the original signal
Vocal Compression/Spoken Word
Threshold set so that one reduction LED (-1 dB) lights during the softest passages Ratio set for 2:1 Knee set for Soft Peak/RMS set for Peak Attack set to 0.1 ms (7 oclock) Release set between 10 and 12 oclock
Threshold set so that all drum hits are compressed (about 3dB) Ratio set for 4:1 Knee set for Soft Peak/RMS set for Peak Attack set around 8 oclock Release set around 9 oclock
NanoCompressor Quick Facts
Welcome to the NanoCompressor Quick Reference Guide. This is a supplement to the manual designed to quickly get you up and running with this signal processor. Some of the key features of the NanoCompressor include: Affordable, high quality compression for a wide variety of sources Sidechain input for ducking and de-essing 1/3 rackspace package Compression Bypass switch Low noise, low distortion components for high quality sonic performance Stereo Inputs and Outputs Selectable RMS or Peak signal detection Bypass footswitch input Selectable Hard and Soft Knee compression curves
THRESH RATIO ATTACK RELEASE OUTPUT

Rock Bass

Threshold set so that only the peaks are compressed Ratio set for 4:1 Knee set for Hard Peak/RMS set for Peak Attack set around 9 oclock Release set around 10 oclock
Getting Started With the NanoCompressor
The Alesis NanoCompressor was designed to easily integrate into any studio or instrument setup. To use the NanoCompressor with a mixer insert: Connect the balanced 1/4 plug of an Insert cable into the insert jack of your mixers channel or main insert. Plug the send into the NanoCompressors Left Input and the return into the Left Output Set the controls like this: RATIO set for 4:1 (about 12 oclock), PEAK/RMS set for RMS and HARD/SOFT set for SOFT. Make sure that the BYPASS/COMP switch is set for COMP. Turn the THRESHOLD control all of the way to the right, then slowly turn it down (counter-clockwise). As the Threshold gets lower, you will notice the REDUCTION meter will show more and more compression. For more information please refer to the NanoCompressor Reference Manual that comes with your processor.
Funk/R&B Electric Guitar
Threshold set for constant compression (around -3dB) Ratio set for 6:1 Knee set for Soft Peak/RMS set for RMS

SWITCH IN SWITCH OUT

1996 Alesis Corporation Specifications Subject To Change Without Notice Printed In USA 7-51-1204 8/96

Two-Channel Auto Compressor
The 108 is a two channel auto compressor with Easyrider technology for the best sounding, most transparent compression available. Easyrider thinks for you, continuously monitoring the complexity of the program material and instantly adjusting the compression ratio and time constants accordinglyjust set and leave it alone! Think of it as having an extra set of hands while you play. Easy to use, simple to set up, the 108 sounds completely transparent on individual voices, instruments and submixes as well as full program material.
Rotary speed control varies the range of the WDC release time Dial in the desired amount of compression, up to 20dB available Gain reduction meter with 10 LED steps Channels linkable for stereo operation Switchable -10dBV / +4dBu operation In addition to the world-class Aphex 1001 Class A VCA, Aphexs Easyrider Technology is a combination of two circuits: Wave Dependent Compressor (WDC), a patented circuit which automatically adjusts compressor time constants according to program complexity: No-Knee compression curve circuitry which automatically adjusts the compression ratio. One of the most annoying aspects of conventional compressors is the audible pumping or breathing side effects heard when the signal exceeds the threshold and the compression kicks-in. No-Knee ensures there is no abrupt transition to a high compression ratio.
Two-Channel Tubessence Parametric Equalizer
In a class by itself, the 109 has the flexibility to switch between Mono 4-band (1x4) operation when you need to address complex equalization issues or Dual 2-band (2x2) operation when more general equalization is required. For even more control, a switch is provided for selection of either peak/dip or shelving on all four bands. Each band provides variable boost/cut (15dB), variable frequency (20Hz 2kHz or 200Hz 20kHz ) and variable bandwidth (1/5 octave to 2 octaves) control. The 109 can be used for a combination of applications including gentle frequency response shaping and notching of specific frequencies, like 60Hz hum. The 109 also includes the patented Tubessence circuit which provides true vacuum tube circuitry and sound without transformers, high heat, short life, fragility, and sonic variability. Due to the added sweetness of Tubessence, you will never hear an equalizer sound like the 109. Operating the unit in the EQ flat mode allows the signal to pass through the Tubessence vacuum tube stage without any gain change, providing you with a great Tube Processor. This feature proves helpful for digital users who wish to warm-up their digital signals.

The compressor uses a minimum signal path design and features twin Class A vacuum tube triodes for gain matching. The passive optical attenuator, used for gain reduction, serves as a simple yet musical level controller Continuously variable threshold level, ratio, attack, and release controls provide a variety of useful dynamic effects, from soft compression to hard-knee limiting To provide maximum flexibility, the compressor can be positioned either before or after (Pre/Post) the equalizer even greater sonic possibilities, the two sweepable mid-EQ bands can be side chained to the compressor allowing a broad range of spectral control including de-essing hardwire relay bypass switch engages the compressor into the signal path linking (tracking) between two VT737SPs is possible via an unbalanced 1/4 link jack on the rear panel

Three

Twenty-two
LCD display shows the number of hours that the tubes have been operating toroidal shielded power transformer power supply 100-240V

Switchable AC To

ensure that there is no strain on the electronic components when the unit is activated, a soft-start feature slowly brings the unit to life when the unit is powered on

Stereo

4-Band Passive-Active EQ
four-band parametric equalizer section features a 100% discrete high voltage class A design with both variable-active and switched-passive filter topologies High and Low Mid frequency bands each feature active peak/dip filters each with a boost and cut of 16 dB as well as a Q switch which allows you to select the appropriate bandwidth (Medium or Wide)
Preamp GainLine Preamp Gain Instrument Preamp GainMic Input Source Select High gain Phase +48v Passive Filter Threshold EQ to COMP Meter Ratio Compress Switch Attack Release Bass (Passive Shelf): Boost/Cut Frequency Range Low Mid (Active Peak-Dip): Boost/Cut Frequency Range Bandwidth (Q) High Mid (Active Peak-Dip): Boost/Cut Vari frequency Bandwidth (Q) Treble (Passive Shelf): Boost/Cut Frequency Range EQ to SC: Output Gain: Hi-Z Instrument DI Mic Input Line Input Line Output Compressor Link
low-mid frequency is variable between 35 to 450 Hz high-mid frequency is variable from 220Hz to 2.8 kHz
low frequency passive shelving EQ is selectable between 15, 30, 60 and 150 HZ with a boost and cut of 24dB high frequency passive shelving EQ is selectable between 10, 15, 20 and 32 kHZ with a boost and cut of 20dB previously mentioned, the High and Low Mid band EQs can be assigned to the compressors side chain circuit. When this is the case, the low and high EQs are still available for tonal adjustment
Pre Amplifier Controls -20 to +10dB (+18dB with gain boost) -30 to +10dB (+28dB with gain boost) 0 to +40dB (+58dB with gain boost) Line XLR balanced, unbalanced 1/4 Instrument jack, Mic XLR balanced Input Mode Switches Adds +8dB to Line level signals and +18dB to Mic or Inst signals Inverts the polarity of all 3 input sources Phantom power to XLR Mic input 6dB per octave passive bass cut filter variable from 30Hz to 140Hz Compressor Controls -30dB to +20dB Places the EQ pre the compressor Selects gain reduction (in) or output (out) metering 1:1 to 20:1 Engages compressor into signal path Variable from 2ms to 200ms Variable from 100ms to 5 sec 4-Band Equalizer Controllers 24dB with center detent at 0dB, Shelf response 4-position switch (15 / 30 / 60 / 150 Hz) 16dB with center detent at 0dB, Peak-dip response Variable from 35 to 450 Hz or 350 to 4.5k Hz w/ x10 switch engaged Switchable for Narrow (Q=0.5) or Broad (Q=0.2) 16dB with center detent at 0dB, Peak-dip response Sweepable 220 to 2.8k Hz or 2.2k to 28k Hz w/ x10 switch engaged Switchable for Narrow (Q=0.5) or Broad (Q=0.2)

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 infinity:1 and over 60dB gain reduction) for bombproof protection against overload distortion in digital recording, PA systems and broadcast signals. 12-segment LED display for gain reduction up to 40dB
19-segment LED display for high resolution monitoring of true RMS input/output levels Input/output meter calibration allows the 160A to be used in a variety of situations where the 0 reference is not consistent Electronically balanced /unbalanced input and output stages are fully compatible with +4/-10dB. The output stage is an outstanding line driver for long cable runs.

INFINITY

+ inverse-compression mode decreases the output level below unity gain when the input exceeds threshold ideal for correcting overbearing vocal choruses or controlling runaway house mix levels. Detector input allows special applications including frequency conscious compression in which an external equalizer is used. Input Ground Lift Switch eliminates any ground loop hum problems that may arise.
Hard Knee vs OverEasy Compression:
When the compressor is set for Hard knee, the compression ratio applies only to signals above the threshold level. If the compressor is set for Soft knee (OverEasy), the compression ratio gradually increases from 1:1 to the current selected ratio over a range through the threshold area which allows the transition from uncompressed to compressed to be more gradual. This greatly reduces compression artifacts and allowing faster attack times and higher compression ratios while still maintaining the natural characteristics of the signal. Hard knee compression, on the other hand, is ideal for brick wall limiting because it stops any transients from slipping through without affecting lower level signals.
Threshold Control Range Ratio Control Range OverEasy Button with LED Threshold Control Range Ratio Control Range Attack Time Release Time 1/4 TRS Side Chain Insert Bypass Switch w/LED PeakStop Limiter Threshold Range Gain Make-Up Range Stereo Couple -60 to +10dBu 1:1 to 4:1 Yes - 40dB to +20dB 1:1 to :1 Switchable; Manual and Automatic Switchable; Manual and Automatic Tip = Input, Ring = Output Yes N/A Variable; -20dB to +20dB True RMS Stereo Summing
Expander/Gate Controls Off to +15dBu 1.2:1 to 8:1 Compressor Controls Yes - 40dB to +20dB 1:1 to :1 Switchable; Manual and Automatic Switchable; Manual and Automatic Tip = Input, Ring = Output Yes 0dBu to +20dBu Variable; -20dB to +20dB True RMS Stereo Summing

Sync In and Out Connectors
Internally terminated 75 BNC connectors are provided for word clock input and output allowing the processors to be used in a master or slave configuration
dbx custom VCXO clock chips specifically designed for low-jitter performance World Clock signals of 96, 88.2, 48 or 44.1 kHz are supported
LED metering is provided at each processing stage 4-segment input drive signal meter EQ Clip LED indicates that the EQd signal is clipping Three stage compressor threshold meter 8-segment Gain Reduction meter displays the amount of signal being attenuated Two Stage De-Esser threshold meter Meter Select Switch toggles between the digital or analog output signal displayed in the 8-segment LightPipe meter analog levels are scaled to dBu while digital levels are scaled to dBFS (Full scale)
386 Dual Channel Tube Mic-Preamp w/Digital Output
The Silver Series 386 is a stripped-down dual channel processor with the same tube mic pre and Type IV conversion system as the 376. The 386 will accept mic, line and Hi-Z instrument inputs and its dual channel capabilities make it an ideal solution for dual mono or stereo tracking of vocals, instruments miked or direct, as well as stereo keyboards and samples. The hand-selected 12AX7 tube lets you add just the right amount of tube warmth or even overdrive to any signal.

376 AND 386

Rear Panel Front Panel
Inputs Electronically-bal / unbal XLR Mic and 1/4 TRS line
High impedance 1/4 TS unbalanced instrument
V a c u u m Tu b e M i c P r e a m p Input Drive Control Range +30 to +60 dB (mic) & -15 to +15 dB Line
Insert Analog Outputs Output Level Control Range Digital Outputs Supported Sample Rates Supported Word Lengths Word Clock Sync I/O Supported W/C Signals 1/4 TRS (unbalanced) tip =SEND ring = RETURN Electronically-bal / unbal XLR and 1/4 TRS -20 dB to +20 dB (Analog or Digital) Coaxial S/PDIF (75), XLR AES/EBU (110) 96, 88.2, 48, or 44.1 kHz 24-, 20- and 16- bit 75 BNC (internally terminated) 96, 88.2, 48, or 44.1 kHz

Microphone Processor

Forget about the hassle and cost of patching together multiple processors for use on one track. Now you can have all the tools youll need in one box, with the shortest signal path to help keep your music sounding clean. The 286As mic preamp and five processors can be used independently or in any combination. The 286As sonically pristine mic preamp features wide-ranging input gain control, switchable 48v phantom power and an 80Hz high-pass filter. Use the patented OverEasy Compressor to transparently smooth out uneven acoustic tracks or deliver that classic in your face rock vocal. Take out vocal sibilance and high frequency distortion in cymbals with the frequency tunable De-Esser. Fine-tune the Enhancers HF Detail control to add sparkle and crispness to tracks. LF Detail control adds fullness and depth to vocals and bass instruments while simultaneously cleaning up muddy low midrange frequencies. And, the Expander/Gates separate threshold and ratio controls allow you to subtly reduce headphone leakage or radically gate noisy guitar amps.
A host of metering and status LEDs visually guide you to achieving the right sound. The floating balanced XLR mic input accepts balanced or unbalanced inputs.
An additional 1/4 TRS phone jack can accept balanced/ unbalanced line signals to process live electronic instruments or prerecorded tracks at mixdown.
An insert jack between the mic pre and signal processing sections can be used to loop out to external processors or to mix the signal out to an external destination.
Subharmonic Synthesizer with Modeled Waveform Synthesis
The disco boom of the 70s was fueled by the throbbing bass beat of dbx Subharmonic Synthesizers in discos around the world. During the 80s, patented dbx Subharmonic Synthesis was the secret weapon used by mobile DJs and film and sound professionals to produce an impact unavailable from any other deviceunique because the dbx process actually produces a new, Waveform Modeled bass note, exactly an octave below the bass in the original audio. For 2003, the 120A Subharmonic Synthesizer has been specially optimized by dbx engineers for the needs of audio professionals. Two separate bands of bass synthesis provide the best combination of smoothness and control, while the independent Low Frequency Boost circuit gets the most out of highperformance low frequency speaker systems.
Patented subharmonic synthesis process builds the synthesized waveform using the waveshape of the original bass material. Unlike other systems, the dbx process produces smooth, musical low frequencies that don't interfere with the mid and high-band, even when maximum synthesis and boost are applied. The result is a low-end punch that you really feeleven at levels that wont destroy equipment or damage hearing.

12 SERIES EQUALIZERS

Dual Channel 15- Band and 31-Band Graphic Equalizers
The 1215 and 1231 equalizers are designed to meet the needs of the most demanding sound reinforcement environments, while offering simple and straightforward controls. Both units offer dual channel operation. The 1215 provides 15 2/3 octave bands with ISO frequency centers, while the 1231 provides 31 1/3 octave bands with ISO frequency centers. Both feature 45 mm faders, selectable 6dB or 15dB boost/cut ranges, 12 dB input gain range, and switchable 40Hz/18 dB per octave low-cut filters. Precision engineered to provide years of maintenancefree operation in any application, they utilize only the best possible components. RF Filtered, electronically-balanced XLR, barrier strip, and 1/4 TRS inputs and outputs provide ease of installation, while magnetically isolated transformers and chassis/signal ground lift capabilities ensure quiet performance.
The Last Word in Affordable, High Quality EQs
With the dbx 12 Series the goal was simple; build the best bang-for-the-buck, no nonsense equalizers on the market. Price/performance champions, the 1215 and 1231 are designed for down-to-earth sound shapers who dont need a feature-laden20 Series EQ, but who absolutely demands a pristine signal path and consistent performance in an equalizer.
Common Mode Rejection Frequency Response Signal to Noise 15db Range Signal to Noise 6db Range THD+ Noise Dynamic Range 15db Range Dynamic Range 6db Range Interchannel Crosstalk Input Specs XLR, 1/4 TRS and Barrier Strip Output Specs XLR, 1/4 TRS and Barrier Strip Impedance >40k balanced >20k unbalanced Impedance 200k balanced 100k unbalanced >40dB, typically >55dB at 1kHz <10Hz to >50kHz, +0.5/-3dB 90dB 97dB <0.04%, 0.02% typical at +4dBu, 1kHz 109dB 115dB <-80dB, 20Hz to 20kHz Max. Input Level >+21dBu (2k) balanced or unbalanced Max. Output Level > +21dBu (2k) balanced or unbalanced
Low Cut (recessed) Range (recessed) EQ Bypass Input Gain Range Control Rear Panel
Inputs & Outputs RF Filtered, Electronically-balanced / unbalanced XLR, 1/4 TRS and Barrier Strip -12dB to +12dB Function Switches Hardwire bypasses of the graphic EQ section with 2-second power-up delay Activates the 40Hz 18dB/octave Bessel high-pass filter Selects either 6dB or 15dB slider boost/cut range Metering Output Level Clip Power Supply Operating Voltage: 100V AC 50/60Hz; 120V AC 60Hz 4-Segment LED @ -10, 0, +10 and +18dBu Red LED
Selectable 6dB or 15dB boost/cut range for precise gain adjustments Electronically balanced/unbalanced inputs Servo balanced/unbalanced outputs

Worlds First Standalone Plug-in Player

Starting

PROCESSORS 261
Bring your VST plug-ins to the live gig, recording studio and mastering session. Add DSP to your computer-based Digital Workstation.
with Steinbergs VST 2.0 standard, and adding a quick, intuitive user interface, stellar audio performance, and wrapping it in a sexy, quiet 2RU package, Plugzilla will forever change your idea of VST plug-ins, rack mounted effects processors, and synthesizers. compliant with Steinbergs VST 2.0 specification virtually any Windows-based VST plug-in* - including VSTi instruments. independent, fully routable machines up to eight plug-ins simultaneously
Quick, Simple and Easy-to-Use Interface
sets of eight Hot Knobs and Hot Switches can easily be assigned and routed to plug-ins providing incredible flexibility for accessing realtime control and automation functions. bright fluorescent information displays FLASH slot and a USB port are available for additional plug-in storage. than 200 plug-ins are loaded when shipped.
stereo/four channel 96kHz/24 bit balanced XLR analog inputs and outputs to output latency at 48kHz sample rate is less than 4 msec. Coaxial S/PDIF Digital inputs and outputs MIDI In and Out ports provide 32 MIDI channels footswitch inputs with full routing and assignment to plug-ins. power supply (90 - 240VAC /

Input

Runs Two

Compact More

Runs Store High
thousands of plug-ins and presets in internal Flash memory

Universal

50-60Hz
performance processing - capable of running 16 channels of reverb. snapshot memories allow quick comparisons and creative flow

Eight

(*depends mostly on copy protection scheme)

FOCUSRITE

PLATINUM OCTOPRE

8-Channel Mic Preamp

PROCESSORS 262
With eight pristine channels, class A Focusrite processing, eight compressor/limiters and almost all the interface options known to man, the OctoPre makes high quality, multi-channel recording easy. The perfect partner for any digital audio workstation, it is equally suited as an instant location recording solution, or as an additional set of mic preamps for any analog, digital or hard disk recorders. Each channel features a revolutionary compressor/limiter circuit, providing a warm-sounding compressor, which morphs into a brick wall limiter to avoid those critical overs, ensuring total control over all eight channels. The first two Super channels also feature phase reverse, as well as TRS inputs on the front for quick and easy, DI-free plug-in. Finally, the high quality digital converter options cover almost every interfacing eventuality. Up to sixteen digital outputs can run simultaneously with any mix of analog outputs, and all the settings are adjustable, directly from the front. With this entire package fitting into a single 1U chassis, OctoPre sets the standard for multi-channel recording solutions. FEATURES

Focusrites Exclusive TubeTranTechnology gives you controllable tube style warmth. This unique effect is achieved using a dedicated discrete mosfet circuit, specifically designed to create this indistinguishable audio illusion. Instead of limiting your studio to one sound, now you can choose less tube, more tube, no tube, you decide.

True Stereo Linking

The link feature enables the Compounder to act as a true stereo compressor, enabling complete stereo control of every parameter. When switched to stereo the left channel becomes the master section and controls both left and right compressor and limiter sections simultaneously. You can also choose to operate the unit as a dual mono device allowing you to process two separate channels independently.

COMPOUNDER SPECS:

The Penta features an image width enhancer for altering the apparent image width of a stereo source. With the Image Width control you can widen the stereo image of your mix to create an ambient, spacious mix that extends beyond the normal stereo extremities, breathing new life into your projects. A tweak in the other direction produces a narrow, focused image.

Output

Featured in the final section is a comprehensive visual meter to help you ensure optimum levels at all times. The Penta also uses the same optional high quality A/D converter as the VoiceMaster and Trak Master, making digital interfacing a breeze.
Compressor Threshold Range: -24dB to 12dB Ratio: 1.3:1 through infinity to over-compression Slope: select between hard and soft knee. Attack Variable or auto and Release: (program dependent) Attack: 100S to 100mS Release 100mS to 4S
Limiter Threshold Range: 12dBu to 26dBu Ratio: infinity Attack: Fast Gate Threshold Range: Gate Range: Attack: Release/ Hold: Expander Ratio:
-40dB to +10dB -20dB or -80dB(full) switched fast or slow variable or fixed 100mS to 4S 2:1

PLATINUM VOICEMASTER PRO

Dedicated Engineering for Vocals

PROCESSORS 266

An end to the search for that elusive perfect vocalVoiceMaster PRO represents a new generation of Channel strip design. The award-winning Class A Pre-amp is capable of capturing every nuance from any source, while latency-free monitoring ensures direct and delay-free mix control. Tools such as the Voice optimized EQ, Vintage Harmonics and Tube Sound allow you to get creative with a touch of class, putting your own stamp on every recording. Combined with the 24-bit, 96kHz A/D option, the VoiceMaster PRO is the perfect interface between your mic and DAW or other recording media. FEATURES

Distortion

+24dBm into 600 +26dBm into 10k, balanced and floating

ISA 220: SESSION PACK

Channel Strip
The ISA 220 Session Pack provides all the audio precision tools required to infuse your session with Focusrites renowned sonic performance. It features many of the original circuits of the flagship ISA 430 Producer Pack, and also includes some new facilities of its own. It also features the same digital output option as the ISA 430, providing you with a high quality digital route direct from the ISA 220 into your digital recording system. With a topology based on the flagship ISA 430, the ISA 220 is designed for professionals in music and post. A channel strip style processor, the 2RU high ISA 220 includes a transformer-coupled mic/line/instrument preamp, 4-band EQ with filters, compressor, optical de-esser and frequency adaptive limiter. FEATURES
Input stage features a precise VU meter, switchable to allow monitoring of either input level or compressor gain reduction Above the VU meter is a 32 LED digital meter for monitoring both the internal input and the rear panel external input (the latter routes directly to the second channel of the optional A/D card). A global bypass switch next to the digital meter allows for instant A/B comparisons Mic, line and instrument inputs are all transformer-based, the cornerstone of the Focusrite signature sound, clear yet warm, with incredibly low noise figures and a THD below 0.001% on the mic input! Switching between these input options is available on the front panel with LEDs indicating the active input. The Mic Pre is the classic Focusrite transformer-based design with illuminated switches for phantom power and phase reverse, all available on the front panel From the front panel you also have control over the digital output option and in/out selection for each of the processors. An instrument jack is also provided on the front panel for quick plug and play access.

EQ Section

The EQ featured on the ISA 220 is similar to the ISA 430 and ISA 110, with the exception of the Shelving EQs having four frequency selections rather than six. Whether fattening-up bass, fore grounding or trimming middle, or adding airy top, this EQ can handle anything with grace and ease.
The output section of the ISA 220 features the same frequency adaptive limiter as the ISA 430, a design which uses three separate stages of optical-based circuits, each of which has different limiting properties to give true distortion-free limiting. Fast limiters tend to have problems dealing with complex signals that contain sustained low and mid frequency information and thus chop holes in the audio when HF transients trigger the limiting. To overcome this, the ISA 220s frequency adaptive limiter has three frequency bands with different attack times as follows: LF slow, MF quick and HF ultra-quick, the latter designed to catch fast transients. An upper threshold is fixed at +20dBu to prevent overload of the internal (or an external) A/D converter. Finally, a variable control adjusts the module output level between -60dB and +6dB ensuring optimum output levels.

threshold, ratio, attack, release hold and range controls can be applied to achieve noise-gating or downward expansion High- and Low- Pass filters allow you to control the specific frequency range over which the gate will open a sidechain monitor listen button lets you hear what frequency range the gate is operating within Duck mode allows for external input of microphone signal via Gate Key Input
Balanced XLR inputs and outputs Unbalanced inputs and outputs are also available via a single 1/4 TRS jack A flip button reverses the tip and the ring on the 1/4 jack to match the wiring of your mixer 1/4 TRS compressor sidechain insert with +4/-10dBv selector

Zero-Crossing Circuit

Zero-Crossing function provides truly clickless operation and chattering on gate settings that use quick attack-times
GTX44 Panel Controls CL44 Panel Controls:
Low Cut Filter Threshold Ratio Gain Compand Attack Release Limit Optical Mode Switch Link 1-2 and 3-4 Switch Auto Switch Bypass Switch Gain Reduction Meters 20Hz-8kHz +15dBu to 40dBu 1:1 to 20:1 -20dB to +20dB 0% to 100% 01mS to 500mS 01S to 3S -10dBu to 24dBu (Off) Low Cut Filter Hi Cut Filter Threshold Ratio Range Attack Hold Release Sidechain Monitor Switch Link 1-2 and 3-4 Switch Duck Switch Bypass Switch Performance Gain Reduction Meters 20Hz-8kHz 250Hz-20kHz +15dBu to 40dBu 1:1 to Gate 0dB to -80dB 01mS to 500mS 001S to 1S 01S to 2S

Adjacent

channels are stereo linkable
Internal Power Supply Backlit function buttons steel chassis, one rack space

LED -0.5dB to-24dB

LED -3dB to-30dB
Partial rear view of GTX44

ACOUSTI-Q

Tube Blender/Preamp
The ACOUSTI-Q is an affordable tube-based preamp/ blender for acoustic instruments featuring Presonus award winning dual servo gain stage design. The ACOUSTI-Q is the perfect solution for acoustic musicians helping to bring their personal style and sound to new heights! The ACOUSTI-Q gives you the choice to use a single (piezo pick-up) or dual (piezo pick-up and mini- internal microphones) source. With two sources, you can blend the signals to achieve the perfect mix. Guitars, woodwinds, basses, brass instruments virtually any acoustic instrument can benefit from the warm tube sound of the ACOUSTI-Q. The ACOUSTI-Q employs two dual-servo microphone preamplifiers with separate gain controls for input, a phase switch, a 12-volt phantom power supply to accommodate miniature, internal condenser microphones, a variable notch filter and sweepable mid- band EQ, as well as low and high shelving EQ controls. The master output section gives you the ability to set two separate volumes, one for normal volume, and the other, a boost, for solo playing.

Channels 1 and 2

Channels 1 & 2 feature high-quality microphone preamps with switchable 48v phantom power and Phase Reversal switch is also provided for advanced two channel miking techniques. 3-band EQ with sweepable mids and an In/Out switch that provides clean and silent toggling between equalized and non-equalized modes. Channels 1 and 2 also feature an optical compressor with variable threshold which provides wide-ranging high quality control of signal dynamics. EFR (Enhanced Frequency Recovery) circuit helps restore high frequency content lost when high gain reduction is applied. Convenient insert points are also provided Two 5-segment LED meters show accurate information of input or output signals so all signal changes can be monitored.
1/4 TRS balanced mixer outputs are also provided on the rear panel for analog recording

Analog

control room/headphone outputs can also be used to monitor the signal before or after it enters the DAW

Stereo Multi-zone Mixer

The perfect solution for multi-zone audio installations, the SZone is a 4-channel / 4-zone stereo mixer featuring two mic/stereo line inputs with ducking, two stereo CD/line inputs, on-board speaker and headphone monitoring. It also offers Euroblock output connectors and remote volume control. Great for controlling and monitoring audio in restaurants, bars, clubs, houses of worship and office or boardroom situations.
4 channel stereo zone splitter/mixer 4 balanced stereo zone outputs Unique front panel monitor section with selectable zone monitor switch, headphone output and built-in super-speaker 2 Stereo CD/Line inputs with backlit zone assignment switches 2 Mic/Stereo Line inputs with backlit zone assignment switches Phantom power available on mic inputs Independent, adjustable Zone ducking on microphone inputs 1 and 2

Channels 3 & 4

Independent 2-band equalizer on each zone output stereo inputs and outputs switchable to mono 6 segment LED output VU meters for each zone Euroblock screw-terminal input and output connectors Remote VCA volume control capability for each zone output Internal voltage-selectable power supply Standard EIA single rack space chassis
Channels 3 and four provide line inputs, with volume and pan controls, that can be used for keyboards and other processors or they can be used to return a stereo sub mix.
XLR mic, 1/4 line combo connector inputs are provided on the front panel for channels one and two S/PDIF inputs and outputs allow you to connect the SVox digitally to your DAW
SCURVE 215 / SCURVE 131 / SCURVE 231
Designed and built for professionals, SCurve EQs feature easy to read LED displays and the extra features professionals need. SCurve EQs are also exceptionally quiet, in fact up to 15dB lower than comparable EQs. Three models available, the SCurve 215 is a great, multi-purpose EQ packed with features and easy-toread lighted display. The SCurve 131 is for pros looking for a full 31-band EQ, while the SCurve 231i s a totally comprehensive, feature-rich dual 31-band EQ for the most demanding applications. They all feature Constant Q circuitry, balanced XLR and 1/4 TRS inputs and outputs, LED faders and LED bar VU meters, boost/cut and cut only modes, and a bypass switch

effect parameters can be accessed via standard MIDI controllers allowing realtime control and automation with virtually any sequencer or other MIDI devices You can also use MIDI to dump & save the entire user bank to a MIDI sequencer The TAP Tempo function of the can be locked to the incoming MIDI clock
1/4 pedal input accepts a momentary switch for controlling bypass or tap Internal auto-switching power supply 100 to 240 VAC, 50 to 60 Hz 1 year parts and labor warranty

Effects Algorithms

Hall Room Small Room Plates 1&2 Spring Live Ambience Delay One Tap Delay Two Tap PingPong Delay Chorus Classic & 4-voice Flange: Classic & 4-voice Pitch: Detune & Pitch Shift Parametric EQ Compressor/Limiter Gate/Expander De-esser Tremolo Phaser Vintage & Smooth
Also Available: The Original MONE
The original MONE is still available and may be a viable option for users with unbalanced equipment and for guitarists. It has the same features as the MONE XL less the XLR connectors (the MONE has 1/4 I/O) as well as the specific algorithms that have been optimized for live applications. Other features of the MONE XL that are not available with the MONE include Ping-Pong Delay, additional reverb size tunability, MIDI mapping and Tremolo Pitch.

TC 2290

Dynamic Digital Delay
Acclaimed as the industry standard Digital Delay, the TC 2290 can be found in recording studios, PA rigs and guitarists FX racks the world over. The TC 2290 combines unique operational features and superior sound quality, allowing you a greater degree of musical creativity in the use of effects.
1/4 and XLR inputs and outputs Programmable Chorus, Ducking, Gating & Panning 4 seconds memory (8 seconds in Double Sample / Double Delay time Mode)
Feedback control with phase invert as well as Low Pass (8, 4, 2 kHz) and Hi Pass (100, 200, 400 Hz) filters.

Modulation

Dynamic Control
The input signal dynamically controls 3 independent LFOs providing unique chorus, flanger, ducking, gating and pan effects The Dynamic Function enables you to suppress the effects when you are playing and let the effects reappear when you stop playing or the opposite.

Eight highly transparent solid state mic preamps in a 1 unit rack configuration Challenges the recognized leaders in sonic accuracy and performance Two sonically accurate discrete FET instrument inputs (DIs) are available for recording or live sound applications in which realistic, unaffected sound quality is desired. Built-in M-S (Mid-Side) decoding for creative spacial image control Smooth continuous gain controls 5-segment peak-hold level metering with selectable peak reference allows rapid optimization of program levels between the Precision 8 and devices to which it is interfaced. Easy interface to MDMs, HDRs, DAWs, or consoles Dual DB25/TRS outputs for flexible interconnection Elegant, sturdy physical design Exceptional cost per channel value

P2ANALOG

2-Channel Microphone Preamp
A 2-channel microphone preamp designed to provide detailed, transparent sonic performance for the most critical direct tracking and sound reinforcement applications, the P2ANALOG features selectable M-S decoder, active DIs with impedance modification capability, dual gain range selection, selectable high-pass filters, and relay-switched signal routing. It also offers a Stereo Phase Correlation display that assists in optimizing microphone placement for stereo recording. Modeled after the Precision 8, the P2ANALOGs unique combination of functions make it a complete input system for standalone or PC-based recording systems. Hybrid, totally balanced, dual servo, high-voltage design provides top-notch transient response, headroom, imaging and noise performance. In addition to the acclaimed mic inputs, two instrument direct inputs (DIs) offer incredible articulation and control for electric bass, detail and smoothness for stringed instruments and punchy, clean sound with keyboards.

Precision 8

Gain (microphone) Gain (direct input) Frequency Response (gain=40 dB) Maximum Input/Output Level Input Impedance Noise (Rs=0 Ohms) Slew Rate CMRR (CMV=+10 dBu): Crosstalk THD (+26 dBu, 100 kOhm): +16 to +64 dB -4 to +44 dB 1.5 Hz to 500 kHz (+0/-3 dB) +15/31 dBu 5.5 k(mic); 2 M (direct input) -132 dB e.i.n. > 40 V/uS 85 dB -130 dB.0008%
3.5 to 52dB and 15.5 to 64dB -16 to 32dB and -4 to 44dB 1.5 Hz to 500kHz (-3dB)(gain=40dB) +15/31 dBu 5.5 k(mic); 2.5 M (direct input) -132 dB e.i.n. > 40 V/uS 85 dB.0008%

WAV E S

L2 Ultramaximizer
24-bit / 96kHz Hardware Limiter/Converter
The L2 Ultramaximizer is a 2U 19 rackmountable limiter and converter that combines refined look-ahead brick wall peak limiter algorithms and IDR (Increased Digital Resolution) dithering technology from the award-winning L1 software with 24-bit A-to-D and D-to-A converters, 48-bit internal processing and support for sample rates up to 96kHz. The L2s balanced XLR and RCA analog inputs and outputs, AES/EBU and S/PDIF digital I/O and a dedicated Word Clock input makes it compatible with a wide variety of audio applications, from tracking and mixing to mastering and concert sound. The L2s limiting capability can significantly increase the average signal level of typical audio signals without introducing audible side effects but is equally capable of extreme limiting, intentional pumping, and vintage dynamic processing effects. Additionally, L2s Increased Digital Resolution word length reduction system uses ninth-order noise shaping which can increase the perceived sound by as much as 18dB when dithering down from high resolution formats.