PreSonus BlueMax

Would you believe a compressor/limiter with a brain? That’s what you get with the BlueMax from PreSonus. 15 studio pre-sets and a manual mode give you full control over compression parameters including: variable I/O, attack/release times and ratios from 1:1 to 20:1. Onboard metering shows input/output levels and gain reduction for stereo and mono operations. The BlueMax takes up only 1/2 of a rack space and has an internal power supply, eliminating the need for yet another wall wart.

dbx 160A Compressor/Limiter

Use this classic device to control variation in levels, raise a signal out of a mix, transfer between digital and analog media, prevent tape saturation, and protect speakers. The “A” in the name means a better signal path, single front panel with rack ears, IEC AC connector, ground lift switch for pin 1 of the XLR input, and a stronger chassis.

Choose OverEasy¨ or classic hard knee compression. The 160A gives variable compression ratio from 1:1 through infinity to negative compression, a dual RMS LED display that monitors input or output and gain reduction, up to 60dB of gain reduction, compression threshold from -40dB to +20dB, and balanced and unbalanced outputs that can drive loads simultaneously.

Setup is easy, metering is precise. Two 160A’s can be stereo-coupled to process an entire mix or instruments miked in stereo.

160A        60DB160A                 

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dbx 166XL Dual Compressor/Limiter/Gate

A compact, high performance tool with two independent channels, each combining OverEasy compression, PeakStop, and a soft knee expander gate. The front panel gives you stereo or dual-mono operation. Connectors: balanced XLR & unbalanced 1/4" inputs and outputs, IEC AC connector.

Prevent transient peaks from overloading your digital recorder; make an intimate vocal stand out in a music mix; use compression for jingles and post production.

166XL      60DB166XL                

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dbx 1066 Dual Compressor/Limiter/Gate

It’s packed: OverEasy soft knee compression, zero-attack PeakStopPlus limiter, 70dB expander/gate, 12-segment gain reduction meters, over/under LED’s, and peak-reading I/O meters. Vary the ratio to select anywhere from gentle downward expansion to gating. Link both channels for stereo compression. Adjust your attack and release times or let the unit do it.

Monitor input or output. You can A/B your audio with or without sidechain processing. Work in the dark thanks to illuminated switches. Use either the balanced XLR or unbalanced 1/4" TRS connectors; convert semi-pro -10dBV audio to the internal +4dBu. Forget “Y” cables; sidechain sends and returns are on separate jacks. The internal supply lets you use this box all over the world.

Each channel has the following controls: expander/gate threshold & ratio, compression threshold & ratio, compression attack & release times, output gain, and limiter threshold.  

1066        60DB1066               
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dbx Project 1 Audio Processors

Project 1 processors capitalize on today’s technology to give you dbx audio performance at low cost. Both models are rack mountable.

The 266XL is a compressor/gate with two channels of compression, program-adaptive expander/gates, and AutoDynamic attack and release controls. Balanced inputs and unbalanced outputs are on 1/4" TRS connectors. Side chain insert is standard. Set it for stereo or dual mono operation.

The 286A is an all-in-one mic processor with preamp, OverEasy compression, de-essing, spectral enhancement, and expander/gate. Phantom power, high-pass filtering, and input gain control are provided. The XLR mic input accepts balanced or unbalanced inputs; a 1/4" TRS jack takes line signals. Use the insert jack to add external gear between the preamp and processors.

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Presonus ACP-22

The ACP-22 is a two-channel dynamics processor designed to provide compression, limiting and noise gating in a variety of applications.  In any application, the ACP-22 provides two channels of crystal clear compression with full control over compression threshold, ratio from 1:1 to infinity:1, variable attack and release times and switchable hard/soft knee. An auto mode takes the worry out of setting the compressor, by offering program dependent attack and release times.  The ACP-22 has onboard metering for gain reduction as well as input/output meters. Independent LED’s show soft/hard knee, auto in/out and channel bypass positions. De-essing, ducking and other forms of spectral processing can be accomplished using the sidechain provided on both channels.

The Noise Gates on the ACP-22 provide control over threshold, variable attack and release and switchable gate range (-60db/-6db). The unit also has a unique Low Pass Gate Filter which eliminates cymbals and other higher frequency range instruments from opening up drum and/or vocal gates without affecting the audio output.  Independent Gate Key Side Chain is included for external

triggering and precise filtering. LED’s on the gate show gate position: open or closed, and gate range.

Inputs and outputs on the ACP-22 are either XLR Balanced or 1/4" TS Unbalanced. Each channel operates at +4dBu or -10dBV, selected via rear panel switch. The ACP-22 is housed in a one-rack space, all steel chassis. In keeping with the PreSonus “no wall wart” tradition, an internal power

supply is standard.

ACP-22   60PNACP22            
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dbx Digital Dynamics Processor

The Digital Dynamics Processor, or DDP,  represents the kind of forward thinking you can expect from dbx.  The menu-driven DDP has the ability to perform in either stereo or in dual mono modes.  Intuitive and clean, the DDP offers 24-bit TYPE IV* processing, full MIDI capabilities, and peak and average level as well as gain reduction metering at all points in the process: input, internal and output.

The operating system of the DDP offers a fully featured complement of compression, gating, de-essing, limiting and EQ.  Easy to see parameters are shown numerically on the screen and on the graphical display on the right side of the screen, making it easier for you to find the sound you want. 

*TYPE IV is a proprietary process made up of both analog and digital algorithms.

7DDP        60DBDDP               
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Symetrix 528E Voice Processor

Use it for announce mics, voice-over studios and PA systems. More than a preamp, it’s a self-contained voice processor. It enhances intelligibility, reduces off-mic noise and increases perceived presence. It performs six functions: mic preamplification, de-essing, downward expansion, compression/limiting, voice symmetry alignment and parametric EQ. Preamp gain is variable up to 60dB; 48V phantom power is provided for your condenser mics. A switchable 15dB pad, mic/line input switch, RFI protection and variable EQ bandwidth are standard. Mic and line inputs and the balanced output are XLR; the unbalanced out and other connections are 1/4".

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Ashly Protea

The Ashly Protea programmable 24-bit digital equalizer/system processors are available in two and four channel, twenty-eight band graphic or twelve band parametric configurations. In addition to equalization, each channel provides a full-function compressor/limiter, 24dB/octave high and low passfilters, and 1.364 seconds of time delay. Additionally, each channel of the Parametric processors have individual high and low shelf filters.

There are three Graphic equalizer/processors: models 4.24G, front panel programmable; 4.24GS, four channel slave; and 2.24GS two channel slave. Filter bands are true reciprocating filters spaced at 1/3 octave on ISO centers with a fixed Q. Two parametric equalizer/processors are available: models 4.24PS four channel slave and 2.24PS two channel slave. Filter bands are adjustable from 1/25th to 3.3 octaves over afrequency range of 20Hz to 20KHz. Level control is adjustable from -20dB to +10dB in 0.5dB increments. High and Low Shelf Filters are adjustable from 33Hz to 20KHz and 20Hz to 10.6KHz respectively.

 A remote control, model 4.24RD is available for the graphic models.

All five products feature true 24-bit resolution from input to output providing you with unparalleled audio processing power, signal to noise ratio of greater than -90dBV, 128 user presets, balanced XLR and 1/4" Ins and Outs, and contact closure logic inputs for external selection of presets (two and four channel slaves). Programmability of all five processors can be accomplished with Ashly’s exclusive Protea System Software interface for the Windowsª 95 or 98 environment. Interface is through one RS232 serial port.

Applications include editing, microphones equalization, room equalization/leveling, reference monitors, and sound recording where general signal enhancement or sound shaping using graphic equalization or precise control for eliminating unwanted frequencies using parametric equalization is needed.