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Part of the SPL RackPack modular system series, the DynaMaxx is the most consequent interpretation of a "set & forget" compressor concept. In keeping with the SPL design philosophy, it incorporates many features not found on standard compressors, and a unique control system makes it surprisingly easy to use. The DynaMaxx also offers a de-compression mode which may be used to counter the effects of overcompression in previously processed source material. Why is DynaMaxx so different? Though auto attack and release functions are nothing new, in the DynaMaxx design, the time constants are automated in a very musical way. DynaMaxx optimizes all time constants in real time during processing so that the compression characteristics are continually matched to the source material. The DynaMaxx circuitry actually uses two of the excellent THAT 2181 VCAs in SPL's Double VCA-Drive mode configuration, which doubles the operating range while increasing transparency and reducing distortion. Another benefit of the DynaMaxx circuitry is that high compression ratios do not affect high frequency detail - high amplitude, low-end bass can be controlled without introducing pumping or other negative side-effects. Similarly, complex stereo sources can be processed easily and very musically. The DynaMaxx has numerous applications in recording and mixing, as well as for live applications, and because of the level of intelligent processing within the unit, there are only two controls to adjust per channel, making operation very intuitive. Lundahl I/O Transformers The Input and Output 1 stages may be ordered transformer-balanced. Otherwise, all inputs and outputs are balanced electronically. Output 2 cannot be fitted with a transformer. It is actively decoupled and allows for the input signal to be split into two output signals. Channel Split The channel split option through Output 2 always provides alternatives in processing or routing of the input channel. While one output may be used directly for mixing, the second output can be routed in any other way, for example to further RackPack modules, to other effect units etc. Compression The COMPRESSION control sets the compression intensity by varying both Threshold and Ratio simultaneously. The further the COMPRESSION control is turned clockwise (which lowers the Threshold and increases the ratio), the more processing is extended to lower level signals. The fully clockwise position is equivalent to a Ratio of 3:1. The exact processing values are always depending on the source material. Loud signal parts will always be processed with higher compression rates than quieter signal parts. The DynaMaxx employs soft-knee compression characteristics, following the input signal's structures dynamically. For gentle compression results, turn the COMPRESSION control clockwise until the Gain Reduction LED ladder shows a peak level reduction of between 2 and 3 dB. Turning the Compress control further clockwise will lower the Threshold to include more low-level signals into the compression process. At the same time, compression ratio is increased up to a maximum of 3:1. Make-Up Gain The MAKE-UP GAIN control compensates for any level decrease when applying COMPRESSION. The higher the processing intensity the lower the overall output level, the more Gain will be required to restore the same peak level. Turn the MAKE-UP GAIN control clockwise until the peak level of the input is the same as the peak level of the output. Use the GAIN REDUCTION LEDs for a precise adjustment. The control has a range of 20dB. If the DE-COMPRESSION mode is activated, the MAKE-UP GAIN control compensates for the increase in peak level. Note that in this mode, turning the Gain control clockwise decreases the output level. De-Compression The DE-COMPRESSION function inverts the operation of the compressor to produce new dynamic headroom, which may be used to increase the dynamic range of a (previously overcompressed) signal. The process may also be used to expand the dynamic range of other sources, such as drum or synthesizer samples. Especially when creating loops, overcompressed samples can result in lifeless sounds. With the DynaMaxx you can simply de-compress the signals again. Interesting effects can also be achieved by applying different settings to the channels of a stereo source. IMPORTANT: While MAKE-UP GAIN increases the output level in standard mode, this function is also inverted in DE-COMPRESSION mode - turning the control clockwise reduces the output level. Effect Compression The FX COM. mode allows to switch off the DynaMaxx‘s perfectly automated dynamics processing. In this mode a fixed release time of 60ms is applied, but the Attack time is still automated. This mode increases the perceived loudness in comparison with the normal Compression mode, and audible compression artifacts can be generated for creative purposes. The gain of the audio signal is restored back to normal shortly after the 60ms Release time has passed, creating deliberate breathing and pumping effects. The LED display provides a visual impression of the increased processing speed. The higher the COMPRESSION control setting, the more intense those effects will become. Limiter In limiter mode the DynaMaxx only processes the peak levels but leaves, in contrast to the compressor mode, the gain structure of low-level signals unchanged. Limiter mode is useful when working with 'clipping-sensitive' media or units and it improves the utilization of digital headroom as well as the bit resolution. The COMPRESSION control sets the threshold in LIM. mode. The further the control is moved clockwise, the lower the threshold, and all signals above the threshold will be submitted to the limiting process as a fixed ratio of ∞:1. The limiter is based upon a soft-knee limiting characteristic. In comparison with hard limiting characteristics, soft limiting is more unobtrusive and sonically more natural. When a peak level exceeds the threshold, the level isn’t suddenly reduced, as would be the case with a hard limiting characteristic, but rather the soft limiting starts its processing earlier. This way, peak levels are limited far more smoothly once the threshold is reached. Specifications Audio Frequency Response 10 Hz - 200 kHz CMR >70 dBu - (@ 1 kHz, 0 dBu input level, unity gain) THD 0,06% - (0 dBu input level, unity gain) Noise (A-weighted) -93 dBu - (Make Up Gain 0 dBu) Dynamic Range 115 dB Input XLR connection, electronically balanced, optionally transformer balanced Impedance ca. 20 kOhm Max. Input Level +21 dBu Outputs XLR connections, electronically balanced, Output 1 optionally transformer balanced Output 1 Impedance ca. 150 Ohm Max. Output Level +22 dBu Output 2 Impedance ca. 150 Ohm Max. Output Level +22 dBu Dimensions & Weight Height x Width x Depth 132 x 46,9 x 315 mm ca. 5,2x1,85x12,4 in Weight 0,45 kg/0,99 lbs Weight w. Transformers 0,65 kg/1,43 lbs 0 dBu = 0,775 V. Specifications subject to change without notice |
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