The Really Nice Compressor (RNC) 1773
£169.36 excluding VAT
£199 including VAT
The Really Nice Compressor (RNC) is a compact, affordable stereo compressor with a high-fidelity audio path and
compression scheme. Don't be deceived by the low cost price tag; the RNC is a serious studio tool that easily
competes with compressors five times its price.
The RNC achieves such high performance at a low cost by using evolutionary advances in digital technology, coupled
with the best analog has to offer. Using digital controls and an all-analog signal path, the RNC offers accurate,
precise controls and a clean tonal character.
The RNC provides two modes of operation: normal and SuperNice™. Normal mode allows the RNC to be used for everyday
compression tasks, like punchy snare drums or bass guitars, and is great for everything from gentle compression
to serious squashing. SuperNice mode provides near-invisible signal compression for sensitive material where
compression artifacts are less desirable (like 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.
Specifications:
Size:
Connectors:
Controls and Displays:
Switches:
Meter:
Operating Level:
Noise:
Frequency response:
Clip point:
Distortion:
Threshold range:
Ratio range:
Attack range:
Release range:
Output trim range:
Dimensions:
Weight:
1/3 x 1 EIA rack unit
1/4" Unbalanced I/O; L/R in & out, TRS sidechain
Threshold, Ratio, Attack Time, Release Time, Output Level
Bypass, Mode Select
8-segment LED Gain Reduction, 0-20 dB
Provides fast attack/release, accurate compression
0.775 Vrms (0 dBu) nominal
Less than -90dBu over 20-20kHz
10 - 100k Hz ±0.5dB @ 0dBu
+22.5dBu @ 3% THD, 1kHz, greater than 2kOhm load
-40dBu to +20dBu
1:1 to 25:1
0.2 msec to 200msec for 100% correction with <15dB over threshold input signal
.05 sec to 5.0 sec for 100% recovery with 15dB G.R.
±15dB
5.5" x 5.5" x 1.6"
2 lbs
The Really Nice Processor (RNP) 8380
£325 excluding VAT
£381.87 including VAT
The Really Nice Pre-amp, the RNP, is a 1/3 rack two channel mic pre-amp. FMR's objectives for this pre-amp were:
Really neutral sonics
A Really Nice price
Compatibility to the RNC, also balances the RNC
Provide useful features, as long as they don't impact the first three points
We believe that the RNP is a good addition to any studio looking for an exceptionally clear, transparent sounding mic
pre-amp, ie. if you want to hear the artist's voice, drum, cymbal, bass, etc., not the pre-amp.
The RNP offers lots of headroom. These days, the trend is for microphones to increase their output signal levels while
reducing their output noise levels. This means either employing a front-end pad and/or increasing the headroom of a
mic pre. We decided to do the latter: at unity gain, the RNP 8380 has a clip point of +27.5dBu
(almost 25Volts peak-to-peak)! Even with a hefty microphone output, the RNP8380 should take what your mics have to give.
Each channel on the RNP8380 has an unbalanced send/receive jack that allow you to
connect an RNC1773 using a single Tip-Ring-Sleeve (TRS) cable (per channel). With proper cabling, you could also use
this feature to balance any other unbalanced piece of gear. In addition, with the right external configuration,
the RNP can provide a separate +22dBu unbalanced output and a +28dBu balanced output simultaneously to allow
things like separate M/S decoding while tracking the M/S signal without decoding.
To reduce the chance of destroying mics connected to the RNP that can't tolerate +48V applied
to them, we ramp up the +48Volts slowly just in case you accidently turn on the phantom supply with a phantom-intolerant
microphone attached to the RNP. In addition, this ramp helps reduce 'settling time' of the RNP's servos and reduces the size of the output pops/clicks.
The pre-amp's front end includes a third-order EMI filter. It is specifically designed to attenuate RF
while giving a smooth audio performance up to 200kHz. This reduces the chances that you'll have trouble with RF
interfering with the RNP's operation even at high-gain levels. When used with a nominal 150 Ohm balanced source,
this filter yields exceptional audio performance.
During phantom engagement/disengagement and DI/mic switching, we momentarily mute the output signals to
reduce output pops & clicks that may otherwise annoy you and others. This mute actually occurs before the insert send
signal, so even devices connected to the insert are spared large pops & clicks.
Three LEDs are provided for metering each channel (signal presence, +18dBu and CLIP). In addition,
the clip LED trips at 1dB below actual clip and stays on for 3 seconds to make signal-chain troubleshooting easier.
The metering is digitally-calibrated and driven by the internal microprocessor.
The Really Nice Levelling Amplifier (RNLA)
£195.00 excluding VAT
£229.12 including VAT
The Really Nice Levelling Amplifier (RNLA) is a compressor, of sorts, with a character that works well with
vocals, bass guitar, acoustic guitars and two-mix sources. A friend describes the RNLA's tone as
"thick and gooey". Some very well-outfitted RNLA users report that even with a full complement of expensive,
vintage levelling amps/compressors, the RNLA still fills a niche that the others don't!
The sonic performance of the RNLA harkens back to the Really Nice Compressor's (RNC's) origins. The original
RNC was, in fact, based upon an optical gain element that was ultimately rejected (and tucked away) due
to its imparting of a sonic signature (i.e., "color"). However, just like trying to throw away a ball of
adhesive tape, this one has also stuck with (to?) us! What's the old saying? What's old, is new again?
The implementation is a little different (i.e., no opto) from the 1984 version, but the final sound is
eerily similar...
Specifications:
Size
Connectors
Controls and Displays
Modes
Operating Level
Noise
Frequency response
Clip point
Distortion
Threshold range
Ratio range
Attack range
Release range
Output trim range
AC Power
Dimensions
Weight
1/3 x 1 EIA rack unit
Left/Right 1/4" unbalanced inputs (TS, or TRS for console inserts)
Left/Right 1/4" balanced, single-ended outputs
TRS sidechain
Rotary: Threshold, Ratio, Attack Time, Release Time, Output Level Switches: Bypass, Mode Select Meter: 8-segment LED Gain Reduction, 0-16 dB
Normal: Provides fast attack/releaseLog Rel: Provides release envelope acceleration to aid maintenance
of transient "punch"
0.775 Vrms (0 dBu) nominal for +22 dB headroom
1.228 Vrms (+4 dBu) nominal for +18 dB headroom
Less than -90 dBu over 20-20k Hz
Typically -95 dBu over 20-20k Hz
10 - 100k Hz ±0.5dB @ 0 dBu
+22.5dBu @ 3% THD, 1kHz, greater than 2k Ohm load
Less than 0.1%, no gain reduction @ 1 kHz, 0 dBu;Less than 0.5%, 6 dB G.R. @ 1 kHz, 6:1, 6.0 msec attack, 0.5 sec.
release, 0 dB gain, 0 dBu
-40dBu to +20dBu
1:1 to 25:1
0.2 msec to 200msec for 100% correction with <15dB over threshold input signal
.05 sec to 5.0 sec for 100% recovery with 15dB G.R.
±15dB
Wall transformer, 9VAC @ 500mA, 2.1mm jack
5.5" x 5.5" x 1.6"
2 lbs
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prices, ordering and further information regarding FMR Audio Products.