Features
WHAT'S COOL
Wide Dynamic Range. Despite the unbalanced
input/output connections, the RNLA has a dynamic range of 117dB,
minimum, which is appropriate for today's digital systems and
exceeds that which is attainable with many older, vintage levelling amplifiers. The RNLA offers a
clip point (<3% THD) of 22.5dBu.
Fidelity.Although the RNLA is designed to dynamically
"color" the sound passing through it, the channel
electronics are fairly neutral and designed so that the output
signal (statically measured) closely resembles the input signal
(fidelity defined...though slightly paraphrased). Each channel is
hand-trimmed to typically less than 0.005% Total Harmonic
Distortion plus Noise (THD+N). Even this low-level distortion is
predominantly second-order...a much less heinous form of
distortion and agreed by many to impart a slight
"sweetness" to a signal.
Ugly and Cheesy
Box.
Like its FMR brethren, the RNC and RNP, we use a
third-rack cabinet (still a hearty combination of extruded
aluminum and steel) to allow us to throw the money we save in
cosmetics into the quality of the audio electronics. Although we
did decide to splurge a little by putting very red knobs on it
along with a brushed-aluminum LexanTM overlay for that more
impressively cheesy, "homegrown" look!
Easy-to-read Panel Graphics. This may seem like an
arbitrary and trivial point, but we think it's important:
easily assessing the settings on a rack-mounted processor is
important when you've got a lot of stuff going on during a
recording session. In our experience, dark lettering on a light
background works better than the other way around.
Inputs
and Inserts.
As with the RNC, the RNLA has unbalanced
inputs that also double as Tip-Ring-Sleeve (TRS) inserts to mate
with popular mixer and equipment inserts. This allows you to
connect, using only a single TRS-to-TRS cable per channel, an
RNLA's channel (in & out) with a single cable to a mixer
or other compatible device (such as our own Really Nice Preamp,
Great River Electronics MP-NV preamp, etc.).
Balanced
Outputs.
The RNLA has balanced, non-differential
outputs. Although the "cold" part of the signal is not
driven (that would be a "differential" signalling
scheme), the impedance in both legs are the same, thereby giving
your audio the benefit of reduced noise if the RNLA is connected
to a balanced line input.
Precise Gain Reduction
Metering.
A highly accurate gain reduction meter is
provided to allow visual verification of what you're hearing.
Although meters should never be a substitute for what you hear, a
dynamically accurate meter is better than one that can
"lag" or misread the actual dynamic performance of the
compressor. Due to our digitally-controlled architecture, even
the peak-detection errors of a pure digitally-implemented meter
are avoided and a dynamically accurate meter is obtained.
Full Parametric Control. Some of the more common
Levelling Amplifiers don't have full parametric control. Many
LA's are missing the ability to control the ATTACK time. Some
of them don't even provide a RATIO control, let alone a
continuously-variable RATIO control! The RNLA provides both for
maximum artistic flexibility. But, most importantly,
both the
ATTACK and RELEASE controls go to 11!
In addition, all of
the front panel controls are merely a "control surface"
for the RNLA's internal digital engine. This means: (a) No
main channel audio flows to/from the front panel controls that
might increase its noise susceptibility (that's bad) or
dreaded "scratchy pot syndrome" (that's annoying),
and, (b) We can use a "ratiometric" measuring
technique, along with robust digital filtering, to derive
repeatable and precise compression parameters (that's good,
if not a little geeky). Did I mention that the ATTACK and RELEASE
controls both go to 11?
Alternative Release
Contour.
Loosely based upon the "Log/Lin"
control on the Valley People's (Person's?) Gain Brain II,
this control ("Log Rel") can help restore some
"punch" that can get lost without an acceleration of
the release envelope. So, when Log Rel is on, we accelerate the
release time as a function of gain reduction amount. We've
found this to be particularly handy on drum sub-mixes where we
still wanted the drums to "punch", but in a compressed
and controlled way (you know, it's really true: talking about
audio is like dancing about architecture...).
Hardwired
Bypass.
We use a sealed relay (for long life) to switch
the RNLA's output connectors between the output of the
compression stage or the input jacks, thus providing a true
bypass of the signal path. Worst case, without mains power,
you'll still get a signal out of the RNLA!
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800-834-5986
