![]() It even features a RATIO “ALL” button that simulates the effect of engaging all of the ratio buttons on the original. U76: A studio standard that is ideal for a wide range of applications. Merely inserting these outstanding models in the signal path can enhance the sound. They are not only ideal for adding first-class studio-quality processor sound to your mix, but are also remarkably easy to set up for optimum effect. Portico 5033/5043: These devices immaculately model the full sonic depth and breadth of the original analog equalizer and compressor/limiter modules by Rupert Neve. ![]() More importantly, that studio quality and musical tonality are available for live sound applications. Up to eight VCM processors, including the Portico processors developed in cooperation with Rupert Neve Designs that are standards in leading recording studios throughout the world, can be mounted in the virtual rack and used to deliver the kind of performance that only high-end analog outboard processors have previously been capable of. All of these details combine to realize performance that not only passes the strictest scientific tests, but also satisfies the critical ears of some of the most demanding sound engineers in the business. Because it can affect AD/ DA converter performance, system clock jitter has been subject to detailed analysis and optimized by revising the internal FPGA layout and rerouting the clock signal. Noise that can affect digital mixer performance in a number of ways has also been thoroughly scrutinized and effectively eliminated. Every detail, from mechanical construction through port location, power supply, grounding, and individual components has been painstakingly analyzed and brought together in a system that affords extraordinary audio quality. The same pure, natural sound that is a highly regarded feature of the CL series is achieved in the compact QL series consoles as well. Operating temperature range: 0 - 40℃, Storage temperature range: -20 - 60℃įull creative freedom can only be achieved when the sonic foundation is accurate, uncolored, and faithful to the source. Rackmount kit RK1, Mini-YGDAI cards *2, Gooseneck Lamp LA1L Owner’s Manual, power cord, DVS license sheet, Nuendo Live 100dB*1, adjacent INPUT/OMNI OUT channels, Input Gain = Min. 88dBu, Residual output noise, ST master off 128dBu typ., Equivalent Input Noise, Input Gain=Max +0.5, -1.5dB 20Hz-20kHz, refer to +4dBu output INPUT to OMNI OUTġ12dB typ.: DA Converter / 108dB typ.: INPUT to OMNI OUT, Input Gain = Min. Less than 0.05% +4dBu into 600Ω, INPUT to OMNI OUT, Input Gain= Min. Less than 2.5ms, INPUT to OMNI OUT, Fs= 48kHzġ00mm motorized, Resolution=1024steps, +10dB to –138dB, –∞dB all faders Note that every other channel will move up 1, including the soft patch settings. What I suggest is that you create the second kick channel on a spare channel offline, and then it takes seconds to use the 'Channel Move' function on the console to move it to the correct location. You can not easily insert a channel offline, but you can on the console. I would ensure the firmware on the console is up-to-date, there should be no reason why it is not but if not, request that it is updated before the next use. The console files are backwards compatible, not forwards compatible. Note that the distinction between dot releases should also be considered a V3.0.4 file should not load on a V3.0.3 console. However, if you edit it offline and save with the V3 editor, it will be saved as a V3 file and will not load into an earlier console. If your show loaded into the V3 Editor, it doesn't necessarily mean that it was created on a V3 console, but rather that it was created on a V3 or earlier console.
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