El DBC-M es una versión de masterización del popular compresor de puente de diodos Buzz Audio DBC-20 y ofrece un control totalmente conmutable para ajustes repetibles. El elemento de reducción de ganancia de puente de diodos, junto con el innovador diseño de la cadena lateral, proporciona una sonoridad vintage inigualable. La ruta de audio del DBC-M utiliza un amplificador discreto de clase A con configuración balanceada de entrada a salida, acoplado a un transformador laminado de acero para radiofrecuencia. Esta combinación produce una compresión con un carácter excepcional, que se puede describir como precisa, colorida y rica en armónicos.

potencia de relación dinámica

Al estilo de los compresores de los años 60, el DBC-M incorpora una relación automática que aumenta progresivamente la compresión a medida que se reduce la ganancia. Esta función permite controlar señales muy dinámicas de forma fluida y resulta muy útil al procesar material percusivo complejo.

Facilidad operativa

Este compresor es fácil de usar gracias a sus seis tiempos de ataque y liberación conmutables que cubren un amplio rango, incluyendo un interesante modo de liberación automática. Dispone de grandes potenciómetros con controles Elma escalonados de 24 posiciones para ajustar la cantidad de compresión y la ganancia de salida. El compresor puede cambiarse a un modo suave, donde se conservan parcialmente los picos dinámicos, y otro interruptor introduce un filtro de paso alto en la cadena lateral para reducir la sensibilidad de la compresión en bajas frecuencias. El atractivo indicador de barra LED rojo de "fuente puntual" muestra con precisión la reducción de ganancia, y los potenciómetros con acabado brillante realzan la estética vintage del DBC-M.

Controles y funciones

• GANANCIA: interruptor Elma de 24 posiciones que añade ganancia en la salida para corregir la pérdida de nivel, con un rango de -2,0 a +10 dB en pasos de 0,5 dB.
• COMPRESIÓN: Interruptor Elma de 24 posiciones que permite ajustar la cantidad de compresión.
• ATAQUE: interruptor giratorio con 6 ajustes: RÁPIDO (menos de 0,5 ms), 5 ms, 10 ms, 15 ms, 25 ms y 50 ms.
• LIBERACIÓN: interruptor giratorio con 6 ajustes de tiempo de recuperación: 50 ms, 100 ms, 200 ms, 400 ms, 600 ms y AUTO.
• DURO/SUAVE: añade dinámica en modo suave para momentos en los que se requiere una compresión muy ligera.
• PLANO/BAJOS: reduce la sensibilidad a la compresión en las bajas frecuencias para obtener unos graves más potentes.
• BYPASS/ACTIVAR: derivación de la unidad mediante cableado directo para comparar señales comprimidas y sin comprimir.
• También incluye un práctico interruptor de encendido/apagado y la función LINK A/B, que permite el seguimiento estéreo para evitar el desplazamiento de la imagen cuando se utiliza en el bus de mezcla.

Presupuesto

• Nivel máximo de entrada: +27 dBu
• Nivel de salida máximo: +27 dBu
• Ruido: -80 dBu (medido con ponderación A y ganancia de 10 dB aplicada)
• Ganancia; variable de 0 dB a +15 dB
• Respuesta en frecuencia; de 6 Hz a 400 kHz, medida sin reducción de ganancia.
• Distorsión armónica; con un nivel de entrada de +10 dBu, sin reducción de ganancia; 0,28 % a 100 Hz, 0,25 % a 1 kHz, 0,15 % a 10 kHz.
• Distorsión armónica; con reducción de ganancia de 10 dB (tiempo de liberación ajustado a 400 ms); 1,5 % a 100 Hz, 0,5 % a 1 kHz, 0,5 % a 10 kHz.
• Nivel de funcionamiento estándar; +4 dBu
• Tamaño: 1 unidad para montaje en rack de 19" (482 mm de ancho x 44 mm de alto x 250 mm de profundidad).
• Requisitos de alimentación: 230 V/115 V seleccionable, cable de alimentación IEC desmontable.
• Las especificaciones son las típicas de una unidad de producción y están sujetas a cambios sin previo aviso.
• Referencia de 0 dBu = 0,775 voltios RMS.

Standing out from the crowd, the Buzz Audio Elixir Class A microphone preamp offers exciting and vibrant tones in the 500 Series format. It features an all-discrete signal path using True Class A BE40 amplifiers at the input and BE50 high current line drivers to excite the Lundahl LL1517 output transformer. The topology is quite different to most other mic preamps in that it is balanced from input to output. The instrument input features Buzz Audio's BE43 "bootstrapped FET" high impedance interface that really pumps as a bass DI.

MOJO, NOT MUD

The Elixir is an ideal complement to other 500 series preamps that feature a dark or muddy sound. The wide frequency response and fast transient response plus color from the output transformer generate a "warm sweet liquid" sound quality that sets it apart from that crowd. These attributes make the Elixir particularly good at recording percussion, drums (you need to hear it on snare), vocals and stringed instruments. When used at high gains and high output levels the sound of the Elixir does not turn "dirty" unlike preamps with poor slew rate performance thereby generating dynamic distortions.

SPECS THAT MATTER

As with all Buzz preamps, the Elixir noise floor is as low as possible under the laws of physics and there is plenty of gain for low output ribbon and dynamic microphones. The output headroom at +34 dBu is outstandingly unique in the 500 series format, and adds a feeling of real effortlessness to the sound quality. The transformer-less mic input presents a "non-reactive" load to the microphone which means you hear exactly what the microphone manufacturer intended, without the unpredictable nature of an input transformer.

CONTROLS AND FUNCTIONS:

• GAIN: 41 detented pot that sets gain between +22 to +70 dB
• POLARITY: normal or reverse polarity switched at the input inverts the signal 180 degrees, used to match spaced microphones such as top and bottom snare drum
• 20 dB PAD: introduces a 20 dB pad right at the mic input for high level signals, because it is part of the input circuit network, using the pad does not change the sound of the preamplifier
• IMPEDANCE: selects high or low input impedance; for the mic input it is 3 kOhms or 1kOhms - there is no right or wrong setting for this function but it can change the tone of dynamic and ribbon microphone, when using the DI input it is switched 1 mOhms or 20 kOhms, which may similarly alter the tone of bass or guitar pickups
• +48V: switches on the phantom power for condenser microphones and powered DI boxes
• METER: four leds give visual indication of peak output level

Before modern semiconductor technology, audio filters and equalizers were made with passive components - capacitors and wound coils of wire that formed inductors (or chokes).  Audio frequency chokes were bulky and expensive so these days it's easier (and cheaper) to use an electronic circuit to simulate the inductors. However, we have discovered that the difference in sound between the real thing and a simulator is quite noticable.  So with the tonic equalizer we have brought you the best of both worlds, utilizing both real chokes and electronic filters in perfect harmony.

The Buzz Audio Tonic offers three bands of equalisation with a versatile sweep midrange section and fixed two frequency high and low bands.  The tonic also has a high pass filter utilizing another real choke.  The signal path of the tonic is all True Class A discrete transistor with the output balanced via a Lundahl LL1517 high spec transformer. The tonic is designed to fit into the popular API 500 Series modular racks and requires a rack to function.

The Tonic high band is switchable bell or shelf and features two frequency settings of 5kHz and 11kHz.  The low band is also switchable bell or shelf with two frequency setting at 120Hz and 60Hz with both bands providing +/- 15dB of boost and cut.  Thanks to the use of passive choke based filters, users can expect a very tight sounding bottom end and sparkly clear highs when applying boost with these two bands.

The sweep "bell" midrange extends from 75Hz to 1500Hz (x1 mode) or 750Hz to 15000Hz (x10 mode).  The midrange "Q" or bandwidth can be selected tight(ish) or broad and utilizes the Constant Amplitude Phase Shift (CAPS) filter circuit developed by Mr Steve Dove. +/-15dB of midrange boost and cut is available.

The Tonic 18dB/oct high pass filter is completely passive with two turn over frequencies (50Hz or 90Hz) selected by the user via jumpers on the circuit board. Completing the picture is the "OL" LED which illuminates when levels exceed +20dBu and the "BYP" switch which completely removes the tonic from the signal path.

Rack Compatibility
The Tonic uses 1 rack space and draws 120mA +/- 15-18 volts DC, as supplied by frame power supply. Power consumption is higher than most other 500 series modules and this may stress some rack power supplies depending on what other modules are fitted. Please check the following list to see if it will work OK in your rack.

API Lunchbox 6B - recommend only two tonic modules are fitted along with other modules.

API 500VPR with L200PS - no problems. Atlas Pro Audio Revolver - no problems.

OSA Power Rack and Track Pack - no problems if you have the 3A external power supply.

B.A.E. 6 & 11 Slot Racks - not tested, check with B.A.E. for power capacity.

Features:

• API 500VPR Series rack module format - plug in and play
• Real choke based EQ offering superior sonics
• Advanced analogue technology - not a clone or copy of products from the past
• Fully discrete hi-bias wide bandwidth differential Class A amplifier
• High performance Lundahl output transformer

The Buzz Audio MA-2.2BTX Preamp has all the same well-loved features as the standard MA-2.2B, but features a Lundahl output transformer, providing a warmer tone than the original.

The circuitry used in the MA-2.2B preamp was developed by Buzz Audio designer Tim Farrant in the 1990's and was dubbed "True Class A". The resulting BE40 series of amplifiers exhibit a very wide frequency response (into the megahertz ) and ultra-fast slew rates (140V/uS) even at 60dB of gain. These attributes, plus the inherently low distortion provide the exceptionally pure top-end sound of the MA-2.2B.

In addition, the over-engineered power supply design with localized Class A regulators for each amplifier stage supplies the grunt needed for an authoritative and accurate bottom end - it sounds tight and never overblown.

FEATURES:

• Lundahl amorphous core LL1684 output transformer
• Functions are controlled with illuminated push button switches with "clickless" operation -- no more thumps on the output.
• The gain pot has been replaced with a calibrated 24 position Elma switch for accurate stereo matching between channels.
• Useful 19 segment peak output level meter.
• Original audio and power supply design of the MA-2.2 has been retained.

The Buzz Audio Tilt-n-Filter EQ idea was conceived by Zak Cohen, owner of the Woodshop Recording Studio, and it is based on a series of plug-ins Zak would routinely set up to equalize music tracks recorded direct into his DAW. The Zodiak reproduces this concept with the same series of eq elements - but in the analog domain, so it can used ahead of the DAW input. The main element of the design is the Baxandall style Tilt EQ circuit (originally found on the Quad 44 hifi preamplifer from the 1970s). The concept of a tilt EQ is not new, but with the addition of a fully parametric midrange band and high and low cut filters, the Zodiak caters for a wide range of applications that would otherwise require multiple processors.

This configuration utilizes high-end Texas Instrument ic opamps in the signal path with with an electronically balanced output.

All ic opamps are mounted on sockets so it is possible to experiment with your own choice of amplifiers if desired.

CONTROLS AND FUNCTIONS:

The Zodiak is a dual channel equalizer with the following functions on each channel.

• LO CUT - a high pass filter that sweeps from 26 Hz to 220 Hz with a 12 dB per octave slope and its own IN/out switch
• HI CUT - a low pass filter that sweeps from 2.3 kHz to 21 kHz with a 12 dB per octave slope and its own IN/out switch
• BELL SWEEP - this section is the parametric midrange control with 10 dB of CUT and BOOST available - the FREQ control covers 65 Hz to 8800 Hz with the upper range activated with the HI button - the BANDWIDTH control offers narrow to wide bell shaped curves - this section also has it's own IN/out pushbutton switch
• TILT EQ - this control is always in circuit when the channel is switched IN - clockwise rotation will boost the treble and cut the bass, anti-clockwise rotation will cut the treble whilst boosting the bass
• OUTPUT - this control allows you to trim the output level to match the next device in your chain and has a + or - 8 dB range
• PEAK - this LED will light when levels inside the Zodiak signal path exceed +22 dBu
• POWER - A handy power on/off switch and associated power LED common to both channels and conveniently located on the front panel where it should be

Buzz Audio first manufactured the SOC-1.1 in 1999 and it brought to the market an optical (light dependent resistor) compressor with more user control than what was available at the time (LA series for example). The unit was immensely popular and Buzz built hundreds of them, but the construction was a bit messy and time consuming, so, the SOC-1.1 was retied and replaced with the Buzz Audio Velox Optical Compressor!

NEW FEATURES

The Velox sports the same amazing compression character of the original SOC-1.1 but Buzz Audio have added a MIX control so you can blend the input signal with the compressor output. It also includes a BASS filter into the side chain to reduce the sensitivity of the compressor at low frequencies. The upgraded "DC" version of the Velox, available here, features high-end Class A discrete transistor BE41 amplifiers.

CONTROL GENIUS

The Velox is very easy to use for recording individual tracks or on the stereo mix buss because of the "soft knee" characteristic. The AUTO attack and release settings have been perfected to provide natural compression and in many cases that's all you will ever need for acoustic or vocal work. The MIX control allows you to use the 20:1 (virtually brick wall limiting) compression and blend that with the input for more "heavy" sounds - the options are virtually endless - but what ever you choose works!

CONTROLS AND FUNCTIONS:

• DRIVE: turning it clock wise increases compression, which is way more sensible than counter clock wise!
• MAKEUP: variable control that adds up to 15 dB gain after the compressor section to correct for lost level
• MIX: variable control that allows you to mix between the input signal and the compressor output (post the makeup control)
• COMP IN: Push button switch to bypass or engage the compressor, (hard wire bypass)
• BASS: Push button switch that engages a high-pass filter into the side chain to reduce the sensitivity of the compressor at low frequencies.=
• METER G.R./O.P.: Push button switch to select the display on the VU meter of the amount of gain reduction or the output level
• ATTACK: rotary switch with FAST (1mS) 25mS, 50mS selections plus our excellent AUTO mode
• RELEASE: rotary switch selects recovery time of 100mS, 200mS, 400mS, 800mS, 1600mS and a superb AUTO mode
• RATIO: rotary switch with 4 settings for depth of compression, 2:1, 5:1, 10:1, 20:1
• There is also a handy power ON/OFF switch and a channel A/B LINK switch which soft links the sidechain circuit, useful when used on stereo mixes

FEATURES:

• The same compressor characteristic as the original SOC-1.1 but with additional features
• DC version utilizes Buzz Audio BE41 discrete opamps
• Smooth soft knee compression - does not dig holes in your tracks
• Mix control for blending the uncompressed and compressed signal further enhances the ratio selections
• Side chain high pass filter (bass mode) for more bass punch on full mixes
• Boutique hand made with loving care in New Zealand
• All high quality components and controls to last a life time

The Buzz Audio REQ-2.2 ME Mastering Equalizer utilizes parallel resonant circuits in a clever configuration whereby the bandwidth (Q) of the circuit can be adjusted like an active filter, but without any complex relay switching. The inductor/capacitor resonant "tank" EQ circuit runs at a low internal signal level which avoids any inductor saturation effects. The overall result is the sound of real choke based filters with a big open sound, but without the limitation of only a few - or no bandwidth selections as found on traditional choke EQs.

Mastering version includes a choke filter low band.

AUDIO PATH QUALITY

As you would expect, the REQ uses our BE40 True Class A circuits developed for the MA-2.2 microphone amplifier for superlative audio performance. It also utilizes our BE44 discrete line driver at the output that acts like a transformer and can respond to balanced or unbalanced loads.

But sometimes you might need a bit more color, so we have included a saturation section that introduces measured amounts of low frequency harmonic distortion via a steel audio transformer driven by a single ended transistor amplifier. The High Pass Filter is placed in the beginning of the EQ chain and the Low Band EQ section is placed last in the chain. This layout produces the best overall equalizer coherency.

OPERATIONAL BEAUTY

The large knobs and positive feel of the switching make the REQ a pleasure to operate and everything is visually clear when mounted into a console. In total there are 72 frequency choices per channel with overlapping selections across the four bands so you can always find the centre frequency you are looking for. A looping line XLR input and two parallel XLR outputs provide flexible connection options in the mastering control room. Finally, low glare rustic silver finish and retro Elma knobs give the REQ an impressive look in your rack!

CONTROLS AND FUNCTIONS

Each EQ band has a 12 position switch to select the FREQUENCY and another that selects the BANDWIDTH or shape of the bell shape curve (Q) which is adjustable from 1/3 octave to 2 octaves wide. On the High and Low bands, the BANDWIDTH control reverts to shelf SLOPE control when SHELF mode is selected via the push button switch (but not with the Active Low Band option fitted). The Low and High Mid bands frequency range is changed to alternative selections when the FREQ x2.5 mode is selected. Each band also has an IN/OUT switch removing the band completely from the signal path. The BOOST/CUT control is a 23 position Elma switch with a range of ±8 dB, with 0.5 dB steps up to 3 dB then 1 dB steps to 8 dB. Custom ranges and steps can be supplied to special order.

FEATURES:

• No other equalizer like it in the world
• Fully discrete hi-bias wide bandwidth differential Class A amplifiers
• Real choke and capacitor resonant circuits that sound fantastic
• 72 frequency choices per channel
• Individual discrete power supply regulators for each EQ band
• Large easy to adjust knobs
• High quality long life switches and potentiometers
• Modular internal construction for easy future servicing
• Mastering and recording versions
• Unique transformer saturation module
• Overall and individual band bypass switches
• High-end balanced input and output amplifiers
• Input connectors with loop through
• Two output connectors on each channel
• Rugged chassis construction

The entire audio path of the Buzz Audio SOC-20 optical compressor is made using proprietary Class A discrete transistor BE41 amplifiers with a Lundahl LL1517 transformer at the output. A special low impedance power supply design is used to enhance the sound quality of the amplifiers by providing very stiff power rails. This overall combination produces a unique sound character with full bass and a vibrant top end void of any midrange harshness. Whilst the SOC-20 is not a clone of any vintage units, it's design is inspired by the use of the LA2 and LA3 by it's designer Tim Farrant.

MID-SIDE PROCESSING POWER

Not only can the SOC-20 be used in dual mono or stereo mode, Buzz Audio have also incorporated a Mid-Side (or sum and difference) encoder and decoder. When set to MS mode, the stereo input is divided into signals that are common to left and right (called the mid) and signals that are not (called the side). The divided signals are sent to each channel of the SOC-20 then recombined at the output thereby allowing you to adjust the dynamics and width of the stereo image. This process has application on a wide range of stereo sounds including the mix buss and electronic music sub mixes. Check out the audio samples to see how powerful this process can be.

SIDE CHAIN FLEXIBILITY

At the flick of a switch, a high-pass filter reduces the compressor sensitivity to low frequencies for more bass punch when used on program material. Buzz have also included a fully balanced side chain insert point so you can add additional equalization to the compressor characteristic or "key" the compressor with another source to create those pumping effects found in modern music styles. The side chain monitor function allows you to hear what is returning into the insert point and also monitors the mid or side signal when the compressor is used in MS mode.

CONTROL GENIUS

The unique differential side chain circuit of the Buzz Audio SOC-20 splits the audio into positive and negative waveform and processes it separately to obtain a differential drive into the custom BE45 electro-optical attenuator. There are 5 compressor attack settings and 6 release settings that cover a wide range of response possibilities. In addition, intelligent auto modes allow for true "set and forget" operation. The 5 "soft knee" ratio settings allow for gentle to strong leveling, with the selected ratio only actually achieved at 10 dB of gain reduction. The SOC-20 opto compressor is extremely musical - ideal for vocal and instrument recording plus it is equally at home on the stereo buss to glue your mixes together - a truly multi-purpose studio compressor now available in a mastering version.

CONTROL AND FUNCTIONS:

• DRIVE: variable pot that sets the amount of compression
• OUTPUT dB: variable pot that adds gain at the output to correct for lost level
• ATTACK: rotary switch with 1mS, 10mS, 25mS, 50mS selections and the excellent AUTO mode
• RATIO: rotary switch with 2:1, 4:1, 6:1, 10:1 and 20:1 selections - all soft knee characteristic
• RELEASE: rotary switch with 100mS, 200mS, 400mS, 800mS 1600mS selections and superb AUTO mode.
• BYPASS: hard wire unit bypass to compare compressed and uncompressed signals
• METER: switches the VU meter between input/output levels or amount of compression
• S.C. HPF: inserts a 170 Hz high pass filter into the side chain for added bass punch
• S.C. INSERT: engage the external side chain insert point and monitor the side chain signal
• LINK A/B: joins the side chain of each channel for stereo operation with "soft" tracking
• There is also a locking toggle to select STEREO or MID-SIDE mode and a handy POWER on/off switch

FEATURES:

• The vivid sound of discrete Class A amplifiers in the signal path
• The lush tone of Lundahl audio output transformers
• Culmination of 20 years design experience
• Robust chassis construction
• Onboard linear power supplies - no wall warts
• Easy to use control layouts

The Buzz Audio SOC-M Mastering Compressor is a mastering focused version of the popular SOC-20 optical compressor. The SOC-M mastering version replaces the DRIVE and GAIN pots of the SOC-20 with stepped Elma attenuators for repeatability. Buzz Audio has also adjusted the ratios to suit mastering tasks and all the ratios feature their famous "soft knee" characteristic. The SOC-M signal path utilizes Class A discrete BE41 transistor amplifiers powered by a special low impedance power supply for vibrant sonic detail. As standard, the SOC-M is fitted with a Lundahl LL1517 output transformer providing a nice sheen to the sound.

ANALOG MID-SIDE PROCESSING

The SOC-M isn't just a stereo compressor, it also incorporates a Mid-Side (or sum and difference) encoder and decoder which is a very powerful mastering tool. When set to MS mode, signals that are common to left and right are processed by Channel A and the left to right difference signals by Channel B. In addition, when set to MS mode, the mid and side signals are available as balanced outputs on the rear panel insert send XLR's

SIDE CHAIN DESIGN

At the flick of a switch, a 12dB/octave high pass filter at 170Hz reduces the compressor sensitivity to low frequencies for more bass punch. Also included is a fully-balanced side chain insert point so you can add additional equalization to the compressor characteristic. The side chain monitor function allows you to hear what is returning into the insert point (the side chain) and you can also monitor the mid or side signals when the compressor is used in MS mode.

DYNAMIC RANGE CONTROL

The 5 ratio settings feature a soft knee characteristic, meaning the selected ratio is only actually achieved at 10dB of gain reduction. Therefore, very gentle compression is available when using 2:1 and 3:1 and even 10:1 is usable for material that needs stronger dynamic control. The unique differential side-chain circuit of the SOC-M splits the audio into positive and negative waveform and processes it separately (attack and release parameters) with the resulting balanced signal controlling the Buzz Audio BE45 electro-optical attenuator.

There are 5 compressor attack settings and 6 release settings that cover a wide range of response possibilities. In addition, our clever auto modes produce very musical results. The auto-attack adapts to incoming audio rise time, and the auto release will decay quickly from short impulses but longer from sustained or low-frequency signals.

FEATURES:

• DRIVE - 24 position Elma switch that sets the amount of compression.
• OUTPUT dB - 24 position Elma switch that adds gain at the output to correct for lost level.
• ATTACK - rotary switch with 1mS, 10mS, 25mS, 50mS selections and the excellent AUTO mode.
• RATIO - rotary switch with 2:1, 3:1, 4:1, 6:1 and 10:1 selections - all soft knee characteristic.
• RELEASE - rotary switch with 100mS, 200mS, 400mS, 800mS 1600mS selections and our superb AUTO mode.
• BYPASS - hard wire unit bypass to compare compressed and uncompressed signals.
• METER - switches the VU meter between input/output levels or amount of compression.
• S.C. HPF - inserts a 170Hz high pass filter into the side chain for added bass punch.
• S.C. INSERT - engage the external side chain insert point and monitor the side chain signal.
• LINK A/B - joins the side chain of each channel for stereo operation with "soft" tracking.
• There is also a locking toggle to select STEREO or MID-SIDE mode and a handy POWER on/off switch.