Quick Start Guide

RNLAQuickstartV050 Page 3 of 12
www.fmraudio.com FMR Audio, [phone]
• 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, peak-detection errors are
greatly reduced. This makes for a very accurate meter.
• Full Parametric Control — Some of the more common Levelling Amplifiers
don’t have full parametric control. Many LAs are missing the ability to control the
ATTACK time. Some of them don’t even provide a RATIO control, let alone a con-
tinuously-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 enve-
lope. 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 architec-
ture... ).
• 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!
• Made In The U.S.A. — We want you to know that we do our own manufacturing