Empirical Labs EL-FTC; threshold controller for Empirical Labs EL7C Fatso (item 350378); allows the adjustment of the compression threshold for each channel when connected to the sidechain-inserts; more flixibility and detailed control over compression amount and saturation

Stereo distressor pair- Includes British Mode and Image Link functions- Includes 2 separate mono-channel devices that can be connected to each other via the image-link connectors- Classic knee compressor- Tube saturation- Opto mode- XLR (balanced) and 6.3 mm jack (unbal.) I / O- One of the most versatile compressors on the market- The distressor is used in many professional sound studios

2-channel analog tape simulation and optimizer- With Classic Knee compression- Inputs and outputs: XLR and jack per channel- Link connection for additional EL7X- Sidechain input per channel- Format: 19 "/ 1 HU

Compressor for 500-Series API format- Adjustable input level with clip LED- 8 Selectable compression ratios (2:1 to 20:1)- Adjustable attack time (200us bis 40ms)- Adjustable release time (50ms to 500ms) with selectable Opto setting- Switchable 110Hz sidechain highpas-filter and saturation soft-clipper- Gain reduction meter with 13 LEDs- Adjustable Attack Modification changes the attack response and transient processing- Adjustable output level- Bypass switch- Frequency range: 5Hz - 175kHz- Dynamic range: 125dB- Max. input/output level: +22dBm / +28.5dBm

DerrEsser - De-esser Module for the API-500 system Dynamic multifunctional filter - mainly for use as a de-esser Frequency range: 3 Hz - 120 kHz (-3dB points) Dynamic range - 115 dB from max. output (.5%THD soft clipping) to minimum output Input impedance: 20 Ohms Output impedance less than 51 ohms Power consumption: 4 W - max. 800 W

Microphone Preamp- Digitally controlled- With compressor- Extremely low inherent noise- Instrument input with automatic switching- 48 V phantom power- Transition from processed material to unprocessed material (dry / wet)- Frequency range from 3 Hz to 200 kHz (without KompSat) 3 Hz to 150 kHz (with KompSat)- Maximum output +22 dBu- Input impedance 600 Ohm- Output impedance less than 38 Ohm- Design: 19" / 1 U

Empirical Labs Distressor EL8 XXX Anniversary - Limited Edition with red front plate and output trasnfromer; 1-channel classic knee compressor; tube saturation; opto simulation; Time Constants – Attack range 50uS – 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode, Time constants are dependent on ratio; British Mode switch; Gain reduction Meter; Bypass switch; DC Coupled input and outputs; connections: 1x Line In XLR and 6.3 mm Jack balanced, 1x Line Out XLR balanced and 6.3 mm Jack unbalanced, Link I/O 6.3 mm Jack for Stereo operation with additional EL8 X Units; housing: 19" / 1 HE; weight: 4.1 kg

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and musical manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a limiter or compressor by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This warmth or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften harsh sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and musical.The current digital technology is often referred to as cold and brittle among other terms, although we prefer the term unforgiving to describe the negative side of the linearity. The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors and limiters) and deliver a classic knee sound all its own.Specifications * Freq. response is 2 Hz to 160 kHz in clean audio mode ( 0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). * Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode. * Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. * DC coupled output - High quality input caps. * Input impedance is 20K Ohms, Output impedance is < 75 ohms * Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio. * Metal Chassis - single height 1.75 high, 10 deep, 19 wide. * Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5 x 18.5 x 3 1/4. Stereo Pair box dimensions 22.5 x 18.5 x 6 1/4

500 SERIES MULTI-PURPOSE TONE MODULE One of the newer members of the Empirical Labs family is the DocDerr, a 500 series multi-purpose tone enhancement module that houses six different sections of digitally controlled analog processing. With over two years of meticulous development and testing behind it, the DocDerr provides an unprecedented combination of power and musicality in a compact, easy to use format. Empirical Labs' first compressor in the API 500 format. An extremely low-noise preamp capable of working with line level or instrument level signals, is followed by four sections of EQ combining a two position high pass filter with three parametric bands, each with its own set of carefully tuned frequency presets. An internal jumper can turn the DocDerr into an unparralled instrument preamp with 16dB of gain, ideal for acoustic guitar, bass, synths, exotic plucked instruments, etc. The versatile EQ is followed by a unique dynamics section which offers renowned Empirical Labs compression at an unprecedented price, and an extremely musical tape emulation circuit that softens and tames high frequencies and transient spikes. We believe it s the best single knob knee compression available in this format. One of the pivotal features of the DocDerr is the Mix knob which allows the user to blend the uncompressed EQ s signal with the compressed and saturated signal. This parallel compression technique, used by top recording and mixing engineers for many years unlocks a whole world of sonic possibilities. Like all ELI 500 series modules, the EL-Rx is available with either horizontal or vertically oriented front panel configurations, and is Linkable for using our famous compression on stereo sources. The DocDerr is ideal for tracking, for fine-tuning tracks during mixing, or as a killer solution for the gigging acoustic musician in search of studio quality tone control. It is indeed a Tone Doctor err DocDerr. RACK EL500 As far as value, it s hard to beat 500 Series compatible modules. Their smaller physical size let you get a lot of performance out of a smaller space, they tend to cost less than their larger counterparts, and the best part you can customize your own combinations of them. When ELI started making our own 500 series products, we looked at the power supplies on the market and couldn t help but notice a need for a better single height dual module rack unit. On other single height rack units, the modules protrude from the front panel, and don t look sturdy or attractive. Power supplies were often noisy, frequently reducing the performance of any module mounted in them. Also, only XLR ins and outs were provided to the user, limiting the device s applications. The Empirical Labs EL500 rack eliminates these obstacles. At the heart of the unit is a super quiet power supply - over 30 dB quieter than some supplies we ve seen - that will ensure optimal performance from any compatible device. All 500 series modules will flush mount cleanly in the EL500, providing a much more professional look and feel. The EL500 offers both XLR and phone rear panel inputs and outputs to allow it to interface perfectly with any system. In addition, a ¼ instrument preamp/direct box input is provided on the front panel, which will automatically switch the left 500 module s input to this front phone jack once something is plugged into it a feature we re sure will prove to be extremely useful. In fact, it has become the first call bass DI for many engineers. Switches to link compressors and engage a 48V phantom supply are also provided. Whether you re already invested in 500 series modules or they re something you re thinking about adding to your arsenal, the EL500 rack will make any 500 series compatible module perform ideally and interface effortlessly into just about any audio application.

The UBK Fatso has the gorgeous tape-like Saturation and Harmonic Distortion of the original Fatso, as well as the same one-of-a-kind Warmth limiter for rounding and fattening spiky digital transients, topped off with a switchable Transformer for additional harmonics and overall thickening. Add in a separate Compressor section with 7 custom curves meticulously tuned by Gregory Scott, aka 'ubk', and the result is a dynamics shaping tool like no other. Designed to give the operator the most unflinchingly musical compression regardless of the sound being processed or the amount of compression being applied, it will never pump or fold. The UBK Fatso makes easy work of the most difficult and mysterious process in sound engineering: dynamics control and transient shaping. Vintage limiting, smooth opto leveling, transparent gain reduction, aggressive modern squeeze... whatever your vision, the UBK Fatso not only makes it possible, it makes it easy. 7 unique compressors - 4 name presets plus 3 hidden gems , produce a remarkable range of flavor, attitude, and grab, all rolled into a one-knob interface that makes it impossible to screw up. Your job: choose the style of squeeze you desire, dial up more or less , and get on with your life. SPECIFICATIONS - Two Channel Character Compressor - Heavily Colored Analog Flavor - 7 Unique, Versatile Compression Curves - Harmonic Distortion Generators - Saturation and Clipping Circuits - Separate High Frequency Limiters - Switchable Transformer Coloration - Swiss army comp, never pumps or gets unmusical

New Features at a glance A new ratio Eleven , which emulates a favorite classic compressor setting. New Two Color Front Panel Improved Logic Separate TRACKING LED, more intuitive display. Backwards stepping when a front panel button is held. New extended stereo link functions. More choices of how to lock compressors. Cooler running Logic Circuitry, resulting in an overall cooler operating temperature. Improved overall noise floor, due to lower logic power consumption. THE FAT GOES TO ELEVEN ELEVEN is a new compressor for the Fatso, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower 1176 attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc. The ELEVEN ratio took several months of experimentation, and required a rather radical attack mod to get close. It was one of those projects that Dave Derr, the designer, thought would only take a few days, but upon initial research and listening tests, subtleties emerged which required starting over several times. I got in one of these design loops, where you would get one thing right, then change another parameter or component, and find that it changed the first thing you thought you had right. It was actually a long frustrating series of changes, that slowly spiraled towards the desired result. Any kind of math calculations or scaling seemed useless. In addition, while testing 1176 s, I discovered issues that I m quite sure were not intended by the original designers, and probably things of which they were not even aware. But using modern digital oscilloscopes and analyzers, along with digital workstations, and our good old ears, we could see artifacts that the original designers couldn t. Heck, they may have even tried to fix the little imperfections that gave the 1176 its unique character, had they the tools to see them. Thank gosh they didn t, right Anyway, the design loop was frustrating, but like anything that takes you to unexpected places, hopefully you come out a little bit wiser, and with a great product. I hope our customers find the new ELEVEN ratio fun to use, and discover it can add some more magic to your music. NOTE: ALL existing older Fatso Jr s can be modified to change the GP ratio to the new ELEVEN ratio. In addition, all Fatsos shipped from Empirical Labs since June 2013 have had the ELEVEN ratio already installed in the circuit, under the GP ratio, so if you bought a Fatso recently, you probably already have the equivalent EL7-X circuitry. NEW LOGIC AND INTERFACE OPERATION The original Fatso Jr could operate quite warm. Since heat is the enemy of reliability, we decided to do what we could to cool the unit down in this re-design. By replacing discrete logic with a microprocessor, and eliminating warm running and often unreliable display circuitry, the current draw was dropped over 20%, allowing the power supply and analog circuitry to benefit from a cooler running product. The new FATSO also has greatly improved interface operation. Holding any button in for a second will make the control step backwards, so the user doesn t have to cycle around to go back one step in setting one parameter. In addition, the Stereo Link is improved and offers a second link method by holding in both COMP buttons. It locks the compressors and Bypass logic together, and allows either channels buttons to control the settings. Much more foolproof. There is now a separate LED for the TRACK (Tracking) compressor, so that two LEDs do not have to be used, and interpreted by the user. SPANK is now a Blue LED delineated from the other compressors off to the side, to indicate that it is different and can be used in conjunction with the other ratios. Customers will find compressor selection more obvious and FUN. FATSO S FOUR TYPES OF PROCESSING Harmonic Generation and Soft Clipper (Distortion Generation) - this class A circuit gently rounds the peaks like saturated tubes or tape. High Frequency Saturation (Warmth) - a one-of-a-kind dynamic low pass filter which softens high frequencies when they pile up on a source. Transformer and Tape Head Emulation - a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterize them, as well as analog tape.. Classic Knee Compression - your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression smooth and sweet, but in your face!

As with ELI s other signal processors, the Lil FrEQ Equalizer takes a somewhat unique approach to its job. Instead of daisy chaining several equalizers and frequency processors, we combined most of the sound sculpting tools an engineer needs into a compact single rack space box, while still offering the highest performance of any design in its class. THE EQ SECTIONS There are eight sections of processing what other EQ offers that Even better - in addition to a master bypass, each of the Lil FrEQ s sections features its own dedicated bypass switch, letting you instantly A/B the effect of each section as you adjust and fine-tune them. HIGH PASS - The High Pass section is a really easy to use sharp filter that cuts all content below one of eight preset frequencies from 30-330 Hz. This filter is very steep and has a special shape that prevents frequencies from thinning out just above the cutoff point. The corner frequency is selected using up/down buttons, and indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged. HIGH and LOW SHELVING - These two knobs function similarly to the familiar bass and treble tone controls found on many consumer audio playback systems; however, these are designed to a much higher performance standard, providing exceptionally smooth and musical boost and cut on the high and low frequencies. PARAMETRIC EQ - The Lil FrEQ has four sections of fully parametric EQ (LF, Lo Mid, Hi Mid and HF), with each section featuring individual gain, bandwidth (Q) and frequency controls. It may be the cleanest parametric EQ section ever produced, operating below .0007% THD (Total Harmonic Distortion) even at extremely high audio levels. Try finding those specs anywhere else! DS (DYNAMIC EQ) - The DS section provides the highest performance, easiest to use, and possibly most natural sounding De-esser ever built. This powerful tool combines tunable filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants or other sharp transients, especially in the absence of other lower frequency content. It can also function as a one of a kind soft knee High Frequency limiter, which is one of the main things responsible for the Lil FrEQ becoming the go-to vocal EQ for engineers everywhere. It has been used on many acclaimed albums and major live performances all over the world, becoming the go to EQ for key tracks like lead vocals, snares, and bass. There are now dozens of hit record vocals that were processed thru the Lil FrEQ. We ve packed an awful lot of power and flexibility into the Lil FrEQ. We know you will love it! TRAK PAK There are engineers who enjoy the flexibility of being able to EQ audio signals when they re tracking. For them, we offer the Trak Pak a combination of our Mike-E and Lil FrEQ processors set up for seamless integration. With a killer mic pre, famed ELI compression, tape saturation and eight individually defeatable EQ sections, we feel it s simply the most powerful and flexible channel strip solution available. Check out the Mike-E which comes in the Trak Pak.

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and musical manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a limiter or compressor by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This warmth or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften harsh sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and musical.The current digital technology is often referred to as cold and brittle among other terms, although we prefer the term unforgiving to describe the negative side of the linearity. The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors and limiters) and deliver a classic knee sound all its own.Specifications * Freq. response is 2 Hz to 160 kHz in clean audio mode ( 0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). * Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode. * Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. * DC coupled output - High quality input caps. * Input impedance is 20K Ohms, Output impedance is < 75 ohms * Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio. * Metal Chassis - single height 1.75 high, 10 deep, 19 wide. * Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5 x 18.5 x 3 1/4. Stereo Pair box dimensions 22.5 x 18.5 x 6 1/4