FMR Audio Really Nice Compressor - RNC 1773
The FMR RNC is easily the best bang for the buck audio compressor out there. Humbucker Music has literally sold many thousands of these and to date has the lowest failure and return rate of any single item we sell. In fact, we ran a report a literally less than one in a thousand sold has been returned due to the customer not liking it. As well, a similar defective failure rate Seriously! Who the heck makes stuff that nice these days?
With that said, here's some info concerning the FMR Audio RNC Compressor:
OVERVIEWThe RNC 1773 is a hi-fi, stereo compressor providing dynamic range control with little to no artifacts or side effects. It does this at a lower price by using evolutionary advances in digital technology, along with the best analog has to offer. Using digital controls and an all-analog signal path, the RNC offers accurate, precise controls and a clean tonal character.
The Really
Nice Compressor provides
two modes of compression: normal and SuperNice. "Normal"
allows
the RNC to be used for everyday compression tasks, like punchy
snare drums or bass guitars, and is great for everything from gentle
compression to serious squashing. SuperNice mode provides
near-invisible signal compression for sensitive material where
compression artifacts are less desirable (like vocals, acoustic guitar
or the program bus).
HOW IT SOUNDS
Transparent. The FMR Audio RNC yields clean, airy compression with few artifacts and little high end loss, even at massive gain reduction. This amazing performance is why many professionals are calling the RNC one of the best sounding compressors for under $2000!
| Size | 1/3 x 1 EIA rack unit |
| Connectors | 1/4" Unbalanced I/O (TS, or TRS for console inserts); L/R in & out, TRS sidechain |
| Controls and Displays |
Rotary: Threshold,
Ratio,
Attack Time, Release Time, Output Level |
| Modes | Normal: Provides
fast attack/release, accurate compression Super Nice: Layered compressors, reduces compression artifacts |
| Input Z/Output Z | 10k�/100� |
| Operating Level | 0.775 Vrms (0 dBu) nominal |
| Noise | Less than -90dBu over 20-20kHz |
| Frequency response | 10 - 100k Hz �0.5dB @ 0dBu, no gain reduction |
| Clip point | +22.5dBu @ 3% THD, 1kHz, greater than 2kOhm load |
| Distortion | less than 0.1%,
no gain reduction @ 1 kHz, 0dBu less than 0.5%, 6 dB G.R. @ 1kHz, 6:1, 6.0msec attack, 0.5 sec release, 0dB gain, 0dBu |
| Threshold range | -40dBu to +20dBu |
| Ratio range | 1:1 to 25:1 |
| Attack range | 0.2 msec to 200msec for 100% correction with <15dB over threshold input signal |
| Release range | .05 sec to 5.0 sec for 100% recovery with 15dB G.R. |
| Output trim range | �15dB |
| AC Power | Wall transformer, 9VAC @ 500mA, 2.1mm jack |
| Dimensions | 5.5" x 5.5" x 1.6" |
| Weight | 2 lbs |
So what is SuperNice mode?
A clever technique to reduce compression artifacts is the use of multiple compressors cascaded serially:
In this way, none of the individual compressors has to work quite as hard as they would if there was only one compressor doing the same amount of gain reduction. If things are properly adjusted, you can accomplish a good level of signal control without the usual "choked" sound of the typical lone compressor. By the way, this technique works well with almost any type/brand of compressor(s). Try it with the other compressors in your rack!
WHEN YOU DANCE TO THE TUNE...
There are downsides to using multiple compressors in your rack to achieve this artifact reduction:
1. Lotsa Compressors : For each source, you have to dedicate a number of compressors. Most of us already don't have enough compressors to go around, let alone dedicating 2 or 3 (or more) compressors per track.
2. Lotsa Experience/Patience Required : It takes a lot of experience with compressors to know how to adjust each compressor's settings to achieve the end result. It's already difficult for many of us to set up a single compressor, much less multiple units for just one source.
3. Lotsa Noise : Many compressors, particularly some of the "vintage" ones, don't have very good noise floors. This becomes even more problematic when you want to cascade multiple units.
INSIDE THE RNC
We considered both the upside and downside while developing the RNC's cascaded-compressor mode, called the SuperNice TM mode. SuperNice mode provides three compressors in series, giving you the advantages of multiple-unit compression without the listed problems:
1. The Lotsa Compressors problem : By creating special sidechain electronics, we're able to triple the compressors in one box without tripling the cost or space. And think about how much you'll save on patch cables!
2. The Lotsa Experience/Patience Required problem : Even though it still takes some time to get used to the novel aspects of SuperNice mode, it takes much less time than trying to dial up 5 parameters on 3 separate compressors! To some extent, we've spent the time for you by testing, trying and tweaking the RNC SuperNice mode on a multitude of different sources over a long period of time with many different music styles and recording engineers. The result is the current balance of the 3 SuperNice mode compressors in the RNC.
3. The Lotsa Noise problem : Again, due to the special sidechain electronics, we're able to triple the compressors in one box without tripling the noise.
SO...?
The best part is: it works great! Spend some time working with SuperNice mode and you'll find yourself using it more and more for vocals, clean guitars, or your program bus.
Here are some suggested uses and abuses for your RNC. If you've found a cool use for yours, FMR Audio wants to know. Please email them at info@fmraudio.com.
MAXIMUM 2MIX DENSITY
This one is great for stereo mixes. By levelling out your mixes, you'll help them translate well to cassette, MiniDisc, or any other format you may be using. To start, try it on a CD you like, or a mix you're familiar with. You'll need 2 RNCs.
1. With RNC #2 bypassed, set RNC #1 as follows:
Super Nice Mode
Ratio = 25:1
Attack and Release between 12:00 and 2:00
Threshold so that you're getting about 6-8 dB of compression
An appropriate amount of makeup gain; around 6-8 dB is a good start.
2. Un-bypass RNC #2 and set it:
Normal mode
Ratio = 25:1
Fastest attack and release
Threshold such that you're getting about 2-4 dB of peak control
MEGASQUASH
If you're one of those people who can't turn your knobs too far, this one's for you. Try it on a drum submix, or drum loops, for some sick effects. It uses one RNC on a mono signal.
1. Start with the ratio at around 10:1 or more, and the attack and release set around 9:00.
2. Run your source signal into the left input of the RNC.
3. Run the left output into the right input (yes, you read that right). Monitor the right output.
4. Now start playing with the controls as usual ... whoa, megasquash!
TREMOLO
Yes, you read that right ... the RNC makes a great tremolo effect, especially when you want the tremolo frequency to be in perfect time with a song's tempo. You need one RNC and a MIDI sequencer or drum machine or metronome for this one.
1. Connect the input and output signals to the RNC as usual.
2. Set the RNC as follows:
Normal mode
Ratio = 10:1
Fastest attack and release
Threshold at around 12:00
3. Hook up the output of your sampler/drum machine/metronome to the RNC's sidechain input.
4. Program an 8th note pattern with rimshots or hihats on the drum machine and loop it.
5. Tweak the threshold so you get the amount of tremolo "depth" that you want.
6. Try playing with the attack and release knobs for cool effects.
PAPERWEIGHT
The RNC is also great for holding down papers on your desk. It's 1/3 rackspace size means it fits next to your blotter without wasting space.
1. Set the controls to positions you find aesthetically pleasing.
2. Disconnect the RNC and remove it from your rack.
3. Place the RNC on top of your loose papers
I
hate wall-warts, why does the RNC
have a wall-wart?
First, let me assure you that, as users, we have no love of wall-warts
either! There are, however, some reasons for using them with the RNC:
1) Reduce hum/noise interference between the RNC's audio circuits and
an internal power supply (it's a very small package), 2) Improve the
universality of the RNC for an international market (the only thing
that's different between the RNC U.S. and RNC Australian is the
wall-wart; no internal changes are necessary), 3)
Simplifying/circumventing governmental approval of the RNC's power
supply by using an already approved power supply and, 4) There's little
room inside the small cabinet (used to keep the costs down) for a
transformer of adequate margins.
Why
is the RNC unbalanced instead
of balanced?
You'd think the answer to this one would be a simple "to keep costs
down". Although that's one of the reasons, there's another reason
that's less obvious and the primary one: we designed the RNC to be used
in home studios (like ours) made up primarily of unbalanced pieces. So,
we designed it to easily interface to equipment usually found in the
intended environment. For example, many home studios use mixing boards
that have single Tip-Ring-Sleeve insert points on their input channels.
We thought that it'd be neat, convenient and show unambiguous support
for this studio type by allowing the RNC to be hooked directly to these
inserts with single TRS cables. If the I/Os were balanced, we wouldn't
be able to do that.
Can
the RNC be rack mounted?
Yes! For rack mounting, the RNC has a #10-32 nut in its base that can
be used in conjunction with a universal rack tray to mount the RNC (up
to 3 on one tray) in a standard 19" rack.
For applications where you want to just set it on something (if you've got the available surface area...ours are always covered with notes, cassettes, DATs, pencils, sheet music, patch cords, etc), we've included nice little non-marring rubber feet.
PROBLEMS
Why
does the RNC distort my bass
guitar?
At the risk of sounding too esoteric and philosophical, there are many
universal laws that are, many times, inconvenient (like, say, gravity).
Well, there's a mutual (and universal) exclusivity between low
frequency fidelity and fast compressor release times. Stated another
way: the faster a compressor's release time, the more distorted the
lower frequencies will be. "Okay, okay!", you say, "I know that! But
why don't I have similar problems with my other compressors?" Simply
put, the RNC's normal mode release times are shorter than many
compressors (some of the fastest that we've seen). This means that the
RNC will induce low frequency distortion more frequently than your
other compressors. "Why didn't you make the RNC so it wouldn't distort
my bass notes?" Because then we'd limit (no pun intended) your creative
choices for other sound sources where a really fast release time would
sound really gonzo...like on kick or snare drums. Try compressing a
snare drum track with the RNC set for really fast attack and release
times. You'll here drum resonances that you've never heard before that
can be creatively used to add spice to your mixes!
"How do I avoid or reduce the low frequency distortion?" This one's easy: increase the release time until the distortion goes away. (Doing my best Groucho Marx impression: "Does it distort when you do that? Well don't do that!")
On
some sound sources, the RNC
really "pumps and breathes". What can I do to reduce the pumping and
breathing?
There are several things you can do:
- Switch into SuperNice mode
- Reduce the total gain reduction amount
- Decrease the compression ratio
- Increase the attack time
- Increase the release time
The simplest of the bunch is to just switch into SuperNice mode. The other solutions will vary depending upon eachother. In general, you'll want to experiment to see which of the parameter changes gives you the effect (or lack thereof) that you want. Some of the pros that we talk to tend to keep the total gain reduction to 6dB and under (sometimes only 2dB!). They also tend to not use the other parameters in extreme settings (for example, one of our pro users who uses the RNC on acoustic guitars, swears by a RATIO of less than 2:1 and gain reduction amounts less than 2dB).
COMPRESSOR FEATURES/DETAILS
Is the RNC a peak, average or RMS-sensing compressor?Yes! Actually, the RNC uses aspects of all three depending upon the mode. In the NORMAL mode, the RNC is a peak responding compressor only. Peak-responding compressors tend to have the most extreme characteristics. We wanted to give you the ability, within one compressor, to choose between really colorful compression if you wanted it � so the peak detection for this mode was our first choice for NORMAL mode � as well as smooth, neutral-sounding compression (i.e., SuperNice mode). For the smooth part � the SuperNice mode � the RNC is utilizes parts of all three detection schemes. The details of this are very nerdish and boring, but suffice to say that the SuperNice mode gives you the smoothness of an RMS and average-responding compressors (some say even more smoothness) in tandem with the signal control of a peak-responding compressor.
Does
the RNC have hard-knee or
soft-knee compression?
In both the Normal and SuperNice modes, the RNC is mostly a
hard-knee compressor with just a touch of "softness" around the
threshold point. BUT, this "softness" is very confined and predictable,
so that if you're using the RNC in Normal mode, it
responds more like a hard-knee compressor. Even though this same level
of softness/hardness is used in the SuperNice
mode's detector, there's enough other stuff going on to keep the SuperNice
mode sounding very gentle (like seeing fluffy little white clouds on a
sunny day while eating marshmallows... um... sorry...)
HOOKING
IT UP
What
cable/connector types should I
use to hook up the RNC?
There are three initial questions:
1. Am I hooking the RNC up to an unbalanced piece of gear?
2. Am I hooking the RNC up to a balanced piece of gear?
3. Am I hooking the RNC up to special connections, like Mackie channel
inserts?
Once you know the answer to these questions, you can plan the type/quantity of connectors that you'll need. However, one thing is for sure: you'll be hooking into the RNC with either a standard 1/4" phone jack (Tip-Sleeve, or TS) or a 1/4" stereo phone jack (Tip-Ring-Sleeve, or TRS). The other end of the cable will be determined by the piece of gear that you're hooking the RNC to and it's (the other gear) connector/electrical interface requirements. If you're hooking up the RNC inputs to a balanced source, we strongly recommend that you get the source equipment manufacturer's to advise you on the best way to do this. There are some output circuit and hook-up combinations that could damage your source equipment if you're not careful.
Connecting
the RNC to unbalanced
equipment
This connection configuration is the most straight-ahead.
Here are the cable connections necessary to hook up the RNC to balanced equipment that uses XLR connectors.
| RNC 1/4" Plug | XLR Signal/Pin # |
| Tip | HOT (pin 2) |
| Sleeve | COLD (pin 3) |
| Sleeve | Ground |
There are several off-the-shelf cables that can be bought already configured this way (Example: HOSA PXM-105 and HOSA PXF-105). Check with your local dealer about their recommended choices for these cables.
This all assumes that your equipment can tolerate connecting the COLD (Pin #3) to ground (some can't). So, to be on the safe side, please check with the manufacturer to make sure that you can hook up your balanced outputs this way.
Connecting
the RNC to TRS Console
Inserts
A unique aspect to the RNC's wiring is that it will connect to some
console inserts � connecting both a single channel's input
and output � with a single TRS cable:
Can
I use the RNC for my stereo mix
bus?
Yes. In fact, the RNC's SuperNice mode was designed for and tested
extensively with stereo program material. One of our goals was to have
a 2-mix compressor that sounded good, gave some signal control and
didn't cost gobs of money. So, how should you hook it up to your mix
bus? Probably the best way is by hooking it into your console's stereo
bus inserts. BUT, you could always take the simplest approach and just
take the output of the mixer, connect it to the RNC's inputs and then
connect the RNC's outputs to your monitoring system. Just follow some
of the guidelines we've given you above (and follow hook-up
instructions of the equipment you're hooking the RNC to).
SIDECHAIN
What's
the RNC's sidechain function
for?
There are a few additional effects/functions that compressors can
provide. De-essing and ducking are two that immediately spring to mind.
Both of the these functions require access to particular parts of a
compressor's innards so they may be connected to some other pieces of
gear to provide the desired function. For example, in order to de-ess,
the RNC's detector (also referred to as the "sidechain") is connected
to an equalizer. By having an equalizer in the detector, we can tell
the RNC which frequencies we want it to compress more than others.
Thus, for de-essing, we would accentuate (via the EQ's settings) the
frequencies associated with sibilance (anywhere from 5kHz to 12kHz)
while de-emphasizing all other frequencies. This would cause the RNC to
compress mostly the sibilant signals and leaving the other parts of the
signal mostly uncompressed.
The RNC's sidechain access may also let the RNC "duck" two signals. What's "ducking"? It's the volume reduction of music in the presence of another signal (usually a vocal narration). By connecting the voice-over signal to the sidechain (with the main/music channel hooked up to the RNC normally) and adjusting the RNC's front panel controls properly, the music will be "potted down" (i.e., reduced in volume) when the narrator is speaking.
How
do I use the sidechain function
on the RNC?
De-Essing with the RNC
Using the sidechain function is merely a matter of connecting the
appropriate device via the appropriate adapter to the sidechain
connector. For example, to use the RNC as a stereo de-esser, you would
connect the RNC up as shown below.
"Ducking"
with the RNC
This application is similar to de-essing except that we're only
concerned with getting the signal we wish to "duck" with (we'll call
this the "duckor" and the signal we turning down, the "duckee") into
the sidechain (so that it will control the gain of the VCA). In this
case, we don't care if there's a sidechain signal coming out of the
RNC's sidechain jack (see below).
