What’s cool about the RNLA?

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 continuously-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 envelope.  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 audiois like dancing about architecture... ).

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 here in beautiful Austin, Texas ‘cause: (a) We live here. We’re control freaks. We need things done to standards that are very specific and loftier than most. Manufacturing products here help control important costs and reduce waste (there’s more to producing a product than just considering the costs of labor and parts).  All this helps ensure that your RNLA will retain its value and continue compressing for many years to come, (b) Austin’s resources and culture—from a very lively music scene to lots of high-tech companies/products—help inspire and maintain our commitment to music and technology, and, (c) In order to help others, here and abroad, we believe we’ve got to be vital and capable ourselves. Our first choice is to employ as many U.S.-based resources as possible in the design, manufacture and distribution of our products.

The first time I included this What Sucks!  section was in the Really Nice Preamp (RNP) manual. It had the desired effect: our customers (i.e., those who “get us” and our products) really like—actually, based upon their responses, downright appreciate  -  having a first-pass assessment of our product’s strengths and weaknesses even if it’s from the product designer’s view. So, here’s to you, our dear customers! (drumroll please!) We continue this new-found tradition and present What Sucks  about the RNLA...

The RNLA uses a wallwart - As with our other products, the RNLA uses a wallwart. This is done to: (a) reduce internal noise induction, (b) make the national/international regulatory compliance less costly, and, (c) to permit easy adaptation of the RNLA to countries other than the U.S.A. As practical as these reasons for wallwart use are, it doesn’t reduce the annoyance factor that the RNLA uses a less common, *AC* wallwart. You can reduce this annoyance, however, by:

(a) labelling your wallwart on both ends (i.e., on the part that plugs into the wall and at its opposite end) that the wallwart is for use with the RNLA, and/or,

(b) use AC mains power strips that can accommodate the extra space required by wallwarts, and/or, (c) hook-up your wallwarts with one of those short, power cord extenders. In either case, what a pain  wallwarts are...

The RNLA “colors” the audio - I don’t consider myself a “purist”, however, Ihave  spent a fair amount of time/effort in the studio (and design lab) trying to reduce sonic coloration (i.e., distortion). Although I appreciate and applaud those who are skillful enough to record and mix with fidelity or colorationat will , I’ve always preferred fidelity over distortion...no matter how artsy it is! So, why are we now producing a device that deliberately  distorts the audio? There are three reasons for this: (1) our customers have requested it and feel that they can’t get specific combination of features elsewhere, (2) I believe that the RNLA distorts  in a tasteful, useful and controllable way, and, (3) Maybe you can teach an old dog new tricks: I’m actually learning to like and find uses for the sonics of the RNLA!

The RNLA has freakin’ RED KNOBS -  Proof, once again, that there’s “no accounting for taste”, I specified these knobs after a word-association game with my therapist. Here’s an excerpt: