Although many plug-ins and hardware effects boxes purport to deliver the “classic sound” and “analog warmth” of old favorites, few of them can begin to match the delight I felt when I first heard a bass guitar track brought to life by a Pultec EQP 1A-3. The Sintefex FX2000 analog sample digital stereo equalizer/compressor uses “dynamic convolution” to provide retro warmth with modern digital precision and maximum control. While lacking the big knobs (chicken heads on the Pultec) and heavy chassis, it’s the closest thing to a Pultec 1A-3, Fairchild 660 or Urei 1176 that I’ve used in recording and mixing.
The FX2000 is a stereo “spin-off” of the more full-featured FX8000. The FX8000 uses dynamic convolution to sample an analog process and digitally reproduce it with a highly accurate simulation of the original’s frequency response and distortion characteristics. While the concept of convolution is not simple (mathematically or empirically), one may think of the process as using audio samples to scale filter impulse responses. For those who have worked with Sonic Foundry’s Acoustic Mirror, the characteristics of an impulse response in audio will be quite familiar. (For a simple
graphical approach to convolution check out the java applet at http://plaza.harmonix.ne.jp/~tosiwata/cnv.html.)
Michael J. Kemp, co-founder of Sintefex with Mike Eden, designed the FX8000 (as well as its stereo “children” the
FX2000 and CX2000). Kemp gives an operational definition and overview of the dynamic convolution process in his
AES Pre-print, “Analysis and Simulation of Analog Dynamic Compressors and Limiters in the Digital Domain.” He
describes it as using non-linear synthesis to analyze and simulate classic hardware compressors and equalizers. This
involves using level-dependent impulse responses, measurements of attenuation characteristics against various signal
amplitudes and applying these in simulation via bilateral dynamic convolution on a sample by sample basis. It’s
immediately apparent that these Sintefex boxes require a lot of horsepower under the hood.
Features:
- Complete API input strip with bussing
- API 2520 Op-Amp
- API 212L Mic Preamp, 225L Compressor
- Re-issue of the famed 550A EQ
- Four Aux sends, Pre or Post fader assignable
- Four busses
- Stereo bus with internal rotary fader
- Solo, SIP, Mute, Insert, Polarity, and Compressor Link
- Complete patching facilities on rear panel
- External fader jack
- Three 7 segment LED VU displays
- Output clips at +30 dBm
The API 7600 Input Module offers studios of all sizes a whole new range of options without sacrificing quality. The 7600 strip forms the basis of a build-as-you-need-it, high quality recording console. It is the perfect choice for project studios who want high performance console sound, but have limited channel needs or budget constraints, and professional studios that want to add more channels to their existing desk through the addition of a side car.
The API 7600 fits into one rack space unit and it includes a genuine API mic pre, a compressor and a real 550A EQ right out of the glory days of rock ‘n roll. The 7600 mic pre is the same 212L mic pre used in the Legacy Consoles. The EQ is an exact re-issue of the famed 550A, offering 3 bands of EQ with 7 frequency choices per band. The compressor is the 225L, the same one found in the all-discrete Legacy Console currently in production.
The 7600 comes complete with an internal power supply, and is the basis for building a 4, 8, or 16 channel professional sounding API console.
The Channel in a Box (CIB) was the first module in the Pure Path range of creative signal processing devices. Inspired by the success of the 9098i, the no compromise design of the CIB combines Mic Pre-Amp, Line Amplifier, Hi and Lo Pass Filters, 4 Band Equaliser and Classically Inspired Compressor, all carefully designed into a 1U-rack space.
