tfpro - P3 - kompressor

Tfpro För sovrumsstudion eller proffstudion. En kompressor som kan komprimera volymen på din gitarr eller sång. Saxat ur SOUND ON SOUND: ” P3 bears a striking resemblance to an older Joemeek product, it is because designer Ted Fletcher has parted company with the Joemeek name and is now marketing his revised designs under the TFPro name. The Joemeek name has been bought by the company that formerly distributed the Joemeek line in the United States..” ” Connections & Controls The TFPro P3 is a mains adaptor-powered, 1U half rack-width voice channel which combines a mic preamp with an opto compressor and a three-band equaliser. It can accept mic-level signals via a rear-panel XLR or line-level signals via a balanced jack connector. There are two outputs on balanced jacks, a feature that comes in handy when you need to set up a zero-latency monitoring feed for a performer doing an overdub in a computer-based setup. If the spare line output is fed to the mixer in charge of the performer's monitor mix, it means the performer can monitor their overdub from its source rather than via software, though you must remember to mute the software-monitored signal to avoid a doubling or flanging effect in the headphone mix. A Mix In jack is also fitted that can be used to mix another signal with the existing mic or line input, plus there's a TRS insert jack that allows additional processing to be inserted between the preamp and the following stages. The mic preamp is based on Ted Fletcher's current-sensing design and works well with pretty much any dynamic or capacitor microphone. Full 48V phantom power can be applied by means of a rear-panel button (with its associated red status LED also on the rear panel, oddly enough). The benefit of a current-sensing design is that it isn't unduly affected by microphone impedance, so, in theory, all low-impedance mics should 'match' it perfectly. A front-panel button selects mic or line mode and the only other control associated with the preamp stage is a gain control calibrated from 0-60dB. Separate buttons switch the compressor and EQ sections in and out of circuit. No make-up gain control is required by the compressor, as the system used effectively changes the level of the input signal relative to a fixed threshold using the Compression knob. This isn't a unique approach, though it is less common than the variable-threshold system used in the majority of modern compressors. Two further knobs adjust the attack and release time constants, though there's no programme-dependent release option. As with Ted's earlier compressor circuits used during his 'green' period, the P3 uses a lamp/photocell topography, which gives it a somewhat non-linear, soft-knee characteristic that produces a distinct flavour of compression. This works particularly well on vocals where you want an obviously compressed sound…” Andvänt hemma i rök och husdjursfri miljö.