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RNLA!!!!!!!


UstadKhanAli

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I now have an FMR RNLA, something I totally did not expect!!! Wowww!! Nice gift! Does anybody have any special sorts of suggestions, techniques, etc. for this - y'know, the sorts of techniques that one might overlook if unfamiliar with a leveling amplifier or has never used a Log/Lin or Log Rel before? Obviously, I'm gonna use my ear, twist some knobs, see what happens, but you knowhattamean...

 

I imagine that it's probably great for vocals, bass, guitar cabinets, acoustic guitars, and according to the site, drum sub-mixes... It has a Log Rel control, which I'm not familiar with.

 

Here's what the FMR site has to say about the Log Rel:

 

Alternative Release Contour. Loosely based upon the

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Originally posted by the stranger

Sounds cool. No tips, but it seems a lot of people grabbed one or two of these after they came out and showed decent compression could be had for cheap. Did you stick a copy of this in Phil's forum?

 

No, I was thinking about sticking it in Phil's forum, but usually try and resist cross-posting.

 

I have a couple of the RNCs, which are wonderful compressors (especially for the money!!), but this is an entirely new beast for me. It's got a few firsts for me: I've never had an LA in my studio, a compressor that colors, or anything that had a Log Release. So I know what this does intellectually, since I've read the description, but am curious to find out more about it's intended (or unintentional) applications.

 

I mean, it's not that hard to begin using - press the bloody button and it kicks in!! :D

 

But you could say that about the Super Nice Mode as well on the RNC, but really, the Super Nice Mode works better with some things, such as vocals, where it really exhibits far less artifacts.

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I finally hooked up the RNLA and gave it a whirl on pre-existing tracks, bussing 'em to an auxiliary channel so I could mess around with the signal. I used it on drum overheads, clean tremolo guitar, and male vocals.

 

On drum overheads, I could get a Bonhamesque sort of sound much easier than my RNC, which should come as a surprise to just about no one. Thickened up the snare a little bit, and sounded good with 2-3 dB of compression. I could impart a lot of distortion and/or color, more than I am used to in a compressor, if I wanted to. This is partially why I started this thread - I've never used a compressor like this before. The Log Rel was quite frankly almost indispensable if you wanted to do heavier compression (no, I don't have a definition for that, like how many dBs or whatever - this is about fifteen minutes of informal, unscientific knob-twiddling; if you want a real review, you'll have to send me a check... :D).

 

On clean tremolo guitar, I gave it about 3-4 dB of compression with 6:1, just to see what would happen. The guitar sounded thicker. I had miced it with two mics - one close, one about 8-9' back. The guitar sound was warmer, and perhaps sounded a little closer. When I used the Log Rel, I was able to get more definition. I liked the sound with no Log Rel, but preferred it with the Log Rel engaged, as the guitar felt more physical.

 

On male vocals (tenor), I used about 3-4 dB of compression as well. Worked pretty much like any clear compressor would except that, as with the guitars, the vocals seemed closer. Some sort of bump or something in the low mids, or maybe it was just that it just sounded closer. And warmer.

 

As I am writing this, I am trying to think about what happened to the top end with more compression, and quite honestly, I can't remember what happened to the top end. Was it rolled off slightly? I wasn't paying so much attention to the cymbals or the top end on my tracks so much, but did notice that the guitar was slightly less edgy, not that it was edgy before...I'll have to listen to this again later and figure out what was happening with the top end as I was compressing.

 

I don't know how to describe this exactly, but the RNLA is clean...but then, do I contradict myself in describing some of the heavier compression as distorted? See, this is where I start feeling like I don't know what the hell I'm talking about. I mean, clearly there's coloration going on - the vocals and guitar sounding closer somehow and sounding warmer. But in yet, it doesn't really sound distorted. Except when I use heavier compression on the overheads.

 

So that's it for now from fifteen minutes of knob-twiddling. I like the Log Rel. I like the red knobs.

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Originally posted by UstadKhanAli




So that's it for now from fifteen minutes of knob-twiddling. I like the Log Rel. I like the red knobs.

 

:thu:

 

I'd really like to hear how it works with aggresive female rock vox (higher ratios or limiting), bass guitar and sax if you've got some recorded.

 

Thanks for the thread!

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Originally posted by D Charles

:thu:

I'd really like to hear how it works with aggresive female rock vox (higher ratios or limiting), bass guitar and sax if you've got some recorded.


Thanks for the thread!

 

Yes, that would be interesting. I haven't tried it on any female vocals or bass guitar yet, but I will. I usually don't get saxophone in here, sadly - I'd looooove to do some jazz recording and practice that.

 

It'd be interesting to see what the higher ratios or limiting would do with female vocals.

 

The Log Rel did not really have a very profound difference in the male vocals so far. It made a noticeable difference on clean guitar through a guitar amp and a profound difference in the drum overheads.

 

Phil, glad you like it for bass. I was going to try that next. Even more glad that I'm not banned!!! :D Have you listened more carefully to what it does to the top end? I neglected to really listen to that because I was so taken with how the sound was suddenly colored and fatter (again, something I'm not used to in any compressor I've ever owned). Any other compressor I've ever had either sounds clear and natural, or if there's any coloration, it's of the "I'm making your audio very thin as you compress, har har!!!". :D

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