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The CU-29 'Copperhead' offers a warm, well-rounded low end accented by a delicate and intimate 'air' in the high end. The clarity and detail are unsurpassed by any other microphones near its surprisingly low price range.
The DerrEsser is a multi function dynamic filtering device, in an API 500 series module format. In its basic “DS” mode, the DerrEsser is an effective, level insensitive de-esser, which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source. By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner. However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry
Besides Bypass, there are essentially four modes of the DerrEsser:
DS Mode – (Bypass Button IN, all other buttons OUT). As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S’s (sibilants) that result from an overly bright singer or from EQ’ing to make a vocal sound aggressive and clear. In this mode, the dyamic action is “level insensitive”, as the detector circuitry compares the High Frequency content to the low frequency content, Overall signal level doesn’t matter at all. When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel. Again, great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use. We use the latest technology VCA, specially selected for glitch free, distortion free, and noise free performance. The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover.
HF LIMIT – (Bypass Button IN, HF LIM IN, all other buttons OUT). In this mode, the DerrEsser looks at the general level of the High Frequencies only. Think of it as a high frequency compressor. If there is enough high frequency content to exceed the threshold, then gain reduction occurs. It IS level sensitive, but responds much more to high frequencies. This mode can also act as a de-esser but is more of a general high frequency smoothing device.The HF limiter is probably the first carefully tailored soft knee HF limiter in existence. We believe both the DS and HF LIM modes offer the highest performance of any similar device
HIGHPASS – (Bypass Button IN, Listen IN, HP/LP OUT, HF LIM doesn’t matter). By using the “LISTEN” Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio. With the LISTEN button IN, and the HP/LP switch OUT, the user will be hearing the high frequencies that are being controlled with the dynamic/compression circuits. The corner frequency is adjustable by the Frequency knob. Once the LISTEN switch is engaged, all bargraph LED’s should light as indication.
LOWPASS – (Bypass Button IN, Listen IN, HP/LP IN, HF LIM doesn’t matter). With the LISTEN button IN, and the HP/LP button IN, the user is now listening to the low frequencies, those not affected by the VCA and dynamic/compression circuits. This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob.
Over the last 20 years the EL-8 “DISTortion compRESSOR” has become synonymous with greatness. With well over 25,000 units in the field and working daily, no other compressor is as well known, or well loved as the EL-8 and EL-8X. Pretty much every recording made in the last decade plus has employed at least one, if not several Distressors during the production process, no other unit, from any other manufacturer can make that claim without lying more than a little bit.
The “Distressor” has the capability to run as clean as clean can be, or add a little “attitude” as the user determines is appropriate for the music on which they’re working. Two different “distortion” offerings are created in the analog domain while being controlled digitally for ease of use and repeatability.
Those “distortion” settings are called DIST 2, and DIST 3. When the DIST 2 function is engaged the user will find that “even order” harmonic distortion is added to the signal in a very musical manner, much like when audio is run through a tube circuit that features Triode tubes. When the DIST 3 function is engaged the user will find a fair bit of that “even order” harmonic distortion along with a helping of “odd order” harmonic distortion (like what you’d get from a Pentode tube circuit), which makes the audio a tad brighter and airier in addition to the “thick” qualities of the “even order” harmonic distortion.
Even if adding some distortion isn’t your thing, the compression ratios are intensely useable, and the setting called “NUKE” is perhaps one of the most unique setting on any compressor ever built at any time in human history. “NUKE” has the ability to turn an average drum set into something you might hear on a Led Zeppelin record. “NUKE” has the ability to drive a sound (especially when used with a “parallel compression” technique) so far into the listener’s face it just can’t be ignored.
Just as the sound of the unit is exceptionally variable, so is the ability to shape the compression curves to the point where the sound will fit into a recording or mix with ease, giving you one less thing to worry about!!
Features include: Easy to read / understand nomenclature; distortion indication lights; musically intelligent ratio selections; built in [accessible on the face panel] detector circuit side chain EQ; XLR & ¼” inputs and outputs; and a true “hardwire” bypass for easy “before and after” comparisons.
If you’ve gotten this far without nodding off to sleep, here’s a little bonus feature that isn’t in the manual!! If you don’t have the link cables inserted in the back of your Distressor and you hit the “link” button – it increases the noticeable effect of the DIST 2 and DIST 3 settings. If you’re the creative type, you can have an awful lot of fun with this formerly undisclosed “feature”.
The R-F-T CU-29 "Copperhead" offers a warm, well-rounded low end accented by a delicate and intimate air in the high end. The clarity and detail are unsurpassed by any other microphones near its surprisingly low price range.
TELEFUNKEN Elektroakustik is well known for the historic recreation microphones found in the Diamond Series, which are meticulously made to historic detail with no expense spared. As such, these microphones become rather expensive for the average small studio or home enthusiast. With this in mind, the R-F-T Series of microphones was created.
The R-F-T Series of tube condenser microphones utilizes American designed electronics in conjunction with New Old Stock (NOS) vacuum tubes and standardized parts from overseas manufacturers. Just like the Diamond Series, all R-F-T Series microphones are hand-built in TELEFUNKEN Elektroakustik's South Windsor, Connecticut facility. With this line, TELEFUNKEN Elektroakustik is able to provide a lower cost alternative to more expensive microphone systems, without sacrificing the qualities that would be expected from a TELEFUNKEN Elektroakustik microphone.
The CU-29 "Copperhead" was developed from the ground up in our South Windsor, Connecticut facility by TELEFUNKEN Elektroakustik's in-house design team, along with the aid of some of the industry's most knowledgeable and respected consultants. Specific attention was given to circuit board layout, with countless revisions done to optimize current flow and directness of traces. Each component was experimented with and individually selected for the best sonic and electronic qualities. Extra consideration was put on keeping high impedance lines as short as possible to maximize efficiency and minimize unwanted noise. Lastly, a wide array of output transformers was experimented with to provide the most open and sonically pleasing response.
This fine-tuned amplifier design found in the CU-29 "Copperhead" features a NOS TELEFUNKEN 6AK5W vacuum tube and a Lundahl LL1935 output transformer. Being a cardioid only microphone, the R-F-T CU-29 "Copperhead" employs a single-membrane version of the TK67 large diaphragm capsule used in the AK-47 MkII microphone, which undergoes rigorous testing in our laboratory prior to installation.
Sonically, the CU-29 "Copperhead" is a remarkably hi-fidelity microphone that provides a warm, clear low end complemented by a smooth, detailed high end. The CU-29 "Copperhead" is an excellent multi-purpose microphone that sounds great on drums, electric guitar, vocals, bass, piano and a countless number of other applications.
Each CU-29 microphone comes complete with M900 power supply, M800 25' tube microphone cable, M700 elastic shock mount and wooden microphone box.
|Type||Condenser Pressure Gradient|
|Frequency Range||20Hz / 20kHz|
|Sensitivity||19.5 mV/pa +/- 1 dB|
|THD at 1kHz at 1Pa||<0.3%|
|Output Impedance||<100 ohms|
|Non Linear Distortion||Less than or equal to 0.5% at 100 dyne / cm sq|
|Tube Type||TELEFUNKEN NOS EF-95|
|Power Type||Dedicated Power Supply|
|Size||8" (203.2) Length x 1 3/4" (44.45mm) Diameter|
|Weight||24.7 oz (690g)|
|Powering Alternative||M 960|
|Supply Current||<1mA (120V) 155mA (6V)|
|Connected Via||XLR-7 (F), XLR-3 (M) output|
|Supplied Accessories||Power supply, wooden mic box, shock mount, 25' 7-pin cable, cardboard case|
|Optional Accessories||FC01 R-F-T Series Flight Case|
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