Pro Audio
"If I don't use it in my studio, I won't try to sell it to you
for use in yours."
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You may order here using your PayPal account on line, or go to our mail order form if you would rather order product by mail. All prices include US shipping (lower 48 states only). Non-U.S. customers: Please email liondog@isomedia.com before ordering. FMR AudioRNC Stereo Compressor/Limiter - $205 + shipping (billed separately)
FMR Audio's first product, introduced over 18 years ago, the Really Nice Compressor (RNC) is a compact and cost-effective stereo compressor with a high-fidelity audio path and compression scheme. The RNC provides quality compression at a budget price. RNP 2 Channel Mic Preamp - $480 + shipping (billed separately)
The RNP is a pair of separate micpres providing up to 66dB of gain at vanishing low distortion levels in a compact 1/3 rack format. The RNP possesses all the features you'd expect from a professional preamp: accurate signal metering,1MΩ input impedance DI inputs, high input level capability (up to +28dBu input), high-capacity phantom power supply, sealed relay switching for invert/phantom functions, gold-plated 12-position gain switch, TRS insert between preamp stage and output driver, +28dBu TRS-balanced outputs, 5kΩ differential input impedance on mic input, plus features like output muting during phantom engage/disengage and battery or AC mains operation.
RNLA Limiting Amplifier - $219 + shipping (billed separately)
WHAT'S THE RNLA? The Really Nice Leveling Amplifier (RNLA) is a compressor, of sorts, with a character that works well with vocals, bass guitar, acoustic guitars and two-mix sources. A friend describes the RNLA's tone as "thick and gooey". Some very well-outfitted RNLA users report that even with a full complement of expensive, vintage leveling amps/compressors, the RNLA still fills a niche that the others don't! The sonic performance of the RNLA harkens back to the Really Nice Compressor's (RNC's) origins. The original RNC was, in fact, based upon an optical gain element that was ultimately rejected (and tucked away) due to its imparting of a sonic signature (i.e., "color"). However, just like trying to throw away a ball of adhesive tape, this one has also stuck with (to?) us! What's the old saying? What's old, is new again? The implementation is a little different (i.e., no opto) from the 1984 version, but the final sound is eerily similar... Great River Electronics Microphone Preamps
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