FEMIDA De Luxe. price 1200$

FEMIDA De Luxe — this is mastering station for pro and home studios.

Mastering station FEMIDA De Luxe – this is handcrafted analog device for stereo track studio mastering.

It adds analog feeling to your recordings.

Mastering station FEMIDA De Luxe consists of 6 independent modules according to the signal path: EQ-1, C-1, C-2, TUBE, STEREO, EQ-2.

EQ-1. input passive equalizer.
knobs:  TREBLE (boost/cut), FREQuency (fully counter clock wise (ccw)-normal mode, clockwise (cw) — raise treble response /cut high mids), BASS (boost/cut), FREQuency (fully ccw-normal mode, cw — lower bass response /cut low mids), VOLUME. SWITCH: ACTIVE/BYPASS.

Normally bass and treble FREQ knobs should be set fully ccw. In this position BASS and TREBLE knobs work to boost or to cut bass and/or treble frequency.

TIPS:

Boost bass with BASS knob and set C-1 to BASS mode to compress bass harder.

Boost trebles with TREBLE knob and set C-2 to TREBLE mode to compress trebles more

Cut both bass and trebles with BASS and TREBLE knobs with using C-1 or C-2 in OVERALL mode to compress middle range more.

Use EQ-2 to get desire final tone.


C-1. BASS and overall compressor.
knobs: RATIO (RATIO + THRESHOLD), VOLUME, ATTACK, RELEASE. switches: OVERALL/BASS, ACTIVE/BYPASS. 

C-1 has 2 compressing modes: a)bass only, b) full range .

a)If you choose BASS position by toggle switch the only bass frequency will be compressed. C-1 schematics measure bass signal and compress only bass range of frequencies. Compression effect depends on music tempo, its bass content and positions of the knobs.

If attack knob fully ccw compressor will compress bass signal in the same moment as its level will be higher than set by RATIO knob (GREEN LED will light). IF ATTACK knob is turned cw – compression will start after delay depending on position of the ATTACK knob. That means that compressor will compress bass later, not in the same time as it appears. So in that case beginning of the bass notes will not be compressed but the rest of bass will be. It effect to raise the beginning of bass notes that overall bass level after compressing.

Proper setting cause GREEN LED blinking on KICK and /OR BASS sounds (depending on music style).

RELEASE knob set the delay for deactivate compressor after bass level become lower than is set by RATIO knob. That means that is no matter even if bass level in the moment is low it will be compressed anyway.

So combination of RARIO, ATTACK and RELEASE knob positions will change the way C-1 works.

For example if you want to set “pumping” mode for dance track, set the knobs like this:

attack 11..13 o’clock, release 7..9 o’clock, switch BASS, Ratio — for led lightning on kick only.

What does:

ATTACK knobs here: with this settings the bass beginning of the KICK sound will go through without being changed, but the rest of the bass frequency of KICK sound will be compressed (less volume).

RELEASE knob is set to compress bass sound of the KICK longer than it would be as if compressor will react strictly according to the level set by RATIO. So thus compressor will compress longer that it needed for kick only and slightly compress the sound of bass synthesizer or bass guitar that goes after the KICK in the music. That cause kick beginning bass sound louder than the bass after it. And this situation repeats in the groove of the song and improve the rhythm (co called “pumping”).

RATIO knob should be set that GREEN LED blinks on KICK sound only.

b)If you choose OVERALL position by toggle switch the whole signal will be compressed. C-1 schematics measure overall signal level and compress and compress it if its level is higher than is set by RATIO knob with no difference on signal frequency.

If attack knob fully ccw compressor will compress signal in the same moment as its level will be higher than set by RATIO knob (GREEN LED will light). IF ATTACK knob is turned cw – compression will start after delay depending on position of the ATTACK knob. That means that compressor will compress the overall signal later, not in the same time as it appears. So in that case beginning of the louder peaks will not be compressed but the rest of signal goes after it will be. Mostly that peaks in the modern music produced by kick and / or bass. It raises the beginning of kick or bass notes louder  that overall their level after compressing.

So: turn ccw ATTACK knob to shorten the time of attack (compressor will compress everything at the same time) or turn it cw to let BEGINNING of the peaks uncompressed (louder than the rest of the signal)

EXAMLE: to reach stabile signal level set ATTACK fully ccw, RELEASE 10…14 o’clock(depending on tempo and music style), RATIO – to make GREEN LED shine at least a half of the time of the music track.


C-2. TREBLE and overall compressor.
knobs: RATIO (RATIO + THRESHOLD), VOLUME, ATTACK, RELEASE. switches: OVERALL/TREBLE, ACTIVE/BYPASS.

C-2 has 2 compressing modes: a)treble only, b) full range .

a)If you choose TREBLE position by toggle switch the only treble frequency will be compressed. C-2 schematics measure treble signal and compress only treble range of a signal. Compression effect depends on music tempo, its treble content and positions of the knobs.

IMPORTANT: treble frequency mostly needs faster attack and release because they often shorter (closed high hat) in comparison with a bass sounds for example. So, then TREBLE mode is used time constant of compressor become smaller. That means that real time for attack and release physically set faster for the same position of ATTACK and RELEASE knobs in OVERALL mode.

Use TREBLE mode to correct treble part of the track setting the RATIO knob the way that cause BLUE LED shines only on the moment you want to correct. It may be high hat, “S” sound of vocal etc.

b)If you choose OVERALL position by toggle switch the whole signal will be compressed similar as C-1 does. Check its Description for reference.

TUBE. 2 X 12AX7 TUBE SATURATOR.
knobs: GAIN(input tube signal level), VULUME (output tube signal level), MIX(fully ccw=direct 0%tube, fully cw=100% tube). 

This tube saturator is used to add harmonics to the track and give “warm tube” character to the track. As a result it may change balance between deepest bass and trebles, change stereo image and focusing blur instruments in the music.

IMPORTANT: VOLUME and GAIN knobs are active only if MIX knob not fully ccw.

switches: BOOST/NORMAL (full tone/ mean tone), MODERN/VINTAGE (sharp/soft tone), ACTIVE/BYPASS.

GAIN knobs controls input signal to the tubes. It it set fully cw it may push tubes to drive (soft distortion) that may be wanted as an effect for the track makes it sounds “dirty” or unwanted if you want tubes operated smoothly. So set GAIN ccw to get maximum smoother operation or cw to set it more “dirty”.

VOLUME knob set out put tube volume.

RECOMMENDATION: set the equal volume when MIX knob fully cw (100% signal through the tubes) vs bypass.

BOOST switch change tube module working point to get another harmonics from it. As a result output level becomes higher and stereo image changed. Compensate volume change with GAIN, VOLUME or that both knobs together.

MODERN mode gives more transparent and clear tone vs VINTAGE mode that gives more blur tone.

***If you turn device on with a cold tubes and TUBE module is on with MIX knob turned fully ccw position (100% signal through tubes) there will be no sound until tubes are warming up. About 20..30 seconds.


STEREO. Stereo imaging.

knobs: VOLUME (overall volume), RANGE(widener->center focusing ), LEVEL(range volume). switch: ACTIVE/BYPASS.

STEREO imaging processor can change the panorama, wideness, depth of your track if it has a lots of stereo components in it.

RANGE knob fully ccw will boost SIDE components of stereo image (stereo effects etc) and if you turn it completely cw – the CENTER (mono) will be boosted. Use this position for main music part focusing (vocal, solo instrument, may be drums etc.)

LEVEL knob controls amount of stereo part added according to the RANGE knob position.

EXAMPLE: to add more space turn RANGE fully ccw and set LEVEL to 12 o’clock.

EQ-2. input passive equalizer.
knobs:  TREBLE (boost/cut), FREQuency (fully counter clock wise (ccw)-normal mode, clockwise (cw) — raise treble response /cut high mids), BASS (boost/cut), FREQuency (fully ccw-normal mode, cw — lower bass response /cut low mids), VOLUME. SWITCH: ACTIVE/BYPASS.

Normally bass and treble FREQ knobs should be set fully ccw. In this position BASS and TREBLE knobs work to boost or to cut bass and/or treble frequency.

EQ-2 is similar to EQ-1 but it placed the last in the signal path, so use it for the FINAL TONE control.

**** ABOUT BYPASS ***

Mastering station FEMIDA De Luxe uses TRUE BYPASS bypassing method.

That means that if any of module is off (bypass switch position) it is COMPLETTELY disconnected from the signal path. Set all switches to BYPASS position and turn off the power in order to remove the device from the signal path without physically disconnected CABLES from inputs and outputs.

GROUND LIFT:

In the case of hum caused by ground loops made by mains and signal cables set GROUND LIFT switch in position cutting hum better.

tubes: 2 x 12ax7 / ecc83.

connectors: input XLR & 1/4″ jack L & R, output 1/4″ jack L & R.


Звуковой пример

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