- Product 580454
FMR Audio RNC 1773 Really Nice Compressor
- Write a Review
The RNC 1773 compressor from FMR Audio achieves such high performance at a low cost by using evolutionary advances in digital technology, coupled wit...Click To Read More About This Product
We're sorry-this item is unavailable.
Find a similar product below or contact our experts for a recommendation of great alternatives. Call us at 800-449-9128.Customers Also Viewed:
An affordable compressor with accurate, precise controls and a clean tonal character.
The RNC 1773 compressor from FMR Audio achieves such high performance at a low cost by using evolutionary advances in digital technology, coupled with the best analog has to offer. Using digital controls and an all-analog signal path, the RNC offers accurate, precise controls and a clean tonal character.
The RNC (Really Nice Compressor) 1773 is one of the very few bargains you'll find in pro audio. It's used by Grammy-winning engineers Larry Seyer (Asleep At The Wheel, Manhattan Transfer) and Bob Power (Eryka Badhu); platinum producer-engineer Ed Seay (Martina McBride, Melissa Manchester, Ricky Skaggs); and legendary producer-engineer Michael Wagener (Ozzy Osbourne, Mötley CrÜe, Skid Row, Janet Jackson, Megadeth, Alice Cooper).
The Really Nice Compressor provides two modes of operation: normal and SuperNice. Normal mode allows the RNC compressor to be used for everyday compression tasks, like punchy snare drums or bass guitars, and is great for everything from gentle compression to serious squashing. SuperNice mode provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like vocals, acoustic guitar or the program bus).
How the RNC1773 Compressor Sounds
In a word: transparent. The RNC yields clean, airy compression with few artifacts and little high end loss, even at massive gain reduction. This amazing performance is why many professionals rank the RNC among the best sounding compressors for under $2000.
So what is SuperNice mode?
a cool technique
A clever technique to reduce compression artifacts is the use of multiple compressors cascaded serially:
Audio Source › Compressor 1 › compressor 2 › compressor 3 › Audio destination.
In this way, none of the individual compressors have to work quite as hard as they would if there was only one compressor doing the same amount of gain reduction. If things are properly adjusted, you can accomplish a good level of signal control without the usual "choked" sound of the typical lone compressor. By the way, this technique works well with almost any type/brand of compressor(s). Try it with the other compressors in your rack!
when you dance to the tune.…
There are downsides to using multiple compressors in your rack to achieve this artifact reduction:
1. Lots of compressors : For each source, you have to dedicate a number of compressors. Most of us already don't have enough compressors to go around, let alone dedicating 2 or 3 (or more) compressors per track.
2. Lots of experience/patience required : It takes a lot of experience with compressors to know how to adjust each compressor's settings to achieve the end result. It's already difficult for many of us to set up a single compressor, much less multiple units for just one source.
3. Lots of noise: Many compressors, particularly some of the "vintage" ones, don't have very good noise floors. This becomes even more problematic when you want to cascade multiple units.
Inside the RNC
The FMR Audio RMR considered both the upside and downside while developing the RNC's cascaded-compressor mode, called the SuperNicemode. SuperNice mode provides three compressors in series, giving you the advantages of multiple-unit compression without the listed problems:
1. The Lots of compressors problem: By creating special sidechain electronics, we're able to triple the compressors in one box without tripling the cost or space. And think about how much you'll save on patch cables!
2. The Lots of experience/patience required problem: Even though it still takes some time to get used to the novel aspects of SuperNice mode, it takes much less time than trying to dial up 5 parameters on 3 separate compressors! To some extent, we've spent the time for you by testing, trying and tweaking the RNC SuperNice mode on a multitude of different sources over a long period of time with many different music styles and recording engineers. The result is the current balance of the 3 SuperNice mode compressors in the RNC.
3. The Lots of noise problem : Again, due to the special sidechain electronics, we're able to triple the compressors in one box without tripling the noise.
The best part is: it works great! Spend some time working with SuperNice mode and you'll find yourself using it more and more for vocals, clean guitars, or your program bus. In this way, none of the individual compressors has to work quite as hard as they would if there was only one compressor doing the same amount of gain reduction. If things are properly adjusted, you can accomplish a good level of signal control without the usual "choked" sound of the typical lone compressor. By the way, this technique works well with almost any type/brand of compressor(s). Try it with the other compressors in your rack!
- Clean, transparent, airy, compression
- Digital controls
- All-analog signal path
- Two modes: "Normal" and "Super Nice"
- Little high end loss
- Size: 1/3 x 1 EIA rack unit
- Connectors: 1/4" Unbalanced I/O (TS, or TRS for console inserts); L/R in & out, TRS sidechain
- Controls and Displays:
- Rotary: Threshold, Ratio, Attack Time, Release Time, Output Level
- Switches: Bypass, Mode Select
- Meter: 8-segment LED Gain Reduction, 0-20 dB
- Modes: Normal - Provides fast attack/release, accurate compression; Super Nice - Layered compressors, reduces compression artifacts
- Input Z/Output Z: 10k Ohms/100 Ohms
- Operating Level: 0.775 Vrms (0 dBu) nominal
- Noise: Less than -90dBu over 20-20kHz
- Frequency response: 10 - 100k Hz ±0.5dB @ 0dBu, no gain reduction
- Clip point: +22.5dBu @ 3% THD, 1kHz, greater than 2kOhm load
- Distortion: less than 0.1%, no gain reduction @ 1 kHz, 0dBu
- less than 0.5%, 6 dB G.R. @ 1kHz, 6:1, 6.0msec attack, 0.5 sec release, 0dB gain, 0dBu
- Threshold range: -40dBu to +20dBu
- Ratio range: 1:1 to 25:1
- Attack range: 0.2 msec to 200msec for 100% correction with <15dB over threshold input signal
Release range: .05 sec to 5.0 sec for 100% recovery with 15dB G.R.
- Output trim range: ±15dB
- AC Power: Wall transformer, 9VAC @ 500mA, 2.1mm jack
- Dimensions: 5.5" x 5.5" x 1.6"
- Weight: 2 lbs