KV2 Audio launches 500 processor series
- Details
The range comprises three models; the TCL thermo-compressor/limiter; the QD8 stereo 8-band master EQ with line driver; and the MPA microphone preamplifier.
The TCL is an analogue thermo audio compressor featuring a superior natural RMS detector and dynamic voice bass enhancement control. Its patented design offers ‘an exceptionally musical and natural compression that is a component part of its real-time input, rather than a typical side-fed gain reduction circuit attempting to either follow or anticipate compression demands’.
QD8 is a George Krampera 8-band stereo equaliser specifically designed to highlight a desired band without adversely affecting the overall sonic landscape. Whilst not intended for tuning out room modes, the frequency bands and filter types have been precisely chosen after extensive research, to perfectly align with the science of human hearing and our perception of achieving the ultimate spectral balance. In a live scenario, faced with a number of different sources, program types, or performance genres at a festival or concert, the equaliser is very musical, intuitive and provides an exceptionally quick way to shape any mixed content to the sound you want to hear.
The MPA is a high-definition microphone and musical instrument preamplifier with Class-A circuitry and a quality transformer balanced output. A stepped input gain selector is provided for easy and precise repeatability of settings. The preamplifier features adjustable high and low pass filters, with an adjustable limiter to control clip level and a transformer isolated high impedance line input.
Andreas Hammerich, director, technical production management & sound designer musical theatre production company, Stage Entertainment, was able to test the new devices in a colleague’s studio and was thoroughly impressed with the results. “The compressor and the EQ are the finest sound shaping devices I have heard so far,” he says. “The most impressive quality of the compressor is the way it takes the annoying, “ear pressuring” part away without changing the natural sound of the voice. And it sounds totally transparent, there are no audible artefacts at all. For me they make all other compressors redundant - unless you particularly require certain audible colours or effects, of course.”
For the EQ, Hammerich noted the speed with which he was able to make improvements to his mix or particular problem signals. “You get insanely quick results. I would particularly recommend it as a live master mix EQ or Mastering EQ, but also as an insert for “difficult” signals in a live mix, like upright bass, vocals (!), cello, maybe even drums/overhead mics.”
