Smart Research C2

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Smart Resrch C2 Expand

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2 514,00 €

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2 095,00 € tax excl.

The C2 compressor houses two independent mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2.

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The characteristic sound of the Smart Research C2 arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used across a mix, or with any dynamic program, this has the effect of adding 'punch', as the sidechain 'breathes' around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this 'musicality', adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.
• Fast attack and limit settings for protective limiting
• Crush mode gives f.e.t 'over compression' with tailored frequency response, and higher distortion, for 'huge' dynamic effects
• External sidechain inputs, (for ducking etc.)
• Power fail bypass for broadcast or live sound
• Ratios 1.5:1, 2:1, 3:1, 4:1, 10:1 and Limit
• Attack 0, 0.1, 0.3, 1, 3, 10, and 30 m/sec
• Release 0.1, 0.3, 0.6, 1.2, and 2.4 seconds

• External fader level control input, (to order) (stereo mastering etc)
• Extra dual channel slave units, for multi-channel applications, (film / surround formats etc.)

Sidechain High Pass filter cables
Reduces sensitivity to low frequency compression. The C2 input is split through 150Hz -6dB/octave High Pass filter to feed the External Sidechain input. The C2 operates as normal, untill the 'External Sidechain' switches selected. (External signals can still be connected if required, with or without the filters)

• New generation of Voltage Controlled Amplifiers
• High slew rate amplifiers, with hybrid f.e.t/ transistor inputs (Analog Devices)
• High current push-pull transistor outputs
• Total symmetry throughout signal path
• No electrolytic capacitors used in main signal path
• All inputs and outputs balanced

C2 Family Specifications
• Power: 100v-240v AC selectable, 30 watts
• Noise floor: Below -104 dBm (flat 20Hz-20Khz)
• Distortion: Below 0.005% (1K/+4 THD 20Hz-20Khz)
• Frequency Response: Within 1/2dB from 20Hz to 100Khz
• Depth in rack: 258mm
• Main input: Balanced, impedance 1K8 per leg
• Sidechain i/p: Balanced, impedance 10K per leg
• Output: Discrete transistor. Above +26dBm into 600 ohm load
• Threshold: Adjustable -20 to +20dBm
• Make-up gain: Adjustable 0 to +20dBm

Condition New
Type VCA Compressor
Application Tracking & Mixing
Channels Dual Mono
Circuit Solid State
Output transformer(s) 218X
Format 19"
Chassis 1 U
Quantity 1

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Smart Research DI Deluxe System

Smart Guitar DI Deluxe System
Designed to solve many instrument recording and D.i problems. For instance, one guitar feeding down long cables to 3 amps in a different area, without hums or change of tone. Includes: Balanced line driver for long cables; speaker level D.i input, and one unity gain Di Box/Splitter for two D.i or Amp feeds. Conceived at Real World Studios, to solve the problem of a guitarist wanting to play in the control room and have amplifiers set up in a live room sometimes several hundred feet away. Prototypes were also used at Virgin/ EMI Townhouse and Manor studios. Since then producers and artists such as Tom Lord Alge, Peter Gabriel, Paul Weller, and Tears for Fears have bought systems. Four systems were used to cure problems for Peter Gabriel's live show, where two stages had to be inter -connected with 300 feet of cable carrying guitar signals from radios to effects pedals on both stages and back to amps on the main stage without degradation, (allowing each stage to be patched independently).

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