The FMR RNC 1773 is a stereo compressor with all the basic parameters (attack, threshold, ratio, release, gain) with side chain capabilities and a "secret weapon" type button that alters the style of compression. This unit can only be edited via the knobs on the face. This compressor is actually a hybrid digital/analog unit. Essentially all the controls are digital but it retains a 100% analog signal path. The only connections found on this unit are mono/stereo 1/4" inputs and outputs and the side chain input. The unit is actually quite small and is rackable. It appears you can actually fit three side by side in a 1U rack space.
The editing of the compressor is very easy and is all done via the 5 knobs and 2 push in buttons. If you are familiar with compression than this unit will be a breeze. If you are not familiar, than this, being how simple it is, would be a great place to start. The interesting parameter here is the "really nice" mode button. According to the manual, this mode actually uses three layers of compression to minimize the artifacts and "harshness" you can get with traditional compression. This mode is especially nice for using the compressor on a whole mix. The compression is very subtle and transparent in this mode and is really quite nice.
The main function I use this unit for is for my synthesizer mixer. I have several hardware synths that all run to a Mackie VLZ3 which mixes my synths down to a stereo channel that than goes to my RME Fireface 800 for my live performance. The music is on the electronica/dance side so I needed some side chain compression. I looked around and this is actually one of the cheapest compressors on the market but everyone was raving about it so I thought I'd give it a try. So it usually sits in between the mixer and the Fireface, but I have been experimenting with it on the whole mix, and I must say this is a way better compressor than I would have imagined. With the "really nice" mode engaged, there is virtually no coloration to the sound and the mix sounds so much tighter. I have used a couple different DBX models in the past, some of which actually cost more than this unit. I would need to do a side by side comparison to be sure, but I feel confident saying that the FMR is significantly better than any of the "Project 1" DBX's and at the same level or better than the 266xl I ran live sound with.
What I like most about this unit is....well everything. Excellent sound quality, it's super small and compact, it offers all the basic controls and side chaining (very important for me) with a ratio up to 25 to 1 db, and finally, it's one of the cheapest compressors on the market. You just can't go wrong. I expected to get a pretty decent sound out of this thing after reading several positive reviews, but I definitely underestimated it. The sound quality is indeed very good. I have used many hardware compressors including Avalon, DBX, Joe Meek, Alesis, and Behringer. This guy is no Avalon, no one would expect that, but it gives the DBX's I have used serious competition and blows the Alesis and Behringers away. I would recommend this to anyone who needs a quality all around compressor and has a small budget. In fact, I would recommend this to anyone who isn't looking to spend more than $800 on a compressor.
The FMR Audio RNC1773 (Really Nice Compressor) is a single channel analog compressor. It has 1/4 inch inputs and outputs in the back and also a 1/4 inch output for a sidechain. It is not rackable, but have seen people putting two of these in a single rack unit.
This compressor is really easy to use, and if you have any experience using a compressor you will be able to figure out how to use this. It has the basic compressor parameters - threshold, ratio, attack, release and gain. It also has a bypass switch, which always comes in handy, and "super nice" button. The manual for this put together well, but it is easy enough to use that I never really needed it.
The sound quality of this unit is by far its best quality, as the compression signal is clean and adds fullness to your sound. I have used this on everything from lead vocals to guitars to drums. I have found it works great in all types of situations and have used it both for tracking and mixing with good results. This will go beyond effectively compressing your signal, as it has its own sound to it.
The FMR Audio RNC1773 has built a reputation for itself as "the best deal in pro audio," because of the high sound quality and because it is about as cheap as you can get when buying a compressor of ANY quality! It is easy to get a good tone from this and the gain reduction metering is convenient and helpful. I love this compressor because of its high sound quality and because I can afford it! To me, this definitley holds up as not only being one of the best deals for a compressor but as being one of the best deals in all of pro audio!
Did you find this review helpful?yesno
Anonymous 's review (This content has been automatically translated from French)"great QPR."
This is a stereo compressor "low budget" with all the standard functions on the front and a "Super Nice" based on the most significant.
The unit therefore has 2 inputs (left and right, the left also used mono input) TRS to carry in the same cable the raw signal to the machine and return the processed signal to the console or elsewhere for insertion, convenient and cable "Y", well done!
If you prefer to use a mono jack, so there are next to each entry dedicated output.
There is also a side-chain input, in order of ...
The device is analog and has a release button (bypass).
The device can be threaded through a Racke in the compressor and to the fixing screw which is provided to the rack.
The shell is aluminum alloy and a steel, well insulated from the manufacturer.
The set is presented very simply and comes with its power supply (9v 500 ma).
The detail that kills? with entries in the system for very inserting when the device is not powered, the audio passes through.
The interface is similar, rotary and buttons are mostly the same functions as the RNLA, so I have taken the view that I filed for that, updated to the RNC.
Please note: no on / off switch on the unit.
Configuration is very simple:
a knob treshold (-40 dBu - +20 dBu), a knob ratio (1: 1-25: 1), another for the attack and then release the knob to finish the output gain (+ or- 15 dB).
Diodes "meter" (Gain Reduction) are highly reactive and very useful.
We also find a front "Super Nice" flanked next to the "bypass" that will soften the compression, I read somewhere that the button was not used to much (I summarize) key: to be packed out such a thing, transients are more widely "respected" with it switched so depending on the material to compress mode, AC can be the difference with other references. To finish and to make dry / processed there is a bypass button, the comparison is still very noisy like the RNLA and this will be the only downside of this Device actually quite awesome.
The manual, in English, is rather simple and funky! the few councils are to follow to discover the device ..
Editing sounds is easy, a knob or button per function all quite readable in terms of screen printing.
The possibilities of this are small compressor (in comparison with his "brother" less discreet) very wide, all of which are still colorful, even if it is much softer than the RNLA.
For my part, I chose to place it on a couple of rather complex rather mild attacks (excluding drum and perceived) to the "bottom" of a LPB2 groups, while the insert. It works incredibly well and allows me not to compress the master. I use the RNLA on another couple of groups this time with the perceived and drum sounds, always in the ass of another LPB2. All sounds so very compact and mastering sound engineer look very happy, because the master remains dry so they burst.
I have not tried everything on the mix, I still do not see much use except in situations of live can be.
A voice that is "quick and dirty" but (I'm voiceover) should not compare to the big gear dedicated, because it has nothing to do, it does certainly not the unit as soft market. However, I gave my last order (pub on tnt) and the customer is more than satisfied, so obviously used in very specific circumstances. But I insisted on his character, certainly softer than the other brand, but say that it is transparent, I certainly would not dare me. I do not think that is transparent compression, otherwise I do not see the point of the tool, appliances compress calmly as I say, but if it means that compress or at least it feels so neutral or transparent, I'm not a certain, I would most certainly they all have each color, and sometimes the color is more pronounced, because it seems rather subjective and personal story of transparency, I have printing.
On laden sound with a very violent attack and well defined user groups acts as a super nice very marked effect on the transient, the name "super nice" rings false in this case, because the blow for my part I find the "transients" more forward with this mode even with a rather soft compression. Super nice mode, you must know what is actually a minimum, especially on groups with diverse sounds, ca can serve highly especially if the mix is loaded with high attack stuff like keyboards / drums / battery. But if you go easy on it and runs well casing, this mode is unstoppable and can easily calm down a track or group without ca not hear too. On isolated (GC, CC ..) on keyboards and sound this compressor works very well, super nice way okay let attacks EP and pianos, so the natural side of the crushed roots sounds less well despite perfect management level differences due to compression.
Well anyway if you like, claps as well and for the RNLA, we can also use in design, especially on the drum sounds ("super nice" is ajar release ultra short, for example attack, then we play with the operation and the threshold ca change from "natural" to "squelch" very convincing), and spend time having fun, which is still the most important, we see not the time passing. Strangely I prefer the digital compression of DP4 for analog snares, but this is probably the preset I made myself works well on the Ensoniq, and I am no more broken head that ca with the RNC, since his place is elsewhere in my set up).
On a low was fun too, beaucuop things work based on other instruments around, and the place of this one in all it is (I found) a much softer kind pedal "mercer box", even though I did not directly comparable I know both devices and know I'll preferer the FMR and the bassist buddy Jacques Stompbox.
Sweet sounds on attacks, it's very nice, ca makes it more accessible every nuance (chorus, flange) with much more natural than ... ... not !!
Like his brother, the envelope slap well, I appreciate the speed of the attack and the responsiveness of the entire envelope, the case is super versatile, the Super Nice touch more compression make sense neutral may, if it is not "understood" also mark the transition, which is definitely a plus in some cases.
Everything is very quiet, so we remain "human" to use, I sometimes met bp hum because of the power supply of some equipment here, food, even if it is not the panacea is "clean".
The RNC is less "colorful" than the RNLA, he can probably be accused of being more transparent, but it's not what I say, except to shorten, they have a similar color and sometimes own (easy to ring the two in the same way, that I first tried) but the red and black is just more "dark" in terms of color, this one more pastel if you push the analogy.
I use it for 2 weeks and have "assimilated" in a few hours, at least in outline. I have and I had some compressors, various types and various segments.
My initial analysis is that I was easier to use without first mode super nice to me to do well because the unit for the super nice mode is actually super nice, look for it not enough to push it in all situations (the guy who insists good). This board is also indicated in the manual, it is seen.
In conclusion, and in view of the price, the unit works great, it will be difficult to recognize or notice in a mix if used knowingly (I did not say "a mix" , right), mode super nice push a little versatility and can actually make the compression more "natural" if you will, but he will have to assimilate the rendering to get the best from the camera. It's clean, versatile and cheap. If we add that it seems robust, we can only emphasize its look, if we really want to be negative!
Would recommend for the budget and / or nomadic, and why not live or studio situation, so much for the snobs who argue the opposite, good for others ..
I will not go on the site characteristics manufacturer is very well done if you are looking for information (videos and sound samples more)
Very good, small, tough, ergonomic, there is not much to throw away. you rules, you play, you and saves you listen .. not simple.
I still remark is that it should not hesitate to go in strong (hard to see) and push a little compression ..
I did not expect that and I did the shy at first, I was afraid that it colors too even see it crushes everything! but it is not really surprising sounds remain faithful even very handsomely compressed (well there's still some surprises but generally it does)
If ever the signal moves a little just switch to "super nice)
Very very transparent, no added breath (if you hear something that is that it was before treatment and then amplified by compression).
I love being able to push the compression far enough without having to try 36 settings so that it is clean!
I'm not a pro processing and compression for 200 € but I do not think you could do better ..