SPL's DynaMaxx is a dual channel compressor, limiter, and gate. It's definitely a unique piece of gear, which has actually become pretty standard for SPL. They think outside of the box with all of their gear, which besides the top notch sound quality is probably the main reason I love using their gear. The main unique feature found on the DynaMaxx is the 'de-compression' mode, which actually will do exactly what you'd think it would judging from the name. Basically if you've got something that's already got compression on it, you can reverse this action. While I haven't used this feature very often, it's definitely something that I can see being very useful for mixing engineers who get projects from all over the place. As far as it's connections go, it's got both XLR and 1/4" inputs and output, as well as 1/4" connections for a sidechain as well. It is rack mountable and will take up a single space.
The configuration of the SPL DynaMaxx is pretty easy to understand, although it certainly isn't your typical compressor/limiter. The parameters that each of the two channels have are knobs for compression level, gain level, and noise gate. It then has a series of buttons for unique features like de-compression that I mentioned earlier. It also has a soft limit mode, an effect compression mode, which fixes the release time to 60ms, as well as an active switch for each channel and a stereo couple button in the middle of the two channels. I guess that a manual could be helpful for learning these unique features, but I haven't seen it so I can't speak about it's make up.
Let me start off this section by saying that the SPL DynaMaxx is an extremely versatile piece of equipment. It can give you both a very clean compression sound as well as a variety of other unique sounds. It can really wear a number of different hats, as it's great as both a traditional compressor/limiter and otherwise. I've used it for a variety of instruments, including drums, vocals, and both acoustic and electric guitar. I haven't used the de-compression mode all that much, but this is definitely a feature that will draw mixing engineers to the DynaMaxx. You can color your sound in all sorts of different sounds with the DynaMaxx. I feel that I've really only scrapped the surface with it and I'm hoping to get a bit more experimental with it the next time I get to use it.
I really don't have a bad thing to say about DynaMaxx. It's incredibly versatile and can be used in all sorts of different ways. For the price and considering that you're getting two channels here, the DynaMaxx is really one of the best deals out there in terms of a unique compressor. I'd recommend it for anyone, but especially for those professional engineers looking to think outside the box a bit with their compression.
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stereosound's review (This content has been automatically translated from French)
TYPE OF EFFECT
Compressor-limiter with noise gate (door noise) in dual mono mode or coupled (link) for operation in Stereo.
Dual Analog VCA channel (that is the trick)
Potentiomtres through and push! (Recess)
XLR or jack symtrique 6.35
U RACK 1 / 19 "
<ul> - A pot. rglage of compression ratio (in fact, a threshold rglage)
- A pot. rglage of gain (APRS catch up the comp.
- A pot. rglage the threshold of the Gate
- The rest is done by buttons: limiting or compression / release rapidly fixed (60 ms) or auto (adaptive) compression / decompression and / or bypass treatment </ul>
I understand (and approve) the SPL team brings fresh air into the concepts of audio processing, but the names seem to me not "optimal"
<ul> - SOFT LIMIT to, include: limiting mode (on) or compressor (off)
- For EFFECT COMP., Include: fixed release (on) or auto release (off)
- For DECOMP is simple: decompression / dlimitation (on) or compression / limiting (off) </ul>
I compared with an analog compressor broadband (ALESIS 3630) and a multi-band analog compressor (MIXMASTER FOCUSRITE). It is located halfway between the two:
- Better than a typical home broadband (with fixed rglages)
- A little worse (quite normal) with a multiband rglages semi-auto
I mainly test mode limitation of complex signals: drums (Stereo mix) and mix DEFINITIONS. The calculation of time auto attack and release according to the transient nature of the signals is actually performing trs: respect "subjective" of the signal source is impressive.
I also test mode "D-COMPRESSION" (or D-plutt LIMITATION) on a total mix: this is no miracle, but restores the ARATS and the "movement" a bit "over-limitquot; (type" roller "). Normally, you should never need this feature if you do well, but sometimes as rcupre pieces of someone next, you never know!
EFFECT COMP mode. is nice, but not need to buy this type of machine to do this!
I was not thrilled with the compressor t (or the compression SETTING THE), my preferences are on the treatment "limiter", which keeps the impact of the attacks of origin.
OK for Noise-gate, but nothing spctaculaire this level.
I use it "occasionally" when I feel the need arises.
SPECIFICATIONS unless a wish to impose rglages prcis (Classic Interface compressor), I find that this product is excellent for trs great majority of uses, with regard to the report of simplicitefficacit treatment (very low background intrinsque and more!)
At the level of criticism: LED-display of the meters! There is no sparation "color" between the scale of + and -, and position of the face led the graduation scale is not optimal (for rglages fine and fast). This cot the 3630 does better (it is not the only one!)
Trs quality good value for money. With exprience, it seems mandatory to have at least a one (depending on activity. What surprises me is that I would be THE FIRST person Review this effect (in August 2007 !) Two hypothses:
<ul> - No one achte
- Those who are one, are so happy they want to keep their secret for them