FMR Audio Really Nice Compressor 1773

Not too difficult, but like all compressors, it needs some dialing in of course.

Great, especially supernice mode. There is however a digital noise that *can* be heard. People here tell that this is impossible, because the signal path is all analog. It seems these people have never heard of electromagnetic radiation. The thing is the following: at very low input levels, you can heat it 'switch'. The sound is reproducable and does not depend on release, ratio or attack settings. It does depend on input level (should be really low, under -30dB to hear the noise) and gain (should be quite high, above +4dB). I wrote to FMR audio about it with detailed settings, instrument used, description of noise and the reply was...none. They must know about it. It is however, not really an artifact, because the RNC wasn't designed to handle such low levels. Make sure the input level is such that you don't need to go below -20dB and you'll never hear it. The effect is caused by the digital switching in the analog compressor levels and you literally hear the switching in several small steps.
Otherwise, the sound quality of a properly fed signal is very good indeed. Save for a little loss of high-end, it is almost inaudible in coloration, only in the envelope of the amplitude...

Sure looks reliable

As i told you- no reply to an otherwise detailed mail. Of course: they can't deny it and on the other hand if they confirm it, the hype may weaken...

I am really happy with!

If have any clue how compression works its a no brainer. The digital controls are very precise. No manual so to speak, just a quick-start guide of a few pages. I had my vocals dialed in within 5 minutes of receiving it. Used it at a gig the next day. To make it easier to use one would have to dumb it down. It has all the controls you need.

Tansparent. Used it on live vocals. Very quiet with no noticable added noise. I cranked up the PA just to see if it added any hiss. . . heard none. A couple of people have posted here about digital artifacts but they seem to have their head up their amp because it's an ALL ANALOG SIGNAL PATH thus digital artifacts are impossible! I'm somewhat of a tube snob with amps and preamps but a tube always colors the sound somewhat and I certainly don't want that in a compressor.

I could gig without a backup because its loss is not a showstopper. Seems solid enough. The metal box could support a man's weight with no problem. It could certainly take a knock better than any tube based compressor.

Never dealt with them.

I'd replace it if it was lost. My only gripe is that it has unbalanced in/outputs. I don't like hanging a big XLR/phone adapter from the jacks. An on/off switch might be nice too but I suppose the simpler it is the fewer thing could go wrong with it. For the money though it is a great value.

Easy!

This thing doesn't color the sound, as noted several times below, so it can be used on lots of things. Don't pass it up because it doesn't brick-wall limit. It appears not very many people know what radio stations do to program material. If you wish to achieve greater loudness, the worst thing you can do is to squash the dynamic range of your recordings: radio station processors will see your recording as one big long peak and will drive down the volume -- the very opposite of what you want to happen -- and will distort it in the bargain. Do yourself a huge favor and go here: http://www.masterdigital.com/24bit/radioprocess.html Today's record industry people and artists want CD's to "sound like they do on the radio." That's because the radio stations slam the signal to the wall and brick it to achieve a louder sound. If you try to preempt this process, you're in huge trouble. Besides, music is meant to be dynamic. If it's all one level, it fatigues the ears and the life goes out of it. I use my RNC in the production of radio commercials, and I use the Super Nice mode on everything. I also use very nice front end gear plus the secret black box made by Sound Performance Labs, the Vitalizer. Spike Lee ran Denzel Washington's voice through this machine in The Autobiography of Malcolm X to give it greater transparency and character. I like life in music and ads, not squash.

No problems.

Mark is a true pro.

Very good for my use. I speak for the sound only. It's great that it's inexpensive, but nothing is a bargain if one doesn't like it.

Know how to use a compressor ? Then you know how to use this

I used this thing in a friend of mine's studio on vocals,drum over heads, and as a stereo bus compressor. The price/performance ratio on this thing is absolutely STUPID!!!! When used as a vocal comp. I had to tweek it the most but soon found a setting where it rode the vocal evenly and consistently whithout drawing any attention to itself. On drum overheads I mashed them whith 6 to 8 db of solid compression and all it did was suck a little more of the room in while at the same time giving me a more balanced image of the kit. On the stereo bus I used the super nice mode and instantly wanted to kill the guy who made this thing as it worked on the mix as transparently as my Manley Variable Mu albiet without the Manley's euphonic coloration. This alone is worth the price of admition, when you factor in the fact that it dosn't sound bad on anything, well lets just say that there are 4 of these units out there whith my name on them.In response to the people who had problems with material that had heavy bass content all you have to do is back up on the release or just use the super nice mode and all will be well.Remember,compression is your friend but if you don't know what you are doing it can bite you on the ass!!!

Don't own one so I don't know but I spoke to the guy who makes it and he seemed nice enough.

Don't know

In my studio I do mostly Pop and Rock music whith the ocasional Jazz band and I have a pretty large collection of outboard that includes stuff from Manley , Empirical labs(Distressors), Presonus and SPL electronics and I'd be only too happy to have a bunch of these in my rack.

Well laid out, nice small footprint for desktop users. Unbalanced I/O only. Must use excessive attack/release times compared to other brands to get a relatively undistorted sound.

Has true bypass which is a great feature. Overall sonics very good at slower attack/release times. Noticably distorts on any material in hard-knee mode when attack and release are set 12 o'clock or less, whereas other brands are clean with same ms settings/material. Super-nice mode is good. If you need relatively fast attack/release, compare before you buy IMO. Low noise levels indicate decent quality internal components.

Seems reliable enough, metal case, but kind of flimsy knobs/pots. Should probably be protected for gig use.

Unresponsive.

They make some outrageous claims on their website about it's superior sound quality. However, it's only a good buy for the price if you don't need relatively fast attack/release IMO. It does some things well, but others not so well, it's priced about right for what you get.

Easy to get a good sound. I had previously used only software for compression. The manual is minimal, but not really necessary. It gives some basic starting points.

Great sound! I use it mostly for acoustic recordings where smoothness and body without coloration or audible dynamic limiting is desired. A children's choir concert recorded live with SuperNice Mode sounded superb.

So far no problems.

No problems with the hardware, but they've always answered phones or responded to e-mail if I had a question.

I play classical, folk, quasi-jazz, anything I'm paid to do - a lot of studio work. For recording, I do personal projects or help friends out. I also do a lot of recording for community arts organizations. FMR products are small [portable], high quality, and affordable. I certainly didn't find out about them from a full page glossy magazine ad! I would buy another in a second and recommend FMR to anyone desires extremely high quality at a reasonable price.

Simple as compressors get. Standard set of compressor controls, threshold, ratio, attack, release, and make-up. No surprises, which is good IMHO.
Manual is unnecessary to operate RNC, though the manual does give good information about the difference between Super Nice mode and Regular mode that would otherwise be operator guess-work.

Transparent. No thermal noise. No hi-freq squash, as in similarly priced compressors. In regular mode, it's just plain, simple, phat (or not), great sounding compression. With some compressors (dBx 160A and 160X for example, which I love for certain apps), you know that you will get a colored sound, a sound that belongs solely to the compressor you are using. With RNC in regular mode, there is no color, rather, a compressed version of the audio source you are working with. It's hard to describe, because I've used mostly dBx products (266- hate, 160A and X- love, 166- indifferent, 1066- ok with "contour" switch engaged, and 165- wish I owned a rack-full...), LA-2A, and 1176LN- each of these has a specific app that I'd choose it for. The RNC doesn't color, so is a good choice for anything, and for the price, it can't be beat. Truly a great compressor for project studios on tight budgets.

(The RNC is not in league comparison-wise with the LA-2A or 1176, by the way, I just mentioned those units as comparators in the "does this unit have its own sound" category.)

100% dependable in a studio. Buy the rack kit, (Funklogic NCC-1701), and if you have a chance, buy from Mercenary Audio. I had a most excellent experience dealing with them.
So long as the RNC lives in a rack, I'm not worried about its reliability. However, I would not trust it on the road outside of a rack.

Never dealt with the manufacturer. The dealer (Mercenary Audio, previously mentioned) was a joy.

The wall wart is not good, though I appreciate the fact that more internal real estate can be dedicated to noise-free audio processing. Since mine is in a studio rack, it's not that big of a deal.
The I/O is actually cool, to me, since I use it with a Mackie 1402 and a Presonus MP20, both of which have unbalanced inserts (adhering to the "tip out, ring in" protocol). The ability to hook up a single TRS->TRS cable from an insert jack on the equipment side to the input/output of the RNC is something all unbalanced gear should be able to do.
All in all, a solid unit. Bought one, liked it enough, bought the second.

If you'd like, you can listen to the RNC over the vocal parts of the "Water Song", at this link (vocals were recorded with AT4040, Mackie mic pre, RNC over the insert, and output to Aardvark LX6):
http://www.sonicgarden.com/artists/john_lochner

I need to start by stating that I use this as a guitar effect and not as a recording effect (yet). I wanted a compressor to even out my right hand technique on my lap steel guitar. With that in mind, the threshold is set for maximum sensitivity. The other knobs work pretty well all at 2. Ratio @ 2:1 Attack @ 2msec Release @ 2.0 sec but the gain is set at +10dB. It?s much more difficult to use than the MXR dyna-comp for example.

So much better than a guitar pedal type compressor. I was going to use it full time so a switch was unnecessary. I get a considerably more even sound and more sustain with the RNC before my tube driver, blue box, and phase-90.

I?m afraid I?ll damage the knobs if stomped on. Then it?s not really designed for the floor either. I only wish the knobs were stepped so returning to settings would be quicker.

N/A

Great sound for my application. I wonder if things would work better (wouldn?t need to set threshold at ?40dB) if used in an effects loop from some more modern amps. Someday I may even record with it.

Ever used a compressor before? Then you know all you need to know to operate the RNC

Beautiful sound, with very little noise. I tore out the other low end compressors in my studio (focusrite, behringer and dbx) leaving only my two RNC's and for the first time in years there was SILENCE. I immediately ordered two more.

Only used in studio situations - no problems

Wonderful product. Takes care of its business and lets you go about yours - making music! Can't recommend it highly enough

If you can't figure this one out, stop misusing compression!

Very clean. Behaviorally very similar to older FET limiters. Not that it SOUNDS like an 1176, but it's fast enough to react like one. Actually, I was able to get snare sounds similar to my Neve 3310 limiters out of this box. The super-nice mode is great and very transparent. And for the money... COME ON!!!

No problems yet.

Haven't had to deal with them.

Love it! For the money, only the ART VLA is my preference for certain things. (A studio with both can cover LOTS of ground for relatively little cash.) Wish list would include a full rack space housing for power supply (without wall-wart) and both unbalanced AND balanced I/Os.