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Overview The Kalamazoo Model 2 is a small, practice tube amp that featured one 10 inch speaker with a tremolo function. Years of Production: 1965 - 1967.

Overview The Kalamazoo Model 2 is a small, practice tube amp that features one 10 inch speaker with Volume, Tremolo, Tone control and 2 Instrument Inputs. Years of Production: 1965 - 1967.

Overview The Kalamazoo Model 2 is a small, practice tube amp that featured one 10 inch speaker with a tremolo function. Years of Production: 1965 - 1967.

OVERVIEW

1.2 FEATURES The following is a summary of your ACP-88’s features:

• Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once.

• Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates.

• Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied.

• Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.)

• Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc.

• Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors.

• + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1.2 FEATURES The following is a summary of your ACP-88’s features:

• Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates. Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once.

• Comprehensive Channel Linking. Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates.

• Separate Bypass and Gain for Every Channel. Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied.

• Compressor Sidechain Jack on Every Channel.
Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.)

• Separate Gate Sidechain/keying Jacks for Each Channel.
Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc.

• Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors.

• + 4dBu or – 10dBV.
The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1.2 FEATURES The following is a summary of your ACP-88’s features:

• Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once. • Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates. • Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied. • Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.) • Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc. • Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors. • + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1.2 FEATURES The following is a summary of your ACP-88’s features:

• Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once.

• Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates.

• Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied.

• Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.)

• Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc.

• Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors.

• + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1.2 FEATURES The following is a summary of your ACP-88’s features: • Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once. • Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates. • Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied. • Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.) • Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc. • Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors. • + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1.2 FEATURES The following is a summary of your ACP-88’s features:

• Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once. • Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates. • Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied. • Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.) • Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc. • Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors. • + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1. 2 FEATURES The following is a summary of your ACP-88’s features: • Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once. • Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates. • Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied. • Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.) • Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc. • Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors. • + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1.2 FEATURES The following is a summary of your ACP-88’s features: • Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once. • Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates. • Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied. • Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.) • Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc. • Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors. • + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

OVERVIEW

1. 2 FEATURES The following is a summary of your ACP-88’s features: • Eight Compressors/Limiters. Each channel of your ACP-88 contains an audio Compressor that can also be setup as a Limiter by varying the ratio of compression. You have broad control over Threshold, Ratio, Attack and Release for each processor. You can select between Auto or Manual Attack and Release curves and Hard or Soft Knee compression types (refer to the application section of this manual for a quick tutorial on compression/limiting). The Compressor will prove to be very useful in many situations such as recording instruments or vocals that vary in loudness, or setting it up as a limiting device before your digital recorder to prevent distorting your digital recorder’s inputs. Live sound system processing is another great application where your ACP-88 can really take control.

• Eight Dynamic Noise Gates Each channel of your ACP-88 has a separate dynamic noise gate that can be used to Gate an entire drum kit, clean up a noisy tape machine, isolate an instrument or separate a vocal from background noise. Each noise Gate provides control over Attack, Threshold, Release and Gate close Range. The Gate close range can be useful in creating a more natural sounding blend or mix when gating many instruments at once. • Comprehensive Channel Linking Using the Link function allows you to combine any combination of ACP-88 channels effectively forming a subgroup. When linked, all processors follow the setting of the Master processor which is always the processor furthest to the Left in a Link group. For example, you could Link together channels 7 and 8 to form a Stereo pair, channels 3, 4 and 5 to form a subgroup of processors, while channels 1, 2 and 6 remain available for independent applications such as compression, limiting, or gating as the situation dictates. • Separate Bypass and Gain for Every Channel Each Channel has a separate Bypass for auditioning a signal ‘before and after’ processing with the compressor, limiter, or the Gate and a Gain control to make up any loss in signal level resulting from the amount of compression being applied. • Compressor Sidechain Jack on Every Channel Each channel of your ACP-88 was designed with a special jack for spectral processing, compression keying and ducking applications. Sidechaining is useful for removing annoying sibilance from vocal tracks (de-essing) or automatically ducking tracks behind a narrator for ‘auto mixing” a service, broadcast or performance. When multiple channels are Linked together, the Send of the Sidechain jack of the Master channel contains a mix of all the channels in the Link: a very cool feature allowing control over multiple channels of processing with one Sidechain send/return. (See the section on Sidechaining for application notes.) • Separate Gate Sidechain/keying Jacks for Each Channel Your ACP-88 also includes a separate jack on each channel for Gate sidechain/Keying. This is useful for synching an external sound to a snare track, for example, or putting equalizers or filters before the Gate key to enable Gating only the lower frequency of a kick drum, etc. • Balanced/Unbalanced Inputs and Outputs. Your ACP-88 accepts either balanced or unbalanced inputs and outputs using tip-ring- sleeve (TRS) connectors. • + 4dBu or – 10dBV The internal operating level of your ACP-88 can be switched between +4dBu (pro levels) to –10dBV (line levels), making it possible to use in any situation.

Ultimate Wah-Wah Pedal with Optical Control

The HELL-BABE HB01 is unlike any wah you’ve ever stepped on, offering a tremendous array of tone-sculpting options. You get everything from “old-school” wah to the most up-to-date sounds, all in one mesmerizing effects pedal. Add to that optical control that does away with noisy pots, an adjustable spring mechanism and tunable boost, and this babe’s a contender! The HELL-BABE will add new dimension and depth to your artistic expression.

What’s So Great About the HELL-BABE?

First of all, the HB01’s heel-down Range control provides low frequency adjustment that can be swept from 440 Hz down to 250 Hz, making the HB0 the ideal companion for either guitar or bass. For custom-tailoring the toe-down frequency range, the HELL-BABE features a Fine control, allowing you to adjust the frequency sweep as high as 2.2 kHz.

Volume Boost

You can even dial in a powerful volume Boost (up to +15 dB), so that when you do step on the HB01, your guitar will rise to the top of the mix. A highly versatile Q control is provided for precise filter shaping and for achieving vocal-like effects.

Ultimate Wah-Wah Pedal with Optical Control

The HELL-BABE HB01 is unlike any wah you’ve ever stepped on, offering a tremendous array of tone-sculpting options. You get everything from “old-school” wah to the most up-to-date sounds, all in one mesmerizing effects pedal. Add to that optical control that does away with noisy pots, an adjustable spring mechanism and tunable boost, and this babe’s a contender! The HELL-BABE will add new dimension and depth to your artistic expression.

What’s So Great About the HELL-BABE?

First of all, the HB01’s heel-down Range control provides low frequency adjustment that can be swept from 440 Hz down to 250 Hz, making the HB01 the ideal companion for either guitar or bass. For custom-tailoring the toe-down frequency range, the HELL-BABE features a Fine control, allowing you to adjust the frequency sweep as high as 2.2 kHz.

Volume Boost

You can even dial in a powerful volume Boost (up to +15 dB), so that when you do step on the HB01, your guitar will rise to the top of the mix. A highly versatile Q control is provided for precise filter shaping and for achieving vocal-like effects.

Ultimate Wah-Wah Pedal with Optical Control

The HELL-BABE HB0 is unlike any wah you’ve ever stepped on, offering a tremendous array of tone-sculpting options. You get everything from “old-school” wah to the most up-to-date sounds, all in one mesmerizing effects pedal. Add to that optical control that does away with noisy pots, an adjustable spring mechanism and tunable boost, and this babe’s a contender! The HELL-BABE will add new dimension and depth to your artistic expression.

What’s So Great About the HELL-BABE?

First of all, the HB01’s heel-down Range control provides low frequency adjustment that can be swept from 440 Hz down to 250 Hz, making the HB0 the ideal companion for either guitar or bass. For custom-tailoring the toe-down frequency range, the HELL-BABE features a Fine control, allowing you to adjust the frequency sweep as high as 2.2 kHz.

Volume Boost

You can even dial in a powerful volume Boost (up to +15 dB), so that when you do step on the HB01, your guitar will rise to the top of the mix. A highly versatile Q control is provided for precise filter shaping and for achieving vocal-like effects.

Ultimate Wah-Wah Pedal with Optical Control

The HELL-BABE HB01 is unlike any wah you’ve ever stepped on, offering a tremendous array of tone-sculpting options. You get everything from “old-school” wah to the most up-to-date sounds, all in one mesmerizing effects pedal. Add to that optical control that does away with noisy pots, an adjustable spring mechanism and tunable boost, and this babe’s a contender! The HELL-BABE will add new dimension and depth to your artistic expression.

What’s So Great About the HELL-BABE?

First of all, the HB01’s heel-down Range control provides low frequency adjustment that can be swept from 440 Hz down to 250 Hz, making the HB0 the ideal companion for either guitar or bass. For custom-tailoring the toe-down frequency range, the HELL-BABE features a Fine control, allowing you to adjust the frequency sweep as high as 2.2 kHz.

Volume Boost

You can even dial in a powerful volume Boost (up to +15 dB), so that when you do step on the HB01, your guitar will rise to the top of the mix. A highly versatile Q control is provided for precise filter shaping and for achieving vocal-like effects.

Ultimate Wah-Wah Pedal with Optical Control

The HELL-BABE HB01 is unlike any wah you’ve ever stepped on, offering a tremendous array of tone-sculpting options. You get everything from “old-school” wah to the most up-to-date sounds, all in one mesmerizing effects pedal. Add to that optical control that does away with noisy pots, an adjustable spring mechanism and tunable boost, and this babe’s a contender! The HELL-BABE will add new dimension and depth to your artistic expression.

What’s So Great About the HELL-BABE?

First of all, the HB01’s heel-down Range control provides low frequency adjustment that can be swept from 440 Hz down to 250 Hz, making the HB01 the ideal companion for either guitar or bass. For custom-tailoring the toe-down frequency range, the HELL-BABE features a Fine control, allowing you to adjust the frequency sweep as high as 2.2 kHz.

Volume Boost

You can even dial in a powerful volume Boost (up to +15 dB), so that when you do step on the HB01, your guitar will rise to the top of the mix. A highly versatile Q control is provided for precise filter shaping and for achieving vocal-like effects.

Ultimate Wah-Wah Pedal with Optical Control

The HELL-BABE HB0 is unlike any wah you’ve ever stepped on, offering a tremendous array of tone-sculpting options. You get everything from “old-school” wah to the most up-to-date sounds, all in one mesmerizing effects pedal. Add to that optical control that does away with noisy pots, an adjustable spring mechanism and tunable boost, and this babe’s a contender! The HELL-BABE will add new dimension and depth to your artistic expression.

What’s So Great About the HELL-BABE?

First of all, the HB01’s heel-down Range control provides low frequency adjustment that can be swept from 440 Hz down to 250 Hz, making the HB0 the ideal companion for either guitar or bass. For custom-tailoring the toe-down frequency range, the HELL-BABE features a Fine control, allowing you to adjust the frequency sweep as high as 2.2 kHz.

Volume Boost

You can even dial in a powerful volume Boost (up to +15 dB), so that when you do step on the HB01, your guitar will rise to the top of the mix. A highly versatile Q control is provided for precise filter shaping and for achieving vocal-like effects.

Roland System 590 572 Modular PHASESHIFTER/DELAY/LFO

Roland System 500 572 Modular PHASESHIFTER/DELAY/LFO

EMW VC Pan Voltage Controlled Panning Module.

Roland System 590 572 Modular PHASESHIFTER/DELAY/LFO

SEQUENTIAL CIRCUITS SIX-TRAK PROGRAMMER

For Use With the Commodore 64 computer and Disc Drive.

MODEL 91O This software package expands your Six-Trak into an even more powerful musical instrument. The Model 910 is composed of three main sections, each designed to let you get the most from your Six-Trak.

First, there's Sequential's exciting Super Patch ™ mode. This unique feature lets you split your Six-Trak keyboard into three separate sections and assign different instrument sounds to each!

The Six-Trak Programmer portion of this software lets you display a full synthesizer front panel on your monitor. You can instantly see and program all of the knob and switch values of your patches. And there's more! The Multi-Timbred Sequencer portion of this software lets you create songs over 3400 notes in length, using up to six instrument sounds at one time.

For your convenience, all program functions are controlled directly from your Six-Trak by using the pitch and mod wheels along with a footswitch available from your Authorized Sequential Dealer. It's easy!

SEQUENTIAL CIRCUITS SIX-TRAK PROGRAMMER

For Use With the Commodore 64 computer and Disc Drive.

MODEL 91O This software package expands your Six-Trak into an even more powerful musical instrument. The Model 910 is composed of three main sections, each designed to let you get the most from your Six-Trak.

First, there's Sequential's exciting Super Patch ™ mode. This unique feature lets you split your Six-Trak keyboard into three separate sections and assign different instrument sounds to each!

The Six-Trak Programmer portion of this software lets you display a full synthesizer front panel on your monitor. You can instantly see and program all of the knob and switch values of your patches. And there's more! The Multi-Timbred Sequencer portion of this software lets you create songs over 3400 notes in length, using up to six instrument sounds at one time.

For your convenience, all program functions are controlled directly from your Six-Trak by using the pitch and mod wheels along with a footswitch available from your Authorized Sequential Dealer. It's easy!

SEQUENTIAL CIRCUITS SIX-TRAK PROGRAMMER

For Use With the Commodore 64 and Disc Drive.

MODEL 91O This software package expands your Six-Trak into an even more powerful musical instrument. The Model 910 is composed of three main sections, each designed to let you get the most from your Six-Trak.

First, there's Sequential's exciting Super Patch ™ mode. This unique feature lets you split your Six-Trak keyboard into three separate sections and assign different instrument sounds to each!

The Six-Trak Programmer portion of this software lets you display a full synthesizer front panel on your monitor. You can instantly see and program all of the knob and switch values of your patches. And there's more! The Multi-Timbred Sequencer portion of this software lets you create songs over 3400 notes in length, using up to six instrument sounds at one time.

For your convenience, all program functions are controlled directly from your Six-Trak by using the pitch and mod wheels along with a footswitch available from your Authorized Sequential Dealer. It's easy!

SEQUENTIAL CIRCUITS SIX-TRAK PROGRAMMER

For Use With the Commodore 64 computer and Disc Drive.

MODEL 91O This software package expands your Six-Trak into an even more powerful musical instrument. The Model 910 is composed of three main sections, each designed to let you get the most from your Six-Trak.

First, there's Sequential's exciting Super Patch ™ mode. This unique feature lets you split your Six-Trak keyboard into three separate sections and assign different instrument sounds to each!

The Six-Trak Programmer portion of this software lets you display a full synthesizer front panel on your monitor. You can instantly see and program all of the knob and switch values of your patches. And there's more! The Multi-Timbred Sequencer portion of this software lets you create songs over 3400 notes in length, using up to six instrument sounds at one time.

For your convenience, all program functions are controlled directly from your Six-Trak by using the pitch and mod wheels along with a footswitch available from your Authorized Sequential Dealer. It's easy!

For Use With the Commodore 64 and Disc Driv MODEL 91O This software package expands your Six-Trak into an even more powerful musical instrument. The Model 910 is composed of three main sections, each designed to let you get the most from your Six-Trak. First, there's Sequential's exciting Super Patch ™ mode. This unique feature lets you split your Six-Trak keyboard into three separate sections and assign different instrument sounds to each! The Six-Trak Programmer portion of this software lets you display a full synthesizer front panel on your monitor. You can instantly see and program all of the knob and switch values of your patches. And there's more! The Multi-Timbred Sequencer portion of this software lets you create songs over 3400 notes in length, using up to six instrument sounds at one time. For your convenience, all program functions are controlled directly from your Trak by using the pitch and mod wheels along with a footswitch available from your Authorized Sequential Dealer. It's easy! Six-

SEQUENTIAL CIRCUITS SIX-TRAK PROGRAMMER

For Use With the Commodore 64 and Disc Drive.

MODEL 91O This software package expands your Six-Trak into an even more powerful musical instrument. The Model 910 is composed of three main sections, each designed to let you get the most from your Six-Trak.

First, there's Sequential's exciting Super Patch ™ mode. This unique feature lets you split your Six-Trak keyboard into three separate sections and assign different instrument sounds to each!

The Six-Trak Programmer portion of this software lets you display a full synthesizer front panel on your monitor. You can instantly see and program all of the knob and switch values of your patches. And there's more! The Multi-Timbred Sequencer portion of this software lets you create songs over 3400 notes in length, using up to six instrument sounds at one time.

For your convenience, all program functions are controlled directly from your Six-Trak by using the pitch and mod wheels along with a footswitch available from your Authorized Sequential Dealer. It's easy!

For Use With the Commodore 64 and Disc Driv MODEL 91O This software package expands your Six-Trak into an even more powerful musical instrument. The Model 910 is composed of three main sections, each designed to let you get the most from your Six-Trak. First, there's Sequential's exciting Super Patch ™ mode. This unique feature lets you split your Six-Trak keyboard into three separate sections and assign different instrument sounds to each! The Six-Trak Programmer portion of this software lets you display a full synthesizer front panel on your monitor. You can instantly see and program all of the knob and switch values of your patches. And there's more! The Multi-Timbred Sequencer portion of this software lets you create songs over 3400 notes in length, using up to six instrument sounds at one time. For your convenience, all program functions are controlled directly from your Trak by using the pitch and mod wheels along with a footswitch available from your Authorized Sequential Dealer. It's easy! Six-