1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 RADIAL PHAZER CLASS-A PHASE ADJUSTER

Part Number: 000244

RADIAL PHAZER CLASS-A PHASE ADJUSTER - Part Number 000244
Phazer Class-A Phase Adjuster Time align two signals for fat rich tones Single dial control gets you there fast Can be used with any instrument Low-pass filter lets you focus the effect The Radial Phazer™ is a line level phase alignment tool that lets you bring two sound sources together so that the fundamentals play in sync. Once in phase, the results are impressive: On electric guitar; you can combine the direct feed of an amp with a room mic to create fat rich tones. On a kick drum, combine the 'attack' sound from a batter head mic with the 'boom' captured by a resonant head mic. On a snare drum, combine the top and bottom mics and on acoustic instruments, combine a close 'spot' mic with a room mic to capture textures like never before. The Phazer is designed from the ground up for optimum sound quality and features 100% discreet class-A circuitry. This results in smooth and natural sounding phase curves which are particularly important in the lower frequency spectrum. 0º to 180º phase adjustment is performed with a single knob making it easy to zone in on the sweet spot. For the more adventurous, a 180º polarity reverse switch accesses the 181º to 360º range and lets you create weird to absurd ‘Phazed’ tonal textures. This is augmented with a variable low-pass filter that lets you focus the effect in the lower frequency spectrum; where phasing is most audible. Built Radial tough for the road, the Phazer is equipped with an innovative book-end design that creates a protective zone around the knobs and switches. Construction is 14-gauge steel with welded internal I-Beam frame that protects the sensitive electronics in even the harshest touring environments. A full bottom no-slip pad provides electrical insulation to eliminate electrical bonding and mechanical isolation to reduce mishap. The Radial Phazer is a creative tool for the studio designed to expand your tonal palette. Live, it delivers great sound fast and may well turn into your best audio soul mate! Phazer Development Messing around with ‘time travel’ is not new… In the dark ages of the 1970's, MXR™'s ground breaking 'Phase 90' effect pedal ignited interest in phasing by way of modulating the phase effect for electric guitar. This inspired Radial’s chief engineer Denis Rozon to start messing with phase circuits in the early 1980s. Fast forward 20 years MXR is re-launched by Dunlop and these ‘vintage’ remakes are once again available to the masses. Radial has taken a different route, targeting not guitar pedals, but audio signal paths. What few realize is that beyond the sweeping phase effect, minute phase adjustments can lead to actually creating more natural sounds. It has to do with physics or more precisely, the physical location of the desired sound source and the various devices used to capture the sound. Sound travels at roughly 1130 feet per second (340 meters per second) while electricity is estimated to travel at 650,000 feet per second (200,000 meters per second) or roughly 600 times faster. This means that if you were to combine the direct feed from a guitar amplifier with a microphone, by the time the amplifier pushes the speaker outwards and the sound travels through air before it enters the mic, it will be minutely delayed with respect to the direct (hard wired) signal. This ‘phase mismatch’ is even more pronounced when two microphones are used on the same instrument. Imagine, for instance, an acoustic guitar with one microphone positioned directly adjacent to the sound hole and a second mic elevated and 10 feet (3 meters) away from the instrument in an effort to capture the natural space and ambiance. Some sound engineers often spend hours moving microphones around the room in an effort to find the sweet spot or the position where phase anomalies will be less pronounced. These phase anomalies create an effect known as comb filtering. This occurs when a sound is combined with a delayed version of itself in a given acoustic space. When the fundamentals and harmonics mix together the frequencies will either combine to amplify each other when in phase or cancel each other out when out of phase, depending on where you place the two microphones relative to each other. Visually, the resulting frequency response curve looks somewhat like a comb, hence the name comb-filter. This usually produces a hollow or unnatural tone. Reality check #1: Comb filtering is an integral part of all sounds. Our ears and brain use phase along with frequency and loudness to localize sound. In fact it is impossible to be in perfect phase at all frequencies as each of the infinite number of frequencies has a different wave length. In other words, if you perfectly time-align 500Hz (wavelength is 2.2 feet long or about 1.5 meter), then 510 Hz will be out of phase because the wavelength is slightly longer. Reality check #2: Since you cannot ever be in perfect phase, don’t stress over it. Use your ears and listen. This is exactly what those finicky engineers do when trying to get a great sound. They listen to the combined sound of the two mics using their ears. It is no different when combining two sounds electronically by adjusting the phase. This is in fact what the Phazer is all about. It is a device that lets you precisely adjust the phase relationship between two sources by delaying one of the sources. Phase adjusting is most often applied to the nearest source so that the fundamental frequencies line up and sound best. A common application is electric guitar. In live touring, the goal during sound check is to get the sound up fast so that the band and crew can go have dinner before the show starts. Taking a direct feed from an amp, using a device like the Radial JDX amplifier DI for example, provides a consistent sound because inconsistencies such as room acoustics or mic placement are eliminated. But since the time when Keith Richards started playing guitar, the venerable Shure SM57 has always enjoyed front row positioning an inch or two away from the speaker. This familiar look and sound is important on many levels. For the guitarist, it provides a safety net whereby he knows his amp sound will be projected through the PA system. For the FOH engineer, the familiar ground makes for a good starting point in capturing the sound for the evening’s event... but potential problems abound. If the microphone moves ever so slightly, either to the side or further from the speaker, the sound will be completely different. So, as a means to circumvent this problem, a direct feed using a device like the Radial JDX is an excellent solution and has become a standard practice for the smart engineer. This solves one problem, but unfortunately creates another. The direct feed from the microphone traveling at two thirds the speed of light will arrive at the mixing console slightly ahead of the slower mic signal. The Phazer solves this problem by allowing the engineer to slow down the direct feed so that both signals sound good together. Within seconds, you can combine two sounds and get better, more consistent results. Designed to be positioned at the mixing board, the Phazer is usually inserted into the signal path using the insert ports on a console. This allows the Phazer to be used on all types of sources: microphones, direct feeds, transducers and so on. It is important to emphasize that the Phazer is a tool designed to spur on the creative process. In this day and age of virtually unlimited tracks, try using the Phazer in creative ways that can produce some fun and unexpected results. If you do not like the effect, mute the track – the point is to have fun, and experiment. Who knows what results you can achieve! Features and Functions The Phazer is intuitive and very easy to use. It is most often connected using insert jacks on a channel of the mixing console, but may also be used in-line from a mic preamplifier or any other line level source. The Radial Phazer is made up of two completely independent circuits: the phase adjustment controls on the left and the low-pass filter controls on the right. These can be used independently or together depending on the desired results. The phase alignment section features three controls: an on-off switch that lets you audition and compare the phasing effect when engaged or when out of circuit, an invert switch that extends the phase range from 0º--180º to 180º--360º and the shift control that is used to control the amount of phase shift that is applied to the signal. Due to the greater energy and longer wavelengths found in bass frequencies, you will hear most of the Phazer’s effects during the first half of the knob’s rotation. In fact, phase changes in upper frequencies are often inaudible. Because of this, we thought that adding a high-cut filter (low pass) would help eliminate some of the phase anomalies and better focus the phase effect where it matters most -- in the bass. The low pass filter also features three controls. Because the filter is completely independent, it can be bypassed using the FILTER on/off switch which allows you to compare the filter effect with the original tone. A cutoff range has been provided that lets you select between 38kHz down to 3kHz range or from the 3.8kHz down to 300Hz range. A smooth 6dB per octave (?) filter is applied which is then controlled via the cut-off knob. Housed in a 14 gauge enclosure, the Phazer features an internal I-beam construction to reduce susceptibility of outside stress that could torque the circuit board and reduce long term performance of the switches and jacks. A protective zone is created with a unique book-end design that keeps switches and jacks out of harms way. Finally, a full bottom no-slip rubberized pad electrically isolates the Phazer and keeps it from sliding around. Phazer Specifications Circuit: Class-A, 100% discrete components Inputs: 1/4" & XLR 10K ohm both balanced Outputs: XLR 600 ohm balanced & 1/4" 1K ohm unbalanced Connectors: XLR female input, XLR male output AES standard pin-1 ground, pin-2 hot, ¼” (TRS - balanced), (TS - unbalanced) Ground Lift: Lifts pin 1 on the XLR output Phase Shift: 0º to 180º degree control - w/Phase Reverse switch on - 180º to 360º Low Pass Filter: Variable from 300Hz to 3KHz and from 3KHz to 30KHz Polarity (electrical): Reverses pins 2 and 3, extends phase shift from 181º to 360º Bypass: True-Bypass with relay Power supply: 15VDC 400mA power supply included Construction: 14 gauge steel chassis and outer shell, baked enamel finish Size: 5.8"w x 3.8"d x 1.8"h (147mm x 96.5mm x 46mm) Weight: 1.75 lb (0.82kg) Warranty: Radial 3-year, transferable NOTE: THIS UNIT SHIPS WITH A 115 VAC 60HZ POWER SUPPLY FOR USE IN NORTH AMERICA AS WELL AS ANY OTHER COUNTRY WITH 115-120 VOLT SERVICE.
Time align two signals for fat rich tones ! 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985

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