Oram Sonics leads the pack in today's trend toward high-end recording mixers. With many lower priced mixing consoles available, capable of producing very decent results - the time has come to up the stakes in the more elite marketplace - and Oram Audio has done just that.
Oram Sonics Quick Links:
MWS Microphone Work Station | Hi-Def 35 | Hi-Def 4T Memory EQ | Sonicomp 2 | Octasonic Plus | Octa EQ | GP-40 | The Light Series Console | Al Schmitt GMS Pro Channel |
Oram Sonics MWS Microphone Work Station
The Oram MWS, or Microphone Work Station, comprises two channels of top-end Oram mic preamplifiers, combined with a four-band, two filter equaliser, creating an incredible input channel for tailoring any recording source perfectly. With +48V phantom power and a phase reversal switch added, the MWS is flexible enough to act as a standalone stereo input for any recording or reinforcement job.
Oram Sonics Hi-Def 35
In 1999, after 35 years in the pro audio wizardry business, John Oram introduced the Hi-Def 35 limited edition high definition equaliser. Based on and built almost identically to the revered HD EQ-2, the Hi-Def 35 offers the identical circuitry and parameter controls, but lacks the sculpted aluminum front panel, and is calibrated only slightly less stringently than its' big brother (the HD EQ-2 is calibrated to within 0.1 dB, whereas the Hi-Def 35 is calibrated to within 0.4 dB).
The Hi-Def 35 provides two channels of equalisation, each consisting of a low-cut filter, variable from 5 Hz to 300 Hz, a low bell-curve, sweepable from 35 Hz to 500 Hz, a low shelving filter, combinable with the low bell-curve, with adjustable turnover frequency points at 35, 60 and 200 Hz, a low-mid bell-curve, sweepable from 250 Hz to 2500 Hz, a high-mid bell-curve, sweepable from 1 KHz to 9 KHz, a high shelving filter with adjustable turnover points at 3 KHz, 6 KHz and 20 KHz, combinable with the high bell-curve, sweepable from 5 KHz to 18 KHz, and a high-cut filter, sweepable from 80 KHz, down to 1500 Hz. The working frequency response of the unit, as demonstrated by the available parameters, is 5 Hz to 80 KHz.
In all cases, with the exception of the low and high-cut filters, gain is variable from unity to plus or minus 18dB, or, with the use of the 'Detail' switch provided for each band on each channel, the gain range can be restricted to plus or minus 3 dB, still using the full range of the gain knob, allowing for exceptionally subtle contouring of a sound source. A bandwidth control allows the switching of each band of equalisation between a narrow and a wide Q setting, each strategically determined to enhance the musicality of the unit. The equaliser and the cutoff filters can be independently switched in and out of line on each channel, making for easy A/B comparisons, and some true amazement at the quality of the Hi-Def 35's effect on the sound, in the process of doing so.
Above and beyond the exceptionally flexible parametric control offered by the Hi-Def 35, is the uncommonly musical nature of the equaliser, something it has in common with all Oram Sonics products. The Hi-Def 35 is in use by some of the greatest names in music production and sound design today.
Oram Sonics Hi-Def 4T Memory EQ
The first product from John Oram's latest venture, Oram Digital Developments, is the Hi-Def 4T Memory EQ, a digital version of Oram's Hi-Def EQ. The unit features a digitally controlled, pure analog signal path, as well as 105 memory slots for all control-panel functions. The 4T is made in the U.K. and ships with a two-year warranty.
Oram Sonics Sonicomp 2
The Oram Sonicomp 2 is a dual-mono, dual-technology compressor/limiter featuring user-selectable solid-state or optical LDR compression technology, in one unit. The dual-technology feature allows for one device to be able to act as a super-fast limiter, and also as a warm, musical classic compressor, sounding "just like my Urei 1176", according to one pro audio reviewer. The Sonicomp 2 features analogue metering, switchable between VU and Gain Reduction functions, and channel-independent solid-state or LDR technology selection in a 2U steel case. All Oram products carry a two-year warranty.
Oram Sonics Octasonic Plus
The Oram Octasonic Plus is an eight channel preamp unit, providing Oram's best preamp designs in a modular format. As a part of the Octa series of modular mixing components, the Octasonic Plus may be used as a standalone preamp rack, or, it can form the front-end of a modular mixer system, complete with eight faders plus a stereo master, EQ, and an output amplifier. All Oram products carry a two-year warranty.
Oram Sonics Octa EQ
The Octa EQ is eight channels of British EQ, as found in the BEQ Series 24 console. The EQ comprises of 4 bands, 2 swept mid bands, high and low switchable shelves all with +/- 15dB gain, together with variable low cut and the unique Oram Hi-cut filter system. 16 channels of professional EQ. Input trim +/- 20dB with peak light indicator
Oram Sonics Octa EQ Features
- 8 Channels of 4 Band EQ
- Two Sweepable mid band frequencies
- Switchable Hi & Low shelves
- Oram sonics® Hi-Cut circuit
- Variable Low-Cut filter
- Metering of peak levels
- LED indication for EQ in, Split
- Better than 0.005% T.H.D 20Hz to 20kHz
Oram GP-40
Based around the highly-successful Oram BEQ Series 24, the GP-40 is a superbly-crafted, timeless design of a fully-modular, top-line and astonishingly flexible British analogue console, offering classic inline-monitoring configuration, metal knobs, high-end analogue VU meters, and the availability of automatable motorized faders and channel mutes, as well as top-drawer finishing touches like a polished wood body kit, matching producer's sidecar, and a Connolly hide-wrapped wood front armrail. The GP-40 can be ordered in framesizes from 24 to 120 inputs, and can be further customized to suit any application.
Oram Sonics The Light Series Console
Oram Sonics's flagship console, featuring unique and groundbreaking new technology which provides total motorless dynamic digital automation of every parameter (motorized flying faders), on a pure-analogue console, without the use of any VCAs in the circuit paths. All control is accomplished through a MIDI interface. Each channel provides a 70 dB gain mic pre, a four-band Oram EQ, full dynamics controls with a dedicated meter, and full surround pan capabilities. The master section has comprehensive transport controls and a SMPTE display, among numerous unusual features in the field of analogue consoles. The Light has one of the lowest noise floors in the business. An added bonus? Full MMC control surface capabilities are built-in to the console, too.
Oram Sonics Al Schmitt GMS Pro Channel
The Pro-channel™ is Al's dream tracking box - Pure analogue. Switching between three different mics for comparison, Optical Compressor and a 6 band EQ with step-switching for precise re-setting. Contact us for more details
Unique to the Pro-channel is the ability to connect three different microphones and to switch between them for comparison (ABC). A Mic transformer bypass switch and phase. The precision VU meter can be switched to read mic source input, main output, compression input and reduction.
The optical compressor can be switched pre or post the EQ bands. The sound is soft-knee and translucent and features attack, release and ratio.
The EQ comprises 6 bands that can be switched in and out individually. All bands have fine step-controls of 24dB (for accurate setting and recalling), band signal activity and bypass switch.
More Oram Sonics products are available!
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Rock Shop Pro Audio is in no way affiliated with Trident Audio Ltd., or Oram Sonics, Inc.
Rob Dewar, Audio Engineer
Rob's persistence in finding and implementing the most flexible, highest quality combinations of high end audio recording equipment, has resulted in a marriage of finely crafted analogue recording consoles and digital audio editing and processing, into hybrid systems of exceptional sonic quality. Throughout his career, Rob has insisted on the highest quality circuitry available to create an amazingly pristine, clear signal path, from the source instrument, to final copy. Explore this website and learn the differences, the reasons why the right choices in recording equipment produce the best results!
Contact Rob at:
PO Box 20181 Penticton, BC Canada V2A 8K3
Toll Free:1-877-468-0304
Telephone: (250)276-4127
EMAIL ROB
Oram Sonics Corporate Information
Oram Sonics is John Oram's newest venture into producing world-class audio gear for the discenting recording professional.
Oram Sonics Inc.
phone: +44 (0)1474 815300
fax: +44 (0)1474 815400
web: www.oram.co.uk
Quick Oram Sonics Inquiry
Recording Tips Pt. 2
Effects processing continued from Recording Tips Pt. 1
Anything else, and either your program will be brutally hacked off during some inopportune, quiet passage, or you'll never hear any effect from the gate at all, because the program/key will keep it open all the time, rendering it seriously useless to you. However, on a drum, or similar staccato program, the gate can accurately detect the transient of the attack, open to allow the sound through, and can then close reliably during the gaps between shots, effectively removing any leakage from the track. Some additional parameters on many gate units, such as hold and release time controls, and sometimes, attack time, can be used to tailor this effect quite perfectly. Hold time causes the gate to remain open for a settable, short period, after the transient drops below the threshold, allowing our example drum decay to "finish", rather than cutting it off too early. Release time makes the gate close more slowly, so the "tail" of a sound can be faded off, smoothing the end of the sound, instead of chopping it off, or perhaps, fading it well before it would otherwise end naturally. A variable attack time can be used to make a sound fade in slightly, either to dull the attack, or edge, a bit, or to transform the sound into something it wasn't, by changing its' envelope altogether, such as creating a piano with a short fade–in on each note.
Another Caveat: Don't use gates during recording – only in mixdown, or you may accidentally chop off an irretrievable part of a great live performance, and inspire your now very angry recording artists to get medieval on your hiney....
As I've said, this same dynamic controlled operation at threshold methodology is used in, and applies to, the other dynamic devices in this group, too. Compressors, for another example, are used to compress (reduce) dynamic range in a signal, making it sound more consistent in the mix, or punchier, and adding some interesting artifacts, or side effects, in the process. Use a compressor when you find some instrument – a bass, for example – to be too jumpy or inconsistent, getting quieter and louder all the time, and because of that, wrecking the foundation of your mix. Set the threshold control so that the highest peak levels are being squeezed just a bit (say, at –10 dB), and set the ratio (ratio of dB change in level of input to dB change in level of output) to a low–ish amount, like 2:1 to start (two dB gain change in for every one dB gain change you get out), and listen... if it doesn't quite do the trick, lower the threshold a bit more, until the bass stabilizes. Higher ratios give more of a brick–wall effect, and are great for stopping really high transients (this is called limiting, at a ratio of 10:1 and above), but can quickly suck the life out of your tracks, so use them carefully. The meters on the compressor will likely show gain reduction, as well as input level – go for about 6 to 10 dB of reduction, on average, and most bass parts will be good to go. Less is good, if it still works for your needs in the moment. Once again, too, there are other parameters – attack and release, in particular – which will tailor the sound for you. Longer attack times (in milliseconds – very short, like maybe 30 – 50 ms) allow more of the attack of a stick on a snare drum, or the "pick" sound of a strummed acoustic guitar, through the compressor, before compression takes over. Longer release times make the compressor "hold on" a bit, before letting go, so staccato parts don't "pump", or compress and decompress in an ongoing cycle, making the sound "bounce" up and down like a yo–yo.
De–essers use the concept of compression, but the effect is only applied to one part of the sonic spectrum (the "esses", at around 4500 Hz, depending on the person being de–essed), meaning that the compressor can push down the "s" sound, while leaving the remainder of the program unaffected. It does so, by first splitting the audio signal into separate bands (sections) of frequencies, using crossover filters, and then, the compression is applied to each band, or any band, independently, before the audio is mixed back together again at its' output. The name of this type of general device is a multiband compressor. These units can do more than de–essing, because they can be used on any part, or parts, of the audio program, to pump up bass, control mid–range energy, or reduce the impact of proximity effect, among other uses.
Expanders are used to increase dynamic range in a signal, and do so, by actually turning down a signal's level even further, as it decays towards silence. The result, is that it goes through an even wider dynamic range, between its' loudest and quietest points. The effect is like that of a gate, except, where a gate is either open or closed, expanders offer a "grey area", where they can be "partly open", or "partly closed", fading between extremes of level on a proportional scale.
Most multieffect processors offer both classes of effects, in some combination, but most of these units concentrate on time–based effects, in their palette of options. The best dynamic effects are often available in standalone, dedicated hardware units, and offer exceptionally sensitive, subtle and tonally pleasant capabilities, as well as uniquely–implemented circuit designs.
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Trident 4T Celebration Strip
The Trident 4T Celebration Strip John Oram's way of saying 'Thanks' for his forty successful years in the audio design and innovation business. The 4T offers an Oram mic pre with a 5 Hz - 40 kHz bandwidth, with phase inversion and +48V phantom power, combined with a three-band, sweepable mid equaliser, and Oram's famous 'EQ Magic' circuit, plus a high-end solid-state compressor.
Trident S-20
The Trident S-20 is a dual microphone preamp, plain and simple, offering independent gain control over a true 60 dB range, with no pad, +48V phantom power, phase inversion and variable low-cut controls (sweepable from 5 - 200 Hz) for each channel.
Trident S-80 Dual Input Producer's Box
The Trident S-80 Dual Input Producer's Box is a standalone, hand-crafted wood box containing two identical, original channels from the Series 80 console, so famous for its' aggressive, punchy and open sonic character.
Trident S-100 Mixing Console
The Trident S-100 Mixing Console is the ultimate in a small-format flexible mixer. The S-100 provides eight channels with mic and line inputs, separate trim controls for each, a three-band EQ with sweepable low and mid bands, and a high shelving filter, five auxilliary sends, three stereo returns, a headphone output and a six-buss (surround) output.
Trident S-140 Headphone Mixer/Amplifier
The Trident S-140 Headphone Mixer/Amplifier is an eight-by-eight matrixed headphone mixer/amplifier, providing eight inputs, which can be mixed variably to eight separate mixes, which are then routed to two headphone outputs each.
Trident Series 8T Console
The Trident Series 8T Console is a product that Trident has been asked to build for quite some time now.
It features a great mic pre, identical to the one used in the Trident S-20, S-40, 4T Celebration Strip and the Dream Series consoles, offering the same super-low noise and wide bandwidth, with that hint of Oram magic only found in classic Trident designs.
Trident Series 80 5.1 Console
The Trident Series 80 5.1 Console is the classic Trident circuit design, in a fully surround-capable console package. The mic pre and EQ are identical to the original Trident Series 80, faithfully reproduced to give that classic warm, punchy sound. The Series 80 5.1 is available in many input configurations, with all 'aluminium' knobs and the original anodised black panel finish. A custom steel stand, PSU and quality wood finish cladding are included. An optional matched producer's sidecar and custom palladium-contact patchbay are available.
Trident Dream Series
The phenomenal demand for an analogue console to complement digital workstations at the right price prompted the Trident Audio design team to create this latest series of boards, The Trident Dream Series.
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