The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
Louder Than Liftoff Chroma. The only 500 series module you’ll ever need.
Old 19th August 2018
  #91
Gear Head
Brad is the Super filter similar to the DIYRE 15IPS color module? How hard can it be driven in comparison.
Old 24th August 2018
  #92
Gear Addict
 

Quote:
Originally Posted by MUZIKSLUT View Post
Brad is the Super filter similar to the DIYRE 15IPS color module? How hard can it be driven in comparison.
I just popped in my Super Filter a few minutes ago and it sounds nice. I could not drive it very hard at all without clipping, but with some adjustments to gain staging, it could improve. This was a quick test. You can definitely hear that res bump when set to 23 (only setting I tried). Sounds amazing on a mix with prominent bass.

The saturation is subtle, but there. It’s not like the RND 542 that jumps up and down saying look at me. I’m going to change my module order and try to dial down the input further to see how much more C-DRV I can add.
Old 24th August 2018
  #93
Gear Head
Quote:
Originally Posted by Disco1Disco2 View Post
I just popped in my Super Filter a few minutes ago and it sounds nice. I could not drive it very hard at all without clipping, but with some adjustments to gain staging, it could improve. This was a quick test. You can definitely hear that res bump when set to 23 (only setting I tried). Sounds amazing on a mix with prominent bass.

The saturation is subtle, but there. It’s not like the RND 542 that jumps up and down saying look at me. I’m going to change my module order and try to dial down the input further to see how much more C-DRV I can add.
Where did you have the Super filter in the Palette chain?
Also you're supposed to be able to drive the Super Filter without ever clipping the AD, assuming its last in chain.
Old 24th August 2018
  #94
Gear Addict
 

Quote:
Originally Posted by MUZIKSLUT View Post
Where did you have the Super filter in the Palette chain?
Also you're supposed to be able to drive the Super Filter without ever clipping the AD, assuming its last in chain.
It wasn't the AD clipping, it was within the Chroma. I couldn't take the C-DRV much past unity. If I put my other Chroma in front of this one I could back off the output for more breathing room. Not tonight, though .
Old 24th August 2018
  #95
Gear Head
Quote:
Originally Posted by Disco1Disco2 View Post
It wasn't the AD clipping, it was within the Chroma. I couldn't take the C-DRV much past unity. If I put my other Chroma in front of this one I could back off the output for more breathing room. Not tonight, though .
Thanks! Helpful info.
Old 24th August 2018
  #96
Gear Addict
 

Quote:
Originally Posted by MUZIKSLUT View Post
Thanks! Helpful info.
I will say, though, that even with just brief testing, I can conclude it is a nice sound. At $70, it's a no-brainer.
Old 10th October 2018
  #97
Gear Maniac
 
Secret80sMan's Avatar
 

What up people, so....I just tried out the Implode module on my Chroma and holy crap what a great sound. Using my Neumann TLM103 slightly off axis using the N setting, C-DRV at 10'oclock C-MIX at full tilt, LF engaged (sub setting) what a great sound!

Brad, thanks for getting me squared away and pointing out that I had the boost/normal jumper on the Chroma in the wrong place for Implode (it should be on boost!)

Last edited by Secret80sMan; 10th October 2018 at 12:35 PM.. Reason: Clarity
Old 10th October 2018
  #98
Quote:
Originally Posted by Secret80sMan View Post
What up people, so....I just tried out the Implode module on my Chroma and holy crap what a great sound. Using my Neumann TLM103 slightly off axis using the N setting, C-DRV at 10'oclock C-MIX at full tilt, LF engaged (sub setting) what a great sound!

Brad, thanks for getting me squared away and pointing out that I had the boost/normal jumper in the wrong place for Implode (it should be on boost!)
I love Implode. But if you want to drive it, it doesn’t work so well in the MKII Palette with its 1:1 gain/trim ratio. It’s definitely nice to have boost mode, so you’re not trimming the output.
Old 10th October 2018
  #99
Gear Guru
 
drBill's Avatar
Yeah, I've been playing a bit more with Implode over the last few days. Pretty sweet.
Old 10th October 2018
  #100
Gear Maniac
 
Secret80sMan's Avatar
 

Quote:
Originally Posted by chinesewhiteman View Post
I love Implode. But if you want to drive it, it doesn’t work so well in the MKII Palette with its 1:1 gain/trim ratio. It’s definitely nice to have boost mode, so you’re not trimming the output.
If you have the boost/normal jumper in the normal position on Chroma the C-MIX knob was simply turning down the audio the more clockwise the knob was turned. Swapping it to boost fixed the problem.

Even with very little compression there is some nice added body to the tone that I am really digging. I’ve got mine set up stock the way Brad shipped it to me with the trusty Dr. Pepper setting.
Old 10th October 2018
  #101
Lives for gear
 
Patrick_'s Avatar
Implode is BEAUTIFUL!!!!!!
Old 11th October 2018
  #102
Lives for gear
 
BradM's Avatar
Quote:
Originally Posted by Disco1Disco2 View Post
It wasn't the AD clipping, it was within the Chroma. I couldn't take the C-DRV much past unity. If I put my other Chroma in front of this one I could back off the output for more breathing room. Not tonight, though .
Hi,

If you are running a line level signal into Chroma keep in mind that GAIN and C-DRV will be interactive. If you push the GAIN hard then you will have less headroom going into the Colour Drive circuit. I do give you the ability to attenuate 6 dB on that knob but that may not be enough if you are trying to nail the A or N Mojo Amp ahead of it. The saturation threshold of Super Filter is similar to where one might start getting the magic out of a tape deck, which is to say it’s not at -2 dBFS. So gain stage thoughtfully. The Output attenuator on Chroma is at the very end of the signal path.

Regarding 15ips - I don’t have experience with that module so I can’t comment. Super Filter is meant to be it’s own thing. I’d wager you’d probably get a more tape-like vibe out of SF due to the design of the resonant HPF at 23 Hz.

Glad you guys are loving Implode.

thanks,
Brad
Old 11th October 2018
  #103
Gear Maniac
 
Secret80sMan's Avatar
 

Quote:
Originally Posted by BradM View Post
Hi,

If you are running a line level signal into Chroma keep in mind that GAIN and C-DRV will be interactive. If you push the GAIN hard then you will have less headroom going into the Colour Drive circuit. I do give you the ability to attenuate 6 dB on that knob but that may not be enough if you are trying to nail the A or N Mojo Amp ahead of it. The saturation threshold of Super Filter is similar to where one might start getting the magic out of a tape deck, which is to say it’s not at -2 dBFS. So gain stage thoughtfully. The Output attenuator on Chroma is at the very end of the signal path.

Regarding 15ips - I don’t have experience with that module so I can’t comment. Super Filter is meant to be it’s own thing. I’d wager you’d probably get a more tape-like vibe out of SF due to the design of the resonant HPF at 23 Hz.

Glad you guys are loving Implode.

thanks,
Brad
Thank you Brad for the tip on using Implode with line level signals. I’ve only used it with mics thus far.

I messed with my buddy and told him I bought an 1176 rev F, then asked if he wanted to see a picture. He freaked out and said “he’ll yeah” so I sent a pic of Implode and he was blown away that you were able to get every component from the original design on a circuit board the size of a business card
Old 12th October 2018
  #104
Gear Maniac
 
Em Dash's Avatar
 

Quote:
Originally Posted by Secret80sMan View Post
Thank you Brad for the tip on using Implode with line level signals. I’ve only used it with mics thus far.

I messed with my buddy and told him I bought an 1176 rev F, then asked if he wanted to see a picture. He freaked out and said “he’ll yeah” so I sent a pic of Implode and he was blown away that you were able to get every component from the original design on a circuit board the size of a business card
It's too bad the Colour format makes it hard to change settings for installed cards... but the Implode is outstanding with the jumpers set to 4:1 too! For a while I had three of them just so I could have at least one as a 4:1 set-and-forget utility comp...
Old 13th October 2018
  #105
Gear Maniac
 
Secret80sMan's Avatar
 

Quote:
Originally Posted by Em Dash View Post
It's too bad the Colour format makes it hard to change settings for installed cards... but the Implode is outstanding with the jumpers set to 4:1 too! For a while I had three of them just so I could have at least one as a 4:1 set-and-forget utility comp...
Makes sense. Personally when I have clients in to do vox I need a few key pieces I can dial up sounds quickly when attempting to get a performance and that was the thought process behind going with Implode for my Chroma. I wanted something that would work for 75% of people who come in. For the other 25% I might need to get more tweaky I can jump to a compressor with finer controls like the Mpressor.

Last edited by Secret80sMan; 13th October 2018 at 12:05 PM..
Old 25th December 2018
  #106
Here for the gear
Hoping to purchase Chroma soon. Understanding the value of quick switching between N and A, I'm curious about the preamp stage of the Chroma -

Question: Are there two separate transformers that activate as you shift between the N and A style switches? I read about users inserting the transformer based Royal Blue and Mass Drivers - wouldn't these be overkill in a preamp that is already giving you those N and A characteristics? Maybe another way to ask my question is - without those color modules, how close are you to the N and A sound? But I'd also like to know if anyone can be so kind as to describe the individual technologies (transfo/opamp) underlying those separate paths. Thank you and happy holidays!
Old 25th December 2018
  #107
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by Ichabod View Post
Hoping to purchase Chroma soon. Understanding the value of quick switching between N and A, I'm curious about the preamp stage of the Chroma -

Question: Are there two separate transformers that activate as you shift between the N and A style switches? I read about users inserting the transformer based Royal Blue and Mass Drivers - wouldn't these be overkill in a preamp that is already giving you those N and A characteristics? Maybe another way to ask my question is - without those color modules, how close are you to the N and A sound? But I'd also like to know if anyone can be so kind as to describe the individual technologies (transfo/opamp) underlying those separate paths. Thank you and happy holidays!
Not only the transformers switch over, but the entire discrete amplifier topology. This is not a simple (just change the transformer as some manufacturers employ) These ARE LTL's take on BOTH API and Neve preamps crammed into one box. The Full, real deal.

As for Colour Module overkill. My personal opinion? No way. They are not even enough to get to a full console sound in and of themselves - although it does take you a step closer. If you study old school production techniques and "count" the times a signal went through a transformer and amplifier (even in one console pass-through), you'll see they hit them many, many times. More than any single preamp can provide. That's one of the reasons I am a proponent of re-amping pre-recorded tracks with the Silver Bullet and Chroma line amps during - Tracking, Re-Amping, Group Busses, Final 2 Bus and even during Mastering. If you want to get away from a digital sterile sound, discrete op amps and transformers are the way. This is one of the main reasons for Mr. Focus Stage II. More = MORE!

To check out more on this - read my intro to the Silver Bullet in the SB manual on the LTL website. My philosophy (and Brad's as well) on More = MORE is well documented in the SB manual. Especially the intro. And I'd be remiss if I didn't thank infamous STAX engineer Ronnie Capone for pointing me this direction. RIP Ron......
Old 25th December 2018
  #108
Gear Maniac
 
Secret80sMan's Avatar
 

Quote:
Originally Posted by drBill View Post
Not only the transformers switch over, but the entire discrete amplifier topology. This is not a simple (just change the transformer as some manufacturers employ) These ARE LTL's take on BOTH API and Neve preamps crammed into one box. The Full, real deal.

As for Colour Module overkill. My personal opinion? No way. They are not even enough to get to a full console sound in and of themselves - although it does take you a step closer. If you study old school production techniques and "count" the times a signal went through a transformer and amplifier (even in one console pass-through), you'll see they hit them many, many times. More than any single preamp can provide. That's one of the reasons I am a proponent of re-amping pre-recorded tracks with the Silver Bullet and Chroma line amps during - Tracking, Re-Amping, Group Busses, Final 2 Bus and even during Mastering. If you want to get away from a digital sterile sound, discrete op amps and transformers are the way. This is one of the main reasons for Mr. Focus Stage II. More = MORE!

To check out more on this - read my intro to the Silver Bullet in the SB manual on the LTL website. My philosophy (and Brad's as well) on More = MORE is well documented in the SB manual. Especially the intro. And I'd be remiss if I didn't thank infamous STAX engineer Ronnie Capone for pointing me this direction. RIP Ron......
I highly recommend reading the Silver Bullet manual not only is the way to familiarize yourself with the unit but it is Extremely insightful and entertaining. I think dr. Bill could write a book and it would sell well.
Old 26th December 2018
  #109
Here for the gear
Quote:
Originally Posted by Secret80sMan View Post
I highly recommend reading the Silver Bullet manual not only is the way to familiarize yourself with the unit but it is Extremely insightful and entertaining. I think dr. Bill could write a book and it would sell well.
Thank you @ drBill and @ secret e80sman! Good to know the individual preamp circuits are full creations in and of themselves with independent input transformers. It's details like these that demonstrate the integrity of this innovative build.

Yes, I read (ahem, skimmed) the manual a week ago - but gave it a detailed read this morning. The portion about cascading was enlightening, and I can see how engineers had their preferences for different brands in different stages of pre and post. I work on a Neve Genesys and can hear how it's preamps alone, while certainly as serviceable as they come, can still be just one layer of the sonic pie. drBill you're an excellent writer with a welcoming personality on the page. Thank you for your immediate reply!
Old 26th December 2018
  #110
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by Secret80sMan View Post
I think dr. Bill could write a book and it would sell well.

Quote:
Originally Posted by Ichabod View Post
Thank you @ drBill and @ secret e80sman!. drBill you're an excellent writer with a welcoming personality on the page. Thank you for your immediate reply!

haha! Thanks guys. Brad has been after me to write a blog for the LTL website. Maybe I'll get to it one of these days....
Old 5th January 2019
  #111
Gear Maniac
 
Secret80sMan's Avatar
 

Guys, I just want to put it on everyone’s radar that the LF button can add some great low end proximity effect when paired with the right microphone. I have it on the N setting and I’ve got the implode module installed for some Dr Pepper default setting compression and man I’ve gotten some great vocal sounds. I encourage peeps to try that setting.
Old 2nd May 2019
  #112
Gear Head
 

Can anyone report on how the chroma with 15ips compares to the RND 542s? Particularly in bass heavy music.
I'm trying to decide between the 70s colour modules and a pair of chroma 500s with 15ips to preamp VI or busses or whole stereo tracks. Not sure I need the preamp though but I guess it wouldn't hurt right?
Old 2nd May 2019
  #113
Quote:
Originally Posted by ChayaFFM View Post
Can anyone report on how the chroma with 15ips compares to the RND 542s? Particularly in bass heavy music.
I'm trying to decide between the 70s colour modules and a pair of chroma 500s with 15ips to preamp VI or busses or whole stereo tracks. Not sure I need the preamp though but I guess it wouldn't hurt right?
I prefer 15IPS to the RND 542’s for aggressive and punch. To me 542s range from super subtle to a soft grainy crunch that I frankly don’t care for. Perhaps it’s good for subtle bus duties, which 15IPS isn’t what I’d go for there. Go for Chroma’s (with Mass Driver, or Royal Blue), or check out Mr. Focus. 15IPS > Mass Drivr in Mr. Focus is awesome. Mass and Blue are both great; Mass is more exciting and Saturates beautifully, Blue is gorgeous. Blue doesn’t drive like Mass Drivr, but everything is better through it, and the optional shelf is really nice. Mass > Blue in Mr Focus is probably the best single Colour channel period. 15IPS would be a very easy and great thing to add to the mix and swap in the MF chain.
Old 2nd May 2019
  #114
Lives for gear
 
bowzin's Avatar
If you can swing the Chroma's, they are killer. Note the preamps can be switched with a button on the front to accept line-level, so you can still run your normal buses and line-level stuff through the preamps easily, not just mics. They're intended to be used either way, like the Silver Bullet. So you'd be adding an API or Neve line amp to your chain as well, which is not insignificant. The Chroma's would be the best for buses because of this.

The preamps don't add insane heavy color, it's more subtle, and perfect for buses, or for adding color in layers with multiple passes (track with the Chroma, then run signal through them again on a bus, etc.). It's obvious which one is the API and which one is the Neve, and they impart very nice and obvious color, but basically it doesn't mess up or alter the underlying tone, it was very impressive to me in that way.

The Chroma's and Mr. Focus series have the special LTL C-Drive thing that other Colour housings don't have. It can be set for basically an Auto-Gain feature, so you just get "more" out of the Colour card by driving into it, but without changing the output volume. That's unique to the LTL offerings. There's also the parallel knob, to blend it in to the clean signal from 0%-100% wet. Can drive the Colour cards harder, and back off the parallel knob, for example.

LTL makes the Super Filter colour card which is their take on a tape emulation, competitive to the 15ips. Be sure to check that one out as well. I've got two Chroma's and a Mr. Focus. Still trying to sort out what Colour cards to put where, but very impressed with these.
Old 3 weeks ago
  #115
Gear Head
 

Can anyone post some before and after processed through chromas examples? I'm more interested in the idea of reamping busses and whole stereo mixes for dat depth and glue.
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump