Updating one of the most influential dynamics processors in music history, the 50th Anniversary Reissue Omnipressor 2830AU from Eventide provides users with flexible operation in a rackmountable unit, capable of deftly flowing from compression and limiting to expansion and gating, all with the turn of a knob. But the Omnipressor 2830AU isn't just versatile, it's also unique, sporting unconventional dynamics functions like the dynamic reversal, the first of its kind, which reverses transient peaks and troughs to produce a simulated tape reversal sound.

The original 1976 Omnipressor was the first processor to introduce the concept of side-chaining, and the reissue is no different, sporting both transformer-balanced XLR and unbalanced 1/4" side-chain I/O, as well as line I/O and link connections for optional stereo processing. The meter sports a three-way switch for selecting between input, output, or gain monitoring. Mix control lets you engage in parallel compression, and you also get a relay-bypass switch, input and output level control, gain, attenuation, threshold control, and much more. And once linked, you can operate in three modes: Stereo Mode for typical stereo dynamics processing, Master Mode for controlling a chain of units with one master unit, and VCA Mode for transforming your Omnipressor into a high-quality voltage-controlled amplifier.

Unique Dynamics Processor    Unconventional Dynamic Reversal Feature    Compression, Limiting, Expansion, Gating    1:1 to Infinite Comp Ratio and Beyond    Side-Chain and Link I/O    Transformer-Balanced XLR I/O    Mix Control for Parallel Compression    Meter Displays Input, Output, or Gain    Up to 30 dB of Gain Reduction    Bass-Cut Function

Originally invented by Eventide’s founder, Richard Factor (and later redesigned for production by Jon Paul), the 1976 Omnipressor made a host of effects possible. It featured variable control of all aspects of dynamic modification.

It also introduced the notion of the side-chain and foretold techniques that today we take for granted like lookahead processing. One of its first customers was a young Brian May, lead guitarist of Queen. With the Omnipressor in his rig, his sound was never the same.

One of the novel features of the Omnipressor is its ability to make signals sound backward. This is a consequence of the Dynamic Reversal feature, which enables loud sounds to come out more softly than soft sounds. Speech waveforms, for instance, generally consist of loud peaks followed by trailing-off envelopes.

By making these envelopes louder than the peaks, the illusion that the sound is coming out backward is generated. Likewise, drum sounds consist of peaks roughly coincident with mechanical impact, followed by a decay envelope. In general. any material with wide dynamic range can be reversed, and by experimenting with forward and reversal playback, you can achieve an incredible array of effects.

Fully counterclockwise, the Omnipressor gain varies sharply from full attenuation to maximum gain as a threshold level is exceeded. As the control is turned clockwise from the center divider, the gain begins decreasing with increasing input level.

• Dynamic Reversal: An input level of +10 dB results in an output of -10 dB, and vice versa.
• Gate: As the signal decreases below +10 dB, the device gain rapidly goes to minimum.
• Expansion: A 40 dB input range results in a 60 dB output range, increasing dynamic range.
• Control Centered: Input level equals output level.
• Limiting: Gain is unity until input is 0 dB. Above 0 dB, a 30 dB change in input produces a 6 dB output change.
• Infinite Compression: Output level remains unchanged regardless of input level.

The analog VU meter is calibrated over a 60 dB range in a linear/logarithmic scale. When the three-way switch is in the Input position, the meter reads the input signal level. When in the Gain position, the meter reads the relative gain of the device, giving an indication of the gain control function. In the Output position, the meter reads the output level of the Omnipressor.

• Line switch controls the relay-bypass function
• Input and Output level controls
• Mix control for wet/dry adjustment and parallel compression
• Side-chain enables or disabled side-chain audio path
• Input Threshold controls the operating point of the Omnipressor
• Bass cut for reducing low-end leakage into your signals
• Control Attack Time and Release Time
• Three-way switch for Meter Function: Input, Gain, or Output monitoring
• Main Function knob scrolls through basic modes of operation (compression, limiting, reversal, etc.)
• Atten Limit adjusts the limits of maximum attenuation, with a max reduction of 30 dB
• Gain Limit commands the maximum gain of the Omnipressor
• Link activates or deactivates the unit to unit linking function

Related Questions and Answers

Q: 1. Will it work on the Canon 8-64mm T2.4?

A: The Venus Optics Laowa 1.4x Full-Frame Expander (PL to PL) is only intended for use with the Laowa OOOM 25-100mm T2.9. The Canon 8-64mm T2.4 s16 lens would likely not work with it. Even if it could mount, there would be significant vignetting as the adapter is meant for a super 35 lens.

Q: 2. Does this keep the same FOV for full frame lenses? Basically, does the 1.6x apply? Or does it *only* expand S35 lenses?

A: The Tokina PL to Sony E Mount 1.6X Expander is meant for Super35 lenses, not full frame lenses. This would expand the full frame lens image as well.

Q: 3. Can this be used with the FX9?

A: Yes, the Tokina PL to Sony E Mount 1.6X Expander is compatible with Full-Frame E-Mount Sony cameras like the Sony FX9.

Q: 4. Can The Mighty GigRig Expander be used on it's own? And can you stack two on top of themselves?

A: Yes you can use the SKB 1SKB19-REX6 as a stand alone unit. It would just be a 6U rack with casters if you put them on it. It can also be used in conjunction with the The Mighty Gig Rig as well.

Q: 5. Does this adapter maintain the focal length of the adapted S35 lens on the FF sensor?

A: The Tokina Canon EF to PL Mount 1.6X Expander adapts a PL lens to a PL camera while expanding the image circle from 29.3mm or less lenses to 46.7mm image circle covering VV digital format. The adapter multiplies focal length by 1.6x. Lens must be set to T2 or above for best performance. Also, the lens you work with must have a PL flange to cone height of 20mm or less. Tokina includes a Lens clearance check tool with the adapter.

Q: 6. Can this be used to adapt a Canon FD mount EF or Contax CY mount EF to a Canon C700 GS PL mount or canon C300 mkii pl mount?

A: The Tokina Canon EF to PL Mount 1.6X Expander will not work because it is meant to adapt EF-S lenses to full frame cameras. The C300 and the C700 are both Super 35 cameras. thus this will not work.

Q: 7. Can i use this on an Arri Alexa Mini LF ?

A: Yes, the Tokina Canon EF to PL Mount 1.6X Expander can be used on full-frame cameras like the ARRI ALEXA Mini LF and Lens Mount Set (LPL).

Q: 8. CAN the tokina 1.6 pl to pl Mount expander be used to canon cn-e 14.5-60 mm t/2.6 pl Mount cine lens? Country of origin of the tokina 1.6 expander,regards dr asok

A: It can be used. However, note the rules of phyics still apply and realize that image quality may be impacted. Tokina suggests using fast, T 2.0 lenses with this and the lens you are asking about is T/ 2.6. It should look fine for most uses. The country of origin is Japan.

Q: 9. can i use it on s35 body pl mount with lens full frame EF mount ? many tks :)

A: No, The Design of this adapter works best with S35 lenses. The Tokina 1.6x Expander magnifies the image circle of S35 lenses, expanding them to cover larger FF35 or Vista Vision sensors. The Tokina 1.6x expander has the best performance when used with lenses that have a T2.0 or larger aperture and when the lens is stopped down to T2.8 or smaller.

Q: 10. Can we use super 16 lenses on apsc sensor too with this adapter?

A: Super 16 lenses will have heavy vignetting if used on a s35 sensor.