Rothko

Have you ever wanted a Michelangelo and a Pollock to be in one box?  

If so, then Rothko is the perfect solution for you!

Housed in a 1U rack (Mini Version) or a 2U rack (XL Version) unit and powered by exotic high voltage Mosfets (XL version also has a tube output), the Rothko is not just a Michelangelo and Pollock existing in one box, but a fresh new take on two classics!

FEATURES

- Left and Right controls are now combined to be CALIBRATION and AGGRESSION in one, allowing for the easy manipulation of input levels and tone.  You have the ability to drive the circuit hard, lightly, or anywhere in between as you see fit and the response of the Rothko will shift accordingly.  This speeds up workflow and maximizes versatility for busy engineers!

- The LOW, MID, and HIGH controls manipulate the three EQ bands, but in a way that adds more dynamic, harmonic content the higher the EQ is set. Take note that the Mid control covers a massive amount of territory while the Low and High controls are narrower by comparison.

- The AIR control boosts the ultra high frequencies and is typically a favorite control in this unit.

- LOW SHIFT changes the Low control in order to target all frequencies below 150hz or 80hz.

- MID SHIFT alters the response of the Low and Mid controls, essentially assigning the low mids to either control.

- HIGH SHIFT changes the High control in order to target the frequencies above 1khz or 2khz.

1/3 GAIN RANGE (XL Version Only)

The Rothko can also be ordered with the ranges of the EQ controls (Low, Mid, High, and Air) limited to approximately 1/3 of the normal gain range. This modification can often be more useful in a mastering context whereas the full range is often better in a tracking or mixing context.

- The COMP control will increase the total amount of Compression as the knob is increased.  The compression style is optical (same circuit as in the Pollock) but not in the traditionally understood optical response.  Think much faster and tuned for a more invisible style compressing experience, though able to be quite colored and "grabby" when desired.

- The WET control allows for the same functionality seen in the Pollock in which a single control gives the user the ability to apply as much or as little compression as desired.  However, this is not to be envisioned as a traditional Wet/Dry mix, but instead, setting a "hard deck", or wall that does not allow any more compression to pass.  So if the compressor is trying to lower a signal by 10db but the WET control is set to only allow 5db of compression, then only 5db will be allowed to apply at any point and the compressor will hold that 5db compression until the compressor drops below 5db.  This has the added effect of constantly changing the release timing as it naturally follows the music.  There is simply not another compressor that is as musical and sounds like this one!

- COMP STYLE changes the operation of the compressor from "Smooth" mode to "Aggressive" mode as seen in the Pollock.

- The XL Version adds a Sidechain switch that removes the low end from the compressor triggering portion of the circuit.  As well, it provides a light bump in the low end.

- The XL Version retains Pollock's ability to only compress the 10Khz+ range when desired.

- The XL Version adds a switch to boost the input of the circuit in order to both drive the Rothko's front end harder as well as boost the compressor's trigger.

- The XL version adds a switch to boost the output stage (12ax7 tube) when desired.

- The XL version adds an output transformer

*NOTE*

Even though the compressor is the same as the one from the Pollock, the overall sound of the compressor is a little different in a few ways.  "Smooth" mode sounds remarkably similar to the same mode in Pollock (Style 1 / Color 1), but "Aggressive" mode is closer to a merging of "Aggressive" and "Smooth" modes in the Pollock.  It is not quite as "grabby" as the "Aggressive" mode in the Pollock, but also not as smooth as "Smooth" mode in the Pollock.  The reason for this is that the compressor circuit is, quite literally, stuck inside of the EQ network, and the impedance and signal environment affect the sound and response.  The net result is a compressor that seamlessly integrates itself into an EQ in a way that make it sound as a cohesive whole, not individual parts, and the result is simply magical!