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Mesanovic Microphones

Acme Audio Manufacturing Co. was founded by Al Sutton, who is no stranger to the music scene. Al Sutton has been producing, engineering, writing, and recording music for well over 20 years. He has a long list of production credits under his belt, from the Detroit Cobras, to the Sights, and most notably Kid Rock. Al has been producing, and engineering for Kid Rock on a full time basis for over a decade.

Al runs his own recording studio Rustbelt, in Royal Oak Michigan. It was there that the Opticom was born. Danny Russel, designer of the Naylor Guitar Amplifier came to Al with the idea of taking the optical compressor to the next level. After many trials, the Opticom-XLA-3 was finally complete, and ready to be manufactured. All Opticoms are painstakingly built by hand right in Metro Detroit.

Acme Audio is built by people who know audio, for people who know audio. 

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ACME AUDIO OPTICOM XLA-3 MKII

All-tube optical audio limiter inspired by the classic Teletronix LA-2A

ACME AUDIO OPTICOM XLA-3 MKII

"If you want gentle compression or ton's of attitude the Opticom has you covered!" -Tony Maserati

"On a recent mix for Fergie's new album the amp section on the Opticom provided the character we needed to make her vocal stand out." -Tony Maserati

The Acme Opticom XLA-3 MKII is an optical audio limiter built to exacting military-style specifications, designed to produce a full range of non-linear, dynamic audio effects.

The heart of the XLA-3 is a unique triple optoelectronic circuit that combines the best characteristics of 3 separate compression curves into a single unit. The result: a high-speed optical limiter with tones that range from 'clean' to 'harmonically rich' to 'dirty'.

The Opticom uses high-speed cadmium-selenide (CdSe) photocells, all-tube circuitry, and military style point-to-point wiring. From the 16 gauge, cold-rolled steel chassis to the high quality components, the XLA-3 is built to provide years of reliable, solid performance that will meet, if not exceed, the exacting demands of the audio professional. Just a few of the standard features: custom-ordered Bakelite analog control knobs, full-sized backlit panel meters, Neutrik/Cliff connectors, heat resistant Micalex tube sockets.

FEATURES:
All tube circuitry
High-speed cadmium-selenide (CdSe) photocells
Custom Bakelite analog control knobs
Full-sized backlit panel meters
15db switchable input pad
Hand-wired 2 stage bypass switch


Triple optoelectronic circuit
Cinemag input transformer
IEC power connector
115/230V AC Mains
Neutrik XLR input and output connectors
Stereo link connector
Micalex tube sockets



ACME AUDIO OPTICOM XLA-500

Acme's Opticom tube compressor/limiter comes to the 500 Series format

acme opticom xla 500

In a new era of condensed circuits and smaller sizes, Acme Audio has taken their Opticom XLA-3 MKII and brought it to the 500 Series platform for the first time ever with the Acme Audio Opticom XLA-500. While the design has been scaled down, the 500 Series module remains a tube compressor with one tube in its makeup. With a transformer in and out, the unit is all cinemag and still features the triple optoelectronic circuit of its predecessor. The unit features the same functionality, but with a more focused sound and some beefy results.

The original design of the LA-2A has tended to vary from unit to unit, providing engineers with different results based on what they own. The Opticom XLA-500 brings three speeds, Slow, Medium and Fast, together into one single module. At its slowest compression speed, the Opticom XLA-500 features slow attack and release times, which closely resemble a broadcast limiter that just holds the mix together. The medium speed is where fans of the LA-2A will find their favorite setting, as this is the option that is closest to the speed of the original Teletronix unit. Set to the Fast option, the unit can be compared to an all-button 1176 and creates some crunchy sounds on bass and drums.

Channels: Single-Channel
Chassis: 500 Series

Module Slot Count: 2 Slots






ACME AUDIO MOTOWN D.I. WB-3

Reproduction of the classic Motown direct box that offers character & colorization

During Motown's heyday, a major technical component of "The Detroit Sound' was the direct input box (DI). Designed by a young Motown audio engineer in the early 1960s, the musicians plugged straight in and achieved a distinct, colorful distortion that would become recognizable all over the world. The DI box was adopted by such Motown greats as James Jamerson Sr., Dennis Coffey and Bob Babbitt, who defined the sound of a generation with their soulful playing and crisply captured notes.

Recreated by Acme Audio, the new Motown D.I. WB-3 brings the exact character as the original DI box. Modern updates include the improved variable attenuated for high-level input and the custom-made, rugged steel case (the original DIs were built in Aluminum boxes). Owners of the Motown DI will find that it increases sound quality in a marginal acoustic environment, for the cleanest, purest sound source possible.

The Motown D.I. WB-3 features transformers that have been painstakingly reproduced to exactly replicate those used in the original version of this direct box. In an effort to perfectly replicate the quality and sound to the original Motown Direct Box, Acme Audio tracked down the original manufacturer of the coveted transformer and enlisted them to start making them again after nearly 35 years.

As a result, the Motown D.I. WB-3 is built to the exact specifications with the same materials as the original and exhibits the same audio character and lack of low-frequency magnetic saturation that sets it apart from similar devices. The Motown DI is now available, making this unit not only a fine audio interface/level converter, but a piece of audio history.