TEST: FMR Audio RNLA7239

Hardware outgear has a hard time these days. Depending on the music genre, the vast majority of all signal processors are used as plug-ins of the respective DAW along with the manifold presets for signal processing. Preset does not fit? Doesn't matter, just take the next one, any one will fit. The argumentation chain is always the same, fast, simple, storable and of course the most popular killer argument: "The music consumer doesn't hear a difference anyway". Undoubtedly for the regular studio operation solid arguments, but just as in the guitar sector, for example, a stable group of users opposes the "Hört-Keinen-Unterschied-Kemper-IR" movement with their all-tube amplifiers, there are still some "screwdrivers" in the control rooms of this world, for whom nothing beats the haptic experience of a controller and the associated sound change. It is precisely this clientele that is addressed by the Texan company FMR Audio, which has some witty to sometimes ironic detail solutions at the start with its FMR Audio RNLA7239.

The construction of the FMR Audio RNLA7239

The Texans do indeed have a sense of humor. The four letters RNLA stand for "Really Nice Leveling Amplifier", a pretty description for a compressor and from the description about the same level as the sister model "RNC", which is paraphrased as "Really Nice Compressor". However, the witty approach is followed by a clear principle. Small, handy, inexpensive and of high audio quality are supposed to be the FMR Audio products, which should probably attract a lot of attention not only from budget studios.

The fact that the FMR Audio RNLA7239 comes in a third rack space at one HE on the market and rests on 4 strong rubber feet, makes the product not only interesting for studio use, but could also find its place on one or the other bass amp. Theoretically also in the guitar area, but guitarists love to be able to deactivate their pedals by means of a footswitch and which guitarist already plays a complete set with an activated compressor. The weight of 490 grams is not much in itself, but it shows with the small dimensions how sturdy the metal housing was created. Not to be forgotten is of course the mobile operation, where you have a compressor that can be operated either mono or stereo at your fingertips.

FMR Audio explicitly points out the "rack-mountable" features, but how the product should be placed in the rack due to the lack of rack wings or similar is left to the personal creativity of the engineer. I can already see drilled base plates in my mind's eye. Possibly one could still get a 1 U bathtub and press the FMR Audio RNLA7239 firmly on both sides. Be that as it may, the "Really Nice Leveling Amplifier" is not the first outgear that cannot be placed in a 19 inch rack from the factory.

If you search the web for the FMR Audio RNLA7239, you can't help but get the impression that once the little box makes it into a studio, it's happy to take on its bigger brothers, especially in terms of retail price. Visually, the little guy really doesn't pull a slice of tofu off the plate, but the praises that you can read in various expert forums are by no means evidence of puppy protection. The Texans charge just €259 for the tiny device, and that's with (attention!) Made in the USA! Can you really keep up with the big brothers in terms of sound at such a price?

In contrast to the first models of the FMR Audio RNLA7239, where the housing was probably still made of plastic, the current version has a metal housing made of two mirrored shells, which were provided on the front and back with a corresponding panel and which leaves a comparatively robust impression. There is a small thread on the underside, which can be used to prevent the case from moving, at least theoretically, with a corresponding screw connection.

A quick look at the back of the case reveals a simple but very practical trick. The input jacks are designed as TRS jacks, which can be used as FX loops if needed. The purpose behind this circuit is to avoid the much more expensive insert split cables that would otherwise be needed in regular console use. The disadvantage of this circuit is the unbalanced signal routing. If you want to use the FMR Audio RNLA7239 in mono, you have to use the left channel. The same insert circuit is also in a sidechain, which was also installed on the back of the housing. Unfortunately, the sidechain cannot be deactivated by means of a switch.

A cold-device socket is not to be reckoned with in this performance or dimension class, so an external, included power supply is used. 12 volts at 500 mA are required, the included power supply plays it safe and supplies 1 A. The FMR Audio RNLA7239 is shipped without any manual, which can however be downloaded from the FMR Audio website. This download is well worth it. Not only that you get a lot of information and tips, no, you can also enjoy the self-ironic way of the Texans, which not only themselves, but also take everything possible on the joke.

In terms of measurement values, the little box also offers something amazing. The clipping is set at 3% THD at 22.5dBu for 1kH, the input and output impedances are 10kΩ and 100Ω, respectively, which corresponds to the standard. On the other hand, the fact that the frequency response between 10 Hz and 100 kHz has a tolerance of only 1 dB is remarkable.

The front panel of the product also contributes to the lived understatement of the Americans. The five simple controls made of black and red plastic could also have come from the guitarist's effects pedal. On the far left, the row begins with the Threshold control, which ranges from -40 to +20 dBu, followed by the Ratio control, which in its maximum setting of 25:1 already operates in the limiter range. The attack and release ranges are unfortunately only marked with the numbers 1 to 11 (Nigel Tufnel: "this one goes to eleven") and no millisecond values could be found in the manual. The final control on the far right is the gain control, which offers a control range of -15 to +15 dB.

When it comes to metering, users have to rely on their ears to a large extent, since any input and output displays have been omitted. Only the compression reduction is displayed on an eight-digit LED chain. Besides a bypass switch, another push button called "Log Rel" draws attention. This switch ensures that the release time is shortened for short, large level peaks to give the signal more punch.

In practice

There is hardly a section in the manual of the FMR Audio RNLA7239 where the author does not point out that the product feels very close to the areas of "vintage" and "coloring of the signal". In fact, the VCA compressor handles the applied signal to the same extent as the compression forefathers did many decades ago. To this day, analog outboard compressors are considered the spearhead of sonic culture and are once again replaced by their digital DAW plugin representatives only for convenience.

When you apply a signal to the dwarf for the first time, you may hardly believe your ears. The small box, which seems a bit lost in the studio, sounds as if someone installed the hidden camera. The delivered sound rather allows the association to another zero behind the store price when the eyes are closed. As always, the tester is looking for the right subjects and adjectives, and once again the classic analog terms "warmth", "punch" and "saturation" shoot through one's mind.

It should always be kept in mind that the FMR Audio RNLA7239 not only gives an extremely round figure in the studio, but also in the bass range, with a clean guitar or even in bus mode, for example, for drums, a real enrichment. Also for mobile operation or as a "safety backup" for the safety-conscious FOH.

But definitely the strongest argument for the compressor is the retail price. Even if some points sometimes seem a bit "cheap", it is a mystery to me how you can call a price of just 259 € at Made In USA. The box sounds quite excellent and can easily take on the next but one performance category, even more, the compressor should crystallize so far as the best stereo compressor in the three-digit euro range.

Conclusion

With the FMR Audio RNLA7239 the Texans have probably the hottest iron in the field of stereo compressors under 1,000 € in the fire. The small box is inconspicuous, sometimes looks lost in the studio, has a questionable third 19 inch unit as a dimension, but sonically puts everything in this class in the shade!

Additional Informations:

FMR Audio is a company that has been designing and manufacturing high-quality audio equipment since 1994. Based in Austin, Texas, FMR Audio is known for their innovative and affordable designs, as well as their commitment to providing top-notch customer service.

History

FMR Audio was founded in 1994 by Mark McQuilken, a musician and audio engineer who was frustrated by the high cost of professional audio equipment. McQuilken believed that it was possible to create high-quality equipment that was also affordable, and he set out to make that a reality.

FMR Audio's first product was the RNC1773 compressor, which quickly gained a following among audio professionals. The RNC1773 was praised for its transparent sound, ease of use, and affordability, and it remains one of FMR Audio's most popular products to this day.
Over the years, FMR Audio has continued to innovate and expand their product line, offering a range of compressors, limiters, preamps, and other audio equipment. Today, FMR Audio is known for their high-quality, affordable products, as well as their commitment to customer service.

Products

FMR Audio offers a range of audio equipment for both professional and home use. Some of their most popular products include:

RNC1773 Compressor: The RNC1773 is a high-quality, affordable compressor that is ideal for both studio and live applications. It features a transparent sound, easy-to-use controls, and a compact design.

RNLA7239 Compressor: The RNLA7239 is a stereo compressor that is ideal for mastering and mixing applications. It features a tube-like sound and a range of controls for fine-tuning your audio.

PBC6A Compressor: The PBC6A is a dual-channel compressor that is ideal for both tracking and mixing. It features a classic sound and a range of controls for customizing your compression.
RNP8380 Preamp: The RNP8380 is a high-quality preamp that is ideal for both microphones and instruments. It features a transparent sound and a range of controls for customizing your tone.
Really Nice Levelling Amplifier (RNLA500): The RNLA500 is a versatile levelling amplifier that can be used for both mixing and mastering. It features a transparent sound and a range of controls for fine-tuning your audio.

All of FMR Audio's products are designed and manufactured in the USA, using high-quality components and materials.

Customer Service

One of the things that sets FMR Audio apart from other audio equipment manufacturers is their commitment to customer service. FMR Audio offers a range of resources and support to help their customers get the most out of their products, including:

User manuals and guides: FMR Audio provides detailed user manuals and guides for all of their products, making it easy for customers to set up and use their equipment.
Online forums: FMR Audio maintains online forums where customers can ask questions, share tips and advice, and connect with other users.

Technical support: FMR Audio offers technical support for their products, including troubleshooting, repairs, and replacement parts.
Warranty: FMR Audio offers a 3-year warranty on all of their products, giving customers peace of mind and ensuring that they get the most out of their investment.

Conclusion

FMR Audio is a company that has made a name for itself by designing and manufacturing high-quality, affordable audio equipment. With a range of compressors, preamps, and other products, FMR Audio has something to offer for both professional and home users. And with their commitment to customer service, FMR Audio ensures that their customers get the support they need to succeed.