Indeed. Unfortunately, as a cost saving measure FMR did this weird thing that allows input to function as an insert and return with a balanced jack so if you plugin a balanced cable it works that way as opposed to just being an input. They did it with the RNC too and it’s really just a pain. But anyways, can check out many other posts about this. Luckily the solution is pretty simple just need to unbalance lines properly. It is convenient if you use it as an insert only cause you just need a balanced cable as opposed to an insert cable, but if you want to add anything else in the chain, then you have the issue noted.
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Ah. I indeed remember being surprised - while on a live sound tech job - by an artist who wanted to plug in the RNC as insert with a balanced jack. Closer inspection proved it right.
So when using a mono jack cable I’d expect the output (ring) contact in the combined connector to get shorted to ground. This also grounds the separate output signal? I find that hard to grasp. Would be very bad design.
The AH is very capable, but sweet spots are narrow. Would be great to hear a shoot-out! Or know if you can get close to the Bognor. There’s a few options with AH starting with the Init preset. DIrt ((filter section) and driving/clipping the input when deactivated…as well as the clean boost.
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The separate output on the input ring goes to ground when using a TS jack, so not a problem. As long as you use unbalanced TS cables it works and sounds great.
That’s what I thought. Thanks.
RNC or RNLA? What would you guys recommend to keep master bus levels under control in a gritty techno live set (example: Techno live gig - AR AH MD MM ao).
Both would work well with the high pass filter on the sidechain input. I think the supernice mode on RNC is worth exploring for more transparency on the master out, particularly in the chain with something like AH.
Personally never really like the sound of more than 2-3db of compression from any compressor (RNC and RNLA are the only hardware comps Ive used though). I only use them with low ratio 1:2 with attack and release set at 9-10 o’clock to preserve drum transients.
Interested to hear how @AdamJay was using RNC with the sidechain loop?
RNC as limiter? I’m far from an expert when it comes to dynamics but I’ve had one for years and find it can’t do what I would expect from a limiter. It only goes up to 1:25 and doesn’t sound ‘good’ with a fast attack.
It can catch material that’s creeping up, and of course is great to use musically or for effects or for it’s nice side chain, but if it was setup ‘transparently’ it would let through a lot of dB from a sudden peak. The super nice mode is especially slow to kick in (but still ‘super nice’!)
Just my experience & would definitely be interested in any suggestions for dialling it in as a limiter though.
I guess I’m saying - it’s a compressor…
Did you ever run a HPF through the side chain send/return?
I found this, and only this, made it sound ‘good’ at fast attack settings with 10:1 or above ratio settings. Well, good “enough”! 
I haven’t. Been meaning to try it ever since reading about that here!
That’s not limiting though is it? It wouldn’t catch sudden low loud sounds?
Or maybe you’re just correcting my ‘fast attack not good’ statement. And I’m sure you’re right - it was always lower end stuff that would sound bad with fast attack…
It is limiting, as long as the attack is set fast and the ratio is 10:1 or higher.
The HPF doesn’t effect the frequency of the input or output signal, it is only used in its interpretation of the frequencies for the “control signal”, meaning it will ignore low frequencies when deciding to limit, but it will limit all frequencies when it does. And those low frequencies are the ones that usually make the attack ultra mushy.
It allows you to limit harder for bass music without unwanted artifacts.
If FMR had any mind to maximize their foot print in the electronic music market, they’d sell/include a small inline 100hz HPF cable widget 
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Have you tried 2 harlow pedals yet?
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Compression-wise, I’m having really good results with squeezeing the compressor in AR MK2 and it sounds great on the beats I’ve made with just the right clicking.
When I get the money I’ll probably go for the Oto Boum.
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I’m curious about the Keeley Limiting Amp pedal (GC-2). Anyone have experience with it?
Edit: mono, so not sure if OP wants to invest in two …
I heard some pro techno guys don’t use a limiter at all when playing live. Every venue with a real sound system has their own limiter. So you might not need a limiter. But of course you’ll have to have your levels under control a bit which can be diffucult if you improvise a lot.
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Of course, a venue PA has limiters, EQs etc. But that 's something else than EQíng and compressing your mix. On the mix it’s to make your material sound good and you have control over it. On the PA it’s to translate any material as good as possible on the given equipment and space (and sometimes it’s actually limiting the possibilities because of complaining neighbors etc). I’ve found that my mix levels were varying too much when I played a gig recently. I’m considering putting a limiter on it so I know I have a ceiling I can push against and not worry too much about it. The PA limiter will provide a ceiling as well but you have no control over (the sound of) it. You don’t know at what level it kicks in and how hard. I prefer to have that control. The PA sound engineer will then take that signal and make the best of it on the PA.
I’m sure this is not required by experienced artists with clean sets. I have neither of that
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Yeah that’s true. It really depends on how preconstructed your set and how even your levels are.
I remember reading somewhere on elektronauts that somebody used the fmr rnla parallel on a seperate channel of the mixer which led to a nice and punchy mix. Though i don’t know how he took care of level spikes on the main channel.
Yes!
Had a bit of a hiccup as the original 2nd pedal I ordered had a blown out input section, so had to return it. Then I was on the fence again about really needing a second, but I decided I want to do more realtime use of them in stereo, with OT and/or DN.
Found another one used, and aside from very worn knobs (Bogner is sending me a replacement set), it matches incredibly well to my first pedal.
It’s been fun keeping them on the OT main output, really beefing up the OT.
Currently have them each on Drumatix Snare and Drumatix Clap/Rim outputs. The separate tonal variation in this configuration has been nice and is helping me finish a few works in progress I had on the Drumatix.
Was worth it, in the end.
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How is the compression? Seems to be geared towards sustaining guitar.
I’ve been looking at adding a pair of Klark Teknik KT-2A to my setup (not portable though) for some transformer flavour. Seems similar?
It is more similar to the KT-2A than most, I think.
But still, the Harlow compression is pretty unique. It does have a bit of an optical compressor vibe to it, but they haven’t really advertised what is going on specifically.
The attack speed is a little slower like an optical compressor, so on its own it is not ideal as a limiter, in the traditional sense.
However, combined with the transformer saturation, it does limit, but in its own unique way. I like the way it takes the peaks and rounds them out harmonically.
The tilt EQ is pre-comp so how you have it set is an important consideration if using the compressor, and the envelope follower on the release stage isn’t half bad.
I generally use the compressor on the Harlow as an added extra to the saturation. It reminds me of the OP-1 and Vulf compressors. So it is as much an effect as it is a dynamic control utility.
For most uses, I only use the compressor at about 1/4 to 1/3rd the available knob range. The harder you hit the input transformer, the less hard you can hit the compressor without it behaving badly, and I generally favor the transformer saturated sound over the traditional compression sound. It depends on what I am feeding it. For just a stem or instrument, I’ll saturate less and compress more. For a drum bus or a whole mix, I’ll saturate more and compress less.
KT-2A has both input and output transformers, so combined with a pad/attenuator on either stage or both, you could get a few different saturation flavors, along with a more controllable compressor (than the Harlow’s) in the middle.
The next time I have it set up on the Octatrack main outputs, I’ll do a video.
I did not get it with running so much through it in mind.
Initially I thought it would just be a solid snare bender for my Drumatix. Saturation, comp, and eq are all things the Drumatix snare benefits from. It’s a great snare tone bender, but to my surprise it can do so much more.
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