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SOC-1.1 |
The SOC-1.1 Audio Compressor is based on the
Light Dependant Resistor (LDR) technology from the past, but
incorporates a unique "Differential Drive Side Chain"
topology and our own Opto module design to create a more adjustable
and faster compression characteristic. Gain reduction is totally
passive, there are no distortions introduced from semiconductor
elements and the signal path is kept to a minimum. LDR selection
and matching within a stereo unit ensures accurate tracking
compared to vintage LDR designs. A common problem with older
opto compressor designs (and many modern ones!) is the inherent
slow attack time of the LDR elements, which can cause sibilance
problems and audible "pumping" effects. A special
"speed up" circuit within the side chain section of
the SOC-1.1 effectively reduces the attack time to less than
1mS (in fast attack mode). We believe this is the fastest attack
time of any LDR based compressor on the market today and makes
it suitable for stereo mixdown (2 buss) compression tasks.
All the features available on the SOC-1.1 allows users to
create many different flavours of compression, from full on
squash to just gentle levelling. A very useful piece of kit
destined to become a classic.
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STC-8 |
 The
STC-8 is a high quality stereo compressor combined
with a remarkably dependable peak limiter, providing overload
protection critical to digital recording and broadcast transmitters.
The STC-8's compressor is engineered to provide musically transparent
gain control, but is also capable of emulating vintage equipment
and creating distinctive new sounds. In
addition, a switchable enhancement circuitcreates analog and
tube like warmth to enrich lifeless audio and digital
recordings. This vast flexibility is simplified by the inclusion
of several optimized presets, allowing fast, easy set-up on
a wide variety of sounds. It can operate in true stereo or
discrete independent mono, accessible by a front panel switch.
The STC-8's sophisticated side-chain allows both compression
and peak limiting to take place simultaneously, using the
same proprietary gain circuit. High signal quality is maintained
by utilizing a discrete class A audio path, and by eliminating
any VCA or optical gain control elements.
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| Allen
smart C2 |
The Allen Smart C2 is a two-channel compressor
with switchable link mode. Called "left master" on
the C2, this mode slaves the Channel 2 VCA to the control settings
and gain reduction of Channel 1. Both channels offer external
sidechain and process I/O buttons; underneath the slave button
on the leftmost side of the C2 is the crush button (more on
this later).
Channel knobs include threshold, ratio, attack time, release
time and makeup gain. Each channel has a VU-style meter that
tracks gain reduction. Unfortunately, the C2 doesn't let one
switch the meter to monitor either the input or output levels.C2
has a lot in common with SSL's legendary analog compression
circuit is no accident: Alan Smart was an engineer with SSL
for many years, having installed and serviced countless SSL
consoles in studios worldwide. Now, what started as a garage
project has turned into one of the best-kept secrets among recording
engineers. Based on the way this compressor sounds, however,
I think the secret will be out soon enough.
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| STUDIO
ELECTRONICS C2 |
THE STUDIO ELECTRONICS C2s IS AN F.E.T. COMPRESSOR/LIMITER
BASED ON THE UREI® 1176, WITH SIGNIFICANT DESIGN CHANGES
AND MODIFICATIONS. INSTEAD OF THE CLASS AB PUSH-PULL OUTPUT
STAGE, FOUND IN THE LATER 'F' SERIES 1176, A NEVE® 1272
TYPE CLASS A OUTPUT STAGE IS USED, INCORPORATING A SOWTER®
TRANSFORMER BUILT TO 1272 SPECS. THIS IS SIMILAR TO EARLIER
RELEASES OF THE 1176, RESULTING IN A SLIGHTLY DIFFERENT (READ
BETTER) SOUND THAN THE LATER UNITS. OUR C2s's OUTPUT STAGE 'SYMMETRY'
POT (R36) CAN BE ADJUSTED TO DELIBERATELY CLIP ASYMMETRICALLY;
A WELL-KNOWN 1272 TRICK ADDING SECOND HARMONIC DISTORTION, WHICH
SOME USERS FIND QUITE PLEASING. THIS ADJUSTMENT IS FACTORY DETERMINED
FOR MAXIMUM HEADROOM BEFORE CLIPPING: MORE THAN +27DBM! ANOTHER
REFINED DEPARTURE IS OUR UTILIZATION OF A JENSEN® TYPE (NOW
BUILT BY REICHENBACH®) INPUT TRANSFORMER - ATTENUATOR MOVED
TO THE 'SECONDARY'. THIS REDUCES DISTORTION AND NOISE BY INSURING
THAT THE 'PRIMARY' IS ALWAYS FULLY DRIVEN. WITH PRECISION METAL
FILM RESISTORS, GOLD XLRS, GOLD SWITCH CONTACTS, GOLD INTERNAL
CONNECTIONS AND PREMIUM QUALITY CARBON AND CONDUCTIVE PLASTIC
POTENTIOMETERS USED THROUGHOUT, A NOTABLY LOWER NOISE THAN IS
USUALLY ASSOCIATED WITH VINTAGE UNITS AND AN IMPROVEMENT IN
MATCHING BETWEEN THE TWO CHANNELS IS REALIZED. FURTHERMORE,
WE'VE INCORPORATED THE MUCH-USED TECHNIQUE OF DEPRESSING ALL
FOUR RATIO SELECT BUTTONS ON THE ORIGINAL 1176: THIS 'FEATURE'
IS DUPLICATED EXACTLY IN THE “SQUASH” POSITION OF
THE C2s's "RATIO" SELECTOR. |
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| System
9098 |
 System
9098 - Compressor/Limiter
Classis Design, Performance and Reliability.
An
Introduction to the System 9098 Compressor/Limiter by Rupert
Neve the Designer
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| ELI8M |
 ELI8M
Empirical Labs "Distressor" is an analog compressor
similar to the ELI8M Single Channel Distressor, but in a stereo/dual
mono channel package. Users can add 2nd or 3rd order harmonic
distortion to the signal to emulate tape saturation of the classic
tube compressors from the 60's and 70's. Other features include
classic knee sound delivered with modern noise specs in an indestructible,
digitally-controlled, single-height box. |
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ELI8S |
ELI8S The Emprical Labs Distressor is a unique
analog compressor that allows the user to add 2nd or 3rd order
harmonic distortion to the signal, emulating tape saturation
and the classic tube compressor sound of the '60's and '70's.
The Distressor also offers advanced sidechain EQ, eight unique
curves and Empirical Labs' exclusive "Binary Stepped Interface"
providing hundreds of options with just a few control settings.
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| ELI8SX |
ELI8SX The Distressor gets its name from its
feature of incorporating harmonic DISTortion with a classic
knee compRESSOR. For instance, the Distortion 2 setting introduces
a 2nd order harmonic, which adds tube-like analog warmth to
the signal and the Distortion 3 setting introduces a 3rd order
harmonic, which simulates tape saturation (great for guitars,
bass and drums) Included
British Mode Upgrade
The original concept of the "British Mode" came
from an unusual setting on the classic UREI LN1176 limiter.
The unit was designed to have only four ratios, each ratio
being engaged by selecting one of four buttons. However, as
early as 1980 (or before), renegade recording engineers, always
on the lookout for something a little more "over the
top", found that you could make all four buttons stay
"in" if you pressed them just right. What resulted
was a very, very aggressive sound that had some elements of
the units 20:1 ratio, but with an unusual knee and new envelope
shape. Somewhere along the line, someone called it a "British
Mode" and the name has stuck. It is also called "all
buttons in" and some other intuitive names.
The
Distressor has the advantage of being able to apply this "aggressive"
nature not only to the new British ratio (1:1) but also to
all the ratios since a separate switch is installed, which
can be enabled with any ratio. One should keep in mind however,
that an attack below 3 or 4 is required to maintain the LN1176
character. If you go above an attack of 3 you will also incur
a rise in some grunge (distortion) and see the THD indicator
lites come on a lot more. |
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| FATSO |
 the
FATSO is exactly what you've been waiting for to fatten
up your digital. This two channel Full Analog Tape Simulator/Optimizer
with Knee Compressor simulates classic recording elements like
older tube gear, magnetic tape, and more, giving your sound
a warmth, depth and immediacy that's hard to get with pure digital.
Both channels offer four types of processing. You get Harmonic
Generation and Soft Clipper (Distortion generation), High Frequency
Saturation, Transformer & Tape Head Emulation, and Classic
Knee Compression. Best of all, the FATSO is a fully modern,
digitally-controlled processor, so you get that analog tape
sound without having to mess around with a real analog recorder.
FATSO's operation is subtle; you won't hear this machine at
work. All you'll hear is great sound.
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| Avalon
2044 |
 Avalon
2044 recording system at work might spoil you for anything else.
Their careful design and top-of-the-line components deliver
what is quite possibly the cleanest, most natural sound you've
ever experienced. The AD2044 Dual Mono-Stereo Opto-Compressor
is a fine example of Avalon's stellar design features at work.
The high-speed, current optical control elements provide low
noise gain reduction within Avalon's minimalist signal path
design. Variable attack and release controls plus side chain
access allow you wide creative control from soft compression
to hard limiting. What this means for you and your music is
a beautiful sound and "character" that are second-to-none.
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| VT-747SP |
 The
VT-747SP is their Class A tube stereo compressor/limiter with
EQ built right in. Ideal for high performance DAW input signal
conditioning, stereo buss compression-EQ, stereo keyboards and
analog mastering applications. Find out why Avalon is the top
choice of audio professionals the world over! |
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Red 3 |
 The
Red 3 is a unique two-channel Compressor and Limiter which offers
both dual independent mono operation and true stereo operation
from a single set of controls. The channel inputs and outputs
feature top-grade transformers that provide superb DC isolation
while maintaining an ultra-wide signal bandwidth and high headroom.
Each channel has separate controls for the compression and limiting
functions with a VU type meter providing clear visual indication
of either signal level or gain change. In the stereo mode the
two channels are linked with a common control and sensing network
and all control functions for both channels are accessed through
the lower set of front panel controls, offering true stereo
operation without the need to match two sets of controls. |
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| BLUE
230 |
 The
Blue Range of mastering tools from Focusrite provides you with
a professional, comprehensive mastering suite! The BLUE
230 is a high-performance, professional Compressor/Limiter.
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| 160SL |
 The
160SL emulates the performance of the classic
dbx 160 and 165A compressors, but adds the voicings of the newer-type
dbx compressors, offering everything you need to perfectly process
a variety of signals to your taste. Features include ultra high-drive
transformer-coupled outputs, dbx Type IV conversion, and a system
digital output option. Of course there's OverEasy & Reg;
and hard-knee switchable settings, program-dependent auto attack,
a release switch, and a front panel sidechain enable switch.
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New patent-pending AutoVelocity Dynamics circuit
• 127dB Dynamic Range
• High-Drive output transformer drives 1000 ft. of Belden
at .007% THD
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| Variable
Mu |
Manley Variable Mu Limiter Compressor amp is a favorite
of producers and recording engineers, and one listen to what
this device does for your sound will make you a believer, too!
Anyone who has heard the classic Fairchild 670 Series limiters
in action has an idea of the Variable Mu Limiter Compressor
capabilities. But the sound is even sweeter with the Variable
Mu Limiter Compressor. The
Compress mode is soft-knee 1.5:1 ratio, while the sharper
knee Limit mode starts at 4:1 and moves to a more dramatic
ratio of 20:1 when limiting over 12dB. The knee actually softens
as more limiting is used. Distortion can be creatively used
by turning up the Input and turning down the Outputs while
using very little or no compression. But get beyond the impressive
ratios and technical specifications; you'll see - or you'll
hear - that the Variable Mu Limiter Compressor is a remarkable
processor. This is a serious audio tool, suitable for a huge
spectrum of important recording applications. Add to this
a flexibility that allows you the kind of creative input you
need, and you've got the kind of processor you've been dreaming
about. That's the Variable Mu Limiter Compressor. Get one
today!
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| Drawmer's
DL441 |
 Drawmer's
DL441 gives you the same "Auto Compressor"
technology and features of the groundbreaking DL241 processor.
What's the difference? There are four, count 'em four, channels
of super-fine, Drawmer compression! And they're all in only
1 unit of rack space! So you get twice the quality compression
and great sound for less than twice the price. And you'll save
tons of space! |
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Drawmer Six-Pack |
 With
Surround Sound becoming more and more prevalent at every level
of audio production, the need has emerged for a six-channel
processor. The Drawmer Six-Pack fulfills that
need perfectly. It's the first dedicated multi-dynamics processor
specifically for surround mixing. The DL651 provides dynamics
control in any format from mono to 5.1 surround. With 6 independent
expander/gates, 6 independent auto or manual compressors, 6
'zero overshoot'limiters and an LFE channel plus the ability
to link channels individually, the Drawmer Six-Pack makes surround
dynamics easy. In the studio, any analog audio source from mono
to stereo to full surround can be handled in one unit. In live
sound, outboard applications such as drum processing or vocals
can be dealt all with the DL651, with both auto and manual operation.
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| DL251 |
 DL251
Series compressor in your studio you'll enjoy seamless compression
- with no loss of sound in the high frequencies. The DL Series
incorporates Drawmer's original "Auto-Compressor"
circuitry, which gives you optimal results in minimal setup
time, but doesn't compromise your skill with limited controls.
The DL251 eliminates the "high frequency cutting"
problems of full-band compressors by use of "Dynamic Spectral
Enhancement" feature. It restores your high frequencies
and adds additional "Spectral Energy" for that extra
sonic spark. The DL241 Auto-Compressor uses many automatic functions,
letting you concentrate on the overall performance and feel
rather than the equipment. The result is smooth, warm and transparent
audio. The DL441 Quad Auto Compressor/Limiter captures four
channels of the innovative DL241 Auto Compressor in only 1U
of rack space. •
2 channel, 1 rack unit Spectral Auto/Manual Compressor |
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DCL-200 |
 the
DCL-200 Compressor/Limiter from a leader in high-end
gear, Summit Audio. Based on a proprietary hybrid design, the
DCL-200 two-channel compressor-limiter combines the most desirable
sonic characteristics of vacuum tubes with the increased reliability
of solid-state devices. Its circuitry incorporates selected
12AX7A vacuum tubes with high-reliability 990 op-amps in a transformerless
signal path. This exceptional compressor is perfectly suited
for use in professional recording studios, MIDI project studios,
broadcast facilities, sound reinforcement, and mastering studios.
Features include: Continuously variable attack and release times,
variable slope, soft-knee transition characteristics, sidechain
inserts, and peak overload indicators |
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| 5050 |
 the
5050 mono valve preamp and compressor offers a new discrete
mic preamp design with a 30dB pad, hard/soft knee compression
modes, a fully balanced line output and an optional digital
output. It boasts a winning combination of a mic/line/instrument
preamp and mono compressor, making it a very cost-effective
way of processing your sources.
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| dbx
1066 |
dbx 1066 4 independent channels of operation,
stereo linkable in two pairs.
• PeakStopPlus limiting control for setting maximum allowable
level regardless of compressor settings.
• Switchable OverEasy or hard-knee compression.
• Selectable Auto (classic dbx) or manual (variable Attack
and Release) compression
• Differentially balanced gold-plated XLR and 1/4"
inputs and outputs.
• True RMS level detection
• Precision metering of input level, output level, and
gain reduction
• Dual True stereo or quad mono operation
• Switchable +4dBu or -10dBV operation per channel |
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| Model
108 |
 The
Model 108 is a two-channel auto-compressor that, unlike
conventional compressors, thinks with you and for you, continuously
monitoring the complexity of the program material and instantly
adjusting the compression ratio and time constants accordingly.
The 108 is truly a "set it and forget it" compressor
that makes your life easy! |
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| 3630
|
 The
3630 gives you full control over Ratio, Threshold,
Attack and Decay. Using the 3630's sidechain insert to trigger
the compressor, you can lower the level of the background music
whenever the lead instrument or vocal is present. How's that
for dynamics? The 3630 is perfect for almost every high-end
audio situation, from broadcast applications to live sound reinforcement.
Want precision and quality at an affordable price? The 3630
is the processor for you. See what a huge difference quality
dynamics processing can do for your sound with the 3630. |
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| Radius
3 Fat Man |
 HHB
Radius 3 Fat Man provides instant access to 15 high quality,
stereo tube compression presets, making it easy to add fat,
professional sounding tube compression when tracking, mixing
or playing live. The programs have been created in consultation
with leading audio engineers, including Pink Floyd's Andy Jackson,
ensuring a polished, professional sound to your mix. For users
who wish to create their own compression settings, a manual
mode provides fully adjustable control over threshold, ratio,
knee, attack and release settings. Input / output gains and
gain make-up controls remain adjustable in both preset and manual
modes to allow gain balancing for different systems.
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| Samson's
C Class |
 Samson's
C Class Series of outboard analog-style gear for your
computer-based audio production system, the C Com Opti Optical
compressor is a fully adjustable compressor with threshold,
ratio, attack, release, and output controls calibrated to generate
a distinctive, soft, rich character while providing great control
over dynamics. An enhancer provides the added character that
sometimes gets lost with heavy compression.
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Tube Station 2 |
 The
Tube Station 2 (TS2) is a dual mono or stereo
linkable soft-knee compressor. It encompasses all the features
of the TS1 compressor section but with the added advantage of
individual parameter controls for each channel. Each channel
is equipped with a variable Tube Drive control which can be
switched out of the signal path for instant A/B comparison. |
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z-Q6/z-CL6 |
Z-Systems announces the z-Q6/z-CL6 surround-sound
mastering suite for the ultimate in surround mastering. Comprised
of the z-Q6 six-channel digital mastering equalizer and the
z-CL6 six-channel digital dynamics processor, the z-Q6/z-CL6
suite incorporates Z-Systems's proprietary digital signal processing
algorithms, intuitive user interfaces, and the highest-quality
parts. Both units feature six channels of 24-bit /96 kHz digital
processing and the ability to handle multiple simultaneous sample
rates and wordwidths within each channel group. The
z-Q6 offers four bell-shaped filters and two shelving filters
per channel, as well as individual channel volume offsets
and a master volume control.
The
z-CL6 offers six channels of compression/limiting with variable
ratio, attack, release, threshold, and make-up gains per channel.
In addition, the z-CL6 features a sophisticated linking mechanism
whereby the different channel groups can be custom-tailored
to trigger and compress in unison or separately.
Both
the z-Q6 and the z-CL6 feature POW-r wordlength reduction
and MIDI automation for snapshot automation. The z-Q6/z-CL6
are available individually or together as a suite
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| Presonus ACP88 and CL4 |
 The
ACP88 is the dopest thing ever for managing
gain across multiple devices in a home studio environment
(like lots of unpredictable analog gear in a techno project
studio). It's also great for surround systems, crossovered'
pa's, all kinds of stuff. great piece of kit!" - email
from Andy W. - user in California The ACP88 gives you total
dynamics control for multi-tracking and live sound reinforcement.
Eight compressor/limiters deliver transparent dynamics control.
Eight full featured gates seamlessly control unwanted noise
and bleed-through. Control vocals, tame drums, protect speakers,
tighten the low-end – all from just two rack spaces of powerful
processing. Retail Price: 1199.95
FeaturesTop
• Eight Full Featured Compressor/Limiters
• Eight Full Featured Gates
• Side Chain on Every Channel
• Trigger Inputs on Every Channel
• Balanced/Unbalanced I/O
• Comprehensive Linking via Unique Power Summing Bus
• Takes the Place of Multiple Processors
• Crystal Clear Compression & Gating for Multi-Tracking
& Live Sound
• Allows Spectral Processing & Gate Keying via Separate
Jacks
• +4/-10 Stereo Operating Level
The CL44 forges new technology ahead in four
channel compressor limiters. Pro features include variable
threshold, ratio, attack release, High Pass Sidechain filter
and compander. The frequency dependent filter allows you to
tailor the frequency range of the compressor. The Compander
circuit allows for AGC (Automatic Gain Control) which boosts
the signal when it falls below the desired threshold. A Special
'optical' mode emulates vintage optical limiters. Adjacent
channels are stereo linkable. A separate Threshold for the
limiter allows you to set a peak level independent of the
compressor. External Sidechain Insert on every channel. 1U
Rack. Retail Price: 699.95
FeaturesTop
• Fully Featured Compressor with Variable Attack, Release,
Ratio, Threshold
• Frequency Dependent Hi-Pass Filter
• Independent Limiter
• Compander works simultaneously to give maximum dynamic control
• Balanced XLR, Unbalanced 1/4" via TRS
• 1/4" TRS Compressor Sidechain
• 10 Segment LED for Gain Reduction
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