compress/limit gallery

ADL 1500 Stereo Tube Comp/Limiter

ADL 1500 Stereo Tube Comp/Limiter

The ADL 1500 Stereo Tube Compressor/Limiter is a brilliant two-channel, all-tube design, providing phenomenal dynamic range with a clear, punchy, warm sound!  Its "invisible" compression has made the ADL 1500 a very in-demand item.  Eight vacuum tubes give the ADL 1500 its unmistakable richness and depth.  

Features:

All tube design (no IC's or chips) Opto attenuators for "invisible" compression

High quality transformer balanced inputs and outputs XLR input and output jacks

2 independent channels

Stereo link switch on front panel

Stereo adjust pots on front panel

Wide dynamic range (15Hz - 30K)

Works with unbalanced systems

Handbuilt in the USA

Heavy-duty chassis

Great for analog & digital recording as well as live sound

Compex F-760-N Compressor/Limiter

Compex F-760-N Compressor/Limiter

The 'Compex' limiter provides peak limiting with a multi-ratio, variable threshold compressor. Ratio settings ranged from 1:1 to 20:1 and there were controls for threshold and release time. The inclusion of an expander/gate provided attenuation of the gain during pauses in the audio signal to reduce noise caused by compression; the expander/gate could also be used for special 'punchy' effects, favoured on drum and percussive sounds. Noise gates were often criticised at the time for 'hunting' around the threshold point. The 'Compex' used clever hysteresis around the gate, this was important to stop unpredictable opening and closing of the gate; the open threshold was higher than the close threshold. The gain reduction controlled by the 'Compex' was monitored from two meters located to the right of the front panel. There were two light indicators; a red light lit when the signal level reached its peak, and when in expand mode a green light was lit. There were a set of lights for each channel, depending if the unit was the stereo or mono version. There were some different models of the 'Compex' available; one of these included a smaller console module named the F760-N. This version was built without the expander/gate, it later had an expander/gate added and was then known as the F760X-N.

Altec Lansing 1612a Limiter Amplifier

Altec Lansing 1612a Limiter Amplifier

Has a very cool compressio curve. Great on vocals and drums if want something interesting and different.

API 2500 Stereo Compressor

API 2500 Stereo Compressor

Features:

API 2520 Op Amp

Variable threshold between -20dBu and +10dBu

Selectable ratio, attack and release times

Patented THRUST® selectable high-pass filter before RMS detector

Variable link between left and right channels

Old "feed back" or new "feed forward" compression

Soft, medium or hard knee for easy to sharp compression

Auto or manual gain make up

1/4" balanced side chain inputs

Output clips at +28dBu

The API 2500 Stereo Bus Compressor allows adjustment of sonic qualities to alter the punch and tone of the stereo mix. One of the 2500's notable qualities is its use of API's patented THRUST circuit for a chest-hitting, punchy bottom end. The 19-inch, rack-mountable unit boasts a dual-channel design that can be configured for stereo compression or for use as two separate units via a single compression setting.

Another unique feature of the 2500 is its selectable "old" or "new" compression. The old style uses the "feed back" type of compression found in the API 525, while the new style uses a "feed forward" type in which the compressor side chain is fed directly from the unit input. Additionally, the output stage exhibits an auto-makeup gain button that permits the user to vary the threshold or ratio while automatically maintaining a constant output level. Further, the 2500 ensures fidelity with its all-discrete, fully balanced design with two front panel VU meters showing input, output and gain reduction levels.

AD2044 Stereo Compressor

AD2044 Stereo Compressor

AD2044:
Dual Mono-Stereo, Pure Class A Opto-Compressor

The AD2044 features 100% discrete, pure class A signal amplifier configured with high speed current monitored optical control elements. These "invisible" opto elements enable the AD2044 to deliver totally transparent, low noise gain reduction within the minimalist signal path design. No VCAs are incorporated. Variable attack and release controls plus side chain access, provide unlimited creative control from soft compression to hard limiting.

Chandler Germanium Compressor

Chandler Germanium Compressor

The Germanium series continues with the GERMANIUM Compressor. The Germ Comp starts with the same all class A amp found in the Germ Pre and Tone Control and is transformer balanced in and out. The compression circuit uses an FET gain reduction element but with the tricks and flexibility of all the Germ units. Some of the most notable additions include a Wet/Dry mix (for “submixing” tracks within the comp), Comp Curve (which selects the knee using various diode combinations), Clean/Dirty comp and Sidechain filter. Many of the Germ Comp parameters have been purposely set by studio use and listening not by over analyzing them with test gear. The result is a musical powerhouse ready for tracking, mixing, and mastering.

Chandler TG1 Stereo Limiter

Chandler TG1 Stereo Limiter

The Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late ’60s. These rare pieces were never commercially available, and only EMI owned studios had access to them. The TG1 Limiter was originally designed to be like the Fairchild 660/670 which was loved by many EMI engineers including Geoff Emerick, but it ended up with its own very special sound.

TG equipment was used on many classic records. The Limiter was featured on every channel of TG consoles used to record The Beatles “Abbey Road” and Pink Floyd “Dark Side of the Moon,” in addition to albums by Paul McCartney and the Rolling Stones.

The Limiter/Compressor features an all discrete circuit with transformer balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to a Fairchild 670 set to stun, is very audible and squishy sounding while maintaining its clarity and high frequency response.

TG1 Updates & Modifications:

Harmonic Distortion Function

Now standard on all Abbey Road Special Edition TG-1′s, this option allows bypassing of the compressor/limiter threshold but leaves all circuits in the signal path, turning the unit into a powerful Harmonic Distortion generator capable of kicking out up to 2% Total Harmonic Distortion. That’s more than 2 times the amount of analog tape! And all with 100% discrete transformer balanced circuits. Adjust the input for amount of THD and the output to match level. Try running Distortion on one channel and hard limiting on the other. The ultimate in retro! This option is placed on the front panel of the unit with a toggle switch for each channel.

Chandler Zener Limiter

Chandler Zener Limiter

The EMI TG12413 Zener Limiter is the ultimate TG limiter issued in celebration of the 75th birthday of Abbey Road Studios. The Zener Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. It continues the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413. This newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a new full featured and flexible unit for modern use.

The Zener Limiter is being reissued to add features and flexibility to the powerful and vintage sounding TG limiter circuits. Wade has added many new controls including switchable input impedance for hard of soft driving of the unit, 11-position attack, 21-position release, side chain filtering, and Comp 1, Comp 2, and Limit settings.

Cranesong STC-8 Stereo Compressor

Cranesong STC-8 Stereo Compressor

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.

D.W. Fearn VT-7 Stereo Compressor

D.W. Fearn VT-7 Stereo Compressor

The VT-7 has an all Class-A vacuum tube audio path, like all our products. The gain reduction elements utilize circuitry that duplicates the sound and characteristics of the finest classic vacuum tube compressors, without depending on tubes that are no longer manufactured. The control circuitry is modern solid-state analog.

The two channels may be used independently or linked together for stereo. A built in sidechain high-pass filter may be selected to reduce the compression on bass-heavy material.

Controls (each channel):

Threshold
Gain
Attack
Release
Harder/Softer
Separate/Link/Link HPF

The VU meters may be switched between indicating gain reduction or output level.

The VT-7 has a highly-transparent sound, although it can be used more aggressively when needed. Artifacts of the compression process are substantially lower than in most other compressors.

The two channels may be used independently, or linked for stereo. In addition, a third position on the Link switch inserts a high-pass filter (HPF) in the sidechain to reduce the gain-reduction sensitivity of the VT-7 to low frequencies. This is a gentle roll-off, nominally at 100Hz. This allows a bass-heavy mix to have a better frequency balance, and prevents heavy low frequency audio from modulating the audio level. (NOTE: The photo of the VT-7 shows an older unit without the Link HPF position.)

DBX 160 VU

DBX 160 VU

Amazing on kick, snare, bass guitars, with just the right attack/release. Just tap the kick/snare with it before going to ProTools, to get some tape compression feel. Might be the best bass comp on the planet, and it's surprisingly good on vocals.

The dbx 160 is a Voltage Controlled Amplifier compressor that uses a transformerless, solid-state design that has endured for decades. The program-dependent compression, combined with multiple gain stage components, creates a sound that is uniquely its own.

The controls are simple: Threshold (with lights indicating above and below threshold value); Compression ratio from 1:1 to Infinity:1; Output Gain from -20 to +20 db attenuation; and three meter settings for input, output, and gain change. 

 

DBX 160X

DBX 160X

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Fairchild 670 Stereo Compressor/Limiter

Fairchild 670 Stereo Compressor/Limiter

The FAIRCHILD MODEL 670 incorporates on one chassis two independent limiters which can limit either two independent signals, such as the left and right channels of a stereo signal, or the vertical and lateral components of same. The latter is accomplished by first bringing the two stereo channels through a matrix network, dividing than into their vertical and lateral components, limiting them independently, and recombining them through a second matrix network into left and right channels. 

The attack time of the unit is made extremely fast in order to catch short transients, and the release time is made adjustable from 0.3 seconds to 25 seconds in six steps. Two of these have release times which are automatic functions of the program material, providing fast recovery for short-duration peaks and an automatic reduction with very long recovery time of overall gain should the program level remain high.

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