Sirsalliyan Small Air Compressor

Audio Compressor

Dynamics Processing in Audio Mastering

All of us like our songs to sound as loud as our favorite CDs in the market, as a matter of fact when you compare your music to other songs, the first difference that is most prominent is the loudness. Loudness masks every other aspect of a piece of music when you compare it to another; brightness, detail, warmth etc..

How does a mastering engineer make your song sound louder, and what is the price?

As we all know nothing can go above zero db in digital audio, in other words you can't make a digital audio louder than 0db, so how is it that the mastered CDs you have, sound that loud? The answer is you can only make loud masters out of an audio file that has loud transients, if the whole audio file has one steady volume, and it's as loud as 0db already, you can't make it any louder.

For instance take a pop or rock song, if you look at the wave shape in a DAW you can see that the loud transients are mostly the kick drums. Now if you can make the kick drums smaller and raise the whole volume, or raise the whole volume while not letting the kick drums go any louder than zero, you will have an overall louder song.

How do you achieve that?
The processors that do such thing are compressors and limiters. While compressors may let some transients escape, limiters won't let any transients pass the specified out ceiling hence they are used at the end of the mastering chain to keep everything below 0db.

As you know the difference between the highest part and the lowest part in volume of a specified sound wave is called it's dynamic range, and what I described above is called reducing the dynamic range. This is the price you pay while making your song louder in mastering; you loose your dynamic range, meaning everything sounds closer together in volume after mastering despite the efforts you made to adjust the loudness of the different instruments in your song while you were mixing. Although so many people like the fact that they can hear everything in their mix after mastering, so many people don't, anyway loosing the dynamic range is inevitable here.

One of the other processors that are used for dynamics processing other than the compressors and limiters are the multi-band compressors. What they do is they let you compress different parts of the frequency spectrum separately.
This is so useful in controlling loud transients in the midrange especially with the vocals and guitars, it also lets you compress the bass (kick drum and bass guitar) before your audio passes through the compressors hence giving more space to make the song louder without any fluctuation in the volume.

About the Author

M-mastering provides high quality mastering services to musicians nationwide. Visit www.m-mastering.com for more hints on mastering.

Ashly Audio CLX-52 2-Channel Peak Compressor/Limiter $326.69 Ashly Audio CLX-52 2-Channel Peak Compressor/Limiter

Used Slate Pro Audio Dragon Compressor $1499.99 In Store Used USED SLATE PRO AUDIO DRAGON COMPRESSOR

MI Audio Compressor & Noise Gate $219.95 The MI Effects Compressor is a studio grade compressor in a stomp box. It's built with audiophile grade components and features six external controls! Most compressors feature only 2 or 3.  It also features true bypass switching for uncompromised signal clarity when not engaged and a built in noise gate that can be use with the compressor or independently.

3630 Compressor Dynamic Audio Processor $136.99 The 3630 Compressor provides two independent full-featured compressor/ limiters in one rack space while offering excellent sonic quality for any application from studio record

MI Audio Compressor Guitar Effects Pedal Lime/Orange $219.95 MI Audio Compressor Guitar Effects Pedal Lime/Orange

TL Audio C-1 2-Channel Valve Tube Compressor 889406876132 $1439.28 TL Audio C-1 2-Channel Valve Tube Compressor 889406876132

TL Audio Ivory 5060 Preset 2-Channel Tube Compressor EQ $799 TL Audio Ivory 5060 Preset 2-Channel Tube Compressor EQ

Summit Audio MPC-100A Tube Pre-Amp and Compressor/Limiter $1955.59 Summit Audio MPC-100A Tube Pre-Amp and Compressor/Limiter

Summit Audio Mpc-100A Tube Pre-Amp And Compressor/Limiter $1955.59 Summit Audio MPC-100A Tube Pre-Amp and Compressor/Limiter

Used Tl Audio Ivory 5021 Dual Valve Compressor $649.99 In Store Used USED TL AUDIO IVORY 5021 DUAL VALVE COMPRESSOR

Mi Audio Compressor Guitar Effects Pedal Lime/Orange $219.95 MI Audio Compressor Guitar Effects Pedal Lime/Orange

Compressor Limiter Expander/Dynamic Enhancer $85.99 Pyle Pro Audio PPCLE2020 2-Channel Rack Mount Compressor, Limiter and Expander

Compressor 3.5 $39.01 In this Apple-authorized guide, award-winning writer, producer, and director offers a self-paced, step-by-step approach to Compressor 3. Whether you're distributing dailies, authoring a DVD, or prepping video clips for the Web, Compressor is essential for creating quality digital content. Author Brian Gary teaches you real-world techniques for audio and video compression, batch-encoding, test-clip workflows, exporting podcasts, and more. The guide also provides a great summary of what's new in Compressor 3 including Blu-Ray Disc and DVD Burning; new batch templates; auto detect settings, and more.

Sm Pro Audio Oc8e 8-Channel Optical Compressor $539.99 The OC8E by SMPro Audio is a 2U standard 19" rackmountable multi-channel optical compressor. Built on the success of the original OC8, the OC8E adds 8 VU meters and more detailed compression controls to an already great optical compressor.Tailored to suit a wide variety of applications, this SMPro Audio multi-channel compressor is perfectly suited for a wide variety of audio applications. Optical compressors are sought after for the distinctive musicality they give to vocals, guitars and other instruments. It has adjustable compression ratio, attack, release and output controls, that allow you to generate a distinctive soft, rich character while providing magnificent control over dynamics.Fantastic for use as inserts on your multi-channel recording tracks, the OC8E compressor is a great addition to any home or pro studio looking to take advantage of the benefits that optical compression can provide.8 x fast electro-optical compressor8 x individual compression ratio controls8 x individual attack & release controls8 x individual output level controls8 x individual output VU level indicatorsSize: 2U RackBypass/on switchTri-state LED indicator110v-220v Internal power supplyLow noise, wide bandwidth and superior transient responseClass A transformerless high voltage signal pathADAT Option PR8IIALow noise, wide bandwidth and superior transient responseHousing: Metal

TL Audio Ivory 5021 Tube Compressor $999 Valve compression is now universally recognized as one of the essential tools for today's recording engineer. The Ivory 5021 Tube Compressor provides everything you would expect from a TL Audio compressor: first class audio quality, bags of flexibility and a price tag so modest you'd be forgiven for thinking it was a printing error. Now the TL Audio 5021 Compressor features hard and soft knee modes, four attack and release times, an improved optical gate design and an optional digital output. Like the C-1 compressor, the 5021 uses TL Audio's special transconductance amplifier design that avoids the use of VCAs, ensuring maximum audio transparency. So whether you're hitting the end stops or just providing gentle dynamic control, the 5021 delivers super-smooth results every time.The 5021 employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve run from a stabilized 150V DC supply. One stage is in the preamp, and the other is in the gain control element of the compressor.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio's first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner's early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the 'Classic' range, and was followed by what has become possibly TL Audio's best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel's mixdown compressor on Alanis Morissette's multi-million selling 'Jagged Little Pill' album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory se

Alesis 2-Channel Compressor/Limiter/Gate $149.99 This Alesis 3632X110 compressor/limiter/gate features Intelligent Knee, Ratio and Gain for clear audio and 2 channels with bypass switches.

Tl Audio Ivory 5021 Tube Compressor $999 Valve compression is now universally recognized as one of the essential tools for today's recording engineer. The Ivory 5021 Tube Compressor provides everything you would expect from a TL Audio compressor: first class audio quality, bags of flexibility and a price tag so modest you'd be forgiven for thinking it was a printing error. Now the TL Audio 5021 Compressor features hard and soft knee modes, four attack and release times, an improved optical gate design and an optional digital output. Like the C-1 compressor, the 5021 uses TL Audio's special transconductance amplifier design that avoids the use of VCAs, ensuring maximum audio transparency. So whether you're hitting the end stops or just providing gentle dynamic control, the 5021 delivers super-smooth results every time.The 5021 employs two valve stages per channel, in the form of a Sovtek ECC83/12AX7A twin triode valve run from a stabilized 150V DC supply. One stage is in the preamp, and the other is in the gain control element of the compressor.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio's first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner's early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the 'Classic' range, and was followed by what has become possibly TL Audio's best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel's mixdown compressor on Alanis Morissette's multi-million selling 'Jagged Little Pill' album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio's best selling range of products to date. Th

Empirical Labs El8 Distressor Audio Compressor $1349 The EL8 Distressor from Empirical Labs is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio applications. Basically, the compressor electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. The Distressor Compressor's most probable use will be in recording studios, live sound situations, movie sound production, and radio broadcast production. Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the EL8 Distressor as will be the case with all Empirical Labs products. Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This "warmth" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften "harsh" sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and "musical". The current digital technology is often referred to as "cold" and "brittle" among other terms, although we prefer the term "unforgiving" to describe the negative side of the "linearity". The Distressor compressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors & limiters) and deliver a classic "knee" sound all its own. About Empirical Labs: Empirical Labs was started in 1988 and functioned mainly as a recording studio and electronics consulting firm. The founder, Dave Derr, was also employed at the time by Eventide as an audio engineer and was one of the core designers of their legendary H3000. EL's first product, the EL8 Distressor (#501578) immediately took the recording industry by storm and hardly a record has been made without it since. With a mission "to make products that work a little easier, a little better, a lot longer, and are fun to use," Empirical Labs continues to create unique and innovate products that quickly find homes among the top professionals of the audio industry (and anyone else who wants in on the Empirical Labs sound). Empirical Labs Users: Aerosmith - Joe Perry (8 Distressors) Al Schmidt Alanis Morrisette Angela Piva - Mary J Blige, Naughty by Nature, Jane

Compressor (Software) $70.1 High Quality Content by WIKIPEDIA articles Compressor is a video and audio media compression and encoding application for use with Final Cut Studio and Logic Studio on Mac OS X. It can be used with Qmaster for clustering. The application used to be available as part of Final Cut Pro, Soundtrack Pro, Motion, and DVD Studio Pro, but after those standalone products were discontinued, it is now only available as part of Final Cut Studio and Logic Studio. See also a release history in context with the rest of Final Cut Studio. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 92 Publication Date: 2010/09/21 Language: English Dimensions: 6.00 x 9.02 x 0.22 inches

DBX Compressor/Gate - Silver $149.99 This compressor/gate features new gate timing algorithms to ensure smooth audio and separate precision LED displays for gain reduction, compression threshold and gate threshold to ensure a quick, accurate setup.

TL Audio C-1 2-Channel Valve Tube Compressor $1999 The TL Audio C-1 compressor maintains its position among the most flexible, polished-sounding high-end compressors on the market today. Featuring a spectacular raven blue 6mm milled aluminum front panel, General Electric US military-specification valves, high retention gold-plated ceramic valve bases and circular back-lit VU meters, the C-1 is even fatter-sounding and more rugged than its legendary predecessor.All controls are continuously variable (unlike some other compressors with switched parameters) and high-quality onboard mic preamps allow direct-to-tape recording of microphone sources. Stereo front panel instrument inputs mean a keyboard or guitar can feed straight into the C-1 and down to tape with a minimum of fuss. Whether the C-1 compressor is tracking vocals and instruments or adding roundness and warmth to a complete mix, it will become an indispensable part of your signal path within hours.The TL Audio C-1 features a low-noise solid state preamp followed by two valve stages per channel. The valves are General Electric ECC83/12AX7A types, run from a stabilized 250v DC power supply. The first valve stage acts as a voltage amplifier, with the second stage forming part of the gain control element. The gain control is performed by TL Audio's own unique transconductance stage that avoids the use of VCAs, thus improving transparency and minimizing distortion, which is virtually constant at 0.05% over the full bandwidth. The frequency response of the C-1 compressor is virtually flat between 20Hz and 40kHz, and measured between -3dB points, the C-1's bandwidth is a staggering 5Hz to 70kHz.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio's first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner's early recordings) and Chris Porter (who was working with George Michael and Take That).

Tl Audio C-1 2-Channel Valve Tube Compressor $1999 The TL Audio C-1 compressor maintains its position among the most flexible, polished-sounding high-end compressors on the market today. Featuring a spectacular raven blue 6mm milled aluminum front panel, General Electric US military-specification valves, high retention gold-plated ceramic valve bases and circular back-lit VU meters, the C-1 is even fatter-sounding and more rugged than its legendary predecessor.All controls are continuously variable (unlike some other compressors with switched parameters) and high-quality onboard mic preamps allow direct-to-tape recording of microphone sources. Stereo front panel instrument inputs mean a keyboard or guitar can feed straight into the C-1 and down to tape with a minimum of fuss. Whether the C-1 compressor is tracking vocals and instruments or adding roundness and warmth to a complete mix, it will become an indispensable part of your signal path within hours.The TL Audio C-1 features a low-noise solid state preamp followed by two valve stages per channel. The valves are General Electric ECC83/12AX7A types, run from a stabilized 250v DC power supply. The first valve stage acts as a voltage amplifier, with the second stage forming part of the gain control element. The gain control is performed by TL Audio's own unique transconductance stage that avoids the use of VCAs, thus improving transparency and minimizing distortion, which is virtually constant at 0.05% over the full bandwidth. The frequency response of the C-1 compressor is virtually flat between 20Hz and 40kHz, and measured between -3dB points, the C-1's bandwidth is a staggering 5Hz to 70kHz.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and reselling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and repackaged to make them suitable for music production studios. A little later, Tony Larking joined forces with David Kempson, a leading designer at Neve for nine years. By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio's first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner's early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the 'Classic' range, and was

Used Universal Audio Ua La610 Mkii Mic Microphone Preamp Compressor @778 $1249.99 In Store Used USED UNIVERSAL AUDIO UA LA610 MKII MIC MICROPHONE PREAMP COMPRESSOR @778

A Designs Hm2 CompressorNail $2565 A Designs Audio HM2 Compressor "NAIL"After taking the recording industry by storm with the Pacifica preamp, A Designs Audio has once again outdone themselves with the HM2 Compressor "NAIL." It's exceedingly rare for a new piece of recording equipment to arrive on the pro audio scene that's truly ahead of its time or sets a new standard. The A Designs HM2 Compressor "NAIL" does both. And they're not alone on that. Almost immediately after its debut to the audio world, The NAIL compressor was awarded a "Mix Certified Hit" by Mix magazine. The NAIL is a feedback-, diode-based design. In building the NAIL, A Designs' goal was to create a hybrid of tube and solid-state technology that would integrate with the digital world, yet deliver analog warmth with a hint of color and richness to your recordings. What makes The NAIL compressor unique? Three features that set the NAIL apart from ordinary compressors are Hard Threshold, Filter, and Mix. Due to the unique nature of the design, the NAIL will take you to places you have not experienced before, offering endless possibilities for controlling compression and envelope shaping. This new design doesn't require you to relearn compression from the ground up, but it will teach you some new tricks that are guaranteed to expand your sonic horizons. Among the unique controls of the NAIL compressor is the Hard Threshold, which works with three stages, Threshold, Hard Threshold, and Filter. With the Hard Threshold in the off-position the Threshold feature acts more like a Gain Reduction control. With the Hard Threshold engaged, you have your choice of filter frequencies and amount of compression. The Hard Threshold control ranges from Off to +18dB. The A Designs NAIL compressor has the Attack, Release, Threshold, and Gain controls found on standard compressors. However, ratio is not set by a front-panel control. The NAIL features a variable ratio that changes in relation to settings of the Threshold and Hard Threshold controls, as well as the amount of gain reduction. In this way, the NAIL compressor provides a much more musical-sounding style of compression instead of simply stonewalling an input signal. Mix The A Designs compressor's Mix feature is very a powerful tool providing an extremely valuable function for producers and mix engineers. It provides endless combinations of mixing the sound of the NAIL's compression with your audio signal path. You can go from "dry" to full-on compression, depending upon your needs or taste. With the Mix control, you can perform maximum compression on a signal, such as drums, and then blend it into the audio path. This is also referred to as parallel compression. You won't find this option on most compressors, and without it, you find yourself fighting the mix to achieve the right balance between normal and compressed signal. The NAIL compressor takes the fight out of it, and makes it easy to blend just the right amount of compression into your signal path. Filter Another uni

Ashly Audio Clx-52 2-Channel Peak Compressor/Limiter $359 The Ashly CLX-52 is a 2-channel compressor/limiter that uses an "infinite soft-knee" characteristic and timing based on compression ratio. This, combined with a dual release time, allows program density to increase as the input signal increases. The result is a peak controller with very low noise, smooth sound, and excellent stereo tracking, and without the usual "constricted" limiter sound. The CLX-52 has many ways to deal with any gain structure. The mechanical design is ready for years of rugged service and is backed by Ashly's exclusive Five Year Worry-Free Warranty. The CLX-52 is extremely useful for such diverse applications as loudspeaker protection, vocal level control, broadcast limiting, musical instrument sustain, special effects, and CD to cassette transfers.Extremely low noise and distortion Dual release time for minimum "pumping" Detector Patch Point Wide-range control of all parameters Powerful peak control with minimum audible side effects Both XLR and 1/4" input and output connectors Balanced Inputs and Outputs Five Year Warranty

Tl Audio Ivory 5050 Mono Tube Preamp And Compressor $659 The Ivory 5050 came directly from user requests for a simple, yet great-sounding, valve front end and boasts the winning combination of a mic/line/instrument preamp and mono compressor, making it a very cost-effective way of processing your audio sources. The Ivory 5050 now features extras including a 30dB pad, hard/soft knee compression modes, a fully balanced line output, and an optional digital output.The 5050 compressor features two valve stages, one in the preamp circuit, and one in the gain control element of the compressor. These Sovtek valve stages are run from a stabilized 150V DC power supply. So whether it's your best microphone, your vintage Strat, or your latest sample--don't trust it with anything less than the TL Audio 5050.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio's first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner's early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the 'Classic' range, and was followed by what has become possibly TL Audio's best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel's mixdown compressor on Alanis Morissette's multi-million selling 'Jagged Little Pill' album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of preamps, equalizers and dynamics devices has become TL Audio's best selling range of products to date. The Ivory Series satisfied all the criteria that we knew customers were looking for: a great sound, flexibility and user friendliness, all with a smaller price tag!Today, TL Audio has become one of the most respected names currently manufacturing Pro Audio equipment. Acco

Tl Audio Ivory 5060 Preset 2-Channel Tube Compressor Eq $799 Using the same high-quality discrete microphone preamp as other products in the TL Audio Ivory 2 series, the 5060 also has stereo line level /instrument inputs. The 5060 Tube Compressor EQ is equally versatile as a front-end tracking device as it is for the final stage mixdown or mastering compressor. One set of controls operates both the channels for quick and easy setup. The compressor section has 15 expertly programmed presets designed to work with a typical selection of vocal and instrumental sources as well as a manual mode for user adjustment of the compressor. The output section includes a Fat EQ switch for adding some presence or weight to your signal.As with all the mono or stereo Ivory 2 units, it is possible to install the optional D0-2 converter card in the 5060 for premium-quality 24-bit SPDIF analog-to-digital conversion. This allows you to connect to your hard disc recorder, mixer, or soundcard in either an analog or digital format. The combination of flexibility, ease of use, and the renowned warmth of the TL Audio valve circuit design makes the 5060 unbeatable for value and performance.About TL Audio TL Audio began manufacturing audio products in 1990, when the company - founded by Tony Larking - was largely involved in the restoration and re-selling of vintage equipment such as Neve and Trident recording consoles. The first TL Audio products were original Neve EQ modules, which were taken principally from broadcast consoles and re-packaged to make them suitable for music production studios. Shortly after this Tony Larking was introduced to David Kempson, a leading designer at Neve for nine years.By 1993 the demand for used valve outboard equipment had become very strong but most models such as the original Pultec and Fairchild valve devices were already extremely rare and expensive. There appeared an obvious gap in the market for brand new affordable valve products and the result was TL Audio's first valve product - the EQ-1 Dual Valve Equalizer. This product revolutionized the studio market by offering reliable, flexible, great sounding valve processing that was within the budget of most studios. The EQ-1 quickly attracted the interest of mainstream engineer/producers, with the first two production models going to Roy Thomas Baker (who had produced many of Queen and Foreigner's early recordings) and Chris Porter (who was working with George Michael and Take That).The EQ-1 was the first of what became known as the 'Classic' range, and was followed by what has become possibly TL Audio's best known product - the C-1 Dual Valve Compressor, which shot to stardom as Chris Fogel's mixdown compressor on Alanis Morissette's multi-million selling 'Jagged Little Pill' album. The Ivory SeriesWith the Classic range expanding to include more models, the growth in popularity of affordable digital recorders and mixers heightened the appetite for valve processing, which led to lower-cost ranges such as the Ivory models. The Ivory series of prea