Sirsalliyan Small Air Compressor

Compressor Sound Blanket

Recording Drumsets and Miking

If you have ever listened to great recording's of drummers such as Buddy Rich or Gene Krupa the drums sound big and bold but when you try to record your own drums they seem to sound like cardboard boxes don't get frustrated let's look at good miking techniques.

The room is key, the way the room sounds and how reflective the sound bounces around the room will give your drums the big sound your looking for. If your limited and have your portable recording studio in your bedroom that's all carpeted get a couple pieces of plywood and lay a couple pieces leaned up against the wall. This will allow for th sound to reflect and bounce also lay a piece of plywood on the floor directly in front of the kick drum.

You could record your drums in the garage or a different room in your house that is more open in sound, if you have a studio-in-a-box you can carry it to a room that gives you the reflective sound.

Record your drums in a nice sounding room and then place a microphone just outside the door to catch additional sounds for that ambient sound, when mixing you can add tracks and give it depth and feel.

When miking the kick drum (Bass drum) the mic of choice is a dynamic mic some diaphragm dynamic mics are designed for specifically recording Bass drums or kicks.

If you want to tone down the boominess of the bass drum some people will place a pillow or blanket inside the ass drum to make the tone less boomy, they will place a pillow touching the back of the inside drum head.

Miking near the insidehead; You can mic the drum now by removing the drum head or have a hole cut in the head you can place the mic inside the head and just 2 to 3 inches away from the head itself and off center by 3 inches this gives the kick drum a sharp attack.

Miking halfway inside the drum; by placing the mic in the center of the drum this provides for less of an attack and more of the body of the sound.

Near the outside head; If you have both heads on the drum, you can place the mic a few inches from the outside head. If you want a more open, boomy sound (and you have the drum's pitch set fairly high), point the mic directly at the center of the head. If you want less boom, offset the mic a little and point it about two-thirds of the way toward the center.

The kick drum responds quite well to a compressor when tracking. For the most part, you can get by with settings that allow the initial attack to get through and that tame the boom a little. A sample setting looks like this: Threshold: -6dB Ratio: Between 4:1 and 6:1 Attack: Between 40 ms and 50 ms Release: Between 200 ms and 300 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain.

Snare drum

The snare drum is probably the most important drum in popular music. The bass guitar can cover the kick drum's rhythm, and the rest of the drums aren't part of the main groove. A good, punchy snare drum can make a track, whereas a weak, thin one can eliminate the drive that most popular music needs.

Because the snare drum is located so close to the other drums, especially the hi-hats, a cardioid pattern mic is a must. The most common mic for a snare drum is the trusty Shure SM57. The mic is generally placed between the hi-hats and the small tom-tom about 1 or 2 inches from the snare drum head (see Figure 2). Point the diaphragm directly at the head. You may need to make some minor adjustments to eliminate any bleed from the hi-hats. This position gives you a nice punchy sound.

Adding compression to the snare drum is crucial if you want a tight, punchy sound. There are a lot of ways to go with the snare. The following settings are common and versatile: Threshold: -4dB Ratio: Between 4:1 and 6:1 Attack: Between 5 ms and 10 ms Release: Between 125 ms and 175 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain.

Tom-toms

The tom-toms sound best when using a dynamic mic. For the mounted toms (the ones above the kick drum), you can use one or two mics. If you use one mic, place it between the two drums about 4 to 6 inches away from the heads (Figure 3 shows this placement option). If you use two mics, place one above each drum about 1 to 3 inches above the head.

Floor toms are miked the same way as the mounted tom-toms:

* Place a single mic a couple of inches away from the head near the rim.

* If you have more than one floor tom, you can place one mic between them or mic them individually.

If you want to apply compression to the tom-toms, you can start with the settings that for the snare drum in the preceding section.

Hi-hats

The hi-hats are generally part of the main groove and, as such, you want to spend time getting a good sound. You'll probably have problems with a few other mics on the drumset picking up the hi-hats, particularly the snare drum mic and overhead mics. Some people don't bother miking the hi-hats for this reason.

Hi-hats often sound too trashy through the snare drum mic. If you mic hi-hats, make sure that the snare drum mic is picking up as little of the hi-hats as possible by placing it properly and/or using a noise gate (a dynamic processor use to filter unwanted noise).

You can use either a dynamic mic or, better yet, a small diaphragm condenser mic for the hi-hats. The dynamic mic gives you a trashier sound and the small diaphragm condenser mic produces a bright sound. You can work with either by adjusting the EQ. Try adding just a little bit (4dB or so) of a shelf EQ set at 10 kHz to add just a little sheen to the hi-hats.

Place the mic about 3 to 4 inches above the hi-hats and point it down. The exact placement of the mic is less important than the placement of the other instrument mics because of the hi-hats' tone. Just make sure your mic isn't so close that you hit it.

Compression isn't usually necessary when tracking the hi-hats unless you have a drummer whose volume level is inconsistent. In this case, try using the same snare drum settings.

Cymbals

You want to know one secret to the huge drum sound of Led Zeppelin's drummer, John Bonham? Finesse. He understood that the drums sound louder and bigger in a mix if the cymbals are quieter in comparison. So he played his cymbals softly and hit the drums pretty hard. This allowed the engineer to raise up the levels of the drums without having the cymbals drown everything else out. Absolutely brilliant.

Because the drums bleeding into the overhead mics is inevitable and the overhead mics are responsible for providing much of the drums' presence in a mix, playing the cymbals softly allows you to get more of the drums in these mics. This helps the drums sound bigger.

Ask (no, demand) that your drummer play the cymbals quieter. Also use smaller cymbals with a fast attack and a short decay. Doing these things creates a better balance between the drums and cymbals and makes the drums stand out more in comparison.

Small diaphragm condenser mics capture the cymbals' high frequencies well. You can mic the cymbals by placing mics about 6 inches above each cymbal or by using overhead mics set 1 to 3 feet above the cymbals.

The whole kit

Most of the time, you want to have at least one (but preferably two) ambient mics on the drums if for no other reason than to pick up the cymbals. These (assuming you use two mics) are called overhead mics and, as the name implies, they are placed above the drumset. The most common types of mics to use for overheads are large and small diaphragm condenser mics because they pick up the high frequencies in the cymbals and give the drumset's sound a nice sheen (brightness). You also may want to try a pair of ribbon mics to pick up a nice, sweet sound on the overheads.

To mic the drumset with overhead mics, you can use either the X-Y coincident technique or spaced stereo pairs. Place them 1 to 2 feet above the cymbals, just forward of the drummer's head. Place X-Y mics in the center and set up spaced stereo pairs so that they follow the 3:1 rule (the mics should be set up 3 to 6 feet apart if they are 1 to 2 feet above the cymbals). This counters any phase problems. Point the mic down toward the drums and you're ready to record. Figure 4 shows both of these set-ups.

About the Author

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MXR Bass Compressor Pedal $240.06 Take your favorite studio compressor to the stage with the MXR M87 Bass Compressor. A complete array of controls''Attack, Release, Ratio, Input, and Output''makes it easy to fine-tune your sound, from subtle peak limiting to hard squashed compression effects. Its CHT Constant Headroom Technology gives you plenty of headroom and clear performance. This totally transparent compressor allows your full dynamic range to shine through until your signal reaches the compression threshold, which is indicated by the ten, highly visible gain-reduction status LEDs. Its all packed into a durable, lightweight aluminum-housing pedal thats the size of a Phase 90.

Behringer Dynamics Compressor Effects Pedal $23.99 Keep your dynamics even with this compressor that smoothes out volume peaks and provides excellent sustain. Dedicated output and sensitivity dials let you customize the sound to suit your needs.

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

Rogue Vintage Compressor Guitar Effects Pedal $49.99 The Rogue Vintage Compressor pedal lowers output sound relative to your input signal, producing consistent sound levels and improving sustain. Three control knobs let you quickly adjust the compressor threshold (sensitivity), its sustain and overall volume of the effected sound. A true bypass switch engages and disengages the effect. An LED indicator shows you when the effect is engaged and gets dim when it's time to change the battery. The Rogue Vintage Compressor pedal is made of aluminum and built to last.

Sound Asleep Children's Speaker Blanket. $14.99 Super soft and warm, this fleece blanket has speakers in the hood allowing you to listen to your favourite tunes. Includes 3mm jack cable for connection to your audio device with removable speakers.100% polyester.Polyester microfibre fleece.Size L120, W110cm / L47, W43in.Machine washable at 40°C.Line dry.Not suitable for tumble drying.For ages 3 years and over.EAN/MPN/UPC/ISBN: 5012701342537.

Sound Asleep Adult's Speaker Blanket. $19.99 Super soft and warm, this fleece blanket has speakers in the hood allowing you to listen to your favourite tunes. Includes 3mm jack cable for connection to your audio device with removable speakers.100% polyester.Polyester microfibre fleece.Size L160, W140cm / L63, W55in.Machine washable at 40°C.Line dry.Not suitable for tumble drying.For ages 3 years and over.EAN/MPN/UPC/ISBN: 5012701342551.

Daking Fet Iii Stereo Compressor $1975 The dual channel Daking FET III compressor limiter from Geoff Daking is built in the US with the same audio path and detector circuits as their highly successful single channel Daking FET II limiter. The FET III compressor circuitry and gain stages are all discrete and fully Class "A" with sound quality that will be at the very top of the scale. Our previous single channel FET II was known for its speed, high performance and its unique ability to sound great on an extraordinary variety of sources. The Daking FET III will equal this benchmark plus add several unique features to improve user control. The differences are as follows: The Daking compressor's variable High Pass Filters from 0 to 200Hz are added to the detector stage of each limiter channel to improve and customize limiter behavior. The HPF's tell the limiter NOT to trigger limiting based on content below the set HPF frequency. This is extremely helpful on bass heavy material. This greatly widens the audio compressor's potential application set and the ability of the user to set this new behavior "on the fly". Variable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together to greater or lesser degrees. The compressor's Stereo Link is continuously variable from 0 to ∞. All controls except "Ratio" are pots. The variable pots add the ability to fine tune behaviors in the studio. Mastering engineers may prefer the repeatability of switches, such as those on the FET II, which will continue in the Daking compressor line. The FET II's relied on control voltage summing for the stereo linking. Because the Daking FET III stereo compressor is two independent units in one box, it uses audio summing, which is much more accurate. The Daking FET III compressor uses THAT CORP differential amps in and out (electronically balanced). The FET II has transformers in and out but they are 1:1 input to output so they do not "color" the sound. (A mic input transformer at 1:10 ratio in a mic pre would color the sound significantly.) The common mode rejection in Daking FET III compressor is equal to that of FET II. The FET III output level is +24 while the FET II can be as high as +30. The FET III and FET II both use an outboard power supply. The unit is fully RoHs compliant. Ultra-flexible and easy to use Fast transparent compression Variable filter in the detector circuit High headroom +24 In and Out Easy to read illuminated VU meters Continuously variable stereo linking Attack 250uS to 64MS Release .5 Sec to auto dual time constant Ratios from 1.5:1 to 20:1

dbx 266xs Compressor/Gate $149.95 The dbx 266xs Compressor/Gate is the latest in a long line of the world's most successful compressors from the inventors of the technology. Its patented Overeasy compression technology provides smooth and musical performance while the AutoDynamic attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 266xs can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1/4" TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches. Adding a dbx 266xs Compressor/Limiter/Gate to your live sound rig or studio gives you more dynamic control to help create a more polished, professional sound. Having compression in your audio chain gives you the ability to smooth out uneven levels, add sustain to guitars and fatten up your drums. It also makes it easy to bring vocals to the front of your mix adding greater clarity and making them stand out from the surrounding instruments Error proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes New gate timing algorithms ensure the smoothest release characteristics Program-adaptive expander/gates Great sounding dynamics control for any type of program material Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup Stereo or dual-mono operation Balanced inputs and outputs on 1/4" TRS and XLR connectors Side Chain insert Classic dbx "Auto" mode

Dbx 266Xs Compressor/Gate $149.95 The dbx 266xs Compressor/Gate is the latest in a long line of the world's most successful compressors from the inventors of the technology. Its patented Overeasy compression technology provides smooth and musical performance while the AutoDynamic attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 266xs can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1/4" TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches. Adding a dbx 266xs Compressor/Limiter/Gate to your live sound rig or studio gives you more dynamic control to help create a more polished, professional sound. Having compression in your audio chain gives you the ability to smooth out uneven levels, add sustain to guitars and fatten up your drums. It also makes it easy to bring vocals to the front of your mix adding greater clarity and making them stand out from the surrounding instruments Error proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes New gate timing algorithms ensure the smoothest release characteristics Program-adaptive expander/gates Great sounding dynamics control for any type of program material Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup Stereo or dual-mono operation Balanced inputs and outputs on 1/4" TRS and XLR connectors Side Chain insert Classic dbx "Auto" mode

Drawmer Dl241 Auto Compressor $725 The Drawmer DL241 Dual Channel 'Auto-Compressor' highlights the beginning of a new generation of dynamic processors which set new standards of sonic excellence. Its combination of features, displays and well designed control functions make it an outstanding product for a vast range of broadcast, sound reinforcement, and recording applications. The DL241 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance. Facilities available on the DL241 include: Expander/Gate. Drawmer's unique "Programmed Adaptive Expansion" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position._Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Compressor. A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression. Peak Level. 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment. 'Zero Response Time' means that the DL241 provides c

Wolo Turbo Compressor and Extended Tank System $239.95 The Turbo Compressor and Extended Tank System is designed for use with the Cannon Ball Express and Orient Express Train Horns or any high-pressure horns that require an onboard air system. Will sound the train horns for ten(10) seconds of continuous sound. Designed with a special extended, 5.5 liter tank and a heavy duty, high volume compressor. The Turbo Compressor and Extended Tank System is a simple 2-piece air supply system consisting of a metal storage tank, compressor, 10 ft. of ?" air hose, brass fittings and mounting hardware. The compressor has heavy rubber bushings in its mounting base to maintain balance and virtually eliminate all vibration and the tank has a built-in pressure regulator to maintain 110 psi in the tank.

Avalon VT-747SP Stereo Compressor EQ $2229.49 The Avalon VT-747SP Stereo Compressor"EQ lets you choose between tube tone and the classic Class A discrete transistor sound. Ideal for high-performance DAW input signal conditioning, stereo bus compression-EQ, stereo keyboards, and analog mastering applications. This Avalon Compressor combines a stereo tube-discrete Class A opto-compressor with musical 6-band program EQ, L-R output level and gain reduction metering, and internal regulated power supplies. All in just 2 rackspaces.Stereo Class A 6-band discrete passive program EQ TSP twin signal path, vacuum tube bypass Low noise -92dB Fully balanced Class A input and DC coupled outputs Stereo dynamic 60dB high resolution output meters High-quality analog VU meter for gain reduction High headroom +36dB input before overload Spectral side-chain monitor for pre listen EQ pre-post selection for opto-compressor Sealed silver relays for all signal routing Internal discrete regulated power supplies Military spec vacuum tubes for long life and low noise

Avalon Vt-747Sp Stereo Compressor Eq $2449.99 The Avalon VT-747SP Stereo Compressor"EQ lets you choose between tube tone and the classic Class A discrete transistor sound. Ideal for high-performance DAW input signal conditioning, stereo bus compression-EQ, stereo keyboards, and analog mastering applications. This Avalon Compressor combines a stereo tube-discrete Class A opto-compressor with musical 6-band program EQ, L-R output level and gain reduction metering, and internal regulated power supplies. All in just 2 rackspaces.Stereo Class A 6-band discrete passive program EQ TSP twin signal path, vacuum tube bypass Low noise -92dB Fully balanced Class A input and DC coupled outputs Stereo dynamic 60dB high resolution output meters High-quality analog VU meter for gain reduction High headroom +36dB input before overload Spectral side-chain monitor for pre listen EQ pre-post selection for opto-compressor Sealed silver relays for all signal routing Internal discrete regulated power supplies Military spec vacuum tubes for long life and low noise

Bbe Maxcom Dual-Channel Compressor $199.99 Much more than a high-quality compressor/limiter, the BBE MaxCom Dual-Channel Compressor is the first signal processor of its kind to feature an onboard BBE Sonic Maximizer for enhanced clarity and definition. Both its compression and gating provide versatility and excellent sonic performance without producing undesirable processing artifacts. Includes 2 independent, full-featured compressor/limiters, with each channel having independent controls for Threshold, Compression Ratio, Attack Time, and Release Time. The stereo link allows for phase-coherent tracking of stereo signals and adjustment from the Channel One controls. Comprehensive metering is achieved via dual bar graph meters on each channel that indicate Input Level and Gain Reduction. Its intuitive design makes the BBE MaxCom easy to operate.The BBE Process--"What it Is"Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficulties cause such major phase and amplitude distortion that the sound reproduced by the speaker differs significantly from the sound produced by the original source.In the past, these problems proved unsolvable and were thus relegated to a position of secondary importance in audio system design. However, phase and amplitude integrity is essential to accurate sound reproduction. Research shows that the information which the listener translates into the recognizable characteristics of a live performance are intimately tied into complex time and amplitude relationships between the fundamental and harmonic components of a given musical note or sound. These relationships define a sound's "sound".When these complex relationships pass through a speaker, the proper order is lost. The higher frequencies are delayed. A lower frequency may reach the listener's ear first or perhaps simultaneously with that of a higher frequency. In some cases, the fundamental components may be so time-shifted that they reach the listener's ear ahead of some or all of the harmonic components.This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called "envelope distortion." The listener perceives this loss of sound integrity in the reproduced sound as "muddy" and "smeared." In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet.BBE Sound, Inc. conducted extensive studies of numerous speaker systems over a ten year period. With this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the corrections necessary to return the fundamental and harmonic frequency structures to their correct order. While there are differences among various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkably consistent.The BBE Process is so unique that 42 patents have been awarded by the U.S. Patent Office.2 channel compressor/expander unit with ga

Solid State Logic Xlogic G Series Compressor $3495 Do you know the secret of how to give your mixes that finished record sound that you've heard on professional recordings for over twenty years? We do — and now so will you. It's the center console stereo bus compressor from the Solid State Logic SL 4000 G Series console, the world's most successful studio production console. Can't afford the $500K price tag? Not to worry, SSL has taken the G Series center compressor, racked it, and added their latest SuperAnalogue design topology, to bring you the XLogic G Series Compressor. The ability to 'patch' into the SL 4000's center compressor, and also control its sidechain from an internal sub-mix, allowed engineers to discover the amazingly unique qualities of this compressor for use on instruments like piano and drums, as well as its classic mix-finalizing capabilities. As a result, the center compressor was considered to be an essential tool by recording professionals, which created demand for a rackmountable unit, and thankfully, SSL responded. The XLogic G Series Compressor is a 1-space rack mounting stereo compressor that utilizes the classic SSL G Series center compressor design elements within a SuperAnalogue design topology. It is the latest version of the same compressor found in the Solid-State Logic SL 4000, and it uses the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides spectacular audio performance with universally acclaimed audio compression characteristics that have provided numerous hit mixes for the world's best audio engineers. A key element in the sound of many of these recordings is punch and drive created by the classic G-series center compressor — but we don't have to try to tell you what the G Series Compressor sounds like 'cause you've already heard it. All you need to know is that if you strap one across the stereo bus of your DAW or console, you'll have it too.

Blanket $10 Blanket

Steinberg Rnd Portico 5043 Compressor $499.99 The Rupert Neve Designs Portico 5043 is a high-end compressor that brings the legendary Neve sound to the world of digital music production. Incorporating Yamahas VCM technology, this plug-in exactly reproduces the analog punch, warmth and clarity of the hardware original.Five parameters for exceptional soundFollowing the hardware equivalent, the Portico 5043 houses five essential parameters: Threshold, Ratio, Attack, Release and Gain. A minimalistic approach, that allows to focus purely on the sound that needs to be processed. Thanks to VCM technology, the depth and sonic character of Rupert Neves analog sound is directly transformed into the digital recording environment without the need to deal with dozens of parameters to get that signature sound.Feed-Forward and Feed-Back compressionThe Portico 5043 features two working modes: Feed-Forward and Feed-Back compression. These modes provide two entirely different compression characteristics to choose from. While the Feed-Back mode is more musical and sweeter, the Feed-Forward mode works with even greater accuracy.Optical feedbackThe compressor also includes two virtual LED metering displays, showing the level of the input signal as well as the amount of gain reduction. Another virtual signal LED shows whether a signal is currently processed or not.Compatible with industry standardsThe Rupert Neve Designs Portico 5043 is available in VST 3, VST 2.4 and AU plug-in format, allowing for multi-instance use with digital audio workstations such as Cubase, Nuendo, WaveLab and Logic. NOTE: The USB-eLicenser required to run this product is not included. Customers who do not own an USB-eLicenser must purchase one separately. The same USB-eLicenser copy protection device is then used for all Steinberg products that require it.High-quality compressor with input and gain reduction meteringFeed-Forward and Feed-Back mode for two entirely different compression characteristicsBased on the widely-acclaimed Portico 5043 Compressor / Limiter DuoVCM technology for the exact reproduction of the hardware originalExclusively approved by Rupert NeveAvailable in VST 3, VST 2.4 and AU format for multi-instance use within DAW hosts like Cubase or Nuendo

Keeley Compressor Guitar Effect Pedal $229 The Keeley Compressor pedal is built using tone-tested components and true bypass switching for a clean, unaffected sound when the pedal is off. Metal film resistors and capacitors ensure the cleanest compressor on the market. Hand-matched transistors to less than 1% tolerance ensures you get a perfectly compressed signal, no chance for unwanted distortions.The Keeley Compressor is the new standard for guitar compression. It won the Editor's Pick Award from Guitar Player Magazine and, most recently, the Reader's Choice Award for the stompbox category. It features an internal attack control to make it suitable for high-output active basses. It also features an input sensitivity control which allows it to be used in the studio for keyboards, drum machines, for mastering, and other line-level uses.Low current draw, just 5mA. Uses a standard 9V DC battery and has an AC adapter connection.Its transistors are matched for gain (Hfe) within 1%True bypassMetal film resistors and capacitorsInternal attack controlInput sensitivity control which allows it to be used with line level sources

BBE MaxCom Dual-Channel Compressor $199.99 Much more than a high-quality compressor/limiter, the BBE MaxCom Dual-Channel Compressor is the first signal processor of its kind to feature an onboard BBE Sonic Maximizer for enhanced clarity and definition. Both its compression and gating provide versatility and excellent sonic performance without producing undesirable processing artifacts. Includes 2 independent, full-featured compressor/limiters, with each channel having independent controls for Threshold, Compression Ratio, Attack Time, and Release Time. The stereo link allows for phase-coherent tracking of stereo signals and adjustment from the Channel One controls. Comprehensive metering is achieved via dual bar graph meters on each channel that indicate Input Level and Gain Reduction. Its intuitive design makes the BBE MaxCom easy to operate.The BBE Process--"What it Is"Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficulties cause such major phase and amplitude distortion that the sound reproduced by the speaker differs significantly from the sound produced by the original source.In the past, these problems proved unsolvable and were thus relegated to a position of secondary importance in audio system design. However, phase and amplitude integrity is essential to accurate sound reproduction. Research shows that the information which the listener translates into the recognizable characteristics of a live performance are intimately tied into complex time and amplitude relationships between the fundamental and harmonic components of a given musical note or sound. These relationships define a sound's "sound".When these complex relationships pass through a speaker, the proper order is lost. The higher frequencies are delayed. A lower frequency may reach the listener's ear first or perhaps simultaneously with that of a higher frequency. In some cases, the fundamental components may be so time-shifted that they reach the listener's ear ahead of some or all of the harmonic components.This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called "envelope distortion." The listener perceives this loss of sound integrity in the reproduced sound as "muddy" and "smeared." In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet.BBE Sound, Inc. conducted extensive studies of numerous speaker systems over a ten year period. With this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the corrections necessary to return the fundamental and harmonic frequency structures to their correct order. While there are differences among various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkably consistent.The BBE Process is so unique that 42 patents have been award

D.W. Fearn Vt-7 Stereo Compressor $4800 The D.W. Fearn VT-7 Stereo Compressor has an all Class-A vacuum tube audio path, like all Fearn audio 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 Compressor 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. The VT-7 is equally adept in tracking as well as a bus compressor. Even jazz and classical tracks can be sent through the VT-7 for some mild gain control without obvious effect other than a significant improvement in the overall sound of the mix. Design Philosophy Like all D.W. Fearn products, the VT-7 stereo compressor is a no-compromise design. From the quarter-inch thick front panel painted with the finest polyurethane finishes to the choice of all components and controls, the VT-7 is built to look as great as it sounds. Fearn build products that last, so they use parts with superior durability and longevity. Fearn products are hand-built by craftsman, one at a time, in the USA. Important Note: Having many tubes, the VT-7 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling. History of the VT-7 Compression Amplifier Compression (or limiting) is sometimes seen as a necessary evil in the recording process. Often it is used to compensate for less than optimum performance or recording technique. However, when used appropriately, there is no question that good-sounding compression can add loudness, power, and improved impact to a recording. Over many years of recording, I have had the opportunity to use and sometimes own some of the best compressors in the world. For the D.W. Fearn line of products, a compressor was obviously important. I began the search for the ultimate compressor design in 1995 and it wasn't until 2004 that I developed the sound I was looking for. There are several ways to achieve compression, and all ha

Elysia Xpressor 500 Stereo Compressor $999 The elysia xpressor 500 is an extremely versatile stereo compressor available in 500-series format. With its many unique features taken from Elysia's flagship products, you not only get great compression, but an amount of control on processing which is hardly ever experienced elsewhere. No matter if you want set-and-forget, or to delve deep into the secrets of compression, the xpressor 500 is for you. Its discrete audio path running in constant class-A mode provides superior audio quality, which combines a clear and open sound with a lot of punch. Stereo bus compression, processing single signals, approaching dynamics in creative ways - the xpressor 500 shines in all applications. Discrete Class A Topology A true elysia specialty, the audio path of the xpressor 500 is completely based on discrete circuitry and does not use any integrated circuits at all to color the signal path. Its entire audio path is a new design based on the exclusive use of high-grade discrete components. A truly unique recipe. In addition, it operates in permanent class A mode. This means that the transistors are always conductive, resulting in the absence of crossover distortion, providing a pristine sonic base; the general sound character is always wide, open and punchy. Auto Fast Inspired by Elysia's flagship compressors: Auto Fast enables you to set the perfect attack. It's a switchable, semi-automated attack based on the value you set by ear. However, sometimes one setting doesn't always work based on changes in the program material. For example, if a very short attack time is chosen, the compressor can catch the short peaks, but the sustaining signal will also be processed, which might result in audible distortion. Longer settings reduce distortion significantly, but then the compressor is set too slow for catching fast impulses. That's where Auto Fast comes in: For example, if you set the attack to 80ms and then engage the Auto Fast mode, the attack time will be shortened automatically on fast and loud signal impulses. The compressor reduces the signal quickly and prevents it from slipping through. Afterward, the attack time automatically returns to its original setting. In Auto Fast mode the compressor can be very fast, but only when it is really needed. This function influences the attack parameter on short and loud impulses only; in all other cases the original setting of the controller has priority. Log Release This alternative characteristic of the release curve follows a logarithmic course instead of the standard linear function, resulting in a very gentle compression. Since it's difficult to achieve perfect results on different material with only one type of release curve, the xpressor 500 offers two different options to chose from: logarithmic and linear. In logarithmic release mode, the time constant shortens when the amount of gain reduction increases. The advantage is that short and loud peaks (e.g. drums) have a fast release time, while the remaini

Golden Age Project COMP-54 Compressor $399.99 The Golden Age COMP-54 is a one-channel vintage-style compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor thatwas designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens and EMI used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.About Golden Age ProjectAffordable vintage-style recording equipmentGolden Age Music is a Swedish company with almost 20 years of experience in the high-end audio field. Golden Age Project started as a small complementary business to Golden Age Music's huge catalogue of high-end audio gear. Golden Age wanted to reach out to everyone interested in vintage style audio recording, not just the pro clique. GA thought that with the knowledge of their technical crew and long-time experience in the field, they could create a brand of affordable mics and outboard for everyone!Vintage-style electronicsBased on classic diode-bridge designsTransformer-balanced I/OTransformer upgrade (Carnhill) availableFlexible control of Ratio, Attack and ReleaseStepped controls (except Gain make-up) for repeatabilityThree selectable Sidechain filter frequenciesSeparate Bypass and Compression In/Out switchesMeter selectable for Output and Gain ReductionLink two units for stereo operationSeparate input/output XLR and TRS jacks for flexible connectionBack-panel switch for 600 ohm termination.External power power supply to avoid interaction with the audio circuitry and transformers.Great sound that suits most sound sources and genresSolid build quality that will last through years of use

Golden Age Project Comp-54 Compressor $399.99 The Golden Age COMP-54 is a one-channel vintage-style compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor thatwas designed in 1969. It quickly became a legend due to its totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens and EMI used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.About Golden Age ProjectAffordable vintage-style recording equipmentGolden Age Music is a Swedish company with almost 20 years of experience in the high-end audio field. Golden Age Project started as a small complementary business to Golden Age Music's huge catalogue of high-end audio gear. Golden Age wanted to reach out to everyone interested in vintage style audio recording, not just the pro clique. GA thought that with the knowledge of their technical crew and long-time experience in the field, they could create a brand of affordable mics and outboard for everyone!Vintage-style electronicsBased on classic diode-bridge designsTransformer-balanced I/OTransformer upgrade (Carnhill) availableFlexible control of Ratio, Attack and ReleaseStepped controls (except Gain make-up) for repeatabilityThree selectable Sidechain filter frequenciesSeparate Bypass and Compression In/Out switchesMeter selectable for Output and Gain ReductionLink two units for stereo operationSeparate input/output XLR and TRS jacks for flexible connectionBack-panel switch for 600 ohm termination.External power power supply to avoid interaction with the audio circuitry and transformers.Great sound that suits most sound sources and genresSolid build quality that will last through years of use