Sirsalliyan Small Air Compressor

Music Compressor

What is a Multiband Compressor?

Also known as MB or MBC.

These divide the incoming audio signal into multiple bands, with each band being compressed independently from the other.

The beauty of this is that with full band compressors, that we have been discussing till now, the whole signal is treated, so when a peak is detected, the whole signal is compressed and so other frequencies are also subject to compression.

Multiband compression only compresses the frequency bands chosen, so a more fluid and less abrupt result is gained. Instead of having one peak trigger the compressor into compressing the entire signal, the multiband allows for individual bands to be compressed.

On some compressors, you even have the option of selecting bands that will not undergo any treatment.

In essence, a multi-band compressor comprises a set of filters that splits the audio signal into two or more frequency bands.

After passing through the filters, each frequency band is fed into its own compressor, after which the signals are recombined at the output.

The main advantage of multi-band compression is that a loud event in one frequency band won't trigger gain reduction in the other bands.

Another feature of the multiband compressor is that you are offered crossover points. This is crucial, as you are given control over where to place the frequency band. Setting these crossover points is the heart of the compressor and crucial in processing the right frequency spectrum with the right settings.

For example: if you are treating the vocals in the mid range but put your low end crossover too far into the middle range, then the low end compression settings will also affect the mid range vocals.

Multiband  compression can either be a friend or enemy. It all comes down to how you use it and when. It can be a great compressor for controlling problematic frequencies, or for boosting certain ranges in isolation to others.

Use with care!

Excerpt taken from Mixing Simplified.

Eddie Bazil (Zukan)

www.samplecraze.com

About the Author

Eddie Bazil is very well known in the music industry and has been associated with bands, labels, studios, and teaching institutions.

As a member of MCPS, and having material released through a number of other publishing houses, Eddie's works have extended to the global markets.

http://www.samplecraze.com/page.php?xPage=about.html

Daking FET Compressor/Limiter $1445 The Daking FET 2 Compressor/Limiter is one of the best-sounding compressors around (because you don't hear it workingnone of the bad artifacts of compression, just the good), the Daking FET is designed to give you transparent performance along with the compression characteristics of highly sought-after vintage compressors well, stellar classics actually including the Neve 33609, Audio & Design Recording Compex*, and the venerable Fairchild 670. Note: The FET 2 is a single-channel compressor. However, for excellent stereo bus compression reminiscent of Neve, Fairchild, or ADR, two can be linked in stereo via a simple 1/4" -1/4" cable. Build quality The versatile Daking FET 2 Compressor/Limiter uses all-discrete transistor Class A circuits, the best transformers available, printed circuit board mounted switches and pots, and custom low distortion inductors. There is no audio in the mute, bypass, phase or pad switches. These functions are accomplished by relays with bifurcated gold contacts. Signal capacitors are precision polypropylene or ultra low-leakage electrolytic types. Circuit boards are assembled on a mil-spec assembly line. Only through-hole construction, not surface mount, is used to ensure long-term reliability and serviceability. The chassis are stainless steel for maximum RF and hum rejection and long-lasting finish. The faceplates are laminated with 10mil polycarbonate with the silk screening on the back so that the printing can never rub off. Every unit is hand finished, tested, burned in, and tested again. Also, Daking just couldn't stand to use plastic knobs, so they designed massive anodized, engraved aluminum knobs that give a much more precise and quality feel. * While Neve and Fairchild are more commonly known names in the recording industry, whose compressors have been used on countless classic and modern records for decades, Audio and Designs Recording is more of an insider's legend. ADR (Audio & Design Recording) is a British company that that made signal-processing gear in the '70s including compressors; one of which, the Compex F760FX, had a unique way of adding punch to drums. And of all the vintage compressors, is spoken about most highly in that regard. One version of the ADR compressor, the Vocal Stressor) was reputedly used on John Bonham's drums. Records such as the Knack's "My Sharonna," and albums by The Sweet, Pat Benatar (first album) had the Compex used in several roles. According to engineers who've used the original Compex, the Daking FET compressor does a fine job of providing the Compex punch. Channel Strips of the Stars: Ted Perlman Ted Perlman, renowned Grammy-winning producer, musician, arranger, engineer, and programmer, has a resume that reads like a who's who of popular music. His credits include Bob Dylan, Chicago, Burt Bacharach, Elton John, Dave Mason, Brian Wilson, Carole King, Albert Hammond, Jr. (The Strokes), Desmond Child, Young M.C., Dolly Parton, and the list goes on. Ted was kind

Daking Fet Compressor/Limiter $1445 The Daking FET 2 Compressor/Limiter is one of the best-sounding compressors around (because you don't hear it workingnone of the bad artifacts of compression, just the good), the Daking FET is designed to give you transparent performance along with the compression characteristics of highly sought-after vintage compressors well, stellar classics actually including the Neve 33609, Audio & Design Recording Compex*, and the venerable Fairchild 670. Note: The FET 2 is a single-channel compressor. However, for excellent stereo bus compression reminiscent of Neve, Fairchild, or ADR, two can be linked in stereo via a simple 1/4" -1/4" cable. Build quality The versatile Daking FET 2 Compressor/Limiter uses all-discrete transistor Class A circuits, the best transformers available, printed circuit board mounted switches and pots, and custom low distortion inductors. There is no audio in the mute, bypass, phase or pad switches. These functions are accomplished by relays with bifurcated gold contacts. Signal capacitors are precision polypropylene or ultra low-leakage electrolytic types. Circuit boards are assembled on a mil-spec assembly line. Only through-hole construction, not surface mount, is used to ensure long-term reliability and serviceability. The chassis are stainless steel for maximum RF and hum rejection and long-lasting finish. The faceplates are laminated with 10mil polycarbonate with the silk screening on the back so that the printing can never rub off. Every unit is hand finished, tested, burned in, and tested again. Also, Daking just couldn't stand to use plastic knobs, so they designed massive anodized, engraved aluminum knobs that give a much more precise and quality feel. * While Neve and Fairchild are more commonly known names in the recording industry, whose compressors have been used on countless classic and modern records for decades, Audio and Designs Recording is more of an insider's legend. ADR (Audio & Design Recording) is a British company that that made signal-processing gear in the '70s including compressors; one of which, the Compex F760FX, had a unique way of adding punch to drums. And of all the vintage compressors, is spoken about most highly in that regard. One version of the ADR compressor, the Vocal Stressor) was reputedly used on John Bonham's drums. Records such as the Knack's "My Sharonna," and albums by The Sweet, Pat Benatar (first album) had the Compex used in several roles. According to engineers who've used the original Compex, the Daking FET compressor does a fine job of providing the Compex punch. Channel Strips of the Stars: Ted Perlman Ted Perlman, renowned Grammy-winning producer, musician, arranger, engineer, and programmer, has a resume that reads like a who's who of popular music. His credits include Bob Dylan, Chicago, Burt Bacharach, Elton John, Dave Mason, Brian Wilson, Carole King, Albert Hammond, Jr. (The Strokes), Desmond Child, Young M.C., Dolly Parton, and the list goes on. Ted was kind

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

Used Daking Fet Compressor/Limiter $1314.95 The Daking FET 2 Compressor/Limiter is one of the best-sounding compressors around (because you don't hear it workingnone of the bad artifacts of compression, just the good), the Daking FET is designed to give you transparent performance along with the compression characteristics of highly sought-after vintage compressors well, stellar classics actually including the Neve 33609, Audio & Design Recording Compex*, and the venerable Fairchild 670. Note: The FET 2 is a single-channel compressor. However, for excellent stereo bus compression reminiscent of Neve, Fairchild, or ADR, two can be linked in stereo via a simple 1/4" -1/4" cable. Build quality The versatile Daking FET 2 Compressor/Limiter uses all-discrete transistor Class A circuits, the best transformers available, printed circuit board mounted switches and pots, and custom low distortion inductors. There is no audio in the mute, bypass, phase or pad switches. These functions are accomplished by relays with bifurcated gold contacts. Signal capacitors are precision polypropylene or ultra low-leakage electrolytic types. Circuit boards are assembled on a mil-spec assembly line. Only through-hole construction, not surface mount, is used to ensure long-term reliability and serviceability. The chassis are stainless steel for maximum RF and hum rejection and long-lasting finish. The faceplates are laminated with 10mil polycarbonate with the silk screening on the back so that the printing can never rub off. Every unit is hand finished, tested, burned in, and tested again. Also, Daking just couldn't stand to use plastic knobs, so they designed massive anodized, engraved aluminum knobs that give a much more precise and quality feel. * While Neve and Fairchild are more commonly known names in the recording industry, whose compressors have been used on countless classic and modern records for decades, Audio and Designs Recording is more of an insider's legend. ADR (Audio & Design Recording) is a British company that that made signal-processing gear in the '70s including compressors; one of which, the Compex F760FX, had a unique way of adding punch to drums. And of all the vintage compressors, is spoken about most highly in that regard. One version of the ADR compressor, the Vocal Stressor) was reputedly used on John Bonham's drums. Records such as the Knack's "My Sharonna," and albums by The Sweet, Pat Benatar (first album) had the Compex used in several roles. According to engineers who've used the original Compex, the Daking FET compressor does a fine job of providing the Compex punch. Channel Strips of the Stars: Ted Perlman Ted Perlman, renowned Grammy-winning producer, musician, arranger, engineer, and programmer, has a resume that reads like a who's who of popular music. His credits include Bob Dylan, Chicago, Burt Bacharach, Elton John, Dave Mason, Brian Wilson, Carole King, Albert Hammond, Jr. (The Strokes), Desmond Child, Young M.C., Dolly Parton, and the list goes on. Ted was kind

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

Keeley 4-Knob Compressor Guitar Effects Pedal $259 Keeley's most popular pedal, the Keeley compressor has become an industry standard for stomp box compression. The sound will inspire, and your music will flow freelyjust plug the compressor pedal in and let your head, heart, and fingers fly. The sound quality of the Keeley compressor is rarely heard in the stompbox arena and is only seen in very expensive rackmount or tube equipment.It is a true audiophile and studio-grade compressor, with exotic rackmount-quality in a stomp box. The Keeley compressor pedal ships with the 9V DC jack at the top end of the guitar pedal and use the same type of power supply used by nearly all guitar effect manufacturers.Internal Attack ControlThe compressor pedal has an Internal Attack control, designed for bass players with high-output active pickups or active pedal boards with buffers. Sensitivity ControlThe Keeley compressor pedal also has an Input Sensitivity Control, meaning you can use this in your studio to run keyboards, drum machines, drum mics, even master recordings and other line-level uses. You'll raise your signal to a new level of sonic awesomeness. True bypass switching circuitTrue bypass means that when the effect is off your guitar tone will not be affected at all. The true bypass circuit makes sure you have absolutely no tone loss or signal reduction through the compressor pedal in the off/bypass mode.Triple-pole double-throw switchThis switch makes sure you have absolutely no tone loss or signal reduction through the Keeley 4-knob compressor even in the off mode. Other compressors use a cheap switch and design that runs down your signal even when off or if the battery goes weak.The Sustain ControlThe 9 O'clock position should be barely noticeable. It will just take out really loud sudden peaks, this is great for protecting your speakers and the like. The 12 O'clock position provides the right presence for using the Keeley compressor pedal continuously while performing. The 3 O'clock position is great for solos. It really adds some cool effects to your playing dynamics. Only when really cranked do you get the pluck sound of your pick emphasized.Tone-tested componentsThe Keeley compressor effect has nothing but tone-tested components and has true bypass switching. Effect switching incorporates a triple pole-double throw switch. You will have clean unaffected sound when in the bypass mode, with an LED for effect indication. Metal film resistors and capacitors ensure the cleanest compressor on the market. Hand matched transistors to less than 1% tolerance ensure you get a perfectly compressed signal, no chance for unwanted distortions. For those wanting a better tone than that of Trey Anastasio from Phish or David Gilmore of Pink Floyd or the Edge of U2 this is it.Power supplyThe DC jack is the standard type fitting just about every power supply out there. The Voodoo Labs Pedal Power, MXR DC Brick, Boss, Ibanez, etc. power supplies work perfectly with the compressorKeeley's compressors are completely

Aphex Punch Factory Optical Compressor Effects Pedal $199 The Punch Factory takes Aphex's legendary optical technology - normally only found in expensive rack-mounted studio gear - and puts it at your feet and into your live performance. It's one of the most transparent, uncolored compressions you can find at any price.Punch Factory levels out volume peaks and dips, maintaining a consistent level within your mix. Quiet passages no longer get lost, and louder passages don't overpower. All without the pumping, "breathing" artifacts commonly found in most compressor pedals. The new Punch Factory has something that most other optical compressors don't havea Ratio Control. This allows changing the amount of compression without overtly affecting the level.If you're familiar with the sound of a high-quality studio compressor, you'll know what to expect from the Punch Factory.Aphex Optical ElementThe optical element used in the Punch Factory is engineered by Aphex to provide unique characteristics that are ideal for musical instrument compression - few other optical compressors sound this good because Aphex doesn't settle for off-the-shelf, conventional optical elements.Benefits for Your ToneWhen used well, a proper compressor will extend the sensitivity of an instrument, bringing up the tonal nuances that contain the sensuality of your music. That goes just as well for basses as guitars. Your music will be more consistent, filling the volume envelope more fatly, making the track stand out better in a mix. Similarly, in live music, you will fill better and your playing will be more apparent among the band.SustainTypically, compression gathers more sustain. When you play, you hear the notes last longer because the compressor keeps raising the level automatically until it runs out of gain. Every time you hit a chord or note, the compressor "attacks" on the sound envelope and reduces its volume, then the volume "releases" back up as the sound dies out.PunchConventional compressors attack at different rates. Too fast an attack will suck the life out of your music while too slow loses effectiveness. The Aphex Punch Factory has a complex attack characteristic that adapts to the sound, letting it emerge enhanced, or subtly exaggerated. This creates "Punch", aiding the articulation of the sound and creating a lush and full sound.Ideal for musical instrument compressionExtends sensitivity, bringing up tonal nuancesIncreases sustainAdds punch and articulationCreates a more lush and full sound

Drawmer 1960 Mic Pre/Tube Compressor 889406476844 $1125 Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

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

Drawmer 1960 Mic Pre/Tube Compressor $2250 Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

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

Softube FET Compressor TDM Plug-In Software $249.99 The Softube FET Compressor plug-in is not your run-of-the-mill modeled compressor. When creating FET Compressor, Softube set out to make the most accurate digital emulation of the most famous solid state compressor. Instead of modeling individual features and putting them together digitally they modeled the unit in its entirety: input and output stages, gain reduction feedback loops, bias differences of different transistors, etc. Many modeled compressors are nothing more than futile attempts to get an off-the-shelf algorithm to match its hardware counterpart by tweaking a few parameters like the knee and attack/release times. But anyone who has worked with hardware compressors knows that there must be more to it. The heritage of analog compressors very much showcases the history of electronics in the previous century. It's the deficiencies of the different designs and components that give each unit its unique character, and what started out as technical limitations have now become sought-after sounds. Simply approximating the most apparent features is not enough to capture this uniqueness. It takes a model of great complexity and accuracy to make a digital replica sound like the original with all settings and inputs. The engineers at Softube think their hard work has paid off, and feel you'll get the same positive response as Scott Spock, a producer/songwriter (a member of "The Matrix" Grammy-winning production team) who said, "I had a chance to thoroughly try out the FET Compressor and I have to say that I am thoroughly IMPRESSED."ControlsContinuous RatioUnlike its hardware predecessor, the FET Compressor has a fully variable ratio. But if you prefer the old standard way (with fixed ratios), just click the labels and you're ready to go. This even includes the "All Buttons In" mode.Parallel CompressionWith the FET Compressor you can work with parallel compression from within the plug-in. Since the "Dry" signal also spent some time inside the algorithms, it's of course influenced by all that analog modeling mojolike the subtle distortion from the input and output stages.Super Fast AttackThe Super Fast Attack is faster than you can think of. Even faster than a single sample. And if that's not fast enough for you, use the lookahead to make it super-duper fast.Attack: 20 microsecs - 0.8 msRelease: 50 ms - about a secondDetector ControlsIn addition to its hardware counterpart, Softube added a couple of other useful features:External side chain supportLow and High-cut filters for the detectorDetector lookaheadAnd the ability to leave them in their off positionEnhanced MeteringTwo modeled (and beautifully rendered) VU meters dance with the music, and a stereo peak meter lets you contro

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 Compressor Stereo Pair $2700 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. Its most probable uses 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 Distressor as will be the case with all Empirical Labs products.Besides offering a wide range of control and unique features, the EL8 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 SchmidtAlanis MorrisetteAngela Piva - Mary J Blige, Naughty by Nature, Janet JacksonAshes dIvide Billy HowerdelBi

Used Golden Age Project Comp-54 Compressor $363.99 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

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Steinberg Rnd Portico 5033 Eq/5043 Compressor Bundle $799.99 RND Portico 5033 EQThe Rupert Neve Designs Portico 5033 is a high-quality 5-band parametrical equalizer that brings the legendary Neve sound to the world of digital music production. Utilizing Yamahas unique VCM technology, this plug-in exactly reproduces the analog warmth and sonic finesse of its acclaimed hardware counterpart.Three full parametric EQ bands with superior precisionThe EQ includes three full parametrical bands: low-mid frequency, mid-frequency and high-mid frequency. Each band comes with adjustable filter-width, frequency selection and +/- 12 dB gain control for shaping the sound character with superior precision. Plus, one low-shelf and a high-shelf filter with frequency adjustment and +/- 12dB gain control allow to cut or boost high and low frequencies. By doing so, the VCM technology ensures that the behavior of the hardware and software model is exactly the same.Apart from the low-shelf filter, each band also includes a virtual status LED, showing whether a signal is currently processed in the respective band or not. Whats more, the Portico 5033 provides an option to bypass all bands for quick A/B checks, and the TRIM knob allows an adjustment of +/- 12 dB for the entire audio signal.The digital advantageIn the graphic EQ curve representation each band holds its own parameter point, which allows for simple and efficient manipulation of the frequency and gain values by moving the respective point with the mouse.Compatible with industry standardsSupporting todays industry standards, the Rupert Neve Designs Portico 5033 is available in VST 3, VST 2.4* and AU plug-in format, allowing for multi-instance use with digital audio applications such as Cubase, Nuendo, WaveLab and Logic.*VST 2.4 is supported on Windows systems onlyRND Portico 5043 CompressorThe 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 we

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).