Compressors - Limiters

O Warm Audio BUS-COMP είναι ένας αναλογικός δικάναλος , στερεοφωνικός VCA κομπρέσορας βασισμένος στα κλασικά κυκλώματα που εξασφαλίζουν μεταξένιο "Smooth Tone" για δεκαετίες.Οι στερεοφωνικοί VCA κομπρέσορες είναι η κορυφαία επιλογή για τον έλεγχο της δυναμικής σε πολλές πηγές, ωστόσο έχουν γίνει ευρέως γνωστοί για το μαγικό τους άγγιγμα που δίνουν άλλο αέρα στα στερεοφωνικά mix.Το BUS-COMP θα αποδίδει καλά σε Stereo Mix , mix τυμπάνων, ακουστικές κιθάρες, πλήκτρα, πιάνο, ορχηστρικά όργανα, φωνητικά και μια σειρά άλλων πηγών. Το BUS-COMP έχει σχεδιαστεί κυρίως για στερεοφωνική χρήση, αλλά μπορεί να χρησιμοποιηθεί εξίσου με επιτυχία και σε μεμονωμένες πηγές.Οι VCA κομπρέσορες αυτού του τύπου έχουν γίνει ευρέως γνωστοί για την ικανότητά τους να ελέγχουν δυναμικά χωρίς Gain, αλλά και για τον πρόσθετο τόνο και το βάθος που προσφέρουν στο σήμα που διέρχεται μέσω αυτών, ακόμα και όταν δεν συμπιέζουν.Μια ματιά στο εσωτερικόΗ επαναδημιουργία της θρυλικής τεχνολογίας συμπιεστών VCA αποτέλεσε το επίκεντρο του σχεδιασμού του BUS-COMP, όμως η προσθήκη επιλογών και βελτιώσεων ήταν εξίσου σημαντική, κατά την ανάπτυξή του. Ένα χαρακτηριστικό που είμαστε περήφανοι είναι η ικανότητα του BUS-COMP να μετατρέπει τους μετασχηματιστές CineMag που έχουν κατασκευαστεί στην Αμερική στη διαδρομή του σήματος, οδηγούμενη από πλήρως διακεκριμένους ενισχυτές. Με ένα πάτημα ενός διακόπτη του μπροστινού πάνελ, αυτοί οι μετασχηματιστές made in USA παρεμβάλλονται στο σήμα παρέχοντας αυξημένο βάθος, τόνο και vibe!Premium ComponentsΌπως συμβαίνει με όλα τα προϊόντα που κατασκευάζουμε στην Warm Audio, το BUS-COMP σχεδιάστηκε με γνώμονα την τιμή. Με τις πιο αποτελεσματικές και σύγχρονες τεχνικές κατασκευής, είμαστε περήφανοι που προσφέρουμε στην αγορά αυτό το προϊόν υψηλής ποιότητας, τον κλασικό κομπρέσορα VCA.Περισσότερα στούντιο από ποτέ θα έχουν τώρα πρόσβαση σε αναλογικής ποιότητας VCA comp.Η επιθυμία μας είναι να ακουστούν όλοι οι μουσικοί με τον τρόπο που θέλουν να ακουστούν και αισθανόμαστε ότι το BUS-COMP είναι το τέλειο εργαλείο για να τελειοποιήσετε κάθε μίξη σας!Τεχνικές προδιαγραφές:VCA COMPRESSORΕπιλογή λειτουργίας με CINEMAG USAHI-PASS Filter : 30, 60, 105, 125, 185 HZΕύκολη επιλογή A/B λειτουργίας για testΜπορεί να χρησιμοποιηθεί σε Stero και Mono πηγέςNoice: + 29DBU, 20HZ - 20KHZDynamic Range:> 120DBFrequency Responce: 18HZ - 22KHZTHD + Noice, 20HZ - 20KHZ, + 20DBU Input:

Premium Name-Brand TubesOne of the key elements of the WA-1B’s sonic signature is analog warmth of the makeup gain. Using premium vacuum tubes, the WA-1B adds rich character after the compression stage to deliver a dynamically-One of the key elements of the WA-1B’s sonic signature is the analog warmth of the makeup gain. Using premium vacuum tubes, the WA-1B adds rich character after the compression stage to deliver a dynamically-balanced signal without sacrificing tone. signal without sacrificing tone.Custom Transformer From Lundahl SwedenWe paired the true-to-spec Scandinavian circuit design with two custom large-core transformers from Lundahl in Sweden. Transformer selection plays a critical role in the rich analog tone and signal transfer that help deliver smooth compression with more control.

O Warm Audio WA-2A θέτει τους στόχους ψηλά. Ο πιο εμβληματικός tube compressor στην ιστορία. Πώς τα καταφέρνει η Warm Audio? Μέσω οικονομίας κλιμακας ώς επι το πλείστον. Δέν κάνει περικοπές σε εξαρτήματα (ο WA-2A χρησιμοποιεί προσαρμοσμένο οπτικό φωτοκύτταρο και γνήσιους Cinemag μετασχηματιστές, κατασκευασμένους στην Αμερική), αλλα οι παραγγελίες του είναι πολλές και οι κατασκευές σε μεγάλη ποσότητα, κάτι το οποίο κρατάει το κόστος χαμηλά.Όπως και η κλασική μονάδα, ο WA-2A προσφέρει απόλυτα διακριτή all-tube διαδρομή σήματος και την ίδια διάταξη των χειριστηρίων. Και ναί, «συγχωρεί» και αναπαράγει τον πολυπόθυτο ζεστό ήχο του αυθεντικού. Ανυψώστε το στούντιό σας στο επόμενο επίπεδο - με τον Warm Audio WA-2A. Τι μπορεί να κάνει ο WA-2A για σάς?Κάθε στούντιο χρειάζεται ένα καλό compressor, και ο Warm Audio WA-2A είναι σχεδιασμένος κατα την «μητέρα» όλων των compressors – τον θρυλικό LA-2A Leveling Amplifier. Με ευφωνικό, υγρό, επιεική και διακριτό ήχο, ο WA-2A είναι η ιδανική συσκευή για τα πάντα . Εξαιρετικός για μπάσο, kick drum, φωνητικά και ότι άλλο σκεφτείτε. Φανταστικός για punchy parallel επεξεργασία σε τύμπανα, και άν αποκτήσετε δύο, οι δυνατότητες είναι πολύ περισσότερες.Εξαιρετική απόδοση – εκπληκτική τιμή.Όταν βασίζεστε στην απόδοση και την ποιότητα, ο WA-2A σας προσφέρει ακριβώς αυτό.Με την εκπληκτική του τιμή, μπορείτε να διπλασιάσετε την αξία και να πάρετε δύο. Με ένα ζεύγος στο rack σας, μπορείτε να κάνετε το στερεο πιάνο, να στέκεται περήφανα στο κομάτι σας. Ζωντανέψτε τα τομ σας και δώστε λίγη απο την mastering μαγεία που προσφέρει ο WA-2A ! ΧαρακτηριστικάΠιστή αναδημιουργία του εμβληματικού ενισχυτή LA-2A σε 2RU chassis.Πλήρως διακριτή, all-tube διαδρομή σήματοςΙστορικά ακριβές 4-tube κύκλωμαΓνήσιοι Cinemag μετασχηματιστές, κατασκευασμένοι στην ΑμερικήΠροσαρμοσμένο οπτικό φωτοκύτταρο 

Optimize Your Audio with the Stereo VitalizerThe SPL Stereo Vitalizer Mk3-T harmonic exciter is an indispensable tool for enhancing your audio. Based on research in the fields of psychoacoustics and audiometry, SPL’s unique, patented Vitalizer circuitry heightens detail and transparency, boosts perceived loudness, and beefs up bass response for powerful, radio-ready mixes that blast right out of the speakers. The key to the Stereo Vitalizer Mk3-T’s sonic magic is that it works both in the frequency and time domains through a series of minimal temporal offsets of loud frequencies. As a result, superimposed audio transients are unmasked to unveil a whole new level of clarity in your mixes. For decades, recording engineers have used subtle harmonic excitement to help elements sit perfectly in the mix. Now, with the SPL Stereo Vitalizer Mk3-T harmonic exciter, you can too.An indispensable sound-design toolSPL's Vitalizer technology is known by engineers worldwide as an effective way to polish audio with highly musical results. Use the Drive control to fine-tune the signal level for precise interaction with the filter network and bring out the best parts of an audio signal. The Stereo Vitalizer Mk3-T is unsurpassed as a sound-design tool. It adapts the frequency spectrum to the curves of equal loudness, heightening the perception of loudness. It can enhance intelligibility in vocals and augment the soundscape of a complete mix — and more. Low frequencies are subtly shifted to prevent them from masking transient details, giving your tracks and mixes more clarity than ever. The integrated Bass Comp focuses on the bass range so you don't overload downstream equipment in your signal chain. So, even if you use the Stereo Vitalizer Mk3-T to bolster your bass tracks, you still have the dynamic control you need to keep signal levels in check.The cure for iron-poor mixesPrevious versions of the Stereo Vitalizer have proved their mettle in top studios for years. Now, the third-generation Stereo Vitalizer Mk3-T ups the ante with a new design that uses a higher internal audio voltage of +/-18V, resulting in enhanced dimensionality and increased detail. Processed through the Vitalizer Mk3-T, you’ll notice your mixes bloom with vitality and richness of detail that makes them more accessible to the ear. They brim with enhanced depth and width, more deeply layered and widely spread apart. Authoritative, natural, and lively-sounding, your mixes will translate better to the world outside your studio, holding up well on real-world playback systems where lackluster mixes go to die. So do your mixes a favor. Energize them with the SPL Stereo Vitalizer Mk3-T.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. After developing proprietary 120V Technology in the ’90s, SPL decided to make this groundbreaking invention the heart of all its high-end products, and this incredibly powerful yet transparent sound has earned many devotees at Sweetwater and beyond. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance. Sweetwater is proud to offer audio professionals SPL’s distinguished lineup of innovative products.

Το Warm Audio WA76 θέτει πολύ υψηλά τον στόχο να ξαναπαρουσιάσειτον πιο δημοφιλή solid-state limiting amplifier στην ιστορία των ηχογραφήσεων τα τελευταία 40 χρόνια. Πως το κάνει αυτό ? Με οικονομίες κλίμακας αγοράζοντας μεγάλες ποσότητες απο εξαρτήματα ώστε να πέσει το κόστος κατασκευής. Δεν υπάρχει όμως καμμία έκπτωση στην ποιότητα κατασκευής και υλικών (π.χ το WA76 κατασκευάζεται με τους περίφημους Cinemag transformers αμερικανικής προέλευσης).Όπως το αυθεντικό μηχάνημα έτσι και το WA 76 είναι σχεδιασμένο με discrete κύκλωμα και τα ίδια κουμπιά ελέγχου. Και ναί έχει την ίδια καταπληκτική συμπεριφορά με το αυθεντικό με όλα τα πλήκτρα πατημένα !(Γνωστό τρίκ στους παλιούς ηχολήπτες !!Κάθε στούντιο χρειάζεται ένα καλό compressor-limiter και το Audio WA76 σχεδιάστηκε πάνω στο δημοφιλέστερο limiter όλων των εποχών.Πολύ γρήγορο και μουσικό με discrete κύκλωμα WA76 μπορεί να χρησιμοποιηθεί για απλό έλεγχο της στάθμης ( όπως σε ηχογραφήσεις φωνών) αλλά και σε τύμπανα, τόμ, πιάνο και μπορεί με δύο συσκευές WA76 να δουλέψει στερεοφωνικά ακόμα και στο σύνολο μιας μίξης. Επίσης είναι καταπληκτικό σε parallel procesing ειδικά στα τύμπανα που δίνει τεράστιο όγκο !Χαρακτηριστικά :Class A line-level output amplifierInspired by the sought-after D revision of the iconic solid-state limiting amplifierCompletely discrete signal pathUtilizes US-made Cinemag input and output transformersSupports the famous all-buttons-in ratio settingUltra-fast attack time; 55db of gainΙnput impedance is 600 ohms, bridges-T control (floating)20Hz to 20kHz (+/-1dB) frequency responseXLR and TRS inputs and outputsLess than 0.4% total harmonic distortion from 50Hz to 20kHz with limitingSignal to noise ratio is greater than 74dB at +25dBmEquivalent input noise (EIN) is -104.1dBmAttack time is 20 microseconds to 800 microsecondsRelease time is 50 milliseconds to 1 secondMeter provides dB gain reduction and dB outputInternal power supply and an external 24-volt AC power transformer (included)2U, 19" rackmount chassis1-year warranty 

Ο Comp-54 mk III είναι ένα πιστό emulation κλασικών compressors. Ο ήχος αυτός είναι γνωστός απο δεκάδες ηχογραφήσεις και ο χαρακτήρας του είναι άμεσα αναγνωρίσιμος. Χρησιμοποιεί μια δίοδο για τον έλεγχο στάθμης μια μέθοδο γνωστή απο vintage υλοποιήσεις όπως Neve, EMI και άλλους κατασκευαστές. Ο Comp-54 mk III δεν χρησιμοποιεί καθόλου IC´s στο σήμα και έχει 3 transformers. Ό έλεγχος γίνεται απο ποτενσιόμετρα με όλες τις απαραίτητες ρυθμίσεις και χρησιμοποιώντας το κουμπί του IN/OUT μπορεί κάποιος να παρακάμψει το στάδιο του compression αλλά να χρησιμοποιεί το χαρακτηριστικό χρώμα του μηχανήματος απο τους transformers και την διακριτή (discrete) σχεδίαση.Το μηχάνημα διαθέτει επίσης Hard Bypass που επιτρέπει το σήμα να περάσει χωρίς καμμία αλλαγή απο την είσοδο στην έξοδο. ¨Ενας LINK connector στην πλάτη του μηχανήματος επιτρέπει την χρήση δύο Comp-54 μαζί για χρήση stereo.

Classic API Compression for the Modern Studio The API 2500+ Stereo Bus Compressor joins the company’s regular lineup, bringing all that formidable dynamics-shaping power to your rack in a sleek, space-saving 1U chassis. The API 2500+ model added a sophisticated Mix/Blend circuit to API’s venerable design coming form the anniversary edition. API’s flagship compressor delivers the inimitable sound of iconic API compression along with unparalleled parametric control. The result is an incredible-sounding, versatile, world-class stereo bus compressor capable of handling any audio production task. Meticulously designed to deliver a broad range of compression options and features not found on most compressors, the API 2500+ delivers warmth, clarity, and punch, whether used for nuanced dynamics control, brick-wall limiting, or anything in between. Parallel compression done right The Mix/Blend circuit found on the API 2500+ does a lot more than the simple wet/dry blend pot found on many modern compressors, giving you the option of either crossfading or parallel mixing of the compressed and uncompressed signals. First of all, the circuit can be hardwire relay bypassed entirely to deliver a purer signal than a standard blend pot simply maxed out to fully “wet” — a feature golden-eared engineers will appreciate. Next, when engaged and set to X (Cross), the Mix control lets you crossfade between fully uncompressed and fully compressed, literally increasing one while decreasing the other. In || (Parallel) mode, the MIX control effectively dials in your desired amount of compressed signal to blend in with the uncompressed signal, which remains constant. In case you’re wondering; trust us — these two active modes do sound and behave differently and you’ll quickly find uses for each. Equip Your Studio with Iconic API Compression If you’re after versatile compression, the API wrote the book. While the 2500+ is set up for stereo compression, you can also use it dual-mono. However you use it, though, you’ll have a range of compression styles to dial in — all highly musical, all incredibly usable. The 2500+ sports API’s patented Thrust circuit, a proprietary loudness contour that packs a powerful punch, imbuing each octave with the same energy (instead of half the energy as the next lowest one, as is the normal state of affairs).The Old/New Tone Type switch lets you choose between classic feedback and modern feed-forward compression styles. Whether you’re using it for drum stems, guitars, bass, vocals, or as a stereo bus compressor to pump up your mixes, the 2500+ delivers the iconic API analog sound and "slam factor" that has been relied on by recording engineers and heard on countless hits for a half century. Simply put: every serious studio needs the API 2500+. Incredibly versatile, highly musical When you choose API, you know you’re getting legendary sonic character. And with the API 2500+, you’ve got a range of character to choose from. To start, the 2500+ is equipped with API’s patented Thrust circuit before its RMS detector, which delivers punchy, old-school low end. There are also two types of compression onboard the API 2500+ — Old and New. The Old style uses the feedback type of compression in which the detector is placed after the VCA (as found on the classic API 525), while the New style uses a feed-forward type for a faster response typical of many popular modern compressors.The API 2500+ is stereo-ready, but sports a variable link between the left and right channels, so you can independently put the channels to work on your mono sources. Whatever way you use it, you’ll appreciate having API’s auto-makeup gain button on the output stage. It lets you vary the API 2500+’s threshold or ratio, while automatically maintaining a consistent output level. Sidechain input for creative ducking Every dynamics processor has a sidechain circuit that examines the signal and determines how much the VCA will reduce gain — but not every unit provides access to its sidechain. In compressors without a separate sidechain input, your main input signal is, essentially, compressing itself. With compressors that have a separate sidechain input — like the API 2500+ — you can introduce a different signal that determines the compression action on the main signal.An overt illustration of sidechaining is the “pumping” effect that’s popular in EDM production. A control signal — let’s say, a bass drum — is plugged into the sidechain input, triggering the detector and causing the main signal — a synth bass, in this example — to "duck," under each bass drum hit. This clears the way for maximum kick drum impact. Another classic use is for auto-ducking music under a voiceover, as in a radio commercial spot. Sidechaining can be used creatively in many ways, limited only by your imagination! API — the legendary American pro audio company No American pro audio company is more iconic than API. Launched in 1968 by Saul Walker, Automated Processes Inc. began building quality consoles for broadcast applications. Soon, the company’s products found favor with recording studios, and a string of industry-leading innovations (including the 500 Series module, the first VCA, computerized console automation, and more) followed. API produced the 2520 amplifier, one of the most famous op-amps in the recording industry, and their consoles and products found homes in such iconic studio facilities as the Hit Factory, Record Plant, Ocean Way, Sunset Sound, and many others.In fact, there are over 700 vintage API consoles around the globe — many of which are still in use. And the company certainly isn’t resting on its laurels; today’s API products give you the same unbeatable combination of utility, innovation, and great sound. That’s why, at Sweetwater, the name API commands reverence. API 2500+ Stereo Bus Compressor Features: * New Mix/Blend circuit with crossfade or parallel compression* Selectable ratio, attack, and release times* Expanded variable threshold between -20dBu to +20dBu* Selectable NEW or OLD switch for feed-forward or feed-back operation* Over Threshold LED illuminates when input audio crosses the set threshold* Patented Thrust filter with 3 settings for frequency-dependent sidechain control * 3 selectable compressor curve Knee settings: Soft, Medium, or Hard* Choice of Old (feedback) or New (feed-forward) compression* Preset or variable release time control* Variable Left/Right channel linking

Ο Μanley Nu Mu είναι ένας νέος compressor που προσφέρει τις καλύτερες ηχητικές ιδιότητες συνδιάζοντας λαμπάτο κύκλωμα σε συνδιασμό με transistor. Ενσωματώνει το all-tube, T-bar-mod από το  φημισμένο Variable Mu και συνεχίζει την εξαιρετικής ποιότητας αλυσίδα ήχου του. Θα εντυπωσιαστείτε απο τα αποτελέσματα - γλυκός ήχος, ζεστός με πολλές δυναμικές. Το καινοτόμο κύκλωμα HIP είναι ενσωματωμένο στον Manley, ενισχύοντας την λεπτομέρεια σε χαμηλές στάθμες χωρίς να επιρεάζει τις αρμονικές του ήχου. Χειροποίητα κατασκευασμένο στο εργοστάσιο της Manley, στην California, ο Nu Mu  προσφέρει απίστευτα υψηλη ποιότητα ήχου, ποιότητα κατασκευής, απόδοση και εξαιρετική αξία. Ακριβώς ότι θα περιμένατε απο την Manley.Ιδιότητες:Hybrid tube/solid-state compressor/limiterDual channel (stereo linkable)Features Manley's IRON input transformers4 hand-selected and matched 6BA6 vacuum tubesBalanced XLR I/OHIP circuit elevates softer dynamics without crushing louder onesLighted VU meters, switchable between Gain Reduction and Output LevelCustom, internal, universal high-voltage switched-mode power supply, for worldwide operation Χαρακτηριστικά:Type: Tube/solid state (4 x 6BA6 vacuum tubes)Number of Channels:    2Controls: Threshold, Attack, Recovery, OutputRatio: 1.5:1, 4:1 to 20:1Side Chain Inserts:  2 x 1/4" TRSInputs:  2 x XLROutputs:  2 x XLRRack Spaces:  2UHeight:  3.5"Depth:  7"Width;  19"Weight:  8.5 lbs.Manufacturer Part Number:  NuMu​​

Απο τις αρχές του 1990 το Manley ELOP stereo electro-optical limiter  ήταν ενα απο τα θρυλικά μηχανήματα compressor που έβρισκες σε όλα τα στούντιο και σε χιλιάδες δισκογραφικές δουλειές. Ειδικά για χρήση σε φωνές θεωρείτο απο τους καλύτερους δυναμικούς επεξεργαστές   που κατασκευάστηκαν ποτέ.Πως μπορείς να βελτιώσεις ένα τέτοιο μηχάνημα και ταυτόχρονα να το προσφέρεις σε καλύτερη τιμή ?Κατ’ αρχάς η Manley πρόσθεσε τώρα ένα νέο compression rate 3:1 έτσι ώστε να μπορεί να χρησιμοποιηθεί και σε stereo bus εφαρμογές . Με νέα αρχιτεκτονική αλλά διατηρώντας όλα τα χαρακτηριστικά και την εμπειρία απο την αρχική σχεδίαση, με χρήση του νέου λαμπάτου line amplifier  αλλά και του  White Follower στο στάδιο εξόδου και με εκπληκτική ποιότητα κατασκευής και χρήση  νέου τροφοδοτικού, το νέο ELOP + περιλαμβάνει  όλα αυτά για τα οποία αγαπήθηκε το παλαιό με πολλές νέες δυνατότητες !Features:10:1 Limiter and 3:1 Compressor ratiosAll-tube audio path uses 5751 and 6922 dual triodesBalanced Manley IRON® transformer-coupled XLR InputsXLR impedance-balanced outputsBYPASS switches and AUTOMUTE with warm-up delayLarge illuminated VU meters read Gain Reduction or Output levelsSTEREO LINKSide-Chain High-Pass FilterUniversal internal power supply operates worldwide 90-250V~AC 50/60Hz

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch.

The Chandler Limited RS124 packs three legendary Abbey Road RS124 compressors into one chassis. Over the decades since the Abbey Road RS124 graced Beatles' recordings, there were attempts to re-create the hardware from sketchy information; none of these efforts fully realized the elusive musical soul of the original EMI unit. Schematics relayed only so much of the design. So Chandler turned to historic units provided by Abbey Road, as well as handwritten modification memos that would prove essential in understanding the essence of the beast. They succeeded! The Chandler Limited RS124 nails the behavior and sonics of the original - which Peter Cobbin, Abbey Road's Director of Engineering, describes as "pure cream being drizzled slowly into and over a mix.”Chandler Limited RS124 Compressor at a Glance:Put a legendary compressor in your rackWhat the RS124 can do for youYour sonic obsession: Chandler's missionPut a legendary compressor in your rackThe Abbey Road RS124 is a holy-grail compressor. It has a lovely, colorful sound, and a colorful back story. In the late 1950s, EMI procured several Altec 436B tube compressors for their London studios. In 1960, EMI engineers modified them so heavily (and as they were never used outside of Abbey Road), they felt comfortable re-naming them, and thus, the RS124 was born. Imagine getting your hands on the compressor that was used on virtually every Beatles recording made at Abbey Road Studios! The RS124 lives on, courtesy of Chandler Limited. The Chandler Limited RS124 sounds incredible - and like no other compressor you've ever used.What the RS124 can do for youThe RS124's smooth, creamy sonic character and transient-taming prowess comes without a hint of muffling during heavy compression. Once you use the Chandler Limited RS124, you'll find out what Abbey Road engineers quickly realized: this is an indispensable tool for tracking, bus compression, mixing, and mastering. Along with original Input, Output, and Recovery (release) controls and the unique Hold setting, the Chandler Limited RS124 ups the ante with modern features like adjustable attack, selectable output impedance, and the cutting-edge SuperFuse. Google up some photos of Abbey Road Studios in the 1960s. You will see an RS124 in just about every control room. Wouldn't it be great to have one (or two) in yours?Your sonic obsession: Chandler's missionRecording engineers are always looking for fresh tonal colors when tracking, mixing, and mastering - it's an obsession. Chandler Limited feeds this addiction with their innovative take on the technologies of the past. They start with painstaking component selection. Every parts list reads like a 50-year-old document. Take it from Sweetwater - they just don't build 'em this way anymore. Hand-wired and assembled in their Shell Rock, Iowa, factory, Chandler Limited hardware utilizes only the highest-quality tubes and components, 100% discrete-transistor circuitry, and specially wound transformers. Aside from the fact that you'll have this gear forever, the weapons-grade build quality is a means to an end - the sound. Glorious, fat, supremely musical sound, with amazing headroom.Chandler Limited RS124 Compressor Features:A spot-on re-creation of the legendary Abbey Road RS124Optimized for use in modern studio environmentsVersatile design with multiple sonic personalitiesVariable Input and Output Attenuation controlsAttack: selectable, stepped (9 settings)Recovery: selectable, stepped (6 settings, plus Hold)2U steel rackmount chassisXLR input and output, transformer-balanced (custom-wound)Output impedance: 200/600 ohms, switchableSuperFuse (switchable mode)Hand-wired and assembled in Chandler's Shell Rock, Iowa, factoryChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited TG1 Abbey Road Special Edition limiter is an authentic re-creation of the classic EMI TG12413 - used on The Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon albums. Although the TG12413 was never offered commercially, Chandler Limited has resurrected the beast from the original design specifications and circuit board drawings as provided by Abbey Road Studios and EMI. This compressor/limiter features an all-discrete circuit with transformer-balanced input and output that produces smooth, pleasing distortion. For a distinctive Abbey Road sonic flavor, put Chandler Limited's TG1 Abbey Road Special Edition limiter in your rack.At a Glance:A re-creation of the amazing-sounding classicYou're in good company: The Beatles, Pink Floyd, The Stones...Pure vintage sound from discrete circuitry and transformer-balanced input and outputA re-creation of the amazing-sounding classicThe Chandler Limited TG1 Abbey Road Special Edition is a re-creation of the classic EMI TG12413 limiter used in custom EMI and Abbey Road recording and mastering consoles from the late 60's. The TG Limiter was originally designed to have the characteristics of the Fairchild 660/670, which was adored by many EMI engineers - including Geoff Emerick - but ended up with a very special sound all its own. These rare pieces were never commercially available and only EMI-owned studios had access to them. The Chandler Limited version has been remade from the original design information and circuit board drawings as provided by Abbey Road and EMI to ensure extreme authenticity.You're in good company: The Beatles, Pink Floyd, The Stones...TG equipment was used on many classic records and this Limiter was featured on every channel of TG consoles used to record The Beatles' Abbey Road, several Pink Floyd records, including Dark Side of the Moon, Paul McCartney, and the Rolling Stones. When you use Chandler Limited's TG1 Abbey Road Special Edition limiter, you'll immediately hear the sonic ancestry. This limiter sounds totally gear.Pure vintage sound from discrete circuitry and transformer-balanced input and outputThe Chandler Limited TG1 Abbey Road Special Edition limiter features an all discrete circuit with transformer-balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to the holy grail Fairchild 670, is very punchy, while maintaining exceptional clarity and high frequency response. You've simply got to hear one in action to fully appreciate a limiter of this magnitude.Selectable Compression/LimitingTHD control lets you bypass Comp/Limiting but still pass audio through the circuitryTransformer balanced inputs and outputsNew input control provides better control at lower amounts of compressionChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited RS660 tube compressor/limiter is Inspired by the classic program levelers used by engineers at EMI Abbey Road Studios in the 1960s. From the Beatles to early Pink Floyd, the historic Fairchild 660 and EMI RS124 compressors shaped the sound of countless iconic recordings that emerged from the legendary London facility. The eminently musical performance of these units stemmed from their “vari-mu” circuits, which generated program-dependent gain reduction by automatically adapting to the dynamics of the incoming signal to efficiently manage levels while allowing vocals and instruments to bloom with vibrancy and punch. Meticulously handcrafted by Chandler Limited, the RS660 builds upon the sonic magic of these rare, prized vintage compressors in an innovative modern design that advances the state of the art in dynamics control.The best of vintage and modernBuilt around the venerable 6386 mil-spec vacuum tube, the RS660 is, not surprisingly, engineered more efficiently than the coveted vintage units that inspired it. After all, today’s cutting-edge technology and advanced materials science enable high-precision design and manufacturing unimaginable back in the 1960s. No mere reproduction, however, the RS660’s elegant and refined compression circuit is painstakingly tuned to deliver a sound that combines the sought-after sonics of its Fairchild namesake along with modern flexibility, vanishingly low noise, and impeccable behavior, no matter how hard you push it. The RS660 is a professional tool that can tame the dynamics of any source, from subtle vocals to hard-hitting drums — and everything in between. The single-channel RS660 is also linkable to a second unit for stereo operation — ideal for pumping up drum buses and complete mixes.Built like a tankBack in the day, pro audio gear was handcrafted using military-grade materials and through-hole components — and that’s how Chandler Limited builds its equipment today in Shell Rock, Iowa. Accordingly, the RS660’s vintage-inspired circuitry is ensconced in a rugged dual-rackspace chassis with a stout faceplate, a beefy internal power supply, transformer-balanced XLR I/O, and selectable output impedance. As did the classic compressors that inspired it, the RS660 provides a tactile sensory user experience. The throw of its pots engenders a confident, spoon-in-honey feel that, at first touch, suggests you’re using a serious piece of high-end kit — and the world-class results confirm it. The Chandler Limited RS660 represents a significant advancement in the art of signal dynamics processing.Features:Designed in cooperation with EMI Abbey Road StudiosSingle-channel, linkableTransformer-balanced I/O, XLROutput impedance: selectable, 200/600 ΩContinuous input and output gain controlTime constant: 7 positions, steppedModes: THD, Comp, LimitStereo Link: switchable, 1/4-inch jackInternal power supply

Ο Distressor είναι ένας compressor/limiter από την Empirical Labs που ήδη θεωρείται ένας από τους μοντέρνους «κλασικούς» επεξεργαστές. Πρόκειται για μια ψηφιακά ελεγχόμενη αναλογική μονάδα, που χρησιμοποιεί ψηφιακό χειρισμό για να ανοίξει ή να κλείσει μια σειρά από αναλογικά κυκλώματα.Πέρα από την ευελιξία και τις μοναδικές επιλογές που δίνονται στο χρήστη, ο Distressor (DISTortion compRESSOR) χαρακτηρίζεται από τον ζεστό του ήχο που περιλαμβάνει τυπικές μη-γραμμικότητες και παραμορφώσεις που θεωρούνται κατα γενική ομολογία «μουσικές» και ευχάριστες. Για παράδειγμα, η επιλογή «Dist 2» αποδίδει αρμονικές 2ης τάξης (όμοιες με επεξεργαστές λυχνίας) και η «Dist 3» δίνει αρμονικές 3ης τάξης (ταινία). Ο Distressor μπορεί να γίνει όσο «επιθετικός» ή «καθαρός» επιθυμεί ο χρήστης, για αυτό και θεωρείται πια απαραίτητο κομμάτι κάθε σύγχρονου studio.Κύρια χαρακτηριστικά: Απόκριση συχνότητας από 2 Hz εώς 160 kHz στο καθαρό mode (+0, -3 dB). Η απόκριση αλλάζει στα distortion modes (Dist 2, Dist 3).Δυναμικό εύρος 110 dB για μέγιστη έξοδο εως ελάχιστη έξοδο σε λειτουργία 1:1. SNR μεγαλύτερο του 100 dB στο distort 3 mode.Η παραμόρφωση κυμαίνεται μεταξύ .02% and 20% ανάλογα με το mode παραμόρφωσης και την τιμή του release.Σταθερές χρόνου - Attack: 50uS - 50mS. Release: .05 sec εως 3.5 sec για normal modes και εως 20 sec για αναλογία 10:1 opto mode. Οι σταθερές χρόνου εξαρτώνται από την τιμή του ratio.Stereo λειτουργία

Μια νέα έκδοση του Phoenix soft knee stereo valve compressor, o Phoenix Standby. Τα νέα χαρακτηριστικά περιλαμβάνουν έναν διακόπτη standby που παρέχεται για την παράταση της ζωής των λυχνιών και των πυκνωτών. Όταν η συσκευή βρίσκεται σε "κατάσταση αναμονής" το ρεύμα που περνάει μέσω των λυχνιών είναι μόνο το 50% της κανονικής του αξίας. Οι μηδενικοί προσαρμογείς των level meters είναι πλέον στο μπροστινό μέρος για να κάνουν την ρύθμιση πιο εύκολη και να μην χρειάζεται να βγει η μονάδα έξω από το rack.Ο Phoenix είναι μία twin channel "vari-mu" συσκευή. Το compression ratio ξεκινά χαμηλά και αυξάνει σταδιακά, έτσι ώστε η συμπίεση μπορεί να είναι ανεπαίσθητη και φυσική, αλλά μπορούμε να έχουμε και compression effects αν οδηγήσουμε τον Phoenix στα άκρα και όλα αυτά με πολύ χαμηλό θόρυβο. Ακόμα υπάρχουν continuously variable controls για τα Gain, Attack, Release, Threshold και Output Level. Τέλος υπάρχει και η δυνατότητα για Stereo link για τη συμπίεση μιας ομάδας (π.χ. τύμπανα) ή για ολόκληρη τη μίξη.Ο Phoenix κάνει τα φωνητικά και τα μεμονωμένα όργανα να είναι διακριτικά, απαλά και "ζεστά", καθώς και τα σόλο να ακούγονται πιο ισχυρά. Γενικά μπορεί να δώσει σε μία ψηφιακή μίξη αληθοφάνεια και υπόσταση.Χαρακτηριστικά:All valve design for greater presence and naturality.Completely free from solid state additives.Transparent compression.Punchy when pushed.Drive it hard for compression effects and distortion.Absolutely flat frequency response over entire audio range and beyond.Minimal phase shift giving a crisp and warm sound.

Ο PhoenixHG-15 είναι μία μονοκάναλη εκδοχή του κλασσικού PhoenixStereoCompressor. Βασικό του χαρακτηριστικό είναι ότι μπορεί να χρησιμοποιηθεί για «απαλό» compression, χάρη στην “variable mu”  καμπύλη λειτουργίας του, ενώ παράλληλα είναι κατάλληλος και για limiting εφαρμογές.Το gainτου compressor είναι διαμορφωμένο έτσι ώστε να δέχεται «λαμπάτα» και FET πυκνωτικά μικρόφωνα, χωρίς αυτό να μας περιορίζει στη χρήση του με μικρόφωνα κινητού πηνίου, υπό την προϋπόθεση ότι έχουμε δυνατές και καθαρές πηγές ήχου.Θέτοντας το διακόπτη του Threshold στο “CompressorOut” o HG-15 μετατρέπεται σε έναν προενισχυτή mic/line και ενεργοποιώντας το Active Eq σε συνδυασμό με τα Presence και Air ποτενσιόμετρα, παίρνουμε αμέσως εκπληκτικά αποτελέσματα, για τα οποία φημίζεται άλλωστε η εταιρία.Το Output Level Control έχει λειτουργία γραμμικής υποβάθμισης του σήματος και μπορεί να χρησιμοποιηθεί για να μειώσουμε την έξοδο από τον HG-15 προς την είσοδο μιας άλλη συσκευής ή για να προσθέσουμε «χαρακτήρα» μειώνοντας το output μας και αυξάνοντας το input. Στην περίπτωση που δουλεύουμε σε line levels μπορούμε να αλλάξουμε το input από “Line” σε “Pad” με την προϋπόθεση ότι ο διακόπτης των +48V είναι κλειστός.Τέλος, υπάρχει δυνατότητα χρήσης 2 xHG-15 σε link λειτουργία για δυναμική επεξεργασία στο Stereo Bus με τη χρήση καλωδίων phono σε phono, ενώ τo “SidechainBusCut” είναι ιδιαίτερα χρήσιμο και σε mono λειτουργία.Χαρακτηριστικά :·      High Gain mic Amp/Compressor/EQ με«λαμπάτο» ήχο·      Βασισμένο στον Phoenixμε 52dbgain·      Balancedκύκλωμα με XLR εισόδους και εξόδους·      Phantom Power +48v·      7 διαφορετικές ρυθμίσεις στο Threshold και επιλογή “Compressor Out”·      Timeconstant ρυθμιστικό με 6 συνδυασμούς attackκαι release·      Ρυθμιστικά “Air” και “Presence” για boost στις μεσαίες και υψηλές συχνότητες·      Bass Cut διακόπτης·      2 λάμπες, 1 6AQ8EH στο inputκαι 112AT7/ECC81 στο output·      Solid state side chain·      Link λειτουργία για την ταυτόχρονη λειτουργία 2 HG-15·      Κατασκευασμένος στην Αγγλία 

Ο  Shadow Hills Mastering Compressor  έχει απίστευτες δυνατότητες, τρομερή λειτουργικότητα  και ταυτόχρονα προσφέρει έλεγχο των δυναμικών σε επίπεδα ποιότητας mastering για ηχογραφήσεις και μίξη. Στην πραγματικότητα είναι 2  compressors ανα κανάλι και δουλεύει stereo η dual mono.  Το σήμα πρώτα περνά απο έναν electro optical compressor και μετά ακολουθεί ένας discrete  compressor-limiter σε τάξη-AΚαι για τα δύο κυκλώματα στην έξοδο υπάρχει η δυνατότητα επιλογής transformers απο Nickel, Iron, and Steel. Με αυτό τον τρόπο υπάρχει τεράστιο headroom και  πολλές επιλογές ηχοχρωμάτων. Στην είσοδο (transformer balanced ) χρησιμοποιεί  τον ελεκτή  T4B όπως και οι  LA2A and LA3A αλλά βελτιωμένο για χρήση mastering.  Ακολουθεί ένα διακριτό κύκλωμα  VCA σε τάξη-A ΧΑΡΑΚΤΗΡΙΣΤΙΚΑ no electrolytic caps or IC chips in the audio path six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1six attack settings: .1, .5, 1, 5, 10, and 30 millisecondssix release times  .1, .25, .5,8, 1.2, and Autofilter in the side chain to limit pumpingThe first position is Nickel, which is our custom version of a famous L. A. custom consoleNext is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage the last transformer position is Steel.hard-wired bypassThe Magic eye tube follows the output meter to act as a peak meter.17 detented rotary switches are  Εngraved front panel is  Βake-lite  knobs  

The Chandler Limited EMI TG12413 Zener Limiter is the definitive TG limiter, released in honor of Abbey Road Studios' 75th birthday. The brainchild of Chandler Limited designer Wade Goeke, the Zener Limiter is based on the classic EMI circuits used to record The Beatles and Pink Floyd. This latest EMI limiter carries on the tradition of EMI limiters started in 1956 with the RS114 tube limiter, and continued with 1966's RS168 Zener Limiter (a component of the TG12345 console channel in 1968), and the TG12413 in '74. Start with the essence of the classic RS168, add modern functionality, and you have the Chandler Limited EMI TG12413 Zener Limiter.Chandler Limited EMI TG12413 Zener Limiter at a Glance:Classic compression and limiting, with modern flexibilityExercise iron-fisted control over your dynamicsYou get natural compression, scrumptious-sounding limiting - and a blend of the twoClassic compression and limiting, with modern flexibilityThe original TG Limiter was designed to replace both the Fairchild 660 and the EMI-modified Altec 436/RS124 - two certified classics, revered for their dynamics-shaping prowess. The Altec unit was known for its natural, organic compression, while the Fairchild - with its fast, sub-millisecond onset and extremely soft-knee compression curve - is perhaps the most lusted-after (and imitated) limiter ever made. The Chandler Limited EMI TG12413 Zener Limiter gives you the sonic mojo of these two classics - and goes several steps beyond.Exercise iron-fisted control over your dynamicsThe Chandler Limited EMI TG12413 Zener Limiter gives you the power to impose your will on your dynamics. Starting with the powerful vintage TG limiter circuits, Chandler Limited gives you added features and flexibility in the form of controls such as switchable input impedance (for hard or soft driving of the unit), 11-position attack, 21-position release, and side chain filtering, as well as Comp 1, Comp 2, and Limit settings.You get natural compression, scrumptious-sounding limiting - and a blend of the twoCOMP 1 is a 2:1 ratio with slower time constants than originally designed by EMI engineers to emulate the Altec 436/RS124 EMI-modified Altec compressors. Limit mode is much faster and designed to emulate the response curves of the revered classic Fairchild 660. COMP 2 is a new setting that puts you halfway between the two original settings, essentially giving you the compression curve of Comp 1, with the faster release times characteristic of Limit mode. Whether you use it for tracking or mastering, with its sonic pedigree and effective controls, the Chandler Limited EMI TG12413 Zener Limiter is a must-have for huge, punchy mixes.Chandler Limited EMI TG12413 Zener Limiter Features:Gives you the sonic mojo of two classics: the Fairchild 660 and the Altec 436/RS124COMP 1 mode is a 2:1 ratio with slower time constants reminiscent of the Altec 436/RS124Limit mode is faster and designed to emulate the response curves of the revered classic Fairchild 660COMP 2 is a new setting that puts you halfway between the two original settingsChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited EMI TG12345 Curve Bender EQ is the definitive TG equalizer, released in celebration of Abbey Road Studios' 75th birthday. The brainchild of Chandler Limited designer Wade Goeke and Abbey Road senior engineer Peter Cobbin, the Curve Bender is based on the vintage EMI TG12345 console used on Beatles and Pink Floyd recordings. This latest EMI equalizer carries on the tradition of EMI EQs that began in 1951 with the RS56 (cheekily dubbed "the Curve Bender" by EMI designers), and continued with the 1968's TG12345 and TG12412 in '74. A classic design - the gorgeous-sounding TG12345 - juiced with it with modern features. That's the Chandler Limited EMI TG12345 Curve Bender.Chandler Limited EMI TG12345 Curve Bender EQ at a Glance:A fully featured version of a classic EQPowerful functionality gives your serious sound shaping mojoYou get the best of both worlds: vintage warmth, plus modern featuresA fully featured version of a classic EQThe Chandler Limited EMI TG12345 Curve Bender EQ is the embodiment of a dream. It was during his mixing of numerous Beatles-related projects (Anthology, Yellow Submarine, Imagine, etc.), it occurred to Peter Cobbin that having a fully featured and highly flexible version of the original desk EQ units would be invaluable. After Wade Goeke presented him with a working version of the legendary console equalizer, Peter realized he could "have it all," and set Wade to building the perfect beast.Powerful functionality gives your serious sound shaping mojoPeter had requested four bands, and filters based on the slopes of the original console - but with overlapping and expanded options. In the final production unit, the 9 selections of the original TG12345 had become 51 EQ points. Wade also added a multiply switch that increases boost/cut up to 13.5dB (as well as sharpening the Q), in addition to filters and bell/shelf selections on the high and low bands.You get the best of both worlds: vintage warmth, plus modern featuresThe result is the Chandler Limited EMI TG12345 Curve Bender - a classic equalizer from the glorious history of EMI and Abbey Road that's come full circle, morphing into a modern powerhouse EQ perfect for all your recording, mixing, and mastering needs.Chandler Limited EMI TG12345 Curve Bender EQ Features:A fully featured version of a classic EQThe best of both worlds: vintage warmth, plus modern features51 EQ pointsMultiply switch increases boost/cut up to 13.5dBHigh pass and lowpass filters and bell/shelf selections on high and low bandsChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

New colours from the masters of analogue.Fusion is an all-analogue 2U stereo outboard processor created for the modern hybrid studio. Fusion introduces five completely new analogue colouration tools designed to bring the perfect combination of added tonal character, weight and space to your mix bus or stereo stems, with the detail, warmth and finesse that only real analogue circuits can provide.The SSL sonic legacy is built upon a much-emulated collection of analogue audio processing tools that have featured in generations of studio consoles; pristine mic pre’s, classic Channel EQ & Dynamics, the legendary Stereo Bus Compressor, the Listen Mic Compressor, and the unique SSL summing bus. Fusion takes SSL into a new era with the introduction of a suite of new analogue processing tools that offer exceptional tonal character and versatility. Fusion expands the processing palette for hybrid studio owners and is a superb partner for the SSL Stereo Bus Compressor.Fusion features five analogue processors that can be used discretely or combined:Vintage DriveVintage Drive - is a unique non-linear harmonic enhancement circuit that brings cohesion and strength to your mix. Drive and Density controls interact to produce harmonic saturation and soft compression derived from overloading an analogue circuit. It can be used lightly for subtle thickening saturation or driven hard for more extreme distortion.The Violet EQThe SSL Violet EQ - an all-new minimum phase-shift, two-band shelving EQ. The first new SSL analogue EQ circuit for more than 25 years draws on the SSL legacy of carefully selected frequencies and response curves to create a musical and intuitive EQ designed to quickly dial in low-end weight and high-end sheen. High and Low frequency circuits each offer four switched frequency points and +/-9dB attenuation.HF CompressorA new High Frequency Compressor delivers the distinctive sound of high frequency rounding in the analogue domain. A compressor that effects high frequencies only, optimised for smooth and transparent harshness reduction and a tape-like high-frequency roll off – great for taming brittle high frequency fizz.Stereo ImageA new Stereo Image enhancer provides a true analogue Mid-Side circuit that manipulates the Side signal, allowing for widening and spatial manipulation of the stereo field.TransformerA switched, custom-designed SSL Transformer circuit introduces subtle low-frequency saturation, alongside a high-frequency phase-shift. The result is a simultaneous thickening of the low-end and an added sparkle to the high-end.Expertly designed for today’s hybrid studioSSL has also always been known for clever connectivity and features that streamline and accelerate production workflow. Fusion fits right in with a collection of workflow enhancing features including: +/-12dB Input and Output Trim controls, an Input overload LED, large peak-hold metering, a front-end 3rd order High Pass Filter with three selectable cut off frequencies, and tri-colour status indicators for the Vintage Drive and HF Comp sections.A set of XLR connections can be used either as a Stereo Insert for stereo mix bus processing or switched to function as a Mid-Side (MS) circuit enabling separate compressors or EQ to be applied to the middle (centre) and sides of a stereo signal. In Stereo Insert mode the insert point can be switched to pre-Violet EQ, when in MS mode the insert can be switched to pre-Stereo Image controls. Input and Output connections are via XLR.Specifications:Includes 5 new circuits for signal processing and tone colouring in one deviceVintage Drive: Saturation for harmonic overtones and subtle compressionViolet EQ: Newly developed 2-band equalizer (shelving characteristic) with 4 selectable frequencies per band and +/- 9 dB strokeHigh Frequency Compressor: Frequency-selective compressor to round off the high-frequency range and control unwanted transientsStereo Image: Analogue M / S matrix for stereo broadeningTransformer: Switchable SSL transformer for subtle emphasis on bass and trebleSwitchable insertInput and output level controlsSwitchable high-pass filter with 3 frequenciesLevel meterBypass switch2 XLR inputs2 XLR outputsDimensions: 19" / 2 HE

The BC1-THD provides smooth bus compression that applies for both mixing and tracking. Engineers call it “The Magic Glue” when the BC1-THD’s transparent compression strengthens mixes without compromising clarity. The built-in blend control makes it easy to apply parallel compression by adjusting the blend of dry and compressed signal. A switchable sidechain filter can be applied which makes the BC1-THD less responsive to low frequency energy. The THD function adds more harmonics to the signal and the “grab” mode selects a harder threshold knee on all four ratio settings. Smooth and transparent compression will never go out of fashion.

Ένας από τους πιο δημοφιλείς compressors για mastering, που λειτουργεί εξολοκλήρου με λυχνίες. Ο Manley Vari-Mu ακούγεται σε χιλιάδες δίσκους των τελευταίων δεκαετιών και είναι πλέον αναπόσπαστο κομμάτι όλων των mastering studios.Το COMPRESS mode λειτουργεί με ratios που κυμαίνονται μεταξύ 1.5 και 1, ενώ το πιο δραστικό LIMIT mode αρχίζει από 4:1 και ανεβαίνει σε 20:1 καθώς μεγαλώνει το gain reduction. Επίσης, το knee γίνεται πιο ομαλό όσο εφαρμόζεται περισσότερο limiting.Χαρακτηριστικά:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchSilent conductive plastic dual INPUT attenuatorRECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

Ένας από τους πιο δημοφιλείς compressors για mastering, που λειτουργεί εξολοκλήρου με λυχνίες. Ο Manley Vari-Mu ακούγεται σε χιλιάδες δίσκους των τελευταίων δεκαετιών και είναι πλέον αναπόσπαστο κομμάτι όλων των mastering studios.Το COMPRESS mode λειτουργεί με ratios που κυμαίνονται μεταξύ 1.5 και 1, ενώ το πιο δραστικό LIMIT mode αρχίζει από 4:1 και ανεβαίνει σε 20:1 καθώς μεγαλώνει το gain reduction. Επίσης, το knee γίνεται πιο ομαλό όσο εφαρμόζεται περισσότερο limiting.Χαρακτηριστικά:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchSilent conductive plastic dual INPUT attenuatorRECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

Προσθέστε τον ζωντανό και πλούσιο ήχο του vintage compression στο στούντιο σας με τον Wes Audio Vari-Mu Timbre. Το ισσοροπημένο κύκλωμα των λυχνίων είναι βασισμένο στην 6386 και στον STA-Level compressor.Χαρακτηριστικά: Carnhill μετασχηματιστές 6386 λυχνίες Λειτουργία Single / double / triple  Απόκριση Συχνοτήτων: 20Hz-30kHz Mέγιστο gain: 45 dB Μέγιστο gain reduction: 40 dB Διαλογέας 6 θέσεων release time Επιλέξιμο side-chain και high-pass φίλτρο Λειτουργία Bypass  Λειτουργία Link  Balanced XLR είσοδος και έξοδος. Format: 19" / 2HE Διαστάσεις: 483 x 88 x 235 mm Βάρος: 7 kg

Συνδιάζοντας τον πλούσιο, ζωντανό ήχο των vintage compressors με τον καθαρό και ακριβή χαρακτήρα των μοντέρνων επεξεργαστών, ο Wes Audio BETA76 FET είναι ο απόλυτος compressor/limiter για κάθε μουσικό studio. Χαρακτηριστικά:  Δύο (2) λειτουργίες: Modern/Vintage Ένα (1) κανάλι Ρυθμιστικά: Attack, Release, Ratio switches, Modern/Vintage input modes Attack time: 20 ms - 800 ms Release time: 50 ms - 1100 ms Ratio: 4:1, 8:1, 12:1, 20:1 True Bypass Απόκριση Συχνοτήτων: 20 Hz - 20 kHz (+/- 1 dB) Αντίσταση εξόδου: 600 Ohm SC high-pass filter - 60, 90, 150 Hz Signal to noise ratio SNR > 83 dB Ενισχυμένη λειτουργία σύνδεσης Συνδεσιμότητα: 1 x XLR (είσοδος), 1 x XLR (έξοδος), 6.3 mm jack link connector Format: 19 "/ 2 U Διαστάσεις: 88 x 483 x 235 mm Βάρος: 6 kg

Xαρακτηριστικά  :   Classic Diode Bridge Tone Αποκτήστε τον punchy ήχο ,που χρησιμοποιείται σε αμέτρητες επιτυχίες τα τελευταία 50 χρόνια.   Advanced timing controls Προσαρμόστε το compression envelope σας με τον ενοποιημένο έλεγχο χρονισμού, το οποίο επιτρέπει μεγαλύτερο εύρος απαντήσεων , από ότι σε  vintage μονάδες ή κλώνους.   Custom Transformers και Class-A Line Eνισχυτές Η vintage ζεστασιά συναντά το βελτιωμένο headroom και τις ρυθμίσεις ακριβείας του ανανεωμένου Rupert Neve Line stage μετασχηματιστή .   'Eλεγχος 31- Θέσεων Aκριβής ανάκληση και αντιστοίχηση  ρυθμίσεών  , ταχύτατα και εύστοχα    Eνσωματωμένο parallel compression Eσωτερικό blend control που επιτρέπει , πιο δραματικές ρυθμίσεις του compressor , για την επίτευξη του επιθυμητού  χρώματος   Full-Wave Sidechain Detection Bελτιωμένο από αυτό της vintage συσκευής , half-wave σχέδιο , ο ανανεωμένος sidechain detector προσφέρει εμφανέστατα περισσότερη ακρίβεια .     Stereo Linking Λειτουργήστε τους compressors σας σε mono ή stereo configurations    Eσωτερικό Universal Power Supply Διαθέτει EIC σύνδεση για world-wide AC power από 90-240V ενσωματωμένο στο 1U rack-mountable σασί . Tεχνικά χαρακτηριστικά Aντίσταση εισόδου : 10 kΩ Aντίσταση εξόδου : 40 Ω Maximum Input Level (+4dBu Selected): +26.7 dBu typical Maximum Output Level: +26.7 dBu typical Noise (22 Hz - 22 kHz BW): -104 dBu typical Aπόκριση συχνότητας :  (10 Hz to 120 kHz): +/- 0.25 dB typical THD+N @1 kHz @ Maximum Level (22 Hz - 22 kHz BW): 0.0008% typical Xαρακτηριστικά θορύβου του Compressor Noise @ 0dB Make-Up Gain (22 Hz - 22 kHz BW): -84.5 dBu typical Noise @ +20dB Make-Up Gain (22 Hz - 22 kHz BW): -64.5 dBu typical Xαρακτηριστικά χρονισμού του Compressor   Σημείωση : Oι μετρήσεις χρόνου αναπαριστούν  το πλήρες εύρος που επιτυγχάνεται  μεταξύ 1.5:1 and 8:1 Ratio και  FAST Mode FAST Attack 250μS - 2 mS // Release 100mS - 200mS typical MF (MEDIUM FAST) Attack 1mS - 5mS // Release 100mS - 200mS typical MED (MEDIUM) Attack 3mS - 18mS // Release 350mS - 700mS typical MS (MEDIUM SLOW) Attack 5mS - 40mS // Release 600mS - 1S typical SLOW Attack 10mS - 80 mS // Release 800mS - 1.5S typical AUTO Attack 5mS - 40mS // Release T1 400-900mS, T2 1-2S typical Διαστάσεις :  (Πx B x Y) 48.3 x x 20.9 x 4.2 cm

 Xαρακτηριστικά:   Stereo link ή 2xmono 75V Variable gain  -6 dB έως +20 dB Εξαιρετικά ευέλικτος διπλός μονοφωνικός ή στερεοφωνικός compressor Ρυθμιζόμενη parallel compression Έλεγχος υφής για τη λειτουργία Silk-  και Silk + Music limiter Stereo field editor Eυέλικτo routing που επιτρέπει την ανεξάρτητη δυναμική επεξεργασία του mid-end side καναλιού Extensive level display Υποδοχές εισόδου / εξόδου: XLR Side chain send / return connector: Υποδοχή 6,3 mm Διακόπτης Ground lift 19 "(2U) Βάρος: 9,7 κιλά

Ένας ιδανικός τρόπος για να αφαιρέσετε τον ανεπιθύμητο θόρυβο από τον ήχο σας Παρέχει 2 κανάλια καθαρού σήματος για περισσότερο gain χωρίς to "φόβο" του feedback Έχει παρόμοια λειτουργία με το Noise Gate αλλά λειτουργεί με μια πιο μεγαλύτερη ακρίβεια Αυτόματη ανίχνευση σήματος για άμεση απόκριση  Τα απλά και εύχρηστα χειριστήρια συμβάλουν σε άμεσα αποτελέσματα

The COMP-554 MKII is the 500 series rack version of the COMP-54 MKIII with some additional features. The COMP-554 MKII is a one-channel vintage style compressor for the 500-format. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output are transformer balanced and the unit also uses a third interstage transformer. This is the way audio components were built before integrated circuits became available. IC´s are small and cheap and they are widely used in most modern designs. It is clear though that audio components built with modern technology doesn´t always provide the best perceived sound quality or character that the modern user desires.On the contrary, the subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The class-A circuit used in the COMP-554 MKII is similar to the one in the classic 2254 compressor that was 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 many sound sources and in many genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

Το COMP-3A Jr είναι ένας μονοκάναλος βίντατζ-τύπου compressor / leveler. Η διαδρομή του σήματος χρησιμοποιεί μόνο discrete εξαρτήματα όπως αντιστάσεις, πυκνωτές και τρανζίστορς. Η είσοδος και έξοδος είναι κατηγορίας balanced, χρησιμοποιώντας δύο διαφορετικούς μετασχηματιστές, ο καθένας από αυτούς βελτιστοποιημένος για την χρήση του. Αυτός είναι ο τρόπος που κατασκεύαζαν τα ηχητικά μηχανήματα πριν βγουν τα ολοκληρωμένα κυκλώματα.Τα ολοκληρωμένα κυκλώματα είναι μικρά και φτηνά, και χρησιμοποιούνται στα περισσότερα σύγχρονα μηχανήματα. Είναι όμως ξεκάθαρο ότι ταηχητικά εξαρτήματα που έχουν φτιαχτεί με μοντέρνα τεχνολογία δεν προσφέρουν πάντα την καλύτερη ποιότητα ήχου, η τον χαρακτήρα που ο σύγχρονος ακροατής αναζητά.Από την άλλη, η υποκειμενική ποιότητα ήχου που αποδίδει ο παλαιότερος εξοπλισμός συνήθως προτιμάται από αυτόν που προσφέρουν τα πιο σύγχρονα μηχανήματα, κάτι το οποίο είναι ακόμα πιο ξεκάθαρο τώρα που η μουσική ηχογραφείται με καθαρό ψηφιακό ηχητικό εξοπλισμό.Αυτός είναι ο λόγος που τόσα πολλά βίντατζ μηχανήματα μιμούνται και παράγονται ξανά και αυτός είναι ο λόγος που παλιά πρωτότυπα μηχανήματα πηγαίνουν τόσα ακριβά στην αγορά ως μεταχειρισμένα.Το κύκλωμα που χρησιμοποιήθηκε στο COMP-3A Jr είναι εμπνευσμένο από κλασικά στοιχεία σχεδιασμού και έχει ολοκληρωμένο optocoupler για να ελέγχετε το gain. Αυτό δίνει στο COMP-3a Jr μοναδικά χαρακτηριστικά συμπίεσης. Επιπλέον, η βίντατζ διαδρομή σήματος δίνει ένα ευχάριστο και μουσικό χαρακτήρα στον ήχο. Η ευκολία της χρήσης με μόνο δύο κύρια ρυθμιστικά το κάνει πολύ απλό να πετύχετε τον επιθυμητό σας αποτέλεσμα. Αυτά τα χαρακτηριστικά έχουν κάνει τα βίντατζ μηχανήματα με παρόμοιο σχεδιασμό αγαπημένα των ηχοληπτών και μουσικών παγκοσμίως.Ο κλασικός ήχος και βίντατζ τύπου compressor είναι πλέον διαθέσιμος σε πολύ προσιτή τιμή με το COMP-3A Jr.

The SR22 Dual Channel Compressor features two channels of API's patented award-winning compressor circuit in a rackmount unit with internal power supply. This same compressor circuit was originally designed into the legendary ATI Paragon analog live mixing console. Each channel includes the patented THRUST® circuit, which protects the sensitive high frequency content of the audio signal, even under the most vigorous of compression ratios. The perfect companion to the new SR24 Dual Channel EQ, the SR22 provides comprehensive, easy-to-use control along with classic analog VU meters for monitoring output and gain reduction. The two channels can also be linked for use as a stereo compressor with true RMS power summing of the left and right signals.

The SR24 is a two channel, four band equalizer in a two rack-space chassis. With a dedicated knob and/or switch for each control function, the SR24 is easy to use; by utilizing continuously-variable controls for both the frequency and boost/cut, the SR24 can be very precise in applying equalization to the selected audio material. The SR24 circuit design is deeply rooted in API's history. From the late 1970's to the early 1980's, an audio company called "APSI" manufactured consoles and equalizers. Their 562 module was a 4-band, fully parametric equalizer which was designed by APSI and sold through API. Over the last several decades, these EQ modules remained a favorite among many studio engineers, but have become increasingly difficult to find. The SR24 is a faithfully re-engineered version of the original 562, offering the user 2 channels of classic analog EQ in one rackmount unit.

The API Select T25 is a classic 2-channel, FET feedback-style compressor/limiter with a Class-A tube output stage that utilizes a custom API transformer. Built with 12AT7WC and 12BH7 dual-triode vacuum tube, the T25 represents a new direction in API's line of compressors. It offers the user a powerful and flexible feature set, including the ability for use in either dual mono or stereo mode, and is carefully engineered to deliver classic tube performance. The T25 excels at delivering the unmistakable sound of API and features our industry-exclusive Five Year Warranty.

The CX2310 stereo 2-way/mono 3-way crossover provides amazing-accurate audio frequency separation, thanks to its state-of-the-art circuitry, superior-grade components, ultra low-noise op amps and balanced I/O connectivity. Additionally, the CX2310 features an independently-adjustable Subwoofer Output, effectively providing an extra low-frequency band a control range from 10 - 235 Hz. By using 1% metal film resistors, along with other extremely tight-tolerance components, the CX2310 is able to guarantee surgically-precise frequency selection with incredibly-low thermal noise. Put simply, the easy-to-use SUPER-X PRO CX2310 is one of the best-sounding crossovers in its class! Sound Quality When a sound system is properly tuned, it becomes powerful, balanced and efficient. Bass content is punchy and tight, with vocals and instruments that are rich, crisp and well defined. The CX2310 crossover’s accurate signal processing protects critical loudspeaker components and improves overall system efficiency. All Input and Output connections are balanced/unbalanced XLR and feature 25 Hz Low Cut filters for low-frequency driver protection – plus Mute and Phase Invert switches, making troubleshooting even a large system – virtually effortless! What’s a Crossover? Chances are if you’re reading this, you already know what a crossover is – and you know that you need one. But if you are new to multi-way PA systems, here's a brief overview. Loudspeakers (which we call transducers) convert electrical signals into sound waves. And no matter how well a transducer is designed or made, it simply cannot reproduce the entire audio spectrum all by itself. Low-frequency sounds tend to push a transducer to the maximum, making it impossible for that same transducer to reproduce the treble content with the sound quality it deserves. (Try singing high falsetto next time you’re bench-pressing your limit!) That's why high-quality sound systems use multiple speakers (woofers and tweeters) to spread out the work. While the woofer (usually the larger transducer) does all the heavy lifting, the tweeter can easily handle the high-frequency content. Three and four-way systems distribute the work even more, allowing the individual transducers to reproduce the frequency range for which they were designed. It is the crossover’s function to divide these tasks between the various amplifiers and transducers. Divide and Conquer The CX2310 provides two modes of operation: 2-way stereo, for Left and Right Lows (woofers) and Highs (tweeters); and 3-way mono, for Lows, Mids and Highs. In either mode, there is an additional output provided for a mono Subwoofer, with its own Frequency and Level controls. This extra feature effectively turns the CX2310 into a stereo 2-way + mono 1-way, or a mono 4-way frequency crossover. The Subwoofer Output is presented in mono, since people perceive extremely-low bass frequencies as being omnidirectional. For your convenience, the CX2310’s front panel features an elegant and easy-to-read LED matrix, so you can see at a glance which operating mode has been selected – and which controls are currently active.

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

Bettermaker Bus Compressor is for those who seek high quality stereo VCA compression with the convenience of fast and precise recall and automation. The bus compressor offers 100% analog signal path, Dry/Wet mix, sidechain with HPF, with hardware insert and preview function,  adjustable THD saturation and more.. All this with high analog quality and patented recall with a speed of a native plugin.  Bus Compressor:  advanced analog stereo VCA compressor with PEAK/RMS detection  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  dry/wet MIX control for parallel compression  sidechain high pass filter with hardware insert and preview function  adjustable THD for harmonically rich sound  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison from your favourite DAW  LED matrix display and six encoders with push-button action for ease of control  USB connectivity with MAC/PC   Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  recall last unit state after reboot  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Bus Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Bus Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel: The front panel of the Bus Compressor is build around eye-catching LED matrix display, that allows you to monitor almost all functions available on the device, as well as input/output levels and amount of gain reduction applied by the compressor. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumption: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 60 ms Release: 10 – 2000 ms Ratio: 1.5, 2, 4, 6, 10:1 Knee: 20dB Output: -5dB to +15dB Sidechain HPF: off – 370Hz Sidechain Feed: Forward Sidechain Type: PEAK/RMS

Bettermaker Mastering Compressor is for those who seek mastering grade compression with the convenience of fast and precise recall and automation. Mastering Compressor offers 100% analog signal path, high class VCA compression with, 3 different compression modes, sidechain with HPF, parametric and LPF section with hardware insert and preview function, Stereo/Dual mono/MS operation, adjustable THD saturation and more.. All this with mastering grade sound and patented recall with a speed of a native plugin.  Mastering Compressor:  advanced analog VCA compressor with PEAK or RMS detection and switchable forward/backward feed  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  stereo, dual-mono and mid/side operation modes with with focus and sidechain preview function  our famous BM, SG and DX modes  adjustable 15 – 30 Hz high pass filter at the compressor input  dry/wet MIX control for parallel compression  HPF, LPF and fully configurable parametric filter in sidechain with option of hardware insert  adjustable drive (for odd/even clipper) and THD function for harmonically rich sound  Range Setting – limit the maximum amount of gain reduction!  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison  five inch capacitive touchscreen with backlight  USB connectivity with MAC/PC Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  Save and recall presets from on-board memory (400 slots available)  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Mastering Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Mastering Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel and LCD touchscreen: The front panel of the Mastering Compressor is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction applied by the compressor or store and recall presets using on-screen QWERTY keyboard. DAW integration: The Bettermaker Mastering Compressor can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Compressor Plugin. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumptin: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 250 ms Release: 10 – 2000 ms Ratio: Variable 0.7:1 – 10:1 Knee: Variable 0 – 20dB Output: -5dB to +15dB Width (in M/S): -8dB to +8dB Range: Variable 0.1dB – 20dB / off HPF24: Off/15/20/25/30 Hz THD + DRIVE: off/odd/even Sidechain HPF: off – 370Hz Sidechain LPF: 2k – 18k / off SC MF gain: +/- 15dB SC MF freq: 0.5 – 10kHz SC MF Q: 0.2 – 8 Sidechain Feed: Forward/Backward Sidechain Type: RMS/PEAK

When you need premium sound quality limiting and convince of fast and precise recall and automation. The mastering limiter offers, 100% analog signal path, plugin recall and automation within your project, frequency dependent saturation, MS processing, enhanced metering section and a large LED touchscreen minimising clutter on your main studio screen. Get analog mastering sound quality results, fast and spare your recall time. Mastering Limiter: The sound of the limiter is of course based on the quality of its hardware design. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog limiter:  Save and recall presets  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation  Comprehensive metering operations based on high quality A/D conversion and DSP Great care and thought went into the development and implementation of the analog section of the Bettermaker Mastering Limiter. High quality capacitors and low noise op-amps are used in the analog path. Relays were used, whenever creating the shortest path for the audio signal was necessary. The analog section consist of high quality input/output buffers capable of passing thru high level audio signals (up to +23dBu, balanced, THD < 0.1%) All these modules are controlled by the digital section of the Mastering Limiter, so no mechanical switches or knobs are required to adjust any of the parameters. Digital Section: The digital section of the Mastering Limiter is based around two high speed, 32- bit micro-controllers, with dedicated firmware programmed into their memory (with the possibility of updating the firmware via USB connection). One of them is responsible for controlling the VCA limiter, when the other watches over the user interface, presets management, audio measurement, USB connectivity and other Mastering Limiter functions. The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. The linear power supply was used instead the switching one to improve the sonic qualities even further. The front panel of the Mastering Limiter is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction (and clipping) applied by the limiter, perform advanced measurements (FFT, LUFS, K-metering), use on-screen QWERTY keyboard for  naming your presets and more. You can even display fully configurable, analog style VU meters! ​ Main features: The Limiter has 3 functionalities that are essential to make a perfect master. All of them are recallable by the internal memory and a plugin that also handles automation.Analog Mastering Limiter:  100% analog signal path  intelligent and manual release  variable mix between limiting and clipping possibility to turn off the clipping section, so you can clip with you favorite AD or other. Color, for giving that special flavor to your mix:  Two color modules introducing different saturation that can be used simultaneously  Color 1 with Majority of odd harmonics  Color 2 with Majority of even harmonics  Both color sections can be internally EQed so for example you can present more odd harmonics in the low end to give the mix more bite and sweeten the highs with the even harmonics at the top end. Metering: Metering, an additional screen in your studio. As it’s a touchscreen it also utilizes control functions of the Mastering Limiter. You can view your favourite set of stats.  Input, output and reduction  Analog style meters (VU, PPM, RMS, Peak with peak hold functionality)  LUFS (Short term, Integral, Loudness Range, view in time)  K metering  30 Band FFT analyzer  Goniometer  Correlation meter  Two points of measurement, the output of the Limiter or the plugin  and more… DAW integration: The Bettermaker Mastering Limiter can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Limiter Plugin. Technical specification: Maximum input level: +21,5 dBu (balanced) Maximum output level: +23 dBu (THD < 0.1%) Operating Level: +4dBu Maximum gain reduction: 20 dB Makeup gain: automatic Attack time: 0.1 – 250ms Release time: 0.01 – 1.3s + IREL (intelligent release) Input impedance (differential): 48kΩ (for balanced signal) Output Impedance: 50Ω + 50Ω (electronically balanced) Frequency response 5Hz to 30kHz; +/- 0.1dB Dynamic Range: 106dB (+21dBu, 22kHz BW) THD+N: CMRR: max 80 dB @ 3 kHz, min 55 dB @ 50Hz, 20 kHz BW Crosstalk: min -90 dB @ 1KHz, max -55 dB @ 30Hz, +18 dBu, 20 kHz BW Maximum power consumption: 30W (uses 630mA slow blow fuse)

The T-Komp has a unique design that offers a modern take on the old vari-mu ratio curve. The ratio is level-dependent and increases with the signal level, a feature that will give you numerous possibilities. To make the T-Komp more useful it has two ratio ranges. The first one goes up to 20:1, perfect for instrument tracking and smashing drums, etc., the second, 2:1, is a more narrow range which makes it more suitable for bus compression.The T-Komp can be selected between feed-forward mode for a punchy, modern response or feed-back mode with a smoother, more musical response. The RMS detector has five settings, four from fast to slow where number four, the slowest, is similar to the old 160VU. The fifth position is a program-dependent adaptive mode.

The COMP-3A is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-3A is based on a classic design that uses an electro-luminescent panel and a photoelectric cell to control gain. This gives the COMP-3A a unique, program dependent compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide.This classic sound is now available at a very affordable price point with the COMP-3A.FEATURESVintage style electronics. No integrated circuits in the signal path.Transformer balanced input and output. Can drive almost any load - balanced or unbalanced.Selectable output transformer loading resistors by an internal jumper, will affect the high end frequency response.Uses a classic T4-style electro-optical attenuator to control gain with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.External power supply to avoid interaction with the audio circuits and transformers.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use

The COMP-2A is a one channel vintage style Compressor / Leveler using vacuum tubes in the signal and side-chain path. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before transistors and integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-2A is based on a classic design that was originally produced in the early 1960s and it was initially intended for broadcast applications. It uses an electro-luminescent panel and a photoelectric cell to control gain. This gives it a unique, program dependent compression characteristic. In addition, the all tube signal path and the transformers adds a wonderful and musical character to the sound.The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide. This classic sound is now available at a very affordable price point with the COMP-2A.Features:Vintage style all tube signal path. The tubes are fitted with grounded shields.Transformer balanced input and output. Can drive almost any load, balanced or unbalanced.Golden Age Project's version of the classic optical unit using a long life electroluminescent panel and two carefully matched Silonex NSL5910 photoresistors for T4B-style electro-optical gain control with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.Linear low noise regulated filament and high voltage power supply.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use.

At War With The Loudness WarWe’re not going to hide our intentions: when we set out to design The Dangerous COMPRESSOR, we spent over two years figuring out how to achieve modern levels of limiting and compression while avoiding the deadening effects of today’s ultra-limited productions. We make gear that helps you deliver the impact, punch and clarity that brings music to life, and when it comes to compression and limiting our answer was not to avoid it like some purists might, but to deliver an audiophile-grade tool that provides powerful compression and limiting without robbing the music of its lifeforce. The Dangerous COMPRESSOR points the way to the future of dynamics. Transparently BeautifulCompressors fall into two basic categories: so-called “color boxes” capable of drastically changing sound, of which there are hundreds available, and the much more difficult to design “transparent units” that control dynamics without introducing obvious sonic artifacts. The Dangerous COMPRESSOR is decidedly in the latter category, delivering crystal clear compression that allows you to easily alter and control dynamics without drastically changing the original sound. But don’t let the word ‘transparency’ trick you into thinking The COMPRESSOR doesn’t sound beautiful – like all Dangerous gear, the low end is big and powerful, the mids maintain texture and detail, and the top-end is open and deeply engaging, even during very active gain reduction. This level of open musicality is unique even among the small field of transparent compressors, putting The COMPRESSOR in a class of its own where sounding transparent and beautiful is no longer a paradox. Beyond VersatilityBecause The Dangerous COMPRESSOR is so transparent and simple to operate, it can handle a wide range of tasks often left to automation and eq during tracking, mixing and mastering. Few compressors are as versatile. Tedious vocal level rides can be handed over to The Dangerous COMPRESSOR’s VCA as if it were a trusted assistant intuitively riding a fader. Use the internal sidechain EQ curves to tame a sibilant vocal or to let deep bass punch through untouched, or both simultaneously. Effortlessly peak-limit a master in the analog realm and dispense with your digital limiter using the unique Smart Dynamics feature. Patch an eq into the  external side chain for dynamic eq across the midrange, or use the two channels as independent mono units, or in series to achieve ultra-transparent “cascaded compression.” Beyond versatility, The Dangerous COMPRESSOR invites you to creatively solve sonic problems without worrying about unwanted sonic artifacts. A No Compromise Design WIth Unique FeaturesHand assembled in the USA, at the heart of The Dangerous COMPRESSOR is a unique and unparalleled audiophile-grade circuit by legendary designer Chris Muth. In typical Dangerous fashion, nothing is sacrificed, and The COMPRESSOR delivers intelligent, innovative, easy-to-use features with unsurpassed sound.Dual Detectors – The COMPRESSOR utilizes two totally independent RMS detectors with a nuanced and sophisticated circuit that governs how the left and right channels work together in stereo. This allows The COMPRESSOR to deliver crystal clear and rock solid stereo imaging when processing a full mix, a drum buss, a finished master or any stereo material. What’s more, you can use each channel as an independent mono compressor – great on kick and snare, for example – or you can “cascade” the two channels into each other for ultra-transparent compression with peak limiting – a great technique for automatically riding a vocal, a spiky lead instrument, or anywhere that powerful and transparent control is needed. Smart Dynamics By engaging “SmartDyn,” you turn on The COMPRESSOR’s unique “dual slope” detector circuits, allowing you to control fast transient peaks without causing average volume levels to drop. This lets you maintain higher average volume levels while avoiding the pumping artifacts commonly incurred when pushing toward the expectations of modern loudness. Smart Dynamics is equally helpful when tracking a dynamic singer or mixing a snappy drum kit, and most users end up leaving the “SmartDyn” button engaged at all times. With its dual detector working in conjunction with Smart Dynamics, The COMPRESSOR’s circuit design is so agile that it seems to possess artificial intelligence. Auto Attack & Release And if it wasn’t already easy enough to get powerful and transparent compression, The COMPRESSOR also includes an automatic attack and release setting that allows you dial in your sound simply using the threshold and make-up gain knobs. If you need more precise settings for attack and release, simply press the “Manual Att/Rel” button and start tweaking. On-Board Side Chain Filters The COMPRESSOR includes two audiophile-grade side-chain EQs that you can turn on and off at the push of a button…no complex patching necessary. Bass Cut turns down low-end below 60Hz, assuring that the detector is not overreacting to low-end content or “breathing” along with the beat. The Sibilance Boost utilizes the BAX EQ’s ultra-linear high-end shelf to push more treble content into the detector, which causes The COMPRESSOR to dynamically attenuate sibilance and other unwanted spikes of high-end like harsh cymbals or erratic acoustic guitar strums – great on vocals during tracking or mixing, or on a whole mix during mastering.VU and LED Metering The dual VU meters can show you gain reduction, input or output levels.   There is a -6dB offset button so that loud material is always hovering in a usable range, perfect for visually monitoring average levels. What VUs can’t show you are the fast transient leaps past threshold, and that’s where the dual LED meters come in. Together, the VU and LED meters provide two important insights into the nuanced inner workings of The COMPRESSOR in action.Audiophile Components Throughout – Chris Muth’s fastidious designs call for only the highest quality components in areas of the circuit that don’t even pass audio. Detector and control voltage circuits (which lie at the heart of any compressor but are not in the audio path) are often built from substandard components in order to cut costs. However, these detector components have a major impact on how any compressor performs, especially with the high standards we set for achieving the nuanced and intelligent compression you’ll get out of The COMPRESSOR. Combine To Taste Whether you’re tracking, mixing or mastering, The Dangerous COMPRESSOR works beautifully with vintage analog gear or patched into today’s cutting-edge digital systems, allowing you to achieve truly modern levels without the undesired artifacts that plague so many modern productions. Combine it with our ultra-transparent BAX EQ for one of the most open EQ/Compressor combinations possible, perfect for mastering or mixing. Place The Dangerous COMPRESSOR after any “color box” — a console, a vintage tube compressor, a funky EQ, or all three together — and you can dial in the exact dynamics you want without having to rely on the often unruly controls of yesteryear’s gear. The World’s Most Intelligent Analog Compressor With its sophisticated dual detector circuit, unique Smart Dynamics section, automatic attack and release function, unmatched versatility and incredibly transparent, audiophile-grade sound, The COMPRESSOR from Dangerous Music is today’s most intelligent analog compressor. Taking modern loudness seriously while prioritizing clear, open sound, The COMPRESSOR is pioneering a new and innovative approach to modern compression for today’s most discriminating tracking, mixing and mastering engineers. Features * Elegant, easy-to-use design with an uncompromising audio circuit by legendary designer Chris Muth.* Unique Smart Dynamics dual-slope detector handles transient peaks without ducking the average level, making modern compression levels easier to achieve and totally transparent.* Auto Attack/Release – achieve excellent results with just the threshold and makeup gain settings.* Two audiophile-grade internal sidechain eq settings.* Hard and soft knee slope selection.* External sidechain routing.* Audiophile-grade VCAs for controlling levels without artifacts.* Stepped ratio settings from 1:1 to 20:1.* Multiple meter modes. Awards * TEC Award (winner)* Rockit Award (winner)* Resolution Award (nominated)* Sound on Sound Awards (nominated)

Discrete Compressor, Re-Issue. Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.        FEATURESAudio circuit uses the 2510 and 2520 Discrete Op Amps with transformer outputContinuously variable detented Threshold controlContinuously variable detented Attack and Release controlsContinuously variable detented Ratio controlOutput Fader level control10 segment VU/Gain Reduction meter with selector switchOverload LED"Link" switch for multiple unit interdependent compression linking"New"/"Old" switch for feed-forward or feed-back compression"Hard"/"Soft" compression curve knee switchPatented "Thrust" switch for frequency dependent side chain control"IN" switch with hard relay bypass when in the "Out" position

Ένας από τους πιο δημοφιλείς compressors για mastering, που λειτουργεί εξολοκλήρου με λυχνίες. Ο Manley Vari-Mu ακούγεται σε χιλιάδες δίσκους των τελευταίων δεκαετιών και είναι πλέον αναπόσπαστο κομμάτι όλων των mastering studios.Το COMPRESS mode λειτουργεί με ratios που κυμαίνονται μεταξύ 1.5 και 1, ενώ το πιο δραστικό LIMIT mode αρχίζει από 4:1 και ανεβαίνει σε 20:1 καθώς μεγαλώνει το gain reduction. Επίσης, το knee γίνεται πιο ομαλό όσο εφαρμόζεται περισσότερο limiting.Χαρακτηριστικά:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchSilent conductive plastic dual INPUT attenuatorRECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom