Compressors / Limiters

The Warm Audio BUS-COMP is an all-analog, 2 channel, stereo VCA bus compressor based on classic circuitry that has provided silky smooth tone for decades. Stereo VCA bus compressors are masterful at controlling dynamics on many sources, but they have become widely known for their magic touch on stereo mixes.  The BUS-COMP will perform well on stereo mixes, drum mixes, drum overheads, acoustic guitars, keyboards, piano, orchestral instruments, voice-overs and an array of other sources. The BUS-COMP is primarily designed for stereo use, but it can be used just as successfully on individual mono sources. VCA bus compressors of this type have become widely loved for their ability to control dynamics effortlessly but also for the added tone and depth they provide to the audio signal that passes through them, even when no compression is applied.Re-creating legendary VCA bus compressor technology was the focus of the BUS-COMP’s design, however, adding options and improvements was just as important to us during its development. One feature we are proud to boast is the BUS-COMP’s ability to have USA made CineMag transformers inserted into the signal path driven by fully discrete operational amplifiers. With a single push of a front panel switch, these custom USA made transformers are inserted into the audio’s path providing increased depth, tone and vibe!As with all of the products we develop here at Warm Audio, the BUS-COMP was designed with a price point in mind. With efficient, modern manufacturing techniques we are proud to bring this boutique quality, classic VCA bus compressor to the market at a quality-to-price ratio previously unseen. More studios than ever before will now have access to analog quality VCA bus compression. Our desire is for all musicians to be heard the way they want to be heard and we feel the BUS-COMP is the perfect tool to perfect any mix!Technical Specifications* All analog, 2 channel, stereo VCA bus compressor* Based on legendary VCA bus compressor technology* Selectable discrete opamp stage with CineMag USA transformers* External side chain source select* SELECTABLE HI-PASS FILTER: 30, 60, 105, 125, 185 HZ* COMPRESSOR ENGAGE SWITCH FOR EASY A/B COMPRESS VS. NO-COMPRESS COMPARISON* PERFORMS WELL ON STEREO MIXES, DRUM MIXES, DRUM OVERHEADS, ACOUSTIC GUITARS, KEYBOARDS, PIANO, ORCHESTRAL INSTRUMENTS, VOICE-OVERS AND ENDLESS OTHER SOURCES* CAN BE USED ON STEREO AS WELL AS INDIVIDUAL MONO SOURCES* THAT 2180 VCAS* Optimally provides both XLR and TRS connectivity* Noise: < -90dBu* DYNAMIC RANGE: > 120DB* FREQUENCY RESPONSE: 18HZ – 22KHZ* THD + NOISE, 20HZ – 20KHZ, +20DBU INPUT: < .05%* INPUT IMPEDANCE: 10K OHMS* OUTPUT IMPEDANCE: 50 OHMS

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.

Warm Audio's WA-2A set its target high: the most iconic tube compressor in history. How does Warm do it? Through economies of scale, mostly. They don't cut corners on components (the WA-2A employs a custom optical photocell and genuine US-made Cinemag transformers), but they do order parts and build in quantity, which keeps costs down. Like the classic unit, the WA-2A gives you a completely discrete signal path and the same arrangement of controls. And yes, it replicates the original's coveted warm sound and forgiving nature. Elevate your studio to the next level - with the Warm Audio WA-2A.What can the WA-2A do for you?Every studio needs a good compressor, and the Warm Audio WA-2A is designed after the mother of all compressors - the legendary LA-2A Leveling Amplifier. With its euphonic, fluid, forgiving sonics and all-discrete, all-tube signal path, the WA-2A is your go-to device for everything from caressingly warm dynamics control to full-tilt squashfest. It's fabulous on bass, kick drum, vocals - you name it. It's lovely for punchy parallel processing on drums, and if you have two of them, the possibilities become even greater.Top-tier performance - and a stunning valueAt Sweetwater, we're all about performance and value, and that's what the WA-2A gives you. At this amazing price, you can double your value and get two. With a pair of these in your rack, you can make that stereo piano sit proudly in the track. Punch up your toms. Strap them across your stereo bus for some mastering magic, and fortify your mix with serious slam factor.Warm Audio WA-2A Features:Faithful re-creation of the iconic LA-2A Leveling Amplifier in a 2RU chassisCompletely discrete, all-tube signal path:Historically accurate 4-tube circuitUS-made Cinemag input and output transformersCustom optical photocellWarm Audio's 1-year warranty   

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.

Warm Audio's WA76 set its target high: the most iconic solid-state limiting amplifier in history. How does Warm do it? Through economies of scale, mostly. They don't cut corners on components (the WA76 employs genuine US-made Cinemag transformers), but they do order parts and build in quantity, which keeps costs down. Like the classic unit, the WA76 gives you a completely discrete signal path and the same arrangement of controls. And yes, it replicates the original's explosive performance when all the ratio buttons are pressed. Elevate your studio to the next level - with the Warm Audio WA76.What can the WA76 do for you?Every studio needs a good limiter, and the Warm Audio WA76 is designed after the mother of all limiters. With its lightning-fast response time and pristine, all-discrete signal path, the WA76 is your go-to device for everything from subtle, transparent dynamics control to full-on brickwall limiting. It's fabulous on bass, kick drum, vocals - you name it. It's a must-have for punchy parallel processing on drums, and if you have two of them, the possibilities become even greater.Top-tier performance - and a stunning valueAt this amazing price, you can double your value and get two. With a pair of these in your rack, you can make that stereo piano sit proud in a thick track. Punch up your toms. Strap them across your stereo bus for some mastering magic, and juice your mix with serious slam factor.Warm Audio WA76 Limiting Amplifier Features: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 gainInput 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 

The COMP-54 is a one-channel vintage style Compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.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-54 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 most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens™ and EMI™ used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.

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

The Manley Nu Mu gives you the best sonic qualities of both tube and transistor compressors. Manley spec'd the Nu Mu with the all-tube, T-Bar-modded front end of their fabled Variable Mu and followed it with a state-of-the-art solid-state audio chain. At Sweetwater, we're quite impressed by the results - silky smooth, fat, and punchy! Manley's innovative HIP circuit is onboard, enhancing low-level detail without taking a toll on dramatic transients. Handcrafted in the company's Chino, California, factory, the Nu Mu delivers superior sonics, performance, build quality, and value - exactly what you'd expect from Manley.Advanced dynamics control is yours with the Manley Nu Mu!Manley Nu Mu Features: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 SpecificationsType: 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​

Since the early 1990’s, the Manley ELOP® stereo electro-optical limiter has been a tracking hero effortlessly controlling dynamics on countless records around the globe, delivering the coveted classic, all-tube sound that Manley Labs is known for. So how do you improve on something this good? Well, for starters, we have now added a 3:1 compression ratio feature which opens up the doors to greater versatility, especially for 2-buss applications. The 2016 ELOP+ has been completely re-engineered from the ground-up, beginning with our amazing modern high voltage switching power supply purpose-designed for our vacuum tube audio circuits. With careful reference to our sonic past, we have deployed our highest performance vacuum tube line amplifier and White Follower output stage in this new version all housed in a build-efficient chassis behind a drop-dead gorgeous precision-CNC-milled faceplate, all proudly made in America, of course. The new Manley ELOP+ is everything you love about our legendary ELOP, plus!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

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement.This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.

A new version of the Phoenix soft knee stereo valve compressor, the Phoenix Standby: new features include a standby switch which is provided to extend valve and capacitor life. When in 'standby' the HT current through the valves is only 50% of the normal value. The zero level meter adjusters have now been front to the front panel to make calibration easier and to avoid having to take the unit out of the rack.The Phoenix is a twin channel 'vari-mu' device. Compression ratio starts low and increases gradually so that compression can be subtle and natural, but compression effects can occur when driven hard. Very low noise. Continuously variable controls for Gain, Attack, Release, Threshold and Output Level. Stereo link for compressing a group (eg. drums) or a complete mix.The Phoenix enhances vocals & individual instruments by being unobtrusive, gently 'warming' sounds and making solos sound more powerful. ItΉs impressive on overall mixes & can give a digital mix 'reality'. ItΉs also excellent for compression effects. Try drums with a 'thump' attack (i. e slowest) & fast release.Key Features 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.

The Phoenix HG 15 is a single channel version of our classic Phoenix Stereo Compressor, having the same gentle “variable mu” type compression curve, though it becomes near to a limiter at high compression levels.The gain has been boosted to suit mic inputs, particularly valve and FET condenser types, but many moving coil types, such as Shure, Audio Technica, etc. are fine to use if the sound source is quite loud or close-miked.With the Threshold switch set to Comp Out it’s a clean mic/line amp, now add a little Active Eq, “Presence” and/or “Air” to brighten the sound, then switch in some compression and achieve that gentle “super-natural” effect that only Thermionic Culture can give you.The Output Level control acts as a reverse linear attenuator after the electronics, and can be used simply to reduce level if feeding a low level input, or to add “Attitude” by reducing the output and increasing the input.  If you’re working from line level, it’s OK to switch the input from “Line” to “Pad” but ensure the +48v switch is OFF!2 HG15s can be linked together for stereo use by a phono-phono lead from the Link socket at the rear.   There’s a Side Chain Bass Cut switch, which can also be useful in mono operation. To sum up, The Phoenix HG15 is ideal as just a mic amp for vocals, violins, horns, guitars…… especially when using a high output mic like the U87.  Then having the ability to add compression and a bit of eq.Features:High Gain Mic Amp/Compressor/EQ with super-natural valve sound;Based on Phoenix design with 52 dB gain available;Fully Balanced circuit with XLR in/out connectors;+48v Phantom power available;Threshold control has 7 way switch with Compressor Out position;Time Constant switch has 6 combinations of Attack & Release;Side Chain Bass Cut;Presence and Air switches to boost mid and high top with In/Out switch;Bass Cut to roll off low bass;2 valves, 6AQ8EH input and 12AT7/ECC81 output;Solid State side chain! ;Link socket to connect 2 HGs for stereo buss operation, etc.

The Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.The input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.The first position is Nickel, which is our custom version of a famous L. A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.The optical section has a hard-wired bypass that completely removes it from the signal path, and the Class-A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a strait wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.For instance, you might call up the chain of the optical compressor, then to the Class-A output and Iron transformer, for vocals, or select just the Class-A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.The metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.All 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite 

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.

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications: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 switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 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

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications: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 switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 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.

The COMP-3A Jr is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors, diodes 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 preferred 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 Jr is based on classic design elements and it uses an integrated optocoupler to control gain. This gives the COMP-3A Jr a unique 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 vintage products with a similar design favorites of engineers and musicians worldwide.A classic sound and compression style is now available at a very affordable price point with the COMP-3A Jr.Features:Vintage style electronics. No integrated circuits in the main audio signal path.Transformer balanced input and output. Can drive almost any load, balanced or unbalanced. The maximum output level is 25 dBu. – Uses an integrated optocoupler to control gain. The fastest attack time is about 1 ms.Very simple to operate with only two main controls, Gain Makeup andGain Reduction.Three-position TIME switch to select different combinations of Attack- and Release time.Selectable jumpers inside the unit to increase the timing on TIME-switch position B and C.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack 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 1RU quarter rack format. Up to four units can be mounted in our19-inch rack kit, the UNITE MKII.A solid build quality that will last many years of normal use.

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.

Simple:Hit your choice of buttons and twist the threshold for radio-ready results Smart Dyn Dual Slope Detection: Automatically limits peaks while stealthily compressing the average.Auto Attack/Release: Replace "guess" with "yes" for rapid-fire results. Transparent:Performs like an automated fader: No more drawing vocal rides.True Stereo Dual Detector: Traditional linking shares one detector, often resulting in a narrower stereo image.Immaculate VCA: Virtually no distortion, even with 20dB of gain reduction. Powerful:Internal sidechain circuitry houses the audiophile soul of the compressor:Bass Cut: Tightens the track without sacrificing the low end.Sibilance Boost: Shave sibilance and shrill histrionics with zero post-compression hangover.

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

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications: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 switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 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