{"title":"Compressor \/ Gates","description":"","products":[{"product_id":"api-235l-discrete-channel-noise-gate-235l","title":"API 235L Discrete-Channel Noise Gate","description":"\u003cp\u003e\n\t\u003cspan class=\"\" style=\"font-size: 16px; \"\u003e\u003cstrong\u003eAPI 235L Discrete Channel Noise Gate\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003csection class=\"product-features\"\u003e\u003ch2\u003eFeatures\u003c\/h2\u003e\n\u003c\/section\u003e\u003cdiv\u003e\n\tThreshold control from -45 to +25 dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\tVariable Fine Adjustable Depth to -80 dB\u003c\/div\u003e\n\u003cdiv\u003e\n\tAdjustable Release\/Hold Time, 50mS to 3 sec\u003c\/div\u003e\n\u003cdiv\u003e\n\t2:1 Expander or Noise Gate Selection\u003c\/div\u003e\n\u003cdiv\u003e\n\tRelease or Hold Switch for Release control knob\u003c\/div\u003e\n\u003cdiv\u003e\n\tAlways at Unity Gain, Regardless of settings\u003c\/div\u003e\n\u003cdiv\u003e\n\tLED Gain Reduction Meter\u003c\/div\u003e\n\u003cdiv\u003e\n\tUses the API 2510 and API 2520 Op-Amps\u003c\/div\u003e\n\u003cdiv\u003e\n\tTransformer Output, to +28 dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe API 235L Noise Gate\/Expander has the ability to reduce noise in any type of program. The 235L can open unusually fast, without losing any part of the sound. Its extreme flexibility, repeatable settings, and superb sound make it ideal for all studio, live sound, and broadcast applications.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 235L is one of the fastest noise gates manufactured today. When an engineer is faced with program material with a high level of background noise, the 235L can either Gate the signal at a preset Threshold, or with the use of the Expander function, can reduce the background noise to an almost undetectable level. This can be achieved without the typical loss of the program material caused by slow triggering of the signal, or \"pinging\" caused by false triggering.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tWith a wide range of adjustment, the 235L can operate from -45 to +25 dBu, fitting into any audio situation regardless of program level. Once the Threshold level is set, the Attack time can be selected to react faster than 100uS or slightly slower than 25mS to reduce false triggering. Although the Depth control has a full range of -80 dB, the scale is expanded in the first half of rotation so 0 to 9 dB is available for fine tuning of subtle, undetectable gating. The second half of rotation is from 10 to 80 dB for more drastic noise reduction.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Expander function uses a 1:2 ratio, allowing the signal to \"sneak up\" to the full signal level without any loss of \"under threshold\" vocal or percussion nuances. Setting the threshold in the Gate function to the desired level, then switching to the Expander mode is the perfect setup.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tFor special gating functions such as the famed \"gated snare reverb\", the Release function can be switched to Hold, and the Release control becomes the Hold time. In both scenarios, the unselected function has a set time of 100mS.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tWhen used with the other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 235L makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of all API products.\u003c\/div\u003e","brand":"API","offers":[{"title":"New | On Order","offer_id":46167939973403,"sku":"235L","price":695.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/prod_235l_1_l.jpg?v=1692021460"},{"product_id":"dbx-266xs-dual-compressor-gate-c01","title":"DBX 266XS Dual Compressor Gate","description":"\u003ch2\u003eDBX 266XS Dual Compressor Gate\u003c\/h2\u003e\n\u003cp\u003eAdding a dbx 266XS Compressor\/Gate to your live sound rig or studio gives you more dynamic control to help create a more polished, professional sound. Having compression in your audio chain gives you the ability to smooth out uneven levels, add sustain to guitars and fatten up your drums. It also makes it easy to bring vocals to the front of your mix - adding greater clarity and making them stand out from the surrounding instruments. \u003c\/p\u003e\n\u003cp\u003eDBX knows compressors...after all they invented them! The 266XS is the latest in a long line of the world's most successful compressors from the inventors of the technology. Its patented Overeasy compression technology provides smooth and musical performance while the AutoDynamic attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 266XS can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1\/4 inch TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eError proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes\u003c\/li\u003e\n\u003cli\u003eNew gate timing algorithms ensure the smoothest release characteristics\u003c\/li\u003e\n\u003cli\u003eProgram-adaptive expander\/gates\u003c\/li\u003e\n\u003cli\u003eGreat sounding dynamics control for any type of program material\u003c\/li\u003e\n\u003cli\u003eSeparate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup\u003c\/li\u003e\n\u003cli\u003eStereo or dual-mono operation\u003c\/li\u003e\n\u003cli\u003eBalanced inputs and outputs on 1\/4 inch TRS and XLR connectors\u003c\/li\u003e\n\u003cli\u003eSide Chain insert\u003c\/li\u003e\n\u003cli\u003eClassic dbx Auto mode\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"DBX","offers":[{"title":"Pre-Owned | On Order","offer_id":46168317198619,"sku":"266XSEBAYPRO","price":198.88,"currency_code":"USD","in_stock":false},{"title":"New | On Order","offer_id":46168317231387,"sku":"266XS","price":280.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/dbx-266xs-dual-compressor-gate_1.jpg?v=1692024653"},{"product_id":"summit-audio-mpc-100a-mpc-100a-c01","title":"Summit Audio MPC-100A","description":"\u003ch2\u003eSummit Audio MPC-100A Microphone Preamp \/ Compressor\u003c\/h2\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe MPC-1OOA from Summit Audio is a single channel, tube preamplifier and tube compressor\/limiter featuring 3 input types - microphone, line level and front panel Hi-Z input. By utilizing both tube and solid state technology, and working in synch with the Jensen microphone input transformer, the unit is able to deliver detailed sound with varying amounts of harmonically complex, yet pleasing overtones.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 3 position ultra-fast attack of the compressor section yields highly optimized signals for working in the digital domain. The Hi-Z input features an impedance matching (load) control so that passive guitars and bass pickups have a wide level of tone control. Three separate gain sections deliver endless tonal variations, from clean to saturated, while true VU metering and multiple outputs provide accurate visual feedback and comprehensive connectivity.\u003c\/div\u003e\u003ch3\u003eFeatures:\u003c\/h3\u003e\n\u003cdiv\u003e\u003cul\u003e\n\u003cli\u003eSingle channel, tube\/solid state hybrid microphone preamp with microphone, line and front-panel Hi-Z inputs\u003c\/li\u003e\n\u003cli\u003eCompletely variable input and output allows for driving the tubes as hard or as lightly as desired, providing tones that vary from crystal clear and open, to full tube saturation, and any tone in between\u003c\/li\u003e\n\u003cli\u003eCompressor\/limiter has very fast attack times, making it ideal for optimizing signal prior to entering the digital domain\u003c\/li\u003e\n\u003cli\u003e3 position \"smart\" attack and release switches\u003c\/li\u003e\n\u003cli\u003eCompressor stereo linkable to another MPC-100A or TLA-100A\u003c\/li\u003e\n\u003cli\u003eHi-Z instrument DI with impedance matching control for endless tonal variations\u003c\/li\u003e\n\u003cli\u003e+4dB balanced and -10dB unbalanced outputs, usable simultaneously\u003c\/li\u003e\n\u003cli\u003eTube drive indicators\u003c\/li\u003e\n\u003cli\u003eHigh-quality, true VU meter\u003c\/li\u003e\n\u003cli\u003eUniversal internal power supply\u003c\/li\u003e\n\u003cli\u003eHand-crafted in the USA\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e","brand":"Summit Audio","offers":[{"title":"New | On Order","offer_id":46168456233243,"sku":"MPC100A","price":3149.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/summit-audio-MPC100A-0.png?v=1692025872"},{"product_id":"used-manley-labs-massive-passive-equalizer-mastering-version-massivepassiveme-c01","title":"Manley Labs Massive Passive Equalizer Mastering Version","description":"\u003ch2\u003eManley Labs Massive Passive Equalizer Mastering Version\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eYes Finally! Manley Mastering Version Massive Passive Stereo Tube EQ. \u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eWE FINALLY CAME UP WITH A CLEVER WAY TO PULL THIS OFF...\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWITHOUT breaking your bank account thanks to these interesting mechanically detented knobs for the GAIN and BANDWIDTH controls! These ensure repeatability which is what everyone wanted but without the incredible cost and space problems tons of Grayhill switches would have caused.\u003c\/p\u003e\n\u003cp\u003eThe Massive Passive is a passive design and not a \"true parametric\". A true parametric implies non-interacting controls. In the Massive Passive, the \"GAIN\" and \"BANDWIDTH\" controls DO interact (on purpose). We cannot create a \"GAIN\" switch that is set up for \"consistent\" 1\/2 dB steps. When you change the \"BANDWIDTH\" the step size must and will change. On the regular version, you get a full 20dB boost or cut only when: the bandwidth is fully clockwise (narrow) in bell mode or fully counter-clockwise in shelf mode. Here on the Mastering Version, this maximum boost or cut is 11dB. Conversely at the widest bell, the maximum boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A similar situation is also true for the bandwidth detents. So in this new Mastering Version, do not expect a certain dB change per step as it will vary according to where the bandwidth is set. But whatever the step sizes are, they will be repeatably 16 steps. The FREQUENCY select is already detented as it is and always has been a Grayhill switch. It also interacts in shelf mode.\u003c\/p\u003e\n\u003cp\u003eOn a similar note, the Massive Passive is a \"parallel design\" and not the conventional \"series design\". This means the bands interact with each other too. It is possible, to set a band to boost 20 dB but if another band is boosting near or at that frequency, very little will happen. On a conventional EQ the two bands \"add\" and you would be boosting 40 dB into clipping. Because the bands interact, predictable step sizes are unrealistic, however, with the Mastering Version, you will be able to repeat settings (if you log them of course). The price paid for interacting bands, is a better sounding EQ and bizarre looking settings (on purpose).\u003c\/p\u003e\n\u003cp\u003eUnlike virtually every other EQ, the Massive Passive allows much more EQ without sounding \"processed\". Where 5 or 6 dB is about all one could attempt with other EQs in mastering, the Massivo amazes engineers with how much EQ they can do and get more \"natural\" results at the same time. We could have squeezed 11 position Grayhill switches in the modules if we had wanted 1\/2 dB steps but then the maximum range would have become only 5.5 dB. Remembering what we stated above, the minimum range would then become about 1.5 dB with approximately 0.2 dB steps. This approach would have essentially thrown away most of the useful range the unit is capable of. Going with these special mechanically detented knobs which use the same pots underneath that the normal Massivo uses, we get nearly all the range of the normal version, but with the repeatability of the detents.\u003c\/p\u003e\n\u003cp\u003eWe have also custom tailored the FILTERS in the Mastering Version specifically for Mastering purposes, moving them lower and higher than the normal version, with mastering engineers specifically in mind. If you are looking for drastic effects (like telephone sounds) then get the normal version. These filters are really geared for mastering engineers.\u003c\/p\u003e\n\u003cp\u003eAdditionally, the Master Gain Trim controls in the Mastering Version are true 11 position 1\/2 dB stepped Grayhill switches set up for a range between -2.5 to +2.5 dB of master gain trim. This allows more confidence in left\/right matching and calibration.\u003c\/p\u003e\n\u003cp\u003eThe best advice is, before you decide, or even form an opinion about whether to go with a normal or mastering version Massivo, is to use a regular Massive Passive for a session or two in your own room. We have seen in the past that the only engineers who have asked about a mastering version had yet to try the Massive. Using your previous extensive and intensive experience with other EQs may be a mistake, especially if you expect the Massive Passive to be roughly similar to them. It isn't. Please, try it first, then decide.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Filters\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. We made them extra steep. 36 dB\/oct ! Why? When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. We're going for pure \"usefulness\" not \"well, we guess it's standard\". Thinking drums and guitar stacks, and other tough jobs. These filters are passive too.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHigh Pass Filters: OFF, 12, 16, 23, 30, 39\u003c\/li\u003e\n\u003cli\u003eLow Pass Filters: OFF, 52K, 40K, 27K, 20K, 15K\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe new filters are somewhat better tuned specifically for mastering. (They are flatter until the knee). As with the standard version the slopes are typically 18dB per octave, on these mastering filters except for the highest (52K) at 30 dB\/octave.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eParametric Frequencies - same as normal Massivo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K\u003c\/li\u003e\n\u003cli\u003eLM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9\u003c\/li\u003e\n\u003cli\u003eHM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K\u003c\/li\u003e\n\u003cli\u003eHI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 18K, 27K\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46168545263899,"sku":"MASSIVEPASSIVEME","price":8399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/manley-labs-MASSIVEPASSIVEMERP-0.gif?v=1692026318"},{"product_id":"samson-s-com-plus-stereo-compresor-limiter-gate-with-deesser-scomplus-c01","title":"Samson S-Com Plus Stereo Compresor Limiter Gate with Deesser","description":"\u003cdiv\u003e\n\tThe S com plus is a highly adaptable stereo compressor\/limiter in an efficient single rackspace design. It is intended for situations where extra flexibility is required to optimize signal levels. It delivers essential control along with simplicity of operation. S com plus's comprehensive and wide-ranging controls provide extensive manipulation of audio dynamics, even in the most complex situations.Each channel features a wide range of variable control. A feature-rich Compressor section includes variable Threshold, Ratio, Attack and Release controls. Samson's SKD (Smart Knee Detector) circuit dynamically adjusts the compression curve to ensure a musical result. Our exclusive AEG (Auto Envelope Generator) function simplifies optimum settings by constantly analyzing the audio input and automatically adjusting the attack and release parameters based on the changing level. Key Inputs and Outputs are included for externally processing the control voltage.The Expander\/Gate features a variable threshold level and switchable release time (fast or slow). The Gate switch changes the downward expander ratio from \"light\" to \"hard\" gating for control ranging from subtle to an obvious effect. A dedicated Peak\/Limiter with variable control provides protection against peak and overload independently of the compressor. When used in combination with the Compressor the Peak\/Limiter offers even more precise control over dynamic levels.A functional De-esser improves audio quality by removing \"S\" from vocals and sibilance from overly bright signal sources such as cymbals. The Enhancer switch engages the EFR (Enhanced Frequency Recovery) circuit, which restores high frequencies that are sometimes diminished by heavy compression. Extensive metering includes Input\/Output, Gain Reduction, De-esser Level, Gate Open\/Close and Limit. Other S com plus features\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t\u003cstrong\u003eFeatures:\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cul\u003e\n\t\u003cli\u003e\n\t\tCompressor\/Limiter, Expander\/Gate, De-Esser with Peak Limiter\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tExpander\/Gate with Variable Trigger Control and Switchable Fast\/Slow Release\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tPeak Limiter with Independent Threshold Control and Peak LED\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tAdjustable De-Esser with independent LED Meter for Reducing Sibilance\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tAdvanced Circuit Design Utilizing Low Noise Operational\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tAmplifiers and High Quality VCA's\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tServo Balanced Inputs and Outputs on XLR and 1\/4\" Connectors\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tSKD (Smart Knee Detector) Circuit Switches from Soft to Hard Knee Based on the Level of Input Signal Applied\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tAEG (Auto Envelope Generator) Mode Constantly Adjusts the Compressors Attack and Release Times\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Samson","offers":[{"title":"New | On Order","offer_id":46169532236059,"sku":"SCOMPLUS","price":179.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/SCOMPLUS-0.jpg?v=1692027978"},{"product_id":"dangerous-music-compressor-dangerouscompressor","title":"Dangerous Music Compressor 2-Channel Mastering Grade Compressor with SmartDyn™","description":"\u003ch3\u003eAt War With The Loudness War\u003c\/h3\u003e\n\u003cp\u003eWhen designing the COMPRESSOR, Dangerous Music spent over two years figuring out how to achieve modern levels of limiting and compression while avoiding the deadening effects of today’s ultra-limited productions. Dangerous makes gear that helps you deliver the impact, punch and clarity that brings music to life, and when it comes to compression and limiting our answer was not to avoid it like some purists might, but to deliver an audiophile-grade tool that provides powerful compression and limiting without robbing the music of its lifeforce. The Dangerous COMPRESSOR points the way to the future of dynamics.\u003c\/p\u003e\n\u003ch3\u003eTransparently Beautiful\u003c\/h3\u003e\n\u003cp\u003eCompressors fall into two basic categories: so-called “color boxes” capable of drastically changing sound, of which there are hundreds available, and the much more difficult to design “transparent units” that control dynamics without introducing obvious sonic artifacts. The Dangerous COMPRESSOR is decidedly in the latter category, delivering crystal clear compression that allows you to easily alter and control dynamics without drastically changing the original sound. But don’t let the word ‘transparency’ trick you into thinking The COMPRESSOR doesn’t sound beautiful – like all Dangerous gear, the low end is big and powerful, the mids maintain texture and detail, and the top-end is open and deeply engaging, even during very active gain reduction. This level of open musicality is unique even among the small field of transparent compressors, putting The COMPRESSOR in a class of its own where sounding transparent and beautiful is no longer a paradox.\u003c\/p\u003e\n\u003ch3\u003eBeyond Versatility\u003c\/h3\u003e\n\u003cp\u003eBecause The Dangerous COMPRESSOR is so transparent and simple to operate, it can handle a wide range of tasks often left to automation and eq during tracking, mixing and mastering. Few compressors are as versatile. Tedious vocal level rides can be handed over to The Dangerous COMPRESSOR’s VCA as if it were a trusted assistant intuitively riding a fader. Use the internal sidechain EQ curves to tame a sibilant vocal or to let deep bass punch through untouched, or both simultaneously. Effortlessly peak-limit a master in the analog realm and dispense with your digital limiter using the unique Smart Dynamics feature. Patch an eq into the  external side chain for dynamic eq across the midrange, or use the two channels as independent mono units, or in series to achieve ultra-transparent “cascaded compression.” Beyond versatility, The Dangerous COMPRESSOR invites you to creatively solve sonic problems without worrying about unwanted sonic artifacts.\u003c\/p\u003e\n\u003ch3\u003eA No Compromise Design WIth Unique Features\u003c\/h3\u003e\n\u003cp\u003eHand assembled in the USA, at the heart of The Dangerous COMPRESSOR is a unique and unparalleled audiophile-grade circuit by legendary designer Chris Muth. In typical Dangerous fashion, nothing is sacrificed, and The COMPRESSOR delivers intelligent, innovative, easy-to-use features with unsurpassed sound.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDual Detectors\u003c\/strong\u003e – The COMPRESSOR utilizes two totally independent RMS detectors with a nuanced and sophisticated circuit that governs how the left and right channels work together in stereo. This allows The COMPRESSOR to deliver crystal clear and rock solid stereo imaging when processing a full mix, a drum buss, a finished master or any stereo material. What’s more, you can use each channel as an independent mono compressor – great on kick and snare, for example – or you can “cascade” the two channels into each other for ultra-transparent compression with peak limiting – a great technique for automatically riding a vocal, a spiky lead instrument, or anywhere that powerful and transparent control is needed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSmart Dynamics\u003c\/strong\u003e – By engaging “SmartDyn,” you turn on The COMPRESSOR’s unique “dual slope” detector circuits, allowing you to control fast transient peaks without causing average volume levels to drop. This lets you maintain higher average volume levels while avoiding the pumping artifacts commonly incurred when pushing toward the expectations of modern loudness. Smart Dynamics is equally helpful when tracking a dynamic singer or mixing a snappy drum kit, and most users end up leaving the “SmartDyn” button engaged at all times. With its dual detector working in conjunction with Smart Dynamics, The COMPRESSOR’s circuit design is so agile that it seems to possess artificial intelligence.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuto Attack \u0026amp; Release\u003c\/strong\u003e – And if it wasn’t already easy enough to get powerful and transparent compression, The COMPRESSOR also includes an automatic attack and release setting that allows you dial in your sound simply using the threshold and make-up gain knobs. If you need more precise settings for attack and release, simply press the “Manual Att\/Rel” button and start tweaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOn-Board Side Chain Filters\u003c\/strong\u003e – The COMPRESSOR includes two audiophile-grade side-chain EQs that you can turn on and off at the push of a button...no complex patching necessary. Bass Cut turns down low-end below 60Hz, assuring that the detector is not overreacting to low-end content or “breathing” along with the beat. The Sibilance Boost utilizes the BAX EQ’s ultra-linear high-end shelf to push more treble content into the detector, which causes The COMPRESSOR to dynamically attenuate sibilance and other unwanted spikes of high-end like harsh cymbals or erratic acoustic guitar strums – great on vocals during tracking or mixing, or on a whole mix during mastering.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVU and LED Metering\u003c\/strong\u003e – The dual VU meters can show you gain reduction, input or output levels.   There is a -6dB offset button so that loud material is always hovering in a usable range, perfect for visually monitoring average levels. What VUs can’t show you are the fast transient leaps past threshold, and that’s where the dual LED meters come in. Together, the VU and LED meters provide two important insights into the nuanced inner workings of The COMPRESSOR in action.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAudiophile Components Throughout \u003c\/strong\u003e- Chris Muth’s fastidious designs call for only the highest quality components in areas of the circuit that don’t even pass audio. Detector and control voltage circuits (which lie at the heart of any compressor but are not in the audio path) are often built from substandard components in order to cut costs. However, these detector components have a major impact on how any compressor performs, especially with the high standards we set for achieving the nuanced and intelligent compression you’ll get out of The COMPRESSOR.\u003c\/p\u003e\n\u003ch3\u003eCombine To Taste\u003c\/h3\u003e\n\u003cp\u003eWhether you’re tracking, mixing or mastering, The Dangerous COMPRESSOR works beautifully with vintage analog gear or patched into today’s cutting-edge digital systems, allowing you to achieve truly modern levels without the undesired artifacts that plague so many modern productions. Combine it with our ultra-transparent BAX EQ for one of the most open EQ\/Compressor combinations possible, perfect for mastering or mixing. Place The Dangerous COMPRESSOR after any “color box” -- a console, a vintage tube compressor, a funky EQ, or all three together -- and you can dial in the exact dynamics you want without having to rely on the often unruly controls of yesteryear’s gear.\u003c\/p\u003e\n\u003ch3\u003eThe World’s Most Intelligent Analog Compressor\u003c\/h3\u003e\n\u003cp\u003eWith its sophisticated dual detector circuit, unique Smart Dynamics section, automatic attack and release function, unmatched versatility and incredibly transparent, audiophile-grade sound, The COMPRESSOR from Dangerous Music is today’s most intelligent analog compressor. Taking modern loudness seriously while prioritizing clear, open sound, The COMPRESSOR is pioneering a new and innovative approach to modern compression for today’s most discriminating tracking, mixing and mastering engineers.\u003c\/p\u003e","brand":"Dangerous Music","offers":[{"title":"New | On Order","offer_id":46170344390939,"sku":"DANGEROUSCOMPRESSOR","price":3499.0,"currency_code":"USD","in_stock":true},{"title":"Repack | On Order","offer_id":47102188585243,"sku":"DANGEROUSCOMPRESSORRP","price":2788.88,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/dangerouscompressor-0_12.jpg?v=1692028505"},{"product_id":"thermionic-culture-phoenix-mastering-plus-compressor-1090948","title":"Thermionic Culture Phoenix Mastering Plus Compressor","description":"\u003cul\u003e\n\u003cli\u003eAll valve signal path provides warm, full tube tone\u003c\/li\u003e\n\u003cli\u003eHand-wired in England\u003c\/li\u003e\n\u003cli\u003eStereo link for mix buss compression\u003c\/li\u003e\n\u003cli\u003eSide Chain Filters allow for compression of all frequencies except bass\u003c\/li\u003e\n\u003cli\u003eFlat frequency response ensures the truest tone passes through the signal path \u003c\/li\u003e\n\u003cli\u003eVery low phase shift and harmonic distortion (unless pushed hard)\u003c\/li\u003e\n\u003cli\u003eOutput trim control allows the user to tailor the output level to their own specific setup for ideal in\/out levels\u003c\/li\u003e\n\u003cli\u003eBypass switch on each channel removes ALL electronics\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv\u003eThis is the latest development in the evolution of the classic Phoenix compressor, first introduced in 1998. After requests \u003cspan style=\"line-height: 1.2em;\"\u003efrom mastering engineers the MasterPhoenix was introduced in October 2006. This was more recall-able with indented \u003c\/span\u003e\u003cspan style=\"line-height: 1.2em;\"\u003epots and slightly different power supply and metering circuit, in which trimming the meter alters the current through \u003c\/span\u003e\u003cspan style=\"line-height: 1.2em;\"\u003ethe compression valve so compensating for valve ageing.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe compression curve of the mastering Phoenix is slightly gentler than that of the standard one, but it does have a more “positive” effect. This earlier version has 6dB lower gain compared to the standard Phoenix. The Master Phoenix is in use in many studios and mastering suites around the world, and we do know that one of its users, Ray Staff of AIR London Studios won the MPG award for Best Mastering Engineer in 2009.\u003c\/p\u003e\n\u003cp\u003eThe new Mastering Plus is a much upgraded version employing precision Elma switches for the Gain and Threshold and Alpha switches for Attack and Release. Omeg indented pots are used for the Output Level for fine control. Side Chain Bass Cut switches, which have become an essential mastering tool have been retained. In stereo mastering, with the link switch in, there are effectively 5 frequency options as the compressor side chain will work at the average of the switch positions.\u003c\/p\u003e\n\u003cp\u003eA Standby switch is introduced to prolong valve and component life and this has had an unexpected effect, see *Mullard and Siemens NOS valves are used exclusively for lower noise and long life stability. The Gain is now identical to that of the standard Phoenix so that extreme compression effects are possible Easy adjustment of Meter Zeros, especially important in stereo mastering, is now enabled by front panel access to the trim controls, situated between the 2 meters. *some users have found that analogue tape type distortion is created when the unit is operated with Standby on. This was unintentional but some people may find it interesting.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Thermionic Culture","offers":[{"title":"New | On Order","offer_id":46171792015643,"sku":"PHOENIXMASTERPLUS","price":6199.0,"currency_code":"USD","in_stock":true},{"title":"Repack | Out Of Stock","offer_id":47103926763803,"sku":"PHOENIXMASTERPLUSEBAYPRO","price":5699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/phoenixmasterplus_12.jpg?v=1692029486"},{"product_id":"proco-av1a-audio-visual-interface-av1a","title":"Proco AV1A Audio Visual Interface","description":"Alto Music - Why you need the Proco AV1A Audio\/Video Interface\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e• 1\/4” stereo and rca inputs\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e• Switches for a 20db pad and line\/speaker level input\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e• Mic and line level outputs for hooking up to mixers or recording devices\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e• Rugged metal chassis with a rubber base to ensure minimal slip on stage or equipment\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e• Limited 2 year manufacturer warranty\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eProco has been one of the mainstays in pro audio accessories for well over 20 years. Touting heavy-duty metal chassis construction and made entirely in the USA, these products are built to last. The AV1A Audio\/Video interface is no different. This box offers 1\/4” stereo and RCA inputs with an XLR and 1\/4” stereo output. Connect your computer, cassette player, cd\/dvd\/dat, film projector, or submixer to a front-of-house system or recording device with incredible clarity and fidelity. Definitely a must have for any live sound engineer. \u003c\/div\u003e","brand":"Proco","offers":[{"title":"0 | On Order","offer_id":46171920302363,"sku":"AV1","price":99.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/AV1-0.jpg?v=1692029610"},{"product_id":"tk-audio-bc2-me-stereo-mastering-compressor-bc2me","title":"TK Audio BC2‑ME Stereo Mastering Compressor","description":"\u003cspan style=\"font-variant-ligatures: normal; orphans: 2; widows: 2;\"\u003eTK Audio’s BC2-ME is a perfect tool for mastering. It is based on the same basic sound path as the BC1, added with some nice features like illuminated switches and switchable output-stage between electronically-balanced or transformer balanced class-A. The class-A mode offers a more vintage tone, like fat, punchy low-end response with more low mid character. BC2-ME also has a switch that adds extra “even” harmonics to the compressed signal.\u003c\/span\u003e","brand":"TK Audio","offers":[{"title":"New | On Order","offer_id":46174776426779,"sku":"BC2ME","price":2199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/BC2ME_0.jpg?v=1692033114"},{"product_id":"dbx-900-series-rack-w-6x903-comp-2x904-gate-modules-c1014323","title":"DBX 900-Series Rack w\/ 6x903 Comp 2x904 Gate Modules (C1014323)","description":"\u003cp\u003eOften overlooked but serious secret weapon. the DBX900 series. this unit includes the dbx 903 (like mini 160x’s) and the 904 gate modules.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Pre-Owned | On Order","offer_id":46176769147163,"sku":"C1014323BROOKLYN","price":648.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/C1014323BROOKLYN_0.jpg?v=1692034183"},{"product_id":"drawmer-ds201-2-channel-gate-c101545","title":"Drawmer DS201 2-Channel Gate (C101545)","description":"\u003cp\u003e*Please note this item is pre-owned and may show signs of use. Please see photos\u003c\/p\u003e\n\u003cp\u003eSetting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.\u003cbr\u003e\u003cbr\u003eThe DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.\u003cbr\u003e\u003cbr\u003eDrawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature.\u003cbr\u003e\u003cbr\u003eThe very fast attack of the DS201 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.\u003cbr\u003e\u003cbr\u003eAnother important role played by the gate is in the reshaping of existing sounds. An example of this might involve a simple sampling delay line used to store a sound to be re-triggered later and added to a mix. A gate can be used to impart a slower attack or faster decay to the sound and careful setting of the decay envelope can effectively hide any noise present at the end of the sample. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS201 ideal for this application.\u003cbr\u003e\u003cbr\u003eThe unit can be switched to accept a key input, which allows the gate to be triggered externally. An example of this would be to use a snare drum signal to open the gate on a separate ambient microphone to create a natural alternative to gated reverb.\u003cbr\u003e\u003cbr\u003eEach channel can be individually switched from Gating to Ducking for 'voice over' applications or the removal of 'clicks' and 'pops'.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Pre-Owned | On Order","offer_id":46178265399579,"sku":"C101545","price":405.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/C101545_0.jpg?v=1692035072"},{"product_id":"heritage-audio-successor-stereo-bus-compressor-successor","title":"Heritage Audio Successor Stereo Bus Compressor","description":"\u003ch4\u003eWhy settle with sterile VCAs in your mix or instrument bus duties now that the \u003cstrong\u003eSuccessor\u003c\/strong\u003e is available?\u003c\/h4\u003e\n\u003ch3\u003e“Feel how your separate tracks interact and blend together in a way not possible when master bus compression duties are relegated to the mastering stage.”\u003c\/h3\u003e\n\u003cp\u003eTraditionally bus compression has been taken care of by VCA style devices, based on ICs, which are wholly unrelated to the warmth, fatness and the character associated with discrete Class A technology, including chunky transformers and diode bridge-based gain reduction.\u003c\/p\u003e\n\u003ch3\u003eThe Heritage Audio Successor brings all these and then more:\u003c\/h3\u003e\n\u003cp\u003eA fully Carnhill transformer coupled input and output unit, the new Successor is a true stereo diode-bridge based bus compressor with advanced sidechain filtering and built-in parallel processing capabilities, sharing the class A ´73 type output stage that Heritage Audio is famous for.\u003c\/p\u003e\n\u003cp\u003eBased on legendary vintage diode bridge designs, it keeps the sonic character of such units, but the added features make it a new beast on its own and will make your mixes shine in modern production environments. Ultra-fast attack and releases allow for larger than life drum bus compression sounds, while the complex sidechain filter lets you tailor your mix in ways not previously available.\u003c\/p\u003e\n\u003ch3\u003e“Snare drums can be more present and the stereo image widens as there is more natural room for tracks to breathe.”\u003c\/h3\u003e\n\u003cp\u003eFrom FET like, all-buttons-in drum sounds (now in stereo!) to VCA style mix bus with added warmth and fatness only transformers can bring, the Heritage Audio Successor is designed to stay hooked up to your mix bus and make your mixes shine through.\u003c\/p\u003e","brand":"Heritage Audio","offers":[{"title":"New | On Order","offer_id":46181709512987,"sku":"SUCCESSOR","price":1499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/successor-0-2500x2500_1.jpg?v=1692038167"},{"product_id":"rupert-neve-designs-portico-ii-master-buss-processor-black-portico2masterbuss-blk","title":"Rupert Neve Designs Portico II Master Buss Processor - Black","description":"\u003cp\u003e\u003cstrong\u003ePortico II\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaster Buss Processor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBased around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer and the Portico II: Channel, the Portico II Master Buss Processor is creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting. \u003c\/p\u003e\n\u003cp\u003eWith input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the Master Buss Processor (MBP) will integrate flawlessly with virtually any system. Additionally, the MBP incorporates mastering grade detented pots throughout to fine tune its revolutionary dynamics, tone, and stereo field controls. This new topology is a significant evolution of Mr Rupert Neve’s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing for the sweet, musical performance that has been a part of countless recordings.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Compressor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. With the stereo link control engaged, Ch. A settings act as the master control for convenient operation. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 250 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003c\/p\u003e\n\u003cp\u003eTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Limiter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation, however this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Our new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP Limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast acting limiter.\u003c\/p\u003e\n\u003cp\u003eTypically there is a tradeoff between how fast limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counter clock-wise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction.\u003c\/p\u003e\n\u003cp\u003eThe new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold. It has a “medium knee” initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft clipper circuit catches transients that may have been in the “knee” when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Stereo Field Editor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.\u003c\/p\u003e\n\u003cp\u003eThe width control enables the user to increase or decrease the width of a stereo image (wide\/mono) and adjust the amount of ambience inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.\u003c\/p\u003e\n\u003cp\u003eThe depth control of the MBP adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.\u003c\/p\u003e\n\u003cp\u003eTo fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250 Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener.\u003c\/p\u003e\n\u003cp\u003eAnother technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.\u003c\/p\u003e","brand":"Rupert Neve Designs","offers":[{"title":"New | On Order","offer_id":46182980157723,"sku":"PORTICO2MASTERBUSS-BLK","price":5299.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | In Stock","offer_id":47473057825051,"sku":"PORTICO2MASTERBUSS-BLKEBAYPRO","price":4400.0,"currency_code":"USD","in_stock":true},{"title":"Repack | On Order","offer_id":49351275839771,"sku":"PORTICO2MASTERBUSS-BLKRP","price":4299.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mbp-straight-cut.png?v=1692040590"},{"product_id":"wampler-pedals-ego-76-compressor-pedal","title":"Wampler Pedals Ego 76 Compressor Pedal","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eThe EGO 76 is Brian Wampler’s tribute to the iconic studio compressor that has shaped the fabric of music for decades – the legendary 1176 Peak Limiter. This compressor pedal takes you on a journey into the soul of timeless studio sounds. The EGO 76 transcends the conventional role of a pedal compressor, moving beyond merely squishing your signal to significantly enriching your tone.\u003c\/p\u003e\n\u003cp class=\"p3\" data-mce-fragment=\"1\"\u003eFueled by FET-based (field-effect transistor) technology, Wampler gave the EGO 76 studio-like Attack and Release controls, a Parallel Clean Blend knob, and a meticulously tuned Tone knob.\u003cspan class=\"Apple-converted-space\" data-mce-fragment=\"1\"\u003e  \u003c\/span\u003eEach carefully designed element encapsulates the spirit of the iconic 1176 and brings a touch of that magic to your pedalboard.\u003c\/p\u003e","brand":"Wampler Pedals","offers":[{"title":"New | In Stock","offer_id":47778256650523,"sku":"EGO76","price":199.97,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/Wampler-Ego76-Compressor-Top-R.jpg?v=1707245602"},{"product_id":"fredenstein-f660a-tube-compressor-limiter","title":"Fredenstein F660 Tube Compressor\/Limiter","description":"\u003cp\u003e*Please note -- this item is pre-owned and may show signs of use. Includes a six-month Alto Music warranty. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe Fredenstein F660 Limiting Amplifier is a valve (tube) based compressor and limiter with the same very short signal path as the famous Fairchild 660\/670. It uses the exact type of tube, the 6386 LGP, as the Fairchild. Fortunately, new production tubes are available today, since the original tubes are hardly available anymore. The four tubes form a single-stage push-pull Class A amplifier and the whole signal path consists only of a T-type input attenuator, input transformer, Class A amplifier, and finally an output transformer. At this point, the similarities end. The F660 uses a DSP to control the operating points of the tubes, guaranteeing perfect working conditions all the time. The side chain amplifier is designed with semi-conductor components since it “only” generates the control voltage for the tubes. The final result is a compressor with the compression characteristics of the Fairchild, but with an extended frequency response, lower noise and lower distortion. The perfect bus compressor is for today's high-resolution audio.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fredenstein","offers":[{"title":"Pre-Owned - Serial Number: 12396 | In Stock","offer_id":47820993364251,"sku":"C104058BROOKLYN","price":1999.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/4K0A9007.jpg?v=1708028973"},{"product_id":"fredenstein-f660-tube-compressor-limiter","title":"Fredenstein F660 Tube Compressor\/Limiter","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e*Please note -- this item is pre-owned and may show signs of use. Includes a six-month Alto Music warranty. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Fredenstein F660 Limiting Amplifier is a valve (tube) based compressor and limiter with the same very short signal path as the famous Fairchild 660\/670. It uses the exact type of tube, the 6386 LGP, as the Fairchild. Fortunately, new production tubes are available today, since the original tubes are hardly available anymore. The four tubes form a single-stage push-pull Class A amplifier and the whole signal path consists only of a T-type input attenuator, input transformer, Class A amplifier, and finally an output transformer. At this point, the similarities end. The F660 uses a DSP to control the operating points of the tubes, guaranteeing perfect working conditions all the time. The side chain amplifier is designed with semi-conductor components since it “only” generates the control voltage for the tubes. The final result is a compressor with the compression characteristics of the Fairchild, but with an extended frequency response, lower noise and lower distortion. The perfect bus compressor is for today's high-resolution audio.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fredenstein","offers":[{"title":"Pre-Owned - Serial Number: 12396 | In Stock","offer_id":47845469028635,"sku":"C104059BROOKLYN","price":1999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/4K0A910333.jpg?v=1708379225"},{"product_id":"audio-logic-mt44-quad-noise-gate","title":"Audio Logic MT44 Quad Noise Gate","description":"\u003cp\u003e*Please note -- this item is pre-owned and may show signs of use. Includes a six-month Alto Music warranty. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAudio Logic MT44 Quad Noise Gate\u003c\/p\u003e","brand":"Audio Logic","offers":[{"title":"Pre-Owned | In Stock","offer_id":47859601080603,"sku":"C103875BROOKLYN","price":92.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/4K0A9057.jpg?v=1708550839"},{"product_id":"urei-la4-silverface-compressor-pair","title":"Urei LA4 Silverface Compressor - Pair","description":"\u003cp class=\"p1\"\u003eThe Urei LA-4 is a single channel unit, but two units can be linked for stereo operation. It uses an LED-based optical element to control the gain reduction, which is said to produce a smooth and natural sound. The Urei LA-4 has simple controls for input\/threshold, output gain, ratio, and meter function. It can be used for various applications, such as vocals, drums, guitars, bass, keyboards, and more.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Urei","offers":[{"title":"Pre-Owned | On Order","offer_id":48957452288283,"sku":"C105280","price":1499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/f4K0A9675.jpg?v=1718117290"},{"product_id":"retro-instruments-revolver-dual-channel-tube-compressor","title":"Retro Instruments Revolver Dual-Channel Tube Compressor","description":"\u003cp\u003e*Please note  -- This pre-owned item may show signs of use. Please refer to the photos for details of the product. \u003c\/p\u003e\n\u003cp\u003eThe Retro Instruments REVOLVER - A Revolution in a Rack.\u003c\/p\u003e\n\u003cp\u003eWhen you first put your ears to the Retro Instruments REVOLVER, you’ll hear some very legendary compression, an ingredient many have kept secret. You will hear lively and vibrant dynamics, the same you have imagined for your own project. Now you will know the sound, it’s as unmistakable as applesauce.\u003c\/p\u003e\n\u003cp\u003eYears of Development.\u003c\/p\u003e\n\u003cp\u003eAs an experimental project in 2011, a few Retro Instruments REVOLVER’s were built and field tested with select studios. We started with the famous British-modified Altec 436 compressor and added features you need for tracking, mixing and mastering. We needed it right for Rev. A. Here it is.\u003c\/p\u003e\n\u003cp\u003eThe Retro Instruments REVOLVER puts You in Control.\u003c\/p\u003e\n\u003cp\u003eFor the first time ever, you get all the adjustments to dial in the type of dynamics you’ve heard on numerous albums. We’ve added features like a side-chain filter, stereo linking and continuously variable threshold, attack and release.\u003c\/p\u003e\n\u003cp\u003eBuilt like a Tank.\u003c\/p\u003e\n\u003cp\u003eThe Retro Instruments REVOLVER might be guilty of being slightly overbuilt here in the USA, but it’s definitely done purposely to give you years of uninterrupted performance. Each unit passes a series of critical tests. Tubes and other components are selected for top performance and proper stereo tracking.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"Pre-Owned | On Order","offer_id":51795280331035,"sku":"C105777","price":2799.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/4K0A7988_4120e119-842d-424f-87ef-f290e49a0f51.jpg?v=1771257039"},{"product_id":"chandler-limited-tg12413-zener-limiter","title":"Chandler Limited TG12413 Zener Limiter","description":"\u003cp\u003e*Please note  -- This pre-owned item may show signs of use. Please refer to the photos for details of the product. \u003c\/p\u003e\n\u003cp\u003eThe EMI TG12413 Zener Limiter is the ultimate TG limiter issued in celebration of the 75th birthday of Abbey Road Studios. The TG12413 Zener Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. It continues the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413. This newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a new full featured and flexible unit for modern use.\u003c\/p\u003e\n\u003cp\u003eThe Zener Limiter is being reissued to add features and flexibility to the powerful and vintage sounding TG limiter circuits. Wade has added many new controls including switchable input impedance for hard or soft driving of the unit, 11-position attack, 21-position release, side chain filtering, and Comp 1, Comp 2, and Limit settings.\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Pre-Owned | On Order","offer_id":51795342819611,"sku":"C105775","price":3499.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/4K0A7992_6fa6575c-e4df-4fa8-ad96-0c283fef575f.jpg?v=1771260099"},{"product_id":"anthony-demaria-labs-adl1000-tube-compressor","title":"Anthony Demaria Labs ADL1000 Tube Compressor","description":"\u003cp\u003e*Please note  -- This pre-owned item may show signs of use. Please refer to the photos for details of the product. \u003c\/p\u003e\n\u003cp\u003eA vacuum tube mono compressor\/limiter similar in design to an LA-2A. The hand matched optical attenuator and custom in\/out audio transformers is the heart and sole of this unique handcrafted compressor. Its “warm,” “punchy” and if driven hard enough “crunchiness” is a true reminder of that magical rock-and-roll sound.\u003c\/p\u003e\n\u003cp\u003eThe 1000 has many practical applications for recording studios, tracking, mixing, stereo buss, vocals and instruments, live concert sound reinforcement as well as for film and broadcast work.\u003c\/p\u003e","brand":"Anthony Demaria Labs","offers":[{"title":"Pre-Owned | On Order","offer_id":52290743763227,"sku":"C107799","price":1199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/4K0A9688.jpg?v=1780519834"},{"product_id":"chandler-limited-ltd-1-dual-compressor","title":"Chandler Limited LTD-1 Dual Compressor","description":"\u003cp\u003e*Please note  -- This pre-owned item may show signs of use. Please refer to the photos for details of the product. Power supply not included.\u003c\/p\u003e\n\u003cp\u003eThe Chandler Limited LTD-1 is a hand-wired 10-series equalizer and preamp that was built with the same techniques and parts that were used in the original modules. The LTD-1's features include a high-impedance DI input, switchable 48V phantom power, an EQ in\/out button, phase reverse, balanced mic and line inputs (all connections on the unit are transformer balanced), and a DI in\/out button that mutes the mic input. The Output knob functions like a mixing console fader; you can lower it in order to crank the input and add additional coloration without overloading connected devices.\u003c\/p\u003e\n\u003cp\u003eThe EQ section includes low-shelving, mid-peak, and high-shelving bands, plus a high-pass filter. All frequency points are fixed, and Chandler has added additional points to supplement those from the original 10-series units. The LTD-1 is powered by Chandler Limited's PSU-1 power supply, which must be purchased separately.\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Pre-Owned | In Stock","offer_id":52295052165403,"sku":"C107801","price":2699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/4K0A9675.jpg?v=1780591992"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/collections\/categories-compressorgates.jpg?v=1691748719","url":"https:\/\/www.altomusic.com\/collections\/compressor-gates.oembed?page=2","provider":"Alto Music","version":"1.0","type":"link"}