{"title":"Limiters","description":null,"products":[{"product_id":"api-225l-discrete-compressor-225l","title":"API 225L Discrete Compressor","description":"\u003cp\u003eBoth NEW (\"feed forward\") and OLD (\"feed back\") methods are selectable on the front panel, providing two choices of gain reduction. NEW gain reduction is typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage. OLD or Feed-Back method is what most of the classic compressors used for the gain control circuit There also is a SOFT or HARD selector. SOFT provides a more subtle compression resulting in a very natural, less compressed sound. HARD results in a more typical, sharp knee type compression that has a much more severe limiting effect.\u003c\/p\u003e\n\u003cp\u003eRelease time is adjusted by rotating the inner concentric R knob. Release time constants: continuously variable from .3 seconds to 3 seconds. Attack time is adjusted by rotating the outer concentric A knob. Attack time constants: continuously variable from 1 millisecond to 25 milliseconds.\u003c\/p\u003e\n\u003cp\u003eAPI's 225L is designed for individual channel use, or through the use of the external LINK funcauto-makeuption. Two units can be combined for Stereo applications via a rear access pin. The 225L also has a side-chain input for the detector amplifier.\u003c\/p\u003e\n\u003cp\u003eThe 225L can be used in the Legacy, Legacy Plus or Vision Series Consoles, or in the L200 Rack. The 225L Compressor makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of all API products.\u003c\/p\u003e","brand":"API","offers":[{"title":"New | On Order","offer_id":46167939711259,"sku":"225L","price":695.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/225L-0.jpg?v=1692021455"},{"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":"alan-smart-c2-stereo-compressor-1069446","title":"Alan Smart Research C2 Stereo Compressor","description":"\u003cp\u003e\n\tThe C2 compressor houses two independant mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2. The characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used accross a mix, or with any dynamic programme, this has the effect of adding 'punch', as the sidechain 'breathes' around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this 'musicality', adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.\u003c\/p\u003e","brand":"Alan Smart Research","offers":[{"title":"New | On Order","offer_id":46167940366619,"sku":"C2","price":2450.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47190500409627,"sku":"C2EBAYPRO","price":2812.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/C2_1.jpg?v=1692021470"},{"product_id":"smart-research-c1-buss-compressor-c1smart","title":"Alan Smart Research C1 Bus Compressor","description":"\u003cp\u003eC1 Original black front panel version of C2 compressor. (Two sets of controls and two audio channels, but no sidechain inputs, or crush facility). Popular in UK and US west coast studios.\u003c\/p\u003e","brand":"Alan Smart Research","offers":[{"title":"New | On Order","offer_id":46167940563227,"sku":"C1SMART","price":1950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/c1front.jpg?v=1692021456"},{"product_id":"chandler-limited-tg12413-zener-limiter-tg12413","title":"Chandler Limited TG12413 Zener Limiter","description":"\u003ch2\u003eChandler Limited EMI TG12413 Zener Limiter\u003c\/h2\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 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\n\u003cp\u003eAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V\/230V).\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"New | On Order","offer_id":46167940628763,"sku":"TG12413","price":5499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/tg12413-02.jpg?v=1692021456"},{"product_id":"chandler-limited-tg1-stereo-compressor-tg1","title":"Chandler Limited TG1 Limiter Stereo Compressor","description":"\u003ch2\u003eChandler Limited TG1 EMI Abbey Road Stereo Compressor\u003c\/h2\u003e\n\u003cp\u003eThe Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late ’60s. These rare pieces were never commercially available, and only EMI owned studios had access to them. The TG1 Limiter was originally designed to be like the Fairchild 660\/670 which was loved by many EMI engineers including Geoff Emerick, but it ended up with its own very special sound.\u003c\/p\u003e\n\u003cp\u003eTG equipment was used on many classic records. The Limiter was featured on every channel of TG consoles used to record The Beatles “Abbey Road” and Pink Floyd “Dark Side of the Moon,” in addition to albums by Paul McCartney and the Rolling Stones.\u003c\/p\u003e\n\u003cp\u003eThe Limiter\/Compressor 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 a Fairchild 670 set to stun, is very audible and squishy sounding while maintaining its clarity and high frequency response.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHarmonic Distortion Function\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNow standard on all Abbey Road Special Edition TG-1’s, this option allows bypassing of the compressor\/limiter threshold but leaves all circuits in the signal path, turning the unit into a powerful Harmonic Distortion generator capable of kicking out up to 2% Total Harmonic Distortion. That’s more than 2 times the amount of analog tape! And all with 100% discrete transformer balanced circuits. Adjust the input for amount of THD and the output to match level. Try running Distortion on one channel and hard limiting on the other. The ultimate in retro! This option is placed on the front panel of the unit with a toggle switch for each channel.\u003c\/p\u003e\n\u003cp\u003eAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V\/230V).\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"New | On Order","offer_id":46167940694299,"sku":"TG1","price":4280.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/TG1-0.jpg?v=1692021464"},{"product_id":"chandler-limited-germanium-compressor-germaniumcomp","title":"Chandler Limited Germanium Compressor","description":"\u003ch2\u003eChandler Limited Germanium Compressor\u003c\/h2\u003e\n\u003cp\u003eThe Germanium series continues with the GERMANIUM Compressor. The Germ Comp starts with the same all class A amp found in the Germ Pre and Tone Control and is transformer balanced in and out. The compression circuit uses an FET gain reduction element but with the tricks and flexibility of all the Germ units. Some of the most notable additions include a Wet\/Dry mix (for “submixing” tracks within the comp), Comp Curve (which selects the knee using various diode combinations), Clean\/Dirty comp and Sidechain filter. Many of the Germ Comp parameters have been purposely set by studio use and listening not by over analyzing them with test gear. The result is a musical powerhouse ready for tracking, mixing, and mastering.\u003c\/p\u003e\n\u003cp\u003eAll Germanium units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V\/230V).\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"New | In Stock","offer_id":46167940858139,"sku":"GERMANIUMCOMP","price":1850.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | In Stock","offer_id":51498503373083,"sku":"GERMANIUMCOMPEBAYPRO","price":1555.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/chandler-germanium-compressor-1.jpg?v=1692021462"},{"product_id":"crane-song-stc8-stereo-class-a-compressor-peak-limiter-stc8","title":"Crane Song STC8 Stereo Class A Compressor \/ Peak Limiter","description":"\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cstrong\u003eCrane Song STC8 Stereo Class A Compressor \/ Peak Limiter\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003eThe STC-8 is a high quality stereo compressor combined with a remarkably dependable peak limiter, providing overload protection critical to digital recording and broadcast transmitters. The STC-8's compressor is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eIn addition, a switchable enhancement circuit creates analog and tube like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy setup on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThe STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain circuit. High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThe STC-8 requires 2 rack spaces. All inputs and outputs are transformerless and balanced. The toroidal power transformer is UL approved and allows four line voltages for international use.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThe STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThe \"Ki\" and \"Hara\" Mode Switches - DISTORTION IN COMPRESSORS\u003c\/div\u003e\n\u003cdiv\u003eDistortion in compressors is dependent on the RELEASE TIME and the KI \u0026amp; HARA Sounds RATIO. The higher the ratio or the faster the release time, the greater the amount of induced distortion. This distortion follows the low frequencies and the sound envelope. In all conventional compressors, tube or solid Tube Warmth state, this distortion is third harmonic. The distortion is third harmonic because of the way the control circuits and gain control elements function.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThird harmonic distortion is a major part of what are called artifacts. Artifacts influence the sound of the compressor and may or may not be musical. Third harmonic distortion is not a musical artifact.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThe STC-8 has the ability to change the type of induced distortion to second harmonic. In doing this the non-musical artifact of third harmonic distortion is changed to the musically pleasing sound of second harmonic distortion. The STC-8 is the only compressor-limiter on the market that has the ability to change the induced distortion from third harmonic to second.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eChanging the induced distortion from third harmonic to second harmonic results in new and different sounds and adds warmth. This change allows the use of higher compression levels with fast release times and still have the sound remain musical. This function is enabled on the STC-8 by putting the MODE SWITCH in the KI position.\u003c\/div\u003e\n\u003ch3\u003eSpecifications:\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eSimultaneous Compression\/Limiting\u003c\/li\u003e\n\u003cli\u003eDiscrete Class A\u003c\/li\u003e\n\u003cli\u003eBalanced\/Transformerless I\/O\u003c\/li\u003e\n\u003cli\u003eQuick \u0026amp; Easy Presets\u003c\/li\u003e\n\u003cli\u003e'KI' \u0026amp; 'HARA' Sounds\u003c\/li\u003e\n\u003cli\u003eTransparent Overload Protection\u003c\/li\u003e\n\u003cli\u003eApplications\u003c\/li\u003e\n\u003cli\u003eDigital \u0026amp; Analog Mastering\u003c\/li\u003e\n\u003cli\u003eSystem Overload Protection\u003c\/li\u003e\n\u003cli\u003eBroadcast Engineering\u003c\/li\u003e\n\u003cli\u003eProject Studio DAW\u003c\/li\u003e\n\u003cli\u003eStereo Bus Compression\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8 Stereo Class A Compressor Specifications\u003c\/li\u003e\n\u003cli\u003eInput: Floating, balanced. Maximum input is +25 dBm. The connectors are XLR.\u003c\/li\u003e\n\u003cli\u003eOutput: Floating, balanced. Maximum output is +25 dBm. The connectors are XLR.\u003c\/li\u003e\n\u003cli\u003eFor Input and Output: Pin 2 is Sig + , Pin 3 is Sig- , Pin 1 is GND\u003c\/li\u003e\n\u003cli\u003eSide Chain Connections: Floating, balanced. Connections are made by using a DB-15 Male Connector. This is a loop insert and must be normaled back to the STC-8.\u003c\/li\u003e\n\u003cli\u003eUnbalanced Connections: Are made by tying the SIG- Pin to the GND Pin. If the connection is an input, it is best to tie at the signal source. If the connection is an output, it is best to tie at the STC-8 connector.\u003c\/li\u003e\n\u003cli\u003ePower: 100, 120, 230,240 volt; 50\/60 Hz; 55 watts\u003c\/li\u003e\n\u003cli\u003eMDL .6A Fuse for 100V and 120V\u003c\/li\u003e\n\u003cli\u003eMDL .3A Fuse for 230V and 240V\u003c\/li\u003e\n\u003cli\u003ePilot Lamp: # 7335\u003c\/li\u003e\n\u003cli\u003eShipping Weight: 19 lbs. (8.6 kg)\u003c\/li\u003e\n\u003cli\u003eDepth Behind Panel: 12.5 inches (31.75 cm) plus cabling\u003c\/li\u003e\n\u003cli\u003ePanel Height: 2 rack spaces\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8 Stereo Class A Compressor Downloads\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8 Users Manual (PDF)\u003c\/li\u003e\n\u003cli\u003eVERSIONS of the CRANE SONG STC-8:\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8: The standard - Everything you've read about above with smooth, continuously variable potentiometers. Great for standard use where dialing in a sound needs precision, but not exact recall ability.\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8\/H: Detented output gain for utmost accuracy and resetability.\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8\/M: All pots with detented control. The ultimate Mastering version.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Crane Song","offers":[{"title":"New | On Order","offer_id":46167941021979,"sku":"STC8","price":4499.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47320170397979,"sku":"C1014300","price":2799.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10000950_1.jpg?v=1692021466"},{"product_id":"dramastic-audio-obsidian-stereo-compressor-1069457","title":"Dramastic Audio Obsidian Stereo Compressor","description":"\u003cp\u003eThrough the use of several proprietary methods the Dramastic Audio Obsidian performs a range of tasks unheard of from the average SSL or SSL-esque unit. The fist difference the user will notice is that the unit suffers no ‘shrinkage’ to the audio sound field. The highs stay brilliant and clear and the bottom will continue to thunder (especially with the unit’s internal High Pass Filter engaged on the unit’s detection circuit).\u003c\/p\u003e\n\n\u003cp\u003eThe second thing the user will notice is that when the \"auto\" release time is employed the audio has a smooth, rich texture without any pumping or breathing. From there, if the user has decided that the audio is a little too smooth for their application a simple click of the release switch to the \"lofi\" setting will net all the \"in your face\" aggression a user may desire. Overall the clarity and performance of this unit is unparalleled by any unit based around a Voltage Controlled Amplifier (VCA) gain reduction cell. At first look it may suggest something from the past, but at first listen the user will understand the future of professional audio. Transformer balanced input\/output interface which gives the Obsidian its unique sound. The TXIO Enhanced option produces that \"phat\" classic analog sound making the Obsidian an excellent way to add warmth and character to digital audio workstations.\u003c\/p\u003e","brand":"Dramastic Audio","offers":[{"title":"New | In Stock","offer_id":46167941153051,"sku":"OBSIDIAN","price":3195.0,"currency_code":"USD","in_stock":true},{"title":"New - Version: OBSIDIANSL | On Order","offer_id":46167941185819,"sku":"OBSIDIANSL","price":3045.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":49637861294363,"sku":"OBSIDIANSLEBAYPRO","price":2388.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/OBSIDIAN-0.jpg?v=1692021475"},{"product_id":"dw-fearn-vt7-dual-vacuum-tube-compressor-vt-7","title":"DW Fearn VT-7 Dual Vacuum Tube Compressor","description":"\u003cp\u003eThe VT-7 has a highly transparent sound, although it can be used more aggressively when needed. Artifacts of the compression process are substantially lower than in most other compressors.\u003c\/p\u003e\n\u003cp\u003eThe two channels may be used independently or linked for stereo. In addition, a third position on the Link switch inserts a high-pass filter (HPF) in the side-chain to reduce the gain-reduction sensitivity of the VT-7 to low frequencies. This is a gentle roll-off, nominally at 100Hz. This allows a bass-heavy mix to have a better frequency balance and prevents heavy low-frequency audio from modulating the audio level.\u003c\/p\u003e\n\u003cp\u003eNew VT-7s have been optimized to eliminate the need for an internal fan. While the fans in D.W. Fearn equipment has always been extraordinarily quiet, research has shown that no fan is even quieter. \u003c\/p\u003e\n\u003cp\u003eLike all our products, the VT-7 is designed to process high-quality audio and make it sound even better.\u003c\/p\u003e\n\u003cp\u003eThe VT-7 is equally adept in tracking as well as a bus compressor. Even jazz and classical tracks can be sent through the VT-7 for some mild gain control without obvious effect other than a significant improvement in the overall sound of the mix.\u003c\/p\u003e","brand":"DW Fearn","offers":[{"title":"New | On Order","offer_id":46167941644571,"sku":"VT7","price":9800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/vt7.jpg?v=1692021469"},{"product_id":"retro-instruments-176-176","title":"Retro Instruments 176 Tube Limiting Amplifier","description":"\u003ch3 class=\"p1\"\u003eWhy You Need The Retro Instruments 176 Tube Limiting Amplifier:\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eDesigned to provide the character of vintage tube compression in the modern recording studio \u003c\/li\u003e\n\u003cli\u003eModeled after the superb UA 176 limiter with added features and conveniences.\u003c\/li\u003e\n\u003cli\u003eProvides one of the most desirable compression signatures in recording history\u003c\/li\u003e\n\u003cli\u003eEasy stereo strapping of two or more units\u003c\/li\u003e\n\u003cli\u003eXLR input and output connections\u003c\/li\u003e\n\u003cli\u003eFour settings of compression ratio\u003c\/li\u003e\n\u003cli\u003ePrecision Knob scales for easy recallability\u003c\/li\u003e\n\u003cli\u003eAuthentic variable-mu tube design\u003c\/li\u003e\n\u003cli\u003e115\/230V AC Mains \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"p4\"\u003e \u003c\/p\u003e\n\u003ch4 class=\"p4\" style=\"text-align: center;\"\u003eVintage Design for modern recording\u003c\/h4\u003e\n\u003cp class=\"p4\"\u003eRetro Instruments is changing the way the world sounds by creating classic style audio gear for modern recording. Retro products keep what made the originals the best of the best, updating vintage design with modern features to improve functionality - creating unique and innovative gear that sounds, looks, and feels vintage and state-of-the-art in equal measure.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"New | On Order","offer_id":46167952523547,"sku":"176","price":3695.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47190618046747,"sku":"176EBAYPRO","price":2941.0,"currency_code":"USD","in_stock":false},{"title":"Display | On Order","offer_id":47318253732123,"sku":"176BROOKLYNDIS","price":2553.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/176-1.jpg?v=1692021572"},{"product_id":"universal-audio-1176ln-classic-limiting-amplifier-1069757","title":"Universal Audio 1176LN Classic Limiting Amplifier","description":"\u003ch2\u003eUniversal Audio 1176LN Classic Limiting Amplifier\u003c\/h2\u003e\n\u003ch4\u003eFET-Style Compressor with Class A Output \u0026amp; Custom Transformers — True to the Original\u003c\/h4\u003e\n\u003cp\u003eThe 1176LN Classic Limiting Amplifier is a modern reproduction, yet every effort was made to remain faithful to UA founder Bill Putnam Sr.’s visionary design and intentions. The original UA 1176LN was a major breakthrough in limiter technology — the first true peak limiter with all transistor circuitry offering superior performance with a signature sound — and set the standard for all limiters to follow. The ultra-fast attack time and trademark sound have lured legendary artists and studio moguls alike to the 1176LN — Peter Frampton, Joe Satriani, Joe Chiccarelli, Vance Powell, and Mike Elizondo are just a few names on a list that’s continued to grow, for nearly 50 years.\u003c\/p\u003e\n\u003cp\u003eCarefully trained staff hand-wire and test each unit until it meets our uncompromising standards. This Universal Audio Classic version of the 1176LN captures all the nuance of the original through obsessive attention to detail and delivers that trademark sound. Demand the original. Accept no copies.\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Repack | In Stock","offer_id":46167953506587,"sku":"1176LNRP","price":2388.0,"currency_code":"USD","in_stock":true},{"title":"New | On Order","offer_id":46167953572123,"sku":"1176LN","price":2999.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | Out Of Stock","offer_id":47103160451355,"sku":"C103483","price":1999.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/1176ln_front.jpg?v=1692021610"},{"product_id":"manley-variable-mu-stereo-limiter-compressor-1069858","title":"Manley Variable MU Stereo Limiter\/Compressor","description":"\u003cp\u003e\u003cstrong\u003eManley Variable MU Stereo Limiter\/Compressor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Manley Variable Mu® Limiter\/Compressor has been Manley's 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 Manley's 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 they 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.\u003c\/p\u003e\n\u003cp\u003eThe 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!\u003c\/p\u003e\n\u003cp\u003eYou might notice that the Manley 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 Manley's 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.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46167968055579,"sku":"VARIMU","price":4999.0,"currency_code":"USD","in_stock":true},{"title":"Demo | In Stock","offer_id":51519528927515,"sku":"VARIMUEBAYPRO","price":4188.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mslchp-ft.png?v=1692021733"},{"product_id":"summit-audio-dcl-200-1069967","title":"Summit Audio DCL-200","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\t\u003cp class=\"p1\"\u003e\n\t\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eSummit Audio DCL-200 Dual Channel Tube Compressor\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe DCL-200 from Summit Audio is a dual channel compressor\/limiter with stereo linking capabilities, suitable for both live sound and studio environments. The unit is a hybrid processor that uses solid state technology to provide reliability, while the vacuum tube amplifier delivers tube \"warmth\" and provides gain to overcome any loss of level during heavy compression.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe DCL-200 imparts a soft-knee and program-dependent transition characteristic on the source audio, while providing variable threshold, attack and release controls. Selected 12AX7A vacuum tubes with high reliability 990 op-amps in a transformerless signal path deliver sound that is not sterile, muddy or pinched, but rather clean and precise, and rich in desirable overtones.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tDual channel compressor limiter with tube\/solid state signal path\u003c\/div\u003e\n\u003cdiv\u003e\n\tContinuously variable attack and release times\u003c\/div\u003e\n\u003cdiv\u003e\n\tAdjustable threshold and variable ratio\u003c\/div\u003e\n\u003cdiv\u003e\n\tSoft-knee transition characteristic\u003c\/div\u003e\n\u003cdiv\u003e\n\tSidechain insert for EQ dependent processing or ducking\u003c\/div\u003e\n\u003cdiv\u003e\n\tOutput gain control\u003c\/div\u003e\n\u003cdiv\u003e\n\tStereo link switch links both channels for stereo operation with the AC Threshold, Slope, Attack and Release controls of the top channel controlling both channels\u003c\/div\u003e\n\u003cdiv\u003e\n\tTransformerless signal path\u003c\/div\u003e\n\u003cdiv\u003e\n\t990 output stage (balanced or unbalanced)\u003c\/div\u003e\n\u003cdiv\u003e\n\tDual true VU meters\u003c\/div\u003e\n\u003cdiv\u003e\n\tUniversal internal power supply\u003c\/div\u003e\n\u003cdiv\u003e\n\tHand crafted in the USA\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tFunction\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Compressor\/Limiter\u003c\/div\u003e\n\u003cdiv\u003e\n\tNumber of Channels\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 2\u003c\/div\u003e\n\u003cdiv\u003e\n\tInputs\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 2 x XLR\u003c\/div\u003e\n\u003cdiv\u003e\n\t2 x 1\/4\" TRS phone Inserts\u003c\/div\u003e\n\u003cdiv\u003e\n\tOutputs\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 2 x XLR\u003c\/div\u003e\n\u003cdiv\u003e\n\tMaximum Input Level\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e +24dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\tCompression Threshold\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Variable\u003c\/div\u003e\n\u003cdiv\u003e\n\tCompression Ratio\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 1.1:1 to 7:1\u003c\/div\u003e\n\u003cdiv\u003e\n\tAttack Time\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 0.1mS to 100mS\u003c\/div\u003e\n\u003cdiv\u003e\n\tRelease Time\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 45mS to 10S\u003c\/div\u003e\n\u003cdiv\u003e\n\tMaximum Output Level\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e +24dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\tMake-up Gain\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Yes\u003c\/div\u003e\n\u003cdiv\u003e\n\tFrequency Response\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 5Hz to 70kHz, -3.0dB\u003c\/div\u003e\n\u003cdiv\u003e\n\tDynamic Range\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Not specified by manufacturer\u003c\/div\u003e\n\u003cdiv\u003e\n\tNoise\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Less than -80dBu at unity, 10Hz to 80kHz\u003c\/div\u003e\n\u003cdiv\u003e\n\tPower Requirements\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 115 or 230VAC, 50\/60Hz\u003c\/div\u003e\n\u003cdiv\u003e\n\tDimensions (WxDxH)\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 19 x 10.5 x 3.5\" (483 x 267 x 89mm)\u003c\/div\u003e\n\u003cdiv\u003e\n\tWeight\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 17 lbs (7.7kg) shipping\u003c\/div\u003e\n\u003cdiv\u003e\n\tSpecialties\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e The clip LED will light between 0.25 and 0.5dB before clipping\u003c\/div\u003e\n\u003cdiv\u003e\n\tLED is always in the main signal path\u003c\/div\u003e","brand":"Summit Audio","offers":[{"title":"New | On Order","offer_id":46167971954971,"sku":"DCL200","price":4749.99,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":49690790854939,"sku":"DCL200EBAYPRO","price":4749.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10006360.gif?v=1692021988"},{"product_id":"tubetech-cl1b-opto-compressor-cl1b","title":"Tubetech CL1B Opto Compressor","description":"\u003cp\u003e\n\tThe TUBE-TECH CL 1B Compressor is an optical, all tube based compressor targeted at single-track studio recordings: It is equally suited for delicate vocal recordings as well as critical instrument recordings such as lead guitar, drum solos etc.\u003cbr\u003e\n\tThe Compressor features a gain-reduction element, positioned immediately after the input transformer. It is controlled by the sidechain amplifier, which also contain the two time control circuits ‚Äì one for fixed and one for variable Attack\/Release. The two time-controllers can either be used separately or combined. This circuit contains semiconductor OP-amps for the entire control.\u003cbr\u003e\n\t¬†The gain-reduction element is followed by a tube-based push-pull amplifier with variable gain up to 30 dB. A dedicated Bus selector with three positions (Off, Bus 1, Bus 2) is used whenever you want to link several compressors together. Input and output transformers have a static-screen between the primary and secondary wirings. Both Input and Output are balanced as well as fully floating.\u003c\/p\u003e","brand":"Tubetech","offers":[{"title":"New | On Order","offer_id":46167978213659,"sku":"CL1B","price":4725.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":48948420542747,"sku":"CL1BEBAYPRO","price":3588.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/tube-tech_cl1b_2-1.jpg?v=1692022046"},{"product_id":"tubetech-cl2a-two-channel-opto-compressor-cl2a","title":"Tubetech CL2A Two-Channel Opto Compressor","description":"\u003cp\u003e\n\tThe TUBE-TECH CL 2A Two-Channel Optical Compressor is an all tube based compressor \/ limiter targeted at two-channel studio recordings.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe TUBE-TECH CL 2A Dual Compressor features two independent optical compressors. The optical gain reduction element is placed after the input transformer and then followed by an all tube-based output amplifier with a +10 dB gain. A switch with three positions (Link 1, Off, Link 2) is used whenever you want to use the two separate compressors in stereo mode or link several compressors together. The two link busses are identical.\u003cbr\u003e\n\t\u003cbr\u003e\n\tBoth Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the anode voltage for the output stage all DC voltages are stabilized\u003c\/p\u003e","brand":"Tubetech","offers":[{"title":"New | In Stock","offer_id":46167978344731,"sku":"CL2A","price":5250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10007490.jpg?v=1692022038"},{"product_id":"tubetech-lca2b-dual-channel-compressor-limiter-lca2b","title":"Tubetech LCA2B Dual-Channel Compressor Limiter","description":"","brand":"Tubetech","offers":[{"title":"New | On Order","offer_id":46167978410267,"sku":"LCA2B","price":5925.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":50119961346331,"sku":"C102682","price":2699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10007500.jpg?v=1692022041"},{"product_id":"tubetech-smc-2b-stereo-tube-multiband-compressor-smc2b","title":"Tubetech Smc 2b Stereo Tube Multiband Compressor","description":"\u003cp\u003e\n\tVariable crossover points ensure precise control with all three bands of opto-compression. Independent band specific Threshold, Ratio, Attack, Release \u0026amp; Gain parameters make the SMC 2B as flexible as it is accurate. The TUBE-TECH SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid \u0026amp; High) by 6 dB\/octave x-over networks with variable frequencies: 60-1200 Hz for Low\/Mid band and 1,2-6 kHz for the Mid\/High band.¬†\u003cbr\u003e\n\tThe design of the x-over networks optimizes the summing of all three bands, resulting in a flat frequency response (within +\/-0,25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls.¬†\u003cbr\u003e\n\tBoth Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.\u003c\/p\u003e","brand":"Tubetech","offers":[{"title":"New | On Order","offer_id":46167978475803,"sku":"SMC2B","price":5999.0,"currency_code":"USD","in_stock":true},{"title":"Repack | On Order","offer_id":47103146918171,"sku":"SMC2BEBAYPRO","price":4398.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10007530.jpg?v=1692022043"},{"product_id":"vintech-609ca-transformer-balanced-stereo-compressor-limiter-609ca","title":"Vintech 609ca Transformer Balanced Stereo Compressor Limiter","description":"\u003cp\u003eThe Vintech Audio 609CA is a transformer balanced stereo compressor\/limiter with with class A, all discrete output amplifiers. The compression and limiting circuitry is based on the classic Neve 33609, while the output amplifiers are more similar to the Neve 2254.\u003c\/p\u003e","brand":"Vintech","offers":[{"title":"New | On Order","offer_id":46167980769563,"sku":"609CA","price":2950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10008190.jpg?v=1692022070"},{"product_id":"manley-labs-slam-stereo-limiter-and-microphone-preamp-1070243","title":"Manley Labs SLAM Stereo Limiter and Microphone Preamp","description":"\u003cp\u003eWe’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1\/4\" cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out halfway and it becomes 10 megOhms which reduces pickup loading and allows all the highs to get through. Come on in!\u003c\/p\u003e\n\u003ch3\u003eGet it LOUD... two different and distinct limiters per channel:\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThe ELOP® LIMITER:\u003c\/strong\u003e Our beloved Electro-Optical Levelling Amplifier circuit, the ELOP®, still the favorite for vocal tracking, shows up here with its new switchable side-chain high pass filter making it much more useful for mixes and other tracks as well. One of the most appreciated aspects of our original ELOP® is the simplicity of a two knob limiter, which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components simply work. The ELOP® limiter implementation is done like we did in our VOXBOX® which pioneered the idea of limiting the mic signal before it hits any active stage. The ELOP limiter moves to the line stage when LINE is selected. The ELOP sidechain provides different HP filters on a toggle. The 200 Hz setting has been tailored for vocals and adds a touch of de-essing.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe FET LIMITER: \u003c\/strong\u003eHere’s a new fast FET based \"brick wall\" limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET based limiters are desired for. The FET RELEASE control allows you to dial up a variety of colors. There is even a \"CLIP\" setting that provides as round a shape as has ever been available. (Read more below about the CLIP settings.) We aimed at \"sound\" first, then experimented with circuits until we heard what we wanted discovering fresh approaches that provide a very wide range of useful dynamic control. For example, you can set up for a fast brick wall limiter with slower releases for minimum artifacts, or go with the faster releases to get some crunch and then get extreme loudness. The Attack control is unusual too providing the sonic control common with its historic brothers but very unusually retaining the zero overshoot “none-shall-pass” brick wall that defines a real limiter. And it’s punchy! As the saying goes, “Louder is better.” The SLAM! optimizes levels to analog to digital converters with ballz, warmth and loudness verging on silly or just clean and safe.\u003c\/p\u003e\n\u003cp\u003eWhat is especially nifty is the ability to use the ELOP® and FET limiters together at the same time dialing in whatever amounts of each effect you like. Every limiter has its own character or sound and here we have combined two powerful world-class tools that can be uniquely blended and mixed to taste and purpose. Even the metering is appropriate for each limiter so you can easily see how each is contributing.\u003c\/p\u003e\n\u003cp\u003eMetering on the SLAM! is exceptional. The two full size real VU meters show you the raw input levels, the final output levels, and the ELOP® Limiter gain reduction in the traditionally preferred format for visually displaying apparent loudness. VU’s are cool. Noticing how mastering engineers often need a switchable pad on their VU's because the \"optimized\" levels tend to pin the needles in the red, the SLAM! VU’s also have a 0, -3dB, -6dB switch to help with this situation. There are also very fast and super accurate multi-color LED ladder peak meters that display the input and output levels and the FET gain reduction, and some combinations. They will do Peak, Peak Hold timed, and Peak Hold until reset, and also allow you to manually set where the individual bars change colors to match your other gear. And with maximum clean I\/O levels of +30 dBu, it is a lot more likely you will use these meters to see what’s clipping downstream. It probably won’t be the Manley tube line drivers inside!\u003c\/p\u003e\n\u003cp\u003eThe back panel should keep everybody happy. In the sea of jacks including the big power supply connector, you'll find all the usual XLR’s for transformer balanced I\/O and 1\/4\" phone jacks for direct unbalanced I\/O. Eight Bantam jacks in a mini-patchbay configuration handle the side-chain inserts and linking functions. You can insert EQs into the ELOP® and FET limiters, and there are more jacks for you to mix in an external signal into the side chains. Another pair of jacks provides for easy linking for 5.1 surround work if you have three or four SLAM!'s. It’s all here.\u003c\/p\u003e\n\u003cp\u003eSpeaking of Linking... all previous Manley dynamics units require both channels to be setup for near identical settings rather than the more common \"just set the Left side\". The SLAM! lets you do it both ways. The \"L Side\" method is the \"STEREO LINK\" mode and is quick and convenient but, like others, uses a mono mix for the side-chain. The \"BOTH \u0026amp; EXT\" adds the rear panel link jacks to the link buss so you could chain up several SLAM!s for linked surround work. Both or all 6 channels should be set similarly. This mode is usually better for mastering as it responds to the true peak level of the channels rather than an artificial mono mix.\u003c\/p\u003e\n\u003cp\u003eOutside the Box, that's where the power supply is. The illuminated power switch turns on the external power supply. Keeping the power supply far away also keeps additional heat and magnetic fields away from the precious audio. The power supply is housed in a sturdy cast aluminum 7\" x 4\" x 5\" box that is easy to mount to or place in the bottom of a rack. A seriously humongous 16 pin connector, and 6' multicore cable connects the two boxes.\u003c\/p\u003e\n\u003cp\u003eThe SLAM! also seems a natural as a mastering tool. The FET limiter works great on mixes, and the ELOP® now has a high pass filter switch that is spot-on for mastering. We offer a dedicated mastering version which eliminates the mic preamps, adds detented controls replacing the pots, and provides extra metering options. Manley compressors and EQs seem to be the most popular pieces of gear ever when it comes to mastering. The ultimate analog rack for the final important touches to the mix would have include the SLAM!, The Variable Mu® and The Massive Passive. Combine this with some digital processors of similar calibre and one has a respectable and very effective set of mastering tools. That Manley rack plus some Manley Microphones would make an ultimate stereo recording chain too. This is gear you’ll want to keep for a lifetime.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46167986307355,"sku":"SLAM","price":9399.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | In Stock","offer_id":52165750554907,"sku":"SLAMRP","price":7199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10009190.jpg?v=1692022115"},{"product_id":"kush-audio-ubk-fatso-ubkfatso","title":"Empirical Labs UBK EL7 Fatso","description":"\u003cp\u003eHave you ever noticed that its pretty rare to find two identical Harley Davidson® motorcycles parked in front of bar you’re playing? Yes, they may be the same model, but the exhaust pipes are different, the handlebars are different, the seats are different, the fenders are often different, the wheels are different, and the paint schemes are rarely ever the same.\u003c\/p\u003e\n\u003cp\u003eWelcome to the UBK “FATSO”. Gregory Scott (a.k.a. UBK), is a dear friend of the Empirical Labs family who took it upon himself to “modify” his beloved Empirical Labs FATSO to have some very interestingly different character options.\u003c\/p\u003e\n\u003cp\u003eWhile the UBK “FATSO” is similar in nature (overall potential for amazing sonic quality, lack of power supply noise that can get in the way with other devices, and impeccable reliability) its like putting a new set of pipes on a Harley® which can help with performance, overall volume, and \/ or tonal character of the sound of that motorcycle.\u003c\/p\u003e\n\u003cp\u003eThe UBK “FATSO” brings seven (7!!) unique and versatile compression curves to the table via 4 “name” presets with 3 “hidden gem” additions. There are the “Splat”, “Smooth”, and “Spank” options which can combine the best parts of “Smooth” and “Splat” to create “Glue” (and who doesn’t love sniffing a little “glue” every now and again?). “Splat” was designed to give you a stunningly similar character to an API® inspired compressor while “Smooth” is intended to give you a “tracking style” classic limiter texture. Add these two together and you achieve that “Glue” which can lock the bass into place while adding clean, clear, and LOUD all at the same time.\u003c\/p\u003e\n\u003cp\u003eWhile not a replacement for the original Empirical Labs “FATSO”; the UBK “FATSO” permits the user to go from incredibly smooth and easy going at moderate settings to aggressive extremes (especially in “looped dance music” situations) which can sometimes result in “too much” compression, but pretty much never results in “bad” compression (and we’ve all experienced “bad” compression more than a few times in our career!).\u003c\/p\u003e\n\u003cp\u003eAt the end of the day Gregory’s interpretation of the Empirical Labs “FATSO” is an incredibly musical device that will help you bring your product to life without many of the audio sacrifices often found in more pedestrian compressors \/ limiters. Add these wonderful features to the already famous collection of “warmth” and “transformer” capabilities and you have yourself a lovely walk in the park that just makes your job easier while granting the music the necessary lack of dynamics to sound competitive in the marketplace.\u003c\/p\u003e\n\u003cp\u003eThe UBK “FATSO” has the same linking and I\/O capabilities of Empirical Labs “FATSO” with different sonic options that make the two units go together in any studio like chocolate and peanut butter.\u003c\/p\u003e","brand":"Empirical Labs","offers":[{"title":"New | On Order","offer_id":46167987585307,"sku":"UBKFATSO","price":2799.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47102199726363,"sku":"UBKFATSODEMO","price":2198.0,"currency_code":"USD","in_stock":false},{"title":"Repack | Out Of Stock","offer_id":47103914574107,"sku":"UBKFATSORP","price":2498.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/100096702.jpg?v=1692022131"},{"product_id":"summit-audio-tla-100-tla-100a","title":"Summit Audio TLA-100","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\t\u003cp class=\"p1\"\u003e\n\t\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eSummit Audio TLA-100 Single Channel Compressor \/ Limiter\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe TLA-100A from Summit Audio is a single channel leveling amplifier\/compressor, based on a classic design that produces a warm and smooth sounding output. The unit functions in a set-and-forget mode and delivers great sounding results without having to do a large amount of knob turning. The amplifier has a sidechain input and 2 TLA-100A units can be coupled together for stereo processing.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe TLA-100A uses a soft-knee and program-dependent transition characteristic, and provides switch selectable attack and release settings. The unit is a hybrid processor that uses a selected 12AX7A vacuum tube with high reliability 990 op-amps in a transformerless signal path. The leveling amplifier is hand built in the USA to the most exacting standards.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tEasy to set up single channel leveling amplifier with tube\/solid state signal path\u003c\/div\u003e\n\u003cdiv\u003e\n\tSwitch selectable attack and release times\u003c\/div\u003e\n\u003cdiv\u003e\n\tSoft-knee transition characteristic\u003c\/div\u003e\n\u003cdiv\u003e\n\tSidechain insert for EQ dependent processing or ducking\u003c\/div\u003e\n\u003cdiv\u003e\n\tTransformerless signal path\u003c\/div\u003e\n\u003cdiv\u003e\n\t990 output stage (balanced or unbalanced)\u003c\/div\u003e\n\u003cdiv\u003e\n\tStereo linkable\u003c\/div\u003e\n\u003cdiv\u003e\n\tUniversal internal power supply\u003c\/div\u003e\n\u003cdiv\u003e\n\tHand crafted in the USA\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tFunction\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Leveling amplifier\u003c\/div\u003e\n\u003cdiv\u003e\n\tNumber of Channels\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Single\u003c\/div\u003e\n\u003cdiv\u003e\n\tInputs\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 1 x XLR\u003c\/div\u003e\n\u003cdiv\u003e\n\t1 x 1\/4\" TRS phone Insert\u003c\/div\u003e\n\u003cdiv\u003e\n\tOutputs\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 1 x XLR\u003c\/div\u003e\n\u003cdiv\u003e\n\t1 x 1\/4\" TS phone Stereo Link\u003c\/div\u003e\n\u003cdiv\u003e\n\tMaximum Input Level\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e +26dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\tCompression Threshold\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Program dependent\u003c\/div\u003e\n\u003cdiv\u003e\n\tCompression Ratio\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Program dependent\u003c\/div\u003e\n\u003cdiv\u003e\n\tAttack Time\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Fast\/Medium\/Slow, switchable\u003c\/div\u003e\n\u003cdiv\u003e\n\tRelease Time\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Fast\/Medium\/Slow, switchable\u003c\/div\u003e\n\u003cdiv\u003e\n\tMaximum Output Level\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e +26dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\tMake-up Gain\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e +34dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\tFrequency Response\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 20Hz to 20kHz, +\/-1.0dB with 5dB compression\u003c\/div\u003e\n\u003cdiv\u003e\n\tDynamic Range\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 60dB\u003c\/div\u003e\n\u003cdiv\u003e\n\tTHD + Noise\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 0.09% @ 1kHz, 0dB out\u003c\/div\u003e\n\u003cdiv\u003e\n\tPower Requirements\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 115 or 230VAC, 50\/60Hz\u003c\/div\u003e\n\u003cdiv\u003e\n\tDimensions (WxDxH)\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 19 x 10.5 x 3.5\" (483 x 267 x 89mm)\u003c\/div\u003e\n\u003cdiv\u003e\n\tWeight\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 17 lbs (7.7kg) shipping\u003c\/div\u003e\n\u003cdiv\u003e\n\tSpecialties\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e VU meter monitors output level or gain reduction\u003c\/div\u003e","brand":"Summit Audio","offers":[{"title":"New | On Order","offer_id":46167990141211,"sku":"TLA100A","price":3449.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10009860.gif?v=1692022129"},{"product_id":"a-designs-audio-hm2-compressor-nail-dual-channel-hybrid-compressor-hm2comp","title":"A Designs Audio HM2 Compressor Nail Dual-Channel Hybrid Compressor","description":"\u003cp\u003eIntroducing the A Designs Audio HM2 Compressor Nail. Info coming soon.\u003c\/p\u003e","brand":"A Designs Audio","offers":[{"title":"New | On Order","offer_id":46167991615771,"sku":"HM2COMP","price":2550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10010600.jpg?v=1692022161"},{"product_id":"grace-design-m103-m103grace","title":"Grace Design M103","description":"\u003cp\u003e\n\tChannel strip... it doesnt roll off the tongue or smack of a high fidelity recording device. Maybe thats why its taken us so long to build one. But we got over it. All labels aside, our new m103 is a powerful tracking tool for virtually any recording scenario. It starts with our tried and true m101 transformerless microphone preamplifier circuity. Headroom, detail, clarity, musicality its all there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V phantom.\u003c\/p\u003e","brand":"Grace Design","offers":[{"title":"New | In Stock","offer_id":46168004133147,"sku":"M103GRACE","price":2358.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10015920.jpg?v=1692022346"},{"product_id":"empirical-labs-el7-fatso-stereo-audio-processor-fatso","title":"Empirical Labs EL7x FATSO Stereo Audio Processor","description":"\u003cp\u003e\n\tThe EL7 FATSO is a modern digitally controlled analog device that offers many of the \"musical non-linearities\" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two channel audio processor will musically integrate frequencies and transients and increase the apparant volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor \"types\" with fixed attacks and releases (if you want a fully controllable compressor, you will need the Empirical Labs Distressor!).\u003c\/p\u003e","brand":"Empirical Labs","offers":[{"title":"New | In Stock","offer_id":46168004657435,"sku":"FATSO","price":2449.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | In Stock","offer_id":51924625981723,"sku":"FATSOEBAYPRO","price":2099.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/fatso_elx7x.jpg?v=1692022353"},{"product_id":"dunlop-95q-wah-c01","title":"Dunlop 95Q Cry Baby Wah Pedal","description":"\u003cp\u003e\n\tWe've taken the original Crybaby and added the two most popular and requested upgrades - the famous Q control, which varies the intensity of the wah effect by adjusting the effect's bandpass shape, and the volume Boost, for up to 15 dB added gain to your output signal. The 95Q is a flexible tone monster that retains the original Crybaby's fast-reacting characteristics. Features: Heavy die cast construction for years of reliability, 100k ohm Hot Potz potentiometer that allows for that quick, abrupt wah sound. Silent \"auto-off\" switching automatically bypasses the effect when the foot is off the pedal. The adjustable volume boost know for up to +15 dB is mounted on the side of the pedal along with the adjustable \"Q\" control. Powered by the Dunlop ECB-003 AC Adapter and\/or 9 volt battery.\u003c\/p\u003e","brand":"Dunlop","offers":[{"title":"New | In Stock","offer_id":46168043782427,"sku":"95Q","price":159.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/95q.main.jpg?v=1692022768"},{"product_id":"retro-instruments-powerstrip-recording-channel-c01","title":"Retro Instruments Powerstrip Recording-Channel","description":"\u003ch3 class=\"p1\"\u003eWhy You Need The Retro Instruments Powerstrip Recording Channel:\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eTransformer coupled Class-A tube microphone preamplifier with phantom power.\u003c\/li\u003e\n\u003cli\u003eCaptures the tone of a tube mixing desk, Pultec-style tube EQ and British tube compressor all in one compact 2u rack unit\u003c\/li\u003e\n\u003cli\u003eMultiple inputs and plenty of gain to handle a multitude of instruments and microphones at one time\u003c\/li\u003e\n\u003cli\u003eBalanced Line Level Input\u003c\/li\u003e\n\u003cli\u003ePerfect for use on stage or in any size recording studio\u003c\/li\u003e\n\u003cli\u003eSix selectable compressor attack\/release time-constants.\u003c\/li\u003e\n\u003cli\u003eCompressor and equalizer can be independently bypassed.\u003c\/li\u003e\n\u003cli\u003eDesign minimizes tube heat generation.\u003c\/li\u003e\n\u003cli\u003eDurable Steel Chassis built to last\u003c\/li\u003e\n\u003cli\u003eManufactured in the USA\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e\n\u003ch4 class=\"p3\" style=\"text-align: center;\"\u003eVintage Design for modern recording\u003c\/h4\u003e\n\u003cp class=\"p3\"\u003eRetro Instruments is changing the way the world sounds by creating classic style audio gear for modern recording. Retro products keep what made the originals the best of the best, updating vintage design with modern features to improve functionality - creating unique and innovative gear that sounds, looks, and feels vintage and state-of-the-art in equal measure.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"New | On Order","offer_id":46168074649883,"sku":"POWERSTRIP","price":3899.0,"currency_code":"USD","in_stock":true},{"title":"Display | On Order","offer_id":47316524204315,"sku":"POWERSTRIPDIS","price":2895.0,"currency_code":"USD","in_stock":false},{"title":"Open Box | On Order","offer_id":49635355263259,"sku":"POWERSTRIPEBAYPRO","price":3488.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/powerstrip-gallery-1-h430.jpg?v=1709130046"},{"product_id":"mercury-recording-equipment-m66-120v-limiting-amplifier-c01","title":"Mercury Recording Equipment M66-120V Limiting Amplifier","description":"\u003cp\u003e\n\t\u003cspan style=\"font-size: 16px;\"\u003e\u003cstrong\u003eMercury Recording Equipment M66-120V Limiting Amplifier.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\tThe Mercury 66 is an all tube and all transformer, fully-balanced variable-bias limiting amplifier. The most sought after product in this genre has been the legendary Fairchild 660. Which is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild but have failed to capture the sonic essence. Until now.\u003c\/p\u003e\n\u003cp\u003e\n\tThe Mercury 66 Limiting Amplifier is, as true as possible, a recreation of the classic Fairchild limiters-- using parts that are available today-- and meets all of the original specifications. But more importantly, it SOUNDS like a Fairchild 660. When using the Mercury M66 music, program material and instrumentation reacts the same as a Fairchild 660 does.\u003c\/p\u003e\n\u003cp\u003e\n\tThe Mercury 66 Limiting Amplifier uses a single push-pull stage of amplification (transformer coupled in\/out, no capacitors in the signal path) with a high control voltage. The result: the unit never produces any audible thumps, and has low distortion and noise under all conditions (either as a limiter or straight through amplifier). The Control amplifier is also fully balanced, transformer coupled In and Out. The Mercury 66 makes use of a very stable high current vacuum tube voltage regulator. It has ample and accessible input, threshold, attack, release time and metering controls allowing for convenience in the control room when making adjustments. The attack time is very fast and catches short transients. The release time of .3 to 25 seconds provides real flexibility: Three positions of the six available make the release time a function of program material, with fast recovery peaks and overall reduction of program level should the program level remain high. It can be used as a limiter or compressor. For example, use it as a 2 to 1 ratio compressor with a threshold 5 dB below average level, or as a peak limiter with a 20 to 1 ratio with threshold 10 dB above normal program level, or anywhere between these extremes. The attack and release times are the same as the original Fairchild 660.\u003c\/p\u003e\n\u003cp\u003e\n\tOne notable change on the Mercury 66 is the DC Adjust control. On an original Fairchild 660 this was called DC Threshold and was on the rear of the unit (not accessible from front panel). We put that control on the front panel and labeled it DC Adjust to not confuse the Threshold function. The DC Adjust lets you control DC (Direct Current) in part of the circuit to give the user more control. You are able to control how the amplifier reacts to the audio signal coming in. By turning the DC Adjust to the far left (counter clockwise) the M66 acts more like a 'compressor' and to the far right (clockwise) the M66 acts more like a 'limiter'. But the best thing about this feature is you can find that sweet spot in-between. We like to think of this as the 'magic knob' as do a lot of our users.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe Mercury 66 Limiting Amplifier is built to be a new classic and to be your go-to compressor for the next 50 years!\u003cbr\u003e\n\t\u003cbr\u003e\n\tM66 Users Include: Billy Corgan (Smashing Pumpkins), Rhett Lawrence (Kelly Clarkson, Christina Aguilera), Devin Powers (Devin Powers Music, Movie and TV Scores), Scott Humphrey (Rob Zombie, Motley Crue, Bon Jovi), John McBride (Black Bird Studios and Rentals, Martina McBride) and Manny Marroquin, who has used his M66 on mixes for many Gold and Platinum Artists including: Alicia Keys, Brandy, Janet Jackson, Monica, Nikka Costa and MANY others!\u003c\/p\u003e\n\u003cp\u003e\n\t\u003cspan style=\"font-size: 14px;\"\u003e\u003cstrong\u003eThe M66 performance features include:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tExceptional tone and musical focus\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tAbsence of audible thumps, distortion or noise\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tExtremely fast attack time that can produce full limiting in 1\/5000th of a second\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tVariable release time from .3 seconds to 25 seconds\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tUseful as a limiter or a compressor depending on the program material and control settings\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tReliability and stability (All components operate well below their rated maximums)\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tAll tube, fully balanced (push-pull) transformer coupled circuitry\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tSimple, easy to use controls.\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003cimg alt=\"SPECIFICATIONS\" height=\"28\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/topper_specs.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"355\"\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" style=\"border: 1px solid rgb(198, 198, 196); margin: 0px; padding: 0px; background-color: rgb(255, 255, 255); width: 348px; line-height: 13px;\"\u003e\n\t\u003ctbody\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px; background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"100\"\u003e\n\t\t\t\t\u003cb\u003eTransformers:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t600 ohm Input and Output\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eGain:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t7 db (no limiting)\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px; background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eFrequency response:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t40 Hz- 15 kHz +\/- 1 db\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eNoise:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t= -74 dB below OdBm\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px; background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eTHD:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t= \u0026lt; 1%\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eCompression Ratio:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t1:1 to 1:20\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px; background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eAttack Time:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t0.2, 0.4, 0.8 ms\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eRelease Time:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t0.3, 0.8, 2 sec, 5 sec, auto 1, auto 2\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px; background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eTubes:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t(1) 6BC8, (2) 6V6, 12BH7, 12AX7, EL34, GZ 34, 5751\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cb\u003eControls:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\tInput Gain, AC Threshold DC Adjust, Metering, Zero (Trim), Balance (Trim), Attack\/Release and\u003ca class=\"extralink\" href=\"http:\/\/www.mercuryrecordingequipment.com\/popper_info_m66stereo.html\" style=\"font-family: arial,geneva,sans-serif; color: rgb(102, 0, 0); text-decoration: none; border-bottom: 1px solid rgb(102, 0, 0);\"\u003eStereo Link\u003c\/a\u003e\n\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\u003ctd colspan=\"4\" style=\"border-width: 0px; margin: 0px; padding: 0px;\"\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"2\" src=\"http:\/\/www.mercuryrecordingequipment.com\/img\/px_cl.gif\" style=\"border-width: 0px; margin: 0px; padding: 0px;\" width=\"1\"\u003e\n\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cbr\u003e\n\u003cp\u003e\n\tAll Mercury Recording Equipment Co. products pass the standard \u003cb\u003eU.Y.E.\u003c\/b\u003eTest. We feel this is the best and most highly regarded test procedure. We go to great lengths to make sure we pass this important test by using quality components, NOS tubes where we can and U.S. and U.K. audio transformers on every input and output of our recording equipment. (U.Y.E. = Use Your Ears)\u003c\/p\u003e\n\u003cp\u003e\n\t\u003cbr\u003e\n\t \u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168089428251,"sku":"M66","price":9898.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10043870.jpg?v=1692023273"},{"product_id":"millennia-tcl-2-twin-topology-opto-compessor-limiter-c01","title":"Millennia TCL-2 Twin Topology Opto-Compessor \/ Limiter","description":"\u003cp\u003e\n\t\u003cstrong\u003eControl Dynamics With Total Signal Integrity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\t\u003cli\u003e\n\t\tTwo paths to perfection with Twin Topology™\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tStereo optical compressor\/limiter with unprecedented sonic purity \u0026amp; integrity\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tAll triode 300 V vacuum tube signal path or...\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tAll discrete J-FET solid state signal path\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tBoth topologies are entirely transformerless, high voltage, pure Class A\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tMinimalist design: only one active stage in the audio path\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tThreshold: Infinity to + 20 dBu\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tRatio: 1.4 : 1 to 30 : 1\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tAttack: 2 to 100 ms\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tRelease: 100 ms to 3 s\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tLarge meters: switchable for VU or Gain Reduction\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tConstructed for demanding professional applications\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tUltra-Premium components throughout\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tGold relays, connectors, switches, tube sockets\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tSilver Teflon power wiring\u003c\/li\u003e\n\t\u003cli\u003e\n\t\tMogami Neglex OFC audio wiring\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tThreshold Range \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eInfinite to +20 dBu, Continuously Adjustable\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tMaximum Output Level\u003c\/div\u003e\n\u003cdiv\u003e\n\t\u0026gt; + 32 dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\tMaximum Input Level \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e+ 30 dBu\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tOutput Gain Control\u003c\/div\u003e\n\u003cdiv\u003e\n\tContinuously Adjustable\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tFrequency Response\u003c\/div\u003e\n\u003cdiv\u003e\n\t+0 \/ -3 dB sub 2 Hz to beyond 100 kHz\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tNoise\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t    20 Hz - 22 kHz\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t-87 dBu (SS), -82 dBu (VT)\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tAttack Range\u003c\/div\u003e\n\u003cdiv\u003e\n\t2 ms to 100 ms, Continuously Adjustable\u003c\/div\u003e\n\u003cdiv\u003e\n\tRelease Range \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e100 ms to 3.0 S, Continuously Adjustable\u003c\/div\u003e\n\u003cdiv\u003e\n\tCompression Ratio Range \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eminimum 1.4 : 1, maximum 30 : 1\u003c\/div\u003e\n\u003cdiv\u003e\n\tContinuously Adjustable\u003c\/div\u003e\n\u003cdiv\u003e\n\tTHD + Noise \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t    20 Hz - 30 kHz\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t\u0026lt; .01 %, typ .003 % (VT or SS)\u003c\/div\u003e\n\u003cdiv\u003e\n\tCommon Mode Rejection Ratio \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t    10 Hz - 20 KHz, 100 mV C.M.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t\u0026gt; 50 dB, Typ \u0026gt; 70 dB\u003c\/div\u003e\n\u003cdiv\u003e\n\tDynamics Bypass For Each Channel? \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eYes\u003c\/div\u003e\n\u003cdiv\u003e\n\tMeter Gain Reduction Or VU Selection? \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eYes\u003c\/div\u003e\n\u003cdiv\u003e\n\tStereo Linking Switch? \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eYes\u003c\/div\u003e\n\u003cdiv\u003e\n\tInput Impedance \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e25k Ohms\u003c\/div\u003e\n\u003cdiv\u003e\n\tMinimum Output Load Impedance \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e300 Ohms (SS), 1k Ohms (VT)\u003c\/div\u003e\n\u003cdiv\u003e\n\tRecommended Minimum Load \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e600 Ohms (SS), 3k Ohms (VT)\u003c\/div\u003e\n\u003cdiv\u003e\n\tOutput Impedance \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e\u0026lt; 5 ohms (SS), \u0026lt; 300 ohms (VT)\u003c\/div\u003e\n\u003cdiv\u003e\n\tTwin Topology Compressor Amplifiers \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eSwitch In: Pure Class-A Discrete J-FETs\u003c\/div\u003e\n\u003cdiv\u003e\n\t  \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eSwitch Out: Pure Class-A Triode Tubes\u003c\/div\u003e\n\u003cdiv\u003e\n\tPower Consumption \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e55 watts maximum\u003c\/div\u003e\n\u003cdiv\u003e\n\tPower Requirements \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003eSelectable: 100-120, 200-240 V ac, 50\/60 Hz\u003c\/div\u003e\n\u003cdiv\u003e\n\tDimensions\/Shipping Weight \u003cspan class=\"Apple-tab-span\" style=\"white-space: pre;\"\u003e \u003c\/span\u003e19” W x 12.5” L x 3.5” H, 26 lbs.\u003c\/div\u003e","brand":"Millennia","offers":[{"title":"New | On Order","offer_id":46168090509595,"sku":"TCL2","price":4140.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10044290.jpg?v=1692023283"},{"product_id":"drawmer-dl241-2-channel-auto-manual-compressor-limiter-xlr-ver-c01","title":"Drawmer DL241 XLR 2-Channel Auto\/ Manual Compressor Limiter (XLR Version)","description":"\u003cp\u003e\n\tThe Drawmer DL241 Dual Channel 'Auto-Compressor' highlights the beginning of a new generation of dynamic processors which set new standards of sonic excellence. Its combination of features, displays and well designed control functions make it an outstanding product for a vast range of broadcast, sound reinforcement, and recording applications.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe DL241 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance.\u003cbr\u003e\n\t\u003cbr\u003e\n\tFacilities available on the DL241 include: Expander\/Gate. Drawmer's unique \"Programmed Adaptive Expansion\" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe Expander\/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position._Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Compressor. A full Auto Attack\/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression.\u003cbr\u003e\n\t\u003cbr\u003e\n\tPeak Level. 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment.\u003cbr\u003e\n\t\u003cbr\u003e\n\t'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications.\u003cbr\u003e\n\t\u003cbr\u003e\n\tMetering. Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and output signal level Gain reduction from 1dB to -30dB is shown simultaneously with signal level from -20dB to +15dB Other single LEDs indicate function status of Gating Acton, Auto Mode, Bypass, Peak Limiting, Stereo Linking, and Power On.\u003cbr\u003e\n\t\u003cbr\u003e\n\tStereo Link. When processing stereo signals, linking should be used to prevent image shifting. This facility ties both channels together. Using channel 1 (left) as the master channel removes the need to duplicate control settings for both channels.\u003cbr\u003e\n\t\u003cbr\u003e\n\tBypass. A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied. In bypass the VU level meter displays the Input signal.\u003cbr\u003e\n\t\u003cbr\u003e\n\tOperating Level. The operating level of the DL241 can be instantly switched, independently on each channel, for either +4dBu or 10dBu operation using a rear panel push switch.\u003cbr\u003e\n\t\u003cbr\u003e\n\tInput\/Output. The DL241 is available with either XLR connections and fully balanced inputs and outputs, or with stereo jack (TRS) connections, fully balanced inputs and single ended outputs.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"New | On Order","offer_id":46168138613019,"sku":"DL241XLR","price":1279.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47317844721947,"sku":"DL241XLREBAYPRO","price":812.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/drawmer-DL241XLR-0.png?v=1692023824"},{"product_id":"mercury-recording-equipment-m66-240v-limiting-amplifier-c01","title":"Mercury Recording Equipment M66-240V Limiting Amplifier","description":"\u003cp\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eMercury Recording Equipment M66-240V Limiting Amplifier\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 is an all tube and all transformer, fully-balanced variable-bias limiting amplifier. The most sought after product in this genre has been the legendary Fairchild 660. Which is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild but have failed to capture the sonic essence. Until now.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 Limiting Amplifier is, as true as possible, a recreation of the classic Fairchild limiters-- using parts that are available today-- and meets all of the original specifications. But more importantly, it SOUNDS like a Fairchild 660. When using the Mercury M66 music, program material and instrumentation reacts the same as a Fairchild 660 does.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 Limiting Amplifier uses a single push-pull stage of amplification (transformer coupled in\/out, no capacitors in the signal path) with a high control voltage. The result: the unit never produces any audible thumps, and has low distortion and noise under all conditions (either as a limiter or straight through amplifier). The Control amplifier is also fully balanced, transformer coupled In and Out. The Mercury 66 makes use of a very stable high current vacuum tube voltage regulator. It has ample and accessible input, threshold, attack, release time and metering controls allowing for convenience in the control room when making adjustments. The attack time is very fast and catches short transients. The release time of .3 to 25 seconds provides real flexibility: Three positions of the six available make the release time a function of program material, with fast recovery peaks and overall reduction of program level should the program level remain high. It can be used as a limiter or compressor. For example, use it as a 2 to 1 ratio compressor with a threshold 5 dB below average level, or as a peak limiter with a 20 to 1 ratio with threshold 10 dB above normal program level, or anywhere between these extremes. The attack and release times are the same as the original Fairchild 660.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tOne notable change on the Mercury 66 is the DC Adjust control. On an original Fairchild 660 this was called DC Threshold and was on the rear of the unit (not accessible from front panel). We put that control on the front panel and labeled it DC Adjust to not confuse the Threshold function. The DC Adjust lets you control DC (Direct Current) in part of the circuit to give the user more control. You are able to control how the amplifier reacts to the audio signal coming in. By turning the DC Adjust to the far left (counter clockwise) the M66 acts more like a 'compressor' and to the far right (clockwise) the M66 acts more like a 'limiter'. But the best thing about this feature is you can find that sweet spot in-between. We like to think of this as the 'magic knob' as do a lot of our users.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 Limiting Amplifier is built to be a new classic and to be your go-to compressor for the next 50 years!\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tM66 Users Include: Billy Corgan (Smashing Pumpkins), Rhett Lawrence (Kelly Clarkson, Christina Aguilera), Devin Powers (Devin Powers Music, Movie and TV Scores), Scott Humphrey (Rob Zombie, Motley Crue, Bon Jovi), John McBride (Black Bird Studios and Rentals, Martina McBride) and Manny Marroquin, who has used his M66 on mixes for many Gold and Platinum Artists including: Alicia Keys, Brandy, Janet Jackson, Monica, Nikka Costa and MANY others!\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t\u003cstrong\u003eThe M66 performance features include:\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\tExceptional tone and musical focus\u003c\/div\u003e\n\u003cdiv\u003e\n\tAbsence of audible thumps, distortion or noise\u003c\/div\u003e\n\u003cdiv\u003e\n\tExtremely fast attack time that can produce full limiting in 1\/5000th of a second\u003c\/div\u003e\n\u003cdiv\u003e\n\tVariable release time from .3 seconds to 25 seconds\u003c\/div\u003e\n\u003cdiv\u003e\n\tUseful as a limiter or a compressor depending on the program material and control settings\u003c\/div\u003e\n\u003cdiv\u003e\n\tReliability and stability (All components operate well below their rated maximums)\u003c\/div\u003e\n\u003cdiv\u003e\n\tAll tube, fully balanced (push-pull) transformer coupled circuitry\u003c\/div\u003e\n\u003cdiv\u003e\n\tSimple, easy to use controls.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tTransformers:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 600 ohm Input and Output\u003c\/div\u003e\n\u003cdiv\u003e\n\tGain:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 7 db (no limiting)\u003c\/div\u003e\n\u003cdiv\u003e\n\tFrequency response:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 40 Hz- 15 kHz +\/- 1 db\u003c\/div\u003e\n\u003cdiv\u003e\n\tNoise:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e = -74 dB below OdBm\u003c\/div\u003e\n\u003cdiv\u003e\n\tTHD:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e = \u0026lt; 1%\u003c\/div\u003e\n\u003cdiv\u003e\n\tCompression Ratio:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 1:1 to 1:20\u003c\/div\u003e\n\u003cdiv\u003e\n\tAttack Time:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 0.2, 0.4, 0.8 ms\u003c\/div\u003e\n\u003cdiv\u003e\n\tRelease Time:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 0.3, 0.8, 2 sec, 5 sec, auto 1, auto 2\u003c\/div\u003e\n\u003cdiv\u003e\n\tTubes:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e (1) 6BC8, (2) 6V6, 12BH7, 12AX7, EL34, GZ 34, 5751\u003c\/div\u003e\n\u003cdiv\u003e\n\tControls:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Input Gain, AC Threshold DC Adjust, Metering, Zero (Trim), Balance (Trim), Attack\/Release andStereo Link\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tAll Mercury Recording Equipment Co. products pass the standard U.Y.E.Test. We feel this is the best and most highly regarded test procedure. We go to great lengths to make sure we pass this important test by using quality components, NOS tubes where we can and U.S. and U.K. audio transformers on every input and output of our recording equipment. (U.Y.E. = Use Your Ears)\u003c\/div\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168301535515,"sku":"M66-240V","price":9898.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mercury-recording-equipment-M66-240V-0.jpg?v=1692024617"},{"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":"rupert-neve-543-compressor-limiter-c01","title":"Rupert Neve 543 Compressor\/Limiter","description":"\u003ch2\u003eRupert Neve Portico 543 Mono Compressor \u003c\/h2\u003e\n\u003cp\u003eThe Rupert Neve Portico 543 Mono Compressor brings the unobtrusive, musical-sounding dynamic control and brick-wall limiting made famous in the Portico 5043 to the 500 series format. The 543 features a fully controllable compressor-limiter with feed-forward and feedback modes, Peak \/ RMS detection, and a built in side chain high-pass filter. With an unrivaled heritage and a tremendous feature set, the 543 yields a combination of rich warmth, flexibility and precision that is sure to resonate in the ears of sound engineers the world over.\u003c\/p\u003e\n\u003cp\u003eBuilt around Mr. Rupert Neve’s custom transformer designs, each 543 module encompasses individually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward \/ Feed-back selection and Peak\/RMS detection modes. With the compressor inactive, the 543 may be used as a transformer-coupled, high-performance line amplifier, and two 543 may be linked for stereo operation as well. The chassis is built to standard 500 series specifications, with power and I\/O provided by the rack.\u003c\/p\u003e\n\u003cp\u003eIn order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The Portico 543 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.\u003c\/p\u003e\n\u003cp\u003eThe 543 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 543 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settings of the V.C.A. and circuits through which it has passed. This is known as a “Feed-Back” compressor. The two compression characteristics are quite different; there is more “Overshoot” and both the attack and recovery ramps are changed, providing the user with powerful choices.\u003c\/p\u003e\n\u003cp\u003eIn most of Mr. Rupert Neve's earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF \/ FB switch, both classic and modern VCA responses are available.\u003c\/p\u003e\n\u003cp\u003eOne of the more unique features of the 543 is the new Peak \/ RMS mode, which is also found in the Portico II Channel. This switch allows the VCA (voltage control amplifier) to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, peak mode uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own.\u003c\/p\u003e\n\u003cp\u003eSetting the right values of Release and Attack is what compression is all about! Once the principles are understood, a Compressor-Limiter such as the 543 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment.\u003c\/p\u003e\n\u003cp\u003eThe notes above explain how the 543 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level. If the Release Time is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and un-natural sound known as “Pumping” when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. 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The inclusion of new sophisticated 'automated' circuitry allows the engineer to precisely control both the dynamic range and 'absolute' peak level of the programme instantly, without sacrificing essential control parameters. This perfect balance of features makes the DL441 ideal for use in sound reinforcement and outside broadcast applications where an economy in rack space is essential. Each channel combines a fully professional 'Auto Attack\/Release' Compressor with a variable threshold 'Peak Level' Limiter on the output providing a transparent 'endstop'. High resolution bar-graph displays on each channel allow gain reduction and output level to be viewed simultaneously, of particular importance in darkened concert hall or control room situations.\u003c\/p\u003e\n\u003cp\u003eFacilities available on the DL441 include:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor :\u003c\/strong\u003e The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available. In the SOFT mode the ratio increases gradually over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression In HARD mode the compressor provides a more precise means of controlling gain, where the ratio as set on the front panel is applied immediately the signal exceeds threshold. This is particularly useful in many broadcast applications. HARD knee compression can also be used creatively as an effect, particularly in the treatment of drum and guitar sounds, or for giving rock vocals a 'compressed sound'.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuto Attack and Release \u003c\/strong\u003e: removes the need for manual adjustment by producing a response which constantly follows the dynamics of the signal. This enables the DL441 to preserve crisp transients without allowing excessive peaks to occur. A smooth yet lively recovery from compression minimizes side effects such as 'pumping' and 'breathing'. This feature is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as complete mixes, vocals or 'slapped and pulled' bass guitar.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeak Level Limiter :\u003c\/strong\u003e 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from 0db to +16dB above system level. 'Zero Response Time' transparent limiting means that the DL441 provides complete protection from even the fastest and shortest signal overloads, making the unit ideally suited for speaker system protection in sound reinforcement applications. The sophisticated circuitry will also prevent unpleasant distortion when used for digital mastering.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMetering \u003c\/strong\u003e: Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and input\/output signal level Gain reduction from 1dB to 30dB is shown simultaneously with signal level from 10dB to +10dB. When the channel is in BYPASS the output bar graph displays the input signal level. Other single LEDs indicate function status of Hard\/Soft compression, Bypass, Peak Limiting, Linking, and Power on.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBypass \u003c\/strong\u003e: A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo Linking :\u003c\/strong\u003e Channels 1-2 and\/or 3-4 can be stereo linked, where the left channel of the stereo pair becomes the master.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOperating Level :\u003c\/strong\u003e The operating level of the DL441 can be instantly switched, independently on each channel, for either +4dBu or -10dBu operation using a rear panel push switch.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInput\/Output :\u003c\/strong\u003e The DL441 is provided with balanced inputs and outputs on XLR connections.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"New | On Order","offer_id":46168359534875,"sku":"DL441","price":1525.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/drawmer-DL441-0.jpg?v=1692025100"},{"product_id":"crane-song-stc8-h-stereo-class-a-compressor-peak-limiter-with-detented-gain-controls-stc8h-c01","title":"Crane Song STC8\/H Stereo Class A Compressor, Peak Limiter","description":"\u003cp\u003e\u003cstrong\u003eCrane Song STC8\/H Stereo Class A Compressor, Peak Limiter with Detented Gain Controls \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe STC-8 is a high quality stereo compressor combined with a remarkably dependable peak limiter, providing overload protection critical to digital recording and broadcast transmitters. The STC-8's compressor is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds.\u003c\/p\u003e\n\u003cp\u003eIn addition, a switchable enhancement circuitcreates analog and tube like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch.\u003c\/p\u003e\n\u003cp\u003eThe STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain circuit. High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements.\u003c\/p\u003e\n\u003cp\u003eThe STC-8 requires 2 rack spaces. All inputs and outputs are transformerless and balanced. The toroidal power transformer is UL approved and allows four line voltages for international use.\u003c\/p\u003e\n\u003cp\u003eThe STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.\u003c\/p\u003e\n\u003ch3\u003eFeatures\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eSimultaneous Compression\/Limiting\u003c\/li\u003e\n\u003cli\u003eDiscrete Class A\u003c\/li\u003e\n\u003cli\u003eBalanced\/Transformerless I\/O\u003c\/li\u003e\n\u003cli\u003eQuick \u0026amp; Easy Presets\u003c\/li\u003e\n\u003cli\u003e'KI' \u0026amp; 'HARA' Sounds\u003c\/li\u003e\n\u003cli\u003eTransparent Overload Protection\u003c\/li\u003e\n\u003cli\u003eDetented output gain for utmost accuracy and resetability.\u003c\/li\u003e\n\u003cli\u003eApplications\u003c\/li\u003e\n\u003cli\u003eDigital \u0026amp; Analog Mastering\u003c\/li\u003e\n\u003cli\u003eSystem Overload Protection\u003c\/li\u003e\n\u003cli\u003eBroadcast Engineering\u003c\/li\u003e\n\u003cli\u003eProject Studio DAW\u003c\/li\u003e\n\u003cli\u003eStereo Bus Compression\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Crane Song","offers":[{"title":"New | On Order","offer_id":46168376607003,"sku":"STC8H","price":4799.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/crane-song-STC8H-0.jpg?v=1692025287"},{"product_id":"crane-song-stc8m-mastering-compressor-limiter-stc8m-c01","title":"Crane Song STC8M Mastering Compressor\/Limiter","description":"\u003ch2\u003e\u003cstrong\u003eCrane Song STC8M Mastering Compressor\/Limiter\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003eThe STC-8 is a high quality stereo compressor combined with a remarkably dependable peak limiter, providing overload protection critical to digital recording and broadcast transmitters. The STC-8's compressor is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds.\u003c\/p\u003e\n\u003cp\u003eIn addition, a switchable enhancement circuit creates analog and tube like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy setup on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch.\u003c\/p\u003e\n\u003cp\u003eThe STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain circuit. High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements.\u003c\/p\u003e\n\u003cp\u003eThe STC-8 requires 2 rack spaces. All inputs and outputs are transformerless and balanced. The toroidal power transformer is UL approved and allows four line voltages for international use.\u003c\/p\u003e\n\u003cp\u003eThe STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.\u003c\/p\u003e\n\u003cp\u003eSpecial Note\u003c\/p\u003e\n\u003cp\u003eM = MASTERING VERSION: All pots with detented control. The ultimate Mastering version.\u003c\/p\u003e\n\u003cp\u003eThe \"Ki\" and \"Hara\" Mode Switches - DISTORTION IN COMPRESSORS\u003c\/p\u003e\n\u003cp\u003eDistortion in compressors is dependent on the RELEASE TIME and the KI \u0026amp; HARA Sounds RATIO. The higher the ratio or the faster the release time, the greater the amount of induced distortion. This distortion follows the low frequencies and the sound envelope. In all conventional compressors, tube or solid Tube Warmth state, this distortion is third harmonic. The distortion is third harmonic because of the way the control circuits and gain control elements function.\u003c\/p\u003e\n\u003cp\u003eThird harmonic distortion is a major part of what are called artifacts. Artifacts influence the sound of the compressor and may or may not be musical. Third harmonic distortion is not a musical artifact.\u003c\/p\u003e\n\u003cp\u003eThe STC-8 has the ability to change the type of induced distortion to second harmonic. In doing this the non-musical artifact of third harmonic distortion is changed to the musically pleasing sound of second harmonic distortion. The STC-8 is the only compressor-limiter on the market that has the ability to change the induced distortion from third harmonic to second.\u003c\/p\u003e\n\u003cp\u003eChanging the induced distortion from third harmonic to second harmonic results in new and different sounds and adds warmth. This change allows the use of higher compression levels with fast release times and still have the sound remain musical. This function is enabled on the STC-8 by putting the MODE SWITCH in the KI position.\u003c\/p\u003e\n\u003ch3\u003eSpecifications:\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eSimultaneous Compression\/Limiting\u003c\/li\u003e\n\u003cli\u003eDiscrete Class A\u003c\/li\u003e\n\u003cli\u003eBalanced\/Transformerless I\/O\u003c\/li\u003e\n\u003cli\u003eQuick \u0026amp; Easy Presets\u003c\/li\u003e\n\u003cli\u003e'KI' \u0026amp; 'HARA' Sounds\u003c\/li\u003e\n\u003cli\u003eTransparent Overload Protection\u003c\/li\u003e\n\u003cli\u003eApplications\u003c\/li\u003e\n\u003cli\u003eDigital \u0026amp; Analog Mastering\u003c\/li\u003e\n\u003cli\u003eSystem Overload Protection\u003c\/li\u003e\n\u003cli\u003eBroadcast Engineering\u003c\/li\u003e\n\u003cli\u003eProject Studio DAW\u003c\/li\u003e\n\u003cli\u003eStereo Bus Compression\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8\/M Stereo Class A Mastering Compressor Specifications\u003c\/li\u003e\n\u003cli\u003eInput: Floating, balanced. Maximum input is +25 dBm. The connectors are XLR.\u003c\/li\u003e\n\u003cli\u003eOutput: Floating, balanced. Maximum output is +25 dBm. The connectors are XLR.\u003c\/li\u003e\n\u003cli\u003eFor Input and Output: Pin 2 is Sig + , Pin 3 is Sig- , Pin 1 is GND\u003c\/li\u003e\n\u003cli\u003eSide Chain Connections: Floating, balanced. Connections are made by using a DB-15 Male Connector. This is a loop insert and must be normaled back to the STC-8.\u003c\/li\u003e\n\u003cli\u003eUnbalanced Connections: Are made by tying the SIG- Pin to the GND Pin. If the connection is an input, it is best to tie at the signal source. If the connection is an output, it is best to tie at the STC-8 connector.\u003c\/li\u003e\n\u003cli\u003ePower: 100, 120, 230,240 volt; 50\/60 Hz; 55 watts\u003c\/li\u003e\n\u003cli\u003eMDL .6A Fuse for 100V and 120V\u003c\/li\u003e\n\u003cli\u003eMDL .3A Fuse for 230V and 240V\u003c\/li\u003e\n\u003cli\u003ePilot Lamp: # 7335\u003c\/li\u003e\n\u003cli\u003eShipping Weight: 19 lbs. (8.6 kg)\u003c\/li\u003e\n\u003cli\u003eDepth Behind Panel: 12.5 inches (31.75 cm) plus cabling\u003c\/li\u003e\n\u003cli\u003ePanel Height: 2 rack spaces\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8\/M Stereo Class A Mastering Compressor Downloads\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8 Users Manual (PDF)\u003c\/li\u003e\n\u003cli\u003eVERSIONS of the CRANE SONG STC-8:\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8: The standard - Everything you've read about above with smooth, continuously variable potentiometers. Great for standard use where dialing in a sound needs precision, but not exact recall ability.\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8\/H: Detented output gain for utmost accuracy and resetability.\u003c\/li\u003e\n\u003cli\u003eCrane Song STC-8\/M: All pots with detented control. The ultimate Mastering version.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Crane Song","offers":[{"title":"New | On Order","offer_id":46168376639771,"sku":"STC8M","price":5699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/crane-song-STC8M-0.jpg?v=1692025290"},{"product_id":"drawmer-1960-1960-c01","title":"Drawmer 1960","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp style=\"margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Arial\"\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eDrawmer 1960 Solid State Mic Pre\/Tube Compressor\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tThere is little doubt in the minds of many engineers and producers that vacuum tubes possess a unique sound quality providing a \"warmer, more alive\" sound. Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding \"soft knee\" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. \u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Compressor : Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the \"amount of compression\" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold.\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tBecause compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. \u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. \u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tIn addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives direct access for guitars or electronic instruments. Equalization is provided along with sufficient gain to overload the tube pre-amp for sustain effects. The Aux input is a valuable addition as it combines the virtues of a D.I. box and equalizer with the compressor allowing the instrument to be simultaneously processed and routed to the mixing console or directly to the recorder.\u003c\/div\u003e","brand":"Drawmer","offers":[{"title":"New | In Stock","offer_id":46168377098523,"sku":"1960","price":3029.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":49780371423515,"sku":"1960EBAYPRO","price":1998.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/drawmer-1960-0.jpg?v=1692025319"},{"product_id":"drawmer-ds201-dual-noise-gate-ds201-c01","title":"Drawmer DS201 Dual Noise Gate","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp style=\"margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Arial\"\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eDrawmer DS201 Dual Noise Gate\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tThe DS201 is a sophisticated dual channel noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates.\u003c\/div\u003e\n\u003cdiv\u003e\n\tvariable high pass and low pass filters for \"frequency conscious\" gating\u003c\/div\u003e\n\u003cdiv\u003e\n\tcomprehensive envelope control, attack, hold, decay, and range\u003c\/div\u003e\n\u003cdiv\u003e\n\tkey input for external triggering\u003c\/div\u003e\n\u003cdiv\u003e\n\t\"key listen\" facility\u003c\/div\u003e\n\u003cdiv\u003e\n\textremely fast attack time, to preserve the natural attack of the sound\u003c\/div\u003e\n\u003cdiv\u003e\n\tbalanced inputs and outputs\u003c\/div\u003e\n\u003cdiv\u003e\n\tstereo linkable\u003c\/div\u003e\n\u003cdiv\u003e\n\tcan be used for \"Gating\" or \"Ducking\"\u003c\/div\u003e\n\u003cdiv\u003e\n\thigh audio specification\u003c\/div\u003e\n\u003cdiv\u003e\n\tThese features and its \"user friendliness\" have made it the \"industry standard\" throughout the world.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tSetting 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tDrawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tAnother 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tEach channel can be individually switched from Gating to Ducking for 'voice over' applications or the removal of 'clicks' and 'pops'.\u003c\/div\u003e","brand":"Drawmer","offers":[{"title":"New | On Order","offer_id":46168377262363,"sku":"DS201","price":1099.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/drawmer-DS201-0.jpg?v=1692025310"},{"product_id":"tube-tech-smc-2bm-mastering-stereo-multiband-compressor-smc2bm-c01","title":"Tube Tech SMC-2BM Mastering Stereo Multiband Compressor","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp style=\"margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Arial\"\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eTube Tech SMC-2BM Mastering Stereo Multiband Compressor\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tThe TUBE-TECH SMC2B Stereo Multiband Compressor is an all tube-based compressor that brings the entire music back in your mix!\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe SMC2B is one of the few audioprocessors, that is very hard to bypass, even after a short listening test, and it will stay inserted forever because of the colour and dynamics it can add to your mixes.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tTheese facts has made the SMC2B the favourite mixing\/mastering compressor of many top mixers and mastering engineers around the world\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tTechnical description: \u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tSwitchable crossover points ensure precise control with all three bands of opto-compression. Independent band specific Threshold, Ratio, Attack, Release \u0026amp; Gain parameters make the SMC 2BM as flexible as it is accurate. \u003c\/div\u003e\n\u003cdiv\u003e\n\tGain controls are fitted with 12 position gold plated switches with 1dB\/step. Threshold, Ratio, Attack, Release and Balance controls are fitted with potentiometers with 31 detents.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe TUBE-TECH SMC 2BM Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid \u0026amp; High) by 6 dB\/octave x-over networks with 12 selectable frequencies: 60 – 1200 Hz for Low\/Mid band and 6 selectable frequencies: 1,2 – 6,0 kHz for the Mid\/High band. \u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe design of the x-over networks optimizes the summing of all three bands, resulting in a flat frequency response (within +\/-0,25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls. \u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tBoth Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe world’s only “all tube based” multiband compressor design\u003c\/div\u003e\n\u003cdiv\u003e\n\tThree bands per channel with variable crossover frequencies between bands\u003c\/div\u003e\n\u003cdiv\u003e\n\tStereo sidechain with variable Threshold, Ratio, Attack, Release and Gain controls\u003c\/div\u003e\n\u003cdiv\u003e\n\tfor all three bands\u003c\/div\u003e\n\u003cdiv\u003e\n\tMaster Output Gain (-1 to +10 dB)\u003c\/div\u003e\n\u003cdiv\u003e\n\tBalance Control (+\/-1,5 dB)\u003c\/div\u003e\n\u003cdiv\u003e\n\tLED display showing compression\u003c\/div\u003e\n\u003cdiv\u003e\n\tFreq. response @ -3 dB: 5 Hz to 60 kHz\u003c\/div\u003e\n\u003cdiv\u003e\n\tLow noise: \u0026lt; -60 dBu @10 dB gain\u003c\/div\u003e\n\u003cdiv\u003e\n\tConductive plastic potentiometers\u003c\/div\u003e\n\u003cdiv\u003e\n\tClickless bypass relay\u003c\/div\u003e","brand":"Tubetech","offers":[{"title":"New | On Order","offer_id":46168378704155,"sku":"SMC2BM","price":7899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/tubetech-SMC2BM-0.jpg?v=1692025319"},{"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":"elysia-mpressor-mpressor-c01","title":"Elysia Mpressor Stereo Compressor","description":"\u003ch2\u003eElysia Mpressor Feed Forwarding Stereo Compressor\u003c\/h2\u003e\n\u003cp\u003eThe mpressor is a new tool for modern dynamics processing. On top of the tried and tested standard features, this creative compressor provides several special functions that produce fat and freaky sounds with maximum punch, beautiful colorations and extreme processing options. Besides classic tracking applications, its favorite domains are groovy effect compression and creative sound design.\u003c\/p\u003e\n\u003cp\u003eEach of both linkable channels offers a switchable Auto Fast function that allows very fast yet distortion-free compression without any artifacts. The Anti Log circuit generates explicit compression effects such as pumping and breathing. As the mpressor is a true feed forward design, it also allows negative ratios which result in the most extreme over-compression effects. The Niveau Filters can change the character of a track from subtle to striking with the possibility of a continuous frequency shift.\u003c\/p\u003e\n\u003cp\u003eThe Gain Reduction Limiter is a novel feature that lets you choose the maximum amount of Gain Reduction you want to allow at the twist of a knob. The switchable external sidechain inputs make for further flexibility in terms of controlling the compression. The circuit design of the mpressor is completely based on discrete analog technology. The entire signal processing is based on single transistors in permanent class-A mode, and even the sidechain and power supply are fully discrete circuit designs.\u003c\/p\u003e\n\u003cp\u003eAn oversized power transformer, capsuled conductive plastic potentiometers, internal temperature stabilizers for critical components as well as special current feedback amplifiers are part of the technical finesse. The combination of these elements results in a pristine signal quality and guarantees clean and powerful sound characteristics, even when extreme settings are used.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e100% Discrete Class-A\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eAs a true elysia specialty, the mpressor is completely based on discrete circuitry and does not use any integrated circuits at all.\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAuto Fast\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eInspired by its big brother: the switchable semi automation for a perfect attack on the basis of the value set by the user.\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAnti Log\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eThis alternative characteristic of the release curve follows an antilogarithmic course instead of the standard linear progress and produces a much more audible result.\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eNegative Ratios\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eThe characteristic curve bends and goes back down! 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The switchable sidechain inputs make nearly everything possible!\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eGain Reduction Limiter\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eThis novel limiter is not placed in the audio path as usually, but restricts the control voltage of the compressor instead.\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAnalog Dynamic LED Meter\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eThe gain reduction meter modulates its LEDs in their brightness in order to show the action of the compressor in an analog way: fast and with smooth transitions.\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTransconductance Amplifier\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eThe mpressor’s custom discrete gain reduction cell provides low noise, extremely fast time constants and all the punch in the world.\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eT12 Heater\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003eThe single transistors are kept at a constant temperature by the use of this heating system which helps to avoid parameter drifts.\u003c\/p\u003e","brand":"Elysia","offers":[{"title":"New | On Order","offer_id":46168484020507,"sku":"MPRESSOR","price":5269.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mpressor_front_white.jpg?v=1692026047"},{"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":"elysia-nvelope-stereo-dual-mono-eq-dynamics-processor-nvl-c01","title":"Elysia Nvelope Stereo\/Dual Mono EQ \u0026 Dynamics Processor","description":"\u003cp\u003eThe nvelope is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well.\u003c\/p\u003e\n\u003cp\u003eThe nvelope operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek.\u003c\/p\u003e\n\u003cp\u003eWith its unique Dual Band mode, the nvelope gives you enhanced control over processing, and can easily handle complex program material. Additionally, its dynamics sections can be bypassed, allowing it to function as a flexible high\/low shelf EQ...\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003eElysia Nvelope Stereo\/Dual Mono EQ \u0026amp; Dynamics Processor Features:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003eDiscrete Class-A Topology\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eF\u003c\/strong\u003eull Range Mode\u003c\/li\u003e\n\u003cli\u003eDual Band Mode\u003c\/li\u003e\n\u003cli\u003eEQ Mode\u003c\/li\u003e\n\u003cli\u003eMixed Mode\u003c\/li\u003e\n\u003cli\u003eStereo Link\/Dual Mono\u003c\/li\u003e\n\u003cli\u003eAuto Gain\u003c\/li\u003e\n\u003cli\u003eMade in Germany\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe nvelope is a dynamics processor that can change the character of a sound by altering its impulse structure. It gives you direct control over the envelope of a signal by shaping its attack and sustain intensity.\u003c\/p\u003e\n\u003cp\u003eMore specifically, a drum set (or individual drums) can be made to sound more aggressive and punchy by accenting the attack, or tones that are already overly aggressive can easily be tamed.\u003c\/p\u003e\n\u003cp\u003eOther useful applications would be on picked or slapped bass, edgy guitar or any kind of piano recording. Generally speaking, the nvelope works optimally on audio signals with a significant\/percussive attack structure.\u003c\/p\u003e\n\u003cp\u003eAs a balance to the attack shaping, the sustain parameters offer control over room sound and space. An instrument or a reverb tail can sound tighter by reducing its sustain, or can gain more depth\/make a signal sound longer by increasing it.\u003c\/p\u003e\n\u003cp\u003eThe nvelope is a great tool for shaping individual signals, but it can be an indispensable resource in mixing situations as well, as it effortlessly helps you to bring a sound to the front with more attack and less sustain… or blends it gently into the background by reducing its attack and increasing its sustain.\u003c\/p\u003e\n\u003cp\u003eA unique feature of the nvelope is the enhanced tweakability offered in Dual Band mode. Individual frequency controls for attack and sustain yield excellent processing results without unwanted artifacts, even when utilized on complex material like a summing bus.\u003c\/p\u003e\n\u003cp\u003eWe’re sure you’ll be happy to know the nvelope offers true dual mono or linked stereo operation whether you are using it in Full Range, Dual Band or EQ mode.\u003c\/p\u003e\n\u003cp\u003eWhen the nvelope is not in Stereo Link mode, the two individual channels can be used as different processors simultaneously. For example, you can shape one signal in Dual Band mode in channel L and a completely different signal in Full Range mode in channel R.\u003c\/p\u003e\n\u003cp\u003eOr, you can connect the output of channel L to the input of channel R, and then process the frequency response with the EQ first, followed by some nice Dual Band impulse shaping... As you can imagine, there are lots of possible combinations!\u003c\/p\u003e","brand":"Elysia","offers":[{"title":"New | On Order","offer_id":46168555979035,"sku":"NVL","price":1689.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/nvelope_0.jpg?v=1692026379"},{"product_id":"ams-neve-2254-r-mono-limiter-compressor-with-recall-2254r-c01","title":"AMS Neve 2254\/R Mono Limiter\/Compressor with Recall","description":"\u003cdiv\u003eDiscrete, Class A design and transformer-coupled circuits – used in the input, innovative bridge-driver design, sidechain and output stages ensured a totally unique sound.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eNot only does it retain the original 2254’s unique sonic characteristics – using the same architecture, matching components and original hand-wound transformers – but enhances it with the features that modern-day producers and engineers have asked for. Whereas the original, developed before outboard designs had been standardized, was roughly cubic in shape, the new 2254\/R comes in 1U 19” rack-mount form. And the new model allows settings to be saved and recalled using Neve Total RecallTM software via USB.\u003c\/div\u003e\u003cdiv\u003eThere’s also manual adjustment of Fast Attack Time, continuously variable between 100µS and 2mS. Plus enhancement of the signal presence LED, which changes from green to red to warn of imminent clipping.\u003c\/div\u003e","brand":"AMS Neve","offers":[{"title":"New | In Stock","offer_id":46168574820635,"sku":"2254R","price":3085.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/2254R-0_1.jpg?v=1692026488"},{"product_id":"hosa-skt-425-speaker-cable-speakon-same-25ft-skt-425-c01","title":"Hosa SKT-425 Speaker Cable Speakon - Same 25ft","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eHosa SKT-425 Speaker Cable Speakon - Same 25ft\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\t Features include:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\t• Oxygen-Free Copper (OFC) conductors for lower resistance\u003cbr\u003e\n\t• Black PVC jacket for both durability and flexibility\u003cbr\u003e\n\t• Intended for high-current applications only, not line-level signals\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\tConductor(s): 14 AWG x 2 OFC\u003cbr\u003e\n\tConnector(s): Neutrik speakON to Same\u003cbr\u003e\n\tLength: 25 ft\u003c\/p\u003e","brand":"Hosa","offers":[{"title":"New | In Stock","offer_id":46168594809115,"sku":"SKT-425","price":64.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/hosa-SKT-425-0.jpg?v=1692026624"},{"product_id":"dave-hill-designs-titan-compressor-limiter-titan-c01","title":"Dave Hill Designs Titan Compressor \/ Limiter","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tTitan is an analog compressor-limiter with a very large range of color and control choices with recall. The main audio path is a discrete class A design. Resetability is attained by using stepped controls and encoders that have their values displayed on Titan's color LCD display. Titan is a digitally controlled analog device in design with a very high speed dsp side chain that allows the design to push the limits beyond what is possible in the design of an analog side chain.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe compressor-limiter controls are the normal; Threshold, Attack, Release, Shape, Bypass-In-Link, Meter Select, and make up Gain. These controls have their settings displayed on a color LCD display. The Shape control shows the knee of the compressor. With the knee characteristic being graphically drawn on the LCD to allow the user to see the knee's shape. The graphical display updates with the changing of the Threshold and Shape controls. When stereo linked the unit selected as control master will control all functions on the second channel.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tIn addition there are controls that can provide color choices;\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tVCA COLOR \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe VCA COLOR control provides a mix between a very clean PWM gain control device and a vintage gain control element. The vintage gain control element is a diode type compressor circuit. There are 16 steps in the cross fade-mix control for a wide range in choices\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tPARALLEL MIX\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe PARALLEL MIX control blends the unprocessed audio with the compressed audio, a parallel compression function. There are 16 steps in the cross fade-mix control for a wide range in choices.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tDYNAMIC COLOR\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe DYNAMIC COLOR control is a control that provides harmonic content that is opposite in nature of the harmonic content that the vintage gain control element generates. The effect of the Dynamic Color control can be described as making the sound \"bigger\". This function has 16 steps to provide a wide range of sonic control.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tFAT - AIR\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe FAT - AIR switch that will add air or fatness to the compressed audio\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tTitan is a single rack space 100 to 240 Volt switchable 50, 60 Hz\u003c\/div\u003e","brand":"Dave Hill Designs","offers":[{"title":"New | On Order","offer_id":46168740135195,"sku":"TITAN","price":1899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/dave-hill-designs-TITAN-0.jpg?v=1692027029"},{"product_id":"drawmer-ds101-single-channel-noise-gate-500-series-module-ds101-c01","title":"Drawmer DS101 Single-Channel Noise Gate 500-Series Module","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tDS101 - Noise Gate for the 500 Series\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Industry-Standard High-End Noise-Gate comes to the 500 Series!\u003c\/div\u003e\n\u003cdiv\u003e\n\tThe DS101 is the first noise gate designed specifically for the 500 Series rack system and takes its place alongside the Drawmer family of industry standard Noise Gates, such as the DS201, DS501 and DS404. Anyone familiar with those units will immediately be at home with the DS101.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tBased on a single-channel of the DS201 the DS101 is a sophisticated noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, such as variable high and lowpass filters for “frequency conscious gating.”\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tOther features include comprehensive envelope control, attack, hold, decay, and range, plus a whole host of other features, all adding up to one amazing processor.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tWhen placed side by side in a 500 series rack two or more gates can be linked using the new infra red triggering mechanism employed on the DS101. This means that any number of gates can be linked with each having their own envelope shaping whilst the trigger pulse passes through unchanged, this opens up a whole world of “envelope follower” effects limited only by your imagination.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tFeatures:\u003c\/div\u003e\n\u003cdiv\u003e\n\tFully featured noise gate based on the industry standard DS201.\u003c\/div\u003e\n\u003cdiv\u003e\n\tTakes up a single 500 series slot.\u003c\/div\u003e\n\u003cdiv\u003e\n\tProprietary Hysteris or “trigger stabilization” to prevent “chatter” around the threshold.\u003c\/div\u003e\n\u003cdiv\u003e\n\tFully variable high pass and low pass filters for “frequency conscious” gating.\u003c\/div\u003e\n\u003cdiv\u003e\n\tComprehensive envelope control, attack, hold, decay, and range.\u003c\/div\u003e\n\u003cdiv\u003e\n\tExternal triggering via key input or the new IR trigger pulse from another DS101.\u003c\/div\u003e\n\u003cdiv\u003e\n\t“Key Listen” facility.\u003c\/div\u003e\n\u003cdiv\u003e\n\tExtremely fast attack time, to preserve the natural attack of the sound.\u003c\/div\u003e\n\u003cdiv\u003e\n\tLinkable - up to ten units in one rack space - with individual envelope shaping.\u003c\/div\u003e\n\u003cdiv\u003e\n\tDrawmer “traffic lighting” metering.\u003c\/div\u003e\n\u003cdiv\u003e\n\tCan be used for “Gating” or “Ducking”.\u003c\/div\u003e\n\u003cdiv\u003e\n\tLow noise design.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tSetting 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe very fast attack of the DS101 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tAnother 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 DS101 ideal for this application.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe 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.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tWith a rack full of DS101's each can be individually switched from Gating to Ducking for 'voice over' applications or the removal of 'clicks' and 'pops'.\u003c\/div\u003e","brand":"Drawmer","offers":[{"title":"New | In Stock","offer_id":46168964137243,"sku":"DS101","price":515.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/drawmer-DS101-0.jpg?v=1692027399"},{"product_id":"manley-mastering-edition-slam-masteringslam-c01","title":"Manley SLAM Mastering Version","description":"\u003cp\u003eSLAM! stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 \u0026amp; 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.\u003c\/p\u003e\n\u003cp\u003eWhen it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, \"it just works\" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimize the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it.\u003c\/p\u003e\n\u003ch2\u003eDIFFERENCES\u003c\/h2\u003e\n\u003cp\u003eFirst off: no microphone preamps. You mastering engineers certainly don't need those. The mic pre and input select switch are removed and the switches become dedicated \"mode\" switches one each for the ELOP and the FET limiters.\u003c\/p\u003e\n\u003cp\u003e1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.\u003c\/p\u003e\n\u003cp\u003e2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP. \u003c\/p\u003e\n\u003cp\u003eThe \"50%\" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain 'reads' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.\u003c\/p\u003e\n\u003cp\u003eThe \"LP Lim\" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.\u003c\/p\u003e\n\u003cp\u003eFinally, the \"BOTH\" setting on the FET limiter engages both the \"LP Limit\" and the \"CLIP\" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The \"BOTH\" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.\u003c\/p\u003e\n\u003cp\u003e3) The LEFT blue erstwhile-\"limit\" button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).\u003c\/p\u003e\n\u003cp\u003e4) The Right blue button becomes the DAC select switch (stereo).\u003c\/p\u003e\n\u003cp\u003e5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1\/4\" jack input select in this new mastering version.\u003c\/p\u003e\n\u003cp\u003eMore than that, we really like the way it works and sounds and we generally prefer it to the non-mastering version for stereo tracks. There is a lot less fiddling involved to maintain L\/R balances and the new modes are subtle but fun. It is easy to make just about anything sound better.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46168987304219,"sku":"MASTERINGSLAM","price":10499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/MASTERINGSLAM_0.jpg?v=1692027432"},{"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"}],"url":"https:\/\/www.altomusic.com\/collections\/limiters.oembed","provider":"Alto Music","version":"1.0","type":"link"}