The Dramastic Audio Obsidian is a feed-forward VCA style stereo compressor featuring transformer balanced I/O, electronically balanced external side-chain input, internal high pass filter and precision stepped controls to accurately recall settings. Through the use of several proprietary methods, the Dramastic Audio Obsidian performs a range of tasks unheard of from the average buss compressor.
The Dramastic Audio Obsidian Stereo Compressor offers superior imaging. The stereo image always remains intact, the highs stay brilliant and clear, and the bottom continues to thunder [especially with the internal “High Pass Filter” engaged on the detection circuitry]. For even greater control, an “External Sidechain” input is available and may be used in
conjunction with the “High Pass Filter.”
Six ratio settings are available on the Dramastic Audio Obsidian from a subtle 2:1, to a bone crushing. Six attack, and six release settings further complement the Obsidian making it extremely versatile on many different types of program material. Employing the “Auto” release time gives the audio a smooth rich texture without any pumping and breathing. From there, if you have decided that the audio is a little too smooth for the application, a simple click of the release switch to the “Lo-Fi” setting will net all the “IN YOUR FACE” aggression one may desire.
Try it on a drum submix! Overall, the clarity, performance and musicality of the Dramastic Audio Obsidian is unparalleled. The Dramastic Audio Obsidian is hand crafted in the USA using the finest quality precision components available.
“Developing this product has truly been a rewarding experience. It originally started as a project to build a compressor that suited my needs as a producer and engineer. One day while working on a project with another producer, I was explaining to him that after using so many great compressors, there isn’t one that has all the characteristics I want in one box. He replied, “You’re a tech guy, why don’t you build one”? I thought to myself, “Why not”?
My goal was to build a compressor based on feel, musicality, character, and whether or not it sounds good. What do technical specs really mean to people anyway? All most people really care about is how it sounds, and I’ve always trusted my ears. After over a year of R&D, trial and error, and numerous prototypes, I finally got it sounding right.
Due to such a positive response from fellow engineers, producers, and clients, as well as many requests asking if I would build them one, I decided to go into production. Each unit is calibrated and tested with precision equipment, as well as with real music in a studio environment, just like you would be using it in.”
