Effects Timeline
Our Vintage Digital and Analogue Effects timeline now includes Audio Recorders and Classic Music Tracks to help place these effects and devices within the history of recorded music. Any errors, please notify us using our contact form.
1937
Western Electric 110A Program Amplifier
The Western Electric 110A Program Amplifier, released in 1937, was a pioneering broadcast audio compressor designed to enhance radio transmission quality and prevent over-modulation. Known as the first compressor of its kind, this amplifier delivered a 3 dB increase in average audio signal level, effectively doubling the broadcast area without needing additional transmitter power.
1937
RCA 96-A Limiting Amplifier
The RCA 96-A Limiting Amplifier, released in 1937 just six months after the release of the Wetsern Electric 110-A and it provided high compression capabilities with low distortion and uniform frequency response.
1938
Collins 26C Limiting Amplifier
The Collins 26C is a general-purpose program amplifier, including means for preventing the peak output signal amplitude from exceeding a certain predetermined level. The amplifier includes a rectifier and filter system, operating from an external isolation transformer, supplied.
1945
Altec A322 C Limiter Amplifier
The Altec A322 C Limiter Amplifier is invaluable for use in film and disc recordings, broadcasting, and public address applications. Its use in film and disc recordings prevents over-modulation and allows a higher average level of recording without danger of distortion.
1946
Langevin PROGAR 119-A Peak Limiter
The Langevin PROGAR 119-A, introduced in the late 1940s, is a vintage tube-based compressor/limiter known for its rarity and distinctive design. The name "PROGAR" stands for "Program Guardian," reflecting its intended role in broadcast applications to manage audio levels and prevent distortion.
1947
General Electric BA-5 Limiting Amplifier
The General Electric BA-5 is a broadcast limiting amplifier designed for AM and FM stations, delivering high-quality audio control with minimal distortion and excellent signal-to-noise performance.
1951
Pultec EQP-1 Program Equaliser
First introduced in 1951, the Pultec EQP-1 Program Equaliser was the first passive equaliser on the market. Upon its introduction, it changed the recording world forever, offering a new way to manipulate sound. The fact that Pultec equalisers in one form or another are still in use today, is extraordinary.
1951
RCA BA-6A Limiting Amplifier
The RCA BA-6A Limiting Amplifier is built for cost-effective, high-quality performance in FM, AM, and TV sound channels. It automatically controls audio peaks to prevent overmodulation, reducing distortion and interference. This amplifier also maximises transmitter power efficiency by enabling near-max output, boosting average modulation levels by several dB without adding significant harmonic distortion.
1952
Gates SA-38 Limiting Amplifier
The Gates SA-38 Limiting Amplifier delivers low-noise, low-distortion performance with up to 20 dB compression, instant attack, selectable release times, and a dual-scale meter for easy monitoring. It features ladder attenuators, T-network control, and a service-friendly design.
1953
Collins 26W Limiting Amplifier
The Collins 26W Limiting Amplifier controls audio peaks in AM/FM installations, preventing overmodulation and improving signal efficiency. It fits standard 19" racks, provides easy access, proper ventilation, and includes metering for monitoring and a built-in power supply.
1955
Pultec MEQ-5 Mid-Range Equaliser
The Pultec MEQ-5 provides fine control over the "power region" (300 Hz to 5000 Hz), where most audio energy is focused and the ear is highly sensitive. Smooth handling of this range is crucial, as minor acoustic or equipment resonances can greatly affect sound clarity and listenability.
1956
Gates STA-Level Limiting Amplifier
The Gates STA-Level is an automatic gain amplifier that maintains consistent audio levels with up to 40 dB compression and low distortion. It features adjustable recovery times, built-in attenuators to prevent signal overload, and operates efficiently with minimal supervision. Its push-pull circuitry reduces noise and distortion, ensuring clear audio for broadcasting applications.
1957
EMT 140 Plate Reverb
The EMT 140 was the worlds first artificial reverb unit and it changed the recording world by allowing any studio to have "reverb on tap", even smaller studios who did not have physical echo/reverb chambers.
1957
Gates 28-CO Limiting Amplifier
The Gates 28-CO Limiting Amplifier improves broadcast audio by limiting peaks with minimal distortion. It features adjustable release times, simple controls, and a durable steel-grey chassis with a self-contained power supply.
1958
Collins 26U-1 Limiting Amplifier
The Collins 26U-1 Limiting Amplifier delivers maximum modulation with minimal distortion for clear broadcasting. It prevents overmodulation, enhances signal-to-noise ratio, and supports over 30 dB compression. Key features include a self-balancing circuit, efficient power supply, VU meter, and adjustable controls, all in a durable, easy-access design.
1958
Gates Level Devil Automatic Gain Control Amplifier
The Gates Level Devil is a professional-grade audio amplifier designed for broadcasting and audio applications. It features four amplification stages, regulated power supply, and input pads for flexible signal control. The amplifier includes a differential design for noise rejection, push-pull signal configuration for stability, and advanced peak limiting and expander circuits to manage gain and distortion effectively. Its reliable performance in TV and FM broadcasting environments makes it a versatile and trusted tool for maintaining audio clarity under challenging conditions.
1959
Fairchild 660 Limiting Amplifier
The Fairchild 660 is a legendary tube-driven, single-channel audio compressor, designed by Rein Narma and first produced by the Fairchild Recording Equipment Corporation in 1959.
1959
Gates SA-39B Limiting Amplifier
The Gates SA-39B limiter offers smooth, fast compression with minimal distortion, even at high levels. Designed with input from BBC engineers, it features near-instant attack, six release settings, and precise calibration via a 4-inch meter. Its serviceable design includes a hinged front panel for easy maintenance and cleaning.
1960
Fairchild 670 Limiting Amplifier
The Fairchild 670 Tube Limiter was the brainchild of Estonian immigrant to the USA, Rein Narma. Rein licensed the design to Sherman Fairchild and the rest as they say, is history...a legend was born.
1961
Pultec EQP-1A Program Equaliser
The Pultec EQP-1A is a classic equaliser known for its warm, smooth sound, achieved through a unique design that allows simultaneous frequency boosting and cutting. Introduced in 1961, its tube-driven, passive circuitry adds depth and clarity, making it a favourite for enhancing bass and airy highs. Its "Pultec sound" remains a staple in studios for its natural, musical character.
1962
Teletronix LA-2A Leveling Amplifier
The Teletronix LA-2A was released in 1962, and along with the Urie 1176, is one of the most iconic compressors ever made, and is still in use today. With Universal Audio having purchased the Teletronix company way back in the mid 1960s, this iconic compressor is available new, made to the exacting specifications.
1964
Studer J 37 Tape Recorder
The Studer J 37 Tape Recorder is a legendary piece of audio equipment that has etched its name in music history. Renowned for its exceptional sound quality and reliability, the J 37 was the tape recorder of choice at the iconic Abbey Road Studios. This masterpiece of engineering played a pivotal role in recording some of the most celebrated albums in history, including The Beatles' groundbreaking work.
1965
Day Tripper
The Beatles
In October 1965, The Beatles recorded two new tracks for their annual December single: Day Tripper and We Can Work It Out. These songs are perfect examples of The Beatles’ ability to create catchy pop songs on demand. As one of their strongest singles, it was also the first to be released as a double […]
Mixed by: Peter Bown
1966
Eleanor Rigby
The Beatles
Eleanor Rigby stands out as one of Revolver‘s most remarkable tracks. This haunting portrayal of isolation and death was unique in that it featured no instrumental contributions from the Beatles themselves. Instead, the song relied on a stunning string arrangement by George Martin. Martin openly acknowledged that his arrangement was heavily influenced by film composer […]
Engineered by: Geoff Emerick
1967
Altec 1591A Compressor Amplifier
The Altec 1591A is designed for seamless mixing of high- and low-level inputs, compression, or linear amplification, while maintaining dynamic range integrity in environments such as recording and broadcast studios, theatres, stadiums, schools, churches, hotels, arenas, convention centres, military complexes, and public address systems.
1967
Urei 1176 Limiting Amplifier
There are not a lot of limiters designed in the 1960s that are still in production today, but the legendary Urei 1176 is one such beast. While the name Urei has long since vanished from the pro audio world, this limiter can still be purchased brand new from Universal Audio.
1969
Teletronix LA-3A Leveling Amplifier
If you took the gentle optical compression of the Teletronix LA‑2A and fused it with the solid‑state punch and clarity of the Urie 1176, you would have the Teletronix LA-3A. It has become a secret weapon compressor for many engineers, with a unique character capable of moving sounds right to the front of your mix.
1970
Urei 565 Filter Set
The Urei 565 Filter Set introduces to the recording studio and motion picture sound department an effective tool for 'saving' problem tracks, and for creating innovative special effects.
1971
Eventide Instant Phaser
The Eventide Clockworks Instant Phaser was designed specifically to eliminate the costly and tedious job of setting up and implementing the special effect known as phasing or flanging.
1971
Layla
Derek & The Dominos
Derek & The Dominos had a brief career that lasted from 1970 to 1971. During that time, they recorded the album Layla and Other Assorted Love Songs. This album is widely regarded as Eric Clapton’s greatest achievement, and its hit single, Layla, is undoubtedly his most memorable song. One of the most remarkable things about […]
Engineered by: Ron & Howard Albert
Mixed by: Jay Mark & Steve Rinkoff
1971
ITI MES-430 Parametric Equaliser
The ITI MES-430 was the first commercially available parametric equaliser, a design once thought impossible to achieve, created by the brilliant George Massenburg.
1971
EMT 240 Reverb Foil
In 1971 after huge success with the EMT 140, EMT delivered the EMT 240 Reverb Foil. The surface of the vibrating 0.02 mm gold foil measured only 30 X 30 cm. The foil was contained in a double enclosure affording very high isolation from airborne and solid-borne disturbances, sufficient to allow placement of the EMT 240 even in mobile units or - at a sound pressure level of 105 dB - next to monitor loudspeakers
1972
Eventide Omnipressor Compressor
Unleash the sonic magic of the past with the Eventide Omnipressor, a legendary audio processor born in 1972. This timeless piece of gear has been a staple in the music industry for over five decades, and it's not hard to see why.
1972
Walk on the Wild Side
Lou Reed
Walk on the Wild Side by Lou Reed is a seminal track from his 1972 album Transformer. Co-produced by David Bowie and Mick Ronson, the song is a sultry, subversive tribute to the misfits and outcasts who populated Andy Warhol’s New York City scene in the 1960s. It was initially released as a single and […]
Engineered by: Ken Scott
Mixed by: Ken Scott
1974
Roland RE-201 Space Echo
The Roland RE-201 when it was released in 1974, was an engineering masterpiece. It featured a sophisticated tape-echo effect and a built-in spring reverb, with different sound variations selectable via 12 different operating modes.
