Compressor/Limiters

Analogue Compressors and limiters are dynamic processing tools used in recording studios to control the dynamic range of audio signals. A compressor works by reducing the level of the loudest parts of a signal, while leaving the quieter parts unaffected. This can help to even out the overall volume of a recording and make it sound more consistent. Limiters work similarly to compressors, but they have a more aggressive ratio and a fixed threshold that won’t allow the signal to go above a certain level. This can be useful for preventing clipping or distortion when recording signals with a high dynamic range. In addition to controlling dynamic range, compressors and limiters can also be used creatively to add character and colour to a recording. For example, some compressors have a “vintage” or “analogue” sound that can add warmth or saturation to a recording, while others can provide a more transparent or clean sound. Some compressors even have specific settings for different instruments or types of signals, such as vocals or drums. Choosing the right compressor or limiter for a particular recording can be a crucial part of the mixing process, as it can greatly affect the final sound of the track.

Released in 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.
Released in 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.
Released in 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.
Released in 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.
Released in 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.
Released in 1965

Gates FM Top-Level Limiter

The Gates FM Top Level Limiter is a 1960s solid-state dual-channel audio processor designed for FM broadcasters. It prevents overmodulation with instant attack and release, offering ±1 dB response from 30–15,000 Hz, 28 dB gain, and outputs up to +18 dBm at 600 ohms. It’s durable, compact, and efficient, enhancing FM audio quality while reducing distortion and noise.
Released in 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.
Released in 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.
Released in 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.
Released in 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.
Released in 1975

Altec 1612A Limiting Amplifier

In audio systems, input signal levels can vary significantly. The Altec 1612A is excellent for managing dynamic range, ensuring the overall sound level is more consistent. It operates as a limiter or a line amplifier, equipped with two inputs, a compression/VU meter, a dual range attack/release switch, and a limit/line balance control that prevents limiting from altering the preset output level.
Released in 1975

Valley People Dyna-Mite Compressor Limiter

The Valley People Dyna-Mite compressor was released in 1975. It became well-known for its distinctive sound, which was a combination of compression, limiting, and distortion, and it was highly regarded by engineers and producers for its versatility in both studio and live settings.