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 1992
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. Upon its release in 1993, it was THE mic pre to have!
Released in 1992
The world-renowned Summit Audio TLA-100A tube leveling amplifier has been regarded as a staple by studio and live engineers around the world for more than a quarter of a century.
Released in 1993
The Universal Audio LA-2A Leveling Amplifier is true to the original design, Universal Audio’s famed tube-amplified T4 electro-optical compressor.
Released in 1994
There are few modern classics in the world of professional studio effects hardware, but the Manley Stereo Variable MU limiter compressor is most definitely one such processor. An all-tube limiter built in the great tradition of the Fairchild 660, the Manley Stereo Variable MU has been a cherished part of many studios for decades.
Released in 1994
Set it and forget it! The Langevin Elop Stereo Electro-Optical Limiter makes your job easy.
Released in 1995
The Focusrite Red 3 employs an unusual and original single-VCA design to achieve high quality and truly independent compression and limiting, without the compromise and unnecessary processing involved in traditional designs.
Released in 1995
The D.W. Fearn VT-7has 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.
Released in 1995
Since its introduction in the mid 1970’s, the dbx 160 series has been the world’s most popular line of audio compressors. After the classic 160 (which is still used daily in many world class studios), came the 165, the 160X and the 160XT. And now, the 160A.
Released in 1996
The Crane Song STC-8 is a high-quality compressor combined with a remarkably dependable peak limiter, that provides overload protection critical to digital recording and broadcast transmitters.
Released in 1996
The dbx 266XL’s advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics – even with complex signals, such as voice or reverb decays.
Released in 1996
At the heart of the dbx 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics.
Released in 1996
Professionals and newcomers alike will find that the 166XL sets up rapidly and musically the first time it is used, especially with the Auto attack and release function.

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