It was Bill Putnam himself who, in 1966, was responsible for the initial design of the
1176. Its circuit was rooted in the 1108 preamplifier which was also designed by Putnam.
As is evident from entries and schematics in his design notebook, he experimented with
the recently developed Field Effect Transistor (F.E.T.) in various configurations to
control the gain reduction in the circuit. He began using F.E.T.s as voltage variable
resistors, in which the resistance between the drain and the source terminals is controlled
by a voltage applied to the gate. His greatest challenge was to ensure that distortion was
minimized by operating the F.E.T.s within a linear region of operation.
After several unsuccessful attempts at using F.E.T.s in gain reduction circuits, Putnam
settled upon the straightforward approach of using the F.E.T. as the bottom leg in a
voltage divider circuit, which is placed ahead of a preamp stage.
The output stage of the 1176 is a carefully crafted class A line level amplifier, designed
to work with the (then) standard load of 600 ohms. The heart of this stage is the output
transformer, whose design and performance is critical. Its primary function is to convert
the unbalanced nature of the 1176 circuit to a balanced line output, and to provide the
proper impedance matching to drive the line impedance of 600 ohms. These two jobs are
accomplished by the primary and secondary windings whose turns' ratio defines the
impedance ratio.
This transformer is critical due to the fact that it uses several additional sets of windings
to provide feedback, which makes it an integral component in the operation of the output
amplifier. Putnam spent a great deal of time perfecting the design of this tricky
transformer and carefully qualified the few vendors capable of producing it.
The first major modification to the 1176 circuit was designed by Brad Plunkett in an
effort to reduce noise--hence the birth of the 1176LN, whose LN stands for low noise.
Numerous design improvements followed, resulting in at least 13 revisions of the 1176.
Opinion has it that the D and E blackface revisions sound the most “authentic”.
Both the 1176 and the LA-2A remain in daily use. Busy engineers and producers’
comments about both the 1176 and the LA-2A demonstrate their impact on the industry:
Mike Shipley (Def Leppard, Shania Twain, Blondie): "I grew up using 1176s --- in
England they were the compressor of choice. They're especially good for vocals, which is
also what I primarily use the LA-2 for. Most anything else I can do without, but I can't be
without at least a pair of 1176s and an LA-2A. For example, on the Enrique Iglesias
project I'm currently mixing, I'm using both an 1176 and an LA2 on his voice, which is
not unusual for me.
“The 1176 absolutely adds a bright character to a sound, and you can set the attack so it's
got a nice bite to it. I usually use them on four to one, with quite a lot of gain reduction. I
like how variable the attack and release is; there's a sound on the attack and release which
I don't think you can get with any other compressor. I listen for how it affects the vocal,
and depending on the song I set the attack or release--faster attack if I want a bit more
bite. My preference is for the black face model, the 4000 series--I think the top end is
especially clean.”
Allen Sides has always been known for his golden ears when it comes to the sound of
equipment. The owner of Ocean Way Studios in Los Angeles and Nashville, he's also a
speaker designer and engineer who is especially respected for his work with live
musicians, including orchestra and string dates. Among his recent credits are work with
the Goo Goo Dolls, Alanis Morissette and Green Day. Sides brings his different
perspectives into play when he talks about using the 1176.
“The 1176 is standard equipment for my sessions. I just used them last night, as a matter
of fact, on a project for singer Lisa Bonet that Rob Cavallo was producing at Ocean Way.
We were recording drums and I used them on the left/right overheads as effects limiters.
It's something I learned from (engineer) Don Landy, who worked with Randy Newman a
lot. I mult the left and right overheads and bring them back on the console, then insert a
pair of 1176s into a pair of the mults. Push in 20 to one and four to one simultaneously
and it puts the unit into overdrive creating a very impressive sound.”
Murray Allen is a veteran engineer and Director of Post Production for the San Francisco
Bay Area company Electronic Arts. He has a fascination for gear both old and new and
he explains why he thinks the 1176 has been so popular for so long. “It has a unique
sound to it that people like, it's very easy to operate, and it does a great job. You have just
two controls relative to the ratio of compression. You have input and output and you have
attack and release. That's all there is. It's still my favorite limiter for Fender basses and
string basses, because you don't know it's working. It doesn't change the way the bass
sounds, it just keeps the level at a more controllable place.”
Mixer Ken Kessie (En Vogue, Tony! Toni! Tone!, Celine Dion) is known for being
experimental. “Seems like everybody knows the basic tricks for the 1176,” he says, “But
here are two that might be lesser known. If you turn the attack knob fully
counterclockwise until it clicks, the 1176 ceases to be a compressor and acts only as an
amplifier. Sometimes this is the perfect sound for a vocal. And of course the unit can be
overdriven, adding another flavor of distortion in case your plug-ins are maxed out!”
“Then, for that hard-to-tame lead vocalist (the one that backs up from the mic to whisper
and leans in for the big ending chorus), try an 1176 followed by a DBX 165. Use the
1176 as a compressor, and the DBX as a peak limiter...it's guaranteed to be smooth as
silk.”
Jim Scott shared a Grammy for Best Engineered Album for Tom Petty's Wildflowers.
He's also known for his work with Red Hot Chili Peppers, Natalie Merchant and Wilco.
“I use 1176s real conservatively and they still do amazing things,” he comments. “I'm
always on the four to one button, and the Dr. Pepper--you know, 10 o'clock, 2 o'clock,
and it does everything I need. “
“I always use them on vocals. I use them on room mics, on acoustic guitars--sometimes
in mixing I'll sneak a little on a snare drum or a separated channel of a snare drum. I'm
not one of those guys who leaves it on everything, but I'd have to say I've used an1176 on
everything at one time or another.”
“They have an equalizer kind of effect, adding a coloration that's bright and clear. Not
only do they give you a little more impact from the compression, they also sort of clear
things up; maybe a little bottom end gets squeezed out or maybe they are just sort of
excitingly solid state or whatever they are. The big thing for me is the clarity, and the
improvement in the top end.”
Retail:
$2000+
Used:
$1200-2000+
dep on condition / age / model variation.
Verdict:
Industry standard, used by the best. Used on most of the best selling albums over the last few decades.
Perfect for searching the archive on your mobile device
Audio Input
Connectors: XLR and ¼ in. jack
Type: RF filtered, servo-balanced input
Impedance: 50 kOhm balanced, 25 kOhm unbalanced
Nominal Operating Level: +4 dBu/-10 dBV switchable
Max. Input Level: +21 dBu balanced and unbalanced
CMRR: typ. 40 dB, >55 dB @ 1 kHz
Audio Output
Connectors: XLR and ¼ in. jack
Type: electronically servo-balanced output stage (optional transformer-balanced)
Impedance: 60 Ohms balanced, 30 Ohm unbalanced
Max. Output Level: +21 dBu, +20 dBm balanced and unbalanced
SC Input
Connector: ¼ in. jack
Type: RF-rejecting, DC de-coupled, unbalanced input
Impedance: >10 kOhm
Max. Input Level: +24 dBu
SC Output
Connector: ¼ in. jack
Type: RF-rejecting, DC de-coupled, unbalanced output
Impedance: 2 kOhm
Max. Output Level: +21 dBu
System Specifications
Bandwidth: 20 Hz to 20 kHz, +0/-0.5 dB
Frequency Response: 0.35 Hz to 200 kHz, +0/-3 dB
Noise: > 95 dBu, unweighted, 22 Hz to 22 kHz
THD: 0.008 % typ. @ +4 dBu, 1 kHz, Gain 1
0.04 % typ. @ +20 dBu, 1 kHz, Gain 1
IMD: 0.01 % typ. SMPTE
Crosstalk: Stereo Coupling: true RMS detection
Expander/Gate Section
Type: IRC (Interactive Ratio Control) Expander
Threshold: variable (OFF to +15 dB)
Ratio: variable (1:1 to 1:8)
Attack: Release: variable (SLOW: 100 ms / 1 dB, FAST: 100 ms / 100 dB)
Compressor Section
Type: IKA (Interactive Knee Adaption) Compressor
Threshold: variable (-40 dB to +20 dB)
Ratio: variable (1:1 to oo:1)
Threshold characteristics: variable (Interactive or Hard Knee)
Auto characteristics: Wave Adaptive Compressor
Manual Attack Time: variable (0.5 ms / 20 dB to 100 ms / 20 dB)
Manual Release Time: variable (0.05 ms / 20 dB to 5 s / 20 dB)
Auto Attack Time: typ. 15 ms at 10 dB, 5 ms at 20 dB, 3 ms at 30 dB
Auto Release Time: program dependent, typ. 125 dB/s
Output: variable (-20 to +20 dB)
Peak Limiter Section
Type: IGC (Interactive Gain Control) Peak Limiter
Threshold: variable (+4 dB to OFF (+22 dBu))
Ratio: oo:1
Stage 1 Limiter Type: Clipper
Attack: "zero"
Release: "zero"
Stage 2 Limiter Type: Program Limiter
Attack: program dependent, typ. Release: program dependent, typ. 20 dB/s
Function Switches
SC Extern: switches the detector section to the external SC input
SC Mon: monitoring the external SC input, disengaging the normal audio
INTERACTIVE enables the ihInteractive Knee Adaptionlt characteristics
Contour: allows for frequency dependent detection
Auto: enables the automatic and program dependent setting of the Attack-/Release times, disengaging the manual Attack-/Release controls
I/O Meter: switches between input and output for the level meter
In/Out: relay controlled hard-bypass
Operating Level: changes the internal reference level from +4 dBu to -10 dBV
Couple: linking both channels for stereo operation and channel 1 becomes master
Indicators
Gain Reduction: 12 element LED display: 1/2/4/6/9/12/15/18/21/24/27/30 dB
Input/Output Level: 12 element LED display: -30/-24/-18/-12/-6/0/+3/+6/+9/+12/+18 dB
Expander/Gate Threshold: 2 LED for under "+" and above "-"
Compressor Threshold: 3 LEDs for under "+", Interactive "0" and above "+"
Peak Limiter Threshold: 1 LED for Indication of Limiter function
Function switch: LED indicator for each
Options
Output Transformer: Behringer transformer OT-1 refittable
Power Supply
Mains Voltage: USA/Canada
• 120 V AC, 60 Hz
Power Consumption: 5 Watts
Mains Connection: standard IEC receptacle
Physical
Dimensions (H x W x D): 1-3/4 x 19 x 8-1/2 in. (44.5 x 482.6 x 217 mm), approximately
Net Weight: 2.2 kg, approximately
Shipping Weight: 3.4 kg, approximately
Retail:
$110
Used:
$69--99
Verdict: Good for live use.
The DPR-404 is a compact and professional four channel compressor and de- esser. Based on the well established BSS subtractive gain reduction principle,
it offers you four independent channels of high quality, musical compression and high frequency de-essing, with the minimum of operator controls.
Designed to be quick and easy to operate by both skilled and novice engineers alike, it makes a compact economical alternative to the fully
featured DPR-402 model.
The DPR-404 is the natural complement to the well established DPR-402 unit and will find many applications within professional audio where ease of
operation is considered important along with lower cost without sacrifice to quality and musicality. Some of the important features to be found on each
channel of the DPR-404 are:
• 30dB of gain reduction using BSS proprietary subtractive approach.
• Fully adjustable soft knee ratio up to 20:1 hard limit.
• Automatic adjustment of time constants with two user definable ranges.
• Output gain adjustment control with LED clip indicator. BSS proprietary
activity meter showing below threshold signal level, gain reduction and
usable range.
• Bypass in/out switching with LED indicator. Independent high frequency de-
esser threshold control and tuneable filter allows selective de-essing
simultaneously with compression.
• Twin LEDs show de-ess activity.
• Link switching allows adjacent channels to be linked for accurate stereo
working.
• One DPR-404 can be selected to process two stereo channels, or one stereo
channel and two independent mono channels, or four independent mono
channels.
• Compressor side chain insert on rear panel 1/4" RTS jack.
• Electronically balanced inputs and outputs with optional transformer
balancing.
Retail:
$1300-$1400
Used:
$900-$1300
Depending on condition.
Verdict:
Primarily used in broadcast, the BSS is a professional go-to compressor for general dynamic duties. Good deals can be found on eBay. It has a solid, reliable build and is unlikely to go wrong quickly. Its exceptional reliability ensures an apparent steady used price.
The introduction of the 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.
The 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.
Facilities 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. The 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. The 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.
* Peak 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.
* '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.
Metering. 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.
Stereo 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.
* Bypass. 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.
Operating 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.
* Input/ 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
Retail:
$500
Used:
$300-$400
Verdict:
The DL241 is effectively a fully featured MX-30 with better sound and is well respected as a great value workhorse compressor. Prices are hovering around quite a bit at the moment so if you can find a bargain, its a very good choice. Also check out the DL441, which is two DL241s in one box (the quad auto compressor).
The Alesis 3630 RMS/Peak Dual Channel Compressor/Limiter With Gate. Great sounding, feature packed and affordable dynamics processor.
The Alesis 3630 provides two independent full-featured compressor/limiters in one rack space while offering excellent sonic quality for any application from studio recording to live sound or broadcast. The 3630 offers Ratio, Threshold, Attack and Decay controls to customize its compression response for even the toughest signals. You can also choose between RMS and Peak compression styles, plus Hard and Soft Knee dynamic curves for every application from subtle gain control to in-your-face punch. As an independent dual-channel compressor, the 3630 offers separate controls for two different source signals. Plus, two fully independent gates with threshold and rate controls allow you to easily and efficiently stifle unwanted ambient noise. Other advanced dynamics processing features such as precise signal metering, a sidechain for keying or ducking effects and stereo linkable operation make the 3630 a popular compressor in its class.
The main features of the Alesis 3630 include:
* Two independent full-featured compressor/limiters in one rack space
* Excellent sonic quality for any application from studio recording to Live sound or broadcast
* The 3630 offers Ratio, Threshold, Attack and Decay controls to customize its compression response for even the toughest signals
* Choose between RMS and Peak compression styles, plus Hard and Soft Knee dynamic curves for every application from subtle gain control to in-your-face punch
* Offers separate controls for two different source signals
* Two fully independent gates with threshold and rate controls allow you to easily and efficiently stifle unwanted ambient noise
* Features also include precise signal metering, a sidechain for keying or ducking effects and stereo linkable operation
* External Power supply included
Retail:
$99-$110
Used:
$99-$110
Verdict:
Mostly negative, but you get what you pay for. Apparently sounds ok on bass however struggles if you push it too hard. If you like that kind of sound you can use it creatively or for a certain effect.
The D.W. Fearn VT-7 Stereo Compressor has an all Class-A vacuum tube audio path, like all Fearn audio products. The gain reduction elements utilize circuitry that duplicates the sound and characteristics of the finest classic vacuum tube compressors, without depending on tubes that are no longer manufactured. The control circuitry is modern solid-state analog. The two channels may be used independently or linked together for stereo. A built in sidechain high-pass filter may be selected to reduce the compression on bass-heavy material.
Controls (each channel): •Threshold •Gain •Attack •Release •Harder/Softer •Separate/Link/Link HPF •The VU meters may be switched between indicating gain reduction or output level.
The VT-7 Compressor 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.
The 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 sidechain 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.
The 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.
Design Philosophy Like all D.W. Fearn products, the VT-7 stereo compressor is a no-compromise design. From the quarter-inch thick front panel painted with the finest polyurethane finishes to the choice of all components and controls, the VT-7 is built to look as great as it sounds. Fearn build products that last, so they use parts with superior durability and longevity. Fearn products are hand-built by craftsman, one at a time, in the USA.
Important Note: Having many tubes, the VT-7 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling.
History of the VT-7 Compression Amplifier
Compression (or limiting) is sometimes seen as a necessary evil in the recording process. Often it is used to compensate for less than optimum performance or recording technique. However, when used appropriately, there is no question that good-sounding compression can add loudness, power, and improved impact to a recording.
Over many years of recording, I have had the opportunity to use and sometimes own some of the best compressors in the world. For the D.W. Fearn line of products, a compressor was obviously important. I began the search for the ultimate compressor design in 1995 and it wasn t until 2004 that I developed the sound I was looking for.
There are several ways to achieve compression, and all have their advantages and disadvantages. The earliest, and still one of the best, designs uses the characteristic of vacuum tubes that allows their gain to be varied by changing the grid bias. Only certain tube types are appropriate for this (the variable-mu or remote cut-off types), and none are currently being manufactured. Since I want my products to be used for a long, long time, I could not manufacture a product that used tubes that were increasingly rare.
Another excellent approach uses a photoresistor illuminated by a light source to vary the gain of an amplifier. This method was pioneered by Teletronics/Universal Audio in the LA-2. Many LA-2s were built over the years, and more recently there have been several new versions of this classic circuit. The world has a good supply of old and new LA-2-style compressors, and although I did some experimenting with this circuit, I felt that there were enough of them and I didn t need to add another. Also, this design lacks the versatility I thought was necessary.
A more modern approach uses a voltage-controlled amplifier (VCA), which is quite versatile and can combine several additional functions (de-essing, gating, etc.) in one simple unit. However, I was never satisfied with the sound of VCA compressors and did not consider that design for my use.
I experimented with a few off-the-wall approaches, but was not convinced that these designs would really work to my standards.
Another approach, not often used, utilizes a pulse-width modulator to control the duty-cycle of a gain reduction element. This approach has several advantages, including the ability to offer a wide range of adjustment. In the VT-7, a solid-state pulse-width modulator controls a special shunt element in the audio path to control the gain. Since no audio passes through the element, there is no added distortion or other degradation of the sound. That s the simple part. Much more complex is the surrounding circuitry that provides precision control of the element in a way that conforms to what I wanted to hear.
Because the element is well isolated from the vacuum tube circuitry before and after it, the effect on the audio is entirely linear. It does not introduce any measurable distortion. And it passes my test for sonic superiority.
The vacuum tube audio path uses circuitry developed for the D.W. Fearn VT-4 LC Equalizer. In some of the circuit, entirely new designs were needed. The VT-7 uses a combination of 6072A and 6N1P tubes and has the basic sound of all my products.
A look inside the VT-7 reveals a very full box with several densely packed circuit boards for the gain control driver circuitry, interspersed with eight vacuum tubes. Because of the very high frequencies involved in the control circuitry, there are many surface-mount (SMT) components. Thus, the VT-7 is a combination of the latest technology, where needed, with a classic great-sounding vacuum tube audio path.
The VT-7 was designed from the beginning to be a stereo compressor. The two channels can be used separately or linked together for stereo.
So what does the VT-7 sound like? In many respects, it is like the classic vacuum tube compressors with the same musical sound. I have always believed that for most applications the compression characteristics that sound best are those that approximate the natural compression inherent in our hearing. The VT-7 has this kind of natural-sounding compression that sounds just right to me.
** The ultimate test for all my products is this: Would I use it in preference to any other product out there, old or new? The VT-7 passes this test.**
There are not a lot of controls on the VT-7. Basically, there is just a knob to control the amount of compression (Threshold), the amount of gain, the attack and release times, and a knob that smoothly varies the compression characteristic from a softer to a harder sound. At first, some users may find the controls do not have the range of adjustment that they are used to in more heavy-handed limiters. However, true to philosophy of design in all my products, the VT-7 is intended to take good sound and make it sound great.
Although its effect can be made to sound obvious, I like the way the VT-7 sounds like what a really good engineer would do if he had excellent taste and infinitely fast hands on a fader. In other words, the VT-7 controls the levels without drawing attention to itself. To me, it just sounds right.
Douglas W. Fearn
D.W. Fearn VT-7 Stereo Compressor Specifications:
* Performance (no gain reduction; unity gain:
* Frequency Response: 20Hz - 20kHz +/- 0.5dB
* -3dB at 5Hz and 65kHz
* THD: less than 0.07%
* Signal to Noise Radio: better than 80dB
Input: 600 ohm source (nominal) balanced or unbalanced
* Input Load Impedance: 32k ohms, transformer balanced bridging
* Nominal Input Level: +4 dBm
* Maximum Input Level @ 20 cps: +25 dBm
* Gain: unity to +15dB
* Frequency Response: ± 0.2 dB 20 cps to 20 kc, ± 0.5 dB 11 cps to 28 kc, -3 dB @ 0.5 cps & 65 kc
* THD + Noise * Signal to Noise Ratio: 78 dB minimum
* Output: low-Z, transformer balanced
* Output source impedance: 115 ohms
* Maximum Output Level: +22 dBm into bridging input balanced or unbalanced
* Gain Reduction Range: 0 to 20dB
* Power Requirements: 100, 120, or 220 VAC
* 50/60Hz, 85 W
* Dimensions: 19" (48.26cm) W x 5.25" (13.34cm) H x 13" (22.9cm) D
* Weight: 22 lbs, (9.55 kg)
* Shipping Weight: 28 lbs, (12.27 kg)
(measurements are made with +4dBm input and output, no compression, into a bridging load)
D.W. Fearn VT-7 Stereo Compressor Features:
* Dual-channel Equalizer may be used independently of linked together for stereo.
* All class-A triode vacuum tube audio path
* All controls are independent and can be used in any combination
* Constructed of heavy-gauge aluminum
Retail:
$4800+
Used:
$4800+
Verdict:
Class A vacuum tube transparent compressor designed to make anything you run through it sound better. Described as "different" from the rest of the compressors commanding similar high end prices. Difficult to fault, other than the possible negative reactions from your envious audio friends.
The MX30 Gated/Comp/Limiter is a low cost professional quality dynamics processor containing some of the proprietary design circuitry used in the more expensive models in the Drawmer range. The MX30 has many automated features enabling fast, effective dynamic control whilst retaining the instinctively laid out control parameters, sonic character and high technical specification which have made Drawmer the industry standard. The MX30’s competitive price point brings Drawmer’s professional processing into a much wider musician, project studio and live performance area.
Operational control is split into three sections:- Gate, Compressor, Output:
‘Programme Adaptive’ Gate
Used to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer’s ‘Programme Adaptive’ circuitry. Although quick and simple to operate, the gate’s auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating ‘chatter’ when the signal is fluctuating on or around Threshold. Two LED’s show when the signal is ‘above’ or ‘below’ Threshold and a push button switch allows additional control of Release time. This design approach also retains all ‘leading edge’ information making the gate ideal for ‘cleaning up’ vocals or retaining the ‘punch’ on gated drums. 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.
Soft Knee ‘Auto Compressor’
The gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release. Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much ‘life’ as possible and without generating unpredictable side effects. From the slightest to the most aggressive levels of compression, the MX30 handles it all with ease and displays the amount of compression taking place on a high resolution Gain Reduction bargraph meter.
Output
The Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold ‘zero overshoot’ limiter, essential for avoiding distortion when mastering to digital or speaker protection in a ‘live’ situation, adds the final polish to the signal by keeping control over signal peaks. The Limit threshold provides an absolute maximum peak level which no signal can pass. Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED.
Controls:
* Gate Threshold: This control sets the level below which gating takes place and may be set anywhere in the range of -70dB to +20dB. A green LED illuminates to show when the signal is above threshold (i.e. gate open) and a red LED illuminates when the signal is below Threshold (i.e. gate closed).
* Release: Either a Fast or Slow auto release contour may be selected depending on the material being processed. An LED indicates when Slow release status is engaged. Percussive material with little or no reverb is generally treated using the Fast release setting, whereas with slow decays or a significant amount of added reverb will usually respond better to the Slow release setting.
* Compressor Threshold: This determines the input level above which gain reduction will be applied and may be set anywhere in the range of -40dB to +20dB. Soft Knee compression takes place for signals exceeding the threshold level by up to 10dB above which level, conventional ‘ratio’ compression is applied.
* Gain Reduction Bargraph Meter: A nine segment LED bargraph meter continuously monitors the gain reduction applied by the compressor over a range of 0dB to 30dB.
* Ratio: Sets the final compression ratio that will be applied once the 10dB soft knee region is exceeded. The ratio may be continuously adjusted from 1.2:1 to infinity:1 allowing the possibility of true hard limiting. The higher the ratio setting the more compression takes place (eg. A ratio of 8:1 means that an 8dB increase in volume at the input will appear as a 1dB increase in volume at the output).
* Stereo Link: The unit can function as two independent gated/compressor/limiters or when ‘link’ mode is engaged for stereo use Channel 1 becomes the master, automatically duplicating its parameters across to Channel 2. In this mode the same degree of gain reduction is applied to both audio channels to prevent image shifting.
* Output Gain: The output level may be attenuated or amplified by up to 20dB to compensate for level changes caused by compression. This control comes directly before the Peak Limiter detector and this fact should be taken into account when setting the Peak Limiter threshold.
* Peak Limit: This control sets an absolute limit that the output signal will not be permitted to exceed. The limiter is ‘zero response time’ and controls peaks without any audible distortion. For transparent ‘peak protection’ the output gain control should be set to ensure that the Peak Limiter operates only occasionally. Alternatively, the unit can be driven into heavy limiting for creative effects.
* Input/Output Bargraph Meter: An eight segment LED bargraph level meter monitors the level of the output signal over a range of -20dB to +15dB. When Bypass is selected this meter reads input level.
Retail:
$200-$400
Used:
$150-$300
Verdict:
Drawmer's budget gate. Good for adding character to drums, but often compared to the DL241 which is regarded as more versatile and a better buy. This has likely led to the price drop for this unit, which considering the value, does an adequate job nevertheless.
The JoeMeek TWIN Q is like having two channels of a professional recording studio in one box. It takes microphones or instruments, amplifies them, compresses and equalizes them ready to be recorded. Simple to use yet extremely powerful, the twinQ will bring out the best in any microphone or instrument and give the gloss of a professional studio production to all your performances. As well as recording it will also be found useful for live work. The Joemeek Digital Audio Interface provides high quality digital audio outputs plus the ability to synchronize to an external word clock. The digital audio outputs are compatible with most digital recorders, as well as Digital Audio Workstations and mixers. S/PDIF format is available from the optical and RCA phono connectors, while the transformer coupled XLR connector provides an AES3 compatible output. The Joemeek Digital Interface has highly stable onboard master clocks for low-jitter, hi-fi results. Internal sample rates of 44.1kHz, 48kHz, 88.2kHz or 96kHz are selected by means of rear panel switches. Alternatively, the twinQ may be set to the frequency of an external master word clock, generated, for example, by the studio's recorder or DAW. When connected to the BNC socket provided, a suitable external word clock will be detected automatically and will override the twinQ's internal word clock. The front panel LED labelled 'EXT CLK' illuminates when the twinQ is successfully locked to an external word clock.
The main features of the JoeMeek TWIN Q include:
* Respected, dual channel Mic/Instrument Pre with smooth optical compressor, EQ and digital interface
* All XLR inputs and outputs, electronic floating balanced
* XLR Mic Inputs
* XLR +4 Balanced outputs
* 1/4 inch TRS balanced Line Inputs
* 1/4 inch TRS balanced outputs selectable +4/-10 dB
* 1/4 inch Inserts TRS into both channels
* AES/EBU, Optical, SPDIF, and Word Clock Standard
* Sample and frequency selector for all formats: 44.1, 48, 88.2, 96Khz at 24 bit
* Expanded EQ; LF sweep, MF sweep, HF selects between 6Kz & 12Kz with hard wire bypass and overload LED
* Dual large meters reads Input or Gain Reduction
* 48V, Phase Reverse, Mic/Line, & Pad switch, all with LED
* Burr Brown Front End for smooth clean sound
* Selectable "Custom" wound Transformer switchable in or out of mic amp circuit for warmth and presence
* Front Panel 1/4 inch DI for direct recording of instruments
* New Opto Head Joemeek Compressor for that classic Meek sound, as well as severe compression effects
* New Compressor features as Gain Make up
* Opto Couple to link both channels for stereo compression
* Switchable voltage for operations worldwide
Retail:
$700-$1000
used:
$600-$700
Verdict:
Versatile and well respected piece of kit. Can do both ultra fat and transparent compression with ease. Plenty of character, solid, rugged build and a great channel for recording or tracking. Eq is alright.
