Gain Reduction | Pro Audio Hardware Compressors and Limiters

Hand-built to its original 1970’s specifications, the Neve 33609JD Stereo Compressor offers comprehensive limiting and compression facilities for music recording, mastering, post production and broadcast applications. The combination of hand-wired transformers and gain reduction circuitry produces a sound quality which is often duplicated, yet seldom achieved by any other compressor / limiter. Coupled with the unit’s unparalleled ease of use, this inimitable sound quality has made the 33609 a worldwide studio standard for three decades.
 
The hallmark 33609 compression sound is very smooth, and extreme settings may be used with the compression or limiting remaining relatively transparent. After several versions of this classic Neve compressor over the years, today's 33609JD provides the best of both worlds: original Neve 33609 sound, with enhanced internal and external I/O switching compared to the original model. The 33609JD also utilises a discrete output stage like the original model, for a slightly warmer sound that is preferred by many professionals over previous iterations. Multiple units can be easily linked for multi-channel operation.
 
The 33609JD features independent sidechains for the compressor and limiter sections, with similarly independent threshold, recovery and attack controls. The compressor features a selection of ratios from 1.5:1 to 6:1 and a gain make-up control that comes before the limiter. Overall gain reduction is indicated on a moving coil meter.
 
Much like our classic 1073 and 1081 microphone preamplifiers, the 33609JD Stereo Compressor is often cited as a "desert island" compressor - one which a healthy sampling of the world’s top engineers and producers would choose above all others.
 
  * Classic Stereo Compressor / Limiter designed to exacting 1970’s specifications
  * Hand-made using hand-wired Neve transformers in Burnley, England
  * Classic 2254 feedback compression circuitry
  * Brick Wall Limiting
  * Transparent level control
  * Perfect for mixing, broadcast, and mastering applications
  * Hard Limit feature for digital recording
  * Limit in/out Compress in/out
  * Discrete output stage for slightly warmer sound
 
Retail
 
$4550+
 
Used
 
$4550+
 
Verdict:
 
The 33609/J Discrete Precision Stereo Limiter / Compressor. What can be said about a compressor, that hasn't already been said about the countless hit records it's been on?
Among the best of the best for classic sound. A solid, lifelong investment for producers aiming squarely for the top.

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The Pro Channel from ART is the latest offering from the world's most popular tube dynamics processing manufacturer. ART engineers have combined the world-renowned Pro MPA, Pro VLA, and Tube EQ into a single product - creating the world's best-sounding and most affordable professional recording channel.
 
The four-band parametric equalizer has selectable Q for the two sweepable mid-bands. As with all design elements of the Pro Channel, these Q options were fine-tuned by some of the industry's top studio and live-sound engineers. Likewise, all new additions were made without compromise to the sound of the original designs (Pro MPA, Pro VLA, Tube EQ), which have become standards in professional studios and FOH rigs around the globe.
 
The Pro Channel defines the term channel strip. The Pro Channel is an impressive package from the world-wide leaders in tube dynamics signal-processing gear. Pick one up and catch your own tube-buzz at your favorite ART dealer today.
 
Features
 
Professional, tube-based microphone/line recording channel.
 
3 independent world-class modules: tube mic pre, switchable optical compressor, and tube EQ.
 
Warm, smooth, and silky sound quality.
 
Precision detented potentiometers.
 
Selectable VU Metering (mic pre out, compressor out, or Main Out)
 
Tube Character and Gain Reduction LED Arrays
 
Balanced XLR and unbalanced 1/4 inch inputs and outputs
 
Insert Points between Preamp and Compressor, and Compressor and EQ
 
3 hand-selected vacuum tubes
 
Professional signal processing for use with any analog or digital recording format
 
Exceptional processing channel for any line or instrument level signal
 
5-year warranty
 
Applications
Professional recording studios, project studios, and home studios
 
DI Box for instruments
 
FOH Sound Systems
 
Digital Audio Workstations and Computer Recording
 
MIDI recording and samplers
 
Voice-Over, Broadcast, and Edit Suites
Technical Info
Maximum Gain: XLR to XLR: 83dB; 1/4 in. to 1/4 in.: 65dB
 
Dynamic Range: >100dB (20-20KHz)
 
Frequency Response: 10Hz to 20KHz (± .5dB)
 
Low-Cut Filter Variable: -3dB@10Hz to 250Hz
 
Input/Output Connections: XLR balanced & 1/4 in. unbalanced
 
Insert Connections: 1/4 in. unbalanced
 
Input Impedance: 1.67k ohms (XLR), 1M ohm (1/4 in.)
 
Output Impedance: 600 ohms (XLR), 300 ohms (1/4 in.)
 
Maximum Input Level: +15dBu (XLR), +21dBu (1/4 in.)
 
Maximum Output Level:+27dBu (XLR), +22dBu (1/4 in.)
 
Equivalent Input Noise: -130dBu (XLR to XLR, "A" weighted)
 
Phantom Power: +48v DC (switchable)
 
Compression
 
Ratio Variable: 2:1 to >10:1
Attack Time
- Fast: 2ms (optical), 0.5ms (tube)
- Slow: 15ms (for 20dB of comp)
Release Time Fast: 300ms, Auto: 100ms-3sec
Maximum Compression: 30 dB (optical), 23dB (tube)
 
EQ
 
Frequency Bands
- Low Shelf: 40Hz/120Hz selectable
- Low-Mid: Sweepable 20Hz to 200Hz/ 200Hz to 2KHz
- Low-Mid Q: Wide/Narrow selectable
- High-Mid Sweepable: 200Hz to 2KHz/ 2KHz to 20KHz
- High-Mid Q: Wide/Narrow selectable
- High Shelf: 6KHz/18KHz selectable
Boost and Cut/Frequency Band: ±12dB (wide), ±20dB (narrow)
Total Harmonic Distortion (THD): <0> 
Tubes: 3 hand-selected
 
Power Requirements: 100-125 VAC, 30W (Export units configured for country of destination)
 
Dimensions (D x W x H): 6.5 x 19 x 3.50 in.
 
Weight: 12.0 lbs
 
Retail
 
$300-$350
 
Used
 
$250-$300
 
Verdict:
 
Strictly a preamp, but a budget one with a lot of features for the price. You can replace the valves to improve the sound quality too. Meant to act as a channel strip in your setup.

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The Symetrix 501 PEAK/RMS Compressor/Limiter is a precision dynamic range
controller intended for use in the most demanding professional audio applications. The 501
is two dynamics controllers in one unit. Separately controlled, simultaneous RMS detection and
peak limiting is provided so that the limiter can be set to prevent spikes and allow the compressor
to control the signals without applying more than the desired amount of gain reduction. The 501
performs both duties with unsurpassed distortion and noise specifications. A full complement of
controls gives the operator the ability to perfectly tailor dynamic response. This isn’t a one slider
device, you are in control.
 
Standard engineering practice often calls for
the use of low ratio compression, as a creative
device, to achieve dynamic characteristics that
are more pleasing to the ear. Since the 501’s
compressor is RMS responding (like the human
ear) it’s easy to get a consistent, more listenable
sound. The RMS compressor section is
designed to provide both manual and auto-
matic (program controlled) attack and release
times. The wide range of the ratio and thresh-
old controls make the 501 usable over a 50 dB
range. RMS detection, high headroom input
circuits and output drivers, give the 501 its well
known sonic excellence.
 
However, an RMS compressor alone does not
prevent clipping distortion or tape saturation.
For this reason, standard practice also dictates
the use of a peak limiter, as a protection device,
to take control of transient peaks that would
otherwise cause overload distortion. The peak
limiter catches even the fastest transient spikes,
with its exceedingly quick 2000 dB/msec attack
time.
 
With both types of processing in the same
package, the 501 provides both creative and
protective dynamic range control. This is one
reason why the 501 has become a first choice
for vocal applications. It is also widely known
as the compressor/limiter choice for bass
players, allowing the low frequency notes to
sound close and full, while protecting the
player’s amp from overloading during sharp
slaps and pounding of the bass strings. With
this type of performance and reliability the 501
has become the audio experts’ tool of necessity.
Backed by over two decades of audio processor
design experience, the Symetrix 501 can only
be called “performance elegance” in the classic
sense of audio quality and reliability.
 
APPLICATIONS
“Legendary” choice for
bass players
Sound Reinforcement
Recording
Broadcast
 
FEATURES
RMS and interactive peak
control
Manual or automatic attack/
release
Balanced and unbalanced
connections
Stereo linkable
Sidechain access
 
Retail:
 
Discontinued
 
Used:
 
$150-$200
 
Verdict:
 
Characteristic bass compressor. The one with the metal toggle switch contains the Valley People VCA and
so is sought after. A good choice if you want to go for a budget bass / drum compressor with character.
Highly Recommended if you can find one in good condition.

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The Top Budget Compressors
 
Behringer Tube Composer
TC Electronic C300
Behringer MDX1400
Funk Logic NCC 1701 (2 x FNR RNC)
TL Audio 5021
Art Pro VLA II
Focusrite Platinum Penta
Aphex Compellor
DBX 160A
DBX 266XL

                       

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There isn't really a "best" compressor in this category. They all have different uses - mixing, recording "coloring" the sound.
 
Here is a breakdown of the compressors in Gain Reduction which appear to offer the best value for money:
 
http://www.gainreduction.com/tag/budget/
 
The ones to watch: FMR RNC, Art Pro VLA II, Symetrix 501, Aphex 320A Compellor, DBX 160A, Behringer Tube Composer T1952 w valve / amp mod.

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Interactive stereo dynamics processor with couple function
 
Auto and manual mode compression
 
Separate IRC expander/gate circuits
 
Integrated dynamic enhancer
 
IKA (Interactive Knee Adaptation) compressor
 
Fully automatic or manually controllable attack and release times
 
IRC circuit with controllable ratio allows "inaudible" expansion/gating
 
Dual-mono or stereo ("true stereo") operation
 
Precise 12-segment LED displays for input/output levels and gain reduction
 
Switchable, external side chain input with side chain monitor function
 
Operating level switchable from +4 dBu to -10 dBV
 
Servo-balanced inputs and outputs
 
XLR and jack connectors
 
Manufactured under ISO9000 certified management system
Technical Info
Audio Input
Connectors: XLR and 1/4" 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 1/4" 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: 1/4" jack
 
Type: RF-rejecting, DC de-coupled, unbalanced input
 
Impedance: >10 kOhm
 
Max. Input Level: +24 dBu
 
SC Output
Connector: 1/4" 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)
 
Attack: <1> 
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)
 
Dynamic Enhancer Section
Type: dynamically controlled frequency correction
 
Process variable (Off to 6)
 
Function Swithces
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 Interactive Knee Adaption 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 "-"
 
Function switch: LED indicator for each
 
Options
Output Transformer: Behringer transformer OT-1 refittable
 
Power Supply
Mains voltages: USA/Canada 120 V ~, 60 Hz
 
U.K./Australia: 240 V ~, 50 Hz
 
Europe: 230 V ~, 50 Hz
 
General export model: 100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz
 
Fuse: 100 - 120 V ~: T 250 mA H
200 - 240 V ~: T 125 mA H
 
Power consumption max.: 20 Watts
 
Mains connection standard: IEC receptacle
 
Physical
Dimension (H x W x D): 44.5 x 44.5 x 217 mm (1-3/4 x 19 x 8-1/2 in.)
 
Net Weight: 2.2 kg, approximately
 
Shipping Weight: 3.4 kg, approximately
 
Retail:
 
$80
 
Used:
 
$40-80
 
Verdict:
 
Compressor, Limiter, Gate, Enhancer. Very much a jack of all trades. You get what you pay for. But you probably should pay a little bit more unless it's mainly for live use.

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The P38 is a stereo mastering and record production compressor with advanced optical compression, in a substantial 2U rack mounting format. It has balanced line inputs and outputs operating at line levels.
ORIGINS
 
Ted's original compressor was developed in 1963; in those days it was a simple optical device driven by a valve amplifier. It sounded good, but it was, to say the least, not very adaptable. During the Alice days (The 'Alice' mixer company was founded by Ted and friends in 1969) there were a number of simple compressors developed, mainly for automatic control and none were marketed as record production tools. It was not until 1993 that Ted needed a stereo compressor for his own recording work, and developed an optical compressor based on the ones used in the early days of Joe Meek's studio in Holloway Road, and his own studio in Denmark Street, London.
 
In recognition of Joe, Ted named the compressor the 'Joemeek' SC2. This compressor was an enormous success, particularly with producers in the United States.
 
The first tfpro compressor was a further development of the original design concept, but introducing some novel features including M/S matrix compression (to give perfect stereo imaging) and a variable width control. The use of a new type of light dependent resistor allowed much higher speeds of operation and so Ted ivas able to emulate some other popular compressors using variations of speed and attack/release profiles. But the P8 'Edward', as the compressor was called, retained a single VU meter and following some further experimental work stretching the use of optical systems even further, Ted decided to update the P8 to produce the definitive compressor that will last as a standard in the music production business.
 
The new P38 is built to last; from its heavy gauge front panel to the steel chassis; the construction is 'substantial'. Terminations are via both XLR connectors and conventional 1/4 inch jack sockets, and the power supply is built in. As with all top-end TFPRO equipment, the inputs are transformer coupled using double wound audio current transformers giving transparent performance, total isolation and freedom from hum and buzz.
 
The stereo input gain control is a feedback type with extremely low self noise, and incorporates a '+14dB' switch to allow for lower level inputs. To maintain perfection in stereo imaging, the stereo signal is processed into 'sum and difference' signals and these signals are compressed separately. Immediately before the output, the sum and difference are reprocessed into left and right signals. The compressor retains the optical concept that gives such an amazing sound, but Ted has incorporated novel and original design features giving extreme control of compression, with selectable ratios from 1.2:1 up to 100:1, so that the P38 is like having all the historic compressors at once! To achieve these different 'flavours' there is a 'model' switch to select four distinct compression types (detailed in the handbook). Some of the model types incorporate an element of automatic release so that programme material influences compression; this facility is modified by the TR REL button (Transient Release). Immediately following the compressor there is another innovation; this is the 'soft clip' option where transient overloads can be 'clipped' without audible distortion. An LED indicator shows when these transients are being affected.
 
METERING
 
Unlike Ted's earlier compressors, the P38 has a pair of meters that read final output level. A meter change-over switch alters the status so that the left meter reads 'mono input' while the right meter reads 'CR' (gain reduction).
 
PERFORMANCE
 
The P38 follows current TFPRO thinking and has a much extended frequency range. The Low frequencies remain flat down to 8Hz, while the HF end extends beyond 4OKHz without filtering so that there is substantial response up to 75KHz and beyond.
 
Noise and distortion performance are to professional standards with impulsive distortion minimised by the use of integrated class A amplifiers.
 
IMAGING AND BALANCE
 
While the M/S matrix system takes care of the stability of the stereo imagef and provides the ability to go from mono, right through to full stereo and beyond to an enhanced stereo (15O% stereo), there are often times when there are slight gain differences and imbalances between left and right. The P38 provides for this with a balance adjustment capable of plus and minus 6dB on each side.
 
Retail:
 
$800
 
Used
 
$500-800
 
Verdict:
 
A highly sought after mix bus compressor. Often compared to the 1176. It emulates a variety of classic hardware compressors and has a signature sound.

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The Manley SLAM! stands for "stereo limiter and microphone preamplifier" - and it gets loud fast. Starting with the two tube microphone preamplifiers, the Manley SLAM! gives you 48V phantom power, phase reverse, and up to 60dB of gain and 20dB more gain in the limiter - plenty to accommodate virtually any microphone and singer. On the limiter side, Manley combined the electro-optical circuit from the ELOP with a fast FET-based brick-wall limiter and added a handy sidechain. From clean to crunchy to punchy, you can have it - there's even an optional 24-bit/96kHz A/D converter available for the Manley SLAM!
 
Manley SLAM! at a Glance:
 
  * Dual-channel tube microphone preamplifier
  * Electro-optical and FET-based brick-wall limiter
  * Excellent VU metering
  * Flexible I/O
 
Dual-channel tube microphone preamplifier
On both channels of the Manley SLAM! you have tube microphone preamplifiers with switchable phantom power and phase reverse. Plus, the new tube circuit features up to 60dB of gain - and there's 20dB more gain available in the limiter, so you've got plenty of juice to handle low output ribbon microphones and soft singers. The input attenuator is on the front and there's also a variable pad. Apart from XLR microphones, you can give your line-level instruments a warm-up using the front-panel DI inputs.
 
Electro-optical and FET-based brick-wall limiter
 
The Manley SLAM! boasts two different and distinct limiters - available simultaneously or separately on each channel. Manley's famous electro-optical circuit, found on their ELOP, is onboard - plus it features a convenient sidechain highpass filter. Offering two knobs, the ELOP is easy to use and "just works." There's also a fast FET-based "brick wall" limiter onboard as well that delivers everything from ultra-clean to gravelly - just as you'd expected from an FET limiter. The Release control lets you dial in a host of colors, and a Clip setting allows for an extremely round shape. Use both limiters at the same time to get as much of each effect as you like.
 
Excellent VU metering
 
With Manley's SLAM! you can meter raw input levels, the final output levels, and ELOP Limiter gain reduction, so you can keep an eye on what's going on. Plus, there's a switchable pad on the VUs at 0, -3dB and -6dB so you can keep the needles from going in the red when you're mastering. In addition, there are fast and accurate multi-color LED ladder peak meters that let you know the input and output levels as well as the FET gain reduction. The LED meters do Peak, Peak Hold timed, and Peak Hold until reset. You can also manually set where the bars change colors, to match up the SLAM! with your other gear.
 
Flexible I/O
 
On the back panel of the Manley SLAM! you have plenty of I/O to work with. Transformer-balanced I/O and 1/4" phone jacks are onboard. In addition, four TRS jacks allow you to insert external equalizers into the sidechains. Another input allows linking multiple units for surround purposes. Plus, there are optional 24-bit D/A converters available that lock to an external clock and are 44.1, 48, 88.2, 96, and 192kHz capable.
 
Manley SLAM! Features:
 
  * Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for low noise and stable bias
  * Output Tubes: 2 x 6414W NOS USA dual triodes
  * I/O: Manley transformer-coupled, Balanced Inputs and Outputs
  * Microphon epreamplifier: Selectable 48V phantom power and phase reverse
  * Gain: 60dB max Microphone preamplifier, 43dB max DI, 20dB max Limiter Gain
  * Input Impedance: 2000? Micpre, 1Meg? DI
  * FET Limiter: Attack: approx. 100S; Release: 10mS to 2Sec; Ratio: better than 20:1
  * ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1
  * Frequency Response: 5Hz to 60KHz
  * Maximum Output: +32dBm, +30dBm (into 1K? load)
  * THD+N:   * Dynamic Range: 115dB typical
  * Output Impedance: 200?
  * Power Consumption Slam! Analog: 0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts, 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts
  * Power Consumption Slam! Digital: 0.688 Amps (688 milliamps = 688mA) @ 120V = 82.56 Watts, 0.344 Amps (344 milliamps = 344mA) @ 240V = 82.56 Watts
  * Mains Voltage Frequency: 50~ 60Hz
  * Size: 19" X 12" X 3.5" (occupies 2 RU)
  * Shipping Weight: 25 lbs.
 
Retail:
 
$7500+
 
Used:
 
$7500+
 
Verdict:
 
A powerful, impressive unit. Opinion is divided on the character / transparence of the compressor.

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The Aphex Systems Model 720 / 722 Dominator II is a stereo MultiBand peak limiter designed to fit a wide range of applications. Through the use of MultiBand techniques along with new proprietary circuits, the audibility of limiting action has been greatly reduced, especially when compared to conventional limiters. This means that greater limiting depth is possible, resulting in higher loudness with maintained audio quality. At virtually any limiting depth, the Dominator II is free of "hole punching", "dullness", and most other effects normally associated with limiters. As a peak overshoot protection limiter, the Dominator II is undetectable in line while it absolutely prevents peak levels from exceeding a user settable output level. In addition, the desired limiting effects of greater audio density and increased "punch are readily available with the Dominator II.The Model 722, for broadcast use, has the Pre and De-emphasis circuitry, while the Model 720 Does not.
 
FEATURES
 
  Peak Ceiling Trimmable in 0.2dB Steps Over a 34dB Range
  3 Bands of Limiting with Switchable Crossover Frequencies
  Patented Automatic Limit Threshold (ALT) Circuitry
  Freedom from Pumping
  Freedom from Spectral Gain Intermodulation
  Adjustable Density (Relative Crest Height)
  Calibrated Detented Potentiometers
  104dB Dynamic Range
  LF and HF EQ Provides Shaping Equalization Below Peak Ceiling
  Relay Bypass, Remote Controllable
  Servo-Balanced Transformerless Inputs and Outputs
 
APPLICATIONS
 
  Sound Contracting -- protection of amplifiers and speakers from overload; increased loudness; maximized use of available power.
  Recording -- preventing sudden peak overload of mixer or recorder; tightening tracks; special effects, etc.
  Mixing -- used as a program limiter, the Dominator II will keep a track "rock steady" for "layering" into or on top of a mix.
  Digital Sampling -- obtaining good full scale samples free from peak overload, i.e. no more missed samples.
  Digital Recording -- insuring clean recording by stopping clipping of peaks and overshoots. Maximizes bit usage for less distortion.
  Satellite Uplink -- Modulation control to prevent splattering on high frequency audio, gives reduced distortion, better signal-to- noise.
  Broadcasting -- AM and FM modulation control for increased loudness; cleaner sound; use in production for greater consistency of tapes, punchier voice-overs.
  Location Film Shoots -- anti-crash for dialog and sound effects recording.
  Post Production -- Soundtrack peak control; managing difficult dialog; controlling transient sound effects.
  Optical Recording and Transfer -- prevents "valve clash", gives higher average level with low distortion and better signal-to- noise performance.
  Analog Disk Mastering -- peak control for high allowable average cutting levels; less limiter degradation to the program; brighter, punchier sound.
  C/D Mastering -- peak and density control for more accurate digitizing, cleaner sound requiring less error correction on playback; no limiter induced sound degradation.
  STL & Phone Line Driver -- maximize signal-to-noise without overload distortion.
  Video and Audio Tape Duplication -- "Hotter" transfers without saturation.
 
Retail:
 
$1200
 
Used:
 
$400-700
 
Verdict: Good on drums, can be pushed hard. A peak limiter that is also used for broadcast. Good value basic stereo limiter from a good company.

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