In case you havent noticed, The goal of this site is to list every hardware compressor and limiter ever made. An ambitious, but achievable goal!

 Please get in touch at info at masteringreview.com if you'd like to contribute to this project, whether it be a slice of rare product information, some tips for specific gear, or just a small donation, every bit helps!

 GR

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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.

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Perfect for searching the archive on your mobile device

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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.

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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.

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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).

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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.

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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.

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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.

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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.
 

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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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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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