{"title":"500 Series Compressors and Dynamics","description":null,"products":[{"product_id":"purple-audio-action-fet-compressor","title":"Purple Audio Action 500 Series FET Compressor","description":"The \u003cb\u003e Purple Audio Action\u003c\/b\u003e features a constant impedance 600 ohm input attenuator feeding the input transformer, just like our MC77 units. This makes the input more resistant to overload by hot signals. After the input transformer, the signal is attenuated by the same gain reduction FET as in the MC77. The attenuated signal is buffered by our class A KDJ3 opamp, which feeds the output fader. Lastly, our class AB KDJ4 output opamp drives our custom hexafilar nickel and steel output transformer. The total gain (with no attenuation) is 45dB, just like the MC77. \u003cbr\u003e\u003cbr\u003e The attack and release times cover a broader range than the MC77, which can cause distortion... which may or may not be what you are looking for. Use at extremes with caution. The ratios are the same as the MC77, and the threshhold moves up as the ratio goes up, just like the MC77. \u003cbr\u003e\u003cbr\u003e In the center of the unit is an SMT sidechain and stereo link amplifier, below that is our SMT compression LED ladder meter driver. Behind that is the SMT input and output tricolor LED meter driver. \u003cbr\u003e\u003cbr\u003e Stereo linking is accomplished by cross connecting pins 3 \u0026amp; 6 on the edge connector. On the Purple Sweet Ten, there is a second output XLR that can be used to link two Actions. The link is accomplished using a XLR-F to XLR-F cable with pin 2 on one XLR-F connecting to pin 3 on the other XLR-F and vice versa. Plug in the cable, flip the front panel switch and you are linked. Non-Purple racks do not have an easy way to connect pins 3 and 6, and will need modification to link two Action units. \u003cbr\u003e\u003cbr\u003e The  \u003cb\u003eSpecifications:\u003c\/b\u003e \u003cli\u003e Total Gain: 45dBu \u003c\/li\u003e\u003cli\u003e Ratios: 4:1, 8:1, 12:1, 20:1, ∞:1 (\"All buttons in\") \u003c\/li\u003e\u003cli\u003e Attack time: Continuously Variable from over 800 microseconds to 20 microseconds \u003c\/li\u003e\u003cli\u003e Release time: Continuously Variable from over 1.1 seconds to 50 milliseconds \u003c\/li\u003e\u003cli\u003e Input impedance: 600 ohms \u003c\/li\u003e\u003cli\u003e Output impedance: 600 ohms \u003c\/li\u003e\u003cli\u003e Current consumption: 90ma \u003c\/li\u003e","brand":"Purple Audio","offers":[{"title":"Default Title","offer_id":44449236189287,"sku":"9158","price":825.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/purple_audio_action_fet_1.jpg?v=1787088255"},{"product_id":"buzz-audio-essence","title":"Buzz Audio Essence 500 Series Optical Compressor","description":"\u003cp\u003eYou may know the sound of vintage optical compressors like the Teletronix LA2A, but often you need more control than just 2 knobs. The \u003cstrong\u003eBuzz Audio Essence \u003c\/strong\u003efeatures attack and release settings carefully selected for a more varied dynamic palette plus the intelligent auto modes for that really smooth \"set and forget\" operation we all love. And unlike the slow LA designs, this compressor can also respond much faster when you need it. The soft knee opto action is perfect for smoothing the dynamics of vocals and a stereo pair will find immediate use to glue together stems, synths and the mix buss. And as our users report, the Essence is brilliant on bass guitar!\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eSudio path quality\u003c\/h3\u003e\r\n\u003cp\u003eThe audio input is coupled directly to custom made LDR (light dependent resistor) gain reduction element via a Lundahl LL1540 input transformer. This is followed by a discrete signal path using Buzz Audio's Class A BE40 amplifier and BE50 high current line driver that excites the Lundahl LL1517 output transformer. The combination of high end Lundahl transformers with Buzz Audio circuits creates a very warm low end sound along with a creamy top end finish void of midrange harshness.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eCreative versatility\u003c\/h3\u003e\r\n\u003cp\u003eThe Essence is the only 500 series compressor to feature a side chain insert point so you can apply equalization to the compression characteristic to control certain parts of the audio spectrum. The insert can also be used to \"key\" the compressor from another sound for all sorts of creative pumping effects. In addition, there is onboard side-chain shelving EQ allowing you to quickly adjust the compressor sensitivity at high and low frequencies.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eCONTROLS:\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eGAIN: sets the output gain from 0 to +15 dB\u003c\/li\u003e\r\n\u003cli\u003eDRIVE: sets the amount of compression applied to the signal, clockwise rotation means more compression\u003c\/li\u003e\r\n\u003cli\u003eATTACK: 4 position switch with attack time settings of 1mS, 15mS, 70mS and our excellent Auto mode\u003c\/li\u003e\r\n\u003cli\u003eRELEASE: 6 position switch with recovery time settings of 100mS, 200mS, 400mS, 800mS, 1600mS and the intelligent Auto mode\u003c\/li\u003e\r\n\u003cli\u003eRATIO: 4 position switch sets the depth of compression from light to heavy, 2:1, 5:1, 10:1, 20:1 all with the soft knee action\u003c\/li\u003e\r\n\u003cli\u003eMETER: switched to read gain reduction or input and output level, a PCB jumper sets the zero level reference from +4 dBu or +14 dBu\u003c\/li\u003e\r\n\u003cli\u003eBYPASS: toggle switch used to hard wire bypass the essence\u003c\/li\u003e\r\n\u003cli\u003eS.C. MON: allows you to hear the side chain signal (the side chain EQ) and the side chain insert return signal\u003c\/li\u003e\r\n\u003cli\u003eS.C. HI EQ: applies 8 dB at 10 kHz of boost or cut to the side chain signal and therefore to the compression\u003c\/li\u003e\r\n\u003cli\u003eS.C. LO EQ: applies 8 dB at 100 Hz of boost or cut to the side chain signal and therefore to the compression\u003c\/li\u003e\r\n\u003cli\u003eLINK: using the 500 frame link system, two Essences can be linked for stereo operation\u003c\/li\u003e\r\n\u003cli\u003eS.C. INS: this switch engages the side chain insert point which are the input\/output connectors associated with the second slot the Essence uses\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449236516967,"sku":"7725","price":1140.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz-audio-essence_7725_1_b4597cb6-b754-436d-a04b-5170b8020b0d.jpg?v=1787088255"},{"product_id":"standard-audio-level-or","title":"Standard Audio Level-Or","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eStandard Audio Level-Or\u003c\/span\u003e is an API 500-Series rack compatible JFET limiter \/ distortion processor. The design was inspired by the Shure Level-Loc PA limiter, popular for its trashy, ultra compressed sound. The extended features of the Level-Or allows it to achieve what the Level-Loc does and much, much more. \u003cbr\u003e\u003cbr\u003e In \"Level\" mode, the Level-Or acts very much like the Level-Loc. An additional, faster release time has been added for even more flexibility and a broader range of compressed sounds. \u003cbr\u003e\u003cbr\u003e In \"Crunch\" mode, the Level-Or sets itself apart from anything else like it. By sweeping the input level over the range provided, a huge palette of sounds can be reached from slight harmonic enhancement, to aggressive crunch, to buzz-saw like distortion, to complete and utter destruction of the original source material. \u003cbr\u003e\u003cbr\u003e Between these two available modes, there is a huge array of sounds that can be produced from this unit. Simple drum loops can be taken from boring to unique and drum room mics can be crushed or distorted to taste adding size and character to the overall sound. Bass, guitar, and keyboard sounds can be manipulated, taking on completely new and different sounds than the original source material. \u003cbr\u003e\u003cbr\u003e *Note: Due to the nature of the design of this unit, it is very aggressive sounding; with noticeable pumping, distortion, and some noise. \u003cbr\u003e\u003cbr\u003e We consider this a good thing!\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eSound Clips:\u003c\/strong\u003e Click instrument for sample\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"features2\"\u003e\u003ca title=\"Drums Sound Clip\" href=\"http:\/\/www.standard-audio.com\/drums-sample.html\" target=\"_blank\"\u003eDrums\u003c\/a\u003e: 0-4 seconds = straight signal; 4-9 seconds = level mode; 9-13 seconds = crunch mode;   13-17 seconds = crunch mode maxed\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"features2\"\u003e\u003cspan class=\"features2\"\u003e\u003ca title=\"Synth Bass Sound Clip\" href=\"http:\/\/www.standard-audio.com\/synthbass-sample.html\" target=\"_blank\"\u003eSynth               Bass\u003c\/a\u003e: 0-5 seconds = straight sound; 5-19 seconds = crunch mode gradually; turning up input until maxed\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"features2\"\u003e\u003cspan class=\"features2\"\u003e\u003cspan class=\"features2\"\u003e\u003ca title=\"Piano Sound Clip\" href=\"http:\/\/www.standard-audio.com\/piano-sample.html\" target=\"_blank\"\u003ePiano\u003c\/a\u003e: 0-5 seconds = straight signal; 5-10 seconds = level mode; 10-15 crunch mode gradually turning up input until maxed\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003chr\u003e\n\u003cp\u003e\u003cstrong\u003eWord on the Street:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“...It sounds great on bass, drums, piano, vocals. It basically does everything that a Level Loc would do but with so much more control and finesse, not to mention so much quieter. The quality of the audio is great. It’s simple to use and it always amuses drummers....”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoe Chiccarelli\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Hey guys, just wanted to let you know that I came across some “LEVELOR-ed” drums tracks and loved them! I’m engineering a record for Joe Chiccarelli and he’s already got a unit and tracked a mono drum room thru the LEVEL-OR to add grit to the drum sound. $%*ing mission accomplished! I used the LEVEL-OR as a parallel distortion track for a wulritzer and it added a nice grimy sparkle as well. You guys have any other 500 series designs in the works? I’ve got one more space in my lunch box!”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTravis Huff\u003c\/strong\u003e\u003c\/p\u003e","brand":"Standard Audio","offers":[{"title":"Default Title","offer_id":44449236779111,"sku":"10414","price":525.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/standard_level-or_cat.jpg?v=1787088257"},{"product_id":"chandler-limited-little-devil-compressor","title":"Chandler Limited Little Devil Compressor","description":"\u003cp\u003eFollowing in the rich tradition of English 60s and 70s console design, Chandler Limited enters the 500 race furiously with its new \u003cstrong\u003eLittle Devil Equalizers and Compressors\u003c\/strong\u003e. \u003cbr\u003e\u003cbr\u003e With all discrete circuits, transformer balanced everything, and the American hand made quality you expect from Chandler the Devils combine Chandler’s best designs with the hottest designs from the past. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449237008487,"sku":"10883","price":1145.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_little_devil_compressor_1.jpg?v=1787088258"},{"product_id":"shadow-hills-industries-dual-vandergraph","title":"Shadow Hills Industries Dual Vandergraph 500 Series Stereo Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eShadow Hills Industries Dual Vandergraph\u003c\/strong\u003e follows the lineage of the \u003ca href=\"https:\/\/vintageking.com\/shadow-hills-industries-mastering-compressor\"\u003eShadow Hills Mastering Compressor\u003c\/a\u003e maintaining its reputation of undeniable quality and exceptional performance, in a convenient 2-slot API 500 Series format module. Its inner components consist of the discrete gain cells from the Mastering Compressor combined with the Optograph’s extremely flexible Sidechain Filter matrix. It features a fully discrete Class A audio path and Shadow Hills' custom Iron Transformers. This combination provides exceptional dynamic control making the Dual Vandergraph a premium stereo compressor for your 500 Series rack!\u003c\/p\u003e\r\n\u003cp\u003eJust like the Mastering Compressor, the Compression and Output Level controls are Swiss made twenty-four position attenuators. The Ratio switch, selects between: 1.2: 1, 2.5: 1, 4: 1, 8: 1. In addition to changing ratios, each selection changes preset attack and recover times. The Sidechain Filter Matrix controls the frequency sensitivity of the side-chain. The positions are: 90 hertz, 150 hertz, 250 hertz and Bandpass.\u003c\/p\u003e\r\n\u003cp\u003eThough the Dual Vandergraph operates in stereo, it is controlled by a single set of variable attenuators. It will function as normal with just one channel connected.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eCONTROLS:\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eRatio\u003c\/li\u003e\r\n\u003cli\u003eFilter\u003c\/li\u003e\r\n\u003cli\u003eCompressor\u003c\/li\u003e\r\n\u003cli\u003eOutput\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449237172327,"sku":"13055","price":2895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow-hill-dual-vandergraph-23_13055_1.jpg?v=1787088259"},{"product_id":"empirical-labs-elds-derresser","title":"Empirical Labs EL-DS DerrEsser 500 Series De-Esser - Horizontal","description":"\u003cp\u003eThe \u003cstrong\u003eEmpirical Labs DerrEsser\u003c\/strong\u003e is a multi function dynamic filtering device, in an API 500 series module format.  In its basic “DS” mode, the DerrEsser is an effective, level insensitive de-esser, which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source.  By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner.  However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Four Modes of Operation\u003c\/strong\u003e - Besides Bypass, there are essentially four modes of the DerrEsser: \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDS Mode\u003c\/strong\u003e – (Bypass Button IN, all other buttons OUT). As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S’s (sibilants) that result from an overly bright singer or from EQ’ing to make a vocal sound aggressive and clear. In this mode, the dyamic action is “level insensitive”, as the detector circuitry compares the High Frequency content to the low frequency content.  Overall signal level doesn’t matter at all. When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel. Again, great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use.  We use the latest technology VCA, specially selected for glitch free, distortion free, and noise free performance.  The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHF Limit\u003c\/strong\u003e – (Bypass Button IN, HF LIM IN, all other buttons OUT).  In this mode, the DerrEsser looks at the general level of the high frequencies only.  Think of it as a high frequency compressor. If there is enough high frequency content to exceed the threshold, then gain reduction occurs.  It is level sensitive, but responds much more to high frequencies. This mode can also act as a de-esser but is more of a general high frequency smoothing device.  The HF limiter is probably the first carefully tailored soft knee HF limiter in existence. We believe both the DS and HF LIM modes offer the highest performance of any similar device. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHighpass\u003c\/strong\u003e – (Bypass Button IN, Listen IN, HP\/LP OUT, HF LIM doesn’t matter). By using the “LISTEN” Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio.  With the LISTEN button IN, and the HP\/LP switch OUT, the user will be hearing the high frequencies that are being controlled with the dynamic\/compression circuits.  The corner frequency is adjustable by the Frequency knob. Once the LISTEN switch is engaged, all bargraph LED’s should light as indication. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLowpass\u003c\/strong\u003e – (Bypass Button IN, Listen IN, HP\/LP IN, HF LIM doesn’t matter). With the LISTEN button IN, and the HP\/LP button IN, the user is now listening to the low frequencies, those not affected by the VCA and dynamic\/compression circuits.  This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eUsing for the first time\u003c\/strong\u003e\u003cbr\u003eThe DerrEsser is not only a high frequency problem solver, but can be used as a super-quality HP or LP filter, AND as a coloring device to give a more analog sound to digital sources.  Use the DerrEsser when you have a vocalist with prominent unnatural “S’s.  The standard DS Mode is usually used, with the Frequency set to 2 – 6K.  Adjust the threshold till the S’es are tamed and not much else is affected.  The HF Limit will more generally smooth the high frequencies, gently subduing high frequencies that exceed the user adjusted threshold. Great on so many sources. \u003cbr\u003e\u003cbr\u003eThe DS Mode can also help difficult problems like high hat bleed in the snare mike, or occasional SQUEEKS on an acoustic guitar or other instrument.  See example settings.  The HF Limit Mode is a general high frequency smoothing setting.  Use it to soften the high end on zillions of sources, not just vocals.  If you have a track that has high frequency spikes, or plucks, or edges, this can let you keep the air of the high end except when it really piles up.\u003c\/p\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":44449237467239,"sku":"9889","price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/empirical_labs_derresser_elds_horizontal.jpg?v=1787088260"},{"product_id":"lipinski-l-629-compressor","title":"Lipinski L-629 Compressor","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eLipinski Sound L-629\u003c\/span\u003e 500 Series compressor’s basic principle of operation and ballistics is based on the famous Fairchild Compressor as its extremely fundamental design is rooted in the patented “Lipinski Square” circuitry. This unique circuitry completely eliminates distortion on low frequencies and on low-release time a covetable quality in a compressor of this kind.\u003cbr\u003e \u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eBasic principle of operation and ballistics based on the famous Fairchild compressor\u003c\/li\u003e\n\u003cli\u003ePatented circuit completely eliminating distortion on low frequencies and on low-release time\u003c\/li\u003e\n\u003cli\u003eAll other compressors on short release time and on low frequencies changes amplification within single sine wave - commonly a major source of distortion\u003c\/li\u003e\n\u003cli\u003eExtremely fundamental design based on patented \"Lipinski Square\" circuitry\u003c\/li\u003e\n\u003cli\u003eNo capacitors in the signal path\u003c\/li\u003e\n\u003cli\u003eNo Integrated Circuits (IC's) in the signal path\u003c\/li\u003e\n\u003cli\u003eOnly 0.04% maximum distortion with the highest (18dB) compression\u003c\/li\u003e\n\u003cli\u003eExtremely fast attack time - 0.01ms (1\/5th 20kHz sine wave)\u003c\/li\u003e\n\u003cli\u003eTape Simulation doesn't generate gimmicky even-harmonic distortions - this feature senses and triggers compression on high frequencies (correction within control network)\u003c\/li\u003e\n\u003cli\u003eAuto gain: additional 5 sec. attack time, and 5 min. release time\u003c\/li\u003e\n\u003cli\u003eAuto control has ballistics similar to VU meter, it is based on photo resistor, completely eliminates distortion with zero adjustment error - quality on output signal totally independent of input level\u003c\/li\u003e\n\u003cli\u003ePeak meter: switchable before and post compression\u003c\/li\u003e\n\u003cli\u003eHard wiring option for stereo operation \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lipinski Sound","offers":[{"title":"Default Title","offer_id":44449237532775,"sku":"13174","price":1195.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/lipinski_l-629.jpg?v=1787088260"},{"product_id":"pendulum-ocl-500","title":"Pendulum OCL-500","description":"Since its introduction in 1998, the Pendulum OCL-2 Compressor\/Limiter has become a modern classic. In fact, the OCL-2 changed the way users think about opto compression! Our custom opto cell provides fast, invisible compression without the artifacts and sluggish response inherent in vintage designs. \u003cbr\u003e\u003cbr\u003eThe NEW \u003cspan style=\"font-weight: bold;\"\u003ePendulum OCL-500\u003c\/span\u003e has the same compression circuit as the OCL-2, but uses a transformerless class A solid-state gain makeup circuit in place of the tube stage. The result is clean, transparent compression that can be used to shape the dynamics of any source while preserving its tone. Like the OCL-2, the OCL-500 has a wide variety of time constants and dynamic control to optimize the compression characteristics, including a sidechain hi-pass filter.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eOCL-2 compression profile with our proprietary opto cell \u003c\/li\u003e\n\u003cli\u003eSix time constants with fast, rms, multi-slope and average \u003c\/li\u003e\n\u003cli\u003eClass A solid - state (no tubes) \u003c\/li\u003e\n\u003cli\u003eSidechain hi-pass filter \u003c\/li\u003e\n\u003cli\u003eSingle-space 500 series rack format\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eOCL-500 Specifications \u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eFormat:\u003c\/span\u003e API® 500 series standard, fully compatible \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eInput Impedance:\u003c\/span\u003e 20K-ohm, balanced \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eOutput Impedance:\u003c\/span\u003e less than 50 ohm \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eMax. Output Level:\u003c\/span\u003e +27dBu, balanced \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eThreshold:\u003c\/span\u003e off to 20dB of gain reduction at +4dBu \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eRatio:\u003c\/span\u003e 1.5:1 to 15: 1, soft knee \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eOutput:\u003c\/span\u003e Off to +20dB of makeup gain \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eMax. Gain Reduction:\u003c\/span\u003e 27 dB \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eFrequency Response:\u003c\/span\u003e +\/- 1 dB from 10Hz to 95kHz \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eNoise Level:\u003c\/span\u003e better than 78dB below +4dBu, 0-30kHz \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eTotal Harmonic Distortion:\u003c\/span\u003e less than 0.01% with no compression \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Pendulum","offers":[{"title":"Default Title","offer_id":44449237565543,"sku":"12539","price":1250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/pendulum_ocl500.jpg?v=1787088260"},{"product_id":"shadow-hills-industries-mono-optograph","title":"Shadow Hills Industries Mono Optograph 500","description":"\u003cp\u003eThis single channel discrete optical compressor in the API 500 Series form factor takes its cues and much of its design from the optical stage of its behemoth big brother, the Shadow Hills Mastering Compressor. The \u003cstrong\u003eMono Optograph's\u003c\/strong\u003e front end is balanced by an original Jensen input transformer. The output utilizes our specially recreated Nickel transformer. The essence of the compressor's character comes from our custom electroluminescent cell and discrete op-amp combination. The high quality circuit is pristine enough for bus compression, and yet has a unique character reminiscent of an antique world class compressor, that has just now been discovered. It's also perfect for squeezing drum busses and massaging vocals. It's the perfect glue for tracking and mixing anything that needs to sound more finished, more like a record. \u003cbr\u003e\u003cbr\u003eJust like The Mastering Compressor, the Optograph's threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever. \u003cbr\u003e\u003cbr\u003eBuilt into the side chain, are a very powerful series of filters: 90 hertz, 150 hertz, 250 hertz, and band pass. By engaging a specific filter, you choose at which point the onset of compression occurs. First position, nothing below ninety triggers compression. Second position, nothing below one-fifty. Third, nothing below two-fifty. The fourth position is a musical bandpass filter. In this position, compression is triggered by the program's mid-range frequency content, ignoring the highest and lowest frequencies. The filters are amazingly useful for shifting the focus of what should be more compressed and creating compression curves on purpose. \u003cbr\u003e\u003cbr\u003eAnother unique feature for sculpting the overall sonic character is the Transformer Desaturate mode. In this mode we cancel out any distortion and frequency non-linearity’s caused by the output transformer. The result is a pure, almost transformer-less sound, whilst still receiving the benefits, of limiting transients that can only come from magnetics. \u003cbr\u003e \u003cbr\u003e\u003cbr\u003eThere is also a VU meter for the display of gain reduction. 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Plus, the 527 circuit incorporates API’s discrete 2510 and 2520 op-amps and a transformer output, so you get all the signature sonic character associated with API compressors.\u003c\/p\u003e\r\n\u003ch3\u003eControl your Tone\u003c\/h3\u003e\r\n\u003cp\u003eThe API 527 offers tremendous flexibility through its front panel switches, offering a choice of Old (“feed back”) classic compressor performance or more modern New (“feed forward”) character. Soft\/Hard toggles between the very natural, uncompressed sound of API’s \"over-easy\" type compression and the more obvious limiting effect of hard-knee operation. API’s patented Thrust switch — also found on the 2500 — ensures a punchy bottom end through the introduction of frequency-dependent side-chain control.\u003c\/p\u003e\r\n\u003cp\u003eThe attack, release and ratio settings are all continuously variable and feature detented controls, allowing you to easily return to your favorite settings. 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This is enhanced with a 'smart'\nthree position feed-forward, auto-tracking mode that sets the response\ntime to slow, medium or fast to control the ballistics.\u003cbr\u003e\n\u003cbr\u003e\nStereo linking is possible by switching the link function on the\nWorkhorse rack. This is augmented with a unique sync function that\nemploys a time constant instead of voltage to synchronize the\ncompression so that multiple units may be locked together for greater\naccuracy. This is particularly advantageous when recording in 5.1\nsurround. \u003cbr\u003e\n\u003cbr\u003e\nA separate 20:1 limiter provides a dynamic ceiling to ensure signals do\nnot exceed the recording system's maximum input settings. This great\nsounding vintage style, diode bridge circuit delivers smooth confident\nperformance at one end and when driven hard by the make-up gain control,\nit can sound downright nasty for generating creative effects. The\nKomit's Omniport provides a key input for ducking, automatic level\ncontrol, de-essing and when combined with an EQ, frequency dependent\u003cbr\u003e\ncompression.","brand":"Radial Engineering","offers":[{"title":"Default Title","offer_id":44449238646887,"sku":"14621","price":649.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/radial_komit.jpg?v=1787088265"},{"product_id":"inward-connections-the-brute","title":"Inward Connections The Brute","description":"\u003cp\u003eLove your 500 Series rack, but can't quite pull off that \"high-end\" vocal sound you hear in your head? Enter \u003cstrong\u003eThe Brute\u003c\/strong\u003e from Inward Connections. This 500 Series limiter is a gentle giant, adding substantial warmth and presence to your vocal. It helps bring out a breathy and airy quality while at the same time smoothing out peaks and bringing the vocal up to the front of the mix where it belongs. 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A VU meter is a nice addition for the 500 Series format, added to by a 250Hz highpass filter plus a link switch for when you can't get enough of The Brute.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eInward Connections: boutique gear handmade in LA\u003c\/strong\u003e\u003cbr\u003eInitially one of LA's best-kept secrets, the word about Inward Connections has been sweeping the globe. After all, when you hear guys like Chris Lord-Alge and Eddie Kramer swearing by a brand, you know to pay attention. 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Designed for mixing, mastering, and stereo bus processing, it delivers transparent VCA compression with exceptional stereo imaging, transformer-balanced signal paths, and precision stepped controls for easy session recall. Additional features such as a selectable high-pass filter, expanded ratio options, and module linking provide outstanding flexibility, making the Obsidian 500 an ideal choice for professional studios seeking powerful dynamics control in a compact format.\u003c\/p\u003e","brand":"Dramastic Audio","offers":[{"title":"Default Title","offer_id":44449250803815,"sku":"14422","price":2795.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dramastic-audio-obsidian-500_14422_1.jpg?v=1787088313"},{"product_id":"empirical-labs-el-ds-derresser-vertical","title":"Empirical Labs EL-DS DerrEsser 500 Series De-Esser - Vertical","description":"\u003cp\u003eThe \u003cstrong\u003eEmpirical Labs DerrEsser\u003c\/strong\u003e is a multi function dynamic filtering device, in an API 500 series module format.  In its basic “DS” mode, the DerrEsser is an effective, level insensitive de-esser, which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source.  By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner.  However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe Four Modes of Operation\u003c\/strong\u003e - Besides Bypass, there are essentially four modes of the DerrEsser: \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDS Mode\u003c\/strong\u003e – (Bypass Button IN, all other buttons OUT).  As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S’s (sibilants) that result from an overly bright singer or from EQ’ing to make a vocal sound aggressive and clear.  In this mode, the dyamic action is “level insensitive”, as the detector circuitry compares the High Frequency content to the low frequency content.  Overall, signal level doesn’t matter at all.  When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel.  Again, great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use. We use the latest technology VCA, specially selected for glitch free, distortion free, and noise free performance.  The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHF Limit\u003c\/strong\u003e – (Bypass Button IN, HF LIM IN, all other buttons OUT).  In this mode, the DerrEsser looks at the general level of the High Frequencies only. Think of it as a high frequency compressor.  If there is enough high frequency content to exceed the threshold, then gain reduction occurs.  It IS level sensitive, but responds much more to high frequencies.  This mode can also act as a de-esser but is more of a general high frequency smoothing device.  The HF limiter is probably the first carefully tailored soft knee HF limiter in existence.  We believe both the DS and HF LIM modes offer the highest performance of any similar device. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHighpass\u003c\/strong\u003e – (Bypass Button IN, Listen IN, HP\/LP OUT, HF LIM doesn’t matter).  By using the “LISTEN” Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio.  With the LISTEN button IN, and the HP\/LP switch OUT, the user will be hearing the high frequencies that are being controlled with the dynamic\/compression circuits.  The corner frequency is adjustable by the Frequency knob.  Once the LISTEN switch is engaged, all bargraph LED’s should light as indication. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLowpass\u003c\/strong\u003e – (Bypass Button IN, Listen IN, HP\/LP IN, HF LIM doesn’t matter).  With the LISTEN button IN, and the HP\/LP button IN, the user is now listening to the low frequencies, those not affected by the VCA and dynamic\/compression circuits.  This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eUsing for the first time\u003c\/strong\u003e\u003cbr\u003eThe DerrEsser is not only a high frequency problem solver, but can be used as a super-quality HP or LP filter, AND as a coloring device to give a more analog sound to digital sources.  Use the DerrEsser when you have a vocalist with prominent unnatural “S’s.  The standard DS Mode is usually used, with the Frequency set to 2 – 6K. Adjust the threshold till the S’es are tamed and not much else is affected.  The HF Limit will more generally smooth the high frequencies, gently subduing high frequencies that exceed the user adjusted threshold.  Great on so many sources. \u003cbr\u003e\u003cbr\u003eThe DS Mode can also help difficult problems like high hat bleed in the snare mike, or occasional SQUEEKS on an acoustic guitar or other instrument.  See example settings.  The HF Limit Mode is a general high frequency smoothing setting.  Use it to soften the high end on zillions of sources, not just vocals.  If you have a track that has high frequency spikes, or plucks, or edges, this can let you keep the air of the high end except when it really piles up.\u003c\/p\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":44449250836583,"sku":"15923","price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/empirical_labs_derresser_elds.jpg?v=1787088313"},{"product_id":"elysia-xpressor-500","title":"Elysia Xpressor 500 Series Stereo Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eelysia xpressor 500\u003c\/strong\u003e is an extremely versatile stereo compressor available in API's 500 series format.  With its many unique features taken from our flagship products, you not only get great compression, but an amount of control on processing which is hardly ever experienced elsewhere.\u003c\/p\u003e\r\n\r\n\u003cp\u003eNo matter if you want to set and forget or plunge deep into the secrets of compression, the xpressor 500 is for you. Its discrete audio path running in constant Class-A mode provides a superior audio quality which combines a clear and open sound with a good lot of punch.\u003c\/p\u003e\r\n\r\n\u003cp\u003eStereo buss compression, processing single signals, approaching dynamics in creative ways – the xpressor 500 shines in many different applications.\u003c\/p\u003e","brand":"Elysia","offers":[{"title":"Default Title","offer_id":44449251557479,"sku":"15920","price":999.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/elysia-xpressor-500_15920_1.jpg?v=1787088316"},{"product_id":"rupert-neve-designs-portico-543","title":"Rupert Neve Designs 543 500 Series Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eRupert Neve Designs Portico 543\u003c\/strong\u003e features a fully controllable compressor-limiter with feed-forward\/feedback modes, Peak \/ RMS detection and a built-in side chain high pass filter. With an unrivaled heritage and a tremendous feature set, the 543 provides an astonishing degree of flexibility and precision.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eWHAT IS VCA COMPRESSION?\u003c\/h3\u003e\r\n\u003cp\u003eEvery compressor has a gain control element in its circuit, and this is generally what determines the “sound” of the compressor. Some compressors use tubes, some use FETs, some use light-dependent resistors, some use a diode bridge – but in the 543, a VCA (Voltage Controlled Amplifier \/ Attenuator) is used to control the signal’s gain. In contrast to a diode bridge design like the 535 compressor, which adds a thick, very colorful tonality to the source, the 543 makes use of a very accurate, low noise, low distortion VCA. This provides an immense amount of dynamic control and subtle warmth, without necessarily leaving a heavy sonic imprint on your tracks or mixes.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eFEED-FORWARD OR FEED-BACK?\u003c\/h3\u003e\r\n\u003cp\u003eThis switch changes the point in the signal path where the VCA control voltage is picked off: either before the VCA (feed-forward) or after the VCA (feed-back). In most of Mr. Neve’s earliest designs, feed-back detection was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit, as the control voltage has already passed through the VCA itself. To offer faster, more technically accurate response times, feed-forward detection was also implemented in the 543: with the FF \/ FB switch, both classic and modern VCA responses are available.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eRMS OR PEAK?\u003c\/h3\u003e\r\n\u003cp\u003eAnother highly useful features of the 543 is the Peak \/ RMS mode, which allows the VCA to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage, which may be more of a concern for prevention of clipping and maximizing levels. In the case of this particular circuit, peak mode actually uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own.\u003c\/p\u003e","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449357430887,"sku":"17033","price":999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rupert-neve-designs-portico-543_17033_1.jpg?v=1787088691"},{"product_id":"alta-moda-am-10-compressor-limiter-demo-deal","title":"Alta Moda AM-10 Compressor\/Limiter (Demo Deal)","description":"The \u003cb\u003eAlta Moda Audio AM-10 \u003c\/b\u003eis a single channel compressor\/limiter designed for use in API™ 500-series compatible rack systems. The AM-10 features a discrete FET gain control element with independent compression and limiter functions. \u003cbr\u003e\u003cbr\u003e The compression section of the AM-10 uses a soft-knee feedback-type topology, reminiscent of many classic and much-admired compressors of yesteryear. The compressor’s timing can be controlled automatically (Auto mode) or dramatically altered using the wide-ranging and fully variable attack and release controls. A built-in three-position high pass sidechain filter has also been included for enhanced low-frequency control. \u003cbr\u003e\u003cbr\u003e The limiter section is a peak detecting hard-knee style, its control signal being taken from the output of the Effect level pot. Limiting ranges from approximately 25dB down to 4dB. With a little experimentation, many severe and colorful compression effects are possible. This section also includes its own three-position high-pass sidechain filter. \u003cbr\u003e\u003cbr\u003e Both sections can be independently linked to other AM-10 units – the compressor uses true power summing when linked, while the limiter section uses greater-of-two peak response when linked. \u003cbr\u003e\u003cbr\u003e Separate 7-element LED meters monitor gain reduction and output level simultaneously. \u003cbr\u003e\u003cbr\u003e The AM-10’s mix section is comprised of two controls: a level control for the gain cell and a Dry signal level control, giving the ability to blend varying amounts of dry and compressed signals together at the output. \u003cbr\u003e\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFeatures \u003c\/span\u003e\u003cul\u003e \u003cli\u003eDiscrete FET gain control element \u003c\/li\u003e\n\u003cli\u003eIndependent compressor and limiter sidechains \u003c\/li\u003e\n\u003cli\u003eAutomatic or fully-variable compression attack and release controls \u003c\/li\u003e\n\u003cli\u003eSwitchable limiter release times \u003c\/li\u003e\n\u003cli\u003eIndependent three-position sidechain filters on both compressor and limiter \u003c\/li\u003e\n\u003cli\u003eLink control – compressor and limiter sidechains can be linked separately to other AM-10 modules \u003c\/li\u003e\n\u003cli\u003eDual metering – LED metering shows gain reduction and output level simultaneously \u003c\/li\u003e\n\u003cli\u003eEffect level control with 20dB gain make up after compression \u003c\/li\u003e\n\u003cli\u003eBuilt-in mix control to add dry signal back into output path \u003c\/li\u003e\n\u003cli\u003e500-series rack compatible module \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Alta Moda","offers":[{"title":"Default Title","offer_id":44449359986791,"sku":"15176","price":635.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/alta_moda_am10_2.jpg?v=1787088702"},{"product_id":"api-525-demo-deal","title":"API 525 (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eAPI 525\u003c\/span\u003e was originally released in the 70's, the API 525 is a \"feedback\" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional \"Ceiling\" fine tune function modifies threshold \u003ci\u003eand\u003c\/i\u003e make-up gain for precise changes in compression without changes in output. A compression\/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u\/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, \u0026amp; 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance\/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.\u003cp\u003e\u003c\/p\u003e \u003cp\u003eThe API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA \"feed forward\" compressors so common today. A remarkable multi-function \"ceiling\" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics \"on the fly\" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.\u003c\/p\u003e \u003cp\u003eRelease times vary with frequency, with high frequency\/full bandwidth content released faster than just low frequency for natural envelope tracking. Attack time is fixed, chosen to catch the fastest peaks, without \"pumping\". Equally useful as a tracking, mixdown or program compressor\/limiter, the benefits of the API 525 are most obvious to those who use compression on a regular basis. \"Vintage\" dynamics control, an easy to use multi-function control set, and a wide range of 500 Series mounting options assure that the 525 will surpass your most critical applications. With the addition of a hard-wire bypass switch, a balanced input, and a pinout that is the same as all the other 500 series modules, the 525 is still, after 25 years—\"the sound\". Two or more 525s can be linked for multi-channel compression.\u003c\/p\u003e \u003cp\u003eThe 525 Feedback Compressor\/Limiter makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products. \u003c\/p\u003e\u003cp\u003eOriginally released in the 70's, the API 525 is a \"feedback\" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional \"Ceiling\" fine tune function modifies threshold \u003ci\u003eand\u003c\/i\u003e make-up gain for precise changes in compression without changes in output. A compression\/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u\/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, \u0026amp; 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance\/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.\u003c\/p\u003e \u003cp\u003e\u003capi_warranty\u003e\u003c\/api_warranty\u003e\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360248935,"sku":"14219","price":1019.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_525_5_1.jpg?v=1787088703"},{"product_id":"api-527-demo-deal","title":"API 527 (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eAPI 527\u003c\/span\u003e compressor is a single channel module based on API's 225L discrete channel compressor. The 527 features comprehensive controls including variable attack, release, ratio, and outut gain controls. The unit also includes API's patented 'Thrust' circuit, first offered on the 2500 Stereo Bus Compressor. A 10 segment LED meter is switchable between gain reduction and output level. \u003cp\u003e\"Anyone who has used the 225L compressor found in API consoles has expressed a longing for the same kind of flexibility and control in the 500 Series for some time\" said Larry Droppa, President of API. \"We're delighted to now offer the 527 to complement our vintage 525 compressor, which has been many engineers' favorite compressor over the years.\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360281703,"sku":"15618","price":849.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_527_3.jpg?v=1787088703"},{"product_id":"buzz-audio-essence-demo-deal","title":"Buzz Audio Essence (Demo Deal)","description":"The essence control circuit design is based on the Buzz Audio SOC-1.1 Stereo Optical Compressor but the main audio path utilizes our BE40 and BE50 True Class A amplifiers along with high spec Lundahl input and output transformers. The input transformer is directly coupled to the Buzz proprietary Opto gain reduction element (completely passive input), amplified and then balanced via the output transformer - a very simple but gutsy signal path! \u003cbr\u003e\u003cbr\u003eThe essence control circuitry utilizes the Differential Drive Side Chain (DDSC) topology that was developed for the SOC-1.1. This system, which processes positive and negative audio waveform in separate paths, provides the incredibly musical characteristic you will hear with this unit. The DDSC design also provides for a much faster attack time compared to most other LDR based optical compressors. \u003cbr\u003e\u003cbr\u003eSimple side chain equalizers have been provided to allow the user to adjust the sensitivity of the compressor at high and low frequencies. In addition, a side chain insert point is provided for more complex EQ and compressor \"keying\". \u003cbr\u003e\u003cbr\u003eThe essence consumes 2 slots within a 500 Series rack. The input\/output (I\/O) connectors associated with the first slot carry the main audio path. The I\/O connectors associated with the second slot are used for a side chain insert point (send and return). The insert can be switched in\/out of circuit and monitored via front panel switches. \u003cbr\u003e\u003cbr\u003e\u003cb\u003ePLEASE NOTE - RACK COMPATIBILITY\u003c\/b\u003e Each \u003cb\u003eBuzz Audio Essence\u003c\/b\u003e module uses 2 rack spaces and draws 120mA +\/- 15-18 volts DC, as supplied by rack power supply. Most currently manufactured rack systems will easily power a full compliment of essence units, but some older rack systems may have insufficient power, if in doubt, please check with your rack manufacturer. We recommend the API Lunchbox and VPR500 racks. \u003cbr\u003e\u003cbr\u003e  \u003cb\u003eNOTE: Due to some misinformation during the design of the potion and essence 500 series compressors, the card edge connection for the linking of our 500 Series compressors is incorrect.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The potion and essence have PIN 11 designated as the link connection, when in actual fact the API* standard is PIN 6. This error can be easily remedied with a simple wire link soldered between PIN 6 and PIN 11 of the potion and\/or essence edge connector.","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449361723495,"sku":"13912","price":919.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz_audio_essence_1_1.jpg?v=1787088709"},{"product_id":"chandler-limited-little-devil-compressor-demo-deal","title":"Chandler Limited Little Devil Compressor (Demo Deal)","description":"Following in the rich tradition of English 60s and 70s console design, Chandler Limited enters the 500 race furiously with its new \u003cb\u003eLittle Devil Equalizers and Compressors\u003c\/b\u003e. \u003cbr\u003e\u003cbr\u003e With all discrete circuits, transformer balanced everything, and the American hand made quality you expect from Chandler the Devils combine Chandler’s best designs with the hottest designs from the past. \u003cbr\u003e\u003cbr\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449361887335,"sku":"13973","price":969.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_little_devil_compressor_1_1.jpg?v=1787088710"},{"product_id":"pendulum-ocl-500-demo-deal","title":"Pendulum OCL-500 (Demo Deal)","description":"Since its introduction in 1998, the Pendulum OCL-2 Compressor\/Limiter has become a modern classic. In fact, the OCL-2 changed the way users think about opto compression! Our custom opto cell provides fast, invisible compression without the artifacts and sluggish response inherent in vintage designs. \u003cbr\u003e\u003cbr\u003eThe NEW \u003cspan style=\"font-weight: bold;\"\u003ePendulum OCL-500\u003c\/span\u003e has the same compression circuit as the OCL-2, but uses a transformerless class A solid-state gain makeup circuit in place of the tube stage. The result is clean, transparent compression that can be used to shape the dynamics of any source while preserving its tone. Like the OCL-2, the OCL-500 has a wide variety of time constants and dynamic control to optimize the compression characteristics, including a sidechain hi-pass filter.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eOCL-2 compression profile with our proprietary opto cell \u003c\/li\u003e\n\u003cli\u003eSix time constants with fast, rms, multi-slope and average \u003c\/li\u003e\n\u003cli\u003eClass A solid - state (no tubes) \u003c\/li\u003e\n\u003cli\u003eSidechain hi-pass filter \u003c\/li\u003e\n\u003cli\u003eSingle-space 500 series rack format\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eOCL-500 Specifications \u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eFormat:\u003c\/span\u003e API® 500 series standard, fully compatible \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eInput Impedance:\u003c\/span\u003e 20K-ohm, balanced \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eOutput Impedance:\u003c\/span\u003e less than 50 ohm \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eMax. Output Level:\u003c\/span\u003e +27dBu, balanced \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eThreshold:\u003c\/span\u003e off to 20dB of gain reduction at +4dBu \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eRatio:\u003c\/span\u003e 1.5:1 to 15: 1, soft knee \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eOutput:\u003c\/span\u003e Off to +20dB of makeup gain \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eMax. Gain Reduction:\u003c\/span\u003e 27 dB \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eFrequency Response:\u003c\/span\u003e +\/- 1 dB from 10Hz to 95kHz \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eNoise Level:\u003c\/span\u003e better than 78dB below +4dBu, 0-30kHz \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eTotal Harmonic Distortion:\u003c\/span\u003e less than 0.01% with no compression \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Pendulum","offers":[{"title":"Default Title","offer_id":44449365885031,"sku":"15415","price":995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/pendulum_ocl500_2.jpg?v=1787088726"},{"product_id":"purple-audio-action-fet-compressor-demo-deal","title":"Purple Audio Action FET Compressor (Demo Deal)","description":"The \u003cb\u003e Purple Audio Action\u003c\/b\u003e features a constant impedance 600 ohm input attenuator feeding the input transformer, just like our MC77 units. This makes the input more resistant to overload by hot signals. After the input transformer, the signal is attenuated by the same gain reduction FET as in the MC77. The attenuated signal is buffered by our class A KDJ3 opamp, which feeds the output fader. Lastly, our class AB KDJ4 output opamp drives our custom hexafilar nickel and steel output transformer. The total gain (with no attenuation) is 45dB, just like the MC77. \u003cbr\u003e\u003cbr\u003e The attack and release times cover a broader range than the MC77, which can cause distortion... which may or may not be what you are looking for. Use at extremes with caution. The ratios are the same as the MC77, and the threshhold moves up as the ratio goes up, just like the MC77. \u003cbr\u003e\u003cbr\u003e In the center of the unit is an SMT sidechain and stereo link amplifier, below that is our SMT compression LED ladder meter driver. Behind that is the SMT input and output tricolor LED meter driver. \u003cbr\u003e\u003cbr\u003e Stereo linking is accomplished by cross connecting pins 3 \u0026amp; 6 on the edge connector. On the Purple Sweet Ten, there is a second output XLR that can be used to link two Actions. The link is accomplished using a XLR-F to XLR-F cable with pin 2 on one XLR-F connecting to pin 3 on the other XLR-F and vice versa. Plug in the cable, flip the front panel switch and you are linked. Non-Purple racks do not have an easy way to connect pins 3 and 6, and will need modification to link two Action units. \u003cbr\u003e\u003cbr\u003e The  \u003cb\u003eSpecifications:\u003c\/b\u003e \u003cli\u003e Total Gain: 45dBu \u003c\/li\u003e\u003cli\u003e Ratios: 4:1, 8:1, 12:1, 20:1, ∞:1 (\"All buttons in\") \u003c\/li\u003e\u003cli\u003e Attack time: Continuously Variable from over 800 microseconds to 20 microseconds \u003c\/li\u003e\u003cli\u003e Release time: Continuously Variable from over 1.1 seconds to 50 milliseconds \u003c\/li\u003e\u003cli\u003e Input impedance: 600 ohms \u003c\/li\u003e\u003cli\u003e Output impedance: 600 ohms \u003c\/li\u003e\u003cli\u003e Current consumption: 90ma \u003c\/li\u003e","brand":"Purple Audio","offers":[{"title":"Default Title","offer_id":44449366245479,"sku":"13949","price":699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/purple_audio_action_fet_1_1.jpg?v=1787088728"},{"product_id":"shadow-hills-industries-dual-vandergraph-demo-deal","title":"Shadow Hills Dual Vandergraph 500 Series Stereo Compressor (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eShadow Hills Dual Vandergraph\u003c\/strong\u003e follows the lineage of the \u003ca href=\"https:\/\/vintageking.com\/shadow-hills-industries-mastering-compressor\"\u003eShadow Hills Mastering Compressor\u003c\/a\u003e maintaining its reputation of undeniable quality and exceptional performance, in a convenient 2-slot API 500 Series format module. Its inner components consist of the discrete gain cells from the Mastering Compressor combined with the Optograph’s extremely flexible Sidechain Filter matrix. It features a fully discrete Class A audio path and Shadow Hills' custom Iron Transformers. This combination provides exceptional dynamic control making the Dual Vandergraph a premium stereo compressor for your 500 Series rack!\u003c\/p\u003e\r\n\u003cp\u003eJust like the Mastering Compressor, the Compression and Output Level controls are Swiss made twenty-four position attenuators. The Ratio switch, selects between: 1.2: 1, 2.5: 1, 4: 1, 8: 1. In addition to changing ratios, each selection changes preset attack and recover times. The Sidechain Filter Matrix controls the frequency sensitivity of the side-chain. The positions are: 90 hertz, 150 hertz, 250 hertz and Bandpass.\u003c\/p\u003e\r\n\u003cp\u003eThough the Dual Vandergraph operates in stereo, it is controlled by a single set of variable attenuators. It will function as normal with just one channel connected.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eCONTROLS:\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eRatio\u003c\/li\u003e\r\n\u003cli\u003eFilter\u003c\/li\u003e\r\n\u003cli\u003eCompressor\u003c\/li\u003e\r\n\u003cli\u003eOutput\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449367031911,"sku":"15880","price":2339.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow-hill-dual-vandergraph-23_13055_1_1.jpg?v=1787088731"},{"product_id":"shadow-hills-industries-mono-optograph-500-demo-deal","title":"Shadow Hills Industries Mono Optograph 500 (Demo Deal)","description":"\u003cb\u003eShadow Hills Optograph \u003c\/b\u003e\u003cbr\u003eThis Single channel discrete optical compressor, in the API 500 series form factor, takes its cues and much of its design from the optical stage of its behemoth Big Brother, the Shadow Hills Mastering Compressor. The Optograph's front end is balanced by an original Jensen input transformer. The output utilizes our specially recreated Nickel transformer. The essence of the compressor's character comes from our custom electroluminescent cell and discrete op-amp combination. The high quality circuit is pristine enough for bus compression, and yet has a unique character reminiscent of an antique world class compressor, that has just now been discovered. It's also perfect for squeezing drum busses and massaging vocals. It's the perfect glue for tracking and mixing anything that needs to sound more finished, more like a record. \u003cbr\u003e\u003cbr\u003eJust like The Mastering Compressor, the Optograph's threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever. \u003cbr\u003e\u003cbr\u003eBuilt into the side chain, are a very powerful series of filters: 90 hertz, 150 hertz, 250 hertz, and band pass. By engaging a specific filter, you choose at which point the onset of compression occurs. First position, nothing below ninety triggers compression. Second position, nothing below one-fifty. Third, nothing below two-fifty. The fourth position is a musical bandpass filter. In this position, compression is triggered by the program's mid-range frequency content, ignoring the highest and lowest frequencies. The filters are amazingly useful for shifting the focus of what should be more compressed and creating compression curves on purpose. \u003cbr\u003e\u003cbr\u003eAnother unique feature for sculpting the overall sonic character is the Transformer Desaturate mode. In this mode we cancel out any distortion and frequency non-linearity’s caused by the output transformer. The result is a pure, almost transformer-less sound, whilst still receiving the benefits, of limiting transients that can only come from magnetics. \u003cbr\u003e \u003cbr\u003e\u003cbr\u003eThere is also a VU meter for the display of gain reduction. The Optograph is enclosed in a twelve gauge steel chassis, has an engraved front panel and custom made knobs. \u003cbr\u003e\u003cbr\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449367064679,"sku":"14003","price":1615.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow_hills_mono_optograph_1_1.jpg?v=1787088732"},{"product_id":"standard-audio-level-or-demo-deal","title":"Standard Audio Level-Or (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eStandard Audio Level-Or\u003c\/span\u003e is an API © 500-Series rack compatible JFET limiter \/ distortion processor. The design was inspired by the Shure Level-Loc PA limiter, popular for its trashy, ultra compressed sound. The extended features of the Level-Or allows it to achieve what the Level-Loc does and much, much more. \u003cbr\u003e\u003cbr\u003e In \"Level\" mode, the Level-Or acts very much like the Level-Loc. An additional, faster release time has been added for even more flexibility and a broader range of compressed sounds. \u003cbr\u003e\u003cbr\u003e In \"Crunch\" mode, the Level-Or sets itself apart from anything else like it. By sweeping the input level over the range provided, a huge palette of sounds can be reached from slight harmonic enhancement, to aggressive crunch, to buzz-saw like distortion, to complete and utter destruction of the original source material. \u003cbr\u003e\u003cbr\u003e Between these two available modes, there is a huge array of sounds that can be produced from this unit. Simple drum loops can be taken from boring to unique and drum room mics can be crushed or distorted to taste adding size and character to the overall sound. Bass, guitar, and keyboard sounds can be manipulated, taking on completely new and different sounds than the original source material. \u003cbr\u003e\u003cbr\u003e *Note: Due to the nature of the design of this unit, it is very aggressive sounding; with noticeable pumping, distortion, and some noise. \u003cbr\u003e\u003cbr\u003e We consider this a good thing! \u003cbr\u003e\u003cbr\u003e \u003cb\u003eFeatures\u003c\/b\u003e \u003cul\u003e \u003cli\u003eTransformer balanced input \u003c\/li\u003e\n\u003cli\u003eElectronically balanced, line level output stage capable of driving balanced loads as low as 600 ohms. \u003c\/li\u003e\n\u003cli\u003eTwo modes of operation: \u003c\/li\u003e\n\u003cli\u003eLevel – Sound of unit is dominated by JFET limiter \u003c\/li\u003e\n\u003cli\u003eCrunch – Sound of unit is dominated by harmonic distortion from the discrete transistor-based, Class A amplification stages \u003c\/li\u003e\n\u003cli\u003eAdditional release time added that is twice as fast as original release \u003c\/li\u003e\n\u003cli\u003eOutput level control to enable the input of the Level-Or to be driven hard without clipping the device that the Level-Or is driving (DAW input, Tape Machine, Console Line Amplifier, etc). \u003c\/li\u003e\n\u003cli\u003e¼\" line input on front panel\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Standard Audio","offers":[{"title":"Default Title","offer_id":44449367621735,"sku":"14008","price":472.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/standard_level-or_cat_1.jpg?v=1787088734"},{"product_id":"pete-s-place-audio-bac-500","title":"Pete's Place Audio BAC-500 500 Series Compressor\/Limiter","description":"\u003cp\u003eDesigned by Brad Avenson of Austin, Texas-based Avenson Audio, the \u003cstrong\u003ePete's Place Audio BAC\u003c\/strong\u003e (short for Brad Avenson Compressor) is a feedback-style FET compressor built around two discrete op amps and a custom wound output transformer.\u003cbr\u003e\u003cbr\u003e\r\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eFrom the top down, the BAC’s faceplate features a large silver rotary input knob, smaller pots for attack, release and ratio, and a large output knob at the bottom. Additional features include a three-position sidechain contour switch, eight-LED gain reduction meter, and pushbuttons for distortion and bypass.\u003cbr\u003e\u003cbr\u003eThe module’s attack control runs from fast to quite fast, while the release control exhibits a fairly wide range, enabling the compressor to go from “pumping, breathing fast” up to approximately a second and a half. This allows sounds to “hang” a bit when using the device purely as a leveler or limiter.\u003cbr\u003e\u003cbr\u003eThe ratio control features five positions ranging from 2:1 to 20:1, with a sixth position marked as “∞!”. According to Avenson, “The infinity control has a little exclamation point next to it because, not only is it really flat, but it also puts you in that spot where you can do some over-compression and other interesting things. It changes where the threshold starts to compress as well, so it gives you different varieties of tonal characteristics to play with.”\u003cbr\u003e\u003cbr\u003eThe BAC’s sidechain toggle switch offers a choice of three possible settings: flat, high-pass filter (cut off around 70 to 100 Hz), and an option that somewhat exaggerates the high end while simultaneously cutting the low end. “The overall effect of this third setting is somewhat like a de-esser fed into the sidechain, but it’s a little wider than that and quite good for taming a variety of things that are overly bright,” Avenson notes.\u003cbr\u003e\u003cbr\u003eWith all of the controls essentially cranked between the input and output knobs, the BAC is capable of delivering nearly 50 dB of gain, which can be very helpful in compensating for serious gain reduction issues caused by greatly compressing dynamic range.\u003cbr\u003e\u003cbr\u003eThe bypass button found below the output knob is a true relay bypass, while the adjacent distortion button allows the user to achieve a true bench FET compression sound. “A lot of FET compressors use tricks to linearize the FET as a compression element and make it sound cleaner because if they’re used solely by themselves, they’re really pretty raunchy sounding,” says the designer. “So this switch allows you to play with how much of the frequency response and distortion characteristics of the FET you get. By engaging it, you’re getting a lot more second harmonic distortion and aggressive sounds because we’re taking away some of the linearizing elements. It’s basically a way to kick in a more aggressive sounding compressor without changing any of the other settings. You can dial in the amount of dirt you want.”\u003cbr\u003e\u003cbr\u003eAvenson sums the BAC up by adding, “Although this product is largely designed to provide a bit of color and flavor—and not be too heavy handed—it really does possess that nice ‘bite’ that is characteristic of FET compressors and perfect for cranking down on things like drum room mics when you need it.”\u003cbr\u003e\u003cbr\u003ePete’s Place Audio is an umbrella organization founded to bring a wide variety of handcrafted, innovative, boutique recording and live audio products to market. Under the leadership of President Lisa Montessi and backed by the manufacturing expertise of A-Designs Audio, Pete’s Place collaborates with some of today’s most talented recording artists and engineers to help determine what products, regardless of how esoteric, they feel are missing in the studio and live performance environments.\u003c\/p\u003e","brand":"Pete's Place Audio","offers":[{"title":"Default Title","offer_id":44449383284839,"sku":"10965","price":995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/petes-place-audio-bac500_10965_1_db112b63-5e57-4556-8451-dcf06a7b4372.jpg?v=1787088796"},{"product_id":"tonelux-tx5c-module","title":"Tonelux TX5C 500 Series Compressor","description":"\u003cp\u003eAcross the board, Tonelux manages to merge excellent sound with smart features you don't see on other units. 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And to top it all off, Tonelux's \"Tilt\" circuit is onboard, giving you unique control over the sidechain to avoid pumping and get more of what you really want with the TX5C.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eBlendable feed back and feed forward compression add versatility\u003c\/li\u003e\r\n\u003cli\u003eWet\/dry mix knob for the perfect blend\u003c\/li\u003e\r\n\u003cli\u003eIntegrated \"Tilt\" circuit on the sidechain improves results\u003c\/li\u003e\r\n\u003cli\u003eFlexible ratio goes above and beyond the norm\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eBlendable feed back and feed forward compression add versatility\u003c\/strong\u003e\u003cbr\u003eWhen you want versatile compression, Tonelux added enough features into the TX5C to make it a no brainer for any 500 Series rack. For starters, it offers both feed back and feed forward compression, so you get the best of old-school smoothness and modern compression, making the TX5C effectively two compressors in one. Beyond that, however, the TX5C features a unique tone control, letting you fade between the two compression types and get the best attributes of each, giving you the most control over your sound.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWet\/dry mix knob for the perfect blend\u003c\/strong\u003e\u003cbr\u003eThe TX5C lets you skip a step, foregoing in-the-box dry\/wet blending on two channels and letting you get just the right amount of each via in-module parallel mixing. 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Because you can increase the highs and decrease the lows simultaneously, you get a musical response that virtually eliminates pumping because the RMS detector gets more uniform energy distribution versus the bass-heavy signal most compressors see.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFlexible ratio goes above and beyond the norm\u003c\/strong\u003e\u003cbr\u003eControl your compression with the TX5C's ratio control, going from 1.5:1 to 20:1 and then even beyond via the \"Over\" feature. Using \"Over,\" you can cause the compressor to reduce at a higher ration than the gain is going into it. For example, the compressor can compress an increase in signal of 10dB with a gain reduction of up to -8dB, so if the signal goes up 10dB, the output will go down 8dB. It's a nice trick for taking an over-compressed source, say a snare. By adjusting the attack and using the Over feature, you can effectively recover the original impact peak of the snare. Then, with the wet\/dry mix control, you can blend back in the liveliness with the original \"flat\" snare to get a dynamic sound but with a controlled peak. Note also that the TX5C offers flexible attack and release settings, letting you switch from an extremely fast micro-second attack down to a smooth, slow, more leveling-like attack. Likewise, the release control can be adjusted from almost instant to three seconds. 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The Vogad loves drums, individually or sent as a stereo bus made possible by the Stereo Link Switch. All in all, the Vogad pulls of \"modern\" while retaining a vintage warmth and vibe you'll love. Don't forget to try it on a synth hook.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eInward Connections: boutique gear handmade in LA\u003c\/strong\u003e\u003cbr\u003eInitially one of LA's best-kept secrets, the word about Inward Connections has been sweeping the globe. After all, when you hear guys like Chris Lord-Alge and Eddie Kramer swearing by a brand, you know to pay attention. 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The unit is based on an optical attenuator, the purest high fidelity gain control mechanism available, and provides gentle limiting to fairly aggressive compression while remaining neutral and transparent.\u003cbr\u003e \u003cbr\u003e The m502 employs the same compression circuit topology as the Grace Design m102 Optical Compressor but is housed in a chassis for installation in the popular 500 series racks. The front panel includes a bypass switch, a 3-position input gain switch ranging from -10 to +10, a link switch, 10 segment LED array to display gain reduction levels, rotary pots for control of Threshold, Attack, Release and Ratio, and a pot for output level. 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So now, whether you’re in the studio, on location, or on the road, you can enjoy classic Retro compression without compromise.\u003c\/p\u003e\r\n\u003cp\u003eThe Retro instruments DOUBLEWIDE takes its cue from the legendary Sta-Level compressor but is ultimately its own design. Under the hood there are four NOS 6BJ6 variable-mu tubes doing the actual compression work configured in a fully complementary push-pull design, delivering the sonic characteristics typical of a full-sized Retro compressor.\u003c\/p\u003e\r\n\u003cp\u003eThe Retro instruments DOUBLEWIDE tubes are arranged in two gain stages, working in delicate combination alongside two high-quality Cinemag transformers. Input and output are fully floating and transformer balanced for use with line level signals, while a hard-wire bypass switch allows for quick evaluation of the compression signature. Compression attack and recovery times are continuously variable.\u003c\/p\u003e\r\n\u003cp\u003eThe DOUBLEWIDE is a small tube compressor with a big sound. It excels at processing all manner of sources like bass, vocals, even whole mixes (but for that you’ll probably need two!), adding a luxurious compression signature to your audio that’s unmistakably analog. Like the Sta-Level and 176 before it, the DOUBLEWIDE has two timing modes; Single and Double. ‘Single’ is slower: perfect for taming things like harsh vocals and unruly bass; while ‘Double’ provides a dynamic program-controlled attack and recovery timing that’s arguably better for drums and other fast transients. Between these two modes you won’t want for anything else.\u003c\/p\u003e\r\n\u003cp\u003eThe DOUBLEWIDE is designed to provide the user with years of reliable service. Special circuitry eliminates excess current inrush and component stress when power is applied. Power required is 180 milliamps (6 watts), which is well within a two-slot power allowance. The tubes are self-biased and balanced without the need for user adjustments and there are no internal controls. A meter-zero adjustment is accessible from the side of the unit to compensate for tube variations. Tube replacement is straightforward and the tubes are readily available.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"Default Title","offer_id":44449427849319,"sku":"19528","price":1429.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/retro_doublewide_front.jpg?v=1787088953"},{"product_id":"aml-54f50","title":"AML 54F50 500 Series Compressor\/Limiter","description":"The \u003cb\u003eAML 54F50 \u003c\/b\u003eis a Class A, compressor and limiter module which occupies three slots in a 500 series rack. 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With fully discrete Class A\/B circuitry, three custom hand-wound transformers, and versatile new features like a slow attack setting, the 2264ALB is even better than the original.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eHISTORY REPEATS ITSELF\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe 2264A compressor\/limiter has a long, rich history. Designed as an improved version of the 2254\/R with an advanced circuit design and more precise response curves, the 2264A was an instant hit. Originally released in 1974, the 2264A compressor\/limiter quickly earned a reputation for its warm, punchy sound. Equipped with a unique diode bridge compression circuit, the 2264A was also used as the design inspiration for the legendary 33609 stereo limiter\/compressor. Still, decades later, 2264A units are highly sought after. Thankfully, you can capture the same incredible tone with the new Neve 2265ALB compressor\/limiter.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eINTUITIVE INTERFACE\u003c\/h3\u003e\r\n\r\n\u003cp\u003eFeaturing three dual-concentric controls with push button switches, the 2264ALB packs a ton of versatility into a compact Lunchbox-sized package. Clearly monitor your gain reduction using the improved LED meter with 2 dB increments for precise mixing.\u003c\/p\u003e\r\n\r\n\u003cp\u003eQuickly shape and mold sounds using the intuitive interface. The top dial controls the limiter settings, including recovery time and threshold. Set release times as fast as 50 ms for aggressive peak limiting, or slow things down with times up to 800 ms for subtle stereo bus limiting. Glue your mix together with two dedicated auto release settings. Push-dial controls let you quickly bypass the limiter.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe bottom dial controls the compressor setting, in the same manner as the limiter. Dial in fast, punchy compression or give your tracks a slow, gentle squeeze with selectable record times from 100 ms - 1500 ms. Push and pump your transients in time with the tempo using two auto recovery settings. Toggle the compressor on and off using the push-dial controls.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe 2264ALB is capable of soft, subtle compression or hard-hitting transient reduction with a selectable ratio from 1.5:1 to 6:1. Set your make-up gain with the inner dial to properly A\/B tracks before and after compression.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eBETTER THAN EVER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe original 2264A compressor\/limiter had a fixed attack time of 3 ms, making it an excellent option for tracking or clamping down on dynamic drum performances. 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The output utilizes our specially recreated Nickel transformer. The essence of the compressor's character comes from our custom electroluminescent cell and discrete op-amp combination. The high quality circuit is pristine enough for bus compression, and yet has a unique character reminiscent of an antique world class compressor, that has just now been discovered. It's also perfect for squeezing drum busses and massaging vocals. It's the perfect glue for tracking and mixing anything that needs to sound more finished, more like a record. \u003cbr\u003e\u003cbr\u003eJust like The Mastering Compressor, the Optograph's threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever. \u003cbr\u003e\u003cbr\u003eBuilt into the side chain, are a very powerful series of filters: 90 hertz, 150 hertz, 250 hertz, and band pass. By engaging a specific filter, you choose at which point the onset of compression occurs. First position, nothing below ninety triggers compression. Second position, nothing below one-fifty. Third, nothing below two-fifty. The fourth position is a musical bandpass filter. In this position, compression is triggered by the program's mid-range frequency content, ignoring the highest and lowest frequencies. The filters are amazingly useful for shifting the focus of what should be more compressed and creating compression curves on purpose. \u003cbr\u003e\u003cbr\u003eAnother unique feature for sculpting the overall sonic character is the Transformer Desaturate mode. In this mode we cancel out any distortion and frequency non-linearities caused by the output transformer. The result is a pure, almost transformer-less sound, whilst still receiving the benefits of limiting transients that can only come from magnetics. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThere is also a VU meter for the display of gain reduction. 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This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well.\u003cbr\u003e\u003cbr\u003eThe nvelope 500 operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek. \u003cbr\u003e\u003cbr\u003eWith its unique Dual Band mode, the nvelope 500 gives you enhanced control over processing, and can easily handle complex program material. Additionally, its dynamics sections can be bypassed, allowing it to function as a flexible high\/low shelf EQ.\u003cbr\u003e\u003cbr\u003eSo, the nvelope 500 is a dynamics processor that can change the character of a sound by altering its impulse structure. It gives you direct control over the envelope of a signal by shaping its attack and sustain intensity.\u003cbr\u003e\u003cbr\u003eMore specifically, a drum set (or individual drums) can be made to sound more aggressive and punchy by accenting the attack, or tones that are already overly aggressive can easily be tamed.\u003cbr\u003e\u003cbr\u003eOther useful applications would be on picked or slapped bass, edgy guitar or any kind of piano recording. Generally speaking, the nvelope 500 works optimally on audio signals with a significant\/percussive attack structure.\u003cbr\u003e\u003cbr\u003eAs a balance to the attack shaping, the sustain parameters offer control over room sound and space. 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Individual frequency controls for attack and sustain yield excellent processing results without unwanted artifacts, even when utilized on complex material like a summing bus.\u003cbr\u003e\u003cbr\u003eWe’re sure you’ll be happy to know the nvelope 500 offers true dual mono or linked stereo operation whether you are using it in Full Range, Dual Band or EQ mode.\u003cbr\u003e\u003cbr\u003eWhen the nvelope 500 is not in Stereo Link mode, the two individual channels can be used as different processors simultaneously. For example, you can shape one signal in Dual Band mode in channel L and a completely different signal in Full Range mode in channel R.\u003cbr\u003e\u003cbr\u003eOr, you can connect the output of channel L to the input of channel R, and then process the frequency response with the EQ first, followed by some nice Dual Band impulse shaping... 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Our custom opto cell provides fast, invisible compression without the artifacts and sluggish response inherent in vintage designs. \u003cbr\u003e\u003cbr\u003eThe NEW \u003cspan style=\"font-weight: bold;\"\u003ePendulum OCL-500\u003c\/span\u003e has\nthe same compression circuit as the OCL-2, but uses a transformerless\nclass A solid-state gain makeup circuit in place of the tube stage. The\nresult is clean, transparent compression that can be used to shape the\ndynamics of any source while preserving its tone. Like the OCL-2,  the\nOCL-500 has a wide variety of time constants and dynamic control to\noptimize the compression characteristics, including a sidechain hi-pass\nfilter.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eOCL-2 compression profile with our proprietary opto cell \u003c\/li\u003e\n\u003cli\u003eSix time constants with fast, rms, multi-slope and average \u003c\/li\u003e\n\u003cli\u003eClass A solid - state (no tubes) \u003c\/li\u003e\n\u003cli\u003eSidechain hi-pass filter \u003c\/li\u003e\n\u003cli\u003eSingle-space 500 series rack format\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eOCL-500 Specifications \u003c\/span\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eFormat:\u003c\/span\u003e API® 500 series standard, fully compatible \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eInput Impedance:\u003c\/span\u003e 20K-ohm, balanced \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eOutput  Impedance:\u003c\/span\u003e less than 50 ohm \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eMax. 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Enter \u003cstrong\u003eThe Brute\u003c\/strong\u003e from Inward Connections. This 500 Series limiter is a gentle giant, adding substantial warmth and presence to your vocal. It helps bring out a breathy and airy quality while at the same time smoothing out peaks and bringing the vocal up to the front of the mix where it belongs. A monster on vocals but not to be overlooked on guitars, bass, and anywhere else an optical limiter can be of use.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eExcels at giving you an up-front vocal sound\u003c\/li\u003e\r\n\u003cli\u003eInward Connections: boutique gear handmade in LA\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eExcels at giving you an up-front vocal sound\u003c\/strong\u003e\u003cbr\u003eNo frills here, just results. Send a vocal through The Brute and it'll sound like you've been working for days...or using gear many times more expensive. This optical limiter loves bringing vocals right up front in the mix, while retaining a smoothness and airiness, so you get just the right amount of squeeze. A VU meter is a nice addition for the 500 Series format, added to by a 250Hz highpass filter plus a link switch for when you can't get enough of The Brute.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eInward Connections: boutique gear handmade in LA\u003c\/strong\u003e\u003cbr\u003eInitially one of LA's best-kept secrets, the word about Inward Connections has been sweeping the globe. After all, when you hear guys like Chris Lord-Alge and Eddie Kramer swearing by a brand, you know to pay attention. Dreamed up and designed by Steve Firlotte, a well-known LA tech, the Inward Connections line offers premium options for the discerning ear, all meticulously handmade in Firlotte's Los Angeles workshop.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003e\r\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications:\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eGain Reduction: up to 40dB\u003c\/li\u003e\r\n\u003cli\u003eInput Impedance: \u0026gt;100K ohms balance\u003c\/li\u003e\r\n\u003cli\u003eOutput Impedance: 600 ohms balance\u003c\/li\u003e\r\n\u003cli\u003eFrequency Response: +\/- 0.5dB@20Hz to 50KHz\u003c\/li\u003e\r\n\u003cli\u003eOutput Signal to Noise: -95dB or greater\u003c\/li\u003e\r\n\u003cli\u003eTHD + Noise: .01%@1KHz\/+4dBu\u003c\/li\u003e\r\n\u003cli\u003eReserve Makeup Gain: +15dB\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Inward Connections","offers":[{"title":"Default Title","offer_id":44449473069159,"sku":"18196","price":849.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/inward_connections_the_brute_1_1_6af4242a-2d36-4913-9ace-defc089e64c5.jpg?v=1787089087"},{"product_id":"ssl-611dyn-500-series-dynamics-module","title":"SSL 611DYN 500 Series Dynamics Module","description":"\u003cp\u003eThe \u003cstrong\u003eSolid State Logic 611DYN E Series Dynamics Module\u003c\/strong\u003e for 500 Series racks reproduces the legendary sonic signature of an early 80s classic, the SL 4000 E console channel strip, which was featured on countless 1980’s recordings. The SSL E Series Dynamics Module features a compressor\/limiter and an expander\/gate, both of which return faithfully to the circuitry and key components which define the sound of the original SL 611E Series channel strip. A true RMS converter is used in the side chain while the gain element is an all-discrete design identical to the Class A VCA chip used in the original unit. The compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voices, each with its own musical character.\u003cbr\u003e\u003c\/p\u003e","brand":"SSL","offers":[{"title":"Default Title","offer_id":44449473626215,"sku":"29440","price":899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/ssl-611dyn_29440_1.jpg?v=1787089090"},{"product_id":"neve-2264alb-demo-deal","title":"Neve 2264ALB (Demo Deal)","description":"Originally designed in 1974, the Neve 2264A mono Limiter\/Compressor unit  quickly became a legend. Delivering similar facilities and performance  as the earlier 2254 Limiter\/Compressor type, it did so despite being  packaged in a more compact form-factor. Discrete, Class A\/B design and  transformer-coupled circuits used in the input, innovative bridge-driver  design, side-chain and output stages ensured a totally unique sound.  The original 2264A units are still sought after, decades after  production stopped, and they remain one of the milestone pieces of  studio equipment. \u003cbr\u003e \u003cbr\u003e And now the 2264A is available for your 500 Series rack. \u003cbr\u003e \u003cbr\u003e Crafted in England by Neve engineers, the \u003cb\u003eNeve 2264ALB\u003c\/b\u003e retains  the unique sonic characteristics of the original 2264A by using the same  architecture, matching components and original hand-wound transformers  as its classic counterpart and adds new features: a Signal Presence  indicator LED and a Slow Attack option. And it delivers it in a modern  and portable form-factor which professional producers and engineers  demand. \u003cbr\u003e \u003cbr\u003e Simply install into an empty slot in your compatible 500 Series rack,  connect your line level signals and inject the legendary Neve dynamic  sound into your audio creations. And it's the perfect pairing for the  incredible Neve 1073LB microphone pre amp module. The 2264ALB module can  be inserted between the input and output stages of the 1073LB module,  creating an all-new Neve classic audio path. \u003cbr\u003e \u003cbr\u003e Classic… and Revolutionary.\u003cbr\u003e \u003cbr\u003e","brand":"Neve","offers":[{"title":"Default Title","offer_id":44449474510951,"sku":"20525","price":1309.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/neve-2264alb_20525_1_4a395093-3151-4985-9a6e-1f75d64b0068.jpg?v=1787089094"},{"product_id":"jdk-audio-by-api-v12-500-series-compressor","title":"JDK Audio V12","description":"\u003cp\u003eThe \u003cstrong\u003eJDK Audio V12 \u003c\/strong\u003eis a single channel compressor featuring API's patented award winning compressor circuit. This is the same compressor circuit originally designed into the ATI Paragon mixing consoles. The V12 conforms to API's 500 Series format and is a member of API's VPR Alliance.\u003cbr\u003e\u003cbr\u003eThe unit includes the patented THRUST® circuitry to protect the sensitive high frequency content of the audio signal even under the most vigorous of compression ratios. The perfect companion to your V10 mic-preamp and V14 EQ, the V12 compressor provides comprehensive easy-to-use control of the audio signal with concise LED metering of both output and gain reduction. Two channels can even be linked for use as a stereo compressor with true RMS power summing of the left and right signals.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"JDK Audio by API","offers":[{"title":"Default Title","offer_id":44449477296231,"sku":"29599","price":660.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/jdk_v12_122c66ab-c962-4aa4-886c-ddb6d7b1a165.jpg?v=1787089106"},{"product_id":"anamod-am-660-used","title":"AnaMod AM 660 (Used)","description":"\u003cp\u003eThe Fairchild 660 limiter is arguably one of the most famous and sought-after compressors ever made. The magical way it adds density and dimension to a track or a mix has been demonstrated on many of the best-sounding records made in the last 50 years.\u003cbr\u003e\u003cbr\u003eThe AM660 is a faithful recreation of the classic sound and compression profile of the 660, using the AnaMod™ process to model the complex tube circuitry of the 660 and implement it entirely in the analog domain. Unlike a digital plug-in or processor based outboard gear, there is no latency, and no A\/D or D\/A conversions to compromise the sound.\u003cbr\u003e\u003cbr\u003eAM 660 Specifications\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eInput Impedance: 20KΩ, balanced\u003c\/li\u003e\n\u003cli\u003eOutput Impedance: less than 50Ω\u003c\/li\u003e\n\u003cli\u003eMax. 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The unit is based on an optical attenuator, the purest high fidelity gain control mechanism available, and provides gentle limiting to fairly aggressive compression while remaining neutral and transparent.\u003cbr\u003e \u003cbr\u003e The m502 employs the same compression circuit topology as the Grace Design m102 Optical Compressor but is housed in a chassis for installation in the popular 500 series racks. The front panel includes a bypass switch, a 3-position input gain switch ranging from -10 to +10, a link switch, 10 segment LED array to display gain reduction levels, rotary pots for control of Threshold, Attack, Release and Ratio, and a pot for output level. The m502 also includes jumper settings on the board that provides the ability to configure the stereo linking and side-chain functionality based on the specific 500 series rack used.","brand":"Grace Design","offers":[{"title":"Default Title","offer_id":44449479393383,"sku":"29810","price":549.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/grace_m502_1_2185e677-acb9-4764-8574-15e198d96e16.jpg?v=1787089115"},{"product_id":"crane-song-falcon","title":"Crane Song Falcon 500 Series Tube Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eCrane Song Falcon\u003c\/strong\u003e is a classic sounding tube compressor in a 500 series package. Falcon features 3 attack and 3 release time settings, hard and soft knee choices for compression or limiting, two different audio path sounds, wet-dry mixing for parallel compression, and is linkable. The audio path color is changed by modifying the tube circuit so it has negative feedback or does not have negative feedback.  This along with the optical like quality of the compressor allows for a colored vintage sound or a much cleaner sound with optical characteristics. When linked the master unit controls all functions on the slave except for wet-dry and makeup gain.  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Rather than try to stuff the Sta-Level into a 500 Series format, which could not be done while retaining the exact Sta-Level sound, Retro really went out of their way to build the Doublewide like any other piece of Retro gear. What you get is a USA-made tube compressor that's optimized for the format...one that's vibey, full of mojo, and perfect for your grab-and-go 500 Series rack.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eClassic, vibey tube goodness in a compact format\u003c\/li\u003e\r\n\u003cli\u003eA full-fledged member of the Retro lineup\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cstrong\u003eClassic, vibey tube goodness in a compact format\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003eDon't let the Doublewide's \"500 Series\" designation fool you. This mighty compressor proves that big things can come in very small packages. Retro would not have gone to surface-mount technology with the Doublewide. Instead, they chose to make the most out of the format and pack as much \"Retro\"-ness as possible. Sure, there are going to be design constraints with the format, but you'd be hard-pressed to hear them. The Doublewide has been consistently winning engineers over with its true tube personality. Inspired by the old B3 Hammond, you get that more vibey, more \"rubbery\" compression with the Doublewide that's a hallmark of classic gear. There's more spring to it, a little more liveliness and spunkiness than, say, the Sta-Level. Use it on vocals or bass and it'll make things pop really nicely. It's really adjustable, too. Send your drum overhead mic through it and you can bring out the rim sound. All in all, it's hard to name a compressor that gives you this much classic-vibed oomph in this price range or even double it, which is one reason we've seen more and more studios picking up pairs.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eA full-fledged member of the Retro lineup\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003eIf you've been thinking about getting into Retro, there's no better gateway than the Doublewide. This USA-made 500 Series compressor is designed and painstakingly built like every other piece of Retro gear. You get a level of quality you won't find in most other 500 Series pieces. There's the REAL Retro meter, for starters. And, though it's hard to describe, there's just that Retro \"feel\" when using it – a 1950s sort of vibe. The Doublewide may be the most go-sized of its siblings, but without a doubt, it's a part of the family.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"Default Title","offer_id":44449481424999,"sku":"20918","price":1209.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/retro_doublewide_demo-deal_8c257163-081a-4732-ba5c-4b06d3bd9db3.jpg?v=1787089126"},{"product_id":"daking-comp-500","title":"Daking Comp 500","description":"\u003cp\u003eThe \u003cstrong\u003eDaking Comp 500\u003c\/strong\u003e is a simple to use VCA compressor\/ limiter in a 500 Series format. Although it is a VCA, it behaves and sounds much like the FET circuitry found in the other Daking compressors.  Relying on his years of experience and testing, Geoff has designed a simple semi-automatic compressor useful for both tracking and mixing.\u003cbr\u003e\u003cbr\u003eThe compression is set with one knob – less compression or more compression. Attack is switchable between fast and slow, and release is switchable between fast and auto. The compression ratio is about 4:1 (comp) or 20+:1 (limit).\u003cbr\u003e\u003cbr\u003eThe stereo link is very accurate and can link up to six units if necessary.\u003c\/p\u003e","brand":"Daking","offers":[{"title":"Default Title","offer_id":44449482309735,"sku":"29981","price":499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/daking_comp_500_70249a63-634a-4eb0-b143-f30131dcb90a.jpg?v=1787089128"},{"product_id":"inward-connections-vc500-compressor-used","title":"Inward Connections VC500 Compressor (Used)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eInward Connections VC500\u003c\/span\u003e is   a VCA compressor for the 500 format and it raises the bar! Master   Craftsman Steve Firlotte did not disappoint with the VC500, utilizing   the famed SPA690 op-amp with Military Spec construction.  The VC500    module is refined enough for mastering or mix buss use, but rocks enough   to replace a dbx 160VU on bass or snare, bring out harmonics and air on   an acoustic guitar or pump some room mics for a levee breaks effect. The VC500 can do it all.\u003cspan style=\"font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eSPA690 all discrete legendary amp blocks\u003c\/li\u003e\r\n\u003cli\u003eDifferential balance input transformerless\u003c\/li\u003e\r\n\u003cli\u003eBalance output transformer\u003c\/li\u003e\r\n\u003cli\u003eFits standard 500 series slot configuration mechanically and electrically\u003c\/li\u003e\r\n\u003cli\u003eGain Makeup Control +\/- 16dB attenuation\u003c\/li\u003e\r\n\u003cli\u003eThreshold Control -40dB to +22dB. This allows for low level compression to high level limiting\u003c\/li\u003e\r\n\u003cli\u003eRatio Control ranges from 2:1 to 30:1 to infinity\u003c\/li\u003e\r\n\u003cli\u003eAttack Control ranges from .2 milliseconds to 20 milliseconds\u003c\/li\u003e\r\n\u003cli\u003eRelease Control ranges from .1 seconds to 3 seconds\u003c\/li\u003e\r\n\u003cli\u003eGain Reduction Meter: 10-segment LED meter bar that ranges from -2dB to -20dB\u003c\/li\u003e\r\n\u003cli\u003eHi-Pass Filter: 250Hz for detector circuit only\u003c\/li\u003e\r\n\u003cli\u003eStereo Link Switch allows module detector circuit to be tied to adjacent compressor module. Both link switches have to be in the “UP” position\u003c\/li\u003e\r\n\u003cli\u003eBypass Switch controls a bypass relay\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Inward Connections","offers":[{"title":"Default Title","offer_id":44449484767335,"sku":"14514","price":630.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/inward_vc500_used_pb_8b99f9f7-50b4-44ab-bc10-bad8d6e28afc.jpg?v=1787089137"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/recording-outboard-500-series-500-series-compressors-and-dynamics.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}