{"title":"Compressors \u0026 Limiters","description":null,"products":[{"product_id":"elysia-alpha-compressor","title":"Elysia Alpha Two-Channel Mastering Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eElysia Alpha Two-Channel Mastering Compressor\u003c\/strong\u003e is a mighty tool for professional dynamics processing.  Featuring innovative functions with perfect technical implementation and an absolutely uncompromising quality of sound, it sets new standards for mastering applications and for cultivating any kind of audio material.  It offers M\/S processing, parallel compression as well as sidechain and audio filters, just to name a few.\u003c\/p\u003e\r\n\u003cp\u003eThe circuitry is a complete new development that provides an amount of openness and clarity which can hardly be found in present gear.  Every single part of its signal processing is realized by using single transistors running in constant class-A mode, and even the sidechain and power supply use discrete circuits.  All components are of the highest grade available and were exclusively chosen according to their tonal excellence.\u003c\/p\u003e\r\n\u003cp\u003eThese benefits result in an audio quality that is beyond all doubt.  Even when extreme adjustments are used, the sound characteristics stay clean and powerful. Consequently the alpha compressor offers suitable settings for nearly any style of music and can always be employed in profitable ways.  The enhanced functions exceed the potential of normal compressors by far and enable unimagined options for mastering and recording tasks.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE CHALLENGE\u003c\/h3\u003e\r\n\u003cp\u003eMastering requirements are many-sided and diversified.  The quality of the delivered audio material differs from one job to the other in the same way as the customers’ wishes and demands do.  Especially when it comes to dynamic processing it is not easy to procuce results that meet everybody’s desires.\u003c\/p\u003e\r\n\u003cp\u003eMany clients want their tracks to sound as loud as possible.  In most cases, however, this leads to a flat sound and a suffering stereo image. Sometimes only small adaptations are required to change the dynamics in subtle nuances.  On other occasions certain productions need a kind of sound stamp that aims at finishing the overall tonal character.\u003c\/p\u003e\r\n\u003cp\u003eThe alpha compressor is specifically designed to satisfy these demands.  Its new functions enable engineers to deal with even most complex material in outstanding quality. Even special problem cases can be subdued much better compared to using conventional types of compressors.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eM\/S PROCESSING\u003c\/h3\u003e\r\n\u003cp\u003eOne of the most important features is the integration of a switchable M\/S matrix.  This module transfers the incoming stereo signal into a middle (M) and a side channel (S). Now the M and S channels can be processed separately and are then decoded to left (L) and right (R) again.\u003c\/p\u003e\r\n\u003cp\u003eThe resulting possibilities go beyond the potential of a conventional compressor in stereo link mode.  For example, you can now process the mostly dominant middle signals like drums, bass and vocals selectively without influencing the stereo spectrum in a negative way.\u003c\/p\u003e\r\n\u003cp\u003eThe complicated splits between a powerful middle signal and a wide stereo image can now be done off the top of one’s head. But using M\/S technology in dynamic processing offers more possibilities than merely providing a problem solver for complicated cases.  The creative fraction will also love the new dimensions of putting their personal sound visions into effect.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eCOMPRESSION CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cp\u003eThe performance of the compressor can be perfectly matched to the audio material by engaging intelligent control options.  Special modes support the classic parameters attack, release, threshold and ratio, helping to achieve pleasantly unobtrusive compression results even when processing very dynamic sounds.\u003c\/p\u003e\r\n\u003cp\u003eBoth attack and release feature the switchable Auto Fast option that adjusts the time parameters semi-automatically according to the speed in which the volume of the signal changes.  In case of short and loud impulses (e.g. drums) the compressor automatically enhances its speed for a short moment and then returns to the original settings.\u003c\/p\u003e\r\n\u003cp\u003eThis makes it very easy to find musical settings for any kind of dynamic processing.  Switching the sidechain from feedback to feed forward mode results in more extreme sounding compression properties that invite to dive into creative sound design – a true pleasure for ambitious sound freaks.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eSIDECHAIN AND AUDIO FILTERS\u003c\/h3\u003e\r\n\u003cp\u003eThe integrated sidechain filters allow to shape the compression dependent on selected frequencies.  For example, it is very easy to attenuate the influence of bass signals on the overall compression.  Furthermore, you can crossfade between high pass and low pass characteristics. In combination with corresponding attack and release settings, the responding behavior can be systematically adjusted to problematic frequencies.\u003c\/p\u003e\r\n\u003cp\u003eA special Niveau Filterallows altering the character of the compressed signal.  It should not be equated with classic shelving EQs because it is capable of creating new sound nuances without corrupting the signal’s original complexion.  Digital productions will sound more powerful and rhythm instruments will gain in punch and assertiveness.\u003c\/p\u003e\r\n\u003cp\u003eThe fact that you can use this function on the middle and the side channel separately opens up entirely new possibilities.  For example, an accentuation of the high frequencies in the side channel will broaden the stereo spectrum in a very pleasant and unobtrusive way.  Reverbs can also sound wider without taking exaggerated effects.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_4\"\u003ePARALLEL COMPRESSION\u003c\/h3\u003e\r\n\u003cp\u003eThe mix controller allows to blend between the compressed and the unprocessed signal so that the alpha compressor can be used to assign the right proportion without further hardware and cables.\u003c\/p\u003e\r\n\u003cp\u003eThis method of parallel compression enables the user to enhance the quieter signals only and leave the rest as it is.  The mix will sound tight and loud without degrading the original dynamic structure. For sound design purposes, this feature can also be used to add extreme compression effects to the source.  Both the original and the processed signal have an individual bypass switch and can be monitored separately.\u003c\/p\u003e\r\n\u003cp\u003eThis also works in M\/S mode where you can monitor the middle and the side channels independently just by switching them on and off – a very convenient aspect, because it makes changing any controller setting for this redundant.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_5\"\u003eSOFT CLIP\u003c\/h3\u003e\r\n\u003cp\u003eIn order to protect following AD converters from signal peaks the alpha compressor is equipped with Soft Clip limiters.  By holding back short transients, the converters can be set to a higher recording level.  The fully discrete transistor design makes this circuit very agile so that even very fast signals will not find a way through.\u003c\/p\u003e\r\n\u003cp\u003eThe operation mode differs however from that of a typical peak limiter that will not let any signal pass above the adjusted threshold.  The technical principle can rather be compared to an analog tape machine that drives loud impulses into saturation and thus acts like a 'natural' limiter.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_6\"\u003e100% DISCRETE\u003c\/h3\u003e\r\n\u003cp\u003eThe all discrete design using single transistors exclusively is one of the main reasons for the outstanding quality of sound of the alpha compressor.  Every single component was developed with its influence on tone in mind, and the choice of components also follows this commandment.\u003c\/p\u003e\r\n\u003cp\u003eAll amplifier stages work in current feedback mode and do not need any capacitors that could have negative effects on frequency and dynamic imaging. Resulting in enormous speed and precision these circuits play an important role in producing a notably wide and open sound character.  The PCA (Passive Current Attenuator) is an entire new development.\u003c\/p\u003e\r\n\u003cp\u003eIt also works fully discrete and purely passive, resulting in clearly superior sound quality compared to industrial ICs.  Even the sidechain electronics is based on single transistors that provide a much better signal-to-noise ratio than comparable integrated circuits.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_7\"\u003eA LOOK INSIDE\u003c\/h3\u003e\r\n\u003cp\u003eThe alpha compressor is exclusively equipped with capsuled conductive plastic potentiometers with detents.  All modules can be switched via capsuled relays that have been placed at the optimal circuit areas in order to achieve a minimum signal path.\u003c\/p\u003e\r\n\u003cp\u003eThe inputs feature toroidal transformers resulting in high common mode rejection and reducing ground loops by means of galvanic isolation.  In addition, both mix stages feature another big torodial transformer each in order to add that often sought after silky and huge sound character by simply pressing a button.  The output stages are electronic class-A designs.\u003c\/p\u003e\r\n\u003cp\u003eThe power supply is a phenomenon of its own. Newly developed discrete voltage regulators provide a signal-to-noise ratio that is so low it can hardly be measured at all. A 130 VA toroidal power transformer provides more than enough current to charge the great number of electrolytic capacitors very fast. Due to its full MU metal capsule the magnetic stray field could be reduced so efficiently that it is no problem to place the power transformer inside the housing. Definitely no esoteric punk: Certain circuit parts are heated in isolated copper blocks.\u003c\/p\u003e\r\n\u003cp\u003eThis keeps critical parameters constant which avoids changes in temperature and control mode.  The final highlight is the housing. Based on an exclusive design it represents the combination of visual elegance and mechanical steadiness.  Created with on eye on elegant details and manufactured from massive aluminum the alpha compressor marks the final crown jewel for any ambitious studio.\u003c\/p\u003e","brand":"Elysia","offers":[{"title":"Default Title","offer_id":44449213841511,"sku":"9938","price":13449.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/elysia-alpha-22_9938_1_49496d4c-0f59-4e83-84e9-2373d2475300.jpg?v=1787088164"},{"product_id":"empirical-labs-ds-duo","title":"Empirical Labs DS Duo","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eEmpirical Labs EL500\u003c\/span\u003e features ultra quiet power supply, instrument line input, flush-mount front panel.\u003cbr\u003e\u003cbr\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":44449238417511,"sku":"14701","price":1399.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/empirical_labs_ds_duo.jpg?v=1787088264"},{"product_id":"empirical-labs-el500-plus","title":"Empirical Labs EL500 Plus","description":"\u003cp\u003e\u003cstrong\u003eEmpirical Labs EL-DS DerrEsser\u003c\/strong\u003e\u003cbr\u003eThe DerrEsser from Empirical Labs is a multi-function dynamic filtering device, in an API 500 series module format.  Perhaps the most flexible de-essing tool available, in its basic \"DS\" mode, the DerrEsser is an effective, level-insensitve de-esser that adjusts the high frequency gain on overly trebly or spiky vocals, or other source.  By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the EL-DS 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 ELDS is not limited to just de-essing, and allows for multi use of its circuitry. It also features a high-frequency limiter that can almost entirely remove unwanted fret and finger noise from dynamic acoustic guitar performances, as well as tame aggressive, diaphragm-shaking vocals, in a very musical way.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBesides Bypass, there are essentially four modes of the DerrEsser:\u003c\/strong\u003e\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 EQing to make a vocal sound aggressive and clear. In this mode, the dynamic 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.  Great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease-of-use by employing 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's 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.  Both the DS and HF LIM modes offer what is perhaps 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 bar graph 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 12dB-per-octave filter whose corner frequency can again, be adjusted by the Frequency knob.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEmpirical Labs EL 500\u003c\/strong\u003e\u003cbr\u003eThe EL500 is a horizontal rack for 500-series modules that complies with API’s VPR Alliance specification—so it will work with nearly all 500-series modules.  Like all Empirical Labs products, it goes the extra mile, giving you not only a two-space power rack, but also a built-in front-panel DI for high-impedance inputs, such as guitar and bass.  The DI has an auto-sensing impedance circuit to prevent loading you pickups.\u003cbr\u003e\u003cbr\u003eThe EL500’s unique design also allows 500-series modules to mount flush with the its front panel, which brings the look of your 500-series modules uptown by eliminating unsightly edges—makes your 500 gear look like a finished rackmount unit.\u003cbr\u003e\u003cbr\u003eThe EL500 also features ultra quiet ±16V power supplies—perhaps the quietest around, plus a 48V phantom power supply. It has a front-panel Link switch that lets you stereo-link two dynamics devices, such as compressor\/limiter\/gates, or two DerrEssers.  On the back panel, there are balanced XLR and 1\/4\" TRS inputs for each slot, balanced XLR outputs, and active unbalanced 1\/4\" TS outputs for a total of eight back-panel inputs and outputs.  For global use, the EL500 has a voltage-select switch inside the unit.\u003cbr\u003e.\u003c\/p\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":44449238483047,"sku":"14700","price":899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/empirical_labs_el500_plus.jpg?v=1787088265"},{"product_id":"a-designs-audio-hm2compressor-nail","title":"A Designs Audio HM2 Compressor Nail 2-Channel Compressor","description":"\u003cp\u003eAwarded a “Mix Certified Hit” by Mix magazine, the \u003cstrong\u003eA-Designs Audio HM2 NAIL\u003c\/strong\u003e Compressor\/Limiter has three unique features that set it apart from ordinary compressors: Hard Threshold, Filter, and Mix. But that’s not where it ends. The NAIL’s tube circuitry and components were specifically chosen and designed to impart the rich, euphonic sound of analog to digital recording—enabling it to confidently “ride” the 2-bus in a place of prominence. And while the NAIL can add character to any sound, it can also work transparently in the background—all at the engineer’s discretion. Not just for the 2-bus, its ability to switch from linked stereo to dual mono makes it a great tracking compressor as well. Better still, on a stereo mix, using dual mono offers the added bonus of making the mix sound wider, as though it extends beyond the left\/right boundaries of the speakers. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThreshold, Hard Threshold and Variable Sidechain Filter\u003c\/strong\u003e\u003cbr\u003eUpon inspecting the NAIL’s highly attractive custom-milled aluminum knobs and faceplate, you’ll notice the absence of a ratio control. In its place are Threshold and Hard Threshold. With Hard Threshold turned off, Threshold acts much like an LA-2A by increasing gain reduction. Attack and release controls become somewhat irrelevant in this mode and the NAIL becomes a model of simplicity; set its threshold and gain, and let the NAIL work its magic.   \u003cbr\u003e\u003cbr\u003eFor those who like to dig deeper, Hard Threshold opens up a world of compression-\/envelope-shaping possibilities. Like the hard knee of a traditional compressor, Hard Threshold works in conjunction with the Filter, which is a variable high-pass filter continuously controllable from 8Hz to 250Hz. Once the Hard Threshold is crossed, the NAIL will apply desired compression above the selected frequency, and less to the frequencies below. This prevents the greater energy of bass from triggering unwanted compression and ducking the entire mix. Filter also lets you enhance bottom end for bass-heavy music without throwing the mix’s entire frequency spectrum out of whack, as a multi-band compressor often does.   \u003cbr\u003e\u003cbr\u003ePut simply, the combination of Threshold, Hard Threshold, and Filter allow you to dial in amount of compression, at what level it will engage, and above which frequencies it will act. Ratio is always self-adjusting in response to program material.   \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAttack, Release, Gain and Metering\u003c\/strong\u003e\u003cbr\u003eThe HM2 NAIL’s remaining continuously variable controls include Attack, Release, and Gain, which function as expected. However, Attack and Release are dependent on the settings of the Hard Threshold and also respond dynamically to program material, making for a more forgiving and musical response than traditional “once size fits all” attack\/release circuits. Other functions include compressor In\/Out for quick A\/B comparison; Stereo Link\/Dual Mono; and Gain Reduction\/Level for metering, all controlled via toggle switch. Speaking of meters, the NAIL’s LED meter was chosen for it’s ultra fast response and the ability to see it clearly from across a dark-lit control room. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMix Control\u003c\/strong\u003e\u003cbr\u003eThe HM2 NAIL’s Mix knob offers continuously variable control between direct (dry) and compressed signal. Particularly useful for DAW mixing, Mix enables you to apply parallel compression to a submix without losing two channels of A\/D\/A for an aux send\/return. 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The HPF's tell the limiter NOT to trigger limiting based on content below the set HPF frequency.  This is extremely helpful on bass heavy material.  This greatly widens the units potential application set and the ability of the user to set this new behavior \"on the fly.\"  Variable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together to greater or lesser degrees.  The Stereo Link is continuously variable from 0-infinite. \u003cbr\u003e\u003cbr\u003e All controls except \"Ratio\" are pots.  The new variable pots add the ability to fine tune behaviors in the studio.   Mastering engineers may prefer the repeatability of switches, such as those on the FET II, which will continue in the Daking Product line. \u003cbr\u003e\u003cbr\u003e The FET II's relied on control voltage summing for the stereo linking.   Because the FET III is two independent units in one box, it used audio summing, which is much more accurate. \u003cbr\u003e\u003cbr\u003e The Daking FET III uses THAT CORP differential amps in and out (electronically balanced).   The FET II has transformers in and out but they are 1:1 input to output so they do not \"color\" the sound.  A mic input transformer at 1:10 ratio in a mic pre \u003cem\u003ewould\u003c\/em\u003ecolor the sound significantly.   The common mode rejection in FET III is equal to that of FET II. 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While it's virtually impossible to eliminate distortion, the PeakStopPlus circuit does it gracefully and effectively with minimal distortion. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStereo Link\u003c\/strong\u003e - allows you to link channels 1\u0026amp;2 and 3\u0026amp;4 for two channels of true stereo compression.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eAll four channels feature balanced gold plated XLR and 1\/4\" inputs and outputs, and switchable +4dBu or -10dBV operating level to interface each individual channel with any other device. \u003cbr\u003e\u003cbr\u003e So whether you need to control the level, placement in the mix, or overall characteristics of four independent signals or control the gain leveling on a couple of stereo pairs, the dbx 1046 is for you.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449241792615,"sku":"6360","price":569.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_1046.jpg?v=1787088276"},{"product_id":"dbx-1066","title":"DBX 1066","description":"\u003cp\u003eAfter producing the world's most renown series of compressors, the task of producing a new compressor worthy of our reputation would be daunting for most engineers. 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As has become our standard, the contour switch allows entire mixes to be easily smoothed with soft compression while keeping low frequencies from punching holes in the overall mix.  Selectable input and output metering allow you to make sure that everything is matched up level-wise, maximizing your signal-to-noise ratio.\u003cbr\u003e\u003cbr\u003eFor overall speaker protection, our new PeakStopPlus™ does all previous circuits one better.  With a new design, the PeakStopPlus represses those unwanted transients from blowing your drivers while minimizing the distortion common to many other \"hard\" limiters.  Selectable Hard-Knee or OverEasy® characteristics make the 1066 ideal for your gain control needs, whether you're looking for \"heavy\" almost-special-effects compression or soft, smooth gain leveling. New lightpipe technology replaces standard LED's found on most other units, making the 1066 both very easy to read and much easier to operate.\u003cbr\u003e\u003cbr\u003eIn the studio, broadcast facility or on the road with a P.A. system, the 1066 is designed for perfectly simple operation.  The 1066 allows you to eliminate unwanted signals, flexibly control overall signal gain and guard your overall mix in dual mono or stereo operation.\u003cbr\u003e\u003cbr\u003eAt the heart of the 1066 is our new dbx V2 VCA. 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The 1074’s independent channel design with key filtering capabilities make it the perfect tool for countless applications.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449241890919,"sku":"773","price":529.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_1074.jpg?v=1787088277"},{"product_id":"dbx-160ad","title":"DBX 160A","description":"\u003cp\u003eSince its introduction in the mid 1970's, the dbx 160 series has been the world's most popular line of audio compressors.  After the classic 160 (which is still used daily in many world class studios), came the 165, the 160X and the 160XT.  The 160X\/XT were the models that truly became the industry standard. Solid construction, fool proof operation, great sound, at-a-glance metering and a bulletproof output stage all contributed to its popularity with musicians, recording studios, consultants and installers, and broadcast media production people alike.\u003cbr\u003e\u003cbr\u003eThe \u003cstrong\u003edbx 160A\u003c\/strong\u003e is a legendary dbx 160 family of compressor\/limiters.  The same classic sound, easy set-up and no compromise metering is now married to an improved signal path and stronger chassis design.  The result is industry standard compressor\/limiter which is digital-ready and road tough. \u003cbr\u003e\u003cbr\u003eFeaturing switch-selectable OverEasy and Hard Knee compression curves along with extremely wide-ranging threshold, ratio and output controls, the dbx 160A is up to any task.  True RMS level detection provides the most natural-sounding dynamics processing available, from subtle compression to \"brick wall\" peak limiting. Choose low ratios and OverEasy compression to transparently smooth out fluctuating vocal and instrumental levels.  Or use the 160A's Hard Knee compression and high ratios (up to and beyond :1 and over 60dB gain reduction) for bombproof protection against overload distortion in digital recording, P.A. systems and broadcast signals. The 160A is fully compatible with +4\/-10dB and balanced\/ unbalanced systems, and its electronically balanced output stage is an outstanding line driver for long cable runs (an output transformer is optional).  The 19-segment, switchable input\/ output LED metering can be easily calibrated to any operating level. 12-segment gain reduction LEDs provide precise analysis at a glance. \u003cbr\u003e\u003cbr\u003eThe dbx 160A's unique \"INFINITY +\" inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway house mix levels.  A detector input can be used with an equalizer for de-essing sibilant vocals and selectively smoothing out boomy notes on acoustic guitar and bass.  And two 160As can be stereo-coupled to process an entire mix or instruments mic'd in stereo, without shifting the left\/right image. Its musical sound, easy operation and unequaled versatility made the original dbx 160 a world standard.  The 160A follows that tradition, while meeting the challenges of a digital world.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449241923687,"sku":"758","price":449.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_160a_1.jpg?v=1787088277"},{"product_id":"dbx-160sl","title":"DBX 160SL","description":null,"brand":"DBX","offers":[{"title":"Default Title","offer_id":44449241956455,"sku":"759","price":3399.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_160sl.png?v=1787088277"},{"product_id":"dbx-162sl","title":"DBX 162SL","description":"\u003cp\u003eThe same familiar striking front panel, machined from 1\/4\" aircraft aluminum, handcrafted solid aluminum knobs, LEDs mounted individually in machined stainless steel housings, custom VU meters with peak indicators, and heavy gauge chassis mark the \u003cstrong\u003edbx 162SL\u003c\/strong\u003e as a leader for decades to come. The 162SL combines the best features of all the great dbx compressors, past and present, and gives you more versatile performance than ever before.  In addition to having the auto attack and release as well as the hard knee threshold characteristics of the classic dbx 160, the 162SL offers AutoVelocity™ manual mode, in addition to our classic dbx OverEasy® mode, made standard by the legendary dbx 165A. And speaking of the 165A, all of its features, including variable attack and release controls, as well as dbx’s latest limiting algorithm PeakStopPlus™, are included in the 162SL.\u003c\/p\u003e\r\n\u003cp\u003eThe heart of any dynamics processor is its VCA. The dbx 162SL is no different. It features dual proprietary dbx VCA modules. This state-of-the-art implementation of dbx’s original Blackmer decilinear VCA boasts an unheard of dynamic range and ultra-low distortion seen only previously in the Blue 160SLs. With sonic clarity designed for the studio, the 162SL maintains its superior performance in harsh environments, pure enough for the studio, rugged enough for the road was the engineering motto of the Purple Series of Compressors \/ Limiters. Like it's big brother the 162SL, it takes full advantage of the best parts available and dbx's advanced manufacturing, including Jensen® transformers on each output standard. Following in the footsteps of the Blue Series 160SL, with the Purple Series 162SL, dbx continues to create to the most technologically advanced compressors in the world.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449241989223,"sku":"6408","price":2099.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_162sl.jpg?v=1787088277"},{"product_id":"dbx-166xs","title":"DBX 166Xs","description":"Most compressor\/gates provide less than musical compression, coupled with gating that swallows transients—or closes early, cutting off decay and reverb tails. The superb engineering in the \u003cspan style=\"font-weight: bold;\"\u003edbx 166Xs\u003c\/span\u003e ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor\/gates typically produce undesirable processing artifacts.\u003cbr\u003e\u003cbr\u003eWhen using the 166Xs’ Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow “leveling” to aggressive “peak” limiting.The 166Xs’ advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics—even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx V1 VCA to design in an extra-wide threshold range and ensure top gating performance for each application.\u003cbr\u003e\u003cbr\u003eSeparate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 166Xs' intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image—even with high amounts of compression, through True RMS Power Summing™. Professionals and newcomers alike will find that the 166Xs sets up rapidly and musically the first time it is used, especially with the Auto attack and release function. Advanced applications are now easy, with the 166Xs' full sidechain functionality, and the ability to use either hard knee or OverEasy® compression algorithms. Add to this already impressive list of features the venerable PeakStop™ limiter, and you’ve got a strong finisher, every time.\u003cbr\u003e\u003cbr\u003eThe dbx 166Xs processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost. The 166Xs puts a completely new level of compressor\/gate performance within everyone’s reach.","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449242021991,"sku":"760","price":259.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_166xs_front.jpg?v=1787088277"},{"product_id":"dbx-266xs","title":"DBX 266Xs","description":"Most compressor\/gates provide less than musical compression, coupled with gating that swallows transients closes early, cutting off decay and reverb tails. The superb engineering in the \u003cspan style=\"font-weight: bold;\"\u003edbx 266Xs\u003c\/span\u003e ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor\/gates typically produce undesirable processing artifacts.\n\u003cp\u003eWhen using the 266Xs AutoDynamic Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow leveling to aggressive peak limiting.\n\u003c\/p\u003e\u003cp\u003eThe Auto Dynamic circuitry continuously adjusts the actual attack and release times to optimally match the program material. Since users aren't restricted to using the Attack and Release controls only in peak operation, they can tailor the response of the 266Xs for individual tracks, mixed program material, special effects or system protection. As a result, production studios can use the versatile 266Xs to replace multiple single-purpose?? limiters while sound reinforcement users can standardize on the 266Xs for all of their applications.\n\u003c\/p\u003e\u003cp\u003eThe 266Xs advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx VCA to design in an extra-wide threshold range and ensure top gating performance for each application.\n\u003c\/p\u003e\u003cp\u003eSeparate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 266Xs intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image even with high amounts of compression. Professionals and newcomers will find that the 266Xs sets up rapidly and musically the first time it is used, and every time thereafter.\n\u003c\/p\u003e\u003cp\u003eThe dbx 266Xs processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost. The 266Xs puts a completely new level of compressor\/gate performance within everyone's reach.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449242054759,"sku":"754","price":149.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_266xs_front.jpg?v=1787088277"},{"product_id":"dramastic-audio-obsidian-stereo-compressor","title":"Dramastic Audio Obsidian Stereo VCA Compressor","description":"\u003cp\u003eThrough the use of several proprietary methods the \u003cspan style=\"font-weight: bold;\"\u003eDramastic Audio Obsidian\u003c\/span\u003e performs a range of tasks unheard of from the average SSL or SSL-esque unit.  The fist difference the user will notice is that the unit suffers no ‘shrinkage’ to the audio sound field.  The highs stay brilliant and clear and the bottom will continue to thunder (especially with the unit’s internal High Pass Filter engaged on the unit’s detection circuit).\u003cbr\u003e\u003cbr\u003eThe second thing the user will notice is that when the \"auto\" release time is employed the audio has a smooth, rich texture without any pumping or breathing.  From there, if the user has decided that the audio is a little too smooth for their application a simple click of the release switch to the \"lofi\" setting will net all the \"in your face\" aggression a user may desire.  Overall the clarity and performance of this unit is unparalleled by any unit based around a Voltage Controlled Amplifier (VCA) gain reduction cell.  At first look it may suggest something from the past, but at first listen the user will understand the future of professional audio.  Transformer balanced input\/output interface which gives the Obsidian its unique sound.  The TXIO Enhanced option produces that \"phat\" classic analog sound making the Obsidian an excellent way to add warmth and character to digital audio workstations.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003ePrecision stepped controls to accurately recall settings\u003c\/li\u003e\r\n\u003cli\u003eSide-Chain Input XLR\u003c\/li\u003e\r\n\u003cli\u003eBalanced inputs and outputs Ratio settings: 2:1, 4:1, 8:1, 10:1, 12:1 and SKULL\u003c\/li\u003e\r\n\u003cli\u003eAttack control range: 0.1, 0.3, 0.6, 10 and 30mSec\u003c\/li\u003e\r\n\u003cli\u003eRelease control range: 0.1, 0.3, 0., 1.2 sec, AUTO and Lo-Fi\u003c\/li\u003e\r\n\u003cli\u003eMakeup gain output \u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Dramastic Audio","offers":[{"title":"Default Title","offer_id":44449242185831,"sku":"12164","price":3195.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dramastic-obsidian_12164_1_2.jpg?v=1787088278"},{"product_id":"drawmer-dl-651-six-pack","title":"Drawmer Six-Pack","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eDrawmer Six-Pack\u003c\/span\u003e represents the industry’s first dedicated multi-dynamics processor for surround mixing and continues Drawmer’s tradition of audio ‘workhorse’ products which will continue to perform time and time again - even in a rapidly changing audio delivery environment.\u003c\/p\u003e\n\u003cp\u003eThe Drawmer Six-Pack is a single 3u unit that will provide dynamics control in any format from mono to 5.1 surround.  With six independent expander\/gates, six independent auto or manual compressors, six ‘zero overshoot’ limiters and an LFE channel plus the ability to link channels individually, the Drawmer Six-Pack makes surround dynamics easy.  In the studio, any analogue audio source from mono to stereo to full surround can be handled in one unit. In live sound, outboard applications such as drum processing or vocals can be dealt with in one easy to use unit, with both auto and manual operation.  Alternatively the unit can be re-configured at the push of a button to provide dynamic control and speaker protection without image-shift for the fast developing surround sound speaker rigs employed in the club dance scene.\u003c\/p\u003e\n\u003cp\u003eThe design of each processing module is derived from the industry standard Drawmer DL241 Compressor to deliver transparent and predictable dynamic control. The six channels of processing are arranged vertically to occupy the minimum rack space.  On channel six the user has the option to switch in a 120Hz filter to create an LFE channel.  This feature is also useful to derive an LFE from a previously recorded five channel only, full band surround mix. Instinctively laid out LED bargraph metering gives clear visual indication of all dynamic functions.  Universal Linking facilities allow for the various configurations commonly used in multi-channel surround processing as well as the conventional stereo and single channel operation.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003e Controls and Features:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeak Limiter \u003c\/strong\u003e- Programme Adaptive, variable Threshold, Zero Overshoot limiter variable from 0dB to +16dB. An LED display of limiter activity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor\u003c\/strong\u003e - Soft-Knee compressor with variable Threshold (-40dB to +20dB), Release (0.05 to 5 seconds), Ratio (1.2:1 to infinity), Attack (0.5 to 100mS) and Gain make-up (±20dB). Switchable auto\/manual Attack and Release with LED status display.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExpander\/Gate\u003c\/strong\u003e - with variable Threshold control (-70dB to +20dB) and variable Release time from 0.05 to 1 second. Dual LED gate status display is provided.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMetering\u003c\/strong\u003e - Eight LED bargraph meters display gain reduction, input\/output levels and single LEDs display Master\/Link status and Bypass.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBypass \u003c\/strong\u003e- Each channel features switchable Bypass with LED status. A relay hard wire bypass system allows the unit to still pass audio when the power is off\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242218599,"sku":"3055","price":2149.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_dl251_sixpack_1.jpg?v=1787088278"},{"product_id":"drawmer-dl241","title":"Drawmer DL241 Dual-Channel Expander\/Gate\/Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer DL241\u003c\/strong\u003e 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls.\u003c\/p\u003e\n\u003cp\u003eFacilities available on the DL241 include:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExpander\/Gate.\u003c\/strong\u003e Drawmer's unique \"Programmed Adaptive Expansion\" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold.  This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal.  The Expander\/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position. Switching is provided for 'Fast' or 'Slow' release characteristics.  The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs.  A single LED indicates gating action.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor.\u003c\/strong\u003e A full Auto Attack\/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control.  The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.  Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeak Level.\u003c\/strong\u003e 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level.  When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary.  The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment.  'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMetering.\u003c\/strong\u003e Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and output signal level Gain reduction from 1dB to -30dB is shown simultaneously with signal level from -20dB to +15dB Other single LEDs indicate function status of Gating Acton, Auto Mode, Bypass, Peak Limiting, Stereo Linking, and Power On.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo Link.\u003c\/strong\u003e When processing stereo signals, linking should be used to prevent image shifting.  This facility ties both channels together. Using channel 1 (left) as the master channel removes the need to duplicate control settings for both channels.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBypass.\u003c\/strong\u003e A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied. In bypass the VU level meter displays the Input signal.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOperating Level. \u003c\/strong\u003eThe operating level of the DL241 can be instantly switched, independently on each channel, for either +4dBu or 10dBu operation using a rear panel push switch.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInput\/Output. \u003c\/strong\u003eThe DL241 is available with either XLR connections and fully balanced ins and outs, or with stereo jack (TRS) connections, fully balanced inputs and single ended outputs.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242251367,"sku":"3054","price":1249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_dl241_1_199f9836-bb60-4ae2-a394-880e627e44e2.jpg?v=1787088278"},{"product_id":"drawmer-dl241xlr","title":"Drawmer DL241XLR Dual-Channel Expander with Balanced I\/O","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer DL241\u003c\/strong\u003e 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls.\u003c\/p\u003e\n\u003cp\u003eFacilities available on the DL241 include:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExpander\/Gate.\u003c\/strong\u003e Drawmer's unique \"Programmed Adaptive Expansion\" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold.  This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal.  The Expander\/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position. Switching is provided for 'Fast' or 'Slow' release characteristics.  The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect.  The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor.\u003c\/strong\u003e A full Auto Attack\/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control.  The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.  Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeak Level.\u003c\/strong\u003e 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level.  When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary.  The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment. 'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMetering.\u003c\/strong\u003e Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and output signal level Gain reduction from 1dB to -30dB is shown simultaneously with signal level from -20dB to +15dB Other single LEDs indicate function status of Gating Acton, Auto Mode, Bypass, Peak Limiting, Stereo Linking, and Power On.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo Link.\u003c\/strong\u003e When processing stereo signals, linking should be used to prevent image shifting.  This facility ties both channels together.  Using channel 1 (left) as the master channel removes the need to duplicate control settings for both channels.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBypass.\u003c\/strong\u003e A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied.  In bypass the VU level meter displays the Input signal.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOperating Level. \u003c\/strong\u003eThe operating level of the DL241 can be instantly switched, independently on each channel, for either +4dBu or 10dBu operation using a rear panel push switch.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInput\/Output. \u003c\/strong\u003eThe DL241 is available with either XLR connections and fully balanced ins and outs, or with stereo jack (TRS) connections, fully balanced inputs and single ended outputs.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242284135,"sku":"8586","price":1299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_dl241xlr.jpg?v=1787088278"},{"product_id":"drawmer-dl441","title":"Drawmer DL441 Four-Channel Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer DL441 Quad Auto Compressor\/Limiter\u003c\/strong\u003e captures four channels of Drawmer's innovative DL241 'Auto Compressor' in only 1u of rack space.  The inclusion of new sophisticated 'automated' circuitry allows the engineer to precisely control both the dynamic range and 'absolute' peak level of the programme instantly, without sacrificing essential control parameters.  This perfect balance of features makes the DL441 ideal for use in sound reinforcement and outside broadcast applications where an economy in rack space is essential.  Each channel combines a fully professional 'Auto Attack\/Release' Compressor with a variable threshold 'Peak Level' Limiter on the output providing a transparent 'endstop'. High resolution bar-graph displays on each channel allow gain reduction and output level to be viewed simultaneously, of particular importance in darkened concert hall or control room situations. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eFacilities available on the DL441 include:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompressor\u003c\/strong\u003e : The compressor section can be switched to provide either Hard or Soft knee compression In both the Hard and Soft modes a Ratio control is available. In the SOFT mode the ratio increases gradually over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression In Hard mode the compressor provides a more precise means of controlling gain, where the ratio as set on the front panel is applied immediately the signal exceeds threshold. This is particularly useful in many broadcast applications. Hard knee compression can also be used creatively as an effect, particularly in the treatment of drum and guitar sounds, or for giving rock vocals a 'compressed sound'. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAuto Attack and Release\u003c\/strong\u003e : removes the need for manual adjustment by producing a response which constantly follows the dynamics of the signal. This enables the DL441 to preserve crisp transients without allowing excessive peaks to occur. A smooth yet lively recovery from compression minimizes side effects such as 'pumping' and 'breathing'. This feature is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as complete mixes, vocals or 'slapped and pulled' bass guitar. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePeak Level Limiter\u003c\/strong\u003e : 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from 0db to +16dB above system level. 'Zero Response Time' transparent limiting means that the DL441 provides complete protection from even the fastest and shortest signal overloads, making the unit ideally suited for speaker system protection in sound reinforcement applications. The sophisticated circuitry will also prevent unpleasant distortion when used for digital mastering. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMetering\u003c\/strong\u003e : Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and input\/output signal level Gain reduction from 1dB to 30dB is shown simultaneously with signal level from 10dB to +10dB. When the channel is in BYPASS the output bar graph displays the input signal level. Other single LEDs indicate function status of Hard\/Soft compression, Bypass, Peak Limiting, Linking, and Power on. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBypass\u003c\/strong\u003e : A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStereo Linking \u003c\/strong\u003e: Channels 1-2 and\/or 3-4 can be stereo linked, where the left channel of the stereo pair becomes the master. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOperating Level\u003c\/strong\u003e : The operating level of the DL441 can be instantly switched, independently on each channel, for either +4dBu or 10dBu operation using a rear panel push switch. \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput\/Output\u003c\/strong\u003e : The DL441 is provided with balanced inputs and outputs on XLR connections. \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242316903,"sku":"774","price":1525.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_dl441_1.jpg?v=1787088278"},{"product_id":"drawmer-dl251-spectral-compressor","title":"Drawmer DL251 Dual-Channel Spectral Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer DL251\u003c\/strong\u003e 'Spectral Compressor', incorporates a variable 'Dynamic Spectral Enhancement' (D.S.E.) section which eliminates the problems associated with full band compressors by restoring the high frequency energy lost during the full band compression process.  This enhancement circuitry is extremely effective where compression and limiting are employed for broadcast transmission, or across complete mixes in a stereo mixdown situation.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eCompressor. \u003c\/strong\u003eThe compressor section can be switched to provide either Hard or Soft knee compression In both the Hard and Soft modes a Ratio control is available In the S0FT mode the ratio increases gradually over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.\u003c\/p\u003e\r\n\u003cp\u003eSelectable manual or auto Attack\/Release times dramatically extend the application range and user scope of the DL251.\u003c\/p\u003e\r\n\u003cp\u003eThe 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as on complete mixes, vocals or 'slapped and pulled' bass guitar.  Under manual control the wide range of adjustment available gives the ability to create dynamic effects as well as normal compression.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eEnhance Level.\u003c\/strong\u003e A variable Enhance control can be used to 'dynamically' boost any high frequency energy lost during the full band compression process and has sufficient range to add additional 'Spectral Energy' to the program material for creative processing.  When no compression is taking place, the 'Dynamic Spectral Enhancement' circuitry is inoperative and so no change is made to the signal.  However, as the signal level rises to the point where gain reduction is taking place, the Enhancement system 'kicks in' applying dynamic boost which is directly related to the amount of gain reduction taking place. A front panel switch offers an instant A\/B comparison of this feature and a green LED indicates the amount of enhancement taking place.   Metering.  Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and input\/output signal level Gain reduction from 1 dB to -30dB is shown simultaneously with signal level from 20dB to + 15dB Other single LEDs indicate function status of Hard\/ Soft compression, Auto Attack\/ Release, Side chain monitoring, Bypass, Enhancement, Peak Limiting, Stereo Linking and Power on.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eSide Chain Listen.\u003c\/strong\u003e A front panel push button with LED status enables the monitoring of any external processing applied to the side chain access connections on the rear panel.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eBypass. \u003c\/strong\u003eA fully balanced hard wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied.  In bypass mode the output level bar graph displays the Input signal.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eStereo Link.\u003c\/strong\u003e When processing stereo signals, linking should be used to prevent image shifting.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003ePeak Level. \u003c\/strong\u003e'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from 0dB to +16dB above system level When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment. 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For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.\u003c\/p\u003e\r\n\u003cp\u003eThe Drawmer solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.\u003c\/p\u003e\r\n\u003cp\u003eDrawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature.\u003c\/p\u003e\r\n\u003cp\u003eThe very fast attack of the DS201 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.\u003c\/p\u003e\r\n\u003cp\u003eAnother important role played by the gate is in the reshaping of existing sounds. An example of this might involve a simple sampling delay line used to store a sound to be re-triggered later and added to a mix. A gate can be used to impart a slower attack or faster decay to the sound and careful setting of the decay envelope can effectively hide any noise present at the end of the sample. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS201 ideal for this application.\u003c\/p\u003e\r\n\u003cp\u003eThe unit can be switched to accept a key input, which allows the gate to be triggered externally. 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gating applications which require equipment that is simple to operate and which occupies the minimum of rack space, Drawmer have designed the DS404 Quad Noise Gate utilizing new and unique 'Programme Adaptive' circuitry.  This makes the DS404 ideally suited for use over a wide range of input signals, ranging from drums and other percussive instruments through to vocals, pianos and even complete mixes.\u003c\/p\u003e\n\u003cp\u003eFacilities available on the DS404 include:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrequency Sensitive.\u003c\/strong\u003e The provision of variable Low-Pass and High-Pass Filters allows 'without compromise' frequency selective gating.  The unit can be switched for either Internal or External Key source and the Key Listen facility enables monitoring of the filter setting. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eHard\/Soft Gating.\u003c\/strong\u003e Each channel of the DS404 can be operated as a HARD or SOFT gate, providing quite different characteristics.  Two coloured LEDs clearly indicate mode status.  In the Hard mode the DS404 offers ultra-fast response time, stable triggering with complete freedom from chatter around threshold and a specialized release contour which is ideally suited to drums and other percussive material.  In the SOFT mode the DS404 becomes a versatile Expander capable of handling vocals and sub mixes.  Drawmer's unique 'Programme Adaptive' circuitry is used to optimise the attack time and ratio as well has having some effect on the manual release setting.  A more gentle release characteristic is utilized to complement the SOFT gate \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eThreshold.\u003c\/strong\u003e A fully variable threshold control provides a range from +20dB to -70dB. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eRelease Control. \u003c\/strong\u003eA fully variable release control is provided with release times from 10 ms to 5 sec to ensure that essential envelope control is not sacrificed in exchange for an economy in rack space. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eAttenuation Range. \u003c\/strong\u003eThe DS404 has switchable attenuation between 90dB and 20dB to allow for applications where a complete mute is not desired.  \u003cstrong\u003eChain Linking.\u003c\/strong\u003e Operating the Link control switches the channel on the right to Slave operation, where its gating mode, threshold and envelope characteristics are controlled by the MASTER (left) channel.  Any adjacent three channels or two stereo pairs can be linked in this way for use in any conceivable situation where linking may be required. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eLED Displays.\u003c\/strong\u003e Drawmer's familiar tri-colour LED display is once again utilized as the optimum method for indicating the envelope status for each channel. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInput\/Output.\u003c\/strong\u003eThe DS404 is provided with balanced inputs and outputs on XLR connections.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242415207,"sku":"3053","price":1249.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_ds404_1.jpg?v=1787088279"},{"product_id":"drawmer-mx40-gate","title":"Drawmer MX40 Gate","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eDrawmer MX40\u003c\/span\u003e is a single rack space unit consisting of four independent gates with a couple of twists.  A gate allows signals above a certain threshold level to pass through but attenuates signals below threshold so they don't appear at the output.  On the MX40, the gated level is switchable between -90 dB and -20 dB so that the output doesn't go completely \"dead\" when the input drops below threshold, but rather retains some lower level ambient sound.  This yields a more natural sound in some applications.\u003c\/p\u003e\n\u003cp\u003eAn adjustable bandpass filter can be inserted into the threshold detector path so that, regardless of level, only signals within a certain frequency range will open the gate. This is often preferable to full band gating, and with careful adjustment, you can use the tunable filter to allow the gate to open, for example, on the floor tom, but stay closed on the snare. Similarly, you could adjust another channel to open when the snare it hit, but reject the toms.  This goes a long way to improving definition in your mixes.  A \"key listen\" switch allows you to hear the output of the key filter rather than the gated output, making it easy to tune the filter to the desired range.\u003c\/p\u003e\n\u003cp\u003eThe Peak Punch™ feature is unique to Drawmer. When engaged, the initial attack when the gate opens is expanded upward momentarily adding punch to the attack of the gated signal.  It really works on percussive sounds, improving definition without raising the average signal level to the point where it would be squashed by a following compressor.\u003c\/p\u003e\n\u003cp\u003eThe unique Drawmer \"traffic light\" display clearly shows when gate input signals are above, below, or at threshold for quick setting of threshold controls.  The MX40 employs the same \"trigger stabilization\" as the more advanced DS201 and DS401 gates to prevent chatter and false triggering when the input signal is very close to threshold.\u003c\/p\u003e\n\u003cp\u003eGate inputs and outputs are balanced, +4 dBu operating level on XLR-type connectors.  The external key inputs are ¼\" unbalanced jacks.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242447975,"sku":"3051","price":597.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_mx40gate_1.jpg?v=1787088279"},{"product_id":"drawmer-mxpro-30-gated-compressor-limiter","title":"Drawmer MXPRO-30 Two-Channel Gated Compressor Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer MX Pro 30\u003c\/strong\u003e Gated Compressor\/Limiter is a low cost professional quality dynamics processor containing some of the proprietary design circuitry used in the more expensive models in the Drawmer range.  The MX30 has many automated features enabling fast, effective dynamic control whilst retaining the instinctively laid out control parameters, sonic character and high technical specification which have made Drawmer the industry standard.  The MX30’s competitive price point brings Drawmer’s professional processing into a much wider musician, project studio and live performance area.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eOperational control is split into three sections: Gate, Compressor, Output:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e‘Programme Adaptive’ Gate\u003c\/strong\u003e\u003cbr\u003eUsed to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer’s ‘Programme Adaptive’ circuitry. Although quick and simple to operate, the gate’s auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating ‘chatter’ when the signal is fluctuating on or around Threshold.  Two LED’s show when the signal is ‘above’ or ‘below’ Threshold and a push button switch allows additional control of Release time.  This design approach also retains all ‘leading edge’ information making the gate ideal for ‘cleaning up’ vocals or retaining the ‘punch’ on gated drums.  Switching is provided for 'Fast' or 'Slow' release characteristics.  The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs.  A single LED indicates gating action.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSoft Knee ‘Auto Compressor’\u003c\/strong\u003e\u003cbr\u003eThe gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release.  Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much ‘life’ as possible and without generating unpredictable side effects.  From the slightest to the most aggressive levels of compression, the MX30 handles it all with ease and displays the amount of compression taking place on a high resolution Gain Reduction bargraph meter.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003cbr\u003eThe Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold ‘zero overshoot’ limiter, essential for avoiding distortion when mastering to digital or speaker protection in a ‘live’ situation, adds the final polish to the signal by keeping control over signal peaks.  The Limit threshold provides an absolute maximum peak level which no signal can pass.  Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eControls:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eGate Threshold:\u003c\/strong\u003e This control sets the level below which gating takes place and may be set anywhere in the range of -70dB to +20dB. 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Soft Knee compression takes place for signals exceeding the threshold level by up to 10dB above which level, conventional ‘ratio’ compression is applied.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGain Reduction Bargraph Meter:\u003c\/strong\u003e A nine segment LED bargraph meter continuously monitors the gain reduction applied by the compressor over a range of 0dB to 30dB.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRatio:\u003c\/strong\u003e Sets the final compression ratio that will be applied once the 10dB soft knee region is exceeded. The ratio may be continuously adjusted from 1.2:1 to infinity:1 allowing the possibility of true hard limiting.  The higher the ratio setting the more compression takes place (eg. A ratio of 8:1 means that an 8dB increase in volume at the input will appear as a 1dB increase in volume at the output).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStereo Link:\u003c\/strong\u003e The unit can function as two independent gated\/compressor\/limiters or when ‘link’ mode is engaged for stereo use Channel 1 becomes the master, automatically duplicating its parameters across to Channel 2.  In this mode the same degree of gain reduction is applied to both audio channels to prevent image shifting.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOutput Gain:\u003c\/strong\u003e The output level may be attenuated or amplified by up to 20dB to compensate for level changes caused by compression.  This control comes directly before the Peak Limiter detector and this fact should be taken into account when setting the Peak Limiter threshold.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePeak Limit:\u003c\/strong\u003e This control sets an absolute limit that the output signal will not be permitted to exceed.  The limiter is ‘zero response time’ and controls peaks without any audible distortion.  For transparent ‘peak protection’ the output gain control should be set to ensure that the Peak Limiter operates only occasionally.  Alternatively, the unit can be driven into heavy limiting for creative effects.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput\/Output Bargraph Meter:\u003c\/strong\u003e An eight segment LED bargraph level meter monitors the level of the output signal over a range of -20dB to +15dB.  When Bypass is selected this meter reads input level.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242480743,"sku":"3052","price":849.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_mx30pro.jpg?v=1787088279"},{"product_id":"drawmer-mx50-de-esser","title":"Drawmer MX50 De-Esser","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer MX50\u003c\/strong\u003e is a flexible, simple to set up dual de-esser designed to fulfil the needs of the recording studio, broadcast, theatre and live sound Industries. Its classic application is to overcome the problems that can arise when sibilant sounds (S's and T's) are over-emphasised by the human voice, with such other applications as 'smoothing' a stereo mix, reducing string noise on acoustic guitars or breath noise on flutes, even refining cymbal and hi-hat sounds.  Processing is achieved by adjusting just two control parameters, frequency and de-ess.  The fully variable Frequency control operates from 800Hz to 8KHz encompassing the full sibilant range, including 'hard' sounding harmonics and other side-effects which can be generated when treble frequencies are boosted or enhanced.  This is followed by the variable de-ess which acts as a 'more' control giving up to 20dB of gain reduction at the selected frequency.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe MX50 has two modes of operation: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSplit Band de-essing \u003c\/strong\u003e \u003cbr\u003e Recommended for the majority of applications, this mode splits the audio spectrum into two bands with the split point being dictated by the position of the Frequency control. Only frequencies above the split point are attenuated.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFull Band de-essing \u003c\/strong\u003e \u003cbr\u003e A useful alternative where unobtrusive minimal processing is required. This mode reduces the total signal level in response to sibilant peaks in the selected frequency band.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFloating Threshold System: \u003c\/strong\u003e This intelligent Drawmer circuitry has a floating Threshold that adapts to the dynamics and level of the incoming material, eliminating the need for a manual Threshold control and creating more natural results.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAir function:\u003c\/strong\u003e As sibilance rarely occurs above 10KHz this feature adds back high frequency 'gloss' in excess of 12KHz preserving upper harmonics and increasing the transparency of operation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrequency:\u003c\/strong\u003e This control selects the frequency band in which the de-esser operates.  The control is continuously variable from 800Hz to 8KHz and covers the full sibilant range.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDe-Ess:\u003c\/strong\u003e Adjusts the amount of gain reduction that will take place when a sibilant sound has been detected.  Up to a maximum of 20dB may be applied.  This control uses an intelligent Floating Threshold circuitry which removes the need for a manual De-Ess Threshold control.  One of the benefits of this design approach is that during quiet passages the sibilants are held to a level which is relative to the original signal.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSplit Band De-Ess: \u003c\/strong\u003eSplit Band operation will only reduce the selected frequencies above the value set via the Frequency control.  In most situations this mode, in conjunction with the Air function, offers the most transparent de-essing.  Status LED illuminates when engaged.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFull Band De-Ess:\u003c\/strong\u003e Full Band operation will reduce the total signal level in response to signals in the selected frequency band. Status LED illuminates when engaged.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAir:\u003c\/strong\u003e The Air control enables frequencies above the sibilant band to be retained, greatly increasing transparency of the de-essing process.  During normal use it is recommended to keep the Air function active for both Split Band and Full Band de-essing. Status LED illuminates when engaged.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLink: \u003c\/strong\u003eDepressing this switch configures the unit for stereo operation where the average left\/right signal level is used as the Floating Threshold.  In linked mode the red status LED beneath the link switch will illuminate.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDe-Ess Gain Reduction Display:\u003c\/strong\u003e A nine segment LED bargraph shows how much gain reduction is being applied up to a maximum of 20dB.  In Full Band mode gain reduction is applied to the whole signal, whilst in Split Band mode only frequencies above the value set on the frequency control are subject to gain reduction\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBypass:\u003c\/strong\u003e The Bypass position routes the input signal to the output with no processing.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242513511,"sku":"1489","price":497.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_mx50_1.jpg?v=1787088279"},{"product_id":"drawmer-s2","title":"Drawmer S2","description":"\u003cp\u003eThe new \u003cspan style=\"font-weight: bold;\"\u003eDrawmer S2 Signature Series Dual Channel Tube Compressor \u003c\/span\u003eis the latest product to emerge from Ivor Drawmer’s high end designs and offers an ‘all tube - no technical compromise’ circuit using only the highest grade components.  The S2 features a host of new creative processing possibilities never before found in an all analogue dynamics package.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eV-BIG\u003c\/span\u003e\u003cbr\u003eRetains bass frequencies and minimizes undesirable ‘pumping’ by rolling off the detection signal at 75, 125 or 250Hz (user switchable).  A fully variable level control allows for the desired amount of V-BIG processing and an in\/out switch provides the option to remove from the signal path for A\/B comparison.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eV-AIR\u003c\/span\u003e\u003cbr\u003eA dynamic high frequency enhancer to keep compressed audio sounding fresh and bright with continuously variable frequency control (500Hz to 20kHz) and variable level to control the amount of V-AIR enhancement.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eDRY\u003c\/span\u003e\u003cbr\u003eMixes user defined amount of ‘uncompressed’ signal with the compressed signal to create ‘parallel compression effect’ without the need for external mixing devices.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242579047,"sku":"12399","price":4995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_s2.jpg?v=1787088280"},{"product_id":"drawmer-sp2120","title":"Drawmer SP2120 Brickwall Limiter","description":"\u003cp\u003eThe new \u003cstrong\u003eDrawmer SP2120 Speaker Protector\u003c\/strong\u003e offers both strict level control and tremendous peace of mind to the contractor, installer and venue in the knowledge that only the maintenance engineer and the venue manager hold a key.  As its name suggests the 1u, two channel processor eliminates the possibility of ‘unauthorised’ excessive sound pressure levels on speaker systems which could result in damage to both chassis drivers and amplifier electronics.  The unit also gives a wide variety of venues, such as clubs, theatres, pubs, schools, universities etc. the opportunity to comply with the local legislation regarding noise levels. \u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003eThe SP2120 front panel features an integral security lock to ensure that adjustments to maximum volume levels are implemented by key holders only. In ‘unlocked’ mode two front panel pre-sets are exposed and available for adjustment by the installer.  The first calibrates the 16 segment Left\/Right bargraphs to the incoming audio and dictates the point at which ‘protection’ processing commences.  The second sets the absolute volume level to which the sound system is allowed to perform. If the SP2120 receives increased signal levels, the transparent ‘protection’ circuitry is activated which maintains the specified system volume level without degradation in sound quality. \u003cbr\u003e\u003cbr\u003e The SP2120 greatly benefits from Drawmer’s 25 years experience in designing industry standard dynamic processing devices.  Its signal path combines a mixture of ‘multiple time constant’ circuitry and automatic gain control (AGC) which allow small overloads to sound louder - even though they’re not. Its concept and development was encouraged by Drawmer distributors and installers dissatisfied with other protection systems currently available.  These often take the form of a crude switch, either turning off the power or disconnecting the speakers, both of which are ‘disruptive’ in any event.\u003cbr\u003e\u003cbr\u003e The SP2120 is intended to be inserted in the sound system immediately prior to the amplifier stage.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242677351,"sku":"8588","price":1029.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_sp2120.jpg?v=1787088280"},{"product_id":"ear-660-limiter-comp-amplifier","title":"EAR 660 Limiter\/Compressor Amplifier","description":"The \u003cb\u003eEAR 660 Fairchild-type valve limiter-compressor\u003c\/b\u003e is designed to limit or compress the signal with the barest minimum of interference below threshold, and give the most subjectively satisfying operation on high-level signals. The unit has the standard range of attack and release times, making it easy to use. Considerable effort has been spent optimizing the behavior around the \"knee\" of the attack\/decay envelope and it is this that greatly contributes to the outstanding transparency and transient response that has made the EAR 660 the first choice of so many top audio professionals","brand":"E.A.R.","offers":[{"title":"Default Title","offer_id":44449242710119,"sku":"2998","price":12500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/ear_660_front.jpg?v=1787088281"},{"product_id":"elysia-mpressor","title":"elysia mpressor Two-Channel Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eelysia mpressor\u003c\/strong\u003e is a powerful instrument for modern dynamics processing. On top of the tried and tested standard features, this creative compressor provides several special functions that produce fat sounds with maximum punch, beautiful colorations and extreme processing options. Besides classic tracking applications, its favorite domains are groovy effect compression and creative sound design.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe circuit design of the mpressor is completely based on discrete analog technology. The entire signal processing is based on single transistors in permanent Class A mode, and even the sidechain and power supply are fully discrete circuit designs. Covering all the standards at ease, the mpressor offers an amazing set of special features which reach far beyond the possibilities of regular compressors.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eAUTO FAST\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe attack parameter is a very crucial factor for the operations of a compressor. Choosing the right time settings is very important, but depending on the dynamic progress of the source material this can be a difficult task – no matter if single tracks or complete mixes are processed.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIf a very short attack time is chosen, the compressor is able to catch the short peaks, but on the other hand the sustaining signal will also be processed, which might result in audible distortion. Longer settings reduce distortion significantly, but then the compressor is too slow for catching fast impulses.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThis is where the Auto Fast function comes into play. For example, if you set the attack to 80 ms and then engage the Auto Fast mode, the attack time will be shortened automatically on fast and loud signal impulses. The compressor reduces the signal quickly and prevents it from slipping through.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThen the attack time directly and automatically returns to its original setting. In Auto Fast mode the compressor can be very fast, but only when it is really needed. This function influences the attack parameter on short and loud impulses only; in all other cases the original setting of the controller has priority.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eANTI LOG\u003c\/h3\u003e\r\n\r\n\u003cp\u003eIt is the time constants and especially the release parameter that decide if the processing of a compressor is obvious or unobtrusive to the ear. Mastering applications, for instance, require a discreet performance as a general rule. Here you will find mostly logarithmic or linear release curves.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIt is characteristic of a logarithmic release that the time constant shortens when the amount of gain reduction increases. The advantage of this behavior is that short and loud peaks (e.g. drums) have a fast release time, while the remaining material is processed with a slower release time.\u003c\/p\u003e\r\n\r\n\u003cp\u003eBut if intentionally striking and creative compression is the goal, it definitely makes sense to turn things upside down. In the Anti Log mode of the mpressor the curve behaves just the other way round: If the threshold value is passed and compression starts, the release time will be longer at the beginning. If the input signal starts to decline, however, the release time will become faster as a result.\u003c\/p\u003e\r\n\r\n\u003cp\u003eA special circuitry makes this behavior independent from the absolute amount of gain reduction. No matter if the compressor reduces 10, 15 or 20 dB, the curve will always stay the same at the beginning and it will only become faster at the end. With this feature you can create many exceptional compression effects just by the push of a button!\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eNEGATIVE RATIOS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eNegative ratios – what exactly does this mean? To get a better understanding of this function, it makes sense to realize what the ratio control of a ‘normal’ compressor does:\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003e1:1 The signal remains linear, there is no compression going on\u003c\/li\u003e\r\n\u003cli\u003e1:2 After crossing the threshold, an increase of 2 dB at the input will be compressed to an increase of 1 dB at the output\u003c\/li\u003e\r\n\u003cli\u003e1:∞ After crossing the threshold, the output signal is constantly held at the threshold level without reacting to further increases at the input (limiter)\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003eAt a negative ratio, the characteristic curve bends and returns back down after crossing the threshold. The louder the input signal, the lower the output signal – perfect for groovy compression effects. To get a grip on the extreme ‘destruction’ this can cause, engaging the Gain Reduction Limiter is just the right idea.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eAUDIO FILTER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThis filter is a specialist in changing the overall sonic character of a signal with ease. It features two controllers per channel and is capable of producing convincing results flexibly in no time at all. Whenever a classic shelving filter would be too limited and a fully parametric filter would be too much, the Niveau Filter is the perfect tool.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIts main function is to change the proportions between high and low frequencies. The principle is quite similar to a pair of scales: Dependent on the gain setting around a variable center frequency, the high frequencies are boosted whereas the low frequencies are attenuated (or vice versa).\u003c\/p\u003e\r\n\r\n\u003cp\u003eBy simultaneously boosting and cutting the selected frequency areas, it is much easier to influence the character of a track (‚bright‘ vs. ‚dark‘) compared to using other types of equalizers. The center frequency can be shifted continuously between 26 Hz and 2.2 kHz or between 260 Hz and 22 kHz respectively (when the x10 switch is activated).\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe characteristics of the filter change in the extreme positions of the EQ Gain controller: the fully counter-clockwise setting will give you a low pass filter; fully clockwise position will result in a high pass filter. The overall level can drop quite noticeably then, but this can be corrected with the gain controller easily.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_4\"\u003eEXTERNAL SIDECHAIN\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe external sidechain enables the compressor to control its processing totally independent from the audio material running through it. If the SC Extern switch is active, compression will not be triggered by the signals from the regular audio inputs anymore, but by different signals which are fed into the additional sidechain input connectors.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIf, for example, a duplicate of the input signal is processed with an equalizer and then fed into the sidechain input, the result will be frequency-dependent compression. Another example is to send the bass drum of a drum machine into the sidechain input in order to achieve nice groovy compression that is pumping in sync with the music.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe creative options are almost infinite. Compression can be exactly on time or totally against it, which can of course be varied on the fly. Single instruments can be given more space in a mix according to its rhythm. All of a sudden, static sounds become vivid and sound really interesting!\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe external sidechain inputs are equipped with a high pass filter that has its cut-off frequency at 80 Hz with 6 dB per octave. This has been done in order to reduce the influence of the low frequencies on overall compression by a certain amount in order to keep the effect as balanced as possible.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_5\"\u003eGAIN REDUCTION LIMITER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThis limiter is not placed in the audio path where you would usually find it, but in the control path of the compressor. When it is activated, it limits the control voltage according to the setting of the GR Limit controller. This means: No matter how high the input level might become – the amount of gain reduction will never exceed the value which you have set.\u003c\/p\u003e\r\n\r\n\u003cp\u003eFor comparison, imagine a fader on a mixing console with your hand moving the fader to ‘play compressor’. If now the fader was limited by a piece of duct tape at -10 dB, for example, it could only reduce the signal up to this value. If the input level dropped below this limit, the fader would be moved up correspondingly.\u003c\/p\u003e\r\n\r\n\u003cp\u003eHowever, if the input signal got even louder, the fader could not be moved down any further because of the duct tape limit, and then the output signal would become louder again in correspondence with the input signal.\u003c\/p\u003e\r\n\r\n\u003cp\u003eLoud parts in an arrangement can keep their dynamics, as they will not be compressed beyond the limit of the Gain Reduction Limiter. Some very nice special effects like ducking or upward compression can be achieved with this easily by only reducing the quieter parts without changing the original dynamics at the same time.\u003c\/p\u003e","brand":"Elysia","offers":[{"title":"Default Title","offer_id":44449242775655,"sku":"9575","price":5269.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/elysia_mpressor_1.jpg?v=1787088281"},{"product_id":"empirical-labs-distressor-el8","title":"Empirical Labs Distressor EL8 Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eEmpirical Labs Distressor EL8\u003c\/strong\u003e is the Swiss-army-knife of compressors. Capable of emulating classic vintage designs like the 1176 and the LA-2A, this digitally controlled compressor is a modern studio workhorse. Packed with innovative tone-shaping features, the Distressor delivers an array of desirable sounds: digital, analog, tape, tube and more.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eCLASSIC ANALOG SOUNDS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eAt first glance, the Distressor may seem like your average compressor, but with a little know-how, you can emulate the sound of some of the most iconic compressors of all time. Dial in a classic “Over E-Z” VCA-style sound, recreate five classic 1176 settings including “all-buttons in mode”, or simulate the sound of classic optical compressors like the LA-2A to find the perfect sound for any situation.\u003c\/p\u003e\r\n\r\n\u003cp\u003eChoose from eight digitally-selectable ratios, each with their own unique compression algorithm. From the 1:1 mode that simply warms up signal with low-order harmonics, to the unmistakable NUKE setting — each curve has its own personality, and release shape. With fully-variable attack times ranging from 50 microseconds to 30 milliseconds, and release times ranging from .05 seconds all the way up to 20 seconds, the Distressor is capable of everything from fast, punchy peak limiting to slow, gentle bus compression.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eVERSATILE FEATURES\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Distressor is a lot more than just a pretty compression curve, it’s also packed with advanced features for controlling dynamics and coloring tracks with harmonic distortion. While the Distressor is capable of clean, digital-style compression, it’s also equipped with two dedicated distortion generators. Engage Dist 2 to give your tracks a smooth tube-type distortion, rich in second-order harmonics. Or turn on Dist 3 to generate third-order harmonics and emulate the sound of tape compression.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe Distressor also features advanced filtering options for both the side-chain and audio circuits. Aggressively compress bass-heavy tracks without causing pumping using the high-pass filter on the detector circuit. Boost the midrange to keep a dynamic vocal in check. 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