{"title":"Mastering Compressor \/ 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":"alta-moda-unicomp","title":"Alta Moda Unicomp","description":"\u003cp\u003eThe \u003cstrong\u003eAlta Moda Unicomp \u003c\/strong\u003eaudio compressor combines the best features of both modern and classic audio compressors into a single, dual-mono unit.  At its heart is a unique gain cell\/sidechain combination which gives the Unicomp its own distinctive sonic character.  The Unicomp’s comprehensive set of sidechain features gives it true versatility and accuracy which make the unit superbly suited for tracking, mixing and mastering applications. \u003cbr\u003e \u003cbr\u003e The Unicomp boasts a fully discrete, Class A, high voltage minimalist audio path.  The amplifiers are DC servo-coupled, eliminating all coupling capacitors in the signal path. \u003cbr\u003e \u003cbr\u003e The sidechain features a high accuracy logarithmic-scaled detector, with a choice of operating in RMS or peak rectifier modes.  The Unicomp also allows the user, with a single switch, to change the compressor topology from a modern and accurate feed-forward detection scheme, to the classic and more colorful feedback approach; completely changing the sonic personality of the unit. \u003cbr\u003e \u003cbr\u003e The Unicomp’s personality is further changed with the addition of the warmth control.  Turning this control adds rich, second harmonic distortion to the signal that increases as compression increases, adding even more character to the sound.  A switchable filter changes the contour of the affected signal, useful when processing more complex signals, such as mixes. \u003cbr\u003e \u003cbr\u003e Another unusual feature of the unit is the blend control.  The blend control allows the operator to mix unprocessed signal back into the compressor’s output path.  This gives one the ability to create a more subtle compression effect on tracks such as vocals, or for blending back dry signal when heavy buss compression effects such as drum submixes are being processed.  A high pass filter is included which blends only the higher audio frequencies back into the output path. \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e","brand":"Alta Moda","offers":[{"title":"Default Title","offer_id":44449239203943,"sku":"9187","price":3850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/alta_moda_unicomp_1.jpg?v=1787088268"},{"product_id":"api-2500","title":"API 2500 Stereo Bus Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eAPI 2500\u003c\/strong\u003e is a versatile stereo bus compressor that allows adjustment of sonic qualities that can alter the punch and tone of the stereo mix. The 19\" rack-mountable unit features API's patented \"thrust\" circuit for a chest-hitting, punchy bottom end. With its dual-channel design, the API 2500 is set up for stereo compression, but can also be used as two separate units via a single compression setting. The 2500 boasts a range of parameters that make it incredibly musical.\u003c\/p\u003e\r\n\u003cp\u003eAPI pushes the envelope of flexibility further with selectable \"old\" or \"new\" compression. The old-style uses the feedback type of compression found in the API 525, Universal Audio 1176, and the Fairchild 660\/670. The new style uses a feed-forward type, similar to other popular compressors.\u003c\/p\u003e\r\n\u003cp\u003eThe output stage features API's auto-makeup gain button, permitting the user to vary the threshold or ratio while automatically maintaining a constant output level. Fidelity is ensured with an all-discrete, fully balanced design, and two front panel VU meters show input, output, and gain reduction levels.\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449239335015,"sku":"102","price":3130.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api-2500_102_1_2.jpg?v=1787088269"},{"product_id":"avalon-ad2044","title":"Avalon AD2044","description":"\u003cp\u003eThe \u003cstrong\u003eAD2044\u003c\/strong\u003e features 100% discrete, pure class A signal amplifier configured with high speed current monitored optical control elements.  These \"invisible\" opto elements enable the AD2044 to deliver totally transparent, low noise gain reduction within the minimalist signal path design.  No VCAs are incorporated.  Variable attack and release controls plus side chain access, provide unlimited creative control from soft compression to hard limiting. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSonic Excellence\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003eThe Avalon AD2044 Pure Class A opto-compressor is the most transparent, low noise optical-compressor available today.  Designed to optimize absolute signal integrity and musical performance, the AD2044 combines advanced electronics with sonic excellence unequaled by lesser designs. The AD2044 is the perfect solution for two buss music-program compression, mono bass and instruments and mastering applications. \u003c\/p\u003e\n\u003cp\u003eFeatures include state-of-the-art, balanced 100% discrete, Pure Class A signal amplifiers, practical \"real-world\" user features and rugged hardware designed to deliver true high performance audio for many years. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eLinear Optical Compression\u003c\/strong\u003e\u003cbr\u003eCustom manufactured, high speed linear opto elements provide the non invasive passive attenuator system for invisible gain reduction.  The AD2044 incorporates a unique external control loop and current monitored optical driver for smooth control plus the benefits of traditional vintage LDR compression. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eMinimum Signal Path Design\u003c\/strong\u003e\u003cbr\u003eAvalon's advanced true symmetry design offers high-voltage, large headroom, extended bandwidth and very low noise.  The use of 100% discrete, Pure Class A signal amplifiers offer the serious music professional unlimited sonic character and a natural harmonic detail that enhances the program material and becomes one with the music itself. \u003cbr\u003e \u003cbr\u003e The AD2044 can be found in the world's leading recording studio's, mastering facilities and artist\/producers outboard racks.  These professionals rely on the AD2044 daily to help them complete their \"sonic signature\" and turn recordings into musical masterpieces.\u003c\/p\u003e","brand":"Avalon Design","offers":[{"title":"Default Title","offer_id":44449239531623,"sku":"7750","price":2970.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/avalon_ad2044_1.jpg?v=1787088269"},{"product_id":"chiswick-reach-stereo-valve-compressor","title":"Chiswick Reach Stereo Valve Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eChiswick Reach Compressor\u003c\/strong\u003e is all transformer coupled, all valve signal path topology, operating in true balanced Class A mode. \u003cbr\u003e \u003cbr\u003e Particular attention has been paid to the design of the input and output transformers resulting in extended frequency response at both low and high frequencies and at high input and output levels. \u003cbr\u003e \u003cbr\u003e All valves are carefully matched to obtain lowest noise and distortion and to ensure accurate tracking when used as a stereo compressor.  Capacitors and other components have also carefully selected for low noise and colouration. \u003cbr\u003e\u003cbr\u003eThe result is a compressor which is smooth and transparent and will add warmth and sparkle to any track.  Each channel is fitted with input and output attenuators and a continuously variable input level control.  A meter showing gain reduction, and the normal threshold, attack and release controls. \u003cbr\u003e \u003cbr\u003e A further refinement to the attack control the “thump” position allows a switched modification to the side chain giving a great tool for percussive sounds.  Independent bypass switches on both channels and a stereo link switch are also fitted. \u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrequency response +\/- 0.5dB 18Hz to 25kHz \u003c\/li\u003e\n\u003cli\u003eHigh frequency -3dB point 55kHz \u003c\/li\u003e\n\u003cli\u003eLow frequency -3dB point 15Hz \u003c\/li\u003e\n\u003cli\u003eDistortion at +8dB input level and 5dB compression less than 0.08% predominately second order. \u003c\/li\u003e\n\u003cli\u003eBroadband noise better than -70dB peak 20Hz to 20kHz \u003c\/li\u003e\n\u003cli\u003eWithin 1 degree of phase from 10Hz to 25kHz \u003c\/li\u003e\n\u003cli\u003eRelease Time:- 0.25 second to 2.5 seconds \u003c\/li\u003e\n\u003cli\u003eThreshold range :- 7.5dB \u003c\/li\u003e\n\u003cli\u003eMax attainable output before soft clipping +22dB\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Chiswick Reach","offers":[{"title":"Default Title","offer_id":44449241399399,"sku":"10113","price":4895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chiswick_reach_stereo_valve_compressor.jpg?v=1787088275"},{"product_id":"crane-song-stc-8-m","title":"Crane Song STC-8\/M Stereo Mastering Compressor\/Peak Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eCrane Song STC-8\u003c\/strong\u003e is a high quality stereo compressor combined with a remarkably dependable peak limiter, providing overload protection critical to digital recording and broadcast transmitters.  The STC-8's compressor is engineered to provide musically transparent gain KI \u0026amp; HARA Sounds control, but is also capable of emulating vintage equipment and creating distinctive new sounds. \u003cbr\u003e\u003cbr\u003e In addition, a switchable enhancement circuit creates analog and tube like warmth to enrich lifeless audio and digital recordings.  This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-optimized pre-setsup on a wide variety of sounds.  It can operate in true stereo or discrete independent mono, accessible by a front panel switch. \u003cbr\u003e\u003cbr\u003e The STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain circuit.  High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements. \u003cbr\u003e\u003cbr\u003e The STC-8 requires two rack spaces. All inputs and outputs are transformerless and balanced.  The toroidal power transformer is UL approved and allows four line voltages for international use. \u003cbr\u003e\u003cbr\u003e The STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.\u003c\/p\u003e","brand":"Crane Song","offers":[{"title":"Default Title","offer_id":44449241530471,"sku":"245","price":5699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/crane_song_stc-8m.jpg?v=1787088275"},{"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-s3","title":"Drawmer S3","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer S3 Stereo Three Band Optical Compressor\u003c\/strong\u003e incorporates the very latest in Ivor Drawmer designs and the aim from the very beginning was to create a 'no technical compromise' circuit using only the highest grade components.  The S3 forms the basis of a 'Signature Series' and offers previously unattainable control and tonality over each of the three bands - gain control at each stage provides precise spectral balancing.   The signal path consists of high performance input\/output transformers, passive components and 10 tubes (8x ECC83 and 2x 12BH7) configured as a fully balanced Class A design.  Because the LDR's (Light Dependent Resistors) in the opto-compressors are temperature sensitive the S3 houses an 'electronic oven' which provides and sustains the optimum LDR operating temperature - thereby maintaining calibration accuracy and improving performance.  A front panel LED indicates temperature status. Large scale VU meters can be switched to 'Peak' mode to show transient information.  Two further VU meter re-scale modes are available (+10dB and +20dB) to accurately display the unit's ability to output levels of up to +30dBm.  The master output section includes controls for both Gain and stereo balance to compensate for source material with a Left\/Right imbalance or disproportionate processing. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eFeatures:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cli\u003eFully balanced signal path class A design \u003c\/li\u003e\n\u003cli\u003eIsolation transformers in and out \u003c\/li\u003e\n\u003cli\u003e20 x active tube stages \u003c\/li\u003e\n\u003cli\u003eHigh power 'push\/pull' output stage delivering up to +30dBm \u003c\/li\u003e\n\u003cli\u003eVariable band split points \u003c\/li\u003e\n\u003cli\u003eFast reacting 'oven' controlled LDRs to maintain calibration accuracy \u003c\/li\u003e\n\u003cli\u003eSwitchable 'peak' or 'VU' metering to display transients \u003c\/li\u003e\n\u003cli\u003eSwitchable +10dB or +20dB meter re-scale modes \u003c\/li\u003e\n\u003cli\u003e'Air' mode for high band \u003c\/li\u003e\n\u003cli\u003e'Big' mode for low band \u003c\/li\u003e\n\u003cli\u003eSwitchable mute and bypass on each band \u003c\/li\u003e\n\u003cli\u003eIndividual gain reduction metering on all bands \u003c\/li\u003e\n\u003cli\u003e2 Crossover controls, continuously variable, divides the audio into three bands \u003c\/li\u003e\n\u003cli\u003e3 Threshold controls, one for each band, to set the onset of compression \u003c\/li\u003e\n\u003cli\u003e3 attack and 3 release controls, one set for each band \u003c\/li\u003e\n\u003cli\u003e3 gain controls, to control make up gain for each band \u003c\/li\u003e\n\u003cli\u003e3 mute switches, one per band, to mute the output of that band during set up \u003c\/li\u003e\n\u003cli\u003e3 bypass switches, one per band, bypasses compressor on that band \u003c\/li\u003e\n\u003cli\u003eLarge illuminated easy to read meters w\/switchable ballistics (VU or peak VU) \u003c\/li\u003e\n\u003cli\u003e+10dB or +20dB scale switches on meters \u003c\/li\u003e\n\u003cli\u003eInput or Output meter switch \u003c\/li\u003e\n\u003cli\u003eOverall make up gain control, continuously variable \u003c\/li\u003e\n\u003cli\u003eL\/R output balance control \u003c\/li\u003e\n\u003cli\u003eUnit bypass switch \u003c\/li\u003e\n\u003cli\u003eFront panel power switch \u003c\/li\u003e\n\u003cli\u003eAngled cage to enable additional cooling above unit\u003c\/li\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242611815,"sku":"8853","price":4995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_s3.jpg?v=1787088280"},{"product_id":"fairman-tmc","title":"Fairman TMC","description":"\u003cp\u003eThe \u003cstrong\u003eFairman TMC (Tube Master Compressor)\u003c\/strong\u003e is a totally hand built unit of the absolute highest quality providing the ultimate in professional standards available today. Designed for recording, mixing and mastering, its principle of construction is based upon the classic compressor like the Fairchild 660\/670 and, like these classics units, the Tube Master Compressor delivers the same unmistakable smooth, natural yet amazingly effective limiting and compression. \u003c\/p\u003e","brand":"Fairman","offers":[{"title":"Default Title","offer_id":44449243037799,"sku":"249","price":14995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/fairman_tmc.jpg?v=1787088282"},{"product_id":"manley-slam-mastering-version","title":"Manley SLAM! Limiter\/Preamp - Mastering Version","description":"\u003cp\u003eThe \u003cstrong\u003eManley SLAM! Mastering Version\u003c\/strong\u003e features the stereo ELOP and FET limiters in tandem dedicated for mastering controlled by precision switches instead of pots. All functions have been expanded and specially tailored for mastering. It incorporates detented and logable 1\/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eDifferences and Features\u003c\/h3\u003e\r\n\r\n\u003cp\u003eFirst off: no microphone preamps. You mastering engineers certainly don't need those. The mic pre and input select switch are removed and the switches become dedicated \"mode\" switches one each for the ELOP and the FET limiters.\u003c\/p\u003e\r\n\r\n\u003cp\u003e1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.\u003c\/p\u003e\r\n\r\n\u003cp\u003e2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe \"50%\" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain 'reads' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe \"LP Lim\" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe \"CLIP\" setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage \"CLIP\" generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).\u003c\/p\u003e\r\n\r\n\u003cp\u003eFinally, the \"BOTH\" setting on the FET limiter engages both the \"LP Limit\" and the \"CLIP\" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The \"BOTH\" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.\u003c\/p\u003e\r\n\r\n\u003cp\u003e3) The LEFT blue erstwhile-\"limit\" button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).\u003c\/p\u003e\r\n\r\n\u003cp\u003e4) The Right blue button becomes the DAC select switch (stereo).\u003c\/p\u003e\r\n\r\n\u003cp\u003e5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1\/4\" jack input select in this new mastering version.\u003c\/p\u003e\r\n\r\n\u003cp\u003e6) There are no pots on the faceplate of the Mastering Version of the SLAM! All of the knobs in the Mastering Version are discrete detented switches in mostly 1 dB steps, with some appropriate 1\/2 dB and 2 dB steps, right where they should be.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449244708967,"sku":"6190","price":10499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley-slam-master_6190_1_1.jpg?v=1787088290"},{"product_id":"manley-stereo-variable-mu-mastering-version","title":"Manley Stereo Variable Mu Limiter\/Compressor - Mastering Version","description":"\u003cp\u003eThe \u003cstrong\u003eManley Stereo Variable Mu Mastering Version\u003c\/strong\u003e incorporates detented and logable steps built with 1% metal film resistors on sealed gold-contact Grayhill switches. The Mastering Version of the Variable Mu Limiter Compressor uses expensive Greyhill rotary switches with gold contacts where conductive plastic pots were used. The steps are determined with a large number of 1% precision metal film 1\/2 watt resistors. The best conductive plastic pots only have 10% or 20% tolerance. The ten fold improvement in precision helps a great deal in left-right matching. There is a subtle audible improvement with stepped switches as well. Audiophile HI-FI often uses that technique to wring the last drop of performance out of a preamplifier.\u003c\/p\u003e\r\n\u003cp\u003eThe INPUT LEVEL is a five position switch with a generic optimum setting of “0” in the 12:00 position. Each step in either direction is 2 dB. For reference, Unity Gain is \"0\".\u003c\/p\u003e\r\n\u003cp\u003eThe OUTPUT Attenuators are in half dB steps. Reference Unity is -11.5 or fully counter-clockwise. You might think of these as \"gain makeup\". They are marked technically, in that “0” or fully clockwise has zero attenuation in the circuit. The tube circuit actually has 15.5 dB of gain. The Input attenuator at \"0\" removes 4 dB and the Output attenuator removes the last 11.5 producing \"unity\". With a little compression the \"gain make-up\" available with the Output Attenuator is very handy.\u003c\/p\u003e\r\n\u003cp\u003eThe Threshold is in half dB steps calibrated to LIMIT mode. In Compress the steps are approximately 1\/4 dB. There are 24 steps so LIMIT gets a 12 dB range and Compress has a 6 dB range of adjustment. In some cases it is common to use the Input Attenuator to find a good starting point. Some Mastering engineers find using the combination of Input, Output and Threshold to achieve a little different \"drive\". Another good reason for stepped gains.\u003c\/p\u003e\r\n\u003cp\u003eThe Attack Time has been slightly extended in both directions compared to a regular Variable Mu and divided into 11 steps. The Recovery 5 position switch is exactly the same as a regular Variable Mu.\u003c\/p\u003e\r\n\u003cp\u003eThe switches specifically are like this:\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eInput: -4 to +4 in 2 dB steps\u003c\/li\u003e\r\n\u003cli\u003eOutput: -11 to 0 in 1\/2 dB steps (24 detents)\u003c\/li\u003e\r\n\u003cli\u003eThreshold: -11 to +1 in 1\/2 dB steps LIMIT(24 detents) and 24 x 1\/4 dB steps in COMPRESS\u003c\/li\u003e\r\n\u003cli\u003eAttack: 11 positions CW (fast) 15mS, 20, 25, 30, 35, 40, 50, 60, 70, 80, 90mS (slow) CCW\u003c\/li\u003e\r\n\u003cli\u003eRelease: 5 positions CW (fast) 200mS, 400mS, 600mS, 4S, 8 Seconds (slow) CCW\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449244774503,"sku":"6309","price":6599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley-labs-stereo-mu-master_6309_1.jpg?v=1787088290"},{"product_id":"maselec-mla-3","title":"Maselec MLA-3","description":"\u003cp\u003eWith the \u003cstrong\u003eMaselec MLA-3 \u003c\/strong\u003ethe input signal is split into three frequency-bands. Each band is passed through a stereo compressor where gain and compression can be altered. \u003cbr\u003e\u003cbr\u003e The outputs of the compressors are then re-combined and fed to the outputs. There are four different frequencies for each of the two crossovers that can be separately selected for the low-to-mid and the mid-to-high bands. \u003cbr\u003e\u003cbr\u003e The three frequency-band compressors have separate controls so that different parts of the audio spectrum can be adjusted and tuned. With separate gain controls for each frequency-band, the MLA-3 can be used as an equalizer. \u003cbr\u003e\u003cbr\u003e You can always adjust the controls for the separate frequency bands to different settings. There is no technical reason why they should be the same for all frequencies. Overall Input and Output gain controls make it easy to set up for different operating levels. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInputs\u003c\/strong\u003e \u003cbr\u003e The inputs are electronically balanced, virtually ground floating, making them perform as if they are transformer coupled, but without the associated colouration, low frequency distortion and restricted bandwidth. The input impedance is 100kohm. Maximum input \u0026gt;+29dBu (balanced). \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eOutputs\u003c\/strong\u003e \u003cbr\u003e The outputs are electronically balanced and can deliver \u0026gt;+28dBu into 600ohm (balanced). Output impedance is 33ohm (balanced and unbalanced). Both inputs and outputs can be unbalanced by simply grounding either pin 2 or pin 3.\u003c\/p\u003e","brand":"Maselec","offers":[{"title":"Default Title","offer_id":44449244938343,"sku":"9234","price":4970.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maselec_mla-3_1.jpg?v=1787088291"},{"product_id":"pendulum-es-8","title":"Pendulum ES-8","description":"\u003cb\u003eA Modern Approach to Classic Tube Compression\u003c\/b\u003e \u003cul\u003e \u003cli\u003eClassic feedback compression with the same compression profile as the Fairchild 660 and 670 \u003c\/li\u003e\n\u003cli\u003eThe 6386 uses the same gain control tube (remote cutoff triode) as the Fairchild 660 and 670.\u003c\/li\u003e\n\u003c\/ul\u003e The ES-8 uses a more readily available (and less expensive) tube with the same compression characteristics as the 6386. In all other aspects, the two units are identical.\u003cul\u003e \u003cli\u003eModern class A, solid-state gain make-up stage for wide bandwidth and low distortion \u003c\/li\u003e\n\u003cli\u003eSoft-knee design with smooth transition from compression to limiting \u003c\/li\u003e\n\u003cli\u003eFast attack (0.5ms) and release times ideal for tight program compression or tracking \u003c\/li\u003e\n\u003cli\u003eLow noise and superior transient response \u003c\/li\u003e\n\u003cli\u003eThree sidechain operating modes: Fast, Presets and Manual \u003c\/li\u003e\n\u003cli\u003eTwo completely independent channels with stereo linking \u003c\/li\u003e\n\u003cli\u003eTubes calibrated for precise stereo balance \u003c\/li\u003e\n\u003cli\u003eHard bypass switches for each channel \u003c\/li\u003e\n\u003cli\u003eSidechain inserts for frequency-dependent compression and de-essing \u003c\/li\u003e\n\u003cli\u003eTransformerless balanced output stage capable of delivering +27dBu \u003c\/li\u003e\n\u003cli\u003eSoft-start warm-up with outputs bypassed until all voltages are stabilized \u003c\/li\u003e\n\u003cli\u003eGold-plated relay contacts, I\/O connectors and tube sockets \u003c\/li\u003e\n\u003cli\u003eFully regulated high voltage (250V), filament and bipolar power supplies \u003c\/li\u003e\n\u003cli\u003eCustom toroidal power transformer with shield for minimum hum \u003c\/li\u003e\n\u003cli\u003ePolypropylene capacitors and metal film resistors \u003c\/li\u003e\n\u003cli\u003eLimited production, hand-built product \u003c\/li\u003e\n\u003c\/ul\u003e The 6386 and ES-8 are modern two channel limiters designed to have the compression characteristics of a vintage unit, but with a higher level of sonic accuracy. Rather than trying to recreate the past, we've taken an entirely different approach. The 6386 uses the gain control tube (remote cutoff triode) found in the vintage Fairchild limiters to provide the classic feedback response unique to the characteristics of this class of tubes. The ES-8 uses a different remote-cutoff triode with the same dynamic characteristics. Subsequent amplification is accomplished with a Class A, balanced transformerless line amp, rather than the push-pull transformer output stage used on vintage variable-mu units. The result is a new class of limiters that possess the 'dynamic signature' of a classic tube compressor, but with a more accurate, less colored signal path. The two units are identical, except for the tube used for gain reduction. \u003cbr\u003e\u003cbr\u003e The soft-knee design used in the 6386 and ES-8 offer effortless dynamic control with a smooth transition from compression to limiting. In addition, both channels can be operated independently, or linked with the flip of a switch. When linked, the threshold and attack\/release parameters are controlled entirely by channel 1, assuring precise stereo balance over the entire range of gain reduction. \u003cbr\u003e\u003cbr\u003e For maximum versatility, the 6386 and ES-8 incorporate a solid-state sidechain to provide a wide range of control with three modes of processing: In the FAST mode, the limiter works extremely fast (less than 0.5ms attack time), and is remarkably free of the 'pumping' artifacts normally encountered with slow variable-mu compressors. It's the ideal choice for invisible dynamics processing, either for tracking or tight program compression. \u003cbr\u003e\u003cbr\u003e The PRESET mode consists of six classic attack\/release time settings (identical to the Fairchild 670) that are optimized for program compression, including two settings with program-dependent release times. \u003cbr\u003e\u003cbr\u003e The MANUAL mode offers total control over the attack and release times, which is particularly useful for creative compression effects or for processing bass guitar. \u003cbr\u003e\u003cbr\u003e Most important, the hard bypass switches on the front panel conveniently allow a quick determination of exactly what the 6386 or ES-8 is, or in most cases, isn't doing to your signal.","brand":"Pendulum","offers":[{"title":"Default Title","offer_id":44449246675047,"sku":"1538","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/pendulum_es8_3c842dd6-357e-458b-9a15-3e282f707abf.jpg?v=1787088295"},{"product_id":"neve-8051-5-1-surround-compressor-limiter","title":"Neve 8051 5.1 Multi-Channel 5.1 Surround Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eNeve 8051\u003c\/strong\u003e is a hand-made and hand-wired analog compressor with six transformer balanced audio paths, complemented by two side chains and a key input. Based on six 2254 compression circuits—using the same feedback topology as the legendary 33609 stereo compressor—the 8051 delivers the famous Neve sound in spades. Flexible side chain routing, trimming and filtering make this a powerful and responsive tool for surround mixing and mastering.\u003c\/p\u003e\r\n\u003cp\u003eEach channel can be controlled from either Side Chain A or Side Chain B, and the six signal paths can be split between the two side chains in any format required. Each audio channel can be routed to either or both side chains; for example the Centre channel in a 5.1 mix may be compressed using Side Chain A but also input to Side Chain B to control compression of the Surround Channels.\u003c\/p\u003e\r\n\u003cp\u003eThe 8051's compression is exceptionally smooth, and the compression remains transparent even at extreme settings. Together with the unit’s ease of use and incredible flexibility, this sound quality has made the 8051 one of the world’s most desirable units for surround mixing and mastering. Providing legendary Neve analog sound quality without relinquishing any control, the 8051 is available as a standalone unit, but it can also be fitted to Neve's 88RS-series consoles.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eNEVE HERITAGE\u003c\/h3\u003e\r\n\u003cp\u003eLike all Neve outboard products, the 8051 Surround Compressor is hand-built and hand-wired by skilled Neve professionals in Burnley, England. Its fully discrete audio paths and classic feedback control circuit design delivers vintage Neve sound, and builds on the legacy of the highly sough-after 33609 Stereo Compressor.\u003c\/p\u003e","brand":"Neve","offers":[{"title":"Default Title","offer_id":44449246740583,"sku":"5143","price":7940.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/neve-8051_5143_1_68d55e2e-f3f3-4a9f-8209-2c56f3eb55bd.jpg?v=1787088296"},{"product_id":"pendulum-pl-2-analog-peak-limiter","title":"Pendulum PL-2 Analog Peak Limiter","description":"The \u003cb\u003ePendulum PL-2 \u003c\/b\u003eis a stand-alone two channel version of the very popular peak limiter in our Quartet II Tube Recording Channel. It uses a novel approach to brickwall limiting in the analog domain, one that is fast enough to prevent digital overs without using time delay or phase-shift delay techniques. This allows us to keep the analog signal path short, and keep the limiting circuit 'switched out' of the signal path below the peak limiting threshold. Distortion for all levels below the the limiting threshold is low, and does not rise as the threshold for limiting is approached. Unlike analog peak clippers, which chop off the top and bottom of the waveform, our limiter retains dynamic information at the top of the peak. \u003cp\u003e The PL-2 has two modes of peak limiting, using either junction field-effect transistors (JFET) or metal-oxide semiconductor field effect transistors (MOSFET) as the control elements. While both are equally capable of brickwall limiting, each type has its own characteristic sound. The JFET tends to be a stiffer, harder mode of limiting, while the MOSFET has a softer, more compliant response. The resulting waveforms look different, and each device has its own characteristic sound. \u003c\/p\u003e\u003cp\u003e In addition, Input and Output gain controls allow the user to scale the gain structure for a wide range of applications, from driving the front end of an A\/D converter at +22 dBu, to inserting it as an effect into a +4 dBu patch bay. Several units can be linked for multi-channel applications. \u003c\/p\u003e\u003cp\u003e Each channel also has an expanded 13 segment LED display which accurately indicates peak reduction.\u003c\/p\u003e","brand":"Pendulum","offers":[{"title":"Default Title","offer_id":44449246773351,"sku":"7217","price":2450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/pendulum_pl2_1.jpg?v=1787088296"},{"product_id":"prism-sound-maselec-mla-2-mastering-compressor","title":"Maselec MLA-2 Stereo Mastering Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eMaselec MLA-2\u003c\/strong\u003e is a stereo or 2-channel compressor with stepped drive (input gain), ratio, attack and release time and output gain controls. For optimum transparency and freedom from noise the MLA-2 employs a non-VCA design.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eAPPLICATIONS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eTop recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue compressors have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital media. The MLA-2 provides fully-stepped controls for precision and repeatability for ALL parameters.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MLA-2 has a rear-mounted range control switch that adjusts the threshold range to suit either mastering or recording\/mixing applications.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 is a compressor that can provide effective dynamic control with minimal side-effects - it is designed to provide a very transparent signal path.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003ePEDIGREE AND DESIGN PHILOSOPHY\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe combination of Leif Mases' experience with the creative process and engineering and technical excellence ensure that the Maselec MLA-2 delivers great-sounding audio in an intuitive and easy-to-use package.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eUSING THE MLA-2\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe MLA-2 is a very special Compressor that has been designed to provide effective but subtle compression. It uses the principle of a fixed threshold, with adjustable drive (or input gain). This makes for more intuitive operation than an adjustable threshold - turn the drive control clockwise and increase the compression depth.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe progression into the compression region is gradual and changes as the ratio is increased. Minimal output gain make-up adjustment is needed as the threshold is slightly modified running through different ratio settings. This creates a consistent gain point with about 2-3dB of compression across the ratio range.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 automatically adjusts its attack and release times based on the front panel setting for the most musical result. In addition, a modified release decay is used rather than the conventional exponential curve.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 IMAGELINK system provides a stereo side-chain link that allows the gain of the two channels to track so avoiding the risk of stereo image shifting when only one channel is controlled. However, transients that are placed to the extreme right or left can result in a slightly un-natural ducking of the other channel, so the stereo link is controlled to avoid this.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 achieves excellent results with speech and other highly dynamic sources, as well as instruments such as piano, saxophone or drums. It has a distinctive character, discernable both sonically and in the unique shape of its progressive compression curves. It provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path.\u003c\/p\u003e","brand":"Maselec","offers":[{"title":"Default Title","offer_id":44449247166567,"sku":"6576","price":7502.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maselec-mla-2-2024_6576_1.jpg?v=1787088297"},{"product_id":"shadow-hills-industries-mastering-compressor","title":"Shadow Hills Industries Mastering Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eShadow Hills Industries Mastering Compressor\u003c\/strong\u003e is a versatile compressor\/limiter that offers multiple compression circuits and output transformers, giving you all the sonic options you need for tracking, mixing, and mastering. Independent optical and discrete compressor sections, plus three output transformer options, provide a palette of tonal options to suit any situation. Dual-mono and linked stereo modes make this an equally capable compressor for tracking, mixing, and mastering. Plus, the built-in sidechain filter helps tighten up low-end response for punchier mixes. From smoothing vocal tracks to gluing your mixes together, the Shadow Hills Mastering Compressor does it all.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eDUAL COMPRESSION SECTIONS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Shadow Hills Industries Mastering Compressor's dual compression sections offer optical and VCA-based gain reduction on either channel, individually or in series. This two-stage design gives you the choice between transparent leveling, precise control, or both. Hardwired bypasses on each compressor section ensure that they don't impart any unwanted coloration when not in use. The Optical Section delivers smooth, program-dependent leveling modeled after a classic late-'60s optical compressor. Stepped Threshold and Gain controls make it easy to dial in your levels while the photocell works its magic, smoothing out tracks with a relaxed response that lets the music breathe. The Discrete Section employs a versatile VCA circuit with stepped Ratio, Attack, and Release controls for fast, responsive gain reduction and precise control. This stage is perfect for tightening up drum tracks, taming spiky acoustic instruments, and controlling transients for louder mixes and masters.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eTHREE SWITCHABLE OUTPUT TRANSFORMERS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eSwitch between three selectable output transformers to complement any signal with different flavors of harmonic and tonal character at the output stage. The front-panel transformer selector lets you audition the options instantly, helping you quickly dial in extra weight, clarity, or harmonics. These options make the Shadow Hills Mastering Compressor an extremely versatile choice for any genre of music.\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eNickel Transformer: The Nickel transformer provides a great balance of low-frequency weight and smooth high-frequency extension, reinforcing fundamental tones while adding presence without harshness. Nickel is a great option for beefing up lead vocals, acoustic instruments, and clean electric tones.\u003c\/li\u003e\r\n\u003cli\u003eIron Transformer: The Iron transformer delivers clear, present highs with a slight boost around 110 Hz and musical even-order harmonic distortion thanks to its Class A output stage. Iron adds a sense of analog warmth without sacrificing top-end clarity, helping instruments cut through and mixes sound more cohesive.\u003c\/li\u003e\r\n\u003cli\u003eSteel Transformer: The Steel Transformer offers an open, detailed response with a subtle 40 Hz lift for a modern sound anchored by rock-solid low end. Its fast response makes it ideal for processing drum busses, enhancing mix busses, or mastering pop and hip-hop.\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eSTEREO AND DUAL MONO MODES\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Shadow Hills Industries Mastering Compressor can be configured for linked stereo operation or dual-mono processing, making it a versatile choice for tracking, mixing and mastering. Use dual-mono mode for recording or two-stage compression techniques in your mixes, then switch to stereo mode for processing drums, beefing up your mix bus, or putting the final polish on a master.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eBUILT-IN SIDECHAIN FILTER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe compressor's built-in sidechain filter rolls off frequencies below 90 Hz in the detector circuit to prevent excessive low-end energy from triggering the compressor. Engage this filter to avoid pumping artifacts on drum busses and bass-heavy mixes, or control bass tracks without sacrificing too much dynamic range (note: this is a fixed-frequency sidechain filter, not an external sidechain input).\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449247887463,"sku":"5373","price":9985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow_hills_mastering_comp_straight_1_4b5ccd5c-d8ba-4081-9525-2db66acb6c09.jpg?v=1787088301"},{"product_id":"thermionic-culture-phoenix-mastering-plus","title":"Thermionic Culture Phoenix Mastering Plus Tube Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eThermionic Culture Phoenix Mastering Plus\u003c\/strong\u003e classic, hand-built point-to-point wired soft knee tube compressor with a compression ratio from 1.2:1 to 5:1 at 15 dB. It features GE and Siemens valves and custom Sowter transformers.\u003c\/p\u003e\r\n\u003cp\u003eFollowing on from the success of the previous models including the red face anniversary limited edition Phoenix Mastering Plus model features switched and stepped rotary controls for quick and easy recall. The input gain features a 24-position ELMA, an 11-position ELMA for the Threshold, 6-position ALPHA attack and release and a 31-position OMEG stepped output pot. The same side chain filter section as previous versions has been retained.\u003c\/p\u003e\r\n\u003cp\u003eA significant difference to the previous M\/C versions is the the Mastering Plus now has the same input gain structure as the standard model Phoenix, enabling the mastering Plus to cope with tracking and mixing of individual instruments and vocals that may require high amounts of compression.\u003c\/p\u003e\r\n\u003cp\u003eOther features include a standby switch which is provided to extend valve and capacitor life. When in 'standby' the HT current through the valves is only 50% of the normal value. The meter zero level adjusters have now been brought to the front panel to avoid having to take the unit out of the rack and so making calibration easier.\u003c\/p\u003e","brand":"Thermionic Culture","offers":[{"title":"Default Title","offer_id":44449249525863,"sku":"19195","price":6599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/thermionic-phoenix-comp-23_19195_1_b22ad074-83ab-4cf0-be3f-cf422c43515a.jpg?v=1787088307"},{"product_id":"tube-tech-smc2bm","title":"Tube-Tech SMC 2BM Stereo Multi-Band Mastering Compressor","description":"\u003cb\u003eMastering Warmth in Stereo\u003c\/b\u003e \u003cp\u003eThe \u003ci\u003eTube-Tech SMC 2BM\u003c\/i\u003e Stereo Multiband Compressor is an all tube-based compressor that adds the warmth of vintage quality masters to your mix. \u003c\/p\u003e\u003cp\u003eSwitchable crossover points ensure precise control with all three bands of opto-compression. Independent band specific Threshold, Ratio, Attack, Release \u0026amp; Gain parameters make the \u003cu\u003eSMC 2BM\u003c\/u\u003e as flexible as it is accurate. Gain controls are fitted with 12 position gold plated switches with 1dB\/step. Threshold, Ratio, Attack, Release and Balance controls are fitted with potentiometers with 31 detents. \u003c\/p\u003e\u003cp\u003eThe \u003cb\u003eTUBE-TECH SMC 2BM\u003c\/b\u003e Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid \u0026amp; High) by 6 dB\/octave x-over networks with 12 selectable frequencies: 60 – 1200 Hz for Low\/Mid band and 6 selectable frequencies: 1,2 – 6,0 kHz for the Mid\/High band. \u003c\/p\u003e\u003cp\u003eThe design of the x-over networks optimizes the summing of all three bands, resulting in a flat frequency response (within +\/-0,25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls. \u003c\/p\u003e\u003cp\u003eBoth Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.\u003c\/p\u003e","brand":"Tube-Tech","offers":[{"title":"Default Title","offer_id":44449250050151,"sku":"5938","price":7899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tubetech_smc2bm_2.jpg?v=1787088310"},{"product_id":"weiss-ds-1-mkiii","title":"Weiss DS1-MK3 Digital Mastering Compressor","description":"The MK3 version of the DS1 - a software upgrade for the DS1-MK2: \u003cul\u003e \u003cli\u003eIndependent parameter control in the two channels \u003c\/li\u003e\n\u003cli\u003eM\/S mode selectable \u003c\/li\u003e\n\u003cli\u003eSidechain link on \/ off switchable \u003c\/li\u003e\n\u003cli\u003ePeak \/ RMS sidechain processing \u003c\/li\u003e\n\u003cli\u003eFactory Presets programmed by Mr. Bob Katz \u003c\/li\u003e\n\u003cli\u003e24 Bit POW-R dithering \u003c\/li\u003e\n\u003cli\u003eDS1-MK2 snapshots can be loaded in\u003c\/li\u003e\n\u003c\/ul\u003e Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer. \u003cbr\u003e\u003cbr\u003e The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the \u003cb\u003eWeiss Gambit DS1\u003c\/b\u003e, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. \u003cbr\u003e\u003cbr\u003e In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.\u003cbr\u003e \u003cul\u003e \u003cli\u003ePresets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor\/limiter type. \u003c\/li\u003e\n\u003cli\u003eMonitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. \u003c\/li\u003e\n\u003cli\u003eBandsplitting: When touching \"bandwidth\" or \"frequency\", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner \/ center frequency. \u003c\/li\u003e\n\u003cli\u003eAttack, Release etc.: Attack, release delay and release fast\/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. \u003c\/li\u003e\n\u003cli\u003eSoft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. \u003c\/li\u003e\n\u003cli\u003eGain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor\/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e\u003cbr\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250574439,"sku":"5490","price":16418.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_ds1_mk3.jpg?v=1787088312"},{"product_id":"weiss-upgrade-from-ds1-to-ds1-mk3","title":"Weiss Upgrade from DS1 to DS1-MK3","description":"The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the \u003cb\u003eWeiss Gambit DS1\u003c\/b\u003e, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. \u003cbr\u003e\u003cbr\u003e In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.\u003cbr\u003e \u003cul\u003e \u003cli\u003ePresets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor\/limiter type. \u003c\/li\u003e\n\u003cli\u003eMonitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. \u003c\/li\u003e\n\u003cli\u003eBandsplitting: When touching \"bandwidth\" or \"frequency\", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner \/ center frequency. \u003c\/li\u003e\n\u003cli\u003eAttack, Release etc.: Attack, release delay and release fast\/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. \u003c\/li\u003e\n\u003cli\u003eSoft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. \u003c\/li\u003e\n\u003cli\u003eGain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor\/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e\u003cbr\u003e  \u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe Weiss DS1-MKII - another leap into the future for the Gambit Series.\u003c\/b\u003e\u003cbr\u003e The Gambit DS1-MK2 is a compressor \/ limiter \/ de-esser, supporting all the features needed in a DVD or CD mastering environment: 96kHz 40bit processing, simultaneous de-essing and limiting spiced with a host of signal processing capabilities. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eFeatures added for the MK2 version are:\u003c\/b\u003e \u003cul\u003e \u003cli\u003e full band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz) \u003c\/li\u003e\n\u003cli\u003eupward expansion to re-introduce dynamics in previously compressed signals \u003c\/li\u003e\n\u003cli\u003ea second completely independent dynamics section working as a final peak-limiter in both modes (frequency selective and full band compressor) \u003c\/li\u003e\n\u003cli\u003eparallel compression mode for artefact-free operation \u003c\/li\u003e\n\u003cli\u003eadditional gain control in front of the peak-limiter for even higher loudness \u003c\/li\u003e\n\u003cli\u003e88.2 \/ 96 kHz operation \u003c\/li\u003e\n\u003cli\u003e POW-R dither \u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e Add to this the standard features of the DS1 (MIDI controller and snapshot remote control, touch sensitive knobs, backlit LCD, non-volatile backup memory for up to 3 x 128 snapshots, 24bit I\/O), and you have the most comprehensive full band and band selective dynamics tool available for money - our customers agree with that. \u003cbr\u003e\u003cbr\u003e Current DS1 owners can upgrade their units to the MK2 version by replacing the DSP board.","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250672743,"sku":"8654","price":7329.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_ds1_mk3_1.jpg?v=1787088312"},{"product_id":"weiss-upgrade-from-ds1-mk2-to-ds1-mk3","title":"Weiss Upgrade from DS1-MK2 to DS1-MK3","description":"The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the \u003cb\u003eWeiss Gambit DS1\u003c\/b\u003e, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. \u003cbr\u003e\u003cbr\u003e In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.\u003cbr\u003e \u003cul\u003e \u003cli\u003ePresets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor\/limiter type. \u003c\/li\u003e\n\u003cli\u003eMonitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. \u003c\/li\u003e\n\u003cli\u003eBandsplitting: When touching \"bandwidth\" or \"frequency\", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner \/ center frequency. \u003c\/li\u003e\n\u003cli\u003eAttack, Release etc.: Attack, release delay and release fast\/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. \u003c\/li\u003e\n\u003cli\u003eSoft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. \u003c\/li\u003e\n\u003cli\u003eGain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor\/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e\u003cbr\u003e  \u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe Weiss DS1-MKII - another leap into the future for the Gambit Series.\u003c\/b\u003e\u003cbr\u003e The Gambit DS1-MK2 is a compressor \/ limiter \/ de-esser, supporting all the features needed in a DVD or CD mastering environment: 96kHz 40bit processing, simultaneous de-essing and limiting spiced with a host of signal processing capabilities. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eFeatures added for the MK2 version are:\u003c\/b\u003e \u003cul\u003e \u003cli\u003e full band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz) \u003c\/li\u003e\n\u003cli\u003eupward expansion to re-introduce dynamics in previously compressed signals \u003c\/li\u003e\n\u003cli\u003ea second completely independent dynamics section working as a final peak-limiter in both modes (frequency selective and full band compressor) \u003c\/li\u003e\n\u003cli\u003eparallel compression mode for artefact-free operation \u003c\/li\u003e\n\u003cli\u003eadditional gain control in front of the peak-limiter for even higher loudness \u003c\/li\u003e\n\u003cli\u003e88.2 \/ 96 kHz operation \u003c\/li\u003e\n\u003cli\u003e POW-R dither \u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e Add to this the standard features of the DS1 (MIDI controller and snapshot remote control, touch sensitive knobs, backlit LCD, non-volatile backup memory for up to 3 x 128 snapshots, 24bit I\/O), and you have the most comprehensive full band and band selective dynamics tool available for money - our customers agree with that. \u003cbr\u003e\u003cbr\u003e Current DS1 owners can upgrade their units to the MK2 version by replacing the DSP board.","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250705511,"sku":"9541","price":1065.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_ds1_mk3_2.jpg?v=1787088312"},{"product_id":"chandler-ltd2-mastering-pair","title":"Chandler LTD2 Mastering Pair","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eChandler Limited LTD-2\u003c\/span\u003e is based on the 2254 compressor which is the class A predecessor to the 2264 and 33609.  Construction is similar to the LTD-1.  The same audio circuit with a modified set of controls (i.e. attack times not on original and more and faster release times).  The front panel controls are as follows- 20db gain make up, threshold, attack (6 positions), release (6 positions, including auto), stereo link and bypass.\u003cbr\u003e\u003cbr\u003eThe control functions and applications seem to be more similar to those of the venerable Neve 32264a and 33609, with the thick and rich audio qualities of the Neve 2254a and Neve 2254e.  On the whole, this unit is more than just another \"Neve-a-like\"... it takes the original Neve 2254 concept to the next level of tone and flexibility.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eEven faster release times\u003c\/li\u003e\n\u003cli\u003e1db stepped gain make\u003c\/li\u003e\n\u003cli\u003eSpecially matched for stereo\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449251623015,"sku":"5068","price":3590.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_ltd2_mastering_pair.jpg?v=1787088317"},{"product_id":"chandler-ltd2-mastering-single","title":"Chandler LTD2 Mastering - Single","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eChandler Limited LTD-2\u003c\/span\u003e is based on the 2254 compressor which is the class A predecessor to the 2264 and 33609.  Construction is similar to the LTD-1.  The same audio circuit with a modified set of controls (i.e. attack times not on original and more and faster release times).  The front panel controls are as follows- 20db gain make up, threshold, attack (6 positions), release (6 positions including auto), stereo link and bypass.\u003cbr\u003e\u003cbr\u003eThe control functions and applications seem to be more similar to those of the venerable Neve 32264a and 33609, with the thick and rich audio qualities of the Neve 2254a and Neve 2254e.   On the whole, this unit is more than just another \"Neve-a-like\"... it takes the original Neve 2254 concept to the next level of tone and flexibility.\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449251688551,"sku":"15259","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_ltd2_mastering.jpg?v=1787088317"},{"product_id":"chandler-emi-tg12413-zener-limiter","title":"Chandler Limited EMI TG12413 Zener Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eChandler Limited EMI TG12413 Zener Limiter\u003c\/strong\u003e is the ultimate TG limiter issued in celebration of the 75th birthday of Abbey Road Studios. The TG12413 Zener Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. It continues the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413. This newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a full-featured and flexible unit for modern use.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe Zener Limiter is being reissued to add features and flexibility to the powerful and vintage sounding TG limiter circuits. Wade has added many new controls including switchable input impedance for hard or soft driving of the unit, 11-position attack, 21-position release, side chain filtering, and Comp 1, Comp 2, and Limit settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAll TG units require and function on the \u003ca href=\"https:\/\/vintageking.com\/chandler-limited-psu-1-tg-ltd-germanium\"\u003eChandler Limited PSU-1\u003c\/a\u003e power supply (sold separately). The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V\/230V).\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449251721319,"sku":"7723","price":5499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_zenerlimiter_1_65a802c0-612f-46a5-a3e0-0da70b4f2ca5.jpg?v=1787088317"},{"product_id":"alta-moda-unicomp-demo-deal","title":"Alta Moda Unicomp (Demo Deal)","description":"The \u003cb\u003eAlta Moda Unicomp \u003c\/b\u003eaudio compressor combines the best features of both modern and classic audio compressors into a single, dual-mono unit. At its heart is a unique gain cell\/sidechain combination which gives the Unicomp its own distinctive sonic character. The Unicomp’s comprehensive set of sidechain features gives it true versatility and accuracy which make the unit superbly suited for tracking, mixing and mastering applications. \u003cbr\u003e\u003cbr\u003e The Unicomp boasts a fully discrete, class ‘A’, high voltage minimalist audio path. The amplifiers are DC servo-coupled, eliminating all coupling capacitors in the signal path. \u003cbr\u003e\u003cbr\u003e The sidechain features a high accuracy logarithmic-scaled detector, with a choice of operating in RMS or peak rectifier modes. The Unicomp also allows the user, with a single switch, to change the compressor topology from a modern and accurate feedfoward detection scheme, to the classic and more colorful feedback approach; completely changing the sonic personality of the unit. \u003cbr\u003e\u003cbr\u003e The Unicomp’s personality is further changed with the addition of the Warmth control. Turning this control adds rich, second harmonic distortion to the signal that increases as compression increases, adding even more character to the sound. A switchable filter changes the contour of the affected signal, useful when processing more complex signals, such as mixes. \u003cbr\u003e\u003cbr\u003e Another unusual feature of the unit is the Blend control. The Blend control allows the operator to mix unprocessed signal back into the compressor’s output path. This gives one the ability to create a more subtle compression effect on tracks such as vocals, or for blending back dry signal when heavy buss compression effects such as drum submixes are being processed. A high pass filter is included which blends only the higher audio frequencies back into the output path. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eUnicomp Features\u003c\/b\u003e \u003cul\u003e \u003cli\u003e Class A high voltage, discrete capacitor-free signal path. \u003c\/li\u003e\n\u003cli\u003e Electronically balanced input, impedance balanced, single-ended output. \u003c\/li\u003e\n\u003cli\u003eFET-based wide dynamic range gain cell eliminates the need for an input control. \u003c\/li\u003e\n\u003cli\u003eLog-scaled detector responds more like the human ear than linear detection systems. \u003c\/li\u003e\n\u003cli\u003eChoice of RMS (excellent for overall level reduction) or Peak mode (great for catching fast transients). \u003c\/li\u003e\n\u003cli\u003eThreshold knee control – can switch between hard knee for instantaneous gain reduction, or soft knee mode, for a subtle engaging of compression over several dB. \u003c\/li\u003e\n\u003cli\u003eContinuously variable Threshold, Ratio, Attack and Release controls. \u003c\/li\u003e\n\u003cli\u003eSwitchable Sidechain insert for keying and detector signal equalization. \u003c\/li\u003e\n\u003cli\u003e Feedforward\/Feedback – switches between the basic topologies. Feedforward is precise and can yield high compression ratios. Feedback mode is more subtle, and can yield interesting compression artifacts, including the shifting of attack and release time constants. \u003c\/li\u003e\n\u003cli\u003eWarmth control – adds 2nd harmonic distortion, increasing as compression increases. \u003c\/li\u003e\n\u003cli\u003eWarmth filter – high pass filter bringing out more mid-range frequency distortion. \u003c\/li\u003e\n\u003cli\u003e Blend – mixes dry, input signal back into output path. \u003c\/li\u003e\n\u003cli\u003eBlend filter- high pass filter returns only dry, upper frequencies back into output. \u003c\/li\u003e\n\u003cli\u003eDual Mono\/Stereo – completely independent channels can be linked for stereo operation. \u003c\/li\u003e\n\u003cli\u003eSidechain L and R are summed after the rectifiers. \u003c\/li\u003e\n\u003cli\u003eGain Makeup – increases output amplifier level from unity to compensate for lost level when compressing. \u003c\/li\u003e\n\u003cli\u003eHigh quality construction – premium components for long life.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Alta Moda","offers":[{"title":"Default Title","offer_id":44449360052327,"sku":"14888","price":3095.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/alta_moda_unicomp_1_2.jpg?v=1787088702"},{"product_id":"api-2500-demo-deal","title":"API 2500 (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eAPI 2500\u003c\/strong\u003e is a versatile stereo bus compressor that allows adjustment of sonic qualities that can alter the punch and tone of the stereo mix. The 19\" rack-mountable unit features API's patented \"thrust\" circuit for a chest-hitting, punchy bottom end. With its dual-channel design, the API 2500 is set up for stereo compression, but can also be used as two separate units via a single compression setting. The 2500 boasts a range of parameters that make it incredibly musical.\u003c\/p\u003e\r\n\u003cp\u003eAPI pushes the envelope of flexibility further with selectable \"old\" or \"new\" compression. The old-style uses the feedback type of compression found in the API 525, Universal Audio 1176, and the Fairchild 660\/670. The new style uses a feed-forward type, similar to other popular compressors.\u003c\/p\u003e\r\n\u003cp\u003eThe output stage features API's auto-makeup gain button, permitting the user to vary the threshold or ratio while automatically maintaining a constant output level. Fidelity is ensured with an all-discrete, fully balanced design, and two front panel VU meters show input, output, and gain reduction levels.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360117863,"sku":"13898","price":2520.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_2500_1.jpg?v=1787088702"},{"product_id":"manley-slam-mastering-version-demo-deal","title":"Manley SLAM! - Mastering Version (Demo Deal)","description":"Proudly from our beginning, we at MANLEY LABS have been closely involved with numerous mastering facilities around the world. For these most demanding engineers in our industry, we have created specialised products such as our all-tube tape repro head amps, digital converters, high-powered vacuum tube monitor amplifiers, through to custom monitoring consoles, all the way up to complete facility design and installation. \u003cbr\u003e\u003cbr\u003e The Mastering Version of the SLAM! incorporating detented and logable 1\/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production.","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449364312167,"sku":"14731","price":5475.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley_slam_mastering_1_1.jpg?v=1787088720"},{"product_id":"pendulum-pl-2-analog-peak-limiter-demo-deal","title":"Pendulum PL-2 Analog Peak Limiter (Demo Deal)","description":"The \u003cb\u003ePendulum PL-2 \u003c\/b\u003eis a stand-alone two channel version of the very popular peak limiter in our Quartet II Tube Recording Channel. It uses a novel approach to brickwall limiting in the analog domain, one that is fast enough to prevent digital overs without using time delay or phase-shift delay techniques. This allows us to keep the analog signal path short, and keep the limiting circuit 'switched out' of the signal path below the peak limiting threshold. Distortion for all levels below the the limiting threshold is low, and does not rise as the threshold for limiting is approached. Unlike analog peak clippers, which chop off the top and bottom of the waveform, our limiter retains dynamic information at the top of the peak. \u003cp\u003e The PL-2 has two modes of peak limiting, using either junction field-effect transistors (JFET) or metal-oxide semiconductor field effect transistors (MOSFET) as the control elements. While both are equally capable of brickwall limiting, each type has its own characteristic sound. The JFET tends to be a stiffer, harder mode of limiting, while the MOSFET has a softer, more compliant response. The resulting waveforms look different, and each device has its own characteristic sound. \u003c\/p\u003e\u003cp\u003e In addition, Input and Output gain controls allow the user to scale the gain structure for a wide range of applications, from driving the front end of an A\/D converter at +22 dBu, to inserting it as an effect into a +4 dBu patch bay. Several units can be linked for multi-channel applications. \u003c\/p\u003e\u003cp\u003e Each channel also has an expanded 13 segment LED display which accurately indicates peak reduction.\u003c\/p\u003e","brand":"Pendulum","offers":[{"title":"Default Title","offer_id":44449366016103,"sku":"16107","price":2195.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/pendulum_pl2_1_1.jpg?v=1787088726"},{"product_id":"shadow-hills-industries-mastering-compressor-demo-deal","title":"Shadow Hills Industries Mastering Compressor (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eShadow Hills Industries Mastering Compressor\u003c\/strong\u003e is a mastering-grade compressor\/limiter with two compressors (stereo or dual mono) in series and three different output transformer selections (Nickel, Iron, and Steel) to choose between clean, colored, and dirty textures. The optical section is entirely bypassable, and it’s possible to bypass both compression sections to use the transformer section alone. The metering can reflect optical gain reduction, discrete gain reduction, or output level. These versatile bypass and metering options make the Shadow Hills Mastering Compressor suitable as both a tracking compressor and a bus compressor.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTWO COMPRESSION SECTIONS\u003c\/h3\u003e\r\n\u003cp\u003eThe input stage is transformer balanced, followed by an optical compressor section. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is a discrete Class A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: 0.1, 0.5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: 0.1, 0.25, 0.5, 8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material.\u003c\/p\u003e\r\n\u003cp\u003eBoth sections are hardwire bypassable allowing you to completely remove either from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a straight wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it can also serve as an excellent tracking compressor.\u003c\/p\u003e\r\n\u003cp\u003eThe metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eTHREE SWITCHABLE OUTPUT TRANSFORMER OPTIONS\u003c\/h3\u003e\r\n\u003cp\u003eThe Mastering Compressor features Shadow Hills' custom transformer switching network with three output transformers options. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty. The first position is Nickel which is a custom version of a famous LA custom console. This setting provides a natural-sounding low end and enhanced high frequencies. With the Iron section, the signal goes through the op-amp and into a Class A output stage (which only passes even-ordered harmonics) then through a custom Iron transformer for a slight boost at 110 Hz. The last transformer position is Steel which features an open and detailed sound with a boost at approximately 40 Hz for big low end.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003ePREMIUM QUALITY COMPONENTS\u003c\/h3\u003e\r\n\u003cp\u003eThe Mastering Compressor features custom-designed, gold-plated attenuators for easy settings recall. All 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite.\u003c\/p\u003e\r\n\r\n\u003chr\u003e\r\n\u003ch3 id=\"toc_4\"\u003eTESTIMONIALS\u003c\/h3\u003e\r\n\u003cp\u003e\u003cem\u003e\"The Shadow Hills Mastering Compressor is a very versatile and unique sounding unit, capable of transforming a quite ordinary sounding mix into something warmer, richer and more musically glued together. It has a completely natural, smooth sound, which perfectly compliments mixes which have been done primarily in the box by smoothing many of the harsh overtones. By linking the opto and discreet compressors, it is possible to nearly re-balance a mix by making the ambient elements and musical hooks move forward in a subtle and non-hyped way. The choice of iron\/nickel\/steel for the compressor is an ultra fine-tuning control which is the most fun part of working with the unit, as it affords a surprise in the special enhancement it provides and keeps the user from “settling” on a setting which is almost, but not quite, right. The ergonomics for the Shadow Hills are the best I ever encountered in a mastering compressor by a wide margin. Easy to read, easy to recall. Of course, the ultra-large knobs are the wow factor which all visitors to the studio have immediately remarked about. No one piece of gear is ever good for every project, but the Shadow Hills has, in two months use, become an essential part of my mastering set-up, affording me a perfect solution to many of the problems we encounter in the post recording studio era.\"\u003c\/em\u003e \u003cstrong\u003e- Greg Calbi, Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e\"Nobody buy the Shadow Hills Mastering Compressor! Please return yours now. I'm willing to suffer the consequence of being the only one to own that anchor. Yah, it adds a shimmering excitement to multi buss compression by not getting in the way of the internal dynamics I've created... and I do love putting my hands on those big black knobs...but who cares? Just once, I want a great compressor that nobody else can have.\"\u003c\/em\u003e \u003cstrong\u003e- Michael Brauer\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e\"The Shadow Hills mastering compressor is something I've avoided since it came out because, cynical Canadian that I am, I figured something that looked that good couldn't sound amazing. I was so wrong. It's an instant game changer... put it on the mix bus with a tiny bit of optical compression and more liberal VCA compression with the sidechain engaged keeping all the low end and BLOODY HELL IT'S AMAZING. I'm mixing at least twice as fast as I ever have, and the mixes sound completely on par with the best mixers out there. I know how that reads in text form, but it's really something else. Sorry for the unfiltered gearsluttiness but I can't contain myself. They should rename it the Game Changer.\"\u003c\/em\u003e \u003cstrong\u003e- Greg Wells\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e\"Forget the aesthetics of the unit - it's the most versatile comp ever. The discrete comp is a cross between a G384 and a 33609. The opto side is fast as hell. I'd love to take it off the 2mix but that won't happen.\"\u003c\/em\u003e \u003cstrong\u003e- Doug McBride\u003c\/strong\u003e\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449367097447,"sku":"14293","price":8079.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow_hills_mastering_comp_straight_1.jpg?v=1787088731"},{"product_id":"rupert-neve-designs-portico-ii-master-buss-processor","title":"Rupert Neve Designs Portico II Master Buss Processor","description":"\u003cp\u003eWith input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the \u003cstrong\u003eRupert Neve Designs Portico II Master Buss Processor\u003c\/strong\u003e (MBP) will integrate flawlessly with virtually any system. Additionally, the MBP incorporates mastering grade detented pots throughout to fine tune its revolutionary dynamics, tone, and stereo field controls. This new topology is a significant evolution of Mr Rupert Neve’s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing for the sweet, musical performance that has been a part of countless recordings.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eThe Compressor\u003c\/h3\u003e\r\n\u003cp\u003eThe MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. With the stereo link control engaged, Ch. A settings act as the master control for convenient operation. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly 0.1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 250 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003c\/p\u003e\r\n\u003cp\u003eTo further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eThe Limiter\u003c\/h3\u003e\r\n\u003cp\u003eThe Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation, however this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Our new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP Limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast acting limiter.\u003c\/p\u003e\r\n\u003cp\u003eTypically there is a tradeoff between how fast limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counter clock-wise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction.\u003c\/p\u003e\r\n\u003cp\u003eThe new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold. It has a “medium knee” initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft clipper circuit catches transients that may have been in the “knee” when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eThe Stereo Field Editor\u003c\/h3\u003e\r\n\u003cp\u003eThe stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.\u003c\/p\u003e\r\n\u003cp\u003eThe width control enables the user to increase or decrease the width of a stereo image (wide\/mono) and adjust the amount of ambiance inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.\u003c\/p\u003e\r\n\u003cp\u003eThe depth control of the MBP adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.\u003c\/p\u003e\r\n\u003cp\u003eTo fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250 Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener.\u003c\/p\u003e\r\n\u003cp\u003eAnother technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.\u003c\/p\u003e","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449389674599,"sku":"18927","price":3595.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rupert_neve_portico_ii_master_buss_compressor_1.jpg?v=1787088819"},{"product_id":"waves-maxx-bcl","title":"Waves Maxx BCL","description":"Max Bass, Compressor and L2 in one unit.","brand":"Waves Audio","offers":[{"title":"Default Title","offer_id":44449393213543,"sku":"8644","price":3680.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/waves_maxx_bcl.jpg?v=1787088826"},{"product_id":"shadow-hills-mastering-compressor-class-a-vk-limited-edition","title":"Shadow Hills Mastering Compressor Class A VK Limited Edition","description":"\u003cp\u003eIntroducing the \u003cstrong\u003eShadow Hills Mastering Compressor Class A VK Limited Edition\u003c\/strong\u003e.  A special limited run of unique SHMC units celebrating the success of what is surely one of the most notable mastering compressors ever created.  For this special edition, Shadow Hills has included an updated Class-A discrete compressor section, Lundahl input transformers and hand wired each compressor with Mogami Cable. This version is outwardlly distinguished by the red LEDs gracing the front panel (instead of the normal green ones) and a signed and numbered plaque adorning the rear panel of the unit, signed by Mr. Peter Reardon, himself.\u003cbr\u003e \u003cbr\u003eThe Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class A compressor\/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.\u003cbr\u003e \u003cbr\u003eThe input stage is transformer balanced, with specially selected Lundahl transformers for the Class-A edition, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.\u003cbr\u003e \u003cbr\u003eThe first position is Nickel, which is our custom version of a famous L.A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.\u003cbr\u003e \u003cbr\u003eThe optical section has a hard-wired bypass that completely removes it from the signal path, and the Class A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a strait wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.\u003cbr\u003e \u003cbr\u003eFor instance, you might call up the chain of the optical compressor, then to the Class A output and Iron transformer, for vocals, or select just the Class A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.\u003cbr\u003e \u003cbr\u003eThe metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.\u003cbr\u003e \u003cbr\u003eAll 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite.\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449473888359,"sku":"30028","price":8095.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow_hills_mastering_compressor_vk_edition_79a017a5-e076-4665-a17c-a1d3bd3f2a2a.jpg?v=1787089091"},{"product_id":"weiss-ds1-mk3-demo-deal","title":"Weiss DS1-MK3 (Demo Deal)","description":"The MK3 version of the DS1 - a software upgrade for the DS1-MK2: \u003cul\u003e \u003cli\u003eIndependent parameter control in the two channels \u003c\/li\u003e\n\u003cli\u003eM\/S mode selectable \u003c\/li\u003e\n\u003cli\u003eSidechain link on \/ off switchable \u003c\/li\u003e\n\u003cli\u003ePeak \/ RMS sidechain processing \u003c\/li\u003e\n\u003cli\u003eFactory Presets programmed by Mr. Bob Katz \u003c\/li\u003e\n\u003cli\u003e24 Bit POW-R dithering \u003c\/li\u003e\n\u003cli\u003eDS1-MK2 snapshots can be loaded in\u003c\/li\u003e\n\u003c\/ul\u003e Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer. \u003cbr\u003e\u003cbr\u003e The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the \u003cb\u003eWeiss Gambit DS1\u003c\/b\u003e, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. \u003cbr\u003e\u003cbr\u003e In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.\u003cbr\u003e \u003cul\u003e \u003cli\u003ePresets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor\/limiter type. \u003c\/li\u003e\n\u003cli\u003eMonitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. \u003c\/li\u003e\n\u003cli\u003eBandsplitting: When touching \"bandwidth\" or \"frequency\", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner \/ center frequency. \u003c\/li\u003e\n\u003cli\u003eAttack, Release etc.: Attack, release delay and release fast\/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. \u003c\/li\u003e\n\u003cli\u003eSoft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. \u003c\/li\u003e\n\u003cli\u003eGain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor\/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e\u003cbr\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449477197927,"sku":"19677","price":7650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_ds1_mk3_3_8d6b57d3-48a4-464e-98a6-4e239dbc6950.jpg?v=1787089106"},{"product_id":"rupert-neve-portico-ii-master-buss-processor-demo-deal","title":"Rupert Neve Portico II Master Buss Processor (Demo Deal)","description":"\u003cp\u003eWith input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the \u003cspan style=\"font-weight: bold;\"\u003eRupert Neve Designs Master Buss Processor (MBP)\u003c\/span\u003e will integrate flawlessly with virtually any system. Additionally, the MBP incorporates mastering grade detented pots throughout to fine tune its revolutionary dynamics, tone, and stereo field controls. This new topology is a significant evolution of Mr Rupert Neve’s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing for the sweet, musical performance that has been a part of countless recordings.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eThe Compressor\u003c\/span\u003e\u003cbr\u003e The MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. With the stereo link control engaged, Ch. A settings act as the master control for convenient operation. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 250 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003cbr\u003e \u003cbr\u003e To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eThe Limiter\u003c\/span\u003e\u003cbr\u003e The Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation, however this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Our new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP Limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast acting limiter.\u003cbr\u003e \u003cbr\u003e Typically there is a tradeoff between how fast limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counter clock-wise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction.\u003cbr\u003e \u003cbr\u003e The new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold. It has a “medium knee” initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft clipper circuit catches transients that may have been in the “knee” when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eThe Stereo Field Editor\u003c\/span\u003e\u003cbr\u003e The stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.\u003cbr\u003e \u003cbr\u003e The width control enables the user to increase or decrease the width of a stereo image (wide\/mono) and adjust the amount of ambiance inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.\u003cbr\u003e \u003cbr\u003e The depth control of the MBP adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.\u003cbr\u003e \u003cbr\u003e To fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250 Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener.\u003cbr\u003e \u003cbr\u003e Another technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.\u003c\/p\u003e","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449479983207,"sku":"26037","price":4699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rupert_neve_portico_ii_master_buss_compressor_1_1_ff0de635-128e-4858-900e-c7f09b60a137.jpg?v=1787089118"},{"product_id":"tube-tech-cl2a-compressor-used","title":"Tube-Tech CL 2A Compressor (used)","description":"\u003cp\u003eThe \u003cstrong\u003eTube-Tech CL 2A Dual Compressor\u003c\/strong\u003e features two independent optical compressors. The optical gain reduction element is placed after the input transformer and then followed by an all tube-based output amplifier with a +10 dB gain. A switch with three positions (Link 1, Off, Link 2) is used whenever you want to use the two separate compressors in stereo mode or link several compressors together. The two link busses are identical. \u003cbr\u003e\u003cbr\u003eBoth Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the anode voltage for the output stage all DC voltages are stabilized. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Tube-Tech","offers":[{"title":"Default Title","offer_id":44449481293927,"sku":"11236","price":2995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_tube-tech_cl2a.jpg?v=1787089123"},{"product_id":"dbx-quantum-dynamics-processor-used","title":"DBX Quantum Dynamics Processor (Used)","description":"\u003cb\u003eThe dbx Quantum\u003c\/b\u003e is a dual mono\/stereo digital mastering tool that \n offers sampling rates up to 96kHz, with a true 48-bit digital signal  \npath, and dbx dynamics processing, now available as a multi-band system. \n A crossover splits the signal into 4 bands, and each band may be  \nindividually gated, compressed, and limited. The unit can also be used  \nas a traditional broadband compressor.\u003cbr\u003e\u003cbr\u003eThe unit's intuitive  \noperating system allows easy access to the menu driven system.  \nAlternately it can be remotely controlled from a PC, thereby utilizing  \nthe increased display area of the computer monitor. The user can use the \n 4-band crossover, with independent slope selection, to split the  \nincoming signal into the 4-bands. A 5-band EQ offers 3 bands of  \nparametric EQ with variable Q, adaptable or constant Q, and low and high \n shelving filters. The Quantum also comes with the TYPE IV Conversion  \nSystem, which captures the character of any analog signal to the digital \n domain. With the help of TSE Tape Saturation Emulation, the unit can  \nretain the original warmth of the recording, while giving it the clarity \n and versatility needed in today's digital world of music production and \n mastering.\u003cbr\u003e\u003cbr\u003eThe output of the Quantum can be dithered down to 24, \n 20, or 16-bits using dbx's custom dither algorithms. For more  \nversatility the unit provides full MIDI\/SysEx control, and  \ninternal\/external sync capability. And if ever the software gets  \nchanged, it will be available as a download from the company's Internet  \nsite and installed via the MIDI ports.\u003cbr\u003e\u003cbr\u003e    4-band stereo compressor, gate, limiter with EQ \u003cbr\u003e\u003cbr\u003eMulti-Band Mode\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eAllows \n compression and spectral balancing of four independent bands on any  \nsingle source, without getting into the usual problems of pumping and  \nbreathing \u003c\/li\u003e\n\u003cli\u003e5-band EQ - hi andlow shelves, 3-band fully parametric. Shelves have switchable slops of 3, 4, 5, 6, 9, and 12dB\/octave \u003c\/li\u003e\n\u003cli\u003eEQ can be possitioned pre dynamics, post dynamics, or in the dynamics sidechain \u003c\/li\u003e\n\u003cli\u003e24-bit\/96kHz analog to digital, and digital to analog converters \u003c\/li\u003e\n\u003cli\u003e48-bit internal signal path for increased headroom and low noise \u003c\/li\u003e\n\u003cli\u003eType IV A\/D conversion with Tape Saturation Emulation \u003c\/li\u003e\n\u003cli\u003eDither outputs to 16, 20 and 24-bits, and sample rate conversion \u003c\/li\u003e\n\u003cli\u003e12 segment analog and input and output meters \u003c\/li\u003e\n\u003cli\u003eDigital metering of input, output and gain reduction for each band \u003c\/li\u003e\n\u003cli\u003ePC GUI control \u003c\/li\u003e\n\u003cli\u003eHi-res graph shows composite output vs. input plot for each band \u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003eGraphic Display\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eLarge high-resolution LCD with high-contrast LED backlight \u003c\/li\u003e\n\u003cli\u003eOpen-ended and \"future-proof\" architecture allows for future software upgrades \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449486372967,"sku":"29240","price":675.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_dbx_quantum_dynamics_cat_bd674e28-f51c-4d0c-9ce5-150ea8daee33.jpg?v=1787089144"},{"product_id":"api-2500-stereo-buss-compressor-used","title":"API 2500 Stereo Buss Compressor (Used)","description":"\u003cp\u003eThe API 2500 is a versatile stereo bus compressor that allows adjustment  of sonic qualities that can alter the punch and tone of the stereo mix.  The 19\" rack mountable unit features ATI's patented \"thrust\" circuit  for a chest-hitting, punchy bottom end. With its dual channel design,  the API 2500 is set up for stereo compression, but can also be used as  two separate units via a single compression setting. The 2500 boasts a  range of parameters that make it incredibly musical.\u003cbr\u003e\u003cbr\u003eFeatures:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAPI 2520 op-amp\u003c\/li\u003e\n\u003cli\u003eVariable threshold between -20 and +10\u003c\/li\u003e\n\u003cli\u003eSelectable Ratio, Attack and Release times\u003c\/li\u003e\n\u003cli\u003ePatented \"Thrust\" high-pass filter before RMS detector\u003c\/li\u003e\n\u003cli\u003eVariable link between left and right channels\u003c\/li\u003e\n\u003cli\u003eOld \"feed back\" or new \"feed forward\" compression\u003c\/li\u003e\n\u003cli\u003eSoft, Medium or Hard Knee for easy to sharp compression\u003c\/li\u003e\n\u003cli\u003eAuto or manual gain make up\u003c\/li\u003e\n\u003cli\u003e1\/4\" balanced side chain inputs\u003c\/li\u003e\n\u003cli\u003eOutput clips at +30 dBm\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449493090407,"sku":"8490","price":2395.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_api_2500_stereo_buss_compressor__9091263_cat_7874f71c-8004-4043-8da9-085f115486c7.jpg?v=1787089184"},{"product_id":"shadow-hills-mastering-compressor-207-used","title":"Shadow Hills Mastering Compressor #207 (Used)","description":"\u003cp\u003eThe \u003cb\u003eShadow Hills Mastering Compressor \u003c\/b\u003ehas extraordinary  functionality, and also provides mastering grade compression and  limiting for tracking and mixing. Essentially it is two compressors in  series, per channel, that can act in stereo, or dual mono. First comes  our mastering grade electro optical compressor, followed by our discrete  Class-A compressor\/limiter. Both feed our switchable custom output  transformers, Nickel, Iron, and Steel. There is enough gain in each  section to overdrive the hottest tape, or clip your converters, if  you're into that sort of thing.\u003c\/p\u003e\u003cp\u003eThe input stage is transformer  balanced, followed by our fully discrete optical compressor. This  section utilizes the same T4B optical attenuator as the LA2A and LA3A,  but is optimized for mastering. The second stage is our discrete Class-A  VCA compressor. There are no electrolytic caps or IC chips in the audio  path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1,  and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30  milliseconds. And there are six release times selectable: .1, .25, .5,8,  1.2, and Auto. There is an insertable filter in the side chain to limit  pumping with bass heavy material. Lastly the signal goes through our  new Shadow Hills custom transformer-switching network.\u003c\/p\u003e\u003cp\u003eThe first  position is Nickel, which is our custom version of a famous L. A. custom  console. Next is Iron. In this mode the signal goes through our op-amp  and into a Class-A output stage then to our custom Iron transformers,  the last transformer position is Steel. These selections allow you to  choose between different output transformers that are in effect: clean,  colored, and dirty, respectively.\u003c\/p\u003e\u003cp\u003eThe optical section has a  hard-wired bypass that completely removes it from the signal path, and  the Class-A VCA compressor is also hardwire bypassable, completely  removing it from the chain. It is possible to independently bypass both  compression sections and have your signal go through the input  transformer and transformer selector only. There is also a hardwire  bypass for the entire compressor, effectively a straight wire in and out  of the box. So besides being a mastering grade, and highly functional  buss compressor, it serves as an excellent tracking compressor.\u003c\/p\u003e\u003cp\u003eFor  instance, you might call up the chain of the optical compressor, then  to the Class-A output and Iron transformer, for vocals, or select just  the Class-A VCA compressor with a 10:1 plus the Steel transformer for  crushing some room mics, and on and on.\u003c\/p\u003e\u003cp\u003eThe metering can reflect  optical gain reduction, discrete gain reduction, or output level. The  Magic eye tube follows the output meter to act as a peak meter.\u003c\/p\u003e\u003cp\u003eAll  17 of the rotary switches are detented. The front panel is engraved.  The knobs are bake-lite, and the two-rack space external power supply  will work in any country on any voltage.\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449498234983,"sku":"30039","price":6495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_shadow_hills_mastering_compressor__207_5b2e81cd-dbe8-42f0-b4a4-d41750cfdfff.jpg?v=1787089212"},{"product_id":"shadow-hills-mastering-compressor-al312-used","title":"Shadow Hills Mastering Compressor #AL312 (Used)","description":"\u003cp\u003eClean example of this unit, comes with psu.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eShadow Hills Mastering Compressor \u003c\/strong\u003ehas extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor\/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.\u003c\/p\u003e\n\u003cp\u003eThe input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.\u003c\/p\u003e\n\u003cp\u003eThe first position is Nickel, which is our custom version of a famous L. A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.\u003c\/p\u003e\n\u003cp\u003eThe optical section has a hard-wired bypass that completely removes it from the signal path, and the Class-A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a straight wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.\u003c\/p\u003e\n\u003cp\u003eFor instance, you might call up the chain of the optical compressor, then to the Class-A output and Iron transformer, for vocals, or select just the Class-A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.\u003c\/p\u003e\n\u003cp\u003eThe metering can reflect optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.\u003c\/p\u003e\n\u003cp\u003eAll 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite, and the two-rack space external power supply will work in any country on any voltage.\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449530576999,"sku":"31861","price":6995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_31861_1_a5a4c8ab-da66-440c-8fe4-3f121fca9cb3.jpg?v=1787089335"},{"product_id":"chandler-tg1-limiter-original-version-012-used","title":"Chandler TG1 Limiter Original Version #012 (Used)","description":"The \u003cb\u003eChandler TG1 Limiter\/Compressor\u003c\/b\u003e was featured on custom EMI\/Abbey Road recording and mastering consoles. These rare units were used on late Beatle recordings and Pink Floyd albums including Abbey Road and Dark Side Of The Moon. Our company has seen only about ten of these units in existence-two of which were used to recreate our version.","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449531756647,"sku":"32134","price":3150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_chandler_tg1_original__000012_cat_a52c02e6-73ca-4c06-b418-0bc64aaa0bf7.jpg?v=1787089341"},{"product_id":"tk-audio-bc2-me","title":"TK Audio BC2-ME","description":"\u003cp\u003eTK Audio’s vision is to make products that will satisfy our customers needs. During years of success with our BC1 we got a lot of requests of customize units with stepped controls, more suitable for mastering. Therefore we now launch BC2-ME, a unit perfect for mastering. Except for the stepped controls we also added some nice features like illuminated switches, switchable output-stage between electronically-balanced or transformer balanced class-A.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBC2-ME uses the same basic sound path as the BC1, plus the extra features. The class-A mode offers a more vintage tone, like fat, punchy low-end response with more low mid character. The output section is the same as we use in the DP1. BC2-ME also has a switch that adds extra harmonics to the compressed signal. The blend control offers 23 steps from straight to compressed signal.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"TK Audio","offers":[{"title":"Default Title","offer_id":44449536737383,"sku":"32678","price":2199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tkaudio_bc2-me_front_e05eb695-c15e-4413-ba4a-81c488b3cff8.jpg?v=1787089361"},{"product_id":"manley-slam-with-ad-da-option-110-used","title":"Manley SLAM! with AD\/DA Option #110 (Used)","description":"\u003cp\u003e\u003cstrong\u003eSLAM!\u003c\/strong\u003e stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 \u0026amp; 6dB to keep the poor little needles from bending? it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.\u003c\/p\u003e\n\u003cp\u003eWhen it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, \"it just works\" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGET IN:\u003c\/strong\u003e The SLAM! starts with tube Mic Preamps on both channels with switchable phantom power and phase reverse. We?ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter? plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ?n? rollers won?t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. Come on in!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGot some Digital to deal with? No problem.\u003c\/strong\u003e There is a slot in the back for our optional 24 Bit\/96KHz Analog to Digital converter and 24 Bit\/192KHz Digital to Analog converter card. This allows you to record directly to your computer or workstation and provides a convenient way to use a digital insert to jump into the analog realm and back. AES and SPDIF digital inputs receive your stereo digital signal to convert to analog for processing by the SLAM! when the DAC input is selected. Or just take advantage of this killer DAC and use the DAC Output for monitoring, listening, or to go out to some other analog processors or tape machines.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGet it LOUD... two different and distinct limiters per channel\u003c\/strong\u003e\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449574551655,"sku":"32955","price":5150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_32955_1_d7ea3a8d-a09f-48fa-b1f2-2759447c210e.jpg?v=1787089524"},{"product_id":"chandler-limited-emi-tg12413-zener-limiter-demo-deal","title":"Chandler Limited EMI TG12413 Zener Limiter (Demo Deal)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eChandler Limited EMI TG12413 Zener Limiter\u003c\/span\u003e is the ultimate TG Limiter issued in celebration of the 75th birthday of Abbey Road Studios.  The Zener Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd.  This newest EMI Limiter continues the tradition of EMI Limiters started in 1956 with the RS114 tube limiter, and continued with the RS168 Zener Limiter in 1966, part of the TG12345 console channel in 1968 and TG12413 in 1974.  The newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a new fully featured and flexible unit for modern use. It is interesting to note that the TG Limiter was originally designed to replace both the Fairchild 660 (Limit Mode) and the Altec 436\/RS124 (Comp 1 Mode)\u003cbr\u003e\u003cbr\u003eThe main reason for Zener Limiter reissue was to add features and flexibility to the powerful and vintage sounding TG limiter circuits.  To that end Wade has added many new controls including switchable input impedance for hard of soft driving of the unit, 11 position attack, 21 position release, side chain filtering, Comp1, Comp2, and Limit settings.\u003cbr\u003e\u003cbr\u003eA simple Limiter from the rich past of EMI and Abbey Road has now come full circle into a modern powerhouse suitable for recording, mixing, and mastering.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e This unit requires the Chandler Limited PSU-1 for TG, LTD, Germanium (not included)\u003cbr\u003e\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449685340263,"sku":"19581","price":4889.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_zenerlimiter_1_2_49f48b09-ef5a-4caf-b219-d7222a4fae07.jpg?v=1787089978"},{"product_id":"spl-iron-mastering-compressor","title":"SPL Iron Mastering Tube Compressor - Black","description":"\u003cp\u003eThe \u003cstrong\u003eSPL Iron Mastering Tube Compressor\u003c\/strong\u003e combines not only the sonic virtues of legendary vintage tube compressors with the advantages of the High Dynamic 120V operating voltage in a single unit. It is also perfect for the needs of modern mastering studios and sets a new benchmark in terms of tube compressor technology, with the innovative implementation of a parallel dual-tube circuit.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThanks to the especially conceived Mu-Metal iron transformers, the signal of each channel is split across two different twin-triode tubes. The combination of the different response curves of both tubes results in a transparent and musically pleasant compression. Additionally, peak signals of the control voltage are limited by a feed-forward resistive vactrol-opto-isolator. Thus, the output signal remains lively even with a high gain reduction. The compression is only noticeable with extreme settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eMastering is not the only domain where the IRON sets new standards. It can also be used to process individual instruments, like vocals, bass, guitar, strings, etc. The IRON is also an excellent option for subgroups.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eCompressor\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe basic operating principles of a compressor\/limiter can be easily explained. The level of an audio signal is reduced according to the specified attack time and ratio whenever it exceeds a given threshold. This reduction ceases when the release time elapses, while the compressed signal is amplified with the make-up gain.\u003c\/p\u003e\r\n\r\n\u003cp\u003eCompressors basically differ from each other in the technology used. This technology - tubes, opto, FET, or VCA - is what gives a compressor its particular character. Some units sound soft and silky, some sound pounding, while some others make sound fatter, and there are those that make sound clearer, harder or more percussive. The trick resides in how the unit is technically designed, in the signature of the maker. Different compressors with the exact same settings might work and sound completely different. They provide different sounds for different applications and music styles.\u003c\/p\u003e\r\n\r\n\u003cp\u003eNowadays, the compressor has become a key element when it comes to provide dynamics and punch to any production. The number of compressors available is huge and it‘s easy to succumb to the promises made by software emulations and analog recreations of vintage gear as the perfect solution. Unfortunately, many of these emulations and recreations differ quite a bit from their original counterparts. You must simply accept that the components used today, like the transformers, tubes and all other passive elements, are different to the ones originally used and that they can‘t be digitally emulated. No software (DSP-emulated compressors) or hardware replica will ever be able to sound like the original. An authentic sound can only be achieved with the original unit.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eVariable Bias\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe IRON mastering compressor was conceived as a variable-bias limiter\/compressor right from the start. However, the implementation of new technologies results in many improvements. Its basic operating principle as a variable-bias tube compressor was loosely inspired by the sonic and technical operation of Fairchild, Collins and Gates compressors, which used remote cut-off of tube biasing to achieve a well-balanced, well-compensated and musical compression.\u003c\/p\u003e\r\n\r\n\u003cp\u003eHowever, the IRON compressor features a second sharp cut-off tube, a medium-variable bias triode, in its circuit design. This tube is connected in parallel to the remote cut-off tube and it has a considerably steeper characteristic curve. The tube used to process the signal depends on the amplitude of the latter. This results in a more well-balanced sound and more controllable settings of the parameters. The pair of parallel connected tubes has been specially matched for the IRON. In order to guarantee that tube selection and pairing is perfect, we use the Weigl Roe Test for PC. The optimal selection of the tubes guarantees that all IRONs have the same sonic characteristics.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eTube Bias\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Tube Bias has three different settings. Together with the Input Gain of up to +\/- 12dB and the Threshold control, it allows the compression behavior of the tubes to be perfectly adapted to any material. The Attack and Release parameters have six different settings ranging from Slow to Fast. The times are not constant, they vary according to the Rectifier circuit selected: There are six different Rectifier settings available with different diodes (germanium, silicon, LED, mixed).\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eMu-Metal Transformer\u003c\/h3\u003e\r\n\r\n\u003cp\u003eMoreover, we use Lundahl custom-made balanced high-level dual-coil mu-metal iron transformers in the signal flow of the variable-bias tubes, which add to the overall sound.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_4\"\u003eVactrol Peak Limiter\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe second new technology implemented is the independent feed-forward resistive opto-isolator in the control path of the variable-bias tube circuit. Its function is to limit signal peaks and, thus, get a smaller THD (Total Harmonic Distortion) within the variable-bias tube section. The result is a silkier, more homogeneous sound in the higher frequencies of the music signal. This circuit has its own rectifier in the signal path. The optical control element does not work in the sense of an audio limiter, like in a conventional opto-compressor. It is built-in in the control path of the parallel connected variable-bias tube, not in the audio path itself. Time control parameters, like attack and release time, are adaptedand fixed to the variable-bias tube circuit.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe IRON compressor works as a feedback compressor when set to the variable-bias tube circuit and as a feed-forward compressor when set to the opto-control circuit.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_5\"\u003eRectifiers\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThirdly, the complex rectifier circuit is also worth mentioning, since it is the basis for tube control. You can use the six-position switch to choose either of the six different control characteristic curves of the diodes within the rectifier. Given the specific characteristic curve of its elements, the combination of germanium, silicon and LED diodes produces different behaviors and characteristics for the Attack and Release times.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_6\"\u003eStereo Link\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_7\"\u003eAir Bass and Tape Roll-off\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_8\"\u003eEasy Recall\u003c\/h3\u003e\r\n\r\n\u003cp\u003eAll functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer, making it easy to replicate exact settings.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_9\"\u003eSidechain EQ\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Sidechain EQ is yet another option to adjust the Iron to the signal being processed in an optimal way. It allows you to choose between an external EQ or one of the four internal EQ presets. The EQ presets have a complex frequency response and have been conceived with different program material in mind. Only the control signal is affected, not the actual audio signal. In the Off position, the Sidechain EQ is inactive.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_10\"\u003eOutput\u003c\/h3\u003e\r\n\r\n\u003cp\u003eAfter the compression stage, the signal can be boosted or attenuated up to +\/- 12dB with the Output Gain, which makes the IRON easy to integrate into any signal chain.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_11\"\u003eAuto Bypass\u003c\/h3\u003e\r\n\r\n\u003cp\u003eBoth the left and right channels have separate illuminated activating switches. Further, in Auto Bypass mode you can use the Interval control to set a time frame during which the compressor automatically toggles back and forth between the processed and unprocessed signals. This makes AB comparisons between the original and compressed signals a breeze, besides making it easier to assess the settings in context.\u003c\/p\u003e","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449747697767,"sku":"47430","price":6499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl-iron-black_47430_1_71e778f0-73fa-4dcc-81c3-efd6d11e95bc.jpg?v=1787090241"},{"product_id":"spl-iron-mastering-compressor-red","title":"SPL Iron Mastering Tube Compressor - Red","description":"\u003cp\u003eThe \u003cstrong\u003eSPL Iron Mastering Tube Compressor\u003c\/strong\u003e combines not only the sonic virtues of legendary vintage tube compressors with the advantages of the High Dynamic 120V operating voltage in a single unit. It is also perfect for the needs of modern mastering studios and sets a new benchmark in terms of tube compressor technology, with the innovative implementation of a parallel dual-tube circuit.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThanks to the especially conceived Mu-Metal iron transformers, the signal of each channel is split across two different twin-triode tubes. The combination of the different response curves of both tubes results in a transparent and musically pleasant compression. Additionally, peak signals of the control voltage are limited by a feed-forward resistive vactrol-opto-isolator. Thus, the output signal remains lively even with a high gain reduction. The compression is only noticeable with extreme settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eMastering is not the only domain where the IRON sets new standards. It can also be used to process individual instruments, like vocals, bass, guitar, strings, etc. The IRON is also an excellent option for subgroups.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eCompressor\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe basic operating principles of a compressor\/limiter can be easily explained. The level of an audio signal is reduced according to the specified attack time and ratio whenever it exceeds a given threshold. This reduction ceases when the release time elapses, while the compressed signal is amplified with the make-up gain.\u003c\/p\u003e\r\n\r\n\u003cp\u003eCompressors basically differ from each other in the technology used. This technology - tubes, opto, FET, or VCA - is what gives a compressor its particular character. Some units sound soft and silky, some sound pounding, while some others make sound fatter, and there are those that make sound clearer, harder or more percussive. The trick resides in how the unit is technically designed, in the signature of the maker. Different compressors with the exact same settings might work and sound completely different. They provide different sounds for different applications and music styles.\u003c\/p\u003e\r\n\r\n\u003cp\u003eNowadays, the compressor has become a key element when it comes to provide dynamics and punch to any production. The number of compressors available is huge and it‘s easy to succumb to the promises made by software emulations and analog recreations of vintage gear as the perfect solution. Unfortunately, many of these emulations and recreations differ quite a bit from their original counterparts. You must simply accept that the components used today, like the transformers, tubes and all other passive elements, are different to the ones originally used and that they can‘t be digitally emulated. No software (DSP-emulated compressors) or hardware replica will ever be able to sound like the original. An authentic sound can only be achieved with the original unit.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eVariable Bias\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe IRON mastering compressor was conceived as a variable-bias limiter\/compressor right from the start. However, the implementation of new technologies results in many improvements. Its basic operating principle as a variable-bias tube compressor was loosely inspired by the sonic and technical operation of Fairchild, Collins and Gates compressors, which used remote cut-off of tube biasing to achieve a well-balanced, well-compensated and musical compression.\u003c\/p\u003e\r\n\r\n\u003cp\u003eHowever, the IRON compressor features a second sharp cut-off tube, a medium-variable bias triode, in its circuit design. This tube is connected in parallel to the remote cut-off tube and it has a considerably steeper characteristic curve. The tube used to process the signal depends on the amplitude of the latter. This results in a more well-balanced sound and more controllable settings of the parameters. The pair of parallel connected tubes has been specially matched for the IRON. In order to guarantee that tube selection and pairing is perfect, we use the Weigl Roe Test for PC. The optimal selection of the tubes guarantees that all IRONs have the same sonic characteristics.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eTube Bias\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Tube Bias has three different settings. Together with the Input Gain of up to +\/- 12dB and the Threshold control, it allows the compression behavior of the tubes to be perfectly adapted to any material. The Attack and Release parameters have six different settings ranging from Slow to Fast. The times are not constant, they vary according to the Rectifier circuit selected: There are six different Rectifier settings available with different diodes (germanium, silicon, LED, mixed).\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eMu-Metal Transformer\u003c\/h3\u003e\r\n\r\n\u003cp\u003eMoreover, we use Lundahl custom-made balanced high-level dual-coil mu-metal iron transformers in the signal flow of the variable-bias tubes, which add to the overall sound.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_4\"\u003eVactrol Peak Limiter\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe second new technology implemented is the independent feed-forward resistive opto-isolator in the control path of the variable-bias tube circuit. Its function is to limit signal peaks and, thus, get a smaller THD (Total Harmonic Distortion) within the variable-bias tube section. The result is a silkier, more homogeneous sound in the higher frequencies of the music signal. This circuit has its own rectifier in the signal path. The optical control element does not work in the sense of an audio limiter, like in a conventional opto-compressor. It is built-in in the control path of the parallel connected variable-bias tube, not in the audio path itself. Time control parameters, like attack and release time, are adaptedand fixed to the variable-bias tube circuit.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe IRON compressor works as a feedback compressor when set to the variable-bias tube circuit and as a feed-forward compressor when set to the opto-control circuit.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_5\"\u003eRectifiers\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThirdly, the complex rectifier circuit is also worth mentioning, since it is the basis for tube control. You can use the six-position switch to choose either of the six different control characteristic curves of the diodes within the rectifier. Given the specific characteristic curve of its elements, the combination of germanium, silicon and LED diodes produces different behaviors and characteristics for the Attack and Release times.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_6\"\u003eStereo Link\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_7\"\u003eAir Bass and Tape Roll-off\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_8\"\u003eEasy Recall\u003c\/h3\u003e\r\n\r\n\u003cp\u003eAll functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer, making it easy to replicate exact settings.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_9\"\u003eSidechain EQ\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Sidechain EQ is yet another option to adjust the Iron to the signal being processed in an optimal way. It allows you to choose between an external EQ or one of the four internal EQ presets. The EQ presets have a complex frequency response and have been conceived with different program material in mind. Only the control signal is affected, not the actual audio signal. In the Off position, the Sidechain EQ is inactive.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_10\"\u003eOutput\u003c\/h3\u003e\r\n\r\n\u003cp\u003eAfter the compression stage, the signal can be boosted or attenuated up to +\/- 12dB with the Output Gain, which makes the IRON easy to integrate into any signal chain.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_11\"\u003eAuto Bypass\u003c\/h3\u003e\r\n\r\n\u003cp\u003eBoth the left and right channels have separate illuminated activating switches. Further, in Auto Bypass mode you can use the Interval control to set a time frame during which the compressor automatically toggles back and forth between the processed and unprocessed signals. This makes AB comparisons between the original and compressed signals a breeze, besides making it easier to assess the settings in context.\u003c\/p\u003e","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449874051175,"sku":"51240","price":6499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl-iron-red_51240_1_4652ad9d-d0c9-46db-932f-c905da0c286c.jpg?v=1787090784"},{"product_id":"buzz-audio-dbc-m-stereo-diode-bridge-compressor","title":"Buzz Audio DBC-M Stereo Diode Bridge Compressor","description":"\u003cp\u003eAdd some real vibe to your mastering project with the \u003cstrong\u003eBuzz Audio DBC-M\u003c\/strong\u003e. A take on the vintage diode bridge compressor technique.\u003c\/p\u003e  \u003ch3\u003eAudio path color\u003c\/h3\u003e  \u003cp\u003eThe DBC-M is a Mastering version of the popular Buzz Audio DBC-20 diode bridge compressor and offers fully switched control for repeatable settings. The diode bridge gain reduction element coupled with the innovative side chain design delivers a vintage vibe like no other. The DBC-M audio path uses a Class A discrete amplifier designs in a balanced configuration from input to output with a radio steel laminated transformer to couple into the diode bridge element. This overall combination produces a desirable compression character that can best be described as tight, colorful and rich with harmonics.\u003c\/p\u003e  \u003ch3\u003eDynamic ratio power\u003c\/h3\u003e  \u003cp\u003eIn the style of compressors from the 60's, the DBC-M incorporates a automatic ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals in a seamless fashion and is also a very desirable characteristic when used on complex percussive material.\u003c\/p\u003e  \u003ch3\u003eOperational ease\u003c\/h3\u003e  \u003cp\u003eThis compressor is easy to get happening with six switched attack and release times covering a wide range, including an interesting auto release mode. Big knobs with 24 position stepped Elma controls are provided for the amount of compression and the output gain. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained and another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. The attractive \"point source\" red LED bar graph meter accurately displays gain reduction and the gloss finish knobs adds to the vintage feel of the DBC-M.\u003c\/p\u003e  \u003ch3\u003eControls and functions\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGAIN - 24 position Elma switch that adds gain at the output to correct for lost level with a -2.0 to +10dB range in 0.5dB steps.\u003c\/li\u003e \u003cli\u003eCOMPRESSION - 24 position Elma switch that sets the amount of compression.\u003c\/li\u003e \u003cli\u003eATTACK - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS.\u003c\/li\u003e \u003cli\u003eRELEASE - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO.\u003c\/li\u003e \u003cli\u003eHARD\/SOFT - adds dynamics in soft mode for times when very light compression is required.\u003c\/li\u003e \u003cli\u003eFLAT\/BASS - reduces compression sensitivity at low frequencies for more bass punch.\u003c\/li\u003e \u003cli\u003eBYPASS\/ENGAGE - hard wire unit bypass to compare compressed and uncompressed signals.\u003c\/li\u003e \u003cli\u003eThere is also a handy power ON\/OFF switch and the LINK A\/B which provides for stereo tracking to prevent image shift when used on the mix buss.\u003c\/li\u003e \u003c\/ul\u003e   \u003ch3\u003eSpecifications\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMaximum Input Level; +27dBu\u003c\/li\u003e \u003cli\u003eMaximum Output Level; +27dBu\u003c\/li\u003e \u003cli\u003eNoise; -80dBu (measured A Weighted with 10dB gain applied)\u003c\/li\u003e \u003cli\u003eGain; variable 0dB to +15dB\u003c\/li\u003e \u003cli\u003eFrequency Response; 6Hz to 400kHz measured no gain reduction\u003c\/li\u003e \u003cli\u003eHarmonic Distortion; At +10dBu input level, no gain reduction; 0.28% @ 100Hz, 0.25% @ 1kHz, 0.15% @ 10kHz\u003c\/li\u003e \u003cli\u003eHarmonic Distortion; With 10dB gain reduction (Release set to 400mS); 1.5% @ 100Hz, 0.5% @ 1kHz, 0.5% @ 10kHz\u003c\/li\u003e \u003cli\u003eStandard Operating Level; +4dBu\u003c\/li\u003e \u003cli\u003eSize; 1 Unit 19\" rack mount, (482Wx44Hx250D)\u003c\/li\u003e \u003cli\u003ePower requirements; 230V\/115V selectable, IEC detachable power cable.\u003c\/li\u003e \u003cli\u003eSpecifications are typical of a production unit and are subject to change without notice.\u003c\/li\u003e \u003cli\u003e0dBu reference = 0.775 volts RMS.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449884995687,"sku":"56397","price":2625.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz-audio-dmc-m_56397_1_04960fae-83ec-4905-b547-ed7ed2069297.jpg?v=1787090809"},{"product_id":"buzz-audio-dbc-m-stereo-diode-bridge-compressor-demo-deal","title":"Buzz Audio DBC-M Stereo Diode Bridge Compressor (Demo Deal)","description":"\u003cp\u003eAdd some real vibe to your mastering project with the \u003cstrong\u003eBuzz Audio DBC-M\u003c\/strong\u003e. A take on the vintage diode bridge compressor technique.\u003c\/p\u003e  \u003ch3\u003eAudio path color\u003c\/h3\u003e  \u003cp\u003eThe DBC-M is a Mastering version of the popular Buzz Audio DBC-20 diode bridge compressor and offers fully switched control for repeatable settings. The diode bridge gain reduction element coupled with the innovative side chain design delivers a vintage vibe like no other. The DBC-M audio path uses a Class A discrete amplifier designs in a balanced configuration from input to output with a radio steel laminated transformer to couple into the diode bridge element. This overall combination produces a desirable compression character that can best be described as tight, colorful and rich with harmonics.\u003c\/p\u003e  \u003ch3\u003eDynamic ratio power\u003c\/h3\u003e  \u003cp\u003eIn the style of compressors from the 60's, the DBC-M incorporates a automatic ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals in a seamless fashion and is also a very desirable characteristic when used on complex percussive material.\u003c\/p\u003e  \u003ch3\u003eOperational ease\u003c\/h3\u003e  \u003cp\u003eThis compressor is easy to get happening with six switched attack and release times covering a wide range, including an interesting auto release mode. Big knobs with 24 position stepped Elma controls are provided for the amount of compression and the output gain. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained and another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. The attractive \"point source\" red LED bar graph meter accurately displays gain reduction and the gloss finish knobs adds to the vintage feel of the DBC-M.\u003c\/p\u003e  \u003ch3\u003eControls and functions\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGAIN - 24 position Elma switch that adds gain at the output to correct for lost level with a -2.0 to +10dB range in 0.5dB steps.\u003c\/li\u003e \u003cli\u003eCOMPRESSION - 24 position Elma switch that sets the amount of compression.\u003c\/li\u003e \u003cli\u003eATTACK - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS.\u003c\/li\u003e \u003cli\u003eRELEASE - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO.\u003c\/li\u003e \u003cli\u003eHARD\/SOFT - adds dynamics in soft mode for times when very light compression is required.\u003c\/li\u003e \u003cli\u003eFLAT\/BASS - reduces compression sensitivity at low frequencies for more bass punch.\u003c\/li\u003e \u003cli\u003eBYPASS\/ENGAGE - hard wire unit bypass to compare compressed and uncompressed signals.\u003c\/li\u003e \u003cli\u003eThere is also a handy power ON\/OFF switch and the LINK A\/B which provides for stereo tracking to prevent image shift when used on the mix buss.\u003c\/li\u003e \u003c\/ul\u003e   \u003ch3\u003eSpecifications\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eMaximum Input Level; +27dBu\u003c\/li\u003e \u003cli\u003eMaximum Output Level; +27dBu\u003c\/li\u003e \u003cli\u003eNoise; -80dBu (measured A Weighted with 10dB gain applied)\u003c\/li\u003e \u003cli\u003eGain; variable 0dB to +15dB\u003c\/li\u003e \u003cli\u003eFrequency Response; 6Hz to 400kHz measured no gain reduction\u003c\/li\u003e \u003cli\u003eHarmonic Distortion; At +10dBu input level, no gain reduction; 0.28% @ 100Hz, 0.25% @ 1kHz, 0.15% @ 10kHz\u003c\/li\u003e \u003cli\u003eHarmonic Distortion; With 10dB gain reduction (Release set to 400mS); 1.5% @ 100Hz, 0.5% @ 1kHz, 0.5% @ 10kHz\u003c\/li\u003e \u003cli\u003eStandard Operating Level; +4dBu\u003c\/li\u003e \u003cli\u003eSize; 1 Unit 19\" rack mount, (482Wx44Hx250D)\u003c\/li\u003e \u003cli\u003ePower requirements; 230V\/115V selectable, IEC detachable power cable.\u003c\/li\u003e \u003cli\u003eSpecifications are typical of a production unit and are subject to change without notice.\u003c\/li\u003e \u003cli\u003e0dBu reference = 0.775 volts RMS.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449979072615,"sku":"60322","price":2195.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz-audio-dmc-m_56397_1_1_182c3e5d-c1e4-499c-ad66-f6065c97fa8b.jpg?v=1787091185"},{"product_id":"spl-iron-mastering-compressor-red-b-stock","title":"SPL Iron Mastering Compressor - Red (B-Stock)","description":"\u003cp\u003eThe \u003cstrong\u003eSPL Iron Mastering Compressor\u003c\/strong\u003e is not a copy of a classic unit, but rather an original concept in itself. The goal was to conceive a compressor that provided a pleasant, melodic-sounding, transparent compression, inspired on the vintage compressors of the radio era. SPL wanted it to be versatile enough to adapt perfectly to the needs of modern mastering studios.\u003c\/p\u003e  \u003cp\u003eThus, the IRON combines not only the sonic virtues of legendary vintage tube compressors with the advantages of the High Dynamic 120 V operating voltage in a single unit. It also sets a new benchmark in terms of tube compressor technology, with the innovative implementation of a parallel dual-tube circuit.\u003c\/p\u003e","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44450077409383,"sku":"76086","price":4499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl-iron-mastering-compressor-red-b-stock_76086_1_61af33fa-ec17-47d1-bb3d-65b094133023.jpg?v=1787091600"},{"product_id":"bettermaker-mastering-limiter","title":"Bettermaker Mastering Limiter with Plug-in Control","description":"\u003cp\u003eCombining a 100% analog signal processing path with fully digital control, the \u003cstrong\u003eBettermaker Mastering Limiter\u003c\/strong\u003e offers the best of both worlds. A stereo VCA limiter, the Bettermaker Mastering Limiter’s features include intelligent and manual release, two color modes that introduce a variable mix of different types of saturation, and two stages of adjustable soft and hard clipping.\u003c\/p\u003e\r\n\u003cp\u003eThe 19-inch rack-mounting hardware unit links via USB to your computer (PC\/Mac), where you can control and automate its functions using the Bettermaker plug-in (RTAS, 32-bit\/64-bit VST, AU), which may be inserted on any bus, exactly like any other plug-in. Any changes you make in the hardware are also reflected in the software and vice versa. Only the parameter setting information is exchanged between the DAW and the Bettermaker Mastering Limiter – you still need to physically connect the unit’s analog inputs and outputs to your A\/D and D\/A converters.\u003c\/p\u003e\r\n\u003cp\u003eAll your Mastering Limiter settings save with your session in the DAW, including automation moves, and in the hardware unit. You can additionally save, name and instantly recall up to 399 presets.\u003c\/p\u003e\r\n\u003cp\u003eTwo built-in harmonic generators with associated adjustable band pass filters independently add variable levels of even-order (2nd, 4th, 6th, etc.) or odd-order (3rd, 5th, 7th, etc.) harmonics to the dry mix, and may be separately switched on or off. This section allows you to beef-up the low-end with odd-order harmonics while separately adding air to the high-end with even-order coloration, for instance. The unit operates in stereo or M\/S (mid-side) mode.\u003c\/p\u003e\r\n\u003cp\u003eThe Bettermaker Mastering Limiter can be controlled using the front panel touchscreen, an intuitive interface that provides access to the control parameters and system settings and displays a variety of level and gain reduction metering options. There are three types of analog-like metering (PPM, two styles of VU, linear dBFS moving coil) plus advanced measurement options including FFT, LUFS, K-metering plus phase and correlation.\u003c\/p\u003e\r\n\u003ch3\u003eFEATURES:\u003c\/h3\u003e\r\n\u003cp\u003eThe Bettermaker Mastering Limiter has three sections that are essential to make a perfect master. All of them are recallable by the internal memory and a plug-in that also handles automation.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eSECTION 1: ANALOG MASTERING LIMITER\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e100% analog signal path\u003c\/li\u003e\r\n\u003cli\u003eIntelligent and manual release\u003c\/li\u003e\r\n\u003cli\u003eVariable mix between limiting and clipping\u003c\/li\u003e\r\n\u003cli\u003eYou can turn off the clipping section, so you can clip with your favorite A\/D or other device\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cstrong\u003eSECTION 2: COLOR, FOR GIVING THAT SPECIAL FLAVOR TO YOUR MIX\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eTwo color modules introducing different saturation that can be used simultaneously\u003c\/li\u003e\r\n\u003cli\u003eColor 1 with Majority of odd harmonics\u003c\/li\u003e\r\n\u003cli\u003eColor 2 with Majority of even harmonics\u003c\/li\u003e\r\n\u003cli\u003eBoth color sections can be internally EQed so, for example, you can present more odd harmonics in the low end to give the mix more bite and sweeten the highs with the even harmonics at the top end.\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cstrong\u003eSECTION 3: METERING, AN ADDITIONAL SCREEN IN YOUR STUDIO\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003eAs it’s a touchscreen it also utilizes control functions of the Mastering Limiter. You can view your favorite set of stats.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eInput, output and reduction\u003c\/li\u003e\r\n\u003cli\u003eVU full-screen or scaled\u003c\/li\u003e\r\n\u003cli\u003eRMS\u003c\/li\u003e\r\n\u003cli\u003eLUFS (short-term, integral, loudness range, view in time)\u003c\/li\u003e\r\n\u003cli\u003eK-metering\u003c\/li\u003e\r\n\u003cli\u003e31-band FFT analyzer\u003c\/li\u003e\r\n\u003cli\u003eGoniometer\u003c\/li\u003e\r\n\u003cli\u003eCorrelation meter\u003c\/li\u003e\r\n\u003cli\u003eTwo points of measurement – the output of the limiter or the plug-in\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Bettermaker","offers":[{"title":"Default Title","offer_id":44450130952295,"sku":"80657","price":3140.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/bettermaker-mastering-limiter-front_aedc6649-12ab-4d6b-a072-11e4c3842e42.jpg?v=1787091821"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/recording-outboard-mastering-processors-mastering-compressor-limiters.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}