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The COMP-3A Jr is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors, diodes and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available. Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn’t always provide the best perceived sound quality or the type of character that the modern user desires. The subjective sound quality delivered by vintage equipment is often preferred over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The circuit used in the COMP-3A Jr is based on classic design elements and it uses an integrated optocoupler to control gain. This gives the COMP-3A Jr a unique compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made vintage products with a similar design favorites of engineers and musicians worldwide. A classic sound and compression style is now available at a very affordable price point with the COMP-3A Jr. Features: Vintage style electronics. No integrated circuits in the main audio signal path. Transformer balanced input and output. Can drive almost any load, balanced or unbalanced. The maximum output level is 25 dBu. – Uses an integrated optocoupler to control gain. The fastest attack time is about 1 ms. Very simple to operate with only two main controls, Gain Makeup and Gain Reduction. Three-position TIME switch to select different combinations of Attack- and Release time. Selectable jumpers inside the unit to increase the timing on TIME-switch position B and C. Hardwire bypass switch for easy comparisons. XLR and TRS input and output jacks for flexible connections. Link jack for connecting to another unit for stereo operation. All external controls located on the front panel. External power supply to avoid interaction with the audio circuits and transformers. Compact 1RU quarter rack format. Up to four units can be mounted in our 19-inch rack kit, the UNITE MKII. A solid build quality that will last many years of normal use.

319 €
36 Instalments 11,01€ / month
Upon Order

The SR22 Dual Channel Compressor features two channels of API's patented award-winning compressor circuit in a rackmount unit with internal power supply. This same compressor circuit was originally designed into the legendary ATI Paragon analog live mixing console. Each channel includes the patented THRUST® circuit, which protects the sensitive high frequency content of the audio signal, even under the most vigorous of compression ratios. The perfect companion to the new SR24 Dual Channel EQ, the SR22 provides comprehensive, easy-to-use control along with classic analog VU meters for monitoring output and gain reduction. The two channels can also be linked for use as a stereo compressor with true RMS power summing of the left and right signals.

1.535 €
36 Instalments 52,99€ / month
Upon Order

The SR24 is a two channel, four band equalizer in a two rack-space chassis. With a dedicated knob and/or switch for each control function, the SR24 is easy to use; by utilizing continuously-variable controls for both the frequency and boost/cut, the SR24 can be very precise in applying equalization to the selected audio material. The SR24 circuit design is deeply rooted in API's history. From the late 1970's to the early 1980's, an audio company called "APSI" manufactured consoles and equalizers. Their 562 module was a 4-band, fully parametric equalizer which was designed by APSI and sold through API. Over the last several decades, these EQ modules remained a favorite among many studio engineers, but have become increasingly difficult to find. The SR24 is a faithfully re-engineered version of the original 562, offering the user 2 channels of classic analog EQ in one rackmount unit.

1.535 €
36 Instalments 52,99€ / month
Upon Order

The API Select T25 is a classic 2-channel, FET feedback-style compressor/limiter with a Class-A tube output stage that utilizes a custom API transformer. Built with 12AT7WC and 12BH7 dual-triode vacuum tube, the T25 represents a new direction in API's line of compressors. It offers the user a powerful and flexible feature set, including the ability for use in either dual mono or stereo mode, and is carefully engineered to deliver classic tube performance. The T25 excels at delivering the unmistakable sound of API and features our industry-exclusive Five Year Warranty.

2.330 €
36 Instalments 80,44€ / month
Upon Order

The CX2310 stereo 2-way/mono 3-way crossover provides amazing-accurate audio frequency separation, thanks to its state-of-the-art circuitry, superior-grade components, ultra low-noise op amps and balanced I/O connectivity. Additionally, the CX2310 features an independently-adjustable Subwoofer Output, effectively providing an extra low-frequency band a control range from 10 - 235 Hz. By using 1% metal film resistors, along with other extremely tight-tolerance components, the CX2310 is able to guarantee surgically-precise frequency selection with incredibly-low thermal noise. Put simply, the easy-to-use SUPER-X PRO CX2310 is one of the best-sounding crossovers in its class! Sound Quality When a sound system is properly tuned, it becomes powerful, balanced and efficient. Bass content is punchy and tight, with vocals and instruments that are rich, crisp and well defined. The CX2310 crossover’s accurate signal processing protects critical loudspeaker components and improves overall system efficiency. All Input and Output connections are balanced/unbalanced XLR and feature 25 Hz Low Cut filters for low-frequency driver protection – plus Mute and Phase Invert switches, making troubleshooting even a large system – virtually effortless! What’s a Crossover? Chances are if you’re reading this, you already know what a crossover is – and you know that you need one. But if you are new to multi-way PA systems, here's a brief overview. Loudspeakers (which we call transducers) convert electrical signals into sound waves. And no matter how well a transducer is designed or made, it simply cannot reproduce the entire audio spectrum all by itself. Low-frequency sounds tend to push a transducer to the maximum, making it impossible for that same transducer to reproduce the treble content with the sound quality it deserves. (Try singing high falsetto next time you’re bench-pressing your limit!) That's why high-quality sound systems use multiple speakers (woofers and tweeters) to spread out the work. While the woofer (usually the larger transducer) does all the heavy lifting, the tweeter can easily handle the high-frequency content. Three and four-way systems distribute the work even more, allowing the individual transducers to reproduce the frequency range for which they were designed. It is the crossover’s function to divide these tasks between the various amplifiers and transducers. Divide and Conquer The CX2310 provides two modes of operation: 2-way stereo, for Left and Right Lows (woofers) and Highs (tweeters); and 3-way mono, for Lows, Mids and Highs. In either mode, there is an additional output provided for a mono Subwoofer, with its own Frequency and Level controls. This extra feature effectively turns the CX2310 into a stereo 2-way + mono 1-way, or a mono 4-way frequency crossover. The Subwoofer Output is presented in mono, since people perceive extremely-low bass frequencies as being omnidirectional. For your convenience, the CX2310’s front panel features an elegant and easy-to-read LED matrix, so you can see at a glance which operating mode has been selected – and which controls are currently active.

122 €
36 Instalments 4,21€ / month
Available in warehouse

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

5.099 €
36 Instalments 176,04€ / month
Upon Order

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

5.099 €
12 Interest Free Instalments 424,92€ / month
Upon Order

Bettermaker Bus Compressor is for those who seek high quality stereo VCA compression with the convenience of fast and precise recall and automation. The bus compressor offers 100% analog signal path, Dry/Wet mix, sidechain with HPF, with hardware insert and preview function,  adjustable THD saturation and more.. All this with high analog quality and patented recall with a speed of a native plugin.  Bus Compressor:  advanced analog stereo VCA compressor with PEAK/RMS detection  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  dry/wet MIX control for parallel compression  sidechain high pass filter with hardware insert and preview function  adjustable THD for harmonically rich sound  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison from your favourite DAW  LED matrix display and six encoders with push-button action for ease of control  USB connectivity with MAC/PC   Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  recall last unit state after reboot  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Bus Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Bus Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel: The front panel of the Bus Compressor is build around eye-catching LED matrix display, that allows you to monitor almost all functions available on the device, as well as input/output levels and amount of gain reduction applied by the compressor. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumption: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 60 ms Release: 10 – 2000 ms Ratio: 1.5, 2, 4, 6, 10:1 Knee: 20dB Output: -5dB to +15dB Sidechain HPF: off – 370Hz Sidechain Feed: Forward Sidechain Type: PEAK/RMS

2.399 €
36 Instalments 82,82€ / month
Upon Order

Bettermaker Mastering Compressor is for those who seek mastering grade compression with the convenience of fast and precise recall and automation. Mastering Compressor offers 100% analog signal path, high class VCA compression with, 3 different compression modes, sidechain with HPF, parametric and LPF section with hardware insert and preview function, Stereo/Dual mono/MS operation, adjustable THD saturation and more.. All this with mastering grade sound and patented recall with a speed of a native plugin.  Mastering Compressor:  advanced analog VCA compressor with PEAK or RMS detection and switchable forward/backward feed  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  stereo, dual-mono and mid/side operation modes with with focus and sidechain preview function  our famous BM, SG and DX modes  adjustable 15 – 30 Hz high pass filter at the compressor input  dry/wet MIX control for parallel compression  HPF, LPF and fully configurable parametric filter in sidechain with option of hardware insert  adjustable drive (for odd/even clipper) and THD function for harmonically rich sound  Range Setting – limit the maximum amount of gain reduction!  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison  five inch capacitive touchscreen with backlight  USB connectivity with MAC/PC Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  Save and recall presets from on-board memory (400 slots available)  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Mastering Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Mastering Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel and LCD touchscreen: The front panel of the Mastering Compressor is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction applied by the compressor or store and recall presets using on-screen QWERTY keyboard. DAW integration: The Bettermaker Mastering Compressor can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Compressor Plugin. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumptin: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 250 ms Release: 10 – 2000 ms Ratio: Variable 0.7:1 – 10:1 Knee: Variable 0 – 20dB Output: -5dB to +15dB Width (in M/S): -8dB to +8dB Range: Variable 0.1dB – 20dB / off HPF24: Off/15/20/25/30 Hz THD + DRIVE: off/odd/even Sidechain HPF: off – 370Hz Sidechain LPF: 2k – 18k / off SC MF gain: +/- 15dB SC MF freq: 0.5 – 10kHz SC MF Q: 0.2 – 8 Sidechain Feed: Forward/Backward Sidechain Type: RMS/PEAK

2.899 €
36 Instalments 100,08€ / month
Upon Order

When you need premium sound quality limiting and convince of fast and precise recall and automation. The mastering limiter offers, 100% analog signal path, plugin recall and automation within your project, frequency dependent saturation, MS processing, enhanced metering section and a large LED touchscreen minimising clutter on your main studio screen. Get analog mastering sound quality results, fast and spare your recall time. Mastering Limiter: The sound of the limiter is of course based on the quality of its hardware design. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog limiter:  Save and recall presets  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation  Comprehensive metering operations based on high quality A/D conversion and DSP Great care and thought went into the development and implementation of the analog section of the Bettermaker Mastering Limiter. High quality capacitors and low noise op-amps are used in the analog path. Relays were used, whenever creating the shortest path for the audio signal was necessary. The analog section consist of high quality input/output buffers capable of passing thru high level audio signals (up to +23dBu, balanced, THD < 0.1%) All these modules are controlled by the digital section of the Mastering Limiter, so no mechanical switches or knobs are required to adjust any of the parameters. Digital Section: The digital section of the Mastering Limiter is based around two high speed, 32- bit micro-controllers, with dedicated firmware programmed into their memory (with the possibility of updating the firmware via USB connection). One of them is responsible for controlling the VCA limiter, when the other watches over the user interface, presets management, audio measurement, USB connectivity and other Mastering Limiter functions. The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. The linear power supply was used instead the switching one to improve the sonic qualities even further. The front panel of the Mastering Limiter is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction (and clipping) applied by the limiter, perform advanced measurements (FFT, LUFS, K-metering), use on-screen QWERTY keyboard for  naming your presets and more. You can even display fully configurable, analog style VU meters! ​ Main features: The Limiter has 3 functionalities that are essential to make a perfect master. All of them are recallable by the internal memory and a plugin that also handles automation.Analog Mastering Limiter:  100% analog signal path  intelligent and manual release  variable mix between limiting and clipping possibility to turn off the clipping section, so you can clip with you favorite AD or other. Color, for giving that special flavor to your mix:  Two color modules introducing different saturation that can be used simultaneously  Color 1 with Majority of odd harmonics  Color 2 with Majority of even harmonics  Both 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. Metering: Metering, an additional screen in your studio. As it’s a touchscreen it also utilizes control functions of the Mastering Limiter. You can view your favourite set of stats.  Input, output and reduction  Analog style meters (VU, PPM, RMS, Peak with peak hold functionality)  LUFS (Short term, Integral, Loudness Range, view in time)  K metering  30 Band FFT analyzer  Goniometer  Correlation meter  Two points of measurement, the output of the Limiter or the plugin  and more… DAW integration: The Bettermaker Mastering Limiter can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Limiter Plugin. Technical specification: Maximum input level: +21,5 dBu (balanced) Maximum output level: +23 dBu (THD < 0.1%) Operating Level: +4dBu Maximum gain reduction: 20 dB Makeup gain: automatic Attack time: 0.1 – 250ms Release time: 0.01 – 1.3s + IREL (intelligent release) Input impedance (differential): 48kΩ (for balanced signal) Output Impedance: 50Ω + 50Ω (electronically balanced) Frequency response 5Hz to 30kHz; +/- 0.1dB Dynamic Range: 106dB (+21dBu, 22kHz BW) THD+N: CMRR: max 80 dB @ 3 kHz, min 55 dB @ 50Hz, 20 kHz BW Crosstalk: min -90 dB @ 1KHz, max -55 dB @ 30Hz, +18 dBu, 20 kHz BW Maximum power consumption: 30W (uses 630mA slow blow fuse)

2.699 €
36 Instalments 93,18€ / month
Upon Order

he BC1-THD provides smooth bus compression that applies for both mixing and tracking. Engineers call it “The Magic Glue” when the BC1-THD’s transparent compression strengthens mixes without compromising clarity. The built-in blend control makes it easy to apply parallel compression by adjusting the blend of dry and compressed signal. A switchable sidechain filter can be applied which makes the BC1-THD less responsive to low frequency energy. The THD function adds more harmonics to the signal and the “grab” mode selects a harder threshold knee on all four ratio settings. Smooth and transparent compression will never go out of fashion. Frequency response: 20Hz to 20kHz less than -0,025dB Frequency response: 20Hz to 80kHz less than -0,3dB Blend control fully CW (dry) THD+N @ 0dBu: less than 0,0045% THD @ 0dBu: less than 0,001% THD+N @ +26dBu: less than 0,02% THD @ +26dBu: less than 0,02% Blend control fully CCW (straight) THD+N @ 0dBu: less than 0,00045% THD+N @ +26dBu: less than 0,0003% Input impedance: 20kohm Output impedance: 50ohm Max input level: +26dBu Max output level: +27dBu @ 600ohms load Features: Threshold: -20dB to +20dB External sidechain: in/out Ratio: 1.5:1 / 2:1 / 4:1 / 10:1 / HP Filter: 80Hz, 150Hz, 220Hz, -6dB octave THD: adds more even harmonics Grab: selects a harder thres hold knee Attack: /0.1/0.3/0.6/1/3/6/10/30/60/120mS Release: 50mS/100mS/300mS/600mS/1.2S/Auto Gainreduction meter Make-up: 0 to +20dB Dry signal mute Blendcontrol: from dry to compressed Compression in/out External sidechain input: unbalanced TRS jacks Internal, regulated powersupply with a toroidal transformer 115 or 230V, selectable Specifications and components may be changed or updated without further notice.

1.412 €
12 Interest Free Instalments 117,67€ / month
Upon Order

The T-Komp has a unique design that offers a modern take on the old vari-mu ratio curve. The ratio is level-dependent and increases with the signal level, a feature that will give you numerous possibilities. To make the T-Komp more useful it has two ratio ranges. The first one goes up to 20:1, perfect for instrument tracking and smashing drums, etc., the second, 2:1, is a more narrow range which makes it more suitable for bus compression. The T-Komp can be selected between feed-forward mode for a punchy, modern response or feed-back mode with a smoother, more musical response. The RMS detector has five settings, four from fast to slow where number four, the slowest, is similar to the old 160VU. The fifth position is a program-dependent adaptive mode. Specifications Input impedance: 24kohm Output impedance: 50ohm Max in/output level: +26dBu Frequency response: 20Hz to 20kHz +/- 0,1dB Signal to noise ratio @ 0dBu: better than 94dB THD: level and compression dependent, mostly even harmonics Features: Threshold Make-up gain: 0 to +20dB Blend control: from dry to wet Timing fast medium fast medium slow slow (160VU) program dependent adaptive mode FB: selects feed-back mode HP filter: 150Hz, -6dB octave In: compression in/out 2:1: selects a more narrow ratio range Gain reduction meter Link switch 115v or 230v, selectable

1.590 €
12 Interest Free Instalments 132,50€ / month
Upon Order

Classic API Compression for the Modern Studio The API 2500+ Stereo Bus Compressor joins the company’s regular lineup, bringing all that formidable dynamics-shaping power to your rack in a sleek, space-saving 1U chassis. The API 2500+ model added a sophisticated Mix/Blend circuit to API’s venerable design coming form the anniversary edition. API’s flagship compressor delivers the inimitable sound of iconic API compression along with unparalleled parametric control. The result is an incredible-sounding, versatile, world-class stereo bus compressor capable of handling any audio production task. Meticulously designed to deliver a broad range of compression options and features not found on most compressors, the API 2500+ delivers warmth, clarity, and punch, whether used for nuanced dynamics control, brick-wall limiting, or anything in between. Parallel compression done right The Mix/Blend circuit found on the API 2500+ does a lot more than the simple wet/dry blend pot found on many modern compressors, giving you the option of either crossfading or parallel mixing of the compressed and uncompressed signals. First of all, the circuit can be hardwire relay bypassed entirely to deliver a purer signal than a standard blend pot simply maxed out to fully “wet” — a feature golden-eared engineers will appreciate. Next, when engaged and set to X (Cross), the Mix control lets you crossfade between fully uncompressed and fully compressed, literally increasing one while decreasing the other. In || (Parallel) mode, the MIX control effectively dials in your desired amount of compressed signal to blend in with the uncompressed signal, which remains constant. In case you’re wondering; trust us — these two active modes do sound and behave differently and you’ll quickly find uses for each. Equip Your Studio with Iconic API Compression If you’re after versatile compression, the API wrote the book. While the 2500+ is set up for stereo compression, you can also use it dual-mono. However you use it, though, you’ll have a range of compression styles to dial in — all highly musical, all incredibly usable. The 2500+ sports API’s patented Thrust circuit, a proprietary loudness contour that packs a powerful punch, imbuing each octave with the same energy (instead of half the energy as the next lowest one, as is the normal state of affairs).The Old/New Tone Type switch lets you choose between classic feedback and modern feed-forward compression styles. Whether you’re using it for drum stems, guitars, bass, vocals, or as a stereo bus compressor to pump up your mixes, the 2500+ delivers the iconic API analog sound and "slam factor" that has been relied on by recording engineers and heard on countless hits for a half century. Simply put: every serious studio needs the API 2500+. Incredibly versatile, highly musical When you choose API, you know you’re getting legendary sonic character. And with the API 2500+, you’ve got a range of character to choose from. To start, the 2500+ is equipped with API’s patented Thrust circuit before its RMS detector, which delivers punchy, old-school low end. There are also two types of compression onboard the API 2500+ — Old and New. The Old style uses the feedback type of compression in which the detector is placed after the VCA (as found on the classic API 525), while the New style uses a feed-forward type for a faster response typical of many popular modern compressors.The API 2500+ is stereo-ready, but sports a variable link between the left and right channels, so you can independently put the channels to work on your mono sources. Whatever way you use it, you’ll appreciate having API’s auto-makeup gain button on the output stage. It lets you vary the API 2500+’s threshold or ratio, while automatically maintaining a consistent output level. Sidechain input for creative ducking Every dynamics processor has a sidechain circuit that examines the signal and determines how much the VCA will reduce gain — but not every unit provides access to its sidechain. In compressors without a separate sidechain input, your main input signal is, essentially, compressing itself. With compressors that have a separate sidechain input — like the API 2500+ — you can introduce a different signal that determines the compression action on the main signal.An overt illustration of sidechaining is the “pumping” effect that’s popular in EDM production. A control signal — let’s say, a bass drum — is plugged into the sidechain input, triggering the detector and causing the main signal — a synth bass, in this example — to "duck," under each bass drum hit. This clears the way for maximum kick drum impact. Another classic use is for auto-ducking music under a voiceover, as in a radio commercial spot. Sidechaining can be used creatively in many ways, limited only by your imagination! API — the legendary American pro audio company No American pro audio company is more iconic than API. Launched in 1968 by Saul Walker, Automated Processes Inc. began building quality consoles for broadcast applications. Soon, the company’s products found favor with recording studios, and a string of industry-leading innovations (including the 500 Series module, the first VCA, computerized console automation, and more) followed. API produced the 2520 amplifier, one of the most famous op-amps in the recording industry, and their consoles and products found homes in such iconic studio facilities as the Hit Factory, Record Plant, Ocean Way, Sunset Sound, and many others.In fact, there are over 700 vintage API consoles around the globe — many of which are still in use. And the company certainly isn’t resting on its laurels; today’s API products give you the same unbeatable combination of utility, innovation, and great sound. That’s why, at Sweetwater, the name API commands reverence. API 2500+ Stereo Bus Compressor Features: * New Mix/Blend circuit with crossfade or parallel compression* Selectable ratio, attack, and release times* Expanded variable threshold between -20dBu to +20dBu* Selectable NEW or OLD switch for feed-forward or feed-back operation* Over Threshold LED illuminates when input audio crosses the set threshold* Patented Thrust filter with 3 settings for frequency-dependent sidechain control * 3 selectable compressor curve Knee settings: Soft, Medium, or Hard* Choice of Old (feedback) or New (feed-forward) compression* Preset or variable release time control* Variable Left/Right channel linking

3.661 €
12 Interest Free Instalments 305,08€ / month
Upon Order

The Warm Audio BUS-COMP is an all-analog, 2 channel, stereo VCA bus compressor based on classic circuitry that has provided silky smooth tone for decades.  Stereo VCA bus compressors are masterful at controlling dynamics on many sources, but they have become widely known for their magic touch on stereo mixes.   The BUS-COMP will perform well on stereo mixes, drum mixes, drum overheads, acoustic guitars, keyboards, piano, orchestral instruments, voice-overs and an array of other sources.  The BUS-COMP is primarily designed for stereo use, but it can be used just as successfully on individual mono sources. VCA bus compressors of this type have become widely loved for their ability to control dynamics effortlessly but also for the added tone and depth they provide to the audio signal that passes through them, even when no compression is applied. Re-creating legendary VCA bus compressor technology was the focus of the BUS-COMP’s design, however, adding options and improvements was just as important to us during its development.  One feature we are proud to boast is the BUS-COMP’s ability to have USA made CineMag transformers inserted into the signal path driven by fully discrete operational amplifiers. With a single push of a front panel switch, these custom USA made transformers are inserted into the audio’s path providing increased depth, tone and vibe! As with all of the products we develop here at Warm Audio, the BUS-COMP was designed with a price point in mind.  With efficient, modern manufacturing techniques we are proud to bring this boutique quality, classic VCA bus compressor to the market at a quality-to-price ratio previously unseen.  More studios than ever before will now have access to analog quality VCA bus compression. Our desire is for all musicians to be heard the way they want to be heard and we feel the BUS-COMP is the perfect tool to perfect any mix! Technical Specifications* All analog, 2 channel, stereo VCA bus compressor* Based on legendary VCA bus compressor technology* Selectable discrete opamp stage with CineMag USA transformers* External side chain source select* SELECTABLE HI-PASS FILTER: 30, 60, 105, 125, 185 HZ* COMPRESSOR ENGAGE SWITCH FOR EASY A/B COMPRESS VS. NO-COMPRESS COMPARISON* PERFORMS WELL ON STEREO MIXES, DRUM MIXES, DRUM OVERHEADS, ACOUSTIC GUITARS, KEYBOARDS, PIANO, ORCHESTRAL INSTRUMENTS, VOICE-OVERS AND ENDLESS OTHER SOURCES* CAN BE USED ON STEREO AS WELL AS INDIVIDUAL MONO SOURCES* THAT 2180 VCAS* Optimally provides both XLR and TRS connectivity* Noise: < -90dBu* DYNAMIC RANGE: > 120DB* FREQUENCY RESPONSE: 18HZ – 22KHZ* THD + NOISE, 20HZ – 20KHZ, +20DBU INPUT: < .05%* INPUT IMPEDANCE: 10K OHMS* OUTPUT IMPEDANCE: 50 OHMS

739 €
12 Interest Free Instalments 61,58€ / month
In Stock
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The COMP-3A is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-3A is based on a classic design that uses an electro-luminescent panel and a photoelectric cell to control gain. This gives the COMP-3A a unique, program dependent compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide.This classic sound is now available at a very affordable price point with the COMP-3A.FEATURESVintage style electronics. No integrated circuits in the signal path.Transformer balanced input and output. Can drive almost any load - balanced or unbalanced.Selectable output transformer loading resistors by an internal jumper, will affect the high end frequency response.Uses a classic T4-style electro-optical attenuator to control gain with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.External power supply to avoid interaction with the audio circuits and transformers.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use

485 €
12 Interest Free Instalments 40,42€ / month
Upon Order

The COMP-2A is a one channel vintage style Compressor / Leveler using vacuum tubes in the signal and side-chain path. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before transistors and integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-2A is based on a classic design that was originally produced in the early 1960s and it was initially intended for broadcast applications. It uses an electro-luminescent panel and a photoelectric cell to control gain. This gives it a unique, program dependent compression characteristic. In addition, the all tube signal path and the transformers adds a wonderful and musical character to the sound.The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide. This classic sound is now available at a very affordable price point with the COMP-2A.Features:Vintage style all tube signal path. The tubes are fitted with grounded shields.Transformer balanced input and output. Can drive almost any load, balanced or unbalanced.Golden Age Project's version of the classic optical unit using a long life electroluminescent panel and two carefully matched Silonex NSL5910 photoresistors for T4B-style electro-optical gain control with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.Linear low noise regulated filament and high voltage power supply.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use.

610 €
12 Interest Free Instalments 50,83€ / month
Upon Order

Since the early 1990’s, the Manley ELOP® stereo electro-optical limiter has been a tracking hero effortlessly controlling dynamics on countless records around the globe, delivering the coveted classic, all-tube sound that Manley Labs is known for. So how do you improve on something this good? Well, for starters, we have now added a 3:1 compression ratio feature which opens up the doors to greater versatility, especially for 2-buss applications. The 2016 ELOP+ has been completely re-engineered from the ground-up, beginning with our amazing modern high voltage switching power supply purpose-designed for our vacuum tube audio circuits. With careful reference to our sonic past, we have deployed our highest performance vacuum tube line amplifier and White Follower output stage in this new version all housed in a build-efficient chassis behind a drop-dead gorgeous precision-CNC-milled faceplate, all proudly made in America, of course. The new Manley ELOP+ is everything you love about our legendary ELOP, plus!Features:10:1 Limiter and 3:1 Compressor ratiosAll-tube audio path uses 5751 and 6922 dual triodesBalanced Manley IRON® transformer-coupled XLR InputsXLR impedance-balanced outputsBYPASS switches and AUTOMUTE with warm-up delayLarge illuminated VU meters read Gain Reduction or Output levelsSTEREO LINKSide-Chain High-Pass FilterUniversal internal power supply operates worldwide 90-250V~AC 50/60Hz

2.795 €
36 Interest Free Instalments 77,64€ / month
Upon Order

The Manley Nu Mu gives you the best sonic qualities of both tube and transistor compressors. Manley spec'd the Nu Mu with the all-tube, T-Bar-modded front end of their fabled Variable Mu and followed it with a state-of-the-art solid-state audio chain. At Sweetwater, we're quite impressed by the results - silky smooth, fat, and punchy! Manley's innovative HIP circuit is onboard, enhancing low-level detail without taking a toll on dramatic transients. Handcrafted in the company's Chino, California, factory, the Nu Mu delivers superior sonics, performance, build quality, and value - exactly what you'd expect from Manley.Advanced dynamics control is yours with the Manley Nu Mu!Manley Nu Mu Features:Hybrid tube/solid-state compressor/limiterDual channel (stereo linkable)Features Manley's IRON input transformers4 hand-selected and matched 6BA6 vacuum tubesBalanced XLR I/OHIP circuit elevates softer dynamics without crushing louder onesLighted VU meters, switchable between Gain Reduction and Output LevelCustom, internal, universal high-voltage switched-mode power supply, for worldwide operation SpecificationsType: Tube/solid state (4 x 6BA6 vacuum tubes)Number of Channels:    2Controls: Threshold, Attack, Recovery, OutputRatio: 1.5:1, 4:1 to 20:1Side Chain Inserts:  2 x 1/4" TRSInputs:  2 x XLROutputs:  2 x XLRRack Spaces:  2UHeight:  3.5"Depth:  7"Width;  19"Weight:  8.5 lbs.Manufacturer Part Number:  NuMu​

2.955 €
36 Interest Free Instalments 82,08€ / month
Upon Order

Simple:Hit your choice of buttons and twist the threshold for radio-ready results Smart Dyn Dual Slope Detection: Automatically limits peaks while stealthily compressing the average.Auto Attack/Release: Replace "guess" with "yes" for rapid-fire results. Transparent:Performs like an automated fader: No more drawing vocal rides.True Stereo Dual Detector: Traditional linking shares one detector, often resulting in a narrower stereo image.Immaculate VCA: Virtually no distortion, even with 20dB of gain reduction. Powerful:Internal sidechain circuitry houses the audiophile soul of the compressor:Bass Cut: Tightens the track without sacrificing the low end.Sibilance Boost: Shave sibilance and shrill histrionics with zero post-compression hangover.

3.674 €
12 Interest Free Instalments 306,17€ / month
Upon Order

Introducing the m102 and m502 optical compressors. While both share identical audio circuitry, the m102 is built in a half-rack 1U module, and the m502 in a 500 series rack module. From gentle dynamic smoothing to full tilt squash, these units deliver open, musical dynamic control that is the perfect companion to our high fidelity mic preamplifiers or any recording chain. All your tracks can now have glorious, easy to use compression which regardless of how much you squeeze, will always end up with their sonic essence perfectly intact. The heart of the compressor circuit is an optical attenuator - the purest, high fidelity gain control mechanism available. With careful attention to control circuit design, we are able to implement a feedback opto compressor that not only provides a wide range of dynamic control, but remains inherently neutral, open and musical. Both are full featured units, including input and output level, threshold, attack, release and ratio controls. The m102 includes balanced inputs and outputs, both with parallel XLR and Ό" TRS connectors, along with a 1/4" TRS jack for stereo link or sidechain signal input. The m502 includes connectivity for sidechain input, stereo linking and even the Radial® Workhorse Bussfeed. While lots of our gear adorns the most expensive recording and audio production facilities in the world, all of it sounds that way, and the m102 & m502 are no exception. We eagerly invite you to hear what truly transparent, musical dynamic control can do for your audio production. The perfect way to zip it all up and send it all downstream: clean, intact and alive.

760 €
12 Interest Free Instalments 63,33€ / month
Upon Order

Introducing the m102 and m502 optical compressors. While both share identical audio circuitry, the m102 is built in a half-rack 1U module, and the m502 in a 500 series rack module. From gentle dynamic smoothing to full tilt squash, these units deliver open, musical dynamic control that is the perfect companion to our high fidelity mic preamplifiers or any recording chain. All your tracks can now have glorious, easy to use compression which regardless of how much you squeeze, will always end up with their sonic essence perfectly intact. The heart of the compressor circuit is an optical attenuator - the purest, high fidelity gain control mechanism available. With careful attention to control circuit design, we are able to implement a feedback opto compressor that not only provides a wide range of dynamic control, but remains inherently neutral, open and musical. Both are full featured units, including input and output level, threshold, attack, release and ratio controls. The m102 includes balanced inputs and outputs, both with parallel XLR and Ό" TRS connectors, along with a 1/4" TRS jack for stereo link or sidechain signal input. The m502 includes connectivity for sidechain input, stereo linking and even the Radial® Workhorse Bussfeed. While lots of our gear adorns the most expensive recording and audio production facilities in the world, all of it sounds that way, and the m102 & m502 are no exception. We eagerly invite you to hear what truly transparent, musical dynamic control can do for your audio production. The perfect way to zip it all up and send it all downstream: clean, intact and alive.

795 €
12 Interest Free Instalments 66,25€ / month
Upon Order

Discrete Compressor, Re-Issue. Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.        FEATURESAudio circuit uses the 2510 and 2520 Discrete Op Amps with transformer outputContinuously variable detented Threshold controlContinuously variable detented Attack and Release controlsContinuously variable detented Ratio controlOutput Fader level control10 segment VU/Gain Reduction meter with selector switchOverload LED"Link" switch for multiple unit interdependent compression linking"New"/"Old" switch for feed-forward or feed-back compression"Hard"/"Soft" compression curve knee switchPatented "Thrust" switch for frequency dependent side chain control"IN" switch with hard relay bypass when in the "Out" position

1.345 €
12 Interest Free Instalments 112,08€ / month
Upon Order

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 Ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

4.586 €
36 Interest Free Instalments 127,39€ / month
Upon Order

Το Comp-54 είναι ένα πιστό emulation  κλασικών  compressors. Ο ήχος αυτός είναι γνωστός απο δεκάδες ηχογραφήσεις και ο χαρακτήρας του είναι άμεσα αναγνωρίσιμος. Χρησιμοποιεί μια δίοδο για τον έλεγχο στάθμης μια μέθοδο γνωστή απο vintage υλοποιήσεις όπως  Neve, EMI και άλλους κατασκευαστές.Ο  COMP-54 δεν χρησιμοποιεί καθόλου  IC´s στο σήμα και έχει 3  transformers. Ό έλεγχος γίνεται απο ποτενσιόμετρα με όλες τις απαραίτητες ρυθμίσεις και χρησιμοποιώντας το κουμπί του  IN/OUT  μπορεί κάποιος να  παρακάμψει  το στάδιο του compression αλλά να χρησιμοποιεί  το χαρακτηριστικό χρώμα του μηχανήματος απο τους  transformers και την διακριτή  (discrete) σχεδίαση.Το μηχάνημα διαθέτει επίσης  Hard Bypass  που επιτρέπει το σήμα να  περάσει χωρίς καμμία  αλλαγή απο την είσοδο στην  έξοδο.  ¨Ενας  LINK connector στην πλάτη του μηχανήματος επιτρέπει την χρήση  δύο  Comp-54 μαζί  για χρήση stereo.  

397 €
12 Interest Free Instalments 33,08€ / month
Upon Order

FALCON is a classic sounding tube compressor in a 500 series package. FALCON features 3 attack and 3 release time settings, hard and soft knee choices for compression or limiting, two different audio path sounds, wet-dry mixing for parallel compression, and is linkable.The audio path color is changed by modifying the tube circuit so it has negative feedback or does not have negative feedback.  This along with the optical like quality of the compressor allows for a colored vintage sound or a much cleaner sound with optical characteristics. When linked the master unit controls all functions on the slave except for wet-dry and make up gain.  The link system is capable of doing 5.1.

1.444 €
36 Instalments 49,85€ / month
Upon Order

The CX3400 3-way stereo/4-way mono crossover features absolute precision, state-of-the-art circuitry, with superior-grade components, ultra low-noise op amps and balanced inputs and outputs. The CX3400 also includes a switchable pre-EQ circuit, providing enhanced performance of systems with constant-directivity horns. A user-adjustable multi-band limiter is included for the ultimate protection of individual loudspeaker system components. The CX3400 provides two modes of operation: 3-way stereo, for left and right Lows (woofers), Mids and Highs (tweeters); and 4-way mono, for Lows, Low-Mids, High-Mids and Highs. In either mode, you have the option of normal (left and right), or summed-mono low-frequency output. Adjustable time delays (up to two milliseconds) are also provided, so that the sound coming from the various transducers arrives at the listener in-phase and at the same time.By using 1% metal film resistors, along with other extremely tight-tolerance components, the CX3400 is able to guarantee surgically precise frequency selection with incredibly low thermal noise. State-of-the-art, ultra low-noise op amps ensure super-quiet operation. CX3400’s elegant LED matrix shows at a glance which operation mode is selected and which controls are active. All of the inputs and outputs accept balanced and unbalanced XLR connections. The inputs feature 25 Hz Low Cut filters for low-frequency driver protection. Mute and phase invert switches are provided for each frequency range, making troubleshooting an entire loudspeaker system a breeze.

156 €
36 Instalments 5,39€ / month
Upon Order

The MULTICOM PRO-XL MDX4600 gives you four channels of first-class dynamic control in a single rack space. With a multitude of new features like the advanced program-adaptive expander gate, extensive metering plus a variety of configuration options, the MULTICOM PRO-XL puts a lot of dynamic processing power in your rack.

167 €
36 Instalments 5,77€ / month
Upon Order

Whether you’re recording, mixing or mastering, the COMPOSER PRO-XL MDX2600 gives you total dynamic control. It includes all of the features you would expect from a reference class compressor—plus a voice-adaptive de-esser, a new dynamic enhancer, authentic tube emulation and much more. These are some of the indispensable tools for producing clean, consistent audio with virtually no loss in signal quality.

167 €
36 Instalments 5,77€ / month
Upon Order

The 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.The 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.The 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.The 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.For 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.The 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.All 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite 

8.730 €
12 Interest Free Instalments 727,50€ / month
Upon Order

SLAM! 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 & 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.When 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 (ELOP®) 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! Specifications:Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable biasOutput Tubes: 2 x 6414W NOS USA dual triodesI/O: MANLEY transformer coupled Balanced Inputs and OutputsMicpre: Selectable 48V phantom power and PHASE REVERSEGain: 60dB max Micpre, 43dB max DI, 20dB max Limiter GainInput Impedance: 2000Ω Micpre, 1MegΩ DIFET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1Frequency Response: 5Hz to 60KHzMaximum Output: +32dBm, +30dBm (into 1KΩ load)THD+N:

8.095 €
36 Interest Free Instalments 224,86€ / month
Upon Order

High-end dual mono tube compressor, Optical gain reduction element, Linkable for stereo applications, Dual VU-meters showing output or compression, Variable attack and release with a 1,5:1 to 10:1, Output Gain (off to +10 dB), Frequency response @ -3 dB: 5 Hz to 60 kHz, Low noise: < -80 dBu @10 dB gain, Conductive plastic potentiometers, Gold plated switches, Clickless bypass relay, XLR I/O, 19"/2HE.

4.079 €
36 Instalments 140,82€ / month
Upon Order

Stereo compressor/gate with integrated PSU, Over Easy function (automatic attack and release), Compressor-Ratio "1:1 - 4:1", XLR ins/outs, -10/+4dB switchable, stereo link, 19", 1U

162 ,01 €
36 Instalments 5,59€ / month
4-10 days

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.

1.675 €
36 Instalments 57,83€ / month
Upon Order

Empirical Labs ELDS Derresser, Module for API-500 System, Freq. Response is 3 Hz to 120 kHz (-3dB points), Dynamic thomann Range - 115 dB from maximum output (.5%THD soft clipping) to minimum output. Transformerless noise floor typically – 93dBu, Distortion Ranges between .0035% and .01% depending on mode and settings, DC coupled Input and Outputs, High quality audio caps used internally, Input Balanced, thomann Output single ended but with balanced impedance, Pin 2 hot, Input Impedance is 20k Ohm. Output impedance is less than 51 ohms, D-S Dynamics Time Constants - Attack time is less than 1mS. Release .04 sec, fixed internally, Power Consumption – 8 thomann Watts max. 4 Watts Typical

1.090 €
36 Instalments 37,63€ / month
Upon Order

The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. Now these super musical sounding compressors have found their way into today's hits. The Retro Gold Edition celebrates fifty years of the products existence. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. Alternatively, the Gold Edition Sta-Level uses a pair of commonly available 6BJ6 tubes (stock). The customer has the choice to use their own 6386 they provide or the 6BJ6 provided with the purchase of the unit. The choice is yours and the sound is undeniably true to the original either way. Specifications Gain Reduction Threshold: Continuously adjustable from +24dBm to -20dBm Available Gain Reduction: 40dB Total System Gain: 35dB (with standard input and output pads) Distortion: 1 percent or less from 0-30 dB gain reduction Frequency Response: ± .25dB from 20-20,000 Hz Noise: -70dB or better referenced to gain reduction threshold Output Level: Continuously adjustable from -40 dBm to +18 dBm Input Impedance: Accepts low impedance active or transformer balanced 0-600 Ohms Output Impedance: 600 Ohm transformer balanced, terminated and resistive pad coupled Tube Complement: 2-6BJ6), 1-12AT7, 2-6V6GT, 1-6AL5, 1-OB2, 1-5Y3 Power Requirements: Three prong IEC - Switchable 115-230 VAC - 50/60 Hz Mounting Requirements: 3U metal rack 5.25" high, 19" wide, 8" deep

3.154 €
36 Instalments 108,89€ / month
Upon Order

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement.This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.

3.695 €
36 Instalments 127,56€ / month
Upon Order

The Tube-Tech CL1B features a gain-reduction element, positioned immediately after the input transformer. It is controlled by the sidechain amplifier, which also contain the two time control circuits – one for fixed and one for variable Attack/Release. The two time-controllers can either be used separately or combined. This circuit contains semiconductor OP-amps for the entire control. The gain-reduction element is followed by a tube-based push-pull amplifier with variable gain up to 30 dB. A dedicated Bus selector with three positions (Off, Bus 1, Bus 2) is used whenever you want to link several compressors together. Input and output transformers have a static-screen between the primary and secondary wirings. Both Input and Output are balanced as well as fully floating.The CL 1B has proven its value by adding that sought-after vintage warmth and realism to the most demanding studio tracks.The Tube-Tech CL 1B main features include: Unique low distortion gain-reduction element All tube-based push-pull amplifier Multiple interconnection of several compressors via two busses VU-meter for monitoring input, compression and output Continuously variable attack and release time Gain Range (off to +30 dB) Variable Threshold (off to -40 dBu) Frequency response @ -3 dB: 5 Hz to 25 kHz Low noise: < -75 dBu @30 dB gain Clickless bypass switch

3.444 €
36 Instalments 118,90€ / month
Upon Order

The Stereo Vitalizer MK2-T is a program equaliser concept which makes use of scientific psychoacoustic technology to process audio signals. The Vitalizer technology has been constantly improved over the past years.The Stereo Vitalizer MK2-T is the tube version of the successful Stereo Vitalizer MK2. The 'MK2-T' utilises two 12 AX 7 LPS-double triode tubes. One of them is used within the Mid-Hi Tune filter and gives the mid frequencies even more accurate transparency with a soft, unobtrusive sound. The second tube is used within the Stereo Expander. The stereo image not only gains more width but also more depth, transparency and clarity because of the pleasant tube harmonics.The treble range is reworked with Coil filtering stages which focus on achieving a smooth, silky sound pattern. High frequencies are livened up extremely noiseless without them sounding hard or aggressive.As with all Vitalizer models you can choose between a dry, percussive bass (Tight) or a punchy, soft and very deep sound character (Soft). The bass is accentuated without any risk of emphasising the lower mid frequencies unnaturally. An easy to use compressor complements the bass section allowing the correction of level change due to bass processing.The Stereo Vitalizer MK2-T is especially designed to serve the needs in recording, mastering, cutting and post production work. Used on complete mixes or being inserted into the subgroups to treat specific parts of the mix, the Stereo Vitalizer MK2-T will perform the same task as those esoteric and costly equalisers often used for audio sweetening but with far greater tonal flexibility and at a much lower cost. Input & OutputInstrumentation amplifier, electronically balanced (differential), transformerless Nominal input level: +6 dB Input impedance: 22 kOhms Output impedance: < 600 Ohms Max. input level: +20 dBu Max. output level: +20 dBu Minimum load ohms: 600 Ohms Relay Hard Bypass Power Fail SafetyMeasurementsFrequency response: 20 Hz-100 kHz (100 kHz = -3 dB) EQ frequency range: 20 Hz-22 kHz CCMR (common mode rejection): > -80 dBu @1 kHz THD & N: 0,01855% @ 1 kHz S/N CCIR 468-3: - 85 dBu S/N A-weighted: - 99 dBu Power SupplyTorroidal transformer:.15 VA Fuse: 315 mA (slow blow) Ground-Lift switch Voltage selectorDimensionsHousing: Standard EIA 19"/1U, 482 x 44 x 237 mm Weight: 3,4 kg

895 €
12 Interest Free Instalments 74,58€ / month
Upon Order

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement.This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.

1.885 €
36 Instalments 65,08€ / month
Upon Order

The EL7 FATSO is a modern digitally controlled analog device that offers many of the " musical non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two channel audio processor will musically integrate frequencies and transients and increase the apparant volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor "types" with fixed attacks and releases (if you want a fully controllable compressor, you will need the Empirical Labs Distressor!).

2.999 €
36 Instalments 103,54€ / month
Upon Order

TRAKKER is a high quality Single Channel Discrete Class A Compressor Limiter. It functions either as a musically transparent compressor or as a vintage compressor - limiter with selectable hard or soft knee.TRAKKER is a maximum-versatility toolkit for solving real-world recording, broadcast, and sound reinforcement problems with the utmost attention to signal quality. Trakker can create distinct new sounds or maximize existing ones. TRAKKER has adjustable threshold, attack, release, knee shape, and makeup gain controls. In addition to Character Switchthese controls, a function switch allows the selection of transparent operation or vintage operations such as optical, air optical, soft knee, and hard knee - each with four different amplifier/gain control sounds.Amplifier gain control sounds are: Transparent Vintage (tube or old style Class A) Transparent with VCA artifacts Vintage with VCA artifacts

2.950 €
36 Instalments 101,84€ / month
Upon Order

The Cranesong STC-8 Stereo Mix Buss Compressor/limiter. Highly regarded and sought after processor capable of emulating vintage equipment and creating distinctive new sounds to enrich lifeless audio and digital recordings. The Cranesong STC-8 Stereo Mix Buss Compressor/limiter 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 control, but is also capable of emulating vintage equipment and creating distinctive new sounds. 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-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. 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.  The STC-8 requires 2 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. The STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.          FEATURES Highly regarded and sought after processor capable of emulating vintage equipment and creating distinctive new sounds to enrich lifeless audio and digital recordings Simultaneous Compression/Limiting Discrete Class A audio path Balanced/ Transformerless I/O Quick & Easy Presets Transparent Overload Protection Stunning versatility to produce clean or charactered, well glued mixes Transparent sound, highly regarded for use on vocals, overheads, toms and acoustic guitar as well as the mix buss

4.995 €
36 Instalments 172,44€ / month
Upon Order

The Phoenix HG 15 is a single channel version of our classic Phoenix Stereo Compressor, having the same gentle “variable mu” type compression curve, though it becomes near to a limiter at high compression levels.The gain has been boosted to suit mic inputs, particularly valve and FET condenser types, but many moving coil types, such as Shure, Audio Technica, etc. are fine to use if the sound source is quite loud or close-miked.With the Threshold switch set to Comp Out it’s a clean mic/line amp, now add a little Active Eq, “Presence” and/or “Air” to brighten the sound, then switch in some compression and achieve that gentle “super-natural” effect that only Thermionic Culture can give you.The Output Level control acts as a reverse linear attenuator after the electronics, and can be used simply to reduce level if feeding a low level input, or to add “Attitude” by reducing the output and increasing the input.  If you’re working from line level, it’s OK to switch the input from “Line” to “Pad” but ensure the +48v switch is OFF!2 HG15s can be linked together for stereo use by a phono-phono lead from the Link socket at the rear.   There’s a Side Chain Bass Cut switch, which can also be useful in mono operation. To sum up, The Phoenix HG15 is ideal as just a mic amp for vocals, violins, horns, guitars…… especially when using a high output mic like the U87.  Then having the ability to add compression and a bit of eq.Features:High Gain Mic Amp/Compressor/EQ with super-natural valve sound;Based on Phoenix design with 52 dB gain available;Fully Balanced circuit with XLR in/out connectors;+48v Phantom power available;Threshold control has 7 way switch with Compressor Out position;Time Constant switch has 6 combinations of Attack & Release;Side Chain Bass Cut;Presence and Air switches to boost mid and high top with In/Out switch;Bass Cut to roll off low bass;2 valves, 6AQ8EH input and 12AT7/ECC81 output;Solid State side chain! ;Link socket to connect 2 HGs for stereo buss operation, etc.

1.845 €
12 Interest Free Instalments 153,75€ / month
Upon Order

Thermionic Culture have released a new version of the Mastering valve compressor, the Mastering Plus. The classic hand built point to point wired soft knee compressor has a compression ratio from 1.2:1 to 5:1 at 15dB of compression and uses Mullard and Siemens valves and custom Sowter transformers.Following on from the success of the previous models including the red face anniversary limited edition the new model features new switched and stepped rotary controls for quick and easy recall. The input gain features a 24 position ELMA, a 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. The Phoenix is a stereo compressor, which can be used as a pair of mono compressors. It has a ‘soft knee’ or ‘variable mu’ characteristic in that the compression ratio increases with the amount of compression being used. Initial compression is 1.2:1 increasing to 5:1 at 15dB compression.The Phoenix is being updated continually and this unit is the Master version (suffix M) with higher stability and faster release than earlier models. A side chain filter has now been added to provide 75Hz & 150Hz, but more permutations are possible when the MC is used in stereo mode with the link switch engaged.The Master Phoenix is easier to recall as it has a mixture of indented and switched controls and the screwdriver adjustment on the chassis behind the meters controls the current through the valves on this unit, so this corrects to some extent for valve ageing. A screwdriver is supplied with the Master Phoenix and should be used periodically to adjust the meters to zeroStepped Input & Output controls * 6 position switched attack control * 7 position switched release control * 11 position switched threshold control

5.285 €
12 Interest Free Instalments 440,42€ / month
Upon Order

A new version of the Phoenix soft knee stereo valve compressor, the Phoenix Standby: new 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 zero level meter adjusters have now been front to the front panel to make calibration easier and to avoid having to take the unit out of the rack.The Phoenix is a twin channel 'vari-mu' device. Compression ratio starts low and increases gradually so that compression can be subtle and natural, but compression effects can occur when driven hard. Very low noise. Continuously variable controls for Gain, Attack, Release, Threshold and Output Level. Stereo link for compressing a group (eg. drums) or a complete mix.The Phoenix enhances vocals & individual instruments by being unobtrusive, gently 'warming' sounds and making solos sound more powerful. ItΉs impressive on overall mixes & can give a digital mix 'reality'. ItΉs also excellent for compression effects. Try drums with a 'thump' attack (i. e slowest) & fast release.Key Features All valve design for greater presence and naturality.Completely free from solid state additives.Transparent compression.Punchy when pushed.Drive it hard for compression effects and distortion.Absolutely flat frequency response over entire audio range and beyond.Minimal phase shift giving a crisp and warm sound.

4.695 €
12 Interest Free Instalments 391,25€ / month
Upon Order