El Empirical Labs EL8-XXX Distressor es una edición limitada del 30.º aniversario del famoso EL8 Distressor. Incluye todas las mejoras del EL8X (Stereo Image Link, Brit Mode), ahora combinadas con el famoso transformador Triad HS-56 en la etapa de entrada, conocido por su capacidad para añadir claridad y profundidad a los subgraves. Además de saturación y color, este transformador también reduce considerablemente la impedancia de entrada a 600 ohmios. Estos cambios, junto con algunos componentes discretos nuevos, permiten que el modelo XXX sature y coloree antes que el clásico EL8, ¡haciendo que los graves de una mezcla brillen como ningún otro!

El EL8X Distressor es un compresor analógico moderno que ofrece un control dinámico y una modelación tonal legendarios. Con curvas de compresión únicas, tres ajustes de distorsión distintos, modo británico y enlace de imagen estéreo, este versátil compresor se ha ganado un lugar en los racks de los mejores estudios del mundo. Ya sea que se use sutilmente para realzar la calidez o se lleve a su límite, esta versión mejorada del clásico compresor Empirical Labs EL8 Distressor ofrece una flexibilidad inigualable para la grabación, la mezcla y la masterización.

CURVAS DE COMPRESIÓN ÚNICAS

El compresor Empirical Labs EL8X cuenta con ocho curvas de compresión seleccionables, cada una diseñada para ofrecer un carácter sonoro distintivo. Desde una nivelación transparente hasta una limitación de picos extrema, estas ocho curvas únicas modifican el comportamiento de la ruta del detector, permitiendo a los ingenieros moldear la dinámica con precisión. El ajuste de compresor óptico 10:1 utiliza un circuito detector independiente para emular los compresores ópticos clásicos controlados por luz, ofreciendo una respuesta musical fluida. Por otro lado, el exclusivo modo Nuke de Empirical Labs proporciona una limitación explosiva para el procesamiento de batería de alta energía. Las curvas únicas del Empirical Labs EL8X permiten emular la respuesta dinámica de innumerables compresores clásicos.

TRES MODOS DE DISTORSIÓN

Para una mayor riqueza armónica, el compresor EL8X de Empirical Labs ofrece un circuito de distorsión avanzado con tres perfiles únicos: Distorsión 1, Distorsión 2 y Distorsión 3. Distorsión 1 introduce una sutil mejora armónica sin alterar demasiado la dinámica ni la respuesta de frecuencia; Distorsión 2 imita la calidez de la saturación de válvulas de Clase A; y Distorsión 3 reproduce el carácter de la saturación de cinta magnética. Los exclusivos controles de Empirical Labs facilitan la adición de una coloración de estilo vintage, manteniendo la claridad y la pegada.

MODA BRITÁNICA

Inspirado en el famoso truco de "todas las teclas activadas" del limitador 1176, el modo británico del Empirical Labs EL8X ofrece una compresión rápida y agresiva con una curva de rodilla y una envolvente distintivas. El modo británico realza los transitorios y añade energía a la batería, las voces y los instrumentos, lo que lo hace ideal para lograr un sonido contundente y directo. Con características de compresión únicas y una curva de limitación casi impenetrable, el modo británico del compresor Empirical Labs EL8X es la herramienta perfecta para saturar pistas o mezclarlas con la señal original para una compresión paralela sutil.

ENLACE DE IMÁGENES PARA PARES ESTÉREO

Diseñado para aplicaciones estéreo, la función de enlace de imagen estéreo del Empirical Labs EL8-X garantiza una compresión fluida en ambos canales, manteniendo una imagen estéreo precisa. A diferencia del enlace estéreo tradicional, el enfoque patentado de este compresor preserva la profundidad y el detalle en la escena sonora, lo que lo hace perfecto para buses de batería, cadenas de masterización y otros procesos estéreo. Este exclusivo modo de enlace estéreo ofrece un rendimiento excepcional con un par estéreo emparejado de compresores Empirical Labs EL8-X Distressors.

CARACTERÍSTICAS DEL DISTRESSOR EL8-XXX DE EMPIRICAL LABS:

• Edición del 30 aniversario del famoso EL8 Distressor con transformador Triad HS-56
• Ocho curvas de compresión seleccionables, incluyendo los modos Nuke y Opto.
• Tres modos de distorsión distintos para una saturación de estilo analógico.
• Modo británico para una compresión agresiva que recuerda a los limitadores FET clásicos.
• El enlace de imágenes estéreo mantiene una dinámica precisa en pares estéreo.
• Ecualizador de cadena lateral avanzado con filtros HP para control de compresión dependiente de la frecuencia.
• Componentes seleccionados a mano para un rendimiento sonoro superior.
• Ideal para voces, batería, instrumentos y aplicaciones de masterización.
• Respuesta de frecuencia: de 2 Hz a 160 kHz en modo de audio limpio (+0, -3 dB)
• La respuesta se moldea en modos de distorsión (Dist 2, Dist 3).
• Rango dinámico: 110 dB desde la salida máxima hasta la salida mínima en modo 1:1
• Impedancia de entrada: 20 kΩ, impedancia de salida: <75 Ω
• Constantes de tiempo del rango de ataque: 50 µs - 50 ms
• Constantes de tiempo de liberación: 0,05 - 3,5 segundos en modos normales (hasta 20 segundos en modo óptico).
• Calidad reconocida de Empirical Labs

"All buttons in"
The original concept of the "British Mode" came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more "over the top", found that you could make all four buttons stay "in" if you pressed them just right. What resulted was a very, very aggressive sound that had some elements of the units 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it a "British Mode" and the name has stuck. It is also called "all buttons in" and some other intuitive names.

As aggressive as you want it to be
The Distressor has the advantage of being able to apply this "aggressive" nature not only to the new British ratio (1:1) but also to all the ratios since a separate switch is installed, which can be enabled with any ratio. One should keep in mind however, that an attack below 3 or 4 is required to maintain the LN1176 character. If you go above an attack of 3 you will also incur a rise in some grunge (distortion) and see the THD indicator lites come on a lot more. The Distressor will no longer behave smoothly, nor like an 1176.

Using the British Mode
Put the unit in the 1:1 ratio and turn on the British Mode Switch (flip it up and the LED should be lit). That enables it. To sound like the 1176 the only constraint is to keep the attack well under 4 on the Distressors - their attack can go much longer than the 1176. Now you will find that the unit has a new attitude! The attack and release will generally be more aggressive and the unit will get in and out of the way very quickly. Interestingly, the unit will be slightly less colored when not compressing. Use this ratio to "skim" peaks. This means that most of the time it may not be doing anything, but when it does "hit" the signal, it will smoothly push back the signal and then get right out of the way again. If you are hitting the Gain Reduction all the time with the British mode on, you are going to be really "squashing" the signal. On the other hand, the Distressor will sound fairly subtle when compressing all the time in 2:1 mode, especially with a slower attack (>6).

The Distressor
The Emprical Labs Distressor is a unique analog compressor that allows the user to add 2nd or 3rd order harmonic distortion to the signal, emulating tape saturation and the classic tube compressor sound of the '60's and '70's. The Distressor also offers advanced sidechain EQ, eight unique curves and Empirical Labs' exclusive "Binary Stepped Interface" providing hundreds of options with just a few control settings.

British Mode Features:

• "All buttons in" British Mode switch with LED
• Frequency response: 2Hz to 160kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3)
• Dynamic range: 110 dB from max. output to min. output in 1:1 mode.
• Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel.
• DC coupled output - High quality input caps.
• Input impedance: 20K ohms
• Output impedance: < 75 ohms
• Time constants: Attack range 50uS - 50mS
• Release range: .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio.
• Metal chassis
• Dimensions: 1.75" H x 10" D x 19" W

El PUMP es un compresor monocanal totalmente analógico que comparte el ADN familiar con el legendario compresor Distressor, junto con funciones selectas del complemento de compresor Arousor y el preamplificador de micrófono Mike-e. El PUMP ofrece ocho relaciones de compresión de 2:1 a 20:1 (cada una con una curva optimizada), controles de ataque y liberación escalonados digitalmente, un filtro de paso alto Detector, recorte de saturación suave y medición integral de reducción de ganancia.

El PUMP también cuenta con el exclusivo control Attack Modification o AtMod introducido originalmente en el complemento Arousor y no disponible en ningún otro compresor de hardware. AtMod permite a los usuarios dar forma a la respuesta transitoria más allá de simplemente ajustar el control Attack, lo que permite que pasen más transitorios para un mayor impacto, como agregar un poco más de chasquido a las cajas o golpe a los bajos

Especificaciones
 
• Respuesta de frecuencia: 5 Hz a 175 kHz (puntos de -3 dB).
• Rango dinámico: 125 dB desde la salida máxima (recorte suave de 0,5 % THD) hasta la salida mínima. El nivel de ruido con salida en 0 es típicamente de - 101dBu.
• Distorsión: entre .0035% y 15% a 1KHz, dependiendo del modo y la configuración.
• E/S: entrada máxima antes del recorte duro: +22dBm, modo "Line-In". Salida máxima (mezcla a 0): +28.5dBm
• Impedancia: 120k Ohm, modo Instrument In, la impedancia de salida es menor a 75 ohmios. Impedancia de entrada de 20K en modo Line in balanceado.
• Constantes de tiempo del compresor: Ataque: 200µs a 40ms. Liberación: 50ms a 500ms, más configuración Opto. Enlace estéreo para pistas estéreo.
• Filtro detector HP: conmutable, fijo a 70Hz
• Modificación de ataque (AtMod): ralentiza el inicio inicial de la envolvente de ataque, lo que permite que haya más transitorios de regreso a la pista.
• Recortador suave de saturación: basado en el mismo circuito que se encuentra en la sección Mike-E CompSat.

De vez en cuando surge una idea que simplemente funciona. Una idea que tiene tanto sentido que cuesta entender por qué nadie más lo hizo antes. Ingrese el limitador Spectra Sonics modelo 611 .

Spectra Sonics es conocido por su circuito Complimiter patentado. El circuito Complimiter de Spectra Sonics cuenta con el limitador de picos analógico más rápido del mundo. Durante décadas, los ingenieros han utilizado este circuito para eliminar "invisiblemente" los picos transitorios de sus pistas. La eliminación incluso de los picos transitorios inaudibles mejora el margen de maniobra y el rendimiento del equipo aguas abajo del Complimiter. Ahora imagine aplicar este principio al inicio de su cadena de grabación ANTES de que los picos puedan causar problemas de rendimiento.

El limitador Spectra Sonics modelo 611 es un diseño discreto hecho a mano que utiliza E/S de transformador personalizado que acepta una entrada de línea balanceada, entrada de micrófono o entrada de ¼” de alta impedancia y está diseñado para colocarse FRENTE al preamplificador de micrófono en su cadena de señal, eliminando así los picos transitorios lo más cerca posible de la fuente. Eliminar los picos antes del preamplificador permite que el preamplificador reproduzca con mayor precisión la fuente antes del dispositivo de grabación.

Además, la parte del compresor del Complimiter modelo 611 se puede utilizar para controlar el rango dinámico general, desde igualar una pista de bajo hasta hacer retumbar un bombo o aplastar un micrófono de sala de batería. Además, su pequeña carcasa extruida portátil facilita la incorporación de sonidos tanto en el estudio como en la sala de control. Perfecto para productores y músicos de sesión en movimiento.

CARACTERÍSTICAS:

• Mejora espectacular en el rango dinámico y el contenido armónico.
• Distorsión reducida debido a la eliminación de sobrecarga transitoria.
• Control instantáneo del rango dinámico (función de compresión)
• Rendimiento sonoro inigualable para guitarra/instrumentos con pastillas de instrumentos activas o pasivas
• No es necesario realizar de-essing o ecualización de alta frecuencia
• Terminación directa de micrófonos (se requiere alimentación fantasma)

PANEL DE ENTRADA

El pad de entrada de tipo retén de 32 puntos controla la cantidad de limitación y/o compresión/limitación que se requiere. El pad permite hasta 30 dB de atenuación.

CONFIGURACIÓN DE GUITARRA/INSTRUMENTO DE CUERDA

Para preservar el rango dinámico y el rendimiento óptimo del ruido, se recomienda encarecidamente que las perillas de control de volumen de la guitarra/instrumento se ajusten al 50% o más teniendo en cuenta la preservación de la calidad sonora de la salida de señal del instrumento. Al ajustar sistemáticamente las perillas de salida del instrumento y el pad de entrada del 611, el usuario establecerá una salida óptima entre el instrumento y el dispositivo.

CONTROL DE LIBERACIÓN

La perilla de control de liberación afecta el tiempo de liberación después de la compresión inicial de la señal. El tiempo máximo de liberación, marcado "10" en el panel frontal, restaurará lentamente la ganancia al nivel original.

CONTROL DE PENDIENTE

El control de pendiente proporciona una amplia gama de relaciones de compresión/limitación desde 1,1:1 (amplificación lineal) hasta 100:1 o una pendiente plana. Cuando el control de pendiente está configurado para compresión mínima, la perilla se establece en “10”, proporcionando así una amplificación lineal de 20 dB para la entrada por encima del umbral (-46 dBu). Cuando el control de pendiente está configurado para compresión máxima, la perilla se establece en “0”, para una pendiente plana.

LÍMITE

Un LED de umbral parpadeante indica transitorios (picos) a -46 dBu. Un LED de umbral constante indica el material del programa.

INDICADOR DE SOBRECARGA

El LED rojo indica niveles de audio superiores a -20 dBu.

MEDIDOR LED DE REDUCCIÓN DE GANANCIA

El medidor de reducción de ganancia indica la compresión, en dBu, relevante para el nivel de entrada o el ajuste de pendiente.

LA HISTORIA DEL MÓDULO 601 Y DEL LIMITADOR 610

En 1969, Spectra Sonics utilizó por primera vez el módulo 601 en el 610 Complimiter, una pieza de equipo externo que permitía a los usuarios usar el compresor y el limitador por separado o al mismo tiempo. Desde su creación, el 601 se ha ganado la reputación de ser uno de los módulos analógicos más silenciosos, rápidos y versátiles de la industria del audio profesional. Por lo tanto, la unidad 610 sigue siendo tan icónica como otras favoritas de los fanáticos como el LA2A y el 1176.

EL LEGENDARIO COMPLIMITER OBTIENE UNA NUEVA VERSIÓN

Mejorando el 610 Complimiter original, Spectra Sonics tomó su equipo clásico de 1969 y lo actualizó para el estudio moderno. La unidad de 2 chasis presenta un diseño interno y externo renovado que incluye menor distorsión, ruido, una salida de +24 dBu y controles detenidos de alta resolución. La combinación de la topología clásica con funciones actualizadas ha hecho que la nueva versión sea fácil de usar con fines de masterización, mix-buss y seguimiento.

EL IMPACTO DE SPECTRA SONICS EN LA INDUSTRIA DEL AUDIO

William G Dilley fundó Spectra Sonics en 1964 y fue un ingeniero y piloto que se dedicó a crear equipos de audio para transmisiones, estudios de grabación y películas. Al crear clásicos como el 601 Compressor Limiter, el 610 Complimiter y una consola Spectra Sonics, Dilley cambió la forma de grabar para siempre y recibió una beca de la Audio Engineering Society en 1977.

Buzz Audio first manufactured the SOC-1.1 in 1999 and it brought to the market an optical (light dependent resistor) compressor with more user control than what was available at the time (LA series for example). The unit was immensely popular and Buzz built hundreds of them, but the construction was a bit messy and time consuming, so, the SOC-1.1 was retied and replaced with the Buzz Audio Velox Optical Compressor!

NEW FEATURES

The Velox sports the same amazing compression character of the original SOC-1.1 but Buzz Audio have added a MIX control so you can blend the input signal with the compressor output. It also includes a BASS filter into the side chain to reduce the sensitivity of the compressor at low frequencies. The upgraded "DC" version of the Velox, available here, features high-end Class A discrete transistor BE41 amplifiers.

CONTROL GENIUS

The Velox is very easy to use for recording individual tracks or on the stereo mix buss because of the "soft knee" characteristic. The AUTO attack and release settings have been perfected to provide natural compression and in many cases that's all you will ever need for acoustic or vocal work. The MIX control allows you to use the 20:1 (virtually brick wall limiting) compression and blend that with the input for more "heavy" sounds - the options are virtually endless - but what ever you choose works!

CONTROLS AND FUNCTIONS:

• DRIVE: turning it clock wise increases compression, which is way more sensible than counter clock wise!
• MAKEUP: variable control that adds up to 15 dB gain after the compressor section to correct for lost level
• MIX: variable control that allows you to mix between the input signal and the compressor output (post the makeup control)
• COMP IN: Push button switch to bypass or engage the compressor, (hard wire bypass)
• BASS: Push button switch that engages a high-pass filter into the side chain to reduce the sensitivity of the compressor at low frequencies.=
• METER G.R./O.P.: Push button switch to select the display on the VU meter of the amount of gain reduction or the output level
• ATTACK: rotary switch with FAST (1mS) 25mS, 50mS selections plus our excellent AUTO mode
• RELEASE: rotary switch selects recovery time of 100mS, 200mS, 400mS, 800mS, 1600mS and a superb AUTO mode
• RATIO: rotary switch with 4 settings for depth of compression, 2:1, 5:1, 10:1, 20:1
• There is also a handy power ON/OFF switch and a channel A/B LINK switch which soft links the sidechain circuit, useful when used on stereo mixes

FEATURES:

• The same compressor characteristic as the original SOC-1.1 but with additional features
• DC version utilizes Buzz Audio BE41 discrete opamps
• Smooth soft knee compression - does not dig holes in your tracks
• Mix control for blending the uncompressed and compressed signal further enhances the ratio selections
• Side chain high pass filter (bass mode) for more bass punch on full mixes
• Boutique hand made with loving care in New Zealand
• All high quality components and controls to last a life time

The entire audio path of the Buzz Audio SOC-20 optical compressor is made using proprietary Class A discrete transistor BE41 amplifiers with a Lundahl LL1517 transformer at the output. A special low impedance power supply design is used to enhance the sound quality of the amplifiers by providing very stiff power rails. This overall combination produces a unique sound character with full bass and a vibrant top end void of any midrange harshness. Whilst the SOC-20 is not a clone of any vintage units, it's design is inspired by the use of the LA2 and LA3 by it's designer Tim Farrant.

MID-SIDE PROCESSING POWER

Not only can the SOC-20 be used in dual mono or stereo mode, Buzz Audio have also incorporated a Mid-Side (or sum and difference) encoder and decoder. When set to MS mode, the stereo input is divided into signals that are common to left and right (called the mid) and signals that are not (called the side). The divided signals are sent to each channel of the SOC-20 then recombined at the output thereby allowing you to adjust the dynamics and width of the stereo image. This process has application on a wide range of stereo sounds including the mix buss and electronic music sub mixes. Check out the audio samples to see how powerful this process can be.

SIDE CHAIN FLEXIBILITY

At the flick of a switch, a high-pass filter reduces the compressor sensitivity to low frequencies for more bass punch when used on program material. Buzz have also included a fully balanced side chain insert point so you can add additional equalization to the compressor characteristic or "key" the compressor with another source to create those pumping effects found in modern music styles. The side chain monitor function allows you to hear what is returning into the insert point and also monitors the mid or side signal when the compressor is used in MS mode.

CONTROL GENIUS

The unique differential side chain circuit of the Buzz Audio SOC-20 splits the audio into positive and negative waveform and processes it separately to obtain a differential drive into the custom BE45 electro-optical attenuator. There are 5 compressor attack settings and 6 release settings that cover a wide range of response possibilities. In addition, intelligent auto modes allow for true "set and forget" operation. The 5 "soft knee" ratio settings allow for gentle to strong leveling, with the selected ratio only actually achieved at 10 dB of gain reduction. The SOC-20 opto compressor is extremely musical - ideal for vocal and instrument recording plus it is equally at home on the stereo buss to glue your mixes together - a truly multi-purpose studio compressor now available in a mastering version.

CONTROL AND FUNCTIONS:

• DRIVE: variable pot that sets the amount of compression
• OUTPUT dB: variable pot that adds gain at the output to correct for lost level
• ATTACK: rotary switch with 1mS, 10mS, 25mS, 50mS selections and the excellent AUTO mode
• RATIO: rotary switch with 2:1, 4:1, 6:1, 10:1 and 20:1 selections - all soft knee characteristic
• RELEASE: rotary switch with 100mS, 200mS, 400mS, 800mS 1600mS selections and superb AUTO mode.
• BYPASS: hard wire unit bypass to compare compressed and uncompressed signals
• METER: switches the VU meter between input/output levels or amount of compression
• S.C. HPF: inserts a 170 Hz high pass filter into the side chain for added bass punch
• S.C. INSERT: engage the external side chain insert point and monitor the side chain signal
• LINK A/B: joins the side chain of each channel for stereo operation with "soft" tracking
• There is also a locking toggle to select STEREO or MID-SIDE mode and a handy POWER on/off switch

FEATURES:

• The vivid sound of discrete Class A amplifiers in the signal path
• The lush tone of Lundahl audio output transformers
• Culmination of 20 years design experience
• Robust chassis construction
• Onboard linear power supplies - no wall warts
• Easy to use control layouts

The Buzz Audio SOC-M Mastering Compressor is a mastering focused version of the popular SOC-20 optical compressor. The SOC-M mastering version replaces the DRIVE and GAIN pots of the SOC-20 with stepped Elma attenuators for repeatability. Buzz Audio has also adjusted the ratios to suit mastering tasks and all the ratios feature their famous "soft knee" characteristic. The SOC-M signal path utilizes Class A discrete BE41 transistor amplifiers powered by a special low impedance power supply for vibrant sonic detail. As standard, the SOC-M is fitted with a Lundahl LL1517 output transformer providing a nice sheen to the sound.

ANALOG MID-SIDE PROCESSING

The SOC-M isn't just a stereo compressor, it also incorporates a Mid-Side (or sum and difference) encoder and decoder which is a very powerful mastering tool. When set to MS mode, signals that are common to left and right are processed by Channel A and the left to right difference signals by Channel B. In addition, when set to MS mode, the mid and side signals are available as balanced outputs on the rear panel insert send XLR's

SIDE CHAIN DESIGN

At the flick of a switch, a 12dB/octave high pass filter at 170Hz reduces the compressor sensitivity to low frequencies for more bass punch. Also included is a fully-balanced side chain insert point so you can add additional equalization to the compressor characteristic. The side chain monitor function allows you to hear what is returning into the insert point (the side chain) and you can also monitor the mid or side signals when the compressor is used in MS mode.

DYNAMIC RANGE CONTROL

The 5 ratio settings feature a soft knee characteristic, meaning the selected ratio is only actually achieved at 10dB of gain reduction. Therefore, very gentle compression is available when using 2:1 and 3:1 and even 10:1 is usable for material that needs stronger dynamic control. The unique differential side-chain circuit of the SOC-M splits the audio into positive and negative waveform and processes it separately (attack and release parameters) with the resulting balanced signal controlling the Buzz Audio BE45 electro-optical attenuator.

There are 5 compressor attack settings and 6 release settings that cover a wide range of response possibilities. In addition, our clever auto modes produce very musical results. The auto-attack adapts to incoming audio rise time, and the auto release will decay quickly from short impulses but longer from sustained or low-frequency signals.

FEATURES:

• DRIVE - 24 position Elma switch that sets the amount of compression.
• OUTPUT dB - 24 position Elma switch that adds gain at the output to correct for lost level.
• ATTACK - rotary switch with 1mS, 10mS, 25mS, 50mS selections and the excellent AUTO mode.
• RATIO - rotary switch with 2:1, 3:1, 4:1, 6:1 and 10:1 selections - all soft knee characteristic.
• RELEASE - rotary switch with 100mS, 200mS, 400mS, 800mS 1600mS selections and our superb AUTO mode.
• BYPASS - hard wire unit bypass to compare compressed and uncompressed signals.
• METER - switches the VU meter between input/output levels or amount of compression.
• S.C. HPF - inserts a 170Hz high pass filter into the side chain for added bass punch.
• S.C. INSERT - engage the external side chain insert point and monitor the side chain signal.
• LINK A/B - joins the side chain of each channel for stereo operation with "soft" tracking.
• There is also a locking toggle to select STEREO or MID-SIDE mode and a handy POWER on/off switch.

El FAIRCHILD 670 es un compresor limitador de bulbos de vacío altamente codiciado que ha sido recreado fielmente para proporcionar a productores y ingenieros de audio modernos el sonido clásico del hardware original.

A diferencia de otras recreaciones del 670, el nuevo FAIRCHILD 670 es fiel al original. Utiliza los mismos tubos y transformadores hechos a medida según las especificaciones originales. La arquitectura, la soldadura punto a punto y la construcción tipo torreta hacen de este equipo la única recreación auténtica del 670 original construida y diseñada por Rein Narma por encargo de la leyenda de la grabación Les Paul en 1959.

Con su diseño de doble canal y características de compresión únicas, el FAIRCHILD 670 es capaz de agregar calidez, profundidad y carácter a cualquier señal de audio. La tecnología de tubo de vacío utilizada en el FAIRCHILD 670 agrega una calidad natural y orgánica a la señal comprimida, proporcionando un sonido rico y dinámico muy apreciado por los profesionales del audio. Estamos orgullosos de anunciar esta recreación fiel y meticulosa del FAIRCHILD 670 original...

...La leyenda renace!  

Características clave:
- Operación dual mono/estéreo
- Seis constantes de tiempo seleccionables
- Controles de umbral, compresión y ganancia de maquillaje
- Medición de VU (voltímetro unitario)
- Construcción punto a punto con cableado a mano
- Transformadores diseñados personalizados
- Amplificación impulsada por tubos

Aplicaciones:
- Voces
- Batería
- Bajo
- Guitarras
- Cuerdas
- Piano
- Metales
- Instrumentos orquestales
- Bus de mezcla/masterización

Especificaciones técnicas:
- Impedancia de entrada y salida: 600 Ω
- Rango de nivel de entrada: 0 dBm a +16 dBm
- Nivel de salida: +4 o +8 dBVU (punto de recorte de +27 dBm)
- Ganancia: +7dB
- Respuesta de frecuencia: 40 ciclos a 15 kc +/- 1dB
- Nivel de ruido: 70 dB por debajo de +4 dBm
- Ruidos de limitación: por debajo de la audibilidad
- Distorsión de intermodulación: menos del 1% en cualquier nivel de salida hasta +18 dBm (sin limitación), menos del 1% a dBm limitando +12dBm de salida
- Tiempos de ataque y liberación de las constantes de tiempo:
- Posición 1) .2 ms / .3 seg
- Posición 2) .2 ms / .8 seg
- Posición 3) .4 ms / 2 seg
- Posición 4) .4 ms / 5 seg
- Posición 5) .4 ms / .2 seg picos individuales, 10 seg picos múltiples
- Posición 6) .2 ms / .3 seg picos individuales, 10 seg picos múltiples, 25 seg niveles de programa consistentemente altos
- Relación de compresión: una función de la cantidad de limitación y la configuración de los dos controles de umbral, que se pueden ajustar para operar en relaciones desde 1:2 hasta 1:30
- Requisitos de energía: 120 o 240 voltios, 60 ciclos de corriente alterna, 3 amperios
- Controles:
- a) 2 controles de ganancia de entrada: atenuador escalonado: 1 dB por paso
- b) 2 controles de umbral: continuamente variables
- c) 2 interruptores de constante de tiempo: 6 posiciones para proporcionar constantes de tiempo fijas y variables para cualquier tipo de material de programa
- d) 2 interruptores de medición: 3 posiciones para medir la corriente de placa de cada tubo de control o como indicador de limitación
- e) Interruptor de modo: posiciones A-B: 2 limitadores independientes. Posición Vertical-Lateral: matriz de entrada y salida, izquierda y derecha, acción de limitación vertical-lateral
- f) Interruptor de encendido/apagado

Bulbos instalados:
8x 6386, 2x 12AX7, 4x 6973, 2x 12BH7, 1x E80F o (1x EF806), 1x 5651, 1x EL34, 1x GZ34

Introduced in the early 1970s, the Omnipressor was the first dynamics effects processor of any kind, suddenly making possible a new, wide range of dynamics effects unlike anything that had come before it. Originally invented by Eventide’s founder, Richard Factor (and later redesigned for production by Jon Paul), the Omnipressor made a host of dynamic effects possible. It featured variable control of all aspects of dynamic modification. It also introduced the notion of the ‘side chain’ and foretold techniques that today we take for granted like ‘look ahead’ processing. One of Eventide's first customers was a young Brian May, lead guitarist of Queen. With the Omnipressor in his rig, his sound was never the same.

THE LEGEND RETURNS

In those few years of production, the model 2830 was a success! Engineers and producers discovered what was possible by using dynamics as an effect. Many of the original units are still in operation today. They rarely come up for sale; when they do sellers are asking north of $6k! A clamor from those coveting the unique Omnipressor dynamic effects resulted in Factor developing first a hardware emulation using VSIG for the Eventide Orville, and later Eventide’s development team creating an Omnipressor plug-in for Pro Tools. Fatefully, in an episode of the Gear Club podcast, Factor impulsively suggested that Eventide would reintroduce the rack mount classic.

Eventide has commemorated the 50th Anniversary Eventide Omnipressor 2830Au. The original hand-drawn schematics were in the Eventide archives and the new model is a faithful replica designed with the same circuitry and the same sound as the original 2830. With supply chain issues resolved after 50 years, you can now find the 2830Au for sale and priced about the same as the original.

The Au model features the ability to link multiple units and is fitted with input and output audio transformers which were a costly option on the original. Other improvements include a universal power supply, and a back-lit meter. More convenient TRS/XLR connectors replace the original terminal strip.

FEATURES:

• Dynamics processing capable of creating otherworldly sounds
• Dynamic Reversal — the first of its kind, soft signals come out loud and loud signals come out quiet, simulating tape reversal, a near unique attribute of this versatile compressor
• Function Control sets a ratio over a continuous range allowing extreme expansion, to infinite compression, and is even able to push further into dynamic reversal
• Variable Control of attack and release time
• Variable Control of maximum gain and maximum attenuation
• Side Chain allows the level detect of the Omnipressor to be driven by another audio source
• Gating — amplitudes of signals that fall below a set threshold are ‘squooshed’
• Expansion widens a signal’s dynamic range, louder gets louder, softer gets softer
• Compression offers variable control of compression ratio
• Infinite Compression - if you want everything to come out at the same level, this is the feature for you
• Limiting — a fast, versatile limiter, useful for maintaining a loud sound
• Intuitive interface for clean and easy operation

All Tube, All Transformer Mono (linkable for stereo) Studio Limiting Amplifier

The new Mercury 66 Studio Limiting Amplifier is an all tube, all transformer, fully balanced, variable-bias limiter based on the most sought after product in this genre, the legendary Fairchild 660. This limiting amplifier is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild circuit but have failed to capture the sonic essence and overall tone of the original. Until now.

Mercury Recording Equipment has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a modern build. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would "they" have done it today? So, the Mercury 66, like all Mercury products, has no ICs (chips), and is proudly hand built and assembled in the USA using no-compromise parts/components and has transformer balanced inputs and outputs. With the vintage style VU meter, large bakelite knobs and powder coated chassis and front panel, the Mercury 66 has a very distinctive 1950s aesthetic so that they look as good as they sound!

The Mercury 66 Studio Limiting Amplifier is based on the classic Fairchild 660 limiting amplifier because we were inspired buy the unique sound that only this circuit delivers to your audio signal path. Using parts that are available today, we have met all the original specifications, but most importantly, the Mercury 66 sounds like a Fairchild. Its performance features include:

• Exceptional tone and musical focus
• Absence of audible thumps, distortion or noise
• Extremely fast attack time that can produce full limiting in 1/5000th of a second
• Variable release time from .3 seconds to 25 seconds
• Useful as a limiter or a compressor depending on the program material and control settings
• Reliability and stability (All components operate well below their rated maximums)
• All tube, fully balanced (push-pull) transformer coupled circuitry
• Simple, easy to use controls.

The Mercury 66 Studio Limiting Amplifier uses a single push-pull stage of amplification which are transformer coupled input and output (XLRs) with no capacitors in the signal path, with a high control voltage. The result: the unit never produces any audible thumps, and has low distortion and noise under all conditions (either as a limiter or straight-through amplifier). The control amplifier is also fully balanced, transformer coupled in/out. The unit makes use of a very stable high current vacuum tube voltage regulator. It has ample and accessible input, threshold, attack, release time and metering controls allowing for convenience in the control room when making adjustments. The attack time is very fast and catches short transients. The release time of .3 to 25 seconds provides real flexibility: Three positions of the six available make the release time a function of program material, with fast recovery for short duration peaks and overall reduction of program level should the program level remain high. It can be used as a limiter or compressor. For example, use it as a 2 to 1 ratio compressor with a threshold 5 dB below average level, or as a peak limiter with a 20 to 1 ratio with threshold 10 dB above normal program level, or anywhere between these extremes.

One notable change on the Mercury 66 is the addition of the DC Adjust Control. On an original Fairchild 660 this was called DC Threshold and was on the rear of the unit (not accessible from front panel). We put that control on the front panel and labeled it DC Adjust to not confuse the Threshold function. The DC Adjust lets you control DC (Direct Current) in part of the circuit to give the user more control of the functionality and level of compression. This gives you the control how the amplifier reacts to the audio signal and basically how hard the compression tube ‘works’, allowing you to smash the signal or just add a soft touch of compression. This is possible by turning the DC Adjust to the far left (counter clockwise) on the M66 to add more DC and more compression [or saturation] — turn to the far right (clockwise) to decrease the amount of DC and the amount compression [or saturation, for a lack of a better term and to make things easier to understand]. The best thing about this feature is you can find that sweet spot in-between. We like to think of this as the 'magic knob' as do most of our users and this sets the Mercury 66 apart from the original and other compressors and limiting amplifiers available today.

Front Panel Controls:

• Input Gain
• AC Threshold
• Attack/Release
• DC Adjust
• Meter Zero (Trim)
• Stereo Link
• Power on/off Switch

Attack and Release Times:

• Position 1 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.3 ]
• Position 2 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.8 ]
• Position 3 - Attack [ Med. - 0.4 ] Release, in Seconds [ 2.0 ]
• Position 4 - Attack [ Slow - 0.8 ] Release, in Seconds [ 5.0 ]
• Position 5 - Attack [ Med. - 0.4 ] Release, in Seconds [ Auto: 2.0 peaks, 10.0 program ]
• Position 6 - Attack [ Fast - 0.2 ] Release, in Seconds [ Auto: 0.3 peaks, 25.0 program ]

El Manley ELOP Stereo Limiter Compressor ha sido utilizado literalmente en miles de grabaciones en el último cuarto de siglo. Su sonido clásico completamente a bulbos y su facilidad de uso "set it and forget it" lo han convertido en un elemento básico para muchos ingenieros de grabación.

Con el Manley Labs ELOP+, la gente de Manley Laboratories ha llevado ese codiciado limitador estéreo al siguiente nivel.

En primer lugar, hay una nueva característica de Ratio de 3:1 que "abre las puertas" a una mayor versilidad, especialmente en aplicaciones de 2 busses. A continuación, hay una moderna fuente de alimentación conmutada de alto voltaje, "diseñada especialmente" para los circuitos de audio a bulbos de Manley. En términos sónicos, la combinación de un amplificador de línea a bulbos de alta calidad y una etapa de salida de seguidor blanco ayuda a dar nueva vida a este clásico. ¡No puedes equivocarte con este!

CARACTERÍSTICAS:

• Ratio de compresión de 10:1 de limitador y 3:1 de compresor
• La ruta de audio completamente a bulbos utiliza tríodos duales 5751 y 6922
• Entradas balanceadas XLR acopladas a transformador Manley IRON
• Salidas balanceadas XLR con impedancia equilibrada
• Interruptores de BYPASS y AUTOMUTE con retardo de calentamiento
• Grandes medidores VU iluminados leen los niveles de reducción de ganancia o salida
• LINK STEREO
• HPF de side-chain
• Fuente de alimentación interna universal que opera en todo el mundo 90-250V~AC 50/60Hz

El nombre del Manley SLAM! viene de las siglas de "Stereo Limiter And Mic preamp" y es extremadamente potente. Comenzando con los dos preamplificadores de micrófono debulbos, el Manley SLAM! te da 48V de phantom power, inversión de fase y hasta 60 dB de ganancia y 20 dB más de ganancia en el limitador, suficiente para acomodar prácticamente cualquier micrófono y cantante. En el lado del limitador, Manley combinó el circuito electro-óptico del ELOP con un limitador brick-wall super rápido basado en FET y agregó un práctico sidechain. Desde lo limpio a lo crujiente y contundente, lo tienes con el Manley SLAM!

En ambos canales del SLAM!, tienes preamplificadores de micrófono con suficiente energía para manejar micrófonos de cinta y dinámicos de baja ganancia o cantantes suaves. El atenuador de entrada está en el frente y también hay un pad variable. Aparte de los micrófonos XLR, puedes darle a tus instrumentos un hermoso calentamiento de señal usando las entradas DI del panel frontal.

Limitador electro-óptico y limitador brick-wall basado en FET. El Manley SLAM! cuenta con dos limitadores diferentes y distintos, disponibles simultáneamente o por separado en cada canal. El famoso circuito electro-óptico de Manley, en su ELOP, está a bordo y también cuenta con un conveniente HPFen el sidechain. Ofreciendo dos perillas, el ELOP y un brick-wall limiter que ofrece sonido desde ultra limpio hasta ultra arenoso, tal como se esperaría de un limitador FET. El control de release te permite contar con una gran cantidad de colores, y su configuración de Clip permite una forma extremadamente redondeada. Usa ambos limitadores al mismo tiempo para obtener tanto de cada efecto como desees.

EXCELENTE MEDICIÓN VU
Con el Manley SLAM!, puedes medir los niveles de entrada sin procesar, los niveles de salida finales y la reducción de ganancia del limitador de ELOP, para que puedas estar al tanto de lo que está sucediendo. Además, hay un pad conmutable en los VU en 0, -3 dB y -6 dB para que puedas mantener las agujas alejadas del rojo cuando estás masterizando. Además, hay medidores de pico de escalera LED de varios colores rápidos y precisos que te permiten conocer los niveles de entrada y salida, así como la reducción de ganancia de FET. Los medidores LED hacen Pico, Retención de Pico temporizada y Retención de Pico hasta el restablecimiento. También puedes configurar manualmente donde cambian los colores de las barras para que coincidan con tu otro equipo.

I/O FLEXIBLE
En el panel posterior del Manley SLAM!, tienes muchos I/O con los que trabajar. Están a bordo las entradas y salidas balanceadas acopladas con transformadores de Manley y jacks de teléfono de 1/4". Además, cuatro jacks TRS te permiten insertar ecualizadores externos en las cadenas laterales. Otra entrada permite vincular varias unidades para fines de sonido envolvente.

CARACTERÍSTICAS:

• Bulbos de entrada: 2 x 12AT7A NOS GE seleccionados especialmente por Manley Labs por bajo ruido y polarización estable
• Bulbos de salida: 2 x 6414W NOS USA dobles triodos
• I/O: entradas y salidas acopladas con transformadores Manley balanceadas
• Preamplificador de micrófono: Phantom Power conmutable de 48V e inversión de fase
• Ganancia: ganancia máxima de 60 dB para preplificador de micrófono, 43 dB máximos para DI, ganancia máxima de 20 dB para limitador
• Impedancia de entrada: 2000 ohmios para preamplificador de micrófonos, 1megOhms para DI
• Ataque del limitador FET: aproximadamente 100S
• Liberación del limitador FET: 10mS a 2Seg.
• Relación del limitador FET: mejor que 20:1
• Ataque del limitador ELOP: aproximadamente 10mS para 6 dB GR
• Liberación del limitador ELOP: 2.5S
• ación del limitador ELOP: 10:1
• Respuesta de frecuencia: de 5 Hz a 60 kHz
• Salida máxima: +32 dBm, +30 dBm (en carga de 1 kOhm)
• THD+N: <.05% a 1 kHz
• Rango dinámico: típico de 115 dB
• Impedancia de: 200 Ohms
• Consumo de energía del SLAM!: 0.480 Amps (480 mA) @ 120 V = 57.6 Watts, 0.240 Amps (240 mA) @ 240 V = 57.6 Watts
• Frecuencia del voltaje principal: 50~60 Hz
• Tamaño: 19" x 12" x 3.5" (ocupa 2 RU)
• Peso de envío: 25 lb

500-series recreation of Chris Lorde-Alge’s most prized 1176 featuring two Cinemag transformers and Wet/Dry mix knob allowing for parallel compression not available on the original

G22 is an elaborated and dual’ified version of our venerable G10 vari-mu compressor. This incarnation allows it to be dual-mono, while still keeping a backwards-compatibility “G10 mode” where one set of knobs controls real stereo compression, like you’d want most of the time in mastering.

The audio part of the circuit is a faithful reproduction of the G10 that has been our flagship for more than 15 years – if it works, don’t fix it. The only minor change is a re-bias of the output stage, which allows some 4-5dB more headroom while preserving the original stage’s soft transition into overload.

Some changes has been made to the sidechain functions, including a wider threshold range (to allow S compression in weak-S M/S-mode) and even faster fastest attack time (because we can, it’s a vari-mu you know…)

A simple sidechain high-pass filter was added (located on the bypass switch) which cuts off compressor keying below ca. 80Hz at a slope of 6dB/oct. This mainly to keep pumping artifacts under control when working fast in bass-heavy material.

M/S Mode
Input and output transformers can be switched between standard two-channel L/R mode and the M/S mode where both matrixing and dematrixing done is internally: M/S mode allows you to independently control dynamics (and levels) in mono and side parts of program material and still have the result on the output as standard stereo information.

Linking/dynamic interaction between channels in dual-mode can be set continuously from none to full by the Vari-link control knob – enabling you to dial in a difference in processing between channels, then varying difference amount or compression “correlation” with a simple turn of a knob. This function is specially nice when dealing with M/S compression, where the amount of correlation gets very important.

Bypasses are, off course, hard and relay-based. You bypass, G22 acts only like an additional piece of cable. Note that some modes prohibits certain bypasses – like when working in M/S mode, you can’t separate and hard-bypass M or S alone (as we use both channels transformers for the matrixing)  so when you bypass M, it’ll bypass S also and the other way around..

The G21 is kinda an elaboration on our G14 parallel-passive eq – the parallel topology enables multi-band control without running into the traditional problems in multi-banding (i.e. the problem in phase at recombining)

Use carefully – this is in no way a fire-and-forget gadget: Multiple types of interacting nonlinearities are at large, even a few in macroscopic time-domain because of components heating and temperature coefficients. Changing something in one band will sure as hell result in something else showing up somewhere else. Feels organic in that.

Classic problem is that multi-banding gives inadequate results because of filter phase shift messing up recombining. We deal with this by NOT band-splitting, but in stead dealing with all frequencies in parallel fashion, only opening frequency-selective channels into the clipping circuitry. Byproduct of this is that spike/peak phase is altered first, only to be real-clipped if pushing the phase won’t get the total signal below threshold. Kinda like an audio file hair-remover (work title of the G21 was “The AudioShaver”)

As we all know, clipping generates harmonics – there’s simply no way around that. But what you do with those harmonics will make a lot of difference. The beauty is here, that as the clipping is done at the remote end of a frequency selective channel, the clipping byproducts (harmonics, at frequencies multiple times the clipped) have a hard time getting back out and into the audio, because they are now no more in the right frequency range..

And other than the three bands of clipping, we have an overall clipper that can be set for linear (white), pink -3dB/oct or red -5dB/oct emphasis – enabling gradually lower “threshold” at higher frequencies.

Then there’s a fine-trim for listening back in-level when comparing your work, and two selectable frequencies of 18dB/oct low-cut at the input of the unit – sometimes excessive low-frequency material triggers the G21 in unwanted ways, low-cutting can help those situations.

But why passive?

In essence, we want complete control and predictability in the clipping process – and we want to preserve signal integrity as far as possible. In passive domain, we are more or less restricted to what could be described as ‘first order’ non-linearities – we do not convolute clipping on top of clipping (i.e. distortion on the distortion products) like it would most often happen in an active circuit under feedback control. It’s hard enough to navigate the nonlinear processes already – we do not want to add unnecessarily to the mess.

G21 is as standard available as all mains voltages – it’s entirely passive, and does not even have a power connector (!)
It’s really not easily explained

The G10 is a true tube stereo compressor based on the classic variable-mu principle. This method – controlling the gain by altering quiescent current in differential tube pairs – is much faster, but also significantly more complicated than the optical method. The speed of gain-change is primarily why the vari-mu principle was widely used in early broadcast limiter devices such as the Fairchild 670 or the Universal Audio 176, but the sonic byproducts of this topology are the main reasons why it is so loved today.

The controls on the G10 are as follows:

The “Input Level” pot is positioned right after the input transformers, thus allowing you to control the input level, the “drive” for the compressor.

The “Threshold” controls at what level the compression will set in. Turning counter-clockwize will select a lower start point, resulting in more compression. When turned fully clockwize, the compression is deactivated.

The “Ratio” controls the amount of compression in relation to changes in the input level, that is, for the part of the signal that exceeds the threshold value that is set. Setting Ratio fully counter-clockwize will deactivate compression.

The “Attack” controls the time the compressor takes to react to a rising input level.

The “Release” controls the amount of time it takes from the input signal falling below threshold, to the gain reduction being returned to unity.

The “Output Level” potentiometer controls the signal level to the output driver stage and the output.

The “Bypass” switch bypasses the unit completely. The hard way. – A relay simply takes out the active electronics and shorts the input to the output connectors.

We further developed the original G10 into the G10/Hpf version, which is now the only version we build – this allows high-pass filtering of the controlling sidechain signal – allowing more compression to bass-heavy material without generating excessive pumping artifacts. The selection of sidechain highpass is brought out as three extra steps on the “Bypass” switch, giving cutoff frequencies of ca 80, 160 and 300Hz at a soft 6dB/oct.

At it’s interface, the G10 is floating, transformer balanced on both in- and output. Input impedance > 10K Ohm, output impedance < 1K Ohm.

This compressor is based on an extremely minimalist true-differential audio signal path from input to output, using very (very!) tightly selected PCC189 (7ES8) remote-cutoff dual triodes for the VCA stages, and E88CC (6922/6H23n) low-noise triodes as cathode followers for the output stage drivers. Both tube types are still fairly easily available throughout the world.

THE BUS+ – La evolución definitiva del legendario SSL Bus Compressor

Si existe una pieza de procesamiento analógico verdaderamente icónica dentro de la historia de SSL, definitivamente es el SSL Bus Compressor.

Desde la primera consola SSL 4000 B lanzada en 1976, pasando por múltiples generaciones de consolas SSL, el Bus Compressor siempre ha sido el corazón de la sección central de mezcla y una de las herramientas más importantes para darle cohesión, punch y energía a una producción.

Para muchísimos ingenieros y productores de nivel mundial, el SSL Bus Compressor sigue siendo el arma secreta para hacer que una mezcla suene:

• Más grande

• Más sólida

• Más energética

• Más terminada

Ese famoso “SSL Glue” que prácticamente definió el sonido de la mezcla moderna.

El SSL Bus Compressor más avanzado jamás creado

Con THE BUS+, SSL se propuso crear la versión más poderosa, flexible y completa del Bus Compressor de toda su historia.

La base del circuito sigue siendo fiel al diseño clásico original, pero ahora incorpora:

• Nuevos modos de coloración

• Herramientas avanzadas de procesamiento

• Mayor flexibilidad

• Funciones modernas para mezcla y mastering

Puede comportarse:

• Súper limpio y preciso como una consola SSL 9000 SuperAnalogue™

• Agresivo y sucio como un clásico SSL 4000E

• Extremadamente saturado para compresión paralela de baterías

Literalmente puede adaptarse al carácter que necesite tu producción.

Sonido SSL auténtico

THE BUS+ utiliza componentes premium de alto desempeño, incluyendo VCAs THAT 2181 en la ruta de audio, ofreciendo un rendimiento analógico impresionante y máxima precisión.

Pero además de sonar increíble, es extremadamente flexible.

4 modos de operación

THE BUS+ ofrece cuatro configuraciones distintas:

• Classic Stereo

• Sidechain Stereo

• Dual Mono

• Mid-Side

Esto lo convierte en una herramienta increíblemente poderosa tanto para mezcla como para mastering.

Nuevos tiempos de ataque y release

SSL agregó nuevas constantes de tiempo para darle todavía más control al comportamiento del compresor.

Incluyendo el nuevo modo:

Auto 2

Una evolución moderna del clásico Auto Release de SSL, ideal para lograr compresión musical y adaptable según el material.

Tres colores de compresión distintos

Una de las funciones más interesantes de THE BUS+ es que ahora puedes cambiar el carácter del compresor utilizando tres modos de coloración distintos.

Y lo mejor: pueden combinarse entre sí.

4K Mode

Este modo utiliza operación de VCA único y añade distorsión armónica variable.

El resultado:

• Más agresividad

• Más grit

• Más grunge

• Más carácter SSL vintage

Perfecto para rock, drums y mezclas con mucha energía.

LOW THD Mode

Reduce la distorsión de bajas frecuencias causada por la compresión.

Ideal para:

• Mantener graves más limpios

• Mejor definición en low-end

• Mezclas modernas

• Mastering

F/B Mode

Cambia el comportamiento del circuito hacia una compresión más relajada y musical.

Perfecto para:

• Material dinámico

• Mezclas abiertas

• Procesamiento más suave y orgánico

Dynamic EQ integrado

THE BUS+ incorpora un nuevo ecualizador dinámico de 2 bandas integrado.

Esto permite controlar frecuencias específicas de forma dinámica directamente desde la unidad, agregando muchísimo control sin necesidad de procesamiento externo.

Transient Expander

Además del compresor, THE BUS+ también incluye un Transient Expander.

Perfecto para:

• Recuperar ataque

• Dar más pegada

• Abrir transientes

• Agregar energía a baterías y buses

Compresión paralela instantánea

Gracias al control Mix integrado, puedes realizar compresión paralela directamente desde la unidad sin necesidad de routing adicional.

Ideal para:

• Drum bus

• Mix bus

• Voces

• Procesamiento creativo

Sidechain avanzado

THE BUS+ también ofrece opciones avanzadas de sidechain:

• Entradas y salidas externas

• Filtro HPF variable hasta 300 Hz

• Ajustes en pasos de 10 Hz

Esto ayuda a controlar mejor cómo responde la compresión frente al low-end.

Diseñado para mezcla y mastering profesional

THE BUS+ utiliza controles escalonados de alta precisión, ideales para mastering y trabajos donde la repetibilidad exacta es importante.

Todo está diseñado para ofrecer:

• Precisión absoluta

• Workflow profesional

• Máxima calidad sonora

• Flexibilidad total

Características principales

• La versión más avanzada del SSL Bus Compressor

• Circuito SSL auténtico con VCAs THAT 2181

• 4 modos de operación

• Nuevos tiempos de ataque y release

• Modo Auto 2

• 3 modos de coloración distintos

• 4K Mode

• LOW THD Mode

• F/B Mode

• EQ dinámico integrado de 2 bandas

• Transient Expander

• Procesamiento Mid-Side

• Sidechain avanzado

• HPF variable hasta 300 Hz

• Control Mix para compresión paralela

• Controles escalonados ideales para mastering

El Bus Compressor definitivo

THE BUS+ no reemplaza el clásico SSL Bus Compressor.

Lo lleva muchísimo más lejos.

Manteniendo todo el punch, glue y energía que hicieron famosa a SSL, pero agregando herramientas modernas para mezcla híbrida, mastering y producción contemporánea.

Audio Gate International, es distribuidor autorizado y exclusivo en México de Solid State Logic (SSL), en su linea de productos para creación de audio (ACP). Puedes verificar aquí.

BRITISH-SPEC CHANNEL STRIP WITH DIODE BRIDGE COMPRESSOR

50 YEARS OF ANALOG DESIGN IN ONE RACK SPACE.

Introducing the Heritage Audio BritStrip — the culmination of 50 years of analog design in a single rack unit. Britstrip nails the sound of yesterday’s iconic recordings for today’s demanding engineers.

The BritStrip combines a real-deal 73 mic preamplifier, an expanded 73 equalizer, a discrete Class-A DI, and the infamous diode bridge compressor from the Heritage Audio Successor. The closest equivalent of the BritStrip would be chaining together a 73JR, 73EQJR and mono Successor — a $3000 value pack in itself, with added routing flexibility.

THE MIC PREAMP THAT MEETS ALL THE DEMANDS.

The BritStrip starts with the same preamp as our 73JR, with a new custom input transformer co-designed with Carnhill and exclusively made for HA in the St Ives factory.. The preamp also features a custom Carnhill St Ives output transformer, which completes it’s all discrete, Class-A, 3-gain stage design. The preamp features 80 dB of gain, 20dB pad, phase reversal and an impedance switch for 1200 or 300 ohm input.

THE DISCRETE CLASS-A DI

The DI is also taken from the highly acclaimed design found in the Heritage Audio 73JR, an all-discrete Class-A JFET circuit in front of the microphone transformer, giving you all of the color and weight you could ask for.

The DI also includes a passive thru output to feed a separate amplifier.

 AN EXPANDED 73 EQUALIZER.

The BritStrip eq features 3 Vinkor pot core inductors in the mid band and high pass filter sections. The impact is hard to believe with extreme boosts being exceptionally musical.

The mid band is great for sculpting fat and punchy snare, kick, guitars, vocals — you name it! No need to be subtle like you would with most eqs — BritStrip doesn’t sound phasey or loses headroom in extreme settings.

The inductor-based low-pass filter, directly taken from the 73 design, lets you control out of range low end — without affecting the quality of your desired frequencies.

The high and low shelves have been extended to include a bell mode — making them more versatile than ever before.

A SUCCESSOR-LIKE COMPRESSOR

The diode bridge bus compressor needs little introduction, as it’s the same compressor found in the multi award-nominated Heritage Audio Successor. Diode bridge compression, a 60 year old patent, took on a whole new life with the expanded features and incredible fast attack/release times of the Successor.

With BritStrip, this powerful compressor design is perfect to use for tracking, thanks to it’s blend control and elaborate sidechain filter. This gives you plenty of tracking potential, as you can give instruments that “record-ready” dynamics as performers monitor — giving them a finished “real-time feel” as they perform.

The compressor section provides plenty of sidechain flexibility, with 5 frequency options, and an external sidechain input. And if that weren’t enough flexibility, 2 BritStrips can have their compressors linked for the ultimate stereo tracking solution.

ROUTING FLEXIBILITY

The BritStrip allows for compression and equalizer routing. Eq’ing pre-compression makes the compression detector more sensitive to the boosted frequencies and less sensitive to those cut. Inversely, eqing post compression makes the detector insensitive to the eq settings.

SPECIFICATIONS

MIC AMP SECTION

• Carnhill based, transformer coupled balanced inputs and outputs for added character and vintage vibe.
• 73 style class A output stages bring the desired 73 sound to your mix or drum buses.
• Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for lo gain ribbon mics. Input is transformer balanced and floating.
• Line input impedance: 10K Ohms bridging, transformer balanced and floating.
• DI input impedance: Greater than 2 Megohms, unbalanced.
• Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 ohms (factory terminated).
• Maximum output: Greater than +26dBu into 600 ohms.
• THD: Less than 0.025% at 1 Khz, less than 0.05% at 100Hz.
• Frequency response: 20Hz ( +0.3dB ) to 20Khz (-0.2dB)
• Maximum gain: Slightly greater than 80dB
• Noise: Less than -125dBu EIN.

EQUALIZER SECTION:

• 73 High and low shelving bands with additional bell-like response.
• 73 dual Vinkor inductor based mid band with extended Q functions.
• 73 inductor based low pass filter.

COMPRESSION SECTION:

• Diode-bridge based compression excels in bringing 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content.
• Ultra-fast attack and release time options never found in vintage designs allows for far more flexible settings, including FET like sounds and volume maximizing without transient artifacts.
• Complex sidechain filtering options work with the already common high pass filters, introducing mid band peak type filters and high-frequency compression, allowing bus correction not possible before.
• Sidechain SEND and RETURN connections allow for external sidechain signals or further external processing of the internal one.
• Blend control offers built-in parallel compression without any external equipment. Blend ON/OFF button allows for instant comparison in between WET and DRY signals.
• Stepped controls for easy recall of settings.

Heritage Audio is proud to announce the HA-609A, a modern, improved take on the classic tracking/mixing diode bridge compressor.  As with the other products in their Elite Series, the HA-609A takes advantage of the latest in manufacturing technology to offer an unprecedented value without compromising audio quality — all built at the Heritage factory in Spain.

The HA-609A is a modern take on the classic transformer coupled diode bridge compressor/limiter design, with several improvements brought in to accommodate the modern workflow.  While some classic iterations of this design utilized some IC chips and a class A/B amplifier stage, the HA-609A features an entirely discrete, class A design and a total of three Carnhill/St Ives transformers per channel.  The addition of a fast attack mode for both the compressor and limiter section allow the HA-609A the flexibility to handle individual tracks as well as groups and 2-bus program material. Thanks to a proprietary system of diode bridge gain reduction cells introduced with the highly regarded SUCCESSOR, the HA-609A has better channel matching than any earlier incarnations; while the use of rotary switches and high quality, stepped pots allow for easy recall and maintain a perfect stereo image.

SPECIFICATIONS

• Maximum input level: Over +22 dBu.
• Maximum output level: Over +26.5 dBu into 600 ohms.
• Self-Noise: Less than -75dBu 20Hz-20Khz. -80dBu A-weighted.
• THD+N (50Hz- 20Khz): not engaged, less than 0.07% at +20dBu.
• Frequency response, COMPRESS and LIMIT OUT, +- 0.5dB, 15Hz- 30Khz.
• Input impedance: 10Kohms, transformer balanced and floating.
• Output impedance: Less than 75 ohms, transformer balanced and floating, Class A driven.
• Compressor characteristics: Threshold from –20 to +20 dBu on a 41-step precision potentiometer. Ratio selectable on a rotary switch, 1.5:1, 2:1, 3:1, 4:1, 6:1. Release selectable on a rotary switch, 100, 400, 800, 1500 mS, A1 and A2 auto release times. A1 corresponds to 50mS on peaks and around 500mS on sustained program. A2 to 50mS on peaks and 1.5 seconds on sustained program.
• Limiter characteristics: Limit level selectable from 0 to +20 dBu on a 41-step precision potentiometer. Release selectable on a rotary switch, 50, 100, 200, 800 mS, A1 and A2 auto release times. A1 corresponds to 50mS on peaks and around 800mS on sustained program. A2 to 50mS on peaks and 1.5 seconds on sustained program.

Why settle with sterile VCAs in your mix or instrument bus duties now that the Successor is available?

“Feel how your separate tracks interact and blend together in a way not possible when master bus compression duties are relegated to the mastering stage.”

Traditionally bus compression has been taken care of by VCA style devices, based on ICs, which are wholly unrelated to the warmth, fatness and the character associated with discrete Class A technology, including chunky transformers and diode bridge-based gain reduction.

The Heritage Audio Successor brings all these and then more:

A fully Carnhill transformer coupled input and output unit, the new Successor is a true stereo diode-bridge based bus compressor with advanced sidechain filtering and built-in parallel processing capabilities, sharing the class A ´73 type output stage that Heritage Audio is famous for.

Based on legendary vintage diode bridge designs, it keeps the sonic character of such units, but the added features make it a new beast on its own and will make your mixes shine in modern production environments. Ultra-fast attack and releases allow for larger than life drum bus compression sounds, while the complex sidechain filter lets you tailor your mix in ways not previously available.

“Snare drums can be more present and the stereo image widens as there is more natural room for tracks to breathe.”

From FET like, all-buttons-in drum sounds (now in stereo!) to VCA style mix bus with added warmth and fatness only transformers can bring, the Heritage Audio Successor is designed to stay hooked up to your mix bus and make your mixes shine through.

“Now vocals stand out in the mix without being overwhelming or mudding out your guitars or other instruments”.

SPECIFICATIONS

• True Stereo operation on single controls with matched gain cells for extremely precise left/right tracking and nearly zero offset in between channels. Compression tracking works in Oxford mode (highest signal takes over compression opposed to summing left and right channels).
• Carnhill based, transformer coupled balanced inputs and outputs for added character and vintage vibe.
• ´73 style class A output stages bring the desired ´73 sound to your mix or drum buses.
• Diode-bridge based compression excels in bringing 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content.
• Ultra-fast attack and release time options never found in vintage designs allows for far more flexible settings, including FET like sounds and volume maximizing without transient artifacts.
• Complex sidechain filtering options work with the already common high pass filters, introducing mid band peak type filters and high-frequency compression, allowing bus correction not possible before.
• Sidechain SEND and RETURN connections allow for external sidechain signals or further external processing of the internal one.
• Blend control offers built-in parallel compression without any external equipment. Blend ON/OFF button allows for instant comparison in between WET and DRY signals.
• Stepped controls for easy recall of settings.