Classic Knee Sound
Helpful in the pristine but unforgiving digital world.  Three audio modes provide user programmable, warm harmonic distortion.  Emphasized tube-like 2nd harmonic in clean and Distort 2 mode.  In Distort 3 mode the distortion becomes dominated by 3rd harmonic (similar to tape).

The Empirical Labs 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.

Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out.  Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.

Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit.  This "warmth" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften "harsh" sounds nor emphasize the bass frequencies in music sources.  Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers.  However, many people have now realized that this coloring can be extremely pleasant and "musical."  The current digital technology is often referred to as "cold" and "brittle" among other terms, although we prefer the term "unforgiving" to describe the negative side of the "linearity."  The Distressor offers several modes that color the signal, even without compression (or gain control).  These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors & limiters) and deliver a classic "knee" sound all its own.

Specifications:

• Freq. response is 2 Hz to 160 kHz 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
• Greater than 100 dB signal to noise in distort 3 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 is 20K Ohms, output impedance is < 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 - single height 1.75" high, 10" deep, 19" wide

Classic Knee Sound
Helpful in the pristine but unforgiving digital world.  Three audio modes provide user programmable, warm harmonic distortion.  Emphasized tube-like 2nd harmonic in clean and Distort 2 mode.  In Distort 3 mode the distortion becomes dominated by 3rd harmonic (similar to tape).

The Empirical Labs 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.

Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out.  Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.

Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit.  This "warmth" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften "harsh" sounds nor emphasize the bass frequencies in music sources.  Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers.  However, many people have now realized that this coloring can be extremely pleasant and "musical."  The current digital technology is often referred to as "cold" and "brittle" among other terms, although we prefer the term "unforgiving" to describe the negative side of the "linearity."  The Distressor offers several modes that color the signal, even without compression (or gain control).  These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors & limiters) and deliver a classic "knee" sound all its own.

Specifications:

• Freq. response is 2 Hz to 160 kHz 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
• Greater than 100 dB signal to noise in distort 3 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 is 20K Ohms, output impedance is < 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 - single height 1.75" high, 10" deep, 19" wide

The Empirical Labs Mike-E™ is a modern digitally controlled Microphone Preamplifier chocked with unusual features to warm and soften the source, along with an excellent compressor/limiter.

Mike-E offers an incredible performance transformer-coupled mic preamp, whose noise floor is far below any microphone’s self noise.  The one-of-a-kind ‘CompSat’ section is an uncompromising compressor and saturator circuit that offers versatile ‘coloring’, and classic knee compression.

Mic Preamp Section
This is a super low noise transformer input amplifier section, with the gain digitally controlled.  This section comes standard with a shielded Lundahl transformer, but provides for a Jensen transformer also.

The signal to noise far exceeds any microphone in existence, typically over 130 dB with the input shorted and 40dB of gain.  Having used many mic preamps over the years, we have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches.

Counting the output gain of 14 dB, a total 74 dB of gain is available to the user with the CompSat section bypassed.  A 48 Volt Phantom power is provided for condenser mikes.

Exclusive CompSat™ Section
This unique circuitry sets the Mike-E apart from all other mic preamplifiers.  It has four sections:

1. Saturator – This is a multi-stage soft clipping circuit.  At lower levels, a triode type saturation affects the signal.  As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks.  An LED named “BAD!” indicates harder un-musical clipping.
2. Compressor – This is an uncompromising compressor/limiter circuit that allows detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which adjusts the level going into the compressor.  In ways it is Distressor-like, but has other differing characteristics including a much longer available attack time, and additional circuitry.  Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression such as while tracking or on the Buss.  Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter like) and has a different attack & release shape.
3. Emphasis - The Emphasis is actually two circuits that surround the compressor and saturator, as shown in the block diagram.  The Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the frequencies complementary after the CompSat.  Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.
4. Mix Control - The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal.  This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances.  Mike-E has a built in mix control to submix in the uncompressed signal to the compressed signal.  As the user rotates the MIX control from full right to full left, he goes from the full compressed signal to the full dry signal (absent of any compression or saturation).

Mike-E's Seven circuits

1. Mic Preamplifier with super low noise & stepped gain switching
2. Built in ‘Direct Box’, called the ‘Inst In’, offers unparalleled distortion, noise, and frequency response when pre-amping instruments
3. ‘Colored’ 80Hz High pass filter emulates the warm low frequency cut of our favorite vintage equalizers
4. Phase Switch to invert the audio signal 180 degrees
5. CompSat offers both a musical Compressor/Limiter and a unique tape-like saturation circuit
6. Emphasis high-frequency emphasis system softens high
7. frequency ‘pile-ups’ and further the creamy color of the Mike-E
8. Mix Control allows the blending of the Compressed/Saturated signal with the clean unprocessed “Dry” signal

Specifications:

• Freq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz
• Signal to Noise - 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu
• Distortion Ranges between .0006% and 15% depending on mode and settings
• Transformer coupled Input, Active and Transformer Outputs available - high quality audio caps used internally
• Input Impedance is 600 Ohms. Output impedance is less than 38 ohms
• Attack/Decay Ranges - .9 – 100mS attack. .15 – 1 Sec
• Power Consumption – 15 Watts Max

The Empirical Labs Lil FrEQ delivers complete, precise, professional EQ control in a compact, 1u rack box.  The Lil FrEQ offers "colored" low frequency shaping, smooth shelving, and four bands of the surgical Parametric EQ that engineers depend on time after time.  All of this power comes with nothng but the absolute highest performance.

The EQ Sections HP - The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies.  Empirical Labs calls this particular filter a "colored" filter since it is very steep and has a special shape that prevents thinning out frequencies just above the cutoff frequency.  The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged.  As with all the EQ section in the Lil FrEQ, there is a dedicated bypass switch.

High and Low Shelving - These are very similar to your standard "Tone Control", but extremely high performance, providing exceptionally smooth boost and cut on the "bass" and "treble" frequencies.

Parametric EQ Sections - There are four sections of fully parametric EQ... possible the cleanest parametric EQ section ever produced - operating below 0.0007% THD at extremely high audio levels.

Dynamic EQ Section - The DS section combines filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content.  There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1dB, -4dB, -8dB, -12dB.  The Ds section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft-knee High Frequency Limiter.

No longer the "Jr", The new Fatso introduces a new compressor ratio, as well as enhanced interface and display functions and overall reliability.

The Fatso Goes to Eleven

ELEVEN is a new compressor for the Fatso, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower “1176” attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc.

The ELEVEN ratio took several months of experimentation, and required a rather radical attack mod to get close. It was one of those projects that Dave Derr, the designer, thought would only take a few days, but upon initial research and listening tests, subtleties emerged which required starting over several times. “I got in one of these design loops, where you would get one thing right, then change another parameter or component, and find that it changed the first thing you thought you had right. It was actually a long frustrating series of changes, that slowly spiraled towards the desired result. Any kind of math calculations or scaling seemed useless. In addition, while testing 1176’s, I discovered issues that I’m quite sure were not intended by the original designers, and probably things of which they were not even aware. But using modern digital oscilloscopes and analyzers, along with digital workstations, and our good old ears, we could see artifacts that the original designers couldn’t.” “Heck, they may have even tried to fix the little imperfections that gave the 1176 its unique character, had they the tools to see them. Thank gosh they didn’t, right?

Anyway, the design loop was frustrating, but like anything that takes you to unexpected places, hopefully you come out a little bit wiser, and with a great product. I hope our customers find the new ELEVEN ratio fun to use, and discover it can add some more magic to your music.”

New Logic and Interface Operation

The original Fatso Jr could operate quite warm. Since heat is the enemy of reliability, we decided to do what we could to cool the unit down in this re-design. By replacing discrete logic with a microprocessor, and eliminating warm running and often unreliable display circuitry, the current draw was dropped over 20%, allowing the power supply and analog circuitry to benefit from a cooler running product.

The new FATSO also has greatly improved interface operation. Holding any button in for a second will make the control step backwards, so the user doesn’t have to cycle around to go back one step in setting one parameter. In addition, the Stereo Link is improved and offers a second link method by holding in both COMP buttons. It locks the compressors and Bypass logic together, and allows either channels’ buttons to control the settings. Much more foolproof.

There is now a separate LED for the TRACK (Tracking) compressor, so that two LEDs do not have to be used, and interpreted by the user. SPANK is now a Blue LED delineated from the other compressors off to the side, to indicate that it is different and can be used in conjunction with the other ratios. Customers will find compressor selection more obvious and FUN.

Fatso's Four Types of Processing:

• Harmonic Generation and Soft Clipper (Distortion Generation) - this class A circuit gently rounds the peaks like saturated tubes or tape.
• High Frequency Saturation (Warmth) - a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.
• Transformer & Tape Head Emulation - a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterize them, as well as analog tape..
• Classic Knee Compression - your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression – smooth and sweet, but in your face!

Arguably the coolest and most unique device in the Empirical Labs arsenal, the FATSO (Full Analog Tape Simulator and Optimizer) is a digitally controlled analog device that gives musicians and engineers easy access to many of the desirable characteristics exhibited by older tube and Class A electronics and magnetic tape mediums. This two channel audio processor musically integrates frequencies and transients, increasing the apparent volume while keeping tight control over peak levels.

With the FATSO, recording studios and audio production facilities can enhance and soften the sound of Hardware Digital Recorders (HDRs) and Digital Audio Workstations (DAWs). Mix engineers will have the option not to have to use bulky, expensive analog tape recorders to get the warmth and sweet high end they’ve come to rely on for so many decades. Owners of DAWs and HDRs can finally put a stop to complaints about the coldness and brittle edge of their mixes and instruments. Even audiophiles can benefit from the FATSO, bringing back the warmth and ambience of LP’s and tapes to their CD players and other digital reproduction mediums.

As with most Empirical Labs products, the unit is incredibly easy and fun to use. Large Distressor-style knobs control the input and output levels. Four meticulously tweaked compression modes - including the extremely popular “Buss” setting and the legendary “Spank”, a subtle knee followed by hard limiting resembling the SSL talkback compressor - can be selected (and combined!) with the push of a button. Seven different high frequency saturation “Warmth” settings are accessed just as easily. The FATSO also features switchable transformer circuits, which can add the musical artifacts generated by classic devices like NEVE, API, etc such as low order clipping and inter-modular distortion, transient clipping... and some other very musical non-linearities. True to its name, the FATSO is rather sturdily constructed - you’ll be impressed with how well built it feels when you first lift it out of the box.

The FATSO has been the “secret weapon” of studio and live engineers for many years, allowing them to add the elusive magic of vintage gear to their sound.

Once you start using it, you’ll never want to be without it!

1. I wanted to create a collection of fixed-setting compressors that, with the turn of a single knob, could shape and tame any sound you throw at it, and be especially adept with those that are the easiest to screw up: vocals, drums, bass, acoustic and electric guitars, and pianos.

2. I wanted these preset comps to offer up several distinctly different ‘flavors’ of compression, each of which has a ‘grab’ and ‘motion’ that is totally unlike the others, in order to give the modern engineer maximum flexibility in terms of style, attitude, punch, and squeeze.

3. I wanted to make these compressors incredibly smooth and easygoing at moderate settings, but able to go to extremes (and beyond) to create sounds that are surprising, inspiring, and drenched in vibe. No matter how much you dig in, the results should be musical; it might be too much compression for you, but it will never be *bad* compression.

“How do I do this?” Once upon a time, compressors came with two knobs, and your compression options were ‘more’ and ‘less’. But make no mistake: this minimalism in design was actually an asset to the guy who had to turn the knobs and push the faders. The engineers who designed these simple boxes paid painstaking attention to every crucial aspect of envelope shaping --- the knee, the ratio, the attack and the release --- and they tweaked and tweezed the mysterious and often chaotic interplay of these parameters until they found their holy grail: a circuit whose action was incredibly musical and whose grab sounded amazing on every source and sound you feed it.

“Compression was easy, and it always sounded good.” So it is with the UBK Fatso. In addition to all the tone-sweetening characteristics and features of the classic Fatso --- harmonic thickening, tape-like saturation, independent ‘warmth’ control to soften and tame high frequency harshness --- the UBK Fatso features 3 brand new presets, lovingly crafted by yours truly, tweaked exclusively by ear, and exhaustively tested in the trenches on every sound you’re ever likely to find in your mixes, and a few you probably never will… just in case.

Splat - this is my take on the comps built into my favorite 3-lettered vintage console. At modest settings, it stiffens and reigns in drums, focuses a vocal, and enhances the vibe of the original sound while making it easier to manage. But when you dig in, wonderful things begin to happen. Drums develop thwack and hit you in the chest. Vocals get utterly creamy with a pleasing, old school hair. Loops come alive and breathe organically. Electric guitars get thicker, deeper, and stay pinned where you want them. But don’t be afraid of those meters: push it farther, past that red light. 20db of reduction? Don’t worry, keep going. Ever heard your drum buss do that? Didn't think so.

Welcome to 'no rules' compression.
Smooth - this is classic limiting, with a twist. My intent here was to craft a tracking style limiter that would allow the engineer to shave 6-10db off the peaks of instruments without sounding like much of anything happened, yet things are somehow sweeter, they behave better. When you print elements thru this preset, you’ll find your mixes come together easier and faster, with less eq and compression. Things just ‘fit’, the way they did when we tracked to tape.

But again, what happens if you start to abuse this preset in the mix? ‘Fast and smooth’ begets and ‘fast and aggressive’, that’s what. Slap it on electronic drum loops and watch the Germans seethe with envy. Put it on a room mic in parallel, maybe a little Abbey Road really is what that kit needs. Crazy hip hop vocal refusing to behave? Clamp it down, ruthlessly, effortlessly.

One compressor does it all.
Glue - the bottom end never sounded like this. It is simply unreal how easily this preset will lock the bass in place, punch it up, let all the notes ring clear as a bell, and make it loud while getting it out of the way. Engage the transformer to make the low end sing, even on iPod docks. If gluing the bass were the only thing the UBK Fatso did, it would still be worth the price. But Glue is every bit as versatile and surprising as the rest of this box, especially when pushed. It’s an extraordinary drum compressor, imparting a distinct smack even as it makes the room explode. It’s lovely on acoustic guitars, Rhodes, sitar… whatever.

When all else fails, glue the sucker down.
In addition to all of these purposeful compressors, the UBK Fatso features Dave Derr’s classic“Spank” for that inimitable SSL-style smack. You can also combine any two presets, or all three, for even more unusual and unexpected results. So grab those knobs, experiment fearlessly, and ignore those meters: your ears will tell you all you need to know.