Compressor / Gates | VintageKing.com

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Compressor / Gates

The essence control circuit design is based on the Buzz Audio SOC-1.1 Stereo Optical Compressor but the main audio path utilises our BE40 and BE50 True Class A amplifiers along with high spec Lundahl input and output transformers. The input transformer is directly coupled to the Buzz proprietary Opto gain reduction element (completely passive input), amplified and then balanced via the output transformer - a very simple but gutsy signal path! The essence control circuitry utilizes the Differential Drive Side Chain (DDSC) topology that was developed for the SOC-1.1. This system, which processes positive and negative audio waveform in seperate paths, provides the incredibly musical characteristic you will hear with this unit. The DDSC design also provides for a much faster attack time compared to most other LDR based optical compressors. Simple side chain equalizers have been provided to allow the user to adjust the sensitivity of the compressor at high and low frequencies. In addition, a side chain insert point is provided for more complex EQ and compressor "keying". The essence consumes 2 slots within a 500 Series rack. The input/output (I/O) connectors associated with the first slot carry the main audio path. The I/O connectors associated with the second slot are used for a side chain insert point (send and return). The insert can be switched in/out of circuit and monitored via front panel switches. PLEASE NOTE - RACK COMPATIBILTY Each Buzz Audio Essence module uses 2 rack spaces and draws 120mA +/- 15-18 volts DC, as supplied by rack power supply. Most currently manufactured rack systems will easily power a full compliment of essence units, but some older rack systems may have insuffcient power, if in doubt, please check with your rack manufacturer. We recommend the API Lunchbox and VPR500 racks. 
Features 
<UL>
<LI>API* 500VPR Series rack module format - plug in and play! 
<LI>Advanced analogue technology - not a clone or copy of products from the past. 
<LI>Powerful fully discrete hi-bias, wide bandwidth, differential Class A amplifiers. 
<LI>Passive transformer coupled input, transformer coupled output 
<LI>Side chain insert point 
<LI>Side chain monitor selector 
<LI>On board side chain EQ 
<LI>Unique Differential Drive Side Chain design 
<LI>May be linked to multiple essence units within one rack 
<LI>Switchable 10 segment VU meter</LI></UL>
NOTE: Due to some misinformation during the design of the potion and essence 500 series compressors, the card edge connection for the linking of our 500 Series compressors is incorrect. The potion and essence have PIN 11 designated as the link connection, when in actual fact the API* standard is PIN 6. This error can be easily remedied with a simple wire link soldered between PIN 6 and PIN 11 of the potion and/or essence edge connector. Click <a class="bluelinks" href="

http://www.buzzaudio.com/usersarea/500serieslinkmod.htm" target="blank">here</a> for details.
* API is a registered trademark of Automated Processes Inc

Buzz Audio Essence
True Class A Optical compressor for 500 Series

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Most compressor/gates provide less than musical compression, coupled with gating that swallows transients closes early, cutting off decay and reverb tails. The superb engineering in the dbx 266Xs ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor/gates typically produce undesirable processing artifacts. 
When using the 266Xs AutoDynamic Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow leveling to aggressive peak limiting. 
The Auto Dynamic circuitry continuously adjusts the actual attack and release times to optimally match the program material. Since users aren't restricted to using the Attack and Release controls only in peak operation, they can tailor the response of the 266Xs for individual tracks, mixed program material, special effects or system protection. As a result, production studios can use the versatile 266Xs to replace multiple single-purpose?? limiters while sound reinforcement users can standardize on the 266Xs for all of their applications. 
The 266Xs advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx VCA to design in an extra-wide threshold range and ensure top gating performance for each application. 
Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 266Xs intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image even with high amounts of compression. Professionals and newcomers will find that the 266Xs sets up rapidly and musically the first time it is used, and every time thereafter. 
The dbx 266Xs processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost. The 266Xs puts a completely new level of compressor/gate performance within everyone's reach.

DBX 266Xs
Two-channel compressor/gate

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The dbx AFS 224 Advanced Feedback Suppression processor was designed to provide state-of-the art feedback elimination processing, while maintaining a simple and intuitive control interface. From the powerful DSP module to the no-nonsense user interface, the AFS 224 provides all the processing and control necessary for both installation and live use. The AFS 224 is an absolute must for any live sound application.
 
Ten and twelve filter feedback elimination processors have become the de facto standard, but the engineering staff at dbx have never been quite content residing in the neighborhood of the status quo. So, to raise the bar once again, they went out and developed a dedicated feedback suppression processor that offers up to 24 filters per channel with filter Qs up to 1/80 of an octave. To achieve these staggering numbers dbx utilized their patent-pending AFS technology that had previously only been available in the upper echelon line of products and made it available in this stand-alone processor, which takes all of the guesswork out of feedback removal. In addition to the plethora of feedback suppression filters available, the AFS 224 also offers selectable modes, live filter lift, and types of filtration, which are all readily available via the intuitive user interface front panel.
 
The dbx AFS 224 Features:<ul>
<li> dbx's Patent-pending (Advanced Feedback Suppression) AFS™ technology
</li><li> 24 Programmable Filters per Channel
</li><li> Stereo or Dual Independent Channel Processing
</li><li> Live and Fixed Filter Modes
</li><li> Selectable Filter Lift Times
</li><li> Application-specific filter types include: Speech and Music Low, Med and High
</li><li> Input channel Metering
</li><li> 24 LED per Channel Filter Metering
</li><li> XLR and TRS Inputs and Outputs</li></ul>

DBX AFS 224
Dual Channel Advanced Feedback Suppression

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The DL241 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls.

Facilities available on the DL241 include:

Expander/Gate. Drawmer's unique "Programmed Adaptive Expansion" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position.
Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. 
Compressor. A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.
Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. 
Peak Level. 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment.
'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications. 
Metering. Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and output signal level Gain reduction from 1dB to -30dB is shown simultaneously with signal level from -20dB to +15dB Other single LEDs indicate function status of Gating Acton, Auto Mode, Bypass, Peak Limiting, Stereo Linking, and Power On. 
Stereo Link. When processing stereo signals, linking should be used to prevent image shifting. This facility ties both channels together. Using channel 1 (left) as the master channel removes the need to duplicate control settings for both channels. 
Bypass. A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied. In bypass the VU level meter displays the Input signal. 
Operating Level. The operating level of the DL241 can be instantly switched, independently on each channel, for either +4dBu or 10dBu operation using a rear panel push switch. 
Input/Output. The DL241 is available with either XLR connections and fully balanced ins and outs, or with stereo jack (TRS) connections, fully balanced inputs and single ended outputs.

Drawmer DL241XLR
Dual-channel expander/gate/compressor/limiter with balanced XLR I/O

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The Drawmer MX Pro 30 Gated Compressor/Limiter is a low cost professional quality dynamics processor containing some of the proprietary design circuitry used in the more expensive models in the Drawmer range. The MX30 has many automated features enabling fast, effective dynamic control whilst retaining the instinctively laid out control parameters, sonic character and high technical specification which have made Drawmer the industry standard. The MX30’s competitive price point brings Drawmer’s professional processing into a much wider musician, project studio and live performance area. Operational control is split into three sections: Gate, Compressor, Output: ‘Programme Adaptive’ Gate Used to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer’s ‘Programme Adaptive’ circuitry. Although quick and simple to operate, the gate’s auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating ‘chatter’ when the signal is fluctuating on or around Threshold. Two LED’s show when the signal is ‘above’ or ‘below’ Threshold and a push button switch allows additional control of Release time. This design approach also retains all ‘leading edge’ information making the gate ideal for ‘cleaning up’ vocals or retaining the ‘punch’ on gated drums. Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Soft Knee ‘Auto Compressor’ The gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release. Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much ‘life’ as possible and without generating unpredictable side effects. From the slightest to the most aggressive levels of compression, the MX30 handles it all with ease and displays the amount of compression taking place on a high resolution Gain Reduction bargraph meter. Output The Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold ‘zero overshoot’ limiter, essential for avoiding distortion when mastering to digital or speaker protection in a ‘live’ situation, adds the final polish to the signal by keeping control over signal peaks. The Limit threshold provides an absolute maximum peak level which no signal can pass. Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED. Controls:
<ul>
<li>Gate Threshold: This control sets the level below which gating takes place and may be set anywhere in the range of -70dB to +20dB. A green LED illuminates to show when the signal is above threshold (i.e. gate open) and a red LED illuminates when the signal is below Threshold (i.e.gate closed)</li>
<li>Release: Either a Fast or Slow auto release contour may be selected depending on the material being processed. An LED indicates when Slow release status is engaged. Percussive material with little or no reverb is generally treated using the Fast release setting, whereas with slow decays or a significant amount of added reverb will usually respond better to the Slow release setting.</li>
<li>Compressor Threshold: This determines the input level above which gain reduction will be applied and may be set anywhere in the range of -40dB to +20dB. Soft Knee compression takes place for signals exceeding the threshold level by up to 10dB above which level, conventional ‘ratio’ compression is applied.</li>
<li>Gain Reduction Bargraph Meter: A nine segment LED bargraph meter continuously monitors the gain reduction applied by the compressor over a range of 0dB to 30dB.</li>
<li>Ratio: Sets the final compression ratio that will be applied once the 10dB soft knee region is exceeded. The ratio may be continuously adjusted from 1.2:1 to infinity:1 allowing the possibility of true hard limiting. The higher the ratio setting the more compression takes place (eg. A ratio of 8:1 means that an 8dB increase in volume at the input will appear as a 1dB increase in volume at the output).</li>
<li>Stereo Link: The unit can function as two independent gated/compressor/limiters or when ‘link’ mode is engaged for stereo use Channel 1 becomes the master, automatically duplicating its parameters across to Channel 2. In this mode the same degree of gain reduction is applied to both audio channels to prevent image shifting.</li>
<li>Output Gain: The output level may be attenuated or amplified by up to 20dB to compensate for level changes caused by compression. This control comes directly before the Peak Limiter detector and this fact should be taken into account when setting the Peak Limiter threshold.</li>
<li>Peak Limit: This control sets an absolute limit that the output signal will not be permitted to exceed. The limiter is ‘zero response time’ and controls peaks without any audible distortion. For transparent ‘peak protection’ the output gain control should be set to ensure that the Peak Limiter operates only occasionally. Alternatively, the unit can be driven into heavy limiting for creative effects.</li>
<li>Input/Output Bargraph Meter: An eight segment LED bargraph level meter monitors the level of the output signal over a range of -20dB to +15dB. When Bypass is selected this meter reads input level.</li>
</ul>

Drawmer MXPRO-30 Gated Compressor Limiter
Two-channel gate/compressor/limiter

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The Drawmer Six-Pack represents the industry’s first dedicated multi-dynamics processor for surround mixing and continues Drawmer’s tradition of audio ‘workhorse’ products which will continue to perform time and time again - even in a rapidly changing audio delivery environment. The Drawmer Six-Pack is a single 3U unit that will provide dynamics control in any format from mono to 5.1 surround. With six independent expander/gates, six independent auto or manual compressors, six ‘zero overshoot’ limiters and an LFE channel plus the ability to link channels individually, the Drawmer Six-Pack makes surround dynamics easy. In the studio, any analogue audio source from mono to stereo to full surround can be handled in one unit. In live sound, outboard applications such as drum processing or vocals can be dealt with in one easy to use unit, with both auto and manual operation. Alternatively the unit can be re-configured at the push of a button to provide dynamic control and speaker protection without image-shift for the fast developing surround sound speaker rigs employed in the club dance scene. The design of each processing module is derived from the industry standard Drawmer DL241 Compressor to deliver transparent and predictable dynamic control. The six channels of processing are arranged vertically to occupy the minimum rack space. On Channel six the user has the option to switch in a 120Hz filter to create an LFE channel. This feature is also useful to derive an LFE from a previously recorded five channel only, full band surround mix. Instinctively laid out LED bargraph metering gives clear visual indication of all dynamic functions. Universal Linking facilities allow for the various configurations commonly used in multi-channel surround processing as well as the conventional stereo and single channel operation. Controls and Features: Peak Limiter - Programme Adaptive, variable Threshold, Zero Overshoot limiter variable from 0dB to +16dB. An LED display of limiter activity. Compressor - Soft-Knee compressor with variable Threshold (-40dB to +20dB), Release (0.05 to 5 seconds), Ratio (1.2:1 to infinity), Attack (0.5 to 100mS) and Gain make-up (±20dB). Switchable auto/manual Attack and Release with LED status display. Expander/Gate - with variable Threshold control (-70dB to +20dB) and variable Release time from 0.05 to 1 second. Dual LED gate status display is provided. Metering - Eight LED bargraph meters display gain reduction, input/output levels and single LEDs display Master/Link status and Bypass. Bypass - Each channel features switchable Bypass with LED status. A relay hard wire bypass system allows the unit to still pass audio when the power is off

Drawmer Six-Pack
Six-channel multi-dynamics processor for surround mixing

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SSL X-Rack Dynamics Module
Single XR618 dynamics module for X-Rack

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SSL X-Rack E Series Dynamics Module
Xrack compressor/limiter and expander/gate module

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The SSL X-Rack is a new modular rack system that incorporates a unique Total Recall® capability and it is launched with a mono SuperAnalogue dynamics unit as its first module. This combination make it ideal as a stand alone dynamics processing solution for studio or live applications, or working with the flexible inserts of an AWS 900 to provide a complete 'SSL' channel processing solution for the console.
 
Key Features:
<ul>

<li>Famous SSL channel dynamics in a stand alone unit
</li><li>Expander/Gate with external key and Compressor/Limiter with link functions
</li><li>Powerful dynamics metering for Expander/Gate & Compressor/Limiter
</li><li> </li><li>Recall™ system
</li><li>Total Recall™ of settings works in stand alone mode
</li></ul>
The X-Rack dynamics module is based on the channel dynamics unit from the XL 9000 K Series console. This incorporates compression, limiting, expansion and gating with a number of options for hard or soft knee operation and peak, or RMS sensing. All of this circuitry is designed using SSL's acclaimed SuperAnalogue design techniques to deliver fantastic sound quality with very low noise and distortion.
 
The X-Rack's recall capability provides the ability to store presets into Flash memory within the unit. This provides a simple way to save and recall favourite settings and it further integrates with the AWS 900's Total Recall option to provide a single store of all settings that can be archived with a workstation's project. This level of integration is right at the heart of the philosophy of workstation integration that both the XLogic and AWS 900 products set out to address.

SSL X-Rack Fitted with 8 Dynamics Modules
X-Rack loaded with eight XR618 mono dynamics modules

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Just like the original TXC module, the Tonelux TX5C addresses complex issues with compression. 
 
With the ability to do in-module parallel mixing of the dry signal and 
the compressed signal, the engineer can now enjoy the parallel or "side 
chaining" of an instrument with itself and come up with the perfect 
blend of the original and compressed signal without the problems 
associated with in-the-box latency. 
 
The TX5C uses the proprietary all discrete TX-240 op-amp and the all discrete TX-260 output stage with the TX-280 transformer. 
 
In addition to the Input/Compressor Mix knob, the TX5C has many other 
unique features not found on any compressor made today. The ability of 
being able to switch between Feed Back and Feed Forward compression is 
something that is not new to Paul Wolff. With the TXC, he decided to 
take it one step further by allowing the ability to fade between Feed 
Back compression and Feed Forward compression with the Type control. 
This feature gives the engineer the freedom to combine the smooth nature
 of the Feed Back type of compression with the aggressive effect of Feed
 Forward compression. 
 
In addition to the FB-FF Type control, the TX5C has the ability to over 
compress with the Ratio control, which allows compression ratios from 
1.5:1 to 20:1, and then beyond, with the "Over:" ratio settings that 
cause the compressor to reduce the gain at a higher ratio than the gain 
is going into it. This means that the ratio control allows the 
compressor to compress an increase in signal of 10dB with a gain 
reduction of up to -8dB. If the signal goes up 10dB, the output will go 
down 8dB. 
 
This becomes useful when taking a pre compressed snare and by adjusting 
the Attack, and setting the Ratio in the Over: area, you can actually 
recover the initial impact peak of the snare. This, with the Mix 
control, can then be blended back with the original "flat" snare and you
 now have a dynamic snare again, but with a very controlled peak. 
 
The TX5C also inserted the now famous "Tilt" control into the side chain
 of the RMS detector, so you can increase the highs and decrease the 
lows going into the RMS detector, virtually eliminating the effects of 
pumping because the Detector is seeing a more uniform distribution of 
energy across the spectrum instead of a bass heavy signal like most 
compressors. 
 
The Attack control has a X5 switch to allow for a range of extremely 
fast attack (in the micro second range) all the way through a very 
smooth slow attack, more suited for leveling. 
 
The Release control can be almost instantaneous to 3 seconds. The 
release circuit is a unique 3 stage circuit that auto releases the 
faster signals at a rate of 10 times the release of the lower frequency 
signals. All of this and an auto-makeup gain system that always keeps 
the gain at unity regardless of the amount of compression. 
 
With a 6 LED Gain Reduction meter and an adjustable link control, the 
TX5C can be used in mono or stereo configurations with ease.

Tonelux TX5C Module
500 Series compressor module

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The Tonelux TXC is the new design from Paul Wolff that addresses the complex issues with compression.
 
With the ability to do in-module parallel mixing of the dry signal and the compressed signal, the engineer can now enjoy the parallel or "side chaining" of an instrument with itself and come up with the perfect blend of the original and compressed signal without the problems associated with in-the-box latency.
 
The TXC uses the proprietary all discrete TX-240 op-amp and the all discrete TX-260 output stage with the TX-280 transformer.
 
In addition to the Input/Compressor MIX knob, the TXC has many other unique features not found on any compressor made today. The ability of being able to switch between Feed Back and Feed Forward compression is something that is not new to Paul Wolff. With the TXC, he decided to take it one step further by allowing the ability to fade between Feed Back compression and Feed Forward compression with the TYPE control. This feature gives the engineer the freedom to combine the smooth nature of the Feed Back type of compression with the agressive effect of Feed Forward compression.
 
In addition to the FB-FF Type control, the TXC has the ability to over compress with the RATIO control, which allows compression ratios from 1.5:1 to 20:1, and then beyond, with the "OVER:" ratio settings that cause the compressor to reduce the gain at a higher ratio than the gain is going into it. This means that the ratio control allows the compressor to compress an increase in signal of 10dB with a gain reduction of up to -8dB. If the signal goes up 10dB, the output will go DOWN 8dB.
 
This becomes useful when taking a pre compressed snare and by adjusting the Attack, and setting the Ratio in the OVER: area, you can actually recover the initial impact peak of the snare. This, with the MIX control, can then be blended back with the original "flat" snare and you now have a dynamic snare again, but with a very controlled peak.
 
The TXC also inserted the now famous "TILT" control into the side chain of the RMS detector, so you can increase the highs and decrease the lows going into the RMS detector, virtually eliminating the effects of pumping because the Detector is seeing a more uniform distribution of energy across the spectrum instead of a bass heavy signal like most compressors.
 
The Attack control has a X5 switch to allow for a range of extremely fast attack (in the micro second range) all the way through a very smooth slow attack, more suited for leveling.
 
The Release control can be almost instantaneous to 3 seconds. The release circuit is a unique 3 stage circuit that auto releases the faster signals at a rate of 10 times the release of the lower frequency signals. All of this and an auto-makeup gain system that always keeps the gain at unity regardless of the amount of compression.
 
With a 6 LED Gain Reduction meter and an adjustable link control, the TXC can be used in mono or stereo configurations with ease.

Tonelux TXC
Compressor Module

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Tonelux TXC (Demo Deal)
Compressor Module

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