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Compressor / Limiters

A Designs Audio HM2 Compressor Nail
Dual mono tube/solid state hybrid compressor

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ADL 660 Tube Limiter
Recreation of the fabled Fairchild 660 mono limiter

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There's no doubt that the original Fairchild 670 was and still is the "Big Daddy" of tube compressors. That's why people don't hesitate to pay over $30,000 for one if they can find it. Unfortunately, most of these units are getting very old and unreliable and don't sound as great as they once did. Well, what if you could buy a brand new one today...with a warranty...for substantially less!!! Can't be...well, guess again!! Introducing the ADL 670 Stereo Tube Limiter, the perfect copy of the original Fairchild 670. After years of testing and research, Anthony DeMaria Labs has matched part for part the specs and sound of the original unit. Every detail has been scrutinized to perfection...no corners were cut. Yes...believe it or not, ADL has painstakingly sourced all the parts of this puzzle to offer a very limited run on these uncompromising, untouchable sonic giants!!! Many in the past have attempted to reproduce the sound of the classic Fairchild 670 but no one until now has taken it to the level ADL has with the ADL 670 compressor. With it's beautiful "military strength" chassis, stand alone PSU, 20 vacuum tubes and 14 transformers...it doesn't get fatter than this.

ADL 670 Stereo Tube Limiter
Recreation of the fabled Fairchild 670 stereo limiter

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ADL C/L 1000 Mono
Mono tube compressor

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ADL S/C/L 1500
Stereo tube compressor

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The AL.SO Dynax2 (Dynax Square) 
is more than an ordinary compressor; it is designed as a Dynamic Sound 
Shaper, a creative tool meant for the creative sound engineers.

Conceived around very low distortion circuits, the Dynax2 allows a wide 
range of effects, starting with the smoothest and most transparent 
compression to the harshest and most spectacular sound designs.

Both Attack and Release knobs offer a graduated change of values to reshape the sound and create a new envelope.

The Dynax Square offers now four different compression curves:

<ul><li>Compressor (4:1)</li><li>Limiter (10:1)</li><li>Brickwall</li><li>AntiDyna: an innovative new mode designed by Olivier Bolling which literally "over-limits" the sound in a "funky-to-trashy" way</li></ul>

All the signal path’s components are carefully hand-selected high-quality parts.

The front panel is a 10 millimeters thick solid aluminum engraved piece of metal.

VU-meter lighting allows user to see both output level or gain 
reduction. Over modulation cleverly turns the meter’s blue hue to a 
strong red.

Now, DYNAX2 has an on-board power supply (110V/230V switchable) and the
 VU meter light is dimmed when the bypass switch is engaged.

AL.SO Dynax2
Stereo dynamic sound shaper

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API 225L Features:

<ul><li>Threshold control from -20 to +10 dBu</li>
<li>Variable compression ratio from 0 to infinity</li>
<li>Adjustable release time from 50m/sec to 3 sec</li>
<li>"Old" or "New" sound</li>
<li>HARD or SOFT compression knee</li>
<li>Always at unity gain, regardless of settings</li>

<li>LED Gain Reduction meter</li>
<li>API 2510 and API 2520 op-amps</li>
<li>Transformer output to +28 dBu</li>
</ul>
The API 225L Compressor is ideal for all studio, live sound and broadcast applications. Regardless of the threshold or ratio settings, the output level always remains at unity. This unique feature allows real-time adjustments without changing the output level. Both "feed forward" (new) and "feed back" (old) gain reduction methods are selectable on the front panel. There also is a SOFT or HARD selector for either an "over easy" compression resulting in a very natural, uncompressed sound or a typical sharp knee type that has a much more severe limiting effect. The 225L is designed for individual channel use or two units can be combined for Stereo applications via a rear access pin. The 225L also has a side chain input for the detector amplifier.
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.

API 225L
Discrete single-channel compressor in the compact API 200 Series format

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Features

<ul><li>Threshold control from -45 to +25 dBu</li>
<li>Variable Fine Adjustable Depth to -80 dB</li>
<li>Adjustable Release/Hold Time, 50m/sec to 3 sec</li>
<li>2:1 Expander or Noise Gate Selection</li>
<li>Release or Hold Switch for Release control knob</li>
<li>Always at Unity Gain, Regardless of settings</li>
<li>LED Gain Reduction Meter</li>
<li>Uses the API 2510 and API 2520 Op-Amps</li>
<li>Transformer Output, to +28 dBu</li></ul>

The API 235L Noise Gate/Expander is a new product design, as API has not offered a gate module since 1974. The 235L is a great sounding gate/expander with the ability to reduce noise in any type of program. The 235L can open unusually fast, without losing any part of the sound. Its extreme flexibility, repeatable settings, and superb sound make it ideal for all studio, live sound, and broadcast applications.
The API 235L Noise Gate/Expander is one of the fastest noise gates manufactured today. When an engineer is faced with program material with a high level of background noise, the 235L can either Gate the signal at a preset Threshold, or with the use of the Expander function, can reduce the background noise to an almost undetectable level. This can be achieved wiithout the typical loss of the program material caused by slow triggering of the signal, or "pinging" caused by false triggering.
With a wide range of adjustment, the 235L can operate from -45 to +25 dBu, fitting into any audio situation regardless of program level. Once the Threshold level is set, the Attack time can be selected to react faster than 100 micro seconds or slightly slower than 25 milli-seconds to reduce false triggering. Although the Depth control has a full range of -80 dB, the scale is expanded in the first half of rotation so 0 to 9 dB is available for fine tuning of subtle, undetectable gating. The second half of rotation is from 10 to 80 dB for more drastic noise reduction.
The Expander function is a 1:2 ratio, allowing the signal to "sneak up" to the full signal level without any loss of "under threshold" nuances of vocals and percussion. Setting the threshold in the Gate function to the desired level, then switching to the Expander mode is the perfect setup.

For special gating functions such as the famed "gated snare reverb", the Release function can be switched to Hold, and the Release control becomes the Hold time. In both functions, the unselected one has a set time of 100 m/sec.
When used with the other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output.
The 235L makes use of the 2510 and 2520 op-amps and therefore exhibits the 
 reliability, long life, and uniformity which are characteristic of API products.
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.

API 235L
Discrete single-channel gate in the compact API 200 Series format

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The API 2500 is a versatile stereo bus compressor that allows adjustment of sonic qualities that can alter the punch and tone of the stereo mix. The 19" rack mountable unit features ATI's patented "thrust" circuit for a chest-hitting, punchy bottom end. With its dual channel design, the API 2500 is set up for stereo compression, but can also be used as two separate units via a single compression setting. The 2500 boasts a range of parameters that make it incredibly musical.
API pushes the envelope of flexibility further with selectable "old" or "new" compression. The old style uses the feedback type of compression found in the API 525, 1176 and Fairchild. The new style uses a feed forward type, similar to other popular compressors.
The output stage features API's auto-makeup gain button, permitting the user to vary the threshold or ratio while automatically maintaining a constant output level. Fidelity is ensured with an all-discrete, fully balanced design, and two front panel VU meters show input, output, and gain reduction levels.
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.

API 2500
Discrete stereo bus compressor

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The API 525 was originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.
The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.
Release times vary with frequency, with high frequency/full bandwidth content released faster than just low frequency for natural envelope tracking. Attack time is fixed, chosen to catch the fastest peaks, without "pumping". Equally useful as a tracking, mixdown or program compressor/limiter, the benefits of the API 525 are most obvious to those who use compression on a regular basis. "Vintage" dynamics control, an easy to use multi-function control set, and a wide range of 500 Series mounting options assure that the 525 will surpass your most critical applications. With the addition of a hard-wire bypass switch, a balanced input, and a pinout that is the same as all the other 500 series modules, the 525 is still, after 25 years—"the sound". Two or more 525s can be linked for multi-channel compression.
The 525 Feedback Compressor/Limiter makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products. Features 
<ul>
<li>Reissue of API's original 525 from the early 70's 
</li><li>Peak detecting "feedback" compressor/limiter 
</li><li>Variable Threshold and Output levels 
</li><li>Unique "Ceiling" control combines key functions 
</li><li>VU meter for monitoring gain reduction 
</li><li>4 Switchable release modes 
</li><li>De-Ess function 
</li><li>Traditional API fully discrete circuit design 
</li><li>Hardwire bypass</li></ul>
Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.

API 525
Re-issued classic discrete compressor

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API 527
Discrete 500 Series compressor with Thrust Circuit

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The Acme Opticom XLA-3 is an optical audio limiter built to exacting military-style specifications, designed to produce a full range of non-linear, dynamic audio effects. The heart of the XLA-3 is a unique triple optoelectronic circuit that combines the best characteristics of 3 separate compression curves into a single unit. The result: a high-speed optical limiter with tones that range from ‘clean’ to ‘harmonically rich’ to ‘dirty’. The Opticom uses high-speed cadmium-selenide (CdSe) photocells, all-tube circuitry, and military style point-to-point wiring. From the 16 gauge, cold-rolled steel chassis to the high quality components, the XLA-3 is built to provide years of reliable, solid performance that will meet, if not exceed, the exacting demands of the audio professional. Just a few of the standard features: custom-ordered Bakelite analog control knobs, full-sized backlit panel meters, Neutrik/Cliff connectors, heat resistant Micalex tube sockets. Features <ul><li>Made in the US</li><li>Authentic, military style point-to-point circuitry</li><li>Unique Sonic Character</li><li>Versatility</li><li>Serviceability</li><li>Ease of Use</li><li>Competitive Pricing</li></ul>

Acme Audio Opticom XLA-3
Optical audio limiter

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Acme Audio Opticom XLA-3 (Demo Deal)
Optical audio limiter
Vintage King Exclusive

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The Airfield Audio Liminator is a vintage style analog audio compressor available as a mono, stereo, or mastering edition. We have analyzed more than a dozen classic audio compressors, and have distilled the best of the best into this device. Class A discrete transistor circuitry and classic input and output transformers are deployed. There are 2 switchable input transformers for flexibility of tone. 
 
This state of the art analog design delivers natural, musical characteristics to the recording process. One of the most versatile compressors ever invented, it can be used with confidence on voice, all instruments, any sound source. 
 
The Airfield Audio Liminator Features:
<ul> 
<li> vintage David Miller design
</li><li> 70’s Class A electronics
</li><li> completely hand-assembled
</li><li> distortion-free Opto attenuator compressor system
</li><li> switchable input transformers - 2 modes 1) American Jensen transformers for a clean uncolored sound 2) British made Sowter transformers for extra rich musical harmonics
</li><li> 5 position step rotary switch on Attack, Release and Ratio
</li><li> continuously variable adjustment on Threshold and Output gain
</li><li> analog VU meter is switchable for: input and output plus gain reduction
</li><li> all front panel controls pots and switches are extremely high grade quality
</li><li> 0 - 20 dB gain reduction
</li><li> maximum output level of 32 dBu
</li><li> low THD + noise, less than .02%
</li><li> link switch (on both models) and a true relay bypass switch
</li><li> silver soldering on all connections
</li><li> circuit board made with 3 ounce copper
</li><li> transformer balanced XLR in and out connections
</li><li> +4 / +14 dBu meter level switch (on stereo version only)
</li><li> switchable 115/230 VAC operation 
</li></ul>

Airfield Audio Liminator
Analog mono compressor

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The Airfield Audio Liminator 2 is a vintage style analog audio compressor available as a mono, stereo, or mastering edition. We have analyzed more than a dozen classic audio compressors, and have distilled the best of the best into this device. Class A discrete transistor circuitry and classic input and output transformers are deployed. There are 2 switchable input transformers for flexibility of tone. 
 
This state of the art analog design delivers natural, musical characteristics to the recording process. One of the most versatile compressors ever invented, it can be used with confidence on voice, all instruments, any sound source. 
 
The Airfield Audio Liminator 2 Features:
<ul> 
<li> vintage David Miller design
</li><li> 70’s Class A electronics
</li><li> completely hand-assembled
</li><li> distortion-free Opto attenuator compressor system
</li><li> switchable input transformers - 2 modes 1) American Jensen transformers for a clean uncolored sound 2) British made Sowter transformers for extra rich musical harmonics
</li><li> 5 position step rotary switch on Attack, Release and Ratio
</li><li> continuously variable adjustment on Threshold and Output gain
</li><li> analog VU meter is switchable for: input and output plus gain reduction
</li><li> all front panel controls pots and switches are extremely high grade quality
</li><li> 0 - 20 dB gain reduction
</li><li> maximum output level of 32 dBu
</li><li> low THD + noise, less than .02%
</li><li> link switch (on both models) and a true relay bypass switch
</li><li> silver soldering on all connections
</li><li> circuit board made with 3 ounce copper
</li><li> transformer balanced XLR in and out connections
</li><li> +4 / +14 dBu meter level switch (on stereo version only)
</li><li> switchable 115/230 VAC operation 
</li></ul>
"The Liminator 2 is at the top of the boutique compressor heap. It offers plenty of personality, flattering most everything it touches." 
- Kevin Becka, Mix 
<a href="http://mixonline.com/gear/reviews/airfield_audio_liminator2_review/" target="blank">Read the full review</a>

Airfield Audio Liminator 2
Analog stereo compressor

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Since its introduction, the Alesis 3630 Compressor™ has become the most popular dynamics processor ever made. The reason is easy to understand: it provides two independent full-featured compressor/ limiters in one rack space while offering excellent sonic quality for any application from studio recording to live sound or broadcast. The 3630 offers Ratio, Threshold, Attack and Decay controls to customize its compression response for even the toughest signals. You can also choose between RMS and Peak compression styles, plus Hard and Soft Knee dynamic curves for every application from subtle gain control to in-your-face punch. As an independent dual-channel compressor, the 3630 offers separate controls for two different source signals. Plus, two fully independent gates with threshold and rate controls allow you to easily and efficiently stifle unwanted ambient noise. Other advanced dynamics processing features such as precise signal metering, a sidechain for keying or ducking effects and stereo linkable operation make the 3630 the most powerful compressor in its class.

Alesis 3630 Compressor
Dual-channel compressor/limiter/gate

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The Alta Moda Unicomp audio compressor combines the best features of both modern and classic audio compressors into a single, dual-mono unit. At its heart is a unique gain cell/sidechain combination which gives the Unicomp its own distinctive sonic character. The Unicomp’s comprehensive set of sidechain features gives it true versatility and accuracy which make the unit superbly suited for tracking, mixing and mastering applications.
 
The Unicomp boasts a fully discrete, class ‘A’, high voltage minimalist audio path. The amplifiers are DC servo-coupled, eliminating all coupling capacitors in the signal path.
 
The sidechain features a high accuracy logarithmic-scaled detector, with a choice of operating in RMS or peak rectifier modes. The Unicomp also allows the user, with a single switch, to change the compressor topology from a modern and accurate feedfoward detection scheme, to the classic and more colorful feedback approach; completely changing the sonic personality of the unit.
 
The Unicomp’s personality is further changed with the addition of the Warmth control. Turning this control adds rich, second harmonic distortion to the signal that increases as compression increases, adding even more character to the sound. A switchable filter changes the contour of the affected signal, useful when processing more complex signals, such as mixes.
 
Another unusual feature of the unit is the Blend control. The Blend control allows the operator to mix unprocessed signal back into the compressor’s output path. This gives one the ability to create a more subtle compression effect on tracks such as vocals, or for blending back dry signal when heavy buss compression effects such as drum submixes are being processed. A high pass filter is included which blends only the higher audio frequencies back into the output path. 
 
Unicomp Features
<UL>
<LI> Class A high voltage, discrete capacitor-free signal path. 
<LI> Electronically balanced input, impedance balanced, single-ended output. 
<LI>FET-based wide dynamic range gain cell eliminates the need for an input 
control. 
<LI>Log-scaled detector responds more like the human ear than linear 
detection systems. 
<LI>Choice of RMS (excellent for overall level reduction) or Peak mode (great 
for catching fast transients). 
<LI>Threshold knee control – can switch between hard knee for instantaneous 
gain reduction, or soft knee mode, for a subtle engaging of compression 
over several dB. 
<LI>Continuously variable Threshold, Ratio, Attack and Release controls. 
<LI>Switchable Sidechain insert for keying and detector signal equalization. 
<LI> Feedforward/Feedback – switches between the basic topologies. 
Feedforward is precise and can yield high compression ratios. Feedback 
mode is more subtle, and can yield interesting compression artifacts, 
including the shifting of attack and release time constants. 
<LI>Warmth control – adds 2nd harmonic distortion, increasing as 
compression increases. 
<LI>Warmth filter – high pass filter bringing out more mid-range frequency 
distortion. 
<LI> Blend – mixes dry, input signal back into output path. 
<LI>Blend filter- high pass filter returns only dry, upper frequencies back into 
output. 
<LI>Dual Mono/Stereo – completely independent channels can be linked for 
stereo operation. 
<LI>Sidechain L and R are summed after the rectifiers. 
<LI>Gain Makeup – increases output amplifier level from unity to compensate 
for lost level when compressing. 
<LI>High quality construction – premium components for long life.

Alta Moda Unicomp
FET-based compressor

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BAE 10DC Compressor/Limiter
Class A, discrete compressor/limiter

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Introducing another member of the BLA product line: the Black Lion Audio AGB Compressor. An homage to the venerable Neve 33609, the AGB is a two-channel diode compressor and limiter housed in a 2U rack mount chassis. Imagine a quick, responsive, low-noise compressor with powerful control features. It does everything from smooth and easy compression to weird rhythmic clicks to funky envelope tricks. It's insanely fast and doesn't choke when you really push it. Strap it across your drum bus and smash away. Give your snare a nice, dense crack. Use it for program material. The slower attack mode is great for vocals. Whatever you use it on, you’ll find it does the job well, and without raising the noise floor. So where does the Black Lion Audio design differ from the original? For one, the signal path is a fully balanced, op-amp-based circuit. While we’re using rotary potentiometers instead of stepped potentiometers, we’ve given you more control over things like input level and attack time. Like the original, the AGB uses input, inter-stage, and output transformers. Features:

Black Lion Audio AGB Compressor
Two-channel diode compressor and limiter housed in a 2u rack-mount chassis

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The Buzz Audio Potion is a True Class A FET based Compressor designed to fit the API* 500 VPR Series rack frames. The potion will suit those looking for a audio compressor with "attitude" and is particularly useful in rock, hip hop and modern music styles where a somewhat aggressive character adds to the energy of the track. Drums, electric guitars, vocals and the mix bus will all benefit from the potion's rich harmonic sound - potion - the harmonic energizer!
 
Although the potion uses a FET (Field Effect Transistor) as the gain reduction element (like a well known classic limiter), the control circuitry (or side chain) is a completely new Buzz Audio design with some real innovative techniques to achieve an original compression characteristic.
 
Included in this new circuit is an element we have nick named "Ready To Rock" (RTR). This circuit automatically alters the Release time setting of the compressor depending on the attack depth and prevents the compressor from over shooting and undesirable "pumping" when using faster Attack settings. A front panel LED indicates when this is function is active. (Actually, RTR stands for Release Time Reduction, but call it what you will!).
 
As you can see from the specifications, the FET itself produces a relatively large amount of harmonic distortion compared to Optical and VCA compressors, but this distortion is the sound that will add energy and richness to your tracks.

The potion is capable of of very fast attack (less than 50uS at F attack setting) and when set to 20:1 Ratio, we believe it approaches the performance of "look ahead" digital limiters within the constraints of the analogue domain.
 
<a class="bluelinks" href="http://www.buzzaudio.com/products/potion.htm#" target="blank">Click here</a> to hear the potion in action on a snare drum track.
 
The audio section of the potion consists of our unique True Class A BE40 and BE50 amplifiers coupled with Lundahl input and output transformers for a fast yet full sonic signature. The input signal is passively coupled directly to the FET element via the input transformer, amplified and balanced via the output transformer - a simple signal chain.
 
In addition to the Gain, Drive, Attack and Release controls, we have included a % Mix control which allows the user to mix the uncompressed (input) signal with the compressed (output) signal providing yet another means of obtaining an original sound on your tracks.
 
The potion consumes 2 slots within the 500 Series frame. The audio in/out connectors of the first slot carry the main signal path whilst the in/out connectors of the second slot are utilized as a side chain insert point where external equalization can be applied to alter the compressor sensitivity at different frequencies. This insert can also be used for compressor "keying". A switch on the front panel allows the user to monitor the side chain insert and switch it in and out of circuit. Two potions' can be linked for stereo (mix bus) operation.
 
Rack Compatibility 
The essence power consumption of 120mA +/- 15-18 volts DC (as supplied by rack power supply) is higher than other 500 series modules, but because this demand is spread over two slots (60mA each) it should work fine in all available 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 with monitor.
 <LI> FET gain reduction element for harmonic character.
 <LI>VERY fast attack.
 <LI>
 Unique RTR Release Time Reduction circuit.
 <LI>May be linked to another potion for stereo operation.
 <LI> Switchable 10 segment VU meter</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.

Buzz Audio Potion (Demo Deal)
500 Series FET compressor module

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