500 Series Compressor / Limiters

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500 Series Compressor / Limiters

500 Series Spectacular!

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The AML 54F50 is a Class A, compressor and limiter module which occupies three slots in a 500 series rack. Fully populated with Carnhill transformers to achieve its distinctive classic sound, this high-end hand-built British module provides an affordable solution for the modern cost conscious studio. Features: <ul><li>Classic 4 stage (Class A) amplifier, 4 transformer design</li><li>All discrete component (no surface mount devices)</li><li>Entirely hand assembled and tested in the England to exacting quality standards</li><li>Line Input: Carnhill transformer balanced (Mu-metal screened Classic VTB9046), 10k Input Impedance</li><li>Interstage: Carnhill Mu-metal screened Classic VTB9045 and VTB9046</li><li>Line Output: Carnhill transformer balanced (Classic full size output transformer)</li><li>Compressor: (Class A) amplifier design</li><ul><li>Ratio 1.5:1, 2:1, 3:1, 4:1 & 6:1</li><li>Dual attack speeds (Fast = 5mS, Slow = 25mS) </li><li>Make-up gain 0dB to 20dB in 2dB steps</li><li>Recovery (release) 400mS, 800mS, 1.6S & Auto</li><li>Threshold –20dBu to +10dBu</li></ul><li>Limiter: (Class A) amplifier design</li><ul><li>Dual attack speeds (Fast = 100uS, Slow = 5mS) </li><li>Recovery (release) 100mS, 200mS, 800mS & Auto</li><li>Threshold +4dBu to +12dBu (in 1dB steps)</li></ul><li>Stereo link via either the backplane edge connector, an XLR or both</li><li>Illuminated meter selectable for input, output or gain reduction metering</li><li>Power-off signal bypass</li><li>Entirely stainless steel chassis</li><li>Total current consumption 150mA (per unit)</li></ul>These are the default factory settings however the: <ul><li>Compressor “Fast” may be internally jumper selected to 0.5mS</li><li>Compressor “Slow” may be internally jumper selected to 50mS</li><li>Limiter “Fast” may be internally jumper selected to 1mS</li><li>Limiter “Slow” may be internally jumper selected to 25mS</li></ul>

AML 54F50
500 series compressor/limiter

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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 Alta Moda Audio Hippo is a high-performance bus compressor designed for the API™ 500 Series compatible rack systems. 
 
The Hippo is based on the same VCA topology made popular in highly 
successful recording consoles of the 1980's, but includes many modern 
features not found on typical bus compressors. 
 
Features 
<ul><li>Extended attack, release and ratio settings for wider control ranges</li><li>Rotary switches allow for simple recalls of settings</li><li>Selected controls are continuously-variable for enhanced resolution and versatility</li><li>High Pass Filter on side chain for better control of bass-heavy material</li><li>Warmth control adds rich harmonic distortion to fatten tracks</li><li>Channel linking options allow for better control of stereo 
imaging, including the ability to run the channel detectors 
independently of one another (Dual mode)</li><li>Dual, 20-segment gain-reduction meters monitor both detectors with 1dB resolution</li><li>Blend control allows varying the output between dry and compressed signal for more subtle compression effects</li><li>Hard-wire relay bypass</li></ul>

Alta Moda Hippo
500 Series Bus Compressor

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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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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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Chandler Limited Little Devil Compressor
500 Series all discrete FET compressor

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Dramastic Audio Obsidian 500
Stereo bus compressor for the API 500 format

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The elysia nvelope 500 is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well. The nvelope 500 operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek. With its unique Dual Band mode, the nvelope 500 gives you enhanced control over processing, and can easily handle complex program material. Additionally, its dynamics sections can be bypassed, allowing it to function as a flexible high/low shelf EQ. So, the nvelope 500 is a dynamics processor that can change the character of a sound by altering its impulse structure. It gives you direct control over the envelope of a signal by shaping its attack and sustain intensity. More specifically, a drum set (or individual drums) can be made to sound more aggressive and punchy by accenting the attack, or tones that are already overly aggressive can easily be tamed. Other useful applications would be on picked or slapped bass, edgy guitar or any kind of piano recording. Generally speaking, the nvelope 500 works optimally on audio signals with a significant/percussive attack structure. As a balance to the attack shaping, the sustain parameters offer control over room sound and space. An instrument or a reverb tail can sound tighter by reducing its sustain, or can gain more depth/make a signal sound longer by increasing it. The nvelope 500 is a great tool for shaping individual signals, but it can be an indispensable resource in mixing situations as well, as it effortlessly helps you to bring a sound to the front with more attack and less sustain… or blends it gently into the background by reducing its attack and increasing its sustain. A unique feature of the nvelope 500 is the enhanced tweakability offered in Dual Band mode. Individual frequency controls for attack and sustain yield excellent processing results without unwanted artifacts, even when utilized on complex material like a summing bus. We’re sure you’ll be happy to know the nvelope 500 offers true dual mono or linked stereo operation whether you are using it in Full Range, Dual Band or EQ mode. When the nvelope 500 is not in Stereo Link mode, the two individual channels can be used as different processors simultaneously. For example, you can shape one signal in Dual Band mode in channel L and a completely different signal in Full Range mode in channel R. Or, you can connect the output of channel L to the input of channel R, and then process the frequency response with the EQ first, followed by some nice Dual Band impulse shaping... As you can imagine, there are lots of possible combinations! Features: <ul><li>Discrete Class-A Topology: Pristine audio quality</li><li>Full Range Mode: Fast & efficient envelope shaping</li><li>Dual Band Mode: Enhanced frequency controls</li><li>EQ Mode: Alternative high/low shelf equalizer</li><li>Mixed Mode: Two different processors at the same time</li><li>Stereo Link/Dual Mono: Flexible channel use and combination</li><li>Auto Gain: Eliminates level peaks and distortion</li><li>Made in Germany: High grade components, solid aluminum knobs</li></ul>

Elysia Nvelope 500 New!
Stereo impulse shaper 500 series module with dual EQ capabilities. Requires 500 Series rack (not included)

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The elysia xpressor 500 is an 
extremely versatile stereo compressor available in API's 500 series 
format. With its many unique features taken from our flagship products, 
you not only get great compression, but an amount of control on 
processing which is hardly ever experienced elsewhere. 
 
<a href="http://pan60.com/reviews/elysia-xpressor-500.html" target="blank">Read this great article on the Xpressor 500 by Pan60</a>
 
No matter if you want to set and forget or plunge deep into the secrets 
of compression, the xpressor 500 is for you. Its discrete audio path 
running in constant class-A mode provides a superior audio quality which
 combines a clear and open sound with a good lot of punch. 
 
Stereo buss compression, processing single signals, approaching dynamics
 in creative ways – the xpressor 500 shines in many different 
applications. Best of elysia? You got it! 
 
Features 
<ul><li>Discrete Class-A Topology - Pristine audio quality</li><li>Auto Fast Attack - Perfect attack in any situation</li><li>Switchable Release Characteristic - Smooth or crisp – the choice is yours</li><li>Warm Mode - Transparency? Saturation? Both!</li><li>Parallel Compression - Mixing direct and compressed signals</li><li>Sidechain Filter - Frequency selective compression</li><li>Gain Reduction Limiter - Ultimate control on the compression process</li><li>Made in Germany - High grade components, solid aluminum knobs</li></ul>

Elysia Xpressor 500
Discrete Class A stereo compressor for 500 Series

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The Empirical Labs DerrEsser is a multi function dynamic filtering device, in an API 500 series module format. In its basic “DS” mode, the DerrEsser is an effective, level insensitive de-esser, which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source. By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner. However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry.
 The Four Modes of Operation - Besides Bypass, there are essentially four modes of the DerrEsser: DS Mode – (Bypass Button IN, all other buttons OUT). As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S’s (sibilants) that result from an overly bright singer or from EQ’ing to make a vocal sound aggressive and clear. In this mode, the dyamic action is “level insensitive”, as the detector circuitry compares the High Frequency content to the low frequency content, Overall signal level doesn’t matter at all. When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel. Again, great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use. We use the latest technology VCA, specially selected for glitch free, distortion free, and noise free performance. The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover. HF Limit – (Bypass Button IN, HF LIM IN, all other buttons OUT). In this mode, the DerrEsser looks at the general level of the High Frequencies only. Think of it as a high frequency compressor. If there is enough high frequency content to exceed the threshold, then gain reduction occurs. It IS level sensitive, but responds much more to high frequencies. This mode can also act as a de-esser but is more of a general high frequency smoothing device.The HF limiter is probably the first carefully tailored soft knee HF limiter in existence. We believe both the DS and HF LIM modes offer the highest performance of any similar device. Highpass – (Bypass Button IN, Listen IN, HP/LP OUT, HF LIM doesn’t matter). By using the “LISTEN” Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio. With the LISTEN button IN, and the HP/LP switch OUT, the user will be hearing the high frequencies that are being controlled with the dynamic/compression circuits. The corner frequency is adjustable by the Frequency knob. Once the LISTEN switch is engaged, all bargraph LED’s should light as indication. Lowpass – (Bypass Button IN, Listen IN, HP/LP IN, HF LIM doesn’t matter). With the LISTEN button IN, and the HP/LP button IN, the user is now listening to the low frequencies, those not affected by the VCA and dynamic/compression circuits. This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob. Using for the first time The DerrEsser is not only a high frequency problem solver, but can be used as a super-quality HP or LP filter, AND as a coloring device to give a more analog sound to digital sources. Use the DerrEsser when you have a vocalist with prominent unnatural “S’s. The standard DS Mode is usually used, with the Frequency set to 2 – 6K. Adjust the threshold till the S’es are tamed and not much else is affected. The HF Limit will more generally smooth the high frequencies, gently subduing high frequencies that exceed the user adjusted threshold. Great on so many sources. The DS Mode can also help difficult problems like high hat bleed in the snare mike, or occasional SQUEEKS on an acoustic guitar or other instrument. See example settings. The HF Limit Mode is a general high frequency smoothing setting. Use it to soften the high end on zillions of sources, not just vocals. If you have a track that has high frequency spikes, or plucks, or edges, this can let you keep the air of the high end except when it really piles up.

Empirical Labs EL-DS DerrEsser - Vertical
De-esser/dynamic section from the Lil FrEQ as a module for API 500 Series

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The Empirical Labs DerrEsser is a multi function dynamic filtering device, in an API 500 series module format. In its basic “DS” mode, the DerrEsser is an effective, level insensitive de-esser, which is a device that will adjust the high frequency gain on overly trebly or spiky vocal, or other source. By using a crossover technique, and dividing the audio up into a high frequency range and a low frequency range, the DerrEsser can use its Voltage Controlled Amp to turn down comparatively high or harsh high frequencies in an extremely musical manner. However, unlike other de-essers, the device is not limited to just de-essing, and allows for multi use of its circuitry. The Four Modes of Operation - Besides Bypass, there are essentially four modes of the DerrEsser: DS Mode – (Bypass Button IN, all other buttons OUT). As a de-esser in the DS mode (HF Limit OFF), one can set the threshold to tame harsh S’s (sibilants) that result from an overly bright singer or from EQ’ing to make a vocal sound aggressive and clear. In this mode, the dyamic action is “level insensitive”, as the detector circuitry compares the High Frequency content to the low frequency content, Overall signal level doesn’t matter at all. When there is enough HF compared to LF, the threshold is exceeded and the DerrEsser starts to turn down the frequencies above the crossover point set by the Frequency control on the front panel. Again, great care was taken to ensure this DS section meets the Empirical Labs reputation for originality and ease of use. We use the latest technology VCA, specially selected for glitch free, distortion free, and noise free performance. The time constants were carefully selected and the corner frequency is user adjustable with a high performance active crossover. HF Limit – (Bypass Button IN, HF LIM IN, all other buttons OUT). In this mode, the DerrEsser looks at the general level of the High Frequencies only. Think of it as a high frequency compressor. If there is enough high frequency content to exceed the threshold, then gain reduction occurs. It IS level sensitive, but responds much more to high frequencies. This mode can also act as a de-esser but is more of a general high frequency smoothing device.The HF limiter is probably the first carefully tailored soft knee HF limiter in existence. We believe both the DS and HF LIM modes offer the highest performance of any similar device. Highpass – (Bypass Button IN, Listen IN, HP/LP OUT, HF LIM doesn’t matter). By using the “LISTEN” Function, the user can employ the superb filter circuitry inside the DerrEsser to process their audio. With the LISTEN button IN, and the HP/LP switch OUT, the user will be hearing the high frequencies that are being controlled with the dynamic/compression circuits. The corner frequency is adjustable by the Frequency knob. Once the LISTEN switch is engaged, all bargraph LED’s should light as indication. Lowpass – (Bypass Button IN, Listen IN, HP/LP IN, HF LIM doesn’t matter). With the LISTEN button IN, and the HP/LP button IN, the user is now listening to the low frequencies, those not affected by the VCA and dynamic/compression circuits. This is a 12 dB per octave filter whose corner frequency can again, be adjusted by the Frequency knob. Using for the first time The DerrEsser is not only a high frequency problem solver, but can be used as a super-quality HP or LP filter, AND as a coloring device to give a more analog sound to digital sources. Use the DerrEsser when you have a vocalist with prominent unnatural “S’s. The standard DS Mode is usually used, with the Frequency set to 2 – 6K. Adjust the threshold till the S’es are tamed and not much else is affected. The HF Limit will more generally smooth the high frequencies, gently subduing high frequencies that exceed the user adjusted threshold. Great on so many sources. The DS Mode can also help difficult problems like high hat bleed in the snare mike, or occasional SQUEEKS on an acoustic guitar or other instrument. See example settings. The HF Limit Mode is a general high frequency smoothing setting. Use it to soften the high end on zillions of sources, not just vocals. If you have a track that has high frequency spikes, or plucks, or edges, this can let you keep the air of the high end except when it really piles up.

Empirical Labs EL-DS DerrEsser - Vertical (Demo Deal)
De-esser/dynamic section from the Lil FrEQ as a module for API 500 Series

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Empirical Labs ELDS DerrEsser - Horizontal
De-esser/dynamic section from the Lil FrEQ as a module for API 500 Series

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The Grace Design m502 500 Series Optical Compressor takes the sonic performance characteristics from the compressor section of the well-regarded Grace Design m103 Channel Strip. The unit is based on an optical attenuator, the purest high fidelity gain control mechanism available, and provides gentle limiting to fairly aggressive compression while remaining neutral and transparent. The m502 employs the same compression circuit topology as the Grace Design m102 Optical Compressor but is housed in a chassis for installation in the popular 500 series racks. The front panel includes a bypass switch, a 3-position input gain switch ranging from -10 to +10, a link switch, 10 segment LED array to display gain reduction levels, rotary pots for control of Threshold, Attack, Release and Ratio, and a pot for output level. The m502 also includes jumper settings on the board that provides the ability to configure the stereo linking and side-chain functionality based on the specific 500 series rack used.

Grace Design m502 New!
Single-channel optical compressor for 500 Series racks

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Love your 500 Series rack, but can't quite pull off that "high-end" vocal sound you hear in your head? Enter The Brute from Inward Connections. This 500 Series compressor/limiter is a gentle giant, adding substantial warmth and presence to your vocal. It helps bring out a breathy and airy quality while at the same time smoothing out peaks and bringing the vocal up to the front of the mix where it belongs. A monster on vocals but not to be overlooked on guitars, bass, and anywhere else an optical limiter can be of use. 
<ul>
<li>Excels at giving you an up-front vocal sound</li>
<li>Inward Connections: boutique gear handmade in LA</li>
</ul>
 Excels at giving you an up-front vocal sound No frills here, just results. Send a vocal through The Brute and it'll sound like you've been working for days...or using gear many times more expensive. This optical limiter loves bringing vocals right up front in the mix, while retaining a smoothness and airiness, so you get just the right amount of squeeze. A VU meter is a nice addition for the 500 Series format, added to by a 250Hz highpass filter plus a link switch for when you can't get enough of The Brute. Inward Connections: boutique gear handmade in LA Initially one of LA's best-kept secrets, the word about Inward Connections has been sweeping the globe. After all, when you hear guys like Chris Lord-Alge and Eddie Kramer swearing by a brand, you know to pay attention. Dreamed up and designed by Steve Firlotte, a well-known LA tech, the Inward Connections line offers premium options for the discerning ear, all meticulously handmade in Firlotte's Los Angeles workshop.
 Inward Connections The Brute features:
<ul>
<li>500 Series optical limiter</li>
<li>Gain reduction control</li>
<li>Zero adjust trim</li>
<li>Output level control</li>
<li>Highpass filter: 250Hz for detector circuit</li>
<li>Bypass switch</li>
<li>LED lighted VU meter</li>
<li>VU meter output/reduction switch</li>
<li>Link switch</li>
<li>VF-600 all discrete legendary amp blocks</li>
<li>Opto-cell reduction circuitry identical to Vac Rac tube limiter</li>
<li>Balance input and output transformers</li>
<li>Fits standard 500 Series slot configuration mechanically and electrically</li>
<li>Powder coating in Gunmetal gray</li>
</ul>
Specifications:
<ul>
<li>Gain Reduction: up to 40dB</li>
<li>Input Impedance: >100K ohms balance</li>
<li>Output Impedance: 600 ohms balance</li>
<li>Frequency Response: +/- 0.5dB@20Hz to 50KHz</li>
<li>Output Signal to Noise: -95dB or greater</li>
<li>THD + Noise: .01%@1KHz/+4dBu</li>
<li>Reserve Makeup Gain: +15dB</li>
</ul>

Inward Connections The Brute
500 Series optical compressor sends vocals straight to the front

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Sometimes a kick in the face is just what you need. That's precisely why the Inward Connections Vogad has been finding a home in drum-centric 500 Series setups. This extremely versatile, punchy VCA compressor/limiter takes advantage of a VF-600 amp block adding mojo and warmth to balance its energetic punch. The Vogad is an all-around excellent channel dynamic, featuring a link switch for use on the drum bus or across the entire mix. <ul><li>Gives teeth to drum tracks or anything needing punch</li><li>Inward Connections: boutique gear handmade in LA</li></ul> Gives teeth to drum tracks or anything needing punch When you're wanting that extra bit of cut, punch, or kick, the Vogad is ready to deliver. It's a monstrous VCA compressor, managing to add oomph without becoming overbearing or wearing you out. The Vogad loves drums, individually or sent as a stereo bus made possible by the Stereo Link Switch. All in all, the Vogad pulls of "modern" while retaining a vintage warmth and vibe you'll love. Don't forget to try it on a synth hook. Inward Connections: boutique gear handmade in LA Initially one of LA's best-kept secrets, the word about Inward Connections has been sweeping the globe. After all, when you hear guys like Chris Lord-Alge and Eddie Kramer swearing by a brand, you know to pay attention. Dreamed up and designed by Steve Firlotte, a well-known LA tech, the Inward Connections line offers premium options for the discerning ear, all meticulously handmade in Firlotte's Los Angeles workshop. Inward Connections Vogad features:<ul><li>500 Series VCA compressor </li><li>VF-600 discrete amp blocks</li><li>Differential balance input transformerless</li><li>Balance output transformer</li><li>Fits standard 500 Series slot configuration mechanically and electrically</li><li>Gain Makeup Control +/- 16dB attenuation</li><li>Threshold Control -40dB to +22dB. This allows for low level compression to high level limiting</li><li>Ratio Control ranges from 2:1 to 30:1 to infinity</li><li>Attack Control ranges from .2 milliseconds to 20 milliseconds</li><li>Release Control ranges from .1 seconds to 3 seconds</li><li>Gain Reduction Meter: 10-segment LED meter bar that ranges from -2dB to -20dB</li><li>Highpass Filter: 250Hz for detector circuit only</li><li>Stereo Link Switch allows module detector circuit to be tied to adjacent compressor module. Both link switches have to be in the “UP” position</li><li>Bypass Switch controls a bypass relay</li><li>Powder coating in Gunmetal gray</li></ul>

Inward Connections Vogad On sale, save 20%!
500 Series VCA compressor with modern punch, perfect for drums

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The Lipinski Sound L-629 500
series compressor’s basic principle of operation and ballistics is
based on the famous Fairchild Compressor as its extremely fundamental
design is rooted in the patented “Lipinski Square” circuitry. This
unique circuitry completely eliminates distortion on low frequencies
and on low-release time a covetable quality in a compressor of this
kind. 
 
Lipinski Sound L-629 Features <ul><li>Basic principle of operation and ballistics based on the famous Fairchild compressor</li><li>Patented circuit completely eliminating distortion on low frequencies and on low-release time. </li><li>All other compressors on short release time and on low frequencies changes amplification within single sine wave, commonly a major source of distortion.</li><li>Extremely fundamental design based on patented "Lipinski Square" circuitry</li><li>No capacitors in the signal path</li><li>No Integrated Circuits (IC's) in the signal path</li><li>Only 0.04% maximum distortion with the highest (18dB) compression</li><li>Extremely fast attack time - 0.01ms (1/5th 20kHz sine wave)</li><li>Tape
Simulation doesn't generate gimmicky even-harmonic distortions. This
feature senses and triggers compression on high frequencies (correction
within control network)</li><li>Auto gain: additional 5 sec. attack time, and 5 min. release time</li><li>Auto
control has ballistics similar to VU meter, it is based on photo
resistor, completely eliminates distortion with zero adjustment error -
quality on output signal totally independent of input level</li><li>Peak meter: switchable before and post compression</li><li>Hard wiring option for stereo operation </li></ul>

Lipinski L-629 Compressor
500 Series module based on the fabled Fairchild Limiter

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The Moog Ladder packs all the punch, fullness and analog euphoria
 of the original Moog Filter, but adds key component and feature 
upgrades required for professional studio use. From classic Moog 
filtering and vibe to modern sweetening and wild, exciting behavior; The
 Ladder is a powerful, articulate sound sculpting tool. 
 
Features: 
<ul><li>Low Pass and High Pass: The Ladder has inherited the smoothest all-analog filter section possible. Choose between LP and HP at the flick of a switch.</li><li>Cutoff: Simply adjust this knob to determine where The Ladder begins to sculpt the sound.</li><li>Attack and Release: These variable controls allow you to 
perfectly dial in the timing behavior of The Ladder's envelope section. 
Use them to open and close the envelope as fast as lightning, or slow as
 molasses.</li><li>Amount: Use in Positive or Negative mode for mild to 
extreme sound shaping and manipulation. The amount determines how much 
signal is sent to the envelope section of The Ladder. From slight 
timbral excitement and voicing to extreme compression-like behavior and 
even reversed filtering is achievable.</li><li>Resonance: Controls the amount of harmonic bump at the 
cutoff frequency. This is the voice of The Ladder. Create sweet, dynamic
 or extreme speech like behavior and beyond. Accentuate specific 
frequencies to excite a sound or create completely new and unique ones. 
NOTE: The Ladder's Resonance control can push the unit into 
self-oscillation. This can be used for effect if desired.</li><li>2Pole/4Pole: Select how aggressive the filter slope is. 2 
pole is equal to 12db per octave, which is smooth and sweet, while 4 
pole is 24db per octave, which is hard, aggressive and most similar to a
 Classic Moog filter.</li><li>Bypass: Totally transparent relay bypass for routing and A/B comparison</li></ul>

Moog Music The Ladder
500 Series Dynamic Ladder Filter based on Bob Moog's original ladder filter design

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Moog Music The Ladder (Demo Deal)
500 Series Dynamic Ladder Filter based on Bob Moog's original ladder filter design

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