Mastering Compressor / Limiters | VintageKing.com

Mastering Compressor / Limiters

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 <span style="font-weight: bold;">ADL 670 Stereo Tube Limiter</span>, 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

The <span style="font-weight: bold;">Chandler Limited EMI TG12413 Zener Limiter</span> is the ultimate TG Limiter issued in celebration of the 75th birthday of Abbey Road Studios. The Zener Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. This newest EMI Limiter continues the tradition of EMI Limiters started in 1956 with the RS114 tube limiter, and continued with the RS168 Zener Limiter in 1966, part of the TG12345 console channel in 1968 and TG12413 in 1974. The newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a new fully featured and flexible unit for modern use. It is interesting to note that the TG Limiter was originally designed to replace both the Fairchild 660 (Limit Mode) and the Altec 436/RS124 (Comp 1 Mode)<br><br>The main reason for Zener Limiter reissue was to add features and flexibility to the powerful and vintage sounding TG limiter circuits. To that end Wade has added many new controls including switch able input impedance for hard of soft driving of the unit, 11 position attack, 21 position release, side chain filtering, and Comp1, Comp2, and Limit settings.<br><br>A simple Limiter from the rich past of EMI and Abbey Road has now come full circle into a modern powerhouse suitable for recording, mixing, and mastering. The rest is NEW Chandler Limited/EMI/Abbey Road history....

Chandler EMI TG12413 Zener Limiter
The ultimate TG limiter issued in celebration of the 75th birthday of Abbey Road Studios

The <b>Crane Song STC-8</b> is a high quality stereo compressor combined with a remarkably dependable peak limiter, providing overload protection critical to digital recording and broadcast transmitters. The STC-8's compressor is engineered to provide musically transparent gain KI & HARA Sounds control, but is also capable of emulating vintage equipment and creating distinctive new sounds.
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In addition, a switchable enhancement circuit creates analog and tube like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-Optimized Presetsup on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch.
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The STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain circuit. High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements.
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The STC-8 requires 2 rack spaces. All inputs and outputs are transformerless and balanced. The toroidal power transformer is UL approved and allows four line voltages for international use.
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The STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.

Crane Song STC-8/M
Mastering version STC-8 with all detented pots

GML 2030
2 Channel Mastering Dynamic Range Controller. Includes 2x 9015 Power Supply.

Manley SLAM! - Mastering Version
Mastering Version SLAM! - Analog base unit

The <b>Manley Variable MU Limiter/Compressor</b> is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that. <br><br>The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here! You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.

Manley Stereo Variable Mu - Mastering Version
Tube compressor/limiter with high-pass filter option - mastering version

With the <B>Maselec MLA-3 </B>the input signal is split into three frequency-bands. Each band is passed through a stereo
compressor where gain and compression can be altered.
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The outputs of the compressors are then re-combined and fed to the outputs.
There are four different frequencies for each of the two crossovers that can be separately
selected for the low-to-mid and the mid-to-high bands.
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The three frequency-band compressors have separate controls so that different parts of the
audio spectrum can be adjusted and tuned.
With separate gain controls for each frequency-band, the MLA-3 can be used as an equalizer.
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You can always adjust the controls for the separate frequency bands to different settings.
There is no technical reason why they should be the same for all frequencies.
Overall Input and Output gain controls make it easy to set up for different operating levels.
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<B>Inputs</B> <BR>
The inputs are electronically balanced, virtually ground floating, making them perform as if they
are transformer coupled, but without the associated colouration, low frequency distortion and
restricted bandwidth.
The input impedance is 100kohm. Maximum input >+29dBu (balanced).
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<B>Outputs</B> <BR>
The outputs are electronically balanced and can deliver >+28dBu into 600ohm (balanced).
Output impedance is 33ohm (balanced and unbalanced).
Both inputs and outputs can be unbalanced by simply grounding either pin 2 or pin 3.

Maselec MLA-3
Two-channel multi-band compressor

The <b>Maselec MPL-2 </b>is a brick-wall and high frequency limiter. It can be used to achieve high subjective levels and reduce unwanted high frequency levels (de-essing). <br><br>The MPL-2 is also used to ‘smooth’ and give digital recordings a more ‘analogue’ character. <br><br>The <span style="font-weight: bold;">Maselec MPL-2</span> is housed in a 1U 19" rack mount alloy case. A minimum of controls is used due to automatic time constants and optimisation techniques for the gain reduction. The advantage is not only simple operation but also increased performance for highly dynamic and inconsistent materials without the need for continuous readjustments.<br><br>The input gain does not reduce the wide dynamic range of the limiter. It can be used at its maximum setting with no increased risk of distortion. This eliminates the need for excessive levels, which could cause clipping in equipment feeding the input of the limiter. A further benefit is that the maximum peak output level (set with the threshold) is independent of different gain settings.<br><br>High Frequency Limiting is primarily intended for use as a de-esser, reducing unattractive high frequencies. Part of the high frequency limiter circuit is also used to reduce distortion from the wideband limiter. <br><br>Users of the MPL-2 will notice the removal of spurious peaks, and an increase of subjective levels, without the coloration and increased distortion so often associated with soft clippers and other ultra fast limiters.

Maselec MPL-2
Single-channel peak and high-frequency limiter

<B>An Essential Tool For Surround Mixing. <BR></B>The 8051 is a hand-made and hand-wired analogue compressor with six transformer balanced audio paths, complemented by two side chains and a key input. Based on six 2254 compression circuits—using the same feedback topology as our legendary 33609 stereo compressor—the 8051 delivers the famous Neve sound in spades. Flexible side chain routing, trimming and filtering make this a powerful and responsive tool for surround mixing and mastering. <BR><BR>Each channel can be controlled from either Side Chain A or Side Chain B, and the six signal paths can be split between the two side chains in any format required. Each audio channel can be routed to either or both side chains; for example the Centre channel in a 5.1 mix may be compressed using Side Chain A but also input to Side Chain B to control compression of the Surround Channels. <BR><BR>The 8051’s compression is exceptionally smooth, and the compression remains transparent even at extreme settings. Together with the unit’s ease of use and incredible flexibility, this sound quality has made the 8051 one of the world’s most desirable units for surround mixing and mastering. Providing legendary Neve analogue sound quality without relinquishing any control, the 8051 is available as a standalone unit or can be fitted to Neve 88RS series consoles.<BR><BR><B>Heritage <BR></B>Like all Neve outboard products, the 8051 Surround Compressor is hand-built and hand-wired by skilled Neve professionals in Burnley, England. Its fully discrete audio paths and classic feedback control circuit design delivers vintage Neve sound, and builds on the legacy of the highly sough-after 33609 Stereo Compressor.

Neve 8051 5.1 Surround Compressor/Limiter
Surround compressor/limiter

With input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the <span style="font-weight: bold;">Rupert Neve Designs Master Buss Processor (MBP)</span>  will integrate flawlessly with virtually any system. Additionally, the  MBP incorporates mastering grade detented pots throughout to fine tune  its revolutionary dynamics, tone, and stereo field controls. This new  topology is a significant evolution of Mr Rupert Neve’s classic designs  with appreciable benefits to headroom, dynamic range, distortion, noise,  slew rate, bandwidth, and accuracy while still providing for the sweet,  musical performance that has been a part of countless recordings.<br> <br> <span style="font-weight: bold;">The Compressor</span><br> The MBP’s two compressor sections allow virtually limitless  possibilities in dynamics for either dual mono or stereo sources, with  controls for ratio, threshold, attack, release, blend, side chain HPF,  limit and make up gain. With the stereo link control engaged, Ch. A  settings act as the master control for convenient operation. When  engaged, the compressor section can be used in both feed-forward and  feed-back modes to provide a transparent modern response (feed-forward),  or a smoother more musical vintage response (feed-back). Peak mode  alters the compressor’s attack to react to peak transients with a  roughly .1ms response time. When the Peak switch is disengaged, the  compressor responds to the RMS signal in conjunction with the attack and  release settings. SC HPF inserts a high pass filter at 250 Hz into the  side chain to deal with intense low frequencies that may skew the  response of the VCA with certain songs and instruments. “Blend” creates a  parallel mix between the compressed and dry signals. By mixing the  compressed and dry signals, it is possible to increase the volume of  quieter elements in the source material (for instance, delicate snare  brushing on a track with much louder hits), while maintaining a natural  dynamic feel for the louder elements.<br> <br> To further control the side chain, there is also an insert “send” and  “return” that may be paired with an external EQ or other filters for  additional manipulation. The “return” may also be used as a “Key” input  for ducking one signal to another (for instance, a voice-over keying the  compressor to duck a background music track).<br> <br> <span style="font-weight: bold;">The Limiter</span><br> The Portico II Master Buss Processor also features an extremely  versatile, transparent and musical limiter. At first glance, one might  scoff at the single knob operation, however this limiter is extremely  intelligent, knowing how to appropriately respond to the various signals  presented to it. Our new Adaptive Release Technology is behind this  revolutionary performance. Using a blend of release time constants, this  limiter will simultaneously respond quickly to transient material (such  as the “snap” of a snare drum) and slowly to more sluggish signals  (such as a bass guitar). This configuration allows the limiter to grab a  transient and let go just an instant later, while also dealing with  more constant signals in a slower, more musical way. In this manner, the  MBP Limiter can provide a much more aggressive amount of limiting than  typically possible, while maintaining the essential character of the  music and remaining free of the modulation distortion usually found in a  fast acting limiter.<br> <br> Typically there is a tradeoff between how fast limiter can react and the  amount of modulation distortion in the lower frequencies. This is due  to the lower frequencies finding their way into the side chain signal,  triggering the compressor on and off very quickly, which ends up  modulating the overall signal. This is interesting to look at with sine  waves, but sounds quite undesirable with music. The MBP does not have  this tradeoff, and one is able to have the best of both worlds: a quick,  snappy response while maintaining the integrity and smoothness of the  low end. In addition to the adaptive time constant circuitry, the  release time is also varied with the position of the knob. As the knob  is turned counter clock-wise, the release time is increased accordingly,  as typically one would want a longer release time with a larger amount  of reduction.<br> <br> The new limiter found in the MBP is designed to respond as fast as .03  mS in order to reduce the first half of a 20 kHz waveform over the  threshold. It has a “medium knee” initial ratio and within 3 dB of the  threshold attains a better than 10:1 ratio. A soft clipper circuit  catches transients that may have been in the “knee” when the threshold  knob is set quite high. Both the limiter and soft clipper are switched  out of circuit with the knob is fully clockwise. The release times are  fully automatic and adjust depending both on the average depth of  limiting and the duration of the transients above the threshold. The  limiters share the same discrete, class-A gain module and VCA with the  compressors, so using the Limiter does not introduce more stages that  the music would have to pass through. This combination of features  provides exceptionally transparent limiting, and often allows twice as  much gain reduction compared to other limiters before objectionable  artifacts become apparent.<br> <br> <span style="font-weight: bold;">The Stereo Field Editor</span><br> The stereo field editor on the MBP takes traditional M-S techniques to  new heights with width, depth and corresponding bandpass filters.<br> <br> The width control enables the user to increase or decrease the width of a  stereo image (wide/mono) and adjust the amount of ambiance inherent in  the recording. As the width control is rotated toward wide, the amount  of difference material is boosted, often resulting in more ambient  material, and accentuated stereo reverbs. Conversely, the stereo field  is contracted when rotated to mono, and, if the left and right channels  are highly coherent (i.e. both channels include closely similar material  that is in phase), this mono content is enhanced. If the phase of one  of the input channels is then reversed the mono content may be virtually  eliminated. Because the amount of effect the width control has is  entirely dependent on the amount of stereo information in the original  source material and the interplay between the stereo field editor′s  other controls, listening and experimentation are essential for the best  results.<br> <br> The depth control of the MBP adjusts the spatial positioning of elements  in the sound stage. Center-panned elements like solo instrument or  vocal can be brought forward in a mix, in relation to supporting  instruments. In many cases, these same elements may be virtually  eliminated without adversely affecting the music bed. Used in  conjunction, the depth and width controls effectively alter the  perceived room ambience and dimension.<br> <br> To fine tune the SFE, there are individual filters that allow a fine  tuning of what information is reintroduced from the width and depth  circuits, thus tailoring each effect to a specific bandwidth. For  example, if one wanted to increase the amount of low frequencies in the  center image, engaging the SFE Depth and Depth EQ, set to LF, would  filter out everything in the Mid signal except what is below the filter  point (in this case, 250 Hz), and once reintroduced to the original  would result in a perceived increase in the low frequencies in the  center image. It is also possible to do the same thing with the Width  EQ, except instead of boosting the width, cutting it, which removes low  frequencies from the Sides, tightening up the low frequency perception  in the center. Using the Width EQ again, this time set to HM (or LM as  the case may be), increasing the amount of band-passed Side information  can provide a wonderful spreading of instruments, reverberation and  background vocals, giving the illusion that the sounds are spread  further out, enveloping the listener.<br> <br> Another technique available on the SFE is routing the Mid and Side  signals to the Channel A and Channel B compressors, respectively. Now  whatever amount of Depth or Width is introduced is first routed to the  compressors, allowing the user to utilize the compressor features on the  Mid and Side information. Now it is possible to not only increase the  side information, but to utilize the compressor to bring up some of the  low level side information, or allow the user to tame an overly  expressive lead singer. With the addition of using the EQ section on the  Depth and Width, a wide range of tools is available to the engineer.

Rupert Neve Designs Portico II Master Buss Processor
Stereo bus compressor that redefines the boundaries and limitations of traditional two-channel dynamic control

With input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the <span style="font-weight: bold;">Rupert Neve Designs Master Buss Processor (MBP)</span>  will integrate flawlessly with virtually any system. Additionally, the  MBP incorporates mastering grade detented pots throughout to fine tune  its revolutionary dynamics, tone, and stereo field controls. This new  topology is a significant evolution of Mr Rupert Neve’s classic designs  with appreciable benefits to headroom, dynamic range, distortion, noise,  slew rate, bandwidth, and accuracy while still providing for the sweet,  musical performance that has been a part of countless recordings.<br> <br> <span style="font-weight: bold;">The Compressor</span><br> The MBP’s two compressor sections allow virtually limitless  possibilities in dynamics for either dual mono or stereo sources, with  controls for ratio, threshold, attack, release, blend, side chain HPF,  limit and make up gain. With the stereo link control engaged, Ch. A  settings act as the master control for convenient operation. When  engaged, the compressor section can be used in both feed-forward and  feed-back modes to provide a transparent modern response (feed-forward),  or a smoother more musical vintage response (feed-back). Peak mode  alters the compressor’s attack to react to peak transients with a  roughly .1ms response time. When the Peak switch is disengaged, the  compressor responds to the RMS signal in conjunction with the attack and  release settings. SC HPF inserts a high pass filter at 250 Hz into the  side chain to deal with intense low frequencies that may skew the  response of the VCA with certain songs and instruments. “Blend” creates a  parallel mix between the compressed and dry signals. By mixing the  compressed and dry signals, it is possible to increase the volume of  quieter elements in the source material (for instance, delicate snare  brushing on a track with much louder hits), while maintaining a natural  dynamic feel for the louder elements.<br> <br> To further control the side chain, there is also an insert “send” and  “return” that may be paired with an external EQ or other filters for  additional manipulation. The “return” may also be used as a “Key” input  for ducking one signal to another (for instance, a voice-over keying the  compressor to duck a background music track).<br> <br> <span style="font-weight: bold;">The Limiter</span><br> The Portico II Master Buss Processor also features an extremely  versatile, transparent and musical limiter. At first glance, one might  scoff at the single knob operation, however this limiter is extremely  intelligent, knowing how to appropriately respond to the various signals  presented to it. Our new Adaptive Release Technology is behind this  revolutionary performance. Using a blend of release time constants, this  limiter will simultaneously respond quickly to transient material (such  as the “snap” of a snare drum) and slowly to more sluggish signals  (such as a bass guitar). This configuration allows the limiter to grab a  transient and let go just an instant later, while also dealing with  more constant signals in a slower, more musical way. In this manner, the  MBP Limiter can provide a much more aggressive amount of limiting than  typically possible, while maintaining the essential character of the  music and remaining free of the modulation distortion usually found in a  fast acting limiter.<br> <br> Typically there is a tradeoff between how fast limiter can react and the  amount of modulation distortion in the lower frequencies. This is due  to the lower frequencies finding their way into the side chain signal,  triggering the compressor on and off very quickly, which ends up  modulating the overall signal. This is interesting to look at with sine  waves, but sounds quite undesirable with music. The MBP does not have  this tradeoff, and one is able to have the best of both worlds: a quick,  snappy response while maintaining the integrity and smoothness of the  low end. In addition to the adaptive time constant circuitry, the  release time is also varied with the position of the knob. As the knob  is turned counter clock-wise, the release time is increased accordingly,  as typically one would want a longer release time with a larger amount  of reduction.<br> <br> The new limiter found in the MBP is designed to respond as fast as .03  mS in order to reduce the first half of a 20 kHz waveform over the  threshold. It has a “medium knee” initial ratio and within 3 dB of the  threshold attains a better than 10:1 ratio. A soft clipper circuit  catches transients that may have been in the “knee” when the threshold  knob is set quite high. Both the limiter and soft clipper are switched  out of circuit with the knob is fully clockwise. The release times are  fully automatic and adjust depending both on the average depth of  limiting and the duration of the transients above the threshold. The  limiters share the same discrete, class-A gain module and VCA with the  compressors, so using the Limiter does not introduce more stages that  the music would have to pass through. This combination of features  provides exceptionally transparent limiting, and often allows twice as  much gain reduction compared to other limiters before objectionable  artifacts become apparent.<br> <br> <span style="font-weight: bold;">The Stereo Field Editor</span><br> The stereo field editor on the MBP takes traditional M-S techniques to  new heights with width, depth and corresponding bandpass filters.<br> <br> The width control enables the user to increase or decrease the width of a  stereo image (wide/mono) and adjust the amount of ambiance inherent in  the recording. As the width control is rotated toward wide, the amount  of difference material is boosted, often resulting in more ambient  material, and accentuated stereo reverbs. Conversely, the stereo field  is contracted when rotated to mono, and, if the left and right channels  are highly coherent (i.e. both channels include closely similar material  that is in phase), this mono content is enhanced. If the phase of one  of the input channels is then reversed the mono content may be virtually  eliminated. Because the amount of effect the width control has is  entirely dependent on the amount of stereo information in the original  source material and the interplay between the stereo field editor′s  other controls, listening and experimentation are essential for the best  results.<br> <br> The depth control of the MBP adjusts the spatial positioning of elements  in the sound stage. Center-panned elements like solo instrument or  vocal can be brought forward in a mix, in relation to supporting  instruments. In many cases, these same elements may be virtually  eliminated without adversely affecting the music bed. Used in  conjunction, the depth and width controls effectively alter the  perceived room ambience and dimension.<br> <br> To fine tune the SFE, there are individual filters that allow a fine  tuning of what information is reintroduced from the width and depth  circuits, thus tailoring each effect to a specific bandwidth. For  example, if one wanted to increase the amount of low frequencies in the  center image, engaging the SFE Depth and Depth EQ, set to LF, would  filter out everything in the Mid signal except what is below the filter  point (in this case, 250 Hz), and once reintroduced to the original  would result in a perceived increase in the low frequencies in the  center image. It is also possible to do the same thing with the Width  EQ, except instead of boosting the width, cutting it, which removes low  frequencies from the Sides, tightening up the low frequency perception  in the center. Using the Width EQ again, this time set to HM (or LM as  the case may be), increasing the amount of band-passed Side information  can provide a wonderful spreading of instruments, reverberation and  background vocals, giving the illusion that the sounds are spread  further out, enveloping the listener.<br> <br> Another technique available on the SFE is routing the Mid and Side  signals to the Channel A and Channel B compressors, respectively. Now  whatever amount of Depth or Width is introduced is first routed to the  compressors, allowing the user to utilize the compressor features on the  Mid and Side information. Now it is possible to not only increase the  side information, but to utilize the compressor to bring up some of the  low level side information, or allow the user to tame an overly  expressive lead singer. With the addition of using the EQ section on the  Depth and Width, a wide range of tools is available to the engineer.

Rupert Neve Portico II Master Buss Processor (Demo Deal)
Stereo bus compressor that redefines the boundaries and limitations of traditional two-channel dynamic control

The <b>Shadow Hills Mastering Compressor</b> has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.<br><br>The input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.<br><br>The first position is Nickel, which is our custom version of a famous L. A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.<br><br>The optical section has a hard-wired bypass that completely removes it from the signal path, and the Class-A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a strait wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.<br><br>For instance, you might call up the chain of the optical compressor, then to the Class-A output and Iron transformer, for vocals, or select just the Class-A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.<br><br>The metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.<br><br>All 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite.<br><p><a href="http://instantvintage.net/docs/Shadow_Hills_Mastering_Comp_Resolution_Oct_2010.pdf" target="_blank"><img src="http://instantvintage.net/docs/resolution_oct_2010.jpg" alt="Resolution October 2010" name="" width="150" height="182" hspace="3" align="left" border="0"></a><a href="http://instantvintage.net/docs/Shadow_Hills_Mastering_Comp_Resolution_Oct_2010.pdf" target="_blank">Read the Shadow Hills Mastering Compressor Review, Resolution, October 2010</a></p>

Shadow Hills Industries Mastering Compressor
Mastering grade compressor/limiter for tracking and mixing. Requires Shadow Hills PSU (not included).

<P>The Finalizer 96K's all new set of advanced features and enhancements, including 96kHz internal and external processing truly puts the world of professional mastering within reach of every studio - large or small. 
<P>Inserted between the stereo output of your mixer or workstation and your master recording media, the Finalizer 96K dramatically rounds out your material, creating that "radio ready" sound - previously unattainable outside a professional mastering house.</P>
<P><B>What does the FInalzer 96K do?<BR></B>When you use the Finalizer 96K you can easily enhance the Dynamics of your mix while you mix. Inserted between the Stereo output of your mixer or DAW and your DAT or CDR, it enhances the dynamics and ensures optimal Analog to Digital conversion.<BR><BR></P>
<P>
<LI><B>Convert:</B> 24bit/96kHz resolution A/D and D/A converters, Format conversion (AES/EBU, S/PDIF and Tos-link) ADAT interface (track bounce) 
<LI><B>Sample Rate Conversion:</B> Enter and exit at any Sample Rate e.g. 32, 44.1, 48, 88.2 and 96kHz and make even asynchronous conversion possible 
<LI><B>Shape:</B> Five band 24bit Stereo Digital Equalizer 
<LI><B>Enhance:</B> Choose between Dynamic EQ, Stereo Adjust, Digital Radiance Generator™ and Spectral Stereo Image 
<LI><B>Normalize:</B> Real-time Gain Maximizer 
<LI><B>Expand:</B> Variable Slope multiband Expander 
<LI><B>Squeeze:</B> Multiband Compressor 
<LI><B>Trim:</B> Variable Ceiling multiband Limiter 
<LI><B>Fade:</B> Manual or Auto Fade Tool 
<LI><B>Dither:</B> Maintain the highest resolution at the digital AES/EBU and S/PDIF outputs, Tos-link and ADAT 
<LI><B>Balance:</B> L/R balance in 0.1dB steps <BR><BR>In short, all the tools you need are provided in the Finalizer 96K and makes it essential in your studio.</LI>

TC Electronic Finalizer 96K
Studio Mastering Processor; EQ, Multiband Comp/Lim/Exp

The Finalizer Express is the fast and efficient way to turn your mix into a Professional Master! Based upon TC's Multi-Award winning Finalizer Mastering Technology, it delivers the finishing touches of clarity, warmth and punch to your mixes, putting the world of professional mastering within your reach.<BR><BR><B>TC Electronic Finalizer Express at a Glance:</B><BR>
<UL>
<LI>Refines your tracks and adds energy without "overs"<BR></LI>
<LI>Tightens bass, improves balance and levels are optimized</LI></UL><BR><B>Refines your tracks and adds energy without "overs"</B><BR>Insert the Finalizer Express between the stereo output of your mixer or workstation and your mastering recording media to refine your tracks with powerful mastering tools, adding real energy to your mix without worrying about "overs".<BR><BR><B>Tightens bass, improves balance and levels are optimized</B><BR>Punch up your mix with the fast intuitive user-interface and deliver the ultimate sound quality you deserve - quick and clean! Spectral balance is improved, bass is tightened, the level is optimized and your mix sounds like a final master! <BR><BR>       <BR><B>TC Electronic Finalizer Express Features:</B><BR>
<UL>
<LI>Bring your mixes to life with TC's unique Multiband Compressor and Limiter algorithms<BR></LI>
<LI>Boost and cut over three bands with the Spectral Balance Controls<BR></LI>
<LI>Prevent "overs" from occurring with Soft Clipping<BR></LI>
<LI>Foresee incoming peaks with Look Ahead Delay, allowing for faster, more accurate response<BR></LI>
<LI>Use the Finalize Matrix for 25 variations in style and rate<BR></LI>
<LI>Optimize your overall level with the Automatic Make-Up Gain<BR></LI>
<LI>Add extra compression in each band by using the Emphasis keys<BR></LI>
<LI>Record your fades from the built in Digital Fader or the optional TC Master Fader via MIDI<BR></LI>
<LI>24-bit resolution A/D & D/A converters<BR></LI>
<LI>16 and 20-bit dithering<BR></LI>
<LI>Industry standard connectivity: AES/EBU, S/PDIF, Optical Toslink and MIDI I/Os<BR></LI>
<LI>High-resolution LED metering of I/O & multi-band gain reduction</LI></UL>

TC Electronic Finalizer Express
Direct Access Mastering Processor, Multiband Compression/Limiting

Thermionic Culture have released a new version of the Mastering valve compressor, the <span style="font-weight: bold;">Thermionic Culture Phoenix Mastering Plus</span>. The classic hand built point to point wired soft knee compressor has a compression ratio from 1.2:1 to 5:1 at 15dB of compression and uses Mullard and Siemens valves and custom Sowter transformers.<br><br>Following on from the success of the previous models including the red face anniversary limited edition the new model features new switched and stepped rotary controls for quick and easy recall. The input gain features a 24 position ELMA, a 11 position ELMA for the Threshold, 6 position ALPHA attack and release and a 31 position OMEG stepped output pot. The same side chain filter section as previous versions has been retained.<br><br>A significant difference to the previous M/C versions is the the Mastering Plus now has the same input gain structure as the standard model Phoenix, enabling the mastering Plus to cope with tracking and mixing of individual instruments and vocals that may require high amounts of compression.<br><br>Other new features include a standby switch which is provided to extend valve and capacitor life. When in 'standby' the HT current through the valves is only 50% of the normal value. The meter zero level adjusters have now been brought to the front panel to avoid having to take the unit out of the rack and so making calibration easier.

Thermionic Culture Phoenix Mastering Plus
Stereo valve compressor for mastering applications

The MK3 version of the DS1 - a software upgrade for the DS1-MK2:
<ul>
<li>Independent parameter control in the two channels
</li><li>M/S mode selectable
</li><li>Sidechain link on / off switchable
</li><li>Peak / RMS sidechain processing
</li><li>Factory Presets programmed by Mr. Bob Katz
</li><li>24 Bit POW-R dithering
</li><li>DS1-MK2 snapshots can be loaded in</li></ul>

Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer.

<br><br>
The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the <b>Weiss Gambit DS1</b>, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity.
<br><br>
In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.<br>
<ul>
   <li>Presets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor/limiter type.
    </li><li>Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals.
    </li><li>Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency.
  </li><li>Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time.
    </li><li>Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold.
    </li><li>Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.</li></ul>
<br><br>
<b>Some noteable features:</b><ul>

<li>Soft knee feature
    </li><li>Dual mode unit (DeEsser or Compressor/Limiter)
    </li><li>Oversampling sidechain
  </li><li>Oversampling audio path in Compressor / Limiter mode
  </li><li> Linear-phase band splitter
   </li><li>Overall delay controllable in multiples of video frames
   </li><li>Preview delay for early anticipation of level peaks
    </li><li>Graphical LCD with comprehensive metering and settings information
    </li><li> Metering of input level, output level, gain reduction
   </li><li>128 snapshots with 2 times 128 snapshots backup
   </li><li>Each parameter MIDI controllable, MIDI dump of snapshots
    </li><li>AES/EBU input / output
    </li><li>The DS1 is absolutely bit-transparent as long as no gain reduction occurs - even in De-Esser mode.</li></ul>

Weiss DS1-MK3
Digital mastering compressor/limiter/de-esser - 96 kHz

The MK3 version of the DS1 - a software upgrade for the DS1-MK2: <ul> <li>Independent parameter control in the two channels </li><li>M/S mode selectable </li><li>Sidechain link on / off switchable </li><li>Peak / RMS sidechain processing </li><li>Factory Presets programmed by Mr. Bob Katz </li><li>24 Bit POW-R dithering </li><li>DS1-MK2 snapshots can be loaded in</li></ul>  Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer.   <br><br> The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the <b>Weiss Gambit DS1</b>, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. <br><br> In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.<br> <ul>    <li>Presets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor/limiter type.     </li><li>Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals.     </li><li>Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency.   </li><li>Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time.     </li><li>Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold.     </li><li>Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.</li></ul> <br><br> <b>Some noteable features:</b><ul>     <li>Soft knee feature     </li><li>Dual mode unit (DeEsser or Compressor/Limiter)     </li><li>Oversampling sidechain   </li><li>Oversampling audio path in Compressor / Limiter mode   </li><li> Linear-phase band splitter    </li><li>Overall delay controllable in multiples of video frames    </li><li>Preview delay for early anticipation of level peaks     </li><li>Graphical LCD with comprehensive metering and settings information     </li><li> Metering of input level, output level, gain reduction    </li><li>128 snapshots with 2 times 128 snapshots backup    </li><li>Each parameter MIDI controllable, MIDI dump of snapshots     </li><li>AES/EBU input / output     </li><li>The DS1 is absolutely bit-transparent as long as no gain reduction occurs - even in De-Esser mode.</li></ul>

Weiss DS1-MK3 (Demo Deal)
Digital mastering compressor/limiter/de-esser - 96 kHz




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