In "Level" mode, the Level-Or acts very much like the Level-Loc. An additional, faster release time has been added for even more flexibility and a broader range of compressed sounds.
In "Crunch" mode, the Level-Or sets itself apart from anything else like it. By sweeping the input level over the range provided, a huge palette of sounds can be reached from slight harmonic enhancement, to aggressive crunch, to buzz-saw like distortion, to complete and utter destruction of the original source material.
Between these two available modes, there is a huge array of sounds that can be produced from this unit. Simple drum loops can be taken from boring to unique and drum room mics can be crushed or distorted to taste adding size and character to the overall sound. Bass, guitar, and keyboard sounds can be manipulated, taking on completely new and different sounds than the original source material.
*Note: Due to the nature of the design of this unit, it is very aggressive sounding; with noticeable pumping, distortion, and some noise.
We consider this a good thing!
Features
Transformer balanced input
Electronically balanced, line level output stage capable of driving balanced loads as low as 600 ohms.
Two modes of operation:
Level – Sound of unit is dominated by JFET limiter
Crunch – Sound of unit is dominated by harmonic distortion from the discrete transistor-based, Class A amplification stages
Additional release time added that is twice as fast as original release
Output level control to enable the input of the Level-Or to be driven hard without clipping the device that the Level-Or is driving (DAW input, Tape Machine, Console Line Amplifier, etc).
¼" line input on front panel
Original Manufacturers Description
Technical Documents
Specifications
Brochure
Product Manual
Recall Sheet
User Testimonials
"What can you say about these babies? you want that warm or nasty aggressive distortion that has no limits to how crazy it can get on the room mics or would you prefer it to have your room sound give a reverse sucking sound? I have a fair amount of compressors that offer different degrees of distortion. This is one set that I prefer nobody knows about. It's way too cool for anyone else's records but mine." Michael Brauer
Michael Brauer is an established A-list mixing engineer known for his eclectic, highly acclaimed discography. Michael has worked with The Rolling Stones, Bob Dylan, Paul McCartney, Coldplay, My Morning Jacket, Ben Folds and John Mayer to name an incredibly select few. www.mbrauer.com
"It sounds great on bass, drums , piano, vocals. It basically
does everything that a Level Loc would do but with so much more
control and finesse, not to mention so much quieter. The quality of
the audio is great. It's simple to use and it always amuses
drummers" Joe Chiccarelli
Grammy Award Winning Producer/Engineer Joe Chiccarelli has worked with Elton John, The White Stripes, Bon Jovi, Rufus Wainwright, U2 and Beck to name a few.
"The Level-Or is quickly becoming my parallel drum compressor of
choice. In "Level" mode, it holds the drums very steady. It gets them
to sit well, like hiring a studio drummer when really it's just the
band down the street. In "Crunch" mode, it almost sounds like when
drums were slammed to tape. Nice and saturated, a little softer, less
digital, It also does other cool stuff. Just the other day I used it to
simulate a Walkie Talkie effect for vocals. By using the 'Crunch'
mode, the signal will cut out briefly when driven very hard, adding a
sense of "urgency" to your source. One last thing, it seems as if the
Level-Or adds low end to what was put in, so even on light settings,
things end up sounding bigger. I'm still finding new uses for this
every day." Jason Livermore
Jason Livermore produces, engineers, mixes and masters at Blasting Room Studios, Fort Collins, Colorado. His credits include: Rise Against, NOFX, The Lemonheads, Descendents and Puddle of Mudd. To find out more about Jason Livermore visit: www.blastingroomstudios.com.
"This box on drum ambience was the most fun I've had in the studio in ages. I call it the "mad" limiter because it is slightly unhinged, distorting and thickening on the one hand, pumping and holding peaks down on the other."
Rik Simpson
Rik Simpson is a UK based Producer/Mixer/Writer/Engineer/Programmer whose credits include Coldplay, Stoner, Kasabian, Black Rebel Motorcycle Club, Athlete, Jamelia, Morning Runner, Portishead and Lamb.
