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 ADL 670, 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 uncompromised, 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. Call ADL today to find out more. Somebody had to do it. We also carry direct replacement parts based on original Fairchild 670 design. Please call ADL today for further details. ADL 670 Stereo Tube Limiter Fairchild 670 Duplication ... Learn more The ADL 1000 Tube Compressor/Limiter is a brilliant all discrete design providing phenomenal dynamic range with a clear, punchy, warm sound!Its "invisible" compression has made the ADL 1000 a very in-demand item. Each unit is handbuilt with the very finest workmanship available. So why settle for less. Find out today why so many people are using the ADL 1000 Tube Compressor/Limiter??the "fattest" sound around!<BR> ADL C/L 1000 Mono Mono Tube Compressor ... Learn more The ADL 1500 Stereo Tube Compressor/Limiter is a brilliant 2 channel, all tube design, providing phenomenal dynamic range with a clear, punchy, warm sound! Its "invisible" compression has made the ADL 1500 a very in-demand item. Eight vacuum tubes give the ADL 1500 its unmistakable richness and depth. Find out why so many people depend on the ADL 1500 Stereo Tube Compressor -?? the "fattest" sound around!!! ?? ADL S/C/L 1500 Stereo Tube Compressor ... Learn more The <B>AL.SO Dynax<sup>2</sup> (Dynax Square)</B> is more than an ordinary compressor, it is designed as a Dynamic Sound Shaper, a creative tool meant for the creative sound engineers.<BR><BR> Conceived around very low distorsion circuits, the Dynax2 allows for a wide range of effects, starting with the smoothest and most transparent compression, and going to the harshest and most spectacular sound designs. Both "attack" and "release" knobs permit a graduated change of values to reshape the sound and create a new envelope.<BR><BR> The Dynax Square offers three different compression curves :<UL> <LI> Limiter (10:1) ; <LI> Brickwall ; <LI> AntiDyna (an innovative new mode designed by Olivier Bolling which literally "over-limits" the sound in a "funky-to-trashy" way). AL.SO Dynax2 - demo units available Stereo Dynamic Sound Shaper Now Shipping! ... Learn more <b>Features:</b> <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> <p>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. API 225L Discrete Channel Compressor ... Learn more <b>Features</b> <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> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>When used with the other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output.</p> <p>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. API 235L Discrete Channel Noise Gate ... Learn more <P>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.</P> <P>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.</P> <P>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.</P> API 2500 Discrete 2 x Stereo Buss Compressor ... Learn more <P>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 <I>and</I> 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.</P> <P>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.</P> <P>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.</P> <P>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.<B>Features</B> <UL> <LI>Reissue of API's original 525 from the early 70's <LI>Peak detecting "feedback" compressor/limiter <LI>Variable Threshold and Output levels <LI>Unique "Ceiling" control combines key functions <LI>VU meter for monitoring gain reduction <LI>4 Switchable release modes <LI>De-Ess function <LI>Traditional API fully discrete circuit design <LI>Hardwire bypass</LI></UL> <P>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 <I>and</I> 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.</P> <P>The API 525 is perhaps the mos</P> API 525 Reissue of API's original 525 from the early 70's ... Learn more