{"title":"Compressor \/ Gates","description":null,"products":[{"product_id":"alesis-3630-compressor","title":"Alesis 3630 Compressor","description":"Since its introduction, the \u003cspan style=\"font-weight: bold;\"\u003eAlesis 3630\u003c\/span\u003e \u003cspan style=\"font-weight: bold;\"\u003eCompressor™\u003c\/span\u003e has become the most popular dynamics processor ever made. The reason is easy to understand: it provides two independent full-featured compressor\/ limiters in one rack space while offering excellent sonic quality for any application from studio recording to live sound or broadcast. The 3630 offers Ratio, Threshold, Attack and Decay controls to customize its compression response for even the toughest signals. You can also choose between RMS and Peak compression styles, plus Hard and Soft Knee dynamic curves for every application from subtle gain control to in-your-face punch. As an independent dual-channel compressor, the 3630 offers separate controls for two different source signals. Plus, two fully independent gates with threshold and rate controls allow you to easily and efficiently stifle unwanted ambient noise. Other advanced dynamics processing features such as precise signal metering, a sidechain for keying or ducking effects and stereo linkable operation make the 3630 the most powerful compressor in its class.","brand":"Alesis","offers":[{"title":"Default Title","offer_id":47247322415241,"sku":"15009","price":99.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/alesis_3630compressor_1.jpg?v=1784052456"},{"product_id":"api-235l","title":"API 235L Single Channel 200 Series Noise Gate\/Expander","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eAPI 235L Noise Gate\/Expander\u003c\/span\u003e 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eWith 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eFor 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.\u003c\/p\u003e\r\n\u003cp\u003eWhen used with the other 200L series modules, a complete input strip can be built from input through dynamics, equalization and final output.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":47247322546313,"sku":"125","price":695.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/api_235l_a557ed4f-3a90-4d67-a969-43306bbfb151.jpg?v=1784052457"},{"product_id":"dbx-1066","title":"DBX 1066","description":"\u003cp\u003eAfter producing the world's most renown series of compressors, the task of producing a new compressor worthy of our reputation would be daunting for most engineers. Not for dbx®.  Our engineers know audio like no one else in the world.  Now the fruits of their talents are available to you in the form of the \u003cspan style=\"font-weight: bold;\"\u003edbx 1066 Stereo Compressor\/Limiter\/Gate.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eWant to instantly add that classic dbx response to your mix?  It's there at the touch of the \"Auto\" button.  Or use the independent Attack and Release controls to tailor the 1066 to your specific needs.  Unwanted frequencies or mic bleed in the signal path? Frequency dependent gain control is a snap to set up and execute with our Side Chain External button (SC Ext). Use the Side Chain Monitor button (SC Mon) and your favorite EQ to dial in the specific frequencies you want to trigger the device. As has become our standard, the contour switch allows entire mixes to be easily smoothed with soft compression while keeping low frequencies from punching holes in the overall mix.  Selectable input and output metering allow you to make sure that everything is matched up level-wise, maximizing your signal-to-noise ratio.\u003cbr\u003e\u003cbr\u003eFor overall speaker protection, our new PeakStopPlus™ does all previous circuits one better.  With a new design, the PeakStopPlus represses those unwanted transients from blowing your drivers while minimizing the distortion common to many other \"hard\" limiters.  Selectable Hard-Knee or OverEasy® characteristics make the 1066 ideal for your gain control needs, whether you're looking for \"heavy\" almost-special-effects compression or soft, smooth gain leveling. New lightpipe technology replaces standard LED's found on most other units, making the 1066 both very easy to read and much easier to operate.\u003cbr\u003e\u003cbr\u003eIn the studio, broadcast facility or on the road with a P.A. system, the 1066 is designed for perfectly simple operation.  The 1066 allows you to eliminate unwanted signals, flexibly control overall signal gain and guard your overall mix in dual mono or stereo operation.\u003cbr\u003e\u003cbr\u003eAt the heart of the 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics.  The bottom line is this: a new VCA working in conjunction with world class design makes the dbx 1066 perform better than compressors selling for hundreds more.\u003cbr\u003e\u003cbr\u003eState-of-the-technology VCA's, meticulous component selection, and scrupulous testing procedures are just a few more reasons that the new dbx 1066 is the latest in a long line of pedigreed dbx signal processors.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":47247324479625,"sku":"757","price":429.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/dbx_1066_50564107-d27b-4b9e-a4a8-7140eb2bf992.jpg?v=1784052463"},{"product_id":"dbx-1074","title":"DBX 1074","description":"\u003cp\u003eThe latest addition to the 10 Series product line, the \u003cspan style=\"font-weight: bold;\"\u003edbx® 1074 QuadGate™\u003c\/span\u003e, is the perfect companion to the 1066 and 1046.  The 1074 offers 4 channels of gating with threshold, depth and release controls on each channel.  The 1074, like the rest of the products in dbx 10 Series, is based on the legendary dbx V2 VCA and offers XLR inputs and outputs, and 1\/4” side-chain input.  In addition to an external key input per channel, the 1074 also has an internal filter that can be independently activated and controlled on a channel-per-channel basis.  This filter allows the 1074 to not only clean up tracks, but gives you frequency selective control on each gate, to open exactly when you want it to.  These features combined, make the 1074 an absolute must for those who require quad gating on applications including: Gating dry and percussive sounds such as snare drum and kick drum,gating sounds that have longer decay times such as cymbals and Pianos, gating hum or buzz from live instruments or recorded tracks or eliminating Headphone leakage into microphones.  Gating instrument microphones to eliminate amplifier bleed.\u003cbr\u003e\u003cbr\u003eFrom the company that has been redefining the standard of signal processing for more than 30 years, dbx® Professional Products comes a bulletproof product that caters to the scrutinizing needs of those who require the precision noise gating capabilities.  Once again, the engineering staff at dbx Professional Products have taken technology that has been over three decades in the making and have created a product that is flexible, versatile and rock solid in construction design. The 1074’s independent channel design with key filtering capabilities make it the perfect tool for countless applications.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":47247324545161,"sku":"773","price":529.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/dbx_1074_08bd64cb-dd37-43af-90c4-a46d6419b74a.jpg?v=1784052463"},{"product_id":"dbx-166xs","title":"DBX 166Xs","description":"Most compressor\/gates provide less than musical compression, coupled with gating that swallows transients—or closes early, cutting off decay and reverb tails. The superb engineering in the \u003cspan style=\"font-weight: bold;\"\u003edbx 166Xs\u003c\/span\u003e ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor\/gates typically produce undesirable processing artifacts.\u003cbr\u003e\u003cbr\u003eWhen using the 166Xs’ Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow “leveling” to aggressive “peak” limiting.The 166Xs’ advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics—even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx V1 VCA to design in an extra-wide threshold range and ensure top gating performance for each application.\u003cbr\u003e\u003cbr\u003eSeparate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 166Xs' intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image—even with high amounts of compression, through True RMS Power Summing™. Professionals and newcomers alike will find that the 166Xs sets up rapidly and musically the first time it is used, especially with the Auto attack and release function. Advanced applications are now easy, with the 166Xs' full sidechain functionality, and the ability to use either hard knee or OverEasy® compression algorithms. Add to this already impressive list of features the venerable PeakStop™ limiter, and you’ve got a strong finisher, every time.\u003cbr\u003e\u003cbr\u003eThe dbx 166Xs processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost. The 166Xs puts a completely new level of compressor\/gate performance within everyone’s reach.","brand":"DBX","offers":[{"title":"Default Title","offer_id":47247324676233,"sku":"760","price":259.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/dbx_166xs_front_92d2a3d3-b859-459f-8517-31c72f8387b9.jpg?v=1784052463"},{"product_id":"dbx-266xs","title":"DBX 266Xs","description":"Most compressor\/gates provide less than musical compression, coupled with gating that swallows transients closes early, cutting off decay and reverb tails. The superb engineering in the \u003cspan style=\"font-weight: bold;\"\u003edbx 266Xs\u003c\/span\u003e ensures that both its compression and gating provide versatility and excellent sonic performance in situations where other compressor\/gates typically produce undesirable processing artifacts.\n\u003cp\u003eWhen using the 266Xs AutoDynamic Attack and Release controls, artists and engineers will find that the center settings deliver classic dbx compression, while the full control range produces voicings that extend from slow leveling to aggressive peak limiting.\n\u003c\/p\u003e\u003cp\u003eThe Auto Dynamic circuitry continuously adjusts the actual attack and release times to optimally match the program material. Since users aren't restricted to using the Attack and Release controls only in peak operation, they can tailor the response of the 266Xs for individual tracks, mixed program material, special effects or system protection. As a result, production studios can use the versatile 266Xs to replace multiple single-purpose?? limiters while sound reinforcement users can standardize on the 266Xs for all of their applications.\n\u003c\/p\u003e\u003cp\u003eThe 266Xs advanced gate circuitry uses a completely new, program-dependent timing algorithm to produce ultra-smooth release characteristics even with complex signals, such as voice or reverb decays. dbx engineers went on to take advantage of the wide dynamic range and high precision of the dbx VCA to design in an extra-wide threshold range and ensure top gating performance for each application.\n\u003c\/p\u003e\u003cp\u003eSeparate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup, while the 266Xs intuitive operation lets users easily smooth uneven levels, add sustain to guitars, squash drums or tighten up mixes. In Stereo couple mode, the Channel 1 controls become Master controls, and Channel 2 follows precisely to ensure a rock solid stereo image even with high amounts of compression. Professionals and newcomers will find that the 266Xs sets up rapidly and musically the first time it is used, and every time thereafter.\n\u003c\/p\u003e\u003cp\u003eThe dbx 266Xs processor is the result of an intensive engineering and product development effort aimed at taking advantage of the latest and best advances in manufacturing technology to deliver true dbx audio performance and reliability to our customers at the lowest possible cost. The 266Xs puts a completely new level of compressor\/gate performance within everyone's reach.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":47247324741769,"sku":"754","price":149.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/dbx_266xs_front_e0b12bc3-c593-4166-853e-333fed2cc451.jpg?v=1784052463"},{"product_id":"drawmer-dl241","title":"Drawmer DL241 Dual-Channel Expander\/Gate\/Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer DL241\u003c\/strong\u003e 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls.\u003c\/p\u003e\n\u003cp\u003eFacilities available on the DL241 include:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExpander\/Gate.\u003c\/strong\u003e Drawmer's unique \"Programmed Adaptive Expansion\" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold.  This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal.  The Expander\/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position. Switching is provided for 'Fast' or 'Slow' release characteristics.  The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs.  A single LED indicates gating action.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor.\u003c\/strong\u003e A full Auto Attack\/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control.  The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.  Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeak Level.\u003c\/strong\u003e 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level.  When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary.  The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment.  'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMetering.\u003c\/strong\u003e Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and output signal level Gain reduction from 1dB to -30dB is shown simultaneously with signal level from -20dB to +15dB Other single LEDs indicate function status of Gating Acton, Auto Mode, Bypass, Peak Limiting, Stereo Linking, and Power On.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo Link.\u003c\/strong\u003e When processing stereo signals, linking should be used to prevent image shifting.  This facility ties both channels together. Using channel 1 (left) as the master channel removes the need to duplicate control settings for both channels.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBypass.\u003c\/strong\u003e A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied. In bypass the VU level meter displays the Input signal.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOperating Level. \u003c\/strong\u003eThe operating level of the DL241 can be instantly switched, independently on each channel, for either +4dBu or 10dBu operation using a rear panel push switch.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInput\/Output. \u003c\/strong\u003eThe DL241 is available with either XLR connections and fully balanced ins and outs, or with stereo jack (TRS) connections, fully balanced inputs and single ended outputs.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247324872841,"sku":"3054","price":1249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer_dl241_1_da999ff4-946f-4733-9797-d9adbd53afb3.jpg?v=1784052464"},{"product_id":"drawmer-dl241xlr","title":"Drawmer DL241XLR Dual-Channel Expander with Balanced I\/O","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer DL241\u003c\/strong\u003e 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls.\u003c\/p\u003e\n\u003cp\u003eFacilities available on the DL241 include:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExpander\/Gate.\u003c\/strong\u003e Drawmer's unique \"Programmed Adaptive Expansion\" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold.  This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal.  The Expander\/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position. Switching is provided for 'Fast' or 'Slow' release characteristics.  The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect.  The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor.\u003c\/strong\u003e A full Auto Attack\/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control.  The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.  Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeak Level.\u003c\/strong\u003e 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level.  When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary.  The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment. 'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMetering.\u003c\/strong\u003e Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and output signal level Gain reduction from 1dB to -30dB is shown simultaneously with signal level from -20dB to +15dB Other single LEDs indicate function status of Gating Acton, Auto Mode, Bypass, Peak Limiting, Stereo Linking, and Power On.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo Link.\u003c\/strong\u003e When processing stereo signals, linking should be used to prevent image shifting.  This facility ties both channels together.  Using channel 1 (left) as the master channel removes the need to duplicate control settings for both channels.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBypass.\u003c\/strong\u003e A fully balanced hard-wire bypass connects the input directly to the output allowing signal to pass through the unit with no power applied.  In bypass the VU level meter displays the Input signal.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOperating Level. \u003c\/strong\u003eThe operating level of the DL241 can be instantly switched, independently on each channel, for either +4dBu or 10dBu operation using a rear panel push switch.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInput\/Output. \u003c\/strong\u003eThe DL241 is available with either XLR connections and fully balanced ins and outs, or with stereo jack (TRS) connections, fully balanced inputs and single ended outputs.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247324840073,"sku":"8586","price":1299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer_dl241xlr_e0e5707c-1104-406c-85ce-a9a3ffb20156.jpg?v=1784052464"},{"product_id":"drawmer-ds201","title":"Drawmer DS201 Dual-Channel Noise Gate","description":"Noise Gate ** SPECIAL ORDER ITEM **","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247324971145,"sku":"775","price":1099.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer-ds201-21_775_1_ecf5dfeb-0e1f-4e6e-aa37-64fb9be1f0e4.jpg?v=1784052464"},{"product_id":"drawmer-ds404","title":"Drawmer DS404 Quad-Channel Noise Gate","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer DS404\u003c\/strong\u003e Quad Noise Gate has been designed to the highest specification to complement the DS201 Dual Noise Gate, acknowledged as the 'industry standard' gate throughout the world.\u003c\/p\u003e\n\u003cp\u003eRecognizing that there are many general gating applications which require equipment that is simple to operate and which occupies the minimum of rack space, Drawmer have designed the DS404 Quad Noise Gate utilizing new and unique 'Programme Adaptive' circuitry.  This makes the DS404 ideally suited for use over a wide range of input signals, ranging from drums and other percussive instruments through to vocals, pianos and even complete mixes.\u003c\/p\u003e\n\u003cp\u003eFacilities available on the DS404 include:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrequency Sensitive.\u003c\/strong\u003e The provision of variable Low-Pass and High-Pass Filters allows 'without compromise' frequency selective gating.  The unit can be switched for either Internal or External Key source and the Key Listen facility enables monitoring of the filter setting. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eHard\/Soft Gating.\u003c\/strong\u003e Each channel of the DS404 can be operated as a HARD or SOFT gate, providing quite different characteristics.  Two coloured LEDs clearly indicate mode status.  In the Hard mode the DS404 offers ultra-fast response time, stable triggering with complete freedom from chatter around threshold and a specialized release contour which is ideally suited to drums and other percussive material.  In the SOFT mode the DS404 becomes a versatile Expander capable of handling vocals and sub mixes.  Drawmer's unique 'Programme Adaptive' circuitry is used to optimise the attack time and ratio as well has having some effect on the manual release setting.  A more gentle release characteristic is utilized to complement the SOFT gate \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eThreshold.\u003c\/strong\u003e A fully variable threshold control provides a range from +20dB to -70dB. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eRelease Control. \u003c\/strong\u003eA fully variable release control is provided with release times from 10 ms to 5 sec to ensure that essential envelope control is not sacrificed in exchange for an economy in rack space. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eAttenuation Range. \u003c\/strong\u003eThe DS404 has switchable attenuation between 90dB and 20dB to allow for applications where a complete mute is not desired.  \u003cstrong\u003eChain Linking.\u003c\/strong\u003e Operating the Link control switches the channel on the right to Slave operation, where its gating mode, threshold and envelope characteristics are controlled by the MASTER (left) channel.  Any adjacent three channels or two stereo pairs can be linked in this way for use in any conceivable situation where linking may be required. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eLED Displays.\u003c\/strong\u003e Drawmer's familiar tri-colour LED display is once again utilized as the optimum method for indicating the envelope status for each channel. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInput\/Output.\u003c\/strong\u003eThe DS404 is provided with balanced inputs and outputs on XLR connections.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247325003913,"sku":"3053","price":1249.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer_ds404_1_5932d089-d8ab-452d-9ef5-e819048dce37.jpg?v=1784052464"},{"product_id":"drawmer-mxpro-30-gated-compressor-limiter","title":"Drawmer MXPRO-30 Two-Channel Gated Compressor Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer MX Pro 30\u003c\/strong\u003e Gated Compressor\/Limiter is a low cost professional quality dynamics processor containing some of the proprietary design circuitry used in the more expensive models in the Drawmer range.  The MX30 has many automated features enabling fast, effective dynamic control whilst retaining the instinctively laid out control parameters, sonic character and high technical specification which have made Drawmer the industry standard.  The MX30’s competitive price point brings Drawmer’s professional processing into a much wider musician, project studio and live performance area.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eOperational control is split into three sections: Gate, Compressor, Output:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e‘Programme Adaptive’ Gate\u003c\/strong\u003e\u003cbr\u003eUsed to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer’s ‘Programme Adaptive’ circuitry. Although quick and simple to operate, the gate’s auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating ‘chatter’ when the signal is fluctuating on or around Threshold.  Two LED’s show when the signal is ‘above’ or ‘below’ Threshold and a push button switch allows additional control of Release time.  This design approach also retains all ‘leading edge’ information making the gate ideal for ‘cleaning up’ vocals or retaining the ‘punch’ on gated drums.  Switching is provided for 'Fast' or 'Slow' release characteristics.  The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs.  A single LED indicates gating action.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSoft Knee ‘Auto Compressor’\u003c\/strong\u003e\u003cbr\u003eThe gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release.  Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much ‘life’ as possible and without generating unpredictable side effects.  From the slightest to the most aggressive levels of compression, the MX30 handles it all with ease and displays the amount of compression taking place on a high resolution Gain Reduction bargraph meter.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eOutput\u003c\/strong\u003e\u003cbr\u003eThe Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold ‘zero overshoot’ limiter, essential for avoiding distortion when mastering to digital or speaker protection in a ‘live’ situation, adds the final polish to the signal by keeping control over signal peaks.  The Limit threshold provides an absolute maximum peak level which no signal can pass.  Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eControls:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eGate Threshold:\u003c\/strong\u003e This control sets the level below which gating takes place and may be set anywhere in the range of -70dB to +20dB. A green LED illuminates to show when the signal is above threshold (i.e. gate open) and a red LED illuminates when the signal is below Threshold (i.e.gate closed)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRelease:\u003c\/strong\u003e Either a Fast or Slow auto release contour may be selected depending on the material being processed.  An LED indicates when Slow release status is engaged.  Percussive material with little or no reverb is generally treated using the Fast release setting, whereas with slow decays or a significant amount of added reverb will usually respond better to the Slow release setting.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompressor Threshold:\u003c\/strong\u003e This determines the input level above which gain reduction will be applied and may be set anywhere in the range of -40dB to +20dB. Soft Knee compression takes place for signals exceeding the threshold level by up to 10dB above which level, conventional ‘ratio’ compression is applied.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGain Reduction Bargraph Meter:\u003c\/strong\u003e A nine segment LED bargraph meter continuously monitors the gain reduction applied by the compressor over a range of 0dB to 30dB.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRatio:\u003c\/strong\u003e Sets the final compression ratio that will be applied once the 10dB soft knee region is exceeded. The ratio may be continuously adjusted from 1.2:1 to infinity:1 allowing the possibility of true hard limiting.  The higher the ratio setting the more compression takes place (eg. A ratio of 8:1 means that an 8dB increase in volume at the input will appear as a 1dB increase in volume at the output).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStereo Link:\u003c\/strong\u003e The unit can function as two independent gated\/compressor\/limiters or when ‘link’ mode is engaged for stereo use Channel 1 becomes the master, automatically duplicating its parameters across to Channel 2.  In this mode the same degree of gain reduction is applied to both audio channels to prevent image shifting.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOutput Gain:\u003c\/strong\u003e The output level may be attenuated or amplified by up to 20dB to compensate for level changes caused by compression.  This control comes directly before the Peak Limiter detector and this fact should be taken into account when setting the Peak Limiter threshold.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePeak Limit:\u003c\/strong\u003e This control sets an absolute limit that the output signal will not be permitted to exceed.  The limiter is ‘zero response time’ and controls peaks without any audible distortion.  For transparent ‘peak protection’ the output gain control should be set to ensure that the Peak Limiter operates only occasionally.  Alternatively, the unit can be driven into heavy limiting for creative effects.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput\/Output Bargraph Meter:\u003c\/strong\u003e An eight segment LED bargraph level meter monitors the level of the output signal over a range of -20dB to +15dB.  When Bypass is selected this meter reads input level.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247325036681,"sku":"3052","price":849.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer_mx30pro_ffcd75e5-819b-4cd1-bb38-6ec1136e2545.jpg?v=1784052464"},{"product_id":"drawmer-mx40-gate","title":"Drawmer MX40 Gate","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eDrawmer MX40\u003c\/span\u003e is a single rack space unit consisting of four independent gates with a couple of twists.  A gate allows signals above a certain threshold level to pass through but attenuates signals below threshold so they don't appear at the output.  On the MX40, the gated level is switchable between -90 dB and -20 dB so that the output doesn't go completely \"dead\" when the input drops below threshold, but rather retains some lower level ambient sound.  This yields a more natural sound in some applications.\u003c\/p\u003e\n\u003cp\u003eAn adjustable bandpass filter can be inserted into the threshold detector path so that, regardless of level, only signals within a certain frequency range will open the gate. This is often preferable to full band gating, and with careful adjustment, you can use the tunable filter to allow the gate to open, for example, on the floor tom, but stay closed on the snare. Similarly, you could adjust another channel to open when the snare it hit, but reject the toms.  This goes a long way to improving definition in your mixes.  A \"key listen\" switch allows you to hear the output of the key filter rather than the gated output, making it easy to tune the filter to the desired range.\u003c\/p\u003e\n\u003cp\u003eThe Peak Punch™ feature is unique to Drawmer. When engaged, the initial attack when the gate opens is expanded upward momentarily adding punch to the attack of the gated signal.  It really works on percussive sounds, improving definition without raising the average signal level to the point where it would be squashed by a following compressor.\u003c\/p\u003e\n\u003cp\u003eThe unique Drawmer \"traffic light\" display clearly shows when gate input signals are above, below, or at threshold for quick setting of threshold controls.  The MX40 employs the same \"trigger stabilization\" as the more advanced DS201 and DS401 gates to prevent chatter and false triggering when the input signal is very close to threshold.\u003c\/p\u003e\n\u003cp\u003eGate inputs and outputs are balanced, +4 dBu operating level on XLR-type connectors.  The external key inputs are ¼\" unbalanced jacks.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247325069449,"sku":"3051","price":597.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer_mx40gate_1_3a1700af-b0c8-4203-a0bb-e9dcfd67be78.jpg?v=1784052464"},{"product_id":"presonus-acp88","title":"PreSonus ACP88","description":"The \u003cspan style=\"font-weight: bold;\"\u003ePresonus ACP88\u003c\/span\u003e gives you total dynamics control for multi-tracking and live sound reinforcement. Eight compressor\/limiters deliver transparent dynamics control. Eight full featured gates seamlessly control unwanted noise and bleed-through. Control vocals, tame drums, protect speakers, tighten the low-end – all from just two rack spaces of powerful processing.","brand":"PreSonus","offers":[{"title":"Default Title","offer_id":47247328641161,"sku":"13095","price":899.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/presonus_acp88_1_cb98da4e-f3f7-4ac5-a653-deb9159515c5.jpg?v=1784052477"},{"product_id":"spl-dynamaxx","title":"SPL DynaMaxx","description":"The \u003cb\u003eSPL DynaMaxx\u003c\/b\u003e compressor\/limiter\/noise gate offers disarmingly ease of use due to signal-dependent automation of time constants and premiers unique de-compression features to regain vitality i. e. from over-compressed audio files. \u003cbr\u003e\u003cbr\u003eThe Dyna Maxx is used for unobstrusive compression or as sound tool delivering compression effects. It makes use of excellent THAT 2181 VCAs in SPL's Differential Drive technology for maximum transparency, dynamics, and lowest distortion. I\/Os: both XLR-connectors and 1\/4 inch TRS stereo jacks for balanced operation.","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":47247330214025,"sku":"5463","price":1099.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/spl_dynamaxx_1_c7440dbd-032f-4488-ba5d-b14cc639b858.jpg?v=1784052482"},{"product_id":"ssl-e-series-dynamics-module","title":"SSL X-Rack E Series Dynamics Module","description":"The \u003cspan style=\"font-weight: bold;\"\u003eSSL E Series Dynamics Module\u003c\/span\u003e features a Compressor\/Limiter and an Expander\/Gate, both of which return faithfully to the circuitry and key components which defined the sound of the original SL 611E Series channel strip. A true RMS converter is used in the side chain whilst the gain element is an all discrete design identical to the Class A VCA chip used in the original unit. The compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. 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Additional features include a three-position sidechain contour switch, eight-LED gain reduction meter, and pushbuttons for distortion and bypass.\u003cbr\u003e\u003cbr\u003eThe module’s attack control runs from fast to quite fast, while the release control exhibits a fairly wide range, enabling the compressor to go from “pumping, breathing fast” up to approximately a second and a half. This allows sounds to “hang” a bit when using the device purely as a leveler or limiter.\u003cbr\u003e\u003cbr\u003eThe ratio control features five positions ranging from 2:1 to 20:1, with a sixth position marked as “∞!”. According to Avenson, “The infinity control has a little exclamation point next to it because, not only is it really flat, but it also puts you in that spot where you can do some over-compression and other interesting things. It changes where the threshold starts to compress as well, so it gives you different varieties of tonal characteristics to play with.”\u003cbr\u003e\u003cbr\u003eThe BAC’s sidechain toggle switch offers a choice of three possible settings: flat, high-pass filter (cut off around 70 to 100 Hz), and an option that somewhat exaggerates the high end while simultaneously cutting the low end. “The overall effect of this third setting is somewhat like a de-esser fed into the sidechain, but it’s a little wider than that and quite good for taming a variety of things that are overly bright,” Avenson notes.\u003cbr\u003e\u003cbr\u003eWith all of the controls essentially cranked between the input and output knobs, the BAC is capable of delivering nearly 50 dB of gain, which can be very helpful in compensating for serious gain reduction issues caused by greatly compressing dynamic range.\u003cbr\u003e\u003cbr\u003eThe bypass button found below the output knob is a true relay bypass, while the adjacent distortion button allows the user to achieve a true bench FET compression sound. “A lot of FET compressors use tricks to linearize the FET as a compression element and make it sound cleaner because if they’re used solely by themselves, they’re really pretty raunchy sounding,” says the designer. “So this switch allows you to play with how much of the frequency response and distortion characteristics of the FET you get. By engaging it, you’re getting a lot more second harmonic distortion and aggressive sounds because we’re taking away some of the linearizing elements. It’s basically a way to kick in a more aggressive sounding compressor without changing any of the other settings. You can dial in the amount of dirt you want.”\u003cbr\u003e\u003cbr\u003eAvenson sums the BAC up by adding, “Although this product is largely designed to provide a bit of color and flavor—and not be too heavy handed—it really does possess that nice ‘bite’ that is characteristic of FET compressors and perfect for cranking down on things like drum room mics when you need it.”\u003cbr\u003e\u003cbr\u003ePete’s Place Audio is an umbrella organization founded to bring a wide variety of handcrafted, innovative, boutique recording and live audio products to market. Under the leadership of President Lisa Montessi and backed by the manufacturing expertise of A-Designs Audio, Pete’s Place collaborates with some of today’s most talented recording artists and engineers to help determine what products, regardless of how esoteric, they feel are missing in the studio and live performance environments.\u003c\/p\u003e","brand":"Pete's Place Audio","offers":[{"title":"Default Title","offer_id":47247454699657,"sku":"10965","price":995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/petes-place-audio-bac500_10965_1_1b38dfd6-93e6-45ea-a148-c2f28ea0f6d7.jpg?v=1784045052"},{"product_id":"tonelux-tx5c-module","title":"Tonelux TX5C 500 Series Compressor","description":"\u003cp\u003eAcross the board, Tonelux manages to merge excellent sound with smart features you don't see on other units. The extraordinarily versatile, stereo-linkable \u003cstrong\u003eTX5C\u003c\/strong\u003e 500 Series compressor is the perfect example. In addition to offering both feed back and feed forward compression, the TX5C actually lets you blend the two, giving you the freedom of combining smoothness with aggression for the perfect hybrid. The Tonelux TX5C also uniquely offers in-module parallel compression with a wet\/dry mix knob. And to top it all off, Tonelux's \"Tilt\" circuit is onboard, giving you unique control over the sidechain to avoid pumping and get more of what you really want with the TX5C.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eBlendable feed back and feed forward compression add versatility\u003c\/li\u003e\r\n\u003cli\u003eWet\/dry mix knob for the perfect blend\u003c\/li\u003e\r\n\u003cli\u003eIntegrated \"Tilt\" circuit on the sidechain improves results\u003c\/li\u003e\r\n\u003cli\u003eFlexible ratio goes above and beyond the norm\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eBlendable feed back and feed forward compression add versatility\u003c\/strong\u003e\u003cbr\u003eWhen you want versatile compression, Tonelux added enough features into the TX5C to make it a no brainer for any 500 Series rack. For starters, it offers both feed back and feed forward compression, so you get the best of old-school smoothness and modern compression, making the TX5C effectively two compressors in one. Beyond that, however, the TX5C features a unique tone control, letting you fade between the two compression types and get the best attributes of each, giving you the most control over your sound.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWet\/dry mix knob for the perfect blend\u003c\/strong\u003e\u003cbr\u003eThe TX5C lets you skip a step, foregoing in-the-box dry\/wet blending on two channels and letting you get just the right amount of each via in-module parallel mixing. However much you dial in, the TX5C gives you that extra something via its all discrete op-amp and all-discrete output stage with a TX-280 transformer.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIntegrated \"Tilt\" circuit on the sidechain improves results\u003c\/strong\u003e\u003cbr\u003eIf you've ever used the Tonelux \"Tilt\" circuit on their other modules, you'll know this is a feature not to be ignored. Effectively a Baxendall boost\/cut filter, the \"Tilt\" circuit lets you filter the sidechain and control how the compressor reacts. Because you can increase the highs and decrease the lows simultaneously, you get a musical response that virtually eliminates pumping because the RMS detector gets more uniform energy distribution versus the bass-heavy signal most compressors see.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFlexible ratio goes above and beyond the norm\u003c\/strong\u003e\u003cbr\u003eControl your compression with the TX5C's ratio control, going from 1.5:1 to 20:1 and then even beyond via the \"Over\" feature. Using \"Over,\" you can cause the compressor to reduce at a higher ration than the gain is going into it. For example, the compressor can compress an increase in signal of 10dB with a gain reduction of up to -8dB, so if the signal goes up 10dB, the output will go down 8dB. It's a nice trick for taking an over-compressed source, say a snare. By adjusting the attack and using the Over feature, you can effectively recover the original impact peak of the snare. Then, with the wet\/dry mix control, you can blend back in the liveliness with the original \"flat\" snare to get a dynamic sound but with a controlled peak. Note also that the TX5C offers flexible attack and release settings, letting you switch from an extremely fast micro-second attack down to a smooth, slow, more leveling-like attack. Likewise, the release control can be adjusted from almost instant to three seconds. Auto makeup gain keeps the gain at unity, regardless of how much you're compressing.\u003cbr\u003e\u003cbr\u003e\r\n\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"Tonelux","offers":[{"title":"Default Title","offer_id":47247455256713,"sku":"16946","price":699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/tonelux_tx5c.jpg?v=1784045054"},{"product_id":"drawmer-ds101","title":"Drawmer DS101 500 Series Noise Gate","description":"\u003cp\u003eThe \u003cstrong\u003eDS101\u003c\/strong\u003e is the first noise gate designed specifically for the 500 Series rack system and takes its place alongside the Drawmer family of industry standard Noise Gates, such as the DS201, DS501 and DS404. Anyone familiar with those units will immediately be at home with the DS101.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eBased on a single-channel of the DS201 the DS101 is a sophisticated noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, such as variable high and lowpass filters for “frequency conscious gating.”\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eOther features include comprehensive envelope control, attack, hold, decay, and range, plus a whole host of other features, all adding up to one amazing processor.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eWhen placed side by side in a 500 series rack two or more gates can be linked using the new infra red triggering mechanism employed on the DS101. This means that any number of gates can be linked with each having their own envelope shaping whilst the trigger pulse passes through unchanged, this opens up a whole world of “envelope follower” effects limited only by your imagination.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eSetting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eThe DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eThe very fast attack of the DS101 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eAnother important role played by the gate is in the reshaping of existing sounds. An example of this might involve a simple sampling delay line used to store a sound to be re-triggered later and added to a mix. A gate can be used to impart a slower attack or faster decay to the sound and careful setting of the decay envelope can effectively hide any noise present at the end of the sample. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS101 ideal for this application.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eThe unit can be switched to accept a key input, which allows the gate to be triggered externally. An example of this would be to use a snare drum signal to open the gate on a separate ambient microphone to create a natural alternative to gated reverb.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003eWith a rack full of DS101's each can be individually switched from Gating to Ducking for 'voice over' applications or the removal of 'clicks' and 'pops'.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247537373321,"sku":"30515","price":515.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer_ds101_front.jpg?v=1784045329"},{"product_id":"phoenix-audio-n90-drc-500-compressor","title":"Phoenix Audio N90-DRC 500 Series Compressor","description":"\u003cp\u003eIn a world now crowded with compressors—most of them emulating vintage designs, with the rest, it seems, dead set on destroying dynamics—the \u003cstrong\u003ePhoenix Audio N90-DRC\/500\u003c\/strong\u003e stands out as a decidedly musical compressor with a refreshingly unique design. Phoenix Audio developed this circuit over 20 years ago, and the thoughtful design reflects the subtler, more tasteful approach to compression from that bygone era. Though the N90 can be pushed to offer up wonderful sonic artifacts, it truly excels at the delicate (and increasingly rare) craft of transparent, musical dynamic control and gating.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA Forgiving and Intuitive Class-A Circuit\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe N90's 100% Class-A circuit is built around the wide-open sounding transfomerless input stage and beloved DSOP-2 output amplifier with a custom-wound DB694 output transformer. While appearing quite elaborate, using the compressor\/gate functions of the N90 is a forgiving and intuitive experience—especially given that this is a solid-state compressor. The ease of use is due to the gradual and progressive behavior of the N90's unique control circuit. Gain reduction begins well below, and continues beyond, the threshold, so you'll never hear a sudden \"grabby\" change in dynamics. Instead, you'll easily dial in fluid dynamic control while simultaneously picking up the rich, lush tone of the N90's discrete Class-A circuit.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eBut You Can Still Push It\u003c\/h3\u003e\r\n\r\n\u003cp\u003eWith ratios ranging from 2:1 to 8:1, the N90 is clearly designed for mellow, transparent compression. However, the higher ratios do offer up a fair amount of \"limiter style\" artifacts, especially when you switch the attack to \"fast\" and begin to manually manipulate the compressor's release time. Further, by driving more signal into the N90, a wide range of tones can be derived from the DSOP-2 output stage—from crystal clean to warm, pure Class-A analog saturation. Perhaps most importantly, the N90 makes a smooth transition from transparent to more obvious compression andoutput stage saturation, meaning that it's never a fussy or sensitive task to dial in your desired sound. From the subtlest gain control to lush Class-A artifacts—not to mention the flexible gate circuit—the N90-DRC\/500 is one of the most versatile dynamic control units ever produced.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA Gate You'll Actually Use\u003c\/h3\u003e\r\n\r\n\u003cp\u003eWith the advent of digital's nearly inaudible noise floor, gating is something of a lost art. However, having been designed just before the industry largely abandoned analog tape, the N90 houses one of the most advanced, musical analog gates ever conceived. Similar to the compressor section, the N90's gate is intended to be subtle and musical. Its release function is actually a combination of a \"hold time\" followed by a \"fade time,\" making the N90's gate adept at everything from standard noise gating to even more subtle control of ambience levels relative to main signal. There is also an external key input, allowing you to trigger the gate with an external signal. With the N90's gate at your fingertips, you'll discover (or perhaps rediscover) the subtle art of analog gating.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eLink Up To 8 Units\u003c\/h3\u003e\r\n\r\n\u003cp\u003eUp to eight N90-DRC\/500s can be linked together, allowing the compressor and gate functions to be controlled from just one of the units. This link functionality opens up a whole world of possibilities, from simpler stereo set-ups to far more elaborate scenarios where multiple channels are triggered by external key inputs. Almost anything you can dream up can be done with multiple N90s on hand.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eSpecifications:\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eUnique design allows unit to run at 24v for true-to-form Class-A operation\u003c\/li\u003e\r\n\u003cli\u003ePhoenix Audio’s unique Class A, transformerless, electronically balanced buffer amp input stage\u003c\/li\u003e\r\n\u003cli\u003eClass-A, DSOP-2 output stage with custom-wound transformer Frequency response: 20 Hz to 20 kHz ±0.5 dB\u003c\/li\u003e\r\n\u003cli\u003eMaximum Output gain = +15 dBu @ 1 kHz, Noise = -90 dB @ 20 Hz to 20 kHz, maximum\u003c\/li\u003e\r\n\u003cli\u003eTypical Max Headroom: +26 dB on output stage\u003c\/li\u003e\r\n\u003cli\u003eInput connections: XLR input on rear of API compatible rack\u003c\/li\u003e\r\n\u003cli\u003eAbility to link multiple modules (up to 8)\u003c\/li\u003e\r\n\u003cli\u003eExternal input for gate section on TT Bantam connector\u003c\/li\u003e\r\n\u003cli\u003eCompression Meter: LED Metering (Green = -3 dbu, -6 dbu -10 dbu \u0026amp; -14 dBu, Red= -20 dBu and doubles as the Gate Active LED)\u003c\/li\u003e\r\n\u003cli\u003e24v built PSU\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Phoenix Audio","offers":[{"title":"Default Title","offer_id":47247537471625,"sku":"30524","price":849.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/phoenix-n90-drc-500_30524_1.jpg?v=1784045329"},{"product_id":"drawmer-ds201-dual-gate-used","title":"Drawmer DS201 Dual Gate (Used)","description":"The \u003cb\u003eDrawmer DS501\u003c\/b\u003e is a sophisticated dual channel noise gate with fully tuneable 'Peak Punch' incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates. \u003cul\u003e \u003cli\u003e'Tuneable' Peak Punch \u003c\/li\u003e\n\u003cli\u003evariable high pass and low pass filters for \"frequency conscious\" gating \u003c\/li\u003e\n\u003cli\u003ecomprehensive envelope control, attack, hold, decay, and range \u003c\/li\u003e\n\u003cli\u003ekey input for external triggering \u003c\/li\u003e\n\u003cli\u003e\"key listen\" facility \u003c\/li\u003e\n\u003cli\u003eextremely fast attack time, to preserve the natural attack of the sound \u003c\/li\u003e\n\u003cli\u003ebalanced inputs and outputs \u003c\/li\u003e\n\u003cli\u003estereo linkable \u003c\/li\u003e\n\u003cli\u003ecan be used for \"Gating\" or \"Ducking\" \u003c\/li\u003e\n\u003cli\u003ehigh audio specification \u003c\/li\u003e\n\u003c\/ul\u003ePositioned in the Drawmer range over the industry standard DS201 Dual Gate, the DS501 Power Gate features a new dual mode ?tuneable? Peak Punch processing section on each channel. In tuneable mode a fully variable frequency selector with a range from 75Hz to 16kHz allows the user to shape the transients of the gated signal and ?tune-in? to the particular area of the audio spectrum where the Peak Punch is to be active. In addition a variable more control allows the user to tailor the amount of processing. A secondary Full Band Peak Punch mode is also available.\u003cbr\u003e\u003cbr\u003eDesigned principally for drum and percussive gating applications, tuneable Peak Punch makes it possible to add transient punch to frequencies lacking in individual drum sounds, adding greater definition and presence to the gated signal. Using low frequency Peak Punch adds depth to thin drums, whilst higher frequency Peak Punch can dynamically emphasise rim shots or the crack of a snare drum. Setting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.\u003cbr\u003e\u003cbr\u003eThe DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.\u003cbr\u003e\u003cbr\u003eThe very fast attack of the DS501 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.\u003cbr\u003e\u003cbr\u003eAnother important role played by the gate is in the reshaping of existing sounds.","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47247559491721,"sku":"3066","price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/used_drawmer_ds201_dual_gate_cat.jpg?v=1784045412"},{"product_id":"tonelux-tx5c-module-demo-deal","title":"Tonelux TX5C Module (Demo Deal)","description":"\u003cp\u003eAcross the board, Tonelux manages to merge excellent sound with smart features you don't see on other units. The extraordinarily versatile, stereo-linkable \u003cstrong\u003eTX5C\u003c\/strong\u003e 500 Series compressor is the perfect example. In addition to offering both feed back and feed forward compression, the TX5C actually lets you blend the two, giving you the freedom of combining smoothness with aggression for the perfect hybrid. The Tonelux TX5C also uniquely offers in-module parallel compression with a wet\/dry mix knob. And to top it all off, Tonelux's \"Tilt\" circuit is onboard, giving you unique control over the sidechain to avoid pumping and get more of what you really want with the TX5C.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eBlendable feed back and feed forward compression add versatility\u003c\/li\u003e\n\u003cli\u003eWet\/dry mix knob for the perfect blend\u003c\/li\u003e\n\u003cli\u003eIntegrated \"Tilt\" circuit on the sidechain improves results\u003c\/li\u003e\n\u003cli\u003eFlexible ratio goes above and beyond the norm\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eBlendable feed back and feed forward compression add versatility\u003c\/strong\u003e\u003cbr\u003eWhen you want versatile compression, Tonelux added enough features into the TX5C to make it a no brainer for any 500 Series rack. For starters, it offers both feed back and feed forward compression, so you get the best of old-school smoothness and modern compression, making the TX5C effectively two compressors in one. Beyond that, however, the TX5C features a unique tone control, letting you fade between the two compression types and get the best attributes of each, giving you the most control over your sound.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWet\/dry mix knob for the perfect blend\u003c\/strong\u003e\u003cbr\u003eThe TX5C lets you skip a step, foregoing in-the-box dry\/wet blending on two channels and letting you get just the right amount of each via in-module parallel mixing. However much you dial in, the TX5C gives you that extra something via its all discrete op-amp and all-discrete output stage with a TX-280 transformer.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIntegrated \"Tilt\" circuit on the sidechain improves results\u003c\/strong\u003e\u003cbr\u003eIf you've ever used the Tonelux \"Tilt\" circuit on their other modules, you'll know this is a feature not to be ignored. Effectively a Baxendall boost\/cut filter, the \"Tilt\" circuit lets you filter the sidechain and control how the compressor reacts. Because you can increase the highs and decrease the lows simultaneously, you get a musical response that virtually eliminates pumping because the RMS detector gets more uniform energy distribution versus the bass-heavy signal most compressors see.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFlexible ratio goes above and beyond the norm\u003c\/strong\u003e\u003cbr\u003eControl your compression with the TX5C's ratio control, going from 1.5:1 to 20:1 and then even beyond via the \"Over\" feature. Using \"Over,\" you can cause the compressor to reduce at a higher ration than the gain is going into it. For example, the compressor can compress an increase in signal of 10dB with a gain reduction of up to -8dB, so if the signal goes up 10dB, the output will go down 8dB. It's a nice trick for taking an over-compressed source, say a snare. By adjusting the attack and using the Over feature, you can effectively recover the original impact peak of the snare. Then, with the wet\/dry mix control, you can blend back in the liveliness with the original \"flat\" snare to get a dynamic sound but with a controlled peak. Note also that the TX5C offers flexible attack and release settings, letting you switch from an extremely fast micro-second attack down to a smooth, slow, more leveling-like attack. Likewise, the release control can be adjusted from almost instant to three seconds. Auto makeup gain keeps the gain at unity, regardless of how much you're compressing.\u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"Tonelux","offers":[{"title":"Default Title","offer_id":47247564734601,"sku":"21121","price":549.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/tonelux_tx5c_1.jpg?v=1784045433"},{"product_id":"tk-audio-bc1-s","title":"TK Audio BC1-S","description":"\u003cp\u003eThe \u003cstrong\u003eTK Audio BC1-S\u003c\/strong\u003e provides smooth buss compression associated with one of the most famous buss compressors from the mid 80's. Mixing engineers call it the magic \"glue\" when transparent compression strengthens mixes without compromising clarity. The BC1-S provides just that kind of compression bringing cohesion and punch; equally useful for drum buss and instrument compression.\r\nThe built-in blend control makes it easy to apply parallel compression by adjusting the mix of dry and compressed signal. A mute-switch is provided for muting the dry signal making it possible to adjust the compression without changing the blend control.\r\nA switchable side-chain filter can be applied at 150Hz which makes the BC1-S less responsive to low frequency energy. The external side-chain input makes it possible to have the BC1-S pump to an external source.\r\nSmooth and transparent compression will never go out of fashion and the BC1 has already become a best-seller. The BC1-S will add the magic \"glue\" and make your mixes sound punchy and coherent.\r\nTo make it even more easy to work with we have now changed all potentiometers for detendet (stepped) controls for easier recall.\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003ch3\u003eSpecifications\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eNoise flooor: below 104dBm\u003c\/li\u003e\r\n\u003cli\u003eFrequency response:  20Hz to 20kHz less than -0,025dB\u003c\/li\u003e\r\n\u003cli\u003eFrequency response: 20Hz - 80kHz less than -0,3dB\u003c\/li\u003e\r\n\u003cli\u003eBlend control fully CW (comp)\u003c\/li\u003e\r\n\u003cli\u003eTHD+N @ 0dBu: less than 0,0045%\u003c\/li\u003e\r\n\u003cli\u003eTHD @ 0dBu: less than 0,001%\u003c\/li\u003e\r\n\u003cli\u003eTHD+N @ +26dBu: less than 0,02%\u003c\/li\u003e\r\n\u003cli\u003eTHD @ +26dBu: less than 0,02%\u003c\/li\u003e\r\n\u003cli\u003eBlend control fully CCW (straight)\u003c\/li\u003e\r\n\u003cli\u003eTHD+N @ 0dBu: less than 0,00045%\u003c\/li\u003e\r\n\u003cli\u003eTHD @ 0dBu:\u003c\/li\u003e\r\n\u003cli\u003eTHD+N @ +26dBu: less than 0,0003%\u003c\/li\u003e\r\n\u003cli\u003eTHD @ +26dBu:\u003c\/li\u003e\r\n\u003cli\u003eInput impedance: 40kohm\u003c\/li\u003e\r\n\u003cli\u003eOutput impedance: 50ohm\u003c\/li\u003e\r\n\u003cli\u003eMax input level: +26dBu\u003c\/li\u003e\r\n\u003cli\u003eMax output: +27dBu @ 600ohms load\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\r\n\u003ch3\u003eFeatures\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eThreshold:  -20dB to +20dB\u003c\/li\u003e\r\n\u003cli\u003eRatio:  1.5:1 \/ 2:1 \/ 4:1 \/ 10:1 \/ Hard\u003c\/li\u003e\r\n\u003cli\u003eHP Filter:  150Hz, -6dB octave\u003c\/li\u003e\r\n\u003cli\u003eExternal sidechain: in\/out\u003c\/li\u003e\r\n\u003cli\u003eDual or single sidechain detectors\u003c\/li\u003e\r\n\u003cli\u003eAttack: UF(ultrafast) \/0.1\/0.3\/0.6\/1\/3\/10\/30\/60\/120mS\u003c\/li\u003e\r\n\u003cli\u003eRelease:  50mS\/100mS\/300mS\/600mS\/1.2S\/Auto\u003c\/li\u003e\r\n\u003cli\u003eGainreduction meter\u003c\/li\u003e\r\n\u003cli\u003eMake-up:  0 to +20dB\u003c\/li\u003e\r\n\u003cli\u003eCompression in\/out\u003c\/li\u003e\r\n\u003cli\u003eStraight signal mute\u003c\/li\u003e\r\n\u003cli\u003eBlendcontrol: from straight to compressed\u003c\/li\u003e\r\n\u003cli\u003eExternal sidechaininput: Unbalanced TRS jacks\u003c\/li\u003e\r\n\u003cli\u003eInternal, regulated powersupply with a toroidal transformer\u003c\/li\u003e\r\n\u003cli\u003e115 or 230V, selectable.\u003c\/li\u003e\r\n\u003cli\u003eBC1-S updates:\u003c\/li\u003e\r\n\u003cli\u003eNew outputstage, unbalanced\/balanced auto sens.\u003c\/li\u003e\r\n\u003cli\u003eAll controls stepped\u003c\/li\u003e\r\n\u003cli\u003eNew illuminated in\/out switch\u003c\/li\u003e\r\n\u003cli\u003eMains on\/off on front\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"TK Audio","offers":[{"title":"Default Title","offer_id":47247575089289,"sku":"32673","price":1349.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/taudio_bc1s_front.jpg?v=1784045473"},{"product_id":"dbx-165-compressor-limiter-1938-used","title":"DBX 165 Compressor\/Limiter #1938 (Used)","description":"Adjustable attack , release, ratio gain. Great on kick, snare, bass, vocals, etc.\u003cbr\u003e\u003cp\u003eFeatures:\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003ePower switch (with LED indicator)\u003c\/li\u003e\n\u003cli\u003eStereo coupler (with slave LED indicator). Each 165 is equipped with matched rms detectors for stereo-strapping operation without the signal-summing errors of conventional strapped compressors.\u003c\/li\u003e\n\u003cli\u003eCompression ratio: continuously variable, 1:1 - 20:1 and infinity\u003c\/li\u003e\n\u003cli\u003eAttack: continuously variable, 400 - 1 db\/msec\u003c\/li\u003e\n\u003cli\u003eRelease: continuously variable, 4k to 10 db\/sec\u003c\/li\u003e\n\u003cli\u003eIn manual mode, variable attack and release rates allow the 165A to be used as an ultra-fast or slower rms-detecting limiter.\u003c\/li\u003e\n\u003cli\u003eAuto attack\/release (with LED indicator). In automatic mode, compressor attack and release times are determined by program material dynamics.  \u003c\/li\u003e\n\u003cli\u003eMeter switching: input, output, gain change. Analog rms meter is switchable to read input or output levels or the amount of gain reduction over a 30dB range.\u003c\/li\u003e\n\u003cli\u003eSystem bypass\u003c\/li\u003e\n\u003cli\u003eOutput gain: continuously variable, -20 to + 20dB\u003c\/li\u003e\n\u003cli\u003eMeter adjustment screw\u003c\/li\u003e\n\u003cli\u003eSeparate detector input allows compression pre-emphasis and other effects.\u003c\/li\u003e\n\u003cli\u003eActive balanced input for hum and RF rejection.\u003c\/li\u003e\n\u003cli\u003e24dBv input\/output capability.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e:\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eFrequency Response: 20 Hz to 20 kHz +\/- 0.5 dB\u003c\/li\u003e\n\u003cli\u003eTHD: 0.2%, maximum compression, 1 kHz, 0 dBV\u003c\/li\u003e\n\u003cli\u003eNoise: - 90 dBV\u003c\/li\u003e\n\u003cli\u003eMaximum Input: + 24 dBV\u003c\/li\u003e\n\u003cli\u003eMaximum Output:  + 23 dBV\u003c\/li\u003e\n\u003cli\u003eInput Impedance:    22k ohm differential, 11k ohm unbalanced\u003c\/li\u003e\n\u003cli\u003eOutput Impedance: Low single ended, for driving 600 ohm or greater\u003c\/li\u003e\n\u003cli\u003eGain: - 20 to + 20 dB\u003c\/li\u003e\n\u003cli\u003eThreshold Range: - 40 to + 20 dBV (Compressor), - 2 to + 24 dBV (PeakStop)\u003c\/li\u003e\n\u003cli\u003eMaximum Compression: Greater than 60 dB\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003eAttack Times:    \u003cbr\u003e\u003cul\u003e\n\u003cli\u003eAuto: 15 ms for 10 dB, 5 ms for 20 db, 3ms for 30dB;\u003c\/li\u003e\n\u003cli\u003eManual: variable from 2.5 us to 1 ms per dB\u003c\/li\u003e\n\u003c\/ul\u003eRelease Times:             \u003cbr\u003e\u003cul\u003e\n\u003cli\u003eAuto: 8 ms for 1 dB, 80 ms for 10 dB, 400 ms for 50 dB; (125 dB\/s rate);\u003c\/li\u003e\n\u003cli\u003eManual: variable from 250 us to 100 ms per dB\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":47247581970569,"sku":"33054","price":895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/used_dbx_165_compressor-limiter__1938_cat.jpg?v=1784045502"},{"product_id":"inward-connections-tsl-4-vac-rac-277-used","title":"Inward Connections TSL-4 Vac Rac #277 (Used)","description":"\u003cp\u003eLooking for some magic for vocals, bass, guitar, or the mix bus? Pay attention to the \u003cb\u003eTSL-4 Vac Rac\u003c\/b\u003e stereo tube limiter, the bread and butter of Inward Connection's line of boutique, made-in-LA gear. Loaded with Cinemag transformers, this latest version of the Vac Rac series adds new features without changing the sonic signature engineers have come to revere. You'll be armed with just the right amount of transient control, without having to tweak a bunch of knobs, giving your tracks a buttery-smoothness you'll have to hear to believe.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eNo-compromise design with dual-mono or stereo operation\u003c\/li\u003e \u003cli\u003eThe latest incarnation of a mix engineer's favorite\u003c\/li\u003e \u003cli\u003eInward Connections: boutique gear handmade in LA\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003cbr\u003e\u003cb\u003eNo-compromise design with dual-mono or stereo operation\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eTop to bottom and front to back, the Inward Connections TSL-4 Vac Rac is designed and outfitted with premium components and the features pros want from a limiter. The TSL-4 Vac Rac has a link switch, connecting the opto cells of both channels for stereo operation. Both the Gain Makeup and bypassable Gain Reduction controls are 40-detented, offering 14dB of output gain and 40dB of gain reduction respectively. The best of the rest? There's a switchable 100Hz highpass filter, large 3\"x3\" illuminated VU meter (switchable Gain Reduction or Output), and Cinemag transformer-balanced XLR I\/O, all packed into a rugged, well-ventilated 3U steel chassis with a vintage vibe to boot.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe latest incarnation of a mix engineer's favorite\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eEver since the Vac Rac series hit the market two decades ago, it's grabbed the attention of high-profile mixers. 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The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2.\u003c\/p\u003e\n\u003cp\u003eThe characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used accross a mix, or with any dynamic programme, this has the effect of adding 'punch', as the sidechain 'breathes' around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this 'musicality', adding to and accentuating the factors involved in producing the character of the unit. 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Setting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.\u003cbr\u003e\u003cbr\u003eThe DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.\u003cbr\u003e\u003cbr\u003eDrawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature.\u003cbr\u003e\u003cbr\u003eThe very fast attack of the DS201 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.\u003cbr\u003e\u003cbr\u003eAnother important role played by the gate is in the reshaping of existing sounds. An example of this might involve a simple sampling delay line used to store a sound to be re-triggered later and added to a mix. A gate can be used to impart a slower attack or faster decay to the sound and careful setting of the decay envelope can effectively hide any noise present at the end of the sample. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS201 ideal for this application.\u003cbr\u003e\u003cbr\u003eThe unit can be switched to accept a key input, which allows the gate to be triggered externally. 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The \u003cstrong\u003eRane DC22S\u003c\/strong\u003e combines quality compression and gate functions with simplicity. No more compression headache!\u003c\/p\u003e  \u003cp\u003eLets start with what a compressor actually does. No matter how you cut it, this is an automatic volume control... a hand on a control, turning it down and turning it up again. The hand is fast and accurate, but it is just turning a volume control.\u003c\/p\u003e  \u003cp\u003eWhen the input signal reaches a level set by the Threshold control, the compressor begins to turn the signal down by an amount determined by the Ratio control. The DC22S, like most compressors, operates by making the loud signals quieter, but does not make the quiet parts louder. However, by keeping the loud signals under control, the entire system may be turned up when necessary to make the quiet parts louder.\u003c\/p\u003e  \u003cp\u003eThere is more than just a stereo compressor working here. The adjustable Gate is a downward expander, acting like a compressor running in reverse, making the quiet parts quieter. This is valuable in reducing system background noise. The Ratio is fixed at 2:1. When the signal drops below the set Threshold, the Gate Threshold indicator lights and the output level is reduced by 2 dB for every 1 dB the input signal level drops.\u003c\/p\u003e  \u003cp\u003eWhen using the DC22S as a true stereo processor with left and right signals, activate the Link switch. In Link mode, channel 1 becomes the Master and channel 2 the Slave. Gate Threshold, Compression Threshold, Compression Ratio and Output Level are all controlled by channel 1. This ensures that both channels track perfectly, maintaining perfect balance and image. The channels are totally independent with the Link switch off.\u003c\/p\u003e  \u003cp\u003eThe DC22S offers performance and simplicity not found (until now) in this price range. 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Expanders pump, and multi-band expanders have poor separation filters, leading to loss of high frequencies, loss of ambience, and degradation of hard transients.\u003c\/p\u003e  \u003cp\u003eSo, for those occasions when it is inappropriate to employ a fully-featured, computer-based noise reduction system, developed auto dehiss, which produces excellent results very quickly and with minimal fuss. The Duo auto dehiss processor incorporates the third generation of this process, which is optimized for consistent noises such as tape hiss and general background noise.\u003c\/p\u003e  \u003ch3\u003ePower and Simplicity\u003c\/h3\u003e  \u003cp\u003eThe Duo auto dehiss processor is a further development of the Dehiss 3 algorithm developed for CEDAR Cambridge™. 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It also makes it easy to bring vocals to the front of your mix - adding greater clarity and making them stand out from the surrounding instruments.\u003c\/p\u003e  \u003cp\u003edbx knows compressors...after all we invented them! The 266xs is the latest in a long line of the world's most successful compressors from the inventors of the technology. Its patented Overeasy® compression technology provides smooth and musical performance while the AutoDynamic™ attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 266xs can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1\/4\" TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches.\u003c\/p\u003e  \u003cp\u003eRecommended for: Portable, Tour, Studio.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":47248092102793,"sku":"31612","price":280.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/dbx-266xs_31612_2_5138c768-63fb-4869-83da-31070cea4b92.jpg?v=1784046748"},{"product_id":"drawmer-mxpro40-gate","title":"Drawmer MX40 Pro Gate","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer MX40 Pro\u003c\/strong\u003e is a highly flexible but compact quad Gate suitable for a wide range of professional applications including studio, live sound and audio installations. The input and output connections are electronically balanced on XLR connectors and low-distortion VCAs are used to maintain the highest possible signal quality. Although optimized for +4 dBu operation, the MX40 will work equally well with systems operating at the -10 dBu standard.\u003c\/p\u003e  \u003cp\u003eAny Noise Gate considerably improves the sound of percussive instruments by producing fast leading edges to the signal and then shutting off after a predetermined time. The combination of this fast rising edge, and the silence which follows the gated signal, creates a dramatic improvement to the original signal.\u003c\/p\u003e  \u003cp\u003eDrawmer pioneered the frequency conscious gating common to many noise gate clones now available in audio processing equipment. The MX40 has a new spin on this feature where both controls have been amalgamated into a single intuitive control, of course with a Key Listen facility. This allows fast and simple setup of frequency selective triggering where unwanted signals are prevented from triggering the gate.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":47248191881353,"sku":"62419","price":597.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/drawmer-mx40-pro_62419_1_f142a7a3-0475-4b18-ac06-006a1807bcb9.jpg?v=1784047104"},{"product_id":"rane-dc22s-2-channel-compressor-demo-deal","title":"Rane DC22S 2 Channel Compressor (Demo Deal)","description":"\u003cp\u003eA cure for compression confusion is here. Quit guessing and anguishing over proper compressor and gate settings. Get on with what is important, your work. Rane has created a compressor gate using high quality log rms detectors and Voltage Controlled Amplifiers (VCAs). The \u003cstrong\u003eRane DC22S\u003c\/strong\u003e combines quality compression and gate functions with simplicity. No more compression headache!\u003c\/p\u003e  \u003cp\u003eLets start with what a compressor actually does. No matter how you cut it, this is an automatic volume control... a hand on a control, turning it down and turning it up again. The hand is fast and accurate, but it is just turning a volume control.\u003c\/p\u003e  \u003cp\u003eWhen the input signal reaches a level set by the Threshold control, the compressor begins to turn the signal down by an amount determined by the Ratio control. The DC22S, like most compressors, operates by making the loud signals quieter, but does not make the quiet parts louder. However, by keeping the loud signals under control, the entire system may be turned up when necessary to make the quiet parts louder.\u003c\/p\u003e  \u003cp\u003eThere is more than just a stereo compressor working here. The adjustable Gate is a downward expander, acting like a compressor running in reverse, making the quiet parts quieter. This is valuable in reducing system background noise. The Ratio is fixed at 2:1. When the signal drops below the set Threshold, the Gate Threshold indicator lights and the output level is reduced by 2 dB for every 1 dB the input signal level drops.\u003c\/p\u003e  \u003cp\u003eWhen using the DC22S as a true stereo processor with left and right signals, activate the Link switch. In Link mode, channel 1 becomes the Master and channel 2 the Slave. Gate Threshold, Compression Threshold, Compression Ratio and Output Level are all controlled by channel 1. This ensures that both channels track perfectly, maintaining perfect balance and image. The channels are totally independent with the Link switch off.\u003c\/p\u003e  \u003cp\u003eThe DC22S offers performance and simplicity not found (until now) in this price range. Designed for the working musician or club system, The DC22S provides reduced complexity without compromise in audio quality or dependability.\u003c\/p\u003e","brand":"Rane","offers":[{"title":"Default Title","offer_id":47248291102857,"sku":"79797","price":199.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/rane-dc22_55877_1_1_c044cbdc-581a-475b-9042-aeb9132fcde7.jpg?v=1784047462"},{"product_id":"pete-s-place-audio-bac-500-demo-deal-open-box","title":"Pete's Place Audio BAC-500 500 Series Compressor\/Limiter (Demo Deal)","description":"\u003cp\u003eDesigned by Brad Avenson of Austin, Texas-based Avenson Audio, the \u003cstrong\u003ePete's Place Audio BAC\u003c\/strong\u003e (short for Brad Avenson Compressor) is a feedback-style FET compressor built around two discrete op amps and a custom wound output transformer.\u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eFrom the top down, the BAC’s faceplate features a large silver rotary input knob, smaller pots for attack, release and ratio, and a large output knob at the bottom. Additional features include a three-position sidechain contour switch, eight-LED gain reduction meter, and pushbuttons for distortion and bypass.\u003cbr\u003e\u003cbr\u003eThe module’s attack control runs from fast to quite fast, while the release control exhibits a fairly wide range, enabling the compressor to go from “pumping, breathing fast” up to approximately a second and a half. This allows sounds to “hang” a bit when using the device purely as a leveler or limiter.\u003cbr\u003e\u003cbr\u003eThe ratio control features five positions ranging from 2:1 to 20:1, with a sixth position marked as “∞!”. According to Avenson, “The infinity control has a little exclamation point next to it because, not only is it really flat, but it also puts you in that spot where you can do some over-compression and other interesting things. It changes where the threshold starts to compress as well, so it gives you different varieties of tonal characteristics to play with.”\u003cbr\u003e\u003cbr\u003eThe BAC’s sidechain toggle switch offers a choice of three possible settings: flat, high-pass filter (cut off around 70 to 100 Hz), and an option that somewhat exaggerates the high end while simultaneously cutting the low end. “The overall effect of this third setting is somewhat like a de-esser fed into the sidechain, but it’s a little wider than that and quite good for taming a variety of things that are overly bright,” Avenson notes.\u003cbr\u003e\u003cbr\u003eWith all of the controls essentially cranked between the input and output knobs, the BAC is capable of delivering nearly 50 dB of gain, which can be very helpful in compensating for serious gain reduction issues caused by greatly compressing dynamic range.\u003cbr\u003e\u003cbr\u003eThe bypass button found below the output knob is a true relay bypass, while the adjacent distortion button allows the user to achieve a true bench FET compression sound. “A lot of FET compressors use tricks to linearize the FET as a compression element and make it sound cleaner because if they’re used solely by themselves, they’re really pretty raunchy sounding,” says the designer. “So this switch allows you to play with how much of the frequency response and distortion characteristics of the FET you get. By engaging it, you’re getting a lot more second harmonic distortion and aggressive sounds because we’re taking away some of the linearizing elements. It’s basically a way to kick in a more aggressive sounding compressor without changing any of the other settings. You can dial in the amount of dirt you want.”\u003cbr\u003e\u003cbr\u003eAvenson sums the BAC up by adding, “Although this product is largely designed to provide a bit of color and flavor—and not be too heavy handed—it really does possess that nice ‘bite’ that is characteristic of FET compressors and perfect for cranking down on things like drum room mics when you need it.”\u003cbr\u003e\u003cbr\u003ePete’s Place Audio is an umbrella organization founded to bring a wide variety of handcrafted, innovative, boutique recording and live audio products to market. Under the leadership of President Lisa Montessi and backed by the manufacturing expertise of A-Designs Audio, Pete’s Place collaborates with some of today’s most talented recording artists and engineers to help determine what products, regardless of how esoteric, they feel are missing in the studio and live performance environments.\u003c\/p\u003e","brand":"Pete's Place Audio","offers":[{"title":"Default Title","offer_id":47249228628105,"sku":"218091","price":839.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/petes-place-audio-bac500_10965_1_b49ed92e-ef23-483d-be9f-777825ee0ad6.jpg?v=1784050881"},{"product_id":"heritage-audio-herchild-ha670-ardent-edition-stereo-tube-compressor","title":"Heritage Audio Herchild HA670 Ardent Edition Stereo Tube Compressor","description":"\u003cp\u003eWhen you hear records made at Ardent, you are listening to the heart and soul of Memphis and from here on out, that spirit is captured by the \u003cstrong\u003eHeritage Audio HERCHILD Model 670 Ardent Edition\u003c\/strong\u003e. \u003c\/p\u003e\r\n\r\n\u003cp\u003eArdent Recording Studios is one of the most iconic music studios in the world. Known for its creative energy and technological excellence, it’s been home to a wide range of unique and talented recording artists, producers, and engineers, and has witnessed the creation of many timeless recordings that have influenced the direction of modern music and music production.\u003c\/p\u003e\r\n\r\n\u003cp\u003eSo it is easy to understand that when Ardent Studios first contacted Heritage Audio to evaluate the possibility of having an Ardent Edition of their HERCHILD to substitute their original Fairchild units they could barely believe it. \r\nSince its release, the HERCHILD has stablished itself as the industry reference for “Vari-Mu FAIRCHILD” compression all over the world, but with this request from Ardent they now had a new challenge…a unique opportunity to take it to another level. \u003c\/p\u003e\r\n\r\n\u003cp\u003eBut, what is so special about the original Ardent’s Fairchilds? Ardent’s team modified the attack and release times of their original units in the early 70’s so that the time constants were faster and, therefore, more usable for modern recording studios at the time. This mods were first used to track Jimmy Page’s acoustic guitars on Led Zeppelin III and it is been a best kept secret…until today. After receiving the pencil on paper notes from the original modifications, the Heritage Audio team has worked together with Ardent’s to nail the time constants of the original and after several months the HERCHILD \"Ardent Edition\" is a reality. Ardent’s team were so impressed by the performance of the HERCHILDs that they have changed their original units for 4 HERCHILD 660 and a HERCHILD 670.\u003c\/p\u003e\r\n\r\n\u003cp\u003eFor almost 60 years Ardent has been a special creative space for a diverse and world-renowned clientele; recording artists such as Led Zeppelin, Sam and Dave, ZZ Top, R.E.M., Isaac Hayes, The Staple Singers, Stevie Ray Vaughan, BB King, The Bar-Kays, The White Stripes, Big Star, Bob Dylan, The Raconteurs, The Gin Blossoms, Stevie Wonder, Steve Earle, Smashing Pumpkins, The Allman Brothers… just to name a few. Now you can own a legendary piece of gear that has been the centerpiece of so many multi platinum recordings for decades.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe HERCHILD Model 670: The Ardent Edition will be produced only on request and in very limited units.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eCOMMON TO ALL HERCHILD 670 ITERATIONS:\u003c\/h3\u003e\r\n\r\n\u003cp\u003eFor years the industry has referred to this tube-based beast as something special, unique and even magic-like.  The original Fairchild has indeed been an essential part of the sound to so many hits during several decades..  It certainly has earned its title as the ´grandaddy´ of all compressors.  Being based around 22 tubes and 9 transformers you can be sure the HERCHILD Model 670 will imprint its signature sound all over your tracks providing that familiar tone that we’ve all come to love.  Although it was originally designed to be used for cutting lacquer masters for vinyl albums it didn’t take long for engineers to realize that it could do much more.  It soon became an essential studio tool for many innovative artists, engineers and producers and could be found in most professional studios.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAs there were only about 500 units originally produced there just simply aren’t enough to go around for everybody.  Add to that the original requires quite a lot of special maintenance and after nearly 60 years there just simply aren’t many still in good shape.  So that’s where Heritage Audio comes in…\u003c\/p\u003e\r\n\r\n\u003cp\u003eHeritage Audio has been able to successfully follow the original design and trace the necessary components to provide a modern day alternative.  It’s taken Heritage Audio years, but they have finally produced something so special that it’s capable of letting the old grandaddy take a long deserved rest, and make room for the new blood to take over.  \u003c\/p\u003e\r\n\r\n\u003cp\u003eIt’s been quite a long journey, from sourcing thousands of NOS vari mu tubes from all around the world to commissioning the best names in the industry for making the needed custom transformers.\u003c\/p\u003e\r\n\r\n\u003cp\u003eWhile staying true to the original in terms of response and sound, Heritage Audio has been able to add a few things to make it more practical in modern day studios.  First off they have given direct access to the continuously variable slope control (DC Threshold).  This is something that makes the compressor so much more flexible and was only available on the original via an inconvenient screw adjustment hidden from immediate access. Then there’s the SC FILTER.  Nowadays, it’s just about impossible to fathom a compressor without this feature as it’s become so important in everyday use.  Here they have provided 4 different frequencies to choose from to precisely tailor your compression needs. The HERCHILD Model 670 is a two channel unit so you have the option to use them independently or linked together.  There are actually 4 modes of operation:  Individual, Link(Stereo), LAT\/VERT(MID\/SIDE) \u0026amp; LAT\/VERT Link.  Using the LAT\/VERT mode provides a whole new world of options to your mix.\u003c\/p\u003e","brand":"Heritage Audio","offers":[{"title":"Default Title","offer_id":47249239900297,"sku":"218730","price":10999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/heritage-audio-herchild-ha670-ardent-edition-stereo-tube-compressor_218730_1_3_a9cbccf6-2e43-4b1e-bb92-49b876b117a5.jpg?v=1784050882"},{"product_id":"heritage-audio-herchild-ha660-ardent-edition-mono-tube-compressor","title":"Heritage Audio Herchild HA660 Ardent Edition Mono Tube Compressor","description":"\u003cp\u003eWhen you hear records made at Ardent, you are listening to the heart and soul of Memphis and from here on out, that spirit is captured by the \u003cstrong\u003eHeritage Audio HERCHILD Model 660 Ardent Edition\u003c\/strong\u003e. \u003c\/p\u003e\r\n\r\n\u003cp\u003eArdent Recording Studios is one of the most iconic music studios in the world. Known for its creative energy and technological excellence, it’s been home to a wide range of unique and talented recording artists, producers, and engineers, and has witnessed the creation of many timeless recordings that have influenced the direction of modern music and music production.\u003c\/p\u003e\r\n\r\n\u003cp\u003eSo it is easy to understand that when Ardent Studios first contacted Heritage Audio to evaluate the possibility of having an Ardent Edition of their HERCHILD to substitute their original Fairchild units they could barely believe it. \r\nSince its release, the HERCHILD has stablished itself as the industry reference for “Vari-Mu FAIRCHILD” compression all over the world, but with this request from Ardent they now had a new challenge…a unique opportunity to take it to another level. \u003c\/p\u003e\r\n\r\n\u003cp\u003eBut, what is so special about the original Ardent’s Fairchilds? Ardent’s team modified the attack and release times of their original units in the early 70’s so that the time constants were faster and, therefore, more usable for modern recording studios at the time. These mods were first used to track Jimmy Page’s acoustic guitars on Led Zeppelin III and it is been a best kept secret…until today. After receiving the pencil on paper notes from the original modifications, the Heritage Audio team has worked together with Ardent’s to nail the time constants of the original and after several months the HERCHILD \"Ardent Edition\" is a reality. Ardent’s team were so impressed by the performance of the HERCHILDs that they have changed their original units for 4 HERCHILD 660 and a HERCHILD 670.\u003c\/p\u003e\r\n\r\n\u003cp\u003eFor almost 60 years Ardent has been a special creative space for a diverse and world-renowned clientele; recording artists such as Led Zeppelin, Sam and Dave, ZZ Top, R.E.M., Isaac Hayes, The Staple Singers, Stevie Ray Vaughan, BB King, The Bar-Kays, The White Stripes, Big Star, Bob Dylan, The Raconteurs, The Gin Blossoms, Stevie Wonder, Steve Earle, Smashing Pumpkins, The Allman Brothers… just to name a few. Now you can own a legendary piece of gear that has been the centerpiece of so many multi platinum recordings for decades.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eCOMMON TO ALL HERCHILD 660 ITERATIONS:\u003c\/h3\u003e\r\n\r\n\u003cp\u003eFor years the industry has referred to this tube-based beast as something special, unique and even magic-like.  The original Fairchild has indeed been an essential part of the sound to so many hits during several decades.  It certainly has earned its title as the ´grandaddy´ of all compressors.  Being based around 11 valves and 5 transformers you can be sure the HERCHILD Model 660 will imprint its signature sound all over your tracks providing that familiar tone that we’ve all come to love.  Although it was originally designed to be used for cutting lacquer masters for vinyl albums it didn’t take long for engineers to realize that it could do much more.  It soon became an essential studio tool for many innovative artists, engineers and producers and could be found in most professional studios.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAs there were only about 500 units originally produced there just simply aren’t enough to go around for everybody.  Add to that the original requires quite a lot of special maintenance and after nearly 60 years there just simply aren’t many still in good shape. So that’s where Heritage Audio comes in…\u003c\/p\u003e\r\n\r\n\u003cp\u003eHeritage Audio has been able to successfully follow the original design and trace the necessary components to provide a modern day alternative.  It’s taken Heritage Audio years, but they feel that they have finally produced something so special that it’s capable of letting the old grandaddy take a long deserved rest, and make room for the new blood to take over.  \u003c\/p\u003e\r\n\r\n\u003cp\u003eIt’s been quite a long journey, from sourcing thousands of NOS Vari-Mu tubes from all around the world to commissioning the best names in the industry for making the needed custom transformers.\u003c\/p\u003e\r\n\r\n\u003cp\u003eWhile staying true to the original in terms of response and sound, Heritage Audio has been able to add a few things to make it more practical in modern day studios.  First off they have given direct access to the continuously variable slope control.  This is something that makes the compressor so much more flexible and was only available on the original via an inconvenient screw adjustment hidden from immediate access. Then there’s the SC FILTER. Nowadays, it’s just about impossible to fathom a compressor without this feature as it’s become so important in everyday use. Here Heritage Audio has provided 4 different frequencies to choose from to precisely tailor your compression needs.  \u003c\/p\u003e","brand":"Heritage Audio","offers":[{"title":"Default Title","offer_id":47249239933065,"sku":"218731","price":5999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/heritage-audio-herchild-ha660-ardent-edition-mono-tube-compressor_218731_1_dda2e071-a80d-4893-bb54-805a7990623f.jpg?v=1784050882"},{"product_id":"rodec-m-110-sidestepper-module","title":"Rodec M-110 SideStepper 100 Series Analog Stereo Gater\/Ducker Module","description":"\u003cp\u003eThe \u003cstrong\u003eRodec M-110 SideStepper\u003c\/strong\u003e is an analog stereo gater\/ducker with a built-in step sequencer sidechain programmer. Take total command of your stereo image with the integrated digital step sequencer. Unlike standard duckers, this module allows you to program custom patterns that drive the all-analog ducking and gating circuits. With the ability to set pattern lengths anywhere from 1 to 16 steps, you can easily create complex polyrhythmic textures when layered against standard time signatures. Combined with per-step length control, shuffle, and a built-in randomizer, your rhythmic possibilities are virtually limitless.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003ePURE ANALOG SIGNAL PATH\u003c\/h3\u003e\r\n\r\n\u003cp\u003eExperience the warmth and headroom of a fully analog VCA circuit. Whether you are \"pumping\" a synth pad or gating a noise floor, the module offers precise control via dedicated Attack, Decay, Threshold, and Depth knobs. You can choose to trigger the circuit via the internal sequencer, use an external analog sidechain signal or use the main audio itself. The external input features an integrated filter, allowing the module to react exclusively to specific frequencies; like the punch of a kick drum or the snap of a snare.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003ePRO SYNC AND CREATIVE ROUTING\u003c\/h3\u003e\r\n\r\n\u003cp\u003eDesigned for the modern studio and the stage, the module stays perfectly in time via MIDI or Audio PPQN sync. For more reactive performances, the sequencer can be set to \"One-Shot\" mode, triggering a single cycle only when an incoming audio signal hits your defined threshold. Finally, the unique Mix function lets you sum the sidechain trigger and the main audio at the output, offering a quick way to check your timing or create layered, rhythmic soundscapes.\u003c\/p\u003e","brand":"Rodec","offers":[{"title":"Default Title","offer_id":47249558732937,"sku":"510931","price":566.18,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/rodec-m-110_510931_1_9f7db991-c812-46fd-a056-9ed6390e46ad.jpg?v=1784051777"}],"url":"https:\/\/vintage-king-staging.myshopify.com\/collections\/recording-outboard-dynamics-compressor-gates.oembed","provider":"Vintage King Staging","version":"1.0","type":"link"}