Effects Timeline
Our Vintage Digital and Analogue Effects timeline now includes Audio Recorders and Classic Music Tracks to help place these effects and devices within the history of recorded music. Any errors, please notify us using our contact form.
1937
The Western Electric 110A Program Amplifier, released in 1937, was a pioneering broadcast audio compressor designed to enhance radio transmission quality and prevent over-modulation. Known as the first compressor of its kind, this amplifier delivered a 3 dB increase in average audio signal level, effectively doubling the broadcast area without needing additional transmitter power.
Made In U.S.A.
1937
Made In U.S.A.
The RCA 96-A Limiting Amplifier, released in 1937 just six months after the release of the Western Electric 110-A and it provided high compression capabilities with low distortion and uniform frequency response.
1938
The Collins 26C is a general-purpose program amplifier, including means for preventing the peak output signal amplitude from exceeding a certain predetermined level. The amplifier includes a rectifier and filter system, operating from an external isolation transformer, supplied.
Made In U.S.A.
1945
Made In U.S.A.
The Altec A322 C Limiter Amplifier is invaluable for use in film and disc recordings, broadcasting, and public address applications. Its use in film and disc recordings prevents over-modulation and allows a higher average level of recording without danger of distortion.
1946
The Raytheon RL-10 is a vintage broadcast peak-limiting amplifier featuring 43 dB of gain, automatic gain reduction, and a tube-driven design for high-fidelity AM/FM programme chains. With precise metering, selectable recovery times, and low distortion, it remains a testament to mid-century broadcast engineering.
Made In U.S.A.
1946
Made In U.S.A.
The Langevin PROGAR 119-A, introduced in the late 1940s, is a vintage tube-based compressor/limiter known for its rarity and distinctive design. The name "PROGAR" stands for "Program Guardian," reflecting its intended role in broadcast applications to manage audio levels and prevent distortion.
1947
The General Electric BA-5 is a broadcast limiting amplifier designed for AM and FM stations, delivering high-quality audio control with minimal distortion and excellent signal-to-noise performance.
Made In U.S.A.
1951
Made In U.S.A.
First introduced in 1951, the Pultec EQP-1 Program Equaliser was the first passive equaliser on the market. Upon its introduction, it changed the recording world forever, offering a new way to manipulate sound. The fact that Pultec equalisers in one form or another are still in use today, is extraordinary.
1951
The RCA BA-6A Limiting Amplifier is built for cost-effective, high-quality performance in FM, AM, and TV sound channels. It automatically controls audio peaks to prevent overmodulation, reducing distortion and interference. This amplifier also maximises transmitter power efficiency by enabling near-max output, boosting average modulation levels by several dB without adding significant harmonic distortion.
Made In U.S.A.
1951
Made In U.K.
The EMI RS56, or UTC (Universal Tone Control), was a semi-parametric equaliser developed by EMI in 1951 for disc cutting. It gained legendary status at Abbey Road, especially during Beatles sessions, thanks to its flexible three-band EQ and stepped controls. Nicknamed the “Curve Bender,” it was eventually replaced by the TG12412 in the 1970s but remains one of EMI’s most iconic designs.
1952
The Gates SA-38 Limiting Amplifier delivers low-noise, low-distortion performance with up to 20 dB compression, instant attack, selectable release times, and a dual-scale meter for easy monitoring. It features ladder attenuators, T-network control, and a service-friendly design.
Made In U.S.A.
1953
Made In U.S.A.
The Collins 26W Limiting Amplifier controls audio peaks in AM/FM installations, preventing overmodulation and improving signal efficiency. It fits standard 19" racks, provides easy access, proper ventilation, and includes metering for monitoring and a built-in power supply.
1955
The Pultec MEQ-5 provides fine control over the "power region" (300 Hz to 5000 Hz), where most audio energy is focused and the ear is highly sensitive. Smooth handling of this range is crucial, as minor acoustic or equipment resonances can greatly affect sound clarity and listenability.
Made In U.S.A.
1956
Made In U.S.A.
The Gates STA-Level is an automatic gain amplifier that maintains consistent audio levels with up to 40 dB compression and low distortion. It features adjustable recovery times, built-in attenuators to prevent signal overload, and operates efficiently with minimal supervision. Its push-pull circuitry reduces noise and distortion, ensuring clear audio for broadcasting applications.
1956
The Langevin EQ-258-A Program Equalizer is a rare 1950s passive EQ, offering selectable frequencies at 40Hz, 100Hz, 3kHz, 5kHz, 10kHz, and 15kHz, with up to +12dB boost and -16dB cut. Known for its smooth, musical tone and rugged build, it remains a prized tool for adding vintage character and tonal balance to recordings.
Made In U.S.A.
1956
Made In U.K.
The EMI RS114 Limiter was a valve-based mono limiter developed in the 1950s and used extensively at Abbey Road Studios, especially on Beatles recordings from 1962 to 1964. Known for its distinctive attack and recovery controls, it helped shape the sound of the group’s early work. Though technically complex and prone to drift, it was one of the first gain-control devices available to EMI engineers.
1956
The UTC 4-B EQ Filter was introduced in the 1950s, crafted by the United Transformer Corporation (UTC), and renowned for its warm and natural sound, achieved through a transformer-coupled design that shapes audio signals without active electronics.
Made In U.S.A.
1957
Made In Germany
The EMT 140, introduced in 1957, was the world’s first artificial reverb unit and revolutionised recording by providing “reverb on tap.” Using a suspended metal plate, it delivered rich, natural reverberation, allowing even smaller studios without reverb chambers to create professional-quality ambience. Its warm, versatile sound quickly made it a studio essential.
1957
The Gates 28-CO Limiting Amplifier improves broadcast audio by limiting peaks with minimal distortion. It features adjustable release times, simple controls, and a durable steel-grey chassis with a self-contained power supply.
Made In U.S.A.
1958
Made In U.S.A.
The Collins 26U-1 Limiting Amplifier delivers maximum modulation with minimal distortion for clear broadcasting. It prevents overmodulation, enhances signal-to-noise ratio, and supports over 30 dB compression. Key features include a self-balancing circuit, efficient power supply, VU meter, and adjustable controls, all in a durable, easy-access design.
1958
The Gates Level Devil is a professional-grade audio amplifier designed for broadcasting and audio applications. It features four amplification stages, regulated power supply, and input pads for flexible signal control. The amplifier includes a differential design for noise rejection, push-pull signal configuration for stability, and advanced peak limiting and expander circuits to manage gain and distortion effectively. Its reliable performance in TV and FM broadcasting environments makes it a versatile and trusted tool for maintaining audio clarity under challenging conditions.
Made In U.S.A.
1958
Made In U.S.A.
The Blonder-Tongue Audio Baton, introduced in 1959, is an equaliser featuring nine octave-band controls, each capable of boosting or attenuating specific frequency ranges by up to ±14 dB. Designed for high-fidelity systems and public address applications, it offered users the ability to finely adjust frequency balance to correct system deficiencies, enhance tonal characteristics, and improve speech intelligibility.
1959
The Fairchild 660 is a legendary tube-driven, single-channel audio compressor, designed by Rein Narma and first produced by the Fairchild Recording Equipment Corporation in 1959.
Made In U.S.A.
1959
Made In U.S.A.
The Gates SA-39B limiter offers smooth, fast compression with minimal distortion, even at high levels. Designed with input from BBC engineers, it features near-instant attack, six release settings, and precise calibration via a 4-inch meter. Its serviceable design includes a hinged front panel for easy maintenance and cleaning.
1960
The Fairchild 670 Tube Limiter was the brainchild of Estonian immigrant to the USA, Rein Narma. Rein licensed the design to Sherman Fairchild and the rest as they say, is history...a legend was born.
Made In U.S.A.
1960
Made In U.S.A.
The Altec 436C is a self-powered compressor amplifier offering up to 30 dB of gain reduction, with variable threshold, compression ratio, and release time. Designed for studio, broadcast, and public address use, it delivers smooth, noise-free level control with wide frequency response.
1960
The Altec RS 124 was a custom-modified Altec 436B compressor created by EMI engineers and used extensively on Beatles recordings. Favoured for its smooth compression and warm tone, it shaped bass, guitars, and mix busses throughout their career. Unique EMI modifications made it a completely different unit from the original Altec, and original RS 124s are now extremely rare.
Made In U.K.
1961
Made In U.S.A.
The Pultec EQP-1A is a classic equaliser known for its warm, smooth sound, achieved through a unique design that allows simultaneous frequency boosting and cutting. Introduced in 1961, its tube-driven, passive circuitry adds depth and clarity, making it a favourite for enhancing bass and airy highs. Its "Pultec sound" remains a staple in studios for its natural, musical character.
1962
The Fairchild 666 compressor was a rare hybrid design combining solid-state control with valve amplification. It offered cleaner gain reduction than earlier all-valve models and featured automatic attenuation and built-in de-essing. Though technically advanced, it was less popular than the 660 and 670, but remains a notable step in Fairchild’s evolution.
Made In U.S.A.
1962
Made In U.S.A.
The Teletronix LA-2A was released in 1962, and along with the Urie 1176, is one of the most iconic compressors ever made, and is still in use today. With Universal Audio having purchased the Teletronix company way back in the mid 1960s, this iconic compressor is available new, made to the exacting specifications.
1962
The Lang PEQ-2 Program Equaliser, released in the mid-20th century, was a groundbreaking tool for audio professionals, offering precise tonal shaping and reliability. Featuring non-drift components, high-Q toroidal coils, and a hermetically sealed design, it delivered low noise, low power consumption, and unmatched durability.
Made In U.S.A.
1963
Made In U.S.A.
The Altec 9063A is a vintage passive equaliser from the 1960s, offering precise tonal shaping with boost and attenuation options. Known for its simplicity and robust design, it remains highly sought after in the second-hand market for mixing and mastering applications.
1964
The Studer J 37 Tape Recorder is a legendary piece of audio equipment that has etched its name in music history. Renowned for its exceptional sound quality and reliability, the J 37 was the tape recorder of choice at the iconic Abbey Road Studios. This masterpiece of engineering played a pivotal role in recording some of the most celebrated albums in history, including The Beatles' groundbreaking work.
Made In Switzerland
1965
Made In U.S.A.
The Gates FM Top Level Limiter is a 1960s solid-state dual-channel audio processor designed for FM broadcasters. It prevents overmodulation with instant attack and release, offering ±1 dB response from 30–15,000 Hz, 28 dB gain, and outputs up to +18 dBm at 600 ohms. It’s durable, compact, and efficient, enhancing FM audio quality while reducing distortion and noise.
1965
The Beatles
In October 1965, The Beatles recorded two new tracks for their annual December single: Day Tripper and We Can Work It Out. These songs are perfect examples of The Beatles’ ability to create catchy pop songs on demand. As one of their strongest singles, it was also the first to be released as a double […]
Mixed by: Peter Bown
Produced by: George Martin
