Compressor/Limiters

Analogue Compressors and limiters are dynamic processing tools used in recording studios to control the dynamic range of audio signals. A compressor works by reducing the level of the loudest parts of a signal, while leaving the quieter parts unaffected. This can help to even out the overall volume of a recording and make it sound more consistent. Limiters work similarly to compressors, but they have a more aggressive ratio and a fixed threshold that won’t allow the signal to go above a certain level. This can be useful for preventing clipping or distortion when recording signals with a high dynamic range.

In addition to controlling dynamic range, compressors and limiters can also be used creatively to add character and colour to a recording. For example, some compressors have a “vintage” or “analogue” sound that can add warmth or saturation to a recording, while others can provide a more transparent or clean sound. Some compressors even have specific settings for different instruments or types of signals, such as vocals or drums. Choosing the right compressor or limiter for a particular recording can be a crucial part of the mixing process, as it can greatly affect the final sound of the track.

Released in 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.
Released in 1937
The RCA 96-A Limiting Amplifier, released in 1937 just six months after the release of the Wetsern Electric 110-A and it provided high compression capabilities with low distortion and uniform frequency response.
Released in 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.
Released in 1945
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.
Released in 1946
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.
Released in 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.
Released in 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.
Released in 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.
Released in 1953
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.
Released in 1956
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.
Released in 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.
Released in 1958
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.

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