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.

Related Articles: Vintage Compressor or Replica | The History of Compressor/Limiters | The History of Western Electric

Released in 1957

Gates 28-CO Limiting Amplifier

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

Collins 26U-1 Limiting Amplifier

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.
Released in 1958

Gates Level Devil Automatic Gain Control Amplifier

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.
Released in 1959

Fairchild 660 Limiting Amplifier

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.
Released in 1959

Gates SA-39B Limiting Amplifier

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.
Released in 1960

Fairchild 670 Limiting Amplifier

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.
Released in 1960

Altec 436C Compressor Amplifier

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.
Released in 1960

EMI / Altec RS 124 Compressor

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.
Released in 1962

Fairchild 666 Compressor

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.
Released in 1962

Teletronix LA-2A Leveling Amplifier

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.
Released in 1965

Gates FM Top-Level Limiter

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.
Released in 1967

Altec 1591A Compressor Amplifier

The Altec 1591A is designed for seamless mixing of high- and low-level inputs, compression, or linear amplification, while maintaining dynamic range integrity in environments such as recording and broadcast studios, theatres, stadiums, schools, churches, hotels, arenas, convention centres, military complexes, and public address systems.