Vintage Digital

Compressor/Limiters

Classic Recording Studio Equipment

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 color to a recording. For example, some compressors have a “vintage” or “analog” 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.

The dbx 165A is a professional single channel compressor/limiter that features the new dbx Over Easy compression curve. The dbx Over Easy compression curve permits extremely smooth, almost inaudible compression due to the gradual change of compression ratio around the threshold, instead of the customary sharp threshold.
The dbx 160X replaced the now legendary dbx 160(VU) and added the over easy compression of the dbx 165, and changed the form factor from the half rack size with wood side panels, to a single rack chassis.
The Boss RCL-10 Compressor Limiter from 1985 provides four different high-performance functions integrated into a single unit.
Since its introduction in the mid 1970’s, the dbx 160 series has been the world’s most popular line of audio compressors. After the classic 160 (which is still used daily in many world class studios), came the 165, the 160X and the 160XT. And now, the 160A.
The Sony MU-L021 is a professional stereo compressor limiter designed for use in studios. It features a built-in noise gate, transformerless balanced circuits, and variable control of key parameters. It is rack mountable and ideal for professional applications.
Since its introduction, the Alesis 3630 Compressor has become the most popular dynamics processor ever made. Despite what the official Alesis marketing department say about the Alesis 3630 Compressor below, it is not the holy grail of compressors, regardless of the fact it has become something of a cult classic among many musicians.
The Tube-Tech CL 1B is an all-tube optical mono compressor. It delivers a very musical and smooth compression, preserving the clarity of the source even at extreme settings, and this is where CL 1B really stands out compared to other compressors.
A mainstay of both the live sound and studio environments, the Summit Audio DCL-200 has helped shape the sound of countless concerts and albums for decades, as well as holding down the fort in many of the best dance clubs around the world.
The dbx 1046 provides 4 channels of smooth classic dbx OverEasy® or Hard Knee compression that are perfectly suited for use on individual tracks of your multitrack recorder.
The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding “soft knee” vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. Upon it’s release in 1993, it was THE mic pre to have!
The world-renowned Summit Audio TLA-100A tube leveling amplifier has been regarded as a staple by studio and live engineers around the world for more than a quarter of a century.
The Universal Audio LA-2A Leveling Amplifier is true to the original design, Universal Audio’s famed tube-amplified T4 electro-optical compressor.