Compressors & Limiters

Compressors and limiters are essential dynamics processors used throughout recording, mixing and mastering. From early valve and variable-mu designs to FET, VCA and optical circuits, hardware compressors have shaped the control, punch and tonal character of recorded sound across decades of studio production.

This archive covers both vintage studio compressors and modern hardware designs, including faithful recreations and contemporary interpretations of classic circuits. From original units produced in the 1960s and 1970s to current production models and replicas, these dynamics processors remain central to professional studio workflows.

Decades
Made In U.K.
Released in 1992 /
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 its release in 1993, it was THE mic pre to have!
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Made In U.S.A.
Released in 1992 /
The dbx 166 Two Channel Gated Compressor/Limiter combined dual-channel gating, dbx OverEasy compression and PeakStop limiting in a 1U rackmount processor. With stereo coupling, sidechain access, hardwire bypass and flexible threshold, ratio and output controls, the dbx 166 Two Channel Gated Compressor/Limiter provided practical dynamic control for recording, mixing, broadcast and sound reinforcement applications.
Made In U.S.A.
Released in 1992 /
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.
Made In U.S.A.
Released in 1993 /
The Universal Audio LA-2A Leveling Amplifier is true to the original design, Universal Audio’s famed tube-amplified T4 electro-optical compressor.
Made In U.S.A.
Released in 1994 /
There are few modern classics in the world of professional studio effects hardware, but the Manley Stereo Variable MU limiter compressor is most definitely one such processor. An all-tube limiter built in the great tradition of the Fairchild 660, the Manley Stereo Variable MU has been a cherished part of many studios for decades.
Made In U.S.A.
Released in 1994 /
Set it and forget it! The Langevin Elop Stereo Electro-Optical Limiter makes your job easy.
Made In U.K.
Released in 1995 /
The Focusrite Red 3 employs an unusual and original single-VCA design to achieve high quality and truly independent compression and limiting, without the compromise and unnecessary processing involved in traditional designs.
Made In U.S.A.
Released in 1995 /
The D.W. Fearn VT-7has a highly transparent sound, although it can be used more aggressively when needed. Artifacts of the compression process are substantially lower than in most other compressors.
Made In U.S.A.
Released in 1995 /
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.
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Made In U.S.A.
Released in 1996 /
The Crane Song STC-8 is a high-quality compressor combined with a remarkably dependable peak limiter, that provides overload protection critical to digital recording and broadcast transmitters.
Made In U.S.A.
Released in 1996 /
The dbx 160S is a 2U stereo compressor and limiter available by January 1996. It combines classic dbx hard-knee compression, OverEasy operation, variable attack and release, automatic timing, PeakStopPlus limiting, dual V8 VCA modules, transformer-coupled outputs and premium mechanical construction.
Made In China
Released in 1996 /
The dbx 266XL’s 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.