500 Series Dynamics – Dynamic Control in a Modular Format
Dynamics processors are among the most important tools in any signal chain. In the 500 Series format, they combine professional dynamics processing with the flexibility of a modular system, allowing engineers and producers to build tailored signal paths around their specific needs. Control, musicality, and flexibility are at the heart of their role.
Whether it is a compressor, limiter, gate, or specialized dynamics module, 500 Series dynamics processors help stabilize signals, shape transients, and translate musical decisions directly into the analog signal path.
The question is rarely which module is objectively “the best.” What matters is which circuit design, response characteristics, and sonic personality best suit the source material, workflow, and desired outcome.
Today, the 500 Series format offers an extensive range of dynamics processors. From fast VCA compressors and character-rich FET designs to optical, tube, and Vari-Mu concepts, specialized tools are available for virtually every application within the signal chain.
At the same time, 500 Series dynamics modules differ significantly in behavior, character, and intended use. Some operate with transparency and precision, while others deliberately add density, punch, saturation, or movement to a signal.
Particularly with vocals, drums, bass, guitars, and bus processing, dynamics control can have a profound impact on the final result. In many cases, the goal is not simply loudness, but timing, energy, stability, and the emotional impact of a performance.
One of the greatest advantages of the 500 Series format is its modularity. Different dynamics modules can be combined within a shared rack, allowing signal paths to evolve and adapt as studio requirements change.
In practice, success is rarely determined by the number of controls or features. What matters is whether a module supports musical decision-making and integrates naturally into an existing workflow.
That is why you will not find a random collection of 500 Series dynamics processors at Peakhouse Audio. Our selection is based on hands-on studio experience, direct comparisons, and modules that have proven themselves in professional recording, mixing, and mastering environments.
If you are unsure which 500 Series dynamics module best suits your setup, we are happy to help with equipment selection, integration, and signal-flow planning.
Less focus on level management—and more focus on modules that make dynamics musical, controllable, and purposeful.
ACME Audio XLA500
ACME Audio Opticom XLA-500 – Tube Optical Compressor / Limiter (500-Series) The ACME Audio Opticom XLA-500 brings the sonic architecture of the acclaimed XLA-3 into the compact 500-Series format. This tube-driven optical compressor combines a triple opto compression circuit, a Class-A gain stage and high-quality CineMag transformers, resulting in a highly versatile dynamics processor with strong analog character. Its sound ranges from subtle, musical leveling to aggressive, harmonically rich compression, making it an ideal tool for modern hybrid studios. Sound Character The XLA-500 uses an optical detection circuit combined with tube make-up gain, delivering smooth and musical compression with pleasant harmonic coloration. At the heart of the unit is the Triple Opto Circuit, which blends the characteristics of three different compression curves into one design. This allows compression responses ranging from slow and gentle to fast and aggressive depending on the material. It is especially favored for: ✔ Vocals with rich analog warmth ✔ Drum parallel compression and room microphones ✔ Bass and synth sources requiring weight and density ✔ Guitar tracks with added harmonic richness Highlights ✔ Tube optical compressor / limiter in 500-Series format ✔ Triple Opto Circuit with three compression characteristics ✔ Class-A gain stage ✔ CineMag input and output transformers ✔ Fast / Normal / Slow compression modes ✔ Compression range from subtle to aggressive ✔ True bypass for quick A/B comparison ✔ Dual-slot 500-Series module Typical Studio Applications The XLA-500 is often chosen when engineers want both dynamic control and analog tone coloration. ✔ Lead vocals – dense vintage character ✔ Drum parallel compression – aggressive punch ✔ Bass & synths – enhanced weight and depth ✔ Guitar tracks – additional harmonic texture Technical Specifications ✔ Processor type: Tube optical limiter ✔ Format: API 500-Series (dual-slot module) ✔ Channels: Mono ✔ Gain stage: Class-A tube make-up gain ✔ Transformers: CineMag input & output ✔ Compression modes: Fast / Normal / Slow ✔ Power: ±16 V via 500-Series rack
AMS Neve RMX16-500
AMS Neve RMX16-500 The AMS Neve RMX16-500 is a high-end digital reverb module in 500-series format, bringing the legendary sound of the original RMX16 from the 1980s into a modern studio workflow. Developed by AMS Neve, it uses the exact same “bit-for-bit” algorithms as the original unit, delivering the iconic sound heard on countless recordings. Originally introduced as one of the first microprocessor-controlled digital reverbs, the RMX16 became a defining tool in music production—especially throughout the 1980s. The 500-series version enhances this legacy with modern DSP, improved noise performance and additional features such as preset storage and wet/dry control. Sound Character The AMS Neve RMX16-500 delivers a rich, dense and musical reverb with a distinctive vintage character. Its most famous feature is the “NonLin” algorithm, which produces the iconic gated reverb sound widely used on 1980s recordings. In addition to classic reverb types (Ambience, Room, Hall, Plate), the unit offers creative effects such as reverse reverb, chorus and delay. It ranges from subtle spatial enhancement to highly characterful effects while always remaining musical and mix-ready. Highlights ✔ classic digital reverb in 500-series format ✔ original RMX16 algorithms (bit-accurate recreation) ✔ iconic 80s gated reverb (NonLin2) ✔ 18 programs including original and expansion algorithms ✔ modern 32-bit DSP with 24-bit / 48 kHz conversion ✔ 100 user preset slots ✔ wet/dry mix control and extended parameter editing ✔ OLED display with intuitive encoder control ✔ significantly lower noise than vintage units ✔ API 500 Series format (3-slot module) Typical Applications ✔ drum and snare reverb (gated / nonlinear) ✔ vocal processing with character ✔ 80s-style effects and retro sound design ✔ mixing and post-production ✔ creative FX (reverse, freeze, modulation) Technical Specifications ✔ device type: digital reverb (500 series module) ✔ DSP: 32-bit processing ✔ converters: 24-bit / 48 kHz ✔ programs: 18 (NonLin, Hall, Plate, Room, Echo, etc.) ✔ presets: 100 user slots ✔ dynamic range: >100 dB ✔ I/O: depends on 500-series rack ✔ format: API 500 Series (3 slots) ✔ configuration: mono-in / stereo-out
API 525
API 525 The API 525 is a classic discrete compressor/limiter module for the API 500-series format, originally introduced in the early 1970s and now reissued using the original design documents from the API archives. It uses a feedback compression topology, which produces a smoother and more musical response compared with modern feed-forward designs. The module features API’s discrete 2510 and 2520 op-amps with transformer-balanced output, delivering the signature API sound characterized by punchy transients and strong midrange presence. A unique feature is the Ceiling control, which simultaneously adjusts threshold and make-up gain so engineers can change the amount of compression without altering the overall output level. Sound Character The API 525 provides the classic fast, punchy and musical API compression sound. Its feedback design responds naturally to transients, making it ideal for dynamic sources such as drums, guitars and vocals while adding analog character and density. Highlights ✔ classic API 500-series compressor/limiter ✔ faithful reissue of the original 1970s design ✔ feedback compression topology ✔ discrete API 2510 and 2520 op-amps ✔ unique Ceiling control ✔ 2:1 compression / 20:1 limiter mode ✔ integrated de-esser detector filter ✔ four automatic release modes ✔ analog gain-reduction VU meter ✔ hardware relay bypass Technical Specifications ✔ device type: compressor / limiter (500-series) ✔ ratio: 2:1 / 20:1 ✔ attack time: approx. 15 µs ✔ release times: 0.1 – 2 s automatic modes ✔ frequency response: 20 Hz – 40 kHz (±0.5 dB) ✔ max input level: +27 dBu ✔ max output level: +28 dBu ✔ signal-to-noise ratio: approx. 112 dB ✔ format: API 500-series module
API 525A
API 525A The API 525A is a modern discrete FET compressor/limiter for the API 500-series format, based on the classic API 525 compressor originally introduced in the early 1970s. The new model expands the original design with additional control options for greater flexibility in modern studio workflows. Like the original unit, the 525A uses a feedback compression topology, known for its musical response and natural dynamic behavior. The discrete audio path features API 2510 and 2520 op-amps with a proprietary output transformer, delivering the signature API tone with strong midrange punch and excellent transient detail. Compared to the vintage design, the 525A introduces a variable attack control, seven selectable release times, and the classic Ceiling control, which simultaneously adjusts threshold and make-up gain for consistent output levels while changing compression depth. Sound Character The API 525A delivers the classic fast, punchy and musical API compression character. Its FET-based dynamics control responds quickly to transients and can range from subtle dynamic control to aggressive limiting. It is especially effective on drums, guitars, bass and vocals, adding punch and analog density to recordings. Highlights ✔ discrete FET compressor/limiter (500-series module) ✔ based on the classic API 525 compressor ✔ variable attack control (15 µs – 15 ms) ✔ 7 selectable release times ✔ Ceiling control for simultaneous threshold/output adjustment ✔ compression or limiter mode (2:1 / 20:1) ✔ discrete circuit with API 2510 and 2520 op-amps ✔ API transformer-balanced output stage ✔ analog gain-reduction VU meter ✔ hardware bypass Technical Specifications ✔ device type: FET compressor / limiter (500-series) ✔ ratio: 2:1 / 20:1 ✔ attack: 15 µs – 15 ms ✔ release: 0.05 – 2 s (7 modes) ✔ maximum gain reduction: 25 dB ✔ frequency response: 20 Hz – 40 kHz ±0.5 dB ✔ max input level: +27 dBu ✔ max output level: +28 dBu ✔ format: API 500-series module
API 527A
API 527A The API 527A Compressor/Limiter is a versatile VCA compressor/limiter for the API 500-series format, designed for modern recording and mixing workflows while retaining the classic API analog sound. The module belongs to API’s family of VCA-based compressors (including the 225L, 2500 and 529) and features discrete API 2510 and 2520 op-amps with transformer-balanced output, delivering the signature API tone with punchy transients and strong midrange presence. A defining feature is the switchable feed-forward (“NEW”) and feedback (“OLD”) compression topology, allowing engineers to choose between modern precision or vintage-style dynamics behavior. The compressor also includes API’s patented THRUST® sidechain circuit, which reduces low-frequency influence on the detector circuit to maintain a punchy and stable low end during compression. Sound Character The 527A delivers the classic fast, punchy and versatile API compression character. The selectable compression topology allows it to operate as either a transparent modern compressor or a smoother vintage-style dynamics processor. Combined with the THRUST® circuit, it maintains strong low-frequency energy while controlling overall dynamics effectively. Highlights ✔ VCA compressor/limiter for API 500-series racks ✔ switchable feed-forward and feedback compression modes ✔ hard or soft knee compression ✔ THRUST® sidechain filter for enhanced low-end punch ✔ discrete API 2510 / 2520 op-amps ✔ adjustable threshold, ratio, attack, release and output ✔ stereo-link capability ✔ 10-segment LED meter for gain reduction or output level ✔ overload indicator ✔ relay-based hard bypass Technical Specifications ✔ device type: VCA compressor / limiter (500-series module) ✔ ratio: approx. 1.5:1 – ∞:1 ✔ attack: 0.03 ms – 30 ms ✔ release: 50 ms – 3 s ✔ threshold range: -20 dBu to +10 dBu ✔ maximum input level: +26 dBu ✔ maximum output level: +30 dBu ✔ format: API 500-series module (VPR Alliance compatible)
API 529
API 529 The API 529 is a powerful stereo bus compressor for the API 500-series format, bringing many features of the legendary API 2500 compressor into a compact dual-slot module. It is designed for professional mixing and mastering environments where analog bus compression and punch are essential. The compressor uses API’s classic discrete circuitry including 2520 and 2510 op-amps with transformer-balanced output, delivering the signature API sound known for punch, clarity and musical saturation. A key feature is API’s patented THRUST® sidechain circuit, which shapes the detector response to maintain a tight and powerful low end while compressing the rest of the mix more transparently. The Old/New switch allows users to choose between vintage-style feedback compression and modern feed-forward compression, offering different dynamic behaviors and tonal characters. Sound Character The API 529 delivers the classic fast, punchy and musical API compression sound. Its discrete design reacts quickly to transients and works exceptionally well on stereo buses, drum groups and mix processing. The THRUST® circuit helps maintain strong low-frequency energy while keeping the mix tight and controlled. Highlights ✔ stereo bus compressor in API 500-series format ✔ occupies two slots in a 500-series rack ✔ derived from the API 2500 compressor design ✔ discrete 2520 and 2510 op-amps ✔ THRUST® sidechain filter for punchy low end ✔ Old/New compression modes ✔ auto or manual makeup gain ✔ three selectable knee curves ✔ hard-relay bypass ✔ 10-segment LED metering Technical Specifications ✔ device type: stereo VCA compressor (500-series) ✔ format: dual-slot API 500 module ✔ attack time: <1 ms – 50 ms ✔ release time: 0.05 s – 4 s ✔ ratio: 1.5:1 – ∞:1 ✔ threshold: -20 dBu to +10 dBu ✔ frequency response: 20 Hz – 20 kHz (±0.25 dB) ✔ maximum level: +26 dBu input / output ✔ power: +16 V via 500-series rack
Black Lion Audio Bluey-500
Black Lion Audio Bluey-500 Black Lion Audio stellt den populären Bluey FET-Kompressor als 500er-Einheit vor. Das kompakte Modul verfügt über alle Funktionen der 19-Zoll-Hardware und macht damit den charakterstarken Klang des Bluey auch im mobilen Lunchbox-Format verfügbar. Auf der Basis des legendären Blue-Stripe-Kompressors, der für Chris Lord-Alge modifiziert wurde, ermöglicht der Bluey 500 effektive Dynamikkontrolle inklusive Mix-Regler. Gleichzeitig liefert er die beliebte Klangfärbung, die Lord-Alge vor allem für Vocals gerne einsetzt, einschließlich des berühmten All-Buttons-Mode für eine besonders intensive Verdichtung des Signals.Funktionen: Der beliebte Black Lion Audio Bluey im 500er Format Auf der Basis einer der Studiolegenden schlechthin Inkl. des berühmten „All-Button-Mode“ Nachbau Chris Lord Alges’s Golden Unit fürs Vocal-Recording 2 Cinemag Transformer Nachbau des original UTC Eingangs-Transformers Nachbau des original Reichenbach Ausgangs-Transformers Dry/Wet-Regler Stereo-Link möglich Lineare Stromversorgung Präzise Kalibrierung Attack stufenlos regelbar von 20uS bis 800uS Release stufenlos regelbar von 50mS to 1200mS Ratio schaltbar 4:1, 8:1, 12:1, 20:1 sowie jede Kombination Handgetestet in den USA Gewicht: 7,17 kg Maße (L x B x H): 19,05 cm x 13,97 cm x 7,62 cm
Chandler Limited TG 12345 MKIV EQ
Chandler Limited TG12345 MKIV EQ The Chandler Limited TG12345 MKIV EQ is a fully discrete mono equalizer in 500 Series format, faithfully recreating the legendary EQ section of the EMI TG12345 consoles from Abbey Road Studios. It is directly inspired by the original EMI TG12345 mixing consoles of the late 1960s and early 1970s—used on iconic recordings such as Abbey Road and The Dark Side of the Moon. As part of the TG ecosystem, it can be combined with the TG2 preamp and TG OPTO compressor to form a complete analog channel strip. Sound Character The TG12345 MKIV delivers the classic “TG sound”—smooth, musical and punchy. Its tone is often described as silky and natural, similar to the Curve Bender EQ, focusing on musical shaping rather than surgical correction. High frequencies are open and smooth, low frequencies remain tight and controlled, and the midrange provides clarity without harshness—ideal for placing elements in a mix. Its intuitive design allows for fast, musical decisions, making it especially effective in tracking and creative mixing workflows. Highlights ✔ 2-band EQ in 500 Series format (single slot) ✔ based on EMI TG12345 console EQ (Abbey Road) ✔ fully discrete transistor circuit ✔ presence band with 8 frequencies (7 bell + 10 kHz shelf) ✔ bass shelf with 90 Hz / 150 Hz switch ✔ continuously variable boost/cut ✔ true bypass switching ✔ classic “Curve Bender-style” tone in compact format ✔ ideal pairing with TG2 preamp & TG OPTO compressor ✔ handcrafted official Abbey Road equipment Typical Studio Applications ✔ tracking EQ during recording ✔ vocals (presence and warmth) ✔ drums and overheads (punch and clarity) ✔ guitars (definition and tone shaping) ✔ bus processing in 500-series racks ✔ full TG channel strip setups Technical Specifications ✔ device type: mono equalizer (500 Series module) ✔ circuit: fully discrete transistor ✔ bands: 2 (presence + bass) ✔ presence frequencies: 500 Hz – 6.5 kHz (bell) + 10 kHz shelf ✔ bass frequencies: 90 Hz / 150 Hz (shelf) ✔ gain: continuously variable boost/cut (~±10 dB) ✔ bypass: true bypass ✔ power: ±16V (500 Series standard) ✔ format: 500 Series, single slot
Chandler Limited TG OPTO Kompressor
Chandler Limited TG OPTO Compressor The Chandler Limited TG OPTO Compressor is a premium, fully discrete optical compressor in 500 Series format, delivering the iconic sound of EMI TG consoles from Abbey Road Studios in a compact modular design. It is inspired by the legendary EMI TG12413 limiter from TG12345 consoles and closely related to the TG1 Opto used in the TG Microphone Cassette. Designed as a dual-slot 500 Series module, it integrates seamlessly into modern modular recording systems and can form a complete TG-style channel strip together with matching preamps and EQs. Sound Character The TG OPTO delivers the classic “TG sound”—punchy, musical and full of character. Its defining feature is the switchable compression knee: Sharp: aggressive, fast and punchy—ideal for drums Rounded: smooth, subtle and musical—perfect for vocals The optical compression provides natural dynamic control with harmonic coloration, while continuous controls allow precise shaping across a wide range of sources. Highlights ✔ optical compressor in 500 Series dual-slot format ✔ based on EMI TG12413 / TG12345 console design ✔ fully discrete transistor circuitry ✔ dual character: Sharp / Rounded knee ✔ continuous controls: input, output, attack, release ✔ musical, characterful compression ✔ true bypass switching ✔ gain reduction metering ✔ ideal companion for TG2 preamp & Curve Bender EQ ✔ handcrafted official Abbey Road equipment Typical Studio Applications ✔ vocals (from subtle to character compression) ✔ drums and percussion (punch and control) ✔ bass (tight and musical) ✔ guitar recording (amp & DI) ✔ tracking with analog character ✔ modular 500-series channel strip setups Technical Specifications ✔ device type: optical compressor (500 Series module) ✔ channels: mono ✔ format: dual-slot 500 Series ✔ circuit: fully discrete transistor ✔ controls: input, output, attack, release (continuous) ✔ compression curve: switchable sharp / rounded knee ✔ bypass: true bypass ✔ power: ±16V (500 Series standard) ✔ current draw: approx. +16V / 110 mA, −16V / 80 mA ✔ connections: via 500 Series rack
Cranborne Audio Brick Lane 500
Cranborne Audio Brick Lane 500 Brick Lane 500: Die Revolution der modalen Kompression – ein technologischer Durchbruch in der DynamikbearbeitungDer Brick Lane 500 stellt einen Quantensprung in der analogen Kompression dar - ein vollständig analoger PWM-Kompressor, der durch seine revolutionäre Modal-PWM-Kompressionsarchitektur die traditionellen Methoden der Dynamiksteuerung übertrifft.Revolutionäre Modal-PWM-KompressionsarchitekturDas Herzstück des Cranborne Brick Lane 500 ist seine bahnbrechende Modal-PWM-Kompressionstechnologie - ein pagmatischer Ansatz, der Audioprofis eine beispiellose Flexibilität bei der Audio-Kompression bietet. Im Gegensatz zu konventionellen Kompressoren ermöglicht dieses innovative Design eine unbegrenzte Gestaltung von Kompressionshüllkurven und -stilen ohne Kompromisse.Modale Kompression: Die Klang-EngineDer Cranborne Brick Lane 500 bietet sechs verschiedene Kompressionscharaktere, von denen jeder akribisch ausgearbeitet wurde, um einzigartige Klangsignaturen zu liefern: VELVET - Musikalität im Vintage-Vari-Mu-Stil mit röhren-inspirierter harmonischer Kompression. Dieser Kompressionsstil bietet eine sanfte, organische Dynamikkontrolle mit Vintage-Charakter. FLOAT - Transparente Opto-inspirierte Dynamik mit moderater Transparenz und sanfter, wellenförmiger Kompressionsballistik. SMASH - FET-Style Transienten-Dominanz mit aggressiver Dynamikreduzierung und explosivem Punch. TAME - Präzisions-Transientenmanagement mit ultraschneller, transparenter Kontrolle und chirurgischer Dynamikpräzision. GLUE - "Klebe" alle Elemente deines Mixes mit dieser Funktion auf deinem Master-Bus zusammen, um eine sanfte Bus-Kompression zu erzielen. POLISH - Ultimatives Limiting im Mastering-Stil mit dem saubersten und schnellsten analogen Limiter mit unserer „Analogue-Lookahead“-Technologie. Das Kompressions-Chamäleon: Eine modale MetamorphoseStellen Sie sich einen Kompressor vor, der nicht einfach nur ein Kompressor ist, sondern ein ganzes Kompressorarsenal in einem einzigen revolutionären Modul vereint. Die modale PWM-Kompression des Cranborne Brick Lane 500 ist aufgebaut, als hätten Sie sechs legendäre Hardware-Kompressoren zur Hand, jeder mit seiner eigenen Persönlichkeit, klanglichen Signatur und dynamischen DNA. Jeder Modus des Brick Lane 500 ist nicht nur einfach eine Einstellung, sondern eine völlig andere Kompressionsphilosophie.Die Patchbay wird in jedem Modus neu eingerichtet und bietet Ihnen mit jedem Modul einen völlig anderen Kompressionsstil mit einer einzigartigen Kompressionsballistik, die das Verhalten des Geräts grundlegend verändert. Attack- und Release-Regler verändern sich in den verschiedenen Modi dramatisch - von eisig langsamen Vari-Mu-ähnlichen Kurven bis hin zu blitzschneller FET-ähnlicher Reaktionsfähigkeit. Die Kompressionsverhältnisse bewegen sich zwischen sanften 2:1-Schüben und aggressiven 20:1-Klangerzeugern. Die Kniecharakteristik wechselt von butterweichen, abgerundeten Kanten zu rasiermesserscharfer Präzision.Der "Stress"-Regler ändert seinen harmonischen Charakter und sein Sättigungsprofil in jedem Modus radikal. Was in VELVET für subtile Röhrenwärme sorgt, wird in SMASH zu einem transientenzerstörenden Biest, in GLUE zu einem Mix-Kleber und in POLISH zu einem Loudness/Clipping-Finalizer. Es ist nicht nur eine Funktion, sondern ein klanglicher Gestaltwandler, der die Kompression als kreatives Sounddesign- und Mixing-Tool neu definiert.Wichtige technologische Innovationen im Cranborne Brick Lane 500 PWM-Kompression für ultimative analoge Komprimierung Reine analoge PWM-Signalverarbeitung (Pulsweitenmodulation) Minimiert unerwünschte Kompressionsartefakte und Verzerrungen Unendliche Kontrolle über Kompressionshüllkurven, Onsets und Ballistik Proprietäre Architektur für modale Kompression Sechs verschiedene Kompressionsmodi - VELVET, FLOAT, SMASH, TAME, GLUE, POLISH Volle Kontrolle über den Kompressionsmodus und die Hüllkurve von ultraschnellem Limiting bis hin zu sanfteren und langsameren Kompressionsstilen Analoge Lookahead-Technologie Viertelwellen-Prädiktive Spannungserkennung bietet einen fortschrittlichen Mechanismus zur Vorwegnahme von Transienten Ermöglicht eine Dynamikkontrolle ohne Latenz Verhindert mit chirurgischer Präzision das Clipping von Wandlern Exklusiv im POLISH-Modus für ultimatives Mastering-Grade-Limiting Vorübergehende harmonische Sättigung Proprietäre "Stress"-Kontrolle ermöglicht eine nuancierte Audiofärbung für jeden Kompressionsmodus Verwandelt die Kompression in ein kreatives Instrument Vollanaloger Signalweg Reine PWM-Verarbeitung 100% analoge Signalintegrität ohne digitale Umwandlung Stereo-Link über OPTOSYNCDer Cranborne Brick Lane 500 ist mit der OPTOSYNC-Technologie von Cranborne Audio ausgestattet, die es ermöglicht, zwei Brick Lane 500 als perfektes Stereopaar für Mischungen und Stereoquellen zu verwenden.Mit OPTOSYNC werden alle Bedienelemente vom linken zum rechten Gerät synchronisiert, ohne Kabel oder interne Befestigungen. Schalten Sie OPTOSYNC für alle Slave-Geräte auf ON und alle Bedienelemente werden drahtlos über LED und optische Kommunikation mit dem Master-Gerät synchronisiert. Sie können OPTOSYNC auch verwenden, um mehrere Geräte miteinander zu verbinden und so den gleichen Klang über ganze Summenmischer oder Mehrkanal-Surround-Mischungen zu erzeugen.Robustes Industriedesign und automatische KalibrierungDer Brick Lane 500 ist ein zeitloser Prozessor, der mit seiner robusten und einzigartigen Struktur, seinen 41-fach gerasteten Reglern und der automatischen Kalibrierung aller analogen Sättigungspfade dafür sorgt, dass er in Ihrem Studio über Jahre hinweg ein ständiger Begleiter ist.Technische Präzision trifft auf musikalische IntuitionDer Cranborne Brick Lane 500 ist nicht einfach nur ein Kompressor - er ist ein hochentwickeltes Klanginstrument für Audioprofis, die absolute Kontrolle und außergewöhnliche Klangqualität verlangen. Ob Tracking, Mixing oder Mastering - dieser modale Kompressor passt sich Ihren anspruchsvollen Anforderungen an die Klanggestaltung an.Definieren Sie Ihre Herangehensweise an die Dynamikbearbeitung mit dem Cranborne Brick Lane 500 neu - hier trifft technologische Innovation auf musikalischen Ausdruck.Features: Modaler PWM-Kompressor der 500er Serie, sorgfältig entwickelt vom Cranborne Audio Team in Großbritannien Spezieller PWM-Kompressionsschaltkreis und einzigartiger "Stress"-Regler für harmonisch angereicherte Kompressionseffekte 6 Kompressionsmodi - Velvet, Float, Smash, Tame, Glue und Polish stellen Kompressionsverhältnis, Knee, Kompressionsstil und Kompressionsrate ein. Threshold-, Attack- und Release-Regler mit variablem Bereich (je nach Modus geändert) 12-Segment-LED-Pegelanzeige und 12-Segment-LED-Gain-Reduction-Meter 4 wählbare Sidechain-HPF-Modi - OFF, 60Hz, 100Hz, 200Hz ±20dB Input und Output/Make-up Gain Level zur Anpassung der Kompression und Sättigung an die Quelle Cranborne OptoSync ⅛“ TRS-Buchse zum Verbinden nicht benachbarter Module Schaltkreis-Autokalibrierung für perfekte Stereoabstimmung zwischen allen Modulen True-Bypass IN/OUT-Umschaltung mit DIP-Schalter für vollständige oder nachträgliche Eingangstrimmung Abgestufte Bedienelemente auf der Vorderseite für schnellen Abruf und präzises Gefühl
Drawmer DS101
Drawmer DS101 DS101 – Noise-Gate-Modul für die 500-Serie Der hochwertige Branchenstandard von Drawmer – jetzt auch als Modul für die 500-Serie! Das DS101 wurde als erstes Noise Gate speziell für das Rack-System der 500-Serie entwickelt und ist das jüngste Mitglied der erfolgreichen Noise-Gate Produktfamilie des britischen Herstellers, zu der die Noise-Gate-Klassiker DS201, DS501 und DS404 gehören. Jeder, der mit diesen Geräten vertraut ist, wird sich auch beim DS101 sofort zuhause fühlen. Technisch entspricht das DS101 einer 1-Kanal-Version des DS201 und verfügt als fortschrittliches Noise-Gate über verschiedene von Drawmer entwickelte und von Toningenieuren geschätzte Eigenschaften wie variable Hoch- und Tiefpassfilter für ein „frequenzselektives Gating“.´ Zu den weiteren Funktionen gehören eine umfassende Hüllkurvensteuerung über Attack, Hold, Decay und Range sowie eine ganze Reihe anderer Eigenschaften, die diesen Signalprozessor zu einem besonders hochwertigen Gerät machen. Wenn sich zwei oder mehrere Gates nebeneinander in einem 500-Rahmen befinden, können diese über den neuen Infrarot-Trigger-Mechanismus des DS101 gekoppelt werden. In der Praxis lassen sich beliebig viele Gates mit individuellen Hüllkurveneinstellungen koppeln, während gleichzeitig der Trigger-Impuls unverändert durchgeschleift wird: So ergeben sich völlig neue Möglichkeiten zum Einsatz als Envelope Follower (Hüllkurvenfolger) - Grenzen werden allein durch die Vorstellungskraft des Anwenders gesetzt. Eigenschaften Vollwertiges Noise-Gate auf Basis des etablierten DS201Belegt einen 500-Serie ModulschachtProprietäre Hysterese-Schaltung oder „Trigger-Stabilisierung“ verhindert ein Flattern des Signals im Threshold-Bereich Voll variable Hoch- und Tiefpassfilter für „frequenzselektives“ GatingUmfangreiche Hüllkurvensteuerung über Attack, Hold, Decay und RangeExternes Triggern über den Key-Input oder über den neu entwickelten Infrarot-Trigger-Impuls eines weiteren DS101„Key Listen“ FunktionNatürlich klingendes Attack-Verhalten dank extrem schneller Attack-ZeitenBis zu 10 Module mit individuellen Hüllkurven-Einstellungen können in einem Rack-Rahmen gekoppelt werdenPegelanzeige über Drawmer-typische „Ampel-Darstellung“Betrieb wahlweise im Gate- oder Ducking-ModusRauscharmes Schaltungsdesign Technische Daten Anschlüsse: Messerleiste (500er Serie)Eingangsimpedanz: 20K OhmEingangspegel (max): +17dBAusgangsimpedanz: 50 Ohm (symmetrisch), 100 Ohm (unsymmetrisch)Ausgangspegel (max): +17dBuFrequenzgang: 22Hz bis 43KHzVerzerrung: 0.01%Rauschabstand: -92dBAbmessungen: Ein Einschub (500-Serie) / 37,8 mm(B) x 133,4 mm(H) x 170,0 mm(T)Gewicht: 0,38 kg
Elysia karacter 500
Elysia karacter 500 The Elysia karacter 500 is a high-end fully discrete Class-A stereo saturation processor in API 500 format, designed for creative sound shaping in recording, mixing, and mastering environments. As a compact module version of the karacter, it delivers a wide range of analog coloration—from subtle saturation to aggressive distortion. Its fully discrete Class-A circuitry ensures high-end signal quality with musical harmonic content. Two distinct operating modes provide different sonic characteristics: in Mastering Mode, the unit produces smooth, symmetrical saturation, while FET Shred mode delivers more aggressive, tube-like asymmetric distortion. The Turbo Boost function further extends the distortion range for extreme sound design applications. A unique Color filter allows tonal shaping of harmonic content, while the Mix control enables parallel processing—ideal for modern production workflows. Sound Character The karacter 500 offers a wide sonic range—from subtle, musical saturation to aggressive distortion and creative sound shaping. In Mastering Mode, the sound remains controlled, refined, and transparent, making it ideal for bus and mastering applications. In FET Shred mode, the unit delivers a more aggressive, character-rich tone with pronounced harmonics. It can enhance, thicken, or radically transform signals, while the Mix control allows precise blending of processed and dry signals. Highlights ✔ Class-A stereo saturation processor in API 500 format ✔ fully discrete analog signal path ✔ two saturation modes: mastering mode & FET shred ✔ turbo boost for extreme distortion ✔ color filter for harmonic shaping ✔ mix control for parallel processing ✔ integrated mid/side matrix ✔ dual mono, stereo link, and M/S operation ✔ 41-step detented potentiometers for precise recall ✔ versatile saturation from subtle to extreme Typical Applications ✔ analog saturation on individual tracks and buses ✔ tonal enhancement in mixing and mastering ✔ parallel saturation for punch and density ✔ creative distortion and sound design ✔ mid/side processing of stereo signals Technical Specifications ✔ device type: stereo saturation processor ✔ circuit: discrete Class-A ✔ processing: analog ✔ modes: mastering mode, FET shred, turbo boost ✔ dynamic range: approx. 112 dB ✔ frequency response: <10 Hz – 27 kHz (-3 dB) ✔ max level: +21 dBu ✔ input impedance: 10 kΩ / output: 68 Ω ✔ format: API 500 series ✔ operation: requires 500-series rack (not included)
Elysia nvelope 500
Elysia nvelope 500 The Elysia nvelope 500 is a high-end Class-A stereo transient designer in API 500 format, designed for precise dynamic shaping in recording, mixing, and mastering applications. As a compact module version of the nvelope, it delivers full functionality in a space-saving format. Its fully discrete Class-A circuitry enables extremely fast and accurate transient processing. Separate controls for attack and sustain allow independent shaping of transients and decay, regardless of input signal level, resulting in highly controlled and musical dynamics processing. In addition, the nvelope 500 features a dual-band mode, allowing frequency-dependent transient shaping for more detailed and selective processing. Sound Character The nvelope 500 delivers fast, precise, and transparent transient shaping without introducing coloration. It enhances or controls transients while preserving the natural integrity of the signal. The sound remains stable and detailed, with increased punch and definition when boosting attack. Sustain can be extended or reduced to create either dense or tight sound characteristics. Its frequency-dependent dual-band processing allows targeted shaping of specific areas within the signal without affecting the entire spectrum. Highlights ✔ Class-A stereo transient designer in API 500 format ✔ independent control of attack and sustain ✔ dual-band mode for frequency-dependent processing ✔ fully discrete analog signal path ✔ extremely fast and precise transient response ✔ suitable for mixing, mastering, and sound design ✔ compact 500-series module Typical Applications ✔ transient shaping for drums and percussion ✔ adding punch to kicks and snares ✔ sustain control for guitars and synths ✔ creative dynamic processing in mixing ✔ detailed sound design in 500-series racks Technical Specifications ✔ device type: stereo transient designer ✔ circuit: discrete Class-A ✔ processing: analog ✔ functions: attack, sustain, dual-band ✔ format: API 500 series
Elysia xmax 500
Elysia xmax 500 The Elysia xmax 500 is a high-end Class-A stereo masterbus processor in API 500 format, designed for professional mixing and mastering applications. Combining multiband compression, mid/side processing, and analog circuitry, it offers precise control over dynamics and tonal balance at the highest level. At its core is a discrete Class-A circuit that delivers exceptional transparency while maintaining a musical and natural sound. The signal is split into low, mid, and side bands, enabling detailed processing of individual frequency ranges. Additional tools such as a soft clipper and tone control provide further shaping capabilities. With its compact 500-series design (2 slots), the xmax 500 integrates seamlessly into modern hybrid and analog studio environments. Sound Character The xmax 500 delivers precise, transparent, and punchy processing with a strong focus on musical cohesion. Low frequencies remain tight and controlled, while midrange and high frequencies can be shaped with great accuracy. Its mid/side multiband architecture creates a stable and wide stereo image with excellent depth. The integrated soft clipper adds density and loudness without compromising the natural integrity of the mix. Highlights ✔ Class-A stereo masterbus processor for mixing and mastering ✔ multiband compression with low, mid, and side bands ✔ internal mid/side processing for advanced stereo control ✔ soft clipper for analog saturation and increased loudness ✔ variable crossover frequency between low and mid band ✔ global release control for all bands ✔ VariLink function for flexible band linking ✔ “Punch” mode for more aggressive compression ✔ Lowmo feature for focused low-end response ✔ tone control (shelving EQ) for overall sound shaping ✔ analog metering for signal, gain reduction, and clipping ✔ API 500 series module (2 slots) Typical Studio Applications ✔ masterbus compression for mixing and mastering ✔ analog glue on stereo buses ✔ mid/side processing for stereo width and depth ✔ dynamics control in hybrid workflows ✔ fast “quick mastering” directly in the signal chain Technical Specifications ✔ device type: stereo masterbus processor ✔ circuit: discrete Class-A ✔ processing: analog with mid/side architecture ✔ compressor: multiband (low / mid / side) ✔ frequency response: <10 Hz – 180 kHz (-3 dB) ✔ dynamic range: approx. 112 dB ✔ THD+N: approx. 0.01 % ✔ format: API 500 series ✔ width: 2 slots
Elysia xpressor 500 neo
Elysia xpressor neo 500 The Elysia xpressor neo 500 is a high-end Class-A stereo VCA compressor in API 500 format, designed for professional recording, mixing, and mastering applications. As a compact module version of the xpressor|neo series, it delivers premium analog performance in a space-saving format. The redesigned neo circuitry provides enhanced depth, improved transparency, and highly three-dimensional dynamic processing. Thanks to its RMS detector and soft-knee characteristic, the compressor operates in a musical yet precise manner, making it suitable for demanding audio production tasks. Despite its compact size (2 slots), the xpressor neo 500 offers an extensive feature set that goes far beyond traditional VCA compressors. Sound Character The xpressor neo 500 delivers fast, precise, and transparent compression with excellent detail and clarity. Transients are handled cleanly while preserving the natural integrity of the signal. Its sound is punchy, stable, and spatially detailed. With parallel compression (mix control), users can achieve dense, modern results without sacrificing the original dynamics. The “Warm Mode” adds subtle harmonic coloration when desired. Highlights ✔ Class-A stereo VCA compressor in API 500 format (2 slots) ✔ suitable for recording, mixing, and mastering ✔ RMS detector with soft-knee characteristic ✔ parallel compression via mix control ✔ gain reduction limiter for controlled dynamics ✔ internal sidechain filter and sidechain connectivity ✔ “Warm Mode” for harmonic enhancement ✔ negative ratios for creative compression effects ✔ Auto Fast function for transient control ✔ logarithmic and linear release curves ✔ precise LED metering for gain reduction ✔ high-quality construction in compact module format Typical Applications ✔ dynamic processing during recording ✔ bus compression for drums, vocals, and instruments ✔ parallel compression for modern mixes ✔ creative compression and sound design ✔ space-saving high-end processing in 500 series racks Technical Specifications ✔ device type: stereo VCA compressor ✔ circuit: discrete Class-A ✔ processing: RMS detection with soft-knee ✔ dynamic range: approx. 112 dB ✔ max level: +21 dBu ✔ frequency response: <10 Hz – 400 kHz (-3 dB) ✔ THD+N: approx. 0.003 – 0.02 % ✔ format: API 500 series ✔ width: 2 slots
Empirical Labs Pump
Empirical Labs PUMP The Empirical Labs PUMP is a compact analog VCA compressor in 500-series format, designed as a modern and space-efficient evolution of the Distressor concept. It offers flexible dynamic control with both classic and innovative features for recording, mixing, and creative processing. Despite its small footprint, the PUMP shares core design principles with the Distressor, including a similar envelope structure and fully analog signal path. With 8 compression ratios (2:1 to 20:1), stepped attack/release controls, and additional shaping tools, it delivers a wide range of compression styles—from subtle to extreme. Sound Character The PUMP is highly versatile and can operate both clean and aggressive: transparent control → vocals, bass, mix elements punchy compression → drums and parallel processing analog saturation → via soft clipping A key feature is AtMod (Attack Modification), which allows more transient content to pass through even under heavy compression—ideal for maintaining punch and impact. Highlights ✔ analog VCA compressor in 500-series format ✔ Distressor-inspired architecture ✔ 8 compression ratios (2:1 to 20:1) ✔ stepped attack & release controls for recall ✔ AtMod (Attack Modification) for transient shaping ✔ soft-clipping saturation ✔ switchable sidechain high-pass filter ✔ opto-style release mode ✔ gain reduction metering ✔ stereo link capability
Frap Audio DYNAMICS 2806
Frap Audio DYNAMICS 2806 Der Dynamics 2806 ist ein Single-VCA-Mono-Expander und Kompressor für die 500er-Serie. Er wurde entwickelt, um eine große dynamische Bandbreite auf einfachste Weise zu handhaben. Der Kompressor reduziert die Verstärkung, wenn der Klang über einem bestimmten Schwellenwert liegt (und reduziert so den Dynamikbereich); der Expander reduziert die Verstärkung, wenn ein Signal unterhalb eines bestimmten Schwellenwerts liegt (und erweitert so den Dynamikbereich). Der Expander und der Kompressor sind unabhängig voneinander. In beiden Schaltungen speist das Signal einen Filtersatz und dann einen Hüllkurvenfolger (Gleichrichter). Die resultierende Steuerspannung speist zwei Integratoren (Zeitkonstanten), die zwei unabhängige Sidechains erzeugen, die beide über den VCA-Pegel arbeiten. Die Expander-Sidechain überwacht das VCA-Eingangssignal (Feed-forward), während die Kompressor-Sidechain den VCA-Ausgang (Feedback) überwacht, der vor oder nach dem Makeup liegen kann. Auch wenn der Kompressor immer nach dem Expander geschaltet ist, ist es möglich, den Expander in den Leerlauf zu zwingen, solange die Kompression aktiv ist. Eigenschaften: Einzelner VCA und direkter Signalweg. Feed-forward-Expander und Feedback-Kompressor (Pre- oder Post-Makeup). Anpassungsfähige analoge Sidechains. Zwei Kompressor-Zeitkonstanten: Standard (für chirurgische Abschwächung) und Classic (für kreative Anwendungen). Zwei Filterlösungen für präzises Sidechaining. Externer Sidechain-Eingang kann zum Kompressor, Expander oder zum internen Kompressor-Sidechain summiert werden. Kompressor-Priorität: Blockiert den Expander, wenn der Kompressor aktiv ist. Zuverlässigkeit und einfache Wartung im Laufe der Zeit. Hochwertige Kondensatoren zur Vermeidung von Schäden durch falsche Anschlüsse (z. B. Phantomspeisung) oder defekte Quellen mit DC-Offset. Aktive Filterstufen für beste Leistung unabhängig von der Anwendungsumgebung. Eine diskrete Ausgangsstromstufe in audiophiler Qualität, die speziell für die Speisung eines Lundahl LL1585 entwickelt wurde.
Harrison Audio Comp
Harrison Audio Comp The story behind Harrison and compression In the realm of audio engineering, Dave Harrison, the founder of Harrison Audio, stands out as a pioneer in the development of music production technology. Ironically, Dave Harrison himself was initially skeptical about compressors, a sentiment shared by his friend and legendary music producer and engineer, Bruce Swedien. Both held the belief that music should be captured authentically, without interference. However, the requirement for a compressor arose from the broadcast market's demands, seeking a tool to control dynamics and prevent clipping. To meet this demand, Harrison Audio ventured into the realm of compressors, with the result proving extremely effective. Its transparent 'leveling' capabilities, achieved with just a few dBs of gain reduction, quickly made it indispensable in music production for delicately smoothing signals, particularly on vocals, guitars, and other instruments with wide dynamic range. Over time, this compressor's ability to 'dig in' became apparent, transforming it into a sought-after vibe compressor when higher levels of gain reduction were applied. Dave Harrison's initial skepticism gave birth to a tool that not only met the broadcast market’s demands but also became relied on in the world of music production. Thanks to the Comp module, the distinctive Harrison sound is now accessible in the 500 Series format. Legacy in analog Harrison production tools have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time. Comp design The Comp 500 Series module is based on a classic ‘feed-forward’ design, using a THAT 2180 VCA chip for outstanding analog performance. The compressor’s Attack is program-dependent, adapting to the input signal and offering an optimal Attack time depending on the source material. The Release time is continuously variable. These parameters can turn the Comp module from a transparent leveler to a highly saturated, vibe compressor, adding character and excitement to a wide range of sources. Harrison's secret sauce – put it on everything The Comp module is a very flexible dynamics processor. From a transparent ‘leveler’ on guitars and vocals, using a 1:2 ratio and fast release, applying 2-3 dB of gain reduction. To a sizzling vibe compressor on drums and bass, slamming the ratio in combination with a slow release. The Comp 500 Series module is a well-crafted, no-nonsense compressor that is your secret production ‘sauce’ – you’ll put it on everything. Key features: The Harrison sound. Extremely flexible compressor; from transparent ‘leveler’ to ‘character’ comp. Classic feed-froward design. THAT 2180 VCA chip for outstanding analog performance. Program-dependant ‘Attack’ time. Continually variable Release time from ‘Fast’ to ‘Slow’. Input overload LED. Compatible with 500 Series format chassis.
Hazelrigg Industries DNE
Hazelrigg Industries DNE The Hazelrigg Industries DNE is a high-end PWM compressor in API 500 format, bringing the classic D.W. Fearn compression design into a compact module. As part of the Hazelrigg D Series, it is directly derived from the renowned VNE and VT-7 circuits. It uses pulse width modulation (PWM), enabling extremely fast attack and release times with highly accurate and low-distortion compression. The combination of transformers and clean solid-state circuitry ensures both precision and musicality. The interface is intentionally simplified: instead of continuous controls, optimized fast/slow switches for attack and release allow quick and effective adjustments—ideal for fast-paced studio workflows. Sound Character The DNE delivers fast, transparent, and highly controlled compression with minimal coloration. It excels at catching transients without altering the natural tone of the signal. Thanks to its PWM design, it is particularly effective for peak control and “invisible compression,” especially on vocals and dynamic sources. It can also provide punchier results when driven harder. The built-in sidechain high-pass filter ensures that low frequencies do not trigger excessive compression, preserving a tight and controlled low end. Highlights ✔ PWM compressor in API 500 format ✔ based on VNE / VT-7 circuits ✔ extremely fast attack and release times ✔ simplified fast/slow control switches ✔ sidechain high-pass filter ✔ transformers on input and output ✔ highly transparent compression ✔ stereo link capability ✔ LED gain reduction metering ✔ true bypass Typical Applications ✔ peak control during recording (vocals, instruments) ✔ transparent dynamics processing in mixing ✔ drum and percussion compression ✔ bass and low-end control ✔ stereo compression with dual modules Technical Specifications ✔ device type: compressor (PWM) ✔ format: API 500 series (single slot) ✔ circuit: PWM (VT-7 / VNE based) ✔ attack/release: fast / slow switchable ✔ sidechain: high-pass filter ✔ controls: threshold, makeup gain ✔ metering: LED gain reduction ✔ signal path: transformer + solid-state ✔ stereo link: yes (via 500-series rack) ✔ processing: analog
Heritage Audio Grandchild 670
Heritage Audio GRANDCHILD 670 The Heritage Audio GRANDCHILD 670 is a high-end stereo Vari-Mu tube compressor in 500-series format, bringing the legendary Fairchild compression sound into a compact and modern design. Built for professional recording, mixing, and mastering environments, it combines iconic vintage tone with practical flexibility. As the “little brother” of the HERCHILD 670, the GRANDCHILD 670 delivers authentic Vari-Mu compression in a space-saving dual-slot module—without compromising sonic quality or musical response. Sound Character The GRANDCHILD 670 delivers classic Vari-Mu compression—smooth, dense, and musical. Its tube-based design provides natural, program-dependent compression with a soft knee and organic response. The result is a creamy, cohesive sound with added warmth, depth, and punch—ideal for bus and mastering applications. Compared to many Vari-Mu compressors, it remains relatively transparent, preserving the original tone while subtly enhancing cohesion and dynamics. Highlights ✔ stereo Vari-Mu tube compressor (500-series format) ✔ based on classic Fairchild / HERCHILD 670 design ✔ true Vari-Mu compression with 4 NOS 6BA6 tubes ✔ 3 custom transformers for authentic tone ✔ 5 selectable attack/release time constants ✔ continuously variable compression slope (DC threshold) ✔ wide range from subtle glue to strong compression ✔ sidechain filtering for low-frequency control ✔ VU meter for gain reduction ✔ true bypass switch ✔ dual-slot 500-series module Typical Applications ✔ mix bus compression (“glue”) ✔ drum bus and parallel compression ✔ mastering with analog character ✔ vocal and instrument processing ✔ high-end hybrid and 500-series studio setups Technical Specifications ✔ type: stereo Vari-Mu tube compressor (500-series module) ✔ circuit: tube-based (4 × NOS 6BA6) ✔ compression: program-dependent Vari-Mu ✔ frequency response: 20 Hz – 20 kHz (±0.5 dB) ✔ max output: +29 dBu ✔ THD: < 0.5% @ +24 dBu ✔ noise: < -78 dBu ✔ input impedance: 15 kΩ ✔ output impedance: 50 Ω ✔ power consumption: >200 mA per rail/slot ✔ format: 500-series, dual slot ✔ weight: approx. 1.12 kg
IGS Audio 576 Blue Stripe
IGS Audio 576 Blue Stripe The 576 Blue Stripe compressor is inspired by the legendary FET-based compression technology first introduced in the iconic 1176, particularly Revision A, which became a staple in the 1970s for its fast response and distinctive character. At the heart of the 576 Blue Stripe is the same high-quality input transformer that gives the original its warm, harmonically rich tone, complemented by a pure Class A output stage for pristine sound quality. This compressor also features modern upgrades, including a relay-controlled bypass, a versatile 2:1 Ratio setting for more subtle compression, and a powerful Slam Mode for aggressive limiting, reminiscent of the revered 'all-buttons-in’ mode. The 576 Blue Stripe offers a perfect balance of vintage sound and contemporary functionality, ideal for both classic and modern audio applications. What it does The standout feature of the 576 Blue Stripe is its ultra-fast attack time of just 20 µS, making it ideal for precise transient control and shaping even the most dynamic audio sources. The 576 Blue Stripe offers versatile compression with its Ratio buttons, providing a range of six distinct modes of operation to suit different compression needs: 2:1 Ratio: Soft, transparent compression for subtle dynamics control. 4:1 Ratio: Moderate compression, adding more control without sacrificing naturalness. 8:1 Ratio: Severe compression for when you need firm dynamic shaping. 12:1 Ratio: Mild limiting, providing strong control while preserving detail. 20:1 Ratio: Hard limiting for maximum peak control. S (SLAM): Engages the infamous 'All Buttons In’ mode, delivering aggressive, punchy compression that adds unique harmonic saturation. With this flexible range of ratios, the 576 Blue Stripe is capable of handling everything from delicate vocal smoothing to aggressive drum bus compression, making it a versatile tool in any studio environment.
IGS Audio ONE LA 500
IGS Audio ONE LA 500 The IGS ONE LA 500 is an opto-compressor built for the 500 series format. This is the first high voltage vacuum tube 500 series module that is offered by IGS. It is powered with 250V DC from an on-board voltage converter, so it can be plugged into any 500 series rack equipped with a standard power supply. Every single ONE LA is hand made with high quality, matched components (1% metal film resistors, Wima caps). It is equipped with JJ tubes and individually calibrated to give you the unique and unspoiled experience of one of the best opto-compressors in the history – the Teletronix ’68 LA-2A. We have spent hundreds of hours designing the ONE LA, to make sure that it is as simple to use as it is versatile. Not only for harmonically rich vocals and strings, but also for huge and beefy drums and bass instruments. There is something else Three audio transformers (IGS Custom in an audio path and OEP in sidechain) have been used to provide excellent performance and with only two knobs and a single compressor/limiter switch, there is nothing that could go wrong. Additionally, you can replace the photocell easily (special version available)
Little Labs VOG-500
Little Labs VOG-500 The VOG-500 by Little Labs is an analog bass resonance tool in API 500-series format, specifically designed for shaping low-frequency content with precision. Originally developed to enhance vocal “proximity effect” (chest resonance), it quickly became a go-to tool for kick drums, bass and other low-end sources. Unlike traditional EQs, the VOG combines a narrow resonant boost with a steep high-pass filter. This allows engineers to emphasize specific bass frequencies while removing unwanted sub-frequency buildup—resulting in a tight, powerful low end. Sound Character The VOG-500 delivers a highly focused and controlled low-end response. Its unique design creates a bigger, more impactful sound while keeping the mix clean and defined. It is especially effective on kick drums and bass instruments, where it can shape the tone from soft and round to tight and punchy—similar to tuning a drum head. Highlights ✔ analog bass resonance tool in 500-series format ✔ combined resonant boost + high-pass filter ✔ frequency range: approx. 20 – 300 Hz sweepable ✔ steep low-cut (-24 dB/octave) below target frequency ✔ amplitude control for effect intensity ✔ selectable center frequency ranges (e.g. 40 / 100 / 200 Hz) ✔ fully analog, balanced signal path ✔ stereo operation possible with two units ✔ “Flat” mode for instant bypass comparison Typical Applications ✔ kick drum shaping for punch and clarity ✔ bass enhancement without low-end muddiness ✔ vocals: added body via proximity-style effect ✔ synths & 808s: targeted low-frequency tuning ✔ mix bus: tightening and organizing the low end Technical Specifications ✔ device type: analog bass resonance tool (500 series module) ✔ signal path: fully analog, balanced ✔ frequency range: approx. 20 – 300 Hz ✔ filter: high-pass, approx. -24 dB/octave ✔ controls: frequency, amplitude, center, flat ✔ format: API 500 series module
Locomotive Audio Power-MU 500
Locomotive Audio Power-MU 500 The Locomotive Audio Power-MU 500 is a premium stereo vari-mu compressor designed for the 500 series format. Built for discerning audio professionals, it offers the rich warmth and musicality of tube compression with modern workflow features like stepped controls for precise recall. Whether you're gently gluing a stereo bus or pushing for dense harmonic coloration, the Power-MU 500 delivers world-class analog tone with full control. Smooth and Musical Tube Compression At the heart of the Power-MU 500 are two NOS 6N3P tubes per channel, providing true vari-mu operation and the lush, harmonically rich sound only tubes can deliver. Custom interstage transformers ensure a silky compression response without harsh artifacts, preserving the musicality of your source material even under heavy gain reduction. Advanced Control and Total Recall With its AC and DC threshold controls, the Power-MU gives you detailed control over the onset, ratio, and knee of your compression. From soft, transparent dynamics control to punchy, aggressive limiting, the Power-MU 500 adapts to your mix. Its 21-position stepped input, output, and threshold knobs make it easy to recall exact settings—ideal for professional workflows and mix revisions. Essential Features for the Modern Studio The Power-MU 500 includes a sidechain low-cut filter (Off–350 Hz), stereo link switch, hardwire bypass, and a dual-mode VU meter for gain reduction and output monitoring. A custom backlit Sifam VU meter and heavy-duty steel chassis speak to the build quality you'd expect from a hand-made unit, proudly crafted in the USA. Why Choose the Locomotive Audio Power-MU 500? True stereo vari-mu compression in 500 series format NOS tubes and custom transformers for classic tube tone Stepped controls for easy, precise recall Stereo link for consistent imaging Sidechain low cut to prevent pumping from low-end content Hardwire bypass and power switch to preserve tubes and chassis Built like a tank—backed by a lifetime warranty Technical Specifications Tubes: 2 x NOS 6N3P Input impedance: 22kΩ Output impedance: <100Ω Attack time: 10ms–75ms Release time: 150ms–1.5s Frequency response: 20Hz–20kHz THD+N: <1% S/N ratio: >70dB Power Consumption: +16V/260mA, –16V/300mA Weight: 5 lbs Perfect for mixing and mastering engineers looking to add color, depth, and professional-grade control to their signal chain, the Locomotive Audio Power-MU 500 sets a new standard for 500 series stereo tube compression. Whether you're polishing vocals, gluing a drum bus, or mastering a full mix, the Power-MU 500 is your go-to tool for dynamic excellence.