AEA 1029 Stereo VCA Compressor The AEA 1029 is a high-end stereo VCA compressor designed for ultra-clean dynamic control in professional studio environments. It is AEA’s first compressor and perfectly complements the TRP and RPQ preamp series. It features a modern feed-forward VCA topology with a discrete op-amp design by Fred Forssell, delivering extremely low distortion and highly transparent signal processing. Its compact half-rack format allows flexible integration into both desktop and rack-based studio setups. Sound Character The 1029 delivers extremely transparent, controlled and musical compression without noticeable coloration. Low-end: tight and stable Mids: clear and neutral Highs: open and detailed Its focus on signal integrity and precision makes it ideal for critical applications such as stereo recording and mix bus processing. Highlights ✔ stereo VCA compressor (2 channels) ✔ ultra-clean, low-distortion compression ✔ discrete op-amp design by Fred Forssell ✔ feed-forward topology ✔ 3 detection modes: Peak Fast, RMS, Peak Slow ✔ variable threshold (-20 dBu to +20 dBu) ✔ ratio from 1:1 to limiting ✔ dry/wet control for parallel compression ✔ up to +20 dB makeup gain ✔ true bypass relay switching ✔ compact half-rack design Typical Applications ✔ stereo microphone recording ✔ drum overheads and room mics ✔ vocal and instrument tracking ✔ mix bus compression ✔ mastering-style processing ✔ broadcast and post-production Technical Specifications ✔ Device type: stereo VCA compressor ✔ Channels: 2 (stereo) ✔ Detection modes: Peak Fast / RMS / Peak Slow ✔ Threshold: -20 dBu to +20 dBu ✔ Ratio: 1:1 to limit ✔ Makeup gain: up to +20 dB ✔ Max level: approx. +26 dBu ✔ Frequency response: up to approx. 200 kHz (dry path) ✔ THD+N: extremely low (approx. 0.001%) ✔ Inputs/Outputs: 2× XLR in / 2× XLR out ✔ Form factor: 9.5" half-rack ✔ Weight: approx. 0.9 kg ✔ Power supply: external PSU

AMS Neve 2254/R The AMS Neve 2254/R is a classic mono limiter/compressor based on the legendary Neve 2254 dynamics processor introduced in the late 1960s. The modern version retains the original discrete Class-A design and diode-bridge compression circuit while adding modern workflow features such as USB-based recall. Hand-built in Burnley, England, the unit uses transformer-coupled stages and classic Neve circuit architecture to recreate the distinctive analog tone of vintage Neve compressors. Sound Character The 2254/R delivers the classic Neve compression sound with strong midrange character, controlled transients and musical saturation. Its diode-bridge gain-reduction circuit produces a unique compression curve ranging from subtle leveling to aggressive dynamic shaping, making it suitable for both tracking and mix-bus applications. Highlights ✔ classic mono limiter / compressor ✔ based on the original Neve 2254 design ✔ diode-bridge compression circuit ✔ discrete Class-A signal path ✔ transformer-coupled input and output stages ✔ independent compressor and limiter sections ✔ five ratio settings ✔ variable attack and recovery controls ✔ USB Total Recall software support ✔ link capability for stereo setups

AMS Neve 33609N The AMS Neve 33609N is a legendary stereo compressor/limiter widely used in professional recording, mixing and mastering studios. Based on Neve’s classic diode-bridge compression design, the unit combines musical compression with precise peak limiting for detailed dynamic control. Each channel includes independent compressor and limiter sections, allowing the device to operate in dual-mono or stereo-linked modes. Its discrete Class-A/B circuitry and Marinair® transformers provide the rich harmonic character that defines classic Neve analog equipment. Sound Character The 33609N delivers the classic Neve compression sound with strong midrange presence, controlled transients and musical saturation. Its diode-bridge gain-reduction circuit produces a unique compression curve ranging from smooth leveling to aggressive limiting, making it a versatile processor for mixing and mastering applications. The compressor is especially famous for adding subtle mix-bus “glue”, gently tightening mixes while preserving musical dynamics. Highlights ✔ classic stereo compressor / limiter ✔ diode-bridge compression design ✔ Marinair® transformers throughout the signal path ✔ discrete Class-A/B amplification ✔ independent compressor and limiter sections ✔ dual-mono or stereo-link operation ✔ stepped controls for recall ✔ true bypass switching ✔ dual gain-reduction meters ✔ multiple recovery and auto-release modes

AMS Neve 8803 The AMS Neve 8803 is a professional dual-channel stereo equalizer based on the EQ architecture of the legendary Neve 88RS large-format recording console. Part of the Neve 88 Series outboard range, the 8803 combines precise analog equalization with modern session recall integration for DAW-based studios. The unit features two fully independent EQ channels, allowing operation in stereo or dual-mono configurations. Each channel provides four EQ bands along with high-pass and low-pass filters, making the unit suitable for recording, mixing and mastering applications. Sound Character The 8803 delivers a clean and detailed Neve sound with precise frequency shaping and controlled analog character. Its EQ circuitry is derived from the Neve 88RS and 8801 console designs, offering both broad musical tone shaping and surgical frequency correction. Variable Q controls and switchable shelving/bell curves provide flexible tonal control for subtle adjustments or detailed sound design. Highlights ✔ dual-channel stereo equalizer ✔ derived from the Neve 88RS console EQ design ✔ four-band EQ per channel ✔ fully parametric mid bands with variable Q ✔ switchable shelving or bell filters ✔ high-pass filter (25 Hz – 300 Hz) ✔ low-pass filter (3 kHz – 15 kHz) ✔ ±20 dB input trim ✔ EQ bypass for A/B comparison ✔ USB connection for Neve Total Recall software ✔ XLR and TRS connectivity ✔ 1U 19-inch rack format

API 2500+ The API 2500+ is a professional reference-grade stereo bus compressor, based on the legendary API 2500 compressor and designed for advanced mixing, mastering and bus compression applications. The “Plus” version expands the classic API concept with additional sidechain and routing functions for modern production workflows. Its circuit uses classic API discrete technology with API 2510 and API 2520 op-amps plus transformer-balanced output stages, delivering the recognizable API sound known for punch, precision and musical density. A defining feature is the patented THRUST® sidechain circuit, which reshapes detector response to keep low frequencies tight and controlled without over-triggering compression. The compressor also offers API’s classic Old / New compression modes, allowing selection between vintage-style feedback compression and modern feed-forward behavior. Sound Character The API 2500+ delivers the signature fast, punchy and energetic API compression sound. It preserves transient detail while adding cohesion, punch and density to stereo mixes. On the mix bus it provides the classic API glue without sacrificing openness or clarity. Low frequencies remain controlled and powerful thanks to the THRUST® circuit. Highlights ✔ professional stereo bus compressor for mixing and mastering ✔ discrete API 2510 / 2520 amplifier design ✔ THRUST® sidechain circuit ✔ Old / New compression mode ✔ selectable knee characteristics ✔ variable attack and release controls ✔ adjustable stereo link control ✔ high-pass sidechain filter ✔ external sidechain insert ✔ hard relay bypass ✔ precision analog metering

Bettermaker Mastering Compressor The Bettermaker Mastering Compressor is a high-precision analog stereo compressor designed specifically for demanding mastering and mix bus applications. It combines a fully analog signal path with advanced digital control, delivering exceptional dynamic processing alongside a modern, efficient workflow. While the audio path remains entirely analog, all parameters—such as threshold, ratio, attack, release and make-up gain—can be controlled and automated via plugin, DAW, or directly on the unit. This hybrid approach provides the sonic benefits of premium analog hardware with the convenience of total recall and automation. Its finely tuned compression characteristics deliver musical cohesion, transparent dynamic control and a stable stereo image, making it ideal for mastering engineers and high-end mix bus processing. Sound Character The Bettermaker Mastering Compressor offers extremely transparent and controlled yet musical compression. Even at subtle settings, the signal remains open and detailed while peaks are managed with precision. Low frequencies stay tight and defined, the midrange remains clear, and high frequencies are processed smoothly without harshness or coloration. This makes it an excellent tool for delicate bus compression and professional mastering tasks. Highlights ✔ analog stereo compressor for mastering and mix bus ✔ fully analog signal path with digital control ✔ plugin control (VST, AU, AAX) for seamless DAW integration ✔ full recall of all settings ✔ precise control of threshold, ratio, attack, release and gain ✔ high-resolution parameter adjustments ✔ parallel compression (dry/wet mix) ✔ internal sidechain filtering ✔ accurate stereo linking for stable imaging ✔ USB connectivity for plugin communication ✔ 2U 19-inch rackmount design Typical Applications ✔ mastering compression for final dynamic control ✔ mix bus compression for cohesive “glue” effect ✔ parallel compression in mixing and mastering ✔ hybrid workflows combining analog sound with digital recall ✔ precision dynamics processing in professional studios Technical Specifications ✔ device type: analog stereo compressor with digital control ✔ signal path: fully analog ✔ control: hardware + plugin (VST / AU / AAX) ✔ channels: stereo (linkable) ✔ sidechain: internal with filter options ✔ parallel compression: integrated (dry/wet) ✔ connections: XLR in/out, USB ✔ format: 19” rack / 2U

Bettermaker Mastering Limiter V2.0 The Bettermaker Mastering Limiter V2.0 is an advanced analog stereo limiter designed for precise and transparent dynamic control in mastering applications. By combining a fully analog signal path with modern digital control, it delivers outstanding audio quality alongside maximum flexibility and workflow efficiency. The audio signal remains entirely in the analog domain, while all parameters can be controlled and automated via plugin, DAW, or directly on the unit. This hybrid approach merges the sonic advantages of premium analog hardware with the convenience of total recall and automation. Its intelligent limiting architecture enables effective peak control with minimal sonic coloration—ideal for today’s demanding mastering workflows. Sound Character The Bettermaker Mastering Limiter V2.0 is known for its highly transparent and precise performance. Peaks are controlled effectively without audibly affecting dynamics or transients. The sound remains stable, open and detailed, with tight and controlled low frequencies. Highs are reproduced clearly without distortion, making it an excellent tool for achieving competitive, high-quality masters. Highlights ✔ analog stereo limiter for mastering applications ✔ fully analog signal path with digital control ✔ plugin control (VST, AU, AAX) for seamless DAW integration ✔ full recall of all settings ✔ precise limiting with maximum transparency ✔ lookahead function for clean peak control ✔ true peak limiting for modern loudness standards ✔ parallel processing (dry/wet mix) ✔ mid/side processing for precise stereo control ✔ high-resolution metering for accurate monitoring ✔ USB connectivity for plugin communication ✔ 2U 19-inch rackmount design Typical Applications ✔ mastering limiter for final loudness optimization ✔ true peak control for streaming standards ✔ mix bus limiting for controlled dynamics ✔ mid/side limiting in mastering ✔ hybrid workflows with analog sound and digital recall Technical Specifications ✔ device type: analog stereo limiter with digital control ✔ signal path: fully analog ✔ control: hardware + plugin (VST / AU / AAX) ✔ channels: stereo (linkable) ✔ modes: stereo / mid-side ✔ lookahead: integrated ✔ true peak: supported ✔ parallel processing: integrated (dry/wet) ✔ connections: XLR in/out, USB ✔ format: 19” rack / 2U

Black Box HG-2 Stereo Mix Bus Enhancer MIX BUS, MEET YOUR NEW BEST FRIEND The Black Box Analog Design HG-2 is a line level, stereo unit designed to add saturation, harmonics, natural compression, increased RMS and enhancement during mixing and mastering. It is designed to easily and naturally do what usually requires multiple pieces of gear and do it better! Tubes, transformers & tone! The HG-2 uses Cinemag input transformers to feed two paths: The main signal path travels through a 6U8A Pentode tube stage that then drives into the Triode stage that follows, resulting in everything from subtle harmonics to full on saturation. Also fed from the input transformer is a parallel signal path that utilizes a set of 12AX7 tubes, voiced specifically for harmonics and saturation. This parallel saturation circuit is outfitted with a 3 way “Tilt” switch that allows the user to choose the frequency content of the signal feeding the circuit. The “low position saturates just the low mids and sub frequencies, the “flat” position saturates full bandwidth and the “high” position saturates only the high mids and high frequencies. The result is the ability to add top end to dull tracks, enhance low end or enhance and add energy to the entire signal. The “harmonics” knob allows the user to control how much of the processed, parallel signal is fed into the main signal before hitting the Pentode stage. Finally, both stages reach the passive output attenuation before a pair of Cinemag output transformers. In addition to the saturation stages, an “air” switch adds a subtle top end lift and the “alt” tube button switches between two different 12AX7 tubes in the parallel circuit. Switching between tubes allows the user to swap tubes for different types of saturation and switch back and forth instantly. The meter select chooses whether the meter is fed from the input or output, and the “bypass” switch is a true bypass that shorts the input directly to the output with no additional circuitry in line.  FEATURES: High voltage Pentode & Triode tube stages Parallel saturation with mix control 3-way “Tilt” frequency control over parallel saturation Instantly selectable/swappable saturation tubes “Air” lift Cinemag input and output transformers True bypass Selectable meter Illuminated push button switches & sealed relays Heavy duty steel chassis

Burl Audio BC5000 Bigfoot Compressor The Burl Audio BC5000 Bigfoot is a high-end stereo optical compressor with an integrated limiter, designed for professional recording, mixing, and mastering environments. It combines the musical response of classic optical compression with modern analog circuitry and extended functionality. At its core is a fully discrete Class-A signal path, paired with an optical gain reduction element and switchable Burl BX1/BX5 transformers—delivering both precision and rich analog character. Sound Character The BC5000 Bigfoot delivers warm, musical, and highly versatile dynamics processing. Its optical compression provides smooth, program-dependent behavior, making it ideal for vocals, instruments, and mix bus applications. The Class-A circuitry and transformers add depth, punch, and harmonic richness. The integrated fast FET limiter allows precise control of transients without pumping or artifacts—combining smooth compression with peak limiting in a single unit. Highlights ✔ stereo optical compressor with integrated FET limiter ✔ fully discrete Class-A circuit (NextGen Analog design) ✔ musical, program-dependent compression ✔ switchable BX1 input and BX5 output transformers ✔ combined compression and peak limiting ✔ sidechain low-cut filter for controlled low-end ✔ built-in de-esser for vocal processing ✔ switchable 10 kHz high-frequency boost ✔ stereo link for bus and mastering use ✔ stepped controls for precise recall ✔ hard bypass ✔ fully balanced signal path Typical Applications ✔ vocal compression with integrated de-essing ✔ drum and instrument bus processing ✔ mix bus glue with peak control ✔ mastering compression with analog character ✔ tracking with transient control Technical Specifications ✔ type: stereo optical compressor with limiter ✔ circuit: discrete Class A, transformer-balanced ✔ compression: optical (program-dependent) ✔ limiter: fast FET limiter ✔ signal path: fully balanced, discrete ✔ transformers: switchable (BX1 input, BX5 output) ✔ sidechain: low-cut filter ✔ additional features: de-esser, HF boost ✔ controls: stepped threshold, attack, release, ratio ✔ stereo link: yes ✔ format: 19" rackmount

Chandler Limited EMI TG12413 Zener Limiter The Chandler Limited EMI TG12413 Zener Limiter is a high-end, fully discrete stereo compressor/limiter, faithfully recreating the classic EMI Zener limiter circuits from Abbey Road Studios while expanding them for modern use. Based on legendary designs such as the RS168 Zener limiter and the TG12413 console module, it combines multiple generations of EMI technology into a flexible, modern dynamics processor. Originally, the TG limiter was designed to replace both the Fairchild 660 and the RS124, highlighting its wide tonal and dynamic range. Sound Character The Zener Limiter delivers the iconic “TG console sound”—warm, punchy and highly musical. Key characteristics include: tight, powerful low end open highs even under heavy compression distinct harmonic coloration from diode limiting Compared to the TG1, it offers more control and subtlety, allowing precise shaping from gentle compression to aggressive limiting. With extended attack, release and sidechain options, it excels in both detailed mastering work and creative coloration. Highlights ✔ stereo compressor/limiter (dual mono capable) ✔ recreation of EMI TG12413 & RS168 Zener limiter circuits ✔ fully discrete transistor design ✔ diode-based limiting network ✔ transformer-balanced I/O ✔ three modes: Comp 1 / Comp 2 / Limit ✔ 11-step attack & 21-step release ✔ sidechain filtering for precise control ✔ switchable input impedance (300 / 1200 Ω) ✔ THD mode for pure analog coloration ✔ requires external PSU-1 power supply Typical Studio Applications ✔ mix bus and mastering compression ✔ drum bus processing ✔ vocal compression and coloration ✔ stereo mix glue ✔ parallel compression ✔ creative saturation Technical Specifications ✔ device type: stereo compressor / limiter ✔ channels: 2 (stereo / dual mono) ✔ circuit: discrete transistor, diode limiter ✔ modes: Comp 1 / Comp 2 / Limit ✔ attack: 11 steps ✔ release: 21 steps ✔ sidechain: filter included ✔ input impedance: 300 / 1200 Ω ✔ max output level: +28 dB ✔ THD: 0.15% (comp), 0.65% (limit) ✔ I/O: XLR, transformer-balanced ✔ format: 19" rack, ~3U ✔ power: external PSU-1 required

Chandler Limited Germanium Compressor The Chandler Limited Germanium Compressor is a high-end, fully discrete Class-A compressor with FET gain reduction, designed to bring the character of vintage germanium-style circuits into modern studios. Part of the Germanium series, it shares its amplifier design with the Germanium Preamp and combines it with a highly flexible compression stage, offering both dynamic control and tonal coloration. It was developed with a strong focus on musicality by ear, rather than purely technical measurements. Sound Character The Germanium Compressor delivers a warm, thick and character-rich sound. Key sonic traits include: full low end and depth smooth highs rich harmonic saturation The interaction between Germanium Drive and Feedback control allows precise shaping of both compression and tone—from clean leveling to heavily colored analog saturation. It excels at both subtle glue and aggressive “dirty” compression without sounding harsh. Highlights ✔ Class-A compressor with discrete transistor/FET design ✔ part of the Germanium series ✔ Germanium Drive + Feedback control for tone shaping ✔ Clean / Dirty compression modes ✔ 4 compression curves (variable knee) ✔ built-in wet/dry mix for parallel compression ✔ sidechain filter (30–300 Hz) ✔ adjustable attack and release ✔ true bypass and stereo link capability ✔ transformer-balanced I/O ✔ requires external PSU-1 power supply Typical Studio Applications ✔ vocals (subtle to heavily colored compression) ✔ drums (punch and parallel compression) ✔ bass (tight and saturated) ✔ guitars and keys ✔ mix bus and subgroup processing ✔ creative analog saturation Technical Specifications ✔ device type: compressor / limiter (mono) ✔ circuit: discrete, Class-A, transistor/FET ✔ gain reduction: FET element ✔ controls: input, attack, release, output ✔ additional features: clean/dirty comp comp curve (4 positions) wet/dry mix sidechain filter (30–300 Hz) ✔ feedback: variable tone & gain control ✔ bypass: true bypass ✔ stereo link: yes ✔ I/O: XLR, transformer-balanced ✔ power: external PSU-1 required ✔ form factor: 19" rack, 1U

Chandler Limited RS124 The Chandler Limited RS124 is a legendary tube variable-mu compressor, faithfully recreating the iconic EMI RS124 units from Abbey Road Studios. Developed in collaboration with Abbey Road, it brings the unmistakable sound of the Beatles era into modern studio workflows. Originally designed in the early 1960s exclusively for Abbey Road, the RS124 was never commercially available. The Chandler version combines multiple historic revisions into a single unit, capturing the full range of its sonic character. Its classic tube variable-mu design delivers highly musical dynamics processing with warmth, depth and unmistakable vintage tone. Sound Character The RS124 is known for its smooth, musical and organic compression. It controls transients effectively without sounding aggressive or overly processed. Even under heavy compression, the signal remains open and natural—one of the defining traits that made it a staple in Abbey Road productions. The tube circuitry adds harmonic richness, dense midrange and gentle saturation, creating a larger-than-life sound that remains musical and controlled. Notably, the RS124 avoids harsh pumping artifacts, maintaining a balanced and cohesive sound even at higher compression levels. Highlights ✔ faithful recreation of the legendary EMI RS124 compressor ✔ tube variable-mu compression with classic vintage tone ✔ combines multiple historic RS124 revisions ✔ extremely smooth and musical compression behavior ✔ 9 selectable attack settings including Abbey Road presets ✔ recovery (release) control with HOLD function ✔ SuperFuse mode for more aggressive compression ✔ continuous input/output controls (optional stepped version available) ✔ switchable output impedance (200 / 600 ohms) ✔ stereo link capability for dual-unit operation ✔ handcrafted vintage-style 2U rack unit Typical Studio Applications ✔ vocals with rich, musical compression ✔ drum bus and parallel compression ✔ bass processing with weight and control ✔ mix bus (stereo with two units) ✔ mastering-style processing with character ✔ classic Abbey Road-style productions Technical Specifications ✔ device type: tube compressor (variable-mu) ✔ channels: mono ✔ tubes: 6BC8, 6CG7, 6AL5 ✔ controls: input, attack, recovery (release), output ✔ attack: 9 stepped settings ✔ release: multiple settings + HOLD ✔ special mode: SuperFuse ✔ inputs: XLR ✔ outputs: XLR + TRS link ✔ output impedance: switchable 200 / 600 ohms ✔ stereo link: yes ✔ power: internal ✔ form factor: 19” rack, 2U

Chandler Limited RS660 The Chandler Limited RS660 is a premium tube variable-mu compressor/limiter inspired by legendary designs such as the Fairchild 660 and EMI RS series used at Abbey Road Studios. Rather than being a strict reissue, the RS660 represents a modern evolution of classic designs, combining vintage compression behavior with extended flexibility for contemporary workflows. At its core is a carefully tuned 6386 tube circuit, known for its smooth and musical gain-reduction characteristics. Sound Character The RS660 delivers a classic “Fairchild/EMI-style” sound—big, warm and highly musical. It offers smooth, dense compression with harmonic richness, bringing signals forward while maintaining natural dynamics. Vocals, drums and bass benefit from its ability to control transients without sounding aggressive. A standout feature is the THD mode, which allows pure harmonic saturation without compression—ideal for creative coloration. The result is a versatile processor capable of subtle glue, vintage tone shaping or bold analog coloration. Highlights ✔ tube variable-mu compressor/limiter ✔ inspired by Fairchild 660 & EMI RS designs ✔ built around 6386 tube circuit ✔ three modes: THD / Comp / Limit ✔ 7 selectable time constants ✔ variable input and output controls ✔ THD mode for saturation without compression ✔ switchable output impedance: 200 / 600 ohms ✔ stereo link capability ✔ transformer-balanced signal path ✔ handcrafted 2U rack unit Typical Studio Applications ✔ vocals (forward, rich and controlled) ✔ drums (punch and vintage glue) ✔ bass (tight and musical) ✔ mix bus (stereo with dual units) ✔ mastering-style compression ✔ creative saturation (THD mode) Technical Specifications ✔ device type: tube compressor / limiter (variable-mu) ✔ channels: mono (linkable) ✔ tubes: 6386, 6CG7, 6AL5 ✔ modes: THD / Comp / Limit ✔ time constants: 7 stepped settings ✔ inputs: XLR (transformer-balanced) ✔ outputs: XLR ✔ output impedance: switchable 200 / 600 Ω ✔ stereo link: 1/4" jack ✔ power: internal ✔ form factor: 19” rack, 2U

Chandler Limited TG1 Limiter The Chandler Limited TG1 Limiter is a legendary, fully discrete stereo compressor/limiter, faithfully recreating the rare EMI TG12413 limiter used in Abbey Road Studios. Originally part of late-1960s TG consoles, it helped shape the sound of iconic recordings by The Beatles, Pink Floyd, and many others. The TG1 combines discrete transistor circuitry with a diode-based limiting network, producing a distinctive, musical compression character often compared to the Fairchild 660/670—yet with its own unique tone. Sound Character The TG1 delivers the classic “TG console sound”—punchy, dense and harmonically rich. Key characteristics include: strong low-end punch open high frequencies even under compression smooth, musical saturation from diode limiting It excels at both subtle bus compression (“glue”) and audible vintage coloration. The built-in THD mode allows the unit to function as a harmonic distortion processor, passing audio through the circuitry without compression. Highlights ✔ stereo compressor/limiter (dual mono capable) ✔ authentic recreation of EMI TG12413 limiter ✔ fully discrete transistor design ✔ diode limiting network for unique saturation ✔ transformer-balanced I/O ✔ switchable compression / limit modes ✔ THD mode for analog coloration ✔ input/output gain staging for tone control ✔ 6-step release (recovery) ✔ true bypass ✔ classic Abbey Road sound ✔ requires external PSU-1 power supply Typical Studio Applications ✔ mix bus compression ✔ drum bus processing ✔ vocal coloration ✔ parallel compression ✔ mastering chains ✔ creative saturation Technical Specifications ✔ device type: stereo compressor / limiter ✔ channels: 2 (stereo / dual mono) ✔ circuit: discrete transistor, diode limiter ✔ modes: compression / limit ✔ attack: fixed (mode dependent) ✔ release: 6 positions ✔ ratio: approx. 2:1 (comp mode) ✔ controls: input, output, mode, recovery ✔ THD mode: switchable ✔ I/O: XLR, transformer-balanced ✔ format: 19" rack, ~2U ✔ power: external PSU-1 required

Cranborne Audio Brick Lane MC4 Der Cranborne Audio Brick Lane MC4 ist ein modaler 4‑Kanal‑PWM‑Dynamikprozessor im 19‑Zoll‑Format, der das Konzept des Brick Lane 500 konsequent weiterführt. Er kombiniert die revolutionäre Modal‑PWM‑Kompressionsarchitektur mit dem Klanggefühl analoger Vintage‑Kompressoren und bietet gleichzeitig die Präzision digitaler Steuerung. Ob Recording, Mixing oder Mastering – der Brick Lane MC4 passt sich mühelos an jede professionelle Umgebung an. Modale PWM‑Kompression mit mehr Möglichkeiten Jeder der vier Dynamikkanäle des Brick Lane MC4 verfügt über ein erweitertes Noise Gate mit analogem Lookahead sowie einen Modal‑PWM‑Kompressor mit sechs harmonisch angereicherten Sättigungscharakteren. Die Kanäle lassen sich flexibel als Mono‑, Stereo‑ oder Mid/Side‑Einheiten konfigurieren, wodurch der MC4 sowohl für Einzelquellen als auch für Bus‑Bearbeitung und Mastering prädestiniert ist. Die Stereo‑Verknüpfung sorgt für ein stabiles Klangbild, während der Mid/Side‑Modus eine gezielte Kontrolle von Mitte und Seiten eines Mixes ermöglicht. Serienschaltung – Dynamikketten ohne externes Patchen Im Serienmodus des Brick Lane MC4 können zwei Dynamikkanäle innerhalb eines Signalwegs hintereinander geschaltet werden. Dadurch lässt sich die Gain‑Reduktion auf zwei Stufen verteilen, was ein kontrollierteres Verhalten ermöglicht. Transienten können in der ersten Stufe geformt werden, während die zweite Stufe für Pegelkontrolle oder Klangdichte sorgt – ohne hörbare Artefakte und ohne zusätzlichen Patch‑Aufwand. Dual‑Band‑Modus – Präzise analoge Zweiband‑Kompression Der Dual‑Band‑Modus des Brick Lane MC4 trennt das Signal in tiefe und hohe Frequenzen, verarbeitet beide Bereiche separat und führt sie anschließend wieder zusammen. Die Architektur ist so optimiert, dass Phasenprobleme und Artefakte minimiert werden. Dadurch bleibt die Transparenz erhalten, während die Dynamik komplexer Quellen präzise kontrolliert werden kann – ideal für Drums, basslastige Signale, Mix‑Busse und Mastering. Erweitertes De‑Essing mit analogem Lookahead Der Brick Lane MC4 verfügt über einen speziellen De-Esser-Modus und erkennt hochfrequente Problemstellen bereits vor der Gain‑Reduktion und reagiert daher schnell und sauber, ohne Transienten zu beschädigen oder das Klangbild zu verfärben.  Der De-Esser-Modus arbeitet innerhalb der Brick Lane Modal PWM-Architektur und sorgt auch bei aggressiver Reduzierung für geringe Verzerrung und präzise Steuerung. Selbst bei intensiver Bearbeitung bleibt das Ergebnis natürlich und stabil – perfekt für Vocals, Dialoge oder akustische Instrumente - egal ob beim Tracking, Mixing oder Mastering. Vollständig digital gesteuert – USB und Netzwerk Alle Parameter des Brick Lane MC4 können über USB oder Ethernet ferngesteuert werden.Das Cranborne Audio Control‑Plugin integriert die Hardware direkt in die DAW, ermöglicht Echtzeitsteuerung und erleichtert das Speichern und Abrufen von Presets. Damit verbindet der MC4 analoge Klangqualität mit modernem Workflow‑Komfort. Mid/Side‑Verarbeitung ohne zusätzliche Hardware Der Brick Lane MC4 übernimmt die komplette M/S‑Kodierung und ‑Dekodierung intern. Dadurch lassen sich Dynamikprozesse gezielt auf Mitte und Seiten anwenden, ohne externe Geräte oder kompliziertes Routing. Inserts für externe Hardware Jeder der vier Dynamikkanäle verfügt über bypassbare TRS‑Insert‑Punkte, die flexibel vor oder nach der Dynamikbearbeitung platziert werden können. Im Mid/Side‑Modus lassen sich Inserts sogar gezielt auf Mid‑ oder Side‑Anteile anwenden. So entstehen komplexe analoge Signalketten mit sauberem, reproduzierbarem Workflow. Externe Sidechain‑Eingänge und flexibles Routing Der Brick Lane MC4 bietet vier externe Sidechain‑Eingänge sowie ein frei konfigurierbares internes Sidechain‑Routing. Jeder Kompressor kann sein Steuersignal aus dem eigenen Kanal, aus anderen Kanälen oder aus externen Quellen beziehen. Dadurch werden klassische Ducking‑Setups ebenso möglich wie komplexe dynamische Interaktionen zwischen Kanälen. Durch die Möglichkeit, sowohl interne als auch externe Sidechains pro Kanal auszuwählen, unterstützt der Brick Lane MC4 fortschrittliche Dynamik-Workflows und bleibt dabei intuitiv und wiederholbar in professionellen analogen Umgebungen. Modale PWM‑Kompressionsarchitektur Jeder Kanal des Brick Lane MC4 basiert auf der modalen PWM-Kompressionsarchitektur von Cranborne Audio, einem digital gesteuerten analogen Dynamiksystem, das mehrere, grundlegend unterschiedliche Kompressionsverhalten innerhalb eines einzigen Signalwegs ermöglicht. Die modale PWM-Kompression moduliert die Dynamiksteuerung, die Zeitkonstanten und das harmonische Verhalten der analogen Verstärkungsstufe, anstatt einfach nur Verhältnisse oder Schwellenwerte zu ändern. Dadurch kann der Brick Lane MC4 eine breite Palette von Kompressionsreaktionen liefern und gleichzeitig geringe Verzerrungen, schnelle Reaktionszeiten und präzise Steuerung gewährleisten. Kompressionsmodi Die sechs Kompressionsmodi des Brick Lane MC4 bilden das Herz seiner Modal‑PWM‑Architektur und definieren jeweils ein eigenes dynamisches und harmonisches Verhalten.  VELVET – Musikalität im Vintage-Vari-Mu-Stil mit röhreninspirierter harmonischer Kompression. Dieser Kompressionsstil bietet eine sanfte, organische Dynamiksteuerung mit Vintage-Klangwärme und -Charakter. FLOAT – Transparente, optoinspirierte Dynamik mit moderater Transparenz und sanfter, wellenförmiger Kompressionsballistik. SMASH – FET-Stil mit aggressiver Dynamikreduktion, explosiver Punch und klanglicher Wirkung. TAME – Präzises Transientenmanagement mit ultraschneller, transparenter Steuerung und chirurgischer dynamischer Präzision. GLUE – Verbinden Sie alle Elemente Ihres Mixes mit diesem Effekt auf Ihrem Master-Bus für eine sanfte Kompression im Bus-Stil. POLISH – Ultimatives Limiting im Mastering-Stil mit dem saubersten und schnellsten analogen Limiter mit unserer „Analogue-Lookahead”-Technologie. Modale Regelung und harmonisches Verhalten Die Stress-Regelung arbeitet innerhalb der modalen PWM-Architektur, um eine dynamikorientierte analoge harmonische Sättigung einzuführen. Das STRESS-Verhalten wird durch den ausgewählten Kompressionsmodus definiert. Anstatt eine einzige statische Sättigungsschaltung zu verwenden, implementiert der Brick Lane MC4 sechs verschiedene analoge Multiband-Sättigungsschaltungen, die jeweils speziell für den Betrieb in Verbindung mit dem entsprechenden modalen PWM-Kompressionsverhalten entwickelt wurden.  Diese Sättigungsschaltungen sind dynamisch mit dem Gain-Reduktionsprozess verbunden, sodass sich der Obertongehalt mit dem Signalpegel, der Hüllkurve und der Kompressionsaktivität weiterentwickeln kann. Dieser integrierte Ansatz bildet die charakteristischen Nichtlinearitäten und das programmabhängige Verhalten klassischer analoger Kompressoren nach, bei denen Klang, Dynamik und Sättigung untrennbar miteinander verbunden sind und nicht als separate Prozesse behandelt werden. Durch die Anpassung der Sättigungstopologie an jeden Kompressionsmodus liefert der Brick Lane MC4 ein modusgerechtes harmonisches Verhalten. Jeder Modus nutzt eine speziell entwickelte analoge Multiband‑Sättigungsschaltung, die sich programmabhängig mit der Gain‑Reduktion verändert. Dadurch entsteht ein organisches Zusammenspiel aus Dynamik und harmonischer Färbung, das klassische analoge Kompressoren authentisch nachbildet und gleichzeitig präzise kontrollierbar bleibt. ENIGMA – Erweiterte Kompressionssteuerung ENIGMA bietet Zugriff auf tiefgreifende Kompressionsparameter, die normalerweise in analogen Kompressordesigns fest vorgegeben sind, sodass die dynamische Reaktion des Brick Lane MC4 präzise auf das gewünschte Ergebnis abgestimmt werden kann. Über ENIGMA können Benutzer Parameter wie Kompressionsknie, Attack- und Release-Gewichtung, Detektorverhalten, Hochfrequenzbetonung und mehr direkt einstellen. Mit diesen Reglern lässt sich die Reaktion des Kompressors über die grundlegenden Schwellenwert- und Ratio-Einstellungen hinaus formen, sodass sich die Erfassung von Transienten, die Entwicklung der Gain-Reduktion und die Reaktion des Kompressors auf unterschiedliche Frequenzanteile feinabstimmen lassen.

Dangerous Music Compressor The Dangerous Music Compressor is a high-end stereo VCA compressor designed for professional mixing and mastering environments. Featuring two fully independent compression circuits, it can operate in dual-mono or stereo mode, making it highly versatile for a variety of studio workflows. Unlike many character compressors, the Dangerous Compressor focuses on extremely transparent dynamic control, allowing engineers to shape dynamics without noticeably altering the tonal balance of the source material. Its advanced sidechain architecture and intelligent dynamics control tools allow engineers to precisely manage both transient peaks and overall signal levels. Sound Character The Dangerous Compressor delivers highly transparent and musical compression. Even with significant gain reduction, the original character of the mix remains intact. Transients stay punchy and the low-end remains stable, making the unit particularly well-suited for mix-bus and mastering applications. The dual-detector design also improves stereo imaging by allowing each channel to respond independently to the incoming signal. Highlights ✔ high-end stereo VCA compressor for mixing and mastering ✔ dual-mono or stereo operation ✔ extremely transparent compression ✔ dual detector architecture for improved stereo imaging ✔ Smart Dynamics processing for peak and average detection ✔ advanced sidechain with HPF, de-esser and external insert ✔ soft- and hard-knee modes ✔ manual or auto attack/release modes ✔ true hard-wire bypass ✔ precision VU metering ✔ 2U rackmount design

Drawmer 1960 1960 - 2-Kanal Mikrofonvorverstärker/Röhrenkompressor Unter Ingenieuren und Produzenten besteht heutzutage kaum Zweifel daran, dass Röhren einen einzigartigen Charakter besitzen, der für einen wärmeren und lebendigeren Klang sorgt. Mit seiner Kombination aus acht aktiven Röhrenstufen und rauscharmer und zuverlässiger Halbleitertechnik, wird der Drawmer 1960 zur ultimativen direkten Schnittstelle zwischen der Signalquelle und dem Aufnahmemedium.  Pro Kanal beinhaltet das 2-kanalige Gerät einen sehr natürlich klingenden echten Soft-Knee Röhrenkompressor und einen extrem rauscharmen Mikrofonvorverstärker mit schaltbarer 48V Phantomspeisung. Zusätzlich steht ein Aux-Vorverstärker mit eigener Röhrenstufe und Equalizer zur Verfügung.  Diese leistungsfähige Kombination aus einem klassischem Röhrenschaltkreis, der unübertroffene Tonalität bietet, und einer rauscharmen symmetrischen Mikrofonvorstufe mit bis zu 60dB Verstärkung, hat Tonigenieuren auf der ganzen Welt erstmals die Möglichkeit gegeben, die Qualität ihrer Kondensatormikrofone voll auszuschöpfen. Ein Beispiel hierfür sind Direct-to-Disc Stereo-Live-Mitschnitte von klassischer Musik, ohne dass ein Mixer erforderlich ist. Eigenschaften 2-Kanal Mikorofonvorverstärker & RöhrenkompressorAux Instrumenteneingang mit EQdualer Mono- oder Stereo-Betriebklassischer Soft-Knee Kompressorsehr rauscharm Technische Daten Anschlüsse: Mic/Line XLR symmetrisch, Aux Eingang Klinke 6,3 mm unsymmetrischEingangsimpedanz: Line: 20kOhm, Mic: 150Ohm bis 600Ohm, Aux: 47kOhmEingangspegel (max.): +20dBuAusgangsimpedanz: 50OhmAusgangspegel (max.): +22dBuFrequenzgang: 20Hz - 24kHz -1dBRauschabstand: Mikrofonvorverstärker: -129dB, Kompressor: -88dBVerzerrung: <0,15% bei +4dBu (100Hz bis 10kHz)Spannungsversorgung: 115V oder 230V, 38 WAbmessungen (B x H x T): 482 x 88 x 250 mm / 19", 2 HEGewicht: 6,6 kg

Drawmer 1968 MKII 1968 MKII - 2-Kanal JFET/Röhren Stereo Buskompressor Der 1968 ist ein 1 HE Röhren/FET Stereo Buskompressor, der aufgrund seines Aufbaus auch bei starker Kompression einen transparenten und offenen Klang liefert. Vergessen Sie den dröhnenden und undifferenzierten Klang anderer Kompressoren.  Beide Kanäle besitzen eine zuschaltbare Big-Funktion, die um eine weitere Einstellung (Bigger) erweitert wurde. Die Big-Einstellung reduziert den Einfluss energiereicher tieffrequenter Signalanteile auf die Kompression und reduziert auf diese Weise Ducking-Effekte bei gleichzeitiger Bassanhebung. Die Bigger-Einstellung verstärkt diesen Effekt noch. Das Ergebnis: Ein solides Bassfundament mit angereichertem Subbass und ein breiter, weicher Frequenzverlauf für das gesamte Signal. Der 1968 ist eine abgespeckte Version des 1969, welche aufgrund starker Kundennachfrage eingeführt wurde. Das Gerät richtet sich an Anwender, welche die Instrumenten- und Mikrofonvorverstärker des größeren 1969 mit 2HE nicht benötigen. Eigenschaften 2-Kanal Röhren/FET-Kompressor Soft-Knee Kompressoren mit variablem Threshold, Attack, Release und Ausgangsverstärkung schaltbare BIG- und BIGGER-Funktion in jedem Kanal 2-Kanal Mono- oder gekoppelter Stereo-BetriebVU-Meter umschaltbar auf +10dB Modus für hohe Ausgangspegel Technische Daten Eingangsmpedanz: 20kOhmEingangspegel (max.): +20dBuAusgangsimpedanz: 50 OhmAusgangspegel (max.): +22dBm (symmetrisch)Frequenzgang: 17Hz-28KHz -1dBRauschabstand: -85dB, 22Hz-22kHzVerzerrung: < 0.35%Spannungsversorung: 115 V / 230 V, 13 VAAbmessungen (B x H x T): 482 x 44 x 225 mm / 19", 1HEGewicht: 4 kg

Drawmer 1973 - 3-Band FET-KompressorDer Drawmer 1973 ist ein Multiband-Kompressor, der mehr Flexibilität, Kontrolle und Bearbeitungsmöglichkeiten zur Verfügung stellt, als jeder Breitbandkompressor jemals bieten könnte und das zu einem günstigen Preis. Der 1973 ist das Ergebnis aus 30 Jahren Entwicklung und Erfahrung und kombiniert die Funktionsweise und Steuerung des hochwertigen S3 Kompressors mit den vertrauten Funktionen und der Qualität der berühmten Geräte 1960 und 1968. Das Gerät bietet eine 3-bandige, transparente Soft-Knee-Kompression zum Preis eines konventionellen Breitbandkompressors.Der 1973 ist mit Crossover-Filtern ausgestattet, die das Audiosignal in drei Frequenzbänder aufteilen. Diese werden dann auf jeweils eigene Kompressoren gespeist und individuell bearbeitet. Im Anschluss daran werden die komprimierten Signale wieder zusammengeführt, bevor zum Schluss der Wet/Dry-Mix (Parallelkompression) und der Ausgangspegel eingestellt werden können. Der Vorteil dabei ist, dass sich die Bearbeitung in einem Frequenzband nicht auf die übrigen Bänder auswirkt und somit mehr Flexibilität und Kontrolle als jeder Breitbandkompressor bietet.Eigenschaften: Intuitive Bedienelemente wie Threshold und Gain sowie Attack- und Release-Schalter mit Anzeige der Pegelreduktion in allen Bändern Soft-Knee-FET-Schaltung mit minimaler Attack-Zeit und hervorragendem Links/Rechts-Tracking über den gesamten Kompressionsbereich Stufenlose Regler für Wet/Dry Mix und Output Gain ermöglichen eine umfassende und einfache Steuerung der Anteile bei der Parallelkompression sowie der Ausgangspegel Einstellbare Band-Split-Filter mit einer Flankensteilheit von 6 dB/Oktave sowie Mute- und Bypass-Schalter pro Band vereinfachen die Abstimmung der Einsatzfrequenzen In den Modi „Big“ und „Air“ bleibt der Tiefbassbereich erhalten, während die Höhen betont werden Zwei analoge Pegelanzeigen mit einer +10 dB Umschaltung des Anzeigebereichs und schaltbarem „Peak“-Modus machen schnelle Transienten sichtbar, die konventionelle Pegelanzeigen nicht darstellen können Internes, lineares Netzteil mit einstreuungsarmem Ringkerntrafo Gewohnt hohe Drawmer-Fertigungsqualität mit stabilem Stahlblechgehäuse und Aluminiumfront Technische Daten:- Eingangsimpedanz: 20k Ohm- Eingangspegel (max): +26dBu- Ausgangsimpedanz: 100 Ohm- Ausgagnspegel (max): +25dBu- Frequenzgang: <5Hz bis 51kHz -1dB- Übersprechen: < -80dB @ 1kHz- Rauschen: -82dB- THD+N: 0,03% (0 dB)- Spannungsversorgung: 230Volt oder 115V, 60VA- Abmessungen: 482 mm (B) x 132 mm (H) x 315 mm (T)- Gewicht: 9,7Kg

Drawmer 1978 Stereo Bus FET Kompressor Der Drawmer 1978 orientiert sich am Design des erfolgreichen 1973 und ist ein schnell anpackender Stereo FET Design-Kompressor mit hervorragendem Left/Right-Tracking im gesamten Kompressions-Spektrum, und komplett in einem 1HE Gehäuse verbaut. Threshold-, Ratio-, Attack- und Release-Regler und das Gain Reduction Metering ermöglichen vertraute und intuitive Klangkontrolle über das Audiosignal. Darüber hinaus ermöglichen die 4 neu entwickelten "Character"-Switches, auf Knopfdruck,  einen jeweils abgewandelten Kompressionscharakter, ganz nach Geschmack und Bedarf! Ein umfassender Sidechain-EQ ermöglicht die gleichzeitige Steuerung von Frequenz und Pegel der Filter in den Low- und High-Bands.  Der variable Wet / Dry-Mix kombiniert mit dem Output Gain-Regler ermöglicht eine effektive "Parallel Compression"-Funktion ganz ohne externe Mischketten. Stärke der Kompression und Ausgangspegel sind somit vollständig und mühelos regel- und kontrollierbar. Der Drawmer 1978 verfügt über zwei analoge V.U. Meter mit schaltbarem +10 dB Rescale Pad. Die Meter selbst besitzen eine 2-farbige Dual-Color Hintergrundbeleuchtung, die den Grad der Sättigung des Signals auch visuell anzeigt. Eine zeitverzögerte Relais-Schaltung an den Line-Ausgängen unterbindet störende Ein- und Ausschaltgeräusche. Die Stromversorgung läuft über ein internes brummarmes Netzteil mit Ringkerntransformator und Spannungswahlschalter. Features: 1HE 19" Stereo-FET-Kompressor klassische Kontrollen für Threshold, Ratio, Attack und Release 4 "Character" Schalter für variable Kompressionscharakteristik stufenlose Sättigungsregelung zum Hinzumischen von harmonischen Verzerrungen umfassender Sidechain-EQ zur gleichzeitigen Steuerung von Frequenz und Pegel für die High- und Low-Bands Wet/Dry Mix- und Output Gain-Regler VU-Meter mit 2-farbigem Backlight zur visuellen Anzeige der Sättigung zeitverzögerte Relais-Schaltung auf den Line-Ausgängen verhindert störende Ein- und Ausschaltgeräusche internes lineares brummarmes Netzteil mit Ringkerntransformator und Spannungswahlschalter

DW Fearn VT7 Der Sound des D.W.Fearn VT-7 Röhrenkompressors ist sowohl offen und seidig in den Höhen als auch sehr fett im Bassbereich. Der D.W.Fearn VT-7 kann als Dual Mono Kompressor betrieben werden, oder beide Kanäle können für Stereoanwendungen miteinander verkoppelt werden. Die dritte Position des Link-Schalters fügt ein Hochpassfilter (HPF) in die Sidechain ein, um die Empfindlichkeitsreduzierung des VT-7 auf niedrige Frequenzen zu reduzieren. Dies ist eine sanfte Abnahme, mit einer Grenzfrequenz bei 100 Hz. Damit wird verhindert, dass stark niederfrequentes Audio den Audiopegel moduliert und ermöglicht somit einem basslastigen Mix eine bessere Frequenzbalance. Die VU-Meter können zwischen dem Anzeigen der Verstärkungsreduzierung oder des Ausgangspegels umgeschaltet werden. Der D.W.Fearn VT-7 hat einen hochtransparenten Klang, kann jedoch bei Bedarf aggressiver eingesetzt werden. Die Artefakte der Kompression sind wesentlich geringer als bei den meisten anderen Kompressoren.Der D.W.Fearn VT-7 eignet sich sowohl für das Tracking als auch als Buskompressor. Sogar Jazz- und Klassik-Tracks können durch den D.W.Fearn VT-7 gesendet werden, um eine leichte Gain-Kontrolle zu erzielen, ohne dass dies einen offensichtlichen Effekt hat, abgesehen von einer signifikanten Verbesserung des Gesamtklangs des Mix.Parameter (für jeden Kanal): Threshold Gain Attack Release Harder/Softer (Steuert die Charakteristik des Knees) Separate/Link/Link HPF Frequenzgang: 20 Hz - 20 kHz +/- 0,5 dB, -3dB bei 5Hz und 65kHzTHD: weniger als 0,07%Signal to Noise Radio: besser als 80dB  

Elysia alpha compressor The Elysia alpha compressor is a high-end Class-A stereo mastering compressor in a 19” rack format, designed for the most demanding mixing and mastering environments. It is considered one of Elysia’s flagship processors, delivering exceptional transparency, flexibility, and sonic precision. Its fully discrete Class-A circuitry ensures extremely clean, open, and detailed signal processing. Even at higher gain reduction levels, compression remains virtually inaudible while preserving the natural integrity of the audio. A key feature is the ability to switch between feed-forward and feedback compression, allowing users to choose between smooth, musical behavior and more precise, punchy dynamics control. Additional features include an integrated mid/side matrix, parallel compression (blend), sidechain filtering, tilt EQ, and a soft clip limiter—making it a highly versatile mastering tool. Sound Character The alpha compressor is known for extremely transparent, “invisible” compression. It controls dynamics without sacrificing openness, depth, or clarity. The sound remains stable, wide, and three-dimensional. Transients are preserved, low frequencies stay controlled, and high frequencies remain detailed and natural. Its flexibility allows for subtle mastering compression as well as stronger mix bus processing when needed. Highlights ✔ high-end Class-A stereo mastering compressor ✔ fully discrete analog signal path ✔ switchable feed-forward / feedback modes ✔ ultra-transparent, inaudible compression ✔ integrated mid/side matrix ✔ parallel compression (blend control) ✔ sidechain and audio filters ✔ tilt EQ for tonal shaping ✔ soft clip limiter ✔ auto fast for adaptive timing ✔ stepped controls for precise recall Typical Applications ✔ mastering compression at the highest level ✔ mix bus “glue” compression ✔ mid/side processing ✔ transparent dynamic control ✔ high-end hybrid studio workflows Technical Specifications ✔ device type: stereo compressor (mastering) ✔ circuit: discrete Class-A ✔ modes: feed-forward / feedback ✔ dynamic range: approx. 122 dB ✔ frequency response: <10 Hz – 200 kHz (-0.5 dB) ✔ noise floor: approx. -95.8 dBu ✔ max level: +28 dBu (in), +27 dBu (out) ✔ impedance: 10 kΩ (in) / 68 Ω (out) ✔ features: M/S, blend, SC filter, tilt EQ, soft clip ✔ connections: XLR I/O ✔ format: 19” rack ✔ height: 3U

Elysia mpressor² qube The Elysia mpressor² qube is a compact and portable 2-channel Class-A stereo compressor in the Qube desktop format, designed for professional recording, mixing, and mastering applications. It combines two mpressor 500 modules in a rugged aluminum enclosure, delivering full analog performance in a mobile setup. Its fully discrete Class-A circuitry is based on a transconductance amplifier (TCA), enabling extremely fast response times and highly precise dynamic control. Alongside standard parameters like threshold, ratio, attack, and release, the unit offers a wide range of creative features that go far beyond traditional compression. Features such as negative ratios, anti-log release, auto fast, and a built-in gain reduction limiter open up advanced sound design possibilities—from subtle dynamics control to extreme processing effects. Sound Character The mpressor² qube delivers a modern, punchy, and highly detailed sound. Its compression remains transparent and controlled while preserving the natural integrity of the signal. It can range from subtle and musical compression to aggressive and creative effects. Transients are shaped with precision, and low-end response remains tight and stable. With features like THD boost and negative ratios, the unit can add harmonic coloration, punch, and character—making it ideal for modern productions and experimental workflows. Highlights ✔ Class-A stereo compressor in desktop format (Qube series) ✔ two mpressor 500 modules in one unit ✔ fully discrete analog signal path ✔ extremely fast attack times (down to 0.01 ms) ✔ wide parameter ranges for maximum flexibility ✔ negative ratios for creative compression effects ✔ gain reduction limiter for controlled extreme processing ✔ auto fast and anti-log functions ✔ THD boost for harmonic coloration ✔ analog-style LED metering ✔ external sidechain and audio filter Typical Applications ✔ stereo bus and mix bus compression ✔ creative dynamic processing and sound design ✔ adding punch to drums and percussion ✔ shaping vocals and instruments ✔ high-end compressor for hybrid and mobile setups Technical Specifications ✔ device type: stereo compressor ✔ circuit: discrete Class-A (TCA-based) ✔ processing: analog ✔ attack: approx. 0.01 – 180 ms ✔ release: approx. 5 ms – 2.5 s ✔ frequency response: <10 Hz – 390 kHz (-3 dB) ✔ dynamic range: approx. 99 dB ✔ noise: approx. -79 dBu (A-weighted) ✔ max level: +21 dBu (in), +22 dBu (out) ✔ connections: XLR and 1/4" TRS I/O ✔ dimensions: approx. 104 × 137 × 188 mm ✔ weight: approx. 1.46 kg ✔ format: desktop (qube series)

Elysia xmax The Elysia xmax is a high-end Class-A stereo masterbus processor in a 19” rack format, designed for professional mixing and mastering applications. It combines multiband compression, mid/side processing, and fully discrete analog circuitry to provide precise control over dynamics, tonal balance, and stereo imaging. The incoming stereo signal is internally split into mid and side components. The mid signal is further divided into low and mid bands, resulting in three independent compression stages. This architecture allows highly detailed processing of specific frequency ranges as well as precise control over stereo width and depth. Additional features such as a soft clipper and tone control enable further shaping of loudness, density, and high-frequency response. Sound Character The xmax delivers transparent, punchy, and musical dynamics processing. Its sound remains stable and clearly defined, while the multiband mid/side architecture allows precise control over spatial imaging and depth. Low frequencies stay tight and controlled, mids can be shaped with precision, and highs are presented with a smooth and open character. The soft clipper adds loudness and analog density without introducing harsh distortion. Highlights ✔ Class-A stereo masterbus processor in 19” rack format ✔ multiband compression with low, mid, and side bands ✔ internal mid/side processing for advanced stereo control ✔ analog soft clipper for increased loudness and density ✔ variable crossover frequency (low / mid) ✔ global release control for all bands ✔ VariLink function for flexible band linking ✔ “Punch” mode for more aggressive compression ✔ Lowmo feature for focused low-end ✔ tone control (high-shelf EQ) for sound shaping ✔ analog metering for signal, gain reduction, and clipping ✔ 19” rack enclosure for professional studio integration Typical Applications ✔ masterbus compression for mixing and mastering ✔ analog glue for stereo and subgroup buses ✔ mid/side processing for stereo width and depth control ✔ dynamics processing in hybrid and analog setups ✔ high-end processing in mastering chains Technical Specifications ✔ device type: stereo masterbus processor ✔ circuit: discrete Class-A ✔ processing: analog with mid/side architecture ✔ compressor: multiband (low / mid / side) ✔ crossover frequency: approx. 40 – 470 Hz ✔ connections: balanced XLR inputs and outputs ✔ format: 19” rack ✔ height: 2U