Compressor Emulations

Here you can find emulation files for the various Focusrite Liquid range. These are additional emulations to expand upon those shipped with the Liquid products. Stock emulations are available on product download pages. Please note the the Liquid Saffire 56 does not have additional emulations available beyond those incorporated into the original hardware.

Description Downloaded Date Added Library
1851 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1348 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1351 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1364 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1239 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1295 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
3223 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1274 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1381 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1359 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1141 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1163 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1335 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1135 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1210 2009-05-12 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1180 2009-05-12 00:00:00 Compressor Emulations
The Millennia STT-1 offers vacuum tube or solid state circuits. The opto-compressor/limiters are available with 100% Class A, all-discrete J-FET solid state topology or 100% Class A, all triode vacuum tube topology. The STT-1 also offers the Twin Topology, a choice of colorful transformer-coupled or transformerless audio paths. All circuits have been designed to deliver a musical optimization of their inherent character. It has the ability to be clear and deliver an accurate representation of the source. It can also create colour and thickness. A special collection of vintage vacuum tubes (old Telefunken & Mullard) provide an enhanced euphonic character.

The emulations offer a combination of valve (VT) or solid-state (SS) input stage, with (TX) or without transformer, then routed to valve (VT) or solid-state (SS) compressor.
2403 2009-05-12 00:00:00 Compressor Emulations
The Millennia STT-1 offers vacuum tube or solid state circuits. The opto-compressor/limiters are available with 100% Class A, all-discrete J-FET solid state topology or 100% Class A, all triode vacuum tube topology. The STT-1 also offers the Twin Topology, a choice of colorful transformer-coupled or transformerless audio paths. All circuits have been designed to deliver a musical optimization of their inherent character. It has the ability to be clear and deliver an accurate representation of the source. It can also create colour and thickness. A special collection of vintage vacuum tubes (old Telefunken & Mullard) provide an enhanced euphonic character.

The emulations offer a combination of valve (VT) or solid-state (SS) input stage, with (TX) or without transformer, then routed to valve (VT) or solid-state (SS) compressor.
1093 2009-05-12 00:00:00 Compressor Emulations
The Millennia STT-1 offers vacuum tube or solid state circuits. The opto-compressor/limiters are available with 100% Class A, all-discrete J-FET solid state topology or 100% Class A, all triode vacuum tube topology. The STT-1 also offers the Twin Topology, a choice of colorful transformer-coupled or transformerless audio paths. All circuits have been designed to deliver a musical optimization of their inherent character. It has the ability to be clear and deliver an accurate representation of the source. It can also create colour and thickness. A special collection of vintage vacuum tubes (old Telefunken & Mullard) provide an enhanced euphonic character.

The emulations offer a combination of valve (VT) or solid-state (SS) input stage, with (TX) or without transformer, then routed to valve (VT) or solid-state (SS) compressor.
2243 2008-04-29 00:00:00 Compressor Emulations
The Distressor controls just about any source in a very pleasing and "musical" manner, adding fullness, intelligibility and especially excitement. The compressor is digitally controlled, but offers a warm, vintage sound by allowing you to add 2nd- or 3rd- order harmonic distortion to the signal (see COPY CAT2 and COPY CAT3 - COPY CAT has no added harmonics), emulating tape saturation and the classic tube compressor sound of the '60's and '70's. Don't miss out on the NUKE setting (by turning the ratio dial to full)!
2082 2008-04-29 00:00:00 Compressor Emulations
This rackmount version of the G-series stereo desk output compressor is definitely a brilliant SSL must-have. The FX G384 has selectable fixed attack, release and ratio values with variable threshold and gain make up. The 60 second autofade is a valuable asset for that very last brilliant ad lib that you can't afford to lose. It is easy to use, straight to the point and not too brutal. great for final mix bus compression.
1700 2004-12-01 00:00:00 Compressor Emulations
The DBX 165 is a solid state compressor/limiter. Like other dbx compressors, it's known for its OverEasy trademark compression that provides an extremely smooth, almost inaudible compression. The compression can be transparent, even when compressing heavily.
382 2004-12-01 00:00:00 Compressor Emulations
The Distressor controls just about any source in a very pleasing and "musical" manner, adding fullness, intelligibility and especially excitement. The compressor is digitally controlled, but offers a warm, vintage sound by allowing you to add 2nd- or 3rd- order harmonic distortion to the signal (See COPYCAT2 and COPYCAT3 - COPYCAT has no added harmonics), emulating tape saturation and the classic tube compressor sound of the '60's and '70's. Don't miss out on the NUKE setting (by turning the ratio dial to full)!
1768 2004-12-01 00:00:00 Compressor Emulations
Designed in the early 1950s, the Fairchild 670 is part of the variable-mu limiter family. Variable-mu designs use an unusual form of vacuum tube that is capable of changing its gain dynamically. This results in, in addition to featuring a tube output stage, the Fairchild actually achieving gain reduction using tubes. A lovely warm and thick sound.
1489 2004-12-01 00:00:00 Compressor Emulations
The ISA 130 is a discrete VCA compressor, which uses peak side-chain detection. Its sound is very reliable and accurate, providing a wide range of control over threshold, ratio, attack and release. Due to transformer coupling, there is some colour and warmth added to the signal but the overall feel is of pristine clarity and subtle depth.
1559 2004-12-01 00:00:00 Compressor Emulations
Our classic Green 5 is a discrete VCA compressor, which uses peak side-chain detection. Its sound is reliable and accurate, providing a wide range of control over threshold, ratio, attack and release.
1513 2004-12-01 00:00:00 Compressor Emulations
Our much revered Red 7 is a discrete VCA compressor, which uses peak side-chain detection. Its sound is reliable and accurate, providing a wide range of control over threshold, ratio, attack and release. Due to transformer coupling, there is some colour and warmth added to the signal but the overall feel is of pristine clarity and subtle depth. The Red 7 and U87 microphone have become an industry standard in recording studios across the globe.
1652 2004-12-01 00:00:00 Compressor Emulations
SLAM! The acronym for "Stereo Limiter And Micpre" will get LOUD fast! This box houses four Limiters and Class A tube mic preamps. Manley combined their favorite Electro-Optical circuit (ELOP) with an extremely fast FET based brick-wall limiter. The FET LIMITER covers the range of clean predictable limiting all the way to grunge and gravel. The FET RELEASE control allows you to achieve a variety of colours. The "CLIP" setting provides an surpassed round shape. It's punchy and Manley's rule of thumb is: 'Louder is better'.
1517 2004-12-01 00:00:00 Compressor Emulations
SLAM! The acronym for "Stereo Limiter And Micpre" will get LOUD fast! This box houses four Limiters and Class A tube mic preamps. Manley combined their favorite Electro-Optical circuit (ELOP) with an extremely fast FET based brick-wall limiter. One of the most appreciated aspects of the SLAM!'s original ELOP® is the simplicity of a two knob limiter, which is perfect for the most demanding recording situations.
1640 2004-12-01 00:00:00 Compressor Emulations
The Manley Variable Mu Limiter has become a real standard in Mastering studios. "Mu" is tube talk for gain. It works by using the "remote cut-off" (re-biasing) of a vacuum tube in order to achieve compression (like the Fairchild 670).The COMPRESS mode is soft-knee (1.5 to 1) while the sharper knee LIMIT mode starts at 4 to 1 and moves to 20 to 1 when limiting over 12dB. The knee softens when more limiting is applied.
1581 2004-12-01 00:00:00 Compressor Emulations
The Joemeek SC2 was one of the first products to expose the industry to Ted Fletcher's circuit design. The SC2 uses a photo-electric gain-control element with modern servo-control techniques, which results in accuracy and speed of response to the light source. The strength of the SC2 is in stereo bus compression. The SC2 is not the type of machine that can be simply set and left. It requires experimentation and tweaking. It provides both very musical limiting and compression and reacts to changes in sound in a way that is pleasant to the ear.
2100 2004-12-01 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1537 2004-12-01 00:00:00 Compressor Emulations
The Millennia STT-1 offers vacuum tube or solid state circuits. The opto-compressor/limiters are available with 100% Class A, all-discrete J-FET solid state topology or 100% Class A, all triode vacuum tube topology. The STT-1 also offers the Twin Topology, a choice of colorful transformer-coupled or transformerless audio paths. All circuits have been designed to deliver a musical optimization of their inherent character. It has the ability to be clear and deliver an accurate representation of the source. It can also create colour and thickness. A special collection of vintage vacuum tubes (old Telefunken & Mullard) provide an enhanced euphonic character.

The emulations offer a combination of valve (VT) or solid-state (SS) input stage, with (TX) or without transformer, then routed to valve (VT) or solid-state (SS) compressor.
1449 2004-12-01 00:00:00 Compressor Emulations
The Millennia STT-1 offers vacuum tube or solid state circuits. The opto-compressor/limiters are available with 100% Class A, all-discrete J-FET solid state topology or 100% Class A, all triode vacuum tube topology. The STT-1 also offers the Twin Topology, a choice of colorful transformer-coupled or transformerless audio paths. All circuits have been designed to deliver a musical optimization of their inherent character. It has the ability to be clear and deliver an accurate representation of the source. It can also create colour and thickness. A special collection of vintage vacuum tubes (old Telefunken & Mullard) provide an enhanced euphonic character.

The emulations offer a combination of valve (VT) or solid-state (SS) input stage, with (TX) or without transformer, then routed to valve (VT) or solid-state (SS) compressor.
1579 2004-12-01 00:00:00 Compressor Emulations
The 2254s were found in the older (dark gray) 80 Series Neve consoles and have a fixed attack time. A variety of compression ratios are available. The fastest release time on the 2254 is 400ms on the compressor and 100ms on the limiter. If you want something to cut through in the mix and add some body to it, this is the one.
1473 2004-12-01 00:00:00 Compressor Emulations
This is a classic British solid state unit with unique circuit principles. The basic compression amplifier is model 845751. This unusual beast works on the Mark-space principle, which takes energy out of peaks rather than crushing them. The PYE is a marvelous compressor, very musical and exceptionally easy to use with few parameters to adjust and very smooth automatic gain make up. If you were looking for colour, you found it.
1447 2004-12-01 00:00:00 Compressor Emulations
The C2 compressor houses two independent mono compressors. The characteristic sound of this unit arises mostly from the fast response at the start of compression. When used across a mix, or with any dynamic programme, the C2 has the effect of adding 'punch', as the sidechain 'breathes' around these transients, while still controlling overall levels.
1452 2004-12-01 00:00:00 Compressor Emulations
The C2 compressor houses two independent mono compressors. The characteristic sound of this unit arises mostly from the fast response at the start of compression. When used across a mix, or with any dynamic programme, the C2 has the effect of adding 'punch' as the sidechain 'breathes' around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this 'musicality'. The C2's superb sonic performance and its 'Crush' function has made this the unit of choice among so many successful producers in the pop field.
1673 2004-12-01 00:00:00 Compressor Emulations
This is the famous G+ series channel soft knee compressor. It has a programme sensitive attack time and an automatic gain make-up circuit that ensure it maintains a steady output. According to Billboard magazine, 74.5% of US No. 1 singles were recorded on G+ series consoles!
1884 2004-12-01 00:00:00 Compressor Emulations
Avalon's opto-compressor unit features a signal path design with twin Class A vacuum tube triodes for gain matching. The optical attenuator acts as a simple passive level controller. Full dynamic control from soft compression to hard-knee limiting can be achieved with the threshold, ratio-compression, attack and release controls. Smooth high end, with valve warmth.
1535 2004-12-01 00:00:00 Compressor Emulations
The SL 5000M was one of Solid State Logic's most esoteric and expensive mixing consoles at the time. It was primarily used in the film and broadcast industry. The SL510 is the Mono Dynamics cassette. It's a true RMS-sensing feed-forward circuit with a soft-knee threshold characteristic.
1498 2004-12-01 00:00:00 Compressor Emulations
The DCL-200 is a dual channel compressor/limiter and is based on a hybrid design, combining the characteristics of valves with the reliability of solid state devices. Its circuitry incorporates 12AX7A vacuum tubes and 990 op-amps in a transformerless signal path. It is a favourite in both the live sound and studio environments and provides you with a crisp yet smooth high frequency response and the sweet low-mid and low frequencies you get from vacuum tubes.
1491 2004-12-01 00:00:00 Compressor Emulations
The Summit Audio TLA-100A Tube Leveling Amplifier is a classic design with a technological hybrid of vacuum tube and solid state devices. It produces an incredibly warm and smooth sound that does not have the inherent disadvantages of older designs. When fast transient signals are being fed to the TLA-100A, the unit reacts fast, both in attack and release. When the signal is more legato, the attack and release times react more slowly.
1799 2004-12-01 00:00:00 Compressor Emulations
If you are passionate about compressors, you'll love the LA-2A. The original was immediately acknowledged for its natural sounding compression characteristics. It has a unique electro-optical attenuator system that allows immediate gain reduction without an increase in harmonic distortion. The LA-2A is an absolute all time classic.
1517 2004-12-01 00:00:00 Compressor Emulations
Its General Electric US military specification valves (ECC83/12AX7A) and high retention gold plated ceramic valve bases allow the C-1 to produce a fat sound. The first valve stage acts as a voltage amplifier, and the second stage forms part of the gain control element. The gain control is performed by TLA's unique transconductance stage which avoids the use of VCAs. This improves transparency and minimises distortion. This compressor is capable of more drastic action, but generally speaking, its strength is unobtrusive control rather than deliberate creative effect.
1520 2004-12-01 00:00:00 Compressor Emulations
The TUBE-TECH CL 1B Compressor is an optical, tube-based compressor. It features a gain-reduction element, positioned immediately after the input transformer and is controlled by the sidechain amplifier, which also contains the two time control circuits - one for fixed and one for variable Attack/Release. The gain-reduction element is followed by a tube-based push-pull amplifier. Throughout the years and many recordings, the CL 1B has proven its value by adding that sought-after vintage warmth.
1485 2004-12-01 00:00:00 Compressor Emulations
The TUBE-TECH LCA 2B is a tube based, two-channel unit with an independent compressor and limiter per channel. The compressor has six attack/release presets as well as manual control. The limiter's attack/release is fixed. The audio path is fully symmetrical from input to output. Input and output have fully floating transformers.
1617 2004-12-01 00:00:00 Compressor Emulations
The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology. It was the first true peak limiter with all transistor circuitry offering superior performance and a signature sound. It set the standard for all limiters to follow. It still is one of the most widely used and respected limiters in the industry. Sounds great on everything!
1569 2004-12-01 00:00:00 Compressor Emulations
Every serious recording studio has at least one of these mono units in its rack as a standard. It is useful on almost anything and there is something very pleasing to the ear about how it controls dynamics. Even though they operate on the FET principle, they possess wonderfully 'warming' properties. The UREI has a warm and gently overdriven character.
1638 2004-12-01 00:00:00 Compressor Emulations
The LA-3A Leveling Amplifier started life at the 1969 NY AES show and marked the departure from tube design. Its simple control set and the T4 electro-optical attenuator (which is the source of the LA-3A's program dependent compression) led to it being embraced as a studio workhorse. It is still widely used today and remains a favorite of engineers and producers for its unique compression and sonic characteristics.
1615 2004-12-01 00:00:00 Compressor Emulations
The DPR-402 is a dual-channel compressor/limiter with peak limiting, adjustable speed, dynamics program manipulation. This is the unit that has made it onto almost every technical spec in Live sound. Its audio quality and ease of use has made it a true standard.
1811 2004-12-01 00:00:00 Compressor Emulations
Like the LA-3A, this is a half rack mono compressor/limiter, using electro-optical attenuation. It has adjustable threshold and ratios, and attack/release settings that are dependent on the audio signal and amount of gain reduction. It was designed to respond to RMS measurement of signal levels, possibly the least intrusive method of automatic volume control. This makes the unit more 'musical', unfussy and smooth.
1794 2004-12-01 00:00:00 Compressor Emulations
The Chiswick Reach Stereo Valve Compressor is an impressive mastering compressor. This box features "variable mu" gain control as used in many vintage compressors. Two all-transformer coupled, valve signal paths operate in true class A mode. A unique "thump" position added to the attack control to give creative drum and percussion effects. This is a versatile and unique valve compressor that is able to produce a range of flavours from transparent and neutral to thick and dirty.
1582 2004-12-01 00:00:00 Compressor Emulations
The Drawmer DL221 is a 2-channel hard knee compressor/limiter, used since the 80s. It has programme related, semi-automatic release characteristics that enable the DL221 to work effectively on input signals such as vocals or slapped bass, where the natural decay envelope can vary considerably. It has a great sound quality, no noise and a very fast attack. A classic for that warm compressed sound.
1699 2004-12-01 00:00:00 Compressor Emulations
The Drawmer 1960 is a 2-channel unit combining eight active tube stages, low noise and the reliability of solid state electronics. Each channel is comprised of a natural sounding "soft knee" vacuum tube compressor. Soft knee designs do not have a rigidly defined threshold but the title 'Threshold' (amount of compression) has been retained. Attack simply offers a choice of slow, medium and fast. Release has six settings: Positions 1-4 have fixed release times, positions 5-6 are two different programme-dependent release time modes.
1646 2004-12-01 00:00:00 Compressor Emulations
The 160S has been a standard in both the studio and the sound reinforcement fields. Its high-precision input stage followed by the world's widest dynamic range voltage controlled amplifier - the dbx V8(TM) VCA - and an output stage with precise phase alignment at all audio frequencies provides you with a transparent sounding device.
1589 2004-12-01 00:00:00 Compressor Emulations
The 160S has been a standard in both the studio and the sound reinforcement fields. Its high-precision input stage followed by the world's widest dynamic range voltage controlled amplifier - the dbx V8(TM) VCA - and an output stage with precise phase alignment at all audio frequencies provides you with a transparent-sounding device. The dbx OverEasy function gradually starts processing signals when they haven't reached the Threshold point yet. This creates a soft and smooth compression.
1940 2004-12-01 00:00:00 Compressor Emulations
The emulations offer combinations of Soft, Medium and Hard Knee settings; Loud, Medium and Normal 'Thrust' settings; and Feed-back and Feed-forward compression. This compressor can offer subtle to aggressive compression. The 'Thrust' settings are various levels of high-pass filtering in the sidechain, allowing less bass signal being fed to the compressor's detection circuit. This results in heavier / punchier bass in the output signal. Feed-back is a vintage style, while feed-forward is a modern style of compression.
1642 2004-12-01 00:00:00 Compressor Emulations
The 33609 utilises a bridged-diode gain reduction circuit and many custom transformers. The uniquely musical character of this circuit made the 33609 a studio standard since its release. The 33609 offers limiting and compression for recording, mastering, post production and broadcast. Its compression is smooth, musical and extreme settings can be used with the compression or limiting remaining transparent. Based on the classic 2254, introduced by Neve in 1969, this is one of those devices that can go from aggressive to transparent and everything in between.
5032 2004-12-01 00:00:00 Compressor Emulations
NEW EMULATION - NOT INCLUDED IN FACTORY UNIT The Distressor controls just about any source in a very pleasing and "musical" manner. It adds fullness, intelligibility and especially excitement. The compressor is digitally controlled but offers a warm, vintage sound by allowing you to add 2nd- or 3rd- order harmonic distortion to the signal, emulating tape saturation and the classic tube compressor sound of the '60's and '70's. Don't miss out on the NUKE setting! This emulation has the distortion button 2 pressed, which creates tube-like 2nd harmonic distortion.
4422 2004-12-01 00:00:00 Compressor Emulations
NEW EMULATION - NOT INCLUDED IN FACTORY UNIT The Distressor controls just about any source in a very pleasing and "musical" manner. It adds fullness, intelligibility and especially excitement. The compressor is digitally controlled but offers a warm, vintage sound by allowing you to add 2nd- or 3rd- order harmonic distortion to the signal, emulating tape saturation and the classic tube compressor sound of the '60's and '70's. Don't miss out on the NUKE setting! In this emulation, the compressor has distortion button 3 pressed, in which the distortion is dominated by the 3rd harmonic (similar to tape).
1620 2004-12-01 00:00:00 Compressor Emulations
The Neve VR console is known for its sound from countless hit records. The circuitry has lots of headroom and creates a much sought after soft and warm yet crisp sound, for those of us that require clean perfection in the signal path.