Compressors Limiters & Gates

Notes: The DUAL LIMITER has a unique design that will enhance the sonic textures of your audio system for years to come. Developed in partnership with studio and live-sound engineers, the DUAL LIMITER is very musical.

The heart of the Dual Limiter is a unique PWM gain control circuit. Combined with its intelligent detector, the result is a Classic sounding compressor/limiter without the traditional nose and distortion artefacts.

The DUAL LIMITER may be used as either a compressor or a limiter with all of the following:

- Multitrack or analogue recording device
- In a mixer's channel insert points
- Between a microphone preamp and signal processors
- Between pre-amplified electronic musical instruments (synthesizers, guitars, bass, samplers, acoustic instruments with pickups) and other line-level equipment

Notes: The Pro VLA II is a tube driven Vactrol-based compressor/leveling amplifier designed to excel in any professional audio environment. Superior performance and an incredible tone makes the Pro VLA II and indispensable tool for tracking, mixing, mastering, dynamic control of live sound sources or for use in broadcast audio.

Capable of delivering a far more musical natural sounding and sonically transparent compression than competitive units in its class, the Pro VLA II uses an Opto-electronic circuit rather than the more typical design VCA driven level detection circuit. This VCA-less design coupled with a 12AT7 vacuum tube in the gain stage makes the Pro-VLA II the ideal dynamic control device for critical audio applications.

Exceptional signal integrity with extremely low noise and low distortion is achieved in the Pro VLA II by utilizing a transformerless design throughout.

Unlike typical compression units that use Voltage Controlled Amplifiers (VCA's) to handle level detection, the Pro VLA II's Opto-electronic design allows a far more transparent and musical sounding compression without sounding aggressive or un-natural. This Vactrol based optical electronic circuitry is the basic component of the classic highly sought after compressors of past.

The Vactrol design allows the Pro VLA II to react to audio signal in much the same way the eye naturally adjusts to fluctuations in light levels, smoothly, quietly and almost imperceptibly.

The Pro VLA II is a soft knee leveling amplifier by design. Although capable of providing dramatic compression effects, the Pro VLA II was designed to excel in any application where transparent, expressively musical dynamics control is desired.

Large highly visible backlit analog VU meters accurately display input and output levels while extremely fast 10-segment LED's display gain reduction. For added functionality, the LED's display either average level for mastering & mixing applications or peak hold for monitoring individual sources when tracking audio.

XLR and 1/4" TRS balanced inputs and outputs are provided to ensure the Pro VLA II can connect with any audio source or hardware. A +4 dBu/-10 dBu mode switch optimizes the Pro VLA II I/O for either consumer or professional equipment.

Notes: ***B-STOCK: Box opened, product in perfect working order***


The Pro VLA II is a tube driven Vactrol-based compressor/leveling amplifier designed to excel in any professional audio environment. Superior performance and an incredible tone makes the Pro VLA II and indispensable tool for tracking, mixing, mastering, dynamic control of live sound sources or for use in broadcast audio.

Capable of delivering a far more musical natural sounding and sonically transparent compression than competitive units in its class, the Pro VLA II uses an Opto-electronic circuit rather than the more typical design VCA driven level detection circuit. This VCA-less design coupled with a 12AT7 vacuum tube in the gain stage makes the Pro-VLA II the ideal dynamic control device for critical audio applications.

Exceptional signal integrity with extremely low noise and low distortion is achieved in the Pro VLA II by utilizing a transformerless design throughout.

Unlike typical compression units that use Voltage Controlled Amplifiers (VCA's) to handle level detection, the Pro VLA II's Opto-electronic design allows a far more transparent and musical sounding compression without sounding aggressive or un-natural. This Vactrol based optical electronic circuitry is the basic component of the classic highly sought after compressors of past.

The Vactrol design allows the Pro VLA II to react to audio signal in much the same way the eye naturally adjusts to fluctuations in light levels, smoothly, quietly and almost imperceptibly.

The Pro VLA II is a soft knee leveling amplifier by design. Although capable of providing dramatic compression effects, the Pro VLA II was designed to excel in any application where transparent, expressively musical dynamics control is desired.

Large highly visible backlit analog VU meters accurately display input and output levels while extremely fast 10-segment LED's display gain reduction. For added functionality, the LED's display either average level for mastering & mixing applications or peak hold for monitoring individual sources when tracking audio.

XLR and 1/4" TRS balanced inputs and outputs are provided to ensure the Pro VLA II can connect with any audio source or hardware. A +4 dBu/-10 dBu mode switch optimizes the Pro VLA II I/O for either consumer or professional equipment.

Notes: The SC2 is a highly sophisticated and flexible dynamics processor designed for easy operation and great tone. The unit can be adjusted to provide anything from smooth subtle compression to hard limiting. Noise reduction is provided by a fast solid gate or a subtle expander.

The Attack and Release functions allow the user to set the general operating range and then automatically adapt to the audio being processed. A full auto mode is also available. The ultra-precise LED meters while two LED meters clearly display the gain reduction for each channel.

Notes: The VLA-500 brings the same VCA-less Vactrol based compression circuit used in ART's legendary Pro-VLA, putting to a convenient 500 Series format for the first time. Capable not only of delivering incredibly smooth compression and overall dynamic control, the VLA-500 also offers two user selectable tone shaping circuits making it one of the most versatile signal processors in your 500 Series rack.

The 'Punch' circuit is a J-FET Harmonic Enhancer that adds even-order harmonic distortion for a fuller, "punchier" tone while taming nasty peaks that may escape the Vactrol. The Grit circuit adds frequency-dependent signal distortion to make any track truly stand out. This is a highly creative effect that can work especially well on drums and percussion, solo brasses and woodwinds and even vocals when added presence and position in a mix is required. Bypassing both 'Punch' and 'Grit' circuits delivers the purest Opto-compressor tone, perfect for critical solo instruments and clean vocals. 'Punch' and 'Grit' circuits can even be combined for additional tone shaping options.

Notes: The reference-class MDX2600 is a marvelous dual-channel Expander/Gate/Compressor/Peak Limiter that is ideal for: compressing mono/stereo signals and providing virtually inaudible noise suppression, without loss of high frequencies; increasing vocal presence and energy; and limiting, or smoothing out extremely-high signal peaks. Additionally, the MDX2600 features an integrated Dynamic Enhancer, De-Esser, Low-Contour filter and our revolutionary, switchable Tube simulation - for the extra warmth and transparency of classic tube circuitry. Put simply, the MDX2600 can do amazing things for your vocals or instruments - providing virtually everything you need for studio-quality dynamics processing!

There are just a few of the MDX2600's outstanding capabilities:

Switchable IKA (Interactive Knee Adaptation) - provides program-adaptive compression, combining all the advantages of both hard and soft-knee compression

IGC (Interactive Gain Control) - combines clipper and program limiter for reliable, inaudible protection against signal peaks

Enhancer- lets you emphasize the Bass, Midrange and Hi output at selectable frequencies for maximum punch, clarity and detail - without raising overall volume

Tube Simulation - provides the extra warmth and transparency of classic tube circuitry, creating a sound rich in harmonic content

De-Esser - "must-have" tool with switchable male/female voice recognition for reducing sibilance, while preserving natural voice timbre - often used to enhance upper-mid, to high-frequency smoothness in vocals, drum overheads, strings, etc.

Side Chain - allows insertion of graphic/parametric EQ to reduce specific frequencies - also often used to "tighten up" tracks using an internal or external signal to trigger compression, or gating of signal being processed (ex. using bass guitar signal to un-gate kick drum)

Stereo Couple - links both channels, allowing Channel 1 dials and switches to provide dynamics control over both channels (true stereo processing)

The secret behind the COMPOSER PRO-XL MDX2600's incredible sound is our Tube Modeling processor, which exudes the very essence of tube and compression. This amazing circuitry accurately emulates the performance characteristics of highly sought-after classic tube compressors, creating a sound that is so rich in harmonic content - you'll wonder where we hid the tubes!

The secret behind the COMPOSER PRO-XL MDX2600's incredible sound is our Tube Modeling processor, which exudes the very essence of tube and compression. This amazing circuitry accurately emulates the performance characteristics of highly sought-after classic tube compressors, creating a sound that is so rich in harmonic content - you'll wonder where we hid the tubes!

The MDX2600 features amazingly-accurate 12-segment LED meters for In/Out Level and Gain Reduction, switchable +4 dBu or -10 dBV operating level, Side Chain I/O, and servo-balanced XLR and 1/4" Inputs and Outputs. Best of all, the COMPOSER PRO-XL MDX2600 takes up just a single rackspace.

The incredible MDX2600 is the ideal solution for becoming the master of your dynamics. With its flexible routing options, all the I/O you could ask for, plus a host of other professional features - the MDX2600 is an exceptional tool for your live shows - and an absolute must-have- for your studio!

Notes: The reference-class MDX4600 is a marvellous 4-channel Expander/Gate/Compressor/Peak Limiter that is ideal for: compressing mono/stereo signals and providing virtually inaudible noise suppression, without loss of high frequencies; increasing vocal presence and energy; and limiting, or smoothing out extremely-high signal peaks. Additionally, the MDX4600 features an integrated Dynamic Enhancer, De-Esser, and Low-Contour filter to provide the ultimate in signal enrichment. Put simply, the MDX4600 can do amazing things for your vocals or instruments - providing virtually everything you need for studio-quality dynamics processing!

Here are just a few of the MDX4600's outstanding capabilities:

- Switchable IKA (Interactive Knee Adaptation) - provides program-adaptive compression, combining all the advantages of both hard and soft-knee compression
- Enhancer - lets you emphasize the Bass, Midrange and Hi output at selectable frequencies for maximum punch, clarity and detail - without raising overall volume
- IGC (Interactive Gain Control) - combines clipper and program limiter for reliable, inaudible protection against signal peaks
- De-Esser - "must-have" tool with switchable male/female voice recognition for reducing sibilance, while preserving natural voice timbre - often used to enhance upper-mid, to high-frequency smoothness in vocals, drum overheads, strings, etc.
- Side Chain - allows insertion of graphic/parametric EQ to reduce specific frequencies - also often used to "tighten up" tracks using an internal or external signal to trigger compression, or gating of signal being processed (ex. using bass guitar signal to un-gate kick drum)
- Stereo Couple - links 1/2 and 3/4 channels, allowing dials and switches of Channels 1 and 3 to provide dynamics control over Channels 2 and 4, respectively (true stereo processing)

Options Abound:

The MDX4600 features amazingly-accurate, 8-segment LED meters for In/Out Level and Gain Reduction, switchable +4 dBu or -10 dBV operating level, Side Chain I/O, and servo-balanced XLR and 14 " Inputs and Outputs. Best of all, the MULTICOM PRO-XL MDX4600 takes up just a single rackspace.

Sound Value:

The incredible MDX4600 is the ideal solution for becoming the master of your dynamics. With its flexible routing options, all the I/O you could ask for, plus a host of other professional features - the MDX4600 is an exceptional tool for your live shows - and an absolute "must-have" for your studio!

Notes: The reference-class MDX4600 is a marvelous 4-channel Expander/Gate/Compressor/Peak Limiter that is ideal for: compressing mono/stereo signals and providing virtually inaudible noise suppression, without loss of high frequencies; increasing vocal presence and energy; and limiting, or smoothing out extremely-high signal peaks. Additionally, the MDX4600 features an integrated Dynamic Enhancer and Low-Contour filter to provide the ultimate in signal enrichment. Put simply, the MDX4600 can do amazing things for your vocals or instruments - providing virtually everything you need for studio-quality dynamics processing.

Here are just a few of the MDX4600's outstanding capabilities:

Switchable IKA (Interactive Knee Adaptation) - provides program-adaptive compression, combining all the advantages of both hard and soft-knee compression

IRC (Interactive Ratio Control) Expander/Gate - ideal solution for noise floor reduction vs. applying notch filters and various equalizers for virtually inaudible noise suppression

Enhancer - lets you emphasize the Bass, Midrange and Hi output at selectable frequencies for maximum punch, clarity and detail - without raising overall volume

IGC (Interactive Gain Control) Peak Limiter - combines clipper and program limiter for reliable, inaudible protection against signal peaks

Stereo Couple - links 1/2 and 3/4 channels, allowing dials and switches of Channels 1 and 3 to provide dynamics control over Channels 2 and 4, respectively (true stereo processing)

The MDX4600 features amazingly-accurate, 8-segment LED meters for In/Out Level and Gain Reduction, switchable +4 dBu or -10 dBV operating level, Side Chain I/O, and servo-balanced XLR and 1/4" Inputs and Outputs. Best of all, the MULTICOM PRO-XL MDX4600 takes up just a single rackspace.

Notes: The CL22 is a professional 19" compressor/limiter/gate designed to control the dynamic range of the signal, allowing more overall sound volume before distortion.

An enhancer on each channel helps restore high frequencies under heavy compression.

Also useful for protecting loudspeakers by curtailing the output once it reaches a preset threshold level.

The gate helps to reduce noise in silent passages.

Notes: Adding a dbx 266xs Compressor/Gate to your live sound rig or studio gives you more dynamic control to help create a more polished, professional sound. Having compression in your audio chain gives you the ability to smooth out uneven levels, add sustain to guitars and fatten up your drums. It also makes it easy to bring vocals to the front of your mix - adding greater clarity and making them stand out from the surrounding instruments.

The 266xs is the latest in a long line of the world's most successful compressors from the inventors of the technology. Its patented Over-easy compression technology provides smooth and musical performance while the Auto-Dynamic attack and release controls, found only on dbx compressors, puts great sound within easy reach. The compressor can operate in either stereo or dual mono modes, has true RMS power summing and features quality XLR and 1/4" TRS inputs and outputs. Gain reduction metering and easy to read backlit switches are also included, to provide you with all the visual feedback you need to see what the compressor is doing.

Notes: In 1973, Eventide Clockworks introduced the Omnipressor, the first studio product to encourage the use of dynamics for special effects. It joined the Instant Phaserr in studios worldwide, with the Instant Flanger following shortly after. All were used on countless recordings and are now considered truly classic products. Unlike the Phaser and Flanger, the Omnipressor, with its still-unique dynamic reversal, infinite compression, variable gating and separate "side chain," was discontinued a few years later. It had become difficult to obtain some exclusive parts and even more difficult to explain it to an industry that was much less sophisticated than it is today.

Omnipressor was the first dynamics effects processor of any kind, suddenly making possible a new, wide range of dynamics effects unlike anything that had come before it. Originally invented by Eventide's founder, Richard Factor (and later redesigned for production by Jon Paul), the Omnipressor made a host of dynamic effects possible. It featured variable control of all aspects of dynamic modification. It also introduced the notion of the 'side chain' and foretold techniques that today we take for granted like 'look ahead' processing. One of Eventide's first customers was Brian May, the lead guitarist of Queen.

Eventide now announces the golden-anniversary Omnipressor Model 2830*Au. The original handdrawn schematics were in the Eventide archives, and the new model is a faithful replica designed with the same circuitry and the same sound as the original 2830.

The new *Au model features the ability to link multiple units and is fitted with input and output audio transformers, which were a costly option on the original. Other improvements include a universal power supply and a back-lit meter, as well as more convenient TRS/XLR connectors replace the original terminal strip.

Specifications

Analogue Audio I/O

XLR and 1/4" Line In
XLR and 1/4" Line Out
XLR and 1/4" Side Chain In
XLR and 1/4" Side Chain Out
1/4" Link In
1/4" Link Out

Physical

Size

Inches: 3.5h x 19w x 8.9d
Metric: 8.9h x 48.3w x 31.7d
Weight
14 pounds (6.4kg) net

What's in the box:

Omnipressor
US-type IEC power cord
Omnipressor poster
Omnipressor manual
Eventide sticker
Eventide guitar pick

Notes: What It Is

The PBC-6A "vintage-y" compressor possesses sonic bits'n'pieces reminiscent of many vintage compressors. From mild and smooth satin-like sound to over-the-top squashing, the PBC can be dialed-in to enhance almost any sound source. The PBC provides an unusual control complement to provide maximum flexibility in dynamically sculpting your sound: variable sidechain, sidechain access, hyper-exponential & linear release envelope control (Normal/THICK mode), 4 different linking methods, separate ATTACK & RELEASE time controls, hardwired bypass function and balanced audio input/output stages.

How It Sounds

The PBC is capable of a large range of effects. In a minimum DRIVE and KNEE setting, the resulting effects is a subtle, slight textural change to the source. Increasing DRIVE levels and, more drastically, increasing the KNEE control causes a less gradual change from low ratio compression to larger ratios occuring over smaller input signal changes. The result can be a drastic alteration of the source sound. Whether you're trying to get a sound to "sit right" in the mix or create over-the-top sonic effects, the PBC can be adjusted to help you realize your vision!

How It's Done

Combining FMR Audio's trademark digitally-controlled analog processing in a "no-threshold" (i.e., very low threshold) feedback configuration, the input DRIVE, KNEE and SIDECHAIN FILTER controls are key to the PBC's flexibility. Additionally, the THICK control subtly restores the natural transient dynamics to the signal.

Notes: A solid gold modern classic from FMR. The RNC must be one of the biggest studio bargains around. Proper analogue compression with digital control, offering pro sound at an affordable price.

Supplier's Notes:
What It Is

FMR Audio's first product, introduced over 18 years ago, the Really Nice Compressor (RNC) is a compact and cost-effective stereo compressor with a high-fidelity audio path and compression scheme. The RNC provides quality compression at a budget price.

How It Sounds

The RNC provides two modes of operation. One allows the RNC to be used for special effects, like snappy snares or popping basses. The other provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like natural vocals, acoustic guitar or the program bus). The RNC yields clean, airy compression with few artifacts and little high-end loss, even at massive gain reduction! The amazing performance is why- even after almost 20 years- many professionals are calling the RNC one of the best sounding compressors for under $2000.

How It's Done

The RNC achieves such high performance at a low cost by using using a microprocessor to replace discrete sidechain components (resistors, diodes, capacitors, opamps, transistors, etc) with chunks of software, thereby reducing the component cost. This approach, however, still processes the main audio in the analog domain, avoiding the problems associated with digital audio conversion (e.g., latency, digital artifacts). Even the problem of "scratchy" pots and switches are avoided: no audio flows through the front-panel controls. The front-panel pots and swtiches merely feed DC voltages to the microprocessor and it takes care of adjusting parameters and signal path with components - like sealed-relays and VCAs - located close to the input/output jacks avoiding noise pickup and audio quality reduction due to aging controls! With this blend of technology, the RNC offers the accuracy and precision of digital control with the clean tonal character of an all-analog signal path. The RNC's digital control permits accurate repeatability of your favorite settings.

Notes: What It Is

Based upon the successful Really Nice Compressor, this variation not only fits the increasingly popular API500 series rack, but delivers an improved dynamic fidelity befitting the format! This dynamic-range compressor provides positive signal control while leveraging its pedigree for simultaneously reducing collateral sonic damage. Additionally, some thoughtful features have been added that most folks won't overtly notice, but will be glad that they're there: overcurrent protection prevents a rare failure from bringing down your whole 500-series rack, an early-warning power supply detection that causes the RNC500 to enter bypass-irrespective of the front panel switch position-to avoid power-down "pops", a robust 18 guage electro-galvanized enclosure that keeps the delicate electronics safe from harm and helps protect against Electromagnetic Interference (EMI) from affecting things inside or outside of the enclosure.

How It Sounds

As with the original RNC, the RNC500 can exhibit a sonic neutrality while giving the recordist a level-of-control difficult to obtain without adding unwanted artifacts. Unlike the original RNC, however, the RNC500 possesses a sonic "beefiness"-a growl, if you will-that adds a slight, but very compliant, bottom-end to the source material. Years ago, FMR Audio designed a multi-channel RNC for London's famed Air Studios. It was with that device that an RNC with extra "heft" was first encountered. It turns out that much of this "un-RNC like" growl is a result of the higher operating I/O levels like those present on the RNC500. It seems that the harder the RNC500 is hit, the heftier the sound. The RNC500 could be broadly characterised as "clean", but with a hint of attitude...that's under your control!

How It's Done

Like all FMR Audio dynamic audio processing products, sidechain electronics have been replaced with chunks of software to accomplish both a bill-of-materials cost reduction while simultaneously improving dynamic performance accuracy and consistency. The beauty of this approach is that the main signal path (all dynamic audio processors have two paths: a sidechain/control path and the main audio path) remains firmly in the analog domain thereby avoiding latency and digital conversion artifacts that are sometimes unwanted. Coupled with a faster (40x) processor and higher-resolution (24-bit) arithmetic, sealed switches & relays, multi-layer printed circuit board (PCB) the RNC500 will deliver smooth, controllable and reliable compression for years to come.

Notes: What It Is

Years ago, many RNC users pined for less invisible compression and requested that FMR Audio offer a more "colourful" compressor, suitable for bass guitar, drums and other sources in need of added sonic texture. In response, the FMR designer went to the RNC archives and resurrected a version of RNC software that had been rejected for release because it wasn't invisible enough! The result: a compressor reminiscent of some classic opto compressors used to just "level" the signal rather than tame every transient. To celebrate the RNLA's sonic "colour", a bright red knob* was chosen as a visual metaphor. Although the most recent version ships with a less ostentatious red-striped knob (not shown), the RNLA's sonic colour remains bolder than ever...

How It Sounds

"Thick" and "gooey" is how some customers have described the RNLA's sound. The RNLA is, admittedly, much "gentler" and not as apt to grab'n'run with the signal. Like an old-timey photocell, the RNLA is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. This action yields a soft musicality to the compressor's action that adds a desirable characteristic to the source signal.

How It's Done

The RNLA and the RNC share much of the same hardware, but run different algorithms to achieve the desired effect. The RNLA exercises the well-known dictum (among dynamic processor designers) that, after the static characteristics of the signal path, the main contributors to a processor's sound are the shapes of the attack & release envelopes. The RNLA's software then transforms the sidechain signal into a drive signal for the VCA that both slows things down a bit and totally reshapes the crisp and quick action of the RNC's "normal" mode. This reshaping (and slow down) are the primary sonic drivers behind the RNLA's "thick and gooey" sound!

Notes: As modern electronic musicians and producers, we are increasingly working outside the box, combining both computer-based DAWs with new and vintage gear to get the sounds we want. Although plugins offer flexibility in mixing and mastering, the hands-on feel and low-latency of dedicated hardware is impossible to beat. Kilpatrick Audio are proud to offer TORQUE, featuring great sounding and flexible compression in a small, portable package. For use in the studio or on stage, TORQUE has a fast and intuitive user interface and excellent compression algorithms suited to a wide variety of sources.

TORQUE is part of a new line of powerful desktop music machines by Kilpatrick, designed to offer studio-grade effects in rugged, portable units. Designed to complement synths, drum machines, DJ tools and computer-based audio interfaces, TORQUE integrates perfectly into the modern studio or performance setup.

Notes: Designed as an homage to the classic 1176LN, every effort was made to keep the 76-KT FET-Style Compressor true to the original D and E versions of the iconic signal processor. At the same time, we modernised the completely discrete signal path using hand-selected components and custom-engineered MIDAS input and output transformers - for the ultimate in pristine sonic performance.

Ever since its formation in the 1970s, MIDAS has had a long history of innovation and leadership in the world of audio mixing consoles. Employed by the most famous touring acts and installations worldwide, legendary MIDAS consoles such as the XL4 and Heritage H3000 quickly became industry standards.

MIDAS has earned their impeccable reputation due to their no-compromise approach for audio and build-quality and in particular for their Award-winning Mic Preamps, which are considered by industry experts as the industry's best sounding designs. Building on this legacy, the XL8 and PRO Series of Live Mixing Systems continue this great heritage of Award-winning audio quality.

KLARK TEKNIK is proud to incorporate MIDAS designed input and output transformers for the ultimate in high-quality audio reproduction in both live and studio environments. Find out more about MIDAS' amazing legacy by visiting their extensive website.

The compression ratio is selected by pushing any, or all, of the Ratio buttons located to the left of VU meter. Ratios available are: 4:1 for moderate compression; 8:1 for severe compression; 12:1 ratio for mild limiting; and 20:1 for hard limiting. Using the "All-Button" mode can be especially effective when applied to drums, bass, guitar, and room mics - or for more aggressive "in your face" vocals.

76-KT's Attack knob adjusts the amount of time it takes the compressor to respond to audio that exceeds the threshold. The response time is slower at the fully counterclockwise position and faster when turned clockwise. The Release knob adjusts how long the compressor remains engaged after the incoming audio falls below the threshold. The response time is also slower at the fully counterclockwise position and faster when adjusted clockwise.

In keeping with the design of the original processor, the 76-KT features an illuminated, vintage-style VU meter for visual confirmation of gain reduction (GR) and output levels. A meter reading of 0 corresponds to an output level of +4, +6 or +8 dBm, depending on which button is engaged.

Featuring a rugged steel 2U rackmount enclosure, the 76-KT is designed for the rigours of live concert touring. Premium Neutrik XLR connectors are used to ensure reliable audio connections, night after night.

76-KT features a universal power supply, which is auto-voltage sensing for use on a worldwide basis.

Notes: If ever there is an official "Audio Technology Hall of Fame", it will definitely include a shrine to the iconic Teletronix LA-2A. We pay homage to this audio-processing pioneer that has graced so many recordings, with our KT-2A Classic Levelling Amplifier. And while vintage Teletronix LA-2As are extremely rare and expensive, the KT-2A is amazingly affordable - and designed for the 21st Century. Mastering quality compression and limiting, at a price point that makes the KT-2A equally at home in your studio - and your live rack!

The KT-2A draws inspiration from the original Teletronix LA-2A levelling amplifier, which was first produced in the early 1960s. Since then, Teletronix levelling amplifiers have been prized for their smooth musical sound, and audio engineers have utilised them at all stages of the recording process - from tracking to mastering.

At the heart of the KT-2A is a vintage lag-free optical attenuator based on the very same electroluminescent technology used in its predecessor. The KT-2A is constructed from the highest-quality discrete components - all of which meet or exceed the LA-2A's original specifications. This is just one of the many ways the KT-2A brings unparalleled precision and superb signal integrity into the new audio age.

KT-2A owes its characteristic warmth to a set of premium, hand-selected 12AX7, 12BH7 and EL84 tubes. This time-tested combination provides ultra low-noise analogue output with the ideal balance of tight, warm bass, silky-smooth midrange and brilliant, airy treble.

Ever since its formation in the 1970s, XL4 and Heritage H3000 quickly became industry standards.

MIDAS has earned an impeccable reputation due to their no-compromise approach for audio and build-quality, and in particular for their Award-winning Mic Preamps, considered by experts as the industry's best-sounding designs. Building on this legacy, the XL8 and PRO Series of Live Mixing Systems continue this great heritage of Award-winning audio quality.

KLARK TEKNIK is proud to incorporate custom-designed MIDAS Input and Output transformers in the KT-2A for the ultimate in high-quality audio reproduction in both live and studio environments. Find out more about MIDAS' amazing legacy by visiting their extensive website.

Notes: 60 years of history in your studio, today.

Lindell meticulously engineered the LiN2A to faithfully reproduce the tonal quality and ease-of-use of the de-facto dynamics processor of the past 60 years. The Lin2A's simple control scheme belies its versatility. Thanks to its superlative Black Lion T4BLA opto element, it can effortlessly deliver transparent level-smoothening for silky vocals - or add a bit of the bite and weight to bass and kick tracks.

'2A-style compression forgoes the conventional ratio, attack, and release controls of other compressors in favour of a simple 2-knob interface with program-dependent responsiveness. In short: you couldn't make it sound bad if you tried.

The Lindell LiN2A: 60 years of history in your studio, today.

True tube-driven optical compression and limiting
Superb Black Lion T4BLA Opto Element for smooth gain reduction and transparency
Two USA-manufactured Cinemag transformers
Quick, effortless two-knob user interface for instant results
Dynamically responsive Compress mode (3:1) and hard Limiter (8:1) mode
Ultra-fast attack and level-dependent release
Vintage-style VU for monitoring
Balanced input and output

Technical Specifications

Attack: Dictated by T4BLA optocell
Release: Dictated by T4BLA optocell
Ratio: Program-dependent
Voltage: 115VAC, 230VAC rear panel switchable AC Mains Input: IEC320-C14 standard plug.
AC Mains: Input: 100V-240V depending on supplied

Dimensions:
Width 438mm (19")
Height 88mm (2U)
Depth 250mm
Weight: 3.7kg (8.2 lbs)

Notes: Decades of dynamic processing

The LiN 76 has been carefully designed to recreate the timbres of nuances of vintage-era '76-style FET compressors.

The most classic and respected sounds of dynamic processors live on in the LiN 76, as well as the infamous "all-button" mode made famous by British recording engineers throughout the 1970's - a sound that's still popular today.

The Lindell LiN 76: Instant vibe for today's demanding studios.

Instant vintage-vibe dynamics processing
USA-made transformers
4:1, 8:1, 12:1, 20:1, and "All-button" compression ratio modes
Vintage-style VU for monitoring
Variable attack and release times, with ultra-fast attack options
Balanced input and output

Technical Specifications

Attack: Continuously variable 20uS to 800uS
Release: Continuously variable 50mS to 1200mS
Ratio: Pushbutton selected 4:1, 8:1, 12:1, 20:1 and any combination
Voltage: 12VAC
AC Mains Input: 100V-240V depending on supplied

Dimensions:
Width 438mm (19")
Height 88mm (2U)
Depth 250mm
Weight: 8kg

Some notes on Attack and Release: Compressor control schemes can vary significantly. On the LiN76, Lindell have chosen "left is less, right is more."

Turn the Attack knob to the left for faster attack times and to the right for slower, with a 20uS to 800uS range.

Turn the Release knob to the left for faster release times and to the right for slower, with a 50mS to 1200mS range.

Notes: This brilliant rack piece is the big brother to the Smart Gate pedal. The Smart Gate Pro features the same great noise reduction as the pedal, with three selectable ranges (Hiss, Mid, and Full) and a precise threshold trigger. But the Pro features several upgrades and enhancements. For starters, the Pro has two discrete channels, making it possible to set one channel to Hiss and minimal Threshold level (for clean tones) and one to Full and a higher Threshold level (for high-gain lead tones). There is also a Sync function that links the two channels for quieting a stereo signal. Add to this the true hardwire-bypass on each channel, selectable ground lift, and remote switching capabilities (with status-indicating LEDs) and the Smart Gate Pro starts to look like a real genius.

Power: Dunlop ECB004 18 volt AC Adapter

Notes: - Threshold, ratio and output level control per channel
- Variable gate with threshold control per channel
- Bypass switch allows instant comparison of original sound with processed sound
- Precise 4-digit LED gain reduction meters
- +4 dB/-10 dB selector switch for internal level adjustment
- Inputs and outputs via balanced XLR connectors and 6.3 mm jacks
- Rack installation, 1 U

Notes: ***B-STOCK: Original box damaged, product is in different packaging but in perfect working order***


- Threshold, ratio and output level control per channel
- Variable gate with threshold control per channel
- Bypass switch allows instant comparison of original sound with processed sound
- Precise 4-digit LED gain reduction meters
- +4 dB/-10 dB selector switch for internal level adjustment
- Inputs and outputs via balanced XLR connectors and 6.3 mm jacks
- Rack installation, 1 U

Notes: The S-Com 4 is a compact and versatile single-rack space device that provides four channels of high-quality dynamic processing with an Expander/Gate and Compressor/Limiter on each channel.

The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control, as well as a switch for fast or slow release times. The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S-Com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression.

This wide-ranging combination of features makes the S-Com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative.