Home Recording Studio Center

This Package Contains One Focusrite Octopre MK2 MKII Dynamic Microphone Preamp; Eight 20 Foot XLR to XLR Microphone Cable; Four Hosa 15 Foot TRS to TRS Balanced Cable; Four 15 Foot 1/4 TRS to XLR-m Adapter Cable; Four Hosa 6 Foot ADAT Cable sync and Control cable Fiber Optic Toslink to Same; Two Hosa 6 Foot Word Clock Cable BNC to BNC WordClock…

Click here to learn more about Focusrite OctoPre MKII Dynamic Mic Preamp Comp Cables

Zoom H2n Handheld Portable Digital Recorder…

Click here to learn more about Zoom H2n Handy Recorder

The Tube MP Studio V3 features ART’s V3 (variable Valve Voicing) technology – found only in ART microphone preamplification systems. Provides superior preamplification for microphones, instruments, and line level sources. The hand selected 12AX7A tube provides over 70dB of gain. Features: smooth, warm and fat sound quality, variable input and output gain controls, XLR and 1/4″ outputs, +48 volts p…

Click here to learn more about ART Tube MP Studio V3 Microphone Preamp and Limiter with Presets

Tubes can really warm up a signal fast, giving it depth and character. Thanks to digital VTC technology, the MIC800 emulates the tube warmth of a variety of tube mic preamps, all in one feather-light package. Behringer MIC800 Microphone Modeling Preamp Features Ultra-compact 9.5 in. microphone modeling preamp for studio and stage applications High-end preamplifier for all microphone, instrument an…

Click here to learn more about Behringer MIC800 Microphone Modeling Preamp

The OneQ is the most full-featured, technologically advanced studio channel Joemeek has ever made! The Joemeek OneQ is a single-channel combining Mic Pre (with Burr-Brown IC), four-band EQ – the most flexible yet – Joemeek’s “signature” optical compressor, a De-Esser, and an Enhancer. It’s a master channel like no other. Housed in a 2u chassis, the elegantly sculpted faceplate is intelligently laid out, with clear, easy to read legends and a large analog VU meter. The OneQ also features 24-bit/96kHz A/D converters with word clock input and output.Ultra-clean microphone preamp with Burr-Brown IC “Iron” switch (add transformer-coupling) Highly musical 4-band EQ with sweep low-mid and high-mid, selectable LF and HF Full-featured optical compressor with stereo link for two OneQs Large, accurate VU metering Harmonic enhancer adds definition without gain 24-bit/96kHz sampling, optical and S/PDIF outputs Word Clock in XLR mic inputs front and rear Front-panel instrument input

Click here to learn more about Joemeek Oneq Mono Eq Compressor Mic Pre

Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding “soft knee” vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title ‘Threshold’ has been retained for the “amount of compression” control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

Click here to learn more about Drawmer 1960 Mic Pre/Tube Compressor

The fully analog Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module combines the outstanding sound quality expected from a Rupert Neve design with the total flexibility required by modern recording studios. The Portico 5015 features independent transformer-coupled mic preamp and compressor-limiter sections identical to those found in the Neve Designs 5012 and 5043 modules.Available in both vertical and horizontal configurations, when used with the 5033 five band EQ it is possible to create a Portico channel strip with preamplification, dynamics processing and equalization. As an additional routing option, the microphone preamp output may be routed directly to the compressor section without patching by pressing the “To Compressor” switch.Portico Series Awards:Rupert Neve Designs has been honored with three TEC Awards since its inception in 2005. The Portico 5015 Mic Pre/Compressor won for achievement in the category of Mic Preamplifier Technology. The Portico 5042 “True Tape” Emulator (#482649) won for achievement in the category of Signal Processing Technology/Hardware. The 5088 Discrete Analogue Mixer won for achievement in the category of Large Format Console Technology.Rupert Neve Designs received the Mix Certified Hit Award in 2006 for the 5088 Console and the Portico Range.Rupert Neve Designs received the Future Music Platinum Award for the Portico Range in 2007.Microphone PreamplifierThe microphone input is balanced but not floating, being a variant of an instrumentation amplifer using a “Transformer-Like-Amplifier” (T.L.A.) configuration with a toroidal Common Mode Rejection Low Pass Filter that excludes frequencies above 150 kHz. The T.L.A. is followed by an actual input transformer designed by Mr. Neve that permits a full +25 dBu input signal to be handled at unity gain without an input pad over the whole audio spectrum. This innovative solution combines the advantages of both an “Electronically Balanced” and true transformer input.In addition to the 72 dB of gain, the Neve Portico 5015 mic preamp includes individually selectable phase, mute, phantom power, a swept high pass filter from 20-250 Hz, and the “Silk” circuit which yields the rich warmth and presence of the renowned classic designs.The Compressor SectionThe Portico 5015 microphone preamp’s compressor has fully variable threshold, ratio, attack, release and makeup gain with two selectable VCA modes that provide for exceptional control of any source material. How it Works. In order to control gain, a VCA or voltage controlled amplifier (or attenuator) is used. There are many types of voltage control including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not.The Portico 5043 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially

Click here to learn more about Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module

The fully analog Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module combines the outstanding sound quality expected from a Rupert Neve design with the total flexibility required by modern recording studios. The Portico 5015 features independent transformer-coupled mic preamp and compressor-limiter sections identical to those found in the Neve Designs 5012 and 5043 modules.Available in both vertical and horizontal configurations, when used with the 5033 five band EQ it is possible to create a Portico channel strip with preamplification, dynamics processing and equalization. As an additional routing option, the microphone preamp output may be routed directly to the compressor section without patching by pressing the “To Compressor” switch.Portico Series Awards:Rupert Neve Designs has been honored with three TEC Awards since its inception in 2005. The Portico 5015 Mic Pre/Compressor won for achievement in the category of Mic Preamplifier Technology. The Portico 5042 “True Tape” Emulator (#482649) won for achievement in the category of Signal Processing Technology/Hardware. The 5088 Discrete Analogue Mixer won for achievement in the category of Large Format Console Technology.Rupert Neve Designs received the Mix Certified Hit Award in 2006 for the 5088 Console and the Portico Range.Rupert Neve Designs received the Future Music Platinum Award for the Portico Range in 2007.Microphone PreamplifierThe microphone input is balanced but not floating, being a variant of an instrumentation amplifer using a “Transformer-Like-Amplifier” (T.L.A.) configuration with a toroidal Common Mode Rejection Low Pass Filter that excludes frequencies above 150 kHz. The T.L.A. is followed by an actual input transformer designed by Mr. Neve that permits a full +25 dBu input signal to be handled at unity gain without an input pad over the whole audio spectrum. This innovative solution combines the advantages of both an “Electronically Balanced” and true transformer input.In addition to the 72 dB of gain, the Neve Portico 5015 mic preamp includes individually selectable phase, mute, phantom power, a swept high pass filter from 20-250 Hz, and the “Silk” circuit which yields the rich warmth and presence of the renowned classic designs.The Compressor SectionThe Portico 5015 microphone preamp’s compressor has fully variable threshold, ratio, attack, release and makeup gain with two selectable VCA modes that provide for exceptional control of any source material. How it Works. In order to control gain, a VCA or voltage controlled amplifier (or attenuator) is used. There are many types of voltage control including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not.The Portico 5043 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially

Click here to learn more about Used Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module

The OneQ is the most full-featured, technologically advanced studio channel Joemeek has ever made! The Joemeek OneQ is a single-channel combining Mic Pre (with Burr-Brown IC), four-band EQ – the most flexible yet – Joemeek’s “signature” optical compressor, a De-Esser, and an Enhancer. It’s a master channel like no other. Housed in a 2u chassis, the elegantly sculpted faceplate is intelligently laid out, with clear, easy to read legends and a large analog VU meter. The OneQ also features 24-bit/96kHz A/D converters with word clock input and output.Ultra-clean microphone preamp with Burr-Brown IC “Iron” switch (add transformer-coupling) Highly musical 4-band EQ with sweep low-mid and high-mid, selectable LF and HF Full-featured optical compressor with stereo link for two OneQs Large, accurate VU metering Harmonic enhancer adds definition without gain 24-bit/96kHz sampling, optical and S/PDIF outputs Word Clock in XLR mic inputs front and rear Front-panel instrument input

Click here to learn more about Used Joemeek Oneq Mono Eq Compressor Mic Pre

Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding “soft knee” vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title ‘Threshold’ has been retained for the “amount of compression” control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir

Click here to learn more about Used Drawmer 1960 Mic Pre/Tube Compressor 889406476844

The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry’s most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher – Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses ‘Burr-Brown’op amps for a silkier sound – and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one’s threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel. 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost 2 soft-knee tube compressors with variable threshold, attack, release and output gain True stereo link operation with BIGposition for retaining bass frequencies Side chain access and side chain listen facility VU metering of gain reduction and output levels Individual +4dB/-10dB inserts Balanced +4dB XLR input/output connectors

Click here to learn more about Used Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor

The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry’s most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher – Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses ‘Burr-Brown’op amps for a silkier sound – and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one’s threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel. 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost 2 soft-knee tube compressors with variable threshold, attack, release and output gain True stereo link operation with BIGposition for retaining bass frequencies Side chain access and side chain listen facility VU metering of gain reduction and output levels Individual +4dB/-10dB inserts Balanced +4dB XLR input/output connectors

Click here to learn more about Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor

The Joemeek SixQ is a mic channel strip that packs a wealth of features into a single rack space studio channel. Joemeek SixQ This single channel mic pre is based on a high-quality Burr-Brown IC, and has 3 bands of highly musical EQ, Joemeek’s signature optical compressor, and a front-panel instrument DI making it a highly capable recording instrument. And, along with an analog output, the SixQ microphone preamp also lets you output digitally – direct to your sound card or DAW. Digital Interface: The Joemeek Digital Audio Interface provides high quality digital audio outputs. The digital audio outputs are compatible with most digital recorders, as well as Digital Audio Workstations and mixers. S/PDIF format is available from the optical and RCA phono connectors. The Joemeek Digital Interface has highly stable onboard master clocks for low-jitter, hi-fi results. Internal sample rates of 44.1kHz, 48kHz, 88.2kHz or 96kHz are selected by means of rear panel switches. Ultra-clean microphone preamp with Burr-Brown IC “Iron” switch (add transformer-coupling) Highly musical 3-band EQ with swept Low and Mid bands, and selectable high band (6k or 12k) Full-featured optical compressor, from “silk” to “in your face!” Accurate LED metering 24-bit/ 96kHz sampling Optical and S/PDIF, and Word Clock in Balanced and unbalanced I/O Front-panel instrument input

Click here to learn more about Joemeek Sixq Mic Pre With Digital Out

The single channel Summit Audio MPC-1OOA tube preamplifier and compressor/limiter accepts line, microphone, and Hi-Z input signals. Using both tubes and solid state technology in synch with the Jensen mic transformer, the MPC-100A lends a detailed sound with harmonically complex overtones. The ultra-fast compressor is ideal for optimizing signals prior to entering the digital domain. Other details include impedance matching (loading) control on the Hi-Z input so passive guitars and bass pickups have a whole new level of tone control, true VU metering, and multiple outputs. And with the Summit Audio MPC-100A tube preamp’s 3 separate gain controls, you have endless tonal variations from clean to saturated for whatever sound you need.

Click here to learn more about Summit Audio MPC-100A Tube Pre-Amp and Compressor/Limiter

The single channel Summit Audio MPC-1OOA tube preamplifier and compressor/limiter accepts line, microphone, and Hi-Z input signals. Using both tubes and solid state technology in synch with the Jensen mic transformer, the MPC-100A lends a detailed sound with harmonically complex overtones. The ultra-fast compressor is ideal for optimizing signals prior to entering the digital domain. Other details include impedance matching (loading) control on the Hi-Z input so passive guitars and bass pickups have a whole new level of tone control, true VU metering, and multiple outputs. And with the Summit Audio MPC-100A tube preamp’s 3 separate gain controls, you have endless tonal variations from clean to saturated for whatever sound you need.”Clean” to “Saturated” valve soundsSoft Clipping LED indicatorsHI-Z instrument input with impedance matching controlTwo stages of vacuum tube gain controls3 Position attack and release controlsHigh quality VU meter for output and gain reduction meteringContinuously variable output level control+4 dB balanced and -10 dB unbalanced outputStereo linkable with a second MPC-100AJensen mic transformer

Click here to learn more about Used Summit Audio Mpc-100A Tube Pre-Amp And Compressor/Limiter

Empirical Labs Dave Derr is no stranger to creating game-changing audio processors, and his Mike-E preamp is no exception. Mike-E is a modern, digitally controlled microphone preamplifier chocked with unusual features to warm and soften sound sources, plus, it also has an excellent compressor/limiter. Mike-E, a transformer-coupled mic preamp, offers an incredible performance with a noise floor is far below any microphones self-noise. And, the one-of-a-kind CompSat section is an uncompromising compressor and saturator circuit that offers versatile coloring, and classic knee compression.Mic Preamp SectionThe preamp section is a super low-noise transformer-input amplifier section with gain digitally controlled gain. This section comes standard with a shielded Lundahl transformer, but allows for a Jensen transformer also.The signal-to-noise ratio far exceeds any microphone in existence; typically over 130dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, Empirical Labs has implemented a unique stepped-gain control that is impervious to the normal flakiness that age causes to pots and detented switches.Counting the output gain of 14dB, a total74 dB of gain is available to you with the CompSat section bypassed. Phantom power (+48V) is provided for condenser mics.Exclusive CompSat SectionThis unique circuitry is what sets Mike-E apart from all other mic preamplifiers. It has four sections:1) Saturator: This is a multi-stage soft clipping circuit. At lower levels, triode-type saturation affects the signal. As the level increases, a second unique clip circuit that includes germanium semiconductors starts to flatten out the peaks more severely. An LED named BAD! indicates harder, un-musical clipping.2) Compressor: This is an uncompromising compressor/limiter circuit with detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which determines the level going into the compressor. In ways it is like the Empircal Labs Distressor (see #501579), but has differing characteristics including a much longer available attack time and additional circuitry. Four ratios are provided; 2:1 being the gentlest with a long 20dB knee, good for subtle compression, such as while tracking or on the 2-Bus. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter-like) and has a different attack and release shape.3) Emphasis: Emphasis is actually two circuits that surround the compressor and saturator. Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the complementary frequencies after the CompSat. Emphasis has the added perk of improving signal-to-noise, and is the reason analog tape decks used emphasis to begin with.4) Mix Control: The modern recording engineer often employs the technique of mixing between the compressed and the dry (or

Click here to learn more about Empirical Labs Mike-E Mic Pre With Compression And Saturation

Empirical Labs Dave Derr is no stranger to creating game-changing audio processors, and his Mike-E preamp is no exception. Mike-E is a modern, digitally controlled microphone preamplifier chocked with unusual features to warm and soften sound sources, plus, it also has an excellent compressor/limiter. Mike-E, a transformer-coupled mic preamp, offers an incredible performance with a noise floor is far below any microphones self-noise. And, the one-of-a-kind CompSat section is an uncompromising compressor and saturator circuit that offers versatile coloring, and classic knee compression.Mic Preamp SectionThe preamp section is a super low-noise transformer-input amplifier section with gain digitally controlled gain. This section comes standard with a shielded Lundahl transformer, but allows for a Jensen transformer also.The signal-to-noise ratio far exceeds any microphone in existence; typically over 130dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, Empirical Labs has implemented a unique stepped-gain control that is impervious to the normal flakiness that age causes to pots and detented switches.Counting the output gain of 14dB, a total74 dB of gain is available to you with the CompSat section bypassed. Phantom power (+48V) is provided for condenser mics.Exclusive CompSat SectionThis unique circuitry is what sets Mike-E apart from all other mic preamplifiers. It has four sections:1) Saturator: This is a multi-stage soft clipping circuit. At lower levels, triode-type saturation affects the signal. As the level increases, a second unique clip circuit that includes germanium semiconductors starts to flatten out the peaks more severely. An LED named BAD! indicates harder, un-musical clipping.2) Compressor: This is an uncompromising compressor/limiter circuit with detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which determines the level going into the compressor. In ways it is like the Empircal Labs Distressor (see #501579), but has differing characteristics including a much longer available attack time and additional circuitry. Four ratios are provided; 2:1 being the gentlest with a long 20dB knee, good for subtle compression, such as while tracking or on the 2-Bus. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter-like) and has a different attack and release shape.3) Emphasis: Emphasis is actually two circuits that surround the compressor and saturator. Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the complementary frequencies after the CompSat. Emphasis has the added perk of improving signal-to-noise, and is the reason analog tape decks used emphasis to begin with.4) Mix Control: The modern recording engineer often employs the technique of mixing between the compressed and the dry (or

Click here to learn more about Used Empirical Labs Mike-E Mic Pre With Compression And Saturation

The dual channel Daking FET III compressor limiter from Geoff Daking is built in the US with the same audio path and detector circuits as their highly successful single channel Daking FET II limiter. The FET III compressor circuitry and gain stages are all discrete and fully Class “A” with sound quality that will be at the very top of the scale. Our previous single channel FET II was known for its speed, high performance and its unique ability to sound great on an extraordinary variety of sources. The Daking FET III will equal this benchmark plus add several unique features to improve user control. The differences are as follows: The Daking compressor’s variable High Pass Filters from 0 to 200Hz are added to the detector stage of each limiter channel to improve and customize limiter behavior. The HPF’s tell the limiter NOT to trigger limiting based on content below the set HPF frequency. This is extremely helpful on bass heavy material. This greatly widens the audio compressor’s potential application set and the ability of the user to set this new behavior “on the fly”. Variable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together to greater or lesser degrees. The compressor’s Stereo Link is continuously variable from 0 to ∞. All controls except “Ratio” are pots. The variable pots add the ability to fine tune behaviors in the studio. Mastering engineers may prefer the repeatability of switches, such as those on the FET II, which will continue in the Daking compressor line. The FET II’s relied on control voltage summing for the stereo linking. Because the Daking FET III stereo compressor is two independent units in one box, it uses audio summing, which is much more accurate. The Daking FET III compressor uses THAT CORP differential amps in and out (electronically balanced). The FET II has transformers in and out but they are 1:1 input to output so they do not “color” the sound. (A mic input transformer at 1:10 ratio in a mic pre would color the sound significantly.) The common mode rejection in Daking FET III compressor is equal to that of FET II. The FET III output level is +24 while the FET II can be as high as +30. The FET III and FET II both use an outboard power supply. The unit is fully RoHs compliant. Ultra-flexible and easy to use Fast transparent compression Variable filter in the detector circuit High headroom +24 In and Out Easy to read illuminated VU meters Continuously variable stereo linking Attack 250uS to 64MS Release .5 Sec to auto dual time constant Ratios from 1.5:1 to 20:1

Click here to learn more about Daking Fet Iii Stereo Compressor