Auto Air Compressor

Selecting best Air Compressor

There are thousands of models of air compressor in the market; it may be hard to select the best one for you. However, you are able to get the benefits from product reviews and ratings available from the websites which will help you get the information about the product. Some of the popular brands available in the market include Husky, Craftsman, Quincy.form and Campbell Hausfeld

Air compressors are used for inducing air into the tires of cars, heavy and light motor vehicles. However, nowadays, these air compressors can be used for residential and commercial applications. Various Air compressor ratings are useful for making the selection easier and also get to know the tips to choose the one which meets your requirements. You will be aware of the features of air compressors, it will be easier for you to go through the services offered by one air compressor and you can compare with the other similar kind of air compressors. You will be able to compare between various air compressors available in the market.

High pressure air compressors are essential part of the auto repair tools if you are frequent traveler on road. It is very important to keep the best air compressor with you when you are traveling. This is considered as a tool which is used to convert electric power to kinetic power with the use of compressed air. There are mainly two functions which are performed by air compressors; one is air compression and other is air release. There are several methods by which the air can be compressed such as rotary screws, reciprocating pistons and centrifugal compression. The compressed air gets released in high pressure and then measured.

Some of the best air compressor brands can be discussed as follows:

Campbell Hausfeld Air Compressor

The air compressors offered by Campbell Hausfeld are considered as the powerful and fastest tools available around. These machines are very easy to use whether they are DIY tools or you get someone to get it done for yourself. There are various models available by this company and all of them have their own pros and cons. The designs and features provided in these machines are exclusive and outstanding.

Craftsman Air Compressors

Craftsman offers the air compressors which are highly competitive, efficient and have high performance. These products are known to be affordable and lost longer than the similar kinds of products available in the market. These compressors have cylinders in wide range of vertical and horizontal shapes. These products are preferred by the people who have limited budget and space to accommodate air compressors.

Husky Air Compressor

The compressors offered by Husky are useful for the residential and small scale industries needs. These compressors are available in two types; one is Horizontal and other is Vertical. If the user is looking for an air compressor which takes lesser space and if they are looking for some portable air compressor; Horizontal air compressors from Husky will be the best choice as they can easily by moved around.

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Air Suspension Kits – Fixing Your Air Suspension Problems

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Drawmer Dl241 Auto Compressor $725 The Drawmer DL241 Dual Channel ‘Auto-Compressor’ highlights the beginning of a new generation of dynamic processors which set new standards of sonic excellence. Its combination of features, displays and well designed control functions make it an outstanding product for a vast range of broadcast, sound reinforcement, and recording applications. The DL241 ‘Auto-Compressor’ incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance. Facilities available on the DL241 include: Expander/Gate. Drawmer’s unique “Programmed Adaptive Expansion” circuitry allows effective ‘single control operation’ producing a fast smooth response and eliminating ‘chatter’ on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position._Switching is provided for ‘Fast’ or ‘Slow’ release characteristics. The ‘Fast’ mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The ‘Slow’ mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Compressor. A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the ‘Soft Knee’ principle with the precision of a ‘Ratio’ control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the ‘Auto’ mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression. Peak Level. ‘Zero Response Time’, ‘Zero Overshoot’ circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The ‘Zero Response Time’ is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment. ‘Zero Response Time’ means that the DL241 provides c

Lifeline First Aid AAA 300 PSI Air Compressor $19.99 Lifeline First Aid AAA 300 PSI Air Compressor

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Drawmer Dl441 Quad Auto Compressor/Limiter $1125 The DL441 Quad Auto Compressor/Limiter captures four channels of Drawmer’s innovative DL241 ‘Auto Compressor’ in only 1U of rack space. The inclusion of new sophisticated ‘automated’ circuitry allows the engineer to precisely control both the dynamic range and ‘absolute’ peak level of the program instantly, without sacrificing essential control parameters. This perfect balance of features makes the DL441 ideal for use in sound reinforcement and outside broadcast applications where an economy in rack space is essential. Each channel combines a fully professional ‘Auto Attack/Release’ Compressor with a variable threshold ‘Peak Level’ Limiter on the output providing a transparent ‘endstop’. High resolution bar-graph displays on each channel allow gain reduction and output level to be viewed simultaneously, of particular importance in darkened concert hall or control room situations. Facilities available on the DL441 include: Compressor – The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available. In the SOFT mode the ratio increases gradually over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression In HARD mode the compressor provides a more precise means of controlling gain, where the ratio as set on the front panel is applied immediately the signal exceeds threshold. This is particularly useful in many broadcast applications. HARD knee compression can also be used creatively as an effect, particularly in the treatment of drum and guitar sounds, or for giving rock vocals a ‘compressed sound’. Auto Attack and Release – removes the need for manual adjustment by producing a response which constantly follows the dynamics of the signal. This enables the DL441 to preserve crisp transients without allowing excessive peaks to occur. A smooth yet lively recovery from compression minimizes side effects such as ‘pumping’ and ‘breathing’. This feature is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as complete mixes, vocals or ‘slapped and pulled’ bass guitar. Peak Level Limiter – ‘Zero Response Time’, ‘Zero Overshoot’ circuitry provides an absolute limit to the peak level of the output signal, adjustable from 0db to +16dB above system level. ‘Zero Response Time’ transparent limiting means that the DL441 provides complete protection from even the fastest and shortest signal overloads, making the unit ideally suited for speaker system protection in sound reinforcement applications. The sophisticated circuitry will also prevent unpleasant distortion when used for digital mastering. Metering – Comprehensive bar graph displays give ‘at a glance’ indications of gain reduction, and input/output signal level Gain reduction from 1dB to 30dB is shown simultaneously with signal level from 10dB to +10dB. When the channel is in BYPASS th

Waeco Adler Barbour Cu 100 Air Cooled Coldmachine Compressor $825 Waeco Adler Barbour Cu 100 Air Cooled Coldmachine Compressor . Top-of-the-line systems designed for complete reliability, even in the toughest tropical weather conditions, updated with a quick fit system for easy do-it-yourself hookup and removal without the assistance and expense of a refrigeration tech. Since pioneering marine 12V refrigeration systems more than 25 years ago, Adler/Barbour has continued to use the latest available technology to make these systems the most reliable of their kind. Both the Air-Cooled CU-100 (this page) and Air/Water-Cooled CU-200 use the high-performance Danfoss BD50F compressor, with up to 25% better cooling performance than the BD35F in the same size footprint!How to Create a ColdMachine or Super ColdMachine SystemNow you can custom configure a refrigeration system to your boat, taking into account available ice box space and the conditions in which you ll use your boat. First, select the compressor/condensing unit that matches your performance requi

West Marine 300 Amp Jump Starter With Air Compressor $69.99 West Marine 300 Amp Jump Starter With Air Compressor . Our smallest and most portable emergency power center packs the roadside features you need in a small case. It cranks 300 amps through its neatly stowed heavy-duty booster cables to get your engine running. Its 260psi air compressor can inflate a 16″ tire in 5-7 minutes, with a convenient pressure gauge to get your tires inflated just right. Five-LED work light shines brightly on the work area, and indicates the state of charge of the unit s sealed 12Ah maintenance-free lead acid battery. Includes AC and DC adapters. Reaches full charge from AC in 34 hours, from DC in 14 hours. Features: Multi-functional: 260psi air compressor, 300 Amp cranking power jump-starter, built-in 5 LED worklight, 2 DC outlets, convenient USB power port Dimensions: 9″H x 9″W x 6 1/2″D Battery Bank Size/Configuration: Sealed 12Ah lead-acid (Maintenance-free) Output Wiring: Jumper cables, 2 cigarette lighter DC outlets Safety Features: Short circuit protecti

Dbx 1066 Compressor/Limiter/Gate $429.95 With the dbx 1066 Compressor/Limiter/Gate impressive noise and THD performance specs are the essentials, but the 1066 doesn’t stop there. Features like sidechain (with SC Monitor), Contour, True RMS Power Summing, Neutrik XLR audio connectors, OverEasy or hard-knee compression algorithms, auto or manual attack and release times, and PeakStopPlus limiting also serve to set the dbx 1066 Compressor unit out front in the world of high-performance compression.Impressive noise and THD performance specs Sidechain (with SC Monitor) Contour True RMS Power Summing Neutrik XLR audio connectors OverEasy or hard-knee compression algorithms Auto or manual attack and release times PeakStopPlus limiting

Drawmer Dl251 Spectral Compressor $1025 The Drawmer DL251 Spectral Compressor, incorporates a variable ‘Dynamic Spectral Enhancement’ (D.S.E.) section which eliminates the problems associated with full band compressors by restoring the high frequency energy lost during the full band compression process. This enhancement circuitry is extremely effective where compression and limiting are employed for broadcast transmission, or across complete mixes in a stereo mixdown situation. Dynamic Spectral Enhancement has many creative applications when recording individual components at the multi-track stage, particularly on acoustic guitar, piano, brass and vocals. Facilities available on the DL251 include: Compressor. The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available In the SOFT mode the ratio increases gradually over a 10dB 386input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression. Selectable manual or automatic Attack and Release times dramatically extend the application range and user scope of the DL251. Selecting the ‘Auto’ mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as on complete mixes, vocals or ‘slapped and pulled’ bass guitar. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression. Enhance Level. A variable Enhance control can be used to ‘dynamically’ boost any high frequency energy lost during the full band compression process and has sufficient range to add additional ‘Spectral Energy’ to the programmed material for creative processing. When no compression is taking place, the ‘Dynamic Spectral Enhancement’ circuitry is inoperative and so no change is made to the signal. However, as the signal level rises to the point where gain reduction is taking place, the Enhancement system ‘kicks in’ applying dynamic boost which is directly related to the amount of gain reduction taking place. A front panel switch offers an instant A/B comparison of this feature and a green LED indicates the amount of enhancement taking place. Metering. Comprehensive bar graph displays give ‘at a glance’ indications of gain reduction, and input/output signal level Gain reduction from 1 dB to -30dB is shown simultaneously with signal level from 20dB to + 15dB Other single LEDs indicate function status of Hard/ Soft compression, Auto Attack/ Release, Side chain monitoring, Bypass, Enhancement, Peak Limiting, Stereo Linking and Power on. Side Chain Listen. A front panel push button with LED status enables the monitoring of any external processing applied to the side chain access connections on the rear panel. Bypass. A fully balanced hard wire bypass connects the input directly to the output allowing signal to pass through the unit with no po

West Marine 600a Jump Starter With Air Compressor And 12v Power Supply $99.99 West Marine 600a Jump Starter With Air Compressor And 12v Power Supply . Portable power for jump-starting engines, inflation of watersport accessories or tires, plus power for 12V electronics and USB devices are all combined in our latest 600A jump-starter with 260psi air compressor. Front panel features two DC power outlets with overload protection for 12V electronics as well as two USB power ports with a combined 2.1A output to charge most USB devices including iPad, E-Readers, cell phones and more. The high intensity 30 LED light bar brightly illuminates the work area. Reverse polarity LED indicator light ensures that cable connection is correct. Battery level indicator light and display allows for easy battery status updates and ensures safe operation. Extra-long, 24″L, #6 gauge booster cables with heavy-duty booster clamps and high pressure, 22″L air hose stow neatly into case. Sealed 15.5Ah maintenance-free lead acid battery reaches full charge from AC in 34 hours, from DC in 14

Daking Fet Iii Stereo Compressor $1975 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

Dbx 266Xs Compressor/Gate $149.95 The dbx 266xs Compressor/Gate is the latest in a long line of the world’s most successful compressors from the inventors of the technology. Its patented Overeasy compression technology provides smooth and musical performance while the AutoDynamic attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 266xs can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1/4″ TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches. Adding a dbx 266xs Compressor/Limiter/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 Error proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes New gate timing algorithms ensure the smoothest release characteristics Program-adaptive expander/gates Great sounding dynamics control for any type of program material Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup Stereo or dual-mono operation Balanced inputs and outputs on 1/4″ TRS and XLR connectors Side Chain insert Classic dbx “Auto” mode

Presonus Acp-88 8-Channel Compressor/Gate $899.95 8 full-featured compressors/limiters/gates in the Presonus ACP-88 8-Channel Compressor/Gate transparently control unwanted noise and bleed-through. Control vocals, tame drums, protect speakers, tighten low endall from just 2 rackspaces. Each compressor features control of threshold, ratio, attack, release, hard/soft knee, auto/manual attack and release curves, and gain. Has balanced or unbalanced inputs and floating balanced or unbalanced outputs. There are 2 side chains for every channel: one for spectral compression, one for gate processing. Each channel has full gain reduction metering, compression threshold indicators, and gate open/close.8 full-featured compressor/limiters8 full-featured gatesSide chain on every channelTrigger inputs on every channelBalanced/unbalanced 1/4″ I/OComprehensive linking via unique power summing busSpectral processing and gate keying via separate jacks+4/-10 stereo operating level

Elysia Xpressor 500 Stereo Compressor $999 The elysia xpressor 500 is an extremely versatile stereo compressor available in 500-series format. With its many unique features taken from Elysia’s flagship products, you not only get great compression, but an amount of control on processing which is hardly ever experienced elsewhere. No matter if you want set-and-forget, or to delve deep into the secrets of compression, the xpressor 500 is for you. Its discrete audio path running in constant class-A mode provides superior audio quality, which combines a clear and open sound with a lot of punch. Stereo bus compression, processing single signals, approaching dynamics in creative ways – the xpressor 500 shines in all applications. Discrete Class A Topology A true elysia specialty, the audio path of the xpressor 500 is completely based on discrete circuitry and does not use any integrated circuits at all to color the signal path. Its entire audio path is a new design based on the exclusive use of high-grade discrete components. A truly unique recipe. In addition, it operates in permanent class A mode. This means that the transistors are always conductive, resulting in the absence of crossover distortion, providing a pristine sonic base; the general sound character is always wide, open and punchy. Auto Fast Inspired by Elysia’s flagship compressors: Auto Fast enables you to set the perfect attack. It’s a switchable, semi-automated attack based on the value you set by ear. However, sometimes one setting doesn’t always work based on changes in the program material. For example, if a very short attack time is chosen, the compressor can catch the short peaks, but the sustaining signal will also be processed, which might result in audible distortion. Longer settings reduce distortion significantly, but then the compressor is set too slow for catching fast impulses. That’s where Auto Fast comes in: For example, if you set the attack to 80ms and then engage the Auto Fast mode, the attack time will be shortened automatically on fast and loud signal impulses. The compressor reduces the signal quickly and prevents it from slipping through. Afterward, the attack time automatically returns to its original setting. In Auto Fast mode the compressor can be very fast, but only when it is really needed. This function influences the attack parameter on short and loud impulses only; in all other cases the original setting of the controller has priority. Log Release This alternative characteristic of the release curve follows a logarithmic course instead of the standard linear function, resulting in a very gentle compression. Since it’s difficult to achieve perfect results on different material with only one type of release curve, the xpressor 500 offers two different options to chose from: logarithmic and linear. In logarithmic release mode, the time constant shortens when the amount of gain reduction increases. The advantage is that short and loud peaks (e.g. drums) have a fast release time, while the remaini

Drawmer Dl 241Xlr 2-Channel Compressor $775 The DL241XLR Dual Auto-Compressor incorporates many automatic functions allowing sound engineers to achieve optimum results in minimum set up time. But this Drawmer Compressor doesn’t compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance. Facilities available on the DL241XLR include: Expander/Gate Drawmer’s unique “Programmed Adaptive Expansion” circuitry allows effective single control operation’ producing a fast smooth response and eliminating chatter’ on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position. Switching is provided for ‘Fast’ or ‘Slow’ release characteristics. The ‘Fast’ mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The ‘Slow’ mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Compressor A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the ‘Soft Knee’ principle with the precision of a ‘Ratio’ control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the ‘Auto’ mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression. Peak Level Zero Response Time’, ‘Zero Overshoot’ circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The ‘Zero Response Time’ is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment._’Zero Response Time’ means that the DL241 provides complete protection from even the fastest and shortest signal ‘spikes’ (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications. Metering Comprehensive bar graph displays give ‘at a glance’ indications of gain reduction, and output signal level Gain

Solid State Logic Xlogic G Series Compressor $3495 Do you know the secret of how to give your mixes that finished record sound that you’ve heard on professional recordings for over twenty years? We do and now so will you. It’s the center console stereo bus compressor from the Solid State Logic SL 4000 G Series console, the world’s most successful studio production console. Can’t afford the $500K price tag? Not to worry, SSL has taken the G Series center compressor, racked it, and added their latest SuperAnalogue design topology, to bring you the XLogic G Series Compressor. The ability to ‘patch’ into the SL 4000′s center compressor, and also control its sidechain from an internal sub-mix, allowed engineers to discover the amazingly unique qualities of this compressor for use on instruments like piano and drums, as well as its classic mix-finalizing capabilities. As a result, the center compressor was considered to be an essential tool by recording professionals, which created demand for a rackmountable unit, and thankfully, SSL responded. The XLogic G Series Compressor is a 1-space rack mounting stereo compressor that utilizes the classic SSL G Series center compressor design elements within a SuperAnalogue design topology. It is the latest version of the same compressor found in the Solid-State Logic SL 4000, and it uses the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides spectacular audio performance with universally acclaimed audio compression characteristics that have provided numerous hit mixes for the world’s best audio engineers. A key element in the sound of many of these recordings is punch and drive created by the classic G-series center compressor but we don’t have to try to tell you what the G Series Compressor sounds like ’cause you’ve already heard it. All you need to know is that if you strap one across the stereo bus of your DAW or console, you’ll have it too.Legendary SSL G series stereo bus compressorGain reduction meter as fitted to the classic SSL console rangeExternal side chain source selectAuto fade with rate control automatic linear fade in/out controlRemote connector for remote operation of the auto fade function

Tonelux Tc5c All-Discrete Compressor $949 The Tonelux TX5C is the new design from Paul Wolff that addresses the complex issues of compression.With the ability to do in-module parallel mixing of dry and compressed signal, you can enjoy the parallel or “side chaining” of an instrument with itself and come up with the perfect blend of the original and compressed signal without the problems associated with in-the-box latency.The TX5C uses a proprietary all-discrete TX-240 op-amp and an all-discrete TX-260 output stage with a TX-280 transformer.In addition to the Input/Compressor Mix control, the TX5C has many other unique features not found on any compressor made today. The ability to switch between feed back and feed forward compression is something thats not new to Paul Wolff. But with the TX5C, he decided to take it one step further by allowing the ability to fade between feed back compression and feed forward compression with the Type control. This feature gives you the freedom to combine the smooth nature of feed back-type of compression with the aggressive effect of feed-forward compression.In addition to the FB-FF Type control, the TX5C has the ability to over compress with the Ratio control, which allows compression ratios from 1.5:1 to 20:1 and beyond, with the “Over:” ratio settings that cause the compressor to reduce the gain at a higher ratio than the gain going into it. This means that the ratio control allows the compressor to compress an increase in signal of 10dB with a gain reduction of up to -8dB. If the signal goes up 10dB, the output will go down 8dB. Over ratio is great for restoring life to over-compressed instruments such as snare. For example, with a pre-compressed snare, by adjusting the Attack and setting the Ratio in the Over: range, you can actually recover the initial impact peak of the snare. When blended with the original “flat” snare via the Mix control, you have a dynamic snare again, but with a very controlled peak.The TX5C also has the now-famous “Tilt” control inserted into the sidechain of the RMS detector, so you can increase highs and decrease lows going into the RMS detector, virtually eliminating the effects of pumping, since the Detector is seeing a more uniform distribution of energy across the spectrum, instead of a bass-heavy signal like most compressors.The Attack control has a 5x switch to allow for a range of extremely fast attack (in the microsecond range) all the way through a very smooth, slow attack more suited for leveling.The Release control can be almost instantaneous to 3 seconds. The release circuit is a unique 3-stage circuit that auto-releases the faster signals at a rate of 10 times the release of the lower-frequency signals. All of this and an auto-makeup gain system that always keeps the gain at unity regardless of the amount of compression.With a 6-LED gain-reduction meter and an adjustable link control, the TXC can be used in mono or stereo configurations with ease.

Radial Engineering Komit Compressor Limiter $499.99 The Radial Komit Compressor Limiter is one of the eight modules designed to be comprise the Radial Workhorse Rack and Mixer System that combines the popular 500 series platform with an incredibly flexible patching system to let you create the ultimate studio environment. The Radial Komit is a feature-rich compressor-limiter that simplifies the process of dynamic manipulation while expanding upon creative tone shaping. At one end is a super-clean compressor that delivers amazing results with single knob control. At the other, an old-school diode bridge clipping limiter goes from ‘vintage to nasty’. But don’t let the minimalist approach deter; the Komit provides exceptional flexibility by integrating a series of automatic functions that are both musical and intuitive.The design begins with an auto-detecting feed-forward VCA that reads the incoming program material and reacts ‘real-time’ to the time constant. Set the 3-position attack-decay switch to slow for vocals, medium for instruments and fast for percussion. As you increase the ratio, the Komit FlexKnee compression dynamically adjusts the pivot point, seamlessly transitioning from soft to hard knee for more natural results. Yet unlike most limiters that are designed to be transparent, the Komit Clipper is designed to introduce personality to your recordings. The Clipper simulates the sound created by old-school diode bridge circuits from the early days of radio. These clip the input signal when they exceed the headroom. Same deal only here, you are in complete control. Ten settings are graduated from mild harmonic overload to extreme nasty. Think of Nine Inch Nails.To ensure absolute signal integrity, full size discrete electronics are employed throughout while the vintage style Hammond broadcast transformers add extra warmth to the signal path. A variable level control provides gain make-up or can be used to drive the Clipper for added distortion. Dual ballistic VU metering makes it easy to simultaneously view compression and output when making adjustments. Designed for use with all 500 series racks, the Komit can be linked for full stereo operation. When used with the Radial Workhorse, the Omniport is assigned as a key input for frequency dependent compression, de-essing, ducking or any number of dynamic manipulation effects.Applications:Channel StripThe Komit is the ideal compressor to compliment a ‘gold’ channel strip. Feed the mic into a PowerPre, an EQ and the Komit can keep dynamics under control for more professional results. Stereo programThe Komit can be set to stereo mode by linking two Komits together. This is great for mastering. And even though the two units will share the same time constant, independent compression retains the full stereo image. DuckingUse the key input (via the Omniport on the Workhorse) to automatically duck a guitar track (lower the level) when the vocalist begins to sing. Simply connect the TRS output from the PowerPre into the Omniport key input.Single dial

Alesis 3632 Dual Channel Compressor / Limiter / Gate $149 The Alesis 3632 Dual Channel Compressor / Limiter / Gate is the follow-up to the 3630 Compressor, the most popular dynamics processor ever made. The 3632 Compressor builds on the popular design and features of its predecessor by providing two independent, full-featured compressor/limiters in one compact rack. It delivers superb sonic quality for any application from studio recording to live sound or broadcast.Manual or automaticWith the push of a button the 3632 Compressors attack and release times can be set to engage automatically depending on the source signal. In this mode, the 3632 applies an optimized amount of compression with no extremes. Want full manual control? Again, just push a button and you have free reign over the 3632s comprehensive range of parameters. The 3632 Compressor can function as either two individual mono processors, or you can stereo-link them to provide true stereo compression.Guard your soundThe 3632 Compressors Expander/Gate keeps unwanted noise out of your sound. When your signal falls below the threshold youve chosen, the Expander/Gate pushes low-level noise down or simply closes the gate depending on the parameters youve dialed in. Deny noise access to your audience or your mix!At the heart of the 3632 Compressor is its VCA (voltage-controlled amplifier), which offers professional-grade performance in terms of distortion, noise, and temperature stability, making everything you hear smooth and consistent.The 3632 Compressors sidechain function on each channel enables you to use it in external effects loops or in other common compressor applications such as ducking: use the sidechain function to trigger compression on a signal when you want it. A second, internal sidechain employs a switchable low-cut filter to help control pumping due to heavy low-frequency content.With intuitive control layout and bright LED meters that display gain reduction and input/output levels per channel, the 3632 Compressor will give you constant visual feedback. Professional compression is ultimately about the control and delivery of sound, and the 3632 Compressor will make you a master at both.Stereo compressor/expander/limiter/gate for complete dynamics managementMinimized signal path for optimal sound qualityIntelligent Knee for musical performance with soft and hard-knee envelopesIntelligent Ratio adjusts expansion based on input signalIntelligent Gain auto-adjusts outputAdjustable attack and release time for manual controlCouple switch for a one-touch selection between two mono channels and stereo-linked operationSidechain send and return for use in an external effects loopSwitchable low-cut filter minimizes audio-program pumping triggered by kick drumGain-reduction LEDs and switchable input/output-level LED meters for visual monitoring of critical valuesBypass switches on both channels

Dbx 162Sl Stereo Compressor/Limiter $2099.95 The first thing you’ll notice about the dbx 162SL Stereo Compressor/Limiter is its striking front panel, machined from 1/4″ aircraft aluminum. The 162SL is adorned with handcrafted solid aluminum knobs, LEDs mounted individually in machined stainless steel housings, custom VU meters with peak indicators, and a heavy-gauge chassis. On the inside, the dbx 162SL combines the best features of all the great dbx compressors, past and present, and gives you more versatile performance than ever before. In addition to having the auto attack/release and hard-knee threshold characteristics of the classic dbx 160, the 162SL offers AutoVelocity manual mode and classic dbx OverEasy mode. Variable attack and release controls, as well as dbx’s latest limiting algorithm PeakStopPlus, are included in the 162SL. The dbx 162SL also features dual proprietary dbx VCA modules. This state-of-the-art implementation of dbx’s original Blackmer decilinear VCA boasts an unheard-of dynamic range and ultralow distortion seen only previously in the Blue 160SLs. It’s built of the best parts available including Jensen transformers on each output standard and also takes full advantage of dbx’s advanced manufacturing. Click on the additional manufacturer information and PDF links below to get the full scoop on this powerful compressor!Super-fast manual attack and release High-drive Jensen output transformers Hard-knee/OverEasy switchable Ultralow distortion compression for clarity even under extreme gain reduction Program-dependent “Auto,” Patent-pending AutoVelocity Manual, or fully variable attack and release modes

Golden Age Project COMP-54 Compressor $399.99 The Golden Age COMP-54 is a one-channel vintage-style compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor thatwas designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens and EMI used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.About Golden Age ProjectAffordable vintage-style recording equipmentGolden Age Music is a Swedish company with almost 20 years of experience in the high-end audio field. Golden Age Project started as a small complementary business to Golden Age Music’s huge catalogue of high-end audio gear. Golden Age wanted to reach out to everyone interested in vintage style audio recording, not just the pro clique. GA thought that with the knowledge of their technical crew and long-time experience in the field, they could create a brand of affordable mics and outboard for everyone!

Golden Age Project Comp-54 Compressor $399.99 The Golden Age COMP-54 is a one-channel vintage-style compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor thatwas designed in 1969. It quickly became a legend due to its totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens and EMI used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.About Golden Age ProjectAffordable vintage-style recording equipmentGolden Age Music is a Swedish company with almost 20 years of experience in the high-end audio field. Golden Age Project started as a small complementary business to Golden Age Music’s huge catalogue of high-end audio gear. Golden Age wanted to reach out to everyone interested in vintage style audio recording, not just the pro clique. GA thought that with the knowledge of their technical crew and long-time experience in the field, they could create a brand of affordable mics and outboard for everyone!Vintage-style electronicsBased on classic diode-bridge designsTransformer-balanced I/OTransformer upgrade (Carnhill) availableFlexible control of Ratio, Attack and ReleaseStepped controls (except Gain make-up) for repeatabilityThree selectable Sidechain filter frequenciesSeparate Bypass and Compression In/Out switchesMeter selectable for Output and Gain ReductionLink two units for stereo operationSeparate input/output XLR and TRS jacks for flexible connectionBack-panel switch for 600 ohm termination.External power power supply to avoid interaction with the audio circuitry and transformers.Great sound that suits most sound sources and genresSolid build quality that will last through years of use

Behringer Autocom Pro-Xl Mdx1600 Compressor $108.99 The Behringer MDX1600 Autocom Pro-XL Compressor is a dual-channel compressor/limiter/expander that will increase vocal presence and energy, compress mono or stereo signals without loss of high frequencies, and minimize dangerous signal peaks. Integrated dynamic enhancer, de-esser, and low-contour filter provide the utmost in signal enrichment. The MDX1600 features a stereo dynamic processor with couple function, auto and manual mode compression, and separate IRC expander/gate. Has accurate 12-point meters for in/out level and gain reduction, switchable +4dBu or -10dBV operating level, sidechain I/O, and servo-balanced XLR and 1/4″ I/O. The Behringer MDX1600 Autocom Pro-XL Compressor takes up a single rackspace.Dual-channel compressor/limiter/expanderIncreases vocal presence and energyCompresses mono or stereo signals without loss of high frequenciesMinimizes dangerous signal peaksIntegrated dynamic enhancerDe-esserLow-contour filterStereo dynamic processor with couple functionAuto and manual mode compressionSeparate IRC expander/gateAccurate 12-point meters for in/out level and gain reductionSwitchable +4dBu or -10dBV operating levelSidechain I/OServo-balanced XLR and 1/4″ I/OSingle rackspace

Used Dbx 266Xs Compressor/Gate $136.45 The dbx 266xs Compressor/Gate is the latest in a long line of the world’s most successful compressors from the inventors of the technology. Its patented Overeasy compression technology provides smooth and musical performance while the AutoDynamic attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 266xs can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1/4″ TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches. Adding a dbx 266xs Compressor/Limiter/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 Error proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes New gate timing algorithms ensure the smoothest release characteristics Program-adaptive expander/gates Great sounding dynamics control for any type of program material Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup Stereo or dual-mono operation Balanced inputs and outputs on 1/4″ TRS and XLR connectors Side Chain insert Classic dbx “Auto” mode

Used Aphex 661 Expressor Compressor/Limiter $681.59 The Aphex 661 Expressor Compressor/Limiter is a totally new type of compressor incorporating vacuum tube technology with the latest innovations in audio compression. It features Tubessence, Easyrider, and High Frequency Expander patented circuits for compression that is both warm and full-sounding without the high heat, bulk, short life, fragility, and sonic variability found in traditional tube designs. You also get automatic attack and release times that eliminate any guesswork in your settings.Tubessence, Easyrider, and High Frequency Expander patented circuits Compression that is both warm and full-sounding Automatic attack and release times eliminates guesswork High Frequency Expander circuit adds life and air to your comopressed signals without fear of background noise pumping Spectral Phase Refractor restores clarity and punch to your tracks

Dbx 166Xs Dual Compressor Limiter $239.95 Adding a dbx 166xs Compressor/Limiter/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. To protect your expensive amps and speakers the PeakStop limiter provides an absolute ceiling for peak excursions or large transients that could damage your equipment. dbx knows compressors…after all they invented them! The 166xs is the latest in a long line of the world’s most successful compressors from the inventors of the technology. Its patented Overeasy compression technology provides smooth and musical performance while the AutoDynamic attack and release controls, found only on dbx compressors, puts great sound within easy reach. The 166xs can operate in stereo or dual-mono modes, has true RMS power summing and features quality XLR and 1/4″ TRS inputs and outputs. It cuts no corners on visual feedback with gain reduction metering and easy-to-read backlit switches. Error proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes New gate timing algorithms ensure the smoothest release characteristics Program-adaptive expander/gates Great sounding dynamics control for any type of program material Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup Stereo or dual-mono operation Balanced inputs and outputs on 1/4″ TRS and XLR connectors Side Chain insert Classic dbx “Auto” mode

Marine Air Envirocomfort Reverse Cycle Retrofit/compressor Kits Kit, 16,000 Btu $1599.99 Marine Air Envirocomfort Reverse Cycle Retrofit/compressor Kits Kit, 16,000 Btu . Cool down when it s hot and warm up when it s cold with EnviroComfort Reverse Cycle air conditioning. Now with R410A refrigerant, an environmentally-safe gas, these systems are more efficient than ever. Quality components include high-velocity blowers, stainless steel drain pans and simple-to-use digital control. Purchase a Retrofit Kit alone to upgrade an existing system or combine it with an EnviroComfort installation kit which gives you all you need for a professional installation. 6,000, 10,000, 16,000Btu/hr. capacities. Reverse Cycle: Yes Discharge: Vert. or Horiz. Included Equipment: Reverse-cycle air conditioning unit and digital control Refrigerant: R410A Warranty: One year parts, six months labor

Marine Air Envirocomfort Reverse Cycle Retrofit/compressor Kits Kit, 10,000 Btu $1499.99 Marine Air Envirocomfort Reverse Cycle Retrofit/compressor Kits Kit, 10,000 Btu . Cool down when it s hot and warm up when it s cold with EnviroComfort Reverse Cycle air conditioning. Now with R410A refrigerant, an environmentally-safe gas, these systems are more efficient than ever. Quality components include high-velocity blowers, stainless steel drain pans and simple-to-use digital control. Purchase a Retrofit Kit alone to upgrade an existing system or combine it with an EnviroComfort installation kit which gives you all you need for a professional installation. 6,000, 10,000, 16,000Btu/hr. capacities. Reverse Cycle: Yes Discharge: Vert. or Horiz. Included Equipment: Reverse-cycle air conditioning unit and digital control Refrigerant: R410A Warranty: One year parts, six months labor

Drawmer S3 Multi-Band Stereo Tube Compressor $5450 The Drawmer S3 Multi-Band Stereo Tube Compressor offers previously unattainable control and tonality over each of the three bands. Gain control at each stage provides precise spectral balancing. The signal path consists of high performance input/output transformers, passive components and 10 tubes: 8 ECC83 and 2 12BH7 configured as a fully balanced Class A design. Because the LDR ‘ s (Light Dependent Resistors) in the compressors are temperature sensitive the Drawmer S3 houses an ‘ electronic oven ‘ which provides and sustains the optimum LDR operating temperature – thereby maintaining calibration accuracy and improving performance. The S3 stereo tube compressor ‘ s front panel LED indicates temperature status. Large-scale VU meters are switchable to ‘ Peak ‘ mode to show transient information. Two further VU meter re-scale modes are available (+10dB and +20dB) to accurately display the S3 compressor ‘ s ability to output levels of up to +30dBm. The Drawmer S3 Multi-Band Stereo Tube compressor has a master output section that includes controls for both Gain and stereo balance to compensate for source material with a Left/Right imbalance or disproportionate processing. Mix saving/enhancing features: V-Big & V-Air Among the unique features of the Drawmer S3 that can truly put a mix over the top, are its V-Big and V-Air functions. In a nutshell, V-Big is a variable filter that controls how much low end information is visible to the S3 ‘ s RMS detectors, so that extreme bass energy doesn ‘ t pull down the entire mix; and V-Air, which, as its name implies, lets you control the ever-popular “air” that makes vocals and recordings in general sound expensive. V-BIG Unlike previous Drawmer compressors the S2 V-Big control is fully variable allowing complete and subtle adjustments to the perceived level of bass, and the control of ‘pumping” and ducking that occurs. Frequency: 75, 125, 250 Hz: Sets the frequency that the ‘V-Big” control operates at, enabling the engineer to target a specific bass frequency. Level: -10 – +10: With the control set in a positive position the side chain ‘ s sensitivity to low frequencies is reduced, with the result that less gain reduction is applied to those frequencies, creating the effect that the bass is louder or ‘ bigger ‘ . It also has the benefit of reducing the ducking and pumping effect that occurs by high frequencies being ‘ pulled down ‘ in sync with the bass, helping to make mix compression much more affable. If set in a negative position the opposite occurs i.e. with bass frequencies being quieter and pumping increased. At the 0 position the ‘V-Big” control is effectively off. V-AIR V(ariable)-Air is used to manipulate the high end of an audio signal so that it sounds more intimate, detailed and transparent, but without making it sound harsh or introducing any noticeably unnatural artifacts. Cymbals are more vibrant without becoming splashy, and vocals sound more open but without

Used Radial Engineering Komit Compressor Limiter $454.99 The Radial Komit Compressor Limiter is one of the eight modules designed to be comprise the Radial Workhorse Rack and Mixer System that combines the popular 500 series platform with an incredibly flexible patching system to let you create the ultimate studio environment. The Radial Komit is a feature-rich compressor-limiter that simplifies the process of dynamic manipulation while expanding upon creative tone shaping. At one end is a super-clean compressor that delivers amazing results with single knob control. At the other, an old-school diode bridge clipping limiter goes from ‘vintage to nasty’. But don’t let the minimalist approach deter; the Komit provides exceptional flexibility by integrating a series of automatic functions that are both musical and intuitive.The design begins with an auto-detecting feed-forward VCA that reads the incoming program material and reacts ‘real-time’ to the time constant. Set the 3-position attack-decay switch to slow for vocals, medium for instruments and fast for percussion. As you increase the ratio, the Komit FlexKnee compression dynamically adjusts the pivot point, seamlessly transitioning from soft to hard knee for more natural results. Yet unlike most limiters that are designed to be transparent, the Komit Clipper is designed to introduce personality to your recordings. The Clipper simulates the sound created by old-school diode bridge circuits from the early days of radio. These clip the input signal when they exceed the headroom. Same deal only here, you are in complete control. Ten settings are graduated from mild harmonic overload to extreme nasty. Think of Nine Inch Nails.To ensure absolute signal integrity, full size discrete electronics are employed throughout while the vintage style Hammond broadcast transformers add extra warmth to the signal path. A variable level control provides gain make-up or can be used to drive the Clipper for added distortion. Dual ballistic VU metering makes it easy to simultaneously view compression and output when making adjustments. Designed for use with all 500 series racks, the Komit can be linked for full stereo operation. When used with the Radial Workhorse, the Omniport is assigned as a key input for frequency dependent compression, de-essing, ducking or any number of dynamic manipulation effects.Applications:Channel StripThe Komit is the ideal compressor to compliment a ‘gold’ channel strip. Feed the mic into a PowerPre, an EQ and the Komit can keep dynamics under control for more professional results. Stereo programThe Komit can be set to stereo mode by linking two Komits together. This is great for mastering. And even though the two units will share the same time constant, independent compression retains the full stereo image. DuckingUse the key input (via the Omniport on the Workhorse) to automatically duck a guitar track (lower the level) when the vocalist begins to sing. Simply connect the TRS output from the PowerPre into the Omniport key input.Single dial

Used Golden Age Project Comp-54 Compressor $363.99 The Golden Age COMP-54 is a one-channel vintage-style compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer.The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor thatwas designed in 1969. It quickly became a legend due to its totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens and EMI used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.About Golden Age ProjectAffordable vintage-style recording equipmentGolden Age Music is a Swedish company with almost 20 years of experience in the high-end audio field. Golden Age Project started as a small complementary business to Golden Age Music’s huge catalogue of high-end audio gear. Golden Age wanted to reach out to everyone interested in vintage style audio recording, not just the pro clique. GA thought that with the knowledge of their technical crew and long-time experience in the field, they could create a brand of affordable mics and outboard for everyone!Vintage-style electronicsBased on classic diode-bridge designsTransformer-balanced I/OTransformer upgrade (Carnhill) availableFlexible control of Ratio, Attack and ReleaseStepped controls (except Gain make-up) for repeatabilityThree selectable Sidechain filter frequenciesSeparate Bypass and Compression In/Out switchesMeter selectable for Output and Gain ReductionLink two units for stereo operationSeparate input/output XLR and TRS jacks for flexible connectionBack-panel switch for 600 ohm termination.External power power supply to avoid interaction with the audio circuitry and transformers.Great sound that suits most sound sources and genresSolid build quality that will last through years of use

Bbe Benchpress Vintage Compressor $149.99 BBE BenchPress Vintage Compressor

Daking Fet Compressor/Limiter $1445 Daking FET Compressor/Limiter

Dbx 160A Compressor/Limiter $429.95 dbx 160A Compressor/Limiter

ART Pro VLA II Tube Compressor $248.39 The Pro VLA by ART is a tube driven Vactrol-based Compressor/Leveling amplifier designed to excel in any professional audio application, including tracking, mixing, mastering, live sound or broadcast situations. By using an opto-electronic design, (as opposed to a more typical VCA driven level detection circuit) the Pro VLA II allows more compression to be added to an audio source with a more natural, musical sounding output and virtually transparent dynamic leveling. This VCA-less design coupled with a 12AT7 vacuum tube in the gain stage makes the Pro VLA II tube compressor the ideal dynamic control device for critical studio and live sound applications.These are the differences between the Pro VLA and the Pro VLA II:1. Enhanced Link modeIn link mode, CH1 output control acts as a master output level and CH2 becomes a Balance control. This optimizes the Pro VLA II for use as a mastering processor.2. Active balanced outputs. The old VLA has balanced outputs that have 6dB more gain than when using them in the unbalanced mode. This shows up as an error when using the VU meter to compare the input and output level.3. LED output meter. a. Always monitors the output level allowing the user to view Both input and output levels at the same time.b. LED meter indicates both average level plus Peak hold.4. Attack and Release knobs vs. switches. The Old VLA compressor has switches that allow the user to adjust the attack time between “Fast” (~1mSec) and “Normal” (~10mSec). The release switch can be set to “normal” (200mSec) and “Auto” (program dependant, but rather long an average). a. Attack time as ranges from .25mSec to 50mSecb. Release time ranges from 0.15Sec to 3Sec. (This is program dependant at shorter release rates).c. Improved detector that lowers low frequency distortion at fast release rates.5. Improved packagea. Rounded front panel machined to countersink all knobs and level meters.b. Re-enforced ears.c. Led lit switch caps.d. Heavier chassis and cover ruggedized for longer life on the road.6. Lower noise. a. +4dBu/-10dBv mode switch optimizes the unit for Pro OR consumer operating system levels.b. Toroidal transformer reduces mechanical and electrical hum.c. Tweaked Tube circuit for better dynamic range.d. Increased transformer shielding.7. Increased ranges on Threshold and Output gain. This allows the user a wider range of operation. a. Old threshold = -20 to +15, New Threshold range = -30dB to +20dB.b. Old Output gain max = +10dB, New output Gain = +20dB8. LED lit VU meters. No more dark meters due to blown out bulbs.9. All of the pots have detents. a. Imparts a more professional feel.b. Makes settings more repeatable.

Art Pro Vla Ii Tube Compressor $299 The Pro VLA by ART is a tube driven Vactrol-based Compressor/Leveling amplifier designed to excel in any professional audio application, including tracking, mixing, mastering, live sound or broadcast situations. By using an opto-electronic design, (as opposed to a more typical VCA driven level detection circuit) the Pro VLA II allows more compression to be added to an audio source with a more natural, musical sounding output and virtually transparent dynamic leveling. This VCA-less design coupled with a 12AT7 vacuum tube in the gain stage makes the Pro VLA II tube compressor the ideal dynamic control device for critical studio and live sound applications.These are the differences between the Pro VLA and the Pro VLA II:1. Enhanced Link modeIn link mode, CH1 output control acts as a master output level and CH2 becomes a Balance control. This optimizes the Pro VLA II for use as a mastering processor.2. Active balanced outputs. The old VLA has balanced outputs that have 6dB more gain than when using them in the unbalanced mode. This shows up as an error when using the VU meter to compare the input and output level.3. LED output meter. a. Always monitors the output level allowing the user to view Both input and output levels at the same time.b. LED meter indicates both average level plus Peak hold.4. Attack and Release knobs vs. switches. The Old VLA compressor has switches that allow the user to adjust the attack time between “Fast” (~1mSec) and “Normal” (~10mSec). The release switch can be set to “normal” (200mSec) and “Auto” (program dependant, but rather long an average). a. Attack time as ranges from .25mSec to 50mSecb. Release time ranges from 0.15Sec to 3Sec. (This is program dependant at shorter release rates).c. Improved detector that lowers low frequency distortion at fast release rates.5. Improved packagea. Rounded front panel machined to countersink all knobs and level meters.b. Re-enforced ears.c. Led lit switch caps.d. Heavier chassis and cover ruggedized for longer life on the road.6. Lower noise. a. +4dBu/-10dBv mode switch optimizes the unit for Pro OR consumer operating system levels.b. Toroidal transformer reduces mechanical and electrical hum.c. Tweaked Tube circuit for better dynamic range.d. Increased transformer shielding.7. Increased ranges on Threshold and Output gain. This allows the user a wider range of operation. a. Old threshold = -20 to +15, New Threshold range = -30dB to +20dB.b. Old Output gain max = +10dB, New output Gain = +20dB8. LED lit VU meters. No more dark meters due to blown out bulbs.9. All of the pots have detents. a. Imparts a more professional feel.b. Makes settings more repeatable.Vactrol Opto-compression design (No VCA)Mastering-quality audio signal path with tube gain stageEnhanced link mode Variable threshold, ratio and output controlsLED backlit VU input/output level meteringLED metering indicates both average level and peak holdAccurate ten segment LED gain reduction metering+4dBu/-10dBV mode swit

Bss Audio Dpr-402 Dual Compressor De-Esser Limiter $1499.99 The DPR-402 is a 2-channel compressor/limiter, high frequency de-esser and wide band de-esser with peak limiting, adjustable speed, dynamics program manipulation, and full LED metering for both input and output. Integrated side-chain and gain reduction metering allow for continuous dynamic activity monitoring. Auto mode provides program dependent attack and release control.

Afi Chrome Trumpet Air Horn 24v Single $309.99 Afi Chrome Trumpet Air Horn 24v Single . Includes compressor, air tubing, fittings, and hardware Dimensions: 17 L x 3-3/4 W x 3-3/4 H Includes compressor, air tubing, fittings, and hardware Maximum amp draw: 12 Volt: 20 Amps, 24 Volt: 10 Amps