Released in the 1960s, Shure’s M62V Level‑Loc Audio Level Controller was a mic‑level device intended for use with public address systems. It had few controls and delivered no‑nonsense, high‑ratio compression for microphone users who, from an engineering perspective, weren’t expected to know what they were doing! But in the decades that followed, engineers began to notice that this humble‑looking box had a unique sound that could be used creatively in the studio. One famous proponent is Tchad Blake, who discovered the Level‑Loc when working on the Tom Waits album Bone Machine and described it as a “life‑changing” discovery. In the decades since, Blake has found the Level‑Loc a willing accomplice for his distinct mixing style.
This new plug‑in is the result of a collaboration between Blake and Korneff Audio, and is officially endorsed by Shure too. You can find out more about Tchad Blake’s use of the Level‑Loc and Korneff’s approach to this plug‑in in Sam Inglis’ interview‑based article that appeared when the plug was announced at NAMM this year: https://sosm.ag/RecreatingLevelLoc. But here, I’ve put it to the test to see if it delivers on its promise of being an authentic emulation with useful digital trimmings.
The original’s user controls are as simple as they come: an input control is paired with a ‘distance’ selector, which acts as a crude threshold. Other than a Level‑Loc/bypass switch, that’s it. The plug‑in replicates these functionally and visually, but also lets you switch between three different modelled units — these devices have often been repaired and modded over the years, so have slightly different sonic characteristics. Models TB1 and TB2 are from Tchad Blake’s studio, while DK is modelled on plug‑in designer Dan Korneff’s own. In use, switching between the units revealed very subtle tonal differences that were more audible when applying heavy compression. It certainly made me appreciate just how thorough Korneff Audio have been in remaining faithful to the spirit of these often quirky vintage devices.
Some users will find all they need in the main GUI, but as with most Korneff plug‑ins, you can dive much deeper, with the option to do things like change resistor and capacitor values.
In addition to the skeuomorphic GUI, a selection of controls lets you blend the sonic character of this traditionally heavy‑handed tool into your mixes, without you having to perform additional routing in your DAW or resort to third‑party routing plug‑ins (as I’ve often had to do when using other Level‑Loc‑inspired plug‑ins). As well as the standard input and output level controls you can see in the main image, there are Pre and Post filters that, it’s important to note, filter the audio itself as opposed to the side‑chain control signal. As you’ll see/hear if you explore the excellent presets provided by Tchad Blake, these filters can be used in combination with the overall parallel wet/dry control to access a surprisingly diverse amount tone‑shaping options.
Korneff Audio are known for providing lots of ‘under the hood’ controls to fine‑tune and customise what’s possible with a device, and in this case there are a number of tweakable controls, including input and output impedance settings, as well as a few component‑swap options like resistor and capacitor values, which can affect the release time of the compression circuit. If that weren’t enough, we can also mimic powering the unit using a battery that’s running low, something which apparently can affect the saturation and ‘bloom’ of the compression. I must admit, I tend not to get overly ‘tweaky’ with plug‑ins and I found many of these additional settings to be subtle on the ear. But I could hear small changes in tone and level, and if you like to experiment and set your gear ‘just so’, you could have a lot of fun playing with this section!
It can be employed as a much more subtle tone‑shaping device used to add presence and shape to guitars, vocals, piano and... well, pretty much anything!
Many people will think of the Level‑Loc as an aggressive ‘character compressor’ to be deployed when things need shaking up. This plug‑in delivers that, and especially when used on drums you can quickly achieve that signature, pumping ‘smacky’ sound that can either be used as a blunt tool or carefully blended in to taste using the wet/dry control. What struck me about this plug‑in, though, thanks in part to the excellent presets, is how it can be employed as a much more subtle tone‑shaping device used to add presence and shape to guitars, vocals, piano and... well, pretty much anything! Some of Tchad Blake’s presets pair aggressive compression with assertive use of the high‑ and low‑pass filters to focus in the processing on elements in the midrange. Often the wet/dry blend will only be set to 10‑20 percent, but it still has the effect of making elements cut through the mix or just have a little more attitude. I used this technique many times over a couple of mixes I was working on during the review period, and it was instrumental in getting a couple of stubborn tracks to feel more exciting.
Conclusion
We have so much choice these days, and I’m sure we can all relate to the experience of thinking a new plug‑in is the ‘bees knees’ only to then realise you’ve not used it for six months! I try to take that into account when reviewing, and I really don’t think this plug‑in will end up being like that. It offers me something different to the many, many other plug‑ins I have to play with. You can throw it on a track or a bus and quickly make a call on whether it adds something helpful. If it’s working, you then have a load of options for fine‑tuning and tweaking. In short, I’m impressed, and at the very least you should have a little fun trying out the free trial.