Triton Audio Kompressor

The Kompressor, left, is adjusted using a single less/more knob that doubles up as a signal level meter. Triton also offer the Airhead variable attenuator (right) which can be handy if you want to use the Kompressor with louder sources or more sensitive mics with a higher output level.

This diminutive device promises instant polish when recording dialogue.

Most famous for their FEThead inline mic booster, Netherlands‑based Triton Audio have carved out a nice niche for themselves with a range of miniature problem‑solving tools that plug straight onto a microphone or between two XLR cables. Their range now includes several booster preamp, phantom power supply, phantom blocker and high‑pass filter options, as well as some more creative tools designed to apply different analogue characters to your source.

For review here is one of their most recent releases, an intriguing combination of opto‑style compressor and 25dB FET boost stage in their familiar XLR barrel format. It’s designed to partner with low‑output moving‑coil and ribbon mics in situations where you might benefit from some convenient dynamics control at the recording stage, whether for dialogue or singing applications, and while it requires phantom power to operate, crucially it doesn’t pass this on to your mic, so vintage ribbon mics aren’t at risk. Of course, this also means it’s not really suitable for use with capacitor or active ribbons, though you could use an external phantom supply, if you really wanted to. Control‑wise, the Kompressor is very simple, with just the level of the mic signal and a single, small knob ranging from ‘less’ to ‘more’ determining the amount of gain reduction. The translucent knob doubles up as a crude visual meter, a small LED lighting behind it to indicate the incoming signal level (and thus the amount of compression).

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