Feedback and feed‑forward compressors can sound very different. Which type is right for which job?
Billed as an instant mastering device for on‑stage use, the DOCtron IMC could well be an entirely new class of audio processor.
Part of their new American Heritage line, the Madrid‑based manufacturers’ latest offering is their take on the mighty Fairchild Model 670.
VoxDucker aims to make the ducking process more intuitive, so that podcasters and the like can get consistently good results.
Designed from the ground up for processing multi‑channel Atmos sources, Spherix boasts some innovative and useful features.
This quality analogue processor offers precise and intuitive control over your compression.
Right out of the box, the Atlas compressor offers six types of digitally modelled compression based on revered studio hardware...
Sonible have packed even more ‘smarts’ into their second‑generation AI‑driven compressor.
This powerful 500‑series processor combines Wes Audio’s cutting‑edge digital control technology with the timeless sound of valve compression.
When and why might you want to reach for more than one compressor to process the same signal?
The right compressor settings give you endless power to shape the sound and groove of a multi‑miked drum recording.
Diode‑based compressors can be delightful but also rather noisy. True to its name, the Zen promises a more peaceful approach...
I’m seeing a lot of conflicting advice about using compression while recording. Some swear by it while others say it’s completely unnecessary with 24‑bit recording and modern converters. Where do you stand on this?
A stunning overhaul of SSL’s bus compressor, the Bus+ goes much further than most imitators without sophistication undermining ease of use.
This homage to a famous console compressor is keenly priced and offers some thoughtful extra features.
With its unusual method of applying gain reduction, the Hazelrigg VNE is no ordinary compressor.
API have been making excellent solid‑state outboard and consoles for decades, but their latest venture sees them using valves for the very first time.
Slate have taken the famous OTT effect and added a whole load more control, creating a unique dynamics processor.
A four‑band side‑chain EQ is just one of many nice touches in this new take on an analogue classic.
At heart, it models the same hardware as Slate’s FG‑2A, but Custom Opto’s tweaks make it useful on so many more sources!
This keenly priced device offers a bit more control than most valve compressors.
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