A-Designs HM2 Nail Dual Channel Compressor / Limiter Features Solid state/tube hybrid design combines high performance with rich sound Dual channel with switchable stereo link or dual mono modes Mix control lets you blend wet/dry signal for parallel compression Hard Threshold and Filter let you select amount of compression and frequency (to 250Hz) to prevent mix from being “dragged down” by LF energy Awarded “Mix Certified Hit” by Mix magazine Custom-milled aluminum knobs Custom-milled aluminum faceplate LED Indicators switchable to stereo Gain-reduction switch for meters 2U rackmount Balanced XLR outputs Carling toggle power switch Red jewel power indicator In/out switch The A-Designs NAIL is one of the most musical yet transparent compressors ever manufactured.  Housing hand selected tube circuitry and top-shelf components specifically chosen to best compliment and enrich the extended bandwidth of state of the art recording and mixing tools, the Nail is completely at home strapped across the main outs of hardware mixers or breathing analog warmth into DAW setups. While it has the ability to add character to any sound, it can also control dynamics very subtly in the background; and, unlike most compressors, the NAIL can be hit really hard without having the top end dragging down. Being able to switch from linked stereo to dual mono makes it a perfect tracking compressor as well; or, on a stereo mix, using dual mono with different settings on each side can have the effect of making the mix sound wider. The NAIL’s unique combination of Threshold, Hard Threshold, and Filter allow precise control over the amount of compression, the level at which it will engage, and the frequencies above which it will act.  There is no need for a Ratio control – it is continuously self-adjusting in response to program material.  With Hard Threshold disengaged, Threshold increases gain reduction (like an LA2A), the attack and release controls don’t do much, and the NAIL becomes a model of simplicity - set its threshold and gain, and let the NAIL work its magic.  For finer control, Hard Threshold opens up a world of compression-/envelope-shaping possibilities. Like the hard knee of a traditional compressor, Hard Threshold works in conjunction with the Filter - a variable HPF continuously tunable from 8Hz to 250Hz. Once the Hard Threshold is crossed, the NAIL will apply desired compression above the selected frequency and less to the frequencies below, preventing higher energy bass frequencies from triggering unwanted compression and ducking the entire mix. The Filter can also be used to enhance bottom end for bass-heavy music without throwing the mix’s entire frequency spectrum out of whack, as a multi- band compressor often does.   The HM2’s remaining continuously variable controls - Attack, Release, and Gain - function as expected; however, Attack and Release are dependent on the settings of the Hard Threshold and also respond dynamically to program material, making for a more flexible and musical performance than traditional “once size fits all” attack/release circuits.  Other toggleable functions include In/Out for quick A/B comparison; Stereo Link On/Off; and the ability to switch the NAIL’s LED dual metering ladder (chosen for it’s ultra fast response and the ability to see it clearly from across a dark-lit control room) from Gain Reduction to Level. Another one of the NAIL’s incredibly cool features is its Mix knob, which provides continuously variable control between direct (dry) and compressed signal, enabling you to apply parallel compression to a sub-mix without losing two aux send/return or mixer channels.  Having the capacity to easily reduce the amount of compression being applied without changing the settings or sound of the compressor is unbelievably useful – it’s a mystery why more compressors don’t have it.   As its name suggests - whether it’s transparently controlling dynamics while getting tracks into your DAW or hardware recorder, squashing sounds to give them more character, or putting the finishing touches on a final mix….the A-Designs HM2 Compressor Nails it!

The Amtec Model 099 is a tube compressor/limiter based on the legendary Fairchild 660. The unique character of the original unit is retained with an addition of some new functions and options.The signal path topology is the same as in its famous precursor from the 50's, but switchable output attenuator is also included. The compression/amplification takes place in a single push-pull tube stage, that consists of readily available tubes. The tubes form a feedbackless amplification circuit with variable-mu characteristics that interfaces with the outside world via high-quality custom input and output transformers.The output attenuator allows to reduce the output level and increase the input level, so that more harmonic content can produced by the 099.The output attenuator control also acts as a termination switch. The original Fairchild unit is unique in that the variable-mu tube gain stage drives the output transformer directly and any load on the output that is other than the proper 600 ohms load disturbs the operation of the gain stage by changing its transfer function. It leads to restricted gain reduction law and also changes the frequency response.We eliminated the problem by including the termination switch. If the following device has modern-style high-impedance "bridging" input, it can be terminated right at the output of the 099 (using the Hi-Z part of the switch), so that the overall load is 600 ohms.The sidechain circuit that controls the actual compression has transformer-balanced input and can be internally routed from the output of the unit post-compression (i.e. feedback topology that is typical to the Fairchild and majority of other compressors, this position is marked NORMAL), from the input of the unit pre-compression (feedforward topology, marked FRWD) or from the external input on the back of the unit (position EXT).This sidechain signal can be filtered, so that the compression is not triggered evenly by the whole frequency spectrum. The rotary switch FILTER lets the user to choose from no filtering, one of four low frequency cut positions or the high frequency boost position marked D-S (de-essing).The compression slope switch has six positions from gentle compression (2:1) to limiting (20:1). The compression slopes are of soft-knee characteristics.The standard six time constans of the original Fairchild are preserved with no changes to them and are marked 1 to 6 around the Time Constans knob. These constans have fast attack time, so to greatly increase the 099's versatility we added some new time constans. These constans are marked P, S, E and D and offer longer attack times, therefore are better suited to processing of drum and bass tracks, as well as the whole mixes. The position D (like Drums) has especially long and uniquely shaped attack.On the other hand, the position marked F is the faster version (both attack and release) of the standard preset 1.The unmarked position at the bottom of the switch disables any compression.One feature of the 099, particularly rarely seen in pro-audio equipment, is presence of the Stand-by switch. It allows to greatly reduce anode voltage supply, while keeping all of the other internal voltages intact (including the heater supply) and thus preserving the tube life, while not in use for prolonged period.Unlike the original unit, the gain reduction meter scale in the 099 is accurate.The entire calibration of the unit and the tube replacement can be done without the need to take the unit out from the rack. Each tube in the 099 has independent balance trim control making the calibration quick and easy.

10DCF Features The 10DCF, which builds on the capabilities of the 10DC compressor/limiter, features Carnhill and Jensen transformers, all discrete circuitry while adding a brand new, inductor-based bypass filter. The 10DCF bypass filter delivers increased flexibility while recording low frequency ranged instruments, and engages at 50, 80, 160 and 300 Hz — perfect for users who want to compress a broad frequency range while leaving lower frequencies uncompressed. The 10DCF units are also stereo linkable, making them the perfect complement for the output stage of a mixer. The 10DCF is an incredibly versatile tool for both tracking and mixing. It retains the same top grade, Class A circuitry that is present in BAE gear, while providing bypass filter options that make it more customizable, especially useful for drum and bass applications. Aside from its unmistakably authentic sound quality, the 10DCF also features a useful range of features on its front panel, including Elma stepped switches for each control, BAE Audio's trademark Marconi knobs, and a gastank style analogue meter. The combination of these elements provides users with accurate visual and tactile reference points as they adjust and shape their sounds. The metering on the 10DCF incorporates a sleek and simple design, with easy to read white lettering set against a black background in a rugged gastank style encasement. The 10DCF is hand assembled in California using only premium grade analogue components. Discrete Class A transformer-coupled circuit throughout. Fully independent Compressor and Limiter for separate audio dynamics control. Intuitive layout with illuminated meter showing gain reduction. High quality stepped Elma® switches for dialing accuracy and repeatability. True bypass even when the unit is off. Same remote power supply as used on other 24VDC BAE units. One power supply can run two units. Now with internal PSU. No External PSU needed.

10DCF Features The 10DCF, which builds on the capabilities of the 10DC compressor/limiter, features Carnhill and Jensen transformers, all discrete circuitry while adding a brand new, inductor-based bypass filter. The 10DCF bypass filter delivers increased flexibility while recording low frequency ranged instruments, and engages at 50, 80, 160 and 300 Hz — perfect for users who want to compress a broad frequency range while leaving lower frequencies uncompressed. The 10DCF units are also stereo linkable, making them the perfect complement for the output stage of a mixer. The 10DCF is an incredibly versatile tool for both tracking and mixing. It retains the same top grade, Class A circuitry that is present in BAE gear, while providing bypass filter options that make it more customizable, especially useful for drum and bass applications. Aside from its unmistakably authentic sound quality, the 10DCF also features a useful range of features on its front panel, including Elma stepped switches for each control, BAE Audio's trademark Marconi knobs, and a gastank style analogue meter. The combination of these elements provides users with accurate visual and tactile reference points as they adjust and shape their sounds. The metering on the 10DCF incorporates a sleek and simple design, with easy to read white lettering set against a black background in a rugged gastank style encasement. The 10DCF is hand assembled in California using only premium grade analogue components. Discrete Class A transformer-coupled circuit throughout. Fully independent Compressor and Limiter for separate audio dynamics control. Intuitive layout with illuminated meter showing gain reduction. High quality stepped Elma® switches for dialing accuracy and repeatability. True bypass even when the unit is off. Same remote power supply as used on other 24VDC BAE units. One power supply can run two units.

10DCF Features The 10DCF, which builds on the capabilities of the 10DC compressor/limiter, features Carnhill and Jensen transformers, all discrete circuitry while adding a brand new, inductor-based bypass filter. The 10DCF bypass filter delivers increased flexibility while recording low frequency ranged instruments, and engages at 50, 80, 160 and 300 Hz — perfect for users who want to compress a broad frequency range while leaving lower frequencies uncompressed. The 10DCF units are also stereo linkable, making them the perfect complement for the output stage of a mixer. The 10DCF is an incredibly versatile tool for both tracking and mixing. It retains the same top grade, Class A circuitry that is present in BAE gear, while providing bypass filter options that make it more customizable, especially useful for drum and bass applications. Aside from its unmistakably authentic sound quality, the 10DCF also features a useful range of features on its front panel, including Elma stepped switches for each control, BAE Audio's trademark Marconi knobs, and a gastank style analogue meter. The combination of these elements provides users with accurate visual and tactile reference points as they adjust and shape their sounds. The metering on the 10DCF incorporates a sleek and simple design, with easy to read white lettering set against a black background in a rugged gastank style encasement. The 10DCF is hand assembled in California using only premium grade analogue components. Discrete Class A transformer-coupled circuit throughout. Fully independent Compressor and Limiter for separate audio dynamics control. Intuitive layout with illuminated meter showing gain reduction. High quality stepped Elma® switches for dialing accuracy and repeatability. True bypass even when the unit is off. Same remote power supply as used on other 24VDC BAE units. One power supply can run two units. Now with internal PSU. No External PSU needed.

Seit über 7 Jahren ist der Bettermaker Mastering Limiter das bevorzugte Werkzeug für Grammy-prämierte Mix- und Mastering-Ingenieure in der Pro-Audio-Branche. Er war verantwortlich für die Erzeugung von charakteristischen Klängen auf Billboard-Hits und Festivalhymnen und ist somit das letzte Glied in der Kette der größten Künstler der Welt. Nun wurde der Bettermaker Mastering Limiter noch besser, leistungsstärker und intuitiver mit der Einführung des Bettermaker Mastering Limiter V2.0. Das Team von Bettermaker hat unzählige Stunden Forschung und Entwicklung investiert, um Ihnen das ultimative Mastering-Tool für die Musikproduktion zu bieten. Der neue Bettermaker Mastering Limiter V2.0 ist mit zusätzlichen neuen Mastering-Funktionen, einem völlig neu gestalteten Steuerbildschirm und -plugin sowie Presets von Pro-Audio-Legenden ausgestattet. Mit dieser neuen Version können Sie Ihre Musik auf die nächste Stufe bringen und ihr den letzten Schliff verleihen, den sie verdient. Eine der größten Änderungen im Bettermaker Mastering Limiter V2.0 ist der neu gestaltete Steuerbildschirm und das Plugin. Die neue Benutzeroberfläche ist intuitiver und benutzerfreundlicher, so dass es einfacher ist, den Limiter zu navigieren und zu steuern. Sie können Ihre Musik nun präziser kontrollieren und anpassen, um den perfekten Sound zu erreichen, den Sie suchen. Darüber hinaus verfügt die neue Version über zusätzliche Mastering-Funktionen, die Ihnen mehr Kontrolle über Ihre Musik geben. Diese Funktionen umfassen eine Side-Chain, M/S-Verarbeitung und ein neues Messsystem, mit dem Sie Ihre Musik genauer überwachen können. Mit dem Bettermaker Mastering Limiter V2.0 haben Sie auch Zugriff auf Presets von Pro-Audio-Legenden, was es einfacher macht, den gewünschten Sound zu erreichen. Die Presets wurden von Experten der Branche sorgfältig zusammengestellt, so dass Sie sicher sein können, dass sie Ihnen die gewünschten Ergebnisse liefern werden. Zusammenfassend ist der Bettermaker Mastering Limiter V2.0 das ultimative Werkzeug für Mastering-Ingenieure. Mit seinen zusätzlichen neuen Funktionen, dem neu gestalteten Steuerbildschirm und -plugin sowie den Presets von Pro-Audio-Legenden können Sie Ihre Musik auf die nächste Stufe bringen und ihr den letzten Schliff verleihen, den sie verdient. Zögern Sie nicht, dieses leistungsstarke Werkzeug für Ihr nächstes Musikprojekt auszuprobieren. Das ist neu: Neuer aktualisierter Limiter-Engine Neue intuitive GUI und DAW-Plugin Breitwinkel-, Hochkontrastbildschirm Limiter Sidechain mit Hochpassfilter und Hochfrequenzbetonung Limiter Reduktionsbereich Neuer, neu gestalteter Clipper-Bereich Schnellere Release-Zeit Neugestalteter Farbbereich mit Farb-MS-Matrix Eingangs-/Ausgangsverknüpfung

The “Bluey” is a modified “Blue Stripe” compressor based off of the “golden” unit owned by Chris Lord-Alge. When certain components became unavailable, techs were forced to change the circuit, creating a one of a kind compressor that has been heard on countless hits.Any audio engineer worth their weight in gear will tell you about the special moments that occur on records by chance. We’re talking about the magic you can’t plan. It must occur organically, being comprised of sheer randomness or even flat out mistakes. For instance, the spontaneous banter from a vocalist in between takes that adds character to a track, or a radical new audio effect discovered through a simple routing mistake.The same good fortune sometimes shines upon a piece in the vintage gear world. Through decades of maintenance and repair, some units, like wine, get better with time. The scarcity of original parts leads technicians to diverge from the original design, creating an improved, one-of-a-kind, modified unit.Armed with an impeccable ear, decades of experience, and an abundance of coveted gear, legendary mix engineer, Chris Lord-Alge, was able to recognize one of his four 1176 Blue Stripe units as firmly sitting in this distinctive category. The particular unit, dubbed “Bluey,” has a special “mojo” to it that shines on vocal tracks like no other.Chris desired more channels of this golden unit, and reached out to the guys who know modifications best – the team at Black Lion Audio! Intrigued by Chris’ praise of the unit, head design engineer, Jesus Ortiz, boarded a plane from Chicago to LA to discover what gave this Blue Stripe its edge. He found a series of mods done to the unit over the years to keep it working that miraculously cumulated in a uniquely beast-like 1176! BLA analyzed the unit with pain-staking detail, and has, in conjunction with Chris Lorde-Alge, recreated the monster, now known as the new Black Lion Audio “Bluey!” Features: Fully discrete design Through hole components Polyester capacitors Vintage inspired one-sided PCB layout Cinemag remake of original UTC transformer Wet/Dry mix feature Linear power supply Precise meter calibration

Chandler Limited TG-1The Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late 60's. The TG Limiter was originally designed to be like the Fairchild 660/670 which was loved by many EMI engineers, including Geoff Emerick, but ended up with a very special sound all its own. These rare pieces were never commercially available and only EMI owned studios had access to them. Our version has been remade from the original design information and circuit board drawings as provided by Abbey Road and EMI to ensure extreme authenticity! The Limiter/Compressor features an all discrete circuit with transformer balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to a Fairchild 670 set to stun, is very audible and squishy sounding while maintaining its clarity and high frequency response. Features:    Selectable Compression/Limiting    THD control lets you bypass Comp/Limiting but still pass audio through the circuitry    Transformer balanced inputs and outputs    New input control provides better control at lower amounts of compression

Chandler Ltd. und Abbey Road bringen zum 75. Geburtstag der Abbey Road Studios mit dem TG12413 Zener Limiter und dem TG12345 Curve Bender zwei neue Geräte der erfolgreichen TG-Serie heraus. Der EMI TG12413 Zener Limiter ist der ultimative TG Limiter auf Basis des legendären RS168 Zener Limiters aus dem Jahre 1966. Chandler Ltd. Designer Wade Goeke fügte dem Grunddesign einige sehr sinnvolle Zusatzfunktionen hinzu, wie umschaltbare Eingangsimpedanz, schaltbare Eingangs- und Ausgangsverstärkung in 21 Stufen mit 1dB Schritten, Attackzeiten in 11 Stufen, Releasezeiten in 21 Stufen, schaltbarer HP-Filter im Sidechain sowie ein zusätzliches Comp2 Setting. Diese genannten Features machen den neuen Zener Limiter zu einem ausserordentlich flexiblen 'Arbeitstier', der den erfolgreichen TG Kompressor/Limiter Klang auf eine neue Stufe hebt.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

DAV Electronics BG No.6Stereo high quality limiter / compressor.Features:    Low noise and distortion [Decca 1977 circuit brought up to date]    Recovery time switched, 3secs and 0.3secs    Threshold calibrated in dBu ref. output level    LED metering Stereo couple    Limiter/compress On/off switch    Overall low noise and distortion.    Input gain control to +20dB.

SL22 - Loudspeaker and Headphone Sound Level Limiter   The Drawmer SL22 Sound Level Limiter is the perfect tool to protect speakers, the hearing whilst listening to headphones or to conform to Noise At Work Legislation. By eliminating the possibility of unauthorised excessive sound pressure levels it offers strict level control and tremendous peace of mind to users in three distinct areas:   1. Hearing Protection   Conform to Noise at Work Regulations by controlling the level of the dedicated headphone output to prevent hearing damage to anyone wearing headphones on a regular basis - DJs, sound engineers in recording studios, students listening to audio via various media. Additional connectors on the rear can be used for remote data logging or to trigger external warning devices.   2. Conform to Regulations   The precise calibration and volume controlling of the SL22 allows venues, such as clubs, theatres, pubs, schools, universities etc. to conform to Local Authority Noise Regulations. The need to conform to Local Authority Regulations is absolutely imperative, none more so than in the area of noise control. Many products are on the market that claim to do the job but these often take the form of a crude switch, either turning off the power or disconnecting the speakers, both of which are very disruptive in any event. The SL22 is different, it controls the volume, but in a transparent, unobtrusive way, that you will struggle to notice. Not only is it responsive and versatile but does so in a secure manner meaning that tampering is extremely difficult. Other features include remote dimming of the volume, as well as the connection to a fire alarm system, reducing the volume automatically during a fire and allowing the alarm to be heard more clearly.   3. Speaker Protection   Prevents the damage to speaker chassis drivers and amplifier electronics by catching unwanted signals such as bangs and pops. Whether in a large arena with a PA system and multiple speakers, or a bar or theatre, there are few things more troublesome than blowing a speaker cone or amplifier electronics. The SL22 has been specifically designed to transparently catch those unwanted SPLs and protecting the gear. Not only will it save money by reducing the cost of speaker repairs, but also reduce call-out costs of sound system service/repair engineers, lower sound system down time and the consequential loss of income, as well as the reputation of the venue.   Features   Limited speaker and headphone outputs Once installed and calibrated completely eliminates the possibility of unauthorised volume levels No sound quality loss even during protection processing Large LED level indication for at a glance monitoring of signals and warnings Time delay relays on outputs for clean power up/down Fast, simple installation Tamper-proof plate limits access to settings A security label is supplied to further secure the calibration settings and show evidence of tampering Tamper-Proof bracket (available separately) to lock-in the XLRs and conform to Local Authority regulations. Reduces call-out costs of sound system service/repair engineers, sound system down time and the consequential loss of venue income, as well as the reputation of the venue. External control of Dim and Mute for connection to Fire Alarms or remote operation Trigger output when in Protect mode Logging inputs for both Alert and Protect statuses

SPL-kontrolliertes Sicherungssystemfür BeschallungsanlagenStereo19”1HE

LAALLOOK AHEAD ANALOG LIMITERThe LAAL mastering limiter is absolutely exceptional in many ways. An innovative idea of detection and limiting process allowed it to achieve a new standard in analog mastering. One of the strongest advantage of its design is fully analog (0.2 ms) delay line to obtain “Look Ahead” ability. Thanks to it the detection circuit can react to even the fastest peaks. LAAL is extremely effective in this task, allowing you to reach great RMS levels when required, but with minimal side effects and without compromising sound quality. Your track will also preserve low-end energy and punch in wide gain attenuation range.FeaturesAll discrete audio signal pathVery high headroom (+/-24V INT. Powering)Highest quality audio transformersUltra stable linear power supplyThermal compensation for ultra precise detection circuitAnalog look ahead circuit (0,2 ms analog delay line)Variable stereo width functionDynamic transient functionVariable release time (stepped, 2 ms to 100 ms)Precise LED metering (0,2 dB steps)Precise Input/Output setting (0,2 dB steps)Peak hold function for gain reduction metersRotary step switches for all knobsStereo link for detectionCustom made shielded ac cordLimiter bypassHard bypassHandcrafted in Poland

The Volfram Limiter is a dual mono version of the legendary 1176 archetype. The 1176 is a very well known and appreciated compressor in professional recording studios all over the world. Whoever heard how this compressor works with vocals will never be able to manage without one. Additionally the Volfram works great with drums and synthesizers. It is a 45dB transistor amplifier equipped with a remarkable limiter. Compression is achieved with the FET controlled transistor. The unique feature of the unit is the implementation of traditional BC107B transistors known well from the original 1176 circuit. That’s right! They may cause noise – but this is what gives the sound its power. At extreme settings the Volfram adds some pleasant distortion to the output. The core of versatility in sound of the 2176 lies in the balance between the Input, Output, and Release knobs. All knobs are in fact 12-pole position switches. It is a pure A class circuit. Specifications: Dual mono versitile compressor/limiter XLR input/output 12-step controlled gain/output/attack/release Many different audio colors achieved with attack/release manipulation Compression Ratio from 1:4 to 1:20 "Slam" switches allow a less conventional use of the compressor "Link channels" switch Equipped with 3-step switch: Bypass/Gain Reduction/VU for both channels seperately Bypass switches off only the compression - the amp is still active (+45dB as in the original UREI) Ultra fast VU meters Internal power supply 230V/110V Power option Great for group compression  

The Volfram Limiter is a dual mono version of the legendary 1176 archetype. The 1176 is a very well known and appreciated compressor in professional recording studios all over the world. Whoever heard how this compressor works with vocals will never be able to manage without one. Additionally the Volfram works great with drums and synthesizers. It is a 45dB transistor amplifier equipped with a remarkable limiter. Compression is achieved with the FET controlled transistor. The unique feature of the unit is the implementation of traditional BC107B transistors known well from the original 1176 circuit. That’s right! They may cause noise – but this is what gives the sound its power. At extreme settings the Volfram adds some pleasant distortion to the output. The core of versatility in sound of the 2176 lies in the balance between the Input, Output, and Release knobs. All knobs are in fact 12-pole position switches. It is a pure A class circuit. Specifications: Dual mono versitile compressor/limiter XLR input/output 12-step controlled gain/output/attack/release Many different audio colors achieved with attack/release manipulation Compression Ratio from 1:4 to 1:20 "Slam" switches allow a less conventional use of the compressor "Link channels" switch Equipped with 3-step switch: Bypass/Gain Reduction/VU for both channels seperately Bypass switches off only the compression - the amp is still active (+45dB as in the original UREI) Ultra fast VU meters Internal power supply 230V/110V Power option Great for group compression  

EMPEROR LIMITER is an analog dynamics processor, which depending on the settings can work as a compressor, limiter or harmonics distortion generator. It was designed for creating the original, vivid, analog sound for instruments, subgroups and the whole mix. EMPEROR LIMITER is fitted with an intuitive, easy to operate control panel. EMPEROR LIMITER is a creative device giving the sound a powerful, analog character. It’s not transparent. EMPEROR uniquely enhances the perceived loudness, warms up and brightens the audio signal, depending on the DRIVE settings. The very core of the EMPEROR LIMITER is a FET transistor responsible for sound reduction and introduction of a small amount of low order harmonics, and it’s design is inspired by the limiters and transistor compressors from the 60-ties. Apart from that EMPEROR includes many original solutions stemmed from a long-term experience of Looptrotter in construction of dynamics processors, which guarantees unique sound. EMPEROR LIMITER is equipped with two, independently working filters embedded in the control circuit. This gives the possibility to create the timbre without unwelcome phase shifting: in case of cutting the low frequencies in the control signal, the EMPEROR acts more transparent and natural with the signals rich in low frequencies like kick drum, or bass guitar. This can decrease the distortion of low frequencies and the pumping effect; while boosting the high frequencies in the control signal the EMPEROR acts like an analog de-esser, or very fast compressor for bright and dynamic instruments. EMPEROR LIMITER offers three factory presets of attack/release: FAST – the fastest setting of processor’s attack and release makes the EMPEROR work as a limiter. This preset gives rich, dense input signal saturation; MED – this preset makes the EMPEROR work like a fast compressor; SLOW – this preset makes the EMPEROR work more like an analog compressor than limiter. EMPEROR LIMITER has also an independent control over DRY and WET signal. This allows to decide whether the audio tracks need only slight colorization, preserving the original dynamics, or if running the signal through EMPEROR in 100% is required. The signal path of the EMPEROR LIMITER is 100% analog, but all the signal switches and potentiometers are digital. The LINK option allows the control of both channels through left channel only. The 1% potentiometers used guarantee precise concurrency of both channels. EMPEROR LIMITER is an analog device, accurate and reliable.