Universal Audio’s reissue of the vintage (late ’60s era), solid-state 1176LN Limiting Amplifier ($2,295) is one of the best compressors I’ve heard on kick drum, electric guitar, and especially snare drum. Many of the explosive snare sounds heard on past and present hit records were processed with an 1176LN. The single-channel unit also dishes up crystalline vocals and a burpy bass-guitar tone. Whereas the LA-2A shines on thin, piercing vocals, the 1176LN sounds particularly flattering on woolly vocals by improving clarity and intelligibility as it reins in levels.

Gimme a V, Gimme a C . . .
VCA-based compressors can be lightning fast and therefore generally offer better peaks control than opto and Variable-Mu units. They can also attain absurdly high gain-reduction levels—useful when you really need to smash down a signal. The downside of VCA designs is the tendency of lesser-quality units to dull high frequencies at high gain-reduction levels. In addition, some engineers don’t like the coloration VCAs can impart to the audio path. However, VCA-based compressors’ quality ranges widely, and some units sound far better than others.

I frequently use a pair of stereo-strapped Aphex Expressors (the solid-state Model 651s, which have been discontinued) for compressing an entire mix because, simply put, they are more transparent than any other full-band (as opposed to splitband) analog compressors I’ve heard. By transparent I mean that, at reasonable settings, the Expressors exhibit virtually no discernible amplitude-modulation artifacts (pumping and breathing, for example).

The acid test for any compressor is how well it can handle broadband, percussive material—that is, material with a lot of sharp transients and extreme bass and high frequencies mixed together. A good example of broadband, percussive material is a full-ensemble stereo mix complete with drum set, bass, and arpeggiated acoustic guitar. Most full-band compressors on the market do a mediocre if not terrible job handling that kind of material. When transients or heavy bass content cause abrupt compression, full-band compressors tend to pump, sucking down easily audible mid and high frequencies.

A pair of stereo-linked Expressors can really beef up a mix without pumping. The Expressor is also extremely stable on acoustic guitar, and it is the best compressor I’ve heard on kick drum. A serviceable workhorse on bass, vocals, and electric guitar, the Expressor’s only downside is it can be a tad noisy and thin sounding. Because compressing a full mix usually makes bass content perceptually louder, the latter consideration is not much of an issue—I’ve heard tube compressors that offer a much fatter sound but are not nearly as stable. (If you’re interested in the Expressor note that the original, solid-state model 651 was replaced by the Aphex 661 tube compressor/limiter, which adds a tube in the audio path and an auto mode. The 661 features the same ultratransparent VCA 1001 gain-control element, but the audio path sounds a bit veiled compared to that offered in the original solid-state Expressor.)

The extremely versatile Empirical Labs Distressor features digital-control circuitry that switches the unit between four VCA-based analog compressors inside the same box.

Another really great VCA-based compressor is the Empirical Labs Distressor ($1,499 for the single-channel version, $2,899 for the dual-channel). The Distressor is a digitally controlled analog compressor featuring a custom Class A VCA and standard Class A/B op amps in the signal path. The digital circuitry actually switches the unit between four different and independent solid-state compressors—all in one box—making for one of the most versatile compressors on the market.

If you buy a Distressor, order the new British mode option, which costs an additional $100. Simply put, British mode “kills.” With the right settings, you can make a Distressor in British mode sound a lot like a vintage 1176LN; it serves up unbelievably savage power-pop snare sounds, crunchy guitars with beautifully long sustains, and in-your-face vocals with crystalline highs. (See the sidebar “Dialing in Hot Sounds” for sample control settings.) The Distressor also delivers fat, burpy electric bass-guitar tracks (with British mode turned off) that sound quite similar to what a great tube compressor would produce.

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Reprinted with permission from Magazine, February, 2001
© 2001, Intertec Publishing, A Primedia Company All Rights Reserved