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When it comes to outboard gear, finding a unit that breaks new ground can be a bit of a challenge. Most modules aim to recreate the past, but Cranborne Audio has chosen to invent the future with the Brick Lane 500 PWM compressor.
Designed and engineered in the UK, the Brick Lane takes a bold approach to compression, utilizing Pulse Width Modulation (PWM) technology to accurately and truthfully recreate a wide range of different compression styles.
For this Hear The Gear session, engineer Bryan Reilly put the Brick Lane 500 through its paces on drums, bass, guitars, and vocals to demonstrate what this powerful new compressor can do for your mix.
The Brick Lane 500 is Cranborne Audio’s first entry into the world of dynamics processing, and they’ve done it with unmistakable style. PWM compression isn’t a new idea—it’s been used in high-end broadcast and mastering gear for decades—but Cranborne has reimagined the design for modern studios.
Unlike optical, VCA, or FET compressors, the Brick Lane’s PWM circuit uses a high-frequency switching process to modulate gain reduction, making it easy to switch between any style. The Brick Lane can emulate the attack, decay, and even program-dependent release settings of classic compressors.
Cranborne’s attention to detail extends to the user interface. The Brick Lane 500 offers six selectable compression modes (Velvet, Float, Smash, Tame, Glue, and Polish), plus continuous controls for threshold, ratio, attack, and release. Plus, with Cranborne’s innovative Analog Lookahead Technology, you never have to worry about clipping your signal (unless you want to, of course).
The innovative Stress knob makes it easy to dial in the perfect amount of harmonics, from crystal clarity to absolute destruction, while the Sidechain HPF ensures low frequencies remain tight and natural.
If you like to fine-tune every detail, the Brick Lane 500 has more going on under the hood than you might expect. Built into the unit are hidden Enigma menus that unlock advanced controls for shaping how the compressor reacts and sounds. These settings are meant for deeper tweaks, but once you know where to look, they’re easy to navigate.
To access the Enigma menus, flip DIP switch 6 (Enigma Access) to ON. From there, press and hold one of the Momentary Switches for about two seconds:
Once you’re in an Enigma menu, short presses on the left switch move through the available parameters. Each one lights up in a different color, so you always know where you are. To adjust the selected setting, use a short press on the right switch. When you’re done, a long press in either direction exits the menu.
The Left Enigma menu focuses on tone shaping, distortion character, and detection behavior:
The Right Enigma menu digs into dynamics control and timing:
To learn more about how to use the Brick Lane 500’s advanced Enigma parameters, check out these tutorial videos.
For this session, Bryan Reilly ran a variety of sources through the Brick Lane 500, comparing how the different tonal modes and compression settings shaped each sound. All tracks were recorded through BURL Audio converters, and the specific mics and preamps used are noted on each instrument.
On tracks that use Enigma, we'll be taking an in-depth look at Bryan's recall sheets to show you what he chose for each setting.
The Brick Lane 500 proves its mastering-grade capabilities on the stereo mix bus. The Glue mode provided subtle cohesion, gently taming peaks while enhancing the track's overall punch. For a more transparent approach, the Polish mode added smooth level control with both light and moderate gain reduction.
Vocals performed by Mike Leslie, recorded using a Peluso Microphone Lab P-414 condenser microphone and UnderToneAudio MPDI-4 microphone preamp.
On lead vocals, the Smash mode delivered aggressive, present compression that locked the performance in place with a modern, in-your-face character. Conversely, the Velvet mode with added Stress provided a smoother, more vintage-inspired compression that enhanced warmth and body without harshness.
For verse vocals, the Tame mode with Stress at maximum controls dynamics while adding a saturated, textured character that helps the parts blend into the mix. The Velvet mode offered a cleaner, more polished alternative for smooth leveling.
On a vocal track drenched in reverb and delay, the Smash mode creates a dense, atmospheric effect. To help make this track stand out in the mix, Bryan processed the verse and chorus vocals separately, using Enigma mode. In comparison, the Tame and Velvet modes provided more controlled compression.
The Brick Lane 500 truly shines on a drum bus. The Float mode with added Stress provided lively compression that enhanced the kit's natural energy. For more aggressive styles, the Smash mode delivered punchy compression that accentuated transients, while Tame offered a middle-ground approach that helped control the peaks.
On the drum room mics, the Tame mode with max Stress created a saturated, explosive room sound that added weight and vibe to the kit. The Glue mode provided a more refined compression that blended the room mics smoothly with the close mics, enhancing the overall ambience without overwhelming the mix.
The Float mode on bass guitar provided a tight, focused compression that locked the low end in place with a modern punch, while the added Stress introduced pleasing harmonics. The Velvet mode offered a rounder, warmer compression that enhanced the bass's fundamental tone and sustain.
Bass recorded using a Fender Mark Hoppus Artist Series Signature Jazz Bass through an UnderToneAudio MPDI-4 preamp.
For acoustic guitar, the Smash mode accentuated the pick attack and string noise, creating a percussive, forward sound ideal for rhythmic parts. The Tame mode provided a more balanced compression that evened out the performance while preserving the instrument's natural tone.
Acoustic guitar recorded using a Martin 000-16 StreetMaster through a Soyuz 017 FET microphone and an UnderToneAudio MPDI-4 preamp.
On a clean electric guitar, the Velvet mode added lush warmth and sustain, emulating the feel of a classic tube compressor. The Float mode provided a cleaner, more transparent compression that preserved the sparkle and chime of the amp.
Electric Guitar 1 recorded using a Gibson Les Paul Traditional Pro through a 1974 Fender Twin Reverb amp with a Coles 4048 ribbon mic through an UnderToneAudio MPDI-4 preamp.
For a distorted rhythm guitar, the Glue mode seamlessly tightened the performance, ensuring it sat perfectly in the mix without losing its edge. The Tame mode with high Stress added aggressive saturation and punch, while the Velvet mode with light settings offered a smoother, more refined dynamic control.
Electric Guitar 2 recorded using a Gibson Les Paul Traditional Pro through a Marshall JCM900 amp with a Coles 4048 ribbon mic and a United Studio Technologies UT FET47 through an UnderToneAudio MPDI-4 preamp.
The Cranborne Audio Brick Lane 500 PWM Compressor is a true innovator in the 500 Series format. Its unique Modal Compression and Stress controls provide a palette of sonic colors that simply isn't available in any other single module.
Whether you're looking for the smoothness of an opto, the punch of a VCA, or the weight of a vari-mu, the Brick Lane 500 delivers—all while adding its own distinct, musical character. From subtle mix bus glue and polished vocals to aggressive drum compression and saturated effects, this compressor adapts to nearly any task with ease.
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