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SKU
33903
$149.00
Eventide Omnipressor Dynamics Processor with Sidechain - Electronic Delivery
Classic dynamics processor plug-in - a faithful emulation of the “dark meter” unit and is popular among some of the world’s leading producers and engineers as a dynamics-modifier with variable expressive controls of all aspects of a signal’s dynamics
The Eventide Omnipressor plug-in is a faithful emulation of the “dark meter” unit and is popular among some of the world’s leading producers and engineers as a dynamics-modifier with variable expressive controls of all aspects of a signal’s dynamics. The Function control allows you to set compression and expansion ratios over a wide, continuous range from extreme expansion to infinite compression and beyond. Dynamic reversal, which reverses a sound’s envelope, allows you to make loud sounds quiet and quiet sounds loud.
Introduced in the early 1970s, the Omnipressor was the first dynamics effects processor of any kind. Originally invented by Eventide’s founder, Richard Factor (and later redesigned for production by John Paul), the Omnipresssor made a host of effects possible. It featured variable control of all aspects of dynamic modification. It also introduced the notion of the ‘side chain’ and foretold techniques that today we take for granted like ‘look ahead’ processing.
FEATURES:
Dynamics Processing — capable of creating otherworldly sounds
Dynamic Reversal — the first of its kind, soft signals come out loud and loud signals come out quiet, simulating tape reversal, a near unique attribute of this versatile compressor
Function Control — sets a ratio over a continuous range allowing extreme expansion, to infinite compression, and is even able to push further into dynamic reversal
Variable Control of attack and release time
Variable Control of maximum gain and maximum attenuation
Side Chain allows the level detect of the Omnipressor to be driven by another audio source
Gating — amplitudes of signals that fall below a set threshold are ‘squooshed’
Erin Tonkon broke into the world of engineering at a young age and started learning under the best at NYU's Clive Davis Institute of Recorded Music. During her studies, the budding engineer began working with production legend Tony Visconti. Over the course of six years, Erin would work side-by-side with Tony, including handling the engineering duties for David Bowie's final record, Blackstar, in addition to releases from Esperanza Spalding and The Damned.
In recent years, Erin has continued to amass an incredible discography of work, including mixing albums for Sad13, Richard Hell, Rosie Tucker, Lady Lamb and more. She is also the co-founder of a new company that is trying to revive the New York City music scene post-pandemic by bringing together musicians, producers, multiple studios and a new live venue. Continue reading →
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