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  1. BAE 500C - 500 Series FET Compressor

    MFR#: 500C
    Compressor based on the design of studio staple FET compressors of the 60s and 70s featuring compression ratios of 4:1, 8:1, 12:1, and 20:1
    More Info
    In Stock
    Orders placed by 4:30pm ET M-F will ship the same day.
    • Free shipping to the lower 48 states for online orders of $99 and up.Free Shipping (USA)
    • We add an extra year to the manufacturer's warranty, giving you a full 2-years coverage - for free!Free 2-Year Warranty
    • If you don’t love it in the first 30 days, just contact us for a return authorization.30-Day Easy Return
    • Our friendly and knowledgeable sales team is here to support you before, during and after your purchase.Free Tech Support
    or $40/month for 24 months*

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Adding dynamic processing to your recording rig is a great way to control the extreme peaks of a performance, and also add attitude and excitement to a vocal, electric guitar, or drum performance.

Compressors are designed to control the dynamics of a performance, particularly vocals which typically have a wide dynamic range throughout a song. They can also be used in parallel to allow a blend between the natural and compressed signal, which can add life to guitars, vocals, or the entire mix. A compressor does more than just reduce signal. Often times, just running signal through an outboard compressor can add warmth and vibe to the recording, and no compression is necessary to achieve that sound. Compressors like the Fairchild 660 have multiple tubes, transformers, capacitors, and wire that signal run though. Every step of the circuit adds loads of analog warmth, and sometimes a great choice rather than boosting EQ. When looking into compressors, look at both Optical and Discrete options. Optical compressors such as the LA-2A have a fixed ratio, typically 3:1, and fixed attack and release times. You then have the option to adjust the threshold level to when you want the compressor to engage, and a make up gain to add back and signal that was lost with the compression. A discrete compressor has more control, allowing you to adjust the input and output independently, as well as the attack and release controls.

Some dynamic processors also provide the ability to gate a signal. With a gate, you can allow the main source to come through, then cut out all the extra bleed coming into the microphone. This is great on a full drum kit, where multiple microphones are used to capture the whole kit, but bleed from each drum is coming into every microphone. With the threshold control, you can allow just the transient of a snare drum to open the gate, then adjust the the release and range options to allow the full length of the sound to pass through.

With so many options available, it can be tricky to decide which dynamic processor will work best for you. Our Vintage King sales reps are highly trained with everything we carry, and can surely help find the right choice for you recording studio.