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Dynacord SRS 56 - Pt.3/3
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Not only does the SRS 56 have a charming analog sound, we love it for its versatility. The two main delay/reverb sections feature separate controls for time and feedback, which can be used either in series or in parallel.
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So you can lay down your signal in a subtle, wide, modulated stereo image, or turn it into a wall of distortion and noise with lots of feedback. The internal compander circuitry gives it a different behavior than tape delays in these extreme settings, making it even more unique.
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#BBD #bucketbrigade #dynacord #srs56 #analog #delay #embeat

Dynacord SRS 56 - Pt.2/3
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Analog delays are often said to have a "warmer" and less harsh sound than the majority of digital devices. In this case, this is due to the principle of operation of BBDs, as the signal is filtered at various stages of the process.
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Before a signal enters the delay section of the SRS 56, it must be compressed and filtered. This gives the capacitors a more stable signal and prevents aliasing.
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At the end of the delay stage, another (LowPass-) filter is applied to remove audible clock noise, and the signal is expanded back to its original dynamic range.
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#BBD #bucketbrigade #dynacord #srs56 #analog #delay #embeat

Dynacord SRS 56 - Pt.1/3
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Machine with a twist.
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The Dynachord SRS 56 is not only a rare sight and hard to find in studio environments these days - it's also a pretty unique delay&reverb unit.
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Built in the late 70s and early 80s, you won't find any springs or tapes in it, unlike many other combo units from that era. The SRS 56 is a Bucket Brigade Device (BBD), which means that it’s interior makes use of a big number of capacitors to pass on the signal at a given time in order to achieve a delay effect.
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#BBD #bucketbrigade #dynacord #srs56 #analog #delay #embeat

TubeTech LCA-2B - Pt.3/3
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The Fairchild 670 two-channel tube limiter was released in 1959 as the successor to the 660 mono tube limiter. Both were developed by Rein Narma. Because of its special Lat/Vert (M/S) mode, the 670 was used in many broadcast studios and cutting rooms around the world. Its sonic fingerprint can be found in countless hit records.
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Like its ancestor, the LCA-2B is a so-called Vari-Mu(μ) compressor, which means that the sidechain continuously adjusts the tube bias to vary its gain(μ).This is reflected in a very fast and smooth compression with very low distortion.
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#tubetech #lca2b #varimu #embeat

TubeTech LCA-2B - Pt.2/3
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The manual mode makes this unit incredibly versatile. Extreme settings allow for super-fast transient response and very deep, yet clean gain reduction.
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At more subtle settings, it adds its silky tube sound and glue beautifully to a mix.
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And, of course, you can use the classic Auto Release 5 and 6 settings of the iconic 670.
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#varimu #lca2b #tubetech #embeat

TubeTech LCA-2B - Pt.1/3
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This is not your usual mastering compressor!
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TubeTech's interpretation of a classic Vari-Mu compressor doesn't just look stunning. It features an adjustable ratio, the time-constant presets of the iconic Fairchild 670, and a manual mode with wide-ranging attack and release times.
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#varimu #tubetech #lca2b #embeat

UREI generations - 1178 vs. LA-22 - Pt.6/6
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Aside from the distinctive UREI logo, the LA-22 has been completely redesigned both visually and sonically. It's a very modern looking unit with a Swiss Army knife approach that no longer has much in common with it’s vintage cousins.
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#RMS #compressor #80s #UREI #LA22 #embeat

UREI generations - 1178 vs. LA-22 - Pt.5/6
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Its ultra-fast attack and release times let the 1178 go far into distortion. Even in bypass mode, it has a strong saturation that glues bass and kick together very nicely. We like it on guitars, drums/percussion, vocals, and it's a go-to for that woody double bass sound.
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#FET #compressor #vintage #UREI #1178 #embeat

UREI generations - 1178 vs. LA-22 - Pt.4/6
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The LA-22 is extremely versatile and transparent, which is why it has been used in many broadcast studios. It is particularly well suited for use on the vocal bus.
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#RMS #compressor #80s #UREI #LA22 #embeat

UREI generations - 1178 vs. LA-22 - Pt.3/6
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Introduced around 1972, more than 1 1/2 decades before the LA-22, the 1178 became UREI's first stereo peak limiter. Before that, you had to awkwardly couple two mono units together. The 1178 is closely related to the 1176 Revision H and has a transformerless input stage.
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#FET #compressor #vintage #UREI #1178 #embeat

UREI generations - 1178 vs. LA-22 - Pt.2/6
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Less known is the UREI LA-22, which was built around 1988. It has two channels and a greatly expanded feature set, including seamless crossfading between peak and RMS detection, extensive sidechain EQ, expander and auto-ratio.
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#RMS #compressor #80s #UREI #LA22 #embeat

UREI generations - 1178 vs. LA-22 - Pt.1/6
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Most producers immediately recognize UREI compressor by their distinctive appearance: the brushed aluminum finish, the dotted knobs, the large VU meters, and last but not least, the embossed blue logo. Best known are the numerous revisions of the 1176 and the 1178 shown here.
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#FET #compressor #vintage #UREI #1178 #embeat