Impresser was modeled after one of the most flexible, powerful and edgy compressors known to the audio world. Its signature sound is due to a unique analog design and a very special feature set. Impresser fits the best from classic vintage compression while adding a wider range of control options to the table. This vintage unit, now recreated by the powerful Antelope Audio FPGA engine, can handle it all. Impresser can add gentle and warm compression to your tracks or aggressively pump up any source audio.
The flexibility of Impresser is aided by the addition of its own harmonic distortion. This can be used for subtle, tube-quality distortion and even instead of a tape saturator. It works magic with or without the Impresser compressing the signal. Our own contribution to the effect comes as adjustable frequency settings for the High and Band Pass Sidechain Filters. This offers you even deeper control when shaping the frequency range where you need the Impresser doing its job. Like all Antelope Audio FPGA compressor models you can use the Impresser either on mono or with two channels stereo linked.
PowerGate is Antelope Audio’s very first noise gate tool. Requested by our trusted users, it’s now available with all our Thunderbolt & USB or HD interfaces for free. PowerGate allows you to track audio from sources with unwanted background or ground noise. It will keep you sound free of any artifacts such as bad resonances, bleeds from other sources or excessive sustain. PowerGate features a standard set of controls. Precise Threshold, Attack, Hold, Decay, Range and Gain knobs allow yo to adapt the unit to any kind of problematic sound.
Modeled after another 1950s legend, Tubechild670 allows you to finally achieve the real sound of the golden age of rock’n’roll. An expensive collectors item, the hardware original has been sought after and used by more studios and on more hit records that you can ever imagine. And now thanks to our real-time FPGA modeling platform is in your hands for free.
Tubechild670 is a precise peak limiter, which sounds natural and thick. Tubechild670 allow you control over the Input and Output Gain levels, the Threshold and the Time Constant. Its signature sounds we owe to a very smart and simplistic circuitry design, short attack compression with long release time. It will help vocals and leads shine in the mix. Tubechild670 also works its magic on the drum bus and it’s spectacular when applied to glue groups of other instruments like synths. It’s very subtle in terms of adding its own character to the overall sound but you can’t mistake a Tubechild670-treated track as it just sounds great.
Grove Hill Liverpool
Grove Hill Liverpool is a contemporary fusion of 1960s’ finest American and British compression technologies. This compressor sounds just like you like it – rich, wide and thick. Run acoustic guitars through it and you’ll hear them as clear as possible, yet with more full-bodied sound and soul. A great mid range healer it’ll add a desired smoothness to guitar leads, synths and vocals. When applied to bass you’ll achieve big and warm sound, push harder and you’ll add an edge without affecting clarity.
BA-6A is following the original simple, beautiful and effective design of a 1950s legendary limiting amplifier. It was originally created for TV and radio broadcasting purposes, but was quickly adopted by many recording engineers because it was easy to use and sounded so great. Even today the BA-6A not only holds up, but is still sought after and used in various pro studio facilities across the globe. Allowing three-stage amplification with a moderate drive, hard knee, fast attack and medium release, BA-6A has a balanced and vintage sound. It can help you tame the most aggressive and peaking instruments or the wildest mixes without losing any of the music’s punch.
Without a doubt a 1980s classic SMT-100A is one of the easiest compressor effects to get used to working with. But this ease of use doesn’t come at the cost of effectiveness and sound. For over 30 years now this unit has been preferred by top pros for its fast attack times, which can do a great job to vocals, drums and punchy bass. In the FPGA domain we’ve made sure to preserve the special sound of the SMT-100A and its simplistic design and control set so you can focus on the sound you want to get, meaning the smooth touch of vacuum tubes, without getting too geeky technically to master this 80s legend.
If you need some good, punchy and classic-style compression the FET-A78 is definitely among your top choices. Its sound can be found on a huge number of your favorite pop and rock records, this one acts great when processing instruments individually. It’s incredibly flexible so don’t hesitate to treat drums, guitars or vocals with it. FET-A78 also doesn’t disappoint when added over a group of instruments, such as backing vox, overheads or crazy synth lines or sound design. You can use it in stereo mode or even apply it on overly dynamic bass lines so they finally behave themselves in the mix.
Modeled after another late 1950s legend, ALT-436C is an iconic single channel, variable-mu tube compressor with fixed attack controls. Being the third revision of a compressors series, which were heavily modded by sound engineers, ALT-436C features threshold and release time controls. Loved by producers in the Beatles era, this initially inexpensive and now legendary unit is extremely helpful for bass guitars (and not only), vocals, string instruments and even synths. Back in the day pop music wasn’t so cold and sterile, that unit is one of the reasons why. Explore it with Antelope Audio.
Simple design and controls, epic looks, massive sound. Stay-Levin is a unit that shaped the sound of the US 1960s classics. Without a doubt carrying a character and color of its own, it recreates a valve compressor legend that will add a desired analog edge to your contemporary production. Its simple front panel set of controls, featuring only two knobs and two switches, can result in a surprisingly varying compression styles, which can enhance vocals, acoustic guitars and synth leads. Treat your bass and drums with it and they’ll grow bigger and meaner. Vintage compression at its finest, recreated in the FPGA domain for real-time FX perfection.
VCA160 combines classic sound, perfect metering and ease of use. Suitable for both “brick wall” and subtle pushing, it has been carefully modeled to preserve the character in both bad-ass hard knee or gentle low ratio compression. This fast and firm VCA style compressor is great for controlling vocals, bass guitar or individual drums. When used with aggressive transient sounds, like kick drums or bass, the VCA160’s fast response can create a classic punch or “thwack” sound, which has become a unique part of its famously punchy pedigree.
The hardware original behind Tube176 owes its sound to a unique variable-mu dual triod tube, which is long out of production. Now this cult studio piece is brought back to life in the FPGA realm as a powerful fast compressor, which can be used from everything from vocals, guitar solos, bass lines, drums, and even a full mix. Able to smooth the sound or completely flatten it when pushed real hard, Tube176 makes drum transients shine and boosts vocals through a busy mix.
X903 is cult compressor module, which will add just the right amount of analog touch and punch needed. Equipped with smart RMS detection, treating your sound with X903 will result in high-end, yet authentic analog compression and limiting. With the X903’s Negative Ratio capabilities, you can create a dynamic inversion, which pulls back the transient peaks for a unique tugging type of special effect, making the X903 a more realistic sounding compressor, capable of mangling dynamics in great ways.
Gyraf Gyratec X
Gyraf Gyratec X carries the sound of a true tube stereo compressor. Widely used for its speed, and featuring technology used in early limiters this Vari-Mu beast from Gyraf Audio is now more than alive in the FPGA domain. Allowing hard compression of the low end without polluting the sound thanks to smooth high-pass filtering. Perfect for using along with other types of compressors and Antelope’s growing list of Vintage Effects processors. We’re proud to be the first to offer modeling this unit.
FET-based compression has been a staple in the studio since its invention in the late 60s. The Antelope FET-A76 captures all of the nuances of a vintage FET compressor, and like its analog progenitor, is useful not only for controlling dynamics and sculpting tone but also for its ability to add punch and presence to anything passing through its circuit.
Mirroring the original hardware’s easy-to-use interface, the FET-A76 features Input and Output gain controls and a selectable 4-way ratio control with hidden “all-buttons” mode for a more aggressive compression character.
The FET-A76 shines in a wide range of applications, from vocals to bass guitar to buss compression, and is a powerful companion to Antelope Audio’s already-available FPGA EQ models, including the recently released BAE Audio 1073.
The Antelope FeedForward Compressor is featured in all our interfaces. It comes with all necessary Threshold, Ratio, Attack and Release knobs and allows Knee control. The Detector drop-down menu offers several Peak / RMS sense modes to choose from. It’s a small machine, but it gets the job done just right while sounding quite like a real hardware compressor.