BAE 10DCF originates from the end of the 1960s. Taking the best from a legendary line of broadcasting units, this stereo compressor has been turned into an extremely versatile processor. This official emulation of a classic vintage unit can be used as both a limiter and compressor. It features individual control over both components, with the limiter coming first in the signal chain. With dedicated knobs for Threshold, Ratio, Bypas Filter, Attack and Recovery for both modules users can achieve enough depth when sculpting the perfect sound. BAE10DCF allows you to keep compression transparent and smooth or completely transform the input signal into the signature vivid sound of the compressor. A Gain Make-up knob allows you to additionally control the signal volume.
BAE10DCF is a multi-purpose unit that can be used both during tracking or in post-production. As you can guess, it does an absolutely great job on an array of instruments like drums and percussion and is suitable for recordists, producers and mastering engineers but podcasters and vloggers who need their voices polished and neatly produced as well.
Master De Esser
The long-anticipated debut de-esser plugin from Antelope Audio is here. The Master De Esser will help you clean your audio from any unwanted sibilant consonants which might have occurred due to a variety of reasons among which over compression, improper mic’ing or individual voice specifics. Unlike similar plugins the Antelope Audio Master De Esser is extremely easy to use and effective against any artifacts. The unit control set is reduced to an absolute minimum, allowing you to pick the desired frequency, set a filtering type and adjust the Attack, Ratio, Knee and Release of the de-esser. The unitl also allows you to switch between four modes of signal monitoring.
Those are as follows:
- White line without compression (filter only)
- White line with both compression and filtering
- Green line without compression (filter only)
- Green line with both compression and filtering
The Master De Esser comes with presets made by not else but the engineering mastermind Brian ‘Dr. Vibb’ Vibberts.
The Antelope Audio Power EX is an in-house expander, featured in all our interfaces. It features a comprehensive set of controls, including Threshold, Range, Ratio, Attack and Decay knobs with additional Gain knob allowing you some extra control over the volume. It’s an unpretentious unit, but its simplicity hides a lot of potential for sound shaping and being powered by the Antelope Audio FPGA platform is a guarantee for an authentic sound, comparable to real hardware expanders.
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 a legendary 1950s compressor, Tubechild670 gives you nothing less than the 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, this coveted tool is in your hands — for free.
Tubechild670 is a precise peak limiter that sounds thick and natural. It gives you control over the Input and Output Gain levels, the Threshold and the Time Constant. We owe its signature sounds to a very smart and simplistic circuitry design, short attack, and long release time. The Tubechild 670 is guaranteed to help vocals and leads shine in the mix, but also works its magic on drums and sounds spectacular when applied for “gluing” groups of instruments. 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 so great!
Grove Hill Liverpool
Grove Hill Liverpool is a contemporary fusion of 1960s’ finest American and British compression technologies. This compressor sounds rich, wide and thick. Run acoustic guitars through it and you’ll hear them as clear as possible, yet with a more full-bodied sound and soul.
A great mid-range healer, Liverpool will add a desirable smoothness to guitar leads, synths and vocals. And when applied to bass, it will achieve a big and warm sound. Push it harder, and you’ll add an edge without affecting clarity. Liverpool is an amazing tool that’s quite unlike other compressors.
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.
An ’80s classic, the SMT-100A is among the easiest compressor effects to learn. Yet, this ease of use doesn’t come at the cost of neither effectiveness, nor sound! For over 30 years now, this unit has remained a top choice by the pros for its fast attack times and its ability to do a great job with vocals, drums, and bass. For its FPGA-driven replica, we worked hard to painstakingly preserve both the special sound of the SMT-100A and its simplistic design and control set. This way, you can focus on getting the sound you want quickly, without much of a learning curve.
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.
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.
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.
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.
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.