IK Multimedia T-RackS Vintage Series

Compressors have been used to control the dynamic range of individual tracks and full mixes, and to achieve creative effects, many of which ended up becoming integral parts of the sound of hit songs and even entire musical styles. Field Effect Transistor electronics are the base of the sidechain circuit in this unit, and one of its peculiarities is a lightning-fast attack time, making it an ideal choice for percussive sources. Based the Fairchild 670, it's often referred to as the Holy Grail of compressors. The T-RackS version, which resulted from painstaking analysis of the original hardware, it reproduces all the features that made the Fairchild the first modern, Variable MU, tube-based limiter.

Black 76

Based on what is probably the most widely used compressor of all times for mixing duties, the 1176 Limiting Amplifier. FET (Field Effect Transistor) electronics are at the base of the sidechain circuit in this unit, and one of its peculiarities is a lightning-fast attack time, making it an ideal choice for percussive sources. On kicks or snare drums, it's almost ""mandatory"" to have one patched in. Nonetheless, it's at home on practically any source, from bass to acoustic guitars to vocals and more. The Black 76 model accurately reproduces the behavior of the original, down to the ""all buttons in"" mode for crazy compression effects, and is the perfect choice to give “personality” to any track that needs it.

White 2A

This processing is based on the legendary Teletronix LA-2A, considered to be the ""magic"" compressor — one that you find on the ""money channels," like lead vocals or lead instruments. The way it achieves compression is a work of art. The original hardware is based around a photo optical cell working together with a light-dependant resistor. This, and the tube-based electronics give it a warm, gentle and consistent compression, which is almost invisible at low settings —with more character and harmonics added as the signal gets more compressed. White 2A behaves exactly like its hardware sibling, with the same simplicity of controls, to achieve the ""magic.” It’s most commonly used on vocals, but it can be applied on any source needing controlled compression and a subtle warm touch.

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