Emi rs 124 compressor/limiter hookup, have you seen a better price?
The Recovery control was an EMI addition to the original Altec design, and can be thought of as a release time control.
Good compressors do so much more than control dynamics: Many revisions were carried out since its inception, and as a result, the Abbey Road RS valve compressor has remained a mystery for decades, until now. Where I feel the RS really excels is with bass, guitars and as a program compressor.
In this picture, the Hold function is also being utilized to "hold" approximately 20dB of gain reduction. Through the years, from incomplete information and supposition, some have tried to recreate the holy grail of tube compressors, though never fully capturing the elusive Abbey Road RS in all its glory.
The large Meter displays the amount of gain reduction from 0 to 30dB.
The Hold function is a brilliant idea, and in conjunction with the full automation capabilities of modern DAW software, it makes using the RS with large amounts of gain reduction trouble free; without the usual thumps, and pumping and breathing side effects of most other compressors.
In the past couple of years, some of the custom-made gear emi rs 124 compressor/limiter hookup through the '60s and '70s has been converted by Abbey Road's own software development team to allow us DAW owners access to the studio's classic gear.
For example, clicking on the serial number on the front panel reveals a pop up menu that allows you to select which of the three models identified ang dating daan debate 2018 olympics their respective serial numbers: These were extensively modified by EMI's technical engineers - so much so that they were basically completely new units in terms of their controls and circuitry by the time the modifications were completed.
These Hold values were added to the original hardware to get around the problems of over-compression on short attack sounds, or to avoid unwanted ambient noises brought up in volume at the end of a compressed passage of music.
In order to counter this, Abbey Road added "hold" settings to the original compressors. Despite its obvious connection to the sound of classic Beatles albums, it isn't limited to emulating those records - remember, these were used on countless Abbey Road recordings by a variety of artists, and not just on the Fab Four's material.
To most musicians out there, the name "Abbey Road" instantly brings up the iconic image of the Beatles walking across a crosswalk, the cover of one of the most memorable Beatles albums.
The first thing that surprised me was that instead of having three separate VSTs for each compressor or serial number, as I call them there was just one VST named "RS".
It is a character compressor, and one with a very distinctive and appealing sonic signature. The release is unchangeable with the exception of the superfuse, which makes the release time equal to the attack timeand makeup gain is notably absent - there are no options to make the final product louder, only softer, which means that you'll usually need to add a bit of gain after the plugin to make up for the lost volume.
Instead of having a built in menu to make things simple and intuitive, you click on the tiny serial number plate on the compressor and select which model to use on a drop-down menu. Many revisions were carried out since its inception, and as a result, the Abbey Road RS valve compressor has remained a mystery for decades The compression of Rain's bass, Fixing A Hole's lead guitar, the strummed acoustics of the Help and Rubber Soul era material… you will struggle, and ultimately fail to nail those sounds without the RS They sound smooth and warm when set to longer Recovery times but can spank the daylights out of drum and percussive sounds too, particularly when the SuperFuse function is activated on the right-hand side.
The main differences besides GUI are the release times: Because of that, it's not always ideally suited for use with drums.
It's unique enough that it deserves a more detailed description: An interesting feature of the RS is the "Hold" setting. It also functions well as a stereo or mono bus compressor for the final mixdown, and adds that gooey sonic "glue" that many engineers look for from a stereo bus compressor.
Chandler designs and releases some seriously well-built gear for the most discriminating and famousmusicians, producers, and engineers. When engaged, the lamp and fuse indicators turn red, and the compressor's Recovery release time is set to match the attack time speed.
Present on virtually every Beatles session, the RS left its remarkable signature across most of the catalog. Turning it up simultaneously increases the signal level and the amount of compression that is applied to the signal. Standard units come with variable Input and Output control.
The plugin requires iLok activation, which was quick and easy.
If you have a bit more gain reduction on the meters than you want, you can manually reduce it gradually by depressing the "Balance" button located directly below the unit's serial number until the amount of gain reduction you desire is indicated on the meter.
They where so integral to the recording and mixing process that a pair can be seen in almost every control room photo in Abbey Road Studios during the 60s period. In the plug-in version, the same performance can be achieved with automation. Overall, the compressor is great, but it has some issues stemming from one particular fact: Three different models of the RS are included; each with somewhat different cosmetics and sonic characteristics.