The viva Analog COMP-LIMITER is an analog automatic-gain-control pedal designed to bring a uniquely musical and expressive feel to instrument compression. It delivers the kind of smooth, natural response usually associated with high-end studio rack units, offering both transparent limiting and transparent compression – a rarity in the world of instrument effects.
Its greatest strength is its ability to provide mature, well-controlled compression and limiting. With extremely low distortion, low noise, wide bandwidth, and a versatile set of controls, the pedal can produce a wide range of natural analog compression responses. It works beautifully with virtually any instrument source, including the very low output of vintage crystal harmonica microphones.
The original design also includes a real-time analog LED gain-reduction indicator, which moves in sync with the compression element to give an accurate visual representation of how the pedal is responding as you play.
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TECHNICAL HIGHLIGHTS
F.A.Q.
What is a COMP-LIMITER ?
In the world of AGC (automatic gain control) circuits a COMP-LIMITER is a self-controlled gain manipulation circuit that can operate in two different modes, and anywhere in between. That is, either Limiter or Compressor mode – a property that is unique to a class of AGC topologies that relies on information coming from the output (feed-back) as opposed to the front (feed-forward). Through this mechanism the response is more self-corrective and thus yields a characteristic soft-knee attenuation profile. As well, the timing behaviour for COMP-LIMITER style circuits is often regarded as being more natural than for some other topologies.
How do I make the COMP-LIMITER operate as a Limiter?
The open channel gain on the COMP-LIMITER is set at 4v/v, so that when the output “make-up” gain control is set to 1/4 reduction factor the total pedal gain is unity (1v/v). On a LOG pot this looks like 1-to-2 o’clock. Once unity gain has been set, the COMP knob sets the Threshold according to where you want the limiting to kick in. If you want the Limiter mode response to hardly ever kick in – except for handling extreme transients – you would set the Threshold higher, and vice versa if you wanted Limiting more of the time. Everything is relative to the signal you give the circuit to work with. By setting the release (RLS) control counter-clockwise to its lowest time value the circuit can become near invisible to the ear and this would provide ideal Limiting functions – which especially useful in a recording situation where the body of the notes following the attack is heard more rather than just the attack. In this case, the COMP-LIMITER is at its least noticeable degree of compression activity.
How do I make the COMP-LIMITER operate as a Compressor?
To operate the COMP-LIMITER as a 4:1 compressor the LEVEL control is instead maxed out and the COMP knob now sets the rotation point in the response; that is, the point where gain goes from above unity to below unity. Simply put, signal levels below a certain strength are amplified and those above are attenuated, or compressed. The idea is to adjust the COMP control so signals of a nominal amplitude are neither amplified or attenuated. The RLS control can be set on the type of compressor response, from sluggish to snappy. In this case, the COMP-LIMITER is at its most noticeable degree of compression activity.
How do I make the COMP-LIMITER operate in between these two extreme modes?
By setting the pedal for either Limiter or 4:1 compressor mode against the signal strength characteristics of your instrument pickups you will have an idea of the range of both controls in these extreme cases. Picking visually proportional knob settings “in-between” will allow you to operate in lower ratio compressor modes – providing a lesser degree of noticeable compression activity than at full 4:1 settings.
CURRENT USERS
John ELLIS – award-winning producer, guitarist, keyboardist, arranger, and pedal-steel player
Bruce GERRISH – producer, guitarist, solo performer, vocalist with The SHINOLAS
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