viva Analog “Envelope-Lock(ed Loop)” // jcm(c)2013

The (pretty extreme) true-Comp mode is a real trip to handle as it hisses and spits between notes if you let it // breathes like you’ve never heard a compressor do it before … under the right conditions it gives infinity violin-like sustain; at times it sounds like backwards guitar … ok, that’s in the special effects dept. // in Limiter mode (what pretty much all comp pedals are) it can go from poppy/spanky to “is it ON or what ?” … subtle/invisible … IMO, what it does best in that mode

NOTE: this is a comp/Limiter pedal that seeks to offer one very good thing, at the expense of other things … the one thing it can offer is extremely-good signal fidelity // the other thing ii “doesn’t necessarily offer” is great compressor response AT ALL SETTINGS as the controls are capable of extreme variations … this design was originally meant as meant as an INVISIBLE sounding unit (BOTH dynamically and tonally), as opposed to a strong “EFFECTOR” type compressor … BUT ALSO designed for BASS players who MIGHT want to experience BOW-LIKE INFINITE SUSTAIN, without using a bow … it can (recommended) follow a preamp circuit, and be sandwitched in front of a power amplifier … other than the “freaky” true-Comp mode, this comp/Limiter is meant to preserve audio tone and dynamics above ALL else


an LED indicator provides a visual gain-redux indicator, even when you can’t tell if its doing anything there’s a visual clue // it’s THAT imperceptible at times …

there is also provision for side-chain processing, as inserting an EQ., for tailoring the envelope response to signal frequency …

headroom wise, it can take any kind of signal (active Bass, keyboards, line level signals, etc ….) as it has an internal signal headroom of at least 12volts pk-pk

the capacitor-less signal path ensures low phase distortion between DC and its roll-off frequency, and also avoids cap-based transient distortion artifacts …

>>> the following audio demo shows successive levels of Limiter ratio’s and threshold responses … true-Comp mode starts at 6:44

(recorded by playing BASS through compressor, going to PA and recording with Zoom H@ in the room … NOT the best setup)

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