Bellari RP533 Studio Tube ...

10.895,-

The RP533 uses all the powerful circuitry included in other popular Bellari rack-mounts, in a single channel unit. Each process, except the preamp, can be individually bypassed. The RP533 is ideal for vocals, instruments, or any application where signal preamplification and dynamics processing is required, all with warm and inviting sounds. Warm, silky tube preamplification Smooth, natural compression Sonic Exciter, frequency enhancement All tube gain circuitry with proper high-voltage plate voltages Transformer balanced input 1/4” and XLR inputs and outputs Calibrated metering - switchable in the circuit path +48 Volt Phantom Power Side Chain for direct access to the compressor's detector circuits Frequency Response 20Hz - 40kHz +/-3dB Input Impedance 600 Ω balanced 1M Ω unbalanced THD + Noise <0.1% typical Noise Floor -90 dB Indicators Phantom Power LED Analog Meter Input/Output jacks XLR balanced 1/4" unbalanced 1/4" unbal. Side Chain Dimensions 3" x 6" x 19" (180 X 162 X 482 mm) Weight 7.5 lbs. (3.4 Kg) Power 120VAC (230VAC) 15VA

Black Lion Audio B172A - Dual ...

18.529,-

B172A Hybrid F.E.T. Opto Compressor Black Lion Audio, having hit the mark with the widely adored Seventeen compressor, has struck again, combining the Seventeen’s F.E.T. circuitry with a worthy optical section in the B172A! This unit combines the two separate ’76 and 2A circuits into a single unit that allows you to route the signal in any order you like to be able to provide this very useful compression technique. Every so often, two incredible things, wholly enjoyable on their own, combine to form a pair so sweet and complementary, that it becomes hard to think of one without the other… Sonny & Cher, Lennon & McCartney, Snoop Dogg & Dr Dre and perhaps the greatest and most literal “dynamic duo” of all time – the 1176 and LA-2A! The 1176 and LA-2A when used together, have become a studio stable for decades, often wired in series with each other so that one catches the audio’s peaks and the other does the heavy compression. Black Lion Audio, having hit the mark with the widely adored Seventeen compressor, has struck again, combining the Seventeen’s F.E.T. circuitry with a worthy optical section in the B172A! This unit combines the two separate ’76 and 2A circuits into a single unit that allows you to route the signal in any order you like to be able to provide this very useful compression technique. The Seventeen’s success put pressure on BLA to pair the already proven F.E.T. side with an equally formidable optical mate. The challenge was met on the B172A through the creation of a custom T4B “opto” element called the “T4BLA”. BLA’s lengthy experience in modifications lent designers the proper patience and mindset to tweak subtleties in the optical element until it was a supreme asset in the design. With a heavy attention to detail and design, the T4BLA is designed to be the single best T4B optocell available today. Flexibility was a main goal of the B172A since its initial concept. While many engineers agree on the benefits of using both compression types, the order in which to do so is still debated. The AB-BA switch on the B172A allows for quick internal routing of the signal. The two compressors can also be used completely independent of each other when utilizing the 3rd position (link off) on the AB-BA switch. Each circuit also has stereo linking so a pair of B172A’s can be used in stereo. As always, a painstaking amount of time has been spent on choosing the best possible transformers needed for the circuit. Featuring a Cinemag input transformer on the LA-2A side, BLA’s own Chicago-wound output transformers on both circuits, high-grade signal path and decoupling capacitors, the B172A gives studio owners ultra convenient access to a pair of high quality dynamics processors that have stood the test of time while also providing a tool never before available in a single box.

Black Lion Audio Bluey ...

11.895,-

The “Bluey” is a modified “Blue Stripe” compressor based off of the “golden” unit owned by Chris Lord-Alge. When certain components became unavailable, techs were forced to change the circuit, creating a one of a kind compressor that has been heard on countless hits. The “Bluey” is a modified “Blue Stripe” compressor based off of the “golden” unit owned by Chris Lord-Alge. When certain components became unavailable, techs were forced to change the circuit, creating a one of a kind compressor that has been heard on countless hits. Any audio engineer worth their weight in gear will tell you about the special moments that occur on records by chance. We’re talking about the magic you can’t plan. It must occur organically, being comprised of sheer randomness or even flat out mistakes. For instance, the spontaneous banter from a vocalist in between takes that adds character to a track, or a radical new audio effect discovered through a simple routing mistake. The same good fortune sometimes shines upon a piece in the vintage gear world. Through decades of maintenance and repair, some units, like wine, get better with time. The scarcity of original parts leads technicians to diverge from the original design, creating an improved, one-of-a-kind, modified unit. Armed with an impeccable ear, decades of experience, and an abundance of coveted gear, legendary mix engineer, Chris Lord-Alge, was able to recognize one of his four 1176 Blue Stripe units as firmly sitting in this distinctive category. The particular unit, dubbed “Bluey,” has a special “mojo” to it that shines on vocal tracks like no other. Chris desired more channels of this golden unit, and reached out to the guys who know modifications best – the team at Black Lion Audio! Intrigued by Chris’ praise of the unit, head design engineer, Jesus Ortiz, boarded a plane from Chicago to LA to discover what gave this Blue Stripe its edge. He found a series of mods done to the unit over the years to keep it working that miraculously cumulated in a uniquely beast-like 1176! BLA analyzed the unit with pain-staking detail, and has, in conjunction with Chris Lorde-Alge, recreated the monster, now known as the new Black Lion Audio “Bluey!” – Fully discrete design – Through hole components – Polyester capacitors – Vintage inspired one-sided PCB layout – Cinemag remake of original UTC transformer – Wet/Dry mix feature – Linear power supply – Precise meter calibration

Black Lion Audio Seventeen ...

8.730,-

The Seventeen is not the ’76 compressor that your grandfather recorded with. It isn’t even a remake but rather the Black Lion spin on what the ’76 Should have been. Designed in conjunction with hitmaker Tobias Lindell and featuring a redesigned and improved IC based front end, the Seventeen shows incredible detail and nuance normally not possible with this style compressor. This new front end circuit is coupled with our custom designed, made in Chicago output transformer, designed to give this unit a huge bottom end that balances out the open top end very nicely. We also include our proprietary Black Lion style power decoupling for an incredibly low noise floor. The Seventeen also uses high grade nichicon signal capacitors, widely considered some of the highest quality caps available. Never the ones to settle for “good enough,” we have added features that users normally consider as upgrades or mods including, a frequency adjustable side chain, separate selectable high and low pass filters, a wet/dry mix knob to allow users to blend in dry signal into their compressed signal, the Seventeen has a palette of tones not available to anything else on the market today. It also includes the all important stereo link function for linking together two units.

Harrison 500-series ...

3.792,-

Harrison 500-series Compressor The story behind Harrison and compression In the realm of audio engineering, Dave Harrison, the founder of Harrison Audio, stands out as a pioneer in the development of music production technology. Ironically, Dave Harrison himself was initially skeptical about compressors, a sentiment shared by his friend and legendary music producer and engineer, Bruce Swedien. Both held the belief that music should be captured authentically, without interference. However, the requirement for a compressor arose from the broadcast market's demands, seeking a tool to control dynamics and prevent clipping. To meet this demand, Harrison Audio ventured into the realm of compressors, with the result proving extremely effective. Its transparent 'leveling' capabilities, achieved with just a few dBs of gain reduction, quickly made it indispensable in music production for delicately smoothing signals, particularly on vocals, guitars, and other instruments with wide dynamic range. Over time, this compressor's ability to 'dig in' became apparent, transforming it into a sought-after vibe compressor when higher levels of gain reduction were applied. Dave Harrison's initial skepticism gave birth to a tool that not only met the broadcast market’s demands but also became relied on in the world of music production. Thanks to the Comp module, the distinctive Harrison sound is now accessible in the 500 Series format. Legacy in analog Harrison production tools have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time. Comp design The Comp 500 Series module is based on a classic ‘feed-forward’ design, using a THAT 2180 VCA chip for outstanding analog performance. The compressor’s Attack is program-dependent, adapting to the input signal and offering an optimal Attack time depending on the source material. The Release time is continuously variable. These parameters can turn the Comp module from a transparent leveler to a highly saturated, vibe compressor, adding character and excitement to a wide range of sources. Harrison's secret sauce – put it on everything The Comp module is a very flexible dynamics processor. From a transparent ‘leveler’ on guitars and vocals, using a 1:2 ratio and fast release, applying 2-3 dB of gain reduction. To a sizzling vibe compressor on drums and bass, slamming the ratio in combination with a slow release. The Comp 500 Series module is a well-crafted, no-nonsense compressor that is your secret production ‘sauce’ – you’ll put it on everything. Key features: The Harrison sound. Extremely flexible compressor; from transparent ‘leveler’ to ‘character’ comp. Classic feed-froward design. THAT 2180 VCA chip for outstanding analog performance. Program-dependant ‘Attack’ time. Continually variable Release time from ‘Fast’ to ‘Slow’. Input overload LED. Compatible with 500 Series format chassis.

SSL Fusion Stereo Master ...

19.990,-

Fusion is an all-analogue 2U stereo outboard processor created for the modern hybrid studio. Fusion introduces five completely new analogue colouration tools designed to bring the perfect combination of added tonal character, weight and space to your mix bus or stereo stems, with the detail, warmth and finesse that only real analogue circuits can provide. The SSL sonic legacy is built upon a much-emulated collection of analogue audio processing tools that have featured in generations of studio consoles; pristine mic pre’s, classic Channel EQ & Dynamics, the legendary Stereo Bus Compressor, the Listen Mic Compressor, and the unique SSL summing bus. Fusion takes SSL into a new era with the introduction of a suite of new analogue processing tools that offer exceptional tonal character and versatility. Fusion expands the processing palette for hybrid studio owners and is a superb partner for the SSL Stereo Bus Compressor.

SSL The Bus+ 2-kanals ...

26.990,-

The Legend... Updated. If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch. THE BUS+ circuit design utilises high-grade components, including 2181 THAT VCAs for superior analogue performance, four modes of operation and 3 distinct compression colouration options which can be combined to perfectly suit the genre you’re working on. THE BUS+ also packs in sophisticated routing options and advanced processing tools: Dynamic Equaliser (D-EQ), Transient Expander and so much more… Innovation To complement the new feature set, we sought to bring improvements that would benefit recallability and technical performance. All of the pots on THE BUS+ are stepped and read by a microcontroller which translates the pots position into the required circuit configuration or electrical parameter. This innovative approach not only makes recall significantly easier, it also means THE BUS+ is not subject to pot tolerances – prefect for precision processing applications like mastering. Dynamic Analogue Equaliser: D-EQ THE BUS+ incorporates a host of advanced processing tools including the new Dynamic Analogue Equaliser (D-EQ). The D-EQ is a powerful 2-band Dynamic EQ that can be placed before or after The Bus Compressor. Many engineers are familiar with Dynamic EQ plug-ins inside the DAW but analogue Dynamic EQs are few and far between. A Dynamic EQ is a more 'intelligent' form of EQ that changes the gain of an EQ band proportionally in response to the signal level once above a set threshold. It allows you to modify the contrast between background material (under threshold) and forward material (above threshold).

TUBE-TECH CL 1B ...

51.870,-

CL 1B er en rørbasert en kanals kompressor beregnet for alle typer studioopptak: Fra delikat vokal, til krevende instrumenterer som gitar, trommer, etc. Gjennom årenes løp, og på tusenvis av spor, har CL 1B bevist sin verdi ved å tilføre de mest krevende opptak den ettersøkte varme ”vintage” lyden. CL 1B - Opto Compressor I CL 1B sitter det ett gain reduksjons element rett etter inngangs transformatoren. Denne er kontrollert via "sidechain" orsterkeren, som også inneholder de to tidskontroll kretsene - en for satte og en for variable "Attac/Release" verdier. De to tidskontroll kretsene kan enten bli brukt hver for seg, eller kombinert (Fixed / Fix./Man / Manual) Kretsen består av semiconductor OP-forsterkere for full kontroll. Les mer om TUBE-TECH CL 1B på Tube-Tech's produktsider CL1B Selected User Statements Josh Gudwin - Engineer and Mixer currently residing in Los Angeles. Kuk Harrell - 4 time Grammy Award Winner. Vocal Producer, Songwriter & Engineer. "For the last 2 years, ( 2012-2011 ) I've been working with 4 time Grammy Award Winner Kuk Harrell who is today's most in demand Vocal Producer. Together, we've cut hundreds of records with a who's who list of clients to include: Justin Bieber, Rihanna, Mary J Blige, Jennifer Lopez, Jessica Simpson & Lionel Richie. Out of All these Sessions, I can say with truth and honesty, that each and every one of these vocals passed thru a Cl1B before reaching Pro Tools. I find that the CL1B has the most flexibility, transparency and functionality out of any compressor on the market. Wrapping up last year (2010), Kuk and I flew out to Stratford, Canada to wrap up the loose ends on Justin''s ''Never Say Never'' blockbuster. Along with a 1081& my Rosetta 200, I also lugged along a CL1B! I never record vocals without it!! I wanted you to be aware of my love for the CL1B and to share that it''s being used on today's Top40 artists on a daily basis! We are currently working with Justin Bieber & Rihanna. You better believe those vocals are passing through your compressor!" Jess Jackson Producer / Songwriter From London UK and in L.A. for 7 years now. "Just wanted to let you know that I ONLY use the CL1B as my compressor when tracking vocals. I am just wrapping up his album at the moment which consists of 14 tracks in which feature Lil Wayne, The Game, Mario, Lloyd, Drake, Snoop Dogg, Pharrell, J-Cole, Chris Brown etc. The only compressor I have used is the CL1B for tracking all of the above artists. I love the sound in which the CL1B gives me and is a perfect match for that vocal chain. I also just received a platinum plaque for the songs i produced on U.K.'s Peter Andre "Revelation" album. I recorded the entire album at Will Smiths Boom Boom Room studio's and again only used the CL1B for every song on the record. I'm a massive fan of your work"  

TUBE-TECH CL 2A Dual ...

60.650,-

Tube-Tech CL2A er en rørbasert opto-kompressor med to uavhengige kanaler som kan linkes. CL 2A funker veldig bra på alle kilder, og er kjent for å være en problemløser der man trenger diskret komprimering. Bruk den på keyboards, gitarer, vokal eller på miksbussen - du vil alltid få musikalsk, smooth og transparent lyd. Teknikere setter stor pris på den fordi den klarer å holde instrumenter på riktig plass i miksen, samtidig som de beholder en naturlig dynamikk. CL 2A - Rørbasert, to kanals optisk kompressor og limiter CL 2A er en dobbel kompressor med to uavhengige optiske kompressorer. Det optiske "gain" reduksjons elementet, er plassert etter inngangstransformatoren og er etterfulgt av en rør-basert utgangsforsterker med + 10 db gain. En velger med tre posisjoner (Link1, Off, Link 2) brukes når man vil bruke to separate kompressorer stereo, eller koble sammen flere kompressorer. De to link "bussene" er identiske. Både inngang og utgang er balansert og har fult flytende transformatorer med en statisk skjerm. Strømforsyningen og "sidechain" kretsen er basert på en solid state krets. Les mer om CL 2A på Tube-Tech's hjemmesider CL 2A - User statement David Morgan FOH mixer: Steely Dan, Simon & Garfunkel, Lionel Ritchie, Whitney Houston, James Taylor, etc...: "My new love is the Tube-Tech CL-2A for vocals, I got introduced to it years ago when I saw Clive Franks using it on Elton John. Elton''s voice sounded wonderful, and I was looking at the compressor hitting about four or five dB of compression and couldn''t hear it at all. What it added to a vocal mic was exactly what we want in live music, so I tried it on Lionel Richie. I''ve been using it on lead vocals ever since."

TUBE-TECH LCA 2B Stereo ...

69.427,-

TUBE-TECH LCA 2 B Rør basert to kanals enhet, med uavhengig kompressor og limiter per kanal. LCA 2 B er en to kanals enhet, med en uavhengig kompressor  og limiter per kanal. Den helt rør basert, (bortsett fra strømforsyningen og "side-chain" kretsen). Lyd signalet blir hentet etter VCA og sendt til "side-chain" kretsen. Kontroll signalet fra kompressoren og limiteren slåes sammen og sendes til "link" bryteren og videre til kontroll forsterkeren, som mater VCA. De to-veis link bussene brukes gjennom to 1/4" jack kontakter på baksiden. Kanalene kan linkes sammen for stereo apllikasjon, og også linkes sammen med andre LCA 2B gjennom de to link bussene med en standard stereo jack/jack kabel. Kompressoren har 6 attack/release innstillinger samt mulighet for manuell kontroll. Limiterens attac/release er faste. LED displayene er "matet" fra kontroll forsterkeren. Limiter LED er "matet" fra Limiter bufferet. Lyd gangen er hel-symetrisk fra inngang til utgang. Innganger og utganger har fullt flytende omformere. Alle DC spenningene er stabilisert, bortsett fra anode spenningen over utgangs trinnet. Les mer om LCA 2 B på Tube-Tech's produktsider)  

TUBE-TECH SMC 2B Stereo ...

69.027,-

Tube-Tech SMC 2B er den ultimate, rørbaserte multibåndkompressoren til studio og live. Tre uavhenginge bånd med valgbar delefrekvens, optisk rørbasert kompresjon og individuelle threshold, attack, release, ratio og gain gir deg fleksibel og nøyaktig kompresjon med Tube-Techs legendariske lydkvalitet SMC 2B Stereo Multiband Compressor Kort om SMC 2B Tre uavhenginge rørbaserte optiske stereokompressorer Justerbar delefrekvens mellom alle bånd Individuell threshold, attack, release, ratio og gain per bånd Flat summering av alle band når kompressoren ikke jobber(+/- 0,25dB) Global bypass, output master og balansekontroll Meget godt egnet som sluttkompressor på stereobuss/ L+R eller gruppekompresjon av trommer, instrumenter og vokal Les mer om SMC 2B på Tube-Tech's produktsider SMC2B User Statements Al Schmitt, Engineer, mixer, Producer. Multi Grammy Winner. Los Angeles USA (Dianna Crall, Paul McCartney,Natalie Cole, Shelby Lynne, Ray Charles, Chris Botti, Babara Streisand, Steely Dan,Toto.) "I love my Tube Tech SMC2B and use it all the time! Main use is for the mix bus compression." Joe Chiccarelli Producer/ mix Engineer, Los Angeles US. Multi Grammy Winner. ".......I use the Tubetech SMC2B on the mix buss on many occasions. I''ve used it on tracks for Rufus Wainright, Beck ,The All American Rejects, The Offspring. I love being able to have separate compression control over three bands. Often many stereo buss compressors will squish and darken the midrange of a track. In a rock track this takes the attack and impact out of the guitars and drums . Having the separate control over all parameters I can set my attack time to be the mildest on the electric guitar range. Being able to control the frequency range in the low end works well on tracks that are very dance oriented. I can adjust the crossover point and make sure the low end never gets to overcompressed and soft...... " MUSE State of the art Analog Live sound Muse 2nd Law World Tour 2012/13 Here's Marc Carolan's comment on the SMC after using it for the rest of the tour: "Loving the SMC2B now. I'm using the high frequency path to mimic the harmonic distortion we used to get with VDosc, making the high end more pleasing especially over the length of the show. The mid just tickles, a half dB here and there. Still playing with the low end."  

TUBE-TECH SMC 2BM Stereo ...

93.765,-

TUBE-TECH SMC 2BM Stereo Multiband Compressor SMC 2BM Stereo Multiband Compressor er en rørbasert kompressor som tilfører din miks den varme ”vintage” lyden. Valgbare delefrekvenser sikrer deg presis kontroll over 3 bånd med optisk kompresjon. Uavhengig Threshold, Ratio, Attack, Release og Gain parametere på hvert bånd gjør SMC 2BM både fleksibel og nøyaktig. Gain kontrollen har bryter med 12 posisjoner i 1dB/step. Threshold, Ratio, Attack og Release kontrollene har potensiometre med 31 posisjoner SMC 2B har 3 uavhengige optiske stereo kompressorer. Signalet deles i tre områder (Low, Mid & High) med 6 dB/oktav delefiltre med variable frekvenser: 60-1200 Hz for Low/Mid og 1,2-6 kHz for Mid/high. Designet på delefilter kretsene optimerer summeringen av alle tre områdene, og resulterer i flat frekvensrespons (+/- 0,25 dB) når gain kontrollene settes til samme nivå. Alle kompressorene har Threshold, Ratio, Attack, Release og Gain i tillegg til et display som viser nivåreduksjon. Hovednivå settes med Output Gain og Balance kontroller. Les mer om SMC 2BM på Tube-Tech's produktsider  

Warm Audio WA76 Fet ...

8.190,-

WA76 1-Chanel Fet Compressor WA76 er en moderne reproduksjon av den klassiske 76 RevD kompressoren som var revolusjonerende når den kom og har siden hørtes på mange innspillinger. WA76 funker som en drøm på sang, trommer, elgitar osv og er med sitt klassiske ”All Buttons In” kallt the British Mode, for en aggressiv kompresjon og unike tone. _____ The WA76 Discrete Compressor is a modern reproduction of the Classic '76 Revision D. The WA76 has a fully discrete signal path and uses the original Reichenbach Engineering's (now CineMag) transformer design. The classic '76 was a major breakthrough in limiter technology, and used on hundreds of hit records since its inception. Engineers have craved the ultra-fast attack time and trademark sound of the '76 for decades, and now it is finally affordable! All Buttons In The WA76 can reproduce the classic effect known as ‘All Buttons In’ mode, sometimes also referred to as ‘British Mode’ or the ‘Four Button Trick’. Originally an accident due to the mechanical nature of the interconnected latching switches, this mode is reproduced by pushing in all four ratio buttons simultaneously and getting them to latch. This can take a bit of practice. The resulting compression curve is aggressive and unmistakably unique, and can be heard on the drum tracks of many classic recordings. All-buttons-in compression is typically characterized by having a very aggressive compression ratio, attack and release curves that are more drastic plateaus opposed to gentler slopes, and more audible distortion or ‘overdrive’ on the signal. Initial transients are more likely to come through loudly, followed by heavy compression curve sometimes described as having a ‘sucking’ effect as the compressor releases. Because this mode is considered a design accident, faithfully maintained; it is normal for the meter function to ‘peg out’ and cease providing accurate metering. We have faithfully reproduced the circuitry of the revision D, generally considered one of the best and most popular among the different versions made over the years. We’ve used all discrete, through-hole components, high quality CineMag input and output transformers, and a class A circuit that stays true to the legacy design. -UTILIZES PREMIUM GRADE INPUT AND OUTPUT CINEMAG USA TRANSFORMERS. -TRUE TO THE CLASSIC '76 COMPRESSOR IN DESIGN AND PERFORMANCE. -COMPLETELY DISCRETE SIGNAL PATH. -MODELED AFTER THE D REVISION. -SUPPORTS THE FAMOUS "ALL BUTTONS IN" RATIO SETTING. -ULTRA FAST ATTACK TIME. -CLASS A LINE LEVEL OUTPUT AMPLIFIER. -INPUT IMPEDANCE - 600 OHMS, BRIDGES-T CONTROL (FLOATING). -FREQUENCY RESPONSE ± 1 DB 20 HZ TO 20KHZ. -XLR AND TRS INPUTS. XLR AND TRS OUTPUTS. -50DB OF GAIN. -LESS THAN 0.4% TOTAL HARMONIC DISTORTION FROM 50 HZ TO 20 KHZ WITH LIMITING. -SIGNAL TO NOISE RATIO IS GREATER THAN 74 DB AT +25 DBM. -EIN -104.1 DBM. -ATTACK TIME, 20 MICROSECONDS TO 800 MICROSECONDS. -RELEASE TIME, 50 MILLISECONDS TO 1 SECOND -METER PROVIDES DB GAIN REDUCTION AND DB OUTPUT. -WITCHABLE 115/230 VOLT IEC POWER INLET. -19″ RACKMOUNT CHASSIS, 2U.

MXR M235 Smart Gate PRO Rack

8.495,-

MXR® SMART GATE® PRO RACK UNIT M235 This brilliant rack piece features the same great noise reduction as the pedal, but with the added features of two discrete channels, a Sync function, selectable ground lift, and remote switching capabilities. This brilliant rack piece is the big brother to the Smart Gate pedal. The Smart Gate Pro Rack Module features the same great noise reduction as the pedal, with three selectable ranges (Hiss, Mid, and Full) and a precise threshold trigger. But the Pro features several upgrades and enhancements. For starters, the Pro has two discrete channels, making it possible to set one channel to Hiss and minimal Threshold level (for clean tones) and one to Full and a higher Threshold level (for high-gain lead tones). There is also a Sync function that links the two channels for quieting a stereo signal. Add to this the true hardwire-bypass on each channel, selectable ground lift, and remote switching capabilities (with status-indicating LEDs) and the Smart Gate Pro starts to look like a real genius.