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[Ruairi O'Flaherty]

zmix wrote on Wed, 19 March 2008 14:08

The LTD-2 is a completely different amplifier topology from the 33609 / 1081.  The LTD-2 uses the same single ended class A output as a neve 1073 / 1064 / 1066 I've extensively modified a few of these LTD-2 because I considerthem way way too pokey for mastering, in fact I am a mixer and I think they are too pokey for that , too! You may be interested to read about my Chandler LTD-2 modifications.

Hey Chuck,

I was aware of the different output on the LTD-2.  In fact I have a  pair of 283s and LO1166 so perhaps I can make a comparison on the outputs when I build mine.  

You were one of the "technical" folks I had in mind at the top of the thread.  What do you think of the diode bridge as a gain reduction device?  Is it a concept worth updating with cleaner transformers and output amps or does the bridge have a strong sonic foot print/distortion of its own?  I'll be answering these questions myself over the next while on my own build but I'd love to hear your thoughts or DC's?

Thanks to everyone else for your input.

Cheers,
Ruairi

[Bob Boyd]

Ed Littman wrote on Wed, 19 March 2008 08:02

I ended up getting the ltd-2(m)& use it along with the stc-8 quite often. Ed

Yep, these are my only 2 analog comps right now and I find myself double compressing with them fairly often.  A little gain reduction with each can go a long way.  Very different, very complimentary.  

They can work very well together.

[TotalSonic]

On the topic of comps - but OT of diode bridge designs - this FET comp caught my eye recently - http://www.altamodaaudio.com/unicomp.html - definitely curious to demo it as well - has anyone heard it yet?

Best regards,
Steve Berson

[zmix]

Ruairi O'Flaherty wrote on Wed, 19 March 2008 15:07

zmix wrote on Wed, 19 March 2008 14:08 The LTD-2 is a completely different amplifier topology from the 33609 / 1081.  The LTD-2 uses the same single ended class A output as a neve 1073 / 1064 / 1066 I've extensively modified a few of these LTD-2 because I considerthem way way too pokey for mastering, in fact I am a mixer and I think they are too pokey for that , too! You may be interested to read about my Chandler LTD-2 modifications. Hey Chuck, I was aware of the different output on the LTD-2.  In fact I have a  pair of 283s and LO1166 so perhaps I can make a comparison on the outputs when I build mine.   You were one of the "technical" folks I had in mind at the top of the thread.  What do you think of the diode bridge as a gain reduction device?  Is it a concept worth updating with cleaner transformers and output amps or does the bridge have a strong sonic foot print/distortion of its own?  I'll be answering these questions myself over the next while on my own build but I'd love to hear your thoughts or DC's? Thanks to everyone else for your input. Cheers, Ruairi

Hi Ruairi,

Thanks for the kind words.

Is this technology still valid or should it be updated?

The diode bridge was used by several designers in the mid 1960s; Neve and Dolby, for example, both used them in their gain reduction circuits.

Diode bridges were also used in "ring' modulators, which are essentially a diode ring based amplitude modulator

Neve did something a bit radical (and necessary) by reducing the level to a fraction of it's original value when sending it through the diode bridge.  Apart from the obvious, they did this to utilize the extremely linear part of the diode's curve.  Their feedback topology helps further linearize the system.

The interesting part comes when the diode bridge exceeds it's range, and this more than anything gives the circuit it's characteristic sound.

Clean up the circuit?

I don't know what to say, I think that there are probably more sophisticated ways to control gain, but the more important question is: "what does it sound like"?  
I use my class A variants on things like guitar because they do add quite a bit of color.. not so much in their tonality but in their dynamic 'crunchiness'...  I suppose that if universal audio got the gain reduction curves correct then their 33609  would be an example of what the design sounds like without any color or hair. Despite the hype and enthusiasm of their fans, they have not introduced any additional harmonics (like those generated by transformers and single ended gain stages).

Who knows?

[bigaudioblowhard]

Wally Traugott used the 33609 as his main axe for ages during his final years at Capitol. I believe it was an earlier model. Though he had a coupla 2254E's in his Neve Mastering Console in RR1 at the Tower, I recall he rarely ever used em. In fact, I used the other 2254E's Capitol owns, with the Shep Power Supply (very important).

That 33609 is on Barry Manilow, Juglio Iglesias (Crazy), Babs (not me), The Presidents Of The United States, Soul Asylum, almost everything he did in the late '80's untill he retired in '97.

bab

[prolearts]

Does that CL1MK2 unit have all switched pots? The chunky tick marks on the unit seem (to me) to imply it. Seems like a good value, even with the exchange rate ($3600 at Mercenary).

J. Ward
Chicago Mastering Service

[TotalSonic]

prolearts wrote on Thu, 03 April 2008 10:53

Does that CL1MK2 unit have all switched pots? The chunky tick marks on the unit seem (to me) to imply it. Seems like a good value, even with the exchange rate ($3600 at Mercenary). J. Ward Chicago Mastering Service

Jason -
The CL1mk2 has switches (not pots) on all controls except for the make up gain (which is on continuosuly variable pots) - which can just be left at their most left position for 0dB gain - so if you don't use make up gain then everything is very easily completely recallable on the stock version.

I was pretty impressed with it in my brief demo of it at the Mercenary booth AES 2007 here in NYC - but obviously that's not a decent place to really judge a compressor.  I definitely want to demo one out in my studio this year.  I agree the price seems like very good bang for buck.

Best regards,
Steve Berson