The 160A is the current version of the classic dbx 160 compressor. The original 160 was a half-width 2U box and the 160X was the first of the 1U mono compressors, a format that continues today with the 160A

The 160 is famous for drum & ambience compression and it’s equally good on bass. It’s definitely a compressor with its own sound so some will love it more than others. I don’t think there’s anyone who hates the 160…

The 160A sounds very similar to the older X and XT. It’s a superb compressor for bass, very usable on vocals particularly to bring out the quality of a voice and, in a stereo pair, great for drum ambience

The 160A is the latest in a long line of 160 models. It’s not particularly flexible or transparent-sounding but, when it hits the spot, it hits it better than pretty much anything else. It’s a VCA compressor with real character and real warmth, which makes it a rare compressor indeed. It makes most other compressors sound boring & sterile

The 160 is one of the few compressors that makes it into my All Time Top Five Compressor list:

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Valley People Dynamite

In excellent condition with only minor marks. Tested & working 100%. Photos show the compressor for sale

The post dbx 160A Compressor #175 appeared first on BN1studio.

The 160A is the current version of the classic dbx 160 compressor. The original 160 was a half-width 2U box and the 160X was the first of the 1U mono compressors, a format that continues today with the 160A

The 160 is famous for drum & ambience compression and it’s equally good on bass. It’s definitely a compressor with its own sound so some will love it more than others. I don’t think there’s anyone who hates the 160…

The 160A sounds very similar to the older X and XT. It’s a superb compressor for bass, very usable on vocals particularly to bring out the quality of a voice and, in a stereo pair, great for drum ambience

The 160A is the latest in a long line of 160 models. It’s not particularly flexible or transparent-sounding but, when it hits the spot, it hits it better than pretty much anything else. It’s a VCA compressor with real character and real warmth, which makes it a rare compressor indeed. It makes most other compressors sound boring & sterile

The 160 is one of the few compressors that makes it into my All Time Top Five Compressor list:

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Valley People Dynamite

In excellent condition with only minor marks. Tested & working 100%. Photos show the compressor for sale

The post dbx 160A Compressor #173 appeared first on BN1studio.

Vintage dbx 160X compressor in excellent, used condition with minor marks. Pots & switches cleaned & metering aligned. Tested & working 100%. Photos show the compressor for sale

The 160X is probably the best-known of the classic dbx 160 compressors. The original 160 was a half-width 2U box and the 160X was the first of the 1U dbx rack compressors. It was superceded by the 160XT which added XLR connectors

To my ears there is little or no difference between the 160X and the 160XT. I also have 160XTs for sale

The 160X is super-simple with just three controls: threshold, compression ratio and output gain. Threshold and output level are self-explanatory. The compression ratio is infinitely variable from 1:1 through 4:1 and 8:1 all the way to ∞:1 and beyond, to negative ratios, where output decreases with input. This allows for some pretty extreme compression effects

The front panel also has an Over Easy switch, to change the shape of the threshold knee, meter input / output switch, bypass switch and a slave switch for stereo linking. Metering is via two horizontal LED bargraphs, one for input or output level and one for gain reduction. Dynamics of the LED displays are excellent and it’s easy to see what the compressor is doing, even from a distance and under poor lighting conditions

“I think the 160X is the best compressor for drums that I’ve found. You just give it a little bit on the kick and snare while you’re recording and it brings them into focus. I don’t think you can find anything better for kick and snare — they’re amazing! You can really slam them too! I love the fact that they have a really quick recovery, and you can exaggerate it if you need to” – Glenn Ballard

“The 160X is about the best bang-for-your buck compressor that you can get”

“The 160x/xt is fantastic. Don’t be fooled by the price. You should buy one whatever happens”

“160X’s have that unique ability to be aggressive with grit that few compressors have”

The 160X is famous as a drum compressor. It adds punch & attitude to kicks & snares and is excellent for squashing overheads and ambience mics. Use a pair for drum bus parallel compression and you’ll have instant punch to beef up the drum mix. The 160X is superb for bass guitars and synths – it’s one of my favourites for bass guitar as it sits the bass just where you want it without killing the dynamics

The 160X is definitely a compressor with its own sound. It’s not a transparent, invisible compressor, but more like a giant hand that grabs hold of the signal to bend & twist it. The Americans call the 160X a “color compressor”. I can’t argue with that description as it adds colour and aggression to any signal that passes through it. It doesn’t suit every situation but it’s a hard compressor to live without once you’ve used one

I tested these 160Xs on drum loops and bass guitar and got superb results with both. With loops, the threshold setting is critical – too much compression and it can kill the dynamics. With the right threshold setting, and appropriate choice of hard knee or over-easy, the 160X adds snap to drums and tightens up loops. On bass guitar you can dial up quite large amounts of compression, adding colour and growl to the sound

The 160X is a great tool for parallel compression. It’s also worth experimenting with the dbx and another, softer, compressor in the signal chain

The dbx 160XT sits at #3 in my newly-revised Compressor Top Ten

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Fatso EL7X
6. Distressor EL8X
7. Valley People Dynamite
8. Gain Brain
9. dbx 163X
10. FMR Really Nice Compressor

In excellent, used condition. Tested & working 100%. Pots & switches cleaned & metering aligned. Photos show the compressor for sale

The post dbx 160X Compressor #171 appeared first on BN1studio.

The 160 is famous for drum & ambience compression and it’s equally good on bass. It’s definitely a compressor with its own sound so some will love it more than others. I don’t think there’s anyone who hates the 160…

The 160A sounds very similar to the older X and XT. It’s a superb compressor for bass, very usable on vocals particularly to bring out the quality of a voice and, in a stereo pair, great for drum ambience

The 160A is the latest in a long line of 160 models. It’s not particularly flexible or transparent-sounding but, when it hits the spot, it hits it better than pretty much anything else. It’s a VCA compressor with real character and real warmth, which makes it a rare compressor indeed. It makes most other compressors sound boring & sterile

The 160 is one of the few compressors that makes it into my All Time Top Five Compressor list:

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Valley People Dynamite

In excellent condition with only minor marks. Tested & working 100%. Photos show the compressor for sale

The post dbx 160A Compressor #170 appeared first on BN1studio.

Tested & working 100% and sounding really good! Pots & switches cleaned & metering aligned. Photos show the 160X for sale

The 160X is probably the best-known of the classic dbx 160 compressors. The original 160 was a half-width 2U box and the 160X was the first of the 1U dbx rack compressors. It was superceded by the 160XT which added XLR connectors

To my ears there is little or no difference between the 160X and the 160XT. I also have 160XTs for sale

The 160X is super-simple with just three controls: threshold, compression ratio and output gain. Threshold and output level are self-explanatory. The compression ratio is infinitely variable from 1:1 through 4:1 and 8:1 all the way to ∞:1 and beyond, to negative ratios, where output decreases with input. This allows for some pretty extreme compression effects

The front panel also has an Over Easy switch, to change the shape of the threshold knee, meter input / output switch, bypass switch and a slave switch for stereo linking. Metering is via two horizontal LED bargraphs, one for input or output level and one for gain reduction. Dynamics of the LED displays are excellent and it’s easy to see what the compressor is doing, even from a distance and under poor lighting conditions

“I think the 160X is the best compressor for drums that I’ve found. You just give it a little bit on the kick and snare while you’re recording and it brings them into focus. I don’t think you can find anything better for kick and snare — they’re amazing! You can really slam them too! I love the fact that they have a really quick recovery, and you can exaggerate it if you need to” – Glenn Ballard

“The 160X is about the best bang-for-your buck compressor that you can get”

“The 160x/xt is fantastic. Don’t be fooled by the price. You should buy one whatever happens”

“160X’s have that unique ability to be aggressive with grit that few compressors have”

The 160X is famous as a drum compressor. It adds punch & attitude to kicks & snares and is excellent for squashing overheads and ambience mics. Use a pair for drum bus parallel compression and you’ll have instant punch to beef up the drum mix. The 160X is superb for bass guitars and synths – it’s one of my favourites for bass guitar as it sits the bass just where you want it without killing the dynamics

The 160X is definitely a compressor with its own sound. It’s not a transparent, invisible compressor, but more like a giant hand that grabs hold of the signal to bend & twist it. The Americans call the 160X a “color compressor”. I can’t argue with that description as it adds colour and aggression to any signal that passes through it. It doesn’t suit every situation but it’s a hard compressor to live without once you’ve used one

I test 160Xs on drum loops and bass guitar. With loops, the threshold setting is critical – too much compression and it can kill the dynamics. With the right threshold setting, and appropriate choice of hard knee or over-easy, the 160X adds snap to drums and tightens up loops. On bass guitar you can dial up quite large amounts of compression, adding colour and growl to the sound

The 160X is a great tool for parallel compression. It’s also worth experimenting with the dbx and another, softer, compressor in the signal chain

The dbx 160XT sits at #3 in my newly-revised Compressor Top Ten

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Fatso EL7X
6. Distressor EL8X
7. Valley People Dynamite
8. Gain Brain
9. dbx 163X
10. FMR Really Nice Compressor

In excellent, used condition with minor marks. Tested & working 100%. Pots & switches cleaned & metering aligned. Photos show the compressor for sale

The post dbx 160X Compressor #160, USA-made appeared first on BN1studio.

The 160X is probably the best-known of the classic dbx 160 compressors. The original 160 was a half-width 2U box and the 160X was the first of the 1U dbx rack compressors. It was superceded by the 160XT which added XLR connectors

To my ears there is little or no difference between the 160X and the 160XT. I also have 160XTs for sale

The 160X is super-simple with just three controls: threshold, compression ratio and output gain. Threshold and output level are self-explanatory. The compression ratio is infinitely variable from 1:1 through 4:1 and 8:1 all the way to ∞:1 and beyond, to negative ratios, where output decreases with input. This allows for some pretty extreme compression effects

The front panel also has an Over Easy switch, to change the shape of the threshold knee, meter input / output switch, bypass switch and a slave switch for stereo linking. Metering is via two horizontal LED bargraphs, one for input or output level and one for gain reduction. Dynamics of the LED displays are excellent and it’s easy to see what the compressor is doing, even from a distance and under poor lighting conditions

“I think the 160X is the best compressor for drums that I’ve found. You just give it a little bit on the kick and snare while you’re recording and it brings them into focus. I don’t think you can find anything better for kick and snare — they’re amazing! You can really slam them too! I love the fact that they have a really quick recovery, and you can exaggerate it if you need to” – Glenn Ballard

“The 160X is about the best bang-for-your buck compressor that you can get”

“The 160x/xt is fantastic. Don’t be fooled by the price. You should buy one whatever happens”

“160X’s have that unique ability to be aggressive with grit that few compressors have”

The 160X is famous as a drum compressor. It adds punch & attitude to kicks & snares and is excellent for squashing overheads and ambience mics. Use a pair for drum bus parallel compression and you’ll have instant punch to beef up the drum mix. The 160X is superb for bass guitars and synths – it’s one of my favourites for bass guitar as it sits the bass just where you want it without killing the dynamics

The 160X is definitely a compressor with its own sound. It’s not a transparent, invisible compressor, but more like a giant hand that grabs hold of the signal to bend & twist it. The Americans call the 160X a “color compressor”. I can’t argue with that description as it adds colour and aggression to any signal that passes through it. It doesn’t suit every situation but it’s a hard compressor to live without once you’ve used one

I tested these 160Xs on drum loops and bass guitar and got superb results with both. With loops, the threshold setting is critical – too much compression and it can kill the dynamics. With the right threshold setting, and appropriate choice of hard knee or over-easy, the 160X adds snap to drums and tightens up loops. On bass guitar you can dial up quite large amounts of compression, adding colour and growl to the sound

The 160X is a great tool for parallel compression. It’s also worth experimenting with the dbx and another, softer, compressor in the signal chain

The dbx 160XT sits at #3 in my newly-revised Compressor Top Ten

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Fatso EL7X
6. Distressor EL8X
7. Valley People Dynamite
8. Gain Brain
9. dbx 163X
10. FMR Really Nice Compressor

In excellent, used condition. Tested & working 100%. Pots & switches cleaned & metering aligned. Photos show the compressor for sale

The post dbx 160X Compressor #159 appeared first on BN1studio.

The 440 combines a compressor, limiter, clipper and expander in one neat package. It excels at brutal compression but can do subtle when required. It’s a one-box drum compressor that will breathe life into the sloppiest drums & samples. Use it in parallel or just smash the original..

Supplied with a new set of XLR pigtails made with high-spec mic cable & Neutrik XLRs. Photos show the compressor for sale

Valley International was one of the last incarnations of Allison Research. The company was started by Paul Buff, an engineer who worked with Frank Zappa in the early days. Buff designed the amazing Gain Brain compressor for Allison Research and the equally extraordinary Dynamite compressor for Valley People. He patented the legendary Valley People TA-101 VCA which formed the basis of many of his designs. The 440 in this auction uses the TA-101 as the gain reduction element

Valley People morphed into Valley International and the model 440 was produced under both names, with minor differences. I’ll update the description and list the differences between the Valley People and Valley International models once refurbishment is complete

This 440 is a late Valley International model in the same 1U case used for late-model Dynamite compressors. It’s a VCA compressor utilising the sidechain know-how and control circuitry of Valley to enable it to combine a compressor, limiter, clipper and expander in one box. VCA compressors use a Voltage-Controlled Amplifier as the gain control element. VCA design has been the subject of much design effort & optimisation over the years and high-end products offer extremely transparent gain control. Examples of clean, transparent VCA compressors include Aphex products, various SSL bus compressor clones and many of the Valley People / Valley International designs

Despite similar topologies, some VCA compressors offer more than others. In this area, experience is key and companies & designers with a long history of compressor development tend to bring more to the table. Paul Buff is a great example – his list of compressor designs is remarkable

The 440 is a single-channel unit with linking for stereo setups. There are separate controls for the various sections and, unlike the hyper-complex Valley People Dynamite, the front panel is logical & pretty simple to use

Front panel controls:

• Compressor
• Threshold
• Compression Ratio
• Attack Time
• In / FM / Out switch
• Expander
• Expander Threshold 
• In / Out switch
• Compressor / Expander
• Release time
• Auto / Normal switch 
• Limiter
• Threshold
• Release
• In / AGC / Out switch
• Clipper In / Out switch
• Other
• Compressor gain reduction meter
• Limiter gain reduction meter
• Stereo link switch
• DSP 1 / 2 / Out switch
• Output gain
• Output level meter
• VU input / output switch
• Bypass switch
• Power switch

Most controls operate as you’d expect but, as usual with Valley products, there’s more going on than meets the eye. Switches are a mixture of two and three-position toggles so it’s possible to confuse yourself utterly. Starting with all sections switched out is a good move

The compressor has In, FM and Out. FM gives FM pre-emphasis compensated compression & limiting – see the link to the manual for more details

The expander has a simple threshold control and an in / out switch

Release controls release time of the compressor and expander and has a duration pot and an auto / normal switch. In the auto position release is program-dependent

The limiter section has two parts, a limiter and a clipper. The clipper operates after the limiter section, just before the output buffer of the unit. The limiter has separate threshold and release controls and an in / AGC / out control. AGC is an automatic gain control setting with a much longer release time. This allows it to pull louder signals back to maintain an approximately consistent level

DSP has three settings, 1, 2 and off. DSP is a dynamic sibilance processor designed for de-essing. Setting 1 is a low frequency setting, 2 is high

In use the 440 is similar to the Valley People 610 – at lowish compression ratios, up to about 4:1, it’s subtle and punchy. Most of the action is set by the attack & release times. At higher compression ratios and lower thresholds the attack control changes the initial transient but the character of the sound remains pretty constant. It’s an odd sensation hearing a snare drum being pushed back & forth in a drum loop but the 440 does it with ease. Despite very audible compression with higher ratios, the audio is clean and remarkably free from artifacts

If you want super-compressed drums, the 440 will deliver. The release time enables compression to be matched perfectly to tempo and pumping, over-the-top compression is yours for the asking. The attack time setting dictates how much of the initial transient makes it through and determines how hard the initial hit sounds. This flexibility means that the 440 is hard to beat for parallel compression

By contract to the super-clean SPL Dynamaxx, and the subtle Orban 424A, the 440 will do nasty as well as clean. It has a dual personality that isn’t apparent at first. It may take a little time to find out what it can do, but the 440 is capable of many different types of compression and delivers them all with great fidelity. It’s very responsive to control settings – a trait I’ve found to be common amongst good compressors – and offers a wide palette of sounds

The 440 is a hard compressor to sum up in a nutshell but it offers all the dynamism & madness of the Dynamite, the fidelity of an Aphex Dominator and the flexibility and control of a UREI LA-22

Quotes from the web:

“Wow. this thing is nuts. sooper fast attack. makes vocals stand up right in your face. you can make the attack of a snare inaudible”

“It’s my main vocal compressor. Very transparent, even at high ratios, the limiter and gate work well”

“How come i’ve never heard of it before? btw-i think vocals are where it excels too. it is useful anywhere. last night i used it while tracking an unruly acoustic gtr to great effect. but great on vocals”

“Can’t talk about Valley People without mentioning the name Paul Buff… or Frank Zappa”

“Really loving working with my Valley 440. It’s pretty versatile and can really put vocals or electric guitars ‘in your face'”

Photos show the Valley 440 for sale

The post Valley International 440 Compressor (Refurbished & Recapped) #3 appeared first on BN1studio.

Valley People was the successor to Allison Research. The company was started by Paul Buff, an engineer who worked with Frank Zappa in the early days. Buff designed the amazing Gain Brain compressor for Allison Research and the equally extraordinary Dynamite compressor for Valley People. He patented the Valley People TA-101 VCA which formed the basis of many of his later designs. The 610 in this auction was the last Valley International device built with Paul’s input

On the face of it the 610 a straightforward VCA compressor. However, it has hidden depths… VCA compressors use a Voltage-Controlled Amplifier as the gain control element. VCA design has been the subject of much design effort & optimisation over the years and high-end products offer extremely transparent gain control. Examples of clean, transparent VCA compressors include Aphex products, various SSL bus compressor clones and this Valley International 610

Despite similar topologies, some VCA compressors offer more than others. In this area, experience is key and companies & designers with a long history of compressor development tend to bring more to the table. Paul Buff is a great example – his list of compressor designs is remarkable

The 610 combines two channels of compression and expansion in one chassis. Each channel has separate controls and a stereo link switch links gain reduction to maintain stereo balance

Front panel controls:

• Threshold
• Compression Ratio
• Attack Time
• Mode switch (Compressor / Voiceover)
• Expander Threshold
• Expander Range
• Expansion shape switch (1:2, 1:20, Out)
• Release Time
• Auto Release switch (On / Off)
• Release Mode switch (Normal / FM / External)
• Gain
• Bypass switch
• Stereo / 2-Channel switch

Most controls operate as you’d expect and first-timers will have no problem getting around the front panel. Starting with lowish compression ratios, up to about 4:1, the 610 is subtle and punchy. Most of the action is set by the attack & release times, and by tweaking the release time with the threshold set quite low you can pull & push snares in a loop or backing track

With higher compression ratios the 610 turns into a monster. Unlike many compressors, where higher ratios tend to mean less flexibility, the 610 digs in and starts to show what it can do. If you want super-compressed drums, the 610 will deliver. The release time enables compression to be matched perfectly to tempo and pumping, over-the-top compression is yours for the asking

By contrast to the super-clean SPL Dynamaxx, and the subtle Orban 424A, the 610 will do nasty as well as clean. It has a dual personality that isn’t apparent at first. It may take a little time to find out what it can do, but the 610 is capable of many different types of compression and delivers them all with great fidelity

The 610 is my favourite from the Allison Research / Valley People / Valley International compressor range. It retains the speed & attitude of the original Dyna-Mite and has probably the best control layout. It sounds fantastic. Whether compressing subtly at 4:1 or pounding drums into submission at 20:1, it always sounds clean & super-dynamic

Quotes from the web:

“Jamais entendu un compresseur avec un punch pareil !!” (I have never heard a compressor with a punch like it!)

“Le moins qu’on puisse dire, c’est qu’il est incroyable sur les loops de drum, capable des compressions les plus drastiques“

“Le comp idéal pour ceux qui recherche le son qui cogne !!!“

“Rare piece that can get a Dyna-Mite kind of effect or be more subtle. Attack times down to 20µs“

“Vicious is the word that comes to mind! I loved mine on drums. Could be more subtle, but they were very flexible and pretty potent.”

“Had one since the mid-80’s . Still patch it in now and then…She’s a grabber, for sure. Using compression and the extender together nicely tightens up drumtracks. A bit of a trip to finetune the settings though. Auto and manual release controls are cool. Dual mono or linkable stereo…”

“Buy it !“

“I had a Valley 610 and it was VICIOUS!“

“I have one, I find it a fairly aggressive and fast compressor. Great for Big Spanking”

The post Valley People 610 Stereo Compressor (Refurbished & Recapped) #1 appeared first on BN1studio.

The 160X is probably the best-known of the classic dbx 160 compressors. The original 160 was a half-width 2U box and the 160X was the first of the 1U dbx rack compressors. It was superceded by the 160XT which added XLR connectors

To my ears there is little or no difference between the 160X and the 160XT. I also have 160XTs for sale

The 160X is super-simple with just three controls: threshold, compression ratio and output gain. Threshold and output level are self-explanatory. The compression ratio is infinitely variable from 1:1 through 4:1 and 8:1 all the way to ∞:1 and beyond, to negative ratios, where output decreases with input. This allows for some pretty extreme compression effects

The front panel also has an Over Easy switch, to change the shape of the threshold knee, meter input / output switch, bypass switch and a slave switch for stereo linking. Metering is via two horizontal LED bargraphs, one for input or output level and one for gain reduction. Dynamics of the LED displays are excellent and it’s easy to see what the compressor is doing, even from a distance and under poor lighting conditions

“I think the 160X is the best compressor for drums that I’ve found. You just give it a little bit on the kick and snare while you’re recording and it brings them into focus. I don’t think you can find anything better for kick and snare — they’re amazing! You can really slam them too! I love the fact that they have a really quick recovery, and you can exaggerate it if you need to” – Glenn Ballard

“The 160X is about the best bang-for-your buck compressor that you can get”

“The 160x/xt is fantastic. Don’t be fooled by the price. You should buy one whatever happens”

“160X’s have that unique ability to be aggressive with grit that few compressors have”

The 160X is famous as a drum compressor. It adds punch & attitude to kicks & snares and is excellent for squashing overheads and ambience mics. Use a pair for drum bus parallel compression and you’ll have instant punch to beef up the drum mix. The 160X is superb for bass guitars and synths – it’s one of my favourites for bass guitar as it sits the bass just where you want it without killing the dynamics

The 160X is definitely a compressor with its own sound. It’s not a transparent, invisible compressor, but more like a giant hand that grabs hold of the signal to bend & twist it. The Americans call the 160X a “color compressor”. I can’t argue with that description as it adds colour and aggression to any signal that passes through it. It doesn’t suit every situation but it’s a hard compressor to live without once you’ve used one

I tested these 160Xs on drum loops and bass guitar and got superb results with both. With loops, the threshold setting is critical – too much compression and it can kill the dynamics. With the right threshold setting, and appropriate choice of hard knee or over-easy, the 160X adds snap to drums and tightens up loops. On bass guitar you can dial up quite large amounts of compression, adding colour and growl to the sound

The 160X is a great tool for parallel compression. It’s also worth experimenting with the dbx and another, softer, compressor in the signal chain

The dbx 160XT sits at #3 in my newly-revised Compressor Top Ten

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Fatso EL7X
6. Distressor EL8X
7. Valley People Dynamite
8. Gain Brain
9. dbx 163X
10. FMR Really Nice Compressor

In good, used condition. Tested & working 100%. Pots & switches cleaned & metering aligned. Photos show the compressor for sale

The post dbx 160X Compressor #144 appeared first on BN1studio.

In addition to rackmount compressors like the Dynamite, Valley International produced the Micro FX range of lower-cost, compact devices. Star of the range is the Micro FX Compressor

According to Doc Morgan of Valley International: “The MicroFX products were 1/2 rack units that interlocked by means of their extruded aluminum housings, and were powered by an external supply that was to be part of the rack system. There was a compressor, an expander, a mic pre, a level matching interface, a sibilance suppressor and a one-way noise reduction system, all single channel and low cost.”

The Micro FX Compressor uses the TA-101 Class-A VCA designed by Valley People founder Paul Buff. Used in many of his designs, the TA-101 was purpose-designed for gain control and is a cornerstone of the the Valley sound

The Micro is a single-channel compressor with front panel controls for threshold, compression ratio, release and gain. An LED meter shows gain reduction and there’s a handy in / out bypass pushbutton

In use it’s a punchy, dynamic compressor well-suited to crushing drums or pinning bass guitars. It’s flexible enough to use on vocals and, at lower ratios, can be quite subtle but it excels at the tougher stuff

In excellent condition for a vintage piece of gear – the front panel has a minor gouge in the top edge and the case shows where stickers have been removed, but it’s otherwise unmarked and the knobs & pots are original and in good order

“I helped work on the design. It was a very nice little unit, especially for the target price. Lot of circuitry the same as in the big expensive units – the LID (detector), the VCA, anticipatory release, etc….”

“Immediately plugged it in and got some great sounds from my guitar — nice even tone, much cleaner than my other comp. pedal”

The post Valley International Micro FX Compressor (Refurbished & Recapped) #3 appeared first on BN1studio.