Description
This is the latest iteration of our modifications for the Micro Limiter. In addition to our usual recap and release time mods, this version has a switchable high-pass filter in the sidechain. This helps reduce the effect of low frequencies on the amount of compression
It’s not a perfect mod – it’s possible to make the limiter choke with too much input level when the filter is engaged – so use it appropriately, or bypass it using the back-panel switch
The recapped & upgraded the Micro Limiter sounds bigger & better. The power supply has been updated with much larger reservoir caps and better decoupling. The tiny audio coupling caps have been replaced with much larger bipolar caps which really improves the bass end, making it smoother & better defined. Even with quite a lot of gain reduction you can feel the weight of the bass
We’ve modified the release timing to shorten the fastest release time. It still allows a relatively long release when set to maximum, but the shortest time makes for more dramatic compression effects. The values were determined by listening tests and the results are a big improvement over a stock Micro Limiter. The difference between the shortest & longest release settings is more pronounced and there is greater sonic variation
This is “the other” vintage compressor from Alesis. The Micro Limiter is a 1/3U stereo limiter which is famous for smashing drums, nuking snares, mullering cymbals and squashing bass guitar
Although Alesis call it a limiter, at low compression levels – when the green LEDs are lit – it uses a ratio between 2:1 and 8:1. With the yellow LEDs on CR is around 10:1 and, with the final red LEDs lit, 16:1. It uses a soft-knee approach, so there is always some compression going on, but higher input levels means more compression and a higher ratio
There’s no Threshold control – just Input, Release & Output controls and an In/Out switch. The back panel is equally minimal with input & output jacks and a power socket
Release time is the key here – with fast release times and lots of compression you get pumping & breathing but slowing up the release changes the character of the sound immensely. At long release times the Microlimiter is in gain reduction all the time but the depth of compression is still driven by the input signal. It’s possible to use huge amounts of gain reduction but still maintain articulation on signals like bass guitar. In this respect it’s more flexible than one of my favourites, the dbx 160X
The Micro Limiter has another big advantage over its competitors – it’s a stereo device. This means stereo drum ambience, parallel buses and backing vocals are all targets for some serious compression. It will do subtle compression as well as vicious but it excels at the nasty stuff. Use your RNC for Nice compression and the Micro Limiter for Dirty
“Well, thus far, my favourite use has been on overheads; you can squish ’em pretty hard without strange things happening to the sound”
“I still have three of them. I like them on drums, vocals and acoustic guitar”
“Really cool as a parallel comp on snare and voice”
“Squishes like there is no morning”
“What a fun little box! It sounds pretty good on everything I’ve tried it on”
“Super squasher, always good fun making the whole room come through the snare mic. Good for aggressive up front vocals too”
“I’m loving it as a parallel drum comp, really trashy but nice and thick sounding too”
Photos show the Micro Limiter for sale