{"title":"Empirical Labs","description":"","products":[{"product_id":"empirical-labs-el7-x-fatso-tape-simulator-optimizer-1452050","title":"Empirical Labs EL7-X FATSO Tape Simulator \u0026 Optimizer","description":"Arguably the coolest and most unique device in the Empirical Labs arsenal, the FATSO (Full Analog Tape Simulator and Optimizer) is a digitally controlled analog device that gives musicians and engineers easy access to many of the desirable characteristics exhibited by older tube and Class A electronics and magnetic tape mediums. This two channel audio processor musically integrates frequencies and transients, increasing the apparent volume while keeping tight control over peak levels.\u003cbr\u003e\u003cbr\u003eWith the FATSO, recording studios and audio production facilities can enhance and soften the sound of Hardware Digital Recorders (HDRs) and Digital Audio Workstations (DAWs). Mix engineers will have the option not to have to use bulky, expensive analog tape recorders to get the warmth and sweet high end they’ve come to rely on for so many decades. Owners of DAWs and HDRs can finally put a stop to complaints about the coldness and brittle edge of their mixes and instruments. Even audiophiles can benefit from the FATSO, bringing back the warmth and ambience of LP’s and tapes to their CD players and other digital reproduction mediums.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe FATSO Goes to Eleven\u003c\/b\u003e\u003cbr\u003eELEVEN is a new compressor for the FATSO, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower “1176” attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc. Click here to find out how to upgrade your EL7 to an EL7X.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFour Types of Processing\u003c\/b\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eHarmonic Generation and Soft Clipper (Distortion Generation) – this class A circuit gently rounds the peaks like saturated tubes or tape.\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Saturation (Warmth) – a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.\u003c\/li\u003e\n\u003cli\u003eTransformer \u0026amp; Tape Head Emulation – a simulation of the effect of input and output transformers of older devices, which adds  the low frequency harmonics that characterize them, as well as analog tape..\u003c\/li\u003e\n\u003cli\u003eClassic Knee Compression – your typical automatic leveling device found on just about every instrument and vocal track as well as on  the overall buss, done Empirical Labs compression – smooth and sweet, but in your face!\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cb\u003eUniversal Audio's FATSO Emulation\u003c\/b\u003e\u003cbr\u003eEndorsed and scrutinized for accuracy by designer Dave Derr of Empirical Labs, Universal Audio has painstakingly recreated the FATSO Jr. in this highly anticipated UAD Powered Plugin, capturing the sonic nuances of the original hardware. As part of the FATSO Powered Plugin, UA has also worked closely with Dave Derr to model the original concept of the FATSO, the FATSO Sr., with attack, release, and threshold compressor controls, among other features not available elsewhere.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrequency Response: \u003c\/b\u003e2 Hz to 60 kHz in clean audio mode (+0, -3 dB).\u003cbr\u003e\u003cb\u003eDynamic Range:\u003c\/b\u003e 110 dB from maximum output (20 %THD soft clipping) to minimum output. Greater than 100 dB signal to noise.\u003cbr\u003e\u003cb\u003eDistortion:\u003c\/b\u003e Ranges between .06% and 20% depending on mode and settings.\u003cbr\u003e\u003cb\u003eI\/O: \u003c\/b\u003eDC Coupled input and outputs.\u003cbr\u003e\u003cb\u003eCompressor Time Constants:\u003c\/b\u003e Attack range 1ms – 60ms. Release range .05sec – 3.5 seconds. Attack and Releases are fixed by the compression type selected.\u003cbr\u003e\u003cb\u003ePower Consumption: \u003c\/b\u003e15 Watts Max.\u003cbr\u003e\u003cb\u003eMetal Chassis: \u003c\/b\u003esingle height 1.75″ high, 10″ deep, 19″ wide.","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39831676452999,"sku":"EL7-XFATSO","price":2449.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el7-x-fatso-tape-simulator-optimizer-el7-xfatso-29280502841479.jpg?v=1654534930"},{"product_id":"empirical-labs-el9-mike-e-microphone-preamp-1452051","title":"Empirical Labs EL9 Mike-E Microphone Preamp","description":"In today’s modern age of digital recorders, DAWs and software plug-ins, Mike-E is the ultimate solution for getting a clean and strong, yet warm and musical signal into the box…and it couldn’t be easier to work – its front panel layout is so straight ahead that even inexperienced engineers will have no problem moving around on it right away.\u003cbr\u003e\u003cbr\u003eWhen the engineering team at Empirical Labs sets out to build a microphone preamp, you can be sure it’ll deliver spectacular sound, be effortless to work, and will provide features unlike any other device in its class. To that end, we proudly present Mike-E, a high performance transformer-coupled mic preamp with a noise floor far below any microphone’s self noise, combined with a one-of-a-kind compressor\/saturator circuit that delivers classic knee compression as well as versatile tonal ‘coloring’ that can replicate many of the best characteristics of vintage analog recording equipment.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMic Preamp\u003c\/b\u003e\u003cbr\u003eThe Mike-E features a super low noise transformer input amplifier section with the gain under precise digital control. The signal to noise far exceeds any microphone in existence. Having used many mic preamps over the years, we’ve implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches. A “Bad!” LED indicates when the input signal is overloading the circuit.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCompSat\u003c\/b\u003e\u003cbr\u003eThe CompSat’s unique circuitry sets the Mike-E apart from all other mic preamps.\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eSATURATOR –  a multi stage soft-clipping circuit. At lower levels, a triode-type saturation affects the signal. As the level increases, a second unique clip circuit starts to more severely flatten out the peaks.\u003c\/li\u003e\n\u003cli\u003eCOMPRESSOR – based on ELI’s world famous Distressor, but with other characteristics (including a much longer attack time).  Preset ratios include: 2:1, 4:1, 8:1…and, of course, Nuke.\u003c\/li\u003e\n\u003cli\u003eEMPHASIS – a two-stage circuit that boosts and soft clips high frequencies before the CompSat™ circuit, and then cuts the frequencies after it. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cb\u003eFrequency Response:\u003c\/b\u003e 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz.\u003cbr\u003e\u003cb\u003eSignal to Noise: \u003c\/b\u003e130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu.\u003cbr\u003e\u003cb\u003eDistortion: \u003c\/b\u003eRanges between .0006% and 15% depending on mode and settings.\u003cbr\u003e\u003cb\u003eI\/O:\u003c\/b\u003e Transformer coupled Input, Active and Transformer Outputs available. High quality audio caps used internally.\u003cbr\u003e\u003cb\u003eImpedance:\u003c\/b\u003e Input Impedance is above 600 Ohms at all frequencies, transformer coupled. Output impedance is less than 38 ohms. Instrument In Impedance is 332K Ohms.\u003cbr\u003e\u003cb\u003eAttack\/Decay Range: \u003c\/b\u003e.9 – 70mS attack. .15 – 1 Sec.\u003cbr\u003e\u003cb\u003ePower Consumption:\u003c\/b\u003e 15 Watts Max.\u003cbr\u003e\u003cb\u003eMetal Chassis: \u003c\/b\u003esingle height 1.75″ high, 10″ deep, 19″ wide.","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39831676485767,"sku":"EL9MIKEE","price":1699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el9-mike-e-microphone-preamp-el9mikee-29280503038087.jpg?v=1654534949"},{"product_id":"empirical-labs-elq-lil-freq-4-band-parametric-eq-1452052","title":"Empirical Labs ELQ Lil FrEQ 4-band parametric EQ","description":"As with ELI’s other signal processors, the Lil FrEQ Equalizer takes a somewhat unique approach to its job. Instead of daisy chaining several equalizers and frequency processors, we combined most of the sound sculpting tools an engineer needs into a compact single rack space box, while still offering the highest performance of any design in its class.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEight Sections of Processing\u003c\/b\u003e\u003cbr\u003eThere are eight sections of processing – what other EQ offers that? Even better – in addition to a master bypass, each of the Lil FrEQ’s sections features its own dedicated bypass switch, letting you instantly A\/B the effect of each section as you adjust and fine-tune them.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHIGH PASS \u003c\/b\u003e– The High Pass section is a really easy to use sharp filter that cuts all content below one of eight preset frequencies from 30-330 Hz. This filter is very steep and has a special shape that prevents frequencies from thinning out just above the cutoff point. The corner frequency is selected using up\/down buttons, and indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHIGH \u0026amp; LOW SHELVING\u003c\/b\u003e – These two knobs function similarly to the familiar “bass and treble” tone controls found on many consumer audio playback systems; however, these are designed to a much higher performance standard, providing exceptionally smooth and musical boost and cut on the high and low frequencies.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePARAMETRIC EQ\u003c\/b\u003e – The Lil FrEQ has four sections of fully parametric EQ (LF, Lo Mid, Hi Mid and HF), with each section featuring individual gain, bandwidth (Q) and frequency controls.  It may be the cleanest parametric EQ section ever produced, operating below .0007% THD (Total Harmonic Distortion) even at extremely high audio levels. Try finding those specs anywhere else!\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDS (DYNAMIC EQ)\u003c\/b\u003e – The DS section provides the highest performance, easiest to use, and possibly most natural sounding “De-esser” ever built.  This powerful tool combines tunable filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants or other sharp transients, especially in the absence of other lower frequency content.  It can also function as a one of a kind soft knee High Frequency limiter, which is one of the main things responsible for the Lil FrEQ becoming the go-to vocal EQ for engineers everywhere.  It has been used on many acclaimed albums and major live performances all over the world, becoming the “go to” EQ for key tracks like lead vocals, snares, and bass.  There are now dozens of hit record vocals that were processed thru the Lil FrEQ.\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFrequency Response:\u003c\/b\u003e 5 Hz to 140 kHz on transformerless inputs and outputs. Transformer output 10Hz to 110 kHz.\u003cbr\u003e\u003cb\u003eDynamic Range:\u003c\/b\u003e 120 dB from maximum output (.1% clipping) to minimum output. Greater than 110 dB signal to noise.\u003cbr\u003e\u003cb\u003eDistortion:\u003c\/b\u003e Ranges between .00056% and .005% depending on mode and settings. DS section has THD \u0026lt; .005%.\u003cbr\u003e\u003cb\u003eI\/O:\u003c\/b\u003e DC coupled inputs and outputs and one transformer coupled output.\u003cbr\u003e\u003cb\u003eDynamic Time Constraints: \u003c\/b\u003eAttack is approximately .5 ms. Release .04 sec fixed internally.\u003cbr\u003e\u003cb\u003ePower Consumption:\u003c\/b\u003e 15 Watts Max.\u003cbr\u003e\u003cb\u003eMetal Chassis:\u003c\/b\u003e single height 1.75″ high, 10″ deep, 19″ wide.","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39831676518535,"sku":"ELQLILFREQ","price":2499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-elq-lil-freq-4-band-parametric-eq-elqlilfreq-29295204663431.jpg?v=1655225968"},{"product_id":"empirical-labs-el8-distressor-compressor-1452046","title":"Empirical Labs EL8 Distressor Compressor","description":"\u003cdiv\u003eThe product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time… if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003eBesides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eUnique Compression Curves\u003c\/b\u003e\u003cbr\u003eAll eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eDistortion (Color) Modes\u003c\/b\u003e\u003cbr\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cul\u003e\n\u003cli\u003eFrequency Response – 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/li\u003e\n\u003cli\u003eDynamic Range – 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/li\u003e\n\u003cli\u003eDistortion – ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/li\u003e\n\u003cli\u003eI\/O – DC Coupled input and outputs.\u003c\/li\u003e\n\u003cli\u003eTime Constants – Attack range 50uS – 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependent on ratio.\u003c\/li\u003e\n\u003cli\u003ePower Consumption – 15 Watts Max.\u003c\/li\u003e\n\u003cli\u003eMetal Chassis – single height 1.75″ high, 10″ deep, 19″ wide.\u003c\/li\u003e\n\u003cli\u003eShipping info – 12.1 lbs mono. Mono box dimensions 22.5″ x 18.5″ x 3 1\/4″.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39843604136071,"sku":"EL8DISTRESSOR","price":1549.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el8-distressor-compressor-el8distressor-29280502448263.jpg?v=1654535306"},{"product_id":"empirical-labs-el8-s-distressor-compressor-stereo-pair-1452047","title":"Empirical Labs EL8-S Distressor Compressor Stereo Pair","description":"\u003cdiv\u003eThe product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time… if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003eBesides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eUnique Compression Curves\u003c\/b\u003e\u003cbr\u003eAll eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eDistortion (Color) Modes\u003c\/b\u003e\u003cbr\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eGo Stereo\u003c\/b\u003e\u003cbr\u003eFor many Distressor owners, one is never enough – in fact, one extremely successful engineer has twelve of them! For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together. \u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cul\u003e\n\u003cli\u003eFrequency Response – 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/li\u003e\n\u003cli\u003eDynamic Range – 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/li\u003e\n\u003cli\u003eDistortion – ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/li\u003e\n\u003cli\u003eI\/O – DC Coupled input and outputs.\u003c\/li\u003e\n\u003cli\u003eTime Constants – Attack range 50uS – 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependent on ratio.\u003c\/li\u003e\n\u003cli\u003ePower Consumption – 15 Watts Max.\u003c\/li\u003e\n\u003cli\u003eMetal Chassis – single height 1.75″ high, 10″ deep, 19″ wide.\u003c\/li\u003e\n\u003cli\u003eShipping info – 24.2 lbs Stereo pair. Stereo Pair box dimensions 22.5″ x 18.5″ x 6 1\/4.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39843604168839,"sku":"EL8-SSTPR","price":3049.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el8-s-distressor-compressor-stereo-pair-el8-sstpr-29280502546567.jpg?v=1654535474"},{"product_id":"empirical-labs-el8x-distressor-compressor-w-british-1452048","title":"Empirical Labs EL8X Distressor Compressor w\/ British Mod","description":"\u003cdiv\u003eThe product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time… if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003eBesides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eUnique Compression Curves\u003c\/b\u003e\u003cbr\u003eAll eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eDistortion (Color) Modes\u003c\/b\u003e\u003cbr\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cb\u003eBritish Mode\u003c\/b\u003e\u003cbr\u003eThe concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.\u003c\/div\u003e\n\u003cdiv\u003eThe EL8-X has the advantage of being able to selectively apply this aggressive characteristic – not just to the new “British” ratio (1:1) – to any of the ratios, simply by engaging the dedicated “British Mode” switch.\u003c\/div\u003e\n\u003cdiv\u003eThe British Mode and Image Link options are only available on the EL8-X. \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\n\u003cb\u003eImage Link\u003c\/b\u003e\u003cbr\u003eThe original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer\/engineers want to maintain absolute left\/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options – the original “phase” link, the new Image Link and the combination of the two, phase and image linking – something never before offered on any compressors or limiters.\u003c\/div\u003e\n\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cul\u003e\n\u003cli\u003eFrequency Response – 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/li\u003e\n\u003cli\u003eDynamic Range – 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/li\u003e\n\u003cli\u003eDistortion – ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/li\u003e\n\u003cli\u003eI\/O – DC Coupled input and outputs.\u003c\/li\u003e\n\u003cli\u003eTime Constants – Attack range 50uS – 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependent on ratio.\u003c\/li\u003e\n\u003cli\u003ePower Consumption – 15 Watts Max.\u003c\/li\u003e\n\u003cli\u003eMetal Chassis – single height 1.75″ high, 10″ deep, 19″ wide.\u003c\/li\u003e\n\u003cli\u003eShipping info – 12.1 lbs mono. Mono box dimensions 22.5″ x 18.5″ x 3 1\/4″.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39843604234375,"sku":"EL8XDISTRESSOR","price":1799.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el8x-distressor-compressor-w-british-mod-el8xdistressor-29280502743175.jpg?v=1654534578"},{"product_id":"empirical-labs-el7-x-fatso-tape-simulator-optimizer-1523263","title":"Empirical Labs EL7-X FATSO Tape Simulator \u0026 Optimizer","description":"\u003cb\u003eCondition:\u003c\/b\u003e Item is subject to minor wear from demo use.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eArguably the coolest and most unique device in the Empirical Labs arsenal, the FATSO (Full Analog Tape Simulator and Optimizer) is a digitally controlled analog device that gives musicians and engineers easy access to many of the desirable characteristics exhibited by older tube and Class A electronics and magnetic tape mediums. This two channel audio processor musically integrates frequencies and transients, increasing the apparent volume while keeping tight control over peak levels.\u003cbr\u003e\u003cbr\u003eWith the FATSO, recording studios and audio production facilities can enhance and soften the sound of Hardware Digital Recorders (HDRs) and Digital Audio Workstations (DAWs). Mix engineers will have the option not to have to use bulky, expensive analog tape recorders to get the warmth and sweet high end they’ve come to rely on for so many decades. Owners of DAWs and HDRs can finally put a stop to complaints about the coldness and brittle edge of their mixes and instruments. Even audiophiles can benefit from the FATSO, bringing back the warmth and ambience of LP’s and tapes to their CD players and other digital reproduction mediums.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe FATSO Goes to Eleven\u003c\/b\u003e\u003cbr\u003eELEVEN is a new compressor for the FATSO, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower “1176” attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc. Click here to find out how to upgrade your EL7 to an EL7X.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFour Types of Processing\u003c\/b\u003e\u003cul\u003e\n\u003cli\u003eHarmonic Generation and Soft Clipper (Distortion Generation) – this class A circuit gently rounds the peaks like saturated tubes or tape.\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Saturation (Warmth) – a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.\u003c\/li\u003e\n\u003cli\u003eTransformer \u0026amp; Tape Head Emulation – a simulation of the effect of input and output transformers of older devices, which adds  the low frequency harmonics that characterize them, as well as analog tape..\u003c\/li\u003e\n\u003cli\u003eClassic Knee Compression – your typical automatic leveling device found on just about every instrument and vocal track as well as on  the overall buss, done Empirical Labs compression – smooth and sweet, but in your face!\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cb\u003eUniversal Audio's FATSO Emulation\u003c\/b\u003e\u003cbr\u003eEndorsed and scrutinized for accuracy by designer Dave Derr of Empirical Labs, Universal Audio has painstakingly recreated the FATSO Jr. in this highly anticipated UAD Powered Plugin, capturing the sonic nuances of the original hardware. As part of the FATSO Powered Plugin, UA has also worked closely with Dave Derr to model the original concept of the FATSO, the FATSO Sr., with attack, release, and threshold compressor controls, among other features not available elsewhere.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrequency Response: \u003c\/b\u003e2 Hz to 60 kHz in clean audio mode (+0, -3 dB).\u003cbr\u003e\u003cb\u003eDynamic Range:\u003c\/b\u003e 110 dB from maximum output (20 %THD soft clipping) to minimum output. Greater than 100 dB signal to noise.\u003cbr\u003e\u003cb\u003eDistortion:\u003c\/b\u003e Ranges between .06% and 20% depending on mode and settings.\u003cbr\u003e\u003cb\u003eI\/O: \u003c\/b\u003eDC Coupled input and outputs.\u003cbr\u003e\u003cb\u003eCompressor Time Constants:\u003c\/b\u003e Attack range 1ms – 60ms. Release range .05sec – 3.5 seconds. Attack and Releases are fixed by the compression type selected.\u003cbr\u003e\u003cb\u003ePower Consumption: \u003c\/b\u003e15 Watts Max.\u003cbr\u003e\u003cb\u003eMetal Chassis: \u003c\/b\u003esingle height 1.75″ high, 10″ deep, 19″ wide.","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39918379171975,"sku":"EL7-XFATSO-DEMO","price":2319.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el7-x-fatso-tape-simulator-optimizer-el7-xfatso-demo-29306970407047.jpg?v=1655827338"},{"product_id":"empirical-labs-el8-distressor-compressor-1523262","title":"Empirical Labs EL8 Distressor Compressor","description":"\u003cb\u003eCondition:\u003c\/b\u003e Item is subject to minor wear from demo.\u003cbr\u003e\u003cbr\u003eThe product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time… if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003cbr\u003e\u003cbr\u003eBesides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003cbr\u003e\u003cbr\u003e\u003cb\u003eUnique Compression Curves\u003c\/b\u003e\u003cbr\u003eAll eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDistortion (Color) Modes\u003c\/b\u003e\u003cbr\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.\u003cul\u003e\n\u003cli\u003eFrequency Response – 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/li\u003e\n\u003cli\u003eDynamic Range – 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/li\u003e\n\u003cli\u003eDistortion – ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/li\u003e\n\u003cli\u003eI\/O – DC Coupled input and outputs.\u003c\/li\u003e\n\u003cli\u003eTime Constants – Attack range 50uS – 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependent on ratio.\u003c\/li\u003e\n\u003cli\u003ePower Consumption – 15 Watts Max.\u003c\/li\u003e\n\u003cli\u003eMetal Chassis – single height 1.75″ high, 10″ deep, 19″ wide.\u003c\/li\u003e\n\u003cli\u003eShipping info – 12.1 lbs mono. Mono box dimensions 22.5″ x 18.5″ x 3 1\/4″.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39918412660871,"sku":"EL8DISTRESSOR-DEMO","price":1247.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el8-distressor-compressor-el8distressor-demo-29307112620167.jpg?v=1655830764"},{"product_id":"empirical-labs-el8x-distressor-compressor-w-british-1523264","title":"Empirical Labs EL8X Distressor Compressor w\/ British Mod","description":"\u003cb\u003eCondition:\u003c\/b\u003e Item is subject to minor wear from demo use.\u003cbr\u003e\u003cbr\u003eThe product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time… if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003cbr\u003e\u003cbr\u003eBesides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003cbr\u003e\u003cbr\u003e\u003cb\u003eUnique Compression Curves\u003c\/b\u003e\u003cbr\u003eAll eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting – a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDistortion (Color) Modes\u003c\/b\u003e\u003cbr\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path – are also available to help with low frequencies that can cause pumping and breathing.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBritish Mode\u003c\/b\u003e\u003cbr\u003eThe concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.\u003cbr\u003eThe EL8-X has the advantage of being able to selectively apply this aggressive characteristic – not just to the new “British” ratio (1:1) – to any of the ratios, simply by engaging the dedicated “British Mode” switch.\u003cbr\u003eThe British Mode and Image Link options are only available on the EL8-X. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eImage Link\u003c\/b\u003e\u003cbr\u003eThe original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer\/engineers want to maintain absolute left\/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options – the original “phase” link, the new Image Link and the combination of the two, phase and image linking – something never before offered on any compressors or limiters.\u003cul\u003e\n\u003cli\u003eFrequency Response – 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/li\u003e\n\u003cli\u003eDynamic Range – 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/li\u003e\n\u003cli\u003eDistortion – ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/li\u003e\n\u003cli\u003eI\/O – DC Coupled input and outputs.\u003c\/li\u003e\n\u003cli\u003eTime Constants – Attack range 50uS – 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependent on ratio.\u003c\/li\u003e\n\u003cli\u003ePower Consumption – 15 Watts Max.\u003c\/li\u003e\n\u003cli\u003eMetal Chassis – single height 1.75″ high, 10″ deep, 19″ wide.\u003c\/li\u003e\n\u003cli\u003eShipping info – 12.1 lbs mono. Mono box dimensions 22.5″ x 18.5″ x 3 1\/4″.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":39918412693639,"sku":"EL8XDISTRESSOR-DEMO","price":1649.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-empirical-labs-el8x-distressor-compressor-w-british-mod-el8xdistressor-demo-29307112718471.jpg?v=1655831123"},{"product_id":"warm-audio-bus-comp-stereo-vca-bus-compressor-1523265","title":"Warm Audio BUS-COMP Stereo VCA Bus Compressor","description":"\u003cb\u003eCondition:\u003c\/b\u003e Item is subject to minor wear from demo use.\u003cbr\u003e\u003cbr\u003eThe Warm Audio BUS-COMP is an all-analog, 2 channel, stereo VCA bus compressor based on classic circuitry that has provided silky smooth tone for decades.  Stereo VCA bus compressors are masterful at controlling dynamics on many sources, but they have become widely known for their magic touch on stereo mixes.  \u003cbr\u003e\u003cbr\u003eThe BUS-COMP will perform well on stereo mixes, drum mixes, drum overheads, acoustic guitars, keyboards, piano, orchestral instruments, voice-overs and an array of other sources.  The BUS-COMP is primarily designed for stereo use, but it can be used just as successfully on individual mono sources. VCA bus compressors of this type have become widely loved for their ability to control dynamics effortlessly but also for the added tone and depth they provide to the audio signal that passes through them, even when no compression is applied.\u003cbr\u003e\u003cbr\u003eRe-creating legendary VCA bus compressor technology was the focus of the BUS-COMP’s design, however, adding options and improvements was just as important to us during its development.  One feature we are proud to boast is the BUS-COMP’s ability to have USA made CineMag transformers inserted into the signal path driven by fully discrete operational amplifiers. With a single push of a front panel switch, these custom USA made transformers are inserted into the audio’s path providing increased depth, tone and vibe!\u003cbr\u003e\u003cbr\u003eAs with all of the products we develop here at Warm Audio, the BUS-COMP was designed with a price point in mind.  With efficient, modern manufacturing techniques we are proud to bring this boutique quality, classic VCA bus compressor to the market at a quality-to-price ratio previously unseen.  More studios than ever before will now have access to analog quality VCA bus compression. Our desire is for all musicians to be heard the way they want to be heard and we feel the BUS-COMP is the perfect tool to perfect any mix!\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eALL ANALOG, 2 CHANNEL, STEREO VCA BUS COMPRESSOR\u003c\/li\u003e\n\u003cli\u003eBASED ON LEGENDARY VCA BUS COMPRESSOR TECHNOLOGY\u003c\/li\u003e\n\u003cli\u003eSELECTABLE DISCRETE OPAMP STAGE WITH CINEMAG USA TRANSFORMERS\u003c\/li\u003e\n\u003cli\u003eEXTERNAL SIDE CHAIN SOURCE SELECT\u003c\/li\u003e\n\u003cli\u003eSELECTABLE HI-PASS FILTER: 30, 60, 105, 125, 185 HZ\u003c\/li\u003e\n\u003cli\u003eCOMPRESSOR ENGAGE SWITCH FOR EASY A\/B COMPRESS VS. 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It also borrows features from some other ELI products, like a germanium diode-based saturation circuit similar to the one in the Mike-E and the attack envelope shaping AtMod from the Arousor plugin (that’s right, we took a software feature and turned it into hardware!). \u003cbr\u003e\u003cbr\u003eThese features include...\u003cul\u003e\n\u003cli\u003eVCA style compressor circuit\u003c\/li\u003e\n\u003cli\u003e8 ratios from 2:1 to 20:1\u003c\/li\u003e\n\u003cli\u003eStepped attack and release knobs for easy recall Attack time ranging from 200μs to 40ms Release time ranging from 50ms to 500ms Soft-clipping saturation\u003c\/li\u003e\n\u003cli\u003eAtMod (Attack Modification)\u003c\/li\u003e\n\u003cli\u003eSwitchable Detector HP\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":40456408924295,"sku":"EL-P-VPUMP","price":699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0343\/4368\/2183\/products\/empirical-labs-pro-audio-outboard-gear-compressors-and-limiters-empirical-labs-el-p-pump-500-series-compressor-el-p-vpump-30388380795015.jpg?v=1681445815"}],"url":"https:\/\/www.chicagomusicexchange.mom\/en-ca\/collections\/empirical-labs.oembed","provider":"Chicago Music Exchange","version":"1.0","type":"link"}