The rackmount Tube-Tech SMC 2B Stereo Multiband Compressor is an all tube-based compressor that adds the warmth of vintage quality masters to your mix. If you've heard records by Beck, Offspring, Rufus Wainright, and All American Rejects, you'll find a Tube-Tech SMC 2B Multi-band compressor in the hands of Joe Chiccarelli strapped across the stereo... Click To Read More About This Product
The rackmount Tube-Tech SMC 2B Stereo Multiband Compressor is an all tube-based compressor that adds the warmth of vintage quality masters to your mix. If you've heard records by Beck, Offspring, Rufus Wainright, and All American Rejects, you'll find a Tube-Tech SMC 2B Multi-band compressor in the hands of Joe Chiccarelli strapped across the stereo bus.
Tube-Tech SCM 2B Stereo Multi-band Compressor, First Take:
Multi-bandband compression and variable crossover points let you craft your overall mix
Three independent stereo optocompressors
Flat frequency response across all three bands
Balanced I/O and floating transformers
the Tube-Tech SCM 2B's variable crossover points ensure precise control with all three bands of optocompression. Independent band specific Threshold, Ratio, Attack, Release & Gain parameters make the SMC 2B as flexible as it is accurate. For example, a stereo compressor can squash and muddy the midrange of rock records. With the SMC 2B, you can add just the slightest compression to the midrange where the guitars live to keep them vibrant and lively. The adjustable crossover points allows you to set the low-frequency range so that the bass on dance tracks won't get over-compressed.
Three Stereo Optocompressors
The Tube-Tech SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid & High) by 6 dB/octave x-over networks with variable frequencies: 60-1200 Hz for Low/Mid band and 1,2-6 kHz for the Mid/High band.
Flat Frequency Response
The design of the crossover networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0.25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls.
Balanced I/O and Floating Transformers
Both Input and Output are balanced and have fully floating transformers with a static screen, which provides the greatest amount of electronic isolation for elimination of ground loops, resulting in super-quiet operation. The power supply and the sidechain circuit are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.
For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first design under the name of Tube-Tech was an all-tube equalizer based on the legendary Pultec EQP 1A. Petersen continued to design and manufacture a number of innovative all-tube outboard processors including preamps, multiband compressors and summing amps. Thanks to John's dedication to high-quality analog sound you'll see Tube-Tech gear in the racks of pro audio legends such as multi Grammy Award winner Al Schmitt, (Frank Sinatra, Steely Dan, Toto, Quincy Jones, Natalie Cole, Diana Krall), Grammy winner Joe Chiccarelli, (Elton John, Beck, U2, Tori Amos, Counting Crows, Offspring), engineer Russ Long (Sixpence None The Richer, Wilco, Dolly Parton, Allison Moorer), producer-engineer Tony Shepperd (Elton John, Madonna, Kenny Loggins, Barbra Streisand, Lionel Richie, and Whitney Houston), and many more.
The world's only "all tube based" multiband compressor design
Three bands per channel with variable crossover frequencies between bands
Stereo sidechain with variable Threshold, Ratio, Attack, Release and Gain controls for all three bands
Master Output Gain (off to +10 dB)
Balance Control (+/-1,5 dB)
LED display showing compression
Freq. response @ -3 dB: 5 Hz to 60 kHz
Low noise: < -60 dBu @10 dB gain
Conductive plastic potentiometers
Clickless bypass relay
Input Impedance: 2 kohm
Output Impedance: 60 ohm
Frequency response @ -3 dB: 5 Hz to 60 kHz
Distortion THD+N @ 40 Hz: 0 dBu 0.15 %, +10 dBu: 0.15 %
Noise Rg=200 ohm: 22 Hz-22 kHz; -70 dBu (Output Gain @ 0dB ), -60 dBu (Output Gain @ +10 dB): CCIR-468-4; -60 dBu (Output Gain @ 0dB), -50 dBu (Output Gain @ +10 dB)
Cross talk @ 10 kHz: -40 dB
CMRR @ 10 kHz: -60 dB
Max. output @ 1 % THD+N: > +26 dBu
Gain Output: off to +10 dB; Low-, Mid-, & High band; off to +10 dB
Tracking between channels: 0,5 dB
X-over frequencies: Low & Mid band: 60 to 300 Hz (x1); 0.24 to 1.2 kHz (x4)
Mid & High band: 1.2 to 6 kHz (x1)
Compressor Ratio: 1,5:1 to 10:1
Compressor Threshold: off to -20 dBu
Compressor Attack: 3 ms to 200 ms
Compressor Release: 60 ms to 2 s
Tubes: ECC 81 4 pc, ECC 82 2 pc. ECC 83 2 pc
Dimensions H x W x D: 5.2" x 19" x 8.1" (132 mm x 480 mm x 205 mm)
Weight: 13.7 lbs (6.2 kg)
Power requirements @ 115 V/230 V, 50-60 Hz: 30-45 W
Guitar Center's Pro Coverage
Pro Coverage gives you added warranty protection for your gear. Stepping in where the manufacturer's "normal wear and tear" coverage ends, our Pro Coverage program offers you upgraded coverage if your product ever fails Click To Read More About This Product.
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