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2-Channel Desktop VCA Compressor/Limiter, with Proprietary Op-Amp Design
$1,499.00
Smooth Compression, Perfect Clarity
From subtle smoothing to brickwall limiting, the AEA 1029 provides ultra-clean compression that you have to hear to believe. The AEA 1029 utilizes a proprietary discrete op-amp design by Fred Forssell and two THAT 4305 VCA chips run off of a single RMS detector being fed by the summed input signals. This design results in a versatile compressor with a clear and balanced sound perfect for taming vocals or smashing drum overheads. Designed to pair well with our TRP and RPQ series preamps, the 1029 Stereo VCA compressor is perfect for recording and/or mixing stereo microphones.
Small footprint, big performance
Packed into a sleek, half-rack design - the AEA 1029 is perfect for desktop use or for those looking to save space in their rack. But don’t let its size fool you, the 1029 is a full-featured compressor that packs a punch. With 3 position Attack Time (Peak Fast, Slow, and RMS) and a variable ratio from 1:1 - Limit, the 1029 can go from subtle to extreme as you see fit. Equally at home in a bedroom or professional studio, the AEA 1029 is the perfect addition to any engineer’s toolkit.
Features
Wes Dooley's longtime passion for audio has infused his company, Audio Engineering Associates (AEA), with a well balanced blend of creativity and technical expertise for forty years. At the core of AEA is a genuine interest in the art and science of audio. From areas as diverse as forensic audio and microphone design, Wes' passion for audio has led him all over the world, from recording experiences in Europe, Africa, and New Zealand, to the courtrooms of Los Angeles as a forensic audio and video expert witness. Such experiences have led Wes to design products which help resolve problems commonly encountered by recording engineers. His portable recording tools including, multi-channel microphone arrays, MS stereo processors, stereo phase displays and very tall microphone stands, have all made on-site recording far more feasible. Despite his contributions to on-location recording, Wes is best known for his pursuit of excellence in ribbon microphone technology. After two decades of representing and servicing the BBC 4038 in the United States, he began to experiment with his own ribbon microphones. During the last decade Wes became aware of the increasing scarcity of R44's and other ribbon microphones. In 1998, responding to this need, Wes re-introduced the 44 much to the thrill of many in the recording industry. Les Paul told Wes that AEA's R44 is his favorite microphone and engineer/producers such as Bruce Swedien, Kevin Bacon, and Shawn Murphy routinely use AEA's R44. Even without such critical acclaim the numbers speak for themselves. Over half of the movies scored in Los Angeles have a 44 somewhere on the scoring stage. Building off of his successful reintroduction of the R44, in 2002 Wes designed and began producing an original ribbon mic, the AEA R84. His groundbreaking work with ribbon microphones helped him to secure the Audio Engineering Society (AES) Silver Medal Award in the fall of 2003. This award, established by the AES in 1971, in honor of audio pioneers Alexander Graham Bell, Emile Berliner, and Thomas A. Edison, is given in recognition of outstanding development or achievement in the field of audio engineering. Wes has also co-authored two AES Journal articles about stereo microphone techniques, chaired workshops on mic techniques and mixing strategies for compatible multiple releases for cinema, broadcast and home video, and has presented section meetings on stereo techniques and forensic audio. He is involved with AES standards work and currently serves on the SC-03-12 Working Group on Forensic Audio and SC-04-04 Working Group on Microphone Measurement and Characterization.