Audioscape D-Comp Zener Diode Limiter - Used  From Other

Based on a rare zener diode bridge design from the 1960s - pioneered in one of the world’s most famous recording studios - the D-Comp Stereo Limiter captures all the explosive attack and distinctive "swooshing" release behavior of the vintage British circuit that inspired it, with added functionality to greatly expand the versatility of this truly unique compression style. It can add incredible punch and smack to drums, gently tame peaks in program material, thicken vocals and acoustic instruments, and much more. It’s particularly excellent at bringing up ambient sound in an fast, exciting way, making this one of the best compressors for drum room mics out there.

A Modern, Versatile Zener Diode Limiter

The D-Comp, or “Diode Compressor,” was born by starting with a very, very old zener diode bridge circuit from a famous one-off console, along with some old-school design aesthetics.  During the exhaustive and meticulous R & D stage of the D-Comp, trying to “modernize” the overall topology and sonics of this extremely finicky circuit, we were able to carve out and create something fresh and new that still retained all of the desirable, often quirky aspects of the original vintage unit.

What we ended up with is a MONSTER.  

Zener Diode Limiting, From Subtle to Extreme

Set to the extreme and pushed, D-Comp can exhibit downright brutal compression behavior  - explosive drum sounds, whiplash-inducing time constants, and transient punch you could stop a car with - all the while imbuing a warm, thick harmonic richness to the mids and low mids that is unmistakably “vintage.”

On the other hand, with the sidechain high-pass filter engaged (sometimes very liberally!) on slow settings with a moderate input, the D-Comp can add a subtle, thick character to the mix bus or acoustic instruments, leaving its own distinct sonic signature on the tone and transient behavior of a source while keeping its tonal essence intact.

“LIMIT,” “COMP,” and “OFF” Modes

The D-Comp’s “LIMIT” mode provides instantly recognizable 1960s “swoosh,” with Fairchild-like cymbal flattening and immediate, huge room tone. “COMP” mode features a slightly more versatile and modern sounding envelope, delivering punch and smack quite unlike any other kind of compressor. (One way to think about these modes: “LIMIT” excels on drum room mics, whereas “COMP” mode tends to be most at home on drum buss.)

The “OFF” setting allows you to use the D-Comp essentially like a high-end distortion pedal or saturation unit. Crank the input and get all the rich transformer-driven harmonic grit, crunch, and fuzz you could ask for - then adjust output level to taste! This effect can be combined with “COMP” or “LIMIT” modes on a single source, with one channel daisy chained into the other, but it also excels on its own, adding a harmonic edge that instantly brings sterile drum samples or soft-synths to life.

In short, this is an amazingly flexible and one-of-a-kind compression circuit - like a Swiss army knife made from one very distinct kind of metal. You won’t mistake its color for anything else, but the applications are nearly endless, thanks to the wide range of options made possible by the sidechain filter, attack, and release controls.