-
Call Us Toll Free888-528-9703
-
Local/International (+1)919-682-5552
- Call Us! Toll Free! 888-528-9703
- Local / International (+1) 919-682-5552
Item selected is sold (details below). Related products available now:
![SPL BiG [Studio]](/resources/org.apache.wicket.Application/productImage?id=40090-spl-big-studio--19a4f8d70d4-e-main.jpg "SPL BiG [Studio]")
Overstayer Saturator 8755DM Modular Channel - Used From Overstayer
The Modular Channel is a fluid analog stereo channel instrument for music, tracking, and mixing, capable of sophisticated processing from subtle layered shaping to total chaos.
"Gone, Baby, Gone"
This one is sold. Don't miss the next one. Some things never even make it to the site so stay up to date on our used collection.
We get in many oddities, rare and vintage products, most of which go fast. If you're on the hunt for something specific, something unique, or something priced right, let us notify you on our used collection before the items even hit the site.
Want to know if one lands?
Notify MeWant to discuss what's coming?
Manufacturer's Description from Overstayer
The Overstayer Modular Channel 8755DM is a flexible stereo Mic, Line and Instrument channel designed to add a subtle enhancement or complete sonic mayhem. Ideal for tracking and mixing it includes a preamp section, Low- and high-pass filters, EQ, compression and distortion.
The Overstayer Modular Channel 8755DM boasts a preamp loosely inspired by Helios’ Type69 mic pre providing 40dB of discrete gain and provides a choice of microphone, balanced line and high impedance inputs. Direct outputs let you pick the signal directly after the preamp stage and can be used independently when Line input is selected.
Next are high-pass and low-pass filters, inspired by filters found on synthesizers. They include a resonance control to let you boost the cut-off frequency before the filter slope to create a really tight sound.
Immediately after the filter section, a two-band EQ provides both low and high shelves. Each band has three frequency points for shaping your tone quickly. In addition to the main signal, the EQ can also be used as a side-chain filter for the compressor stage.
The compressor stage uses the VCA architecture similar to that of the Stereo Voltage Control. It provides Peak and RMS detection and Attack and Release controls with three positions each. A Behavior control affects the compression curve ranging from slow levelling type to more extreme settings thanks to the use of negative ratios.
A three-stage Harmonics section comprises can be engaged in any combination with subtle enhancing with the MAS low order harmonics, the more coloured sound of SAT to the extreme settings of Hex.
A final Mixer Matrix provides flexible routing between parallel and in series processing.
About Manufacturer
In 2008, Los Angeles-based musician/engineer/producer Jeff Turzo began building custom recording electronics for his personal studio. It wasn’t long until other LA-based producers caught wind of the designs. Soon, the requests for his custom recording electronics began to roll in, and in 2009, Overstayer Recording Equipment, Inc. was born.
Overstayer Recording Equipment was launched with the idea of building unique high-quality, analog circuits with vast tonal flexibility. Each Overstayer design is conceived to meet real-world needs and evolves from real-world testing. All Overstayer products are hand-made in Los Angeles, CA and offer comprehensive controls that allow users to find the ultimate balance between fidelity and color. Find out why engineers that have used Overstayer products will never again work without them.
Specifications
SIGNAL SOURCES
Select between balanced line, microphone, and high impedance instrument inputs. The balanced line input can also be routed through the preamps to drive the front end. The preamps have direct outputs and can be used independently when LINE input is selected.
FILTERS
Wide ranging resonant high and low pass filters. The peak controls can be driven into self oscillation. The filter topology and capabilities are synth inspired, implemented with a console design aesthetic using full fidelity components and design (this goes for the entire unit).
EQUALIZER
High and low shelves (BASS and TREBLE) with 3 selectable frequencies each, and a fully sweepable wide ranging mid band (PRESENCE). The Equalizer is available to the main signal path (SAT FEED) as well as the DRY/EQ FEED, and the compres- sor side-chain.
COMPRESSOR
Peak/RMS VCA compressor with attack and release controls (3 positions each), as well as engage-able side-chain hpf. BEHAVIOR allows control of the compression curve from smooth levelling to explosive inverted ratios. The side-chain can be fed from before the filter (SC PRE), after the eq (SC POST), or from an external source.
MIXER MATRIX
Independent stereo feeds allow for sophisticated series/parallel mixing and compositing. The DRY/EQ FEED can be sourced from before the filter (DRY FEED selected), or after the eq (EQ FEED selected). The COMP FEED is directly from the compressor pre-harmonics (transients intact), and the SAT FEED is the full signal path post harmonics and saturation.
PREAMPS
More than 40 dB of discrete gain with independent left and right controls for the instrument and microphone inputs. Polarity, pad, and phantom controls are also available on the microphone version.
SWITCHING
Switch bank to engage the filter, equalizer, and compressor circuits into the main signal path (SAT FEED). The equalizer and compressor are always available in parallel to their feeds, and the equalizer is always available to the compressor side-chain.
CONNECTIVITY
XLR connections for line input and output, microphone input, insert send and return, and preamp outputs. 1/4" jacks for instrument inputs. 5 pin xlr DC power connector.
HARMONICS
The DRIVE control feeds 3 harmonics stages that can be engaged in any combination: MAS for low order harmonics (selectable 2nd or 3rd) and smoothing, SAT for deeper saturation, and HEX for higher harmonics and layered distortion. The DRIVE control is post compressor to allow the INPUT control to preserve headroom for the filters, eq, and compressor (though driving the INPUT can be good too!).
Follow us!
© Sound Pure LLC 2025. All Rights Reserved.
919-682-5552