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Tube-Tech SMC 2BM Mastering Compressor  From Tube-Tech

Stereo multi-band compressor - mastering version

Tube-Tech

$7,070.00

Retail:  $7,860.00

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SMC 2BM

Sound demo of Tube Tech SMC 2BM Mastering Compressor

  • Signal Chain
    • Tube-Tech SMC 2BM Mastering Compressor

Manufacturer's Description from Tube-Tech

TUBE-TECH SMC2BM is the mastering version of the famous SMC2B Stereo Multiband Compressor. On SMC2BM all audio controls feature High Quality switches, fitted with precision resistors, to ensure extreme accuracy in settings and recals.

The SMC2BM has become one of the favorite mixing/mastering compressors for many top mastering engineers around the world. The sound of SMC2BM is the same as SMC2B. 

The TUBE-TECH SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. Combining the effect of wide 3 band level control with individual compression of the three bands creates pure magic, especially on the main mix bus, but also on submixes like drum buss, instrument groups and single tracks.

The SMC2B is one of the few audio processors, that is very hard to bypass, even after a short listening test, and it will tend to stay inserted forever because of the color and dynamics it can add to your source material. Try it for mixing, and hear the magic no other compressor can deliver! For Live use the SMC2B is adding quality and musicality to top touring acts.

As an extra bonus feature, SMC2B can also be used to solve / remove annoying frequencies in basses, vocals, etc. It can even be set up as a d-esser. SMC2B can be very effective when recording very dynamic vocalists without having to spend hours sorting out problems after the recording has been done.

The SMC 2B is one of the most creative and musical audio tools available, and an all-time favorite for countless sound engineers around the world.

 

FAQ: What’s the difference between SMC2B and SMC2A?

The only difference is that the SMC2B has an output balance control for fine tuning small balance differences between channels.

 

Features and Technical Specifications

The TUBE-TECH SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. Combining the effect of wide 3 band level control with individual compression of the three bands creates pure magic, especially on the main mix bus, but also on submixes like drum buss, instrument groups and single tracks.

The SMC2B is one of the few audio processors, that is very hard to bypass, even after a short listening test, and it will tend to stay inserted forever because of the color and dynamics it can add to your source material. Try it for mixing, and hear the magic no other compressor can deliver! For Live use the SMC2B is adding quality and musicality to top touring acts.

As an extra bonus feature, SMC2B can also be used to solve / remove annoying frequencies in basses, vocals, etc. It can even be set up as a d-esser. SMC2B can be very effective when recording very dynamic vocalists without having to spend hours sorting out problems after the recording has been done.

The SMC 2B is one of the most creative and musical audio tools available, and an all-time favorite for countless sound engineers around the world.

The TUBE-TECH SMC 2BM 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 12 selectable frequencies: 60 – 1200 Hz for Low/Mid band and 6 selectable frequencies: 1,2 – 6,0 kHz for the Mid/High band.

Switchable crossover points ensure precise control of all three bands of opto-compression. Independent band specific Threshold, Ratio, Attack, Release & Gain parameters make the SMC 2BM as flexible as it is accurate.

Gain controls are fitted with 12 position gold plated switches with 1dB/step. Threshold, Ratio, Attack, Release and Balance controls are fitted with potentiometers with 31 detents.

The design of the x-over 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.

Both Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.

- The World’s only all-tube multiband compressor design

- Low distortion optical gain reduction elements

- Frequency response: @ -3 dB: 5 Hz to 60 kHz

- Low noise: < -60 dBU @ 10 dB gain

- CMRR: > 60 dB @ 10 kHz

- Three bands per channel with variable crossover frequencies

- Variable threshold, ratio, attack and release for all three bands

- Master output gain: Off to +10 dB

- Balance Control (+/-1,5 dB)

- LED display shows compression

- Clickless In/Out relay

- Conductive plastic potentiometers

- Gain Control for each band

- Gold plated switches (SMC 2BM)

- In- and outputs are transformer balanced and fully floating

Tube-Tech

About Manufacturer

STATEMENT It is our mission to ensure the engineer has confidence in his working tools and feels comfortable working with them. To achieve this, it is our job to bring out the very best in the tubes, as well as continuously strive to offer the professional audio engineer outboard equipment of sublime quality ? both in terms of sound and reliability. Lydkraft ApS was founded in 1977 by partners John G. Petersen, Niels Wors?e and Karsten Bruun. Originally the core business of the company was PA, which was a successful venture until 1980, when the partnership was cancelled ? and Mr. Petersen decided to take Lydkraft on his own shoulders. The company was relocated to the interimistic surroundings of Mr. Petersens garage.... Mr. Petersen now redefined the business focus of Lydkraft: He terminated the PA business entirely and focused his efforts towards design, development and manufacturing. During this period small production runs of direct boxes, mixing desks and speaker systems were manufactured as well. In the early 80?s, the demand for vintage tube gear was increasing at a rapid pace. But at the same time tube equipment became more and more scarce by the day. The idea of taking on development & manufacturing of recording equipment with tubes came about in 1984. The first tube-based unit bearing the name TUBE-TECH was developed as an almost direct copy of the Pultec EQP 1A. The tubes of TUBE-TECH Program Equalizer PE 1A glowed for the first time in 1985 and the very first shipment containing 30 units stood ready in June 1985. Next in line was the TUBE-TECH PE 1B and TUBE-TECH Midrange Equalizer ME 1A, soon followed by the TUBE-TECH Compressor Limiter CL 1A and the TUBE-TECH Microphone Preamp MP 1A in 1987.

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