1997 Editors Choice Winner 1998 TEC AWARD NOMINEE
I purchased a Joemeek Stereo
Compressor six months ago, and it's been used on every mix I've done since then. If I had
four I'd use them all. Ken Kessie, Producer EnVogue Mix Magazine
The Joemeek is definitely the
Compressor of the 90's, I will never track another record without one. Jack Joseph Puig
, Black Crows
Say what you will, but the
unit is only $1,900.00 U.S. and sounds better than 2 LA-3's that would run you twice as
much if you can find them. I say try one out, it's worth the money. Carl M
Joemeek stereo compressor SC2
To order
Born out of the need for a
"real compressor" to get back the punch and warmth of the 60's sounds without
the "muddiness" of VCA compressor/limiters, or the synthetic plastic effects
that have dominated the studio output since the 60's, Ted Fletcher recreated the
photoelectric compressor; but then developed it much farther to achieve the transparency
and ease of use essential in today's digital environment. The results is an effects
compressor that retains sparkle while adding warmth and power to rhythmic material. The
SC-2 is best used when in a two track mix down, mastering and live performances but can be
used as an effects compressor for tracking in mono.
Assembled by hand in a small factory in Torquay, South Devon England, the JOEMEEK
compressor is supervised personally at all stages of manufacturing and test by Ted
Fletcher.
TECHNICAL
The compressor is a 2U mains powered rack unit with two linked channels. The inputs and
outputs are dual standard XLR or 1/4" jack plug on the rear panel.
COMPRESSION
Audio compression is achieved photo-electrically with modern servo-control techniques used
to maintain accuracy and speed of response of the light source (rather than the tedious
manual setting that Joe Meek had to put up with).
No distortion producing voltage controlled amplifiers are used. Although the compression
is non-linear, the effect is true volume compression with no "limit" action.
Drive to the control sidechain is taken equally from the left and right channels so the
unit may be used either as a stereo compressor or mono (by using one side).
"Threshold" is non specific with the ratio deviating away from unity at
approximately -15db out of the unit. This is the softest of "soft knee"
compressors.
The "slope" switch chooses one of four settings of deviation rate.
At the lowest rate (1), the compression ratio usable maximum is about 4.5 to 1. At the
highest rate (4), the compression ratio usable maximum is about 7 to 1.
INPUTS AND OUTPUTS
The inputs are precision-electronic balanced using the "Superbal" principle
which guarantees accurate balance and good common mode performance. (The
"superbal" front end amplifier was invented by Ted Fletcher in 1976, published
in Studio Sound Magazine, and was subsequently adopted as the industry standard by most
professional mixer manufacturers.
Input impedance is 20Kohm resistive. Operating level is nominally "zero level"
with a maximum input of +28dbu
Outputs are electronic balanced and floating at a source Impedance of 100 ohms.
CONTROLS
Input gain is a single stereo rotary control adding gain to the front end.
Slope is a four position switch similar to a "ratio" control but is non linear.
Compression adjusts the drive to the sidechain and sets the amount of compression.
Attack is a rotary control setting the attack time between 1.5 and 10 milliseconds.
A characteristic of this photo-electric system is a predictable overshoot at very short
attack times. This effect is useful on some program material and is impossible with other
types of compressors.
Release is a rotary control adjusting the recovery time of the compression. The wide range
gives the option of high speed "pumping" down to very slow gain riding.
A real moving needle METER gives an indication of the amount of compression in effect. For
ease of reading by experienced engineers, this is calibrated as a normal VU meter with the
pointer sitting at "0". The pointer moves to the left to indicate the amount of
gain reduction in effect.
TECHNICAL PERFORMANCE
System Gain: max. 20db
System Noise: generally better than-94db 20Hz to 20KHz
System Distortion: within 0.004% 100Hz to 10KHz at all levels. (excepting at low frequency
where physics demand that distortion is a function of release time).
Frequency Response: substantially flat 5Hz to 39KHz with minimal phase shift at extremes
Crosstalk: better than -60 at 10KHz
In/out switching: By-pass push button with LED indication:
Blue for "in operation" Red for "by-pass"
Meter: VU compression meter gives indication of gain reduction
Power Mains powered 100V to 240V AC 50/60 Hz at less than 10 watts
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