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Up for sale is a very nice Orban 424a Gated Compressor Limiter. The cosmetics are good considering its age. Outputs on back have been converted to XLR. Only issues with this unit are that compression only works on one channel. The gate section of the channel that the compressor is not functioning correctly works just fine. So you still have two channels of gate, but only one channel of compression. The only other issue is that one of the one buttons is stuck in the on position, which of course, doesn't affect operation.Here is a except from Tape Op describing it:here's one of my favorite sleeping underdogs - an orban 424a.
it's a VCA compressor that works slightly differently than most standard comps, and here's how:
*the input threshold works just like a urei/universal audio - it's a
level control that controls the input signal to the compression
*the attack and release times are program dependent. it's like having
the unit in 'auto', but having it be adjustable within the 'auto'
setting. my dbx 165a's and my symetrix work awesome in auto, but they
each have their thing about it.
with the orban, it's a peak limiter and compressor with the attack under 3, and gets to be a slow beast at higher settings.
*there's a switch to change the shape of the release curve to linear to
exponential (curved, log release). it's like the inverse of knee!
*the 'gate' isn't an input gate, like we're all used to thinking. it's a
compressor release 'hold' to prevent pumping of hiss. so, say, if
you're doing vocals, and it's averaging a good 5db of gain reduction -
get the gate to trigger after the passages are done, and it 'holds' the
background noise from raising by holding the compressor at the selected
amount of gain reduction (which you set by the idle gain control for
however much that is).
*the output trim controls the amount of drive to the VCA compression
amplifier. it's not an output control, per se, but it's a post-attack
and release amp way to reduce (or increase!) amplifier drive. by riding
both the input attenuator and he output trim, i've gotten a clean clear
compression and a strained, 'in the red' compression, all determined by
how hard i'm 'driving' the VCA compression amplifier.
*transformers in and out. it's got a nice little low end gel that's
noticeable when you run mixes or especially guitars through it.
*i use the hardware de-essers in this for vocals all the time. you can
engage the compressors and de-essers independently, and it's just SO
SMOOTH, going from a gentle tap to a cymbal flattening ocean of velvet.
*dual mono or stereo linkable.
it's an adjustable program dependent, transformer loaded compressor you
can operate in a clean or drived chip mode with a buttery de-esser and
adjustable attack and release curves that's stereo linkable.
Thanks for looking!